journey movie music director

Crazy Rich Asians Director Turning Journey Singer’s Life Into A Movie

Ethan Miller/Getty Images

Crazy Rich Asians was a crazy success, so naturally director Jon M. Chu is following up that blockbuster with a biopic about Journey’s current lead singer. Chu’s movie will focus on the story of Arnel Pineda, the Filipino singer who took over as lead vocalist for the band in 2007 after being discovered by Neal Schon on YouTube. The story was laid out in the 2012 documentary Don’t Stop Believin’: Everyman’s Journey , which Warner Bros has acquired the rights to and will now turn into a narrative feature film, according to Deadline . The studio is in talks to license Journey songs for the film.

Here’s Chu’s statement about the movie:

The success of Crazy Rich Asians has blown my mind and set me on a path to champion more unique inspirational stories that represent new perspectives from all around the world. This story in particular has been on my mind since I first read about it years ago. A true fairy tale and triumph of the human spirit. An unlikely hero, an undeniable talent, the power of music and a worldwide stage (literally) has all the ingredients I love about movies. Plus I have been a fan of Journey’s music since I can remember. I am excited to be bringing the audience along on this incredible story with my partners at Warner Bros who have been a leading champion of diverse voices in front and behind the camera.

Journey’s most notable lead vocalist Steve Perry reunited with the band last year and met his replacement, Pineda, at the Rock & Roll Hall Of Fame induction ceremony last year.

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Inside the New Journey Documentary ‘Don’t Stop Believin': Everyman’s Journey’ With Director Ramona Diaz

The story of Journey finding their latest lead singer Arnel Pineda on YouTube is a tale that’s both well-known at this point, and hugely inspirational to others hoping that perhaps a similar type of rock star fame might someday come their way.

‘ Don’t Stop Believin’: Everyman’s Journey ’ is a new documentary that offers a bird’s-eye view of the Filipino-born Pineda and his eventual rise to success as the front man of one of America’s most successful rock and roll bands. The cameras were rolling as Pineda started his new life with Journey in 2008, tracking each moment as he began to win over concert audiences worldwide.

His enthusiastic passion for the legendary songs that he was singing each night, and the love that he had for a group that had inspired him so much as a vocalist -- which he was now part of -- were unmistakable.

The new film begins screening this weekend in theaters and on demand. We spoke with director Ramona S. Diaz about the experience of putting the documentary together.

Let’s start at the top. How did this project come about?

You know, I had heard of Arnel getting the gig through this email that was actually written by an immigration officer at the American Embassy in the Philippines who gave Arnel his visa to come to the U.S. That’s when it started. One thing led to another, and my manager called their manager, and there was a big back and forth of whether they had the story this year [in 2008] or was it [going to be] next year? And I said, “No, you have a story this year, because I think next year, the second year with the band, it’s a story, certainly, but it won’t be the story. I think it would be more dynamic and compelling [now].”

So they allowed me to film one day with the band, to show them and prove to them that they had the story. That’s when I met Arnel and then decided, “Wow, he’s really golden.” There’s something about Arnel that’s really compelling. So that’s when I decided that, "I’ve gotta make this film," and that I was that obsessed that, “Okay, this has got to happen.”

I filmed the band for a day as they rehearsed in Northern California, before their ‘Revelation’ tour in ‘08 and cut a 10-minute piece [from that] and sent it to management and they got back to us within 24 hours and said, “Come aboard, we’re hitting the road -- come with us!” I was like, “Great,” [because] we had no money, but I have a producer who made it happen.

You had a fairly large team of people working on this film. You mentioned the money issues -- how did it eventually come together so that you were able to do this?

It never came together. Seriously. This is an independently produced film. It would have been different if the band came to us and said, “Hey, make this fantastic film.” We were sort of going after that [which didn’t happen] and then they finally said yes, so we couldn’t say, “Oh yeah, can you pay for it?” So basically, my producer Capella [Fahoome Brogden] put it on her credit cards and then when she ran out of that, I borrowed money from my family and then we got some investors from friends and family, [who provided] small, small amounts of money.

That’s really how we’ve cobbled this whole thing [together]. And also at some point when the band then realized, “Oh okay, this might be something,” [they wanted to help out]. Because I don’t think they ever really [knew what it was going to be like], although they gave us access. They’re veteran rockers and I thought they were used to cameras backstage and on buses, but they weren’t used to it. They didn’t really understand what it meant to have us there constantly. So for a while, they didn’t really get it and now it makes sense to me. Someone explained to me that they were right at the cusp of [the arrival of] MTV, [before] MTV brought out the ubiquitous cameras backstage and stuff. So now it makes sense that they weren’t used to it.

They didn’t really get what the film would look like or how it would all come together. When they started getting an inkling [that], “Oh, this might be something,” two years into the project, by then we didn’t want to cross that line either of taking their money. Because then we were making [what becomes] a vanity project [by doing that], right? We needed to stay independent. So that’s what we’ve done this entire time.

What were the parameters that were laid down as far as what you could and couldn’t shoot and anything else like that boundary-wise?

You know, nothing really. They didn’t tell us that, “You couldn’t be here,” or “You couldn’t be there.” But the tough thing was when I requested that I film their process. I wanted to film them writing a song. They eventually gave me permission, but we were then, I think, a couple of years into the project. I just kept pushing. I said, “I’ve got to see that -- I’ve got to see how you guys do that.”

They gave me permission finally when we were in Manila, right after the concert and they wrote ‘ City of Hope ,’ which they dedicated to Arnel and the city of Manila, because they were so inspired. I said, “You’ve gotta let me film this.” By then, they knew me and they knew that I wasn’t out to get them. I think it’s just a matter of hanging out long enough that they trust you and they get used to you and [know that] you’re not [out to] get the “gotcha” moments. That wasn’t what I was after and they really fully understood that by the time that we were done.

You were following the band for two years and on paper, that looks like an extensive amount of filming. Can you talk about that part of the process?

We started in 2008, which was the summer tour and that was from June through September and even that summer, we jumped on and off. We covered the country, but we jumped on and off, because you know, we’d run out of money. So we’d jump off, make some commercials, raise some money and jump back on. So that was that whole summer, and then we followed Arnel to Manila right after the tour, because I wanted to see how he would adjust to his new life.

In 2009, we went back to Manila with the band and then after that, I actually continued filming with the guys in their homes. Which is not in the film -- I thought the film could handle that, but it couldn’t. I visited all of them in their respective homes. I wanted to see them outside of the tour. And then after that, I said, “You know, we’ve gotta keep on filming, because they’re going back into the studio.” They’re going to go back to record and I want to see that. So we did -- we waited and in 2010 that happened. So we filmed them at Fantasy [Studios] in Berkeley recording ‘ Eclipse ,’ their latest album.

Did the scope and direction of the project change at all during the course of making the film, from where you started out with outlining the project at the beginning?

Not really; you know, as a documentary filmmaker, you never know where it’s going to go. Arnel could have failed. It would still have been a film, but it would have been a very different film. I think the fact that he succeeded and [that] they gained new audiences and they gained this second life, it’s great storytelling for this Cinderella story. I thought it would be a Cinderella story, but I didn’t know if in actuality it would be that. I’d hoped for that, but you’re watching life unfold, so it’s very zen -- you just wait to see where it leads you.

It is a great story, because Journey is a band that certainly, they were already hugely popular, but it really has brought them a whole different audience in addition to their previous fan base. That’s really something after all of the years that this band has been together.

Yeah, it’s incredible, and you saw that actually happen in 2008. You saw this different audience coming on and I’m like, “Wow, this is incredible.” I think it took everyone by surprise. I think all of them took a leap of faith with Arnel, and Arnel took a leap of faith too, right? So there was this feeling of “Let’s see how it goes,” and it paid off for everyone.

The film is presented in a mixture of English and Filipino dialogue. How did that part develop?

I think that Arnel is more comfortable speaking in that manner and in the Philippines, a lot of people switch from Filipino to English. It’s just a matter of speaking. I realized that if I was going to get him to really articulate [about] say, the first time he performed in front of a crowd of 30,000 in Chile, I needed to liberate him from just speaking English and I understand the language, so that wasn’t a problem for me.

Were you a Journey fan?

Obviously, I grew up with their music, but I wasn’t a hardcore Journey fan. I mean, I’ve seen hardcore Journey fans [ laughs ]. I lived with them all throughout that summer. I thought they were a wonderful band and certainly loved their music, but I think that after this whole process, I have a newfound respect for what they’ve done. I’ve really understood what it is that they’ve done.

They created a catalog and not just one or two songs, but a catalog of music that’s timeless and works. Every night, it works. I saw it -- every night, ‘Separate Ways’ would come on and the entire [crowd of] 20,000 would [react] like it was the first time they were hearing it. And you know that they’ve heard it tens of hundreds of times. But you feel the energy, like it’s the first time. It’s amazing -- how did he do that? That’s magic. Not everyone can do that. So to me, it’s just pretty incredible what they’ve done.

As a filmmaker, had you seen the ‘ Frontiers and Beyond ’ documentary that they’d done in the ‘80s?

Yes -- I’d seen it in the process of research.

That really illustrates how that band did everything bigger than everybody else in that decade. It was shot by NFL Films and legendary NFL broadcaster John Facenda voiced it. How did that play into your psyche when you were working on this project? Did you think about that at all?

Oh, absolutely. You know, when you’re editing a film, you start out with a five-hour cut, right? So I did really want to cover the history. It was surprising to me to find out that they were the ones who started the [usage of] big monitors on stage, so that people in the nosebleeds would feel like it was still an intimate experience.

God, that’s really smart. Now of course, it’s a matter of course, right? Everyone does it. But the fact that they were the first ones, that they actually owned the company that did that, that rented it out . . . I was like, “Wow.” I wanted to at some point talk about that. It’s going to be in the DVD extras, obviously, but it just couldn’t be part of this film.The film couldn’t support it or really examine it in any kind of profound way.

But they did [pioneer that] and I had no idea. That was all new to me in that process of researching the band. It’s pretty incredible. And of course, then they got their reputation for being corporate rock, because they were so slick and got sponsors. Now everyone gets sponsors. Ross Valory actually told me a really funny story about how Mick Jagger came around and visited them in San Francisco, wanting to know how they did it and what they were doing business-wise.

There’s a moment in the film where you capture Chicago singer Jason Scheff [a replacement himself for original Chicago lead singer Peter Cetera] talking to Arnel backstage. That moment feels very spontaneous -- I don’t know how engineered that moment was or wasn’t . . .

No, it wasn’t at all!

You don’t necessarily know that is a singer from the band Chicago walking up to Arnel . . .

No, I didn’t. But someone, who I think was with Arnel, mentioned that Jason was backstage. I didn’t hear that -- we were just following Arnel. My cinematographer was on him and I said, “He’s our guy -- he’s our story -- follow him wherever,” and it just happened. That’s when the documentary is really golden, when those things happen and you don’t plan it.

You’ve acknowledged in the past your hesitation to do a project like this, because of what a bear of a task it is to clear popular music for a film. Can you talk about that part of working on this documentary?

Oh, my God. You know, I don’t know the details of it. Because you have music supervisors and it’s really all lawyers talking to lawyers. I knew it from other films, one piece of music appearing by Liza Minnelli and Donna Summer -- I knew even that piece of music was so difficult to clear. We cleared like 13 Journey songs, which is one of the most difficult catalogs to clear. But of course, they signed on to make the film, so I hate to say it was easy, but it was easier.

But it’s still very complicated, because at some point even if they want to, it’s beyond their control. It’s a whole lot of details that even I right now don’t completely understand. But I knew it would be difficult, just from making other films. Of course at the end of the day if we couldn’t clear it, it would have really been not good.

Watch the Trailer for 'Don't Stop Believin': Everyman's Journey'

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A Minute With: the director of a documentary about Journey singer

LOS ANGELES (Reuters) - When veteran rock band Journey chose unknown Filipino singer Arnel Pineda to become their new frontman it inspired a filmmaker to capture his rise from obscurity in the streets of Manila to performing on arena stages.

"Don't Stop Believin': Everyman's Journey," directed by Filipino-American filmmaker Ramona Diaz, picks up Pineda's story soon after he was chosen to join Journey in 2007 after the group saw him on YouTube.

Diaz's documentary film opens in theaters on Friday. She spoke to Reuters about Pineda's story and working with the band.

Q: Were you worried about dealing with all the different personalities of a famous band?

A: My very first film was about the former first lady of the Philippines, Imelda Marcos. She was very powerful and she was difficult. I hung out with her for two months. She ended up suing me because she didn't like the film. After that experience, I thought, I can handle anything now. I can handle rock bands!

Q: What surprised you most about Journey?

A: It was a surprise to me that for such a veteran rock band, they were not used to having cameras ... backstage or in their dressing rooms. I thought rock bands were used to it because of MTV, where backstage and tour buses are open to cameras. But at the height of Journey's fame, MTV was just forming as well. They didn't understand the reality of what full access meant. But at the end of the day, we got it.

Q: Do you consider this a music documentary or more of a documentary about Filipino heritage?

A: I think it transcends all that. It really is a Cinderella story with a very modern twist because of YouTube. This story could not have happened 10 or 15 years ago, not in this way with the help of social media. But at the heart of it, it's a Cinderella story. For non-Journey fans, Arnel's personal history is very compelling.

A: He was a street kid in Manila. Success happened to him later in his life. I think he was 40 the year he joined the band. He had already lived the rock 'n' roll life, even without the money - the drugs, the women. He saw this as an opportunity for him to really get his life together.

Q: It seems like you really bonded with Pineda. Did it help that you were Filipino?

A: I think so, mostly because of the language. I can speak Tagalog. That first summer when he toured with Journey, he had no entourage. It was just him in his dressing room. We (a crew of five) became his sounding board because no one else was traveling with him. The second year he had a roadie, his wife was traveling with him, and it would have been a completely different dynamic.

Q: In the film Pineda switches between speaking English and Tagalog. Sometimes the same sentence is a mixture of both.

A: We call that 'Taglish.' Taglish is very common in the Philippines. I actually encouraged him to speak Filipino in the documentary. There were certain things I don't think I would have gotten from him emotionally or with such strength and passion if he had to stick to English.

Q: The budget for this documentary was under $2 million. Was it easy to raise the money because of the band's name?

A: I've done three other features and I thought it would be very easy to fundraise for this because (the subject matter) is very accessible, but no. No one believed in us. We were never able to raise the money. So it was on our dime, on our credit cards, small investments from family. The title song, "Don't Stop Believin'" that's us - the crew, me and my producer.

Q: Didn't the band want to kick in some funds?

A: There are certain boundaries you don't cross. This is an independently produced film. If Journey had funded it, there would have been strings attached to it. Money isn't free. The final cut wouldn't have been ours. It would have been deemed a vanity project, which it isn't.

Q: The rock 'n' roll lifestyle is very male-centric. Did being a woman help or hinder you on this film?

A: I think sometimes it was to my advantage. I'm small - 5'1" - so I'm less threatening to people. They allow me more things.(Laughs) So I was allowed in dressing rooms and tour buses. They just say yes!"

(Editing by Piya Sinha-Roy and Patricia Reaney)

(This story was corrected to give full name of filmmaker in the second paragraph and gender in the third paragraph)

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Has 21 songs in the following movies and tv shows..

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WHERE YOU'VE HEARD IT

Monsters vs Aliens 2009

Playing on the radio of "gym-nasty"s convertible.

After The Fall

Risky Business 1983

Only the Young

The Low Life 1995

John walks away from Andrew's funeral. Plays into the end credits.

King Richard 2021

Richard leads his family into Florida. They arrive at Rick Macci Tennis Academy.

Separate Ways (Worlds Apart) [Bryce Miller/Alloy Tracks Remix]

Stranger Things • s4e8 • Chapter Eight: Papa 2016

Steve driving with the gang

When You Love a Woman

Daria • s1e4 • Café Disaffecto 1997

Separate Ways (Worlds Apart)

Yes Man 2008

Beginning of the movie. Carl's (Jim Carrey) ringtone on his phone. (1:21) Carl races down the streets on his motorbike as he looks for Allison.

The Mitchells vs. The Machines 2021

Tron: Legacy 2010

First song when Sam turns on all the video game machines at the Flynn's game arcade.

GLOW • s1e1 • Pilot 2017

Song during the dream fight sequence.

The Simpsons • s16e2 • All's Fair in Oven War 1989

The O.C. • s1e21 • The Goodbye Girl 2003

Song plays on the car stereo as Ryan and Seth try to get to the airport before Anna's plane leaves.

Beavis and Butt-head • s3e16 • Buff 'N' Stuff 1993

The Party's Over

Grown Ups 2010

Marcus (David Spade) is drinking around the fire while trying to get everyone to do shots with him.

Anyway You Want It

Six Feet Under • s5e7 • The Silence 2001

Kristen tells Claire about her history with Ted.

Wheel in the Sky

Supernatural • s2e3 • Bloodlust 2005

The Sopranos • s2e10 • Bust Out 1999

Carmela engages in flirtation with the house painter, Victor Musto, and they share a kiss in the bathroom.

Future Man • s2e3 • A Wolf in the Torque House 2017

Montage of Wolf and Pump making a wheel.

Only Solutions

The second song played during the ending credits.

Playing as Lora and Alan enter Flynn's arcade (and playing again five minutes later as they discuss breaking into Encom.)

Talladega Nights: The Ballad of Ricky Bobby 2006

Ricky falls in love with Susan after her motivational speech

Family Guy • s13e9 • This Little Piggy 1999

The Goldbergs • s2e22 • Dance Party USA 2013

Don't Stop Believin'

Anchorman 2: The Legend Continues 2013

Smallfoot 2018

Song from the first Smallfoot trailer.

Moneyball 2011

Song during opening day. April 1, 2002.

Monster 2003

Lee and Selby are skating at the roller rink and kiss for the first time.

Bedtime Stories 2008

In a bedtime story set in medieval times, Mr. Nottingham declares that Skeeter has the opportunity to run the castle, and everyone rejoices.

The Losers 2010

Jensen (Evans) enters the building pretending to be a bike messenger singing on his ipod. It continues after he knocks out the security guard and tries to run out of the office.

The Wedding Singer 1998

The orchestra plays at Robbie's wedding before he is stood up by Linda

Glee • s1e1 • Pilot 2009

Finn sees Darren hosing down the football field.

Scrubs • s3e2 • My Journey 2001

Sean & Elliot, and J.D. & Turk, finally get together.

MacGyver • s3e9 • Specimen 234 + PAPR + Outbreak 2016

Billy sings along to the car stereo as he and Riley drive through Arizona, then he reveals he had lunch with her father.

The Sopranos • s6e21 • Made in America 1999

Final scene. This song plays on the dukebox

Dispatches from Elsewhere • s1e7 • Cave of Kelpius 2020

Clara appears on stage and sings this song before being interrupted by Peter.

Family Guy • s4e4 • Don't Make Me Over 1999

Saturday Night Live • s43e23 • Tina Fey and Nicki Minaj 1975

Ash vs Evil Dead • s2e9 • Home Again 2015

King of the Hill • s10e3 • Bill's House 1997

Glee • s1e22 • Journey 2009

 Will scans the radio in his car and ends on this.

The Heat 2013

They start to get drunk and Ashburn talks about her marriage and being a foster kid.

9-1-1 • s5e2 • Desperate Times 2018

Chimney complains to Bobby about the food options they've been given since the black out which Bobby takes the time to explain why there a need for it during the all-shifts manned station.

Lovin', Touchin', Squeezin'

Freaks and Geeks • s1e8 • Girlfriends and Boyfriends 1999

Sam is walking home. He sees Bill and Cindy at Bill's house.

Lovin' Touchin' Squeezin'

Finn and Darren sing while hosing down the yard.

1990's Theme

Playing in the background at Flynn's as a customer plays the Light Cycle game.

Remember Me

Armageddon 1998

Any Way You Want It

Going the Distance 2010

Song at the James Polk reunion. The guys try to get with older ladies.

Madagascar 3: Europe's Most Wanted 2012

High-speed chase around the streets of Monaco

Caddyshack 1980

Plays from the radio in Al's golf bag.

Resident Evil: Welcome to Raccoon City 2021

A police officer is being attacked.

The Fall Guy 2024

Chuck • s1e1 •  Pilot 2007

Morgan calls during the bomb disarming.

The Big Bang Theory • s2e15 • The Maternal Capacitance 2007

Chuck • s4e19 • Chuck Versus The Muuurder 2007

Brody gets Chuck's message congratulating him.

The Simpsons • s10e10 • Viva Ned Flanders 1989

Better Call Saul • s6e9 • Fun and Games 2015

House M.D. • s8e19 • The C-Word 2004

Wilson watches the video on his laptop.

Stone In Love (GH 2 Version)

Supernatural • s9e7 • Bad Boys 2005

Flashback to Dean asking Robin to the school dance.

Wheel in the Sky (Re-Recorded)

Tony and AJ spend time together on the boat.

Daddy's Home 2 2017

I Now Pronounce You Chuck and Larry 2007

At the gathering, Chuck and Larry slow dance.

Heavy Metal 1981

Date Movie 2006

The O.C. • s2e8 • The Power Of Love 2003

The song plays in the background as Kirsten walks in on Ryan & Lindsay making out in the pool house.

Cobra Kai • s3e10 • December 19 2018

The Goldbergs • s9e13 • A Peck Of Familial Love 2013

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The Journey: A Music Special from Andrea Bocelli

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Gaetano Morbioli

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The Journey: A Music Special from Andrea Bocelli

Cast & crew.

Andrea Bocelli

Veronica Berti

Katherine Jenkins

Clara Barbier Serrano

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‘Journey to Bethlehem’ Writer/Director/Composer Adam Anders On His Fresh Take for the Nativity Story

Here, in an interview with Awards Daily, Adam Anders shares his reasoning behind this take on the classic Nativity story and why it stayed with him for so long. He also reveals how the three wise men became the Three Stooges for him. Plus, he unveils why Antonio Banderas loves playing a villain. Awards Daily: What was your reason for making this story your first feature film? Adam Anders: It’s a long story. I first had the idea 17 years ago but life has its ups and downs and so many things happened in those years. You know, as a creative you have a lot of ideas, some stick, some don’t. This was one that I just couldn’t let go of. I just knew I wanted to make this movie at some point. It just seems that the time is now, obviously. It’s coming out and it feels surreal. But, you know, I couldn’t make it 17 years ago, but it was that idea that started a seed and it has grown, and I’ve learned so much over the years working with amazing people. It’s kind of like I went to film school for the last 17 years and now here we are. Awards Daily: You took a well-known story, but you’ve added the dynamic of making it into a comedy and a musical. What was behind those creative choices? Adam Anders: It was on a fateful Christmas where I couldn’t find anything to watch, and I had this idea in the first place, that I realized nobody’s really done this. Now I kind of know why because it’s really hard. But the story is really important to me; I grew up in a Christian home and my parents were ministers. It’s a story I love and my wife and I love Christmas; we write songs together and we always have writing partners around. So I thought, why hasn’t anybody done this, number one. Number two, I think that it looks and feels the way it does is because most Biblical movies are really depressing. It’s staff, sandals, sheep, and dirt–that is what you get, no color at all. I just didn’t want to do that. I wanted to make a vibrant, colorful, fun movie for the whole family. Something that kids will lean into and frankly something everyone will love who loves music, holidays, and just fun family movies. I didn’t make it just for Christians. I made it for everybody and I think framing it this way–colorful, vibrant, fun, with great music, is digestible for everybody, not just a few people. Awards Daily: One of my favorite comedic beats in the film is the dynamic between the three wise men. What was the thought process in creating their very quirky personalities? Adam Anders: From the beginning I knew I had a love story with Mary and Joseph, which is kind of Romeo and Juliet, the original forbidden love. He shouldn’t have stayed with her but he did. Did they marry for love or duty? Those questions motivate them in the film. Then I have Herod as the villain. But what every good family movie needs is comedy and to laugh. So to break up this story, which can get heavy and reverent at times, I need that mechanism and the wise men were perfect options for that. My Three Stooges. I think Biblically the wise men didn’t show up when I have them show up. But I think everyone has accepted them in the Nativity scene, even though we know that’s not exactly what happened. We’ve accepted it as an artistic expression of this moment in history. So I felt I could take that license. By having them there when he is born, I could have them the whole movie and get comic relief the whole time when I needed it. I know they didn’t show up right then, but as a very famous filmmaker told me, “Nobody will remember this movie if the timeline is accurate. They will remember it if it’s great. ” Awards Daily: You talked about Joseph and Mary’s relationship, and I thought it was interesting that they have the comedic romance tropes. They have a meet cute, but they have a misunderstanding, including the virgin impregnation. Plus, Mary is very reluctant to even get married–that it would take away from her life. How did you decide to take on these aspects of their relationship? Adam Anders: I think it is knowing that they got together but we do not know where or how. So that is where I got to explore. I call those in-betweens where you have your Bible verses Matthew:1 and 2 and Luke:1 and 2–that is all you have. The Bible doesn’t talk at all about their relationship, so I got to play in those in-betweens, and that was really fun because I got to just tell a human story, a love story. I imagined Mary, who is very strong, that God chose the strongest woman that He could find and not a doormat. She had a POV and she felt that something was happening. And that she was born for something big, and she did not think it was to get betrothed to someone she wasn’t in love with and didn’t know. I think every girl can relate to wanting to marry for love, not duty, so I started there. Joseph is actually in the same boat; he has also been betrothed and he has his dreams too. So there is tension there between their dreams and what they have been pushed into. I think that makes for a really good story. Awards Daily: So, this will show my Biblical ignorance, but Herod’s son Antipater has a very big role in the film. He is someone who looks up to his father and his father’s strength but also not certain he wants to be a complete copy of his father. Was there a historical reference for him, or was that something just kind of made up for the film? Adam Anders: Both. The Bible doesn’t reference Antipater but history does. He was Herod the Great’s first born son. He was raised in Rome and he was killed by his father the same year Jesus was born. Antipater tried to overthrow his father, believing he was unfit to rule, and that was why Herod killed him. I thought it was interesting that if I needed a villain with boots on the ground this is a really great character that I could find redemption in. I wanted to tell a redemption story but I couldn’t do it with Herod’s actual heir Antipas, who was even worse than his father and not redeemable. But what if Antipater (SPOILER) met Mary and Jesus and couldn’t kill him? So that’s where that came from and it was great because I could create a lot of tension there and create the story of redemption, which is really what the Christmas story is about.

Awards Daily: A big promotional part about this movie is that Antonio Banderas is playing Herod. Who looks like he is having the time of his life in this role, being this almost purely evil man. What was it like working with him? Adam Anders: I love that you said that because that’s literally what he said to me. That he had the time of his life doing this. It was a real process getting him into the movie. You know he is this big movie star, and he was at the top of my list for three years, and it was like a dream to have him. But it was really hard to get to him because he was directing and starring in a play. So while his manager and he liked the script, they believed that the songs were too hard for him to sing, and he had this play so he couldn’t do it. But as luck would have it, he was doing the play in Madrid where I was prepping the film. So that opened the door, and I started going to the play trying to meet with him. To see if I could get enough time with him after the show to get him over the top to say yes. Long story short, going to the show many times, he came out and met with me and I had five minutes to convince him, and we hit it off creatively. I was able to quash his fears about singing the songs because I had a piano on my phone and I was playing the notes that he was singing live in his show and they were the notes of my song. So I was, like, you can sing the song because you’re singing it every night. His one question for me was, do I get to play the bad guy? He very much wanted to play the bad guy. I was, like, yes, you do. And he embraced it and he had a lot of fun with it. He is completely unhinged. He goes from this childish almost campy/goofy rock star Mick Jagger of the time (which is how I envisioned him), then he just switches to evil just like that. That is really hard for an actor to do, and he does it so well. I think he is phenomenal in the movie and he loved playing this character, and it’s so fun to hear you say that that came through. Awards Daily: You are well known for doing music in television and movies. What is it about doing music in these mediums that appeals to you so much? Adam Anders: That is a great question. First of all I love movies. I’m a huge fan of the medium. And I grew up in a musical family so music was always part of my life, and obviously that’s the part of my career that took off first. But all those years of having success in music I felt like something was missing. I am not really a malcontent. I’m very happy for the success I’ve had and I think it’s well-documented what those things are. I’m like, yeah, it’s great, and yet I found myself wondering why I’m not more excited about this. I think it was because I wanted to tell my stories, and tell the entire story. Writing songs is limiting, Or I would create a show and write a script and you hand it over to someone and they take it and it doesn’t become what you hoped it would be. So finally when I agreed to direct this, and I was on set doing that, it was like, oh my gosh, I found the thing. This is the thing I’ve been looking for that completes me creatively. I feel like I use all my passions and talents in the same place. So it has been a long journey, loving movies, loving music, and so what makes more sense than doing musicals? Awards Daily: Final thoughts? Adam Anders: I would just say the movie comes out November 10 worldwide in theaters. The soundtrack comes out on Capitol Records on November 3rd so check that out. They can go to our website to buy tickets in advance. A cool thing we are doing with Fandango that has never been done is you can scan a QR code, and you can donate tickets to people in need who can’t afford to go to the movies. Which is kind of the spirit of the movie: giving back and giving gifts for Christmas.

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The Trail-Blazing Spirit of America’s Music

In America’s musical cities, every chord, every riff, every bang of a drum tells a story. In America’s Musical Journey these stories come together to create a soundtrack for the American experience—a soundtrack that showcases the nation’s diversity and its collision of cultures, culminating in a unique blend of sound, music and innovation unlike anywhere else in the world

About The Movie

Meet the Artists

An Original Song by Aloe Blacc – “My Story”

While traveling across the country filming America’s Musical Journey and meeting up with artists like Dr. John, Jon Batiste, Gloria & Emilio Estefan and many others, Aloe Blacc was inspired to write an original song, “My Story.” Aloe performs the song in the film at a concert on the National Mall in Washington DC.

“There’s something exciting that happens when different cultures come together as they have in America. One of the things that happens is incredible creativity.”

Louis armstrong: following the footsteps of a legend.

In America’s Musical Journey , Aloe Blacc traces the footsteps of Louis Armstrong from New Orleans to Chicago and beyond, where his impact on jazz and other American musical forms was profound. Born at the turn of the century in New Orleans, a grandson of slaves, Louis Armstrong learned to play the cornet in a boy’s home. A creative prodigy from the start, Armstrong revolutionized jazz with his adventurous solos, bluesy phrasing and bold improvisational style, becoming one of the most influential musical icons of the 20th century.

Elvis Presley: The King of Rock ‘n’ Roll

Elvis Presley is one of the most influential cultural forces of the 20 th Century. In America’s Musical Journey, we visit the stops of his early music career, including Sun Studios in Memphis where Elvis recorded his first song in 1954, the Arcade Restaurant where he’d enjoy a milkshake after finishing a record and his home at Graceland. By the year 1956, Elvis had become an international sensation with his unique sound and style and ushered in a new era of American music.

Music in the Film

As featured in America’s Musical Journey

My Story – Aloe Blacc Hello World – Aloe Blacc What A Wonderful World – Louis Armstrong “Black Woman” – Alan Lomax, Negro Prison Blues Nobody Knows The Trouble I See – The Poole Brothers Basin Street Blues – Louis Armstrong Down In New Orleans – Dr. John Do You Know What It Means To Miss New Orleans? – Louis Armstrong The In Crowd – Ramsey Lewis Ain’t Misbehavin’ – Louis Armstrong Dinah – Louis Armstrong Wake Me Up – Aloe Blacc Mule Skinner Blues – Jimmie Rodgers Manifest – Detroit Youth Choir Blue Suede Shoes – Elvis Presley Jailhouse Rock – Elvis Presley Conga – Gloria Estefan I Need A Dollar – Aloe Blacc I Heard It Through the Grapevine – Marvin Gaye There’ll Be Peace in The Valley – Elvis Presley They Can’t Take That Away From Me – Louis Armstrong

Behind The Scenes

First cameraman Rob Walker with director of cinematography Brad Ohlund

Filming Aloe Blacc in front of the Broadway musical “Hamilton”

Director Greg MacGillivray

Filming the Bandaloop Dancers

Filming Graceland in Memphis

Director Greg MacGillivray with The Flying Elvi

Filming Sun Studios in Memphis where Elvis recorded his first song

Director Greg MacGillivray on Beale Street in Memphis

The MacGillivray Freeman film crew in Washington, DC

Filmmaker credits.

America’s Musical Journey is a MacGillivray Freeman Film produced in association with Brand USA and presented by Expedia.

Director: Greg MacGillivray Producer: Shaun MacGillivray Executive Producer: Tom Garzilli Writer: Stephen Judson Music By: Steve Wood Editors: Stephen Judson, Jason Paul and Victoria McGinnis Director of Cinematography: Brad Ohlund Aerial Cinematographer: Ron Goodman Production Manager: Meghan MacGillivray Production Manager: Kathy Almon Visual Effects: Alan Markowitz

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Win a Trip to the Premiere of America’s Musical Journey for You and a Friend valued at $2,000!

'The Journey: A Music Special from Andrea Bocelli' Doc Official Trailer

by Alex Billington November 29, 2023 Source: YouTube

"A musical and spiritual journey to rediscover what matters most in life." Goldwyn Films has revealed an official US trailer for a Italian adventure musical called The Journey: A Music Special from Andrea Bocelli . Arriving on VOD this December after first premiering earlier this year. The doc follows the blind, religious Italian singer named Andrea Bocelli as he embarks on a journey following the Via Francigena, an ancient road traveled for centuries by pilgrims - they ride 200 miles on horseback throughout Italy. Merging world-class music with intimate conversations in the awe-inspiring Italian countryside, it is an exploration of the moments that define us, the songs that inspire us, and relationships that connect us to what matters most in life. Featuring Andrea Bocelli, Tori Kelly, Michael W. Smith, Katherine Jenkins, Tauren Wells, and Clara Barbier Serrano. "You'll be swept away by The Journey of beautiful music, creation, faith, and love." This looks like an emotional and passionate performance piece. It very obviously has a strong religious edge to it, not simply another musical. This trailer comes in gorgeous 4K quality as well - as least Italy looks nice.

Trailer for Morbioli & Sodi's doc The Journey: A Music Special from Andrea Bocelli , on YouTube :

Merging world-class musical performances with intimate conversations across the awe-inspiring Italian countryside, The Journey is an exploration of the moments that define us, the songs that inspire us, and the relationships that connect us to what matters most. Bocelli and his wife Veronica travel on horseback along Italy's Via Francigena, an ancient road traveled for centuries in the footsteps of the apostles and saints. Along the way, they are joined by friends Michael W. Smith, Tori Kelly, Tauren Wells, and TAYA for musical performances in some of Italy's most magnificent venues & majestic locations. Following a blessing from the Pope, Bocelli's children Matteo & Virginia make appearances in this amazing adventure, as well as musicians / singers Katherine Jenkins, Clara Barbier Serrano, 2Cellos, 40 Fingers, and others.

The Journey: A Music Special from Andrea Bocelli is co-directed by the filmmakers Gaetano Morbioli (a music video director making his feature directorial debut) & Paolo Sodi (director of the doc films Blood Scales , Remembering Papua New Guinea , and many shorts). The documentary is produced by Veronica Berti, Andrea Bocelli, Laurie Crouch, Matthew Crouch, Kristian Kelly, Candace Lee, Francesco Marras, Tom Newman, David Nichols, and Jason Stafford. This initially premiered at the 2023 Italian Contemporary Film Festival earlier this year. Samuel Goldwyn Films will release The Journey: A Music Special from Andrea Bocelli on VOD in the US starting on December 1st, 2023 . For more info on the film, visit the official site .

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