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These are the user uploaded subtitles that are being translated: 1 00:01:12,380 --> 00:01:13,550 David: Time. 2 00:01:14,970 --> 00:01:17,720 One of the most complex expressions. 3 00:01:17,760 --> 00:01:19,300 Memory made manifest. 4 00:01:21,520 --> 00:01:24,020 It's something that straddles past and future 5 00:01:24,060 --> 00:01:27,060 without ever quite being present. 6 00:01:27,100 --> 00:01:31,780 Or rather, it at first seems indifferent to the present. 7 00:01:31,820 --> 00:01:35,280 There's a tension of a most unfathomable nature. 8 00:01:36,740 --> 00:01:38,620 The word desires to be understood. 9 00:01:38,660 --> 00:01:40,490 To have meaning. 10 00:01:40,530 --> 00:01:43,410 But you somehow feel that it's not you yourself 11 00:01:43,450 --> 00:01:45,910 that the word is addressing. 12 00:01:47,120 --> 00:01:48,790 It washes over you, 13 00:01:50,290 --> 00:01:53,920 holding a dialogue with something arcane 14 00:01:53,960 --> 00:01:56,260 that's maybe not mortal. 15 00:01:56,300 --> 00:01:58,510 And you feel intrigued. 16 00:01:58,550 --> 00:01:59,720 Captured even. 17 00:02:01,300 --> 00:02:04,680 You're aware of a deeper existence. 18 00:02:04,730 --> 00:02:08,100 Maybe a temporary reassurance that indeed 19 00:02:08,150 --> 00:02:10,270 there is no beginning, no end. 20 00:02:11,980 --> 00:02:13,780 And all at once, the outward appearance 21 00:02:13,820 --> 00:02:16,190 of meaning is transcended. 22 00:02:16,240 --> 00:02:18,950 And you find yourself struggling to comprehend 23 00:02:18,990 --> 00:02:21,950 a deep and formidable mystery. 24 00:02:22,950 --> 00:02:25,370 All is transient. 25 00:02:25,410 --> 00:02:27,000 Does it matter? 26 00:02:27,040 --> 00:02:28,330 Do I bother? 27 00:02:54,480 --> 00:03:00,160 I inchworm, inchworm I 28 00:03:00,200 --> 00:03:04,240 I measuring the marigolds I 29 00:03:05,830 --> 00:03:07,580 I you and your... I 30 00:03:07,620 --> 00:03:11,040 David: All those moments 31 00:03:11,080 --> 00:03:13,960 will be lost in time... 32 00:03:16,800 --> 00:03:20,050 Like tears... 33 00:03:42,990 --> 00:03:44,740 Dust... 34 00:03:44,780 --> 00:03:47,240 Cover me moon dust. 35 00:03:48,450 --> 00:03:50,460 Cover me... 36 00:04:07,760 --> 00:04:10,980 I spaceboy, you're sleepy now I 37 00:04:13,980 --> 00:04:17,690 I your silhouette is so stationary I 38 00:04:21,360 --> 00:04:24,700 I you're released, but your custody calls I 39 00:04:28,700 --> 00:04:31,080 I and I want to be free I 40 00:04:32,410 --> 00:04:34,830 I don't you want to be free I 41 00:04:36,080 --> 00:04:38,670 I do you like girls or boys? I 42 00:04:40,590 --> 00:04:43,170 I it's confusing these days I 43 00:04:44,430 --> 00:04:48,510 I but moondust will cover you I 44 00:04:48,560 --> 00:04:50,720 I cover you I 45 00:04:50,770 --> 00:04:52,810 I so bye bye love I 46 00:04:54,480 --> 00:04:56,730 I yeah bye bye love I 47 00:04:58,650 --> 00:05:00,650 I hallo, spaceboy I 48 00:05:02,110 --> 00:05:06,030 I this chaos is killing me I 49 00:05:06,070 --> 00:05:08,370 I hallo, spaceboy I 50 00:05:15,460 --> 00:05:19,000 Neil: Ground to major, bye bye, Tom 51 00:05:20,590 --> 00:05:23,300 David: J“ this chaos is killing me I 52 00:05:23,340 --> 00:05:26,260 Neil: I dead the circuit, countdown's wrong I 53 00:05:27,930 --> 00:05:30,510 David: J“ this chaos is killing me I 54 00:05:30,560 --> 00:05:33,930 Neil: Planet earth, is control on? 55 00:05:33,980 --> 00:05:35,690 David: I so sleepy now I 56 00:05:35,730 --> 00:05:37,270 Neil: I do you wanna be free? I 57 00:05:38,940 --> 00:05:41,480 both: I don't you wanna be free? I 58 00:05:42,730 --> 00:05:45,280 I do you like girls or boys? I 59 00:05:47,240 --> 00:05:49,660 I it's confusing these days I 60 00:05:51,160 --> 00:05:54,960 David: I but moondust will cover you I 61 00:05:55,000 --> 00:05:57,250 I cover you I 62 00:05:57,290 --> 00:05:59,880 I so bye bye love I 63 00:06:01,210 --> 00:06:03,210 I yeah, bye bye love I 64 00:06:05,380 --> 00:06:07,930 I hallo spaceboy I 65 00:06:07,970 --> 00:06:10,050 I spaceboy, spaceboy... I 66 00:06:11,350 --> 00:06:13,970 woman: I wanted to see him. 67 00:06:14,020 --> 00:06:15,810 Man: What are you so upset about? 68 00:06:15,850 --> 00:06:18,020 Girl: I wanted to see him. 69 00:06:18,060 --> 00:06:20,110 They said he was coming round the back. 70 00:06:20,150 --> 00:06:22,110 I've been waiting for ages to see him. 71 00:06:26,070 --> 00:06:27,450 Man: Why are you so upset? 72 00:06:27,490 --> 00:06:29,410 Girl: He's smashing. 73 00:06:29,450 --> 00:06:31,280 Girl 2: I kissed him! I kissed his hand! 74 00:06:32,620 --> 00:06:34,790 David: J“ hallo spaceboy I 75 00:06:39,670 --> 00:06:41,420 I hallo, hallo. I 76 00:06:50,260 --> 00:06:52,260 Dick cavett: Rumors and questions have arisen, 77 00:06:52,300 --> 00:06:54,560 such as who is he, what is he, where did he come from? 78 00:06:54,600 --> 00:06:56,220 Is he a creature of a foreign power? 79 00:06:56,270 --> 00:06:57,890 Is he a creep? Is he dangerous? 80 00:06:57,930 --> 00:06:59,730 Is he smart, dumb, nice to his parents, 81 00:06:59,770 --> 00:07:02,650 real, a put-on, crazy, sane, man, woman, robot? 82 00:07:02,690 --> 00:07:04,190 What is this? 83 00:07:04,230 --> 00:07:06,860 Ladies and gentlemen, David bowie. 84 00:07:26,760 --> 00:07:28,550 I solemn faced I 85 00:07:28,590 --> 00:07:30,380 I the village settles down I 86 00:07:31,760 --> 00:07:34,600 I undetected by the stars I 87 00:07:37,850 --> 00:07:41,310 I hangman plays the mandolin I 88 00:07:41,350 --> 00:07:43,400 I before he goes to sleep I 89 00:07:46,570 --> 00:07:49,320 I and the last thing on his mind I 90 00:07:52,320 --> 00:07:55,950 I is the wild eyed boy imprisoned I 91 00:07:55,990 --> 00:07:57,830 I 'neath the covered wooden shaft I 92 00:08:01,370 --> 00:08:03,790 I folds the rope into its bag I 93 00:08:07,460 --> 00:08:10,670 I blows his pipe of smolders I 94 00:08:10,720 --> 00:08:13,300 I blankets smoke into the room I 95 00:08:16,760 --> 00:08:19,470 I and the day will end for some I 96 00:08:24,310 --> 00:08:27,520 I as the night begins for one I 97 00:08:34,200 --> 00:08:39,450 I staring through the message in his eyes I 98 00:08:39,490 --> 00:08:41,750 I lies a solitary son I 99 00:08:45,380 --> 00:08:49,050 I from the mountain called freecloud I 100 00:08:49,090 --> 00:08:51,760 I where the eagle dare not fly I 101 00:08:54,680 --> 00:08:57,470 I and the Patience in his sigh I 102 00:09:01,680 --> 00:09:04,390 I gives no indication I 103 00:09:04,440 --> 00:09:07,310 I for the townsmen to decide I 104 00:09:10,150 --> 00:09:13,320 I so the village dreadful yawns I 105 00:09:16,570 --> 00:09:19,870 I pronouncing gross diversion I 106 00:09:19,910 --> 00:09:21,410 I as the label for the dog I 107 00:09:24,290 --> 00:09:28,500 I oh, "it's the madness in his eyes" I 108 00:09:31,250 --> 00:09:34,720 I as he breaks the night to cry I 109 00:09:34,760 --> 00:09:37,970 I it's really me I 110 00:09:40,760 --> 00:09:44,480 I really you and really me I 111 00:09:47,190 --> 00:09:51,150 I it's so hard for us to really be I 112 00:09:55,990 --> 00:09:59,200 I really you and really me I 113 00:10:01,660 --> 00:10:04,870 I you'll lose me, though I'm always I 114 00:10:04,910 --> 00:10:11,790 I really free I 115 00:10:11,840 --> 00:10:14,380 j'yeah... I 116 00:10:39,160 --> 00:10:42,530 I Jimmy rapped all night about his suicide I 117 00:10:42,580 --> 00:10:46,540 I how he'd kick it in the head when he was 25 I 118 00:10:46,580 --> 00:10:48,370 I all that speed jive I 119 00:10:48,410 --> 00:10:53,210 I don't want to stay alive when you're 25 I 120 00:10:53,250 --> 00:10:56,210 I Lucy's stealing clothes from unlocked cars I 121 00:10:56,260 --> 00:10:58,170 I Freddy's got spots I 122 00:10:58,220 --> 00:11:00,930 I from ripping off the stars from his face, honey I 123 00:11:02,140 --> 00:11:04,140 I a funky little boat race I 124 00:11:06,350 --> 00:11:08,980 I the television man is crazy I 125 00:11:09,020 --> 00:11:12,860 I saying we're juvenile delinquent wrecks I 126 00:11:12,900 --> 00:11:18,780 I but, man, I need a TV when I've got t. Rex I 127 00:11:18,820 --> 00:11:20,610 I hey, brother, you guessed I 128 00:11:21,780 --> 00:11:23,030 I I'm a dude I 129 00:11:24,990 --> 00:11:28,500 I all the young dudes I 130 00:11:28,540 --> 00:11:32,040 I carry the news I 131 00:11:32,080 --> 00:11:34,340 I boogaloo dudes I 132 00:11:35,500 --> 00:11:37,880 I carry the news I 133 00:11:41,550 --> 00:11:45,140 I all the young dudes I 134 00:11:45,180 --> 00:11:48,600 I carry the news I 135 00:11:48,640 --> 00:11:51,850 I boogaloo dudes yeah I 136 00:11:51,890 --> 00:11:54,770 I carry the news I 137 00:11:59,190 --> 00:12:01,610 I wake up you sleepy head I 138 00:12:01,650 --> 00:12:04,570 I put on some clothes, shake up your bed I 139 00:12:04,620 --> 00:12:07,910 I put another log on the fire for me I 140 00:12:07,950 --> 00:12:10,540 I I've made some breakfast and coffee I 141 00:12:10,580 --> 00:12:13,710 I I look out my window what do I see I 142 00:12:13,750 --> 00:12:16,710 I a crack in the sky and a hand... I 143 00:12:18,090 --> 00:12:20,920 I reaching down... I 144 00:12:23,970 --> 00:12:26,010 I to me... I 145 00:12:28,930 --> 00:12:31,730 I all the nightmares came today I 146 00:12:33,810 --> 00:12:36,020 I and it looks as though they're here to stay... I 147 00:12:43,450 --> 00:12:45,990 I it's a god-awful small affair I 148 00:12:47,620 --> 00:12:50,040 I to the girl with the mousy hair I 149 00:12:51,500 --> 00:12:54,080 I but her mummy is yelling, "no" I 150 00:12:55,540 --> 00:12:59,340 I and her daddy has told her to go I 151 00:12:59,380 --> 00:13:02,380 I but her friend is nowhere to be seen... I 152 00:13:04,300 --> 00:13:05,970 man: He's just another fella, you know? 153 00:13:06,010 --> 00:13:07,720 Woman: No, he's not. He's different. 154 00:13:07,760 --> 00:13:10,060 Man: Well, nobody like him can produce the music. 155 00:13:15,900 --> 00:13:17,750 Man: Davie's the greatest, and I'll say it again. 156 00:13:17,770 --> 00:13:19,190 Dave's the greatest, 157 00:13:19,230 --> 00:13:20,830 and I'll say it again, Dave's the greatest. 158 00:13:20,860 --> 00:13:22,690 And I seen him onstage, and he was fantastic. 159 00:13:22,740 --> 00:13:24,960 I'll follow that bloke anywhere 'cause he's the greatest. 160 00:13:24,990 --> 00:13:26,860 And I'll say it again, he's the greatest. 161 00:13:26,910 --> 00:13:29,160 Man 2: Listen, you don't have to be bent to wear makeup. 162 00:13:29,200 --> 00:13:31,240 It looks good, so why not wear it? 163 00:13:31,290 --> 00:13:33,580 Woman: Even if it's camp, but he's sexy, isn't he? 164 00:13:33,620 --> 00:13:34,960 Sort of thing, really. 165 00:13:39,170 --> 00:13:41,460 David: If I can tart it all up enough, 166 00:13:41,500 --> 00:13:44,970 maybe people will see that it has a lot to do with just them. 167 00:13:45,010 --> 00:13:46,320 Interviewer: What, with reflection? 168 00:13:46,340 --> 00:13:47,760 David: Yeah, that it is really 169 00:13:47,800 --> 00:13:49,260 a reflection of what they're like. 170 00:13:49,300 --> 00:13:51,890 Host: Mr. Powell, Mr. Jenkins. 171 00:13:54,430 --> 00:13:56,310 Businessmen in general... 172 00:13:56,350 --> 00:13:57,810 Best watch it. 173 00:13:57,850 --> 00:13:59,310 Interviewer: How are you? 174 00:13:59,360 --> 00:14:00,500 David: I'm very well, thank you. How are you? 175 00:14:00,520 --> 00:14:01,860 Interviewer I'm fine. 176 00:14:01,900 --> 00:14:03,780 David: Good. How are you? How are you? 177 00:14:03,820 --> 00:14:06,450 Interviewer: You, uh, have to get the gear on 178 00:14:06,490 --> 00:14:08,030 in order to project yourself. 179 00:14:08,070 --> 00:14:09,950 I mean, were you a nobody who suddenly thought, 180 00:14:09,990 --> 00:14:12,790 "Jesus, I must get into the scene by some other way"? 181 00:14:12,830 --> 00:14:14,350 David: I never asked Jesus for a think, no. 182 00:14:14,370 --> 00:14:15,680 It was always on my own initiative. 183 00:14:15,710 --> 00:14:16,910 And... 184 00:14:16,960 --> 00:14:20,040 When I was 14, I became a mod, 185 00:14:20,080 --> 00:14:21,630 and it just carried on from there. 186 00:14:21,670 --> 00:14:23,520 I've always dressed in what I considered clothes 187 00:14:23,550 --> 00:14:25,920 that are exciting for me, 188 00:14:25,970 --> 00:14:28,800 um, to prevent me becoming humdrum 189 00:14:28,840 --> 00:14:30,680 so that I would receive reaction from people 190 00:14:30,720 --> 00:14:32,100 which would encourage me to write. 191 00:14:33,970 --> 00:14:36,520 Interviewer: You will have obviously as many men followers 192 00:14:36,560 --> 00:14:38,250 - as you have women followers. - David: Yes. 193 00:14:38,270 --> 00:14:39,790 Interviewer: I mean, you haven't been shy about 194 00:14:39,810 --> 00:14:42,110 declaring a certain air of bisexuality. 195 00:14:42,150 --> 00:14:43,790 David: Not at all. I know quite a few men. 196 00:14:46,780 --> 00:14:49,200 Woman: Some people feel you're... 197 00:14:49,240 --> 00:14:50,950 By saying you're bisexual. 198 00:14:50,990 --> 00:14:54,540 By... by kind of flaunting that in a way... 199 00:14:54,580 --> 00:14:55,700 David: Who's flaunting it? 200 00:15:00,960 --> 00:15:03,090 Interviewer: Why do you think that bisexuality in, 201 00:15:03,130 --> 00:15:06,210 say '72, '73 has become a common... not a common, 202 00:15:06,260 --> 00:15:08,130 but an accepted kind of deal. 203 00:15:08,170 --> 00:15:09,490 Why do you think we have moved into that 204 00:15:09,510 --> 00:15:11,890 era of liberal behavior? 205 00:15:11,930 --> 00:15:13,470 David: Once upon a time, your father, 206 00:15:13,510 --> 00:15:15,810 my father, everybody's father, I presume, 207 00:15:15,850 --> 00:15:19,520 wanted a good job, with a good income, or reasonable income. 208 00:15:19,560 --> 00:15:24,020 Some chance of promotion to secure their family life. 209 00:15:24,070 --> 00:15:25,730 Um, where's the camera? 210 00:15:25,780 --> 00:15:28,570 You're probably fine there, and that's where it ended. 211 00:15:28,610 --> 00:15:31,160 But now, people want a role in society. 212 00:15:31,200 --> 00:15:32,720 They want to feel that they have a position. 213 00:15:32,740 --> 00:15:34,490 They want to be an individual, 214 00:15:34,530 --> 00:15:36,220 and I think there's a lot of searching to find 215 00:15:36,240 --> 00:15:38,080 the individual within oneself. 216 00:15:38,120 --> 00:15:39,640 Interviewer: Right, and how about the shoes? 217 00:15:39,660 --> 00:15:40,930 Are those men's shoes, or women's shoes, 218 00:15:40,960 --> 00:15:42,170 or bisexual shoes? 219 00:15:42,210 --> 00:15:43,490 David: They're shoe shoes, silly. 220 00:15:51,800 --> 00:15:54,220 David: There was a feeling of excitement and titillation 221 00:15:54,260 --> 00:15:55,810 about moving in areas 222 00:15:55,850 --> 00:15:58,270 which were forbidden to the rest of society. 223 00:16:04,810 --> 00:16:07,530 From micro to macro, from yin to Yang, 224 00:16:07,570 --> 00:16:09,110 from male to female, 225 00:16:09,150 --> 00:16:12,660 there is no scissor cut. No absolute. 226 00:16:15,740 --> 00:16:19,040 I believe that there was an unconscious move to create 227 00:16:19,080 --> 00:16:22,080 a high priest form from the line of the Greek gods 228 00:16:22,120 --> 00:16:23,710 who could procreate themselves. 229 00:16:23,750 --> 00:16:26,790 Somebody who was at a super level 230 00:16:26,840 --> 00:16:30,510 to we regular mortals, because of his androgynous nature, 231 00:16:30,550 --> 00:16:32,220 being somebody that incorporated 232 00:16:32,260 --> 00:16:34,220 both feminine and masculine attributes. 233 00:16:35,340 --> 00:16:36,510 I I'm an alligator I 234 00:16:38,310 --> 00:16:41,430 I I'm a mama-papa comin' for you I 235 00:16:41,480 --> 00:16:42,940 I I'm the space invader I 236 00:16:44,690 --> 00:16:48,230 I I'll be a rock 'n' rollin' bitch for you I 237 00:16:48,270 --> 00:16:49,730 I keep your mouth shut I 238 00:16:51,400 --> 00:16:54,200 I you're squawking like a pink monkey bird I 239 00:16:54,240 --> 00:16:57,830 j'and I'm bustin' up my brains for the words I 240 00:16:58,830 --> 00:16:59,830 know I am. 241 00:17:03,410 --> 00:17:06,580 I keep your 'iectric eye on me, babe I 242 00:17:09,500 --> 00:17:13,300 I put your ray gun to my head I 243 00:17:15,970 --> 00:17:19,390 I press your space face close to mine, love I 244 00:17:21,970 --> 00:17:26,020 I freak out in a moonage daydream, oh yeah! I 245 00:17:29,320 --> 00:17:30,730 I don't fake it baby I 246 00:17:32,490 --> 00:17:35,530 I lay the real thing on me I 247 00:17:35,570 --> 00:17:37,160 I you know, the church of man, love I 248 00:17:39,030 --> 00:17:41,620 I is such a holy place to be I 249 00:17:41,660 --> 00:17:43,830 I don't fake it, baby I 250 00:17:45,290 --> 00:17:48,330 I make me know you really care I 251 00:17:48,380 --> 00:17:51,460 I make me jump into the air I 252 00:17:53,170 --> 00:17:54,300 I if you dare I 253 00:17:57,300 --> 00:18:00,550 I keep your 'iectric eye on me, babe I 254 00:18:03,430 --> 00:18:06,980 I put your ray gun to my head I 255 00:18:09,860 --> 00:18:13,440 I press your space face close to mine, love I 256 00:18:15,700 --> 00:18:19,870 I freak out in a moonage daydream, oh yeah! I 257 00:18:24,500 --> 00:18:25,910 David: It was a pudding, you know? 258 00:18:25,960 --> 00:18:27,790 It was a pudding of new ideas. 259 00:18:27,830 --> 00:18:29,880 I think we took it on our shoulders 260 00:18:29,920 --> 00:18:33,050 that we were creating the 21st century in 1971. 261 00:18:33,090 --> 00:18:36,130 We wanted to just blast everything in the past. 262 00:18:36,170 --> 00:18:40,340 Question all the established values, all the taboos. 263 00:18:40,390 --> 00:18:43,010 Everything is rubbish and all rubbish is wonderful. 264 00:18:48,480 --> 00:18:51,770 I keep your 'iectric eye on me, babe I 265 00:18:54,820 --> 00:18:58,280 I put your ray gun to my head I 266 00:19:01,120 --> 00:19:04,660 I press your space face close to mine, love I 267 00:19:07,200 --> 00:19:11,920 I freak out in a moonage daydream, oh yeah! I 268 00:19:15,630 --> 00:19:16,760 I freak out I 269 00:19:19,130 --> 00:19:20,380 I far out I 270 00:19:40,780 --> 00:19:42,410 Woman: I just didn't... to this. 271 00:19:42,450 --> 00:19:45,910 I've never seen anything like this before. 272 00:19:45,950 --> 00:19:48,190 Woman 2: See, I'm just a space cadet, he's the commander. 273 00:19:50,330 --> 00:19:51,620 Man: What universe is that? 274 00:19:51,670 --> 00:19:54,000 Man 2: Bowie universe. 275 00:19:54,040 --> 00:19:56,500 Woman: Now nobody's scared to walk around like that, 276 00:19:56,550 --> 00:19:58,460 are they? He's done it, ain't he. 277 00:19:58,510 --> 00:20:01,510 He's broke through a barrier, now, ain't he? 278 00:20:01,550 --> 00:20:03,590 Woman 2: I guess I'm living my fantasy, you know? 279 00:20:03,640 --> 00:20:04,760 Man: What's your fantasy? 280 00:20:04,800 --> 00:20:06,180 Woman 2: Oh, bowie. 281 00:20:06,220 --> 00:20:09,270 Man: I like people who are ac/dc. 282 00:20:09,310 --> 00:20:10,890 You know what I mean? 283 00:20:10,940 --> 00:20:12,580 Interviewer: Do the clothes, you are trying to say, 284 00:20:12,600 --> 00:20:15,150 are the clothes expressed now your own personality? 285 00:20:15,190 --> 00:20:17,360 David: Um, no, that I've never been quite clear about. 286 00:20:17,400 --> 00:20:18,960 I've never been sure of my own personality. 287 00:20:18,980 --> 00:20:20,690 Interviewer: That's very refreshing. 288 00:20:20,740 --> 00:20:22,980 That's a very refreshing thing to hear somebody say that. 289 00:20:24,320 --> 00:20:27,790 Very. But can you fill us in on the barest outlines? 290 00:20:27,830 --> 00:20:29,700 David: I'm a collector. 291 00:20:29,750 --> 00:20:33,290 Um, and I've always just seemed to collect personalities, 292 00:20:33,330 --> 00:20:36,670 um, ideas. I have a hodge podge philosophy 293 00:20:36,710 --> 00:20:41,130 - which really is very minimal. - Um, What? 294 00:20:41,170 --> 00:20:42,940 Interviewer: Do you believe in god? 295 00:20:42,970 --> 00:20:44,640 David: Um, I believe in an energy form. 296 00:20:44,680 --> 00:20:46,260 I'm not... I wouldn't put a... 297 00:20:46,300 --> 00:20:48,180 Iwouldn't like to put a name to it. 298 00:20:48,220 --> 00:20:50,390 Interviewer: Do you indulge in any form of worship? 299 00:20:50,430 --> 00:20:52,850 David: Um, uh, life. 300 00:20:54,100 --> 00:20:55,770 I love life very much indeed. 301 00:21:01,400 --> 00:21:03,820 David: My strivings to have some kind of spiritual base 302 00:21:03,860 --> 00:21:06,370 were really, really strong all my life, 303 00:21:06,410 --> 00:21:08,240 and I think I tried to amalgamate 304 00:21:08,280 --> 00:21:11,250 my own bedrock of spirituality. 305 00:21:11,290 --> 00:21:13,210 I mean, I was a Buddhist on Tuesday, 306 00:21:13,250 --> 00:21:15,120 and I was into Nietzsche by Friday. 307 00:21:24,680 --> 00:21:27,010 Interviewer: Some time flirting with buddhism, 308 00:21:27,050 --> 00:21:28,810 and spending some time in a Buddhist retreat. 309 00:21:28,850 --> 00:21:31,140 David: I mean, I felt at the time that I was, you know, 310 00:21:31,180 --> 00:21:36,480 um, Buddha's answer to everything he wanted man to be, 311 00:21:36,520 --> 00:21:39,320 but I'm... the one thing that hung over from that time 312 00:21:39,360 --> 00:21:42,740 was the feeling of impermanence and transience. 313 00:21:42,780 --> 00:21:45,530 That was the one thing that really struck home 314 00:21:45,570 --> 00:21:47,450 about everything that I was learning. 315 00:21:47,490 --> 00:21:49,280 Nothing's gonna stay around very long. 316 00:21:49,330 --> 00:21:50,720 I mean, you know, everything changes 317 00:21:50,740 --> 00:21:52,410 different rates. 318 00:21:52,450 --> 00:21:54,910 Some seem to me sort of established for a bit, 319 00:21:54,960 --> 00:21:57,710 but they're only moving at a slower rate than other things 320 00:21:57,750 --> 00:22:00,590 and they're all inevitably sort of a change-over. 321 00:22:11,600 --> 00:22:15,270 For me, there's always been a thread of merely, 322 00:22:15,310 --> 00:22:17,480 um, a search. 323 00:22:17,520 --> 00:22:20,270 Generally, I think the subject matters always come back 324 00:22:20,310 --> 00:22:23,570 to this singular question of nearly every artist, 325 00:22:23,610 --> 00:22:26,150 which is what's my relationship with the universe? 326 00:22:26,200 --> 00:22:28,860 Whatever other form it takes that's basic, 327 00:22:28,910 --> 00:22:31,410 I think that's probably the essential question 328 00:22:31,450 --> 00:22:34,200 that all of us ask ourselves. 329 00:22:34,240 --> 00:22:36,460 A lot of us probably on that last few minutes. 330 00:22:50,590 --> 00:22:52,100 Interviewer: What's Ziggy? 331 00:22:52,140 --> 00:22:54,970 David: Ziggy, I wanted... I wanted to define 332 00:22:55,020 --> 00:22:58,020 the archetype "Messiah rockstar." 333 00:22:58,060 --> 00:22:59,940 That's all I wanted to do, 334 00:22:59,980 --> 00:23:02,940 and I used the trappings of kabuki theater, 335 00:23:02,980 --> 00:23:06,280 mime technique, and fringe New York music. 336 00:23:07,490 --> 00:23:10,320 I love, love me do I 337 00:23:10,360 --> 00:23:13,780 I you know I love you I 338 00:23:13,830 --> 00:23:16,830 I I'll always be true I 339 00:23:16,870 --> 00:23:19,830 I so please I 340 00:23:22,210 --> 00:23:23,340 audience: I love me do I 341 00:23:25,590 --> 00:23:27,300 David: J“ loves to be loved I 342 00:23:27,340 --> 00:23:29,470 David: Ziggy was for me a very simplistic thing: 343 00:23:29,510 --> 00:23:31,890 What it seemed to be, an alien rockstar, 344 00:23:31,930 --> 00:23:34,600 but other people reread him 345 00:23:34,640 --> 00:23:37,140 and contributed more information about Ziggy 346 00:23:37,180 --> 00:23:38,180 than I'd put into him. 347 00:24:07,210 --> 00:24:10,050 David: You know, we've set ourselves up as such. 348 00:24:10,090 --> 00:24:11,930 We want it all. 349 00:24:11,970 --> 00:24:13,680 You know, we want all the adulation, 350 00:24:13,720 --> 00:24:15,410 and people to read the lyrics, and read and everything 351 00:24:15,430 --> 00:24:16,680 just to play the game. 352 00:26:52,170 --> 00:26:54,230 David: When I was really young, one of the mysteries, 353 00:26:54,250 --> 00:26:57,300 the great mystery of rock, was that I hardly understood 354 00:26:57,340 --> 00:26:59,380 a word of what they were singing about. 355 00:27:01,550 --> 00:27:03,850 Fats domino, I still don't know 356 00:27:03,890 --> 00:27:05,850 one word of one lyric that he ever wrote. 357 00:27:05,890 --> 00:27:08,480 I never understood his pronunciation. 358 00:27:08,520 --> 00:27:11,230 And that made it even more mysterious, and wonderful, 359 00:27:11,270 --> 00:27:12,900 and magic, you know? 360 00:27:12,940 --> 00:27:14,690 That he was talking about something 361 00:27:14,730 --> 00:27:17,030 that I couldn't even possibly start to understand, 362 00:27:17,070 --> 00:27:19,570 and I wanted in. 363 00:27:19,610 --> 00:27:21,410 I wanted to be in that place, 364 00:27:21,450 --> 00:27:24,660 this alternate universe, you know? 365 00:27:24,700 --> 00:27:27,200 And that was so much a part of the magic of music, 366 00:27:27,250 --> 00:27:29,120 and the same with art. 367 00:27:29,160 --> 00:27:32,540 I never really... I could appreciate the vermeer, 368 00:27:32,580 --> 00:27:35,050 or tintoretto, or titian, or something like that, 369 00:27:35,090 --> 00:27:37,380 but because it was symbolic and figurative, 370 00:27:37,420 --> 00:27:41,680 it didn't... I was never that impressed with virtuosity. 371 00:27:41,720 --> 00:27:44,390 I was, you know, I understood that their technique 372 00:27:44,430 --> 00:27:46,450 and the way they applied paint, and what they could do, 373 00:27:46,470 --> 00:27:49,480 and how they could embrace light and all that, 374 00:27:49,520 --> 00:27:52,520 I understood and realized the... 375 00:27:52,560 --> 00:27:56,650 And I bowed in humbleness at their... 376 00:27:56,690 --> 00:27:59,360 But it wasn't... I mean, that's not what I wanted from it. 377 00:27:59,400 --> 00:28:01,110 I wanted to use art. 378 00:28:01,150 --> 00:28:04,490 I wanted to use art in a different way in my life. 379 00:28:04,530 --> 00:28:06,330 I wanted a sense that... 380 00:28:09,750 --> 00:28:12,120 All the nooks and crannies that we don't understand 381 00:28:12,170 --> 00:28:14,420 about the way that we live through our day to day life, 382 00:28:14,460 --> 00:28:17,090 and I wanted that shown to me, you know? 383 00:28:17,130 --> 00:28:20,630 Not in great clarity, but some kind of physical manifestation 384 00:28:20,670 --> 00:28:24,260 of these are the areas of life that are causing you grief, 385 00:28:24,300 --> 00:28:28,020 or euphoria, and you don't really know why. 386 00:28:28,060 --> 00:28:29,890 Why is it that you wake up one day, 387 00:28:29,930 --> 00:28:33,770 and an oak tree, hit by the light in a certain way, 388 00:28:33,810 --> 00:28:37,980 will produce these extraordinary feelings of glee, 389 00:28:38,030 --> 00:28:39,740 and absolute enjoyment, 390 00:28:39,780 --> 00:28:42,110 exhilaration at actually being alive. 391 00:28:42,150 --> 00:28:44,610 Another day, you can wake up 392 00:28:44,660 --> 00:28:47,450 and that same tree will seem like some 393 00:28:47,490 --> 00:28:51,750 caspar David friedrich symbolic death, you know? 394 00:28:51,790 --> 00:28:54,000 And it will be dark and negative and awful, you know? 395 00:28:54,040 --> 00:28:56,670 And it's that sense of why those things happen? 396 00:28:56,710 --> 00:28:59,630 Why aren't things the same every single day 397 00:28:59,670 --> 00:29:01,630 and produce exactly the same feeling? 398 00:29:01,670 --> 00:29:03,430 And art always does that to me. 399 00:29:16,520 --> 00:29:18,520 Interviewer: What are your hobbies? 400 00:29:18,570 --> 00:29:20,130 David: Well, where would you like to start? 401 00:29:20,150 --> 00:29:25,950 Uh, I sculpt, paint, and write films. 402 00:29:25,990 --> 00:29:29,080 Um, I make video television. 403 00:29:29,120 --> 00:29:30,830 Not programs, but video television. 404 00:29:30,870 --> 00:29:33,460 - Interviewer: Of what? - Um, art things that I do. 405 00:29:33,500 --> 00:29:39,380 Experimental video, and cinematography. 406 00:29:39,420 --> 00:29:41,060 Interviewer: With the art now that you create, 407 00:29:41,090 --> 00:29:42,510 the sculpturings... 408 00:29:42,550 --> 00:29:45,180 David: Yeah, I have... You'll see. 409 00:29:47,640 --> 00:29:49,430 Interviewer: Is what... 410 00:29:49,470 --> 00:29:52,640 David: I play with video, yes. I flirt an awful lot. 411 00:30:02,780 --> 00:30:04,380 I've asked again, over the last few years, 412 00:30:04,400 --> 00:30:06,280 I've been identifying again with a force. 413 00:30:06,320 --> 00:30:07,950 I don't know how I'm going to... 414 00:30:07,990 --> 00:30:10,410 How it will end up for me, 415 00:30:10,450 --> 00:30:14,330 but, um, I can't pinpoint it, 416 00:30:14,370 --> 00:30:16,460 but I do have a very strong belief in... 417 00:30:18,000 --> 00:30:20,380 In a force, and I don't know how it works. 418 00:30:20,420 --> 00:30:23,510 What I mean is, there is something else other than us. 419 00:30:23,550 --> 00:30:25,720 That's as near as I can get to it, 420 00:30:25,760 --> 00:30:30,300 and it may even just be people on other planets 421 00:30:30,350 --> 00:30:31,640 that I'm thinking about. 422 00:30:31,680 --> 00:30:33,220 It may be god. 423 00:30:33,270 --> 00:30:34,980 It may be... I don't know what it is, 424 00:30:35,020 --> 00:30:36,620 but there's a definite force that I feel. 425 00:30:38,230 --> 00:30:40,040 Interviewer: Almost like there's something else, 426 00:30:40,060 --> 00:30:42,040 - that we're just a part of it. - David: Yeah. Yeah. 427 00:30:42,070 --> 00:30:44,320 Interviewer: That's beyond us. That's my feeling as well. 428 00:30:44,360 --> 00:30:47,320 There's always been, um, for me... 429 00:30:47,360 --> 00:30:50,280 I guess for a lot of people... A certain sense of you 430 00:30:50,320 --> 00:30:53,910 that's other-worldly. Um, and of course that's... 431 00:31:03,880 --> 00:31:08,430 I dilejo I 432 00:31:10,550 --> 00:31:16,180 I sula vie milejo I 433 00:31:16,220 --> 00:31:20,770 I mmm-omm... I 434 00:32:17,790 --> 00:32:19,120 David: Like anything useful, 435 00:32:20,540 --> 00:32:22,080 it's all got to do with fear. 436 00:32:24,380 --> 00:32:26,170 I think he's broken his arm, sir. 437 00:32:28,840 --> 00:32:31,550 They wouldn't bother with it, captain. 438 00:32:33,430 --> 00:32:38,350 I I'm closer to the golden dawn I 439 00:32:38,390 --> 00:32:42,060 I immersed in crowley's uniform I 440 00:32:42,100 --> 00:32:45,360 I of imagery... I 441 00:32:45,400 --> 00:32:47,570 interviewer: Ziggy was a disguise? 442 00:32:47,610 --> 00:32:49,280 David: He was a character that I created. 443 00:32:49,320 --> 00:32:51,320 I wanted to make films... 444 00:32:51,360 --> 00:32:54,070 I I'm living in a silent film... I 445 00:32:54,110 --> 00:32:58,160 and I transposed most of those ideas into music form. 446 00:33:00,830 --> 00:33:02,180 Interviewer: How long is it gonna take 447 00:33:02,210 --> 00:33:03,790 before you're all David bowie? 448 00:33:03,830 --> 00:33:05,460 David: Oh never, you know. 449 00:33:05,500 --> 00:33:07,290 I'd run off into something else, you know. 450 00:33:07,340 --> 00:33:11,420 I I'm frightened by the total goal I 451 00:33:11,460 --> 00:33:14,130 I drawing to the ragged hole I 452 00:33:14,180 --> 00:33:15,700 interviewer: What's "changes" all about? 453 00:33:15,720 --> 00:33:18,100 David: Changes. 454 00:33:18,140 --> 00:33:20,310 Someone putting themselves through 455 00:33:20,350 --> 00:33:23,230 as much experimentation to, you know, 456 00:33:23,270 --> 00:33:25,940 sort of treating oneself as a bit of an experiment. 457 00:33:27,270 --> 00:33:30,190 I put myself in predicaments 458 00:33:30,230 --> 00:33:33,070 to see how I'll cope with them a lot. 459 00:33:33,110 --> 00:33:36,620 It's sort of trying to strengthen myself. 460 00:33:36,660 --> 00:33:41,200 I I'm the twisted name in goebbel's eyes I 461 00:33:41,240 --> 00:33:44,500 I living proof of Churchill's lies I 462 00:33:45,670 --> 00:33:47,750 I I'm destiny I 463 00:33:52,550 --> 00:33:57,220 I I'm torn between the light and dark I 464 00:33:57,260 --> 00:34:00,350 I where others see their targets I 465 00:34:00,390 --> 00:34:04,230 I in divine symmetry I 466 00:34:09,270 --> 00:34:12,360 I put myself in dangerous situations, which I did. 467 00:34:12,400 --> 00:34:16,150 Put myself in any situation which I feel I can't cope with. 468 00:34:16,200 --> 00:34:17,630 Interviewer: Dangerous situations, such as what? 469 00:34:17,660 --> 00:34:19,120 Can you explain that? 470 00:34:19,160 --> 00:34:20,760 David: Yeah. Areas where I have to be in, 471 00:34:20,780 --> 00:34:22,370 sort of, social contact with people, 472 00:34:22,410 --> 00:34:24,330 which I'm not very good at doing. 473 00:34:24,370 --> 00:34:26,040 I put myself in... 474 00:34:26,080 --> 00:34:27,890 Interviewer: I don't quite know what you mean now. 475 00:34:27,920 --> 00:34:29,640 David: Well, I went to Los Angeles and I lived there 476 00:34:29,670 --> 00:34:31,960 for a couple of years, which is a city I really detest. 477 00:34:32,000 --> 00:34:33,670 - Interviewer: Yeah. - David: So, iwent to 478 00:34:33,710 --> 00:34:37,380 live there to see what would happen to my writing. 479 00:34:39,510 --> 00:34:43,890 Aretha Franklin: I when my soul was in the lost and found... I 480 00:34:43,930 --> 00:34:45,240 interviewer: Since you've been in america, 481 00:34:45,270 --> 00:34:46,890 you seem to have picked up 482 00:34:46,940 --> 00:34:50,060 on a lot of the idioms and themes of American music, 483 00:34:50,110 --> 00:34:53,150 and American culture. How has that happened? 484 00:34:53,190 --> 00:34:55,940 David: There's a fly floating around in my milk. 485 00:34:55,990 --> 00:34:58,950 There's a foreign body in it, you see? 486 00:34:58,990 --> 00:35:00,740 And it's getting a lot of milk. 487 00:35:00,780 --> 00:35:02,160 That's kind of how I feel. 488 00:35:04,290 --> 00:35:07,710 Aforeign body, and I just... I couldn't help but soak it up. 489 00:35:07,750 --> 00:35:09,500 You know. 490 00:35:09,540 --> 00:35:12,000 I hated it when I first came here. 491 00:35:12,040 --> 00:35:13,290 I couldn't see any of it. 492 00:35:14,500 --> 00:35:16,210 Look, a wax museum. 493 00:35:16,260 --> 00:35:19,340 Hey, a bleedin' wax museum in the middle of a desert! 494 00:35:19,380 --> 00:35:21,430 You'd think it would melt, wouldn't you? 495 00:35:39,650 --> 00:35:41,450 David: There's a good, old circle thing, 496 00:35:41,490 --> 00:35:43,370 and it really is, it's uh, 497 00:35:43,410 --> 00:35:47,200 it's the decadence that precedes the righteousness, 498 00:35:47,250 --> 00:35:49,750 and the morality 499 00:35:49,790 --> 00:35:53,750 of an extremely right wing art form, 500 00:35:53,790 --> 00:35:56,960 which, in its right wing-ness is in fact very liberal 501 00:35:57,010 --> 00:35:58,980 because the faster you can get rid of the right wings, 502 00:35:59,010 --> 00:36:02,050 and by accelerating it, then you bring back. 503 00:36:02,090 --> 00:36:04,800 You've got to go through the dictatorship. 504 00:36:04,850 --> 00:36:06,600 You've got to go through the right wing... 505 00:36:06,640 --> 00:36:07,890 David: Coveting the highest... 506 00:36:07,930 --> 00:36:09,980 David: Exactly. 507 00:36:10,020 --> 00:36:11,770 Man ray is suddenly getting very popular... 508 00:36:13,690 --> 00:36:17,070 And it's... I mean, I... we... I know, you know what's coming. 509 00:36:17,110 --> 00:36:22,820 I mean, baby, what is coming. 510 00:36:22,860 --> 00:36:24,280 Of course it is, yeah. 511 00:36:24,320 --> 00:36:26,330 And we're going to live through it. 512 00:36:26,370 --> 00:36:28,620 We're gonna be lucky enough. 513 00:36:28,660 --> 00:36:31,460 David: This ain't rock and roll! 514 00:36:31,500 --> 00:36:33,880 This is genocide! 515 00:36:57,070 --> 00:36:58,730 I I've come on a few years I 516 00:36:58,780 --> 00:37:00,990 I from my Hollywood highs I 517 00:37:01,030 --> 00:37:02,610 I the best of the last I 518 00:37:02,650 --> 00:37:04,860 I the cleanest star' they ever had I 519 00:37:04,910 --> 00:37:06,700 I I'm stiff on my legend I 520 00:37:06,740 --> 00:37:08,620 I the films that I made I 521 00:37:08,660 --> 00:37:10,410 I forget that I'm fifty I 522 00:37:10,450 --> 00:37:12,540 I 'cause you just got paid I 523 00:37:12,580 --> 00:37:14,500 I crack, baby, crack I 524 00:37:14,540 --> 00:37:16,500 I show me you're real I 525 00:37:16,540 --> 00:37:20,170 I smack, baby, smack, is that all that you feel I 526 00:37:20,210 --> 00:37:21,970 I suck, baby, suck I 527 00:37:22,010 --> 00:37:24,180 I give me your head I 528 00:37:24,220 --> 00:37:26,010 I before you start professing I 529 00:37:26,050 --> 00:37:29,140 I that you're knocking me dead... I 530 00:37:29,180 --> 00:37:30,990 interviewer: You know, you haven't... your accent, 531 00:37:31,020 --> 00:37:33,430 your voice, your method of speech has not changed. 532 00:37:33,480 --> 00:37:35,650 You've been away for two years. 533 00:37:35,690 --> 00:37:37,730 Does that mean you've been locked away somewhere? 534 00:37:37,770 --> 00:37:39,230 David: Yes, I don't talk to anybody. 535 00:37:41,440 --> 00:37:44,200 Interviewer: But do people talk to you? 536 00:37:44,240 --> 00:37:45,780 David: I've heard it rumored, yes. 537 00:37:47,320 --> 00:37:48,780 I but since he pinned you, baby I 538 00:37:48,830 --> 00:37:50,950 I you're a porcupine I 539 00:37:50,990 --> 00:37:54,580 I you sold me illusions for a sack full of checks I 540 00:37:54,620 --> 00:37:58,330 I you've made a bad connection 'cause I just want your sex I 541 00:37:58,380 --> 00:38:00,380 I crack, baby, crack I 542 00:38:00,420 --> 00:38:02,510 I show me you're real I 543 00:38:02,550 --> 00:38:06,220 I smack, baby, smack, is that all that you feel I 544 00:38:06,260 --> 00:38:08,220 I suck, baby, suck I 545 00:38:08,260 --> 00:38:09,640 I give me your head I 546 00:38:09,680 --> 00:38:11,560 I before you start professing I 547 00:38:11,600 --> 00:38:13,980 I that you're knocking me dead I 548 00:38:15,270 --> 00:38:16,850 ioh... j“ 549 00:38:22,570 --> 00:38:24,110 I oh stay I 550 00:38:26,360 --> 00:38:27,780 I don't you dare I 551 00:38:30,370 --> 00:38:32,330 I oh yeah... I 552 00:38:35,910 --> 00:38:37,290 I don't you dare I 553 00:38:39,790 --> 00:38:42,840 I oh yeah, yeah, yeah, yeah I 554 00:38:42,880 --> 00:38:44,210 j'yeah... I 555 00:39:20,210 --> 00:39:22,090 Dick: Some people thought... 556 00:39:22,130 --> 00:39:24,100 There's a lady who said "I don't know if he'd be... 557 00:39:24,130 --> 00:39:25,900 If I'd want to meet him. He would make me very nervous. 558 00:39:25,920 --> 00:39:27,440 I have a feeling he's into black magic, 559 00:39:27,470 --> 00:39:29,220 and that sort of thing." 560 00:39:29,260 --> 00:39:31,320 And other people see you as just a very skillful performer 561 00:39:31,340 --> 00:39:33,430 who changes from time to time, 562 00:39:33,470 --> 00:39:34,720 from one thing to another. 563 00:39:34,760 --> 00:39:36,810 David: Yeah. Well, both of that is... 564 00:39:36,850 --> 00:39:38,270 Dick: All of the above? 565 00:39:39,980 --> 00:39:41,560 Rock 'n' roll with me 566 00:39:41,600 --> 00:39:45,440 I you always were the one that knew I 567 00:39:48,440 --> 00:39:52,070 I they sold us for the likes of you I 568 00:39:55,370 --> 00:39:58,540 I I never wanted anything I 569 00:39:58,580 --> 00:40:01,080 I but new surroundings I 570 00:40:02,880 --> 00:40:04,960 I a room to rent I 571 00:40:05,000 --> 00:40:10,840 I while the lizards lay lying in the heat I 572 00:40:10,880 --> 00:40:12,530 interviewer: What kind of childhood did you have? 573 00:40:12,550 --> 00:40:14,050 David: Oh, incredibly ordinary. 574 00:40:14,100 --> 00:40:15,890 - Interviewer: Ordinary? - David: Yeah. 575 00:40:15,930 --> 00:40:17,530 - Interviewer: In what way? - David: Well, I mean, 576 00:40:17,560 --> 00:40:19,390 it was regular. I went to school, I ate. 577 00:40:21,730 --> 00:40:24,150 David: In suburbia, you're given the impression 578 00:40:24,190 --> 00:40:26,150 that nothing culturally belongs to you. 579 00:40:26,190 --> 00:40:28,280 That you are sort of in this wasteland, 580 00:40:28,320 --> 00:40:30,740 and I think there's a passion for most people 581 00:40:30,780 --> 00:40:33,280 who have an iota of curiosity 582 00:40:33,320 --> 00:40:35,740 about them to escape and get out. 583 00:40:35,780 --> 00:40:40,290 I when you rock 'n' roll with me I 584 00:40:43,290 --> 00:40:47,420 I no one else I'd rather be I 585 00:40:49,760 --> 00:40:55,890 I nobody here can do it for me I 586 00:40:55,930 --> 00:40:57,810 I I'm in tears again I 587 00:41:01,680 --> 00:41:06,810 I when you rock 'n' roll with me I 588 00:41:10,490 --> 00:41:12,320 David: One of my siblings 589 00:41:12,360 --> 00:41:14,990 meant so much to me in my early years, 590 00:41:15,030 --> 00:41:17,580 and his name was Terry, and he was my half-brother, 591 00:41:17,620 --> 00:41:19,160 my mother's son. 592 00:41:19,200 --> 00:41:20,720 David: Hey, hey, good evening, buffalo. 593 00:41:20,750 --> 00:41:23,460 It's nice to be here. 594 00:41:23,500 --> 00:41:27,790 David: He was living between our family and another family, 595 00:41:27,840 --> 00:41:30,250 and the periods that I did see him, 596 00:41:30,300 --> 00:41:33,300 it seemed to me that he had more curiosity about the world 597 00:41:33,340 --> 00:41:34,880 than anybody I'd met. 598 00:41:36,430 --> 00:41:41,180 And the first real, major event for me was 599 00:41:41,220 --> 00:41:43,390 when he passed Jack kerouac's on the road on to me, 600 00:41:43,430 --> 00:41:46,730 which really changed my life. 601 00:41:46,770 --> 00:41:50,270 And he would also introduce me to people like John Coltrane, 602 00:41:50,320 --> 00:41:51,940 which was way above my head, 603 00:41:51,980 --> 00:41:53,950 but I wanted to read what he read, 604 00:41:53,990 --> 00:41:56,450 and I wanted to listen to what he listened to, 605 00:41:56,490 --> 00:41:59,370 as one does with an older brother. 606 00:41:59,410 --> 00:42:04,000 I when you rock 'n' roll with me I 607 00:42:06,420 --> 00:42:11,170 I no one else I'd rather be I 608 00:42:13,340 --> 00:42:18,890 I nobody here can do it for me... I 609 00:42:18,930 --> 00:42:21,060 David: I think Terry probably gave me a great... 610 00:42:21,100 --> 00:42:22,720 The greatest serviceable education 611 00:42:22,770 --> 00:42:24,560 I could ever have had. 612 00:42:24,600 --> 00:42:27,980 I mean, he just introduced me to the outside things, 613 00:42:28,020 --> 00:42:30,360 kinds of books, and kinds of music 614 00:42:30,400 --> 00:42:32,690 and attitudes that just weren't 615 00:42:32,730 --> 00:42:34,400 the currency in the area that I grew up. 616 00:42:35,990 --> 00:42:38,280 And then he would go away for long periods, 617 00:42:38,320 --> 00:42:41,490 and one period he went away and joined the raf. 618 00:42:43,370 --> 00:42:48,880 When he came back, he had very evident signs of schizophrenia, 619 00:42:48,920 --> 00:42:50,920 and he stayed in hospital for the rest of his life. 620 00:42:57,130 --> 00:43:01,850 I when you rock 'n' roll with me I 621 00:43:04,270 --> 00:43:08,690 I no one else I'd rather be I 622 00:43:11,520 --> 00:43:16,320 I nobody here can do it for me... I 623 00:43:18,280 --> 00:43:20,660 David: I think it made me worry about my own disposition, 624 00:43:20,700 --> 00:43:23,490 and whether I just had eccentric ideas, 625 00:43:23,530 --> 00:43:26,500 or whether I was heading somewhere else. 626 00:43:26,540 --> 00:43:32,170 I when you rock 'n' roll, rock 'n' roll with me I 627 00:43:33,710 --> 00:43:38,260 I no one else I'd rather, I'd rather be I 628 00:43:41,050 --> 00:43:45,510 I nobody down here can do it for me I 629 00:43:48,180 --> 00:43:49,940 I I'm in tears I 630 00:43:51,900 --> 00:43:53,190 I I'm in tears I 631 00:43:55,480 --> 00:44:00,860 I when you rock 'n' roll with me... I 632 00:44:03,240 --> 00:44:04,780 I oh yeah I 633 00:44:06,740 --> 00:44:09,750 I rock 'n' roll with me I 634 00:44:09,790 --> 00:44:11,670 I oh-hoo yeah. I 635 00:44:20,470 --> 00:44:22,110 Interviewer: I understand that you have a fear 636 00:44:22,130 --> 00:44:24,180 because there was mental illness in your family, 637 00:44:24,220 --> 00:44:27,010 that you have a fear of mental illness. Is that true? 638 00:44:27,060 --> 00:44:30,230 David: Um, no, I developed a system against it. 639 00:44:30,270 --> 00:44:33,560 I think that probably became part of the therapy of art, 640 00:44:33,600 --> 00:44:36,110 and I was fortunate enough to be able to 641 00:44:36,150 --> 00:44:38,690 express any visions that I had in my head. 642 00:44:38,730 --> 00:44:40,250 - Interviewer: Yeah. - David: Very outwardly. 643 00:44:40,280 --> 00:44:42,820 David: Gradually learning to do without sleep. 644 00:44:45,780 --> 00:44:48,540 David: It's a labyrinthine existence that we live, 645 00:44:48,580 --> 00:44:51,460 and so it makes sense for me to put together 646 00:44:51,500 --> 00:44:53,040 elements in a song which 647 00:44:53,080 --> 00:44:55,040 wouldn't naturally be good bedfellows. 648 00:44:59,800 --> 00:45:02,260 I guess I'm trying to articulate... 649 00:45:04,430 --> 00:45:06,550 Those mysterious corners of the mind 650 00:45:06,600 --> 00:45:08,510 where there exist grains of truth 651 00:45:08,560 --> 00:45:10,430 that we don't often touch on, 652 00:45:10,470 --> 00:45:12,890 because we don't have the words to capture them. 653 00:45:15,190 --> 00:45:17,980 So, we'll write on three or four different subject matters, 654 00:45:18,020 --> 00:45:21,940 and then integrate them together by cutting them up. 655 00:45:21,990 --> 00:45:25,240 What I've used it for more than anything else 656 00:45:25,280 --> 00:45:30,080 is igniting anything that might be in my imagination. 657 00:45:30,120 --> 00:45:31,840 I've tried doing it with diaries and things, 658 00:45:31,870 --> 00:45:34,420 and I was finding out amazing things about me 659 00:45:34,460 --> 00:45:36,540 and what I'd done and where I was going. 660 00:45:38,090 --> 00:45:39,920 A lot of the things I had done, 661 00:45:39,960 --> 00:45:42,470 it seemed that it would predict things about the future 662 00:45:42,510 --> 00:45:45,470 and tell me a lot about the past. 663 00:45:45,510 --> 00:45:49,810 I suppose it's a very western tarot. I don't know. 664 00:45:49,850 --> 00:45:51,810 Obviously, one is trying to always 665 00:45:51,850 --> 00:45:53,850 reevaluate one's personality, 666 00:45:53,890 --> 00:45:56,560 and understand why one works. 667 00:45:58,560 --> 00:46:01,530 I think a lot of artists deal with loneliness and solitude. 668 00:46:03,690 --> 00:46:07,870 An artist does tend to examine the world 669 00:46:07,910 --> 00:46:09,740 through his relationship to it, 670 00:46:09,780 --> 00:46:11,620 and so that produces 671 00:46:11,660 --> 00:46:13,700 a very introverted looking lot of work. 672 00:46:13,750 --> 00:46:16,710 I don't feel lonely. I apply that to my work. 673 00:46:16,750 --> 00:46:21,460 I sense a feeling of loneliness from my work when I look at it, 674 00:46:21,500 --> 00:46:24,760 but I don't feel like a solitary person myself, 675 00:46:24,800 --> 00:46:26,590 but it seems to show up in my work, 676 00:46:26,630 --> 00:46:28,890 and it's like taking a photograph 677 00:46:28,930 --> 00:46:30,850 and then developing the negative 678 00:46:30,890 --> 00:46:33,350 and seeing another person standing behind you. 679 00:46:33,390 --> 00:46:39,230 I who will love Aladdin sane I 680 00:46:39,270 --> 00:46:44,030 I battle cries and champagne just in time for sunrise I 681 00:46:44,070 --> 00:46:49,320 I who will love Aladdin sane I 682 00:46:51,780 --> 00:46:53,990 I motor sensational I 683 00:46:56,160 --> 00:46:58,710 I Paris or maybe hell I 684 00:46:58,750 --> 00:47:00,330 I I'm waiting I 685 00:47:00,380 --> 00:47:02,710 I clutches of sad remains I 686 00:47:04,670 --> 00:47:08,630 I waits for Aladdin sane you'll make it I 687 00:47:08,680 --> 00:47:14,890 I who will love Aladdin sane I 688 00:47:14,930 --> 00:47:18,520 I millions weep a fountain, just in case of sunrise... I 689 00:47:18,560 --> 00:47:19,900 interviewer: With your background, 690 00:47:19,940 --> 00:47:23,610 why were you intrigued by all this? 691 00:47:23,650 --> 00:47:27,570 David: Um, it was... I mean, 692 00:47:27,610 --> 00:47:29,820 it filled a vast expanse of my imagination. 693 00:47:29,860 --> 00:47:31,320 I was always pretty imaginative. 694 00:47:33,580 --> 00:47:36,370 And the imagination can dry up in 695 00:47:36,410 --> 00:47:38,620 wherever you're living in england, often. 696 00:47:38,660 --> 00:47:40,920 I mean, if there's nothing to keep it going. 697 00:47:40,960 --> 00:47:42,880 It just supplied a need in me. 698 00:47:44,380 --> 00:47:46,800 American became a myth-land for me. 699 00:47:53,010 --> 00:47:55,760 David: We're not stopped. Is there anything behind us? 700 00:48:01,150 --> 00:48:02,730 Interviewer: Let's go with him now live, 701 00:48:02,770 --> 00:48:04,360 by satellite, 702 00:48:04,400 --> 00:48:06,980 to beautiful downtown Burbank in Los Angeles. 703 00:48:09,110 --> 00:48:10,210 Audience member: Is it true that you're gonna be 704 00:48:10,240 --> 00:48:11,410 teaming up with... 705 00:48:12,620 --> 00:48:14,490 Every Avenue. 706 00:48:14,530 --> 00:48:17,290 It's very calm, and it's a kind of a superficial calmness 707 00:48:17,330 --> 00:48:19,430 that they've developed to underplay the fact that it's... 708 00:48:19,460 --> 00:48:22,330 There's a lot of high pressure here, 709 00:48:22,370 --> 00:48:24,210 as it's a very big entertainment industry area. 710 00:48:26,000 --> 00:48:28,710 And you get this feeling of unease with everybody. 711 00:48:28,760 --> 00:48:30,130 It's a very big entertainment area. 712 00:48:30,170 --> 00:48:31,630 David: The first time that it really 713 00:48:31,680 --> 00:48:34,140 came home to me what a strange... 714 00:48:36,140 --> 00:48:40,020 About the churches designed by an architect... 715 00:48:40,060 --> 00:48:41,810 David: Arthur, would you please slow down? 716 00:48:43,520 --> 00:48:45,120 Interviewer: We're bouncing backwards and forwards 717 00:48:45,150 --> 00:48:46,570 on the satellite at the moment. 718 00:48:46,610 --> 00:48:49,530 I mean, our sound is bouncing around. 719 00:48:49,570 --> 00:48:50,740 Yes, I can see it. 720 00:48:52,780 --> 00:48:54,320 It'll be all right in a minute. 721 00:49:00,290 --> 00:49:01,610 Interviewer: Are you there, David? 722 00:49:02,710 --> 00:49:03,920 Are you there, David? 723 00:49:03,960 --> 00:49:05,830 Bedroom in the sky. 724 00:49:05,880 --> 00:49:07,600 Interviewer: Are you there, Mr. David bowie? 725 00:49:16,930 --> 00:49:19,970 David: I think that I felt often, 726 00:49:20,020 --> 00:49:24,480 ever since I was a teenager, 727 00:49:24,520 --> 00:49:29,690 um, so adrift, and so not part of everyone I saw. 728 00:49:30,900 --> 00:49:32,570 There's so many dark secrets 729 00:49:32,610 --> 00:49:33,990 about my family in the cupboard 730 00:49:34,030 --> 00:49:36,780 that it kind of made me feel 731 00:49:36,820 --> 00:49:39,240 very much on the outside of everything, 732 00:49:39,290 --> 00:49:44,710 and because of that, I felt there was no basis to my life, 733 00:49:44,750 --> 00:49:46,710 like everybody else seemed to have. 734 00:49:48,250 --> 00:49:50,630 Which of course is ridiculous. 735 00:49:50,670 --> 00:49:53,340 Probably, I would do things to prove that 736 00:49:53,380 --> 00:49:56,220 I had some emotional substance... 737 00:49:57,600 --> 00:49:59,100 When in fact I didn't. 738 00:50:40,100 --> 00:50:43,060 David: Thematically, I've always dealt with isolation 739 00:50:43,100 --> 00:50:44,890 in everything I've written, I think. 740 00:50:44,930 --> 00:50:47,140 Interviewer: If you're interested in isolation, 741 00:50:47,190 --> 00:50:50,020 is it because you think that a person in an isolated state 742 00:50:50,060 --> 00:50:53,190 feel greater emotions than they do 743 00:50:53,230 --> 00:50:56,030 when they're surrounded by people and things? 744 00:50:56,070 --> 00:50:58,820 David: I think if he is in isolation, 745 00:50:58,860 --> 00:51:03,450 instead of receiving the whole world as his home, 746 00:51:03,490 --> 00:51:06,620 he tends to create a micro-world inside himself. 747 00:51:06,660 --> 00:51:10,420 Um, and it's that peculiar part of the human mind 748 00:51:10,460 --> 00:51:12,880 that fascinates me about the small universes 749 00:51:12,920 --> 00:51:15,920 that can be created inside the mind. 750 00:51:15,960 --> 00:51:18,340 Some of them fairly schizophrenic 751 00:51:18,380 --> 00:51:19,470 and quite off the wall. 752 00:51:22,890 --> 00:51:25,720 It feels now that I don't come from anywhere, 753 00:51:25,770 --> 00:51:28,980 but I was born in Brixton. 754 00:51:29,020 --> 00:51:30,460 Interviewer: When were you born? What year? 755 00:51:30,480 --> 00:51:33,610 David: 1947. January the eighth. 756 00:51:33,650 --> 00:51:36,740 Makes me a capricorn with an aquarius ascendant 757 00:51:36,780 --> 00:51:38,740 and a Leo descendant. 758 00:51:42,030 --> 00:51:43,640 Interviewer: How much now is left of the lad 759 00:51:43,660 --> 00:51:45,240 from Brixton, do you think? 760 00:51:45,290 --> 00:51:46,430 David: Not very much, I would think. 761 00:51:46,450 --> 00:51:48,370 I know, you know. 762 00:51:48,410 --> 00:51:52,290 I never got... I never became who I should have been. 763 00:51:52,330 --> 00:51:54,290 I've spent an awful lot of my life 764 00:51:54,340 --> 00:51:56,840 actually looking for myself, you know? 765 00:51:56,880 --> 00:52:00,840 And understanding what it was that i-why-what I existed for. 766 00:52:00,880 --> 00:52:02,680 What was it that really made me happy in life? 767 00:52:03,890 --> 00:52:05,970 And who exactly, or was... 768 00:52:06,010 --> 00:52:08,130 Who are the parts of myself I was trying to hide from? 769 00:52:10,730 --> 00:52:13,860 I think a lot of us have huge senses of denial 770 00:52:13,900 --> 00:52:16,070 about who we are and where we exist in the world 771 00:52:18,570 --> 00:52:20,110 I really wanted to sort of, you know, 772 00:52:20,150 --> 00:52:21,750 be very emotionally involved with people. 773 00:52:22,780 --> 00:52:24,370 I didn't know how to do it. 774 00:52:24,410 --> 00:52:25,910 You know, my parents were like that, 775 00:52:25,950 --> 00:52:27,620 and I guess you kind of, as they say, 776 00:52:29,080 --> 00:52:31,080 they pass on a lot of faults. 777 00:52:35,250 --> 00:52:36,930 Dick: What do your parents do for a living? 778 00:52:36,960 --> 00:52:41,340 My father's dead, and my mother has a small flat, 779 00:52:41,380 --> 00:52:44,680 and I think she's got a dayjob. 780 00:52:44,720 --> 00:52:46,360 Dick: Does she have trouble explaining you to the neighbors 781 00:52:46,390 --> 00:52:48,640 who say, "are you any relation to that..." 782 00:52:48,680 --> 00:52:50,680 David: I think she pretends I'm not hers. 783 00:52:52,390 --> 00:52:54,610 Nah, she's uh, she doesn't talk much. 784 00:52:54,650 --> 00:52:57,820 You know, she doesn't, um, I don't think we really... 785 00:52:57,860 --> 00:52:59,610 We were never that close particularly. 786 00:52:59,650 --> 00:53:01,070 We have an understanding. 787 00:53:01,110 --> 00:53:02,110 Dick: Yeah. 788 00:53:05,870 --> 00:53:07,910 Interviewer: Was it a happy marriage? 789 00:53:07,950 --> 00:53:10,540 Not necessarily terribly loving or anything, 790 00:53:10,580 --> 00:53:13,080 in terms of no real physical affection, 791 00:53:14,960 --> 00:53:17,500 or even they didn't really articulate 792 00:53:17,540 --> 00:53:18,670 any love for each other. 793 00:53:26,220 --> 00:53:28,640 There's an awful lot of emotional/spiritual mutilation 794 00:53:28,680 --> 00:53:30,310 goes on in my family. 795 00:53:35,480 --> 00:53:38,610 Interviewer: Did you like any of the traditional people 796 00:53:38,650 --> 00:53:40,690 that you're supposed to like? 797 00:53:40,730 --> 00:53:42,320 Like, did you like winnie the pooh? 798 00:53:42,360 --> 00:53:43,610 David: No. No. 799 00:53:43,650 --> 00:53:45,160 Interviewer: Rupert bear? 800 00:53:45,200 --> 00:53:46,760 David: No. No I didn't. I didn't like... 801 00:53:46,780 --> 00:53:48,330 Interviewer: Did you have a Teddy bear? 802 00:53:48,370 --> 00:53:50,330 David: No, I didn't. I don't think... 803 00:53:53,500 --> 00:53:56,290 I can't remember having anything like that at all. 804 00:53:56,330 --> 00:53:59,290 No, I never liked, um, children's things very much. 805 00:54:24,700 --> 00:54:26,260 Interviewer: You know, since you've been away, 806 00:54:26,280 --> 00:54:28,030 or quite recently, the newspapers 807 00:54:28,070 --> 00:54:30,330 having been having a bit of a bash at your mother? 808 00:54:33,620 --> 00:54:36,330 And saying that she's a bit tearful from time to time. 809 00:54:36,370 --> 00:54:39,630 And that she's suffered a certain amount of anguish, 810 00:54:39,670 --> 00:54:41,800 and that she doesn't hear from you an awful lot. 811 00:54:41,840 --> 00:54:44,010 Is that eyewash or is it real? 812 00:54:49,260 --> 00:54:50,800 David: There's some kind of traumatism 813 00:54:50,850 --> 00:54:53,350 often goes on in our childhoods I think. 814 00:54:53,390 --> 00:54:55,520 I think, that are... 815 00:54:55,560 --> 00:54:57,450 Makes us crave some kind of strange affection, you know? 816 00:54:57,480 --> 00:54:58,810 It's sort of an... 817 00:54:58,850 --> 00:55:00,480 Often you'll find that the person 818 00:55:00,520 --> 00:55:02,480 who craves a lot of affection 819 00:55:02,520 --> 00:55:04,530 actually isn't terribly good at giving it. 820 00:55:08,070 --> 00:55:11,160 Interviewer: Does that mean you have to separate yourself 821 00:55:11,200 --> 00:55:14,290 quite a lot from, say, falling in love 822 00:55:14,330 --> 00:55:16,790 and getting very involved with a person? 823 00:55:16,830 --> 00:55:20,380 Um, oh no, I think, no. 824 00:55:20,420 --> 00:55:21,790 I think quite the reverse. 825 00:55:21,840 --> 00:55:23,920 Interviewer: But, love, falling in love, 826 00:55:23,960 --> 00:55:27,090 is different from then going on to love that person. 827 00:55:27,130 --> 00:55:28,430 Yes, it is. Yes. 828 00:55:28,470 --> 00:55:30,640 And once you've loved somebody a lot, 829 00:55:30,680 --> 00:55:32,530 it means that you've got to share your life with them. 830 00:55:32,550 --> 00:55:34,410 - That's what I really... - David: No, I don't think so. 831 00:55:34,430 --> 00:55:36,930 I think you can love somebody from afar. 832 00:55:36,980 --> 00:55:39,560 But if you then decided not to love them from afar, 833 00:55:39,600 --> 00:55:42,110 you as an artist would have to give up 834 00:55:42,150 --> 00:55:43,940 quite a lot of your time to them. 835 00:55:43,980 --> 00:55:45,360 Yes, and I can't do that. 836 00:55:45,400 --> 00:55:46,790 Interviewer: That's what I was wondering, 837 00:55:46,820 --> 00:55:48,400 whether you did... Whether you did that. 838 00:55:48,450 --> 00:55:50,090 David: No, no, no, love can't get quite in my way, 839 00:55:50,110 --> 00:55:54,120 because I feel... I shelter myself from it incredibly. 840 00:55:56,120 --> 00:56:01,170 Interviewer: Do you feel removed from the body and the feel 841 00:56:01,210 --> 00:56:04,000 that you create on the planet? 842 00:56:04,040 --> 00:56:06,210 David: Until I'm performing or writing 843 00:56:06,250 --> 00:56:08,920 I mainly feel pretty much of an empty vessel. 844 00:56:10,510 --> 00:56:11,860 Interviewer: When you're performing and writing, 845 00:56:11,890 --> 00:56:13,300 you're fulfilled? 846 00:56:13,350 --> 00:56:16,180 David: I don't particularly feel... 847 00:56:16,220 --> 00:56:19,770 I ground control to major Tom I 848 00:56:23,230 --> 00:56:26,480 I ground control to major Tom I 849 00:56:30,610 --> 00:56:35,450 I take your protein pills and put your helmet on I 850 00:56:37,540 --> 00:56:40,620 I ground control to major Tom I 851 00:56:44,630 --> 00:56:48,170 I commencing countdown, engines on I 852 00:56:51,880 --> 00:56:53,760 I check ignition I 853 00:56:53,800 --> 00:56:58,470 I and may god's love be with you I 854 00:57:09,190 --> 00:57:12,860 I this is ground control to major Tom I 855 00:57:14,110 --> 00:57:16,950 I you've really made the grade I 856 00:57:18,910 --> 00:57:22,000 I and the papers want to know I 857 00:57:22,040 --> 00:57:24,370 I whose shirts you wear I 858 00:57:26,040 --> 00:57:29,380 I now it's time to leave the capsule I 859 00:57:29,420 --> 00:57:32,010 I if you dare I 860 00:57:34,010 --> 00:57:38,760 I this is major Tom to ground control I 861 00:57:38,810 --> 00:57:41,890 I I'm stepping through the door I 862 00:57:43,770 --> 00:57:48,400 I and I'm floating in a most peculiar way I 863 00:57:50,940 --> 00:57:55,490 I and the stars look very different today I 864 00:57:58,240 --> 00:58:01,240 I for here I 865 00:58:01,290 --> 00:58:04,080 iam I sitting in my tin can I 866 00:58:05,790 --> 00:58:10,210 I far above the world I 867 00:58:12,840 --> 00:58:15,680 I planet earth is blue I 868 00:58:15,720 --> 00:58:19,680 I and there's nothing I can do I 869 00:59:44,010 --> 00:59:45,810 David: Well, an awful lot of changes 870 00:59:45,850 --> 00:59:47,480 with my musical career 871 00:59:47,520 --> 00:59:49,770 were challenges to myself. 872 00:59:49,810 --> 00:59:52,730 I have to feel that I'm stepping on new ground, 873 00:59:52,770 --> 00:59:55,230 that the ice beneath my feet is very thin. 874 00:59:55,280 --> 00:59:56,740 Any second, I could crack it 875 00:59:56,780 --> 00:59:58,200 and just plunge through and drown. 876 00:59:59,990 --> 01:00:02,450 I got to a point in Los Angeles 877 01:00:02,490 --> 01:00:05,120 where I got very tired with my method of writing, 878 01:00:05,160 --> 01:00:08,210 and I wanted to invent a new musical language. 879 01:00:10,540 --> 01:00:12,500 I knew I had to get to an environment 880 01:00:12,540 --> 01:00:14,920 that was totally different to Los Angeles. 881 01:00:14,960 --> 01:00:17,090 So I thought of the most arduous city 882 01:00:17,130 --> 01:00:19,590 that I could think of, and it was west Berlin. 883 01:00:19,630 --> 01:00:22,890 They don't give an fa about who you are in Berlin. 884 01:00:22,930 --> 01:00:25,350 The trappings of rock and roll don't mean anything to them. 885 01:00:25,390 --> 01:00:27,060 So, I could walk around, buy me own food, 886 01:00:27,100 --> 01:00:29,350 and just lease a small apartment, 887 01:00:29,390 --> 01:00:31,730 which I did above an automobile spare parts shop. 888 01:00:42,030 --> 01:00:45,870 I didn't have the necessary verbal equipment 889 01:00:45,910 --> 01:00:47,990 to describe what I was seeing, 890 01:00:48,040 --> 01:00:49,480 and that's where I needed assistance. 891 01:01:00,470 --> 01:01:02,090 So, I contacted Brian eno, 892 01:01:02,130 --> 01:01:04,640 who is definitely one of the keenest brains 893 01:01:04,680 --> 01:01:06,550 of modern music, and I said, 894 01:01:06,600 --> 01:01:09,430 "look, Brian, I need to know some new processes, 895 01:01:09,470 --> 01:01:11,140 "and new methods of writing. 896 01:01:11,180 --> 01:01:13,060 Please help me, otherwise I'm packing it in." 897 01:01:14,690 --> 01:01:16,560 We started working on a series 898 01:01:16,610 --> 01:01:19,570 of processes and methods of writing in the studio in Berlin 899 01:01:19,610 --> 01:01:22,150 to invent, a different kind of linguistics to work with. 900 01:01:40,090 --> 01:01:41,880 Most of the things that I do these days, 901 01:01:41,920 --> 01:01:44,260 I go in with very little preparation. 902 01:01:44,300 --> 01:01:46,800 There's no governor, no controller. 903 01:01:46,850 --> 01:01:49,640 Every track is written with a different process, 904 01:01:49,680 --> 01:01:51,850 from spontaneous singing, 905 01:01:51,890 --> 01:01:53,120 I didn't know what I was gonna sing, 906 01:01:53,140 --> 01:01:54,730 or how I was gonna sing it, 907 01:01:54,770 --> 01:01:56,350 and I just stood in front of the mic, 908 01:01:56,400 --> 01:01:58,940 right down to fragmented, pre-thought, 909 01:01:58,980 --> 01:02:01,780 analyzed and processed writings of burroughs' school. 910 01:02:04,070 --> 01:02:05,990 It probably touches areas of emotion 911 01:02:06,030 --> 01:02:07,870 that aren't normally dwelt upon 912 01:02:07,910 --> 01:02:09,740 because they're arrived at other than 913 01:02:09,780 --> 01:02:12,040 by the regular channels of emotive thought. 914 01:02:31,060 --> 01:02:33,390 I blue, blue, electric blue I 915 01:02:33,430 --> 01:02:35,520 I that's the color of my living room I 916 01:02:35,560 --> 01:02:36,690 I where I will live I 917 01:02:39,480 --> 01:02:40,730 I blue, blue I 918 01:02:44,610 --> 01:02:46,780 I pale blinds drawn all day I 919 01:02:46,820 --> 01:02:48,700 I nothing to read and nothing to say I 920 01:02:52,870 --> 01:02:54,120 I blue, blue pale blinds I 921 01:02:58,000 --> 01:03:00,340 I I will dream of other lands I 922 01:03:00,380 --> 01:03:02,920 I waiting for the gift of sound and vision I 923 01:03:04,670 --> 01:03:06,470 David: Most of the things that I do these days 924 01:03:06,510 --> 01:03:09,090 are on the occasion of the studio. 925 01:03:09,140 --> 01:03:11,680 I go in with very little preparation, 926 01:03:11,720 --> 01:03:13,470 just throw ideas out, 927 01:03:13,520 --> 01:03:16,230 and you might make little experiments sort of say, 928 01:03:16,270 --> 01:03:17,810 look here's 50 seconds. 929 01:03:17,850 --> 01:03:20,440 Play 10 notes on that 50 seconds 930 01:03:20,480 --> 01:03:22,230 and don't repeat the same note twice. 931 01:03:28,030 --> 01:03:30,200 Now, that sounds like an awful easy thing to do. 932 01:03:30,240 --> 01:03:32,080 Well, it is. 933 01:03:32,120 --> 01:03:33,660 See, you must understand, 934 01:03:33,700 --> 01:03:35,370 I mean, it sounds incredibly indulgent, 935 01:03:35,410 --> 01:03:39,210 and indeed it is because what I'm trying to do 936 01:03:39,250 --> 01:03:42,630 is mold the traditional methods of rock and roll... 937 01:03:44,130 --> 01:03:45,460 With newer processes. 938 01:03:47,420 --> 01:03:51,140 Trying to find a new form of language. 939 01:03:51,180 --> 01:03:52,610 Interviewer: Do you think you have influence 940 01:03:52,640 --> 01:03:54,060 on their thinking, though? 941 01:03:54,100 --> 01:03:55,970 David: No. 942 01:03:56,020 --> 01:03:58,180 And that's what I'm trying to do with the new music, 943 01:03:58,230 --> 01:04:01,230 is find a new language which doesn't... it isn't that... 944 01:04:01,270 --> 01:04:03,730 Doesn't have that kind of image influence. 945 01:04:06,530 --> 01:04:08,460 Interviewer: Do you think people will understand that language? 946 01:04:08,490 --> 01:04:10,320 David: Yes. 947 01:04:10,360 --> 01:04:12,220 Because I think people, especially in the city context, 948 01:04:12,240 --> 01:04:13,830 think in fragments. 949 01:04:13,870 --> 01:04:16,620 The city person will see a milk advert on the street, 950 01:04:16,660 --> 01:04:18,330 and be thinking "milk, what's gonna... 951 01:04:18,370 --> 01:04:19,680 "What are we gonna have for dinner? 952 01:04:19,710 --> 01:04:21,370 "Boy getting knocked down by a bus, 953 01:04:21,420 --> 01:04:23,670 crashed against a wall..." That kind of thing. 954 01:04:23,710 --> 01:04:25,380 So, he's thinking in terms of, 955 01:04:25,420 --> 01:04:28,920 maybe 1,000 different images at any given time. 956 01:04:28,970 --> 01:04:32,640 And the language that Brian and I are sort of producing 957 01:04:32,680 --> 01:04:35,430 is a language that can relate to that way of thinking. 958 01:04:46,400 --> 01:04:50,280 David: We live within this manifested idea 959 01:04:50,320 --> 01:04:52,110 of what should be form, 960 01:04:52,160 --> 01:04:55,870 and what we try and keep out of our existence is chaos, 961 01:04:55,910 --> 01:04:59,080 which is a very real part of our lives, 962 01:04:59,120 --> 01:05:01,870 and our refusal to accept chaos 963 01:05:01,920 --> 01:05:04,000 as being integral to our existence, 964 01:05:04,040 --> 01:05:06,500 I think, has been one of the greatest mistakes 965 01:05:06,540 --> 01:05:08,880 as a civilization that we've made. 966 01:05:10,670 --> 01:05:12,090 David: My work as an artist 967 01:05:12,130 --> 01:05:13,610 has always been to do with transition. 968 01:05:14,720 --> 01:05:16,970 The nature and study of change 969 01:05:17,010 --> 01:05:19,560 in our particular era is most important 970 01:05:19,600 --> 01:05:21,230 because never in our history 971 01:05:21,270 --> 01:05:24,270 has there been such a rapid curve of change 972 01:05:24,310 --> 01:05:25,940 since the industrial revolution. 973 01:05:27,320 --> 01:05:29,280 I'm a fairly good social observer, 974 01:05:29,320 --> 01:05:32,280 and I think that I encapsulate areas 975 01:05:32,320 --> 01:05:35,200 every, maybe every year or so, 976 01:05:35,240 --> 01:05:38,160 I tried to stamp that down somewhere, 977 01:05:38,200 --> 01:05:41,160 what that year is all about. 978 01:05:41,200 --> 01:05:42,580 Rather than what it was all about, 979 01:05:42,620 --> 01:05:44,670 or what it's going to be. 980 01:05:44,710 --> 01:05:47,380 It's very much trying to capture 981 01:05:47,420 --> 01:05:49,840 the quintessence of that year. 982 01:06:04,020 --> 01:06:05,450 Interviewer: I notice that the music now 983 01:06:05,480 --> 01:06:07,190 is more... more daring, 984 01:06:07,230 --> 01:06:09,360 more adventurous, more fractured. 985 01:06:09,400 --> 01:06:11,090 Is there a danger that by following your instinct, 986 01:06:11,110 --> 01:06:12,360 your aesthetic instincts, 987 01:06:12,400 --> 01:06:13,550 if you like, your artistic instinct, 988 01:06:13,570 --> 01:06:16,780 that you will jeopardize that? 989 01:06:16,820 --> 01:06:18,340 You know, the money and the good life and all... 990 01:06:18,370 --> 01:06:19,660 No shit, Sherlock. 991 01:06:21,660 --> 01:06:24,580 Yes, I think I... yes, I think I rather sort of hit that one 992 01:06:24,620 --> 01:06:25,920 in the head at the moment. 993 01:06:25,960 --> 01:06:30,670 Um, and it's quite a relief, really. 994 01:06:30,710 --> 01:06:36,260 I feel a lot more, um, free than what I do. 995 01:06:36,300 --> 01:06:39,300 I just needed, it just needed a positive decision 996 01:06:39,350 --> 01:06:41,140 to only do what I want to do, 997 01:06:41,180 --> 01:06:42,780 and not do things for the sake of what... 998 01:06:44,770 --> 01:06:48,270 Either David bowie or whoever I was playing last time, 999 01:06:48,310 --> 01:06:50,570 thin white Duke or something, was expected to do. 1000 01:06:54,990 --> 01:06:56,490 David: I went naked in Berlin. 1001 01:06:56,530 --> 01:06:59,660 I really did try and strip down my life 1002 01:06:59,700 --> 01:07:02,790 to what I believed to be absolute basic essentials 1003 01:07:02,830 --> 01:07:04,580 so I could build up again 1004 01:07:04,620 --> 01:07:07,670 everything that I thought that I'd lost, you know? 1005 01:07:07,710 --> 01:07:09,380 I guess I was... What I was really doing 1006 01:07:09,420 --> 01:07:11,590 was doing that on an emotional and spiritual level, 1007 01:07:11,630 --> 01:07:14,260 but you manifest it physically. 1008 01:07:14,300 --> 01:07:16,720 The surprising thing is, is that we came up... 1009 01:07:16,760 --> 01:07:18,930 We thought we were just going to be into a process 1010 01:07:18,970 --> 01:07:20,720 of discovery and experiment 1011 01:07:20,760 --> 01:07:22,820 and had some pretty wishy-washy stuff come out of it, 1012 01:07:22,850 --> 01:07:26,810 but what did come out of it was a pretty good statement 1013 01:07:26,850 --> 01:07:30,400 of some esoteric nature. 1014 01:07:30,440 --> 01:07:32,650 It was a bit hard to put one's finger 1015 01:07:32,690 --> 01:07:34,190 on exactly what the information was, 1016 01:07:34,230 --> 01:07:36,690 but it was vital, and it was interesting, 1017 01:07:36,740 --> 01:07:38,200 and I think that's successful music. 1018 01:07:57,340 --> 01:08:02,010 I I, I will be king I 1019 01:08:05,890 --> 01:08:10,850 j'and you, you will be my queen I 1020 01:08:14,980 --> 01:08:20,360 I though nothing can keep us together I 1021 01:08:23,910 --> 01:08:29,410 I we can beat them, forever and ever I 1022 01:08:32,210 --> 01:08:38,340 I we could be heroes just for one day I 1023 01:08:42,140 --> 01:08:46,810 I you, you can be me I 1024 01:08:51,020 --> 01:08:55,770 iand I, I'll drink all the time I 1025 01:08:59,530 --> 01:09:04,910 I 'cause we're lovers, and that is the fact I 1026 01:09:08,490 --> 01:09:13,710 I yes we're lovers, and that is that I 1027 01:09:17,880 --> 01:09:22,800 I though nothing will keep us together I 1028 01:09:26,220 --> 01:09:31,350 I we can beat them forever and ever I 1029 01:09:34,230 --> 01:09:39,860 I and we can be heroes just for one day I 1030 01:10:00,340 --> 01:10:05,050 I I, well I wish I could swim I 1031 01:10:08,470 --> 01:10:13,560 I like dolphins, like dolphins can swim I 1032 01:10:16,810 --> 01:10:22,440 I though nothing, can drive them away I 1033 01:10:24,820 --> 01:10:30,160 I we can beat them forever and ever I 1034 01:10:32,790 --> 01:10:38,380 I oh, we can be heroes just for one day I 1035 01:10:40,210 --> 01:10:41,420 I what you say? I 1036 01:10:58,730 --> 01:11:04,610 I I, I can remember I 1037 01:11:04,650 --> 01:11:05,650 band: I I remember I 1038 01:11:06,950 --> 01:11:12,030 David: J“ standing by the wall I 1039 01:11:12,080 --> 01:11:15,080 band: I by the wall I 1040 01:11:15,120 --> 01:11:20,750 David: I and the guns shot above our heads I 1041 01:11:20,790 --> 01:11:23,130 band: J' over our heads I 1042 01:11:23,170 --> 01:11:28,840 David: I and we kissed as though nothing could fall I 1043 01:11:28,890 --> 01:11:31,180 band: I nothing could fall I 1044 01:11:31,220 --> 01:11:36,730 David: I and nothing and no one will help us I 1045 01:11:38,940 --> 01:11:40,860 I maybe we're lying I 1046 01:11:42,730 --> 01:11:44,440 I then you better not stay I 1047 01:11:47,190 --> 01:11:52,450 I we can be safer just for one day I 1048 01:11:58,960 --> 01:12:01,880 I oh-oh-oh-oh I 1049 01:12:07,090 --> 01:12:11,090 I oh-oh-oh-oh I 1050 01:12:11,140 --> 01:12:13,680 I we can be heroes I 1051 01:12:15,100 --> 01:12:19,060 I oh-oh-oh-oh I 1052 01:12:19,100 --> 01:12:21,100 I just for one day I 1053 01:12:23,060 --> 01:12:26,980 I oh-oh-oh-oh I 1054 01:12:27,030 --> 01:12:32,110 I just for one day. I 1055 01:12:41,710 --> 01:12:44,460 Reporter: Today, David bowie is 33 years old. 1056 01:12:44,500 --> 01:12:47,170 He has recorded 17 rock albums, 1057 01:12:47,210 --> 01:12:49,170 produced a gallery full of paintings, 1058 01:12:49,220 --> 01:12:51,300 acted in two feature films, 1059 01:12:51,340 --> 01:12:53,220 and is the only rock star 1060 01:12:53,260 --> 01:12:55,850 ever to act in a play on Broadway. 1061 01:12:55,890 --> 01:12:58,680 Bowie never seems to stand still. 1062 01:12:58,720 --> 01:12:59,910 When he no longer feels challenged 1063 01:12:59,930 --> 01:13:01,730 by one art form, 1064 01:13:01,770 --> 01:13:04,770 he moves on to the next, and the next, and the next. 1065 01:13:04,810 --> 01:13:06,980 It's as if David bowie learned to run 1066 01:13:07,020 --> 01:13:08,230 before he learned to walk. 1067 01:13:14,990 --> 01:13:16,870 I I'm home I 1068 01:13:16,910 --> 01:13:18,700 I lost my job... I 1069 01:13:18,740 --> 01:13:20,350 David: You know, I've got a grasshopper sort of mind, 1070 01:13:20,370 --> 01:13:22,160 and I can't resist bringing things 1071 01:13:22,210 --> 01:13:24,750 to a conclusion like saying, "well that's a piece in itself, 1072 01:13:24,790 --> 01:13:26,230 and now I move on to something else." 1073 01:13:30,380 --> 01:13:31,860 Interviewer: You described yourself as a generalist. 1074 01:13:31,880 --> 01:13:33,300 - Is that... - David: Yeah. 1075 01:13:33,340 --> 01:13:35,300 That's a freedom... Giving umbrella. 1076 01:13:35,340 --> 01:13:37,260 It gives me a chance 1077 01:13:37,300 --> 01:13:39,390 to do anything I want successfully 1078 01:13:39,430 --> 01:13:41,180 or unsuccessfully, without being tied down. 1079 01:13:44,730 --> 01:13:47,190 I want... I'm a generalist, 1080 01:13:47,230 --> 01:13:51,110 is really sort of my cliche way describing myself. 1081 01:13:51,150 --> 01:13:52,740 David: David bowie. Rank and file. 1082 01:13:54,030 --> 01:13:55,530 33 years old. 1083 01:13:55,570 --> 01:13:56,780 Generalist. 1084 01:13:56,820 --> 01:13:58,160 Announcer: Unlike most rock stars 1085 01:13:58,200 --> 01:13:59,790 who stick to a successful formula 1086 01:13:59,830 --> 01:14:02,080 when they get it, bowie, when he does, 1087 01:14:02,120 --> 01:14:07,330 deliberately changes direction, and puts on yet another face. 1088 01:14:07,380 --> 01:14:11,960 I believing me I 1089 01:14:13,880 --> 01:14:17,600 David: I really sort of go in just pure, barbaric impetus. 1090 01:14:19,010 --> 01:14:21,600 I do get fired up for something 1091 01:14:21,640 --> 01:14:25,520 and it's not all cerebral at all, by any means. 1092 01:14:25,560 --> 01:14:27,150 A lot of it is pure instinct, 1093 01:14:27,190 --> 01:14:29,230 and knowing that I've found something 1094 01:14:29,270 --> 01:14:31,440 that I haven't found before. 1095 01:14:31,480 --> 01:14:37,160 Sometimes I think my head is so big 1096 01:14:37,200 --> 01:14:40,740 because it is so full of themes. 1097 01:14:43,040 --> 01:14:47,250 I I am a d.J., I am what I play I 1098 01:14:47,290 --> 01:14:48,880 I can't turn around no I 1099 01:14:48,920 --> 01:14:51,460 I can't turn around, no, oh, ooh I 1100 01:14:51,500 --> 01:14:55,930 I I am a d.J. I am what I say I 1101 01:14:55,970 --> 01:15:00,140 I can't turn around no, can't turn around, no, oh no I 1102 01:15:00,180 --> 01:15:04,180 I I am a d.J., I am what I play I 1103 01:15:04,230 --> 01:15:06,980 I I've got believers I 1104 01:15:07,020 --> 01:15:11,020 I believing me, oh... I 1105 01:15:11,070 --> 01:15:12,380 interviewer: What are you gonna do now? 1106 01:15:12,400 --> 01:15:13,630 Are you going back home to bed? 1107 01:15:13,650 --> 01:15:15,360 David: Yes. Well, I don't know. 1108 01:15:15,400 --> 01:15:17,910 A bit in the mood to probably do a little writing 1109 01:15:17,950 --> 01:15:20,120 or painting or something. 1110 01:15:20,160 --> 01:15:22,120 Interviewer: You're painting in large canvases? 1111 01:15:22,160 --> 01:15:23,490 Or small canvases? Or drawings? 1112 01:15:23,540 --> 01:15:25,620 David: Yes. Quire large, acrylics. 1113 01:15:25,660 --> 01:15:27,710 I'm doing a lot of sculptures as well. 1114 01:15:27,750 --> 01:15:32,040 A sort of polythene and essential functional things. 1115 01:15:33,630 --> 01:15:35,840 Interviewer: Why are you creative, David? 1116 01:15:35,880 --> 01:15:38,130 David: I think it has something to do 1117 01:15:38,180 --> 01:15:43,140 with wanting to find the place where I can kind of set sail 1118 01:15:43,180 --> 01:15:46,230 and know that I won't really fall off the edge of the world 1119 01:15:46,270 --> 01:15:47,770 when I get to the end of the sea. 1120 01:15:47,810 --> 01:15:51,520 I find it an intoxicating parallel 1121 01:15:51,560 --> 01:15:53,690 to my perceived reality. 1122 01:16:14,130 --> 01:16:16,170 I'm not sure that I'm manifesting ideas 1123 01:16:16,210 --> 01:16:17,880 when I do my work. 1124 01:16:17,920 --> 01:16:20,930 It's just this inexhaustible supply 1125 01:16:20,970 --> 01:16:24,930 of extracurricular thoughts 1126 01:16:24,970 --> 01:16:26,600 that I have that don't actually apply 1127 01:16:26,640 --> 01:16:28,180 to the survival of life, 1128 01:16:28,230 --> 01:16:30,020 and I'm not quite sure what to do with them. 1129 01:16:30,060 --> 01:16:34,150 I he used to be my boss and now he is a puppet dancer I 1130 01:16:34,190 --> 01:16:38,570 I I am the d.J., and I've got believers I 1131 01:16:40,610 --> 01:16:43,240 I I got believers I 1132 01:16:44,780 --> 01:16:47,540 I I got believers I 1133 01:16:49,160 --> 01:16:54,040 I I got believers, believing me... I 1134 01:17:00,970 --> 01:17:02,720 David: So rather than be pinned down, 1135 01:17:02,760 --> 01:17:05,970 my momentum was to hit and run very fast. 1136 01:17:06,010 --> 01:17:07,390 Once I'd done something, 1137 01:17:07,430 --> 01:17:09,350 and said it, drop it and move on. 1138 01:17:28,450 --> 01:17:31,290 David: I feel quite at home in just about anywhere now, 1139 01:17:31,330 --> 01:17:33,000 on a temporary basis. 1140 01:17:33,040 --> 01:17:36,000 Interviewer: Where do you spend most of your time? 1141 01:17:36,040 --> 01:17:37,560 David: Again, what is "most of one's time"? 1142 01:17:37,590 --> 01:17:40,050 Over the last year, it's been London, 1143 01:17:40,090 --> 01:17:43,800 New York, south pacific, Australia, Africa... 1144 01:17:43,840 --> 01:17:45,470 The nature of my life 1145 01:17:45,510 --> 01:17:48,560 is one of an old-fashioned beatnik traveler, 1146 01:17:48,600 --> 01:17:50,600 and more than anything else, 1147 01:17:50,640 --> 01:17:54,310 I spend very little time in musical circles. 1148 01:17:54,350 --> 01:17:57,820 I spend more time discovering the social life 1149 01:17:57,860 --> 01:17:59,980 of rather obscure places. 1150 01:18:01,690 --> 01:18:07,370 I "I'm happy, hope you're happy too I 1151 01:18:07,410 --> 01:18:10,540 I I've loved all I've needed, love I 1152 01:18:10,580 --> 01:18:14,420 aj' sordid details following" I 1153 01:18:14,460 --> 01:18:17,630 I the shrieking of nothing is killing, just I 1154 01:18:17,670 --> 01:18:22,050 I pictures of jap girls in synthesis and I I 1155 01:18:22,090 --> 01:18:25,680 I ain't got no money and I ain't got no hair I 1156 01:18:29,970 --> 01:18:34,180 I but I'm hoping to kick, but the planet it's glowing I 1157 01:18:37,480 --> 01:18:41,230 I ashes to ash, funk to funky I 1158 01:18:41,280 --> 01:18:45,320 I we know major Tom's a junkie I 1159 01:18:45,360 --> 01:18:48,370 I strung out in heaven's high I 1160 01:18:48,410 --> 01:18:51,620 I hitting an all-time low... I 1161 01:19:06,840 --> 01:19:10,220 Man: This is your promised land is it not? 1162 01:19:10,260 --> 01:19:13,770 Roof, food, care, protection. 1163 01:19:15,060 --> 01:19:17,690 David: Oh, right, Mr. Treves. 1164 01:19:17,730 --> 01:19:20,310 Man: I'll bet you don't know what to call this. 1165 01:19:20,360 --> 01:19:22,480 David: No, sir. I don't. 1166 01:19:22,520 --> 01:19:24,490 Man: You call it... home. 1167 01:19:27,240 --> 01:19:29,620 Never had a home before. 1168 01:19:29,660 --> 01:19:30,990 Man: You have one now. 1169 01:19:31,030 --> 01:19:32,200 Say it, John. 1170 01:19:32,240 --> 01:19:33,620 - Home. - Home? 1171 01:19:33,660 --> 01:19:35,500 Man: No, no. I mean really say it. 1172 01:19:35,540 --> 01:19:37,660 "I have a home. 1173 01:19:37,710 --> 01:19:39,710 This is my... "Come on. 1174 01:19:40,880 --> 01:19:42,130 David: I have a home. 1175 01:19:43,340 --> 01:19:49,510 This is my home. 1176 01:19:49,550 --> 01:19:53,100 This is my home. 1177 01:19:54,100 --> 01:19:55,720 I have a home. 1178 01:19:56,930 --> 01:20:00,520 I have, for as long as I like. 1179 01:20:03,440 --> 01:20:06,110 Man: That is what home is. 1180 01:20:16,870 --> 01:20:18,580 David: I had always thought 1181 01:20:18,620 --> 01:20:21,040 that by this stage I would be settled down somewhere 1182 01:20:21,080 --> 01:20:23,290 with a house and grounds and everything, 1183 01:20:23,340 --> 01:20:25,050 but I never got to doing that. 1184 01:20:32,970 --> 01:20:34,640 Never... I've never bought a house, 1185 01:20:34,680 --> 01:20:36,560 and I still have no intention to buy... 1186 01:20:38,930 --> 01:20:40,850 Because with me, 1187 01:20:40,890 --> 01:20:44,270 the way I live is very much also part of the... 1188 01:20:44,310 --> 01:20:45,730 What produces my work, 1189 01:20:45,770 --> 01:20:49,490 so I have to keep examining my life 1190 01:20:49,530 --> 01:20:52,200 to make sure that I am in constant change, 1191 01:20:52,240 --> 01:20:57,490 and not getting too bloated with philosophic opulence. 1192 01:20:57,540 --> 01:21:00,210 Keep sort of throwing bits and pieces away. 1193 01:21:00,250 --> 01:21:03,290 And by... to change countries is one way of doing that. 1194 01:21:10,260 --> 01:21:12,090 I'm not quite sure where to go now. 1195 01:21:12,130 --> 01:21:17,260 Um, the east beckons me. 1196 01:21:17,310 --> 01:21:18,830 I'm a bit scared of moving over there, you know? 1197 01:21:18,850 --> 01:21:20,350 Interviewer: Japan? 1198 01:21:20,390 --> 01:21:22,640 David: Yes, because I fall in love so much 1199 01:21:22,690 --> 01:21:24,690 with the lifestyle that I'll get very zen about it. 1200 01:21:38,830 --> 01:21:41,830 Japanese interviewer: Please give us your special message 1201 01:21:41,870 --> 01:21:44,580 to the audience of our program, "young oh! Oh!" 1202 01:21:45,750 --> 01:21:47,380 Look at the camera, please. 1203 01:21:47,420 --> 01:21:49,840 David: Uh, don't waste any day. Don't waste a minute. 1204 01:21:49,880 --> 01:21:51,550 Interviewer: Yes. 1205 01:21:51,590 --> 01:21:53,510 Mr. David bowie. 1206 01:21:53,550 --> 01:21:54,840 Thank you again. 1207 01:22:09,860 --> 01:22:11,900 David: I hope that none of us are kind of static 1208 01:22:11,940 --> 01:22:13,490 throughout our lives. 1209 01:22:13,530 --> 01:22:16,570 I mean, I guess one has a formed personality 1210 01:22:16,620 --> 01:22:18,080 from quite an early age, 1211 01:22:18,120 --> 01:22:20,490 but it is tempered and subject to change. 1212 01:22:24,160 --> 01:22:26,290 I mean, we all to a certain extent 1213 01:22:26,330 --> 01:22:29,500 create our lives and create our culture daily, 1214 01:22:29,550 --> 01:22:31,210 as we live that 24 hours. 1215 01:22:31,260 --> 01:22:34,760 We'll choose a tie, or a haircut, or a chair, 1216 01:22:34,800 --> 01:22:36,070 not just because it's functional, 1217 01:22:36,090 --> 01:22:37,720 but for most of us 1218 01:22:37,760 --> 01:22:39,480 because it actually says something about us. 1219 01:22:41,720 --> 01:22:44,310 I still, you know, am sort of getting somewhere 1220 01:22:44,350 --> 01:22:47,100 that I quite like, but I'm still not. 1221 01:22:47,150 --> 01:22:48,610 We'll find out eventually, won't we? 1222 01:22:50,860 --> 01:22:53,150 I might now be cut out for all this, really, 1223 01:22:53,190 --> 01:22:55,200 at the end. 1224 01:22:55,240 --> 01:22:56,710 Interviewer: Why did you change so often? 1225 01:22:56,740 --> 01:22:57,880 I mean, what was the need for it? 1226 01:22:57,910 --> 01:22:58,990 Was it just a gimmick? 1227 01:22:59,030 --> 01:23:00,490 David: Being a capricorn. 1228 01:23:00,530 --> 01:23:03,000 I didn't want to expose myself to the public, 1229 01:23:03,040 --> 01:23:05,160 so I developed a series of characters. 1230 01:23:05,210 --> 01:23:07,620 So, behind that all the time was a real David bowie? 1231 01:23:08,420 --> 01:23:09,630 At times, yes. 1232 01:23:09,670 --> 01:23:11,090 I lost control a couple of times. 1233 01:23:12,710 --> 01:23:14,420 So you're not... This is really you. 1234 01:23:14,460 --> 01:23:16,700 This is not you just still sort of playing the role of... 1235 01:23:18,390 --> 01:23:19,720 One wonders. 1236 01:23:19,760 --> 01:23:22,100 I think that it's not at all mystifying 1237 01:23:22,140 --> 01:23:23,740 why you change your appearance as often as you do, 1238 01:23:23,770 --> 01:23:25,310 to my view by the way, 1239 01:23:25,350 --> 01:23:29,440 because I think you've used yourself as a canvas. 1240 01:23:29,480 --> 01:23:31,270 - Yes, very much so. - Is that right? 1241 01:23:31,320 --> 01:23:33,030 David: Yes, very much so. 1242 01:23:33,070 --> 01:23:37,990 Um, I never wanted to appear as myself onstage ever, 1243 01:23:38,030 --> 01:23:39,570 at any time, until recently. 1244 01:23:39,620 --> 01:23:43,490 Were you hiding yourself from us by doing that? 1245 01:23:43,540 --> 01:23:46,330 David: Partly, but I was enjoying it very much. 1246 01:23:46,370 --> 01:23:48,330 - And, you paint now? - Yes. 1247 01:23:48,370 --> 01:23:49,960 But your paintings, you're not willing 1248 01:23:50,000 --> 01:23:51,250 to let us see yet? 1249 01:23:51,290 --> 01:23:52,670 David: Uh, no. 1250 01:23:52,710 --> 01:23:53,810 I've been offered two or three showings, 1251 01:23:53,840 --> 01:23:55,380 but I've turned... 1252 01:23:55,420 --> 01:23:57,510 I've accepted two of them, and then I broke my word 1253 01:23:57,550 --> 01:23:59,680 and said I wouldn't show them. 1254 01:23:59,720 --> 01:24:01,510 I haven't yet bucked up the courage. 1255 01:24:01,550 --> 01:24:04,350 Interviewer: Why not? What do you fear? 1256 01:24:04,390 --> 01:24:05,870 David: Well, I know I'm a good writer. 1257 01:24:07,640 --> 01:24:09,600 I'm not sure about putting my paintings. 1258 01:24:09,650 --> 01:24:11,190 They're very personal to me, as well. 1259 01:24:11,230 --> 01:24:13,480 Um, they're all portraits, 1260 01:24:13,520 --> 01:24:15,530 and they're portraits of people in isolation. 1261 01:24:15,570 --> 01:24:19,240 Most of the paintings are Germans or Turks 1262 01:24:19,280 --> 01:24:21,110 who live in Berlin, 1263 01:24:21,160 --> 01:24:23,410 and they're either from east Berlin, 1264 01:24:23,450 --> 01:24:25,040 and who are now living in west Berlin, 1265 01:24:25,080 --> 01:24:26,330 and knowing their families 1266 01:24:26,370 --> 01:24:28,290 are on the other side of the wall. 1267 01:24:28,330 --> 01:24:31,580 And so, I tried to capture a lot of that isolation 1268 01:24:31,630 --> 01:24:34,040 and I put a lot of myself into the paintings as well. 1269 01:24:34,090 --> 01:24:35,250 They're very much part of me. 1270 01:24:53,900 --> 01:24:55,820 Dick: Well, I think the question is what... 1271 01:24:55,860 --> 01:24:58,990 You know, what you want to be for yourself and your life. 1272 01:24:59,030 --> 01:25:00,880 David: I don't know whether that's important anymore. 1273 01:25:00,900 --> 01:25:03,160 I mean, what I want to do is just work well. 1274 01:25:03,200 --> 01:25:05,580 When I'm working well, I like my writing. 1275 01:25:05,620 --> 01:25:07,120 At the moment, especially. 1276 01:25:07,160 --> 01:25:08,910 More than at any other time, I think. 1277 01:25:08,950 --> 01:25:11,330 I mean, I was getting so bored with what I was writing. 1278 01:25:11,370 --> 01:25:13,710 I just, I felt inadequate, I thought my writing 1279 01:25:13,750 --> 01:25:15,170 was becoming monotonous. 1280 01:25:15,210 --> 01:25:17,090 I didn't take the kinds of chances 1281 01:25:17,130 --> 01:25:18,300 I was taking at one time. 1282 01:25:19,840 --> 01:25:21,930 I thought if I'm going to end up like, 1283 01:25:23,930 --> 01:25:27,510 um, a lot of other rock and roll celebrities, 1284 01:25:27,560 --> 01:25:29,100 inasmuch that I'm going to be trying 1285 01:25:29,140 --> 01:25:31,060 to retain the safe position, you know? 1286 01:25:31,100 --> 01:25:33,270 And that's not what I started out wanting to do. 1287 01:25:33,310 --> 01:25:35,370 Dick: But is it important to you to have a mass audience? 1288 01:25:35,400 --> 01:25:36,500 Do you want a lot of people to... 1289 01:25:36,520 --> 01:25:37,570 David: No. No. 1290 01:25:37,610 --> 01:25:39,110 I want to work well. 1291 01:25:39,150 --> 01:25:41,700 I want to... I just have to work well. 1292 01:25:44,450 --> 01:25:46,620 I think it's an heroic act to take, 1293 01:25:46,660 --> 01:25:51,750 um... to be able to obtain enthusiasm 1294 01:25:51,790 --> 01:25:55,130 and joy from the actual process of living from day to day. 1295 01:25:55,170 --> 01:25:56,630 Interviewer: 1296 01:25:56,670 --> 01:25:57,790 David: Yes, very much. 1297 01:25:57,840 --> 01:26:01,630 I try. And it is, it is... 1298 01:26:01,670 --> 01:26:03,840 I think it takes practice to, 1299 01:26:03,880 --> 01:26:07,390 and concentration, and exercise to enjoy it. 1300 01:26:07,430 --> 01:26:10,640 This is very easy to fall into the trap of looking 1301 01:26:10,680 --> 01:26:13,980 for one's dreams and always thinking of a future moment 1302 01:26:14,020 --> 01:26:15,650 when everything will be better. 1303 01:26:15,690 --> 01:26:17,810 And if the process is not enjoyed, 1304 01:26:17,860 --> 01:26:19,520 the dreams will never come to anything. 1305 01:26:19,570 --> 01:26:21,900 And by enjoying the process, 1306 01:26:21,940 --> 01:26:23,530 you are creating a dream come true. 1307 01:26:34,000 --> 01:26:37,250 I think I have an abundantly healthy curiosity about life. 1308 01:26:37,290 --> 01:26:40,050 About life around me, specifically. 1309 01:26:40,090 --> 01:26:43,670 And how, how we put ourselves together culturally, 1310 01:26:43,720 --> 01:26:46,430 and I think it's served me well as an artist, 1311 01:26:46,470 --> 01:26:50,930 in as much as I'm really inquiring continually 1312 01:26:50,970 --> 01:26:53,560 into how things are made and why we make them, 1313 01:26:53,600 --> 01:26:58,150 and the significance or meanings behind things. 1314 01:27:02,070 --> 01:27:06,200 I'd be really scared of feeling that I'd got somewhere, 1315 01:27:06,240 --> 01:27:09,530 because for me, art is about searching, 1316 01:27:09,570 --> 01:27:11,030 and if you come to a place 1317 01:27:11,080 --> 01:27:13,040 where you think you've made a discovery, 1318 01:27:13,080 --> 01:27:14,910 I think that really is... 1319 01:27:17,330 --> 01:27:19,420 God, that would be really demoralizing. 1320 01:27:19,460 --> 01:27:21,380 I think the search is the thing. 1321 01:27:23,590 --> 01:27:25,420 I and you want to believe I 1322 01:27:27,260 --> 01:27:29,220 I and we want to believe I 1323 01:27:30,600 --> 01:27:32,430 I and we want to live I 1324 01:27:34,020 --> 01:27:35,890 I oh, we want to live I 1325 01:27:37,850 --> 01:27:39,400 I we want to live I 1326 01:27:41,690 --> 01:27:43,020 I we want to live I 1327 01:27:45,070 --> 01:27:46,610 I we want to live I 1328 01:27:48,530 --> 01:27:50,030 I we want to live I 1329 01:27:52,030 --> 01:27:53,790 I we want to live I 1330 01:27:55,620 --> 01:27:57,410 I I want to live I 1331 01:27:59,330 --> 01:28:01,210 I I want to live I 1332 01:28:03,000 --> 01:28:04,840 I I want to live I 1333 01:28:06,590 --> 01:28:08,760 I I want to live I 1334 01:28:10,550 --> 01:28:12,600 I I want to live I 1335 01:28:14,060 --> 01:28:16,220 I I want to live I 1336 01:28:18,600 --> 01:28:19,810 I live I 1337 01:28:22,230 --> 01:28:24,110 I live I 1338 01:28:25,940 --> 01:28:28,110 I live I 1339 01:28:52,180 --> 01:28:55,680 I ain't that just like me. I 1340 01:30:29,190 --> 01:30:32,240 David: There's a gradual shift when you reach mid 30s. 1341 01:30:32,280 --> 01:30:33,860 Uh, I think that there's a period 1342 01:30:33,900 --> 01:30:37,030 where you have to decide not to try 1343 01:30:37,070 --> 01:30:41,700 and grasp frantically for the feelings of desperation 1344 01:30:41,750 --> 01:30:44,870 and anger that you have when you're in your mid 20s. 1345 01:30:44,910 --> 01:30:49,500 And if you can relax into the idea that being mid 30s 1346 01:30:49,540 --> 01:30:51,170 is quite a nice place to be 1347 01:30:51,210 --> 01:30:52,920 with an amount of experience behind you, 1348 01:30:54,510 --> 01:30:56,380 I think the perspective changes. 1349 01:31:03,430 --> 01:31:04,450 Interviewer: You said once that there's 1350 01:31:04,480 --> 01:31:06,270 so many shells around you 1351 01:31:06,310 --> 01:31:07,870 that you don't know what the p... looks like anymore. 1352 01:31:07,900 --> 01:31:09,330 David: Yeah, well I've gone through that. 1353 01:31:09,360 --> 01:31:11,780 I'm pretty aware of what I'm like. 1354 01:31:11,820 --> 01:31:13,610 - Interviewer: Really? - David: Yeah, yeah. 1355 01:31:13,650 --> 01:31:16,780 I feel pretty-pretty happy about my own relationship 1356 01:31:16,820 --> 01:31:17,820 to the world, and... 1357 01:31:21,160 --> 01:31:25,750 We've got to be positive about our days on this planet. 1358 01:31:25,790 --> 01:31:28,290 Interviewer: I never realized you were such an optimist. 1359 01:31:28,330 --> 01:31:29,810 David: Well, I never was particularly. 1360 01:31:31,090 --> 01:31:32,550 Interviewer: You're more romantic 1361 01:31:32,590 --> 01:31:35,220 than people give you credit for. 1362 01:31:35,260 --> 01:31:37,180 David: I think I'm probably a lot more emotional 1363 01:31:37,220 --> 01:31:39,890 than people would think that I was. 1364 01:31:39,930 --> 01:31:42,640 I am emotionally very responsive to life and people. 1365 01:31:46,810 --> 01:31:49,480 I just wanted to come in touch with a common factor 1366 01:31:49,520 --> 01:31:51,360 because I feel a need at the moment to... 1367 01:31:52,570 --> 01:31:54,980 Be part of a society again, 1368 01:31:55,030 --> 01:31:56,570 and having traveled an awful lot, 1369 01:31:56,610 --> 01:31:59,410 feel more and more part of everything. 1370 01:31:59,450 --> 01:32:01,160 And I wish to express that feeling. 1371 01:32:01,200 --> 01:32:04,200 I don't want to seem as though I'm detached and cold 1372 01:32:04,240 --> 01:32:05,700 because I'm not. 1373 01:32:09,330 --> 01:32:11,250 Interviewer: You seem very sure of yourself, 1374 01:32:11,290 --> 01:32:13,340 and very, sort of content, and... 1375 01:32:13,380 --> 01:32:14,840 You seem at ease with yourself. 1376 01:32:14,880 --> 01:32:16,320 David: I'm at ease with myself, yeah. 1377 01:32:22,760 --> 01:32:24,030 Interviewer: You've always been so good 1378 01:32:24,060 --> 01:32:26,310 at being convincing, you know? 1379 01:32:26,350 --> 01:32:28,810 - Whatever it was at the time. - David: Yeah. I see. 1380 01:32:28,850 --> 01:32:30,770 Interviewer: I mean, is it possible that this 1381 01:32:30,810 --> 01:32:34,520 - is just another role? - David: I see what's going on. 1382 01:32:34,570 --> 01:32:36,780 I believe that there is a thread 1383 01:32:36,820 --> 01:32:39,070 of meaning running through my life at the moment, 1384 01:32:39,110 --> 01:32:40,790 that I have no wish at the moment to break, 1385 01:32:40,820 --> 01:32:42,240 and I feel it's leading 1386 01:32:42,280 --> 01:32:44,370 somewhere fulfilling and positive. 1387 01:32:44,410 --> 01:32:47,250 And if I feel that way, then I make every effort 1388 01:32:47,290 --> 01:32:49,710 to make that part of my music now. 1389 01:32:54,420 --> 01:32:56,630 It's the ultimate swing of the pendulum. 1390 01:32:56,670 --> 01:32:58,880 When things reach a point to one extreme, 1391 01:32:58,920 --> 01:33:00,470 there will be a natural gravitation 1392 01:33:00,510 --> 01:33:02,340 back to a point, 1393 01:33:02,390 --> 01:33:04,300 which is the antithesis of that one. 1394 01:33:04,350 --> 01:33:06,350 So, you've got a musical vocabulary, 1395 01:33:06,390 --> 01:33:10,480 which is high-tech, and icy. 1396 01:33:10,520 --> 01:33:13,440 There's gonna be sooner or later a swing back to, 1397 01:33:13,480 --> 01:33:16,320 well, what is the other side of that coin? 1398 01:33:16,360 --> 01:33:18,040 Man: Ladies and gentlemen, Mr. David bowie. 1399 01:33:23,660 --> 01:33:26,450 David: I'd like to, um, start off the 80s 1400 01:33:26,490 --> 01:33:29,370 in a positive, optimistic fashion. 1401 01:33:29,410 --> 01:33:32,250 I'll be undertaking, a world tour, 1402 01:33:32,290 --> 01:33:34,170 sometime around the middle of the year, 1403 01:33:34,210 --> 01:33:38,170 and it'll take me through to the Autumn at least. 1404 01:33:38,210 --> 01:33:40,260 And he's back. David bowie, 1405 01:33:40,300 --> 01:33:42,510 launching his first new album in three years, 1406 01:33:42,550 --> 01:33:45,430 preparing for his first British tour in five years, 1407 01:33:45,470 --> 01:33:47,470 and telling newsnight's Robin denselow 1408 01:33:47,510 --> 01:33:50,480 about his new and more emotional music style. 1409 01:33:51,980 --> 01:33:54,650 David: I'm trying to write in a more obvious 1410 01:33:54,690 --> 01:33:56,270 and positive manner. 1411 01:33:56,310 --> 01:33:59,530 I've not gone quite into a corner 1412 01:33:59,570 --> 01:34:02,030 with experimentation of sound. 1413 01:34:02,070 --> 01:34:04,860 I'm not quite so concerned with cut-up exercise, 1414 01:34:04,910 --> 01:34:07,490 or using juxtaposition of lyrics, or whatever. 1415 01:34:07,530 --> 01:34:09,370 I'd like to do something positive. 1416 01:34:09,410 --> 01:34:12,040 Something that helps people, to use a cliche. 1417 01:34:13,580 --> 01:34:14,810 David: This is probably the simplest music 1418 01:34:14,830 --> 01:34:16,210 I've ever done. 1419 01:34:16,250 --> 01:34:17,650 Interviewer: What do you mean simple? 1420 01:34:17,670 --> 01:34:20,420 David: It makes very warm, 1421 01:34:20,460 --> 01:34:22,380 understandable musical statements. 1422 01:34:22,420 --> 01:34:24,260 It has a warm response. 1423 01:34:24,300 --> 01:34:27,970 I hope that it's the most emotionally uplifting music 1424 01:34:28,010 --> 01:34:30,060 I've made in a long time. 1425 01:34:30,100 --> 01:34:31,680 It's very positive. 1426 01:34:31,720 --> 01:34:33,310 Interviewer: Is that how you're feeling? 1427 01:34:33,350 --> 01:34:35,230 David: Relatively. Oh yeah. 1428 01:34:35,270 --> 01:34:36,600 I'm very positive. 1429 01:34:37,860 --> 01:34:39,070 I never gonna fall for I 1430 01:34:39,110 --> 01:34:40,320 j“ modern love I 1431 01:34:40,360 --> 01:34:41,610 I walks beside me I 1432 01:34:41,650 --> 01:34:42,900 j“ modern love I 1433 01:34:42,940 --> 01:34:43,900 I walks on by I 1434 01:34:43,950 --> 01:34:45,360 j“ modern love I 1435 01:34:45,410 --> 01:34:48,870 I gets me to the church on time I 1436 01:34:48,910 --> 01:34:50,990 reporter: British fans are overwhelming 1437 01:34:51,040 --> 01:34:53,370 the post office with more than four times 1438 01:34:53,410 --> 01:34:56,670 as many ticket requests as seats available. 1439 01:34:56,710 --> 01:34:59,170 This is the biggest demand ever. 1440 01:34:59,210 --> 01:35:01,170 Boy: We waited hours and hours to get tickets. 1441 01:35:01,210 --> 01:35:02,300 Interviewer: Big bowie fan? 1442 01:35:02,340 --> 01:35:03,420 Man: Yeah, that's me. 1443 01:35:03,460 --> 01:35:04,590 Woman: He's totally evolved. 1444 01:35:04,630 --> 01:35:06,050 He knows what his fans want, 1445 01:35:06,090 --> 01:35:07,550 and that's what he's delivering now. 1446 01:35:07,590 --> 01:35:09,930 I love David bowie! 1447 01:35:09,970 --> 01:35:11,570 Reporter: Fans have been waiting a day and a half 1448 01:35:11,600 --> 01:35:12,850 in the stadium parking lot. 1449 01:35:12,890 --> 01:35:14,430 They open the gates at 5pm. 1450 01:35:14,480 --> 01:35:16,980 We want bowie! 1451 01:35:18,600 --> 01:35:19,940 J“ modern love I 1452 01:35:19,980 --> 01:35:20,980 j“ modern love I 1453 01:35:22,610 --> 01:35:24,780 j“ modern love I 1454 01:35:24,820 --> 01:35:27,610 emcee: Ladies and gentlemen... 1455 01:35:29,120 --> 01:35:32,540 David bowie and his band! 1456 01:35:40,500 --> 01:35:41,730 Man: What is it about David bowie 1457 01:35:41,750 --> 01:35:43,550 that excites you so much? 1458 01:35:43,590 --> 01:35:44,920 - His style. - Yeah? 1459 01:35:44,960 --> 01:35:46,220 I like his makeup. 1460 01:35:46,260 --> 01:35:47,550 Man: You like his makeup? 1461 01:35:47,590 --> 01:35:48,840 Woman: I like his music. 1462 01:35:50,550 --> 01:35:53,060 Band: I let's dance I 1463 01:35:53,100 --> 01:35:58,190 David: I put on your red shoes and dance the blues I 1464 01:35:58,230 --> 01:36:00,360 band: I let's dance I 1465 01:36:00,400 --> 01:36:04,230 David: I to the song they're playin' on the radio I 1466 01:36:05,900 --> 01:36:08,110 band: I let's sway I 1467 01:36:08,150 --> 01:36:10,700 David: J“ while color lights up your face I 1468 01:36:13,580 --> 01:36:15,910 band: I let's sway I 1469 01:36:15,950 --> 01:36:19,790 David: J“ sway through the crowd to an empty space I 1470 01:36:22,840 --> 01:36:27,510 I if you say run I'll run with you I 1471 01:36:30,430 --> 01:36:33,220 I and if you say hide I 1472 01:36:33,260 --> 01:36:35,010 I we'll hide I 1473 01:36:37,560 --> 01:36:40,810 I because my love for you I 1474 01:36:40,850 --> 01:36:44,860 I would break my heart in two I 1475 01:36:44,900 --> 01:36:49,070 I if you should fall into my arms I 1476 01:36:49,110 --> 01:36:54,370 I trembling like a flower I 1477 01:37:20,600 --> 01:37:23,310 Band: I let's dance I 1478 01:37:23,350 --> 01:37:27,070 David: I put on your red shoes and dance the blues I 1479 01:37:28,320 --> 01:37:30,570 band: I let's dance I 1480 01:37:30,610 --> 01:37:34,280 David: J“ under the moonlight I 1481 01:37:34,320 --> 01:37:36,410 I this serious moonlight I 1482 01:37:36,450 --> 01:37:37,450 band: I let's sway I 1483 01:37:43,500 --> 01:37:44,500 I let's sway I 1484 01:37:51,090 --> 01:37:52,130 I let's dance I 1485 01:37:58,640 --> 01:37:59,770 I let's dance I 1486 01:38:06,270 --> 01:38:07,820 I let's dance I 1487 01:38:13,950 --> 01:38:15,070 I let's dance I 1488 01:38:17,700 --> 01:38:19,790 David: J“ let's dance, let's dance I 1489 01:38:19,830 --> 01:38:21,950 I let's dance, let's dance. I 1490 01:38:33,260 --> 01:38:34,630 Audience: Bowie! 1491 01:38:34,680 --> 01:38:36,090 Bowie! 1492 01:38:36,140 --> 01:38:37,760 Bowie! 1493 01:38:37,800 --> 01:38:39,930 Bowie! Bowie! 1494 01:38:44,270 --> 01:38:45,950 Interviewer: Do you think they phenomenal success 1495 01:38:45,980 --> 01:38:48,360 of the tour marks the rebirth of bowie fever? 1496 01:38:49,610 --> 01:38:51,190 David: No, I don't think that. 1497 01:38:51,230 --> 01:38:53,320 But I think it's just a bowie acceptance now, 1498 01:38:53,360 --> 01:38:56,320 which is quite gratifying after all these years. 1499 01:39:11,170 --> 01:39:12,860 Didn't think I'd ever hear myself saying this, 1500 01:39:12,880 --> 01:39:14,510 but it's like the audience 1501 01:39:14,550 --> 01:39:16,380 and myself are just, like, together. 1502 01:39:16,430 --> 01:39:17,760 It's trying to come back 1503 01:39:17,800 --> 01:39:19,930 to being a person again in terms... 1504 01:39:19,970 --> 01:39:21,720 In the eyes of the audience, 1505 01:39:21,760 --> 01:39:23,390 and it certainly has no pretensions 1506 01:39:23,430 --> 01:39:25,480 to be a serious, 1507 01:39:25,520 --> 01:39:30,060 heavy statement-filled show, but I mean, 1508 01:39:30,110 --> 01:39:31,610 it's exactly what I want it to be. 1509 01:39:35,740 --> 01:39:37,300 Interviewer: What do you most enjoy doing? 1510 01:39:37,320 --> 01:39:39,030 David: In life, at the moment? 1511 01:39:41,330 --> 01:39:43,370 Waking up and feeling as though I've got a future. 1512 01:39:45,120 --> 01:39:48,250 I keep remembering that there is a tomorrow, 1513 01:39:48,290 --> 01:39:50,250 when that never really occurred to me before, 1514 01:39:50,290 --> 01:39:51,670 that there was a tomorrow. 1515 01:39:51,710 --> 01:39:54,420 Tomorrow was really, "this is it. 1516 01:39:54,460 --> 01:39:56,670 "This is now, this is important. 1517 01:39:56,720 --> 01:39:58,880 "Everything else is crazy, and static, 1518 01:39:58,930 --> 01:40:01,970 "and it means nothing, or everything's impermanent, 1519 01:40:02,010 --> 01:40:04,600 therefore I will just live for the second." 1520 01:40:06,350 --> 01:40:09,350 And one has to start taking very positive stands on things. 1521 01:40:15,400 --> 01:40:17,030 When you feel comfortable with yourself, 1522 01:40:17,070 --> 01:40:18,700 you can no longer write. 1523 01:40:18,740 --> 01:40:22,160 That seems to be the writer's great problem. 1524 01:40:22,200 --> 01:40:25,700 As I get more comfortable, I obviously have the feeling 1525 01:40:25,750 --> 01:40:29,250 that it's not so much that is my writing as good, 1526 01:40:29,290 --> 01:40:32,960 or as potent as it used to be, but do I need to write anymore? 1527 01:41:01,700 --> 01:41:05,410 Man: His new album seems to be, to me, a step sideways. 1528 01:41:05,450 --> 01:41:06,510 Interviewer: Why do you describe it 1529 01:41:06,540 --> 01:41:07,870 that... in that way? 1530 01:41:07,910 --> 01:41:09,370 Man: Because I think he's not doing 1531 01:41:09,410 --> 01:41:11,080 anything particularly new, 1532 01:41:11,120 --> 01:41:14,210 and I suspect that for the first time ever, 1533 01:41:14,250 --> 01:41:18,670 the fans are up there with him and he's not ahead of the game. 1534 01:41:18,710 --> 01:41:22,050 He seems to me to have become something rather old fashioned, 1535 01:41:22,090 --> 01:41:24,220 which is to say a superstar. 1536 01:41:38,360 --> 01:41:41,320 If you've gone mainstream, there's only one way to do it, 1537 01:41:41,360 --> 01:41:43,240 and that's sell out three days a year. 1538 01:41:43,280 --> 01:41:44,370 Man 2: Really do it. 1539 01:41:44,410 --> 01:41:45,950 Man: Yeah, yeah. 1540 01:41:45,990 --> 01:41:47,550 He's done it in one big deal, hasn't he? 1541 01:41:51,040 --> 01:41:52,580 Interviewer: This is the last stop 1542 01:41:52,620 --> 01:41:55,080 on what's been a pretty extensive tour for you. 1543 01:41:55,130 --> 01:41:57,380 David: Uh, yeah, I'm not actually finishing in Auckland. 1544 01:41:57,420 --> 01:41:58,840 I'm going over now 1545 01:41:58,880 --> 01:42:01,130 to Singapore, Hong Kong, and Bangkok. 1546 01:42:02,340 --> 01:42:04,550 I I've nothing much to offer I 1547 01:42:07,600 --> 01:42:10,560 I there's nothing much to take I 1548 01:42:22,360 --> 01:42:24,950 I I'm an absolute beginner I 1549 01:42:27,740 --> 01:42:32,660 I but I'm absolutely sane I 1550 01:42:36,500 --> 01:42:39,130 I'm not quite so stricken with the idea 1551 01:42:39,170 --> 01:42:41,210 of making a point. 1552 01:42:41,260 --> 01:42:43,380 I'm not quite sure that any point 1553 01:42:43,420 --> 01:42:46,010 that I have to make isn't being made quite as well 1554 01:42:46,050 --> 01:42:47,510 by other people. 1555 01:42:47,550 --> 01:42:51,020 Um, and that maybe the point, 1556 01:42:51,060 --> 01:42:52,390 my most important point, 1557 01:42:52,430 --> 01:42:54,230 is that I can entertain very well, 1558 01:42:54,270 --> 01:42:57,810 and I think I'm no longer finding it uncomfortable 1559 01:42:57,860 --> 01:43:01,780 to reach that conclusion. 1560 01:43:03,190 --> 01:43:05,950 That I now find I'm very comfortable 1561 01:43:05,990 --> 01:43:08,740 being an actor, an entertainer, 1562 01:43:08,780 --> 01:43:12,370 without too much all-encompassing stuff. 1563 01:43:12,410 --> 01:43:13,950 J“ time takes a cigarette I 1564 01:43:16,170 --> 01:43:17,540 I puts it in your mouth I 1565 01:43:19,630 --> 01:43:21,840 I you pull on your finger I 1566 01:43:21,880 --> 01:43:25,090 I then another finger then your cigarette I 1567 01:43:26,510 --> 01:43:29,390 I the wall-to-wall is calling I 1568 01:43:29,430 --> 01:43:33,350 I it lingers, but still you forget I 1569 01:43:33,390 --> 01:43:36,440 I ohhh I 1570 01:43:36,480 --> 01:43:38,730 I you're a rock and roll suicide I 1571 01:43:41,360 --> 01:43:43,190 I you're too young to lose it I 1572 01:43:45,070 --> 01:43:47,450 I but you're too old to lose it I 1573 01:43:49,620 --> 01:43:54,080 I and the clocks waits so patiently on your song I 1574 01:43:55,370 --> 01:43:58,580 I well, you walk past a cafe I 1575 01:43:58,620 --> 01:44:01,630 I but you can't eat when you've lived too long... I 1576 01:44:01,670 --> 01:44:03,670 man: Pepsi continues to innovate, 1577 01:44:03,710 --> 01:44:05,460 by capturing what's new, 1578 01:44:05,510 --> 01:44:08,380 what's contemporary, and what's hot. 1579 01:44:08,430 --> 01:44:10,430 The glass spider tour will be all of that. 1580 01:44:10,470 --> 01:44:14,310 I now the chev brakes are snarling I 1581 01:44:14,350 --> 01:44:16,060 I as you stumble across the road I 1582 01:44:17,770 --> 01:44:20,600 interviewer: You always have that segment of people 1583 01:44:20,650 --> 01:44:22,110 who are with you from the start 1584 01:44:22,150 --> 01:44:24,570 and if you know bowie, you know he's sold out. 1585 01:44:24,610 --> 01:44:28,150 David: I don't begrudge any artist for getting an audience. 1586 01:44:28,200 --> 01:44:31,320 I'm sorry, I never found that poverty meant purity. 1587 01:44:31,370 --> 01:44:33,200 Interviewer: For a guy who doesn't like 1588 01:44:33,240 --> 01:44:35,580 to play it safe, though, as the audience gets larger, 1589 01:44:35,620 --> 01:44:37,500 it must be harder to take those chances. 1590 01:44:38,910 --> 01:44:41,710 I oh no, love, you're not alone I 1591 01:44:43,420 --> 01:44:47,420 I you're watching yourself but you're too unfair I 1592 01:44:47,460 --> 01:44:50,510 I you got your head all tangled up I 1593 01:44:50,550 --> 01:44:54,140 I but if I could only make you care I 1594 01:44:54,180 --> 01:44:55,680 here I was, making lots of money, 1595 01:44:55,720 --> 01:44:57,560 performing to these huge audiences, 1596 01:44:57,600 --> 01:44:59,180 and I thought that's it, you know? 1597 01:44:59,230 --> 01:45:01,850 I've come to the vacuum of my life. 1598 01:45:01,900 --> 01:45:05,570 I no matter when or where you've seen I 1599 01:45:05,610 --> 01:45:09,070 I all the knives seem to lacerate your brain I 1600 01:45:09,110 --> 01:45:13,950 I I've had my share now I'll help you with the pain I 1601 01:45:13,990 --> 01:45:15,370 I you're not alone I 1602 01:45:20,120 --> 01:45:23,630 I just turn on with me and you're not alone I 1603 01:45:26,420 --> 01:45:30,420 I just turn on with me and you're not alone I 1604 01:45:34,350 --> 01:45:37,810 I gimme your hands cause you're wonderful I 1605 01:45:38,930 --> 01:45:40,680 j'isaidj' 1606 01:45:40,730 --> 01:45:44,560 I gimme your hands cause you're wonderful I 1607 01:45:47,610 --> 01:45:51,650 I gimme your hands cause you're wonderful I 1608 01:45:53,320 --> 01:45:57,280 I cause you... Gimmie your hands I 1609 01:45:57,330 --> 01:45:59,370 I cause you're wonderful I 1610 01:46:01,830 --> 01:46:07,170 I gimme your hands 'cause you're wonderful I 1611 01:46:07,210 --> 01:46:08,460 I gimme your hands I 1612 01:46:11,590 --> 01:46:13,430 I 'cause you're wonderful I 1613 01:46:18,930 --> 01:46:20,810 I 'cause you're wonderful I 1614 01:46:26,020 --> 01:46:27,860 I 'cause you're wonderful I 1615 01:46:33,030 --> 01:46:34,450 I 'cause you're wonderful I 1616 01:46:34,490 --> 01:46:35,490 I'm a young man. 1617 01:46:36,950 --> 01:46:38,990 Do you understand? 1618 01:46:39,030 --> 01:46:40,740 I'm a young man. 1619 01:46:40,790 --> 01:46:42,330 I 'cause you're wonderful. I 1620 01:46:59,560 --> 01:47:02,310 Thank you very much. Bye bye, we love you. 1621 01:47:31,880 --> 01:47:34,170 David: Even though it was enormously successful, 1622 01:47:35,670 --> 01:47:38,050 there was no growth going on at all. 1623 01:47:43,640 --> 01:47:45,040 They were very hard years to get through 1624 01:47:45,060 --> 01:47:46,690 to find any sense of purpose. 1625 01:47:48,940 --> 01:47:50,810 I wasn't allowing myself 1626 01:47:50,860 --> 01:47:53,690 the service of being who I really am as an artist. 1627 01:47:55,190 --> 01:47:57,110 I'd given myself dreadful parameters 1628 01:47:57,150 --> 01:48:01,700 in confining myself to merely what I presumed people wanted. 1629 01:48:05,830 --> 01:48:07,460 I never wanted to do this. 1630 01:48:07,500 --> 01:48:09,920 I never wanted to be out there pleasing people. 1631 01:48:09,960 --> 01:48:11,790 I wanted to be really stubborn 1632 01:48:11,840 --> 01:48:13,880 and have people like what I like. 1633 01:48:13,920 --> 01:48:16,130 Not give them what they like. 1634 01:48:21,970 --> 01:48:25,430 It's very, very easy to become work-obsessed 1635 01:48:25,470 --> 01:48:27,640 for the reason of not having to look at oneself. 1636 01:48:31,860 --> 01:48:33,480 I think over the last few years, 1637 01:48:33,520 --> 01:48:35,440 I'm understanding 1638 01:48:35,480 --> 01:48:38,360 a very important thing in my life, 1639 01:48:38,400 --> 01:48:41,780 which is that I really have to come back 1640 01:48:41,820 --> 01:48:44,240 to what my life is about. 1641 01:48:44,280 --> 01:48:48,040 That my life is not about the work that I do. 1642 01:48:48,080 --> 01:48:49,710 My work is not me. 1643 01:48:49,750 --> 01:48:54,920 I am distinctly one entity that needs looking at. 1644 01:48:57,840 --> 01:48:59,300 When I first looked, 1645 01:48:59,340 --> 01:49:02,090 I just didn't understand that person, 1646 01:49:02,140 --> 01:49:04,470 because I'd never given myself the time, 1647 01:49:04,510 --> 01:49:06,140 nor the incentive 1648 01:49:06,180 --> 01:49:09,770 to want to really have a look at myself, deeply. 1649 01:49:12,860 --> 01:49:16,070 I think the first intrusion into one's own inner conflicts 1650 01:49:16,110 --> 01:49:18,150 is not the most pleasant of experiences. 1651 01:49:21,240 --> 01:49:23,620 But working through them 1652 01:49:23,660 --> 01:49:25,450 can really be one of the greatest adventures 1653 01:49:25,490 --> 01:49:27,160 of one's life, 1654 01:49:27,200 --> 01:49:31,500 and it takes a certain amount of bravado, 1655 01:49:31,540 --> 01:49:35,090 and need, and a realization 1656 01:49:35,130 --> 01:49:38,090 that you're missing out on your own life. 1657 01:49:39,510 --> 01:49:41,510 You are probably creating hazards 1658 01:49:41,550 --> 01:49:47,390 and disturbing experiences for others around you. 1659 01:49:47,430 --> 01:49:49,730 And the house must be put right. 1660 01:50:09,620 --> 01:50:11,260 Interviewer: Do you have any room in your life 1661 01:50:11,290 --> 01:50:13,080 for any kind of real relationship like that? 1662 01:50:13,120 --> 01:50:14,800 David: More room than I've ever had before. 1663 01:50:18,090 --> 01:50:20,340 Interviewer: You've said that being in love, 1664 01:50:20,380 --> 01:50:21,610 you thought was like a disease. 1665 01:50:21,630 --> 01:50:23,380 David: Yeah. 1666 01:50:23,430 --> 01:50:24,780 Interviewer: Horrible, and it bred jealousy, and... 1667 01:50:24,800 --> 01:50:26,680 David: I think I've... I think I've... 1668 01:50:26,720 --> 01:50:30,890 I think I've grown to feel a distaste for that statement. 1669 01:50:55,960 --> 01:50:58,590 Then I met iman, 1670 01:50:58,630 --> 01:51:01,960 and it was smack, right from the first night. 1671 01:51:02,010 --> 01:51:03,300 That was it. It was over. 1672 01:51:06,010 --> 01:51:07,010 It was incredible. 1673 01:51:10,680 --> 01:51:14,640 My life suddenly became Rose-tinged. 1674 01:51:16,270 --> 01:51:18,900 I in this age of grand illusion I 1675 01:51:18,940 --> 01:51:21,230 I you walked into my life I 1676 01:51:21,280 --> 01:51:23,070 I out of my dreams I 1677 01:51:26,070 --> 01:51:28,490 I I don't need another change I 1678 01:51:28,530 --> 01:51:30,200 I still you forced your way I 1679 01:51:30,240 --> 01:51:33,080 I into my scheme of things I 1680 01:51:37,080 --> 01:51:39,420 I you say we're growing I 1681 01:51:40,750 --> 01:51:44,170 I growing heart and soul... I 1682 01:51:44,210 --> 01:51:46,130 I really started thinking about 1683 01:51:46,170 --> 01:51:50,100 where I was gonna go with it, and what I could do for her, 1684 01:51:50,140 --> 01:51:52,680 and how I could be 1685 01:51:52,720 --> 01:51:54,310 some kind of valuable contribution 1686 01:51:54,350 --> 01:51:56,390 to a relationship. 1687 01:51:56,440 --> 01:52:02,270 I sweet name you're born once again for me I 1688 01:52:06,110 --> 01:52:11,830 I sweet name you're born once again for me... I 1689 01:52:13,660 --> 01:52:16,370 it became a process over the first year or so, 1690 01:52:16,410 --> 01:52:19,080 trying to balance my life in terms of well, 1691 01:52:19,120 --> 01:52:21,290 how many of these precious moments 1692 01:52:21,340 --> 01:52:24,210 am I willing to give away at my age, 45? 1693 01:52:24,250 --> 01:52:27,170 Do I want to keep on inundating myself 1694 01:52:27,220 --> 01:52:29,720 with one work project after another, and sort of, 1695 01:52:29,760 --> 01:52:32,640 leave virtually no room for a real, solid, 1696 01:52:32,680 --> 01:52:35,930 wonderful relationship to start blooming? 1697 01:52:35,970 --> 01:52:39,900 I lord, I knee! And offer you I 1698 01:52:39,940 --> 01:52:42,690 I my word on a wing I 1699 01:52:44,940 --> 01:52:46,990 interviewer: Tour plans. Any tour plans? 1700 01:52:47,030 --> 01:52:50,570 Unfortunately not. No, not this time. 1701 01:52:50,610 --> 01:52:54,030 As you know, I've only been married seven months, 1702 01:52:54,080 --> 01:52:57,660 and I really want to spend more time within the marriage. 1703 01:52:57,700 --> 01:53:00,370 I think the worst thing to do is run away for a year. 1704 01:53:01,670 --> 01:53:02,710 I really do. 1705 01:53:09,880 --> 01:53:10,880 I lord I 1706 01:53:12,140 --> 01:53:13,550 I lord I 1707 01:53:13,600 --> 01:53:16,260 I my prayer flies like a word on a wing I 1708 01:53:18,180 --> 01:53:20,980 I my prayer flies like a word on a wing I 1709 01:53:22,810 --> 01:53:25,980 I does my prayer fit in with your scheme of things? I 1710 01:53:35,910 --> 01:53:39,000 David: There's a certain buoyancy that you can develop 1711 01:53:39,040 --> 01:53:40,830 as you get older 1712 01:53:40,870 --> 01:53:44,080 if you are capable of absorbing that it's a finite life, 1713 01:53:44,130 --> 01:53:45,670 and a finite existence. 1714 01:53:46,960 --> 01:53:48,460 And it's a kind of a knowledge 1715 01:53:48,510 --> 01:53:51,470 that you cannot possibly entertain 1716 01:53:51,510 --> 01:53:53,220 when you're young. 1717 01:53:53,260 --> 01:53:56,930 You cannot entertain the real magnificence 1718 01:53:56,970 --> 01:53:59,430 and inevitability of the short span of years 1719 01:53:59,470 --> 01:54:00,930 that we spend on the earth. 1720 01:54:00,980 --> 01:54:02,770 And I think if you are really honest 1721 01:54:02,810 --> 01:54:04,190 with that reality, 1722 01:54:04,230 --> 01:54:06,690 you can have a kind of a freedom, 1723 01:54:06,730 --> 01:54:09,030 artistically, spiritually, and emotionally 1724 01:54:09,070 --> 01:54:10,820 that you don't have when you're young. 1725 01:54:10,860 --> 01:54:15,370 I ooh, ready to shape the scheme of things I 1726 01:54:15,410 --> 01:54:17,450 the idea of holding on to anything 1727 01:54:17,490 --> 01:54:21,830 that's manifested seems farcical. 1728 01:54:21,870 --> 01:54:23,620 There is nothing to hold onto. 1729 01:54:23,670 --> 01:54:25,460 Youth, physical things, or... 1730 01:54:29,130 --> 01:54:30,300 Definitely possessions. 1731 01:54:35,180 --> 01:54:37,050 The 20th century concern 1732 01:54:37,100 --> 01:54:40,390 is how we put our new god back together again. 1733 01:54:40,430 --> 01:54:43,560 I think that we're coming into an era of chaos, 1734 01:54:43,600 --> 01:54:45,730 and chaos has meaning in our lives, 1735 01:54:45,770 --> 01:54:48,060 and I think that we have to re-adapt 1736 01:54:48,110 --> 01:54:51,320 our interpretation of religion and spirituality 1737 01:54:51,360 --> 01:54:52,570 to suit our new millennium. 1738 01:54:53,990 --> 01:54:55,910 Chaos and fragmentation is something 1739 01:54:55,950 --> 01:54:58,700 that I've always been very comfortable with. 1740 01:54:58,740 --> 01:55:01,370 That obviously is my through-line. 1741 01:55:01,410 --> 01:55:03,080 Because I've always felt 1742 01:55:03,120 --> 01:55:05,750 that there's no real central one truth in life. 1743 01:55:05,790 --> 01:55:07,960 That the way we live is trying to make sense 1744 01:55:08,000 --> 01:55:12,170 of the endless vortex of fragments. 1745 01:55:12,210 --> 01:55:14,720 That essentially, we try and pull 1746 01:55:14,760 --> 01:55:17,140 these weedy little truths 1747 01:55:17,180 --> 01:55:19,760 and absolutes 1748 01:55:19,800 --> 01:55:23,810 out of this kind of mindless chaos, 1749 01:55:23,850 --> 01:55:25,850 which is the real universe. 1750 01:55:25,890 --> 01:55:28,520 There's something about the 90s that I really like. 1751 01:55:28,560 --> 01:55:30,480 There's something in the air that I recognize. 1752 01:55:30,520 --> 01:55:32,190 I think it's all the frag... 1753 01:55:32,230 --> 01:55:34,690 All the fragments flying around in the chaos. 1754 01:55:34,740 --> 01:55:37,360 It feels really... I kind of... I know this stuff. 1755 01:56:04,520 --> 01:56:05,560 I spaceboy I 1756 01:56:07,100 --> 01:56:08,350 I you're sleepy now I 1757 01:56:09,560 --> 01:56:10,900 I your silhouette I 1758 01:56:12,570 --> 01:56:14,030 I is so stationary I 1759 01:56:15,900 --> 01:56:18,450 I you're released but your custody calls I 1760 01:56:20,120 --> 01:56:21,530 I and I want to be free I 1761 01:56:25,500 --> 01:56:26,790 I don't you want to be free I 1762 01:56:28,620 --> 01:56:30,290 I do you like girls or boys I 1763 01:56:32,250 --> 01:56:34,750 I yeah, it's confusing these days I 1764 01:56:36,130 --> 01:56:39,630 I but moondust will cover you I 1765 01:56:39,680 --> 01:56:41,470 I cover you I 1766 01:56:41,510 --> 01:56:43,640 I this chaos is killing me I 1767 01:56:48,600 --> 01:56:49,690 I so bye bye love I 1768 01:56:54,980 --> 01:56:56,190 I bye bye love I 1769 01:57:01,620 --> 01:57:02,660 I bye bye love I 1770 01:57:07,790 --> 01:57:08,910 I bye bye love I 1771 01:57:26,600 --> 01:57:28,560 I this chaos is killing me I 1772 01:57:33,650 --> 01:57:34,860 I sweet sweet dove I 1773 01:57:39,940 --> 01:57:41,320 I bye bye spaceboy I 1774 01:57:46,370 --> 01:57:47,580 I bye bye love I 1775 01:57:53,960 --> 01:57:56,340 I moondust will cover you I 1776 01:58:00,340 --> 01:58:02,510 I moondust will cover you I 1777 01:58:06,300 --> 01:58:09,220 I moondust will cover you I 1778 01:58:12,890 --> 01:58:15,440 I moondust will cover you I 1779 01:58:19,400 --> 01:58:21,820 I moondust will cover you I 1780 01:58:27,580 --> 01:58:30,040 I all is well I 1781 01:58:30,080 --> 01:58:32,580 I 20th century dies I 1782 01:58:32,620 --> 01:58:35,040 I toll the bell I 1783 01:58:35,080 --> 01:58:37,460 I pay the private eye I 1784 01:58:37,500 --> 01:58:39,920 I all is well I 1785 01:58:39,960 --> 01:58:42,220 I 20th century dies I 1786 01:59:03,700 --> 01:59:06,910 David: I think, I think it has something to do 1787 01:59:06,950 --> 01:59:09,950 with being able to reach the end of any one day 1788 01:59:09,990 --> 01:59:12,830 and feel that you took from it 1789 01:59:12,870 --> 01:59:16,960 and gave back to it as much as possible. 1790 01:59:18,420 --> 01:59:20,630 I hate to waste days. 1791 01:59:29,350 --> 01:59:32,310 I've just been feeling a lot more comfortable 1792 01:59:32,350 --> 01:59:34,430 with life, and myself, and my writing 1793 01:59:34,480 --> 01:59:36,100 and everything as the years go by, 1794 01:59:36,140 --> 01:59:38,350 so it's... I just happen to be in a great place. 1795 01:59:38,400 --> 01:59:40,060 I'm really lucky in that way. 1796 01:59:40,110 --> 01:59:41,520 'Cause I look at some of my mates, 1797 01:59:41,570 --> 01:59:43,490 and some contemporaries, 1798 01:59:43,530 --> 01:59:46,650 and I know some of them feel, I don't know, tired, or bitter, 1799 01:59:46,700 --> 01:59:48,570 or you know, a number of things 1800 01:59:48,620 --> 01:59:52,040 that traditionally are supposed to go 1801 01:59:52,080 --> 01:59:53,370 with getting older, you know? 1802 01:59:53,410 --> 01:59:54,750 And I've just been very fortunate 1803 01:59:54,790 --> 01:59:56,460 that it just hasn't happened to me. 1804 01:59:56,500 --> 01:59:59,250 I just feel really... I'm pretty keen on everything. 1805 02:00:00,790 --> 02:00:02,630 I've just landed on my feet. 1806 02:00:02,670 --> 02:00:06,130 I've done and do everything I've always wanted to do, 1807 02:00:06,170 --> 02:00:07,800 you know? 1808 02:00:07,840 --> 02:00:08,840 That's been... 1809 02:00:10,090 --> 02:00:12,060 Interviewer: That's a great thing. 1810 02:00:12,100 --> 02:00:13,450 David: Oh, it's extraordinary. It really is extraordinary. 1811 02:00:13,470 --> 02:00:14,560 I've an incredible life. 1812 02:00:15,730 --> 02:00:17,560 It's been amazing. 1813 02:00:17,600 --> 02:00:19,270 I would love to do it again. 1814 02:00:22,230 --> 02:00:26,110 I was determined, ever since I was 16, 1815 02:00:26,150 --> 02:00:28,070 that I would have the greatest adventure 1816 02:00:28,110 --> 02:00:30,870 that any one person could ever have. 1817 02:00:30,910 --> 02:00:33,450 And I set my sails in the general direction 1818 02:00:33,490 --> 02:00:35,790 of uncharted waters. 1819 02:00:35,830 --> 02:00:38,370 I put myself through everything... 1820 02:00:38,410 --> 02:00:41,330 Absolutely everything, that came along. 1821 02:00:41,380 --> 02:00:45,710 It was very important for me to expand my horizons 1822 02:00:45,760 --> 02:00:47,380 and seeing just how... 1823 02:00:47,420 --> 02:00:49,840 Just how near to the line I could get. 1824 02:01:30,880 --> 02:01:33,140 I've been so eclectic all my life. 1825 02:01:33,180 --> 02:01:36,140 I've been admiring of so many different people 1826 02:01:36,180 --> 02:01:38,180 and so many different things that they've done, 1827 02:01:38,220 --> 02:01:41,980 I feel that I owe so many for the way that I think 1828 02:01:42,020 --> 02:01:43,020 and do things. 1829 02:01:44,400 --> 02:01:48,030 I guess anybody who's had the integrity 1830 02:01:48,070 --> 02:01:50,450 to kind of always work outside of the system, 1831 02:01:50,490 --> 02:01:52,610 has always appealed to me. 1832 02:01:52,660 --> 02:01:55,870 Whenever I'm teetering on sort of what I know 1833 02:01:55,910 --> 02:01:58,660 is what I do best, and what I really feel for, 1834 02:01:58,700 --> 02:02:00,870 and there's an area that I think that, 1835 02:02:00,910 --> 02:02:03,170 well, an audience I know would like this, 1836 02:02:04,170 --> 02:02:05,960 I just remember back 1837 02:02:06,000 --> 02:02:09,960 to how much I hate the center of the social strata, 1838 02:02:10,010 --> 02:02:12,180 how I hate being drawn into the middle, 1839 02:02:12,220 --> 02:02:14,510 to the middle of the road of anything, 1840 02:02:14,550 --> 02:02:17,310 to that which is most popular. 1841 02:02:17,350 --> 02:02:19,350 And if... the other thing I would say is that 1842 02:02:19,390 --> 02:02:22,140 if you feel safe in the area that you're working in, 1843 02:02:22,190 --> 02:02:23,900 you're not working in the right area. 1844 02:02:23,940 --> 02:02:26,150 Always go a little further into the water 1845 02:02:26,190 --> 02:02:28,110 than you feel you're capable of being in. 1846 02:02:28,150 --> 02:02:30,070 Go a little bit out of your depth, 1847 02:02:30,110 --> 02:02:31,570 and when you don't feel 1848 02:02:31,610 --> 02:02:33,370 that your feet are quite touching the bottom, 1849 02:02:33,400 --> 02:02:34,670 you're just about in the right place 1850 02:02:34,700 --> 02:02:36,120 to do something exciting. 1851 02:02:45,040 --> 02:02:46,460 Let me tell you one thing. 1852 02:02:47,880 --> 02:02:51,210 All people, no matter who they are, 1853 02:02:51,260 --> 02:02:53,800 they all wish they'd appreciated life more. 1854 02:02:56,300 --> 02:02:59,260 It's what you do in life that's important, 1855 02:02:59,310 --> 02:03:02,560 not how much time you have, or what you wish you'd done. 1856 02:03:45,310 --> 02:03:50,110 I something happened on the day he died I 1857 02:03:50,150 --> 02:03:54,360 I spirit Rose a meter then stepped aside I 1858 02:03:54,400 --> 02:03:59,070 I somebody else took his place and bravely cried I 1859 02:03:59,120 --> 02:04:01,950 I I'm a blackstar I 1860 02:04:01,990 --> 02:04:05,910 I 000000... I 1861 02:04:26,480 --> 02:04:28,560 There is no beginning, no end. 1862 02:04:29,980 --> 02:04:31,610 And all at once, 1863 02:04:31,650 --> 02:04:34,650 the outward appearance of meaning is transcended, 1864 02:04:34,690 --> 02:04:38,200 and you find yourself struggling to comprehend a deep 1865 02:04:38,240 --> 02:04:40,030 and formidable mystery. 1866 02:04:41,910 --> 02:04:42,950 I'm dying. 1867 02:04:44,200 --> 02:04:46,540 You are dying. 1868 02:04:46,580 --> 02:04:49,920 Second by second, all is transient. 1869 02:04:51,170 --> 02:04:53,920 Does it matter? Do I bother? 1870 02:04:55,250 --> 02:04:57,090 Yes I do. 1871 02:04:57,130 --> 02:04:59,130 Life is fantastic. 1872 02:04:59,180 --> 02:05:01,260 It never ends. It only changes. 1873 02:05:02,430 --> 02:05:05,640 Flesh to stone to flesh. 1874 02:05:05,680 --> 02:05:07,390 And round and round. 1875 02:05:09,100 --> 02:05:10,980 Best keep walking. 1876 02:05:42,890 --> 02:05:46,890 I the sun machine is coming down I 1877 02:05:46,930 --> 02:05:49,640 I and we're gonna have a party I 1878 02:05:49,680 --> 02:05:51,640 I uh-huh huh I 1879 02:05:51,690 --> 02:05:55,480 I the sun machine is coming down I 1880 02:05:55,520 --> 02:05:58,280 I and we're gonna have a party I 1881 02:05:58,320 --> 02:05:59,860 I uh-huh huh I 1882 02:05:59,900 --> 02:06:03,660 I the sun machine is coming down I 1883 02:06:03,700 --> 02:06:06,620 I and we're gonna have a party I 1884 02:06:06,660 --> 02:06:08,240 I uh-huh huh I 1885 02:06:08,290 --> 02:06:11,960 I the sun machine is coming down I 1886 02:06:12,000 --> 02:06:14,790 I and we're gonna have a party I 1887 02:06:14,830 --> 02:06:16,460 I uh-huh huh I 1888 02:06:16,500 --> 02:06:20,510 I the sun machine is coming down I 1889 02:06:20,550 --> 02:06:24,680 I whoa ho uh-ha I 1890 02:06:24,720 --> 02:06:28,850 I the sun machine is coming down I 1891 02:06:28,890 --> 02:06:31,310 I whoa ho uh-ha I 1892 02:06:32,940 --> 02:06:37,020 I the sun machine is coming down I 1893 02:06:37,060 --> 02:06:41,110 I whoa ho uh-ha I 1894 02:06:41,150 --> 02:06:45,030 I the sun machine is coming down I 1895 02:06:45,070 --> 02:06:47,700 I whoa ho uh-ha I 1896 02:06:47,740 --> 02:06:49,410 I na-na-na I 1897 02:06:49,450 --> 02:06:53,040 I the sun machine is coming down I 1898 02:06:57,250 --> 02:07:00,920 I the sun machine is coming down I 1899 02:07:05,220 --> 02:07:09,010 I the sun machine is coming down I 1900 02:07:09,060 --> 02:07:11,560 I and we're gonna have a party I 1901 02:07:13,180 --> 02:07:16,900 I the sun machine is coming down I 1902 02:07:16,940 --> 02:07:19,610 I and we're gonna have a party I 1903 02:07:21,190 --> 02:07:24,490 I the sun machine is coming down I 1904 02:07:24,530 --> 02:07:27,280 I and we're gonna have a party I 1905 02:07:28,990 --> 02:07:32,330 I the sun machine is coming down I 1906 02:07:32,370 --> 02:07:34,830 I and we're gonna have a party I 1907 02:07:36,790 --> 02:07:40,250 I the sun machine is coming down I 1908 02:07:40,290 --> 02:07:42,670 I and we're gonna have a party I 1909 02:07:44,550 --> 02:07:47,840 I the sun machine is coming down I 1910 02:07:47,890 --> 02:07:50,300 I and we're gonna have a party I 1911 02:07:52,220 --> 02:07:55,940 I the sun machine is coming down I 1912 02:07:55,980 --> 02:07:57,940 I and we're gonna have a party I 1913 02:07:59,940 --> 02:08:03,360 I the sun machine is coming down I 1914 02:08:03,400 --> 02:08:05,610 I and we're gonna have a party I 1915 02:08:07,450 --> 02:08:10,620 I the sun machine is coming down I 1916 02:08:10,660 --> 02:08:13,200 I and we're gonna have a party... I 1917 02:08:29,470 --> 02:08:31,260 I hey, now now I 1918 02:08:34,470 --> 02:08:36,310 I goodbye love I 1919 02:08:39,560 --> 02:08:44,440 I didn't know what time it was, the lights were low-ow-ow I 1920 02:08:44,480 --> 02:08:49,240 I I leaned back on my radio-o-o I 1921 02:08:49,280 --> 02:08:52,950 I some cat was iayin' down some rock 'n' roll I 1922 02:08:52,990 --> 02:08:54,160 I "lotta soul" he said I 1923 02:08:56,700 --> 02:09:01,170 I then the loud sound did seem to fade-Ade-Ade I 1924 02:09:01,210 --> 02:09:05,960 I came back like a slow voice on a wave of phase-ase-ase I 1925 02:09:06,010 --> 02:09:10,590 I that weren't no dj, that was hazy cosmic jive I 1926 02:09:14,470 --> 02:09:19,730 I there's a starman waiting in the sky I 1927 02:09:19,770 --> 02:09:22,100 I he'd like to come and meet us I 1928 02:09:22,150 --> 02:09:24,400 I but he thinks he'd blow our minds I 1929 02:09:24,440 --> 02:09:29,450 I there's a starman waiting in the sky I 1930 02:09:29,490 --> 02:09:31,490 I he's told us not to blow it I 1931 02:09:31,530 --> 02:09:33,870 I 'cause he knows it's all worthwhile I 1932 02:09:33,910 --> 02:09:37,660 I he told me let the children lose it I 1933 02:09:37,700 --> 02:09:39,960 I let the children use it I 1934 02:09:40,000 --> 02:09:42,210 I let all the children boogie I 1935 02:09:58,930 --> 02:10:03,600 I I had to phone someone so I picked on you-ou-ou I 1936 02:10:03,650 --> 02:10:08,280 I hey, that's far out, so you heard him too-oo-oo I 1937 02:10:08,320 --> 02:10:13,320 I switch on the TV, we may pick him up on channel two I 1938 02:10:15,490 --> 02:10:20,290 I look out your window, I can see his light-ight-ight I 1939 02:10:20,330 --> 02:10:24,790 I if we can sparkle he may land tonight-ight-ight I 1940 02:10:24,830 --> 02:10:26,460 I don't tell your poppa I 1941 02:10:26,500 --> 02:10:29,510 I or he'll get us locked up in fright I 1942 02:10:33,550 --> 02:10:38,680 I there's a starman waiting in the sky I 1943 02:10:38,720 --> 02:10:40,930 I he'd like to come and meet us I 1944 02:10:40,980 --> 02:10:43,230 I but he thinks he'd blow our minds I 1945 02:10:43,270 --> 02:10:48,270 I there's a starman waiting in the sky I 1946 02:10:48,320 --> 02:10:50,530 I he's told us not to blow it I 1947 02:10:50,570 --> 02:10:53,700 I 'cause he knows it's all worthwhile, he told me I 1948 02:10:53,740 --> 02:10:58,660 I let the children lose it let the children use it I 1949 02:10:58,700 --> 02:11:01,250 I let all the children boogie I 1950 02:11:01,290 --> 02:11:05,210 I starman waiting in the sky I 1951 02:11:05,250 --> 02:11:07,500 I he'd like to come and meet us I 1952 02:11:07,540 --> 02:11:09,670 I but he thinks he'd blow our minds I 1953 02:11:09,710 --> 02:11:14,630 I there's a starman waiting in the sky I 1954 02:11:14,680 --> 02:11:16,840 I he's told us not to blow it I 1955 02:11:16,890 --> 02:11:18,930 I 'cause he knows it's all worthwhile I 1956 02:11:18,970 --> 02:11:22,680 I he told me let the children lose it I 1957 02:11:22,730 --> 02:11:25,060 I let the children use it I 1958 02:11:25,100 --> 02:11:27,230 I let all the children boogie I 1959 02:11:36,450 --> 02:11:39,700 I la, la, la, ia-ia I 1960 02:11:39,740 --> 02:11:44,290 I la, la, la la, la, la, ia-ia I 1961 02:11:44,330 --> 02:11:48,960 I la, la, la la, la, la, ia-ia I 1962 02:11:49,000 --> 02:11:53,550 I la, la, la la, la, la, ia-ia I 1963 02:11:53,590 --> 02:11:58,180 I la, la, la la, la, la, ia-ia I 1964 02:11:58,220 --> 02:12:02,720 I la, la, la la, la, la, ia-ia I 1965 02:12:02,770 --> 02:12:07,350 I la, la, la la, la, la, ia-ia I 1966 02:12:07,390 --> 02:12:11,860 I la, la, la la, la, la, ia-ia I 1967 02:12:11,900 --> 02:12:16,400 I la, la, la la, la, la, ia-ia I 1968 02:12:16,450 --> 02:12:21,200 I la, la, la la, la, la, ia-ia I 1969 02:12:21,240 --> 02:12:25,700 I la, la, la la, la, la, ia-ia I 1970 02:12:25,750 --> 02:12:29,250 I la, la, la la, la, la, ia-ia. I 1971 02:12:37,720 --> 02:12:38,800 I oh yeah I 1972 02:12:42,680 --> 02:12:43,680 I mmmm I 1973 02:12:49,810 --> 02:12:53,570 I still don't know what I was waitin' for I 1974 02:12:53,610 --> 02:12:56,530 I and my time was running wild I 1975 02:12:56,570 --> 02:12:58,900 I a million dead-end streets and I 1976 02:12:58,950 --> 02:13:02,030 I every time I thought I'd got it made I 1977 02:13:02,070 --> 02:13:06,660 I it seemed the taste was not so sweet I 1978 02:13:06,700 --> 02:13:11,130 I so I turned myself to face me I 1979 02:13:11,170 --> 02:13:15,340 I but I've never caught a glimpse I 1980 02:13:15,380 --> 02:13:19,260 I how the others must see the faker I 1981 02:13:19,300 --> 02:13:22,640 I I'm much too fast to take that test I 1982 02:13:22,680 --> 02:13:24,510 I ch-ch-ch-ch-changes I 1983 02:13:24,560 --> 02:13:27,060 I turn and face the strange I 1984 02:13:27,100 --> 02:13:29,640 I ch-ch-changes I 1985 02:13:29,690 --> 02:13:32,270 I don't want to be a richer man I 1986 02:13:32,310 --> 02:13:34,110 I ch-ch-ch-ch-changes I 1987 02:13:34,150 --> 02:13:36,440 I turn and face the strange I 1988 02:13:36,480 --> 02:13:39,150 I ch-ch-changes I 1989 02:13:39,190 --> 02:13:41,450 I there's gonna have to be a different man I 1990 02:13:41,490 --> 02:13:44,450 j“ time may change me I 1991 02:13:44,490 --> 02:13:47,120 I but I can't trace time I 1992 02:13:47,160 --> 02:13:50,790 I I said that time may change me I 1993 02:13:50,830 --> 02:13:54,000 I but I can't trace time. I 1994 02:14:12,390 --> 02:14:13,810 David: Well you know what? 1995 02:14:13,850 --> 02:14:15,940 This has been an incredible pleasure, 1996 02:14:15,980 --> 02:14:19,230 and, uh, you were really interesting. 1997 02:14:19,280 --> 02:14:20,960 I didn't know those things you were telling me 1998 02:14:20,990 --> 02:14:23,240 about yourselves. It's nice to have met you. 1999 02:14:23,280 --> 02:14:25,410 I'm glad we did finally meet at last. 2000 02:14:25,450 --> 02:14:28,290 And all I can say is, I goodbye I 2001 02:14:28,330 --> 02:14:31,410 I goodbye we'll meet again I 2002 02:14:31,460 --> 02:14:33,000 I some time I 2003 02:14:33,040 --> 02:14:36,670 I somewhere fa-ta-ta ta-ta-ta-ta I 2004 02:14:36,710 --> 02:14:37,710 I ta-da. I 152376

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