1
00:00:16,451 --> 00:00:19,280
SHOULD I LOCK THE DOOR SO THEY DON'T COME IN?

2
00:00:19,323 --> 00:00:22,631
WE USUALLY LOCK THE DOOR IN THE DARKROOM.

3
00:00:22,674 --> 00:00:25,329
THIS IS THE SHORTSTOP,

4
00:00:25,373 --> 00:00:28,724
WHICH IS ACIDIC ACID.

5
00:00:28,767 --> 00:00:32,467
IT STOPS
THE DEVELOPMENT.

6
00:00:32,510 --> 00:00:34,556
IT SMELLS LIKE VINEGAR.

7
00:00:37,515 --> 00:00:40,214
KODAK DEVELOPERS
PREMIXED HERE ALREADY.

8
00:00:44,783 --> 00:00:47,525
NOW WE MIX PART TWO

9
00:00:47,569 --> 00:00:52,052
TO ABOUT 70°.

10
00:00:55,968 --> 00:00:58,710
AND I VIEW IT--

11
00:00:58,754 --> 00:01:00,930
"WINDBLOWN JACKIE"--

12
00:01:00,973 --> 00:01:04,325
PLACE THE NEGATIVE.

13
00:01:04,368 --> 00:01:07,850
AND THEN WE BLOW
THE DUST.

14
00:01:07,893 --> 00:01:10,374
DUST OFF. DUST OFF.

15
00:01:21,472 --> 00:01:24,649
IN MY WHOLE CAREER
OF SHOOTING JACKIE,

16
00:01:24,693 --> 00:01:28,740
WHICH IS OVER 10 YEARS,

17
00:01:28,784 --> 00:01:30,742
THE BEST WEEK WAS

18
00:01:30,786 --> 00:01:33,354
THIS OCTOBER WEEK
OF 1971

19
00:01:33,397 --> 00:01:36,270
WHERE IN ONE WEEK
I GOT HER FIVE TIMES.

20
00:01:38,010 --> 00:01:39,969
IT STARTED THE 4th.

21
00:01:40,012 --> 00:01:41,971
I GOT PICTURES OF JACKIE

22
00:01:42,014 --> 00:01:45,148
WATCHING CAROLINE KENNEDY
PLAYING TENNIS.

23
00:01:45,192 --> 00:01:47,759
THE AGENTS GOT IN MY WAY,
SORT OF.

24
00:01:47,803 --> 00:01:50,806
AND THEN JACKIE
ALL OF A SUDDEN TOOK OFF

25
00:01:50,849 --> 00:01:53,374
INTO THE FIELDS
OF CENTRAL PARK.

26
00:01:57,900 --> 00:02:00,337
AND SHE GAVE ME
A WORKOUT.

27
00:02:03,166 --> 00:02:05,995
LUCKILY, I KEPT UP
WITH HER.

28
00:02:06,038 --> 00:02:09,172
I GOT HER CROSSING
THE STREET HERE--

29
00:02:09,216 --> 00:02:11,479
ONE OF MY GREAT SHOTS.

30
00:02:11,522 --> 00:02:14,917
IN FACT, IT SOLD
SEVERAL TIMES.

31
00:02:14,960 --> 00:02:18,181
THEN THE 5th--
I GOT JACKIE

32
00:02:18,225 --> 00:02:20,444
SHOPPING
AT BONWIT TELLER'S--

33
00:02:20,488 --> 00:02:23,969
ALL THE WAY FROM HER
APARTMENT, COMING OUT;

34
00:02:24,013 --> 00:02:25,971
AND ANOTHER ONE
OF MY GREAT SHOTS

35
00:02:26,015 --> 00:02:27,930
THAT RAN IN SEVERAL BOOKS--
MY BOOK,

36
00:02:27,973 --> 00:02:30,193
BUT ALSO RAN
IN GUCCI'S BOOK

37
00:02:30,237 --> 00:02:32,891
BECAUSE SHE'S WEARING
HER GUCCI BAG.

38
00:02:32,935 --> 00:02:35,198
AND THE SAME DAY,
THE 5th,

39
00:02:35,242 --> 00:02:38,201
I GOT HER EARLIER
IN THE AFTERNOON

40
00:02:38,245 --> 00:02:41,030
WHEN SHE PICKED UP
CAROLINE AT SCHOOL

41
00:02:41,073 --> 00:02:42,597
AND THEY WENT SHOPPING.

42
00:02:42,640 --> 00:02:45,600
AND I GOT ONE
OF THE AGENTS BLOCKING ME THERE.

43
00:02:45,643 --> 00:02:47,689
THAT WAS THE 5th.

44
00:02:47,732 --> 00:02:51,258
THE FOLLOWING DAY
I GOT JACKIE AGAIN

45
00:02:51,301 --> 00:02:53,651
AT THE CORNER OF 85th
AND FIFTH,

46
00:02:53,695 --> 00:02:57,089
ABOUT TO CROSS.

47
00:02:57,133 --> 00:03:00,136
AND THEN I COVERED
OTHER EVENTS.

48
00:03:00,180 --> 00:03:03,705
AND THEN OF COURSE
THE 7th WAS MY GREAT DAY

49
00:03:03,748 --> 00:03:05,707
WHEN I GOT
THE "WINDBLOWN JACKIE,"

50
00:03:05,750 --> 00:03:08,231
WHICH I CALL
"MY MONA LISA."

51
00:03:15,064 --> 00:03:17,588
A MODEL NEEDED
PORTFOLIO PICTURES.

52
00:03:17,632 --> 00:03:19,590
AND SHE LIVED
ON 88th STREET.

53
00:03:19,634 --> 00:03:22,463
SO I PICKED HER UP, SAID,
"LET'S GO TO THE PARK HERE."

54
00:03:22,506 --> 00:03:24,508
I PHOTOGRAPHED HER
IN THE PARK.

55
00:03:24,552 --> 00:03:26,510
HER NAME WAS
JOYCE SMITH.

56
00:03:26,554 --> 00:03:29,687
ON THE WAY OUT
WE GO TO THE CORNER, WE CROSS THE STREET,

57
00:03:29,731 --> 00:03:32,516
AND THERE'S JACKIE
COMING OUT OF THE SIDE DOOR,

58
00:03:32,560 --> 00:03:36,085
WALKING TOWARD
MADISON AVENUE.

59
00:03:36,128 --> 00:03:38,087
SHOULD I FOLLOW HER

60
00:03:38,130 --> 00:03:40,959
AND GRAB PICTURES
OF HERE THERE?

61
00:03:41,003 --> 00:03:43,614
"NO," I SAID,
"GET IN THE CAB."

62
00:03:43,658 --> 00:03:45,921
FOR $2
I CAUGHT UP TO HER,

63
00:03:45,964 --> 00:03:49,533
SHOT TWO SHOTS
OF HER PROFILE.

64
00:03:49,577 --> 00:03:53,015
WHEN THE TAXI DRIVER
BLEW HIS HORN,

65
00:03:53,058 --> 00:03:55,017
SHE TURNED

66
00:03:55,060 --> 00:03:58,238
AND I GOT MY GREATEST SHOT--
"JACKIE WINDBLOWN."

67
00:04:01,458 --> 00:04:04,113
I CALL THAT
"THE MONA LISA SMILE."

68
00:04:05,332 --> 00:04:07,812
I DON'T THINK SHE KNEW
IT WAS ME.

69
00:04:07,856 --> 00:04:10,511
THAT'S WHY
SHE SMILED A LITTLE.

70
00:04:22,958 --> 00:04:25,352
IN CERTAIN PRIMITIVE
TRIBES, WE'RE TOLD,

71
00:04:25,395 --> 00:04:28,268
THE NATIVES HAVE A HORROR
OF BEING PHOTOGRAPHED.

72
00:04:28,311 --> 00:04:30,270
THEY FEAR
THE PHOTOGRAPHER

73
00:04:30,313 --> 00:04:32,228
WILL STEAL
THEIR VERY SOULS.

74
00:04:32,272 --> 00:04:34,752
ACTUALLY, THERE'S A TRIBE
RIGHT HERE IN AMERICA

75
00:04:34,796 --> 00:04:36,754
THAT FEELS
THE SAME WAY.

76
00:04:36,798 --> 00:04:41,585
THIS IS WHERE
KATHERINE HEPBURN LIVES.

77
00:04:41,629 --> 00:04:45,110
AND OVER HERE IS WHERE
RON GALELLA

78
00:04:45,154 --> 00:04:47,112
IS STAKED OUT
IN THE RAIN.

79
00:04:47,156 --> 00:04:50,333
THAT'S HIS WIFE BETTY
HOLDING THE UMBRELLA.

80
00:04:50,377 --> 00:04:52,727
THE HOUSE
IS SURROUNDED

81
00:04:52,770 --> 00:04:57,035
BY A THICK 8' HEDGE.

82
00:04:57,079 --> 00:04:59,560
A PAPARAZZO NEEDS
A VIEWPOINT.

83
00:04:59,603 --> 00:05:01,562
AND WE HAVE TO
CREATE IT SOMETIMES.

84
00:05:01,605 --> 00:05:03,781
DON'T DO TOO MUCH, RON, PLEASE.

85
00:05:03,825 --> 00:05:06,610
GALELLA'S GARDENING BACKFIRES.

86
00:05:06,654 --> 00:05:09,178
THE CHAUFFEUR
QUICKLY STARTS THE CAR.

87
00:05:09,221 --> 00:05:11,180
ALERT.

88
00:05:11,223 --> 00:05:13,574
GALELLA SENSES THAT SOMETHING
IS ABOUT TO HAPPEN.

89
00:05:13,617 --> 00:05:15,706
HE'S RIGHT.

90
00:05:15,750 --> 00:05:17,708
THE CHAUFFEUR
HAS PULLED THE CAR

91
00:05:17,752 --> 00:05:19,884
BETWEEN THE FRONT DOOR
AND GALELLA'S BUSH,

92
00:05:19,928 --> 00:05:21,886
BLOCKING HIS SHOT.

93
00:05:21,930 --> 00:05:24,062
MISS HEPBURN ESCAPES
UNPHOTOGRAPHED,

94
00:05:24,106 --> 00:05:26,064
BUT GALELLA HAS
ONE MORE CHANCE.

95
00:05:26,108 --> 00:05:29,546
MISS HEPBURN IS
STARRING IN A PLAY AT A DOWNTOWN THEATER.

96
00:05:29,590 --> 00:05:31,548
HE HOPES
TO BEAT HER THERE.

97
00:05:31,592 --> 00:05:34,246
WHY DO ALL THIS
JUST FOR A PICTURE

98
00:05:34,290 --> 00:05:36,901
OF AN ACTRESS WHO YEARNS
TO STAY OUT OF PUBLIC VIEW?

99
00:05:36,945 --> 00:05:40,383
KATHERINE HEPBURN IS A TREMENDOUS SUPERSTAR.

100
00:05:40,427 --> 00:05:43,081
THIS IS
ONE OF THE REASONS

101
00:05:43,125 --> 00:05:45,083
WHY I HAVE TO GET
GOOD PICTURES OF HER,

102
00:05:45,127 --> 00:05:47,085
RECENT, IN MY FILE.

103
00:05:47,129 --> 00:05:49,697
SHE'S A VERY DIFFICULT
PERSONALITY

104
00:05:49,740 --> 00:05:52,917
BECAUSE SHE GUARDS
HER PRIVACY VERY MUCH.

105
00:05:54,963 --> 00:05:57,879
THIS TIME GALELLA'S TACTICS WORK.

106
00:05:57,922 --> 00:06:00,403
THE LIMO PULLS INTO
THE THEATER GARAGE

107
00:06:00,447 --> 00:06:03,101
AND, AS GALELLA SAID LATER,
"I GOT HER."

108
00:06:03,145 --> 00:06:06,975
WE ASKED GALELLA
IF HARASSING A 71-YEAR-OLD WOMAN IN THIS FASHION

109
00:06:07,018 --> 00:06:10,718
WAS A DECENT WAY
TO GO ABOUT MAKING A LIVING.

110
00:06:10,761 --> 00:06:13,547
I BELIEVE IN WHAT I DO.

111
00:06:13,590 --> 00:06:16,158
AND I DO NOT HAVE
ANY GUILT.

112
00:06:16,201 --> 00:06:18,595
THE PEOPLE OUT THERE
WANT A GLIMPSE OF HER,

113
00:06:18,639 --> 00:06:21,163
WANT TO KNOW HER HABITS,
HER LIFESTYLES,

114
00:06:21,206 --> 00:06:22,817
EVEN IF SHE'S PRIVATE.

115
00:06:22,860 --> 00:06:25,428
THE FACT THAT SHE SHIELDS
HERSELF WITH AN UMBRELLA--

116
00:06:25,472 --> 00:06:28,997
THAT PICTURE'S INTERESTING.
IT REFLECTS HER PERSONALITY.

117
00:06:30,955 --> 00:06:34,916
WHEN YOU THINK OF RON,
HE WAS A GENTLEMAN.

118
00:06:34,959 --> 00:06:36,961
- SELFISH.
- A CREEP.

119
00:06:37,005 --> 00:06:38,180
SOFT-SPOKEN.

120
00:06:38,223 --> 00:06:40,182
- MONEY-GRUBBING.
- OR SCUM.

121
00:06:40,225 --> 00:06:42,663
- POLITE.
- SECOND-RATER-- THAT'S WHAT HE IS.

122
00:06:42,706 --> 00:06:46,710
WELL, I ALWAYS FOUND HIM
TO BE A DELIGHTFUL, CHARMING PERSON.

123
00:06:46,754 --> 00:06:50,018
EVERYTHING YOU WOULDN'T THINK
RON GALELLA WOULD BE.

124
00:06:50,061 --> 00:06:51,280
I LOVE THE GUY.

125
00:06:51,323 --> 00:06:53,587
I THINK HE'S, LIKE,
A NATIONAL TREASURE.

126
00:06:53,630 --> 00:06:56,851
IN THE '70s, IN THE '80s
RON WAS REALLY TREATED LIKE A LEPER.

127
00:06:56,894 --> 00:06:59,506
- A MAJOR NUISANCE...
- THE WORST KIND OF HUMAN BEING.

128
00:06:59,549 --> 00:07:01,116
...TO SOCIETY
IN GENERAL.

129
00:07:01,159 --> 00:07:03,466
- JUST ANOTHER PUTZ.
- A PAIN IN THE BUTT.

130
00:07:03,510 --> 00:07:06,643
HE'S JUST THAT
PAIN-IN-THE-ASS PHOTOGRAPHER.

131
00:07:06,687 --> 00:07:08,471
HE DID FOR THE LIVING

132
00:07:08,515 --> 00:07:10,299
WHAT OUIJA DID
FOR THE DEAD.

133
00:07:10,342 --> 00:07:12,823
THEY KNEW HE WOULD BE THERE.
THEY DIDN'T KNOW WHEN.

134
00:07:12,867 --> 00:07:14,825
HE CAUGHT THEM
AT A MOMENT IN TIME

135
00:07:14,869 --> 00:07:17,698
WHEN THEY WERE NOT READY
FOR THE PICTURE.

136
00:07:17,741 --> 00:07:19,439
HE WAS LIKE A KID, YOU KNOW,
WHO WAS LIKE,

137
00:07:19,482 --> 00:07:21,136
"OH, WHAT DID I DO
THAT WAS SO WRONG?

138
00:07:21,179 --> 00:07:22,703
I JUST TOOK PICTURES."

139
00:07:22,746 --> 00:07:24,705
HE APPROACHED EVERYTHING
WITH THAT INNOCENCE.

140
00:07:24,748 --> 00:07:26,707
HE WANTED TO SHOW
THE HUMANITY,

141
00:07:26,750 --> 00:07:29,231
BUT HE ALSO WANTED
TO GLAMORIZE THAT HUMANITY.

142
00:07:29,274 --> 00:07:32,060
YOU KNOW, DAY AND NIGHT,
DAY AND NIGHT HE WOULD BE OUT THERE SHOOTING.

143
00:07:32,103 --> 00:07:34,279
SOMETIMES EXTRA SECURITY
WAS POSTED

144
00:07:34,323 --> 00:07:36,891
JUST TO ALERT PEOPLE
IF RON GALELLA WAS COMING.

145
00:07:36,934 --> 00:07:38,719
HE WENT TO EXTREME LENGTHS
TO GET A SHOT.

146
00:07:38,762 --> 00:07:42,026
RON GALELLA IS SHOWING IT
JUST LIKE IT IS.

147
00:07:42,070 --> 00:07:46,683
THE END RESULT OF HIS WORK
SEEMS SUPERIOR TO ME.

148
00:07:46,727 --> 00:07:50,208
CLEARLY YOU'RE VERY INTERESTED
IN THE HISTORY OF PHOTOGRAPHY AND EVERYTHING.

149
00:07:50,252 --> 00:07:53,298
WHY ARE YOU MAKING A PIECE
ON RON GALELLA?

150
00:08:05,702 --> 00:08:08,226
WHEN RON OFFERS
INSTRUCTION OR TIPS

151
00:08:08,270 --> 00:08:10,228
TO YOUNG
ASPIRING PHOTOGRAPHERS,

152
00:08:10,272 --> 00:08:13,231
I THINK IT'S CLEAR
THAT HE GIVES A BIT MORE,

153
00:08:13,275 --> 00:08:16,060
OFFERS A BIT MORE
THAN YOU MIGHT GET IF YOU WERE IN A PHOTOGRAPHY SCHOOL

154
00:08:16,104 --> 00:08:18,062
WHERE YOU LEARN
HOW TO USE THE CAMERA

155
00:08:18,106 --> 00:08:19,716
AND COMPOSE
THE SUBJECT

156
00:08:19,760 --> 00:08:21,544
AND DEVELOP THE PICTURES
AND SO FORTH.

157
00:08:21,588 --> 00:08:25,548
HE GIVES TIPS THAT WOULD
PROBABLY BE CLASSIFIED

158
00:08:25,592 --> 00:08:28,290
AS TIPS ON HOW TO BE
SOCIOPATHIC.

159
00:08:33,600 --> 00:08:38,082
LEARN TO SNEAK INTO EVENTS,
CRASH EVENTS.

160
00:08:38,126 --> 00:08:42,260
ALWAYS DRESS RIGHT.
ANY EVENT-- I ALWAYS HAD A SUIT ON.

161
00:08:42,304 --> 00:08:44,219
AND NEVER
CHECK YOUR COAT.

162
00:08:44,262 --> 00:08:46,874
IN THE WINTER YOU LEAVE
YOUR COAT IN THE CAR.

163
00:08:46,917 --> 00:08:49,050
WITHOUT A COAT IT LOOKS LIKE
YOU BELONG THERE,

164
00:08:49,093 --> 00:08:51,139
YOU TOOK A BREAK OUTSIDE
OR SOMETHING.

165
00:08:52,270 --> 00:08:53,750
BE AWARE OF WHERE
THE KITCHEN IS.

166
00:08:53,794 --> 00:08:56,710
THAT'S ONE WAY OF GETTING IN
IN ANY HOTEL-- THE KITCHEN.

167
00:08:56,753 --> 00:08:58,929
ANOTHER WAY
OF SNEAKING IN

168
00:08:58,973 --> 00:09:01,715
IS TO FORGE CREDENTIALS.

169
00:09:01,758 --> 00:09:03,412
FIND SOMEBODY
THAT'S INVITED.

170
00:09:03,455 --> 00:09:05,457
GO TO KINKO
AND DUPLICATE IT.

171
00:09:05,501 --> 00:09:07,459
AND YOU
GET YOUR NAME IN.

172
00:09:09,113 --> 00:09:11,072
SHOOT FAST.

173
00:09:11,115 --> 00:09:14,031
THE REASON WHY

174
00:09:14,075 --> 00:09:17,426
ONE-- YOU WANT TO GET
THE SURPRISED EXPRESSION.

175
00:09:17,469 --> 00:09:19,515
AND THE WAY I SHOOT IS THIS WAY--

176
00:09:19,559 --> 00:09:21,952
LOOK AT THE SUBJECT,
WITH A WIDE-ANGLE LENS.

177
00:09:21,996 --> 00:09:24,738
SHOOT SHOOT SHOOT,

178
00:09:24,781 --> 00:09:27,828
NOT LOOK THROUGH THE LENS.
YOU DON'T SEE--

179
00:09:27,871 --> 00:09:30,395
YOU DON'T SEE
THE SUBJECT'S EYES.

180
00:09:30,439 --> 00:09:32,093
YOU DON'T SEE
THE DETAIL.

181
00:09:32,136 --> 00:09:34,486
AND THE SECOND REASON
YOU SHOOT FAST

182
00:09:34,530 --> 00:09:37,881
IS IN CASE
THE STAR SAYS,

183
00:09:37,925 --> 00:09:40,188
"NO, NO PICTURES,"
THEY DON'T WANT NO PICTURES,

184
00:09:40,231 --> 00:09:41,624
AND HE MEANS IT.

185
00:09:41,668 --> 00:09:44,105
SO YOU SAY, "OKAY,"
AND YOU LEAVE HIM.

186
00:09:44,148 --> 00:09:47,456
BUT YOU'RE AHEAD
'CAUSE YOU GOT THE ONE OR TWO SHOTS BEFORE.

187
00:09:47,499 --> 00:09:49,458
YOU HAVE TO BE ONE UP
ON THESE PEOPLE.

188
00:09:49,501 --> 00:09:52,330
THIS IS
THE ART OF PAPARAZZI.

189
00:09:53,331 --> 00:09:55,899
THIS IS THE LOBBY
OF THE HOTEL.

190
00:09:55,943 --> 00:09:59,947
THERE'S STAIRS HERE.
THERE'S STAIRS HERE.

191
00:09:59,990 --> 00:10:03,472
IT'S IN THIS ROOM.
THIS IS THE WEST FOYER.

192
00:10:03,515 --> 00:10:06,170
TODAY WE'RE GOING TO THE WALDORF ASTORIA

193
00:10:06,214 --> 00:10:08,129
WHERE THERE'S AN EVENT--

194
00:10:08,172 --> 00:10:11,872
THE JACKIE ROBINSON FOUNDATION
ANNUAL AWARDS DINNER

195
00:10:11,915 --> 00:10:14,614
WHERE ROBERT REDFORD
IS BEING HONORED.

196
00:10:21,011 --> 00:10:23,710
WE GO IN,
GO THIS WAY.

197
00:10:23,753 --> 00:10:25,712
EITHER WAY
LEADS TO THIS--

198
00:10:25,755 --> 00:10:27,975
THIS IS THE ENTRANCE
TO THE WEST FOYER.

199
00:10:28,018 --> 00:10:30,412
BUT YOU COULD BYPASS
THE STAIRS

200
00:10:30,455 --> 00:10:32,414
AND GO RIGHT INTO
THE BALLROOM.

201
00:10:32,457 --> 00:10:36,113
AND THERE'S ALL THESE DOORS.
THAT'S ONE WAY OF SNEAKING IN.

202
00:10:36,157 --> 00:10:38,115
THE OTHER WAY IS--
THERE'S STAIRS HERE

203
00:10:38,159 --> 00:10:40,204
THAT LEAD UP TO
THE FIRST BALCONY.

204
00:10:40,248 --> 00:10:42,642
AND YOU COME DOWN THE STAIRS
AND YOU'RE IN THIS WAY.

205
00:10:42,685 --> 00:10:44,556
YOU GET IT?

206
00:10:44,600 --> 00:10:47,298
OKAY, SO LET'S GO DOWN.
I HAVE TO GET MY CAMERA DOWNSTAIRS.

207
00:10:47,342 --> 00:10:48,604
LET'S GO DOWN.

208
00:10:52,782 --> 00:10:54,741
MY PURPOSE REALLY IS

209
00:10:54,784 --> 00:10:57,569
TO GET PICTURES
OF ROBERT REDFORD

210
00:10:57,613 --> 00:10:59,746
AND PRESENT HIM
WITH MY BOOK.

211
00:11:06,796 --> 00:11:09,451
OKAY.

212
00:11:16,632 --> 00:11:18,634
LET'S GO.

213
00:11:20,680 --> 00:11:23,813
LOOK-- DEER.

214
00:11:26,642 --> 00:11:28,600
WE'RE RUNNING
A LITTLE LATE,

215
00:11:28,644 --> 00:11:32,517
WHICH IS BAD
BECAUSE THEY'RE GONNA GO INTO THE BALLROOM

216
00:11:32,561 --> 00:11:34,389
AND GO TO THE TABLES.

217
00:11:34,432 --> 00:11:37,000
SO IT'S GONNA BE HARD
FOR ME-- I'M GONNA TRY, OF COURSE...

218
00:11:37,044 --> 00:11:39,611
TO GIVE HIM THE BOOK THEN.

219
00:11:43,920 --> 00:11:48,751
IN MY CAREER
IT'S NECESSARY TO SNEAK IN

220
00:11:48,795 --> 00:11:52,886
BECAUSE I'M
A FREELANCER.

221
00:11:52,929 --> 00:11:56,541
AND YOU'RE
THE LAST ON THE LIST TO GET INVITED.

222
00:11:56,585 --> 00:11:58,848
BECAUSE THESE PEOPLE THERE--
I DON'T KNOW,

223
00:11:58,892 --> 00:12:01,764
THEY'RE LIKE GESTAPO,
THESE PRESS AGENTS.

224
00:12:17,171 --> 00:12:18,694
WHO'S FILMING HERE?

225
00:12:18,738 --> 00:12:20,957
IT'S CALLED "SALT," WITH ANGELINA JOLIE.

226
00:12:21,001 --> 00:12:22,350
YEAH? SHE'S HERE?

227
00:12:22,393 --> 00:12:25,092
ANGELINE JOLIE
IS IN THIS MOVIE.

228
00:12:25,135 --> 00:12:27,877
SHE'S NOT HERE.

229
00:12:27,921 --> 00:12:30,271
SHE'S NOT HERE.
TOO BAD.

230
00:12:32,316 --> 00:12:35,406
I'D RATHER SHOOT HER
THAN REDFORD.

231
00:12:45,895 --> 00:12:47,854
WELL, THIS IS
THE WEST FOYER.

232
00:12:47,897 --> 00:12:50,595
THIS IS WHERE THE RECEPTION
IS SUPPOSED TO BE,

233
00:12:50,639 --> 00:12:52,641
UNLESS IT'S
THE OTHER SIDE.

234
00:12:52,684 --> 00:12:54,599
I'M A LITTLE LATE.
WEST FOYER?

235
00:12:54,643 --> 00:12:56,601
YEAH, EVERYTHING'S
FINISHED UP THOUGH.

236
00:12:56,645 --> 00:12:58,603
WE JUST FINISHED UP
ABOUT 15 MINUTES AGO.

237
00:12:58,647 --> 00:12:59,909
- YEAH?
- YEAH.

238
00:12:59,953 --> 00:13:03,565
OKAY, WE'RE GONNA TRY
TO GO TO THE OTHER SIDE

239
00:13:03,608 --> 00:13:07,134
AND GET INTO THE PRIVATE
RECEPTION, SUPPOSEDLY.

240
00:13:34,117 --> 00:13:36,032
EXCUSE ME.

241
00:13:36,076 --> 00:13:38,034
- HELLO.
- HI, WHERE'S ROBERT REDFORD?

242
00:13:38,078 --> 00:13:40,036
- HUH?
- WHERE'S ROBERT REDFORD?

243
00:13:40,080 --> 00:13:43,605
WHERE? I HAVE
NO EARTHLY IDEA.

244
00:13:44,998 --> 00:13:47,914
EXCUSE ME, IS ROBERT REDFORD
IN THE ROOM HERE?

245
00:13:47,957 --> 00:13:49,263
- YES, HE IS.
- WHERE IS HE?

246
00:13:49,306 --> 00:13:51,265
RIGHT IN THE MIDDLE
OF THAT CLUSTER.

247
00:13:51,308 --> 00:13:53,267
EXCUSE ME.

248
00:13:53,310 --> 00:13:55,356
SORRY.

249
00:13:55,399 --> 00:13:57,358
- EXCUSE ME.
- YOU GOTTA GET IN THERE.

250
00:13:57,401 --> 00:13:58,750
YEAH YEAH.

251
00:14:02,232 --> 00:14:04,887
- ROBERT, HI, HI.
-RON.

252
00:14:04,931 --> 00:14:06,889
- I'M HERE LATE.
- HOW ARE YOU?

253
00:14:06,933 --> 00:14:09,283
COULD YOU GIVE ME
A COUPLE OF SHOTS? - SURE.

254
00:14:16,333 --> 00:14:19,119
BOB, BOB.

255
00:14:19,162 --> 00:14:21,773
BOB, ONE MINUTE.
I WANT TO GIVE YOU THE BOOK.

256
00:14:21,817 --> 00:14:24,385
I WANT TO HAND IT TO HIM.
YOU DON'T MIND LETTING ME GIVE HIM THE BOOK?

257
00:14:24,428 --> 00:14:27,040
- LISTEN LISTEN, ONE MINUTE.
- GIVE ME THE BOOK. I'VE GOT TO GET IN THERE.

258
00:14:27,083 --> 00:14:29,042
YEAH YEAH, OF COURSE.
YOU'RE IN THE BOOK.

259
00:14:29,085 --> 00:14:30,695
I'LL COME GET IT
FROM YOU LATER.

260
00:14:30,739 --> 00:14:32,393
NO, I WANT TO HAND IT
TO ROBERT.

261
00:14:32,436 --> 00:14:34,830
- OKAY, GIVE IT TO ME.
- THERE HE IS.

262
00:14:34,874 --> 00:14:38,312
- THANKS.
- SHAKE HANDS. THANK YOU.

263
00:14:38,355 --> 00:14:40,880
OKAY, WE GOT IT,
YOU SEE?

264
00:14:40,923 --> 00:14:44,405
LUCKILY HE CAME OUT.

265
00:14:44,448 --> 00:14:48,148
RON-- HE'S SORT OF SINGULARLY UNAWARE

266
00:14:48,191 --> 00:14:50,585
OF THE IMPRESSION
THAT HE GIVES TO PEOPLE.

267
00:14:50,628 --> 00:14:53,240
YOU KNOW, WHEN YOU
DRIVE UP TO HIS HOUSE,

268
00:14:53,283 --> 00:14:56,591
YOU KNOW, HIS NAME IS
RON GALELLA

269
00:14:56,634 --> 00:14:59,463
AND HE LIVES
IN NEW JERSEY.

270
00:14:59,507 --> 00:15:02,684
AND YOU DRIVE UP TO HIS
HOUSE FOR THE FIRST TIME

271
00:15:02,727 --> 00:15:06,122
AND YOU GO, "MY GOD,
IT'S 'THE SOPRANOS.'"

272
00:15:27,274 --> 00:15:31,321
THESE ARE THE PICTURES

273
00:15:31,365 --> 00:15:35,238
FROM "NO PICTURES,"
FROM THE BOOK.

274
00:15:35,282 --> 00:15:37,980
TARGETS OF THE LENS LABEL THE PAPARAZZO

275
00:15:38,024 --> 00:15:40,983
A PARASITE,
A PERSONALITY PROFITEER.

276
00:15:41,027 --> 00:15:44,813
GALELLA'S LIFE
IS FILLED WITH REJECTION.

277
00:15:44,856 --> 00:15:47,990
AND THIS ONE.

278
00:15:48,034 --> 00:15:50,210
YEAH, PUT IT IN THE TRUNK.
YOU KNOW HOW TO OPEN THE TRUNK?

279
00:15:50,253 --> 00:15:51,428
YEAH.

280
00:16:02,352 --> 00:16:05,921
HOW DID I GET STARTED IN PAPARAZZI?

281
00:16:05,965 --> 00:16:10,665
MY MOTHER WAS INTERESTED
IN GLAMOUR, MOVIES,

282
00:16:10,708 --> 00:16:13,973
THE ACCENTS OF CARY GRANT,
DAVID NIVEN,

283
00:16:14,016 --> 00:16:17,063
AND EVEN RONALD COLMAN
WHO SHE NAMED ME AFTER.

284
00:16:17,106 --> 00:16:19,065
BUT IT WAS THE UNITED STATES
AIR FORCE

285
00:16:19,108 --> 00:16:22,764
THAT GAVE ME MY CAREER.

286
00:16:22,807 --> 00:16:24,722
I SHOT CELEBRITIES
COMING TO THE BASE

287
00:16:24,766 --> 00:16:26,768
FOR THE BASE NEWSPAPER.

288
00:16:31,947 --> 00:16:34,863
WE HAVE THREE ROBERT REDFORDS...

289
00:16:34,906 --> 00:16:36,212
RIGHT.

290
00:16:36,256 --> 00:16:38,214
...AND THEN THE 12
STEVE McQUEENS.

291
00:16:38,258 --> 00:16:41,174
- CAME OUT GREAT, DIDN'T IT?
- YEAH YEAH, VERY GOOD.

292
00:16:41,217 --> 00:16:43,045
THESE ARE ALL 30x40.

293
00:16:43,089 --> 00:16:45,004
- WHO IS THIS?
- THIS IS CATHERINE DENEUVE,

294
00:16:45,047 --> 00:16:47,049
- THE FRENCH ACTRESS.
- OH, YEAH.

295
00:16:47,093 --> 00:16:49,051
MICK JAGGER,
BRUCE SPRINGSTEEN AND...

296
00:16:49,095 --> 00:16:51,575
- BOB DYLAN.
- BOB DYLAN.

297
00:16:51,619 --> 00:16:53,577
A PHOTOGRAPHER--

298
00:16:53,621 --> 00:16:55,579
YOU HAVE
A GOOD GIMMICK.

299
00:16:55,623 --> 00:16:57,277
WHEN YOU SEE A PRETTY GIRL
ON THE STREET, YOU SAY,

300
00:16:57,320 --> 00:16:59,061
"I WANT TO TAKE
A PICTURE."

301
00:16:59,105 --> 00:17:02,151
THAT WAY YOU CAN
GET ACQUAINTED, SHOOT PICTURES OF HER.

302
00:17:04,980 --> 00:17:07,939
AND I PLACED HER
IN NICE SETTINGS

303
00:17:07,983 --> 00:17:10,116
AND MAKE IT
INTERESTING,

304
00:17:10,159 --> 00:17:12,596
I USED MY
ARTISTIC BACKGROUND.

305
00:17:12,640 --> 00:17:15,904
AND I LOVED IT,
YOU KNOW.

306
00:17:15,947 --> 00:17:18,689
THEY'RE ALL 16x20,
ALL 12 EACH.

307
00:17:18,733 --> 00:17:20,691
THAT'S WHY HE GIVES ME
BIG DISCOUNTS.

308
00:17:22,128 --> 00:17:24,478
- $145 EACH.
- THAT'S $175.

309
00:17:24,521 --> 00:17:28,090
THAT'S $175,
THAT'S NOT A FOUR. OH.

310
00:17:28,134 --> 00:17:29,961
WHAT, DO YOU CHARGE EXTRA
FOR THE SCANNING?

311
00:17:30,005 --> 00:17:32,312
$150 IS A LOT.
WHY DON'T YOU MAKE IT LESS?

312
00:17:32,355 --> 00:17:34,314
NOW IF YOU GIVE ME
A GOOD PRICE,

313
00:17:34,357 --> 00:17:37,056
I COULD ORDER
THREE MORE FOR ME.

314
00:17:38,361 --> 00:17:41,060
I BET YOU HE GOES DOWN
IN THE PRICE.

315
00:17:41,103 --> 00:17:44,237
HE'LL GO DOWN
IN THE PRICE.

316
00:17:44,280 --> 00:17:48,719
THE PAPARAZZI ARE DEFINED
AS PESTS AT BEST, LEECHES AT WORST.

317
00:17:48,763 --> 00:17:52,984
DOES THE "PAPA" PART
COME FROM THE POPPING OF FLASHBULBS, PERHAPS?

318
00:17:53,028 --> 00:17:55,074
I SUPPOSE A PAPARAZZO
IS SOMEBODY

319
00:17:55,117 --> 00:17:58,555
WHO HAS NO DEFINITE APPOINTMENT
TO TAKE YOUR PICTURE.

320
00:17:58,599 --> 00:18:00,470
THE DEFINITION
OF PAPARAZZO

321
00:18:00,514 --> 00:18:03,256
COMES FROM THE ITALIAN,
"MOSQUITO."

322
00:18:03,299 --> 00:18:06,346
THEY BUZZ AROUND.
THEY ARELIKE INSECTS ACTUALLY.

323
00:18:06,389 --> 00:18:09,088
AND THEY ALSO STING.

324
00:18:09,131 --> 00:18:12,917
THE TERM "PAPARAZZI" COMES FROM THIS FILM,

325
00:18:12,961 --> 00:18:16,965
IN WHICH ONE OF THE PACK
IS ACTUALLY NAMED PAPARAZZO.

326
00:18:22,275 --> 00:18:24,277
WELCOME TO STALEY-WISE.

327
00:18:25,887 --> 00:18:27,236
HI.

328
00:18:27,280 --> 00:18:29,151
SORRY WE'RE LATE.

329
00:18:29,195 --> 00:18:31,371
THIS IS GREAT.

330
00:18:31,414 --> 00:18:34,156
I GAVE YOU ADDITIONAL THREE.
AMSTERDAM WANTED TWO.

331
00:18:34,200 --> 00:18:37,072
YOU MENTIONED
MICK JAGGER.

332
00:18:37,116 --> 00:18:39,727
THE REAL PAPARAZZI ARE THE ONES

333
00:18:39,770 --> 00:18:42,556
WHO COME UP WITH THESE
AMAZINGLY CREATIVE WAYS

334
00:18:42,599 --> 00:18:45,907
OF INVADING
SOMEBODY ELSE'S PRIVACY.

335
00:18:48,257 --> 00:18:50,868
NEW BOOK PROPOSALS.

336
00:18:50,912 --> 00:18:54,176
THEY DID TWO OF MY BOOKS,
BOTH SUCCESSFUL.

337
00:18:54,220 --> 00:18:57,614
THE NAME OF THE GAME IS I THINK THAT CELEBRITIES--

338
00:18:57,658 --> 00:18:59,573
THAT THEY WANT
TO CONTROL THEIR IMAGE.

339
00:18:59,616 --> 00:19:01,923
THEY WANT TO CONTROL
THE PRESS.

340
00:19:01,966 --> 00:19:04,186
AND I'M SAYING,
"NO, I WANT THE CONTROL.

341
00:19:04,230 --> 00:19:07,320
I'M THE ARTIST.
THIS IS MY MEDIUM."

342
00:19:07,363 --> 00:19:10,714
RON, DO YOU WANT
TO BE SOMEBODY FAMOUS?

343
00:19:10,758 --> 00:19:13,195
I AM.

344
00:19:13,239 --> 00:19:16,590
I AM RON GALELLA,
PAPARAZZO SUPERSTAR.

345
00:19:18,592 --> 00:19:22,639
PHOTOGRAPHY--
IT'S THE EASIEST MEDIUM

346
00:19:22,683 --> 00:19:25,599
IN WHICH TO BE COMPETENT.

347
00:19:25,642 --> 00:19:28,254
ANYBODY WITH
A POINT-AND-SHOOT CAMERA

348
00:19:28,297 --> 00:19:30,647
CAN TAKE
A COMPETENT PICTURE.

349
00:19:30,691 --> 00:19:33,346
BUT IT'S THE HARDEST MEDIUM
IN WHICH TO HAVE

350
00:19:33,389 --> 00:19:36,044
TO EXPRESS SOME KIND
OF PERSONAL VISION,

351
00:19:36,087 --> 00:19:38,916
BECAUSE THERE IS NO TOUCH,
THERE IS NO HAND,

352
00:19:38,960 --> 00:19:41,267
THERE IS
NO PHYSICALITY.

353
00:19:41,310 --> 00:19:43,878
THE FACT THAT YOUCAN
HAVE SOMETHING

354
00:19:43,921 --> 00:19:48,535
THAT'S RECOGNIZABLE
FROM 50' ACROSS THE GALLERY

355
00:19:48,578 --> 00:19:50,537
AS A DIANE ARBUS

356
00:19:50,580 --> 00:19:52,887
OR AN IRVING PENN
OR WHATEVER--

357
00:19:52,930 --> 00:19:56,891
THAT FACT THAT YOU CAN HAVE
RECOGNIZABLE AUTHORSHIP

358
00:19:56,934 --> 00:20:00,851
MEANS THEY REALLY
HAVE DONE SOMETHING,

359
00:20:00,895 --> 00:20:02,984
BECAUSE IT'S
A DAMN HARD THING TO DO.

360
00:20:08,555 --> 00:20:10,513
THERE'S PROBABLY ABOUT

361
00:20:10,557 --> 00:20:12,559
THREE MILLION-PLUS IMAGES
DOWN HERE,

362
00:20:12,602 --> 00:20:15,301
BETWEEN PRINTS, SLIDES
AND NEGATIVES,

363
00:20:15,344 --> 00:20:18,478
GIVE OR TAKE
A COUPLE HUNDRED THOUSAND.

364
00:20:30,011 --> 00:20:32,405
WHEN I DESIGNED THIS WHOLE LAYOUT,

365
00:20:32,448 --> 00:20:34,798
THERE WAS SO MUCH MATERIAL
THAT I HAD TO MAKE THE AISLES

366
00:20:34,842 --> 00:20:37,018
A LITTLE SMALL, NARROW,

367
00:20:37,061 --> 00:20:40,804
BECAUSE THERE WERE SO MUCH
BINDERS HERE FOR COLOR

368
00:20:40,848 --> 00:20:43,329
THAT YOU HAVE TO
GO SIDEWAYS IN IT, SEE?

369
00:20:43,372 --> 00:20:45,113
LIKE...

370
00:20:45,156 --> 00:20:47,985
IN FACT, EVEN IN
THE FURNACE ROOM HERE

371
00:20:48,029 --> 00:20:50,597
WE HAVE FILES, SEE?
COME OVER HERE.

372
00:20:50,640 --> 00:20:54,296
HERE WE HAVE WHAT'S KNOWN
AS THE "S" ROOM,

373
00:20:54,340 --> 00:20:58,518
WITH PAUL NEWMAN,
RONALD REAGAN

374
00:20:58,561 --> 00:21:01,042
AND ROBERT REDFORD
AND JOHN TRAVOLTA

375
00:21:01,085 --> 00:21:03,305
AND SINATRA
OF COURSE-- "S".

376
00:21:03,349 --> 00:21:06,090
LOOK AT THIS FILE.
THIS IS ALL SINATRA,

377
00:21:06,134 --> 00:21:08,745
AT LEAST TWO ROWS
OF SINATRA.

378
00:21:08,789 --> 00:21:10,791
THEN WE HAVE PAUL NEWMAN
DOWN HERE,

379
00:21:10,834 --> 00:21:14,577
ROBERT REDFORD
OVER HERE,

380
00:21:14,621 --> 00:21:16,666
JOHN TRAVOLTA OVER THERE.

381
00:21:24,674 --> 00:21:26,633
THESE ARE ALL
THE GOLDEN GLOBE AWARDS

382
00:21:26,676 --> 00:21:29,375
AND THE ACADEMY AWARDS.

383
00:21:29,418 --> 00:21:32,116
HE'S COVERED THEM
SINCE 1968.

384
00:21:32,160 --> 00:21:34,380
MOST FAMOUS PEOPLE ALREADY HAVE

385
00:21:34,423 --> 00:21:36,251
THEIR OBITUARIES
WRITTEN UP

386
00:21:36,295 --> 00:21:38,775
BY "THE NEW YORK TIMES"
AND ALL THOSE KINDS OF NEWSPAPERS.

387
00:21:38,819 --> 00:21:41,387
SO WE TRY TO DO THE SAME THING
WITH PHOTOGRAPHS.

388
00:21:41,430 --> 00:21:43,519
YOU KNOW, IF SOMEONE
IS EITHER SICK

389
00:21:43,563 --> 00:21:46,348
OR WE KNOW THAT UNFORTUNATELY
THEY'RE GONNA DIE SOON,

390
00:21:46,392 --> 00:21:48,742
SOMETHING LIKE THAT,
WE TRY TO DO THOSE PICTURES IMMEDIATELY,

391
00:21:48,785 --> 00:21:50,396
SO THEY ARE AVAILABLE
FOR PUBLICATION.

392
00:21:50,439 --> 00:21:52,311
IT SOUNDS
A LITTLE MORBID,

393
00:21:52,354 --> 00:21:54,791
BUT THAT'S BASICALLY HOW WE,
YOU KNOW, MAKE THE MONEY.

394
00:21:59,970 --> 00:22:02,321
HERE WE'VE GOT SOME
BILLY JEAN KING

395
00:22:02,364 --> 00:22:06,281
WHO'S GOT A BIG FILE.
WE GOT HER IN 1972.

396
00:22:06,325 --> 00:22:09,719
THERE'S A FEW SHOTS
OF HER WITH ELTON JOHN IN SOME OF THESE PICTURES.

397
00:22:09,763 --> 00:22:13,549
THIS SHOT'S RIDICULOUS.
THAT'S GOING ON THERE.

398
00:22:24,430 --> 00:22:25,953
WE HAVE A BUNCH OF
ANDY KAUFMAN

399
00:22:25,996 --> 00:22:29,217
FROM THE "FRIDAYS" SHOW
BACK IN THE EARLY '80s.

400
00:22:29,260 --> 00:22:32,307
AND WE JUST FOUND
PICTURES OF LARRY DAVID

401
00:22:32,351 --> 00:22:35,223
AND KRAMER FROM "SEINFELD."
HE DIDN'T MAKE PRINTS OF THEM

402
00:22:35,266 --> 00:22:37,312
BECAUSE HE DIDN'T KNOW
WHO THEY WERE AT THE TIME.

403
00:22:37,356 --> 00:22:39,532
THEY WERE JUST RANDOM WRITERS
FOR THE SHOW

404
00:22:39,575 --> 00:22:41,577
AND HE WAS TAKING PICTURES
OF ANDY KAUFMAN.

405
00:22:41,621 --> 00:22:44,275
I MEAN, WE THOUGHT
THAT WAS A PRETTY BIG FIND.

406
00:22:45,581 --> 00:22:47,540
PRINCESS DI--

407
00:22:47,583 --> 00:22:50,238
I DID NOT
PHOTOGRAPH HER A LOT

408
00:22:50,281 --> 00:22:52,414
BECAUSE SHE RARELY CAME
TO NEW YORK.

409
00:22:52,458 --> 00:22:55,678
I ONLY GOT ABOUT
FIVE OR SIX TAKES.

410
00:22:55,722 --> 00:22:57,941
BUT SHE WAS NICE.

411
00:22:57,985 --> 00:23:01,771
WE ALL MISS HER.

412
00:23:01,815 --> 00:23:03,991
THIS IS ALL
MICHAEL JACKSON.

413
00:23:04,034 --> 00:23:06,080
YOU SEE HE HAS
A BIG FILE.

414
00:23:06,123 --> 00:23:10,911
HE'S WITH HIS--
EMMANUEL LEWIS AND BROOKE SHIELDS.

415
00:23:10,954 --> 00:23:15,568
SOMETIMES HE WORE MASKS
FOR SANITARY REASONS.

416
00:23:15,611 --> 00:23:17,570
HE SAW ME,

417
00:23:17,613 --> 00:23:20,224
HE ROLLED DOWN THE WINDOW,
HE SHOOK MY HAND.

418
00:23:20,268 --> 00:23:22,401
DONALD TRUMP.

419
00:23:22,444 --> 00:23:24,881
THERE'S A SILHOUETTE
OF HIM.

420
00:23:24,925 --> 00:23:27,797
WITH DIANA ROSS.

421
00:23:27,841 --> 00:23:31,192
THIS IS AN EARLY PICTURE
WHEN HE WAS BLACK,

422
00:23:31,235 --> 00:23:32,846
BEFORE SURGERY.

423
00:23:32,889 --> 00:23:35,718
A LITTLE SURGERY.

424
00:23:39,592 --> 00:23:42,464
HE WENT TO SEE "CATS"
AT THE WINTER GARDEN THEATRE.

425
00:23:42,508 --> 00:23:44,466
AND HE HAD HIS HAND UP.

426
00:23:44,510 --> 00:23:47,077
AND THIS PICTURE RAN
IN "US MAGAZINE,"

427
00:23:47,121 --> 00:23:49,471
A DOUBLE-PAGE SPREAD--
JUST HIS HAND.

428
00:23:49,515 --> 00:23:51,604
IMAGINE THAT.
JUST MICHAEL JACKSON'S HAND--

429
00:23:51,647 --> 00:23:53,432
A BIG PICTURE.

430
00:23:53,475 --> 00:23:55,912
HE FALLS INTO THE GRAND TRADITION

431
00:23:55,956 --> 00:23:59,350
OF STREET
PHOTOGRAPHERS.

432
00:23:59,394 --> 00:24:01,352
STREET PHOTOGRAPHERS
CAN SHOOT

433
00:24:01,396 --> 00:24:03,877
A LOT OF FRAMES
VERY QUICKLY.

434
00:24:03,920 --> 00:24:06,183
AND YOU'RE PROBABLY GUARANTEED
THERE'S GONNA BE

435
00:24:06,227 --> 00:24:10,274
SOMETHING IN THERE
THAT'S USEABLE, IF NOT GREAT.

436
00:24:10,318 --> 00:24:12,625
BUT WHAT MATTERS IS--
DID YOU GET THE PICTURE?

437
00:24:12,668 --> 00:24:17,194
AND WAS THE PICTURE USED?
DID YOU MAKE MONEY ON IT?

438
00:24:17,238 --> 00:24:20,546
THEN YOU'VE DONE YOUR JOB.
THEN YOU'VE DONE IT.

439
00:24:20,589 --> 00:24:22,591
AND THAT IS
WHAT RON--

440
00:24:22,635 --> 00:24:24,811
HE COULDN'T CARE LESS
ABOUT THE PEOPLE.

441
00:24:24,854 --> 00:24:27,857
HE'S PASSIONATE
ABOUT WHAT HE DOES.

442
00:24:27,901 --> 00:24:29,816
IN FACT,
IT IS THE PASSION

443
00:24:29,859 --> 00:24:32,732
THAT SEPARATES HIM
FROM SO MANY OF THE OTHERS.

444
00:24:39,739 --> 00:24:43,438
I THINK THE THING
THAT REALLY DRIVES RON

445
00:24:43,482 --> 00:24:45,658
IS YOU NEVER KNOW--

446
00:24:45,701 --> 00:24:49,400
YOU NEVER KNOW
WHAT'S GOING TO HAPPEN.

447
00:24:49,444 --> 00:24:52,708
HE'S GOT THIS KIND OF
ALMOST CHILDLIKE CURIOSITY.

448
00:24:58,888 --> 00:25:01,238
AND THERE'S TO HIM
AN EXCITEMENT ABOUT--

449
00:25:01,282 --> 00:25:03,545
YOU NEVER KNOW
WHAT'S GONNA HAPPEN.

450
00:25:03,589 --> 00:25:05,025
SO NICE OF YOU TO COME.

451
00:25:05,068 --> 00:25:08,724
-HOW OLD ARE YOU NOW?
- PARDON ME?

452
00:25:08,768 --> 00:25:10,509
- HOW OLD ARE YOU?
- 77.

453
00:25:10,552 --> 00:25:13,686
STILL GOING.
MORE BOOKS.

454
00:25:13,729 --> 00:25:15,731
YOU'RE TOO OLD TO HIDE
IN THE BUSHES NOW, THOUGH.

455
00:25:15,775 --> 00:25:18,125
NO, THE GOLD IS
IN THE FILES.

456
00:25:22,477 --> 00:25:25,567
MY FIRST TAKE OF JACKIE

457
00:25:25,611 --> 00:25:28,048
WAS MAY, 1967--

458
00:25:28,091 --> 00:25:30,180
THE VERY FIRST TAKE.

459
00:25:30,224 --> 00:25:33,053
SHE WENT TO
THE WILDENSTEIN GALLERY.

460
00:25:33,096 --> 00:25:35,055
AND IT WAS IMPOSSIBLE

461
00:25:35,098 --> 00:25:37,405
TO GET PICTURES
IN THE MUSEUM

462
00:25:37,448 --> 00:25:40,060
BECAUSE IT WAS JUST
CROWDED WITH PEOPLE.

463
00:25:40,103 --> 00:25:43,150
AND HER DATE WAS
ANDRE MEYER.

464
00:25:43,193 --> 00:25:44,934
HE WAS A FINANCIER.

465
00:25:44,978 --> 00:25:48,242
SO I WAITED
FOR HER TO COME OUT AND I FOLLOWED THEM.

466
00:25:48,285 --> 00:25:51,419
AND I FOUND OUT
WHERE JACKIE LIVED-- 1040 5th AVENUE.

467
00:25:51,462 --> 00:25:54,596
AND THEN FROM THEN ON
IT WAS A MARATHON.

468
00:26:18,272 --> 00:26:20,666
JACKIE ONASSIS-- AN INCREDIBLE STORY

469
00:26:20,709 --> 00:26:22,842
BECAUSE OF THE CONTROVERSY
AROUND HER.

470
00:26:22,885 --> 00:26:25,888
SHE WAS MARRIED TO PROBABLY
ONE OF THE GREATEST PRESIDENTS EVER

471
00:26:25,932 --> 00:26:28,195
AND SHE ENDS UP
WITH THIS GREEK TYCOON

472
00:26:28,238 --> 00:26:30,980
WHO'S 30 YEARS OLDER
THAN HER.

473
00:26:31,024 --> 00:26:33,287
IT WAS UNIMAGINABLE

474
00:26:33,330 --> 00:26:36,595
FOR HER TO MARRY
ARISTOTLE ONASSIS.

475
00:26:36,638 --> 00:26:38,597
JACKIE HAD JUST
COME OUT OF MOURNING.

476
00:26:38,640 --> 00:26:41,077
WHAT, ARE YOU GONNA
HARASS HER?

477
00:26:41,121 --> 00:26:42,905
I MEAN, SHE'S GOT
THE KIDS,

478
00:26:42,949 --> 00:26:44,951
SHE'S GOT THE THINGS,
TRYING TO MAKE A LIFE.

479
00:26:44,994 --> 00:26:47,867
HER FAME THEN
WAS SO COMPELLING.

480
00:26:47,910 --> 00:26:50,521
AND IT KIND OF REMAINS.

481
00:26:50,565 --> 00:26:52,480
WHETHER IT WAS NEWS
ABOUT JACKIE O

482
00:26:52,523 --> 00:26:54,482
AND HOW SHE WAS FEELING
THAT DAY

483
00:26:54,525 --> 00:26:57,746
OR WHAT WAS
GOING ON IN HER LIFE-- I MEAN, THAT WAS NEWS.

484
00:26:57,790 --> 00:27:00,053
AND SHE DIDN'T REALLY COURT PUBLICITY

485
00:27:00,096 --> 00:27:02,925
BUT GOT IT,
AND WENT OUT INFREQUENTLY.

486
00:27:02,969 --> 00:27:05,624
SHE MAYBE WENT OUT
MAYBE TO A FUNCTION

487
00:27:05,667 --> 00:27:07,495
MAYBE ONCE A MONTH.

488
00:27:07,538 --> 00:27:11,542
SO UNLESS YOU WAITED
OUTSIDE OF HER HOUSE...

489
00:27:14,676 --> 00:27:17,679
Galella:
SEPTEMBER 24th, 1969,

490
00:27:17,723 --> 00:27:19,550
I ARRIVED HERE.

491
00:27:19,594 --> 00:27:21,901
I WENT TO
A NEXT-DOOR NEIGHBOR

492
00:27:21,944 --> 00:27:23,903
OVER THERE-- 1045.

493
00:27:23,946 --> 00:27:27,602
AND I ASKED A DOORMAN
WHO WAS VERY FRIENDLY TO ME.

494
00:27:27,646 --> 00:27:30,736
I TIPPED HIM OFF
USUALLY $10 OR $15.

495
00:27:30,779 --> 00:27:34,087
AND HE SAID,
THEY'RE ON A BIKE IN CENTRAL PARK--

496
00:27:34,130 --> 00:27:37,090
JOHN JUNIOR
AND JACKIE.

497
00:27:39,875 --> 00:27:41,834
I IMMEDIATELY WENT
UP THE PATH THERE

498
00:27:41,877 --> 00:27:43,836
AND I SAW THEM
APPROACHING THIS PATH.

499
00:27:45,620 --> 00:27:49,145
I HID BEHIND
THAT TREE THERE.

500
00:27:49,189 --> 00:27:51,147
YOU SEE THAT GIRL
WHO'S JOGGING?

501
00:27:51,191 --> 00:27:54,281
RIGHT THERE IS WHEN
I SHOT THE PICTURES.

502
00:27:56,718 --> 00:27:59,242
SHE NEVER SAW ME
TILL I GOT OUT OF THE BUSHES.

503
00:27:59,286 --> 00:28:02,028
AND JACKIE TURNED TO ME--
SHE WAS RIGHT HERE--

504
00:28:02,071 --> 00:28:04,030
"OH, IT'S YOU AGAIN."

505
00:28:04,073 --> 00:28:08,730
IN THE MEANTIME,
THEIR TOP AGENT MR. CONNELLY

506
00:28:08,774 --> 00:28:11,864
COMES ON A BIKE, SAYS,
"YOU'VE HAD ENOUGH."

507
00:28:11,907 --> 00:28:14,736
AND I SAID,
"YES, I'M LEAVING."

508
00:28:14,780 --> 00:28:16,607
JACKIE SAID,

509
00:28:16,651 --> 00:28:18,958
"MR. CONNELLY,
SMASH HIS CAMERA."

510
00:28:19,001 --> 00:28:21,395
THE AGENTS COME
RUNNING AFTER ME.

511
00:28:21,438 --> 00:28:25,399
AND THEY SAID,
"GIVE US THE FILM."

512
00:28:25,442 --> 00:28:27,662
BUT I SAID,
"NO, YOU'RE NOT GETTING THE FILM."

513
00:28:27,706 --> 00:28:30,926
I SLAMMED THE TRUNK OF MY CAR
WITH THE FILM AND CAMERA IN THERE.

514
00:28:30,970 --> 00:28:34,321
AND THEN THEY SAID,
"GET IN OUR SECRET SERVICE CAR."

515
00:28:34,364 --> 00:28:36,758
AND THEY DROVE ME
TO THE 19th PRECINCT

516
00:28:36,802 --> 00:28:38,847
AND THEY ARRESTED ME.

517
00:28:41,197 --> 00:28:44,244
THIS GAVE RON, HE FELT,
THE JUSTIFICATION

518
00:28:44,287 --> 00:28:48,770
TO SUE MRS. ONASSIS
FOR HARASSMENT.

519
00:28:48,814 --> 00:28:51,425
AND HE FILED
A $1.3 MILLION

520
00:28:51,468 --> 00:28:52,905
LEGAL SUIT
AGAINST HER

521
00:28:52,948 --> 00:28:55,342
FOR BLOCKING HIM
FROM TAKING PICTURES,

522
00:28:55,385 --> 00:28:57,300
FROM EARNING A LIVING.

523
00:28:57,344 --> 00:29:01,783
MRS. ONASSIS COUNTERSUED
AGAIN FOR HARASSMENT,

524
00:29:01,827 --> 00:29:03,785
CLAIMING THAT HE WAS

525
00:29:03,829 --> 00:29:05,787
TERRIFYING HER
AND HER CHILDREN

526
00:29:05,831 --> 00:29:07,920
BY STALKING HER
THE WAY HE DID.

527
00:29:07,963 --> 00:29:11,314
I THOUGHT SHE WOULD
SETTLE OUT OF COURT,

528
00:29:11,358 --> 00:29:13,882
BUT SHE DECIDED
TO GO TO COURT

529
00:29:13,926 --> 00:29:16,580
BECAUSE ARI PAID
THE BILLS.

530
00:29:16,624 --> 00:29:20,323
ARI'S BILLS CAME TO
$500,000.

531
00:29:20,367 --> 00:29:22,804
AND MY LAWYERS--
THEY ONLY CHARGED ME

532
00:29:22,848 --> 00:29:24,850
$40,000 FOR
THE WHOLE THING.

533
00:29:24,893 --> 00:29:26,242
IT WAS A BARGAIN.

534
00:29:28,767 --> 00:29:31,291
EVERY PUBLICATION THROUGHOUT THE WORLD

535
00:29:31,334 --> 00:29:33,336
WANTED TO PHOTOGRAPH
MRS. ONASSIS

536
00:29:33,380 --> 00:29:36,644
DURING THE COURSE
OF THIS TRIAL.

537
00:29:36,687 --> 00:29:38,777
THERE WERE LINES OUTSIDE THE COURTROOM,

538
00:29:38,820 --> 00:29:40,822
JUST WAITING TO COME IN
AND SEE MRS. ONASSIS

539
00:29:40,866 --> 00:29:42,998
WHO WAS IN TRIAL
EVERY DAY.

540
00:29:43,042 --> 00:29:46,697
THERE WAS MARTIN LONDON
REPRESENTING MRS. ONASSIS.

541
00:29:46,741 --> 00:29:48,874
THERE WAS AL JULIEN
AND MYSELF

542
00:29:48,917 --> 00:29:50,484
REPRESENTING
RON GALELLA.

543
00:29:50,527 --> 00:29:52,616
AND I WAS THERE REPRESENTING
THE SECRET SERVICE

544
00:29:52,660 --> 00:29:57,143
WHO WERE GUARDING
CAROLINE AND JOHN.

545
00:29:57,186 --> 00:29:59,754
JACKIE HAD LOST
HER PROTECTION

546
00:29:59,798 --> 00:30:01,451
WHEN SHE MARRIED
MR. ONASSIS.

547
00:30:01,495 --> 00:30:03,497
THAT'S THE LAW.

548
00:30:03,540 --> 00:30:05,586
BUT CHILDREN
OF A FORMER PRESIDENT

549
00:30:05,629 --> 00:30:07,588
GET SECRET SERVICE
PROTECTION

550
00:30:07,631 --> 00:30:11,026
UNTIL THEY ARE
18 YEARS OLD.

551
00:30:11,070 --> 00:30:13,159
MRS. ONASSIS TOOK ADVANTAGE OF THAT.

552
00:30:13,202 --> 00:30:15,030
WHEN THE CHILDREN
WERE WITH HER,

553
00:30:15,074 --> 00:30:16,815
THE SECRET SERVICE
WERE THERE.

554
00:30:16,858 --> 00:30:18,817
AND SHE HAD
THE ADVANTAGE OF THAT.

555
00:30:24,039 --> 00:30:26,868
ALL OF THESE PICTURES
HAVE BEEN TAKEN IN PUBLIC PLACES.

556
00:30:26,912 --> 00:30:29,784
NOW IF THERE'S GOING
TO BE RESTRICTION

557
00:30:29,828 --> 00:30:33,048
ON THE RIGHT OF THE PHOTOGRAPHER
TO OPERATE IN PUBLIC PLACES,

558
00:30:33,092 --> 00:30:34,876
THAT'S FOR A JUDGE TO SAY,
NOT FOR A LAWYER.

559
00:30:34,920 --> 00:30:37,139
WOULD YOU SAY THEN
THIS MAY VERY WELL BE

560
00:30:37,183 --> 00:30:39,185
A PRECEDENT-MAKING CASE?

561
00:30:39,228 --> 00:30:41,143
I DON'T THINK
THERE'S ANY QUESTION

562
00:30:41,187 --> 00:30:43,406
THAT THERE'S VERY VITAL
PRECEDENT INVOLVED HERE.

563
00:30:43,450 --> 00:30:45,408
THERE'S A CONFLICT
PERHAPS

564
00:30:45,452 --> 00:30:47,367
WITH RESPECT
TO RIGHTS OF PRIVACY.

565
00:30:47,410 --> 00:30:49,151
AND THERE CERTAINLY IS
A CONFLICT

566
00:30:49,195 --> 00:30:51,197
WITH RESPECT TO WHAT'S
THE RIGHT OF THE PRESS

567
00:30:51,240 --> 00:30:54,330
AND WHAT'S THE RIGHT
OF THE PHOTOGRAPHER SERVING THE PRESS.

568
00:30:54,374 --> 00:30:57,290
I TRIED THE CASE WITH MY
LATE PARTNER ALFRED JULIEN

569
00:30:57,333 --> 00:30:59,118
AND HE WAS QUESTIONING HER.

570
00:30:59,161 --> 00:31:01,903
AND OF COURSE THE BIG
CONSTITUTIONAL ISSUE IS--

571
00:31:01,947 --> 00:31:03,557
ARE YOU A PUBLIC PERSON?

572
00:31:03,600 --> 00:31:06,821
IF YOU ARE,
IT'S NOT FREE REIN,

573
00:31:06,865 --> 00:31:09,215
BUT YOU CERTAINLY DON'T HAVE
THAT KIND OF PROTECTION

574
00:31:09,258 --> 00:31:11,130
THAT A PRIVATE INDIVIDUAL
WILL HAVE.

575
00:31:11,173 --> 00:31:14,133
AND SHE WAS ASKED,
"DO YOU CONSIDER YOURSELF A PUBLIC FIGURE?"

576
00:31:14,176 --> 00:31:16,787
AND SHE SAID NO.

577
00:31:16,831 --> 00:31:18,789
AND HE TURNED
TO THE 200 PHOTOGRAPHERS

578
00:31:18,833 --> 00:31:20,443
AND JOURNALISTS
THAT WERE THERE AND SAID,

579
00:31:20,487 --> 00:31:22,228
"I GUESS THEY'RE ALL HERE
TO SEE ME."

580
00:31:24,273 --> 00:31:26,536
THE JUDGE AT THE TRIAL--

581
00:31:26,580 --> 00:31:29,670
HE ASKED US-- EVERYBODY
TO PUT IN PROOF

582
00:31:29,713 --> 00:31:32,586
AS TO HOW FAMOUS WAS

583
00:31:32,629 --> 00:31:36,111
JACQUELINE KENNEDY ONASSIS.

584
00:31:36,155 --> 00:31:40,942
IT CAME DOWN TO TWO,
AND ONLY TWO WOMEN.

585
00:31:40,986 --> 00:31:43,336
THERE WAS NO DISCUSSION
ABOUT A MOVIE STAR.

586
00:31:43,379 --> 00:31:47,079
THERE WAS NO DISCUSSION ABOUT
A TELEVISION STAR.

587
00:31:47,122 --> 00:31:49,081
THE DISCUSSION WAS--

588
00:31:49,124 --> 00:31:53,215
QUEEN ELIZABETH,
JACKIE KENNEDY ONASSIS.

589
00:31:53,259 --> 00:31:57,002
RON'S LAWYERS PERSISTENTLY
TRIED TO PROVE

590
00:31:57,045 --> 00:31:59,004
THAT THE PHOTOGRAPHS SHOWED

591
00:31:59,047 --> 00:32:01,180
THAT JACKIE WAS
NOT AT ALL TERRIFIED,

592
00:32:01,223 --> 00:32:03,573
THAT MOST OF THE PICTURES
SHOWED HER SMILING,

593
00:32:03,617 --> 00:32:06,054
SO HOW COULD THAT INDICATE
SOMEONE'S ALARM?

594
00:32:06,098 --> 00:32:10,145
JULIEN ASKS, "ISN'T THAT
A SMILE ON YOUR FACE?"

595
00:32:10,189 --> 00:32:12,582
JACKIE RESPONDS,

596
00:32:12,626 --> 00:32:14,758
"NO, I'M WALKING
VERY FAST

597
00:32:14,802 --> 00:32:18,023
AND THE PHOTOGRAPHER IS
RESTRICTING MY PASSAGE."

598
00:32:18,066 --> 00:32:20,025
JULIEN ASKS,
"DOES THIS PICTURE

599
00:32:20,068 --> 00:32:21,765
SHOW YOU FRIGHTENED
OR ALARMED?"

600
00:32:21,809 --> 00:32:23,463
"OBJECTION."
"OVERRULED."

601
00:32:23,506 --> 00:32:27,119
"I COULDN'T SAY, SIR,"
ANSWERS MRS. ONASSIS.

602
00:32:27,162 --> 00:32:30,122
JULIEN: "ARE YOU LOOKING
AT THE CAMERA?

603
00:32:30,165 --> 00:32:31,645
ARE YOU SMILING?"

604
00:32:31,688 --> 00:32:34,387
MRS. ONASSIS:
"MY MOUTH IS OPEN, SIR."

605
00:32:34,430 --> 00:32:37,129
"ARE YOU SMILING?"
"NO, SIR."

606
00:32:37,172 --> 00:32:40,480
"OH, BUT DOES THIS SHOW
SOMEONE FRIGHTENED?"

607
00:32:40,523 --> 00:32:43,613
"IT COULD BE, SIR."

608
00:32:45,615 --> 00:32:47,574
ALL SHE HAD TO DO WAS
WALK OUT AND SAY,

609
00:32:47,617 --> 00:32:50,751
"GOOD MORNING,
MR. GALELLA,"

610
00:32:50,794 --> 00:32:53,362
KEPT A STRAIGHT FACE
AND GET INTO HER TAXI.

611
00:32:53,406 --> 00:32:56,104
HE COULD HAVE HAD
A REALLY DULL PICTURE,

612
00:32:56,148 --> 00:32:58,672
BUT JACKIE
RUNNING ACROSS

613
00:32:58,715 --> 00:33:00,804
AWAY FROM HIM
IN CENTRAL PARK

614
00:33:00,848 --> 00:33:04,156
IS AN INCREDIBLE PICTURE.

615
00:33:04,199 --> 00:33:07,376
FIRST LADIES DON'T RUN.
CAN YOU IMAGINE PAT NIXON

616
00:33:07,420 --> 00:33:10,336
OR BARBARA BUSH
RUNNING, YOU KNOW?

617
00:33:10,379 --> 00:33:12,512
IF YOU STALK SOMEBODY

618
00:33:12,555 --> 00:33:14,514
TIME AFTER TIME
AFTER TIME,

619
00:33:14,557 --> 00:33:18,648
IT'S DEPRESSING.
IT'S DEMORALIZING ON THE SUBJECT--

620
00:33:18,692 --> 00:33:22,522
FOR HIM TO HAVE
"GREAT ART," RIGHT? QUOTE UNQUOTE.

621
00:33:22,565 --> 00:33:26,743
WE DON'T HAVE A SORT OF
GENERAL RIGHT OF PRIVACY.

622
00:33:26,787 --> 00:33:29,355
WE HAVE A RIGHT
OF PRIVACY

623
00:33:29,398 --> 00:33:31,618
AGAINST THE GOVERNMENT
IN A LOT OF WAYS,

624
00:33:31,661 --> 00:33:35,187
BUT WE DON'T HAVE A RIGHT
TO PRIVACY AGAINST EACH OTHER.

625
00:33:35,230 --> 00:33:37,493
WHY SHOULD HE BE DEPRIVED
FROM MAKING A LIVING?

626
00:33:37,537 --> 00:33:39,408
HE WASN'T DOING
ANYTHING CRIMINAL.

627
00:33:39,452 --> 00:33:41,584
HE WAS NEVER CHARGED
WITH ANYTHING CRIMINAL.

628
00:33:41,628 --> 00:33:43,673
WE FELT STRONGLY
ON HIS SIDE ABOUT IT.

629
00:33:43,717 --> 00:33:46,154
HE HAD A RIGHT
TO MAKE THAT LIVING.

630
00:33:46,198 --> 00:33:48,896
SHE WAS IN SUCH
TREMENDOUS DEMAND THAT EVERY MAGAZINE--

631
00:33:48,939 --> 00:33:50,767
SO WHAT DOES THAT MEAN?
WHAT DOES IT MEAN?

632
00:33:50,811 --> 00:33:53,074
DOES IT MEAN YOU CAN
DO WHATEVER IT TAKES TO TAKE A PICTURE?

633
00:33:53,118 --> 00:33:55,555
- YOU CAN'T COMMIT A CRIME.
- YOU KNOW, THIS IS ALL PART

634
00:33:55,598 --> 00:33:57,861
OF THE JOURNALISTIC
FIRST AMENDMENT BULLSHIT.

635
00:33:57,905 --> 00:33:59,863
THE FIRST AMENDMENT DEALS

636
00:33:59,907 --> 00:34:01,909
WITH THE SUBSTANCE
OF THE PHOTOGRAPH--

637
00:34:01,952 --> 00:34:03,737
I HAVE NO PROBLEM
WITH THAT.

638
00:34:03,780 --> 00:34:05,521
WHAT I HAVE
A PROBLEM WITH

639
00:34:05,565 --> 00:34:08,916
IS WHAT THE SO-CALLED
JOURNALIST DOES TO GET IT.

640
00:34:08,959 --> 00:34:11,440
THE ARGUMENT THAT THE PUBLIC
IS ENTITLED TO KNOW THE TRUTH

641
00:34:11,484 --> 00:34:13,616
IS BULLSHIT.
THE JOURNALIST--

642
00:34:13,660 --> 00:34:16,315
YOU DON'T HAVE
TO BE A JOURNALIST TO HAVE A FIRST AMENDMENT RIGHT.

643
00:34:16,358 --> 00:34:18,273
EVERYBODY HAS A FIRST
AMENDMENT RIGHT.

644
00:34:18,317 --> 00:34:20,145
SO HE HAS A RIGHT
TO TAKE A PICTURE

645
00:34:20,188 --> 00:34:22,669
OF SOMEBODY
ON A PUBLIC STREET.

646
00:34:22,712 --> 00:34:25,454
NOW THE QUESTION IS--
WHAT'S THE LAW?

647
00:34:28,631 --> 00:34:30,546
CAN YOU TAKE A PICTURE
FROM ACROSS THE STREET?

648
00:34:30,590 --> 00:34:33,071
THAT'S PROBABLY
NOT TOO OFFENSIVE.

649
00:34:33,114 --> 00:34:36,813
CAN I JUMP OUT IMMEDIATELY
IN FRONT OF YOU

650
00:34:36,857 --> 00:34:39,381
AND STICK A CAMERA
SIX INCHES FROM YOUR NOSE

651
00:34:39,425 --> 00:34:42,080
AND JUMP UP AND DOWN
AND JUMP BACKWARDS?

652
00:34:42,123 --> 00:34:44,212
CAN I DO IT EVERY DAY?

653
00:34:44,256 --> 00:34:46,823
CAN I SCARE
YOUR CHILDREN?

654
00:34:46,867 --> 00:34:49,348
CAN I MAKE YOUR LIFE
MISERABLE?

655
00:34:49,391 --> 00:34:53,961
NOT AN EASY QUESTION
TO ANSWER.

656
00:34:54,004 --> 00:34:56,616
IT'S A SLIPPERY SLOPE.

657
00:35:04,537 --> 00:35:06,843
BACK OFF THE DRIVE, GENTLEMEN.

658
00:35:12,327 --> 00:35:14,764
BACK OFF.

659
00:35:14,808 --> 00:35:17,419
HEY, YOU, BACK OFF!

660
00:35:29,562 --> 00:35:33,914
THIS IS AN ALLIANCE

661
00:35:33,957 --> 00:35:36,177
BETWEEN THE PHOTOGRAPHERS,

662
00:35:36,221 --> 00:35:39,572
THE CELEBRITIES,
THE PUBLISHERS

663
00:35:39,615 --> 00:35:42,183
AND THE READERS
OF THE MAGAZINES

664
00:35:42,227 --> 00:35:44,185
AND THE VIEWERS

665
00:35:44,229 --> 00:35:46,405
OF THE PROGRAMS
ON TELEVISION.

666
00:35:46,448 --> 00:35:50,191
YOU CAN'T SEPARATE

667
00:35:50,235 --> 00:35:53,586
ANY ONE OF THOSE PIECES
OF THE ALLIANCE.

668
00:35:53,629 --> 00:35:55,979
PEOPLE SINCE THE DAWN OF TIME
HAVE BEEN INTERESTED

669
00:35:56,023 --> 00:35:58,068
IN THE CELEBRITIES
OF THEIR WORLD

670
00:35:58,112 --> 00:36:01,376
AND I THINK THAT WE TRULY ARE
BORN WITH A GOSSIP GENE.

671
00:36:01,420 --> 00:36:03,073
WHEN WE'RE
IN HIGH SCHOOL

672
00:36:03,117 --> 00:36:05,728
EVERYONE GOSSIPS
ABOUT THE IN GROUP.

673
00:36:05,772 --> 00:36:08,166
IN ENGLAND THEY GOSSIP
ALL ABOUT THE ROYAL FAMILY,

674
00:36:08,209 --> 00:36:10,255
AND THEY'VE BEEN DOING THAT
FOR LIKE 2000 YEARS.

675
00:36:10,298 --> 00:36:13,823
AND I'M SURE
BACK IN THE DAY

676
00:36:13,867 --> 00:36:16,217
PEOPLE WERE GOSSIPING
ABOUT THE PHARAOH

677
00:36:16,261 --> 00:36:18,654
AND THE PHARAOH'S WIFE.

678
00:36:24,356 --> 00:36:26,314
IN THE DAYS OF THE SILENT MOVIES,

679
00:36:26,358 --> 00:36:28,316
THE VERY EARLY DAYS,

680
00:36:28,360 --> 00:36:32,581
THE AUDIENCE DIDN'T KNOW
WHO THE STARS WERE

681
00:36:32,625 --> 00:36:34,583
BECAUSE THE PRODUCERS
WORRIED

682
00:36:34,627 --> 00:36:36,890
THAT IF THE STARS
BECAME

683
00:36:36,933 --> 00:36:39,545
A COMMODITY
IN THEIR OWN RIGHT,

684
00:36:39,588 --> 00:36:41,634
THAT THEY WOULD DEMAND
TOO MUCH MONEY.

685
00:36:45,420 --> 00:36:49,076
IT WENT FROM STARS
BEING COMPLETELY ANONYMOUS

686
00:36:49,119 --> 00:36:51,905
TO THE STARS BEING
VERY WELL KNOWN,

687
00:36:51,948 --> 00:36:54,255
BECAUSE THE PRODUCERS
SUDDENLY REALIZED

688
00:36:54,299 --> 00:36:56,910
THAT IT'S ALMOST LIKE
A PRODUCT EXTENSION--

689
00:36:56,953 --> 00:36:58,912
IF YOU'VE GOT A MOVIE,

690
00:36:58,955 --> 00:37:00,914
IF YOU CAN THEN
SELL STORIES

691
00:37:00,957 --> 00:37:03,351
ABOUT THE STARS
IN THE MOVIE.

692
00:37:07,137 --> 00:37:09,749
BUT IT WAS A VERY DIFFERENT
KIND OF CELEBRITY

693
00:37:09,792 --> 00:37:13,579
FROM WHAT WE HAVE TODAY,
BECAUSE IT WAS RARE.

694
00:37:13,622 --> 00:37:16,190
IT WAS SCARCE.

695
00:37:16,234 --> 00:37:18,236
THE STUDIOS
CONTROLLED IT.

696
00:37:18,279 --> 00:37:21,804
THEY DECIDED
WHAT WE NEEDED TO KNOW.

697
00:37:21,848 --> 00:37:25,068
IT WAS THE DEATH
OF THE STUDIO SYSTEM

698
00:37:25,112 --> 00:37:30,160
THAT LAUNCHED
WHATEVER IS GOING ON NOW.

699
00:37:31,466 --> 00:37:33,425
I THINK IT REALLY BEGAN
WHEN EDDIE FISHER

700
00:37:33,468 --> 00:37:36,602
AND ELIZABETH TAYLOR
AND RICHARD BURTON

701
00:37:36,645 --> 00:37:38,734
WENT TO ROME
TO DO "CLEOPATRA."

702
00:37:38,778 --> 00:37:41,563
AND SUDDENLY
THE AFFAIR BEGAN

703
00:37:41,607 --> 00:37:43,478
BETWEEN BURTON
AND TAYLOR

704
00:37:43,522 --> 00:37:47,047
AND THE WHOLE WORLD
WAS INTERESTED.

705
00:37:47,090 --> 00:37:49,702
IT WAS BLATANT ON THE SET

706
00:37:49,745 --> 00:37:51,878
THAT THERE WAS THIS AFFAIR
GOING ON.

707
00:37:51,921 --> 00:37:53,575
AND THEN
ALL HELL BROKE LOOSE--

708
00:37:53,619 --> 00:37:56,883
PAPARAZZI WITH THE VESPAS
AND SCOOTERS

709
00:37:56,926 --> 00:37:59,233
CHASING THEM AROUND ROME.

710
00:37:59,277 --> 00:38:01,670
AND THE MORE INTEREST THERE IS,

711
00:38:01,714 --> 00:38:05,457
THE MORE MONEY
SOMEBODY WHO HAS THE PICTURES IS GONNA MAKE.

712
00:38:09,374 --> 00:38:13,073
I HAVE A BIGGER FILE OF LIZ TAYLOR THAN JACKIE,

713
00:38:13,116 --> 00:38:15,554
BECAUSE SHE'S MORE
ACCESSIBLE.

714
00:38:15,597 --> 00:38:18,948
SHE ATTENDS PREMIERES
AND PUBLIC EVENTS, YOU KNOW.

715
00:38:24,084 --> 00:38:26,216
ELIZABETH TAYLOR,
RICHARD BURTON

716
00:38:26,260 --> 00:38:28,306
HAVE A YACHT--
THE KALIZMA.

717
00:38:28,349 --> 00:38:32,266
IT WAS MOORED
ON THE THAMES RIVER.

718
00:38:32,310 --> 00:38:35,661
I GOT A TIP
FROM ONE OF THE SAILORS

719
00:38:35,704 --> 00:38:39,752
THEY WERE GONNA HAVE
A PARTY THAT WEEKEND.

720
00:38:39,795 --> 00:38:41,754
ADJACENT TO THE YACHT

721
00:38:41,797 --> 00:38:44,104
THERE WAS
A FIVE-STOREY WAREHOUSE.

722
00:38:44,147 --> 00:38:47,368
I PAID
THE WATCHMAN $12

723
00:38:47,412 --> 00:38:49,675
TO LOCK ME
IN THE WAREHOUSE

724
00:38:49,718 --> 00:38:52,373
AT 4:00 P.M.
FRIDAY AFTERNOON.

725
00:38:52,417 --> 00:38:56,246
I WAS A PRISONER
IN THAT WAREHOUSE FOR THE WEEKEND.

726
00:38:56,290 --> 00:38:58,945
SO I GOT A SHOPPING BAG
FULL OF GROCERIES--

727
00:38:58,988 --> 00:39:02,165
HERO SANDWICHES,
CREAM SODA, CAKE,

728
00:39:02,209 --> 00:39:06,387
AND TOILET PAPER TOO.

729
00:39:06,431 --> 00:39:09,651
I SAW RATS ON THE FIRST FLOOR,
SECOND FLOOR.

730
00:39:09,695 --> 00:39:12,088
IN FACT, THE FIRST NIGHT
I WAS SO SCARED OF THE RATS,

731
00:39:12,132 --> 00:39:14,264
I WENT AND
SLEPT ON THE ROOF.

732
00:39:17,790 --> 00:39:19,922
SATURDAY AFTERNOON,
SURE ENOUGH, THEY CAME.

733
00:39:19,966 --> 00:39:21,924
I PHOTOGRAPHED THEM

734
00:39:21,968 --> 00:39:25,232
WITH A 300mm LENS
FROM THE WINDOW.

735
00:39:25,275 --> 00:39:26,929
THEY NEVER SPOTTED ME--
NEVER.

736
00:39:31,586 --> 00:39:33,675
THE NEXT MORNING
I GOT THEM EATING BREAKFAST,

737
00:39:33,719 --> 00:39:35,764
CURSING AT EACH OTHER,

738
00:39:35,808 --> 00:39:39,159
JUST LIKE IN "VIRGINIA WOOLF,"
THE MOVIE.

739
00:39:39,202 --> 00:39:41,161
THIS YACHT--
THE KALIZMA--

740
00:39:41,204 --> 00:39:43,642
BECAME A LANDMARK
FOR THE TOURISTS.

741
00:39:43,685 --> 00:39:45,731
THE BOATS WOULD
COME CLOSE.

742
00:39:45,774 --> 00:39:48,037
I CAUGHT LIZ
PUTTING UP

743
00:39:48,081 --> 00:39:50,431
GAUZE CURTAINS
FOR PRIVACY.

744
00:39:50,475 --> 00:39:52,433
AND I GOT THE PICTURE

745
00:39:52,477 --> 00:39:54,217
OF THE TOURISTS
WITH THEIR CAMERAS.

746
00:39:54,261 --> 00:39:55,741
THEY DIDN'T SEE LIZ,

747
00:39:55,784 --> 00:39:58,308
BUT I GOT THE PICTURE
FROM ABOVE.

748
00:39:59,484 --> 00:40:02,574
I LIKE THAT PICTURE
THE BEST.

749
00:40:02,617 --> 00:40:05,228
TODAY FOR THOSE
PICTURES

750
00:40:05,272 --> 00:40:07,100
I COULD HAVE GOTTEN
$100,000,

751
00:40:07,143 --> 00:40:09,102
BUT IN THOSE DAYS

752
00:40:09,145 --> 00:40:12,584
I ONLY GOT $400
FROM "THE NATIONAL ENQUIRER"

753
00:40:12,627 --> 00:40:15,108
FOR A DOUBLE-PAGE
SPREAD.

754
00:40:15,151 --> 00:40:17,110
I WAS JUST HAPPY
THAT IT WAS PUBLISHED.

755
00:40:20,243 --> 00:40:22,202
RON, IS THIS WORTH IT?

756
00:40:22,245 --> 00:40:23,899
IS IT WORTH GOING THROUGH
THIS KIND OF THING?

757
00:40:23,943 --> 00:40:26,380
WELL, FOR ME IT IS.
I LOVE MY WORK--

758
00:40:26,424 --> 00:40:28,382
PHOTOJOURNALISM.

759
00:40:28,426 --> 00:40:31,080
AND A PAPARAZZI IS
JUST A TOOL

760
00:40:31,124 --> 00:40:33,300
THAT MUST BE USED

761
00:40:33,343 --> 00:40:37,304
TO CAPTURE CELEBRITIES
AS THEY REALLY ARE,

762
00:40:37,347 --> 00:40:39,349
IN A MORE
TRUTHFUL LIGHT.

763
00:40:39,393 --> 00:40:40,960
BETTY, WHAT'S YOUR PART
IN ALL OF THIS?

764
00:40:41,003 --> 00:40:43,658
HOW DO YOU VIEW
YOUR ROLE IN ALL OF THIS?

765
00:40:46,095 --> 00:40:47,880
RON GALELLA.

766
00:40:47,923 --> 00:40:49,490
WHEN RON MET BETTY,

767
00:40:49,534 --> 00:40:51,449
IT REALLY WAS THE GREATEST
THING IN HIS LIFE.

768
00:40:51,492 --> 00:40:54,843
SHE WAS EXACTLY THE PARTNER
THAT RON NEEDED.

769
00:40:54,887 --> 00:40:56,845
I'M GOING TO
HAVE TO ASK

770
00:40:56,889 --> 00:40:58,804
THAT WE DOUBLE
THIS AMOUNT.

771
00:40:58,847 --> 00:41:00,806
YOU KNOW AND I KNOW

772
00:41:00,849 --> 00:41:04,287
IF YOU HAVE TO GO BACK
AND REPLACE THIS ART,

773
00:41:04,331 --> 00:41:06,289
IT'S GOING TO
COST YOU MORE

774
00:41:06,333 --> 00:41:10,903
THAT MY ASKING YOU
TO DOUBLE ON THE PRICE.

775
00:41:14,950 --> 00:41:17,170
I USED TO BUY HIS PICTURES.

776
00:41:17,213 --> 00:41:19,694
I WAS VICE PRESIDENT
OF "TODAY IS SUNDAY"

777
00:41:19,738 --> 00:41:22,088
IN WASHINGTON.

778
00:41:22,131 --> 00:41:25,004
WE HAD BEEN PUBLISHING
HIS WORK

779
00:41:25,047 --> 00:41:27,441
FOR A YEAR OR TWO.

780
00:41:27,485 --> 00:41:30,662
AND I SAID, "OH, I HOPE
SOMEDAY I'LL MEET THIS MAN."

781
00:41:30,705 --> 00:41:34,753
SHE HAD A SOFT VOICE
ON THE PHONE, LIKE JACKIE,

782
00:41:34,796 --> 00:41:37,799
ALWAYS LAUGHTER
IN HER VOICE.

783
00:41:37,843 --> 00:41:40,410
ONE DAY THE PHONE RINGS.

784
00:41:40,454 --> 00:41:43,022
HE WANTS TO COME
TO THE KENNEDY CENTER

785
00:41:43,065 --> 00:41:45,241
THAT SAME NIGHT

786
00:41:45,285 --> 00:41:48,549
TO PHOTOGRAPH THE PREMIERE
OF "SUPERMAN."

787
00:41:50,203 --> 00:41:52,988
AND HE SAID,
"CAN YOU GET ME IN?"

788
00:41:53,032 --> 00:41:56,557
AND I NEVER THOUGHT
SHE WOULD BE A BEAUTIFUL GIRL.

789
00:41:56,601 --> 00:41:58,994
I SAID, "THESE, YOU KNOW,
GIRLS FOOL YOU

790
00:41:59,038 --> 00:42:02,171
BECAUSE THEY MAKE UP
FOR THEIR LOOKS

791
00:42:02,215 --> 00:42:04,565
WITH NICE PERSONALITIES."

792
00:42:04,609 --> 00:42:07,263
A LITTLE LATER IN THE EVENING
HE FLEW IN

793
00:42:07,307 --> 00:42:09,570
AND AS A COURTESY
I MET HIM.

794
00:42:09,614 --> 00:42:12,225
WELL, WHEN I LAID EYES ON BETTY,
I COULDN'T BELIEVE IT.

795
00:42:12,268 --> 00:42:14,183
I SAYS, "LOOK, THIS GIRL
IS BEAUTIFUL."

796
00:42:14,227 --> 00:42:16,229
AND I ASKED BETTY,

797
00:42:16,272 --> 00:42:18,231
"ARE YOU SURE
YOU'RE NOT MARRIED?"

798
00:42:18,274 --> 00:42:19,885
SHE SAYS, "NO."

799
00:42:19,928 --> 00:42:23,323
AND I SAID,
"I'M GONNA MARRY YOU."

800
00:42:25,717 --> 00:42:28,110
AND WITHIN FIVE MINUTE
OF OUR MEETING

801
00:42:28,154 --> 00:42:30,112
HE PROPOSED MARRIAGE.

802
00:42:30,156 --> 00:42:32,593
AND I SAID YES.

803
00:42:32,637 --> 00:42:34,900
AND I THOUGHT,
"WELL, HERE'S THIS TALL,

804
00:42:34,943 --> 00:42:38,207
DARK, GOOD-LOOKING
HUNK OF A GUY,

805
00:42:38,251 --> 00:42:41,559
AND LOOKING EVER SO
NEW YORK CHIC."

806
00:42:41,602 --> 00:42:43,561
I REALLY WAS IMPRESSED.

807
00:42:43,604 --> 00:42:45,780
AND THEN WE WENT

808
00:42:45,824 --> 00:42:47,913
TO THE NEAREST MOTEL
AND SHACKED UP.

809
00:42:47,956 --> 00:42:49,610
RON!

810
00:43:07,585 --> 00:43:10,065
WELCOME TO MY GARDENS.

811
00:43:10,109 --> 00:43:12,502
THESE ARE
ITALIAN GARDENS.

812
00:43:12,546 --> 00:43:14,504
I BUILT THIS WHOLE
WALL HERE,

813
00:43:14,548 --> 00:43:16,985
THIS BELGIUM BLOCK,
MYSELF.

814
00:43:17,029 --> 00:43:20,902
AND I BUILT THAT FOUNTAIN
MYSELF TOO, RIGHT THERE.

815
00:43:23,731 --> 00:43:25,690
HERE'S A WINDMILL
I BUILT

816
00:43:25,733 --> 00:43:29,041
WITH THOSE FLOWERS
AT THE BASE.

817
00:43:29,084 --> 00:43:31,609
THIS IS ANOTHER AREA
THAT I BUILT UP

818
00:43:31,652 --> 00:43:34,394
WITH THESE
FOUR COLUMNS.

819
00:43:34,437 --> 00:43:36,788
AND YOU NOTICE THAT I PUT
THESE PLANTERS ON TOP

820
00:43:36,831 --> 00:43:40,835
WITH FAKE EVERGREENS
ON TOP.

821
00:43:40,879 --> 00:43:44,230
HE BUYS SILK AND PLASTIC PLANTS.

822
00:43:44,273 --> 00:43:47,450
HE BRINGS THEM HOME
AND DIPS THEM

823
00:43:47,494 --> 00:43:50,453
IN A 10-GALLON BUCKET
OF POLYURETHANE

824
00:43:50,497 --> 00:43:53,848
AND THEN
HE PLANTS THEM

825
00:43:53,892 --> 00:43:56,155
AND CALLS IT
HIS GARDEN.

826
00:43:56,198 --> 00:43:58,157
THAT'S ONE EXAMPLE
RIGHT THERE.

827
00:43:58,200 --> 00:44:00,289
THIS TOPIARY
WAS DIPPED AND--

828
00:44:00,333 --> 00:44:03,031
IT'S AN UTTER,
ABSOLUTE HUMILIATION.

829
00:44:03,075 --> 00:44:06,905
BETTY'S PARENTS WERE
IN THE FLORIST BUSINESS.

830
00:44:06,948 --> 00:44:08,776
THESE ARE FAKE
EVERGREENS--

831
00:44:08,820 --> 00:44:11,474
FAKE EVERGREENS.

832
00:44:11,518 --> 00:44:13,607
RON IS TIGHT

833
00:44:13,651 --> 00:44:15,740
AS THE BARK
ON A TREE.

834
00:44:15,783 --> 00:44:17,829
I THINK I ONLY SPENT
$20 FOR THIS ONE.

835
00:44:17,872 --> 00:44:20,527
AND THEY COME
WITH LIGHTS TOO.

836
00:44:22,921 --> 00:44:26,141
THIS IS THE RABBIT CEMETERY
FOR MOST OF OUR RABBITS.

837
00:44:26,185 --> 00:44:28,187
THEY'RE BURIED
ALONG HERE.

838
00:44:34,062 --> 00:44:36,804
EACH RABBIT REPRESENTS
ANOTHER BURIAL.

839
00:44:40,634 --> 00:44:44,246
IT'S HARD TO PUT TOGETHER,
YOU KNOW,

840
00:44:44,290 --> 00:44:46,248
THE RUTHLESS
PHOTOJOURNALIST

841
00:44:46,292 --> 00:44:48,860
WITH THE GUY
WHO LOVES RABBITS AND PETS RABBITS

842
00:44:48,903 --> 00:44:51,776
AND CLEARLY IS VERY FOND
OF HIS RABBITS.

843
00:44:51,819 --> 00:44:54,735
WHY BUNNIES?

844
00:44:54,779 --> 00:44:58,434
THEY'RE CLEAN--
CLEANER THAN CATS.

845
00:44:58,478 --> 00:45:01,046
AND THEY DON'T SMELL.

846
00:45:01,089 --> 00:45:02,874
AND YOU CAN PICK UP
THEIR POOP.

847
00:45:02,917 --> 00:45:04,832
IT'S LIKE RAISINS.

848
00:45:04,876 --> 00:45:08,140
AND THEY DON'T MEOW
OR BARK.

849
00:45:08,183 --> 00:45:10,882
AND THEY'RE SO SOFT
TO TOUCH.

850
00:45:10,925 --> 00:45:14,624
WE JUST LOVE BUNNIES,
BOTH OF US.

851
00:45:17,105 --> 00:45:21,414
I HAD COME TO HIM
WITH A BACKGROUND IN JOURNALISM,

852
00:45:21,457 --> 00:45:26,071
BUT NOT A SPECIFIC STUDY
IN PHOTOGRAPHY.

853
00:45:26,114 --> 00:45:28,334
SO NATURALLY
I PICKED UP A CAMERA.

854
00:45:28,377 --> 00:45:30,423
I WANTED TO GO WITH HIM,
BE WITH HIM

855
00:45:30,466 --> 00:45:33,905
AND EXPERIENCE THE ACTION
FOR MYSELF.

856
00:45:33,948 --> 00:45:37,256
AND IT WAS EXCITING
IN THOSE DAYS,

857
00:45:37,299 --> 00:45:40,085
BECAUSE IT WAS
THE VERY ZENITH

858
00:45:40,128 --> 00:45:42,130
OF THE DISCO ERA.

859
00:45:43,653 --> 00:45:47,440
AND DOES BIG DADDY
LOVE TO DANCE!

860
00:45:56,101 --> 00:46:00,235
♪ DOESN'T TAKE MUCH
TO MAKE ME HAPPY ♪

861
00:46:00,279 --> 00:46:04,674
♪ AND MAKE ME SMILE
WITH GLEE... ♪

862
00:46:04,718 --> 00:46:07,852
EVERYBODY THAT CAME TO NEW YORK,

863
00:46:07,895 --> 00:46:12,378
EVERY FAMOUS PERSON
HAD TO MAKE A TRIP TO STUDIO 54.

864
00:46:15,729 --> 00:46:17,513
THERE IS NOTHING LIKE THAT
TODAY, YOU KNOW.

865
00:46:17,557 --> 00:46:20,603
EVERY NIGHT EVERYONE ENDED UP
AT STUDIO 54.

866
00:46:20,647 --> 00:46:25,130
♪ I LIKE THE WAY YOU MAKE ME
FEEL ABOUT YOU, BABY ♪

867
00:46:25,173 --> 00:46:28,307
♪ WANT THE WHOLE WIDE WORLD
TO SEE ♪

868
00:46:28,350 --> 00:46:32,572
♪ OH OH, YOU GOT
THE BEST OF MY LOVE... ♪

869
00:46:32,615 --> 00:46:34,835
IT WAS THE BEGINNING OF THE EXPLOSION

870
00:46:34,879 --> 00:46:37,403
OF CELEBRITY JOURNALISM.

871
00:46:37,446 --> 00:46:40,188
STUDIO 54 CREATED
THE PLAYGROUND

872
00:46:40,232 --> 00:46:43,017
FOR THESE PHOTOGRAPHS
TO BE TAKEN.

873
00:46:43,061 --> 00:46:46,281
♪ ...YOU'VE GOT THE BEST
OF MY LOVE... ♪

874
00:46:46,325 --> 00:46:49,719
I ACTUALLY DO THINK
THAT RON GALELLA UNLOCKED

875
00:46:49,763 --> 00:46:51,896
THE LITTLE PANDORA'S BOX

876
00:46:51,939 --> 00:46:54,072
OF THE WAY PEOPLE
PRESENTED THEMSELVES.

877
00:46:54,115 --> 00:46:58,467
HE CAUGHT PEOPLE
COMING OUT OF STUDIO 54

878
00:46:58,511 --> 00:47:00,687
AFTER PARTICULARLY
FESTIVE NIGHTS,

879
00:47:00,730 --> 00:47:03,516
STILL ATTRACTIVE
BUT WASTED AT THE SAME TIME.

880
00:47:06,258 --> 00:47:08,521
HE GAVE SOMETHING THAT
THESE PEOPLE DID NOT WANT

881
00:47:08,564 --> 00:47:10,610
TO PRESENT
TO THE PUBLIC.

882
00:47:16,703 --> 00:47:18,705
DO YOU EVER THINK THAT MAYBE
YOU'RE FEEDING AN APPETITE

883
00:47:18,748 --> 00:47:21,490
THAT SHOULDN'T BE FED WHEN YOU
GET SOME OF THESE PICTURES?

884
00:47:21,534 --> 00:47:25,233
EVERY NEWSPAPER
HAS A CELEBRITY COLUMN, A GOSSIP COLUMN.

885
00:47:25,277 --> 00:47:27,540
- A PEOPLE COLUMN-- SURE.
- IT REALLY BECAME--

886
00:47:27,583 --> 00:47:30,804
AT ONE TIME IT WASN'T THAT WAY.
I'VE BEEN IN THE BUSINESS 20 YEARS.

887
00:47:30,848 --> 00:47:35,069
WHO ARE THE TOUGH ONES TO GET?
WHO ARE THE REAL TOUGHIES?

888
00:47:35,113 --> 00:47:36,462
- BRANDO.
- BRANDO.

889
00:47:36,505 --> 00:47:38,594
AND WE'RE LOOKING
FOR BRANDO.

890
00:47:38,638 --> 00:47:40,466
AND BRANDO IS
RIGHT HERE.

891
00:47:40,509 --> 00:47:42,250
WE HAVE ABOUT EIGHT BOXES
OF BRANDO.

892
00:47:42,294 --> 00:47:46,472
HE'S A BIG BIG MAN,
MORE THAN PHYSICAL.

893
00:47:46,515 --> 00:47:49,997
I'M GOING TO BRING
THESE OUT TO SHOW YOU.

894
00:47:50,041 --> 00:47:52,217
MARLON BRANDO.

895
00:47:55,176 --> 00:47:57,135
DICK CAVETT HAD A SHOW

896
00:47:57,178 --> 00:47:59,267
IN NEW YORK
ON 58th STREET.

897
00:47:59,311 --> 00:48:01,269
IN THE PAPER
IT'S LISTED--

898
00:48:01,313 --> 00:48:03,924
MARLON BRANDO
IS GONNA BE ON.

899
00:48:05,970 --> 00:48:08,146
WHEN I HEARD HE WAS GONNA DO IT,

900
00:48:08,189 --> 00:48:10,148
I WAS THRILLED.
YOU CAN IMAGINE,

901
00:48:10,191 --> 00:48:11,801
I MEAN, REALLY THRILLED.
IN A BUSINESS

902
00:48:11,845 --> 00:48:13,629
WHERE EVERYONE'S EXCITED
ABOUT EVERYTHING

903
00:48:13,673 --> 00:48:15,544
AND THRILLED ABOUT
EVERYTHING,

904
00:48:15,588 --> 00:48:17,242
I WAS BOTH EXCITED AND
THRILLED GENUINELY

905
00:48:17,285 --> 00:48:19,026
AND I COULD HARDLY
STAND IT.

906
00:48:19,070 --> 00:48:21,246
NATURALLY I WANTED
PICTURES OF BRANDO.

907
00:48:21,289 --> 00:48:23,683
HE WAS SORT OF RECLUSIVE
AT THAT TIME,

908
00:48:23,726 --> 00:48:27,208
VERY PRIVATE ON TAHITI--
THE ISLAND THAT HE WAS AT.

909
00:48:27,252 --> 00:48:29,167
RON TOLD ME
THAT HE WAS

910
00:48:29,210 --> 00:48:32,170
GOING TO PHOTOGRAPH
MARLON BRANDO.

911
00:48:32,213 --> 00:48:34,781
AND I SAID,
"RON, I'D LOVE TO SEE WHAT YOU DID."

912
00:48:34,824 --> 00:48:37,697
I DIDN'T ASSIGN
HIM TO IT, BUT I SAID, LOOKING FOR A FREEBIE,

913
00:48:37,740 --> 00:48:40,656
"YOU DO IT
AND I'M HAPPY TO LOOK AT IT. I'D REALLY LIKE TO."

914
00:48:40,700 --> 00:48:45,009
MARLON BRANDO AS A CELEBRITY
WAS NOT A VERY NICE GUY.

915
00:48:45,052 --> 00:48:48,926
HE NEVER LIKED PICTURES,
THAT DAY WITH GALELLA OR ANY OTHER DAY.

916
00:48:48,969 --> 00:48:51,580
HE WAS A NASTY PIECE OF SHIT,
A NASTY MAN.

917
00:48:51,624 --> 00:48:54,322
JUST WAS, YOU KNOW.

918
00:48:55,976 --> 00:48:58,761
BRANDO WAS GOING TO BE
AT 5:00 AT THAT STUDIO.

919
00:48:58,805 --> 00:49:02,026
I WENT EARLY, 12:00 NOON,
TO TRY TO GET INFORMATION.

920
00:49:02,069 --> 00:49:04,202
"YOU KNOW ANYTHING ABOUT
BRANDO COMING IN?"

921
00:49:04,245 --> 00:49:05,507
"NO NO NO NO NO."

922
00:49:05,551 --> 00:49:08,510
LEAVING THE BUILDING--
THERE'S A LIMO DRIVER.

923
00:49:08,554 --> 00:49:11,339
I ASKED THE CHAUFFEUR,
"YOU KNOW ANYTHING ABOUT BRANDO?"

924
00:49:11,383 --> 00:49:13,298
"YES, HE'S COMING IN
BY HELICOPTER."

925
00:49:13,341 --> 00:49:14,734
THAT'S ALL
I HAD TO KNOW.

926
00:49:14,777 --> 00:49:16,779
HE HAD AWAKENED
THAT MORNING

927
00:49:16,823 --> 00:49:18,738
HAVING MISSED THE PLANE
TO NEW YORK

928
00:49:18,781 --> 00:49:20,914
THAT HE HAD FORGOTTEN HE WAS
SUPPOSED TO BE ON.

929
00:49:20,958 --> 00:49:24,874
TWO HOURS
BEFORE TAPE TIME

930
00:49:24,918 --> 00:49:26,920
NOBODY KNEW
WHERE HE WAS.

931
00:49:30,793 --> 00:49:34,362
I GOT BRANDO COMING OUT OF THE HELICOPTER

932
00:49:34,406 --> 00:49:36,712
AND THEN A FEW SHOTS
GOING INTO HIS LIMOUSINE.

933
00:49:36,756 --> 00:49:39,019
AND THEN I RACED
TO THE STUDIO

934
00:49:39,063 --> 00:49:40,934
TO GET HIM THERE,
ARRIVING.

935
00:49:40,978 --> 00:49:43,415
BUT IT WAS IMPOSSIBLE
TO GET ANY GOOD PICTURES

936
00:49:43,458 --> 00:49:45,417
BECAUSE IT WAS
WALL-TO-WALL

937
00:49:45,460 --> 00:49:49,725
FANS AND
PHOTOGRAPHERS.

938
00:49:49,769 --> 00:49:51,901
HOW MUCH OF WHAT'S
BEEN WRITTEN ABOUT YOU CAN BE TRUSTED?

939
00:49:51,945 --> 00:49:53,947
THERE ARE
A COUPLE OF BOOKS. CAN WE TRUST THOSE?

940
00:49:53,991 --> 00:49:55,644
AND IF NOT, HOW DO THEY
GET AWAY WITH IT?

941
00:49:55,688 --> 00:50:00,345
I DON'T THINK IT'S WORTH
GOING INTO. I MEAN--

942
00:50:00,388 --> 00:50:03,043
ON THEIR PART OR MINE?

943
00:50:03,087 --> 00:50:06,568
NEWS IS BUSINESS.
AND PEOPLE SELL NEWS.

944
00:50:06,612 --> 00:50:10,920
AND UNFORTUNATELY
PEOPLE IN MY POSITION,

945
00:50:10,964 --> 00:50:15,012
PEOPLE IN THE PUBLIC EYE,

946
00:50:15,055 --> 00:50:17,318
ARE SELLABLE COMMODITIES.

947
00:50:17,362 --> 00:50:19,103
BUT THEY'RE NOT ANY DIFFERENT
THAN KLEENEX

948
00:50:19,146 --> 00:50:22,410
OR DIAL SOAP
OR ANYTHING ELSE.

949
00:50:22,454 --> 00:50:26,458
AND SO IF WE, YOU KNOW,
FIND SOMETHING OUT

950
00:50:26,501 --> 00:50:29,026
ABOUT YOUR SEX LIFE

951
00:50:29,069 --> 00:50:31,637
OR SOMETHING THAT YOU DO
WITH YOUR FINGERNAILS

952
00:50:31,680 --> 00:50:33,769
AFTER YOU CUT THEM OFF--

953
00:50:35,728 --> 00:50:37,469
SO WE DID THE SHOW AND HE SAID,

954
00:50:37,512 --> 00:50:39,253
"DO YOU WANT TO GO DOWN
TO CHINATOWN?"

955
00:50:39,297 --> 00:50:41,690
THERE WAS AN OLD RESTAURANT
HE WAS GOING TO TRY TO FIND.

956
00:50:41,734 --> 00:50:43,431
SO WE HOPPED
IN THE CAR,

957
00:50:43,475 --> 00:50:47,566
GETTING PAST RON GALELLA
AND SOME OTHERS OUT FRONT.

958
00:50:47,609 --> 00:50:50,221
I WAS PREPARED

959
00:50:50,264 --> 00:50:53,920
TO FOLLOW THE LIMOUSINE,
WHICH I DID.

960
00:50:53,963 --> 00:50:57,489
AND THE ONLY PERSON
I ALLOWED IN MY CAR

961
00:50:57,532 --> 00:50:59,404
WAS PAUL SCHMULBAUCH.

962
00:50:59,447 --> 00:51:01,101
WE FOLLOWED HIM.
THERE WAS NOBODY ELSE

963
00:51:01,145 --> 00:51:03,103
FOLLOWING HIM
EXCEPT ME AND HIM.

964
00:51:03,147 --> 00:51:05,758
ABOUT THREE BLOCKS INTO OUR RIDE

965
00:51:05,801 --> 00:51:08,804
THE DRIVER SAID,
"RON GALELLA'S FOLLOWING US."

966
00:51:08,848 --> 00:51:11,938
TO BE A GOOD PAPARAZZO, YOU HAVE TO RACE

967
00:51:11,981 --> 00:51:14,419
TO BEAT THE STAR
TO THEIR DESTINATION.

968
00:51:14,462 --> 00:51:16,421
SO YOU MUST BE THERE

969
00:51:16,464 --> 00:51:19,119
ON THE SIDEWALK
FOR THEIR ARRIVAL.

970
00:51:19,163 --> 00:51:22,340
I SPENT A LOT OF TIME
IN RON'S CAR DRIVING AROUND.

971
00:51:22,383 --> 00:51:25,038
AND OFTENTIMES
WE WERE CHASING CELEBRITIES.

972
00:51:25,082 --> 00:51:27,736
SO WE WERE ON THESE
HIGH-SPEED CHASES,

973
00:51:27,780 --> 00:51:30,087
GOING THROUGH RED LIGHTS.
AND IT WAS HAIR-RAISING.

974
00:51:30,130 --> 00:51:32,654
RON'S A WILD MAN
BEHIND THE WHEEL.

975
00:51:32,698 --> 00:51:35,222
WHAT I CALL THE PAPARAZZI LANE

976
00:51:35,266 --> 00:51:37,137
IS THE RIGHT-HAND
TURN LANE.

977
00:51:37,181 --> 00:51:39,705
BUT I USE THAT LANE
TO PASS ALL THE CARS.

978
00:51:39,748 --> 00:51:42,229
NOW I'M GOING TO DO
A PAPARAZZI-- WATCH.

979
00:51:42,273 --> 00:51:44,579
OH SHIT.

980
00:51:44,623 --> 00:51:46,668
HE DOES THE SAME THING
IN A BUFFET LINE TOO.

981
00:51:46,712 --> 00:51:48,627
HE CUTS RIGHT IN FRONT
OF EVERYBODY.

982
00:51:50,933 --> 00:51:53,588
SOMEHOW RON FOUND US

983
00:51:53,632 --> 00:51:56,417
AS WE GOT OUT
IN CHINATOWN.

984
00:51:56,461 --> 00:51:58,071
MR. BRANDO SAID TO ME,

985
00:51:58,115 --> 00:52:00,726
"WHICH ONE IS GALELLA?

986
00:52:00,769 --> 00:52:02,945
KEEP THE SAME EXPRESSION
ON YOUR FACE.

987
00:52:02,989 --> 00:52:05,165
HE'LL GET TIRED OF TAKING
THE SAME PICTURE."

988
00:52:05,209 --> 00:52:07,994
SO WE DID THAT
FOR A WHILE.

989
00:52:08,037 --> 00:52:10,388
AND WE START SHOOTING.
IT GOES ON FOR A BLOCK OR TWO--

990
00:52:10,431 --> 00:52:12,433
THE SAME PICTURE
OVER AND OVER AGAIN.

991
00:52:12,477 --> 00:52:14,435
MARLON LOOKS LIKE

992
00:52:14,479 --> 00:52:18,222
SOME SORT OF MONGOL ASSASSIN
FROM THE 13th CENTURY.

993
00:52:18,265 --> 00:52:20,224
AND I LOOK LIKE

994
00:52:20,267 --> 00:52:24,402
WHAT'S KNOWN AS
A BIT OF ROUGH TRADE.

995
00:52:24,445 --> 00:52:27,056
I TOOK ABOUT 10 SHOTS,

996
00:52:27,100 --> 00:52:30,538
AND THEN BRANDO CALLS ME OVER
AND HE SAYS...

997
00:52:30,582 --> 00:52:32,540
"AREN'T YOU TIRED OF TAKING

998
00:52:32,584 --> 00:52:34,586
THE SAME PICTURE
ALL THE TIME?"

999
00:52:34,629 --> 00:52:37,154
AND NEITHER OF US
UNDERSTOOD HIM.

1000
00:52:37,197 --> 00:52:39,504
AND RON SAID,
"WHAT'D YOU SAY?" AND LEANED IN A LITTLE.

1001
00:52:39,547 --> 00:52:42,115
"WHAT ELSE YOU WANT YOU DON'T ALREADY HAVE?"

1002
00:52:42,159 --> 00:52:43,943
IN HIS RASPY VOICE.

1003
00:52:43,986 --> 00:52:46,902
AND HE SAYS, "HEY, MARLON, TAKE THOSE SUNGLASSES OFF,"

1004
00:52:46,946 --> 00:52:49,209
IN HIS USUAL POLITE WAY,
OF COURSE.

1005
00:52:49,253 --> 00:52:52,560
BRANDO DIDN'T ANSWER HIM.
HE JUST REARED BACK, AND ONE PUNCH.

1006
00:52:52,604 --> 00:52:54,432
WHAM!

1007
00:53:00,220 --> 00:53:02,222
KNOCKED OUT FIVE TEETH.

1008
00:53:02,266 --> 00:53:04,833
BLOOD GUSHING
OUT OF MY MOUTH, I PUT MY HANDKERCHIEF ON MY MOUTH.

1009
00:53:04,877 --> 00:53:07,923
AND I LANDED
IN BELLEVUE HOSPITAL.

1010
00:53:07,967 --> 00:53:10,404
WHO BELIEVES MARLON BRANDO OVERREACTED?

1011
00:53:10,448 --> 00:53:13,320
WHO BELIEVES THAT WAS
AN APPROPRIATE RESPONSE TO RON GALELLA?

1012
00:53:18,630 --> 00:53:21,372
RON COULDN'T FIGHT BACK.
HE HAD ALL HIS CAMERAS ON HIM.

1013
00:53:21,415 --> 00:53:23,243
AND I SAID,
"PAUL, GET IN THE CAR."

1014
00:53:23,287 --> 00:53:26,246
PAUL WAS LIKE,
WITH HIS MOUTH OPEN, DUMBFOUNDED.

1015
00:53:26,290 --> 00:53:28,727
AND WITH HIS CAMERA
HANGING FROM ITS STRAP

1016
00:53:28,770 --> 00:53:33,079
AND SORT OF SWINGING,
MISSING THE PICTURE OF HIS CAREER.

1017
00:53:35,299 --> 00:53:36,996
I SAID, "YOU MISSED
THE PICTURE."

1018
00:53:37,039 --> 00:53:38,867
AND HE GOT IN THE CAR
AND WE WENT TO BELLEVUE.

1019
00:53:38,911 --> 00:53:42,262
WHERE THEY REWIRED JAW
AND TRIED TO FIX HIS TEETH.

1020
00:53:42,306 --> 00:53:44,046
WHAT RAN THROUGH MY MIND WAS,

1021
00:53:44,090 --> 00:53:46,223
"THIS IS THE MOST THRILLING
MOMENT OF MY LIFE,

1022
00:53:46,266 --> 00:53:48,268
ONE OF THE MOST
VIOLENT

1023
00:53:48,312 --> 00:53:50,096
AND CERTAINLY
THE STUPIDEST."

1024
00:53:50,139 --> 00:53:53,360
I MEAN, I THOUGHT,
"WHAT THE HELL ARE YOU DOING?

1025
00:53:53,404 --> 00:53:55,580
YOU GET-- FIRST OF ALL,
YOU'RE MARLON BRANDO."

1026
00:53:55,623 --> 00:53:57,495
I'M ONLY THINKING
THESE THINGS, OF COURSE--

1027
00:53:57,538 --> 00:53:59,279
"YOU THINK YOU'RE GONNA
GET AWAY WITH THIS SHIT?"

1028
00:53:59,323 --> 00:54:01,760
HE TOLD ME
TO CALL HIS LAWYER, WHICH I DID.

1029
00:54:01,803 --> 00:54:03,805
HE GOT MY WIFE LINDA
ON THE PHONE

1030
00:54:03,849 --> 00:54:07,069
AND HE WAS MUMBLING
THAT HE WAS JUST HIT

1031
00:54:07,113 --> 00:54:09,202
AND THAT HE COULD HARDLY TALK,
AND "WHERE'S STUART?"

1032
00:54:09,246 --> 00:54:11,639
AND LINDA SAID,
AND WISELY SO,

1033
00:54:11,683 --> 00:54:13,772
"I THINK YOU OUGHT TO SEE
A DOCTOR IN A HOSPITAL

1034
00:54:13,815 --> 00:54:15,904
BEFORE YOU SEE
A LAWYER."

1035
00:54:15,948 --> 00:54:17,341
AND RON--
"ALL RIGHT, ALL RIGHT."

1036
00:54:17,384 --> 00:54:19,386
THE SAME NIGHT,
AFTER I'M STITCHED,

1037
00:54:19,430 --> 00:54:22,259
I WENT TO THE SHOW CLUB--
AN EVENT AT THE SHOW CLUB.

1038
00:54:22,302 --> 00:54:25,479
YEAH, THAT SHOWS YOU
HOW STRONG I AM.

1039
00:54:25,523 --> 00:54:27,568
THIS THING WAS JUST--

1040
00:54:27,612 --> 00:54:31,093
IT DIDN'T HURT REALLY,
YOU KNOW.

1041
00:54:31,137 --> 00:54:35,228
NOVOCAINE WAS STILL IN.

1042
00:54:35,272 --> 00:54:37,012
I GOT THIS CALL
THE NEXT MORNING

1043
00:54:37,056 --> 00:54:39,406
AND, YOU KNOW, HE SAID,

1044
00:54:39,450 --> 00:54:42,627
"I'M RON. IT'S RON GALELLA."
"WHO IS IT?"

1045
00:54:42,670 --> 00:54:45,978
"JOHN, I CAN'T TALK TOO WELL
BECAUSE MY JAW'S BROKEN.

1046
00:54:46,021 --> 00:54:47,545
I'M SORRY TO BE LATE,

1047
00:54:47,588 --> 00:54:50,287
BUT I'LL COME OVER
LATER THIS MORNING."

1048
00:54:50,330 --> 00:54:54,421
WE SUED MARLON BRANDO.
MARLON BRANDO'S DEPOSITION

1049
00:54:54,465 --> 00:54:56,858
WAS LIKE SEEING
A MARLON BRANDO MOVIE.

1050
00:54:56,902 --> 00:54:59,078
YOU COULDN'T UNDERSTAND
A WORD HE SAID.

1051
00:54:59,121 --> 00:55:01,036
IT WAS BIZARRE.

1052
00:55:01,080 --> 00:55:03,082
WE COULD ASK THE QUESTION,
AND THE ANSWER--

1053
00:55:03,125 --> 00:55:05,606
WE WOULD LOOK AT EACH OTHER
AND WOULDN'T KNOW WHAT HE SAID.

1054
00:55:05,650 --> 00:55:07,695
AND WE'D SAY TO THE REPORTER,
"READ IT BACK."

1055
00:55:07,739 --> 00:55:10,350
AND SHE WOULD LOOK AT US
AND WOULDN'T KNOW WHAT TO-- NO ONE KNEW WHAT HE SAID.

1056
00:55:10,394 --> 00:55:14,920
HE OFFERED A SETTLEMENT
OF $40,000.

1057
00:55:14,963 --> 00:55:17,139
OUR INSTINCT
WAS TO SAY NO

1058
00:55:17,183 --> 00:55:19,577
AND TRY TO INCREASE
UPON IT.

1059
00:55:19,620 --> 00:55:21,405
WE CALLED RON

1060
00:55:21,448 --> 00:55:24,364
AND BEFORE
THE $40,000 CAME OUT, RON SAID YES.

1061
00:55:24,408 --> 00:55:27,280
BECAUSE, AGAIN, RON SAID,
"THAT'S NOT WHAT I'M ABOUT.

1062
00:55:27,324 --> 00:55:29,848
IT'S NOT ABOUT THE LAWSUIT
TO GET THE MONEY.

1063
00:55:29,891 --> 00:55:32,503
WHATEVER.
THAT'S FAIR. THAT'S FINE. LET ME GET ON WITH IT.

1064
00:55:32,546 --> 00:55:34,331
IT'S JUST I DON'T WANT
ANYONE TO THINK

1065
00:55:34,374 --> 00:55:36,028
THEY CAN GO AROUND
PUNCHING ME

1066
00:55:36,071 --> 00:55:37,943
IF I'M TAKING THEIR PICTURE,
AND THAT'S WHAT I--

1067
00:55:37,986 --> 00:55:40,554
GET THAT STORY OUT,
NOT THE MONEY."

1068
00:55:40,598 --> 00:55:42,382
HOWEVER, HE'LL GLADLY
TELL YOU

1069
00:55:42,426 --> 00:55:44,471
WHENEVER HE SPEAKS ABOUT IT
THAT WE TOOK A FEE.

1070
00:55:44,515 --> 00:55:46,081
THE LAWYERS OF COURSE
GOT 1/3.

1071
00:55:46,125 --> 00:55:48,257
THE LAWYERS GOT 1/3.

1072
00:55:48,301 --> 00:55:49,737
MY LAWYERS GOT 1/3.

1073
00:55:49,781 --> 00:55:51,391
THE LAWYERS GOT 1/3.

1074
00:55:51,435 --> 00:55:54,089
I GOT $27,000,
WHICH IS 2/3.

1075
00:55:54,133 --> 00:55:56,744
IT ALL WENT OT THE REPAIRS
OF MY CAPS,

1076
00:55:56,788 --> 00:55:59,443
WHICH TOOK THREE TIMES
TO GET IT RIGHT.

1077
00:56:01,227 --> 00:56:05,057
A YEAR LATER
HE HAD A PRESS CONFERENCE IN NEW YORK.

1078
00:56:05,100 --> 00:56:07,059
OF COURSE
I WAS NOT INVITED,

1079
00:56:07,102 --> 00:56:09,540
BUT I WAS THERE
IN FRONT OF THE PRESS ROOM

1080
00:56:09,583 --> 00:56:12,412
PREPARED WITH A HELMET.

1081
00:56:18,331 --> 00:56:20,420
RON HAS A SENSE OF HUMOR--

1082
00:56:20,464 --> 00:56:22,509
A THING SOME OF HIS
COLLEAGUES LACK.

1083
00:56:26,818 --> 00:56:30,256
PAPARAZZO SUPERSTAR.

1084
00:56:45,402 --> 00:56:50,711
HIS TACTICS ARE DESPICABLE.
I THINK OF HIM AS A STALKER.

1085
00:56:50,755 --> 00:56:52,887
I THINK THEY'RE
LEGAL STALKERS.

1086
00:56:52,931 --> 00:56:54,889
YOU CAN TAKE
THE FIRST AMENDMENT

1087
00:56:54,933 --> 00:56:57,326
TO ITS FURTHEST POINT

1088
00:56:57,370 --> 00:57:00,460
AND YOU HAVE RON GALELLA
SITTING THERE PROTECTED BY IT.

1089
00:57:00,504 --> 00:57:02,810
WELL, THERE'S CERTAINLY
A FIRST AMENDMENT ISSUE

1090
00:57:02,854 --> 00:57:05,030
SURROUNDING
WHAT PAPARAZZI DO.

1091
00:57:08,555 --> 00:57:13,604
PAPARAZZI PLAY
A NEWS-GATHERING FUNCTION.

1092
00:57:13,647 --> 00:57:15,693
THEY'RE ALLOWED
TO USE THE STREETS

1093
00:57:15,736 --> 00:57:17,390
AS YOU AND I ARE.

1094
00:57:17,434 --> 00:57:19,392
THEY'RE ALLOWED
TO TAKE PHOTOGRAPHS.

1095
00:57:19,436 --> 00:57:22,264
THE HARD QUESTIONS ARISE
WHEN YOU ASK

1096
00:57:22,308 --> 00:57:24,353
"WELL, ARE THEY ALLOWED

1097
00:57:24,397 --> 00:57:26,747
TO TAKE A PICTURE
INTO MY HOME?

1098
00:57:26,791 --> 00:57:29,446
ARE THEY ALLOWED
TO GO UP TO MY CHILDREN

1099
00:57:29,489 --> 00:57:31,448
IF I'M A MOVIE STAR

1100
00:57:31,491 --> 00:57:34,712
AND START TALKING TO THEM
AND FOLLOW THEM AROUND

1101
00:57:34,755 --> 00:57:36,714
AND SOME OF THE THINGS
THAT WERE DONE

1102
00:57:36,757 --> 00:57:38,716
TO JACKIE KENNEDY,
FOR EXAMPLE?"

1103
00:57:38,759 --> 00:57:41,283
RON GALELLA WENT SO FAR
WITH THE LINE

1104
00:57:41,327 --> 00:57:43,895
THAT THERE'S HARDLY
A JUDGE,

1105
00:57:43,938 --> 00:57:47,072
HOWEVER DEDICATED
TO THE FIRST AMENDMENT,

1106
00:57:47,115 --> 00:57:50,379
WHO WOULDN'T FIND
SOMETHING HE DID

1107
00:57:50,423 --> 00:57:52,773
TO VIOLATE THE LAW.

1108
00:57:52,817 --> 00:57:55,820
FROM OUR PERSPECTIVE,
THE CARDS WERE STACKED AGAINST US.

1109
00:57:55,863 --> 00:57:57,822
AND WE KIND OF KNEW THAT
GOING IN.

1110
00:57:57,865 --> 00:58:00,564
YET A JUDGE--
AND KEEP IN MIND, NO JURY.

1111
00:58:00,607 --> 00:58:03,480
THIS CASE WAS GOING TO BE
DECIDED BY THE JUDGE.

1112
00:58:03,523 --> 00:58:06,265
YOU HAD A JUDGE
WHO WAS APPOINTED

1113
00:58:06,308 --> 00:58:08,354
BY HER LATE HUSBAND,
PRESIDENT KENNEDY.

1114
00:58:08,397 --> 00:58:11,531
SO WE KNEW
WE HAD A PROBLEM.

1115
00:58:11,575 --> 00:58:15,404
GALELLA HAD NO IDEA

1116
00:58:15,448 --> 00:58:18,538
THAT HE WAS WALKING INTO
A BUZZ SAW.

1117
00:58:21,498 --> 00:58:23,674
THE FIRST TWO WEEKS OF THE TRIAL

1118
00:58:23,717 --> 00:58:25,676
IT WAS BASICALLY
PRESENTATION

1119
00:58:25,719 --> 00:58:28,548
OF MULTIPLES MULTIPLES
AND MULTIPLES OF PHOTOGRAPHS

1120
00:58:28,592 --> 00:58:30,550
THAT RON TOOK
OF MRS. ONASSIS

1121
00:58:30,594 --> 00:58:33,118
AND THE INCIDENTS
AROUND THOSE PHOTOGRAPHS.

1122
00:58:54,487 --> 00:58:57,708
IT WAS A REMARKABLE MENU

1123
00:58:57,751 --> 00:59:00,406
OF THINGS
THAT GALELLA DID

1124
00:59:00,449 --> 00:59:02,451
TO GAIN ACCESS.

1125
00:59:03,714 --> 00:59:06,412
SHE WAS HAVING DINNER
IN A RESTAURANT.

1126
00:59:06,455 --> 00:59:08,893
HE JUMPED OUT
FROM BEHIND A COAT RACK--

1127
00:59:08,936 --> 00:59:10,938
A COAT RACK!

1128
00:59:14,638 --> 00:59:17,249
SHE WENT
TO THE THEATER.

1129
00:59:17,292 --> 00:59:21,079
HE WENT DOWN THE AISLE,
GOT HER IN HER SEAT.

1130
00:59:22,646 --> 00:59:24,604
HE WENT
INTO JOHN'S SCHOOL

1131
00:59:24,648 --> 00:59:28,129
TO SEE
THE CHRISTMAS PAGEANT.

1132
00:59:28,173 --> 00:59:30,392
HE TRIED TO GET HER IN JUXTAPOSITION

1133
00:59:30,436 --> 00:59:32,090
WITH THE SANTA CLAUS.

1134
00:59:32,133 --> 00:59:34,875
RON HAD HIRED A GUY,
DRESSED HIM AS SANTA

1135
00:59:34,919 --> 00:59:38,096
AND KEPT DOGGING HER
ALL THROUGHOUT THE DAY,

1136
00:59:38,139 --> 00:59:40,881
TRYING TO GET THIS MAN
IN THE SANTA CLAUS SUIT

1137
00:59:40,925 --> 00:59:43,318
TO STAND
NEXT TO JACKIE.

1138
00:59:43,362 --> 00:59:44,711
SHE DODGED HIM ALL DAY.

1139
00:59:48,280 --> 00:59:50,021
CELEBRITIES LIKE JACKIE

1140
00:59:50,064 --> 00:59:52,023
SEEM TO GET ANNOYED

1141
00:59:52,066 --> 00:59:54,591
THAT I'M AFTER THEM
TOO MUCH.

1142
00:59:54,634 --> 00:59:57,506
SO I PUT DISGUISES ON--

1143
01:00:00,379 --> 01:00:03,077
WIGS,
I HAVE MUSTACHES,

1144
01:00:03,121 --> 01:00:05,340
AFRO WIGS TOO I HAD.

1145
01:00:12,260 --> 01:00:15,002
IT WORKED SOMETIMES.

1146
01:00:16,874 --> 01:00:19,572
JACKIE HAD A MAID.

1147
01:00:19,616 --> 01:00:21,574
I GOT FRIENDLY WITH HER,

1148
01:00:21,618 --> 01:00:23,358
TOOK HER TO COFFEE

1149
01:00:23,402 --> 01:00:25,796
AND HAD A FEW DATES
WITH HER

1150
01:00:25,839 --> 01:00:27,362
TO GET INFORMATION
MAINLY.

1151
01:00:27,406 --> 01:00:29,364
FIRST OF ALL, SHE SAID

1152
01:00:29,408 --> 01:00:33,281
JACKIE HAS A WHOLE CLOSET
FULL OF THE MAGAZINES.

1153
01:00:33,325 --> 01:00:36,763
SEE, IN COURT JACKIE SAYS
THAT SHE DOESN'T COLLECT HER MAGAZINES,

1154
01:00:36,807 --> 01:00:38,243
BUT SHE DOES.

1155
01:00:38,286 --> 01:00:40,245
SHE ALSO GAVE ME TIPS

1156
01:00:40,288 --> 01:00:42,247
WHEN JACKIE'S GOING
TO THE HAIRDRESSER

1157
01:00:42,290 --> 01:00:44,205
OR TO HAVE
A FACIAL TREATMENT.

1158
01:00:44,249 --> 01:00:46,730
BUT ONE DAY

1159
01:00:46,773 --> 01:00:49,123
IN FRONT OF THE BUILDING
JACKIE APPEARED.

1160
01:00:49,167 --> 01:00:51,125
SHE SAW US.

1161
01:00:51,169 --> 01:00:54,433
GRETA WAS FIRED
A FEW DAYS LATER.

1162
01:00:54,476 --> 01:00:56,435
I FELT VERY BAD.

1163
01:00:56,478 --> 01:00:58,567
BUT I DON'T THINK
SHE LOVED THE JOB THAT MUCH.

1164
01:00:58,611 --> 01:01:01,135
THAT'S WHY SHE GAVE ME
THE TIPS.

1165
01:01:03,398 --> 01:01:05,009
HAS SHE EVER SAID ANYTHING TO YOU

1166
01:01:05,052 --> 01:01:07,011
WHEN SHE'S SEEN YOU
TAKING A PICTURE?

1167
01:01:07,054 --> 01:01:09,187
OH, YES.

1168
01:01:09,230 --> 01:01:12,059
ONCE AT THE AIRPORT,
SEPTEMBER, '69,

1169
01:01:12,103 --> 01:01:14,061
SHE SAYS TO
A NEW YORK CITY POLICEMAN,

1170
01:01:14,105 --> 01:01:16,237
"LOCK THIS MAN UP."

1171
01:01:16,281 --> 01:01:18,065
THAT'S ALL SHE'S EVER SAID?

1172
01:01:18,109 --> 01:01:20,589
- OH, SHE SAID OTHER THINGS.
- NEVER SAID HELLO TO YOU?

1173
01:01:20,633 --> 01:01:23,114
NO NO.

1174
01:01:35,343 --> 01:01:39,739
WHY DID I HAVE THE OBSESSION WITH JACKIE?

1175
01:01:39,783 --> 01:01:41,915
WHY?
I ANALYZED IT.

1176
01:01:41,959 --> 01:01:44,222
BECAUSE I HAD
NO GIRLFRIEND.

1177
01:01:44,265 --> 01:01:48,182
I WASN'T TIED DOWN,
MARRIED.

1178
01:01:48,226 --> 01:01:50,097
AND SHE WAS MY GIRLFRIEND
IN A WAY.

1179
01:01:54,493 --> 01:01:57,061
THIS WAS A PERSONAL RELATIONSHIP.

1180
01:01:57,104 --> 01:01:59,063
IT WAS A RELATIONSHIP
THAT WAS CONDUCTED

1181
01:01:59,106 --> 01:02:00,412
THROUGH THE CAMERA,

1182
01:02:00,455 --> 01:02:03,545
BUT IT WAS NEVERTHELESS
A PERSONAL RELATIONSHIP.

1183
01:02:06,200 --> 01:02:09,856
THAT'S JACKIE AT HER MOST FETCHING--

1184
01:02:09,900 --> 01:02:13,512
"DON'T TOUCH ME.
DON'T ASK ME ANY QUESTIONS.

1185
01:02:13,555 --> 01:02:15,993
DON'T FOLLOW ME."

1186
01:02:17,864 --> 01:02:19,823
HE REALLY CAPTURED
SOMETHING

1187
01:02:19,866 --> 01:02:21,955
THAT WAS VERY ELUSIVE
ABOUT HER.

1188
01:02:27,134 --> 01:02:29,658
HE LOVED HER.

1189
01:02:29,702 --> 01:02:31,660
AND HE LOVED HER CHILDREN.

1190
01:02:31,704 --> 01:02:33,662
AND I'M SURE
HE NEVER THOUGHT

1191
01:02:33,706 --> 01:02:35,664
THAT HE WAS PUTTING THEM
IN HARM'S WAY.

1192
01:02:35,708 --> 01:02:37,884
I DON'T THINK HE WOULD HAVE
LIKED THAT-- THE IDEA OF IT.

1193
01:02:37,928 --> 01:02:40,408
THEY MAY HAVE PERCEIVED
THAT THEY WERE IN HARM'S WAY,

1194
01:02:40,452 --> 01:02:42,671
BUT HE DIDN'T
FEEL THAT.

1195
01:02:51,115 --> 01:02:53,595
BOTH JACKIE AND RON

1196
01:02:53,639 --> 01:02:55,641
BENEFITED FROM THIS

1197
01:02:55,684 --> 01:02:58,035
"PUSH ME-PULL ME" THING.

1198
01:02:59,863 --> 01:03:02,779
MRS. ONASSIS,
ARE YOU PLEASED WITH THE WAY THE TRIAL

1199
01:03:02,822 --> 01:03:04,911
- IS GOING SO FAR?
- YES, I AM.

1200
01:03:04,955 --> 01:03:08,262
DO YOU FEEL THAT TODAY
WAS A TURNING POINT IN THIS TRIAL?

1201
01:03:08,306 --> 01:03:10,395
WELL, THERE ARE UPS AND DOWNS
IN EVERY TRIAL.

1202
01:03:10,438 --> 01:03:12,963
NOBODY GOES ALL THE WAY UP
OR GOES ALL THE WAY DOWN.

1203
01:03:13,006 --> 01:03:17,271
RON, ARE YOU DISAPPOINTED
BY WHAT HAPPENED TODAY ON THE STAND?

1204
01:03:17,315 --> 01:03:19,708
NO, NOT REALLY.

1205
01:03:19,752 --> 01:03:23,495
EVERY CASE HAS ITS UPS
AND DOWNS, YOU KNOW.

1206
01:03:23,538 --> 01:03:25,540
YOU MUST HAVE
HEARD THAT SOMEWHERE.

1207
01:03:30,937 --> 01:03:33,070
RON PRODUCED A CHRISTMAS CARD

1208
01:03:33,113 --> 01:03:36,116
AND HE SENT IT OUT TO PEOPLE
AS A JOKE.

1209
01:03:37,944 --> 01:03:40,773
THAT WAS MY GREETING CARD FOR THAT 1970.

1210
01:03:40,817 --> 01:03:43,776
I PUT SANTA
AS ARI ONASSIS.

1211
01:03:43,820 --> 01:03:45,822
I PUT A CIGAR IN HIS MOUTH,
DARK SUNGLASSES.

1212
01:03:45,865 --> 01:03:48,563
AND THIS SANTA CLAUS
LOOKED LIKE ARI

1213
01:03:48,607 --> 01:03:50,522
'CAUSE HE HAD
A BIG NOSE.

1214
01:03:50,565 --> 01:03:52,524
SANTA'S GIVING ME MONEY

1215
01:03:52,567 --> 01:03:55,353
BECAUSE ARI ATTEMPTED
TO PAY ME

1216
01:03:55,396 --> 01:03:57,877
TO SETTLE THE CASE.

1217
01:03:57,921 --> 01:04:00,227
I SENT THIS CARD
TO JACKIE.

1218
01:04:00,271 --> 01:04:03,840
MY LAWYER SAID THAT WAS
THE WORST THING THAT I DID.

1219
01:04:03,883 --> 01:04:05,842
WELL, JACKIE BROUGHT THIS UP
IN THE TRIAL.

1220
01:04:05,885 --> 01:04:08,322
IT WAS NOT GOOD FOR ME.
IT WAS BAD.

1221
01:04:08,366 --> 01:04:10,324
ANY REASONABLE PERSON

1222
01:04:10,368 --> 01:04:12,674
WOULD HAVE SEEN
THAT CARD

1223
01:04:12,718 --> 01:04:15,590
AS EXTORTION.
HE WAS SAYING,

1224
01:04:15,634 --> 01:04:18,898
"PAY ME OFF
AND I'LL STOP."

1225
01:04:18,942 --> 01:04:21,205
THEY MADE SUCH AN ISSUE
OUT OF IT DURING THE TRIAL

1226
01:04:21,248 --> 01:04:23,729
THAT RON STARTED READING INTO
HIS OWN CHRISTMAS CARD

1227
01:04:23,772 --> 01:04:26,253
MORE THAN WHAT WAS THERE.
AND FINALLY WHEN HE WAS ASKED

1228
01:04:26,297 --> 01:04:28,908
OUT OF PURE-- I MEAN,
JUST OUT OF FRUSTRATION,

1229
01:04:28,952 --> 01:04:30,910
THEY SAID TO HIM,
"DIDN'T YOU MEAN

1230
01:04:30,954 --> 01:04:33,565
THAT YOU WANTED A JOB
AND YOU WANTED A BRIBE

1231
01:04:33,608 --> 01:04:36,350
TO GET RID OF--
TO STOP SEEING HER?"

1232
01:04:36,394 --> 01:04:38,222
HE SAID, "YES."

1233
01:04:38,265 --> 01:04:40,137
TO HIM IT WAS AN ORDEAL.

1234
01:04:40,180 --> 01:04:42,052
AND I WOULD SAY TO HIM,
"RON, WHY?"

1235
01:04:42,095 --> 01:04:44,619
HE SAID, "NOW THEY'VE
STOPPED QUESTIONING ME. ISN'T THAT EASY?"

1236
01:04:44,663 --> 01:04:46,708
"BUT IT'S GONNA
WORK AGAINST YOU." HE SAID, "NO NO NO,

1237
01:04:46,752 --> 01:04:49,886
IT'LL NEVER WORK AGAINST ME.
WHAT I DO IS GOOD AND POSITIVE.

1238
01:04:49,929 --> 01:04:53,672
SO WE'LL GET RID OF
THIS PART OF THE QUESTIONING."

1239
01:04:56,980 --> 01:04:59,460
EVENTUALLY JUDGE COOPER

1240
01:04:59,504 --> 01:05:02,768
BECAME QUITE ANNOYED
WITH RON GALELLA

1241
01:05:02,811 --> 01:05:04,596
AND ADOPTED THE VIEW

1242
01:05:04,639 --> 01:05:07,904
THAT HE SHOULD BE KEPT
A DISTANCE AWAY.

1243
01:05:07,947 --> 01:05:09,906
MRS. JACQUELINE
KENNEDY ONASSIS

1244
01:05:09,949 --> 01:05:12,343
WON A CASE
IN FEDERAL COURT TODAY.

1245
01:05:12,386 --> 01:05:14,388
SHE GOT A PERMANENT INJUNCTION
AGAINST...

1246
01:05:14,432 --> 01:05:17,087
...FREELANCE PHOTOGRAPHER
RONALD GALELLA,

1247
01:05:17,130 --> 01:05:19,698
ORDERING HIM NOT TO GET
WITHIN 50 YARDS

1248
01:05:19,741 --> 01:05:22,048
OF JACQUELINE KENNEDY ONASSIS

1249
01:05:22,092 --> 01:05:24,833
OR WITHIN 75 YARDS
OF HER CHILDREN.

1250
01:05:26,226 --> 01:05:29,664
RON GALELLA WAS SEEN AS A VILLAIN.

1251
01:05:29,708 --> 01:05:31,666
I RECEIVED TELEPHONE CALLS

1252
01:05:31,710 --> 01:05:33,668
AFTER SOME OF MY REPORTS

1253
01:05:33,712 --> 01:05:37,237
DAMNING RON FOR WHAT
HE HAD BEEN DOING.

1254
01:05:37,281 --> 01:05:39,718
AS A MATTER OF FACT,
I RECEIVED A LETTER

1255
01:05:39,761 --> 01:05:43,069
FROM ONE VIEWER,
ADDRESSED TO RON GALELLA,

1256
01:05:43,113 --> 01:05:44,723
CARE OF
THE TELEVISION STATION--

1257
01:05:44,766 --> 01:05:46,986
"YOU ARE A RAT!

1258
01:05:47,030 --> 01:05:51,208
I PRAY THAT YOU WILL BE
REPAID BY GOD

1259
01:05:53,253 --> 01:05:55,168
THAT YOU GET PAID BACK

1260
01:05:55,212 --> 01:05:57,170
FOR THE MISERY
YOU ARE CAUSING

1261
01:05:57,214 --> 01:05:59,694
A WOMAN WHO HAS GONE
THROUGH HELL--

1262
01:05:59,738 --> 01:06:03,872
A HELL CAUSED
BY ANOTHER MANIAC LIKE YOU.

1263
01:06:03,916 --> 01:06:07,659
YOU ARE STUPID,
MONSTROUS AND SLIMY.

1264
01:06:07,702 --> 01:06:11,489
YOU SHOULD BE DEPORTED
TO AN ISLAND TO ROT!"

1265
01:06:11,532 --> 01:06:13,491
UNSIGNED.

1266
01:06:13,534 --> 01:06:16,407
WAS THAT THE PREVAILING
SENTIMENT AT THE TIME?

1267
01:06:16,450 --> 01:06:19,192
I DON'T KNOW IF IT WAS
AS VOCAL AS THIS,

1268
01:06:19,236 --> 01:06:22,804
BUT A LOT OF PEOPLE
WERE ANTI-RON GALELLA.

1269
01:06:24,110 --> 01:06:26,939
THIS IS MARVIN SCOTT
WITH THE STORY OF A PHOTOGRAPHER

1270
01:06:26,983 --> 01:06:29,811
WHOSE LENS HAS BEEN CAPPED
BY JACKIE ONASSIS.

1271
01:06:29,855 --> 01:06:33,076
NOW THE COURT ORDER SAYS
YOU'VE GOT TO SAY 100 YARDS FROM THE BUILDING

1272
01:06:33,119 --> 01:06:35,556
AND 50 YARDS
FROM MRS. ONASSIS AND HER CHILDREN.

1273
01:06:35,600 --> 01:06:37,602
- YES.
- DO YOU CARRY A TAPE MEASURE WITH YOU?

1274
01:06:37,645 --> 01:06:39,647
- NO.
- A YARD COUNTER?

1275
01:06:39,691 --> 01:06:43,042
NO, I DON'T.
I NEED A REFEREE.

1276
01:06:43,086 --> 01:06:45,392
DO YOU THINK YOU'LL BE
PHOTOGRAPHING HER AGAIN SOON?

1277
01:06:45,436 --> 01:06:46,567
I HOPE SO.

1278
01:06:46,611 --> 01:06:49,092
I HOPE THAT THIS COURT ORDER
IS OFF ME,

1279
01:06:49,135 --> 01:06:51,268
'CAUSE I WOULD LIKE
TO GET BACK

1280
01:06:51,311 --> 01:06:55,054
TO PHOTOGRAPHING
MY FAVORITE SUBJECT.

1281
01:06:55,098 --> 01:06:57,970
WHAT KIND OF HUMAN BEING DOES IT TAKE

1282
01:06:58,014 --> 01:07:02,018
TO PHOTOGRAPH PEOPLE
WHO DO NOT WANT TO BE PHOTOGRAPHED...

1283
01:07:02,061 --> 01:07:04,759
- THEY WANT TO BE PHOTOGRAPHED.
- ...WHETHER THEY'RE CELEBRITIES OR NOT?

1284
01:07:04,803 --> 01:07:07,066
- OH, THEY WANT TO BE.
- NO, THAT'S NOT NECESSARILY TRUE.

1285
01:07:07,110 --> 01:07:09,068
AND IT JUST DOESN'T
STOP HIM.

1286
01:07:09,112 --> 01:07:11,636
HE WILL DO ANYTHING
NECESSARY

1287
01:07:11,679 --> 01:07:13,464
TO GET THAT SHOT.

1288
01:07:27,130 --> 01:07:29,088
ANGELINE JOLIE
AND BRAD PITT

1289
01:07:29,132 --> 01:07:32,831
ARE THE NUMBER-ONE
HOT COUPLE.

1290
01:07:32,874 --> 01:07:35,529
SO I'LL GO AFTER THEM

1291
01:07:35,573 --> 01:07:38,837
LIKE I WENT AFTER
THE OLD-TIMERS.

1292
01:07:38,880 --> 01:07:42,188
I THINK WE'RE GOING
THIS WAY.

1293
01:07:47,933 --> 01:07:49,587
- RON GALELLA.
- OKAY.

1294
01:08:11,304 --> 01:08:15,569
ANGELINA! ANGIE!

1295
01:08:35,111 --> 01:08:37,678
I'M GONNA GO IN THE FRONT.
FUCK THIS.

1296
01:08:39,811 --> 01:08:41,813
- HI.
- HI.

1297
01:08:44,903 --> 01:08:47,079
I'M SORRY, YOU CAN'T
COME ANY CLOSER. - YEAH, OKAY.

1298
01:08:47,123 --> 01:08:49,081
YOU HAVE TO GO BACK.

1299
01:08:49,125 --> 01:08:51,562
RON GALELLA!

1300
01:08:51,605 --> 01:08:54,042
-RON IS THE MAN!
-YOU'RE GETTING KICKED OUT.

1301
01:08:54,086 --> 01:08:55,435
RON, GO INSIDE!

1302
01:08:57,045 --> 01:08:59,570
"DEAR BRAD AND ANGELINA,

1303
01:08:59,613 --> 01:09:03,661
DID YOU RECEIVE MY FEDEX
PRESS PACKAGE

1304
01:09:03,704 --> 01:09:06,185
WITH TWO OF MY BOOKS?

1305
01:09:06,229 --> 01:09:09,362
WHILE COVERING

1306
01:09:09,406 --> 01:09:11,799
THE 'CHANGELING'
SCREENING TONIGHT,

1307
01:09:11,843 --> 01:09:14,933
I WAS UNABLE TO MEET
BOTH OF YOU,

1308
01:09:14,976 --> 01:09:17,109
BUT I DID GET
SOME GOOD PICTURES.

1309
01:09:17,153 --> 01:09:20,417
WOULD YOU BE SO KIND
AS TO GIVE AN OPPORTUNITY

1310
01:09:20,460 --> 01:09:23,202
OF MEETING YOU
BEFORE YOU LEAVE TOWN?"

1311
01:09:23,246 --> 01:09:26,553
DOES THAT MAKE SENSE?
"MEETING WITH ME" I SHOULD SAY?

1312
01:09:26,597 --> 01:09:30,514
"I MEETING YOU," EH?

1313
01:09:30,557 --> 01:09:32,211
SHOULD I ADD ANYTHING?

1314
01:09:32,255 --> 01:09:34,866
"HOPE TO HEAR FROM YOU SOON,"
SOMETHING LIKE THAT?

1315
01:09:37,869 --> 01:09:40,393
WE KNOW THAT IF YOU WRITE A LETTER

1316
01:09:40,437 --> 01:09:43,222
TO BRAD PITT
AND ANGELINA JOLIE,

1317
01:09:43,266 --> 01:09:45,529
THE CHANCES OF THEM
EVER EVEN SEEING IT

1318
01:09:45,572 --> 01:09:48,096
IS ZERO.

1319
01:09:48,140 --> 01:09:50,447
THE CHANCES OF THEM
READING IT

1320
01:09:50,490 --> 01:09:52,927
IS BELOW ZERO.

1321
01:09:52,971 --> 01:09:55,713
AND THE CHANCES OF THEM
DOING ANYTHING

1322
01:09:55,756 --> 01:09:59,499
BASED UPON THAT LETTER
IS WAY BELOW ZERO.

1323
01:09:59,543 --> 01:10:02,894
SHOULD WE TRY TO PHONE?

1324
01:10:02,937 --> 01:10:05,288
BUT RON WILL STILL
WRITE A LETTER

1325
01:10:05,331 --> 01:10:07,246
TO BRAD PITT
AND ANGELINA JOLIE.

1326
01:10:07,290 --> 01:10:10,467
THAT'S WHAT GETS RON UP
IN THE MORNING.

1327
01:10:10,510 --> 01:10:12,469
THAT'S WHAT GETS HIM
IN HIS CAR,

1328
01:10:12,512 --> 01:10:15,428
GOING THROUGH
THE LINCOLN TUNNEL ONE MORE TIME

1329
01:10:15,472 --> 01:10:18,083
AND JUST DOING
WHAT HE DOES.

1330
01:10:19,519 --> 01:10:22,218
THESE RESTRICTIONS--
THE 100 YARDS

1331
01:10:22,261 --> 01:10:25,221
AND THE 75 YARDS
AND THE 50 YARDS--

1332
01:10:25,264 --> 01:10:27,919
ESSENTIALLY PUT RON
OUT OF BUSINESS.

1333
01:10:27,962 --> 01:10:30,356
I APPEALED THE DECISION.

1334
01:10:30,400 --> 01:10:33,533
AND THE APPEAL WAS OVER
IN 1975.

1335
01:10:33,577 --> 01:10:36,101
THE APPELLATE COURT SAID,

1336
01:10:36,144 --> 01:10:37,885
"EH, IN THE EXERCISE
OF DISCRETION

1337
01:10:37,929 --> 01:10:39,887
THAT WAS OVERKILL.

1338
01:10:39,931 --> 01:10:43,108
INSTEAD OF 150 YARDS,

1339
01:10:43,151 --> 01:10:45,937
I'LL DO 25'."

1340
01:10:45,980 --> 01:10:49,027
RON SAID, "I'M BACK IN BUSINESS."

1341
01:10:49,070 --> 01:10:52,944
AND HE STARTED TO SHOOT
JACQUELINE ONASSIS AND THE CHILDREN AGAIN.

1342
01:10:54,641 --> 01:10:56,600
JACKIE ONASSIS MADE

1343
01:10:56,643 --> 01:10:59,429
A VERY RARE VISIT
TO LOS ANGELES.

1344
01:10:59,472 --> 01:11:01,344
RON WAS THERE.

1345
01:11:01,387 --> 01:11:03,824
AND I KNEW SOMETHING WAS UP,
BECAUSE HE JUST WANTED TO MAKE SURE--

1346
01:11:03,868 --> 01:11:05,826
"ARE YOU GONNA BE THERE?"
"YES, I'M GONNA BE THERE."

1347
01:11:05,870 --> 01:11:08,307
AND I POSITIONED MYSELF
BY THE LIMOUSINE

1348
01:11:08,351 --> 01:11:10,875
AND I SHOT
TWO FRAMES OF IT.

1349
01:11:10,918 --> 01:11:12,529
THE FIRST FRAME--

1350
01:11:12,572 --> 01:11:14,313
THE FLASH DIDN'T GO OFF.
IT WASN'T RIGHT.

1351
01:11:14,357 --> 01:11:17,577
AND THE SECOND FRAME--
HE PULLS OUT THIS TAPE MEASURE.

1352
01:11:17,621 --> 01:11:19,579
HE MADE IT HIMSELF.
AND IT SAYS,

1353
01:11:19,623 --> 01:11:22,016
"KEEP YOUR DISTANCE.
25'."

1354
01:11:22,060 --> 01:11:24,105
AND RON IS LOOKING
WITH HIS BIG SMILE--

1355
01:11:24,149 --> 01:11:25,759
"JACKIE!"

1356
01:11:25,803 --> 01:11:27,761
♪ GET THE CAMERAS ROLLING

1357
01:11:27,805 --> 01:11:30,982
♪ GET THE ACTION GOING...

1358
01:11:31,025 --> 01:11:32,984
ARI ONASSIS DIED

1359
01:11:33,027 --> 01:11:34,986
AND HER PICTURES
BECAME IN DEMAND,

1360
01:11:35,029 --> 01:11:37,728
BECAUSE SHE WAS BEING
ESCORTED BY OTHER MEN

1361
01:11:37,771 --> 01:11:40,252
AND WE THOUGHT
THAT SHE MIGHT GET MARRIED AGAIN.

1362
01:11:40,296 --> 01:11:42,254
♪ ...MORE MORE MORE

1363
01:11:42,298 --> 01:11:44,735
♪ HOW DO YOU LIKE IT?
HOW DO YOU LIKE IT? ♪

1364
01:11:44,778 --> 01:11:46,737
♪ MORE MORE MORE

1365
01:11:46,780 --> 01:11:49,392
♪ HOW DO YOU LIKE IT?
HOW DO YOU LIKE IT? ♪

1366
01:11:49,435 --> 01:11:51,394
♪ MORE MORE MORE

1367
01:11:51,437 --> 01:11:54,092
♪ HOW DO YOU LIKE IT?
HOW DO YOU LIKE IT? ♪

1368
01:11:54,135 --> 01:11:57,269
THE FACT IS,
HIS BODY OF WORK

1369
01:11:57,313 --> 01:12:00,707
IS CERTAINLY NOT WONDERFUL
FROM A PHOTOGRAPHIC STANDPOINT.

1370
01:12:00,751 --> 01:12:03,841
IT'S WONDERFUL FROM
A SUBJECT STANDPOINT.

1371
01:12:03,884 --> 01:12:05,408
THIS ISN'T ONE OF
THE GREAT ONES.

1372
01:12:05,451 --> 01:12:06,887
IT'S A SNAPSHOT.

1373
01:12:06,931 --> 01:12:08,976
- I WOULD HAVE THROWN THIS AWAY.
- I KNOW YOU WOULD HAVE.

1374
01:12:09,020 --> 01:12:10,717
I'M JUST SAYING
I WOULD HAVE THROWN IT AWAY.

1375
01:12:10,761 --> 01:12:13,111
I CERTAINLY CAN LOOK THROUGH RON'S BOOK

1376
01:12:13,154 --> 01:12:15,113
AND BE, YOU KNOW,
QUITE IMPRESSED

1377
01:12:15,156 --> 01:12:17,550
WITH SOME OF THE MOMENTS,
IF YOU TAKE A SECOND LOOK AT THEM.

1378
01:12:17,594 --> 01:12:19,552
BUT IT'S THE SUBJECT
THAT ATTRACTS YOU,

1379
01:12:19,596 --> 01:12:21,641
NOT HIS PHOTOGRAPH
OF IT.

1380
01:12:24,470 --> 01:12:26,907
LET'S SAY ONE UNDERGROUND ROOM

1381
01:12:26,951 --> 01:12:29,257
WITH 18' LEAD WALLS

1382
01:12:29,301 --> 01:12:32,739
WAS THE ONLY
THING THAT SURVIVED IN THE YEAR 10,000,

1383
01:12:32,783 --> 01:12:36,482
AND THEY HAD RON GALELLA'S
3 MILLION PICTURES IN IT.

1384
01:12:36,526 --> 01:12:39,398
AND THE ARCHEOLOGISTS
FROM OUTER SPACE

1385
01:12:39,442 --> 01:12:41,400
WERE TO COME IN
AND FIND THIS,

1386
01:12:41,444 --> 01:12:44,098
AND THEY'D HAVE TO RECREATE
CIVILIZATION FROM THAT.

1387
01:12:44,142 --> 01:12:46,187
WOULD YOU RATHER HAVE THAT
OVER, LET'S SAY,

1388
01:12:46,231 --> 01:12:48,189
IF THEY'D FOUND
THE SAME THING

1389
01:12:48,233 --> 01:12:49,843
WITH WALKER EVANS
OR RICHARD AVEDON

1390
01:12:49,887 --> 01:12:53,064
OR TITIAN
OR LEONARDO DA VINCI?

1391
01:12:53,107 --> 01:12:55,806
THERE'S RINGO. THAT'S A GOOD PICTURE.

1392
01:12:55,849 --> 01:12:58,504
THAT PICTURE MAKES ME THINK, "GOD, I WISH I'D SHOT THAT."

1393
01:12:58,548 --> 01:13:00,071
THAT'S A VERY GOOD PICTURE.

1394
01:13:00,114 --> 01:13:02,334
HOW DO YOU FEEL
ABOUT RON GALELLA

1395
01:13:02,378 --> 01:13:04,902
GETTING INTO THE MUSEUM
OF MODERN ART?

1396
01:13:04,945 --> 01:13:07,774
WHICH GIVES HIM A CERTAIN
LEVEL OF CREDIBILITY

1397
01:13:07,818 --> 01:13:09,776
IN THE ART WORLD,
BECAUSE NOW--

1398
01:13:09,820 --> 01:13:12,910
I'M SURE IT'S BECAUSE
YOU LOOK AT WHAT'S BEING SHOT

1399
01:13:12,953 --> 01:13:14,912
DURING A PERIOD OF TIME,

1400
01:13:14,955 --> 01:13:19,090
WHAT REPRESENTS PHOTOGRAPHY,
YOU KNOW, IN CERTAIN DECADES.

1401
01:13:19,133 --> 01:13:22,136
I THINK WHAT'S GOING ON NOW
WITH CURATORS

1402
01:13:22,180 --> 01:13:24,661
WANTING RON'S WORK

1403
01:13:24,704 --> 01:13:26,837
FOR GALLERIES
ALL ACROSS THE WORLD--

1404
01:13:26,880 --> 01:13:31,407
WOW, THIS LOOKS FANTASTIC.

1405
01:13:31,450 --> 01:13:33,409
- -KNOWING THAT, HEY,

1406
01:13:33,452 --> 01:13:35,672
WHAT'S THE DIFFERENCE BETWEEN
ONE OF RON'S SHOTS

1407
01:13:35,715 --> 01:13:37,674
AND A WALKER EVANS PHOTO

1408
01:13:37,717 --> 01:13:40,198
THAT HE PHOTOGRAPHED
IN A NEW YORK CITY SUBWAY?

1409
01:13:40,241 --> 01:13:43,984
- HOW MANY DO YOU HAVE NOW?
- I THINK 100-- 100.

1410
01:13:44,028 --> 01:13:45,986
SO NOW 30 YEARS LATER

1411
01:13:46,030 --> 01:13:47,988
PEOPLE ARE EATING
THESE PICTURES UP.

1412
01:13:48,032 --> 01:13:49,642
FOR ME HE IS THE ONE.

1413
01:13:49,686 --> 01:13:51,818
HE IS AN ARTIST.
HE IS AN ICON.

1414
01:13:53,907 --> 01:13:55,866
HE'S THE POPE
OF PAPARAZZI.

1415
01:13:55,909 --> 01:13:59,260
HE INVENTED
KIND OF A NEW STYLE.

1416
01:13:59,304 --> 01:14:01,262
IT'S GOT ENERGY.

1417
01:14:01,306 --> 01:14:05,092
IT'S GOT LIFE IN IT,
HUMOR.

1418
01:14:08,182 --> 01:14:09,836
AS AN ARTIST,

1419
01:14:09,880 --> 01:14:11,925
I THINK YOU HAVE TO
KEEP ON PUSHING YOURSELF.

1420
01:14:11,969 --> 01:14:14,624
AND HE FOUND
THIS VEHICLE.

1421
01:14:14,667 --> 01:14:16,930
AND THE ONLY THING
THAT HE PUSHED HIMSELF TO DO

1422
01:14:16,974 --> 01:14:19,106
WAS DO MORE OF THE SAME
OF THAT.

1423
01:14:25,896 --> 01:14:27,767
SUMMER OF 1981--

1424
01:14:27,811 --> 01:14:29,813
I GOT A CALL FROM
DAVID McGOUGH.

1425
01:14:29,856 --> 01:14:31,554
I WAS AT HOME
IN YONKERS.

1426
01:14:31,597 --> 01:14:33,730
"OH, RON,
GET HERE QUICKLY.

1427
01:14:33,773 --> 01:14:37,473
JACKIE'S GOING
TO THE MOVIE THEATER."

1428
01:14:37,516 --> 01:14:40,476
JACKIE WAS THERE SEEING
THE FILM "DEATH IN VENICE."

1429
01:14:40,519 --> 01:14:43,391
SO RON JUMPED IN THE CAR
WITHOUT ME

1430
01:14:43,435 --> 01:14:45,393
AND THEY
PHOTOGRAPHED JACKIE

1431
01:14:45,437 --> 01:14:47,395
COMING OUT OF
THE THEATER

1432
01:14:47,439 --> 01:14:49,789
AND HAILING A CAB.

1433
01:14:51,878 --> 01:14:54,272
AND SURE ENOUGH, THE TAXICAB BROKE DOWN.

1434
01:14:54,315 --> 01:14:57,144
SO NOW JACKIE GETS
OUT OF THE CAB ON 8th AVENUE.

1435
01:14:57,188 --> 01:15:00,626
AND 8th AVENUE WAS
PRETTY SLEAZY BACK THEN.

1436
01:15:00,670 --> 01:15:03,411
SHE WALKED IN THE STREET, LOOKING FOR A CAB.

1437
01:15:03,455 --> 01:15:05,544
AND THIS PROLONGED
THE TAKE.

1438
01:15:05,588 --> 01:15:07,546
RON WAS VERY EXCITED.

1439
01:15:07,590 --> 01:15:10,636
YOU COULD TELL THAT SHE WAS
GETTING MORE AND MORE ANGRY

1440
01:15:10,680 --> 01:15:12,638
EVERY TIME
SHE HEARD HIS VOICE.

1441
01:15:12,682 --> 01:15:14,727
AND THEN SHE FINALLY
TURNED TO HIM AND SAID,

1442
01:15:14,771 --> 01:15:16,773
"YOU STAY AWAY
FROM ME

1443
01:15:16,816 --> 01:15:19,210
OR I'LL SEE YOU
IN COURT AGAIN."

1444
01:15:19,253 --> 01:15:22,213
I THINK SHE SAID--
MAY HAVE SAID THAT.

1445
01:15:22,256 --> 01:15:25,390
HE SAID,
"OH, JACKIE, I LOVE YOU."

1446
01:15:25,433 --> 01:15:27,871
HE WAS JUST HAPPY

1447
01:15:27,914 --> 01:15:30,438
THAT HIS PICTURE WAS
IN THE PAPER WITH JACKIE.

1448
01:15:30,482 --> 01:15:33,616
HE WAS THRILLED
ABOUT THAT.

1449
01:15:33,659 --> 01:15:36,532
AND THAT BECAME
EVIDENCE FOR HER

1450
01:15:36,575 --> 01:15:39,709
THAT HE INDEED HAD BROKEN
THE INJUNCTION.

1451
01:15:39,752 --> 01:15:42,102
JACQUELINE ONASSIS
LISTED HER GRIEVANCES

1452
01:15:42,146 --> 01:15:44,409
AGAINST ONE OF HER MOST
PERSISTENT FOLLOWERS TODAY--

1453
01:15:44,452 --> 01:15:46,106
PHOTOGRAPHER RON GALELLA.

1454
01:15:46,150 --> 01:15:49,196
CHARGES THAT HE VIOLATED A 1975 COURT ORDER

1455
01:15:49,240 --> 01:15:52,156
TO COME NO CLOSER THAN 25'
FROM MRS. ONASSIS.

1456
01:15:52,199 --> 01:15:54,898
JACQUELINE KENNEDY ONASSIS LOOKED ANXIOUS

1457
01:15:54,941 --> 01:15:56,900
TO RETURN TO FEDERAL
DISTRICT COURT

1458
01:15:56,943 --> 01:15:59,250
SO THAT SHE COULD GIVE
HER OWN TESTIMONY.

1459
01:15:59,293 --> 01:16:00,730
PHOTOGRAPHER RON GALELLA

1460
01:16:00,773 --> 01:16:02,732
WAS TOLD TODAY
BY A NEW YORK JUDGE

1461
01:16:02,775 --> 01:16:04,255
THAT IF HE EVER
DOES IT AGAIN,

1462
01:16:04,298 --> 01:16:06,518
HE'LL BE SENT TO JAIL
FOR SIX YEARS.

1463
01:16:06,562 --> 01:16:08,607
GALELLA TOLD THE JUDGE
HE'S CHOSEN

1464
01:16:08,651 --> 01:16:10,740
A NEW SUBJECT FOR HIS
PHOTOGRAPHIC PURSUIT.

1465
01:16:10,783 --> 01:16:12,611
PRINCESS GRACE, I DON'T KNOW

1466
01:16:12,655 --> 01:16:14,439
WHETHER YOU FOLLOWED
THE NEWS RECENTLY,

1467
01:16:14,482 --> 01:16:17,094
BUT WE HAVE A PHOTOGRAPHER
IN THIS COUNTRY CALLED RON GALELLA.

1468
01:16:17,137 --> 01:16:19,749
YES, I KNOW HIM VERY WELL.
IS HE HERE?

1469
01:16:19,792 --> 01:16:23,230
I HAVEN'T SEEN HIM TODAY YET.
HE'S SLIPPING.

1470
01:16:23,274 --> 01:16:26,843
RON HAS SAID THAT HE'S
UNDER COURT ORDERS NOW

1471
01:16:26,886 --> 01:16:29,410
TO SHOOT NO MORE PHOTOGRAPHS
OF MRS. ONASSIS

1472
01:16:29,454 --> 01:16:32,239
AND THAT YOU ARE NOW
HIS NEW NUMBER-ONE FAVORITE.

1473
01:16:32,283 --> 01:16:33,806
HOW DO YOU FEEL
ABOUT THAT?

1474
01:16:35,373 --> 01:16:38,028
SHOULD I LOCK THE DOOR SO THEY DON'T COME IN?

1475
01:16:38,071 --> 01:16:41,553
WE USUALLY LOCK THE DOOR IN THE DARKROOM.

1476
01:16:41,597 --> 01:16:43,511
OKAY, NEXT.

1477
01:16:43,555 --> 01:16:47,254
PLACE THE NEGATIVE.

1478
01:16:47,298 --> 01:16:50,823
LITERALLY ANYONE CAN BE A PAPARAZZO TODAY.

1479
01:16:50,867 --> 01:16:53,217
IT DOESN'T HAVE TO BE
GOOD QUALITY.

1480
01:16:53,260 --> 01:16:55,523
AND WE OPEN THE LENS.

1481
01:16:55,567 --> 01:16:57,613
AND WE FOCUS.

1482
01:16:57,656 --> 01:17:00,006
THE ACTUAL SKILL
OF BEING A PHOTOGRAPHER

1483
01:17:00,050 --> 01:17:04,228
HAS REALLY DESCENDED
COMPLETELY

1484
01:17:04,271 --> 01:17:06,926
TO THE POINT
WHERE IT'S UNNECESSARY.

1485
01:17:11,104 --> 01:17:13,063
THE SHORTSTOP

1486
01:17:13,106 --> 01:17:15,065
THAT STOPS
THE DEVELOPMENT.

1487
01:17:15,108 --> 01:17:17,415
OKAY, NOW I PUT
THE LIGHT ON.

1488
01:17:17,458 --> 01:17:19,417
THEN YOU LOOK
AND YOU SAY,

1489
01:17:19,460 --> 01:17:21,854
"WELL, MAYBE IT'S
A LITTLE LIGHT HERE."

1490
01:17:21,898 --> 01:17:23,856
I COULD DARKEN THAT.

1491
01:17:23,900 --> 01:17:25,858
SEE, IT'S A LITTLE
TOO LIGHT.

1492
01:17:25,902 --> 01:17:27,904
NO GOOD.

1493
01:17:34,998 --> 01:17:37,217
DARKEN IT.
THIS IS HOW YOU DARKEN IT.

1494
01:17:41,439 --> 01:17:43,528
WHEN I HEARD JACKIE DIED,

1495
01:17:43,571 --> 01:17:46,400
I WENT TO THE BUILDING,
1040 5th AVENUE,

1496
01:17:46,444 --> 01:17:49,012
BUT I DID NOT
SHOOT PICTURES.

1497
01:17:51,101 --> 01:17:53,581
IT WAS LIKE A MOURNING
FOR ME,

1498
01:17:53,625 --> 01:17:57,237
AND A SADNESS TO SEE
A GREAT ICONIC,

1499
01:17:57,281 --> 01:18:01,198
MY MOST FAMOUS SUBJECT

1500
01:18:01,241 --> 01:18:04,462
DEAD, YOU KNOW.

1501
01:18:14,777 --> 01:18:17,170
I DON'T THINK
SHE KNEW IT WAS ME.

1502
01:18:17,214 --> 01:18:20,130
THAT'S WHY SHE SMILED
A LITTLE.

1503
01:18:26,527 --> 01:18:28,442
I THINK IN THE END

1504
01:18:28,486 --> 01:18:30,444
SHE WAS MAYBE
POSING FOR HIM

1505
01:18:30,488 --> 01:18:33,273
MORE THAN WE KNOW.

1506
01:18:33,317 --> 01:18:35,275
SO SHE MUST HAVE HAD

1507
01:18:35,319 --> 01:18:37,495
A LITTLE FEELING
FOR RON.

1508
01:18:50,247 --> 01:18:52,684
WHETHER YOU LIKE IT OR NOT,

1509
01:18:52,728 --> 01:18:55,731
THERE ARE MANY MANY MORE
PHOTOGRAPHS PUBLISHED OF CELEBRITIES

1510
01:18:55,774 --> 01:18:57,733
THAN THERE ARE
OF FAMINE, WAR

1511
01:18:57,776 --> 01:19:00,344
OR ANY OF THE OTHER,
YOU KNOW, IMPORTANT THINGS

1512
01:19:00,387 --> 01:19:03,434
THAT ARE HAPPENING
AROUND THE PLANET.

1513
01:19:03,477 --> 01:19:05,915
COUNTED IN EITHER
DOLLAR TERMS

1514
01:19:05,958 --> 01:19:09,570
OR THE NUMBER OF IMAGES
SUPPLIED TO THE MEDIA,

1515
01:19:09,614 --> 01:19:11,747
THEY'RE PROBABLY
THE MOST IMPORTANT

1516
01:19:11,790 --> 01:19:14,053
PHOTOJOURNALISTS
ALIVE TODAY.

1517
01:19:18,579 --> 01:19:20,799
-IT WAS...
-A FASCINATING CASE.

1518
01:19:20,843 --> 01:19:22,758
LOOK AT ALL THE ATTENTION IT GOT--

1519
01:19:22,801 --> 01:19:24,237
THE COURTROOM
FULL OF REPORTERS.

1520
01:19:24,281 --> 01:19:26,544
- PEOPLE WAITING ON LINE.
- INCREDIBLE.

1521
01:19:26,587 --> 01:19:28,894
AND THE BEST PROOF IS
THAT HERE WE ARE,

1522
01:19:28,938 --> 01:19:31,636
35 YEARS LATER,
STILL DEBATING THE ISSUES.

1523
01:19:31,679 --> 01:19:33,856
AND IT'S BEEN TAUGHT
IN LAW SCHOOLS.

1524
01:19:33,899 --> 01:19:36,249
- IT'S BEEN A TEXTBOOK--
- I'D BE NAIVE TO--

1525
01:19:36,293 --> 01:19:38,817
AND THE CASE IS CITED
OVER AND OVER AGAIN.

1526
01:19:38,861 --> 01:19:40,819
- ABSOLUTELY RIGHT.
- OVER AND OVER AGAIN.

1527
01:19:40,863 --> 01:19:42,821
WHO'S FILMING HERE?

1528
01:19:42,865 --> 01:19:44,823
- "NOTORIOUS."
- NOTORIOUS B.I.G.

1529
01:19:44,867 --> 01:19:46,825
- YOU SHOULD KNOW THAT.
- ANY STARS?

1530
01:19:46,869 --> 01:19:49,436
HE'S THE PAPARAZZI.
YOU DON'T KNOW WHO THIS GUY IS?

1531
01:19:49,480 --> 01:19:51,221
ARE YOU KIDDING ME?

1532
01:19:51,264 --> 01:19:53,832
HE PHOTOGRAPHED JACKIE O
WHEN SHE DIED HERE. - THAT'S RIGHT.

1533
01:19:53,876 --> 01:19:56,008
I KNOW THAT.
I KNOW WHO YOU ARE. I'M IN SHOW BUSINESS.

1534
01:19:56,052 --> 01:19:58,794
I OUGHT TO KNOW.
THESE GUYS-- TELL THEM, "KNOW YOUR BUSINESS," RIGHT?

1535
01:19:58,837 --> 01:20:00,883
AND BRANDO KNOCKED
FIVE TEETH OUT OF MY JAW.

1536
01:20:00,926 --> 01:20:02,885
- WHO DID?
- MARLON BRANDO.

1537
01:20:02,928 --> 01:20:05,017
YEAH, RIGHT RIGHT,
I REMEMBER THAT.

1538
01:20:05,061 --> 01:20:07,803
HE PUNCHED YOU. WHY?
HE WAS A WISEASS, RIGHT? - YEAH YEAH.

1539
01:20:07,846 --> 01:20:09,587
WHAT DID YOU DO TO HIM?
YOU GOT IN HIS FACE?

1540
01:20:09,630 --> 01:20:11,763
HE GOT IN HIS FACE,
TOOK HIS PICTURE. - I TOOK HIS PICTURE.

1541
01:20:11,807 --> 01:20:14,722
- AND HE PUNCHED YOU?
- AND THEY TALK ABOUT SEAN PENN BEING A WISE GUY, RIGHT?

1542
01:20:14,766 --> 01:20:17,247
HE'S ANOTHER PRICK.

1543
01:20:17,290 --> 01:20:19,815
SO WHO'S THERE?
ANY BIG STARS?

1544
01:20:19,858 --> 01:20:21,817
ANGELA BASSETT.
SHE'S IN THERE.

1545
01:20:21,860 --> 01:20:24,863
- OH, RIGHT RIGHT.
- A COUPLE OF RAPPERS, MAYBE PUFFY.

1546
01:20:24,907 --> 01:20:26,952
OKAY, THANK YOU.

1547
01:20:28,736 --> 01:20:31,174
YOU HAVE TO LEARN
TO ASK QUESTIONS.

1548
01:20:31,217 --> 01:20:33,872
RON GALELLA SOMETIMES--

1549
01:20:33,916 --> 01:20:36,832
IN HIS CASE, HE DIDN'T DESERVE
THE FIRST AMENDMENT.

1550
01:20:36,875 --> 01:20:41,227
BUT EVEN WHEN HE DOES,
WE PROTECT HIM

1551
01:20:41,271 --> 01:20:44,404
MORE BECAUSE WE DON'T WANT
TO START PICKING AND CHOOSING

1552
01:20:44,448 --> 01:20:47,581
BETWEEN WHOM WE PROTECT
AND WHOM WE DON'T PROTECT.

1553
01:20:47,625 --> 01:20:50,236
SEE, THERE'S THE TENT.
THAT'S WHERE THE ARRIVALS ARE.

1554
01:20:50,280 --> 01:20:53,631
HE'S REALLY THE PRICE TAG

1555
01:20:53,674 --> 01:20:55,938
OF THE FIRST AMENDMENT.

1556
01:20:57,940 --> 01:21:00,464
TOOK MILLIONS OF PICTURES. THOUSANDS OF THEM

1557
01:21:00,507 --> 01:21:02,901
ARE HANGING IN MUSEUMS,
BUT SO WHAT, YOU KNOW?

1558
01:21:02,945 --> 01:21:05,730
RON GALELLA WILL GO DOWN
AS THIS OBSCENE,

1559
01:21:05,773 --> 01:21:08,733
BOTTOM-FEEDING SNAPSHOT

1560
01:21:08,776 --> 01:21:13,085
TABLOID SO-CALLED
JOURNALIST.

1561
01:21:13,129 --> 01:21:15,044
YOU JUST WAIT AND SEE.

1562
01:21:15,087 --> 01:21:17,916
WAIT 50 YEARS
AND CHECK IT OUT, ALL RIGHT?

1563
01:21:20,397 --> 01:21:22,355
- HI.
- HEY, RON.

1564
01:21:22,399 --> 01:21:24,270
THE KING IS HERE.

1565
01:21:27,230 --> 01:21:29,188
IT'S HARD TO SAY

1566
01:21:29,232 --> 01:21:31,756
WHETHER HE WILL
EVEN BE REMEMBERED IN 50 YEARS' TIME.

1567
01:21:31,799 --> 01:21:35,412
IN A WAY
IT DOESN'T REALLY MATTER,

1568
01:21:35,455 --> 01:21:38,415
BECAUSE RON'S LIFE

1569
01:21:38,458 --> 01:21:40,504
AND RON'S WORK

1570
01:21:40,547 --> 01:21:42,549
IS VERY MUCH
ABOUT THE NOW.

1571
01:21:49,948 --> 01:21:51,907
HE LOOKS SO FAMILIAR,

1572
01:21:51,950 --> 01:21:53,952
BUT I CAN'T REMEMBER
WHAT HIS NAME IS.

1573
01:21:53,996 --> 01:21:55,345
IT'S JOHN BELUSHI.

1574
01:21:55,388 --> 01:21:57,608
JOHN BELUSHI, THERE YOU GO.
THAT'S WHO THAT IS.

1575
01:21:57,651 --> 01:22:00,350
UH, I'M GONNA CHEAT
ON THIS ONE.

1576
01:22:00,393 --> 01:22:02,352
I DON'T KNOW
WHO THIS IS.

1577
01:22:02,395 --> 01:22:04,571
BUT IT SAYS
IT'S TYLER BURTON.

1578
01:22:04,615 --> 01:22:06,095
IT'S A BEAUTIFUL PHOTO.

1579
01:22:12,623 --> 01:22:16,018
I SHOWED PICTURES
THE OTHER DAY OF JUDY GARLAND.

1580
01:22:16,061 --> 01:22:19,108
HONEST TO CHRIST,
PEOPLE DIDN'T--

1581
01:22:19,151 --> 01:22:21,588
A LOT OF THEM
DIDN'T KNOW WHO SHE WAS.

1582
01:22:21,632 --> 01:22:26,245
THIS GUY--
I HAVE NO IDEA, NO.

1583
01:22:28,117 --> 01:22:31,729
- WHAT'S YOUR NAME?
- GALELLA, RON.

1584
01:22:47,179 --> 01:22:50,617
AND ON THIS SIDE WE HAVE
STEVE McQUEEN.

1585
01:22:50,661 --> 01:22:53,403
IS HE A DIRECTOR
OF SOME SORT?

1586
01:23:10,637 --> 01:23:12,596
IT'S CRAZY. IT'S JUST CRAZY.

1587
01:23:12,639 --> 01:23:15,033
WHEN I WAS DOING IT,
AND THE GREATEST STARS--

1588
01:23:15,077 --> 01:23:18,645
THERE WERE HARDLY
ANY PHOTOGRAPHERS AROUND.

1589
01:23:26,001 --> 01:23:28,916
GRACE KELLY.
I'M NOT SURE WHO THAT IS.

1590
01:23:28,960 --> 01:23:32,050
ANOTHER BEAUTIFUL GIRL--
BARDOT.

1591
01:23:32,094 --> 01:23:34,226
SHE LOOKS LIKE A MODEL.
IS SHE AN ACTRESS?

1592
01:23:36,620 --> 01:23:38,926
MY PICTURE-TAKING IS FINISHED.

1593
01:23:38,970 --> 01:23:42,539
THERE'S NO NEED FOR ME
TO SHOOT TODAY

1594
01:23:42,582 --> 01:23:45,237
BECAUSE THERE'S VERY LITTLE
TO BE SHOT.

1595
01:23:47,109 --> 01:23:49,981
THE ICONIC STARS
ARE GONE.

1596
01:23:51,983 --> 01:23:53,941
THAT'S THE GREATEST THING
IN MY LIFE,

1597
01:23:53,985 --> 01:23:56,466
IS TO SELL THESE PRINTS
AND MY BOOKS.

1598
01:24:00,470 --> 01:24:04,082
THERE ARE SO MANY BOOKS
THAT I WANT TO DO.

1599
01:24:04,126 --> 01:24:06,389
I THINK THIS IS
JACKIE ONASSIS AGAIN.

1600
01:24:06,432 --> 01:24:08,391
RIGHT?
LOOKS LIKE THE SAME PERSON.

1601
01:24:08,434 --> 01:24:11,263
JACKIE ONASSIS
AND BOBBY.

1602
01:24:11,307 --> 01:24:13,700
BOBBY KENNEDY?

1603
01:24:13,744 --> 01:24:15,224
WOW, YES.

1604
01:24:20,272 --> 01:24:24,363
WHAT I DO NOW-- IT'S THE HARVEST OF MY LIFE.

1605
01:24:29,368 --> 01:24:31,327
MILLIONS--
MILLIONS OF PICTURES.

1606
01:24:31,370 --> 01:24:33,503
I CAN'T COUNT THEM.
THERE'S MILLIONS.

1607
01:24:50,911 --> 01:24:54,219
♪ I'LL BE SEEING YOU

1608
01:24:54,263 --> 01:24:58,571
♪ IN ALL THE OLD
FAMILIAR PLACES ♪

1609
01:24:58,615 --> 01:25:02,619
♪ THAT THIS HEART OF MINE
EMBRACES ♪

1610
01:25:02,662 --> 01:25:04,882
♪ ALL DAY THROUGH

1611
01:25:07,711 --> 01:25:11,758
♪ IN THE SMALL CAFE

1612
01:25:11,802 --> 01:25:15,588
♪ THE PARK
ACROSS THE WAY ♪

1613
01:25:15,632 --> 01:25:18,765
♪ THE CHILDREN'S CAROUSEL

1614
01:25:18,809 --> 01:25:21,116
♪ THE CHESTNUT TREES

1615
01:25:21,159 --> 01:25:23,727
♪ THE WISHING WELL

1616
01:25:23,770 --> 01:25:28,123
♪ I'LL BE SEEING YOU

1617
01:25:28,166 --> 01:25:31,169
♪ IN EVERY LOVELY
SUMMER'S DAY ♪

1618
01:25:31,213 --> 01:25:35,739
♪ AND EVERYTHING
THAT'S LIGHT AND GAY ♪

1619
01:25:35,782 --> 01:25:39,612
♪ I'LL ALWAYS THINK
OF YOU THAT WAY ♪

1620
01:25:39,656 --> 01:25:43,573
♪ I'LL FIND YOU
IN THE MORNING SUN ♪

1621
01:25:43,616 --> 01:25:48,099
♪ AND WHEN THE NIGHT
IS NEW ♪

1622
01:25:48,143 --> 01:25:50,667
♪ I'LL BE LOOKING
AT THE MOON ♪

1623
01:25:50,710 --> 01:25:54,192
♪ BUT I'LL BE
SEEING YOU ♪

1624
01:26:00,546 --> 01:26:04,115
♪ I'LL BE SEEING YOU

1625
01:26:04,159 --> 01:26:09,120
♪ IN ALL THE OLD
FAMILIAR PLACES ♪

1626
01:26:09,164 --> 01:26:13,255
♪ THAT THIS HEART OF MINE
EMBRACES ♪

1627
01:26:13,298 --> 01:26:16,040
♪ ALL DAY THROUGH

1628
01:26:17,476 --> 01:26:21,698
♪ IN THE SMALL CAFE

1629
01:26:21,741 --> 01:26:25,789
♪ THE PARK
ACROSS THE WAY ♪

1630
01:26:25,832 --> 01:26:29,140
♪ THE CHILDREN'S CAROUSEL

1631
01:26:29,184 --> 01:26:31,142
♪ THE CHESTNUT TREE

1632
01:26:31,186 --> 01:26:33,971
♪ THE WISHING WELL

1633
01:26:34,014 --> 01:26:37,801
♪ I'LL BE SEEING YOU

1634
01:26:37,844 --> 01:26:41,239
♪ IN EVERY LOVELY
SUMMER'S DAY ♪

1635
01:26:41,283 --> 01:26:45,591
♪ AND EVERYTHING
THAT'S LIGHT AND GAY ♪

1636
01:26:45,635 --> 01:26:49,682
♪ I'LL ALWAYS THINK
OF YOU THAT WAY ♪

1637
01:26:49,726 --> 01:26:53,686
♪ I'LL FIND YOU
IN THE MORNING SUN ♪

1638
01:26:53,730 --> 01:26:58,213
♪ AND WHEN THE NIGHT
IS NEW ♪

1639
01:26:58,256 --> 01:27:00,867
♪ I'LL BE LOOKING
AT THE MOON ♪

1640
01:27:00,911 --> 01:27:04,306
♪ BUT I'LL BE
SEEING YOU. ♪

1641
01:27:27,111 --> 01:27:29,896
IT'S TOO HARD.

1642
01:27:29,940 --> 01:27:31,246
IT'S HARD.