I’m It does happen when one gets older, and of course, the philosophy ties in with the 70s music; it would be pretty difficult to use it for say Let’s Dance and Tonight for example. A criticism which has come up is the exclusion of The Next Day, and the brief mention of Blackstar. It’s understandable in the context of the film, since it is dominated by Bowie’s narration. Bowie did zero interviews for those two albums. Tony Visconti was his spokesman during this period.
Well, he did do music videos... the two Floria Sigismondi videos for The Next Day are so particular and specific to those pieces. The other ones, even more so...
Right, my point was they were specifically meant to stand alone as films for those songs. I don't think their inclusion would have been appropriate in MD
I wonder if there are any home movies in the archive? DB playing dad to Duncan in Switzerland, that type of thing? Photos, at least? They would have helped show the compartmentalization in his life, especially later on during the Iman years: David Bowie vs. David Jones. People also tend to overlook the Swiss years, because maybe Berlin is sexier? Maybe Brett got so lost in this project that he ended up thinking he was Bowie, or Bowie's producer - and that's why we have all these mash-ups, fakery, odd editorial decisions. He really needed someone to bring him back to Earth, so to speak.
There are certainly home movies from his later years. Lexi recently shared a couple of home videos recently. One was of her playing a saxophone and being applauded by her father off camera. The other was of her and her father singing Over the Rainbow - with over exaggerated Judy Garland vocals and all!
I love the fact that when db went back to MS after doing Sue because he wanted to do a whole record, she told him she was too busy on her own work but he could ask Donny M and his quartet.
I definitely read an interview from late on where he talks about going to the cinema recently and staying on between screenings like they did as kids. I know the cinema.
Understatement of the day, just installed it and it hijacked my screen without a donation >> immediate uninstall.
Sorry. I've not used it since I installed it and tried a couple of recommendations. Like Luke Rhinehart, my life was quickly ruined. I found myself in an Iranian prison, accused of stealing a unicorn. They pumped Egypt Station, 24/7 into my 6 x 4 cell, until I confessed.
Lordy! I used to have a set of the OG card set, but an unscrupulous recording engineer relieved me of it. I'll not be getting the app, which is too bad since replacing the cards is prohibitively expensive.
Well, I finally saw this last night after what felt like an eternity.....and eh, I find myself in the rather unusual position of having enjoyed (most of) it and agreeing with pretty much every piece of criticism I've read here. As a Bowie fanatic I was delighted to see my hero up there on the big screen at ear shattering volume...... but to be honest, I cant help but feel that any Bowie fan with the same access to the vaults, and the time and money Brett Morgan had at his disposal could have easily made a better film. Count me in with those absolutely mystified by the seemingly endless "Ricochet" footage too. Brett Morgan must have had access to just about every second of Bowie footage in existence (known or otherwise) and we get...."Ricochet", and loads of Ziggy at Hammersmith (one of my favourite live albums of all time, but this is readily available, we know how good it is Brett). I may be on my own here too but one thing about the Earls Court footage. Yes its amazing to see Bowie in crystal clear quality at arguably his creative peak in his home town an all....but I found the filming style a little amateurish, it was like someone just following him around the stage with a (very expensive) handheld camera, I wouldn't say no to seeing the whole thing, but I can see why Bowie wasn't happy with it tbh. The movie seemed to focus on Bowie as artist (as opposed to the art itself at times) and yet we get nothing on him bowing out with an album written about his own death.....I mean that was pretty remarkable thing for an artist to do no?...apparently not Anyway, the positives.....its 2 hrs of Bowie, for all my complaining above I'm still glad I went, it really hit home how much I missed the man, at times it felt like he was still here....I think any Bowie fan should go see it while they can on the big screen but take it for it is, a very messy, meandering film.....but if you love Bowie, it's a no brainer imo, there's enough to enjoy to overlook some of the more questionable stuff.
Finally getting a chance to see this Tuesday afternoon, before it disappears from the theater! Pretty sure I’ll have the room to myself, which should add a little something special to the occasion.
just saw it...it was dreadful, complete waste of time Spoiler: in case you really need to know a few irritating things : 1. video quality is mostly terrible, I can't believe that was done to start with and shown in IMAX theatres ! 1983 footage is awful, so is 1987 footage, Ashes to Ashes is horrid, Loreley is terrible (better on YT) what is the f....... point in showing this if it looks like shyt ? 2. regarding what is on the screen : 10% is Hammersmith, 10% is Ricochet, 15% is Man who fell to E., 10% is The Hunger, etc...what is the point ? Brett didn't you have access to this huge Bowie vault and that's all you can come up with ? 3. the movie is basically centered around 1973 to 1995 ? please don't tell us why... 4. am I supposed to understand Bowie met Iman and stopped making music ? is it good or bad ? is Iman the new Yoko Ono ? 5. the movie is constantly chopped up with stock footage of whatever (from Lang to Tor Johnson) and the audio is bombarded with idiotic sound effects non stop (shot guns, airplane...) . idiotic and unbearable. 6. they are up to 4 layers of audio in one sequence, particularly irritating for live footage. Bowie's music is tweaked and manipulated. NOT COOL 7. Nietzsche killed God, Bowie was God for small Brett, Bowie sold out with Pepsi, Brett had to kill God/Bowie........it is that bad 8. it's not about Bowie (the man, the music, the painter, whatever...) it's about Brett's take on Bowie, and franckly I don't care ! etc... etc... sorry, I don't enjoy sounding negative ! looking forward to the Hunky Dory box Peace the good parts : Earls Court 78 : footage is breathtaking, sound is huge, can't wait to have it all on Blu-ray I'll be fair, there were a bunch of kids at the theatre (16-20) and they loved it, they'll probably be the next DB fans and that's cool Anyway, you have to bring something to the table and create to possibly sell out later in your career (the big point of the movie) Brett, I'm confident you'll never sell out but not because you're so pure
I liked it more than you, however, there was a photo of Pier Paolo Pasolini, Italian film director, in the collage at the end. Never once did I hear Bowie ever mention him. He did mention Rainer Werner Fassbinder, and there is a clip from one of his films, Germany In Autumn, but it so random and meaningless, that I understand your criticisms. And yes, the Ricochet footage is just plain irritating after a while. What happened to all the rare footage found in the vault? It remained in the vault!
re-Russel Harty segment " they're shoe shoes, Silly " indeed ! best part of the movie with Earl's Court footage
in the movie, the Jean Genie segment is split in 2 1st segment is perfectly fine and authentic to me 2nd segment is problematic because some audio tricks and possibly sound effects are used (?) : for sure the sound is suddenly turned up dramatically into distorsion and doesn't sound anymore like what we were used to... is it fake, is it still genuine ? I wouldn't know... they are other parts in the movie where Bowie's music is tweaked and manipulated into a travesty...it's really uncool and disrespectful... on a side note, there is quite a bit of new Low material heard (rehearsal or first pass) and it sounds super cool and genuine, but once again, who knows ?
