Additionally, she's giving way more focus to the construction of Luhrmann's persona than I would have imagined, which makes me jump up and down in an ex-marketing professional/miniature Internet personality way (also, you guys, it's a pretty good map of my own little routine in terms of the way I employ mythologization and nostalgia myself).
I'll be interested to see how she swims through all the material out there that has served to construct that image to examine it. She's already mentioned the contradictions in a lot of that material and how she seeks to set the record straight where possible, and that's really valuable, but perhaps particularly in a constructed life, there's no such thing as the truth -- just stories emanating from different source points. It's a nightmare for a researcher, even if it poses interesting questions for scholars and fans, and creates a situation in which satisfaction through said explorations is arguably never achieved. We'll see if she gets there. (It is also worth noting here that among the other filmmakers covered in this book series is Egoyan; it was from his Exotica I got a bit of dialogue I often quote to other people: "Why did you believe him?" "I made a choice." While I'm less fascinated with Egoyan's work, I may need to spend some time with that book as well if it engages truth and persona on any significant level).
Mostly though, I wish I had people around to discuss the book with, but those I know who care about Luhrmann's work don't necessarily have any interest in persona or taste for the academic approach and vice versa. So my brain is lonely on this, which means you all are going to have to hear it. Oh yeah, also? Travesty as an aesthetic concept seems likely to be a recurring theme -- you could point to the whole Internet with that, ne?