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[GRAND MUSIC]
[DRAMATIC MUSIC]
WELL, I OFTEN ASK GIRLS
IN THIS SITUATION THAT THEY DESCRIBE THE BODY,
THEIR BODY, BECAUSE MOSTLY, THEY'RE VERY HONEST ABOUT IT.
SO YOU DO THAT--
BREASTS, LEGS, EVERYTHING.
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.
THERE'S A KINDNESS IN YOUR LOOK,
WHICH IS THE LAST THING I WANT.
KEEP THE HEAD STRAIGHT ON TO ME,THE CHIN DOWN.
WHAT IS IMPORTANT...
IT HASN'T GOT--
HASN'T GOT ANY GUTS YET, YOU KNOW?
NOW, DON'T LOOK POVERTY STRICKEN,
LOOK INCREDIBLE.
THERE.
FIRST OF ALL, MOST PHOTOGRAPHERS ARE
TERRIBLY BORING PEOPLE.
AND THE FILMS OF PHOTOGRAPHERS THAT I'VE SEEN
ARE TERRIBLY BORING BECAUSE, UH,
THEY SHOW A GUY BEHIND A CAMERA,
THEY SHOW HIS BACK,
THEY SHOW THE CAMERA,
AND YOU HEAR THE CLICK-CLICK-CLICK
OF THE SHUTTER
AND THE DUMB TALK THAT GOES ON
BETWEEN A MODEL OR A SITTER
AND THE PHOTOGRAPHER.
[SIREN WAILS]
WORLD-FAMOUS PHOTOGRAPHER HELMUT NEWTON DIED TODAY
IN A CAR CRASH IN WEST HOLLYWOOD.
YOU'VE DONE IT ALL
YOU'VE BROKEN EVERY CODE
AND PULLED THE REBEL TO THE FLOOR
[GLAM ROCK MUSIC]
YOU SPOILT THE GAME
NO MATTER WHAT YOU SAY
FOR ONLY METAL, WHAT A BORE!
BLUE EYES, BLUE EYES
HOW COME YOU TELL SO MANY LIES?
COME UP AND SEE ME, MAKE ME SMILE
OR DO WHAT YOU WANT, RUNNING WILD
I'M NOT GONNA TELL YOU ALL THAT!
NO WAY!
NO WAY.
I GOTTA KEEP SOMETHING UP MY SLEEVE
FOR PEOPLE THAT HAVE MORE MONEY THAN YOU.
[CHUCKLING]
OOH, OOH, LA-LA-LA, OOH
COME UP AND SEE ME, MAKE ME SMILE
OR DO WHAT YOU WANT, RUNNING WILD
THAT'S IT--THAT'S IT RIGHT THERE, RIGHT THERE.
[PLAYFUL MUSIC]
I WATCHED EVERYTHING.
I WATCHED WHEN HE WAITED FOR THE LIGHT
TO COME DOWN AT A CERTAIN TIME,
AND THEN IT WOULD BE VERY QUICK, AGGH!,
AND THEN GET THE PICTURE,
BECAUSE THE LIGHT IS GOING,
OR THE SHADOWS THAT ARE MOVING ACROSS ARE GOING,
AND HE WORKED A LOT WITH THE NATURAL--
WITH THE NATURAL LIGHT WITH ME.
AND, YOU KNOW, HE HAD...
HE WAS A LITTLE BIT PERVERT, BUT SO AM I, SO IT'S OKAY.
[LAUGHING]
AND HIS PICTURES, YOU KNOW, THEY'RE EROTIC
AND ALSO WITH DIMENSIONS,
WAS JUST NOT EROTIC BUT HAD SUGGESTIONS IN DEPTHS
OF A STORY, THEY TOLD STORIES.
LIKE, YOU KNOW, I REMEMBER HE PUT ONE KNIFE IN MY HAND,
AND IT WAS BEAUTIFULWHERE I'M LAYING NAKED ON A COT
AND THE LIGHT IS COMING ACROSS,YOU KNOW?
AND IT'S FUNNY,
THE SHADOW JUST COVERED THE PART HERE.
HE WAIT TILL THE SHADOW JUST COVERED HERE
SO THERE WAS NEVER VULGAR, NEVER VULGAR.
ALWAYS IN BEAUTIFUL TASTE
AND NOT SOMETHING TO TAKE AWAY FROM THE STORY.
IT ADDED TO HIS STORY.
I'M THINKING, "WHAT AM I DOING WITH THIS KNIFE?"
AND HE WAITS UNTIL THE LIGHT COMES
AND HITS THE KNIFE, SO I'M HOLDING IT LIKE THIS,
BUT THERE'S NO ONE ELSE IN THE PICTURE.
SO IT LEAVES TO YOUR IMAGINATION.
[LIVELY MUSIC]
[BLUESY MUSIC]
YOU GOT MY ATTENTION, BABY
NOW I CAN'T MAKE A MOVE
LIKE A CHILD THAT'S STARVED FOR LOVE
I'LL STAND THERE AS LONG AS I HAVE TO
SOMETIMES WHEN I DO PORTRAITS OF PEOPLE THAT HAVE EITHER
POLITICAL POWER OR FINANCIAL POWER
OR SEXUAL POWER, IT'S, UH...
THEY MAKE PRETTY GOOD SUBJECTS FOR MY CAMERA.
MMM HMM
I'M SO IN LOVE WITH YOU, GIRL
YOU MAKE ME FEEL BRAND NEW
BABY, IF YOU RUN AWAY
BABY, IF YOU LEAVE
SO THE FIRST TIME HE PHOTOGRAPHED ME
WAS WITH DAVID LYNCH.
DAVID LOOKING AT ME, AND I HAVE MY EYES CLOSED,
AND DAVID IS HOLDING MY FACE
AS AN ARTIST WHO'S LOOKING AT AN OBJECT
AND NOW TELLING THE PUPPET WHAT SHE SHOULD DO, YOU KNOW?
IT WAS COMPLETELY ON THE IDEA OF
THE DIRECTOR AS THE AUTHOR
AND THE ACTRESS AS-- AS THE PUPPET THAT EXPRESS--
AND IN A CERTAIN WAY, IT'S TRUE,
YOU EXPRESS THE IDEA WHEN YOU WORK WITH DAVID LYNCH
OR YOU WORK WITH HELMUT NEWTON.
THEY'RE NOT PHOTOGRAPHING YOU,
THEY'RE PHOTOGRAPHING AN IDEA THAT IS IN THEIR HEADS
AND YOU ARE THE VEHICLE.
SO YOU HAVE TO MAKE YOURSELF AVAILABLE
OR SAY NO.
[CHUCKLING]
AH, THE POOR THING.
I COULD START CRYING WHEN I SEE HER.
I WANT YOU TO-- TO DO THIS,
AND JUST LOOK TO THE CAMERA LIKE THAT, OKAY?
[MELODRAMATIC MUSIC]
DO IT ON YOUR SIDE.
THE FEET TOGETHER, BIT CLOSER TO THE--
GO ON, A BIT MORE, A BIT MORE, A BIT MORE.
NOW, WITH TWO HANDS-- THAT'S RIGHT, THAT'S RIGHT.
NOW, STICK YOUR BOTTOM OUT A BIT.
THAT--THAT'S NICE. THAT'S GOOD!
THAT'S GOOD, THE CHIN DOWN A LITTLE BIT.
THERE! LIKE THAT, THE SAME THING NOW,
WITH A SMILE.
YEAH, YEAH--PERFECT!
NOW I WANT YOU TO NOT SMILE BUT LOOK DANGEROUS, HM?
VERY VAMPY.
THAT'S GOOD--THAT'S PERFECT.
WELL, I THINK IT WAS THE WORK OF HELMUT
THAT GAVE ONE THE COURAGE,
BECAUSE IF YOU WERE GIVING AN ASSIGNMENT TO HELMUT,
YOU OBVIOUSLY WEREN'T GONNA RECEIVE
A PRETTY GIRL ON A LOVELY BEACH,
THAT'S JUST NOT WHAT HE WAS ABOUT.
I MEAN, YOU ASKED HELMUT TO TAKE ON AN ASSIGNMENT
THE WAY YOU WOULD ASK, YOU KNOW, AN IRVING PENN
FOR SOMETHING THAT WAS WHAT PHYLLIS AND I CALL
"A STOPPER" IN THE MAGAZINE,
SOMETHING THAT PEOPLE WOULD REMEMBER THAT WAS,
HOPEFULLY, ICONICAND MAYBE SOMETIMES DISTURBING,
BUT CERTAINLY THOUGHT-PROVOKING.
SO WE...MAYBE YOU MIGHT CONSIDER IT BRAVE,
I PERSONALLY CONSIDERED IT NECESSARY,
BECAUSE I THINK SO MUCH OF WHAT WE DO
WHEN WE WORK IN FASHION IS ATTRACTIVE AND LOVELY
AND WHAT ALEX LIBERMAN WOULD CALL
"VISIONS OF LOVELINESS."
BUT TO CONTRAST WITH ALL OF THAT,
I THINK YOU REALLY DO NEED WORK THAT TALKS ABOUT
THE CULTURE AT LARGE
AND IS THOUGHT-PROVOKING AND DIFFERENT
AND SOMETIMES UPSETS PEOPLE.
[MELLOW AMBIENT MUSIC]
[WOMAN VOCALIZING]
[MELLOW ELECTRONIC MUSIC]
[TENSE MUSIC]
HELMUT LOVED CHICKENS,
HE LOVED TO PHOTOGRAPH CHICKENS.
SO I CALLED HIM UP AND I SAID--
EXPLAINED THAT WE WERE DOING THIS ARTICLE ON FRIED CHICKEN
AND WOULD HE BE INTERESTED IN DOING A PICTURE.
THERE WAS A VERY BRIEF SILENCE AND HE SAID,
"I'VE ALWAYS WANTED TO PHOTOGRAPH
A CHICKEN WEARING HIGH HEELS."
SO, WE GOT THE HEELS FROM THE DOLL MUSEUM IN PARIS
AND SENT THEM TO MONTE CARLO,
AND GOT OFF THE PLANE,
WENT STRAIGHT TO HIS APARTMENT
TO SEE WHAT HE WANTED TO DO AND HOW HE WANTED TO DO IT,
AND HIS ASSISTANT WAS THERE WAITING FOR ME.
WE SENT FOUR PAIRS OF SHOES;
HE HAD CHOSEN TWO.
THEY WERE IN A BAG,
AND HIS ASSISTANT WAS WAITING TO WALK ME UP THE HILL
TO HIS BUTCHER.
HE DIDN'T BLINK, HE DIDN'T FLINCH.
HE'S IN HIS BLOOD-COVERED APRON,
AND HE SAID, "YES, OF COURSE,"
AND I TRIED THE SHOES ON EVERY CHICKEN IN THE CASE.
AND, UM, I TOOK THE CHICKEN WITH THE BEST LEGS
AND BROUGHT THEM BACK TO HELMUT,
AND HE SHOT THAT IN HIS KITCHEN.
YES, HE DID.
HE DID, IN THE WONDERFUL DAYS OF FAXES,
AND HE WROTE, "DEAR ANNA,
I WANT TO THANK YOU FOR HAVING THE COURAGE
TO PUBLISH MY "CHICKEN."
MOST GRATIFYING TO ME.
LOOK FORWARD TO THE READERS' LETTERS."
HE LOVED TO HEAR ABOUT THE READERS' LETTERS.
THE WORSE THEY WERE, THE BETTER.
UM, "AS KAISER WILHELM II SAID IN 1914:
'MORE ENEMIES, MORE HONOUR!'
LOVE AS EVER FROM
YOUR FAVOURITE OLD NAUGHTY BOY,HELMUT."
[SHE SNICKERS]
WHEN I TAKE PICTURES, SOMEBODY SAID,
"HELMUT IS LIKE A DOG
THAT'S LOOKING FOR A PLACE TO PEE.
BEFORE HE TAKES A PICTURE, HE GOES AROUND
UNTIL HE FINDS A PLACE TO PHOTOGRAPH."
I'VE ALREADY SNIFFED IT OUT,
I KNOW WHERE I'LL GO.
I KNOW WHERE I'M GOING TO PEE.
"EVERYBODY REMEMBERS A BAD PICTURE.
NOBODY REMEMBERS THE PAIN THAT EVERYBODY WENT THROUGH
TO GET A GOOD PICTURE."
THE PAIN IS FORGOTTEN.
BUT A BAD PICTURE IS NEVER FORGOTTEN.
SO YOU MIGHT AS WELL HAVE PAIN FOR EVERYBODY
AND GET A GOOD PICTURE.
SPREAD YOU--ERIC,SPREAD YOUR FINGERS ON HER ASS.
THAT'S IT.
THERE, I LIKE THAT.
COME AND SEE ME, MAKE ME SMILE
ERIC, YOUR LIPS MUST BE CLOSED ALWAYS.
TURN YOUR HEAD MORE PROFILE.
THAT'S IT.
HE HAS TO OPEN AND CLOSE HIS LIPS TO BREATHE.
OH YEAH--WELL, TELL HIM HE CAN BREATHE.
CLOSE YOUR LIPS, STAY LIKE THAT.
ERIC, IF YOU GET A HARD-ON, ALL THE BETTER.
YOU GET MORE MONEY.
BEAUTIFUL.
SPREAD YOUR--VANESSA, SPREAD YOUR FINGERS MORE.
GOOD, BEAUTIFUL.
ERIC, IF YOU WANT TO BREATHE, YOU BREATHE.
I LOVE THE HAND ON THE COCK.
I'M GONNA SEND THAT TO ANNA, SHE'S GONNA HAVE A FIT!
[NEWTON CACKLES]
COVER OF VOGUE MAGAZINE.
[UPBEAT MUSIC]
WHEN I FIRST MET HIM WHEN I WAS STARTING OFF
IN LONDON, AND HE WAS A GREAT FRIEND
OF ONE OF THE EDITORS THATI WAS WORKING WITH AT THE TIME,
WILLIE LANDELS,
AND HE WAS THIS MYTHIC FIGURE
AND I WAS, YOU KNOW, JUST BEGINNING,
AND THERE WAS A SHOOT SCHEDULED,
AND I WAS ACTUALLY, IT WAS IN--
I THINK IT WAS GOING TO BE IN CALIFORNIA,
AND HE HAD THIS IDEA ABOUT PUTTING COVERS ON THE CARS
AND THE GIRLS WOULD BE IN THE GARAGE,
TWO THINGS THAT I THINK HE LIKED TO DO A LOT.
AND I WAS SO TERRIFIED AT THE IDEA
OF HAVING TO WORK WITH HIM THAT I LIED
AND SAID I WAS SICK.
AND I SENT MY ASSISTANT,
BECAUSE I WAS TOO TERRIFIED AT THE IDEA
OF WORKING WITH THE GREAT HELMUT NEWTON.
MAKE IT ALMOST LOOK NATURAL.
THAT IT'S A LITTLE BIT MORE THAN THAT, YOU KNOW?
UH-HUH...YEAH.
[SHUTTER CLICKS]
LOOK AT ME.
BRING THAT, UH...
-COKE? -...THAT COKE TO YOU.
STOP--STOP.
STOP. YEAH. JUST--
JUST THE EXPRESSION LIKE THAT, DON'T MOVE NOW.
DON'T MOVE.
HANG ON.
I THINK, OF COURSE,
A HELMUT NEWTON WOMAN WAS VERY STRONG,
SHE WAS PROVOCATIVE, SHE WAS IN CHARGE.
SHE WAS OFTEN TALL, SHE WAS OFTEN BLONDE.
SHE HAD ON STRONG LIPSTICK.
I MEAN, UNRECOG--UNMISTAKABLY A HELMUT NEWTON WOMAN.
HELMUT EXPLAINED-- EXPOSED A LOT
OF THE MEN FEELING, YOU KNOW.
I DON'T THINK HIS COMMENT WAS SO MUCH ABOUT THE WOMEN
AS MUCH AS HIS OWN FEELING.
"I LIKE YOU, DAMN YOU.
I LIKE YOU, AND WHY SHOULD," YOU KNOW,
"I SHOULDN'T LIKE YOU,
BECAUSE YOU ARE A WEAPON."
[PATRIOTIC MUSIC]
I DO CONSIDER MYSELF A FEMINIST.
BUT I DO CONSIDER THAT THE EXPRESSION OF MACHISMO,
IT'S AN EXPRESSION OF A CULTURE.
NOW, HELMUT, OF COURSE, IT WASN'T JUST SIMPLY MACHO,
IT WAS MORE COMPLICATED THAN THAT.
BUT HE DOES LOOK AT WOMEN AS A SEXUAL OBJECT
AND ALSO AN ATTRACTION AND AN ANGER TOWARD HER,
AND I THINK THAT'S VERY MACHO.
MEN THAT ARE ATTRACTED TO WOMEN
AND THEN RESENT WOMEN
BECAUSE THEY ARE ATTRACTED TO THEM,
SO THEY MAKE THEM VULNERABLE.
THAT IS INTOLERABLE.
AND THEN, THERE IS THAT "YOU ARE THE DEVIL," YOU KNOW?
BUT I THINK IT'S VERY INTERESTING
BECAUSE IT REVEALS A CULTURE,
AND IF HELMUT REPRESENTED PARTIALLY THAT CULTURE,
WHY NOT? I MEAN, IT EXISTS,
AND THANK GOD ARTISTS WERE ABLE TO EXPRESS IT.
THERE IS NO NEUTRALITY,
THERE IS NO RIGHT AND WRONG.
EVERYTHING IS TINTED WITH A POINT OF VIEW.
[AMBIENT MUSIC]
[WOMAN VOCALIZING]
[VIBRANT MUSIC]
IT'S THE VISION HE HAS.
AND WHEN YOU HAVE A VISION CREATIVELY,
YOU DON'T HAVE TO NECESSARILY LIVE THAT VISION,
IT DOESN'T HAVE TO BE YOU.
IT'S ACTUALLY VERY-- USUALLY VERY MUCH NOT YOU.
I MEAN, A LOT OF PEOPLE THOUGHTA LOT OF THINGS ABOUT ME
AFTER NIGHT PORTER AND OTHER FILMS.
THEY COULDN'T BE MORE WRONG ABOUT ME AS THE PERSON,
BUT THAT DOESN'T MATTER.
I COULDN'T CARE LESS WHAT--
I KNOW WHAT I AM,
BUT WHAT YOU ACTUALLY PRODUCE AS AN ART FORM
LIKE HELMUT, THE VISUALS THAT WE HAVE,
YOU COULD--YOU COULD IMAGINE ALL THESE THINGS.
AND HOW GREAT THAT IS,
THAT'S WHAT ART NEEDS TO HAVE.
IT NEEDS TO HAVE YOU COMING IN TO IMAGINE.
AND THEN, IMMEDIATELY YOU SAY,
"OH, BUT HE'S--BUT HE'S PROBABLY REALLY WEIRD,
YOU KNOW, HE'S DOING THIS AND THAT,"
AND THAT ALWAYS--
THAT'S ONLY GONNA SORT OF FUEL THE WHOLE THING MORE,
WHICH IS GOOD.
I MEAN, IT'S GREAT TO BE A PROVOCATEUR,
THAT'S WHAT-- THAT'S WHAT THE WORLD NEEDS
IS A FORM OF PROVOCATION,
'CAUSE IT STIMULATES THOUGHT AND IT STIMULATES IDEAS
AND IT STIMULATES ALL SORTS OF, ACTUALLY,
CONVERSATIONS THAT DON'T REALLY HAVE ANYTHING TO DO
WITH THE MAN HIMSELF--
AND WHO CARES WITH THE MAN HIMSELF?
WE'RE LOOKING AT HIS ART.
[DRAMATIC MUSIC]
I REALLY WASN'T AWARE THAT IT MADE SUCH A
BIG SCANDAL.
I KNOW BASICALLY...
I KIND OF HEARD AROUND A BIT,
OH, SEXISM AND RACISM, AND...
BUT I DON'T-- I NEVER FELT THAT AT ALL,
YOU KNOW?
I MEAN, IT'S LIKE, AGAIN, ACTING IN FILMS.
THESE THINGS REALLY DID EXIST.
BEING IN CHAINS,
I NEVER SAW IT LIKE THAT.
BECAUSE, YOU KNOW, SOMETIMES YOU CAN GO THROUGH
A PERIOD OF EXPERIMENTING, EVEN SEXUALLY, YOU KNOW?
I MEAN, I'VE TIED UP GUYS BEFORE.
WHITE GUYS.
[SHE CACKLES]
BIG WHITE GUYS!
I DON'T WANNA SAY WHO, BUT...
I'M STANDING IN THIS EMPTY TRUCK,
JUST STANDING, LIKE, VERY DOMINANT,
AND DOLPH IS STANDING DOWN,
AND I'M JUST LOOKING DOWN ON HIM LIKE THIS.
I'M KIND OF GETTING INTO HELMUT'S HEAD, YOU KNOW,
AND IT'S MORE OF THE BLACK-AND-WHITE,
BECAUSE--AND, BECAUSE, YOU KNOW,
HE HAD DOLPH KIND OF LOOKING LIKE THE WORKER
BEHIND THE FENCE, AND HE CANNOT GET TO ME.
SO IN A LOT OF THESE PICTURES, IT'S...
IT'S LIKE HE WANTS ME BUT I'M NOT AVAILABLE.
I AM SO CLOSE AND IN HIS FACE,
BUT THERE'S THIS DISTANCE STILL,YOU KNOW?
UNTIL THE ONE, OF COURSE, WHERE HE'S HOLDING
AND I'M LOOKING BEHIND.
[DRAMATIC MUSIC]
I'VE BEEN LOOKING SO LONG AT THESE PICTURES OF YOU
THAT I ALMOST BELIEVE THAT THEY'RE REAL
I'VE BEEN LIVING SO LONG WITH MY PICTURES OF YOU
THAT I ALMOST BELIEVE THAT THE PICTURES
ARE ALL I CAN FEEL
[MAN VOCALIZING]
I'M OFTEN ASKED IF I'M JEALOUS
OF THE GIRLS HE PHOTOGRAPHS.
IT'S A JOB.
IT'S HIS LIVELIHOOD.
IT'S HOW HE MAKES HIS LIVING.
THAT'S RIGHT.
IT'S MORE THAN A JOB.
IT'S A PASSION.
AN OBSESSION.
HE'S OBSESSED.
I NEVER SAW HELMUT AS, LIKE, THE WOMANIZER
HE WOULD PROBABLY COME OFF TO BE
FROM HIS PICTURES.
THIS WAS NOT HELMUT.
BUT IF YOU SEE HIS PICTURES,
YOU WOULD THINK THIS GUY IS JUST LIKE, "WHOA!"
"YEAH, COME ON, BABY!"
YOU KNOW?
[SHE LAUGHS]
YOU KNOW,THESE ARE AMAZING FANTASIES AND
HIS BEAUTIFUL, CREATIVE MIND, YOU KNOW?
AND LOVING THE BEAUTY OF WOMEN,
I SAW THAT, YOU KNOW?
[MAJESTIC MUSIC]
I GOT THE CONTACT SHEET, YEAH.
IT WAS AT THE TIME, ALSO, WHEN IT WAS AS WE WERE--
IT WAS ALMOST LIKE WE WERE SORT OF OPENING UP
AT THE SAME TIME, YOU KNOW,
MY WAY AND HIS WAY,
AND WE ACTUALLY CAME TOGETHER THERE
AND MADE THESE EXTRAORDINARY IMAGES VERY QUICKLY.
IT WAS LIKE--
THERE WAS A KIND OF MAGIC THERE,
A FREEDOM OF--WE WERE ON THE CUSP OF SOMETHING
AND WE WERE ABOUT TO LAUNCH,
AND SO THERE WAS NO-- THERE WAS--YEAH.
ALL THE THINGS LATER SORT OF BECAME DIFFERENT,
BUT THAT WAS...
THERE WAS A REAL BEAUTY THERE, YEAH.
WELL, THE ONES THAT WE DIDIN NORD PINUS HOTEL, THE NUDES,
I THINK THEY'RE SOME OF THE MOST AMAZING PHOTOS
OF ME, ABSOLUTELY.
AND THEY ARE--
BECAUSE THERE'S SOMETHING ABOUT THE CHILD IN THERE.
IT'S ALMOST LIKE THE CHILD SORT OF NOT REALLY WANTING
TO REVEAL WHO SHE IS,
WHICH IS WHAT I WAS AT THAT TIME.
I WAS ONLY ABOUT-- IN MY LATE 20S.
AND, UM, THERE WAS SOMETHING REBELLIOUS ABOUT IT, SAYING,
"OHH, NOT TOO CLOSE," YOU KNOW.
"I'LL DO IT ON MY TERMS.
YOU DO IT ON YOUR TERMS, I'LL DO IT ON MY TERMS.
YOU PHOTOGRAPH ME,
BUT I'LL DO AS I WANT IN THIS PHOTO--AS A MODEL."
WHICH I'VE ALWAYS DONE,
IT'S ALWAYS BEEN THE WAY I'VE ACTUALLY WORKED
IN THIS BUSINESS IS LIKE THAT.
SO THERE WAS-- ALL THAT BEGAN,
THERE WAS SOMETHING VERY--
THERE WAS SOMETHING VERY EXCITING IN THE--
IN THE MAKING OF THE IMAGE OF--OF MYSELF.
'CAUSE I'D NEVER REALLY THOUGHT ABOUT IT BEFORE.
YOU KNOW, NOW WE THINK ABOUT IMAGE ALL THE TIME,
ALL THE TIME, BUT THERE,
I HADN'T REALLY THOUGHT ABOUT IT.
I WAS ACTING, I WAS DOING THESERATHER INTERESTING FILMS,
I WAS...
AND SUDDENLY, I WAS ACTUALLY SEEING WHAT AN IMAGE CAN DO
AND HOW IMPORTANT IT CAN BE.
AND AS IT'S-- IF YOU START WITH AN IMAGE
LIKE HELMUT NEWTON DID ME
IN THAT HOTEL AT THAT TIME AT THE AGE I HAVE,
AND YOU START OUT WITH THAT.
I HAD JUST DONE NIGHT PORTER,
SO THOSE IMAGES WENT BEAUTIFULLY WITH THAT.
SO YOU START TO CREATE
SOMETHING THAT YOU HADN'T EVEN IMAGINED.
WHEREAS NOW, YOU DO IMAGINE IT.
BUT THEN, IT WAS AU NATUREL.
WE WERE JUST SORT OF FIGURING IT OUT.
HE'D NEVER REALLY DONE NUDES,
I'D NEVER REALLY DONE NUDES.
HE SAID, "IT DOESN'T MATTER WHETHER YOU'RE NUDE OR NOT,
JUST BE THERE AND JUST STAND THERE,
JUST DO THAT, STAND IN FRONT OF--
IN THE WINDOW,GO ON THE BED AND JUST SORT OF--
JUST GIVE ME ATTITUDE," HE SAID.
WHICH I DID.
[ROCK MUSIC]
[CRICKET CHIRPING]
WHEN I ASKED HIM IF HE REALIZED
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.
I LIKE CINDY.
[SPLASH, SHUTTER CLICKS]
-...IN THE HEAD SO MUCH. -SORRY.
IT'S THE BEST PICTURE, MM-HM.
[SHUTTER SNAPS, CROSSTALK]
-WILL YOU EVER FORGIVE ME? -[SHE CHUCKLES]
IT WAS ACTUALLY EXTRAORDINARY
THAT HELMUT WAS ACCEPTED BY THE INDUSTRY,
BECAUSE HE WAS MUCH MORE DANGEROUS,
MUCH MORE AMBIGUOUS AND FRIGHTENING THAN--
THAN AN AVEDON OR A PENN.
AND I THINK HE WAS ACCEPTED BECAUSE, PROBABLY,
IT WAS THE RIGHT TIME.
IT WAS THE '60S, THE SEXUAL REVOLUTION.
HE DID PHOTOGRAPH WOMEN NUDE AND THERE WAS A TWIST TO IT,
AND IT WAS A MOMENT WHERE SOCIETY WAS ACCEPTING
NUDITY AS AN...UM, I MEAN, WE CAN ALSO TALK ABOUT
ROBERT MAPPLETHORPE,
WHO WAS YOUNGER THAN HELMUT NEWTON
AND PHOTOGRAPHED MALE MOSTLY NAKED.
BUT, UM, THAT WAS WHERE THE ARTISTS WERE.
IT HAD BEEN A VERY LONG TABOO FOR MANY YEARS,
TO SEE THE NAKED BODY,
AND NOW WE COULD SEE IT.
BUT THE NAKED BODY IS NOT JUST NAKED.
THE NAKED BODY IS A TEMPTATION
OR IT'S A FEAR,
IT'S AN EMBARRASSMENT.
IT'S MANY THINGS,
AND EACH PHOTOGRAPHER PHOTOGRAPHED ONE ASPECT OF IT.
[EVOCATIVE MUSIC]
I DON'T THINK ANYONE ELSE COULD'VE MADE ME DO THAT.
HELMUT MADE ME SHOW MY TITS IN THAT WAY
WITHOUT FEELING ANY EMBARRASSMENT
OR SHAME OR ANYTHING.
I WAS RATHER PRUDISH.
I THINK I STILL AM.
YOU KNOW, I WAS BROUGHT UP BY NUNS
IN A CATHOLIC CONVENT.
IT TOOK ME YEARSTO DECOMPRESS AND GET OVER THAT,
REALLY.
AND, UM, HELMUT WAS ONE OF THE FIRST PEOPLE I MET
WHO DIDN'T HAVE ANY OF THOSE HANG-UPS.
IT WAS THE VERY FIRST SESSION I DID WITH HIM.
I WAS LIVING IN A BASEMENT IN CHELSEA
WITH MY SECOND HUSBAND, MY PUNK HUSBAND, BEN,
IN FRIGHTFUL SQUALOR, YOU KNOW.
WE HAD NOTHING, NO MONEY.
AND I BORROWED BEN'S LEATHER JACKET
TO DO THIS, I TOOK IT WITH ME.
AND HE LOVED IT.
AND THAT'S ALL HE WANTED,
FOR ME TO JUST WEAR THE LEATHER JACKET.
THAT'S WHY IT LOOKS LIKE THAT.
[VIBRANT MUSIC]
THAT SECOND PICTURE REALLY IS MY SOUL.
DEFINITELY.
MY EXTERNAL--YOU KNOW, WHAT I WAS WEARING
REALLY DIDN'T MATTER, YOU KNOW?
I MADE IT INTO SOMETHING ELSE.
AND HE SAW THAT AND TOOK THAT PICTURE.
[AMBIENT MUSIC]
I WAS VERY SHY, AND I'D JUST TURNED 17,
AND THERE WAS NEVER A MOMENT WHERE I FELT UNCOMFORTABLE.
AND IT WAS JUST AN AMAZING EXPERIENCE
WHERE I WALKED AWAY SAYING, "THIS MAN IS INCREDIBLE."
HE HAD SORT OF A TWINKLE IN HIS EYE,
THAT NOTHING WAS SERIOUS, EVERYTHING UNDERSTATED
AND VERY WITTY.
SO, HIM PUTTING TOGETHER
A MISE-EN-SCENE SORT OF LIKE THIS, UM,
HE JUST THOUGHT ABOUT IT IN THE MOMENT,
AND HE THOUGHT IT WAS INTERESTING,
'CAUSE I THINK, CONSIDERING THAT I LOOKED SO INNOCENT AND,
YOU KNOW, IT WAS LIKE A FUNNY THING
TO PUT US TOGETHER LIKE THIS,
AND HE'S OFFERING ME SWEETS AS IF I DON'T KNOW HIM.
UM, THAT WAS VERY MUCH TYPICAL HIM,
BECAUSE HE JUST THOUGHT OF THINGS OF THE MOMENT.
THE SHOULDERS A BIT MORE TO ME--
THAT'S BEAUTIFUL.
KEEP IT CLOSE, THAT'S NICE.
GOOD, GOOD, GOOD.
GOOD, GOOD, BEAUTIFUL, GOOD.
DEFINITELY, WHEN I LOOK AT THE PICTURES,
IT'S DEFINITELY NOT ME.
SO IT'S HIS IMAGINATION
AND IT'S MY IMAGINATION.
I LOVE THE FACT THAT I CAN BE THIS DIFFERENT
THROUGH HIS LENS
AND PLAY AROUND IN DIFFERENT PEOPLE,
DIFFERENT CHARACTER ROLES.
I THINK HE WAS TRYING TO LOOK FOR THE DIFFERENT FACETS
OF WHO I COULD BE.
THERE'S ONE THAT'S THE DIRNDL,
WHICH REPRESENTS VERY MUCH THE GERMAN GIRL,
AND THEN THE SEXY GIRL AS WELL,AND THEN
THE SORT OF, THE NIGHTTIME--
THE DARKNESS OF FASHION, I THINK,
THAT WAS ALWAYS MY TAKE ON THAT,
THAT THAT WAS REPRESENTINGSORT OF THE DARKNESS OF FASHION
AND WHAT ELSE THERE IS TO IT.
SO I THINK FOR ME, IT WAS JUST SORT OF
THE WOMAN IN DIFFERENT-- DIFFERENT PLACES.
YES, PUSH, PUSH, PUSH.
YEAH.
THE HEAD MORE TO ME.
A TWINKLE IN THE EYE COMING FROM HELMUT
WITH SOME FUN SETUPS THAT HE HADTHOUGHT OF LAST MINUTE.
THE HUSBAND SUPPOSEDLY WITH THE LOVER BEHIND THE DOOR.
THAT'S GREAT, THAT'S GREAT.
GO, GO, GO.
WHICH IS VERY HELMUT NEWTON.
AND AGAIN, THIS IS HOW YOU RECOGNIZE ALSO, UM,
HIS PHOTOS, 'CAUSE THERE'S THAT--
IT'S THE HIGH FASHION COME TOGETHER WITH
AN INTERESTING ANGLE OF SOME KIND,
AND TOGETHER WITH SEXINESS.
THAT'S GOOD-- CHIN DOWN A BIT, CLAUDIA.
DOWN, DOWN.
A BIT MORE TO ME.
NOT TOO MUCH.
THERE! PERFECT!
IT WAS QUITE FUNNY,
BECAUSE THEY LOOKED FOR ANYONE WHO COULD PLAY
THE ROLE OF THE MAID WITH HER HEAD IN THE OVEN,
AND THEY EVENTUALLY WENT TO A UNIVERSITY
AND ASKED FOR ANY STUDENTS WHO WOULD BE WILLING
TO COME FORWARD.
AND I REMEMBER THE GIRL ARRIVED
AND HAD NO IDEA WHO HELMUT NEWTON WAS
AND WHAT WAS ABOUT TO HAPPEN.
AND WAS A BIT, UM... SURPRISED WHEN SHE WAS ASKED
TO PUT HER HEAD INTO THE OVEN NOW FOR THE PICTURE,
AND I WAS JUST STANDING BEHIND HER.
WHICH MADE US ALL LAUGH, INCLUDING HER.
LISTEN, GET HER TELEPHONE NUMBER,
WE'LL CALL-- GET HER TELEPHONE NUMBER
AND WE'LL CALL HER BACK.
HELLO?
JUST ONE MINUTE.
YEAH, WHAT DO YOU SPEAK, ENGLISH OR FRENCH?
OKAY.
THE WHAT?
NO, NO, NO, I DON'T SPEAK SPANISH.
I SPEAK ENGLISH, FRENCH, AND GERMAN.
BUT--ALL RIGHT.
NOW, I'LL TELL YOU SOMETHING.
I'M IN THE MIDDLE OF A MEETING,
YOU'VE GOTTA BE QUICK.
AND YOU'RE--YOU'RE ON?
GOOD. FILM THIS GIRL.
GO CLOSER.
GO CLOSER!
THAT IS PERFECT.
LOOK HOW PRETTY THEY LOOK.
MOST THESE BERLIN G--
BECAUSE THE SUN COMES OUT VERY RARELY,
SO THEY HAVE A SOMEWHAT UNHEALTHY BLUISH-WHITE SKIN,
WHICH I THINK IS GREAT,
AND THEY HAVE BEAUTIFUL LIPS
AND THE HIGH CHEEKBONES,
AND THEY'RE WELL BUILT.
THEY'RE FUNNY BECAUSE ALL BERLINERS ARE FUNNY,
YOU KNOW, LIKE THE REST OF THE GERMANS ARE BORING,
BUT BERLINERS HAVE GOT SOMETHING.
[LIVELY MUSIC]
I THINK HE WAS WEIMAR.
THAT'S HOW I THINK OF HIM,
LIKE CONNECTED TO BRECHT AND WEILL
AND ALL THAT WONDERFUL--
GEORGE GROSZ--
YOU KNOW, THAT WONDERFUL PERIODOF GERMAN ART,
EXPRESSIONISM.
THAT WAS HELMUT.
[LIVELY MUSIC]
I LOVED MY PARENTS, THEY WERE GREAT.
VERY DIFFERENT IN THEIR INFLUENCE ON ME.
MY MOTHER WAS A VERY SPOILED WOMAN
AND QUITE HYSTERICAL IN MANY WAYS,
BUT PRETTY WONDERFUL.
PRETTY WONDERFUL.
AND VERY ENCOURAGING INDEED.
SHE ENCOURAGED ME VERY MUCH TO BECOME A PHOTOGRAPHER.
MY FATHER WAS, UH, HE WAS HORRIFIED BY THE IDEA.
[CHUCKLING]
NONE OF MY SONS--
ONE SON BECAME A FARMER
AND THE OTHER ONE WANTED TO BE A PHOTOGRAPHER.
I MEAN, WHAT A DOWN-- WHAT A DOWNTURN IN THE FAMILY.
"YOU TAKE PICTURES FOR A WEEKENDFOR A HOBBY, MY BOY.
YOU END UP IN THE GUTTER, MY BOY."
AND HE WAS RIGHT, I DID,
BUT IT WAS A GOOD TIME IN THE GUTTER.
I WAS DETERMINED, I WASN'T GONNA GROW
AND MAKE BUTTONS, YOU KNOW.
IT DIDN'T INTEREST ME TO GO INTO DAD'S BUSINESS.
[UPBEAT MUSIC]
MY MOTHER USED TO CHASE ME
WITH MY [UNINTELLIGIBLE]
INTO THE STADTPARK, IN THE SCHoöNEBERGER STADTPARK,
HERE, FOR TWO AND A HALF HOURS EVERY DAY.
I REALLY HATED THIS PARK,
BUT IT HAS MEMORIES.
THIS FENCE HAS NOT CHANGED,
AND I HAD ONE OF THOSE PUSH ROLLERS
THAT KIDS HAVE, MADE OF WOOD,
AND I COME DOWN THE HILL AT GREAT SPEED,
AND I SEE A LITTLE GIRL,
I THINK I MUST'VE BEEN 6 YEARS OLD,
I TURN AROUND TO THE LITTLE GIRL,
AND OF COURSE, I SLIP, THE ROLLER ON THE FLOOR,
AND ME, I'M LANDING ON THIS FENCE WITH MY WRIST.
WRIST WAS BROKEN, CAME HOME SCREAMING.
YOU SHOULDN'T TURN AROUND AND LOOK AT GIRLS.
[VIBRANT MUSIC]
WHEN I WAS 13,
HITLER CAME TO POWER,
AND VERY SOON,
ONE WAS SURROUNDED BY NAZI IMAGERY.
EVERYBODY KNOWS I'M A JEW, AND THAT'S FINE,
BUT IMAGINE A KID THAT'S CRAZY ABOUT PICTURES
AND ALL HE WANTS TO DO IS LOOK AT PICTURES,
AND ALL HE SEES IS NAZI PICTURES
AND THE WAY THE, YOU KNOW,
THE GLORIFICATION,
LIKE LENI RIEFENSTAHL.
I MEAN, SHE DID A VERY GOOD JOBFOR THE GOVERNMENT,
FOR THE NAZIS, AN EXCELLENT JOB.
NOBODY COULD'VE DONE A BETTER JOB
BECAUSE SHE'S ALSO A BLOODY GENIUS.
HELMUT PHOTOGRAPHED WOMEN
AS LENI RIEFENSTAHL WOULD'VE PHOTOGRAPHED MEN.
THERE WAS SOMETHING POWERFUL AND BEAUTIFUL
AND FRIGHTENING AND ALSO REPELLENT
AND, YOU KNOW, AND I'M SURE
YOU COULD READ THAT IN HIS PHOTO.
[AMBIENT MUSIC]
YOU SEE THAT THERE IS A GERMAN THING,
YOU SEE THIS RESEARCH THE NAZI PROMOTED
ABOUT THE BEAUTY OF THE WHITE
OR THE PERFECTION OF THE BODY,
THE INFERIORITY OF A RACE COMPARED TO ANOTHER RACE.
YOU FEEL HINTS TO THIS,
AND--AND THE--AND YOU STILL--
AND YOU STILL FEEL THAT HE'S WORKING,
THAT IN HIS BRAIN,HELMUT IS WORKING OUT ALL THIS.
PEOPLE HAVE ACCUSED ME OF, EVENNOW, HAVING A CERTAIN INFLUENCE,
AND I SAY, "WELL, IT'S NATURAL."
YOU GROW UP WITH IT.
I MEAN, YOU ALSO GREW UP WITH THE KNOWLEDGE
THAT THE NAZIS WOULD COME AND PUT YOU IN--
YOU CUT ACROSS A ROAD, IF YOU CROSS AT A RED LIGHT,
IT'S LIKELY THAT YOU'LL END UP IN A CONCENTRATION CAMP.
I MEAN, IT WAS A SCARY TIME.
BUT, YOU KNOW, KIDS ARE DIFFERENT.
KIDS SEEM TO HAVE A STRENGTH.
WE KNEW IT WAS DANGEROUS.
YOU KNOW, THERE WERE THE NUREMBERG LAWS ABOUT NOT--
YOU HAD TO HAVE JEWISH GIRLFRIENDS
AND YOU WEREN'T SUPPOSED TO BE WITH WHAT THEY CALLED ARYAN.
SO, IT WAS ALL A STRANGE TIME.
ONE THING I'LL NEVER FORGET,
I WENT OUT WITH A GIRL TO WHERE THE BARRIER WAS,
AND I HUNG ONTO THE BARRIER
AND I UNDRESSED HER UNDERWATER,
AND I WAS THROWN OUT OF THE--
OUT OF THE POOL.
THERE'S ALWAYS, YOU KNOW, A GUY COMES,
LIKE A LIFESAVER COMES BY AND WATCHED THIS GIRL,
I WAS THROWN OUT AND I WAS FORBIDDEN TO COME BACK.
AND THEN, OF COURSE, THEY HAD SIGNS,
"JEWS AND DOGS NOT ALLOWED,"
BUT THAT DIDN'T STOP ME BECAUSE I LIKED SWIMMING
WITH MY FRIENDS AND MY GIRLFRIENDS.
I DID A LOT OF PHOTOGRAPHS OF MY FRIENDS.
I TRIED TO DO FASHION PICTURES,
LIKE WHAT I SAW IN VOGUE.
THEN I WANTED TO BECOME A RASENDER REPORTER.
[VIBRANT MUSIC]
I LEARNED EVERYTHING.
THE CRAFT, I WAS AN APPRENTICE,
A TRUE APPRENTICE.
I LEARNED HOW TO NEGATIVE RETOUCH,
I LEARNED HOW TO LIGHT IN THE STUDIO.
YOU KNOW, I LEARNED TO RESPECT A PIECE OF FILM.
THAT WAS A VERY HAPPY TIME.
TWO YEARS, THE WOMAN WAS WONDERFUL, WONDERFUL.
I WORSHIPED THE GROUND SHE TREAD ON.
[SOMBER MUSIC]
I RAN IN THE DAY AND I TRIED TO HIDE AT NIGHT,
BUT SOME PEOPLE WERE VERY KIND TO ME,
AND SOME OF THE KIND PEOPLE WERE PARTY MEMBERS
THAT REALLY STUCKTHEIR NECK OUT, THEIR NECKS OUT,
AND THERE WERE PEOPLE THAT WERE--
THEIR CELLARS WERE FILLED WITH JEWS.
BUT...
HOW MANY GOOD GERMANS WERE THERE?
LIKE, EVERY GERMAN WOULD SAY, YOU KNOW,
THERE WERE 60 MILLION GERMANS,
AND EVERYONE SAYS, "I KNOW A NICE JEW."
THERE MUST'VE BEEN 60 MILLION NICE JEWS,
BUT THEY GOT RID OF THEM ANYWAY.
THAT IS NOT ALL THOSE NICE JEWS.
[SOFT MUSIC]
I LEFT ON 5TH OF DECEMBER, 1938,
FOR TRIESTE,
TO CATCH A SHIP TO CHINA.
IT WAS--I CAN REMEMBER THE NAME OF THE SHIP,
WAS CALLED THE CONTE ROSSO, LLOYD TRIESTINO'S SHIP.
I NEVER MADE IT TO CHINA.
I GOT HUNG UP IN SINGAPORE.
I WAS AT THE STRAITS TIMES,
AND I WAS SUCH A BAD REPORTER
THAT I GOT THROWN OUT AFTER TWO WEEKS.
ON THE STREET WITHOUT A PENNY.
I WAS TOO SLOW.
BY THE TIME I HAD MY LITTLE ROLLEICORD SET,
EVERYTHING HAD FIZZLED, THE EVENT HAD GONE.
[CHEERFUL MUSIC]
YES, IT WAS, UM...
I WALKED INTO HIS STUDIO,
AND I WAS SITTING IN HIS LITTLE FRONT WAITING ROOM,
I SUPPOSE YOU'D CALL IT,
AND I WAS LOOKING AT THE PICTURES ON THE WALL
THAT WERE ABSOLUTELY WONDERFUL.
THINGS I'D NEVER SEEN BEFORE IN AUSTRALIA.
AND ALL OF A SUDDEN, I THOUGHT,"THIS MAN MUST BE VERY OLD."
I THOUGHT HE WAS A VERY OLD MAN,
AND THEN THE DOOR OPENED AND IN WALKED
THIS MARVELOUS-LOOKING, WONDERFUL, BRIGHT-LOOKING MAN,
AND THAT WAS THE FIRST TIME I MET HIM.
[GENTLE MUSIC]
I DID INDEED DO A LITTLE MODELING
FOR A KNITTING BOOK CALLED THE NEW IDEA.
I NEVER GOT PAID, HE NEVER PAID ME ANYTHING,
BUT HE MARRIED ME INSTEAD, OR I MARRIED HIM INSTEAD.
JUNE HAD A LOT OF AUTHORITY.
SHE RAN THE SET,
AND HELMUT SEEMED LIKE A LITTLE BOY
THAT WAS PLAYING WITH HIS TOYS,
AND SHE GAVE HIM THE TOYS TO PLAY WITH.
SO SHE HAD MORE AUTHORITY THAN HELMUT,
AND HELMUT WAS VERY COMICAL.
HE WAS LAUGHING, HE WAS PLAYFUL.
SO ACTUALLY, AFTER I WORKED WITH HIM,
I STARTED TO SEE THE LIGHTNESS IN HIS PHOTO.
THE PHOTOS WERE FRIGHTENING,
BUT THERE WAS ALL A SENSE OF HUMOR ABOUT IT.
SO WE HAD A LOT OF FUN AT THE HOTEL RAPHAEL
DOING THE SECOND SHOOT WHERE HE MADE ME QUITE SEXY.
I REMEMBER, THERE'S A PHOTO OF ME WITH--
I MEAN, I'M NOT NUDE, BUT MY LEGS ARE NAKED,
I HAVE A VERY BIG DECOLLETE, AND I LOOK LIKE
A HIGH-CLASS GIRL FROM MADAME CLAUDE
OR SOMETHING LIKE THAT, WHO HADTHE BIGGEST BROTHEL IN PARIS.
[SOFT PIANO MUSIC]
[VOCALIZING]
THERE'S AN OLD ROLLEIFLEX.
THERE.
THERE'S ERICH VON STROHEIM,
MY HERO, ONE OF MY HEROES.
THERE'S...
THE YOUNG VIRGIN.
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.
THAT'S GOOD.
NOW, YOUR HEAD WAS DOWN.
MUCH BETTER, CARLA, BEFORE.
LIKE THIS, STAY.
[CLAPPING]
ANOTHER $10,000
TO BUY MORE DIAMONDS FOR MY JUNIE.
[MELLOW MUSIC]
I THINK THEY WERE EVERYTHING TOGETHER.
I MEAN, THIS IS THE DREAM OF EVERY COUPLE IN LIFE, NO?
TO HAVE MET YOUR PERFECT PERSON
THAT YOU RESPECT, YOU CAN WORK WITH,
BUILD SOMETHING TOGETHER.
THIS IS WONDERFUL,
AND EVEN WHEN THEY HAD DIFFICULT TIMES,
AS WE ALL KNOW, YOU KNOW,
WHEN JUNE WAS DOING HER LITTLE REVENGES ON HIM
OR LITTLE, YOU KNOW, LIKE EVERY COUPLE.
SHE WAS IN HOTEL IN PARIS,
AND HE WAS DOWNSTAIRS WAITING FOR HER
I THINK A COUPLE OF DAYS.
[LAUGHING]
NOW THE PANTS HAVE HAD IT.
NOW THEY'VE HAD IT.
-LOOK. -SHOW ME.
SHOW ME, SHOW ME.
WAIT, WAIT, WAIT.
WAIT, WAIT, WAIT, I WANT TO SEE THEM,
HOW FAR THEY'VE HAD-- YEAH, THEY'VE HAD IT.
AH, HELMY!
OH WELL.
HOW LONG HAVE YOU HAD THEM, HEL?
OH, I DON'T KNOW OFFHAND.
THEY LOOK AS IF YOU'VE HAD THEM FOR A LONG TIME.
-PERRY ELLIS. -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--IN 1980?
HOW OLD WOULD YOU SAY THE SWEATER IS?
LET'S HAVE A LOOK AT THE SWEATER, HELMY.
NO, 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.
YEAH, HOW LONG DO YOU THINK YOU'RE GONNA KEEP
THE SWEATER FOR?
[INAUDIBLE].
-IT'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, HELMY.
YOU DON'T KNOW THE DIFFERENCE
BETWEEN LAMB'S WOOL AND CASHMERE.
WANNA FEEL IT? FEEL IT.
I CAN FEEL IT, IT'S CASHMERE.
WHY ARE YOU ALWAYS RIGHT?
[MELLOW MUSIC]
I THINK, FOR A MOMENT, HELMUT REGRETTED IT.
I THINK IT WAS WHEN KARL SAID,
"HELMUT, IT'S VERY WONDERFUL,
BUT ARE YOU SURE?
IT'S VERY COURAGEOUS OF YOU, BUT ARE YOU SURE?"
AND HELMUT WASN'T SURE FOR A MOMENT,
BUT WE'VE BOTH RELAXED INTO IT.
I MEAN, I THINK IT'S MARVELOUS
THAT THEY JUST HAVEN'T BEEN STUCK IN AN ALBUM.
[MELLOW MUSIC]
JUNE?
THERE IS LOVE BETWEEN US, BUT I DON'T THINK IT--
IF IT SHOWS IN THE PICTURES, ALL THE BETTER,
BUT THERE IS LOVE.
THERE'S A LOT OF LOVE IN THE PICTURES
THAT HE TOOK OF ME IN THE HOSPITAL
BECAUSE THE ONLY WAY HE COULD SEE ME IN HOSPITAL
WAS TO HAVE THE CAMERA BETWEEN THE TWO OF US
SO THAT WHEN HE CAME IN AFTER THE OPERATION,
YOU'LL SEE THOSE PICTURES OUT THERE,
HE SAID, "JUNIE, THROW THE BEDSHEET AWAY,"
AND I SAID, "I CAN'T, I HAVEN'T THE STRENGTH.
I CAN'T THROW ANYTHING AWAY," AND HE SAID, "JUST--"
AND HE HAD NO IDEA WHAT HE WAS GOING TO SEE,
AND I PULLED IT OFF VERY SLOWLY,
AND I THOUGHT HE WAS GONNA FAINT,
BUT HE DIDN'T ONLY BECAUSE HE ALREADY HAD THE CAMERA
IN FRONT OF HIS EYESAND WAS ABLE TO START CLICKING.
SO, OF COURSE THERE'S LOVE.
[GENTLE MUSIC]
THAT'S HOW HE COPES WITH ALL THE OPERATIONS
THAT HE GOES THROUGH,
AND ESPECIALLY IF THESE HEART ATTACKS
THAT HE'S HAD, AND I THINK THEY'RE OVER NOW,
BUT THE ONLY THING THAT KEPT HIM GOING
WAS THE LITTLE CAMERA THAT WAS BY HIS SIDE
TO PHOTOGRAPH THE NURSES AND THE DOCTORS
AND EVERYTHING THAT WAS HAPPENING TO HIM.
HE EVEN TOOK IT INTO THE OPERATING ROOM,
AND AS HE WAS WHEELED BY, I WAS SITTING, WAITING,
IN THE ALLEY, WHEREVER IT WAS,
AND THEY WHEELED HIM BY, AND THE NURSE SAID,
ONE NURSE SAID TO THE OTHER,
"WHAT IS HE GONNA DO WITH A CAMERA?"
AND THE OTHER ONE SAID, "HE THINKS
HE'S GONNA PHOTOGRAPH HIMSELF."
AND THEY ROLLED WITH LAUGHTER AS THEY WHEELED HIM PAST.
YES, IT IS A PROTECTION.
[TEARING]
[BANGING]
NO, SWEETHEART, THEY'RE IN YOUR SUITCASE IN BERLIN.
THEY'RE NOT.
DO YOU LIKE THE PICTURE, HEL?
I LOVE THE PICTURE.
I THINK IT'S AMAZING.
I LOVE THE LOOK ON THE GIRL'S FACE,
THE FALSE BREASTS AND ALL THAT.
[LAUGHTER]
SHE WAS SO INFLUENTIAL IN EVERYTHING THAT HE DID.
I MEAN, WOMEN WERE ALWAYS THE DRIVING FORCE
IN ANY OF HIS PHOTOGRAPHS,
BUT I THINK IN TERMS OF BEING A MUSE
OR BEING SOMEONE WHOSE COUNSEL AND ADVICE AND OPINION
HE ALWAYS SOUGHT, IT WAS ALWAYS JUNE.
HE NEEDED HIS MOTHER.
YOU'RE GONNA SEE MORE NIGHT PICTURES NOW
BECAUSE I LOVE NIGHT, IT'S MY--
THE INFLUENCE OF BRASSAiï THAT'S STILL COMING THROUGH
EVEN AFTER ALL THOSE YEARS.
IT'S--THE NIGHT HAS A SPECIAL MYSTERY FOR ME,
AND HE WAS-- HE WAS A GREAT MASTER.
OF THE NIGHT, I'M NOT BAD.
[VIBRANT MUSIC]
IT WAS JUST HIM AND ME.
HE DIDN'T TELL ANYTHING ABOUT WHAT HE WANTED.
I JUST LOOK AT HIS EYES AND I KNEW WHAT HE WANTED,
AND IT WAS--WE HAD THIS CONNECTION SO SPECIAL
THAT YOU COULD TOUCH THE ATMOSPHERE.
IT WAS SO, AH!
[VIBRANT MUSIC]
WITH OTHER PHOTOGRAPHERS, YOU KNOW,
WHEN YOU ARE YOUNG AND NOT SO BAD, YOU KNOW,
THEY TRY TO, YOU KNOW, BUT WITH HIM, IT'S LIKE,
IT WAS SO MUCH RESPECT.
THERE WAS NEVER A MENTION ABOUT THE--
HE'S TRYING TO, YOU KNOW...
IT WAS--I HAD SO MUCH RESPECT.
IT'S NOT LIKE A FATHER, BUT LIKE A...
IT'S VERY DIFFICULT TO SAY.
I FELT--I FELT GOOD.
I FELT SAFE.
[SOFT MUSIC]
IT WAS LIKE, I DON'T KNOW,
DOING A CINEMA, THE STORY, YOU KNOW,
AND HE MADE ME FEEL LIKE A ONE-MILLION-DOLLAR BABY.
AND THE FEELING THAT HELMUT GAVE ME
WHEN HE WAS PHOTOGRAPHING
IS HUGE POWER.
SO WHEN I WAS WITH FURS AND JEWELS
AND HAIR AND LIPSTICK AND NAILS,
IT'S JUST--YOU GO INTO A-- YOU GO INTO A CHARACTER,
YOU KNOW, LIKE, HE'D LIKE TO HAVE ALL THE NAILS
AND THE NAILS ON SKIN AND ALL THAT SORT OF STUFF GOING ON
BECAUSE HE'S PENETRATING,
HE'S ACTUALLY GETTING INSIDE YOU.
HE'S GETTING INSIDE THE PART OF YOU
THAT'S REALLY INTERESTING AND BRINGING IT OUT.
[SOFT MUSIC]
[BRIGHT BIG BAND MUSIC]
[TRANQUIL MUSIC]
THIS IS JUST A VERY FAVORITE PICTURE,
BUT IT HAS A LOT OF REFERENCE TO MY LIFE.
IT'S PHOTOGRAPHED IN THE VOGUE STUDIOS IN PARIS
WHERE I SPENT YEARS AND YEARS AND YEARS,
AND THEN JUNE DROPPED IN.
WE WERE GONNA HAVE LUNCH AT THE CANTINE TOGETHER,
AND I HADN'T FINISHED, SHE JUST SAT DOWN.
SHE DIDN'T EVEN KNOW THAT SHE WAS IN THE FRAME
OF MY PICTURE.
SHE HAD NO IDEA.
AND THE WHOLE SHEET, CONTEXT, IT'S VERY INTERESTING,
IS JUNE'S DIFFERENT EXPRESSIONS
WHILE I WAS TAKING THESE PICTURES.
HE WAS FORTUNATE TO BE WORKING AT THE TIME
WHEN DESIGNERS LIKE YVES SAINT-LAURENT
AND KARL LAGERFELD WERE REALLY AT THEIR HEIGHT,
AND THEY WERE DRESSING AND GIVING THE DESIGNS
OF THAT TIME WERE VERY MUCH A HELMUT NEWTON WOMAN,
AND IT ALL SORT OF CAME TOGETHERAT THE RIGHT MOMENT.
[SOFT MUSIC]
[ELECTRONIC MUSIC]
WE COULD BE SHAMELESS, FAMOUS
RUNNING COOL
WITH A LOVE THAT LEAVES US WEIGHTLESS, OOH
DROP DEAD GORGEOUS, WOW, OOH
YOU GOT ME FEELING STAR-STRUCK TOO
FOR ME, THERE IS A KIND OF WHAT I CALL MODERNITY
ABOUT CERTAIN WOMEN AT A CERTAIN TIME.
IT MEANS I WOULD CHOOSE TODAY A GIRL
THAT WOULD BE ENTIRELY DIFFERENT FROM A GIRL
THAT I WOULD'VE CHOSEN, LET'S SAY, SIX YEARS AGO.
MY IDEA HAS CHANGED
WITH THE CHANGE IN WHAT GOES ON AROUND US.
I NEVER KNOW THE TYPE OF GIRL THAT I WANT UNTIL I SEE HER.
I KNOW THE KIND OF PHOTOGRAPH THAT I WANT TO TAKE.
IT'S IN THE BACK OF MY MIND, IT'S A LITTLE BIT VAGUE,
LIKE THE IDEA OF THE GIRL IS VAGUE.
I ALWAYS SAY, "I KNOW THE GIRL WHEN I SEE HER."
AND MOST OF THE GIRLS THAT I'VE FOUND,
THEY'RE GENERALLY BEGINNERS,
AND THEY HAVE BEEN FOUND THROUGH GO-SEES.
I'M ALWAYS NICE TO THE GIRLS
BECAUSE YOU ASK THEM TO COME.
THE LEAST YOU CAN DO IS LOOK AT THE BOOK
AND SAY SOMETHING NICE.
I'M NOT GONNA SAY, "YOU LOOK LIKE HELL,"
YOU KNOW, "YOU'RE LIKE THE BACK END OF A BUS,"
OR "YOUR ASS IS TOO BIG," OR SOMETHING.
I CAN'T DO THAT, EVEN IF SHE HAS AN ASS THAT'S TOO BIG.
SOME OF THEM SELL THEMSELVES REALLY, REALLY, REALLY HARD,
YOU KNOW, ESPECIALLY AMERICAN GIRLS ARE VERY FORWARD
AND VERY ON A HARD SELL.
WHAT HAPPENED IN MILAN, WHICH WAS FUNNY,
WE HAD A BIG GO-SEE, LIKE THE ONE WE'RE GONNA HAVE HERE,
WE'RE HAVING HERE, AND I MENTIONED SOMETHING
ABOUT THAT I NEED-- ALL THE GIRLS WERE IN THE ROOM
AND I MENTIONED TO ONE GIRL THAT I NEEDED,
I WAS LOOKING FOR A GIRL WITH A LOT OF BOSOM,
AND EVERYTHING WAS FINISHED, EVERYBODY HAD GONE,
AND THE DOOR OPENS, AND A GIRL CAME BACK AND SHE SAID,
"I JUST WANTED TO SHOW YOU I'VE GOT A LOT OF BOSOM."
AND SHE OPENED UP HER SHIRT.
OF COURSE, THAT'S A HARD SELL.
IF HELMUT ASKS TO SEE YOU,
YOUR CAREER IS MADE.
THAT'S IT.
YOU'RE ON TOP.
SO YOU GET VERY EXCITED, VERY EXCITED.
AND WHEN I WENT,WHEN HE SAID, HE LOOKED, "AH...
YOUR BREASTS ARE TOO SMALL."
[LAUGHING]
I KNOW!
OKAY, SO, I WENT,
"OH, BREASTS ARE TOO SMALL, OKAY."
SO I LEFT, OF COURSE,
FEELING A BIT, YOU KNOW, THAT WHOLE BUILDUP TO,
"OH, IT'S HELMUT NEWTON, IT'S HELMUT NEWTON."
IT'S GOD!YOU KNOW, IT'S GOD CALLING YOU.
AND THEN, I THOUGHT, "OKAY,HE'S NOT GOING TO CALL ME BACK."
HELMUT KEPT CALLING ME BACK
AND HE SAID, "I FORGOT!
YOU HAVE SMALL BREASTS!"
[LAUGHING]
SO IT'S SUCH A CRAZY STORY.
THREE TIMES, FOUR TIMES,
BECAUSE HE REALLY, I COULD TELL,
HE WANTED TO PHOTOGRAPH ME,
AND FINALLY,
WE WORKED TOGETHER.
[CHEERY MUSIC]
PLAYBOY WANTED TO DO THE SHOOT WITH DOLPH AND I
BECAUSE, YOU KNOW, WE HAD BECOME THIS...
HOW DO YOU SAY, ALMOST LIKE ELIZABETH TAYLOR
AND RICHARD BURTON TYPE OF COUPLE IN HOLLYWOOD, YOU KNOW.
[UPBEAT MUSIC]
I'VE BEEN COMING HERE EVERY WINTER
FROM DECEMBER TILL THE END OF MARCH.
LOVE THE CLIMATE, AND THEN, THE FIRST TIME I CAME,
WHICH I THINK WAS IN '56 OR '57 WITH JUNE,
IT WAS JUST, YOU KNOW,
I FELT I WAS IN AN AMERICAN MOVIE.
I LOVE, I LOVE LOS ANGELES, I LOVE HOLLYWOOD.
WISH I WAS A MILLIONAIRE
I'D PLAY ROCK MUSIC AND GROW LONG HAIR
I'LL TELL YOU, BOYS
I'D BUY A NEW ROLLS-ROYCE
PRETTY WOMEN, THEY'D COME TO ME
I'D GIVE 'EM ALL THE THIRD DEGREE
I'D GIVE 'EM SATIN SHEETS
TO KEEP 'EM OFF THE STREETS
GREAT JEHOVAH
MY GIRLFRIEND, PENNY, I'VE KNOWN HER,
NOW I THINK I'VE KNOWN HER FOR FOUR YEARS OR SO.
I'VE BEEN GOING THERE PUMPING PETROL.
WHAT STRUCK ME FIRST ABOUT PENNY
WAS THOSE FINGERNAILS
THAT I CALL CALIFORNIA FINGERNAILS.
I MEAN, SHE'S THAT NICE, FAMILY LADY,
AND SHE PUMPS PETROL, IT'S HER OWN STATION,
AND SHE'S GOT THESE INCREDIBLE FINGERNAILS.
-ALL FILLED. -THANK YOU, PENNY.
-THANK YOU. -HAVE A LOVELY DAY.
-YOU TOO. -ISN'T IT GORGEOUS?
-OH, IT'S BEAUTIFUL. -WHAT'S THE FORECAST?
-NO RAIN IN SIGHT. -THAT'S HOW WE LIKE IT.
-ALL SUNSHINE. -THAT'S HOW WE LIKE IT.
-VERY GOOD. -BYE-BYE, DEAR.
-BYE-BYE. -SEE YOU.
HELMUT WAS COMPLETELY AWARE,
HE NEVER LOCKED HIMSELF AWAY
THE WAY SOME FAMOUS PEOPLE DO
AS THEY ACHIEVE GREAT RECOGNITION.
HE WAS ALWAYS VERY OPEN TO THE WORLD.
AND YES, FASHION MIGHT'VE CHANGED AND MOVED ON
AND WE BECAME AWARE OF A NEW GENERATION OF DESIGNERS,
BUT I FEEL THAT BECAUSE HE WAS SUCH A BRILLIANT PHOTOGRAPHER
AND HE HAD SUCH A STRONG, INTELLIGENT POINT OF VIEW
WITH THAT AMAZING WIT,HIS PICTURES REMAINED THE SAME.
NOT THAT THEY WERE STUCK, BUT THE VISION REMAINED
TOTALLY IDENTIFIABLY HELMUT.
THE CLOTHES COULD'VE CHANGED, THE GIRLS CHANGED,
BUT THE ACTUAL IMAGE, YOU COULD LOOK AT ANY IMAGE
AND SAY, "THAT'S A HELMUT NEWTON PHOTOGRAPH,"
AND THERE AREN'T THAT MANY PHOTOGRAPHERS
OF WHICH YOU CAN SAY THAT.
WANT ME TO TAKE MY CLOTHES OFF?
[LAUGHING]
I'VE BEEN LIVING HERE FOR, I DON'T KNOW,
25 OR 26 YEARS, EVERY YEAR I COME HERE,
AND I'M VERY FOND OF IT.
[LIGHT PIANO MUSIC]
[SOFT MUSIC]
WHY SHOULD I THINK ABOUT IT?
WHEN IT COMES, IT'LL BE TOO EARLY
OR IT'LL BE TOO LATE, WHATEVER.
THERE'S NOTHING I CAN DO ABOUT IT.
I DON'T WANT TO SPEND MY TIME...
I BELIEVE IN USING MY TIME TO--
WITH THINGS THAT ARE MORE POSITIVE.
I DON'T THINK DEATH, AS FAR AS I'M CONCERNED,
IS POSITIVE.
I'VE BEEN LOOKING SO LONG AT THESE PICTURES OF YOU
THAT I ALMOST BELIEVE THAT THEY'RE REAL
[ROCK MUSIC]
I'VE BEEN LIVING SO LONG WITH MY PICTURES OF YOU
THAT I ALMOST BELIEVE THAT THE PICTURES ARE ALL I CAN FEEL
CAN'T PINPOINT EVEN ONE THING
IF YOU'VE LIVED THROUGH-- IF YOU'VE LIVED THROUGH THAT--
IF YOU LIVED THROUGH THOSE TIMES, CAN YOU?
I MEAN, YOU'RE JUST...
YOU SURVIVE OR YOU DON'T.
HE SURVIVED AND GAVE US BEAUTIFUL WORK.
MAYBE IT'S, YOU KNOW, INSPIRED
BY ALL SORTS OF THINGS THAT HAPPENED OR HE'S SEEN,
THEN HE RETURNS AND REDOES OTHER THINGS.
I'M SURE, AND THANK GOODNESS.
SO WHEN PEOPLE SAY, "IT SHOULDN'T BE SEEN,"
AND ALL THAT, IT'S A TRAVESTY
BECAUSE WHAT WE DO WITH MEMORY
AND WHAT WE DO WITH, UM, ALL THE THINGS
THAT WE ACTUALLY DENY,
AND WHEN WE GO INTO DENIAL ABOUT THINGS,
IT'S BECAUSE THEY'RE TOO HEAVYTO ACTUALLY TAKE ON AT THE TIME,
AND THEY COME UP THROUGH OURSELVES MUCH LATER ON
AND VERY OFTEN TURN INTO EXTRAORDINARY FORM OF ART.
NOT ART FOR-- NOT ART FOR HELMUT.
EXTRAORDINARY CREATIONS.
WHAT DOES HE WANT US TO SAY?
EXTRAORDINARY WORK, ALL RIGHT.
[SOFT MUSIC]
[INAUDIBLE]
[SIREN WAILING]
WORLD-FAMOUS PHOTOGRAPHER HELMUT NEWTON DIED TODAY
IN A CAR CRASH IN WEST HOLLYWOOD.
YOU'VE DONE IT ALL
YOU'VE BROKEN EVERY CODE
AND PULLED THE REBEL TO THE FLOOR
[GLAM ROCK MUSIC]
YOU SPOILT THE GAME
NO MATTER WHAT YOU SAY
FOR ONLY METAL, WHAT A BORE
BLUE EYES, BLUE EYES
HOW COME YOU TELL SO MANY LIES?
COME UP AND SEE ME, MAKE ME SMILE
OR DO WHAT YOU WANT, RUNNIN' WILD
[OPERATIC SINGING]
THERE'S NOTHING LEFT, ALL GONE AND RUN AWAY
MAYBE YOU'LL TARRY FOR A WHILE
IT'S JUST A TEST, A GAME FOR US TO PLAY
WIN OR LOSE, IT'S HARD TO SMILE
RESIST, RESIST
IT'S FROM YOURSELF YOU HAVE TO HIDE
OH, COME UP AND SEE ME, TO MAKE ME SMILE
OH, OR DO WHAT YOU WANT, RUNNIN' WILD