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This programme contains some strong language | 0:00:02 | 0:00:06 | |
Wait a minute, let me check - just let me turn the brush. There. | 0:00:06 | 0:00:09 | |
Good. | 0:00:09 | 0:00:10 | |
David came to the college with this pinstripe suit, | 0:00:12 | 0:00:16 | |
and a high starch collar and a very thin little tie, | 0:00:16 | 0:00:19 | |
and this pudding bowl haircut. | 0:00:19 | 0:00:22 | |
And I said to myself, "My God, look at the state of this fella!" | 0:00:22 | 0:00:26 | |
I said, "He's like a Russian peasant. A right Boris." | 0:00:26 | 0:00:31 | |
You know those crinkly chippers? | 0:00:31 | 0:00:34 | |
You see, he had a crinkly chipper, | 0:00:34 | 0:00:37 | |
when chips used to be straight. | 0:00:37 | 0:00:39 | |
He always had bloody theories about everything, you know? | 0:00:39 | 0:00:42 | |
"Here, well, there's more surface area. It makes a better chip." | 0:00:42 | 0:00:46 | |
He had a need to have a guiding theory. | 0:00:48 | 0:00:52 | |
When he decided he'd hit on the right one, | 0:00:53 | 0:00:55 | |
it was like someone who's suddenly seen the light in a new religion. | 0:00:55 | 0:00:59 | |
And you'd tend to dread meeting him and being subjected to it again. | 0:00:59 | 0:01:02 | |
It was always easy to get him on the subject of cigarettes. | 0:01:05 | 0:01:09 | |
I asked him what he thought about this billboard, | 0:01:09 | 0:01:13 | |
over on Santa Monica Boulevard. | 0:01:13 | 0:01:15 | |
Right away, he says, | 0:01:15 | 0:01:17 | |
"Well, I should rent the billboard across the street... | 0:01:17 | 0:01:21 | |
"..that would tell the number of people who died of other causes." | 0:01:22 | 0:01:26 | |
I think he was a bit in love with me for a while. I do think that's true. | 0:01:32 | 0:01:36 | |
I remember wearing this suit in San Francisco | 0:01:36 | 0:01:39 | |
and going up to Nob Hill, which is a very steep slope, | 0:01:39 | 0:01:43 | |
and he said, "Celia, | 0:01:43 | 0:01:46 | |
"those trousers from the back, | 0:01:46 | 0:01:49 | |
"I don't think you look your best in those." | 0:01:49 | 0:01:52 | |
And I never wore them again. | 0:01:52 | 0:01:54 | |
We had this polar bear white carpet, | 0:01:57 | 0:02:00 | |
and he was doing some ink drawings on the floor, | 0:02:00 | 0:02:03 | |
and he got a spot of ink on the carpet, | 0:02:03 | 0:02:05 | |
and my father got hysterical. | 0:02:05 | 0:02:07 | |
I said, "Dad, we should have him sign it. | 0:02:07 | 0:02:09 | |
"It'll be worth millions in a couple of years." | 0:02:09 | 0:02:12 | |
We go under the stairs, | 0:03:05 | 0:03:07 | |
a little cupboard to hide under the stairs. | 0:03:07 | 0:03:10 | |
When the bomb drops on the street, | 0:03:15 | 0:03:18 | |
my mother screamed. | 0:03:18 | 0:03:19 | |
If she screams, you scream. | 0:03:21 | 0:03:25 | |
I mean, you're very frightened if your mother's frightened. | 0:03:25 | 0:03:28 | |
So, it's something I've always remembered and, actually, | 0:03:31 | 0:03:35 | |
so had all my brothers and sister. | 0:03:35 | 0:03:37 | |
It's the first... | 0:03:39 | 0:03:41 | |
..first memory I have, yeah. | 0:03:41 | 0:03:43 | |
I was born in 1937, | 0:03:49 | 0:03:52 | |
and I do remember the end of the Second World War. | 0:03:52 | 0:03:57 | |
I was brought up with rationing. | 0:03:57 | 0:04:00 | |
They didn't end rationing till I was 16 years old, | 0:04:00 | 0:04:04 | |
so, you couldn't just go and buy a bar of chocolate. | 0:04:04 | 0:04:07 | |
You could only buy sweets Saturday morning | 0:04:07 | 0:04:09 | |
when you got your pocket money. | 0:04:09 | 0:04:11 | |
You would be given it at nine o'clock | 0:04:11 | 0:04:13 | |
and the sweets had gone by 9.15. | 0:04:13 | 0:04:16 | |
You'd bought them and eaten them and that was it, | 0:04:16 | 0:04:18 | |
and you'd have to wait till another Saturday. | 0:04:18 | 0:04:21 | |
I mean, I was brought up in austerity like that. | 0:04:21 | 0:04:24 | |
On the other hand, we didn't feel poor. | 0:04:24 | 0:04:26 | |
Life was interesting, you know? | 0:04:26 | 0:04:28 | |
I mean, you're a kid, so life is interesting | 0:04:28 | 0:04:31 | |
whether you have much money or not. | 0:04:31 | 0:04:34 | |
It's always interesting to children, in that way. It should be, anyway. | 0:04:34 | 0:04:38 | |
And it was to my father. | 0:04:38 | 0:04:40 | |
I mean, he... | 0:04:40 | 0:04:42 | |
he wasn't a very sophisticated man, in many ways. | 0:04:42 | 0:04:46 | |
I mean, he was a bit puritanical for me. | 0:04:46 | 0:04:49 | |
But he had a heart. I mean, he cared about people, | 0:04:49 | 0:04:53 | |
and felt there should be justice in the world. | 0:04:53 | 0:04:55 | |
I mean, he was political that way. | 0:04:55 | 0:04:57 | |
-FROM A RECORDING: -The one thing I loved, my father could paint | 0:05:02 | 0:05:06 | |
the line on a crossbar of a bicycle | 0:05:06 | 0:05:09 | |
using a special long brush. | 0:05:09 | 0:05:11 | |
He'd rest your finger on the top, | 0:05:11 | 0:05:14 | |
and then you do it without a ruler, you see? | 0:05:14 | 0:05:17 | |
Like a sign writer would. | 0:05:17 | 0:05:18 | |
But to watch it done without a ruler | 0:05:18 | 0:05:21 | |
was very thrilling, I thought. | 0:05:21 | 0:05:23 | |
Incredible that you could make a straight line like that, | 0:05:23 | 0:05:26 | |
just with your eye. | 0:05:26 | 0:05:28 | |
I mean, it's like watching Michelangelo draw a circle. | 0:05:28 | 0:05:31 | |
Why are you popular? | 0:05:43 | 0:05:46 | |
What is it, do you think, in your work that goes straight through | 0:05:46 | 0:05:50 | |
to the understanding and feelings of a large number of people? | 0:05:50 | 0:05:55 | |
Well... | 0:05:56 | 0:05:57 | |
-..I'm not that sure. -Go on, try. -Of course. | 0:05:58 | 0:06:02 | |
I am interested in ways of looking, | 0:06:02 | 0:06:05 | |
and trying to think of it in simple ways. | 0:06:05 | 0:06:09 | |
If you can communicate that, | 0:06:09 | 0:06:12 | |
of course, people will respond. | 0:06:12 | 0:06:14 | |
Everybody does look, | 0:06:14 | 0:06:17 | |
it's just a question of how hard they're willing to look, isn't it? | 0:06:17 | 0:06:21 | |
We were at a restaurant and somehow the subject came up | 0:07:12 | 0:07:15 | |
of David's failings and faults. | 0:07:15 | 0:07:18 | |
Henry took the napkin and wrote, | 0:07:19 | 0:07:21 | |
just like that, as fast as you please. | 0:07:21 | 0:07:24 | |
It's so funny, I picked it up and I've saved it ever since. | 0:07:24 | 0:07:27 | |
It started out, "stubborn", | 0:07:27 | 0:07:29 | |
then "hard of hearing" was the next one. | 0:07:29 | 0:07:32 | |
"Generous to a fault", | 0:07:32 | 0:07:34 | |
"emotional in the guise of reason". | 0:07:34 | 0:07:38 | |
And "often overhardy". | 0:07:39 | 0:07:41 | |
And he's written in parenthesis, "walking and bathing". | 0:07:41 | 0:07:45 | |
And the other one is, which he's written is, | 0:07:46 | 0:07:50 | |
"unintentionally rude", and he's underlined "unintentionally" twice. | 0:07:50 | 0:07:54 | |
I think it's a really good description of David. | 0:07:55 | 0:07:58 | |
I've saved it for ever. | 0:07:58 | 0:07:59 | |
One of the things that my father taught me | 0:08:02 | 0:08:05 | |
was not to worry too much what the neighbours think. | 0:08:05 | 0:08:09 | |
Well... | 0:08:09 | 0:08:11 | |
that's aristocratic, actually, not working class. | 0:08:11 | 0:08:14 | |
That's aristocratic. | 0:08:14 | 0:08:15 | |
I mean, "Fuck you, I don't care what the neighbours think." | 0:08:15 | 0:08:18 | |
And my mother would have cared, | 0:08:18 | 0:08:21 | |
but Kenneth told me that, | 0:08:21 | 0:08:23 | |
"Don't you worry too much what the neighbours think." | 0:08:24 | 0:08:27 | |
And I always thought, I took that lesson, actually, yeah. | 0:08:27 | 0:08:30 | |
I noticed it. | 0:08:30 | 0:08:31 | |
When he was at Bradford Art School, he was in an evening class, | 0:08:41 | 0:08:46 | |
life drawing, and there was a guy, | 0:08:46 | 0:08:48 | |
and bit of a sort rocker or something, | 0:08:48 | 0:08:50 | |
and he had an art student girlfriend, | 0:08:50 | 0:08:52 | |
probably with that sort of witch-type mascara | 0:08:52 | 0:08:55 | |
that was about then. And they were real art students, | 0:08:55 | 0:08:58 | |
and there was the schoolboy, you see, intensely drawing. | 0:08:58 | 0:09:01 | |
And he said this guy was just like this on his thing, | 0:09:01 | 0:09:05 | |
and sort of putting his feet up on the donkey, you know, and all this, | 0:09:05 | 0:09:08 | |
and just spent two hours taking the piss out of Hockney | 0:09:08 | 0:09:11 | |
for being so earnest and just drawing. | 0:09:11 | 0:09:14 | |
And the girlfriend was laughing and the model was laughing. | 0:09:14 | 0:09:17 | |
And I said, "What did you do?" | 0:09:17 | 0:09:20 | |
He just said, "Well..." He said, | 0:09:20 | 0:09:22 | |
"Well, I just thought, 'Well, I'll fucking show them!'" | 0:09:22 | 0:09:24 | |
And he had revealed the inner David, you know? | 0:09:26 | 0:09:29 | |
Willpower. | 0:09:29 | 0:09:31 | |
Nobody was there when I arrived at the Royal College | 0:10:03 | 0:10:05 | |
and I just sort of got a cubicle they appointed me | 0:10:05 | 0:10:09 | |
and I laid out my stuff | 0:10:09 | 0:10:11 | |
and then suddenly this very strange-looking guy walks in | 0:10:11 | 0:10:16 | |
and doesn't say a word, | 0:10:16 | 0:10:18 | |
just starts setting up in the cubicle next to me. | 0:10:18 | 0:10:21 | |
Then Derek Boshier came in | 0:10:21 | 0:10:22 | |
and took up the cubicle on the other side, | 0:10:22 | 0:10:25 | |
so there was Derek on my left, and David on my right, | 0:10:25 | 0:10:29 | |
and me in the middle, and we became quite friendly after a few weeks. | 0:10:29 | 0:10:33 | |
He was living in a little hut in Earls Court, | 0:10:35 | 0:10:39 | |
and I went there once or twice, but it was not very large. | 0:10:39 | 0:10:42 | |
It barely fit the two of us in there. | 0:10:42 | 0:10:44 | |
ROCK AND ROLL MUSIC | 0:10:45 | 0:10:47 | |
London in the '60s was becoming very hip, very different, | 0:10:54 | 0:10:58 | |
also very anti-Establishment. | 0:10:58 | 0:11:00 | |
The atmosphere that I sensed in the cubicles that were surrounding me | 0:11:03 | 0:11:09 | |
was of experimentation. | 0:11:09 | 0:11:11 | |
They wanted to experiment | 0:11:11 | 0:11:13 | |
to find something different than what they knew | 0:11:13 | 0:11:17 | |
and they weren't even sure what that was going to be. | 0:11:17 | 0:11:20 | |
I think they were interested in America, definitely, | 0:11:21 | 0:11:24 | |
but, strangely enough, I think it was the Abstract Expressionist painters | 0:11:24 | 0:11:29 | |
and the anti-traditionalism of those artists | 0:11:29 | 0:11:33 | |
that really intrigued the British painters. | 0:11:33 | 0:11:37 | |
The main thing then was abstraction. | 0:11:42 | 0:11:47 | |
The Abstract Expressionists were very big, | 0:11:48 | 0:11:53 | |
and so, by the end of my second year, | 0:11:53 | 0:11:57 | |
I went to New York. | 0:11:57 | 0:12:00 | |
Somebody stopped me in the street | 0:12:08 | 0:12:10 | |
and said they had this ticket for New York. | 0:12:10 | 0:12:13 | |
And it cost £40. | 0:12:14 | 0:12:16 | |
And all I had to give them was £10 now | 0:12:17 | 0:12:21 | |
and I could have it if I gave the £30 later. | 0:12:21 | 0:12:24 | |
I thought it cost a £1,000 to go to America. | 0:12:29 | 0:12:33 | |
I mean, I'd never thought of going to America, | 0:12:33 | 0:12:36 | |
so, erm, | 0:12:36 | 0:12:37 | |
I said OK. | 0:12:37 | 0:12:40 | |
I only had about £12, | 0:12:40 | 0:12:43 | |
but I thought, "Well, I'll get the money somehow." | 0:12:43 | 0:12:47 | |
I think almost the next day | 0:12:49 | 0:12:53 | |
this letter came | 0:12:53 | 0:12:55 | |
with a cheque for £100. | 0:12:55 | 0:12:58 | |
I'd won a prize. | 0:12:58 | 0:13:00 | |
And then I started selling pictures | 0:13:01 | 0:13:04 | |
for £10, £12, £15. | 0:13:04 | 0:13:08 | |
In the end, | 0:13:08 | 0:13:09 | |
I went to America with about 350. | 0:13:09 | 0:13:16 | |
And that was to last me for two months. | 0:13:17 | 0:13:20 | |
JET PLANE ENGINES WHINE | 0:13:22 | 0:13:25 | |
I had a great time in New York then. | 0:13:32 | 0:13:35 | |
I thought New York was the place to be. | 0:13:35 | 0:13:37 | |
That was it, I thought. | 0:13:37 | 0:13:39 | |
I mean, it ran 24 hours a day then, absolutely did. | 0:13:39 | 0:13:44 | |
SIREN WAILS | 0:13:44 | 0:13:47 | |
ADVERT: '..whipped cream on your head, | 0:13:57 | 0:13:59 | |
'but this is Lady Clairol Whipped Creme. | 0:13:59 | 0:14:01 | |
'It makes every bleach I've ever used old-fashioned.' | 0:14:01 | 0:14:04 | |
'It's the fabulous new way to be blonde, beautifully. | 0:14:04 | 0:14:08 | |
'Lady Clairol hair lightener whips instantly, never runs or drips...' | 0:14:08 | 0:14:13 | |
I was living in my parents' home in Long Island in Long Beach. | 0:14:13 | 0:14:17 | |
Friends of mine, and David, were all in my house one evening | 0:14:17 | 0:14:22 | |
watching television | 0:14:22 | 0:14:23 | |
and this ad came on. | 0:14:23 | 0:14:25 | |
I don't even remember what we were watching, | 0:14:25 | 0:14:27 | |
but this ad came on for Clairol and saying, you know, | 0:14:27 | 0:14:31 | |
"Everybody should go blonde, because blondes have more fun." | 0:14:31 | 0:14:35 | |
They all looked at it and they said, "Wow. That sounds good." | 0:14:35 | 0:14:39 | |
And they rushed out and bought Clairol hair dye, | 0:14:39 | 0:14:43 | |
and they were all sitting in my parents' living room | 0:14:43 | 0:14:46 | |
dying their hair. | 0:14:46 | 0:14:48 | |
My father walked in and almost had a heart attack. | 0:14:48 | 0:14:51 | |
"What the hell is going on here?!" | 0:14:51 | 0:14:53 | |
But that's where David decided | 0:14:53 | 0:14:55 | |
he was going to be blond for the rest of his life. | 0:14:55 | 0:14:58 | |
Is he still blond? | 0:14:58 | 0:14:59 | |
Lovely, aren't they? | 0:15:39 | 0:15:40 | |
You can drop 'em on a stone floor and pick 'em up again... | 0:15:40 | 0:15:43 | |
in pieces. | 0:15:43 | 0:15:44 | |
Give me eight and six for the half a dozen, darling. | 0:15:44 | 0:15:47 | |
Eight shillings, half a dozen. | 0:15:47 | 0:15:49 | |
Right... | 0:16:01 | 0:16:03 | |
He was always drawing, always, as long as I can ever remember. | 0:17:04 | 0:17:08 | |
When he had little stubby fingers, he'd be drawing something. | 0:17:08 | 0:17:11 | |
And he never stopped. | 0:17:11 | 0:17:13 | |
And he didn't have paper like you have today, | 0:17:13 | 0:17:15 | |
but you've got the edge of notebooks and things or... | 0:17:15 | 0:17:19 | |
anything where there was a space. A bus ticket, even. | 0:17:19 | 0:17:22 | |
So if he were on a bus, he'd have a pencil in his hand | 0:17:22 | 0:17:24 | |
probably drawing other passengers, things like that. | 0:17:24 | 0:17:28 | |
SIZZLING | 0:17:32 | 0:17:35 | |
SEWING MACHINE CLICKS | 0:17:54 | 0:17:57 | |
The weight. Oh, yeah. Wow, the weight. | 0:18:01 | 0:18:03 | |
When you think now, you can get it on Kindle, can't you? | 0:18:03 | 0:18:06 | |
SHE LAUGHS | 0:18:06 | 0:18:07 | |
Yeah. | 0:18:07 | 0:18:09 | |
Ah, yes, this is the sort of thing. | 0:18:09 | 0:18:11 | |
He would have been all excited | 0:18:13 | 0:18:15 | |
about who's done these | 0:18:15 | 0:18:16 | |
and why have they done them, and, I mean, brilliant, | 0:18:16 | 0:18:19 | |
especially when you go back with the history, as well. | 0:18:19 | 0:18:22 | |
So, yes, this would have influenced him. | 0:18:22 | 0:18:24 | |
You see, this was the only way you could see the world, wasn't it? | 0:18:29 | 0:18:31 | |
I mean, there was Cartwright Hall in Bradford with some pictures. | 0:18:31 | 0:18:36 | |
By looking at pictures, | 0:18:36 | 0:18:37 | |
he would realise, "I can do what I like," | 0:18:37 | 0:18:39 | |
once you've seen these, can't you? | 0:18:39 | 0:18:41 | |
And it would give him the freedom to be an artist | 0:18:41 | 0:18:45 | |
and be an artist who painted exactly what he wanted to paint, | 0:18:45 | 0:18:48 | |
what he needed to paint. | 0:18:48 | 0:18:50 | |
He'd be looking at these | 0:18:50 | 0:18:51 | |
and looking at the techniques and why they did... | 0:18:51 | 0:18:53 | |
He'd see it totally with his eye, | 0:18:53 | 0:18:55 | |
which would be quite different to what the rest of us would see. | 0:18:55 | 0:19:00 | |
Badges. | 0:19:00 | 0:19:01 | |
"Good health is worth more than a fortune." | 0:19:07 | 0:19:10 | |
-Give me one, will you? -Put those in the car. | 0:19:11 | 0:19:13 | |
-You're going to take 'em? -Yep. -Oh, are ya? | 0:19:13 | 0:19:16 | |
Do you remember the hens, | 0:19:16 | 0:19:17 | |
the hens on the field up here before they built the houses? | 0:19:17 | 0:19:22 | |
-Oh, you'd only be ever so young. -Oh, yes. On, er... | 0:19:22 | 0:19:24 | |
Well, I have that somewhere. | 0:19:24 | 0:19:26 | |
It's framed. | 0:19:26 | 0:19:27 | |
Did you see anything, Margaret? | 0:19:27 | 0:19:29 | |
No, I can't find those cuff links. | 0:19:29 | 0:19:31 | |
'We used to live in Steadman Terrace during the war.' | 0:19:31 | 0:19:34 | |
It was a small house and closed in. | 0:19:36 | 0:19:39 | |
It was claustrophobic, actually, yes, | 0:19:39 | 0:19:41 | |
and there were five of us. | 0:19:41 | 0:19:43 | |
All right, we were only small, so that didn't matter too much. | 0:19:43 | 0:19:46 | |
And it was at the top of a hill, and you couldn't... | 0:19:46 | 0:19:48 | |
If it was dark, you couldn't see a thing anywhere. | 0:19:48 | 0:19:52 | |
There was a lot of darkness from that house in my memory, | 0:19:52 | 0:19:54 | |
so probably the same with David. | 0:19:54 | 0:19:56 | |
But I think the claustrophobia could have been a bit of emotional | 0:19:58 | 0:20:01 | |
as well as space-wise. | 0:20:01 | 0:20:03 | |
I know he always says he likes space. | 0:20:03 | 0:20:06 | |
But you do need space from people as well, don't you? | 0:20:09 | 0:20:12 | |
In fact, that is what space is, isn't it, actually? | 0:20:13 | 0:20:16 | |
What else is space? | 0:20:16 | 0:20:18 | |
Being alone. | 0:20:18 | 0:20:20 | |
MUSIC: L-O-V-E by Nat King Cole | 0:20:23 | 0:20:25 | |
# L is for the way you look at me | 0:20:29 | 0:20:35 | |
# O is for the only one I see | 0:20:35 | 0:20:41 | |
# V is very, very extraordinary... # | 0:20:41 | 0:20:43 | |
Within one week of coming here, I'd never driven before, | 0:20:43 | 0:20:46 | |
I'd got a driving licence, bought a car, got a studio | 0:20:46 | 0:20:50 | |
and I thought, "This is the place." | 0:20:50 | 0:20:51 | |
It's got all the energy of the United States | 0:20:51 | 0:20:54 | |
with the Mediterranean thrown in, | 0:20:54 | 0:20:57 | |
which I think is a wonderful combination. | 0:20:57 | 0:21:00 | |
CAMERA SHUTTER CLICKS | 0:21:13 | 0:21:15 | |
David took some snapshots, | 0:21:17 | 0:21:20 | |
he took Polaroids, of me standing in front of the bar room, | 0:21:20 | 0:21:24 | |
and I was dusting some of the heads, | 0:21:24 | 0:21:26 | |
cos I had a lot of animal heads. | 0:21:26 | 0:21:28 | |
My first husband was a great white hunter. | 0:21:28 | 0:21:31 | |
GUNSHOT | 0:21:31 | 0:21:32 | |
And David only took about three black and white Polaroids. | 0:21:32 | 0:21:35 | |
I said, "Oh, David, how can you work from black and white?" | 0:21:35 | 0:21:39 | |
"Oh," he said, "I can only work from black and white photographs, | 0:21:39 | 0:21:42 | |
"because the colour of photography is never the same as real life." | 0:21:42 | 0:21:47 | |
Anyway, so I took the pictures | 0:21:47 | 0:21:49 | |
and I said, "There's only one thing you could call this painting, | 0:21:49 | 0:21:53 | |
"since I'm dusting. | 0:21:53 | 0:21:54 | |
"It's called Beverly Hills Housewife." | 0:21:54 | 0:21:56 | |
SPRINKLERS SWISH | 0:22:56 | 0:22:58 | |
Some people will say, "Well, LA is a good place to hide." | 0:23:13 | 0:23:17 | |
You can calve out a private life here for yourself, if you wish, | 0:23:20 | 0:23:24 | |
and a lot of people do that. | 0:23:24 | 0:23:25 | |
Because of the kind of set-up of the city and everything, | 0:23:25 | 0:23:28 | |
people don't walk here, | 0:23:28 | 0:23:30 | |
they take cars. | 0:23:30 | 0:23:32 | |
And David's had this place here for many years, | 0:23:32 | 0:23:35 | |
but he wasn't part of a community like Venice or Downtown LA. | 0:23:35 | 0:23:40 | |
But he just managed to get around, all over the city. | 0:23:40 | 0:23:46 | |
I know that he would like to go out on rides, | 0:23:47 | 0:23:51 | |
you know, driving way out in the country, | 0:23:51 | 0:23:54 | |
and I think he's done that several times, too. | 0:23:54 | 0:23:57 | |
-I'll be there. -OVER PHONE: 'OK. Yeah, a guy came. | 0:23:57 | 0:23:59 | |
'He was asking about you earlier. | 0:23:59 | 0:24:01 | |
'He may try to reach you...' | 0:24:01 | 0:24:03 | |
-All right, love. -'See you later.' -Bye. | 0:24:03 | 0:24:05 | |
-TV: -'My daddy promised me a horse all for myself | 0:24:12 | 0:24:15 | |
'when I got here from back east. | 0:24:15 | 0:24:17 | |
'He said, "A boy needs a horse to love and if it's the right boy, | 0:24:17 | 0:24:22 | |
'"the horse will learn to love him, too."' | 0:24:22 | 0:24:24 | |
WESTERN MUSIC | 0:24:24 | 0:24:27 | |
-There he is. -Boy, he's a beauty. | 0:24:38 | 0:24:41 | |
No wonder he's the king of the wild herd. | 0:24:41 | 0:24:43 | |
I've just gotta get him today. | 0:24:43 | 0:24:45 | |
That's for sure, Bob. We can't disappoint that kid of yours. | 0:24:45 | 0:24:48 | |
He's coming in on the 4.59... | 0:24:48 | 0:24:49 | |
'When I arrived here, somebody said, | 0:24:49 | 0:24:52 | |
'"Well, why have you come to this cultural desert?" | 0:24:52 | 0:24:55 | |
'Well, I didn't think it was a cultural desert, | 0:24:55 | 0:24:58 | |
'because I knew Hollywood was here.' | 0:24:58 | 0:25:00 | |
Come on, boys. Come on. | 0:25:00 | 0:25:02 | |
My father loved the cinema. | 0:25:03 | 0:25:06 | |
So did we as kids and, remember, | 0:25:06 | 0:25:08 | |
I'm about the last generation brought up without television. | 0:25:08 | 0:25:12 | |
I was 18 years old when we first got television, | 0:25:12 | 0:25:15 | |
so my childhood was radio and things. | 0:25:15 | 0:25:18 | |
But we loved the pictures. | 0:25:18 | 0:25:20 | |
They were always called "the pictures". | 0:25:20 | 0:25:22 | |
Not "the movies", not "the cinema", "the pictures". | 0:25:22 | 0:25:25 | |
"Can we go to the pictures?" | 0:25:25 | 0:25:27 | |
They had a powerful effect on me, you know. | 0:25:27 | 0:25:30 | |
We used to go in the side entrance and, of course, | 0:25:30 | 0:25:33 | |
there was a lavatory down there with an exit | 0:25:33 | 0:25:36 | |
and kids used to go and open it. | 0:25:36 | 0:25:38 | |
Little kids'd run in free, you know, doing that. | 0:25:38 | 0:25:40 | |
I used to tell 'em, | 0:25:40 | 0:25:41 | |
"If you walk in backwards, they'll think you're coming out." | 0:25:41 | 0:25:44 | |
And I would point this out, though. | 0:25:44 | 0:25:47 | |
Probably because you were sitting near the front, | 0:25:47 | 0:25:51 | |
the edges of the screen seemed unimportant. | 0:25:51 | 0:25:55 | |
They were miles away, you thought they were absolutely miles away. | 0:25:55 | 0:25:59 | |
Whereas now I'm very, very aware of the edges of the screen | 0:25:59 | 0:26:03 | |
often making a pokey picture. | 0:26:03 | 0:26:06 | |
But at that time, I never thought any picture was pokey, | 0:26:06 | 0:26:10 | |
because it was offering you another world from dingy Bradford. | 0:26:10 | 0:26:15 | |
Remember, you're walking through dingy streets | 0:26:15 | 0:26:17 | |
to a little local cinema and when you come out, | 0:26:17 | 0:26:21 | |
you've been all over, you've been in the French Revolution or somewhere, | 0:26:21 | 0:26:26 | |
so you come out with your imagination working. | 0:26:26 | 0:26:29 | |
It was pictures, pictures, pictures! | 0:26:29 | 0:26:31 | |
GUNSHOTS | 0:26:31 | 0:26:33 | |
I've always said, in a way, I was brought up | 0:26:43 | 0:26:46 | |
in Hollywood and Bradford, | 0:26:46 | 0:26:48 | |
because most of the films we saw were American when I think of it. | 0:26:48 | 0:26:52 | |
I went to the cinema a lot and we'd go home on the bus. | 0:27:03 | 0:27:07 | |
I'd always go upstairs to the front of the bus. | 0:27:09 | 0:27:12 | |
I always travelled upstairs on the bus, | 0:27:14 | 0:27:16 | |
always on the front seat, | 0:27:16 | 0:27:19 | |
so you could see more. | 0:27:19 | 0:27:21 | |
I always wanted to SEE more. | 0:27:21 | 0:27:23 | |
I, erm, was coming back from New York and I'd bought, | 0:27:41 | 0:27:45 | |
in New York, some nudist magazines, some male nudist magazines, | 0:27:45 | 0:27:52 | |
and at the airport, the Customs man, who was about 22 years old, | 0:27:52 | 0:27:57 | |
opened the bag and they sorted out the magazines. | 0:27:57 | 0:28:00 | |
If they were completely nude, he put them on one side | 0:28:00 | 0:28:03 | |
and if they were not quite nude, he put them on another side | 0:28:03 | 0:28:06 | |
and then they kept the nude magazines. | 0:28:06 | 0:28:08 | |
I protested and said, "Oh, come on, don't be silly. | 0:28:08 | 0:28:11 | |
"Just give me them back," and this, that and the other | 0:28:11 | 0:28:15 | |
and they took them away, | 0:28:15 | 0:28:17 | |
and I kept phoning up the Customs office in the city | 0:28:17 | 0:28:22 | |
and I kept speaking to a man, I don't know what his name was, | 0:28:22 | 0:28:25 | |
Mr Hittet, Hillet or something. | 0:28:25 | 0:28:27 | |
He said, "Oh, they are definitely pornographic." | 0:28:27 | 0:28:30 | |
He'd looked through and in one of the photographs, | 0:28:30 | 0:28:32 | |
the boys had painted their genitals with psychedelic colours. | 0:28:32 | 0:28:36 | |
And I just didn't... I just didn't know what to say to somebody | 0:28:36 | 0:28:40 | |
who didn't think that was amusing or funny. | 0:28:40 | 0:28:43 | |
Then, erm... | 0:28:43 | 0:28:44 | |
..in the end, I had to get a lawyer | 0:28:45 | 0:28:47 | |
and I showed him magazines of a similar kind, | 0:28:47 | 0:28:50 | |
and the moment the lawyer wrote the letter to them, | 0:28:50 | 0:28:53 | |
they immediately came back. | 0:28:53 | 0:28:54 | |
A man appeared on the doorstep in a peaked cap | 0:28:54 | 0:28:57 | |
with a big envelope marked "On Her Majesty's Service" | 0:28:57 | 0:29:00 | |
and said, "You know what these are," and handed them in. | 0:29:00 | 0:29:02 | |
David became particularly intrigued at the Royal College of Art | 0:29:23 | 0:29:28 | |
because I had a lot of magazines like American Model Guild | 0:29:28 | 0:29:33 | |
and Physique Pictorial stuck up in my cubicle, | 0:29:33 | 0:29:37 | |
and this fascinated him, of course. | 0:29:37 | 0:29:40 | |
I was very out already in New York, | 0:29:40 | 0:29:42 | |
despite the fact that it was the '60s | 0:29:42 | 0:29:45 | |
and I had a lot of trouble being out | 0:29:45 | 0:29:47 | |
and I'd been beaten up several times by, you know, | 0:29:47 | 0:29:49 | |
anti-gay homophobes, but I just didn't care. | 0:29:49 | 0:29:54 | |
I thought, "Well, you know, England is probably OK, | 0:29:54 | 0:29:56 | |
"nobody cares there about this sort of stuff." | 0:29:56 | 0:30:00 | |
And he was intrigued to meet somebody who was so out, | 0:30:00 | 0:30:04 | |
because I don't think he knew anybody at that point | 0:30:04 | 0:30:07 | |
who was quite out and so we became very close friends. | 0:30:07 | 0:30:11 | |
A couple of times I've shared a bed with Hockney, | 0:30:43 | 0:30:46 | |
and once was I was stuck for somewhere to kip. | 0:30:46 | 0:30:49 | |
Has anyone ever mentioned his five-foot tall | 0:30:49 | 0:30:51 | |
turquoise teddy bear that he had? | 0:30:51 | 0:30:54 | |
HE LAUGHS | 0:30:54 | 0:30:55 | |
This fucking great teddy bear from here to the wall. | 0:30:55 | 0:30:59 | |
With big eyes, it had, and it was turquoise sort of fluff. | 0:30:59 | 0:31:03 | |
So this went down the middle of the bed, you see, | 0:31:03 | 0:31:06 | |
between sort of, like, straights and gays, | 0:31:06 | 0:31:08 | |
if you know what I mean. | 0:31:08 | 0:31:10 | |
I was this side, you see, and this fucking great teddy bear... | 0:31:10 | 0:31:14 | |
You couldn't even see David, and then the next morning, | 0:31:14 | 0:31:17 | |
we both woke up | 0:31:17 | 0:31:19 | |
and David sort of does this sit-up in bed | 0:31:19 | 0:31:21 | |
above this turquoise teddy bear. | 0:31:21 | 0:31:23 | |
No glasses, you see, and he sort of goes, | 0:31:23 | 0:31:25 | |
he sort of goes like this, you know. | 0:31:25 | 0:31:27 | |
He sort of goes... | 0:31:27 | 0:31:28 | |
-IN YORKSHIRE ACCENT: -"Hello!" | 0:31:28 | 0:31:30 | |
The paintings all related, whether superficially or intensely, | 0:31:42 | 0:31:47 | |
on his life and his trying to deal with his homosexuality | 0:31:47 | 0:31:51 | |
and trying to deal with his fantasies | 0:31:51 | 0:31:54 | |
and trying to deal with the issues of a sexual identity. | 0:31:54 | 0:31:59 | |
He used wit to play with these identities. | 0:31:59 | 0:32:02 | |
He was really like a little high-school girl about it, really. | 0:32:12 | 0:32:16 | |
I mean, it was all fantasy and some sort of cutesy stuff. | 0:32:16 | 0:32:23 | |
I mean, like his fantasies about... | 0:32:23 | 0:32:26 | |
Who was that rock singer? | 0:32:26 | 0:32:28 | |
..Cliff Richard. | 0:32:28 | 0:32:29 | |
I don't think he had had sex | 0:32:36 | 0:32:38 | |
at any point yet with a man, | 0:32:38 | 0:32:40 | |
but I think he certainly fantasised a lot about it. | 0:32:40 | 0:32:43 | |
With David, it was probably something about a way to get out | 0:32:49 | 0:32:53 | |
something about himself, | 0:32:53 | 0:32:55 | |
but I don't know if that was the core of the painting, | 0:32:55 | 0:32:58 | |
because, you know, it's not just pictures of men fucking. | 0:32:58 | 0:33:02 | |
There's something much more in there. | 0:33:02 | 0:33:04 | |
And homosexuality, it's sort of a witty side issue. | 0:33:04 | 0:33:08 | |
Even if it seems to be the subject of the painting, | 0:33:08 | 0:33:11 | |
it's not the subject of the painting. | 0:33:11 | 0:33:13 | |
If anything, the homosexual elements in his paintings, for me, | 0:33:14 | 0:33:19 | |
were points to roam into the painting and see other things | 0:33:19 | 0:33:23 | |
and give clues to maybe parts of the painting, | 0:33:23 | 0:33:26 | |
but they weren't the painting. | 0:33:26 | 0:33:28 | |
MUSIC: L-O-V-E by Nat King Cole | 0:33:40 | 0:33:42 | |
# L is for the way you look at me | 0:33:42 | 0:33:48 | |
# O is for the only one I see | 0:33:48 | 0:33:54 | |
# V is very, very extraordinary | 0:33:54 | 0:34:00 | |
# E is even more than anyone that you adore | 0:34:00 | 0:34:06 | |
# Can love... # | 0:34:06 | 0:34:07 | |
When I went to Los Angeles, it was really... | 0:34:07 | 0:34:10 | |
..three times better than I thought it would be. | 0:34:12 | 0:34:15 | |
# ..just a game for two... # | 0:34:15 | 0:34:17 | |
I thought, "Well, this is it. Hollywood is near here." | 0:34:17 | 0:34:21 | |
And I'd just read an American novel called City Of Night by John Rechy, | 0:34:21 | 0:34:27 | |
which has accounts of kind of lowlife in American cities, | 0:34:27 | 0:34:31 | |
and I thought it was all wonderful and colourful and everything. | 0:34:31 | 0:34:35 | |
But, erm, I wanted to get up to Hollywood | 0:34:35 | 0:34:39 | |
and see what it was all like | 0:34:39 | 0:34:40 | |
and see the hustlers and the sea and everything. | 0:34:40 | 0:34:43 | |
And I bought a bicycle to go there, | 0:34:43 | 0:34:46 | |
because I didn't know how to get there, | 0:34:46 | 0:34:49 | |
and, of course, it's about 16 miles from Santa Monica. | 0:34:49 | 0:34:51 | |
HORN BLARES | 0:34:51 | 0:34:54 | |
"Later, I would think of America as one vast city of night | 0:35:01 | 0:35:05 | |
"stretching gaudily from Times Square to Hollywood Boulevard, | 0:35:05 | 0:35:08 | |
"jukebox winking, rock and roll moaning, | 0:35:08 | 0:35:12 | |
"America at night fusing its dark cities | 0:35:12 | 0:35:15 | |
"into the unmistakable shape of loneliness. | 0:35:15 | 0:35:19 | |
"Remember Pershing Square and the apathetic palm trees, | 0:35:19 | 0:35:23 | |
"one-night sex and cigarette smoke | 0:35:23 | 0:35:26 | |
"and rooms squashed in by loneliness. | 0:35:26 | 0:35:31 | |
"And I would remember lives lived out darkly | 0:35:31 | 0:35:35 | |
"in that vast city of night, | 0:35:35 | 0:35:37 | |
"from all-night movies to Beverly Hills mansions." | 0:35:37 | 0:35:42 | |
THUNDER RUMBLES | 0:35:51 | 0:35:54 | |
I got there and realised there was nobody in Pershing Square. | 0:36:01 | 0:36:05 | |
It had all altered, this empty thing, big palm trees. | 0:36:05 | 0:36:10 | |
I did find a bar later, but it was then I realised, | 0:36:10 | 0:36:17 | |
"Well, I need a car." You just need a car. | 0:36:17 | 0:36:19 | |
A bicycle won't do, I mean... | 0:36:19 | 0:36:21 | |
So I gave the bicycle away and bought a car. | 0:36:21 | 0:36:24 | |
I used to work on a morning, | 0:36:32 | 0:36:34 | |
and then, in the afternoon, it got very hot and sunny, | 0:36:34 | 0:36:37 | |
so I'd go and lie on the beach. | 0:36:37 | 0:36:39 | |
And then, I'd work again in the evening. | 0:36:43 | 0:36:45 | |
And I'd maybe work until about 10 o'clock or 11 o'clock. | 0:36:46 | 0:36:51 | |
Then I'd go for a drink, you see. | 0:36:51 | 0:36:53 | |
In California, the bars don't close until two, | 0:36:54 | 0:36:58 | |
which seems to me, in a way, the ideal hour. | 0:36:58 | 0:37:02 | |
If you're going to close them at all, it's the ideal hour, | 0:37:02 | 0:37:05 | |
because, in a way, it's not too late | 0:37:05 | 0:37:08 | |
and you can make up your mind about things, I suppose, | 0:37:08 | 0:37:10 | |
you see, at two o'clock. | 0:37:10 | 0:37:12 | |
Four o'clock is a bit late, really. | 0:37:12 | 0:37:14 | |
You can go in a bar and meet the equivalent of a plumber, | 0:37:18 | 0:37:21 | |
from Brooklyn, could be sat at the next stool, | 0:37:21 | 0:37:25 | |
and some other guy... | 0:37:25 | 0:37:26 | |
..you know, a movie maker from Hollywood could be sat at the... | 0:37:28 | 0:37:32 | |
..on the next stool. | 0:37:33 | 0:37:34 | |
I mean, that can happen. In London, you can't do this. | 0:37:34 | 0:37:37 | |
Los Angeles to David meant surfers. | 0:37:45 | 0:37:50 | |
And there were a lot of boys around. | 0:37:52 | 0:37:54 | |
And, uh... | 0:37:54 | 0:37:55 | |
And all that was, I think, very... | 0:37:56 | 0:37:59 | |
..erotic and beautiful to David, and he depicted it. | 0:38:01 | 0:38:05 | |
It was 1964 and Chris Isherwood phoned | 0:38:30 | 0:38:34 | |
and said that a young English artist had phoned him | 0:38:34 | 0:38:40 | |
who was here in Santa Monica | 0:38:40 | 0:38:42 | |
and could he come by and visit Chris on an afternoon? | 0:38:42 | 0:38:47 | |
Chris said, "Of course." | 0:38:47 | 0:38:51 | |
David Hockney arrived, very dyed blond, | 0:38:51 | 0:38:55 | |
and my memory was in a gold jacket! | 0:38:55 | 0:38:58 | |
Chris was a distinguished writer | 0:39:03 | 0:39:06 | |
and I suppose the most famous British queer living in, er, LA, | 0:39:06 | 0:39:12 | |
and, erm, yes, er, David would have known about him | 0:39:12 | 0:39:15 | |
and would have read his books, too. | 0:39:15 | 0:39:17 | |
We'd already been together 15 years, | 0:39:21 | 0:39:25 | |
and at that time, that was considered phenomenal. | 0:39:25 | 0:39:29 | |
Two men living together and 30 years difference between them, | 0:39:29 | 0:39:33 | |
and, er, they haven't, er, shot one another or, | 0:39:33 | 0:39:38 | |
er, at least, er, split up. | 0:39:38 | 0:39:42 | |
Er, er, er, yeah. | 0:39:42 | 0:39:44 | |
He took a lot of photographs and even did some preliminary drawings. | 0:39:47 | 0:39:53 | |
Chris, he got that figure in the painting right away, | 0:39:55 | 0:39:59 | |
and you can tell from looking at the painting, it's very freshly painted. | 0:39:59 | 0:40:04 | |
It was a really fresh version | 0:40:05 | 0:40:08 | |
and it was good, I kept it, and, of course, | 0:40:08 | 0:40:12 | |
he had the, er, photographs to remind him. | 0:40:12 | 0:40:16 | |
The painting of me | 0:40:17 | 0:40:19 | |
is much heavier technique, if you look closely. | 0:40:19 | 0:40:23 | |
He had a lot of trouble with me. | 0:40:23 | 0:40:25 | |
I think it may have given David the idea | 0:40:27 | 0:40:31 | |
of finding a partner for himself, | 0:40:31 | 0:40:33 | |
since it seemed to work well for Chris and me. | 0:40:33 | 0:40:37 | |
David met a student at UCLA during the summer, Peter Schlesinger, | 0:40:45 | 0:40:50 | |
and he liked Peter very much. | 0:40:50 | 0:40:52 | |
I believe Peter was what David was somehow looking for. | 0:40:52 | 0:40:56 | |
But, er, he called once and he was taking, erm, | 0:40:56 | 0:41:00 | |
this young student of his from Tarzana in the Valley... | 0:41:00 | 0:41:06 | |
There's a place called Tarzana where... | 0:41:06 | 0:41:08 | |
..where...Burroughs... | 0:41:11 | 0:41:14 | |
Burroughs lived in Tarzana and created Tarzan. | 0:41:14 | 0:41:18 | |
Edgar Rice Burroughs created it in the Valley | 0:41:18 | 0:41:21 | |
and so, it's called Tarzana. | 0:41:21 | 0:41:24 | |
And, er, and er, David did a now famous painting of Peter | 0:41:24 | 0:41:29 | |
which is called The Room Tarzana. | 0:41:29 | 0:41:32 | |
DON BACHARDY: He was a very attractive young man, | 0:41:38 | 0:41:41 | |
and quite beautiful and, er, | 0:41:41 | 0:41:42 | |
yes, I think David was enchanted by him. | 0:41:42 | 0:41:46 | |
Neither had ever lived in a romantic relationship with a partner | 0:41:49 | 0:41:54 | |
and that made it a lot of fun to be around them. | 0:41:54 | 0:41:57 | |
My first encounter was with a picture, | 0:42:14 | 0:42:16 | |
not with David as a person. | 0:42:16 | 0:42:18 | |
I was captured by Doll Boy, | 0:42:22 | 0:42:24 | |
as a picture that seemed to me original | 0:42:24 | 0:42:27 | |
and "gay" in the old sense of the word | 0:42:27 | 0:42:29 | |
and, er...rule-breaking... | 0:42:29 | 0:42:33 | |
and witty. | 0:42:33 | 0:42:34 | |
I particularly liked that painting and, at that time, | 0:42:34 | 0:42:38 | |
had sufficient money to buy it outright | 0:42:38 | 0:42:41 | |
and then wanted to meet David. | 0:42:41 | 0:42:42 | |
David acquired fans | 0:42:48 | 0:42:50 | |
with enormous facility. | 0:42:50 | 0:42:54 | |
Cecil Beaton had already bought | 0:42:54 | 0:42:56 | |
a picture on one of his visits to the Royal College. | 0:42:56 | 0:42:58 | |
It was a time when Snowdon was making photographs for a book | 0:43:02 | 0:43:06 | |
called Private View, and people saw the potential in David | 0:43:06 | 0:43:10 | |
as someone that you could write a lot about. | 0:43:10 | 0:43:13 | |
I had great ambition at the time. | 0:43:14 | 0:43:16 | |
I wanted to show what I thought of as the greatest art. | 0:43:16 | 0:43:20 | |
I'd formulated a pretty strong idea of what I liked most | 0:43:20 | 0:43:23 | |
and it was almost entirely American Abstract colour field painting. | 0:43:23 | 0:43:28 | |
But, of course, in England, I wanted to represent | 0:43:28 | 0:43:31 | |
what I thought was the best in English painting, | 0:43:31 | 0:43:33 | |
whether it, it fitted in with all of the American taste or not. | 0:43:33 | 0:43:37 | |
And Hockney was the only figurative artist that I found interesting, | 0:43:37 | 0:43:41 | |
exciting, that I wanted to be the defender of. | 0:43:41 | 0:43:44 | |
You could say David was the only figurative artist | 0:43:50 | 0:43:53 | |
in a deadly serious Abstract place, but, in fact, | 0:43:53 | 0:43:56 | |
the influence of the ones on the other were quite strong. | 0:43:56 | 0:43:59 | |
I mean, a number of his pictures were painted | 0:43:59 | 0:44:02 | |
thinking about colour field painting, you know. | 0:44:02 | 0:44:05 | |
He'd already | 0:44:10 | 0:44:11 | |
pretty rapidly became a blond, | 0:44:11 | 0:44:15 | |
a flamboyant dresser... | 0:44:15 | 0:44:17 | |
..a maker of public statements, I mean, | 0:44:18 | 0:44:21 | |
the sort of person that draws the attention of journalists. | 0:44:21 | 0:44:23 | |
And it was at the very moment when... | 0:44:23 | 0:44:27 | |
when the eye of the press and the taste-makers | 0:44:27 | 0:44:30 | |
was on the British art world and fashion world. | 0:44:30 | 0:44:34 | |
And David stood out as one of the banner carriers | 0:44:34 | 0:44:39 | |
for the new approach to art, life and, in fact, | 0:44:39 | 0:44:42 | |
the emerging openness of gay life. | 0:44:42 | 0:44:45 | |
David always had a sense of humour. | 0:44:54 | 0:44:56 | |
For instance, when Tony Snowdon said, "Come round and have | 0:44:56 | 0:44:59 | |
"a look at Kensington Palace," when he was married to Princess Margaret. | 0:44:59 | 0:45:02 | |
Tony used to take great delight in those days | 0:45:02 | 0:45:05 | |
showing you the bathroom with the M and the coronet | 0:45:05 | 0:45:07 | |
on top of a lavatory seat, and saying, | 0:45:07 | 0:45:09 | |
"You can have a pee in," you know, "Margaret's lav, if you like." | 0:45:09 | 0:45:13 | |
And then, he asked David to sign the visitor's book and David said, | 0:45:13 | 0:45:16 | |
"No, no," he said, "I'm not going to sign that. | 0:45:16 | 0:45:18 | |
"I don't want my name in there, come the revolution!" | 0:45:18 | 0:45:21 | |
In 1962, I'd been at a demonstration in Trafalgar Square. | 0:45:29 | 0:45:35 | |
When it was over, I thought I'd come in the National Gallery | 0:45:35 | 0:45:38 | |
and have look at frescos by Domenichino from a room | 0:45:38 | 0:45:44 | |
in the Villa Aldobrandini near Rome. | 0:45:44 | 0:45:46 | |
Then I became fascinated with, er, things about the pictures. | 0:45:47 | 0:45:52 | |
The space of the picture, you see, is really only one foot. | 0:45:54 | 0:45:59 | |
As you can see here, there's, er... | 0:45:59 | 0:46:02 | |
the picture begins here and there's some floor. | 0:46:02 | 0:46:05 | |
And the dwarf that you see is stood in front of this tapestry, | 0:46:06 | 0:46:12 | |
which is the back of the picture. | 0:46:12 | 0:46:14 | |
The picture is only the depth of a, of a person, | 0:46:14 | 0:46:18 | |
as a matter of fact, which is about one foot. | 0:46:18 | 0:46:21 | |
So I did my version of this painting. | 0:46:21 | 0:46:24 | |
You can see the tapestry quite clearly | 0:46:24 | 0:46:27 | |
and you can see I've painted a fleur-de-lys border. | 0:46:27 | 0:46:31 | |
And instead of a dwarf, I got | 0:46:31 | 0:46:34 | |
a friend, in fact, he's an art dealer called Kasmin, | 0:46:34 | 0:46:38 | |
to pose for me and I defined the front of the picture | 0:46:38 | 0:46:43 | |
by putting a sheet of glass over this section. | 0:46:43 | 0:46:46 | |
And I got Kas to pose for this and I did some drawings | 0:46:46 | 0:46:50 | |
and I took some photographs of him pressed against the glass. | 0:46:50 | 0:46:54 | |
And so my figure is trapped between the tapestry and the glass. | 0:46:55 | 0:47:01 | |
In fact, the idea of that painting | 0:47:01 | 0:47:04 | |
I've kept repeating and repeating, | 0:47:04 | 0:47:07 | |
and the idea of a border still interests me. | 0:47:07 | 0:47:11 | |
For example, | 0:47:11 | 0:47:13 | |
here's another painting that I did in Hollywood. | 0:47:13 | 0:47:16 | |
Because it's got a border round it, | 0:47:17 | 0:47:20 | |
you cannot, as it were, walk straight into the picture. | 0:47:20 | 0:47:24 | |
If it's got a border, | 0:47:24 | 0:47:25 | |
it's like this rope being here, and to climb into it, | 0:47:25 | 0:47:28 | |
you've got to climb over this, | 0:47:28 | 0:47:30 | |
you see, and then you'd have to go onto the diving board... | 0:47:30 | 0:47:33 | |
BOARD RATTLES | 0:47:33 | 0:47:34 | |
and fall into the swimming pool and there's the splash. | 0:47:34 | 0:47:37 | |
WATER SPLASHES | 0:47:37 | 0:47:38 | |
'Henry Geldzahler was a curator at the Metropolitan Museum of Art.' | 0:48:02 | 0:48:06 | |
-INTERCOM BUZZES -'Hello?' | 0:48:06 | 0:48:07 | |
Hi, Dave. It's Henry. | 0:48:07 | 0:48:09 | |
It was obvious that David was the most important person in his life. | 0:48:14 | 0:48:18 | |
They spoke on the telephone almost every day for 20 or 30 minutes. | 0:48:18 | 0:48:22 | |
Of course, in those days, there were no mobile phones. | 0:48:22 | 0:48:25 | |
There was a table where the telephone sat | 0:48:25 | 0:48:27 | |
and you had conversations. | 0:48:27 | 0:48:30 | |
So, I got to know David through one-sided phone conversations | 0:48:30 | 0:48:34 | |
that Henry was having with him and I realised | 0:48:34 | 0:48:37 | |
they shared absolutely every aspect of their life. | 0:48:37 | 0:48:40 | |
The art, the books, the friendships, the lovers, the gossip, everything. | 0:48:40 | 0:48:47 | |
It was total friendship. | 0:48:48 | 0:48:49 | |
David was essentially a figure of the 19th century in many respects. | 0:48:52 | 0:48:56 | |
The literature, the art, the music that he was deeply involved in, | 0:48:56 | 0:49:02 | |
much of it was 19th century, | 0:49:02 | 0:49:03 | |
and the same was true of Henry. | 0:49:03 | 0:49:05 | |
That's what David loved about Henry. | 0:49:05 | 0:49:08 | |
In the 1960s and the 1970s, | 0:49:09 | 0:49:11 | |
David was a very unfashionable artist. | 0:49:11 | 0:49:14 | |
He was involved with poetry, literature. | 0:49:14 | 0:49:17 | |
He wanted to bring all of these things into his art. | 0:49:17 | 0:49:21 | |
So, David was engaging all of these subjects that most artists | 0:49:21 | 0:49:25 | |
were working very hard to eliminate from their work. | 0:49:25 | 0:49:28 | |
He was, | 0:49:29 | 0:49:31 | |
in many ways, a figure who was excluded from the contemporary | 0:49:31 | 0:49:35 | |
dialogue that was taking place, | 0:49:35 | 0:49:37 | |
and to have Henry's, erm, imprimatur, interest, friendship, | 0:49:37 | 0:49:41 | |
I think it meant a great deal to him. | 0:49:41 | 0:49:43 | |
And he was not shy about telling David what he liked and what he | 0:49:46 | 0:49:51 | |
didn't like about both his art and his personality, | 0:49:51 | 0:49:54 | |
but he always did it in a very loving, gentle way. | 0:49:54 | 0:49:56 | |
One of the things that David relied on Henry | 0:49:56 | 0:50:00 | |
every six months or so, would be to go through a stack of drawings, | 0:50:00 | 0:50:03 | |
and every now and then, there'd be something, | 0:50:03 | 0:50:05 | |
and Henry would pick it up and tear it up, throw it in the trash. | 0:50:05 | 0:50:08 | |
MUSIC: Una Furtiva Lagrima from L'elisir D'Amore by Donizetti | 0:50:10 | 0:50:13 | |
If, next week, | 0:50:30 | 0:50:32 | |
this country did collapse | 0:50:32 | 0:50:35 | |
but on the very day it collapsed you met your absolute true love, | 0:50:35 | 0:50:42 | |
you wouldn't give two hoots about the bloody place collapsing, | 0:50:42 | 0:50:45 | |
would you? | 0:50:45 | 0:50:46 | |
I mean, you know, you'd think, "Oh, all's right with the world. | 0:50:46 | 0:50:50 | |
"If we have a sandwich and a, and a glass of beer, it doesn't matter." | 0:50:50 | 0:50:53 | |
# Una furtiva lagrima | 0:50:55 | 0:51:01 | |
# Negli occhi suoi spunto... # | 0:51:04 | 0:51:11 | |
Lots of David's portraits are about togetherness, aren't they, really? | 0:51:14 | 0:51:18 | |
Togetherness is two people, | 0:51:18 | 0:51:20 | |
and it's always a kind of interesting equation for him, | 0:51:20 | 0:51:23 | |
cos, in a way, we're all alone, | 0:51:23 | 0:51:25 | |
but it's nice to be part of something and part of somebody else. | 0:51:25 | 0:51:29 | |
David and Ossie were really good pals. | 0:51:34 | 0:51:37 | |
Ossie was a very flamboyant character | 0:51:37 | 0:51:39 | |
in his own way and single-minded. | 0:51:39 | 0:51:41 | |
In fact, his shows were quite unique, | 0:51:43 | 0:51:45 | |
and he'd bill the music to the fashion models, | 0:51:45 | 0:51:48 | |
to the whole catwalk experience. | 0:51:48 | 0:51:52 | |
We were all pals together | 0:51:54 | 0:51:56 | |
and I suppose leading a certain bohemian life. | 0:51:56 | 0:51:59 | |
And it was very innocent then. | 0:52:00 | 0:52:02 | |
You were enjoying being young, | 0:52:02 | 0:52:04 | |
and in London, and doing things you really liked doing. | 0:52:04 | 0:52:08 | |
David asked Ossie | 0:52:10 | 0:52:12 | |
and myself if we'd pose for him. | 0:52:12 | 0:52:14 | |
I remember going to Powis Terrace and him taking lots of photographs. | 0:52:16 | 0:52:19 | |
And I know, for instance, | 0:52:19 | 0:52:22 | |
he couldn't get Ossie's feet correctly painted, | 0:52:22 | 0:52:26 | |
so he put the shag pile carpet on the floor | 0:52:26 | 0:52:29 | |
and hid his feet in the carpet. | 0:52:29 | 0:52:31 | |
And he made the bedroom into the sitting room | 0:52:36 | 0:52:39 | |
cos he wanted to choose various things that he thought were | 0:52:39 | 0:52:42 | |
to do with our personalities. | 0:52:42 | 0:52:44 | |
I met Peter when he first came over with David. | 0:52:53 | 0:52:56 | |
There was this new person to engage with and it was Peter. | 0:52:56 | 0:53:01 | |
I think he made a nice home for David. | 0:53:08 | 0:53:11 | |
I think he wanted to have a, a stylish home. | 0:53:11 | 0:53:14 | |
# Un solo instante i palpiti | 0:53:14 | 0:53:22 | |
# Del suo bel cor sentir... # | 0:53:26 | 0:53:33 | |
David had acquired the leases on the surrounding flats | 0:53:33 | 0:53:38 | |
and said would I knock the walls down between them | 0:53:38 | 0:53:42 | |
and make a very lovely lateral apartment? | 0:53:42 | 0:53:48 | |
As far as I'm concerned, I just designed the flat | 0:53:48 | 0:53:50 | |
that I'd want for myself. | 0:53:50 | 0:53:52 | |
Little did I know, I'd later have it. | 0:53:52 | 0:53:54 | |
David's quite sociable, so he likes to give parties, | 0:54:01 | 0:54:04 | |
to have people around, | 0:54:04 | 0:54:06 | |
so to have a big room at one end of the apartment and at the other | 0:54:06 | 0:54:10 | |
and then a beautiful long gallery between them, | 0:54:10 | 0:54:14 | |
that was very appealing. | 0:54:14 | 0:54:16 | |
# ..Confondere i miei coi suoi sospir | 0:54:16 | 0:54:30 | |
# Cielo! Si puo morir! # | 0:54:30 | 0:54:37 | |
Peter dealt with curtains and tiles and finishes and furniture. | 0:54:37 | 0:54:45 | |
Peter would go out and hunt for things | 0:54:46 | 0:54:48 | |
and then he'd take David to see them and decide together. | 0:54:48 | 0:54:51 | |
He would go out to the market and | 0:54:52 | 0:54:55 | |
buy vases and, you know... | 0:54:55 | 0:54:57 | |
bits and pieces, but if it was like a big thing, | 0:54:57 | 0:55:00 | |
David would get very involved. | 0:55:00 | 0:55:02 | |
He was the first person I lived with, yeah. | 0:55:08 | 0:55:12 | |
Yeah, it was very nice, very, very nice. You know, | 0:55:12 | 0:55:17 | |
when people said to me, "Ah, well, when you said you were gay | 0:55:17 | 0:55:22 | |
"in 1960 or something and, well, it was illegal," | 0:55:22 | 0:55:27 | |
and this, that and the other... and this, that and the other, | 0:55:27 | 0:55:30 | |
and I said, "Well, I lived in Bohemia | 0:55:30 | 0:55:35 | |
"and Bohemia is a tolerant place." | 0:55:35 | 0:55:39 | |
When he's in London, he quite often pops round. | 0:55:44 | 0:55:47 | |
He used to just ring the doorbell and come in and prowl around. | 0:55:49 | 0:55:54 | |
Particularly, he liked going into his old studio | 0:55:56 | 0:56:00 | |
and just standing there, | 0:56:00 | 0:56:02 | |
remembering all the great paintings he did there. | 0:56:02 | 0:56:06 | |
CLAVICHORD PLAYS | 0:56:17 | 0:56:18 | |
The clavichord was near a doorway | 0:56:37 | 0:56:41 | |
which was near the window. | 0:56:41 | 0:56:42 | |
-And so, it was, it was... -And I was leaning against it. | 0:56:42 | 0:56:45 | |
Yes, and it was, it... | 0:56:45 | 0:56:47 | |
With all our underwear all over the floor. | 0:56:47 | 0:56:49 | |
It was... Wayne's jockstraps were everywhere. | 0:56:49 | 0:56:51 | |
Well, they, I needed them. | 0:56:51 | 0:56:54 | |
Oh. | 0:56:54 | 0:56:55 | |
I was playing A flat, this note. | 0:56:55 | 0:56:59 | |
And I wanted to call the painting A Flat. | 0:57:01 | 0:57:05 | |
A small flat. | 0:57:05 | 0:57:06 | |
Cos it was. A very small flat, yes. | 0:57:06 | 0:57:09 | |
But it was really a painting about stillness. | 0:57:10 | 0:57:13 | |
I think it would have been wonderful. It's unfinished. | 0:57:13 | 0:57:16 | |
The development of what should have been a really beautiful, | 0:57:20 | 0:57:23 | |
serene, happy, listening, still painting | 0:57:23 | 0:57:28 | |
became a huge dilemma of mixtures of colours and unfinished sequences | 0:57:28 | 0:57:33 | |
and painting out the floor and repainting in the background. | 0:57:33 | 0:57:38 | |
And every time we went round there, there was something different | 0:57:38 | 0:57:42 | |
going on and I just thought, "This will never get done." | 0:57:42 | 0:57:45 | |
He was worried about something called the vanishing point. | 0:57:47 | 0:57:53 | |
I think the problem wasn't really the vanishing point. | 0:57:53 | 0:57:55 | |
It was the "vanishing Peter". | 0:57:55 | 0:57:57 | |
David was splitting up with Peter, | 0:57:59 | 0:58:02 | |
and that was a very upsetting period, for both of them, actually. | 0:58:02 | 0:58:06 | |
David was very upset. | 0:58:09 | 0:58:10 | |
He was, I think, genuinely in love with Peter. | 0:58:10 | 0:58:14 | |
They had their troubles. But, you know, | 0:58:14 | 0:58:18 | |
starting a relationship is, er, very tricky, er, even a man | 0:58:18 | 0:58:23 | |
and a woman, and, er, the first time either of them | 0:58:23 | 0:58:27 | |
had ever been involved in such a relationship. | 0:58:27 | 0:58:30 | |
Of course, they were going to have problems. | 0:58:30 | 0:58:33 | |
That was a very upsetting period. | 0:58:37 | 0:58:39 | |
I think he was taking tranquilisers as well. | 0:58:40 | 0:58:43 | |
He was just crying a lot. | 0:58:44 | 0:58:47 | |
I mean, it had been a long period that he'd been with Peter, | 0:58:47 | 0:58:50 | |
and it was just suddenly a devastating point, which actually | 0:58:50 | 0:58:53 | |
did come through the picture, because it was an unfinished scene, | 0:58:53 | 0:58:56 | |
like his life was unfinished without him. | 0:58:56 | 0:59:00 | |
# Un solo instante i palpiti | 0:59:15 | 0:59:23 | |
# Del suo bel cor sentir! # | 0:59:26 | 0:59:34 | |
I think there were periods of depression. | 0:59:38 | 0:59:41 | |
I have films of him lying on | 0:59:44 | 0:59:46 | |
the water bed, obviously very depressed, being comforted by Henry. | 0:59:46 | 0:59:50 | |
Whether that was related to the break-up with Peter | 0:59:57 | 1:00:00 | |
or whether that was just something that is endemic | 1:00:00 | 1:00:04 | |
to his personality, I'm not, I've never been absolutely sure. | 1:00:04 | 1:00:08 | |
He can be extremely up and then we've all seen | 1:00:08 | 1:00:13 | |
moods where he's not happy. | 1:00:13 | 1:00:15 | |
But he got a lot of support. | 1:00:24 | 1:00:26 | |
In the summer of '75 and '76, both he and Henry | 1:00:26 | 1:00:30 | |
stayed all summer at my house at the shore. | 1:00:30 | 1:00:33 | |
It was right on the beach. | 1:00:36 | 1:00:37 | |
He liked being there and he liked painting. | 1:00:41 | 1:00:45 | |
He uses his work to escape the world. | 1:00:45 | 1:00:49 | |
And I remember he'd sit there in the living room and paint | 1:00:49 | 1:00:52 | |
and eat out of this huge barrel of, um, something - | 1:00:52 | 1:00:55 | |
it wasn't potato chips or something, and pretty soon the floor | 1:00:55 | 1:00:58 | |
would be covered with them like they were sawdust or something. | 1:00:58 | 1:01:02 | |
It was an absolutely... It was a unique time. | 1:01:02 | 1:01:04 | |
That's where he started the Blue Guitar series. | 1:01:07 | 1:01:09 | |
I think that was in '76. | 1:01:09 | 1:01:11 | |
I'm not sure whether that idea came from Henry or... | 1:01:11 | 1:01:14 | |
cos Henry read a lot - read a lot of poetry, | 1:01:14 | 1:01:16 | |
but David always read a lot, too, | 1:01:16 | 1:01:18 | |
so I don't know who got the idea, | 1:01:18 | 1:01:21 | |
but he spent all summer doing that series. | 1:01:21 | 1:01:25 | |
CLASSICAL GUITAR MUSIC | 1:01:25 | 1:01:33 | |
I mean, I'd begun the etchings and then I thought, the title, | 1:01:39 | 1:01:42 | |
I just thought I would call it, er, The Blue Guitar by David Hockney, | 1:01:42 | 1:01:48 | |
inspired by Wallace Stevens who was inspired by Pablo Picasso. | 1:01:48 | 1:01:53 | |
And the names could get bigger as they go down. | 1:01:53 | 1:01:56 | |
The source of the poem was a painting of Picasso, | 1:02:03 | 1:02:07 | |
and so I'm turning the poem back into a painting and etchings. | 1:02:07 | 1:02:11 | |
They said, "You have a blue guitar. You do not play things as they are." | 1:02:14 | 1:02:19 | |
The man replied, | 1:02:19 | 1:02:20 | |
"Things as they are are changed upon the blue guitar." | 1:02:20 | 1:02:24 | |
And they said then, "But play you must, a tune beyond us, yet ourselves, | 1:02:24 | 1:02:29 | |
"a tune upon the blue guitar of things exactly as they are." | 1:02:29 | 1:02:33 | |
When I read it, you see, I loved the phrase, | 1:02:37 | 1:02:40 | |
"You do not play things as they are", | 1:02:40 | 1:02:42 | |
because the Philistine response to Picasso was, | 1:02:42 | 1:02:46 | |
"You do not paint things as they are". | 1:02:46 | 1:02:49 | |
Well, there's no such thing as "things as they are". | 1:02:49 | 1:02:53 | |
In painting, where you deceive the eye with all sorts of devices | 1:02:53 | 1:02:58 | |
to make things look as they are... | 1:02:58 | 1:03:01 | |
I don't know, this, the poem just triggered ideas in my head. | 1:03:01 | 1:03:05 | |
So, I started making drawings which are just inventions, | 1:03:05 | 1:03:08 | |
which was, er, a change for me from the past two years. | 1:03:08 | 1:03:12 | |
I... In the painting, for instance, there's things... | 1:03:12 | 1:03:16 | |
Er, the coloured line right at the top is simply a coloured line, | 1:03:16 | 1:03:21 | |
so that's absolutely as it is. There's no illusion there. | 1:03:21 | 1:03:25 | |
But the water falling is illusionistic. | 1:03:25 | 1:03:28 | |
And you make references to other kinds of painting. | 1:03:28 | 1:03:32 | |
I mean, playing games like that seemed such fun to me. | 1:03:32 | 1:03:36 | |
I just went on and on. | 1:03:36 | 1:03:38 | |
The work has always been this core of David's life. | 1:03:55 | 1:04:00 | |
The first break-up was very difficult for him. | 1:04:00 | 1:04:04 | |
But the art is the thing | 1:04:04 | 1:04:05 | |
that gives him the anchor, in life and in the world. | 1:04:05 | 1:04:11 | |
I mean, I think anything that happens, | 1:04:11 | 1:04:13 | |
as long as he's able to, er, see the world through his painting | 1:04:13 | 1:04:16 | |
and stuff, he could... he could survive anything. | 1:04:16 | 1:04:19 | |
I've, you know... I've taken photographs for a long, long time | 1:04:48 | 1:04:52 | |
and I have about 100 albums full of photographs. | 1:04:52 | 1:04:54 | |
All of life, it's all recorded pictorially. | 1:04:54 | 1:04:58 | |
Most people who ever come into it, I photograph in some way. | 1:04:58 | 1:05:02 | |
And later, maybe I draw them | 1:05:02 | 1:05:04 | |
but usually I don't draw them instantly, I just take a snap. | 1:05:04 | 1:05:07 | |
It is like a diary. | 1:05:07 | 1:05:09 | |
I'm just a snapper, really. | 1:05:21 | 1:05:23 | |
We see so many photographic images and film images | 1:05:30 | 1:05:33 | |
and they're so mainstream, | 1:05:33 | 1:05:35 | |
we're so used to thinking of those as the way | 1:05:35 | 1:05:37 | |
of representing the world, | 1:05:37 | 1:05:39 | |
but he knows that one can do things with painting | 1:05:39 | 1:05:42 | |
that one cannot do with, with erm, photographic technologies. | 1:05:42 | 1:05:48 | |
One can express visions of the world, ways of seeing, | 1:05:48 | 1:05:52 | |
that invite you to look at things | 1:05:52 | 1:05:54 | |
that you would only just glance at if it was a photograph | 1:05:54 | 1:05:57 | |
or even if you were seeing it in reality. | 1:05:57 | 1:05:59 | |
He's introducing something much more personal, something more moving. | 1:05:59 | 1:06:05 | |
And he's trying with many tactics | 1:06:05 | 1:06:08 | |
to show that painting can do this. | 1:06:08 | 1:06:11 | |
I'd become very, very aware of this | 1:06:18 | 1:06:21 | |
frozen moment that was very unreal to me. | 1:06:21 | 1:06:25 | |
The photographs didn't really have life in the way a drawing | 1:06:25 | 1:06:29 | |
or painting did. | 1:06:29 | 1:06:30 | |
And I realised it couldn't because of what it is. | 1:06:30 | 1:06:34 | |
Compared to Rembrandt looking at himself for hours and hours | 1:06:34 | 1:06:38 | |
and scrutinising his face, and putting all these | 1:06:38 | 1:06:41 | |
hours into the picture that you're going to look at, | 1:06:41 | 1:06:44 | |
naturally, there's many more hours there than even you can give it. | 1:06:44 | 1:06:48 | |
A photograph is the other way round. | 1:06:48 | 1:06:51 | |
It's a fraction of a second, frozen. | 1:06:51 | 1:06:54 | |
So, the moment you've looked at it for even four seconds, | 1:06:54 | 1:06:57 | |
you're looking at it for far more than the camera did. | 1:06:57 | 1:07:01 | |
And, er, I... | 1:07:01 | 1:07:03 | |
er, it dawned on me that this was visible, actually. | 1:07:03 | 1:07:06 | |
It IS visible, and, er, the more you become aware of it, | 1:07:06 | 1:07:12 | |
the more this is a terrible weakness. | 1:07:12 | 1:07:14 | |
Drawings and paintings do not have this. | 1:07:14 | 1:07:16 | |
I made a little photographic experiment with the Polaroid, | 1:07:18 | 1:07:22 | |
by putting 30 of them together, made a, | 1:07:22 | 1:07:25 | |
a photograph of this house in a way that I'd been trying to paint | 1:07:25 | 1:07:29 | |
the house from three different viewpoints. | 1:07:29 | 1:07:33 | |
And the photograph excited me so much and... | 1:07:33 | 1:07:37 | |
Well, time WAS appearing in the picture and, because of it, | 1:07:37 | 1:07:44 | |
space - a bigger illusion of space. | 1:07:44 | 1:07:48 | |
Now, the space is an illusion - I was aware of that, | 1:07:48 | 1:07:51 | |
but the time is not an illusion. | 1:07:51 | 1:07:53 | |
It is real and accounted for in the number of pictures. | 1:07:53 | 1:07:57 | |
You KNOW it took time to take them, wait for them, | 1:07:59 | 1:08:04 | |
put them down and so on. And this began... | 1:08:04 | 1:08:06 | |
I realised was, er, giving you this illusion of space | 1:08:06 | 1:08:11 | |
that we had not seen - I had not seen - in a photograph before. | 1:08:11 | 1:08:14 | |
I'm interested in pictures, | 1:08:46 | 1:08:48 | |
made any way, and the visible world | 1:08:48 | 1:08:53 | |
and representing it. | 1:08:53 | 1:08:54 | |
That's why Picasso is always interesting. | 1:08:54 | 1:08:58 | |
He never left the visible world - never left depiction, actually. | 1:08:58 | 1:09:03 | |
RAIN FALLS GENTLY | 1:09:07 | 1:09:15 | |
His greatest hero for most of his life has been Pablo Picasso, | 1:09:31 | 1:09:35 | |
whose art moves through phases and different approaches | 1:09:35 | 1:09:39 | |
and styles with great frequency throughout a long life. | 1:09:39 | 1:09:43 | |
So David's aware of the fact | 1:09:53 | 1:09:54 | |
that almost everything he does is going to sell the second | 1:09:54 | 1:09:58 | |
he's put his name to it and he does not want to become a machine | 1:09:58 | 1:10:01 | |
for producing items of value. | 1:10:01 | 1:10:03 | |
He frequently ran into periods when... | 1:10:24 | 1:10:27 | |
he was dissatisfied with, erm, what he was doing | 1:10:27 | 1:10:32 | |
and thrashing about looking for new and different ways of doing it. | 1:10:32 | 1:10:36 | |
He did not like just going on using... | 1:10:36 | 1:10:39 | |
His...immense facility for drawing didn't satisfy his ambition. | 1:10:39 | 1:10:45 | |
Surfaces that you can decide where to look, I find fascinating. | 1:10:56 | 1:11:01 | |
You know, in a way, with water, | 1:11:01 | 1:11:05 | |
you can look at a reflection, | 1:11:05 | 1:11:08 | |
then you're looking at the surface, | 1:11:08 | 1:11:11 | |
or you can suddenly take the reflection away | 1:11:11 | 1:11:13 | |
and look through it... | 1:11:13 | 1:11:15 | |
And somehow the problem of depicting it | 1:11:19 | 1:11:23 | |
becomes a wonderful way of, in your head, | 1:11:23 | 1:11:28 | |
thinking of graphic terms and devices to depict it all. | 1:11:28 | 1:11:33 | |
Early ones are done with very, very stylised | 1:11:43 | 1:11:48 | |
form in the water - | 1:11:48 | 1:11:50 | |
jigsaw shapes with a heavy blue line describing the interlocking shapes | 1:11:50 | 1:11:56 | |
as though somebody's jumped in the pool | 1:11:56 | 1:11:58 | |
and all the shapes are dancing. | 1:11:58 | 1:12:00 | |
The painting called The Sunbather - the dancing line is yellow, | 1:12:05 | 1:12:09 | |
which happens if it's very sunny | 1:12:09 | 1:12:11 | |
and you get this dancing yellow line all the time. | 1:12:11 | 1:12:15 | |
Later on I could make the water look very fluid | 1:12:23 | 1:12:26 | |
and wet by putting acrylic paint that was very, very diluted, | 1:12:26 | 1:12:32 | |
and you put a detergent in it, so when you paint on the canvas, | 1:12:32 | 1:12:36 | |
the canvas soaks it up like blotting paper. | 1:12:36 | 1:12:39 | |
Even the painting of the Splash, for instance - | 1:12:48 | 1:12:51 | |
somehow what I quite liked about doing it was | 1:12:51 | 1:12:53 | |
the perversity of painting something that lasts for one second. | 1:12:53 | 1:12:59 | |
But it took me seven days' work to paint the splash itself. | 1:12:59 | 1:13:04 | |
If you look carefully, it's painted in single lines with a small brush. | 1:13:04 | 1:13:08 | |
I like the idea, you see, of a realistic painting, | 1:13:16 | 1:13:21 | |
of a real figure, looking at another figure | 1:13:21 | 1:13:24 | |
but the other figure is distorted naturally by the water. | 1:13:24 | 1:13:28 | |
COW MOOS | 1:13:58 | 1:14:01 | |
SHEEP BLEATS | 1:14:02 | 1:14:04 | |
I was the technical director | 1:14:08 | 1:14:10 | |
when the Met opened the French triple bill. | 1:14:10 | 1:14:12 | |
What we did was to take David's pieces, in the case of Parade, | 1:14:14 | 1:14:19 | |
the ideas of someone | 1:14:19 | 1:14:20 | |
who's basically not working all the time in the theatre, | 1:14:20 | 1:14:23 | |
and translate them to the stage, | 1:14:23 | 1:14:25 | |
but add the things that you know that...that make it...make it work. | 1:14:25 | 1:14:29 | |
Oh, I think the challenges were, for him, just the scale of things. | 1:14:31 | 1:14:34 | |
This is a model of the Metropolitan Opera stage. | 1:14:39 | 1:14:43 | |
And the story of the opera is about a naughty child. | 1:14:43 | 1:14:48 | |
And the little boy says, | 1:14:48 | 1:14:50 | |
"I'm fed up of being good. I want to be wicked." | 1:14:50 | 1:14:54 | |
So, he picks up a poker from the fireplace, | 1:14:54 | 1:14:57 | |
he runs around the room, he smashes the teapot. | 1:14:57 | 1:15:01 | |
MUSIC: L'Enfant Et Les Sortileges | 1:15:03 | 1:15:10 | |
Very shortly after the Met reopened, there was Parade, | 1:15:10 | 1:15:14 | |
in the wintertime when everyone is desperate for light | 1:15:14 | 1:15:18 | |
and colour and here is something totally fresh, totally new, | 1:15:18 | 1:15:22 | |
something unlike anyone had ever seen at the Met. | 1:15:22 | 1:15:26 | |
Um, and I think it just... | 1:15:26 | 1:15:28 | |
It lifted people's spirits and it... | 1:15:28 | 1:15:31 | |
it kind of took them to a different place. | 1:15:31 | 1:15:33 | |
And David was a major instrument in having that happen. | 1:15:33 | 1:15:37 | |
Henry and David in Europe, they would arrive in a European City | 1:15:54 | 1:15:59 | |
and immediately go to the opera house, | 1:15:59 | 1:16:01 | |
look to see what was playing, get tickets. | 1:16:01 | 1:16:03 | |
And then they'd go to the museum. | 1:16:03 | 1:16:06 | |
Then they'd have lunch and they'd go back to the hotel. | 1:16:06 | 1:16:09 | |
Henry would write. | 1:16:09 | 1:16:10 | |
David would have his sketch pad and his coloured pencils. | 1:16:10 | 1:16:13 | |
Then they'd have a nap. | 1:16:13 | 1:16:15 | |
Then they'd come out, have dinner, go to the opera house. | 1:16:15 | 1:16:17 | |
MUSIC: Tristan Und Isolde by Wagner | 1:16:19 | 1:16:21 | |
There's a lot of music. | 1:16:31 | 1:16:33 | |
There's often four minutes of music with nobody singing, which means | 1:16:33 | 1:16:38 | |
you've to be looking at something. | 1:16:38 | 1:16:40 | |
In fact, you've to be looking at something in an interesting way | 1:16:40 | 1:16:43 | |
to hear that music, to really hear it. | 1:16:43 | 1:16:46 | |
So, we'll figure a way, you know, to slowly reveal the forest | 1:16:46 | 1:16:51 | |
and so on, I mean, just do it very slowly. | 1:16:51 | 1:16:53 | |
'Tristan And Isolde,' | 1:16:53 | 1:16:55 | |
I worked for a year in here on it. | 1:16:55 | 1:16:57 | |
One year, actually, it took, | 1:16:58 | 1:17:00 | |
'matching the music and getting the colours and things. | 1:17:00 | 1:17:05 | |
'It was a long, big job. I used' | 1:17:05 | 1:17:08 | |
to sit up here with it and I'd... | 1:17:08 | 1:17:12 | |
We had a big model with lights, and I had all these little lights | 1:17:12 | 1:17:18 | |
where I could, er, change it and do things. | 1:17:18 | 1:17:23 | |
Sometimes, I'd smoke a joint | 1:17:23 | 1:17:25 | |
and then put on the music and fiddle with the lights. | 1:17:25 | 1:17:29 | |
It was terrific, actually, that, doing it. | 1:17:29 | 1:17:32 | |
And, I must confess the other night I saw Tosca, I was looking | 1:17:36 | 1:17:41 | |
at Tosca, and it suddenly occurred to me that the only Puccini opera | 1:17:41 | 1:17:46 | |
that doesn't have a lot of cruelty in it is, um, Boheme. | 1:17:46 | 1:17:50 | |
At least she dies, er, from TB. | 1:17:50 | 1:17:53 | |
This opera, not only does nobody die, | 1:17:53 | 1:17:56 | |
it ends on the best note of hope I've ever come across | 1:17:56 | 1:18:02 | |
on a musical stage, I think, | 1:18:02 | 1:18:04 | |
that there is real hope for us wretched people. | 1:18:04 | 1:18:08 | |
This is actually the drawing we're finally using to make | 1:18:08 | 1:18:11 | |
the set for the Poulenc opera, which is a scene in the South of France. | 1:18:11 | 1:18:15 | |
It's supposed to be jolly and pretty. Erm... | 1:18:15 | 1:18:18 | |
'Unlike some designers and unlike some artists, | 1:18:18 | 1:18:22 | |
'David was completely swept up with the music. | 1:18:22 | 1:18:25 | |
'To him, the music suggested visual things | 1:18:25 | 1:18:29 | |
'and I think that was a big appeal.' | 1:18:29 | 1:18:33 | |
And one of the things that often is missing | 1:18:33 | 1:18:36 | |
in theatrical productions is that kind of reverence for, | 1:18:36 | 1:18:40 | |
for the...for the work of art, | 1:18:40 | 1:18:42 | |
but also a kind of willingness to be completely one | 1:18:42 | 1:18:46 | |
with its slightly sentimental side, | 1:18:46 | 1:18:48 | |
and David loved that. | 1:18:48 | 1:18:50 | |
MUSIC: Parade by Eric Satie | 1:18:50 | 1:18:51 | |
'It's gone now for me, music.' | 1:19:17 | 1:19:20 | |
I don't go to the opera any more because I can't really hear it. | 1:19:20 | 1:19:25 | |
I mean, | 1:19:25 | 1:19:26 | |
I'd have to sit right at the front or something. | 1:19:26 | 1:19:29 | |
I mean, I...I don't go because | 1:19:29 | 1:19:32 | |
if you go, I leave the theatre a bit depressed. | 1:19:32 | 1:19:37 | |
Well, he's just coming off of his theatre work, OK, and he's | 1:20:12 | 1:20:14 | |
fed up with that. | 1:20:14 | 1:20:16 | |
He doesn't know what he wants to do next | 1:20:16 | 1:20:18 | |
and he is kind of loose at this moment. | 1:20:18 | 1:20:21 | |
And he's visiting friends and he's having a good time in New York, | 1:20:21 | 1:20:24 | |
and he comes over for dinner, OK, to see what I'm up about. | 1:20:24 | 1:20:27 | |
And so, I show him the, er, great Ellsworth Kelly paper images. | 1:20:27 | 1:20:32 | |
And he's absolutely thunderstruck. He's moved, really moved. | 1:20:32 | 1:20:35 | |
And he also said, you know, 'These, Ken, are fantastic. | 1:20:35 | 1:20:38 | |
"How are they made?" | 1:20:38 | 1:20:40 | |
So I said, "Well, you know, stay for, you know, after dinner. | 1:20:40 | 1:20:43 | |
"Stay till tomorrow and I'll show you. We'll make up a couple of pieces of paper | 1:20:43 | 1:20:46 | |
"and I'll show you how it's done." | 1:20:46 | 1:20:47 | |
That, that's the turn-on, you know. "Oh, you'll show me? OK." | 1:20:47 | 1:20:52 | |
So we started to play. | 1:20:52 | 1:20:53 | |
MUSIC: Blue Pools by John Harle | 1:20:53 | 1:20:55 | |
At first he confessed | 1:21:04 | 1:21:05 | |
about, "Oh, I don't want to do this. | 1:21:05 | 1:21:07 | |
"I have to make every one of these myself," you know. | 1:21:07 | 1:21:09 | |
"They're not reproducible," you know. | 1:21:09 | 1:21:12 | |
"I don't know whether I want to do all these." | 1:21:12 | 1:21:15 | |
But he did all these, and every time he did a new one, | 1:21:15 | 1:21:18 | |
he wanted to make another one. | 1:21:18 | 1:21:19 | |
And we wound up working 18 hours a day. | 1:21:19 | 1:21:21 | |
I mean, it was slave labour for 49 days. | 1:21:21 | 1:21:24 | |
All of us just loved it. We couldn't get enough of it. | 1:21:24 | 1:21:27 | |
Because each and every piece he made was just one more note | 1:21:27 | 1:21:32 | |
of greatness that he was putting down for us to hear, to see. | 1:21:32 | 1:21:37 | |
And he knew that he was onto something as much as we did. | 1:21:37 | 1:21:42 | |
I think Paper Pools helped him tremendously in his painting. | 1:21:53 | 1:21:55 | |
Yeah, I really do. | 1:21:55 | 1:21:57 | |
Um, because I think it freed him up. | 1:21:58 | 1:22:00 | |
I think it also gave him a different kind of idea about colour, | 1:22:04 | 1:22:08 | |
how to use colour more boldly. | 1:22:08 | 1:22:10 | |
Come on, Stanley. Come on. | 1:22:58 | 1:23:00 | |
'David loved having the dachshunds down there and walking on the beach.' | 1:23:02 | 1:23:05 | |
DOG BARKS | 1:23:08 | 1:23:09 | |
'But I think, ultimately, David's house in Malibu, it wasn't very David. | 1:23:12 | 1:23:16 | |
'I mean, it was very David in its kind of hominess, | 1:23:16 | 1:23:19 | |
'but I don't think it ever became | 1:23:19 | 1:23:21 | |
'his home, I mean, David's never been a weekend person, so | 1:23:21 | 1:23:25 | |
'I thought it was a bit strange. | 1:23:25 | 1:23:26 | |
'And it was decorated very nicely and cosy. | 1:23:26 | 1:23:29 | |
'It was very funky and old-fashioned, unlike slick Malibu at the time.' | 1:23:31 | 1:23:35 | |
But, er, as anybody that's lived in LA knows, | 1:23:36 | 1:23:39 | |
it's actually a long way to go to go have lunch or to have a dinner | 1:23:39 | 1:23:43 | |
and get in the car and drive. | 1:23:43 | 1:23:44 | |
It was a transitional time. | 1:23:52 | 1:23:53 | |
A lot of David's older friends were not there all the time. | 1:23:53 | 1:23:57 | |
It was a world in the 1970s where to be gay was | 1:24:04 | 1:24:07 | |
to be beautiful and fashionable. | 1:24:07 | 1:24:09 | |
It... The whole world was right there in the palm of your hands. | 1:24:09 | 1:24:13 | |
When David came to New York, a lot of times, he was here to party. | 1:24:16 | 1:24:19 | |
He would go to the baths. | 1:24:19 | 1:24:21 | |
He would go out to the bars. | 1:24:21 | 1:24:23 | |
He was having a good time. | 1:24:23 | 1:24:24 | |
And then, all of a sudden, AIDS came along | 1:24:28 | 1:24:31 | |
and suddenly things went exactly in the opposite direction, | 1:24:31 | 1:24:34 | |
and it... It was like a plague. | 1:24:34 | 1:24:36 | |
One person after the next would come down with AIDS | 1:24:55 | 1:25:00 | |
and it was quite simply a death sentence. | 1:25:00 | 1:25:02 | |
I think it was something that | 1:25:36 | 1:25:37 | |
shook David to his core. | 1:25:37 | 1:25:39 | |
You think about them every day | 1:25:41 | 1:25:42 | |
and then you stop it, | 1:25:42 | 1:25:44 | |
because there's too many, actually, | 1:25:44 | 1:25:46 | |
er, and it would | 1:25:46 | 1:25:50 | |
rather drive you mad if you think about it. | 1:25:50 | 1:25:53 | |
Er, and slowly, you have to realise it's kind of part of... | 1:25:53 | 1:25:58 | |
it's become part of your life, this, er... | 1:25:58 | 1:26:02 | |
something you never, ever expected. | 1:26:02 | 1:26:05 | |
At the time, I couldn't write down all the people. | 1:26:13 | 1:26:17 | |
I mean... | 1:26:20 | 1:26:21 | |
It did change New York. | 1:26:24 | 1:26:26 | |
I think it's THAT that changed it more than anything else, | 1:26:26 | 1:26:30 | |
because I... | 1:26:30 | 1:26:31 | |
When I think of all those people, if they were still there | 1:26:33 | 1:26:37 | |
in New York, New York would be different today, it would. | 1:26:37 | 1:26:41 | |
There would be Bohemia still. | 1:26:43 | 1:26:46 | |
And that's the world I arrived in and that's the world | 1:26:46 | 1:26:48 | |
I lived in, actually. | 1:26:48 | 1:26:51 | |
Two thirds of the people that he was really close to | 1:26:55 | 1:26:57 | |
suddenly just weren't there any more. | 1:26:57 | 1:26:59 | |
They just disappeared. | 1:26:59 | 1:27:02 | |
And Henry, when Henry died, it really was the final blow. | 1:27:02 | 1:27:05 | |
Of course, Henry didn't die of anything to do with HIV or AIDS, | 1:27:06 | 1:27:10 | |
but I think that was a terrible blow for David. | 1:27:10 | 1:27:14 | |
When Henry died, it affected David, I think, particularly badly | 1:27:18 | 1:27:23 | |
because I think he realised he was never going to find another person | 1:27:23 | 1:27:26 | |
who knew him as well as Henry did. | 1:27:26 | 1:27:29 | |
Truman Capote once said, "Love is never having to finish a sentence." | 1:27:31 | 1:27:34 | |
And what that means is you're so much on the same page | 1:27:34 | 1:27:37 | |
with the other person, you can begin a sentence | 1:27:37 | 1:27:39 | |
and they immediately know what you're going to say. | 1:27:39 | 1:27:42 | |
It's that kind of communication | 1:27:42 | 1:27:44 | |
that Henry had with David and vice versa. And when Henry died, that was | 1:27:44 | 1:27:49 | |
something that David never really discovered in anybody else again. | 1:27:49 | 1:27:53 | |
CHAMBER MUSIC PLAYS | 1:28:00 | 1:28:02 | |
FIRE CRACKLES | 1:28:02 | 1:28:03 | |
So, I goes round to David's, you see, one morning, | 1:28:21 | 1:28:24 | |
and he's got this colour TV set and he says, er, and says, | 1:28:24 | 1:28:27 | |
"Ah, would you like to see it? You ever seen colour TV?" | 1:28:27 | 1:28:30 | |
And he switches it on, you see, and he gets the colour | 1:28:30 | 1:28:33 | |
and he turns the colour up right full on, | 1:28:33 | 1:28:36 | |
as far as the knobs'll go, you know, and he goes, "Aye." | 1:28:36 | 1:28:39 | |
And he looks like this and he says, "Aye," | 1:28:39 | 1:28:41 | |
he says, "you can have it Fauvist if you want," you know. | 1:28:41 | 1:28:44 | |
# Happy birthday, dear David | 1:28:45 | 1:28:50 | |
# Happy birthday to you. # | 1:28:50 | 1:28:54 | |
CHEERING | 1:28:54 | 1:28:57 | |
-WOMAN: -Oh, he's icing his cake. Oh, you see that? | 1:29:04 | 1:29:08 | |
'There's a wonderful self-portrait | 1:29:08 | 1:29:09 | |
'he did on his birthday, where he literally | 1:29:09 | 1:29:11 | |
'took off his Brooks Brothers red-and-white striped shirt' | 1:29:11 | 1:29:14 | |
and laid it on the copying machine and printed it in red. | 1:29:14 | 1:29:17 | |
It's a wonderful... And then he drew his face | 1:29:17 | 1:29:19 | |
and did the self-portrait. | 1:29:19 | 1:29:21 | |
He has such bravura | 1:29:23 | 1:29:25 | |
because he has such amazing ability as a draughtsman. | 1:29:25 | 1:29:28 | |
FAX MACHINE BEEPS | 1:29:36 | 1:29:37 | |
When the plain paper fax came, | 1:29:39 | 1:29:41 | |
where you could have individual pieces of paper, | 1:29:41 | 1:29:44 | |
David bought back that | 1:29:44 | 1:29:45 | |
pattern he uses all the time of doing pictures in grids, | 1:29:45 | 1:29:48 | |
so that the small piece of paper can suddenly become | 1:29:48 | 1:29:50 | |
this enormous picture. | 1:29:50 | 1:29:52 | |
WOMAN: Oh, it's tennis. | 1:29:54 | 1:29:56 | |
There's two players, a net in the middle. | 1:29:56 | 1:29:59 | |
APPLAUSE | 1:29:59 | 1:30:00 | |
He even sent a big show, a whole show, to Brazil, | 1:30:03 | 1:30:05 | |
to the Biennale, er, that he never went to. | 1:30:05 | 1:30:09 | |
He just gave the instructions of how to put it up and it was put up. | 1:30:09 | 1:30:13 | |
I think he thought it was amusing that hand was coming back | 1:30:13 | 1:30:18 | |
to this technology that most people in business | 1:30:18 | 1:30:21 | |
were using to communicate contracts and legal deals. | 1:30:21 | 1:30:25 | |
I think he's always looking for new tools. | 1:30:26 | 1:30:29 | |
He takes something that seems very common and everyday. | 1:30:29 | 1:30:34 | |
And in 2009, David had already done, I think, | 1:30:34 | 1:30:38 | |
about 200 of the iPhone drawings. | 1:30:38 | 1:30:41 | |
Most of them were flowers. | 1:30:41 | 1:30:42 | |
We all got them in New York, when we woke up | 1:30:42 | 1:30:44 | |
in the morning, so you'd have this wonderful flower | 1:30:44 | 1:30:47 | |
in the sunlight of his bedroom window. | 1:30:47 | 1:30:48 | |
Then the iPad came out | 1:30:50 | 1:30:52 | |
and then the drawings got so even more amazing, but also you | 1:30:52 | 1:30:55 | |
could do the playback of the animation of the actual drawing, | 1:30:55 | 1:30:59 | |
which was a huge new thing. | 1:30:59 | 1:31:01 | |
Even David had never been able to watch his own work as it was | 1:31:01 | 1:31:04 | |
unfolding. | 1:31:04 | 1:31:05 | |
I think it was a real lens into David's creative process. | 1:31:07 | 1:31:10 | |
Stanley. | 1:31:19 | 1:31:21 | |
Good boy. Good boy. | 1:31:21 | 1:31:24 | |
He's a good boy. | 1:31:24 | 1:31:26 | |
-Thank you. -You're welcome. | 1:31:33 | 1:31:34 | |
I think that David wants us to think differently. | 1:31:55 | 1:31:59 | |
He wants us to see differently and think differently. | 1:31:59 | 1:32:02 | |
He makes you stand in the painting. | 1:32:02 | 1:32:04 | |
He makes you look up and left and right and down. | 1:32:04 | 1:32:07 | |
And you, the experience becomes a different one | 1:32:07 | 1:32:10 | |
from the traditional easel painting. | 1:32:10 | 1:32:12 | |
David thought that the idea of a viewer | 1:32:18 | 1:32:21 | |
and the vanishing point was very anti-humanistic. | 1:32:21 | 1:32:25 | |
And the idea of you being the vanishing point | 1:32:25 | 1:32:29 | |
and the world around you opening up to you | 1:32:29 | 1:32:31 | |
was almost a religious concept in David's mind, I think. | 1:32:31 | 1:32:35 | |
I think there is possibly a great connection | 1:32:44 | 1:32:48 | |
between the way we depict space and the way we behave in it. | 1:32:48 | 1:32:53 | |
I've always thought perspective was a problem, | 1:33:02 | 1:33:05 | |
so anything that is now helping to change it, like this | 1:33:05 | 1:33:10 | |
photograph I did on an iPhone, I find quite exciting, actually. | 1:33:10 | 1:33:16 | |
This is... This seems to me to be widening perspectives. | 1:33:18 | 1:33:23 | |
It's a different perspective, wider. | 1:33:23 | 1:33:27 | |
Things are opening out, it seems to me. | 1:33:27 | 1:33:30 | |
It's better to go that way than that way, I think. | 1:33:32 | 1:33:35 | |
That way is... better than doing that, I think. | 1:33:35 | 1:33:41 | |
He realised that there was a non-photographic way | 1:33:57 | 1:33:59 | |
of seeing the world, which David really embraced. | 1:33:59 | 1:34:02 | |
Particularly because we don't see the world through one eye, | 1:34:04 | 1:34:07 | |
we see the world through two eyes spatially, | 1:34:07 | 1:34:10 | |
and I think that the spaces of California, the Grand Canyon, | 1:34:10 | 1:34:12 | |
all of those things excited him, and he always thought that painting | 1:34:12 | 1:34:16 | |
could express those things in ways that photography couldn't. | 1:34:16 | 1:34:20 | |
He always said one photograph is not good enough | 1:34:22 | 1:34:25 | |
and that photo collages were | 1:34:25 | 1:34:27 | |
an attempt to try to have a wider perspective. | 1:34:27 | 1:34:30 | |
He kept saying, "Wider perspectives are needed now." | 1:34:35 | 1:34:38 | |
'There are some good landscape photographs.' | 1:34:53 | 1:34:57 | |
There are, but not that many. | 1:34:58 | 1:35:00 | |
Partly because, I mean, | 1:35:01 | 1:35:04 | |
cameras see surfaces, they don't see space. | 1:35:04 | 1:35:09 | |
But WE see space. | 1:35:09 | 1:35:11 | |
I think the thrill in landscape | 1:35:13 | 1:35:15 | |
is a spatial thrill, actually. | 1:35:15 | 1:35:18 | |
I think so. | 1:35:18 | 1:35:19 | |
Nature is the endless infinity, isn't it? | 1:36:16 | 1:36:19 | |
You always go back to nature for things. | 1:36:20 | 1:36:23 | |
I mean... | 1:36:23 | 1:36:24 | |
That's what I was doing in Yorkshire, yeah. | 1:36:24 | 1:36:27 | |
He ate it, yeah. | 1:36:37 | 1:36:38 | |
So, now we've got an I | 1:36:38 | 1:36:40 | |
that's been made into an X. | 1:36:40 | 1:36:42 | |
You ate it, didn't you, Barney? | 1:36:42 | 1:36:44 | |
See that letter there, look? That X? | 1:36:44 | 1:36:46 | |
Barney ate the X. So I had to make a new one. | 1:36:46 | 1:36:49 | |
-So you had to make one from an I. -Yeah. | 1:36:49 | 1:36:51 | |
And what about that missing I? | 1:36:51 | 1:36:52 | |
That's totally confused me now. I realise what's thrown me out. | 1:36:52 | 1:36:55 | |
You never had too many Is. | 1:36:55 | 1:36:57 | |
It's lack of the I. | 1:36:57 | 1:36:58 | |
Yeah, in this game. | 1:36:58 | 1:37:00 | |
65. That's, er, K. | 1:37:00 | 1:37:02 | |
I don't believe it. And you've got 177? | 1:37:04 | 1:37:08 | |
-Yeah. -And I'm 65? -I'm 193. | 1:37:08 | 1:37:11 | |
You've not been watching. | 1:37:11 | 1:37:13 | |
And that, also, you see, Barney helping's not much help, really. | 1:37:13 | 1:37:16 | |
No, he's a bit thick. | 1:37:16 | 1:37:17 | |
He can't spell that good, really. | 1:37:17 | 1:37:19 | |
No, he can't spell at all. | 1:37:19 | 1:37:21 | |
Would you like the timer? | 1:37:21 | 1:37:22 | |
No, I would not, sir. Thank you. | 1:37:22 | 1:37:25 | |
DAVID LAUGHS | 1:37:25 | 1:37:27 | |
My mother was a very, very...strong woman. | 1:37:35 | 1:37:40 | |
She could look at me with piercing eyes. | 1:37:40 | 1:37:46 | |
All right. | 1:37:50 | 1:37:52 | |
Oh, there they are. | 1:37:52 | 1:37:53 | |
She died at 99. She lived | 1:37:55 | 1:37:57 | |
most of the 20th century. | 1:37:57 | 1:38:00 | |
She was born in 1900 | 1:38:00 | 1:38:02 | |
and died in 1999. | 1:38:02 | 1:38:04 | |
Ooh, are you feeling it, Paul? | 1:38:06 | 1:38:08 | |
-No. -Oh. | 1:38:08 | 1:38:09 | |
Great! The Queen's on! | 1:38:13 | 1:38:15 | |
'She had four of her children there when she died, | 1:38:15 | 1:38:18 | |
'so she was blessed, actually.' | 1:38:18 | 1:38:19 | |
Cheers. | 1:38:19 | 1:38:21 | |
Cheers. | 1:38:21 | 1:38:22 | |
'I think her last act of will was waiting for John to come | 1:38:24 | 1:38:29 | |
'from Australia.' | 1:38:29 | 1:38:30 | |
Do you want some more cream, David? | 1:38:30 | 1:38:32 | |
Oh, just a little bit, please. That's enough. | 1:38:32 | 1:38:34 | |
-'There? -Yes, thank you.' | 1:38:34 | 1:38:36 | |
The last night I stayed up with her telling her John would be | 1:38:36 | 1:38:41 | |
here in a few minutes. | 1:38:41 | 1:38:42 | |
And then she died two hours later. | 1:38:42 | 1:38:46 | |
But he was very pleased that he'd got there | 1:38:46 | 1:38:50 | |
and she knew he'd got there. | 1:38:50 | 1:38:52 | |
I remember 1966 and I've just arrived back in Bradford, | 1:39:12 | 1:39:17 | |
and you can tell, I've just come back from Hollywood. | 1:39:17 | 1:39:20 | |
And I put a cigarette in my mouth | 1:39:20 | 1:39:22 | |
and my father's trying to take it out of my hand. | 1:39:22 | 1:39:25 | |
And that's 50 years ago now. | 1:39:27 | 1:39:30 | |
And I'm just about to outlive him, I think, this year. | 1:39:30 | 1:39:33 | |
Back then, in the '50s, you've got to remember that a young painter | 1:39:49 | 1:39:53 | |
was 40. | 1:39:53 | 1:39:54 | |
So, if you were going to be a painter, | 1:39:54 | 1:39:58 | |
it took a tremendous amount of commitment then... | 1:39:58 | 1:40:01 | |
that you had to face the fact that you'd probably be digging roads | 1:40:01 | 1:40:06 | |
or working in the mill or anything | 1:40:06 | 1:40:09 | |
until you got old enough to be a young painter. | 1:40:09 | 1:40:12 | |
In those days, | 1:40:19 | 1:40:21 | |
there was a tremendous amount of aggression going on, | 1:40:21 | 1:40:24 | |
and I was involved with various gangs and things. | 1:40:24 | 1:40:27 | |
I was all in all sorts of fights, always was. | 1:40:27 | 1:40:30 | |
But Dave was much tougher than me. | 1:40:30 | 1:40:32 | |
He wasn't involved with fights and things. | 1:40:32 | 1:40:35 | |
But he'd go around with his bowler hat on | 1:40:35 | 1:40:38 | |
and his moleskin trousers, pushing a pram | 1:40:38 | 1:40:42 | |
with an easel, canvas and paints. | 1:40:42 | 1:40:46 | |
And it takes a bit of strength to do that. | 1:40:47 | 1:40:50 | |
I couldn't have done that. | 1:40:52 | 1:40:53 | |
# L is for the way you look at me... # | 1:40:55 | 1:41:01 | |
When David left to go to America, | 1:41:01 | 1:41:03 | |
he just changed his pram for whatever else there was out there. | 1:41:03 | 1:41:07 | |
It was the same thing. | 1:41:07 | 1:41:10 | |
In a way, LA was another Bradford. | 1:41:10 | 1:41:12 | |
His whole outlook on things, in many ways, has stayed the same. | 1:41:14 | 1:41:18 | |
I mean, there were things that opened up for him, | 1:41:18 | 1:41:21 | |
like the gay thing and all that. | 1:41:21 | 1:41:24 | |
I mean, that, that was a tremendous influence on him. | 1:41:24 | 1:41:27 | |
But, basically, he's still searching. | 1:41:27 | 1:41:32 | |
# L is for the way you look at me | 1:41:57 | 1:42:03 | |
# O is for the only one I see | 1:42:03 | 1:42:10 | |
# V is very, very extraordinary | 1:42:10 | 1:42:16 | |
# E is even more than anyone that you adore can | 1:42:16 | 1:42:22 | |
# Love is all that I can give to you | 1:42:22 | 1:42:28 | |
# Love is more than just a game for two | 1:42:28 | 1:42:34 | |
# Two in love can make it | 1:42:34 | 1:42:37 | |
# Take my heart and please don't break it | 1:42:37 | 1:42:40 | |
# Love was made for me and you | 1:42:40 | 1:42:45 | |
# Love was made for me and you | 1:42:45 | 1:42:50 | |
# Love was made... # | 1:42:50 | 1:42:54 | |
MUSIC: Sauntering by John Harle | 1:42:58 | 1:43:00 |