![]() We all feel very privileged to be involved.” “It is brotherhood and family, creativity, entertainment, joy, and tragedy. “This is a story of how three brothers with paramount musical gifts created music that touched the collective unconscious across five continents for five decades straight,” said Sinclair. ![]() The Bee Gees: How Can You Mend A Broken Heart, an official selection for the 2020 Telluride Film Festival, was produced by Marshall alongside Mark Monroe, who also wrote the story, as well as Nigel Sinclair and Jeanne Elfant Festa who produced The Beatles: Eight Days a Week and HBO’s George Harrison: Living in the Material World. Marshall’s previous work includes the Academy Award-nominated works Seabiscuit, The Curious Case of Benjamin Button, and The Color Purple. The band possesses a deeply influential and genre-shifting catalog. Since their inception in 1958, the Bee Gees are estimated to have sold over 220 million records. The Bee Gees: How Can You Mend A Broken Heart will hone in on how brothers Barry, Maurice, and Robin Gibb built the Bee Gees from the ground up and how their music continued to evolve in the years that followed. ![]() We are very happy and proud to be with HBO, and it has been an honor to work on this project.” “Like so many people, I’ve loved the Bee Gees’ music all my life,” said Marshall, “But discovering their uncanny creative instincts and the treasure trove of music, their humor, and loyalty was a great two-year journey. Directed by acclaimed filmmaker Frank Marshall, the documentary will be available on HBO and HBO Max in the coming months via Universal Music Group’s Polygram Entertainment. That’s the message I’m hoping to convey with Rock This Town - that music is a key part of a cultural ecosystem in any community and that it was possible to have that in Waterloo Region.HBO Documentary Films has acquired the rights to airing the feature-length documentary The Bee Gees: How Can You Mend A Broken Heart, spanning the decades-long career of one of the most successful bands in history. It required a certain level of entrepreneurship to make the music happen here. Kitchener-Waterloo is not Toronto, Vancouver or Montreal. “Music drove the culture, and we were part of the music scene. All these people gave their perspective on the business side of the music, but the juicy bits in the film are the stories people tell of their experiences in a particular time period from ’65 to ’75. “I set out to interview the people I knew had done that kind of work in the community. “My purpose in producing the film was to make the case that for a music scene to happen, one of the key factors is the entrepreneurs who are willing to take the risk to make stuff happen. ![]() I have a memory of these tremendous concerts where everybody just sat on the floor of the PAC. “A student activity fee was being collected and Joe was given a mandate to spend the money on entertainment, so he set out to buy talent for rock ’n roll concerts for ridiculously low prices (as low as two dollars). “In those days, student politics were pretty left of centre,” said Rock This Town producer Keller, who was dating Recchia at the time and was active behind the scenes. Given that the University of Waterloo was founded on a culture of innovation and entrepreneurship, it’s not all that surprising that Recchia and his engineering peers, who knew so little about the music business when they started, got the support they needed to make a go of it. It was a band at their peak, and they lived up to it. We paid them the most money we paid anybody. “It was a time in their career where they were very hot. The more acts I booked, the closer I got to these people.”Īlthough hard-pressed to pick a favourite act, Recchia said the Bee Gees, who played on campus in 1975, were particularly awesome. That’s when the American colleges started to pay attention. “Their agent sent the act up to be showcased and they got 30 dates in Canada.
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