Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:02,000 --> 00:00:07,000
Downloaded from
YTS.MX
2
00:00:08,000 --> 00:00:13,000
Official YIFY movies site:
YTS.MX
3
00:00:10,184 --> 00:00:11,968
[GRAND MUSIC]
4
00:00:38,342 --> 00:00:39,561
[DRAMATIC MUSIC]
5
00:00:43,956 --> 00:00:46,437
WELL, I OFTEN ASK GIRLS
6
00:00:46,481 --> 00:00:49,614
IN THIS SITUATION
THAT THEY DESCRIBE THE BODY,
7
00:00:49,658 --> 00:00:53,140
THEIR BODY, BECAUSE MOSTLY,
THEY'RE VERY HONEST ABOUT IT.
8
00:00:53,183 --> 00:00:54,445
SO YOU DO THAT--
9
00:00:54,489 --> 00:00:56,491
BREASTS, LEGS, EVERYTHING.
10
00:00:58,232 --> 00:01:00,147
HE LOVES BIG WOMEN.
11
00:01:00,190 --> 00:01:05,369
STATUES, PAINTINGS,
SCULPTURES, LIVE ONES.
12
00:01:05,413 --> 00:01:07,458
ESPECIALLY LIVE ONES,
13
00:01:07,502 --> 00:01:09,721
BECAUSE HE CAN
MANIPULATE THEM.
14
00:01:09,765 --> 00:01:12,985
HE CAN CONTROL EVERY MUSCLE
IN THEIR BODIES.
15
00:01:13,029 --> 00:01:15,510
THERE'S A KINDNESS
IN YOUR LOOK,
16
00:01:15,553 --> 00:01:17,816
WHICH IS THE LAST THING I WANT.
17
00:01:17,860 --> 00:01:20,515
KEEP THE HEAD STRAIGHT ON TO ME,THE CHIN DOWN.
18
00:01:25,128 --> 00:01:28,566
WHAT IS IMPORTANT...
19
00:01:28,610 --> 00:01:30,177
IT HASN'T GOT--
20
00:01:30,220 --> 00:01:32,701
HASN'T GOT ANY GUTS YET,
YOU KNOW?
21
00:01:32,744 --> 00:01:34,616
NOW, DON'T LOOK
POVERTY STRICKEN,
22
00:01:34,659 --> 00:01:36,226
LOOK INCREDIBLE.
23
00:01:36,270 --> 00:01:37,401
THERE.
24
00:01:50,632 --> 00:01:52,547
FIRST OF ALL,
MOST PHOTOGRAPHERS ARE
25
00:01:52,590 --> 00:01:54,244
TERRIBLY BORING PEOPLE.
26
00:01:54,288 --> 00:01:58,161
AND THE FILMS OF PHOTOGRAPHERS
THAT I'VE SEEN
27
00:01:58,205 --> 00:02:00,337
ARE TERRIBLY BORING
BECAUSE, UH,
28
00:02:00,381 --> 00:02:01,947
THEY SHOW A GUY
BEHIND A CAMERA,
29
00:02:01,991 --> 00:02:03,166
THEY SHOW HIS BACK,
30
00:02:03,210 --> 00:02:04,341
THEY SHOW THE CAMERA,
31
00:02:04,385 --> 00:02:05,342
AND YOU HEAR
THE CLICK-CLICK-CLICK
32
00:02:05,386 --> 00:02:06,648
OF THE SHUTTER
33
00:02:06,691 --> 00:02:09,041
AND THE DUMB TALK THAT GOES ON
34
00:02:09,085 --> 00:02:11,957
BETWEEN A MODEL OR A SITTER
35
00:02:12,001 --> 00:02:14,177
AND THE PHOTOGRAPHER.
36
00:02:35,329 --> 00:02:37,157
[SIREN WAILS]
37
00:02:37,200 --> 00:02:40,072
WORLD-FAMOUS PHOTOGRAPHER
HELMUT NEWTON DIED TODAY
38
00:02:40,116 --> 00:02:42,162
IN A CAR CRASH
IN WEST HOLLYWOOD.
39
00:02:51,040 --> 00:02:53,608
YOU'VE DONE IT ALL
40
00:02:53,651 --> 00:02:58,003
YOU'VE BROKEN EVERY CODE
41
00:02:58,047 --> 00:03:03,052
AND PULLED THE REBEL
TO THE FLOOR
42
00:03:03,095 --> 00:03:04,967
[GLAM ROCK MUSIC]
43
00:03:05,010 --> 00:03:07,230
YOU SPOILT THE GAME
44
00:03:07,274 --> 00:03:11,539
NO MATTER WHAT YOU SAY
45
00:03:11,582 --> 00:03:18,676
FOR ONLY METAL,
WHAT A BORE!
46
00:03:18,720 --> 00:03:22,027
BLUE EYES, BLUE EYES
47
00:03:22,071 --> 00:03:28,556
HOW COME YOU TELL
SO MANY LIES?
48
00:03:28,599 --> 00:03:35,302
COME UP AND SEE ME,
MAKE ME SMILE
49
00:03:35,345 --> 00:03:42,134
OR DO WHAT YOU WANT,
RUNNING WILD
50
00:03:42,178 --> 00:03:44,572
I'M NOT GONNA
TELL YOU ALL THAT!
51
00:03:44,615 --> 00:03:47,139
NO WAY!
52
00:03:47,183 --> 00:03:49,272
NO WAY.
53
00:03:49,316 --> 00:03:51,492
I GOTTA KEEP SOMETHING
UP MY SLEEVE
54
00:03:51,535 --> 00:03:54,321
FOR PEOPLE THAT HAVE
MORE MONEY THAN YOU.
55
00:03:54,364 --> 00:03:56,714
[CHUCKLING]
56
00:03:56,758 --> 00:04:04,156
OOH, OOH, LA-LA-LA, OOH
57
00:04:04,200 --> 00:04:10,815
COME UP AND SEE ME,
MAKE ME SMILE
58
00:04:10,859 --> 00:04:18,345
OR DO WHAT YOU WANT,
RUNNING WILD
59
00:04:18,388 --> 00:04:21,696
THAT'S IT--THAT'S IT
RIGHT THERE, RIGHT THERE.
60
00:04:50,725 --> 00:04:53,075
[PLAYFUL MUSIC]
61
00:05:04,521 --> 00:05:07,524
I WATCHED EVERYTHING.
62
00:05:07,568 --> 00:05:09,961
I WATCHED WHEN
HE WAITED FOR THE LIGHT
63
00:05:10,005 --> 00:05:12,790
TO COME DOWN
AT A CERTAIN TIME,
64
00:05:12,834 --> 00:05:14,662
AND THEN IT WOULD BE
VERY QUICK, AGGH!,
65
00:05:14,705 --> 00:05:16,011
AND THEN GET THE PICTURE,
66
00:05:16,054 --> 00:05:18,056
BECAUSE THE LIGHT IS GOING,
67
00:05:18,100 --> 00:05:22,496
OR THE SHADOWS THAT ARE
MOVING ACROSS ARE GOING,
68
00:05:22,539 --> 00:05:24,933
AND HE WORKED A LOT
WITH THE NATURAL--
69
00:05:24,976 --> 00:05:27,370
WITH THE NATURAL LIGHT WITH ME.
70
00:05:27,414 --> 00:05:31,287
AND, YOU KNOW, HE HAD...
71
00:05:31,331 --> 00:05:35,160
HE WAS A LITTLE BIT PERVERT,
BUT SO AM I, SO IT'S OKAY.
72
00:05:35,204 --> 00:05:37,467
[LAUGHING]
73
00:05:37,511 --> 00:05:41,297
AND HIS PICTURES, YOU KNOW,
THEY'RE EROTIC
74
00:05:41,341 --> 00:05:44,692
AND ALSO WITH DIMENSIONS,
75
00:05:44,735 --> 00:05:51,351
WAS JUST NOT EROTIC
BUT HAD SUGGESTIONS IN DEPTHS
76
00:05:51,394 --> 00:05:55,398
OF A STORY,
THEY TOLD STORIES.
77
00:05:55,442 --> 00:05:59,359
LIKE, YOU KNOW, I REMEMBER
HE PUT ONE KNIFE IN MY HAND,
78
00:05:59,402 --> 00:06:03,232
AND IT WAS BEAUTIFULWHERE I'M LAYING NAKED ON A COT
79
00:06:03,275 --> 00:06:05,974
AND THE LIGHT IS COMING ACROSS,YOU KNOW?
80
00:06:06,017 --> 00:06:07,410
AND IT'S FUNNY,
81
00:06:07,454 --> 00:06:09,978
THE SHADOW JUST COVERED
THE PART HERE.
82
00:06:10,021 --> 00:06:12,110
HE WAIT TILL THE SHADOW
JUST COVERED HERE
83
00:06:12,154 --> 00:06:16,593
SO THERE WAS NEVER VULGAR,
NEVER VULGAR.
84
00:06:16,637 --> 00:06:20,728
ALWAYS IN BEAUTIFUL TASTE
85
00:06:20,771 --> 00:06:24,645
AND NOT SOMETHING
TO TAKE AWAY FROM THE STORY.
86
00:06:24,688 --> 00:06:27,038
IT ADDED TO HIS STORY.
87
00:06:27,082 --> 00:06:28,953
I'M THINKING, "WHAT AM I
DOING WITH THIS KNIFE?"
88
00:06:28,997 --> 00:06:31,260
AND HE WAITS UNTIL
THE LIGHT COMES
89
00:06:31,303 --> 00:06:34,437
AND HITS THE KNIFE,
SO I'M HOLDING IT LIKE THIS,
90
00:06:34,481 --> 00:06:36,831
BUT THERE'S NO ONE ELSE
IN THE PICTURE.
91
00:06:36,874 --> 00:06:40,791
SO IT LEAVES
TO YOUR IMAGINATION.
92
00:06:40,835 --> 00:06:43,185
[LIVELY MUSIC]
93
00:06:50,018 --> 00:06:52,716
[BLUESY MUSIC]
94
00:06:52,760 --> 00:06:56,677
YOU GOT MY ATTENTION, BABY
95
00:06:56,720 --> 00:07:00,681
NOW I CAN'T MAKE A MOVE
96
00:07:00,724 --> 00:07:05,381
LIKE A CHILD
THAT'S STARVED FOR LOVE
97
00:07:05,425 --> 00:07:09,777
I'LL STAND THERE
AS LONG AS I HAVE TO
98
00:07:09,820 --> 00:07:13,868
SOMETIMES WHEN I DO PORTRAITS
OF PEOPLE THAT HAVE EITHER
99
00:07:13,911 --> 00:07:16,261
POLITICAL POWER
OR FINANCIAL POWER
100
00:07:16,305 --> 00:07:20,527
OR SEXUAL POWER,
IT'S, UH...
101
00:07:20,570 --> 00:07:23,530
THEY MAKE PRETTY GOOD SUBJECTS
FOR MY CAMERA.
102
00:07:23,573 --> 00:07:27,316
MMM HMM
103
00:07:27,359 --> 00:07:31,102
I'M SO IN LOVE WITH YOU, GIRL
104
00:07:31,146 --> 00:07:34,062
YOU MAKE ME FEEL BRAND NEW
105
00:08:34,862 --> 00:08:37,604
BABY, IF YOU RUN AWAY
106
00:08:37,647 --> 00:08:40,563
BABY, IF YOU LEAVE
107
00:08:42,434 --> 00:08:44,088
SO THE FIRST TIME
HE PHOTOGRAPHED ME
108
00:08:44,132 --> 00:08:45,699
WAS WITH DAVID LYNCH.
109
00:08:45,742 --> 00:08:47,701
DAVID LOOKING AT ME,
AND I HAVE MY EYES CLOSED,
110
00:08:47,744 --> 00:08:50,268
AND DAVID IS HOLDING MY FACE
111
00:08:50,312 --> 00:08:52,314
AS AN ARTIST
WHO'S LOOKING AT AN OBJECT
112
00:08:52,357 --> 00:08:55,883
AND NOW TELLING THE PUPPET
WHAT SHE SHOULD DO, YOU KNOW?
113
00:08:55,926 --> 00:08:58,625
IT WAS COMPLETELY
ON THE IDEA OF
114
00:08:58,668 --> 00:09:01,018
THE DIRECTOR AS THE AUTHOR
115
00:09:01,062 --> 00:09:05,196
AND THE ACTRESS AS--
AS THE PUPPET THAT EXPRESS--
116
00:09:05,240 --> 00:09:07,242
AND IN A CERTAIN WAY,
IT'S TRUE,
117
00:09:07,285 --> 00:09:09,636
YOU EXPRESS THE IDEA
WHEN YOU WORK WITH DAVID LYNCH
118
00:09:09,679 --> 00:09:11,246
OR YOU WORK
WITH HELMUT NEWTON.
119
00:09:11,289 --> 00:09:12,900
THEY'RE NOT PHOTOGRAPHING YOU,
120
00:09:12,943 --> 00:09:15,598
THEY'RE PHOTOGRAPHING AN IDEA
THAT IS IN THEIR HEADS
121
00:09:15,642 --> 00:09:17,557
AND YOU ARE THE VEHICLE.
122
00:09:17,600 --> 00:09:19,297
SO YOU HAVE TO MAKE
YOURSELF AVAILABLE
123
00:09:19,341 --> 00:09:20,472
OR SAY NO.
124
00:09:20,516 --> 00:09:22,170
[CHUCKLING]
125
00:09:23,388 --> 00:09:24,651
AH, THE POOR THING.
126
00:09:24,694 --> 00:09:27,654
I COULD START CRYING
WHEN I SEE HER.
127
00:09:27,697 --> 00:09:30,526
I WANT YOU TO--
TO DO THIS,
128
00:09:30,570 --> 00:09:34,617
AND JUST LOOK TO THE CAMERA
LIKE THAT, OKAY?
129
00:09:34,661 --> 00:09:37,011
[MELODRAMATIC MUSIC]
130
00:09:39,187 --> 00:09:41,450
DO IT ON YOUR SIDE.
131
00:09:45,019 --> 00:09:47,412
THE FEET TOGETHER,
BIT CLOSER TO THE--
132
00:09:47,456 --> 00:09:49,458
GO ON, A BIT MORE, A BIT MORE,
A BIT MORE.
133
00:09:49,501 --> 00:09:54,506
NOW, WITH TWO HANDS--
THAT'S RIGHT, THAT'S RIGHT.
134
00:09:54,550 --> 00:09:56,683
NOW, STICK YOUR BOTTOM OUT
A BIT.
135
00:09:56,726 --> 00:09:58,554
THAT--THAT'S NICE.
THAT'S GOOD!
136
00:09:58,598 --> 00:10:01,209
THAT'S GOOD,
THE CHIN DOWN A LITTLE BIT.
137
00:10:01,252 --> 00:10:02,906
THERE! LIKE THAT,
THE SAME THING NOW,
138
00:10:02,950 --> 00:10:04,081
WITH A SMILE.
139
00:10:04,125 --> 00:10:05,996
YEAH, YEAH--PERFECT!
140
00:10:06,040 --> 00:10:09,826
NOW I WANT YOU TO NOT SMILE
BUT LOOK DANGEROUS, HM?
141
00:10:12,699 --> 00:10:14,701
VERY VAMPY.
142
00:10:14,744 --> 00:10:17,094
THAT'S GOOD--THAT'S PERFECT.
143
00:10:17,138 --> 00:10:19,401
WELL, I THINK IT WAS
THE WORK OF HELMUT
144
00:10:19,444 --> 00:10:21,011
THAT GAVE ONE THE COURAGE,
145
00:10:21,055 --> 00:10:23,187
BECAUSE IF YOU WERE GIVING
AN ASSIGNMENT TO HELMUT,
146
00:10:23,231 --> 00:10:25,059
YOU OBVIOUSLY
WEREN'T GONNA RECEIVE
147
00:10:25,102 --> 00:10:26,669
A PRETTY GIRL
ON A LOVELY BEACH,
148
00:10:26,713 --> 00:10:28,149
THAT'S JUST NOT
WHAT HE WAS ABOUT.
149
00:10:28,192 --> 00:10:31,718
I MEAN, YOU ASKED HELMUT
TO TAKE ON AN ASSIGNMENT
150
00:10:31,761 --> 00:10:34,982
THE WAY YOU WOULD ASK,
YOU KNOW, AN IRVING PENN
151
00:10:35,025 --> 00:10:38,376
FOR SOMETHING THAT WAS
WHAT PHYLLIS AND I CALL
152
00:10:38,420 --> 00:10:39,726
"A STOPPER" IN THE MAGAZINE,
153
00:10:39,769 --> 00:10:42,206
SOMETHING THAT PEOPLE
WOULD REMEMBER THAT WAS,
154
00:10:42,250 --> 00:10:45,514
HOPEFULLY, ICONICAND MAYBE SOMETIMES DISTURBING,
155
00:10:45,557 --> 00:10:48,212
BUT CERTAINLY
THOUGHT-PROVOKING.
156
00:10:48,256 --> 00:10:52,739
SO WE...MAYBE YOU MIGHT
CONSIDER IT BRAVE,
157
00:10:52,782 --> 00:10:55,959
I PERSONALLY CONSIDERED IT
NECESSARY,
158
00:10:56,003 --> 00:10:59,963
BECAUSE I THINK SO MUCH
OF WHAT WE DO
159
00:11:00,007 --> 00:11:03,532
WHEN WE WORK IN FASHION IS
ATTRACTIVE AND LOVELY
160
00:11:03,575 --> 00:11:05,752
AND WHAT ALEX LIBERMAN
WOULD CALL
161
00:11:05,795 --> 00:11:07,710
"VISIONS OF LOVELINESS."
162
00:11:07,754 --> 00:11:10,104
BUT TO CONTRAST
WITH ALL OF THAT,
163
00:11:10,147 --> 00:11:12,759
I THINK YOU REALLY DO NEED
WORK THAT TALKS ABOUT
164
00:11:12,802 --> 00:11:14,586
THE CULTURE AT LARGE
165
00:11:14,630 --> 00:11:15,979
AND IS THOUGHT-PROVOKING
AND DIFFERENT
166
00:11:16,023 --> 00:11:18,678
AND SOMETIMES UPSETS PEOPLE.
167
00:11:18,721 --> 00:11:20,984
[MELLOW AMBIENT MUSIC]
168
00:11:24,814 --> 00:11:27,164
[WOMAN VOCALIZING]
169
00:12:58,821 --> 00:13:01,084
[MELLOW ELECTRONIC MUSIC]
170
00:14:57,331 --> 00:14:59,681
[TENSE MUSIC]
171
00:15:01,552 --> 00:15:02,727
HELMUT LOVED CHICKENS,
172
00:15:02,771 --> 00:15:04,860
HE LOVED TO PHOTOGRAPH CHICKENS.
173
00:15:04,904 --> 00:15:08,124
SO I CALLED HIM UP
AND I SAID--
174
00:15:08,168 --> 00:15:10,997
EXPLAINED THAT WE WERE DOING
THIS ARTICLE ON FRIED CHICKEN
175
00:15:11,040 --> 00:15:13,521
AND WOULD HE BE INTERESTED
IN DOING A PICTURE.
176
00:15:13,564 --> 00:15:16,916
THERE WAS A VERY BRIEF SILENCE
AND HE SAID,
177
00:15:16,959 --> 00:15:18,569
"I'VE ALWAYS
WANTED TO PHOTOGRAPH
178
00:15:18,613 --> 00:15:21,790
A CHICKEN WEARING HIGH HEELS."
179
00:15:21,833 --> 00:15:25,402
SO, WE GOT THE HEELS
FROM THE DOLL MUSEUM IN PARIS
180
00:15:25,446 --> 00:15:26,795
AND SENT THEM TO MONTE CARLO,
181
00:15:26,838 --> 00:15:28,057
AND GOT OFF THE PLANE,
182
00:15:28,101 --> 00:15:30,059
WENT STRAIGHT
TO HIS APARTMENT
183
00:15:30,103 --> 00:15:33,149
TO SEE WHAT HE WANTED TO DO
AND HOW HE WANTED TO DO IT,
184
00:15:33,193 --> 00:15:35,325
AND HIS ASSISTANT WAS THERE
WAITING FOR ME.
185
00:15:35,369 --> 00:15:36,848
WE SENT FOUR PAIRS OF SHOES;
186
00:15:36,892 --> 00:15:38,285
HE HAD CHOSEN TWO.
187
00:15:38,328 --> 00:15:40,026
THEY WERE IN A BAG,
188
00:15:40,069 --> 00:15:41,375
AND HIS ASSISTANT WAS WAITING
TO WALK ME UP THE HILL
189
00:15:41,418 --> 00:15:42,724
TO HIS BUTCHER.
190
00:15:42,767 --> 00:15:44,508
HE DIDN'T BLINK,
HE DIDN'T FLINCH.
191
00:15:44,552 --> 00:15:46,989
HE'S IN HIS
BLOOD-COVERED APRON,
192
00:15:47,033 --> 00:15:48,643
AND HE SAID,
"YES, OF COURSE,"
193
00:15:48,686 --> 00:15:51,646
AND I TRIED THE SHOES
ON EVERY CHICKEN IN THE CASE.
194
00:15:51,689 --> 00:15:54,954
AND, UM, I TOOK THE CHICKEN
WITH THE BEST LEGS
195
00:15:54,997 --> 00:15:56,477
AND BROUGHT THEM BACK
TO HELMUT,
196
00:15:56,520 --> 00:15:58,305
AND HE SHOT THAT
IN HIS KITCHEN.
197
00:15:58,348 --> 00:15:59,871
YES, HE DID.
198
00:15:59,915 --> 00:16:02,265
HE DID, IN THE WONDERFUL DAYS
OF FAXES,
199
00:16:02,309 --> 00:16:04,006
AND HE WROTE, "DEAR ANNA,
200
00:16:04,050 --> 00:16:07,009
I WANT TO THANK YOU
FOR HAVING THE COURAGE
201
00:16:07,053 --> 00:16:08,402
TO PUBLISH MY "CHICKEN."
202
00:16:08,445 --> 00:16:10,230
MOST GRATIFYING TO ME.
203
00:16:10,273 --> 00:16:12,362
LOOK FORWARD TO
THE READERS' LETTERS."
204
00:16:12,406 --> 00:16:14,451
HE LOVED TO HEAR
ABOUT THE READERS' LETTERS.
205
00:16:14,495 --> 00:16:16,062
THE WORSE THEY WERE,
THE BETTER.
206
00:16:16,105 --> 00:16:21,502
UM, "AS KAISER WILHELM II SAID
IN 1914:
207
00:16:21,545 --> 00:16:22,677
'MORE ENEMIES, MORE HONOUR!'
208
00:16:22,720 --> 00:16:24,592
LOVE AS EVER FROM
209
00:16:24,635 --> 00:16:28,030
YOUR FAVOURITE OLD NAUGHTY BOY,HELMUT."
210
00:16:28,074 --> 00:16:29,466
[SHE SNICKERS]
211
00:16:37,257 --> 00:16:38,867
WHEN I TAKE PICTURES,
SOMEBODY SAID,
212
00:16:38,910 --> 00:16:40,347
"HELMUT IS LIKE A DOG
213
00:16:40,390 --> 00:16:42,218
THAT'S LOOKING
FOR A PLACE TO PEE.
214
00:16:42,262 --> 00:16:45,134
BEFORE HE TAKES A PICTURE,
HE GOES AROUND
215
00:16:45,178 --> 00:16:48,268
UNTIL HE FINDS
A PLACE TO PHOTOGRAPH."
216
00:16:48,311 --> 00:16:49,660
I'VE ALREADY
SNIFFED IT OUT,
217
00:16:49,704 --> 00:16:51,053
I KNOW WHERE I'LL GO.
218
00:16:51,097 --> 00:16:52,881
I KNOW WHERE
I'M GOING TO PEE.
219
00:17:11,160 --> 00:17:15,251
"EVERYBODY REMEMBERS
A BAD PICTURE.
220
00:17:15,295 --> 00:17:19,081
NOBODY REMEMBERS THE PAIN
THAT EVERYBODY WENT THROUGH
221
00:17:19,125 --> 00:17:21,301
TO GET A GOOD PICTURE."
222
00:17:21,344 --> 00:17:23,651
THE PAIN IS FORGOTTEN.
223
00:17:23,694 --> 00:17:26,915
BUT A BAD PICTURE
IS NEVER FORGOTTEN.
224
00:17:26,958 --> 00:17:30,136
SO YOU MIGHT AS WELL
HAVE PAIN FOR EVERYBODY
225
00:17:30,179 --> 00:17:32,529
AND GET A GOOD PICTURE.
226
00:17:32,573 --> 00:17:35,706
SPREAD YOU--ERIC,SPREAD YOUR FINGERS ON HER ASS.
227
00:17:35,750 --> 00:17:36,620
THAT'S IT.
228
00:17:36,664 --> 00:17:38,883
THERE, I LIKE THAT.
229
00:17:38,927 --> 00:17:45,281
COME AND SEE ME,
MAKE ME SMILE
230
00:17:45,325 --> 00:17:48,284
ERIC, YOUR LIPS
MUST BE CLOSED ALWAYS.
231
00:17:48,328 --> 00:17:50,721
TURN YOUR HEAD MORE PROFILE.
232
00:17:50,765 --> 00:17:52,158
THAT'S IT.
233
00:17:52,201 --> 00:17:54,160
HE HAS TO OPEN AND CLOSE
HIS LIPS TO BREATHE.
234
00:17:54,203 --> 00:17:56,510
OH YEAH--WELL, TELL HIM
HE CAN BREATHE.
235
00:17:56,553 --> 00:17:58,947
CLOSE YOUR LIPS,
STAY LIKE THAT.
236
00:17:58,990 --> 00:18:00,775
ERIC, IF YOU GET A HARD-ON,
ALL THE BETTER.
237
00:18:00,818 --> 00:18:03,517
YOU GET MORE MONEY.
238
00:18:03,560 --> 00:18:05,171
BEAUTIFUL.
239
00:18:05,214 --> 00:18:07,738
SPREAD YOUR--VANESSA,
SPREAD YOUR FINGERS MORE.
240
00:18:07,782 --> 00:18:09,479
GOOD, BEAUTIFUL.
241
00:18:09,523 --> 00:18:11,960
ERIC, IF YOU WANT TO BREATHE,
YOU BREATHE.
242
00:18:12,003 --> 00:18:13,614
I LOVE THE HAND ON THE COCK.
243
00:18:13,657 --> 00:18:15,572
I'M GONNA SEND THAT TO ANNA,
SHE'S GONNA HAVE A FIT!
244
00:18:15,616 --> 00:18:17,226
[NEWTON CACKLES]
245
00:18:17,270 --> 00:18:19,228
COVER OF VOGUE MAGAZINE.
246
00:18:19,272 --> 00:18:21,622
[UPBEAT MUSIC]
247
00:18:34,069 --> 00:18:36,898
WHEN I FIRST MET HIM
WHEN I WAS STARTING OFF
248
00:18:36,941 --> 00:18:38,943
IN LONDON,
AND HE WAS A GREAT FRIEND
249
00:18:38,987 --> 00:18:41,555
OF ONE OF THE EDITORS THATI WAS WORKING WITH AT THE TIME,
250
00:18:41,598 --> 00:18:42,643
WILLIE LANDELS,
251
00:18:42,686 --> 00:18:45,254
AND HE WAS THIS MYTHIC FIGURE
252
00:18:45,298 --> 00:18:47,604
AND I WAS, YOU KNOW,
JUST BEGINNING,
253
00:18:47,648 --> 00:18:49,171
AND THERE WAS
A SHOOT SCHEDULED,
254
00:18:49,215 --> 00:18:51,652
AND I WAS ACTUALLY,
IT WAS IN--
255
00:18:51,695 --> 00:18:53,349
I THINK IT WAS GOING TO BE
IN CALIFORNIA,
256
00:18:53,393 --> 00:18:57,788
AND HE HAD THIS IDEA ABOUT
PUTTING COVERS ON THE CARS
257
00:18:57,832 --> 00:18:59,225
AND THE GIRLS WOULD BE
IN THE GARAGE,
258
00:18:59,268 --> 00:19:01,357
TWO THINGS THAT I THINK
HE LIKED TO DO A LOT.
259
00:19:01,401 --> 00:19:03,316
AND I WAS SO TERRIFIED
AT THE IDEA
260
00:19:03,359 --> 00:19:05,796
OF HAVING TO WORK WITH HIM
THAT I LIED
261
00:19:05,840 --> 00:19:07,233
AND SAID I WAS SICK.
262
00:19:07,276 --> 00:19:08,973
AND I SENT MY ASSISTANT,
263
00:19:09,017 --> 00:19:10,584
BECAUSE I WAS
TOO TERRIFIED AT THE IDEA
264
00:19:10,627 --> 00:19:13,195
OF WORKING
WITH THE GREAT HELMUT NEWTON.
265
00:19:19,245 --> 00:19:21,856
MAKE IT ALMOST LOOK NATURAL.
266
00:19:21,899 --> 00:19:27,166
THAT IT'S A LITTLE BIT MORE
THAN THAT, YOU KNOW?
267
00:19:27,209 --> 00:19:29,733
UH-HUH...YEAH.
268
00:19:29,777 --> 00:19:30,821
[SHUTTER CLICKS]
269
00:19:30,865 --> 00:19:32,214
LOOK AT ME.
270
00:19:32,258 --> 00:19:33,650
BRING THAT, UH...
271
00:19:33,694 --> 00:19:35,739
-COKE?
-...THAT COKE TO YOU.
272
00:19:35,783 --> 00:19:37,785
STOP--STOP.
273
00:19:37,828 --> 00:19:39,308
STOP. YEAH. JUST--
274
00:19:39,352 --> 00:19:41,876
JUST THE EXPRESSION LIKE THAT,
DON'T MOVE NOW.
275
00:19:41,919 --> 00:19:43,704
DON'T MOVE.
276
00:19:43,747 --> 00:19:44,879
HANG ON.
277
00:19:49,057 --> 00:19:50,754
I THINK, OF COURSE,
278
00:19:50,798 --> 00:19:52,452
A HELMUT NEWTON WOMAN
WAS VERY STRONG,
279
00:19:52,495 --> 00:19:54,802
SHE WAS PROVOCATIVE,
SHE WAS IN CHARGE.
280
00:19:54,845 --> 00:19:58,327
SHE WAS OFTEN TALL,
SHE WAS OFTEN BLONDE.
281
00:19:58,371 --> 00:20:00,329
SHE HAD ON STRONG LIPSTICK.
282
00:20:00,373 --> 00:20:05,204
I MEAN, UNRECOG--UNMISTAKABLY
A HELMUT NEWTON WOMAN.
283
00:20:16,302 --> 00:20:19,696
HELMUT EXPLAINED--
EXPOSED A LOT
284
00:20:19,740 --> 00:20:21,829
OF THE MEN FEELING,
YOU KNOW.
285
00:20:21,872 --> 00:20:24,223
I DON'T THINK HIS COMMENT
WAS SO MUCH ABOUT THE WOMEN
286
00:20:24,266 --> 00:20:26,050
AS MUCH AS HIS OWN FEELING.
287
00:20:26,094 --> 00:20:28,618
"I LIKE YOU,
DAMN YOU.
288
00:20:28,662 --> 00:20:31,882
I LIKE YOU, AND WHY SHOULD,"
YOU KNOW,
289
00:20:31,926 --> 00:20:33,319
"I SHOULDN'T LIKE YOU,
290
00:20:33,362 --> 00:20:35,973
BECAUSE YOU ARE A WEAPON."
291
00:20:36,017 --> 00:20:38,280
[PATRIOTIC MUSIC]
292
00:21:00,259 --> 00:21:02,870
I DO CONSIDER MYSELF A FEMINIST.
293
00:21:02,913 --> 00:21:07,831
BUT I DO CONSIDER THAT
THE EXPRESSION OF MACHISMO,
294
00:21:07,875 --> 00:21:09,485
IT'S AN EXPRESSION
OF A CULTURE.
295
00:21:09,529 --> 00:21:12,358
NOW, HELMUT, OF COURSE,
IT WASN'T JUST SIMPLY MACHO,
296
00:21:12,401 --> 00:21:14,838
IT WAS MORE COMPLICATED
THAN THAT.
297
00:21:14,882 --> 00:21:17,841
BUT HE DOES LOOK AT WOMEN
AS A SEXUAL OBJECT
298
00:21:17,885 --> 00:21:21,628
AND ALSO AN ATTRACTION
AND AN ANGER TOWARD HER,
299
00:21:21,671 --> 00:21:23,194
AND I THINK THAT'S VERY MACHO.
300
00:21:23,238 --> 00:21:25,545
MEN THAT ARE ATTRACTED
TO WOMEN
301
00:21:25,588 --> 00:21:26,937
AND THEN RESENT WOMEN
302
00:21:26,981 --> 00:21:28,287
BECAUSE THEY ARE
ATTRACTED TO THEM,
303
00:21:28,330 --> 00:21:30,027
SO THEY MAKE THEM VULNERABLE.
304
00:21:30,071 --> 00:21:31,725
THAT IS INTOLERABLE.
305
00:21:31,768 --> 00:21:34,423
AND THEN, THERE IS THAT
"YOU ARE THE DEVIL," YOU KNOW?
306
00:21:34,467 --> 00:21:36,382
BUT I THINK
IT'S VERY INTERESTING
307
00:21:36,425 --> 00:21:38,427
BECAUSE IT REVEALS A CULTURE,
308
00:21:38,471 --> 00:21:41,300
AND IF HELMUT REPRESENTED
PARTIALLY THAT CULTURE,
309
00:21:41,343 --> 00:21:43,302
WHY NOT?
I MEAN, IT EXISTS,
310
00:21:43,345 --> 00:21:47,044
AND THANK GOD ARTISTS
WERE ABLE TO EXPRESS IT.
311
00:21:47,088 --> 00:21:48,263
THERE IS NO NEUTRALITY,
312
00:21:48,307 --> 00:21:49,699
THERE IS NO RIGHT AND WRONG.
313
00:21:49,743 --> 00:21:52,920
EVERYTHING IS TINTED
WITH A POINT OF VIEW.
314
00:21:52,963 --> 00:21:55,314
[AMBIENT MUSIC]
315
00:24:10,579 --> 00:24:12,929
[WOMAN VOCALIZING]
316
00:25:15,644 --> 00:25:17,994
[VIBRANT MUSIC]
317
00:25:31,312 --> 00:25:33,314
IT'S THE VISION HE HAS.
318
00:25:33,357 --> 00:25:34,968
AND WHEN YOU HAVE
A VISION CREATIVELY,
319
00:25:35,011 --> 00:25:36,578
YOU DON'T HAVE TO NECESSARILY
LIVE THAT VISION,
320
00:25:36,622 --> 00:25:38,188
IT DOESN'T HAVE TO BE YOU.
321
00:25:38,232 --> 00:25:41,191
IT'S ACTUALLY VERY--
USUALLY VERY MUCH NOT YOU.
322
00:25:41,235 --> 00:25:43,629
I MEAN, A LOT OF PEOPLE THOUGHTA LOT OF THINGS ABOUT ME
323
00:25:43,672 --> 00:25:45,369
AFTER NIGHT PORTER
AND OTHER FILMS.
324
00:25:45,413 --> 00:25:47,502
THEY COULDN'T BE MORE WRONG
ABOUT ME AS THE PERSON,
325
00:25:47,546 --> 00:25:48,721
BUT THAT DOESN'T MATTER.
326
00:25:48,764 --> 00:25:50,505
I COULDN'T CARE LESS WHAT--
327
00:25:50,549 --> 00:25:51,985
I KNOW WHAT I AM,
328
00:25:52,028 --> 00:25:54,640
BUT WHAT YOU ACTUALLY PRODUCE
AS AN ART FORM
329
00:25:54,683 --> 00:25:57,556
LIKE HELMUT,
THE VISUALS THAT WE HAVE,
330
00:25:57,599 --> 00:25:59,688
YOU COULD--YOU COULD
IMAGINE ALL THESE THINGS.
331
00:25:59,732 --> 00:26:00,776
AND HOW GREAT THAT IS,
332
00:26:00,820 --> 00:26:02,299
THAT'S WHAT ART NEEDS TO HAVE.
333
00:26:02,343 --> 00:26:05,259
IT NEEDS TO HAVE
YOU COMING IN TO IMAGINE.
334
00:26:05,302 --> 00:26:06,652
AND THEN,
IMMEDIATELY YOU SAY,
335
00:26:06,695 --> 00:26:08,828
"OH, BUT HE'S--BUT HE'S PROBABLY REALLY WEIRD,
336
00:26:08,871 --> 00:26:10,438
YOU KNOW,
HE'S DOING THIS AND THAT,"
337
00:26:10,481 --> 00:26:12,092
AND THAT ALWAYS--
338
00:26:12,135 --> 00:26:15,138
THAT'S ONLY GONNA SORT OF
FUEL THE WHOLE THING MORE,
339
00:26:15,182 --> 00:26:16,662
WHICH IS GOOD.
340
00:26:16,705 --> 00:26:19,186
I MEAN, IT'S GREAT
TO BE A PROVOCATEUR,
341
00:26:19,229 --> 00:26:21,014
THAT'S WHAT--
THAT'S WHAT THE WORLD NEEDS
342
00:26:21,057 --> 00:26:22,668
IS A FORM OF PROVOCATION,
343
00:26:22,711 --> 00:26:24,234
'CAUSE IT STIMULATES THOUGHT
AND IT STIMULATES IDEAS
344
00:26:24,278 --> 00:26:26,193
AND IT STIMULATES
ALL SORTS OF, ACTUALLY,
345
00:26:26,236 --> 00:26:30,632
CONVERSATIONS THAT DON'T
REALLY HAVE ANYTHING TO DO
346
00:26:30,676 --> 00:26:31,938
WITH THE MAN HIMSELF--
347
00:26:31,981 --> 00:26:33,026
AND WHO CARES
WITH THE MAN HIMSELF?
348
00:26:33,069 --> 00:26:34,723
WE'RE LOOKING AT HIS ART.
349
00:26:34,767 --> 00:26:37,117
[DRAMATIC MUSIC]
350
00:26:53,742 --> 00:26:57,659
I REALLY WASN'T AWARE
THAT IT MADE SUCH A
351
00:26:57,703 --> 00:26:59,008
BIG SCANDAL.
352
00:26:59,052 --> 00:27:01,620
I KNOW BASICALLY...
353
00:27:01,663 --> 00:27:03,578
I KIND OF HEARD
AROUND A BIT,
354
00:27:03,622 --> 00:27:08,191
OH, SEXISM AND RACISM, AND...
355
00:27:08,235 --> 00:27:12,239
BUT I DON'T--
I NEVER FELT THAT AT ALL,
356
00:27:12,282 --> 00:27:13,544
YOU KNOW?
357
00:27:13,588 --> 00:27:18,898
I MEAN, IT'S LIKE,
AGAIN, ACTING IN FILMS.
358
00:27:18,941 --> 00:27:21,422
THESE THINGS REALLY DID EXIST.
359
00:27:21,465 --> 00:27:22,684
BEING IN CHAINS,
360
00:27:22,728 --> 00:27:24,512
I NEVER SAW IT LIKE THAT.
361
00:27:24,555 --> 00:27:26,732
BECAUSE, YOU KNOW,
SOMETIMES YOU CAN GO THROUGH
362
00:27:26,775 --> 00:27:31,911
A PERIOD OF EXPERIMENTING,
EVEN SEXUALLY, YOU KNOW?
363
00:27:31,954 --> 00:27:34,478
I MEAN,
I'VE TIED UP GUYS BEFORE.
364
00:27:34,522 --> 00:27:35,784
WHITE GUYS.
365
00:27:35,828 --> 00:27:37,307
[SHE CACKLES]
366
00:27:37,351 --> 00:27:38,918
BIG WHITE GUYS!
367
00:27:38,961 --> 00:27:43,400
I DON'T WANNA SAY WHO,
BUT...
368
00:27:43,444 --> 00:27:47,187
I'M STANDING
IN THIS EMPTY TRUCK,
369
00:27:47,230 --> 00:27:49,450
JUST STANDING,
LIKE, VERY DOMINANT,
370
00:27:49,493 --> 00:27:50,973
AND DOLPH IS STANDING DOWN,
371
00:27:51,017 --> 00:27:53,802
AND I'M JUST
LOOKING DOWN ON HIM LIKE THIS.
372
00:27:53,846 --> 00:27:57,588
I'M KIND OF GETTING
INTO HELMUT'S HEAD, YOU KNOW,
373
00:27:57,632 --> 00:28:01,549
AND IT'S MORE OF
THE BLACK-AND-WHITE,
374
00:28:01,592 --> 00:28:05,553
BECAUSE--AND, BECAUSE,
YOU KNOW,
375
00:28:05,596 --> 00:28:08,730
HE HAD DOLPH KIND OF
LOOKING LIKE THE WORKER
376
00:28:08,774 --> 00:28:11,385
BEHIND THE FENCE,
AND HE CANNOT GET TO ME.
377
00:28:11,428 --> 00:28:16,042
SO IN A LOT
OF THESE PICTURES, IT'S...
378
00:28:16,085 --> 00:28:20,263
IT'S LIKE HE WANTS ME
BUT I'M NOT AVAILABLE.
379
00:28:20,307 --> 00:28:23,484
I AM SO CLOSE
AND IN HIS FACE,
380
00:28:23,527 --> 00:28:26,835
BUT THERE'S THIS DISTANCE STILL,YOU KNOW?
381
00:28:26,879 --> 00:28:29,359
UNTIL THE ONE, OF COURSE,
WHERE HE'S HOLDING
382
00:28:29,403 --> 00:28:31,579
AND I'M LOOKING BEHIND.
383
00:28:31,622 --> 00:28:34,277
[DRAMATIC MUSIC]
384
00:28:50,119 --> 00:28:55,385
I'VE BEEN LOOKING SO LONG
AT THESE PICTURES OF YOU
385
00:28:55,429 --> 00:29:00,956
THAT I ALMOST BELIEVE
THAT THEY'RE REAL
386
00:29:01,000 --> 00:29:06,527
I'VE BEEN LIVING SO LONG
WITH MY PICTURES OF YOU
387
00:29:06,570 --> 00:29:11,053
THAT I ALMOST BELIEVE
THAT THE PICTURES
388
00:29:11,097 --> 00:29:14,317
ARE ALL I CAN FEEL
389
00:30:53,547 --> 00:30:55,897
[MAN VOCALIZING]
390
00:31:27,450 --> 00:31:29,017
I'M OFTEN ASKED
IF I'M JEALOUS
391
00:31:29,061 --> 00:31:31,802
OF THE GIRLS HE PHOTOGRAPHS.
392
00:31:31,846 --> 00:31:33,065
IT'S A JOB.
393
00:31:33,108 --> 00:31:34,849
IT'S HIS LIVELIHOOD.
394
00:31:34,893 --> 00:31:36,633
IT'S HOW HE MAKES HIS LIVING.
395
00:31:36,677 --> 00:31:37,939
THAT'S RIGHT.
396
00:31:37,983 --> 00:31:39,593
IT'S MORE THAN A JOB.
397
00:31:39,636 --> 00:31:41,595
IT'S A PASSION.
398
00:31:41,638 --> 00:31:43,858
AN OBSESSION.
399
00:31:43,902 --> 00:31:45,512
HE'S OBSESSED.
400
00:31:45,555 --> 00:31:50,473
I NEVER SAW HELMUT
AS, LIKE, THE WOMANIZER
401
00:31:50,517 --> 00:31:52,954
HE WOULD PROBABLY
COME OFF TO BE
402
00:31:52,998 --> 00:31:54,651
FROM HIS PICTURES.
403
00:31:54,695 --> 00:31:56,871
THIS WAS NOT HELMUT.
404
00:31:56,915 --> 00:31:58,960
BUT IF YOU SEE HIS PICTURES,
405
00:31:59,004 --> 00:32:03,399
YOU WOULD THINK THIS GUY
IS JUST LIKE, "WHOA!"
406
00:32:03,443 --> 00:32:06,402
"YEAH, COME ON, BABY!"
407
00:32:06,446 --> 00:32:07,751
YOU KNOW?
408
00:32:07,795 --> 00:32:10,537
[SHE LAUGHS]
409
00:32:10,580 --> 00:32:15,672
YOU KNOW,THESE ARE AMAZING FANTASIES AND
410
00:32:15,716 --> 00:32:20,199
HIS BEAUTIFUL,
CREATIVE MIND, YOU KNOW?
411
00:32:20,242 --> 00:32:23,724
AND LOVING THE BEAUTY
OF WOMEN,
412
00:32:23,767 --> 00:32:25,856
I SAW THAT, YOU KNOW?
413
00:32:25,900 --> 00:32:28,163
[MAJESTIC MUSIC]
414
00:32:37,042 --> 00:32:38,695
I GOT THE CONTACT SHEET, YEAH.
415
00:32:38,739 --> 00:32:41,307
IT WAS AT THE TIME, ALSO,
WHEN IT WAS AS WE WERE--
416
00:32:41,350 --> 00:32:42,917
IT WAS ALMOST LIKE
WE WERE SORT OF OPENING UP
417
00:32:42,961 --> 00:32:45,964
AT THE SAME TIME,
YOU KNOW,
418
00:32:46,007 --> 00:32:48,053
MY WAY AND HIS WAY,
419
00:32:48,096 --> 00:32:49,706
AND WE ACTUALLY
CAME TOGETHER THERE
420
00:32:49,750 --> 00:32:51,404
AND MADE THESE EXTRAORDINARY
IMAGES VERY QUICKLY.
421
00:32:51,447 --> 00:32:52,796
IT WAS LIKE--
422
00:32:52,840 --> 00:32:54,842
THERE WAS A KIND OF MAGIC THERE,
423
00:32:54,885 --> 00:32:57,062
A FREEDOM OF--WE WERE
ON THE CUSP OF SOMETHING
424
00:32:57,105 --> 00:32:59,107
AND WE WERE
ABOUT TO LAUNCH,
425
00:32:59,151 --> 00:33:02,632
AND SO THERE WAS NO--
THERE WAS--YEAH.
426
00:33:02,676 --> 00:33:05,418
ALL THE THINGS LATER
SORT OF BECAME DIFFERENT,
427
00:33:05,461 --> 00:33:06,897
BUT THAT WAS...
428
00:33:06,941 --> 00:33:09,117
THERE WAS A REAL BEAUTY THERE,
YEAH.
429
00:33:19,388 --> 00:33:23,653
WELL, THE ONES THAT WE DIDIN NORD PINUS HOTEL, THE NUDES,
430
00:33:23,697 --> 00:33:26,526
I THINK THEY'RE SOME
OF THE MOST AMAZING PHOTOS
431
00:33:26,569 --> 00:33:28,223
OF ME, ABSOLUTELY.
432
00:33:28,267 --> 00:33:29,964
AND THEY ARE--
433
00:33:30,008 --> 00:33:31,618
BECAUSE THERE'S SOMETHING
ABOUT THE CHILD IN THERE.
434
00:33:31,661 --> 00:33:33,098
IT'S ALMOST LIKE THE CHILD
SORT OF NOT REALLY WANTING
435
00:33:33,141 --> 00:33:34,621
TO REVEAL WHO SHE IS,
436
00:33:34,664 --> 00:33:36,101
WHICH IS WHAT I WAS
AT THAT TIME.
437
00:33:36,144 --> 00:33:39,539
I WAS ONLY ABOUT--
IN MY LATE 20S.
438
00:33:39,582 --> 00:33:44,326
AND, UM, THERE WAS SOMETHING
REBELLIOUS ABOUT IT, SAYING,
439
00:33:44,370 --> 00:33:45,980
"OHH, NOT TOO CLOSE,"
YOU KNOW.
440
00:33:46,024 --> 00:33:47,286
"I'LL DO IT ON MY TERMS.
441
00:33:47,329 --> 00:33:48,548
YOU DO IT ON YOUR TERMS,
I'LL DO IT ON MY TERMS.
442
00:33:48,591 --> 00:33:50,158
YOU PHOTOGRAPH ME,
443
00:33:50,202 --> 00:33:52,682
BUT I'LL DO AS I WANT
IN THIS PHOTO--AS A MODEL."
444
00:33:52,726 --> 00:33:54,032
WHICH I'VE ALWAYS DONE,
445
00:33:54,075 --> 00:33:55,511
IT'S ALWAYS BEEN THE WAY
I'VE ACTUALLY WORKED
446
00:33:55,555 --> 00:33:58,079
IN THIS BUSINESS
IS LIKE THAT.
447
00:33:58,123 --> 00:33:59,472
SO THERE WAS--
ALL THAT BEGAN,
448
00:33:59,515 --> 00:34:01,082
THERE WAS SOMETHING VERY--
449
00:34:01,126 --> 00:34:03,084
THERE WAS SOMETHING
VERY EXCITING IN THE--
450
00:34:03,128 --> 00:34:08,133
IN THE MAKING OF THE IMAGE OF--OF MYSELF.
451
00:34:08,176 --> 00:34:10,222
'CAUSE I'D NEVER REALLY
THOUGHT ABOUT IT BEFORE.
452
00:34:10,265 --> 00:34:11,658
YOU KNOW, NOW WE THINK
ABOUT IMAGE ALL THE TIME,
453
00:34:11,701 --> 00:34:13,007
ALL THE TIME, BUT THERE,
454
00:34:13,051 --> 00:34:14,617
I HADN'T REALLY
THOUGHT ABOUT IT.
455
00:34:14,661 --> 00:34:16,097
I WAS ACTING, I WAS DOING THESERATHER INTERESTING FILMS,
456
00:34:16,141 --> 00:34:17,925
I WAS...
457
00:34:17,968 --> 00:34:20,667
AND SUDDENLY, I WAS ACTUALLY
SEEING WHAT AN IMAGE CAN DO
458
00:34:20,710 --> 00:34:22,712
AND HOW IMPORTANT IT CAN BE.
459
00:34:22,756 --> 00:34:24,627
AND AS IT'S--
IF YOU START WITH AN IMAGE
460
00:34:24,671 --> 00:34:26,934
LIKE HELMUT NEWTON DID ME
461
00:34:26,977 --> 00:34:30,242
IN THAT HOTEL AT THAT TIME
AT THE AGE I HAVE,
462
00:34:30,285 --> 00:34:31,417
AND YOU START OUT WITH THAT.
463
00:34:31,460 --> 00:34:33,158
I HAD JUST DONE NIGHT PORTER,
464
00:34:33,201 --> 00:34:35,203
SO THOSE IMAGES
WENT BEAUTIFULLY WITH THAT.
465
00:34:35,247 --> 00:34:37,118
SO YOU START TO CREATE
466
00:34:37,162 --> 00:34:39,512
SOMETHING THAT YOU
HADN'T EVEN IMAGINED.
467
00:34:39,555 --> 00:34:40,861
WHEREAS NOW,
YOU DO IMAGINE IT.
468
00:34:40,904 --> 00:34:43,081
BUT THEN,
IT WAS AU NATUREL.
469
00:34:43,124 --> 00:34:45,648
WE WERE JUST SORT OF
FIGURING IT OUT.
470
00:34:54,875 --> 00:34:55,876
HE'D NEVER REALLY DONE NUDES,
471
00:34:55,919 --> 00:34:57,617
I'D NEVER REALLY DONE NUDES.
472
00:34:57,660 --> 00:34:59,053
HE SAID, "IT DOESN'T MATTER
WHETHER YOU'RE NUDE OR NOT,
473
00:34:59,097 --> 00:35:00,663
JUST BE THERE
AND JUST STAND THERE,
474
00:35:00,707 --> 00:35:02,187
JUST DO THAT,
STAND IN FRONT OF--
475
00:35:02,230 --> 00:35:05,668
IN THE WINDOW,GO ON THE BED AND JUST SORT OF--
476
00:35:05,712 --> 00:35:08,193
JUST GIVE ME ATTITUDE,"
HE SAID.
477
00:35:08,236 --> 00:35:10,499
WHICH I DID.
478
00:35:10,543 --> 00:35:12,893
[ROCK MUSIC]
479
00:36:04,423 --> 00:36:07,208
[CRICKET CHIRPING]
480
00:36:07,252 --> 00:36:09,428
WHEN I ASKED HIM
IF HE REALIZED
481
00:36:09,471 --> 00:36:11,691
HOW DEEPLY SUBVERSIVE HE WAS,
482
00:36:11,734 --> 00:36:13,910
IF THE ANARCHY
WAS INTENTIONAL,
483
00:36:13,954 --> 00:36:16,174
OR IF HE WAS
JUST A NAUGHTY BOY,
484
00:36:16,217 --> 00:36:17,827
HE SAID
485
00:36:17,871 --> 00:36:21,570
HE'S A NAUGHTY BOY WHO GREW UP TO BE AN ANARCHIST,
486
00:36:21,614 --> 00:36:23,442
BUT HE'S STILL
A NAUGHTY BOY,
487
00:36:23,485 --> 00:36:25,357
AND HE'LL ALWAYS BE
A NAUGHTY BOY.
488
00:36:25,400 --> 00:36:26,358
I LIKE CINDY.
489
00:36:26,401 --> 00:36:28,229
[SPLASH, SHUTTER CLICKS]
490
00:36:28,273 --> 00:36:30,144
-...IN THE HEAD SO MUCH.
-SORRY.
491
00:36:30,188 --> 00:36:33,278
IT'S THE BEST PICTURE, MM-HM.
492
00:36:33,321 --> 00:36:35,715
[SHUTTER SNAPS, CROSSTALK]
493
00:36:35,758 --> 00:36:38,021
-WILL YOU EVER FORGIVE ME?
-[SHE CHUCKLES]
494
00:36:38,065 --> 00:36:39,501
IT WAS ACTUALLY EXTRAORDINARY
495
00:36:39,545 --> 00:36:43,375
THAT HELMUT WAS ACCEPTED
BY THE INDUSTRY,
496
00:36:43,418 --> 00:36:45,638
BECAUSE HE WAS
MUCH MORE DANGEROUS,
497
00:36:45,681 --> 00:36:48,293
MUCH MORE AMBIGUOUS
AND FRIGHTENING THAN--
498
00:36:48,336 --> 00:36:50,382
THAN AN AVEDON OR A PENN.
499
00:36:50,425 --> 00:36:53,211
AND I THINK HE WAS ACCEPTED
BECAUSE, PROBABLY,
500
00:36:53,254 --> 00:36:54,560
IT WAS THE RIGHT TIME.
501
00:36:54,603 --> 00:36:57,171
IT WAS THE '60S,
THE SEXUAL REVOLUTION.
502
00:36:57,215 --> 00:37:01,393
HE DID PHOTOGRAPH WOMEN NUDE
AND THERE WAS A TWIST TO IT,
503
00:37:01,436 --> 00:37:04,657
AND IT WAS A MOMENT
WHERE SOCIETY WAS ACCEPTING
504
00:37:04,700 --> 00:37:09,270
NUDITY AS AN...UM, I MEAN,
WE CAN ALSO TALK ABOUT
505
00:37:09,314 --> 00:37:10,793
ROBERT MAPPLETHORPE,
506
00:37:10,837 --> 00:37:12,317
WHO WAS YOUNGER
THAN HELMUT NEWTON
507
00:37:12,360 --> 00:37:14,449
AND PHOTOGRAPHED
MALE MOSTLY NAKED.
508
00:37:14,493 --> 00:37:19,149
BUT, UM, THAT WAS
WHERE THE ARTISTS WERE.
509
00:37:19,193 --> 00:37:22,979
IT HAD BEEN A VERY LONG TABOO
FOR MANY YEARS,
510
00:37:23,023 --> 00:37:24,807
TO SEE THE NAKED BODY,
511
00:37:24,851 --> 00:37:26,287
AND NOW WE COULD SEE IT.
512
00:37:26,331 --> 00:37:29,072
BUT THE NAKED BODY
IS NOT JUST NAKED.
513
00:37:29,116 --> 00:37:31,336
THE NAKED BODY
IS A TEMPTATION
514
00:37:31,379 --> 00:37:32,728
OR IT'S A FEAR,
515
00:37:32,772 --> 00:37:35,340
IT'S AN EMBARRASSMENT.
516
00:37:35,383 --> 00:37:37,080
IT'S MANY THINGS,
517
00:37:37,124 --> 00:37:41,476
AND EACH PHOTOGRAPHER
PHOTOGRAPHED ONE ASPECT OF IT.
518
00:37:41,520 --> 00:37:43,870
[EVOCATIVE MUSIC]
519
00:38:24,389 --> 00:38:29,437
I DON'T THINK ANYONE ELSE
COULD'VE MADE ME DO THAT.
520
00:38:29,481 --> 00:38:35,313
HELMUT MADE ME
SHOW MY TITS IN THAT WAY
521
00:38:35,356 --> 00:38:38,490
WITHOUT FEELING
ANY EMBARRASSMENT
522
00:38:38,533 --> 00:38:40,579
OR SHAME OR ANYTHING.
523
00:38:40,622 --> 00:38:42,494
I WAS RATHER PRUDISH.
524
00:38:42,537 --> 00:38:44,887
I THINK I STILL AM.
525
00:38:44,931 --> 00:38:47,977
YOU KNOW, I WAS
BROUGHT UP BY NUNS
526
00:38:48,021 --> 00:38:50,153
IN A CATHOLIC CONVENT.
527
00:38:50,197 --> 00:38:54,854
IT TOOK ME YEARSTO DECOMPRESS AND GET OVER THAT,
528
00:38:54,897 --> 00:38:56,464
REALLY.
529
00:38:56,508 --> 00:39:00,729
AND, UM, HELMUT WAS ONE
OF THE FIRST PEOPLE I MET
530
00:39:00,773 --> 00:39:05,125
WHO DIDN'T HAVE
ANY OF THOSE HANG-UPS.
531
00:39:05,168 --> 00:39:09,042
IT WAS THE VERY FIRST SESSION
I DID WITH HIM.
532
00:39:09,085 --> 00:39:13,438
I WAS LIVING
IN A BASEMENT IN CHELSEA
533
00:39:13,481 --> 00:39:18,138
WITH MY SECOND HUSBAND,
MY PUNK HUSBAND, BEN,
534
00:39:18,181 --> 00:39:20,662
IN FRIGHTFUL SQUALOR, YOU KNOW.
535
00:39:20,706 --> 00:39:22,795
WE HAD NOTHING, NO MONEY.
536
00:39:22,838 --> 00:39:25,624
AND I BORROWED
BEN'S LEATHER JACKET
537
00:39:25,667 --> 00:39:28,714
TO DO THIS,
I TOOK IT WITH ME.
538
00:39:28,757 --> 00:39:30,368
AND HE LOVED IT.
539
00:39:30,411 --> 00:39:32,065
AND THAT'S ALL HE WANTED,
540
00:39:32,108 --> 00:39:34,284
FOR ME TO JUST
WEAR THE LEATHER JACKET.
541
00:39:34,328 --> 00:39:36,635
THAT'S WHY IT LOOKS LIKE THAT.
542
00:39:36,678 --> 00:39:39,028
[VIBRANT MUSIC]
543
00:39:49,561 --> 00:39:53,826
THAT SECOND PICTURE
REALLY IS MY SOUL.
544
00:39:53,869 --> 00:39:55,262
DEFINITELY.
545
00:39:55,305 --> 00:39:58,831
MY EXTERNAL--YOU KNOW,
WHAT I WAS WEARING
546
00:39:58,874 --> 00:40:01,442
REALLY DIDN'T MATTER,
YOU KNOW?
547
00:40:01,486 --> 00:40:04,184
I MADE IT INTO SOMETHING ELSE.
548
00:40:04,227 --> 00:40:07,579
AND HE SAW THAT
AND TOOK THAT PICTURE.
549
00:40:07,622 --> 00:40:09,972
[AMBIENT MUSIC]
550
00:40:15,195 --> 00:40:17,632
I WAS VERY SHY,
AND I'D JUST TURNED 17,
551
00:40:17,676 --> 00:40:20,983
AND THERE WAS NEVER A MOMENT
WHERE I FELT UNCOMFORTABLE.
552
00:40:21,027 --> 00:40:22,681
AND IT WAS JUST
AN AMAZING EXPERIENCE
553
00:40:22,724 --> 00:40:26,815
WHERE I WALKED AWAY SAYING,
"THIS MAN IS INCREDIBLE."
554
00:40:26,859 --> 00:40:28,687
HE HAD SORT OF
A TWINKLE IN HIS EYE,
555
00:40:28,730 --> 00:40:32,255
THAT NOTHING WAS SERIOUS,
EVERYTHING UNDERSTATED
556
00:40:32,299 --> 00:40:34,083
AND VERY WITTY.
557
00:40:34,127 --> 00:40:36,085
SO, HIM PUTTING TOGETHER
558
00:40:36,129 --> 00:40:38,523
A MISE-EN-SCENE
SORT OF LIKE THIS, UM,
559
00:40:38,566 --> 00:40:40,568
HE JUST THOUGHT ABOUT IT
IN THE MOMENT,
560
00:40:40,612 --> 00:40:43,092
AND HE THOUGHT
IT WAS INTERESTING,
561
00:40:43,136 --> 00:40:48,228
'CAUSE I THINK, CONSIDERING
THAT I LOOKED SO INNOCENT AND,
562
00:40:48,271 --> 00:40:49,490
YOU KNOW,
IT WAS LIKE A FUNNY THING
563
00:40:49,534 --> 00:40:51,231
TO PUT US TOGETHER LIKE THIS,
564
00:40:51,274 --> 00:40:53,189
AND HE'S OFFERING ME SWEETS
AS IF I DON'T KNOW HIM.
565
00:40:53,233 --> 00:40:55,365
UM, THAT WAS VERY MUCH
TYPICAL HIM,
566
00:40:55,409 --> 00:40:57,890
BECAUSE HE JUST THOUGHT
OF THINGS OF THE MOMENT.
567
00:40:57,933 --> 00:40:59,457
THE SHOULDERS
A BIT MORE TO ME--
568
00:40:59,500 --> 00:41:00,806
THAT'S BEAUTIFUL.
569
00:41:00,849 --> 00:41:02,721
KEEP IT CLOSE,
THAT'S NICE.
570
00:41:02,764 --> 00:41:04,679
GOOD, GOOD, GOOD.
571
00:41:04,723 --> 00:41:08,291
GOOD, GOOD,
BEAUTIFUL, GOOD.
572
00:41:08,335 --> 00:41:09,510
DEFINITELY,
WHEN I LOOK AT THE PICTURES,
573
00:41:09,554 --> 00:41:11,381
IT'S DEFINITELY NOT ME.
574
00:41:11,425 --> 00:41:12,557
SO IT'S HIS IMAGINATION
575
00:41:12,600 --> 00:41:13,862
AND IT'S MY IMAGINATION.
576
00:41:13,906 --> 00:41:16,256
I LOVE THE FACT THAT
I CAN BE THIS DIFFERENT
577
00:41:16,299 --> 00:41:17,649
THROUGH HIS LENS
578
00:41:17,692 --> 00:41:19,085
AND PLAY AROUND
IN DIFFERENT PEOPLE,
579
00:41:19,128 --> 00:41:20,782
DIFFERENT CHARACTER ROLES.
580
00:41:20,826 --> 00:41:22,828
I THINK HE WAS TRYING TO LOOK
FOR THE DIFFERENT FACETS
581
00:41:22,871 --> 00:41:25,047
OF WHO I COULD BE.
582
00:41:25,091 --> 00:41:26,571
THERE'S ONE THAT'S THE DIRNDL,
583
00:41:26,614 --> 00:41:28,921
WHICH REPRESENTS VERY MUCH
THE GERMAN GIRL,
584
00:41:28,964 --> 00:41:33,055
AND THEN THE SEXY GIRL AS WELL,AND THEN
585
00:41:33,099 --> 00:41:35,014
THE SORT OF, THE NIGHTTIME--
586
00:41:35,057 --> 00:41:36,711
THE DARKNESS OF FASHION,
I THINK,
587
00:41:36,755 --> 00:41:38,408
THAT WAS ALWAYS
MY TAKE ON THAT,
588
00:41:38,452 --> 00:41:41,586
THAT THAT WAS REPRESENTINGSORT OF THE DARKNESS OF FASHION
589
00:41:41,629 --> 00:41:44,632
AND WHAT ELSE THERE IS TO IT.
590
00:41:44,676 --> 00:41:46,242
SO I THINK FOR ME,
IT WAS JUST SORT OF
591
00:41:46,286 --> 00:41:48,680
THE WOMAN IN DIFFERENT--
DIFFERENT PLACES.
592
00:41:52,684 --> 00:41:56,209
YES, PUSH, PUSH, PUSH.
593
00:41:56,252 --> 00:41:57,166
YEAH.
594
00:41:57,210 --> 00:41:58,690
THE HEAD MORE TO ME.
595
00:41:58,733 --> 00:42:01,562
A TWINKLE IN THE EYE
COMING FROM HELMUT
596
00:42:01,606 --> 00:42:05,261
WITH SOME FUN SETUPS THAT HE HADTHOUGHT OF LAST MINUTE.
597
00:42:05,305 --> 00:42:08,438
THE HUSBAND SUPPOSEDLY WITH THE LOVER BEHIND THE DOOR.
598
00:42:08,482 --> 00:42:09,918
THAT'S GREAT,
THAT'S GREAT.
599
00:42:09,962 --> 00:42:11,572
GO, GO, GO.
600
00:42:11,616 --> 00:42:13,269
WHICH IS VERY HELMUT NEWTON.
601
00:42:13,313 --> 00:42:15,445
AND AGAIN, THIS IS
HOW YOU RECOGNIZE ALSO, UM,
602
00:42:15,489 --> 00:42:17,447
HIS PHOTOS,
'CAUSE THERE'S THAT--
603
00:42:17,491 --> 00:42:19,798
IT'S THE HIGH FASHION
COME TOGETHER WITH
604
00:42:19,841 --> 00:42:21,843
AN INTERESTING ANGLE
OF SOME KIND,
605
00:42:21,887 --> 00:42:25,107
AND TOGETHER WITH SEXINESS.
606
00:42:25,151 --> 00:42:26,892
THAT'S GOOD--
CHIN DOWN A BIT, CLAUDIA.
607
00:42:26,935 --> 00:42:28,415
DOWN, DOWN.
608
00:42:28,458 --> 00:42:30,156
A BIT MORE TO ME.
609
00:42:30,199 --> 00:42:31,592
NOT TOO MUCH.
610
00:42:31,636 --> 00:42:33,376
THERE! PERFECT!
611
00:42:33,420 --> 00:42:34,856
IT WAS QUITE FUNNY,
612
00:42:34,900 --> 00:42:36,771
BECAUSE THEY LOOKED FOR
ANYONE WHO COULD PLAY
613
00:42:36,815 --> 00:42:40,079
THE ROLE OF THE MAID
WITH HER HEAD IN THE OVEN,
614
00:42:40,122 --> 00:42:43,604
AND THEY EVENTUALLY
WENT TO A UNIVERSITY
615
00:42:43,648 --> 00:42:45,519
AND ASKED FOR ANY STUDENTS
WHO WOULD BE WILLING
616
00:42:45,563 --> 00:42:46,825
TO COME FORWARD.
617
00:42:46,868 --> 00:42:48,261
AND I REMEMBER
THE GIRL ARRIVED
618
00:42:48,304 --> 00:42:49,654
AND HAD NO IDEA
WHO HELMUT NEWTON WAS
619
00:42:49,697 --> 00:42:52,657
AND WHAT WAS
ABOUT TO HAPPEN.
620
00:42:52,700 --> 00:42:56,965
AND WAS A BIT, UM...
SURPRISED WHEN SHE WAS ASKED
621
00:42:57,009 --> 00:42:59,272
TO PUT HER HEAD INTO THE OVEN
NOW FOR THE PICTURE,
622
00:42:59,315 --> 00:43:02,754
AND I WAS JUST
STANDING BEHIND HER.
623
00:43:02,797 --> 00:43:05,626
WHICH MADE US ALL LAUGH,
INCLUDING HER.
624
00:43:05,670 --> 00:43:07,062
LISTEN,
GET HER TELEPHONE NUMBER,
625
00:43:07,106 --> 00:43:09,499
WE'LL CALL--
GET HER TELEPHONE NUMBER
626
00:43:09,543 --> 00:43:11,153
AND WE'LL CALL HER BACK.
627
00:43:11,197 --> 00:43:12,633
HELLO?
628
00:43:12,677 --> 00:43:13,895
JUST ONE MINUTE.
629
00:43:13,939 --> 00:43:18,247
YEAH, WHAT DO YOU SPEAK,
ENGLISH OR FRENCH?
630
00:43:18,291 --> 00:43:20,467
OKAY.
631
00:43:20,510 --> 00:43:21,642
THE WHAT?
632
00:43:24,340 --> 00:43:25,907
NO, NO, NO,
I DON'T SPEAK SPANISH.
633
00:43:25,951 --> 00:43:29,302
I SPEAK ENGLISH,
FRENCH, AND GERMAN.
634
00:43:29,345 --> 00:43:30,956
BUT--ALL RIGHT.
635
00:43:30,999 --> 00:43:32,261
NOW, I'LL TELL YOU SOMETHING.
636
00:43:32,305 --> 00:43:33,219
I'M IN THE MIDDLE
OF A MEETING,
637
00:43:33,262 --> 00:43:34,524
YOU'VE GOTTA BE QUICK.
638
00:43:59,201 --> 00:44:00,986
AND YOU'RE--YOU'RE ON?
639
00:44:01,029 --> 00:44:04,859
GOOD. FILM THIS GIRL.
640
00:44:04,903 --> 00:44:06,687
GO CLOSER.
641
00:44:06,731 --> 00:44:09,821
GO CLOSER!
642
00:44:09,864 --> 00:44:12,084
THAT IS PERFECT.
643
00:44:12,127 --> 00:44:14,608
LOOK HOW PRETTY THEY LOOK.
644
00:44:14,652 --> 00:44:15,957
MOST THESE BERLIN G--
645
00:44:16,001 --> 00:44:18,699
BECAUSE THE SUN COMES OUT
VERY RARELY,
646
00:44:18,743 --> 00:44:25,706
SO THEY HAVE A SOMEWHAT
UNHEALTHY BLUISH-WHITE SKIN,
647
00:44:25,750 --> 00:44:28,013
WHICH I THINK IS GREAT,
648
00:44:28,056 --> 00:44:30,972
AND THEY HAVE BEAUTIFUL LIPS
649
00:44:31,016 --> 00:44:33,758
AND THE HIGH CHEEKBONES,
650
00:44:33,801 --> 00:44:36,935
AND THEY'RE WELL BUILT.
651
00:44:36,978 --> 00:44:39,633
THEY'RE FUNNY BECAUSE
ALL BERLINERS ARE FUNNY,
652
00:44:39,677 --> 00:44:43,550
YOU KNOW, LIKE THE REST
OF THE GERMANS ARE BORING,
653
00:44:43,593 --> 00:44:46,814
BUT BERLINERS
HAVE GOT SOMETHING.
654
00:44:46,858 --> 00:44:49,164
[LIVELY MUSIC]
655
00:45:19,717 --> 00:45:22,415
[LIVELY MUSIC]
656
00:45:27,463 --> 00:45:29,378
I THINK HE WAS WEIMAR.
657
00:45:29,422 --> 00:45:31,163
THAT'S HOW I THINK OF HIM,
658
00:45:31,206 --> 00:45:34,514
LIKE CONNECTED
TO BRECHT AND WEILL
659
00:45:34,557 --> 00:45:37,169
AND ALL THAT WONDERFUL--
660
00:45:37,212 --> 00:45:39,040
GEORGE GROSZ--
661
00:45:39,084 --> 00:45:42,609
YOU KNOW, THAT WONDERFUL PERIODOF GERMAN ART,
662
00:45:42,652 --> 00:45:44,306
EXPRESSIONISM.
663
00:45:44,350 --> 00:45:45,830
THAT WAS HELMUT.
664
00:45:45,873 --> 00:45:47,745
[LIVELY MUSIC]
665
00:45:53,794 --> 00:45:55,796
I LOVED MY PARENTS,
THEY WERE GREAT.
666
00:45:55,840 --> 00:45:57,755
VERY DIFFERENT
IN THEIR INFLUENCE ON ME.
667
00:45:57,798 --> 00:46:02,455
MY MOTHER WAS
A VERY SPOILED WOMAN
668
00:46:02,498 --> 00:46:04,979
AND QUITE HYSTERICAL
IN MANY WAYS,
669
00:46:05,023 --> 00:46:08,461
BUT PRETTY WONDERFUL.
670
00:46:08,504 --> 00:46:10,550
PRETTY WONDERFUL.
671
00:46:10,593 --> 00:46:12,291
AND VERY ENCOURAGING INDEED.
672
00:46:12,334 --> 00:46:14,989
SHE ENCOURAGED ME VERY MUCH
TO BECOME A PHOTOGRAPHER.
673
00:46:15,033 --> 00:46:18,863
MY FATHER WAS, UH,
HE WAS HORRIFIED BY THE IDEA.
674
00:46:18,906 --> 00:46:20,908
[CHUCKLING]
675
00:46:20,952 --> 00:46:22,823
NONE OF MY SONS--
676
00:46:22,867 --> 00:46:25,304
ONE SON BECAME A FARMER
677
00:46:25,347 --> 00:46:27,480
AND THE OTHER ONE
WANTED TO BE A PHOTOGRAPHER.
678
00:46:27,523 --> 00:46:31,571
I MEAN, WHAT A DOWN--
WHAT A DOWNTURN IN THE FAMILY.
679
00:46:31,614 --> 00:46:35,967
"YOU TAKE PICTURES FOR A WEEKENDFOR A HOBBY, MY BOY.
680
00:46:36,010 --> 00:46:37,838
YOU END UP IN THE GUTTER,
MY BOY."
681
00:46:37,882 --> 00:46:39,361
AND HE WAS RIGHT, I DID,
682
00:46:39,405 --> 00:46:41,842
BUT IT WAS A GOOD TIME
IN THE GUTTER.
683
00:46:41,886 --> 00:46:43,931
I WAS DETERMINED,
I WASN'T GONNA GROW
684
00:46:43,975 --> 00:46:46,368
AND MAKE BUTTONS, YOU KNOW.
685
00:46:46,412 --> 00:46:51,417
IT DIDN'T INTEREST ME
TO GO INTO DAD'S BUSINESS.
686
00:46:51,460 --> 00:46:54,159
[UPBEAT MUSIC]
687
00:46:56,944 --> 00:46:59,077
MY MOTHER USED TO CHASE ME
688
00:46:59,120 --> 00:47:01,035
WITH MY [UNINTELLIGIBLE]
689
00:47:01,079 --> 00:47:04,212
INTO THE STADTPARK,
IN THE SCHoöNEBERGER STADTPARK,
690
00:47:04,256 --> 00:47:07,737
HERE, FOR TWO AND A HALF HOURS
EVERY DAY.
691
00:47:07,781 --> 00:47:10,001
I REALLY HATED THIS PARK,
692
00:47:10,044 --> 00:47:11,959
BUT IT HAS MEMORIES.
693
00:47:12,003 --> 00:47:15,571
THIS FENCE HAS NOT CHANGED,
694
00:47:15,615 --> 00:47:19,053
AND I HAD ONE
OF THOSE PUSH ROLLERS
695
00:47:19,097 --> 00:47:20,968
THAT KIDS HAVE,
MADE OF WOOD,
696
00:47:21,012 --> 00:47:24,929
AND I COME DOWN THE HILL
AT GREAT SPEED,
697
00:47:24,972 --> 00:47:26,800
AND I SEE A LITTLE GIRL,
698
00:47:26,844 --> 00:47:29,194
I THINK I MUST'VE BEEN
6 YEARS OLD,
699
00:47:29,237 --> 00:47:31,413
I TURN AROUND
TO THE LITTLE GIRL,
700
00:47:31,457 --> 00:47:35,026
AND OF COURSE, I SLIP,
THE ROLLER ON THE FLOOR,
701
00:47:35,069 --> 00:47:39,900
AND ME, I'M LANDING
ON THIS FENCE WITH MY WRIST.
702
00:47:39,944 --> 00:47:43,904
WRIST WAS BROKEN,
CAME HOME SCREAMING.
703
00:47:43,948 --> 00:47:45,950
YOU SHOULDN'T TURN AROUND
AND LOOK AT GIRLS.
704
00:47:45,993 --> 00:47:47,908
[VIBRANT MUSIC]
705
00:47:53,044 --> 00:47:55,568
WHEN I WAS 13,
706
00:47:55,611 --> 00:47:57,396
HITLER CAME TO POWER,
707
00:47:57,439 --> 00:48:00,878
AND VERY SOON,
708
00:48:00,921 --> 00:48:03,402
ONE WAS SURROUNDED
BY NAZI IMAGERY.
709
00:48:17,459 --> 00:48:21,072
EVERYBODY KNOWS I'M A JEW,
AND THAT'S FINE,
710
00:48:21,115 --> 00:48:24,989
BUT IMAGINE A KID
THAT'S CRAZY ABOUT PICTURES
711
00:48:25,032 --> 00:48:27,295
AND ALL HE WANTS TO DO
IS LOOK AT PICTURES,
712
00:48:27,339 --> 00:48:29,950
AND ALL HE SEES
IS NAZI PICTURES
713
00:48:29,994 --> 00:48:34,999
AND THE WAY THE, YOU KNOW,
714
00:48:35,042 --> 00:48:36,826
THE GLORIFICATION,
715
00:48:36,870 --> 00:48:38,480
LIKE LENI RIEFENSTAHL.
716
00:48:38,524 --> 00:48:42,963
I MEAN, SHE DID A VERY GOOD JOBFOR THE GOVERNMENT,
717
00:48:43,007 --> 00:48:44,399
FOR THE NAZIS,
AN EXCELLENT JOB.
718
00:48:44,443 --> 00:48:46,010
NOBODY COULD'VE DONE
A BETTER JOB
719
00:48:46,053 --> 00:48:47,750
BECAUSE SHE'S ALSO
A BLOODY GENIUS.
720
00:49:09,685 --> 00:49:11,165
HELMUT PHOTOGRAPHED WOMEN
721
00:49:11,209 --> 00:49:13,820
AS LENI RIEFENSTAHL
WOULD'VE PHOTOGRAPHED MEN.
722
00:49:13,863 --> 00:49:16,823
THERE WAS SOMETHING POWERFUL
AND BEAUTIFUL
723
00:49:16,866 --> 00:49:20,348
AND FRIGHTENING
AND ALSO REPELLENT
724
00:49:20,392 --> 00:49:22,568
AND, YOU KNOW, AND I'M SURE
725
00:49:22,611 --> 00:49:24,918
YOU COULD READ THAT
IN HIS PHOTO.
726
00:49:24,962 --> 00:49:28,052
[AMBIENT MUSIC]
727
00:49:28,095 --> 00:49:30,184
YOU SEE THAT THERE IS
A GERMAN THING,
728
00:49:30,228 --> 00:49:33,666
YOU SEE THIS RESEARCH
THE NAZI PROMOTED
729
00:49:33,709 --> 00:49:36,930
ABOUT THE BEAUTY
OF THE WHITE
730
00:49:36,974 --> 00:49:38,976
OR THE PERFECTION OF THE BODY,
731
00:49:39,019 --> 00:49:42,283
THE INFERIORITY OF A RACE
COMPARED TO ANOTHER RACE.
732
00:49:42,327 --> 00:49:45,025
YOU FEEL HINTS TO THIS,
733
00:49:45,069 --> 00:49:48,333
AND--AND THE--AND YOU STILL--
734
00:49:48,376 --> 00:49:51,205
AND YOU STILL FEEL
THAT HE'S WORKING,
735
00:49:51,249 --> 00:49:55,993
THAT IN HIS BRAIN,HELMUT IS WORKING OUT ALL THIS.
736
00:50:01,041 --> 00:50:05,219
PEOPLE HAVE ACCUSED ME OF, EVENNOW, HAVING A CERTAIN INFLUENCE,
737
00:50:05,263 --> 00:50:07,047
AND I SAY,
"WELL, IT'S NATURAL."
738
00:50:07,091 --> 00:50:09,528
YOU GROW UP WITH IT.
739
00:50:09,571 --> 00:50:11,921
I MEAN, YOU ALSO GREW UP
WITH THE KNOWLEDGE
740
00:50:11,965 --> 00:50:14,185
THAT THE NAZIS WOULD COME
AND PUT YOU IN--
741
00:50:14,228 --> 00:50:18,058
YOU CUT ACROSS A ROAD,
IF YOU CROSS AT A RED LIGHT,
742
00:50:18,102 --> 00:50:21,540
IT'S LIKELY THAT YOU'LL END UP
IN A CONCENTRATION CAMP.
743
00:50:21,583 --> 00:50:24,847
I MEAN, IT WAS A SCARY TIME.
744
00:50:24,891 --> 00:50:27,415
BUT, YOU KNOW,
KIDS ARE DIFFERENT.
745
00:50:27,459 --> 00:50:31,811
KIDS SEEM TO HAVE A STRENGTH.
746
00:50:31,854 --> 00:50:33,421
WE KNEW IT WAS DANGEROUS.
747
00:50:33,465 --> 00:50:38,078
YOU KNOW, THERE WERE
THE NUREMBERG LAWS ABOUT NOT--
748
00:50:38,122 --> 00:50:40,820
YOU HAD TO HAVE
JEWISH GIRLFRIENDS
749
00:50:40,863 --> 00:50:44,041
AND YOU WEREN'T SUPPOSED TO BE
WITH WHAT THEY CALLED ARYAN.
750
00:50:44,084 --> 00:50:47,566
SO, IT WAS ALL A STRANGE TIME.
751
00:51:16,769 --> 00:51:18,771
ONE THING I'LL NEVER FORGET,
752
00:51:18,814 --> 00:51:23,123
I WENT OUT WITH A GIRL
TO WHERE THE BARRIER WAS,
753
00:51:23,167 --> 00:51:24,907
AND I HUNG ONTO THE BARRIER
754
00:51:24,951 --> 00:51:27,171
AND I UNDRESSED HER UNDERWATER,
755
00:51:27,214 --> 00:51:29,173
AND I WAS THROWN OUT OF THE--
756
00:51:29,216 --> 00:51:32,785
OUT OF THE POOL.
757
00:51:32,828 --> 00:51:35,570
THERE'S ALWAYS, YOU KNOW,
A GUY COMES,
758
00:51:35,614 --> 00:51:39,313
LIKE A LIFESAVER COMES BY
AND WATCHED THIS GIRL,
759
00:51:39,357 --> 00:51:42,751
I WAS THROWN OUT AND I WAS
FORBIDDEN TO COME BACK.
760
00:51:42,795 --> 00:51:44,840
AND THEN, OF COURSE,
THEY HAD SIGNS,
761
00:51:44,884 --> 00:51:47,147
"JEWS AND DOGS NOT ALLOWED,"
762
00:51:47,191 --> 00:51:49,628
BUT THAT DIDN'T STOP ME
BECAUSE I LIKED SWIMMING
763
00:51:49,671 --> 00:51:51,804
WITH MY FRIENDS
AND MY GIRLFRIENDS.
764
00:51:51,847 --> 00:51:54,763
I DID A LOT OF PHOTOGRAPHS
OF MY FRIENDS.
765
00:51:54,807 --> 00:51:58,202
I TRIED TO DO FASHION PICTURES,
766
00:51:58,245 --> 00:52:00,291
LIKE WHAT I SAW IN VOGUE.
767
00:52:00,334 --> 00:52:03,468
THEN I WANTED TO BECOME
A RASENDER REPORTER.
768
00:52:03,511 --> 00:52:05,426
[VIBRANT MUSIC]
769
00:52:43,638 --> 00:52:44,900
I LEARNED EVERYTHING.
770
00:52:44,944 --> 00:52:47,207
THE CRAFT, I WAS AN APPRENTICE,
771
00:52:47,251 --> 00:52:48,556
A TRUE APPRENTICE.
772
00:52:48,600 --> 00:52:51,124
I LEARNED HOW TO
NEGATIVE RETOUCH,
773
00:52:51,168 --> 00:52:54,258
I LEARNED HOW TO LIGHT
IN THE STUDIO.
774
00:52:54,301 --> 00:52:58,479
YOU KNOW, I LEARNED
TO RESPECT A PIECE OF FILM.
775
00:52:58,523 --> 00:53:00,699
THAT WAS A VERY HAPPY TIME.
776
00:53:00,742 --> 00:53:04,268
TWO YEARS, THE WOMAN
WAS WONDERFUL, WONDERFUL.
777
00:53:04,311 --> 00:53:06,922
I WORSHIPED THE GROUND
SHE TREAD ON.
778
00:53:15,192 --> 00:53:17,106
[SOMBER MUSIC]
779
00:53:23,591 --> 00:53:27,247
I RAN IN THE DAY
AND I TRIED TO HIDE AT NIGHT,
780
00:53:27,291 --> 00:53:30,119
BUT SOME PEOPLE
WERE VERY KIND TO ME,
781
00:53:30,163 --> 00:53:35,124
AND SOME OF THE KIND PEOPLE
WERE PARTY MEMBERS
782
00:53:35,168 --> 00:53:37,562
THAT REALLY STUCKTHEIR NECK OUT, THEIR NECKS OUT,
783
00:53:37,605 --> 00:53:39,520
AND THERE WERE PEOPLE
THAT WERE--
784
00:53:39,564 --> 00:53:42,741
THEIR CELLARS
WERE FILLED WITH JEWS.
785
00:53:47,180 --> 00:53:49,269
BUT...
786
00:53:49,313 --> 00:53:51,532
HOW MANY GOOD GERMANS
WERE THERE?
787
00:53:51,576 --> 00:53:53,708
LIKE, EVERY GERMAN WOULD SAY,
YOU KNOW,
788
00:53:53,752 --> 00:53:55,536
THERE WERE 60 MILLION GERMANS,
789
00:53:55,580 --> 00:53:57,408
AND EVERYONE SAYS,
"I KNOW A NICE JEW."
790
00:53:57,451 --> 00:53:59,279
THERE MUST'VE BEEN
60 MILLION NICE JEWS,
791
00:53:59,323 --> 00:54:01,020
BUT THEY GOT RID OF THEM ANYWAY.
792
00:54:01,063 --> 00:54:04,502
THAT IS NOT ALL THOSE NICE JEWS.
793
00:54:04,545 --> 00:54:07,287
[SOFT MUSIC]
794
00:54:21,649 --> 00:54:25,436
I LEFT ON 5TH OF DECEMBER, 1938,
795
00:54:25,479 --> 00:54:27,438
FOR TRIESTE,
796
00:54:27,481 --> 00:54:30,615
TO CATCH A SHIP TO CHINA.
797
00:54:30,658 --> 00:54:33,574
IT WAS--I CAN REMEMBER
THE NAME OF THE SHIP,
798
00:54:33,618 --> 00:54:38,579
WAS CALLED THE CONTE ROSSO,
LLOYD TRIESTINO'S SHIP.
799
00:54:38,623 --> 00:54:40,277
I NEVER MADE IT TO CHINA.
800
00:54:40,320 --> 00:54:43,280
I GOT HUNG UP IN SINGAPORE.
801
00:54:43,323 --> 00:54:45,369
I WAS AT THE STRAITS TIMES,
802
00:54:45,412 --> 00:54:47,806
AND I WAS SUCH A BAD REPORTER
803
00:54:47,849 --> 00:54:50,199
THAT I GOT THROWN OUT
AFTER TWO WEEKS.
804
00:54:50,243 --> 00:54:52,550
ON THE STREET WITHOUT A PENNY.
805
00:54:52,593 --> 00:54:54,421
I WAS TOO SLOW.
806
00:54:54,465 --> 00:54:57,119
BY THE TIME I HAD
MY LITTLE ROLLEICORD SET,
807
00:54:57,163 --> 00:55:00,688
EVERYTHING HAD FIZZLED,
THE EVENT HAD GONE.
808
00:55:28,281 --> 00:55:30,849
[CHEERFUL MUSIC]
809
00:55:54,742 --> 00:55:56,614
YES, IT WAS, UM...
810
00:55:58,485 --> 00:56:01,183
I WALKED INTO HIS STUDIO,
811
00:56:01,227 --> 00:56:07,102
AND I WAS SITTING IN
HIS LITTLE FRONT WAITING ROOM,
812
00:56:07,146 --> 00:56:09,496
I SUPPOSE YOU'D CALL IT,
813
00:56:09,540 --> 00:56:14,414
AND I WAS LOOKING
AT THE PICTURES ON THE WALL
814
00:56:14,458 --> 00:56:16,416
THAT WERE ABSOLUTELY WONDERFUL.
815
00:56:16,460 --> 00:56:19,201
THINGS I'D NEVER SEEN BEFORE
IN AUSTRALIA.
816
00:56:19,245 --> 00:56:23,031
AND ALL OF A SUDDEN, I THOUGHT,"THIS MAN MUST BE VERY OLD."
817
00:56:23,075 --> 00:56:25,207
I THOUGHT HE WAS
A VERY OLD MAN,
818
00:56:25,251 --> 00:56:27,079
AND THEN THE DOOR OPENED
AND IN WALKED
819
00:56:27,122 --> 00:56:32,650
THIS MARVELOUS-LOOKING,
WONDERFUL, BRIGHT-LOOKING MAN,
820
00:56:32,693 --> 00:56:35,000
AND THAT WAS THE FIRST TIME
I MET HIM.
821
00:56:35,043 --> 00:56:37,437
[GENTLE MUSIC]
822
00:56:43,269 --> 00:56:45,837
I DID INDEED DO
A LITTLE MODELING
823
00:56:45,880 --> 00:56:48,535
FOR A KNITTING BOOK CALLED
THE NEW IDEA.
824
00:56:48,579 --> 00:56:51,233
I NEVER GOT PAID,
HE NEVER PAID ME ANYTHING,
825
00:56:51,277 --> 00:56:54,323
BUT HE MARRIED ME INSTEAD,
OR I MARRIED HIM INSTEAD.
826
00:56:54,367 --> 00:56:56,238
JUNE HAD A LOT OF AUTHORITY.
827
00:56:56,282 --> 00:56:57,501
SHE RAN THE SET,
828
00:56:57,544 --> 00:56:59,590
AND HELMUT SEEMED LIKE
A LITTLE BOY
829
00:56:59,633 --> 00:57:01,330
THAT WAS PLAYING WITH HIS TOYS,
830
00:57:01,374 --> 00:57:03,768
AND SHE GAVE HIM THE TOYS
TO PLAY WITH.
831
00:57:03,811 --> 00:57:05,944
SO SHE HAD MORE AUTHORITY
THAN HELMUT,
832
00:57:05,987 --> 00:57:07,511
AND HELMUT WAS VERY COMICAL.
833
00:57:07,554 --> 00:57:10,296
HE WAS LAUGHING,
HE WAS PLAYFUL.
834
00:57:10,339 --> 00:57:12,124
SO ACTUALLY,
AFTER I WORKED WITH HIM,
835
00:57:12,167 --> 00:57:14,779
I STARTED TO SEE
THE LIGHTNESS IN HIS PHOTO.
836
00:57:14,822 --> 00:57:16,650
THE PHOTOS WERE FRIGHTENING,
837
00:57:16,694 --> 00:57:19,000
BUT THERE WAS ALL A SENSE
OF HUMOR ABOUT IT.
838
00:57:19,044 --> 00:57:21,481
SO WE HAD A LOT OF FUN
AT THE HOTEL RAPHAEL
839
00:57:21,525 --> 00:57:23,875
DOING THE SECOND SHOOT
WHERE HE MADE ME QUITE SEXY.
840
00:57:23,918 --> 00:57:26,443
I REMEMBER,
THERE'S A PHOTO OF ME WITH--
841
00:57:26,486 --> 00:57:29,881
I MEAN, I'M NOT NUDE,
BUT MY LEGS ARE NAKED,
842
00:57:29,924 --> 00:57:33,145
I HAVE A VERY BIG DECOLLETE,
AND I LOOK LIKE
843
00:57:33,188 --> 00:57:35,930
A HIGH-CLASS GIRL
FROM MADAME CLAUDE
844
00:57:35,974 --> 00:57:39,543
OR SOMETHING LIKE THAT, WHO HADTHE BIGGEST BROTHEL IN PARIS.
845
00:57:39,586 --> 00:57:42,023
[SOFT PIANO MUSIC]
846
00:57:52,164 --> 00:57:54,166
[VOCALIZING]
847
00:58:12,358 --> 00:58:14,752
THERE'S AN OLD ROLLEIFLEX.
848
00:58:14,795 --> 00:58:16,841
THERE.
849
00:58:16,884 --> 00:58:18,712
THERE'S ERICH VON STROHEIM,
850
00:58:18,756 --> 00:58:21,541
MY HERO, ONE OF MY HEROES.
851
00:58:21,585 --> 00:58:23,108
THERE'S...
852
00:58:27,982 --> 00:58:29,767
THE YOUNG VIRGIN.
853
00:58:53,573 --> 00:58:56,228
YOUR LEFT HAND
MORE TO THE OTHER HAND.
854
00:58:56,271 --> 00:58:57,359
NO, NO, JUST--
855
00:58:57,403 --> 00:58:58,665
THERE, THAT'S IT!
856
00:58:58,709 --> 00:59:01,799
BEAUTIFUL, STAY THERE,
LARISSA, STAY.
857
00:59:01,842 --> 00:59:03,365
OPEN THE DOOR A BIT, CARLA.
858
00:59:03,409 --> 00:59:04,236
THAT'S GOOD.
859
00:59:04,279 --> 00:59:05,411
NOW, YOUR HEAD WAS DOWN.
860
00:59:05,454 --> 00:59:06,804
MUCH BETTER, CARLA, BEFORE.
861
00:59:06,847 --> 00:59:08,719
LIKE THIS, STAY.
862
00:59:08,762 --> 00:59:11,025
[CLAPPING]
863
00:59:13,419 --> 00:59:17,162
ANOTHER $10,000
864
00:59:17,205 --> 00:59:19,991
TO BUY MORE DIAMONDS
FOR MY JUNIE.
865
00:59:20,034 --> 00:59:22,384
[MELLOW MUSIC]
866
00:59:28,042 --> 00:59:30,044
I THINK THEY WERE
EVERYTHING TOGETHER.
867
00:59:30,088 --> 00:59:34,527
I MEAN, THIS IS THE DREAM
OF EVERY COUPLE IN LIFE, NO?
868
00:59:34,571 --> 00:59:37,225
TO HAVE MET YOUR PERFECT PERSON
869
00:59:37,269 --> 00:59:39,793
THAT YOU RESPECT,
YOU CAN WORK WITH,
870
00:59:39,837 --> 00:59:41,926
BUILD SOMETHING TOGETHER.
871
00:59:41,969 --> 00:59:43,536
THIS IS WONDERFUL,
872
00:59:43,580 --> 00:59:45,756
AND EVEN WHEN THEY HAD
DIFFICULT TIMES,
873
00:59:45,799 --> 00:59:47,671
AS WE ALL KNOW, YOU KNOW,
874
00:59:47,714 --> 00:59:51,196
WHEN JUNE WAS DOING
HER LITTLE REVENGES ON HIM
875
00:59:51,239 --> 00:59:54,155
OR LITTLE, YOU KNOW,
LIKE EVERY COUPLE.
876
00:59:54,199 --> 00:59:56,070
SHE WAS IN HOTEL IN PARIS,
877
00:59:56,114 --> 00:59:58,246
AND HE WAS DOWNSTAIRS
WAITING FOR HER
878
00:59:58,290 --> 00:59:59,857
I THINK A COUPLE OF DAYS.
879
00:59:59,900 --> 01:00:01,162
[LAUGHING]
880
01:00:01,206 --> 01:00:02,468
NOW THE PANTS HAVE HAD IT.
881
01:00:02,511 --> 01:00:03,643
NOW THEY'VE HAD IT.
882
01:00:03,687 --> 01:00:04,775
-LOOK.
-SHOW ME.
883
01:00:04,818 --> 01:00:05,819
SHOW ME, SHOW ME.
884
01:00:05,863 --> 01:00:07,429
WAIT, WAIT, WAIT.
885
01:00:07,473 --> 01:00:09,083
WAIT, WAIT, WAIT,
I WANT TO SEE THEM,
886
01:00:09,127 --> 01:00:11,259
HOW FAR THEY'VE HAD--
YEAH, THEY'VE HAD IT.
887
01:00:11,303 --> 01:00:14,611
AH, HELMY!
888
01:00:14,654 --> 01:00:15,829
OH WELL.
889
01:00:15,873 --> 01:00:17,657
HOW LONG
HAVE YOU HAD THEM, HEL?
890
01:00:17,701 --> 01:00:19,354
OH, I DON'T KNOW OFFHAND.
891
01:00:19,398 --> 01:00:21,661
THEY LOOK AS IF YOU'VE HAD THEM FOR A LONG TIME.
892
01:00:21,705 --> 01:00:23,228
-PERRY ELLIS.
-YOU GOT THEM
893
01:00:23,271 --> 01:00:25,186
IN CARNABY STREET,
I THINK, IN THE '70S.
894
01:00:25,230 --> 01:00:29,190
NO, NO, NO, I GOT THEM
AT ROBINSON'S IN LOS ANGELES.
895
01:00:29,234 --> 01:00:32,280
WHAT, IN--IN 1980?
896
01:00:34,369 --> 01:00:36,937
HOW OLD WOULD YOU SAY
THE SWEATER IS?
897
01:00:38,591 --> 01:00:41,376
LET'S HAVE A LOOK
AT THE SWEATER, HELMY.
898
01:00:41,420 --> 01:00:43,030
NO, LET'S HAVE A LOOK AT IT.
899
01:00:43,074 --> 01:00:44,684
HERE, THAT'S IT.
900
01:00:44,728 --> 01:00:46,947
ESPECIALLY THE BOTTOM OF IT,
THAT'S RIGHT.
901
01:00:46,991 --> 01:00:48,862
WAIT A MINUTE,
I'LL GET YOUR LEGS.
902
01:00:48,906 --> 01:00:50,647
YEAH.
903
01:00:50,690 --> 01:00:53,171
YEAH, HOW LONG DO YOU THINK
YOU'RE GONNA KEEP
904
01:00:53,214 --> 01:00:54,825
THE SWEATER FOR?
905
01:00:54,868 --> 01:00:56,783
[INAUDIBLE].
906
01:00:58,480 --> 01:01:01,309
-IT'S YOUR BEACH SWEATER.
-PURE CASHMERE.
907
01:01:01,353 --> 01:01:03,268
IT'S NOT,
IT'S JUST LAMB'S WOOL.
908
01:01:03,311 --> 01:01:05,357
THAT IS NOT.
THE OTHER ONE IS LAMB'S WOOL.
909
01:01:05,400 --> 01:01:06,575
THIS IS PURE CASHMERE.
910
01:01:06,619 --> 01:01:07,925
THAT IS LAMB'S WOOL, HELMY.
911
01:01:07,968 --> 01:01:09,448
YOU DON'T KNOW THE DIFFERENCE
912
01:01:09,491 --> 01:01:10,405
BETWEEN LAMB'S WOOL
AND CASHMERE.
913
01:01:10,449 --> 01:01:11,755
WANNA FEEL IT? FEEL IT.
914
01:01:11,798 --> 01:01:14,714
I CAN FEEL IT, IT'S CASHMERE.
915
01:01:14,758 --> 01:01:16,629
WHY ARE YOU ALWAYS RIGHT?
916
01:01:16,673 --> 01:01:18,587
[MELLOW MUSIC]
917
01:02:45,674 --> 01:02:48,982
I THINK, FOR A MOMENT,
HELMUT REGRETTED IT.
918
01:02:49,026 --> 01:02:52,333
I THINK IT WAS WHEN KARL SAID,
919
01:02:52,377 --> 01:02:54,858
"HELMUT, IT'S VERY WONDERFUL,
920
01:02:54,901 --> 01:02:56,424
BUT ARE YOU SURE?
921
01:02:56,468 --> 01:02:59,297
IT'S VERY COURAGEOUS OF YOU,
BUT ARE YOU SURE?"
922
01:02:59,340 --> 01:03:01,865
AND HELMUT WASN'T SURE
FOR A MOMENT,
923
01:03:01,908 --> 01:03:05,999
BUT WE'VE BOTH RELAXED INTO IT.
924
01:03:06,043 --> 01:03:08,480
I MEAN, I THINK IT'S MARVELOUS
925
01:03:08,523 --> 01:03:11,875
THAT THEY JUST HAVEN'T BEEN
STUCK IN AN ALBUM.
926
01:03:11,918 --> 01:03:13,964
[MELLOW MUSIC]
927
01:03:31,068 --> 01:03:32,678
JUNE?
928
01:03:32,721 --> 01:03:34,985
THERE IS LOVE BETWEEN US,
BUT I DON'T THINK IT--
929
01:03:35,028 --> 01:03:37,509
IF IT SHOWS IN THE PICTURES,
ALL THE BETTER,
930
01:03:37,552 --> 01:03:38,858
BUT THERE IS LOVE.
931
01:03:38,902 --> 01:03:40,468
THERE'S A LOT OF LOVE
IN THE PICTURES
932
01:03:40,512 --> 01:03:42,906
THAT HE TOOK OF ME
IN THE HOSPITAL
933
01:03:42,949 --> 01:03:45,734
BECAUSE THE ONLY WAY
HE COULD SEE ME IN HOSPITAL
934
01:03:45,778 --> 01:03:49,173
WAS TO HAVE THE CAMERA
BETWEEN THE TWO OF US
935
01:03:49,216 --> 01:03:51,871
SO THAT WHEN HE CAME IN
AFTER THE OPERATION,
936
01:03:51,915 --> 01:03:54,526
YOU'LL SEE THOSE PICTURES
OUT THERE,
937
01:03:54,569 --> 01:03:58,704
HE SAID, "JUNIE,
THROW THE BEDSHEET AWAY,"
938
01:03:58,747 --> 01:04:01,054
AND I SAID, "I CAN'T,
I HAVEN'T THE STRENGTH.
939
01:04:01,098 --> 01:04:04,318
I CAN'T THROW ANYTHING AWAY,"
AND HE SAID, "JUST--"
940
01:04:04,362 --> 01:04:07,060
AND HE HAD NO IDEA
WHAT HE WAS GOING TO SEE,
941
01:04:07,104 --> 01:04:11,412
AND I PULLED IT OFF
VERY SLOWLY,
942
01:04:11,456 --> 01:04:13,980
AND I THOUGHT
HE WAS GONNA FAINT,
943
01:04:14,024 --> 01:04:17,201
BUT HE DIDN'T ONLY BECAUSE
HE ALREADY HAD THE CAMERA
944
01:04:17,244 --> 01:04:22,815
IN FRONT OF HIS EYESAND WAS ABLE TO START CLICKING.
945
01:04:22,859 --> 01:04:25,252
SO, OF COURSE THERE'S LOVE.
946
01:04:25,296 --> 01:04:28,038
[GENTLE MUSIC]
947
01:05:02,986 --> 01:05:05,814
THAT'S HOW HE COPES
WITH ALL THE OPERATIONS
948
01:05:05,858 --> 01:05:07,251
THAT HE GOES THROUGH,
949
01:05:07,294 --> 01:05:11,908
AND ESPECIALLY
IF THESE HEART ATTACKS
950
01:05:11,951 --> 01:05:14,084
THAT HE'S HAD,
AND I THINK THEY'RE OVER NOW,
951
01:05:14,127 --> 01:05:17,957
BUT THE ONLY THING
THAT KEPT HIM GOING
952
01:05:18,001 --> 01:05:21,178
WAS THE LITTLE CAMERA
THAT WAS BY HIS SIDE
953
01:05:21,221 --> 01:05:23,006
TO PHOTOGRAPH THE NURSES
AND THE DOCTORS
954
01:05:23,049 --> 01:05:25,312
AND EVERYTHING
THAT WAS HAPPENING TO HIM.
955
01:05:25,356 --> 01:05:28,750
HE EVEN TOOK IT
INTO THE OPERATING ROOM,
956
01:05:28,794 --> 01:05:31,144
AND AS HE WAS WHEELED BY,
I WAS SITTING, WAITING,
957
01:05:31,188 --> 01:05:33,842
IN THE ALLEY,
WHEREVER IT WAS,
958
01:05:33,886 --> 01:05:35,714
AND THEY WHEELED HIM BY,
AND THE NURSE SAID,
959
01:05:35,757 --> 01:05:37,150
ONE NURSE SAID TO THE OTHER,
960
01:05:37,194 --> 01:05:39,152
"WHAT IS HE GONNA DO
WITH A CAMERA?"
961
01:05:39,196 --> 01:05:40,893
AND THE OTHER ONE SAID,
"HE THINKS
962
01:05:40,937 --> 01:05:42,634
HE'S GONNA PHOTOGRAPH HIMSELF."
963
01:05:42,677 --> 01:05:45,985
AND THEY ROLLED WITH LAUGHTER
AS THEY WHEELED HIM PAST.
964
01:05:46,029 --> 01:05:48,074
YES, IT IS A PROTECTION.
965
01:05:48,118 --> 01:05:50,163
[TEARING]
966
01:05:54,994 --> 01:05:58,128
[BANGING]
967
01:05:58,171 --> 01:06:00,869
NO, SWEETHEART, THEY'RE IN
YOUR SUITCASE IN BERLIN.
968
01:06:00,913 --> 01:06:01,870
THEY'RE NOT.
969
01:06:03,568 --> 01:06:05,178
DO YOU LIKE THE PICTURE, HEL?
970
01:06:05,222 --> 01:06:07,137
I LOVE THE PICTURE.
971
01:06:07,180 --> 01:06:09,139
I THINK IT'S AMAZING.
972
01:06:13,056 --> 01:06:15,014
I LOVE THE LOOK
ON THE GIRL'S FACE,
973
01:06:15,058 --> 01:06:17,364
THE FALSE BREASTS AND ALL THAT.
974
01:06:17,408 --> 01:06:18,583
[LAUGHTER]
975
01:06:37,689 --> 01:06:41,736
SHE WAS SO INFLUENTIAL
IN EVERYTHING THAT HE DID.
976
01:06:41,780 --> 01:06:44,304
I MEAN, WOMEN WERE ALWAYS
THE DRIVING FORCE
977
01:06:44,348 --> 01:06:46,045
IN ANY OF HIS PHOTOGRAPHS,
978
01:06:46,089 --> 01:06:48,439
BUT I THINK IN TERMS
OF BEING A MUSE
979
01:06:48,482 --> 01:06:51,137
OR BEING SOMEONE WHOSE COUNSEL
AND ADVICE AND OPINION
980
01:06:51,181 --> 01:06:54,401
HE ALWAYS SOUGHT,
IT WAS ALWAYS JUNE.
981
01:06:54,445 --> 01:06:56,012
HE NEEDED HIS MOTHER.
982
01:07:16,119 --> 01:07:18,034
YOU'RE GONNA SEE
MORE NIGHT PICTURES NOW
983
01:07:18,077 --> 01:07:20,166
BECAUSE I LOVE NIGHT,
IT'S MY--
984
01:07:20,210 --> 01:07:23,648
THE INFLUENCE OF BRASSAiï
THAT'S STILL COMING THROUGH
985
01:07:23,691 --> 01:07:26,868
EVEN AFTER ALL THOSE YEARS.
986
01:07:26,912 --> 01:07:32,744
IT'S--THE NIGHT HAS
A SPECIAL MYSTERY FOR ME,
987
01:07:32,787 --> 01:07:35,877
AND HE WAS--
HE WAS A GREAT MASTER.
988
01:07:35,921 --> 01:07:38,445
OF THE NIGHT, I'M NOT BAD.
989
01:07:38,489 --> 01:07:40,621
[VIBRANT MUSIC]
990
01:08:48,733 --> 01:08:50,430
IT WAS JUST HIM AND ME.
991
01:08:50,474 --> 01:08:53,216
HE DIDN'T TELL ANYTHING
ABOUT WHAT HE WANTED.
992
01:08:53,259 --> 01:08:56,697
I JUST LOOK AT HIS EYES
AND I KNEW WHAT HE WANTED,
993
01:08:56,741 --> 01:09:00,310
AND IT WAS--WE HAD
THIS CONNECTION SO SPECIAL
994
01:09:00,353 --> 01:09:03,139
THAT YOU COULD TOUCH
THE ATMOSPHERE.
995
01:09:03,182 --> 01:09:04,879
IT WAS SO, AH!
996
01:09:04,923 --> 01:09:07,447
[VIBRANT MUSIC]
997
01:09:12,104 --> 01:09:13,758
WITH OTHER PHOTOGRAPHERS,
YOU KNOW,
998
01:09:13,801 --> 01:09:16,239
WHEN YOU ARE YOUNG
AND NOT SO BAD, YOU KNOW,
999
01:09:16,282 --> 01:09:19,242
THEY TRY TO, YOU KNOW,
BUT WITH HIM, IT'S LIKE,
1000
01:09:19,285 --> 01:09:20,982
IT WAS SO MUCH RESPECT.
1001
01:09:21,026 --> 01:09:23,768
THERE WAS NEVER A MENTION
ABOUT THE--
1002
01:09:23,811 --> 01:09:25,726
HE'S TRYING TO, YOU KNOW...
1003
01:09:25,770 --> 01:09:27,598
IT WAS--I HAD SO MUCH RESPECT.
1004
01:09:27,641 --> 01:09:30,644
IT'S NOT LIKE A FATHER,
BUT LIKE A...
1005
01:09:30,688 --> 01:09:33,604
IT'S VERY DIFFICULT TO SAY.
1006
01:09:33,647 --> 01:09:35,649
I FELT--I FELT GOOD.
1007
01:09:35,693 --> 01:09:37,347
I FELT SAFE.
1008
01:09:37,390 --> 01:09:40,045
[SOFT MUSIC]
1009
01:09:41,699 --> 01:09:43,135
IT WAS LIKE, I DON'T KNOW,
1010
01:09:43,179 --> 01:09:45,659
DOING A CINEMA,
THE STORY, YOU KNOW,
1011
01:09:45,703 --> 01:09:50,882
AND HE MADE ME FEEL LIKE
A ONE-MILLION-DOLLAR BABY.
1012
01:09:50,925 --> 01:09:53,232
AND THE FEELING
THAT HELMUT GAVE ME
1013
01:09:53,276 --> 01:09:55,060
WHEN HE WAS PHOTOGRAPHING
1014
01:09:55,103 --> 01:09:57,497
IS HUGE POWER.
1015
01:09:57,541 --> 01:09:59,891
SO WHEN I WAS WITH FURS
AND JEWELS
1016
01:09:59,934 --> 01:10:02,981
AND HAIR
AND LIPSTICK AND NAILS,
1017
01:10:03,024 --> 01:10:07,115
IT'S JUST--YOU GO INTO A--
YOU GO INTO A CHARACTER,
1018
01:10:07,159 --> 01:10:09,292
YOU KNOW, LIKE, HE'D LIKE
TO HAVE ALL THE NAILS
1019
01:10:09,335 --> 01:10:12,643
AND THE NAILS ON SKIN AND ALL
THAT SORT OF STUFF GOING ON
1020
01:10:12,686 --> 01:10:14,210
BECAUSE HE'S PENETRATING,
1021
01:10:14,253 --> 01:10:16,124
HE'S ACTUALLY GETTING
INSIDE YOU.
1022
01:10:16,168 --> 01:10:18,388
HE'S GETTING INSIDE
THE PART OF YOU
1023
01:10:18,431 --> 01:10:21,260
THAT'S REALLY INTERESTING
AND BRINGING IT OUT.
1024
01:10:21,304 --> 01:10:22,870
[SOFT MUSIC]
1025
01:11:19,623 --> 01:11:21,364
[BRIGHT BIG BAND MUSIC]
1026
01:12:18,812 --> 01:12:20,945
[TRANQUIL MUSIC]
1027
01:13:06,512 --> 01:13:08,732
THIS IS JUST
A VERY FAVORITE PICTURE,
1028
01:13:08,775 --> 01:13:11,822
BUT IT HAS A LOT
OF REFERENCE TO MY LIFE.
1029
01:13:11,865 --> 01:13:14,259
IT'S PHOTOGRAPHED
IN THE VOGUE STUDIOS IN PARIS
1030
01:13:14,302 --> 01:13:16,696
WHERE I SPENT YEARS
AND YEARS AND YEARS,
1031
01:13:16,740 --> 01:13:18,611
AND THEN JUNE DROPPED IN.
1032
01:13:18,655 --> 01:13:21,527
WE WERE GONNA HAVE LUNCH
AT THE CANTINE TOGETHER,
1033
01:13:21,571 --> 01:13:23,529
AND I HADN'T FINISHED,
SHE JUST SAT DOWN.
1034
01:13:23,573 --> 01:13:26,140
SHE DIDN'T EVEN KNOW
THAT SHE WAS IN THE FRAME
1035
01:13:26,184 --> 01:13:27,403
OF MY PICTURE.
1036
01:13:27,446 --> 01:13:29,056
SHE HAD NO IDEA.
1037
01:13:29,100 --> 01:13:32,277
AND THE WHOLE SHEET, CONTEXT,
IT'S VERY INTERESTING,
1038
01:13:32,320 --> 01:13:35,672
IS JUNE'S DIFFERENT EXPRESSIONS
1039
01:13:35,715 --> 01:13:37,369
WHILE I WAS TAKING
THESE PICTURES.
1040
01:14:18,889 --> 01:14:22,066
HE WAS FORTUNATE
TO BE WORKING AT THE TIME
1041
01:14:22,109 --> 01:14:24,285
WHEN DESIGNERS LIKE
YVES SAINT-LAURENT
1042
01:14:24,329 --> 01:14:27,419
AND KARL LAGERFELD
WERE REALLY AT THEIR HEIGHT,
1043
01:14:27,463 --> 01:14:30,640
AND THEY WERE DRESSING
AND GIVING THE DESIGNS
1044
01:14:30,683 --> 01:14:33,556
OF THAT TIME WERE VERY MUCH
A HELMUT NEWTON WOMAN,
1045
01:14:33,599 --> 01:14:36,428
AND IT ALL SORT OF CAME TOGETHERAT THE RIGHT MOMENT.
1046
01:14:36,472 --> 01:14:38,604
[SOFT MUSIC]
1047
01:15:50,850 --> 01:15:53,157
[ELECTRONIC MUSIC]
1048
01:15:57,857 --> 01:16:00,947
WE COULD BE SHAMELESS, FAMOUS
1049
01:16:00,991 --> 01:16:03,254
RUNNING COOL
1050
01:16:03,297 --> 01:16:07,780
WITH A LOVE THAT LEAVES US
WEIGHTLESS, OOH
1051
01:16:07,824 --> 01:16:12,524
DROP DEAD GORGEOUS, WOW, OOH
1052
01:16:12,568 --> 01:16:15,832
YOU GOT ME FEELING
STAR-STRUCK TOO
1053
01:16:17,660 --> 01:16:21,925
FOR ME, THERE IS A KIND
OF WHAT I CALL MODERNITY
1054
01:16:21,968 --> 01:16:24,492
ABOUT CERTAIN WOMEN
AT A CERTAIN TIME.
1055
01:16:24,536 --> 01:16:28,496
IT MEANS I WOULD CHOOSE TODAY
A GIRL
1056
01:16:28,540 --> 01:16:30,629
THAT WOULD BE ENTIRELY
DIFFERENT FROM A GIRL
1057
01:16:30,673 --> 01:16:34,154
THAT I WOULD'VE CHOSEN,
LET'S SAY, SIX YEARS AGO.
1058
01:16:34,198 --> 01:16:36,548
MY IDEA HAS CHANGED
1059
01:16:36,592 --> 01:16:42,336
WITH THE CHANGE
IN WHAT GOES ON AROUND US.
1060
01:16:42,380 --> 01:16:46,036
I NEVER KNOW THE TYPE OF GIRL
THAT I WANT UNTIL I SEE HER.
1061
01:16:46,079 --> 01:16:48,821
I KNOW THE KIND OF PHOTOGRAPH
THAT I WANT TO TAKE.
1062
01:16:48,865 --> 01:16:52,303
IT'S IN THE BACK OF MY MIND,
IT'S A LITTLE BIT VAGUE,
1063
01:16:52,346 --> 01:16:54,653
LIKE THE IDEA
OF THE GIRL IS VAGUE.
1064
01:16:54,697 --> 01:16:57,917
I ALWAYS SAY, "I KNOW
THE GIRL WHEN I SEE HER."
1065
01:16:57,961 --> 01:17:00,311
AND MOST OF THE GIRLS
THAT I'VE FOUND,
1066
01:17:00,354 --> 01:17:01,878
THEY'RE GENERALLY BEGINNERS,
1067
01:17:01,921 --> 01:17:05,142
AND THEY HAVE BEEN FOUND
THROUGH GO-SEES.
1068
01:17:08,145 --> 01:17:09,799
I'M ALWAYS NICE TO THE GIRLS
1069
01:17:09,842 --> 01:17:11,583
BECAUSE YOU ASK THEM TO COME.
1070
01:17:11,627 --> 01:17:14,238
THE LEAST YOU CAN DO
IS LOOK AT THE BOOK
1071
01:17:14,281 --> 01:17:15,979
AND SAY SOMETHING NICE.
1072
01:17:16,022 --> 01:17:18,590
I'M NOT GONNA SAY,
"YOU LOOK LIKE HELL,"
1073
01:17:18,634 --> 01:17:20,853
YOU KNOW, "YOU'RE LIKE
THE BACK END OF A BUS,"
1074
01:17:20,897 --> 01:17:22,855
OR "YOUR ASS IS TOO BIG,"
OR SOMETHING.
1075
01:17:22,899 --> 01:17:28,034
I CAN'T DO THAT, EVEN IF SHE
HAS AN ASS THAT'S TOO BIG.
1076
01:17:28,078 --> 01:17:30,776
SOME OF THEM SELL THEMSELVES
REALLY, REALLY, REALLY HARD,
1077
01:17:30,820 --> 01:17:34,040
YOU KNOW, ESPECIALLY AMERICAN
GIRLS ARE VERY FORWARD
1078
01:17:34,084 --> 01:17:36,390
AND VERY ON A HARD SELL.
1079
01:17:36,434 --> 01:17:38,305
WHAT HAPPENED IN MILAN,
WHICH WAS FUNNY,
1080
01:17:38,349 --> 01:17:41,395
WE HAD A BIG GO-SEE, LIKE
THE ONE WE'RE GONNA HAVE HERE,
1081
01:17:41,439 --> 01:17:44,572
WE'RE HAVING HERE,
AND I MENTIONED SOMETHING
1082
01:17:44,616 --> 01:17:47,140
ABOUT THAT I NEED--
ALL THE GIRLS WERE IN THE ROOM
1083
01:17:47,184 --> 01:17:49,490
AND I MENTIONED TO ONE GIRL
THAT I NEEDED,
1084
01:17:49,534 --> 01:17:52,798
I WAS LOOKING FOR A GIRL
WITH A LOT OF BOSOM,
1085
01:17:52,842 --> 01:17:55,714
AND EVERYTHING WAS FINISHED,
EVERYBODY HAD GONE,
1086
01:17:55,758 --> 01:17:58,674
AND THE DOOR OPENS, AND A GIRL
CAME BACK AND SHE SAID,
1087
01:17:58,717 --> 01:18:01,111
"I JUST WANTED TO SHOW YOU
I'VE GOT A LOT OF BOSOM."
1088
01:18:01,154 --> 01:18:02,765
AND SHE OPENED UP HER SHIRT.
1089
01:18:02,808 --> 01:18:05,855
OF COURSE, THAT'S A HARD SELL.
1090
01:18:05,898 --> 01:18:08,771
IF HELMUT ASKS TO SEE YOU,
1091
01:18:08,814 --> 01:18:10,773
YOUR CAREER IS MADE.
1092
01:18:10,816 --> 01:18:12,165
THAT'S IT.
1093
01:18:12,209 --> 01:18:13,514
YOU'RE ON TOP.
1094
01:18:13,558 --> 01:18:17,127
SO YOU GET VERY EXCITED,
VERY EXCITED.
1095
01:18:17,170 --> 01:18:22,741
AND WHEN I WENT,WHEN HE SAID, HE LOOKED, "AH...
1096
01:18:22,785 --> 01:18:24,743
YOUR BREASTS ARE TOO SMALL."
1097
01:18:24,787 --> 01:18:27,528
[LAUGHING]
1098
01:18:27,572 --> 01:18:30,096
I KNOW!
1099
01:18:30,140 --> 01:18:31,968
OKAY, SO, I WENT,
1100
01:18:32,011 --> 01:18:36,886
"OH, BREASTS ARE TOO SMALL,
OKAY."
1101
01:18:36,929 --> 01:18:38,844
SO I LEFT, OF COURSE,
1102
01:18:38,888 --> 01:18:41,804
FEELING A BIT, YOU KNOW,
THAT WHOLE BUILDUP TO,
1103
01:18:41,847 --> 01:18:44,284
"OH, IT'S HELMUT NEWTON,
IT'S HELMUT NEWTON."
1104
01:18:44,328 --> 01:18:47,723
IT'S GOD!YOU KNOW, IT'S GOD CALLING YOU.
1105
01:18:47,766 --> 01:18:51,770
AND THEN, I THOUGHT, "OKAY,HE'S NOT GOING TO CALL ME BACK."
1106
01:18:51,814 --> 01:18:54,773
HELMUT KEPT CALLING ME BACK
1107
01:18:54,817 --> 01:18:57,254
AND HE SAID, "I FORGOT!
1108
01:18:57,297 --> 01:18:59,125
YOU HAVE SMALL BREASTS!"
1109
01:18:59,169 --> 01:19:00,431
[LAUGHING]
1110
01:19:00,474 --> 01:19:03,173
SO IT'S SUCH A CRAZY STORY.
1111
01:19:03,216 --> 01:19:05,566
THREE TIMES, FOUR TIMES,
1112
01:19:05,610 --> 01:19:08,178
BECAUSE HE REALLY,
I COULD TELL,
1113
01:19:08,221 --> 01:19:10,876
HE WANTED TO PHOTOGRAPH ME,
1114
01:19:10,920 --> 01:19:13,531
AND FINALLY,
1115
01:19:13,574 --> 01:19:15,359
WE WORKED TOGETHER.
1116
01:19:15,402 --> 01:19:18,188
[CHEERY MUSIC]
1117
01:19:18,231 --> 01:19:21,669
PLAYBOY WANTED TO DO THE SHOOT
WITH DOLPH AND I
1118
01:19:21,713 --> 01:19:25,108
BECAUSE, YOU KNOW,
WE HAD BECOME THIS...
1119
01:19:25,151 --> 01:19:28,589
HOW DO YOU SAY,
ALMOST LIKE ELIZABETH TAYLOR
1120
01:19:28,633 --> 01:19:31,984
AND RICHARD BURTON TYPE OF
COUPLE IN HOLLYWOOD, YOU KNOW.
1121
01:19:32,028 --> 01:19:34,508
[UPBEAT MUSIC]
1122
01:19:42,821 --> 01:19:44,388
I'VE BEEN COMING HERE
EVERY WINTER
1123
01:19:44,431 --> 01:19:46,738
FROM DECEMBER
TILL THE END OF MARCH.
1124
01:19:46,782 --> 01:19:49,959
LOVE THE CLIMATE, AND THEN,
THE FIRST TIME I CAME,
1125
01:19:50,002 --> 01:19:53,571
WHICH I THINK WAS IN '56 OR '57 WITH JUNE,
1126
01:19:53,614 --> 01:19:55,660
IT WAS JUST, YOU KNOW,
1127
01:19:55,703 --> 01:19:57,401
I FELT I WAS IN
AN AMERICAN MOVIE.
1128
01:19:57,444 --> 01:20:00,883
I LOVE, I LOVE LOS ANGELES,
I LOVE HOLLYWOOD.
1129
01:20:00,926 --> 01:20:03,668
WISH I WAS A MILLIONAIRE
1130
01:20:03,711 --> 01:20:07,498
I'D PLAY ROCK MUSIC
AND GROW LONG HAIR
1131
01:20:07,541 --> 01:20:09,500
I'LL TELL YOU, BOYS
1132
01:20:10,893 --> 01:20:13,199
I'D BUY A NEW ROLLS-ROYCE
1133
01:20:15,941 --> 01:20:19,640
PRETTY WOMEN,
THEY'D COME TO ME
1134
01:20:19,684 --> 01:20:22,643
I'D GIVE 'EM ALL
THE THIRD DEGREE
1135
01:20:22,687 --> 01:20:26,386
I'D GIVE 'EM SATIN SHEETS
1136
01:20:26,430 --> 01:20:28,954
TO KEEP 'EM OFF THE STREETS
1137
01:20:32,001 --> 01:20:33,916
GREAT JEHOVAH
1138
01:20:33,959 --> 01:20:35,918
MY GIRLFRIEND, PENNY,
I'VE KNOWN HER,
1139
01:20:35,961 --> 01:20:39,008
NOW I THINK I'VE KNOWN HER
FOR FOUR YEARS OR SO.
1140
01:20:39,051 --> 01:20:40,923
I'VE BEEN GOING THERE
PUMPING PETROL.
1141
01:20:40,966 --> 01:20:43,403
WHAT STRUCK ME FIRST
ABOUT PENNY
1142
01:20:43,447 --> 01:20:45,318
WAS THOSE FINGERNAILS
1143
01:20:45,362 --> 01:20:47,233
THAT I CALL
CALIFORNIA FINGERNAILS.
1144
01:20:47,277 --> 01:20:50,193
I MEAN, SHE'S THAT NICE,
FAMILY LADY,
1145
01:20:50,236 --> 01:20:53,413
AND SHE PUMPS PETROL,
IT'S HER OWN STATION,
1146
01:20:53,457 --> 01:20:55,938
AND SHE'S GOT
THESE INCREDIBLE FINGERNAILS.
1147
01:20:55,981 --> 01:20:58,505
-ALL FILLED.
-THANK YOU, PENNY.
1148
01:20:58,549 --> 01:21:00,203
-THANK YOU.
-HAVE A LOVELY DAY.
1149
01:21:00,246 --> 01:21:02,031
-YOU TOO.
-ISN'T IT GORGEOUS?
1150
01:21:02,074 --> 01:21:04,511
-OH, IT'S BEAUTIFUL.
-WHAT'S THE FORECAST?
1151
01:21:04,555 --> 01:21:06,600
-NO RAIN IN SIGHT.
-THAT'S HOW WE LIKE IT.
1152
01:21:06,644 --> 01:21:08,472
-ALL SUNSHINE.
-THAT'S HOW WE LIKE IT.
1153
01:21:08,515 --> 01:21:09,995
-VERY GOOD.
-BYE-BYE, DEAR.
1154
01:21:10,039 --> 01:21:12,955
-BYE-BYE.
-SEE YOU.
1155
01:21:12,998 --> 01:21:14,608
HELMUT WAS COMPLETELY AWARE,
1156
01:21:14,652 --> 01:21:16,872
HE NEVER LOCKED HIMSELF AWAY
1157
01:21:16,915 --> 01:21:19,396
THE WAY SOME FAMOUS PEOPLE DO
1158
01:21:19,439 --> 01:21:21,485
AS THEY ACHIEVE
GREAT RECOGNITION.
1159
01:21:21,528 --> 01:21:23,487
HE WAS ALWAYS VERY OPEN
TO THE WORLD.
1160
01:21:23,530 --> 01:21:26,098
AND YES, FASHION MIGHT'VE
CHANGED AND MOVED ON
1161
01:21:26,142 --> 01:21:29,536
AND WE BECAME AWARE OF
A NEW GENERATION OF DESIGNERS,
1162
01:21:29,580 --> 01:21:32,409
BUT I FEEL THAT BECAUSE HE WAS
SUCH A BRILLIANT PHOTOGRAPHER
1163
01:21:32,452 --> 01:21:35,194
AND HE HAD SUCH A STRONG,
INTELLIGENT POINT OF VIEW
1164
01:21:35,238 --> 01:21:39,242
WITH THAT AMAZING WIT,HIS PICTURES REMAINED THE SAME.
1165
01:21:39,285 --> 01:21:41,984
NOT THAT THEY WERE STUCK,
BUT THE VISION REMAINED
1166
01:21:42,027 --> 01:21:44,551
TOTALLY IDENTIFIABLY HELMUT.
1167
01:21:44,595 --> 01:21:46,814
THE CLOTHES COULD'VE CHANGED,
THE GIRLS CHANGED,
1168
01:21:46,858 --> 01:21:49,339
BUT THE ACTUAL IMAGE,
YOU COULD LOOK AT ANY IMAGE
1169
01:21:49,382 --> 01:21:51,167
AND SAY, "THAT'S
A HELMUT NEWTON PHOTOGRAPH,"
1170
01:21:51,210 --> 01:21:52,777
AND THERE AREN'T
THAT MANY PHOTOGRAPHERS
1171
01:21:52,820 --> 01:21:54,387
OF WHICH YOU CAN SAY THAT.
1172
01:22:05,572 --> 01:22:08,184
WANT ME TO TAKE MY CLOTHES OFF?
1173
01:22:08,227 --> 01:22:09,533
[LAUGHING]
1174
01:22:12,928 --> 01:22:14,973
I'VE BEEN LIVING HERE
FOR, I DON'T KNOW,
1175
01:22:15,017 --> 01:22:18,194
25 OR 26 YEARS,
EVERY YEAR I COME HERE,
1176
01:22:18,237 --> 01:22:19,804
AND I'M VERY FOND OF IT.
1177
01:22:46,657 --> 01:22:48,659
[LIGHT PIANO MUSIC]
1178
01:23:51,852 --> 01:23:54,377
[SOFT MUSIC]
1179
01:24:33,068 --> 01:24:34,373
WHY SHOULD I THINK ABOUT IT?
1180
01:24:34,417 --> 01:24:36,245
WHEN IT COMES,
IT'LL BE TOO EARLY
1181
01:24:36,288 --> 01:24:38,638
OR IT'LL BE TOO LATE,
WHATEVER.
1182
01:24:38,682 --> 01:24:40,379
THERE'S NOTHING I CAN DO
ABOUT IT.
1183
01:24:40,423 --> 01:24:42,338
I DON'T WANT TO SPEND MY TIME...
1184
01:24:42,381 --> 01:24:46,690
I BELIEVE IN USING MY TIME TO--
1185
01:24:46,733 --> 01:24:49,345
WITH THINGS THAT ARE
MORE POSITIVE.
1186
01:24:49,388 --> 01:24:51,999
I DON'T THINK DEATH,
AS FAR AS I'M CONCERNED,
1187
01:24:52,043 --> 01:24:53,958
IS POSITIVE.
1188
01:24:54,001 --> 01:24:59,529
I'VE BEEN LOOKING SO LONG
AT THESE PICTURES OF YOU
1189
01:24:59,572 --> 01:25:03,533
THAT I ALMOST BELIEVE
THAT THEY'RE REAL
1190
01:25:03,576 --> 01:25:05,274
[ROCK MUSIC]
1191
01:25:05,317 --> 01:25:10,583
I'VE BEEN LIVING SO LONG
WITH MY PICTURES OF YOU
1192
01:25:10,627 --> 01:25:18,113
THAT I ALMOST BELIEVE THAT THE PICTURES ARE ALL I CAN FEEL
1193
01:25:18,156 --> 01:25:20,071
CAN'T PINPOINT EVEN ONE THING
1194
01:25:20,115 --> 01:25:22,247
IF YOU'VE LIVED THROUGH--
IF YOU'VE LIVED THROUGH THAT--
1195
01:25:22,291 --> 01:25:25,294
IF YOU LIVED THROUGH
THOSE TIMES, CAN YOU?
1196
01:25:25,337 --> 01:25:26,730
I MEAN, YOU'RE JUST...
1197
01:25:28,384 --> 01:25:30,212
YOU SURVIVE OR YOU DON'T.
1198
01:25:30,255 --> 01:25:32,214
HE SURVIVED AND GAVE
US BEAUTIFUL WORK.
1199
01:25:32,257 --> 01:25:33,911
MAYBE IT'S, YOU KNOW, INSPIRED
1200
01:25:33,954 --> 01:25:35,956
BY ALL SORTS OF THINGS
THAT HAPPENED OR HE'S SEEN,
1201
01:25:36,000 --> 01:25:39,177
THEN HE RETURNS
AND REDOES OTHER THINGS.
1202
01:25:39,221 --> 01:25:42,137
I'M SURE, AND THANK GOODNESS.
1203
01:25:42,180 --> 01:25:44,443
SO WHEN PEOPLE SAY,
"IT SHOULDN'T BE SEEN,"
1204
01:25:44,487 --> 01:25:47,316
AND ALL THAT, IT'S A TRAVESTY
1205
01:25:47,359 --> 01:25:50,232
BECAUSE WHAT WE DO WITH MEMORY
1206
01:25:50,275 --> 01:25:53,278
AND WHAT WE DO WITH,
UM, ALL THE THINGS
1207
01:25:53,322 --> 01:25:55,062
THAT WE ACTUALLY DENY,
1208
01:25:55,106 --> 01:25:57,108
AND WHEN WE GO INTO DENIAL
ABOUT THINGS,
1209
01:25:57,152 --> 01:26:01,765
IT'S BECAUSE THEY'RE TOO HEAVYTO ACTUALLY TAKE ON AT THE TIME,
1210
01:26:01,808 --> 01:26:04,855
AND THEY COME UP THROUGH
OURSELVES MUCH LATER ON
1211
01:26:04,898 --> 01:26:08,206
AND VERY OFTEN TURN INTO
EXTRAORDINARY FORM OF ART.
1212
01:26:08,250 --> 01:26:11,340
NOT ART FOR--
NOT ART FOR HELMUT.
1213
01:26:11,383 --> 01:26:13,646
EXTRAORDINARY CREATIONS.
1214
01:26:13,690 --> 01:26:15,213
WHAT DOES HE WANT US TO SAY?
1215
01:26:15,257 --> 01:26:17,694
EXTRAORDINARY WORK, ALL RIGHT.
1216
01:26:17,737 --> 01:26:19,826
[SOFT MUSIC]
1217
01:26:37,844 --> 01:26:39,759
[INAUDIBLE]
1218
01:26:42,284 --> 01:26:44,764
[SIREN WAILING]
1219
01:26:48,899 --> 01:26:52,294
WORLD-FAMOUS PHOTOGRAPHER
HELMUT NEWTON DIED TODAY
1220
01:26:52,337 --> 01:26:55,210
IN A CAR CRASH
IN WEST HOLLYWOOD.
1221
01:27:15,360 --> 01:27:18,233
YOU'VE DONE IT ALL
1222
01:27:18,276 --> 01:27:22,498
YOU'VE BROKEN EVERY CODE
1223
01:27:22,541 --> 01:27:27,503
AND PULLED THE REBEL
TO THE FLOOR
1224
01:27:27,546 --> 01:27:29,331
[GLAM ROCK MUSIC]
1225
01:27:29,374 --> 01:27:31,898
YOU SPOILT THE GAME
1226
01:27:31,942 --> 01:27:36,207
NO MATTER WHAT YOU SAY
1227
01:27:36,251 --> 01:27:41,386
FOR ONLY METAL, WHAT A BORE
1228
01:27:43,301 --> 01:27:46,565
BLUE EYES, BLUE EYES
1229
01:27:46,609 --> 01:27:52,005
HOW COME YOU TELL SO MANY LIES?
1230
01:27:53,442 --> 01:27:59,926
COME UP AND SEE ME,
MAKE ME SMILE
1231
01:27:59,970 --> 01:28:06,150
OR DO WHAT YOU WANT,
RUNNIN' WILD
1232
01:28:07,412 --> 01:28:10,110
[OPERATIC SINGING]
1233
01:28:16,291 --> 01:28:21,948
THERE'S NOTHING LEFT,
ALL GONE AND RUN AWAY
1234
01:28:23,428 --> 01:28:28,085
MAYBE YOU'LL TARRY FOR A WHILE
1235
01:28:30,000 --> 01:28:35,310
IT'S JUST A TEST,
A GAME FOR US TO PLAY
1236
01:28:37,181 --> 01:28:41,707
WIN OR LOSE,
IT'S HARD TO SMILE
1237
01:28:43,622 --> 01:28:47,104
RESIST, RESIST
1238
01:28:47,147 --> 01:28:52,457
IT'S FROM YOURSELF
YOU HAVE TO HIDE
1239
01:28:52,501 --> 01:28:59,421
OH, COME UP AND SEE ME,
TO MAKE ME SMILE
1240
01:28:59,464 --> 01:29:06,602
OH, OR DO WHAT YOU WANT,
RUNNIN' WILD
84868
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.