On my mind | AD ASTRA BOY

My good friend Mrs. Nelson and I recently had a chance to attend the world premiere of the documentary film Breaking the Code, a retrospective on the life of artist Vernon Fisher, by filmmaker Michael Flanagan. Sadly, Vernon Fisher passed away on April 24, 2023 just before the film premiered at the Dallas International Film Festival (DIFF) later that week. I have always admired Vernon Fisher's work especially his blackboard paintings. I have also wondered, what is it that the artist is communicating in a particular painted work of words layered on photo realistic images and chalkboard sketches? To find out you must see Breaking the Code. For a preview, click the photo below to watch the trailer. As they say, "the interpretation is up to you."

During the premiere, I had a chance to meet Mr. Flanagan and later was able to ask him some questions about his film, which was awarded Best Historical Film at DIFF.

Beckett: First of all congratulations on Breaking the Code and for your award at DIFF. As a young filmmaker myself, I wanted to ask you how you started your journey in filmmaking?

Michael: While I regularly went to the movie theatre throughout my childhood, it wasn't until my early twenties that I began to more seriously research film history. During this period I took advantage of every opportunity I had to involve myself with film productions. My undergraduate studies also shifted in focus to filmmaking.

Beckett: Have you always been interested in documentary films?

Michael: I was not particularly interested in documentary films during my childhood, but looking back on it now I realize that various programs I enjoyed on television were documentaries. I'm thinking of things like Shark Week on the Discovery Channel or some of the many food and culture travel shows that aired on the History Channel.

Beckett: Do you always know what questions to ask or have a plan for the conversation or do the ideas and questions just come during the process?

Michael: I usually spend at least several weeks preparing questions for interviews by conducting research and sometimes doing pre-interviews. However, It's also important to allow conversations to unfold naturally. You can learn new things in the middle of an interview and it's important to have the ability to spontaneously develop a new line of questioning in the moment.

Beckett: How do you make a relationship or create trust with someone you don't know yet? That seems tricky to me.

Michael: Everyone is different, so there is no universal answer for this. However, you'll give yourself the best chance to create trust by approaching people with respect and displaying that you are knowledgeable and confident in regard to the subject matter you wish to engage them in.

Beckett: Considering the number of people interviewed, how much time is involved from planning, interviewing and editing?

Michael: Breaking the Code involved interviews with more than twenty people and required that a small crew travel to various locations throughout the United States. Planning began in late-2019 and we are still working through the post-production and distribution process. When all is said and done, there will likely be about four to five years of my time invested in this project.

Beckett: I find editing films most challenging. Is there a part of the filmmaking process that you enjoy more than others?

Michael: I enjoy editing films because you have directorial power to shape the narrative. During production you have to deal with schedules, crews, interview subjects and many other logistical and creative concerns. That can be a very fulfilling experience, but it's often very chaotic and stressful. When you're editing, you're able to have a clear mind and calm space as you sift through all the material you've worked so hard to obtain.

Beckett: What are you working on next?

Michael: I'm currently in the early stages of developing a narrative feature-film adaptation of Vernon Fisher's book, Navigating by the Stars. I'll be writing a script for it in the coming months and hope to be in pre-production by the end of 2023.

Beckett: I look forward to the next installation of the Vernon Fisher series. This is a nice tribute to his legacy. Thank you so much for your insight and for sharing this film with us. Ad Astra, to the stars!

Updated September 18, 2024

Breaking the Code will be available to stream online via Glasstire TV. Click here to watch the full documentary.

#BreakingTheCode #MichaelFlanagan #VernonFisher

I find it interesting that Afro Mingei opened and closed so quickly, as we were just starting a conversation on art, culture and community. Coincidentally, did you know that that there is a conversation continuing literally right across the street on Flora?

The Crow Museum of Asian Art of The University of Texas at Dallas opened a new exhibition titled Japan, Form & Function: The Montgomery Collection, which includes artifacts from the Mingei movement founded in the 1920s by Yanagi Sōetsu. As stated on the Crow Museum website, "The Montgomery Collection is widely acknowledged to be the largest and finest collection of Japanese folk art outside Japan."

In April, I had the chance to meet the curator, Mr. Luigi Zeni, and the collector, Mr. Jeffrey Montgomery (or in his words "the keeper"). I also had the privilege to tour the exhibition with Mr. Montgomery and Mr. Zeni to better understand the collection of 240+ works on display, including works on paper, ceramics, wood, metalwork, and even textiles!

Many of the works are from the Mingei movement. Mingei focuses on everyday objects produced by the common folk, as opposed to highly refined works of art produced by professional artists. Mingei is typically: anonymous/unsigned, representative of the region it was produced, mass produced by hand, made of natural materials, inexpensive at the time of production, used by the people/folk, and functional in daily life. It can also be understood as a response to Japan's rapid industrialization, as it elevates objects made in large quantity by ordinary people, rather than in a factory. In this way, it can also be perceived as a method of cultural and historical preservation. Some of the key artists in the movement were Yanagi Sōetsu, Bernard Leach, Hamada Shōji, and Kawaii Kanjirō.

The exhibition will be on view for a full year, until April 14, 2024, so please don't miss this exquisite, yet comprehensive survey of Japanese folk art from north to south. As Master Oogway said in Kung Fu Panda, "There are no coincidences in this world.” I think it really means that you are traveling down the right path.

#CrowMuseum #TheMontgomeryCollection #Mingei