1 00:00:23,016 --> 00:00:27,973 - ♪ Something happened on the day he died ♪ 2 00:00:27,974 --> 00:00:32,347 ♪ Spirit rose a meter and stepped aside ♪ 3 00:00:32,348 --> 00:00:35,347 ♪ Somebody else took his place ♪ 4 00:00:35,348 --> 00:00:38,681 ♪ And bravely cried ♪ 5 00:00:38,682 --> 00:00:40,264 Always remember that the reason 6 00:00:40,265 --> 00:00:42,098 that you initially started working 7 00:00:42,099 --> 00:00:44,015 was that there was something inside yourself 8 00:00:44,016 --> 00:00:45,556 that you felt that 9 00:00:45,557 --> 00:00:47,347 if you could manifest it in some way, 10 00:00:47,348 --> 00:00:48,598 you would understand 11 00:00:48,599 --> 00:00:50,015 more about yourself 12 00:00:50,016 --> 00:00:51,681 and how you coexist 13 00:00:51,682 --> 00:00:53,598 with the rest of society. 14 00:00:53,599 --> 00:00:58,890 ♪ How many times does an angel fall ♪ 15 00:00:58,891 --> 00:01:00,973 ♪ How many people lie ♪ 16 00:01:00,974 --> 00:01:03,848 ♪ Instead of talking tall ♪ 17 00:01:03,849 --> 00:01:05,931 People have either really accepted what I do 18 00:01:05,932 --> 00:01:07,431 or they've absolutely 19 00:01:07,432 --> 00:01:09,389 sort of pushed it away from them. 20 00:01:09,390 --> 00:01:11,472 I guess that's what I am, you know? 21 00:01:11,473 --> 00:01:13,723 But I would love to feel that what I did 22 00:01:13,724 --> 00:01:15,598 actually changed the fabric of music. 23 00:01:18,599 --> 00:01:25,724 ♪ ♪ 24 00:01:27,765 --> 00:01:29,472 Even though I seem to 25 00:01:29,473 --> 00:01:31,347 superficially change such a lot, 26 00:01:31,348 --> 00:01:33,931 a style does come through. 27 00:01:36,807 --> 00:01:39,598 By virtue of the fact that I'm getting older, 28 00:01:39,599 --> 00:01:41,264 it's given me quite a scope 29 00:01:41,265 --> 00:01:43,931 on what I can draw from within my own 30 00:01:43,932 --> 00:01:45,598 catalog of albums. 31 00:01:45,599 --> 00:01:52,724 ♪ ♪ 32 00:01:57,765 --> 00:02:00,140 ♪ Look up here ♪ 33 00:02:00,141 --> 00:02:03,181 ♪ I'm in heaven ♪ 34 00:02:03,182 --> 00:02:07,264 ♪ I've got scars that can't be seen ♪ 35 00:02:07,265 --> 00:02:14,390 ♪ ♪ 36 00:02:19,099 --> 00:02:20,764 'Allo, 'allo, 'allo! 37 00:02:20,765 --> 00:02:24,181 It's your lucky day! 38 00:02:24,182 --> 00:02:26,681 ♪ ♪ 39 00:02:26,682 --> 00:02:29,015 ♪ Where are we now? ♪ 40 00:02:29,016 --> 00:02:32,973 ♪ Where are we now? ♪ 41 00:02:32,974 --> 00:02:34,639 - I think that David's music 42 00:02:34,640 --> 00:02:36,806 is totally autobiographical. 43 00:02:36,807 --> 00:02:38,806 He's telling you everything 44 00:02:38,807 --> 00:02:40,639 if you just know what to look for. 45 00:02:40,640 --> 00:02:43,264 - ♪ The moment you know ♪ 46 00:02:43,265 --> 00:02:47,098 ♪ You know you know ♪ 47 00:02:47,099 --> 00:02:49,806 - He was a kind of provocateur. 48 00:02:49,807 --> 00:02:53,472 - ♪ Where the fuck did Monday go? ♪ 49 00:02:53,473 --> 00:02:56,639 - He offered an alternative to people, 50 00:02:56,640 --> 00:03:00,306 and that, to me, is a great artist. 51 00:03:00,307 --> 00:03:01,973 You know? Someone who can 52 00:03:01,974 --> 00:03:05,181 offer that for generations to come. 53 00:03:05,182 --> 00:03:07,015 ♪ ♪ 54 00:03:07,016 --> 00:03:09,015 - This is one human being 55 00:03:09,016 --> 00:03:11,056 who has single-handedly changed 56 00:03:11,057 --> 00:03:13,098 basically the course of my life, 57 00:03:13,099 --> 00:03:16,056 and you can't say that about most people. 58 00:03:23,348 --> 00:03:25,890 ♪ ♪ 59 00:03:25,891 --> 00:03:28,431 - ♪ Loving the alien ♪ 60 00:03:28,432 --> 00:03:31,681 ♪ Watch that man ♪ 61 00:03:31,682 --> 00:03:33,681 - ♪ Oh, honey, watch that man ♪ 62 00:03:33,682 --> 00:03:35,514 - ♪ Blue, blue, electric blue ♪ 63 00:03:35,515 --> 00:03:37,848 ♪ That's the color of my room ♪ 64 00:03:37,849 --> 00:03:39,764 ♪ I'm looking for a vehicle ♪ 65 00:03:39,765 --> 00:03:42,389 ♪ I'm looking for a ride ♪ 66 00:03:42,390 --> 00:03:43,973 ♪ I'm looking for a party ♪ 67 00:03:43,974 --> 00:03:46,222 ♪ I'm looking for a side ♪ 68 00:03:46,223 --> 00:03:49,890 ♪ We can be heroes ♪ 69 00:03:49,891 --> 00:03:52,723 ♪ Just for one day ♪ 70 00:03:58,599 --> 00:04:05,640 ♪ ♪ 71 00:04:06,390 --> 00:04:09,723 I've this poetic, romantic, kind of juvenile idea 72 00:04:09,724 --> 00:04:11,514 that I would be dead by 30, 73 00:04:11,515 --> 00:04:13,764 but suddenly you're 30 and you're 40. 74 00:04:13,765 --> 00:04:16,264 Then you're 50 and 57, and all that, 75 00:04:16,265 --> 00:04:17,931 and it's a new land, you know? 76 00:04:17,932 --> 00:04:19,806 - Sure. - I'm a pioneer. 77 00:04:19,807 --> 00:04:21,890 ♪ Got your mother in a whirl ♪ 78 00:04:21,891 --> 00:04:23,306 ♪ ♪ 79 00:04:23,307 --> 00:04:27,598 ♪ She's not sure if you're a boy or a girl ♪ 80 00:04:27,599 --> 00:04:28,890 ♪ Hey, baby ♪ 81 00:04:28,891 --> 00:04:31,389 ♪ Your hair's all right ♪ 82 00:04:31,390 --> 00:04:34,347 ♪ Hey, baby, let's stay out tonight ♪ 83 00:04:34,348 --> 00:04:36,098 - It's a big tour you're starting now, isn't it? 84 00:04:36,099 --> 00:04:38,056 - Yeah, it's gonna go on for months and months, 85 00:04:38,057 --> 00:04:40,514 but, uh, I think we're up for it. 86 00:04:40,515 --> 00:04:42,472 - How do you feel right now? 87 00:04:42,473 --> 00:04:44,222 - Pretty relaxed, you know. 88 00:04:44,223 --> 00:04:46,848 Uh, I enjoy the songs a lot, 89 00:04:46,849 --> 00:04:49,598 so, uh, I'm gonna-- I'm gonna have a good time. 90 00:04:49,599 --> 00:04:51,098 ♪ You're ♪ 91 00:04:51,099 --> 00:04:54,973 ♪ ♪ 92 00:04:54,974 --> 00:04:56,598 - You know, I'm gonna be honest with you. 93 00:04:56,599 --> 00:04:58,598 The happiest I've ever seen that man 94 00:04:58,599 --> 00:05:01,931 in 42 years that I spent, on and off, with him, 95 00:05:01,932 --> 00:05:03,848 was that tour. 96 00:05:03,849 --> 00:05:05,890 I--I'd never seen him like that before. 97 00:05:05,891 --> 00:05:07,140 - ♪ You're ♪ 98 00:05:07,141 --> 00:05:08,306 ♪ Rebel, rebel ♪ 99 00:05:08,307 --> 00:05:11,181 - ♪ Put on your dress ♪ 100 00:05:11,182 --> 00:05:12,472 ♪ Rebel, rebel ♪ 101 00:05:12,473 --> 00:05:14,140 - ♪ Face is a mess ♪ 102 00:05:14,141 --> 00:05:15,306 ♪ You're a ♪ 103 00:05:15,307 --> 00:05:16,639 ♪ Rebel, rebel ♪ 104 00:05:16,640 --> 00:05:18,222 - ♪ How could they know? ♪ 105 00:05:18,223 --> 00:05:21,764 ♪ Hot tramp, I love you so ♪ 106 00:05:21,765 --> 00:05:23,306 - ♪ You bet ♪ 107 00:05:23,307 --> 00:05:25,222 - At a certain time in your life, 108 00:05:25,223 --> 00:05:26,890 you get to a point where 109 00:05:26,891 --> 00:05:28,306 you do feel freer 110 00:05:28,307 --> 00:05:29,681 and you don't really care 111 00:05:29,682 --> 00:05:30,931 what people... 112 00:05:30,932 --> 00:05:32,931 Think, and you can be yourself 113 00:05:32,932 --> 00:05:34,472 and you can laugh at things 114 00:05:34,473 --> 00:05:37,222 and you can not take things, maybe, so seriously. 115 00:05:37,223 --> 00:05:39,056 ♪ ♪ 116 00:05:39,057 --> 00:05:41,389 - ♪ Hey, baby, let's stay out tonight ♪ 117 00:05:41,390 --> 00:05:43,931 - When it came to the "Reality Tour," 118 00:05:43,932 --> 00:05:46,806 I think he had decided that he was gonna take down 119 00:05:46,807 --> 00:05:49,598 that kind of screen, if you like... 120 00:05:49,599 --> 00:05:50,764 - Thank you! 121 00:05:50,765 --> 00:05:52,140 - And be David Bowie, 122 00:05:52,141 --> 00:05:53,472 not in a cheesy way, 123 00:05:53,473 --> 00:05:56,347 but he--he allowed more access 124 00:05:56,348 --> 00:05:58,181 to himself. 125 00:05:58,182 --> 00:06:01,015 - On guitar, from Dublin's fair city, 126 00:06:01,016 --> 00:06:02,181 Gerry Leonard. 127 00:06:04,223 --> 00:06:05,598 Actually, he's-- 128 00:06:05,599 --> 00:06:07,472 He's actually from Tunbridge Wells, 129 00:06:07,473 --> 00:06:08,723 but he always gets the good applause 130 00:06:08,724 --> 00:06:10,306 when I say that. 131 00:06:10,307 --> 00:06:12,140 I'm not really very keen to put on 132 00:06:12,141 --> 00:06:14,222 much of a theatrical show, you know, 133 00:06:14,223 --> 00:06:17,140 in terms of big sets and elephants and fireworks 134 00:06:17,141 --> 00:06:18,514 and things like that. 135 00:06:18,515 --> 00:06:20,264 Of course, it doesn't mean that 136 00:06:20,265 --> 00:06:22,264 I won't go back on my word, because that's, you know, 137 00:06:22,265 --> 00:06:24,472 part and parcel of what I do for you, 138 00:06:24,473 --> 00:06:26,681 as part of my entertaining factor 139 00:06:26,682 --> 00:06:28,347 is lying to you. 140 00:06:28,348 --> 00:06:32,098 ♪ ♪ 141 00:06:32,099 --> 00:06:34,890 - His sense of humor was on. 142 00:06:34,891 --> 00:06:36,598 He always had one anyway, 143 00:06:36,599 --> 00:06:37,723 but publicly, 144 00:06:37,724 --> 00:06:39,389 he didn't show it as much. 145 00:06:39,390 --> 00:06:41,222 You know what I mean? There was that 146 00:06:41,223 --> 00:06:44,890 serious artist thing going on, you know, 147 00:06:44,891 --> 00:06:46,723 during some of the tours. 148 00:06:46,724 --> 00:06:48,806 The "Reality Tour" wasn't like that, 149 00:06:48,807 --> 00:06:51,140 because there was some nights I was falling down laughing 150 00:06:51,141 --> 00:06:53,222 for some of the shit that he would say or do 151 00:06:53,223 --> 00:06:54,306 or that happened. 152 00:06:54,307 --> 00:06:55,681 - These must be my albums 153 00:06:55,682 --> 00:06:56,890 that nobody ever bought, 154 00:06:56,891 --> 00:06:58,723 so they've gotten really cheap. 155 00:06:58,724 --> 00:07:00,431 Look, they got "Lodger" and "Tin Machine," 156 00:07:00,432 --> 00:07:02,015 Isn't that because... 157 00:07:02,016 --> 00:07:04,890 - We're at some truck stop in Montana, 158 00:07:04,891 --> 00:07:06,890 and I'm at-- You know--you know those 159 00:07:06,891 --> 00:07:08,890 machines that you never win at 160 00:07:08,891 --> 00:07:10,181 where you put in the quarter 161 00:07:10,182 --> 00:07:11,723 and then the claw comes down 162 00:07:11,724 --> 00:07:13,431 and it picks up the stuffed animal? 163 00:07:13,432 --> 00:07:14,764 - Yeah, good boy. 164 00:07:14,765 --> 00:07:15,931 - Oh! 165 00:07:15,932 --> 00:07:17,140 Oh! 166 00:07:17,141 --> 00:07:18,598 - I do, it, and I actually get 167 00:07:18,599 --> 00:07:20,056 the thing out of it, 168 00:07:20,057 --> 00:07:21,639 and it's the-- But it's the two of us. 169 00:07:21,640 --> 00:07:22,806 It's this competition 170 00:07:22,807 --> 00:07:23,931 of who's gonna get 171 00:07:23,932 --> 00:07:25,056 the stuffed animal. 172 00:07:25,057 --> 00:07:26,057 - I think it's kind of 173 00:07:26,058 --> 00:07:27,431 a 50/50 thing here, 174 00:07:27,432 --> 00:07:28,556 so I'll take that one... - Oh, cut-- 175 00:07:28,557 --> 00:07:29,598 It was Cat's money. 176 00:07:29,599 --> 00:07:31,639 That's just not the David 177 00:07:31,640 --> 00:07:33,890 that I had known in early years. 178 00:07:33,891 --> 00:07:36,431 That's brilliant. 179 00:07:36,432 --> 00:07:38,848 - Some of the fun and games that were going on-- 180 00:07:38,849 --> 00:07:40,389 I think that really was 181 00:07:40,390 --> 00:07:43,181 who he was, you know? 182 00:07:43,182 --> 00:07:45,764 The real David was the one that you saw 183 00:07:45,765 --> 00:07:47,890 at the time of the "Reality Tour." 184 00:07:47,891 --> 00:07:50,222 He was--he's just-- He was always funny. 185 00:07:50,223 --> 00:07:51,764 He always had a funny sense of humor. 186 00:07:51,765 --> 00:07:53,181 He was always joking 187 00:07:53,182 --> 00:07:54,848 about things. 188 00:07:54,849 --> 00:07:56,222 - All right. 189 00:07:56,223 --> 00:07:57,598 - Oh, you're doing your bird. 190 00:07:57,599 --> 00:07:59,181 - Dun-dun-dun-dun. 191 00:07:59,182 --> 00:08:00,389 - Guess the movie. 192 00:08:03,307 --> 00:08:05,806 - There was a sense that David looked 193 00:08:05,807 --> 00:08:07,514 as young and as youthful 194 00:08:07,515 --> 00:08:09,140 as ever on that tour. 195 00:08:10,807 --> 00:08:12,681 It did seem like he had 196 00:08:12,682 --> 00:08:14,598 the gift from the gods, you know? 197 00:08:14,599 --> 00:08:17,723 That--that he was never gonna get old. 198 00:08:17,724 --> 00:08:22,890 - ♪ Never ever, ever gonna get old ♪ 199 00:08:22,891 --> 00:08:27,306 ♪ ♪ 200 00:08:29,599 --> 00:08:32,472 That's a lie, but it's only a little lie. 201 00:08:32,473 --> 00:08:34,723 - He looked so good 202 00:08:34,724 --> 00:08:37,431 and youthful at the same time 203 00:08:37,432 --> 00:08:39,681 and one night, I said, 204 00:08:39,682 --> 00:08:41,890 "You look really good in that suit," 205 00:08:41,891 --> 00:08:44,098 and for some reason, the way I said it-- 206 00:08:44,099 --> 00:08:45,389 He said, 207 00:08:45,390 --> 00:08:47,015 "I'm happily married." 208 00:08:49,473 --> 00:08:51,514 So I didn't realize what I-- 209 00:08:51,515 --> 00:08:53,181 How I was saying that. 210 00:08:53,182 --> 00:08:56,181 But yeah, he just looked great, 211 00:08:56,182 --> 00:08:57,723 all the time. 212 00:08:59,348 --> 00:09:01,806 - ♪ Billy rapped all night ♪ 213 00:09:01,807 --> 00:09:03,806 ♪ About his suicide ♪ 214 00:09:03,807 --> 00:09:06,890 ♪ Kick it in the head when he was 25 ♪ 215 00:09:06,891 --> 00:09:09,015 That's just speed jive. 216 00:09:09,016 --> 00:09:11,181 ♪ Don't wanna stay alive ♪ 217 00:09:11,182 --> 00:09:13,056 ♪ When you're 25 ♪ 218 00:09:13,057 --> 00:09:14,681 - Playing "All the Young Dudes," 219 00:09:14,682 --> 00:09:16,973 that's such-- Like an anthem, really. 220 00:09:16,974 --> 00:09:19,222 In a way, it was almost like church, 221 00:09:19,223 --> 00:09:21,140 you know, when you really do feel like 222 00:09:21,141 --> 00:09:24,472 you have this congregation of people 223 00:09:24,473 --> 00:09:25,890 and everyone's singing 224 00:09:25,891 --> 00:09:27,806 and the whole place is swaying. 225 00:09:27,807 --> 00:09:29,723 ♪ All the young dudes ♪ 226 00:09:29,724 --> 00:09:31,306 - Yeah, you in the back! 227 00:09:31,307 --> 00:09:33,015 ♪ Carry the news ♪ 228 00:09:33,016 --> 00:09:35,056 - In the St. George T-shirt! 229 00:09:35,057 --> 00:09:37,140 ♪ Dudes ♪ 230 00:09:37,141 --> 00:09:40,264 - ♪ Carry the message ♪ 231 00:09:40,265 --> 00:09:42,848 ♪ One more ♪ 232 00:09:42,849 --> 00:09:44,222 - It was just a-- 233 00:09:44,223 --> 00:09:46,222 An incredible connection 234 00:09:46,223 --> 00:09:48,306 to the audience, I think, for that show, 235 00:09:48,307 --> 00:09:50,222 for pretty much the whole show. 236 00:09:50,223 --> 00:09:51,973 ♪ Boogaloo dudes ♪ 237 00:09:51,974 --> 00:09:55,556 ♪ Carry the news ♪ 238 00:09:55,557 --> 00:09:58,015 ♪ ♪ 239 00:09:58,016 --> 00:09:59,723 - He just got into tunnel vision, 240 00:09:59,724 --> 00:10:01,890 like he was gonna make this 241 00:10:01,891 --> 00:10:03,264 not just successful, 242 00:10:03,265 --> 00:10:05,056 but just be prepared to play it, 243 00:10:05,057 --> 00:10:07,764 because it was a lot of music every night. 244 00:10:07,765 --> 00:10:09,973 We would go in 245 00:10:09,974 --> 00:10:11,973 2 1/2-hour sets, 246 00:10:11,974 --> 00:10:13,931 and, you know, you have to really 247 00:10:13,932 --> 00:10:17,514 be physically capable to handle that. 248 00:10:20,515 --> 00:10:25,681 ♪ ♪ 249 00:10:25,682 --> 00:10:28,389 - Going on tour excited him very much, 250 00:10:28,390 --> 00:10:31,431 but, uh, he said to me, flat-out, 251 00:10:31,432 --> 00:10:33,264 "I'm tired," 252 00:10:33,265 --> 00:10:34,639 so I think, um, 253 00:10:34,640 --> 00:10:37,015 he fulfilled all his wishes and dreams, 254 00:10:37,016 --> 00:10:40,015 and maybe he got a little over-saturated 255 00:10:40,016 --> 00:10:41,598 in the touring. 256 00:10:41,599 --> 00:10:48,682 ♪ ♪ 257 00:10:49,057 --> 00:10:51,140 - We got to Prague, 258 00:10:51,141 --> 00:10:54,181 and then, during a show, 259 00:10:54,182 --> 00:10:58,598 David was sweating profusely 260 00:10:58,599 --> 00:11:00,681 and unable to sing. 261 00:11:00,682 --> 00:11:03,973 - And then he started to hunch over. 262 00:11:03,974 --> 00:11:06,098 He looked over, and I looked over at him, 263 00:11:06,099 --> 00:11:08,472 and I went, "There's something really wrong." 264 00:11:08,473 --> 00:11:09,973 I said-- And I went, like-- 265 00:11:09,974 --> 00:11:11,723 And I signaled to his floor manager, 266 00:11:11,724 --> 00:11:14,306 and I went, "Boss, you're not okay." 267 00:11:14,307 --> 00:11:17,472 - The security person ran out and took him off the stage. 268 00:11:17,473 --> 00:11:19,181 Just took him away. 269 00:11:19,182 --> 00:11:20,973 - It was a little mysterious to everybody 270 00:11:20,974 --> 00:11:22,514 as to what it might be, 271 00:11:22,515 --> 00:11:24,472 because it really did come out of the blue. 272 00:11:24,473 --> 00:11:26,347 - I just was thinking, "Okay, he's seeing the doctor. 273 00:11:26,348 --> 00:11:30,222 Maybe they've given him a shot, or whatever." 274 00:11:30,223 --> 00:11:33,015 Then we got ready to go to the Hurricane Festival. 275 00:11:34,348 --> 00:11:36,681 - We'll leave this one for you, 276 00:11:36,682 --> 00:11:37,848 for me, for my band, 277 00:11:37,849 --> 00:11:39,181 for our families. 278 00:11:39,182 --> 00:11:40,389 Thanks very much. 279 00:11:40,390 --> 00:11:41,764 - We played the entire set, 280 00:11:41,765 --> 00:11:43,848 and it seemed, you know, normal. 281 00:11:43,849 --> 00:11:47,222 Not as--quite as-- As energetic 282 00:11:47,223 --> 00:11:49,181 and as charged 283 00:11:49,182 --> 00:11:51,015 as the performances before. 284 00:11:51,016 --> 00:11:55,098 ♪ ♪ 285 00:11:55,099 --> 00:11:57,306 - ♪ But I'll drink all the time ♪ 286 00:11:57,307 --> 00:12:00,764 ♪ ♪ 287 00:12:00,765 --> 00:12:02,431 ♪ 'Cause we're lovers ♪ 288 00:12:02,432 --> 00:12:04,890 ♪ ♪ 289 00:12:04,891 --> 00:12:07,181 ♪ That is a fact ♪ 290 00:12:07,182 --> 00:12:09,723 ♪ ♪ 291 00:12:09,724 --> 00:12:11,890 ♪ Yes, we're lovers ♪ 292 00:12:11,891 --> 00:12:13,431 - We finished the show... 293 00:12:13,432 --> 00:12:14,848 - ♪ And that is that ♪ 294 00:12:14,849 --> 00:12:16,639 - And then it seemed like 295 00:12:16,640 --> 00:12:18,222 David was in a lot of pain 296 00:12:18,223 --> 00:12:20,098 and obviously something was wrong. 297 00:12:20,099 --> 00:12:23,556 - They sent an ambulance, and took him away. 298 00:12:23,557 --> 00:12:26,431 We went back in the vans, um, with the band, 299 00:12:26,432 --> 00:12:28,931 and he went off in an ambulance that night. 300 00:12:28,932 --> 00:12:31,806 - I think we were told that, um, 301 00:12:31,807 --> 00:12:33,764 he had a mild heart attack 302 00:12:33,765 --> 00:12:36,389 and that his life wasn't in danger, 303 00:12:36,390 --> 00:12:39,306 but that was it. We were going home. 304 00:12:53,265 --> 00:12:55,514 - He said he wasn't gonna work for a while 305 00:12:55,515 --> 00:12:57,514 and, uh, he wasn't sure 306 00:12:57,515 --> 00:12:58,931 if he'd ever record again, 307 00:12:58,932 --> 00:13:00,681 or tour again. 308 00:13:00,682 --> 00:13:04,181 He just wanted to take time off. 309 00:13:07,432 --> 00:13:10,765 ♪ ♪ 310 00:13:11,432 --> 00:13:14,015 - I think any kind of unexpected thing, 311 00:13:14,016 --> 00:13:15,764 like a heart attack-- It makes you 312 00:13:15,765 --> 00:13:17,764 reevaluate things, and I-- 313 00:13:17,765 --> 00:13:20,764 But I never thought he'd stop working. 314 00:13:20,765 --> 00:13:23,140 ♪ ♪ 315 00:13:23,141 --> 00:13:26,264 - We would exchange emails about things that were 316 00:13:26,265 --> 00:13:29,306 interesting to each other or relevant, 317 00:13:29,307 --> 00:13:33,015 but there wasn't a lot of contact. 318 00:13:33,016 --> 00:13:34,764 ♪ ♪ 319 00:13:34,765 --> 00:13:37,306 - It's hard to figure out David, 320 00:13:37,307 --> 00:13:40,347 you know, and I stopped trying to figure him out. 321 00:13:40,348 --> 00:13:42,556 Just hope the phone would ring, 322 00:13:42,557 --> 00:13:45,056 and/or get an email from him, 323 00:13:45,057 --> 00:13:46,639 and I did. 324 00:13:49,640 --> 00:13:56,765 ♪ ♪ 325 00:14:08,974 --> 00:14:16,141 ♪ ♪ 326 00:14:22,515 --> 00:14:25,264 - Having not heard from him for a while, 327 00:14:25,265 --> 00:14:27,015 I suddenly got an email 328 00:14:27,016 --> 00:14:28,306 to see if I was available 329 00:14:28,307 --> 00:14:30,347 to come and play on the album. 330 00:14:30,348 --> 00:14:33,389 I received, then, an email from the management 331 00:14:33,390 --> 00:14:37,264 about the fact that if I was going to do this, 332 00:14:37,265 --> 00:14:39,181 it would have to be secret, 333 00:14:39,182 --> 00:14:40,514 and if I 334 00:14:40,515 --> 00:14:42,222 said anything about it, 335 00:14:42,223 --> 00:14:43,973 I would be in big trouble... 336 00:14:43,974 --> 00:14:45,181 Legally. 337 00:14:45,182 --> 00:14:47,056 ♪ ♪ 338 00:14:47,057 --> 00:14:48,723 - I got an email, 339 00:14:48,724 --> 00:14:51,222 really out of the blue, from David. 340 00:14:51,223 --> 00:14:52,973 "Do you want to come 341 00:14:52,974 --> 00:14:56,556 and work on some new songs for a week?" 342 00:14:56,557 --> 00:14:58,764 Uh, "P.S., 343 00:14:58,765 --> 00:15:00,222 uh, keep schtum." 344 00:15:00,223 --> 00:15:02,181 ♪ ♪ 345 00:15:02,182 --> 00:15:04,431 - Once we got to the studio, 346 00:15:04,432 --> 00:15:05,723 one of the first things he did 347 00:15:05,724 --> 00:15:08,140 was hand out NDAs to everybody: 348 00:15:08,141 --> 00:15:10,681 these papers to sign. It's the first time 349 00:15:10,682 --> 00:15:12,140 that I'd ever been asked 350 00:15:12,141 --> 00:15:13,472 to do something like that for him. 351 00:15:13,473 --> 00:15:14,931 ♪ ♪ 352 00:15:14,932 --> 00:15:16,389 - The hours were very short, 353 00:15:16,390 --> 00:15:17,890 compared to normal. 354 00:15:17,891 --> 00:15:19,681 By 6:00, that was it, no matter what, 355 00:15:19,682 --> 00:15:22,389 and some days, even earlier than that. 356 00:15:22,390 --> 00:15:24,556 That was not the David Bowie 357 00:15:24,557 --> 00:15:26,514 that I ever worked with before. 358 00:15:26,515 --> 00:15:28,556 Ever. I've never seen that. 359 00:15:28,557 --> 00:15:30,015 He would go in there 360 00:15:30,016 --> 00:15:32,598 and stay there until 361 00:15:32,599 --> 00:15:35,056 he was spent or done, 362 00:15:35,057 --> 00:15:36,764 but this was like a... 363 00:15:36,765 --> 00:15:38,389 "Mm. I'm leaving. 364 00:15:38,390 --> 00:15:39,723 6:00. See you." 365 00:15:39,724 --> 00:15:41,764 ♪ ♪ 366 00:15:41,765 --> 00:15:43,764 - He really wanted no pressure on him 367 00:15:43,765 --> 00:15:45,140 to release an album. 368 00:15:45,141 --> 00:15:47,098 There was no press release saying 369 00:15:47,099 --> 00:15:50,306 "Expect a Bowie album on this date." 370 00:15:50,307 --> 00:15:54,848 This way, he could finish every song to perfection. 371 00:15:57,849 --> 00:16:00,764 ♪ ♪ 372 00:16:04,265 --> 00:16:05,806 - I'm much more interested 373 00:16:05,807 --> 00:16:07,431 in the process of life 374 00:16:07,432 --> 00:16:08,973 and what is it that we're-- 375 00:16:08,974 --> 00:16:12,140 We're uncovering with our every move? 376 00:16:12,141 --> 00:16:15,556 The celebrity side of it-- I couldn't give a sausage. 377 00:16:20,141 --> 00:16:27,182 ♪ ♪ 378 00:16:28,557 --> 00:16:30,098 - ♪ Ooh, ooh, ooh, ooh ♪ 379 00:16:30,099 --> 00:16:31,598 ♪ Ooh, ooh, ooh, ooh ♪ 380 00:16:31,599 --> 00:16:34,181 ♪ Stars are never sleeping ♪ 381 00:16:34,182 --> 00:16:35,973 ♪ ♪ 382 00:16:35,974 --> 00:16:38,431 ♪ Ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh ♪ 383 00:16:38,432 --> 00:16:42,598 ♪ Dead ones and the living ♪ 384 00:16:42,599 --> 00:16:46,472 ♪ We live closer to the earth ♪ 385 00:16:46,473 --> 00:16:49,973 ♪ Never to the heavens ♪ 386 00:16:49,974 --> 00:16:53,556 ♪ The stars are never far away ♪ 387 00:16:53,557 --> 00:16:56,556 ♪ The stars are out tonight ♪ 388 00:16:56,557 --> 00:16:58,140 - David! 389 00:16:58,141 --> 00:17:00,181 Mr. Bowie! Mr. Bowie! 390 00:17:00,182 --> 00:17:01,848 David, can you wave? 391 00:17:01,849 --> 00:17:03,514 - ♪ The stars must stick together ♪ 392 00:17:03,515 --> 00:17:05,389 - "The Stars Are Out Tonight" song 393 00:17:05,390 --> 00:17:08,681 is about David's attitude towards celebrities. 394 00:17:08,682 --> 00:17:09,848 He's had a good dose 395 00:17:09,849 --> 00:17:11,264 of other people's celebrity, 396 00:17:11,265 --> 00:17:13,015 which, uh, he found distasteful. 397 00:17:13,016 --> 00:17:15,098 ♪ ♪ 398 00:17:15,099 --> 00:17:18,056 - There were definitely things on his mind 399 00:17:18,057 --> 00:17:19,514 and he'd been ruminating over, 400 00:17:19,515 --> 00:17:21,264 and it was all coming out now. 401 00:17:21,265 --> 00:17:24,140 It was like he was birthing the stuff. 402 00:17:24,141 --> 00:17:26,598 ♪ ♪ 403 00:17:26,599 --> 00:17:27,848 - He was trying a lot of things. 404 00:17:27,849 --> 00:17:29,347 He had to flex his muscles, 405 00:17:29,348 --> 00:17:31,056 to get back in shape, like a runner, 406 00:17:31,057 --> 00:17:33,764 or an athlete. That's what he had to do. 407 00:17:33,765 --> 00:17:36,973 You know, we just would throw these songs at the musicians, 408 00:17:36,974 --> 00:17:38,723 and they haven't heard them before. 409 00:17:38,724 --> 00:17:42,056 So we have David Torn on this track. 410 00:17:42,057 --> 00:17:45,806 For instance, the intro-- If I play David Torn... 411 00:17:48,807 --> 00:17:55,891 ♪ ♪ 412 00:17:56,765 --> 00:17:58,890 And that's his role in this, you know. 413 00:17:58,891 --> 00:18:01,806 - I had this loop-- Something like this going, 414 00:18:01,807 --> 00:18:04,389 which sounded like this, 415 00:18:04,390 --> 00:18:06,389 and I was moving it in and out 416 00:18:06,390 --> 00:18:10,723 while the-- While the whine was happening. 417 00:18:10,724 --> 00:18:12,556 ♪ ♪ 418 00:18:12,557 --> 00:18:15,890 - And I remember also that he was changing his vocal 419 00:18:15,891 --> 00:18:17,890 over the chords to create different sections, 420 00:18:17,891 --> 00:18:20,890 so we kind of had the idea to, uh, 421 00:18:20,891 --> 00:18:22,764 put some little different guitar riffs 422 00:18:22,765 --> 00:18:24,264 to kind of signify 423 00:18:24,265 --> 00:18:26,723 the changes over that. 424 00:18:29,765 --> 00:18:32,764 ♪ ♪ 425 00:18:32,765 --> 00:18:35,472 - I put Torn and Leonard together-- 426 00:18:35,473 --> 00:18:36,931 Torn and Leonard. 427 00:18:36,932 --> 00:18:40,764 ♪ ♪ 428 00:18:40,765 --> 00:18:42,681 Very complementary. 429 00:18:42,682 --> 00:18:43,848 ♪ ♪ 430 00:18:43,849 --> 00:18:44,973 Okay. 431 00:18:48,057 --> 00:18:50,973 ♪ ♪ 432 00:18:50,974 --> 00:18:52,931 - It's that kind of-- Almost a Motown kind of-- 433 00:18:52,932 --> 00:18:54,472 I don't know where that kind of comes from. 434 00:18:54,473 --> 00:18:56,098 - Very Motown-y, yeah. 435 00:18:56,099 --> 00:18:59,098 ♪ ♪ 436 00:18:59,099 --> 00:19:03,056 - ♪ Sugar pie, honey bunch ♪ 437 00:19:03,057 --> 00:19:04,639 - But he never said anything about doing that. 438 00:19:04,640 --> 00:19:06,222 - That's right. - We kind of assumed. 439 00:19:06,223 --> 00:19:07,639 - If you've got a smile, 440 00:19:07,640 --> 00:19:08,973 you're going in the right direction, you know? 441 00:19:08,974 --> 00:19:10,764 If you get that kind of, like, 442 00:19:10,765 --> 00:19:11,931 you're just like, "Oh, no, 443 00:19:11,932 --> 00:19:13,098 I wasn't thinking that at all." 444 00:19:13,099 --> 00:19:14,389 You know? 445 00:19:14,390 --> 00:19:16,931 - And it made me think of another song 446 00:19:16,932 --> 00:19:18,431 which is a David song, 447 00:19:18,432 --> 00:19:20,264 which was, uh, 448 00:19:20,265 --> 00:19:23,472 "China Girl." 449 00:19:26,307 --> 00:19:28,931 - David would come to the studio with 450 00:19:28,932 --> 00:19:31,639 pages full of lyrics, and start scratching them out. 451 00:19:31,640 --> 00:19:34,598 Up until the last minute, he would keep revising, 452 00:19:34,599 --> 00:19:37,140 and sometimes, he would come in and 453 00:19:37,141 --> 00:19:39,140 just re-sing one line. 454 00:19:42,141 --> 00:19:49,307 ♪ ♪ 455 00:19:56,016 --> 00:19:57,514 - "Stars Are Out Tonight." I think that's 456 00:19:57,515 --> 00:19:58,764 one of my favorite songs 457 00:19:58,765 --> 00:20:00,181 on the record, actually. 458 00:20:00,182 --> 00:20:01,598 I think that song was a-- 459 00:20:01,599 --> 00:20:03,015 For lack of a better word, 460 00:20:03,016 --> 00:20:04,056 a good piss-take... 461 00:20:04,057 --> 00:20:06,514 In a way, 462 00:20:06,515 --> 00:20:09,264 on--on what fame has become, 463 00:20:09,265 --> 00:20:12,764 which just is out-of-control machine. 464 00:20:12,765 --> 00:20:14,347 ♪ ♪ 465 00:20:14,348 --> 00:20:18,015 - You know, David had great, grand ideas. 466 00:20:18,016 --> 00:20:20,723 To become well-known, famous, 467 00:20:20,724 --> 00:20:22,806 was for him, initially, 468 00:20:22,807 --> 00:20:24,890 was to have the resources 469 00:20:24,891 --> 00:20:27,472 to realize what his ideas were. 470 00:20:27,473 --> 00:20:29,890 He really does come from that spirit. 471 00:20:29,891 --> 00:20:33,098 Um, he just didn't want to be famous per se. 472 00:20:36,141 --> 00:20:40,098 ♪ ♪ 473 00:20:40,099 --> 00:20:42,890 - ♪ Da-da-da-da ♪ 474 00:20:42,891 --> 00:20:45,890 I just wanted to make a really big name for myself. 475 00:20:45,891 --> 00:20:48,306 I wanted to make a mark. 476 00:20:48,307 --> 00:20:51,098 ♪ Just look through your window ♪ 477 00:20:51,099 --> 00:20:54,723 ♪ Look who sits outside ♪ 478 00:20:54,724 --> 00:20:57,389 - David had quite an edgy personality. 479 00:20:57,390 --> 00:21:01,056 He was intrigued by edgy stuff. 480 00:21:01,057 --> 00:21:02,806 He wanted to do many things. 481 00:21:02,807 --> 00:21:04,931 He loved the idea of theater. 482 00:21:04,932 --> 00:21:06,931 He loved the idea of acting. 483 00:21:06,932 --> 00:21:09,347 He loved the idea of working with actors. 484 00:21:09,348 --> 00:21:11,389 - ♪ Ah ♪ 485 00:21:11,390 --> 00:21:12,973 ♪ Beautiful baby ♪ 486 00:21:12,974 --> 00:21:14,764 ♪ And my heart's aflame ♪ 487 00:21:14,765 --> 00:21:16,598 ♪ I'll love you till Tuesday ♪ 488 00:21:16,599 --> 00:21:18,140 ♪ My head's in a whirl ♪ 489 00:21:18,141 --> 00:21:21,056 ♪ And I'll love you till Tuesday ♪ 490 00:21:21,057 --> 00:21:23,639 - He loved the idea of working with musicians. 491 00:21:23,640 --> 00:21:25,472 Being one himself, 492 00:21:25,473 --> 00:21:27,140 he always 493 00:21:27,141 --> 00:21:31,306 was looking right and left, or over his shoulder, 494 00:21:31,307 --> 00:21:33,015 uh, at what might be, 495 00:21:33,016 --> 00:21:35,015 or what-- "What could I do next." 496 00:21:36,932 --> 00:21:38,514 - It took me all the '60s 497 00:21:38,515 --> 00:21:40,639 to try everything that I could think of 498 00:21:40,640 --> 00:21:42,389 to find out exactly what it was 499 00:21:42,390 --> 00:21:44,222 I wanted to do anyway, 500 00:21:44,223 --> 00:21:46,264 but just about the end of the '60s, 501 00:21:46,265 --> 00:21:47,931 it just started to come together. 502 00:21:47,932 --> 00:21:52,306 ♪ Strange games they would play then ♪ 503 00:21:52,307 --> 00:21:57,389 ♪ No death for the perfect men ♪ 504 00:21:57,390 --> 00:22:03,556 ♪ Life rolls into one for them ♪ 505 00:22:03,557 --> 00:22:06,056 ♪ So softly ♪ 506 00:22:06,057 --> 00:22:13,141 ♪ A super-god cries ♪ 507 00:22:13,348 --> 00:22:14,681 Through circumstances, 508 00:22:14,682 --> 00:22:15,973 I'd run into a drummer 509 00:22:15,974 --> 00:22:17,472 called John Cambridge, 510 00:22:17,473 --> 00:22:19,890 and Tony Visconti and Mick Ronson, 511 00:22:19,891 --> 00:22:21,973 and we'd put together a band called Hype. 512 00:22:21,974 --> 00:22:24,556 It was probably my first costume band. 513 00:22:24,557 --> 00:22:26,806 As far as I'm aware, that was the very first 514 00:22:26,807 --> 00:22:28,848 so-called "glam rock" gig. 515 00:22:28,849 --> 00:22:30,056 ♪ No pain of flesh ♪ 516 00:22:30,057 --> 00:22:31,598 ♪ No power too great ♪ 517 00:22:31,599 --> 00:22:33,015 - Hype was very important 518 00:22:33,016 --> 00:22:35,347 to David's development. 519 00:22:35,348 --> 00:22:37,015 This was the only way he could see 520 00:22:37,016 --> 00:22:38,264 at that time 521 00:22:38,265 --> 00:22:40,723 that he could, uh, 522 00:22:40,724 --> 00:22:42,181 be famous, become famous, 523 00:22:42,182 --> 00:22:44,431 and become-- Become well-known, 524 00:22:44,432 --> 00:22:46,931 and it wasn't quite the right incarnation, 525 00:22:46,932 --> 00:22:49,264 because he was not yet 526 00:22:49,265 --> 00:22:50,472 dyeing his hair orange, 527 00:22:50,473 --> 00:22:52,056 and he hadn't taken on 528 00:22:52,057 --> 00:22:53,848 the Ziggy persona yet. 529 00:22:53,849 --> 00:22:59,181 - ♪ And he was all right ♪ 530 00:22:59,182 --> 00:23:02,181 ♪ The band was all together ♪ 531 00:23:02,182 --> 00:23:03,931 ♪ Yes, he was ♪ 532 00:23:03,932 --> 00:23:06,848 ♪ All right ♪ 533 00:23:06,849 --> 00:23:10,140 ♪ The song went on forever ♪ 534 00:23:10,141 --> 00:23:11,848 ♪ And he was ♪ 535 00:23:11,849 --> 00:23:14,598 ♪ Awful nice ♪ 536 00:23:14,599 --> 00:23:18,890 ♪ Really quite out of sight ♪ And he sang... 537 00:23:18,891 --> 00:23:22,098 - ♪ All ♪ - ♪ All night ♪ 538 00:23:22,099 --> 00:23:24,306 ♪ All night long ♪ 539 00:23:24,307 --> 00:23:26,890 ♪ ♪ 540 00:23:26,891 --> 00:23:30,306 ♪ Ooh, how I sighed ♪ 541 00:23:30,307 --> 00:23:33,222 ♪ When they asked if I knew his name ♪ 542 00:23:33,223 --> 00:23:35,181 ♪ Oh, he was ♪ 543 00:23:35,182 --> 00:23:37,723 - ♪ All ♪ - ♪ All right ♪ 544 00:23:37,724 --> 00:23:39,347 The real characterization 545 00:23:39,348 --> 00:23:41,181 really didn't kick in till the Ziggy. 546 00:23:41,182 --> 00:23:43,639 I mean, I was always quite a shy kid, 547 00:23:43,640 --> 00:23:45,556 and I didn't come alive on stage. 548 00:23:45,557 --> 00:23:47,431 I just got even shier, 549 00:23:47,432 --> 00:23:49,222 but I found I didn't get so shy 550 00:23:49,223 --> 00:23:51,140 if I sort of adopted a character, 551 00:23:51,141 --> 00:23:52,973 so it was a convenience 552 00:23:52,974 --> 00:23:55,098 as well as a very bright theatrical idea. 553 00:23:56,682 --> 00:23:58,681 ♪ Didn't know what time it was ♪ 554 00:23:58,682 --> 00:24:01,514 ♪ Lights were low ♪ 555 00:24:01,515 --> 00:24:03,598 ♪ I leaned back ♪ 556 00:24:03,599 --> 00:24:06,431 ♪ On my radio ♪ 557 00:24:06,432 --> 00:24:08,723 ♪ Some cat was laying down some ♪ 558 00:24:08,724 --> 00:24:11,181 ♪ Get it on rock and roll ♪ 559 00:24:11,182 --> 00:24:12,389 ♪ He said ♪ 560 00:24:12,390 --> 00:24:13,973 ♪ ♪ 561 00:24:13,974 --> 00:24:18,806 ♪ Then the loud sound did seem to fade ♪ 562 00:24:18,807 --> 00:24:20,890 ♪ Came back like a slow voice ♪ 563 00:24:20,891 --> 00:24:23,806 ♪ On a wave of phase haze ♪ 564 00:24:23,807 --> 00:24:25,890 ♪ That weren't no DJ ♪ 565 00:24:25,891 --> 00:24:28,931 ♪ That was hazy cosmic jive ♪ 566 00:24:30,348 --> 00:24:31,598 ♪ Uh-huh ♪ 567 00:24:31,599 --> 00:24:32,639 ♪ ♪ 568 00:24:32,640 --> 00:24:35,764 ♪ There's a starman ♪ 569 00:24:35,765 --> 00:24:38,015 ♪ Waiting in the sky ♪ 570 00:24:38,016 --> 00:24:40,723 ♪ He'd like to come and meet us ♪ 571 00:24:40,724 --> 00:24:42,931 ♪ But he thinks he'd blow our minds ♪ 572 00:24:42,932 --> 00:24:45,890 ♪ And there's a starman ♪ 573 00:24:45,891 --> 00:24:48,431 ♪ Waiting in the sky ♪ 574 00:24:48,432 --> 00:24:50,598 ♪ He told us not to blow it ♪ 575 00:24:50,599 --> 00:24:52,556 ♪ 'Cause he knows it's all worthwhile ♪ 576 00:24:52,557 --> 00:24:56,389 ♪ He told me let the children use it ♪ 577 00:24:56,390 --> 00:24:58,931 ♪ Let the children lose it ♪ 578 00:24:58,932 --> 00:25:01,806 ♪ Let all the children boogie ♪ 579 00:25:01,807 --> 00:25:03,848 - Have you always wanted to be a star? 580 00:25:03,849 --> 00:25:05,098 - Yeah. 581 00:25:05,099 --> 00:25:07,264 It's more than being a star. 582 00:25:07,265 --> 00:25:10,222 What it is, really, is I want to be 583 00:25:10,223 --> 00:25:11,431 productive. 584 00:25:11,432 --> 00:25:13,389 I'm not content to be 585 00:25:13,390 --> 00:25:16,472 just a rock-and-roll star all my life. 586 00:25:16,473 --> 00:25:20,056 I am trying to be one at the moment, 587 00:25:20,057 --> 00:25:22,598 because I need it for a particular reason, 588 00:25:22,599 --> 00:25:24,556 so I can get off and do other things. 589 00:25:24,557 --> 00:25:27,556 ♪ There's a starman ♪ 590 00:25:27,557 --> 00:25:29,181 ♪ Waiting in the sky ♪ 591 00:25:29,182 --> 00:25:32,098 ♪ He told us not to blow it ♪ 592 00:25:32,099 --> 00:25:34,264 ♪ 'Cause he knows it's all worthwhile ♪ 593 00:25:34,265 --> 00:25:35,389 ♪ He told me ♪ 594 00:25:35,390 --> 00:25:38,015 ♪ Let the children use it ♪ 595 00:25:38,016 --> 00:25:40,431 ♪ Let the children lose it ♪ 596 00:25:40,432 --> 00:25:42,764 ♪ Let all the children boogie ♪ 597 00:25:42,765 --> 00:25:43,848 ♪ ♪ 598 00:25:43,849 --> 00:25:46,806 - You could feel that David 599 00:25:46,807 --> 00:25:49,306 wanted to be the greatest artist 600 00:25:49,307 --> 00:25:51,598 and the next Elvis Presley. 601 00:25:51,599 --> 00:25:54,639 You could feel it from every pore of his body. 602 00:25:54,640 --> 00:25:58,098 ♪ ♪ 603 00:25:58,099 --> 00:26:00,973 He would bring me up to his suite 604 00:26:00,974 --> 00:26:05,222 and we would watch Elvis Presley videos 605 00:26:05,223 --> 00:26:06,723 and Frank Sinatra, 606 00:26:06,724 --> 00:26:07,806 and we'd have discussions 607 00:26:07,807 --> 00:26:08,973 about it, 608 00:26:08,974 --> 00:26:10,681 and he would do certain moves, 609 00:26:10,682 --> 00:26:12,306 and does this seem right and natural, all that. 610 00:26:12,307 --> 00:26:13,723 I mean, he was interested 611 00:26:13,724 --> 00:26:15,556 to look at those people 612 00:26:15,557 --> 00:26:17,389 and set such icons 613 00:26:17,390 --> 00:26:19,890 as his goals. 614 00:26:19,891 --> 00:26:22,140 - Oh, yes, David wanted to be famous. 615 00:26:22,141 --> 00:26:24,806 David wanted to be an icon 616 00:26:24,807 --> 00:26:26,514 like he is now. 617 00:26:26,515 --> 00:26:28,222 He would say things to me like 618 00:26:28,223 --> 00:26:30,806 "You have to be someone that 619 00:26:30,807 --> 00:26:32,389 "thousands and millions 620 00:26:32,390 --> 00:26:33,639 "of people 621 00:26:33,640 --> 00:26:35,514 "want to listen to 622 00:26:35,515 --> 00:26:37,556 and--and believe in." 623 00:26:40,599 --> 00:26:42,973 ♪ ♪ 624 00:26:42,974 --> 00:26:44,639 But he once said, too, 625 00:26:44,640 --> 00:26:46,347 that being super-successful 626 00:26:46,348 --> 00:26:48,514 was like living in a goldfish bowl, 627 00:26:48,515 --> 00:26:49,806 and it was for him, 628 00:26:49,807 --> 00:26:50,973 because people became 629 00:26:50,974 --> 00:26:52,723 totally obsessed with him. 630 00:26:52,724 --> 00:26:55,181 - ♪ Fame makes a man ♪ 631 00:26:55,182 --> 00:26:58,098 ♪ Take things over ♪ 632 00:26:58,099 --> 00:27:00,015 Do you know that feeling you get in a car 633 00:27:00,016 --> 00:27:01,723 when someone's accelerating very, very fast, 634 00:27:01,724 --> 00:27:03,431 and you're not driving, and you get 635 00:27:03,432 --> 00:27:05,222 that thing in your chest when you're being 636 00:27:05,223 --> 00:27:07,140 forced backwards, and you think, "Ooh," 637 00:27:07,141 --> 00:27:08,931 and you're not sure whether you like it or not? 638 00:27:08,932 --> 00:27:10,181 It's that kind of feeling. 639 00:27:10,182 --> 00:27:11,472 That's what success was like. 640 00:27:11,473 --> 00:27:13,598 The first thrust 641 00:27:13,599 --> 00:27:15,973 of being totally unknown, 642 00:27:15,974 --> 00:27:18,056 to being what seemed to be 643 00:27:18,057 --> 00:27:19,973 very quickly known. 644 00:27:19,974 --> 00:27:21,931 It was very frightening for me. 645 00:27:21,932 --> 00:27:24,140 ♪ Fame puts you there ♪ 646 00:27:24,141 --> 00:27:25,723 ♪ Where things are hollow ♪ 647 00:27:25,724 --> 00:27:28,723 ♪ ♪ 648 00:27:28,724 --> 00:27:31,848 - I'm not sure if he can handle it consistently, 649 00:27:31,849 --> 00:27:35,389 because it is a demanding mistress 650 00:27:35,390 --> 00:27:37,639 that doesn't take "no" for an answer 651 00:27:37,640 --> 00:27:39,306 and is on-call 24 hours, 652 00:27:39,307 --> 00:27:41,056 and so it makes you 653 00:27:41,057 --> 00:27:42,347 a little bit more paranoid 654 00:27:42,348 --> 00:27:43,931 than you used to, doesn't it? 655 00:27:43,932 --> 00:27:46,181 And now we're being looked upon 656 00:27:46,182 --> 00:27:49,306 as we have to deliver something. 657 00:27:49,307 --> 00:27:51,015 The minute you go outside, "Ooh, let me look 658 00:27:51,016 --> 00:27:52,723 a certain way. I'm famous now." 659 00:27:52,724 --> 00:27:54,890 - ♪ Fame ♪ 660 00:27:54,891 --> 00:27:57,890 - ♪ What you need is in the limo ♪ 661 00:27:57,891 --> 00:27:59,973 - ♪ Fame ♪ 662 00:27:59,974 --> 00:28:04,056 - ♪ What you get is no tomorrow ♪ 663 00:28:04,057 --> 00:28:05,598 - ♪ Fame ♪ 664 00:28:05,599 --> 00:28:08,973 - ♪ What you need you have to borrow ♪ 665 00:28:08,974 --> 00:28:11,181 - ♪ Fame ♪ - ♪ Fame ♪ 666 00:28:11,182 --> 00:28:14,222 ♪ ♪ 667 00:28:14,223 --> 00:28:16,222 - ♪ Fame ♪ - ♪ Mine, it's mine ♪ 668 00:28:16,223 --> 00:28:17,514 ♪ Is just his line ♪ 669 00:28:17,515 --> 00:28:19,347 ♪ To bind you to crime ♪ 670 00:28:19,348 --> 00:28:22,098 - ♪ Crime ♪ - ♪ Crime ♪ 671 00:28:22,099 --> 00:28:24,681 - Do I have to do it for, uh... 672 00:28:24,682 --> 00:28:26,056 - Because this rock-star thing-- 673 00:28:26,057 --> 00:28:27,222 You once described it as being 674 00:28:27,223 --> 00:28:28,514 a "dreadful existence." 675 00:28:28,515 --> 00:28:29,890 - In a sort of, um, 676 00:28:29,891 --> 00:28:32,056 a very luxuriant mental hospital... 677 00:28:32,057 --> 00:28:33,347 - So you can rehearse in... 678 00:28:33,348 --> 00:28:34,556 - Where you're sort of 679 00:28:34,557 --> 00:28:37,347 put in a padded room 680 00:28:37,348 --> 00:28:39,347 and meals are brought to you, and the only time 681 00:28:39,348 --> 00:28:41,098 you're sort of let out on your lead 682 00:28:41,099 --> 00:28:43,181 is when you're supposed to go and earn money for 683 00:28:43,182 --> 00:28:45,472 just about everybody else except yourself. 684 00:28:45,473 --> 00:28:47,389 ♪ Is it any wonder ♪ 685 00:28:47,390 --> 00:28:50,347 ♪ I reject you first? ♪ 686 00:28:50,348 --> 00:28:52,973 ♪ Fame, fame, fame, fame ♪ 687 00:28:52,974 --> 00:28:56,098 ♪ Fame ♪ 688 00:28:56,099 --> 00:28:58,015 ♪ Is it any wonder ♪ 689 00:28:58,016 --> 00:29:00,556 ♪ You're far too cool to fool ♪ 690 00:29:00,557 --> 00:29:02,514 ♪ Fame ♪ - ♪ Fame ♪ 691 00:29:02,515 --> 00:29:04,806 - Did David enjoy being a star? 692 00:29:04,807 --> 00:29:07,264 I would say what he said to me. 693 00:29:07,265 --> 00:29:08,764 "It's great 694 00:29:08,765 --> 00:29:11,681 "when you want to get tickets for a concert, 695 00:29:11,682 --> 00:29:14,681 "when you want to get backstage and see your friends, 696 00:29:14,682 --> 00:29:17,347 "or if you want a good table at a restaurant, 697 00:29:17,348 --> 00:29:20,015 but the rest of the time, it's a pain in the ass." 698 00:29:20,016 --> 00:29:21,389 And I think that's 699 00:29:21,390 --> 00:29:23,639 pretty much a verbatim quote. 700 00:29:23,640 --> 00:29:26,015 I watched him deal with it 701 00:29:26,016 --> 00:29:27,431 too many times. 702 00:29:27,432 --> 00:29:30,723 That was his view on it. 703 00:29:30,724 --> 00:29:32,098 - I didn't--we didn't-- 704 00:29:32,099 --> 00:29:35,848 - I find this an incredible intrusion. 705 00:29:35,849 --> 00:29:38,431 Fuck off. 706 00:29:38,432 --> 00:29:39,931 - That's the--you know that's the only bit 707 00:29:39,932 --> 00:29:40,973 we're gonna use, don't you? 708 00:29:40,974 --> 00:29:43,598 - Yeah. 709 00:29:43,599 --> 00:29:46,264 I know when to pick me lines. 710 00:29:48,932 --> 00:29:50,264 Yeah, that's better. 711 00:29:50,265 --> 00:29:51,848 ♪ ♪ 712 00:29:51,849 --> 00:29:54,764 - Once he experienced the fame, 713 00:29:54,765 --> 00:29:58,347 and all that comes with that, 714 00:29:58,348 --> 00:30:01,098 I think he was done with it. 715 00:30:01,099 --> 00:30:03,931 And he was done with it, 716 00:30:03,932 --> 00:30:05,890 and I think he realized 717 00:30:05,891 --> 00:30:07,431 he made a deal with the devil 718 00:30:07,432 --> 00:30:09,306 and it'd be the rest of his life 719 00:30:09,307 --> 00:30:10,723 trying to undo that. 720 00:30:10,724 --> 00:30:12,056 ♪ ♪ 721 00:30:12,057 --> 00:30:13,347 - Happy hump day, Phil. 722 00:30:13,348 --> 00:30:16,222 - Ha! I didn't get humped. You? 723 00:30:16,223 --> 00:30:18,931 - Yeah. 724 00:30:18,932 --> 00:30:21,098 - Some people, huh? They just get lost. 725 00:30:21,099 --> 00:30:22,598 - Well, it's more exciting 726 00:30:22,599 --> 00:30:24,931 than anything we've got around here. 727 00:30:24,932 --> 00:30:28,140 - Well, I wouldn't say that. 728 00:30:28,141 --> 00:30:30,764 We have a nice life. 729 00:30:30,765 --> 00:30:32,598 - We have a nice life. 730 00:30:32,599 --> 00:30:34,056 - The idea that he had for 731 00:30:34,057 --> 00:30:36,639 "The Stars Are Out Tonight" video 732 00:30:36,640 --> 00:30:38,723 was that there were celebrities 733 00:30:38,724 --> 00:30:41,764 that were stalking normal people 734 00:30:41,765 --> 00:30:43,306 to study them, 735 00:30:43,307 --> 00:30:45,806 and then he whipped out the photograph 736 00:30:45,807 --> 00:30:47,723 of Tilda Swinton, 737 00:30:47,724 --> 00:30:48,931 and I was like, 738 00:30:48,932 --> 00:30:50,140 "Okay, that's fantastic." 739 00:30:50,141 --> 00:30:51,389 You know, him and Tilda 740 00:30:51,390 --> 00:30:53,681 were to play the normal couple. 741 00:30:56,599 --> 00:30:58,306 David really wanted to play up 742 00:30:58,307 --> 00:30:59,806 the androgyny card, 743 00:30:59,807 --> 00:31:01,347 because, you know, I mean, 744 00:31:01,348 --> 00:31:03,306 he is the androgynous being 745 00:31:03,307 --> 00:31:05,056 that we've grown up with. 746 00:31:05,057 --> 00:31:06,598 ♪ ♪ 747 00:31:06,599 --> 00:31:08,890 So I cast boys in the girl's parts 748 00:31:08,891 --> 00:31:10,598 and girls in the boy's parts. 749 00:31:10,599 --> 00:31:12,681 - ♪ Are never sleeping ♪ 750 00:31:12,682 --> 00:31:14,973 - At that stage, I think he was 751 00:31:14,974 --> 00:31:16,514 able to definitely 752 00:31:16,515 --> 00:31:18,681 sit back and reflect on 753 00:31:18,682 --> 00:31:20,890 what fame meant, 754 00:31:20,891 --> 00:31:23,056 and I think that song, in a way, 755 00:31:23,057 --> 00:31:24,639 is kind of like-- That's why it's 756 00:31:24,640 --> 00:31:26,222 "the stars are never sleeping." 757 00:31:26,223 --> 00:31:27,848 It's like, you can't escape it. 758 00:31:27,849 --> 00:31:30,347 - ♪ They know just what we do ♪ 759 00:31:30,348 --> 00:31:34,514 ♪ That we toss and turn at night ♪ 760 00:31:34,515 --> 00:31:38,015 ♪ They're waiting to make their moves ♪ 761 00:31:38,016 --> 00:31:41,222 ♪ For the stars are out tonight ♪ 762 00:31:41,223 --> 00:31:44,806 - ♪ Tonight ♪ 763 00:31:44,807 --> 00:31:47,056 - Eventually, the celebrities-- 764 00:31:47,057 --> 00:31:48,472 They are in their home. 765 00:31:48,473 --> 00:31:51,556 And when they come into the home, 766 00:31:51,557 --> 00:31:54,222 there's a transfer that happens... 767 00:31:54,223 --> 00:31:56,389 ♪ ♪ 768 00:31:56,390 --> 00:31:59,472 And now, the normal people 769 00:31:59,473 --> 00:32:01,556 are dressed like celebrity, 770 00:32:01,557 --> 00:32:04,389 and the celebrities have succeeded 771 00:32:04,390 --> 00:32:07,098 in becoming the normal people. 772 00:32:07,099 --> 00:32:09,681 You know, as an artist, you collect things, 773 00:32:09,682 --> 00:32:10,890 and he's had years of 774 00:32:10,891 --> 00:32:12,056 not having to put things out, 775 00:32:12,057 --> 00:32:13,723 and so he's collecting things 776 00:32:13,724 --> 00:32:15,264 he wants to sort of 777 00:32:15,265 --> 00:32:17,098 hold up a mirror and say, 778 00:32:17,099 --> 00:32:18,181 "Hey, look at this over here. 779 00:32:18,182 --> 00:32:19,389 Look at this over here," 780 00:32:19,390 --> 00:32:20,598 and, you know, comment on it, 781 00:32:20,599 --> 00:32:21,931 but make it, you know, 782 00:32:21,932 --> 00:32:23,098 in an artistic way. 783 00:32:23,099 --> 00:32:26,806 ♪ ♪ 784 00:32:26,807 --> 00:32:29,431 - ♪ The stars are out tonight ♪ 785 00:32:29,432 --> 00:32:31,848 ♪ Living ♪ 786 00:32:31,849 --> 00:32:38,764 ♪ ♪ 787 00:32:38,765 --> 00:32:40,098 - Do you ever look back? 788 00:32:40,099 --> 00:32:42,764 - Uh, only with fond amusement, 789 00:32:42,765 --> 00:32:44,098 you know, 'cause I've done 790 00:32:44,099 --> 00:32:45,764 such a lot of work in 40 years 791 00:32:45,765 --> 00:32:47,056 and it's only recently 792 00:32:47,057 --> 00:32:48,472 that maybe I've started to 793 00:32:48,473 --> 00:32:50,264 write in a kind of, uh, 794 00:32:50,265 --> 00:32:51,848 autobiographical way, 795 00:32:51,849 --> 00:32:53,931 and this maybe something to do with age 796 00:32:53,932 --> 00:32:56,056 and the way that one matures. 797 00:32:56,057 --> 00:33:03,141 ♪ ♪ 798 00:33:06,265 --> 00:33:07,472 - Then... 799 00:33:07,473 --> 00:33:08,973 ♪ ♪ 800 00:33:08,974 --> 00:33:10,264 I don't recall 801 00:33:10,265 --> 00:33:11,472 David on the sessions 802 00:33:11,473 --> 00:33:12,890 really talking a lot about 803 00:33:12,891 --> 00:33:14,140 being old. 804 00:33:14,141 --> 00:33:15,472 I think maybe he would joke that 805 00:33:15,473 --> 00:33:17,306 he would wear his slippers, you know. 806 00:33:17,307 --> 00:33:19,431 He had his slippers brought down, 807 00:33:19,432 --> 00:33:21,306 and he would pop his slip-- You know, 808 00:33:21,307 --> 00:33:22,973 when he got to the studio, he would pop his slippers on. 809 00:33:22,974 --> 00:33:25,306 We made a few jokes about that. 810 00:33:25,307 --> 00:33:27,931 - ♪ Where are we now? ♪ 811 00:33:27,932 --> 00:33:31,306 ♪ Where are we now? ♪ 812 00:33:31,307 --> 00:33:33,556 ♪ ♪ 813 00:33:33,557 --> 00:33:36,681 - So David came in with a piano demo 814 00:33:38,682 --> 00:33:41,931 This was the DB piano-- David Bowie piano. 815 00:33:41,932 --> 00:33:44,681 ♪ ♪ 816 00:33:44,682 --> 00:33:46,347 It's got a combination of piano 817 00:33:46,348 --> 00:33:48,347 and strings on the patch. 818 00:33:48,348 --> 00:33:50,264 I couldn't take the strings off, 819 00:33:50,265 --> 00:33:51,681 so those strings are 820 00:33:51,682 --> 00:33:53,514 him playing at home. 821 00:33:53,515 --> 00:33:55,472 ♪ ♪ 822 00:33:55,473 --> 00:33:57,015 - We found this kind of atmosphere 823 00:33:57,016 --> 00:33:58,181 in the demo. 824 00:33:58,182 --> 00:33:59,848 The next time we played that, 825 00:33:59,849 --> 00:34:01,347 it was when we went in the studio 826 00:34:01,348 --> 00:34:02,681 and Zack was there. 827 00:34:02,682 --> 00:34:03,848 ♪ ♪ 828 00:34:03,849 --> 00:34:06,556 - I should add the drum. 829 00:34:06,557 --> 00:34:08,848 ♪ ♪ 830 00:34:08,849 --> 00:34:10,389 - David's instruction, I remember, 831 00:34:10,390 --> 00:34:13,264 specifically was, 832 00:34:13,265 --> 00:34:16,472 "One... 833 00:34:16,473 --> 00:34:17,681 One." 834 00:34:17,682 --> 00:34:19,347 He just said, "Emphasize the one," 835 00:34:19,348 --> 00:34:20,764 so... 836 00:34:23,891 --> 00:34:28,389 ♪ ♪ 837 00:34:28,390 --> 00:34:30,347 - If I add David, 838 00:34:30,348 --> 00:34:32,264 it's practically it. 839 00:34:32,265 --> 00:34:38,264 ♪ ♪ 840 00:34:38,265 --> 00:34:39,472 That's... 841 00:34:39,473 --> 00:34:41,598 - ♪ Where are we now? ♪ 842 00:34:41,599 --> 00:34:45,306 ♪ Where are we now? ♪ 843 00:34:45,307 --> 00:34:51,389 ♪ ♪ 844 00:34:51,390 --> 00:34:53,931 ♪ The moment you know ♪ 845 00:34:53,932 --> 00:34:57,431 ♪ You know you know ♪ 846 00:34:57,432 --> 00:34:59,556 - Out of the blue, he called me up 847 00:34:59,557 --> 00:35:03,389 and said he'd like to talk to me about something. 848 00:35:03,390 --> 00:35:05,681 He explained this situation, 849 00:35:05,682 --> 00:35:08,723 that he had been secretly working on this track, 850 00:35:08,724 --> 00:35:10,681 and I was like, "Oh, that's fantastic." 851 00:35:10,682 --> 00:35:11,931 You know, 852 00:35:11,932 --> 00:35:13,472 "What do I have to do with it?" 853 00:35:13,473 --> 00:35:14,723 and he goes, "Well, I'd like you to make 854 00:35:14,724 --> 00:35:15,931 the video for that." 855 00:35:15,932 --> 00:35:17,472 ♪ ♪ 856 00:35:17,473 --> 00:35:19,973 Oh, that's quite a task, you know? 857 00:35:19,974 --> 00:35:21,472 I was thinking 858 00:35:21,473 --> 00:35:23,389 this big-budget video, you know, 859 00:35:23,390 --> 00:35:25,598 and I was thinking, "God, to do this justice, 860 00:35:25,599 --> 00:35:26,973 "you know, it has to be this 861 00:35:26,974 --> 00:35:29,222 "momentous video, you know, 862 00:35:29,223 --> 00:35:30,764 "that's gonna break the silence 863 00:35:30,765 --> 00:35:33,140 of all these years," you know, 864 00:35:33,141 --> 00:35:34,723 and David said, 865 00:35:34,724 --> 00:35:36,140 "No, I want to do it, like, 866 00:35:36,141 --> 00:35:37,639 "in your studio. 867 00:35:37,640 --> 00:35:39,931 "It'll be these figures. 868 00:35:39,932 --> 00:35:41,723 Very simple, rough." 869 00:35:44,515 --> 00:35:49,389 ♪ ♪ 870 00:35:49,390 --> 00:35:52,264 - These figures were something I was making 871 00:35:52,265 --> 00:35:54,723 like, fairly exclusively, 872 00:35:54,724 --> 00:35:56,764 and did a number of exhibitions of them, 873 00:35:56,765 --> 00:35:59,973 and David, of course, loved these figures. 874 00:35:59,974 --> 00:36:01,764 You know. 875 00:36:01,765 --> 00:36:03,931 - ♪ Just walk in the day ♪ 876 00:36:03,932 --> 00:36:06,514 - I did a rough sketch, and I was like, 877 00:36:06,515 --> 00:36:08,472 "This is what you had in mind, right?" 878 00:36:08,473 --> 00:36:11,639 This rough-hewn stretched face, you know. 879 00:36:11,640 --> 00:36:13,764 It's not very flattering, 880 00:36:13,765 --> 00:36:16,472 but that's exactly what he wanted 881 00:36:16,473 --> 00:36:19,140 to look actually beyond 882 00:36:19,141 --> 00:36:22,056 what the years had done to him. 883 00:36:22,057 --> 00:36:24,973 It's a strange-- You know, through the... 884 00:36:24,974 --> 00:36:26,639 Here, he's leaving. 885 00:36:26,640 --> 00:36:28,181 He's had enough. 886 00:36:30,682 --> 00:36:34,181 He's like, "Stop going on about my face." 887 00:36:34,182 --> 00:36:37,723 - ♪ Where are we now ♪ 888 00:36:37,724 --> 00:36:40,347 - So the idea was that 889 00:36:40,348 --> 00:36:42,181 he wanted all this stuff 890 00:36:42,182 --> 00:36:44,514 in the studio situation, 891 00:36:44,515 --> 00:36:47,181 and we kind of arranged things around 892 00:36:47,182 --> 00:36:50,098 and we talked about transparency 893 00:36:50,099 --> 00:36:51,556 and reflection, 894 00:36:51,557 --> 00:36:54,681 and as this was coming together, 895 00:36:54,682 --> 00:36:57,848 I said to him, "You know, 896 00:36:57,849 --> 00:37:00,682 people can read into every part of this." 897 00:37:26,682 --> 00:37:31,431 - This one is perhaps the most deliberately 898 00:37:31,432 --> 00:37:34,973 a nostalgic look into his past, 899 00:37:34,974 --> 00:37:38,306 and, um, he's talking about all the old places... 900 00:37:38,307 --> 00:37:41,056 - Yeah. - That he frequented in Berlin, 901 00:37:41,057 --> 00:37:42,806 and it's deliberately sad. 902 00:37:42,807 --> 00:37:45,472 He's in the latter part of his life. 903 00:37:45,473 --> 00:37:47,056 Those days are gone. 904 00:37:47,057 --> 00:37:48,264 - Yeah. 905 00:37:51,307 --> 00:37:53,639 ♪ ♪ 906 00:37:53,640 --> 00:37:56,598 - Berlin was the first freedom I'd had from 907 00:37:56,599 --> 00:38:00,098 all the so-called trappings of, uh, celebrity 908 00:38:00,099 --> 00:38:02,723 and, uh--and my own problems. 909 00:38:02,724 --> 00:38:05,098 Really, I'm quite fond of 910 00:38:05,099 --> 00:38:07,347 that freedom that it gave me. 911 00:38:07,348 --> 00:38:09,264 ♪ ♪ 912 00:38:09,265 --> 00:38:12,472 I put myself in a very anonymous situation 913 00:38:12,473 --> 00:38:16,015 in a quite working-class part of Berlin, Turkish area, 914 00:38:16,016 --> 00:38:18,264 and started to live a different life, 915 00:38:18,265 --> 00:38:20,514 and I tried to distance myself 916 00:38:20,515 --> 00:38:22,764 from the very drug-oriented lifestyle 917 00:38:22,765 --> 00:38:24,015 that I'd been leading. 918 00:38:24,016 --> 00:38:27,890 ♪ Had to get the train ♪ 919 00:38:27,891 --> 00:38:31,681 ♪ From Potsdamer Platz ♪ 920 00:38:31,682 --> 00:38:33,973 It was just a tremendous place to be, 921 00:38:33,974 --> 00:38:36,639 and the music was some of the most rewarding, 922 00:38:36,640 --> 00:38:38,389 for me as an artist, in my life. 923 00:38:38,390 --> 00:38:40,056 ♪ ♪ 924 00:38:40,057 --> 00:38:41,556 ♪ I ♪ 925 00:38:41,557 --> 00:38:43,140 ♪ ♪ 926 00:38:43,141 --> 00:38:45,723 ♪ I will be king ♪ 927 00:38:45,724 --> 00:38:49,015 ♪ ♪ 928 00:38:49,016 --> 00:38:52,056 ♪ And you ♪ 929 00:38:52,057 --> 00:38:54,723 ♪ You will be queen ♪ 930 00:38:54,724 --> 00:38:57,347 ♪ ♪ 931 00:38:57,348 --> 00:38:59,806 ♪ Though nothing ♪ 932 00:38:59,807 --> 00:39:01,015 ♪ ♪ 933 00:39:01,016 --> 00:39:03,472 ♪ Will drive them away ♪ 934 00:39:03,473 --> 00:39:06,347 ♪ ♪ 935 00:39:06,348 --> 00:39:08,264 ♪ We can beat them ♪ 936 00:39:08,265 --> 00:39:09,931 ♪ ♪ 937 00:39:09,932 --> 00:39:11,931 ♪ Forever and ever ♪ 938 00:39:11,932 --> 00:39:14,347 ♪ ♪ 939 00:39:14,348 --> 00:39:16,347 ♪ Oh, we can be heroes ♪ 940 00:39:16,348 --> 00:39:19,140 ♪ ♪ 941 00:39:19,141 --> 00:39:21,347 ♪ Just for one day ♪ 942 00:39:21,348 --> 00:39:24,681 ♪ ♪ 943 00:39:24,682 --> 00:39:28,306 ♪ I ♪ 944 00:39:28,307 --> 00:39:30,222 ♪ I can remember ♪ 945 00:39:30,223 --> 00:39:32,723 - ♪ I remember ♪ 946 00:39:32,724 --> 00:39:37,181 - ♪ Standing ♪ 947 00:39:37,182 --> 00:39:39,015 ♪ By the wall ♪ 948 00:39:39,016 --> 00:39:41,347 - But you can't read "Where Are We Now?" 949 00:39:41,348 --> 00:39:45,723 as just a nostalgic story about Berlin at all. 950 00:39:45,724 --> 00:39:47,639 You know? But I mean, really, 951 00:39:47,640 --> 00:39:50,723 it's much more how memories 952 00:39:50,724 --> 00:39:54,764 affect the way we move forward or not. 953 00:39:58,307 --> 00:40:00,389 - The Song for Norway T-shirt-- 954 00:40:00,390 --> 00:40:02,098 I said, "That's very cheeky," 955 00:40:02,099 --> 00:40:03,306 and he goes, "I know." 956 00:40:03,307 --> 00:40:04,556 It was something like that. 957 00:40:04,557 --> 00:40:06,472 And, uh, he never explained 958 00:40:06,473 --> 00:40:07,723 why he wore it. 959 00:40:07,724 --> 00:40:10,681 ♪ ♪ 960 00:40:10,682 --> 00:40:13,264 - The name is Hermione Farthingale, 961 00:40:13,265 --> 00:40:15,015 and I absolutely adored her. 962 00:40:15,016 --> 00:40:17,931 I mean, she was the real first love in my life, 963 00:40:17,932 --> 00:40:19,848 and she was a ballet dancer 964 00:40:19,849 --> 00:40:21,848 and, uh, a very good I--singer, 965 00:40:21,849 --> 00:40:24,056 and, uh, she played a little bit of 966 00:40:24,057 --> 00:40:25,890 bed/sitting room guitar. 967 00:40:25,891 --> 00:40:27,890 You know, that kind of folk guitar that every girl 968 00:40:27,891 --> 00:40:29,890 could--that looked beautiful could play in those-- 969 00:40:29,891 --> 00:40:32,056 I don't know why, but all the beautiful girls 970 00:40:32,057 --> 00:40:36,514 could play a little bit of acoustic guitar. 971 00:40:36,515 --> 00:40:40,222 She was doing a film called "Song of Norway," 972 00:40:40,223 --> 00:40:41,931 and she fell in love with one of 973 00:40:41,932 --> 00:40:44,389 the actors on it, and she left me for him 974 00:40:44,390 --> 00:40:48,306 God, I didn't get over that for such a long time. 975 00:40:48,307 --> 00:40:51,181 It really broke me up. 976 00:40:51,182 --> 00:40:54,015 - I did see David when 977 00:40:54,016 --> 00:40:55,556 he'd just separated from her, 978 00:40:55,557 --> 00:40:58,472 and he was very, very upset. 979 00:40:58,473 --> 00:41:00,181 I think it was also 980 00:41:00,182 --> 00:41:01,389 he was working with her, 981 00:41:01,390 --> 00:41:02,598 so it was a double thing 982 00:41:02,599 --> 00:41:04,264 that he'd lost his girlfriend 983 00:41:04,265 --> 00:41:06,472 and he'd lost someone in his-- 984 00:41:06,473 --> 00:41:08,264 In his, uh, band. 985 00:41:08,265 --> 00:41:09,764 I don't know which one was the worse, 986 00:41:09,765 --> 00:41:11,264 to be honest, but, uh, 987 00:41:11,265 --> 00:41:13,015 yeah, it hit him pretty hard. 988 00:41:15,932 --> 00:41:18,347 - I think he wanted to release something 989 00:41:18,348 --> 00:41:20,639 that would cause a lot of ripples 990 00:41:20,640 --> 00:41:23,639 and, uh, question marks all around, 991 00:41:23,640 --> 00:41:26,432 and he was able to get that with this. 992 00:41:30,849 --> 00:41:33,472 ♪ ♪ 993 00:41:33,473 --> 00:41:35,931 - ♪ As long as there's sun ♪ 994 00:41:35,932 --> 00:41:39,348 ♪ ♪ 995 00:41:42,724 --> 00:41:45,140 ♪ ♪ 996 00:41:45,141 --> 00:41:48,140 ♪ As long as there's rain ♪ 997 00:41:48,141 --> 00:41:50,890 ♪ ♪ 998 00:41:50,891 --> 00:41:54,222 ♪ As long as there's fire ♪ 999 00:41:54,223 --> 00:41:56,806 ♪ ♪ 1000 00:41:56,807 --> 00:41:59,764 ♪ As long as there's fire ♪ 1001 00:41:59,765 --> 00:42:01,514 - I knew this was about Berlin, 1002 00:42:01,515 --> 00:42:03,472 and I thought it was really, really sweet 1003 00:42:03,473 --> 00:42:06,431 and quite nostalgic, but, uh, 1004 00:42:06,432 --> 00:42:08,931 the thing that really made me teary-eyed 1005 00:42:08,932 --> 00:42:12,389 was when I saw the video for it. 1006 00:42:12,390 --> 00:42:13,681 Oh, my gosh. 1007 00:42:13,682 --> 00:42:15,098 You know, I thought, 1008 00:42:15,099 --> 00:42:16,931 "I'd never expect him to look back. 1009 00:42:16,932 --> 00:42:18,806 You know, this is a new thing for him." 1010 00:42:21,849 --> 00:42:28,891 ♪ ♪ 1011 00:42:37,849 --> 00:42:39,598 - I think, because of my orientation 1012 00:42:39,599 --> 00:42:41,723 towards the apocalyptic, 1013 00:42:41,724 --> 00:42:43,931 I think it rather hones that 1014 00:42:43,932 --> 00:42:47,056 low-level anxiety, 1015 00:42:47,057 --> 00:42:48,389 especially the--you know, 1016 00:42:48,390 --> 00:42:50,431 the event of a new child. 1017 00:42:50,432 --> 00:42:53,598 My daughter really sort of focused my 1018 00:42:53,599 --> 00:42:55,598 fears and apprehensions. 1019 00:42:55,599 --> 00:42:58,681 I mean, what a disappointing 21st century 1020 00:42:58,682 --> 00:43:01,723 this has been so far, you know? 1021 00:43:01,724 --> 00:43:08,765 ♪ ♪ 1022 00:43:17,849 --> 00:43:21,056 - I have to say, this track has swagger. 1023 00:43:21,057 --> 00:43:23,140 All this loose playing-- It's all on purpose. 1024 00:43:23,141 --> 00:43:26,306 But we didn't want it to get too fancy, 1025 00:43:26,307 --> 00:43:28,931 and it had to sound like a bunch of high school kids 1026 00:43:28,932 --> 00:43:30,681 playing their instruments. 1027 00:43:30,682 --> 00:43:37,765 ♪ ♪ 1028 00:43:38,223 --> 00:43:39,931 Very, very cheesy-sounding, 1029 00:43:39,932 --> 00:43:41,723 but perfect for this song, 1030 00:43:41,724 --> 00:43:43,431 because of the lyrical content of the song, 1031 00:43:43,432 --> 00:43:45,764 about this, you know, person called Valentine 1032 00:43:45,765 --> 00:43:48,514 who, uh, is a mass murderer. 1033 00:43:48,515 --> 00:43:51,806 ♪ ♪ 1034 00:43:51,807 --> 00:43:54,264 - I mean, "Valentine's Day," 1035 00:43:54,265 --> 00:43:55,764 from a musical point of view, 1036 00:43:55,765 --> 00:43:57,514 that's--that is way old. 1037 00:43:57,515 --> 00:43:58,848 That's like, old-school. 1038 00:43:58,849 --> 00:43:59,931 All those chord changes, 1039 00:43:59,932 --> 00:44:01,264 that whole thing. 1040 00:44:01,265 --> 00:44:03,347 But if you listen to the lyrics, 1041 00:44:03,348 --> 00:44:04,931 there's subject matter there. 1042 00:44:04,932 --> 00:44:10,306 - ♪ Valentine told me who's to go ♪ 1043 00:44:10,307 --> 00:44:16,222 ♪ ♪ 1044 00:44:16,223 --> 00:44:21,140 ♪ Feelings he's treasured most of all ♪ 1045 00:44:21,141 --> 00:44:23,472 - There had been a number of incidents 1046 00:44:23,473 --> 00:44:25,389 prior to creating this song 1047 00:44:25,390 --> 00:44:27,140 that had moved him. 1048 00:44:27,141 --> 00:44:28,639 I think he was really troubled 1049 00:44:28,640 --> 00:44:30,347 by this trend of 1050 00:44:30,348 --> 00:44:32,264 people going and shooting kids. 1051 00:44:32,265 --> 00:44:36,140 - ♪ The teachers and the football star ♪ 1052 00:44:36,141 --> 00:44:38,431 ♪ ♪ 1053 00:44:38,432 --> 00:44:41,639 ♪ It's in his tiny face ♪ 1054 00:44:41,640 --> 00:44:43,890 ♪ ♪ 1055 00:44:43,891 --> 00:44:46,514 ♪ It's in his scrawny hand ♪ 1056 00:44:46,515 --> 00:44:48,806 ♪ ♪ 1057 00:44:48,807 --> 00:44:51,973 ♪ Valentine told me so ♪ 1058 00:44:51,974 --> 00:44:54,389 ♪ He's got something to say ♪ 1059 00:44:54,390 --> 00:44:59,140 ♪ It's Valentine's Day ♪ 1060 00:44:59,141 --> 00:45:01,015 - But he really wanted to bring the audience 1061 00:45:01,016 --> 00:45:03,140 into the mind of that killer, 1062 00:45:03,141 --> 00:45:05,222 and, uh, that transition 1063 00:45:05,223 --> 00:45:08,098 from sort of the David that we know 1064 00:45:08,099 --> 00:45:10,015 to this other character 1065 00:45:10,016 --> 00:45:12,848 that he was inhabiting in this song 1066 00:45:12,849 --> 00:45:15,056 was, uh, very shocking, really. 1067 00:45:15,057 --> 00:45:16,639 ♪ ♪ 1068 00:45:16,640 --> 00:45:20,848 - ♪ Valentine told me how he'd feel ♪ 1069 00:45:20,849 --> 00:45:25,681 ♪ ♪ 1070 00:45:25,682 --> 00:45:26,806 - ♪ Ooh ♪ 1071 00:45:26,807 --> 00:45:28,890 - ♪ If all the world ♪ 1072 00:45:28,891 --> 00:45:31,931 ♪ Were under his heels ♪ 1073 00:45:31,932 --> 00:45:33,598 - Being right there in front of him 1074 00:45:33,599 --> 00:45:36,222 and seeing him pull this out of himself-- 1075 00:45:36,223 --> 00:45:37,556 You know, it was a-- 1076 00:45:37,557 --> 00:45:40,639 It was quite terrifying to watch. 1077 00:45:40,640 --> 00:45:42,306 - ♪ His tiny face ♪ 1078 00:45:42,307 --> 00:45:43,598 ♪ ♪ 1079 00:45:43,599 --> 00:45:47,181 ♪ It's in his scrawny hands ♪ 1080 00:45:47,182 --> 00:45:50,723 - I really wanted to introduce a weapon into the video, 1081 00:45:50,724 --> 00:45:52,389 and David was really against it. 1082 00:45:52,390 --> 00:45:53,764 He didn't want any guns, 1083 00:45:53,765 --> 00:45:55,556 he didn't want any blood. 1084 00:45:55,557 --> 00:45:57,931 But he was very much aware of 1085 00:45:57,932 --> 00:46:00,181 making a statement about gun control, 1086 00:46:00,182 --> 00:46:03,639 and the importance of that, in his own style. 1087 00:46:03,640 --> 00:46:06,598 - To defeat the divisive forces 1088 00:46:06,599 --> 00:46:08,431 that would take freedom away, 1089 00:46:08,432 --> 00:46:10,931 I want to say those fighting words... 1090 00:46:10,932 --> 00:46:11,932 ♪ ♪ 1091 00:46:11,933 --> 00:46:15,056 "From my cold, dead hands." 1092 00:46:17,557 --> 00:46:20,514 - ♪ It's in his scrawny hand ♪ 1093 00:46:20,515 --> 00:46:23,598 ♪ It's in his icy heart ♪ 1094 00:46:23,599 --> 00:46:25,431 ♪ It's happening today ♪ 1095 00:46:25,432 --> 00:46:28,723 ♪ Valentine, Valentine ♪ 1096 00:46:28,724 --> 00:46:30,931 - He was very interested in society. 1097 00:46:30,932 --> 00:46:33,431 You know, what makes people operate, 1098 00:46:33,432 --> 00:46:35,472 what makes societies operate, 1099 00:46:35,473 --> 00:46:38,764 and that was one of his less cryptic 1100 00:46:38,765 --> 00:46:42,264 and more straight-up lyrics that he's ever written. 1101 00:46:45,265 --> 00:46:46,973 - I'm not an original thinker. 1102 00:46:46,974 --> 00:46:49,890 What I'm best at doing is, uh, synthesizing 1103 00:46:49,891 --> 00:46:52,848 those things in society or culture 1104 00:46:52,849 --> 00:46:54,681 refracting those things 1105 00:46:54,682 --> 00:46:57,264 and producing some kind of glob 1106 00:46:57,265 --> 00:47:00,639 of how it is that we live at this particular time. 1107 00:47:04,265 --> 00:47:09,347 ♪ Pushing through the market square ♪ 1108 00:47:09,348 --> 00:47:16,140 ♪ So many mothers crying ♪ 1109 00:47:16,141 --> 00:47:19,306 ♪ News had just come over ♪ 1110 00:47:19,307 --> 00:47:22,264 ♪ ♪ 1111 00:47:22,265 --> 00:47:26,140 ♪ We had five years left to sigh in ♪ 1112 00:47:26,141 --> 00:47:28,931 ♪ ♪ 1113 00:47:28,932 --> 00:47:32,681 ♪ News guy wept when he told us ♪ 1114 00:47:32,682 --> 00:47:35,015 ♪ ♪ 1115 00:47:35,016 --> 00:47:37,598 ♪ Earth was really dying ♪ 1116 00:47:37,599 --> 00:47:41,681 ♪ ♪ 1117 00:47:41,682 --> 00:47:46,056 ♪ Cried so much that his face was wet ♪ 1118 00:47:46,057 --> 00:47:49,514 ♪ That I knew he was not lying ♪ 1119 00:47:49,515 --> 00:47:51,098 ♪ ♪ 1120 00:47:51,099 --> 00:47:53,264 - He let you know something's not right here. 1121 00:47:53,265 --> 00:47:54,890 So that's the best I knew. 1122 00:47:54,891 --> 00:47:56,514 He didn't come up with the solutions, 1123 00:47:56,515 --> 00:47:58,472 but at least he could express 1124 00:47:58,473 --> 00:48:01,098 and others could resonate with that. 1125 00:48:01,099 --> 00:48:03,806 ♪ ♪ 1126 00:48:03,807 --> 00:48:07,098 - ♪ Girl my age went off her head ♪ 1127 00:48:07,099 --> 00:48:10,389 ♪ ♪ 1128 00:48:10,390 --> 00:48:13,181 ♪ Hit some tiny children ♪ 1129 00:48:13,182 --> 00:48:17,639 ♪ ♪ 1130 00:48:17,640 --> 00:48:20,389 ♪ If the black hadn't've pulled her off ♪ 1131 00:48:20,390 --> 00:48:23,431 ♪ ♪ 1132 00:48:23,432 --> 00:48:25,890 ♪ I think she would have killed them ♪ 1133 00:48:25,891 --> 00:48:28,056 I'm not a Dylan and I'm not a-- 1134 00:48:28,057 --> 00:48:30,222 I'm not somebody who can sit down 1135 00:48:30,223 --> 00:48:32,389 and stoically write a clear picture 1136 00:48:32,390 --> 00:48:34,598 of what's happening, 1137 00:48:34,599 --> 00:48:36,389 but I can leave a very strong impression 1138 00:48:36,390 --> 00:48:38,140 of how I feel about it. 1139 00:48:38,141 --> 00:48:39,431 ♪ Five years ♪ 1140 00:48:39,432 --> 00:48:40,723 - ♪ Five years ♪ 1141 00:48:40,724 --> 00:48:43,931 - ♪ Do-do-do-do, yeah ♪ 1142 00:48:43,932 --> 00:48:46,556 - ♪ Five years ♪ 1143 00:48:46,557 --> 00:48:49,514 - ♪ Do-dun-a-ga-da-he-eh ♪ 1144 00:48:49,515 --> 00:48:52,389 - ♪ Five years ♪ 1145 00:48:52,390 --> 00:48:55,556 - ♪ Didn't hear ya ♪ 1146 00:48:55,557 --> 00:48:58,098 ♪ Five years ♪ 1147 00:48:58,099 --> 00:49:01,347 - ♪ That's all we've got ♪ 1148 00:49:01,348 --> 00:49:04,222 - ♪ Five ♪ 1149 00:49:21,682 --> 00:49:23,431 ♪ ♪ 1150 00:49:23,432 --> 00:49:26,264 - It's very hard to not continue to re-address 1151 00:49:26,265 --> 00:49:28,056 the same subject matter endlessly. 1152 00:49:28,057 --> 00:49:30,598 I mean, I have a certain niche that I work in, 1153 00:49:30,599 --> 00:49:34,514 A lot of it, until recently, tends to be about alienation 1154 00:49:34,515 --> 00:49:37,306 and, uh, being on the outside of things. 1155 00:49:37,307 --> 00:49:39,556 ♪ It's the darkest hour ♪ 1156 00:49:39,557 --> 00:49:41,598 ♪ You're 22 ♪ 1157 00:49:41,599 --> 00:49:42,764 ♪ ♪ 1158 00:49:42,765 --> 00:49:44,639 ♪ The voice of youth ♪ 1159 00:49:44,640 --> 00:49:47,306 ♪ The hour of dread ♪ 1160 00:49:47,307 --> 00:49:48,848 That tends to be where 1161 00:49:48,849 --> 00:49:50,764 I feel more comfortable as a writer, 1162 00:49:50,765 --> 00:49:52,806 but I think one keeps re-addressing that situation 1163 00:49:52,807 --> 00:49:54,806 and trying to express it in a different way. 1164 00:49:54,807 --> 00:49:56,598 I guess that's what I do. 1165 00:49:56,599 --> 00:49:59,222 ♪ Love is lost ♪ 1166 00:49:59,223 --> 00:50:01,639 ♪ Lost is love ♪ 1167 00:50:01,640 --> 00:50:08,765 ♪ ♪ 1168 00:50:13,974 --> 00:50:17,015 - When I spoke to David on the phone, 1169 00:50:17,016 --> 00:50:18,472 it was definitely, 1170 00:50:18,473 --> 00:50:19,806 "Don't say a word about this." 1171 00:50:19,807 --> 00:50:20,848 In fact, we even 1172 00:50:20,849 --> 00:50:21,890 had a code word for it, 1173 00:50:21,891 --> 00:50:23,140 so if anybody 1174 00:50:23,141 --> 00:50:24,848 intercepted the phone calls, 1175 00:50:24,849 --> 00:50:26,890 they wouldn't know we were talking about, 1176 00:50:26,891 --> 00:50:28,681 um, the album. 1177 00:50:28,682 --> 00:50:30,056 So the album was actually 1178 00:50:30,057 --> 00:50:32,931 code-named "the table." 1179 00:50:34,724 --> 00:50:37,681 ♪ ♪ 1180 00:50:37,682 --> 00:50:39,347 There was a lot of discussion about 1181 00:50:39,348 --> 00:50:41,098 what the album would be called at the time. 1182 00:50:41,099 --> 00:50:42,848 It was quite gratifying to know that 1183 00:50:42,849 --> 00:50:44,890 not even David Bowie has everything planned out. 1184 00:50:44,891 --> 00:50:46,556 ♪ ♪ 1185 00:50:46,557 --> 00:50:48,681 So it was possibly even called "Love is Lost." 1186 00:50:48,682 --> 00:50:50,514 ♪ ♪ 1187 00:50:50,515 --> 00:50:53,056 Possibly going to be called "The Next Day," 1188 00:50:53,057 --> 00:50:55,264 possibly called "Where Are We Now?" 1189 00:50:55,265 --> 00:50:57,681 - ♪ Say hello to the lunatic men ♪ 1190 00:50:57,682 --> 00:51:00,347 - The thing that started the concept for the design 1191 00:51:00,348 --> 00:51:02,431 was this photograph. 1192 00:51:02,432 --> 00:51:05,639 It's from the '70s and he said, 1193 00:51:05,640 --> 00:51:07,264 "I want to do something with this photo 1194 00:51:07,265 --> 00:51:08,723 for the cover," 1195 00:51:08,724 --> 00:51:10,389 which I found quite puzzling. 1196 00:51:10,390 --> 00:51:11,764 He was looking back on his life, 1197 00:51:11,765 --> 00:51:14,056 even looking at that image, 1198 00:51:14,057 --> 00:51:16,556 I really struggled with using the image, 1199 00:51:16,557 --> 00:51:19,472 and then it took Bowie to say "Jonathan, 1200 00:51:19,473 --> 00:51:21,264 "why don't you just 1201 00:51:21,265 --> 00:51:23,056 turn the image upside-down?" 1202 00:51:23,057 --> 00:51:24,472 And within that moment, 1203 00:51:24,473 --> 00:51:27,598 he subverted his whole history 1204 00:51:30,432 --> 00:51:32,431 So the process was to go through every record cover, 1205 00:51:32,432 --> 00:51:34,389 every printed image of him, 1206 00:51:34,390 --> 00:51:36,389 and see how we could subvert it. 1207 00:51:36,390 --> 00:51:43,181 ♪ ♪ 1208 00:51:43,182 --> 00:51:45,431 The cover of "Heroes" really had 1209 00:51:45,432 --> 00:51:47,264 that youthful image of Bowie 1210 00:51:47,265 --> 00:51:49,681 looking forward to the future, 1211 00:51:49,682 --> 00:51:51,931 and the square obliterates it. 1212 00:51:51,932 --> 00:51:54,931 It's existentially talking about 1213 00:51:54,932 --> 00:51:57,306 someone who's coming closer to the end 1214 00:51:57,307 --> 00:51:59,931 of their life and looking back 1215 00:51:59,932 --> 00:52:02,598 on the past. 1216 00:52:02,599 --> 00:52:05,931 I really wasn't sure about it at the time, 1217 00:52:05,932 --> 00:52:08,264 to the point, in fact, where the night before 1218 00:52:08,265 --> 00:52:09,806 it was sent off to the record company, 1219 00:52:09,807 --> 00:52:11,681 I wrote to him and said, "Are you sure?" 1220 00:52:11,682 --> 00:52:13,015 And he actually said to me, 1221 00:52:13,016 --> 00:52:14,764 "No, this is--have faith, Jonathan. 1222 00:52:14,765 --> 00:52:15,931 "This is a good idea. 1223 00:52:15,932 --> 00:52:17,931 It's an original idea." 1224 00:52:17,932 --> 00:52:20,764 - ♪ I'd rather be high ♪ 1225 00:52:20,765 --> 00:52:23,431 - I think he was subverting people's expectation 1226 00:52:23,432 --> 00:52:26,639 because of the years away, 1227 00:52:26,640 --> 00:52:28,764 so he could play with his image. 1228 00:52:28,765 --> 00:52:30,639 He wasn't a young man 1229 00:52:30,640 --> 00:52:33,347 desperate to be original. 1230 00:52:33,348 --> 00:52:36,431 He was someone who lived life 1231 00:52:36,432 --> 00:52:39,015 and was not up for playing the game 1232 00:52:39,016 --> 00:52:40,806 of being in the media all the time. 1233 00:52:43,849 --> 00:52:46,598 ♪ ♪ 1234 00:52:46,599 --> 00:52:48,098 Bowie was incredibly happy 1235 00:52:48,099 --> 00:52:49,848 that we'd managed to 1236 00:52:49,849 --> 00:52:52,098 keep this thing secret all this time. 1237 00:52:52,099 --> 00:52:54,639 We had accomplished something unique 1238 00:52:54,640 --> 00:52:56,973 in a time when everybody 1239 00:52:56,974 --> 00:53:00,306 knows everything. 1240 00:53:00,307 --> 00:53:02,848 He was quite attracted to 1241 00:53:02,849 --> 00:53:06,347 all the furore around an album being released, 1242 00:53:06,348 --> 00:53:08,681 but he wanted to play it the right way. 1243 00:53:11,223 --> 00:53:13,015 - ♪ Then we saw ♪ 1244 00:53:13,016 --> 00:53:15,848 - Hello, David Bowie's back in sound and vision, 1245 00:53:15,849 --> 00:53:17,848 with his first new album in a decade. 1246 00:53:17,849 --> 00:53:20,347 - He hasn't performed since 2006, 1247 00:53:20,348 --> 00:53:22,056 and has rarely been seen in public 1248 00:53:22,057 --> 00:53:23,931 since then, but now he's back. 1249 00:53:23,932 --> 00:53:25,639 - But after a bout of ill health, 1250 00:53:25,640 --> 00:53:27,848 it was thought he had retired. Wrong. 1251 00:53:27,849 --> 00:53:30,140 - His new album, his first in ten years, 1252 00:53:30,141 --> 00:53:32,639 shot to the number one spot last weekend. 1253 00:53:32,640 --> 00:53:35,181 In fact, it's the fastest- selling of the year so far, 1254 00:53:35,182 --> 00:53:38,181 having shifted over 100,000 copies 1255 00:53:38,182 --> 00:53:39,973 in less than two weeks. 1256 00:53:39,974 --> 00:53:44,431 - ♪ The night was always falling ♪ 1257 00:53:44,432 --> 00:53:47,556 ♪ The peacock in the snow ♪ 1258 00:53:47,557 --> 00:53:49,222 ♪ ♪ 1259 00:53:49,223 --> 00:53:53,556 ♪ And I tell myself ♪ 1260 00:53:53,557 --> 00:53:57,140 ♪ I don't know who I am ♪ 1261 00:53:57,141 --> 00:54:00,056 ♪ ♪ 1262 00:54:00,057 --> 00:54:01,973 - He just stopped giving interviews 1263 00:54:01,974 --> 00:54:03,556 many years ago, 1264 00:54:03,557 --> 00:54:05,556 and, um, this is something that 1265 00:54:05,557 --> 00:54:08,472 he needed to do, I think, for himself. 1266 00:54:08,473 --> 00:54:10,764 He couldn't--he couldn't have his life examined 1267 00:54:10,765 --> 00:54:12,222 any longer. He didn't want 1268 00:54:12,223 --> 00:54:13,890 any speculation about his life. 1269 00:54:13,891 --> 00:54:17,848 ♪ ♪ 1270 00:54:20,891 --> 00:54:27,932 ♪ ♪ 1271 00:54:33,974 --> 00:54:35,848 - I think it's terribly dangerous 1272 00:54:35,849 --> 00:54:39,181 for an artist to fulfill other people's expectations. 1273 00:54:39,182 --> 00:54:40,556 If you feel safe 1274 00:54:40,557 --> 00:54:42,098 in the area that you're working in, 1275 00:54:42,099 --> 00:54:43,890 you're not working in the right area. 1276 00:54:43,891 --> 00:54:46,181 Always go a little further into the water 1277 00:54:46,182 --> 00:54:48,514 than you feel you're capable of being in. 1278 00:54:48,515 --> 00:54:50,264 Go a little bit out of your depth, 1279 00:54:50,265 --> 00:54:52,056 and you don't feel that your feet are 1280 00:54:52,057 --> 00:54:53,639 quite touching the bottom, 1281 00:54:53,640 --> 00:54:55,056 you're just about in the right place 1282 00:54:55,057 --> 00:54:56,472 to do something exciting. 1283 00:54:58,765 --> 00:55:00,306 - The way David works. 1284 00:55:00,307 --> 00:55:02,723 He just keeps evolving, evolving, evolving. 1285 00:55:02,724 --> 00:55:05,181 David's always looking for that new element 1286 00:55:05,182 --> 00:55:06,764 and unique musicians 1287 00:55:06,765 --> 00:55:07,931 to be the carriage 1288 00:55:07,932 --> 00:55:09,598 for his new ideas. 1289 00:55:09,599 --> 00:55:12,806 ♪ ♪ 1290 00:55:12,807 --> 00:55:16,556 Maria Schneider is an amazing jazz composer 1291 00:55:16,557 --> 00:55:18,514 and how she could've been off my radar, 1292 00:55:18,515 --> 00:55:20,472 I don't--I don't know, because, 1293 00:55:20,473 --> 00:55:24,639 uh, she suddenly appeared in my life through David. 1294 00:55:24,640 --> 00:55:27,140 And when I heard her compositions, 1295 00:55:27,141 --> 00:55:29,140 it was everything David and I loved 1296 00:55:29,141 --> 00:55:30,514 about big band music: 1297 00:55:30,515 --> 00:55:32,140 that it was discordant 1298 00:55:32,141 --> 00:55:35,306 and strange and ethereal. 1299 00:55:38,390 --> 00:55:43,389 ♪ ♪ 1300 00:55:43,390 --> 00:55:46,181 - Out of the blue, David called. 1301 00:55:46,182 --> 00:55:47,681 I said, "Hello?" 1302 00:55:47,682 --> 00:55:49,306 Then--and then 1303 00:55:49,307 --> 00:55:52,015 proceeded to start to talk to him about 1304 00:55:52,016 --> 00:55:53,848 the idea, uh, that he had 1305 00:55:53,849 --> 00:55:55,639 to collaborate on a song. 1306 00:55:58,682 --> 00:56:00,181 ♪ ♪ 1307 00:56:00,182 --> 00:56:02,806 David brought a little demo of "Sue," 1308 00:56:02,807 --> 00:56:05,098 so I listened to it 1309 00:56:05,099 --> 00:56:07,098 and immediately heard this: 1310 00:56:10,057 --> 00:56:13,890 I said, "Where do you want this to go?" 1311 00:56:13,891 --> 00:56:16,347 So it's-- It's pretty bright-- 1312 00:56:16,348 --> 00:56:18,140 You know, sounding, and he said, "Oh, 1313 00:56:18,141 --> 00:56:19,639 I want it to be really dark." 1314 00:56:19,640 --> 00:56:22,472 So then I started playing around with 1315 00:56:22,473 --> 00:56:25,015 ways in which I could make that-- 1316 00:56:26,390 --> 00:56:27,681 That melody dark, 1317 00:56:27,682 --> 00:56:29,098 and I just fooled around over here 1318 00:56:29,099 --> 00:56:30,764 and then I looked at him and I said, 1319 00:56:30,765 --> 00:56:34,723 "Okay, let's try this." 1320 00:56:34,724 --> 00:56:36,639 - Maria Schneider said, 1321 00:56:36,640 --> 00:56:39,389 "You have to listen to this guy, Donny McCaslin." 1322 00:56:39,390 --> 00:56:41,222 Donny had a band. 1323 00:56:44,307 --> 00:56:46,890 This band were trained jazz musicians, 1324 00:56:46,891 --> 00:56:50,347 so we had more colors to the palette. 1325 00:56:53,057 --> 00:56:55,056 - Then I just worked on it on my own a little bit. 1326 00:56:55,057 --> 00:56:57,140 And then David came over, 1327 00:56:57,141 --> 00:56:58,723 and then I presented him 1328 00:56:58,724 --> 00:57:00,514 with all these sketches of ideas 1329 00:57:00,515 --> 00:57:02,056 and said, "Okay, 1330 00:57:02,057 --> 00:57:04,556 let me play you lots of different things," 1331 00:57:04,557 --> 00:57:06,306 and he would either say, 1332 00:57:06,307 --> 00:57:08,723 "Yeah, yeah, I r-- Oh, I really like that." 1333 00:57:08,724 --> 00:57:11,389 You know, if it had got a real reaction of him-- 1334 00:57:11,390 --> 00:57:14,015 From him, then I said, "Okay, maybe that's 1335 00:57:14,016 --> 00:57:15,556 the direction," so I just kind of 1336 00:57:15,557 --> 00:57:17,264 tried to feel him out. 1337 00:57:20,265 --> 00:57:27,390 ♪ ♪ 1338 00:57:31,599 --> 00:57:32,931 - It was adventure. 1339 00:57:32,932 --> 00:57:34,431 Adventure, adventure. 1340 00:57:34,432 --> 00:57:35,890 Let's try this, let's try that. 1341 00:57:35,891 --> 00:57:37,890 Let's make it as far-out as possible. 1342 00:57:37,891 --> 00:57:40,389 Let's go somewhere no one's ever gone before. 1343 00:57:40,390 --> 00:57:41,348 You know? 1344 00:57:41,349 --> 00:57:43,890 ♪ ♪ 1345 00:57:43,891 --> 00:57:45,472 - I mean, recording it was, like, 1346 00:57:45,473 --> 00:57:46,931 six hours or something... 1347 00:57:46,932 --> 00:57:49,306 - Yeah. - So he comes out, 1348 00:57:49,307 --> 00:57:53,098 then he lays down the vocal for the whole song, 1349 00:57:53,099 --> 00:57:54,973 seven, eight minutes, 1350 00:57:54,974 --> 00:57:56,639 so he's been in the studio all day long... 1351 00:57:56,640 --> 00:57:58,056 - Just sitting there. 1352 00:57:58,057 --> 00:57:59,431 - You know, we're just sitting there, 1353 00:57:59,432 --> 00:58:01,222 listening--you know, taking this all in, 1354 00:58:01,223 --> 00:58:03,306 goes out, a little one-two-three on the mic, 1355 00:58:03,307 --> 00:58:04,472 and then, boom. 1356 00:58:04,473 --> 00:58:06,472 - ♪ Sue ♪ 1357 00:58:06,473 --> 00:58:08,723 ♪ ♪ 1358 00:58:08,724 --> 00:58:12,389 ♪ I got the job ♪ 1359 00:58:12,390 --> 00:58:15,598 ♪ ♪ 1360 00:58:15,599 --> 00:58:21,723 ♪ We'll buy the house ♪ 1361 00:58:21,724 --> 00:58:24,347 ♪ You'll need to rest ♪ 1362 00:58:24,348 --> 00:58:30,681 ♪ But now we'll make it ♪ 1363 00:58:30,682 --> 00:58:32,681 - So I remember doing this interview 1364 00:58:32,682 --> 00:58:33,806 with Tony Visconti. 1365 00:58:33,807 --> 00:58:35,681 The interviewer asked us both, 1366 00:58:35,682 --> 00:58:38,681 you know, what was David's relationship to jazz music, 1367 00:58:38,682 --> 00:58:39,848 something like that, 1368 00:58:39,849 --> 00:58:41,514 and Tony's response was that 1369 00:58:41,515 --> 00:58:43,681 he thought that that influence 1370 00:58:43,682 --> 00:58:46,431 had always been there in David's music, 1371 00:58:46,432 --> 00:58:48,681 but it was just sort of underneath the surface, 1372 00:58:48,682 --> 00:58:50,431 and that now, it was just, 1373 00:58:50,432 --> 00:58:51,556 you know, out there. 1374 00:58:51,557 --> 00:58:52,931 ♪ ♪ 1375 00:58:52,932 --> 00:58:57,472 - ♪ Sue, I pushed you down ♪ 1376 00:58:57,473 --> 00:59:00,140 ♪ Beneath the weeds ♪ 1377 00:59:00,141 --> 00:59:01,890 ♪ Endless faith ♪ 1378 00:59:01,891 --> 00:59:05,140 ♪ In hopeless deeds ♪ 1379 00:59:05,141 --> 00:59:07,098 - Of course, when this thing was released, 1380 00:59:07,099 --> 00:59:08,931 there were all sorts of comments. 1381 00:59:08,932 --> 00:59:12,098 Some people were just absolutely hating it 1382 00:59:12,099 --> 00:59:13,806 and some people were loving it 1383 00:59:13,807 --> 00:59:15,681 and some people didn't know what to think. 1384 00:59:15,682 --> 00:59:17,931 ♪ ♪ 1385 00:59:17,932 --> 00:59:22,181 - ♪ Good-bye ♪ 1386 00:59:22,182 --> 00:59:23,931 - This is David Bowie. 1387 00:59:23,932 --> 00:59:27,431 He's not gonna pigeonhole even himself. 1388 00:59:27,432 --> 00:59:29,472 Imagine how ridiculous he would have looked, 1389 00:59:29,473 --> 00:59:31,556 you know, if he kept dyeing his hair orange 1390 00:59:31,557 --> 00:59:33,431 and he was 65 years old 1391 00:59:33,432 --> 00:59:35,556 with orange hair 1392 00:59:35,557 --> 00:59:37,222 and platform shoes, you know. 1393 00:59:37,223 --> 00:59:41,472 He was smart. 1394 00:59:44,515 --> 00:59:47,431 ♪ ♪ 1395 00:59:47,432 --> 00:59:50,764 The radical shift between "Sue" and "The Next Day" 1396 00:59:50,765 --> 00:59:54,389 is like when he did the, uh, ambient music 1397 00:59:54,390 --> 00:59:55,639 of "Low" and "Heroes" 1398 00:59:55,640 --> 00:59:58,181 with Brian Eno. 1399 00:59:58,182 --> 01:00:01,389 - ♪ Dun-dun-dun-dun... ♪ 1400 01:00:02,807 --> 01:00:04,347 Oh... And he'll play that again. 1401 01:00:04,348 --> 01:00:06,472 ♪ Dun, dun, dun, dun ♪ 1402 01:00:06,473 --> 01:00:09,514 Oh, wow, I'm feeling low. 1403 01:00:10,932 --> 01:00:12,514 Brian Eno's methodology 1404 01:00:12,515 --> 01:00:13,931 is a little bit different 1405 01:00:13,932 --> 01:00:15,140 than any methodology 1406 01:00:15,141 --> 01:00:16,639 I've ever encountered. 1407 01:00:16,640 --> 01:00:18,848 That's not rock and roll. 1408 01:00:18,849 --> 01:00:21,264 Rock and roll is, "Hey, man, I got this great riff. 1409 01:00:21,265 --> 01:00:23,140 Listen to this." 1410 01:00:23,141 --> 01:00:24,639 You know? 1411 01:00:24,640 --> 01:00:26,389 But when you start experimenting 1412 01:00:26,390 --> 01:00:27,848 with soundscapes, 1413 01:00:27,849 --> 01:00:29,347 which is what they were doing, 1414 01:00:29,348 --> 01:00:32,932 it makes other things come to light. 1415 01:00:34,765 --> 01:00:38,431 David was listening to a few German bands back then 1416 01:00:38,432 --> 01:00:40,431 that were at the epicenter 1417 01:00:40,432 --> 01:00:42,140 of electronic music, 1418 01:00:42,141 --> 01:00:43,681 and I think that the 1419 01:00:43,682 --> 01:00:45,639 elec-tronic-al part 1420 01:00:45,640 --> 01:00:46,640 was too much. 1421 01:00:46,641 --> 01:00:48,140 That's why he had a R&B, a-- 1422 01:00:48,141 --> 01:00:49,890 A black rhythm section, 1423 01:00:49,891 --> 01:00:52,556 being, "You want a machine? 1424 01:00:52,557 --> 01:00:54,181 Let me give you a funk band." 1425 01:00:57,099 --> 01:00:59,764 But I'll add all the electronic stuff 1426 01:00:59,765 --> 01:01:01,347 on top of that. 1427 01:01:01,348 --> 01:01:04,472 Otherwise, he might take the chance of 1428 01:01:04,473 --> 01:01:08,806 sounding like European 1429 01:01:08,807 --> 01:01:10,098 electronic music, 1430 01:01:10,099 --> 01:01:12,514 which he did not want to reproduce. 1431 01:01:12,515 --> 01:01:15,264 ♪ ♪ 1432 01:01:15,265 --> 01:01:17,015 - I'd gotten into the idea 1433 01:01:17,016 --> 01:01:18,973 of real experimentation in music, 1434 01:01:18,974 --> 01:01:20,556 with the new sounds of Europe 1435 01:01:20,557 --> 01:01:22,973 and it was this kind of hybrid thing 1436 01:01:22,974 --> 01:01:24,472 that appealed to me so much. 1437 01:01:24,473 --> 01:01:26,222 The idea of mixtures 1438 01:01:26,223 --> 01:01:28,347 has always been something that I've found 1439 01:01:28,348 --> 01:01:30,598 absolutely fascinating. 1440 01:01:30,599 --> 01:01:33,015 ♪ Blue, blue, electric blue ♪ 1441 01:01:33,016 --> 01:01:35,723 ♪ That's the color of my room ♪ 1442 01:01:35,724 --> 01:01:37,264 ♪ Where I will live ♪ 1443 01:01:37,265 --> 01:01:39,514 ♪ ♪ 1444 01:01:39,515 --> 01:01:41,639 ♪ Blue, blue ♪ 1445 01:01:41,640 --> 01:01:44,764 ♪ ♪ 1446 01:01:44,765 --> 01:01:47,098 ♪ Pale blinds drawn all day ♪ 1447 01:01:47,099 --> 01:01:49,681 ♪ Nothing to do, nothing to say ♪ 1448 01:01:49,682 --> 01:01:53,681 ♪ ♪ 1449 01:01:53,682 --> 01:01:55,347 ♪ Blue, blue ♪ 1450 01:01:55,348 --> 01:01:59,015 ♪ ♪ 1451 01:01:59,016 --> 01:02:01,264 ♪ I will sit right down ♪ 1452 01:02:01,265 --> 01:02:04,639 ♪ Waiting for the gift of sound and vision ♪ 1453 01:02:04,640 --> 01:02:06,140 - I was just amazed that 1454 01:02:06,141 --> 01:02:08,222 David was the kind of person that he was, 1455 01:02:08,223 --> 01:02:10,015 because I wasn't expecting that. 1456 01:02:10,016 --> 01:02:12,806 I was expecting something sort of 1457 01:02:12,807 --> 01:02:16,015 superhuman, strange, walking in 1458 01:02:16,016 --> 01:02:18,723 and he presented himself so normal. 1459 01:02:18,724 --> 01:02:19,931 As a matter of fact, 1460 01:02:19,932 --> 01:02:22,056 the doorman from downstairs 1461 01:02:22,057 --> 01:02:23,389 called me and said, 1462 01:02:23,390 --> 01:02:25,098 "There's a--what? What's your name? 1463 01:02:25,099 --> 01:02:27,056 Oh, David, here to see you." 1464 01:02:27,057 --> 01:02:29,015 And I thought, "Oh, dear." 1465 01:02:31,849 --> 01:02:35,389 ♪ ♪ 1466 01:02:35,390 --> 01:02:38,598 Can I just stop a second? Did I just say he was normal? 1467 01:02:38,599 --> 01:02:41,347 There's really nothing normal about David Bowie. 1468 01:02:41,348 --> 01:02:43,890 You know? But anyway... 1469 01:02:43,891 --> 01:02:50,974 ♪ ♪ 1470 01:02:57,265 --> 01:03:04,307 ♪ ♪ 1471 01:03:07,099 --> 01:03:08,890 - When I was around 17, 18, 1472 01:03:08,891 --> 01:03:10,890 what I wanted to do, more than anything else, 1473 01:03:10,891 --> 01:03:13,264 was write something for Broadway. 1474 01:03:13,265 --> 01:03:14,639 I wanted to write a musical. 1475 01:03:14,640 --> 01:03:17,264 Had no idea of how you did it 1476 01:03:17,265 --> 01:03:19,015 or how musicals were constructed, 1477 01:03:19,016 --> 01:03:21,931 but the idea of writing something 1478 01:03:21,932 --> 01:03:24,598 that was rock-based for Broadway 1479 01:03:24,599 --> 01:03:26,264 really intrigued me. I thought, "That would be 1480 01:03:26,265 --> 01:03:27,931 a wonderful thing to do." 1481 01:03:27,932 --> 01:03:30,347 ♪ ♪ 1482 01:03:30,348 --> 01:03:34,015 - When we first talked quite quickly 1483 01:03:34,016 --> 01:03:35,723 he said, 1484 01:03:35,724 --> 01:03:37,764 "I wanna do a musical," 1485 01:03:37,765 --> 01:03:39,973 and I said, "Great," 1486 01:03:39,974 --> 01:03:41,848 and he said, "All I know 1487 01:03:41,849 --> 01:03:43,306 "is that it's called Laz-- 1488 01:03:43,307 --> 01:03:45,931 "it's gonna be called 'Lazarus, ' 1489 01:03:45,932 --> 01:03:47,848 "and it's based on the character I played 1490 01:03:47,849 --> 01:03:49,681 "in 'The Man Who Fell to Earth' 1491 01:03:49,682 --> 01:03:52,514 in the movie, Thomas Jerome Newton." 1492 01:03:52,515 --> 01:03:56,472 ♪ ♪ 1493 01:03:56,473 --> 01:03:59,264 - Thomas Newton is an alien. 1494 01:03:59,265 --> 01:04:00,764 He can't get home. 1495 01:04:00,765 --> 01:04:02,639 He's relegated to this Earth. 1496 01:04:02,640 --> 01:04:06,681 He is in the world, but not of it. 1497 01:04:06,682 --> 01:04:08,181 ♪ ♪ 1498 01:04:08,182 --> 01:04:11,598 - Outsiders, marginalized people, 1499 01:04:11,599 --> 01:04:13,848 people that don't belong, 1500 01:04:13,849 --> 01:04:15,098 that are disp-- 1501 01:04:15,099 --> 01:04:16,848 That feel displaced, 1502 01:04:16,849 --> 01:04:17,849 not at home, 1503 01:04:17,850 --> 01:04:18,890 even when they have a house, 1504 01:04:18,891 --> 01:04:20,098 like Newton. 1505 01:04:20,099 --> 01:04:21,472 Rich, you know, on Earth, 1506 01:04:21,473 --> 01:04:23,598 but lost on Earth. 1507 01:04:23,599 --> 01:04:24,848 It resonated with him. 1508 01:04:24,849 --> 01:04:28,181 ♪ ♪ 1509 01:04:28,182 --> 01:04:30,806 - My initial reaction was, 1510 01:04:30,807 --> 01:04:33,015 "I've got the chance to do a musical 1511 01:04:33,016 --> 01:04:35,347 "with David, which is wonderful, 1512 01:04:35,348 --> 01:04:38,222 but it sure ain't gonna buy me a yacht." 1513 01:04:38,223 --> 01:04:40,681 ♪ Oh, say, can you see ♪ 1514 01:04:40,682 --> 01:04:44,056 - That was my amused comment to myself, 1515 01:04:44,057 --> 01:04:46,514 but he said, "I want to see this," 1516 01:04:46,515 --> 01:04:48,015 you know, "I want this on." 1517 01:04:48,016 --> 01:04:50,015 - Okay. 1518 01:04:50,016 --> 01:04:52,848 So, uh, thank you very much, Sophia. 1519 01:04:52,849 --> 01:04:57,015 - Just before we were due to start 1520 01:04:57,016 --> 01:04:59,056 a small workshop, 1521 01:04:59,057 --> 01:05:02,389 I was asked to go to David's office in New York 1522 01:05:02,390 --> 01:05:04,306 at a specific time, 1523 01:05:04,307 --> 01:05:06,431 and when I walked in the room, 1524 01:05:06,432 --> 01:05:10,723 David was on Skype, 1525 01:05:10,724 --> 01:05:14,056 and then he said, "I need to explain something to you, 1526 01:05:14,057 --> 01:05:16,639 "because I'm not gonna be 1527 01:05:16,640 --> 01:05:18,890 "able to be around a lot 1528 01:05:18,891 --> 01:05:21,514 "during this workshop. 1529 01:05:21,515 --> 01:05:23,222 "Which doesn't mean that I'm 1530 01:05:23,223 --> 01:05:26,098 "not gonna be totally involved in it. 1531 01:05:26,099 --> 01:05:29,848 "It just means that I can't be there sometimes, 1532 01:05:29,849 --> 01:05:32,015 "because I'm having treatment 1533 01:05:32,016 --> 01:05:35,931 because I have, uh, a cancer." 1534 01:05:38,891 --> 01:05:40,639 I was shocked, 1535 01:05:40,640 --> 01:05:41,890 but his attitude was 1536 01:05:41,891 --> 01:05:44,098 that he was gonna be okay. 1537 01:05:44,099 --> 01:05:47,431 And that was kind of the end of the conversation. 1538 01:05:47,432 --> 01:05:49,973 - I'm here to get you out of this apartment! 1539 01:05:49,974 --> 01:05:51,973 Get you home to your planet! 1540 01:05:51,974 --> 01:05:53,639 I think we should build a rocket! 1541 01:05:56,599 --> 01:05:58,598 - But of course, once we started, 1542 01:05:58,599 --> 01:05:59,973 sort of, rehearsal, 1543 01:05:59,974 --> 01:06:01,639 he was there a lot. 1544 01:06:01,640 --> 01:06:03,264 He was sort of in and out and in and out, 1545 01:06:03,265 --> 01:06:04,764 you know, so... 1546 01:06:04,765 --> 01:06:06,264 ♪ ♪ 1547 01:06:06,265 --> 01:06:08,514 So he would go, "Oh, let's remove that 1548 01:06:08,515 --> 01:06:11,098 "scene, and can I write a-- Can I write a song? 1549 01:06:11,099 --> 01:06:12,848 I feel as if I should write a song here," 1550 01:06:12,849 --> 01:06:14,264 and he was really excited about that. 1551 01:06:14,265 --> 01:06:16,556 ♪ ♪ 1552 01:06:16,557 --> 01:06:19,431 - He was ill, and, um, he said, uh, 1553 01:06:19,432 --> 01:06:22,140 writing the musical was on his bucket list. 1554 01:06:22,141 --> 01:06:24,973 You know, getting finally writing a musical 1555 01:06:24,974 --> 01:06:26,056 and all that. 1556 01:06:26,057 --> 01:06:27,764 So that's the only time 1557 01:06:27,765 --> 01:06:29,973 he got a little bit, you know, sentimental, maybe, 1558 01:06:29,974 --> 01:06:32,015 like I've got to do these things. 1559 01:06:32,016 --> 01:06:34,973 - Stupid animal! Stupid creature! 1560 01:06:34,974 --> 01:06:37,098 - Why don't you tell me what's going on? 1561 01:06:37,099 --> 01:06:40,222 - Because I can't. 1562 01:06:40,223 --> 01:06:43,431 - I think that David intended it to be a play 1563 01:06:43,432 --> 01:06:45,472 that's supported by music, 1564 01:06:45,473 --> 01:06:49,264 rather than a musical that's supported by dialogue. 1565 01:06:49,265 --> 01:06:53,306 - ♪ But the film is a saddening bore ♪ 1566 01:06:53,307 --> 01:06:55,848 - It's about as far from a typical West End 1567 01:06:55,849 --> 01:06:57,472 or Broadway show as you could get. 1568 01:06:57,473 --> 01:07:01,181 He wanted this to be an art piece. 1569 01:07:01,182 --> 01:07:03,681 - ♪ As I ask you to focus ♪ 1570 01:07:03,682 --> 01:07:08,347 ♪ Sailors fighting in the dance hall ♪ 1571 01:07:08,348 --> 01:07:14,264 ♪ Oh, man, look at those cavemen go ♪ 1572 01:07:14,265 --> 01:07:17,015 ♪ It's the freakiest show ♪ 1573 01:07:17,016 --> 01:07:19,514 - I'd heard that he wanted to do a musical since-- 1574 01:07:19,515 --> 01:07:22,181 Someone said the mid-'70s or something or other, 1575 01:07:22,182 --> 01:07:24,514 and I thought, "Oh, God, 1576 01:07:24,515 --> 01:07:26,098 "we're beginning something that feels 1577 01:07:26,099 --> 01:07:28,015 "very, very close to his heart 1578 01:07:28,016 --> 01:07:29,849 and his head and where he's at." 1579 01:07:36,932 --> 01:07:38,890 ♪ ♪ 1580 01:07:38,891 --> 01:07:40,681 - ♪ Ronda ♪ 1581 01:07:40,682 --> 01:07:42,723 I really had it in my mind 1582 01:07:42,724 --> 01:07:45,973 to do a musical of "1984." 1583 01:07:45,974 --> 01:07:48,723 It was a book that I'd loved all through my youth, 1584 01:07:48,724 --> 01:07:52,056 but of course, I didn't really take into account 1585 01:07:52,057 --> 01:07:53,848 the second Mrs. Orwell, 1586 01:07:53,849 --> 01:07:55,890 who, when she got wind of what we were doing, 1587 01:07:55,891 --> 01:07:57,514 absolutely put her foot down and said, 1588 01:07:57,515 --> 01:07:58,973 "Not having rock-and-roll people 1589 01:07:58,974 --> 01:08:01,098 "work on my late husband's 1590 01:08:01,099 --> 01:08:02,306 great piece of work." 1591 01:08:02,307 --> 01:08:03,890 And I thought, "Oh, 1592 01:08:03,891 --> 01:08:05,973 sorry, I'll do me own version then." 1593 01:08:05,974 --> 01:08:07,306 - That's a naught. 1594 01:08:07,307 --> 01:08:08,681 - 2015! 1595 01:08:08,682 --> 01:08:10,098 - This is the beginning of a film 1596 01:08:10,099 --> 01:08:11,431 called "Diamond Dogs," 1597 01:08:11,432 --> 01:08:13,056 and I've put naught in here 1598 01:08:13,057 --> 01:08:16,056 because I didn't know what year it's set in. 1599 01:08:16,057 --> 01:08:17,514 - Wanting to do something 1600 01:08:17,515 --> 01:08:19,973 like write a musical for "1984" 1601 01:08:19,974 --> 01:08:21,639 and then not being able to do it, 1602 01:08:21,640 --> 01:08:24,681 via the album "Diamond Dogs," 1603 01:08:24,682 --> 01:08:26,890 kind of gelled into this thing 1604 01:08:26,891 --> 01:08:29,098 that we later toured in America. 1605 01:08:32,265 --> 01:08:34,264 - David had the idea of 1606 01:08:34,265 --> 01:08:37,098 using dance and mime, 1607 01:08:37,099 --> 01:08:40,098 uh, with two vocalists, 1608 01:08:40,099 --> 01:08:43,723 myself being one... 1609 01:08:43,724 --> 01:08:45,347 - ♪ Jean Genie ♪ 1610 01:08:45,348 --> 01:08:47,015 - And Gui Andrisano, 1611 01:08:47,016 --> 01:08:49,264 who had been a child star. 1612 01:08:49,265 --> 01:08:56,390 ♪ ♪ 1613 01:09:02,765 --> 01:09:05,514 It kind of worked with the input that we had 1614 01:09:05,515 --> 01:09:07,598 from Toni Basil, 1615 01:09:07,599 --> 01:09:11,431 in terms of choreography. 1616 01:09:11,432 --> 01:09:14,973 - But when I met him the first day 1617 01:09:14,974 --> 01:09:17,306 in his hotel suite, 1618 01:09:17,307 --> 01:09:19,431 the set was there. 1619 01:09:19,432 --> 01:09:22,098 The set was already a little mock-up set. 1620 01:09:22,099 --> 01:09:25,764 - ♪ We feel that we are paper ♪ 1621 01:09:25,765 --> 01:09:28,764 ♪ Choking on you nightly ♪ 1622 01:09:28,765 --> 01:09:32,306 ♪ They tell me, son, we want you ♪ 1623 01:09:32,307 --> 01:09:35,806 ♪ Be elusive, but don't walk far ♪ 1624 01:09:35,807 --> 01:09:36,931 ♪ For we're ♪ 1625 01:09:36,932 --> 01:09:39,056 - He had the cityscape 1626 01:09:39,057 --> 01:09:40,598 and a set list. 1627 01:09:40,599 --> 01:09:43,015 So for me, 1628 01:09:43,016 --> 01:09:46,764 the set list was my thread 1629 01:09:46,765 --> 01:09:51,306 of what ideas I could come up with 1630 01:09:51,307 --> 01:09:54,181 in collaboration with him 1631 01:09:54,182 --> 01:09:57,431 to make this theatrical piece happen. 1632 01:09:57,432 --> 01:09:59,015 - ♪ But I love you ♪ 1633 01:09:59,016 --> 01:10:00,764 ♪ In your fuck-me pumps ♪ 1634 01:10:00,765 --> 01:10:03,806 ♪ And your nimble dress that trails ♪ 1635 01:10:03,807 --> 01:10:05,890 ♪ Oh dress yourself ♪ 1636 01:10:05,891 --> 01:10:08,472 - At that time, there was not 1637 01:10:08,473 --> 01:10:11,098 really a lot of rock stars 1638 01:10:11,099 --> 01:10:14,015 that focused on theatricality. 1639 01:10:14,016 --> 01:10:15,848 A lot of them thought it was corny, 1640 01:10:15,849 --> 01:10:18,098 or they were afraid to approach it. 1641 01:10:18,099 --> 01:10:22,098 So I knew he was a great performer, 1642 01:10:22,099 --> 01:10:23,931 extremely theatrical, 1643 01:10:23,932 --> 01:10:27,598 that would just always be outside the box, 1644 01:10:27,599 --> 01:10:29,806 always be walking on the edge. 1645 01:10:29,807 --> 01:10:36,891 ♪ ♪ 1646 01:10:37,640 --> 01:10:39,598 - ♪ In the year of the scavenger ♪ 1647 01:10:39,599 --> 01:10:41,431 ♪ The season of the bitch ♪ 1648 01:10:41,432 --> 01:10:43,556 ♪ Sashay on the boardwalk ♪ 1649 01:10:43,557 --> 01:10:45,306 ♪ Scurry to the ditch ♪ 1650 01:10:45,307 --> 01:10:47,389 ♪ Just another future song ♪ 1651 01:10:47,390 --> 01:10:49,056 ♪ Lonely little kitsch ♪ 1652 01:10:49,057 --> 01:10:51,514 - "Diamond Dogs" was probably the most difficult 1653 01:10:51,515 --> 01:10:53,723 one to choreograph, because 1654 01:10:53,724 --> 01:10:56,140 we were on long pieces of rope. 1655 01:10:56,141 --> 01:10:58,140 And the idea was to 1656 01:10:58,141 --> 01:10:59,598 tie him down 1657 01:10:59,599 --> 01:11:02,222 without fully disabling him 1658 01:11:02,223 --> 01:11:04,973 and, uh, tripping him up. 1659 01:11:04,974 --> 01:11:07,598 ♪ ♪ 1660 01:11:07,599 --> 01:11:10,264 - ♪ There you go whoo ♪ 1661 01:11:10,265 --> 01:11:12,598 ♪ Call them the diamond dogs ♪ 1662 01:11:12,599 --> 01:11:14,931 It was hideously pressurized for me. 1663 01:11:14,932 --> 01:11:16,931 I had these awful tensions and stresses 1664 01:11:16,932 --> 01:11:19,848 but the physicality of performing a show like that 1665 01:11:19,849 --> 01:11:22,556 was alarmingly strenuous. 1666 01:11:22,557 --> 01:11:24,431 ♪ Oh, honey ♪ 1667 01:11:24,432 --> 01:11:26,431 ♪ You're so bad ♪ 1668 01:11:26,432 --> 01:11:30,431 - "Diamond Dogs" is a series of vignettes 1669 01:11:30,432 --> 01:11:32,639 of what could happen 1670 01:11:32,640 --> 01:11:34,639 when society breaks down, 1671 01:11:34,640 --> 01:11:36,389 so it was more sketchy, 1672 01:11:36,390 --> 01:11:38,931 rather than a story from beginning to end. 1673 01:11:38,932 --> 01:11:42,806 ♪ ♪ 1674 01:11:42,807 --> 01:11:44,931 - I started getting into the idea of writing 1675 01:11:44,932 --> 01:11:47,514 a kind of a non-narrative 1676 01:11:47,515 --> 01:11:50,098 that just had situations within it 1677 01:11:50,099 --> 01:11:52,098 and the audience kind of joins up the dots 1678 01:11:52,099 --> 01:11:53,389 their own way, in the way 1679 01:11:53,390 --> 01:11:54,890 they want to make it. 1680 01:11:54,891 --> 01:11:58,222 They'd remake the material they're offered. 1681 01:11:58,223 --> 01:12:01,556 ♪ Just one day, I say ♪ 1682 01:12:01,557 --> 01:12:03,140 ♪ Oh, honey ♪ 1683 01:12:03,141 --> 01:12:06,140 ♪ You're so bad ♪ 1684 01:12:06,141 --> 01:12:08,973 ♪ Best I ever had ♪ 1685 01:12:08,974 --> 01:12:11,974 ♪ ♪ 1686 01:12:15,640 --> 01:12:18,598 - He brought me another song to work on. 1687 01:12:18,599 --> 01:12:20,639 And I said to him, "I would love to do this, 1688 01:12:20,640 --> 01:12:22,931 "but I just--I can't, David. 1689 01:12:22,932 --> 01:12:25,973 I'm recording an album with my own band." 1690 01:12:25,974 --> 01:12:30,723 ♪ ♪ 1691 01:12:30,724 --> 01:12:32,347 And then, I said to him, 1692 01:12:32,348 --> 01:12:33,973 "I think you should do a record 1693 01:12:33,974 --> 01:12:36,015 with Donny's group." 1694 01:12:36,016 --> 01:12:37,514 He said, "Really, you think so? 1695 01:12:37,515 --> 01:12:39,514 You think they'd want to do that?" 1696 01:12:39,515 --> 01:12:41,764 and I said, "You kidding me?" 1697 01:12:41,765 --> 01:12:44,514 and I said, "I think it would be amazing." 1698 01:12:44,515 --> 01:12:46,764 ♪ ♪ 1699 01:12:46,765 --> 01:12:48,848 - I got an email from him and-- 1700 01:12:48,849 --> 01:12:50,514 Basically saying that 1701 01:12:50,515 --> 01:12:53,806 he would really like to record different tunes with us. 1702 01:12:53,807 --> 01:12:55,347 There was a sentence that he said-- 1703 01:12:55,348 --> 01:12:56,848 Something like, you know, 1704 01:12:56,849 --> 01:12:58,514 "It would be my dream 1705 01:12:58,515 --> 01:13:00,347 "to record a few songs 1706 01:13:00,348 --> 01:13:01,848 with the Donny McCaslin group." 1707 01:13:01,849 --> 01:13:04,681 I think that that sentence 1708 01:13:04,682 --> 01:13:08,181 was kind of, like, wow. 1709 01:13:11,223 --> 01:13:16,140 ♪ ♪ 1710 01:13:16,141 --> 01:13:18,431 Whatever he was going through, health-wise, at the time, 1711 01:13:18,432 --> 01:13:20,931 one thing that was really inspiring 1712 01:13:20,932 --> 01:13:24,389 was how, from the first day, 1713 01:13:24,390 --> 01:13:26,264 the first note, he was just 1714 01:13:26,265 --> 01:13:28,306 totally in it. 1715 01:13:28,307 --> 01:13:29,931 - By the time I joined you guys, 1716 01:13:29,932 --> 01:13:31,181 I was not aware of anything, 1717 01:13:31,182 --> 01:13:32,431 and I was actually-- 1718 01:13:32,432 --> 01:13:34,514 Even being ignorant of all this, 1719 01:13:34,515 --> 01:13:37,264 I was struck by how healthy and energetic 1720 01:13:37,265 --> 01:13:38,890 and in great spirits he was. 1721 01:13:41,974 --> 01:13:45,973 ♪ ♪ 1722 01:13:45,974 --> 01:13:48,389 - So David had a lot of vocal ideas 1723 01:13:48,390 --> 01:13:49,890 that needed to be done. 1724 01:13:49,891 --> 01:13:52,098 We have him singing this. 1725 01:13:52,099 --> 01:13:55,764 - ♪ In the villa of Ormen ♪ 1726 01:13:55,765 --> 01:13:59,431 ♪ In the villa of Ormen ♪ 1727 01:13:59,432 --> 01:14:02,056 ♪ Stands a solitary candle ♪ 1728 01:14:02,057 --> 01:14:06,015 ♪ Ah, ah ♪ 1729 01:14:06,016 --> 01:14:09,514 ♪ Ah, ah ♪ 1730 01:14:09,515 --> 01:14:13,140 ♪ In the center of it all ♪ 1731 01:14:13,141 --> 01:14:18,098 ♪ In the center of it all ♪ 1732 01:14:18,099 --> 01:14:22,222 ♪ Your eyes ♪ 1733 01:14:22,223 --> 01:14:24,056 - Now, the reason it sounds so good 1734 01:14:24,057 --> 01:14:26,181 is that's just one David Bowie singing, 1735 01:14:26,182 --> 01:14:30,723 but with his voice put up a fifth interval. 1736 01:14:30,724 --> 01:14:33,389 - ♪ On the day of execution ♪ 1737 01:14:33,390 --> 01:14:34,723 ♪ ♪ 1738 01:14:34,724 --> 01:14:37,222 ♪ On the day of execution ♪ 1739 01:14:37,223 --> 01:14:38,431 ♪ ♪ 1740 01:14:38,432 --> 01:14:41,098 ♪ Only women kneel and smile ♪ 1741 01:14:41,099 --> 01:14:45,098 ♪ Ah, ah ♪ 1742 01:14:45,099 --> 01:14:48,222 ♪ Ah, ah ♪ 1743 01:14:48,223 --> 01:14:52,556 ♪ At the center of it all ♪ 1744 01:14:52,557 --> 01:14:56,306 ♪ At the center of it all ♪ 1745 01:14:56,307 --> 01:15:00,264 ♪ Your eyes ♪ 1746 01:15:00,265 --> 01:15:04,681 ♪ ♪ 1747 01:15:04,682 --> 01:15:06,973 ♪ Your eyes ♪ 1748 01:15:06,974 --> 01:15:09,598 - He asked me if I would be interested 1749 01:15:09,599 --> 01:15:12,098 in perhaps putting some images to this song, 1750 01:15:12,099 --> 01:15:14,681 and then began, you know, a couple of months of 1751 01:15:14,682 --> 01:15:17,015 a very interesting collaborative process. 1752 01:15:17,016 --> 01:15:20,639 He would send me drawings 1753 01:15:20,640 --> 01:15:22,389 that he would literally say, 1754 01:15:22,390 --> 01:15:24,389 "Do what you want with these drawings," 1755 01:15:24,390 --> 01:15:26,098 you know? 1756 01:15:26,099 --> 01:15:28,681 He would have this character that he drew 1757 01:15:28,682 --> 01:15:31,015 with the man with sort of gauze, 1758 01:15:31,016 --> 01:15:32,764 you know, across his face, 1759 01:15:32,765 --> 01:15:35,472 with two buttons for eyes, 1760 01:15:35,473 --> 01:15:37,764 and we named him "Button-Eyes." 1761 01:15:37,765 --> 01:15:41,890 ♪ ♪ 1762 01:15:41,891 --> 01:15:45,598 And he also sent me an image of a spaceman 1763 01:15:45,599 --> 01:15:47,514 with a skeleton inside. 1764 01:15:47,515 --> 01:15:53,472 - ♪ Ah-ah-ah ♪ 1765 01:15:53,473 --> 01:15:56,890 - To me, it was 100% Major Tom, you know? 1766 01:15:56,891 --> 01:15:58,848 A character that he had, you know, 1767 01:15:58,849 --> 01:16:02,306 revisited and used over his career. 1768 01:16:02,307 --> 01:16:03,890 - Major Tom, for him, 1769 01:16:03,891 --> 01:16:06,514 was like some sort of talisman or something. 1770 01:16:06,515 --> 01:16:08,723 He was really along for the ride with David, 1771 01:16:08,724 --> 01:16:11,015 and the idea of space, 1772 01:16:11,016 --> 01:16:13,015 I think, represented-- 1773 01:16:13,016 --> 01:16:15,264 Maybe it represented freedom. 1774 01:16:18,182 --> 01:16:20,890 - Major Tom still means a lot to me. 1775 01:16:20,891 --> 01:16:22,973 It was the first time I'd been able 1776 01:16:22,974 --> 01:16:24,264 to create a character 1777 01:16:24,265 --> 01:16:26,222 that, uh, was very credible, 1778 01:16:26,223 --> 01:16:28,890 and I think for any writer, that's a high point. 1779 01:16:28,891 --> 01:16:30,598 He preceded all the others, 1780 01:16:30,599 --> 01:16:32,556 and I suppose one has his special place for him. 1781 01:16:32,557 --> 01:16:33,848 I do. 1782 01:16:33,849 --> 01:16:37,140 ♪ Ground control to Major Tom ♪ 1783 01:16:37,141 --> 01:16:41,264 ♪ ♪ 1784 01:16:41,265 --> 01:16:44,764 ♪ Ground control to Major Tom ♪ 1785 01:16:44,765 --> 01:16:48,181 ♪ ♪ 1786 01:16:48,182 --> 01:16:51,264 ♪ Take your protein pills ♪ 1787 01:16:51,265 --> 01:16:55,973 ♪ And put your helmet on ♪ 1788 01:16:55,974 --> 01:16:57,306 - What is it with spaceships? 1789 01:16:57,307 --> 01:16:58,764 - Well, it's--it's 1790 01:16:58,765 --> 01:16:59,931 an interior dialogue 1791 01:16:59,932 --> 01:17:01,764 that you manifest physically. 1792 01:17:04,599 --> 01:17:08,015 It's my little inner space, isn't it? 1793 01:17:08,016 --> 01:17:09,514 Writ large. 1794 01:17:09,515 --> 01:17:11,556 I wouldn't dream of getting on a spaceship. 1795 01:17:11,557 --> 01:17:13,181 It would scare the shit out of me. 1796 01:17:14,974 --> 01:17:17,639 I have absolutely no interest or ambition 1797 01:17:17,640 --> 01:17:19,347 to go into space whatsoever. 1798 01:17:19,348 --> 01:17:21,890 I'm scared, going down the end of the garden. 1799 01:17:23,265 --> 01:17:28,264 ♪ Though I'm past 100,000 miles ♪ 1800 01:17:28,265 --> 01:17:32,931 ♪ I'm feeling very still ♪ 1801 01:17:32,932 --> 01:17:36,681 ♪ And I think my spaceship knows ♪ 1802 01:17:36,682 --> 01:17:39,140 ♪ Which way to go ♪ 1803 01:17:39,141 --> 01:17:40,556 ♪ ♪ 1804 01:17:40,557 --> 01:17:44,639 ♪ Tell my wife I love her very much ♪ 1805 01:17:44,640 --> 01:17:46,639 ♪ She knows ♪ 1806 01:17:46,640 --> 01:17:48,723 ♪ ♪ 1807 01:17:48,724 --> 01:17:51,806 ♪ Ground control to Major Tom ♪ 1808 01:17:51,807 --> 01:17:53,931 ♪ Your circuit's dead ♪ 1809 01:17:53,932 --> 01:17:55,806 ♪ There's something wrong ♪ 1810 01:17:55,807 --> 01:17:58,140 ♪ Can you hear me, Major Tom? ♪ 1811 01:17:58,141 --> 01:18:02,514 ♪ Can you hear me, Major Tom? ♪ 1812 01:18:02,515 --> 01:18:06,389 ♪ Can you hear me, Major Tom? ♪ 1813 01:18:06,390 --> 01:18:09,056 - Major Tom was a really great device 1814 01:18:09,057 --> 01:18:11,639 to keep returning to. 1815 01:18:11,640 --> 01:18:13,098 Maybe there was some little, 1816 01:18:13,099 --> 01:18:14,681 you know, obviously a bit of, maybe, 1817 01:18:14,682 --> 01:18:16,306 sentimental attachment to it, 1818 01:18:16,307 --> 01:18:18,015 because it represented a lot 1819 01:18:18,016 --> 01:18:20,181 in terms of how he became known to us 1820 01:18:20,182 --> 01:18:21,806 and became famous. 1821 01:18:21,807 --> 01:18:25,347 - ♪ The shrieking of nothing is killing ♪ 1822 01:18:25,348 --> 01:18:29,431 ♪ Just pictures of Jap girls in synthesis ♪ 1823 01:18:29,432 --> 01:18:31,764 ♪ And I ain't got no money ♪ 1824 01:18:31,765 --> 01:18:34,598 ♪ And I ain't got no hair ♪ 1825 01:18:35,682 --> 01:18:38,015 Something please the air. 1826 01:18:38,016 --> 01:18:40,347 - ♪ But I'm hoping to kick ♪ 1827 01:18:40,348 --> 01:18:46,015 ♪ But the planet is glowing ♪ 1828 01:18:46,016 --> 01:18:50,472 ♪ Ashes to ashes and funk to funky ♪ 1829 01:18:50,473 --> 01:18:54,598 ♪ We know Major Tom's a junkie ♪ 1830 01:18:54,599 --> 01:18:57,890 ♪ Strung out in heaven's high ♪ 1831 01:18:57,891 --> 01:19:01,723 ♪ Hitting an all-time low ♪ 1832 01:19:03,891 --> 01:19:06,973 - He just would take these bits of the past 1833 01:19:06,974 --> 01:19:09,556 and fashion the future out of them, 1834 01:19:09,557 --> 01:19:13,056 and Major Tom was a big part of that. 1835 01:19:13,057 --> 01:19:14,890 ♪ ♪ 1836 01:19:14,891 --> 01:19:16,181 And he's been looking for home 1837 01:19:16,182 --> 01:19:17,389 for, you know, how long? 1838 01:19:17,390 --> 01:19:18,931 50 years or something. 1839 01:19:18,932 --> 01:19:20,140 You know, a long time, 1840 01:19:20,141 --> 01:19:21,973 Major Tom's been trying to 1841 01:19:21,974 --> 01:19:25,056 find peace and rest, and he found it in "Blackstar." 1842 01:19:25,057 --> 01:19:27,890 Major Tom is home, finally. 1843 01:19:32,599 --> 01:19:35,140 - "Blackstar," you know-- It's really wildly open 1844 01:19:35,141 --> 01:19:36,639 to interpretation. 1845 01:19:36,640 --> 01:19:38,723 And, uh, I think he enjoyed this very much, 1846 01:19:38,724 --> 01:19:40,181 like any artist. 1847 01:19:40,182 --> 01:19:42,389 Any great artist wants you to stand back 1848 01:19:42,390 --> 01:19:44,264 and look at the work 1849 01:19:44,265 --> 01:19:45,598 and analyze it, 1850 01:19:45,599 --> 01:19:47,890 and--and feel things from it, 1851 01:19:47,891 --> 01:19:50,848 and you might not feel the same things. 1852 01:19:50,849 --> 01:19:52,264 The idea of art 1853 01:19:52,265 --> 01:19:54,931 is to stimulate your own imagination. 1854 01:19:54,932 --> 01:19:56,181 ♪ ♪ 1855 01:19:56,182 --> 01:20:00,598 - ♪ Ooh-ooh-ooh ♪ 1856 01:20:00,599 --> 01:20:02,264 - You know, after a week or two 1857 01:20:02,265 --> 01:20:04,598 of us, uh, having these chats 1858 01:20:04,599 --> 01:20:08,222 about Button-Eyes and the spaceman, 1859 01:20:08,223 --> 01:20:09,931 I get a text message from him, said, uh, 1860 01:20:09,932 --> 01:20:11,931 "I need to Skype with you. Can you Skype?" 1861 01:20:11,932 --> 01:20:13,848 And he's saying, "There's something I have to tell you," 1862 01:20:13,849 --> 01:20:16,140 um, and I said, "Sure." 1863 01:20:16,141 --> 01:20:17,723 And then he says, 1864 01:20:17,724 --> 01:20:19,514 "I have to tell you that I'm very ill 1865 01:20:19,515 --> 01:20:21,098 and that I'm probably gonna die." 1866 01:20:21,099 --> 01:20:22,973 You know? You know, 1867 01:20:22,974 --> 01:20:24,472 utterly out of the blue. 1868 01:20:24,473 --> 01:20:25,723 You know, just like that. 1869 01:20:32,390 --> 01:20:34,264 - Let this be only coming from me, 1870 01:20:34,265 --> 01:20:36,890 but I think part of the way I reacted 1871 01:20:36,891 --> 01:20:38,639 also was I felt 1872 01:20:38,640 --> 01:20:40,514 that when he was saying that, 1873 01:20:40,515 --> 01:20:42,389 I thought for a brief second 1874 01:20:42,390 --> 01:20:44,306 that he looked scared, actually. 1875 01:20:44,307 --> 01:20:47,306 ♪ ♪ 1876 01:20:47,307 --> 01:20:49,806 And then, a second later, he would joke about it. 1877 01:20:49,807 --> 01:20:52,806 You know. 1878 01:20:52,807 --> 01:20:54,514 Over the next six or eight months, 1879 01:20:54,515 --> 01:20:57,181 the disease or illness was never mentioned, 1880 01:20:57,182 --> 01:21:00,306 and he was in no way, in my mind, 1881 01:21:00,307 --> 01:21:02,764 you know, affected by his illness. 1882 01:21:02,765 --> 01:21:07,347 - ♪ Something happened on the day he died ♪ 1883 01:21:07,348 --> 01:21:12,723 ♪ Spirit rose a meter and stepped aside ♪ 1884 01:21:12,724 --> 01:21:15,890 ♪ Somebody else took his place ♪ 1885 01:21:15,891 --> 01:21:17,681 ♪ And bravely cried ♪ 1886 01:21:17,682 --> 01:21:20,514 ♪ I'm a blackstar ♪ 1887 01:21:20,515 --> 01:21:23,931 ♪ I'm a blackstar ♪ 1888 01:21:23,932 --> 01:21:26,222 - This is, uh, a tradition 1889 01:21:26,223 --> 01:21:27,514 that David and I always had. 1890 01:21:27,515 --> 01:21:29,723 Like, how can we mangle the voice? 1891 01:21:29,724 --> 01:21:32,264 Eh, you know, how can we change it 1892 01:21:32,265 --> 01:21:35,347 and make one person sound like many people 1893 01:21:35,348 --> 01:21:37,389 and in many different contexts 1894 01:21:37,390 --> 01:21:39,306 and in many different spatial areas? 1895 01:21:39,307 --> 01:21:41,973 - ♪ I'm a blackstar ♪ 1896 01:21:41,974 --> 01:21:43,514 ♪ Way up, oh, honey ♪ 1897 01:21:43,515 --> 01:21:44,848 ♪ I've got game ♪ 1898 01:21:44,849 --> 01:21:46,890 ♪ I see right so white ♪ 1899 01:21:46,891 --> 01:21:49,556 ♪ So open-hearted pain ♪ 1900 01:21:49,557 --> 01:21:52,222 ♪ I want eagles in my daydreams ♪ 1901 01:21:52,223 --> 01:21:54,389 ♪ Diamonds in my eyes ♪ 1902 01:21:54,390 --> 01:21:56,389 ♪ I'm a blackstar ♪ 1903 01:21:56,390 --> 01:21:59,181 ♪ I'm a blackstar ♪ 1904 01:21:59,182 --> 01:22:03,015 - David is like some, like, bizarre skeletal choir 1905 01:22:03,016 --> 01:22:05,389 doing "I'm a blackstar, I'm a blackstar." 1906 01:22:05,390 --> 01:22:07,264 It's this weird thing. It's-- 1907 01:22:07,265 --> 01:22:09,639 It makes this whole section very supernatural. 1908 01:22:09,640 --> 01:22:12,681 - ♪ Somebody else took his place ♪ 1909 01:22:12,682 --> 01:22:14,514 ♪ And bravely cried ♪ 1910 01:22:14,515 --> 01:22:16,931 ♪ I'm a blackstar ♪ 1911 01:22:16,932 --> 01:22:19,347 ♪ I'm a starstar ♪ 1912 01:22:19,348 --> 01:22:22,098 ♪ I'm a blackstar ♪ 1913 01:22:22,099 --> 01:22:23,764 ♪ I'm a blackstar ♪ 1914 01:22:23,765 --> 01:22:26,264 - I imagine it must have been cathartic for him. 1915 01:22:26,265 --> 01:22:31,264 He was working tirelessly, both on "Blackstar" 1916 01:22:31,265 --> 01:22:32,806 and on "Lazarus" 1917 01:22:32,807 --> 01:22:34,556 at the same time. 1918 01:22:34,557 --> 01:22:39,264 Um, perhaps the catharsis 1919 01:22:39,265 --> 01:22:41,098 surrounding "Lazarus" was unique 1920 01:22:41,099 --> 01:22:43,723 in as much as its execution 1921 01:22:43,724 --> 01:22:47,140 required him to relinquish control 1922 01:22:47,141 --> 01:22:48,764 and allow so many other people 1923 01:22:48,765 --> 01:22:52,556 to take it and make it happen. 1924 01:22:52,557 --> 01:22:55,181 - Countryside disappears beneath our feet. 1925 01:22:55,182 --> 01:22:56,848 - You know, I mean, I must say, you know, 1926 01:22:56,849 --> 01:22:58,347 there were times when David and me 1927 01:22:58,348 --> 01:22:59,931 would be reading scenes together. 1928 01:22:59,932 --> 01:23:02,472 You could feel him more in there. 1929 01:23:04,974 --> 01:23:06,598 - This isn't happening. 1930 01:23:06,599 --> 01:23:08,514 I'm still inside my head. 1931 01:23:08,515 --> 01:23:10,472 - You know, you forget-- You forget that 1932 01:23:10,473 --> 01:23:11,848 actually, he's--he's-- 1933 01:23:11,849 --> 01:23:13,931 Of course, we forgot that he was dying. 1934 01:23:13,932 --> 01:23:16,140 - I'm done with this life! 1935 01:23:16,141 --> 01:23:18,140 - The cast, of course, never knew. 1936 01:23:18,141 --> 01:23:20,098 Only me, uh, Ivo, and Robert. 1937 01:23:20,099 --> 01:23:22,140 - And so a new universe. 1938 01:23:22,141 --> 01:23:25,264 I'll dream big up there. 1939 01:23:25,265 --> 01:23:27,140 ♪ ♪ 1940 01:23:27,141 --> 01:23:31,306 And although always stuck inside my breaking mind, 1941 01:23:31,307 --> 01:23:32,973 ♪ ♪ 1942 01:23:32,974 --> 01:23:35,931 I've stepped off the Earth and into a better place. 1943 01:23:35,932 --> 01:23:39,598 - David didn't want "Heroes" in "Lazarus," 1944 01:23:39,599 --> 01:23:41,931 because "Heroes" had become 1945 01:23:41,932 --> 01:23:43,806 like an anthem. 1946 01:23:43,807 --> 01:23:45,472 He wanted a song 1947 01:23:45,473 --> 01:23:47,015 that would have sent everyone out, 1948 01:23:47,016 --> 01:23:48,264 slitting their wrists. 1949 01:23:48,265 --> 01:23:50,598 ♪ ♪ 1950 01:23:50,599 --> 01:23:52,514 Ivo and Enda 1951 01:23:52,515 --> 01:23:55,389 persuaded him that if "Heroes" 1952 01:23:55,390 --> 01:23:57,598 was treated, musically, 1953 01:23:57,599 --> 01:23:59,556 in a different way, 1954 01:23:59,557 --> 01:24:01,056 it would work 1955 01:24:01,057 --> 01:24:03,598 for the ending of "Lazarus." 1956 01:24:03,599 --> 01:24:07,264 ♪ ♪ 1957 01:24:07,265 --> 01:24:11,056 - ♪ I ♪ 1958 01:24:11,057 --> 01:24:12,931 ♪ I will be king ♪ 1959 01:24:12,932 --> 01:24:17,056 ♪ ♪ 1960 01:24:17,057 --> 01:24:20,639 ♪ And you ♪ 1961 01:24:20,640 --> 01:24:24,015 ♪ You will be queen ♪ 1962 01:24:24,016 --> 01:24:26,723 - It's a reflective-- It's a beautiful moment. 1963 01:24:26,724 --> 01:24:29,973 "Heroes" is melancholy instead of triumphant. 1964 01:24:29,974 --> 01:24:32,639 ♪ ♪ 1965 01:24:32,640 --> 01:24:34,931 - Through his relationship with this girl, 1966 01:24:34,932 --> 01:24:37,306 and her re-awakening him 1967 01:24:37,307 --> 01:24:39,389 to his vitality, 1968 01:24:39,390 --> 01:24:42,389 Newton is brought back to life, 1969 01:24:42,390 --> 01:24:46,306 that he may ready himself to die, 1970 01:24:46,307 --> 01:24:48,056 perhaps. 1971 01:24:48,057 --> 01:24:49,890 Or not. 1972 01:24:49,891 --> 01:24:54,890 ♪ But we could be safer ♪ 1973 01:24:54,891 --> 01:24:59,181 ♪ Just for one day ♪ 1974 01:24:59,182 --> 01:25:01,723 - In this catharsis moment at the end with the "Heroes," 1975 01:25:01,724 --> 01:25:04,431 you know, when things clear up, 1976 01:25:04,432 --> 01:25:06,140 he cuts loose everything which 1977 01:25:06,141 --> 01:25:08,639 what in a normal life of a normal human being 1978 01:25:08,640 --> 01:25:09,764 is important. 1979 01:25:09,765 --> 01:25:11,306 ♪ We can be heroes ♪ 1980 01:25:11,307 --> 01:25:12,639 - And then he has to let go 1981 01:25:12,640 --> 01:25:14,514 every hope, 1982 01:25:14,515 --> 01:25:17,098 just accepting, 1983 01:25:17,099 --> 01:25:19,764 well, his own death, at the end. 1984 01:25:19,765 --> 01:25:23,931 ♪ We can be heroes ♪ 1985 01:25:23,932 --> 01:25:29,222 ♪ ♪ 1986 01:25:29,223 --> 01:25:32,598 ♪ We can be heroes ♪ 1987 01:25:32,599 --> 01:25:34,181 - So the last thing that you see is 1988 01:25:34,182 --> 01:25:37,306 Michael C. Hall is still on stage, alive, 1989 01:25:37,307 --> 01:25:39,890 but in his mind, he's 1990 01:25:39,891 --> 01:25:42,639 flying away into the stars. 1991 01:25:42,640 --> 01:25:44,890 That's the last image. 1992 01:25:44,891 --> 01:25:49,556 - ♪ Just for one day ♪ 1993 01:25:49,557 --> 01:25:56,141 ♪ ♪ 1994 01:26:05,182 --> 01:26:06,931 - I didn't expect David to be there 1995 01:26:06,932 --> 01:26:08,472 at our opening night. 1996 01:26:08,473 --> 01:26:10,140 We had heard that he was getting weak, 1997 01:26:10,141 --> 01:26:13,639 but he so wanted to be there, and, uh, 1998 01:26:13,640 --> 01:26:15,264 and he turned up, and he watched it, 1999 01:26:15,265 --> 01:26:16,848 and then afterwards, and he took the bows with us. 2000 01:26:16,849 --> 01:26:19,764 It was very, very sweet. 2001 01:26:19,765 --> 01:26:21,222 - You know, he got through the night, 2002 01:26:21,223 --> 01:26:23,556 but I really am convinced that 2003 01:26:23,557 --> 01:26:25,806 he was fighting death 2004 01:26:25,807 --> 01:26:29,514 and he wanted to continue and to continue 2005 01:26:29,515 --> 01:26:31,973 and then afterwards, we were sitting a little bit, 2006 01:26:31,974 --> 01:26:33,806 talking behind stage, 2007 01:26:33,807 --> 01:26:36,347 and he said, "Let's start the second one now, 2008 01:26:36,348 --> 01:26:37,764 the sequel"... 2009 01:26:37,765 --> 01:26:39,015 "To 'Lazarus.'" 2010 01:26:40,849 --> 01:26:43,764 - The last thing I remember David saying to me 2011 01:26:43,765 --> 01:26:46,431 after, you know, the hugs and the smiles 2012 01:26:46,432 --> 01:26:48,306 and after, uh, 2013 01:26:48,307 --> 01:26:49,848 after that opening night performance, 2014 01:26:49,849 --> 01:26:52,848 was "I think it went well tonight, don't you?" 2015 01:26:52,849 --> 01:26:54,264 That's the last thing 2016 01:26:54,265 --> 01:26:56,140 I remember him saying, and I said, "Yeah, 2017 01:26:56,141 --> 01:26:57,347 I think it did." 2018 01:26:57,348 --> 01:27:03,890 ♪ ♪ 2019 01:27:03,891 --> 01:27:06,347 - After the musical opened, 2020 01:27:06,348 --> 01:27:07,848 I got a call saying 2021 01:27:07,849 --> 01:27:10,056 "David would love to see you," 2022 01:27:10,057 --> 01:27:12,556 and so I went over to see him, 2023 01:27:12,557 --> 01:27:14,556 and he was in his bedroom, 2024 01:27:14,557 --> 01:27:16,556 and we chatted. 2025 01:27:16,557 --> 01:27:19,264 It was all very lovely. 2026 01:27:19,265 --> 01:27:20,890 Peaceful. 2027 01:27:20,891 --> 01:27:25,556 And so then we walked to the elevator 2028 01:27:25,557 --> 01:27:29,347 and he said, "You're a genius," 2029 01:27:29,348 --> 01:27:31,764 to me, and I said, "No, no, no. 2030 01:27:31,765 --> 01:27:33,389 "I'm not a genius. 2031 01:27:33,390 --> 01:27:34,890 "I'm just the producer. 2032 01:27:34,891 --> 01:27:37,264 You're the fucking genius." 2033 01:27:37,265 --> 01:27:39,472 And, um, 2034 01:27:39,473 --> 01:27:41,056 we had a hug, 2035 01:27:41,057 --> 01:27:42,514 I got in the elevator. 2036 01:27:42,515 --> 01:27:43,681 That was it. 2037 01:27:43,682 --> 01:27:45,265 Last time I saw him. 2038 01:27:52,640 --> 01:27:59,765 ♪ ♪ 2039 01:28:10,223 --> 01:28:12,264 - David said, "I just want to make 2040 01:28:12,265 --> 01:28:14,264 a simple performance video," 2041 01:28:14,265 --> 01:28:17,389 I immediately said, 2042 01:28:17,390 --> 01:28:19,848 "The song is called 'Lazarus.' You should be in a bed." 2043 01:28:19,849 --> 01:28:21,931 ♪ ♪ 2044 01:28:21,932 --> 01:28:23,431 To me, that had to do with 2045 01:28:23,432 --> 01:28:25,264 the Biblical aspect of it, you know? 2046 01:28:25,265 --> 01:28:27,347 The man who would rise again. 2047 01:28:27,348 --> 01:28:30,140 And it had nothing to do with him being ill. 2048 01:28:30,141 --> 01:28:33,222 That was only because I liked the imagery of it. 2049 01:28:33,223 --> 01:28:34,806 You know. 2050 01:28:34,807 --> 01:28:35,848 ♪ ♪ 2051 01:28:35,849 --> 01:28:37,306 I found out later 2052 01:28:37,307 --> 01:28:39,472 that the week we were shooting 2053 01:28:39,473 --> 01:28:40,806 is when he found out 2054 01:28:40,807 --> 01:28:42,973 that this is--it's over, you know? 2055 01:28:42,974 --> 01:28:44,431 We'll end treatments, or, you know, 2056 01:28:44,432 --> 01:28:47,931 in whatever capacity that means that-- 2057 01:28:47,932 --> 01:28:49,389 That his illness has won. 2058 01:28:49,390 --> 01:28:52,140 ♪ ♪ 2059 01:28:52,141 --> 01:28:54,389 - ♪ Look up here ♪ 2060 01:28:54,390 --> 01:28:56,307 ♪ I'm in heaven ♪ 2061 01:29:00,057 --> 01:29:02,264 ♪ I've got scars ♪ 2062 01:29:02,265 --> 01:29:04,432 ♪ That can't be seen ♪ 2063 01:29:07,473 --> 01:29:09,598 ♪ I've got drama ♪ 2064 01:29:09,599 --> 01:29:11,640 ♪ Can't be stolen ♪ 2065 01:29:15,182 --> 01:29:17,389 ♪ Everybody ♪ 2066 01:29:17,390 --> 01:29:19,181 ♪ Knows me now ♪ 2067 01:29:19,182 --> 01:29:22,347 ♪ ♪ 2068 01:29:22,348 --> 01:29:24,347 - I've watched him record, 2069 01:29:24,348 --> 01:29:26,015 and he's in that song, 2070 01:29:26,016 --> 01:29:27,556 in that feeling, in that moment. 2071 01:29:27,557 --> 01:29:29,181 He would stand in front of the mic, 2072 01:29:29,182 --> 01:29:31,723 and for the four or five minutes he was singing, 2073 01:29:31,724 --> 01:29:34,681 he would pour his heart out. 2074 01:29:34,682 --> 01:29:36,514 The audio picked up his breathing 2075 01:29:36,515 --> 01:29:38,431 between those lines. 2076 01:29:38,432 --> 01:29:40,848 - ♪ Look up here, man ♪ 2077 01:29:40,849 --> 01:29:42,764 ♪ I'm in danger ♪ 2078 01:29:46,348 --> 01:29:50,182 ♪ I've got nothing left to lose ♪ 2079 01:29:53,099 --> 01:29:58,182 ♪ I'm so high, it makes my brain whirl ♪ 2080 01:30:01,390 --> 01:30:06,514 ♪ Dropped my cell phone down below ♪ 2081 01:30:09,016 --> 01:30:10,639 - It wasn't that he was out of breath. 2082 01:30:10,640 --> 01:30:13,098 He was, like, hyperventilating in a way. 2083 01:30:13,099 --> 01:30:16,264 Like, getting-- Getting his energy up 2084 01:30:16,265 --> 01:30:18,556 to sing this, to deliver this song. 2085 01:30:18,557 --> 01:30:20,681 - ♪ I'll be free ♪ 2086 01:30:20,682 --> 01:30:22,556 - He was quite stoked. 2087 01:30:22,557 --> 01:30:24,431 Like I--like I like to say, in the zone, 2088 01:30:24,432 --> 01:30:26,598 and I could see him through the window 2089 01:30:26,599 --> 01:30:29,264 that he was, you know, really feeling it 2090 01:30:29,265 --> 01:30:33,514 ♪ ♪ 2091 01:30:33,515 --> 01:30:37,222 - ♪ Oh, I'll be free ♪ 2092 01:30:41,182 --> 01:30:46,765 ♪ Ain't that just like me? ♪ 2093 01:30:49,265 --> 01:30:51,556 - A man on top of his game. 2094 01:30:51,557 --> 01:30:53,347 It's brilliant, absolutely brilliant, 2095 01:30:53,348 --> 01:30:55,431 and the saddest lyrics to hear-- 2096 01:30:55,432 --> 01:30:56,891 Hear them now. 2097 01:31:18,974 --> 01:31:21,306 It's nine minutes past 7:00. 2098 01:31:21,307 --> 01:31:23,556 Well, the shock news has only just been 2099 01:31:23,557 --> 01:31:25,306 officially confirmed. 2100 01:31:25,307 --> 01:31:26,973 David Bowie is dead. 2101 01:31:26,974 --> 01:31:29,264 - David Bowie, rock and roll rebel, 2102 01:31:29,265 --> 01:31:31,140 actor, and cultural icon, 2103 01:31:31,141 --> 01:31:32,973 has died at age 69. 2104 01:31:32,974 --> 01:31:37,639 - We lost David Bowie, uh, this morning... 2105 01:31:37,640 --> 01:31:39,931 um, and it's a big deal. 2106 01:31:41,141 --> 01:31:42,556 - ...have the news crews 2107 01:31:42,557 --> 01:31:44,556 and fans from all around the world 2108 01:31:44,557 --> 01:31:46,389 leaving full tribute... - ...In downtown Manhattan, 2109 01:31:46,390 --> 01:31:48,264 and you can see behind me... - He is David Bowie. 2110 01:31:48,265 --> 01:31:50,056 - ...Like his life, has shocked 2111 01:31:50,057 --> 01:31:52,140 fans laying flowers from his... 2112 01:31:52,141 --> 01:31:54,222 - Even the Archbishop of Canterbury 2113 01:31:54,223 --> 01:31:56,431 was a fan. 2114 01:31:56,432 --> 01:31:57,806 - ♪ Heaven loves ya ♪ 2115 01:31:59,932 --> 01:32:03,472 ♪ The clouds part for ya ♪ 2116 01:32:03,473 --> 01:32:06,347 ♪ Nothing stands in your way ♪ 2117 01:32:06,348 --> 01:32:08,181 ♪ When you're a boy ♪ 2118 01:32:11,182 --> 01:32:13,056 ♪ ♪ 2119 01:32:13,057 --> 01:32:15,764 ♪ Clothes always fit ya ♪ 2120 01:32:15,765 --> 01:32:18,681 ♪ Life is a pop of the cherry ♪ 2121 01:32:18,682 --> 01:32:20,806 ♪ When you're a boy ♪ 2122 01:32:20,807 --> 01:32:23,431 It's been a incredibly full life, 2123 01:32:23,432 --> 01:32:26,098 and, uh, apart from the drugs in the '70s, 2124 01:32:26,099 --> 01:32:27,848 I think little of it has been wasted 2125 01:32:27,849 --> 01:32:29,514 in terms of I've been able to 2126 01:32:29,515 --> 01:32:31,764 sort of harness every moment in a way. 2127 01:32:31,765 --> 01:32:34,015 I'm--I'm a really lucky chap. 2128 01:32:34,016 --> 01:32:35,556 ♪ Favorite things ♪ 2129 01:32:35,557 --> 01:32:38,431 - And legacy. What-- How would you like 2130 01:32:38,432 --> 01:32:40,306 your legacy written? 2131 01:32:40,307 --> 01:32:41,723 - I'd love people to believe 2132 01:32:41,724 --> 01:32:43,556 that I really had great haircuts. 2133 01:32:44,558 --> 01:32:45,723 ♪ Boys ♪ 2134 01:32:45,724 --> 01:32:48,389 ♪ ♪ 2135 01:32:48,390 --> 01:32:50,264 ♪ Boys keep swinging ♪ 2136 01:32:50,265 --> 01:32:53,348 ♪ Boys always work it out ♪