Fragile Machines — Q&A with Award-Winning Director Derek Johnson
Fragile Machines is an independent art film depicting the story of a married couple and the affairs that make their relationship irreparable. The film walks through a non-linear, gestural narrative - shifting with fluidity between seasons, homes, women's bodies, and water. The movement direction follows a form of contemporary dance with improvisation. Because of this improvisational quality, the film began utterly formless. It was born out of the cast and Derek's discoveries, which evolved over two years. Also central to the work is a muddling of the line between the organic and the inorganic: the question of the extent to which our seemingly-innermost desires—most notably, our longing for human contact—is stilted.
The co-director of Fragile Machines, Derek Johnson, is a New York-based filmmaker focused on creating films with a fresh editorial sensibility within the grey area between still image and feature film. His work spans fashion campaigns, editorials, galleries, and commercial beauty work with clients such as Zaha Hadid, Derek Lam, Pace Gallery, and IMG. Derek continues to push boundaries within the burgeoning genre of fashion film as the industry moves into a new age of imaging.
We recently took the time to ask Derek about his life as a filmmaker, where he reveals precious and inspiring insights about his creative process. Here is a glimpse of his thoughts.
Nela Riessova: NR
Derek Johnson: DJ
NR: Before we dive into your work and career as a filmmaker, could you please put us back in time and tell us more about the actual moment or event that triggered your interest to become a filmmaker?
DJ: I was studying photography at the School of Visual Arts in New York and found myself almost immediately searching for ways to work outside of the curriculum. I was creating 3D landscapes in Maya and VUE and also doing these massive composited works made up of thousands of self-portraits. I think that I was honestly so intimidated by the subject-based photographic work I was consuming in school and didn’t feel I was able to find my own voice within or expand upon the medium. I remember I was very struck by fashion images early on and after being asked to do some behind-the-scenes work for a photographer I interned for, I learned that I could sort of re-contextualize much of what I loved about those pictures into moving image. My first real jobs were with modelling agencies creating these fashion videos of all the girls on their board. I would find ways to composite all the individually shot models into these group scenes. I look back and cringe a bit at them now but at the time it really felt so new and exciting. Those were very early days in fashion film, so everything really did feel fresh.
NR: What does your creative approach to filmmaking look like? Does your creative process follow specific patterns, or is it slightly different for every project?
DJ: My body of reference is quite photographic so things always seem to evolve from still images. In my last film, Fragile Machines, the movement direction stemmed from a form of contemporary dance called contact improvisation—so my direction became very much about finding starting points, restrictions, challenges, and motivations for the movements. I love when I can really trust the talent and I’m just curating a set of elements more so than directing a linear narrative.
NR: A large number of garments used in your films have an architectural shape. How did you come across collaborating on the Spacer film in association with the Zaha Hadid Foundation? What did the creative process look like?
DJ: My friend and collaborator, Peter Do, reached out to me to create the film as a way to show the collection he’d created for "The Extraordinary Process" exhibition with Maison Maison Gallery and the Zaha Hadid Foundation. It was an incredible experience working with Peter and his team. Also, getting to direct Maggie Maurer, who is the most fascinating and elegant model I’ve ever worked with, was very special. Peter’s design talent is indisputable and I think he’s the only designer of his kind in NY.
NR: In your recent work, Fragile Machines, water is the pivotal element that flows through two people's intimacy. What does it represent to you?
DJ: We were drawn to water as this sort of equalizer between our lead actresses, Kari Jensen and SamSam Yung, who have a big height difference and different physical tolerances. We used it as a way to have them dance on the same physical plane and share a more effortless intimacy. But beyond its utility, water very much became a symbol of transformation and fluidity.
NR: When it comes to your fashion films, the choice of garments seems to play a significant role in your work. What do you set in focus when arranging a picture?
DJ: Fashion comes naturally because It’s the world I live in and I am surrounded by so many talented designers. There’s nothing unique I’m doing. The garments just need to be in balance with the rest of the picture—if they overwhelm the action then it becomes absurd for the wrong reasons. Fashion film is already absurd, especially when it’s brave enough to take itself seriously.
NR: A fair amount of scenes in Fragile Machines are composed of contemporary dance moves. Could you elaborate on how you approached the film's direction and narrative
DJ: We were in production for two years to create a six-minute film. In part, this was due to the fact we were funding it by ourselves. But it was also because we were learning what the film was as we went. When we began, we thought we’d shoot the whole thing on a weekend but immediately after that first shoot, we knew the film was so much bigger. The entire thing was a process of discovery from the improvisational movement direction down to the loose narrative we arrived at. It certainly wasn’t efficient and in many ways, it was downright stupid and naive—but it also led to some brilliant moments, the kind you can only capture through that sort of raw, unwritable and unarchitected exploration.
NR: Which books would you recommend reading to understand your values better?
DJ: My mother is a professor of education specializing in children’s literature. She has written about and teaches her students the book, “Baby” by Patricia Maclachlan. I’ve always loved this passage:
They read books, Sophie talking and turning the pages and pointing. Byrd’s voice was smooth, like the velvet of her hat.“so much depends upona red wheel barrowglazed with rain waterbeside the white chickens .”“That’s William Carlos Williams,” Byrd said to Sophie. “She doesn’t understand,” I said. “She doesn’t need to understand, dear,” said Byrd. “She likes the way the words sound.”NR: What is next for Derek Johnson?
DJ: I’m not sure, but I’m guessing something along the lines of fame and fortune.
NR: Any film or book recommendations?
DJ: I read, “On Turning Ten” by Bill Collins anytime I’m determined to cry and watch The Anna Nicole Smith Show Christmas Special anytime I’m determined to laugh while crying.
