“I’ve been blessed,” Morgen said, “to work with the archives of Robert Evans, the Rolling Stones and Kurt Cobain. What follows are additional extracts from that conversation including his answer to the last question of that day: Having finished this project, to robust acclaim, what’s next? We spoke about the genesis of the film, its long road to completion, Morgen’s immersion in Kurt’s personal archive and the director’s working relationship with Kurt’s daughter, Frances Bean Cobain, 22, one of the movie’s executive producers. Seven years after that Guggenheim dinner, on a warm, early-spring afternoon in Los Angeles, Morgen and I met again – to talk about Montage of Heck for a story in the new issue of Rolling Stone. Morgen noted that he looked forward to talking to me as the movie progressed about my October 1993 Rolling Stone interview with Kurt. Morgen, who co-directed the 2002 documentary The Kid Stays in the Picture about the Hollywood producer Robert Evans, mentioned to me that he was speaking with Cobain’s widow, Courtney Love, about a film on the late Nirvana singer-guitarist.
We were seated next to each other at a dinner celebrating the opening of a new exhibit.
I first met Brett Morgen – the writer, director and producer of the HBO documentary, Kurt Cobain: Montage of Heck – in 2008 at the Guggenheim Museum in New York.
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