Helmut by June

This film is about the famous photographer Helmut Newton,

who also happens to be my husband. I'll try the other way.

This film is about my husband Helmut Newton...

BELLS TOLL

This programme contains some strong language.

That'll be very, very pretty when you go and look at that.

That's good. That could be the opening of the film.

That's it. Yeah, yeah. That's good.

Yeah, go lick first. Lick.

That's beautiful. Keep on licking.

That long tongue. There, there, there, there.

Yep. Great. The teeth, let me see the teeth. Yeah.

Think of a vampire.

Beautiful. Great. Yeah. Let me see those teeth again.

Yeah. Oh, yes, yes.

I want you to take it all in your mouth. Now turn your mouth to me.

There, there, there. Stay. Stay.

A few years ago, I offered Helmut a video camera for Christmas,

but he refused it, so I started using it myself.

I looked through the lens

and I knew exactly what I was going to do with it -

film Helmut at work.

The film represents extracts

of certain assignments he worked on during this time.

Well that would be... You see,

I don't know anything about the fucking writing process.

I'm a pornographer.

Yeah.

We were married in 1948.

When he proposed to me he said we'd never be rich, we'd always be poor.

He also said that photography would always be his first love

and that I would be his second.

The first 10,000 is due now, is it?

He was born in Berlin in 1920.

He bought his first camera at the age of 12

and he's been taking pictures ever since.

Time magazine called him the King of Kink.

Feminists call him an exploiter of women.

His astrological sign is Scorpio.

Women sometimes ask me how I can live with such a monster.

It's easy.

Watch.

WIND BLOWS

You've got a great smile. A-ha.

Go on. Yeah, and again.

Some people deal in wheat,

some people deal in copper.

It's a commodity.

To me, the women that I photograph are fashion photographs.

For instance, it's a commodity. They get paid.

I form them to whatever I want to form them.

Sometimes I remember some young model that complained and said to me,

"Oh, but, Helmut, that's not me."

I said, "My dear, I'm not interested in you.

"You're getting paid to be made into what I want."

HELICOPTER WHIRLS

All right. You take the position, Claudia.

Yeah. There. The shoulders a bit more to me.

That's beautiful. The lips open. That's nice.

Good, good, good, good.

At 74, I keep waiting for him to slow down,

but he's still out there doing what he loves the most.

Good, good, good.

Beautiful. Good.

Everything is automatic.

-All I have to do is push the button.

-OK.

It's a camera... that every amateur buys.

-It's all in there.

-All in there.

BLEEPING

Yeah, yeah. Stick your head forward, Armando.

Yeah. The head more to me. Yeah. Now...

Put the light on him. Put the light on him.

BLEEPING

Yeah, yeah, yeah. Stay like that.

HE SPEAKS FRENCH

That's good, that's good, that's good.

Again. Yeah, yeah.

Like a killer. Like a murderer.

Bigger eyes. Bigger eyes.

HE SPEAKS FRENCH

OK. Push, push, push.

And again.

You look, Armando, a little bit more violent.

Everything is a little... slice of life.

Every picture is based on reality.

I have no feverish imagination.

It's all real and it happens everyday.

And every scene that I do here is all plucked from the reality,

the harshness of everyday life amongst the rich.

Claudia's coming in and behind the door is her husband.

It's her husband with the maid.

Kissing the maid. OK, Claudia. Go, go. Fast.

He describes his photographs as the way he sees the world.

He says, "The way I photograph things is the way I see the world."

That's great. That's great. Go, go. Go. Look at her.

Look at her, Claudia.

That's good, that's good. That's good. And again.

Yeah.

-No, put the bread in front of the cup. In front of the cup.

-OK.

That's right.

Now, push the... Push the fruit more this way.

More. Stop. Perfect.

The chin a bit to me, Claudia. That's good.

Chin down a bit, Claudia. Down, down.

A bit more to me.

Not too much. There.

Perfect. Perfect. Perfect. There!

That's it! Beautiful.

I like the word powerful.

I've always liked, er, strong women

because I feel secure.

It's, er, you know, I'm not very strong.

I haven't got many muscles and the wind blows,

I'm more likely to fall down.

So if I have a strong woman with me,

like June is a real...Aussie

and she's got muscles and she's strong

when she has to be strong, and she's also strong in the head.

My mother was a very spoilt woman...

and, but when it counted to save the family,

er, in the days of the last days, or the first days of Hitler,

or the last days of the family in Berlin,

she was very much there and very, very strong.

My father was in a concentration camp at the time

and she had to pull the chestnuts out of the fire.

Where's the star? I'm ready for the star!

So, erm...

this kind of Amazon woman...

has always appealed to me.

PLANE FLIES OVER

Chin up. There.

Eyes down. There. There. Right there.

Well done. C'est bon, c'est bon. Beautiful. Stay. Don't move.

Breathe in. Yeah. Yeah, that's it.

HE SPEAKS FRENCH

Good, good. Keep the finger and the hand flat.

Yeah. Wow.

The shrinking violet woman really gives me the creeps.

I mean, I don't like 150% feminine women.

I like a woman with a little bit androgynous, you know?

Where you feel the strength.

PHONE RINGS

Hello. Yeah.

Oh. That's funny, I'm just looking at them.

In fact, I'm filming them.

OK. Bye.

Yeah. These are... Ralphie Gibson took these pictures.

They're very recent pictures.

Oh, my God.

Snapshots taken in Paris.

These must have been taken at Lipp. Chez Lipp.

Our favourite watering place in Paris.

Helmut, you should open it.

-Hello.

-Hi. How are you?

-Hi, Julie. I'm June.

-June, nice to meet you.

-Nice to meet you.

And I'm Helmut.

-Yeah, this is Helmut.

-It's a pleasure.

I like those American girls that are on time.

Do you know, somebody has pinched your Penthouse. Your Penthouse.

-Oh, you gave them back to me.

-Ah!

-Oh, Helmy.

I was so worried. I was so worried.

Ahh, that's OK. I have extras, believe me.

Listen, I think we take the black... You've got an outline, have you?

-Mm-hm.

-We'll take it out.

-OK. No problem.

You're gorgeous. That's going to be your setting.

Woman belongs into the... I find that the places that I know

that are very familiar to me

become very mysterious and very interesting.

There. The head to the clock.

He loves big women.

Statues, paintings, sculptures...

live ones.

Especially live ones because he can manipulate them.

He can control every muscle in their bodies.

Yeah, but there it doesn't work.

But you know, you've got to keep the shoulders a bit more to me.

That's better. It's better when you do that. Beautiful. There, there!

That's beautiful. Oh, that's beautiful!

Beautiful!

Beautiful! Look.

HE SPEAKS FRENCH

THEY SPEAK FRENCH

Look at this beautiful young man. A photographer with the soul.

Chin down a bit. Look at...

No, I think it's a bit too relaxed. Nothing happening.

Be a Venus.

There. There. Now you're a Venus.

Good, good, good. Good.

Another hand. That's divine.

And the front foot was up a little bit... There! Like this! Beautiful.

PIANO PLAYS

All right.

JUNE SNEEZES

-Bless you.

-Thank you. Print this at 5-6.

Glasses! Where are my glasses?

-Where are your glasses?

-On my desk.

Wait a minute, I'll get them for you.

-You got them, Junie?

-I've got them.

-I'm sorry.

Thank you.

-How did the interview go today for Entertainment Tonight?

-Oh!

You know, the usual BLEEP bullshit, you know?

No nipples. American women have no pussy, they have no nipples,

they don't smoke, they don't drink, they don't do anything.

That's for the Americans.

-That's the way the American public sees the American woman.

-They do.

That's all right with me.

What kind of names do they like to talk to you about?

It's always the same.

It's always the same. They talk about...

What do they talk about?

They say, "We can show the nude.

"We're going to bleep out the nipples,

"then we bleep out the sex."

Er, they put some kind of,

erm, optical...

er, thing over it.

I don't know. It's very...

I think it's sick, this society.

So that's how they show the news.

-Does that offend you?

-No.

It, eh, it saddens me.

This is more interesting.

I'm often asked if I'm jealous of the girls he photographs.

It's his job. It's his livelihood.

It's how he makes his living.

That's right. It's got to have the feeling that you really...

Look at her, really. Look at her, really.

It's like a suspicious look, you know? It's not all that good between you two.

He was photographing girls when I met him,

so nothing's changed really.

The only time I ever got a bit worried

was when he started photographing flowers.

They were mostly dead flowers.

But it's more than a job.

It's a passion. An obsession. He's obsessed.

Open your mouth, Cindy, like you just said something. Aha!

Yeah, yeah.

Oh, I love that leg out, I must say. Do whatever you want.

That's beautiful. Like a panther. Fantastic.

Yeah, you should be higher. You're too low now, Cindy.

Before you were higher, you were bearing down on her. It was much more aggressive.

Yeah! Stay!

OK. Let's go.

When I start taking a picture, I talk too much though,

even when there are a lot of people around.

-Oh-la-la!

-Oh-la-la!

-Do you want to be a model? What are you doing tonight?!

I have these catch words to sort of get myself going.

I'm talking to myself like you talk to a good dog.

And I say to myself, "Be mysterious, Helmut. Don't be too relaxed.

"Tension, tension! Nervousness is needed!"

BABY CRIES

OK, go. Go.

An image, to me, can be very nervous. It can also be mysterious.

The woman in the image can be mysterious.

And to me, I think it's important that she is mysterious.

So, even in the way a woman walks down the staircase

like Cindy walks down, I like the way that the legs open.

I like the muscles that I see. I like the way the knees open

when she walks in a certain way. She comes down the steps,

she goes, eh, she goes like this,

and like that, and like this.

And it is an action that...

Well, I show the girl what I mean.

And if she's smart, she can understand it immediately.

-How much money you got?

-On me?

-How much? OK.

Give us 500. Cindy?

LAUGHTER

-Yeah. 500. Cindy, where is she?

-And you?

Huh? Twice 500. Where is Cindy?

-She's over there in the garden.

-Come on, come with me.

You come, too.

Come on, we'll arrange that.

A Helmut Newton photograph for 1,000 francs? This doesn't make it a good bargain.

Make him happy, what's more. That's great.

Oh!

Wait. There's a unique - show it to the camera.

Right, you hold it. You hold it for the camera.

I don't believe it.

God!

I don't like complicated.

I think things are complicated enough without making them more so.

And I think also this is one of the reasons why my technical equipment is very simple. It is very basic.

Because it gives me more time to work with the girl,

which is the most important thing. I can totally concentrate on that.

I don't have to worry about strobe lights right, left and centre.

And my assistants don't have to worry about it.

But I want to see you - yeah, yeah, that's good! That's beautiful.

That's beautiful. Just a minute, darling.

Now wait, I'll tell you what you must do.

The feet must be more elegant.

There, that's beautiful. That's beautiful.

"Oh, look at my beautiful car!" Say it!

He never takes two rolls of film when one will do.

Recently a fashion editor said to him,

"Helmut, you've only taken six pictures."

"You only need one," he said.

Open the lips. More, more.

Don't blink. Don't blink.

As far as I know, he's never used a motor drive on his camera.

He has to be in total control.

It's not the camera that takes the picture. It's him.

I still believe that the perfect fashion photograph

is a photograph that does not look like a fashion photograph.

It's a photograph that looks...

like something out of a movie.

Like a...a...

Maybe a portrait, maybe a souvenir shot.

Maybe a paparazzi shot.

But anything but a fashion photograph.

SPEAKS IN FRENCH

SPEAKS IN FRENCH

LAUGHTER

Tres raisonnable.

Tres raisonnable!

Voila! En riche capitaliste!

Good. That's good.

That's perfect! Oui.

Marvellous. Marvellous.

I think it looks just right.

SPEAKS IN FRENCH

The one thing I'll take with me into another world

is my Saint Laurent shopping. You can have my life.

But not my Saint Laurent shopping!

I take siestas wherever I can in the afternoon.

Just for half an hour I lie on the bed or on a couch or something.

When I can. And I close my eyes,

and I'll put an eye shade over my eyes to keep the light out.

And then I start thinking about the job that I've got to do.

And then I see images in my head.

You know, you often close your eyes and you can't remember anything.

But the camera can open its eye for thousandths of a second

and remember every detail.

I mean, to me it is magical.

SPEAKS IN FRENCH

No, no - regardez, Yves!

C'est ca. Ca c'est bien. Voila!

Parfait. Parfait.

SPEAKS IN FRENCH

You look at him, darling. Oui.

Beautiful. Voila, voila, voila, voila! Voila!

Parfait! Parfait! Oui.

Voila, c'est ca.

Voila! La tete, Yves.

Voila! Ca c'est bien! Voila!

I always find myself in the same place. I love going back to places I know.

The more I know them, I know about them,

the more mysterious they become to me.

I've said this many years ago, and I still believe in it,

that I always find the perfect background

within one or two kilometres

from where I live. And it's the truth.

And I found the best feeling about pictures

where I really know it well.

The session took place in the Hotel Du Paris in Monte Carlo.

LAUGHTER

MUSIC: "Greensleeves"

Lovely! Lovely!

Look at me. Look at my camera.

No, with your head back. Throw your head back. But open the eyes a bit.

Yeah. There, there.

There, there, like this. Throw your chest out.

The more chest I get, the better it will be for everybody.

There, like this.

OK, messieurs, s'il vous plait?

# Que Sera, Sera... #

Beautiful.

That's lovely.

Just stay. So long as you're...beautiful, yeah.

Uh-huh. Lovely.

Yeah, the eyes. Still there...

Thank you. Merci, messieurs. Merci, messieurs.

APPLAUSE

PHONE RINGS Listen, get her telephone number...

Get telephone number, we'll call her back.

Hello. Just one minute.

What do you speak - English or French?

OK.

The what?

No, no. I don't speak Spanish. I speak English, French and German.

But... Oh, right.

Now I'll tell you something, I'm in the middle of a meeting. You've got to be quick.

# O sole mio!

# Oooohhhh! #

-Hello!

-Hello!

The eyes.

Good! Yeah. That's too serious.

-Let's do danger.

-Do danger?

-Let's do danger.

-Danger?

-Danger.

-How can I do danger?

LAUGHTER

-You want the devil today?

-Yes, I want the devil!

-Oh, right.

You should have invited me. I need three days to be the devil.

Yes, yes, yes.

Yeah. I love that. That's good.

OK. Yes, please, please...

I'm doing a striptease, Maestro.

Wait a min... Wait! I'm not beautiful enough.

LAUGHTER

You will have fantastic future, I have to tell you!

You have to sign them!

Take us when we are both alive.

Wait a minute. Wait!

Please, please! I've got something in my thing.

I've got everything in here.

Take it easy. Take it easy, June.

Just a moment.

That's it. That's it.

One minute.

Bella!

C'est beau. Magnifique.

Let me talk in English.

This picture, the other one was number eight.

This is number nine on the film.

So there is, between this and the other one, there is one what?

30 seconds' difference in time when they were taken.

And the difference is unbelievable.

Well, the other one she blinked, that's all.

The other one she's not really looking mysterious, she's just blinking her eyes.

That's why it's slightly out of focus.

-No!

-Helmut, it is.

I mean, how can you say such a thing? you're belittling me again.

-No.

-It is my direction.

-I'm a realist.

It is my direction that has made her mysterious and wonderful.

Oh, June? No, they wouldn't be interested in June.

I'll talk with June, but unless there's 10,000 bucks in it

I don't think we should even bother.

I think her little camera is technically a bit unreliable.

-Your cap's on!

-That's why I couldn't see anything!

-Hi!

-Hi!

-We're here, Juney!

-Come in.

-Jennifer.

-Now we're ready.

-Well, I think we're ready.

-We'll find out.

-You look great.

But I'd rather, I like the projector.

-Let's start with the projector. OK?

-All right.

Can you give me a couple of minutes?

Helmut, we're going to put all our make-up in this bag.

I want you to very carefully take down all those pictures on this wall.

Careful, June, with that thing.

Yeah. Good. Wait a second.

I love Charles up there, cos that is marvellous.

-Isn't that nice up there?

-Fantastic. Wait a minute.

Charles, can you turn on for a minute the little projector on the right one?

And I want to see your face.

That's marvellous. Lift your chin more, Deborah.

To him. Good. Good.

That's it. That's it now.

Go talk for a minute, girls.

I like that enigmatic look.

I like this. Good, good, good.

Come here, Daniel. Put your back against mine.

Put your back against mine, just like this, where I can...

Don't move. Don't move, Daniel.

There, there, that's it. That's it.

Charles, lean in close. There, there, that's it.

Beautiful.

OK, let's have lunch.

'I'm not aware of being subversive.

'When it was mentioned to me first, which was just recently,

'erm, I was very surprised.

'I like to be subversive,

'and obviously I must be doing something right

'because it was mentioned,

'but I'm not aware of it.

'I'm not aware of very many things,

'because a lot of people read and write things,

'very learned things, about my photographs,

'which delights me, of course, because it means they look at them,

'and sometimes take them very seriously,

'but the funny thing is that what they write,

'I'm very amused by what they write, and interested.

'But it's not at all what I think about.

'So I like to twist things a little bit.'

'With so little, he can create so much with things that exist.'

One more. One more.

All right.

OK?

Lots of nice machinery here.

Helmut, say again, what would you like to do with this?

I would like to put a girl in the middle, spread-eagle,

and the four corners, for those four eyelets,

you would attach her arms and her legs.

That's great.

It's incredible.

You feel you are in New Mexico and Arizona.

It's the kind of location he's able to find around Monte Carlo!

SHE LAUGHS

-It's amazing, isn't it?

-Being next door.

It's next door to where he lives. It's incredible.

It's a real fantasy power, don't you think?

'I'm conscious of inflicting a certain thing on a model.'

When it's a fashion photograph or a nude that involves a model,

I will direct her, I will manipulate her,

I will make her into something that is...

very much me. Very often, women stand...

I'd have to give you a demonstration.

Maybe I should get up and give it to you.

You know, I loved always Gary Cooper

as a, er, gunfighter in High Noon.

They're always ready to draw.

There are their guns, their revolvers,

and they're always like this.

They're never like this, they're always like this,

which means that the outline of their body...

There is daylight behind them.

When you have your hands here,

you don't see what the outline of the body is,

'the waist, the big shoulders,

'so my models often stand

'in exactly what I hope will be the gunfighter stance.'

-There, that's it.

-Brilliant.

-That's good.

Now, Larissa, listen to me.

Your left hand more to the other hand. No, no, just...

There, that's it. Beautiful, stay there, Larissa, stay.

Open the door a bit, Carla.

Now, your head was much better, Carla, before.

Like this. Stay. Stay like that.

Great. Great. Great.

APPLAUSE

Another 10,000.

To buy more diamonds for my Juney!

Ah, shit! My favourite underpants have had it.

Now they've had it. Look.

Show me. Show me, show me.

Where do I...? I want to see them.

How far they've... Yeah, they've had it. Ah, Helmy!

-Oh, well. How long have you had them, Helm?

-Oh, a long time.

They look as if you've had them for a long time.

-You got them in Carnaby Street, I think, in the '70s.

-No, no, no.

-I got them at Robinson's in Los Angeles.

-What, in 1980?

How old would you say the sweater is?

Let's have a look at the sweater, Helmy.

Let's have a look at it. Here, that's it.

Especially the bottom of it. That's right.

Wait a minute, I'll get your legs.

Yeah. How long do you think you're going to keep the sweater for?

For ever. It's my beach sweater.

-That's your beach sweater?

-Pure cashmere.

-It's not, it's just lamb's wool.

-That is not...

-The other one is lamb's wool. This is pure cashmere.

-That is lamb's wool.

You don't know the difference between lamb's wool and cashmere.

-You want to feel it, feel it.

-It's cashmere.

Why are you always right?

Yes, her hair's coming a little...

There, it's good when you play the... Where were you looking then?

Where are you looking?

'He wanted to photograph June Anderson as a Valkyrie.

'He asked the stylist to bring along some armour,

'something that resembled Marianne on the Arc de Triomphe.'

Incredible, incredible!

And sing! There, there, there! Like this!

Fantastic!

Good, good, good!

Let me see one more and let me see inside your mouth.

Go on, the chin up! Get that tongue and everything.

Gorgeous, marvellous.

-You got it?

-Yeah.

-Tell me when you have enough, June.

-You want to see close-up? Here.

Yes, it's great, do it!

Fantastic.

MUSIC PLAYS

Great, great.

SHE LAUGHS

OPERATIC MUSIC PLAYS Yeah, OK!

Love the smile, yes!

This one, for instance, is the essence of the singer.

It's almost a manic photograph.

And when we met later and she had seen the pictures, she said,

"Well, Helmut, I wasn't that mad about it,

"but I understood why you liked it."

INDISTINCT CHATTER

Love the picture. It's a great photograph.

Look, look, look, don't move.

Can I have the Maxxum, black-and-white?

When I did my very first picture,

we started the very first scene,

the guy said...

-The guy said...

-Please, I want to be filmed

-with the most famous man I know.

-Go on!

I want a Hollywood smile.

Go. Go on! Smile!

People come here and say, "Who the hell can live here in this town?

"You go for a walk in Beverly Hills and the police stops you

-"and says, What are you doing...?"

-There, stay!

What are you...? If you scare me like this, you know...

CAMERA CLICKS Beautiful.

Lean to me, Billy.

HE STARTS TO SING

Stop.

Go, go on, lean to me again. I want to see it.

Do you know that we directors are an endangered species?

Don't move, don't move, Billy.

How can I put something and yet not move?

Go back.

-What was it, what...?

-I like the way...

-No, leave the calendar!

Don't change the date!

Play at being Billy.

HE CHUCKLES

It's like the leaning Tower of Pisa!

That's all right, everything's going to lean.

-Almost finished.

-Finished?

ALMOST finished. Good, good, good.

Stay like this.

Good. Don't move!

It's not the movies!

But I'm working for a movie camera back there!

BILLY SIGHS

'I'm always for taking risks, I always have been for taking risks.

'When I had no money, when I started, I always stuck my neck out,

'and I still stick my neck out now.'

'I've always been attracted to sadomasochistic images.

'These accessories look great on a woman.

'But to be sure, I don't mean any harm.'

Put the brace... I love the way you're...

-On the other hand?

-No, don't worry.

This hand is beautiful. Put the other one the same way.

Yeah. No, it's nice.

A bit higher.

The fingers more together. Go.

I love the way you look at the camera.

That's good, too. Perfect.

Non, c'est bon aussi.

C'est bon.

Let that fall, that knee. Let it fall. That's right.

This is beautiful. Beautiful, she's beautiful.

-TV:

-This is the master sergeant JP Kendal

of the 82nd Airborne.

We're here for more than just the price of a gallon of gas.

What we're doing is going

to chart the future of the world for the next 100 years.

I was struck by the fact there was no table pounding by the president.

He's always said his big hero was Teddy Roosevelt,

and certainly that was his motto tonight.

The president was speaking very softly, carrying a very big stick.

Saddam Hussein cannot expect

any pause in the bombing that's going on, Tom.

It's better to deal with this guy now than five years from now.

I like white sneakers.

We're seeing more launchings of interceptor aircraft...

People want to know if your relationships with people

are as tense as the ones in your photos.

If I were to live like my photographs,

I would've been dead long ago.

-Dead of what?

-Excesses.

What the French call "Faire de folie avec mon corps."

We're not talking about that.

We're talking about the tenseness in your photographs.

Well, maybe I would be dead with nervosity.

Like that. Yes.

That's it.

And again. The leg, always the leg.

THUNDERCLAP

Let us see the leg. Yeah, like that.

Show a bit more to me.

Yes, yes, chin down.

Now, up, up. There.

That's better. Just stay like this.

Super, beautiful.

Don't move, darling. Don't move one second.

Don't move at all, sweetheart. Stay like this.

I had the muscle in your thigh.

Bring the knee the other way, darling.

Put it on the toe, the foot. There.

There, that's right. Good.

Don't move now. Now, that's it.

-Je ne peux pas bouger...?

-Non, c'est bon.

Bring up the heel, sweetheart. That's it. That's sex.

Ca me fait bander un peu.

Good. Stay! Don't move!

Don't tremble. There, like that.

Stay like that. Don't move!

Right, relax for me.

-Do you realise...?

-We've all got to push people.

Darling, Billy said he was even scared of you.

I've got to push people a little bit.

If I let them do what they want, I never get a photograph,

or I wouldn't get the photograph that I want.

I get a photograph that they want.

That looks beautiful. The car looks great.

The colour is perfect.

The girl, I think we could get the girl better.

But in real life, in real relationships with people,

it's nothing like...

-Oh, no, I'm a pussycat.

-Of course.

I know you're a pussycat.

Everybody of my friends know I'm a pussycat.

-They think you're a monster, Helmy.

-Well, let them think that.

Maybe just as well.

# Ich mache das Bett fur jeden

# Und sie geb' mir einen Pfennig und ich bedanke... #

-It's called The Doppelganger, this picture.

-A beautiful word.

A beautiful word. Turn a bit more. There, that's it. Perfect.

Stay like this. Chin down a bit.

Little bit. Good. Tres bien.

Do it again. You moved a little bit. Close your lips.

Stay like this now.

I can see you move. Don't move, sweetheart.

Make it almost look natural.

It's a little bit more than that.

Uh-huh.

Yeah. Look at me.

Is your exposure OK?

This is an automatic.

-Too much light on the body.

-So I go back?

Yeah, go back a bit. Just stay like this.

Just stay like this.

Bring that Coke to you.

Stop, stop. Just the expression like that.

Don't move. Don't move. Hang on.

People want to get inside his head to find out where the images

come from. They want to know the formula. But there is no formula.

He sees things differently

and you don't know what it is

he has seen until you see the photograph.

What am I supposed to do with that?

Oh, no. Oh, no way. Not to Mexico.

Oh, I'm not going to go to Mexico.

Not unless you send a doctor with me and a whole chemist's shop.

No, I'm sorry, but no way.

I told Tina the other day, no more Hollywood bimbos. Please.

I tell you what I'm really hot on.

Murderers, criminals, politicians.

Well, Margaret Thatcher had been my pin-up girl.

I used to call her my pin-up girl for a long time.

When we're at home and June's looking at the news

and I'm out of the room, she says, "Quick, Helmut, come,

"your pin-up girl is on the screen."

I've always wanted to photograph her.

What I thought was so interesting and so seductive, first of all,

she was getting better looking as she got more successful, more powerful.

To think that this woman was the prime minister

of a very important country

and that somebody at home

was going to bed with her, making love to her.

It could be conceivable, and she was a woman, as she is a woman,

that other people may have loved her. It's possible.

So I would think to myself,

imagine going to bed with the Prime Minister of England.

Wouldn't that be the greatest thing in the world?

When I asked him if he realised how deeply subversive he was,

if the anarchy was intentional or if he was just a naughty boy,

he said he's a naughty boy who grew up to be an anarchist

but he's still a naughty boy

and he'll always be a naughty boy.

Which side?

Yeah.

Pull yourself out of the water. Uh-huh.

-I'm glad I don't have to do that for a living any more.

-What, modelling?

-Did you used to be a model?

-No, I mean taking fashion photographs.

I was too early, was I? No, no.

Wait a minute. OK, now.

-Shakes her head too much.

-Sorry.

This is almost finished.

Will you ever forgive me?

I'll let you know after I see the picture.

I need something else.

OPERATIC SINGING IN BACKGROUND

INDISTINCT SPEECH

This is perfection. I am relaxed.

This is a beautiful picture.

Ce n'est pas mal.

INDISTINCT SPEECH

-Genius. You are.

-Genial.

-Genial!

Beautiful.

No, but you are leaning back a bit...

There, there.

All right. The knee has got to come up.

I want to see the hand.

Beautiful, that's it.

Chin up a bit. Perfect.

Just stay like this.

OK, now don't move.

Finally, someone photographed me nude.

Beautiful, beautiful.

Under those clothes that Gianni wore,

there was a body just like one of the Roman sculptures

that were all over his house.

When he took off his clothes, indeed,

I was right. He's got a great body.

It's very important.

Thank you, bye.

OK, I'll let you off the hook.

You don't have to let me off the hook.

I like talking to you, June.

You don't know any more about me after 47 years.

Helmut, I'll never get enough of you.

Oh, what a lovely compliment.

Have you eaten tonight? It smells good.

Stuffed artichokes.

What do you mean, stuffed artichokes?

Stuffed artichokes.

-What, artichokes like you...

-The hearts of artichokes.

She stuffs the hearts of artichokes.

-That's what you're having for dinner.

-OK, let's go.

Oh...

Stay like this, Junie. I don't want to waste your film.

Junie?

-Hello, Helmy.

-That's lovely, that's lovely!

That's great. That's great!

That is beautiful. That is just beautiful.

Oh, yeah?

Stand up straight.

That's nice, too. Not bad for an old lady.

She's great. Look at her.

Look at her smile, sweetheart! It's lovely.