Detailed Instructions: In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.
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 This feature is not available right now. Please try again later. ||||| Speaking on David Bowie: The Last Five Years, director of the music video Johan Renck, said: "I found out later that the week we were shooting is when he found out that it is over. 
  
 "We'll end treatment or whatever capacity that means, that his illness has won." 
  
 Renck added that the video, which features Bowie lying in a bed with his eyes covered by bandages and replaced with buttons, was not about the singer's illness. 
  
 "To me it had to do with the biblical aspect of it, you know the man who would rise again, and it had nothing to do with him being ill. 
  
 "That was only because I liked the imagery of it." ||||| This weekend, BBC Two will premiere David Bowie: The Last Five Years, a new documentary that focuses on Bowie’s albums The Next Day and Blackstar as well as the musical Lazarus. Throughout the film, a host of Bowie’s collaborators and friends discuss his Reality tour in 2003, his surprise comeback ten years later, and the final works leading to his death in January 2016. 
  
 Highlights include artist Jonathan Barnbrook discussing the process by which he and Bowie came up with the striking cover design for The Next Day. Barnbrook shares the photograph that inspired Bowie to look back at iconic images of himself and reveals a series of discarded cover ideas (one of which features the star logo that would later appear on Blackstar) and alternate album titles (including Where Are We Now? and Love Is Lost). 
  
 The film also offers detailed interviews with Bowie’s Blackstar collaborators, including Maria Schneider (who worked on the original version of “Sue (A Season of Crime)” on 2014’s Nothing Has Changed compilation) and Donny McCaslin, whose band performed on Blackstar. Johan Renck, director of Bowie’s final videos, discusses the making of the clips and shares Bowie’s original sketch that inspired his “Button Eyes” character. Robert Fox, producer of Lazarus, reflects on the collaborative process that led to the musical—whose roots date back to a 1984-inspired project Bowie failed to get off the ground in the mid-’70s—and reveals that Bowie had discussed making a sequel with him shortly after attending the Lazarus premiere. 
  
 The documentary also features a number of isolated tracks from Bowie’s last two albums, including vocal takes from “Where Are We Now?,” “Blackstar,” and “Lazarus.” In one particularly surreal clip at the end of the documentary, producer Tony Visconti plays a bit of studio banter in which Bowie utters the words, “Little mouse fart.” Visconti quips, “Here’s a little space oddity,” before playing the clip and then erupting into laughter. 
  
 The Last Five Years airs Saturday, January 7, at 9 p.m. GMT on BBC Two. 
  
 Revisit David Bowie’s “Lazarus” video: ||||| Documentary looking back at singer’s last five years says suggestion that his last single Lazarus was a ‘parting gift’ to fans is wrong 
  
 David Bowie did not know he was dying until final few months 
  
 David Bowie only discovered his cancer was terminal three months before he died, according to a documentary marking the anniversary of the superstar’s death. 
  
 The film, David Bowie: The Last Five Years – due to air on BBC2 on Saturday night, a day before what would have been the singer’s 70th birthday – reveals that Bowie discovered his treatment was to be stopped while he was filming the music video for his final single, Lazarus. 
  
 Death stars: music’s great losses of 2016 Read more 
  
 Bowie died on 10 January 2016, days after turning 69 and the release of his 25th studio album, Blackstar, having kept his illness a secret from the world. 
  
  
  
 “David said: ‘I just want to make it a simple performance video’,” said Johan Renck who directed the video, which features Bowie singing lines such as “Look up here, I’m in heaven” from a hospital bed. 
  
 He insists the common interpretation of the video – that the singer was hinting that he was on his deathbed – is wrong, because he came up with the concept a week before Bowie received his final diagnosis. 
  
 “I immediately said ‘the song is called Lazarus, you should be in the bed’,” says Renck. “To me it had to do with the biblical aspect of it ... it had nothing to do with him being ill. 
  
  
  
 “I found out later that, the week we were shooting, it was when he was told it was over, they were ending treatments and that his illness had won,” said Renck. 
  
 Yet even then, Bowie had not given up hope of surviving his cancer and was still keen to make new work just weeks before he died, according to Ivo Van Hove, who directed Bowie’s musical, Lazarus. In the programme he recalls one of the last exchanges the pair had, after the play made its debut in New York in 2015. 
  
  
  
 Facebook Twitter Pinterest David Bowie at the premiere of Lazarus in New York. Photograph: BR/ dana press/PA 
  
 Describing how they sat chatting backstage, despite Bowie being noticeably weakened by his illness, Van Hove said: “He got through the night. I really am convinced that he was fighting death and he wanted to continue and continue. Afterwards we were sitting behind stage and he said ‘let’s start a second one now, the sequel to Lazarus’.” 
  
 The new documentary is the work of Francis Whately, and continues a narrative from his previous Bowie documentary for the BBC, David Bowie: Five Years, which was first broadcast in 2013 and focused on five of the singer’s most significant years between 1971 and 1983. 
  
  
  
 As part of a series of programmes this month, BBC4 will broadcast rarely seen Bowie performances from its archive, Martin Kemp will present a show dedicated to Bowie’s Life on Mars, and 6Music will host a “listening party” for the public’s favourite Bowie album, and a tribute show. 
  
 David Bowie's last three songs: decoding the final transmission Read more 
  
 The latest Whately documentary looks in depth at the making of Bowie’s surprise 2013 album, The Next Day, his 2016 jazz-infused album Blackstar, which was released days before he died, and his first stage musical, Lazarus. 
  
  
  
 “This period hadn’t been explored by anybody so it was very interesting territory,” Whately told the Guardian. “In some ways he seems to have worked harder in that period than at almost any other time, except the beginning of the 1970s when he was producing Ziggy Stardust, Hunky Dory and Aladdin Sane.” 
  
 Bowie’s death came as a shock to the world. He had only shared news of his illness with those closest to him, and those collaborators who needed to know for professional reasons, such as Lazarus producer Robert Fox and his long-time friend and collaborator Tony Visconti, who both also appear in the documentary. 
  
 Whately emphasised how much energy Bowie had thrown into his final three projects, particularly Blackstar and Lazarus, right up until his death. 
  
 “Often he would go and record in the studio and then go and watch the rehearsals for Lazarus in the evening, or talk about the play in the morning, go to the studio, and then come back. It was quite an extraordinary workload,” said Whately. 
  
 “I think everyone would like me to say he was turning up to the studio to record Blackstar and he was terribly ill, but I don’t think he was. There are musicians in the Blackstar band who didn’t even know. We all now know he was ill, we know he was undergoing treatment, but it doesn’t seem to have had an effect at all on his output.” 
  
 Was he a man who took on these multiple projects because he sensed his time was running out? “We just don’t know,” said Whately. 
  
 The documentary also explores Bowie’s increasingly uncomfortable relationship with fame, which he had embraced at the beginning of his career as a means to gain creative freedom, but in later years he came to loathe. 
  
 After a heart attack in 2003, he took himself almost entirely out of the public eye. Whately says Bowie would have liked to have moved back to London, but stayed in New York for the relative anonymity it allowed him. 
  
 “I don’t find it strange he kept his illness so private,” said Whately. “He’d had his life picked over for 40 years and he thought he had said everything he wanted to say, there was nothing more.” 
  
 Whately describes as “simplistic” the narrative adopted by the media after Bowie died, that Blackstar was the singer’s deliberate parting gift to fans. 
  
 “I still don’t know if he started making Blackstar before he knew he was ill, or after,” he said. “People are so desperate for Blackstar to be this parting gift that Bowie made for the world when he knew he was dying but I think it’s simplistic to think that. There is more ambiguity there than people want to acknowledge. I don’t think he knew he was going to die. 
  
 “However, he must have known there was a chance he wasn’t going to recover, so, to do an album with a certain amount of ambiguity in it, is Bowie playing the cat and mouse game that he always played.” 
  
 Whately and Bowie had known each other for almost two decades, having worked together on a short film at the beginning of Whately’s career, and the pair regularly kept in touch over email. It was an exchange mainly of book and film recommendations, everything from Pulitzer-prize winning novel The Brief Wondrous Life of Oscar Wao by Junot Diaz to the 1973 BBC documentary series The Ascent of Man. Whately said Bowie would consume a book a day. 
  
 “I remember him once emailing me about American female soccer,” said Whately. “Who would have thought that David Bowie was a female soccer fan? It’s just not what you expect but it speaks to the man, that there was clearly nothing he wasn’t willing to learn about.” 
  
 He added: “The David Bowie that I knew in my limited way was incredibly courteous, was incredibly polite, well informed, utterly charming. But I would question anyone who said they really knew him. I don’t think anyone knew him.” 
  
 Out of respect for the privacy that Bowie valued so highly, Whately did not interview any of his family members and the film focuses on his musical, not his personal, life. However, he said he hoped that he had captured Bowie’s warm personality, and the particular pride the singer had in realising a lifelong dream to stage a musical in New York. 
  
 Michael C Hall, who played the lead role in the play, said Bowie’s satisfaction had been evident. “The last thing I remember David saying to me, after the hugs and the smiles after that opening night performance, was: ‘I think it went well tonight, don’t you?’” 
  
 • David Bowie: The Last Five Years airs on Saturday 7 January at 9pm on BBC2 |||||
Solution:
The music video for "Lazarus" shows David Bowie in a hospital bed, his eyes masked by bandages, as he sings, "Look up here, I'm in heaven, I've got scars that can't be seen." It was while filming that video three months before his death that he learned his cancer was terminal, director Johan Renck reveals in a new documentary to air Saturday on BBC2, per the Guardian. While fans have suggested the video was his farewell gift to the world, Renck was aiming for "biblical" imagery of "the man who would rise again," he tells the Telegraph. "It had nothing to do with him being ill," he says in David Bowie: The Last Five Years. "I found out later that, the week we were shooting, it was when he was told it was over, they were ending treatments and that his illness had won." The documentary by Francis Whately, a sequel to David Bowie: Five Years, includes never-before-seen footage of Bowie—including making a fart joke, per Pitchfork—as it explores his 2003 A Reality Tour along with his work on two albums and musical Lazarus during the last four years of his life. "This period hadn't been explored by anybody so it was very interesting territory," Whately says. "In some ways he seems to have worked harder in that period than at almost any other time." Indeed, the director of the Lazarus musical recalls in the documentary one of his last meetings with a visibly weak Bowie in the weeks before he died: "We were sitting behind stage and he said 'let’s start a second one now, the sequel to Lazarus.' I really am convinced that he was fighting death." (Bowie appears with another late legend in this old clip.)