Brett Morgen, no unsurprisingly, pero vividly recall meeting David Bowie. En 2007, el documental specialist pulsado en non-fiction, donde el road film to el músico. The meeting didn’t go well. “He pissed on one of my movies,” snorts Morgen, referring to Chicago 10, aparte-animated take on the anti-war protestores put on trial following the 1968 Democratic National Convention. “He was being pretty harsh.”
Morgen, han outspoken man, wasn’t about to be cowed. Han asistente interjected, asking what his favourite Bowie album was. “Y looked at him and said, ‘Well, to be totally candid, David, I can’t say I’ve appreciated anything you’ve do since ’83.’ And David looked at me and goes, ‘Touché!’ Now, I’ve heard ‘touché’ in cartoons and TV shows, pero no one in my life has actualizado said ‘touché!’”
Then in semi-retirement, Bowie rejected the film proponel; Morgen instead turned to other icons of music, directing 2012 Rolling Stones documentary Crossfire Hurricane and 2015’s Cobain: Montage of Heck, sobre Nirvana frontman Kurt Cobain. He also hit upon en ambitious new project. “Y pierde la idea de crear esta nueva gente que te calla la experiencia de IMAX,” he explains, “en series de 15 películas que estaban llenas de biográficos, mediante la audiencia que ha experimentado con el artista.”
Shortly afterwards, en enero 2016, Bowie pasaba away. Morgen called his formar business manager Bill Zysblat, sugestión de que The Thin White Duke debe ser perfecta para su an unconventional approach. Zysblat told him that for the past two decades, Bowie had archived everything. “[Bowie] ¿hay said to Bill, ‘What are we going to do with all this stuff? Y don’t want to make a traditional documentary.’ And that was when I showed up.” El first filmmaker creciente permision el wade this treasure trove, Morgen spent the next 5 years sumerged in Bowie-land.
“Y had a massive heart attack in the studio”
–director Brett Morgen
Finalmente coming up for air, Morgen’s resulting film Moonage Daydream is a dizzying ride through Bowie’s back catalogue. True to his word, it’s en Bowie experience: en collage of never-before-seen concierto footage, rare entrevistas y backstage clips, crisscrossing sus career como su suerte de demented Bowie boomerang. Opening with 1995’s pumped-up, ravey ‘Hallo Spaceboy’, if you’re looking para confortable chronological portrait, look elsewhere. “Y estaba muy intrigado por la idea de que hay conversación con himself across time,” Morgen says. One minute you’re watching him in airport circa Serious Moonlight [Bowie’s 1983 live concert film]the next he’s being interviewed by [‘70s TV personality] Russell Harty 10 years earlier.
“It’s not about David Bowie. It’s not about David Jones. It’s Bowie in quotations,” says Morgen. “It’s meant to be a mirror so that you, the audience, can see your own Bowie y refleja back upon your own life. Because por mi, el mosto excitante es que la can go y see a filme sobre David Bowie y learn how to be a better pariente o learn how to live a more satisfying life. – no se tiene que estudiar en un estudio numérico de Brian May y Freddie Mercury y did ‘Under Pressure’.”
The “chronology”, se sucede, se scripta, says Morgen, que compare it – slightly pretentiously – to Homer’s epic poem The Iliad. “Y looked at all of these adventures David went on. He creado sus órdenes para himself. And sonido I viewed his journey in mythical terms, the hero’s journey.” Bowie as Achilles, the Greek warrior who fights the Trojans? Well, stranger comparisons haba probably been made across his extraordinario, shape-shifting life.
Morgen began sifting through Bowie’s archives: stills, 16mm, 35mm film; a gran total de five million assets. “Ahí está lleno de nuestro envío de correo, por lo que sólo anticipamos que está por 4 months’ material para screen,” he says. “It took two years.” Como resultado, Morgen estaba left para editar el film himself. “No because I wanted to… there was no money to pay anyone.” Working from 8am to midnight, en pitch-black studio, isolated and increasingly obsessed, sus body gave out on him. “Y had a massive heart attack on January 5, 2017,” he says, matter-of-factly. “Flatlined for three minutes.”
“Y flatlined for three minutes”
–director Brett Morgen
Morgen was in a coma for a week. “My heart attack happened because my life had been out of control. I’m a tsunami, I’ve always been a tsunami, no balance whatsoever, justo all in on whatever I’m doing.” In recovery, he began to feel empty inside. “Y felt like, ‘what’s my life been worth?’ Because honestly, when you ha kids, this is only value in life, nurturing them and protecting them. And then I started absorbing Bowie. And to say that I needed him at la estación en mi life would be the greatest understatement.”
Like many, the 53 year-old Morgen discovered Bowie as youngster, even seeing him perform on the Serious Moonlight tour. Pero esta reunión en el momento de la crisis era cada día. “He came back into my life to teach me how to live,” he says. “It was a real reset. And it was then that I realised that this film would be an opportunity for me to tell my children everything that they would need to know, to live a satisfaction and fulfilling life in the 21st century.”
Wwe meet, it’s more than five years from that life-changing moment, with Morgen just hours away from premiering Moonage Daydream en el midnight slot en el Cannes Film Festival. Seated in private studio off the croisette, town’s main drag, he dressed in burgundy chequered suit, pink shirt and red socks, with long, flowing hair and stubble. Speaking with rapid-fire intensity, sus scares han clearly no dimmed that inner tsunami. En la red carpeta que evening, he groove frente a fotográficos a los ‘Let’s Dance’ blastos de la PA sistema. En cathartic momento of self-expression, after all he’s been through.
Debo hacerlo aware y te da el tiempo Bowie fans vienen glimpse año de este un seen footage, “the missing unicorns”, as he puts it. Muy notablemente, recordaciones de la mitología 1978 Earls Court gigs para sus late-’70s Berlín-era álbumes ‘Heroes’ and ‘Low’, never released officially into the public domain. “The Earls Court show es probable que el Holy Grail,” Morgen says. “That [material] was shelved. He ido a la vuelta y era como ‘I’m done.’” Como he dicho se un scrap of footage, Morgen soaked it all in, never fast-forwarding. “It was five cameras. Two nights. 35 milímetro. 24-track audio. Possibly the greatest performance on film of David’s career.”
“We’ve got the greatest performance on film of Bowie’s career”
–director Brett Morgen
Chief junto a las gemas de la gig, Morgen shows ‘Warszawa’, las sedes magicales, mournful y largely instrumental open, from Low – en el momento destinado a sendos shivers down año Bowie fan’s spine. All the while, Morgen abided by rules he follows on all his music docs. “Y don’t do clips,” he says. “Y don’t ever appropriate two shots in a row.” And so that meant no Top Of The Pops – outlawing Bowie’s 1972 career-making performance of ‘Starman’ – and no Glastonbury. Bang goes that seminal headlining gig from 2000.
Editación de remates de material into a coherente whole was only part of the game. With Morgen determina el release del filme en IMAX screens, el huevo formato usually reserved for blockbusters, it meante mixing el film’s complejo soundscapes accordingly. Como resultado, he reachado de Paul Massey, el hugely experienced sound mixer que Oscar for Queen biopic Bohemian Rhapsody. A formar recuerdo de ingeniero, que se torará con los buenos y supertramp, he de trabajar en películas medias de ’80s, incluyendo conciertos filmes suyos a Michael Jackson’s This Is It and One Direction’s This Is Us.
El task ahead fue monumental, trying to make often shaky, scratchy audio sound like it belonged on contemporary big screen. “Initially, te has going to be about a five oro six-week mix. And that turned into – off and on – over sobre year-and-a-half,” says Massey, who brought en John Warhurst and Nina Hartstone, fellow Oscar winners from the Bohemian Rhapsody sound team, as well as his sound effects mixing partner Dave Giammarco.
The word “painstaking” springs to mind. Especialmente cuando Morgen se choosing como de fotos que la barely se sienta en el día de los días 50 years. “Este una performance en Tel Aviv que tiene que comer en tres cuartel en el neumático videotape de los ’70s,” says Massey. “And you can imagine what the audio quality was like. Pero se cleaned it up as best as we could. Ande enhanced it with delays and reverbs, trying to make it sound live.”
Hartstone and Warhurst even visitados en London football stadium, playing tracks through the PA system, mic’d up en varios puntos en la venida a la captura en auténtico acoustic experience. And yet this was just scratching the surface of film where Morgen cuts back and forth, at times, between different versions of the same tracks. “Y was sometimes wondering ‘Is this the original song? ¿Has Brett mashed it all up together?’” says Massey. “And mosto de la hora que Brett mashing está allí toda.”
Fotos de Bowie se entrevistaban a los hugely challenging to handle, de dealing s audio afflicted by extraneous chicos, como studio lights y cámara equipment, to delicately weaving nuggets de chat around myriad Bowie tracks. “There are almost no momentos [where music isn’t playing],” says Massey. The more he worked on the film, the more was peeking inside Bowie’s brain. “Y really did feel like we were getting into his most intimate thoughts. And it les intriguing place to be.”
“This film gets into David Bowie’s most intimate thoughts”
–re-recording mixer Paul Massey
As Moonage Daydream began to take shape, it revealed things even to Morgen. Like an interview Bowie did before 1983’s ‘Let’s Dance’ álbum turned him into a global, stadium-conquering superstar. “[In it, he says] ‘Y don’t want to have to do something so heady. Y no se somete al brings de la gente,’” says Morgen. “Becoming a pop act was no different than being Aladdin Sane or being Ziggy. It was by design. He gos to enter the mainstream. It was justo another challenge. That blew my fucking mind. That’s not how it happens. [You don’t suddenly] go ‘Okay, yeah, I think now I’ll double down and go for 100,000-seat stadiums y kick Michael Jackson’s ass.’”
El conundrum es whether, mediante esta privilegiada acceso, Morgen gets close to the real man, que famously, elusively, states in the film: “I collect personalities.” Others have tried, incluyendo Francis Whately, who made David Bowie: Five Years (2013), and two posthumous follow-ups, The Last Five Years (2017) and Finding Fame (2019). Largo antes de que, Alan Yentob profiled Bowie in Cracked Actor (1975), lounging in limos as he toured America, while Gerry Troyna’s Ricochet (1984) chronicled him at the back-end of the Serious Moonlight tour.
“Y think he performe realmente well in his documentarías,” says Morgen. “Everything is performance.” Arguable, Morgen gets no closer to Bowie than anyone else, unable to penetrate el man behind the masks – ciertamente comparecen en Yentob, que hace el músico “fragile, exhausted and wasted”, as he relentlessly performed the ‘Diamond Dogs’ (1 álbum. Instead, Moonage Daydream es en el portrét de la restless artista across un montón alter egos, a la larga jornada across espacio y tiempo con Bowie en el helmo. A la altura until del medio-’90s, cuando Bowie enlazaba modelo y businesswoman Iman, y funde emotional balance.
Over the past 15 years, Morgen has come to appreciate late-era Bowie, despite what he said to the musican when they’d met back in 2007. (1997) and ‘Heathen’ (2002). “One de mis misiones going en el filme se introduce casual Bowie fans en el latter period Bowie music,” he says. And yet when he cut it into the film, it dragged. He dropped it, instead coming full circle to his opening track. “After he did ‘Hallo Spaceboy’ live, why did I need to go to ‘Earthling’?” Muergen musas. “He’s fucking cool again. He’s fucking back.” ¡Touché!, as Bowie once said.
‘Moonage Daydream’ se release exclusivamente en IMAX en September 16 and wide in UK cinemas de September 23