Filmmaker Baz Luhrmann recently engaged in a discussion with Collider’s Steve Weintraub regarding several significant projects, including the upcoming EPiC: Elvis Presley in Concert, the potential release of a four-hour cut of his acclaimed 2022 biopic 'Elvis', and his next cinematic endeavor, 'Jehanne d'Arc'.

The genesis of EPiC stems from a remarkable discovery made during the research phase for the 2022 'Elvis' film. Luhrmann and his team stumbled upon a veritable goldmine of previously unseen Elvis footage. Deep within Warner Bros.’ film vaults, buried in underground salt mines in Kansas, they uncovered 69 boxes containing 59 hours of film negative that had been long forgotten. Luhrmann described this moment as akin to a “Raiders of the Lost Ark” adventure, as the team faced challenges including the vinegar syndrome affecting some negatives, mixed-up boxes, and even acquiring stolen material from the black market, often through covert meetings in car parks. Separate mag tapes containing sound were also found, allowing for eventual synchronization.

EPiC: Elvis Presley in Concert is not envisioned as a traditional documentary or a mere concert film. Luhrmann aimed for a more poetic approach, allowing Elvis himself to share his story through his own recordings and iconic performances from the 1970s. The ambitious restoration project spanned two years, involving a crucial partnership with IMAX and Peter Jackson’s team. Luhrmann clarified that the process did not involve any AI; instead, the incredible visual quality in IMAX is a testament to the original negative's integrity and Peter Jackson's team’s meticulous hand-care in restoring and remastering the footage, removing aberrations and ensuring the best possible print. The extensive financial investment required for refurbishing this material and preparing it for IMAX and 5:1 sound necessitated a focus on telling Elvis’s story rather than simply including all available footage.

Fans of the 2022 'Elvis' biopic have long awaited news on the fabled four-hour cut of the film. Luhrmann confirmed its existence as a rough cut but expressed his preference not to be the one to complete it. He stated he would rather hand it over to younger talent with a similar sensibility, acting as an