0:00:10 > 0:00:14This programme contains very strong language.
0:00:16 > 0:00:20In the early '60s, when you shot for Vogue magazine,
0:00:20 > 0:00:24they never put the photographer's name.
0:00:24 > 0:00:28They only put your surname, they only put Bailey or Beaton or Avedon.
0:00:28 > 0:00:32If somebody said David, I wouldn't turn around.
0:00:32 > 0:00:34Kind of nice name, Bailey.
0:00:34 > 0:00:37Maybe I should change my name to Bailey Bailey.
0:00:39 > 0:00:41Catherine was funny about Bailey. Deneuve.
0:00:41 > 0:00:44She always said, "Why are you called Belly?"
0:00:44 > 0:00:47She said, "I thought a belly was a belly."
0:01:00 > 0:01:02By revolutionising the image of women
0:01:02 > 0:01:05almost overnight in the early '60s, Bailey became a legend.
0:01:07 > 0:01:11His own image as bad boy and womaniser
0:01:11 > 0:01:14meant Bailey was anything but a docile servant of the system.
0:01:14 > 0:01:16What do you say to people when you photograph them?
0:01:16 > 0:01:19I coo like a bloody dove.
0:01:19 > 0:01:22I think you just sit there.
0:01:22 > 0:01:25For over half a century, Bailey has travelled the world,
0:01:25 > 0:01:28often in the company of the most beautiful women.
0:01:28 > 0:01:32Alternately photographer, filmmaker, publisher, painter or sculptor.
0:01:32 > 0:01:34Yeah, be nothing. Do nothing.
0:01:35 > 0:01:37You look beautiful.
0:01:38 > 0:01:39OK. Just lay back.
0:01:41 > 0:01:44Yeah. You can put an arm up if you like. Don't worry about the clothes.
0:01:44 > 0:01:47Yeah, just... That's perfect. Look how beautiful you look.
0:01:47 > 0:01:49That's it, that's all I want.
0:01:52 > 0:01:54Always eager to experiment,
0:01:54 > 0:01:56as if to escape the trap fashion laid for him,
0:01:56 > 0:01:59Bailey has made his life a picturesque score,
0:01:59 > 0:02:02an enigmatic exchange with women that gives him
0:02:02 > 0:02:05the hope of surprising himself every day that dawns.
0:02:10 > 0:02:14I don't mind if you put your hand in your hair and sort of...
0:02:14 > 0:02:16Make a story, yeah?
0:02:16 > 0:02:21- Anything you like. Whatever you do. - So we start with something and then...
0:02:21 > 0:02:26Yeah. I don't take many. Only do about... I don't do many.
0:02:26 > 0:02:28Don't do click, click, click, click, click.
0:02:29 > 0:02:32'The photographer that's closest to me,'
0:02:32 > 0:02:34I think, is a French photographer.
0:02:36 > 0:02:41I guess it's 1860s. Nadar, the French photographer.
0:02:41 > 0:02:45And when I look at his pictures, I see my own pictures.
0:02:45 > 0:02:50He knew what I know, or I know what he knew. Whatever.
0:02:53 > 0:02:57Maybe up from your ear, look.
0:02:57 > 0:03:00And then just tell me a story.
0:03:02 > 0:03:05Lover's left you, yeah? That is the story.
0:03:07 > 0:03:10'When I photograph people, directly they come through the door,
0:03:10 > 0:03:13'I'm already photographing them.
0:03:14 > 0:03:17'You watch the way they move and their personality.
0:03:19 > 0:03:24'Which side of their face they prefer. All sorts of things.
0:03:24 > 0:03:26'What kind of mood they're in.
0:03:26 > 0:03:28'And it's like a Zen thing.
0:03:28 > 0:03:31'If they're in a bad mood, then you encourage the bad mood.
0:03:31 > 0:03:33'Then you get something from the picture.
0:03:33 > 0:03:36'And if they're in a good mood, you encourage the good mood.'
0:03:36 > 0:03:38It's your hair.
0:03:38 > 0:03:39Stay like that.
0:03:39 > 0:03:43'That's why I like my pictures, cos you can't really copy what I do
0:03:43 > 0:03:44'because I don't do anything.
0:03:44 > 0:03:47'I just do it with dialogue, talking to people.'
0:03:52 > 0:03:55That hand is too ugly like that. Maybe just pull your scarf up.
0:04:05 > 0:04:07HE SHOUTS
0:04:11 > 0:04:14'I'm not looking for anything, I'm looking for that person.
0:04:14 > 0:04:18'I'm looking for what they have, I'm not looking... I know what I have.
0:04:18 > 0:04:23'I know my limitations, but I want to get these people to make them
0:04:23 > 0:04:26'look like they have no limitations.
0:04:26 > 0:04:28'It's from them, really.'
0:04:28 > 0:04:31Don't move, you look great. That's great, look at me again like that.
0:04:31 > 0:04:36'It's like being a vampire. I want to capture their personality.'
0:04:37 > 0:04:41OK, I think we've got it. OK. Finished. You were great, yeah.
0:04:44 > 0:04:46No, no! HE LAUGHS
0:04:53 > 0:04:59Yeah, a style is really dangerous. You try to avoid it.
0:05:01 > 0:05:03It's like being political.
0:05:03 > 0:05:05When somebody says they're not political,
0:05:05 > 0:05:09I mean the fact they say they're not political, they're already political.
0:05:09 > 0:05:12So when I say I have no... I don't have any style...
0:05:14 > 0:05:19I do, but I don't want it. I don't want the style. My style is nothing.
0:05:27 > 0:05:29It's my way of making everything minimal.
0:05:31 > 0:05:35It sounds really pretentious! Making everything minimal. And...
0:05:36 > 0:05:40Just concentrating on the person and getting rid of everything else,
0:05:40 > 0:05:41it's just the person I want.
0:05:41 > 0:05:44That's the only thing I want, I don't want anything else,
0:05:44 > 0:05:47I don't want their hands, I don't want them doing silly things
0:05:47 > 0:05:50so they look like they're on the back of the book.
0:05:50 > 0:05:52So it makes it harder for me cos I just want...
0:05:52 > 0:05:56I want very sophisticated passport pictures.
0:05:56 > 0:05:58Which are quite hard to do!
0:06:09 > 0:06:11On these windswept Devon moors,
0:06:11 > 0:06:15Bailey likes to reconnect with his loved ones in his country house,
0:06:15 > 0:06:17far from the commotion of London.
0:06:17 > 0:06:19DOG BARKS
0:06:22 > 0:06:25Without concealing his admiration for surrealist poet Andre Breton,
0:06:25 > 0:06:29he invites us into his cabinet of curiosities.
0:06:53 > 0:06:56All our new pictures have been with skulls.
0:06:56 > 0:06:59Now we're doing skulls and dead flowers.
0:06:59 > 0:07:01- They're quite good, aren't they, Mark?- They're great.
0:07:09 > 0:07:13I don't know, if you think about things too much, it becomes...
0:07:13 > 0:07:15You make them into a problem.
0:07:20 > 0:07:24Don't you think? Got to do it. Doesn't matter.
0:07:24 > 0:07:27Doesn't matter if people like it.
0:07:27 > 0:07:29As long as you're happy.
0:07:34 > 0:07:37Photography's all about death, really.
0:07:38 > 0:07:41A sad thing about photography because...
0:07:41 > 0:07:44When you look at pictures, old pictures, they're always dead.
0:07:46 > 0:07:48And you look at a painting, you don't think, she's dead.
0:07:48 > 0:07:51But you look at a photograph and you think, oh, she's dead.
0:07:51 > 0:07:54You look at them...
0:07:55 > 0:07:58It's the same with pornography, you know.
0:07:58 > 0:08:02Pornography works much better in photography
0:08:02 > 0:08:03than it does in...
0:08:07 > 0:08:11..painting or illustration because you know it actually happened.
0:08:11 > 0:08:13It's changed a bit now with digital.
0:08:14 > 0:08:19Because now people think, everyone's cheating. It's what Count Basie said.
0:08:20 > 0:08:24When they asked him what jazz was. We should say the same, what's art?
0:08:25 > 0:08:29Count Basie said it's four beats to the bar and no cheating.
0:08:29 > 0:08:31Which I try to make my pictures like that,
0:08:31 > 0:08:33four beats to the bar and no cheating.
0:08:46 > 0:08:49# Boom, boom, boom. #
0:08:49 > 0:08:51Back in his London studio,
0:08:51 > 0:08:54Bailey receives a visit from his friend Martin Harrison,
0:08:54 > 0:08:58an art critic with whom he collaborated on several books.
0:08:58 > 0:09:03They met in 1966, when Martin became Bailey's last-minute assistant on a Vogue shoot.
0:09:03 > 0:09:05Get away from the tongue.
0:09:06 > 0:09:07This is based on...
0:09:07 > 0:09:12You know when the Queen goes to New Zealand and she meets the Maoris
0:09:12 > 0:09:13and they poke their tongue out?
0:09:13 > 0:09:16I thought the tongue is the only...
0:09:16 > 0:09:20It's more sexual than any other piece of your body, really, because you taste with it...
0:09:20 > 0:09:23- Put it up things.- Whatever, yeah.
0:09:23 > 0:09:25- Stick it in people's mouths. - Whatever you do with it.
0:09:25 > 0:09:31'I would say an important thing about Bailey, in his childhood,'
0:09:31 > 0:09:32is his interest in birds.
0:09:32 > 0:09:36People make jokes about that because he stayed interested
0:09:36 > 0:09:40in what we called birds in England, of a long-legged variety.
0:09:40 > 0:09:42- Storks!- Storks!
0:09:43 > 0:09:44Storks, it was.
0:09:44 > 0:09:49But I think identifying birds and knowing what species a bird is
0:09:49 > 0:09:54is actually part of this close looking again that he does.
0:09:54 > 0:09:57And they're fleeting images, they fly off.
0:09:57 > 0:09:59It's a fairly natural transition to me
0:09:59 > 0:10:03from studying birds to being the man who captures
0:10:03 > 0:10:08the fleeting moment of something that happens in the world, in life, with his camera.
0:10:08 > 0:10:12And it's a thing that only one's known about for 15 years
0:10:12 > 0:10:15or something and one didn't think of it with Bailey,
0:10:15 > 0:10:19but he was at school and because he was dyslexic,
0:10:19 > 0:10:23I'm sure he did know he was special, he was brilliant in some way.
0:10:23 > 0:10:27He knew he was brilliant and they told him he was the opposite,
0:10:27 > 0:10:28he was really stupid.
0:10:28 > 0:10:30And I think a lot of what he's achieved
0:10:30 > 0:10:34is borne out of the frustration of, "I will show them, then."
0:10:34 > 0:10:38And he had to work out his own way and I think it's highly significant.
0:10:38 > 0:10:40He's Britain's greatest photographer.
0:10:40 > 0:10:43It's a visual medium, he looks through here,
0:10:43 > 0:10:46he doesn't have to say words, the words are in the camera, in the image,
0:10:46 > 0:10:50the words can be written about by weird people like me with nothing better to do.
0:10:50 > 0:10:52So in a way I think it's important.
0:10:54 > 0:10:58It's like the photograph of him when he's in the Royal Air Force
0:10:58 > 0:11:02and he's probably still a teenager then, a little bit later on.
0:11:02 > 0:11:06And he's sitting there on his bed with a Picasso on the wall.
0:11:06 > 0:11:09People who come from an educated,
0:11:09 > 0:11:13artistic background would probably not get how important this is.
0:11:13 > 0:11:17How rare, how unique it was that someone like Bailey,
0:11:17 > 0:11:20from the east end of London, would have a Picasso by his bed.
0:11:20 > 0:11:25From the beginning, in a way, he found this possibility
0:11:25 > 0:11:29to be incredibly articulate via visual images.
0:11:29 > 0:11:32He found a way to condense and simplify and compress
0:11:32 > 0:11:38and get the message across really, really rapidly.
0:11:40 > 0:11:43It's like the Paul Valery thing,
0:11:43 > 0:11:47it's the grin without the cat, just the essence of the idea.
0:12:01 > 0:12:06I was an assistant to a fashion photographer called John French.
0:12:06 > 0:12:10He wasn't a great photographer, but he was a kind, nice man.
0:12:14 > 0:12:16I guess the thing I got from him was the white background
0:12:16 > 0:12:21because he used a white background a lot. I thought, this is smart.
0:12:22 > 0:12:26And then he helped me a lot to work for...
0:12:26 > 0:12:31He got me a job taking pictures for the Daily Express.
0:12:32 > 0:12:37And then Vogue saw the pictures and then they offered me a contract.
0:12:37 > 0:12:41So that's how... And I was only an assistant, I think, for 11 months with him.
0:12:42 > 0:12:45Homosexuality was sort of against the law then.
0:12:45 > 0:12:51And John French was homosexual and the art director, John Parsons, at Vogue, was homosexual.
0:12:51 > 0:12:56So there was a certain outsiderness about them, they were outside society.
0:12:56 > 0:12:57And I think in those days...
0:12:59 > 0:13:03..working class were sort of outside of society.
0:13:03 > 0:13:08And so I think they accepted me because I was an outsider like them.
0:13:08 > 0:13:10I think that kind of helped in the beginning.
0:13:12 > 0:13:15John Parsons, being homosexual,
0:13:15 > 0:13:19kind of liked the idea of someone from the working class
0:13:19 > 0:13:21working for Vogue.
0:13:21 > 0:13:25And I hope he liked my pictures as well, but it was...
0:13:25 > 0:13:27I think it was an outsider thing.
0:13:32 > 0:13:35Well, I mean, his early success in the '60s is still...
0:13:35 > 0:13:40You can think up explanations for it, but it is a phenomenon.
0:13:42 > 0:13:46Because for all that he was attractive
0:13:46 > 0:13:51and the fashion editors liked him, some of them anyway,
0:13:51 > 0:13:56he was unpolished
0:13:56 > 0:14:02and raw, but you know, Vogue...
0:14:02 > 0:14:05People think of fashion magazines as avant-garde.
0:14:05 > 0:14:08Well, of course, they're homes of conservatism.
0:14:08 > 0:14:11They're not remotely avant-garde, they're always behind everything.
0:14:11 > 0:14:14People have a misperception about that.
0:14:14 > 0:14:18In the '60s, there was this feeling of something happening in London,
0:14:18 > 0:14:22and Vogue, as usual, was behind, and it was ruled over
0:14:22 > 0:14:25by these old editors, "We can't have this on Vogue."
0:14:25 > 0:14:28It's like the old BBC or something,
0:14:28 > 0:14:32it was full of all sorts of covert censorship.
0:14:56 > 0:15:03So the fact that he did thrive there is really...
0:15:03 > 0:15:08It is quite a phenomenon because it's not totally easy to account for.
0:15:08 > 0:15:12Except that they knew they were falling behind,
0:15:12 > 0:15:15they knew that the average age of their readership was moving down
0:15:15 > 0:15:20as young people started, for the first time in England, to have money to spend.
0:15:20 > 0:15:26This is the usual commercial, market-driven thing.
0:15:26 > 0:15:28This is all about, as Bailey puts it, shifting frocks.
0:15:28 > 0:15:31It's a clothes-selling business.
0:15:36 > 0:15:41He understood about all of the coded language of the clothing as well.
0:15:41 > 0:15:46So when these fashion editors thought, who is this foul-mouthed young man
0:15:46 > 0:15:50who's just trying to get the model into bed?
0:15:50 > 0:15:52But he delivered the goods, you know.
0:15:52 > 0:15:57He gave them wonderful pictures. It is quite simple in one sense.
0:15:57 > 0:16:03He came out with this picture which was graphically much more dynamic than his competitors,
0:16:03 > 0:16:09the other young photographers who might have wanted to be number one in London and they weren't.
0:16:09 > 0:16:10Make that... Let me...
0:16:10 > 0:16:13No, who told you to move? Go back to where you were.
0:16:13 > 0:16:19Come on. Back to where you were. Good. And that little...hand. Yeah.
0:16:19 > 0:16:23Good. There. That's good. Stay like that.
0:16:23 > 0:16:27Bring this, slowly, bring this hand down. More, more, more.
0:16:27 > 0:16:28And put it there.
0:16:28 > 0:16:31Go on, lower down, on your thigh or whatever it's called. Good.
0:16:31 > 0:16:35That's good. Look at me. Don't twist away, just keep where you are.
0:16:35 > 0:16:37Good girl. Good. There. That's lovely.
0:16:44 > 0:16:48It's rather tender. I mean, this is that other side of Bailey.
0:16:48 > 0:16:51This is the birdwatching side.
0:16:51 > 0:16:54There is a more sensitive side to the beast.
0:16:54 > 0:16:56But I absolutely know for a fact,
0:16:56 > 0:16:59and I have it from contemporary witnesses who are probably now dead,
0:16:59 > 0:17:01that it was perceived...
0:17:01 > 0:17:04It genuinely was perceived in London as being something revolutionary.
0:17:04 > 0:17:08And I just think it's because first of all, she's not standing
0:17:08 > 0:17:09and she's not looking haughty.
0:17:09 > 0:17:13She's kneeling over in this way and there's a squirrel.
0:17:13 > 0:17:16You know, a stuffed squirrel, dead squirrel, rather awkward,
0:17:16 > 0:17:19it's like a Monty Python sketch, isn't it?
0:17:19 > 0:17:20But there it is.
0:17:20 > 0:17:26And that was perceived as undermining of a haughty,
0:17:26 > 0:17:29upper, upper middle-class way of approaching fashion,
0:17:29 > 0:17:34with women with their heads, you know, looking like this.
0:17:34 > 0:17:36It was indeed undermining of that.
0:17:36 > 0:17:40And it was a very bold move for this very young beginner.
0:17:43 > 0:17:46I'd already been playing with photography
0:17:46 > 0:17:47since I was about 11 or 12.
0:17:49 > 0:17:51I used to like the magic of the chemicals.
0:17:51 > 0:17:53It was nothing artistic, it was just...
0:17:53 > 0:17:56I just had my mother's Brownie.
0:17:56 > 0:18:00And then I saw this picture when I was about 17, I guess...
0:18:01 > 0:18:05of Cartier-Bresson, of these three or four, five ladies
0:18:05 > 0:18:09overlooking the Himalayas, I guess, or I don't know...
0:18:09 > 0:18:11Definitely in northern India by the looks of it.
0:18:11 > 0:18:16And it made such an impact, this picture,
0:18:16 > 0:18:22that I thought, there's more to photography than I realised.
0:18:22 > 0:18:24And I guess this picture showed me
0:18:24 > 0:18:29that photography could have the same depth as painting.
0:18:29 > 0:18:31And I'd never really considered it before.
0:18:35 > 0:18:40The first thing visual I remember were Hollywood movies.
0:18:40 > 0:18:44I loved the way they used to light things, even as a kid.
0:18:44 > 0:18:50I was fascinated by John Ford movies and Hitchcock, for sure.
0:18:52 > 0:18:56And then later, I liked very much the French new wave,
0:18:56 > 0:19:00and then the Italians, I liked very much Fellini,
0:19:00 > 0:19:05who suffocated you with bad taste!
0:19:05 > 0:19:08And then Visconti, that suffocated you with good taste!
0:19:14 > 0:19:18My biggest influence in a funny sort of way is Picasso.
0:19:18 > 0:19:21The thing that Picasso taught me was that there's no rules.
0:19:21 > 0:19:23He taught me that a circle doesn't have to be round.
0:19:26 > 0:19:27Which was a good lesson.
0:19:34 > 0:19:38OK, that's a great look. I love it! I love it! I love you, Samantha.
0:19:38 > 0:19:41Yeah, good. Chin up a bit.
0:19:41 > 0:19:45So many Samanthas in my life at the moment. Yeah, that's good. Yeah.
0:19:46 > 0:19:50Didn't you ever see High Society? Grace Kelly.
0:19:50 > 0:19:53She's called Samantha and she's so beautiful,
0:19:53 > 0:19:55and you look beautiful, so you're Samantha.
0:19:55 > 0:19:59- I thought you'd worked that one out! - I'll be Samantha, then.
0:20:00 > 0:20:04I photographed her a couple of times. But she was a bitch. Good.
0:20:06 > 0:20:08You look devastating.
0:20:11 > 0:20:13OK. Still devastater.
0:20:15 > 0:20:19Good, wonderful. Yeah, still. That's beautiful, isn't it?
0:20:19 > 0:20:21Isn't she beautiful?
0:20:21 > 0:20:24Good, I love you, darling, you're great. Good. Don't move.
0:20:28 > 0:20:33In 1960, Bailey fell, professionally and personally,
0:20:33 > 0:20:36for the amazing photogenic potential of Jean Shrimpton,
0:20:36 > 0:20:40a fragile, slightly gauche young model.
0:20:42 > 0:20:44I think most talent is inborn.
0:20:44 > 0:20:48So Jean had an advantage because she was very beautiful.
0:20:50 > 0:20:53With Jean, she didn't scare people,
0:20:53 > 0:20:56like my wife or Christy Turlington there.
0:20:56 > 0:20:58She was...attractive to everybody.
0:21:01 > 0:21:04From dogs to intellectuals.
0:21:04 > 0:21:07She had one of those democratic... I don't know what you call it,
0:21:07 > 0:21:08beauties, in a way.
0:21:08 > 0:21:11She was a democratic beauty everybody could appreciate.
0:21:11 > 0:21:13Possibly, she could live next door.
0:21:13 > 0:21:17Some women are so beautiful, you can't believe they live next door.
0:21:17 > 0:21:20They live in some fantasy world.
0:21:23 > 0:21:25I mean, it was a two-way thing.
0:21:25 > 0:21:27She looked wonderful and people thought she did
0:21:27 > 0:21:29and people wanted her.
0:21:29 > 0:21:32So of course it was helpful to Bailey and I'm sure
0:21:32 > 0:21:36he got to do some things because a magazine wanted Jean Shrimpton.
0:21:36 > 0:21:38She was the face of the time, you know.
0:21:39 > 0:21:42One of the most sustained examples of that
0:21:42 > 0:21:47is his first ever big foreign trip for Vogue, to New York,
0:21:47 > 0:21:51which is where he really wanted to go because he was such a great jazz fan.
0:21:51 > 0:21:53Another one of his differences all through his life.
0:21:53 > 0:21:56And he really, for him, the bonus was to get to see
0:21:56 > 0:22:00some of the great jazz men in the clubs in New York that he'd admired.
0:22:00 > 0:22:03But he was with Jean Shrimpton, who he was in love with then.
0:22:03 > 0:22:08And his idea was just to photograph her on the streets of New York.
0:22:09 > 0:22:16By 1963, his style was getting settled into something
0:22:16 > 0:22:20more generally studio orientated, usually on a plain background,
0:22:20 > 0:22:24and the movement, the areas of it that broke it down from, say,
0:22:24 > 0:22:29icy perfection, would be movements of limbs subtly done,
0:22:29 > 0:22:32the way a leg protruded forward,
0:22:32 > 0:22:37graphic things that he understood very well and got very quickly.
0:22:37 > 0:22:41But always usually some contact between him and the girl,
0:22:41 > 0:22:45which I guess is through the eyes, from the woman, as you must say now.
0:22:45 > 0:22:47Which was sexually charged.
0:22:47 > 0:22:52I mean, someone else may interpret them differently,
0:22:52 > 0:22:54but they don't seem...
0:22:54 > 0:22:58There is a kind of respect, I think, a genuine one,
0:22:58 > 0:23:00for the woman in there, still.
0:23:02 > 0:23:05Well, come on, I haven't got anything more to say,
0:23:05 > 0:23:07I've said my lot twice.
0:23:12 > 0:23:16At the height of his fame, Bailey flirted briefly with film
0:23:16 > 0:23:19and planned an adaptation of A Clockwork Orange
0:23:19 > 0:23:21with the Rolling Stones.
0:23:24 > 0:23:27He fulfilled his movie making dream with GG Passion,
0:23:27 > 0:23:29a very personal short film
0:23:29 > 0:23:32inspired by Cocteau's The Blood Of A Poet,
0:23:32 > 0:23:35that tells the story of a rock star chased to his death.
0:23:35 > 0:23:37SCREAMING
0:23:48 > 0:23:50Quite naturally,
0:23:50 > 0:23:54Bailey found himself at the heart of the British cultural revolution
0:23:54 > 0:23:57while keeping his distance from the new celebrity lifestyle.
0:24:02 > 0:24:05Except for his friendship with Mick Jagger,
0:24:05 > 0:24:08his relationship with the stars of swinging London
0:24:08 > 0:24:13rarely went beyond an intense half-hour's work in his studio.
0:24:25 > 0:24:29So when his Box Of Pin-Ups came out, we were back to this
0:24:29 > 0:24:35kind of old British, probably high Tory, moral panic, you know.
0:24:35 > 0:24:39It was only a year or so since the Lady Chatterley trials,
0:24:39 > 0:24:46another one of our famous events, which is a kind of marker
0:24:46 > 0:24:52of an old order gradually being removed, in a way.
0:24:52 > 0:24:54And old censorships and so on.
0:24:57 > 0:25:00And there was indeed a lot of reaction at the time
0:25:00 > 0:25:04because you had royalty in the shape of Lord Snowdon,
0:25:04 > 0:25:09and some of our major criminals, the Kray brothers, in the same book.
0:25:13 > 0:25:17I spent two weeks with them, but then we couldn't use the pictures
0:25:17 > 0:25:20because there was a court case so we had to change the story.
0:25:20 > 0:25:22That's as simple as that, really.
0:25:22 > 0:25:27They were just a part of my youth, really, because people didn't see
0:25:27 > 0:25:30much difference between the police or the gangsters in the East End.
0:25:30 > 0:25:33They were pretty much the same thing.
0:25:38 > 0:25:39Bailey takes us,
0:25:39 > 0:25:42along with his assistant Mark and daughter Paloma,
0:25:42 > 0:25:44to the street in London's East End
0:25:44 > 0:25:47where he grew up, now a Bangladeshi neighbourhood.
0:25:55 > 0:25:58It's where I spent my joyous childhood.
0:26:00 > 0:26:05'When I was that big, I suppose, six,
0:26:05 > 0:26:08'I went to see Bambi
0:26:08 > 0:26:11'and small cartoons in the cinema.
0:26:11 > 0:26:17'And then one of Hitler's V2 rockets destroyed the cinema at Upton Park.
0:26:17 > 0:26:20'From that moment on, I thought Hitler had killed Bambi
0:26:20 > 0:26:22'and Mickey Mouse and everybody.'
0:26:22 > 0:26:27This was all bombed flat. These are all bombed buildings.
0:26:42 > 0:26:44He was the devil.
0:26:44 > 0:26:47When I was bad, they didn't say the devil would get you
0:26:47 > 0:26:50or the bogeyman would get you, they said Hitler will get you.
0:26:50 > 0:26:53I thought, "Who is this Hitler guy?"
0:26:54 > 0:26:56He was just a name.
0:26:56 > 0:27:00I didn't realise he was one of the biggest arseholes of all time.
0:27:00 > 0:27:04That's where my mum used to look out the window.
0:27:04 > 0:27:07That's where I spent most of the war, down that hole.
0:27:08 > 0:27:12- Whose was this room? - That was my mother's bedroom.- OK.
0:27:12 > 0:27:14And you were on the top floor at the back?
0:27:14 > 0:27:17When we first moved in, we only had the ground floor.
0:27:17 > 0:27:20This wall was all broken down. That wall wasn't there.
0:27:20 > 0:27:25- So the cellar where you did your black and white processing, scratched it against the wall.- Yeah.
0:27:25 > 0:27:28And I stole those angel wings from a church. And I hid them down there.
0:27:28 > 0:27:33- They're probably still down there. - You stole from a church? - Well, it was bombed.
0:27:33 > 0:27:38Later, I tried to photograph me looking like Chet Baker,
0:27:38 > 0:27:41when I was about 16, because I wanted to look like Chet Baker.
0:27:42 > 0:27:46Because Chet Baker was my hero. Chet Baker and James Dean, I guess.
0:27:51 > 0:27:54I think he was charming, my father, I didn't know him that much.
0:27:55 > 0:27:59I never saw him that much, he was always scallywagging,
0:27:59 > 0:28:01up to no good, I think, with women.
0:28:02 > 0:28:05And my mother was kind of like a tough old gypsy.
0:28:05 > 0:28:07She even looked like a gypsy.
0:28:19 > 0:28:201965.
0:28:20 > 0:28:24French actress Catherine Deneuve marries David Bailey in London.
0:31:33 > 0:31:37It's a clear exaggeration to portray Bailey as a Pygmalion-type figure
0:31:37 > 0:31:39or to claim that women made him.
0:31:39 > 0:31:44However, Antonioni drew heavily on his life to create the character
0:31:44 > 0:31:47of fashion photographer Thomas, who is dragged into a murder case.
0:31:47 > 0:31:49I didn't know Antonioni.
0:31:49 > 0:31:50It was, er...
0:31:52 > 0:31:56It wasn't Antonioni's idea to do Blow-Up, it was Carlo Ponti.
0:31:57 > 0:32:01Carlo Ponti sent two people to see me at Vogue studios.
0:32:02 > 0:32:07I was 24, or something, and he said, "These two Italian men came in, they looked like Mafia.
0:32:10 > 0:32:12They said, "Do you want to make a movie?" I said, "Yeah, sure.
0:32:12 > 0:32:16"What are we doing, the remake of Citizen Kane?"
0:32:18 > 0:32:23They said, "No, do you want to make a movie about a photographer?" I said, "Sure."
0:32:23 > 0:32:27At that age you do anything, you remake Ivan The Terrible.
0:32:27 > 0:32:28And, er...
0:32:28 > 0:32:32We talked in their bad English
0:32:32 > 0:32:36and they said about the way I dressed.
0:32:36 > 0:32:39I said, "What's the way I dress got anything to do with it?"
0:32:39 > 0:32:42Then I realised they wanted me to be in the movie to play the part.
0:32:42 > 0:32:45I said, "No, you must be crazy!"
0:32:45 > 0:32:51I can't remember a telephone number the right way round, let alone do a dialogue of script.
0:32:52 > 0:32:54So, that was the end of that.
0:33:04 > 0:33:08I didn't know how they knew so many details in Blow-Up
0:33:08 > 0:33:10You know, how they knew I paid £8 for the propeller.
0:33:10 > 0:33:14I've still got the propeller, it's in the country in the store room.
0:33:14 > 0:33:19And, ten years after Blow-Up I was doing a book with, er...
0:33:20 > 0:33:25Box Of Pin-ups with Francis Wyndham, journalist for the Sunday Times.
0:33:25 > 0:33:29He was drinking and he said, "Bailey, I've got a confession."
0:33:29 > 0:33:32He said, "I wrote the 200-page synopsis for Antonioni."
0:33:32 > 0:33:36That suddenly cleared it up. I said, "Why didn't you tell me before?"
0:33:36 > 0:33:41He said he was too embarrassed. I said, "I don't care. I mean, you make a few bob, good luck to you."
0:33:41 > 0:33:46I don't care who wrote it. That's the story, really, not very interesting.
0:33:47 > 0:33:48Let's play tennis.
0:33:48 > 0:33:50LAUGHTER
0:33:56 > 0:34:00If Blow-Up prefigured the disillusionment of the late '60s
0:34:00 > 0:34:03Bailey echoed it, in a way, in a new series of portraits
0:34:03 > 0:34:07published under the title, Goodbye Baby And Amen.
0:34:20 > 0:34:23Next he launched into a series of documentaries.
0:34:26 > 0:34:29That's marvellous, Penelope, just like that.
0:34:29 > 0:34:31Good, your fingers straighter.
0:34:31 > 0:34:35I want you to look ecstatic. You must be inspired.
0:34:35 > 0:34:37Don't smile, no, very serious.
0:34:37 > 0:34:42What I like about Cecil, he's got a great deal of the outrageous in him.
0:34:42 > 0:34:44I mean, he insists on the outrageous.
0:34:44 > 0:34:47He likes all the limits, doesn't he?
0:34:47 > 0:34:50- Well, he certainly goes to extremes.- Yes.
0:34:50 > 0:34:53He can be extremely kind or extremely rude.
0:34:53 > 0:34:55He's very positive, he's not a negative person.
0:34:55 > 0:34:57He loves. It's very easy for him to love.
0:34:57 > 0:35:00He positively loves you, or he positively hates you.
0:35:04 > 0:35:06LAUGHTER
0:35:06 > 0:35:09I don't want to be interviewed about my private life.
0:35:09 > 0:35:11Oh, God.
0:35:11 > 0:35:14- What do you want to be asked? What do you like me to ask you?- Nothing.
0:35:14 > 0:35:19If you could change anything in your life, would you change anything, the way you've lived?
0:35:20 > 0:35:23No, it's too late now to change anything in my life.
0:35:23 > 0:35:25More move...
0:35:25 > 0:35:26CAMERA CLICKS
0:35:34 > 0:35:35No, it's enough, I think.
0:35:35 > 0:35:37That's not enough.
0:35:37 > 0:35:42I mean, when you were say six or seven, did you have fantasies?
0:35:42 > 0:35:44No, when I was more twenty.
0:35:44 > 0:35:46LAUGHTER
0:35:47 > 0:35:50But, did you have fantasies, there's some questions here.
0:35:50 > 0:35:52What were your fantasies when you were a child?
0:35:52 > 0:35:55Was Elvis Presley your fantasy?
0:35:55 > 0:35:56No, I used to play The Doors.
0:35:58 > 0:36:01- Hello?- Andy, it's me.
0:36:01 > 0:36:03- Hi.- What's Pop Art?
0:36:05 > 0:36:07I want to try and ask you.
0:36:07 > 0:36:09What is it?
0:36:09 > 0:36:11I'm very confused.
0:36:11 > 0:36:16In the future, everyone will be world-famous for 15 minutes.
0:36:16 > 0:36:18Why do you keep your clothes on?
0:36:19 > 0:36:21Erm, I'm afraid to look at my scars,
0:36:21 > 0:36:24so I just jump into bed.
0:36:24 > 0:36:26- Your scars?- Yeah.
0:36:26 > 0:36:28Can we talk about your scars?
0:36:28 > 0:36:30Oh, yeah.
0:36:30 > 0:36:34- That was from when you got shot, your accident?- Yeah.
0:36:34 > 0:36:36It must have been awful.
0:36:36 > 0:36:39Oh no, I look like a Dior dress.
0:36:41 > 0:36:43He's gone on his super go, hasn't he?
0:36:43 > 0:36:47- They speak to people by radio, don't they?- Yeah.
0:36:47 > 0:36:49Like the bike taxis in London.
0:36:49 > 0:36:52Look at that cloud, Mark, it's sort of perfect.
0:36:52 > 0:36:57- Good line.- Yeah, it's only good for live action. It's not good for stills.- No.
0:36:57 > 0:36:59Look... Perfect.
0:36:59 > 0:37:01John Ford would have liked that.
0:37:01 > 0:37:05With a soul of a reporter, whose worst fear is boredom
0:37:05 > 0:37:07and going through the motions in studio,
0:37:07 > 0:37:10Bailey has travelled the world since the early '70s,
0:37:10 > 0:37:14like an explorer of the often tragic human condition.
0:37:20 > 0:37:24If I ever go to places like that, to do pictures, I try to do them straight away
0:37:24 > 0:37:28because, after a week there, you kind of get used to things.
0:37:28 > 0:37:29It's er...
0:37:29 > 0:37:32The moment I'm off the plane...
0:37:32 > 0:37:37Usually the most interesting images are the ones you do immediately
0:37:37 > 0:37:43because you haven't been tamed by what you're seeing,
0:37:43 > 0:37:45it's still all new and "why".
0:37:48 > 0:37:52- You see this pony?- Yeah.
0:37:52 > 0:37:54- It's the remains of the pit ponies. - Yeah.
0:37:54 > 0:37:57- Where they've got the short, stumpy, little legs.- Oh, I see.
0:37:57 > 0:37:58He's not a Dartmoor pony.
0:37:58 > 0:38:01- No, I think they're going to disappear, aren't they?- Mmm.
0:38:04 > 0:38:09You get inspiration from things that are not your thing.
0:38:09 > 0:38:13It's good to move out our your own environment, sometimes.
0:38:14 > 0:38:17We have done documentary things, but it's usually for charity.
0:38:18 > 0:38:22It's a bit odd going somewhere to be paid to go and photograph starving people.
0:38:24 > 0:38:26I did it for Mother Teresa in India.
0:38:26 > 0:38:29I did it for UNESCO, or somebody, in Ethiopia.
0:38:30 > 0:38:32I did it in the Sudan.
0:38:34 > 0:38:36Depressing pictures...
0:38:36 > 0:38:38But...
0:38:38 > 0:38:41You know, dying babies and we went back in the afternoon and they were dead.
0:38:41 > 0:38:43But, it's er...
0:38:43 > 0:38:47I never charge for those pictures.
0:38:47 > 0:38:51You know, somebody standing next to me would get the same picture.
0:38:51 > 0:38:53So, it's just documentation, really.
0:38:57 > 0:38:59Everything in life bounces off, doesn't it?
0:38:59 > 0:39:02It's sort of everything, it's everything...
0:39:02 > 0:39:05The more you see, the more you accumulate.
0:39:07 > 0:39:09Spring 2010...
0:39:09 > 0:39:14Working for a charity, Bailey flies out on a mission with British troops stationed in Afghanistan.
0:39:17 > 0:39:21The reason I did the soldiers, and the reason I wanted to do the charity,
0:39:21 > 0:39:23one of the reasons was that it was very personal.
0:39:23 > 0:39:28I've got two sons, who are more or less that age, or becoming that age.
0:39:28 > 0:39:31One is the age and one's becoming that age, that...
0:39:33 > 0:39:36Could be sent there to fight and be maimed.
0:39:38 > 0:39:40'I thought it was...
0:39:40 > 0:39:44'as much as I'm against wars, I think it's a worthwhile thing
0:39:44 > 0:39:46'to do anything you can to help those guys.
0:39:49 > 0:39:52'They like the idea that I'd been in the air force.
0:39:52 > 0:39:54'You know, it gave me a kind of...
0:39:54 > 0:39:56'It lets you join the club, so to speak.'
0:39:57 > 0:39:59Yeah.
0:40:00 > 0:40:06Yeah, and this is the only flower I think I saw in Afghanistan.
0:40:06 > 0:40:07Beautiful.
0:40:09 > 0:40:10Um, Paloma?
0:40:12 > 0:40:13Can you bring down the box of bones?
0:40:13 > 0:40:15Bones?
0:40:15 > 0:40:18They're the bones with the skull in it. They're upstairs in the thing.
0:40:18 > 0:40:20They're at the top.
0:40:23 > 0:40:26'My only problem is the race against death.
0:40:26 > 0:40:31'You know, fucking... I got the reaper on my back all the time.'
0:40:44 > 0:40:47'They say all the best things are accidents.
0:40:49 > 0:40:52'How can you be creative? You have to have an accident.
0:40:58 > 0:41:01'It's the accident that's exciting.
0:41:03 > 0:41:07'I suppose, in a way, you can set up the accident
0:41:07 > 0:41:09'and then hope it'll happen.'
0:41:17 > 0:41:20We need some a lizard, really, on that.
0:41:20 > 0:41:22'I think if the photographer's good,
0:41:22 > 0:41:27'the reality is in the photographer's mind.
0:41:27 > 0:41:31'If it's just someone going "Snap!" it's just a document, it's not even...
0:41:32 > 0:41:36'The other day, I suddenly realised I'd taken a picture that looked like an Irving Penn picture.
0:41:36 > 0:41:39'It was just putting a skull on top of a skull
0:41:39 > 0:41:43'and I actually did it to imitate a John Lennon picture
0:41:43 > 0:41:46'of John Lennon and Paul McCartney, with the head above it,
0:41:46 > 0:41:49'and I thought if I put the skull on top of the skull,
0:41:49 > 0:41:51'it'll look like John and Paul.'
0:41:51 > 0:41:54There you go, Joe. It's gone again.
0:41:54 > 0:42:01'So it's odd how sometimes you arrive at the same destination without...
0:42:01 > 0:42:05'Not starting from the same point or not starting from anywhere.'
0:42:07 > 0:42:10It looks great. It's definitely death.
0:42:11 > 0:42:14It doesn't look like anything I've seen before either, either.
0:42:14 > 0:42:18It's not harping back to any kind of... I meant the last picture.
0:42:18 > 0:42:21It's not harping back to any kind of reference.
0:42:21 > 0:42:23It's completely photography.
0:42:25 > 0:42:28'It's all about the past, really. The flowers die.
0:42:29 > 0:42:32'The skulls become nature's sculptures.
0:42:32 > 0:42:35'That's the ultimate sculpture, in the end.
0:42:35 > 0:42:38'It's the skull or skeleton of birds or people.
0:42:40 > 0:42:44'So they're kind of portraits of skulls, in a way.'
0:42:51 > 0:42:53Back once more to his London studio,
0:42:53 > 0:42:55a refuge far removed from the pain of the world
0:42:55 > 0:42:58where Bailey lives and works, surrounded by the people he loves,
0:42:58 > 0:43:02this morning, his friend Jerry Hall pays him a visit.
0:43:02 > 0:43:05I love that but I'd never seen that.
0:43:05 > 0:43:07Oh, that was for a charity I did.
0:43:07 > 0:43:09- That's so lovely.- Mickey Mouse as Hitler.
0:43:09 > 0:43:11JERRY LAUGHS
0:43:11 > 0:43:12No, it was Charlie Chaplin.
0:43:12 > 0:43:16No, it was Hitler, but I pretended it was Charlie Chaplin.
0:43:16 > 0:43:19- You started with me when you were 16, you bitch.- I know. I know.
0:43:19 > 0:43:21- But you know...- Were you a virgin?
0:43:23 > 0:43:25David, don't you remember?
0:43:25 > 0:43:26HE LAUGHS
0:43:26 > 0:43:28Women are strange animals.
0:43:28 > 0:43:30SHE LAUGHS
0:43:30 > 0:43:32Yeah.
0:43:32 > 0:43:34Still trying to work it out.
0:43:37 > 0:43:39I think you got lucky this time.
0:43:40 > 0:43:43- I was lucky every time.- I know. - They were all great.
0:43:43 > 0:43:46I know, but this one's lasted an awful long time.
0:43:46 > 0:43:51- Yeah, lucky girl. - And three children. Fantastic.
0:43:51 > 0:43:54I have a great time working with him. I love working with him.
0:43:54 > 0:43:58He makes me laugh. The day goes by very nicely. It's pleasant.
0:43:58 > 0:44:01Thing about Bailey is he's not someone...
0:44:01 > 0:44:05you know, he has dyslexia, so he's not very articulate.
0:44:05 > 0:44:10It's not about words, it's about instinct and it's about his vision.
0:44:10 > 0:44:16So he works more, you know, in watching, paying close attention.
0:44:16 > 0:44:21And when he's looking at you, you feel what he's looking,
0:44:21 > 0:44:24you feel more beautiful, more sexy.
0:44:24 > 0:44:26You start to feel, you know,
0:44:26 > 0:44:30it's a very intuitive business, being photographed, you know.
0:44:30 > 0:44:32It's not something you can talk and say,
0:44:32 > 0:44:34"OK, do this, do that,"
0:44:34 > 0:44:38because it's a different part of your brain, you know.
0:44:38 > 0:44:42It's the magic part. And Bailey's very good at that.
0:44:42 > 0:44:44There's a kind of silence,
0:44:44 > 0:44:47a kind of silent language that goes on
0:44:47 > 0:44:51between a model and a photographer, you know.
0:44:53 > 0:44:56You know, it's like when someone loves you.
0:44:56 > 0:44:59It brings out the best in you.
0:44:59 > 0:45:03You know, when you feel the look of someone who loves you,
0:45:03 > 0:45:06you just sort of blossom, you know.
0:45:06 > 0:45:10And I think that happens with a great photographer, with Bailey.
0:45:10 > 0:45:13I think he...he adores women, and he adores beauty,
0:45:13 > 0:45:17and I think he admires it so much that he brings it out in you.
0:45:17 > 0:45:22That's my ex-wife, one of my ex-wives. That's Marie Helvin.
0:45:23 > 0:45:25Angelica.
0:45:26 > 0:45:28It's beautiful, that picture.
0:45:28 > 0:45:30It's beautiful.
0:45:32 > 0:45:33'Women...'
0:45:33 > 0:45:35Jean Shrimpton.
0:45:35 > 0:45:38'..have changed my life.'
0:45:38 > 0:45:42Which is an obvious thing to say, but somehow...different...
0:45:42 > 0:45:47I can see how my photography changed with different women. It's odd.
0:45:47 > 0:45:49Jerry with Helmut.
0:45:50 > 0:45:53Trying to put on her shoes. Really odd.
0:45:53 > 0:45:55'I think if you think too much about these things,
0:45:55 > 0:45:58'you become too self-conscious, so you've got to avoid that.
0:45:58 > 0:46:01'As you get older, you don't care anyway. Who cares?'
0:46:01 > 0:46:03And my mum.
0:46:07 > 0:46:10I don't know, I think it's very flattering to be a muse
0:46:10 > 0:46:13to a great photographer or a great artist.
0:46:13 > 0:46:16I think it's wonderful. Kind of magical.
0:46:17 > 0:46:20Makes you immortal, in some way.
0:46:26 > 0:46:27Come on, Kate.
0:46:32 > 0:46:35She's so beautiful, Kate Moss, isn't she?
0:46:36 > 0:46:39She's so beautiful without being beautiful. It's amazing.
0:46:39 > 0:46:42She's just...beautiful.
0:46:42 > 0:46:45She's the only one that's like Jean Shrimpton.
0:46:45 > 0:46:48Only known two models that were like this.
0:46:48 > 0:46:51Jean Shrimpton and Kate Moss.
0:46:51 > 0:46:52They're unique.
0:46:52 > 0:46:54You can't understand it. I can't understand it.
0:46:56 > 0:47:01It's like, there's nothing special about the Mona Lisa but, you know,
0:47:01 > 0:47:05it's a painting, but it's got some...something you can't explain.
0:47:06 > 0:47:08You know, why?
0:47:12 > 0:47:14I'm sort of lucky cos...
0:47:16 > 0:47:18..in my personal life...
0:47:18 > 0:47:20I've got such a great wife.
0:47:22 > 0:47:25She's the opposite to a midget. She's a bit too tall, in fact.
0:47:27 > 0:47:29She's the best thing that ever happened to me.
0:47:31 > 0:47:32Maybe.
0:47:32 > 0:47:34Besides being born.
0:47:34 > 0:47:38The whatsit tree should be all right. The Magnolia.
0:47:40 > 0:47:42Mark, have you seen the Magnolia?
0:47:44 > 0:47:48'She's a beauty in the classical sense. She's a sort of...
0:47:48 > 0:47:49'Roman beauty, really.
0:47:52 > 0:47:56'I mean, the Sistine Chapel, I mean the Sistine Chapel Museum of busts,
0:47:56 > 0:48:02'she's got the long neck and the big eyes, the smallish head.
0:48:02 > 0:48:06'So she just looks like one of those Roman busts to me, really.'
0:48:08 > 0:48:09'And, um...
0:48:13 > 0:48:16'something you can't put your finger on. A mystery,
0:48:16 > 0:48:18'it's a mystery really.'
0:48:26 > 0:48:28A bit silly doing this.
0:48:28 > 0:48:30This is the graveyard.
0:48:31 > 0:48:33Lots of dead people in here.
0:48:35 > 0:48:36Welcome.
0:48:37 > 0:48:42- That's her father who has turned into a...- Magnolia tree.- Magnolia tree.
0:48:42 > 0:48:46- Called Star Wars.- Is it? - It's called Star Wars, yes!
0:48:48 > 0:48:51I brought these back in that same helicopter, Mark.
0:48:51 > 0:48:53The fern?
0:48:53 > 0:48:55No, these great big Monterey pines.
0:48:57 > 0:48:59Catherine, is David a good father?
0:49:01 > 0:49:04I'm her husband, not her father.
0:49:04 > 0:49:06LAUGHTER
0:49:06 > 0:49:08Yes, he is.
0:49:08 > 0:49:09SHE LAUGHS
0:49:12 > 0:49:15As long as they do what they're told.
0:49:15 > 0:49:17- You are, aren't you?- I'm all right.
0:49:23 > 0:49:27Ask if I'm a good lover, not if I'm a good father.
0:49:28 > 0:49:31- IMITATES HIM:- Ask if I'm a good lover.- He's got his...
0:49:31 > 0:49:34He's going to see it in a minute, isn't he?
0:49:34 > 0:49:37DOG GROWLS
0:49:37 > 0:49:40I think life's the main subject in Bailey's work.
0:49:40 > 0:49:42He does everything.
0:49:45 > 0:49:49His curiosity is endless.
0:49:49 > 0:49:50God, the French Revolution
0:49:50 > 0:49:53- would have loved your fucking neck, wouldn't they?- Yeah(!)
0:49:53 > 0:49:56LAUGHTER
0:49:56 > 0:50:00He wants to know everything. He's, um...
0:50:00 > 0:50:01Even if he goes to the doctor,
0:50:01 > 0:50:03he won't talk about what's wrong with him.
0:50:03 > 0:50:07He wants to know about the doctor. He wants to know everything about everyone.
0:50:07 > 0:50:09The questions he asks,
0:50:09 > 0:50:11and I'm always amazed people answer them!
0:50:11 > 0:50:12SHE LAUGHS
0:50:12 > 0:50:16I think because he has the curiosity, in a way, of a child.
0:50:16 > 0:50:19And the way he asks questions,
0:50:19 > 0:50:21they're not insulting, they're questions.
0:50:22 > 0:50:25Just, like, "click, click" and then do it.
0:50:30 > 0:50:34'In fact, the extraordinary is probably less exciting than the ordinary'
0:50:34 > 0:50:37because you can always find something interesting in the ordinary.
0:50:37 > 0:50:41People say, "Who's the most interesting person you've ever photographed?"
0:50:41 > 0:50:43Everybody I photograph is interesting,
0:50:43 > 0:50:47if you want to look into them and find out more about them.
0:50:47 > 0:50:49'I mean, I'm just happy to wake up every day
0:50:49 > 0:50:51'so I can find out something new.'
0:50:51 > 0:50:53I love that.
0:50:53 > 0:50:55That's like a cock in a cunt.
0:50:55 > 0:50:56Fucking big cunt.
0:50:56 > 0:50:58Good.
0:50:58 > 0:51:03He has a way of making it seem flippant.
0:51:03 > 0:51:05But one thing, he's not a joker.
0:51:05 > 0:51:08He takes what he does very, very seriously.
0:51:08 > 0:51:11And I think that's part of it.
0:51:11 > 0:51:14And it's the dedication and working all the time, working at it.
0:51:14 > 0:51:18And he's never satisfied. It's always a disappointment.
0:51:18 > 0:51:20So he just wants to do better.
0:51:20 > 0:51:24His disappointment doesn't make him give up,
0:51:24 > 0:51:25it makes him do more.
0:51:25 > 0:51:27Hang on, I'll tell you what I'll do.
0:51:27 > 0:51:29Chin up.
0:51:29 > 0:51:31Yeah? Perfect.
0:51:31 > 0:51:33Now...
0:51:33 > 0:51:35Really quick, quick.
0:51:35 > 0:51:39SHUTTER RELEASES REPEATEDLY
0:51:40 > 0:51:42You have to be really quick.
0:51:42 > 0:51:45Change immediately. Immediately.
0:51:45 > 0:51:46Look straight at me.
0:51:48 > 0:51:52# When everything falls apart
0:51:53 > 0:51:57# And all disappears
0:51:58 > 0:52:02# And you hold me in your arms
0:52:02 > 0:52:06# I'm... I'm whole again
0:52:06 > 0:52:12# I want this feeling
0:52:12 > 0:52:17# I want this feeling
0:52:17 > 0:52:21# This feeling to linger on. #
0:52:21 > 0:52:23Subtitles by Red Bee Media Ltd
0:52:23 > 0:52:28E-mail: subtitling@bbc.co.uk