Tuning in…
Tuning in…
Castaway
1 appearance
A celebrated photographer.
On the island
Eight records
Roberto Roberto and his Orchestra
And it was the only record I had when I was at school.
I think, again, something that reminds me of both somebody I admired enormously, and the wartime period, which is London Pride by Earl Coward.
Carol Gibbons and his Savoy Orpheans with Al Bowlly
It was something that was played early on at that time in the fifties.
See What the Boys in the Backroom Will Have
Marlin Dietrich appeared at the Capitapari. and was introduced by Neil Coward and I used to go along and photograph her from the gallery every night.
Not for any particular reason, but West Side Story I'd love because I think it was the freshness of it, the newness of it, the whole new look at musicals.
Waltz (Act I)Favourite
It reminds me really of when I went to Vienna, with Dame Margot Fontein, and Rudolph Nereev, to do his one leg, to do stills of that.
Symphony No. 9 in D minor, Op. 125 'Choral'
London Symphony Orchestra, conducted by Leopold Stokowski
What I'd like is a bit of Beethoven's Ninth, because we had it in that film Don't Count the Candles.
which reminds me of the pleasure I had in designing the investor at Carnarvon. And also me being Welsh.
In conversation
Presenter asks
0:37With what degree of dread would you view a spell on a desert island?
I would have enormous pleasure. I'd love every second of it. Even for quite a long time. Oh, yes, I would adore not having the telephone.
Presenter asks
0:49Is music a big thing in your life?
No. Music means mostly nostalgia to me. … It reminds me of what I did at a certain moment. It reminds me of when I made something or when I photographed something. … It's secondary, I I mean, really and entirely visual.
Presenter asks
3:44What were your interests [at Eton]?
It was varied, a bit of photography. No games. Quite a bit of science.
Presenter asks
5:52What did you read [at Cambridge]?
Well, I was going to MIT to Massachusetts Institute of Technology, then changed to. Go to Cambridge to read Natural Sciences. … Didn't enjoy that. Read it for ten days, which is quite a short term really. … And then changed to architecture, which I didn't even know existed when I went there.
The keepsakes
The book
A History of Architecture on the Comparative Method
Sir Banister Fletcher
Because it's a marvellous record. It would help me tremendously when I was building.
The luxury
Oil paints, brushes, and canvas
because I paint so little, I paint extremely badly. And I'd have enough time to get better.
Presenter asks
10:34When did you make the decision [to be a photographer]?
I didn't really decide. I just drifted into it. I started by doing a few photographs of friends. I lived in a box room.
Presenter asks
25:17If you are going to take one picture on a desert island, which picture are you happiest and proudest of?
I think I'd probably take one of Cartier Breast Sons. … I didn't want to take one of mine. I once had taken, they appear in a magazine, I can't bear them. … I don't really like photographs being framed and treated with reverence. I'm very much against this whole new movement of photographs being valuable. I don't think they are at all. They're worth the paper they're printed on.
“Oliver Muscle. Who probably influenced me more than anybody in the world. Yes. Great stage designer, probably the greatest in this century, I think.”
“My father was marvellous. He said do what you want, but do it well.”
“My job is to. Get people not to be impressed by the photographs at all. They want to be very simple photographs to get people to read the article, and that's all.”
“I'd stay where I was,'cause I think that always, whether whether you're skiing or Or whatever, it's much better to stay where you are, and someone will find you. And in the meantime, while you are there, make it as good looking and actually create something worthwhile out of the island”