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00:28Transcription by CastingWords
00:58Transcription by CastingWords
01:17Transcription by CastingWords
01:29Transcription by CastingWords
01:31I don't know what to say about them. I'm looking at it. The pictures speak volumes.
01:37But what are they telling me? This girl is just in a hell of a mess.
01:49Why haven't you got your knickers on?
01:52No, but it's one nanny told me that she thought was disgusting.
02:01It's sort of not an everyday thing, is it? Oh, that's awful, that one of Tara.
02:11She was just depressed, trying to cope with a baby on her own.
02:14She looks dreadful. Shit.
02:20I suppose it's like all of us, we get depressed and low sometimes and let it all out, but don't
02:25normally get photographed doing it.
02:38Some of them feel quite disgusted. Some of them I feel quite symptomatic.
02:43A little on the raw side, I have to say. Some of these people don't seem to live properly.
02:49A little bit sad. A little bit sad.
03:13I'm talking to, I think, one of the most important photographers of our generation.
03:18Certainly a person who changed dramatically what we thought of as fashion photography.
03:23Before Corinne Day, it was one thing, and then after Corinne Day, it was a different thing.
03:27Obviously, the photographs that were most famous were the ones of our most famous model, Kate Moss.
03:33When I was modelling, the photographer, the photographs were always about him, not the subject, and I reversed it.
03:41And that's what I did with Kate. I captured her presence.
03:50The Face was like a real boy's own magazine at that time.
03:54So I made an appointment to the art director at The Face, and he said,
03:58Oh, what could you bring to the magazine that I haven't already got?
04:02And I said, Well, I'm a girl photographer.
04:05I wasn't an established photographer, so the model agencies would only let me see brand new girls that had no
04:13experience,
04:14and that's how I met Kate.
04:17I guess when I saw Kate, I just saw myself, because she was short, skinny,
04:21and even though I didn't think she was plain, she was kind of unusual looking.
04:29She was at school.
04:30She had any modelling experience, and the first shoot I did with her was in my nan's garden,
04:36and in the road where I grew up, and in the park where I grew up,
04:41and there were just snapshots of Kate having a laugh, really.
04:46And we got on like a house of ours as soon as we met.
04:50No, I was happy.
04:51I mean, I did have a laugh.
04:54All my friends came down to meet me from the shoot, and we went to the State of Butlins,
04:57and like, you know, I was just having a laugh, really.
05:00It wasn't like work.
05:05Everything was like an adventure.
05:06It wasn't like going to take photos.
05:08It was exciting.
05:09It never felt like we were working, because I guess we weren't.
05:14We weren't getting paid to do it, so we weren't.
05:20She didn't like being told to look at me when the sun was going into her eyes,
05:25or to look into the camera when the sun was going in her eyes.
05:30She pulled such funny faces that she looked great,
05:35and I took photographs of her moaning and pulling silly faces,
05:40and just being herself,
05:42just trying to capture as much personality of her as I could.
05:53Because I was living in Italy at the time,
05:55I had no feedback of how people liked the photographs.
06:00It was only when I came back to London,
06:02and that was in 1991,
06:05that I realized that people really liked the pictures,
06:09and they did become a landmark in fashion photography.
06:13You remember at the time, when you were doing these pictures,
06:16it sort of was odd.
06:18They sort of were odd.
06:20I saw things in Kate that she didn't see
06:24and didn't know about herself.
06:26I just loved the way her legs were shorter than her body.
06:29You know, that wasn't a typical model thing.
06:31Models are supposed to have long legs, not short legs.
06:33Maybe slightly bowed.
06:35Just the way she carried herself,
06:37and the way that she wasn't aware of her beauty at all.
06:40Those photos, they had significance.
06:43They had a sort of...
06:48All through my life, there was different things
06:49that were sort of exciting to me.
06:51The first time I was interested in music,
06:54and there was a sort of music thing,
06:55and then the art world,
06:56and there's always something that was exciting.
06:59That was the first time that something,
07:02which could be as superficial as photos of pretty girls
07:06or fashion magazines,
07:08seemed to be the reflection of a language
07:13and aesthetic and sensibility.
07:14So it was just as exciting to see those pictures of Kate
07:17as it was the first time I went to New York
07:20and went to Max's Kansas City
07:21or the Mud Club or something.
07:24Oh, my God, yeah, the artichoke.
07:26No, it's okay.
07:26Just turn off the water and leave it in the hot water.
07:34I left the children, both of them, with the grandmother.
07:37I knew they were loved, had a proper home.
07:42And her father and I just broke up
07:44and went our separate ways.
07:52My grandparents raised us,
07:54and it was a really lovely childhood I had.
07:57Nanny would get up,
07:58make my granddad breakfast,
08:01then get Matthew and me up,
08:03make us breakfast, drive us to school,
08:05then she'd go to work, come home,
08:07and make us dinner.
08:08Her life was a family.
08:10Happy birthday to you!
08:14Happy birthday to you!
08:18Happy birthday to you!
08:21Come on, move!
08:23Happy birthday to you!
08:25Oh, well, he's safe.
08:30I remember looking out the window,
08:32looking at our house that we were leaving.
08:36I'm feeling so relieved to be leaving.
08:39I remember saying to Matthew,
08:41oh, we're going to live with Nanny now.
08:44Really happy that we were going.
08:46I was too young to realise the effect it had on both of them.
08:51In fact, it was very, very traumatic.
08:57Corrine was idolised, I would say, by her grandmother.
09:01Absolutely adored.
09:08I was quite a nervous child and I was so bad at learning.
09:14I didn't care, though.
09:15I didn't even care in secondary school whether I learnt anything.
09:19I just knew that I'd get on with life.
09:22I wasn't frightened of leaving school.
09:24I wanted to get out and just get into the world
09:27and just know what life was about.
09:31The first job I got was working in a bank,
09:33which was awfully boring, and I hated it.
09:38You know, I used to come in for my lunch hour
09:40and there'd be, like, girls around a desk admiring
09:44some girl who bought a set of tea towels
09:46and I just thought, fuck, I've got to get out of here.
09:48I don't want to end up like them.
09:50I met this girl who lived down my road.
09:53She was telling me about this model agency
09:54and that's how I got into modelling.
09:56I just went to a model agency and they employed me.
10:01I was actually too small to be a model,
10:04too plain to be a model.
10:06I don't know how the agency thought
10:08they were going to make money out of me.
10:09They did.
10:10I did a lot of catalogue and a lot of crappy jobs.
10:13I didn't care.
10:14I just, you know, I lived in California for two years.
10:19I went to Australia and just travelled
10:21and I met some fun people.
10:23I had loads of fun
10:24and that's where I met Mark in Tokyo.
10:28He was really into this kind of self-expression
10:33and it really, he fascinated me
10:34because I hadn't met anyone like that before.
10:37He taught me how to use a camera
10:39and I started photographing him
10:42and he was photographing me
10:43and just fun pictures
10:47and it became a hobby
10:49and I, that's how I got into photography.
10:52And when we moved to Italy,
10:55we were living in these, like, pensiones.
10:57We were surrounded by, like, models
10:59that had just started.
11:01They had no money, any of these girls,
11:03or none of us did at the time, anyway.
11:05Um, and I was, I started photographing them,
11:08like, sitting around in their rooms
11:11surrounded by, like, loads of Vogue magazines
11:14and fashion magazines
11:15and smoking a spliff in their pyjamas
11:18and chatting about the last job they did
11:20and that's when I started to take pictures
11:24that meant something to me.
11:30I was living in about 92
11:32and just met this girl, Rosemary Ferguson,
11:34in McDonald's.
11:37Rose actually was a girl,
11:39I saw her a certain way,
11:42but inside she wasn't that way
11:44and the way I photographed her
11:46was very, very manipulated.
11:49I loved the way that she looked very androgynous
11:51and her body was like a young boy's body.
11:55People used to get her and George mixed up
11:57because she looked tomboyish.
11:59We cut her hair off
12:01to make her look even more like a boy.
12:04I don't know, I guess in a way,
12:06I kind of had a crush on her,
12:08but as a boy, but she was a girl.
12:11It was really strange the way I felt about her.
12:14I used to put her in suits
12:15and Dunkin' Donuts t-shirts
12:18and trainers and she had this short hair
12:21and she was a dark under her eyes
12:23and I don't know, she just,
12:25I loved the pictures of Rose.
12:28Everybody hated it.
12:30They thought she looked, I guess, too real.
12:33But unfortunately, people labeled it
12:36as she looked like a junkie.
12:38And I remember reading a piece in American Vogue
12:41and they asked to borrow the picture
12:42and I was quite thrilled.
12:44I thought, oh man, American Vogue likes this picture
12:47and I thought, maybe, you know,
12:48I'm going to change things at American Vogue
12:51with this picture of Rose.
12:54And of course, they were writing an article
12:56about, you know, how fashionable it looks
13:00to be on drugs.
13:02And I was quite sad about that.
13:04I remember thinking,
13:06God, poor Rose, what will she think?
13:07She'll never want to speak to me again.
13:09You know, I was quite upset for her.
13:13I mean, it all took drugs,
13:14but I mean, there's a bit of a difference
13:16between heroin and ease.
13:18And I guess that was my first introduction
13:22to what was then to become
13:25like a heroin chic kind of look.
13:32Heroin chic was a very canny speechwriter's phrase
13:39for Bill Clinton to describe the glamorization,
13:42I suppose, of the drug culture in the media.
13:45And the Guardian did a huge piece on it
13:48and just took my photographs without even asking.
13:52Just use them.
13:55I was so angry then that I just,
13:57you can only get angry so much
13:59and then you've just got to dismiss it
14:01and just get on with life.
14:02I really liked her images of women.
14:06I liked the way she photographs femininity.
14:10And her sort of arrival in my consciousness
14:15coincided with a whole change
14:17in the mood of fashion at that time.
14:19And so we were able to commission her.
14:21I mean, had it been a couple of years earlier,
14:23we probably wouldn't have been,
14:25but it all kind of segued.
14:34I had no idea what the pictures would be,
14:37but when they came in, I loved them.
14:40And in fact, it never entered my head
14:42that there would be the outcry
14:44that there ultimately was about them.
14:47It wasn't very vogue, I suppose, but...
14:49I don't know what the whole paedophile thing was all about.
14:51I mean, I suppose I looked...
14:52I mean, I was 18 and I wasn't 12.
14:54The press were, like, so angry about it.
14:57You know, I had the New York Times calling me
15:00and they did this double-page spread
15:01on how Vogue's gone a picture too far.
15:05It was felt that these pictures were in some way
15:09slightly kind of pornographic,
15:10but you know why, really?
15:12I mean, this Kate Morse looks like any young girl does
15:16in her knickers and bra.
15:18The picture with the sort of pinky-purpley bra
15:21and the green skirt rolled down
15:26was almost like looking at a girl in an anorectic ward.
15:30That's how I remember it then
15:32and that's how it looks to me now.
15:33If a woman becomes anorexic,
15:38if she says she becomes anorexic
15:41because she wants to be thin like a fashion model,
15:45I think there would be a deeper problem
15:51than just wanting to be thinner like a fashion model.
15:54I think there's something more deep-rooted.
15:56You had this big effect in the fashion world
15:58and then you seemed to step away.
16:00Did you step away from it?
16:01Was that conscious or did it step away from you?
16:03I stepped away from it.
16:04I got bored.
16:06The people that I was working with all went on to...
16:10You know, Kate became ever so famous
16:12and was hanging out in an environment
16:14that I didn't really want to...
16:15You know, I didn't really belong.
16:16I didn't want to be there, so...
16:18Did you get angry that she did?
16:20Not at all.
16:21I kind of... I felt hurt.
16:22Did you?
16:23I felt hurt that a relationship I knew was over
16:25and it was hurt.
16:26It's always like that
16:27when you lose someone that you love and care for
16:29and you're going in separate directions.
16:31But I was too.
16:32I've met a band.
16:33That I was hanging out with
16:35and we were just going on this completely spiral,
16:38mad, psychedelic trip.
16:45I was difficult to work with
16:47and in the end,
16:48people decided not to work with me.
16:50I didn't care that I was difficult.
16:52I didn't want to compromise in any way.
16:56And I think I must have known
16:59that eventually no-one would work with me
17:01and I didn't care.
17:07I didn't care that I was difficult.
17:16You know, you...
17:16I didn't care that I was.
17:19I didn't care that I was.
17:25You know.
17:26I didn't care that I was.
17:31I didn't care that I was.
17:54Every time Pusha Man gets, they'll be like, you know, party.
18:02Everybody took drugs, every single kind of drug.
18:06And when you're surrounded with people that take drugs every day all the time, you think it's normal and you
18:10think everybody does it.
18:12So you end up doing it and you end up spaced out all the time.
18:20I mean, it was great. It was great, great fun.
18:22Hey, you dirty bastard!
18:25No, it's not Mark.
18:27Mark, stay out. You're like, stopping, stopping.
18:30More than anything, it was more of a fun experience for me.
18:35I documented the lifestyle.
18:39Mainly pictures of the band at home in their personal life rather than at gigs and things.
18:47They're more personal pictures. Parties.
18:50Yes.
18:51Yes.
18:53Yes.
18:59Then I went on tour with Pusha Man around America and we were caning it 24 hours a day.
19:08And I'm not like them. I'm not hardened to, like, hard drugs like they've been doing hard drugs all their
19:14life.
19:15I hadn't been taking drugs all my life, but not hard drugs.
19:42It's like she wants to remember stuff. Maybe she's got a bad memory.
19:56No, she just loves fucking taking photos, man.
19:59And she sees... she's always looking out for fucking...
20:03She's brilliant. She's the best fucker I've ever told about.
20:08We got back to New York and we were watching a documentary on Jimi Hendrix.
20:16Smoking loads and loads and loads of pot.
20:19Suddenly come over really tired and just went to bed.
20:24And then I woke up shaking, having a fit.
20:28And, um, I called out Barton.
20:31And the next thing I remember was two medics at the end of my bed.
20:36And I'd had a small seizure.
20:39Pissed the bed and everything.
20:40I remember coming to and saying to Barton,
20:43Oh, grab my camera, please photograph everything.
20:47And he looked at me as if I was fucking out of my head.
20:51Well, I was.
20:54Ended up in hospital.
20:56All the doctors gathered around my bed.
20:59They said to me,
21:01You have a brain tumour.
21:04And you have to go back to London and have it taken out.
21:09And that felt like a bungee jump into hell.
21:31When I was in hospital for a week,
21:33came out Christmas Day
21:36and went to Push Man's New Year's Eve party.
21:39As if nothing had happened.
21:42I carried on as normal.
21:43I never thought about it.
21:45I just thought, I'm so lucky to be alive.
21:47I'm just going to carry on as normal.
21:49And I had to wean myself drugs.
21:51I couldn't stop taking drugs straight away.
21:53I couldn't.
21:54It had to slowly...
21:56It took me about a year to stop taking drugs.
22:14I didn't even know if it wasn't like...
22:15I automatically boxed them.
22:16I didn't even know.
22:16Cause I just think I literally quite know it.
22:17You've got K pink, not even.
22:22Can I not have an infinite jungle ghost?
22:29I was watching the Paco,
22:32it would be nice to exercise machines.
22:34I didn't.
22:34I could never explore but I said the whole thing here sleeping installation stuff
22:34was picked up for on a podcast.
22:35I met Corinne for the first time in her flat, George came home one day and said that he'd
22:41met this woman who lived in Soho and she wanted to take pictures of him and I said no way
22:46because she lived in Soho and he said it was for the face and at the time I wasn't interested
22:54in fashion as such but I was curious and we went along and that was the first time I met
23:07Corinne we started hanging out with him at his flat all they ever did was just smoke
23:13pot I never did anything else it was so funny people just behave naturally when they're with
23:19friends it's nice you know if you put two strangers together it takes time for them to relate to each
23:25other doesn't you know it's nice if you can have a lot of friends
23:34Tara was like such enigmatic girl so full of life and expression I mean she really inspired
23:43me and we had so much fun together we had parties and you know we laughed lots and did stupid
23:50things and it was you know it was fun
23:58Tara and I used to go out partying all the time went to festivals tribal gathering
24:06yeah it was good I think it's the first time you've been to anything like that and I left
24:10you talking to trees that's what I remember about tribal gathering oh because there were people
24:14sitting up in the trees that would have yellow blankets on them and they just looked like birds
24:42best trip
24:45best trip
25:07I came through the camera everything felt like I was in a movie or I was in the camera didn't
25:16nothing
25:17felt real and I didn't digest how I felt or what I thought it's just makes you feel of the
25:24second
25:25and you don't think why or this or that you just go with it quite often it came to a
25:31point where it
25:33wasn't like I noticed Corinne was there taking pictures so quite often I'll see pictures afterwards
25:38and be like oh my god or oh that's brilliant or you know it became part of the furniture I
25:45suppose
26:01when you take photographs people are used to you seeing you with a camera so it's just natural
26:08and she was quite comfortable being naked and having sex in front of me it was something that was
26:14spontaneous it just happened it just happened
26:36some people said to me why did I take a photograph her crying Tara was upset because she's a single
26:43mother bringing up a child on her own all her friends were traveling and going away to free parties abroad
26:49and she couldn't go she has to stay at home
26:51bring up Mia and things got on top of her she was crying through a while for about 10 minutes
26:57and I did comfort her and then I picked up the camera and took a picture and I showed her
27:03and she was she laughed when I showed it to her
27:14when all this press came out like the Times did a fucking hideous piece it was a double page spread
27:22wasted and there's a picture of Tara I never thought about that I never thought there would be so much
27:27press and you know her family saw that and they were upset about it Tara got upset about it all
27:34but it was
27:34nothing we could do we both acknowledge it was our life it's something we've done and it's in the past
27:40we'll be rightaaaaah
27:57yeah yeah
27:58yeah begin to love calling the deaf that's the best picture alright he
28:04sat with his legs so to like that and he's got those fucking purple stilettos and he looks so happy
28:09I wish I was there, man. I was like, fucking nice. Brilliant.
28:18I love this photo. Yeah, the blood is still fresh.
28:22Yeah, Jank had just come off the motorbike. 28 that was.
28:27Yank was good, yeah.
28:29It was definitely the man out of control sometimes with Yank.
28:34But I guess that's what made him, I don't know, amazing, exciting to be with.
28:45Yank and I were very close friends.
28:47He was a harmonica player and vocalist in Pusha Man.
28:54We were actually talking about getting a band together when Pusha Man split up.
29:17I guess when you get older you think, God, I wish I'd done that, you know?
29:20I think everybody must. I wish I'd got into a band when I was 16.
29:24Lying in the grass and sink too low.
29:29My heart has got to fear.
29:31It was very tragic the way Yank died.
29:36He ran out in front of a car.
29:39And I was killed.
29:43It's still quite hard to digest.
29:46I still feel I want to pick up the phone and speak to him.
30:12Some people find Corin Day's work very shocking, others find it harrowingly beautiful.
30:16It shows a part of the world as it really is, even if people don't always want to acknowledge that.
30:20They're powerful and brutal, but they're always done with tenderness, love and honesty.
30:24And that's where their power lies.
30:31How do you respond to those people who get very upset about the images you take of people stoned and
30:36smashed and doing drugs?
30:37Those who say you glamorise drugs, you know, you show drug taking, this isn't the kind of role model.
30:43They're being really judgemental.
30:45You know, people do get judgemental and that's their life, that's the way they think.
30:49It's not the way I think, it's not, you know, it's life, it happens.
30:52But what about a photograph like Bloody Knickers? That seems to me a very powerful, striking, shocking image.
30:58I always read that as a self-portrait. Is that how you see it?
31:04I just got up one morning, saw them on the floor and took a snap and forgot about it for
31:07quite some time.
31:09And then Days Confused asked me if I would like to put some pictures in their art issue.
31:15And I remembered that picture and I thought it would be really funny seeing them in a fashion magazine
31:20because it's something that happens every month to every woman and yet we don't see them in fashion magazines.
31:28And I thought it would be a great scene in that context.
31:33I don't know, I don't know if I really like that picture actually, I'll be honest.
31:39But I think life should be photographed in every way.
31:42So it goes for me
31:54Talk to all I say
32:06God bless you.
32:45My life has changed. I don't take drugs like I used to, and neither do my friends take drugs. None
32:53of us take drugs like we used to. I guess that was just a particular time in our life.
33:02I'm still taking pictures for myself. I haven't got any idea how a body of work will come from it.
33:09I didn't have an idea when I was photographing for Diary how Diary was going to be or look.
33:16So, you know, it's kind of just a hobby really. I'm working full time as a commercial fashion photographer, which
33:28brings in the money. And I'm enjoying it.
33:33You were saying about Mix Magazine?
33:36Yes, it's all going to be black.
33:38It's going to be in a house that's had a fire,
33:41and it's going to look...
33:46dark.
33:48If you throw petrol on a wall, it'll burn, won't it?
33:52Yeah.
33:54I'm burning all the walls,
33:55but having bits of...
33:57bits of the wallpaper coming through the black.
34:01Do the same with the couch.
34:02Get a couch that's all black,
34:05but there's bits of the fabric you can see.
34:08And I want to do with furniture as well,
34:10so you might get a table and just burn it
34:13so it's all black.
34:16Just trying to get all the props in here
34:19and arranged in sums of order
34:22so that we can start trying to work out
34:26the story of how the fire started
34:28and where it's moved on to.
34:30So it vaguely looks not totally art-directed,
34:33if you see what I mean.
34:36Basically, like, the whole toilet has melted,
34:38and the toilet seat's kind of melting all over the floor.
34:41And we've got kind of brightly coloured towels down here
34:43so it's all caught and gone up them.
34:45So it's kind of pretty dark and black,
34:47but then there's bits of elements of colour in here
34:49that are kind of shining through.
34:52It's a little fluffy thing.
35:03That's nice.
35:04That looks good.
35:09Yeah.
35:15You can see this all the way.
35:19Yeah.
35:19Cool.
35:21He's got a light piece.
35:22Yeah.
35:23He's got a light piece.
35:27You work in a very different way for commercial photography.
35:32You have, like, you know, someone looking for locations for you.
35:37You work with a stylist who addresses a model,
35:42and a model is used to being photographed,
35:45and you can ask her to be happy or be sad or be moody.
35:52Sometimes, if you've worked with a model a lot,
35:55and you just like the way they present themselves in front of the camera,
35:58you don't even have to ask them to be anything.
36:02They just are themselves.
36:05And those are the type of people I like to work with.
36:08It's lovely, isn't it? It's nice, isn't it?
36:10It's beautiful.
36:11Like, we could pull bits off of some of the clothes here.
36:14Right.
36:15The fabric's tying bits into her hair, so she looks a bit crusty, kind of.
36:19It's all the clothes are really crusty.
36:22Corinne's is more about sort of real reality, you know?
36:27It's kind of like, like, even with make-up and hair,
36:30it's kind of like, it's not about covering the girl over
36:33to make her look like she's something else.
36:37She's, you know, it's all about the person and who they really are.
36:40I guess that kind of comes out in Corinne's photography, really.
36:44I've got the tights for the lady.
36:46OK, shall we get on with it, yeah?
36:48Just look at your hands, like that, like, they're really dirty, like that.
36:53Yeah.
36:54That's good.
36:57OK.
37:00One more in here.
37:05I can't see a bloody thing.
37:25Corrin has the ability to sort of still come up with an idea that hasn't necessarily been done before,
37:32which is quite rare, really, because most people reference, you know, a lot of things,
37:38whether it's an artist or an art photographer or, you know, whatever it may be.
37:44There's always references coming from somewhere.
37:48And, you know, I mean, Corrin uses references to a certain degree,
37:52but there are certain things that she just thinks of out the top of her head.
37:57You know, like this idea of this burnt flat thing.
38:00It's kind of like, you know, as far as I know, I've never seen it before, so.
38:05Yeah?
38:06You're wanted.
38:06OK.
38:08All right, Neil.
38:09All right.
38:10Thanks, mate.
38:12Hang on.
38:17There.
38:18Come on, look at the little Christmas.
38:20Just put your finger there.
38:22Probably come in the other hand.
38:25There.
38:26What about marijuana, I need?
38:27Paul?
38:28Yeah?
38:29See that dirty curtain?
38:31If you hang it to a cub, is that window there?
38:33All of it or half of it?
38:36I want to get rid of that window there.
38:38The left-hand one?
38:39Yeah, yeah.
38:40Yeah, sure.
38:40Maybe just...
38:41Can you see what's happening?
38:58Great.
38:59Well done.
39:22I mean, photographers have explored the idea of glamour in, sort of, like, you know, desolate,
39:29bleak, depressed situations, but this takes it to an extreme that I've never seen before.
39:35I like this plastic-mounted chair with this Louis Cairns thing.
39:39I know.
39:40It's all so good.
39:41It's like burnt kitsch.
39:43Like, you've burnt the wallpaper, it's kitsch.
39:45You've burnt the sofa, it's kitsch.
39:46You've burnt the fake Louis Cairns commode, whatever it is, horrible thing.
39:53You've burnt everything.
39:54And you've burnt...
39:55Burnt the fucking telephone.
39:56You've burnt technology into that as well.
39:58And you've burnt clothes into it.
40:15Where does the smoke come from?
40:17Where do you think it fucking comes from?
40:19Just tell me.
40:19Where does it come from?
40:20Here or here?
40:21It comes from there.
40:23From here?
40:23Inside there, yeah.
40:25Well, just say so.
40:27Hey, maybe it doesn't.
40:51You happy?
40:52Yeah, come on.
40:53Let's go.
40:54I saw the police go.
41:08I saw the police go.
41:24I'm a negative creep.
41:25I'm a negative creep.
41:27I'm not a stone.
41:28I'm a negative creep.
41:29I'm a negative creep.
41:31I'm a negative creep.
41:33Oh, oh, oh, oh, oh, oh, oh.
41:59I don't think there's anything wrong with courage, dying all right, everything.
42:02I couldn't have asked for a better daughter than I could have.
42:05I mean, who the fuck do I want?
42:06What do I want my daughter to be?
42:08The only thing I want my daughter to be is healthy, right?
42:12Which isn't in my hands.
42:15They're smart, intelligent, successful and more important, free to do exactly what they want to do, right?
42:24Corinne has done what I've done in my lifetime, exactly what she fucking wanted to do.
42:35Well, this is the place I grew up.
42:40For 30 years it's been my home.
42:49I'm glad the ashes are there, because that's where granddaddy's and the dogs, they're all there.
43:04Hold so many memories.
43:31Clothesline looks so sad.
43:43Come on, come on.
43:48I don't know.
44:27We went to Blackpool.
44:29It was like going on holiday.
44:31Not that it would be our choice of holiday, but it is like the poor man's Las Vegas.
44:39And I thought it would be nice to have, you know, all the same three friends from, you
44:44know, the early 90s, so there was Kate and George and Rose.
44:49Lucky Kate was with us because we got a really lovely hotel to stay.
44:52We didn't have to go and stay in a dodgy old bed sit.
44:55Mind you, Kate would have never stayed in a dodgy old bed sit anyway.
45:00It's not even brounced and pickled.
45:02It actually is pickled onion.
45:05Lunch.
45:07Oh, can I go over the poloids?
45:09Can I have a look?
45:10We were trying on clothes and this is me, the first outfit.
45:15I've did 20 outfits.
45:16Look at me.
45:17No.
45:19It's just like we'd seen each other yesterday.
45:22It's always like that when Kate and I see each other.
45:25There's just a natural bond within us because we've just, I've known her since she was 15.
45:29I don't like this anymore.
45:33Well, do one, don't do the exact same thing.
45:36Yeah.
45:40Not so much, your eyes bring it up.
45:42Yeah, it's just your eyes, you've got to look down.
45:46Rose, take your face out by a little.
45:47That's it.
45:49Yeah.
45:49I'm excellent now.
45:53Alright.
46:18This is a good one, darling.
46:20This is a good one, darling.
46:20It's a good one.
46:22I love it.
46:33Oh, my God.
47:00It was funny, like, going into, like, a really dodgy old bed-sit place
47:05and I just looked at Kate's face and it said it all.
47:08She was quite horrified to go into this smelly old nasty room.
47:13I mean, she'd definitely gone into another world.
47:17Whereas I'd loved it, the carpet obviously hadn't changed since the 60s.
47:22There's big colourful spots all over it.
47:27My tits grew, didn't they?
47:29Your nipples grew.
47:31Your nipples grew?
47:32Yeah, little, really tiny ones.
47:34They were like little girls, well, you were little girls.
47:36Now they're, like, huge.
47:37They're like fight pilot stumps.
47:43Here they are, look.
47:44I can't see a few, Kate.
47:45I'll stop pulling on them.
47:46No, I like it.
47:48Jefferson likes them like that.
47:50They are sexy.
47:50Boys like them like that, don't they?
47:52They're really sexy.
47:53And I've got it like that.
47:54Don't you?
47:54Well, grown.
47:56Now, take the whole sheet away from you.
47:58Bring your head up.
47:59That's nice and just laugh.
48:02Uh-huh.
48:06La, la, la, la, la, la, dee, dee.
48:12Oh, I'm losing it.
48:14That's nice, actually, holding it on.
48:16Taking the pictures was the boring part.
48:17It was like when we'd finished taking the pictures in the evening, which was the greatest time, you know, when
48:23I was thinking, God, I wish I was taking, taking snaps and I didn't take any snaps.
48:30I didn't take any snaps.
48:32God, I wished I had.
48:34I think that's times when I realize that, really, I just really want to take snaps of what's happening in
48:41front of me rather than being a fashion photographer.
48:46Because those moments when you're sitting around at lunch, when you're in the middle of the fashion shoot and everyone
48:53sits down to lunch, and those moments where everyone's, like, mucking around and joking, and you see pictures and you
48:59think, God, this is the best time for taking the pictures, you know, not the fashion pictures.
49:05I think my fashion pictures always end up, hmm, quite disengaging.
49:16I always find that I photograph the subject when she's not engaged with me.
49:22I like to almost capture her in her own world, you know, rather than in my world, which is the
49:31photographer photographing the model, you know.
49:34I like to almost capture her in her own world, you know.
50:04And I like to辛苦 her in her, you know.
50:06And she might explain to you what she looks like.
50:06Oh yeah, well, I like to stop looking at her as my own world as it hits all.
50:13Let's go.
50:13Let's go.
50:15Let's go.
50:26Let's take a look.
50:30Let's go.
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