In late November, filmmaker Jeffrey Morris and his team returned to Denmark to continue filming material connected to The Eagle Obsession and its companion film, Beyond The Eagle Obsession. While The Eagle Obsession captures the moment when Jan Wenneberg’s full-scale Eagle Transporter comes together as a finished object, this return focused on something deeper: documenting how the Eagle was actually built.
Jan’s project is now seven years in the making. The goal of this new filming was to capture the process behind the build—how research, experimentation, and sustained effort turned an idea into a physical structure over time.
The visit began with a special screening of The Eagle Obsession at Invero Studio in Virring, Wenneberg’s hometown. This was the same location where his segment for the film was originally shot, making it a fitting place to return with the completed documentary. The audience reflected the breadth of Wenneberg’s journey: family members, close friends, local press, and Space: 1999 fans who traveled from as far as Germany to attend.
For Morris, the screening proved to be the most emotional to date. Sharing the film in the place where Wenneberg’s build began—and with the people who supported it throughout—gave the experience a significance distinct from earlier screenings. Audience members spoke afterward about how strongly the film moved them and how deeply they connected with its message.
Filming continued the following day at Wenneberg’s home, where his 25-foot Eagle Transporter is stored—remarkably—in his garage. He walked the team through the build in detail, explaining how the Eagle was constructed piece by piece over a five-year period. He described how necessity drove innovation, from adapting oversized plant pots to form the engines to repurposing globe halves to simulate fuel tanks. Each solution reflected careful observation, ingenuity, and persistence.
On the final day, the team traveled to the workshop where Wenneberg originally learned to weld aluminum. There, he demonstrated how he fabricated the Eagle’s spine and cage structures, working hands-on with the same machinery used during the build. Seeing the techniques firsthand added an important layer of context to the scale and discipline behind the project.
Across both days, extensive drone footage was captured around Aarhus and the surrounding countryside. The landscape—lush, green, and open—offered a striking contrast to earlier visits. This time, there was no snow, allowing the region’s natural beauty to frame the story in a new way.
The return to Denmark was not about revisiting a finished chapter, but about documenting the work beneath it. As The Eagle Obsession continues its international journey, Beyond The Eagle Obsession provides space to preserve the effort, craftsmanship, and resolve that made one of the film’s most powerful elements possible.
