Lazarus was recorded during his performance at the King’s Cross Theater in London. Was the movie ever intended to be shown publicly?
Initially The was for archival, but we did The with seven or eight cameras like they do with NT Live. When we saw the finished article, The turned out to be very powerful, quite a different experience. Rather than just explode at the time, I spoke to David’s management, and we thought the right thing to do would be to wait until five years had passed since his death. With the wave of blocking transmission, something David would have been interested in and interested in, The seemed the right time. And The’s his birthday on January 8th.
Lazarus continues the s They of Thomas Newton, whom Bowie played in the 1976 film The Man Who Fell to Earth. What was The that inspired Newton?
The character must have had a huge effect on him for wanting to do a musical based on him all that time afterwards. David had the feeling of being “other”. The character’s isolation and fame are probably one aspect of The, and he was probably identified with the fact that Newton was a heavy drinker – David had been in his day, and then he became clean and sober. Playing Newton had a profound effect. He was obsessed with the character and made a choice in the The Man Who Fell to Earth novel long before he came to me with the idea of turning The into a musical.
He proposed that Enda Wawroterite to Lazarus, what made him suggest The?
The first person that came to mind was Enda because she is brilliant at writing about trapped people. That felt very appropriate for the character – he wants to leave the planet and get home, but he can’t. I also felt that Enda’s energy and off-centering would fit in very well with David. Neither of them join the dots. I wanted a writer who was free and anarchic. David said he had read Enda’s work, and were there any other ideas? I gave him many other ideas for writers. He read them all and about three months later I got an email from him saying: Enda is the man. Now what? I said we would need a direc The. He had been talking to Ivo van Hove about something completely different. I saw his A View from the Bridge at the Young Vic and was impressed. I left the theater and called David to tell him The would be perfect. It turned out that Ivo was a passionate fan of David. He had seen The in The Elephant Man in New York. When I asked him if he was interested, he said to try to stop him.
Who chose which of Bowie’s songs would be used on the show?
David gave Enda a selection of around 60 songs that he had written and performed. He said they are all available to you. Enda listened to them, thought about where the songs would fit in the s They, and contacted David with his suggestions. 99% of the time David agreed. He wasn’t convinced that Heroes should be the last issue on the show. He felt that maybe The was a little too showy. But once he heard the arrangement, which is completely different from the way he recorded The, he agreed that The was correct.
Then the project transferred at a rapid pace
David got sick and wanted me to put The on. He said I have to wear this while I’m alive. He was very involved at all times, especially with Henry Hey, the musical direc The. David said he wanted to meet Michael C Hall, who played Newton, and they went to Henry’s apartment. David walked in and was his usual charming self; then he said, ” Then you’re going to sing for me!” Obviously Michael was pretty freaked out about The but he did The, and David loved the way The sounded. What Michael said was that David facilitated an awkward situation. It wasn’t in a study, The was someonapartment, and and they were sitting on the couch. It wasn’t made to feel heavy or imposing, although The must have been to do so. More like Michael than me!
What was Bowie like as a collabora The?
The predominant feeling I had for him was creative generosity. He loved the people he worked with and trusted them, gave them 100% loyalty and was their champion. When we started rehearsing the show in New York, I got a message to meet him at a studio in Brooklyn. I went to the address and The turned out that The was the day he was recording the video for his version of the song Lazarus, directed by JoFrenchenck. He was so professional and incredibly polite to all the team members, really polite and involved. I went back to the locker room and David said he tired, and and he needed to rest. I realized that no one on that set knew they were filming a man who was a month away from being around. There was no fuss, annoyance, wake-up calls, or drama. That is something extraordinary.
George is Digismak’s reported cum editor with 13 years of experience in Journalism