Robert Diament

And I think maybe that's something that attracted you initially to do that film.

casting you know that was a big big part of it sam morton to me is one of the great actors of our time and she i'm actually going to be interviewing her soon for the podcast because i she's somebody for me that's really like stuck out for decades because she's got so much integrity in terms of the work that she chooses but also just her presence on screen is just like so captivating

Sam Riley as well as Ian Curtis was just like mesmerizing.

There was something about that film that I think really has the DNA of a lot of your photography as well, which is this kind of search for the truth in a moment.

And I've heard you describe when you take a picture of

that it's already after you've taken the picture a history it's kind of a gone moment it becomes kind of history in a way i thought that kind of summed it all up because they are really capturing the essence of the truth in that exact moment i think i feel very um connected to struggling artists you know

I also always responded to your photography because I feel like you had such a critical backbone to who you would photograph.

And I know in the early years of you becoming a more well-known photographer, you were very sort of precise about who you would let in to your world, who you would document.

So you were in the office and then what artists did you get offered to take pictures of?

Wow.

By the mid-80s, you were photographing people like Miles Davis.

Oh, really?

Well, really, you would tell them that?

Where did that come from?

Do you think you were always very strong minded or did you just know your own worth?

When I think of your portraits, I always think of this connection you have.

They're very singular images.

So in a way, I mean, I totally get that you had to fight for that creative control because it's a very specific approach you have.

And if you think of like, for example, the Miles Davis images, there's such an intensity of his soul almost pouring into the photograph.

But I was really intrigued about how that intimacy happens between you and the subject, like you as the photographer,