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Old 04-15-2022, 02:13 AM   #1
acroyear2 acroyear2 is offline
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Default Moonage Daydream (David Bowie film)

Very exciting news for Bowie fans!



As quoted from Pitchfork article:
Quote:
Moonage Daydream, a new historical film about David Bowie, will premiere at Cannes Film Festival next month, reports Variety. The movie is officially sanctioned by Bowie’s estate and features previously unreleased 35mm and 16mm footage from his personal archives. Moonage Daydream is directed, written, and produced by Brett Morgen (best known for Kurt Cobain: Montage of Heck), and will make its streaming premiere on HBO and HBO Max in spring 2023. According to U.S. distributor Neon, the film is five years in the making.

Variety first reported the news of Moonage Daydream last November. At the time, a source told the publication that the film is “neither documentary nor biography, but an immersive cinematic experience built, in part, upon thousands of hours of never before seen material,” including concert footage. It was also reported that Tony Visconti, Bowie’s longtime producer, served as the film’s music producer.
I do hope it gets a theatrical run, no matter how limited. To see and hear Bowie on the big screen, plus possible unseen concert performances, would be a real treat for the fans!
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Old 04-15-2022, 06:23 AM   #2
Synchg Synchg is offline
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can these musical biography documentaries ever make an effort to come up with a decent title for their movies or do they just rely on a song title from the musician they are covering. so tacky
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Old 04-15-2022, 12:17 PM   #3
acroyear2 acroyear2 is offline
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Quote:
Originally Posted by Synchg View Post
can these musical biography documentaries ever make an effort to come up with a decent title for their movies or do they just rely on a song title from the musician they are covering. so tacky
I don't think its "tacky", more like "uninspired" or "lazy". Hasn't the title Moonage Daydream been used already for a Bowie Best-of album or such?

It doesn't, however, take away my interest in the film.
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Old 05-23-2022, 03:40 PM   #4
Heinz-Klett Heinz-Klett is offline
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Five years in the making and featuring never-before-seen footage, experience it in theaters and IMAX this [September].
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Old 09-13-2022, 08:59 AM   #5
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NEON seriously needs to rethink letting Decal dump this onto Blu in November and let Criterion do it next year because holy s * * t, is this one of the most intense documentary experiences I've had in my life. Appropriately informative and vague in equal helpings, it's almost the Malick-ification of the life of David Bowie told entirely in archaical interviews of Bowie's that reflect and theorize on the nature of celebrity, humanity, sexual identity, art and what it all leads to; the editing and sound mix add a level of borderline religious reverence for the whole film, which must be experienced in the biggest IMAX possible.
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Old 09-13-2022, 12:54 PM   #6
BudBaxter BudBaxter is offline
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Originally Posted by BluCollector13 View Post
NEON seriously needs to rethink letting Decal dump this onto Blu in November and let Criterion do it next year because holy s * * t, is this one of the most intense documentary experiences I've had in my life. Appropriately informative and vague in equal helpings, it's almost the Malick-ification of the life of David Bowie told entirely in archaical interviews of Bowie's that reflect and theorize on the nature of celebrity, humanity, sexual identity, art and what it all leads to; the editing and sound mix add a level of borderline religious reverence for the whole film, which must be experienced in the biggest IMAX possible.
What does it matter who releases it on blu? Criterion aren't exactly the height of perfection they once were...
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Old 09-13-2022, 01:46 PM   #7
The Debts The Debts is offline
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Wish this came to my area, big Bowie nut. Hopefully the wait for VOD won't be long because I'll happily shell out some cash for this one.
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Old 09-13-2022, 06:46 PM   #8
captveg captveg is offline
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Will be seeing this Thursday night. Quite excited about it.
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Old 09-13-2022, 08:17 PM   #9
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I guess I'm in the minority as I couldn't get into this film. I am a Bowie fan but I just got tired of the jumpy nature of footage and quotes here and there. Most of the songs presented are live, alternate and remix versions so that took a bit to get used to. A lot of the material are, because of their origins are not up to todays standards and just look awful on IMAX. Like the videos for Ashes to Ashes, appears very smeary and pixelated. I'll probably see it again on a smaller screen as I think it'll look better. I don't see much justification for an IMAX presentation. This is an art film to swim and experience and not a standard doc.
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Old 09-16-2022, 05:12 AM   #10
captveg captveg is offline
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Filmmaker Brett Morgen tries every montage trick in the manual here, and is inconsistently effective in evoking the ethereal philosophy of Bowie through his famous creative periods. Sometimes it is quite good - the opening sequence is a real eye-and-ear-grabber, and I felt the Berlin period was depicted really well. Yet, at other times it comes across really forced, especially when it leans on famous cinematic shots/moments that have no real connection to Bowie specifically. There's also a sequence of Bowie on escalators that is used wholly twice over, as though there simply wasn't enough material on hand to use. Ultimately compelling because of the iconic artist at the center of it all, but the film itself gets in the way too often.

6/10
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Old 09-16-2022, 08:11 AM   #11
Benoit Blanc Benoit Blanc is offline
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I'll be seeing it in about 6 hours.
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Old 09-16-2022, 08:14 AM   #12
Benoit Blanc Benoit Blanc is offline
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Critics and audiences on Rotten Tomatoes are in alignment on this; 90 and 91, respectively.
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Old 09-17-2022, 03:44 AM   #13
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Five stars

I first heard the music of David Bowie back in 1983, when I was 11 years old and in fifth grade.

Back then, I was often teased by others at school because of my strabismus, a misalignment of the eyes that results in my right eye constantly staring off to the side (lazy eye) while I use my left eye to see. Even now as an adult, I routinely cross paths with people who overtly try to avoid eye contact with me because they are not comfortable seeing my right eye, I am occasionally approached by total strangers who impolitely ask what is wrong with my eyes, and I encounter people on a near-daily basis who simply stare at me with amused “WTF?” expressions when I am trying to have normal discussions with them.

When my 11 year-old self first saw the music video for David Bowie's “Let's Dance”, I noticed that his eyes did not match. I would later discover that he had a permanently dilated left eye, often giving the false impression that his eyes were different colors. I instantly felt a kinship to him, because I was encouraged by the fact that someone with a similar issue of mismatched eyes could be a cool music star. By that time, I was already enjoying his music on the radio, by way of “Let's Dance”, “China Girl”, and “Modern Love”, but my newfound relatability to his eye condition kicked off a lifelong fascination with the entirety of his career. I would come to recognize that Bowie had always been an outsider of sorts. Since I have felt like an outsider all my life, his songs and his overall mystique appealed to me all the more. Up until that point, I had always felt ashamed because I did not fit in with everyone else. David Bowie, however, helped me to realize that, like him, I was never meant to fit in. My love for his songs and his overall aura was the first step to my becoming comfortable in my own skin and to my being at peace with my circumstances.

As I grew older, I delved into Bowie's music more and more. His earlier albums were not readily available in most music stores back in the late 1980s, but I treasured everything that I could find, and I was fascinated with all of the different guises that the artist employed from one album to the next. During the spring of 1990, when I was a senior in high school, Bowie played here in Atlanta for his Sound + Vision Tour, a greatest hits tour in support of a career-spanning box set. I could not talk any friends into attending the show with me, because most of them were uncomfortable with Bowie's media reputation regarding his sexuality. I stubbornly bought one ticket for myself, drove to Atlanta alone, and enjoyed one of the most incredible experiences of my entire life. A highlight of that night was when Bowie played “Heroes”, a song about lovers on opposite sides of the Berlin Wall. All of us in the audience could all see the smiling spark in his eyes in light of the fact that the Wall had come down just weeks before. I will always treasure that specific memory of Bowie and equate it with the whole of his aesthetic, of how, through his music, however piercing and cynical, he constantly reminded us that, even during the toughest times, we were not alone and that everything would somehow be okay.

The 2022 feature film, Moonage Daydream, written, directed, produced and edited by Brett Morgen as the first movie to be sanctioned by the late Bowie's estate, is touted as a documentary, but it is better described as a sensory odyssey. Random interview footage, concert performances, photos, and artwork from Bowie's archives interweave with clips from classic science fiction movies through the 140-minute run time, with the end result coming across as a cinematic work that was created by visitors from outer space who only have a rudimentary sense of how humans perceive narration. This journey places full focus on the man himself, eschewing the normal music documentary trappings of voiceovers from loved ones, bandmates, or others close to him. When viewed on a big IMAX screen, the collage of “sound and vision” is splendidly immersive and kaleidoscopic.

Moonage Daydream, taken from the title of a track on Bowie's 1972 album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, does not delve extensively into the artist's personal life. In fact, it makes no in-depth attempt whatsoever to explain Bowie or to shed light on his real life persona behind the shape-shifting chameleon-like guises that he showcased during performances. Since Bowie always inherently defied easy categorization, this approach to his career is a towering strength rather than a shallow weakness. In the end, the overall essence of his legacy is depicted simply as a shooting star, one with which we are all fortunate to have witnessed during our own timelines.

This movie does not pick favorites with regard to any particular era of Bowie's career, although appropriate time is devoted to concert footage from the Ziggy years, to splices of life from the Berlin era, when the songs really did sound as though they came from another planet, and to the early 1980s, when Bowie, who had always been ahead of his time, brushed shoulders with mainstream fame in order to let the rest of the world catch up to him. Even during these stretches, though, we are treated to camera shots and sound bites from his 1990s albums and from his new millennium output. A linear chronology would have shortchanged the scope of this “Space Oddity.”

Through it all, Moonage Daydream wondrously conveys the joy of being a fan of David Bowie. The enthusiasm of concertgoers in the archival clips provides many of my favorite moments here. The sight of the screen backdrops from the 1990 Sound + Vision Tour that I saw during my youth brings the proceedings full circle in my eyes, giving me a chance to say a proper goodbye to a musician whose positive influence on my life cannot be overstated.

Last edited by The Great Owl; 09-17-2022 at 03:59 AM.
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Old 09-17-2022, 06:12 AM   #14
Paul.R.S Paul.R.S is offline
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Wonderful commentary, Great Owl.

Quote:
Originally Posted by captveg View Post
There's also a sequence of Bowie on escalators that is used wholly twice over . . .
I noticed this repetition as well as that of a bit wherein David is brushing white paint onto a floor. Both bits are reprised from the beginning of the film and I thought they are likely circular referrals, bookending our odyssey.

Some indulgent moments but a memorable IMAX experience. Highly recommend seeing it in this format (for the next six days only).

And what an amalgam of producing/financing entities: Live Nation Productions, HBO Doc Films, Neon, IMAX, BMG . . .

I asked Mr. Morgen if a Stateside 4K BD is in the works and he said yes. No extras though unfortunately. I’d like to learn more about the remarkable animations timed to the music.
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Old 09-17-2022, 12:29 PM   #15
Benoit Blanc Benoit Blanc is offline
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I cannot emphasise this enough. Do NOT go see this movie if you're photosensitive. This movie was NOT made for epileptics. I'm not usually photosensitive but even I felt a bit ill at times.
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Old 09-17-2022, 08:02 PM   #16
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I went to a matinee IMAX screening today. It was glorious. I can't recommend it enough to anyone who loves or even just likes Bowie.
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Old 09-18-2022, 12:03 AM   #17
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This was the second most loud IMAX movies I've heard - it was nose bleed LOUD
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Old 09-18-2022, 03:48 AM   #18
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Went in as a casual fan and really enjoyed it. My showing was decently packed too, probably moreso than the other, more mainstream releases this weekend.
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Old 09-18-2022, 09:40 PM   #19
Paul.R.S Paul.R.S is offline
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Quote:
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This was the second most loud IMAX movies I've heard - it was nose bleed LOUD
My experience wasn't that loud . . . but it was loud. Curious as to what your #1 loudest was?

Brett said he moved around the (Chinese IMAX) theater and thought the picture experience was better towards the back but the audio was awesome upfront. Pleased to hear him say it was the best screening (in terms of presentation quality) that he'd been to.
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Old 09-19-2022, 05:25 AM   #20
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Man they need to get that '78 STAGE concert on bluray ASAP. That live footage of "Heroes" was awesome.
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