![]() How do you think they’re most underappreciated and what do you hope people get from seeing everything that you lay out in the film about their career? One of the things that really struck me in watching this was just how effortlessly The Bee Gees moved between styles of music. That’s what comes out and you can feel it. When they’re sitting around creating those amazing songs, it’s part of that. The Bee Gees were able to survive five decades of changing styles and changing tastes, and adapt to it, but it is their passion. It’s the same for The Bee Gees, in that the songs they wrote, a lot of people wanted to hear. Steven Spielberg has an audience sensibility, where the movies that he likes to make, a lot of people wanna see. Who knows why it works, but it certainly does, in such a huge way. You’ve gotta go with your own passion, and the stories that you’d like to tell and the music that you’d like to create. If I had a formula, I would have been retired. MARSHALL: It’s what connects to the collective unconscious that’s there, at the time. That all came together in a way that you like to hear about a movie that’s successful – that people have ideas and instincts and follow their dreams.īecause you have been around the film business and the music business, do you see any similarities between what makes a great and hugely successful album and what makes a great and hugely successful movie? He had great taste and he was a great producer and manager. He was almost like a father figure to them. They didn’t just wanna go their own way, and I think that was really important. They were collaborative, but they also listened to the people around them. He was great manager, and they listened to him. Robert Stigwood was a big part of their success. Bill Oakes is still as amazed today as he was back then, when that cassette arrived and those five songs were on it, all hits. He knew that these guys would write great songs. But that’s what was great about Stigwood (a producer on Saturday Night Fever). MARSHALL: I probably wouldn’t have done it. ![]() ![]() I was pleased that I was able to show that.Īs a movie producer, what was it like to hear The Bee Gees hadn’t even read the script when they wrote the songs for Saturday Night Fever? Are you surprised that the songs they wrote made for such a successful soundtrack, with that being the case? When you see them in the One Night Only concert in the ‘90s – we have a bit of it in the movie – they were together and incredibly respectful and loving brothers. MARSHALL: What was amazing to me was what a loving, strong sense of family they had, their whole lives, and it kept them together. It really is so beautiful to see their relationship and their bond as brothers, throughout this documentary. For me, the goal was to celebrate their legacy. He was gracious and humble, but he really misses his brothers and I think that’s really obvious. MARSHALL: He was very open, I have to say, and reflective. Was it ever challenging to get Barry Gibb to be as open and reflective as you needed him to be, or was he pretty open to talking about what you wanted him to? And then, to start looking into their career, as we did when we started this project three and a half years ago, songs like “Too Much Heaven,” “Islands in the Stream,” “Guilty,” and all of these songs that they wrote, not only for themselves, but for other people, is what I found to be amazing. I was also shooting a movie at Paramount, at that time, and to watch that come out of nowhere and become such a sensation, from then on, I was really paying attention to them. But it really wasn’t until Saturday Night Fever that I paid attention to them. MARSHALL: I had heard “Massachusetts.” I knew them when they were in London. One of them was a doc, and I said, “I’d love to do that.”Īt the time that you decided to do the documentary, which Bee Gees songs would you say you knew the best and what did you think those songs said about them as artists, at that time? They had just purchased The Bee Gees catalog and wanted to talk about ways to invigorate the catalog. It was serendipitous or fate that I was put in the position of being there. About four years ago, I was talking to the head of Capitol Records, Steve Barnett, and I was in the same building, the Capitol Records tower, that I had been in as a kid, and it made sense. My dad was a composer, a producer, and a jazz guitarist, and he was under contract at Capitol Records, where The Bee Gees ended up. What was it that compelled you to want to help the story of The Bee Gees? You don’t tackle directing that often, compared to the amount of projects that you produce.
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