Art as an Adventure: Inside David Martinez’s Documentary “Hand of the Maker”

The beauty and challenge of documentary filmmaking is not knowing where the story might go. Photographer and Director David Martinez has spent the past several years immersed in a winding story for his documentary Hand of the Maker. The film centers on artist, cultural connector and mezcal pioneer Ron Cooper, whose life has been outlined by curiosity, risk and following his passions. David did not want to approach this film as a conventional biography and has spent time building out a portrait of Ron that moves across countries and themes that allow the viewer to experience the rhythms that have shaped Ron’s life. 

From his early involvement in the Los Angeles art scene of the late 1960s to his decades-long relationships with mezcal producers in Oaxaca, Mexico, Ron has consistently built communities along the way. Now in his eighties, he continues to make new art, build custom cars, and prove that there is no defined path to life, always guided by his philosophy, “art is an adventure”.

Through careful pacing, the film explores the idea that art is not just something that Ron makes, but the way he lives. The documentary is currently in the editing phase, with David continuing to film additional material as the story evolves. We are sharing the teaser with you until the anticipated feature length documentary is finished. 

How did the documentary begin?

I met Ron at Bonneville while I was working on my film, Slowly Going Faster, about land speed racer Alp Sungurtekin. It was a rainy year and racing had been delayed, so we ended up talking in a bar one night. I mentioned that I’d always wanted to make a film about mezcal, and he suggested I take a look at a book he had written.

When I read it, I realized there was an incredible story there. I asked if he had ever considered turning it into a documentary. People had approached him before, but he had never felt comfortable with the idea. Eventually he decided he trusted me to do it, and that’s really how the project began.

How did Ron’s book shape the structure of the film?

The book has been really helpful as a reference. It contains a lot of the historical sequencing of events in his life, especially during the late 1960s and early ’70s when so much was happening at once.

But the film isn’t a direct translation of the book. It’s more observational. I spend time with Ron, talk with him constantly, and follow where his life is taking him now. The book helps me understand the past, but the film is really about capturing the flow of his life and the ideas that continue to drive him.

What makes Ron such a compelling subject?

He’s someone who has followed his instincts his entire life. As a kid he wanted to be a custom car builder and drew these incredible car illustrations. Later he became deeply involved in the art world and mezcal production. Now he’s returned to building cars again.

What’s inspiring is that he’s still moving forward. He’s about to turn 82 and he has ten projects happening at once. He’s making new artwork, building cars, traveling, collaborating. Being around that kind of energy is incredibly motivating.

The project has taken several years to develop. What has that journey looked like?

Part of it is simply the scope of the story. There’s a lot of life here, and a lot of history. But another major shift happened early on when we were working with production companies.

Ron has an incredibly sensitive radar for authenticity. At a certain point he felt that bringing in outside producers might push the film in a direction that didn’t feel true. So he encouraged me to trust my own voice and make the film independently.

That meant stepping into every part of the process myself. I’m directing, shooting, shaping the narrative, and working closely with an editor. It takes longer, but the film is becoming something much more personal and honest.

What has making the film taught you?

At one point Ron watched a new opening sequence I created and said, “You found it. You found your voice.”

That meant a lot coming from him. The biggest lesson has been learning to trust my instincts as a storyteller. This project has forced me to step fully into that role.