Over the last ten years, Live Nation’s film and TV division has been quietly building an impressive collection of music-related documentaries and scripts. However, this week at the Tribeca Film Festival, they are making a significant impact with five premieres: Miley Cyrus‘ “Something Beautiful,” a companion piece to her latest album; the gripping redemption story “Billy Idol Should Be Dead”; Ty Dolla $ign’s “Still Free TC,” which follows his efforts to free his imprisoned brother; Becky G’s autobiographical film “Rebbeca”; and the scripted project “K-Pops,” featuring Anderson .Paak in a triple role as writer, director, and lead actor.
As a devoted cinephile, I’ve been intrigued by Live Nation’s quiet foray into the realm of film and television, considering its towering presence in the live-entertainment industry. Since its debut in December 2015, they’ve been involved in the creation or co-production of a diverse array of projects – from the acclaimed “A Star Is Born” and Lady Gaga’s “Five Foot Two”, to the less mainstream but equally captivating “Moonage Daydream”, a lavish David Bowie documentary, and a socially conscious project with System of a Down’s Serj Tankian. They’ve also dabbled in TV series about hip-hop and rock moms, documentaries spanning from Lizzo to Jerry Lee Lewis, and even the Canadian rock band Triumph. This lineup is nothing short of impressive, and with many more projects in the pipeline, they’ve decided it’s time to give us a glimpse behind the scenes.
According to Ryan Kroft, an MTV veteran leading Live Nation’s film & TV division since 2019, the relatively subdued beginning was due to a few factors. Initially, during the pandemic, the focus was on progressing projects and creating quality work rather than generating a lot of noise or publicity for the company. Moreover, Kroft enjoys the concept that the work should speak for itself, as Live Nation is an artist-centric company, preferring to present these projects as collaborations with artists, highlighting their vision. However, with so much activity happening now, he feels it’s essential to ensure people are aware of everything they’re working on and who’s involved, because this recognition can lead to more opportunities in the future.
There are several projects in the pipeline, and here’s what you can expect from Tribeca: Miley Cyrus’ movie is a visual complement to her new album. According to Kroft, they primarily backed her creative vision. However, other projects required more active involvement. The Billy Idol documentary delves deeply into his life and career over two hours, following the “Behind the Music” format but managing to stay engaging throughout. Notably, Idol is brutally honest about his struggles with drugs and other vices, even in intimate conversations with his sister and late mother. Additionally, you’ll see his children and grandchildren in other parts of the documentary.
Kroft states, “An artist’s life is a vast narrative, and one doesn’t want it to be just another repetition of the common patterns of rise, fall, and triumphant comeback. However, Billy was exceptionally brave in addressing these themes directly, discussing his personal experiences with heroin and creativity in a way that many artists shy away from. This candor feels refreshingly different from the more guarded language others use when speaking about drugs or their wild phases, and it avoids reinforcing those same narrative patterns.
Besides conventional methods, Ty Dolla $ign has been working diligently on attempting to secure the release of his brother, Gabriel “Big T” Griffin, who is serving a 67-year sentence for a murder that he maintains his innocence about.
Kroft finds this particular documentary intriguing as it strays from the typical music documentaries. Instead, it delves into the struggle of a musician to free his brother from prison and the unique challenges that come with being successful in the music industry while being compelled by an apparent injustice. The key witness who linked [Gabriel] to the crime has since retracted her statement, clarifying she didn’t actually witness it and was coerced into testifying. The film concludes by providing a 1-800 number for people to directly contact Governor Gavin Newsom’s office to advocate for clemency.
As a film aficionado, I’m thrilled to share my experience with Anderson .Paak’s innovative comedy, “K-Pops.” Stepping out of his comfort zone, he portrays a struggling musician who unexpectedly boards a one-way flight to South Korea, tasked with drumming for a contestant in a renowned singing competition. The plot thickens when I realize that one of the competitors is my long-lost son.
Despite the box-office smash hit of “A Star Is Born” potentially indicating a larger move by Live Nation into scripted movies, Kroft mentions that the company has spent considerable time deliberating over the type of such films they should produce.
He explains that transitioning into scripted productions is like assuming a mini-studio role for us, as we’re now both producing and funding feature films. Previously, we had invested in these projects or acted as producers, but after ‘A Star Is Born,’ it took some time to decide our direction in the scripted realm. We received numerous off-topic ideas, such as a cop-heist movie with a musician’s role, but these didn’t align with Live Nation’s core identity and why we’d be involved. However, a few projects have helped us clarify this, pushing us to speed up our efforts significantly in creating many more.
As a film enthusiast, I’m eagerly awaiting two upcoming comedies that truly resonate with me! First up, there’s “Rolling Loud,” where I find myself immersed in the vibrant world of the same-named hip-hop festival, starring none other than the charismatic Owen Wilson and Matt Rife.
Secondly, there’s “New Year’s Rev,” a comedy that revolves around the iconic Green Day, promising an entertaining ride for music and laughter lovers like myself! Both films are set to hit the screens soon, and I can hardly wait!
The original quote is: “He sneaked his 13-year-old kid into the Rolling Loud festival and lost him,” Kroft says. “If you’ve ever been to Rolling Loud, you know it’s a pretty intense festival, and losing your young teenager there wouldn’t be fun at all. It’s hilarious and served as an inspiration for the kind of movies the writer-director wants to create.”
“Writer-director Jeremy Garelick once took his 13-year-old son to Rolling Loud without realizing he might get lost. The festival is known for its intensity, and losing a teenager there isn’t something you’d wish on anyone. However, the experience provided a good laugh and helped Garelick decide what kind of movies he wants to make.
For ‘New Year’s Rev,’ Billie Joe Armstrong, frontman of Green Day, teamed up with writer-director Lee Kirk. Together, they conceived a story about three teenage punk bandmates who wrongly think they’ve been selected to perform alongside Green Day on New Year’s Eve. Eager to attend the concert, they take every possible step to reach the show. This film is a humorous road trip tale, and many of the script’s events are based on experiences Green Day had while touring across the country in a van.
The company holds additional documents at their disposal. One unnamed document delves into the journey of singer-songwriter Noah Kahan, from his humble beginnings in Vermont to achieving stadium-level stardom as “Stick Season” artist. This document highlights the pressures and struggles on his mental health that accompanied this success. Additionally, the Sheffield DocFest later this month will feature the premiere of “Rock Out,” directed by Dustin Lance Black and produced by Bill Gerber [of ‘A Star Is Born’ fame]. This film examines the music managers who were closeted gay men during the ’60s and ’70s, including Brian Epstein, and their impact on the evolution of music. Kroft describes it as an intriguing examination of the queer origins of rock, punk, and metal. Dustin Lance Black is praised for his exceptional storytelling approach in interweaving his personal narrative with that of these men.
Kroft and his group, consisting of development executives Vaughn Trudeau, Chavonne Lenoir, production specialists Jessica James Batista, and Anna Keegan, are not only brainstorming internally, but also gathering suggestions from Live Nation’s staff. On average, Kroft receives approximately 150 to 200 well-developed project proposals each year. However, as the variety of projects under their belt demonstrates, they are highly selective in choosing which projects to proceed with.
In an era where numerous movies centered around music are being produced annually, it’s crucial for a production to seem significant, pertinent, and contemporary. If not, it risks appearing repetitive. Essentially, there should be a compelling reason why the world requires such a film before embarking on its creation. This might sound simple, but the importance of justification cannot be overstated.
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2025-06-10 16:19