Billy Joel has distanced himself from a new biopic about his early life, warning filmmakers behind the project that they do not have the rights to his life story or music and calling the production “legally and professionally misguided.”
The upcoming film, titled Billy & Me, is being directed by acclaimed editor and filmmaker John Ottman and written by Adam Ripp. The movie aims to tell the story of Joel’s early years before global fame transformed him into one of the world’s best-known musicians.
However, despite centring around the iconic singer-songwriter, Joel himself is not involved in the project and has publicly made it clear that he does not support it.
According to the filmmakers, the movie is being framed not directly through Joel’s perspective, but through the eyes of his first manager, Irwin Mazur, who discovered him in 1966 and later signed him in 1970.
Mazur reportedly managed Joel for several years before the singer eventually signed with Columbia Records and launched the hugely successful career that would make him internationally famous as The Piano Man.
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The production has also secured the life rights of Jon Small, Joel’s longtime friend and former drummer, who remains actively involved with the film as a consultant, co-executive producer and second unit director.
But Joel’s representatives say the project has known for years that it would not receive the singer’s approval.
“Since 2021, the parties involved have been officially notified that they do not possess Billy Joel’s life rights and will not be able to secure the music rights required for this project,” a spokesperson for Joel said in a statement.
“Billy Joel has not authorised or supported this project in any capacity, and any attempt to move forward without it would be both legally and professionally misguided.”
The statement appears aimed directly at the production’s ability to proceed without access to Joel’s iconic catalogue of songs or official cooperation from the artist himself.
Industry outlets have noted that the absence of Joel’s life rights is likely why the film focuses on the viewpoints of Mazur and Small rather than being presented as a traditional authorised biopic.
The movie is being described as the “untold origin story of Billy Joel before the fame, before the hit records, and before the world knew him as the Piano Man.”
According to the filmmakers, the story largely takes place during Joel’s formative years while he was performing cover songs with early band The Hassles and still searching for his identity as an artist.
Ottman, who recently edited the upcoming Michael Jackson biopic Michael, has defended the project and insisted the filmmakers have always been transparent about its scope and legal footing.
Speaking to The Hollywood Reporter, Ottman said: “We have always been very up front about the project.”
He added: “The film is told from the perspective of Irwin Mazur, and we hold the exclusive life rights to Irwin Mazur.”
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Ottman also stressed that the movie does not seek to use Joel’s original songs.
“The film neither depicts nor seeks to use any of Billy Joel’s original music because it takes place during his formative years performing cover songs with The Hassles and struggling to find his artistic identity,” he explained.
He disputed Joel’s representatives describing the project as legally questionable.
“To characterize the project as ‘legally and professionally misguided’ does not accurately reflect the actual nature of the film or the rights underlying the production,” Ottman said.
“The project is based on Irwin Mazur’s firsthand experiences and his legitimate right to tell his own life story and perspective surrounding the events depicted in the film.”
Ottman also attempted to strike a conciliatory tone towards the music legend.
“I have tremendous respect for Billy Joel and his legacy. Our intention has always been to tell an honest, heartfelt story surrounding the young artist before the world knew his name.”
Screenwriter Adam Ripp echoed similar sentiments in a separate statement defending the production.
“The film takes place during Billy’s formative years — before the fame, before the fortune, and before the iconic songs that made him ‘The Piano Man,’” Ripp said.
He stressed again that the production was never designed around using Joel’s music catalogue.
“At no point have we ever claimed to control or possess rights to Billy Joel’s original songs, nor has this film ever been conceived around the use of his hit catalog,” he said.
“The project was always designed as an intimate origin story focused on the people and relationships surrounding Billy during this specific period of his life.”
Ripp also highlighted the involvement of Jon Small in the production.
“We also hold the life rights to Billy’s lifelong best friend and original drummer, Jon Small, who is actively involved in the production as a consultant, co-executive producer, and second unit director,” he said.
“Jon personally consulted on the screenplay and fully endorses the film as someone who lived through and experienced the events portrayed firsthand.”
Like Ottman, Ripp ended by emphasising the filmmakers’ admiration for Joel.
“We have tremendous respect for Billy Joel and his extraordinary legacy. Our intention has always been to tell an honest, heartfelt story about the early years of a young artist before the world knew his name.”
The dispute has drawn attention because Ottman is closely associated with some of the most successful music biopics of recent years.
In addition to working on Michael, he also edited the hugely successful Bohemian Rhapsody, which earned him an Academy Award for Best Film Editing.
It remains unclear whether the filmmakers originally hoped to secure Joel’s approval before moving ahead with the project independently.
