theaters.”When discussing his Elvis movie, he said it’s actually about America. “’Amadeus’ – it’s not really about Mozart, it’s about jealousy,” Luhrmann said. “In this modern era, Elvis couldn’t have been a better canvas to explore America in the 50s, 60s, and 70s.” (Elvis died in 1977.) For Butler, the appeal was equally grand – “fundamentally getting to explore the humanity of somebody who has become the wallpaper of society.” He admitted that these were “huge shoes to fill,” he was able to go on a journey with Elvis, saying that he was cast when he was 26 and he’s 30 now.And then, of course, there are the musical numbers. “When I began the process of this, I wanted to get my voice to sound identical to his,” Butler said.
And Luhrmann said that the young Elvis songs are all Butler; when he gets older there are some blending of material, with both Butler and Presley in the mix (literally).
Early recordings, Luhrmann said, were “nostalgia-sounding.” Replaying them would be “a photocopy of a performance of a record.”For Luhrmann, he was struck, while watching early Presley performances, that “there was something real punk rock.” The question became, how do you “translate strange and shocking to a contemporary audience” that has seen it all.
Butler took full advantage of the time waiting to be cast. “I think I had a long time to study,” Butler said. “We had about six months before I was cast just to play.
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