There are directors who move on from a subject. And then there is BAZ LUHRMANN, for whom an obsession never ends, but deepens. Three years after his opulent biopic Elvis, the Australian filmmaker returns to the icon with EPiC: Elvis Presley in Concert \u2013 less as a director than as a conduit. Luhrmann is not a classic documentary filmmaker, but rather a curator of myth. \u201cIt\u2019s neither a documentary nor a concert film,\u201d he says, \u201cbut a poem, a dreamscape in which Elvis himself narrates.\u201d He unearthed 68 boxes of film from the early Vegas years from the Warner Bros. archives, synchronised the picture and sound \u2013 and finally found a 40-minute recording in which Elvis speaks about his life. \u201cThe humanity in it, the modesty \u2013 I couldn\u2019t escape that responsibility.\u201d Luhrmann is fascinated by the paradox: the poor boy from Tupelo who becomes a godlike idol \u2013 and is marketed as an attraction by his manager, Colonel Tom Parker. What surprised him most was Elvis\u2019 humour and insecurity. \u201cOn stage, I\u2019ve never seen anyone who seemed so comfortable \u2013 and off stage, probably no one who was so uncomfortable.\u201d For the director of Moulin Rouge! or The Great Gatsby, EPiC became a liberation: \u201cMy leading actor was quite talented.\u201d And thus, the film becomes Luhrmann\u2019s homage and his attempt to give Elvis the world that was denied to him.<\/p>\n"}]},"yoast_head":"\n