Anton Corbijn

Thank you, Robert.

That's quite an introduction.

Makes me feel old.

When I look back, there's so much imagery.

Because I used to photograph nearly daily for the NME in the early 80s.

I didn't let up until sometime mid-90s, I guess, that I photographed really a lot.

So the catalogue is staggering and I'm really proud of a lot of stuff because I think there's very few people who have the wit and hopefully also not the depth that I managed to get with these people.

I'm happy, but I'm still eager for more.

I'm still working.

Well, I just finished a new movie with Helen Mirren called Switzerland that should see the light of day this year.

I'm shooting some album covers.

I'm shooting magazine stuff.

I'm thinking about the next film.

Oh, thanks.

Yeah, well, it's a great experience to make control, but I think I was the last person who believed in me as a filmmaker.

It went via music videos, I guess, in the early 80s already.

People that I worked with, I did pictures for and did sometimes album sleeves for, were also asking for the next thing that they needed at the time, which were videos, early 80s.

And I was persuaded by a German band called Palais Chambourg to make a video.

But actually before that, I did something for the Art of Noise.

Trevor Horn had an old VHS camera somewhere and he said, can you make a video for Art of Noise?