I call him the Cartier-Bresson or Robert Frank of Hollywood. He wouldn’t allow the orchestrated P.R. photograph. He made authentically real photographs, and in the context of Hollywood, to make a real picture is odd.
– Los Angles photography gallery owner, David Fahey
My meeting with Jimmy Dean occurred in 1953, somewhere in the spring. I was aware of him of course. I was driving on Sunset Boulevard west towards Life Magazine’s offices….and passing through Crescent Heights Blvd, green light, coming down the other way, crossing the red light, was a crazy guy on a motorcycle. Anyway, he jammed n is brakes, I jammed on mine, I avoided killing him by a few inches. But anyway, he got up off the bike and he gave me a dopey grin. I was cursing him, using every expletive I could think of. And, that dope grin did it I guess. We became friends right there and we both went to breakfast at Schwab’s drugstore. By this time of course, I knew who he was.
There are some people who you don’t have to do anything with. And Jimmy was one of them: He was totally whimsical. There’s one shot where Dean peeks out of a sweater. I didn’t use a tripod or Strobe lights. I had a hand held Nikon. We broke all the rules that day.
I was a full decade older than Dean, but we hit it off. We were both a little nuts. I was a New York Jewish kid, from the Bronx; he was this Midwest eccentric. Neither of us was part of the Establishment. I feel his politics was only for the underdog.
Back in the Fifties, for me to photograph Marilyn Monroe, it was a catch-as-catch-can situation. I did not have her at my disposal the way some photographers did. So the only time I could get her was either surreptitiously or at a photo opportunity. And in that case, it was important for me to try to get a photograph that doesn’t look the same as the others. So I had to watch carefully and if she did anything unusual with her face or expression, I had to be alert enough to snap it.
I had an assignment from Look Magazine. The assignment was what Sam Goldwyn sees from his window. And I had telephoto cameras located at Sam Goldwyn’s office and it was setup in such a way there was no knowledge whatever of the people below and I was getting intimate pictures of them. And that’s where I was able to get those pictures of Marilyn Monroe walking with Paula Strassberg. At certain days, they were inseparable. And that was the time when she was pregnant during her marriage with Arthur Miller, At one point, her pregnancy was such that she was beginning to show.
And in one of those photos that made, she wore a dark kimono over a white outfit. And the wind blew open the kimono and it was very obvious that she was pregnant.
I believe and I’m not sure about it, that that is the only shot of her pregnant.
The pictures I most like are not necessarily pictures of Hollywood stars. I’m always looking for the perfect picture, and it does not matter who’s in it. And I can also add that I am more than 90 years old and have been holding a camera since age 14, and I have not yet found the perfect picture yet. But I will always keep looking for it.
[I shot] Sinatra literally in the position of Christ nailed to the cross. He choreographed it himself. This was a personal gag created for Mervyn Leroy, a director he had contempt for. He sent it along with a note that said, “O.K., you now have me where you want me. Frank.”
Bogart trusted me. [James] Dean trusted me. And Wayne. During the war, Wayne was never in the military. Bogart and Wayne may have seen themselves as a lot more macho than they actually were. I, in contrats, had been wounded. So my reputation in their eyes was as a tough guy.
But like I said before – the most important thing is access for the photographer. There are many good photographers but they are not appreciated for their work that they do not gain access to the appropriate places.
Sinatra especially for some reason liked the photos I made and he liked me. He didn’t love me but he liked me. He gave me access to the many things he did: his concerts, special events, television shows and when he worked in movies. I had many assignments with Sinatra, the most important one perhaps was the inauguration in 1961 of President Kennedy. And when Kennedy had a big gala, he appointed Sinatra to do all the entertainment. In that case, he asked me to be the resident photographer.
In my mind a photographer is like a carpenter. He can make a beautiful cabinet and you can exclaim `it’s a work of art,’ but it’s never going to be a Rembrandt.
Matisse I ain’t.
I don’t think either of them like these two shots. Let’s see if they read my blog.
by Chuck Palahniuk
In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.
“Brenda knew she’d never make the deadline. Traffic was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example:
“During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast. Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
“Ann’s eyes are blue.”
“Ann has blue eyes.”
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.
Then, pick through some published fiction and do the same thing. Be ruthless.
“Marty imagined fish, jumping in the moonlight…”
“Nancy recalled the way the wine tasted…”
“Larry knew he was a dead man…”
Find them. After that, find a way to re-write them. Make them stronger.
- Bangkok | Phra Nakorn
- Bangkok | Sukhumvit>
- Bangkok | Thonburi
- Bangkok | Mana Wittaya School, Khlong San
- Bangkok | Ploenchit
- Bangkok | Victory Monument
- Bangkok | Damnoen Saduak, Floating Market, Part II
- Bangkok | Damnoen Saduak, Floating Market, Part I
- Bangkok | The BTS
- Bangkok | Samphanthawong
- Bangkok | Little Girl Sequence, Ratchathewi
- Bangkok | Ratchathewi
- Bangkok | Chinatown
- Bucharest | Sir Richard Bishop
- Bangkok | Phaya Thai, Dude With The Tree Clocks
- Born Yogis
- dougKIM photography
- Los Angeles
- New York City
- San Francisco
- São Paulo
- Washington DC