Smash His Camera

Man: SHOULD I LOCK THE DOOR SO THEY DON'T COME IN?

WE USUALLY LOCK THE DOOR IN THE DARKROOM.

THIS IS THE SHORTSTOP,

WHICH IS ACIDIC ACID.

IT STOPS THE DEVELOPMENT.

IT SMELLS LIKE VINEGAR.

KODAK DEVELOPERS PREMIXED HERE ALREADY.

NOW WE MIX PART TWO

TO ABOUT 70°.

AND I VIEW IT...

"WINDBLOWN JACKIE"...

PLACE THE NEGATIVE.

AND THEN WE BLOW THE DUST.

- DUST OFF. DUST OFF. - (air hisses)

IN MY WHOLE CAREER OF SHOOTING JACKIE,

WHICH IS OVER 10 YEARS,

THE BEST WEEK WAS

THIS OCTOBER WEEK OF 1971

WHERE IN ONE WEEK I GOT HER FIVE TIMES.

IT STARTED THE 4th.

I GOT PICTURES OF JACKIE

WATCHING CAROLINE KENNEDY PLAYING TENNIS.

THE AGENTS GOT IN MY WAY, SORT OF.

AND THEN JACKIE ALL OF A SUDDEN TOOK OFF

INTO THE FIELDS OF CENTRAL PARK.

AND SHE GAVE ME A WORKOUT.

LUCKILY, I KEPT UP WITH HER.

I GOT HER CROSSING THE STREET HERE...

ONE OF MY GREAT SHOTS.

IN FACT, IT SOLD SEVERAL TIMES.

THEN THE 5th... I GOT JACKIE

SHOPPING AT BONWIT TELLER'S...

ALL THE WAY FROM HER APARTMENT, COMING OUT;

AND ANOTHER ONE OF MY GREAT SHOTS

THAT RAN IN SEVERAL BOOKS... MY BOOK,

BUT ALSO RAN IN GUCCI'S BOOK

BECAUSE SHE'S WEARING HER GUCCI BAG.

AND THE SAME DAY, THE 5th,

I GOT HER EARLIER IN THE AFTERNOON

WHEN SHE PICKED UP CAROLINE AT SCHOOL

AND THEY WENT SHOPPING.

AND I GOT ONE OF THE AGENTS BLOCKING ME THERE.

THAT WAS THE 5th.

THE FOLLOWING DAY I GOT JACKIE AGAIN

AT THE CORNER OF 85th AND FIFTH,

ABOUT TO CROSS.

AND THEN I COVERED OTHER EVENTS.

AND THEN OF COURSE THE 7th WAS MY GREAT DAY

WHEN I GOT THE "WINDBLOWN JACKIE,"

WHICH I CALL "MY MONA LISA."

A MODEL NEEDED PORTFOLIO PICTURES.

AND SHE LIVED ON 88th STREET.

SO I PICKED HER UP, SAID, "LET'S GO TO THE PARK HERE."

I PHOTOGRAPHED HER IN THE PARK.

HER NAME WAS JOYCE SMITH.

ON THE WAY OUT WE GO TO THE CORNER, WE CROSS THE STREET,

AND THERE'S JACKIE COMING OUT OF THE SIDE DOOR,

WALKING TOWARD MADISON AVENUE.

SHOULD I FOLLOW HER

AND GRAB PICTURES OF HERE THERE?

"NO," I SAID, "GET IN THE CAB."

FOR $2 I CAUGHT UP TO HER,

SHOT TWO SHOTS OF HER PROFILE.

WHEN THE TAXI DRIVER BLEW HIS HORN,

SHE TURNED

AND I GOT MY GREATEST SHOT... "JACKIE WINDBLOWN."

I CALL THAT "THE MONA LISA SMILE."

I DON'T THINK SHE KNEW IT WAS ME.

THAT'S WHY SHE SMILED A LITTLE.

IN CERTAIN PRIMITIVE TRIBES, WE'RE TOLD,

THE NATIVES HAVE A HORROR OF BEING PHOTOGRAPHED.

THEY FEAR THE PHOTOGRAPHER

WILL STEAL THEIR VERY SOULS.

ACTUALLY, THERE'S A TRIBE RIGHT HERE IN AMERICA

THAT FEELS THE SAME WAY.

THIS IS WHERE KATHERINE HEPBURN LIVES.

AND OVER HERE IS WHERE RON GALELLA

IS STAKED OUT IN THE RAIN.

THAT'S HIS WIFE BETTY HOLDING THE UMBRELLA.

THE HOUSE IS SURROUNDED

BY A THICK 8' HEDGE.

A PAPARAZZO NEEDS A VIEWPOINT.

AND WE HAVE TO CREATE IT SOMETIMES.

DON'T DO TOO MUCH, RON, PLEASE.

Frost: GALELLA'S GARDENING BACKFIRES.

THE CHAUFFEUR QUICKLY STARTS THE CAR.

ALERT.

GALELLA SENSES THAT SOMETHING IS ABOUT TO HAPPEN.

- HE'S RIGHT. - (shutter clicking)

THE CHAUFFEUR HAS PULLED THE CAR

BETWEEN THE FRONT DOOR AND GALELLA'S BUSH,

BLOCKING HIS SHOT.

MISS HEPBURN ESCAPES UNPHOTOGRAPHED,

BUT GALELLA HAS ONE MORE CHANCE.

MISS HEPBURN IS STARRING IN A PLAY AT A DOWNTOWN THEATER.

HE HOPES TO BEAT HER THERE.

WHY DO ALL THIS JUST FOR A PICTURE

OF AN ACTRESS WHO YEARNS TO STAY OUT OF PUBLIC VIEW?

Galella: KATHERINE HEPBURN IS A TREMENDOUS SUPERSTAR.

THIS IS ONE OF THE REASONS

WHY I HAVE TO GET GOOD PICTURES OF HER,

RECENT, IN MY FILE.

SHE'S A VERY DIFFICULT PERSONALITY

BECAUSE SHE GUARDS HER PRIVACY VERY MUCH.

Frost: THIS TIME GALELLA'S TACTICS WORK.

THE LIMO PULLS INTO THE THEATER GARAGE

AND, AS GALELLA SAID LATER, "I GOT HER."

WE ASKED GALELLA IF HARASSING A 71-YEAR-OLD WOMAN IN THIS FASHION

WAS A DECENT WAY TO GO ABOUT MAKING A LIVING.

Galella: I BELIEVE IN WHAT I DO.

AND I DO NOT HAVE ANY GUILT.

THE PEOPLE OUT THERE WANT A GLIMPSE OF HER,

WANT TO KNOW HER HABITS, HER LIFESTYLES,

EVEN IF SHE'S PRIVATE.

THE FACT THAT SHE SHIELDS HERSELF WITH AN UMBRELLA...

THAT PICTURE'S INTERESTING. IT REFLECTS HER PERSONALITY.

WHEN YOU THINK OF RON, HE WAS A GENTLEMAN.

- SELFISH. - A CREEP.

SOFT-SPOKEN.

- MONEY-GRUBBING. - OR SCUM.

- POLITE. - SECOND-RATER... THAT'S WHAT HE IS.

WELL, I ALWAYS FOUND HIM TO BE A DELIGHTFUL, CHARMING PERSON.

EVERYTHING YOU WOULDN'T THINK RON GALELLA WOULD BE.

I LOVE THE GUY.

I THINK HE'S, LIKE, A NATIONAL TREASURE.

IN THE '70s, IN THE '80s RON WAS REALLY TREATED LIKE A LEPER.

- A MAJOR NUISANCE... - THE WORST KIND OF HUMAN BEING.

...TO SOCIETY IN GENERAL.

- JUST ANOTHER PUTZ. - A PAIN IN THE BUTT.

HE'S JUST THAT PAIN-IN-THE-ASS PHOTOGRAPHER.

HE DID FOR THE LIVING

WHAT OUIJA DID FOR THE DEAD.

THEY KNEW HE WOULD BE THERE. THEY DIDN'T KNOW WHEN.

HE CAUGHT THEM AT A MOMENT IN TIME

WHEN THEY WERE NOT READY FOR THE PICTURE.

HE WAS LIKE A KID, YOU KNOW, WHO WAS LIKE,

"OH, WHAT DID I DO THAT WAS SO WRONG?

I JUST TOOK PICTURES."

HE APPROACHED EVERYTHING WITH THAT INNOCENCE.

HE WANTED TO SHOW THE HUMANITY,

BUT HE ALSO WANTED TO GLAMORIZE THAT HUMANITY.

YOU KNOW, DAY AND NIGHT, DAY AND NIGHT HE WOULD BE OUT THERE SHOOTING.

SOMETIMES EXTRA SECURITY WAS POSTED

JUST TO ALERT PEOPLE IF RON GALELLA WAS COMING.

HE WENT TO EXTREME LENGTHS TO GET A SHOT.

RON GALELLA IS SHOWING IT JUST LIKE IT IS.

THE END RESULT OF HIS WORK SEEMS SUPERIOR TO ME.

CLEARLY YOU'RE VERY INTERESTED IN THE HISTORY OF PHOTOGRAPHY AND EVERYTHING.

WHY ARE YOU MAKING A PIECE ON RON GALELLA?

WHEN RON OFFERS INSTRUCTION OR TIPS

TO YOUNG ASPIRING PHOTOGRAPHERS,

I THINK IT'S CLEAR THAT HE GIVES A BIT MORE,

OFFERS A BIT MORE THAN YOU MIGHT GET IF YOU WERE IN A PHOTOGRAPHY SCHOOL

WHERE YOU LEARN HOW TO USE THE CAMERA

AND COMPOSE THE SUBJECT

AND DEVELOP THE PICTURES AND SO FORTH.

HE GIVES TIPS THAT WOULD PROBABLY BE CLASSIFIED

AS TIPS ON HOW TO BE SOCIOPATHIC.

LEARN TO SNEAK INTO EVENTS, CRASH EVENTS.

ALWAYS DRESS RIGHT. ANY EVENT... I ALWAYS HAD A SUIT ON.

AND NEVER CHECK YOUR COAT.

IN THE WINTER YOU LEAVE YOUR COAT IN THE CAR.

WITHOUT A COAT IT LOOKS LIKE YOU BELONG THERE,

YOU TOOK A BREAK OUTSIDE OR SOMETHING.

BE AWARE OF WHERE THE KITCHEN IS.

THAT'S ONE WAY OF GETTING IN IN ANY HOTEL... THE KITCHEN.

ANOTHER WAY OF SNEAKING IN

IS TO FORGE CREDENTIALS.

FIND SOMEBODY THAT'S INVITED.

GO TO KINKO AND DUPLICATE IT.

AND YOU GET YOUR NAME IN.

SHOOT FAST.

THE REASON WHY YOU'RE SHOOTING FAST...

ONE... YOU WANT TO GET THE SURPRISED EXPRESSION.

- (shutter clicks) - AND THE WAY I SHOOT IS THIS WAY...

LOOK AT THE SUBJECT, WITH A WIDE-ANGLE LENS.

SHOOT SHOOT SHOOT,

NOT LOOK THROUGH THE LENS. YOU DON'T SEE...

YOU DON'T SEE THE SUBJECT'S EYES.

YOU DON'T SEE THE DETAIL.

AND THE SECOND REASON YOU SHOOT FAST

IS IN CASE THE STAR SAYS,

"NO, NO PICTURES," THEY DON'T WANT NO PICTURES,

AND HE MEANS IT.

SO YOU SAY, "OKAY," AND YOU LEAVE HIM.

BUT YOU'RE AHEAD 'CAUSE YOU GOT THE ONE OR TWO SHOTS BEFORE.

YOU HAVE TO BE ONE UP ON THESE PEOPLE.

THIS IS THE ART OF PAPARAZZI.

THIS IS THE LOBBY OF THE HOTEL.

THERE'S STAIRS HERE. THERE'S STAIRS HERE.

IT'S IN THIS ROOM. THIS IS THE WEST FOYER.

Galella: TODAY WE'RE GOING TO THE WALDORF ASTORIA

WHERE THERE'S AN EVENT...

THE JACKIE ROBINSON FOUNDATION ANNUAL AWARDS DINNER

WHERE ROBERT REDFORD IS BEING HONORED.

WE GO IN, GO THIS WAY.

EITHER WAY LEADS TO THIS...

THIS IS THE ENTRANCE TO THE WEST FOYER.

BUT YOU COULD BYPASS THE STAIRS

AND GO RIGHT INTO THE BALLROOM.