And I’ve got to tell you, it’s not that difficult to relate to.Ī lot of this film is focused more on Cobain’s work than on clips of him in person. And suddenly you have to be sitting there selling a product, and so to me it just clarified my image of Kurt as an artist, not just this whiny guy but someone who if you told him he had to do one phoner at 12 o clock, I would imagine that ruined his whole f-ing day. He didn’t want to do it because he was a f-ing artist. And when his manager said, “You’ve got to do this interview and that interview,” they’re selling 600,000 albums a week. And at the moment the band made it, suddenly it started to feel like a job. He was incredibly ambitious but he didn’t know what it was. Even in his suicide note, he complained about being a star.
I keep reading stories about the “mythology” of Cobain not liking stardom. The Star spoke to Morgen about the man, the myth, the legend and why a film about Kurt Cobain is not a film about Nirvana. Premiering at both Sundance and Hot Docs festivals this year, Morgen’s Kurt Cobain: Montage of Heck looks at the life and work of the late Nirvana frontman, one of the most mythologized figures in all of rock. With his 2012 Rolling Stones documentary Crossfire Hurricane behind him, and an acclaimed new Kurt Cobain doc now arriving in theatres, Brett Morgen has established himself as a rockumentarian who spans generations.
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