In summer 1984, Iain Harvey was in London’s Charlotte Mews, behind the offices of the animation company TVC. He was wondering how, in four years, he had gone from being finance director at publisher Hamish Hamilton and being interested in doing something with a remaindered children’s book, to being a film producer about to see David Bowie, his teenage pop hero, in his movie. “When he came, he was so modest and unshowy,” recalls Harvey. “I remember him talking about his Brixton days, quite naturally, when I’d said about seeing him at Brixton in the 70s. He was an absolute gem.”
A man with ice-blond hair walks into an unlit, gloomy attic, snow falling outside, dusty memories in his mind. He kneels down by a rocking-horse and tells us of his childhood, of holidays by the seaside, of winters returning home, of being around the fire, and of making snowmen. “One year, I made a really big snowman,” says Bowie, pulling a blue scarf out of a drawer; it is dotted with snowmen, green-hatted and coal-eyed. “He got me this scarf. You see,” he says tenderly, “he was a real snowman.”
For millions of us, Christmas TV wouldn’t be the same without the animated adaptation of Raymond Briggs’s The Snowman, made in 1982. For those of us who remember Bowie’s introduction, where he frames himself as the boy who made and loved and lost a special friend, this dreamlike detail of the season takes on new poignancy now....
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Duncan Jones @ManMadeMoon
@monicatass2 @DavidBowieReal @guardian I still have it. :)
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