The Lady Gaga Documentary Revealed Her Intimate Connection To Amy Winehouse

Lady Gaga Documentary Revealed Her Intimate Connection Amy Winehouse

There’s a blink-and-you’ll-miss-it moment in Gaga: Five Foot Two that strengthens a tie between Lady Gaga and one of her biggest inspirations, and it goes down about 10 minutes into the documentary when we’re invited into her intimate, filter-free sanctuary: the studio.

Gaga: Five Foot Two follows the pop star through one of the most tumultuous periods of her career, and director Chris Moukarbel spent a significant amount of the documentary zooming in as she wrote and recorded her 2016 album, Joanne , with her producer, Mark Ronson , and various musicians. One of its first scenes focuses on her taking a break after recording Million Reasons and additional material with a few of the players. Talk turns to the pressures of fame and maintaining a perfect, sexy image — favorite subjects of Gaga’s that double as emotional threads for the film — and she revisits her macabre performance of Paparazzi at the 2009 MTV Video Music Awards.

'There are some obvious similarities between Gaga and Amy that people have always pointed out — physically; they came out around a similar time; they’re singer-songwriters; they’re both interested in these old sounds. I think in a way Gaga sees herself as a survivor. A lot of people didn’t make it past 27, and Amy is one of them. So, for Gaga to have gone through that threshold ... I think she thinks of herself now as somebody who’s made it past that and has survived.

Moukarbel goes on to stress how artists like Gaga and Winehouse are victims of the fame machine because so much is expected of them on every mental, physical, and creative level.

They have to take so much in, and they have to push so much out, he continues. It really can be destructive. A lot of them don’t survive, and they become sort of sacrificed to this experience. I think everybody thinks of Amy as one of those people. For her to evoke Amy in that moment was kind of chilling.