Anton Corbijn

So I think people feel kind of relaxed that they realize I'm not taking them to the cleaners or wherever, you know.

But at Miles Davis, I was for the NME there with a journalist, Richard Cook, who passed away already.

But he was the jazz guy at the NME.

So he had the interview in Montreal.

I was allowed to sit in, but not allowed to take pictures then.

So Miles Davis made a separate appointment with me the next day.

But with Richard, he was not so nice, you know.

It was this kind of remarks like, if you didn't like a question, he said, yeah, sorry, what's your name again?

You know, that kind of thing that made the journalist feel small.

He didn't do that with me at all.

He was nice and he loved the picture.

But he liked the picture so much that for the next album, which was Tutu, he wanted to use that image on the cover.

But Warner Brothers, who in their wisdom had decided they wanted a famous photographer, obviously that was not me.

Asked then Irving Penn to take the picture.

It's a beautiful picture, but you can see it's inspired by the picture I did of the hands.

I mean, I've seen photo shoots happen where you have lots of assistants and you have all this stuff.

You know, I'm not like that.

So people feel like they can be themselves.

I don't think they feel the need to put a shield in front of them.

Part of the way a shoot could be