If Colombian sculptor/painter Fernando Botero is not the world’s most recognizable artist, I don’t know who is. His work is displayed throughout the world, including in Seattle, where rich guy Martin Selig bought Botero’s Adam and Eve statues for display, though given an unceremonious divorce (Adam is at 4th and Lenora, across from Cinerama; I don’t know where Eve is). Another version of Adam and Eve is on display at the Time Warner Center in New York, where shoppers have been known to polish his anatomy to the point where it becomes discolored.
Botero is the subject of loving documentary called, appropriately enough, called Botero, and it plays at the Seattle International Film Festival this weekend and next. Director Don Millar is a fan of Botero’s work, and it shows through this film that includes interviews with Botero himself, as well as his family. It’s a beautiful, and moving film about this popular (and populist) artist.
I asked Don Millar a few questions by e-mail about making this film and he was kind enough to answer them.
What was it about Fernando Botero’s art that drew you in and made you want to make a film about him?
The universal appeal the work has around the world. I attended Botero’s opening in Beijing and was struck by two things. First, I was surprised by his popularity and appeal in a culture so different from his own. Secondly, I found Botero himself intriguing as he found his way through all of the chaos surrounding his visit in a way that was calm, enigmatic and vaguely amused. The combination of these factors made a lightbulb go off in my head about what great potential this had.
Do you remember when you first encountered Botero’s art? Can you talk about that a little bit?
The art is so ubiquitous I can’t particularly remember the first time I saw it. The first time I remember feeling moved by the art was on the Mall in Washington DC during the tour of his monumental sculptures. It was a soft Spring evening and my parents were visiting and we enjoyed the show together. The pieces were massive and gentle at the same time.
How long did it take you make this film? I saw that you had a lot of access to Botero and his family. Were they supportive of your film from the beginning? Was it difficult to get their cooperation?
The film took 19 months for production and post-production. I spoke with Lina Botero and she was essential in getting the artist to agree; he is a private person who likes to be left alone to paint, so she really had to make an extraordinary effort. At the end, Botero was very agreeable and happy with the film.
Can you talk about what you learned about Botero from making this documentary?
The big takeaway for me is quite personal. Seeing his enthusiasm for learning and discovering after all these years. As an artist myself, seeing that his excitement is as vibrant as it ever has been is very touching.
Do you have a favorite Botero work?
There are a couple of the early paintings that I really enjoy. The vibrant colors and the sense of someone searching and reaching for a style is very clear.
What is going on with this film after it plays at SIFF?
The day after I leave Seattle I travel to a festival in Barcelona for our European premiere. It’s a rough life! We have a global sales agency working hard for us, so I am excited to see what they come up with for distribution.
You made a handful of short documentaries, before this feature-length film. Is there anywhere people can see them? Or how can they keep up with your work?
The best way is @donemillar on Instagram.
Anything else you want people to know about your film?
Please go see it. I think you will be moved, touched and inspired.
BOTERO plays at the Seattle International Film Festival on Saturday, May 18 at Lincoln Square Cinemas (Bellevue) at 1:00 PM; on Friday, May 24 at AMC Pacific Place at 6:30 PM; and on Saturday, May 25, at SIFF Cinema Uptown at noon.
Keep track of the SunBreak’s ongoing SIFF coverage on our SIFF 2019 page, plus news, updates, and micro-reviews on Twitter @theSunBreak.