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