Charlotte Rampling wrote a poem about her. Jacqueline Bisset is & # 39; Jacky & # 39; for her. Robert de Niro politely asked that she did not take his photo because he concentrated on his next scene: walking through a room. Al Pacino reluctantly left her taking photos. Audrey Hepburn was & # 39; absolutely extraordinary & # 39 ;.
And that was only the actors.
Photographer Eva Sereny's astounding career actors and directors on film sets in the seventies and eighties of the last century brought her around the world. She has recorded remarkable images of Hollywood heavy hitters and legends – Truffaut, Fellini, Nichols, Spielberg, Lucas, Herzog – and has the stories behind the scenes.
& # 39; This word is great, yes. It's pretty cool, she told DailyMail.com when he was asked if he witnessed the directors in action.
Sereny, a young woman and mother, had the chance to enter the London Times office and to show an editor her photo 's, the first step that would eventually put her on many film sets – including three of the Indiana Jones movies.
These and more images are now part of her recent book Through Her Lens: The Stories Behind the Photography of Eva Sereny. & # 39; Quickly, with a smile, Sereny had many stories to tell – even about those relationships that had unfavorable starts.
The long and brilliant career of photographer Eva Sereny was stimulated by an unusual incident: the car accident of her husband in Rome. He was not hurt, but she realized she wanted to do something, and she threw herself into photography. She finished on film sets with photos of Hollywood legends. Above, Marlon Brando, left, lights the cigarette of director Bernardo Bertolucci, on the right, on the set for his film "Last Tango In Paris", which was released in 1973 but is still controversial today
After realizing that she wanted to become a photographer, Sereny learned everything she could about the profession. A good friend was the head of the Italian Olympic Committee and asked her to take her photos in the youth centers they were developing. Sereny wanted to know if the photo 's she had taken were good, and so she jumped into a plane and went to the London Times office. She met an editor who finally placed her photos in the newspaper. Above, actress Raquel Welch wears a royal blue one-piece swimsuit in an image that Sereny took in the 80s
Her photo's in The Times was the first step in Sereny's career and she would eventually make recordings of film sets. Sigourney Weaver, just in the photo, just had the first & # 39; Alien & # 39; wrapped in 1979. The actress and Sereny were both by chance in Paris and they were asked to photograph Weaver. Sereny told DailyMail.com that she wanted the shoot to have some sense of the film, and it took place in the architecturally interesting Center Pompidou, a museum in Paris
"The Last Picture Show", released in 1971, had put director Peter Bogdanovich on the map & # 39 ;, wrote Eva Sereny in her recent book "Through Her Lens: The Stories Behind." the Photography of Eva Sereny. & # 39; & # 39; I saw that he was completely captivated by actress Cybill Shepherd, whom I found very good. She was very easy to work with and made beautiful photos. & # 39; Sereny took the above image of Bogdanovich, left, and Shepherd, right, on the set of "At Long Last Love", which was released in 1975
Above, left a picture of director Sydney Pollack and Robert Redford, on the set of the movie 'The Electric Horseman & # 39 ;, which was released in late 1979. Sereny told DailyMail.com that she worked with four cameras – two that were for color and two that were black and white. & # 39; I always wanted to be fast, & # 39; she explained. Images like those above were quite difficult to do because I had no idea what it would look like. Remember that I use film – the real McCoy … You hope to God that it will be fine, "she said
By the 1980s, Sereny had taken photos on different film sets. Producer Frank Marshall joined Steven Spielberg's team for Raiders of the Lost Ark & # 39; – the first film of the blockbuster Indiana Jones movies – and asked her to be the special photographer on the set. Above left, Kate Capshaw, Steven Spielberg, George Lucas and Harrison Ford take a break during the filming of Indiana Jones and the Temple of Doom, which was released in 1984
Photographer Eva Sereny, left, with director Steven Spielberg, right. Sereny took photos from three of the Indiana Jones movies – traveling to Tunisia, Sri Lanka and Marbella in Spain. & # 39; Working on a Spielberg film is of course something very special. Only seeing Steven immediately is fascinating, "she wrote
She tried to be as unobtrusive as possible during shooting on film sets – and did not shoot during filming.
& # 39; I have always placed myself in the back. I did not want to be seen. I wanted to be camouflaged, "she explained.
Yet there were snafu's.
Then she started taking photo's on the set of director Herbert Ross & # 39; & # 39; The Last of Sheila & # 39 ;, released in 1973, Raquel Welch, "she recalled," to me: "Who are you for good?" & # 39;
Ross, the director, came by Sereny's side and told Welch that she was okay.
I do not want her here. I do not want her here, "Welch said.
Sereny said that she was gone then & # 39; So that was my first meeting with Raquel. & # 39;
However, she was scheduled to work with actress again.
& # 39; I was very worried that she would remember me. But she did not remember me and I never told her, "she said and then laughed.
Sereny said that they are now great working friends and that she has made many images of Welch. In a photo that is part of her book, the actress wears a royal blue swimsuit in one piece.
While she made snaps on "The Last of Sheila", Sereny was also the special photographer for the film "Day for Night". by Francois Truffaut, which was released in 1973, and that was when she met her good friend Jacqueline Bisset.
& # 39; We have connected from the beginning and have been very good friends since that film, "she wrote in her book.
Bisset wrote the foreword for Sereny's book and said that her photo's captures the deeper soul & # 39 ;.
Truffaut, director of the main films & # 39; The 400 Blows & # 39; and & # 39; Jules and Jim, & # 39; & # 39; was always very busy on the set, one moment he was in conversation, the next second he was somewhere else. I even felt the few days I was on the set with him, he was very understanding and pleasant in his impressive position as a director towards his actors and crew, "Sereny wrote.
Sereny also worked on several Bernardo Bertolucci films, including the Conformist & # 39; 1900 & # 39 ;, & # 39; Last Tango in Paris & # 39; and & # 39; Luna. & # 39;
I have to admit that working with Bernardo has definitely inspired my photography, & # 39; she wrote.
For & # 39; Last Tango in Paris & # 39; wild star Marlon Brando did not at first think he took his photo, but she convinced him. As told in her book, she told Brando that the photo's would be shown for his approval.
But before they could take the pictures from Brando, the French magazine Paris Match wanted to make the photos right away.
& # 39; He just said: & # 39; Do not worry, Eva: you make the choice. & # 39; I was able to win Brando's trust in me and my work, & # 39; she wrote. & # 39; What a great feeling! & # 39;
In the book there is an image by Brando that illuminates Bertolucci's cigarette on the set of the film, which remains controversial to this day, and another portrait of the actor confirming his red tie.
Francois Truffaut, left, directed many important films, including The 400 Blows & # 39; and & # 39; Jules and Jim. & # 39; He was always very busy on the set, one moment he was in conversation, the next second he was somewhere else, & Sereny wrote in her book & # 39; Through Her Lens & # 39 ;. Sereny took the photo above during & # 39; Day for Night & # 39 ;, which was released in 1973, and played with Jacqueline Bisset. Bisset and Sereny & # 39; connected immediately & # 39; and became friends, she wrote in her book. Bisset wrote the foreword for Sereny's book and wrote her photo ?? s capture the deeper soul & # 39;
Sereny took the image of Werner Herzog, above, from the film set. "He was the most interesting director", she wrote about Herzog and added that he was also charming. She photographed Herzog and his cast during the filming of Nosferatu de Vampyre & # 39 ;, which was recorded in the Netherlands. His & # 39; inspired remake from 1979 & # 39 ;, starring Klaus Kinski and Isabelle Adjani, wrote Sereny
Director Steven Spielberg on the set of his film & # 39; Always & # 39 ;, which Audrey Hepburn played in what her latest film turned out to be. & # 39; Always & # 39; was in the cinema at the end of 1989 and Hepburn died on January 20, 1993. Sereny told DailyMail.com that Hepburn was absolutely extraordinary. She was just beautiful, just beautiful. It just makes me really weepy to think she's gone. & # 39; Sereny had photo 's made from three of Spielberg' s Indiana Jones films
Director Luchino Visconti, pictured, on the set of his movie & # 39; Death in Venice & # 39 ;, which was released in 1971. Sereny took the above photo and the film Death in Venice & # 39; was the second time she took photos on a set. The photo's she took of one of the stars of the film, the Italian actress Silvana Mangano, in costume were featured in The Sunday Times Magazine. & # 39; That's how everything started for me. It was huge, "Sereny recalled
Sereny took this picture of Peter Bogdanovich during the filming of "At Long Last Love", a film starring Cybill Shepherd and Burt Reynolds and was in the cinema in 1975. After Sereny's husband was in a car accident at the end of the sixties, she knew she wanted to find a creative outlet and chose photography. This photo and others are part of her book & # 39; Through Her Lens & # 39;
The first film set that Eva Sereny made to make photos was the movie Catch-22 & # 39; by director Mike Nichols, released in 1970. During his many career, Nichols, pictured above on the Catch-22 & # 39; set, orchestrated classic classics such as & # 39; The graduate. & # 39; Sereny remembered in her book how nervous she was to show Nichols her pictures: & # 39; I studied his face and noticed no change of expression; until, slowly, a broad smile appeared. Everything was good. I was asked to stay the last two weeks of shooting as a paid "special photographer" & # 39;
In one of the most famous scenes of & # 39; Indiana Jones and the Temple of Doom & # 39; cuts star Harrison Ford, Jones playing, the aforementioned bridge when he is in a pickle. Sereny took snaps on three of the Indiana Jones movies, including those with Steven Spielberg, left and George Lucas, on the right
One of Sereny & # 39; s first & # 39; photo shoots & # 39; was much less glamorous than Paris: after an accident she had to shoot her husband's car.
Around the age of 20, Sereny decided to leave London and went to Italy.
"I would stay there for a few months, but I stayed there for 50 years," she said and then laughed.
She married an Italian, an engineer, her first year in Rome and they had two children.
One day in 1967 he was on his way to work when his car slipped and went through the side of a bridge.
& # 39; I do not think he even had a scratch – I do not know how that happened. He had nine lives, thank God, "she reminded.
But he wanted a photo of the car and Sereny said: "Maybe that inspired me."
When the accident happened, Sereny knew she wanted to do something – she just did not know what.
& # 39; I knew I was creative, but I could not draw. This is God's truth, I mean, that is really (what) I thought. Maybe photography – I mean literally. But I did not think it would be a business, I mean a profession, "she recalled.
Sereny went into photography, got books and became obsessed with development and printing.
& # 39; I was really very raw. I did not know anything. & # 39;
Her first break came from an unlikely source: the Italian Olympic Committee. A good friend was the head of the committee and asked her to take pictures in the youth centers they were developing.
Sereny wanted to know if the photo 's she had taken were good, and so she jumped on a plane and went to London.
I literally entered the foyer of The Times & # 39;
In The Times she met editor Norman Hall, who would take a few days but would eventually print her photos – in the form of future Italian hope for the next Olympics – in the newspaper.
Now Sereny had published photos that she could show. Her next breakthrough was to be hired as a special photographer for the film & # 39; Catch-22 & # 39; by director Mike Nichols from 1970. In her book she explained that a special photographer is someone who just appears on the set and broadcasts their work via their computer & # 39 ;. agency – I was at Camera Press at the time – or directly to newspapers and magazines. & # 39;
& # 39; The way I like to approach my work is to capture images of the off-moments, when the cameras do not roll, by focusing on the actors in the character, so I can still manage to capture the essence of the film, & # 39; she wrote.
Marlon Brando, above, in a portrait that Sereny recorded on the film "Last Tango in Paris & # 39 ;," which was released in 1973. In her book & # 39; Through Her Lens & # 39; Sereny told how she convinced Brando to let her take his picture, telling him that he would get permission for the photo. But a French magazine, Paris Match, wanted the photos immediately and she could not show him the photos. She wrote: & # 39; All he said was: & # 39; Do not worry, Eva: you make the choice. I was able to win Brando's trust in me and my work, what a great feeling! & # 39;
In haar boek 'Through Her Lens' schreef Serent: 'Werken met iemand als Fellini was buitengewoon. Hij was een kunstenaar die zonder penseel of palet werkte. Hij had het ongelooflijke talent om alles op het grote scherm te illustreren, van de personages tot de kostuums en de atmosferische omgevingen. "Hierboven zet Federico Fellini, rechts, make-up op ster Donald Sutherland, links, tijdens de opnames van 'Casanova', uitgebracht in 1977
Robert Redford, boven, in karakter tijdens de verfilming van de film van regisseur van Sydney Pollack, 'The Electric Horseman', die eind 1979 in de bioscoop was. Sereny vertelde DailyMail.com dat ze af en toe zonder assistent werkte – geen geringe prestatie wanneer camera's moest worden geladen met film – en dat ze drie camera's om haar nek had en een in haar hand terwijl ze foto's maakte
In 1980 kreeg Sereny de opdracht foto's te maken van Luciano Pavarotti voor het London Observer Magazine. Ze ging naar zijn huis in Modena, Italië. 'Groter dan het leven op elke manier en hij heeft de aandacht getrokken. Nou ja, hij had het volste recht – hij was een van de grootste tenoren van zijn tijd, 'schreef ze. Sereny vertelde DailyMail.com: 'Hij rookte – ik vroeg hem niet om te roken'
Sereny took the above photo of Clint Eastwood while he was showing her where he would build his home in Carmel, California in the early 1970s. After beating the incumbent, Eastwood would end up being mayor of Carmel from 1986 until 1988, and has been active in politics, speaking at Republican National Conventions
Above, Robert Redford as the character Jay Gatsby. Sereny took photos on the set of 'The Great Gatsby,' the 1974 film adaption of F. Scott Fitzgerald's classic novel of the same name. The film starred Redford and Mia Farrow as Daisy Buchanan, and was directed by Jack Clayton
A year or two later, she then took photos on the set of Luchino Visconti’s 1971 film ‘Death in Venice.’ The photos she took of one of the film's star, Italian actress Silvana Mangano, in costume were featured in The Sunday Times Magazine.
‘That’s how everything started for me. It was enormous,’ she recalled.
By the times the 1980s rolled around, Sereny had already been the special photographer for several well-known directors and their sets, including Peter Bogdanovich’s 1975 ‘At Long Last Love’ starring Cybill Shepherd and Burt Reynolds.
Producer Frank Marshall helped her get the gig on the set of ‘At Long Last Love.'
‘He would turn out to become one of my strongest supporters over the years,’ she wrote.
After Marshall joined Steven Spielberg’s team for ‘Raiders of the Lost Ark’ – the first film of the blockbuster Indiana Jones movies – he called her up and asked her to be the special photographer on set.
‘That’s how an extraordinary adventure began for me,’ Sereny wrote.
Sereny took snaps on three of the films: ‘Raiders of the Lost Ark,’ released in 1981, ‘Indiana Jones and the Temple of Doom,’ out in theaters in 1984, and ‘Indiana Jones and the Last Crusade,’ released in 1989. She traveled to sets in Tunisia, Sri Lanka, and Marbella in Spain.
‘Of course, working on a Spielberg movie is something very special. Just seeing Steven direct is fascinating,’ she wrote.
Sereny used to shoot with four cameras: two for black and white, and two for color. Three would be slung around her neck, the fourth in her hand. She often worked without an assistant during a time when cameras needed their film loaded.
‘I always wanted to be quick,’ she said about the four cameras. ‘You just had to feel which one was right.’
Adding with a laugh: ‘I don’t know how I did it. I really don’t.’
Sereny pegged her incredible career to luck and being ready when opportunities arose.
‘It’s been a very strange journey doing this book,’ she told DailyMail.com.
‘It was an extraordinary journey because many of the times I could not remember… how, when I did do these things. I sometimes think, “Good God, I did that?” ‘
In the spring of 1971, Sereny got a call from actress Romy Schneider whom she had just met a few days earlier on the set of Joseph Losey’s film ‘The Assassination of Trotsky,’ and asked if Sereny would take photos of her. ‘My heart skipped a beat. Romy Schneider was asking to have a photo session with me! This was a very unusual situation. It’s usually the other way around,’ Sereny wrote in her book, 'Through Her Lens.' Above is one of the images of Romy Schneider from that photo shoot, which Sereny wrote lasted until 5am
While shooting on film sets, Sereny said she tried to be as unobtrusive as possible – and did not take photos during filming. Even so, there were snafus. When she started taking photos on the set of director Herbert Ross’ ‘The Last of Sheila,’ released in 1973, Raquel Welch, she recalled, ‘shouted at me, “Who the hell are you?” ’ Ross, the director, come to Sereny’s side and let Welch know that she was alright to be on set. ‘I don’t want her here. I don’t want her here,’ Welch said. Sereny said she then ‘disappeared. So that was my first encounter with Raquel.' But later on the two became good work friends. Above, actress Raquel Welch in photos Sereny took in the late 1980s
Sereny worked with actress Raquel Welch again after an inauspicious start. ‘I was very worried that she would remember me. But she didn’t remember me and I never told her,’ she said and then laughed. Sereny said that they are now great work friends, and she has taken many images, including the one above of the actress
Photographer Eva Sereny, left, has taken images of numerous Hollywood legends – directors and actors – throughout her stellar career. Her film set photos are now part of her recent book: 'Through Her Lens: The Stories Behind the Photography of Eva Sereny.' On the right, is the cover of Sereny's book featuring an image of Mia Farrow as the character Daisy Buchanan in the 1974 film 'The Great Gatsby'