0:00:05 > 0:00:09One chilly morning in February 1955, the actor James Dean set off
0:00:09 > 0:00:14from Los Angeles for his home town of Fairmount, Indiana.
0:00:14 > 0:00:18Travelling with him was photographer, Dennis Stock.
0:00:18 > 0:00:25Dean was on the brink of stardom, and had agreed to take him on a nostalgic journey into his past.
0:00:28 > 0:00:31Their intimate collaboration would result in some of the most revealing
0:00:31 > 0:00:34and enduring photographs of James Dean ever taken.
0:00:36 > 0:00:44But there was one shot that Stock felt was too dark and disturbing ever to be released.
0:00:44 > 0:00:49An eerie premonition of his fate, it was a shot that Dean had set up himself.
0:00:51 > 0:00:58Within seven months of the shoot, James Dean was dead, and this image would become his epitaph.
0:01:26 > 0:01:32The first time James Dean had travelled from LA to Fairmount, Indiana, he was only nine years old.
0:01:32 > 0:01:38The year was 1940, and the journey was to be one of the most traumatic events in his life.
0:01:38 > 0:01:42His mother had just died of cancer.
0:01:42 > 0:01:49And his father sent him 2,000 miles away to be raised by his aunt and uncle on their Indiana farm.
0:01:50 > 0:01:54His father put him on the train
0:01:54 > 0:01:57with his mother's coffin, and said,
0:01:57 > 0:02:02"Take the body home and look after things", to a nine-year-old.
0:02:02 > 0:02:06Well, that's a deeply traumatic experience.
0:02:06 > 0:02:12The poor child was afraid that every time the train came to a stop,
0:02:12 > 0:02:15they would have removed his mother's coffin
0:02:15 > 0:02:21so he would jump down from the train and run to see that it was all right.
0:02:21 > 0:02:25This is a memory at the age of nine that a child can never shake.
0:02:33 > 0:02:39This insecure start in life awoke in Dean a fierce determination to make something of himself.
0:02:39 > 0:02:45Acting would be the perfect outlet through which he would assume a new identity.
0:02:45 > 0:02:49Later he would tell a friend, "I used to go to my mother's grave
0:02:49 > 0:02:56"and cry, 'Why have you left me?', and that turned into, 'Mother, I hate you. I'm going to show you.
0:02:56 > 0:02:58"'I'm going to be somebody.'"
0:03:00 > 0:03:02He was very vulnerable.
0:03:02 > 0:03:08But the determination to act was extraordinary from the very beginning.
0:03:08 > 0:03:14It was so focused and so uncompromising.
0:03:14 > 0:03:18There was never any thought of doing anything else.
0:03:18 > 0:03:23Mom and Dad said several times that if Jimmy wanted to do something,
0:03:23 > 0:03:25you might as well just let him do it,
0:03:25 > 0:03:28because he was gonna do it one way or the other.
0:03:28 > 0:03:31I believe he was nearsighted, he had to wear glasses all the time.
0:03:33 > 0:03:40And he wasn't real tall, but he was very determined and had a lot of confidence in himself.
0:03:40 > 0:03:43And of course his real interest was in acting.
0:03:46 > 0:03:51Dean was an unlikely star in the making, but by the time he was 18,
0:03:51 > 0:03:57the farm boy from Indiana had only one ambition - to escape his roots and become a movie star.
0:04:03 > 0:04:09In the early 1950s, Dean headed for New York and The Actors Studio,
0:04:09 > 0:04:13the only place to go if you wanted to become a serious actor.
0:04:13 > 0:04:18Determined to stand out as an unconventional, new kind of star,
0:04:18 > 0:04:23he immediately began the dramatic transformation of his image.
0:04:23 > 0:04:28A series of promotional photos taken over a three year period
0:04:28 > 0:04:31show just how consciously Dean changed his look.
0:04:40 > 0:04:43They're absolutely incredible because the progression
0:04:43 > 0:04:46from the pictures in '51,
0:04:46 > 0:04:49where he kind of looks like this hazy farm boy -
0:04:49 > 0:04:53very self conscious, very kind of stiff.
0:04:56 > 0:05:00The next year he's kind of loosened up a bit, but he still looks slightly goofy.
0:05:00 > 0:05:06By 1953, it's almost as if he had somehow moulded his own face.
0:05:06 > 0:05:10I mean his face is entirely different - it's very focused,
0:05:10 > 0:05:12it's very intense,
0:05:12 > 0:05:17it exudes everything that, as an actor, he wanted to transmit.
0:05:17 > 0:05:18Go on!
0:05:18 > 0:05:21You're just like all the rest of 'em. You're all against me!
0:05:21 > 0:05:23All of ya!
0:05:23 > 0:05:24ALL OF YA!
0:05:24 > 0:05:29In a series of early TV dramas, Dean perfected his new look
0:05:29 > 0:05:34and set about developing the rebellious mannerisms that would become his signature.
0:05:34 > 0:05:36- Put that gun down!- He's got a gun!
0:05:36 > 0:05:39- Come and get me! - We can't take any more chances.
0:05:39 > 0:05:41Let him have it!
0:05:44 > 0:05:49Television was a new medium, looking for a kind of anti-hero type,
0:05:49 > 0:05:53and James Dean was the perfect person for this
0:05:53 > 0:05:58because he had a very volatile face and character,
0:05:58 > 0:06:03and he could transmit things people hadn't seen in characters before.
0:06:06 > 0:06:10"Yes, life in its every emotion leaps from the pages
0:06:10 > 0:06:13"of John Steinbeck's best of all his best sellers."
0:06:15 > 0:06:20Dean's big break came in early 1954 when director Elia Kazan,
0:06:20 > 0:06:23who'd first spotted him at the Actors Studio,
0:06:23 > 0:06:27cast him as the troubled adolescent, Cal, in East Of Eden.
0:06:27 > 0:06:30Why don't you give Dad a chance?
0:06:30 > 0:06:32Why don't you show him that you love him?
0:06:32 > 0:06:35How?
0:06:35 > 0:06:44Kazan rightly saw that here was the attractive, sensitive young man, who was tough and vulnerable,
0:06:44 > 0:06:51not afraid to break down and cry, but not afraid to turn around and punch you in the nose.
0:06:51 > 0:06:57In other words, it was a new kind of combination of the young American man.
0:07:02 > 0:07:05As early preview screenings for "Eden" began to open
0:07:05 > 0:07:10across Hollywood, word quickly spread about this exciting new talent.
0:07:10 > 0:07:19And although not yet a full-blown star, Dean had set his sights on the biggest publicity coup possible -
0:07:19 > 0:07:25to see his face on the cover of Life, the highest-profile, biggest-selling magazine in America.
0:07:27 > 0:07:30James Dean was voraciously ambitious.
0:07:30 > 0:07:35And although he was a rebel, he was also somebody who wanted to be mainstream.
0:07:37 > 0:07:40He totally loved the movies, wanted to be a movie star,
0:07:40 > 0:07:45and Life Magazine was where movie stars were showcased.
0:07:46 > 0:07:51Dean knew he would need someone to help him get the high profile publicity he craved.
0:07:51 > 0:07:57In February 1954, he met the photographer he thought could make it happen.
0:07:57 > 0:08:00His name was Roy Schatt.
0:08:02 > 0:08:06Roy Schatt was not just a photographer.
0:08:06 > 0:08:09He was a friend and a teacher and a guru.
0:08:09 > 0:08:13He was a very spontaneous photographer, never posed.
0:08:15 > 0:08:19Roy liked to take pictures where one was relaxed
0:08:19 > 0:08:22and the essence of the person came out.
0:08:22 > 0:08:26There was something gritty and real about his work.
0:08:26 > 0:08:31There was a spontaneity in the photographs, and that was impressive to Jim.
0:08:34 > 0:08:40Schatt's Manhattan studio was a bohemian hang-out for musicians, artists and actors.
0:08:40 > 0:08:45And it was here that Dean began a crash course in cutting-edge photography.
0:08:47 > 0:08:54Often Roy would take the first picture, and Jim would then elaborate on it, in some way.
0:08:54 > 0:08:58So it was all about exploration.
0:09:00 > 0:09:06Jim was always impressed with the size of my mouth - the amount of teeth I had,
0:09:06 > 0:09:08and we were taking pictures of all kinds,
0:09:08 > 0:09:13and he wanted to get close and almost go into my mouth with the camera,
0:09:13 > 0:09:18and I did something weird by opening my mouth extremely wide, and Jim snapped it.
0:09:18 > 0:09:22They were spontaneous - on the spur of the moment.
0:09:22 > 0:09:26For Dean, these sessions weren't just for fun.
0:09:26 > 0:09:31His search for the picture that would get him the front cover of Life magazine
0:09:31 > 0:09:35pushed him and Schatt to create some of the sexiest pictures of him ever taken.
0:09:39 > 0:09:42They would become known as the "Torn Sweater" series,
0:09:42 > 0:09:45and they would immortalize him as a new kind of Hollywood pin-up -
0:09:45 > 0:09:49sensitive, but full of brooding menace.
0:09:52 > 0:09:55James Dean's look in these "Torn Sweater",
0:09:55 > 0:10:04with the head slightly turned and the hair just unkempt enough - the look says "Come on over here".
0:10:04 > 0:10:08And the look also says "Don't come one step further,
0:10:08 > 0:10:12"because I'm not available to you", and that's quite irresistible.
0:10:13 > 0:10:17Dean was always kind of an ambiguous figure, sexually speaking.
0:10:17 > 0:10:25Whereas huge stars, you know, Clark Gable, Gary Cooper - they were not people pushing you away.
0:10:25 > 0:10:28They were people saying, "Hey, look, I'm gorgeous, I'm handsome,
0:10:28 > 0:10:34"I'm available, I'm heterosexual, I'm pretty openly what I am".
0:10:36 > 0:10:38Dean was delighted with the pictures,
0:10:38 > 0:10:43but he and Schatt had pushed things too far for the editors of Life.
0:10:43 > 0:10:48The photographs were rejected for being too brash and sexually charged.
0:10:52 > 0:10:57But one way of making sure his photo did get into the celebrity movie pages
0:10:57 > 0:11:00was for Dean to play along with the Hollywood press machine.
0:11:00 > 0:11:04The studio wanted to have the fresh,
0:11:04 > 0:11:11raw, ambiguous, slightly dangerous persona of James Dean.
0:11:11 > 0:11:14But they wanted to tone it down and temper it
0:11:14 > 0:11:20so that he would be acceptable to middle class American moviegoers.
0:11:20 > 0:11:24Hence, James Dean, who was strictly T-shirt and jeans,
0:11:24 > 0:11:28was forced to wear a dinner jacket,
0:11:28 > 0:11:32and go to a movie premiere with an actress from the same studio,
0:11:32 > 0:11:35also under contract, whom he met the previous day.
0:11:36 > 0:11:40There's a photograph of James Dean and Terry Moore, who was a starlet,
0:11:40 > 0:11:46and you can see Terry Moore is giving this typical, glamorous little smile for the press,
0:11:46 > 0:11:50and he is looking like this sort of sullen werewolf character.
0:11:50 > 0:11:55In fact, he's sort of pulling out of the frame. It's sort of like, "I don't belong in this movie."
0:11:56 > 0:12:03In early 1955, Dean had a chance meeting at a Hollywood party with photographer Dennis Stock.
0:12:03 > 0:12:08Dean and Stock were kindred spirits, part of a new generation determined
0:12:08 > 0:12:13to challenge the superficial glamour of celebrity photography.
0:12:13 > 0:12:16This was the partnership that Dean hoped would finally lead
0:12:16 > 0:12:20to the photographic break he'd been searching for.
0:12:20 > 0:12:22I had no idea who he was.
0:12:22 > 0:12:25There was nothing of a star aura about him,
0:12:25 > 0:12:31but we sat in a corner for at least an hour, talking, mostly about photography.
0:12:31 > 0:12:34And at the end of the conversation,
0:12:34 > 0:12:37Jimmy said, "I've got a new film coming out
0:12:37 > 0:12:39"and there's a sneak screening over in Santa Monica.
0:12:39 > 0:12:42Why don't you take a look at it?"
0:12:42 > 0:12:48- Don't you ever touch her again. - You're no good...- And don't lie to me about trying to help!
0:12:48 > 0:12:51I was totally, totally taken by his performance.
0:12:51 > 0:12:54Jimmy just knocked me off my feet.
0:12:54 > 0:12:58And so I said to him, "Could we talk further?
0:12:58 > 0:13:00"Cos I think I'd really like to do a story on you."
0:13:00 > 0:13:03He said fine, and we got together the following morning.
0:13:03 > 0:13:11Stock quickly discovered that the one thing Dean loved more than acting and being photographed
0:13:11 > 0:13:13was the thrill of driving at high speed.
0:13:15 > 0:13:20He had his motorcycle, and he said "Get on the back", and I'd never been on a motorcycle.
0:13:20 > 0:13:24So with great trepidation,
0:13:24 > 0:13:28I wrapped my arms around his waist and I said
0:13:28 > 0:13:30"If I go, you go."
0:13:35 > 0:13:38And with that we took off and we raced up Laurel Canyon
0:13:38 > 0:13:41and worked our way up to the hills.
0:13:41 > 0:13:46And for five hours, we wrestled with the idea of a collaboration.
0:13:47 > 0:13:53What I wanted to do really was an intimate coverage on who he was.
0:13:53 > 0:13:57And that was, in a sense, very appealing to him.
0:13:57 > 0:14:06Dean was even more delighted when Stock suggested selling the story to Life magazine.
0:14:06 > 0:14:13In early February 1955, the pair set off on their photographic adventure.
0:14:13 > 0:14:16First stop on their journey was Fairmount, Indiana,
0:14:16 > 0:14:20the remote Midwestern town where Dean had grown up.
0:14:22 > 0:14:25I had no idea what I was in for beyond
0:14:25 > 0:14:30the generalities of we were going to live at a farmhouse in Indiana.
0:14:32 > 0:14:37I wanted to show the incredible contrast that exists
0:14:37 > 0:14:42when people become stars from where they once were.
0:14:42 > 0:14:49Once back home, Dean chose to dress up in the old labourer's clothes he'd worn while working on the farm.
0:14:51 > 0:14:55And as the shoot began, he immediately started to draw
0:14:55 > 0:14:59on everything he had learned about photography.
0:14:59 > 0:15:05One of the pleasures of working with Jimmy was that he was a very fine actor, so he had his own ideas
0:15:05 > 0:15:11and I had mine, and it was like an actor with a director - you collaborate.
0:15:11 > 0:15:15I would say "Why don't you stand next to that pig?"
0:15:15 > 0:15:19and he would say OK, and then he would put his hat out and do what he did.
0:15:20 > 0:15:25He was very good at miming and improvisation.
0:15:25 > 0:15:28We were very very complementary to each other.
0:15:34 > 0:15:40Tagging along behind them throughout their visit to Fairmount was Dean's young cousin, Markie.
0:15:40 > 0:15:42I remember when Dennis and Jimmy came.
0:15:42 > 0:15:47It was neat to have him home again and playing like he used to do.
0:15:49 > 0:15:55Jimmy acted like an older brother in the presence of his young cousin, Markie.
0:15:55 > 0:15:59He showed enormous sensitivity all the time that he was in Fairmount.
0:16:01 > 0:16:07I'd gotten that little XK120 Jaguar for Christmas, and Jimmy,
0:16:07 > 0:16:12he got down there on the floor with me and we took it apart and put it back together two or three times.
0:16:12 > 0:16:15It certainly brings back a lot of memories.
0:16:21 > 0:16:25Jimmy suggested we go to the cemetery in town,
0:16:25 > 0:16:30and we came upon a gravestone that was "Cal Dean".
0:16:32 > 0:16:38We were both fascinated by it, because the character that he played in "East of Eden" is called Cal.
0:16:38 > 0:16:43And somehow or other, you start to wonder if people are destined.
0:16:43 > 0:16:47JAMES DEAN: 'I play a character in the movie, East Of Eden...'
0:16:47 > 0:16:54Throughout his stay at the farm, Dean was secretly recording his family on tape, for posterity.
0:17:07 > 0:17:10Jimmy was interested in his ancestry
0:17:10 > 0:17:15and he asked his grandpa Dean, "What kind of person was Cal?"
0:17:15 > 0:17:18I think it was something that
0:17:18 > 0:17:24he felt like knowing, those things, and having their voices on the tape,
0:17:24 > 0:17:26brought them closer to him.
0:17:44 > 0:17:50Dean had hoped this nostalgic return home would help him make peace with his roots.
0:17:50 > 0:17:54But he made a more painful discovery.
0:17:54 > 0:17:58His meteoric rise to fame had cut him off from his past.
0:18:05 > 0:18:10These were pictures of a man who had gone home, only to find he was more alone than ever.
0:18:15 > 0:18:18What I had concluded
0:18:18 > 0:18:22near the end of our trip was that
0:18:22 > 0:18:25Jimmy could never go home again,
0:18:25 > 0:18:27that er...
0:18:27 > 0:18:35this setting that had been very kind to him as a young man was no longer relevant to his life,
0:18:35 > 0:18:37because he'd become a star.
0:18:41 > 0:18:43I did this picture that I believe is
0:18:43 > 0:18:48an illustration of the thought that you can't come home again,
0:18:48 > 0:18:52where the tensions sort of pull, and the directions are in opposite.
0:18:52 > 0:18:58And I had the good fortune that the dog then came up the path and turned away.
0:18:58 > 0:19:00It's a very sad picture.
0:19:05 > 0:19:09This was the last time Dean would ever see his home and family.
0:19:18 > 0:19:22After saying his farewells, he and Stock headed for New York,
0:19:22 > 0:19:26where the shoot would continue round the clock.
0:19:26 > 0:19:29When we went to New York, life got more difficult.
0:19:29 > 0:19:31He became a total insomniac...
0:19:33 > 0:19:37..and it was hard to find him because he was roaming the streets
0:19:37 > 0:19:41in the middle of the night and so appointments were missed.
0:19:41 > 0:19:46But I got to know all his hangouts, so that if he didn't turn up
0:19:46 > 0:19:50at a certain place at a certain time, I would just track him down.
0:19:53 > 0:19:57In Manhattan, the pair continued to evolve a style that perfectly
0:19:57 > 0:20:02reflected Dean's unconventional approach to life.
0:20:02 > 0:20:09If you look across the photographs, the mix is kind of reportage and surreal.
0:20:09 > 0:20:17He was very playful, and we ended up making a good amount of relatively funny pictures.
0:20:17 > 0:20:20You capitalized on what you discovered at that moment.
0:20:28 > 0:20:32One morning, hung over, with dark circles under his eyes, Dean met up
0:20:32 > 0:20:37with Stock on Times Square, an old haunt from his early acting days.
0:20:37 > 0:20:42Just as Stock pulled out his camera, it started to rain.
0:20:45 > 0:20:48I shot exactly four frames in Times Square.
0:20:48 > 0:20:51In the third frame, I sensed that I had it.
0:20:51 > 0:20:57The result was the now legendary photograph, known as The Times Square Shot.
0:20:57 > 0:21:01It would become one of the defining images of the young star
0:21:01 > 0:21:06and a potent symbol for a troubled new generation.
0:21:06 > 0:21:09It's astounding. It really is like a still from a movie.
0:21:09 > 0:21:13It exudes all that sort of "Man alone in the universe",
0:21:13 > 0:21:18the doomed poet, "Nobody understands me."
0:21:18 > 0:21:23Times Square says to the world - crowds!
0:21:23 > 0:21:25Busyness! Happiness!
0:21:25 > 0:21:31Diversion, excitement, entertainment, nightlife, the city never sleeps.
0:21:33 > 0:21:42And walking down the centre is a young, lonely man in a dark coat, looking out of place.
0:21:44 > 0:21:45It's brilliant.
0:21:47 > 0:21:52After four weeks on the road together, Dean and Stock headed back to LA.
0:21:54 > 0:21:57When Stock handed his photographs to Life,
0:21:57 > 0:22:02their unconventional approach was initially met with resistance.
0:22:02 > 0:22:06The upper echelons of Life didn't like the pictures.
0:22:06 > 0:22:09They found them too eccentric.
0:22:09 > 0:22:12A guy with a pig or a guy sitting amongst cows?
0:22:12 > 0:22:15Movie stars don't do what he did!
0:22:18 > 0:22:23Dennis had an offbeat, novel approach - a way that when you
0:22:23 > 0:22:27saw a picture of James Dean, you stopped and looked at it.
0:22:27 > 0:22:30Stock would just sort of stand back and watch,
0:22:30 > 0:22:35and let Dean do whatever he wanted, grab the pictures as they occurred.
0:22:35 > 0:22:41And the thought was that those would be more profound and more revealing
0:22:41 > 0:22:45than any kind of formal setup might be.
0:22:45 > 0:22:48And, yeah, it's true.
0:22:48 > 0:22:53That's where photography went, and that's where celebrity image-making went.
0:22:55 > 0:23:00Life magazine finally grasped that Dean was a new kind of celebrity,
0:23:00 > 0:23:03who called for a different editorial style.
0:23:03 > 0:23:08They took a gamble, and agreed to go with the story.
0:23:08 > 0:23:11On March 7th 1955, Stock's photo-essay
0:23:11 > 0:23:16appeared in a three-page spread, under the title "Moody New Star."
0:23:19 > 0:23:23Dean was now well on his way to conquering Hollywood,
0:23:23 > 0:23:28but he would only have another six months to enjoy his success.
0:23:28 > 0:23:31In that short space of time, he made the film
0:23:31 > 0:23:36that would confirm his status as Hollywood's greatest teen rebel.
0:23:36 > 0:23:39You're tearing me apart!
0:23:39 > 0:23:40- What?- You!
0:23:40 > 0:23:44You say one thing, he says another and everybody changes back again!
0:23:46 > 0:23:50He also found time to indulge his obsessive love of speed,
0:23:50 > 0:23:54spending every available moment off set on the race track.
0:23:56 > 0:23:57How fast will your car go?
0:23:57 > 0:24:03In honest miles an hour, clocked, around about 106-7.
0:24:05 > 0:24:10In the final days of shooting his last film, Giant, he made a road safety commercial.
0:24:10 > 0:24:14Do you have any special advice for the young people who drive?
0:24:14 > 0:24:18Take it easy driving. The life you might save might be mine!
0:24:21 > 0:24:23It was the last time he would be captured on film.
0:24:27 > 0:24:36On September 30th, 1955, Dean headed for a car race in Salinas, 350 miles north of Los Angeles.
0:24:38 > 0:24:43This time, Dennis Stock would not be accompanying him on the journey.
0:24:43 > 0:24:46Jimmy said to me, "Come with me this weekend.
0:24:46 > 0:24:49"I'm going to race for the first time in a long time."
0:24:49 > 0:24:51And I said, "Sure, I'd love to."
0:24:51 > 0:24:59And a second later - till this day I have no idea why - I said, "Jimmy, I can't. I simply cannot."
0:24:59 > 0:25:08And so he went off, and I had a very strong premonition that something was amiss.
0:25:15 > 0:25:17- SPOKESMAN:- 'It occurred on US 466,
0:25:17 > 0:25:19'at the intersection of 41,
0:25:19 > 0:25:24'Friday, September 30th, 1955.'
0:25:24 > 0:25:31Just hours after being given a ticket for speeding, Dean collided with another car.
0:25:31 > 0:25:36He was killed instantly, his neck broken on impact.
0:25:36 > 0:25:41The dead was James Byron Dean, DOA or Dead On Arrival at the hospital.
0:25:44 > 0:25:49Even at the moment of his death, a photographer was on hand to record the scene.
0:25:54 > 0:25:58Only 15 years after accompanying his mother's coffin on her final journey home,
0:25:58 > 0:26:06James Dean's own body was transported across America from LA to Fairmount.
0:26:08 > 0:26:13On October 8th, 1955, he was buried in the local cemetery.
0:26:13 > 0:26:17It was one of the biggest funerals in the town's history.
0:26:21 > 0:26:25With distraught fans hungry for any piece of the James Dean legend,
0:26:25 > 0:26:32Stock's photographs were quickly elevated to the status of icons and published all over the world.
0:26:37 > 0:26:42But there was one dark and disturbing image that Stock refused to publish.
0:26:42 > 0:26:45At one point in Fairmount,
0:26:45 > 0:26:50Jimmy asked me to follow him into a furniture shop, which was totally strange to me.
0:26:50 > 0:26:57But anyway, I did it, and the next thing I know he makes a left turn and we end up in a room full of coffins.
0:26:57 > 0:27:01And next moment - bingo, he's sitting in one.
0:27:03 > 0:27:05And it spooked me at first.
0:27:05 > 0:27:07I really didn't like it.
0:27:07 > 0:27:15But I indulged him, and I kept photographing truly, truly infantile expressions
0:27:15 > 0:27:20and I couldn't understand for the life of me what that was all about. But I waited it out,
0:27:20 > 0:27:23and at the very end, he sat up,
0:27:23 > 0:27:28and there was an expression that came over his face of being very lost.
0:27:28 > 0:27:29Utterly lost.
0:27:35 > 0:27:40Stock placed a strict embargo on these extraordinary images.
0:27:40 > 0:27:43And kept them hidden from the world for over 30 years.
0:27:45 > 0:27:48I didn't know that Jimmy Dean was going to die.
0:27:48 > 0:27:53And I didn't realise that I was photographing what inevitably became a martyr.
0:27:53 > 0:27:58So I've always had an ambivalence about the pictures in the coffin,
0:27:58 > 0:28:03except for the one where he sits up and he really looks lost.
0:28:03 > 0:28:06Because in my own mind,
0:28:06 > 0:28:11the popularity of Dean all these many years is based on the fact that
0:28:11 > 0:28:15the adolescent people of the world feel lost.
0:28:22 > 0:28:28When James Dean set out with Dennis Stock on the road to Fairmount, he wanted to tell the story of
0:28:28 > 0:28:32his life in a way that would portray him as a new kind of Hollywood hero.
0:28:32 > 0:28:39But his tragic death would ensure that the shoot turned out to have even greater significance,
0:28:39 > 0:28:47immortalising him as one of the 20th century's most enduring icons, it also became his epitaph.
0:28:51 > 0:28:53Subtitles by BBC Broadcast 2005
0:28:53 > 0:28:55E-mail us at subtitling@bbc.co.uk