0:00:11 > 0:00:13I'm Rankin, a British photographer.
0:00:15 > 0:00:18I've been photographing some of the world's most talented
0:00:18 > 0:00:20and famous people for over 20 years.
0:00:22 > 0:00:26My work takes me to LA a lot, and I love the place.
0:00:28 > 0:00:31I've always been intrigued by the Hollywood dream,
0:00:31 > 0:00:35the idea that anyone can come here and become a superstar.
0:00:35 > 0:00:41Some of those stars not only created the dream, but they keep it alive.
0:00:41 > 0:00:45What fascinates me is it's not only the movies they starred in but their
0:00:45 > 0:00:49photographs that gave these screen legends their iconic status.
0:00:50 > 0:00:54I think the iconic images stay with you because they touch you,
0:00:54 > 0:00:58because they give you a feeling of something about that person
0:00:58 > 0:01:01or about that look, and we connect with them.
0:01:03 > 0:01:08How did the photographers achieve this remarkable connection with us
0:01:08 > 0:01:11and what is it that makes them so powerful?
0:01:11 > 0:01:14Hollywood's images endure across generations
0:01:14 > 0:01:15and have certainly influenced me,
0:01:15 > 0:01:18so I'm going to delve a bit deeper
0:01:18 > 0:01:21into how these remarkable images were achieved
0:01:21 > 0:01:24by recreating what I think are some of the most memorable.
0:01:38 > 0:01:44I used to spend my childhood looking out of the car windows and thinking
0:01:44 > 0:01:49about things framed, and I think a lot of photographers and film makers
0:01:49 > 0:01:55probably looked at the world in this way, through a window, thinking, "This is how I see something."
0:01:55 > 0:02:01And it gives you the chance to capture what you see in a camera,
0:02:01 > 0:02:05but also it's a way of communicating your ideas
0:02:05 > 0:02:10and your feelings and your emotions within the images.
0:02:12 > 0:02:16I've chosen to recreate images that are very much of their time
0:02:16 > 0:02:19so will show me what Hollywood was really like when they were taken.
0:02:24 > 0:02:27Some of LA's leading creatives are going to help me.
0:02:27 > 0:02:31Between them, they've worked with some of the biggest stars in Hollywood.
0:02:34 > 0:02:38And since movie stars are essential to any Hollywood photograph,
0:02:38 > 0:02:41I've assembled a cast of top Hollywood actors to join me -
0:02:41 > 0:02:44Leslie Mann from the hit comedy Knocked Up,
0:02:44 > 0:02:48Selma Blair, star of Legally Blonde,
0:02:48 > 0:02:52Matthew Rhys from US drama Brothers and Sisters
0:02:52 > 0:02:56and the extraordinary character actor Michael Sheen,
0:02:56 > 0:02:59star of The Damned United and Frost/Nixon.
0:02:59 > 0:03:03Plus a real Hollywood legend, Jane Russell.
0:03:10 > 0:03:16I'm starting with one of Hollywood's greatest screen sensations, Charlie Chaplin.
0:03:16 > 0:03:19Younger people might not even have seen a Charlie Chaplin film,
0:03:19 > 0:03:23yet everybody in the world still knows who this guy is,
0:03:23 > 0:03:27and that image of him has been perpetuated by photography.
0:03:27 > 0:03:29It's not necessarily film that's done it.
0:03:29 > 0:03:31And what's really interesting about
0:03:31 > 0:03:36portraiture and Hollywood is that, actually,
0:03:36 > 0:03:43photography is what has sustained these icons over the last century.
0:03:45 > 0:03:48- If you look at all of the photographs of him
0:03:48 > 0:03:51throughout his career, they're fantastic photographs.
0:03:51 > 0:03:56He never really took a photograph that didn't tell you a story, so...
0:03:56 > 0:03:59Even here, he's telling you the story about the tramp, so...
0:03:59 > 0:04:02He's one of my favourites.
0:04:02 > 0:04:06To me, it looks like it was shot on location
0:04:06 > 0:04:09outside with natural daylight.
0:04:09 > 0:04:15Also, we have to remember at that time that lighting was very limited.
0:04:15 > 0:04:20And this is why people came to Hollywood to make films, because the light was so good.
0:04:20 > 0:04:25Generally, 350 days of the year it's lovely sunshine.
0:04:25 > 0:04:29So we're going to go into the parking lot, set up a white drop
0:04:29 > 0:04:32and then scrim it, cos it's a very soft side light
0:04:32 > 0:04:35coming from his left-hand side, our right-hand side.
0:04:35 > 0:04:38So we're going to give it a go and see what it looks like.
0:04:40 > 0:04:43Acclaimed British character actor Michael Sheen
0:04:43 > 0:04:47has played public figures like Brian Clough in The Damned United,
0:04:47 > 0:04:51David Frost in Frost/Nixon and, famously, Tony Blair.
0:04:51 > 0:04:55He's taking up the challenge of posing as Chaplin.
0:04:55 > 0:04:59Every morning, going onto the film set, I'll sit in make-up,
0:04:59 > 0:05:02and that becomes a really important period of time for me,
0:05:02 > 0:05:06cos I'll always get the photographs of the character
0:05:06 > 0:05:08or anything that visually kind of helps me,
0:05:08 > 0:05:11and we'll put them up on the mirror and sit in there
0:05:11 > 0:05:16for an hour or whatever it is, an hour ½, every morning.
0:05:16 > 0:05:20It's like slowly it starts to seep in, looking in the mirror...
0:05:20 > 0:05:23Clearly, there's a lot of him in it.
0:05:23 > 0:05:26It's a mask as much as any actual mask is,
0:05:26 > 0:05:30that he's created this kind of mask to reveal himself.
0:05:30 > 0:05:31Like Oscar Wilde said,
0:05:31 > 0:05:34"Give a man a mask and he'll show you his true face,"
0:05:34 > 0:05:35and that's so true.
0:05:35 > 0:05:39I wanted to see if Michael wanted it to be as we just talked, that mask,
0:05:39 > 0:05:43and we'll do the full make-up, or if just the costume and the hat
0:05:43 > 0:05:46and maybe that would be enough, and your face...
0:05:46 > 0:05:48I think the full make-up. Don't you?
0:05:48 > 0:05:50- I think we should go for the full thing, yeah.- Yeah?
0:05:50 > 0:05:52- Yeah.- What, a total transformation?
0:05:52 > 0:05:57I'd veer towards being heavier with the make-up rather than lighter,
0:05:57 > 0:06:01because I'm liking the idea of being able to get a sense of someone
0:06:01 > 0:06:05way back there somehow looking out from behind this mask.
0:06:07 > 0:06:09The distinctiveness of Chaplin's look
0:06:09 > 0:06:11is both a challenge and an advantage.
0:06:11 > 0:06:15Chaplin is one of the most recognisable characters in history,
0:06:15 > 0:06:18so it's important to get him just right.
0:06:20 > 0:06:23The costume that we selected for Chaplin,
0:06:23 > 0:06:26we did the kind of turn-of-the-century-looking
0:06:26 > 0:06:29cutaway jacket and the little waistcoat.
0:06:29 > 0:06:31And since he's kind of like a hobo,
0:06:31 > 0:06:35we just did these kind of like ties that are just kind of a little sash.
0:06:35 > 0:06:39- Where did you get them from? - All this came from Western Costume.
0:06:39 > 0:06:41They have archives of clothes back through
0:06:41 > 0:06:48the mid-1800s up till current, loads of everything you can imagine.
0:06:48 > 0:06:51I've picked several different waistcoats.
0:06:51 > 0:06:54Like, this one was just kind of a dingy cotton.
0:06:54 > 0:06:57This is the fabric that would be most accurate,
0:06:57 > 0:06:59but I think the pattern on this one
0:06:59 > 0:07:02would probably be closest to a Chaplin pattern.
0:07:03 > 0:07:06Why did he go for this costume?
0:07:06 > 0:07:11Well, he was on the set, Keystone, his first couple of weeks on the job,
0:07:11 > 0:07:15and it was early February of 1914, and his director, Mack Sennett,
0:07:15 > 0:07:18just told him to go put on a comedy make-up.
0:07:22 > 0:07:25He borrowed a little bit of this and that from other people,
0:07:25 > 0:07:27and, according to Keystone,
0:07:27 > 0:07:31he used large, gargantuan pants belonging to Fatty Arbuckle.
0:07:31 > 0:07:35And another comedian, James Avery, he used his small jacket.
0:07:35 > 0:07:40And then he borrowed a derby from Arbuckle's father-in-law
0:07:40 > 0:07:44and Ford Sterling's size 14 shoes.
0:07:44 > 0:07:46They were so big for Chaplin
0:07:46 > 0:07:49he had to put them on the opposite feet just to get them to stay on,
0:07:49 > 0:07:52and that's where part of the splay-footed walk comes from.
0:07:52 > 0:07:55How old was he at this point?
0:07:55 > 0:07:57He would have been in his early twenties.
0:07:57 > 0:08:00I think the costume overall, when you look at it,
0:08:00 > 0:08:04it's somebody who's still very much down on their luck,
0:08:04 > 0:08:07not financially secure, obviously.
0:08:07 > 0:08:13He's still trying to become part of the petit bourgeoisie with the hat, the cane.
0:08:13 > 0:08:16He's still trying to maintain his respectability.
0:08:16 > 0:08:20And I think that that was something that was very important to people
0:08:20 > 0:08:22who immigrated here, who were still finding their way
0:08:22 > 0:08:25and trying to find their feet financially and socially.
0:08:25 > 0:08:28And the fact that his films were silent,
0:08:28 > 0:08:30there wasn't a language barrier,
0:08:30 > 0:08:34so immigrants who came to the US could easily understand
0:08:34 > 0:08:36his films and appreciate them.
0:08:49 > 0:08:53I take pictures of actors a lot but rarely in character,
0:08:53 > 0:08:58and I was enthralled by Michael's detailed and ritualised preparation.
0:08:58 > 0:09:00It's not the right shape, either.
0:09:00 > 0:09:03This is sort of wider here than it is here,
0:09:03 > 0:09:07so it's making that shape, whereas his is straighter.
0:09:09 > 0:09:13Well, it's kind of...yeah, I think it's sort of like, it comes....
0:09:13 > 0:09:15Yeah, it's more like... not a triangle.
0:09:15 > 0:09:21'I drive people mad, I think, cos I'm so particular about things.'
0:09:21 > 0:09:25- That's pretty close, I think. - Maybe not as pointed there.
0:09:25 > 0:09:27Yeah, maybe not.
0:09:27 > 0:09:30And slightly fuller on the end, as well.
0:09:30 > 0:09:32What do you think like that?
0:09:32 > 0:09:34It's slightly uneven.
0:09:36 > 0:09:38We're going to cut it.
0:09:38 > 0:09:42And I think it's quite good having that slightly smokier thing around the top of it.
0:09:42 > 0:09:44- Blend it a little bit? - Yeah, a little bit, yeah.
0:09:46 > 0:09:47- Mm.- Shall we get dressed?
0:09:47 > 0:09:49Yeah.
0:09:52 > 0:09:55I don't like looking at myself, particularly,
0:09:55 > 0:09:57so the more I'm looking in the mirror
0:09:57 > 0:10:01and the more I start to see the character start to emerge,
0:10:01 > 0:10:03then I know when I'm getting there,
0:10:03 > 0:10:05because I start enjoying looking at myself!
0:10:08 > 0:10:12Can I ask you to see what you think?
0:10:12 > 0:10:16Can we just fill in that a little bit?
0:10:16 > 0:10:19- Darker?- Yeah. Just...
0:10:20 > 0:10:23I love how into this you are. It's amazing!
0:10:25 > 0:10:27I'm obsessive.
0:10:27 > 0:10:29It's the ultimate character,
0:10:29 > 0:10:33and you've got the ultimate character actor
0:10:33 > 0:10:36playing the ultimate character, so...
0:10:36 > 0:10:38It's a nice circle, really.
0:10:42 > 0:10:44It's very exciting.
0:10:52 > 0:10:53OK.
0:10:56 > 0:10:58God, it's great!
0:11:02 > 0:11:05That's great. Chin down a little.
0:11:05 > 0:11:08'Listening to Michael talk about how he gets into someone's head
0:11:08 > 0:11:10'as an actor to play a real person'
0:11:10 > 0:11:15is a really interesting reflection on what a photographer does
0:11:15 > 0:11:19to pull out the person that's beneath the mask, as he put it.
0:11:19 > 0:11:22And tilt at the waist a little to the left.
0:11:22 > 0:11:24That's it there. Great.
0:11:24 > 0:11:26'And that's my ambition for this shot,
0:11:26 > 0:11:30'to capture not just an image of Chaplin, but Michael's performance.'
0:11:30 > 0:11:33Your nose to the right a little. That's it.
0:11:33 > 0:11:35Tilt the top of the head to the left a tiny bit.
0:11:35 > 0:11:40And then your nose slightly to the right. That's it. Good.
0:11:40 > 0:11:44That's great. Eyebrows...
0:11:44 > 0:11:46Really looking through...
0:11:49 > 0:11:53- Oh, I love it.- There's something kind of resigned about his face...
0:11:53 > 0:11:56- Yes.- ..and that's what's kind of difficult to get.
0:11:56 > 0:11:59He's both kind of present and not present.
0:12:01 > 0:12:04- Can we just do a few more? - Yeah, we can do as many as you want.
0:12:04 > 0:12:08Rather than trying to get exactly the right physicality,
0:12:08 > 0:12:12I want to try and do whatever it takes to get the right sort of feel.
0:12:12 > 0:12:13Yeah. Let's go for it.
0:12:18 > 0:12:20OK.
0:12:20 > 0:12:22I want to sort of look down,
0:12:22 > 0:12:25- and then just say "When" and I'll look up.- OK.
0:12:29 > 0:12:32'And now, as if by magic,
0:12:32 > 0:12:35'Charlie appears.' Three, two, one.
0:12:37 > 0:12:38Wow.
0:12:38 > 0:12:42Oh, dude! Dude, dude!
0:12:42 > 0:12:45Oh, my God, that's amazing!
0:12:45 > 0:12:47- That's closer.- That's amazing!
0:12:49 > 0:12:50That's a bit weird.
0:12:50 > 0:12:53It's really different. He really looks like him.
0:12:55 > 0:12:57Yeah?
0:12:57 > 0:13:01- I'm really excited by that.- Yeah.
0:13:01 > 0:13:05Because Michael's done real people before,
0:13:05 > 0:13:09I think he knows how to try and inhabit a character.
0:13:09 > 0:13:16I get a little bit kind of obsessed by form and position and stuff, and
0:13:16 > 0:13:20he did that very naturally, and once he'd got into that,
0:13:20 > 0:13:24he just took it the extra mile.
0:13:24 > 0:13:27That's it, for me.
0:13:27 > 0:13:29- I'm really happy with that. - Great. OK, good.
0:13:29 > 0:13:34Good. I would mess around with the hat a little bit.
0:13:34 > 0:13:38I don't like the shape of the hat. It's not quite right.
0:13:48 > 0:13:50The Chaplin image is a great one to start with,
0:13:50 > 0:13:55marking the moment audiences fell in love with the idea of a movie star.
0:13:55 > 0:13:58The industry exploded, and fans were hungry
0:13:58 > 0:14:00for images of their screen idols,
0:14:00 > 0:14:05so an array of fantastic photographs were produced to meet the demand.
0:14:06 > 0:14:08But as Hollywood became big business,
0:14:08 > 0:14:11a constant supply of superstars was needed,
0:14:11 > 0:14:15so the studios began, in essence, to manufacture them.
0:14:16 > 0:14:20Beautiful women and men were given lessons in singing,
0:14:20 > 0:14:22dancing and, of course, acting.
0:14:22 > 0:14:25Hollywood stylists experimented with hairstyles,
0:14:25 > 0:14:29make-up and clothes to achieve just the right look to market them,
0:14:29 > 0:14:31using alluring publicity stills.
0:14:38 > 0:14:41A brilliant example of this is actress Theda Bara.
0:14:43 > 0:14:48A tailor's daughter from Ohio, she was marketed as seriously exotic.
0:14:48 > 0:14:51Audiences were told she was half French and Italian
0:14:51 > 0:14:53and grew up in the shadow of the Sphinx.
0:14:55 > 0:14:58Theda's image was also artfully styled,
0:14:58 > 0:15:02transforming her from a plain Jane to smouldering vamp.
0:15:02 > 0:15:08With daring costumes and flamboyant make-up, she oozed raw sex appeal.
0:15:14 > 0:15:15Theda was a hit.
0:15:15 > 0:15:20Provocative images like this drove thrill-seeking audiences
0:15:20 > 0:15:23to cinemas just to see their idols on the screen.
0:15:23 > 0:15:26The best portrait photographers were hired,
0:15:26 > 0:15:29and soon hundreds of magical images promoting the stars
0:15:29 > 0:15:31filled the world's newspapers
0:15:31 > 0:15:32and magazines.
0:15:34 > 0:15:37Those Hollywood photos of the 1920s and '30s
0:15:37 > 0:15:40show just how skilled the photographers were
0:15:40 > 0:15:44at drawing out the most beautiful characteristics of their subjects.
0:15:44 > 0:15:48They used soft lighting and diffused lenses
0:15:48 > 0:15:52to create images of dreamy, romantic and perfect idols.
0:16:00 > 0:16:06A photographer who typifies this golden age of Hollywood is Clarence Sinclair Bull.
0:16:06 > 0:16:10His mesmerising photos of Greta Garbo are truly iconic.
0:16:13 > 0:16:16Mark Vieira, an expert on classic Hollywood photography,
0:16:16 > 0:16:21is going to help me look more closely at Bull's techniques.
0:16:21 > 0:16:27But it's actually the camera that produced the characteristic look of this period.
0:16:27 > 0:16:30This is a soft-focus lens,
0:16:30 > 0:16:36and it's manufactured with a photographic defect,
0:16:36 > 0:16:42which is that the points don't focus on the same spot.
0:16:42 > 0:16:44If you focus in front of the nose,
0:16:44 > 0:16:49you get beautiful, soft, milky highlights and you get halations.
0:16:49 > 0:16:53When it's wide open, it's really soft,
0:16:53 > 0:16:56and then, as you close it down, it's less and less soft.
0:16:56 > 0:17:01Clarence Bull, photographing Garbo, used it wide open,
0:17:01 > 0:17:06which means that it'll give a nice, creamy, soft effect.
0:17:07 > 0:17:10Clarence Bull took over 4,000 photos of Garbo,
0:17:10 > 0:17:14and the intense bond between them shows.
0:17:14 > 0:17:17He expertly captured her in a mood.
0:17:20 > 0:17:24The composition of the photo we're recreating is exquisite.
0:17:24 > 0:17:27I love the way Garbo's face is framed,
0:17:27 > 0:17:31drawing the viewer in and making you feel like you really know her.
0:17:31 > 0:17:36I think the best portraits reveal the relationship between photographer and subject.
0:17:36 > 0:17:41Garbo eventually refused to work with anybody else except for Bull.
0:17:42 > 0:17:45How do you feel, stepping into her shoes?
0:17:45 > 0:17:47I love it.
0:17:47 > 0:17:50Happy. Sad. Uh...
0:17:50 > 0:17:54Leslie Mann is famous for her comedy performances,
0:17:54 > 0:17:57but it's Garbo's melancholy yet bewitching gaze
0:17:57 > 0:18:02and that special relationship that we're both keen to capture.
0:18:02 > 0:18:08So I recreated the intimate studio set-up Sinclair Bull and Garbo used.
0:18:08 > 0:18:11That's really getting there. A little more for me.
0:18:12 > 0:18:13Wow.
0:18:17 > 0:18:18OK, that's great.
0:18:22 > 0:18:24That's really great.
0:19:10 > 0:19:14It's just trying to straighten it a little more. Pan round more.
0:19:14 > 0:19:15That's it.
0:19:16 > 0:19:17Wow.
0:19:19 > 0:19:22That's amazing, the eyes.
0:19:25 > 0:19:27Fantastic.
0:19:27 > 0:19:29Now, this last one's it.
0:19:29 > 0:19:33I feel like I'm looking at an old photograph.
0:19:33 > 0:19:36I feel like I'm looking at something that was taken in the...
0:19:36 > 0:19:41..in the '20s or '30s.
0:19:43 > 0:19:46- You really look like her!- Yeah.
0:19:46 > 0:19:48She looks more disturbed.
0:19:50 > 0:19:54- Yeah, but it's still great. - Yeah, it looks great.
0:19:54 > 0:19:58- I'm really happy with that. - Me too. I think it looks great.
0:20:04 > 0:20:08Hollywood has always provided escapism, and during the dark days
0:20:08 > 0:20:11of the Depression, America was hooked by the movies.
0:20:11 > 0:20:15The portrait photographers were a critical part of this dream machine,
0:20:15 > 0:20:17and the Hollywood studios thrived.
0:20:19 > 0:20:23In 1941, one of America's wealthiest men, Howard Hughes,
0:20:23 > 0:20:27turned his attention from his aviation empire
0:20:27 > 0:20:29to exploit the mass appeal
0:20:29 > 0:20:31and huge influence of Hollywood.
0:20:31 > 0:20:34He produced a film called The Outlaw and commissioned
0:20:34 > 0:20:38some particularly risque photos of Jane Russell to publicise it.
0:20:41 > 0:20:44What I like the most about the image is the history of the image,
0:20:44 > 0:20:51because it has so many connotations of pin-up and of sexuality,
0:20:51 > 0:20:58but it's a classic, classic... um, glamour photograph.
0:20:58 > 0:21:01But it's got a lot of sexual innuendo going on it,
0:21:01 > 0:21:03so you've got the leg,
0:21:03 > 0:21:05which you can see almost...
0:21:05 > 0:21:09This isn't a stocking, but it looks a little bit like a stocking.
0:21:09 > 0:21:11Obviously, the breasts are very prominent,
0:21:11 > 0:21:13and you've got the naked shoulder,
0:21:13 > 0:21:16so it's as if she's not wearing a bra. Her arm's up.
0:21:16 > 0:21:18It's a kind of "come hither" sort of thing,
0:21:18 > 0:21:21but at the same time she's got the gun, the pistol,
0:21:21 > 0:21:24so it's got a little bit of danger going on.
0:21:27 > 0:21:30Hollywood has always pushed the boundaries,
0:21:30 > 0:21:34but The Outlaw was made at a time when industry regulators
0:21:34 > 0:21:38had taken a particularly hard line when it came to sex on screen.
0:21:38 > 0:21:42The infamous Hays Production Code detailed exactly what was
0:21:42 > 0:21:44and, crucially, what wasn't allowed
0:21:44 > 0:21:47when it came to violence and sex in movies.
0:21:47 > 0:21:49And in the history of photography,
0:21:49 > 0:21:54this is quite an interesting image, because it did mark a kind of move
0:21:54 > 0:21:57to a style of photography that was a little bit different
0:21:57 > 0:22:00from what was going on before. Is that right?
0:22:00 > 0:22:03It was almost like... OK, in two ways.
0:22:03 > 0:22:05Technically bold, iconoclastic,
0:22:05 > 0:22:08something that hadn't been done before.
0:22:08 > 0:22:13Aesthetically, it was almost like he was defying the production code
0:22:13 > 0:22:17and saying, "I'm going to put the sexual thoughts on this photo paper,"
0:22:17 > 0:22:19and nobody else had done that.
0:22:19 > 0:22:21Howard Hughes hired George Hurrell
0:22:21 > 0:22:24to take the publicity photos of Jane Russell,
0:22:24 > 0:22:28and he broke new ground with this sizzling shot.
0:22:28 > 0:22:33Hurrell pretty much created the idea of the Hollywood glamour photo,
0:22:33 > 0:22:37and what Hurrell did that was different was to bring drama,
0:22:37 > 0:22:41to use more dramatic lighting to sharpen the picture,
0:22:41 > 0:22:45to go from the soft-focus lens to a commercial lens,
0:22:45 > 0:22:50a hard lens, because he knew the effect he wanted to accomplish,
0:22:50 > 0:22:52a bold, sexy, dynamic look.
0:22:56 > 0:22:59I'm not shy when it comes to taking sexy photos
0:22:59 > 0:23:02but was glad my wife Tuuli, who's an aspiring actress,
0:23:02 > 0:23:04agreed to pose as Jane.
0:23:05 > 0:23:08What are your thoughts, gang?
0:23:08 > 0:23:13Just keep it literal, I would say - red lips, strong eyebrows...
0:23:13 > 0:23:15- Siren.- Siren, yeah.
0:23:15 > 0:23:17- I think it would be a crime to... - Bombshell.
0:23:17 > 0:23:19Bombshell, beautiful.
0:23:19 > 0:23:21The '50s pin-up kind of look,
0:23:21 > 0:23:25it's so sexy, and it transcends
0:23:25 > 0:23:28from the '40s and the '50s right until today.
0:23:28 > 0:23:30Everyone wants to have that gorgeous hair.
0:23:30 > 0:23:32It really frames the face beautifully.
0:23:32 > 0:23:35So I think, for us, it's a really good go-to.
0:23:35 > 0:23:41Well, this picture, this is all about the chest area, obviously.
0:23:41 > 0:23:45- I was looking at the pistol! - Yeah, right(!)
0:23:45 > 0:23:47And what are you going to do about the boobs?
0:23:47 > 0:23:50We do have to create a double D size cup.
0:23:50 > 0:23:54She's definitely a D, but she looks double D in this picture.
0:23:54 > 0:23:58We have some little things that we like to call "chicken cutlets".
0:23:58 > 0:24:01I think you're going to need bigger ones than that, love.
0:24:01 > 0:24:03- We have double.- These are tiny!
0:24:03 > 0:24:07- Here's the big ones, right here. - I don't really need them.
0:24:08 > 0:24:11- See, so what we do... - Whoa, they're whammers!
0:24:11 > 0:24:14I've dropped my tit. Sorry.
0:24:14 > 0:24:16I've dropped my boob, I should say.
0:24:16 > 0:24:19So what we do here - these are sticky, so you stick them on.
0:24:19 > 0:24:21I've gone out with girls that have got these.
0:24:21 > 0:24:24- But they've got them inside. - Inside, yeah!
0:24:24 > 0:24:27- So you stick these on.- Stick 'em on.
0:24:27 > 0:24:29You pull 'em together, you clip 'em,
0:24:29 > 0:24:31you give 'em a little snap like this.
0:24:31 > 0:24:33- Mm!- There you go! Feels real?
0:24:33 > 0:24:35Yeah. Real enough.
0:24:35 > 0:24:39They have, like, double padding to add into it.
0:24:39 > 0:24:44So we may layer all three of these, actually, in this picture...
0:24:46 > 0:24:49And of course, her revolver up there.
0:24:49 > 0:24:52They're very light. These are actually wardrobe.
0:24:52 > 0:24:54So you want to go like this.
0:24:54 > 0:24:57OK, and you walk three paces and turn.
0:24:59 > 0:25:00Too slow.
0:25:03 > 0:25:05You get out of here.
0:25:05 > 0:25:07And shut the door.
0:25:08 > 0:25:11Jane Russell was only 19 when the photo was taken,
0:25:11 > 0:25:14and she's lived in the limelight ever since.
0:25:14 > 0:25:16She's Hollywood royalty,
0:25:16 > 0:25:18and though I've worked with my fair share of stars,
0:25:18 > 0:25:22I was genuinely excited when Jane came to talk to me
0:25:22 > 0:25:25about posing for this famous photo.
0:25:25 > 0:25:27Did Howard Hughes have anything to do with the pose?
0:25:27 > 0:25:31No, no. I never saw him.
0:25:31 > 0:25:34He was supposed to have designed a bra for you to wear...
0:25:34 > 0:25:41Yes, I know, but that's because I was wearing a silk jersey blouse.
0:25:41 > 0:25:45- Yeah.- And you could see the seams,
0:25:45 > 0:25:51and he didn't like that. He was way ahead of his time, actually.
0:25:51 > 0:25:54He was looking for a seamless bra.
0:25:54 > 0:25:56But they didn't have such a thing.
0:25:56 > 0:26:00So he tried to have one put together.
0:26:00 > 0:26:04And I tried it on, and it wasn't comfortable.
0:26:04 > 0:26:11So, I knew what he was trying to do, and I put my own bra on,
0:26:11 > 0:26:17and then I covered it with Kleenex - not tissue paper,
0:26:17 > 0:26:22which they always say in the magazines.
0:26:22 > 0:26:24Tissue paper would make it look...
0:26:24 > 0:26:28You're talking about Kleenex that you use to blow your nose.
0:26:28 > 0:26:33Yeah, regular Kleenex, and it was soft, and it covered up the seams,
0:26:33 > 0:26:36and they looked and looked and looked
0:26:36 > 0:26:40and said, "Well, yeah, that's going to work."
0:26:40 > 0:26:42They thought it was Hughes',
0:26:42 > 0:26:47and I had thrown his under the cot in my dressing room!
0:26:48 > 0:26:51- You're going to give me grief, aren't you?- Yes.
0:26:51 > 0:26:54Do you think, styling-wise, we've kind of captured...
0:26:54 > 0:26:58Please, I know we could never capture your own essence,
0:26:58 > 0:27:01but have we captured a little bit of the era for you?
0:27:01 > 0:27:02- Sure!- OK.
0:27:02 > 0:27:07Why didn't you do her flat on one side?
0:27:07 > 0:27:10Cos she's going to be lying down!
0:27:10 > 0:27:12OK. This is the side that should be out.
0:27:12 > 0:27:14- Oh, it is?- Well...
0:27:17 > 0:27:20Whatever. You just got to do what you want to do.
0:27:20 > 0:27:25Just be yourself and look at the camera
0:27:25 > 0:27:30- like you're looking at somebody.- OK.
0:27:30 > 0:27:33- There's only one Jane Russell.- Yes.
0:27:33 > 0:27:36Thank heaven!
0:27:49 > 0:27:50TUULI GIGGLES
0:27:50 > 0:27:55- You're just gazing at my tits! - Just gazing at your boobs.
0:27:55 > 0:27:57God, that looks pretty good straightaway, doesn't it?
0:27:57 > 0:28:02Well, the thing with these old 10x8s, the image is upside down
0:28:02 > 0:28:06and it's back to front, and so it's quite complicated.
0:28:06 > 0:28:09I'm just going to kind of smooth out some of the wrinkles,
0:28:09 > 0:28:11like here across the tummy area.
0:28:14 > 0:28:19The skirt has kind of a lot of little folds in it,
0:28:19 > 0:28:22so to keep extra folds and the fullness...
0:28:22 > 0:28:28The hair and make-up's good, the styling's looking good, she's more stretched.
0:28:28 > 0:28:31I mean, I think if we want to really try to recreate it precisely,
0:28:31 > 0:28:34there's quite a lot of stuff we need to do.
0:28:36 > 0:28:40Let's have a look. Like that? And back.
0:28:40 > 0:28:41- And up.- OK, I need something,
0:28:41 > 0:28:44cos there's a hole there, so there's nothing there.
0:28:44 > 0:28:48So, her nose goes up that way, and then... That's it.
0:28:48 > 0:28:53Yeah, that's getting there. And then push your chin back, like that.
0:28:53 > 0:28:55So is that the right place?
0:28:55 > 0:28:58Yeah, that's it, and then the head back, like that. That's it, yeah.
0:28:58 > 0:29:02I would never position a model this minutely,
0:29:02 > 0:29:06because it's much more interesting if you get a model
0:29:06 > 0:29:10into position and then they find positions themselves.
0:29:10 > 0:29:12How hard is it for you, Tuuls?
0:29:12 > 0:29:15I don't have any feelings in my hands any more.
0:29:15 > 0:29:18So if I drop the gun, I'm sorry.
0:29:18 > 0:29:20Hold that a second.
0:29:20 > 0:29:22The light's not right, but...
0:29:26 > 0:29:30Using a 10x8 camera is definitely more about positioning,
0:29:30 > 0:29:33because your lighting's so specific.
0:29:33 > 0:29:35So he would have probably set his lights
0:29:35 > 0:29:38and then kind of moved them a lot quicker,
0:29:38 > 0:29:41but he would have had to be a little bit more structured
0:29:41 > 0:29:43than I would normally be.
0:29:43 > 0:29:45Yeah, then bring it round.
0:29:45 > 0:29:47Bring it round.
0:29:48 > 0:29:51I mean, it was very close right there.
0:29:51 > 0:29:54It's almost like his key light was over here.
0:29:55 > 0:29:59'I thought the lighting for this shot seemed straightforward,
0:29:59 > 0:30:04'but we'd all underestimated the challenges of Hurrell's set-up.'
0:30:04 > 0:30:07Maybe he was over here.
0:30:07 > 0:30:15Yeah, it's just really hard, it's really hard to get it all the same,
0:30:15 > 0:30:18hard to tighten everything up.
0:30:18 > 0:30:20It's not like a fingerprint,
0:30:20 > 0:30:24you can just put your finger on it and go, "Right, that's it".
0:30:24 > 0:30:27- Rankin?- Yeah?- That's about twice as high as it needs to be.
0:30:27 > 0:30:31That's too high. Your two lights are fighting each other. This is...
0:30:31 > 0:30:34Somebody focused this in. It shouldn't be focused in,
0:30:34 > 0:30:36it should be feathered out like that,
0:30:36 > 0:30:40the scrim is too high and this should be more over like this.
0:30:41 > 0:30:46And see, now that light under her chin from the kicker is not exactly where it should be.
0:30:46 > 0:30:48It's still not where it ought to be.
0:30:53 > 0:30:56- OK.- Just leave it. Just leave it.
0:30:58 > 0:31:00- Yeah!- Looks interesting.
0:31:00 > 0:31:02Not what you were setting for?
0:31:02 > 0:31:04No, I wouldn't go for that, but... No.
0:31:06 > 0:31:08Erm...
0:31:11 > 0:31:15'Lighting is such a critical but delicate aspect of photography.'
0:31:15 > 0:31:19Even though Mark had shared Hurrell's precise techniques,
0:31:19 > 0:31:22the fact we're in a different studio with different lights
0:31:22 > 0:31:24and even different hay
0:31:24 > 0:31:27means we have to adapt the set-up to get the same effect.
0:31:27 > 0:31:33I've always looked at these recreations of Hollywood Golden Age photographs
0:31:33 > 0:31:37and thought, "God, they really can't get them right."
0:31:37 > 0:31:40And now I'm learning why.
0:31:40 > 0:31:43That's it. Great. OK, let's shoot it.
0:31:48 > 0:31:50- Totally sharp.- Great.
0:31:52 > 0:31:55And into the camera.
0:31:55 > 0:31:58And the mouth open.
0:31:58 > 0:32:00Right through the lens, baby.
0:32:00 > 0:32:03Three, two, one...
0:32:03 > 0:32:04OK, great.
0:32:06 > 0:32:09Let's let Tuuli go, guys, come on.
0:32:15 > 0:32:18- That's great. - Yeah, it's quite good, isn't it?
0:32:19 > 0:32:22It's a really interesting exercise, yeah.
0:32:22 > 0:32:24I've learnt a lot about it, and...
0:32:24 > 0:32:28I've actually learned a little bit about lighting as well,
0:32:28 > 0:32:31which I didn't know before, so that's good.
0:32:31 > 0:32:34It's good education.
0:32:34 > 0:32:36- Anyway, thank you.- My pleasure.
0:32:36 > 0:32:38- Shall I give you a big kiss now?- No.
0:32:39 > 0:32:41No... Not red lips.
0:32:41 > 0:32:43Anyway, there you go.
0:32:43 > 0:32:48The scandal generated by Hurrell's photo meant when The Outlaw
0:32:48 > 0:32:52was finally released five years later, it was a box-office smash.
0:32:52 > 0:32:55The racy look he created made Jane Russell
0:32:55 > 0:32:58a movie star and a Hollywood pin-up.
0:33:11 > 0:33:18World War Two had an enormous impact on Hollywood films and the tastes of audiences.
0:33:18 > 0:33:21They were no longer inspired by the pristine, tailored look
0:33:21 > 0:33:24of matinee idols like Cary Grant and Bing Crosby.
0:33:24 > 0:33:27They represented old-fashioned values
0:33:27 > 0:33:30that had been swept away by the war.
0:33:36 > 0:33:38Now, that's how I'm going to clear the table.
0:33:38 > 0:33:42'A new generation of movie stars, like Marlon Brando,
0:33:42 > 0:33:44'rejected the old-style glamour
0:33:44 > 0:33:46'in films like A Streetcar Named Desire.'
0:33:50 > 0:33:53Hey, Stella!
0:33:53 > 0:33:56Hollywood's photographers latched on to Brando's
0:33:56 > 0:33:59more urgent and earthy presence,
0:33:59 > 0:34:02capturing the brooding, rebellious look he adopted
0:34:02 > 0:34:04in films such as The Wild One.
0:34:08 > 0:34:11I wanted to discover how his image redefined masculinity.
0:34:13 > 0:34:17Actor Matthew Rhys, a striking British talent
0:34:17 > 0:34:21who stars in the series Brother And Sisters, agreed to be my Brando.
0:34:21 > 0:34:23- Look at you, Brando.- Brando-ed.
0:34:23 > 0:34:28- I just noticed you...- Beardy Brando. - I know.- It's great.
0:34:28 > 0:34:29You got Photoshop, don't you?
0:34:29 > 0:34:32- We'll leave it.- Really? - Yeah, you look handsome.
0:34:32 > 0:34:35- We'll do bearded Brando. - Yeah.- The formative years.
0:34:35 > 0:34:37Let's take a look at you, hat off.
0:34:37 > 0:34:39Yes.
0:34:39 > 0:34:43The Mild One.
0:34:43 > 0:34:46- I'm feeling it. - Yeah?- Yeah, it's good.
0:34:49 > 0:34:51Brando became the archetypal wild one
0:34:51 > 0:34:56by combining great acting skills with a carefully constructed image.
0:34:58 > 0:35:01After World War II, a new school came in
0:35:01 > 0:35:04that Brando was very much a part of,
0:35:04 > 0:35:08method acting, and that certainly extended to his costume.
0:35:08 > 0:35:11He wanted everything to look as authentic as possible.
0:35:11 > 0:35:15This is the emergence of the kind of bad boy image,
0:35:15 > 0:35:17the first anti-hero bad boy.
0:35:17 > 0:35:20Yes, definitely.
0:35:20 > 0:35:23- Why were people into that? - Still into it.
0:35:23 > 0:35:28At that point, what was the break from the elegant to the...
0:35:28 > 0:35:35Well, I think that there's always been an element of the outcast and the rebellious in society.
0:35:35 > 0:35:38Certainly Chaplain was, and Brando, in a certain sense,
0:35:38 > 0:35:41was carrying on the same tradition,
0:35:41 > 0:35:44dressing differently, making a statement with what he wore
0:35:44 > 0:35:48about his position in society and he made a statement with his clothing.
0:35:50 > 0:35:53Did it become more about the body, then...
0:35:53 > 0:35:55Well, I think with Brando,
0:35:55 > 0:35:59because the characters he played on screen and the work that they did,
0:35:59 > 0:36:03whether is was Stanley Kowalski in a Streetcar Named Desire,
0:36:03 > 0:36:05or the character that he portrays here,
0:36:05 > 0:36:07they were definitely working class men
0:36:07 > 0:36:11who were using their muscles more than, say, their minds.
0:36:11 > 0:36:14- Is this actually Brando's jacket?- No.
0:36:14 > 0:36:17You're meant to say yes. That's why I'm doing it.
0:36:17 > 0:36:19Look, it says, "M Brando".
0:36:21 > 0:36:24Look at that.
0:36:24 > 0:36:27- Ready to shoot?- I'm ready when I sort of squint a bit.
0:36:27 > 0:36:30- Yeah.- Drop one shoulder. Yeah.
0:36:30 > 0:36:33Brando's raw virility and seductive menace
0:36:33 > 0:36:36gave birth to a new anti-hero in Hollywood.
0:36:36 > 0:36:38The rebel.
0:36:40 > 0:36:42Do you want something?
0:36:42 > 0:36:44Yeah.
0:36:44 > 0:36:45I'd like a bottle of beer.
0:36:45 > 0:36:49Generations later, he's still hero-worshipped
0:36:49 > 0:36:50by most of the men I know.
0:36:50 > 0:36:52When this came through and they said,
0:36:52 > 0:36:55"Do you want to pose as Marlon Brando in The Wild One?",
0:36:55 > 0:37:00you go, "Yeah" and then you go, "No. What? No, of course I can't!"
0:37:00 > 0:37:03Because, certainly from the age of 18,
0:37:03 > 0:37:07I spent, especially the early years, wanting to be Marlon Brando.
0:37:07 > 0:37:12This is like a move away, photographically, to a location still,
0:37:12 > 0:37:16- but this is much more casual than a normal location still.- Yeah.
0:37:16 > 0:37:18He's still in character
0:37:18 > 0:37:21but it has a rawness to it and an energy to it
0:37:21 > 0:37:25which almost feels like he just leant across it and did it.
0:37:25 > 0:37:27Vroom! That was a good sound effect.
0:37:27 > 0:37:32But it's interesting that he's not the icon
0:37:32 > 0:37:36that Marilyn Monroe or James Dean are.
0:37:36 > 0:37:40That's kind of why I wanted to photograph this shot,
0:37:40 > 0:37:44because he ended up kind of growing old in public.
0:37:44 > 0:37:46But he sort of paved the way for James Dean
0:37:46 > 0:37:50- so there could be a James... do you know what I mean?- Yeah.
0:37:50 > 0:37:51He was the first that did it.
0:37:53 > 0:37:54It's getting there.
0:37:58 > 0:38:00Yeah, needs to come over this way a bit.
0:38:02 > 0:38:03Let's have a look at that.
0:38:05 > 0:38:08You need to be more at that angle.
0:38:17 > 0:38:21His arm is rested in here.
0:38:21 > 0:38:26Yeah. I think his body was more that way. Yeah, that's it.
0:38:26 > 0:38:29And then his left arm was really far out.
0:38:29 > 0:38:32There, that's it. Like that.
0:38:32 > 0:38:34- And his eye line was... - What's his right hand doing?
0:38:34 > 0:38:38His right hand is, like, in a fist, But, like, into the...
0:38:38 > 0:38:39That's it, yeah.
0:38:46 > 0:38:48And I think that reflector's too much.
0:39:08 > 0:39:12Nose to me a bit more. And your eye line still...
0:39:12 > 0:39:14That's it.
0:39:14 > 0:39:17And almost like a questioning look in the eye.
0:39:17 > 0:39:19That's it, yeah, good.
0:39:20 > 0:39:22Good. OK.
0:39:22 > 0:39:23Bingo.
0:39:26 > 0:39:29Hollywood's new, dangerous leading man captivated audiences
0:39:29 > 0:39:33and sales of leather jackets and jeans went through the roof.
0:39:33 > 0:39:37This look was instantly adopted as a uniform of youth,
0:39:37 > 0:39:41inspiring generations of rebels that followed, including me.
0:39:54 > 0:40:00# I got a fever An inflammation, that's what I got
0:40:01 > 0:40:06# You turned the heat on me some like it hot. #
0:40:08 > 0:40:12No story about Hollywood is complete without one of its greatest legends.
0:40:12 > 0:40:19Marilyn Monroe was the star who had an unparalleled relationship with Hollywood photography.
0:40:19 > 0:40:22Fuelled by the public's almost insatiable appetite
0:40:22 > 0:40:23for pictures of her,
0:40:23 > 0:40:26she was one of the world's most photographed stars.
0:40:28 > 0:40:34The ones that we all recognise are the bombshell, the sex symbol,
0:40:34 > 0:40:39the woman that men wanted to have, women wanted to be.
0:40:39 > 0:40:43Marilyn recognised the power of photography to further her career.
0:40:43 > 0:40:47But certain photographers pierced her glamorised exterior
0:40:47 > 0:40:51with more intimate images that reveal a more complex woman within.
0:40:51 > 0:40:54When she was already a huge star
0:40:54 > 0:40:59she invited the photographer George Barris to follow her for six weeks.
0:40:59 > 0:41:03There was going to be a Cosmo spread, seven or eight pictures,
0:41:03 > 0:41:09where they would reveal not just Marilyn, the sexpot,
0:41:09 > 0:41:14but Marilyn the real girl, where she was in her life.
0:41:14 > 0:41:19I think when you look at these photos she had great optimism...
0:41:19 > 0:41:21- Yeah.- For what was coming ahead.
0:41:21 > 0:41:28She finally felt like, "I don't care what they say about me, I'm going to set the record straight."
0:41:28 > 0:41:31- But they're still sexy, aren't they? - Well, she couldn't help that.
0:41:31 > 0:41:33She couldn't help...
0:41:33 > 0:41:38- She wasn't just being sexy, she is sexy.- She just was sexy.
0:41:38 > 0:41:40It just came from her.
0:41:40 > 0:41:43- Do you think she enjoyed having her photo taken?- Absolutely.
0:41:43 > 0:41:47Every photographer said that when the lights went on she went on.
0:41:47 > 0:41:50She's probably one of the most photographed women on the planet
0:41:50 > 0:41:56but it's funny because it's only when you get to these last few sessions
0:41:56 > 0:42:00that she starts to kind of want to be seen, really seen.
0:42:00 > 0:42:02You start to really see her.
0:42:02 > 0:42:04And then unfortunately she dies.
0:42:04 > 0:42:06If you come round here to the Bert Stern.
0:42:06 > 0:42:10These photographs are absolutely, by a million miles,
0:42:10 > 0:42:12my favourite photographs of her.
0:42:12 > 0:42:15Bert Stern, when he saw her for the first time,
0:42:15 > 0:42:17she was surrounded by men in a room.
0:42:17 > 0:42:21He said all the light in the room was focused on Marilyn.
0:42:21 > 0:42:24Or was the light coming from her?
0:42:24 > 0:42:30He wanted to create portraits of her where she was the light.
0:42:30 > 0:42:33So he lighted this
0:42:33 > 0:42:35very high key.
0:42:35 > 0:42:39There are very few shadows.
0:42:39 > 0:42:42No background. Pure white.
0:42:42 > 0:42:47And these sheer veils, they were to only veil,
0:42:47 > 0:42:51in the slightest way, who she was.
0:42:51 > 0:42:53Right.
0:42:53 > 0:42:58That you could literally see through them and see the real Marilyn.
0:42:58 > 0:43:00- It's amazing.- Yeah.
0:43:02 > 0:43:06Bert Stern took these photos of Marilyn when she was 36,
0:43:06 > 0:43:09in what turned out to be one of her last photo-shoots.
0:43:11 > 0:43:15Marilyn used her image as a tool to keep her in the public eye.
0:43:15 > 0:43:16And she kept tight control of it,
0:43:16 > 0:43:21putting crosses on the negatives of any photographs she didn't like.
0:43:26 > 0:43:30I just am fascinated by this because, to me,
0:43:30 > 0:43:34what's amazing and so seductive about the picture
0:43:34 > 0:43:37is this is actually her mark through it.
0:43:37 > 0:43:43It's as much a picture by her as it is by Bert Stern.
0:43:43 > 0:43:45But at the same time,
0:43:45 > 0:43:49I don't feel necessarily completely comfortable
0:43:49 > 0:43:51with the fact that I'm seeing it
0:43:51 > 0:43:54because she obviously wanted it canned at the time.
0:43:54 > 0:43:56She didn't want this shown.
0:43:56 > 0:43:59I feel like I'm seeing inside
0:43:59 > 0:44:02of her head a little bit by seeing it.
0:44:02 > 0:44:05It's an absolutely beautiful photograph of her.
0:44:05 > 0:44:08I think he really understood,
0:44:08 > 0:44:12after her passing, that these needed to be shown.
0:44:18 > 0:44:25You see, when you look at these pictures you do get a feeling of knowing her.
0:44:25 > 0:44:28But when you look at some of the other pictures you feel...
0:44:28 > 0:44:31it's a mask.
0:44:35 > 0:44:40Marilyn is still the superstar that she is because of the images that were taken of her.
0:44:40 > 0:44:43Although she's been dead longer than she was alive,
0:44:43 > 0:44:46our understanding of her is still developing
0:44:46 > 0:44:49as she creates fresh relationships with new generations
0:44:49 > 0:44:51every day through photography.
0:45:12 > 0:45:15# Hey man, leave me alone, you know
0:45:15 > 0:45:18# Hey man, oh Henry get off the phone
0:45:18 > 0:45:22# Hey man I've gotta straighten my face
0:45:22 > 0:45:25# This mellow thighed chick's just put my spine out of place... #
0:45:29 > 0:45:34# And when it's time I'll go and wait Beside a legend... #
0:45:34 > 0:45:39By the end of the 1960s, Hollywood had lost its mass audience to TV.
0:45:41 > 0:45:43A new generation of stars and directors,
0:45:43 > 0:45:45like Dennis Hopper and Peter Fonda,
0:45:45 > 0:45:49brought original ideas from the new counter-culture
0:45:49 > 0:45:52and Hollywood embraced them in order to survive.
0:45:52 > 0:45:59It worked, and new Hollywood came roaring back to profitability with hits like Easy Rider.
0:45:59 > 0:46:04# It's the time of the season
0:46:05 > 0:46:07# When love runs high... #
0:46:07 > 0:46:12But in the 1970s, magazines like Life and Rolling Stone pioneered
0:46:12 > 0:46:16portrait photography that adopted a reportage style.
0:46:16 > 0:46:20A new breed of photographers stripped away the public artifice
0:46:20 > 0:46:24to capture a more private image - the person behind the movie star.
0:46:24 > 0:46:29# It's the time of the season for love... #
0:46:34 > 0:46:37The next photo that's inspired me captures that new style
0:46:37 > 0:46:38of photography beautifully,
0:46:38 > 0:46:43and the story behind the image is just as captivating.
0:46:43 > 0:46:49In 1976, Faye Dunaway won an Oscar for best actress in the film, Network.
0:46:49 > 0:46:52The British photographer Terry O'Neill set up
0:46:52 > 0:46:56a photo-shoot with her at dawn on the morning after the big event.
0:46:59 > 0:47:01It's a real treat for me to discover more
0:47:01 > 0:47:04about this influential image from the photographer himself.
0:47:06 > 0:47:09Terry still recalls the shoot vividly.
0:47:10 > 0:47:14I wanted to take the most famous Oscar picture that I could.
0:47:14 > 0:47:16I wanted to do this the morning after,
0:47:16 > 0:47:19when you sit there and that's when the penny drops
0:47:19 > 0:47:24that your money is going to go from, say, half a million to three million.
0:47:24 > 0:47:28It's a total change in an actress's life.
0:47:28 > 0:47:32When I tried it, I used a different hotel and a different actress.
0:47:32 > 0:47:35I invited Selma Blair, star of Legally Blonde
0:47:35 > 0:47:39and the Hellboy films, to be my Faye Dunaway.
0:47:39 > 0:47:43My shot that I was thinking of doing
0:47:43 > 0:47:47was with you as yourself, not as her.
0:47:47 > 0:47:52I wanted to know if you thought you'd want to be her, a wig on...
0:47:52 > 0:47:55No, I wouldn't want to do a disservice
0:47:55 > 0:47:57to Faye Dunaway and just mimic her.
0:47:57 > 0:47:59But I think the idea of the photograph
0:47:59 > 0:48:03is what's so incredible and what was so pioneering.
0:48:03 > 0:48:05It was really a very intimate,
0:48:05 > 0:48:07casual look into celebrities' lives.
0:48:07 > 0:48:12The problem that we have is that the light
0:48:12 > 0:48:17is going to be completely different because a normal LA morning,
0:48:17 > 0:48:20because of the smog, is really flat light.
0:48:20 > 0:48:22What we are actually going to get,
0:48:22 > 0:48:25and this is very unusual for LA, a very clear morning.
0:48:25 > 0:48:30The sun is going to come up right there and we're going to be shooting right here
0:48:30 > 0:48:32and it'll be quite hard sidelights.
0:48:32 > 0:48:36The thing about this photograph that's interesting is it's one of the first photographs
0:48:36 > 0:48:38where the person is themselves.
0:48:38 > 0:48:42Up to that point, most actors were photographed
0:48:42 > 0:48:45- for the Hollywood photographs... - As a character.
0:48:45 > 0:48:47This appears so intimate.
0:48:47 > 0:48:52I feel if I wore a wig it would add a layer of costume.
0:48:52 > 0:48:55What I love about the picture is it's a little
0:48:55 > 0:48:58depraved and messed up.
0:48:58 > 0:49:01I kind of would like to take Selma 's normal hair
0:49:01 > 0:49:04and texturise that. Are you OK with that?
0:49:04 > 0:49:08Do you think that's a good idea or would you prefer me to put movement in there?
0:49:08 > 0:49:12No, no, you can just put it as if I've slept or lack of slept on it.
0:49:12 > 0:49:16Which is probably what happened to Faye on that picture, right?
0:49:16 > 0:49:18Three hours' sleep, so no sleep...
0:49:18 > 0:49:20I don't think she got any sleep that night.
0:49:20 > 0:49:23That's probably hair and make-up from the night before.
0:49:23 > 0:49:27Can you imagine winning an Oscar... You wouldn't go to bed, would you?
0:49:27 > 0:49:29I wouldn't, no.
0:49:29 > 0:49:32I remember 3 o'clock in the morning we got her to bed,
0:49:32 > 0:49:34cos she was celebrating with her husband.
0:49:34 > 0:49:38I thought, "If she gets up for this I'm very lucky."
0:49:38 > 0:49:42I got up at 5:30am, went down to the pool, got all the papers
0:49:42 > 0:49:43and laid it all out.
0:49:43 > 0:49:47'Lo and behold, at 6:45am she shows up with her husband.
0:49:47 > 0:49:51- Amazing.- Yeah, cos she was out of it at 3 o'clock.
0:49:51 > 0:49:54- So did she turn up wearing the negligee?- Yeah.
0:49:54 > 0:49:57I started...
0:49:57 > 0:50:00I got the Oscar down from her room
0:50:00 > 0:50:04while she was getting dressed and everything.
0:50:04 > 0:50:05Then I got the breakfast tray
0:50:05 > 0:50:08and I just decorated the whole picture, actually.
0:50:08 > 0:50:11Then she came in, a great pair of legs and I was off.
0:50:13 > 0:50:17# Oh, it's so good it's so good, it's so good
0:50:17 > 0:50:20# It's so good, it's so good...#
0:50:20 > 0:50:22That's great, that's a really great mood as well.
0:50:22 > 0:50:26I'm allowed to in this moment, for maybe the only time in my life,
0:50:26 > 0:50:31consider an Oscar and not feel like a narcissistic ass for it.
0:50:31 > 0:50:35This is... You know, that's a huge indulgence
0:50:35 > 0:50:40to get to pose and somewhat tap into the mindset of that.
0:50:40 > 0:50:42- How does that feel? - Cos I want to...
0:50:42 > 0:50:46It feels... Good.
0:50:48 > 0:50:52It took a while to get the details of the shot right.
0:50:52 > 0:50:55And, as I suspected, we then had another challenge.
0:50:57 > 0:51:02Just waiting for cloud cover because it will duplicate the lighting
0:51:02 > 0:51:04that we've been trying to create.
0:51:04 > 0:51:08The sun is just coming up here.
0:51:08 > 0:51:12It's very low, it's a very fragile light.
0:51:12 > 0:51:14Morning, beautiful, soft light.
0:51:16 > 0:51:20What we are getting is hard sunshine, so...
0:51:20 > 0:51:24The scrim's here to try and replicate that,
0:51:24 > 0:51:26but the longer the morning goes on,
0:51:26 > 0:51:29the less and less effective this becomes because the higher
0:51:29 > 0:51:33the light goes the more impossible it is to scrim a whole swimming-pool.
0:51:33 > 0:51:37The early morning light helped the whole ambience of the picture.
0:51:37 > 0:51:39Just that whole feeling.
0:51:39 > 0:51:43You know, it's not just a bright lit LA day.
0:51:43 > 0:51:47- And it is the best light of the day, isn't it?- Absolutely.
0:51:47 > 0:51:49The LA morning is the best light.
0:51:49 > 0:51:54I was hoping we could get some cloud cos there is some cloud up there.
0:51:57 > 0:52:00It looks like it's going to cover.
0:52:15 > 0:52:17Here we go.
0:52:19 > 0:52:22# Oh, you and me
0:52:22 > 0:52:28# You and me, you and me You and me, you and me... #
0:52:31 > 0:52:34That's it there. That's great there, great.
0:52:36 > 0:52:38That's good. That's it, that's great.
0:52:38 > 0:52:40I love that, the hair looks great.
0:52:40 > 0:52:43I'd leave that bit down, I think it's cute.
0:52:44 > 0:52:47That's great, I love that. Hold that.
0:52:47 > 0:52:54# I feel love. #
0:52:54 > 0:52:57Brilliant eyes, Selma.
0:52:57 > 0:53:05# I feel love I feel love... #
0:53:07 > 0:53:09That's great.
0:53:11 > 0:53:14The thing that's interesting about the photograph
0:53:14 > 0:53:18is not the technique or the style so much
0:53:18 > 0:53:23as her at that moment, in that place, doing that thing.
0:53:23 > 0:53:24It's more about...
0:53:24 > 0:53:28Me thinking about her at that moment.
0:53:30 > 0:53:32It wasn't just a photograph.
0:53:32 > 0:53:36What's hard for you is you've got to try and recapture that.
0:53:36 > 0:53:40But it's not... I've got the advantage of the real thing.
0:53:40 > 0:53:43You've done an excellent job in trying to capture it,
0:53:43 > 0:53:46but you can't get that moment because it's not happened to her.
0:53:46 > 0:53:49Of course, no.
0:53:49 > 0:53:53After this picture came out, the whole
0:53:53 > 0:53:56of photography in Hollywood changed.
0:53:56 > 0:53:59People saw there was another way of doing things.
0:53:59 > 0:54:04I first went to Hollywood in 1964.
0:54:04 > 0:54:05I used 35 mm.
0:54:05 > 0:54:08I thought the whole world used 35 mm.
0:54:08 > 0:54:11I get there and nobody has ever used 35 mm before.
0:54:11 > 0:54:13I used to go and photograph Steve McQueen,
0:54:13 > 0:54:16Paul Newman and all these people with this camera.
0:54:16 > 0:54:21They loved it because they were used to still sessions in the studio.
0:54:21 > 0:54:24- Like that. - Retouched and everything else.
0:54:24 > 0:54:26I was like a breath of fresh air.
0:54:26 > 0:54:31You were part of a window of opportunity between the early '60s
0:54:31 > 0:54:37and the mid '70s, early '80s where there was no control.
0:54:37 > 0:54:41Before that the studio system was in control, and then after that
0:54:41 > 0:54:44the stars have protected themselves through publicists.
0:54:44 > 0:54:46I don't know which way it's all going to go.
0:54:49 > 0:54:52Annie Leibovitz stands out for me at the moment.
0:54:52 > 0:54:57She makes a star look a movie star, to me.
0:54:57 > 0:55:00She's got that touch and she's got the technique.
0:55:00 > 0:55:03Do you think she shows you anything about the subject?
0:55:03 > 0:55:07You don't think anyone is poor in any of her pictures, do you?
0:55:07 > 0:55:11They just reek of wealth, glamour and stardom.
0:55:11 > 0:55:13It's a new Hollywood glamour, isn't it?
0:55:13 > 0:55:18Yeah. She's taken on the baton and is finishing the race.
0:55:28 > 0:55:31Annie Leibovitz is best known for her work for Vanity Fair.
0:55:31 > 0:55:34She's been a huge factor in the magazine's success.
0:55:34 > 0:55:38Her work always generates attention, but it was her 1991 photograph
0:55:38 > 0:55:43of Demi Moore that turned the Vanity Fair cover story into a news story.
0:55:46 > 0:55:47It was a perfect storm.
0:55:47 > 0:55:52Suddenly Vanity Fair just exploded after that.
0:55:52 > 0:55:57It's also Annie Leibovitz in her prime, shooting these pictures.
0:55:57 > 0:56:01And the production values on them, they are like mini films.
0:56:01 > 0:56:07You always think about, that image has to break that 20 ft wall.
0:56:07 > 0:56:10You are walking by a news stand and that has to grab you.
0:56:10 > 0:56:12You can go into a magazine store
0:56:12 > 0:56:16or you see them on the corners, there's thousands of magazines.
0:56:16 > 0:56:20So many of the photographs are really bad and tell you so little
0:56:20 > 0:56:23about the person, which is what you want a photograph to do.
0:56:23 > 0:56:27You want a photograph to take you on a journey with that person,
0:56:27 > 0:56:29even if it's for a few seconds or moments,
0:56:29 > 0:56:31and make you think of them in a different way.
0:56:31 > 0:56:35Someone like Kate Winslet was just a flash of light,
0:56:35 > 0:56:39these pictures. It was, "Whoa, look at Kate Winslet!"
0:56:39 > 0:56:42- Almost contradicting... - It was completely opposite.
0:56:42 > 0:56:44Contrary to what everybody thought of her.
0:56:44 > 0:56:46You never think of her in this way.
0:56:46 > 0:56:52She's got two children, she's married to Sam Mendes, they are proper and English.
0:56:52 > 0:56:55You look at these photographs and they are just to die.
0:56:55 > 0:56:57This in particular one.
0:56:57 > 0:57:01- Unbelievable. - The tush shot.- It's beautiful.
0:57:01 > 0:57:03I love her.
0:57:03 > 0:57:06- She's tremendous. And the cover was great.- Beautiful.
0:57:08 > 0:57:10Vanity Fair in particular,
0:57:10 > 0:57:13we have a love affair with old Hollywood.
0:57:13 > 0:57:16So we are always going back to that time
0:57:16 > 0:57:20of making someone like a Grace Kelly or the early days of Liz Taylor,
0:57:20 > 0:57:24or even Winslet, Belle de Jour, let's get back to Catherine Deneuve.
0:57:24 > 0:57:28I think that when you step forward, you have to step backward.
0:57:28 > 0:57:31I think in that relationship Vanity Fair...
0:57:31 > 0:57:36It's a very dynamic and productive relationship between the two.
0:57:47 > 0:57:51# Hooray for Hollywood... #
0:57:51 > 0:57:54What's been great about going back is being able
0:57:54 > 0:58:00to really scrutinise and analyse what might have been going on
0:58:00 > 0:58:03in the photographer's mind or the subject's mind.
0:58:03 > 0:58:07Everyone is coming from a similar place, and that's trying to capture an image
0:58:07 > 0:58:12that evokes an emotion within the person that's being photographed
0:58:12 > 0:58:14and then within the viewer that looks at it.
0:58:14 > 0:58:16Even though the style and techniques
0:58:16 > 0:58:19of photography have shifted and evolved,
0:58:19 > 0:58:22the best and most iconic Hollywood images
0:58:22 > 0:58:26do what every portrait photographer hopes to achieve.
0:58:26 > 0:58:29To capture an essence of the person being photographed
0:58:29 > 0:58:32and create an image that endures through time.
0:58:32 > 0:58:35Hollywood has seduced us with beautiful images.
0:58:35 > 0:58:40I would say its influence, because of photography, is as strong as ever.
0:58:44 > 0:58:47# Hooray for Hollywood
0:58:53 > 0:58:56# Hooray for Hollywood
0:58:56 > 0:58:59# That phoney super-coney Hollywood
0:58:59 > 0:59:03# They come from Chillicothes and Padukahs
0:59:03 > 0:59:05# With their bazookas
0:59:05 > 0:59:07# To get their names up in lights
0:59:07 > 0:59:11# All armed with photos from local... #
0:59:11 > 0:59:13Subtitles by Red Bee Media Ltd