Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:01:12,281 --> 00:01:13,448
DAVID: Time.
2
00:01:14,866 --> 00:01:17,619
One of the most
complex expressions.
3
00:01:17,661 --> 00:01:19,204
Memory made manifest.
4
00:01:21,415 --> 00:01:23,917
It's something that
straddles past and future
5
00:01:23,959 --> 00:01:26,962
without ever quite
being present.
6
00:01:27,004 --> 00:01:31,675
Or rather, it at first seems
indifferent to the present.
7
00:01:31,717 --> 00:01:35,178
There's a tension of a most
unfathomable nature.
8
00:01:36,638 --> 00:01:38,515
The word desires
to be understood.
9
00:01:38,557 --> 00:01:40,392
To have meaning.
10
00:01:40,434 --> 00:01:43,312
But you somehow feel
that it's not you yourself
11
00:01:43,353 --> 00:01:45,814
that the word is addressing.
12
00:01:47,024 --> 00:01:48,692
It washes over you,
13
00:01:50,193 --> 00:01:53,822
holding a dialogue
with something arcane
14
00:01:53,864 --> 00:01:56,158
that's maybe not mortal.
15
00:01:56,199 --> 00:01:58,410
And you feel intrigued.
16
00:01:58,452 --> 00:01:59,620
Captured even.
17
00:02:01,204 --> 00:02:04,583
You're aware
of a deeper existence.
18
00:02:04,625 --> 00:02:08,003
Maybe a temporary reassurance
that indeed
19
00:02:08,045 --> 00:02:10,172
there is no beginning,
no end.
20
00:02:11,882 --> 00:02:13,675
And all at once,
the outward appearance
21
00:02:13,717 --> 00:02:16,094
of meaning is transcended.
22
00:02:16,136 --> 00:02:18,847
And you find yourself
struggling to comprehend
23
00:02:18,889 --> 00:02:21,850
a deep and
formidable mystery.
24
00:02:22,851 --> 00:02:25,270
All is transient.
25
00:02:25,312 --> 00:02:26,897
Does it matter?
26
00:02:26,938 --> 00:02:28,231
Do I bother?
27
00:02:52,297 --> 00:02:54,341
[INCHWORM SONG]
28
00:02:54,383 --> 00:03:00,055
♪ Inchworm, Inchworm ♪
29
00:03:00,097 --> 00:03:04,142
♪ Measuring the marigolds ♪
30
00:03:05,727 --> 00:03:07,479
♪ You and your... ♪
31
00:03:07,521 --> 00:03:10,941
DAVID: All those moments
32
00:03:10,982 --> 00:03:13,860
will be lost in time...
33
00:03:16,697 --> 00:03:19,950
like tears...
34
00:03:42,889 --> 00:03:44,641
Dust...
35
00:03:44,683 --> 00:03:47,144
Cover me moon dust.
36
00:03:48,353 --> 00:03:50,355
Cover me...
37
00:03:50,397 --> 00:03:51,898
[HALLO SPACEBOY SONG]
38
00:04:07,664 --> 00:04:10,876
♪ Spaceboy, you're sleepy now ♪
39
00:04:13,879 --> 00:04:17,591
♪ Your silhouette
is so stationary ♪
40
00:04:21,261 --> 00:04:24,598
♪ You're released,
but your custody calls ♪
41
00:04:28,602 --> 00:04:30,979
♪ And I want to be free ♪
42
00:04:32,314 --> 00:04:34,733
♪ Don't you want to be free ♪
43
00:04:35,984 --> 00:04:38,570
♪ Do you like girls or boys? ♪
44
00:04:40,489 --> 00:04:43,074
♪ It's confusing these days
45
00:04:44,326 --> 00:04:48,413
♪ But Moondust will cover you
46
00:04:48,455 --> 00:04:50,624
♪ Cover you ♪
47
00:04:50,665 --> 00:04:52,709
♪ So bye bye love ♪
48
00:04:54,377 --> 00:04:56,630
♪ Yeah bye bye love ♪
49
00:04:58,548 --> 00:05:00,550
♪ Hallo, Spaceboy ♪
50
00:05:02,010 --> 00:05:05,931
♪ This chaos is killing me ♪
51
00:05:05,972 --> 00:05:08,266
♪ Hallo, Spaceboy ♪
52
00:05:15,357 --> 00:05:18,902
NEIL: Ground to Major,
bye bye, Tom
53
00:05:20,487 --> 00:05:23,198
DAVID:
♪ This chaos is killing me ♪
54
00:05:23,240 --> 00:05:26,159
NEIL: ♪ Dead the circuit,
countdown's wrong ♪
55
00:05:27,828 --> 00:05:30,413
DAVID:
♪ This chaos is killing me ♪
56
00:05:30,455 --> 00:05:33,834
NEIL: Planet Earth,
is control on?
57
00:05:33,875 --> 00:05:35,585
DAVID:
♪ So sleepy now ♪
58
00:05:35,627 --> 00:05:37,170
NEIL:
♪ Do you wanna be free? ♪
59
00:05:38,839 --> 00:05:41,383
BOTH:
♪ Don't you wanna be free? ♪
60
00:05:42,634 --> 00:05:45,178
♪ Do you like girls or boys? ♪
61
00:05:47,138 --> 00:05:49,558
♪ It's confusing these days
62
00:05:51,059 --> 00:05:54,855
DAVID:
♪ But moondust will cover you ♪
63
00:05:54,896 --> 00:05:57,148
♪ Cover you ♪
64
00:05:57,190 --> 00:05:59,776
♪ So bye bye love ♪
65
00:06:01,111 --> 00:06:03,113
♪ Yeah, bye bye love ♪
66
00:06:05,282 --> 00:06:07,826
♪ Hallo Spaceboy ♪
67
00:06:07,868 --> 00:06:09,953
♪ Spaceboy, Spaceboy... ♪
68
00:06:11,246 --> 00:06:13,874
WOMAN:
I wanted to see him.
69
00:06:13,915 --> 00:06:15,709
MAN:
What are you so upset about?
70
00:06:15,750 --> 00:06:17,919
GIRL:
I wanted to see him.
71
00:06:17,961 --> 00:06:20,005
They said he was
coming round the back.
72
00:06:20,046 --> 00:06:22,007
I've been waiting
for ages to see him.
73
00:06:25,969 --> 00:06:27,345
MAN: Why are you so upset?
74
00:06:27,387 --> 00:06:29,306
GIRL:
He's smashing.
75
00:06:29,347 --> 00:06:31,182
GIRL 2: I kissed him!
I kissed his hand!
76
00:06:31,224 --> 00:06:32,475
[HALLO SPACEBOY SONG]
77
00:06:32,517 --> 00:06:34,686
DAVID:
♪ Hallo Spaceboy ♪
78
00:06:39,566 --> 00:06:41,318
♪ Hallo, hallo. ♪
79
00:06:50,160 --> 00:06:52,162
DICK CAVETT: Rumors
and questions have arisen,
80
00:06:52,203 --> 00:06:54,456
such as who is he, what is he,
where did he come from?
81
00:06:54,497 --> 00:06:56,124
Is he a creature
of a foreign power?
82
00:06:56,166 --> 00:06:57,792
Is he a creep?
Is he dangerous?
83
00:06:57,834 --> 00:06:59,628
Is he smart, dumb,
nice to his parents,
84
00:06:59,669 --> 00:07:02,547
real, a put-on, crazy,
sane, man, woman, robot?
85
00:07:02,589 --> 00:07:04,090
What is this?
86
00:07:04,132 --> 00:07:06,760
Ladies and gentlemen,
David Bowie.
87
00:07:24,861 --> 00:07:26,613
[WILD EYED BOY
FROM FREECLOUD SONG]
88
00:07:26,655 --> 00:07:28,448
♪ Solemn faced ♪
89
00:07:28,490 --> 00:07:30,283
♪ The village settles down ♪
90
00:07:31,660 --> 00:07:34,496
♪ Undetected by the stars ♪
91
00:07:37,749 --> 00:07:41,211
♪ Hangman plays the mandolin ♪
92
00:07:41,252 --> 00:07:43,296
♪ before he goes to sleep ♪
93
00:07:46,466 --> 00:07:49,219
♪ And the last thing
on his mind ♪
94
00:07:52,222 --> 00:07:55,850
♪ Is the Wild Eyed Boy
imprisoned ♪
95
00:07:55,892 --> 00:07:57,727
♪ 'Neath the covered
wooden shaft ♪
96
00:08:01,272 --> 00:08:03,692
♪ Folds the rope into its bag ♪
97
00:08:07,362 --> 00:08:10,573
♪ Blows his pipe of smolders ♪
98
00:08:10,615 --> 00:08:13,201
♪ Blankets smoke
into the room ♪
99
00:08:16,663 --> 00:08:19,374
♪ And the day
will end for some ♪
100
00:08:24,212 --> 00:08:27,424
♪ As the night begins for one
101
00:08:34,097 --> 00:08:39,352
♪ Staring through the message
in his eyes ♪
102
00:08:39,394 --> 00:08:41,646
♪ Lies a solitary son ♪
103
00:08:45,275 --> 00:08:48,945
♪ From the mountain
called Freecloud ♪
104
00:08:48,987 --> 00:08:51,656
♪ Where the eagle dare not fly ♪
105
00:08:54,576 --> 00:08:57,370
♪ And the patience in his sigh ♪
106
00:09:01,583 --> 00:09:04,294
♪ Gives no indication ♪
107
00:09:04,335 --> 00:09:07,213
♪ For the townsmen to decide ♪
108
00:09:10,050 --> 00:09:13,219
♪ So the village
dreadful yawns
109
00:09:16,473 --> 00:09:19,768
♪ Pronouncing gross diversion ♪
110
00:09:19,809 --> 00:09:21,311
♪ As the label for the dog ♪
111
00:09:24,189 --> 00:09:28,401
♪ Oh, "It's the madness
in his eyes" ♪
112
00:09:31,154 --> 00:09:34,616
♪ As he breaks
the night to cry ♪
113
00:09:34,657 --> 00:09:37,869
♪ It's really me ♪
114
00:09:40,663 --> 00:09:44,375
♪ Really you and really me ♪
115
00:09:47,087 --> 00:09:51,049
♪ It's so hard
for us to really be ♪
116
00:09:55,887 --> 00:09:59,099
♪ Really you and really me ♪
117
00:10:01,559 --> 00:10:04,771
♪ You'll lose me,
though I'm always ♪
118
00:10:04,813 --> 00:10:11,694
♪ Really free ♪
119
00:10:11,736 --> 00:10:14,280
♪ Yeah... ♪
120
00:10:34,801 --> 00:10:37,053
[ALL THE YOUNG DUDES SONG]
121
00:10:39,055 --> 00:10:42,433
♪ Jimmy rapped all night
about his suicide ♪
122
00:10:42,475 --> 00:10:46,437
♪ How he'd kick it in the head
when he was 250
123
00:10:46,479 --> 00:10:48,273
♪ All that speed jive ♪
124
00:10:48,314 --> 00:10:53,111
♪ Don't want to stay alive
when you're 25 ♪
125
00:10:53,153 --> 00:10:56,114
♪ Lucy's stealing clothes
from unlocked cars
126
00:10:56,156 --> 00:10:58,074
♪ Freddy's got spots ♪
127
00:10:58,116 --> 00:11:00,827
♪ from ripping off the stars
from his face, honey ♪
128
00:11:02,036 --> 00:11:04,038
♪ A funky little boat race ♪
129
00:11:06,249 --> 00:11:08,877
♪ The television man is crazy ♪
130
00:11:08,918 --> 00:11:12,755
♪ Saying we're juvenile
delinquent wrecks ♪
131
00:11:12,797 --> 00:11:18,678
♪ But, man, I need a TV
when I've got T. Rex ♪
132
00:11:18,720 --> 00:11:20,513
♪ Hey, brother, you guessed ♪
133
00:11:21,681 --> 00:11:22,932
♪ I'm adude ♪
134
00:11:24,893 --> 00:11:28,396
♪ All the young dudes ♪
135
00:11:28,438 --> 00:11:31,941
♪ Carry the news ♪
136
00:11:31,983 --> 00:11:34,235
♪ Boogaloo dudes ♪
137
00:11:35,403 --> 00:11:37,780
♪ Carry the news ♪
138
00:11:41,451 --> 00:11:45,038
♪ All the young dudes ♪
139
00:11:45,079 --> 00:11:48,499
♪ Carry the news ♪
140
00:11:48,541 --> 00:11:51,753
♪ Boogaloo dudes
Yeah ♪
141
00:11:51,794 --> 00:11:54,672
♪ Carry the news ♪
142
00:11:56,966 --> 00:11:59,052
[OH! YOU PRETTY THINGS SONG]
143
00:11:59,093 --> 00:12:01,512
♪ Wake up you sleepy head ♪
144
00:12:01,554 --> 00:12:04,474
♪ Put on some clothes,
shake up your bed
145
00:12:04,515 --> 00:12:07,810
♪ Put another log
on the fire forme ♪
146
00:12:07,852 --> 00:12:10,438
♪ I've made some
breakfast and coffee ♪
147
00:12:10,480 --> 00:12:13,608
♪ I look out my window
what do I see ♪
148
00:12:13,650 --> 00:12:16,611
♪ A crack in the sky
and a hand... ♪
149
00:12:17,987 --> 00:12:20,823
♪ Reaching down... ♪
150
00:12:23,868 --> 00:12:25,912
♪ To me... ♪
151
00:12:28,831 --> 00:12:31,626
♪ All the nightmares
came today ♪
152
00:12:33,711 --> 00:12:35,922
♪ And it looks as though
they're here to stay... ♪
153
00:12:41,552 --> 00:12:43,304
[LIFE ON MARS? SONG]
154
00:12:43,346 --> 00:12:45,890
♪ It's a God-awful
small affair ♪
155
00:12:47,517 --> 00:12:49,936
♪ To the girl with
the mousy hair ♪
156
00:12:51,396 --> 00:12:53,982
♪ But her mummy
is yelling, "No" ♪
157
00:12:55,441 --> 00:12:59,237
♪ And her daddy
has told her to go
158
00:12:59,279 --> 00:13:02,282
♪ But her friend is
nowhere to be seen...
159
00:13:04,200 --> 00:13:05,868
MAN: He's just
another fella, you know?
160
00:13:05,910 --> 00:13:07,620
WOMAN: No, he's not.
He's different.
161
00:13:07,662 --> 00:13:09,956
MAN: Well, nobody like
him can produce the music.
162
00:13:11,499 --> 00:13:13,084
MAN 2:
163
00:13:13,126 --> 00:13:14,085
WOMAN:
164
00:13:15,795 --> 00:13:17,630
MAN: Davie's the greatest,
and I'll say it again.
165
00:13:17,672 --> 00:13:19,090
Dave's the greatest,
166
00:13:19,132 --> 00:13:20,717
and I'll say it again,
Dave's the greatest.
167
00:13:20,758 --> 00:13:22,593
And I seen him onstage,
and he was fantastic.
168
00:13:22,635 --> 00:13:24,846
I'll follow that bloke anywhere
‘cause he's the greatest.
169
00:13:24,887 --> 00:13:26,764
And I'll say it again,
he's the greatest.
170
00:13:26,806 --> 00:13:29,058
MAN 2: Listen, you don't have
to be bent to wear makeup.
171
00:13:29,100 --> 00:13:31,144
It looks good,
so why not wear it?
172
00:13:31,185 --> 00:13:33,479
WOMAN: Even if it's camp,
but he's sexy, isn't he?
173
00:13:33,521 --> 00:13:34,856
Sort of thing, really.
174
00:13:39,068 --> 00:13:41,362
DAVID: If I can
tart it all up enough,
175
00:13:41,404 --> 00:13:44,866
maybe people will see that it
has a lot to do with just them.
176
00:13:44,907 --> 00:13:46,200
INTERVIEWER:
What, with reflection?
177
00:13:46,242 --> 00:13:47,660
DAVID: Yeah, that it is really
178
00:13:47,702 --> 00:13:49,162
a reflection
of what they're like.
179
00:13:49,203 --> 00:13:51,789
HOST: Mr. Powell, Mr. Jenkins.
180
00:13:51,831 --> 00:13:54,292
[indistinct]
181
00:13:54,334 --> 00:13:56,210
Businessmen in general...
182
00:13:56,252 --> 00:13:57,712
Best watch it.
183
00:13:57,754 --> 00:13:59,213
INTERVIEWER:
How are you?
184
00:13:59,255 --> 00:14:00,381
DAVID: I'm very well,
thank you. How are you?
185
00:14:00,423 --> 00:14:01,758
INTERVIEWER
I'm fine.
186
00:14:01,799 --> 00:14:03,676
DAVID: Good. How are you?
How are you?
187
00:14:03,718 --> 00:14:06,346
INTERVIEWER: You, uh,
have to get the gear on
188
00:14:06,387 --> 00:14:07,930
in order to project yourself.
189
00:14:07,972 --> 00:14:09,849
I mean, were you a nobody
who suddenly thought,
190
00:14:09,891 --> 00:14:12,685
"Jesus, I must get into
the scene by some other way"?
191
00:14:12,727 --> 00:14:14,228
DAVID: I never asked
Jesus for a think, no.
192
00:14:14,270 --> 00:14:15,563
It was always
on my own initiative.
193
00:14:15,605 --> 00:14:16,814
And...
194
00:14:16,856 --> 00:14:19,942
When I was 14, I became a Mod,
195
00:14:19,984 --> 00:14:21,527
and it just carried
on from there.
196
00:14:21,569 --> 00:14:23,404
I've always dressed
in what I considered clothes
197
00:14:23,446 --> 00:14:25,823
that are exciting for me,
198
00:14:25,865 --> 00:14:28,701
um, to prevent me
becoming humdrum
199
00:14:28,743 --> 00:14:30,578
so that I would receive
reaction from people
200
00:14:30,620 --> 00:14:31,996
which would
encourage me to write.
201
00:14:33,873 --> 00:14:36,417
INTERVIEWER: You will have
obviously as many men followers
202
00:14:36,459 --> 00:14:38,127
-as you have women followers.
-DAVID: Yes.
203
00:14:38,169 --> 00:14:39,670
INTERVIEWER: I mean,
you haven't been shy about
204
00:14:39,712 --> 00:14:42,006
declaring a certain
air of bisexuality.
205
00:14:42,048 --> 00:14:43,633
DAVID: Not at all.
I know quite a few men.
206
00:14:46,677 --> 00:14:49,097
WOMAN: Some people
feel you're--
207
00:14:49,138 --> 00:14:50,848
by saying you're bisexual.
208
00:14:50,890 --> 00:14:54,435
by-- by kind of flaunting
that in a way--
209
00:14:54,477 --> 00:14:55,603
DAVID: Who's flaunting it?
210
00:15:00,858 --> 00:15:02,985
INTERVIEWER: Why do
you think that bisexuality in,
211
00:15:03,027 --> 00:15:06,114
say '72, '73 has become
a common-- not a common,
212
00:15:06,155 --> 00:15:08,032
but an accepted kind of deal.
213
00:15:08,074 --> 00:15:09,367
Why do you think we
have moved into that
214
00:15:09,409 --> 00:15:11,786
era of liberal behavior?
215
00:15:11,828 --> 00:15:13,371
DAVID: Once upon
a time, your father,
216
00:15:13,413 --> 00:15:15,706
my father, everybody's
father, I presume,
217
00:15:15,748 --> 00:15:19,419
wanted a good job, with a good
income, or reasonable income.
218
00:15:19,460 --> 00:15:23,923
Some chance of promotion
to secure their family life.
219
00:15:23,965 --> 00:15:25,633
Um, where's the camera?
220
00:15:25,675 --> 00:15:28,469
You're probably fine there,
and that's where it ended.
221
00:15:28,511 --> 00:15:31,055
But now, people
want a role in society.
222
00:15:31,097 --> 00:15:32,598
They want to feel that
they have a position.
223
00:15:32,640 --> 00:15:34,392
They want to be an individual,
224
00:15:34,434 --> 00:15:36,102
and I think there's
a lot of searching to find
225
00:15:36,144 --> 00:15:37,979
the individual within oneself.
226
00:15:38,020 --> 00:15:39,522
INTERVIEWER: Right,
and how about the shoes?
227
00:15:39,564 --> 00:15:40,815
Are those men's shoes,
or women's shoes,
228
00:15:40,857 --> 00:15:42,066
or bisexual shoes?
229
00:15:42,108 --> 00:15:43,067
DAVID: They're
shoe shoes, silly.
230
00:15:51,701 --> 00:15:54,120
DAVID: There was a feeling
of excitement and titillation
231
00:15:54,162 --> 00:15:55,705
about moving in areas
232
00:15:55,746 --> 00:15:58,166
which were forbidden
to the rest of society.
233
00:16:04,714 --> 00:16:07,425
From micro to macro,
from yin to yang,
234
00:16:07,467 --> 00:16:09,010
from male to female,
235
00:16:09,051 --> 00:16:12,555
there is no scissor cut.
No absolute.
236
00:16:15,641 --> 00:16:18,936
I believe that there was
an unconscious move to create
237
00:16:18,978 --> 00:16:21,981
a high priest form from
the line of the Greek gods
238
00:16:22,023 --> 00:16:23,608
who could procreate themselves.
239
00:16:23,649 --> 00:16:26,694
Somebody who
was at a super level
240
00:16:26,736 --> 00:16:30,406
to we regular mortals, because
of his androgynous nature,
241
00:16:30,448 --> 00:16:32,116
being somebody
that incorporated
242
00:16:32,158 --> 00:16:34,118
both feminine
and masculine attributes.
243
00:16:34,160 --> 00:16:35,203
[MOONAGE DAYDREAM SONG]
244
00:16:35,244 --> 00:16:36,412
♪ I'm an alligator ♪
245
00:16:38,206 --> 00:16:41,334
♪ I'm a mama-papa
comin' for you ♪
246
00:16:41,375 --> 00:16:42,835
♪ I'm the space invader ♪
247
00:16:44,587 --> 00:16:48,132
♪ I'll be a rock 'n' rollin'
bitch for you ♪
248
00:16:48,174 --> 00:16:49,634
♪ Keep your mouth shut ♪
249
00:16:51,302 --> 00:16:54,096
♪ You're squawking
like a pink monkey bird ♪
250
00:16:54,138 --> 00:16:57,725
♪ And I'm bustin' up my
brains for the words ♪
251
00:16:58,726 --> 00:16:59,685
Know I am.
252
00:17:03,314 --> 00:17:06,484
♪ Keep your 'lectric eye
on me, babe ♪
253
00:17:09,403 --> 00:17:13,199
♪ Put your ray gun to my head
254
00:17:15,868 --> 00:17:19,288
♪ Press your space
face close to mine, love ♪
255
00:17:21,874 --> 00:17:25,920
♪ Freak out in a moonage
daydream, oh yeah! ♪
256
00:17:29,215 --> 00:17:30,633
♪ Don't fake it baby ♪
257
00:17:32,385 --> 00:17:35,429
♪ Lay the real thing on me ♪
258
00:17:35,471 --> 00:17:37,056
♪ You know,
the church of man, love ♪
259
00:17:38,933 --> 00:17:41,519
♪ Is such a holy place to be ♪
260
00:17:41,561 --> 00:17:43,729
♪ Don't fake it, baby ♪
261
00:17:45,189 --> 00:17:48,234
♪ Make me know
you really care ♪
262
00:17:48,276 --> 00:17:51,362
♪ Make me jump into the air ♪
263
00:17:53,072 --> 00:17:54,198
♪ If you dare ♪
264
00:17:57,201 --> 00:18:00,454
♪ Keep your 'lectric eye
on me, babe ♪
265
00:18:03,332 --> 00:18:06,877
♪ Put your ray gun to my head
266
00:18:09,755 --> 00:18:13,342
♪ Press your space
face close to mine, love ♪
267
00:18:15,595 --> 00:18:19,765
♪ Freak out in a moonage
daydream, oh yeah! ♪
268
00:18:24,395 --> 00:18:25,813
DAVID: It was
a pudding, you know?
269
00:18:25,855 --> 00:18:27,690
It was a pudding of new ideas.
270
00:18:27,732 --> 00:18:29,775
I think we took it
on our shoulders
271
00:18:29,817 --> 00:18:32,945
that we were creating
the 21st century in 1971.
272
00:18:32,987 --> 00:18:36,032
We wanted to just blast
everything in the past.
273
00:18:36,073 --> 00:18:40,244
Question all the established
values, all the taboos.
274
00:18:40,286 --> 00:18:42,913
Everything is rubbish
and all rubbish is wonderful.
275
00:18:44,624 --> 00:18:46,167
[MOONAGE DAYDREAM SONG
CONTINUES]
276
00:18:48,377 --> 00:18:51,672
♪ Keep your 'lectric eye
on me, babe ♪
277
00:18:54,717 --> 00:18:58,179
♪ Put your ray gun to my head
278
00:19:01,015 --> 00:19:04,560
♪ Press your space
face close to mine, love ♪
279
00:19:07,104 --> 00:19:11,817
♪ Freak out in a moonage
daydream, oh yeah! ♪
280
00:19:15,529 --> 00:19:16,656
♪ Freak out ♪
281
00:19:19,033 --> 00:19:20,284
♪ Far out ♪
282
00:19:22,119 --> 00:19:23,162
JIna../J
283
00:19:40,680 --> 00:19:42,306
WOMAN:
I just didn't... to this.
284
00:19:42,348 --> 00:19:45,810
I've never seen anything
like this before.
285
00:19:45,851 --> 00:19:48,020
WOMAN 2: See, I'm just a space
cadet, he's the commander.
286
00:19:50,231 --> 00:19:51,524
MAN:
What universe is that?
287
00:19:51,565 --> 00:19:53,901
MAN 2: Bowie universe.
288
00:19:53,943 --> 00:19:56,404
WOMAN: Now nobody's scared
to walk around like that,
289
00:19:56,445 --> 00:19:58,364
are they?
He's done it, ain't he.
290
00:19:58,406 --> 00:20:01,409
He's broke through
a barrier, now, ain't he?
291
00:20:01,450 --> 00:20:03,494
WOMAN 2: I guess I'm living
my fantasy, you know?
292
00:20:03,536 --> 00:20:04,662
MAN: What's your fantasy?
293
00:20:04,704 --> 00:20:06,080
WOMAN 2: Oh, Bowie.
294
00:20:06,122 --> 00:20:09,166
MAN: I like people
who are AC/DC.
295
00:20:09,208 --> 00:20:10,793
You know what I mean?
296
00:20:10,835 --> 00:20:12,461
INTERVIEWER: Do the clothes,
you are trying to say,
297
00:20:12,503 --> 00:20:15,047
are the clothes expressed
now your own personality?
298
00:20:15,089 --> 00:20:17,258
DAVID: Um, no, that I've
never been quite clear about.
299
00:20:17,299 --> 00:20:18,843
I've never been sure
of my own personality.
300
00:20:18,884 --> 00:20:20,594
INTERVIEWER:
That's very refreshing.
301
00:20:20,636 --> 00:20:22,555
That's a very refreshing thing
to hear somebody say that.
302
00:20:24,223 --> 00:20:27,685
Very. But can you fill us
in on the barest outlines?
303
00:20:27,727 --> 00:20:29,603
DAVID: I'm a collector.
304
00:20:29,645 --> 00:20:33,190
Um, and I've always just
seemed to collect personalities,
305
00:20:33,232 --> 00:20:36,569
um, ideas. I have
a hodge podge philosophy
306
00:20:36,610 --> 00:20:41,031
which really is very minimal.
Um, [indistinct] what?
307
00:20:41,073 --> 00:20:42,825
INTERVIEWER: [indistinct]
Do you believe in God?
308
00:20:42,867 --> 00:20:44,535
DAVID: Um, I believe
in an energy form.
309
00:20:44,577 --> 00:20:46,162
I'm not-- I wouldn't put a--
310
00:20:46,203 --> 00:20:48,080
I wouldn't like to
put a name to it.
311
00:20:48,122 --> 00:20:50,291
INTERVIEWER: Do you
indulge in any form of worship?
312
00:20:50,332 --> 00:20:52,752
DAVID: Um, uh, life.
313
00:20:54,003 --> 00:20:55,671
I love life very much indeed.
314
00:21:01,302 --> 00:21:03,721
DAVID: My strivings to have
some kind of spiritual base
315
00:21:03,763 --> 00:21:06,265
were really, really
strong all my life,
316
00:21:06,307 --> 00:21:08,142
and I think I tried
to amalgamate
317
00:21:08,184 --> 00:21:11,145
my own bedrock of spirituality.
318
00:21:11,187 --> 00:21:13,105
I mean, I was
a Buddhist on Tuesday,
319
00:21:13,147 --> 00:21:15,024
and I was into
Nietzsche by Friday.
320
00:21:24,575 --> 00:21:26,911
INTERVIEWER: Some time
flirting with Buddhism,
321
00:21:26,952 --> 00:21:28,704
and spending some
time in a Buddhist retreat.
322
00:21:28,746 --> 00:21:31,040
DAVID: I mean, I felt at
the time that I was, you know,
323
00:21:31,081 --> 00:21:36,378
um, Buddha's answer to
everything he wanted man to be,
324
00:21:36,420 --> 00:21:39,215
but I'm-- the one thing that
hung over from that time
325
00:21:39,256 --> 00:21:42,635
was the feeling
of impermanence and transience.
326
00:21:42,676 --> 00:21:45,429
That was the one thing
that really struck home
327
00:21:45,471 --> 00:21:47,348
about everything
that I was learning.
328
00:21:47,389 --> 00:21:49,183
Nothing's gonna
stay around very long.
329
00:21:49,225 --> 00:21:50,601
I mean, you know,
everything changes
330
00:21:50,643 --> 00:21:52,311
...different rates.
331
00:21:52,353 --> 00:21:54,814
Some seem to me sort
of established for a bit,
332
00:21:54,855 --> 00:21:57,608
but they're only moving at
a slower rate than other things
333
00:21:57,650 --> 00:22:00,486
and they're all inevitably
sort of a change-over.
334
00:22:11,497 --> 00:22:15,167
For me, there's always
been a thread of merely,
335
00:22:15,209 --> 00:22:17,378
um, a search.
336
00:22:17,419 --> 00:22:20,172
Generally, I think the subject
matters always come back
337
00:22:20,214 --> 00:22:23,467
to this singular question
of nearly every artist,
338
00:22:23,509 --> 00:22:26,053
which is what's my
relationship with the universe?
339
00:22:26,095 --> 00:22:28,764
Whatever other form
it takes that's basic,
340
00:22:28,806 --> 00:22:31,308
I think that's probably
the essential question
341
00:22:31,350 --> 00:22:34,103
that all of us ask ourselves.
342
00:22:34,144 --> 00:22:36,355
A lot of us probably
on that last few minutes.
343
00:22:50,494 --> 00:22:51,996
INTERVIEWER: What's Ziggy?
344
00:22:52,037 --> 00:22:54,874
DAVID: Ziggy, I wanted--
I wanted to define
345
00:22:54,915 --> 00:22:57,918
the archetype
"Messiah Rockstar.”
346
00:22:57,960 --> 00:22:59,837
That's all I wanted to do,
347
00:22:59,879 --> 00:23:02,840
and I used the trappings
of Kabuki theater,
348
00:23:02,882 --> 00:23:06,176
mime technique,
and fringe New York music.
349
00:23:06,218 --> 00:23:07,344
[LOVE ME DO SONG]
350
00:23:07,386 --> 00:23:10,222
♪ Love, love me do ♪
351
00:23:10,264 --> 00:23:13,684
♪ You know I love you ♪
352
00:23:13,726 --> 00:23:16,729
♪ I'll always be true ♪
353
00:23:16,770 --> 00:23:19,732
♪ So please
354
00:23:22,109 --> 00:23:23,235
AUDIENCE:
♪ Love medo ♪
355
00:23:25,487 --> 00:23:27,197
DAVID:
♪ Loves to be loved ♪
356
00:23:27,239 --> 00:23:29,366
DAVID: Ziggy was for
me a very simplistic thing:
357
00:23:29,408 --> 00:23:31,785
what it seemed to
be, an alien rockstar,
358
00:23:31,827 --> 00:23:34,496
but other people reread him
359
00:23:34,538 --> 00:23:37,041
and contributed more
information about Ziggy
360
00:23:37,082 --> 00:23:38,042
than I'd put into him.
361
00:23:45,841 --> 00:23:47,092
DAVID:
362
00:24:07,112 --> 00:24:09,949
DAVID: You know, we've
set ourselves up as such.
363
00:24:09,990 --> 00:24:11,825
We want it all.
364
00:24:11,867 --> 00:24:13,577
You know, we want
all the adulation,
365
00:24:13,619 --> 00:24:15,287
and people to read the lyrics,
and read and everything
366
00:24:15,329 --> 00:24:16,580
just to play the game.
367
00:24:17,122 --> 00:24:18,332
DAVID:
368
00:26:52,069 --> 00:26:54,113
DAVID: When I was really
young, one of the mysteries,
369
00:26:54,154 --> 00:26:57,199
the great mystery of rock,
was that I hardly understood
370
00:26:57,241 --> 00:26:59,284
a word of what they
were singing about.
371
00:27:01,453 --> 00:27:03,747
Fats Domino,
I still don't know
372
00:27:03,789 --> 00:27:05,749
one word of one lyric
that he ever wrote.
373
00:27:05,791 --> 00:27:08,377
I never understood
his pronunciation.
374
00:27:08,418 --> 00:27:11,130
And that made it even more
mysterious, and wonderful,
375
00:27:11,171 --> 00:27:12,798
and magic, you know?
376
00:27:12,840 --> 00:27:14,591
That he was talking
about something
377
00:27:14,633 --> 00:27:16,927
that I couldn't even
possibly start to understand,
378
00:27:16,969 --> 00:27:19,471
and I wanted in.
379
00:27:19,513 --> 00:27:21,306
I wanted to be in that place,
380
00:27:21,348 --> 00:27:24,560
this alternate
universe, you know?
381
00:27:24,601 --> 00:27:27,104
And that was so much
a part of the magic of music,
382
00:27:27,146 --> 00:27:29,022
and the same with art.
383
00:27:29,064 --> 00:27:32,442
I never really-- I could
appreciate the Vermeer,
384
00:27:32,484 --> 00:27:34,945
or Tintoretto, or Titian,
or something like that,
385
00:27:34,987 --> 00:27:37,281
but because it was
symbolic and figurative,
386
00:27:37,322 --> 00:27:41,577
it didn't-- I was never that
impressed with virtuosity.
387
00:27:41,618 --> 00:27:44,288
I was, you know, I understood
that their technique
388
00:27:44,329 --> 00:27:46,331
and the way they applied
paint, and what they could do,
389
00:27:46,373 --> 00:27:49,376
and how they could
embrace light and all that,
390
00:27:49,418 --> 00:27:52,421
I understood
and realized the...
391
00:27:52,462 --> 00:27:56,550
and I bowed
in humbleness at their...
392
00:27:56,592 --> 00:27:59,261
But it wasn't-- I mean, that's
not what I wanted from it.
393
00:27:59,303 --> 00:28:01,013
I wanted to use art.
394
00:28:01,054 --> 00:28:04,391
I wanted to use art
in a different way in my life.
395
00:28:04,433 --> 00:28:06,226
I wanted a sense that...
396
00:28:09,646 --> 00:28:12,024
all the nooks and crannies
that we don't understand
397
00:28:12,065 --> 00:28:14,318
about the way that we live
through our day to day life,
398
00:28:14,359 --> 00:28:16,987
and I wanted that
shown to me, you know?
399
00:28:17,029 --> 00:28:20,532
Not in great clarity, but some
kind of physical manifestation
400
00:28:20,574 --> 00:28:24,161
of these are the areas of life
that are causing you grief,
401
00:28:24,203 --> 00:28:27,915
or euphoria, and you
don't really know why.
402
00:28:27,956 --> 00:28:29,791
Why is it that you
wake up one day,
403
00:28:29,833 --> 00:28:33,670
and an oak tree, hit by
the light in a certain way,
404
00:28:33,712 --> 00:28:37,883
will produce these
extraordinary feelings of glee,
405
00:28:37,925 --> 00:28:39,635
and absolute enjoyment,
406
00:28:39,676 --> 00:28:42,012
exhilaration at
actually being alive.
407
00:28:42,054 --> 00:28:44,514
Another day, you can wake up
408
00:28:44,556 --> 00:28:47,351
and that same tree
will seem like some
409
00:28:47,392 --> 00:28:51,647
Caspar David Friedrich
symbolic death, you know?
410
00:28:51,688 --> 00:28:53,899
And it will be dark and
negative and awful, you know?
411
00:28:53,941 --> 00:28:56,568
And it's that sense of why
those things happen?
412
00:28:56,610 --> 00:28:59,529
Why aren't things
the same every single day
413
00:28:59,571 --> 00:29:01,531
and produce exactly
the same feeling?
414
00:29:01,573 --> 00:29:03,325
And art always does that to me.
415
00:29:16,421 --> 00:29:18,423
INTERVIEWER:
What are your hobbies?
416
00:29:18,465 --> 00:29:20,008
DAVID: Well, where
would you like to start?
417
00:29:20,050 --> 00:29:25,847
Uh, I sculpt, paint,
and write films.
418
00:29:25,889 --> 00:29:28,976
Um, I make video television.
419
00:29:29,017 --> 00:29:30,727
Not programs,
but video television.
420
00:29:30,769 --> 00:29:33,355
-INTERVIEWER: Of what?
-Um, art things that I do.
421
00:29:33,397 --> 00:29:39,278
Experimental video,
and cinematography.
422
00:29:39,319 --> 00:29:40,946
INTERVIEWER: With
the art now that you create,
423
00:29:40,988 --> 00:29:42,406
the sculpturings...
424
00:29:42,447 --> 00:29:45,075
DAVID: Yeah, I have...
you'll see.
425
00:29:47,536 --> 00:29:49,329
INTERVIEWER:
Is what... [indistinct]
426
00:29:49,371 --> 00:29:52,541
DAVID: I play with video, yes.
I flirt an awful lot.
427
00:30:02,676 --> 00:30:04,261
I've asked again,
over the last few years,
428
00:30:04,303 --> 00:30:06,179
I've been identifying
again with a force.
429
00:30:06,221 --> 00:30:07,848
I don't know
how I'm going to--
430
00:30:07,889 --> 00:30:10,309
how it will end up for me,
431
00:30:10,350 --> 00:30:14,229
but, um, I can't pinpoint it,
432
00:30:14,271 --> 00:30:16,356
but I do have
a very strong belief in...
433
00:30:17,899 --> 00:30:20,277
in a force, and I don't
know how it works.
434
00:30:20,319 --> 00:30:23,405
What I mean is, there is
something else other than us.
435
00:30:23,447 --> 00:30:25,615
That's as near
as I can get to it,
436
00:30:25,657 --> 00:30:30,203
and it may even just be
people on other planets
437
00:30:30,245 --> 00:30:31,538
that I'm thinking about.
438
00:30:31,580 --> 00:30:33,123
It may be God.
439
00:30:33,165 --> 00:30:34,875
It may be--
I don't know what it is,
440
00:30:34,916 --> 00:30:36,418
but there's a definite
force that I feel.
441
00:30:38,128 --> 00:30:39,921
INTERVIEWER: Almost
like there's something else,
442
00:30:39,963 --> 00:30:41,923
-that we're just a part of it.
-DAVID: Yeah. Yeah.
443
00:30:41,965 --> 00:30:44,217
INTERVIEWER: That's beyond us.
That's my feeling as well.
444
00:30:44,259 --> 00:30:47,220
There's always been,
um, for me--
445
00:30:47,262 --> 00:30:50,182
I guess for a lot of people--
a certain sense of you
446
00:30:50,223 --> 00:30:53,810
that's other-worldly.
Um, and of course that's...
447
00:30:58,565 --> 00:30:59,858
[WARSZAWA SONG]
448
00:30:59,900 --> 00:31:03,737
♪ Sula vie ♪
449
00:31:03,779 --> 00:31:08,325
♪ Dilejo ♪
450
00:31:10,452 --> 00:31:16,083
♪ Sula vie milejo ♪
451
00:31:16,124 --> 00:31:20,670
♪ Mmm-omm... J ♪
452
00:32:17,686 --> 00:32:19,020
DAVID: Like anything useful,
453
00:32:20,439 --> 00:32:21,982
it's all got to do with fear.
454
00:32:24,276 --> 00:32:26,069
I think he's
broken his arm, sir.
455
00:32:28,738 --> 00:32:31,450
They wouldn't
bother with it, Captain.
456
00:32:31,491 --> 00:32:33,285
[QUICKSAND SONG]
457
00:32:33,326 --> 00:32:38,248
♪ I'm closer to
the Golden Dawn ♪
458
00:32:38,290 --> 00:32:41,960
♪ Immersed in
Crowley's uniform ♪
459
00:32:42,002 --> 00:32:45,255
♪ Of imagery... ♪
460
00:32:45,297 --> 00:32:47,466
INTERVIEWER:
Ziggy was a disguise?
461
00:32:47,507 --> 00:32:49,176
DAVID: He was
a character that I created.
462
00:32:49,217 --> 00:32:51,219
I wanted to make films...
463
00:32:51,261 --> 00:32:53,972
♪ I'm living in
a silent film... ♪
464
00:32:54,014 --> 00:32:58,059
...and I transposed most
of those ideas into music form.
465
00:33:00,729 --> 00:33:02,063
INTERVIEWER: How
long is it gonna take
466
00:33:02,105 --> 00:33:03,690
before you're all
David Bowie?
467
00:33:03,732 --> 00:33:05,358
David:
Oh never, you know.
468
00:33:05,400 --> 00:33:07,194
I'd run off
into something else, you know.
469
00:33:07,235 --> 00:33:11,323
♪ I'm frightened
by the total goal ♪
470
00:33:11,364 --> 00:33:14,034
♪ Drawing to the ragged hole ♪
471
00:33:14,075 --> 00:33:15,577
INTERVIEWER: What's
"Changes" all about?
472
00:33:15,619 --> 00:33:17,996
DAVID: Changes.
473
00:33:18,038 --> 00:33:20,207
Someone putting
themselves through
474
00:33:20,248 --> 00:33:23,126
as much experimentation
to, you know,
475
00:33:23,168 --> 00:33:25,837
sort of treating oneself
as a bit of an experiment.
476
00:33:27,172 --> 00:33:30,091
I put myself in predicaments
477
00:33:30,133 --> 00:33:32,969
to see how I'll
cope with them a lot.
478
00:33:33,011 --> 00:33:36,515
It's sort of trying
to strengthen myself.
479
00:33:36,556 --> 00:33:41,102
♪ I'm the twisted name
in Goebbel's eyes ♪
480
00:33:41,144 --> 00:33:44,397
♪ Living proof
of Churchill's lies ♪
481
00:33:45,565 --> 00:33:47,651
♪ I'm destiny ♪
482
00:33:52,447 --> 00:33:57,118
♪ I'm torn between
the light and dark ♪
483
00:33:57,160 --> 00:34:00,247
♪ Where others
see their targets ♪
484
00:34:00,288 --> 00:34:04,125
♪ In divine symmetry ♪
485
00:34:09,172 --> 00:34:12,259
I put myself in dangerous
situations, which I did.
486
00:34:12,300 --> 00:34:16,054
Put myself in any situation
which I feel I can't cope with.
487
00:34:16,096 --> 00:34:17,514
INTERVIEWER: Dangerous
situations, such as what?
488
00:34:17,556 --> 00:34:19,015
Can you explain that?
489
00:34:19,057 --> 00:34:20,642
DAVID: Yeah. Areas
where I have to be in,
490
00:34:20,684 --> 00:34:22,269
sort of, social
contact with people,
491
00:34:22,310 --> 00:34:24,229
which I'm not
very good at doing.
492
00:34:24,271 --> 00:34:25,939
I put myself in--
493
00:34:25,981 --> 00:34:27,774
INTERVIEWER: I don't quite
know what you mean now.
494
00:34:27,816 --> 00:34:29,526
DAVID: Well, I went to
Los Angeles and I lived there
495
00:34:29,568 --> 00:34:31,861
for a couple of years, which is
a city I really detest.
496
00:34:31,903 --> 00:34:33,572
-INTERVIEWER: Yeah.
-DAVID: So, I went to
497
00:34:33,613 --> 00:34:37,284
live there to see what
would happen to my writing.
498
00:34:37,325 --> 00:34:39,369
[NATURAL WOMAN SONG]
499
00:34:39,411 --> 00:34:43,790
Aretha Franklin: J When my soul
was in the lost and found... ♪
500
00:34:43,832 --> 00:34:45,125
INTERVIEWER: Since
you've been in America,
501
00:34:45,166 --> 00:34:46,793
you seem to have picked up
502
00:34:46,835 --> 00:34:49,963
on a lot of the idioms
and themes of American music,
503
00:34:50,005 --> 00:34:53,049
and American culture.
How has that happened?
504
00:34:53,091 --> 00:34:55,844
DAVID: There's a fly
floating around in my milk.
505
00:34:55,885 --> 00:34:58,847
There's a foreign body
in it, you see?
506
00:34:58,888 --> 00:35:00,640
And it's getting a lot of milk.
507
00:35:00,682 --> 00:35:02,058
That's kind of how I feel.
508
00:35:04,185 --> 00:35:07,606
A foreign body, and I just--
I couldn't help but soak it up.
509
00:35:07,647 --> 00:35:09,399
You know.
510
00:35:09,441 --> 00:35:11,901
I hated it when
I first came here.
511
00:35:11,943 --> 00:35:13,194
I couldn't see any of it.
512
00:35:14,404 --> 00:35:16,114
Look, a wax museum.
513
00:35:16,156 --> 00:35:19,242
Hey, a bleedin' wax museum
in the middle of a desert!
514
00:35:19,284 --> 00:35:21,328
You'd think it would
melt, wouldn't you?
515
00:35:39,554 --> 00:35:41,348
DAVID: There's
a good, old circle thing,
516
00:35:41,389 --> 00:35:43,266
and it really is, it's uh,
517
00:35:43,308 --> 00:35:47,103
it's the decadence that
precedes the righteousness,
518
00:35:47,145 --> 00:35:49,648
and the morality
519
00:35:49,689 --> 00:35:53,652
of an extremely
right wing art form,
520
00:35:53,693 --> 00:35:56,863
which, in its right wing-ness
is in fact very liberal
521
00:35:56,905 --> 00:35:58,865
because the faster you
can get rid of the right wings,
522
00:35:58,907 --> 00:36:01,951
and by accelerating it, then
you bring back [indistinct].
523
00:36:01,993 --> 00:36:04,704
You've got to go
through the dictatorship.
524
00:36:04,746 --> 00:36:06,498
You've got to go
through the right wing--
525
00:36:06,539 --> 00:36:07,791
DAVID: Coveting the highest...
526
00:36:07,832 --> 00:36:09,876
DAVID: Exactly.
527
00:36:09,918 --> 00:36:11,670
Man Ray is suddenly
getting very popular...
528
00:36:13,588 --> 00:36:16,966
and it's-- I mean, I-- We--
I know, you know what's coming.
529
00:36:17,008 --> 00:36:22,722
I mean, baby, what
is coming. [indistinct]
530
00:36:22,764 --> 00:36:24,182
Of course it is, yeah.
531
00:36:24,224 --> 00:36:26,226
And we're going
to live through it.
532
00:36:26,267 --> 00:36:28,520
We're gonna be lucky
enough [indistinct].
533
00:36:28,561 --> 00:36:31,356
DAVID:
This ain't rock and roll!
534
00:36:31,398 --> 00:36:33,775
This is genocide!
535
00:36:41,282 --> 00:36:43,284
[CRACKED ACTOR SONG]
536
00:36:56,965 --> 00:36:58,633
♪ I've come on a few years ♪
537
00:36:58,675 --> 00:37:00,885
♪ from my Hollywood Highs ♪
538
00:37:00,927 --> 00:37:02,512
♪ The best of the last ♪
539
00:37:02,554 --> 00:37:04,764
♪ The cleanest star'
they ever had ♪
540
00:37:04,806 --> 00:37:06,599
♪ I'm stiff on my legend ♪
541
00:37:06,641 --> 00:37:08,518
♪ The films that I made ♪
542
00:37:08,560 --> 00:37:10,311
♪ Forget that I'm fifty ♪
543
00:37:10,353 --> 00:37:12,439
♪ 'Cause you just got paid ♪
544
00:37:12,480 --> 00:37:14,399
♪ Crack, baby, crack ♪
545
00:37:14,441 --> 00:37:16,401
♪ Show me you're real ♪
546
00:37:16,443 --> 00:37:20,071
♪ Smack, baby, smack,
is that all that you feel ♪
547
00:37:20,113 --> 00:37:21,865
♪ Suck, baby, suck ♪
548
00:37:21,906 --> 00:37:24,075
♪ Give me your head
549
00:37:24,117 --> 00:37:25,910
♪ Before you start professing ♪
550
00:37:25,952 --> 00:37:29,038
♪ That you're
knocking me dead... J ♪
551
00:37:29,080 --> 00:37:30,874
INTERVIEWER: You know,
you haven't-- your accent,
552
00:37:30,915 --> 00:37:33,334
your voice, your method
of speech has not changed.
553
00:37:33,376 --> 00:37:35,545
You've been away for two years.
554
00:37:35,587 --> 00:37:37,630
Does that mean you've been
locked away somewhere?
555
00:37:37,672 --> 00:37:39,132
DAVID: Yes, I don't
talk to anybody.
556
00:37:41,342 --> 00:37:44,095
INTERVIEWER:
But do people talk to you?
557
00:37:44,137 --> 00:37:45,680
DAVID: I've heard
it rumored, yes.
558
00:37:45,722 --> 00:37:47,182
[CRACKED ACTOR SONG]
559
00:37:47,223 --> 00:37:48,683
♪ But since he pinned you,
baby ♪
560
00:37:48,725 --> 00:37:50,852
♪ You're a porcupine ♪
561
00:37:50,894 --> 00:37:54,481
♪ You sold me illusions
for a sack full of checks ♪
562
00:37:54,522 --> 00:37:58,234
♪ You've made a bad connection
‘cause I just want your sex ♪
563
00:37:58,276 --> 00:38:00,278
♪ Crack, baby, crack ♪
564
00:38:00,320 --> 00:38:02,405
♪ Show me you're real ♪
565
00:38:02,447 --> 00:38:06,117
♪ Smack, baby, smack,
is that all that you feel ♪
566
00:38:06,159 --> 00:38:08,119
♪ Suck, baby, suck ♪
567
00:38:08,161 --> 00:38:09,537
♪ Give me your head
568
00:38:09,579 --> 00:38:11,456
♪ Before you start professing ♪
569
00:38:11,498 --> 00:38:13,875
♪ That you're knocking me dead ♪
570
00:38:15,168 --> 00:38:16,753
♪ Oh... ♪
571
00:38:22,467 --> 00:38:24,010
♪ Oh stay ♪
572
00:38:26,262 --> 00:38:27,680
♪ Don't you dare ♪
573
00:38:30,266 --> 00:38:32,227
♪ Oh yeah... ♪
574
00:38:35,814 --> 00:38:37,190
♪ Don't you dare ♪
575
00:38:39,692 --> 00:38:42,737
♪ Oh yeah, yeah, yeah, yeah ♪
576
00:38:42,779 --> 00:38:44,113
♪ Yeah... ♪
577
00:39:20,108 --> 00:39:21,985
DICK:
Some people thought--
578
00:39:22,026 --> 00:39:23,987
There's a lady who said
"lI don't know if he'd be...
579
00:39:24,028 --> 00:39:25,780
if I'd want to meet him.
He would make me very nervous.
580
00:39:25,822 --> 00:39:27,323
I have a feeling
he's into black magic,
581
00:39:27,365 --> 00:39:29,117
and that sort of thing."
582
00:39:29,158 --> 00:39:31,202
And other people see you as
just a very skillful performer
583
00:39:31,244 --> 00:39:33,329
who changes from time to time,
584
00:39:33,371 --> 00:39:34,622
from one thing to another.
585
00:39:34,664 --> 00:39:36,708
DAVID: Yeah.
Well, both of that is--
586
00:39:36,749 --> 00:39:38,167
DICK:
All of the above?
587
00:39:39,878 --> 00:39:41,462
ROCK 'N' ROLL WITH ME (SONG)
588
00:39:41,504 --> 00:39:45,341
♪ You always were
the one that knew ♪
589
00:39:48,344 --> 00:39:51,973
♪ They sold us
for the likes of you ♪
590
00:39:55,268 --> 00:39:58,438
♪ I never wanted anything ♪
591
00:39:58,479 --> 00:40:00,982
♪ But new surroundings ♪
592
00:40:02,775 --> 00:40:04,861
♪ Aroom torent?
593
00:40:04,903 --> 00:40:10,742
♪ while the lizards
lay lying in the heat ♪
594
00:40:10,783 --> 00:40:12,410
INTERVIEWER: What kind
of childhood did you have?
595
00:40:12,452 --> 00:40:13,953
DAVID: Oh, incredibly ordinary.
596
00:40:13,995 --> 00:40:15,788
-INTERVIEWER: Ordinary?
-DAVID: Yeah.
597
00:40:15,830 --> 00:40:17,415
-INTERVIEWER: In what way?
-DAVID: Well, I mean,
598
00:40:17,457 --> 00:40:19,292
it was regular.
I went to school, I ate.
599
00:40:21,628 --> 00:40:24,047
DAVID: In suburbia,
you're given the impression
600
00:40:24,088 --> 00:40:26,049
that nothing culturally
belongs to you.
601
00:40:26,090 --> 00:40:28,176
That you are sort
of in this wasteland,
602
00:40:28,217 --> 00:40:30,637
and I think there's
a passion for most people
603
00:40:30,678 --> 00:40:33,181
who have an iota of curiosity
604
00:40:33,222 --> 00:40:35,642
about them to escape
and get out.
605
00:40:35,683 --> 00:40:40,188
♪ When you rock 'n' roll
with me ♪
606
00:40:43,191 --> 00:40:47,320
♪ No one else I'd rather be ♪
607
00:40:49,656 --> 00:40:55,787
♪ Nobody here can do it for me ♪
608
00:40:55,828 --> 00:40:57,705
♪ I'm in tears again ♪
609
00:41:01,584 --> 00:41:06,714
♪ When you rock 'n' roll
with me ♪
610
00:41:10,385 --> 00:41:12,220
DAVID: One of my siblings
611
00:41:12,261 --> 00:41:14,889
meant so much to
me in my early years,
612
00:41:14,931 --> 00:41:17,475
and his name was Terry,
and he was my half-brother,
613
00:41:17,517 --> 00:41:19,060
my mother's son.
614
00:41:19,102 --> 00:41:20,603
DAVID: Hey, hey, good evening,
Buffalo.
615
00:41:20,645 --> 00:41:23,356
It's nice to be here.
616
00:41:23,398 --> 00:41:27,694
DAVID: He was living between
our family and another family,
617
00:41:27,735 --> 00:41:30,154
and the periods
that I did see him,
618
00:41:30,196 --> 00:41:33,199
it seemed to me that he had
more curiosity about the world
619
00:41:33,241 --> 00:41:34,784
than anybody I'd met.
620
00:41:36,327 --> 00:41:41,082
And the first real,
major event for me was
621
00:41:41,124 --> 00:41:43,292
when he passed Jack Kerouac's
On The Road on to me,
622
00:41:43,334 --> 00:41:46,629
which really changed my life.
623
00:41:46,671 --> 00:41:50,174
And he would also introduce me
to people like John Coltrane,
624
00:41:50,216 --> 00:41:51,843
which was way above my head,
625
00:41:51,884 --> 00:41:53,845
but I wanted to read
what he read,
626
00:41:53,886 --> 00:41:56,347
and I wanted to listen
to what he listened to,
627
00:41:56,389 --> 00:41:59,267
as one does with
an older brother.
628
00:41:59,308 --> 00:42:03,896
♪ When you rock 'n' roll
with me ♪
629
00:42:06,315 --> 00:42:11,070
♪ No one else I'd rather be ♪
630
00:42:13,239 --> 00:42:18,786
♪ Nobody here
can do it for me... ♪
631
00:42:18,828 --> 00:42:20,955
DAVID: I think Terry
probably gave me a great--
632
00:42:20,997 --> 00:42:22,623
the greatest serviceable
education
633
00:42:22,665 --> 00:42:24,459
I could ever have had.
634
00:42:24,500 --> 00:42:27,879
I mean, he just introduced
me to the outside things,
635
00:42:27,920 --> 00:42:30,256
kinds of books,
and kinds of music
636
00:42:30,298 --> 00:42:32,592
and attitudes that just weren't
637
00:42:32,633 --> 00:42:34,302
the currency
in the area that I grew up.
638
00:42:35,887 --> 00:42:38,181
And then he would go
away for long periods,
639
00:42:38,222 --> 00:42:41,392
and one period he went
away and joined the RAF.
640
00:42:43,269 --> 00:42:48,775
When he came back, he had very
evident signs of schizophrenia,
641
00:42:48,816 --> 00:42:50,777
and he stayed in hospital
for the rest of his life.
642
00:42:52,195 --> 00:42:53,905
[ROCK 'N' ROLL WITH ME SONG]
643
00:42:57,033 --> 00:43:01,746
♪ When you rock 'n' roll
with me ♪
644
00:43:04,165 --> 00:43:08,586
♪ No one else I'd rather be ♪
645
00:43:11,422 --> 00:43:16,219
♪ Nobody here
can do it for me... ♪
646
00:43:18,179 --> 00:43:20,556
DAVID: I think it made me
worry about my own disposition,
647
00:43:20,598 --> 00:43:23,392
and whether I just
had eccentric ideas,
648
00:43:23,434 --> 00:43:26,395
or whether I was
heading somewhere else.
649
00:43:26,437 --> 00:43:32,068
♪ When you rock 'n' roll,
rock 'n' roll with me ♪
650
00:43:33,611 --> 00:43:38,157
♪ No one else I'd rather,
I'd rather be
651
00:43:40,952 --> 00:43:45,414
♪ Nobody down here
can do it for me ♪
652
00:43:48,084 --> 00:43:49,836
♪ I'm in tears ♪
653
00:43:51,796 --> 00:43:53,089
♪ I'm in tears ♪
654
00:43:55,383 --> 00:44:00,763
♪ When you rock 'n' roll
with me... ♪
655
00:44:03,141 --> 00:44:04,684
♪ Oh yeah ♪
656
00:44:06,644 --> 00:44:09,647
♪ Rock 'n' roll with me ♪
657
00:44:09,689 --> 00:44:11,566
♪ Oh-hoo yeah. rs
658
00:44:20,366 --> 00:44:21,993
INTERVIEWER: I understand
that you have a fear
659
00:44:22,034 --> 00:44:24,078
because there was
mental illness in your family,
660
00:44:24,120 --> 00:44:26,914
that you have a fear of
mental illness. Is that true?
661
00:44:26,956 --> 00:44:30,126
DAVID: Um, no, I developed
a system against it.
662
00:44:30,168 --> 00:44:33,462
I think that probably became
part of the therapy of art,
663
00:44:33,504 --> 00:44:36,007
and I was fortunate
enough to be able to
664
00:44:36,048 --> 00:44:38,593
express any visions
that I had in my head.
665
00:44:38,634 --> 00:44:40,136
-INTERVIEWER: Yeah.
-DAVID: Very outwardly.
666
00:44:40,178 --> 00:44:42,722
DAVID: Gradually
learning to do without sleep.
667
00:44:45,683 --> 00:44:48,436
DAVID: It's a labyrinthine
existence that we live,
668
00:44:48,477 --> 00:44:51,355
and so it makes sense
for me to put together
669
00:44:51,397 --> 00:44:52,940
elements in a song which
670
00:44:52,982 --> 00:44:54,942
wouldn't naturally
be good bedfellows.
671
00:44:59,697 --> 00:45:02,158
I guess I'm trying
to articulate...
672
00:45:04,327 --> 00:45:06,454
those mysterious
corners of the mind
673
00:45:06,495 --> 00:45:08,414
where there exist
grains of truth
674
00:45:08,456 --> 00:45:10,333
that we don't often touch on,
675
00:45:10,374 --> 00:45:12,793
because we don't have
the words to capture them.
676
00:45:15,087 --> 00:45:17,882
So, we'll write on three or
four different subject matters,
677
00:45:17,924 --> 00:45:21,844
and then integrate them
together by cutting them up.
678
00:45:21,886 --> 00:45:25,139
What I've used it for
more than anything else
679
00:45:25,181 --> 00:45:29,977
is igniting anything that
might be in my imagination.
680
00:45:30,019 --> 00:45:31,729
I've tried doing it
with diaries and things,
681
00:45:31,771 --> 00:45:34,315
and I was finding out
amazing things about me
682
00:45:34,357 --> 00:45:36,442
and what I'd done
and where I was going.
683
00:45:37,985 --> 00:45:39,820
A lot of the things I had done,
684
00:45:39,862 --> 00:45:42,365
it seemed that it would
predict things about the future
685
00:45:42,406 --> 00:45:45,368
and tell me a lot
about the past.
686
00:45:45,409 --> 00:45:49,705
I suppose it's a very
Western tarot. I don't know.
687
00:45:49,747 --> 00:45:51,707
Obviously, one
is trying to always
688
00:45:51,749 --> 00:45:53,751
reevaluate one's personality,
689
00:45:53,793 --> 00:45:56,462
and understand why one works.
690
00:45:58,464 --> 00:46:01,425
I think a lot of artists deal
with loneliness and solitude.
691
00:46:03,594 --> 00:46:07,765
An artist does tend
to examine the world
692
00:46:07,807 --> 00:46:09,642
through his relationship to it,
693
00:46:09,684 --> 00:46:11,519
and so that produces
694
00:46:11,560 --> 00:46:13,604
a very introverted looking
lot of work.
695
00:46:13,646 --> 00:46:16,607
I don't feel lonely.
I apply that to my work.
696
00:46:16,649 --> 00:46:21,362
I sense a feeling of loneliness
from my work when I look at it,
697
00:46:21,404 --> 00:46:24,657
but I don't feel like
a solitary person myself,
698
00:46:24,699 --> 00:46:26,492
but it seems
to show up in my work,
699
00:46:26,534 --> 00:46:28,786
and it's like taking
a photograph
700
00:46:28,828 --> 00:46:30,746
and then developing
the negative
701
00:46:30,788 --> 00:46:33,249
and seeing another
person standing behind you.
702
00:46:33,291 --> 00:46:39,130
♪ Who will love Aladdin Sane ♪
703
00:46:39,171 --> 00:46:43,926
♪ Battle cries and champagne
just in time for sunrise ♪
704
00:46:43,968 --> 00:46:49,223
♪ Who will love Aladdin Sane ♪
705
00:46:51,684 --> 00:46:53,894
♪ Motor sensational ♪
706
00:46:56,063 --> 00:46:58,607
♪ Paris or maybe hell ♪
707
00:46:58,649 --> 00:47:00,234
♪ I'm waiting ♪
708
00:47:00,276 --> 00:47:02,611
♪ Clutches of sad remains ♪
709
00:47:04,572 --> 00:47:08,534
♪ Waits for Aladdin Sane
You'll make it ♪
710
00:47:08,576 --> 00:47:14,790
♪ Who will love Aladdin Sane ♪
711
00:47:14,832 --> 00:47:18,419
♪ Millions weep a fountain,
just in case of sunrise... ♪
712
00:47:18,461 --> 00:47:19,795
INTERVIEWER:
With your background,
713
00:47:19,837 --> 00:47:23,507
why were you
intrigued by all this?
714
00:47:23,549 --> 00:47:27,470
DAVID: Um, it was... I mean,
715
00:47:27,511 --> 00:47:29,722
it filled a vast expanse
of my imagination.
716
00:47:29,764 --> 00:47:31,223
I was always
pretty imaginative.
717
00:47:33,476 --> 00:47:36,270
And the imagination
can dry up in
718
00:47:36,312 --> 00:47:38,522
wherever you're
living in England, often.
719
00:47:38,564 --> 00:47:40,816
I mean, if there's
nothing to keep it going.
720
00:47:40,858 --> 00:47:42,777
It just supplied a need in me.
721
00:47:44,278 --> 00:47:46,697
American became
a myth-land for me.
722
00:47:52,912 --> 00:47:55,664
DAVID: We're not stopped.
Is there anything behind us?
723
00:48:01,045 --> 00:48:02,630
INTERVIEWER: Let's
go with him now live,
724
00:48:02,671 --> 00:48:04,256
by satellite,
725
00:48:04,298 --> 00:48:06,884
to beautiful downtown Burbank
in Los Angeles.
726
00:48:09,011 --> 00:48:10,096
AUDIENCE MEMBER:
Is it true that you're gonna be
727
00:48:10,137 --> 00:48:11,305
teaming up with...
728
00:48:12,515 --> 00:48:14,392
Every avenue.
729
00:48:14,433 --> 00:48:17,186
It's very calm, and it's a kind
of a superficial calmness
730
00:48:17,228 --> 00:48:19,313
that they've developed to
underplay the fact that it's--
731
00:48:19,355 --> 00:48:22,233
there's a lot of high
pressure here,
732
00:48:22,274 --> 00:48:24,110
as it's a very big
entertainment industry area.
733
00:48:25,903 --> 00:48:28,614
And you get this feeling
of unease with everybody.
734
00:48:28,656 --> 00:48:30,032
It's a very big
entertainment area.
735
00:48:30,074 --> 00:48:31,534
DAVID: The first time
that it really
736
00:48:31,575 --> 00:48:34,036
came home to me
what a strange...
737
00:48:36,038 --> 00:48:39,917
About the churches
designed by an architect...
738
00:48:39,959 --> 00:48:41,710
DAVID: Arthur, would
you please slow down?
739
00:48:43,421 --> 00:48:45,005
INTERVIEWER: We're
bouncing backwards and forwards
740
00:48:45,047 --> 00:48:46,465
on the satellite at the moment.
741
00:48:46,507 --> 00:48:49,427
I mean, our sound
is bouncing around.
742
00:48:49,468 --> 00:48:50,636
Yes, I can see it.
743
00:48:52,680 --> 00:48:54,223
It'll be all right in a minute.
744
00:49:00,187 --> 00:49:01,147
INTERVIEWER:
Are you there, David?
745
00:49:02,606 --> 00:49:03,816
Are you there, David?
746
00:49:03,858 --> 00:49:05,734
Bedroom in the sky.
747
00:49:05,776 --> 00:49:07,403
INTERVIEWER:
Are you there, Mr. David Bowie?
748
00:49:16,829 --> 00:49:19,874
DAVID: I think
that I felt often,
749
00:49:19,915 --> 00:49:24,378
ever since I was a teenager,
750
00:49:24,420 --> 00:49:29,592
um, so adrift, and so
not part of everyone I saw.
751
00:49:30,801 --> 00:49:32,470
There's so many dark secrets
752
00:49:32,511 --> 00:49:33,888
about my family
in the cupboard
753
00:49:33,929 --> 00:49:36,682
that it kind of made me feel
754
00:49:36,724 --> 00:49:39,143
very much on the outside
of everything,
755
00:49:39,185 --> 00:49:44,607
and because of that, I felt
there was no basis to my life,
756
00:49:44,648 --> 00:49:46,609
like everybody else
seemed to have.
757
00:49:48,152 --> 00:49:50,529
Which of course
is ridiculous.
758
00:49:50,571 --> 00:49:53,240
Probably, I would
do things to prove that
759
00:49:53,282 --> 00:49:56,118
I had some
emotional substance...
760
00:49:57,495 --> 00:49:58,996
when in fact I didn't.
761
00:50:39,995 --> 00:50:42,957
DAVID: Thematically, I've always
dealt with isolation
762
00:50:42,998 --> 00:50:44,792
in everything I've written,
I think.
763
00:50:44,833 --> 00:50:47,044
INTERVIEWER: If you're
interested in isolation,
764
00:50:47,086 --> 00:50:49,922
is it because you think that
a person in an isolated state
765
00:50:49,964 --> 00:50:53,092
feel greater emotions
than they do
766
00:50:53,133 --> 00:50:55,928
when they're surrounded
by people and things?
767
00:50:55,970 --> 00:50:58,722
DAVID:
I think if he is in isolation,
768
00:50:58,764 --> 00:51:03,352
instead of receiving
the whole world as his home,
769
00:51:03,394 --> 00:51:06,522
he tends to create
a micro-world inside himself.
770
00:51:06,564 --> 00:51:10,317
Um, and it's that peculiar
part of the human mind
771
00:51:10,359 --> 00:51:12,778
that fascinates me
about the small universes
772
00:51:12,820 --> 00:51:15,823
that can be created
inside the mind.
773
00:51:15,864 --> 00:51:18,242
Some of them
fairly schizophrenic
774
00:51:18,284 --> 00:51:19,368
and quite off the wall.
775
00:51:22,788 --> 00:51:25,624
It feels now that
I don't come from anywhere,
776
00:51:25,666 --> 00:51:28,877
but I was born in Brixton.
777
00:51:28,919 --> 00:51:30,337
INTERVIEWER :
When were you born? What year?
778
00:51:30,379 --> 00:51:33,507
DAVID: 1947.
January the eighth.
779
00:51:33,549 --> 00:51:36,635
Makes me a Capricorn
with an Aquarius ascendant
780
00:51:36,677 --> 00:51:38,637
and a Leo descendant.
781
00:51:41,932 --> 00:51:43,517
INTERVIEWER: How much now
is left of the lad
782
00:51:43,559 --> 00:51:45,144
from Brixton, do you think?
783
00:51:45,185 --> 00:51:46,312
DAVID: Not very much,
I would think.
784
00:51:46,353 --> 00:51:48,272
I know, you know.
785
00:51:48,314 --> 00:51:52,192
I never got-- I never became
who I should have been.
786
00:51:52,234 --> 00:51:54,194
I've spent an awful lot
of my life
787
00:51:54,236 --> 00:51:56,739
actually looking
for myself, you know?
788
00:51:56,780 --> 00:52:00,743
And understanding what it was
that I-why-what I existed for.
789
00:52:00,784 --> 00:52:02,411
What was it that really
made me happy in life?
790
00:52:03,787 --> 00:52:05,873
And who exactly, or was--
791
00:52:05,914 --> 00:52:07,791
Who are the parts of myself
I was trying to hide from?
792
00:52:10,628 --> 00:52:13,756
I think a lot of us
have huge senses of denial
793
00:52:13,797 --> 00:52:15,966
about who we are and
where we exist in the world
794
00:52:18,469 --> 00:52:20,012
I really wanted to
sort of, you know,
795
00:52:20,054 --> 00:52:21,472
be very emotionally involved
with people.
796
00:52:22,681 --> 00:52:24,266
I didn't know how to do it.
797
00:52:24,308 --> 00:52:25,809
You know,
my parents were like that,
798
00:52:25,851 --> 00:52:27,519
and I guess you kind of,
as they say,
799
00:52:28,979 --> 00:52:30,981
they pass on a lot of faults.
800
00:52:35,152 --> 00:52:36,820
DICK: What do
your parents do for a living?
801
00:52:36,862 --> 00:52:41,241
My father's dead,
and my mother has a small flat,
802
00:52:41,283 --> 00:52:44,578
and I think she's got
a day job.
803
00:52:44,620 --> 00:52:46,246
DICK: Does she have trouble
explaining you to the neighbors
804
00:52:46,288 --> 00:52:48,540
who say, "Are you
any relation to that..."
805
00:52:48,582 --> 00:52:50,584
DAVID: I think she pretends
I'm not hers.
806
00:52:52,294 --> 00:52:54,505
Nah, she's uh,
she doesn't talk much.
807
00:52:54,546 --> 00:52:57,716
You know, she doesn't,
um, I don't think we really--
808
00:52:57,758 --> 00:52:59,510
We were never
that close particularly.
809
00:52:59,551 --> 00:53:00,969
We have an understanding.
810
00:53:01,011 --> 00:53:02,012
DICK: Yeah.
811
00:53:05,766 --> 00:53:07,810
INTERVIEWER:
Was it a happy marriage?
812
00:53:07,851 --> 00:53:10,437
Not necessarily
terribly loving or anything,
813
00:53:10,479 --> 00:53:12,981
in terms of
no real physical affection,
814
00:53:14,858 --> 00:53:17,403
or even they
didn't really articulate
815
00:53:17,444 --> 00:53:18,570
any love for each other.
816
00:53:26,120 --> 00:53:28,539
There's an awful lot of
emotional/spiritual mutilation
817
00:53:28,580 --> 00:53:30,207
goes on in my family.
818
00:53:35,379 --> 00:53:38,507
INTERVIEWER: Did you like any
of the traditional people
819
00:53:38,549 --> 00:53:40,592
that you're supposed to like?
820
00:53:40,634 --> 00:53:42,219
Like, did you like
Winnie the Pooh?
821
00:53:42,261 --> 00:53:43,512
DAVID: No. No.
822
00:53:43,554 --> 00:53:45,055
INTERVIEWER: Rupert Bear?
823
00:53:45,097 --> 00:53:46,640
DAVID: No.
No I didn't. I didn't like--
824
00:53:46,682 --> 00:53:48,225
INTERVIEWER:
Did you have a teddy bear?
825
00:53:48,267 --> 00:53:50,227
DAVID: No, I didn't.
I don't think...
826
00:53:53,397 --> 00:53:56,191
I can't remember having
anything like that at all.
827
00:53:56,233 --> 00:53:59,194
No, I never liked, um,
children's things very much.
828
00:54:24,595 --> 00:54:26,138
INTERVIEWER: You know,
since you've been away,
829
00:54:26,180 --> 00:54:27,931
or quite recently,
the newspapers
830
00:54:27,973 --> 00:54:30,225
having been having a bit
of a bash at your mother?
831
00:54:33,520 --> 00:54:36,231
And saying that she's
a bit tearful from time to time.
832
00:54:36,273 --> 00:54:39,526
and that she's suffered
a certain amount of anguish,
833
00:54:39,568 --> 00:54:41,695
and that she doesn't hear
from you an awful lot.
834
00:54:41,737 --> 00:54:43,906
Is that eyewash
or is it real?
835
00:54:49,161 --> 00:54:50,704
DAVID: There's some kind
of traumatism
836
00:54:50,746 --> 00:54:53,248
often goes on
in our childhoods I think.
837
00:54:53,290 --> 00:54:55,417
I think, that are...
838
00:54:55,459 --> 00:54:57,336
Makes us crave some kind
of strange affection, you know?
839
00:54:57,377 --> 00:54:58,712
It's sort of an...
840
00:54:58,754 --> 00:55:00,380
Often you'll find
that the person
841
00:55:00,422 --> 00:55:02,382
who craves a lot of affection
842
00:55:02,424 --> 00:55:04,426
actually isn't terribly good
at giving it.
843
00:55:07,971 --> 00:55:11,058
INTERVIEWER: Does that mean
you have to separate yourself
844
00:55:11,099 --> 00:55:14,186
quite a lot from, say,
falling in love
845
00:55:14,228 --> 00:55:16,688
and getting very involved
with a person?
846
00:55:16,730 --> 00:55:20,275
Um, oh no, I think, no.
847
00:55:20,317 --> 00:55:21,693
I think quite the reverse.
848
00:55:21,735 --> 00:55:23,821
INTERVIEWER: But, love,
falling in love,
849
00:55:23,862 --> 00:55:26,990
is different from then going on
to love that person.
850
00:55:27,032 --> 00:55:28,325
Yes, it is. Yes.
851
00:55:28,367 --> 00:55:30,536
And once you've
loved somebody a lot,
852
00:55:30,577 --> 00:55:32,412
it means that you've got
to share your life with them.
853
00:55:32,454 --> 00:55:34,289
-That's what I really--
-DAVID: No, I don't think so.
854
00:55:34,331 --> 00:55:36,834
I think you can love somebody
from afar.
855
00:55:36,875 --> 00:55:39,461
But if you then decided
not to love them from afar,
856
00:55:39,503 --> 00:55:42,005
you as an artist
would have to give up
857
00:55:42,047 --> 00:55:43,841
quite a lot of your time
to them.
858
00:55:43,882 --> 00:55:45,259
Yes, and I can't do that.
859
00:55:45,300 --> 00:55:46,677
INTERVIEWER:
That's what I was wondering,
860
00:55:46,718 --> 00:55:48,303
whether you did--
whether you did that.
861
00:55:48,345 --> 00:55:49,972
DAVID: No, no, no, love can't
get quite in my way,
862
00:55:50,013 --> 00:55:54,017
because I feel-- I shelter
myself from it incredibly.
863
00:55:56,019 --> 00:56:01,066
Interviewer: Do you feel removed
from the body and the feel
864
00:56:01,108 --> 00:56:03,902
that you create on the planet?
865
00:56:03,944 --> 00:56:06,113
DAVID:
Until I'm performing or writing
866
00:56:06,154 --> 00:56:08,824
I mainly feel pretty much
of an empty vessel.
867
00:56:10,409 --> 00:56:11,743
INTERVIEWER: When you're
performing and writing,
868
00:56:11,785 --> 00:56:13,203
you're fulfilled?
869
00:56:13,245 --> 00:56:16,081
DAVID:
I don't particularly feel...
870
00:56:16,123 --> 00:56:19,668
♪ Ground Control to Major Tom ♪
871
00:56:23,130 --> 00:56:26,383
♪ Ground Control to Major Tom ♪
872
00:56:30,512 --> 00:56:35,350
♪ Take your protein pills
and put your helmet on ♪
873
00:56:37,436 --> 00:56:40,522
♪ Ground Control to Major Tom ♪
874
00:56:44,526 --> 00:56:48,071
♪ Commencing countdown,
engines on ♪
875
00:56:51,783 --> 00:56:53,660
♪ Check ignition ♪
876
00:56:53,702 --> 00:56:58,373
♪ And may God's love
be with you ♪
877
00:57:09,092 --> 00:57:12,763
♪ This is Ground Control
to Major Tom ♪
878
00:57:14,014 --> 00:57:16,850
♪ You've really made the grade ♪
879
00:57:18,810 --> 00:57:21,897
♪ And the papers want to know ♪
880
00:57:21,939 --> 00:57:24,274
♪ Whose shirts you wear ♪
881
00:57:25,943 --> 00:57:29,279
♪ Now it's time
to leave the capsule ♪
882
00:57:29,321 --> 00:57:31,907
♪ If you dare ♪
883
00:57:33,909 --> 00:57:38,664
♪ This is Major Tom
to Ground Control ♪
884
00:57:38,705 --> 00:57:41,792
♪ I'm stepping
through the door ♪
885
00:57:43,669 --> 00:57:48,298
♪ And I'm floating
in a most peculiar way ♪
886
00:57:50,842 --> 00:57:55,389
♪ And the stars look
very different today ♪
887
00:57:58,141 --> 00:58:01,144
♪ For here ♪
888
00:58:01,186 --> 00:58:03,981
♪ Am I sitting in my tin can ♪
889
00:58:05,691 --> 00:58:10,112
♪ Far above the world ♪
890
00:58:12,739 --> 00:58:15,575
♪ Planet Earth is blue ♪
891
00:58:15,617 --> 00:58:19,579
♪ And there's nothing I can do ♪
892
00:59:43,914 --> 00:59:45,707
DAVID:
Well, an awful lot of changes
893
00:59:45,749 --> 00:59:47,375
with my musical career
894
00:59:47,417 --> 00:59:49,669
were challenges to myself.
895
00:59:49,711 --> 00:59:52,631
I have to feel that I'm
stepping on new ground,
896
00:59:52,672 --> 00:59:55,133
that the ice beneath my feet
is very thin.
897
00:59:55,175 --> 00:59:56,635
Any second, I could crack it
898
00:59:56,676 --> 00:59:58,095
and just plunge through
and drown.
899
00:59:59,888 --> 01:00:02,349
I got to a point in Los Angeles
900
01:00:02,390 --> 01:00:05,018
where I got very tired
with my method of writing,
901
01:00:05,060 --> 01:00:08,105
and I wanted to invent
a new musical language.
902
01:00:10,440 --> 01:00:12,400
I knew I had to get
to an environment
903
01:00:12,442 --> 01:00:14,820
that was totally different
to Los Angeles.
904
01:00:14,861 --> 01:00:16,988
So I thought
of the most arduous city
905
01:00:17,030 --> 01:00:19,491
that I could think of,
and it was West Berlin.
906
01:00:19,533 --> 01:00:22,786
They don't give an FA about
who you are in Berlin.
907
01:00:22,828 --> 01:00:25,247
The trappings of rock and roll
don't mean anything to them.
908
01:00:25,288 --> 01:00:26,957
So, I could walk around,
buy me own food,
909
01:00:26,998 --> 01:00:29,251
and just lease
a small apartment,
910
01:00:29,292 --> 01:00:31,628
which I did above
an automobile spare parts shop.
911
01:00:41,930 --> 01:00:45,767
I didn't have
the necessary verbal equipment
912
01:00:45,809 --> 01:00:47,894
to describe what I was seeing,
913
01:00:47,936 --> 01:00:49,354
and that's where
I needed assistance.
914
01:01:00,365 --> 01:01:01,992
So, I contacted Brian Eno,
915
01:01:02,033 --> 01:01:04,536
who is definitely one
of the keenest brains
916
01:01:04,578 --> 01:01:06,454
of modern music, and I said,
917
01:01:06,496 --> 01:01:09,332
"Look, Brian, I need to know
some new processes,
918
01:01:09,374 --> 01:01:11,042
"and new methods of writing.
919
01:01:11,084 --> 01:01:12,961
Please help me,
otherwise I'm packing it in."
920
01:01:14,588 --> 01:01:16,464
We started working
on a series
921
01:01:16,506 --> 01:01:19,467
of processes and methods of
writing in the studio in Berlin
922
01:01:19,509 --> 01:01:22,053
to invent, a different kind
of linguistics to work with.
923
01:01:39,988 --> 01:01:41,781
Most of the things
that I do these days,
924
01:01:41,823 --> 01:01:44,159
I go in with very little
preparation.
925
01:01:44,201 --> 01:01:46,703
There's no governor,
no controller.
926
01:01:46,745 --> 01:01:49,539
Every track is written
with a different process,
927
01:01:49,581 --> 01:01:51,750
from spontaneous singing,
928
01:01:51,791 --> 01:01:53,001
I didn't know
what I was gonna sing,
929
01:01:53,043 --> 01:01:54,628
or how I was gonna sing it,
930
01:01:54,669 --> 01:01:56,254
and I just stood
in front of the mic,
931
01:01:56,296 --> 01:01:58,840
right down
to fragmented, pre-thought,
932
01:01:58,882 --> 01:02:01,676
analyzed and processed writings
of Burroughs' school.
933
01:02:03,970 --> 01:02:05,889
It probably touches areas
of emotion
934
01:02:05,931 --> 01:02:07,766
that aren't normally
dwelt upon
935
01:02:07,807 --> 01:02:09,643
because they're arrived
at other than
936
01:02:09,684 --> 01:02:11,937
by the regular channels
of emotive thought.
937
01:02:13,146 --> 01:02:17,025
[SOUND AND VISION SONG]
938
01:02:30,956 --> 01:02:33,291
♪ Blue, blue, electric blue ♪
939
01:02:33,333 --> 01:02:35,418
♪ That's the color
of my living room ♪
940
01:02:35,460 --> 01:02:36,586
♪ Where I will live ♪
941
01:02:39,381 --> 01:02:40,632
♪ Blue, blue
942
01:02:44,511 --> 01:02:46,680
♪ Pale blinds drawn all day ♪
943
01:02:46,721 --> 01:02:48,598
♪ Nothing to read
and nothing to say
944
01:02:52,769 --> 01:02:54,020
♪ Blue, blue
Pale blinds ♪
945
01:02:57,899 --> 01:03:00,235
♪ I will dream of other lands ♪
946
01:03:00,277 --> 01:03:02,821
♪ Waiting for the gift
of sound and vision ♪
947
01:03:04,572 --> 01:03:06,366
DAVID: Most of the things
that I do these days
948
01:03:06,408 --> 01:03:08,994
are on the occasion
of the studio.
949
01:03:09,035 --> 01:03:11,579
I go in with very little
preparation,
950
01:03:11,621 --> 01:03:13,373
just throw ideas out,
951
01:03:13,415 --> 01:03:16,126
and you might make
little experiments sort of say,
952
01:03:16,167 --> 01:03:17,711
look here's 50 seconds.
953
01:03:17,752 --> 01:03:20,338
play 10 notes
on that 50 seconds
954
01:03:20,380 --> 01:03:22,132
and don't repeat
the same note twice.
955
01:03:27,929 --> 01:03:30,098
Now, that sounds
like an awful easy thing to do.
956
01:03:30,140 --> 01:03:31,975
Well, it is.
957
01:03:32,017 --> 01:03:33,560
See, you must understand,
958
01:03:33,601 --> 01:03:35,270
I mean, it sounds
incredibly indulgent,
959
01:03:35,312 --> 01:03:39,107
and indeed it is
because what I'm trying to do
960
01:03:39,149 --> 01:03:42,527
is mold the traditional
methods of rock and roll...
961
01:03:44,029 --> 01:03:45,363
with newer processes.
962
01:03:47,324 --> 01:03:51,036
Trying to find
a new form of language.
963
01:03:51,077 --> 01:03:52,495
INTERVIEWER: Do you think
you have influence
964
01:03:52,537 --> 01:03:53,955
on their thinking, though?
965
01:03:53,997 --> 01:03:55,874
DAVID: No.
966
01:03:55,915 --> 01:03:58,084
And that's what I'm trying
to do with the new music,
967
01:03:58,126 --> 01:04:01,129
is find a new language
which doesn't-- it isn't that--
968
01:04:01,171 --> 01:04:03,631
doesn't have that kind
of image influence.
969
01:04:06,426 --> 01:04:08,345
INTERVIEWER: Do you think people
will understand that language?
970
01:04:08,386 --> 01:04:10,221
DAVID: Yes.
971
01:04:10,263 --> 01:04:12,098
Because I think people,
especially in the city context,
972
01:04:12,140 --> 01:04:13,725
think in fragments.
973
01:04:13,767 --> 01:04:16,519
The city person will see
a milk advert on the street,
974
01:04:16,561 --> 01:04:18,229
and be thinking
"Milk, what's gonna--
975
01:04:18,271 --> 01:04:19,564
"what are we gonna have
for dinner?
976
01:04:19,606 --> 01:04:21,274
"Boy getting knocked down
by a bus,
977
01:04:21,316 --> 01:04:23,568
crashed against a wall..."
that kind of thing.
978
01:04:23,610 --> 01:04:25,278
So, he's thinking in terms of,
979
01:04:25,320 --> 01:04:28,823
maybe 1,000 different images
at any given time.
980
01:04:28,865 --> 01:04:32,535
And the language that Brian
and I are sort of producing
981
01:04:32,577 --> 01:04:35,330
is a language that can relate
to that way of thinking.
982
01:04:46,299 --> 01:04:50,178
DAVID: We live within
this manifested idea
983
01:04:50,220 --> 01:04:52,013
of what should be form,
984
01:04:52,055 --> 01:04:55,767
and what we try and keep out
of our existence is chaos,
985
01:04:55,809 --> 01:04:58,978
which is a very real part
of our lives,
986
01:04:59,020 --> 01:05:01,773
and our refusal to accept chaos
987
01:05:01,815 --> 01:05:03,900
as being integral
to our existence,
988
01:05:03,942 --> 01:05:06,403
I think, has been one
of the greatest mistakes
989
01:05:06,444 --> 01:05:08,780
as a civilization
that we've made.
990
01:05:10,573 --> 01:05:11,991
DAVID: My work as an artist
991
01:05:12,033 --> 01:05:13,326
has always been
to do with transition.
992
01:05:14,619 --> 01:05:16,871
The nature and study of change
993
01:05:16,913 --> 01:05:19,457
in our particular era
is most important
994
01:05:19,499 --> 01:05:21,126
because never in our history
995
01:05:21,167 --> 01:05:24,170
has there been
such a rapid curve of change
996
01:05:24,212 --> 01:05:25,839
since the industrial
revolution.
997
01:05:27,215 --> 01:05:29,175
I'm a fairly
good social observer,
998
01:05:29,217 --> 01:05:32,178
and I think
that I encapsulate areas
999
01:05:32,220 --> 01:05:35,098
every, maybe every year or so,
1000
01:05:35,140 --> 01:05:38,059
I tried to stamp
that down somewhere,
1001
01:05:38,101 --> 01:05:41,062
what that year is all about.
1002
01:05:41,104 --> 01:05:42,480
Rather than
what it was all about,
1003
01:05:42,522 --> 01:05:44,566
or what it's going to be.
1004
01:05:44,607 --> 01:05:47,277
It's very much
trying to capture
1005
01:05:47,318 --> 01:05:49,737
the quintessence of that year.
1006
01:06:03,918 --> 01:06:05,336
INTERVIEWER:
I notice that the music now
1007
01:06:05,378 --> 01:06:07,088
is more-- more daring,
1008
01:06:07,130 --> 01:06:09,257
more adventurous,
more fractured.
1009
01:06:09,299 --> 01:06:10,967
Is there a danger that
by following your instinct,
1010
01:06:11,009 --> 01:06:12,260
your aesthetic instincts,
1011
01:06:12,302 --> 01:06:13,428
if you like,
your artistic instinct,
1012
01:06:13,470 --> 01:06:16,681
that you will jeopardize that?
1013
01:06:16,723 --> 01:06:18,224
You know, the money
and the good life and all--
1014
01:06:18,266 --> 01:06:19,559
No shit, Sherlock.
1015
01:06:21,561 --> 01:06:24,481
Yes, I think I-- Yes, I think
I rather sort of hit that one
1016
01:06:24,522 --> 01:06:25,815
in the head at the moment.
1017
01:06:25,857 --> 01:06:30,570
Um, and it's quite
a relief, really.
1018
01:06:30,612 --> 01:06:36,159
I feel a lot more,
um, free than what I do.
1019
01:06:36,201 --> 01:06:39,204
I just needed, it just needed
a positive decision
1020
01:06:39,245 --> 01:06:41,039
to only do what I want to do,
1021
01:06:41,080 --> 01:06:42,624
and not do things
for the sake of what...
1022
01:06:44,667 --> 01:06:48,171
either David Bowie or whoever
I was playing last time,
1023
01:06:48,213 --> 01:06:50,465
Thin White Duke or something,
was expected to do.
1024
01:06:54,886 --> 01:06:56,387
DAVID: I went naked in Berlin.
1025
01:06:56,429 --> 01:06:59,557
I really did try
and strip down my life
1026
01:06:59,599 --> 01:07:02,685
to what I believed
to be absolute basic essentials
1027
01:07:02,727 --> 01:07:04,479
so I could build up again
1028
01:07:04,521 --> 01:07:07,565
everything that I thought
that I'd lost, you know?
1029
01:07:07,607 --> 01:07:09,275
I guess I was--
what I was really doing
1030
01:07:09,317 --> 01:07:11,486
was doing that on an emotional
and spiritual level,
1031
01:07:11,528 --> 01:07:14,155
but you manifest it physically.
1032
01:07:14,197 --> 01:07:16,616
The surprising thing is,
is that we came up--
1033
01:07:16,658 --> 01:07:18,826
We thought we were
just going to be into a process
1034
01:07:18,868 --> 01:07:20,620
of discovery and experiment
1035
01:07:20,662 --> 01:07:22,705
and had some pretty wishy-washy
stuff come out of it,
1036
01:07:22,747 --> 01:07:26,709
but what did come out of it
was a pretty good statement
1037
01:07:26,751 --> 01:07:30,296
of some esoteric nature.
1038
01:07:30,338 --> 01:07:32,549
It was a bit hard
to put one's finger
1039
01:07:32,590 --> 01:07:34,092
on exactly
what the information was,
1040
01:07:34,133 --> 01:07:36,594
but it was vital,
and it was interesting,
1041
01:07:36,636 --> 01:07:38,096
and I think
that's successful music.
1042
01:07:39,514 --> 01:07:41,641
[HEROES SONG]
1043
01:07:57,240 --> 01:08:01,911
♪ 1, 1 will be king ♪
1044
01:08:05,790 --> 01:08:10,753
♪ And you,
you will be my queen ♪
1045
01:08:14,882 --> 01:08:20,263
♪ Though nothing
can keep us together ♪
1046
01:08:23,808 --> 01:08:29,314
♪ We can beat them,
forever and ever ♪
1047
01:08:32,108 --> 01:08:38,239
♪ We could be heroes
just for one day ♪
1048
01:08:42,035 --> 01:08:46,706
♪ You, you can be me
1049
01:08:50,918 --> 01:08:55,673
♪ And,
I'll drink all the time ♪
1050
01:08:59,427 --> 01:09:04,807
♪ 'Cause we're lovers,
and that is the fact ♪
1051
01:09:08,394 --> 01:09:13,608
♪ Yes we're lovers,
and that is that
1052
01:09:17,779 --> 01:09:22,700
♪ Though nothing
will keep us together ♪
1053
01:09:26,120 --> 01:09:31,250
♪ We can beat them
forever and ever ♪
1054
01:09:34,128 --> 01:09:39,759
♪ And we can be heroes
just for one day ♪
1055
01:10:00,238 --> 01:10:04,951
JI, well I wish I could swim ♪
1056
01:10:08,371 --> 01:10:13,459
♪ Like dolphins,
like dolphins can swim ♪
1057
01:10:16,713 --> 01:10:22,343
♪ Though nothing,
can drive them away ♪
1058
01:10:24,721 --> 01:10:30,059
♪ We can beat them
forever and ever ♪
1059
01:10:32,687 --> 01:10:38,276
♪ Oh, we can be heroes
just for one day ♪
1060
01:10:40,111 --> 01:10:41,320
♪ What you say? ♪
1061
01:10:58,629 --> 01:11:04,510
21, 1 can remember ♪
1062
01:11:04,552 --> 01:11:05,511
BAND:
♪ I remember ♪
1063
01:11:06,846 --> 01:11:11,934
DAVID:
♪ Standing by the wall ♪
1064
01:11:11,976 --> 01:11:14,979
BAND:
♪ By the wall ♪
1065
01:11:15,021 --> 01:11:20,651
DAVID: ♪ And the guns
shot above our heads ♪
1066
01:11:20,693 --> 01:11:23,029
BAND:J Over our heads ♪
1067
01:11:23,070 --> 01:11:28,743
DAVID: ♪ And we kissed
as though nothing could fall ♪
1068
01:11:28,785 --> 01:11:31,078
BAND:
♪ Nothing could fall ♪
1069
01:11:31,120 --> 01:11:36,626
DAVID: J; And nothing
and no one will help us ♪
1070
01:11:38,836 --> 01:11:40,755
♪ Maybe we're lying ♪
1071
01:11:42,632 --> 01:11:44,342
♪ Then you better not stay ♪
1072
01:11:47,094 --> 01:11:52,350
I We can be safer
just for one day ♪
1073
01:11:58,856 --> 01:12:01,776
♪ Oh-oh-oh-oh ♪
1074
01:12:06,989 --> 01:12:10,993
♪ Oh-oh-oh-oh ♪
1075
01:12:11,035 --> 01:12:13,579
♪ We can be heroes ♪
1076
01:12:14,997 --> 01:12:18,960
♪ Oh-oh-oh-oh ♪
1077
01:12:19,001 --> 01:12:21,003
♪ Just for one day ♪
1078
01:12:22,964 --> 01:12:26,884
♪ Oh-oh-oh-oh ♪
1079
01:12:26,926 --> 01:12:32,014
♪ Just for one day. ♪
1080
01:12:41,607 --> 01:12:44,360
REPORTER: Today, David Bowie
is 33 years old.
1081
01:12:44,402 --> 01:12:47,071
He has recorded 17 rock albums,
1082
01:12:47,113 --> 01:12:49,073
produced a gallery full
of paintings,
1083
01:12:49,115 --> 01:12:51,200
acted in two feature films,
1084
01:12:51,242 --> 01:12:53,119
and is the only rock star
1085
01:12:53,160 --> 01:12:55,746
ever to act in a play
on Broadway.
1086
01:12:55,788 --> 01:12:58,583
Bowie never seems
to stand still.
1087
01:12:58,624 --> 01:12:59,792
When he no longer
feels challenged
1088
01:12:59,834 --> 01:13:01,627
by one art form,
1089
01:13:01,669 --> 01:13:04,672
he moves on to the next,
and the next, and the next.
1090
01:13:04,714 --> 01:13:06,883
It's as if David Bowie
learned to run
1091
01:13:06,924 --> 01:13:08,134
before he learned to walk.
1092
01:13:08,175 --> 01:13:10,052
[DJ SONG]
1093
01:13:14,891 --> 01:13:16,767
♪ I'm home ♪
1094
01:13:16,809 --> 01:13:18,603
♪ Lost my job... ♪
1095
01:13:18,644 --> 01:13:20,229
DAVID: You know, I've got
a grasshopper sort of mind,
1096
01:13:20,271 --> 01:13:22,064
and I can't resist
bringing things
1097
01:13:22,106 --> 01:13:24,650
to a conclusion like saying,
"Well that's a piece in itself,
1098
01:13:24,692 --> 01:13:25,860
and now I move
on to something else.”
1099
01:13:30,281 --> 01:13:31,741
INTERVIEWER: You described
yourself as a generalist.
1100
01:13:31,782 --> 01:13:33,200
-Is that--
-DAVID: Yeah.
1101
01:13:33,242 --> 01:13:35,202
That's a freedom--
giving umbrella.
1102
01:13:35,244 --> 01:13:37,163
It gives me a chance
1103
01:13:37,204 --> 01:13:39,290
to do anything
I want successfully
1104
01:13:39,332 --> 01:13:41,083
or unsuccessfully,
without being tied down.
1105
01:13:44,629 --> 01:13:47,089
I want-- I'm a generalist,
1106
01:13:47,131 --> 01:13:51,010
is really sort of my cliche way
describing myself.
1107
01:13:51,052 --> 01:13:52,637
DAVID: David Bowie.
Rank and file.
1108
01:13:53,930 --> 01:13:55,431
33 years old.
1109
01:13:55,473 --> 01:13:56,682
Generalist.
1110
01:13:56,724 --> 01:13:58,059
ANNOUNCER:
Unlike most rock stars
1111
01:13:58,100 --> 01:13:59,685
who stick
to a successful formula
1112
01:13:59,727 --> 01:14:01,979
when they get it,
Bowie, when he does,
1113
01:14:02,021 --> 01:14:07,234
deliberately changes direction,
and puts on yet another face.
1114
01:14:07,276 --> 01:14:11,864
♪ Believing me ♪
1115
01:14:13,783 --> 01:14:17,495
DAVID: I really sort of go
in just pure, barbaric impetus.
1116
01:14:18,913 --> 01:14:21,499
I do get fired up
for something
1117
01:14:21,540 --> 01:14:25,419
and it's not all cerebral
at all, by any means.
1118
01:14:25,461 --> 01:14:27,046
A lot of it is pure instinct,
1119
01:14:27,088 --> 01:14:29,131
and knowing that
I've found something
1120
01:14:29,173 --> 01:14:31,342
that I haven't found before.
1121
01:14:31,384 --> 01:14:37,056
(slurring speech) Sometimes
I think my head is so big
1122
01:14:37,098 --> 01:14:40,643
because it is
so full of themes.
1123
01:14:42,937 --> 01:14:47,149
♪ lam aD.J,,
I am what I play ♪
1124
01:14:47,191 --> 01:14:48,776
♪ Can't turn around no ♪
1125
01:14:48,818 --> 01:14:51,362
♪ Can't turn around,
no, oh, ooh ♪
1126
01:14:51,404 --> 01:14:55,825
♪ lam aD.J.
I am what I say ♪
1127
01:14:55,866 --> 01:15:00,037
♪ Can't turn around no,
can't turn around, no, oh no ♪
1128
01:15:00,079 --> 01:15:04,083
JlamaD.J.,
I am what I play ♪
1129
01:15:04,125 --> 01:15:06,877
♪ I've got believers ♪
1130
01:15:06,919 --> 01:15:10,923
♪ Believing me, oh... J ♪
1131
01:15:10,965 --> 01:15:12,258
INTERVIEWER:
What are you gonna do now?
1132
01:15:12,299 --> 01:15:13,509
Are you going back home to bed?
1133
01:15:13,551 --> 01:15:15,261
DAVID:
Yes. Well, I don't know.
1134
01:15:15,302 --> 01:15:17,805
A bit in the mood to
probably do a little writing
1135
01:15:17,847 --> 01:15:20,016
or painting or something.
1136
01:15:20,057 --> 01:15:22,018
INTERVIEWER: You're painting
in large canvases?
1137
01:15:22,059 --> 01:15:23,394
Or small canvases?
Or drawings?
1138
01:15:23,436 --> 01:15:25,521
DAVID:
Yes. Quire large, acrylics.
1139
01:15:25,563 --> 01:15:27,606
I'm doing a lot
of sculptures as well.
1140
01:15:27,648 --> 01:15:31,944
A sort of polythene and
essential functional things.
1141
01:15:33,529 --> 01:15:35,740
INTERVIEWER:
Why are you creative, David?
1142
01:15:35,781 --> 01:15:38,034
DAVID: I think
it has something to do
1143
01:15:38,075 --> 01:15:43,039
with wanting to find the place
where I can kind of set sail
1144
01:15:43,080 --> 01:15:46,125
and know that I won't really
fall off the edge of the world
1145
01:15:46,167 --> 01:15:47,668
when I get
to the end of the sea.
1146
01:15:47,710 --> 01:15:51,422
I find it
an intoxicating parallel
1147
01:15:51,464 --> 01:15:53,591
to my perceived reality.
1148
01:16:14,028 --> 01:16:16,072
I'm not sure
that I'm manifesting ideas
1149
01:16:16,113 --> 01:16:17,782
when I do my work.
1150
01:16:17,823 --> 01:16:20,826
It's just
this inexhaustible supply
1151
01:16:20,868 --> 01:16:24,830
of extracurricular thoughts
1152
01:16:24,872 --> 01:16:26,499
that I have
that don't actually apply
1153
01:16:26,540 --> 01:16:28,084
to the survival of life,
1154
01:16:28,125 --> 01:16:29,919
and I'm not quite sure
what to do with them.
1155
01:16:29,960 --> 01:16:34,048
♪ He used to be my boss
and now he is a puppet dancer ♪
1156
01:16:34,090 --> 01:16:38,469
♪ 1am the D.J.,
and I've got believers ♪
1157
01:16:40,513 --> 01:16:43,140
♪ 1 got believers ♪
1158
01:16:44,683 --> 01:16:47,436
♪ 1 got believers ♪
1159
01:16:49,063 --> 01:16:53,943
♪ I got believers,
believing me... J ♪
1160
01:17:00,866 --> 01:17:02,618
DAVID: So rather than
be pinned down,
1161
01:17:02,660 --> 01:17:05,871
my momentum
was to hit and run very fast.
1162
01:17:05,913 --> 01:17:07,289
Once I'd done something,
1163
01:17:07,331 --> 01:17:09,250
and said it,
drop it and move on.
1164
01:17:09,291 --> 01:17:11,919
[ASHES TO ASHES SONG]
1165
01:17:28,352 --> 01:17:31,188
DAVID: I feel quite at home
in just about anywhere now,
1166
01:17:31,230 --> 01:17:32,898
on a temporary basis.
1167
01:17:32,940 --> 01:17:35,901
INTERVIEWER: Where do you spend
most of your time?
1168
01:17:35,943 --> 01:17:37,444
DAVID: Again, what is
"most of one's time"?
1169
01:17:37,486 --> 01:17:39,947
Over the last year,
it's been London,
1170
01:17:39,989 --> 01:17:43,701
New York, South Pacific,
Australia, Africa...
1171
01:17:43,742 --> 01:17:45,369
The nature of my life
1172
01:17:45,411 --> 01:17:48,455
is one of an old-fashioned
beatnik traveler,
1173
01:17:48,497 --> 01:17:50,499
and more than anything else,
1174
01:17:50,541 --> 01:17:54,211
I spend very little time
in musical circles.
1175
01:17:54,253 --> 01:17:57,715
I spend more time discovering
the social life
1176
01:17:57,756 --> 01:17:59,884
of rather obscure places.
1177
01:18:01,594 --> 01:18:07,266
♪ "I'm happy,
hope you're happy too
1178
01:18:07,308 --> 01:18:10,436
♪ I've loved
all I've needed, love ♪
1179
01:18:10,477 --> 01:18:14,315
al Sordid details following" ♪
1180
01:18:14,356 --> 01:18:17,526
♪ The shrieking of nothing
is killing, just ♪
1181
01:18:17,568 --> 01:18:21,947
♪ Pictures of Jap girls
in synthesis and I ♪
1182
01:18:21,989 --> 01:18:25,576
♪ Ain't got no money
and I ain't got no hair ♪
1183
01:18:29,872 --> 01:18:34,084
♪ But I'm hoping to kick,
but the planet it's glowing ♪
1184
01:18:37,379 --> 01:18:41,133
♪ Ashes to ash,
funk to funky ♪
1185
01:18:41,175 --> 01:18:45,221
♪ We know Major Tom's
a junkie ♪
1186
01:18:45,262 --> 01:18:48,265
♪ Strung out in heaven's high ♪
1187
01:18:48,307 --> 01:18:51,518
♪ Hitting an all-time low... ♪
1188
01:19:06,742 --> 01:19:10,120
MAN: This is your promised land
is it not?
1189
01:19:10,162 --> 01:19:13,666
Roof, food, care, protection.
1190
01:19:14,959 --> 01:19:17,586
DAVID: Oh, right, Mr. Treves.
1191
01:19:17,628 --> 01:19:20,214
MAN: I'll bet you don't know
what to call this.
1192
01:19:20,256 --> 01:19:22,383
DAVID: No, sir.
I don't.
1193
01:19:22,424 --> 01:19:24,385
MAN: You call it... home.
1194
01:19:27,137 --> 01:19:29,515
Never had a home before.
1195
01:19:29,556 --> 01:19:30,891
MAN:
You have one now.
1196
01:19:30,933 --> 01:19:32,101
Say it, John.
1197
01:19:32,142 --> 01:19:33,519
-Home.
-Home?
1198
01:19:33,560 --> 01:19:35,396
MAN: No, no.
I mean really say it.
1199
01:19:35,437 --> 01:19:37,564
"I have a home.
1200
01:19:37,606 --> 01:19:39,608
This is my--" Come on.
1201
01:19:40,776 --> 01:19:42,027
DAVID:
I have a home.
1202
01:19:43,237 --> 01:19:49,410
This is my home.
1203
01:19:49,451 --> 01:19:52,997
This is my home.
1204
01:19:53,998 --> 01:19:55,624
I have a home.
1205
01:19:56,834 --> 01:20:00,421
I have, for as long as I like.
1206
01:20:03,340 --> 01:20:06,010
MAN:
That is what home is.
1207
01:20:16,770 --> 01:20:18,480
DAVID: I had always thought
1208
01:20:18,522 --> 01:20:20,941
that by this stage I would be
settled down somewhere
1209
01:20:20,983 --> 01:20:23,193
with a house and grounds
and everything,
1210
01:20:23,235 --> 01:20:24,945
but I never got
to doing that.
1211
01:20:32,870 --> 01:20:34,538
Never-- I've never bought
a house,
1212
01:20:34,580 --> 01:20:36,457
and I still have
no intention to buy...
1213
01:20:38,834 --> 01:20:40,753
because with me,
1214
01:20:40,794 --> 01:20:44,173
the way I live is very much
also part of the...
1215
01:20:44,214 --> 01:20:45,632
what produces my work,
1216
01:20:45,674 --> 01:20:49,386
so I have to keep examining
my life
1217
01:20:49,428 --> 01:20:52,097
to make sure that I am
in constant change,
1218
01:20:52,139 --> 01:20:57,394
and not getting too bloated
with philosophic opulence.
1219
01:20:57,436 --> 01:21:00,105
Keep sort of throwing bits
and pieces away.
1220
01:21:00,147 --> 01:21:03,192
And by-- to change countries
is one way of doing that.
1221
01:21:10,157 --> 01:21:11,992
I'm not quite sure
where to go now.
1222
01:21:12,034 --> 01:21:17,164
Um, the East beckons me.
1223
01:21:17,206 --> 01:21:18,707
I'm a bit scared
of moving over there, you know?
1224
01:21:18,749 --> 01:21:20,250
INTERVIEWER: Japan?
1225
01:21:20,292 --> 01:21:22,544
DAVID: Yes, because I fall
in love so much
1226
01:21:22,586 --> 01:21:24,588
with the lifestyle that
I'll get very Zen about it.
1227
01:21:24,630 --> 01:21:27,383
[ALL THE YOUNG DUDES SONG
BEING VOCALIZED]
1228
01:21:38,727 --> 01:21:41,730
JAPANESE INTERVIEWER: Please
give us your special message
1229
01:21:41,772 --> 01:21:44,483
to the audience of our program,
"Young Oh! Oh!"
1230
01:21:45,651 --> 01:21:47,277
Look at the camera, please.
1231
01:21:47,319 --> 01:21:49,738
DAVID: Uh, don't waste any day.
Don't waste a minute.
1232
01:21:49,780 --> 01:21:51,448
INTERVIEWER: Yes.
1233
01:21:51,490 --> 01:21:53,409
[indistinct] Mr. David Bowie.
1234
01:21:53,450 --> 01:21:54,743
Thank you again.
1235
01:21:54,785 --> 01:21:55,828
[SPEAKS JAPANESE BRIEFLY]
1236
01:22:09,758 --> 01:22:11,802
DAVID: I hope that none of us
are kind of static
1237
01:22:11,844 --> 01:22:13,387
throughout our lives.
1238
01:22:13,429 --> 01:22:16,473
I mean, I guess one has
a formed personality
1239
01:22:16,515 --> 01:22:17,975
from quite an early age,
1240
01:22:18,016 --> 01:22:20,394
but it is tempered
and subject to change.
1241
01:22:24,064 --> 01:22:26,191
I mean,
we all to a certain extent
1242
01:22:26,233 --> 01:22:29,403
create our lives
and create our culture daily,
1243
01:22:29,445 --> 01:22:31,113
as we live that 24 hours.
1244
01:22:31,155 --> 01:22:34,658
We'll choose a tie,
or a haircut, or a chair,
1245
01:22:34,700 --> 01:22:35,951
not just
because it's functional,
1246
01:22:35,993 --> 01:22:37,619
but for most of us
1247
01:22:37,661 --> 01:22:39,079
because it actually
says something about us.
1248
01:22:41,623 --> 01:22:44,209
I still, you know,
am sort of getting somewhere
1249
01:22:44,251 --> 01:22:47,004
that I quite like,
but I'm still not.
1250
01:22:47,045 --> 01:22:48,505
We'll find out eventually,
won't we?
1251
01:22:50,757 --> 01:22:53,051
I might now be cut out
for all this, really,
1252
01:22:53,093 --> 01:22:55,095
at the end.
1253
01:22:55,137 --> 01:22:56,597
INTERVIEWER:
Why did you change so often?
1254
01:22:56,638 --> 01:22:57,764
I mean,
what was the need for it?
1255
01:22:57,806 --> 01:22:58,891
Was it just a gimmick?
1256
01:22:58,932 --> 01:23:00,392
DAVID:
Being a Capricorn.
1257
01:23:00,434 --> 01:23:02,895
I didn't want to expose myself
to the public,
1258
01:23:02,936 --> 01:23:05,063
so I developed a series
of characters.
1259
01:23:05,105 --> 01:23:07,524
So, behind that all the time
was a real David Bowie?
1260
01:23:08,317 --> 01:23:09,526
At times, yes.
1261
01:23:09,568 --> 01:23:10,986
I lost control
a couple of times.
1262
01:23:12,613 --> 01:23:14,323
So you're not--
This is really you.
1263
01:23:14,364 --> 01:23:16,533
This is not you just still
sort of playing the role of...
1264
01:23:18,285 --> 01:23:19,620
One wonders.
1265
01:23:19,661 --> 01:23:21,997
I think
that it's not at all mystifying
1266
01:23:22,039 --> 01:23:23,624
why you change your appearance
as often as you do,
1267
01:23:23,665 --> 01:23:25,209
to my view by the way,
1268
01:23:25,250 --> 01:23:29,338
because I think you've
used yourself as a canvas.
1269
01:23:29,379 --> 01:23:31,173
-Yes, very much so.
-Is that right?
1270
01:23:31,215 --> 01:23:32,925
DAVID:
Yes, very much so.
1271
01:23:32,966 --> 01:23:37,888
Um, I never wanted to appear
as myself onstage ever,
1272
01:23:37,930 --> 01:23:39,473
at any time, until recently.
1273
01:23:39,515 --> 01:23:43,393
Were you hiding yourself
from us by doing that?
1274
01:23:43,435 --> 01:23:46,230
DAVID: Partly, but I was
enjoying it very much.
1275
01:23:46,271 --> 01:23:48,232
-And, you paint now?
-Yes.
1276
01:23:48,273 --> 01:23:49,858
But your paintings,
you're not willing
1277
01:23:49,900 --> 01:23:51,151
to let us see yet?
1278
01:23:51,193 --> 01:23:52,569
DAVID:
Uh, no.
1279
01:23:52,611 --> 01:23:53,695
I've been offered
two or three showings,
1280
01:23:53,737 --> 01:23:55,280
but I've turned--
1281
01:23:55,322 --> 01:23:57,407
I've accepted two of them,
and then I broke my word
1282
01:23:57,449 --> 01:23:59,576
and said I wouldn't show them.
1283
01:23:59,618 --> 01:24:01,411
I haven't yet bucked up
the courage.
1284
01:24:01,453 --> 01:24:04,248
INTERVIEWER: Why not?
What do you fear?
1285
01:24:04,289 --> 01:24:05,624
DAVID:
Well, I know I'm a good writer.
1286
01:24:07,543 --> 01:24:09,503
I'm not sure
about putting my paintings.
1287
01:24:09,545 --> 01:24:11,088
They're very personal
to me, as well.
1288
01:24:11,129 --> 01:24:13,382
Um, they're all portraits,
1289
01:24:13,423 --> 01:24:15,425
and they're portraits
of people in isolation.
1290
01:24:15,467 --> 01:24:19,137
Most of the paintings
are Germans or Turks
1291
01:24:19,179 --> 01:24:21,014
who live in Berlin,
1292
01:24:21,056 --> 01:24:23,308
and they're either
from East Berlin,
1293
01:24:23,350 --> 01:24:24,935
and who are now living
in West Berlin,
1294
01:24:24,977 --> 01:24:26,228
and knowing their families
1295
01:24:26,270 --> 01:24:28,188
are on the other side
of the wall.
1296
01:24:28,230 --> 01:24:31,483
And so, I tried to capture
a lot of that isolation
1297
01:24:31,525 --> 01:24:33,944
and I put a lot of myself
into the paintings as well.
1298
01:24:33,986 --> 01:24:35,070
They're very much part of me.
1299
01:24:53,797 --> 01:24:55,716
DICK: Well, I think
the question is what--
1300
01:24:55,757 --> 01:24:58,885
you know, what you want to be
for yourself and your life.
1301
01:24:58,927 --> 01:25:00,762
DAVID: I don't know whether
that's important anymore.
1302
01:25:00,804 --> 01:25:03,056
I mean, what I want
to do is just work well.
1303
01:25:03,098 --> 01:25:05,475
When I'm working well,
I like my writing.
1304
01:25:05,517 --> 01:25:07,019
At the moment, especially.
1305
01:25:07,060 --> 01:25:08,812
More than at any other time,
I think.
1306
01:25:08,854 --> 01:25:11,231
I mean, I was getting so bored
with what I was writing.
1307
01:25:11,273 --> 01:25:13,609
I just, I felt inadequate,
I thought my writing
1308
01:25:13,650 --> 01:25:15,068
was becoming monotonous.
1309
01:25:15,110 --> 01:25:16,987
I didn't take
the kinds of chances
1310
01:25:17,029 --> 01:25:18,196
I was taking at one time.
1311
01:25:19,740 --> 01:25:21,825
I thought if I'm going
to end up like,
1312
01:25:23,827 --> 01:25:27,414
um, a lot of other rock
and roll celebrities,
1313
01:25:27,456 --> 01:25:28,999
inasmuch
that I'm going to be trying
1314
01:25:29,041 --> 01:25:30,959
to retain the safe position,
you know?
1315
01:25:31,001 --> 01:25:33,170
And that's not what
I started out wanting to do.
1316
01:25:33,211 --> 01:25:35,255
DICK: But is it important to you
to have a mass audience?
1317
01:25:35,297 --> 01:25:36,381
Do you want
a lot of people to--
1318
01:25:36,423 --> 01:25:37,466
DAVID: No. No.
1319
01:25:37,507 --> 01:25:39,009
I want to work well.
1320
01:25:39,051 --> 01:25:41,595
I want to--
I just have to work well.
1321
01:25:44,348 --> 01:25:46,516
I think it's
an heroic act to take,
1322
01:25:46,558 --> 01:25:51,647
um-- to be able
to obtain enthusiasm
1323
01:25:51,688 --> 01:25:55,025
and joy from the actual process
of living from day to day.
1324
01:25:55,067 --> 01:25:56,526
INTERVIEWER: [SPEAKING JAPANESE]
1325
01:25:56,568 --> 01:25:57,694
DAVID: Yes, very much.
1326
01:25:57,736 --> 01:26:01,531
I try. And it is, it is--
1327
01:26:01,573 --> 01:26:03,742
I think it takes practice to,
1328
01:26:03,784 --> 01:26:07,287
and concentration,
and exercise to enjoy it.
1329
01:26:07,329 --> 01:26:10,540
This is very easy to fall
into the trap of looking
1330
01:26:10,582 --> 01:26:13,877
for one's dreams and always
thinking of a future moment
1331
01:26:13,919 --> 01:26:15,545
when everything
will be better.
1332
01:26:15,587 --> 01:26:17,714
And if the process
is not enjoyed,
1333
01:26:17,756 --> 01:26:19,424
the dreams will never come
to anything.
1334
01:26:19,466 --> 01:26:21,802
And by enjoying the process,
1335
01:26:21,843 --> 01:26:23,428
you are creating
a dream come true.
1336
01:26:33,897 --> 01:26:37,150
I think I have an abundantly
healthy curiosity about life.
1337
01:26:37,192 --> 01:26:39,945
About life around me,
specifically.
1338
01:26:39,986 --> 01:26:43,573
And how, how we put
ourselves together culturally,
1339
01:26:43,615 --> 01:26:46,326
and I think it's served me well
as an artist,
1340
01:26:46,368 --> 01:26:50,831
in as much as I'm really
inquiring continually
1341
01:26:50,872 --> 01:26:53,458
into how things are made
and why we make them,
1342
01:26:53,500 --> 01:26:58,046
and the significance
or meanings behind things.
1343
01:27:01,967 --> 01:27:06,096
I'd be really scared of feeling
that I'd got somewhere,
1344
01:27:06,138 --> 01:27:09,433
because for me,
art is about searching,
1345
01:27:09,474 --> 01:27:10,934
and if you come to a place
1346
01:27:10,976 --> 01:27:12,936
where you think
you've made a discovery,
1347
01:27:12,978 --> 01:27:14,813
I think that really is...
1348
01:27:17,232 --> 01:27:19,317
God, that would be
really demoralizing.
1349
01:27:19,359 --> 01:27:21,278
I think the search
is the thing.
1350
01:27:23,488 --> 01:27:25,323
♪ And you want to believe ♪
1351
01:27:27,159 --> 01:27:29,119
♪ And we want to believe ♪
1352
01:27:30,495 --> 01:27:32,330
♪ And we want to live ♪
1353
01:27:33,915 --> 01:27:35,792
♪ Oh, we want to live ♪
1354
01:27:37,753 --> 01:27:39,296
♪ We want to live ♪
1355
01:27:41,590 --> 01:27:42,924
♪ We want to live ♪
1356
01:27:44,968 --> 01:27:46,511
♪ We want to live ♪
1357
01:27:48,430 --> 01:27:49,931
♪ We want to live ♪
1358
01:27:51,933 --> 01:27:53,685
♪ We want to live ♪
1359
01:27:55,520 --> 01:27:57,314
♪ I want to live ♪
1360
01:27:59,232 --> 01:28:01,109
♪ I want to live ♪
1361
01:28:02,903 --> 01:28:04,738
♪ I want to live ♪
1362
01:28:06,490 --> 01:28:08,658
♪ I want to live ♪
1363
01:28:10,452 --> 01:28:12,496
♪ I want to live ♪
1364
01:28:13,955 --> 01:28:16,124
♪ I want to live ♪
1365
01:28:18,502 --> 01:28:19,711
♪ Live ♪
1366
01:28:22,130 --> 01:28:24,007
♪ Live ♪
1367
01:28:25,842 --> 01:28:28,011
♪ Live ♪
1368
01:28:28,053 --> 01:28:30,013
[SINGING NOT AUDIBLE]
1369
01:28:52,077 --> 01:28:55,580
♪ Ain't that just like me. ♪
1370
01:30:29,090 --> 01:30:32,135
DAVID: There's a gradual shift
when you reach mid 30s.
1371
01:30:32,177 --> 01:30:33,762
Uh, I think that
there's a period
1372
01:30:33,803 --> 01:30:36,932
where you have
to decide not to try
1373
01:30:36,973 --> 01:30:41,603
and grasp frantically
for the feelings of desperation
1374
01:30:41,645 --> 01:30:44,773
and anger that you have
when you're in your mid 20s.
1375
01:30:44,814 --> 01:30:49,402
And if you can relax into
the idea that being mid 30s
1376
01:30:49,444 --> 01:30:51,071
is quite a nice place to be
1377
01:30:51,112 --> 01:30:52,822
with an amount of experience
behind you,
1378
01:30:54,407 --> 01:30:56,284
I think
the perspective changes.
1379
01:31:03,333 --> 01:31:04,334
INTERVIEWER:
You said once that there's
1380
01:31:04,376 --> 01:31:06,169
so many shells around you
1381
01:31:06,211 --> 01:31:07,754
that you don't know what
the p... looks like anymore.
1382
01:31:07,796 --> 01:31:09,214
DAVID: Yeah,
well I've gone through that.
1383
01:31:09,255 --> 01:31:11,675
I'm pretty aware
of what I'm like.
1384
01:31:11,716 --> 01:31:13,510
-INTERVIEWER: Really?
-DAVID: Yeah, yeah.
1385
01:31:13,551 --> 01:31:16,680
I feel pretty-pretty happy
about my own relationship
1386
01:31:16,721 --> 01:31:17,722
to the world, and...
1387
01:31:21,059 --> 01:31:25,647
We've got to be positive
about our days on this planet.
1388
01:31:25,689 --> 01:31:28,191
INTERVIEWER: I never realized
you were such an optimist.
1389
01:31:28,233 --> 01:31:29,651
DAVID: Well,
I never was particularly.
1390
01:31:30,986 --> 01:31:32,445
INTERVIEWER:
You're more romantic
1391
01:31:32,487 --> 01:31:35,115
than people
give you credit for.
1392
01:31:35,156 --> 01:31:37,075
DAVID: I think I'm probably
a lot more emotional
1393
01:31:37,117 --> 01:31:39,786
than people would think
that I was.
1394
01:31:39,828 --> 01:31:42,539
I am emotionally very
responsive to life and people.
1395
01:31:46,710 --> 01:31:49,379
I just wanted to come in touch
with a common factor
1396
01:31:49,421 --> 01:31:51,256
because I feel a need
at the moment to...
1397
01:31:52,465 --> 01:31:54,884
be part of a society again,
1398
01:31:54,926 --> 01:31:56,469
and having traveled
an awful lot,
1399
01:31:56,511 --> 01:31:59,305
feel more and more
part of everything.
1400
01:31:59,347 --> 01:32:01,057
And I wish
to express that feeling.
1401
01:32:01,099 --> 01:32:04,102
I don't want to seem
as though I'm detached and cold
1402
01:32:04,144 --> 01:32:05,603
because I'm not.
1403
01:32:09,232 --> 01:32:11,151
INTERVIEWER: You seem very sure
of yourself,
1404
01:32:11,192 --> 01:32:13,236
and very,
sort of content, and...
1405
01:32:13,278 --> 01:32:14,738
You seem at ease with yourself.
1406
01:32:14,779 --> 01:32:16,031
DAVID: I'm at ease
with myself, yeah.
1407
01:32:22,662 --> 01:32:23,913
INTERVIEWER:
You've always been so good
1408
01:32:23,955 --> 01:32:26,207
at being convincing, you know?
1409
01:32:26,249 --> 01:32:28,710
-Whatever it was at the time.
-DAVID: Yeah. I see.
1410
01:32:28,752 --> 01:32:30,670
INTERVIEWER: I mean,
is it possible that this
1411
01:32:30,712 --> 01:32:34,424
-is just another role?
-DAVID: I see what's going on.
1412
01:32:34,466 --> 01:32:36,676
I believe that
there is a thread
1413
01:32:36,718 --> 01:32:38,970
of meaning running
through my life at the moment,
1414
01:32:39,012 --> 01:32:40,680
that I have no wish
at the moment to break,
1415
01:32:40,722 --> 01:32:42,140
and I feel it's leading
1416
01:32:42,182 --> 01:32:44,267
somewhere fulfilling
and positive.
1417
01:32:44,309 --> 01:32:47,145
And if I feel that way,
then I make every effort
1418
01:32:47,187 --> 01:32:49,606
to make that part
of my music now.
1419
01:32:54,319 --> 01:32:56,529
It's the ultimate swing
of the pendulum.
1420
01:32:56,571 --> 01:32:58,782
When things reach a point
to one extreme,
1421
01:32:58,823 --> 01:33:00,366
there will be
a natural gravitation
1422
01:33:00,408 --> 01:33:02,243
back to a point,
1423
01:33:02,285 --> 01:33:04,204
which is the antithesis
of that one.
1424
01:33:04,245 --> 01:33:06,247
So, you've got
a musical vocabulary,
1425
01:33:06,289 --> 01:33:10,376
which is high-tech, and icy.
1426
01:33:10,418 --> 01:33:13,338
There's gonna be sooner
or later a swing back to,
1427
01:33:13,379 --> 01:33:16,216
well, what is the other side
of that coin?
1428
01:33:16,257 --> 01:33:17,884
MAN: Ladies and gentlemen,
Mr. David Bowie.
1429
01:33:17,926 --> 01:33:20,303
[MODERN LOVE SONG]
1430
01:33:23,556 --> 01:33:26,351
DAVID: I'd like to, um,
start off the 80s
1431
01:33:26,392 --> 01:33:29,270
in a positive,
optimistic fashion.
1432
01:33:29,312 --> 01:33:32,148
I'll be undertaking,
a world tour,
1433
01:33:32,190 --> 01:33:34,067
sometime around the middle
of the year,
1434
01:33:34,109 --> 01:33:38,071
and it'll take me through
to the autumn at least.
1435
01:33:38,113 --> 01:33:40,156
And he's back.
David Bowie,
1436
01:33:40,198 --> 01:33:42,408
launching his
first new album in three years,
1437
01:33:42,450 --> 01:33:45,328
preparing for his first
British tour in five years,
1438
01:33:45,370 --> 01:33:47,372
and telling Newsnight's
Robin Denselow
1439
01:33:47,413 --> 01:33:50,375
about his new
and more emotional music style.
1440
01:33:51,876 --> 01:33:54,546
DAVID: I'm trying to write
in a more obvious
1441
01:33:54,587 --> 01:33:56,172
and positive manner.
1442
01:33:56,214 --> 01:33:59,425
I've not gone quite
into a corner
1443
01:33:59,467 --> 01:34:01,928
with experimentation of sound.
1444
01:34:01,970 --> 01:34:04,764
I'm not quite so concerned
with cut-up exercise,
1445
01:34:04,806 --> 01:34:07,392
or using juxtaposition
of lyrics, or whatever.
1446
01:34:07,433 --> 01:34:09,269
I'd like to do
something positive.
1447
01:34:09,310 --> 01:34:11,938
Something that helps people,
to use a cliche.
1448
01:34:13,481 --> 01:34:14,691
DAVID: This is probably
the simplest music
1449
01:34:14,732 --> 01:34:16,109
I've ever done.
1450
01:34:16,151 --> 01:34:17,527
INTERVIEWER:
What do you mean simple?
1451
01:34:17,569 --> 01:34:20,321
DAVID: It makes very warm,
1452
01:34:20,363 --> 01:34:22,282
understandable
musical statements.
1453
01:34:22,323 --> 01:34:24,159
It has a warm response.
1454
01:34:24,200 --> 01:34:27,871
I hope that it's the most
emotionally uplifting music
1455
01:34:27,912 --> 01:34:29,956
I've made in a long time.
1456
01:34:29,998 --> 01:34:31,583
It's very positive.
1457
01:34:31,624 --> 01:34:33,209
INTERVIEWER:
Is that how you're feeling?
1458
01:34:33,251 --> 01:34:35,128
DAVID: Relatively. Oh yeah.
1459
01:34:35,170 --> 01:34:36,504
I'm very positive.
1460
01:34:37,755 --> 01:34:38,965
♪ Never gonna fall for ♪
1461
01:34:39,007 --> 01:34:40,216
♪ Modern love ♪
1462
01:34:40,258 --> 01:34:41,509
♪ Walks beside me ♪
1463
01:34:41,551 --> 01:34:42,802
♪ Modern love ♪
1464
01:34:42,844 --> 01:34:43,803
♪ Walks on by ♪
1465
01:34:43,845 --> 01:34:45,263
♪ Modern love ♪
1466
01:34:45,305 --> 01:34:48,766
♪ Gets me to the church
on time ♪
1467
01:34:48,808 --> 01:34:50,894
REPORTER: British fans
are overwhelming
1468
01:34:50,935 --> 01:34:53,271
the post office with more
than four times
1469
01:34:53,313 --> 01:34:56,566
as many ticket requests
as seats available.
1470
01:34:56,608 --> 01:34:59,068
This is the biggest
demand ever.
1471
01:34:59,110 --> 01:35:01,070
BOY: We waited hours
and hours to get tickets.
1472
01:35:01,112 --> 01:35:02,197
INTERVIEWER: Big Bowie fan?
1473
01:35:02,238 --> 01:35:03,323
MAN: Yeah, that's me.
1474
01:35:03,364 --> 01:35:04,490
WOMAN: He's totally evolved.
1475
01:35:04,532 --> 01:35:05,950
He knows what his fans want,
1476
01:35:05,992 --> 01:35:07,452
and that's what
he's delivering now.
1477
01:35:07,493 --> 01:35:09,829
I love David Bowie!
1478
01:35:09,871 --> 01:35:11,456
REPORTER: Fans have
been waiting a day and a half
1479
01:35:11,497 --> 01:35:12,749
in the stadium parking lot.
1480
01:35:12,790 --> 01:35:14,334
They open the gates at 5pm.
1481
01:35:14,375 --> 01:35:16,878
We want Bowie!
1482
01:35:18,504 --> 01:35:19,839
♪ Modern love ♪
1483
01:35:19,881 --> 01:35:20,882
♪ Modern love ♪
1484
01:35:22,508 --> 01:35:24,677
♪ Modern love ♪
1485
01:35:24,719 --> 01:35:27,513
EMCEE : Ladies and gentlemen...
1486
01:35:29,015 --> 01:35:32,435
David Bowie and his band!
1487
01:35:32,477 --> 01:35:34,520
[LET'S DANCE SONG]
1488
01:35:40,401 --> 01:35:41,611
MAN: What is it
about David Bowie
1489
01:35:41,653 --> 01:35:43,446
that excites you so much?
1490
01:35:43,488 --> 01:35:44,822
-His style.
-Yeah?
1491
01:35:44,864 --> 01:35:46,115
I like his makeup.
1492
01:35:46,157 --> 01:35:47,450
MAN: You like his makeup?
1493
01:35:47,492 --> 01:35:48,743
WOMAN:
I like his music.
1494
01:35:50,453 --> 01:35:52,956
BAND: ♪ Let's dance ♪
1495
01:35:52,997 --> 01:35:58,086
DAVID: ♪ Put on your red shoes
and dance the blues
1496
01:35:58,127 --> 01:36:00,255
BAND: ♪ Let's dance ♪
1497
01:36:00,296 --> 01:36:04,133
DAVID: ♪ To the song
they're playin' on the radio ♪
1498
01:36:05,802 --> 01:36:08,012
BAND: [ Let's sway ♪
1499
01:36:08,054 --> 01:36:10,598
DAVID: ♪ While color
lights up your face ♪
1500
01:36:13,476 --> 01:36:15,812
BAND: [ Let's sway ♪
1501
01:36:15,853 --> 01:36:19,691
DAVID: ; Sway through the crowd
to an empty space ♪
1502
01:36:22,735 --> 01:36:27,407
♪ If you say run
I'll run with you ♪
1503
01:36:30,326 --> 01:36:33,121
♪ And if you say hide ♪
1504
01:36:33,162 --> 01:36:34,914
♪ We'll hide
1505
01:36:37,458 --> 01:36:40,712
♪ Because my love for you ♪
1506
01:36:40,753 --> 01:36:44,757
♪ Would break my heart in two ♪
1507
01:36:44,799 --> 01:36:48,970
♪ If you should fall
into my arms ♪
1508
01:36:49,012 --> 01:36:54,267
♪ Trembling like a flower ♪
1509
01:37:20,501 --> 01:37:23,212
BAND: ♪ Let's dance ♪
1510
01:37:23,254 --> 01:37:26,966
DAVID: ♪ Put on your red shoes
and dance the blues
1511
01:37:28,217 --> 01:37:30,470
BAND: ♪ Let's dance ♪
1512
01:37:30,511 --> 01:37:34,182
DAVID: J; Under the moonlight ♪
1513
01:37:34,223 --> 01:37:36,309
♪ This serious moonlight J ♪
1514
01:37:36,351 --> 01:37:37,352
BAND: [ Let's sway ♪
1515
01:37:43,399 --> 01:37:44,400
♪ Let's sway ♪
1516
01:37:50,990 --> 01:37:52,033
♪ Let's dance ♪
1517
01:37:58,539 --> 01:37:59,665
♪ Let's dance ♪
1518
01:38:06,172 --> 01:38:07,715
♪ Let's dance ♪
1519
01:38:13,846 --> 01:38:14,972
♪ Let's dance ♪
1520
01:38:17,600 --> 01:38:19,685
DAVID: [J Let's dance,
let's dance ♪
1521
01:38:19,727 --> 01:38:21,854
♪ Let's dance,
Let's dance. ♪
1522
01:38:33,157 --> 01:38:34,534
AUDIENCE:
Bowie!
1523
01:38:34,575 --> 01:38:35,993
Bowie!
1524
01:38:36,035 --> 01:38:37,662
Bowie!
1525
01:38:37,703 --> 01:38:39,831
Bowie! Bowie!
1526
01:38:44,168 --> 01:38:45,837
INTERVIEWER: Do you think
they phenomenal success
1527
01:38:45,878 --> 01:38:48,256
of the tour marks
the rebirth of Bowie fever?
1528
01:38:49,507 --> 01:38:51,092
DAVID:
No, I don't think that.
1529
01:38:51,134 --> 01:38:53,219
But I think it's just
a Bowie acceptance now,
1530
01:38:53,261 --> 01:38:56,222
which is quite gratifying
after all these years.
1531
01:39:11,070 --> 01:39:12,738
Didn't think I'd ever
hear myself saying this,
1532
01:39:12,780 --> 01:39:14,407
but it's like the audience
1533
01:39:14,449 --> 01:39:16,284
and myself are just,
like, together.
1534
01:39:16,325 --> 01:39:17,660
It's trying to come back
1535
01:39:17,702 --> 01:39:19,829
to being a person again
in terms--
1536
01:39:19,871 --> 01:39:21,622
in the eyes of the audience,
1537
01:39:21,664 --> 01:39:23,291
and it certainly
has no pretensions
1538
01:39:23,332 --> 01:39:25,376
to be a serious,
1539
01:39:25,418 --> 01:39:29,964
heavy statement-filled show,
but I mean,
1540
01:39:30,006 --> 01:39:31,507
it's exactly
what I want it to be.
1541
01:39:35,636 --> 01:39:37,180
INTERVIEWER:
What do you most enjoy doing?
1542
01:39:37,221 --> 01:39:38,931
DAVID: In life, at the moment?
1543
01:39:41,225 --> 01:39:43,269
Waking up and feeling
as though I've got a future.
1544
01:39:45,021 --> 01:39:48,149
I keep remembering
that there is a tomorrow,
1545
01:39:48,191 --> 01:39:50,151
when that never really occurred
to me before,
1546
01:39:50,193 --> 01:39:51,569
that there was a tomorrow.
1547
01:39:51,611 --> 01:39:54,322
Tomorrow was really,
"This is it.
1548
01:39:54,363 --> 01:39:56,574
"This is now,
this is important.
1549
01:39:56,616 --> 01:39:58,784
"Everything else is crazy,
and static,
1550
01:39:58,826 --> 01:40:01,871
"and it means nothing,
or everything's impermanent,
1551
01:40:01,913 --> 01:40:04,499
therefore I will just live
for the second.”
1552
01:40:06,250 --> 01:40:09,253
And one has to start taking
very positive stands on things.
1553
01:40:15,301 --> 01:40:16,928
When you feel comfortable
with yourself,
1554
01:40:16,969 --> 01:40:18,596
you can no longer write.
1555
01:40:18,638 --> 01:40:22,058
That seems to be
the writer's great problem.
1556
01:40:22,099 --> 01:40:25,603
As I get more comfortable,
I obviously have the feeling
1557
01:40:25,645 --> 01:40:29,148
that it's not so much that
is my writing as good,
1558
01:40:29,190 --> 01:40:32,860
or as potent as it used to be,
but do I need to write anymore?
1559
01:41:01,597 --> 01:41:05,309
MAN: His new album seems
to be, to me, a step sideways.
1560
01:41:05,351 --> 01:41:06,394
INTERVIEWER:
Why do you describe it
1561
01:41:06,435 --> 01:41:07,770
that-- in that way?
1562
01:41:07,812 --> 01:41:09,272
MAN: Because I think
he's not doing
1563
01:41:09,313 --> 01:41:10,982
anything particularly new,
1564
01:41:11,023 --> 01:41:14,110
and I suspect that
for the first time ever,
1565
01:41:14,151 --> 01:41:18,573
the fans are up there with him
and he's not ahead of the game.
1566
01:41:18,614 --> 01:41:21,951
He seems to me to have become
something rather old fashioned,
1567
01:41:21,993 --> 01:41:24,120
which is to say a superstar.
1568
01:41:38,259 --> 01:41:41,220
If you've gone mainstream,
there's only one way to do it,
1569
01:41:41,262 --> 01:41:43,139
and that's sell out
three days a year.
1570
01:41:43,180 --> 01:41:44,265
MAN 2:
Really do it.
1571
01:41:44,307 --> 01:41:45,850
MAN: Yeah, yeah.
1572
01:41:45,891 --> 01:41:47,310
He's done it in one big deal,
hasn't he?
1573
01:41:50,938 --> 01:41:52,481
INTERVIEWER:
This is the last stop
1574
01:41:52,523 --> 01:41:54,984
on what's been a pretty
extensive tour for you.
1575
01:41:55,026 --> 01:41:57,278
DAVID: Uh, yeah, I'm not
actually finishing in Auckland.
1576
01:41:57,320 --> 01:41:58,738
I'm going over now
1577
01:41:58,779 --> 01:42:01,032
to Singapore,
Hong Kong, and Bangkok.
1578
01:42:02,241 --> 01:42:04,452
♪ I've nothing much to offer ♪
1579
01:42:07,496 --> 01:42:10,458
♪ There's nothing much
to take ♪
1580
01:42:22,261 --> 01:42:24,847
♪ I'm an absolute beginner ♪
1581
01:42:27,642 --> 01:42:32,563
♪ But I'm absolutely sane ♪
1582
01:42:36,400 --> 01:42:39,028
I'm not quite so stricken
with the idea
1583
01:42:39,070 --> 01:42:41,113
of making a point.
1584
01:42:41,155 --> 01:42:43,282
I'm not quite sure
that any point
1585
01:42:43,324 --> 01:42:45,910
that I have to make
isn't being made quite as well
1586
01:42:45,951 --> 01:42:47,411
by other people.
1587
01:42:47,453 --> 01:42:50,915
Um, and that maybe the point,
1588
01:42:50,956 --> 01:42:52,291
my most important point,
1589
01:42:52,333 --> 01:42:54,126
is that I can entertain
very well,
1590
01:42:54,168 --> 01:42:57,713
and I think I'm no longer
finding it uncomfortable
1591
01:42:57,755 --> 01:43:01,676
to reach that conclusion.
1592
01:43:03,094 --> 01:43:05,846
That I now find
I'm very comfortable
1593
01:43:05,888 --> 01:43:08,641
being an actor,
an entertainer,
1594
01:43:08,683 --> 01:43:12,269
without too much
all-encompassing stuff.
1595
01:43:12,311 --> 01:43:13,854
♪ Time takes a cigarette ♪
1596
01:43:16,065 --> 01:43:17,441
♪ Puts it in your mouth ♪
1597
01:43:19,527 --> 01:43:21,737
♪ You pull on your finger ♪
1598
01:43:21,779 --> 01:43:24,990
♪ Then another finger
then your cigarette ♪
1599
01:43:26,409 --> 01:43:29,286
♪ The wall-to-wall is calling ♪
1600
01:43:29,328 --> 01:43:33,249
♪ It lingers,
but still you forget ♪
1601
01:43:33,290 --> 01:43:36,335
♪ Ohhh ♪
1602
01:43:36,377 --> 01:43:38,629
♪ You're a rock and roll
suicide ♪
1603
01:43:41,257 --> 01:43:43,092
♪ You're too young to lose it ♪
1604
01:43:44,969 --> 01:43:47,346
♪ But you're too old
to lose its
1605
01:43:49,515 --> 01:43:53,978
♪ And the clocks waits
so patiently on your song
1606
01:43:55,271 --> 01:43:58,482
♪ Well, you walk past a cafe ♪
1607
01:43:58,524 --> 01:44:01,527
♪ But you can't eat
when you've lived too long... ♪
1608
01:44:01,569 --> 01:44:03,571
MAN: Pepsi continues
to innovate,
1609
01:44:03,612 --> 01:44:05,364
by capturing what's new,
1610
01:44:05,406 --> 01:44:08,284
what's contemporary,
and what's hot.
1611
01:44:08,325 --> 01:44:10,327
The Glass Spider Tour
will be all of that.
1612
01:44:10,369 --> 01:44:14,206
♪ Now the Chev brakes
are snarling ♪
1613
01:44:14,248 --> 01:44:15,958
♪ As you stumble
across the road ♪
1614
01:44:17,668 --> 01:44:20,504
INTERVIEWER: You always have
that segment of people
1615
01:44:20,546 --> 01:44:22,006
who are with you
from the start
1616
01:44:22,047 --> 01:44:24,467
and if you know Bowie,
you know he's sold out.
1617
01:44:24,508 --> 01:44:28,053
DAVID: I don't begrudge any
artist for getting an audience.
1618
01:44:28,095 --> 01:44:31,223
I'm sorry, I never found
that poverty meant purity.
1619
01:44:31,265 --> 01:44:33,100
INTERVIEWER:
For a guy who doesn't like
1620
01:44:33,142 --> 01:44:35,478
to play it safe, though,
as the audience gets larger,
1621
01:44:35,519 --> 01:44:37,396
it must be harder
to take those chances.
1622
01:44:38,814 --> 01:44:41,609
♪ Oh no, love,
you're not alone [J
1623
01:44:43,319 --> 01:44:47,323
♪ You're watching yourself
but you're too unfair ♪
1624
01:44:47,364 --> 01:44:50,409
♪ You got your head
all tangled up ♪
1625
01:44:50,451 --> 01:44:54,038
♪ But if I could only
make you care ♪
1626
01:44:54,079 --> 01:44:55,581
Here I was,
making lots of money,
1627
01:44:55,623 --> 01:44:57,458
performing
to these huge audiences,
1628
01:44:57,500 --> 01:44:59,084
and I thought that's it,
you know?
1629
01:44:59,126 --> 01:45:01,754
I've come to the vacuum
of my life.
1630
01:45:01,796 --> 01:45:05,466
♪ No matter when
or where you've seen ♪
1631
01:45:05,508 --> 01:45:08,969
♪ All the knives
seem to lacerate your brain ♪
1632
01:45:09,011 --> 01:45:13,849
♪ I've had my share now
I'll help you with the pain ♪
1633
01:45:13,891 --> 01:45:15,267
♪ You're not alone ♪
1634
01:45:20,022 --> 01:45:23,526
♪ Just turn on with me
and you're not alone ♪
1635
01:45:26,320 --> 01:45:30,324
♪ Just turn on with me
and you're not alone ♪
1636
01:45:34,245 --> 01:45:37,706
♪ Gimme your hands
cause you're wonderful ♪
1637
01:45:38,833 --> 01:45:40,584
♪ I said ♪
1638
01:45:40,626 --> 01:45:44,463
♪ Gimme your hands
cause you're wonderful ♪
1639
01:45:47,508 --> 01:45:51,554
♪ Gimme your hands
cause you're wonderful ♪
1640
01:45:53,222 --> 01:45:57,184
♪ Cause you...
Gimmie your hands
1641
01:45:57,226 --> 01:45:59,270
♪ Cause you're wonderful ♪
1642
01:46:01,730 --> 01:46:07,069
♪ Gimme your hands
‘cause you're wonderful J ♪
1643
01:46:07,111 --> 01:46:08,362
♪ Gimme your hands ♪
1644
01:46:11,490 --> 01:46:13,325
♪ 'Cause you're wonderful ♪
1645
01:46:18,831 --> 01:46:20,708
♪ 'Cause you're wonderful ♪
1646
01:46:25,921 --> 01:46:27,756
♪ 'Cause you're wonderful ♪
1647
01:46:32,928 --> 01:46:34,346
♪ 'Cause you're wonderful ♪
1648
01:46:34,388 --> 01:46:35,389
I'm a young man.
1649
01:46:36,849 --> 01:46:38,893
Do you understand?
1650
01:46:38,934 --> 01:46:40,644
I'm a young man.
1651
01:46:40,686 --> 01:46:42,229
♪ 'Cause you're wonderful. ♪
1652
01:46:59,455 --> 01:47:02,207
Thank you very much.
Bye bye, we love you.
1653
01:47:31,779 --> 01:47:34,073
DAVID: Even though
it was enormously successful,
1654
01:47:35,574 --> 01:47:37,952
there was no growth
going on at all.
1655
01:47:43,540 --> 01:47:44,917
They were very hard years
to get through
1656
01:47:44,959 --> 01:47:46,585
to find any sense of purpose.
1657
01:47:48,837 --> 01:47:50,714
I wasn't allowing myself
1658
01:47:50,756 --> 01:47:53,592
the service of being
who I really am as an artist.
1659
01:47:55,094 --> 01:47:57,012
I'd given myself
dreadful parameters
1660
01:47:57,054 --> 01:48:01,600
in confining myself to merely
what I presumed people wanted.
1661
01:48:05,729 --> 01:48:07,356
I never wanted to do this.
1662
01:48:07,398 --> 01:48:09,817
I never wanted to be out there
pleasing people.
1663
01:48:09,858 --> 01:48:11,694
I wanted to be really stubborn
1664
01:48:11,735 --> 01:48:13,779
and have people like
what I like.
1665
01:48:13,821 --> 01:48:16,031
Not give them what they like.
1666
01:48:21,870 --> 01:48:25,332
It's very, very easy
to become work-obsessed
1667
01:48:25,374 --> 01:48:27,543
for the reason of not having
to look at oneself.
1668
01:48:31,755 --> 01:48:33,382
I think over
the last few years,
1669
01:48:33,424 --> 01:48:35,342
I'm understanding
1670
01:48:35,384 --> 01:48:38,262
a very important thing
in my life,
1671
01:48:38,303 --> 01:48:41,682
which is that I really
have to come back
1672
01:48:41,724 --> 01:48:44,143
to what my life is about.
1673
01:48:44,184 --> 01:48:47,938
That my life is not about
the work that I do.
1674
01:48:47,980 --> 01:48:49,606
My work is not me.
1675
01:48:49,648 --> 01:48:54,820
I am distinctly one entity
that needs looking at.
1676
01:48:57,740 --> 01:48:59,199
When I first looked,
1677
01:48:59,241 --> 01:49:01,994
I just didn't understand
that person,
1678
01:49:02,036 --> 01:49:04,371
because I'd never given myself
the time,
1679
01:49:04,413 --> 01:49:06,040
nor the incentive
1680
01:49:06,081 --> 01:49:09,668
to want to really
have a look at myself, deeply.
1681
01:49:12,755 --> 01:49:15,966
I think the first intrusion
into one's own inner conflicts
1682
01:49:16,008 --> 01:49:18,052
is not the most pleasant
of experiences.
1683
01:49:21,138 --> 01:49:23,515
But working through them
1684
01:49:23,557 --> 01:49:25,350
can really be
one of the greatest adventures
1685
01:49:25,392 --> 01:49:27,061
of one's life,
1686
01:49:27,102 --> 01:49:31,398
and it takes a certain amount
of bravado,
1687
01:49:31,440 --> 01:49:34,985
and need, and a realization
1688
01:49:35,027 --> 01:49:37,988
that you're missing out
on your own life.
1689
01:49:39,406 --> 01:49:41,408
You are probably
creating hazards
1690
01:49:41,450 --> 01:49:47,289
and disturbing experiences
for others around you.
1691
01:49:47,331 --> 01:49:49,625
And the house
must be put right.
1692
01:50:09,520 --> 01:50:11,146
INTERVIEWER: Do you have
any room in your life
1693
01:50:11,188 --> 01:50:12,981
for any kind of real
relationship like that?
1694
01:50:13,023 --> 01:50:14,399
DAVID: More room than
I've ever had before.
1695
01:50:17,986 --> 01:50:20,239
INTERVIEWER: You've said
that being in love,
1696
01:50:20,280 --> 01:50:21,490
you thought
was like a disease.
1697
01:50:21,532 --> 01:50:23,283
DAVID: Yeah.
1698
01:50:23,325 --> 01:50:24,660
INTERVIEWER: Horrible,
and it bred jealousy, and--
1699
01:50:24,701 --> 01:50:26,578
DAVID: I think I've--
I think I've--
1700
01:50:26,620 --> 01:50:30,791
I think I've grown to feel
a distaste for that statement.
1701
01:50:55,858 --> 01:50:58,485
Then I met Iman,
1702
01:50:58,527 --> 01:51:01,864
and it was smack,
right from the first night.
1703
01:51:01,905 --> 01:51:03,198
That was it.
It was over.
1704
01:51:05,909 --> 01:51:06,910
It was incredible.
1705
01:51:10,581 --> 01:51:14,543
My life suddenly became
rose-tinged.
1706
01:51:14,585 --> 01:51:16,128
[WORD ON A WING SONG]
1707
01:51:16,170 --> 01:51:18,797
♪ In this age
of grand illusion ♪
1708
01:51:18,839 --> 01:51:21,133
♪ You walked into my life ♪
1709
01:51:21,175 --> 01:51:22,968
♪ Out of my dreams ♪
1710
01:51:25,971 --> 01:51:28,390
♪ 1 don't need another change ♪
1711
01:51:28,432 --> 01:51:30,100
♪ Still you forced your way
1712
01:51:30,142 --> 01:51:32,978
♪ Into my scheme of things ♪
1713
01:51:36,982 --> 01:51:39,318
♪ You say we're growing ♪
1714
01:51:40,652 --> 01:51:44,072
♪ Growing heart and soul... ♪
1715
01:51:44,114 --> 01:51:46,033
I really
started thinking about
1716
01:51:46,074 --> 01:51:49,995
where I was gonna go with it,
and what I could do for her,
1717
01:51:50,037 --> 01:51:52,581
and how I could be
1718
01:51:52,623 --> 01:51:54,208
some kind
of valuable contribution
1719
01:51:54,249 --> 01:51:56,293
to a relationship.
1720
01:51:56,335 --> 01:52:02,174
♪ Sweet name
you're born once again for me ♪
1721
01:52:06,011 --> 01:52:11,725
♪ Sweet name you're born
once again for me... ♪
1722
01:52:13,560 --> 01:52:16,271
It became a process
over the first year or so,
1723
01:52:16,313 --> 01:52:18,982
trying to balance my life
in terms of well,
1724
01:52:19,024 --> 01:52:21,193
how many of these
precious moments
1725
01:52:21,235 --> 01:52:24,112
am I willing to give away
at my age, 45?
1726
01:52:24,154 --> 01:52:27,074
Do I want to keep
on inundating myself
1727
01:52:27,115 --> 01:52:29,618
with one work project
after another, and sort of,
1728
01:52:29,660 --> 01:52:32,537
leave virtually no room
for a real, solid,
1729
01:52:32,579 --> 01:52:35,832
wonderful relationship
to start blooming?
1730
01:52:35,874 --> 01:52:39,795
♪ Lord, I kneel and offer you ♪
1731
01:52:39,836 --> 01:52:42,589
♪ My word on a wing ♪
1732
01:52:44,841 --> 01:52:46,885
INTERVIEWER: Tour plans.
Any tour plans?
1733
01:52:46,927 --> 01:52:50,472
Unfortunately not.
No, not this time.
1734
01:52:50,514 --> 01:52:53,934
As you know, I've only been
married seven months,
1735
01:52:53,976 --> 01:52:57,562
and I really want to spend
more time within the marriage.
1736
01:52:57,604 --> 01:53:00,274
I think the worst thing to do
is run away for a year.
1737
01:53:01,566 --> 01:53:02,609
I really do.
1738
01:53:09,783 --> 01:53:10,784
♪ Lord ♪
1739
01:53:12,035 --> 01:53:13,453
♪ Lord ♪
1740
01:53:13,495 --> 01:53:16,164
♪ My prayer flies
like a word on a wing ♪
1741
01:53:18,083 --> 01:53:20,877
♪ My prayer flies
like a word on a wing ♪
1742
01:53:22,713 --> 01:53:25,882
♪ Does my prayer fit in
with your scheme of things? ♪
1743
01:53:35,809 --> 01:53:38,895
DAVID: There's a certain
buoyancy that you can develop
1744
01:53:38,937 --> 01:53:40,731
as you get older
1745
01:53:40,772 --> 01:53:43,984
if you are capable of absorbing
that it's a finite life,
1746
01:53:44,026 --> 01:53:45,569
and a finite existence.
1747
01:53:46,862 --> 01:53:48,363
And it's a kind of a knowledge
1748
01:53:48,405 --> 01:53:51,366
that you cannot
possibly entertain
1749
01:53:51,408 --> 01:53:53,118
when you're young.
1750
01:53:53,160 --> 01:53:56,830
You cannot entertain
the real magnificence
1751
01:53:56,872 --> 01:53:59,333
and inevitability
of the short span of years
1752
01:53:59,374 --> 01:54:00,834
that we spend on the earth.
1753
01:54:00,876 --> 01:54:02,669
And I think
if you are really honest
1754
01:54:02,711 --> 01:54:04,087
with that reality,
1755
01:54:04,129 --> 01:54:06,590
you can have
a kind of a freedom,
1756
01:54:06,631 --> 01:54:08,925
artistically, spiritually,
and emotionally
1757
01:54:08,967 --> 01:54:10,719
that you don't have
when you're young.
1758
01:54:10,761 --> 01:54:15,265
♪ Ooh, ready to shape
the scheme of things ♪
1759
01:54:15,307 --> 01:54:17,351
The idea of holding
on to anything
1760
01:54:17,392 --> 01:54:21,730
that's manifested
seems farcical.
1761
01:54:21,772 --> 01:54:23,523
There is nothing
to hold onto.
1762
01:54:23,565 --> 01:54:25,359
Youth, physical things, or...
1763
01:54:29,029 --> 01:54:30,197
definitely possessions.
1764
01:54:35,077 --> 01:54:36,953
The 20th century concern
1765
01:54:36,995 --> 01:54:40,290
is how we put our new god
back together again.
1766
01:54:40,332 --> 01:54:43,460
I think that we're coming
into an era of chaos,
1767
01:54:43,502 --> 01:54:45,629
and chaos has meaning
in our lives,
1768
01:54:45,670 --> 01:54:47,964
and I think
that we have to re-adapt
1769
01:54:48,006 --> 01:54:51,218
our interpretation of religion
and spirituality
1770
01:54:51,259 --> 01:54:52,469
to suit our new millennium.
1771
01:54:53,887 --> 01:54:55,806
Chaos and fragmentation
is something
1772
01:54:55,847 --> 01:54:58,600
that I've always been
very comfortable with.
1773
01:54:58,642 --> 01:55:01,269
That obviously
is my through-line.
1774
01:55:01,311 --> 01:55:02,979
Because I've always felt
1775
01:55:03,021 --> 01:55:05,649
that there's no real central
one truth in life.
1776
01:55:05,690 --> 01:55:07,859
That the way we live
is trying to make sense
1777
01:55:07,901 --> 01:55:12,072
of the endless vortex
of fragments.
1778
01:55:12,114 --> 01:55:14,616
That essentially,
we try and pull
1779
01:55:14,658 --> 01:55:17,035
these weedy little truths
1780
01:55:17,077 --> 01:55:19,663
and absolutes
1781
01:55:19,704 --> 01:55:23,708
out of this kind
of mindless chaos,
1782
01:55:23,750 --> 01:55:25,752
which is the real universe.
1783
01:55:25,794 --> 01:55:28,422
There's something about
the 90s that I really like.
1784
01:55:28,463 --> 01:55:30,382
There's something in the air
that I recognize.
1785
01:55:30,424 --> 01:55:32,092
I think it's all the frag--
1786
01:55:32,134 --> 01:55:34,594
all the fragments
flying around in the chaos.
1787
01:55:34,636 --> 01:55:37,264
It feels really... I kind of...
I know this stuff.
1788
01:55:38,682 --> 01:55:40,392
[HALLO SPACEBOY SONG]
1789
01:56:04,416 --> 01:56:05,459
♪ Spaceboy ♪
1790
01:56:07,002 --> 01:56:08,253
♪ You're sleepy now ♪
1791
01:56:09,463 --> 01:56:10,797
♪ Your silhouette ♪
1792
01:56:12,466 --> 01:56:13,925
♪ Is so stationary ♪
1793
01:56:15,802 --> 01:56:18,346
♪ You're released
but your custody calls ♪
1794
01:56:20,015 --> 01:56:21,433
♪ And I want to be free ♪
1795
01:56:25,395 --> 01:56:26,688
♪ Don't you want to be free ♪
1796
01:56:28,523 --> 01:56:30,192
♪ Do you like girls or boys ♪
1797
01:56:32,152 --> 01:56:34,654
♪ Yeah, it's confusing
these days
1798
01:56:36,031 --> 01:56:39,534
♪ But Moondust will cover you
1799
01:56:39,576 --> 01:56:41,369
♪ Cover you ♪
1800
01:56:41,411 --> 01:56:43,538
♪ This chaos is killing me ♪
1801
01:56:48,502 --> 01:56:49,586
♪ So bye bye love ♪
1802
01:56:54,883 --> 01:56:56,092
♪ Bye bye love ♪
1803
01:57:01,515 --> 01:57:02,557
♪ Bye bye love ♪
1804
01:57:07,687 --> 01:57:08,813
♪ Bye bye love ♪
1805
01:57:26,498 --> 01:57:28,458
♪ This chaos is killing me ♪
1806
01:57:33,547 --> 01:57:34,756
♪ Sweet sweet dove ♪
1807
01:57:39,844 --> 01:57:41,221
♪ Bye bye Spaceboy ♪
1808
01:57:46,268 --> 01:57:47,477
♪ Bye bye love ♪
1809
01:57:53,858 --> 01:57:56,236
♪ Moondust will cover you ♪
1810
01:58:00,240 --> 01:58:02,409
♪ Moondust will cover you ♪
1811
01:58:06,204 --> 01:58:09,124
♪ Moondust will cover you ♪
1812
01:58:12,794 --> 01:58:15,338
♪ Moondust will cover you ♪
1813
01:58:19,301 --> 01:58:21,720
♪ Moondust will cover you ♪
1814
01:58:25,432 --> 01:58:27,434
[Il HAVE NOT BEEN
TO OXFORD TOWN SONG]
1815
01:58:27,475 --> 01:58:29,936
♪ All is well ♪
1816
01:58:29,978 --> 01:58:32,480
♪ 20th century dies ♪
1817
01:58:32,522 --> 01:58:34,941
♪ Toll the bell ♪
1818
01:58:34,983 --> 01:58:37,360
♪ Pay the private eye ♪
1819
01:58:37,402 --> 01:58:39,821
♪ All is well ♪
1820
01:58:39,863 --> 01:58:42,115
♪ 20th century dies ♪
1821
01:59:01,134 --> 01:59:03,553
[MAN SPEAKS FRENCH]
1822
01:59:03,595 --> 01:59:06,806
DAVID: I think, I think
it has something to do
1823
01:59:06,848 --> 01:59:09,851
with being able to reach
the end of any one day
1824
01:59:09,893 --> 01:59:12,729
and feel that you took from it
1825
01:59:12,771 --> 01:59:16,858
and gave back to it
as much as possible.
1826
01:59:18,318 --> 01:59:20,528
I hate to waste days.
1827
01:59:29,245 --> 01:59:32,207
I've just been feeling
a lot more comfortable
1828
01:59:32,248 --> 01:59:34,334
with life, and myself,
and my writing
1829
01:59:34,376 --> 01:59:36,002
and everything
as the years go by,
1830
01:59:36,044 --> 01:59:38,254
so it's... I just happen to be
in a great place.
1831
01:59:38,296 --> 01:59:39,964
I'm really lucky in that way.
1832
01:59:40,006 --> 01:59:41,424
‘Cause I look
at some of my mates,
1833
01:59:41,466 --> 01:59:43,385
and some contemporaries,
1834
01:59:43,426 --> 01:59:46,554
and I know some of them feel,
I don't know, tired, or bitter,
1835
01:59:46,596 --> 01:59:48,473
or you know, a number of things
1836
01:59:48,515 --> 01:59:51,935
that traditionally
are supposed to go
1837
01:59:51,976 --> 01:59:53,269
with getting older, you know?
1838
01:59:53,311 --> 01:59:54,646
And I've just been
very fortunate
1839
01:59:54,688 --> 01:59:56,356
that it just
hasn't happened to me.
1840
01:59:56,398 --> 01:59:59,150
I just feel really--
I'm pretty keen on everything.
1841
02:00:00,694 --> 02:00:02,529
I've just landed on my feet.
1842
02:00:02,570 --> 02:00:06,032
I've done and do everything
I've always wanted to do,
1843
02:00:06,074 --> 02:00:07,701
you know?
1844
02:00:07,742 --> 02:00:08,576
That's been--
1845
02:00:09,994 --> 02:00:11,955
INTERVIEWER:
That's a great thing.
1846
02:00:11,996 --> 02:00:13,331
DAVID: Oh, it's extraordinary.
It really is extraordinary.
1847
02:00:13,373 --> 02:00:14,457
I've an incredible life.
1848
02:00:15,625 --> 02:00:17,460
It's been amazing.
1849
02:00:17,502 --> 02:00:19,170
I would love to do it again.
1850
02:00:22,132 --> 02:00:26,010
I was determined,
ever since I was 16,
1851
02:00:26,052 --> 02:00:27,971
that I would have
the greatest adventure
1852
02:00:28,012 --> 02:00:30,765
that any one person
could ever have.
1853
02:00:30,807 --> 02:00:33,351
And I set my sails
in the general direction
1854
02:00:33,393 --> 02:00:35,687
of uncharted waters.
1855
02:00:35,729 --> 02:00:38,273
I put myself
through everything--
1856
02:00:38,314 --> 02:00:41,234
absolutely everything,
that came along.
1857
02:00:41,276 --> 02:00:45,613
It was very important for me
to expand my horizons
1858
02:00:45,655 --> 02:00:47,282
and seeing just how--
1859
02:00:47,323 --> 02:00:49,743
just how near to the line
I could get.
1860
02:01:30,784 --> 02:01:33,036
I've been so eclectic
all my life.
1861
02:01:33,077 --> 02:01:36,039
I've been admiring
of so many different people
1862
02:01:36,080 --> 02:01:38,082
and so many different things
that they've done,
1863
02:01:38,124 --> 02:01:41,878
I feel that I owe so many
for the way that I think
1864
02:01:41,920 --> 02:01:42,879
and do things.
1865
02:01:44,297 --> 02:01:47,926
I guess anybody
who's had the integrity
1866
02:01:47,967 --> 02:01:50,345
to kind of always work
outside of the system,
1867
02:01:50,386 --> 02:01:52,514
has always appealed to me.
1868
02:01:52,555 --> 02:01:55,767
Whenever I'm teetering
on sort of what I know
1869
02:01:55,809 --> 02:01:58,561
is what I do best,
and what I really feel for,
1870
02:01:58,603 --> 02:02:00,772
and there's an area
that I think that,
1871
02:02:00,814 --> 02:02:03,066
well, an audience
I know would like this,
1872
02:02:04,067 --> 02:02:05,860
I just remember back
1873
02:02:05,902 --> 02:02:09,864
to how much I hate the center
of the social strata,
1874
02:02:09,906 --> 02:02:12,075
how I hate being drawn
into the middle,
1875
02:02:12,116 --> 02:02:14,410
to the middle of the road
of anything,
1876
02:02:14,452 --> 02:02:17,205
to that which is most popular.
1877
02:02:17,247 --> 02:02:19,249
And if-- The other thing
I would say is that
1878
02:02:19,290 --> 02:02:22,043
if you feel safe in the area
that you're working in,
1879
02:02:22,085 --> 02:02:23,795
you're not working
in the right area.
1880
02:02:23,837 --> 02:02:26,047
Always go a little further
into the water
1881
02:02:26,089 --> 02:02:28,007
than you feel
you're capable of being in.
1882
02:02:28,049 --> 02:02:29,968
Go a little bit
out of your depth,
1883
02:02:30,009 --> 02:02:31,469
and when you don't feel
1884
02:02:31,511 --> 02:02:33,263
that your feet
are quite touching the bottom,
1885
02:02:33,304 --> 02:02:34,556
you're just about
in the right place
1886
02:02:34,597 --> 02:02:36,015
to do something exciting.
1887
02:02:44,941 --> 02:02:46,359
Let me tell you one thing.
1888
02:02:47,777 --> 02:02:51,114
All people,
no matter who they are,
1889
02:02:51,155 --> 02:02:53,700
they all wish
they'd appreciated life more.
1890
02:02:56,202 --> 02:02:59,163
It's what you do in life
that's important,
1891
02:02:59,205 --> 02:03:02,458
not how much time you have,
or what you wish you'd done.
1892
02:03:02,500 --> 02:03:04,335
[BLACKSTAR SONG]
1893
02:03:45,209 --> 02:03:50,006
♪ Something happened
on the day he died ♪
1894
02:03:50,048 --> 02:03:54,260
♪ Spirit rose a meter
then stepped aside ♪
1895
02:03:54,302 --> 02:03:58,973
♪ Somebody else took his place
and bravely cried ♪
1896
02:03:59,015 --> 02:04:01,851
♪ I'm a blackstar ♪
1897
02:04:01,893 --> 02:04:05,813
♪ 000000...
1898
02:04:26,376 --> 02:04:28,461
There is no beginning,
no end.
1899
02:04:29,879 --> 02:04:31,506
And all at once,
1900
02:04:31,547 --> 02:04:34,550
the outward appearance
of meaning is transcended,
1901
02:04:34,592 --> 02:04:38,096
and you find yourself
struggling to comprehend a deep
1902
02:04:38,137 --> 02:04:39,931
and formidable mystery.
1903
02:04:41,808 --> 02:04:42,850
I'm dying.
1904
02:04:44,102 --> 02:04:46,437
You are dying.
1905
02:04:46,479 --> 02:04:49,816
Second by second,
all is transient.
1906
02:04:51,067 --> 02:04:53,820
Does it matter?
Do I bother?
1907
02:04:55,154 --> 02:04:56,990
Yes I do.
1908
02:04:57,031 --> 02:04:59,033
Life is fantastic.
1909
02:04:59,075 --> 02:05:01,160
It never ends.
It only changes.
1910
02:05:02,328 --> 02:05:05,540
Flesh to stone to flesh.
1911
02:05:05,581 --> 02:05:07,291
And round and round.
1912
02:05:09,002 --> 02:05:10,878
Best keep walking.
1913
02:05:38,740 --> 02:05:40,825
[MEMORY OF
A FREE FESTIVAL SONG]
1914
02:05:42,785 --> 02:05:46,789
♪ The Sun Machine
is coming down ♪
1915
02:05:46,831 --> 02:05:49,542
♪ And we're gonna
have a party ♪
1916
02:05:49,584 --> 02:05:51,544
♪ Uh-huh huh
1917
02:05:51,586 --> 02:05:55,381
♪ The Sun Machine
is coming down ♪
1918
02:05:55,423 --> 02:05:58,176
♪ And we're gonna
have a party ♪
1919
02:05:58,217 --> 02:05:59,761
♪ Uh-huh huh
1920
02:05:59,802 --> 02:06:03,556
♪ The Sun Machine
is coming down ♪
1921
02:06:03,598 --> 02:06:06,517
♪ And we're gonna
have a party ♪
1922
02:06:06,559 --> 02:06:08,144
♪ Uh-huh huh
1923
02:06:08,186 --> 02:06:11,856
♪ The Sun Machine
is coming down ♪
1924
02:06:11,898 --> 02:06:14,692
♪ And we're gonna
have a party ♪
1925
02:06:14,734 --> 02:06:16,360
♪ Uh-huh huh
1926
02:06:16,402 --> 02:06:20,406
♪ The Sun Machine
is coming down ♪
1927
02:06:20,448 --> 02:06:24,577
♪ Whoa ho uh-ha ♪
1928
02:06:24,619 --> 02:06:28,748
♪ The Sun Machine
is coming down ♪
1929
02:06:28,790 --> 02:06:31,209
♪ Whoa ho uh-ha ♪
1930
02:06:32,835 --> 02:06:36,923
♪ The Sun Machine
is coming down ♪
1931
02:06:36,964 --> 02:06:41,010
♪ Whoa ho uh-ha ♪
1932
02:06:41,052 --> 02:06:44,931
♪ The Sun Machine
is coming down ♪
1933
02:06:44,972 --> 02:06:47,600
♪ Whoa ho uh-ha ♪
1934
02:06:47,642 --> 02:06:49,310
♪ Na-na-na ♪
1935
02:06:49,352 --> 02:06:52,939
♪ The Sun Machine
is coming down ♪
1936
02:06:57,151 --> 02:07:00,822
♪ The Sun Machine
is coming down ♪
1937
02:07:05,118 --> 02:07:08,913
♪ The Sun Machine
is coming down ♪
1938
02:07:08,955 --> 02:07:11,457
♪ And we're gonna
have a party ♪
1939
02:07:13,084 --> 02:07:16,796
♪ The Sun Machine
is coming down ♪
1940
02:07:16,838 --> 02:07:19,507
♪ And we're gonna
have a party ♪
1941
02:07:21,092 --> 02:07:24,387
♪ The Sun Machine
is coming down ♪
1942
02:07:24,428 --> 02:07:27,181
♪ And we're gonna
have a party ♪
1943
02:07:28,891 --> 02:07:32,228
♪ The Sun Machine
is coming down ♪
1944
02:07:32,270 --> 02:07:34,730
♪ And we're gonna
have a party ♪
1945
02:07:36,691 --> 02:07:40,153
♪ The Sun Machine
is coming down ♪
1946
02:07:40,194 --> 02:07:42,572
♪ And we're gonna
have a party ♪
1947
02:07:44,448 --> 02:07:47,743
♪ The Sun Machine
is coming down ♪
1948
02:07:47,785 --> 02:07:50,204
♪ And we're gonna
have a party ♪
1949
02:07:52,123 --> 02:07:55,835
♪ The Sun Machine
is coming down ♪
1950
02:07:55,877 --> 02:07:57,837
♪ And we're gonna
have a party ♪
1951
02:07:59,839 --> 02:08:03,259
♪ The Sun Machine
is coming down ♪
1952
02:08:03,301 --> 02:08:05,511
♪ And we're gonna
have a party ♪
1953
02:08:07,346 --> 02:08:10,516
♪ The Sun Machine
is coming down ♪
1954
02:08:10,558 --> 02:08:13,102
♪ And we're gonna
have a party... ♪
1955
02:08:18,608 --> 02:08:20,359
[STARMAN SONG]
1956
02:08:29,368 --> 02:08:31,162
♪ Hey, now now ♪
1957
02:08:34,373 --> 02:08:36,209
♪ Goodbye love ♪
1958
02:08:39,462 --> 02:08:44,342
♪ Didn't know what time it was,
the lights were low-ow-ow ♪
1959
02:08:44,383 --> 02:08:49,138
♪ I leaned back
on my radio-o0-0 ♪
1960
02:08:49,180 --> 02:08:52,850
♪ Some cat was layin' down
some rock 'n' roll ♪
1961
02:08:52,892 --> 02:08:54,060
♪ "Lotta soul" he said ♪
1962
02:08:56,604 --> 02:09:01,067
♪ Then the loud sound
did seem to fade-ade-ade ♪
1963
02:09:01,108 --> 02:09:05,863
♪ Came back like a slow voice
on a wave of phase-ase-ase ♪
1964
02:09:05,905 --> 02:09:10,493
♪ That weren't no DJ,
that was hazy cosmic jive ♪
1965
02:09:14,372 --> 02:09:19,627
♪ There's a starman
waiting in the sky ♪
1966
02:09:19,669 --> 02:09:22,004
♪ He'd like
to come and meet us ♪
1967
02:09:22,046 --> 02:09:24,298
♪ But he thinks
he'd blow our minds ♪
1968
02:09:24,340 --> 02:09:29,345
♪ There's a starman
waiting in the sky ♪
1969
02:09:29,387 --> 02:09:31,389
♪ He's told us not to blow it 7
1970
02:09:31,430 --> 02:09:33,766
♪ 'Cause he knows
it's all worthwhile ♪
1971
02:09:33,808 --> 02:09:37,561
♪ He told me
Let the children lose it ♪
1972
02:09:37,603 --> 02:09:39,855
♪ Let the children use it ♪
1973
02:09:39,897 --> 02:09:42,108
♪ Let all the children boogie ♪
1974
02:09:58,833 --> 02:10:03,504
♪ I had to phone someone
so I picked on you-ou-ou ♪
1975
02:10:03,546 --> 02:10:08,175
♪ Hey, that's far out,
so you heard him too-00-00 ♪
1976
02:10:08,217 --> 02:10:13,222
♪ Switch on the TV, we may
pick him up on channel two ♪
1977
02:10:15,391 --> 02:10:20,187
♪ Look out your window,
I can see his light-ight-ight J ♪
1978
02:10:20,229 --> 02:10:24,692
♪ If we can sparkle
he may land tonight-ight-ight ♪
1979
02:10:24,734 --> 02:10:26,360
♪ Don't tell your poppa ♪
1980
02:10:26,402 --> 02:10:29,405
♪ Or he'll get us
locked up in fright ♪
1981
02:10:33,451 --> 02:10:38,581
♪ There's a starman
waiting in the sky ♪
1982
02:10:38,622 --> 02:10:40,833
♪ He'd like
to come and meet us ♪
1983
02:10:40,875 --> 02:10:43,127
♪ But he thinks
he'd blow our minds ♪
1984
02:10:43,169 --> 02:10:48,174
♪ There's a starman
waiting in the sky ♪
1985
02:10:48,215 --> 02:10:50,426
♪ He's told us not to blow it 7
1986
02:10:50,468 --> 02:10:53,596
♪ 'Cause he knows it's all
worthwhile, he told me
1987
02:10:53,637 --> 02:10:58,559
♪ Let the children lose it
Let the children use it ♪
1988
02:10:58,601 --> 02:11:01,145
♪ Let all the children boogie ♪
1989
02:11:01,187 --> 02:11:05,107
♪ Starman waiting in the sky ♪
1990
02:11:05,149 --> 02:11:07,401
♪ He'd like to come
and meet us ♪
1991
02:11:07,443 --> 02:11:09,570
♪ But he thinks
he'd blow our minds ♪
1992
02:11:09,612 --> 02:11:14,533
♪ There's a starman
waiting in the sky ♪
1993
02:11:14,575 --> 02:11:16,744
♪ He's told us not to blow it 7
1994
02:11:16,786 --> 02:11:18,829
♪ 'Cause he knows
it's all worthwhile ♪
1995
02:11:18,871 --> 02:11:22,583
♪ He told me
Let the children lose it ♪
1996
02:11:22,625 --> 02:11:24,960
♪ Let the children use it ♪
1997
02:11:25,002 --> 02:11:27,129
♪ Let all the children boogie ♪
1998
02:11:36,347 --> 02:11:39,600
♪ La, la, la, la-la ♪
1999
02:11:39,642 --> 02:11:44,188
♪ La, la, la
La, la, la, la-la ♪
2000
02:11:44,230 --> 02:11:48,859
♪ La, la, la
La, la, la, la-la ♪
2001
02:11:48,901 --> 02:11:53,447
♪ La, la, la
La, la, la, la-la ♪
2002
02:11:53,489 --> 02:11:58,077
♪ La, la, la
La, la, la, la-la ♪
2003
02:11:58,119 --> 02:12:02,623
♪ La, la, la
La, la, la, la-la ♪
2004
02:12:02,665 --> 02:12:07,253
♪ La, la, la
La, la, la, la-la ♪
2005
02:12:07,294 --> 02:12:11,757
♪ La, la, la
La, la, la, la-la ♪
2006
02:12:11,799 --> 02:12:16,303
♪ La, la, la
La, la, la, la-la ♪
2007
02:12:16,345 --> 02:12:21,100
♪ La, la, la
La, la, la, la-la ♪
2008
02:12:21,142 --> 02:12:25,604
♪ La, la, la
La, la, la, la-la ♪
2009
02:12:25,646 --> 02:12:29,150
♪ La, la, la
La, la, la, la-la. 7
2010
02:12:29,191 --> 02:12:31,819
[CHANGES SONG]
2011
02:12:37,616 --> 02:12:38,701
♪ Oh yeah ♪
2012
02:12:42,580 --> 02:12:43,539
♪ Mmmm ♪
2013
02:12:49,712 --> 02:12:53,466
♪ Still don't know
what I was waitin' for ♪
2014
02:12:53,507 --> 02:12:56,427
♪ And my time
was running wild ♪
2015
02:12:56,469 --> 02:12:58,804
♪ A million
dead-end streets and ♪
2016
02:12:58,846 --> 02:13:01,932
♪ Every time I thought
I'd got it made ♪
2017
02:13:01,974 --> 02:13:06,562
♪ It seemed the taste
was not so sweet ♪
2018
02:13:06,604 --> 02:13:11,025
♪ So I turned myself
to face me ♪
2019
02:13:11,066 --> 02:13:15,237
♪ But I've never caught
a glimpse ♪
2020
02:13:15,279 --> 02:13:19,158
♪ How the others
must see the faker ♪
2021
02:13:19,200 --> 02:13:22,536
♪ I'm much too fast
to take that test ♪
2022
02:13:22,578 --> 02:13:24,413
♪ Ch-ch-ch-ch-changes
2023
02:13:24,455 --> 02:13:26,957
♪ Turn and face the strange ♪
2024
02:13:26,999 --> 02:13:29,543
♪ Ch-ch-changes
2025
02:13:29,585 --> 02:13:32,171
♪ Don't want to be
aricher man ♪
2026
02:13:32,213 --> 02:13:34,006
♪ Ch-ch-ch-ch-changes
2027
02:13:34,048 --> 02:13:36,342
♪ Turn and face the strange ♪
2028
02:13:36,383 --> 02:13:39,053
♪ Ch-ch-changes
2029
02:13:39,094 --> 02:13:41,347
♪ There's gonna have to be
a different man ♪
2030
02:13:41,388 --> 02:13:44,350
♪ Time may change me ♪
2031
02:13:44,391 --> 02:13:47,019
♪ But I can't trace time ♪
2032
02:13:47,061 --> 02:13:50,689
♪ I said that
time may change me ♪
2033
02:13:50,731 --> 02:13:53,901
♪ But I can't trace time. ♪
2034
02:14:12,294 --> 02:14:13,712
DAVID:
Well you know what?
2035
02:14:13,754 --> 02:14:15,839
This has been
an incredible pleasure,
2036
02:14:15,881 --> 02:14:19,134
and, uh,
you were really interesting.
2037
02:14:19,176 --> 02:14:20,844
I didn't know those things
you were telling me
2038
02:14:20,886 --> 02:14:23,138
about yourselves.
It's nice to have met you.
2039
02:14:23,180 --> 02:14:25,307
I'm glad we did finally
meet at last.
2040
02:14:25,349 --> 02:14:28,185
And all I can say is,
♪ Goodbye
2041
02:14:28,227 --> 02:14:31,313
♪ Goodbye
We'll meet again ♪
2042
02:14:31,355 --> 02:14:32,898
♪ Some time ♪
2043
02:14:32,940 --> 02:14:36,569
♪ Somewhere fa-ta-ta
ta-ta-ta-ta ♪
2044
02:14:36,610 --> 02:14:37,528
♪ Ta-da. ♪
157085
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.