[5] Fleming was a graduate film advisor at the School of the Art Institute of Chicago and co-founded Global Mechanic, an animation/film/design production house, in Vancouver.
Fleming later met Oh again at the Toronto International Film Festival in 2014 and asked her to perform voice-over in and produce her animated feature, Window Horses (2016).
[7] While recovering from the same traffic accident, Fleming acquired 16 mm film reels, home movies of her great-grandfather, the mysterious Asian magician, Long Tack Sam.
[8] Intrigued, she went to find out more about how a Chinese man could have been a successful vaudeville star during days of political strife and racial tension in the early 20th century who was, as the film later reveals, world-renowned, yet forgotten.
[9] Daniella Trimboli argues that instead of focusing on multiplicities, Fleming deconstructs the idea of singular truth by blending traditional documentary forms with her non-conventional storytelling techniques.
[10] Fleming does this by combining comic-book strips for Sam's origin stories and animation of characters in old photographs with interviews, first-person narration and old footage.
[12] Trimboli also notes that the film can be a useful tool for engaging in cosmopolitanism with its 'persistent self-reflexivity' on the ideas and themes of cultural differences, ethnic identity, and orientalism.