“Ozzy: No Escape from Now” – released on Paramount+ on October 6 (along with several special fan views) – would not be a posthum function documentary looking back on the last years of Ozzy Osbournelife. But that was what it tragic turned out to be after the rock icon died in July, when the movie was still in the editing.
Brit -Director Tania Alexander, with the consent and commitment of Sharon Osbourne (as Exec produces), had intended to make a movie that explored the aftermath of Ozzy’s life -changing case in 2019, the toll that it took on him, his mental health and his family, along with his desperate efforts to get back on stage and the emotional devastation to interrupt their farewell.
In the middle of the pain, no escape from now “also manages to show the comfort that Ozzy found in making music once again – especially for what would be his last studio album” Patient number 9 ” – and his determination to say one last goodbye to his fans, and culminated with his triumphant farewell in his hometown of Birmingham (surrounded by the greatest rock stars Birmingham (surrounded by some of the biggest rock stars on the most plans – most of those who are extremely emotional to honor the hero).
When Ozzy died less than three weeks later, Alexander was still deep in the editing on the film. But as she explains, she not only continued – at the full request of the family – but, but to exclude an addition at the end, she did not change for a second.
How did this movie come your way?
Phil (Alexander, producer and former editor of the newspaper Kerrang!) And I have a very long -term relationship with Osbores. We knew what had happened to Ozzy, and we knew when he made “patient number nine.” We had a conversation with Sharon. We wanted to tell you the story of what had happened to him since the fall, which we knew really had affected him and the family, and she said: Well, I really want it to be told, but I want it to be told as it is, as hard as it is, I don’t want any stands to be drawn. The only thing you know about Osbournes is that they are really honest. There is no spin involved. Sharon lets you completely have your freedom, but we always wanted to prefix it with: This is what we want to do. And if there were any red flags, she would have flagged them.
So did she give you effective access to all areas?
When you have someone as sick as Ozzy was, do you just need things a little more planned in the sense “What are your intentions”? And Sharon never blocked anything and really trusted. We went into it knowing that there may be some ups and downs when it came to being able to film because he went through operations, or he went through bad notes. So we just have to be flexible. But she said: Just tell the truth. We have undergone a terrible time, so we want it to be reflected.
As you say, you have to do with someone who is really sick and goes through up and down. Was there ever any moments where it felt too intrusive or where it was too much for him to continue?
It was moments you see in the opening where he sits in the chair and he is quite uncomfortable because of Parkinson’s but also because he had a terrible back pain constantly. I was always very aware of his pillows. So we constantly asked him, do you want to quit? And he is the kind of person who sits down and walks, how long will it take? And then, frankly, about 20 minutes in he would really enjoy chatting about himself and saying, do you have more questions? You could see that it was part of his day and almost something fun to do.
Doc is being built up to Ozzy’s last farewell show in Birmingham and whether he will be able to show up or not. But this gig had not even been discussed when you started.
Which is crazy. When we first started filming with him, he had to postpone his world tour. So when we filmed, it always acted, will he be able to do the tour? Can he get in shape to do the tour? And then he does the Commonwealth Games and comes back with all the weapons that burn and say: I will do the tour. And then the carpet pulled again. So until that point we saw if he could get back on stage to do the tour. And then it literally happened in that chat. He had told Sharon, I feel that I have not said thank you and goodbye, and if I can’t do a tour I have to do something. And then she said what to do this last show. We didn’t start with it being the end. Our pitch was a story about a man’s struggle to get back on stage one last time. But that was what it became. And the determination I saw. He had sepsis at the end of April, and I think had 72 days before he was supposed to be on stage. The determination was phenomenal.
I loved the scenes with the other big coats that met. The heat and love they have against ozzy were so sweet to see
There is genuine respect and love. Many of these guys will reflect back to when they were children and how he changed their lives. Billy Corgan was really upset. James Hetfield was really emotional. He means so much in so many different ways. It was an extraordinary moment for me and saw Ozzy watching the really great artists who sang his songs in front of him. And they were really nervous, you knew it. But I thought they said some really nice things, and they really meant it.
This was done as a living doctor. What step were you on when Ozzy died?
We were in the editing and had another six weeks left. We would cut 90 minutes and made the last 30 – the build -up of goodbye the gig. After he died, it was part of me that idea, if it looks back in 90 minutes now it will look different through a new lens. So I saw it back and didn’t change it – I just thought, no, it’s the same movie I cut earlier. And it ends in exactly the same way we always wanted – where it cuts to black. Apart from We we added the funeral process at the end of the family’s request.
What conversations had about the doctor with the family, who was obviously in mourning at that time. Was it ever a suggestion not to continue with it?
They wanted us to continue. Sharon has always been really behind it. She has always been really supportive. But there was only one request from the family that we add the Cortege mount at the end. So we did it. But otherwise it did not change, and it ended where it was finally ended.
And no other element in the film changed at all?
Nothing at all, because he still came to the stage. It was heartbreaking to look at the stage for him and Sharon talk about how he could hang the microphone and then “it’s just us, Kerma around the garden.” It was really hard to cut. Me and my editor cried a little sometimes.
