0:00:02 > 0:00:06This film is about the famous photographer Helmut Newton,
0:00:06 > 0:00:08who also happens to be my husband. I'll try the other way.
0:00:08 > 0:00:11This film is about my husband Helmut Newton...
0:00:11 > 0:00:13BELLS TOLL
0:00:13 > 0:00:21This programme contains some strong language.
0:00:21 > 0:00:23That'll be very, very pretty when you go and look at that.
0:00:23 > 0:00:26That's good. That could be the opening of the film.
0:00:28 > 0:00:31That's it. Yeah, yeah. That's good.
0:00:31 > 0:00:34Yeah, go lick first. Lick.
0:00:34 > 0:00:36That's beautiful. Keep on licking.
0:00:36 > 0:00:40That long tongue. There, there, there, there.
0:00:42 > 0:00:46Yep. Great. The teeth, let me see the teeth. Yeah.
0:00:46 > 0:00:48Think of a vampire.
0:00:50 > 0:00:53Beautiful. Great. Yeah. Let me see those teeth again.
0:00:53 > 0:00:55Yeah. Oh, yes, yes.
0:00:55 > 0:00:59I want you to take it all in your mouth. Now turn your mouth to me.
0:00:59 > 0:01:01There, there, there. Stay. Stay.
0:01:04 > 0:01:09A few years ago, I offered Helmut a video camera for Christmas,
0:01:09 > 0:01:13but he refused it, so I started using it myself.
0:01:14 > 0:01:16I looked through the lens
0:01:16 > 0:01:19and I knew exactly what I was going to do with it -
0:01:19 > 0:01:21film Helmut at work.
0:01:25 > 0:01:27The film represents extracts
0:01:27 > 0:01:30of certain assignments he worked on during this time.
0:01:33 > 0:01:35Well that would be... You see,
0:01:35 > 0:01:39I don't know anything about the fucking writing process.
0:01:39 > 0:01:41I'm a pornographer.
0:01:42 > 0:01:44Yeah.
0:01:44 > 0:01:46We were married in 1948.
0:01:46 > 0:01:50When he proposed to me he said we'd never be rich, we'd always be poor.
0:01:51 > 0:01:56He also said that photography would always be his first love
0:01:56 > 0:01:58and that I would be his second.
0:01:58 > 0:02:01The first 10,000 is due now, is it?
0:02:03 > 0:02:06He was born in Berlin in 1920.
0:02:10 > 0:02:13He bought his first camera at the age of 12
0:02:13 > 0:02:17and he's been taking pictures ever since.
0:02:18 > 0:02:21Time magazine called him the King of Kink.
0:02:23 > 0:02:26Feminists call him an exploiter of women.
0:02:29 > 0:02:32His astrological sign is Scorpio.
0:02:36 > 0:02:40Women sometimes ask me how I can live with such a monster.
0:02:42 > 0:02:44It's easy.
0:02:44 > 0:02:45Watch.
0:02:45 > 0:02:47WIND BLOWS
0:02:48 > 0:02:51You've got a great smile. A-ha.
0:02:51 > 0:02:54Go on. Yeah, and again.
0:02:56 > 0:02:59Some people deal in wheat,
0:02:59 > 0:03:01some people deal in copper.
0:03:01 > 0:03:03It's a commodity.
0:03:03 > 0:03:07To me, the women that I photograph are fashion photographs.
0:03:07 > 0:03:11For instance, it's a commodity. They get paid.
0:03:11 > 0:03:14I form them to whatever I want to form them.
0:03:14 > 0:03:18Sometimes I remember some young model that complained and said to me,
0:03:18 > 0:03:21"Oh, but, Helmut, that's not me."
0:03:21 > 0:03:24I said, "My dear, I'm not interested in you.
0:03:24 > 0:03:28"You're getting paid to be made into what I want."
0:03:28 > 0:03:30HELICOPTER WHIRLS
0:03:40 > 0:03:44All right. You take the position, Claudia.
0:03:44 > 0:03:47Yeah. There. The shoulders a bit more to me.
0:03:47 > 0:03:50That's beautiful. The lips open. That's nice.
0:03:50 > 0:03:53Good, good, good, good.
0:03:53 > 0:03:57At 74, I keep waiting for him to slow down,
0:03:57 > 0:04:02but he's still out there doing what he loves the most.
0:04:02 > 0:04:04Good, good, good.
0:04:04 > 0:04:06Beautiful. Good.
0:04:07 > 0:04:10Everything is automatic.
0:04:10 > 0:04:12- All I have to do is push the button.- OK.
0:04:12 > 0:04:17It's a camera... that every amateur buys.
0:04:20 > 0:04:22- It's all in there.- All in there.
0:04:22 > 0:04:24BLEEPING
0:04:24 > 0:04:28Yeah, yeah. Stick your head forward, Armando.
0:04:28 > 0:04:31Yeah. The head more to me. Yeah. Now...
0:04:32 > 0:04:35Put the light on him. Put the light on him.
0:04:37 > 0:04:38BLEEPING
0:04:38 > 0:04:41Yeah, yeah, yeah. Stay like that.
0:04:43 > 0:04:45HE SPEAKS FRENCH
0:04:45 > 0:04:47That's good, that's good, that's good.
0:04:47 > 0:04:50Again. Yeah, yeah.
0:04:50 > 0:04:52Like a killer. Like a murderer.
0:04:52 > 0:04:54Bigger eyes. Bigger eyes.
0:04:54 > 0:04:57HE SPEAKS FRENCH
0:04:58 > 0:05:00OK. Push, push, push.
0:05:03 > 0:05:04And again.
0:05:04 > 0:05:08You look, Armando, a little bit more violent.
0:05:08 > 0:05:11Everything is a little... slice of life.
0:05:12 > 0:05:15Every picture is based on reality.
0:05:16 > 0:05:19I have no feverish imagination.
0:05:19 > 0:05:22It's all real and it happens everyday.
0:05:23 > 0:05:29And every scene that I do here is all plucked from the reality,
0:05:29 > 0:05:33the harshness of everyday life amongst the rich.
0:05:35 > 0:05:39Claudia's coming in and behind the door is her husband.
0:05:39 > 0:05:40It's her husband with the maid.
0:05:40 > 0:05:44Kissing the maid. OK, Claudia. Go, go. Fast.
0:05:44 > 0:05:48He describes his photographs as the way he sees the world.
0:05:48 > 0:05:53He says, "The way I photograph things is the way I see the world."
0:05:55 > 0:05:59That's great. That's great. Go, go. Go. Look at her.
0:05:59 > 0:06:01Look at her, Claudia.
0:06:03 > 0:06:07That's good, that's good. That's good. And again.
0:06:07 > 0:06:09Yeah.
0:06:09 > 0:06:13- No, put the bread in front of the cup. In front of the cup.- OK.
0:06:14 > 0:06:16That's right.
0:06:16 > 0:06:20Now, push the... Push the fruit more this way.
0:06:23 > 0:06:26More. Stop. Perfect.
0:06:26 > 0:06:29The chin a bit to me, Claudia. That's good.
0:06:29 > 0:06:32Chin down a bit, Claudia. Down, down.
0:06:32 > 0:06:34A bit more to me.
0:06:34 > 0:06:36Not too much. There.
0:06:36 > 0:06:39Perfect. Perfect. Perfect. There!
0:06:40 > 0:06:42That's it! Beautiful.
0:06:42 > 0:06:44I like the word powerful.
0:06:44 > 0:06:47I've always liked, er, strong women
0:06:47 > 0:06:50because I feel secure.
0:06:50 > 0:06:52It's, er, you know, I'm not very strong.
0:06:52 > 0:06:55I haven't got many muscles and the wind blows,
0:06:55 > 0:06:57I'm more likely to fall down.
0:06:57 > 0:06:59So if I have a strong woman with me,
0:06:59 > 0:07:02like June is a real...Aussie
0:07:02 > 0:07:06and she's got muscles and she's strong
0:07:06 > 0:07:09when she has to be strong, and she's also strong in the head.
0:07:09 > 0:07:13My mother was a very spoilt woman...
0:07:13 > 0:07:16and, but when it counted to save the family,
0:07:16 > 0:07:20er, in the days of the last days, or the first days of Hitler,
0:07:20 > 0:07:24or the last days of the family in Berlin,
0:07:24 > 0:07:28she was very much there and very, very strong.
0:07:28 > 0:07:30My father was in a concentration camp at the time
0:07:30 > 0:07:34and she had to pull the chestnuts out of the fire.
0:07:34 > 0:07:38Where's the star? I'm ready for the star!
0:07:38 > 0:07:40So, erm...
0:07:40 > 0:07:44this kind of Amazon woman...
0:07:44 > 0:07:46has always appealed to me.
0:07:46 > 0:07:48PLANE FLIES OVER
0:07:51 > 0:07:53Chin up. There.
0:07:53 > 0:07:56Eyes down. There. There. Right there.
0:08:02 > 0:08:06Well done. C'est bon, c'est bon. Beautiful. Stay. Don't move.
0:08:06 > 0:08:09Breathe in. Yeah. Yeah, that's it.
0:08:14 > 0:08:15HE SPEAKS FRENCH
0:08:24 > 0:08:27Good, good. Keep the finger and the hand flat.
0:08:28 > 0:08:30Yeah. Wow.
0:08:31 > 0:08:35The shrinking violet woman really gives me the creeps.
0:08:35 > 0:08:39I mean, I don't like 150% feminine women.
0:08:39 > 0:08:43I like a woman with a little bit androgynous, you know?
0:08:43 > 0:08:45Where you feel the strength.
0:08:45 > 0:08:47PHONE RINGS
0:08:51 > 0:08:53Hello. Yeah.
0:08:55 > 0:08:58Oh. That's funny, I'm just looking at them.
0:08:59 > 0:09:01In fact, I'm filming them.
0:09:01 > 0:09:03OK. Bye.
0:09:06 > 0:09:10Yeah. These are... Ralphie Gibson took these pictures.
0:09:10 > 0:09:13They're very recent pictures.
0:09:14 > 0:09:16Oh, my God.
0:09:16 > 0:09:18Snapshots taken in Paris.
0:09:20 > 0:09:23These must have been taken at Lipp. Chez Lipp.
0:09:27 > 0:09:30Our favourite watering place in Paris.
0:09:33 > 0:09:36Helmut, you should open it.
0:09:36 > 0:09:38- Hello.- Hi. How are you?
0:09:38 > 0:09:42- Hi, Julie. I'm June.- June, nice to meet you.- Nice to meet you.
0:09:42 > 0:09:43And I'm Helmut.
0:09:43 > 0:09:46- Yeah, this is Helmut. - It's a pleasure.
0:09:46 > 0:09:49I like those American girls that are on time.
0:09:49 > 0:09:53Do you know, somebody has pinched your Penthouse. Your Penthouse.
0:09:53 > 0:09:56- Oh, you gave them back to me. - Ah!- Oh, Helmy.
0:09:56 > 0:09:59I was so worried. I was so worried.
0:09:59 > 0:10:02Ahh, that's OK. I have extras, believe me.
0:10:02 > 0:10:05Listen, I think we take the black... You've got an outline, have you?
0:10:05 > 0:10:08- Mm-hm.- We'll take it out. - OK. No problem.
0:10:08 > 0:10:11You're gorgeous. That's going to be your setting.
0:10:11 > 0:10:15Woman belongs into the... I find that the places that I know
0:10:15 > 0:10:17that are very familiar to me
0:10:17 > 0:10:21become very mysterious and very interesting.
0:10:21 > 0:10:22There. The head to the clock.
0:10:22 > 0:10:24He loves big women.
0:10:24 > 0:10:28Statues, paintings, sculptures...
0:10:28 > 0:10:29live ones.
0:10:29 > 0:10:34Especially live ones because he can manipulate them.
0:10:34 > 0:10:37He can control every muscle in their bodies.
0:10:41 > 0:10:43Yeah, but there it doesn't work.
0:10:43 > 0:10:46But you know, you've got to keep the shoulders a bit more to me.
0:10:46 > 0:10:50That's better. It's better when you do that. Beautiful. There, there!
0:10:50 > 0:10:54That's beautiful. Oh, that's beautiful!
0:10:54 > 0:10:56Beautiful!
0:10:56 > 0:10:57Beautiful! Look.
0:10:59 > 0:11:02HE SPEAKS FRENCH
0:11:05 > 0:11:07THEY SPEAK FRENCH
0:11:08 > 0:11:12Look at this beautiful young man. A photographer with the soul.
0:11:14 > 0:11:17Chin down a bit. Look at...
0:11:17 > 0:11:20No, I think it's a bit too relaxed. Nothing happening.
0:11:20 > 0:11:22Be a Venus.
0:11:25 > 0:11:27There. There. Now you're a Venus.
0:11:28 > 0:11:31Good, good, good. Good.
0:11:31 > 0:11:34Another hand. That's divine.
0:11:34 > 0:11:38And the front foot was up a little bit... There! Like this! Beautiful.
0:11:38 > 0:11:41PIANO PLAYS
0:11:41 > 0:11:42All right.
0:11:42 > 0:11:45JUNE SNEEZES
0:11:45 > 0:11:47- Bless you. - Thank you. Print this at 5-6.
0:11:47 > 0:11:50Glasses! Where are my glasses?
0:11:51 > 0:11:53- Where are your glasses?- On my desk.
0:11:53 > 0:11:56Wait a minute, I'll get them for you.
0:11:56 > 0:11:59- You got them, Junie? - I've got them.- I'm sorry.
0:12:00 > 0:12:02Thank you.
0:12:02 > 0:12:06- How did the interview go today for Entertainment Tonight?- Oh!
0:12:08 > 0:12:13You know, the usual BLEEP bullshit, you know?
0:12:13 > 0:12:17No nipples. American women have no pussy, they have no nipples,
0:12:17 > 0:12:21they don't smoke, they don't drink, they don't do anything.
0:12:21 > 0:12:23That's for the Americans.
0:12:23 > 0:12:28- That's the way the American public sees the American woman.- They do.
0:12:28 > 0:12:30That's all right with me.
0:12:31 > 0:12:35What kind of names do they like to talk to you about?
0:12:35 > 0:12:37It's always the same.
0:12:37 > 0:12:41It's always the same. They talk about...
0:12:41 > 0:12:43What do they talk about?
0:12:43 > 0:12:46They say, "We can show the nude.
0:12:46 > 0:12:48"We're going to bleep out the nipples,
0:12:48 > 0:12:50"then we bleep out the sex."
0:12:50 > 0:12:54Er, they put some kind of,
0:12:54 > 0:12:57erm, optical...
0:12:57 > 0:13:00er, thing over it.
0:13:00 > 0:13:02I don't know. It's very...
0:13:04 > 0:13:07I think it's sick, this society.
0:13:08 > 0:13:10So that's how they show the news.
0:13:10 > 0:13:12- Does that offend you?- No.
0:13:12 > 0:13:15It, eh, it saddens me.
0:13:15 > 0:13:18This is more interesting.
0:13:21 > 0:13:25I'm often asked if I'm jealous of the girls he photographs.
0:13:25 > 0:13:29It's his job. It's his livelihood.
0:13:29 > 0:13:31It's how he makes his living.
0:13:31 > 0:13:34That's right. It's got to have the feeling that you really...
0:13:34 > 0:13:37Look at her, really. Look at her, really.
0:13:37 > 0:13:41It's like a suspicious look, you know? It's not all that good between you two.
0:13:41 > 0:13:44He was photographing girls when I met him,
0:13:44 > 0:13:46so nothing's changed really.
0:13:46 > 0:13:49The only time I ever got a bit worried
0:13:49 > 0:13:52was when he started photographing flowers.
0:13:52 > 0:13:55They were mostly dead flowers.
0:13:55 > 0:13:58But it's more than a job.
0:13:58 > 0:14:04It's a passion. An obsession. He's obsessed.
0:14:05 > 0:14:09Open your mouth, Cindy, like you just said something. Aha!
0:14:09 > 0:14:12Yeah, yeah.
0:14:12 > 0:14:15Oh, I love that leg out, I must say. Do whatever you want.
0:14:15 > 0:14:18That's beautiful. Like a panther. Fantastic.
0:14:18 > 0:14:21Yeah, you should be higher. You're too low now, Cindy.
0:14:21 > 0:14:24Before you were higher, you were bearing down on her. It was much more aggressive.
0:14:24 > 0:14:26Yeah! Stay!
0:14:26 > 0:14:29OK. Let's go.
0:14:29 > 0:14:32When I start taking a picture, I talk too much though,
0:14:32 > 0:14:34even when there are a lot of people around.
0:14:34 > 0:14:38- Oh-la-la!- Oh-la-la! - Do you want to be a model? What are you doing tonight?!
0:14:38 > 0:14:44I have these catch words to sort of get myself going.
0:14:44 > 0:14:47I'm talking to myself like you talk to a good dog.
0:14:47 > 0:14:52And I say to myself, "Be mysterious, Helmut. Don't be too relaxed.
0:14:52 > 0:14:56"Tension, tension! Nervousness is needed!"
0:15:00 > 0:15:04BABY CRIES
0:15:06 > 0:15:08OK, go. Go.
0:15:08 > 0:15:12An image, to me, can be very nervous. It can also be mysterious.
0:15:12 > 0:15:15The woman in the image can be mysterious.
0:15:15 > 0:15:19And to me, I think it's important that she is mysterious.
0:15:19 > 0:15:24So, even in the way a woman walks down the staircase
0:15:24 > 0:15:28like Cindy walks down, I like the way that the legs open.
0:15:28 > 0:15:33I like the muscles that I see. I like the way the knees open
0:15:33 > 0:15:37when she walks in a certain way. She comes down the steps,
0:15:37 > 0:15:42she goes, eh, she goes like this,
0:15:42 > 0:15:45and like that, and like this.
0:15:45 > 0:15:48And it is an action that...
0:15:48 > 0:15:50Well, I show the girl what I mean.
0:15:52 > 0:15:55And if she's smart, she can understand it immediately.
0:15:57 > 0:16:01- How much money you got?- On me? - How much? OK.
0:16:01 > 0:16:03Give us 500. Cindy?
0:16:03 > 0:16:05LAUGHTER
0:16:05 > 0:16:09- Yeah. 500. Cindy, where is she? - And you?
0:16:09 > 0:16:12Huh? Twice 500. Where is Cindy?
0:16:12 > 0:16:16- She's over there in the garden. - Come on, come with me.
0:16:16 > 0:16:18You come, too.
0:16:18 > 0:16:21Come on, we'll arrange that.
0:16:21 > 0:16:26A Helmut Newton photograph for 1,000 francs? This doesn't make it a good bargain.
0:16:26 > 0:16:29Make him happy, what's more. That's great.
0:16:29 > 0:16:32Oh!
0:16:32 > 0:16:37Wait. There's a unique - show it to the camera.
0:16:37 > 0:16:40Right, you hold it. You hold it for the camera.
0:16:46 > 0:16:48I don't believe it.
0:16:52 > 0:16:55God!
0:16:56 > 0:16:59I don't like complicated.
0:16:59 > 0:17:04I think things are complicated enough without making them more so.
0:17:04 > 0:17:12And I think also this is one of the reasons why my technical equipment is very simple. It is very basic.
0:17:12 > 0:17:17Because it gives me more time to work with the girl,
0:17:17 > 0:17:20which is the most important thing. I can totally concentrate on that.
0:17:20 > 0:17:25I don't have to worry about strobe lights right, left and centre.
0:17:25 > 0:17:28And my assistants don't have to worry about it.
0:17:28 > 0:17:31But I want to see you - yeah, yeah, that's good! That's beautiful.
0:17:31 > 0:17:34That's beautiful. Just a minute, darling.
0:17:34 > 0:17:36Now wait, I'll tell you what you must do.
0:17:36 > 0:17:38The feet must be more elegant.
0:17:38 > 0:17:41There, that's beautiful. That's beautiful.
0:17:41 > 0:17:43"Oh, look at my beautiful car!" Say it!
0:17:43 > 0:17:47He never takes two rolls of film when one will do.
0:17:47 > 0:17:50Recently a fashion editor said to him,
0:17:50 > 0:17:52"Helmut, you've only taken six pictures."
0:17:52 > 0:17:55"You only need one," he said.
0:18:02 > 0:18:06Open the lips. More, more.
0:18:08 > 0:18:11Don't blink. Don't blink.
0:18:11 > 0:18:15As far as I know, he's never used a motor drive on his camera.
0:18:15 > 0:18:19He has to be in total control.
0:18:19 > 0:18:23It's not the camera that takes the picture. It's him.
0:18:23 > 0:18:26I still believe that the perfect fashion photograph
0:18:26 > 0:18:29is a photograph that does not look like a fashion photograph.
0:18:29 > 0:18:32It's a photograph that looks...
0:18:32 > 0:18:34like something out of a movie.
0:18:34 > 0:18:37Like a...a...
0:18:37 > 0:18:41Maybe a portrait, maybe a souvenir shot.
0:18:41 > 0:18:43Maybe a paparazzi shot.
0:18:43 > 0:18:47But anything but a fashion photograph.
0:18:47 > 0:18:53SPEAKS IN FRENCH
0:19:02 > 0:19:10SPEAKS IN FRENCH
0:19:10 > 0:19:13LAUGHTER
0:19:17 > 0:19:19Tres raisonnable.
0:19:19 > 0:19:21Tres raisonnable!
0:19:23 > 0:19:27Voila! En riche capitaliste!
0:19:32 > 0:19:35Good. That's good.
0:19:36 > 0:19:38That's perfect! Oui.
0:19:40 > 0:19:43Marvellous. Marvellous.
0:19:43 > 0:19:46I think it looks just right.
0:19:48 > 0:19:52SPEAKS IN FRENCH
0:19:54 > 0:19:58The one thing I'll take with me into another world
0:19:58 > 0:20:00is my Saint Laurent shopping. You can have my life.
0:20:00 > 0:20:03But not my Saint Laurent shopping!
0:20:07 > 0:20:11I take siestas wherever I can in the afternoon.
0:20:11 > 0:20:16Just for half an hour I lie on the bed or on a couch or something.
0:20:16 > 0:20:20When I can. And I close my eyes,
0:20:20 > 0:20:26and I'll put an eye shade over my eyes to keep the light out.
0:20:26 > 0:20:29And then I start thinking about the job that I've got to do.
0:20:29 > 0:20:34And then I see images in my head.
0:20:39 > 0:20:44You know, you often close your eyes and you can't remember anything.
0:20:44 > 0:20:49But the camera can open its eye for thousandths of a second
0:20:49 > 0:20:52and remember every detail.
0:20:52 > 0:20:56I mean, to me it is magical.
0:21:06 > 0:21:09SPEAKS IN FRENCH
0:21:13 > 0:21:15No, no - regardez, Yves!
0:21:15 > 0:21:21C'est ca. Ca c'est bien. Voila!
0:21:21 > 0:21:23Parfait. Parfait.
0:21:23 > 0:21:27SPEAKS IN FRENCH
0:21:29 > 0:21:32You look at him, darling. Oui.
0:21:32 > 0:21:36Beautiful. Voila, voila, voila, voila! Voila!
0:21:36 > 0:21:39Parfait! Parfait! Oui.
0:21:39 > 0:21:42Voila, c'est ca.
0:21:42 > 0:21:46Voila! La tete, Yves.
0:21:46 > 0:21:50Voila! Ca c'est bien! Voila!
0:22:03 > 0:22:07I always find myself in the same place. I love going back to places I know.
0:22:07 > 0:22:10The more I know them, I know about them,
0:22:10 > 0:22:13the more mysterious they become to me.
0:22:13 > 0:22:16I've said this many years ago, and I still believe in it,
0:22:16 > 0:22:19that I always find the perfect background
0:22:19 > 0:22:22within one or two kilometres
0:22:22 > 0:22:24from where I live. And it's the truth.
0:22:24 > 0:22:27And I found the best feeling about pictures
0:22:27 > 0:22:30where I really know it well.
0:22:31 > 0:22:36The session took place in the Hotel Du Paris in Monte Carlo.
0:22:42 > 0:22:45LAUGHTER
0:22:54 > 0:23:02MUSIC: "Greensleeves"
0:23:22 > 0:23:24Lovely! Lovely!
0:23:25 > 0:23:28Look at me. Look at my camera.
0:23:31 > 0:23:36No, with your head back. Throw your head back. But open the eyes a bit.
0:23:36 > 0:23:39Yeah. There, there.
0:23:39 > 0:23:42There, there, like this. Throw your chest out.
0:23:42 > 0:23:46The more chest I get, the better it will be for everybody.
0:23:47 > 0:23:50There, like this.
0:23:50 > 0:23:54OK, messieurs, s'il vous plait?
0:23:54 > 0:23:56# Que Sera, Sera... #
0:23:56 > 0:23:57Beautiful.
0:23:59 > 0:24:02That's lovely.
0:24:05 > 0:24:08Just stay. So long as you're...beautiful, yeah.
0:24:10 > 0:24:13Uh-huh. Lovely.
0:24:13 > 0:24:17Yeah, the eyes. Still there...
0:24:19 > 0:24:23Thank you. Merci, messieurs. Merci, messieurs.
0:24:23 > 0:24:25APPLAUSE
0:24:27 > 0:24:31PHONE RINGS Listen, get her telephone number...
0:24:31 > 0:24:34Get telephone number, we'll call her back.
0:24:34 > 0:24:37Hello. Just one minute.
0:24:37 > 0:24:39What do you speak - English or French?
0:24:41 > 0:24:43OK.
0:24:43 > 0:24:46The what?
0:24:47 > 0:24:52No, no. I don't speak Spanish. I speak English, French and German.
0:24:52 > 0:24:54But... Oh, right.
0:24:54 > 0:24:58Now I'll tell you something, I'm in the middle of a meeting. You've got to be quick.
0:25:00 > 0:25:04# O sole mio!
0:25:04 > 0:25:10# Oooohhhh! #
0:25:12 > 0:25:14- Hello!- Hello!
0:25:26 > 0:25:29The eyes.
0:25:29 > 0:25:32Good! Yeah. That's too serious.
0:25:32 > 0:25:34- Let's do danger.- Do danger? - Let's do danger.- Danger?
0:25:34 > 0:25:38- Danger.- How can I do danger?
0:25:38 > 0:25:42LAUGHTER
0:25:42 > 0:25:44- You want the devil today? - Yes, I want the devil!- Oh, right.
0:25:44 > 0:25:48You should have invited me. I need three days to be the devil.
0:25:48 > 0:25:51Yes, yes, yes.
0:25:55 > 0:25:59Yeah. I love that. That's good.
0:26:04 > 0:26:09OK. Yes, please, please...
0:26:22 > 0:26:25I'm doing a striptease, Maestro.
0:26:25 > 0:26:29Wait a min... Wait! I'm not beautiful enough.
0:26:29 > 0:26:33LAUGHTER
0:26:33 > 0:26:35You will have fantastic future, I have to tell you!
0:26:35 > 0:26:37You have to sign them!
0:26:39 > 0:26:41Take us when we are both alive.
0:26:44 > 0:26:46Wait a minute. Wait!
0:26:46 > 0:26:50Please, please! I've got something in my thing.
0:26:50 > 0:26:53I've got everything in here.
0:26:53 > 0:26:55Take it easy. Take it easy, June.
0:26:55 > 0:26:57Just a moment.
0:26:57 > 0:26:59That's it. That's it.
0:27:06 > 0:27:08One minute.
0:27:11 > 0:27:13Bella!
0:27:18 > 0:27:20C'est beau. Magnifique.
0:27:20 > 0:27:23Let me talk in English.
0:27:23 > 0:27:26This picture, the other one was number eight.
0:27:26 > 0:27:29This is number nine on the film.
0:27:29 > 0:27:33So there is, between this and the other one, there is one what?
0:27:33 > 0:27:3730 seconds' difference in time when they were taken.
0:27:37 > 0:27:39And the difference is unbelievable.
0:27:39 > 0:27:41Well, the other one she blinked, that's all.
0:27:41 > 0:27:46The other one she's not really looking mysterious, she's just blinking her eyes.
0:27:46 > 0:27:48That's why it's slightly out of focus.
0:27:48 > 0:27:51- No!- Helmut, it is.
0:27:51 > 0:27:55I mean, how can you say such a thing? you're belittling me again.
0:27:55 > 0:27:58- No.- It is my direction. - I'm a realist.
0:27:58 > 0:28:02It is my direction that has made her mysterious and wonderful.
0:28:08 > 0:28:13Oh, June? No, they wouldn't be interested in June.
0:28:13 > 0:28:16I'll talk with June, but unless there's 10,000 bucks in it
0:28:16 > 0:28:19I don't think we should even bother.
0:28:19 > 0:28:23I think her little camera is technically a bit unreliable.
0:28:25 > 0:28:29- Your cap's on! - That's why I couldn't see anything!
0:28:29 > 0:28:33- Hi!- Hi!- We're here, Juney! - Come in.
0:28:33 > 0:28:38- Jennifer.- Now we're ready. - Well, I think we're ready.
0:28:38 > 0:28:42- We'll find out. - You look great.
0:28:42 > 0:28:44But I'd rather, I like the projector.
0:28:44 > 0:28:46- Let's start with the projector. OK? - All right.
0:28:46 > 0:28:49Can you give me a couple of minutes?
0:28:49 > 0:28:52Helmut, we're going to put all our make-up in this bag.
0:28:55 > 0:29:02I want you to very carefully take down all those pictures on this wall.
0:29:02 > 0:29:04Careful, June, with that thing.
0:29:16 > 0:29:21Yeah. Good. Wait a second.
0:29:21 > 0:29:24I love Charles up there, cos that is marvellous.
0:29:25 > 0:29:29- Isn't that nice up there? - Fantastic. Wait a minute.
0:29:29 > 0:29:34Charles, can you turn on for a minute the little projector on the right one?
0:29:34 > 0:29:38And I want to see your face.
0:29:38 > 0:29:40That's marvellous. Lift your chin more, Deborah.
0:29:40 > 0:29:44To him. Good. Good.
0:29:44 > 0:29:47That's it. That's it now.
0:29:47 > 0:29:49Go talk for a minute, girls.
0:29:51 > 0:29:54I like that enigmatic look.
0:29:54 > 0:29:56I like this. Good, good, good.
0:29:56 > 0:30:01Come here, Daniel. Put your back against mine.
0:30:01 > 0:30:05Put your back against mine, just like this, where I can...
0:30:05 > 0:30:07Don't move. Don't move, Daniel.
0:30:07 > 0:30:10There, there, that's it. That's it.
0:30:12 > 0:30:15Charles, lean in close. There, there, that's it.
0:30:15 > 0:30:17Beautiful.
0:30:17 > 0:30:19OK, let's have lunch.
0:30:28 > 0:30:31'I'm not aware of being subversive.
0:30:31 > 0:30:35'When it was mentioned to me first, which was just recently,
0:30:35 > 0:30:39'erm, I was very surprised.
0:30:39 > 0:30:42'I like to be subversive,
0:30:42 > 0:30:45'and obviously I must be doing something right
0:30:45 > 0:30:48'because it was mentioned,
0:30:48 > 0:30:50'but I'm not aware of it.
0:30:50 > 0:30:53'I'm not aware of very many things,
0:30:53 > 0:30:57'because a lot of people read and write things,
0:30:57 > 0:30:59'very learned things, about my photographs,
0:30:59 > 0:31:02'which delights me, of course, because it means they look at them,
0:31:02 > 0:31:04'and sometimes take them very seriously,
0:31:04 > 0:31:06'but the funny thing is that what they write,
0:31:06 > 0:31:09'I'm very amused by what they write, and interested.
0:31:09 > 0:31:12'But it's not at all what I think about.
0:31:12 > 0:31:16'So I like to twist things a little bit.'
0:31:19 > 0:31:24'With so little, he can create so much with things that exist.'
0:31:29 > 0:31:32One more. One more.
0:31:34 > 0:31:35All right.
0:31:37 > 0:31:39OK?
0:31:47 > 0:31:50Lots of nice machinery here.
0:31:50 > 0:31:54Helmut, say again, what would you like to do with this?
0:31:54 > 0:31:57I would like to put a girl in the middle, spread-eagle,
0:31:57 > 0:32:01and the four corners, for those four eyelets,
0:32:01 > 0:32:05you would attach her arms and her legs.
0:32:05 > 0:32:07That's great.
0:32:07 > 0:32:09It's incredible.
0:32:09 > 0:32:12You feel you are in New Mexico and Arizona.
0:32:12 > 0:32:15It's the kind of location he's able to find around Monte Carlo!
0:32:15 > 0:32:17SHE LAUGHS
0:32:17 > 0:32:19- It's amazing, isn't it? - Being next door.
0:32:19 > 0:32:22It's next door to where he lives. It's incredible.
0:32:22 > 0:32:26It's a real fantasy power, don't you think?
0:32:26 > 0:32:32'I'm conscious of inflicting a certain thing on a model.'
0:32:32 > 0:32:37When it's a fashion photograph or a nude that involves a model,
0:32:37 > 0:32:41I will direct her, I will manipulate her,
0:32:41 > 0:32:46I will make her into something that is...
0:32:46 > 0:32:50very much me. Very often, women stand...
0:32:50 > 0:32:53I'd have to give you a demonstration.
0:32:53 > 0:32:55Maybe I should get up and give it to you.
0:32:58 > 0:33:01You know, I loved always Gary Cooper
0:33:01 > 0:33:06as a, er, gunfighter in High Noon.
0:33:06 > 0:33:09They're always ready to draw.
0:33:09 > 0:33:11There are their guns, their revolvers,
0:33:11 > 0:33:13and they're always like this.
0:33:13 > 0:33:15They're never like this, they're always like this,
0:33:15 > 0:33:18which means that the outline of their body...
0:33:18 > 0:33:20There is daylight behind them.
0:33:20 > 0:33:22When you have your hands here,
0:33:22 > 0:33:25you don't see what the outline of the body is,
0:33:25 > 0:33:27'the waist, the big shoulders,
0:33:27 > 0:33:30'so my models often stand
0:33:30 > 0:33:35'in exactly what I hope will be the gunfighter stance.'
0:33:37 > 0:33:40- There, that's it. - Brilliant.- That's good.
0:33:40 > 0:33:42Now, Larissa, listen to me.
0:33:42 > 0:33:46Your left hand more to the other hand. No, no, just...
0:33:46 > 0:33:51There, that's it. Beautiful, stay there, Larissa, stay.
0:33:51 > 0:33:53Open the door a bit, Carla.
0:33:53 > 0:33:56Now, your head was much better, Carla, before.
0:33:56 > 0:33:59Like this. Stay. Stay like that.
0:33:59 > 0:34:02Great. Great. Great.
0:34:02 > 0:34:05APPLAUSE
0:34:08 > 0:34:10Another 10,000.
0:34:11 > 0:34:14To buy more diamonds for my Juney!
0:34:20 > 0:34:23Ah, shit! My favourite underpants have had it.
0:34:23 > 0:34:25Now they've had it. Look.
0:34:25 > 0:34:27Show me. Show me, show me.
0:34:27 > 0:34:29Where do I...? I want to see them.
0:34:29 > 0:34:34How far they've... Yeah, they've had it. Ah, Helmy!
0:34:35 > 0:34:40- Oh, well. How long have you had them, Helm?- Oh, a long time.
0:34:40 > 0:34:43They look as if you've had them for a long time.
0:34:43 > 0:34:47- You got them in Carnaby Street, I think, in the '70s.- No, no, no.
0:34:47 > 0:34:53- I got them at Robinson's in Los Angeles.- What, in 1980?
0:34:55 > 0:34:58How old would you say the sweater is?
0:34:59 > 0:35:02Let's have a look at the sweater, Helmy.
0:35:02 > 0:35:05Let's have a look at it. Here, that's it.
0:35:05 > 0:35:07Especially the bottom of it. That's right.
0:35:07 > 0:35:11Wait a minute, I'll get your legs.
0:35:11 > 0:35:16Yeah. How long do you think you're going to keep the sweater for?
0:35:16 > 0:35:18For ever. It's my beach sweater.
0:35:19 > 0:35:22- That's your beach sweater? - Pure cashmere.
0:35:22 > 0:35:25- It's not, it's just lamb's wool. - That is not...
0:35:25 > 0:35:28- The other one is lamb's wool. This is pure cashmere.- That is lamb's wool.
0:35:28 > 0:35:31You don't know the difference between lamb's wool and cashmere.
0:35:31 > 0:35:35- You want to feel it, feel it. - It's cashmere.
0:35:35 > 0:35:38Why are you always right?
0:36:07 > 0:36:09Yes, her hair's coming a little...
0:36:09 > 0:36:12There, it's good when you play the... Where were you looking then?
0:36:12 > 0:36:14Where are you looking?
0:36:14 > 0:36:17'He wanted to photograph June Anderson as a Valkyrie.
0:36:17 > 0:36:21'He asked the stylist to bring along some armour,
0:36:21 > 0:36:24'something that resembled Marianne on the Arc de Triomphe.'
0:36:24 > 0:36:27Incredible, incredible!
0:36:27 > 0:36:30And sing! There, there, there! Like this!
0:36:30 > 0:36:32Fantastic!
0:36:32 > 0:36:34Good, good, good!
0:36:36 > 0:36:40Let me see one more and let me see inside your mouth.
0:36:40 > 0:36:44Go on, the chin up! Get that tongue and everything.
0:36:44 > 0:36:45Gorgeous, marvellous.
0:36:45 > 0:36:48- You got it?- Yeah.
0:36:51 > 0:36:57- Tell me when you have enough, June. - You want to see close-up? Here.
0:36:57 > 0:36:59Yes, it's great, do it!
0:37:03 > 0:37:06Fantastic.
0:37:07 > 0:37:10MUSIC PLAYS
0:37:10 > 0:37:12Great, great.
0:37:20 > 0:37:22SHE LAUGHS
0:37:23 > 0:37:26OPERATIC MUSIC PLAYS Yeah, OK!
0:37:26 > 0:37:28Love the smile, yes!
0:37:28 > 0:37:34This one, for instance, is the essence of the singer.
0:37:34 > 0:37:37It's almost a manic photograph.
0:37:37 > 0:37:42And when we met later and she had seen the pictures, she said,
0:37:42 > 0:37:45"Well, Helmut, I wasn't that mad about it,
0:37:45 > 0:37:48"but I understood why you liked it."
0:37:51 > 0:37:54INDISTINCT CHATTER
0:37:57 > 0:38:02Love the picture. It's a great photograph.
0:38:02 > 0:38:04Look, look, look, don't move.
0:38:04 > 0:38:07Can I have the Maxxum, black-and-white?
0:38:07 > 0:38:10When I did my very first picture,
0:38:10 > 0:38:13we started the very first scene,
0:38:13 > 0:38:15the guy said...
0:38:15 > 0:38:17- The guy said... - Please, I want to be filmed
0:38:17 > 0:38:21- with the most famous man I know. - Go on!
0:38:21 > 0:38:23I want a Hollywood smile.
0:38:23 > 0:38:26Go. Go on! Smile!
0:38:26 > 0:38:30People come here and say, "Who the hell can live here in this town?
0:38:30 > 0:38:33"You go for a walk in Beverly Hills and the police stops you
0:38:33 > 0:38:35- "and says, What are you doing...?" - There, stay!
0:38:35 > 0:38:40What are you...? If you scare me like this, you know...
0:38:40 > 0:38:42CAMERA CLICKS Beautiful.
0:38:42 > 0:38:44Lean to me, Billy.
0:38:44 > 0:38:46HE STARTS TO SING
0:38:46 > 0:38:48Stop.
0:38:49 > 0:38:51Go, go on, lean to me again. I want to see it.
0:38:54 > 0:38:57Do you know that we directors are an endangered species?
0:38:57 > 0:39:00Don't move, don't move, Billy.
0:39:00 > 0:39:04How can I put something and yet not move?
0:39:05 > 0:39:07Go back.
0:39:07 > 0:39:12- What was it, what...?- I like the way...- No, leave the calendar!
0:39:12 > 0:39:14Don't change the date!
0:39:16 > 0:39:18Play at being Billy.
0:39:20 > 0:39:22HE CHUCKLES
0:39:23 > 0:39:26It's like the leaning Tower of Pisa!
0:39:26 > 0:39:29That's all right, everything's going to lean.
0:39:29 > 0:39:31- Almost finished.- Finished?
0:39:31 > 0:39:34ALMOST finished. Good, good, good.
0:39:34 > 0:39:36Stay like this.
0:39:36 > 0:39:39Good. Don't move!
0:39:39 > 0:39:40It's not the movies!
0:39:40 > 0:39:44But I'm working for a movie camera back there!
0:39:44 > 0:39:45BILLY SIGHS
0:39:50 > 0:39:53'I'm always for taking risks, I always have been for taking risks.
0:39:53 > 0:39:57'When I had no money, when I started, I always stuck my neck out,
0:39:57 > 0:40:00'and I still stick my neck out now.'
0:40:06 > 0:40:09'I've always been attracted to sadomasochistic images.
0:40:09 > 0:40:13'These accessories look great on a woman.
0:40:13 > 0:40:16'But to be sure, I don't mean any harm.'
0:40:16 > 0:40:19Put the brace... I love the way you're...
0:40:19 > 0:40:23- On the other hand?- No, don't worry.
0:40:23 > 0:40:26This hand is beautiful. Put the other one the same way.
0:40:27 > 0:40:31Yeah. No, it's nice.
0:40:31 > 0:40:33A bit higher.
0:40:33 > 0:40:37The fingers more together. Go.
0:40:37 > 0:40:40I love the way you look at the camera.
0:40:40 > 0:40:43That's good, too. Perfect.
0:40:43 > 0:40:44Non, c'est bon aussi.
0:40:45 > 0:40:48C'est bon.
0:40:48 > 0:40:52Let that fall, that knee. Let it fall. That's right.
0:40:52 > 0:40:56This is beautiful. Beautiful, she's beautiful.
0:41:03 > 0:41:06- TV:- This is the master sergeant JP Kendal
0:41:06 > 0:41:09of the 82nd Airborne.
0:41:09 > 0:41:13We're here for more than just the price of a gallon of gas.
0:41:14 > 0:41:17What we're doing is going
0:41:17 > 0:41:20to chart the future of the world for the next 100 years.
0:41:20 > 0:41:24I was struck by the fact there was no table pounding by the president.
0:41:24 > 0:41:27He's always said his big hero was Teddy Roosevelt,
0:41:27 > 0:41:29and certainly that was his motto tonight.
0:41:29 > 0:41:32The president was speaking very softly, carrying a very big stick.
0:41:32 > 0:41:34Saddam Hussein cannot expect
0:41:34 > 0:41:38any pause in the bombing that's going on, Tom.
0:41:38 > 0:41:42It's better to deal with this guy now than five years from now.
0:41:42 > 0:41:45I like white sneakers.
0:41:48 > 0:41:52We're seeing more launchings of interceptor aircraft...
0:41:56 > 0:42:00People want to know if your relationships with people
0:42:00 > 0:42:02are as tense as the ones in your photos.
0:42:02 > 0:42:05If I were to live like my photographs,
0:42:05 > 0:42:07I would've been dead long ago.
0:42:07 > 0:42:10- Dead of what?- Excesses.
0:42:10 > 0:42:15What the French call "Faire de folie avec mon corps."
0:42:15 > 0:42:16We're not talking about that.
0:42:16 > 0:42:20We're talking about the tenseness in your photographs.
0:42:20 > 0:42:22Well, maybe I would be dead with nervosity.
0:42:25 > 0:42:28Like that. Yes.
0:42:31 > 0:42:33That's it.
0:42:33 > 0:42:35And again. The leg, always the leg.
0:42:35 > 0:42:36THUNDERCLAP
0:42:39 > 0:42:43Let us see the leg. Yeah, like that.
0:42:43 > 0:42:45Show a bit more to me.
0:42:45 > 0:42:47Yes, yes, chin down.
0:42:47 > 0:42:49Now, up, up. There.
0:42:49 > 0:42:52That's better. Just stay like this.
0:42:53 > 0:42:56Super, beautiful.
0:42:56 > 0:42:59Don't move, darling. Don't move one second.
0:42:59 > 0:43:03Don't move at all, sweetheart. Stay like this.
0:43:03 > 0:43:05I had the muscle in your thigh.
0:43:06 > 0:43:09Bring the knee the other way, darling.
0:43:12 > 0:43:16Put it on the toe, the foot. There.
0:43:16 > 0:43:18There, that's right. Good.
0:43:18 > 0:43:21Don't move now. Now, that's it.
0:43:25 > 0:43:28- Je ne peux pas bouger...? - Non, c'est bon.
0:43:28 > 0:43:31Bring up the heel, sweetheart. That's it. That's sex.
0:43:33 > 0:43:35Ca me fait bander un peu.
0:43:36 > 0:43:39Good. Stay! Don't move!
0:43:40 > 0:43:44Don't tremble. There, like that.
0:43:44 > 0:43:45Stay like that. Don't move!
0:43:47 > 0:43:48Right, relax for me.
0:43:48 > 0:43:51- Do you realise...? - We've all got to push people.
0:43:51 > 0:43:53Darling, Billy said he was even scared of you.
0:43:53 > 0:43:56I've got to push people a little bit.
0:43:56 > 0:43:59If I let them do what they want, I never get a photograph,
0:43:59 > 0:44:02or I wouldn't get the photograph that I want.
0:44:02 > 0:44:05I get a photograph that they want.
0:44:06 > 0:44:10That looks beautiful. The car looks great.
0:44:10 > 0:44:12The colour is perfect.
0:44:12 > 0:44:15The girl, I think we could get the girl better.
0:44:15 > 0:44:17But in real life, in real relationships with people,
0:44:17 > 0:44:20it's nothing like...
0:44:20 > 0:44:21- Oh, no, I'm a pussycat.- Of course.
0:44:21 > 0:44:24I know you're a pussycat.
0:44:24 > 0:44:28Everybody of my friends know I'm a pussycat.
0:44:28 > 0:44:31- They think you're a monster, Helmy.- Well, let them think that.
0:44:31 > 0:44:33Maybe just as well.
0:44:35 > 0:44:38# Ich mache das Bett fur jeden
0:44:38 > 0:44:41# Und sie geb' mir einen Pfennig und ich bedanke... #
0:44:44 > 0:44:47- It's called The Doppelganger, this picture.- A beautiful word.
0:44:47 > 0:44:50A beautiful word. Turn a bit more. There, that's it. Perfect.
0:44:50 > 0:44:54Stay like this. Chin down a bit.
0:44:54 > 0:44:59Little bit. Good. Tres bien.
0:44:59 > 0:45:03Do it again. You moved a little bit. Close your lips.
0:45:05 > 0:45:07Stay like this now.
0:45:07 > 0:45:10I can see you move. Don't move, sweetheart.
0:45:20 > 0:45:23Make it almost look natural.
0:45:23 > 0:45:26It's a little bit more than that.
0:45:28 > 0:45:31Uh-huh.
0:45:31 > 0:45:34Yeah. Look at me.
0:45:34 > 0:45:36Is your exposure OK?
0:45:36 > 0:45:39This is an automatic.
0:45:41 > 0:45:44- Too much light on the body. - So I go back?
0:45:44 > 0:45:48Yeah, go back a bit. Just stay like this.
0:45:48 > 0:45:51Just stay like this.
0:45:51 > 0:45:55Bring that Coke to you.
0:45:56 > 0:46:01Stop, stop. Just the expression like that.
0:46:01 > 0:46:05Don't move. Don't move. Hang on.
0:46:05 > 0:46:09People want to get inside his head to find out where the images
0:46:09 > 0:46:13come from. They want to know the formula. But there is no formula.
0:46:13 > 0:46:17He sees things differently
0:46:17 > 0:46:19and you don't know what it is
0:46:19 > 0:46:22he has seen until you see the photograph.
0:46:25 > 0:46:27What am I supposed to do with that?
0:46:30 > 0:46:34Oh, no. Oh, no way. Not to Mexico.
0:46:34 > 0:46:36Oh, I'm not going to go to Mexico.
0:46:36 > 0:46:41Not unless you send a doctor with me and a whole chemist's shop.
0:46:41 > 0:46:43No, I'm sorry, but no way.
0:46:43 > 0:46:48I told Tina the other day, no more Hollywood bimbos. Please.
0:46:48 > 0:46:51I tell you what I'm really hot on.
0:46:51 > 0:46:55Murderers, criminals, politicians.
0:46:55 > 0:46:58Well, Margaret Thatcher had been my pin-up girl.
0:46:58 > 0:47:01I used to call her my pin-up girl for a long time.
0:47:01 > 0:47:04When we're at home and June's looking at the news
0:47:04 > 0:47:07and I'm out of the room, she says, "Quick, Helmut, come,
0:47:07 > 0:47:10"your pin-up girl is on the screen."
0:47:10 > 0:47:14I've always wanted to photograph her.
0:47:14 > 0:47:18What I thought was so interesting and so seductive, first of all,
0:47:18 > 0:47:23she was getting better looking as she got more successful, more powerful.
0:47:23 > 0:47:27To think that this woman was the prime minister
0:47:27 > 0:47:30of a very important country
0:47:30 > 0:47:32and that somebody at home
0:47:32 > 0:47:38was going to bed with her, making love to her.
0:47:39 > 0:47:43It could be conceivable, and she was a woman, as she is a woman,
0:47:43 > 0:47:47that other people may have loved her. It's possible.
0:47:47 > 0:47:49So I would think to myself,
0:47:49 > 0:47:52imagine going to bed with the Prime Minister of England.
0:47:52 > 0:47:57Wouldn't that be the greatest thing in the world?
0:48:00 > 0:48:04When I asked him if he realised how deeply subversive he was,
0:48:04 > 0:48:08if the anarchy was intentional or if he was just a naughty boy,
0:48:08 > 0:48:14he said he's a naughty boy who grew up to be an anarchist
0:48:14 > 0:48:17but he's still a naughty boy
0:48:17 > 0:48:19and he'll always be a naughty boy.
0:48:21 > 0:48:24Which side?
0:48:27 > 0:48:29Yeah.
0:48:30 > 0:48:33Pull yourself out of the water. Uh-huh.
0:48:39 > 0:48:42- I'm glad I don't have to do that for a living any more.- What, modelling?
0:48:42 > 0:48:46- Did you used to be a model?- No, I mean taking fashion photographs.
0:48:50 > 0:48:53I was too early, was I? No, no.
0:48:53 > 0:48:57Wait a minute. OK, now.
0:49:01 > 0:49:05- Shakes her head too much.- Sorry.
0:49:06 > 0:49:08This is almost finished.
0:49:12 > 0:49:14Will you ever forgive me?
0:49:14 > 0:49:17I'll let you know after I see the picture.
0:49:40 > 0:49:41I need something else.
0:49:43 > 0:49:46OPERATIC SINGING IN BACKGROUND
0:49:53 > 0:49:57INDISTINCT SPEECH
0:49:59 > 0:50:02This is perfection. I am relaxed.
0:50:04 > 0:50:06This is a beautiful picture.
0:50:08 > 0:50:10Ce n'est pas mal.
0:50:12 > 0:50:14INDISTINCT SPEECH
0:50:18 > 0:50:22- Genius. You are. - Genial.- Genial!
0:50:22 > 0:50:23Beautiful.
0:50:26 > 0:50:29No, but you are leaning back a bit...
0:50:31 > 0:50:33There, there.
0:50:36 > 0:50:40All right. The knee has got to come up.
0:50:40 > 0:50:44I want to see the hand.
0:50:44 > 0:50:47Beautiful, that's it.
0:50:47 > 0:50:51Chin up a bit. Perfect.
0:50:51 > 0:50:54Just stay like this.
0:50:54 > 0:50:56OK, now don't move.
0:50:58 > 0:51:01Finally, someone photographed me nude.
0:51:01 > 0:51:03Beautiful, beautiful.
0:51:08 > 0:51:11Under those clothes that Gianni wore,
0:51:11 > 0:51:16there was a body just like one of the Roman sculptures
0:51:16 > 0:51:19that were all over his house.
0:51:19 > 0:51:21When he took off his clothes, indeed,
0:51:21 > 0:51:23I was right. He's got a great body.
0:51:23 > 0:51:25It's very important.
0:51:29 > 0:51:31Thank you, bye.
0:51:42 > 0:51:44OK, I'll let you off the hook.
0:51:44 > 0:51:46You don't have to let me off the hook.
0:51:46 > 0:51:48I like talking to you, June.
0:51:48 > 0:51:54You don't know any more about me after 47 years.
0:51:54 > 0:51:57Helmut, I'll never get enough of you.
0:51:57 > 0:52:00Oh, what a lovely compliment.
0:52:00 > 0:52:05Have you eaten tonight? It smells good.
0:52:05 > 0:52:07Stuffed artichokes.
0:52:07 > 0:52:09What do you mean, stuffed artichokes?
0:52:09 > 0:52:11Stuffed artichokes.
0:52:11 > 0:52:15- What, artichokes like you... - The hearts of artichokes.
0:52:15 > 0:52:17She stuffs the hearts of artichokes.
0:52:17 > 0:52:22- That's what you're having for dinner.- OK, let's go.
0:52:22 > 0:52:24Oh...
0:52:24 > 0:52:28Stay like this, Junie. I don't want to waste your film.
0:52:28 > 0:52:30Junie?
0:52:30 > 0:52:33- Hello, Helmy. - That's lovely, that's lovely!
0:52:33 > 0:52:36That's great. That's great!
0:52:38 > 0:52:41That is beautiful. That is just beautiful.
0:52:41 > 0:52:43Oh, yeah?
0:52:43 > 0:52:45Stand up straight.
0:52:47 > 0:52:51That's nice, too. Not bad for an old lady.
0:52:51 > 0:52:53She's great. Look at her.
0:52:55 > 0:52:57Look at her smile, sweetheart! It's lovely.