Browse content similar to Eve Arnold - In Retrospect. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
The life in the pictures are the people themselves. It's definitely human studies. | 0:01:25 | 0:01:31 | |
-< -The Migrants and Marilyn, you want together - it's the same area. | 0:01:31 | 0:01:36 | |
We didn't mind back-tracking a bit. | 0:01:36 | 0:01:39 | |
My problem is - what does it say, and does it make sense? | 0:01:39 | 0:01:44 | |
I would say a certain consciousness I see from the photographs... | 0:01:44 | 0:01:49 | |
and an awareness of... | 0:01:49 | 0:01:52 | |
humanity. | 0:01:52 | 0:01:54 | |
-What about the queen being on the left and the bobbies on the right? -> | 0:01:54 | 0:01:59 | |
The queen is ALWAYS on the right. | 0:01:59 | 0:02:02 | |
THEY LAUGH | 0:02:02 | 0:02:04 | |
And you walk out backward. | 0:02:04 | 0:02:07 | |
It's not posed. It's like she happens upon it. | 0:02:08 | 0:02:11 | |
She is versatile. She has an eye for many things. | 0:02:11 | 0:02:15 | |
These two get lost on this big wall... | 0:02:15 | 0:02:19 | |
'I fell into photography by accident. | 0:02:19 | 0:02:22 | |
'Practically everything I did for the first few years was by chance.' | 0:02:22 | 0:02:27 | |
..Cos you've got this big wall here. | 0:02:27 | 0:02:30 | |
'I've always felt the difference between a fine and an average photographer | 0:02:30 | 0:02:36 | |
'is having the wit to take advantage of the chance of what's going on. | 0:02:36 | 0:02:42 | |
'I figured they were my children - the bad, the good and the medium!' | 0:02:42 | 0:02:47 | |
-That one's good! -Oh, yes! | 0:02:47 | 0:02:51 | |
Stop admiring your pictures! | 0:02:55 | 0:02:58 | |
Who else is gonna do it if I don't? | 0:02:58 | 0:03:01 | |
I first met Eve when she came to Ireland | 0:03:11 | 0:03:16 | |
to talk to my father about The Misfits. | 0:03:16 | 0:03:19 | |
I worked on... eight or nine of Huston's films. | 0:03:19 | 0:03:23 | |
I was going to make this film with my father. I was about 15 years old... | 0:03:23 | 0:03:29 | |
John asked me to photograph her. | 0:03:29 | 0:03:32 | |
To launch my... rather dim career at the time! | 0:03:32 | 0:03:36 | |
He had had, um...Bailey... I shouldn't name him! | 0:03:36 | 0:03:41 | |
He had two photographers photograph her. | 0:03:41 | 0:03:44 | |
Norman Parkinson and David Bailey. | 0:03:44 | 0:03:47 | |
I was very prone to wearing a lot of make-up, | 0:03:47 | 0:03:51 | |
which wasn't appropriate | 0:03:51 | 0:03:53 | |
for a... a 15th-century heroine. | 0:03:53 | 0:03:59 | |
She looked about 40, so I lit her dramatically. | 0:03:59 | 0:04:02 | |
I was in Ireland and Eve was brought into the picture. | 0:04:02 | 0:04:07 | |
I dressed her colourfully and we went to Ireland where she was happy. | 0:04:07 | 0:04:12 | |
And I remember our going out to a ruined castle | 0:04:12 | 0:04:16 | |
in a Kenneth Noland dress. | 0:04:16 | 0:04:19 | |
And...very quietly, | 0:04:19 | 0:04:22 | |
and succinctly, as was her way, | 0:04:22 | 0:04:26 | |
she proceeded to take photographs. | 0:04:26 | 0:04:28 | |
I remember being tortured by my physical image - | 0:04:28 | 0:04:33 | |
anything I thought really resembled me. | 0:04:33 | 0:04:36 | |
So, of all the photographs that were taken for the movie, Eve's were my least favourite | 0:04:36 | 0:04:43 | |
because they look the most like me. | 0:04:43 | 0:04:46 | |
Now, I would say they're quite fresh and sweet. | 0:04:48 | 0:04:52 | |
What's odd about those photographs | 0:04:52 | 0:04:56 | |
is I don't remember her recording those moments. | 0:04:56 | 0:04:59 | |
At that time, I remember my relationship with my father being mostly frictional. | 0:04:59 | 0:05:06 | |
I'm shocked at how "sweet" they are. | 0:05:06 | 0:05:09 | |
She recorded the apologetic side of me. | 0:05:12 | 0:05:15 | |
The part that was reluctant. | 0:05:15 | 0:05:18 | |
All of those things that I was feeling. | 0:05:18 | 0:05:21 | |
You look at images of yourself that destroyed you in your youth | 0:05:21 | 0:05:27 | |
that now appear sort of...lovely! | 0:05:27 | 0:05:31 | |
Eve is the fly on the wall with the very round eyes | 0:05:31 | 0:05:35 | |
that sees all the permutations and sees all of the aspects. | 0:05:35 | 0:05:39 | |
-WOMAN: -It takes me on a level, too. | 0:05:39 | 0:05:43 | |
-Do we need it? -Yeah! | 0:05:43 | 0:05:48 | |
It talks about your photo origins. | 0:05:50 | 0:05:52 | |
I don't know why I asked my son's nursemaid about fashion in Harlem. | 0:05:52 | 0:05:57 | |
She told me there were 300 fashion shows a year with paid audiences. | 0:05:57 | 0:06:02 | |
'The thing that I find incredible is to be here after all these years. | 0:06:26 | 0:06:33 | |
'This church was very important in this.' | 0:06:33 | 0:06:36 | |
So where would the girls be coming from? | 0:06:36 | 0:06:39 | |
They would come from here or here, | 0:06:39 | 0:06:43 | |
singly or sometimes in a long parade. | 0:06:43 | 0:06:46 | |
All in this very narrow space. It was incredible. | 0:06:46 | 0:06:50 | |
They would stride across here. | 0:06:50 | 0:06:53 | |
There were a few like fabulous Charlotte Stibling - | 0:06:53 | 0:06:57 | |
she was stunning. | 0:06:57 | 0:06:59 | |
When I first came in, she was swinging along the catwalk. | 0:06:59 | 0:07:03 | |
When she saw me, she started to mince | 0:07:03 | 0:07:07 | |
like white women did. | 0:07:07 | 0:07:09 | |
They would stop and pose - that's what she did when she saw me. | 0:07:09 | 0:07:14 | |
In those days, she had a suitcase of hairpieces that were all colours. | 0:07:14 | 0:07:19 | |
She was THE big model of the year. | 0:07:19 | 0:07:22 | |
-Corsets... -But gorgeous ones! | 0:07:23 | 0:07:26 | |
They designed them and made them themselves with great style. | 0:07:26 | 0:07:32 | |
There's a lot to be said about style. We all have our own style. | 0:07:32 | 0:07:38 | |
Harlem's been known for years and years for its wonderful style. | 0:07:38 | 0:07:43 | |
All you have to do is come to church on any Sunday | 0:07:43 | 0:07:47 | |
to see what style is! | 0:07:47 | 0:07:50 | |
I remember very well Yves Saint Laurent said... | 0:07:50 | 0:07:54 | |
He was the only designer when I started modelling in 1975 | 0:07:54 | 0:08:00 | |
who used black girls in abundance - in any shape, in any colour, | 0:08:00 | 0:08:05 | |
light-skinned, dark-skinned and anything in between. | 0:08:05 | 0:08:09 | |
He was totally inspired by Harlem. | 0:08:09 | 0:08:12 | |
An ordinary worker would earn 10 a week. | 0:08:12 | 0:08:15 | |
They would pay 3 to see the show. | 0:08:15 | 0:08:19 | |
So it was more like an entertainment? | 0:08:19 | 0:08:22 | |
It was that and it was a social evening, | 0:08:22 | 0:08:25 | |
a kind of a coming together | 0:08:25 | 0:08:28 | |
of black peoples. | 0:08:28 | 0:08:30 | |
It was something that was highly personal and original, and theirs. | 0:08:30 | 0:08:35 | |
The shows were the only time where black models had a chance to take flight, to show what they can do. | 0:08:35 | 0:08:42 | |
But we were never considered as beauties for photography. | 0:08:42 | 0:08:46 | |
What they were doing and the clothes they were making was a social protest. | 0:08:46 | 0:08:52 | |
They didn't want any part of the shmatte trade in New York. They stayed far away. | 0:08:52 | 0:08:59 | |
If they bought fabric, they bought it in Harlem. | 0:08:59 | 0:09:03 | |
If they bought patterns, they bought them in Harlem. | 0:09:03 | 0:09:07 | |
It was almost impossible to place this story, | 0:09:07 | 0:09:11 | |
so it went to Britain to be published. | 0:09:11 | 0:09:15 | |
It was never published in the US. | 0:09:15 | 0:09:18 | |
Whether it is photography or music, | 0:09:18 | 0:09:21 | |
it still had to go through Europe to return to America to be celebrated. | 0:09:21 | 0:09:26 | |
-When were you last there? -Not since the '60s... | 0:09:27 | 0:09:32 | |
early '61 maybe. | 0:09:32 | 0:09:35 | |
And I must say I am concerned | 0:09:35 | 0:09:38 | |
cos I hear there are quarter-acre plots all over the place. | 0:09:38 | 0:09:42 | |
But I hope the character and some of the people have remained as was. | 0:09:42 | 0:09:48 | |
I don't know where it is. | 0:09:49 | 0:09:52 | |
It WAS a white house - it could be anything now! | 0:09:53 | 0:09:57 | |
This is the house. | 0:09:57 | 0:10:00 | |
It was with regret that I left it, | 0:10:00 | 0:10:03 | |
but I wouldn't have had the big world otherwise. | 0:10:03 | 0:10:06 | |
I'd have stayed in suburbia. | 0:10:06 | 0:10:09 | |
It's a wonderful mix of going out into the big REAL world, | 0:10:09 | 0:10:13 | |
and then there's an isolated community where nothing happened. | 0:10:13 | 0:10:19 | |
I'm David Davis. My family's been here for generations. | 0:10:19 | 0:10:23 | |
My father started the peach orchard in 1910. | 0:10:23 | 0:10:27 | |
My grandfather raised potatoes and cauliflower. | 0:10:27 | 0:10:31 | |
I remember you taking a picture of me with a couple of baskets of eggs. | 0:10:31 | 0:10:36 | |
I was hoping to get it in Life magazine! | 0:10:36 | 0:10:39 | |
There were so many people who did so many things within the community. | 0:10:39 | 0:10:44 | |
They were all called Davis. | 0:10:44 | 0:10:46 | |
Margaret Davis looked after the local library. | 0:10:46 | 0:10:50 | |
The local postmistress was a Davis. | 0:10:50 | 0:10:53 | |
One of them ran the grocery shop. | 0:10:53 | 0:10:55 | |
Some had been to Harvard College. There was a whole mixture. | 0:10:55 | 0:11:00 | |
I would photograph various aspects of their lives. | 0:11:00 | 0:11:05 | |
I used it to learn to photograph, to get close to people. | 0:11:07 | 0:11:12 | |
-Who's this?! -Marion Smith - | 0:11:14 | 0:11:17 | |
she lived across the street. | 0:11:17 | 0:11:19 | |
I don't know who THAT was... | 0:11:19 | 0:11:22 | |
Bob Madson... That's our daughter! | 0:11:22 | 0:11:24 | |
-That's your daughter?! -That's me, with child. | 0:11:24 | 0:11:28 | |
Oh, God! | 0:11:28 | 0:11:30 | |
-It's like old friends! -That's my father! | 0:11:30 | 0:11:33 | |
You know, you change, you grow, you develop, | 0:11:37 | 0:11:40 | |
but these are basically OK. | 0:11:40 | 0:11:43 | |
I would still edit them. | 0:11:43 | 0:11:45 | |
Some are better than others. Some I'd do differently. | 0:11:45 | 0:11:49 | |
The technique would be different cos I'd be using 35mm. | 0:11:49 | 0:11:53 | |
In the '50s, I worked with 120 film. | 0:11:53 | 0:11:56 | |
And so... | 0:11:56 | 0:11:58 | |
the framing and sizing is different, | 0:11:58 | 0:12:00 | |
but I think emotionally I haven't changed and nor have these people. | 0:12:00 | 0:12:05 | |
I look at them as what they are - my early work. | 0:12:05 | 0:12:10 | |
And I look at them in terms of my neighbours, friends, | 0:12:10 | 0:12:14 | |
and with nostalgia and affection. | 0:12:14 | 0:12:17 | |
People were very good to me. I loved them all and it was great to be here. | 0:12:18 | 0:12:25 | |
Well, I hope it won't be another 34 years... | 0:12:27 | 0:12:31 | |
before I see you again. | 0:12:31 | 0:12:33 | |
-You know! -Thank you. I'll send you a book. | 0:12:33 | 0:12:37 | |
I'll be around. We'll try and find Margaret. | 0:12:37 | 0:12:41 | |
-Good. -All right? -OK. | 0:12:41 | 0:12:44 | |
Much love! | 0:12:44 | 0:12:46 | |
In your 50 years, what pivotal events framed your life? | 0:13:01 | 0:13:09 | |
My work and - I guess - my life, historically came about | 0:13:09 | 0:13:14 | |
in the same way that picture journalism, historically... | 0:13:14 | 0:13:18 | |
It parallels what happened. | 0:13:18 | 0:13:20 | |
So in the '50s, we worked in black and white. | 0:13:20 | 0:13:24 | |
We worked with a square format, and we experimented in colour. | 0:13:24 | 0:13:29 | |
In the '60s, we worked with colour AND black and white. | 0:13:29 | 0:13:34 | |
And the pivotal thing for me was my moving to England. | 0:13:34 | 0:13:38 | |
And then in the '70s, you couldn't earn a living in picture journalism. | 0:13:38 | 0:13:43 | |
In the '80s, it was black and white. | 0:13:43 | 0:13:46 | |
Now there's a new approach to photography. | 0:13:46 | 0:13:49 | |
Mechanical things are taking over from the emotional. | 0:13:49 | 0:13:53 | |
Now it's time to examine where we were, | 0:13:53 | 0:13:57 | |
and to look forward and see where we go. | 0:13:57 | 0:14:00 | |
I tried to use | 0:14:00 | 0:14:03 | |
whatever was in me | 0:14:03 | 0:14:05 | |
to make things work for me. | 0:14:05 | 0:14:07 | |
Because your own experience and ideas get transformed, hopefully, | 0:14:07 | 0:14:12 | |
into something you can hold in your hand, representing what you've seen. | 0:14:12 | 0:14:18 | |
What's the best example of that in your early work? | 0:14:18 | 0:14:22 | |
Probably... | 0:14:23 | 0:14:24 | |
a story on the birth of a child. | 0:14:24 | 0:14:28 | |
I had lost a child | 0:14:28 | 0:14:32 | |
in the early - | 0:14:32 | 0:14:34 | |
not so early - mid-stages of pregnancy, | 0:14:34 | 0:14:37 | |
and was horrified and saddened and distressed. | 0:14:37 | 0:14:41 | |
I used that. | 0:14:41 | 0:14:43 | |
I spent four months in a hospital photographing the birth of children | 0:14:43 | 0:14:48 | |
and wound up by doing just the first five minutes. | 0:14:48 | 0:14:53 | |
That intense time when the child is brought from the womb's security | 0:14:53 | 0:14:58 | |
into the outside world, and what happens for that five minutes | 0:14:58 | 0:15:03 | |
when the child is weighed and slapped and measured... | 0:15:03 | 0:15:07 | |
That five minutes took five months. | 0:15:07 | 0:15:11 | |
And did it feed or heal your pain? | 0:15:11 | 0:15:13 | |
No, I think it helped. | 0:15:13 | 0:15:16 | |
In the beginning, I thought it was crazy to go to the pain's source. | 0:15:16 | 0:15:21 | |
But after, I saw that life goes on. | 0:15:21 | 0:15:25 | |
I'm proudest of this self-portrait cos that's a bitch to do! | 0:15:25 | 0:15:31 | |
Is it the crinkled edges? | 0:15:31 | 0:15:33 | |
Well, it's a paper print. The only one I've got like this. | 0:15:33 | 0:15:38 | |
But it's nice to have looked like that once! | 0:15:38 | 0:15:42 | |
Early on, it was pretty awful. A guy had a magazine called Cahiers. | 0:15:42 | 0:15:48 | |
He said, "Goody! You'll be able to go into the dressing room with the actresses!" | 0:15:48 | 0:15:55 | |
That's when I got mad and started doing political stuff like McCarthy. | 0:15:55 | 0:16:00 | |
It was a dangerous thing to go near him. | 0:16:00 | 0:16:04 | |
-Was there a certain amount of "I'll show you!"? -Always. | 0:16:04 | 0:16:09 | |
They're relaxin'. | 0:16:09 | 0:16:11 | |
They have very lost looks. | 0:16:11 | 0:16:14 | |
They don't seem to want to be there | 0:16:14 | 0:16:17 | |
or even know where they are! | 0:16:17 | 0:16:20 | |
It looks very European, very homey. I'd like to be with that one - he's kinda cute. | 0:16:20 | 0:16:27 | |
I don't even know if these guys are alive or dead. | 0:16:27 | 0:16:32 | |
Oooh! | 0:16:32 | 0:16:33 | |
It looks like an insane asylum. | 0:16:33 | 0:16:35 | |
Ohh! | 0:16:35 | 0:16:37 | |
This I can't figure out. | 0:16:37 | 0:16:39 | |
Two nuts and a tyre! | 0:16:39 | 0:16:42 | |
What they're doing, I have no clue. | 0:16:42 | 0:16:44 | |
I think they need a caption for this. It's not a joke. It's a political picture. | 0:16:44 | 0:16:51 | |
These two men are political prisoners in Moscow, | 0:16:51 | 0:16:55 | |
in an insane asylum, being treated as if they are insane | 0:16:55 | 0:16:59 | |
because they were dissidents. | 0:16:59 | 0:17:02 | |
This was a most unusual photograph to get. | 0:17:02 | 0:17:06 | |
I asked about Soviet psychiatry | 0:17:06 | 0:17:09 | |
and so I was very proudly taken to one of the great hospitals. | 0:17:09 | 0:17:14 | |
While the man who was showing me through went to the phone, | 0:17:14 | 0:17:19 | |
I peeped through a door and took it. | 0:17:19 | 0:17:22 | |
The Russians were enraged when it appeared in a French magazine. | 0:17:22 | 0:17:26 | |
I hit a period in Russian politics | 0:17:26 | 0:17:29 | |
when Khrushchev was out and Brezhnev hadn't taken over. | 0:17:29 | 0:17:35 | |
So I could slide in when nobody knew what was happening in the hierarchy. | 0:17:35 | 0:17:40 | |
So they let me do things | 0:17:42 | 0:17:44 | |
that were quite incredible for that period. | 0:17:44 | 0:17:49 | |
I worked in jails where they kept juvenile delinquents, | 0:17:49 | 0:17:53 | |
police courts... | 0:17:53 | 0:17:55 | |
We did things that were remarkable for their day. | 0:17:55 | 0:17:59 | |
Now I see my stories on the jails reproduced - | 0:17:59 | 0:18:03 | |
the young going in shooting now are doing what I did in '66. | 0:18:03 | 0:18:09 | |
She'd come back from Washington or China | 0:18:09 | 0:18:14 | |
and I was just old enough to appreciate what she'd done. | 0:18:14 | 0:18:18 | |
We sat in a darkened room and she'd project the crude stuff, unedited, | 0:18:18 | 0:18:23 | |
occasionally out of focus or the exposure would be wrong. | 0:18:23 | 0:18:28 | |
The whole thing glowed and was gorgeous. | 0:18:28 | 0:18:31 | |
Er...that's Malcolm. | 0:18:31 | 0:18:33 | |
He's got his Nation of Islam ring, | 0:18:33 | 0:18:36 | |
his watch, his glasses, | 0:18:36 | 0:18:39 | |
his signature hat. | 0:18:39 | 0:18:42 | |
It looks like he's deep in thought but relaxed. | 0:18:42 | 0:18:45 | |
Malcolm X? | 0:18:45 | 0:18:47 | |
Denzel Washington, actually. | 0:18:47 | 0:18:51 | |
The scariness of being a minority within a minority. | 0:18:51 | 0:18:55 | |
It's great, but that Nation of Islam shit - they're so fucking homophobic. | 0:18:55 | 0:19:00 | |
I like this - the ring, the Star of Islam here at his pineal gland. | 0:19:00 | 0:19:06 | |
It's the Malcolm X you don't see often. | 0:19:06 | 0:19:09 | |
The whimsical side of him which you don't see, ever. | 0:19:09 | 0:19:13 | |
Maybe it's a moment of... | 0:19:13 | 0:19:16 | |
relaxation, in a way. | 0:19:16 | 0:19:19 | |
I read a doctoral thesis called The Black Moslem In America. | 0:19:19 | 0:19:25 | |
I got intrigued and followed it up. | 0:19:25 | 0:19:27 | |
I met Malcolm X and he was extraordinary. | 0:19:27 | 0:19:31 | |
He could prove almost anything he chose with sheer sophistry. | 0:19:31 | 0:19:36 | |
Malcolm knew she was an extraordinary person | 0:19:37 | 0:19:42 | |
because at that time you didn't have... | 0:19:42 | 0:19:46 | |
It was...no white women and there weren't too many white fellas. | 0:19:46 | 0:19:52 | |
I would go to the Black Moslems' meetings | 0:19:52 | 0:19:56 | |
and find myself with cigarette burns in the back of my sweater. | 0:19:56 | 0:20:01 | |
I was always wise enough to wear a woollen sweater | 0:20:01 | 0:20:04 | |
because wool doesn't burn, it smoulders. | 0:20:04 | 0:20:08 | |
When I'd come back from a session, it'd be polka-dotted with burns. | 0:20:08 | 0:20:14 | |
She had that ability to charm. | 0:20:14 | 0:20:16 | |
She may have been crying inside, but she was smiling outside. | 0:20:16 | 0:20:21 | |
I was not trying to be political on any score, | 0:20:21 | 0:20:25 | |
but I couldn't help having certain interests and certain sympathies | 0:20:25 | 0:20:30 | |
because the ideas don't go in your ears into your head and out of your ears and that's it. | 0:20:30 | 0:20:37 | |
What happens is you think about these people. | 0:20:37 | 0:20:41 | |
They mean a great deal to you. | 0:20:41 | 0:20:44 | |
As I kept going, I kept adding more and more. | 0:20:44 | 0:20:48 | |
I wound up in South Africa in the end! | 0:20:50 | 0:20:53 | |
It was a very tough time - | 0:20:53 | 0:20:55 | |
before Mandela was released and the changes came - | 0:20:55 | 0:20:59 | |
photographing children dying of kwashiorkor. | 0:20:59 | 0:21:03 | |
The book was banned in South Africa. | 0:21:05 | 0:21:09 | |
The newspapers carried this great big story | 0:21:09 | 0:21:13 | |
that it was banned because of Vanessa Redgrave's bottom. | 0:21:13 | 0:21:18 | |
I don't see anything taboo about it. | 0:21:20 | 0:21:22 | |
-Sex. -Sex. | 0:21:22 | 0:21:24 | |
Sexy! | 0:21:24 | 0:21:25 | |
There's nothing wrong with 'em! | 0:21:25 | 0:21:28 | |
It'sthe beautiful ass of awoman. | 0:21:28 | 0:21:31 | |
It'sinteresting! Who doesn't like a pretty rear end? | 0:21:31 | 0:21:34 | |
IwishIcouldseeherback andshoulders! | 0:21:34 | 0:21:38 | |
Actually, the book had been banned | 0:21:38 | 0:21:41 | |
because it showedchildren weredying ofmalnutrition. | 0:21:41 | 0:21:45 | |
And I was so angry whentheycalled me. | 0:21:45 | 0:21:49 | |
They said, "What is your comment?" | 0:21:49 | 0:21:52 | |
And I said, | 0:21:52 | 0:21:55 | |
"TheRedgrave pictures arenotobscene. | 0:21:55 | 0:21:58 | |
"What IS obscene isthepoverty ofthese black people, | 0:21:58 | 0:22:02 | |
"andthat these kids aredyingofstarvation!" | 0:22:02 | 0:22:06 | |
She came back from South Africa feeling distraught. | 0:22:06 | 0:22:10 | |
She wasaffected by what she saw. Look at the photographs. | 0:22:10 | 0:22:14 | |
Did she and does she have apolitical ideology? | 0:22:17 | 0:22:21 | |
No. She has a point of view thatcomes across strongly. | 0:22:21 | 0:22:26 | |
I grew up in a generation wherewomen had a given role. | 0:22:29 | 0:22:35 | |
You were in the kitchen withthechildren, | 0:22:35 | 0:22:40 | |
you were "subservient" to the man. | 0:22:40 | 0:22:43 | |
And my mother found that | 0:22:43 | 0:22:46 | |
Iwastrying to break out of anareathat I shouldn't have. | 0:22:46 | 0:22:50 | |
She thought it was "ashunder" | 0:22:50 | 0:22:53 | |
which wasYiddishforsomewhere between a disgrace and ashame. | 0:22:53 | 0:22:58 | |
It was shameful for me towork. My husbandshould besupportingme. | 0:22:58 | 0:23:03 | |
I had a husband who supported me, but so that I could learn tobeaphotographer. | 0:23:03 | 0:23:09 | |
She was very embarrassed - what would theneighbourssay? | 0:23:09 | 0:23:14 | |
She was poor her whole life and wanted for me what she hadn't had. | 0:23:14 | 0:23:20 | |
It was generous, butitwasn'twhatI wanted. | 0:23:20 | 0:23:23 | |
When she saw one ofthebigstories that I did - | 0:23:23 | 0:23:27 | |
the firstfiveminutes ofababy'slife - | 0:23:27 | 0:23:31 | |
she looked at it and a neighbour said,"Aren'tyouof proud of Eve?" | 0:23:31 | 0:23:36 | |
She said, "Uh." | 0:23:36 | 0:23:38 | |
-Was "uh" a compliment? -Thatwasa BIG compliment! | 0:23:38 | 0:23:42 | |
She'd accepted it by that time. | 0:23:42 | 0:23:45 | |
Did she then go on tobecomeinterested and involved? | 0:23:45 | 0:23:50 | |
Or did itstay intherealmsof"uh"? | 0:23:50 | 0:23:53 | |
It was always grudging. | 0:23:53 | 0:23:55 | |
It was never, "Isn'tthiswonderful?!" No. | 0:23:55 | 0:23:59 | |
Shefeltthatlifewastoohard for me and she wanted it easier. | 0:23:59 | 0:24:04 | |
But I didn't. | 0:24:04 | 0:24:07 | |
OK, that's for my mom! | 0:24:07 | 0:24:11 | |
Hello! | 0:24:11 | 0:24:13 | |
I'm very honoured to meet you! | 0:24:13 | 0:24:16 | |
-I'm honoured to be here!It's wonderful! -I hope it'scolourful! | 0:24:16 | 0:24:21 | |
Nobodywould everquestionthat! Isabella's not here? | 0:24:21 | 0:24:26 | |
-She will be shortly. > -I'll get to work. | 0:24:26 | 0:24:30 | |
'It always amazes me | 0:24:31 | 0:24:33 | |
'how with two eyes, a mouth and a nose, | 0:24:33 | 0:24:38 | |
'a pair of eyebrows and some hair, | 0:24:38 | 0:24:41 | |
'you can bring so many infinite variations. | 0:24:41 | 0:24:44 | |
'If you're sincere | 0:24:45 | 0:24:47 | |
'about what you are doing - | 0:24:47 | 0:24:50 | |
'and give the sense you know what you're doing - | 0:24:50 | 0:24:53 | |
'then it's possible to receive from someone in front of your lens.' | 0:24:53 | 0:24:59 | |
'When I shoot, I start with behind the scenes if I can. | 0:25:05 | 0:25:10 | |
'Then, by the time the action takes place, | 0:25:10 | 0:25:14 | |
'the hope is the subject will have forgotten you're there.' | 0:25:14 | 0:25:18 | |
I can't believe it, we're here! | 0:25:23 | 0:25:26 | |
Oh, my God! | 0:25:27 | 0:25:30 | |
Right... Isabella... | 0:25:37 | 0:25:40 | |
Wait until I get my camera! | 0:25:43 | 0:25:46 | |
'Sometimes there's a great sense of excitation - you know you've got it. | 0:25:49 | 0:25:54 | |
'It's within one frame or another.' | 0:25:54 | 0:25:57 | |
Isabella, give me some...stuff! | 0:25:57 | 0:25:59 | |
'They're only successful if they reveal something I would not have expected to be given.' | 0:25:59 | 0:26:06 | |
Move your arms! | 0:26:06 | 0:26:08 | |
'It's a collaboration between you both. | 0:26:08 | 0:26:11 | |
'If people know how to read a photograph, | 0:26:11 | 0:26:15 | |
'they know what's being said. | 0:26:15 | 0:26:18 | |
'If they don't, I try and put it in the caption!' | 0:26:18 | 0:26:21 | |
Enough! | 0:26:33 | 0:26:34 | |
She's not just a pretty face! | 0:26:34 | 0:26:37 | |
We'll have a vitrine under here. | 0:26:37 | 0:26:40 | |
-Uh-huh. -And one under the brides. | 0:26:40 | 0:26:43 | |
And let's not forget the various colours drawn on... | 0:26:49 | 0:26:55 | |
Let me just look first. Please! | 0:26:55 | 0:26:58 | |
OK? | 0:26:58 | 0:26:59 | |
Somebody offered me a recording session of Marlene Dietrich | 0:27:08 | 0:27:12 | |
at Columbia Records. | 0:27:12 | 0:27:15 | |
That was extraordinary because she knew more about lighting and the camera than I will ever learn. | 0:27:15 | 0:27:22 | |
She was extraordinary. | 0:27:22 | 0:27:24 | |
And it went on for about six hours. | 0:27:24 | 0:27:28 | |
She was recording the songs she made famous during the War. | 0:27:28 | 0:27:33 | |
# Want to buy some illusions? | 0:27:33 | 0:27:38 | |
# Slightly used | 0:27:38 | 0:27:40 | |
# Second-hand | 0:27:40 | 0:27:42 | |
# They were lovely illusions | 0:27:44 | 0:27:48 | |
# Reaching higher | 0:27:48 | 0:27:52 | |
# Built on sand... # | 0:27:52 | 0:27:55 | |
When I saw her in front of the mike singing those songs, | 0:27:55 | 0:27:59 | |
I thought I'd never get it right. | 0:27:59 | 0:28:01 | |
I was too small, the camera was always there, it was a problem for other people. | 0:28:01 | 0:28:08 | |
Do you have any memory of being over the tray | 0:28:08 | 0:28:12 | |
and watching the photograph coming up and seeing your first photograph of Marlene? | 0:28:12 | 0:28:18 | |
There's a thrill that you'll never experience! | 0:28:18 | 0:28:22 | |
It's like making love the first time - if you get a good lover! | 0:28:22 | 0:28:26 | |
It was just incredible. You get a sense of power that you have. | 0:28:26 | 0:28:32 | |
And also a sense of apprehension, | 0:28:32 | 0:28:35 | |
because when it comes up, it might be wonderful, it might be terrible. | 0:28:35 | 0:28:39 | |
But the miracle itself is something never to forget. | 0:28:39 | 0:28:43 | |
-Listen, this is not Madam O'Neill. -No, no! | 0:28:43 | 0:28:47 | |
-That's why I thought I'd lost my mind. -I was pointing to that one. | 0:28:47 | 0:28:52 | |
-That's, er... -Silvana Mangano. -Right. | 0:28:52 | 0:28:55 | |
I sometimes think I would like to give a party | 0:28:55 | 0:28:59 | |
and all the people I've photographed would come and tell me what they thought of their pictures. | 0:28:59 | 0:29:06 | |
I've found many things on this beach - | 0:29:09 | 0:29:12 | |
shells, | 0:29:12 | 0:29:14 | |
all kinds of logs and beach wood. | 0:29:14 | 0:29:17 | |
But the most incredible thing I've found, is one day | 0:29:17 | 0:29:22 | |
I found Marilyn Monroe walking along with Norman Rosten, the poet. | 0:29:22 | 0:29:28 | |
Norman came over and said, "Remember Marilyn?!" | 0:29:28 | 0:29:32 | |
I remembered Marilyn - she was a starlet when I met her. | 0:29:32 | 0:29:36 | |
We'd met at a cocktail party given for John Huston. | 0:29:36 | 0:29:41 | |
She was brought over and introduced. | 0:29:41 | 0:29:44 | |
She'd just seen a picture that I'd done for Marlene Dietrich | 0:29:46 | 0:29:50 | |
and she said, "You did so well with Marlene, can you imagine what you could do with me?!" | 0:29:50 | 0:29:58 | |
ANJELICA HUSTON: When I think about her photographs from that period - | 0:29:58 | 0:30:04 | |
those fantastic portraits of Marilyn... | 0:30:04 | 0:30:07 | |
Marilyn in black and white was staggering - | 0:30:07 | 0:30:12 | |
her legs a little fat, | 0:30:12 | 0:30:14 | |
her eyes quite sad. | 0:30:14 | 0:30:17 | |
Marilyn imperfect... | 0:30:17 | 0:30:19 | |
Perfectly imperfect! | 0:30:19 | 0:30:21 | |
These are intimate moments | 0:30:23 | 0:30:26 | |
which somehow she records | 0:30:26 | 0:30:29 | |
within the moment. | 0:30:29 | 0:30:32 | |
The flirtatiousness, | 0:30:32 | 0:30:35 | |
and her need to be womanly and sexy | 0:30:35 | 0:30:38 | |
never obtained with me. | 0:30:38 | 0:30:40 | |
We had a professional friendship | 0:30:42 | 0:30:45 | |
that went on. | 0:30:45 | 0:30:47 | |
It was matter of trust too - this is what you have to gain. | 0:30:47 | 0:30:53 | |
If they trust you not to savage them, | 0:30:53 | 0:30:56 | |
to make sure they come out honestly, | 0:30:56 | 0:30:59 | |
then a great deal is given. | 0:30:59 | 0:31:01 | |
She had a means of making you feel that her vulnerability was your problem, not hers. | 0:31:01 | 0:31:09 | |
And so, over the years - | 0:31:09 | 0:31:11 | |
of course I did photograph her and we did get together and have wonderful times together - | 0:31:11 | 0:31:18 | |
there was always that sense that maybe I was "Mommy" | 0:31:18 | 0:31:23 | |
and she was "little girl lost". | 0:31:23 | 0:31:26 | |
And I found that irritated me | 0:31:26 | 0:31:28 | |
cos I didn't want to be Mommy and I didn't want her to be lost! | 0:31:28 | 0:31:33 | |
I'm not gonna lie down! No, thank you very much! | 0:31:33 | 0:31:37 | |
We collaborated. I don't remember where I began and she ended. | 0:31:37 | 0:31:43 | |
She was always having bright ideas. | 0:31:43 | 0:31:46 | |
It was always her session. It was never mine. | 0:31:46 | 0:31:50 | |
It was never the photographer's. She was in charge. She loved it. | 0:31:50 | 0:31:55 | |
She didn't have lines to learn or any worries. She was in charge of things. | 0:31:55 | 0:32:01 | |
Very sexy. | 0:32:01 | 0:32:03 | |
You mean the fact that she's not all revealed? | 0:32:03 | 0:32:07 | |
They're not showing everything, just pieces. It's even better. | 0:32:07 | 0:32:12 | |
I can see she's thinking about something | 0:32:12 | 0:32:15 | |
as opposed to her typical smile. | 0:32:15 | 0:32:17 | |
I see my wife doing that every day! They're no different! | 0:32:17 | 0:32:22 | |
She's just a bit, er... | 0:32:22 | 0:32:24 | |
revealed | 0:32:24 | 0:32:26 | |
in some places here. | 0:32:26 | 0:32:28 | |
It's less glamorous. It's, er... | 0:32:28 | 0:32:31 | |
more down-to-earth than when you see her wearing a voluptuous dress. | 0:32:31 | 0:32:37 | |
-Extremely different. -Why? | 0:32:37 | 0:32:39 | |
Because you see her so often gentle, you don't see her Madonna-like. | 0:32:39 | 0:32:45 | |
She seems serene, doing something for herself instead of for the world. | 0:32:45 | 0:32:51 | |
When I started, nobody wanted that kind of thing. | 0:32:51 | 0:32:56 | |
I wasn't the only one doing it, but I was one of the first. | 0:32:56 | 0:33:01 | |
And the problem was the producers of the films were worried | 0:33:01 | 0:33:05 | |
because they kept saying, "You're killing the illusion! | 0:33:05 | 0:33:10 | |
"We're building dreams and you're giving us nightmares!" | 0:33:10 | 0:33:15 | |
But when they saw how much space they could command in magazines, | 0:33:15 | 0:33:20 | |
all that shifted. | 0:33:20 | 0:33:22 | |
Then suddenly it was OK not to take somebody into a studio, | 0:33:22 | 0:33:27 | |
to show them in an everyday, very humane and human situation. | 0:33:27 | 0:33:32 | |
So the whole thing changed. | 0:33:32 | 0:33:35 | |
You can look at an artist's work and see an evolution. | 0:33:35 | 0:33:39 | |
And you can see there are things that will speak all the way through the work. | 0:33:39 | 0:33:46 | |
There's, um... there's a path travelled, if you will. | 0:33:46 | 0:33:51 | |
And...and...and, um... | 0:33:51 | 0:33:54 | |
an obligation from the heart | 0:33:54 | 0:33:57 | |
to improve the world, if you will. | 0:33:57 | 0:34:00 | |
Something that innocent. | 0:34:00 | 0:34:03 | |
And it is...it does have to do with the innocent eye. | 0:34:03 | 0:34:07 | |
I suppose what Eve is good at | 0:34:07 | 0:34:10 | |
is to give us a real view of what is there, | 0:34:10 | 0:34:14 | |
not what people want to pretend themselves is there. | 0:34:14 | 0:34:19 | |
Often, that's more appealing than the image people wish to project. | 0:34:19 | 0:34:25 | |
What about the light-heartedness and the not-so? | 0:34:25 | 0:34:29 | |
Well, let's try it with the other one. | 0:34:29 | 0:34:33 | |
-Put that one there. -Put this one... | 0:34:35 | 0:34:38 | |
That goes! | 0:34:38 | 0:34:40 | |
We'll lose her. | 0:34:40 | 0:34:43 | |
Bob Gottlieb will hit me! He loves that one! | 0:34:43 | 0:34:48 | |
She was a nice girl from Philadelphia. | 0:34:48 | 0:34:51 | |
It never occurred to her to be a photographer. | 0:34:51 | 0:34:55 | |
Next she's the first woman at Magnum! | 0:34:55 | 0:34:58 | |
You have presented yourself to the world - even as a beautiful young thing - | 0:34:58 | 0:35:05 | |
as a dear old lady who could mean no harm to anybody | 0:35:05 | 0:35:09 | |
and who just by luck has turned up. | 0:35:09 | 0:35:12 | |
No! You're over-stating the case! | 0:35:12 | 0:35:15 | |
It's like what you said before - this little girl from Philadelphia. | 0:35:15 | 0:35:20 | |
This combination of her ability, | 0:35:20 | 0:35:23 | |
her determination to do good work, | 0:35:23 | 0:35:26 | |
covered over by the self-deprecation, | 0:35:26 | 0:35:29 | |
the modesty, | 0:35:29 | 0:35:32 | |
is a very unique circumstance. | 0:35:32 | 0:35:35 | |
I was not aware that I was moving backward into the shadows. | 0:35:35 | 0:35:40 | |
But if you're a stills photographer, don't make a big thing of yourself. | 0:35:40 | 0:35:45 | |
It's your subject who is important. | 0:35:45 | 0:35:48 | |
So that you do become, after a while, recessive within the process. | 0:35:48 | 0:35:53 | |
So that I could get Marilyn Monroe | 0:35:53 | 0:35:57 | |
or Joan Crawford to strip down, to do anything without saying a word. | 0:35:57 | 0:36:02 | |
They were figuring out what would be good to give ME. | 0:36:02 | 0:36:07 | |
Joan Crawford in explaining what I was, said, "She has balls!" | 0:36:07 | 0:36:12 | |
I wouldn't go that far. | 0:36:12 | 0:36:15 | |
Look, I've made some changes over here. | 0:36:15 | 0:36:18 | |
What I've done is... There's more impact in horribleness | 0:36:18 | 0:36:23 | |
if we go from here to here, to here. | 0:36:23 | 0:36:26 | |
She's examining herself, deciding what's gonna happen to her, | 0:36:26 | 0:36:30 | |
goes in, gets herself bandaged up, | 0:36:30 | 0:36:33 | |
does her make-up, | 0:36:33 | 0:36:36 | |
and that's what she looks like when she's finished. | 0:36:36 | 0:36:39 | |
Very macabre. | 0:36:39 | 0:36:41 | |
I think it's a stronger way of doing it. | 0:36:41 | 0:36:45 | |
'In 1959, I had an idea I'd like to do a big story on her. | 0:36:45 | 0:36:50 | |
'I was working for Life magazine and I suggested it. | 0:36:50 | 0:36:55 | |
'And I called her | 0:36:55 | 0:36:57 | |
'and she was right back to me from California - | 0:36:57 | 0:37:01 | |
'"Yes, I want to be photographed by you. It's wonderful!"' | 0:37:01 | 0:37:06 | |
Then she said, "I want to go into the dark room with you the way Marilyn went in with Avedon." | 0:37:06 | 0:37:13 | |
It meant she wanted control. So I said, "I'll talk to my editors." | 0:37:13 | 0:37:18 | |
I suggested we didn't do her | 0:37:18 | 0:37:20 | |
because you wouldn't be able to do anything. | 0:37:20 | 0:37:24 | |
At any rate, um... | 0:37:24 | 0:37:26 | |
she called Henry Luce - head of Life - in the night and she said | 0:37:26 | 0:37:32 | |
"that Arnold woman" wouldn't give her control of her pictures. | 0:37:32 | 0:37:37 | |
He then was furious, called his editor and said, "Give her whatever she wants!" | 0:37:37 | 0:37:43 | |
They called me up and said, "She can have it!" And I said, "Not over my life, buddy! | 0:37:43 | 0:37:50 | |
"That's no way to do it!" | 0:37:50 | 0:37:53 | |
I said we should wait and see if she changed her mind. | 0:37:53 | 0:37:57 | |
Three hours later she called. | 0:37:57 | 0:37:59 | |
She said, "Darling!" in these dulcet tones, of course! | 0:37:59 | 0:38:03 | |
And then she said, "But...if I don't like what you do, you'll never work in Hollywood again!" | 0:38:03 | 0:38:10 | |
She wanted the public to see how difficult it was | 0:38:31 | 0:38:35 | |
to stay at the top of that heap. | 0:38:35 | 0:38:38 | |
Some things were so awful. | 0:38:38 | 0:38:41 | |
but I photographed cos she wanted them. | 0:38:41 | 0:38:44 | |
She posed in the nude at her request, which I returned to her cos I wouldn't use it. | 0:38:44 | 0:38:51 | |
Something happens to flesh after 50. It was cruel to do it. | 0:38:51 | 0:38:55 | |
You'd be hard-pressed to find a photographer who'd return those transparencies nowadays. | 0:38:55 | 0:39:02 | |
I guess I'm talking about integrity, taste and a kind of respect for the subject matter. | 0:39:02 | 0:39:09 | |
Crawford was the result of her publicity. | 0:39:09 | 0:39:12 | |
The sadness was she believed it. | 0:39:12 | 0:39:15 | |
When it came to somebody like Marilyn, it destroyed her. | 0:39:15 | 0:39:19 | |
It was fine while she had the fantasy that she'd be a movie star, | 0:39:19 | 0:39:25 | |
-but when that became the reality, she couldn't live with it. -It still didn't make her happy? | 0:39:25 | 0:39:32 | |
No, because it was false, unreal, and not what she expected. | 0:39:32 | 0:39:37 | |
She expected it to be the end of the rainbow and it wasn't. | 0:39:37 | 0:39:42 | |
Have you mentioned the Crawford and the Marilyn? | 0:39:42 | 0:39:46 | |
I did some plain people, too! | 0:39:46 | 0:39:49 | |
My next question is - did you have equally important male subjects? | 0:39:49 | 0:39:55 | |
Not over a long stretch like that. | 0:39:55 | 0:39:57 | |
There are many men I've photographed - | 0:39:57 | 0:40:01 | |
four British prime ministers... and one woman - Maggie Thatcher! | 0:40:01 | 0:40:05 | |
-By mistake! -That was no mistake! God what a day! | 0:40:05 | 0:40:10 | |
She was the toughest person I've ever had to photograph. | 0:40:10 | 0:40:15 | |
It went on for almost a year. She'd stand in the sun and squint. | 0:40:15 | 0:40:21 | |
And it was just so difficult. | 0:40:21 | 0:40:24 | |
Thatcher, thinking, "This is a woman. I can push her around!", | 0:40:24 | 0:40:29 | |
kept saying, "Shoot me from this angle, shoot me from that angle!" | 0:40:29 | 0:40:34 | |
That wouldn't work, and Eve did what Eve wanted to do. | 0:40:34 | 0:40:39 | |
There were very few females. | 0:40:39 | 0:40:42 | |
Luckily for me, I was smaller than everybody else. | 0:40:42 | 0:40:46 | |
At a news event you'd get a phalanx of men and they'd always say, "Come on, Eve, up front!" | 0:40:46 | 0:40:53 | |
It was a plus! Nobody thought I knew what I was doing, including me. | 0:40:53 | 0:40:58 | |
I look at your career, and you were so resourceful in figuring out what to do. | 0:41:00 | 0:41:06 | |
I want words of wisdom from you. | 0:41:06 | 0:41:09 | |
How can that resourcefulness be applied now | 0:41:09 | 0:41:12 | |
so we can aspire to do what you did in our own way? | 0:41:12 | 0:41:16 | |
If it's any comfort to you, my colleagues - younger ones - | 0:41:16 | 0:41:22 | |
both in Britain and here that I see, | 0:41:22 | 0:41:24 | |
are having it as tough as you are. | 0:41:24 | 0:41:28 | |
But they are shooting! | 0:41:28 | 0:41:30 | |
Picture journalism isn't going to go away. | 0:41:30 | 0:41:33 | |
It's like when television came in, we thought radio would disappear. | 0:41:33 | 0:41:38 | |
When photography came in, the artist said, | 0:41:38 | 0:41:42 | |
"As of today, art is dead." | 0:41:42 | 0:41:46 | |
It wasn't. It just took on different forms. | 0:41:46 | 0:41:49 | |
I was in the same spot as you when I started. | 0:41:49 | 0:41:53 | |
Nobody was willing to pay for it, | 0:41:53 | 0:41:55 | |
and it was even tougher | 0:41:55 | 0:41:58 | |
cos you knew that there was a venue and you might never hit it. | 0:41:58 | 0:42:03 | |
But...I don't know what to say by way of encouragement | 0:42:03 | 0:42:08 | |
except that...do it! | 0:42:08 | 0:42:10 | |
It's the most wonderful thing in the world - | 0:42:10 | 0:42:14 | |
to hold it in your hand after you've done it. | 0:42:14 | 0:42:18 | |
In 1969, | 0:42:34 | 0:42:36 | |
I started a series of picture stories on veiled women. | 0:42:36 | 0:42:42 | |
From that came a request from NBC and BBC | 0:42:42 | 0:42:46 | |
to make a film in harems in Arabia. | 0:42:46 | 0:42:49 | |
I hadn't made a script. | 0:42:57 | 0:43:00 | |
I had my storyboard from my stills | 0:43:00 | 0:43:03 | |
and I figured I'd play it by ear. | 0:43:03 | 0:43:06 | |
But I couldn't have done it without doing it in stills first. | 0:43:06 | 0:43:11 | |
First, I thought film was just a series of stills stuck together. | 0:43:14 | 0:43:19 | |
Then I thought I knew better after I started working on the film. | 0:43:19 | 0:43:24 | |
I felt like a celibate who'd found sex. | 0:43:24 | 0:43:27 | |
Here there was sound and motion - | 0:43:27 | 0:43:30 | |
all the things I'd never had with stills. | 0:43:30 | 0:43:33 | |
It became a disappointment cos it took so much in material and people and involvement and money. | 0:43:33 | 0:43:41 | |
Things I didn't have to be concerned about when I was working with stills | 0:43:41 | 0:43:47 | |
and there was me and some cheap rolls of film, and I was on my own. | 0:43:47 | 0:43:52 | |
What is more interesting than the film itself, | 0:43:52 | 0:43:56 | |
is that I could get into a harem. | 0:43:56 | 0:43:59 | |
I got the co-operation of these people in Dubai | 0:43:59 | 0:44:03 | |
who invited me to the wedding of the crown prince. | 0:44:03 | 0:44:06 | |
That meant I could move about and do all sorts of things. | 0:44:06 | 0:44:11 | |
The Chinawoman goes here. | 0:44:11 | 0:44:13 | |
Everything else China here is gonna to be those six prints | 0:44:13 | 0:44:19 | |
plus the three prints. | 0:44:19 | 0:44:22 | |
-We have no room. -It'll be crowded. | 0:44:22 | 0:44:25 | |
-We better start cutting. -Unless we put a second China over here. | 0:44:25 | 0:44:30 | |
-So we'll work that way. -OK, that's good. | 0:44:30 | 0:44:33 | |
Maybe even a stack. | 0:44:33 | 0:44:36 | |
Maybe even a stack. Maybe even a stack! | 0:44:36 | 0:44:40 | |
It looks like Chinese royalty or something. | 0:44:40 | 0:44:44 | |
I don't know if Chinese royalty wear earrings! | 0:44:44 | 0:44:47 | |
It's an old Korean woman. | 0:44:47 | 0:44:50 | |
Um... She appears to be smiling, but she's not smiling at the same time. | 0:44:50 | 0:44:56 | |
This woman brings wisdom. | 0:44:56 | 0:44:58 | |
Yeah, I would love to get some wisdom from her. | 0:44:58 | 0:45:02 | |
Very old. A lot of expression on her face. | 0:45:02 | 0:45:06 | |
A lot of character. Er... | 0:45:06 | 0:45:09 | |
A lot of pain, maybe. | 0:45:09 | 0:45:11 | |
Looking death in the eye. | 0:45:11 | 0:45:14 | |
It's like looking into a pond. | 0:45:14 | 0:45:16 | |
Absolutely! I'll buy this one! | 0:45:16 | 0:45:19 | |
It's absolutely gorgeous! I wish I could take a picture like that! | 0:45:19 | 0:45:24 | |
She was on the cover of my book in China. | 0:45:24 | 0:45:29 | |
I had pneumonia when I photographed her. | 0:45:29 | 0:45:32 | |
The doctors let me out to get some air. | 0:45:32 | 0:45:36 | |
I was in a boat and I saw her in a doorway and I moved over. | 0:45:36 | 0:45:41 | |
We looked at each other through the lens. | 0:45:41 | 0:45:44 | |
That was one shot. How many times does it take normally to get a single shot? | 0:45:44 | 0:45:51 | |
It was fortuitous. | 0:45:51 | 0:45:53 | |
She was curious about me. | 0:45:53 | 0:45:56 | |
My grandchildren think it's me, but I don't have wrinkles in my nose! | 0:45:56 | 0:46:01 | |
I read about China for 15 years before I got my visa. | 0:46:02 | 0:46:07 | |
For me, it was a dream realised, | 0:46:07 | 0:46:10 | |
and it was important for me to look very hard to make sure | 0:46:10 | 0:46:15 | |
that I credited these people | 0:46:15 | 0:46:18 | |
with a kind of warmth and humanity | 0:46:18 | 0:46:21 | |
that I thought they had. | 0:46:21 | 0:46:24 | |
I wanted to dispel the idea of all those Mao shirts. | 0:46:24 | 0:46:29 | |
I was very well-prepared for China - | 0:46:29 | 0:46:32 | |
all that reading, all that thinking, which I abandoned when I got there. | 0:46:32 | 0:46:38 | |
She's been to China, to Afghanistan, to Arabia, to South Africa, | 0:46:38 | 0:46:43 | |
all over the United States... | 0:46:43 | 0:46:46 | |
And that's an enormous body of work | 0:46:47 | 0:46:50 | |
in an enormously various set of circumstances. | 0:46:50 | 0:46:54 | |
And she's used black and white, she's used colour. | 0:46:54 | 0:46:57 | |
She's developed some techniques in colour that at that time were new. | 0:46:57 | 0:47:03 | |
And I think it's a catholicism - the breadth of vision - | 0:47:03 | 0:47:07 | |
above all else. | 0:47:07 | 0:47:09 | |
It is gorgeous! | 0:47:42 | 0:47:44 | |
-I'm so glad! -What a beautiful job! | 0:47:44 | 0:47:47 | |
-< -Are you...? | 0:47:47 | 0:47:50 | |
This is Eve Arnold! | 0:47:50 | 0:47:53 | |
I am SO impressed! | 0:47:53 | 0:47:55 | |
Thank you! | 0:47:55 | 0:47:57 | |
-She's an impressive lady! -Your photographs...! | 0:47:57 | 0:48:01 | |
You can put yourself in them and feel those feelings! | 0:48:01 | 0:48:06 | |
What a show! | 0:48:06 | 0:48:08 | |
I know every one of them. It's just like you came home again! | 0:48:08 | 0:48:13 | |
I was thinking about you just the other day! | 0:48:13 | 0:48:17 | |
-Ian! -Ian Holm! | 0:48:17 | 0:48:19 | |
How are you? | 0:48:24 | 0:48:26 | |
I just love your work! I mean like - ohh! | 0:48:26 | 0:48:30 | |
It gets inside me! | 0:48:30 | 0:48:32 | |
I think it's a sacrifice to do what I've done. | 0:48:32 | 0:48:37 | |
I've lost a lot and I've gained a lot. | 0:48:37 | 0:48:40 | |
The whole business of being on the road, which you are as a journalist, | 0:48:40 | 0:48:45 | |
takes a great deal. | 0:48:45 | 0:48:47 | |
I've had less of my son, | 0:48:47 | 0:48:50 | |
part of the failure of my marriage was due to that... | 0:48:50 | 0:48:55 | |
But I still have time with my grandchildren. I'm catching up now! | 0:48:57 | 0:49:02 | |
You've got the family at the end. | 0:49:02 | 0:49:05 | |
-BRITISH ACCENT: -'I've always known she was special, I suppose. Special in terms of being famous.' | 0:49:05 | 0:49:12 | |
I always had her books around the house. | 0:49:12 | 0:49:18 | |
At the age of about ten or eleven | 0:49:18 | 0:49:21 | |
I realised that she was special in terms of world-famous photography. | 0:49:21 | 0:49:28 | |
The most important thing I learned from her | 0:49:28 | 0:49:31 | |
was that it's important to know how to look at something | 0:49:31 | 0:49:36 | |
rather than just how to photograph something. | 0:49:36 | 0:49:40 | |
To be able to see it. | 0:49:40 | 0:49:42 | |
So was it good? | 0:49:44 | 0:49:46 | |
It was good. It was really good. | 0:49:46 | 0:49:49 | |
I was touched because there were a lot of people who came from... | 0:49:49 | 0:49:55 | |
Somebody from California, my family from Washington... | 0:49:55 | 0:49:59 | |
Michael and Francis from London! | 0:50:00 | 0:50:03 | |
It was really good. | 0:50:03 | 0:50:05 | |
I don't know! I had one woman crying over me! | 0:50:05 | 0:50:09 | |
She was so touched by the photographs. | 0:50:12 | 0:50:15 | |
A lot of work, | 0:50:15 | 0:50:17 | |
a lot of attention to detail, | 0:50:17 | 0:50:20 | |
a lot of disappointment and a lot of joy. | 0:50:20 | 0:50:24 | |
And do you feel that this is a summary? | 0:50:29 | 0:50:32 | |
Yes, it's a milestone. | 0:50:32 | 0:50:35 | |
I feel if I never pick a camera up, I've done it! | 0:50:35 | 0:50:39 | |
It's, um... | 0:50:39 | 0:50:41 | |
It's kind of an assessment... | 0:50:41 | 0:50:44 | |
of a look back. | 0:50:44 | 0:50:46 | |
But I don't feel as though I'm living in the past. | 0:50:46 | 0:50:50 | |
It's just a look for now. | 0:50:50 | 0:50:53 | |
And I think a sense of wanting to go on with something else. | 0:50:53 | 0:51:00 | |
Maybe as far away from what I've done as I can get. | 0:51:00 | 0:51:05 | |
So did you get an A-plus? | 0:51:06 | 0:51:08 | |
I haven't been graded yet! | 0:51:08 | 0:51:11 | |
An assessment without the grade, right?! | 0:51:11 | 0:51:14 | |
Still. | 0:51:14 | 0:51:16 | |
I spoke to a lot of people tonight who were very moved by the work. | 0:51:16 | 0:51:21 | |
And seeing it myself tonight, I was pretty moved. | 0:51:21 | 0:51:25 | |
But you know it so well! | 0:51:25 | 0:51:28 | |
But it's walking around all those rooms | 0:51:28 | 0:51:32 | |
and seeing how far, and how many, and who. | 0:51:32 | 0:51:35 | |
It was a pretty great night! | 0:51:35 | 0:51:38 | |
It's not over yet - we're gonna have dinner! | 0:51:38 | 0:51:41 | |
-Let's go! -Let's go! Onto the bus! | 0:51:41 | 0:51:44 | |
It's a punishment! | 0:51:45 | 0:51:48 | |
It's those feet, that's all! | 0:51:48 | 0:51:51 | |
They say old boxers and old photographers, the feet go first! | 0:51:51 | 0:51:56 | |
What's going on? You see these...? | 0:51:59 | 0:52:02 | |
Subtitles by Mark Thomas BBC - 1996 | 0:52:51 | 0:52:56 |