More than five decades after a film crew shadowed Elvis Presley during a pivotal tour, previously unheard audio of the King is surfacing in a new documentary, offering a rare glimpse into his unguarded thoughts. The audio, captured during the making of the 1972 concert film Elvis on Tour, was obtained despite Presley’s reluctance to be formally interviewed for the project.
Jerry Schilling, a longtime confidant and employee of Presley, recounted the circumstances of the recording. “We really wanted to gain an interview with Elvis on film,” Schilling said, “But he was tired when we were going to do it and for whatever reason we never wound up getting anything on camera.” However, a casual, 40-minute conversation was recorded, raising concerns for Presley’s manager, Colonel Tom Parker, who limited its release during the singer’s lifetime.
The new film, EPiC: Elvis Presley in Concert, directed by Baz Luhrmann, utilizes significant portions of this audio. Luhrmann, who previously directed the 2022 biopic Elvis, described the tape as a “lightbulb moment.” “Because Elvis was off camera when it was taped, I think he was really unguarded and really open hearted,” Luhrmann said. “We thought, ‘What if we use this in the film so that Elvis tells his story himself?’”
The audio functions as the film’s thematic core, interwoven with images and editing techniques characteristic of Luhrmann’s style, previously seen in films like Strictly Ballroom and Moulin Rouge. Luhrmann described the approach as creating “a dreamscape poem of Elvis.”
The project began with a search for unseen footage from Elvis: That’s the Way It Is (1970) and Elvis on Tour. Researchers discovered 59 hours of previously unreleased film negatives in Warner Bros.’ vaults, located in underground salt mines in Kansas. This footage was combined with rare Super 8 material from the Graceland Archives and footage from private collectors. Luhrmann collaborated with Peter Jackson, who had previously restored footage of The Beatles for the documentary series Get Back, to enhance the visual and audio quality for IMAX presentation.
Luhrmann emphasized that no artificial intelligence was used in the restoration process. “I heard a kid say the other day, ‘Ah, don’t’ get so excited, it’s just AI,” Luhrmann said. “But I’m making it clear that there’s not a frame of AI. The only visual effect in this film is the effect Elvis has on the audience.”
The footage reveals a dynamic performer at a point in his career often overshadowed by later struggles. While Presley’s image had become somewhat tarnished by the time of his death in 1977, the 1970 and 1972 footage showcases his energy and vocal range. The 1972 tour saw the debut of two songs: “For The Good Times” and “Burning Love,” the latter of which was a major hit that year, according to concert archives.
Schilling highlighted Presley’s collaborative approach with his musicians. “That’s where you see that Elvis was the most underrated producer in music,” he said. “He’s fixing the musicians, fixing the backup singers, and fixing the music overall. Elvis wasn’t just a great artist, he was a great listener.” Guitarist James Burton is singled out as a key contributor, having assembled the band and providing distinctive musical arrangements.
The film also captures Presley’s playful interactions with audiences, such as jokingly introducing himself as Fats Domino and sharing a drink with a fan. Luhrmann believes this was a deliberate attempt to counter his image as an untouchable icon, presenting himself as relatable and human.
The audio interview reveals Presley’s frustrations with his acting career and his desire for more challenging roles. “Hollywood’s image of me was wrong and I knew it,” Presley says in the interview. “And I could not do anything about it.” He expressed a desire to star in action films and a karate-themed project, and had even discussed a potential co-starring role with Barbara Streisand in a remake of A Star Is Born.
However, Colonel Parker ultimately blocked the deal with Streisand, demanding excessive fees and top billing for Presley. Schilling explained that Parker’s control stemmed from his own background and a reluctance to risk revealing his non-American citizenship by touring internationally, thus denying Presley his ambition to perform outside of North America.
The film also touches on Presley’s increasing dissatisfaction with his extended residencies in Las Vegas, which Schilling believes contributed to his later struggles. Presley’s desire for creative freedom and a broader range of opportunities were stifled by Parker’s management.
Despite the challenges, the footage in EPiC: Elvis Presley in Concert presents a compelling portrait of Presley at his peak. Luhrmann hopes the film will allow audiences to connect with the man behind the icon. “There’s the image of Elvis and then there’s the man,” Luhrmann said. “I hope with this film people will get to know Elvis, the man, at last.”
