All language subtitles for BBC.Cinema.Through.the.Eye.of.Magnum.1080p.HDTV.x264.AAC.MVGroup.org

My mother was Ingrid Bergman.

She was a big Hollywood star
in the '40s.

And right after the war, she went to
Europe to entertain the troops

and, when she stopped in Paris,
she met Robert Capa,

who had been the great photographer
of the Second World War.

They met at the Ritz Hotel and
they liked each other immensely.

And then, eventually, they fell in
love.

And then he ran into her again
in Berlin a few weeks later.

They were really in love.

At least, she was definitely
in love,

because she wrote about it
in her memoirs.

And this is how I came to
know about it.

Mamma gave me the manuscript before
the book was published.

And I read, and I was completely
surprised.

And I said, you had an affair with
Robert Capa!

That was my hero!

Capa was hoping to get into the
movies himself.

And she went to Hollywood to do a
film with Alfred Hitchcock.

And Capa went along.

Back in Hollywood, Ingrid Bergman
was still a married woman,

and a scandal could ruin her career.

A shoot for Life magazine gave
Robert Capa a pretext to join her

discreetly on the set of Notorious.

This first series of on-set photos
taken by a photographer in love with
an actress

perfectly illustrate the close ties
that bind Magnum photographers

and the world of cinema.

From the day it was created in 1947,
Magnum Photos made history.

Founded by Robert Capa,
David Seymour...

..George Rodger and
Henri Cartier-Bresson,

it was the first agency to assert
the independence of photographers

and to fight to protect
their rights.

Today, Magnum has about 70 active
members

that include some of the most
famous names in photography.

In these boxes are some of history's
most iconic images -

printed proof of photojournalism's
commitment to observing the world.

But there are also pictures that
have come to define cinema...

..pictures taken by a handful of
photographers occasionally stopping
off on

a film set as they travelled between
war zones.

It was chance in the person of
Robert Capa that brought these two
worlds together.

Capa was born in Budapest and then
studied in Germany

and then came to Paris in 1933.

And during that time,

I think film and cinema played a
very important role

in the imagination of what he could
potentially aspire to do.

In some of the early letters he
writes to his mother from Paris,

he talks about being a film-maker
some day,

"One day, I will be great and big."

Throughout Robert Capa's life,

cinema provided an imaginative
escape from reality

and his reputation as a war
photographer.

Ernest Hemingway, who had met Robert
Capa during the Spanish Civil War,

first opened the doors to Hollywood.

He went to Sun Valley to visit
Hemingway in 1940 and then 1941.

And he met various Hollywood
celebrities -

Gary Cooper and Howard Hawks there.

You know, he was an incredibly
playful, joyful character in person.

He could charm anyone -
men as well as women,

directors and businesspeople.

He usually got his way.

In 1941,

the attack on Pearl Harbor hastened
the US entry into the war, and Capa

was finally able to travel to
Europe.

Throughout the war, Capa extended
his circle of Hollywood friends,

often around a poker table.

Capa, of course,

had this close relationship with a
lot of the film directors who were

in the American army.

Or at least attached to the army,

as Robert Capa was attached to

the army while not being in it.

FROM FRENCH:

He is thinking about a cinemagraphic
visual experience

in much of his work. I'm thinking

particularly in North Africa, where
there's a plane landing on a strip.

It's all barren,

and there's one man waiting for the
plane to arrive.

It's really just out of a Hitchcock
film.

And then other scenes of the desert,

of these camels rushing for him.

I mean, again, Lawrence Of Arabia.

He had a visual sense for the
dramatic

when, frankly, there wasn't a lot of
story.

So, with the little elements that he
had to photograph, he had to really

make them hold the drama.

When he joined Ingrid Bergman
in 1946,

Capa was no stranger to
Hollywood.

He had even been hired by a studio
as an apprentice producer director.

But he was not very comfortable in
Hollywood.

In Hollywood, you can only get

around if you're a good driver.

He was a terrible driver.

He actually crashed a car out there.

Capa quickly lost interest in
Hollywood.

He preferred being a reporter.

And Ingrid Bergman was talking about
marriage and family.

Robert felt that he was not the
husband type,

meaning that he knew that eventually

he was going to die in a conflict.

And he did die. And I think that

Mamma always said that, if it had
been her choice,

she would have married him,
but he wasn't available.

But then she married my dad,
who was kind of a similar type.

He said goodbye to Bergman and came
back to New York in the spring of
1947.

I went to see him.

And he was very depressed because
his expedition to Hollywood

had not worked out.

It was in New York in the restaurant

at MoMA that Magnum Photos
was conceived.

Well, Magnum really was his idea.

It was something that he had dreamed
about since 1938, if not before.

The idea that an agency could really
manage a photographer's work while

they are out in the field
photographing and making the story.

The young agency was revolutionary.

As Cartier-Bresson said, "Magnum
is a community of thought,

"guaranteeing photographers
exclusive ownership of their
negatives and prints."

Before that time, nobody kept their
copyright.

You know, you worked for Life
magazine,

you just gave them the film.
You were like a plumber, basically.

I think he felt that photographers
should be treated better too,

to be given more right to do what
they wanted to do.

Instead of being told how to take
things,

they should be able to have more of
their own personality

in photography.

It was very difficult for the early
photographers

cos none of the magazines,

including Life magazine,
wanted to play by those rules.

But Magnum desperately needed money,
and Capa, a shrewd businessman,

saw his Hollywood connections as a
means to replenish the agency's bank
account.

FROM FRENCH:

The idea was a very good one, which
is to make stories about the movie,

about the people, about the
location,

to get publicity in
magazines.

You had the photographer on the set
whose job was to cover everything

that's going on on the set.

But they would also bring in the
special photographer with the idea

of getting spreads in major
magazines.

The major magazines always wanted to
buy material because they didn't

want the given-out material,

cos they knew that everybody else
had it.

The late '40s and then the early
'50s,

he sort of cooked up his assignments
for himself

to place him in these wonderful
locations where his friends were
filming.

But he really was a magazine
photographer.

That was really what his business
was.

Later, he wrote about all the film
work he did very dismissively.

He said, "That's done, I'm over with
that.

"I want to get back to REAL
photography."

And he said, "I want to travel,
maybe I'll go to Indochina."

That was a year before he went.

He said himself, towards the end,

"photography's not for
grown-up men,"

which meant that it wasn't that
exciting for him any more.

And, of course, going to Indochina
was absolute madness.

Magnum went on because of Chim.

Nobody really thought that Magnum
would go on,

cos Capa was really running Magnum
in a funny sort of way.

It was just everybody rallying
around, saying, we won't let go.

But Chim was absolutely determined.

I remember Chim Seymour because Chim
was a very good friend of Capa.

And when Capa died, um...

he was a lot around us.

I don't know if he was a lot around
us because Mum and Chim

were consoling each other about
Bob's death or, you know,

with friendship and presents.

But I remember this wonderful...

I remember his face always having

a Leica round his neck
and photographing constantly.

He was talking and interacting
and then taking photos as if they
were...

..two person - one person that was
completely normal and talking,

and then the other one noticing
things and so capturing it.

And he created a mystique about my
family.

I mean, the most beautiful photos of
the love between my mother and my
father,

Roberto Rossellini, and the
three of us kids

are captured in Chim's photo.

Well, after Capa died,

there were two people who kind of
looked upon Magnum as Capa's
children.

One was Ted Patrick, who was the
editor of Holiday magazine,

and the other one was John Huston.

And they always came back to Magnum,
and they were very good about hiring

younger photographers.

And they were served very well.

FROM FRENCH:

When you come on a set like that,
it's not what you're looking for,

it's what's in front of you
and what's possible,

to see what's in front of you and
try to make something out of it.

It's not rocket science.

One's job was to find some different
aspect that a magazine could use.

People like myself were really good
at doing that because we could do

a different approach.

We could attack from the side,
basically, rather than the front.

Magnum photographers were observers
of the world.

And this documentary approach was
poles apart from the studio's own
photos.

They brought a breath of fresh air
into a world of gloss and touch-ups

that offered a sterile notion of
perfection.

In 1954...

..I was based out of Hollywood.

I went out there, initially,

to work on a film that Stanley
Kramer was making called The Caine
Mutiny.

And the star of the film was
Humphrey Bogart.

For whatever reasons, Mr Bogart sort
of adopted me.

He became my mentor.

Billy Wilder introduced him to
Humphrey Bogart.

And they hit it off because Bogart
was from New York and they were both

sort of tough guys and full of
themselves,

and they liked each other.

And, you know, one of the signs of
Humphrey Bogart's trust in Dennis

was he let him shoot him without his
toupee.

Nobody knew Humphrey Bogart was
almost bald.

And Dennis has these great pictures
on his sailboat

of a bald, or balding,
Humphrey Bogart.

And was kind enough to introduce me
to quite a few people that were in

the motion picture industry.

One of them was Nicholas Ray.

And Nick had a ritual where he had a
Sunday soiree, so I was invited to

one of these parties.

Nick took me and then he guided me
over to a young man and he said,

Dennis, this is James Dean.

I had no idea who he was.

In our discussions, Jimmy said, I
just finished a film called East Of
Eden,

and would you like to come and see
it?

I went to see the film

and, frankly, I was blown away.

And I went up to him and I said,
"It was wonderful,

"I really love what you did,

"I want to do a story on you."

Dennis Stock followed James Dean for
two months,

from Hollywood to Fairmount,
Indiana.

The people who raised him from the
age of nine to about 19 were his

aunt and uncle, and they welcomed me
with open arms.

They were just extraordinarily
friendly.

And till this day, I'm a close
friend of the family's.

But in the mix of being there, I
could sense that Jimmy wasn't really

ever going to return.

And what it pointed out, though,

is the tragedy of Jimmy incapable of
understanding what he had.

He was just a little alienated soul
that bounced around in search of...

..God knows what.

One morning, we got up.

He said, "Come on, I want to show
you something."

We walked into this furniture store
and to another room.

And in that other room were coffins.

And he jumped into one.

So we went through all these
childish expressions that he did
within the coffin.

And at the very end, I sort of
grabbed him and I said,
"Now, sit still.

"Just look at me. Sit up
and look at me."

And within that image,

I would like to believe that it
shows how lost he was.

He lived...

..a kind of contradictory life to
being on the cusp of being a star.

There was something about New York
that wore him down.

I followed him wherever he was
willing to show me what was

his relationships to people and
locations,

and what came out of that in the
final analysis that had the most

appealing possibilities was the
photograph of him in the rain

on Times Square.

We probably have a great many young
people watching our show tonight.

And for their benefit, I'd like your
opinion about fast driving on

the highway. I used to fly around
quite a bit, you know.

Took a lot of unnecessary chances on
the highway.

And I started racing.

And now I drive on the highways,
I'm extra cautious.

Jimmy said he was going to drive the
following weekend,

and would I like to come along?

And my first reaction was,

"Wow, yeah, I'd love that,
that would be fun."

And I have no idea till this day,
but something came into my mind and

I looked at him and I said,
"I can't."

Take it easy driving. The life you
might save might be mine.

You can say it's good fortune
I wasn't with him.

When you have that kind of
relationship,

it makes it so much different,

you know, it makes it possible to
get that intimacy.

And I think the extreme case of that
is undoubtedly Monroe with

Eve Arnold. They were really friends
and totally at ease with each other.

What happened was,

Marilyn had seen a set of pictures
I'd done for Esquire on

Marlene Dietrich. And you must
remember that, in the '50s -

this was, I think, 1952 -

and in those days, practically
everything was front lit,

very carefully organised.

I didn't know about any of that.

And I was a documentary
photographer.

I simply took her as she was.

There was no posing, no set-up,
no lighting, no tripod.

Just me and Marlene singing.

There we were, working on this,

and we were both at a party for
John Huston.

And Sam Shaw, the mutual friend,
brought her over

and introduced us. And she looked
at me and she said,

"If you did that well with Marlene,

"could you imagine what you can do
with me?"

Which I thought was quite wonderful,

because she had a naive quality,

but she also had a great sense

of showmanship and self-promotion.

And she could see herself,
I was sure,

and what she was going to look like
in Esquire.

And then, one day, one night,
about...

..four o'clock in the morning,
I guess it was,

I got a call from her.

And would I join her at ten o'clock
the next morning and go to
Bement with her?

I could have an exclusive story
because there'd be only she and her
hairdresser.

Eve had that delicate touch,

and that's why, I think,
other actresses,

including Joan Crawford,
allowed her to photograph her

getting ready to go out.

Because a lot of actresses are asked
to be not the person, but the image.

So Joan Crawford allowed Eve to come
and photograph the process of

creating this image of Joan Crawford
that people wanted.

Because she wanted to reveal to the
world it isn't so easy when you say,

"Come to dinner, drop by,
show yourself at the benefit."

It takes hours of preparation
if you want the persona.

And Eve was once again revealing an
aspect of human behaviour,

but with no judgment.

And it was in Chicago when we had
that heavy layover,

which took hours...

..and she went into the ladies'
room,

and, you know, as another woman,
I just followed after.

I didn't intend to shoot,

but she looked so wonderful with her
skirts hiked up and those little fat

chubby legs, which nobody thought of
as being that way, hanging out
below.

Because I always thought of her as
kind of slender.

And what she had, which was
wonderful,

was a capacity to think tall,
cos she was small.

This picture is so intimate.

And I just love the idea that Eve
was so obviously friends with,

and trusted by, and this to me is

the ultimate taking of a picture.

I photographed her over a ten-year
stretch.

In the beginning, there was
something like

the shortest of the six sessions

was two hours and the longest was
two months -

on the film The Misfits that
John Huston directed.

Arthur Miller had written a short
story about three...

..men who worked on the desert and
brought in the wild horses, which

they then sold to be killed
for dog food.

And into this wildlife of theirs
came Marilyn.

It had Clark Gable in the lead,

it had Marilyn as the female lead,

it had Montgomery Clift,
Eli Wallach,

and it was meant to bring Marilyn
forward as a very serious actress.

IN FRENCH:

The filming of The Misfits
played a pivotal role

in the history of photography's
relationship with cinema.

For three months, during the summer
of 1960,

nine major Magnum photographers

took turns to chronicle
this chaotic shoot

in Reno, in the Nevada desert.

The exceptional on-set access wasn't
just down to John Huston's

close ties with the agency.

The idea had originated with
Lee Jones,

the then head of special projects in
the New York office,

who felt this dream cast movie
deserved exceptional coverage.

The first photographers to arrive in
Reno were Inge Morath and

Henri Cartier-Bresson.

So all of this was exotic.

And naturally, this being such an
American movie, it was also exotic
to us.

So, in a way, we approached it from
our very European point of view.

The Misfits was the result of
Marilyn Monroe's

kind of tardiness...

..nervousness and just general, what
shall we say, just general distress.

I was drawn to Marilyn Monroe not as
a sex object, but as a struggling

artist who was really depressed.

And there's one picture with Huston.

I didn't like the idea that I'd
got away with it.

You know, she was really in torment.

I think Monty Clift must have been
another one,

and I think a lot of them came out
of the Actors Studio in New York,

the ones who Dennis felt were more
human and somehow managed to retain

who they were, even in Hollywood,

where everybody was sort of putting
on a facade.

And Monty Clift didn't.

Sometimes, you know, the work is
so...

you know, you try to read through,

and you feel sometimes it's on the
verge of a kind of craziness.

But it isn't really craziness.

It's really getting the truest part
of yourself out,

and it's very hard, you know.

I mean, it's not easy, let's say.

Yes, I think we all used her.

I don't think there's any question
about that.

As a photographer, one has to accept
the fact that one does invade

other people's privacy.

However, you could argue that,
without the still camera,

Marilyn would not have been Marilyn.

We would not have seen her cos
that's the way most people saw her.

So it's a circular thing.

We all used each other.

She used me...

..to help her to get where she was
going -

me and hundreds of others.

You know, I was not unique in that.

Unique only in the fact that she
trusted me.

These photographers who worked on it
were not your paparazzi types -

they were Magnum people.

There were no people that would have
done damage or scandal or anything

like that. Among us,
I don't think so.

Filming wrapped on The Misfits on
November 4, 1960.

The following day, Clark Gable
suffered a heart attack.

He died days later.

Rarely had the divide between
fiction and the real world

been so narrow.

With the challenge of TV,

cinema had begun to lose its allure
for the big magazines.

It was the end of an era for Magnum
and cinema.

A little bit further, a little bit
further. That's it.

Now get your hand up near your face.

Near your face. I'm shooting in
very, very close on your head now.

Keep your hand near... That's it.

But a new era was beginning in
Europe.

In London, David Hurn took up the
torch.

What is called the '60s really
started in the late '50s.

So that sort of cultural movement,
I was very much a part of.

You know, by that time, I'd known
all the people, all the players.

Tom Carlisle, an important
publicist,

gave him privileged access into the
film world.

Whenever Tom had a film that he
thought was interesting,

he would always phone me up, and I
would go and do it, and so

that's how I did the Bond films, and
Tom was the publicist on Barbarella,

so that's how I did all the
Barbarella stuff.

And so, the only film which was
well-known that I did that was

not that was The Beatles.

# It's been a hard day's night... #

And I enjoyed doing them because I
didn't have to do the job of

photographing what was happening
in front of the camera.

I was much more interested on the
reaction of the fans to them, etc.

In fact, it was so intense for them
that, if I drove a car with any of

them in it, you could not stop
the car.

If it was a red light, you went
through because, if you stopped,

you would never move again.

I think one of the other things is
that I always had a good,

what I would call slightly
journalistic look.

So I was aware you would get people
of this age,

so that most of the pictures you see
are of the young kids,

but I found it fascinating that
grannies were there as well.

And so, maybe almost artificially,

I might have more pictures of
grannies

than were actually there
in the overall,

because I would think that they were
important to do.

While Beatlemania stormed the world,

art-house cinema stirred a
revolution.

Magnum newcomers, keen to make their
mark, documented these cinema
auteurs.

The times sparked some surprising
collaborations.

Nicolas Tikhomiroff befriended
Orson Welles.

Constantine Manos followed Elia
Kazan during the shooting of

America America, his most personal
film.

And Bruce Davidson,

who had just spent two years
documenting extreme poverty in
Harlem,

was hired by Antonioni to photograph
his first American film...

..Zabriskie Point.

He did something very interesting.

He said to me,

"I'd like you to make a picture
that you like."

So I learned there was this
pre-historic dried lake, and I took

Daria and Mark and did a nude thing.

I was completely free to do that,
you know.

And it was a little bit
Antonioni-ish too,

and maybe that's when he trusted me,

because he knew that I was an artist
in

a quest of life, and he understood
that, being an artist himself.

The '70s signalled a shift in
Magnum's relationship with cinema.

The public still had a healthy
interest in the stars,

but the magazines now got their
pictures from the paparazzi.

And their approach was radically
different.

Although photographers disappeared
from film sets,

cinema inspires them to this day.

Like Gueorgui Pinkhassov,

who discovered art and spirituality
through the eyes of

a great Russian film-maker,
Andrei Tarkovsky.

I remember, once I came to Magnum,
and they asked me if I would like to

participate on the shooting of the
film, and I said no.

They came back to me and they said,
"Listen," you know.

"They don't want you to photograph
the film."

But that they want me to look on the
countries

which we were travelling through.

This is going to be filmed with
few people - about six people.

You are going to travel around the
Balkans in the small bus and

in the winter period.

Now, it's 45 years that I travel.

I never stop in one place for more
than three months.

I know, if I stay in one place,
that I become blind.

I could get on the places.

I could wake up in the morning
and say goodbye.

I come back to a hotel in the
evening...

..and I just walk around.

Angelopoulos and me, we look on the
same reality.

We were looking for something
different.

And it was interesting to show how
different people and different media

can show the same reality.

In fact, he told me, after a few
days, also...

People still remember the pictures.

They stay in their mind.

The pictures look like Koudelka's
pictures.

And some of them are just on the
set,

and that's one of the miracles of
photography.

How does that happen?

We've all got just a box with a hole
in the front.

Now, in theory,

you shouldn't have any control
over that.

The reality is that, if you look at
ten Cartier-Bresson pictures,

If you look at ten Koudelka
pictures, you can tell they're by
Koudelka.

There's something absolutely
extraordinary about that.

You know, it's very good that the
thing's documented.

Whether or not you need to do it for
every Hollywood movie,

I don't think so but, occasionally,

some of them come along that are
just,

you know, really crying out to be
recorded -

something else beyond just the
narrative of the movie.

It's wonderful to see these after...
God, how long, 20 years?

That actually, it doesn't look
like a movie and that, to me,

is fantastic. They look like
photographs.

So, you know, I'm delighted by that.

This was in Belgrade,

the scene where we had the train and
the horses, and this was just

a waiting room in a station, but it
just looks so beautiful, you know,

people smoking. They weren't even
part of the movie,

it was just something that was
there.

So, you know, there is a fantastic
heritage.

And I think, you know, we wanted
to drive that forward and continue

it in some way. But I don't know.

Now the studios are so controlled
by PR.

I don't think you could do it in
quite the same way as you could.

Normally, when you're photographing
celebrities, great actors,

the expectation is you're going to
go into the studio.

Basically, the way it's worked for a
number of years now,

you book a studio, you book a hair
and make-up team,

and the actors have come to expect
that.

But we wanted to try to somehow
shake that up,

and that was the thinking behind the
year

that we had Paolo Pellegrin do the
actors for our annual Great
Performers portfolio.

And so she set the bar very high
because she said, "Paolo, I want you

"to rethink this genre."

Um...

I said, "OK, thank you."

It's easier said than done because,
when you're in that world,

you can only do so much if you have
the access.

You can't do a documentary reportage
on Cate Blanchett or Kate Winslet or

Robert Downey Jr or whoever the
actor might be unless they're brave
enough

to say, "Yes, come along, you can
watch me, fly on the wall."

And with that particular project,
we managed to get that access.

It's pretty impressive, given that,
at that point, Paolo was really
known

for his war photography.

So there's nothing in his body of
work that most actors would have
looked at

and thought, "Oh, sure, I'd love to
be photographed by him."

She obviously asked me because of
what I do,

so I shouldn't do anything
different.

And I should bring and apply my core
values,

and those are an interest in the
other,

which certainly transcends
a celebrity aspect...

..or the public persona aspect.

I went and I showed them my work and
I said,

"I come from a different experience.

"This is what I do."
And we started talking.

He said, "Let's go for a drive."
He has a beautiful car.

So we started driving around,
and I was talking...

He was talking about the narcos in
Mexico.

I was talking about Gaza and the
Palestinians.

And, you know, what was supposed to
be 60 minutes, I don't remember,

ended up being like an entire day
that we spent together.

You know, when he got access,
let's say,

to Sean Penn's home and Brad Pitt,

he had access, but not full access.

There were certain things that were
off-limits.

On the other hand, I'm still amazed,
the access he got to Kate Winslet

and the cover picture of her in hair
curlers.

I love that, that she had the
confidence to be so open.

Of course, she looked spectacular.

It was very special,
to photograph her,

because she really brought
something...unique.

She had...

a light which was really special and
very hers.

One thing I did tell them,

I'm not going to direct you, I don't
want to ask,

but I would like, as much as
possible,

for you to enter your own inner
world,

and she was so amazing at that...

..that it became like this physical
battle.

So, over the course of the session,
she was so good and she was so...

You know, it nearly had a spiritual
element,

the time I spent with her in that
hotel.

And maybe it was the hotel,
the red room,

this New York light coming through
the windows,

this warm sort of yellow light and
her...

..capacity to keep, you know,
this moment for ever.

It was really, really special.

What Paolo did is truly, you know,

a majestic work by a photographer at
the height of his powers, you know,

in a way.

What I was doing was...

..you know, something OK in the
midst of

figuring a lot of things out.

Every photographer has kind of a
different signature.

Peter van Agtmael I see as being
more direct...

..and wanting it to look more like

an inner world. There's like a
subtlety to his work.

And often, his human figures,
they're always smaller in the frame.

And he managed to even carry that
over

into his coverage of Jeff Bridges,

which is interesting, cos Bridges
is extremely handsome,

larger than life,

famous actor, and yet he still
managed to make pictures

where it looks like an ordinary guy
at the airport,

like, as if you wouldn't even
recognise him.

Really? That's him? I like that he's
just looking for ordinariness and,

but it's just real life.

I don't hold Hollywood in any
particular esteem,

and so the pictures are not going to
necessarily mimic the language of

what has been created around these
people, which is this kind of...

essentially a cult of personality,
you know.

I don't really get it, honestly.

A great celebrity portrait is one
that feels truer

than the usual affair.

In other words, that it's somehow a
portrait,

that there seems to be some element

of authenticity to it, where you get
a sense of who that person is.

Maybe they're caught in an
ever-so-slightly off-guard moment.

I feel like, for all portraiture,
that's what you're always looking
for.

It's what I'm always looking for -

there is something just unposed
enough,

unselfconscious enough about the
picture-making that was happening

that there's some revelation of
truth.

It's very hard to do that with
actors because, all day long,

they're photographed, they're
filmed, they're putting on a face.

But still, a certain kind of
photographer might just get a little
bit closer,

something a little bit truer.

Recalling Magnum's first ventures
into Hollywood,

this new generation of photographers
renewed the intimacy,

that extra touch of humanity that
made Magnum's cinema photographs
such

an essential part of the history of
both cinema and photography.

We were all in the studio,
all about to shoot the picture,

and Tom comes up to me and he said,
"I've forgotten the gun,

"we don't have a gun."
So there we are,

in my studio without a gun, and all

these people flown in from America
to be there!

So I said, "God, we're in luck."

My hobby at the time was target
shooting, and the gun that I had,

it was an air pistol.

I said, "Nobody here will know.

"All you've got to do is,

"when they come to do the artwork
for the poster,

"cut the barrel off there,

"and nobody would know the
difference."

There he is, posing about, Mr Bond
with his air pistol, you see!

Well, of course, they forgot to tell
the people in the design thing to do

that, and so the posters that came
out,

they're all with Sean Connery with
an air pistol.

I mean, isn't that...

I mean, the world is bonkers!

The film...world is bonkers!