Filmmaker John Wilson's new documentary, "The History of Concrete," challenges conventional storytelling by transforming an unexciting subject into a compelling and often humorous narrative. Premiering at the Sundance Film Festival, the movie explores the pervasive yet often overlooked material of concrete, utilizing its presence and decay as a metaphor for broader human experiences. This project marks a significant evolution in Wilson's style, moving beyond the episodic structure of his HBO series "How To With John Wilson" to embrace a more expansive, feature-length format. The film also candidly documents Wilson's personal and professional journey, revealing how the arduous process of its creation became a source of healing and creative rejuvenation during a period of personal struggle.
The inspiration for "The History of Concrete" emerged from Wilson's personal experience with home repairs, specifically addressing foundation issues. This seemingly trivial starting point blossomed into a profound exploration, where the initial spark of an idea evolves into a comprehensive portrait of concrete and its human interaction. Wilson deliberately chose concrete for its inherent lack of glamour, embracing the challenge of infusing humor into an inherently dry topic. This artistic choice reflects his consistent desire to push creative boundaries and find unexpected depth in the ordinary. Throughout the filmmaking process, Wilson encountered resistance from industry professionals who urged him to deviate from his established comedic voice, suggesting audiences desired novelty over consistency. Despite initial resentment, Wilson adapted his approach, demonstrating a flexible and innovative spirit in his craft.
Unlike the tightly structured, 28-minute episodes of "How To," which explored everyday topics such as small talk and spontaneity, "The History of Concrete" provided Wilson with a more expansive canvas. He consciously adjusted the narrative pace to avoid overwhelming the audience with a lengthy format. This transition allowed him to delve deeper into storylines and character arcs, spending years rather than weeks with his subjects. The extended production period involved shooting an astonishing 140 hours of footage across multiple countries, a process that proved to be both creatively demanding and personally transformative. The film subtly touches upon how this immense undertaking directly impacted Wilson's personal well-being, suggesting a profound connection between his artistic endeavor and his journey out of a personal slump.
A pivotal figure in Wilson's creative and personal resurgence was Jack Macco, a musician from Long Island. Their chance encounter at a liquor store led to a profound connection, with Macco's unwavering passion for art and life inspiring Wilson. Macco's character, initially appearing as a vibrant local musician, reveals unexpected layers of depth that become a central focus in the latter part of the film. Wilson found solace and energy in Macco's genuine contentment and dedication to his craft, particularly during moments of self-doubt. Macco's steadfast presence offered a sense of continuity and creative partnership, proving invaluable to Wilson's perseverance. The documentary further explores this theme of finding joy through artistic expression by showcasing diverse individuals, including passionate short film crews, dedicated ultramarathoners, and the visionary founder of GumBusters, a New York City-based company specializing in removing gum stains from concrete.
As the premiere of "The History of Concrete" approaches, Wilson reflects on his creative journey, acknowledging a temporary hiatus from his "big camera" to process the extensive filmmaking experience. Nevertheless, his keen observational eye remains active, continuously documenting the vibrant life of his native New York City. While the immediate aftermath of completing the film is still a period of adjustment, Wilson eagerly anticipates future projects, expressing a hopeful outlook that his next endeavors will be equally engaging, though perhaps less "unsexy" than concrete.
