The Unseen Costs of Selling Stories
· design
The Unseen Costs of Selling Stories: A Commentary on “The History of Concrete”
John Wilson’s documentary “The History of Concrete” appears to be a straightforward film about the history of concrete. However, upon closer examination, it reveals itself to be a rich and nuanced exploration of the nature of storytelling in our industry.
Wilson is a filmmaker who wears many hats: observer, participant, and provocateur. In “The History of Concrete,” he tackles the absurdities of the documentary space by documenting his own struggles to sell the film, complete with Zoom meetings and Hollywood executive sighs. This use of meta-narrative allows Wilson to critique the creative compromises that are often made in order to get stories told.
At its core, “The History of Concrete” is a commentary on what we as an industry prioritize – and how those priorities can lead to homogenized and uninspired products. Wilson has said in interviews that he drew inspiration from his own series “How To,” which shares some superficial similarities with this new feature-length work. However, whereas “How To” broke down complex subjects into bite-sized chunks, “The History of Concrete” is a more expansive epic that explores the tension between creative freedom and commercial viability.
Wilson has spoken candidly about the challenges he faced in securing funding for this project, including from Hollywood executives and potential investors who were hesitant to support a film with an unusual subject matter. But what if I told you that “The History of Concrete” is more than just a documentary about concrete? It’s a scathing critique of our industry’s values and priorities.
Wilson’s film may have started as a genuine attempt to create the definitive movie on its subject, but it has evolved into something much bigger – a call to arms for creators to take risks, push boundaries, and challenge their audiences. This is not just about “The History of Concrete” but also about our collective role in perpetuating these problems.
By prioritizing retellings over original ideas and valuing shock value over substance, we’re creating an environment that stifles innovation and creativity. As Wilson himself said in the film, “People are focused on retelling stories that have already happened…Certain people with money have a hard time with imagination and this idea of art-making for the sake of it.” It’s a searing indictment – one that should leave us all questioning our own priorities.
The future of storytelling lies in embracing experimentation, pushing boundaries, and taking creative chances. For filmmakers like Wilson who are willing to take risks and push against the status quo, there is no alternative. The unseen costs of selling stories are real, and it’s time for us to acknowledge them. “The History of Concrete” may be a film about concrete, but its true subject matter is so much bigger: the unseen costs of selling stories that have already happened.
Reader Views
- TSThe Studio Desk · editorial
While John Wilson's documentary "The History of Concrete" shines a much-needed light on the creative compromises made in the pursuit of commercial viability, its impact may be undermined by a lack of concrete solutions for industry change. What sets this film apart is not just its scathing critique of Hollywood's values, but also the potential for it to become a case study for filmmakers navigating similar challenges. However, unless the industry addresses the systemic issues driving these compromises, "The History of Concrete" may remain little more than a cautionary tale rather than a catalyst for meaningful reform.
- TDTheo D. · type designer
While Wilson's meta-narrative approach sheds light on the commercial pressures in documentary filmmaking, it also raises questions about the role of storytelling in shaping our understanding of complex subjects like concrete. As a designer who's worked with architects and engineers, I can attest that the real story behind "The History of Concrete" lies not just in its critique of industry values, but in its potential to reframe the way we think about narrative itself. By blurring the lines between subject and commentary, Wilson challenges viewers to consider what kind of stories are being told – and who's behind them.
- NFNoa F. · graphic designer
The real issue here isn't Wilson's creative compromises, but our industry's willingness to enable them. The documentary space has become a prime example of how commerce can strangle artistic vision. By focusing on the struggles of selling "The History of Concrete," Wilson shines a light on the systemic problems that prioritize profit over passion. However, let's not forget the elephant in the room: the true cost of making such films is often borne by the filmmakers themselves – their time, energy, and sometimes even their mental health. We need to start valuing these creative entrepreneurs beyond just their bankability.