![]() “We like to say Leonard was the first selfie taker because he was way ahead of his time, he started taking selfies of himself using this old Polaroid camera, probably going back to the 70s,” Goldfine said. It still took the duo years to access Cohen’s notebooks, now owned by his family, which contain detailed insights into the several years it took the singer to get Hallelujah right.Īs they studied the archives, they also discovered that Cohen had developed an early knack for photographic self-portraits. “Without that, we would have gotten nowhere,” Geller said. Geller and Goldfine, based in San Francisco and whose previous work includes Ballet Russes and Isadora Duncan, acknowledged that obtaining Cohen’s blessing was crucial. Instead, they highlighted “his influences and the parts of Leonard’s spiritual journey that illuminated why he was the only person in the universe who could have possibly written ‘Hallelujah’”, Goldfine said, adding: “The song is so much about everyone’s spiritual journey.” “It’s looking at Leonard Cohen through the prism of his most famous song,” Goldfine said.įocusing on the one song relieved the filmmakers of “the burden of having to do like a cradle to grave by a biography”, she said. But then Bob Dylan performed a cover, followed by The Velvet Underground’s John Cale, and Jeff Buckley, and then some 300 artists recording their own versions of Hallelujah.
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