"CORPORATE FUNDING PROVIDED BY " "VISA." "GO ON, LIVE LIFE." "AND REMEMBER THAT NO MATTER" "WHAT IT TAKES," "LIFE TAKES VISA." "VISA IS PROUD TO SPONSOR" ""AMERICAN MASTERS."" "THIS PROGRAM WAS MADE POSSIBLE IN PART" "BY HEWLETT-PACKARD," "MAKERS OF A FULL LINE OF PRINTING SOLUTIONS" "FOR PROFESSIONAL PHOTOGRAPHERS AND DESIGNERS." ""AMERICAN MASTERS" IS MADE POSSIBLE BY" "THE SUPPORT OF THE NATIONAL ENDOWMENT FOR THE ARTS," "BECAUSE A GREAT NATION DESERVES GREAT ART." "THE CORPORATION FOR PUBLIC BROADCASTING." "ADDITIONAL FUNDING FOR "AMERICAN MASTERS"" "PROVIDED BY " "AND BY CONTRIBUTIONS TO YOUR PBS STATION" "FROM VIEWERS LIKE YOU." "ANNIE LEIBOVITZ." "ANNIE LEIBOVITZ." "ANNIE LEIBOVITZ." "ANNIE LEIBOVITZ." "SHE IS UNIQUE, YOU KNOW." "ANNIE LEIBOVITZ." "ANNIE LEIBOVITZ." "ANNIE LEIBOVITZ." "ANNIE LEIBOVITZ?" "THAT LEIBOVITZ WOMAN." "ANNIE LEIBOVITZ." "ANNIE LEIBOVITZ." "ANNIE LEIBOVITZ." "ANNA-LOU LEIBOVITZ." "ANNIE LEIBOVITZ." "WHOO!" "WHAT AM I SUPPOSED TO SAY WHEN PEOPLE ASK ME" "THESE QUESTIONS ABOUT, YOUR COMMERCIAL WORK" "OR YOUR MAGAZINE WORK VERSUS THIS WORK OR THAT WORK?" "I WOULD LIKE TO BREAK DOWN THOSE WALLS." "I WOULD LIKE TO SAY, I'M A PHOTOGRAPHER" "AND THIS IS MY WORK." "AND SOME OF IT IS THIS AND SOME OF IT IS THIS." "AND, YOU KNOW, AND TWO IMPORTANT PEOPLE TO ME DIED," "BUT I'VE HAD THREE BIRTHS." "IT'S AN AMAZING TIME." "Man:" "REALLY GREAT PHOTOGRAPHERS CAN'T STOP TAKING PICTURES." "THEY DO IT LIKE OTHER PEOPLE EAT AND BREATHE." "HER WHOLE LIFE IS THE SUBJECT." "Annie:" "WHETHER I'M ON ASSIGNMENT OR WHETHER IT'S MY FAMILY" "OR, YOU KNOW, WHETHER IT'S LIKE, YOU KNOW..." "YOU KNOW, MY TOES, YOU KNOW," "OR, YOU KNOW, A FOREIGN LAND, IT'S INTERESTING" "TO KEEP RECORDING AND SEEING WHAT A LIFE IS, YOU KNOW." "Woman:" "WHAT IS A PHOTOGRAPHER'S LIFE, WHAT IS A DESCRIPTION?" "IT'S JUST A LIFE LOOKING THROUGH A LENS." "GREAT, THAT'S GREAT." "OH, THIS CAMERA!" "THE MAN WHOSE PICTURE I HAVE TO TAKE," "GEORGE CLOONEY'S GOING TO BE HERE," "AND I'M GOING TO HAVE TO TALK TO HIM," "AND AS SOON AS HE GOES AWAY," "I CAN SPEND SOME MORE TIME WITH YOU." "OKAY, LET'S TAKE THE JACKET OFF." "IT'S NOT WORKING." "THAT'S GREAT." "NOW LOOK OUT TOWARDS, TOWARDS THESE GIRLS AGAIN." "THAT'S GOOD, THAT'S GOOD." "ACTUALLY..." "THAT'S GREAT." "THAT'S GREAT, THAT'S GREAT." "Clooney:" "SEE YOU GUYS LATER." "Annie:" "YOU KNOW, IT HASN'T STOPPED BEING A RIDE." "EVERYTHING IS CHOCKFUL OF INTERESTING MOMENTS." "IT FEELS MORE DYNAMIC THAN EVER NOW." "THAT'S WHY IT'S BEEN VERY HARD FOR ME" "TO HAVE TO SAY NO TO DOING SOMETHING," "WHICH IS WHY I WAS ALWAYS RUNNING MYSELF" "AND EVERYONE WHO WORKED WITH ME INTO THE GROUND." "THANK GOD, YOU KNOW, THE CHILDREN," "SO AT LEAST THERE'S SOME SORT OF PACING." "IF WE GET EVERYTHING REALLY ORGANIZED," "WHICH IS GOING TO BE SORT OF A MIRACLE," "BEFORE WE SHOOT THIS MORNING..." "IT LOOKED TOO EVEN TO ME." "I MEAN, IT'S ALL THE SAME DENSITY." "I WISH IT HAD MORE, YOU KNOW," "OPENNESS." "SO, UM, KIRSTEN," "WE'RE GOING TO KEEP THIS HAIR." "ARE YOU OKAY?" "YEAH." "GO AHEAD AND LOOK DOWN TOWARDS KIRSTEN." "YEAH, JUST HOLD IT THERE." "THAT'S GREAT." "SORRY, I JUST CAN'T HELP MYSELF, IT LOOKS SO GOOD." "YOU KNOW, THE THING IS, I'D LIKE THE RED SHOE BETTER." "OH, THAT'S GOOD." "THAT'S GOOD, THAT'S GOOD." "I'M GOING TO DO SEVERAL KINDS OF FORMATS HERE," "SO..." "THIS LOOKS INCREDIBLE." "HOLD ON." "GOING TO ANOTHER FORMAT." "JASON, UM, JUST LEAN OVER IT LIKE " "ARCH YOUR BACK A LITTLE BIT THERE, YEAH." "BEAUTIFUL, BEAUTIFUL." "THANK YOU VERY MUCH." "BRAVO." "LIKE, FRUSTRATINGLY FAST, BECAUSE WE'RE LIKE" "ALL DOLLED UP -- AND LIKE, 10 MINUTES!" "I KNOW." "OH, IT'S INCREDIBLE." "WOW!" "THE WHITE PANTS MAKE IT ALL." "SO SEXY IN WHITE PANTS." "WHOO!" "I SAW HIM SIT DOWN IN THOSE WHITE PANTS," "AND I WENT, WHOO!" "I'M JUST CONFUSED BECAUSE " "LOOKED SO BEAUTIFUL, IT'S TRUE," "I SHOULD HAVE SHOT MORE." "[ CHUCKLES ]" "Man:" "SHE'S SUCH" "AN ENTHUSIASTIC MOTHER" "AND HOW SHE DOES IT, I DON'T KNOW." "IT'S, WITH THE THREE KIDS AND THIS WORK," "YOU KNOW, AND SHE'S IN SUCH A DEMAND" "AND PRESSURES." "Man:" "GO BACK TO THE VERY BEGINNING" "OF THE GENESIS OF ANNIE'S BOOK." "THE SETTING WAS IMPORTANT BECAUSE" "IT WAS AT HER HOUSE ON THE HUDSON." "AND IT WAS IN THE BARNS," "AND THE PHYSICAL SPACE REALLY, REALLY DETERMINED A LOT." "SO YOU WALKED INTO THIS ENORMOUS AND WONDERFUL BUILDING..." "THIS WALL IS THE PERSONAL WALL." "MM-HMM." "AND THIS WALL IS THE MAGAZINE WORK." "I WAS DYING TO START PUTTING THEM TOGETHER," "BUT I REALLY WANTED TO WAIT FOR YOU." "YOU KNOW LIKE, I REALIZED HOW MANY PICTURES I HAD." "AND I REALIZED I CAN'T EVEN " "IF WE DO THIS BOOK, HOW BIG IS THIS BOOK GOING TO BE?" "THIS IS JUST VERY, VERY, VERY BEAUTIFUL." "THIS WAS A THING I DID WITH LAURIE ANDERSON." "THERE WAS THIS CHRIS ROCK PICTURE WHICH I SORT OF," "I COULDN'T BELIEVE I GOT AWAY WITH." "Woman:" "SHE PUTS SUCH A STAMP ON A PICTURE." "YOU CAN LOOK AT HER WORK AND" "THERE'S NO WAY ANYONE ELSE EVER TOOK THAT PICTURE." "Man:" "FOR ME, ANNIE IS," "IF I HAD TO SELECT ONE WORD TO DESCRIBE HER," "IS THAT SHE'S DARING." "SHE IS THE TALLEST AND THE MOST AUTHORITATIVE" "UNCERTAIN PERSON..." "I'VE EVER SEEN." "Man:" "TRYING TO PLEASE THE MAGAZINE," "TRYING TO PLEASE THE ADVERTISING CLIENT," "TRYING TO PLEASE THE READER." "Man:" "SHE PERSUADES, SHE CAJOLES, SHE SEDUCES." "Man:" "ANNIE HAS THIS FREAKY CONNECTION TO QUALITY" "THAT SEEMS TO HAVE SURVIVED HER COMMERCIAL SUCCESS." "Holborn:" "SOME OF THE GREATEST WORKS OF ART EVER MADE" "HAVE BEEN MADE AS COMMISSIONS FOR SPECIFIC CLIENTS." "WE JUST HAVE TO THINK BACK TO THE RENAISSANCE," "THE GREAT AGE OF THE MEDICIS." "Patti Smith:" "IN TERMS OF PHOTOGRAPHY," "IF YOU WERE INVOLVED IN ROCK AND ROLL," "SHE WAS THE PERSON." "Mick Jagger:" "SHE EVOLVED INTO THIS PORTRAIT PHOTOGRAPHER," "THIS, UM," "OF THIS SORT OF AMERICAN PORTRAIT." "Hillary Clinton:" "SHE HAS REALLY BEEN" "A MAJOR CHRONICLER OF OUR COUNTRY." "WHAT WE CARE ABOUT, WHAT WE THINK ABOUT." "I LIKE THE FAMILY PICTURES." "WE ALL LIVE IN A WORLD WHERE WE HAVE" "MOTHERS AND FATHERS AND LOVERS AND CHILDREN," "AND LOSS AND DEATH AND HOPE." "AND, UM, AT THE SAME TIME YOU HAVE A SERIES" "OF PORTRAITS OF" "THESE KIND OF MONSTERS, THESE GIANTS," "AND THESE FIGURES SHIFTING AROUND IN THE BACKGROUND" "OR APPEARING ON CNN." "BILL GATES, BUSH, CLINTON," "POWER AT THE WHITE HOUSE, "STAR WARS,"" "AND THEY IMPOSE THEMSELVES ON OUR LIVES." "AND SO WE JUST" "STARTED TO WEAVE THEM TOGETHER." "THIS IS A TRIP OF SUSAN TO GERMANY." "AND SUSAN IS NOT FEELING WELL." "FEELS CONCERNED." "SUSAN ALWAYS TALKED ABOUT RETURNING TO PARIS," "AND SHE STARTED TO GO WITH ME ON THESE TRIPS." "THIS IS DEFINITELY A DILEMMA." "WE HAVE THIS STUFF," "AND THEN WE ALSO HAVE THE BUSH ADMINISTRATION STUFF" "WHICH YOU SAW " " THE WAR ROOM AND ALL THAT STUFF." "DO WE PUT IT IN OR WE DON'T PUT IT IN?" "I THINK IT'S QUITE IMPORTANT." "THEY'RE INTERWEAVING ANYWAY." "[ SIGHS ]" "WHO'S HERE?" "HI!" "WHO'S COMING?" "Woman:" "NOW, WHY DID YOU WANT TO DO THIS INTERVIEW IN THE CAR?" "THIS IS LIKE MOM AND DAD'S LAST STATION WAGON." "TO ME, IT MEANS A LOT ABOUT FAMILY." "Susan Leibovitz:" "WE HAD THIS HUGE FAMILY." "I'M FIRST, AND THEN THERE'S OUR BROTHER HOWARD," "AND THEN THERE'S ANNIE, WHO'S THE THIRD, AND PAULA," "AND PHILIP, AND BARBARA." "Annie:" "I'VE ALWAYS LIKED CARS." "YOU COULD GET IN THE CAR AND DRIVE, YOU KNOW." "YOUR BODY IS SORT OF TAKEN CARE OF" "AND YOUR MIND IS FREE TO JUST SORT OF FLOAT ALONG." "Susan Leibovitz:" "WE WERE TRAVELING" "FROM AIR FORCE BASE TO AIR FORCE BASE." "WE MOVED FROM PLACE TO PLACE TO PLACE." "THE FAMILY IN THE CAR WAS THE STABLE UNIT." "Marilyn:" "WE LIVED" "IN OUR CAR, PRACTICALLY SPEAKING." "WE SLEPT IN THE CAR, AND DAD AND I WOULD" "TAKE TURNS DRIVING." "Susan Leibovitz:" "WHEN YOU'RE RAISED IN A CAR," "IT WAS EASY TO BECOME AN ARTIST BECAUSE" "WE SAW THE WORLD THROUGH A READY-MADE PICTURE FRAME," "WHICH WAS THE FRAME OF THE CAR WINDOW." "THAT WAS HOW YOU SAW THE WORLD." "Annie:" "I DIDN'T REALLY HAVE" "ANY REAL INTEREST IN PHOTOGRAPHY." "PHOTOGRAPHY TO ME WAS REALLY FAMILY BASED." "WE HAD FAMILY PICTURES" "AND THEY WERE VERY, VERY SENTIMENTAL TO ME." "AND THEY WERE IMPORTANT TO MY MOM," "SHE HAD THEM ON THE WALL EVERYWHERE." "Susan Leibovitz:" "MY MOTHER WAS PROLIFIC IN COMPILING" "DOCUMENTATION OF OUR FAMILY." "Annie:" "WE WERE JUST SO USED TO IT" "AND WE WERE USED TO IT AT ALL DIFFERENT TIMES." "WE JUST THOUGHT THAT THE CAMERA" "WAS ANOTHER MEMBER OF THE FAMILY." "Annie:" "IN THE LATE SIXTIES, THE VIETNAM WAR," "ALL OF THIS COUNTRY IN TURMOIL." "Susan Leibovitz:" "IT WAS THIS HUGE RIFT IN OUR FAMILY" "TO HAVE OUR FATHER IN VIETNAM," "AND ALL OF US MARCHING AGAINST THE VIETNAM WAR." "Annie:" "MY FATHER WAS STATIONED IN THE PHILIPPINES" "AND I DIDN'T REALLY WANT TO GO THERE." "MY FATHER ACTUALLY HAD TO COME" "AND DRAG ME TO THE PHILIPPINES." "I BOUGHT A CAMERA AND IT HAD A LITTLE NEEDLE INSIDE" "AND YOU WOULD LINE THE NEEDLE UP AND WHEN IT WAS IN THE CIRCLE," "THEN YOU KNEW THAT IT WAS THE CORRECT EXPOSURE." "I STARTED TO USE THE BASE DARKROOM." "IT WAS LIKE THE HOBBY SHOP." "I DIDN'T KNOW WHAT ELSE TO DO." "AND I TOOK PICTURES" "ON THE BASE AND AROUND THE BASE." "THOSE ARE MY FIRST PICTURES." "THEN THEY WANTED ME TO GO" "TO THE UNIVERSITY OF THE PHILIPPINES," "AND I MANAGED TO TALK THEM INTO LETTING ME" "STAY IN SAN FRANCISCO AND GO TO SCHOOL THERE." "Susan Leibovitz:" "I WAS LIVING IN BERKELEY AT THE TIME." "SO, MY PARENTS FELT LIKE IT WAS SAFE FOR ANNIE TO COME" "TO THE SAN FRANCISCO BAY AREA IN 1967." "SHE GOT TOGETHER WITH A BUNCH OF FRIENDS" "AND RENTED AN APARTMENT" "CRAMMED WITH STUDENTS, AND HER ROOM WAS THE CLOSET." "Annie:" "I WENT TO THE SAN FRANCISCO ART INSTITUTE" "AS A PAINTING MAJOR." "I HAD IT ALL FIGURED OUT -- I WAS GOING TO" "BECOME AN ART TEACHER, BUT I LEARNED VERY EARLY ON THAT" "YOU CAN'T BECOME AN ART TEACHER UNTIL YOU BECOME AN ARTIST," "AND IT WAS THIS..." "REALLY?" "!" "THE FOLLOWING SUMMER I TOOK A WORKSHOP IN PHOTOGRAPHY." "THEY ASKED YOU TO GO OUT THAT MORNING," "TAKE PICTURES, DEVELOP THEM IN THE DARKROOM THAT DAY," "AND THAT NIGHT YOU WERE SITTING" "AND LOOKING AT WHAT YOU DID AND TALKING ABOUT IT." "YOU GO OUT AND WALK AROUND, AND THE IMMEDIACY OF IT." "THERE WAS LIKE A SHARED COMMUNITY WATCH" "WHERE YOUR PRINTS CAME OUT," "AND YOU WANTED TO MAKE SURE THAT" "IF YOUR PRINT WAS OUT THERE WITH EVERYONE ELSE'S," "THAT IT WAS OKAY AND IT WAS GOOD." "IT WAS SOMETHING REALLY WONDERFUL" "ABOUT THE WHOLE PROCESS." "IT JUST, IT CLICKED..." "IT CLICKED WITH ME, I'M SORRY." "THE SCHOOL OF PHOTOGRAPHY" "AT THE SAN FRANCISCO ART INSTITUTE," "UM, WAS REALLY BASED ON ROBERT FRANK," "WHO WAS CONSIDERED THE FATHER OF 35 MM PHOTOGRAPHY" "IN THE UNITED STATES." "AND CARTIER-BRESSON, WHO REPRESENTED" "THE SAME KIND OF PHOTOGRAPHER, IN EUROPE." "THEY WERE CONSIDERED THE FIRST PHOTOGRAPHERS" "WHO TOOK PHOTOGRAPHY IN A WAY THAT HAD NEVER BEEN DONE BEFORE." "THEY MADE IT PORTABLE, VERY, VERY PORTABLE," "VERY, VERY RELAXED, VERY, VERY FLUID," "BECAUSE THEY HAD A SMALL CAMERA." "AND THIS IS HOW I LEARNED TO TAKE PICTURES." "IT WAS PERSONALIZED REPORTAGE WORK." "THE VERY FIRST BOOK THAT I BEGAN TO REALIZE" "WHAT IT MEANT TO BE A PHOTOGRAPHER" "WAS THE CARTIER-BRESSON BOOK," "AND IT WAS, IT WAS CALLED "THE WORLD OF CARTIER-BRESSON."" "I REMEMBER SITTING DOWN LOOKING" "AT THAT BOOK AND SEEING THAT YOU COULD TRAVEL THE WORLD." "THE CAMERA GAVE YOU THIS LICENSE TO WALK OUT" "AND BE ALONE IN THE WORLD," "BUT YOU WERE THERE WITH A PURPOSE." "IT WAS A VERY IMPORTANT DISCOVERY." "EVERY SHOOT HAS ITS DIFFERENT DYNAMICS." "YOU'RE NOT ALWAYS TRYING TO GET" "THE SAME THINGS FROM EVERY SHOOT." "Man:" "REMEMBER, THEY HAD THE BEAUTIFUL SHOTS" "OF HER HERE?" "Annie:" "YEAH." "SHE'S GONNA BE UPSET WITH IT PROBABLY." "THEY'RE GONNA KILL US -- HOW MUCH DID THOSE HORSES COST?" "I SAID I DIDN'T REALLY NEED THE HORSES." "DEFINITELY NEED FANS, TWO FANS." "[ MAN GROANING ]" "HEY, RICKY," "WE GOT 20 MINUTES OF LIGHT." "WE'RE GOING TO LOSE THE LIGHT." "I WAS SUPPOSED TO BE THERE WHEN THE MOVIE" "WAS ACTUALLY BEING MADE, BUT THAT DIDN'T HAPPEN," "SO WE HAD TO SORT OF RE-CREATE THE FILM." "OH, FABULOUS, OH, MY GOD!" "JASON, YOU COME HERE." "DID YOU BRING YOUR MASK?" "THIS IS THE CARRIAGE THEY COULD GET AT THE LAST MINUTE?" "WATCH YOUR HAIR." "EXCUSE ME, SIR." "DO YOU SPEAK ENGLISH?" "COME DOWN HERE." "EVERYONE LOOKS AMAZING." "YOU OKAY?" "CHRIS, I NEED CHRIS." "CAMERA'S NOT WORKING." "IT'S NOT WORKING AGAIN." "IS IT UNLOCKED?" "OH, MY GOD, IT LOOKS INCREDIBLE." "THAT'S BEAUTIFUL, BEAUTIFUL, BEAUTIFUL." "YEAH, GREAT, GREAT, GREAT, AND GREAT." "LET'S GO HOME." "YAY, WHOO!" "BRAVO!" "[ CHUCKLING ]" "AND HAPPY BIRTHDAY." "OH, THANK YOU." "IT WAS JUST FABULOUS." "OH, OKAY, HAVE A GOOD ONE." "WE'LL SEE YOU LATER IN THE AFTERNOON TOMORROW." "THAT WAS THE MOST BEAUTIFUL LIGHT." "THAT WAS SORT OF ANTICLIMACTIC." "IT JUST WASN'T GOOD ENOUGH FOR WHAT IT WAS." "BUT IT WAS LIKE," "WHY DON'T WE JUST PUT IT OVER HERE?" "ARRGH!" "OHH!" "I CAME OUT OF SAN FRANCISCO AND EVERYTHING WAS ABOUT" "TRYING TO MAKE IT A BETTER PLACE," "AND LOVE, LOVE, LOVE, AND I DON'T SAY THAT LIGHTLY." "I STILL BELIEVE IN, IN ALL THAT." "¶ WELL, MY NAME IS A NUMBER... ¶" "Man:" "I STARTED READING ROLLING STONE," "AND IT GOT ME INTERESTED IN WHAT WAS HAPPENING IN THE LATE '60s," "IN THE UNDERGROUND, HIPPIES AND ALL THAT." "Annie:" "IT WAS THE MAGAZINE OF ITS TIME," "IT WAS THE MAGAZINE OF THE CULTURE." "WE GREW UP TOGETHER." "Susan Leibovitz:" "HER BOYFRIEND AT THE TIME DROVE HER" "TO THE FRONT DOOR OF ROLLING STONE MAGAZINE" "AND PRACTICALLY PUSHED HER INSIDE." "Man:" "WHAT'S IT LIKE UP THERE AT ROLLING STONE?" "WHAT ARE THE PEOPLE REALLY LIKE?" "WHAT'S THE BIG STORY THERE?" "HELLO, ROLLING STONE." "Jann Wenner:" "ANNIE SHOWED UP AT ROLLING STONE ONE DAY WITH," "MAYBE, A BAG OF PICTURES AND MET WITH THE ART DIRECTOR," "AND WE RAN A COUPLE OF THEM." "THIS IS JANN WENNER, THE EDITOR OF ROLLING STONE." "IT WAS ALL RUN BY PEOPLE HER AGE OR JUST A LITTLE OLDER." "YOU KNOW, NOTHING SUPER PROFESSIONAL." "1966, 1967" "WAS THE BIRTH OF" "THE SAN FRANCISCO ROCK-AND-ROLL SCENE." "THERE WAS THE DEAD," "AND JEFFERSON AIRPLANE," "AND THERE WAS JUST FERMENT IN THE AIR." "FROM THERE THIS SCENE GREW" "AND IT WAS OUT OF THAT THAT ROLLING STONE CAME." "TO AL GREEN AND TO ROLLING STONE." "ANOTHER GOOD YEAR." "THE VERY BEST OF THINGS," "TO AL GREEN AND THE ROLLING STONE." "Wenner:" "THERE WAS THIS SPECIAL TALENT IN THE AIR " " TOM WOLFE." "IF THERE WAS ONE THING I LIKED, IT WAS THE FACT THAT," "ABOUT ROLLING STONE WAS THAT," "YOU CAN OBVIOUSLY JUST WRITE YOUR HEAD OFF." "Wenner:" "HUNTER THOMPSON." "Felton:" "WE WERE ALL WORKING FOR SOMETHING WE REALLY BELIEVED IN." "WE WERE THE ONLY PEOPLE REALLY DESCRIBING" "WHAT WAS GOING ON, AND THERE WAS A LOT GOING ON BACK THEN." "WE WERE ALL REALLY INTERESTED IN THE IDEA OF" "EXPERIMENTING, EXPERIMENTING WITH OUR ART," "AND EXPERIMENTING WITH EVERYTHING WE DID." "Woman:" "NEVER THOUGHT ABOUT DOING THAT BEFORE." "SHE HAD ALL THIS ENERGY, ALL THIS IMAGINATION." "SHE HAD A GREAT JOURNALISTIC SENSE," "AND I IMMEDIATELY HAD THE HOTS FOR HER." "Annie:" "WHEN I STARTED TO WORK FOR ROLLING STONE," "YOU WERE SUDDENLY WORKING WITH OTHER PEOPLE." "YOU'RE WORKING WITH AN ART DIRECTOR, WITH A WRITER," "IT WAS A WHOLE OTHER LANDSCAPE." "THE MAGAZINE IS THIS EXTRAORDINARY EMPTY CANVAS" "THAT IS WAITING TO BE FILLED UP WITH IMAGERY." "I REMEMBER THE FIRST TIME I SAW MY VERY FIRST COVER." "THAT MOMENT HAS STAYED WITH ME FOREVER." "IT'S JUST LIKE SO POWERFUL TO SEE THIS IMAGE" "REPLICATED OVER AND OVER AND OVER AGAIN AND ON NEWSSTANDS." "IT'S VERY POWERFUL STUFF." "I LEARNED VERY EARLY ON" "THAT SOMETHING THAT WOULDN'T SEEM LIKE IT WAS ANYTHING" "WOULD BE SOMETHING." "AND I ENJOYED THAT ASPECT OF IT SO MUCH." "I NEVER LIKED TO PRESUME SOMETHING" "STORY OR A PERSON UNTIL I GOT THERE." "I REALLY DO LOVE WORKING FOR THE MAGAZINE." "I GET TO TRAVEL." "MOBILITY IS, LIKE, MY GOAL." "AS LONG AS I CAN MOVE," "AS LONG AS I CAN KEEP MOVING, I'M HAPPY." "Wenner:" "SHE WAS COLLABORATING WITH PEOPLE" "WHO SHAPED HER WORLD AND INFLUENCED HER" "BECAUSE SHE WAS A MUSIC FAN -- PEOPLE SPOKE TO HER." "Wenner:" "I WAS GOING TO NEW YORK TO DO THIS INTERVIEW" "WHICH I HAD SPENT TWO OR THREE YEARS WORKING ON SETTING UP" "AND GETTING TO KNOW JOHN AND YOKO." "JOHN LENNON HAD NEVER, EVER, EVER GIVEN A REAL" "IN-DEPTH INTERVIEW ABOUT WHAT IT WAS LIKE TO BE IN THE BEATLES." "AND HE WAS READY TO TELL THE STORY." "AND ANNIE CAME TO ME AND SAID," ""I WANT TO COME ALONG AND SHOOT IT,"" "AND IT WASN'T MY IDEA THAT SHE COME AND SHOOT IT." "ANNIE JUST BEGGED TO BE A PART OF IT." "Annie:" "THIS WAS ONE OF THE FIRST REALLY BIG MUSICIANS" "THAT I WAS EVER GOING TO MEET, AND I WAS DYING TO GO." "I SAID, "PLEASE LET ME GO WITH YOU ON THIS," "AND I'LL STAY WITH SOME FRIENDS AND I'LL FLY YOUTH FARE."" "Yoko Ono:" "SHE WAS LIKE A STUDENT STILL," "VERY YOUNG AND SWEET," "AND I THOUGHT, "THIS IS INTERESTING THAT JANN DID NOT" "GET SOME FAMOUS, FAMOUS PHOTOGRAPHER."" "Annie:" "HE HAD NO AIRS ABOUT HIM." "I THINK I WAS IN SUCH AWE," "SOMEONE BEING JUST NICE TO YOU AND NORMAL." "BEING ALLOWED TO BE THERE -- THAT WAS A BIG DEAL." "HE JUST SET A PRECEDENT FOR ME OF WHAT YOU SHOULD EXPECT." "Yoko Ono:" "SHE WAS MORE CONCERNED ABOUT THE SPIRIT, I THINK," "AND THAT CAME THROUGH." "Annie:" "I REALLY DIDN'T KNOW HOW TO DIRECT ANYONE" "TO DO ANYTHING." "I WAS TAKING MY METER READING," ""IF YOU COULD JUST LOOK BACK AT ME FOR A SECOND,"" "AND I TOOK A PICTURE AT THE SAME TIME " "I WAS REALLY TAKING A METER READING." "¶ AND WE ALL SHINE ON ¶" "Wenner:" "SHE JUST HAD THIS PORTRAIT OF HIM" "THAT WAS STUNNINGLY POWERFUL!" "IT WASN'T AN ACT OF GENIUS ON MY PART TO SEE IT." "AND ANNIE CERTAINLY," "AFTER I POINTED IT OUT, SAW THAT I WAS DEAD SET ON IT," "THAT WAS GOING TO BE THE PICTURE." "KNOWING THAT YOU HAD THIS TALENT," "TO NURTURE IT AND MAKE IT HAPPEN, I GAVE HER THE SPACE," "YOU KNOW, IT WAS THE OBVIOUS THING TO DO." "SHE JUST DID ALL THAT WORK, I GUESS, AS PART OF" "THAT APPRENTICESHIP, AND IT WAS CONSTANT." "Annie:" "HE SORT OF LEFT ME TO MY OWN DEVICES." "I WAS NEVER EVER TOLD WHAT TO GO DO." "Felton:" "I FELT THAT SHE WAS REALLY GOOD TO GO OUT WITH" "FROM A JOURNALISTIC STANDPOINT" "BECAUSE SHE REALLY DID OBSERVE THINGS WELL " "LITTLE TICS AND FEELINGS OF THE PLACE " "IN A WAY THAT I MIGHT NOT HAVE CAUGHT." "Annie:" "THEY REALLY DIDN'T UNDERSTAND PHOTOGRAPHY SO WELL." "IT WAS CERTAINLY NOT AS IMPORTANT TO THEM AS THE STORY." "I COVERED EVERYTHING FOR ROLLING STONE," "AND ROLLING STONE COVERED EVERYTHING." "IT WASN'T JUST A MUSIC MAGAZINE." "Wenner:" "SHE WORKED WITH TOM ON THE ASTRONAUTS." "TOM WAS DOING "THE RIGHT STUFF."" "Felton:" "WE TOOK HER OUT ON THE CAMPAIGN TRAIL," "TO RIDE THE TRAIN WITH McGOVERN, GO COVER WATERGATE." "Wenner:" "ANNIE LEIBOVITZ, OUR STAFF PHOTOGRAPHER." "SHE'S AROUND." "SHE JUST GOT BACK FROM HAWAII." "Wenner:" "ANNIE WOULD WORK WITH ALL THE WRITERS." "HUNTER THOMPSON, QUITE A BIT." "SHE AND HUNTER WERE FAST FRIENDS" "AND RECOGNIZED IN EACH OTHER" "THAT WILD AND SPIRITED NATURE OF EACH OTHER." "Nixon:" "I HAVE NEVER BEEN A QUITTER." "TO LEAVE OFFICE BEFORE MY TERM IS COMPLETED" "IS ABHORRENT TO EVERY INSTINCT IN MY BODY." "Felton:" "WHEN RICHARD NIXON RESIGNED," "WHICH WE HAD ALL BEEN ROOTING FOR," "WE WANTED TO GO WITH SOMETHING, YOU KNOW, A MAJOR ISSUE." "WELL, UNFORTUNATELY THE ONLY COPY THAT HAD BEEN ASSIGNED," "REALLY, WAS HUNTER THOMPSON'S STORY, AND HE DIDN'T FILE." "Annie:" "FINALLY, HUNTER GOT WHAT HE WANTED " "NIXON WAS GONE." "HE JUST GOT BLOCKED UP AND HE COULDN'T WRITE THE PIECE." "THAT WAS A BIG TRIUMPH -- IN PLACE OF HUNTER'S WORDS," "THEY USED, THEY RAN, YOU KNOW, SEVERAL..." "THEY RAN A BIG PHOTO ESSAY." "THEN I WAS ONE OF THE LAST JOURNALISTS" "THEY LET IN THE WHITE HOUSE." "NIXON'S WALKING DOWN THE RED CARPET" "AND GETS IN THE HELICOPTER." "EVERYONE HAD PRETTY MUCH MOVED AWAY." "I WAS STILL OUT THERE AND I NOTICED THAT" "THE GUARDS WERE ROLLING UP THE CARPET." "IT'S NOT THE KIND OF PICTURE" "THAT ANYONE ELSE HAD ROOM TO RUN," "OR WOULD BE INTERESTED IN RUNNING." "A LOT CAN BE TOLD FROM WHAT HAPPENS" "IN BETWEEN THE MAIN MOMENTS." "Wenner:" "ANNIE JUST WENT IN THERE" "WITH NO PARTICULARLY SPECIAL ACCESS AND DELIVERED" "THIS BEAUTIFUL SET OF PICTURES OF THIS EVENT." "SHE STARTED TO GET A LITTLE STAR STATUS WITHIN THE OFFICE " "NOT QUITE EQUAL TO HUNTER, BUT NEAR THAT." "Annie:" "IN ORDER TO DO THE BEST POSSIBLE" "KIND OF PHOTOGRAPH FOR WHAT IT IS THAT I'M IN RIGHT NOW," "I REALLY HAVE TO BE IN IT." "IT HAS TO BE AROUND ME." "LIKE, YOU KNOW, THAT IS THE BEST KIND OF PHOTOGRAPHY," "IS WHAT IS AROUND YOU." "LIKE, YOU BECOME PART OF IT." "Wenner:" "WHAT ANNIE WOULD DO WAS SHE WOULD SPEND" "TWO OR THREE DAYS ON THE ROAD WITH A PERSON, OR TWO OR THREE" "DAYS IN THEIR LIFE." "IF IT WAS FLEETWOOD MAC OR THE ALLMAN BROTHERS," "SHE'D BE ON THE BUS WITH THE ALLMAN BROTHERS" "FOR THREE OR FOUR DAYS AND ACHIEVE A LEVEL" "OF UNDERSTANDING AND DEPTH." "THAT'S WHAT MAKES THESE PHOTOGRAPHS THAT SHE DID" "SO INTIMATE AND SO REVEALING." "Annie:" "IN ORDER TO GET THE BEST POSSIBLE PICTURES," "ONE HAD TO BECOME PART" "OF WHAT WAS GOING ON AND JUST DO EVERYTHING THAT WAS GOING ON." "AND THEN YOU WERE THERE AND NO ONE PAID YOU ANY MIND," "AND YOU CAN TAKE THE PICTURES YOU WANT TO TAKE." "Felton:" "WE WERE ALL INTO DOING LOTS OF ODDBALL" "CULTURAL THINGS " "WHOREHOUSES IN NEVADA." "YOU KNOW ANY KIND OF SUBCULTURE" "OR SLICE OF LIFE THING, AND CERTAINLY THIS" "WAS A WINDOW INTO SUBCULTURE WE DIDN'T KNOW MUCH ABOUT." "Arnold Schwarzenegger:" "I MET ANNIE THE FIRST TIME" "ON A FLIGHT DOWN TO SOUTH AFRICA IN 1975" "WHEN I WENT DOWN TO COMPETE IN THE MR. OLYMPIC COMPETITION." "ANNIE IS A PERSON THAT IS VERY GOOD IN ADAPTING" "TO THE CIRCUMSTANCES AND TO THE PEOPLE THAT ARE AROUND." "SO SHE WAS VERY QUICK IN ADAPTING TO" "THE BODY-BUILDING WORLD." "SHE KNEW HOW TO TALK TO THE BODY BUILDERS," "AND SHE KNEW HOW TO MAKE YOU FEEL GOOD." "SHE ALWAYS HAS A WAY OF KIND OF SNEAKING IN" "AND BECOMING PART OF YOUR LIFE." "ALL OF A SUDDEN YOU DIDN'T EVEN NOTICE THAT SHE WAS" "TAKING PICTURES AND RECORDING THE WHOLE THING." "NO MATTER WHERE IT WAS, THERE WAS ANNIE," "BUT YOU DIDN'T REALLY SAY, "GET HER OUT OF HERE," "SHE'S IN MY WAY," YOU ALWAYS FELT LIKE SHE'S ONE OF THE GANG." "¶ I'M TALKIN' 'BOUT THE MIDNIGHT RAMBLER ¶" "¶ AND EVERYBODY GOT TO GO... ¶" "Marilyn:" "OF COURSE I WAS WORRIED" "ABOUT ANNA-LOU BEING WITH THE ROLLING STONES" "AT THE TIME." "Wenner:" "MY ADVICE TO HER IN THE FIRST PLACE WAS," "DON'T GO ON TOUR WITH THE ROLLING STONES." "IT WAS SUCH A SEDUCTIVE OPPORTUNITY, YOU KNOW," "THE WORLD'S GREATEST ROCK-AND-ROLL BAND," "THE HIGH LIFE," "ROLLING THE DICE AT THE TOP LEVEL, YOU KNOW," "IT WAS IRRESISTIBLE." "Wenner:" "SHOOT IT, FOR SURE, BUT DON'T GO." "I'VE HAD TOO MANY FRIENDS GO ON TOUR AND COME BACK DRUG ADDICTS." "Annie:" "I DIDN'T KNOW WHAT I WAS GETTING MYSELF INTO." "IT WAS UNBELIEVABLY STUPID TO PICK THAT GROUP OF MEN" "IN THAT SITUATION TO DECIDE TO SORT OF" "BECOME PART OF SOMETHING, YOU KNOW." "Wenner:" "ALL DRUGGING IT UP, AND HANGING OUT, YOU KNOW." "MY POINT WAS, GO ON SOME OF IT," "DON'T GO ON THE WHOLE THING, AT YOUR OWN PERIL." "Mick Jagger:" "PHOTOGRAPHERS ATTACH THEMSELVES TO YOU." "IN THOSE DAYS PEOPLE WERE MUCH MORE FREE AND EASY" "THAN THEY ARE NOW." "THEY DIDN'T MIND," "AND NONE OF THEM ASKED, AND NOBODY CARED," "AS LONG AS THEY JUST GOT ON WITH EVERYONE, IT WAS OKAY." "Keith Richards:" "SHE WAS ONE OF THE FIRST FEMALE PHOTOGRAPHERS" "IBER." "IT MADE A CHANGE" "FROM ANOTHER BLOKE, YOU KNOW." "THIS IS INTERESTING, SEE HOW LONG SHE LASTS." "YOU KNOW, BUT SHE HUNG IN, AND THAT WAS THE OTHER BIG SURPRISE." "WE THOUGHT, "SHE WON'T LAST LONG," AND THE..." "BEING TOGETHER EVERY DAY " "DAY IN, DAY OUT, WEEK IN, WEEK OUT " " SHE BECAME" "VERY UNOBTRUSIVE, YOU KNOW, YOU DIDN'T THINK ANYTHING" "ABOUT ANNIE WALKING AROUND GOING..." "SHE'D FIND THINGS THAT MOST PEOPLE WOULDN'T GET AROUND TO." "Mick Jagger:" "SHE WAS AROUND A LOT." "SHE WAS AROUND SOCIALLY, TOO." "I REMEMBER THERE'S A PICTURE HERE" "WHERE I'D CUT MYSELF IN A RESTAURANT IN MONTAUK " "PUT MY HAND THROUGH THE DOOR ACCIDENTALLY" "AND THEN I HAD TO GO TO THE HOSPITAL IN SOUTHAMPTON" "TO GET STITCHED UP, AND SHE WAS STILL TAKING PICTURES OF ME," "BEING STITCHED." "MY SCAR, IT'S KIND OF GONE AWAY A BIT NOW, BUT THERE IT IS." "¶ WELL, YOU HEARD ¶" "¶ ABOUT THE BOSTON ¶" "¶ HONEY ¶" "¶ IT'S NOT ONE OF THOSE ¶" "LET ME SEE IT FOR A MOMENT." "OH, THAT ONE I DON'T REMEMBER." "[ LAUGHING ]" "¶ TALKIN' 'BOUT THE MIDNIGHT ¶" "¶ SH... ¶" "NO, I CERTAINLY DON'T REMEMBER." "BUT THAT'S WHAT I MEAN -- SHE CAN SEE THINGS THAT I CAN'T." "¶ I'M CALLED THE HIT-AND-RUN ¶" "¶ RAPER... ¶" "Wenner:" "AFTER ABOUT 10 CONCERTS, YOU'RE GETTING" "THE SAME PICTURES;" "AFTER ABOUT 10 HOTEL ROOMS," "YOU'RE GETTING THE SAME PICTURES;" "SO THERE WASN'T" "THAT MUCH NEW TO BE GAINED AND, FRANKLY, I THOUGHT THE SITUATION" "WAS VERY DESTRUCTIVE, AND IT PLAYED" "TO THE MOST SELF-DESTRUCTIVE ELEMENTS IN ANNIE." "THERE WERE TONS OF DRUGS AROUND AT THAT TIME," "IT HAD BEEN THEIR HUGE DRUG PERIOD." "Annie:" "I DID EVERYTHING" "YOU'RE SUPPOSED TO DO WHEN YOU GO ON TOUR" "WITH THE ROLLING STONES -- YOU KNOW, I..." "I MEAN JUST IMAGINE EVERYTHING YOU CAN POSSIBLY DO," "AND I DID IT." "Wenner:" "WE HAD A BIG TUSSLE OVER A DISAGREEMENT" "ABOUT HER DOING THAT, WHICH I WAS AGAINST." "OH, SO IT WAS HER IDEA, WAS IT?" "I NEVER KNEW WHOSE IDEA " "I THOUGHT IT WAS MAYBE HIS IDEA AND THAT HE'D SORT OF SAID," ""YOU'RE ASSIGNED TO THIS," OR SOMETHING LIKE THAT." "OKAY." "Wenner:" "BUT, YOU KNOW, SHE GOT SOMETHING OUT OF IT." "SHE GOT A LIFELONG FRIENDSHIP WITH THE STONES OUT OF IT" "AND, YOU KNOW, A GREAT REPUTATION." "YOU KNOW, AND SHE WAS," "I GUESS BY THIS POINT, JUST BEYOND QUESTION" "THE NUMBER-ONE PHOTOGRAPHER IN OUR ROCK-AND-ROLL WORLD." "Man:" "HAVE YOU DONE IT SO MUCH" "THAT YOU COULD GO IN BLINDFOLDED AND MAKE COVER PHOTOS" "FOR THE ROLLING STONE AND MICK JAGGER?" "I WOULD NEVER GO INTO ANYTHING LIKE YOU SAID," "I REALLY TAKE EVERYTHING PRETTY SERIOUSLY." "Mick Jagger:" "SHE CERTAINLY CONVEYED" "SOMETHING FROM BEHIND THE STAGE OR IN THE PIT" "AND SOME BITS WHICH HAD NEVER REALLY BEEN SEEN BEFORE." "AND THE MOVEMENT SHE CAPTURED, I THOUGHT, WAS REALLY FANTASTIC." "Annie:" "IT'S A LOT OF FOOTWORK." "A TREMENDOUS AMOUNT OF" "FOOTWORK " " YOUR FEET -- WELL, I GUESS IT GOES" "ALL THE WAY UP." "Annie:" "I'VE ALWAYS BEEN INTERESTED IN DANCE," "AND I'M SURE IT COMES FROM MY MOTHER BEING A DANCER." "Marilyn:" "IT STARTED WITH ISADORA DUNCAN" "STYLE OF DANCING AND THEN WENT" "INTO MORE MODERN WITH MARTHA GRAHAM." "ANNA-LOU HAD HER DANCE CLASSES, TOO." "I PROMOTED ART AS MUCH AS I COULD." "Annie:" "THERE WERE THESE IMAGES OF MARTHA GRAHAM" "WITH HER LEG LIFTED UP." "AS I GOT OLDER, I REALIZED THESE WERE" "BARBARA MORGAN PHOTOGRAPHS, AND I STARTED" "TO STUDY HOW BARBARA MORGAN TOOK THOSE PICTURES." "SHE REALLY STUDIED THE DANCE, AND THEN SHE PICKED" "SOME MOMENTS AND SHE, YOU KNOW," "RE-CREATED THEM." "Man:" "I AM PHOTOGRAPHED ALL THE TIME," "I'M SORRY, AND I'M COMFORTABLE BEING PHOTOGRAPHED," "BUT I'M VERY SPECIFIC." "I'M VERY CAREFUL NOT TO LOOK" "LIKE A COMPLETE FOOL." "IF I DO, IT'S ON PURPOSE." "THE FIRST TIME I WORKED WITH ANNIE" "WAS A DOUBLE PORTRAIT SESSION " "ME AND MR. MIKHAIL BARYSHNIKOV," "WHO'S A VERY GOOD DANCER HIMSELF." "[ LAUGHS ]" "Baryshnikov:" "ACTUALLY I GOT TO KNOW ANNIE THROUGH MARK" "BECAUSE SHE WAS ATTENDING ALL HIS REHEARSALS." "Annie:" "I ALWAYS HAD A DREAM, I GUESS, REALLY BASED" "ON THE BARBARA MORGAN- MARTHA GRAHAM RELATIONSHIP," "REALLY LOOKING FOR, HOW IS A DANCE MADE?" "Baryshnikov:" "WE WERE VERY BUSY." "MARK WAS DOING A FEW NEW PIECES," "AND DURING THE REHEARSAL, SHE SHOT HER MATERIAL." "AFTER A FEW DAYS, WE REALLY KIND OF FORGOT THAT SHE WAS THERE." "Morris:" "THERE'S LOTS OF PICTURES IN THE SEQUENCE" "THAT LOOK LIKE NOTHING." "THEY LOOK LIKE," ""WHERE'S THE FOCUS OF THIS PICTURE?"" "THERE ISN'T A CLASSICAL TRIANGLE, YOU KNOW," "OR POINT OF VIEW AND DEPTH OF FIELD, BLA BLA BLA." "THERE'S JUST PEOPLE KIND OF DANCING." "THERE'S ONE THAT HAS EVERYBODY SORT OF SLOW DANCING," "AND IT LOOKS LIKE A DANCE MARATHON," "AND EVERYBODY'S EXHAUSTED, WHICH YOU ARE IF YOU'RE A DANCER." "Annie:" "THAT WAS ONE OF THE BEST TIMES OF MY LIFE." "I MEAN IT " " NO, I'M SERIOUS." "NO, MIKHAIL, IT WAS REALLY, IT WAS SUCH AN IMPORTANT..." "LATE DINNERS AND SO MUCH FUN." "IT WAS REALLY FANTASTIC." "THE THING ABOUT A PHOTOGRAPH IS THAT YOU ARE DOING" "A HEIGHTENED MOMENT OR A MOMENT." "HMM." "THIS IS TRUTH, RIGHT HERE, US." "THIS IS NOT TRUTH." "THIS IS LIKE " " THIS IS KIND OF A LITTLE NOTE, A LITTLE LETTER." "Annie:" "I BEGAN TO SORT OF UNDERSTAND" "THAT DANCE COULDN'T BE PHOTOGRAPHED." "HOW WONDERFUL THAT IT COULDN'T BE PHOTOGRAPHED." "THERE WAS SOMETHING BEAUTIFUL ABOUT COMING" "TO THAT PLACE AND REALIZING THAT YOU WERE JUST KIND OF DOING" "A PORTRAIT OF A MOMENT." "IT WAS THIS ART THAT LIVED IN THE AIR." "I'VE NEVER DONE ANY AERIAL WORK OVER THE CITY ITSELF." "I'VE BEEN ON THE RIVER, BUT NOT IN THE CITY," "SO IT WILL BE INTERESTING." "THE LIGHT IS NOT FANTASTIC, SO I'M NOT " "IT'S REALLY MORE OF A RECONNAISSANCE." "WHOO!" "IT'S FANTASTIC." "Man:" "IT'S A GREAT WAY TO SEE THE CITY." "WHOO!" "Man:" "TODAY ROLLING STONE STARTED MOVING INTO ITS NEW DIGS" "MORE THAN 20 STORIES UP ACROSS THE STREET" "FROM THE GM BUILDING, THE PLAZA, AND BERGDORF'S AT 58th AND 5th." "THE DECISION HAD TO BE TO CONSOLIDATE THE COMPANY." "YOU CAN'T RUN IT, YOU KNOW, SPLIT IN HALF " "AND AS TO WHERE, CALIFORNIA OR NEW YORK?" "NEW YORK IS WHERE PUBLISHING IS." "NEW YORK IS WHERE THE TALENT POOL IS THAT WE NEED." "Annie:" "THE IDEAS, THE INTELLIGENT IDEAS" "AND THE PHOTOGRAPHY IN THE MAGAZINES SEEMED TO BE COMING" "OUT OF NEW YORK AND EUROPE." "I WASN'T REALLY LOOKING AT THE FASHION AS MUCH AS I WAS LOOKING" "AT THE PORTRAITS." "GO OUT A LITTLE WIDER TO YOUR NORTH." "Man:" "WHAT BEGAN AS AN UNDERGROUND MAGAZINE" "IN FOUR SMALL ROOMS IN SAN FRANCISCO FOUR YEARS AGO" "HAS NOW GROWN TO ALMOST 40 ROOMS ON 4 FLOORS" "ON FIFTH AVENUE." "SOME OF THE MOST EXPENSIVE OFFICE SPACE IN NEW YORK." "Annie:" "WHEN ROLLING STONE DECIDED" "TO MOVE TO NEW YORK IN 1978," "IT MIGHT AS WELL HAVE BEEN OZ, IT WAS JUST SO FAR AWAY." "I THOUGHT, "OH, I'LL GO FOR A YEAR." "I'LL SEE WHAT THAT'S LIKE, FOR A YEAR."" "I NEVER THOUGHT I WAS GOING TO END UP IN NEW YORK CITY" "AND BE HERE THIS LONG." "Wenner:" "IF WE WERE GOING TO BE A PART" "OF THE MAINSTREAM MAGAZINE BUSINESS" "AND BE ABLE TO GROW," "WE REALLY HAD TO MOVE OUT OF SAN FRANCISCO" "AND MOVE TO NEW YORK." "EVERYBODY HAD TO GROW UP." "Annie:" "WHEN YOU WERE IN NEW YORK, YOU WERE THINKING" "THIS IS WHERE RICHARD AVEDON, YOU KNOW, LIVED!" "AND THIS WAS HIS TOWN AND IT WAS HIS WORK," "AND AVEDON REPRESENTED NEW YORK TO ME." "Wenner:" "SO I BROUGHT ANNIE" "UP TO DICK'S STUDIO AND WE ALL HAD LUNCH TOGETHER." "DICK WAS TRYING HIS BEST TO, YOU KNOW, BE POLITE" "AND ENGAGE ANNIE, AND ANNIE WAS HER USUAL, VERY NERVOUS SELF." "AND IT WAS FUNNY THAT EACH OF THEM HAD THEIR CAMERAS." "EACH OF THEM TOOK A PICTURE OF THE OTHER PERSON" "AND SHE WAS JUST HORRIFIED THAT HE WAS TAKING HER PICTURE." "I HAPPEN TO THINK THAT" "THE COVER IDEA THAT WE'VE EVOLVED NOW," "WHICH IS SHOOTING AGAINST AN ALL WHITE SEAMLESS..." "IS FANTASTIC." "I INTEND THAT" "TO CONTINUE WITH THIS STYLE" "FOR THE INDEFINITE FUTURE ON EVERYTHING" "AND MAKE THIS THE STYLE OF ROLLING STONE COVERS." "I LOVE IT, IT LOOKS BEAUTIFUL." "WE DON'T NECESSARILY HAVE TO ALWAYS SHOOT ON WHITE BECAUSE," "AS LONG AS IT'S A CONSISTENT STYLE," "I THINK IT WILL DO THE SAME THING." "Annie:" "MOVING TO NEW YORK WAS LIKE" "HITTING A WALL, LIKE HITTING A BRICK WALL," "THAT EVERYONE WHO WORKED FOR THE MAGAZINE" "THOUGHT WE WERE SORT OF MOVING ENSEMBLE, THAT WE WERE GOING" "TO BE ABLE TO SUPPORT EACH OTHER AND HELP EACH OTHER." "BUT EVERYONE HAD SO MANY" "OF THEIR OWN PROBLEMS TO DEAL WITH THAT" "IT MADE IT VERY HARD FOR ANYONE TO SUPPORT ANYONE ELSE." "Felton:" "NEW YORK'S A FUN PLACE," "BUT IT'S HARD, AND IF YOU GET OFF THE TRACK" "JUST THE LEAST LITTLE BIT, IT'S A SERIOUS DERAILMENT." "Annie:" "THERE WASN'T ANY KIND OF SUPPORT SYSTEM" "SET UP FOR ANYBODY MOVING THERE." "IT WAS SORT OF LIKE LETTING CHILDREN LOOSE IN A BIG CITY." "Wenner:" "ANNIE NEEDED MORE ATTENTION AND MORE HELP" "AND BROADER EXPERIENCE THAN WE WERE THEN ABLE TO PROVIDE." "SHE NEEDED A TEACHER, AND SHE FOUND BEA." "Steinem:" "BEA, WHO WAS ALREADY A LEGEND" "FROM DESIGNING MAGAZINES AND BOOKS, AND SHE KNEW" "PRACTICALLY EVERY REALLY TALENTED PHOTOGRAPHER" "AND DESIGNER IN NEW YORK," "AND PERHAPS THE WORLD." "Annie:" "BEA FEITLER TOOK ME UNDER HER WING." "SHE WAS VERY, VERY, VERY IMPORTANT AT THAT PERIOD." "SHE SAID, "YOU HAVE TO EDIT YOUR WORK." "YOU REALLY HAVE TO EDIT YOUR WORK."" "I DIDN'T UNDERSTAND HOW SHE DID IT." "I WOULD LOOK AT MY CONTACT SHEETS FOR FIVE HOURS" "TRYING TO -- WITH MY LOUPE " "TRYING TO FIGURE OUT WHICH ONE, YOU KNOW..." "AND SHE COULD LOOK AT THE CONTACT SHEETS AND IN," "YOU KNOW, THREE MINUTES, SHE WOULD HAVE IT EDITED." "SHE KNEW WHAT WAS THE BEST ONE." "I DIDN'T UNDERSTAND, HOW DID SHE DO THAT?" "HOW DID SHE DO THAT?" "HOW DID SHE KNOW?" "THAT'S ONE OF THE GREATEST LEARNING EXPERIENCES" "YOU CAN HAVE, IS TO TAKE YOUR OWN WORK," "HAVE SOMEBODY WHO YOU RESPECT LOOK AT IT," "AND THEN FIGURE OUT, "WHY DID THEY LIKE THESE FIVE" "AND NOT THE OTHER 500?"" "AND YOU LEARN A LOT IF YOU CAN FIGURE THAT OUT." "BECAUSE IT'S ABOUT LIGHTING, IT'S ABOUT POSE," "IT'S ABOUT ATTITUDE, IT'S ABOUT" "WHAT YOU'RE TRYING TO ACCOMPLISH IN THE SHOOT." "I HAVE A GOOD EXAMPLE OF WHEN I D SOMETHING WRONG." "THERE WAS A GROUP COVER WITH BRUCE SPRINGSTEEN" "AND JAMES TAYLOR, AND BONNIE RAITT," "AND JACKSON BROWNE AND CARLY SIMON." "I THINK IT WAS AN ANTI-NUKE RALLY." "JANN WANTED TO PUT THEM ALL TOGETHER," "AND I WENT AND TOOK" "THE PICTURES AND JUST KIND OF THREW EVERYONE AGAINST A WALL" "AND TOOK THEIR PICTURE" "AND CAME BACK WITH THE FILM TO BEA" "AND SHE LOOKED AT ME AND SHE WAS" "JUST SO ANGRY." "SHE SAID, YOU KNOW, "YOU REALLY, YOU REALLY MESSED UP."" "I MEAN HERE WAS THIS " "YOU HAD THIS OPPORTUNITY" "AND YOU COULD HAVE MADE SOMETHING OF THIS." "YOU COULD HAVE MADE IT A VERY IMPORTANT PHOTOGRAPH." "YOU COULD HAVE DONE SOMETHING THAT WOULD HAVE TAKEN" "THIS THING TO ANOTHER LEVEL." "AND YOU WASTED THAT OPPORTUNITY." "AND IT WAS A VERY, VERY IMPORTANT LESSON." "THAT ONE HAS TO TAKE IT TO ANOTHER PLACE," "AND YOU CAN MAKE IT SOMETHING" "THAT MEANS SOMETHING TO OTHER PEOPLE." "Wenner:" "SHE STARTED INVESTIGATING" "WHAT OTHER PHOTOGRAPHERS HAD DONE OVER THE YEARS," "AND CONCEPT STUFF AND BRINGING IN PROPS," "AND SHE JUST BROUGHT THIS WONDERFUL THING TO IT," "WHICH WAS THAT A CONCEPT SOMEHOW, YOU KNOW," "WAS GOING TO BE DEEPLY CONNECTED TO SOMETHING ABOUT THIS PERSON," "YOU KNOW, OR SOMETHING." "I REMEMBER SEEING HER THINKING ALL THE TIME ABOUT" "WHAT TO DO, HOW TO DO IT." "I LINK THAT TO HER PICTURE OF BETTE ON THBED OF ROSES." "Bette Midler:" "WE WERE DOING PROMOTION" "FOR THE ROCK-AND-ROLL MOVIE CALLED "THE ROSE."" "SHE PUT ME AT EASE WHEN I CAME IN" "AND SHE EXPLAINED THE SHOT TO ME, AND OF COURSE," "BY THAT TIME I WAS A LITTLE BIT BIG FOR MY BRITCHES," "AND I THOUGHT, "WELL, I'M NOT SO SURE ABOUT THIS."" "I SAW THAT THERE WERE A LOT OF ROSES, AND I THOUGHT," ""OH, MY GOD, I'M GOING TO BE SCRATCHED TO DEATH."" "Annie:" "THESE WERE JUST FLOWER MARKET ROSES" "AND THEY CAME IN ALL THORNED." "AND THERE WAS A LAST MINUTE HYSTERIA BECAUSE" "I COULDN'T HAVE HER LIE DOWN IN THORNS," "AND WE WERE SITTING THERE WITH CLIPPERS" "TRYING TO DE-THORN THESE ROSES, YOU KNOW, BEFORE SHE CAME IN." "Bette Midler:" "AND I LOOKED AND THEY WERE LIKE," "THERE WERE SO MANY THOUSANDS OF ROSES DOWN ON THE GROUND," "AND I THOUGHT, "OH, SHE REMOVED EVERY ONE." "OH, MY GOD, SHE'S SO THOUGHTFUL,"" "AND THEN I, OF COURSE WAS, YOU KNOW, HER, HER SLAVE!" "I GET A LETTER A WEEK AFTER THE THING COMES OUT," "FROM AVEDON, SAYING, "DEAR JANN," ""ANNIE'S COVER OF BETTE IS THE BEST SOLUTION" "FOR A MAGAZINE COVER I'VE SEEN IN 30 YEARS."" "Annie:" "I THINK THAT BETTE MIDLER WAS" "A VERY IMPORTANT PICTURE, BECAUSE IT WAS THE BEGINNING" "OF TRYING TO THINK OF HOW TO DO A SET-UP PHOTOGRAPH." "WHAT FINALLY BROUGHT IT HOME, STRANGELY ENOUGH," "WAS NOT AN ASSIGNMENT FROM ROLLING STONE," "BUT AN ASSIGNMENT FROM LIFE MAGAZINE," "TO DO A SERIES OF POETS." "ROBERT PENN WARREN, FOR EXAMPLE, WAS WRITING ABOUT DEATH," "AND I WANTED TO TAKE HIS CLOTHES OFF, REALLY," "BECAUSE I WANTED TO SEE UNDERNEATH HIM," "I WANTED TO SEE INSIDE HIM, I WANTED TO SEE HIS SKELETON." "TESS GALLAGHER WROTE A GREAT DEAL ABOUT HORSES" "AND RIDING HORSES, AND I STARTED TO SORT OF REALLY" "UNDERSTAND THAT I COULD INCORPORATE THE POETRY," "I COULD INCORPORATE SOMETHING ABOUT THE PERSON" "INTO THE IMAGERY, INTO THE, INTO THE PHOTOGRAPH." "Wenner:" "SHE KEPT DOING THAT, I MEAN, FLEETWOOD MAC " "FLEETWOOD MAC IN BED, ON THAT MATTRESS," "SHOT FROM THE TOP, BRILLIANT!" "THEY ALL HAD BEEN HAVING AFFAIRS WITH EACH OTHER, SO HERE," "WITHOUT SAYING IT, HERE THEY ALL WERE IN THE SAME BED," "TWISTED AROUND, THIS ONE WITH THAT ONE IN THE SHEETS, I MEAN," "IT WAS GENIUS STUFF." "IT SOUNDS SIMPLE, BUT WHEN YOU SEE IT EXECUTED " "I THINK OF THAT BLUES BROTHERS COVER." "THE IDEA WHEN I FIRST HEARD IT " ""OH, PAINT THEIR FACES BLUE,"" "I THOUGHT, OH, WE CAN DO BETTER THAN THIS." "THAT'S SO, YOU KNOW, OBVIOUS AND DUMB." "BUT DUMB ONCE DONE," "YOU KNOW, WAS STUPENDOUS." "THERE IS SOMETHING VERY NARRATIVE ABOUT HER PHOTOGRAPHY." "YOU KNOW, PEOPLE DO TALK ABOUT THOSE AS BEING STORY PORTRAITS." "UH..." "IT'S A STORY THAT'S ONE SENTENCE LONG!" "I MEAN I REALLY DO THINK OF THEM MOSTLY AS ONE-LINERS." "ALL THE TIME THEY'D SAY, "AW, YOU'VE GOT" "SUCH GREAT IDEAS, GREAT IDEAS."" "SHE SAYS, "I DON'T HAVE GREAT IDEAS," "I HAVE STUPID IDEAS, I HAVE VERY BASIC IDEAS, VERY SIMPLE IDEAS."" "Man:" "SHE MADE PORTRAITS OF PEOPLE" "WHICH SEEMED TO DERIVE FROM A VERY CAREFULLY" "CONSIDERED IDEA." "A GRAPHIC CONCEPT, PERHAPS A CONCEPT THAT HAS" "A DEGREE OF HUMOR, IRONY BUILT INTO IT." "HER WAY IS TO APPROACH THE IDEA OF HER SUBJECT." "Wenner:" "SOMETIMES IT WAS DEEPLY CONNECTED" "TO THE PERSONALITIES," "AND OTHER TIMES IT WAS KIND OF A GLOSS, BUT DONE" "WITH SUCH STYLE AND SIMPLICITY." "Patti Smith:" "SHE DECIDED THAT I WOULD BE STANDING" "IN FRONT OF AN OIL CAN," "I THINK, IN FLAMES." "IT WAS GETTING VERY, VERY, VERY HOT," "AND I THOUGHT, "BOY, IT MUST BE LIKE 120 DEGREES,"" "BUT THAT WAS BECAUSE I WAS STARTING TO GET SINGED." "AND THE CAPTION WAS SOMETHING LIKE," ""PATTI SMITH CATCHES FIRE."" "SO I THINK THE CONCEPT WAS," "I'D BURST UPON THE SCENE." "Danziger:" "PEOPLE WERE LOOKING FORWARD" "TO SEEING ANNIE LEIBOVITZ'S PICTURES IN ROLLING STONE" "IN A WAY THAT HAD NEVER REALLY HAPPENED" "WITH PHOTOGRAPHERS IN MAGAZINES BEFORE." "IT WAS LIKE INSTALLMENTS FROM," "YOU KNOW, A CLIFF-HANGING DICKENSIAN NOVEL " "WHAT WAS ANNIE GOING TO DO NEXT?" "WHAT INCREDIBLE IDEA WAS SHE GOING TO COME UP WITH?" "WHO WAS SHE GOING TO PHOTOGRAPH?" "Lennon: ¶ LOVE IS REAL ¶" "Annie:" "THE WHOLE IDEA OF THE CONCEPTUAL COVER" "IS EVERYTHING THAT I HAD LEARNED OVER THE 10 YEARS IN BETWEEN." "I REMEMBER YOKO AND JOHN BEING, YOU KNOW," "LIKE PARENTS BEING PROUD OF ME." "THEY FELT IT WAS GREAT THAT I HAD COME AS FAR AS I HAD COME." "AND AFTER SEEING ME THE FIRST TIME," "AND THEY BOTH REMARKED THAT, AND IT WAS VERY, VERY SWEET." "¶ TO BE LOVED ¶" "Yoko Ono:" "I WAS HAPPY BECAUSE" "IT WAS THE HEIGHT OF INTIMACY FOR BOTH OF US" "AROUND THAT TIME." "IT WAS NOT LIKE, YOU KNOW, WE HAD A FIGHT" "AND WE HAVE TO LOOK LIKE SMILE TO THE CAMERA OR SOMETHING." "WE WERE JUST REALLY FEELING GOOD ABOUT BEING TOGETHER." "WHILE SOME PHOTOGRAPHERS WOULD JUST COME IN AND SAY," ""OKAY, LET ME DO IT THIS WAY," BUT NO, SHE SAID," ""THIS IS WHAT I'M THINKING, AND WHAT DO YOU THINK?"" "YOU KNOW, KIND OF THING," "AND JOHN WAS VERY PLEASED WITH THAT." "¶ TO BE LOVED ¶" "Annie:" "WHEN YOU'RE WORKING WITH SOMEONE" "WHO'S A VERY CREATIVE ARTIST, YOU KNOW WHEN IT'S GOOD," "YOU JUST KNOW WHEN IT'S GOOD." "EVERYTHING IS A PROCESS, AND WHAT WAS INTERESTING WAS THAT" "SHE SAID SHE'D TAKE HER TOP OFF, AND SHE DIDN'T WANT" "TO TAKE HER BOTTOM OFF, AND I SAID," ""OH, LEAVE EVERYTHING ON," YOU KNOW, NOT REALLY" "PRECONCEIVING, SEEING THE PICTURE, OR ANYTHING." "AND THEN, YOU KNOW, HE CURLED UP NEXT TO HER" "AND IT WAS VERY, VERY STRONG." "Yoko Ono:" "JOHN MADE A STATEMENT " ""I'M NOT AFRAID TO DO THIS." "I'M NOT AFRAID TO SHOW MY VULNERABILITY."" "BECAUSE, YOU KNOW, HE COULD HAVE SAID NO." "THAT'S NOT JOHN'S CREATIVE EFFORT," "IT WAS ANNIE'S CREATIVE EFFORT," "BUT JOHN COULD HAVE SAID, "NO, I'M NOT DOING THAT,"" "YOU KNOW, AND HE WAS RIGHT ON THERE WITH HER." "HE SAID, "OKAY, LET'S DO THAT," AND HE DID NOT" "MIND SHOWING HIMSELF NAKED HOLDING ON TO HIS WOMAN." "¶ LOVE IS LIVING ¶" "AND WE DIDN'T KNOW THAT..." "[ SIGHS ]" "A VERY HEAVY FATE WAS WAITING FOR US," "YOU KNOW, ONLY FOUR OR FIVE HOURS LATER." "¶ TO BE LOVED ¶" "Annie:" "I LEFT THERE, AND I GOT HOME AND GOT INTO BED" "AND THEN GOT A CALL FROM JANN" "TO SAY THAT SOMEONE OF JOHN'S DESCRIPTION" "WAS TAKEN TO ROOSEVELT HOSPITAL." "Woman:" "HE DIED IN THE EMERGENCY ROOM..." "Man:" "THE MURDER OF JOHN LENNON..." "Woman:" "DEAD TONIGHT AT THE AGE OF 40." "Wenner:" "YOU KNEW THAT THAT WAS THE COVER, THAT WAS IT." "I MEAN IT WAS THE MOST REMARKABLE IMAGE" "YOU HAD EVER SEEN." "WE WENT AHEAD AND PUBLISHED THE COVER" "WITHOUT A HEADLINE ON IT." "THERE WAS NOTHING EXCEPT THE LOGO." "THERE WERE NO WORDS THAT POSSIBLY" "COULD HAVE SAID ANYTHING." "THE NATURE OF THE IMAGE JUST BECAME" "THIS SORT OF OVERWHELMING ARTIFACT" "OF THE PIETA OF OUR TIMES." "Annie:" "I HAD BEEN AT ROLLING STONE FOR SO LONG," "ALMOST 13 YEARS, AND I WAS SYNONYMOUS WITH ROLLING STONE." "I WAS ASKED IF I WOULD BECOME" "THE PHOTOGRAPHER FOR VANITY FAIR," "AND THEY WERE QUITE HAPPY TO HAVE ME" "STILL WORKING FOR ROLLING STONE." "Pledge:" "BEA FEITLER OFFERED HER THAT OPPORTUNITY." "IT WAS HER IDEA TO BRING ANNIE FROM ROLLING STONE" "INTO A NON-EXISTENT PUBLICATION THEN." "I ACTUALLY REALLY WANTED TO WORK FOR BOTH MAGAZINES," "I THOUGHT, YOU KNOW, WHY WOULDN'T I WANT TO?" "I DIDN'T THINK JANN WAS GOING TO SAY NO." "Wenner:" "ANNIE WAS IN A PEAK DRUG USE PERIOD." "BY THAT TIME," "ANNIE HAD GOTTEN SO IRRESPONSIBLE IN TERMS OF" "LEAVING RENT-A-CARS EVERYWHERE," "NOT TURNING THINGS IN ON TIME." "Annie:" "WORKING AT ROLLING STONE," "I MEAN, IT WAS A DRUG CULTURE." "I MEAN, WHO WERE MY MENTORS?" "YOU KNOW, HUNTER THOMPSON," "WHO WAS A TOTAL MANIAC AND WAS NEVER OFF DRUGS." "AND IT CERTAINLY WASN'T ABOUT TRYING TO ZONE OUT." "I MEAN IT WAS MORE" "ABOUT ZONING IN, AND I THINK" "THERE WAS A GREAT INTEREST IN COCAINE" "BECAUSE IT PROPELLED YOU, IT KEPT YOU GOING," "AND IT MADE YOU THINK YOU WERE THINKING." "Wenner:" "THERE WAS NO STOPPING HER." "I DIDN'T THINK I WAS GOING TO BE ABLE TO STOP HER," "I CERTAINLY TRIED, AND EVERYTHING," "BUT YOU KNOW, YOU CAN'T." "WE WERE HAPPY TO SAY, "YOU KNOW WHAT, GO TO VANITY FAIR." ""YOU NEED A BIG CHANGE OF LIFE." ""GET INTO A SITUATION WHERE THERE ARE NOT SO MANY DRUGS." ""GET AWAY FROM COVERING THESE KINDS OF PEOPLE " "EVERY TIME YOU GO OUT, YOU'RE INVOLVED IN THAT."" "WE GOT HER INTO A VERY, VERY WONDERFUL REHAB PLACE." "AND THAT CURED HER FOREVER." "Annie:" "YOU KNOW, I GOT PROFESSIONAL HELP," "AND IT WAS DONE." "AND I JUST TOOK A DEEP, DEEP, DEEP BREATH AND MOVED ON." "IT WAS LIKE GROWING UP." "I NEEDED TO LEAVE IN ORDER TO UNDERSTAND" "WHAT I COULD DO AND WHO I WAS." "HI, AND HOW ARE YOU?" "FORGET ABOUT PUTTING THAT STUFF UP YET." "I GOT TO ORGANIZE THE PLACE OR IT'S NOT GOING TO WORK FOR ME." "THAT TABLE HERE." "SIX OF THOSE CHAIRS FOR NOW." "BRING IT HERE AND GET EVERYONE TO HANG UP THEIR COATS." "THIS THING MOVED BACK TO THIS WALL." "THIS GARBAGE CAN CAN GO TO THE LEFT HERE," "BUT I THINK WE SHOULD MOVE THESE CHAIRS OVER." "CAN'T WORK IN A MESSY PLACE." "Tina Brown:" "WHEN ANNIE MADE THE LEAP FROM ROLLING STONE" "TO VANITY FAIR, SHE HERSELF WAS TAKING A BIG RISK." "SHE HAD BEEN VERY MUCH IDENTIFIED" "WITH THE ROCK-AND-ROLL WORLD." "FOR HER TO COME TO VANITY FAIR," "TO COME INTO THE KIND OF GLOSSY CONDE NAST STABLE," "WAS A STATEMENT BY HER -- I AM NOW TAKING MY WORK" "INTO A MORE MAINSTREAM AREA." "WHO'S IN CHARGE OF THESE SEATS?" "Annie:" "TINA BROWN PUT ME TO WORK," "AND SHE PUT ME TO WORK," "OOF!" "IN A WAY" "THAT I HAVEN'T REALLY STOPPED WORKING." "I MEAN, SHE REALLY, SHE USED ME NON-STOP." "I WONDER IF JULIA ROBERTS WOULD WEAR SOMETHING LIKE THAT." "[ CHUCKLES ]" "YOU KNOW, SHE'S LIKE MOTHER EARTH OR SOMETHING." "Paula Leibovitz:" "A LOT OF PEOPLE WILL SAY TO ME," ""IT LOOKS LIKE IT WOULD BE SO MUCH FUN TO JUST" "HANG WITH YOUR SISTER WHILE SHE TAKES PICTURES."" "YOU DO NOT WANT TO BE ANYWHERE NEAR WHEN SHE'S TAKING PICTURES" "BECAUSE SHE'S VERY FOCUSED," "AND YOU JUST DON'T WANT TO GET IN THE MIDDLE OF THAT." "I WANT TO PUT HIM AT HER FEET " "THAT'S GOING TO BE GEORGE CLOONEY, SO TURN AROUND." "Graydon Carter:" "SHE'S VERY DEMANDING." "AND SHE CAN BE VERY DIFFICULT." "I LIKE TO THINK OF HER AS BARBRA STREISAND WITH A CAMERA." "HI!" "THANK YOU, HI." "Brown:" "VERY OFTEN CELEBRITIES WOULD SAY NO" "BECAUSE VANITY FAIR HAD HAD A VERY CHECKERED HISTORY." "ANNIE'S NAME" "WAS THE "OPEN SESAME" TO SO MANY ARTISTS" "BECAUSE THEY KNEW THAT THEY" "WOULD GET SOMETHING EXTRAORDINARY." "SHE WOULD PUSH THEM INTO DOING THINGS" "THAT THEY MIGHT NOT BE ABLE TO DO WITH ANYBODY ELSE." "COME TO THE GARDEN!" "THE MYSTERIOUS GARDEN." "OOOH!" "GEORGE G--DAMN IT!" "YOU, YOUNG MAN, COME HERE." "OH, I'M NOT EVEN IN THIS SHOT." "I'M OPERATING A CAMERA." "YOU'RE JUST ON THE GROUND, AT HER FEET." "AGAIN?" "GEORGE, ACTUALLY YOU DON'T LOOK VERY COMFORTABLE." "YOU WANT TO COME RIGHT ON YOUR BOTTOM?" "TRY YOUR ARMS OUT ON THE, JUST..." "FANTASTIC, GREAT!" "OKAY." "Annie:" "GOING FROM ROLLING STONE TO VANITY FAIR," "I DIDN'T REALLY HAVE THE TOOLS TO MAKE PEOPLE LOOK GOOD." "I DIDN'T QUITE UNDERSTAND THERE WAS A GOOD SIDE AND A BAD SIDE." "ALL THAT STUFF SEEMED SILLY TO ME," "THAT PEOPLE SHOULD GET DRESSED UP." "WHEN YOU SAW JERRY GARCIA AND HE HAD ON HIS T-SHIRT," "YOU DIDN'T THINK, "WELL, HEY, MAYBE YOU WANT TO PUT ON," "YOU KNOW, A SUIT OR SOMETHING."" "HERE WE GO, HERE WE GO." "IS THE FAN GOING?" "A LITTLE BIT " "GEORGE, NOW MOVE YOUR BOTTOM OVER A LITTLE BIT." "TO YOUR LEFT." "JULIA, LEAN YOUR BOTTOM RIGHT INTO THE WALL THERE." "AND, GEORGE, YOUR BOTTOM STILL HAS TO GO " " YEAH." "AND..." "THAT'S GOOD." "Annie:" "THE COVER IS KIND OF A THANKLESS DILEMMA." "BECAUSE THE COVER IS NOT A PHOTOGRAPH." "I MEAN, YOU MIGHT AS WELL BE DOING ADVERTISING." "IT REALLY IS DESIGNED TO SELL THE MAGAZINE," "AND I AM PUT IN THE POSITION OF HAVING" "TO TAKE THOSE PICTURES, BUT MY WORK" "REALLY LIVES INSIDE THE MAGAZINE." "MY REAL PHOTOGRAPHS ARE INSIDE THE MAGAZINE." "THERE IS, EVERY NOW AND THEN, A MOMENT" "WHERE IT OPENS UP AND YOU CAN DO" "THE KIND OF WORK YOU REALLY COULD ONLY DREAM ABOUT." "THIS IS A PORTFOLIO DONE IN '93." "HE WAS HAVING A VICTORY CIGAR." "THEY HAD JUST MOVED IN." "AND I SAID, "WOULD YOU SMOKE THAT CIGAR?"" "AND HE SAID, "IN YOUR WILDEST DREAMS" "I'LL SMOKE THAT CIGAR."" "SHOULD WE TRY THAT?" "THAT IS SO BEAUTIFUL." "SHE HAS THIS THING ABOUT HER." "Holborn:" "STUNNING." "THIS WOULD BE VERY NICE." "Annie:" "SEE HOW THEY WORK?" "I JUST LIKE THAT JAMIE FOXX IS THIS," "YOU KNOW " " WHO GOT THE OSCAR -- THE KIND OF CRUDENESS OF IT" "IS REALLY BEAUTIFUL." "YOU WANT TO PUT IT BETWEEN THE TWO WOMEN?" "AND THEN JULIANNE MOORE REALLY IS" "THIS KIND OF HEIGHTENED REALITY THING " "IT'S A VERY HOLLYWOOD, STRANGE PICTURE." "Holborn:" "WE'VE GOT THREE" "OR FOUR THREADS THAT ARE RUNNING THROUGH." "WE'VE GOT THE ENTERTAINMENT INDUSTRY" "AND WE'VE GOT HOLLYWOOD" "AND THE MAGAZINE CULTURE." "WE'VE GOT THE PERSONAL NARRATIVE," "THE FAMILY NARRATIVE, WE'VE GOT" "THE PRIMARY RELATIONSHIP WITH SUSAN." "Steinem:" "IT WAS SURPRISING TO KNOW" "THAT SUSAN AND ANNIE WERE TOGETHER, BUT IT SEEMED RIGHT" "AS SOON AS YOU HEARD IT." ""OH, YEAH, WHAT A GOOD IDEA."" "SUSAN SONTAG WAS THE PREMIER FEMALE INTELLECTUAL," "AND ONE OF, UH, A DOZEN INTELLECTUALS, PERIOD," "IN THE UNITED STATES FOR A LONG PERIOD OF TIME." "Annie:" "WHEN I MET SUSAN," "SHE NEEDED PUBLICITY PICTURES." "TO DO MY HOMEWORK, I READ "THE BENEFACTOR."" "I AM NOT A BIG READER," "AND I FOUND IT INCREDIBLE BECAUSE IT JUST WAS LIKE SOMEONE" "LIVING INSIDE THEIR MIND OR BRAIN." "AND I JUST TALKED TO HER ABOUT IT " " WE JUST HAD" "A REALLY GREAT TIME." "Steinem:" "SUSAN SONTAG WROTE" "BRILLIANT ESSAYS VERY EARLY." "IRONICALLY, ONE OF HER MOST FAMOUS ONES" "LONG BEFORE SHE KNEW ANNIE WAS ON PHOTOGRAPHY." "Annie:" "SHE KNEW HOW TO HAVE HER PICTURE TAKEN." "SHE KNEW HERSELF VERY WELL AND SHE WAS VERY CONFIDENT." "AND FOR A PHOTOGRAPHER, IT WAS LIKE" "SHE TOOK THE WORK OUT OF YOUR HANDS," "SHE JUST TURNED HERSELF ON, YOU KNOW." "OBVIOUSLY, I WAS REALLY TAKEN WITH HER." "SHE JUST SORT OF DECIDED THAT SHE WAS GOING TO KNOW ME." "AND THAT WAS IT." "MY REPUTATION WAS ROLLING STONE MAGAZINE" "AND VANITY FAIR AND POPULAR CULTURE " "WHAT THE HELL WAS SHE DOING WITH ME?" "WHEN I WENT TO VANITY FAIR, THEY CAME TO ME" "AND SAID, "WE WANT YOU TO BE" "THE EDWARD STEICHEN OF VANITY FAIR."" "IN THE GRAND TRADITION OF GREAT PORTRAITURE." "AND THERE WASN'T ANY KIND OF SENSE THAT IT WAS" "GOING TO BE POP OR HIP THE WAY IT TURNED OUT TO BE." "BUT IT TOTALLY WENT, UH, GLITZY." "Annie: 5, 6, 7, 8, 1..." "Annie:" "EVEN THE MOST SET-UP, STYLIZED PHOTOGRAPH" "IS GOING TO GIVE YOU SOMETHING." "Whoopi Goldberg:" "IT WAS A HUGE DEAL." "AND THEN SHE TURNED UP, AND IT WAS LIKE, "HI!"" "AND SHE SAID, "I'M GOING TO PUT YOU IN A TUB OF MILK." ""I WANT TO SHOW THAT YOU ARE EMERGING FROM WHAT WAS," "WHICH WAS ALL WHITE."" "AND I THOUGHT, "HONEY, WHATEVER YOU WANT, WHATEVER YOU WANT."" "CATS FOLLOWED ME FOR WEEKS AFTERWARDS." "AND WHEN THAT PICTURE CAME OUT," "EVERYTHING CHANGED, LITERALLY, OVERNIGHT." "I WAS WALKING DOWN THE STREET ON FRIDAY NIGHT," "JUST WALKING DOWN THE STREET, AND SATURDAY MORNING" "PEOPLE WERE YELLING MY NAME." "Annie:" "WHEN I DID THE TRUMPS," "I HAD TO DO IT TONGUE IN CHEEK." "IVANA TRUMP POSING SO HARD," "SHE LOOKS LIKE SHE'S GOING TO BREAK OFF THE CHAIR." "Brown:" "THE ERA OF THE REAGANS" "AND "DYNASTY" ERA AND HEAVY MAKEUP" "AND NAILS AND THE WHOLE THING " "EVERYTHING VERY GLITZY." "I ACTUALLY LOVE RUTH WESTHEIMER REALLY BIG." "SHE'S LIKE THE MAD SCIENTIST." "IT'S JUST AMAZING." "BUT I LIKE THE OTHER ONE." "WE CAN ALWAYS PUT HER NEXT TO DON JOHNSON," "THINKING ABOUT SEX." "THIS IS WHAT RUTH WESTHEIMER THINKS ABOUT AT NIGHT." "[ LAUGHING ]" "Ansel:" "TINA BROWN -- SHE HAD A BRILLIANT WAY" "OF MIXING HIGH AND LOW MATERIALS." "SHE WAS VERY INTERESTED" "IN CREATING CONTROVERSY." "SO ANNIE FIT REALLY WELL INTO THAT SCHEME." "Brown:" "WE USED TO HAVE" "GREAT BRAINSTORM SESSIONS TOGETHER" "WHERE WE WOULD JUST KICK IT AROUND, AND I WOULD THINK," "WOW, LIGHT BULB." "Demi Moore:" "A SINGLE IMAGE CAN HAVE A PROFOUND EFFECT." "I HAVE AS MANY PEOPLE COME UP AND RESPOND" "ABOUT THOSE COVERS AS MUCH AS I HAVE FOR FILMS I'VE DONE." "SHE'S PUSHED ME WITH THE THINGS THAT WE'VE DONE." "Annie:" "IF THEY'RE PHOTOGRAPHED A LOT," "THEY REALLY WANT TO, YOU KNOW, DO SOMETHING THAT IS DIFFERENT." "IT'S NICE TO TAKE THE PHOTOGRAPH A LITTLE FARTHER." "Moore:" "I WAS HUGE PREGNANT." "I HAD ASKED, "CAN WE DO A NUDE FOR ME?"" "Annie:" "WE ARE PEOPLE MEETING" "TO CREATE A PIECE OF WORK" "AND WE'RE GOING TO COLLABORATE." "Brown:" "WELL, AS SOON AS THE PICTURE CAME IN" "AND ANNIE SAID, "WHY DON'T WE JUST DO IT ON THE COVER?"" "I HAD NO IDEA IT WAS GOING TO BE THE MEDIA EXPLOSION THAT IT WAS." "THE COVER KICKED OFF DISCUSSION OF MOTHERHOOD" "AND A DISCUSSION OF THE WAY WOMEN LOOK." "I MEAN, IT STILL GOES ON, ACTUALLY." "THAT PICTURE TOOK US FROM 800,000 TO 1,000,000" "AND IT'S NEVER GONE BELOW THAT." "FOR DEMI MOORE, IT MADE HER FAMOUS FOREVER, ACTUALLY." "Peter Jennings:" "WHEN WE SAY THAT THIS PARTICULAR PERSON" "CAUGHT OUR EYE THIS WEEK, WE MEAN IT LITERALLY." "THIS IS AN ASTOUNDINGLY TALENTED WOMAN." "SHE MAKES A DIFFERENCE" "IN PART BECAUSE SHE PROVOKES PEOPLE." "HI." "HERE I AM." "Annie:" "I NEVER WOULD HAVE THOUGHT" "I WOULD BE INTERESTED IN FASHION." "YOU FEEL A LITTLE GUILTY -- "IS IT OKAY IF I GO DO THAT?" "BECAUSE I'M NOT REALLY A FASHION PHOTOGRAPHER."" "OH, WAIT." "JUST DO A COUPLE OF STEPS WITH THIS." "[ LAUGHS ]" "YOU SHOULD SEE HER WALKING BACKWARDS, IT'S SO BIZARRE!" "BEAUTIFUL, BEAUTIFUL!" "OH, MY GOD!" "AAH!" "COME A LITTLE FURTHER, OOH." "Wintour:" "I ALWAYS THOUGHT THAT SHE" "WAS WAY TOO GRAND AND IMPORTANT TO WANT TO WORK FOR VOGUE." "THERE'S KIND OF A FUNNY BUBBLE RIGHT THERE." "[ CHUCKLES ]" "Wintour:" "YES, SHE DRIVES US CRAZY," "OF COURSE, AND, YOU KNOW, BUDGET IS NOT SOMETHING" "THAT ENTERS INTO HER CONSCIOUSNESS," "BUT IT'S WORTH IT BECAUSE AT THE END OF THE DAY," "SHE GIVES YOU AN IMAGE THAT NOBODY ELSE CAN." "SHE JUST CARES SO MUCH." "SHE CARES, SHE CARES." "Annie:" "THAT'S BEAUTIFUL, BEAUTIFUL," "YOU WILL NOT BELIEVE THIS." "Wintour:" "IN TODAY'S WORLD, WHICH IS SO CELEBRITY DRIVEN," "BEING ABLE TO USE, YOU KNOW," "ANNIE AS ONE OF OUR STAR PHOTOGRAPHERS IS JUST A HUGE," "HUGE PLUS FOR US." "IF YOU RING UP NICOLE KIDMAN AND SAY," ""JOE SMITH'S GOING TO PHOTOGRAPH YOU, YOU KNOW," "NEXT MONTH" " " YOU KNOW, A BIG YAWN." "IF YOU RING UP AND SAY, "ANNIE LEIBOVITZ" "WANTS TO PHOTOGRAPH YOU FOR THE COVER" " "YOU KNOW, SHE'LL BE THERE THAT NIGHT, YOU KNOW, WITH BELLS ON." "HEY, CHRIS, CHRIS, STAND THERE." "ARE YOU THE BIGGEST PHOTOGRAPHER IN THE WORLD?" "NO." "DO THEY HAVE LIKE RANKINGS?" "DO YOU HAVE THE BELTS?" "ALMOST EVERY CELEBRATED FIGURE OF OUR TIMES KNOWS" "AN UNASSUMING YOUNG WOMAN WITH A CAMERA NAMED ANNIE LEIBOVITZ." "FROM THE STONES TO THE TRUMPS, PHOTOGRAPHER ANNIE LEIBOVITZ" "HAS CAPTURED EVERYONE WHO IS ANYONE." "OKAY, LET'S NOT HAVE EVERYONE STARING." "Vicki Goldberg:" "SHE IS THE APEX" "OF THE IMAGE CULTURE" "THAT IS SO FIXATED ON CELEBRITY, AND SHE HAS" "CATERED TO THAT, SHE HAS DONE IT BEAUTIFULLY." "BUT IT'S A SHABBY CULTURE IN THE END." "I'VE PHOTOGRAPHED ALL YOUR WIVES." "BEAUTIFUL, BEAUTIFUL." "Graydon Carter:" "THE STATE OF CELEBRITY IN AMERICA" "IS AT AN ASTOUNDING LOW POINT." "IN THE OLD DAYS, YOU HAD TO BE PETER USTINOV" "OR YEHUDI MENUHIN TO BE FAMOUS." "NOW YOU CAN BE ON A REALITY TV SHOW AND BE CONSIDERED FAMOUS." "Annie:" "IT'S BEEN THE BANE OF MY EXISTENCE TRYING TO" "FIND A MIDDLE GROUND BETWEEN SOMEONE BEING SO FAMOUS" "AND TOTALLY RELYING ON THAT," "VERSUS TRYING TO TAKE A GOOD PHOTOGRAPH." "I THINK THEY'RE WINNING -- THE FAMOUS PEOPLE ARE WINNING." "OKAY, BE FAMOUS." "HI!" "WOW!" "LOOK HOW BEAUTIFUL." "Susan Leibovitz:" "I CAN'T SAY THAT" "PHOTOGRAPHING CELEBRITIES DIDN'T CHANGE" "MY SISTER'S VIEWPOINT." "SHE'S JUST GOT SAND IN HER SHOE." "TAKE THE SHOE OFF." "JUST LIVING IN THAT WORLD CHANGES YOU." "LET'S GO -- THIS IS ACTUALLY NICE," "YOU LOOKING A LITTLE TO YOUR LEFT LIKE THAT." "THAT IS SO GREAT." "THAT'S GREAT." "THANK YOU." "LET'S GO." "WHOO!" "FANTASTIC!" "YOU CAN LOOK A LITTLE BIT OUT THIS WAY." "Annie:" "I HAD TO FIND MY OWN SORT OF WAY TO DO IT," "AND PART OF IT WAS, "WELL, GOD, IF YOU'RE USING AN ACTOR," "WHY NOT HAVE A LITTLE STORY?"" "GET THE FAN GOING?" "GET THE FAN GOING." "DROP THE TAIL." "REALLY..." "WAAAAH!" "GREAT, AND COME ON DOWN!" "YAY!" "Jane Sarkin:" "LITTLE BY LITTLE," "MONTH AFTER MONTH, IT GOT A LITTLE BIT MORE COMPLICATED" "WITH EVERY SHOOT." "I'M AFRAID THAT'S GOING " "IS THAT GOING IN THEIR EYES AT ALL?" "OH!" "THAT'S FANTASTIC LIKE THAT." "EXCELLENT!" "EXCELLENT!" "Sarkin:" "HER DEMANDS BECAME BIGGER " "FIRE, RAIN, CARS, AIRPLANES, CIRCUS ANIMALS," "WHATEVER SHE WANTED, SHE GOT." "1, 2, READY, GO..." "[ DRUM BEATING ]" "ALL RIGHT, DO THE THREE FIGHT SONG MEDLEY" "MARCHING IN PLACE." "HERE WE GO, HERE WE GO." "2, 4, 6, 8!" "LET'S GO, YAY!" "WHOOO!" "WE NEEDED THAT." "[ LAUGHS ]" "Wintour:" "THERE ARE A LOT OF PHOTOGRAPHERS OUT THERE," "THEY DON'T REALLY SUFFER AND AGONIZE AND OBSESS" "THE WAY THAT ANNIE DOES." "ANYWAY..." "Annie:" "I STARTED IN THIS BUSINESS SO YOUNG" "THAT ALL THE OTHER LIVES DID SEEM" "MUCH MORE EXCITING AND ADVENTUROUS." "AND YOU DO SORT OF THINK YOU ARE LIVING THAT LIFE" "AND YOU FORGET TO BUILD YOUR OWN." "THE CAUSE OF WOMEN IS A QUESTION OF JUSTICE." "Susan Leibovitz:" "SUSAN WAS A REALLY IMPORTANT" "PERSON IN MY SISTER'S LIFE." "THEY HAD A KIND OF" "EMOTIONAL, INTELLECTUAL BOND THAT WAS REALLY ESSENTIAL" "AND IMPORTANT TO BOTH OF THEM." "Steinem:" "SUSAN, OF COURSE, WAS ENTIRELY" "A WORD PERSON, AND ANNIE" "IS PRETTY ENTIRELY AN IMAGE PERSON." "THEY COMPLEMENTED EACH OTHER." "I'M SURE THEY COULD LEARN FROM EACH OTHER" "AND PROBABLY REPRESENTED UNEXPLORED PARTS" "OF THEMSELVES FOR EACH OTHER." "Annie:" "I WENT INTO THE RELATIONSHIP THINKING THAT" "I WANTED TO BE CLOSE TO THIS GREATNESS" "AND TO MOVE MY WORK TO A BETTER PLACE." "Moffat:" "SUSAN OBVIOUSLY" "WAS THIS HUGE INTELLECT." "SHE BROUGHT AN INTELLECT TO ANNIE'S WORK." "SHE WAS ABLE TO TALK ABOUT ANNIE'S WORK," "LOOK AT ANNIE'S WORK, CRITIQUE ANNIE'S WORK," "DISCUSS ANNIE'S WORK WITH ANNIE IN WAYS" "THAT I DON'T THINK ANYBODY HAD BEEN ABLE TO BEFORE." "SUSAN LOVED ANNIE'S WORK." "Annie:" "AND SUSAN DID WANT ME TO BE MORE SERIOUS IN MY WORK." "Carter:" "I THINK SUSAN WOULD MAKE ANNIE FEEL" "THAT SHE WASN'T AN INTELLECTUAL," "AND I THINK IT PROBABLY HURT HER." "I MEAN, SHE WOULD BE REALLY TOUGH WITH ANNIE," "AND SOMEHOW ANNIE PERSEVERED." "Annie:" "I WAS VERY NERVOUS ABOUT GOING" "BECAUSE I JUST THOUGHT WELL, YOU KNOW," "THAT SOMEONE'S GOING TO SAY, "WHAT ARE YOU DOING HERE?"" "FIRST OF ALL, I'M DOING WHAT I CAN, AND, AND BEARING WITNESS." "Ansel:" "SUSAN SONTAG WAS INVOLVING HERSELF" "SO EMOTIONALLY AND PROFESSIONALLY IN SARAJEVO" "AND WANTED ANNIE TO GO TO SARAJEVO" "AND TAKE PICTURES THAT ALMOST ECHO BACK TO ANNIE'S BEGINNINGS," "WHICH WERE, IN A SENSE, PHOTO REPORTAGE, SMALL CAMERAS," "NOT GOING WITH A BIG CREW -- JUST HAVING" "AN INTIMATE RELATIONSHIP WITH THE PLACE AND THE SCENES." "Annie:" "THE THING THEY WOULD SUGGEST TO YOU" "WHEN YOU FIRST ARRIVE IN SARAJEVO IS " "GO TO THE MORGUE FIRST." "I MEAN, JUST SO YOU UNDERSTOOD WHAT WAS GOING ON." "YOU KNOW, IT WAS WAR, IT WAS WAR." "EVERYTHING WAS STRIPPED DOWN TO LIFE AND DEATH." "IT WAS REALLY SO RANDOM -- THERE WAS NO RHYME OR REASON" "TO LIVING OR DYING." "IT WAS A REAL LEVELING EXPERIENCE." "IT SORT OF PUT SOME OF THE WORK THAT I DO" "BACK INTO THE CORRECT PERSPECTIVE." "BECAUSE I REMEMBER I HAD TO GO FROM BEING IN SARAJEVO" "RIGHT BACK TO DOING BARBRA STREISAND" "OR STUFF LIKE THAT." "SUDDENLY BARBRA STREISAND DIDN'T SEEM SO RELEVANT." "IT'S LIKE, WHAT SIDE BARBRA STREISAND" "NEEDED TO BE PHOTOGRAPHED FROM DIDN'T SEEM," "YOU KNOW, IMPORTANT." "WHOA!" "[ CHUCKLING ]" "Susan Leibovitz:" "YOU ARE WORKING REALLY HARD," "AND BEFORE YOU KNOW IT, YOU'RE 50 YEARS OLD" "LIKE ANNIE WAS AND YOU'RE LIKE," ""OH, MY GOD, I FORGOT TO HAVE CHILDREN."" "Child:" "NO MORE PICTURES!" "Annie:" "I LOVE RAISING MY CHILDREN, YOU KNOW." "I THOUGHT THE WORLD WAS FLAT BEFORE I HAD MY KIDS" "AND NOW IT'S ROUND." "Susan Leibovitz:" "FAMILY IS VERY IMPORTANT TO HER." "WE HAVE THIS TRADITION OF TAKING THE FAMILY PHOTOGRAPH." "ALL OF US LINED UP THE WAY ANNIE TELLS US TO STAND" "AND WHERE SHE DIRECTS US TO GO." "I JUST LOVE THOSE FAMILY PICTURES." "Annie:" "TAKING PICTURES OF MY FAMILY AND, YOU KNOW," "PEOPLE TO WHOM YOU'RE CLOSE TO IS A PRIVILEGE" "AND IT CERTAINLY BRINGS A CERTAIN KIND" "OF RESPONSIBILITY." "SARAH IN BIG, SARAH IN MEDIUM," "SARAH IN MEDIUM, SARAH IN SMALL." "WHAT'S THIS PICTURE?" "WELL, THIS IS WHEN SUSAN -- SEVERAL YEARS AGO " "SUSAN WAS SICK -- SHE HAD" "A PROBLEM," "AND, UM, THEN SHE WENT TO SEE THE DOCTOR" "AND HE FIXED IT ALL UP." "Annie:" "SUSAN HAD GONE OUT TO SEATTLE" "FOR A BONE MARROW TRANSPLANT." "THERE WAS A VERY SLIM CHANCE THAT IT WAS GOING TO WORK." "I DECIDED I WAS GOING TO SPEND MY THANKSGIVING WITH SUSAN." "AND SUSAN WAS NOT DOING SO WELL." "AND THEN THE CALL CAME" "THAT BASICALLY THE BONE MARROW HAD FAILED." "SO I FLEW OUT AND BROUGHT HER HOME ON THAT SMALL JET." "IT WAS THE FIRST TIME I THOUGHT..." "I SHOULD TAKE SOME PICTURES." "Holborn:" "I COULD NOT BE UNAWARE" "OF HOW CHARGED AND EMOTIONAL IT WAS FOR ANNIE." "Pledge:" "THE WAY ANNIE PHOTOGRAPHED PEOPLE" "JUST TOLD US WHO THEY ARE." "PORTRAIT PHOTOGRAPHY HAD BEEN AROUND FOR MANY, MANY DECADES," "AND THERE HAD BEEN" "PHOTOGRAPHERS WHO HAD BEEN CELEBRATED" "AS GREAT PORTRAIT PHOTOGRAPHERS," "BUT ANNIE BROUGHT A TOTALLY DIFFERENT DIMENSION TO IT." "Moffat:" "SHE HAS NO PARALLEL WHEN IT COMES TO A PORTRAIT." "Patti Smith:" "I DIDN'T SEE THE SHOT SHE PICKED" "UNTIL IT CAME OUT, AND I REMEMBER" "LOOKING AT THE PICTURE AND THINKING," ""IS THAT WHAT I LOOK LIKE?"" "BECAUSE I LOOKED AT IT AND THE PERSON THAT I SAW" "I WASN'T YET FAMILIAR WITH." "BUT AS I'VE EVOLVED AS A HUMAN BEING," "I'VE COME TO KNOW THAT PERSON THAT SHE SAW IN THE SHOT." "THANK YOU." "Hillary Clinton:" "SHE'S FAMOUS FOR TAKING PHOTOGRAPHS" "OF FAMOUS PEOPLE, WHICH SHE'S DONE LONGER AND BETTER" "THAN ANYONE, AND THE WAY THAT SHE HAS" "CAPTURED THEIR CHARACTER," "THEIR ATTITUDES, THEIR INSECURITIES," "BUT SHE'S HUMANIZED THEM AT THE SAME TIME." "Pledge:" "SHE CAME UP WITH IDEAS OF HOW TO SHOW THESE PEOPLE," "PUT THEM IN A BROADER CONTEXT." "THAT'S NICE." "Annie:" "I JUST DON'T BUY INTO THIS IDEA" "THAT YOU'VE CAPTURED SOMEONE." "THE FACT THAT THAT'S EVEN THOUGHT OF" "AS THAT'S WHAT MY JOB IS, IS TO GET THEM OR YOU GOT " "I'M JUST BEWILDERED BY THAT." "LIFE IS JUST SO MUCH MORE COMPLICATED" "AND SO MUCH BIGGER THAN THIS ONE-DIMENSIONAL MOMENT." "Vicki Goldberg:" "DOES ANNIE CAPTURE" "THE ESSENCE OF HER SUBJECTS?" "NO." "CAN YOU GET TO THE INSIDE OF A PERSON IN A PORTRAIT?" "THERE ARE MANY PHOTOGRAPHERS WHO'VE SAID" "YOU CAN'T DO IT ANYWAY." "LOOK OUT TO YOUR RIGHT." "GREAT, COME BACK TO THE CAMERA." "YOU'VE GOT ONE FRACTION OF A MINUTE." "YOU'VE GOT SOMEBODY WHO IS BEHAVING FOR THE CAMERA." "YOU HAVE THE PHOTOGRAPHER'S CONTROL OF THE SITUATION." "YOU HAVE PEOPLE WHO DON'T WANT TO GIVE YOU" "WHATEVER THEY CONSIDER THEIR ESSENCE." "THEY WANT TO GIVE YOU A PERSONA," "WHICH IS SOMETHING ELSE." "Annie:" "WHAT I AM DOING AS A PHOTOGRAPHER" "IS GETTING A LITTLE TINY SLICE OF THEM." "I'M GETTING A LITTLE MOMENT." "YOU'RE THERE FOR A FEW MINUTES AND YOU LEAVE AND..." "YOU'RE PASSING THROUGH EACH OTHERS' LIVES." "WHERE WAS THAT?" "THAT WAS JUST THE BEGINNING OF THIS YEAR." "I WENT DOWN TO SAY GOODBYE TO GRANDPA SAM." "I FLEW DOWN TO FLORIDA AND I HAD A WONDERFUL TALK WITH MY DAD." "THAT'S THESE SET OF PICTURES HERE." "AND THEN TWO DAYS LATER, HE DIED IN HIS SLEEP." "REMEMBER WE TALKED ABOUT HOW WE GO BACK INTO THE EARTH?" "WE GO BACK INTO THE GROUND" "AND BECOME A PART OF THE WORLD AGAIN?" "THAT'S WHERE GRANDPA SAM WENT, BACK INTO THE EARTH" "AND THE GROUND AND THE WORLD, AND HE'S PART OF" "ALL THE OTHER PARTS OF LIFE." "THAT'S WHERE HE WENT." "THAT'S WHERE SUSAN WENT, TOO." "Annie:" "I REMEMBER HAVING CHRISTMAS WITH SUSAN" "IN THE HOSPITAL," "AND SHE DIED THREE DAYS LATER." "I JUST SHOT WITH A DIGITAL CAMERA." "AND I WENT HOME TO PRINT IT ON THE LITTLE DIGITAL THING," "AND IT CAME OUT ALL GREEN AND WEIRD," "BUT I SORT OF LIKED IT." "AND THAT WAS JUST THE CONTACT SHEET," "AND THEN I WENT BACK AND SHOT THE POLAROIDS." "Rosanne Cash:" "SHE CERTAINLY DIDN'T FLINCH" "FROM THE PAIN OF THE DEATHS THAT SHE WENT THROUGH, YOU KNOW," "THE LOSSES THAT SHE SUFFERED." "SHE DIDN'T BACK UP FROM THAT OR AVOID IT," "OR TRY TO FIGURE OUT HOW TO GET AROUND IT, SHE PHOTOGRAPHED IT." "I MEAN, THAT'S AMAZING." "SHE BROUGHT A SENSE OF POETRY TO HER LOSS." "Annie:" "SUSAN CAME, SHE WAS HERE," "AND SHE LEFT." "AND I WANT MORE TIME " "AND I'M LEFT WITH MY WORK." "MY WORK TURNS OUT TO BE THE GREATEST RELATIONSHIP" "OF MY LIFE." "I GUESS IN THE WAKE OF LOSS, I MEAN, ACTUAL LOSS," "IT'S A LITTLE COMFORTING TO TAKE PICTURES." "Annie:" "I FEEL VERY, VERY RESPONSIBLE TO MY WORK." "I LOVE THE IDEA THAT IT" "HAS GONE OVER MY WHOLE ADULT LIFE." "I JUST THINK IT'S IMPORTANT TO FINISH IT OUT." "I WANT TO BE PHOTOGRAPHING THE DAY I DIE." "I'M LOOKING ALL THE TIME." "IN EVERY DIRECTION I LOOK, I'M FRAMING." "AND MY PERSONAL PICTURES AND THE ASSIGNMENT WORK" "ARE ALL PART OF IT " "I DON'T HAVE TWO LIVES, THIS IS ONE LIFE." "TO LEARN MORE ABOUT ANNIE LEIBOVITZ," "VISIT pbs.org." "¶ WILL YOU REMEMBER ME... ¶" "SHE'S SHOOTING ME, AND I HAD TO GO DOWN" "QUITE FAR INTO THE WATER, AND I WAS REALLY SICK." "AND I WAS IN A KIMONO." "I CAN'T BEGIN TO DESCRIBE HOW COLD IT WAS." "VERY, VERY COLD." "FREEZING, FREEZING." "AND I WAS LIKE..." "I ALMOST DIED." "PHYSICALLY RIGOROUS OR LIKE AN OUTWARD BOUND EXPERIENCE" "OR A SURVIVAL CAMP." "AND SHE WOULD JUST KEEP SAYING, "JUST REMEMBER," SHE SAYS," ""THE FREEZING AND THE PAIN IS ALL TEMPORARY," "BUT THIS SHOT IS PERMANENT!"" "YOU GUYS WERE GREAT!" "THANK YOU!" "BRAVO!" "VISA." "GO ON, LIVE LIFE." "AND REMEMBER THAT NO MATTER" "WHAT IT TAKES," "LIFE TAKES VISA." "VISA IS PROUD TO SPONSOR" ""AMERICAN MASTERS."" "THIS PROGRAM WAS MADE POSSIBLE IN PART" "BY HEWLETT-PACKARD," "MAKERS OF A FULL LINE OF PRINTING SOLUTIONS" "FOR PROFESSIONAL PHOTOGRAPHERS AND DESIGNERS." ""AMERICAN MASTERS" IS MADE POSSIBLE BY" "THE SUPPORT OF THE NATIONAL ENDOWMENT FOR THE ARTS," "BECAUSE A GREAT NATION DESERVES GREAT ART." "THE CORPORATION FOR PUBLIC BROADCASTING." "ADDITIONAL FUNDING FOR "AMERICAN MASTERS"" "PROVIDED BY " "AND BY CONTRIBUTIONS TO YOUR PBS STATION" "FROM VIEWERS LIKE YOU."