Director: Morgan Neville
Writers: Morgan Neville, Oscar Vasquez, Aaron Wickenden
Stars: Pharrell Williams, Morgan Neville, Kendrick Lamar
Synopsis: A vibrant journey through the life of Pharrell Williams, told through the lens of LEGO animation.
There’s a very good chance that most people on the planet are familiar with Pharrell Williams. He is integral to the past 20+ years of the music industry. From producing music for some of the biggest artists in history to providing the world with the earworm that is “Happy” (a fantastic song and don’t let anybody ever convince you otherwise), Williams’ musical output is practically unmatched. Still putting out incredible music today, Williams is as well-known for his bold and eclectic style, the growing list of artists who hail him as their reason for making music, and his comically youthful glow. Nothing Williams has ever done has been the standard choice. So when Piece By Piece was announced, people’s response was a mix of bewilderment and understanding chuckles. It was to be a film about his life, but with LEGO. Even as a massive fan of his, there was a tinge of wonder about what this was going to be. Would it be something that could be pulled off? Perhaps the rumors of it being LEGO solely to retain the rights for future films was the real reason for its involvement. Whatever the case may be, one look at the incredibly inventive introduction of the film, and any cynical worries washed away.
Director Morgan Neville opens this film with the prelude to a standard documentary set-up, only it’s animated via LEGO. The camera still operates as if it’s a true handheld approach though. There’s a camera following Williams around his home, as he speaks to his wife and children, and various crew members setting up. As the artist and Neville sit opposite one another, Williams comically introduces the idea of all this taking the form of LEGO. A confused Neville asks for some further context, and Williams delivers. It sets a style and tone for the film that totally works in its and Williams’ favor. For an artist who has always made music by seemingly pulling together bits and pieces from all over the place into a cohesive, gorgeous final product, the idea of LEGO makes sense. And much like building these sets, Williams’ music has always been layered with a tactility to it. It excites anybody within range and makes listeners/builders eager for more. That excitement rings through so much of Piece By Piece. From the bounty of easter eggs for longtime fans of Williams’ to the way it realizes his lofty imagination, the decision to make this a LEGO experience pays off.
There was a time in my life where I practically only listened to the Neptunes. So seeing a Pusha T minifig laying out and describing Virginia Beach alongside Missy Elliott, Timbaland, and so many other musical icons is about as exciting as a film could ever personally get for me. Hearing the beat to “Grindin’” sneakily present itself in the form of somebody knocking on Williams’ door, or the story of how “Superthug” and “Frontin” came to be is a joy. Yes, they are stories I, and many other hip-hop heads, are incredibly familiar with. But seeing them realized in such fun and creative ways is a testament to a few things. One, the drive and talent Neville had to pull this off in a way that didn’t seem superfluous. Secondly, it serves as a spark of creativity for the industry as a whole. There was a time in the music industry where hip-hop was looked down upon by the masses. In some ways, often due to being politically charged and people following regressive ways of thinking, it still is. But the success of the genre is undeniable. And it goes without saying that a large part of that was due to the output of Williams and the Neptunes.
To put the state of hip-hop a bit into perspective, let’s look at Snoop Dogg, who is featured a fair amount in the film and is incredibly funny. His first album, the undisputed classic Doggystyle, released in 1993. It sold 800,000 copies in its first week, and at the time, was the fastest-selling hip-hop album ever. It later went on to be certified 4x platinum. It wasn’t until a full decade later, that Snoop Dogg got his first number 1 song. That song? “Drop It Like It’s Hot”, produced by the Neptunes and featuring Williams. All throughout the ‘90s, what many deem as the golden age of rap, was absolutely dominated by the subgenre of gangsta rap. Williams isn’t the sole artist to be credited for the shift in rap to a more alternative, crossover-friendly sound, but he certainly played a big part in it. Many who criticized hip-hop were turning around to see it as a genre that could have a fun bounce to it. Any hip-hop head who loves rap could have told them this, but sometimes, people need to hear it for themselves. And the soundscapes Williams and the Neptunes were creating was undeniably fun. It’s in this same conceit that Neville and Williams might have tapped into something exciting, and potentially revolutionary, in the world of documentary filmmaking.
There are many among general audiences who will often shy away from watching documentaries. The most common complaint is that documentaries feel a bit like homework. And in some instances, they certainly can be. The most common style of documentary uses a very dry and standard format. There are talking heads coupled with archival footage, with an occasional musical sting or absolute silence throughout. There are outliers, of course, but when many think of documentaries, this is the image they picture. And from what can be gathered about Piece By Piece, it followed the same exact format when filming. It wasn’t until after the fact that LEGO animation was added into the mix. Many of the guest interviews were recorded via Zoom or over the telephone. Through the LEGO animation, one could even picture the literal interviews taking place as if it were face-to-face. The final product we see plays out in the form of more exciting storyboards. But it’s in this LEGO idea that Neville and Williams could open the floodgates for new possibilities of what a documentary could be. There’s obviously nothing wrong with the standard format. It’s been essential for generations, and will continue to be. But if Williams could make hip-hop fun for the masses, perhaps this experiment will also convince audiences how exciting documentaries can be. Perhaps documentaries will feel more comfortable taking some stylistic risks when presenting their information.
Much of Piece By Piece does feel a bit like reading about the greatest hits of Williams’ life and career. It practically glosses right over the rocky, fallow period of his career, and quickly wraps up by zooming through the modern era of his artistry to present day. While a treasure trove for fans of Williams and the genre, I’m unsure as to how much of the actual information will translate to wide audiences. But Williams’ energy, and his music, and the creativity and beauty of the LEGO animation, is infectious. There’s an undeniable energy and flow to the entire film. It’s as exciting as hearing Williams’ music for the first time. There’s a montage that runs through just a fraction of the legendary collaborations he has been a part of, and it’s enough to confirm Williams and the Neptunes as perhaps the greatest hitmakers of our generation. Piece By Piece is an absolute joy, and proves that completely giving into one’s imagination can generate something exciting and unique.
