#davidbailey

[nadialimonadia]

Iconic always inspiration 🩷

In 1966, Michelangelo Antonioni transplanted his existentialist ennui to the streets of swinging London for this international sensation, the Italian filmmaker’s first English-language feature. A countercultural masterpiece about the act of seeing and the art of image making, Blow-Up takes the form of a psychological mystery, starring David Hemmings as a fashion photographer who unknowingly captures a death on film after following two lovers in a park. Antonioni’s meticulous aesthetic control and intoxicating color palette breathe life into every frame, and the jazzy sounds of Herbie Hancock, a beautifully evasive performance by Vanessa Redgrave, and a cameo by the Yardbirds make the film a transporting time capsule from a bygone era. Blow-Up is a seductive immersion into creative passion, and a brilliant film by one of cinema’s greatest artists.

#blowup #antonioni #vogue #courreges #davidbailey #cardin #pierrecardin #irvingpenn #avedon #richardavedon #1960sfashion #1960s #givenchy #erwinblumenfeld #twiggy #jeanshrimpton #veruschka #janebirkin #brigittebardot #maryquant #bally

[beaufadi]

📸✨ David Bailey’s Eighties: A Tribute to an Iconic Era

Step back into the 1980s with this breathtaking photography book that captures the essence of bold fashion, unforgettable style, and iconic moments.

👉 Order now and rediscover the Eighties

#DavidBailey #PhotographyArt #80sStyle

[heinzschumi]

Chignon hairstyle has Heinz Schumi. Photographed by Clive Arrowsmith. Model: Pauline Stone. Featured in French Vogue. Image from gossip, celebrity and fashion Magazine Ritz, launched in 1976 by David Bailey and David Litchfield. ... ... #clivearrowsmith #clivearrowsmithphotography #paulinestone #hairinspo #1970s #1970shair #1970shairstyle #frenchvoque #vogue #ritzmagazine #ritznewspaper #70s #davidbailey #davidltchfield https://www.instagram.com/p/CQ39p_8BK2Y/?utm_medium=tumblr

[hardcorehardigan]

[Cover: GREG WILLIAMS/AUGUST IMAGES]

Tom Hardy interview and exclusive David Bailey shot

Tom Hardy interview and exclusive David Bailey shot

By DANIELLE DE WOLFE

02 September 2015

ShortList meets the British actor who took on the Kray twins and won. Plus an exclusive image of the actor taken by the inimitable David Bailey.

Interviewing Tom Hardy is not like interviewing other film stars. From the moment he arrives – alone, dressed down in hiking trousers and black T-shirt, puffing away on a complex-looking digital e-cigarette – it is immediately clear this is not someone who will be exhibiting any kind of on-promotional-duties polish. He is very, very nice (I get a hug at the end of the interview), but there is unmistakably a wired edginess about him. When we sit down, it starts like this:

Me: I’m going to start with an obvious question, which is… Hardy: Have you seen the film? Me: Yes. I… Hardy: Right, well that’s the first question, then. The second one is, “What did you think?” I tell him I loved it, and why, and he is pleased (“That’s a f*cking result!”). When we move on to me asking him questions, his answers – again, in contrast to other film stars, with whom the game is to get them to veer slightly away from prepared, succinct monologues – are smart and eloquent, but long, drawn-out and enjoyably all over the place, veering off into tangents prompted by thoughts that have clearly just formulated. At the end of our allotted time, we are told to wind it up not once but twice, and even then he is still going, launching into theories about American versus British gangster films and life and humanity and such things (“Sorry man, I can talk for f*cking ever!” he laughs). He will be talking with a seriousness and sincerity (“All the risk was taken by [writer and director] Brian [Helgeland], to be fair…”), then will switch without warning into a piercing, mock-hysterical falsetto (“…letting me PLAY BOTH F*CKING ROLES, MAN!”).

In fact, briefly, while we’re on the subject of the way he speaks…

Tom Hardy’s normal speaking voice is not something we have been privy to onscreen. Since he delivered – whatever your opinion of it – the most imitated cinematic voice of the decade in The Dark Knight Rises, we haven’t come close. That thick Welsh accent in Locke, The Drop’s quiet Brooklyn drawl, the Russian twang in Child 44: we just never hear it. And this might be because it doesn’t exist. It’s five years ago, but if you watch his Jonathan Ross appearance in 2010, where he is very well spoken, he confesses he “sometimes picks up accents, and sometimes I don’t know how I’m going to sound until I start speaking”. If you then watch another video of a feature on GMTV, dated just a month previous, while addressing some young people from troubled backgrounds as part of his charity work with the Prince’s Trust, he is speaking to them in a south London street kid drawl. Today, in the flesh, he is about halfway between these two.

A natural-born chameleon.

Tom Hardy shot by David Bailey for ShortList

BEING DOUBLE

The role we are here to discuss today does not, by Tom Hardy’s own standards at least, involve a huge stretch accent-wise. But it is “the hardest thing that I’ve ever done, technically”. This is because, as mentioned, he plays not one role, but two. In the same film. You will likely have seen the posters for Legend by now, depicting Hardy as both of the Kray twins. Which seems an ambitious, almost foolhardy undertaking.

Hardy agrees. “It is one of them situations,” he says. “You get an actor to play two characters, and immediately, it’s pony. It’s gonna be rubbish. Just: no. It’s a bad idea.”

This particular “bad idea” came to him when he first met writer and director Brian Helgeland (who had previously written screenplays for – no biggie – LA Confidential and Mystic River) for dinner. Brian wanted Hardy to play Reggie (the hetero, alpha male, more-straight-down-the-line Kray). Hardy, though, had read the script, and of course, being Tom Hardy, was drawn to the more complex character. “I was like, ‘Well, I feel Ronnie,’” he says. “So which actor am I gonna give up Ronnie to, if I play Reggie? Errrrrggh…. I can’t have that. ’Cos that’s all the fun there! And Reggie’s so straight! But there was a moment when I could have come away just playing Reggie. We could have gone and found a superlative character actor to play Ronnie, and that would have been the best of everything."

But Helgeland sensed the dissatisfaction in his potential leading man. “I’m sitting there thinking, ‘Oh, he wants to play Ron,’” he tells me. “And the paraphrased version is that by the end of the dinner, I said, ‘I’ll give you Ron if you give me Reg.’”

And so began their quest to turn a risky, potentially disastrous idea into something special (as Brian puts it to me, “the movie���s either gone right or gone wrong before anyone even starts working on it”). Hardy found some comfort in Sam Rockwell’s two-interacting-characters performance in Moon. “I’m a big fan of Sam,” he says.

“And Moon gave me reason to go, ‘I know it’s possible to hustle with self, to create a genuine dialogue with self.’ So then it’s the technical minefield: can you authentically create two characters within a piece at all? So that the audience can look past that and engage in the film? It is what it is: it’s two characters played by the same actor. But I think we got to a point where people forget that and are genuinely watching the story."

This was the ‘why I liked the film’ reasoning I gave to him at the beginning of the interview. And it is a remarkable performance, or pair of performances, or triumph of technical direction. The opening shot features both Tom Hardy Krays sitting in the back of a car, and feels strange, but very quickly, within about 10 or 15 minutes, you settle into it, and forget that it is actually the same guy. This was made possible, in part, by Hardy’s stunt double from Mad Max: a New Zealander named Jacob Tomuri.

“He inherited the hardest job of my career,” Hardy grins. “I put on a pair of glasses, played every scene with Ron, then took ’em off and played Reg. And we went through every scene in the film, recording it on the iPhone. So he’s got every scene of me doing both characters, on his iPhone. He actually played both brothers, had to learn all of the lines. He was paying attention twice as hard to keep up. But he superseded that, and was eventually ad-libbing. There’s a line that ended up in the film, where Ronnie goes, ‘I bent him up like a pretzel, I hurt him really f*cking badly.’” “Where did that come from?!” Hardy shrieks, in that falsetto again. “It came from New Zealand."

The wife’s tale

The other big potential pitfall, as Hardy sees it, was contributing to the ongoing glamorisation and eulogising of two brothers who were, to say the least, not very nice. Somehow they have become almost as iconic a piece of the Sixties puzzle as the Beatles or the Stones. But this was not something that Legend would be setting out to reinforce. “One has to approach these things thinking about the families of the victims who were involved in the other end of it,” he says. “Before you find the heart to like somebody, you’ve gotta look at their track record as best as possible: the people who’ve been hurt, the bodies, the suffering, people who were bullied, who lived in terror, who lost significant parts of their lives in the wake of these two men. There’s a lot of sh*t to wade through. And a lot of people who do not, quite rightly, want to see anything to do with these two men. And if I were them, I wouldn’t want to be involved myself, but there’s also part of me that wants to know. That wants to get under the skin.”

So how do you go about doing that? About humanising, to any extent, such people?

“I think the first port of call is, ‘Wouldn’t it be nice to be able to do and say whatever you wanted to do and say in the world, regardless of the ramifications and the consequences?’ Ultimately, when I – we – go to the cinema or read a book or we go to escape, we respond to certain types of characters that go, ‘F*ck it: I’m gonna do whatever I want.'

And that’s because we can’t. Because most people would feel a responsibility.”

The answer to how Legend would do this came in the shape of a person who did feel some responsibility, namely Frances Shea: the troubled wife of Reggie, who died in 1967. Played by Emily Browning, she became the centre of the film when Helgeland met Krays associate Chris Lambrianou, who told him that “Frances was the reason we all went to prison”.

“We could have put more of the carnage and the crimes in that film,” says Hardy. “Not to say that it is not there, but what you do see, really, is Reggie, Ronnie and Frances. That’s the dynamic we focused on, that space, which hasn’t been seen before. What was that dynamic like? I don’t know if we came anywhere near the truth, because we weren’t there. But that was the playing field, if you like: Frances Shea, future ahead of her, caught up in something, and no one with her, the suicide. That sits with me in a way as the lead. She’s who we forgot. Ronnie, Reggie, they’ve done their bit. Frances was forgotten. And that kind of all ties it together for me."

FUTURE LEGENDS

The initial praise for Legend has been plentiful, but the mindset of Tom Hardy right now is such that he does not have the time to bask in it. There are other quite ludicrously challenging projects to be pressing ahead with. Coming in autumn is The Revenant, starring his good friend Leonardo DiCaprio and directed by Alejandro González Iñárritu of Birdman fame. Its trailer, as well as doing the not-going-anywhere trend for big beards no harm whatsoever, suggests that it will also match Mad Max in terms of an unrelenting barrage of intensity. Further into the future there’s the Elton John biopic Rocketman (initial challenge? Hardy “can’t sing”) and another foray into comic-book adaptation with 100 Bullets (news of which broke just after our interview).

And right now, as in this week, he’s working on a BBC series called Taboo, which is set in 1813 and stars Hardy as an adventurer who comes back from Africa and builds a shipping empire. The story has been developed by his production company Hardy Son & Baker (formed with his father, Chips) and has been written and directed by Locke/Peaky Blinders creator Steven Knight, with Ridley Scott also exec producing.

“We’re sat on something really awesome,” says Hardy. “And it’s trying to piece it together. I’ve never produced anything before, so I basically don’t know what I’m doing. But I’ve got some options and solutions: if you say something is not working, you better come up with at least four other options. But it’s good. It’s just different.”

Another day, another big challenge. Another chance to do something different. It isn’t an easy life being Tom Hardy. But neither will it ever a boring one, and that’s good news for us.

Legend is at cinemas from 9 September

Words: Hamish MacBain. Images: David Bailey, Studio Canal

You can also read the Hardy interview in this week's ShortList Magazine. It'd be a crime to miss it.

Source: https://www.shortlist.com/news/tom-hardy-interview-and-exclusive-david-bailey-shot

[piotrbaranowski]

David Bailey’s 3 photographs that I liked and analysed. He must be one of most luckiest photographers on world and he’s definitely inspiring...

[tizianomazzilli]

SYMPATHY FOR THE DEVIL #mickjagger #davidbailey #60s #saturdayvibes (at London, United Kingdom) https://www.instagram.com/p/CFCrCC0HLb_/?igshid=13925x1ta0irm

[sergelricco]

Biographie de Max Maxwell (Art Director) photographié par David Bailey.

En retraite à Ko Lanta !

LIFE IS WONDERFULL !

I HAVE NO COUNTRY ! NO HOME ! NO FAMILY ! I AM FREE

1940  October 8 born in Bombay, during a devastating cyclone.

1951   Traveled to London where I lived alone and acted as a tourist guide before startin gthe first of many boarding schools (where I learned northing ).

1958  Went to art college and was expelled (kicked out ).

1959   Started my own jazz club, and traveled for two weeks with Miles Davis,  from whom I learned NO SMALL TALKS, OR BORING CONVERSATIONS.

1960  Traveled in Switzerland, Provence, and Spain.

1961  Became art director of Queen Magazine London, and started going to New York and Paris several times a year.

1962  Was highest paid art director in Europe, and offered art directorship ol Look and Esquire Magazine in New York wich I refused.

1963  Became art director of Vogue Magazine, London.

1964  Returned to Queen Magazine, hung out with the Beatles and all the sixsties London crowd. Decided I did not want become rich and famous, AVOIDING THE APATHY AND EMPINESS OF AFFLUENCE.

1965  Retired from Queen, to be a photographer, started living in Spain, travelling world-wide on assignments of my choice, and was one of the highest paid photographers in Europe, using Nassau Bahamas as my winter    studio location.

1966  3 months photo trip in India and Ceylon.

1968  Had a major photographic exibition at Photokina, Koln, Germany, at the same time architecturally restoring rural estates in Spain, for fees as high as 50.000 us dollars was offered a million dollar commission to buy several farms, for a corporation, which I refused, THAT MUCH MONEY WOULD RUIN MY LIFESTYLE.

1971  Traveled for a year in Africa, from Senegal to Ethiopia.

1972  Started living in Goa in winter and Kashmir in summer.

1978  Began spending summer in Ladakh and winter in Goa, visited Afghanistan.

1985  Left Goa to windsurf , and live in Boracay island, Philippines.

1987   Started spending a few months in Bali, Hawaii, the Dominican republic, st. Martin. Still based on Boracay island.

1995   Started magical travels in Tibet.

1997   Discovered my paradise island of Ko Lanta, in the Andaman sea, where I spend 5 months a year, then Eastern Tibet and Lhasa, Ladakh 3 months in summer, with a few weeks in California and Santa Fe.

I BELIEVE THAT POVERTY IS WEALTH AND SOLITUDE GOOD COMPANY I HAVE NEVER EXPERIENCED FEAR, BOREDOM OR LONELINESS LIVING IN PRIMITIVE LUXURY THE ENVY OF MILLIONAIRES 20 YEARS WITHOUT ELECTRICITY, ALWAYS FANTASTIC LOCATIONS SURROUNDED BY THE WONDERS OF NATURE.

MAX MAXWELL

[mikeschreiber]

"A positive attitude can really make dreams come true - it did for me." #DavidBailey 🎂 #quote #riseandshine #wordstoliveby #aspire2inspire https://www.instagram.com/p/BsIkNGxlyPF/?utm_source=ig_tumblr_share&igshid=46nhu7cwc3zz

[brucesmithphoto]

Shot in film in the 80s #Selenium Print exhibited opposite #davidbailey #terrencedonovan #barrylategan during Fashion Acts Exhibition in London to raise funds for aids victims. It sold even before my hero photographers prints sold. I do not know who bought it. Would love to find out. #monacoart #monacophotographer #monacophotigraphy #monacolife (at Monaco) https://www.instagram.com/p/BobgXyiFZYI/?utm_source=ig_tumblr_share&igshid=1r69lj5wm3sli

[pointer8708]

#missyoucharlie I always loved this cover , as it has this wonderful smiling #charliewatts June 2nd 1941 to August 24 2021 - Front Cover Photography: #davidbailey back cover liner #ethanrussell sad day….miss you (at Hollywood Hills) https://www.instagram.com/p/CS-wWNSHDIM/?utm_medium=tumblr

[heinzschumi]

Singer, songwriter, actor, entrepreneur & activist, Olivia Newton-John who recently celebrated her 73rd birthday by raising funds for a cancer research and wellness centre. The photograph by David Bailey of Olivia Newton-John for Vogue in 1970. #vogue #davidbailey #fashionphotography #olivianewtonjohn #davidbaileyphotography #1970s #70s #singer #songwriter #actor Originally posted by Ian Owen-Moor on Facebook. https://www.instagram.com/p/CUYUAnmg5Nr/?utm_medium=tumblr

[photos75]

#revue #reporterssansfrontieres @rsfinternational #numero67 #davidbailey @bailey_studio #paris https://www.instagram.com/p/CRRlllAL_Fh/?utm_medium=tumblr

[palmbeachvintage]

#vintagepalmbeachstyle #palmbeachgold #janeholzer #babyjane #so much #fabulousness @originalbabyjane #davidbailey #bighair #wrappedinfur #palmbeachvintage #antiquerowwpb

[santedorazio]

#DavidBailey #HappyBirthday 🎉🎉💥💕😘 #Respects and Happy and Healthy #NewYear �� https://www.instagram.com/p/B60mDO7l3TO/?igshid=4querw3crahy

[fam0uswhendead]

Credit to @britishvogue Happy birthday, @CindyCrawford! As one of the original ’90s supermodels, Cindy has graced countless magazine covers, campaigns and catwalks in her 30-plus years in the fashion industry. And today, celebrating her 55th birthday, she’s as glamorous as ever. Click the link in bio for her very best beauty looks. #CindyCrawford photographed by #DavidBailey, with hair by #RayAllington and make-up by #BJGillian for the February 1987 issue of #BritishVogue. ▫️ ▪️ ▫️ ▪️ ▫️ #ooft #tasty #style #creative #fashion #art #interiordesign #aesthetic #refined #impression #expression #balance #individuality #philosophy #kaizen #spirituality #psychology #design #famouswhendead https://www.instagram.com/p/CLhMGEhAwBO/?igshid=akgj3tucjo6i

[doomonfilm]

Favorites : Above the Rim (1994)

In the mid-1990s, there was an interesting era where the NBA was reaching heights of popularity it had yet to experience, and by extension, the entire basketball culture was booming, including streetball.  The first And1 Mixtape wouldn’t drop for several more years, but a slew of basketball movies hit the theaters right around that time, and of all films that dropped, the undisputed cult classic right out the gate was Above the Rim.  Although I’ve seen this movie easily twenty or thirty times, it’d been long enough that I got excited when I found it on HBOMax, so I had to jump in on a viewing purely on the strength of nostalgia.

High school basketball phenom Kyle Lee Watson (Duane Martin) has hopes of moving on to Georgetown to continue his career, but a bad attitude and a lack of patience threaten his chances.  The waters become murkier when childhood friend Bugaloo (Marlon Wayans) returns home from prison with a major opportunity : a spot on a team in the ShootOut tournament coached by local knucklehead and hustler Birdie (Tupac Shakur).  Kyle quickly finds himself fascinated by the fast life, but the presence of Birdie’s older brother (and former high school basketball star) Thomas “Shep” Sheppard (Leon Robinson) keeps Kyle tethered, even if only loosely.  The fragile trust between Shep and Kyle is fractured when Shep and Mailika Watson (Tonya Pinkins), Kyle’s mother, become romantically involved.  At the behest of Mailika, Shep and Coach Mike Rollins (David Bailey), Kyle’s coach, Kyle dives headlong into Birdie’s world, spending his spare time with Birdie, Motaw (Wood Harris) and Bugaloo, which quickly leads him down a regretfully dangerous path towards destruction.

Above the Rim does an amazing job of providing serviceable amounts of basketball and hood film without committing itself too far in either aspect.  The basketball scenes are kinetic on both the high school court and the blacktop, but are not so didactic that they become slaves to continuity.  By contrast, we are given more of a general set of highlights, with choreography given to specific sequences in order to correlate the court drama with the personal drama, but anyone with a critical eye can easily pick out repeat sequences or footage… in my mind, it seems that director Jeff Pollack was looking to capture a certain feeling more so than provide authentic basketball.  As far as the hood aspects go, there is certainly a sense of danger and despair that can be felt, but the film doesn’t exploit or dwell on those moments.  Most of the violence is either suggested or off-screen, and while we do see a number of weapons brandished, when they’re used they do not result in cinematic blood and gore.

Maybe I was too young and lacked life experience back in the day, but it wasn’t until this viewing that Shep’s post-traumatic stress disorder became recognizable to me.  To see your life transition from stardom to incarceration before you graduate high school would be an incredibly jarring life transition, and to have it be centered around the accidental death of your best friend (that you get blamed for) would be devastating.  While the relationship between Shep and Kyle is a mentorship of sorts, Shep’s true motivation for pushing Kyle is to absolve himself of the torture he puts himself through by replaying his game with Nutso on a nightly basis.  It’s funny how it works like that in film… as a young, basketball playing teenager with enough skill to back up my talk, it was Kyle’s journey through high school and the ShootOut tournament that held my attention.  As a forty year old man with a lifetime’s worth of loss behind me, however, I saw Shep’s story in an entirely new light that captivated me.

As mentioned previously, the basketball captured on-screen has enough style points to cover for the lack of continuity or authenticity, and even a casual basketball fan or layman will have no trouble understanding what is going on at any given moment.  New York is always a strong setting for a film, and seeing that a portion of the film deals with the street basketball culture, it makes the locale a proper choice.  Time has put the soundtrack choices under an interesting lens, with the proliferation of Dogg Pound songs still banging like the classics they are, despite feeling odd via their placement in a New York-based film.  Pollack keeps the story purposefully simple in order to keep the narrative momentum moving at a rate similar to the kinetic nature of the basketball scenes.  The casting was high quality, especially on the antagonist side.  

Duane Martin had a handful of television appearances under his belt, as well as an extremely memorable role in White Men Can’t Jump, but Above the Rim marked his first casting as a leading man, and he channeled every bit of youthful, wide-eyed naivety that he could to embody the fish lost in deep waters that was Kyle Watson.  Marlon Wayans kept his comedic touches, but took the first steps into the dramatic world that would later be captured in all their glory for Requiem for a Dream.  Tupac Shakur was already a household name, but his role as Birdie showed that his real life thug persona could be channeled and focused into a truly menacing character, similar to his appearance in Juice as Bishop.  Leon Robinson pulls out all of his leading man cards by being the strong, silent type with a deeply haunting past.  Wood Harris made the biggest blip on my radar with his loose cannon machismo, which he would later refine for his iconic role as Avon Barksdale.  Bernie Mac makes a couple of brief but memorable cameo appearances, serving as the emotional gut punch that drives home Birdie’s evil.  David Bailey and Tonya Pinkins step up with strong supporting roles, and appearances by Shawn Michael Howard, Henry Simmons, Michael Rispoli, James Williams and cameos by Bill Raftery and John Thompson fill things out.

It used to crack me up how much TNT would show this film after whatever slate of NBA games happened on any given night, but perhaps that is a testament to the strength that Above the Rim possesses.  Even the best masterpieces only have a certain level of return value to them, but I found myself just as captivated by my 2021 revisit to the film as I did nearly 30 years ago when it first appeared.