Brett Morgen went through a lot to make “Moonage Daydream.” It takes certain amount of obsession to capture on film the essence of the life of David Bowie, the shapeshifting music visionary, artist…
, the shapeshifting music visionary, artist and actor. For Morgen, known for his work exploring another singular artist with “Kurt Cobain: Montage of Heck,” as well as “The Kid Stays in the Picture” and “Jane,” crafting the first authorized Bowie documentary was a nearly seven-year process. Until it was time to create the encompassing sound mix with help from Bowie collaborator Tony Visconti, he worked mostly alone, weathering both the pandemic and a serious heart attack.
The man who became his executor called afterwards and said, you know, “David enjoyed the pitch but he’s not at a place where he can do this right now.”Around 2015 I had done the two music films — “Crossfire Hurricane” and “Montage of Heck,” and I sort of arrived at a point that I wanted to explore other areas – non-biographical non-fiction.
And very quickly it was revealed that I don’t know how to write an experience. I didn’t have a biographical narrative to lock onto. It seemed that David was providing me with a road map or a guide, a blueprint for how to lead a balanced and fulfilled life in an age of chaos and fragmentation. So while I had set out to make a theme park ride, I ended up seeing an opportunity for something more life-affirming.Bowie was a culture vulture. He was my cultural passport to the world, my introduction to William Burroughs.
And I had no editor, there was no staff. And then the pandemic hit, and there was nobody in the building. So, other than my my wife, Debra Eisenstadt, who’s an incredible filmmaker who I could come home at night and throw ideas around to, I was completely isolated.Through circumstances, some financial, some health-related because of the pandemic and because with my heart condition I can’t be around other people, it all worked. In a way I had to discover this on my own.
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