Baz Luhrmann Discusses EPiC: Elvis Presley in Concert, His Maximalist Style

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You can always tell a film is directed by Baz Luhrmann. He’s known for his over-the-top, visually stunning style, especially his use of art deco designs. This is true for all his movies – like Romeo + Juliet, Moulin Rouge, The Great Gatsby, and Elvis – and his latest film is no different.

This documentary features incredible footage of Elvis Presley performing at his peak, taken from Warner Bros.’ archives stored in a Kansas salt mine. The film captures Presley after he started his famous Las Vegas residency. Director Baz Luhrmann enhances this rare footage with his distinctive style – think dazzling visuals, golden graphics, and vibrant colors – creating a truly spectacular cinematic experience.

Following the February 20th release of EPiC, director Baz Luhrmann discussed his creative process with Ebaster. He explained that the film isn’t a typical concert movie or documentary, but rather another exploration of the life and legacy of Elvis Presley. Luhrmann detailed how EPiC differs from his 2022 film Elvis, which received an Oscar nomination, and shared insights into his distinctive filmmaking style. He also discussed his pattern of tackling biographical films about iconic figures, and offered a sneak peek at his next project, inspired by Joan of Arc, tentatively titled Jehanne d’Arc.

(This interview has been edited and condensed for clarity.)

I’ve noticed a consistent art deco influence in your films, which is really striking. As a viewer, I’m curious about how much of that is a conscious decision versus letting the story dictate the visual style. Do you ever find yourself adjusting that signature look depending on the project, or is it something you always envision being a part of your work, regardless of the subject matter?

Baz Luhrmann believes that personal preference can hinder artistic expression, and his work isn’t necessarily a reflection of his own taste. Instead, he focuses on being a storyteller, conveying narratives in his unique style and pace. He prefers a minimalist, simple home life, but when working on the film EPiC, discovering an audio interview of Elvis Presley led him and his editor, Jonathan Redmond, to realize they should simply let Elvis tell his own story – that was a key moment. Luhrmann feels that a lifetime is spent finding the best way to tell a story, much like sharing it with friends at a dinner party. He naturally uses dynamic techniques – like quick cuts and expressive gestures – mirroring his energetic personality. For example, his use of color in The Great Gatsby wasn’t about personal preference, but about historical accuracy – bright colors were actually common during the Jazz Age. We often get caught up in traditional ideas of classicism, but even ancient Greek statues were vividly painted, like shop dummies. Luhrmann challenges us to consider what is truly authentic versus what we’ve come to accept as standard aesthetics.

A really exciting aspect of EPiC is how the concert footage is created by combining clips from several different shows. It makes you wonder how much detailed work went into picking the best moments and putting together the most complete version of each performance.

I have to give credit to Jonathan, as we collaborated on this. It took a huge amount of technical work to blend everything together, especially in post-production. The music team, including Jamieson Shaw and Evan McHugh, did an amazing job maintaining a consistent rhythm despite the different tempos. The goal was to capture the same energy Elvis had in rehearsal as he did on stage, but also to showcase his playful, humorous side. I think he used his goofiness to connect with people and put them at ease, almost like he was leading a musical congregation as an acolyte. And what’s fascinating is that he’s unpredictable – it wasn’t about perfection, but about embracing his imperfections and spontaneity.

As a fan, I’ve definitely noticed a dip in his energy as the shows went on – it was clear he wasn’t performing at the same level towards the end. It made me wonder if it was just exhaustion, or if something else was going on. I was really curious to know if the filmmakers had any limits on what they could include, like if his estate asked them to leave certain things out.

I wouldn’t say I ‘owned’ the rights. The actual brands associated with Elvis Presley were partners on the project, and they were initially very careful about how he was portrayed. They didn’t want to see him depicted negatively. When I included footage of him singing “Unchained Melody,” there was some concern, but I argued that the footage was from just weeks before his death, and he sounded better than ever. My focus was on capturing the essence of his performance – the spirit of the moment. When I’m creating something, I avoid self-imposed limitations. The only rule I follow is: are we telling a compelling story that will resonate with the audience? That’s my guiding principle. As they say in Lawrence of Arabia, ‘In Faisal’s tent, Faisal decides.’

After seeing your 2022 film Elvis again, especially now with this new film in mind, I noticed how both narratives center on Colonel Tom Parker. Was this a deliberate choice to give him a chance to tell his side of the story, rather than always seeing things from Elvis’s point of view?

Elvis was a huge part of my childhood, and even as my musical tastes expanded, he remained influential. I admire the film Amadeus, but what I really loved about it was that it wasn’t just about Mozart, but about the universal feeling of jealousy. Similarly, I came to see Parker as a showman, a master of self-promotion. I was fascinated by the dynamic between people like that – those skilled at building a brand – and the actual artist themselves. It’s not about portraying anyone as purely good or evil, but rather exploring that contrast. Most Elvis documentaries focus on other people talking about him. With our film, we wanted to step back and let Elvis tell his own story, as authentically as possible.

People often describe your films as being very elaborate and detailed, and rewatching Moulin Rouge now, it really strikes me how relentlessly energetic every scene is – there’s never a moment to breathe. Over time, have you intentionally developed a particular style of editing or storytelling that you feel defines your work?

I had to break some rules with the editing because musicals weren’t popular 24 years ago. I combined classic musical techniques with new ideas, and the over-the-top style was inspired by performers like Elvis, who knew how to build to a big finish. That’s just my approach to storytelling, and I don’t criticize others for doing things differently. I admire filmmakers who work quickly and efficiently – I’d probably have more films under my belt if I could! But I’m committed to telling stories my way, though I’m always learning and improving. With this film, a huge advantage was that I wasn’t burnt out from the usual struggles of writing, funding, and shooting. I was able to focus on the source material with Jonathan. I didn’t worry about casting; we had a fantastic lead actor, a real star. This project was more about shaping and refining the existing material than creating something entirely new.

I’ve been following the conversation sparked by the Wuthering Heights adaptation, and it’s really got me thinking about how much a filmmaker should stick to the original story. I’m curious, do you have a personal philosophy about balancing faithfulness to the source material with your own creative vision? How do you decide how much to change or interpret things?

I completely agree with that idea. Peter Brook, a legendary theater director and author of The Empty Space, used to say that when something isn’t working in a performance – if a small detail feels off – you need to change it, even drastically. He’d say, ‘fix it!’ When approaching classic works, it’s important to remember they often have a history of adaptation. For example, Shakespeare didn’t actually write Romeo and Juliet from scratch; it was based on earlier works like a poem by John Brown and the Greek myth of Pyramus and Thisbe. The goal isn’t to create something unrecognizable, but to capture the original spirit while making it relevant to a modern audience. Shakespeare himself did this – he incorporated popular and street music into his plays to connect with his viewers.

Warner Bros. Pictures

How about in The Great Gatsby, where you merged hip-hop with the roaring twenties?

When I worked on The Great Gatsby, Jay-Z and I aimed to capture the energy of the original novel. Some people disagreed with our choices, but jazz was the popular, vibrant music of its time, just like hip-hop is today. Fitzgerald intentionally included that energy in his writing, and we wanted to reflect that. I think Emerald Fennell is doing something similar with Wuthering Heights – staying true to the core story but avoiding a stuffy, old-fashioned adaptation. When the Brontës originally wrote Wuthering Heights, it was incredibly dynamic and exciting. People often describe Gatsby as an internal, quiet story, but if you look closely at Fitzgerald’s language, it’s full of vivid, intense scenes. As a filmmaker, it’s my job to bring that energy to life, especially in today’s world where there’s so much noise – the story needs to really stand out.

I definitely have my own preferences – I enjoy films by directors like Michelangelo Antonioni and Satyajit Ray. However, when trying to attract new, especially younger, audiences to classic cinema, you can’t present it like a school lesson. It needs a different approach to connect with them.

Your movies often center around grand, significant topics – like a famous person, a major historical event, or a well-known piece of art. What attracts you to these large-scale subjects instead of stories that are more personal or focused on smaller details?

I always had a plan to tackle large-scale projects – big stories, famous books – when I was younger. I figured I’d eventually get around to something more personal, like a story about growing up in a small town. But those epic films are incredibly demanding, both physically and in terms of time and energy. I usually start by reflecting on my own life experiences, and then I try to create something when others might not be interested – like a musical or a Shakespeare adaptation. Those kinds of projects require a lot of drive. Now, I’m starting to feel ready to do something much simpler – a small, intimate story with just a few characters.

Your next project focuses on Joan of Arc, a famously grand and iconic figure. Considering the harsh and messy realities of 15th-century warfare, how will that contrast with the visual style you’ve developed? Will you need to change your approach to directing, or will you maintain a similar style?

I’m currently deep in pre-production, but what really drives my choices is why I’m tackling this particular story. I have tons of ideas, things I want to explore, and then things I feel like the world needs to see. Honestly, it feels incredibly relevant right now. It strikes me that we’re living in a huge echo chamber, and the Hundred Years’ War, at its core, was just a group of powerful men keeping things going for their own benefit. Then this amazing young woman steps in, inspires a lost king, and completely changes the game. It’s about youth taking charge, a generational shift, and bridging the gap between those with power and those without. There’s a line in the script that really gets me – she says something like, “We need to take the world away from these old men and their grip on everything.” And I truly believe that’s a story worth telling right now.

Credit: mpi099/MediaPunch/INSTARimages

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2026-02-24 20:11