Billy Joel Goes on the Attack Ack Ack Ack Ack Against Possible Biopic

Michael is currently sitting at $710 million in grosses, which is honestly less than I thought, given so many people’s commitment to proudly and loudly see the film, but that’s still a pretty big success. Bohemian Rhapsody made $910 million, which I’m sure Michael Jackson’s estate would have preferred. But hey, both movies were successful despite being mired by controversy, and you might think that any musician who has had a somewhat interesting life may be happy to get the same treatment from the man who edited both films. Not so fast!

A new movie called Billy & Me is on the way and set to be directed by John Ottman, who edited Rhapsody and Michael. However, my favorite piece of trivia about Ottman is that he has often pulled double duty as editor and composer on some films. Superman Returns is probably the first time I really noticed. He’s had an interesting career, even if most of his work is tied to Bryan Singer and all the abhorrent nonsense he has (allegedly) been up to over the years. But it’s his new venture that Billy Joel is calling “both legally and professionally misguided.”

The new film by Ottman is supposed to be about Joel in his early years, and to make the picture, Ottman secured the life rights for the singer’s former manager, Irwin Mazur, and his longtime friend and original drummer, Jon Small. But is that all you get for your money? In this case, yes, as the film does not have Joel’s life rights or the rights to use his music. For the 30 Rock fans, it’s giving Jackie Jomp-Jomp.

One of my favorite aspects of this is that, according to a statement provided to The Hollywood Reporter, Joel has been telling Ottman and crew for years that they do not have his life rights. Can you imagine having to make that call once or twice a year? “Hey, guys, it’s Billy. Just a reminder that Scenes From an Italian Restaurant will never be in your picture. Also, please tell Jon that I’ll see him at the Memorial Day picnic.” It’s pretty silly stuff, and makes ya question what Ottman seeks to gain here.

The longtime editor’s team also released a lengthy statement, essentially claiming that they never thought they would have the music rights and don’t care because the film will be set during a time when Joel was mostly doing covers. But I don’t buy that for a second. So much of Bohemian Rhapsody and Michael hinge on playing the hits. If they can’t play Big Shot while Billy is rising to fame, how on Earth will we know that the success is getting to his head?

On the other hand, maybe removing that crutch from Ottman’s grasp will make for a better film. If they can’t lean into what we already know about Joel, maybe they’ll have to, I don’t know, actually dig into who he is as a person with hints of subext and complexity. But I’d say it’s more likely that this film just never sees the light of day, as long as the Piano Man is still breathing.