Music doc directors reveal how to film iconic artists
"I love your movie, especially the music," used to be the best backhanded compliment you could pay a filmmaker. But when it comes to many of this year's documentaries vying for awards, music is front and center as the star of the show, along with the artists and institutions that created the sounds that have defined American music through the decades.
"I wasn't too sure how it was going to go for Crosby because he saw an early version of the film, which was really positive. But we had done some work since then, and there were definitely some corrosive elements," says Rolling Stone Finding footage of the multi-gold and -platinum album seller was hardly difficult, but clearing rights ate up a significant portion of the film's budget. Roger Ross Williams, director of HBO's , had the opposite problem. For him, the issue was finding footage of the legendary performances that have graced the stage of the historic Harlem venue since the 1930s.
For career-defining songs like "Respect," by Aretha Franklin, "Say It Loud, I'm Black and I'm Proud," by James Brown, and "Strange Fruit," by Billie Holiday, the production paid a fee to Universal Music Group. "Otherwise, the music alone would be millions and millions of dollars, and we didn't have that," says Williams. "We had to be very creative." had no such luck with their film on the pioneering music label launched in 1939.
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