A personal year-end note from director Jeffrey Morris

---

As I watch audiences experience The Eagle Obsession, I often find myself thinking back to how difficult it was to bring the film across the finish line. Before it became a documentary, it lived with me for decades as something quieter and more personal—fragments of childhood memory, the sense of possibility I felt watching the Apollo missions, and the optimism embedded in shows like Space: 1999 and Star Trek. They offered a vision of a future that was thoughtful, humane, and built by people who believed in something larger than themselves.

That belief stayed with me. It’s what ultimately compelled me to make this film—and to see it through, even when the process became far more demanding than I ever expected.

The project took just over two years to complete and cost more than a million dollars to produce. We captured more than 30 hours of footage across multiple countries, then spent seven months shaping it in the edit—finding the emotional through-line, the rhythm, and the story it was always meant to tell.There were moments when it would have been easier to stop. But I never lost sight of why I was making it. What surprised me most this year wasn’t just that the film was finished—it was how people responded once they finally saw it.

From early test screenings to festival audiences in the U.S., Europe, and Australia, the response has been remarkably consistent. Packed houses. Thoughtful questions. Emotional conversations afterward. Again and again, people told me they weren’t just reacting to nostalgia or a love of science fiction—they were responding to the film’s deeper message about optimism, creativity, and the kind of future we once believed was possible.

That response has been incredibly validating. It has also been reinforced by the film’s path through the industry this year. The Eagle Obsession was showcased at an industry screening during the Toronto International Film Festival and continued its momentum through the American Film Market, where it was presented to distributors, sales agents, and producers from around the world. Along the way, the film has been honored with multiple awards at international festivals—recognition that has helped confirm both its emotional resonance with audiences and its viability on a global stage.

Following these conversations, we are now in active discussions with several major film studios regarding distribution. The current goal is a carefully staged release that begins with a theatrical and physical media rollout in late 2026, followed by a Tier-1 streaming release in 2027. This measured approach is about giving the film the time and placement it deserves, and ensuring it reaches the widest possible audience in the right context.

For those of you who are frustrated by the timetable, try to remember that the film has entered the phase of its life cycle that requires patience. I struggle with it too! However, I remind myself that once a project reaches this stage—after festivals, awards, and strong audience validation—it enters serious distribution conversations. Releasing it too quickly would limit its reach. Taking the time to place it properly gives it the best chance to be seen widely, in theaters and at home, by the broad audience it deserves.

I appreciate your patience more than I can say. It’s not taken for granted.

Looking ahead, we’re continuing work on the fan-focused companion film Beyond The Eagle Obsession, which is on track for completion in the spring. We also have additional screenings planned in Italy, with more UK showings currently being organized.As this year comes to a close, I feel proud—not just of the film, but of the way it’s been received and the conversations it’s sparked. The Eagle Obsession began as a deeply personal project. It’s become something much larger, and that’s because of all of you who’ve supported it, shared it, and believed in it.

Thank you for being part of this. The work continues—and I’m genuinely excited about what comes next.

—Jeffrey