‘It’s Clive,” I ventured we have a meeting about your movie”, there was a clattering of what sounded like cans, then Hunter let me in, where he shambled into the room and then slumped down onto the floor leaning back in an open fridge which had, had it’s door aggressively removed by Hunter.
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.
The shoot was at Holborn Studios and I took pictures of him and Ann and then Ann left to go shopping. As she was leaving she called me over to the door and whispered, “Don’t let him go the pub”. The pub unfortunately or fortunately depending on your perspective was just across the road.
I was lucky enough to have a jam with them which was totally amazing except my guitar playing was not up to their playing. Listening to Cass singing “On and On” with Dave and Ned was mesmerising.
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.
My assistant set up the lights and I wanted it lit in such a way that his head and hands where the only thing that was illuminated with the rest of his body in darkness. Once we’d set up the lights I noticed he had very shiny patent shoes which I also lit from the side to add some dynamic light to the pictures. The idea was to get the maestro and his piano to merge as one.
It has to be said that Friday nights launch of Peter Gabriel Reflections at The Museum of Bath Architecture was … More
I am delighted to announce we have reached just under (by a glorious £2.00!) 50% of our kickstarter crowdfunding goal … More
After Art School in 1966 I worked stoking boilers at a local telephone exchange from 6am until 2pm – just so I could paint in the afternoons. I then got a job at Rediffusion’s Graphics studios as someone there had seen my drawings and paintings in a graphic arts magazine, and they found me and hired me.