John Wilson’s latest documentary, “The History of Concrete,” released through Magnolia Pictures, operates on two distinct levels. While ostensibly an exploration of the material that forms the backbone of modern infrastructure, the film simultaneously chronicles the arduous process of securing funding for a project with such a utilitarian title. The HBO “How To” creator travels to Las Vegas and New Orleans for industry conventions, visits ancient Italian architecture, and conducts Zoom pitches to Hollywood executives who visibly struggle to envision an audience for the project.
Wilson initially set out to create the definitive film about the subject but pivoted to include the meta-narrative of production about a year into filming, recognizing it as the more compelling story. He hoped the film would serve as an educational resource for other filmmakers regarding the opaque processes behind documentary creation.
Despite the hard subject matter, the film delves into human emotion. Wilson connects with a professional “gum buster,” a grieving musician named Jack, and various other characters he encounters. Wilson noted that Jack, despite the harsh environments they inhabit, possesses one of the softest hearts in the film.
Regarding the financing struggles depicted in the movie, Wilson revealed that the reality was even more grueling than shown. The budget request was comparable to what a Netflix documentary or an episode of “How To” might cost, yet investors remained hesitant. “Would you give your own money to make ‘The History of Concrete’? Even if it’s me, I don’t know,” Wilson said, highlighting the strange proposition of selling such a niche idea.
Wilson also used the platform to critique the current state of the documentary industry, arguing that the sector has mutated to value the retelling of already-completed stories over imaginative art-making. He observed that those with financial control often require multiple layers of approval and struggle to support projects created for their own sake rather than as recaps of existing tragedies or careers.
The feature-length format allowed Wilson more elasticity than his television work, enabling him to follow a 3,100-mile race over several months and spend a year and a half with Jack. He described the film as a “prequel” to his show, serving as the foundational piece for his broader body of work.
Among the film’s most talked-about sequences is an unsettling scene at a GQ dinner where Wilson captures Kim Kardashian looking directly into his lens while Dwyane Wade gives a toast. Wilson described the discomfort as inherent to the celebrity environment rather than caused by the filming itself. He intentionally omitted musical scoring to preserve the raw, awkward perspective of the moment. He confirmed that Kardashian did not interact with him and that the footage’s inclusion is partly due to the event being documented by an internal corporate media team, which likely limits the availability of that alternate footage.
Wilson also reflected on the Tim Robinson reveal, which elicited strong laughter during screenings. The inclusion was a post-production decision made because test audiences responded well to the comedic tension release, though Wilson noted the moment did not land as effectively in international markets where Robinson is less recognized.
The film’s final shot, featuring a tattoo artist asking his father about the burial site of Chef Boyardee, was a last-minute addition. With the film due to lock just four days after a Sundance selection, producers urged Wilson to capture the grave. He filmed the shot alone on Christmas Eve, tying the ending to the holiday themes permeating the production.
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