But the other five episodes on Netflix — six or seven more are due sometime next year — were directed by TV veterans Ed Bianchi, Andrew Bernstein, and Michael Dinner.
But as Guirgis explains in a Get Down-focused episode of the Vulture TV Podcast, Luhrmann certainly served as the creative center around which everything else rotated.
(In its flirtier, testing-the-waters moments, the relationship between Ezekiel, who’s half-black and half-Puerto Rican, and Mylene, who’s Latina, also feels a little reminiscent of West Side Story — appropriate, since that musical was based on Romeo and Juliet.) Stylistically, The Get Down reminds me most frequently of Moulin Rouge!
Unlike this year’s two other high-profile, music-based shows spearheaded by auteurs — Martin Scorsese’s Vinyl and Cameron Crowe’s Roadies — Luhrmann’s The Get Down is the origin story of a genre and, as such, takes us inside the process of creating and discovering that genre.
But there are enough that are that it feels right to say: Yes, The Get Down is the scripted-TV version of a Baz Luhrmann movie.