Baz Luhrmann Knows He’s the Stanley Kubrick of Confetti

Baz Luhrmann knows how to make an entrance. I am sitting in a cavernous corner conference room at Warner Bros. Pictures’ office in New York City when I hear a soft, distant Australian-accented voice say, “You know, when we began shooting Elvis, it was in the pandemic.” The director glides into the space, seemingly out of nowhere and looking contemplative as Hamlet, and makes his way slowly toward some picture windows overlooking the newly redeveloped Hudson Yards neighborhood.