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(BRIGHT TONE)
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- ♪ Something happened
on the day he died ♪
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♪ Spirit rose a meter
and stepped aside ♪
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♪ Somebody else
took his place ♪
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♪ And bravely cried ♪
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Always remember that the reason
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that you initially
started working
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was that there was
something inside yourself
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that you felt that
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if you could manifest it
in some way,
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you would understand
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more about yourself
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and how you coexist
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with the rest of society.
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♪ How many times
does an angel fall ♪
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♪ How many people lie ♪
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♪ Instead of talking tall ♪
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People have either
really accepted what I do
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or they've absolutely
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sort of pushed it
away from them.
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I guess that's what I am,
you know?
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But I would love to feel that
what I did
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actually changed
the fabric of music.
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(ROCK MUSIC)
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♪ ♪
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Even though I seem to
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superficially change such a lot,
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a style does come through.
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(ELECTRONIC MUSIC)
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By virtue of the fact
that I'm getting older,
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it's given me quite a scope
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on what I can draw
from within my own
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catalog of albums.
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♪ ♪
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♪ Look up here ♪
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♪ I'm in heaven ♪
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♪ I've got scars
that can't be seen ♪
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♪ ♪
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'Allo, 'allo, 'allo!
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It's your lucky day!
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♪ ♪
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♪ Where are we now? ♪
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♪ Where are we now? ♪
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- I think that David's music
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is totally autobiographical.
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He's telling you everything
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if you just know
what to look for.
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- ♪ The moment you know ♪
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♪ You know you know ♪
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- He was a kind of provocateur.
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- ♪ Where the fuck
did Monday go? ♪
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- He offered an alternative
to people,
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and that, to me,
is a great artist.
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You know?
Someone who can
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offer that for generations
to come.
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♪ ♪
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- This is one human being
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who has single-handedly
changed
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basically the course of my life,
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and you can't say that
about most people.
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(ROCK DRUM MUSIC)
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(ROCK MUSIC)
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♪ ♪
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- ♪ Loving the alien ♪
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♪ Watch that man ♪
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- ♪ Oh, honey,
watch that man ♪
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- ♪ Blue, blue,
electric blue ♪
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♪ That's the color
of my room ♪
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♪ I'm looking for a vehicle ♪
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♪ I'm looking for a ride ♪
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♪ I'm looking for a party ♪
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♪ I'm looking for a side ♪
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♪ We can be heroes ♪
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♪ Just for one day ♪
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(MUSIC FADES)
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(CHEERS AND APPLAUSE)
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(ROCK MUSIC)
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♪ ♪
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I've this poetic, romantic,
kind of juvenile idea
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that I would be dead by 30,
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but suddenly you're 30
and you're 40.
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Then you're 50 and 57,
and all that,
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and it's a new land, you know?
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- Sure.
- I'm a pioneer.
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♪ Got your mother
in a whirl ♪
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♪ ♪
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♪ She's not sure
if you're a boy or a girl ♪
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♪ Hey, baby ♪
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♪ Your hair's all right ♪
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♪ Hey, baby,
let's stay out tonight ♪
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- It's a big tour
you're starting now, isn't it?
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- Yeah, it's gonna go on
for months and months,
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but, uh, I think
we're up for it.
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- How do you feel right now?
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- Pretty relaxed, you know.
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Uh, I enjoy the songs a lot,
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so, uh, I'm gonna--
I'm gonna have a good time.
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(LAUGHS)
♪ You're ♪
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♪ ♪
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- You know, I'm gonna
be honest with you.
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The happiest I've ever seen
that man
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in 42 years that I spent,
on and off, with him,
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was that tour.
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I--I'd never seen him
like that before.
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- ♪ You're ♪
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ALL: ♪ Rebel, rebel ♪
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- ♪ Put on your dress ♪
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ALL: ♪ Rebel, rebel ♪
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- ♪ Face is a mess ♪
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♪ You're a ♪
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ALL: ♪ Rebel, rebel ♪
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- ♪ How could they know? ♪
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ALL: ♪ Hot tramp,
I love you so ♪
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- ♪ You bet ♪
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- At a certain time
in your life,
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you get to a point where
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you do feel freer
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and you don't really care
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what people...
(LAUGHS)
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Think, and you can be yourself
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and you can laugh at things
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and you can not take things,
maybe, so seriously.
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♪ ♪
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- ♪ Hey, baby,
let's stay out tonight ♪
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- When it came to
the "Reality Tour,"
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I think he had decided that
he was gonna take down
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that kind of
screen, if you like...
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- Thank you!
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- And be David Bowie,
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not in a cheesy way,
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but he--he allowed more access
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to himself.
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- On guitar,
from Dublin's fair city,
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Gerry Leonard.
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(CHEERS AND APPLAUSE)
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Actually, he's--
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He's actually from
Tunbridge Wells,
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but he always gets
the good applause
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when I say that.
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I'm not really very keen
to put on
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much of a theatrical show,
you know,
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in terms of big sets
and elephants and fireworks
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and things like that.
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Of course, it doesn't mean that
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I won't go back on my word,
because that's, you know,
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part and parcel
of what I do for you,
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as part of
my entertaining factor
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is lying to you.
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♪ ♪
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- His sense of humor was on.
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He always had one anyway,
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but publicly,
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he didn't show it as much.
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You know what I mean?
There was that
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serious artist thing
going on, you know,
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during some of the tours.
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The "Reality Tour"
wasn't like that,
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because there was some nights
I was falling down laughing
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for some of the shit
that he would say or do
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or that happened.
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- These must be my albums
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that nobody ever bought,
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so they've gotten really cheap.
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Look, they got "Lodger"
and "Tin Machine,"
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Isn't that because...
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- We're at some truck stop
in Montana,
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and I'm at--
You know--you know those
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machines that you never win at
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where you put in the quarter
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and then the claw comes down
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and it picks up
the stuffed animal?
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- Yeah, good boy.
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- Oh!
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ALL: Oh!
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- I do, it, and I actually get
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the thing out of it,
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and it's the--
But it's the two of us.
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It's this competition
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of who's gonna get
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the stuffed animal.
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- I think it's kind of
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a 50/50 thing here,
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so I'll take that one...
- Oh, cut--
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It was Cat's money.
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That's just not the David
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that I had known in early years.
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- (LAUGHS)
- That's brilliant.
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- Some of the fun and games
that were going on--
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I think that really was
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who he was, you know?
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The real David was the one
that you saw
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at the time of
the "Reality Tour."
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He was--he's just--
He was always funny.
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He always had
a funny sense of humor.
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- (SQUAWKS)
- He was always joking
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about things.
- (SQUAWKS)
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- All right.
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- Oh, you're doing your bird.
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- Dun-dun-dun-dun.
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- Guess the movie.
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(LAUGHTER)
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- There was a sense
that David looked
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as young and as youthful
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as ever on that tour.
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(CHEERS AND APPLAUSE)
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It did seem like he had
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the gift from the gods,
you know?
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That--that he was never
gonna get old.
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- ♪ Never ever, ever
gonna get old ♪
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♪ ♪
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(CHEERS AND APPLAUSE)
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That's a lie,
but it's only a little lie.
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- He looked so good
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and youthful at the same time
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and one night, I said,
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"You look really good
in that suit,"
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and for some reason,
the way I said it--
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He said,
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"I'm happily married."
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(LAUGHS)
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So I didn't realize what I--
(LAUGHS)
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how I was saying that.
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But yeah, he just looked great,
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all the time.
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(CHUCKLES)
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- ♪ Billy rapped all night ♪
227
00:09:01,807 --> 00:09:03,806
♪ About his suicide ♪
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00:09:03,807 --> 00:09:06,890
♪ Kick it in the head
when he was 25 ♪
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That's just speed jive.
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♪ Don't wanna stay alive ♪
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♪ When you're 25 ♪
232
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- Playing "All the Young Dudes,"
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that's such--
Like an anthem, really.
234
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In a way,
it was almost like church,
235
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you know,
when you really do feel like
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you have this congregation
of people
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and everyone's singing
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and the whole place is swaying.
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ALL: ♪ All the young dudes ♪
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- Yeah, you in the back!
241
00:09:31,307 --> 00:09:33,015
ALL: ♪ Carry the news ♪
242
00:09:33,016 --> 00:09:35,056
- In the St. George T-shirt!
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00:09:35,057 --> 00:09:37,140
ALL: ♪ Dudes ♪
244
00:09:37,141 --> 00:09:40,264
- ♪ Carry the message ♪
245
00:09:40,265 --> 00:09:42,848
♪ One more ♪
246
00:09:42,849 --> 00:09:44,222
- It was just a--
247
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An incredible connection
248
00:09:46,223 --> 00:09:48,306
to the audience,
I think, for that show,
249
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for pretty much the whole show.
250
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ALL: ♪ Boogaloo dudes ♪
251
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♪ Carry the news ♪
252
00:09:55,557 --> 00:09:58,015
♪ ♪
253
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- He just got into
tunnel vision,
254
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like he was gonna make this
255
00:10:01,891 --> 00:10:03,264
not just successful,
256
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but just be prepared to play it,
257
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because it was a lot of music
every night.
258
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We would go in
259
00:10:09,974 --> 00:10:11,973
2 1/2-hour sets,
260
00:10:11,974 --> 00:10:13,931
and, you know,
you have to really
261
00:10:13,932 --> 00:10:17,514
be physically capable
to handle that.
262
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(SOMBER MUSIC)
263
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♪ ♪
264
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- Going on tour
excited him very much,
265
00:10:28,390 --> 00:10:31,431
but, uh, he said to me,
flat-out,
266
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"I'm tired,"
267
00:10:33,265 --> 00:10:34,639
so I think, um,
268
00:10:34,640 --> 00:10:37,015
he fulfilled
all his wishes and dreams,
269
00:10:37,016 --> 00:10:40,015
and maybe he got
a little over-saturated
270
00:10:40,016 --> 00:10:41,598
in the touring.
271
00:10:41,599 --> 00:10:48,682
♪ ♪
272
00:10:49,057 --> 00:10:51,140
- We got to Prague,
273
00:10:51,141 --> 00:10:54,181
and then, during a show,
274
00:10:54,182 --> 00:10:58,598
David was sweating profusely
275
00:10:58,599 --> 00:11:00,681
and unable to sing.
276
00:11:00,682 --> 00:11:03,973
- And then he started
to hunch over.
277
00:11:03,974 --> 00:11:06,098
He looked over,
and I looked over at him,
278
00:11:06,099 --> 00:11:08,472
and I went, "There's something
really wrong."
279
00:11:08,473 --> 00:11:09,973
I said--
And I went, like--
280
00:11:09,974 --> 00:11:11,723
And I signaled
to his floor manager,
281
00:11:11,724 --> 00:11:14,306
and I went,
"Boss, you're not okay."
282
00:11:14,307 --> 00:11:17,472
- The security person ran out
and took him off the stage.
283
00:11:17,473 --> 00:11:19,181
Just took him away.
284
00:11:19,182 --> 00:11:20,973
- It was a little mysterious
to everybody
285
00:11:20,974 --> 00:11:22,514
as to what it might be,
286
00:11:22,515 --> 00:11:24,472
because it really did
come out of the blue.
287
00:11:24,473 --> 00:11:26,347
- I just was thinking,
"Okay, he's seeing the doctor.
288
00:11:26,348 --> 00:11:30,222
Maybe they've
given him a shot, or whatever."
289
00:11:30,223 --> 00:11:33,015
Then we got ready to go
to the Hurricane Festival.
290
00:11:33,016 --> 00:11:34,347
(CHEERS AND APPLAUSE)
291
00:11:34,348 --> 00:11:36,681
- We'll leave this one for you,
292
00:11:36,682 --> 00:11:37,848
for me, for my band,
293
00:11:37,849 --> 00:11:39,181
for our families.
294
00:11:39,182 --> 00:11:40,389
Thanks very much.
295
00:11:40,390 --> 00:11:41,764
- We played the entire set,
296
00:11:41,765 --> 00:11:43,848
and it seemed, you know, normal.
297
00:11:43,849 --> 00:11:47,222
Not as--quite as--
As energetic
298
00:11:47,223 --> 00:11:49,181
and as charged
299
00:11:49,182 --> 00:11:51,015
as the performances before.
300
00:11:51,016 --> 00:11:55,098
♪ ♪
301
00:11:55,099 --> 00:11:57,306
- ♪ But I'll drink
all the time ♪
302
00:11:57,307 --> 00:12:00,764
♪ ♪
303
00:12:00,765 --> 00:12:02,431
♪ 'Cause we're lovers ♪
304
00:12:02,432 --> 00:12:04,890
♪ ♪
305
00:12:04,891 --> 00:12:07,181
♪ That is a fact ♪
306
00:12:07,182 --> 00:12:09,723
♪ ♪
307
00:12:09,724 --> 00:12:11,890
♪ Yes, we're lovers ♪
308
00:12:11,891 --> 00:12:13,431
- We finished the show...
309
00:12:13,432 --> 00:12:14,848
- ♪ And that is that ♪
310
00:12:14,849 --> 00:12:16,639
- And then it seemed like
311
00:12:16,640 --> 00:12:18,222
David was in a lot of pain
312
00:12:18,223 --> 00:12:20,098
and obviously
something was wrong.
313
00:12:20,099 --> 00:12:23,556
- They sent an ambulance,
and took him away.
314
00:12:23,557 --> 00:12:26,431
We went back in the vans, um,
with the band,
315
00:12:26,432 --> 00:12:28,931
and he went off
in an ambulance that night.
316
00:12:28,932 --> 00:12:31,806
- I think we were told that, um,
317
00:12:31,807 --> 00:12:33,764
he had a mild heart attack
318
00:12:33,765 --> 00:12:36,389
and that his life
wasn't in danger,
319
00:12:36,390 --> 00:12:39,306
but that was it.
We were going home.
320
00:12:39,307 --> 00:12:42,432
(DESOLATE AMBIENT NOISE)
321
00:12:47,057 --> 00:12:50,265
(DISTANT SIRENS WAILING)
322
00:12:53,265 --> 00:12:55,514
- He said he
wasn't gonna work for a while
323
00:12:55,515 --> 00:12:57,514
and, uh, he wasn't sure
324
00:12:57,515 --> 00:12:58,931
if he'd ever record again,
325
00:12:58,932 --> 00:13:00,681
or tour again.
326
00:13:00,682 --> 00:13:04,181
He just wanted to take time off.
327
00:13:04,182 --> 00:13:06,098
(HORN BLARING)
328
00:13:06,099 --> 00:13:07,431
(TRAFFIC RUMBLES)
329
00:13:07,432 --> 00:13:10,765
♪ ♪
330
00:13:11,432 --> 00:13:14,015
- I think any kind of
unexpected thing,
331
00:13:14,016 --> 00:13:15,764
like a heart attack--
It makes you
332
00:13:15,765 --> 00:13:17,764
reevaluate things, and I--
333
00:13:17,765 --> 00:13:20,764
But I never thought
he'd stop working.
334
00:13:20,765 --> 00:13:23,140
♪ ♪
335
00:13:23,141 --> 00:13:26,264
- We would exchange emails
about things that were
336
00:13:26,265 --> 00:13:29,306
interesting to each other
or relevant,
337
00:13:29,307 --> 00:13:33,015
but there wasn't
a lot of contact.
338
00:13:33,016 --> 00:13:34,764
♪ ♪
339
00:13:34,765 --> 00:13:37,306
- It's hard to figure out David,
340
00:13:37,307 --> 00:13:40,347
you know, and I stopped
trying to figure him out.
341
00:13:40,348 --> 00:13:42,556
Just hope the phone would ring,
342
00:13:42,557 --> 00:13:45,056
and/or get an email from him,
343
00:13:45,057 --> 00:13:46,639
and I did.
344
00:13:46,640 --> 00:13:49,639
(BRIGHT DRUM MUSIC)
345
00:13:49,640 --> 00:13:56,765
♪ ♪
346
00:14:05,974 --> 00:14:08,973
(ROCK MUSIC)
347
00:14:08,974 --> 00:14:16,141
♪ ♪
348
00:14:22,515 --> 00:14:25,264
- Having not heard from him
for a while,
349
00:14:25,265 --> 00:14:27,015
I suddenly got an email
350
00:14:27,016 --> 00:14:28,306
to see if I was available
351
00:14:28,307 --> 00:14:30,347
to come and play on the album.
352
00:14:30,348 --> 00:14:33,389
I received, then,
an email from the management
353
00:14:33,390 --> 00:14:37,264
about the fact that
if I was going to do this,
354
00:14:37,265 --> 00:14:39,181
it would have to be secret,
355
00:14:39,182 --> 00:14:40,514
and if I
356
00:14:40,515 --> 00:14:42,222
said anything about it,
357
00:14:42,223 --> 00:14:43,973
I would be in big trouble...
358
00:14:43,974 --> 00:14:45,181
(LAUGHS)
Legally.
359
00:14:45,182 --> 00:14:47,056
♪ ♪
360
00:14:47,057 --> 00:14:48,723
- I got an email,
361
00:14:48,724 --> 00:14:51,222
really out of the blue,
from David.
362
00:14:51,223 --> 00:14:52,973
"Do you want to come
363
00:14:52,974 --> 00:14:56,556
and work on some new songs
for a week?"
364
00:14:56,557 --> 00:14:58,764
Uh, "P.S.,
365
00:14:58,765 --> 00:15:00,222
uh, keep schtum."
366
00:15:00,223 --> 00:15:02,181
♪ ♪
367
00:15:02,182 --> 00:15:04,431
- Once we got to the studio,
368
00:15:04,432 --> 00:15:05,723
one of the first things he did
369
00:15:05,724 --> 00:15:08,140
was hand out NDAs to everybody:
370
00:15:08,141 --> 00:15:10,681
these papers to sign.
It's the first time
371
00:15:10,682 --> 00:15:12,140
that I'd ever been asked
372
00:15:12,141 --> 00:15:13,472
to do something like that
for him.
373
00:15:13,473 --> 00:15:14,931
♪ ♪
374
00:15:14,932 --> 00:15:16,389
- The hours were very short,
375
00:15:16,390 --> 00:15:17,890
compared to normal.
376
00:15:17,891 --> 00:15:19,681
By 6:00, that was it,
no matter what,
377
00:15:19,682 --> 00:15:22,389
and some days,
even earlier than that.
378
00:15:22,390 --> 00:15:24,556
That was not the David Bowie
379
00:15:24,557 --> 00:15:26,514
that I ever worked with before.
380
00:15:26,515 --> 00:15:28,556
Ever.
I've never seen that.
381
00:15:28,557 --> 00:15:30,015
He would go in there
382
00:15:30,016 --> 00:15:32,598
and stay there until
383
00:15:32,599 --> 00:15:35,056
he was spent or done,
384
00:15:35,057 --> 00:15:36,764
but this was like a...
385
00:15:36,765 --> 00:15:38,389
"Mm. I'm leaving.
386
00:15:38,390 --> 00:15:39,723
6:00. See you."
387
00:15:39,724 --> 00:15:41,764
♪ ♪
388
00:15:41,765 --> 00:15:43,764
- He really wanted
no pressure on him
389
00:15:43,765 --> 00:15:45,140
to release an album.
390
00:15:45,141 --> 00:15:47,098
There was no press release
saying
391
00:15:47,099 --> 00:15:50,306
"Expect a Bowie album
on this date."
392
00:15:50,307 --> 00:15:54,848
This way, he could finish
every song to perfection.
393
00:15:54,849 --> 00:15:57,848
(ETHEREAL MUSIC)
394
00:15:57,849 --> 00:16:00,764
♪ ♪
395
00:16:00,765 --> 00:16:03,849
(INDISTINCT CHATTER)
396
00:16:04,265 --> 00:16:05,806
- I'm much more interested
397
00:16:05,807 --> 00:16:07,431
in the process of life
398
00:16:07,432 --> 00:16:08,973
and what is it that we're--
399
00:16:08,974 --> 00:16:12,140
We're uncovering
with our every move?
400
00:16:12,141 --> 00:16:15,556
The celebrity side of it--
I couldn't give a sausage.
401
00:16:15,557 --> 00:16:17,140
(LAUGHS)
402
00:16:17,141 --> 00:16:20,140
(ROCK MUSIC)
403
00:16:20,141 --> 00:16:27,182
♪ ♪
404
00:16:28,557 --> 00:16:30,098
- ♪ Ooh, ooh, ooh, ooh ♪
405
00:16:30,099 --> 00:16:31,598
♪ Ooh, ooh, ooh, ooh ♪
406
00:16:31,599 --> 00:16:34,181
♪ Stars are never sleeping ♪
407
00:16:34,182 --> 00:16:35,973
♪ ♪
408
00:16:35,974 --> 00:16:38,431
♪ Ooh, ooh, ooh, ooh,
ooh, ooh, ooh, ooh ♪
409
00:16:38,432 --> 00:16:42,598
♪ Dead ones and the living ♪
410
00:16:42,599 --> 00:16:46,472
♪ We live closer
to the earth ♪
411
00:16:46,473 --> 00:16:49,973
♪ Never to the heavens ♪
412
00:16:49,974 --> 00:16:53,556
♪ The stars are never
far away ♪
413
00:16:53,557 --> 00:16:56,556
♪ The stars are out tonight ♪
414
00:16:56,557 --> 00:16:58,140
- David!
415
00:16:58,141 --> 00:17:00,181
Mr. Bowie! Mr. Bowie!
416
00:17:00,182 --> 00:17:01,848
David, can you wave?
417
00:17:01,849 --> 00:17:03,514
- ♪ The stars must stick
together ♪
418
00:17:03,515 --> 00:17:05,389
- "The Stars Are Out Tonight"
song
419
00:17:05,390 --> 00:17:08,681
is about David's attitude
towards celebrities.
420
00:17:08,682 --> 00:17:09,848
He's had a good dose
421
00:17:09,849 --> 00:17:11,264
of other people's celebrity,
422
00:17:11,265 --> 00:17:13,015
which, uh, he found distasteful.
423
00:17:13,016 --> 00:17:15,098
♪ ♪
424
00:17:15,099 --> 00:17:18,056
- There were definitely
things on his mind
425
00:17:18,057 --> 00:17:19,514
and he'd been ruminating over,
426
00:17:19,515 --> 00:17:21,264
and it was all coming out now.
427
00:17:21,265 --> 00:17:24,140
It was like
he was birthing the stuff.
428
00:17:24,141 --> 00:17:26,598
♪ ♪
429
00:17:26,599 --> 00:17:27,848
- He was trying a lot of things.
430
00:17:27,849 --> 00:17:29,347
He had to flex his muscles,
431
00:17:29,348 --> 00:17:31,056
to get back in shape,
like a runner,
432
00:17:31,057 --> 00:17:33,764
or an athlete.
That's what he had to do.
433
00:17:33,765 --> 00:17:36,973
You know, we just would throw
these songs at the musicians,
434
00:17:36,974 --> 00:17:38,723
and they haven't
heard them before.
435
00:17:38,724 --> 00:17:42,056
So we have David Torn
on this track.
436
00:17:42,057 --> 00:17:45,806
For instance, the intro--
If I play David Torn...
437
00:17:45,807 --> 00:17:48,806
(LOOPING MUSIC)
438
00:17:48,807 --> 00:17:55,891
♪ ♪
439
00:17:56,765 --> 00:17:58,890
And that's his role in this,
you know.
440
00:17:58,891 --> 00:18:01,806
- I had this loop--
Something like this going,
441
00:18:01,807 --> 00:18:04,389
which sounded like this,
442
00:18:04,390 --> 00:18:06,389
and I was moving it in and out
443
00:18:06,390 --> 00:18:10,723
while the--
While the whine was happening.
444
00:18:10,724 --> 00:18:12,556
♪ ♪
445
00:18:12,557 --> 00:18:15,890
- And I remember also
that he was changing his vocal
446
00:18:15,891 --> 00:18:17,890
over the chords
to create different sections,
447
00:18:17,891 --> 00:18:20,890
so we kind of had the idea
to, uh,
448
00:18:20,891 --> 00:18:22,764
put some little
different guitar riffs
449
00:18:22,765 --> 00:18:24,264
to kind of signify
450
00:18:24,265 --> 00:18:26,723
the changes over that.
451
00:18:26,724 --> 00:18:29,764
(SMOOTH GUITAR MUSIC)
452
00:18:29,765 --> 00:18:32,764
♪ ♪
453
00:18:32,765 --> 00:18:35,472
- I put Torn and Leonard
together--
454
00:18:35,473 --> 00:18:36,931
Torn and Leonard.
455
00:18:36,932 --> 00:18:40,764
♪ ♪
456
00:18:40,765 --> 00:18:42,681
Very complementary.
457
00:18:42,682 --> 00:18:43,848
♪ ♪
458
00:18:43,849 --> 00:18:44,973
(MUSIC STOPS ABRUPTLY)
Okay.
459
00:18:44,974 --> 00:18:48,056
(FUNKY BASS GUITAR MUSIC)
460
00:18:48,057 --> 00:18:50,973
♪ ♪
461
00:18:50,974 --> 00:18:52,931
- It's that kind of--
Almost a Motown kind of--
462
00:18:52,932 --> 00:18:54,472
I don't know where that
kind of comes from.
463
00:18:54,473 --> 00:18:56,098
- Very Motown-y, yeah.
464
00:18:56,099 --> 00:18:59,098
♪ ♪
465
00:18:59,099 --> 00:19:03,056
- ♪ Sugar pie,
honey bunch ♪
466
00:19:03,057 --> 00:19:04,639
- But he never said
anything about doing that.
467
00:19:04,640 --> 00:19:06,222
- That's right.
- We kind of assumed.
468
00:19:06,223 --> 00:19:07,639
- If you've got a smile,
469
00:19:07,640 --> 00:19:08,973
you're going in the right
direction, you know?
470
00:19:08,974 --> 00:19:10,764
If you get that kind of, like,
471
00:19:10,765 --> 00:19:11,931
you're just like, "Oh, no,
472
00:19:11,932 --> 00:19:13,098
I wasn't thinking that at all."
473
00:19:13,099 --> 00:19:14,389
You know?
474
00:19:14,390 --> 00:19:16,931
- And it made me think
of another song
475
00:19:16,932 --> 00:19:18,431
which is a David song,
476
00:19:18,432 --> 00:19:20,264
which was, uh,
477
00:19:20,265 --> 00:19:23,472
"China Girl."
478
00:19:23,473 --> 00:19:26,306
(DRUM MUSIC)
479
00:19:26,307 --> 00:19:28,931
- David would come
to the studio with
480
00:19:28,932 --> 00:19:31,639
pages full of lyrics,
and start scratching them out.
481
00:19:31,640 --> 00:19:34,598
Up until the last minute,
he would keep revising,
482
00:19:34,599 --> 00:19:37,140
and sometimes,
he would come in and
483
00:19:37,141 --> 00:19:39,140
just re-sing one line.
484
00:19:39,141 --> 00:19:42,140
("THE STARS" PLAYING)
485
00:19:42,141 --> 00:19:49,307
♪ ♪
486
00:19:56,016 --> 00:19:57,514
- "Stars Are Out Tonight."
I think that's
487
00:19:57,515 --> 00:19:58,764
one of my favorite songs
488
00:19:58,765 --> 00:20:00,181
on the record, actually.
489
00:20:00,182 --> 00:20:01,598
I think that song was a--
490
00:20:01,599 --> 00:20:03,015
For lack of a better word,
491
00:20:03,016 --> 00:20:04,056
a good piss-take...
492
00:20:04,057 --> 00:20:06,514
(LAUGHS)
In a way,
493
00:20:06,515 --> 00:20:09,264
on--on what fame has become,
494
00:20:09,265 --> 00:20:12,764
which just is
out-of-control machine.
495
00:20:12,765 --> 00:20:14,347
♪ ♪
496
00:20:14,348 --> 00:20:18,015
- You know, David had great,
grand ideas.
497
00:20:18,016 --> 00:20:20,723
To become well-known,
famous,
498
00:20:20,724 --> 00:20:22,806
was for him, initially,
499
00:20:22,807 --> 00:20:24,890
was to have the resources
500
00:20:24,891 --> 00:20:27,472
to realize what his ideas were.
501
00:20:27,473 --> 00:20:29,890
He really does come from
that spirit.
502
00:20:29,891 --> 00:20:33,098
Um, he just didn't
want to be famous per se.
503
00:20:33,099 --> 00:20:36,140
(CHEERY ROCK MUSIC)
504
00:20:36,141 --> 00:20:40,098
♪ ♪
505
00:20:40,099 --> 00:20:42,890
- ♪ Da-da-da-da ♪
506
00:20:42,891 --> 00:20:45,890
I just wanted to make
a really big name for myself.
507
00:20:45,891 --> 00:20:48,306
I wanted to make a mark.
508
00:20:48,307 --> 00:20:51,098
♪ Just look through
your window ♪
509
00:20:51,099 --> 00:20:54,723
♪ Look who sits outside ♪
510
00:20:54,724 --> 00:20:57,389
- David had quite an edgy
personality.
511
00:20:57,390 --> 00:21:01,056
He was intrigued by edgy stuff.
512
00:21:01,057 --> 00:21:02,806
He wanted to do many things.
513
00:21:02,807 --> 00:21:04,931
He loved the idea of theater.
514
00:21:04,932 --> 00:21:06,931
He loved the idea of acting.
515
00:21:06,932 --> 00:21:09,347
He loved the idea
of working with actors.
516
00:21:09,348 --> 00:21:11,389
- ♪ Ah ♪
517
00:21:11,390 --> 00:21:12,973
♪ Beautiful baby ♪
518
00:21:12,974 --> 00:21:14,764
♪ And my heart's aflame ♪
519
00:21:14,765 --> 00:21:16,598
♪ I'll love you till Tuesday ♪
520
00:21:16,599 --> 00:21:18,140
♪ My head's in a whirl ♪
521
00:21:18,141 --> 00:21:21,056
♪ And I'll love you
till Tuesday ♪
522
00:21:21,057 --> 00:21:23,639
- He loved the idea of
working with musicians.
523
00:21:23,640 --> 00:21:25,472
Being one himself,
524
00:21:25,473 --> 00:21:27,140
he always
525
00:21:27,141 --> 00:21:31,306
was looking right and left,
or over his shoulder,
526
00:21:31,307 --> 00:21:33,015
uh, at what might be,
527
00:21:33,016 --> 00:21:35,015
or what--
"What could I do next."
528
00:21:35,016 --> 00:21:36,931
(ELECTRIC GUITAR MUSIC)
529
00:21:36,932 --> 00:21:38,514
- It took me all the '60s
530
00:21:38,515 --> 00:21:40,639
to try everything
that I could think of
531
00:21:40,640 --> 00:21:42,389
to find out exactly what it was
532
00:21:42,390 --> 00:21:44,222
I wanted to do anyway,
533
00:21:44,223 --> 00:21:46,264
but just about
the end of the '60s,
534
00:21:46,265 --> 00:21:47,931
it just started
to come together.
535
00:21:47,932 --> 00:21:52,306
♪ Strange games
they would play then ♪
536
00:21:52,307 --> 00:21:57,389
♪ No death for
the perfect men ♪
537
00:21:57,390 --> 00:22:03,556
♪ Life rolls
into one for them ♪
538
00:22:03,557 --> 00:22:06,056
♪ So softly ♪
539
00:22:06,057 --> 00:22:13,141
♪ A super-god cries ♪
540
00:22:13,348 --> 00:22:14,681
Through circumstances,
541
00:22:14,682 --> 00:22:15,973
I'd run into a drummer
542
00:22:15,974 --> 00:22:17,472
called John Cambridge,
543
00:22:17,473 --> 00:22:19,890
and Tony Visconti
and Mick Ronson,
544
00:22:19,891 --> 00:22:21,973
and we'd put together a band
called Hype.
545
00:22:21,974 --> 00:22:24,556
It was probably
my first costume band.
546
00:22:24,557 --> 00:22:26,806
As far as I'm aware,
that was the very first
547
00:22:26,807 --> 00:22:28,848
so-called "glam rock" gig.
548
00:22:28,849 --> 00:22:30,056
♪ No pain of flesh ♪
549
00:22:30,057 --> 00:22:31,598
♪ No power too great ♪
550
00:22:31,599 --> 00:22:33,015
- Hype was very important
551
00:22:33,016 --> 00:22:35,347
to David's development.
552
00:22:35,348 --> 00:22:37,015
This was the only way
he could see
553
00:22:37,016 --> 00:22:38,264
at that time
554
00:22:38,265 --> 00:22:40,723
that he could, uh,
555
00:22:40,724 --> 00:22:42,181
be famous, become famous,
556
00:22:42,182 --> 00:22:44,431
and become--
Become well-known,
557
00:22:44,432 --> 00:22:46,931
and it wasn't quite
the right incarnation,
558
00:22:46,932 --> 00:22:49,264
because he was not yet
559
00:22:49,265 --> 00:22:50,472
dyeing his hair orange,
560
00:22:50,473 --> 00:22:52,056
and he hadn't taken on
561
00:22:52,057 --> 00:22:53,848
the Ziggy persona yet.
562
00:22:53,849 --> 00:22:59,181
- ♪ And he was all right ♪
563
00:22:59,182 --> 00:23:02,181
♪ The band was all together ♪
564
00:23:02,182 --> 00:23:03,931
♪ Yes, he was ♪
565
00:23:03,932 --> 00:23:06,848
♪ All right ♪
566
00:23:06,849 --> 00:23:10,140
♪ The song went on forever ♪
567
00:23:10,141 --> 00:23:11,848
♪ And he was ♪
568
00:23:11,849 --> 00:23:14,598
♪ Awful nice ♪
569
00:23:14,599 --> 00:23:18,890
♪ Really quite out of sight ♪
And he sang...
570
00:23:18,891 --> 00:23:22,098
- ♪ All ♪
- ♪ All night ♪
571
00:23:22,099 --> 00:23:24,306
♪ All night long ♪
572
00:23:24,307 --> 00:23:26,890
♪ ♪
573
00:23:26,891 --> 00:23:30,306
♪ Ooh, how I sighed ♪
574
00:23:30,307 --> 00:23:33,222
♪ When they asked
if I knew his name ♪
575
00:23:33,223 --> 00:23:35,181
♪ Oh, he was ♪
576
00:23:35,182 --> 00:23:37,723
- ♪ All ♪
- ♪ All right ♪
577
00:23:37,724 --> 00:23:39,347
The real characterization
578
00:23:39,348 --> 00:23:41,181
really didn't kick in
till the Ziggy.
579
00:23:41,182 --> 00:23:43,639
I mean, I was always
quite a shy kid,
580
00:23:43,640 --> 00:23:45,556
and I didn't come alive
on stage.
581
00:23:45,557 --> 00:23:47,431
I just got even shier,
582
00:23:47,432 --> 00:23:49,222
but I found I didn't get so shy
583
00:23:49,223 --> 00:23:51,140
if I sort of adopted
a character,
584
00:23:51,141 --> 00:23:52,973
so it was a convenience
585
00:23:52,974 --> 00:23:55,098
as well as a very bright
theatrical idea.
586
00:23:55,099 --> 00:23:56,681
(LAUGHS)
587
00:23:56,682 --> 00:23:58,681
♪ Didn't know
what time it was ♪
588
00:23:58,682 --> 00:24:01,514
♪ Lights were low ♪
589
00:24:01,515 --> 00:24:03,598
♪ I leaned back ♪
590
00:24:03,599 --> 00:24:06,431
♪ On my radio ♪
591
00:24:06,432 --> 00:24:08,723
♪ Some cat was laying down
some ♪
592
00:24:08,724 --> 00:24:11,181
♪ Get it on
rock and roll ♪
593
00:24:11,182 --> 00:24:12,389
♪ He said ♪
594
00:24:12,390 --> 00:24:13,973
♪ ♪
595
00:24:13,974 --> 00:24:18,806
♪ Then the loud sound
did seem to fade ♪
596
00:24:18,807 --> 00:24:20,890
♪ Came back like a slow voice ♪
597
00:24:20,891 --> 00:24:23,806
♪ On a wave
of phase haze ♪
598
00:24:23,807 --> 00:24:25,890
♪ That weren't no DJ ♪
599
00:24:25,891 --> 00:24:28,931
♪ That was hazy cosmic jive ♪
600
00:24:28,932 --> 00:24:30,347
(PLUCKY PIANO MUSIC)
601
00:24:30,348 --> 00:24:31,598
♪ Uh-huh ♪
602
00:24:31,599 --> 00:24:32,639
♪ ♪
603
00:24:32,640 --> 00:24:35,764
♪ There's a starman ♪
604
00:24:35,765 --> 00:24:38,015
♪ Waiting in the sky ♪
605
00:24:38,016 --> 00:24:40,723
♪ He'd like to come
and meet us ♪
606
00:24:40,724 --> 00:24:42,931
♪ But he thinks
he'd blow our minds ♪
607
00:24:42,932 --> 00:24:45,890
♪ And there's a starman ♪
608
00:24:45,891 --> 00:24:48,431
♪ Waiting in the sky ♪
609
00:24:48,432 --> 00:24:50,598
♪ He told us not to blow it ♪
610
00:24:50,599 --> 00:24:52,556
♪ 'Cause he knows
it's all worthwhile ♪
611
00:24:52,557 --> 00:24:56,389
♪ He told me
let the children use it ♪
612
00:24:56,390 --> 00:24:58,931
♪ Let the children lose it ♪
613
00:24:58,932 --> 00:25:01,806
♪ Let all the children boogie ♪
614
00:25:01,807 --> 00:25:03,848
- Have you always wanted
to be a star?
615
00:25:03,849 --> 00:25:05,098
- Yeah.
616
00:25:05,099 --> 00:25:07,264
It's more than being a star.
617
00:25:07,265 --> 00:25:10,222
What it is, really,
is I want to be
618
00:25:10,223 --> 00:25:11,431
productive.
619
00:25:11,432 --> 00:25:13,389
I'm not content to be
620
00:25:13,390 --> 00:25:16,472
just a rock-and-roll star
all my life.
621
00:25:16,473 --> 00:25:20,056
I am trying to be one
at the moment,
622
00:25:20,057 --> 00:25:22,598
because I need it
for a particular reason,
623
00:25:22,599 --> 00:25:24,556
so I can get off
and do other things.
624
00:25:24,557 --> 00:25:27,556
♪ There's a starman ♪
625
00:25:27,557 --> 00:25:29,181
♪ Waiting in the sky ♪
626
00:25:29,182 --> 00:25:32,098
♪ He told us not to blow it ♪
627
00:25:32,099 --> 00:25:34,264
♪ 'Cause he knows
it's all worthwhile ♪
628
00:25:34,265 --> 00:25:35,389
♪ He told me ♪
629
00:25:35,390 --> 00:25:38,015
♪ Let the children use it ♪
630
00:25:38,016 --> 00:25:40,431
♪ Let the children lose it ♪
631
00:25:40,432 --> 00:25:42,764
♪ Let all the children boogie ♪
632
00:25:42,765 --> 00:25:43,848
♪ ♪
633
00:25:43,849 --> 00:25:46,806
- You could feel that David
634
00:25:46,807 --> 00:25:49,306
wanted to be the greatest artist
635
00:25:49,307 --> 00:25:51,598
and the next Elvis Presley.
636
00:25:51,599 --> 00:25:54,639
You could feel it from
every pore of his body.
637
00:25:54,640 --> 00:25:58,098
♪ ♪
638
00:25:58,099 --> 00:26:00,973
He would bring me
up to his suite
639
00:26:00,974 --> 00:26:05,222
and we would watch
Elvis Presley videos
640
00:26:05,223 --> 00:26:06,723
and Frank Sinatra,
641
00:26:06,724 --> 00:26:07,806
and we'd have discussions
642
00:26:07,807 --> 00:26:08,973
about it,
643
00:26:08,974 --> 00:26:10,681
and he would do certain moves,
644
00:26:10,682 --> 00:26:12,306
and does this seem right
and natural, all that.
645
00:26:12,307 --> 00:26:13,723
I mean, he was interested
646
00:26:13,724 --> 00:26:15,556
to look at those people
647
00:26:15,557 --> 00:26:17,389
and set such icons
648
00:26:17,390 --> 00:26:19,890
as his goals.
649
00:26:19,891 --> 00:26:22,140
- Oh, yes,
David wanted to be famous.
650
00:26:22,141 --> 00:26:24,806
David wanted to be an icon
651
00:26:24,807 --> 00:26:26,514
like he is now.
652
00:26:26,515 --> 00:26:28,222
He would say things to me like
653
00:26:28,223 --> 00:26:30,806
"You have to be someone that
654
00:26:30,807 --> 00:26:32,389
"thousands and millions
655
00:26:32,390 --> 00:26:33,639
"of people
656
00:26:33,640 --> 00:26:35,514
"want to listen to
657
00:26:35,515 --> 00:26:37,556
and--and believe in."
658
00:26:37,557 --> 00:26:40,598
(FOREBODING MUSIC)
659
00:26:40,599 --> 00:26:42,973
♪ ♪
660
00:26:42,974 --> 00:26:44,639
But he once said, too,
661
00:26:44,640 --> 00:26:46,347
that being super-successful
662
00:26:46,348 --> 00:26:48,514
was like living
in a goldfish bowl,
663
00:26:48,515 --> 00:26:49,806
and it was for him,
664
00:26:49,807 --> 00:26:50,973
because people became
665
00:26:50,974 --> 00:26:52,723
totally obsessed with him.
666
00:26:52,724 --> 00:26:55,181
- ♪ Fame makes a man ♪
667
00:26:55,182 --> 00:26:58,098
♪ Take things over ♪
668
00:26:58,099 --> 00:27:00,015
Do you know that feeling
you get in a car
669
00:27:00,016 --> 00:27:01,723
when someone's accelerating
very, very fast,
670
00:27:01,724 --> 00:27:03,431
and you're not driving,
and you get
671
00:27:03,432 --> 00:27:05,222
that thing in your chest
when you're being
672
00:27:05,223 --> 00:27:07,140
forced backwards,
and you think, "Ooh,"
673
00:27:07,141 --> 00:27:08,931
and you're not sure
whether you like it or not?
674
00:27:08,932 --> 00:27:10,181
It's that kind of feeling.
675
00:27:10,182 --> 00:27:11,472
That's what success was like.
676
00:27:11,473 --> 00:27:13,598
The first thrust
677
00:27:13,599 --> 00:27:15,973
of being totally unknown,
678
00:27:15,974 --> 00:27:18,056
to being what seemed to be
679
00:27:18,057 --> 00:27:19,973
very quickly known.
680
00:27:19,974 --> 00:27:21,931
It was very frightening for me.
681
00:27:21,932 --> 00:27:24,140
♪ Fame puts you there ♪
682
00:27:24,141 --> 00:27:25,723
♪ Where things are hollow ♪
683
00:27:25,724 --> 00:27:28,723
♪ ♪
684
00:27:28,724 --> 00:27:31,848
- I'm not sure if
he can handle it consistently,
685
00:27:31,849 --> 00:27:35,389
because it is a
demanding mistress
686
00:27:35,390 --> 00:27:37,639
that doesn't take "no"
for an answer
687
00:27:37,640 --> 00:27:39,306
and is on-call 24 hours,
688
00:27:39,307 --> 00:27:41,056
and so it makes you
689
00:27:41,057 --> 00:27:42,347
a little bit more paranoid
690
00:27:42,348 --> 00:27:43,931
than you used to, doesn't it?
691
00:27:43,932 --> 00:27:46,181
And now we're being looked upon
692
00:27:46,182 --> 00:27:49,306
as we have to deliver something.
693
00:27:49,307 --> 00:27:51,015
The minute you go outside,
"Ooh, let me look
694
00:27:51,016 --> 00:27:52,723
a certain way.
I'm famous now."
695
00:27:52,724 --> 00:27:54,890
- ♪ Fame ♪
696
00:27:54,891 --> 00:27:57,890
- ♪ What you need
is in the limo ♪
697
00:27:57,891 --> 00:27:59,973
- ♪ Fame ♪
698
00:27:59,974 --> 00:28:04,056
- ♪ What you get
is no tomorrow ♪
699
00:28:04,057 --> 00:28:05,598
- ♪ Fame ♪
700
00:28:05,599 --> 00:28:08,973
- ♪ What you need
you have to borrow ♪
701
00:28:08,974 --> 00:28:11,181
- ♪ Fame ♪
- ♪ Fame ♪
702
00:28:11,182 --> 00:28:14,222
♪ ♪
703
00:28:14,223 --> 00:28:16,222
- ♪ Fame ♪
- ♪ Mine, it's mine ♪
704
00:28:16,223 --> 00:28:17,514
♪ Is just his line ♪
705
00:28:17,515 --> 00:28:19,347
♪ To bind you to crime ♪
706
00:28:19,348 --> 00:28:22,098
- ♪ Crime ♪
- ♪ Crime ♪
707
00:28:22,099 --> 00:28:24,681
- Do I have to do it for, uh...
708
00:28:24,682 --> 00:28:26,056
- Because this rock-star
thing--
709
00:28:26,057 --> 00:28:27,222
You once described it as being
710
00:28:27,223 --> 00:28:28,514
a "dreadful existence."
711
00:28:28,515 --> 00:28:29,890
- In a sort of, um,
712
00:28:29,891 --> 00:28:32,056
a very luxuriant
mental hospital...
713
00:28:32,057 --> 00:28:33,347
- So you can rehearse in...
714
00:28:33,348 --> 00:28:34,556
- Where you're sort of
715
00:28:34,557 --> 00:28:37,347
put in a padded room
716
00:28:37,348 --> 00:28:39,347
and meals are brought to you,
and the only time
717
00:28:39,348 --> 00:28:41,098
you're sort of let out
on your lead
718
00:28:41,099 --> 00:28:43,181
is when you're supposed to go
and earn money for
719
00:28:43,182 --> 00:28:45,472
just about everybody else
except yourself.
720
00:28:45,473 --> 00:28:47,389
♪ Is it any wonder ♪
721
00:28:47,390 --> 00:28:50,347
♪ I reject you first? ♪
722
00:28:50,348 --> 00:28:52,973
♪ Fame, fame, fame, fame ♪
723
00:28:52,974 --> 00:28:56,098
♪ Fame ♪
724
00:28:56,099 --> 00:28:58,015
♪ Is it any wonder ♪
725
00:28:58,016 --> 00:29:00,556
♪ You're far too cool to fool ♪
726
00:29:00,557 --> 00:29:02,514
♪ Fame ♪
- ♪ Fame ♪
727
00:29:02,515 --> 00:29:04,806
- Did David enjoy being a star?
728
00:29:04,807 --> 00:29:07,264
I would say what he said to me.
729
00:29:07,265 --> 00:29:08,764
"It's great
730
00:29:08,765 --> 00:29:11,681
"when you want to get tickets
for a concert,
731
00:29:11,682 --> 00:29:14,681
"when you want to get backstage
and see your friends,
732
00:29:14,682 --> 00:29:17,347
"or if you want a good table
at a restaurant,
733
00:29:17,348 --> 00:29:20,015
but the rest of the time,
it's a pain in the ass."
734
00:29:20,016 --> 00:29:21,389
And I think that's
735
00:29:21,390 --> 00:29:23,639
pretty much a verbatim quote.
736
00:29:23,640 --> 00:29:26,015
I watched him deal with it
737
00:29:26,016 --> 00:29:27,431
too many times.
738
00:29:27,432 --> 00:29:30,723
That was his view on it.
739
00:29:30,724 --> 00:29:32,098
- I didn't--we didn't--
740
00:29:32,099 --> 00:29:35,848
- I find this
an incredible intrusion.
741
00:29:35,849 --> 00:29:38,431
Fuck off.
742
00:29:38,432 --> 00:29:39,931
- That's the--you know
that's the only bit
743
00:29:39,932 --> 00:29:40,973
we're gonna use, don't you?
744
00:29:40,974 --> 00:29:43,598
- Yeah. (LAUGHS)
745
00:29:43,599 --> 00:29:46,264
I know when to pick me lines.
746
00:29:46,265 --> 00:29:47,639
(LAUGHS)
747
00:29:47,640 --> 00:29:48,931
(ROCK MUSIC)
748
00:29:48,932 --> 00:29:50,264
Yeah, that's better.
749
00:29:50,265 --> 00:29:51,848
♪ ♪
750
00:29:51,849 --> 00:29:54,764
- Once he experienced the fame,
751
00:29:54,765 --> 00:29:58,347
and all that comes with that,
752
00:29:58,348 --> 00:30:01,098
I think he was done with it.
753
00:30:01,099 --> 00:30:03,931
(LAUGHS) And he was
done with it,
754
00:30:03,932 --> 00:30:05,890
and I think he realized
755
00:30:05,891 --> 00:30:07,431
he made a deal with the devil
756
00:30:07,432 --> 00:30:09,306
and it'd be the rest of his life
757
00:30:09,307 --> 00:30:10,723
trying to undo that.
758
00:30:10,724 --> 00:30:12,056
♪ ♪
759
00:30:12,057 --> 00:30:13,347
- Happy hump day, Phil.
760
00:30:13,348 --> 00:30:16,222
- Ha! I didn't get humped. You?
761
00:30:16,223 --> 00:30:18,931
- Yeah.
762
00:30:18,932 --> 00:30:21,098
- Some people, huh?
They just get lost.
763
00:30:21,099 --> 00:30:22,598
- Well, it's more exciting
764
00:30:22,599 --> 00:30:24,931
than anything we've got
around here.
765
00:30:24,932 --> 00:30:28,140
- Well, I wouldn't say that.
766
00:30:28,141 --> 00:30:30,764
We have a nice life.
767
00:30:30,765 --> 00:30:32,598
- We have a nice life.
768
00:30:32,599 --> 00:30:34,056
- The idea that he had for
769
00:30:34,057 --> 00:30:36,639
"The Stars Are Out Tonight"
video
770
00:30:36,640 --> 00:30:38,723
was that there were celebrities
771
00:30:38,724 --> 00:30:41,764
that were stalking normal people
772
00:30:41,765 --> 00:30:43,306
to study them,
773
00:30:43,307 --> 00:30:45,806
and then he whipped out
the photograph
774
00:30:45,807 --> 00:30:47,723
of Tilda Swinton,
775
00:30:47,724 --> 00:30:48,931
and I was like,
776
00:30:48,932 --> 00:30:50,140
"Okay, that's fantastic."
777
00:30:50,141 --> 00:30:51,389
You know, him and Tilda
778
00:30:51,390 --> 00:30:53,681
were to play the normal couple.
779
00:30:53,682 --> 00:30:56,598
(LIGHT ROCK MUSIC)
780
00:30:56,599 --> 00:30:58,306
David really wanted to play up
781
00:30:58,307 --> 00:30:59,806
the androgyny card,
782
00:30:59,807 --> 00:31:01,347
because, you know, I mean,
783
00:31:01,348 --> 00:31:03,306
he is the androgynous being
784
00:31:03,307 --> 00:31:05,056
that we've grown up with.
785
00:31:05,057 --> 00:31:06,598
♪ ♪
786
00:31:06,599 --> 00:31:08,890
So I cast boys
in the girl's parts
787
00:31:08,891 --> 00:31:10,598
and girls in the boy's parts.
788
00:31:10,599 --> 00:31:12,681
- ♪ Are never sleeping ♪
789
00:31:12,682 --> 00:31:14,973
- At that stage, I think he was
790
00:31:14,974 --> 00:31:16,514
able to definitely
791
00:31:16,515 --> 00:31:18,681
sit back and reflect on
792
00:31:18,682 --> 00:31:20,890
what fame meant,
793
00:31:20,891 --> 00:31:23,056
and I think that song, in a way,
794
00:31:23,057 --> 00:31:24,639
is kind of like--
That's why it's
795
00:31:24,640 --> 00:31:26,222
"the stars are never
sleeping."
796
00:31:26,223 --> 00:31:27,848
It's like, you can't escape it.
797
00:31:27,849 --> 00:31:30,347
- ♪ They know just what
we do ♪
798
00:31:30,348 --> 00:31:34,514
♪ That we toss and turn
at night ♪
799
00:31:34,515 --> 00:31:38,015
♪ They're waiting to make
their moves ♪
800
00:31:38,016 --> 00:31:41,222
♪ For the stars are out
tonight ♪
801
00:31:41,223 --> 00:31:44,806
- ♪ Tonight ♪
802
00:31:44,807 --> 00:31:47,056
- Eventually,
the celebrities--
803
00:31:47,057 --> 00:31:48,472
They are in their home.
804
00:31:48,473 --> 00:31:51,556
And when they come
into the home,
805
00:31:51,557 --> 00:31:54,222
there's a transfer
that happens...
806
00:31:54,223 --> 00:31:56,389
♪ ♪
807
00:31:56,390 --> 00:31:59,472
And now, the normal people
808
00:31:59,473 --> 00:32:01,556
are dressed like celebrity,
809
00:32:01,557 --> 00:32:04,389
and the celebrities
have succeeded
810
00:32:04,390 --> 00:32:07,098
in becoming the normal people.
811
00:32:07,099 --> 00:32:09,681
You know, as an artist,
you collect things,
812
00:32:09,682 --> 00:32:10,890
and he's had years of
813
00:32:10,891 --> 00:32:12,056
not having to put things out,
814
00:32:12,057 --> 00:32:13,723
and so he's collecting things
815
00:32:13,724 --> 00:32:15,264
he wants to sort of
816
00:32:15,265 --> 00:32:17,098
hold up a mirror and say,
817
00:32:17,099 --> 00:32:18,181
"Hey, look at this over here.
818
00:32:18,182 --> 00:32:19,389
Look at this over here,"
819
00:32:19,390 --> 00:32:20,598
and, you know, comment on it,
820
00:32:20,599 --> 00:32:21,931
but make it, you know,
821
00:32:21,932 --> 00:32:23,098
in an artistic way.
822
00:32:23,099 --> 00:32:26,806
♪ ♪
823
00:32:26,807 --> 00:32:29,431
- ♪ The stars are out
tonight ♪
824
00:32:29,432 --> 00:32:31,848
♪ Living ♪
825
00:32:31,849 --> 00:32:38,764
♪ ♪
826
00:32:38,765 --> 00:32:40,098
- Do you ever look back?
827
00:32:40,099 --> 00:32:42,764
- Uh, only with fond amusement,
828
00:32:42,765 --> 00:32:44,098
you know, 'cause I've done
829
00:32:44,099 --> 00:32:45,764
such a lot of work in 40 years
830
00:32:45,765 --> 00:32:47,056
and it's only recently
831
00:32:47,057 --> 00:32:48,472
that maybe I've started to
832
00:32:48,473 --> 00:32:50,264
write in a kind of, uh,
833
00:32:50,265 --> 00:32:51,848
autobiographical way,
834
00:32:51,849 --> 00:32:53,931
and this maybe something
to do with age
835
00:32:53,932 --> 00:32:56,056
and the way that one matures.
836
00:32:56,057 --> 00:33:03,141
♪ ♪
837
00:33:06,265 --> 00:33:07,472
- Then...
838
00:33:07,473 --> 00:33:08,973
♪ ♪
839
00:33:08,974 --> 00:33:10,264
I don't recall
840
00:33:10,265 --> 00:33:11,472
David on the sessions
841
00:33:11,473 --> 00:33:12,890
really talking a lot about
842
00:33:12,891 --> 00:33:14,140
being old.
843
00:33:14,141 --> 00:33:15,472
I think maybe he would joke that
844
00:33:15,473 --> 00:33:17,306
he would wear his slippers,
you know.
845
00:33:17,307 --> 00:33:19,431
He had his slippers
brought down,
846
00:33:19,432 --> 00:33:21,306
and he would pop his slip--
You know,
847
00:33:21,307 --> 00:33:22,973
when he got to the studio,
he would pop his slippers on.
848
00:33:22,974 --> 00:33:25,306
We made a few jokes about that.
849
00:33:25,307 --> 00:33:27,931
- ♪ Where are we now? ♪
850
00:33:27,932 --> 00:33:31,306
♪ Where are we now? ♪
851
00:33:31,307 --> 00:33:33,556
♪ ♪
852
00:33:33,557 --> 00:33:36,681
- So David came in
with a piano demo
853
00:33:36,682 --> 00:33:38,681
(PIANO AND GUITAR MUSIC)
854
00:33:38,682 --> 00:33:41,931
This was the DB piano--
David Bowie piano.
855
00:33:41,932 --> 00:33:44,681
♪ ♪
856
00:33:44,682 --> 00:33:46,347
It's got a combination of piano
857
00:33:46,348 --> 00:33:48,347
and strings on the patch.
858
00:33:48,348 --> 00:33:50,264
I couldn't take the strings off,
859
00:33:50,265 --> 00:33:51,681
so those strings are
860
00:33:51,682 --> 00:33:53,514
him playing at home.
861
00:33:53,515 --> 00:33:55,472
♪ ♪
862
00:33:55,473 --> 00:33:57,015
- We found
this kind of atmosphere
863
00:33:57,016 --> 00:33:58,181
in the demo.
864
00:33:58,182 --> 00:33:59,848
The next time we played that,
865
00:33:59,849 --> 00:34:01,347
it was when we went
in the studio
866
00:34:01,348 --> 00:34:02,681
and Zack was there.
867
00:34:02,682 --> 00:34:03,848
♪ ♪
868
00:34:03,849 --> 00:34:06,556
- I should add the drum.
869
00:34:06,557 --> 00:34:08,848
♪ ♪
870
00:34:08,849 --> 00:34:10,389
- David's instruction,
I remember,
871
00:34:10,390 --> 00:34:13,264
specifically was,
872
00:34:13,265 --> 00:34:16,472
"One...
873
00:34:16,473 --> 00:34:17,681
One."
874
00:34:17,682 --> 00:34:19,347
He just said,
"Emphasize the one,"
875
00:34:19,348 --> 00:34:20,764
so...
876
00:34:20,765 --> 00:34:23,890
(DRUM MUSIC WITH
STRONG FIRST BEAT)
877
00:34:23,891 --> 00:34:28,389
♪ ♪
878
00:34:28,390 --> 00:34:30,347
- If I add David,
879
00:34:30,348 --> 00:34:32,264
it's practically it.
880
00:34:32,265 --> 00:34:38,264
♪ ♪
881
00:34:38,265 --> 00:34:39,472
That's...
882
00:34:39,473 --> 00:34:41,598
- ♪ Where are we now? ♪
883
00:34:41,599 --> 00:34:45,306
♪ Where are we now? ♪
884
00:34:45,307 --> 00:34:51,389
♪ ♪
885
00:34:51,390 --> 00:34:53,931
♪ The moment you know ♪
886
00:34:53,932 --> 00:34:57,431
♪ You know you know ♪
887
00:34:57,432 --> 00:34:59,556
- Out of the blue,
he called me up
888
00:34:59,557 --> 00:35:03,389
and said he'd like
to talk to me about something.
889
00:35:03,390 --> 00:35:05,681
He explained this situation,
890
00:35:05,682 --> 00:35:08,723
that he had been secretly
working on this track,
891
00:35:08,724 --> 00:35:10,681
and I was like,
"Oh, that's fantastic."
892
00:35:10,682 --> 00:35:11,931
You know,
893
00:35:11,932 --> 00:35:13,472
"What do I have to do with it?"
894
00:35:13,473 --> 00:35:14,723
and he goes, "Well,
I'd like you to make
895
00:35:14,724 --> 00:35:15,931
the video for that."
896
00:35:15,932 --> 00:35:17,472
♪ ♪
897
00:35:17,473 --> 00:35:19,973
Oh, that's quite a task,
you know?
898
00:35:19,974 --> 00:35:21,472
I was thinking
899
00:35:21,473 --> 00:35:23,389
this big-budget video,
you know,
900
00:35:23,390 --> 00:35:25,598
and I was thinking,
"God, to do this justice,
901
00:35:25,599 --> 00:35:26,973
"you know, it has to be this
902
00:35:26,974 --> 00:35:29,222
"momentous video, you know,
903
00:35:29,223 --> 00:35:30,764
"that's gonna break the silence
904
00:35:30,765 --> 00:35:33,140
of all these years," you know,
905
00:35:33,141 --> 00:35:34,723
and David said,
906
00:35:34,724 --> 00:35:36,140
"No, I want to do it, like,
907
00:35:36,141 --> 00:35:37,639
"in your studio.
908
00:35:37,640 --> 00:35:39,931
"It'll be these figures.
909
00:35:39,932 --> 00:35:41,723
Very simple, rough."
910
00:35:41,724 --> 00:35:44,514
("WHERE ARE WE NOW?" PLAYING)
911
00:35:44,515 --> 00:35:49,389
♪ ♪
912
00:35:49,390 --> 00:35:52,264
- These figures were
something I was making
913
00:35:52,265 --> 00:35:54,723
like, fairly exclusively,
914
00:35:54,724 --> 00:35:56,764
and did a number of exhibitions
of them,
915
00:35:56,765 --> 00:35:59,973
and David, of course,
loved these figures.
916
00:35:59,974 --> 00:36:01,764
You know.
917
00:36:01,765 --> 00:36:03,931
- ♪ Just walk in the day ♪
918
00:36:03,932 --> 00:36:06,514
- I did a rough sketch,
and I was like,
919
00:36:06,515 --> 00:36:08,472
"This is what
you had in mind, right?"
920
00:36:08,473 --> 00:36:11,639
This rough-hewn stretched face,
you know.
921
00:36:11,640 --> 00:36:13,764
It's not very flattering,
922
00:36:13,765 --> 00:36:16,472
but that's exactly
what he wanted
923
00:36:16,473 --> 00:36:19,140
to look actually beyond
924
00:36:19,141 --> 00:36:22,056
what the years had done to him.
925
00:36:22,057 --> 00:36:24,973
It's a strange--
You know, through the...
926
00:36:24,974 --> 00:36:26,639
Here, he's leaving.
927
00:36:26,640 --> 00:36:28,181
He's had enough.
928
00:36:28,182 --> 00:36:30,681
(LAUGHS)
929
00:36:30,682 --> 00:36:34,181
He's like,
"Stop going on about my face."
930
00:36:34,182 --> 00:36:37,723
- ♪ Where are we now ♪
931
00:36:37,724 --> 00:36:40,347
- So the idea was that
932
00:36:40,348 --> 00:36:42,181
he wanted all this stuff
933
00:36:42,182 --> 00:36:44,514
in the studio situation,
934
00:36:44,515 --> 00:36:47,181
and we kind of arranged things
around
935
00:36:47,182 --> 00:36:50,098
and we talked about transparency
936
00:36:50,099 --> 00:36:51,556
and reflection,
937
00:36:51,557 --> 00:36:54,681
and as this was coming together,
938
00:36:54,682 --> 00:36:57,848
I said to him, "You know,
939
00:36:57,849 --> 00:37:00,682
people can read into
every part of this."
940
00:37:26,682 --> 00:37:31,431
- This one is perhaps the most
deliberately
941
00:37:31,432 --> 00:37:34,973
a nostalgic look into his past,
942
00:37:34,974 --> 00:37:38,306
and, um, he's talking about
all the old places...
943
00:37:38,307 --> 00:37:41,056
- Yeah.
- That he frequented in Berlin,
944
00:37:41,057 --> 00:37:42,806
and it's deliberately sad.
945
00:37:42,807 --> 00:37:45,472
He's in the latter part
of his life.
946
00:37:45,473 --> 00:37:47,056
Those days are gone.
947
00:37:47,057 --> 00:37:48,264
- Yeah.
948
00:37:48,265 --> 00:37:51,306
(MELANCHOLY ROCK MUSIC)
949
00:37:51,307 --> 00:37:53,639
♪ ♪
950
00:37:53,640 --> 00:37:56,598
- Berlin was the first freedom
I'd had from
951
00:37:56,599 --> 00:38:00,098
all the so-called
trappings of, uh, celebrity
952
00:38:00,099 --> 00:38:02,723
and, uh--and my own problems.
953
00:38:02,724 --> 00:38:05,098
Really, I'm quite fond of
954
00:38:05,099 --> 00:38:07,347
that freedom that it gave me.
955
00:38:07,348 --> 00:38:09,264
♪ ♪
956
00:38:09,265 --> 00:38:12,472
I put myself in
a very anonymous situation
957
00:38:12,473 --> 00:38:16,015
in a quite working-class part
of Berlin, Turkish area,
958
00:38:16,016 --> 00:38:18,264
and started to live
a different life,
959
00:38:18,265 --> 00:38:20,514
and I tried to distance myself
960
00:38:20,515 --> 00:38:22,764
from the very drug-oriented
lifestyle
961
00:38:22,765 --> 00:38:24,015
that I'd been leading.
962
00:38:24,016 --> 00:38:27,890
♪ Had to get the train ♪
963
00:38:27,891 --> 00:38:31,681
♪ From Potsdamer Platz ♪
964
00:38:31,682 --> 00:38:33,973
It was just a tremendous
place to be,
965
00:38:33,974 --> 00:38:36,639
and the music was
some of the most rewarding,
966
00:38:36,640 --> 00:38:38,389
for me as an artist, in my life.
967
00:38:38,390 --> 00:38:40,056
♪ ♪
968
00:38:40,057 --> 00:38:41,556
♪ I ♪
969
00:38:41,557 --> 00:38:43,140
♪ ♪
970
00:38:43,141 --> 00:38:45,723
♪ I will be king ♪
971
00:38:45,724 --> 00:38:49,015
♪ ♪
972
00:38:49,016 --> 00:38:52,056
♪ And you ♪
973
00:38:52,057 --> 00:38:54,723
♪ You will be queen ♪
974
00:38:54,724 --> 00:38:57,347
♪ ♪
975
00:38:57,348 --> 00:38:59,806
♪ Though nothing ♪
976
00:38:59,807 --> 00:39:01,015
♪ ♪
977
00:39:01,016 --> 00:39:03,472
♪ Will drive them away ♪
978
00:39:03,473 --> 00:39:06,347
♪ ♪
979
00:39:06,348 --> 00:39:08,264
♪ We can beat them ♪
980
00:39:08,265 --> 00:39:09,931
♪ ♪
981
00:39:09,932 --> 00:39:11,931
♪ Forever and ever ♪
982
00:39:11,932 --> 00:39:14,347
♪ ♪
983
00:39:14,348 --> 00:39:16,347
♪ Oh, we can be heroes ♪
984
00:39:16,348 --> 00:39:19,140
♪ ♪
985
00:39:19,141 --> 00:39:21,347
♪ Just for one day ♪
986
00:39:21,348 --> 00:39:24,681
♪ ♪
987
00:39:24,682 --> 00:39:28,306
♪ I ♪
988
00:39:28,307 --> 00:39:30,222
♪ I can remember ♪
989
00:39:30,223 --> 00:39:32,723
- ♪ I remember ♪
990
00:39:32,724 --> 00:39:37,181
- ♪ Standing ♪
991
00:39:37,182 --> 00:39:39,015
♪ By the wall ♪
992
00:39:39,016 --> 00:39:41,347
- But you can't read
"Where Are We Now?"
993
00:39:41,348 --> 00:39:45,723
as just a nostalgic story
about Berlin at all.
994
00:39:45,724 --> 00:39:47,639
You know?
But I mean, really,
995
00:39:47,640 --> 00:39:50,723
it's much more how memories
996
00:39:50,724 --> 00:39:54,764
affect the way
we move forward or not.
997
00:39:54,765 --> 00:39:58,306
(SOMBER MUSIC)
998
00:39:58,307 --> 00:40:00,389
- The Song for Norway
T-shirt--
999
00:40:00,390 --> 00:40:02,098
I said, "That's very cheeky,"
1000
00:40:02,099 --> 00:40:03,306
and he goes, "I know."
1001
00:40:03,307 --> 00:40:04,556
It was something like that.
1002
00:40:04,557 --> 00:40:06,472
And, uh, he never explained
1003
00:40:06,473 --> 00:40:07,723
why he wore it.
1004
00:40:07,724 --> 00:40:10,681
♪ ♪
1005
00:40:10,682 --> 00:40:13,264
- The name is
Hermione Farthingale,
1006
00:40:13,265 --> 00:40:15,015
and I absolutely adored her.
1007
00:40:15,016 --> 00:40:17,931
I mean, she was the real
first love in my life,
1008
00:40:17,932 --> 00:40:19,848
and she was a ballet dancer
1009
00:40:19,849 --> 00:40:21,848
and, uh, a very good
I--singer,
1010
00:40:21,849 --> 00:40:24,056
and, uh, she played
a little bit of
1011
00:40:24,057 --> 00:40:25,890
bed/sitting room guitar.
1012
00:40:25,891 --> 00:40:27,890
You know, that kind of
folk guitar that every girl
1013
00:40:27,891 --> 00:40:29,890
could--that looked beautiful
could play in those--
1014
00:40:29,891 --> 00:40:32,056
I don't know why,
but all the beautiful girls
1015
00:40:32,057 --> 00:40:36,514
could play a little bit of
acoustic guitar.
1016
00:40:36,515 --> 00:40:40,222
She was doing a film
called "Song of Norway,"
1017
00:40:40,223 --> 00:40:41,931
and she fell in love with one of
1018
00:40:41,932 --> 00:40:44,389
the actors on it,
and she left me for him
1019
00:40:44,390 --> 00:40:48,306
God, I didn't get over that
for such a long time.
1020
00:40:48,307 --> 00:40:51,181
It really broke me up.
1021
00:40:51,182 --> 00:40:54,015
- I did see David when
1022
00:40:54,016 --> 00:40:55,556
he'd just separated from her,
1023
00:40:55,557 --> 00:40:58,472
and he was very, very upset.
1024
00:40:58,473 --> 00:41:00,181
I think it was also
1025
00:41:00,182 --> 00:41:01,389
he was working with her,
1026
00:41:01,390 --> 00:41:02,598
so it was a double thing
1027
00:41:02,599 --> 00:41:04,264
that he'd lost his girlfriend
1028
00:41:04,265 --> 00:41:06,472
and he'd lost someone in his--
1029
00:41:06,473 --> 00:41:08,264
In his, uh, band.
1030
00:41:08,265 --> 00:41:09,764
I don't know which one
was the worse,
1031
00:41:09,765 --> 00:41:11,264
to be honest, but, uh,
1032
00:41:11,265 --> 00:41:13,015
yeah, it hit him pretty hard.
1033
00:41:13,016 --> 00:41:15,931
(ROCK MUSIC)
1034
00:41:15,932 --> 00:41:18,347
- I think he wanted to
release something
1035
00:41:18,348 --> 00:41:20,639
that would cause
a lot of ripples
1036
00:41:20,640 --> 00:41:23,639
and, uh, question marks
all around,
1037
00:41:23,640 --> 00:41:26,432
and he was able to get that
with this.
1038
00:41:30,849 --> 00:41:33,472
♪ ♪
1039
00:41:33,473 --> 00:41:35,931
- ♪ As long as there's sun ♪
1040
00:41:35,932 --> 00:41:39,348
♪ ♪
1041
00:41:42,724 --> 00:41:45,140
♪ ♪
1042
00:41:45,141 --> 00:41:48,140
♪ As long as there's rain ♪
1043
00:41:48,141 --> 00:41:50,890
♪ ♪
1044
00:41:50,891 --> 00:41:54,222
♪ As long as there's fire ♪
1045
00:41:54,223 --> 00:41:56,806
♪ ♪
1046
00:41:56,807 --> 00:41:59,764
♪ As long as there's fire ♪
1047
00:41:59,765 --> 00:42:01,514
- I knew this was about Berlin,
1048
00:42:01,515 --> 00:42:03,472
and I thought it was
really, really sweet
1049
00:42:03,473 --> 00:42:06,431
and quite nostalgic, but, uh,
1050
00:42:06,432 --> 00:42:08,931
the thing that really
made me teary-eyed
1051
00:42:08,932 --> 00:42:12,389
was when I saw the video for it.
1052
00:42:12,390 --> 00:42:13,681
Oh, my gosh.
1053
00:42:13,682 --> 00:42:15,098
You know, I thought,
1054
00:42:15,099 --> 00:42:16,931
"I'd never expect him
to look back.
1055
00:42:16,932 --> 00:42:18,806
You know, this is
a new thing for him."
1056
00:42:18,807 --> 00:42:21,848
(ROCK MUSIC)
1057
00:42:21,849 --> 00:42:28,891
♪ ♪
1058
00:42:35,016 --> 00:42:37,848
(HORN HONKS)
1059
00:42:37,849 --> 00:42:39,598
- I think, because of
my orientation
1060
00:42:39,599 --> 00:42:41,723
towards the apocalyptic,
1061
00:42:41,724 --> 00:42:43,931
I think it rather hones that
1062
00:42:43,932 --> 00:42:47,056
low-level anxiety,
1063
00:42:47,057 --> 00:42:48,389
especially the--you know,
1064
00:42:48,390 --> 00:42:50,431
the event of a new child.
1065
00:42:50,432 --> 00:42:53,598
My daughter really sort of
focused my
1066
00:42:53,599 --> 00:42:55,598
fears and apprehensions.
1067
00:42:55,599 --> 00:42:58,681
I mean, what a disappointing
21st century
1068
00:42:58,682 --> 00:43:01,723
this has been so far, you know?
1069
00:43:01,724 --> 00:43:08,765
♪ ♪
1070
00:43:17,849 --> 00:43:21,056
- I have to say,
this track has swagger.
1071
00:43:21,057 --> 00:43:23,140
All this loose playing--
It's all on purpose.
1072
00:43:23,141 --> 00:43:26,306
But we didn't want it
to get too fancy,
1073
00:43:26,307 --> 00:43:28,931
and it had to sound like
a bunch of high school kids
1074
00:43:28,932 --> 00:43:30,681
playing their instruments.
1075
00:43:30,682 --> 00:43:37,765
♪ ♪
1076
00:43:38,223 --> 00:43:39,931
Very, very cheesy-sounding,
1077
00:43:39,932 --> 00:43:41,723
but perfect for this song,
1078
00:43:41,724 --> 00:43:43,431
because of the lyrical content
of the song,
1079
00:43:43,432 --> 00:43:45,764
about this, you know,
person called Valentine
1080
00:43:45,765 --> 00:43:48,514
who, uh, is a mass murderer.
1081
00:43:48,515 --> 00:43:51,806
♪ ♪
1082
00:43:51,807 --> 00:43:54,264
- I mean, "Valentine's Day,"
1083
00:43:54,265 --> 00:43:55,764
from a musical point of view,
1084
00:43:55,765 --> 00:43:57,514
that's--that is way old.
1085
00:43:57,515 --> 00:43:58,848
That's like, old-school.
1086
00:43:58,849 --> 00:43:59,931
All those chord changes,
1087
00:43:59,932 --> 00:44:01,264
that whole thing.
1088
00:44:01,265 --> 00:44:03,347
But if you listen to the lyrics,
1089
00:44:03,348 --> 00:44:04,931
there's subject matter there.
1090
00:44:04,932 --> 00:44:10,306
- ♪ Valentine told me
who's to go ♪
1091
00:44:10,307 --> 00:44:16,222
♪ ♪
1092
00:44:16,223 --> 00:44:21,140
♪ Feelings he's treasured
most of all ♪
1093
00:44:21,141 --> 00:44:23,472
- There had been
a number of incidents
1094
00:44:23,473 --> 00:44:25,389
prior to creating this song
1095
00:44:25,390 --> 00:44:27,140
that had moved him.
1096
00:44:27,141 --> 00:44:28,639
I think he was really troubled
1097
00:44:28,640 --> 00:44:30,347
by this trend of
1098
00:44:30,348 --> 00:44:32,264
people going and shooting kids.
1099
00:44:32,265 --> 00:44:36,140
- ♪ The teachers
and the football star ♪
1100
00:44:36,141 --> 00:44:38,431
♪ ♪
1101
00:44:38,432 --> 00:44:41,639
♪ It's in his tiny face ♪
1102
00:44:41,640 --> 00:44:43,890
♪ ♪
1103
00:44:43,891 --> 00:44:46,514
♪ It's in his scrawny hand ♪
1104
00:44:46,515 --> 00:44:48,806
♪ ♪
1105
00:44:48,807 --> 00:44:51,973
♪ Valentine told me so ♪
1106
00:44:51,974 --> 00:44:54,389
♪ He's got something to say ♪
1107
00:44:54,390 --> 00:44:59,140
♪ It's Valentine's Day ♪
1108
00:44:59,141 --> 00:45:01,015
- But he really wanted
to bring the audience
1109
00:45:01,016 --> 00:45:03,140
into the mind of that killer,
1110
00:45:03,141 --> 00:45:05,222
and, uh, that transition
1111
00:45:05,223 --> 00:45:08,098
from sort of
the David that we know
1112
00:45:08,099 --> 00:45:10,015
to this other character
1113
00:45:10,016 --> 00:45:12,848
that he was inhabiting
in this song
1114
00:45:12,849 --> 00:45:15,056
was, uh, very shocking, really.
1115
00:45:15,057 --> 00:45:16,639
♪ ♪
1116
00:45:16,640 --> 00:45:20,848
- ♪ Valentine told me
how he'd feel ♪
1117
00:45:20,849 --> 00:45:25,681
♪ ♪
1118
00:45:25,682 --> 00:45:26,806
- ♪ Ooh ♪
1119
00:45:26,807 --> 00:45:28,890
- ♪ If all the world ♪
1120
00:45:28,891 --> 00:45:31,931
♪ Were under his heels ♪
1121
00:45:31,932 --> 00:45:33,598
- Being right there
in front of him
1122
00:45:33,599 --> 00:45:36,222
and seeing him pull this
out of himself--
1123
00:45:36,223 --> 00:45:37,556
You know, it was a--
1124
00:45:37,557 --> 00:45:40,639
It was quite terrifying
to watch.
1125
00:45:40,640 --> 00:45:42,306
- ♪ His tiny face ♪
1126
00:45:42,307 --> 00:45:43,598
♪ ♪
1127
00:45:43,599 --> 00:45:47,181
♪ It's in his scrawny hands ♪
1128
00:45:47,182 --> 00:45:50,723
- I really wanted to introduce
a weapon into the video,
1129
00:45:50,724 --> 00:45:52,389
and David was really against it.
1130
00:45:52,390 --> 00:45:53,764
He didn't want any guns,
1131
00:45:53,765 --> 00:45:55,556
he didn't want any blood.
(LAUGHS)
1132
00:45:55,557 --> 00:45:57,931
But he was very much aware of
1133
00:45:57,932 --> 00:46:00,181
making a statement about
gun control,
1134
00:46:00,182 --> 00:46:03,639
and the importance of that,
in his own style.
1135
00:46:03,640 --> 00:46:06,598
- To defeat the divisive forces
1136
00:46:06,599 --> 00:46:08,431
that would take freedom away,
1137
00:46:08,432 --> 00:46:10,931
I want to say
those fighting words...
1138
00:46:10,932 --> 00:46:11,932
♪ ♪
1139
00:46:11,933 --> 00:46:15,056
"From my cold, dead hands."
1140
00:46:15,057 --> 00:46:17,556
(CHEERS AND APPLAUSE)
1141
00:46:17,557 --> 00:46:20,514
- ♪ It's in his scrawny hand ♪
1142
00:46:20,515 --> 00:46:23,598
♪ It's in his icy heart ♪
1143
00:46:23,599 --> 00:46:25,431
♪ It's happening today ♪
1144
00:46:25,432 --> 00:46:28,723
♪ Valentine, Valentine ♪
1145
00:46:28,724 --> 00:46:30,931
- He was very interested
in society.
1146
00:46:30,932 --> 00:46:33,431
You know,
what makes people operate,
1147
00:46:33,432 --> 00:46:35,472
what makes societies operate,
1148
00:46:35,473 --> 00:46:38,764
and that was one of his
less cryptic
1149
00:46:38,765 --> 00:46:42,264
and more straight-up lyrics
that he's ever written.
1150
00:46:42,265 --> 00:46:45,264
(DESOLATE MUSIC)
1151
00:46:45,265 --> 00:46:46,973
- I'm not an original thinker.
1152
00:46:46,974 --> 00:46:49,890
What I'm best at doing
is, uh, synthesizing
1153
00:46:49,891 --> 00:46:52,848
those things in society
or culture
1154
00:46:52,849 --> 00:46:54,681
refracting those things
1155
00:46:54,682 --> 00:46:57,264
and producing some kind of glob
1156
00:46:57,265 --> 00:47:00,639
of how it is that we live
at this particular time.
1157
00:47:00,640 --> 00:47:04,264
(SLOW ROCK MUSIC)
1158
00:47:04,265 --> 00:47:09,347
♪ Pushing through
the market square ♪
1159
00:47:09,348 --> 00:47:16,140
♪ So many mothers crying ♪
1160
00:47:16,141 --> 00:47:19,306
♪ News had just come over ♪
1161
00:47:19,307 --> 00:47:22,264
♪ ♪
1162
00:47:22,265 --> 00:47:26,140
♪ We had five years left
to sigh in ♪
1163
00:47:26,141 --> 00:47:28,931
♪ ♪
1164
00:47:28,932 --> 00:47:32,681
♪ News guy wept
when he told us ♪
1165
00:47:32,682 --> 00:47:35,015
♪ ♪
1166
00:47:35,016 --> 00:47:37,598
♪ Earth was really dying ♪
1167
00:47:37,599 --> 00:47:41,681
♪ ♪
1168
00:47:41,682 --> 00:47:46,056
♪ Cried so much
that his face was wet ♪
1169
00:47:46,057 --> 00:47:49,514
♪ That I knew
he was not lying ♪
1170
00:47:49,515 --> 00:47:51,098
♪ ♪
1171
00:47:51,099 --> 00:47:53,264
- He let you know
something's not right here.
1172
00:47:53,265 --> 00:47:54,890
So that's the best I knew.
1173
00:47:54,891 --> 00:47:56,514
He didn't come up
with the solutions,
1174
00:47:56,515 --> 00:47:58,472
but at least he could express
1175
00:47:58,473 --> 00:48:01,098
and others could resonate
with that.
1176
00:48:01,099 --> 00:48:03,806
♪ ♪
1177
00:48:03,807 --> 00:48:07,098
- ♪ Girl my age
went off her head ♪
1178
00:48:07,099 --> 00:48:10,389
♪ ♪
1179
00:48:10,390 --> 00:48:13,181
♪ Hit some tiny children ♪
1180
00:48:13,182 --> 00:48:17,639
♪ ♪
1181
00:48:17,640 --> 00:48:20,389
♪ If the black hadn't've
pulled her off ♪
1182
00:48:20,390 --> 00:48:23,431
♪ ♪
1183
00:48:23,432 --> 00:48:25,890
♪ I think she would have
killed them ♪
1184
00:48:25,891 --> 00:48:28,056
I'm not a Dylan
and I'm not a--
1185
00:48:28,057 --> 00:48:30,222
I'm not somebody who can
sit down
1186
00:48:30,223 --> 00:48:32,389
and stoically write
a clear picture
1187
00:48:32,390 --> 00:48:34,598
of what's happening,
1188
00:48:34,599 --> 00:48:36,389
but I can leave
a very strong impression
1189
00:48:36,390 --> 00:48:38,140
of how I feel about it.
1190
00:48:38,141 --> 00:48:39,431
♪ Five years ♪
1191
00:48:39,432 --> 00:48:40,723
- ♪ Five years ♪
1192
00:48:40,724 --> 00:48:43,931
- ♪ Do-do-do-do, yeah ♪
1193
00:48:43,932 --> 00:48:46,556
- ♪ Five years ♪
1194
00:48:46,557 --> 00:48:49,514
- ♪ Do-dun-a-ga-da-he-eh ♪
1195
00:48:49,515 --> 00:48:52,389
- ♪ Five years ♪
1196
00:48:52,390 --> 00:48:55,556
- ♪ Didn't hear ya ♪
1197
00:48:55,557 --> 00:48:58,098
ALL: ♪ Five years ♪
1198
00:48:58,099 --> 00:49:01,347
- ♪ That's all we've got ♪
1199
00:49:01,348 --> 00:49:04,222
- ♪ Five ♪
1200
00:49:04,223 --> 00:49:07,307
(CHEERS AND APPLAUSE)
1201
00:49:18,640 --> 00:49:21,681
(ELECTRONIC MUSIC)
1202
00:49:21,682 --> 00:49:23,431
♪ ♪
1203
00:49:23,432 --> 00:49:26,264
- It's very hard to
not continue to re-address
1204
00:49:26,265 --> 00:49:28,056
the same subject matter
endlessly.
1205
00:49:28,057 --> 00:49:30,598
I mean, I have a certain niche
that I work in,
1206
00:49:30,599 --> 00:49:34,514
A lot of it, until recently,
tends to be about alienation
1207
00:49:34,515 --> 00:49:37,306
and, uh, being on the
outside of things.
1208
00:49:37,307 --> 00:49:39,556
♪ It's the darkest hour ♪
1209
00:49:39,557 --> 00:49:41,598
♪ You're 22 ♪
1210
00:49:41,599 --> 00:49:42,764
♪ ♪
1211
00:49:42,765 --> 00:49:44,639
♪ The voice of youth ♪
1212
00:49:44,640 --> 00:49:47,306
♪ The hour of dread ♪
1213
00:49:47,307 --> 00:49:48,848
That tends to be where
1214
00:49:48,849 --> 00:49:50,764
I feel more comfortable
as a writer,
1215
00:49:50,765 --> 00:49:52,806
but I think one keeps
re-addressing that situation
1216
00:49:52,807 --> 00:49:54,806
and trying to express it
in a different way.
1217
00:49:54,807 --> 00:49:56,598
I guess that's what I do.
1218
00:49:56,599 --> 00:49:59,222
♪ Love is lost ♪
1219
00:49:59,223 --> 00:50:01,639
♪ Lost is love ♪
1220
00:50:01,640 --> 00:50:08,765
♪ ♪
1221
00:50:13,974 --> 00:50:17,015
- When I spoke to David
on the phone,
1222
00:50:17,016 --> 00:50:18,472
it was definitely,
1223
00:50:18,473 --> 00:50:19,806
"Don't say a word about this."
1224
00:50:19,807 --> 00:50:20,848
In fact, we even
1225
00:50:20,849 --> 00:50:21,890
had a code word for it,
1226
00:50:21,891 --> 00:50:23,140
so if anybody
1227
00:50:23,141 --> 00:50:24,848
intercepted the phone calls,
1228
00:50:24,849 --> 00:50:26,890
they wouldn't know
we were talking about,
1229
00:50:26,891 --> 00:50:28,681
um, the album.
1230
00:50:28,682 --> 00:50:30,056
So the album was actually
1231
00:50:30,057 --> 00:50:32,931
code-named "the table."
1232
00:50:32,932 --> 00:50:34,723
(LAUGHS)
1233
00:50:34,724 --> 00:50:37,681
♪ ♪
1234
00:50:37,682 --> 00:50:39,347
There was a lot of discussion
about
1235
00:50:39,348 --> 00:50:41,098
what the album would be called
at the time.
1236
00:50:41,099 --> 00:50:42,848
It was quite gratifying
to know that
1237
00:50:42,849 --> 00:50:44,890
not even David Bowie
has everything planned out.
1238
00:50:44,891 --> 00:50:46,556
♪ ♪
1239
00:50:46,557 --> 00:50:48,681
So it was possibly even called
"Love is Lost."
1240
00:50:48,682 --> 00:50:50,514
♪ ♪
1241
00:50:50,515 --> 00:50:53,056
Possibly going to be called
"The Next Day,"
1242
00:50:53,057 --> 00:50:55,264
possibly called
"Where Are We Now?"
1243
00:50:55,265 --> 00:50:57,681
- ♪ Say hello
to the lunatic men ♪
1244
00:50:57,682 --> 00:51:00,347
- The thing that started
the concept for the design
1245
00:51:00,348 --> 00:51:02,431
was this photograph.
1246
00:51:02,432 --> 00:51:05,639
It's from the '70s and he said,
1247
00:51:05,640 --> 00:51:07,264
"I want to do something with
this photo
1248
00:51:07,265 --> 00:51:08,723
for the cover,"
1249
00:51:08,724 --> 00:51:10,389
which I found quite puzzling.
1250
00:51:10,390 --> 00:51:11,764
He was looking back on his life,
1251
00:51:11,765 --> 00:51:14,056
even looking at that image,
1252
00:51:14,057 --> 00:51:16,556
I really struggled with
using the image,
1253
00:51:16,557 --> 00:51:19,472
and then it took Bowie
to say "Jonathan,
1254
00:51:19,473 --> 00:51:21,264
"why don't you just
1255
00:51:21,265 --> 00:51:23,056
turn the image upside-down?"
1256
00:51:23,057 --> 00:51:24,472
And within that moment,
1257
00:51:24,473 --> 00:51:27,598
he subverted his whole history
1258
00:51:27,599 --> 00:51:30,431
(ROCK MUSIC)
1259
00:51:30,432 --> 00:51:32,431
So the process was to go
through every record cover,
1260
00:51:32,432 --> 00:51:34,389
every printed image of him,
1261
00:51:34,390 --> 00:51:36,389
and see how we could subvert it.
1262
00:51:36,390 --> 00:51:43,181
♪ ♪
1263
00:51:43,182 --> 00:51:45,431
The cover of "Heroes" really had
1264
00:51:45,432 --> 00:51:47,264
that youthful image of Bowie
1265
00:51:47,265 --> 00:51:49,681
looking forward to the future,
1266
00:51:49,682 --> 00:51:51,931
and the square obliterates it.
1267
00:51:51,932 --> 00:51:54,931
It's existentially talking about
1268
00:51:54,932 --> 00:51:57,306
someone who's coming
closer to the end
1269
00:51:57,307 --> 00:51:59,931
of their life and looking back
1270
00:51:59,932 --> 00:52:02,598
on the past.
1271
00:52:02,599 --> 00:52:05,931
I really wasn't sure about it
at the time,
1272
00:52:05,932 --> 00:52:08,264
to the point, in fact,
where the night before
1273
00:52:08,265 --> 00:52:09,806
it was sent off
to the record company,
1274
00:52:09,807 --> 00:52:11,681
I wrote to him and said,
"Are you sure?"
1275
00:52:11,682 --> 00:52:13,015
And he actually said to me,
1276
00:52:13,016 --> 00:52:14,764
"No, this is--have faith,
Jonathan.
1277
00:52:14,765 --> 00:52:15,931
"This is a good idea.
1278
00:52:15,932 --> 00:52:17,931
It's an original idea."
1279
00:52:17,932 --> 00:52:20,764
- ♪ I'd rather be high ♪
1280
00:52:20,765 --> 00:52:23,431
- I think he was subverting
people's expectation
1281
00:52:23,432 --> 00:52:26,639
because of the years away,
1282
00:52:26,640 --> 00:52:28,764
so he could play with his image.
1283
00:52:28,765 --> 00:52:30,639
He wasn't a young man
1284
00:52:30,640 --> 00:52:33,347
desperate to be original.
1285
00:52:33,348 --> 00:52:36,431
He was someone who lived life
1286
00:52:36,432 --> 00:52:39,015
and was not up for
playing the game
1287
00:52:39,016 --> 00:52:40,806
of being in the media
all the time.
1288
00:52:40,807 --> 00:52:43,848
(FOREBODING MUSIC)
1289
00:52:43,849 --> 00:52:46,598
♪ ♪
1290
00:52:46,599 --> 00:52:48,098
Bowie was incredibly happy
1291
00:52:48,099 --> 00:52:49,848
that we'd managed to
1292
00:52:49,849 --> 00:52:52,098
keep this thing secret
all this time.
1293
00:52:52,099 --> 00:52:54,639
We had accomplished something
unique
1294
00:52:54,640 --> 00:52:56,973
in a time when everybody
1295
00:52:56,974 --> 00:53:00,306
knows everything.
1296
00:53:00,307 --> 00:53:02,848
He was quite attracted to
1297
00:53:02,849 --> 00:53:06,347
all the furore
around an album being released,
1298
00:53:06,348 --> 00:53:08,681
but he wanted to play it
the right way.
1299
00:53:08,682 --> 00:53:11,222
(SOMBER MUSIC)
1300
00:53:11,223 --> 00:53:13,015
- ♪ Then we saw ♪
1301
00:53:13,016 --> 00:53:15,848
- Hello, David Bowie's
back in sound and vision,
1302
00:53:15,849 --> 00:53:17,848
with his first new album
in a decade.
1303
00:53:17,849 --> 00:53:20,347
- He hasn't performed
since 2006,
1304
00:53:20,348 --> 00:53:22,056
and has rarely been
seen in public
1305
00:53:22,057 --> 00:53:23,931
since then, but now he's back.
1306
00:53:23,932 --> 00:53:25,639
- But after a bout of
ill health,
1307
00:53:25,640 --> 00:53:27,848
it was thought he had retired.
Wrong.
1308
00:53:27,849 --> 00:53:30,140
- His new album,
his first in ten years,
1309
00:53:30,141 --> 00:53:32,639
shot to the number one spot
last weekend.
1310
00:53:32,640 --> 00:53:35,181
In fact, it's the fastest-
selling of the year so far,
1311
00:53:35,182 --> 00:53:38,181
having shifted
over 100,000 copies
1312
00:53:38,182 --> 00:53:39,973
in less than two weeks.
1313
00:53:39,974 --> 00:53:44,431
- ♪ The night was always
falling ♪
1314
00:53:44,432 --> 00:53:47,556
♪ The peacock in the snow ♪
1315
00:53:47,557 --> 00:53:49,222
♪ ♪
1316
00:53:49,223 --> 00:53:53,556
♪ And I tell myself ♪
1317
00:53:53,557 --> 00:53:57,140
♪ I don't know who I am ♪
1318
00:53:57,141 --> 00:54:00,056
♪ ♪
1319
00:54:00,057 --> 00:54:01,973
- He just stopped
giving interviews
1320
00:54:01,974 --> 00:54:03,556
many years ago,
1321
00:54:03,557 --> 00:54:05,556
and, um, this is something that
1322
00:54:05,557 --> 00:54:08,472
he needed to do, I think,
for himself.
1323
00:54:08,473 --> 00:54:10,764
He couldn't--he couldn't
have his life examined
1324
00:54:10,765 --> 00:54:12,222
any longer.
He didn't want
1325
00:54:12,223 --> 00:54:13,890
any speculation about his life.
1326
00:54:13,891 --> 00:54:17,848
♪ ♪
1327
00:54:17,849 --> 00:54:20,890
(ROCK DRUM MUSIC)
1328
00:54:20,891 --> 00:54:27,932
♪ ♪
1329
00:54:33,974 --> 00:54:35,848
- I think it's
terribly dangerous
1330
00:54:35,849 --> 00:54:39,181
for an artist to fulfill
other people's expectations.
1331
00:54:39,182 --> 00:54:40,556
If you feel safe
1332
00:54:40,557 --> 00:54:42,098
in the area
that you're working in,
1333
00:54:42,099 --> 00:54:43,890
you're not working
in the right area.
1334
00:54:43,891 --> 00:54:46,181
Always go a little further
into the water
1335
00:54:46,182 --> 00:54:48,514
than you feel you're capable
of being in.
1336
00:54:48,515 --> 00:54:50,264
Go a little bit out of
your depth,
1337
00:54:50,265 --> 00:54:52,056
and you don't feel that
your feet are
1338
00:54:52,057 --> 00:54:53,639
quite touching the bottom,
1339
00:54:53,640 --> 00:54:55,056
you're just about
in the right place
1340
00:54:55,057 --> 00:54:56,472
to do something exciting.
1341
00:54:56,473 --> 00:54:58,764
(JAZZ PIANO MUSIC)
1342
00:54:58,765 --> 00:55:00,306
- The way David works.
1343
00:55:00,307 --> 00:55:02,723
He just keeps evolving,
evolving, evolving.
1344
00:55:02,724 --> 00:55:05,181
David's always looking
for that new element
1345
00:55:05,182 --> 00:55:06,764
and unique musicians
1346
00:55:06,765 --> 00:55:07,931
to be the carriage
1347
00:55:07,932 --> 00:55:09,598
for his new ideas.
1348
00:55:09,599 --> 00:55:12,806
♪ ♪
1349
00:55:12,807 --> 00:55:16,556
Maria Schneider is
an amazing jazz composer
1350
00:55:16,557 --> 00:55:18,514
and how she could've been
off my radar,
1351
00:55:18,515 --> 00:55:20,472
I don't--I don't know,
because,
1352
00:55:20,473 --> 00:55:24,639
uh, she suddenly appeared
in my life through David.
1353
00:55:24,640 --> 00:55:27,140
And when I heard
her compositions,
1354
00:55:27,141 --> 00:55:29,140
it was everything
David and I loved
1355
00:55:29,141 --> 00:55:30,514
about big band music:
1356
00:55:30,515 --> 00:55:32,140
that it was discordant
1357
00:55:32,141 --> 00:55:35,306
and strange and ethereal.
1358
00:55:35,307 --> 00:55:38,389
(MELANCHOLY ORCHESTRAL MUSIC)
1359
00:55:38,390 --> 00:55:43,389
♪ ♪
1360
00:55:43,390 --> 00:55:46,181
- Out of the blue, David called.
1361
00:55:46,182 --> 00:55:47,681
I said, "Hello?"
1362
00:55:47,682 --> 00:55:49,306
(LAUGHS)
Then--and then
1363
00:55:49,307 --> 00:55:52,015
proceeded to start
to talk to him about
1364
00:55:52,016 --> 00:55:53,848
the idea, uh, that he had
1365
00:55:53,849 --> 00:55:55,639
to collaborate on a song.
1366
00:55:55,640 --> 00:55:58,681
(DARK JAZZ MUSIC)
1367
00:55:58,682 --> 00:56:00,181
♪ ♪
1368
00:56:00,182 --> 00:56:02,806
David brought a little demo
of "Sue,"
1369
00:56:02,807 --> 00:56:05,098
so I listened to it
1370
00:56:05,099 --> 00:56:07,098
and immediately heard this:
1371
00:56:07,099 --> 00:56:10,056
(PLAYS PIANO PIECE
WITH QUICK BASS)
1372
00:56:10,057 --> 00:56:13,890
I said, "Where do you want
this to go?"
1373
00:56:13,891 --> 00:56:16,347
So it's--
It's pretty bright--
1374
00:56:16,348 --> 00:56:18,140
You know, sounding,
and he said, "Oh,
1375
00:56:18,141 --> 00:56:19,639
I want it to be really dark."
1376
00:56:19,640 --> 00:56:22,472
So then I started
playing around with
1377
00:56:22,473 --> 00:56:25,015
ways in which I could
make that--
1378
00:56:25,016 --> 00:56:26,389
(PLAYS DISCORDANTLY)
1379
00:56:26,390 --> 00:56:27,681
That melody dark,
1380
00:56:27,682 --> 00:56:29,098
and I just fooled around
over here
1381
00:56:29,099 --> 00:56:30,764
and then I looked at him
and I said,
1382
00:56:30,765 --> 00:56:34,723
"Okay, let's try this."
1383
00:56:34,724 --> 00:56:36,639
- Maria Schneider said,
1384
00:56:36,640 --> 00:56:39,389
"You have to listen
to this guy, Donny McCaslin."
1385
00:56:39,390 --> 00:56:41,222
Donny had a band.
1386
00:56:41,223 --> 00:56:44,306
(PLAYS SCALES ON SAXOPHONE)
1387
00:56:44,307 --> 00:56:46,890
This band were
trained jazz musicians,
1388
00:56:46,891 --> 00:56:50,347
so we had more colors
to the palette.
1389
00:56:50,348 --> 00:56:53,056
(ENERGETIC DRUM BEAT)
1390
00:56:53,057 --> 00:56:55,056
- Then I just worked on it
on my own a little bit.
1391
00:56:55,057 --> 00:56:57,140
And then David came over,
1392
00:56:57,141 --> 00:56:58,723
and then I presented him
1393
00:56:58,724 --> 00:57:00,514
with all these sketches of ideas
1394
00:57:00,515 --> 00:57:02,056
and said, "Okay,
1395
00:57:02,057 --> 00:57:04,556
let me play you
lots of different things,"
1396
00:57:04,557 --> 00:57:06,306
and he would either say,
1397
00:57:06,307 --> 00:57:08,723
"Yeah, yeah, I r--
Oh, I really like that."
1398
00:57:08,724 --> 00:57:11,389
You know, if it had got
a real reaction of him--
1399
00:57:11,390 --> 00:57:14,015
From him, then I said,
"Okay, maybe that's
1400
00:57:14,016 --> 00:57:15,556
the direction,"
so I just kind of
1401
00:57:15,557 --> 00:57:17,264
tried to feel him out.
1402
00:57:17,265 --> 00:57:20,264
(JAZZ MUSIC)
1403
00:57:20,265 --> 00:57:27,390
♪ ♪
1404
00:57:31,599 --> 00:57:32,931
- It was adventure.
1405
00:57:32,932 --> 00:57:34,431
Adventure, adventure.
1406
00:57:34,432 --> 00:57:35,890
Let's try this, let's try that.
1407
00:57:35,891 --> 00:57:37,890
Let's make it as far-out
as possible.
1408
00:57:37,891 --> 00:57:40,389
Let's go somewhere
no one's ever gone before.
1409
00:57:40,390 --> 00:57:41,348
You know?
1410
00:57:41,349 --> 00:57:43,890
♪ ♪
1411
00:57:43,891 --> 00:57:45,472
- I mean, recording it
was, like,
1412
00:57:45,473 --> 00:57:46,931
six hours or something...
1413
00:57:46,932 --> 00:57:49,306
- Yeah.
- So he comes out,
1414
00:57:49,307 --> 00:57:53,098
then he lays down
the vocal for the whole song,
1415
00:57:53,099 --> 00:57:54,973
seven, eight minutes,
1416
00:57:54,974 --> 00:57:56,639
so he's been in the studio
all day long...
1417
00:57:56,640 --> 00:57:58,056
- Just sitting there.
1418
00:57:58,057 --> 00:57:59,431
- You know,
we're just sitting there,
1419
00:57:59,432 --> 00:58:01,222
listening--you know,
taking this all in,
1420
00:58:01,223 --> 00:58:03,306
goes out, a little
one-two-three on the mic,
1421
00:58:03,307 --> 00:58:04,472
and then, boom.
1422
00:58:04,473 --> 00:58:06,472
- ♪ Sue ♪
1423
00:58:06,473 --> 00:58:08,723
♪ ♪
1424
00:58:08,724 --> 00:58:12,389
♪ I got the job ♪
1425
00:58:12,390 --> 00:58:15,598
♪ ♪
1426
00:58:15,599 --> 00:58:21,723
♪ We'll buy the house ♪
1427
00:58:21,724 --> 00:58:24,347
♪ You'll need to rest ♪
1428
00:58:24,348 --> 00:58:30,681
♪ But now we'll make it ♪
1429
00:58:30,682 --> 00:58:32,681
- So I remember
doing this interview
1430
00:58:32,682 --> 00:58:33,806
with Tony Visconti.
1431
00:58:33,807 --> 00:58:35,681
The interviewer asked us both,
1432
00:58:35,682 --> 00:58:38,681
you know, what was David's
relationship to jazz music,
1433
00:58:38,682 --> 00:58:39,848
something like that,
1434
00:58:39,849 --> 00:58:41,514
and Tony's response was that
1435
00:58:41,515 --> 00:58:43,681
he thought that that influence
1436
00:58:43,682 --> 00:58:46,431
had always been there
in David's music,
1437
00:58:46,432 --> 00:58:48,681
but it was just sort of
underneath the surface,
1438
00:58:48,682 --> 00:58:50,431
and that now, it was just,
1439
00:58:50,432 --> 00:58:51,556
you know, out there.
1440
00:58:51,557 --> 00:58:52,931
♪ ♪
1441
00:58:52,932 --> 00:58:57,472
- ♪ Sue, I pushed you down ♪
1442
00:58:57,473 --> 00:59:00,140
♪ Beneath the weeds ♪
1443
00:59:00,141 --> 00:59:01,890
♪ Endless faith ♪
1444
00:59:01,891 --> 00:59:05,140
♪ In hopeless deeds ♪
1445
00:59:05,141 --> 00:59:07,098
- Of course, when this thing
was released,
1446
00:59:07,099 --> 00:59:08,931
there were
all sorts of comments.
1447
00:59:08,932 --> 00:59:12,098
Some people were just
absolutely hating it
1448
00:59:12,099 --> 00:59:13,806
and some people were loving it
1449
00:59:13,807 --> 00:59:15,681
and some people
didn't know what to think.
1450
00:59:15,682 --> 00:59:17,931
♪ ♪
1451
00:59:17,932 --> 00:59:22,181
- ♪ Good-bye ♪
1452
00:59:22,182 --> 00:59:23,931
- This is David Bowie.
1453
00:59:23,932 --> 00:59:27,431
He's not gonna pigeonhole
even himself.
1454
00:59:27,432 --> 00:59:29,472
Imagine how ridiculous
he would have looked,
1455
00:59:29,473 --> 00:59:31,556
you know, if he kept
dyeing his hair orange
1456
00:59:31,557 --> 00:59:33,431
and he was 65 years old
1457
00:59:33,432 --> 00:59:35,556
with orange hair
1458
00:59:35,557 --> 00:59:37,222
and platform shoes, you know.
1459
00:59:37,223 --> 00:59:41,472
He was smart.
1460
00:59:41,473 --> 00:59:44,514
(DARK PIANO MUSIC)
1461
00:59:44,515 --> 00:59:47,431
♪ ♪
1462
00:59:47,432 --> 00:59:50,764
The radical shift between
"Sue" and "The Next Day"
1463
00:59:50,765 --> 00:59:54,389
is like when he did the, uh,
ambient music
1464
00:59:54,390 --> 00:59:55,639
of "Low" and "Heroes"
1465
00:59:55,640 --> 00:59:58,181
with Brian Eno.
1466
00:59:58,182 --> 01:00:01,389
- ♪ Dun-dun-dun-dun... ♪
(IMITATING EARLY PIANO PLAYING)
1467
01:00:01,390 --> 01:00:02,806
(LAUGHS)
1468
01:00:02,807 --> 01:00:04,347
Oh... And he'll play that
again.
1469
01:00:04,348 --> 01:00:06,472
♪ Dun, dun, dun, dun ♪
1470
01:00:06,473 --> 01:00:09,514
Oh, wow, I'm feeling low.
1471
01:00:09,515 --> 01:00:10,931
(BRIGHT '80S MUSIC)
1472
01:00:10,932 --> 01:00:12,514
Brian Eno's methodology
1473
01:00:12,515 --> 01:00:13,931
is a little bit different
1474
01:00:13,932 --> 01:00:15,140
than any methodology
1475
01:00:15,141 --> 01:00:16,639
I've ever encountered.
1476
01:00:16,640 --> 01:00:18,848
That's not rock and roll.
1477
01:00:18,849 --> 01:00:21,264
Rock and roll is, "Hey, man,
I got this great riff.
1478
01:00:21,265 --> 01:00:23,140
Listen to this."
(IMITATES ELECTRIC GUITAR)
1479
01:00:23,141 --> 01:00:24,639
You know?
1480
01:00:24,640 --> 01:00:26,389
But when you start experimenting
1481
01:00:26,390 --> 01:00:27,848
with soundscapes,
1482
01:00:27,849 --> 01:00:29,347
which is what they were doing,
1483
01:00:29,348 --> 01:00:32,932
it makes other things
come to light.
1484
01:00:34,765 --> 01:00:38,431
David was listening to
a few German bands back then
1485
01:00:38,432 --> 01:00:40,431
that were at the epicenter
1486
01:00:40,432 --> 01:00:42,140
of electronic music,
1487
01:00:42,141 --> 01:00:43,681
and I think that the
1488
01:00:43,682 --> 01:00:45,639
elec-tronic-al part
1489
01:00:45,640 --> 01:00:46,640
was too much.
1490
01:00:46,641 --> 01:00:48,140
That's why he had a R&B, a--
1491
01:00:48,141 --> 01:00:49,890
A black rhythm section,
1492
01:00:49,891 --> 01:00:52,556
being, "You want a machine?
1493
01:00:52,557 --> 01:00:54,181
Let me give you a funk band."
1494
01:00:54,182 --> 01:00:57,098
(ENERGETIC MUSIC)
1495
01:00:57,099 --> 01:00:59,764
But I'll add
all the electronic stuff
1496
01:00:59,765 --> 01:01:01,347
on top of that.
1497
01:01:01,348 --> 01:01:04,472
Otherwise, he might
take the chance of
1498
01:01:04,473 --> 01:01:08,806
sounding like European
1499
01:01:08,807 --> 01:01:10,098
electronic music,
1500
01:01:10,099 --> 01:01:12,514
which he did not
want to reproduce.
1501
01:01:12,515 --> 01:01:15,264
♪ ♪
1502
01:01:15,265 --> 01:01:17,015
- I'd gotten into the idea
1503
01:01:17,016 --> 01:01:18,973
of real experimentation
in music,
1504
01:01:18,974 --> 01:01:20,556
with the new sounds of Europe
1505
01:01:20,557 --> 01:01:22,973
and it was this kind of
hybrid thing
1506
01:01:22,974 --> 01:01:24,472
that appealed to me so much.
1507
01:01:24,473 --> 01:01:26,222
The idea of mixtures
1508
01:01:26,223 --> 01:01:28,347
has always been something
that I've found
1509
01:01:28,348 --> 01:01:30,598
absolutely fascinating.
1510
01:01:30,599 --> 01:01:33,015
♪ Blue, blue, electric blue ♪
1511
01:01:33,016 --> 01:01:35,723
♪ That's the color of my room ♪
1512
01:01:35,724 --> 01:01:37,264
♪ Where I will live ♪
1513
01:01:37,265 --> 01:01:39,514
♪ ♪
1514
01:01:39,515 --> 01:01:41,639
♪ Blue, blue ♪
1515
01:01:41,640 --> 01:01:44,764
♪ ♪
1516
01:01:44,765 --> 01:01:47,098
♪ Pale blinds drawn all day ♪
1517
01:01:47,099 --> 01:01:49,681
♪ Nothing to do,
nothing to say ♪
1518
01:01:49,682 --> 01:01:53,681
♪ ♪
1519
01:01:53,682 --> 01:01:55,347
♪ Blue, blue ♪
1520
01:01:55,348 --> 01:01:59,015
♪ ♪
1521
01:01:59,016 --> 01:02:01,264
♪ I will sit right down ♪
1522
01:02:01,265 --> 01:02:04,639
♪ Waiting for
the gift of sound and vision ♪
1523
01:02:04,640 --> 01:02:06,140
- I was just amazed that
1524
01:02:06,141 --> 01:02:08,222
David was the kind of person
that he was,
1525
01:02:08,223 --> 01:02:10,015
because I wasn't expecting that.
1526
01:02:10,016 --> 01:02:12,806
I was expecting something
sort of
1527
01:02:12,807 --> 01:02:16,015
superhuman, strange, walking in
1528
01:02:16,016 --> 01:02:18,723
and he presented himself
so normal.
1529
01:02:18,724 --> 01:02:19,931
As a matter of fact,
1530
01:02:19,932 --> 01:02:22,056
the doorman from downstairs
1531
01:02:22,057 --> 01:02:23,389
called me and said,
1532
01:02:23,390 --> 01:02:25,098
"There's a--what?
What's your name?
1533
01:02:25,099 --> 01:02:27,056
Oh, David, here to see you."
1534
01:02:27,057 --> 01:02:29,015
And I thought, "Oh, dear."
1535
01:02:29,016 --> 01:02:31,848
(ENERGETIC JAZZ MUSIC)
1536
01:02:31,849 --> 01:02:35,389
♪ ♪
1537
01:02:35,390 --> 01:02:38,598
Can I just stop a second?
Did I just say he was normal?
1538
01:02:38,599 --> 01:02:41,347
There's really nothing normal
about David Bowie.
1539
01:02:41,348 --> 01:02:43,890
You know?
But anyway...
1540
01:02:43,891 --> 01:02:50,974
♪ ♪
1541
01:02:54,223 --> 01:02:57,264
(QUIET DRUM MUSIC)
1542
01:02:57,265 --> 01:03:04,307
♪ ♪
1543
01:03:04,599 --> 01:03:07,098
(TRANQUIL ROCK MUSIC)
1544
01:03:07,099 --> 01:03:08,890
- When I was around 17, 18,
1545
01:03:08,891 --> 01:03:10,890
what I wanted to do,
more than anything else,
1546
01:03:10,891 --> 01:03:13,264
was write something
for Broadway.
1547
01:03:13,265 --> 01:03:14,639
I wanted to write a musical.
1548
01:03:14,640 --> 01:03:17,264
Had no idea of how you did it
1549
01:03:17,265 --> 01:03:19,015
or how musicals were
constructed,
1550
01:03:19,016 --> 01:03:21,931
but the idea of writing
something
1551
01:03:21,932 --> 01:03:24,598
that was rock-based
for Broadway
1552
01:03:24,599 --> 01:03:26,264
really intrigued me.
I thought, "That would be
1553
01:03:26,265 --> 01:03:27,931
a wonderful thing to do."
1554
01:03:27,932 --> 01:03:30,347
♪ ♪
1555
01:03:30,348 --> 01:03:34,015
- When we first talked
quite quickly
1556
01:03:34,016 --> 01:03:35,723
he said,
1557
01:03:35,724 --> 01:03:37,764
"I wanna do a musical,"
1558
01:03:37,765 --> 01:03:39,973
and I said, "Great,"
1559
01:03:39,974 --> 01:03:41,848
and he said, "All I know
1560
01:03:41,849 --> 01:03:43,306
"is that it's called Laz--
1561
01:03:43,307 --> 01:03:45,931
"it's gonna be called
'Lazarus, '
1562
01:03:45,932 --> 01:03:47,848
"and it's based on
the character I played
1563
01:03:47,849 --> 01:03:49,681
"in 'The Man Who Fell to Earth'
1564
01:03:49,682 --> 01:03:52,514
in the movie,
Thomas Jerome Newton."
1565
01:03:52,515 --> 01:03:56,472
♪ ♪
1566
01:03:56,473 --> 01:03:59,264
- Thomas Newton is an alien.
1567
01:03:59,265 --> 01:04:00,764
He can't get home.
1568
01:04:00,765 --> 01:04:02,639
He's relegated to this Earth.
1569
01:04:02,640 --> 01:04:06,681
He is in the world,
but not of it.
1570
01:04:06,682 --> 01:04:08,181
♪ ♪
1571
01:04:08,182 --> 01:04:11,598
- Outsiders,
marginalized people,
1572
01:04:11,599 --> 01:04:13,848
people that don't belong,
1573
01:04:13,849 --> 01:04:15,098
that are disp--
1574
01:04:15,099 --> 01:04:16,848
That feel displaced,
1575
01:04:16,849 --> 01:04:17,849
not at home,
1576
01:04:17,850 --> 01:04:18,890
even when they have a house,
1577
01:04:18,891 --> 01:04:20,098
like Newton.
1578
01:04:20,099 --> 01:04:21,472
Rich, you know, on Earth,
1579
01:04:21,473 --> 01:04:23,598
but lost on Earth.
1580
01:04:23,599 --> 01:04:24,848
It resonated with him.
1581
01:04:24,849 --> 01:04:28,181
♪ ♪
1582
01:04:28,182 --> 01:04:30,806
- My initial reaction was,
1583
01:04:30,807 --> 01:04:33,015
"I've got the chance
to do a musical
1584
01:04:33,016 --> 01:04:35,347
"with David, which is wonderful,
1585
01:04:35,348 --> 01:04:38,222
but it sure ain't
gonna buy me a yacht."
1586
01:04:38,223 --> 01:04:40,681
- (DISTORTED)
♪ Oh, say, can you see ♪
1587
01:04:40,682 --> 01:04:44,056
- That was my amused comment
to myself,
1588
01:04:44,057 --> 01:04:46,514
but he said,
"I want to see this,"
1589
01:04:46,515 --> 01:04:48,015
you know, "I want this on."
1590
01:04:48,016 --> 01:04:50,015
- Okay.
1591
01:04:50,016 --> 01:04:52,848
So, uh, thank you very much,
Sophia.
1592
01:04:52,849 --> 01:04:57,015
- Just before
we were due to start
1593
01:04:57,016 --> 01:04:59,056
a small workshop,
1594
01:04:59,057 --> 01:05:02,389
I was asked to go to
David's office in New York
1595
01:05:02,390 --> 01:05:04,306
at a specific time,
1596
01:05:04,307 --> 01:05:06,431
and when I walked in the room,
1597
01:05:06,432 --> 01:05:10,723
David was on Skype,
1598
01:05:10,724 --> 01:05:14,056
and then he said, "I need
to explain something to you,
1599
01:05:14,057 --> 01:05:16,639
"because I'm not gonna be
1600
01:05:16,640 --> 01:05:18,890
"able to be around a lot
1601
01:05:18,891 --> 01:05:21,514
"during this workshop.
1602
01:05:21,515 --> 01:05:23,222
"Which doesn't mean that I'm
1603
01:05:23,223 --> 01:05:26,098
"not gonna be totally involved
in it.
1604
01:05:26,099 --> 01:05:29,848
"It just means that I
can't be there sometimes,
1605
01:05:29,849 --> 01:05:32,015
"because I'm having treatment
1606
01:05:32,016 --> 01:05:35,931
because I have, uh, a cancer."
1607
01:05:35,932 --> 01:05:38,890
(CLASSICAL PIANO MUSIC)
1608
01:05:38,891 --> 01:05:40,639
I was shocked,
1609
01:05:40,640 --> 01:05:41,890
but his attitude was
1610
01:05:41,891 --> 01:05:44,098
that he was gonna be okay.
1611
01:05:44,099 --> 01:05:47,431
And that was kind of the end of
the conversation.
1612
01:05:47,432 --> 01:05:49,973
- I'm here to get you out
of this apartment!
1613
01:05:49,974 --> 01:05:51,973
Get you home to your planet!
1614
01:05:51,974 --> 01:05:53,639
I think we should build
a rocket!
1615
01:05:53,640 --> 01:05:56,598
(BOLD ROCK MUSIC PLAYS)
1616
01:05:56,599 --> 01:05:58,598
- But of course,
once we started,
1617
01:05:58,599 --> 01:05:59,973
sort of, rehearsal,
1618
01:05:59,974 --> 01:06:01,639
he was there a lot.
1619
01:06:01,640 --> 01:06:03,264
He was sort of in and out
and in and out,
1620
01:06:03,265 --> 01:06:04,764
you know, so...
1621
01:06:04,765 --> 01:06:06,264
♪ ♪
1622
01:06:06,265 --> 01:06:08,514
So he would go,
"Oh, let's remove that
1623
01:06:08,515 --> 01:06:11,098
"scene, and can I write a--
Can I write a song?
1624
01:06:11,099 --> 01:06:12,848
I feel as if I should
write a song here,"
1625
01:06:12,849 --> 01:06:14,264
and he was really excited
about that.
1626
01:06:14,265 --> 01:06:16,556
♪ ♪
1627
01:06:16,557 --> 01:06:19,431
- He was ill, and, um,
he said, uh,
1628
01:06:19,432 --> 01:06:22,140
writing the musical
was on his bucket list.
1629
01:06:22,141 --> 01:06:24,973
You know, getting
finally writing a musical
1630
01:06:24,974 --> 01:06:26,056
and all that.
1631
01:06:26,057 --> 01:06:27,764
So that's the only time
1632
01:06:27,765 --> 01:06:29,973
he got a little bit, you know,
sentimental, maybe,
1633
01:06:29,974 --> 01:06:32,015
like I've got to do
these things.
1634
01:06:32,016 --> 01:06:34,973
- Stupid animal!
Stupid creature!
1635
01:06:34,974 --> 01:06:37,098
- Why don't you tell me
what's going on?
1636
01:06:37,099 --> 01:06:40,222
- Because I can't.
1637
01:06:40,223 --> 01:06:43,431
- I think that David
intended it to be a play
1638
01:06:43,432 --> 01:06:45,472
that's supported by music,
1639
01:06:45,473 --> 01:06:49,264
rather than a musical
that's supported by dialogue.
1640
01:06:49,265 --> 01:06:53,306
- ♪ But the film is a saddening
bore ♪
1641
01:06:53,307 --> 01:06:55,848
- It's about as far from
a typical West End
1642
01:06:55,849 --> 01:06:57,472
or Broadway show
as you could get.
1643
01:06:57,473 --> 01:07:01,181
He wanted this to be
an art piece.
1644
01:07:01,182 --> 01:07:03,681
- ♪ As I ask you to focus ♪
1645
01:07:03,682 --> 01:07:08,347
♪ Sailors fighting
in the dance hall ♪
1646
01:07:08,348 --> 01:07:14,264
♪ Oh, man, look at
those cavemen go ♪
1647
01:07:14,265 --> 01:07:17,015
♪ It's the freakiest show ♪
1648
01:07:17,016 --> 01:07:19,514
- I'd heard that he wanted
to do a musical since--
1649
01:07:19,515 --> 01:07:22,181
Someone said the mid-'70s
or something or other,
1650
01:07:22,182 --> 01:07:24,514
and I thought, "Oh, God,
1651
01:07:24,515 --> 01:07:26,098
"we're beginning something
that feels
1652
01:07:26,099 --> 01:07:28,015
"very, very close to his heart
1653
01:07:28,016 --> 01:07:29,849
and his head
and where he's at."
1654
01:07:33,849 --> 01:07:36,931
(CRESCENDOING ROCK MUSIC)
1655
01:07:36,932 --> 01:07:38,890
♪ ♪
1656
01:07:38,891 --> 01:07:40,681
- ♪ Ronda ♪
1657
01:07:40,682 --> 01:07:42,723
I really had it in my mind
1658
01:07:42,724 --> 01:07:45,973
to do a musical of "1984."
1659
01:07:45,974 --> 01:07:48,723
It was a book that I'd loved
all through my youth,
1660
01:07:48,724 --> 01:07:52,056
but of course, I didn't really
take into account
1661
01:07:52,057 --> 01:07:53,848
the second Mrs. Orwell,
1662
01:07:53,849 --> 01:07:55,890
who, when she got wind
of what we were doing,
1663
01:07:55,891 --> 01:07:57,514
absolutely put her foot down
and said,
1664
01:07:57,515 --> 01:07:58,973
"Not having
rock-and-roll people
1665
01:07:58,974 --> 01:08:01,098
"work on my late husband's
1666
01:08:01,099 --> 01:08:02,306
great piece of work."
1667
01:08:02,307 --> 01:08:03,890
And I thought, "Oh,
1668
01:08:03,891 --> 01:08:05,973
sorry,
I'll do me own version then."
1669
01:08:05,974 --> 01:08:07,306
- That's a naught.
1670
01:08:07,307 --> 01:08:08,681
- 2015!
1671
01:08:08,682 --> 01:08:10,098
- This is the beginning
of a film
1672
01:08:10,099 --> 01:08:11,431
called "Diamond Dogs,"
1673
01:08:11,432 --> 01:08:13,056
and I've put naught in here
1674
01:08:13,057 --> 01:08:16,056
because I didn't know
what year it's set in.
1675
01:08:16,057 --> 01:08:17,514
- Wanting to do something
1676
01:08:17,515 --> 01:08:19,973
like write a musical for "1984"
1677
01:08:19,974 --> 01:08:21,639
and then not being able
to do it,
1678
01:08:21,640 --> 01:08:24,681
via the album "Diamond Dogs,"
1679
01:08:24,682 --> 01:08:26,890
kind of gelled into this thing
1680
01:08:26,891 --> 01:08:29,098
that we later toured in America.
1681
01:08:29,099 --> 01:08:32,264
- (SINGING)
1682
01:08:32,265 --> 01:08:34,264
- David had the idea of
1683
01:08:34,265 --> 01:08:37,098
using dance and mime,
1684
01:08:37,099 --> 01:08:40,098
uh, with two vocalists,
1685
01:08:40,099 --> 01:08:43,723
myself being one...
1686
01:08:43,724 --> 01:08:45,347
- ♪ Jean Genie ♪
1687
01:08:45,348 --> 01:08:47,015
- And Gui Andrisano,
1688
01:08:47,016 --> 01:08:49,264
who had been a child star.
1689
01:08:49,265 --> 01:08:56,390
♪ ♪
1690
01:09:02,765 --> 01:09:05,514
It kind of worked with
the input that we had
1691
01:09:05,515 --> 01:09:07,598
from Toni Basil,
1692
01:09:07,599 --> 01:09:11,431
in terms of choreography.
1693
01:09:11,432 --> 01:09:14,973
- But when I met him
the first day
1694
01:09:14,974 --> 01:09:17,306
in his hotel suite,
1695
01:09:17,307 --> 01:09:19,431
the set was there.
1696
01:09:19,432 --> 01:09:22,098
The set was already
a little mock-up set.
1697
01:09:22,099 --> 01:09:25,764
- ♪ We feel that we are paper ♪
1698
01:09:25,765 --> 01:09:28,764
♪ Choking on you nightly ♪
1699
01:09:28,765 --> 01:09:32,306
♪ They tell me,
son, we want you ♪
1700
01:09:32,307 --> 01:09:35,806
♪ Be elusive,
but don't walk far ♪
1701
01:09:35,807 --> 01:09:36,931
♪ For we're ♪
1702
01:09:36,932 --> 01:09:39,056
- He had the cityscape
1703
01:09:39,057 --> 01:09:40,598
and a set list.
1704
01:09:40,599 --> 01:09:43,015
So for me,
1705
01:09:43,016 --> 01:09:46,764
the set list was my thread
1706
01:09:46,765 --> 01:09:51,306
of what ideas
I could come up with
1707
01:09:51,307 --> 01:09:54,181
in collaboration with him
1708
01:09:54,182 --> 01:09:57,431
to make this theatrical piece
happen.
1709
01:09:57,432 --> 01:09:59,015
- ♪ But I love you ♪
1710
01:09:59,016 --> 01:10:00,764
♪ In your fuck-me pumps ♪
1711
01:10:00,765 --> 01:10:03,806
♪ And your nimble dress
that trails ♪
1712
01:10:03,807 --> 01:10:05,890
♪ Oh dress yourself ♪
1713
01:10:05,891 --> 01:10:08,472
- At that time, there was not
1714
01:10:08,473 --> 01:10:11,098
really a lot of rock stars
1715
01:10:11,099 --> 01:10:14,015
that focused on theatricality.
1716
01:10:14,016 --> 01:10:15,848
A lot of them thought
it was corny,
1717
01:10:15,849 --> 01:10:18,098
or they were afraid
to approach it.
1718
01:10:18,099 --> 01:10:22,098
So I knew he was
a great performer,
1719
01:10:22,099 --> 01:10:23,931
extremely theatrical,
1720
01:10:23,932 --> 01:10:27,598
that would just always be
outside the box,
1721
01:10:27,599 --> 01:10:29,806
always be walking on the edge.
1722
01:10:29,807 --> 01:10:36,891
♪ ♪
1723
01:10:37,640 --> 01:10:39,598
- ♪ In the year
of the scavenger ♪
1724
01:10:39,599 --> 01:10:41,431
♪ The season of the bitch ♪
1725
01:10:41,432 --> 01:10:43,556
♪ Sashay on the boardwalk ♪
1726
01:10:43,557 --> 01:10:45,306
♪ Scurry to the ditch ♪
1727
01:10:45,307 --> 01:10:47,389
♪ Just another future song ♪
1728
01:10:47,390 --> 01:10:49,056
♪ Lonely little kitsch ♪
1729
01:10:49,057 --> 01:10:51,514
- "Diamond Dogs" was
probably the most difficult
1730
01:10:51,515 --> 01:10:53,723
one to choreograph, because
1731
01:10:53,724 --> 01:10:56,140
we were on long pieces of rope.
1732
01:10:56,141 --> 01:10:58,140
And the idea was to
1733
01:10:58,141 --> 01:10:59,598
tie him down
1734
01:10:59,599 --> 01:11:02,222
without fully disabling him
1735
01:11:02,223 --> 01:11:04,973
and, uh, tripping him up.
1736
01:11:04,974 --> 01:11:07,598
♪ ♪
1737
01:11:07,599 --> 01:11:10,264
- ♪ There you go
whoo ♪
1738
01:11:10,265 --> 01:11:12,598
♪ Call them the diamond dogs ♪
1739
01:11:12,599 --> 01:11:14,931
It was hideously pressurized
for me.
1740
01:11:14,932 --> 01:11:16,931
I had these awful tensions
and stresses
1741
01:11:16,932 --> 01:11:19,848
but the physicality
of performing a show like that
1742
01:11:19,849 --> 01:11:22,556
was alarmingly strenuous.
1743
01:11:22,557 --> 01:11:24,431
♪ Oh, honey ♪
1744
01:11:24,432 --> 01:11:26,431
♪ You're so bad ♪
1745
01:11:26,432 --> 01:11:30,431
- "Diamond Dogs" is
a series of vignettes
1746
01:11:30,432 --> 01:11:32,639
of what could happen
1747
01:11:32,640 --> 01:11:34,639
when society breaks down,
1748
01:11:34,640 --> 01:11:36,389
so it was more sketchy,
1749
01:11:36,390 --> 01:11:38,931
rather than a story
from beginning to end.
1750
01:11:38,932 --> 01:11:42,806
♪ ♪
1751
01:11:42,807 --> 01:11:44,931
- I started getting into
the idea of writing
1752
01:11:44,932 --> 01:11:47,514
a kind of a non-narrative
1753
01:11:47,515 --> 01:11:50,098
that just had situations
within it
1754
01:11:50,099 --> 01:11:52,098
and the audience kind of
joins up the dots
1755
01:11:52,099 --> 01:11:53,389
their own way, in the way
1756
01:11:53,390 --> 01:11:54,890
they want to make it.
1757
01:11:54,891 --> 01:11:58,222
They'd remake the material
they're offered.
1758
01:11:58,223 --> 01:12:01,556
♪ Just one day, I say ♪
1759
01:12:01,557 --> 01:12:03,140
♪ Oh, honey ♪
1760
01:12:03,141 --> 01:12:06,140
♪ You're so bad ♪
1761
01:12:06,141 --> 01:12:08,973
♪ Best I ever had ♪
1762
01:12:08,974 --> 01:12:11,974
♪ ♪
1763
01:12:15,640 --> 01:12:18,598
- He brought me another song
to work on.
1764
01:12:18,599 --> 01:12:20,639
And I said to him,
"I would love to do this,
1765
01:12:20,640 --> 01:12:22,931
"but I just--I can't, David.
1766
01:12:22,932 --> 01:12:25,973
I'm recording an album
with my own band."
1767
01:12:25,974 --> 01:12:30,723
♪ ♪
1768
01:12:30,724 --> 01:12:32,347
And then, I said to him,
1769
01:12:32,348 --> 01:12:33,973
"I think you should do a record
1770
01:12:33,974 --> 01:12:36,015
with Donny's group."
1771
01:12:36,016 --> 01:12:37,514
He said, "Really, you think so?
1772
01:12:37,515 --> 01:12:39,514
You think they'd want
to do that?"
1773
01:12:39,515 --> 01:12:41,764
and I said, "You kidding me?"
1774
01:12:41,765 --> 01:12:44,514
and I said, "I think
it would be amazing."
1775
01:12:44,515 --> 01:12:46,764
♪ ♪
1776
01:12:46,765 --> 01:12:48,848
- I got an email from him
and--
1777
01:12:48,849 --> 01:12:50,514
Basically saying that
1778
01:12:50,515 --> 01:12:53,806
he would really like to record
different tunes with us.
1779
01:12:53,807 --> 01:12:55,347
There was a sentence
that he said--
1780
01:12:55,348 --> 01:12:56,848
Something like, you know,
1781
01:12:56,849 --> 01:12:58,514
"It would be my dream
1782
01:12:58,515 --> 01:13:00,347
"to record a few songs
1783
01:13:00,348 --> 01:13:01,848
with the Donny McCaslin group."
1784
01:13:01,849 --> 01:13:04,681
I think that that sentence
1785
01:13:04,682 --> 01:13:08,181
was kind of, like, wow.
1786
01:13:08,182 --> 01:13:11,222
(MELANCHOLY MUSIC)
1787
01:13:11,223 --> 01:13:16,140
♪ ♪
1788
01:13:16,141 --> 01:13:18,431
Whatever he was going through,
health-wise, at the time,
1789
01:13:18,432 --> 01:13:20,931
one thing that was
really inspiring
1790
01:13:20,932 --> 01:13:24,389
was how, from the first day,
1791
01:13:24,390 --> 01:13:26,264
the first note, he was just
1792
01:13:26,265 --> 01:13:28,306
totally in it.
1793
01:13:28,307 --> 01:13:29,931
- By the time I joined you guys,
1794
01:13:29,932 --> 01:13:31,181
I was not aware of anything,
1795
01:13:31,182 --> 01:13:32,431
and I was actually--
1796
01:13:32,432 --> 01:13:34,514
Even being ignorant of all this,
1797
01:13:34,515 --> 01:13:37,264
I was struck
by how healthy and energetic
1798
01:13:37,265 --> 01:13:38,890
and in great spirits he was.
1799
01:13:38,891 --> 01:13:41,973
(UNEASY ORCHESTRAL LULLABY)
1800
01:13:41,974 --> 01:13:45,973
♪ ♪
1801
01:13:45,974 --> 01:13:48,389
- So David had a lot of
vocal ideas
1802
01:13:48,390 --> 01:13:49,890
that needed to be done.
1803
01:13:49,891 --> 01:13:52,098
We have him singing this.
1804
01:13:52,099 --> 01:13:55,764
- ♪ In the villa of Ormen ♪
1805
01:13:55,765 --> 01:13:59,431
♪ In the villa of Ormen ♪
1806
01:13:59,432 --> 01:14:02,056
♪ Stands a solitary candle ♪
1807
01:14:02,057 --> 01:14:06,015
♪ Ah, ah ♪
1808
01:14:06,016 --> 01:14:09,514
♪ Ah, ah ♪
1809
01:14:09,515 --> 01:14:13,140
♪ In the center of it all ♪
1810
01:14:13,141 --> 01:14:18,098
♪ In the center of it all ♪
1811
01:14:18,099 --> 01:14:22,222
♪ Your eyes ♪
1812
01:14:22,223 --> 01:14:24,056
- Now, the reason
it sounds so good
1813
01:14:24,057 --> 01:14:26,181
is that's just one David Bowie
singing,
1814
01:14:26,182 --> 01:14:30,723
but with his voice put up
a fifth interval.
1815
01:14:30,724 --> 01:14:33,389
- ♪ On the day of execution ♪
1816
01:14:33,390 --> 01:14:34,723
♪ ♪
1817
01:14:34,724 --> 01:14:37,222
♪ On the day of execution ♪
1818
01:14:37,223 --> 01:14:38,431
♪ ♪
1819
01:14:38,432 --> 01:14:41,098
♪ Only women kneel and smile ♪
1820
01:14:41,099 --> 01:14:45,098
♪ Ah, ah ♪
1821
01:14:45,099 --> 01:14:48,222
♪ Ah, ah ♪
1822
01:14:48,223 --> 01:14:52,556
♪ At the center of it all ♪
1823
01:14:52,557 --> 01:14:56,306
♪ At the center of it all ♪
1824
01:14:56,307 --> 01:15:00,264
♪ Your eyes ♪
1825
01:15:00,265 --> 01:15:04,681
♪ ♪
1826
01:15:04,682 --> 01:15:06,973
♪ Your eyes ♪
1827
01:15:06,974 --> 01:15:09,598
- He asked me if
I would be interested
1828
01:15:09,599 --> 01:15:12,098
in perhaps putting
some images to this song,
1829
01:15:12,099 --> 01:15:14,681
and then began, you know,
a couple of months of
1830
01:15:14,682 --> 01:15:17,015
a very interesting
collaborative process.
1831
01:15:17,016 --> 01:15:20,639
He would send me drawings
1832
01:15:20,640 --> 01:15:22,389
that he would literally say,
1833
01:15:22,390 --> 01:15:24,389
"Do what you want
with these drawings,"
1834
01:15:24,390 --> 01:15:26,098
you know?
1835
01:15:26,099 --> 01:15:28,681
He would have this character
that he drew
1836
01:15:28,682 --> 01:15:31,015
with the man with sort of gauze,
1837
01:15:31,016 --> 01:15:32,764
you know, across his face,
1838
01:15:32,765 --> 01:15:35,472
with two buttons for eyes,
1839
01:15:35,473 --> 01:15:37,764
and we named him "Button-Eyes."
1840
01:15:37,765 --> 01:15:41,890
♪ ♪
1841
01:15:41,891 --> 01:15:45,598
And he also sent me an image
of a spaceman
1842
01:15:45,599 --> 01:15:47,514
with a skeleton inside.
1843
01:15:47,515 --> 01:15:53,472
- ♪ Ah-ah-ah ♪
1844
01:15:53,473 --> 01:15:56,890
- To me, it was 100%
Major Tom, you know?
1845
01:15:56,891 --> 01:15:58,848
A character that he had,
you know,
1846
01:15:58,849 --> 01:16:02,306
revisited and used
over his career.
1847
01:16:02,307 --> 01:16:03,890
- Major Tom, for him,
1848
01:16:03,891 --> 01:16:06,514
was like some sort of talisman
or something.
1849
01:16:06,515 --> 01:16:08,723
He was really along
for the ride with David,
1850
01:16:08,724 --> 01:16:11,015
and the idea of space,
1851
01:16:11,016 --> 01:16:13,015
I think, represented--
1852
01:16:13,016 --> 01:16:15,264
Maybe it represented freedom.
1853
01:16:15,265 --> 01:16:18,181
(ACOUSTIC GUITAR MUSIC)
1854
01:16:18,182 --> 01:16:20,890
- Major Tom
still means a lot to me.
1855
01:16:20,891 --> 01:16:22,973
It was the first time
I'd been able
1856
01:16:22,974 --> 01:16:24,264
to create a character
1857
01:16:24,265 --> 01:16:26,222
that, uh, was very credible,
1858
01:16:26,223 --> 01:16:28,890
and I think for any writer,
that's a high point.
1859
01:16:28,891 --> 01:16:30,598
He preceded all the others,
1860
01:16:30,599 --> 01:16:32,556
and I suppose one has
his special place for him.
1861
01:16:32,557 --> 01:16:33,848
I do.
1862
01:16:33,849 --> 01:16:37,140
♪ Ground control
to Major Tom ♪
1863
01:16:37,141 --> 01:16:41,264
♪ ♪
1864
01:16:41,265 --> 01:16:44,764
♪ Ground control
to Major Tom ♪
1865
01:16:44,765 --> 01:16:48,181
♪ ♪
1866
01:16:48,182 --> 01:16:51,264
♪ Take your protein pills ♪
1867
01:16:51,265 --> 01:16:55,973
♪ And put your helmet on ♪
1868
01:16:55,974 --> 01:16:57,306
- What is it with spaceships?
1869
01:16:57,307 --> 01:16:58,764
- Well, it's--it's
1870
01:16:58,765 --> 01:16:59,931
an interior dialogue
1871
01:16:59,932 --> 01:17:01,764
that you manifest physically.
1872
01:17:01,765 --> 01:17:04,598
(SAXOPHONE MUSIC)
1873
01:17:04,599 --> 01:17:08,015
It's my little inner space,
isn't it?
1874
01:17:08,016 --> 01:17:09,514
Writ large.
1875
01:17:09,515 --> 01:17:11,556
I wouldn't dream of
getting on a spaceship.
1876
01:17:11,557 --> 01:17:13,181
It would scare the shit
out of me.
1877
01:17:13,182 --> 01:17:14,973
(LAUGHS)
1878
01:17:14,974 --> 01:17:17,639
I have absolutely no interest
or ambition
1879
01:17:17,640 --> 01:17:19,347
to go into space whatsoever.
1880
01:17:19,348 --> 01:17:21,890
I'm scared, going down
the end of the garden.
1881
01:17:21,891 --> 01:17:23,264
(ROCK MUSIC)
1882
01:17:23,265 --> 01:17:28,264
♪ Though I'm past
100,000 miles ♪
1883
01:17:28,265 --> 01:17:32,931
♪ I'm feeling very still ♪
1884
01:17:32,932 --> 01:17:36,681
♪ And I think
my spaceship knows ♪
1885
01:17:36,682 --> 01:17:39,140
♪ Which way to go ♪
1886
01:17:39,141 --> 01:17:40,556
♪ ♪
1887
01:17:40,557 --> 01:17:44,639
♪ Tell my wife I love her
very much ♪
1888
01:17:44,640 --> 01:17:46,639
♪ She knows ♪
1889
01:17:46,640 --> 01:17:48,723
♪ ♪
1890
01:17:48,724 --> 01:17:51,806
♪ Ground control
to Major Tom ♪
1891
01:17:51,807 --> 01:17:53,931
♪ Your circuit's dead ♪
1892
01:17:53,932 --> 01:17:55,806
♪ There's something wrong ♪
1893
01:17:55,807 --> 01:17:58,140
♪ Can you hear me,
Major Tom? ♪
1894
01:17:58,141 --> 01:18:02,514
♪ Can you hear me,
Major Tom? ♪
1895
01:18:02,515 --> 01:18:06,389
♪ Can you hear me,
Major Tom? ♪
1896
01:18:06,390 --> 01:18:09,056
- Major Tom was
a really great device
1897
01:18:09,057 --> 01:18:11,639
to keep returning to.
1898
01:18:11,640 --> 01:18:13,098
Maybe there was some little,
1899
01:18:13,099 --> 01:18:14,681
you know, obviously a bit of,
maybe,
1900
01:18:14,682 --> 01:18:16,306
sentimental attachment to it,
1901
01:18:16,307 --> 01:18:18,015
because it represented a lot
1902
01:18:18,016 --> 01:18:20,181
in terms of
how he became known to us
1903
01:18:20,182 --> 01:18:21,806
and became famous.
1904
01:18:21,807 --> 01:18:25,347
- ♪ The shrieking
of nothing is killing ♪
1905
01:18:25,348 --> 01:18:29,431
♪ Just pictures of Jap girls
in synthesis ♪
1906
01:18:29,432 --> 01:18:31,764
♪ And I ain't got no money ♪
1907
01:18:31,765 --> 01:18:34,598
♪ And I ain't got no hair ♪
1908
01:18:34,599 --> 01:18:35,681
- (MURMURING)
1909
01:18:35,682 --> 01:18:38,015
Something please the air.
1910
01:18:38,016 --> 01:18:40,347
- ♪ But I'm hoping to kick ♪
1911
01:18:40,348 --> 01:18:46,015
♪ But the planet is glowing ♪
1912
01:18:46,016 --> 01:18:50,472
♪ Ashes to ashes
and funk to funky ♪
1913
01:18:50,473 --> 01:18:54,598
♪ We know Major Tom's
a junkie ♪
1914
01:18:54,599 --> 01:18:57,890
♪ Strung out in heaven's high ♪
1915
01:18:57,891 --> 01:19:01,723
♪ Hitting an all-time low ♪
1916
01:19:01,724 --> 01:19:03,890
(DISCORDANT ELECTRONIC MUSIC)
1917
01:19:03,891 --> 01:19:06,973
- He just would take
these bits of the past
1918
01:19:06,974 --> 01:19:09,556
and fashion the future
out of them,
1919
01:19:09,557 --> 01:19:13,056
and Major Tom
was a big part of that.
1920
01:19:13,057 --> 01:19:14,890
♪ ♪
1921
01:19:14,891 --> 01:19:16,181
And he's been looking for home
1922
01:19:16,182 --> 01:19:17,389
for, you know, how long?
1923
01:19:17,390 --> 01:19:18,931
50 years or something.
1924
01:19:18,932 --> 01:19:20,140
You know, a long time,
1925
01:19:20,141 --> 01:19:21,973
Major Tom's been trying to
1926
01:19:21,974 --> 01:19:25,056
find peace and rest,
and he found it in "Blackstar."
1927
01:19:25,057 --> 01:19:27,890
Major Tom is home, finally.
1928
01:19:27,891 --> 01:19:32,598
(SEPULCHRAL MUSIC)
1929
01:19:32,599 --> 01:19:35,140
- "Blackstar," you know--
It's really wildly open
1930
01:19:35,141 --> 01:19:36,639
to interpretation.
1931
01:19:36,640 --> 01:19:38,723
And, uh, I think
he enjoyed this very much,
1932
01:19:38,724 --> 01:19:40,181
like any artist.
1933
01:19:40,182 --> 01:19:42,389
Any great artist
wants you to stand back
1934
01:19:42,390 --> 01:19:44,264
and look at the work
1935
01:19:44,265 --> 01:19:45,598
and analyze it,
1936
01:19:45,599 --> 01:19:47,890
and--and feel things from it,
1937
01:19:47,891 --> 01:19:50,848
and you might not
feel the same things.
1938
01:19:50,849 --> 01:19:52,264
The idea of art
1939
01:19:52,265 --> 01:19:54,931
is to stimulate
your own imagination.
1940
01:19:54,932 --> 01:19:56,181
♪ ♪
1941
01:19:56,182 --> 01:20:00,598
- ♪ Ooh-ooh-ooh ♪
1942
01:20:00,599 --> 01:20:02,264
- You know, after a week or two
1943
01:20:02,265 --> 01:20:04,598
of us, uh, having these chats
1944
01:20:04,599 --> 01:20:08,222
about Button-Eyes
and the spaceman,
1945
01:20:08,223 --> 01:20:09,931
I get a text message from him,
said, uh,
1946
01:20:09,932 --> 01:20:11,931
"I need to Skype
with you. Can you Skype?"
1947
01:20:11,932 --> 01:20:13,848
And he's saying, "There's
something I have to tell you,"
1948
01:20:13,849 --> 01:20:16,140
um, and I said, "Sure."
1949
01:20:16,141 --> 01:20:17,723
And then he says,
1950
01:20:17,724 --> 01:20:19,514
"I have to tell you that
I'm very ill
1951
01:20:19,515 --> 01:20:21,098
and that I'm probably
gonna die."
1952
01:20:21,099 --> 01:20:22,973
You know?
You know,
1953
01:20:22,974 --> 01:20:24,472
utterly out of the blue.
1954
01:20:24,473 --> 01:20:25,723
You know, just like that.
1955
01:20:25,724 --> 01:20:30,556
(OTHERWORLDLY MUSIC)
1956
01:20:30,557 --> 01:20:32,389
- (LOW WAILING)
1957
01:20:32,390 --> 01:20:34,264
- Let this be
only coming from me,
1958
01:20:34,265 --> 01:20:36,890
but I think
part of the way I reacted
1959
01:20:36,891 --> 01:20:38,639
also was I felt
1960
01:20:38,640 --> 01:20:40,514
that when he was saying that,
1961
01:20:40,515 --> 01:20:42,389
I thought for a brief second
1962
01:20:42,390 --> 01:20:44,306
that he looked scared, actually.
1963
01:20:44,307 --> 01:20:47,306
♪ ♪
1964
01:20:47,307 --> 01:20:49,806
And then, a second later,
he would joke about it.
1965
01:20:49,807 --> 01:20:52,806
You know.
1966
01:20:52,807 --> 01:20:54,514
Over the next
six or eight months,
1967
01:20:54,515 --> 01:20:57,181
the disease or illness
was never mentioned,
1968
01:20:57,182 --> 01:21:00,306
and he was in no way,
in my mind,
1969
01:21:00,307 --> 01:21:02,764
you know, affected
by his illness.
1970
01:21:02,765 --> 01:21:07,347
- ♪ Something happened
on the day he died ♪
1971
01:21:07,348 --> 01:21:12,723
♪ Spirit rose a meter
and stepped aside ♪
1972
01:21:12,724 --> 01:21:15,890
♪ Somebody else
took his place ♪
1973
01:21:15,891 --> 01:21:17,681
♪ And bravely cried ♪
1974
01:21:17,682 --> 01:21:20,514
♪ I'm a blackstar ♪
1975
01:21:20,515 --> 01:21:23,931
♪ I'm a blackstar ♪
1976
01:21:23,932 --> 01:21:26,222
- This is, uh, a tradition
1977
01:21:26,223 --> 01:21:27,514
that David and I always had.
1978
01:21:27,515 --> 01:21:29,723
Like, how can we mangle
the voice?
1979
01:21:29,724 --> 01:21:32,264
Eh, you know,
how can we change it
1980
01:21:32,265 --> 01:21:35,347
and make one person
sound like many people
1981
01:21:35,348 --> 01:21:37,389
and in many different contexts
1982
01:21:37,390 --> 01:21:39,306
and in many different
spatial areas?
1983
01:21:39,307 --> 01:21:41,973
- ♪ I'm a blackstar ♪
1984
01:21:41,974 --> 01:21:43,514
♪ Way up, oh, honey ♪
1985
01:21:43,515 --> 01:21:44,848
♪ I've got game ♪
1986
01:21:44,849 --> 01:21:46,890
♪ I see right so white ♪
1987
01:21:46,891 --> 01:21:49,556
♪ So open-hearted pain ♪
1988
01:21:49,557 --> 01:21:52,222
♪ I want eagles
in my daydreams ♪
1989
01:21:52,223 --> 01:21:54,389
♪ Diamonds in my eyes ♪
1990
01:21:54,390 --> 01:21:56,389
♪ I'm a blackstar ♪
1991
01:21:56,390 --> 01:21:59,181
♪ I'm a blackstar ♪
1992
01:21:59,182 --> 01:22:03,015
- David is like some, like,
bizarre skeletal choir
1993
01:22:03,016 --> 01:22:05,389
doing "I'm a blackstar,
I'm a blackstar."
1994
01:22:05,390 --> 01:22:07,264
It's this weird thing. It's--
1995
01:22:07,265 --> 01:22:09,639
It makes this whole
section very supernatural.
1996
01:22:09,640 --> 01:22:12,681
- ♪ Somebody else
took his place ♪
1997
01:22:12,682 --> 01:22:14,514
♪ And bravely cried ♪
1998
01:22:14,515 --> 01:22:16,931
♪ I'm a blackstar ♪
1999
01:22:16,932 --> 01:22:19,347
♪ I'm a starstar ♪
2000
01:22:19,348 --> 01:22:22,098
♪ I'm a blackstar ♪
2001
01:22:22,099 --> 01:22:23,764
♪ I'm a blackstar ♪
2002
01:22:23,765 --> 01:22:26,264
- I imagine it must have
been cathartic for him.
2003
01:22:26,265 --> 01:22:31,264
He was working tirelessly,
both on "Blackstar"
2004
01:22:31,265 --> 01:22:32,806
and on "Lazarus"
2005
01:22:32,807 --> 01:22:34,556
at the same time.
2006
01:22:34,557 --> 01:22:39,264
Um, perhaps the catharsis
2007
01:22:39,265 --> 01:22:41,098
surrounding "Lazarus" was unique
2008
01:22:41,099 --> 01:22:43,723
in as much as its execution
2009
01:22:43,724 --> 01:22:47,140
required him
to relinquish control
2010
01:22:47,141 --> 01:22:48,764
and allow so many other people
2011
01:22:48,765 --> 01:22:52,556
to take it and make it happen.
2012
01:22:52,557 --> 01:22:55,181
- Countryside disappears
beneath our feet.
2013
01:22:55,182 --> 01:22:56,848
- You know, I mean,
I must say, you know,
2014
01:22:56,849 --> 01:22:58,347
there were times
when David and me
2015
01:22:58,348 --> 01:22:59,931
would be reading scenes
together.
2016
01:22:59,932 --> 01:23:02,472
You could feel him more
in there.
2017
01:23:02,473 --> 01:23:04,973
(PIANO TUNE)
2018
01:23:04,974 --> 01:23:06,598
- This isn't happening.
2019
01:23:06,599 --> 01:23:08,514
I'm still inside my head.
2020
01:23:08,515 --> 01:23:10,472
- You know, you forget--
You forget that
2021
01:23:10,473 --> 01:23:11,848
actually, he's--he's--
2022
01:23:11,849 --> 01:23:13,931
Of course, we forgot
that he was dying.
2023
01:23:13,932 --> 01:23:16,140
- I'm done with this life!
2024
01:23:16,141 --> 01:23:18,140
- The cast, of course,
never knew.
2025
01:23:18,141 --> 01:23:20,098
Only me, uh, Ivo, and Robert.
2026
01:23:20,099 --> 01:23:22,140
- And so a new universe.
2027
01:23:22,141 --> 01:23:25,264
I'll dream big up there.
2028
01:23:25,265 --> 01:23:27,140
♪ ♪
2029
01:23:27,141 --> 01:23:31,306
And although always
stuck inside my breaking mind,
2030
01:23:31,307 --> 01:23:32,973
♪ ♪
2031
01:23:32,974 --> 01:23:35,931
I've stepped off the Earth
and into a better place.
2032
01:23:35,932 --> 01:23:39,598
- David didn't want "Heroes"
in "Lazarus,"
2033
01:23:39,599 --> 01:23:41,931
because "Heroes" had become
2034
01:23:41,932 --> 01:23:43,806
like an anthem.
2035
01:23:43,807 --> 01:23:45,472
He wanted a song
2036
01:23:45,473 --> 01:23:47,015
that would have
sent everyone out,
2037
01:23:47,016 --> 01:23:48,264
slitting their wrists.
2038
01:23:48,265 --> 01:23:50,598
♪ ♪
2039
01:23:50,599 --> 01:23:52,514
Ivo and Enda
2040
01:23:52,515 --> 01:23:55,389
persuaded him that if "Heroes"
2041
01:23:55,390 --> 01:23:57,598
was treated, musically,
2042
01:23:57,599 --> 01:23:59,556
in a different way,
2043
01:23:59,557 --> 01:24:01,056
it would work
2044
01:24:01,057 --> 01:24:03,598
for the ending of "Lazarus."
2045
01:24:03,599 --> 01:24:07,264
♪ ♪
2046
01:24:07,265 --> 01:24:11,056
- ♪ I ♪
2047
01:24:11,057 --> 01:24:12,931
♪ I will be king ♪
2048
01:24:12,932 --> 01:24:17,056
♪ ♪
2049
01:24:17,057 --> 01:24:20,639
♪ And you ♪
2050
01:24:20,640 --> 01:24:24,015
♪ You will be queen ♪
2051
01:24:24,016 --> 01:24:26,723
- It's a reflective--
It's a beautiful moment.
2052
01:24:26,724 --> 01:24:29,973
"Heroes" is melancholy
instead of triumphant.
2053
01:24:29,974 --> 01:24:32,639
♪ ♪
2054
01:24:32,640 --> 01:24:34,931
- Through his relationship
with this girl,
2055
01:24:34,932 --> 01:24:37,306
and her re-awakening him
2056
01:24:37,307 --> 01:24:39,389
to his vitality,
2057
01:24:39,390 --> 01:24:42,389
Newton is brought back to life,
2058
01:24:42,390 --> 01:24:46,306
that he may ready himself
to die,
2059
01:24:46,307 --> 01:24:48,056
perhaps.
2060
01:24:48,057 --> 01:24:49,890
Or not. (LAUGHS)
2061
01:24:49,891 --> 01:24:54,890
♪ But we could be safer ♪
2062
01:24:54,891 --> 01:24:59,181
♪ Just for one day ♪
2063
01:24:59,182 --> 01:25:01,723
- In this catharsis moment
at the end with the "Heroes,"
2064
01:25:01,724 --> 01:25:04,431
you know, when things clear up,
2065
01:25:04,432 --> 01:25:06,140
he cuts loose everything which
2066
01:25:06,141 --> 01:25:08,639
what in a normal life
of a normal human being
2067
01:25:08,640 --> 01:25:09,764
is important.
2068
01:25:09,765 --> 01:25:11,306
BOTH: ♪ We can be heroes ♪
2069
01:25:11,307 --> 01:25:12,639
- And then he has to let go
2070
01:25:12,640 --> 01:25:14,514
every hope,
2071
01:25:14,515 --> 01:25:17,098
just accepting,
2072
01:25:17,099 --> 01:25:19,764
well, his own death, at the end.
2073
01:25:19,765 --> 01:25:23,931
BOTH: ♪ We can be heroes ♪
2074
01:25:23,932 --> 01:25:29,222
♪ ♪
2075
01:25:29,223 --> 01:25:32,598
♪ We can be heroes ♪
2076
01:25:32,599 --> 01:25:34,181
- So the last thing
that you see is
2077
01:25:34,182 --> 01:25:37,306
Michael C. Hall
is still on stage, alive,
2078
01:25:37,307 --> 01:25:39,890
but in his mind, he's
2079
01:25:39,891 --> 01:25:42,639
flying away into the stars.
2080
01:25:42,640 --> 01:25:44,890
That's the last image.
2081
01:25:44,891 --> 01:25:49,556
- ♪ Just for one day ♪
2082
01:25:49,557 --> 01:25:56,141
♪ ♪
2083
01:26:02,307 --> 01:26:05,181
(CHEERS AND APPLAUSE)
2084
01:26:05,182 --> 01:26:06,931
- I didn't expect
David to be there
2085
01:26:06,932 --> 01:26:08,472
at our opening night.
2086
01:26:08,473 --> 01:26:10,140
We had heard that
he was getting weak,
2087
01:26:10,141 --> 01:26:13,639
but he so wanted to be there,
and, uh,
2088
01:26:13,640 --> 01:26:15,264
and he turned up,
and he watched it,
2089
01:26:15,265 --> 01:26:16,848
and then afterwards,
and he took the bows with us.
2090
01:26:16,849 --> 01:26:19,764
It was very, very sweet.
2091
01:26:19,765 --> 01:26:21,222
- You know, he got through
the night,
2092
01:26:21,223 --> 01:26:23,556
but I really am convinced that
2093
01:26:23,557 --> 01:26:25,806
he was fighting death
2094
01:26:25,807 --> 01:26:29,514
and he wanted to continue
and to continue
2095
01:26:29,515 --> 01:26:31,973
and then afterwards,
we were sitting a little bit,
2096
01:26:31,974 --> 01:26:33,806
talking behind stage,
2097
01:26:33,807 --> 01:26:36,347
and he said, "Let's start
the second one now,
2098
01:26:36,348 --> 01:26:37,764
the sequel"...
(LAUGHS)
2099
01:26:37,765 --> 01:26:39,015
"To 'Lazarus.'"
2100
01:26:39,016 --> 01:26:40,848
(MELANCHOLY PIANO MUSIC)
2101
01:26:40,849 --> 01:26:43,764
- The last thing I remember
David saying to me
2102
01:26:43,765 --> 01:26:46,431
after, you know, the hugs
and the smiles
2103
01:26:46,432 --> 01:26:48,306
and after, uh,
2104
01:26:48,307 --> 01:26:49,848
after that opening night
performance,
2105
01:26:49,849 --> 01:26:52,848
was "I think it went well
tonight, don't you?"
2106
01:26:52,849 --> 01:26:54,264
That's the last thing
2107
01:26:54,265 --> 01:26:56,140
I remember him saying,
and I said, "Yeah,
2108
01:26:56,141 --> 01:26:57,347
I think it did."
2109
01:26:57,348 --> 01:27:03,890
♪ ♪
2110
01:27:03,891 --> 01:27:06,347
- After the musical opened,
2111
01:27:06,348 --> 01:27:07,848
I got a call saying
2112
01:27:07,849 --> 01:27:10,056
"David would love to see you,"
2113
01:27:10,057 --> 01:27:12,556
and so I went over to see him,
2114
01:27:12,557 --> 01:27:14,556
and he was in his bedroom,
2115
01:27:14,557 --> 01:27:16,556
and we chatted.
2116
01:27:16,557 --> 01:27:19,264
It was all very lovely.
2117
01:27:19,265 --> 01:27:20,890
Peaceful.
2118
01:27:20,891 --> 01:27:25,556
And so then we
walked to the elevator
2119
01:27:25,557 --> 01:27:29,347
and he said, "You're a genius,"
2120
01:27:29,348 --> 01:27:31,764
to me, and I said, "No, no, no.
2121
01:27:31,765 --> 01:27:33,389
"I'm not a genius.
2122
01:27:33,390 --> 01:27:34,890
"I'm just the producer.
2123
01:27:34,891 --> 01:27:37,264
You're the fucking genius."
2124
01:27:37,265 --> 01:27:39,472
And, um,
2125
01:27:39,473 --> 01:27:41,056
we had a hug,
2126
01:27:41,057 --> 01:27:42,514
I got in the elevator.
2127
01:27:42,515 --> 01:27:43,681
That was it.
2128
01:27:43,682 --> 01:27:45,265
Last time I saw him.
2129
01:27:49,557 --> 01:27:52,639
(LIGHT ROCK MUSIC)
2130
01:27:52,640 --> 01:27:59,765
♪ ♪
2131
01:28:10,223 --> 01:28:12,264
- David said,
"I just want to make
2132
01:28:12,265 --> 01:28:14,264
a simple performance video,"
2133
01:28:14,265 --> 01:28:17,389
I immediately said,
2134
01:28:17,390 --> 01:28:19,848
"The song is called 'Lazarus.'
You should be in a bed."
2135
01:28:19,849 --> 01:28:21,931
♪ ♪
2136
01:28:21,932 --> 01:28:23,431
To me, that had to do with
2137
01:28:23,432 --> 01:28:25,264
the Biblical aspect of it,
you know?
2138
01:28:25,265 --> 01:28:27,347
The man who would rise again.
2139
01:28:27,348 --> 01:28:30,140
And it had nothing to do
with him being ill.
2140
01:28:30,141 --> 01:28:33,222
That was only because
I liked the imagery of it.
2141
01:28:33,223 --> 01:28:34,806
You know.
2142
01:28:34,807 --> 01:28:35,848
♪ ♪
2143
01:28:35,849 --> 01:28:37,306
I found out later
2144
01:28:37,307 --> 01:28:39,472
that the week we were shooting
2145
01:28:39,473 --> 01:28:40,806
is when he found out
2146
01:28:40,807 --> 01:28:42,973
that this is--it's over,
you know?
2147
01:28:42,974 --> 01:28:44,431
We'll end treatments,
or, you know,
2148
01:28:44,432 --> 01:28:47,931
in whatever capacity
that means that--
2149
01:28:47,932 --> 01:28:49,389
That his illness has won.
2150
01:28:49,390 --> 01:28:52,140
♪ ♪
2151
01:28:52,141 --> 01:28:54,389
- ♪ Look up here ♪
2152
01:28:54,390 --> 01:28:56,307
♪ I'm in heaven ♪
2153
01:29:00,057 --> 01:29:02,264
♪ I've got scars ♪
2154
01:29:02,265 --> 01:29:04,432
♪ That can't be seen ♪
2155
01:29:07,473 --> 01:29:09,598
♪ I've got drama ♪
2156
01:29:09,599 --> 01:29:11,640
♪ Can't be stolen ♪
2157
01:29:15,182 --> 01:29:17,389
♪ Everybody ♪
2158
01:29:17,390 --> 01:29:19,181
♪ Knows me now ♪
2159
01:29:19,182 --> 01:29:22,347
♪ ♪
2160
01:29:22,348 --> 01:29:24,347
- I've watched him record,
2161
01:29:24,348 --> 01:29:26,015
and he's in that song,
2162
01:29:26,016 --> 01:29:27,556
in that feeling, in that moment.
2163
01:29:27,557 --> 01:29:29,181
He would stand in front
of the mic,
2164
01:29:29,182 --> 01:29:31,723
and for the four or five
minutes he was singing,
2165
01:29:31,724 --> 01:29:34,681
he would pour his heart out.
2166
01:29:34,682 --> 01:29:36,514
The audio picked up
his breathing
2167
01:29:36,515 --> 01:29:38,431
between those lines.
2168
01:29:38,432 --> 01:29:40,848
- ♪ Look up here, man ♪
2169
01:29:40,849 --> 01:29:42,764
♪ I'm in danger ♪
2170
01:29:42,765 --> 01:29:46,347
(AUDIBLE BREATHING)
2171
01:29:46,348 --> 01:29:50,182
♪ I've got nothing left
to lose ♪
2172
01:29:53,099 --> 01:29:58,182
♪ I'm so high,
it makes my brain whirl ♪
2173
01:30:01,390 --> 01:30:06,514
♪ Dropped my cell phone
down below ♪
2174
01:30:06,515 --> 01:30:09,015
(ENERGETIC ROCK MUSIC)
2175
01:30:09,016 --> 01:30:10,639
- It wasn't that
he was out of breath.
2176
01:30:10,640 --> 01:30:13,098
He was, like, hyperventilating
in a way.
2177
01:30:13,099 --> 01:30:16,264
Like, getting--
Getting his energy up
2178
01:30:16,265 --> 01:30:18,556
to sing this,
to deliver this song.
2179
01:30:18,557 --> 01:30:20,681
- ♪ I'll be free ♪
2180
01:30:20,682 --> 01:30:22,556
- He was quite stoked.
2181
01:30:22,557 --> 01:30:24,431
Like I--like I like to say,
in the zone,
2182
01:30:24,432 --> 01:30:26,598
and I could see him
through the window
2183
01:30:26,599 --> 01:30:29,264
that he was, you know,
really feeling it
2184
01:30:29,265 --> 01:30:33,514
♪ ♪
2185
01:30:33,515 --> 01:30:37,222
- ♪ Oh, I'll be free ♪
2186
01:30:37,223 --> 01:30:41,181
(AUDIBLE BREATHING)
2187
01:30:41,182 --> 01:30:46,765
♪ Ain't that just like me? ♪
2188
01:30:49,265 --> 01:30:51,556
- A man on top of his game.
2189
01:30:51,557 --> 01:30:53,347
It's brilliant,
absolutely brilliant,
2190
01:30:53,348 --> 01:30:55,431
and the saddest lyrics
to hear--
2191
01:30:55,432 --> 01:30:56,891
Hear them now.
2192
01:31:18,974 --> 01:31:21,306
- It's nine minutes past 7:00.
2193
01:31:21,307 --> 01:31:23,556
Well, the shock news
has only just been
2194
01:31:23,557 --> 01:31:25,306
officially confirmed.
2195
01:31:25,307 --> 01:31:26,973
David Bowie is dead.
2196
01:31:26,974 --> 01:31:29,264
- David Bowie,
rock and roll rebel,
2197
01:31:29,265 --> 01:31:31,140
actor, and cultural icon,
2198
01:31:31,141 --> 01:31:32,973
has died at age 69.
2199
01:31:32,974 --> 01:31:37,639
- We lost David Bowie, uh,
this morning...
2200
01:31:37,640 --> 01:31:39,931
um, and it's a big deal.
2201
01:31:39,932 --> 01:31:41,140
(ROCK DRUM INTRO)
2202
01:31:41,141 --> 01:31:42,556
- ...have the news crews
2203
01:31:42,557 --> 01:31:44,556
and fans from all around
the world
2204
01:31:44,557 --> 01:31:46,389
leaving full tribute...
- ...In downtown Manhattan,
2205
01:31:46,390 --> 01:31:48,264
and you can see behind me...
- He is David Bowie.
2206
01:31:48,265 --> 01:31:50,056
- ...Like his life,
has shocked
2207
01:31:50,057 --> 01:31:52,140
fans laying flowers from his...
2208
01:31:52,141 --> 01:31:54,222
- Even the
Archbishop of Canterbury
2209
01:31:54,223 --> 01:31:56,431
was a fan.
2210
01:31:56,432 --> 01:31:57,806
- ♪ Heaven loves ya ♪
2211
01:31:57,807 --> 01:31:59,931
(CHEERS AND APPLAUSE)
2212
01:31:59,932 --> 01:32:03,472
♪ The clouds part for ya ♪
2213
01:32:03,473 --> 01:32:06,347
♪ Nothing stands in your way ♪
2214
01:32:06,348 --> 01:32:08,181
♪ When you're a boy ♪
2215
01:32:08,182 --> 01:32:11,181
(UPBEAT ROCK MUSIC)
2216
01:32:11,182 --> 01:32:13,056
♪ ♪
2217
01:32:13,057 --> 01:32:15,764
♪ Clothes always fit ya ♪
2218
01:32:15,765 --> 01:32:18,681
♪ Life is a pop
of the cherry ♪
2219
01:32:18,682 --> 01:32:20,806
♪ When you're a boy ♪
2220
01:32:20,807 --> 01:32:23,431
It's been a incredibly
full life,
2221
01:32:23,432 --> 01:32:26,098
and, uh, apart from the drugs
in the '70s,
2222
01:32:26,099 --> 01:32:27,848
I think little of it
has been wasted
2223
01:32:27,849 --> 01:32:29,514
in terms of I've been able to
2224
01:32:29,515 --> 01:32:31,764
sort of harness
every moment in a way.
2225
01:32:31,765 --> 01:32:34,015
I'm--I'm a really lucky chap.
2226
01:32:34,016 --> 01:32:35,556
♪ Favorite things ♪
2227
01:32:35,557 --> 01:32:38,431
- And legacy. What--
How would you like
2228
01:32:38,432 --> 01:32:40,306
your legacy written?
2229
01:32:40,307 --> 01:32:41,723
- I'd love people to believe
2230
01:32:41,724 --> 01:32:43,556
that I really had
great haircuts.
2231
01:32:43,557 --> 01:32:44,557
(LAUGHS)
2232
01:32:44,558 --> 01:32:45,723
♪ Boys ♪
2233
01:32:45,724 --> 01:32:48,389
♪ ♪
2234
01:32:48,390 --> 01:32:50,264
♪ Boys keep swinging ♪
2235
01:32:50,265 --> 01:32:53,348
♪ Boys always work it out ♪
152968
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