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Scritto da Lorenzo Garavini di Metz
te pias la carlotta?:cool:
Adesso cerco le due foto di Newton, scattate a 30 anni di distanza nella stessa posa.
Ultima modifica:
Eccole :
Una donna veramente speciale ;) :)
Carol Squiers: Is Charlotte Rampling your favourite model?

Helmut Newton: She's never been a model, but I've photographed her a lot - she's wonderful to photograph. Wonderful face, wonderful woman - all the attributes that I think a woman should have. Sex, intelligent, very funny, beautiful voice. Vanity Fair asked me to do something with her and her husband, Jean-Michel Jarre, the son of a great film composer. I wanted to do something very raunchy with them, almost pornographic - and because they're married and they love each other, it would make sense. But then something happened: the Pope came to Lyons! Jean-Michel was commissioned to do a sound and light show for the Pope. The Pope sent a nice message to Jean-Michel that was printed in all the French papers. It was wonderful. And I said to June, I can't do pornographic pictures of those two after what the Pope said! It was just before the sitting.

Carol Squiers: What did you do?

Helmut Newton: I had another idea. I was going to do a photograph with them posed like a neo-Bolshevistic stature of peasante and workers going into a glorious dawn. I didn't tell Vanity Fair. I had a red light in the background and I put them on a podium. She was barefoot and wore a peasant skirt. He wore braces and they were looking into the light, going into the glorious dawn. They liked the idea. I sent the pictures off and I got a frantic call from Vanity Fair saying, What the hell happened to you? We don't understand those pictures. I explained to them about the Pope. They said, Well, we're not interested in those pictures. Ha-ha! They got very upset, they thought I'd gone out of my mind. They said, but you were going to do something very sexy - now what's all this about? In the old days it used to be the other way around!
Da un'intervista al Guardian.

CC: Did you find Visconti, or did he find you to play Elizabeth Thallman in The Damned?

CR: He found me. He'd seen me in Georgy girl and he'd seen me in the first Italian picture I did, Sequestro di Persona, called Kidnapped in England. He'd seen those two films.

CC: What was he like as a director?

CR: He became my master. He illustrated all that I imagined cinema could be. I didn't know much about cinema, I didn't have a culture in cinema, I hadn't had theatre training, I wasn't particularly educated in the cinema world and I didn't even know who Visconti was. He showed me a particular type of cinema, which became my matrix, which became the way I wanted to make films. I've never really deviated - they're not all Visconti-type films, but the essence, the quality, the style is what I've always looked for.

CC: When he was on set with you, what would he be asking from you and the other actors?

CR: I said to him, "Look. I can't play this role," when I first met him. She's a woman of thirty and I'm twenty-three and here I am with my hair all over the place in a mini-skirt and I just don't know how this woman suffers. She's got two children and it's an incredible story and I said I didn't know how to do it. He said, "I know that you can do it. Will you trust me?" It was really sweet, and the idea of me turning down Visconti - well, I realised the extent of my youthful madness.

He said, "I know you can do it," and I said, "How?" and he said, "I can see it behind your eyes. Just listen to me. I'm going to make you up, I'm going to change your style, I'm going to make you look like a woman in her thirties, you're going to have beautiful clothes, a beautiful set, you're going to have beautiful people around you. I'm going to put you into this place and you're going to have to do what you have to do. I can't act for you. I can do everything else for you, but I can't act for you. Will you act for me?" I said, "Senor, si! Grazia!" And I did.