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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.

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

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.

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.

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.

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.

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.

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?

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.

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."

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!

Cover of vogue magazine.

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.

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."

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.

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.

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.

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.

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

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?

You know,these are amazing fantasies and

his beautiful, creative mind, you know?

And loving the beauty of women,

I saw that, you know?

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.

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.

-...in the head so much. -Sorry.

It's the best picture, mm-hm.

Will you ever forgive me?

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.

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.

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.

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.

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.

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.

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.

My mother used to chase me

with my

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.

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.

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.

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.

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.

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.

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.

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.

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.

Another $10,000

to buy more diamonds for my junie.

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.

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?

-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?

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.

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.

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.

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.

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.

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!

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.

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.

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.

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."

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!"

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.

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.

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?

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.

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

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.

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

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

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