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