"MOONAGE DAYDREAM"-
Intimate Compelling Revealing conversation with
Producer Director Writer
BRETT MORGEN.
Oscar Short List
Sep 24, 2022.
54 Minutes.
Brett Morgen, the producer, director, and writer of Moonage Daydream, discusses how his film is not a traditional biographical music documentary but rather an experiential film that offers a narrative that is not necessarily biographical. He also talks about how his interest in documentary filmmaking was sparked by his class on ethnographic film at Hampshire College, where he was introduced to the history of documentary films, and how he later embraced non-fiction filmmaking. Brett Morgen also shares his experience making his other documentaries, such as The Kid Stays in the Picture and Montage of Heck, and his thoughts on the economics of documentary filmmaking. Finally, Brett Morgen discusses how he had a heart attack and was inspired by David Bowie's approach to life, balance, and mortality during his recovery.
00:00:00 In this section of the interview, Chuck Braverman introduces documentary filmmaker Brett Morgen, who recently directed an IMAX film called Moonage Daydream about the legendary musician David Bowie. Brett shares his experience of watching the film in various environments and expresses his delight at its current showing in the IMAX room of the Chinese Theater. He also comments on how impressed he is with IMAX's support of non-fiction films, which he considers an unusual choice for a global launch.
00:05:00 In this section, Brett Morgen discusses his film "Moonage Daydream," and clarifies that while it is a documentary, it is not a traditional biographical music documentary. Instead, it is an experiential film that offers a narrative but is not limited to biographical storylines. Morgen notes that genre plays an important role in managing audience expectations with art and that the film's position as a psychedelic musical experience requires a different filter than other biographical films. When asked about how much of Bowie was his actual self versus a showman, Morgen believes that an artist cannot divorce themselves from their art, and that Bowie's art was a reflection of him, as he invited the audience to participate in his performances.
00:10:00 In this section, Brett Morgen, producer, director, and writer of MOONAGE DAYDREAM, discusses how he separates the identity of David Jones from David Bowie and how he thinks art inherently reveals truth. He also shares his background, including his love of cinema, growing up in Studio City, and how his severe speech impediment led him to seek refuge in films. Morgen credits his time at the American Film Institute and Jim Hosny, his film criticism, and film theory teacher as transformative, which led him toward the path of becoming a filmmaker.
00:15:00 In this section, Brett Morgen describes how he switched from fiction filmmaking to documentary filmmaking. He recounts his experience in a class on ethnographic film at Hampshire College in which he was introduced to the history of documentary films, including the work of Robert Gardner and Timothy Ash. Morgen discovered that subjective montage could reveal a deeper and more elevated truth, leading him to pursue non-fiction filmmaking. This realization influenced his approach to making Moonage Daydream, creating something that presents an intangible feeling that cannot be received through traditional sources of information.
00:20:00 In this section, Brett Morgen discusses how he came to embrace non-fiction filmmaking and how it was supported by Barbara Koppel and Chris Choi at NYU. He also reveals his interest in exploring the aesthetics of non-fiction and using the medium to bring subjects to life or to expose certain truths about them. Morgen shares that he met Nanette Bernstein at NYU and the two dated for three years. During that time, he was developing a non-fiction adaptation of Friday Night Lights, which he intended to be his thesis film, and Nanette started boxing at the Bed-Sty Boxing Center.
00:25:00 In this section, Brett Morgen, the producer, director, and writer of MOONAGE DAYDREAM discusses his early career and the making of the documentary called "On the Ropes" which he created with his then-girlfriend, Nanette Burstein. The pair had previously considered making a movie together on the topic of basketball but decided against it, thinking that it was too close to the 1994 film, "Hoop Dreams." They decided instead to make a documentary about three aspiring boxers in Brooklyn. The filmmakers approached the project with a strong commitment to sound design, recognizing that non-fiction films could benefit from the same techniques used in fictional films. Through living with the subject matter and forming meaningful relationships with the characters, the film became a success and helped uplift one character in particular, Noel Santiago, who left the projects in Brooklyn and achieved success in mortgages, training, and acting while supporting a loving family of his own.
00:30:00 In this section of the transcript, Brett Morgen discusses the economics of his film Moonage Daydream and mentions that he did not make any money from it. He also talks about how the film The Kid Stays in the Picture, his follow-up film, was a success and still generates revenue, but he has not received any royalties from it. Morgen then shares about how he got involved in making a film about Bob Evans, and how that project almost fell through due to legal complications.
00:35:00 In this section, Brett Morgen discusses the making of his film, "The Kid Stays in the Picture," and his approach to the subject, Robert Evans. Morgen talks about the dialogue within the documentary community regarding objectivity and subjectivity and how his film addresses these issues through the use of one person's voice to create an entire film. He notes the success of the film at its opening and its later acquisition by HBO.
00:40:00 In this section, Brett Morgen, producer, director, and writer of Moonage Daydream discusses how he did not receive any profits from the sale of the DVD rights to Warner Brothers, despite being a part-owner of the film. He mentions that he and the other owners were naive and happy to enter the DGA. Morgen also touches on the making of his film, Montage of Heck, a documentary about the musician Kurt Cobain. Recording Love approached him in 2007 with the treasure chest of artwork from Cobain, which most people did not know about. The film's structure was inspired by Bob Fosse's Lenny, using interviews to give the context and keeping it very intimate with only a few people. Morgen discusses not including Dave Grohl in the film as he wanted to resist the temptation to take it away from its primal and intimate nature.
00:45:00 In this section, Brett Morgen, the producer, director, and writer of Moonage Daydream discusses how he crafted the interviews to feel like the subjects were pouring their hearts out for hours. He achieved this by introducing the idea of going from day to night throughout the interviews, which is difficult unless the film is already edited. He also talks about incorporating proper lighting for each interview and how it works to match the film's ending where everyone is in the shadows. Additionally, Brett discusses his recent heart attack that happened when he was making his previous film and how he did not want to promote this film due to health issues. However, he agreed to do press for the film and talked about his heart attack because it was relevant to the movie.
00:50:00 In this section, Brett Morgen discusses how he had a heart attack and woke up from a coma, immediately feeling the need to be on set for an important Marvel pilot. After realizing his work had consumed his entire life and left him without balance, he started listening to David Bowie's music and was struck by the artist's approach to life, balance, and mortality. Morgen believes Bowie's life provided a road map for leading a fulfilling life, and he wanted to leave behind that message for his children. The fact that Bowie's themes dealt directly with aging and mortality resonated with Morgen during his recovery.
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