Billy Joel’s Team Slams Unauthorized Biopic as ‘Misguided

Unauthorized Project Faces Legal and Creative Hurdles

An upcoming biopic about Billy Joel is already facing backlash from the singer himself, with his team categorically rejecting the film’s legitimacy. The project, titled Billy and Me, was revealed Tuesday by Variety as a feature film directed by Oscar-winning editor John Ottman—best known for his work on Bohemian Rhapsody and the recent Michael Jackson biopic Michael—and written by Adam Ripp, who directed the 2019 horror film Devil’s Whisper. The film is slated to begin production in the fall of 2026, with a narrative centered on Irwin Mazur, Joel’s longtime manager, during the period leading up to his 1973 breakout hit Piano Man.

However, Joel’s representatives have made it clear that the film is unauthorized and lacks critical rights. In a statement shared with PEOPLE and Rolling Stone, a spokesperson for the 77-year-old musician declared that “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.” The statement emphasized that Joel “has not authorized or supported this project in any capacity,” adding that any attempt to proceed without his involvement would be “both legally and professionally misguided.”

The conflict underscores a growing trend in Hollywood, where unauthorized biopics—particularly those involving living legends—face legal and creative challenges. Earlier this year, Joel’s team also rejected a proposed biopic titled Piano Man, developed by Michael Jai White’s Jaigantic Studios in 2022. The current project, Billy and Me, marks another attempt to dramatize Joel’s career, but without his explicit endorsement.

Why Joel’s Stance Matters

Joel’s opposition to the biopic is not merely a matter of creative control; it reflects broader industry tensions over intellectual property and artistic integrity. Biopics involving living figures often require extensive negotiations over rights, including music licenses, archival footage, and interviews. Without these, films risk legal action or, at best, a hollow product that fails to capture the subject’s essence.

For Ottman and Ripp, the challenge is compounded by Joel’s status as a Grammy-winning icon whose music remains commercially and culturally significant. The film’s premise—focusing on Mazur rather than Joel himself—may offer a workaround, but it does not resolve the core issue: Joel’s team has made it unequivocally clear that the project is not welcome.

Industry observers note that unauthorized biopics have increasingly drawn fire from their subjects. In 2025, Cameron Crowe’s upcoming Bruce Springsteen biopic faced scrutiny over casting and creative decisions, while Jeremy Allen White’s potential portrayal of Springsteen in Deliver Me From Nowhere (based on Warren Zanes’ memoir) has also sparked debate. Joel’s stance, however, is particularly firm, given his long-standing reputation for protecting his artistic legacy.

What Happens Next?

The future of Billy and Me remains uncertain. Ottman and Ripp have not publicly responded to Joel’s rejection, but the project’s viability hinges on securing the necessary rights—or finding a way to proceed without them. Given Joel’s legal team’s warnings, any attempt to move forward without his authorization could lead to costly litigation or a last-minute shutdown.

For now, the film remains in limbo, a casualty of Hollywood’s rush to capitalize on musical legends without securing their blessing. The incident serves as a reminder that even in an era of streaming-driven content hunger, creative integrity—and legal compliance—still matter. As Joel’s team made clear, some stories are not for telling without the subject’s consent.

What is certain is that this will not be the last time a living artist pushes back against an unauthorized biopic. As rock music’s legacy continues to inspire filmmakers, the battle over who controls these narratives will only intensify.