But after recovering from a heart attack and a coma, Morgen says Bowie’s work inspired him to make a film worthy of the musician.
Instead, the writer-director of such acclaimed documentaries as “Kurt Cobain: Montage of Heck” and “Jane,” portrait of primatologist Jane Goodall says he didn’t truly appreciate Bowie until after the performer’s death when Morgen, who was 47 and already at work on the“I was in a coma for awhile, and it was as I came out of that, trying to put my life back together, I started listening and encountering Bowie,” he says. “I knew he was wildly creative, and I expected to discover and see that.
“I found absolute inspiration in Bowie’s music, as I always have,” Morgen says. “But really, it’s interesting, because you started asking me what role he played for me when I discovered him at 12 or 13.Absolute BeginnersWhen Bowie died in January 2016, Morgen had recently started work on a series of IMAX music experience projects – “Kind of curated experiences around some of our favorite artists,” he says – and immediately thought of Bowie.
“In the past, on ‘Jane,’ it was probably a three-week undertaking to screen through everything,” he says. “On the Stones , it was two months to screen everything from ’63 to ’81. “I was going and selling to my financiers something that I had no idea how to do,” Morgen says. “It’s like selling a rocket ship to get to Mars to an investor having no idea how to build the rocket ship. You just want to go to Mars.
“I recall him talking about writing a lot of ‘Aladdin Sane’ on a train going to the Southwest, and he shot ‘The Man Who Fell to Earth’ in Albuquerque,” Morgen says. “Three hours later, as the sun was setting, I sat in my compartment, listening to the playlist, and that was this script.”“Moonage Daydream” is ideally seen on the biggest screen with the loudest speakers. Morgen says he thinks this is one of the first films whose original format was 12.0 audio, designed for IMAX theaters and Atmos audio systems.
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