In my absence I later learned that the minute I left the Manga people, the flash unit gave up the ghost and ‘the capacitor burnt out and melted down’.
Steven, Gary and Karl worked away and Steven would say to me, “What do you think?” and I would say “Yes, but even more, go even further” and he would then come out with even more extreme things.
In the morning, there was no sign of Susie when we sat down for an early breakfast, which made Martyn and I panic as this was the last shot for the calendar.
Sometimes we’re too eager to press the shutter and take the picture straight away without realising that it is a silent image. Its voice speaks through the final photograph.
We went up to his hotel room to look at the clothes. Where Michael had arranged them all over the place and set up an ironing board. As we talked he continued to iron clothes. I said “Michael don’t you want to get someone else to do that?” He smiled at me and said, “No Clive, I find it very therapeutic actually.” and ironed on.
As the shoot was taking some time I knocked on the door and was called into the dressing room by Raquel who was in front of the mirror doing her eyelashes in a rather tiny bra and pants looking like the Goddess she is. As my regular readers will know I am rarely lost for words and could feel myself getting all hot and bothered and looking at my feet and shifting my weight from one leg to the next.
Willy also asked me to come up with a concept. I had been reading a lot about Egyptian mythology and was particularly fascinated by the falcon headed Egyptian God Horus . This fascination had begun after reading the Egyptian Book Of The Dead and taking acid with my assistant (affectionately known as The Wasp) at a friend’s manor house in the country, where I saw a vision of Horus.
I first met the Spaghetti people the divine Nadia and Suomi La Valle in 1979, at that moment I was … More
The scene reminded me of an Andrew Wythe painting that I had always adored and had influenced me so much in my own painting and into photography. I felt the extraordinary poetic beauty of the synchronicity of being in the same landscape he had viewed and which had inspired him and now inspired me.
I shot Kirsten in the late 90s when she was promoting her fantastic BAFTA nominated performance in the English Patient which was an eery, moving and unsettling film. Most particularly because she was left in the desert alone with nothing but a book of classical Greek poetry.