0:00:02 > 0:00:06This programme contains some strong language
0:00:06 > 0:00:09Wait a minute, let me check - just let me turn the brush. There.
0:00:09 > 0:00:10Good.
0:00:12 > 0:00:16David came to the college with this pinstripe suit,
0:00:16 > 0:00:19and a high starch collar and a very thin little tie,
0:00:19 > 0:00:22and this pudding bowl haircut.
0:00:22 > 0:00:26And I said to myself, "My God, look at the state of this fella!"
0:00:26 > 0:00:31I said, "He's like a Russian peasant. A right Boris."
0:00:31 > 0:00:34You know those crinkly chippers?
0:00:34 > 0:00:37You see, he had a crinkly chipper,
0:00:37 > 0:00:39when chips used to be straight.
0:00:39 > 0:00:42He always had bloody theories about everything, you know?
0:00:42 > 0:00:46"Here, well, there's more surface area. It makes a better chip."
0:00:48 > 0:00:52He had a need to have a guiding theory.
0:00:53 > 0:00:55When he decided he'd hit on the right one,
0:00:55 > 0:00:59it was like someone who's suddenly seen the light in a new religion.
0:00:59 > 0:01:02And you'd tend to dread meeting him and being subjected to it again.
0:01:05 > 0:01:09It was always easy to get him on the subject of cigarettes.
0:01:09 > 0:01:13I asked him what he thought about this billboard,
0:01:13 > 0:01:15over on Santa Monica Boulevard.
0:01:15 > 0:01:17Right away, he says,
0:01:17 > 0:01:21"Well, I should rent the billboard across the street...
0:01:22 > 0:01:26"..that would tell the number of people who died of other causes."
0:01:32 > 0:01:36I think he was a bit in love with me for a while. I do think that's true.
0:01:36 > 0:01:39I remember wearing this suit in San Francisco
0:01:39 > 0:01:43and going up to Nob Hill, which is a very steep slope,
0:01:43 > 0:01:46and he said, "Celia,
0:01:46 > 0:01:49"those trousers from the back,
0:01:49 > 0:01:52"I don't think you look your best in those."
0:01:52 > 0:01:54And I never wore them again.
0:01:57 > 0:02:00We had this polar bear white carpet,
0:02:00 > 0:02:03and he was doing some ink drawings on the floor,
0:02:03 > 0:02:05and he got a spot of ink on the carpet,
0:02:05 > 0:02:07and my father got hysterical.
0:02:07 > 0:02:09I said, "Dad, we should have him sign it.
0:02:09 > 0:02:12"It'll be worth millions in a couple of years."
0:03:05 > 0:03:07We go under the stairs,
0:03:07 > 0:03:10a little cupboard to hide under the stairs.
0:03:15 > 0:03:18When the bomb drops on the street,
0:03:18 > 0:03:19my mother screamed.
0:03:21 > 0:03:25If she screams, you scream.
0:03:25 > 0:03:28I mean, you're very frightened if your mother's frightened.
0:03:31 > 0:03:35So, it's something I've always remembered and, actually,
0:03:35 > 0:03:37so had all my brothers and sister.
0:03:39 > 0:03:41It's the first...
0:03:41 > 0:03:43..first memory I have, yeah.
0:03:49 > 0:03:52I was born in 1937,
0:03:52 > 0:03:57and I do remember the end of the Second World War.
0:03:57 > 0:04:00I was brought up with rationing.
0:04:00 > 0:04:04They didn't end rationing till I was 16 years old,
0:04:04 > 0:04:07so, you couldn't just go and buy a bar of chocolate.
0:04:07 > 0:04:09You could only buy sweets Saturday morning
0:04:09 > 0:04:11when you got your pocket money.
0:04:11 > 0:04:13You would be given it at nine o'clock
0:04:13 > 0:04:16and the sweets had gone by 9.15.
0:04:16 > 0:04:18You'd bought them and eaten them and that was it,
0:04:18 > 0:04:21and you'd have to wait till another Saturday.
0:04:21 > 0:04:24I mean, I was brought up in austerity like that.
0:04:24 > 0:04:26On the other hand, we didn't feel poor.
0:04:26 > 0:04:28Life was interesting, you know?
0:04:28 > 0:04:31I mean, you're a kid, so life is interesting
0:04:31 > 0:04:34whether you have much money or not.
0:04:34 > 0:04:38It's always interesting to children, in that way. It should be, anyway.
0:04:38 > 0:04:40And it was to my father.
0:04:40 > 0:04:42I mean, he...
0:04:42 > 0:04:46he wasn't a very sophisticated man, in many ways.
0:04:46 > 0:04:49I mean, he was a bit puritanical for me.
0:04:49 > 0:04:53But he had a heart. I mean, he cared about people,
0:04:53 > 0:04:55and felt there should be justice in the world.
0:04:55 > 0:04:57I mean, he was political that way.
0:05:02 > 0:05:06- FROM A RECORDING:- The one thing I loved, my father could paint
0:05:06 > 0:05:09the line on a crossbar of a bicycle
0:05:09 > 0:05:11using a special long brush.
0:05:11 > 0:05:14He'd rest your finger on the top,
0:05:14 > 0:05:17and then you do it without a ruler, you see?
0:05:17 > 0:05:18Like a sign writer would.
0:05:18 > 0:05:21But to watch it done without a ruler
0:05:21 > 0:05:23was very thrilling, I thought.
0:05:23 > 0:05:26Incredible that you could make a straight line like that,
0:05:26 > 0:05:28just with your eye.
0:05:28 > 0:05:31I mean, it's like watching Michelangelo draw a circle.
0:05:43 > 0:05:46Why are you popular?
0:05:46 > 0:05:50What is it, do you think, in your work that goes straight through
0:05:50 > 0:05:55to the understanding and feelings of a large number of people?
0:05:56 > 0:05:57Well...
0:05:58 > 0:06:02- ..I'm not that sure.- Go on, try. - Of course.
0:06:02 > 0:06:05I am interested in ways of looking,
0:06:05 > 0:06:09and trying to think of it in simple ways.
0:06:09 > 0:06:12If you can communicate that,
0:06:12 > 0:06:14of course, people will respond.
0:06:14 > 0:06:17Everybody does look,
0:06:17 > 0:06:21it's just a question of how hard they're willing to look, isn't it?
0:07:12 > 0:07:15We were at a restaurant and somehow the subject came up
0:07:15 > 0:07:18of David's failings and faults.
0:07:19 > 0:07:21Henry took the napkin and wrote,
0:07:21 > 0:07:24just like that, as fast as you please.
0:07:24 > 0:07:27It's so funny, I picked it up and I've saved it ever since.
0:07:27 > 0:07:29It started out, "stubborn",
0:07:29 > 0:07:32then "hard of hearing" was the next one.
0:07:32 > 0:07:34"Generous to a fault",
0:07:34 > 0:07:38"emotional in the guise of reason".
0:07:39 > 0:07:41And "often overhardy".
0:07:41 > 0:07:45And he's written in parenthesis, "walking and bathing".
0:07:46 > 0:07:50And the other one is, which he's written is,
0:07:50 > 0:07:54"unintentionally rude", and he's underlined "unintentionally" twice.
0:07:55 > 0:07:58I think it's a really good description of David.
0:07:58 > 0:07:59I've saved it for ever.
0:08:02 > 0:08:05One of the things that my father taught me
0:08:05 > 0:08:09was not to worry too much what the neighbours think.
0:08:09 > 0:08:11Well...
0:08:11 > 0:08:14that's aristocratic, actually, not working class.
0:08:14 > 0:08:15That's aristocratic.
0:08:15 > 0:08:18I mean, "Fuck you, I don't care what the neighbours think."
0:08:18 > 0:08:21And my mother would have cared,
0:08:21 > 0:08:23but Kenneth told me that,
0:08:24 > 0:08:27"Don't you worry too much what the neighbours think."
0:08:27 > 0:08:30And I always thought, I took that lesson, actually, yeah.
0:08:30 > 0:08:31I noticed it.
0:08:41 > 0:08:46When he was at Bradford Art School, he was in an evening class,
0:08:46 > 0:08:48life drawing, and there was a guy,
0:08:48 > 0:08:50and bit of a sort rocker or something,
0:08:50 > 0:08:52and he had an art student girlfriend,
0:08:52 > 0:08:55probably with that sort of witch-type mascara
0:08:55 > 0:08:58that was about then. And they were real art students,
0:08:58 > 0:09:01and there was the schoolboy, you see, intensely drawing.
0:09:01 > 0:09:05And he said this guy was just like this on his thing,
0:09:05 > 0:09:08and sort of putting his feet up on the donkey, you know, and all this,
0:09:08 > 0:09:11and just spent two hours taking the piss out of Hockney
0:09:11 > 0:09:14for being so earnest and just drawing.
0:09:14 > 0:09:17And the girlfriend was laughing and the model was laughing.
0:09:17 > 0:09:20And I said, "What did you do?"
0:09:20 > 0:09:22He just said, "Well..." He said,
0:09:22 > 0:09:24"Well, I just thought, 'Well, I'll fucking show them!'"
0:09:26 > 0:09:29And he had revealed the inner David, you know?
0:09:29 > 0:09:31Willpower.
0:10:03 > 0:10:05Nobody was there when I arrived at the Royal College
0:10:05 > 0:10:09and I just sort of got a cubicle they appointed me
0:10:09 > 0:10:11and I laid out my stuff
0:10:11 > 0:10:16and then suddenly this very strange-looking guy walks in
0:10:16 > 0:10:18and doesn't say a word,
0:10:18 > 0:10:21just starts setting up in the cubicle next to me.
0:10:21 > 0:10:22Then Derek Boshier came in
0:10:22 > 0:10:25and took up the cubicle on the other side,
0:10:25 > 0:10:29so there was Derek on my left, and David on my right,
0:10:29 > 0:10:33and me in the middle, and we became quite friendly after a few weeks.
0:10:35 > 0:10:39He was living in a little hut in Earls Court,
0:10:39 > 0:10:42and I went there once or twice, but it was not very large.
0:10:42 > 0:10:44It barely fit the two of us in there.
0:10:45 > 0:10:47ROCK AND ROLL MUSIC
0:10:54 > 0:10:58London in the '60s was becoming very hip, very different,
0:10:58 > 0:11:00also very anti-Establishment.
0:11:03 > 0:11:09The atmosphere that I sensed in the cubicles that were surrounding me
0:11:09 > 0:11:11was of experimentation.
0:11:11 > 0:11:13They wanted to experiment
0:11:13 > 0:11:17to find something different than what they knew
0:11:17 > 0:11:20and they weren't even sure what that was going to be.
0:11:21 > 0:11:24I think they were interested in America, definitely,
0:11:24 > 0:11:29but, strangely enough, I think it was the Abstract Expressionist painters
0:11:29 > 0:11:33and the anti-traditionalism of those artists
0:11:33 > 0:11:37that really intrigued the British painters.
0:11:42 > 0:11:47The main thing then was abstraction.
0:11:48 > 0:11:53The Abstract Expressionists were very big,
0:11:53 > 0:11:57and so, by the end of my second year,
0:11:57 > 0:12:00I went to New York.
0:12:08 > 0:12:10Somebody stopped me in the street
0:12:10 > 0:12:13and said they had this ticket for New York.
0:12:14 > 0:12:16And it cost £40.
0:12:17 > 0:12:21And all I had to give them was £10 now
0:12:21 > 0:12:24and I could have it if I gave the £30 later.
0:12:29 > 0:12:33I thought it cost a £1,000 to go to America.
0:12:33 > 0:12:36I mean, I'd never thought of going to America,
0:12:36 > 0:12:37so, erm,
0:12:37 > 0:12:40I said OK.
0:12:40 > 0:12:43I only had about £12,
0:12:43 > 0:12:47but I thought, "Well, I'll get the money somehow."
0:12:49 > 0:12:53I think almost the next day
0:12:53 > 0:12:55this letter came
0:12:55 > 0:12:58with a cheque for £100.
0:12:58 > 0:13:00I'd won a prize.
0:13:01 > 0:13:04And then I started selling pictures
0:13:04 > 0:13:08for £10, £12, £15.
0:13:08 > 0:13:09In the end,
0:13:09 > 0:13:16I went to America with about 350.
0:13:17 > 0:13:20And that was to last me for two months.
0:13:22 > 0:13:25JET PLANE ENGINES WHINE
0:13:32 > 0:13:35I had a great time in New York then.
0:13:35 > 0:13:37I thought New York was the place to be.
0:13:37 > 0:13:39That was it, I thought.
0:13:39 > 0:13:44I mean, it ran 24 hours a day then, absolutely did.
0:13:44 > 0:13:47SIREN WAILS
0:13:57 > 0:13:59ADVERT: '..whipped cream on your head,
0:13:59 > 0:14:01'but this is Lady Clairol Whipped Creme.
0:14:01 > 0:14:04'It makes every bleach I've ever used old-fashioned.'
0:14:04 > 0:14:08'It's the fabulous new way to be blonde, beautifully.
0:14:08 > 0:14:13'Lady Clairol hair lightener whips instantly, never runs or drips...'
0:14:13 > 0:14:17I was living in my parents' home in Long Island in Long Beach.
0:14:17 > 0:14:22Friends of mine, and David, were all in my house one evening
0:14:22 > 0:14:23watching television
0:14:23 > 0:14:25and this ad came on.
0:14:25 > 0:14:27I don't even remember what we were watching,
0:14:27 > 0:14:31but this ad came on for Clairol and saying, you know,
0:14:31 > 0:14:35"Everybody should go blonde, because blondes have more fun."
0:14:35 > 0:14:39They all looked at it and they said, "Wow. That sounds good."
0:14:39 > 0:14:43And they rushed out and bought Clairol hair dye,
0:14:43 > 0:14:46and they were all sitting in my parents' living room
0:14:46 > 0:14:48dying their hair.
0:14:48 > 0:14:51My father walked in and almost had a heart attack.
0:14:51 > 0:14:53"What the hell is going on here?!"
0:14:53 > 0:14:55But that's where David decided
0:14:55 > 0:14:58he was going to be blond for the rest of his life.
0:14:58 > 0:14:59Is he still blond?
0:15:39 > 0:15:40Lovely, aren't they?
0:15:40 > 0:15:43You can drop 'em on a stone floor and pick 'em up again...
0:15:43 > 0:15:44in pieces.
0:15:44 > 0:15:47Give me eight and six for the half a dozen, darling.
0:15:47 > 0:15:49Eight shillings, half a dozen.
0:16:01 > 0:16:03Right...
0:17:04 > 0:17:08He was always drawing, always, as long as I can ever remember.
0:17:08 > 0:17:11When he had little stubby fingers, he'd be drawing something.
0:17:11 > 0:17:13And he never stopped.
0:17:13 > 0:17:15And he didn't have paper like you have today,
0:17:15 > 0:17:19but you've got the edge of notebooks and things or...
0:17:19 > 0:17:22anything where there was a space. A bus ticket, even.
0:17:22 > 0:17:24So if he were on a bus, he'd have a pencil in his hand
0:17:24 > 0:17:28probably drawing other passengers, things like that.
0:17:32 > 0:17:35SIZZLING
0:17:54 > 0:17:57SEWING MACHINE CLICKS
0:18:01 > 0:18:03The weight. Oh, yeah. Wow, the weight.
0:18:03 > 0:18:06When you think now, you can get it on Kindle, can't you?
0:18:06 > 0:18:07SHE LAUGHS
0:18:07 > 0:18:09Yeah.
0:18:09 > 0:18:11Ah, yes, this is the sort of thing.
0:18:13 > 0:18:15He would have been all excited
0:18:15 > 0:18:16about who's done these
0:18:16 > 0:18:19and why have they done them, and, I mean, brilliant,
0:18:19 > 0:18:22especially when you go back with the history, as well.
0:18:22 > 0:18:24So, yes, this would have influenced him.
0:18:29 > 0:18:31You see, this was the only way you could see the world, wasn't it?
0:18:31 > 0:18:36I mean, there was Cartwright Hall in Bradford with some pictures.
0:18:36 > 0:18:37By looking at pictures,
0:18:37 > 0:18:39he would realise, "I can do what I like,"
0:18:39 > 0:18:41once you've seen these, can't you?
0:18:41 > 0:18:45And it would give him the freedom to be an artist
0:18:45 > 0:18:48and be an artist who painted exactly what he wanted to paint,
0:18:48 > 0:18:50what he needed to paint.
0:18:50 > 0:18:51He'd be looking at these
0:18:51 > 0:18:53and looking at the techniques and why they did...
0:18:53 > 0:18:55He'd see it totally with his eye,
0:18:55 > 0:19:00which would be quite different to what the rest of us would see.
0:19:00 > 0:19:01Badges.
0:19:07 > 0:19:10"Good health is worth more than a fortune."
0:19:11 > 0:19:13- Give me one, will you? - Put those in the car.
0:19:13 > 0:19:16- You're going to take 'em? - Yep.- Oh, are ya?
0:19:16 > 0:19:17Do you remember the hens,
0:19:17 > 0:19:22the hens on the field up here before they built the houses?
0:19:22 > 0:19:24- Oh, you'd only be ever so young. - Oh, yes. On, er...
0:19:24 > 0:19:26Well, I have that somewhere.
0:19:26 > 0:19:27It's framed.
0:19:27 > 0:19:29Did you see anything, Margaret?
0:19:29 > 0:19:31No, I can't find those cuff links.
0:19:31 > 0:19:34'We used to live in Steadman Terrace during the war.'
0:19:36 > 0:19:39It was a small house and closed in.
0:19:39 > 0:19:41It was claustrophobic, actually, yes,
0:19:41 > 0:19:43and there were five of us.
0:19:43 > 0:19:46All right, we were only small, so that didn't matter too much.
0:19:46 > 0:19:48And it was at the top of a hill, and you couldn't...
0:19:48 > 0:19:52If it was dark, you couldn't see a thing anywhere.
0:19:52 > 0:19:54There was a lot of darkness from that house in my memory,
0:19:54 > 0:19:56so probably the same with David.
0:19:58 > 0:20:01But I think the claustrophobia could have been a bit of emotional
0:20:01 > 0:20:03as well as space-wise.
0:20:03 > 0:20:06I know he always says he likes space.
0:20:09 > 0:20:12But you do need space from people as well, don't you?
0:20:13 > 0:20:16In fact, that is what space is, isn't it, actually?
0:20:16 > 0:20:18What else is space?
0:20:18 > 0:20:20Being alone.
0:20:23 > 0:20:25MUSIC: L-O-V-E by Nat King Cole
0:20:29 > 0:20:35# L is for the way you look at me
0:20:35 > 0:20:41# O is for the only one I see
0:20:41 > 0:20:43# V is very, very extraordinary... #
0:20:43 > 0:20:46Within one week of coming here, I'd never driven before,
0:20:46 > 0:20:50I'd got a driving licence, bought a car, got a studio
0:20:50 > 0:20:51and I thought, "This is the place."
0:20:51 > 0:20:54It's got all the energy of the United States
0:20:54 > 0:20:57with the Mediterranean thrown in,
0:20:57 > 0:21:00which I think is a wonderful combination.
0:21:13 > 0:21:15CAMERA SHUTTER CLICKS
0:21:17 > 0:21:20David took some snapshots,
0:21:20 > 0:21:24he took Polaroids, of me standing in front of the bar room,
0:21:24 > 0:21:26and I was dusting some of the heads,
0:21:26 > 0:21:28cos I had a lot of animal heads.
0:21:28 > 0:21:31My first husband was a great white hunter.
0:21:31 > 0:21:32GUNSHOT
0:21:32 > 0:21:35And David only took about three black and white Polaroids.
0:21:35 > 0:21:39I said, "Oh, David, how can you work from black and white?"
0:21:39 > 0:21:42"Oh," he said, "I can only work from black and white photographs,
0:21:42 > 0:21:47"because the colour of photography is never the same as real life."
0:21:47 > 0:21:49Anyway, so I took the pictures
0:21:49 > 0:21:53and I said, "There's only one thing you could call this painting,
0:21:53 > 0:21:54"since I'm dusting.
0:21:54 > 0:21:56"It's called Beverly Hills Housewife."
0:22:56 > 0:22:58SPRINKLERS SWISH
0:23:13 > 0:23:17Some people will say, "Well, LA is a good place to hide."
0:23:20 > 0:23:24You can calve out a private life here for yourself, if you wish,
0:23:24 > 0:23:25and a lot of people do that.
0:23:25 > 0:23:28Because of the kind of set-up of the city and everything,
0:23:28 > 0:23:30people don't walk here,
0:23:30 > 0:23:32they take cars.
0:23:32 > 0:23:35And David's had this place here for many years,
0:23:35 > 0:23:40but he wasn't part of a community like Venice or Downtown LA.
0:23:40 > 0:23:46But he just managed to get around, all over the city.
0:23:47 > 0:23:51I know that he would like to go out on rides,
0:23:51 > 0:23:54you know, driving way out in the country,
0:23:54 > 0:23:57and I think he's done that several times, too.
0:23:57 > 0:23:59- I'll be there. - OVER PHONE: 'OK. Yeah, a guy came.
0:23:59 > 0:24:01'He was asking about you earlier.
0:24:01 > 0:24:03'He may try to reach you...'
0:24:03 > 0:24:05- All right, love. - 'See you later.'- Bye.
0:24:12 > 0:24:15- TV:- 'My daddy promised me a horse all for myself
0:24:15 > 0:24:17'when I got here from back east.
0:24:17 > 0:24:22'He said, "A boy needs a horse to love and if it's the right boy,
0:24:22 > 0:24:24'"the horse will learn to love him, too."'
0:24:24 > 0:24:27WESTERN MUSIC
0:24:38 > 0:24:41- There he is.- Boy, he's a beauty.
0:24:41 > 0:24:43No wonder he's the king of the wild herd.
0:24:43 > 0:24:45I've just gotta get him today.
0:24:45 > 0:24:48That's for sure, Bob. We can't disappoint that kid of yours.
0:24:48 > 0:24:49He's coming in on the 4.59...
0:24:49 > 0:24:52'When I arrived here, somebody said,
0:24:52 > 0:24:55'"Well, why have you come to this cultural desert?"
0:24:55 > 0:24:58'Well, I didn't think it was a cultural desert,
0:24:58 > 0:25:00'because I knew Hollywood was here.'
0:25:00 > 0:25:02Come on, boys. Come on.
0:25:03 > 0:25:06My father loved the cinema.
0:25:06 > 0:25:08So did we as kids and, remember,
0:25:08 > 0:25:12I'm about the last generation brought up without television.
0:25:12 > 0:25:15I was 18 years old when we first got television,
0:25:15 > 0:25:18so my childhood was radio and things.
0:25:18 > 0:25:20But we loved the pictures.
0:25:20 > 0:25:22They were always called "the pictures".
0:25:22 > 0:25:25Not "the movies", not "the cinema", "the pictures".
0:25:25 > 0:25:27"Can we go to the pictures?"
0:25:27 > 0:25:30They had a powerful effect on me, you know.
0:25:30 > 0:25:33We used to go in the side entrance and, of course,
0:25:33 > 0:25:36there was a lavatory down there with an exit
0:25:36 > 0:25:38and kids used to go and open it.
0:25:38 > 0:25:40Little kids'd run in free, you know, doing that.
0:25:40 > 0:25:41I used to tell 'em,
0:25:41 > 0:25:44"If you walk in backwards, they'll think you're coming out."
0:25:44 > 0:25:47And I would point this out, though.
0:25:47 > 0:25:51Probably because you were sitting near the front,
0:25:51 > 0:25:55the edges of the screen seemed unimportant.
0:25:55 > 0:25:59They were miles away, you thought they were absolutely miles away.
0:25:59 > 0:26:03Whereas now I'm very, very aware of the edges of the screen
0:26:03 > 0:26:06often making a pokey picture.
0:26:06 > 0:26:10But at that time, I never thought any picture was pokey,
0:26:10 > 0:26:15because it was offering you another world from dingy Bradford.
0:26:15 > 0:26:17Remember, you're walking through dingy streets
0:26:17 > 0:26:21to a little local cinema and when you come out,
0:26:21 > 0:26:26you've been all over, you've been in the French Revolution or somewhere,
0:26:26 > 0:26:29so you come out with your imagination working.
0:26:29 > 0:26:31It was pictures, pictures, pictures!
0:26:31 > 0:26:33GUNSHOTS
0:26:43 > 0:26:46I've always said, in a way, I was brought up
0:26:46 > 0:26:48in Hollywood and Bradford,
0:26:48 > 0:26:52because most of the films we saw were American when I think of it.
0:27:03 > 0:27:07I went to the cinema a lot and we'd go home on the bus.
0:27:09 > 0:27:12I'd always go upstairs to the front of the bus.
0:27:14 > 0:27:16I always travelled upstairs on the bus,
0:27:16 > 0:27:19always on the front seat,
0:27:19 > 0:27:21so you could see more.
0:27:21 > 0:27:23I always wanted to SEE more.
0:27:41 > 0:27:45I, erm, was coming back from New York and I'd bought,
0:27:45 > 0:27:52in New York, some nudist magazines, some male nudist magazines,
0:27:52 > 0:27:57and at the airport, the Customs man, who was about 22 years old,
0:27:57 > 0:28:00opened the bag and they sorted out the magazines.
0:28:00 > 0:28:03If they were completely nude, he put them on one side
0:28:03 > 0:28:06and if they were not quite nude, he put them on another side
0:28:06 > 0:28:08and then they kept the nude magazines.
0:28:08 > 0:28:11I protested and said, "Oh, come on, don't be silly.
0:28:11 > 0:28:15"Just give me them back," and this, that and the other
0:28:15 > 0:28:17and they took them away,
0:28:17 > 0:28:22and I kept phoning up the Customs office in the city
0:28:22 > 0:28:25and I kept speaking to a man, I don't know what his name was,
0:28:25 > 0:28:27Mr Hittet, Hillet or something.
0:28:27 > 0:28:30He said, "Oh, they are definitely pornographic."
0:28:30 > 0:28:32He'd looked through and in one of the photographs,
0:28:32 > 0:28:36the boys had painted their genitals with psychedelic colours.
0:28:36 > 0:28:40And I just didn't... I just didn't know what to say to somebody
0:28:40 > 0:28:43who didn't think that was amusing or funny.
0:28:43 > 0:28:44Then, erm...
0:28:45 > 0:28:47..in the end, I had to get a lawyer
0:28:47 > 0:28:50and I showed him magazines of a similar kind,
0:28:50 > 0:28:53and the moment the lawyer wrote the letter to them,
0:28:53 > 0:28:54they immediately came back.
0:28:54 > 0:28:57A man appeared on the doorstep in a peaked cap
0:28:57 > 0:29:00with a big envelope marked "On Her Majesty's Service"
0:29:00 > 0:29:02and said, "You know what these are," and handed them in.
0:29:23 > 0:29:28David became particularly intrigued at the Royal College of Art
0:29:28 > 0:29:33because I had a lot of magazines like American Model Guild
0:29:33 > 0:29:37and Physique Pictorial stuck up in my cubicle,
0:29:37 > 0:29:40and this fascinated him, of course.
0:29:40 > 0:29:42I was very out already in New York,
0:29:42 > 0:29:45despite the fact that it was the '60s
0:29:45 > 0:29:47and I had a lot of trouble being out
0:29:47 > 0:29:49and I'd been beaten up several times by, you know,
0:29:49 > 0:29:54anti-gay homophobes, but I just didn't care.
0:29:54 > 0:29:56I thought, "Well, you know, England is probably OK,
0:29:56 > 0:30:00"nobody cares there about this sort of stuff."
0:30:00 > 0:30:04And he was intrigued to meet somebody who was so out,
0:30:04 > 0:30:07because I don't think he knew anybody at that point
0:30:07 > 0:30:11who was quite out and so we became very close friends.
0:30:43 > 0:30:46A couple of times I've shared a bed with Hockney,
0:30:46 > 0:30:49and once was I was stuck for somewhere to kip.
0:30:49 > 0:30:51Has anyone ever mentioned his five-foot tall
0:30:51 > 0:30:54turquoise teddy bear that he had?
0:30:54 > 0:30:55HE LAUGHS
0:30:55 > 0:30:59This fucking great teddy bear from here to the wall.
0:30:59 > 0:31:03With big eyes, it had, and it was turquoise sort of fluff.
0:31:03 > 0:31:06So this went down the middle of the bed, you see,
0:31:06 > 0:31:08between sort of, like, straights and gays,
0:31:08 > 0:31:10if you know what I mean.
0:31:10 > 0:31:14I was this side, you see, and this fucking great teddy bear...
0:31:14 > 0:31:17You couldn't even see David, and then the next morning,
0:31:17 > 0:31:19we both woke up
0:31:19 > 0:31:21and David sort of does this sit-up in bed
0:31:21 > 0:31:23above this turquoise teddy bear.
0:31:23 > 0:31:25No glasses, you see, and he sort of goes,
0:31:25 > 0:31:27he sort of goes like this, you know.
0:31:27 > 0:31:28He sort of goes...
0:31:28 > 0:31:30- IN YORKSHIRE ACCENT:- "Hello!"
0:31:42 > 0:31:47The paintings all related, whether superficially or intensely,
0:31:47 > 0:31:51on his life and his trying to deal with his homosexuality
0:31:51 > 0:31:54and trying to deal with his fantasies
0:31:54 > 0:31:59and trying to deal with the issues of a sexual identity.
0:31:59 > 0:32:02He used wit to play with these identities.
0:32:12 > 0:32:16He was really like a little high-school girl about it, really.
0:32:16 > 0:32:23I mean, it was all fantasy and some sort of cutesy stuff.
0:32:23 > 0:32:26I mean, like his fantasies about...
0:32:26 > 0:32:28Who was that rock singer?
0:32:28 > 0:32:29..Cliff Richard.
0:32:36 > 0:32:38I don't think he had had sex
0:32:38 > 0:32:40at any point yet with a man,
0:32:40 > 0:32:43but I think he certainly fantasised a lot about it.
0:32:49 > 0:32:53With David, it was probably something about a way to get out
0:32:53 > 0:32:55something about himself,
0:32:55 > 0:32:58but I don't know if that was the core of the painting,
0:32:58 > 0:33:02because, you know, it's not just pictures of men fucking.
0:33:02 > 0:33:04There's something much more in there.
0:33:04 > 0:33:08And homosexuality, it's sort of a witty side issue.
0:33:08 > 0:33:11Even if it seems to be the subject of the painting,
0:33:11 > 0:33:13it's not the subject of the painting.
0:33:14 > 0:33:19If anything, the homosexual elements in his paintings, for me,
0:33:19 > 0:33:23were points to roam into the painting and see other things
0:33:23 > 0:33:26and give clues to maybe parts of the painting,
0:33:26 > 0:33:28but they weren't the painting.
0:33:40 > 0:33:42MUSIC: L-O-V-E by Nat King Cole
0:33:42 > 0:33:48# L is for the way you look at me
0:33:48 > 0:33:54# O is for the only one I see
0:33:54 > 0:34:00# V is very, very extraordinary
0:34:00 > 0:34:06# E is even more than anyone that you adore
0:34:06 > 0:34:07# Can love... #
0:34:07 > 0:34:10When I went to Los Angeles, it was really...
0:34:12 > 0:34:15..three times better than I thought it would be.
0:34:15 > 0:34:17# ..just a game for two... #
0:34:17 > 0:34:21I thought, "Well, this is it. Hollywood is near here."
0:34:21 > 0:34:27And I'd just read an American novel called City Of Night by John Rechy,
0:34:27 > 0:34:31which has accounts of kind of lowlife in American cities,
0:34:31 > 0:34:35and I thought it was all wonderful and colourful and everything.
0:34:35 > 0:34:39But, erm, I wanted to get up to Hollywood
0:34:39 > 0:34:40and see what it was all like
0:34:40 > 0:34:43and see the hustlers and the sea and everything.
0:34:43 > 0:34:46And I bought a bicycle to go there,
0:34:46 > 0:34:49because I didn't know how to get there,
0:34:49 > 0:34:51and, of course, it's about 16 miles from Santa Monica.
0:34:51 > 0:34:54HORN BLARES
0:35:01 > 0:35:05"Later, I would think of America as one vast city of night
0:35:05 > 0:35:08"stretching gaudily from Times Square to Hollywood Boulevard,
0:35:08 > 0:35:12"jukebox winking, rock and roll moaning,
0:35:12 > 0:35:15"America at night fusing its dark cities
0:35:15 > 0:35:19"into the unmistakable shape of loneliness.
0:35:19 > 0:35:23"Remember Pershing Square and the apathetic palm trees,
0:35:23 > 0:35:26"one-night sex and cigarette smoke
0:35:26 > 0:35:31"and rooms squashed in by loneliness.
0:35:31 > 0:35:35"And I would remember lives lived out darkly
0:35:35 > 0:35:37"in that vast city of night,
0:35:37 > 0:35:42"from all-night movies to Beverly Hills mansions."
0:35:51 > 0:35:54THUNDER RUMBLES
0:36:01 > 0:36:05I got there and realised there was nobody in Pershing Square.
0:36:05 > 0:36:10It had all altered, this empty thing, big palm trees.
0:36:10 > 0:36:17I did find a bar later, but it was then I realised,
0:36:17 > 0:36:19"Well, I need a car." You just need a car.
0:36:19 > 0:36:21A bicycle won't do, I mean...
0:36:21 > 0:36:24So I gave the bicycle away and bought a car.
0:36:32 > 0:36:34I used to work on a morning,
0:36:34 > 0:36:37and then, in the afternoon, it got very hot and sunny,
0:36:37 > 0:36:39so I'd go and lie on the beach.
0:36:43 > 0:36:45And then, I'd work again in the evening.
0:36:46 > 0:36:51And I'd maybe work until about 10 o'clock or 11 o'clock.
0:36:51 > 0:36:53Then I'd go for a drink, you see.
0:36:54 > 0:36:58In California, the bars don't close until two,
0:36:58 > 0:37:02which seems to me, in a way, the ideal hour.
0:37:02 > 0:37:05If you're going to close them at all, it's the ideal hour,
0:37:05 > 0:37:08because, in a way, it's not too late
0:37:08 > 0:37:10and you can make up your mind about things, I suppose,
0:37:10 > 0:37:12you see, at two o'clock.
0:37:12 > 0:37:14Four o'clock is a bit late, really.
0:37:18 > 0:37:21You can go in a bar and meet the equivalent of a plumber,
0:37:21 > 0:37:25from Brooklyn, could be sat at the next stool,
0:37:25 > 0:37:26and some other guy...
0:37:28 > 0:37:32..you know, a movie maker from Hollywood could be sat at the...
0:37:33 > 0:37:34..on the next stool.
0:37:34 > 0:37:37I mean, that can happen. In London, you can't do this.
0:37:45 > 0:37:50Los Angeles to David meant surfers.
0:37:52 > 0:37:54And there were a lot of boys around.
0:37:54 > 0:37:55And, uh...
0:37:56 > 0:37:59And all that was, I think, very...
0:38:01 > 0:38:05..erotic and beautiful to David, and he depicted it.
0:38:30 > 0:38:34It was 1964 and Chris Isherwood phoned
0:38:34 > 0:38:40and said that a young English artist had phoned him
0:38:40 > 0:38:42who was here in Santa Monica
0:38:42 > 0:38:47and could he come by and visit Chris on an afternoon?
0:38:47 > 0:38:51Chris said, "Of course."
0:38:51 > 0:38:55David Hockney arrived, very dyed blond,
0:38:55 > 0:38:58and my memory was in a gold jacket!
0:39:03 > 0:39:06Chris was a distinguished writer
0:39:06 > 0:39:12and I suppose the most famous British queer living in, er, LA,
0:39:12 > 0:39:15and, erm, yes, er, David would have known about him
0:39:15 > 0:39:17and would have read his books, too.
0:39:21 > 0:39:25We'd already been together 15 years,
0:39:25 > 0:39:29and at that time, that was considered phenomenal.
0:39:29 > 0:39:33Two men living together and 30 years difference between them,
0:39:33 > 0:39:38and, er, they haven't, er, shot one another or,
0:39:38 > 0:39:42er, at least, er, split up.
0:39:42 > 0:39:44Er, er, er, yeah.
0:39:47 > 0:39:53He took a lot of photographs and even did some preliminary drawings.
0:39:55 > 0:39:59Chris, he got that figure in the painting right away,
0:39:59 > 0:40:04and you can tell from looking at the painting, it's very freshly painted.
0:40:05 > 0:40:08It was a really fresh version
0:40:08 > 0:40:12and it was good, I kept it, and, of course,
0:40:12 > 0:40:16he had the, er, photographs to remind him.
0:40:17 > 0:40:19The painting of me
0:40:19 > 0:40:23is much heavier technique, if you look closely.
0:40:23 > 0:40:25He had a lot of trouble with me.
0:40:27 > 0:40:31I think it may have given David the idea
0:40:31 > 0:40:33of finding a partner for himself,
0:40:33 > 0:40:37since it seemed to work well for Chris and me.
0:40:45 > 0:40:50David met a student at UCLA during the summer, Peter Schlesinger,
0:40:50 > 0:40:52and he liked Peter very much.
0:40:52 > 0:40:56I believe Peter was what David was somehow looking for.
0:40:56 > 0:41:00But, er, he called once and he was taking, erm,
0:41:00 > 0:41:06this young student of his from Tarzana in the Valley...
0:41:06 > 0:41:08There's a place called Tarzana where...
0:41:11 > 0:41:14..where...Burroughs...
0:41:14 > 0:41:18Burroughs lived in Tarzana and created Tarzan.
0:41:18 > 0:41:21Edgar Rice Burroughs created it in the Valley
0:41:21 > 0:41:24and so, it's called Tarzana.
0:41:24 > 0:41:29And, er, and er, David did a now famous painting of Peter
0:41:29 > 0:41:32which is called The Room Tarzana.
0:41:38 > 0:41:41DON BACHARDY: He was a very attractive young man,
0:41:41 > 0:41:42and quite beautiful and, er,
0:41:42 > 0:41:46yes, I think David was enchanted by him.
0:41:49 > 0:41:54Neither had ever lived in a romantic relationship with a partner
0:41:54 > 0:41:57and that made it a lot of fun to be around them.
0:42:14 > 0:42:16My first encounter was with a picture,
0:42:16 > 0:42:18not with David as a person.
0:42:22 > 0:42:24I was captured by Doll Boy,
0:42:24 > 0:42:27as a picture that seemed to me original
0:42:27 > 0:42:29and "gay" in the old sense of the word
0:42:29 > 0:42:33and, er...rule-breaking...
0:42:33 > 0:42:34and witty.
0:42:34 > 0:42:38I particularly liked that painting and, at that time,
0:42:38 > 0:42:41had sufficient money to buy it outright
0:42:41 > 0:42:42and then wanted to meet David.
0:42:48 > 0:42:50David acquired fans
0:42:50 > 0:42:54with enormous facility.
0:42:54 > 0:42:56Cecil Beaton had already bought
0:42:56 > 0:42:58a picture on one of his visits to the Royal College.
0:43:02 > 0:43:06It was a time when Snowdon was making photographs for a book
0:43:06 > 0:43:10called Private View, and people saw the potential in David
0:43:10 > 0:43:13as someone that you could write a lot about.
0:43:14 > 0:43:16I had great ambition at the time.
0:43:16 > 0:43:20I wanted to show what I thought of as the greatest art.
0:43:20 > 0:43:23I'd formulated a pretty strong idea of what I liked most
0:43:23 > 0:43:28and it was almost entirely American Abstract colour field painting.
0:43:28 > 0:43:31But, of course, in England, I wanted to represent
0:43:31 > 0:43:33what I thought was the best in English painting,
0:43:33 > 0:43:37whether it, it fitted in with all of the American taste or not.
0:43:37 > 0:43:41And Hockney was the only figurative artist that I found interesting,
0:43:41 > 0:43:44exciting, that I wanted to be the defender of.
0:43:50 > 0:43:53You could say David was the only figurative artist
0:43:53 > 0:43:56in a deadly serious Abstract place, but, in fact,
0:43:56 > 0:43:59the influence of the ones on the other were quite strong.
0:43:59 > 0:44:02I mean, a number of his pictures were painted
0:44:02 > 0:44:05thinking about colour field painting, you know.
0:44:10 > 0:44:11He'd already
0:44:11 > 0:44:15pretty rapidly became a blond,
0:44:15 > 0:44:17a flamboyant dresser...
0:44:18 > 0:44:21..a maker of public statements, I mean,
0:44:21 > 0:44:23the sort of person that draws the attention of journalists.
0:44:23 > 0:44:27And it was at the very moment when...
0:44:27 > 0:44:30when the eye of the press and the taste-makers
0:44:30 > 0:44:34was on the British art world and fashion world.
0:44:34 > 0:44:39And David stood out as one of the banner carriers
0:44:39 > 0:44:42for the new approach to art, life and, in fact,
0:44:42 > 0:44:45the emerging openness of gay life.
0:44:54 > 0:44:56David always had a sense of humour.
0:44:56 > 0:44:59For instance, when Tony Snowdon said, "Come round and have
0:44:59 > 0:45:02"a look at Kensington Palace," when he was married to Princess Margaret.
0:45:02 > 0:45:05Tony used to take great delight in those days
0:45:05 > 0:45:07showing you the bathroom with the M and the coronet
0:45:07 > 0:45:09on top of a lavatory seat, and saying,
0:45:09 > 0:45:13"You can have a pee in," you know, "Margaret's lav, if you like."
0:45:13 > 0:45:16And then, he asked David to sign the visitor's book and David said,
0:45:16 > 0:45:18"No, no," he said, "I'm not going to sign that.
0:45:18 > 0:45:21"I don't want my name in there, come the revolution!"
0:45:29 > 0:45:35In 1962, I'd been at a demonstration in Trafalgar Square.
0:45:35 > 0:45:38When it was over, I thought I'd come in the National Gallery
0:45:38 > 0:45:44and have look at frescos by Domenichino from a room
0:45:44 > 0:45:46in the Villa Aldobrandini near Rome.
0:45:47 > 0:45:52Then I became fascinated with, er, things about the pictures.
0:45:54 > 0:45:59The space of the picture, you see, is really only one foot.
0:45:59 > 0:46:02As you can see here, there's, er...
0:46:02 > 0:46:05the picture begins here and there's some floor.
0:46:06 > 0:46:12And the dwarf that you see is stood in front of this tapestry,
0:46:12 > 0:46:14which is the back of the picture.
0:46:14 > 0:46:18The picture is only the depth of a, of a person,
0:46:18 > 0:46:21as a matter of fact, which is about one foot.
0:46:21 > 0:46:24So I did my version of this painting.
0:46:24 > 0:46:27You can see the tapestry quite clearly
0:46:27 > 0:46:31and you can see I've painted a fleur-de-lys border.
0:46:31 > 0:46:34And instead of a dwarf, I got
0:46:34 > 0:46:38a friend, in fact, he's an art dealer called Kasmin,
0:46:38 > 0:46:43to pose for me and I defined the front of the picture
0:46:43 > 0:46:46by putting a sheet of glass over this section.
0:46:46 > 0:46:50And I got Kas to pose for this and I did some drawings
0:46:50 > 0:46:54and I took some photographs of him pressed against the glass.
0:46:55 > 0:47:01And so my figure is trapped between the tapestry and the glass.
0:47:01 > 0:47:04In fact, the idea of that painting
0:47:04 > 0:47:07I've kept repeating and repeating,
0:47:07 > 0:47:11and the idea of a border still interests me.
0:47:11 > 0:47:13For example,
0:47:13 > 0:47:16here's another painting that I did in Hollywood.
0:47:17 > 0:47:20Because it's got a border round it,
0:47:20 > 0:47:24you cannot, as it were, walk straight into the picture.
0:47:24 > 0:47:25If it's got a border,
0:47:25 > 0:47:28it's like this rope being here, and to climb into it,
0:47:28 > 0:47:30you've got to climb over this,
0:47:30 > 0:47:33you see, and then you'd have to go onto the diving board...
0:47:33 > 0:47:34BOARD RATTLES
0:47:34 > 0:47:37and fall into the swimming pool and there's the splash.
0:47:37 > 0:47:38WATER SPLASHES
0:48:02 > 0:48:06'Henry Geldzahler was a curator at the Metropolitan Museum of Art.'
0:48:06 > 0:48:07- INTERCOM BUZZES - 'Hello?'
0:48:07 > 0:48:09Hi, Dave. It's Henry.
0:48:14 > 0:48:18It was obvious that David was the most important person in his life.
0:48:18 > 0:48:22They spoke on the telephone almost every day for 20 or 30 minutes.
0:48:22 > 0:48:25Of course, in those days, there were no mobile phones.
0:48:25 > 0:48:27There was a table where the telephone sat
0:48:27 > 0:48:30and you had conversations.
0:48:30 > 0:48:34So, I got to know David through one-sided phone conversations
0:48:34 > 0:48:37that Henry was having with him and I realised
0:48:37 > 0:48:40they shared absolutely every aspect of their life.
0:48:40 > 0:48:47The art, the books, the friendships, the lovers, the gossip, everything.
0:48:48 > 0:48:49It was total friendship.
0:48:52 > 0:48:56David was essentially a figure of the 19th century in many respects.
0:48:56 > 0:49:02The literature, the art, the music that he was deeply involved in,
0:49:02 > 0:49:03much of it was 19th century,
0:49:03 > 0:49:05and the same was true of Henry.
0:49:05 > 0:49:08That's what David loved about Henry.
0:49:09 > 0:49:11In the 1960s and the 1970s,
0:49:11 > 0:49:14David was a very unfashionable artist.
0:49:14 > 0:49:17He was involved with poetry, literature.
0:49:17 > 0:49:21He wanted to bring all of these things into his art.
0:49:21 > 0:49:25So, David was engaging all of these subjects that most artists
0:49:25 > 0:49:28were working very hard to eliminate from their work.
0:49:29 > 0:49:31He was,
0:49:31 > 0:49:35in many ways, a figure who was excluded from the contemporary
0:49:35 > 0:49:37dialogue that was taking place,
0:49:37 > 0:49:41and to have Henry's, erm, imprimatur, interest, friendship,
0:49:41 > 0:49:43I think it meant a great deal to him.
0:49:46 > 0:49:51And he was not shy about telling David what he liked and what he
0:49:51 > 0:49:54didn't like about both his art and his personality,
0:49:54 > 0:49:56but he always did it in a very loving, gentle way.
0:49:56 > 0:50:00One of the things that David relied on Henry
0:50:00 > 0:50:03every six months or so, would be to go through a stack of drawings,
0:50:03 > 0:50:05and every now and then, there'd be something,
0:50:05 > 0:50:08and Henry would pick it up and tear it up, throw it in the trash.
0:50:10 > 0:50:13MUSIC: Una Furtiva Lagrima from L'elisir D'Amore by Donizetti
0:50:30 > 0:50:32If, next week,
0:50:32 > 0:50:35this country did collapse
0:50:35 > 0:50:42but on the very day it collapsed you met your absolute true love,
0:50:42 > 0:50:45you wouldn't give two hoots about the bloody place collapsing,
0:50:45 > 0:50:46would you?
0:50:46 > 0:50:50I mean, you know, you'd think, "Oh, all's right with the world.
0:50:50 > 0:50:53"If we have a sandwich and a, and a glass of beer, it doesn't matter."
0:50:55 > 0:51:01# Una furtiva lagrima
0:51:04 > 0:51:11# Negli occhi suoi spunto... #
0:51:14 > 0:51:18Lots of David's portraits are about togetherness, aren't they, really?
0:51:18 > 0:51:20Togetherness is two people,
0:51:20 > 0:51:23and it's always a kind of interesting equation for him,
0:51:23 > 0:51:25cos, in a way, we're all alone,
0:51:25 > 0:51:29but it's nice to be part of something and part of somebody else.
0:51:34 > 0:51:37David and Ossie were really good pals.
0:51:37 > 0:51:39Ossie was a very flamboyant character
0:51:39 > 0:51:41in his own way and single-minded.
0:51:43 > 0:51:45In fact, his shows were quite unique,
0:51:45 > 0:51:48and he'd bill the music to the fashion models,
0:51:48 > 0:51:52to the whole catwalk experience.
0:51:54 > 0:51:56We were all pals together
0:51:56 > 0:51:59and I suppose leading a certain bohemian life.
0:52:00 > 0:52:02And it was very innocent then.
0:52:02 > 0:52:04You were enjoying being young,
0:52:04 > 0:52:08and in London, and doing things you really liked doing.
0:52:10 > 0:52:12David asked Ossie
0:52:12 > 0:52:14and myself if we'd pose for him.
0:52:16 > 0:52:19I remember going to Powis Terrace and him taking lots of photographs.
0:52:19 > 0:52:22And I know, for instance,
0:52:22 > 0:52:26he couldn't get Ossie's feet correctly painted,
0:52:26 > 0:52:29so he put the shag pile carpet on the floor
0:52:29 > 0:52:31and hid his feet in the carpet.
0:52:36 > 0:52:39And he made the bedroom into the sitting room
0:52:39 > 0:52:42cos he wanted to choose various things that he thought were
0:52:42 > 0:52:44to do with our personalities.
0:52:53 > 0:52:56I met Peter when he first came over with David.
0:52:56 > 0:53:01There was this new person to engage with and it was Peter.
0:53:08 > 0:53:11I think he made a nice home for David.
0:53:11 > 0:53:14I think he wanted to have a, a stylish home.
0:53:14 > 0:53:22# Un solo instante i palpiti
0:53:26 > 0:53:33# Del suo bel cor sentir... #
0:53:33 > 0:53:38David had acquired the leases on the surrounding flats
0:53:38 > 0:53:42and said would I knock the walls down between them
0:53:42 > 0:53:48and make a very lovely lateral apartment?
0:53:48 > 0:53:50As far as I'm concerned, I just designed the flat
0:53:50 > 0:53:52that I'd want for myself.
0:53:52 > 0:53:54Little did I know, I'd later have it.
0:54:01 > 0:54:04David's quite sociable, so he likes to give parties,
0:54:04 > 0:54:06to have people around,
0:54:06 > 0:54:10so to have a big room at one end of the apartment and at the other
0:54:10 > 0:54:14and then a beautiful long gallery between them,
0:54:14 > 0:54:16that was very appealing.
0:54:16 > 0:54:30# ..Confondere i miei coi suoi sospir
0:54:30 > 0:54:37# Cielo! Si puo morir! #
0:54:37 > 0:54:45Peter dealt with curtains and tiles and finishes and furniture.
0:54:46 > 0:54:48Peter would go out and hunt for things
0:54:48 > 0:54:51and then he'd take David to see them and decide together.
0:54:52 > 0:54:55He would go out to the market and
0:54:55 > 0:54:57buy vases and, you know...
0:54:57 > 0:55:00bits and pieces, but if it was like a big thing,
0:55:00 > 0:55:02David would get very involved.
0:55:08 > 0:55:12He was the first person I lived with, yeah.
0:55:12 > 0:55:17Yeah, it was very nice, very, very nice. You know,
0:55:17 > 0:55:22when people said to me, "Ah, well, when you said you were gay
0:55:22 > 0:55:27"in 1960 or something and, well, it was illegal,"
0:55:27 > 0:55:30and this, that and the other... and this, that and the other,
0:55:30 > 0:55:35and I said, "Well, I lived in Bohemia
0:55:35 > 0:55:39"and Bohemia is a tolerant place."
0:55:44 > 0:55:47When he's in London, he quite often pops round.
0:55:49 > 0:55:54He used to just ring the doorbell and come in and prowl around.
0:55:56 > 0:56:00Particularly, he liked going into his old studio
0:56:00 > 0:56:02and just standing there,
0:56:02 > 0:56:06remembering all the great paintings he did there.
0:56:17 > 0:56:18CLAVICHORD PLAYS
0:56:37 > 0:56:41The clavichord was near a doorway
0:56:41 > 0:56:42which was near the window.
0:56:42 > 0:56:45- And so, it was, it was... - And I was leaning against it.
0:56:45 > 0:56:47Yes, and it was, it...
0:56:47 > 0:56:49With all our underwear all over the floor.
0:56:49 > 0:56:51It was... Wayne's jockstraps were everywhere.
0:56:51 > 0:56:54Well, they, I needed them.
0:56:54 > 0:56:55Oh.
0:56:55 > 0:56:59I was playing A flat, this note.
0:57:01 > 0:57:05And I wanted to call the painting A Flat.
0:57:05 > 0:57:06A small flat.
0:57:06 > 0:57:09Cos it was. A very small flat, yes.
0:57:10 > 0:57:13But it was really a painting about stillness.
0:57:13 > 0:57:16I think it would have been wonderful. It's unfinished.
0:57:20 > 0:57:23The development of what should have been a really beautiful,
0:57:23 > 0:57:28serene, happy, listening, still painting
0:57:28 > 0:57:33became a huge dilemma of mixtures of colours and unfinished sequences
0:57:33 > 0:57:38and painting out the floor and repainting in the background.
0:57:38 > 0:57:42And every time we went round there, there was something different
0:57:42 > 0:57:45going on and I just thought, "This will never get done."
0:57:47 > 0:57:53He was worried about something called the vanishing point.
0:57:53 > 0:57:55I think the problem wasn't really the vanishing point.
0:57:55 > 0:57:57It was the "vanishing Peter".
0:57:59 > 0:58:02David was splitting up with Peter,
0:58:02 > 0:58:06and that was a very upsetting period, for both of them, actually.
0:58:09 > 0:58:10David was very upset.
0:58:10 > 0:58:14He was, I think, genuinely in love with Peter.
0:58:14 > 0:58:18They had their troubles. But, you know,
0:58:18 > 0:58:23starting a relationship is, er, very tricky, er, even a man
0:58:23 > 0:58:27and a woman, and, er, the first time either of them
0:58:27 > 0:58:30had ever been involved in such a relationship.
0:58:30 > 0:58:33Of course, they were going to have problems.
0:58:37 > 0:58:39That was a very upsetting period.
0:58:40 > 0:58:43I think he was taking tranquilisers as well.
0:58:44 > 0:58:47He was just crying a lot.
0:58:47 > 0:58:50I mean, it had been a long period that he'd been with Peter,
0:58:50 > 0:58:53and it was just suddenly a devastating point, which actually
0:58:53 > 0:58:56did come through the picture, because it was an unfinished scene,
0:58:56 > 0:59:00like his life was unfinished without him.
0:59:15 > 0:59:23# Un solo instante i palpiti
0:59:26 > 0:59:34# Del suo bel cor sentir! #
0:59:38 > 0:59:41I think there were periods of depression.
0:59:44 > 0:59:46I have films of him lying on
0:59:46 > 0:59:50the water bed, obviously very depressed, being comforted by Henry.
0:59:57 > 1:00:00Whether that was related to the break-up with Peter
1:00:00 > 1:00:04or whether that was just something that is endemic
1:00:04 > 1:00:08to his personality, I'm not, I've never been absolutely sure.
1:00:08 > 1:00:13He can be extremely up and then we've all seen
1:00:13 > 1:00:15moods where he's not happy.
1:00:24 > 1:00:26But he got a lot of support.
1:00:26 > 1:00:30In the summer of '75 and '76, both he and Henry
1:00:30 > 1:00:33stayed all summer at my house at the shore.
1:00:36 > 1:00:37It was right on the beach.
1:00:41 > 1:00:45He liked being there and he liked painting.
1:00:45 > 1:00:49He uses his work to escape the world.
1:00:49 > 1:00:52And I remember he'd sit there in the living room and paint
1:00:52 > 1:00:55and eat out of this huge barrel of, um, something -
1:00:55 > 1:00:58it wasn't potato chips or something, and pretty soon the floor
1:00:58 > 1:01:02would be covered with them like they were sawdust or something.
1:01:02 > 1:01:04It was an absolutely... It was a unique time.
1:01:07 > 1:01:09That's where he started the Blue Guitar series.
1:01:09 > 1:01:11I think that was in '76.
1:01:11 > 1:01:14I'm not sure whether that idea came from Henry or...
1:01:14 > 1:01:16cos Henry read a lot - read a lot of poetry,
1:01:16 > 1:01:18but David always read a lot, too,
1:01:18 > 1:01:21so I don't know who got the idea,
1:01:21 > 1:01:25but he spent all summer doing that series.
1:01:25 > 1:01:33CLASSICAL GUITAR MUSIC
1:01:39 > 1:01:42I mean, I'd begun the etchings and then I thought, the title,
1:01:42 > 1:01:48I just thought I would call it, er, The Blue Guitar by David Hockney,
1:01:48 > 1:01:53inspired by Wallace Stevens who was inspired by Pablo Picasso.
1:01:53 > 1:01:56And the names could get bigger as they go down.
1:02:03 > 1:02:07The source of the poem was a painting of Picasso,
1:02:07 > 1:02:11and so I'm turning the poem back into a painting and etchings.
1:02:14 > 1:02:19They said, "You have a blue guitar. You do not play things as they are."
1:02:19 > 1:02:20The man replied,
1:02:20 > 1:02:24"Things as they are are changed upon the blue guitar."
1:02:24 > 1:02:29And they said then, "But play you must, a tune beyond us, yet ourselves,
1:02:29 > 1:02:33"a tune upon the blue guitar of things exactly as they are."
1:02:37 > 1:02:40When I read it, you see, I loved the phrase,
1:02:40 > 1:02:42"You do not play things as they are",
1:02:42 > 1:02:46because the Philistine response to Picasso was,
1:02:46 > 1:02:49"You do not paint things as they are".
1:02:49 > 1:02:53Well, there's no such thing as "things as they are".
1:02:53 > 1:02:58In painting, where you deceive the eye with all sorts of devices
1:02:58 > 1:03:01to make things look as they are...
1:03:01 > 1:03:05I don't know, this, the poem just triggered ideas in my head.
1:03:05 > 1:03:08So, I started making drawings which are just inventions,
1:03:08 > 1:03:12which was, er, a change for me from the past two years.
1:03:12 > 1:03:16I... In the painting, for instance, there's things...
1:03:16 > 1:03:21Er, the coloured line right at the top is simply a coloured line,
1:03:21 > 1:03:25so that's absolutely as it is. There's no illusion there.
1:03:25 > 1:03:28But the water falling is illusionistic.
1:03:28 > 1:03:32And you make references to other kinds of painting.
1:03:32 > 1:03:36I mean, playing games like that seemed such fun to me.
1:03:36 > 1:03:38I just went on and on.
1:03:55 > 1:04:00The work has always been this core of David's life.
1:04:00 > 1:04:04The first break-up was very difficult for him.
1:04:04 > 1:04:05But the art is the thing
1:04:05 > 1:04:11that gives him the anchor, in life and in the world.
1:04:11 > 1:04:13I mean, I think anything that happens,
1:04:13 > 1:04:16as long as he's able to, er, see the world through his painting
1:04:16 > 1:04:19and stuff, he could... he could survive anything.
1:04:48 > 1:04:52I've, you know... I've taken photographs for a long, long time
1:04:52 > 1:04:54and I have about 100 albums full of photographs.
1:04:54 > 1:04:58All of life, it's all recorded pictorially.
1:04:58 > 1:05:02Most people who ever come into it, I photograph in some way.
1:05:02 > 1:05:04And later, maybe I draw them
1:05:04 > 1:05:07but usually I don't draw them instantly, I just take a snap.
1:05:07 > 1:05:09It is like a diary.
1:05:21 > 1:05:23I'm just a snapper, really.
1:05:30 > 1:05:33We see so many photographic images and film images
1:05:33 > 1:05:35and they're so mainstream,
1:05:35 > 1:05:37we're so used to thinking of those as the way
1:05:37 > 1:05:39of representing the world,
1:05:39 > 1:05:42but he knows that one can do things with painting
1:05:42 > 1:05:48that one cannot do with, with erm, photographic technologies.
1:05:48 > 1:05:52One can express visions of the world, ways of seeing,
1:05:52 > 1:05:54that invite you to look at things
1:05:54 > 1:05:57that you would only just glance at if it was a photograph
1:05:57 > 1:05:59or even if you were seeing it in reality.
1:05:59 > 1:06:05He's introducing something much more personal, something more moving.
1:06:05 > 1:06:08And he's trying with many tactics
1:06:08 > 1:06:11to show that painting can do this.
1:06:18 > 1:06:21I'd become very, very aware of this
1:06:21 > 1:06:25frozen moment that was very unreal to me.
1:06:25 > 1:06:29The photographs didn't really have life in the way a drawing
1:06:29 > 1:06:30or painting did.
1:06:30 > 1:06:34And I realised it couldn't because of what it is.
1:06:34 > 1:06:38Compared to Rembrandt looking at himself for hours and hours
1:06:38 > 1:06:41and scrutinising his face, and putting all these
1:06:41 > 1:06:44hours into the picture that you're going to look at,
1:06:44 > 1:06:48naturally, there's many more hours there than even you can give it.
1:06:48 > 1:06:51A photograph is the other way round.
1:06:51 > 1:06:54It's a fraction of a second, frozen.
1:06:54 > 1:06:57So, the moment you've looked at it for even four seconds,
1:06:57 > 1:07:01you're looking at it for far more than the camera did.
1:07:01 > 1:07:03And, er, I...
1:07:03 > 1:07:06er, it dawned on me that this was visible, actually.
1:07:06 > 1:07:12It IS visible, and, er, the more you become aware of it,
1:07:12 > 1:07:14the more this is a terrible weakness.
1:07:14 > 1:07:16Drawings and paintings do not have this.
1:07:18 > 1:07:22I made a little photographic experiment with the Polaroid,
1:07:22 > 1:07:25by putting 30 of them together, made a,
1:07:25 > 1:07:29a photograph of this house in a way that I'd been trying to paint
1:07:29 > 1:07:33the house from three different viewpoints.
1:07:33 > 1:07:37And the photograph excited me so much and...
1:07:37 > 1:07:44Well, time WAS appearing in the picture and, because of it,
1:07:44 > 1:07:48space - a bigger illusion of space.
1:07:48 > 1:07:51Now, the space is an illusion - I was aware of that,
1:07:51 > 1:07:53but the time is not an illusion.
1:07:53 > 1:07:57It is real and accounted for in the number of pictures.
1:07:59 > 1:08:04You KNOW it took time to take them, wait for them,
1:08:04 > 1:08:06put them down and so on. And this began...
1:08:06 > 1:08:11I realised was, er, giving you this illusion of space
1:08:11 > 1:08:14that we had not seen - I had not seen - in a photograph before.
1:08:46 > 1:08:48I'm interested in pictures,
1:08:48 > 1:08:53made any way, and the visible world
1:08:53 > 1:08:54and representing it.
1:08:54 > 1:08:58That's why Picasso is always interesting.
1:08:58 > 1:09:03He never left the visible world - never left depiction, actually.
1:09:07 > 1:09:15RAIN FALLS GENTLY
1:09:31 > 1:09:35His greatest hero for most of his life has been Pablo Picasso,
1:09:35 > 1:09:39whose art moves through phases and different approaches
1:09:39 > 1:09:43and styles with great frequency throughout a long life.
1:09:53 > 1:09:54So David's aware of the fact
1:09:54 > 1:09:58that almost everything he does is going to sell the second
1:09:58 > 1:10:01he's put his name to it and he does not want to become a machine
1:10:01 > 1:10:03for producing items of value.
1:10:24 > 1:10:27He frequently ran into periods when...
1:10:27 > 1:10:32he was dissatisfied with, erm, what he was doing
1:10:32 > 1:10:36and thrashing about looking for new and different ways of doing it.
1:10:36 > 1:10:39He did not like just going on using...
1:10:39 > 1:10:45His...immense facility for drawing didn't satisfy his ambition.
1:10:56 > 1:11:01Surfaces that you can decide where to look, I find fascinating.
1:11:01 > 1:11:05You know, in a way, with water,
1:11:05 > 1:11:08you can look at a reflection,
1:11:08 > 1:11:11then you're looking at the surface,
1:11:11 > 1:11:13or you can suddenly take the reflection away
1:11:13 > 1:11:15and look through it...
1:11:19 > 1:11:23And somehow the problem of depicting it
1:11:23 > 1:11:28becomes a wonderful way of, in your head,
1:11:28 > 1:11:33thinking of graphic terms and devices to depict it all.
1:11:43 > 1:11:48Early ones are done with very, very stylised
1:11:48 > 1:11:50form in the water -
1:11:50 > 1:11:56jigsaw shapes with a heavy blue line describing the interlocking shapes
1:11:56 > 1:11:58as though somebody's jumped in the pool
1:11:58 > 1:12:00and all the shapes are dancing.
1:12:05 > 1:12:09The painting called The Sunbather - the dancing line is yellow,
1:12:09 > 1:12:11which happens if it's very sunny
1:12:11 > 1:12:15and you get this dancing yellow line all the time.
1:12:23 > 1:12:26Later on I could make the water look very fluid
1:12:26 > 1:12:32and wet by putting acrylic paint that was very, very diluted,
1:12:32 > 1:12:36and you put a detergent in it, so when you paint on the canvas,
1:12:36 > 1:12:39the canvas soaks it up like blotting paper.
1:12:48 > 1:12:51Even the painting of the Splash, for instance -
1:12:51 > 1:12:53somehow what I quite liked about doing it was
1:12:53 > 1:12:59the perversity of painting something that lasts for one second.
1:12:59 > 1:13:04But it took me seven days' work to paint the splash itself.
1:13:04 > 1:13:08If you look carefully, it's painted in single lines with a small brush.
1:13:16 > 1:13:21I like the idea, you see, of a realistic painting,
1:13:21 > 1:13:24of a real figure, looking at another figure
1:13:24 > 1:13:28but the other figure is distorted naturally by the water.
1:13:58 > 1:14:01COW MOOS
1:14:02 > 1:14:04SHEEP BLEATS
1:14:08 > 1:14:10I was the technical director
1:14:10 > 1:14:12when the Met opened the French triple bill.
1:14:14 > 1:14:19What we did was to take David's pieces, in the case of Parade,
1:14:19 > 1:14:20the ideas of someone
1:14:20 > 1:14:23who's basically not working all the time in the theatre,
1:14:23 > 1:14:25and translate them to the stage,
1:14:25 > 1:14:29but add the things that you know that...that make it...make it work.
1:14:31 > 1:14:34Oh, I think the challenges were, for him, just the scale of things.
1:14:39 > 1:14:43This is a model of the Metropolitan Opera stage.
1:14:43 > 1:14:48And the story of the opera is about a naughty child.
1:14:48 > 1:14:50And the little boy says,
1:14:50 > 1:14:54"I'm fed up of being good. I want to be wicked."
1:14:54 > 1:14:57So, he picks up a poker from the fireplace,
1:14:57 > 1:15:01he runs around the room, he smashes the teapot.
1:15:03 > 1:15:10MUSIC: L'Enfant Et Les Sortileges
1:15:10 > 1:15:14Very shortly after the Met reopened, there was Parade,
1:15:14 > 1:15:18in the wintertime when everyone is desperate for light
1:15:18 > 1:15:22and colour and here is something totally fresh, totally new,
1:15:22 > 1:15:26something unlike anyone had ever seen at the Met.
1:15:26 > 1:15:28Um, and I think it just...
1:15:28 > 1:15:31It lifted people's spirits and it...
1:15:31 > 1:15:33it kind of took them to a different place.
1:15:33 > 1:15:37And David was a major instrument in having that happen.
1:15:54 > 1:15:59Henry and David in Europe, they would arrive in a European City
1:15:59 > 1:16:01and immediately go to the opera house,
1:16:01 > 1:16:03look to see what was playing, get tickets.
1:16:03 > 1:16:06And then they'd go to the museum.
1:16:06 > 1:16:09Then they'd have lunch and they'd go back to the hotel.
1:16:09 > 1:16:10Henry would write.
1:16:10 > 1:16:13David would have his sketch pad and his coloured pencils.
1:16:13 > 1:16:15Then they'd have a nap.
1:16:15 > 1:16:17Then they'd come out, have dinner, go to the opera house.
1:16:19 > 1:16:21MUSIC: Tristan Und Isolde by Wagner
1:16:31 > 1:16:33There's a lot of music.
1:16:33 > 1:16:38There's often four minutes of music with nobody singing, which means
1:16:38 > 1:16:40you've to be looking at something.
1:16:40 > 1:16:43In fact, you've to be looking at something in an interesting way
1:16:43 > 1:16:46to hear that music, to really hear it.
1:16:46 > 1:16:51So, we'll figure a way, you know, to slowly reveal the forest
1:16:51 > 1:16:53and so on, I mean, just do it very slowly.
1:16:53 > 1:16:55'Tristan And Isolde,'
1:16:55 > 1:16:57I worked for a year in here on it.
1:16:58 > 1:17:00One year, actually, it took,
1:17:00 > 1:17:05'matching the music and getting the colours and things.
1:17:05 > 1:17:08'It was a long, big job. I used'
1:17:08 > 1:17:12to sit up here with it and I'd...
1:17:12 > 1:17:18We had a big model with lights, and I had all these little lights
1:17:18 > 1:17:23where I could, er, change it and do things.
1:17:23 > 1:17:25Sometimes, I'd smoke a joint
1:17:25 > 1:17:29and then put on the music and fiddle with the lights.
1:17:29 > 1:17:32It was terrific, actually, that, doing it.
1:17:36 > 1:17:41And, I must confess the other night I saw Tosca, I was looking
1:17:41 > 1:17:46at Tosca, and it suddenly occurred to me that the only Puccini opera
1:17:46 > 1:17:50that doesn't have a lot of cruelty in it is, um, Boheme.
1:17:50 > 1:17:53At least she dies, er, from TB.
1:17:53 > 1:17:56This opera, not only does nobody die,
1:17:56 > 1:18:02it ends on the best note of hope I've ever come across
1:18:02 > 1:18:04on a musical stage, I think,
1:18:04 > 1:18:08that there is real hope for us wretched people.
1:18:08 > 1:18:11This is actually the drawing we're finally using to make
1:18:11 > 1:18:15the set for the Poulenc opera, which is a scene in the South of France.
1:18:15 > 1:18:18It's supposed to be jolly and pretty. Erm...
1:18:18 > 1:18:22'Unlike some designers and unlike some artists,
1:18:22 > 1:18:25'David was completely swept up with the music.
1:18:25 > 1:18:29'To him, the music suggested visual things
1:18:29 > 1:18:33'and I think that was a big appeal.'
1:18:33 > 1:18:36And one of the things that often is missing
1:18:36 > 1:18:40in theatrical productions is that kind of reverence for,
1:18:40 > 1:18:42for the...for the work of art,
1:18:42 > 1:18:46but also a kind of willingness to be completely one
1:18:46 > 1:18:48with its slightly sentimental side,
1:18:48 > 1:18:50and David loved that.
1:18:50 > 1:18:51MUSIC: Parade by Eric Satie
1:19:17 > 1:19:20'It's gone now for me, music.'
1:19:20 > 1:19:25I don't go to the opera any more because I can't really hear it.
1:19:25 > 1:19:26I mean,
1:19:26 > 1:19:29I'd have to sit right at the front or something.
1:19:29 > 1:19:32I mean, I...I don't go because
1:19:32 > 1:19:37if you go, I leave the theatre a bit depressed.
1:20:12 > 1:20:14Well, he's just coming off of his theatre work, OK, and he's
1:20:14 > 1:20:16fed up with that.
1:20:16 > 1:20:18He doesn't know what he wants to do next
1:20:18 > 1:20:21and he is kind of loose at this moment.
1:20:21 > 1:20:24And he's visiting friends and he's having a good time in New York,
1:20:24 > 1:20:27and he comes over for dinner, OK, to see what I'm up about.
1:20:27 > 1:20:32And so, I show him the, er, great Ellsworth Kelly paper images.
1:20:32 > 1:20:35And he's absolutely thunderstruck. He's moved, really moved.
1:20:35 > 1:20:38And he also said, you know, 'These, Ken, are fantastic.
1:20:38 > 1:20:40"How are they made?"
1:20:40 > 1:20:43So I said, "Well, you know, stay for, you know, after dinner.
1:20:43 > 1:20:46"Stay till tomorrow and I'll show you. We'll make up a couple of pieces of paper
1:20:46 > 1:20:47"and I'll show you how it's done."
1:20:47 > 1:20:52That, that's the turn-on, you know. "Oh, you'll show me? OK."
1:20:52 > 1:20:53So we started to play.
1:20:53 > 1:20:55MUSIC: Blue Pools by John Harle
1:21:04 > 1:21:05At first he confessed
1:21:05 > 1:21:07about, "Oh, I don't want to do this.
1:21:07 > 1:21:09"I have to make every one of these myself," you know.
1:21:09 > 1:21:12"They're not reproducible," you know.
1:21:12 > 1:21:15"I don't know whether I want to do all these."
1:21:15 > 1:21:18But he did all these, and every time he did a new one,
1:21:18 > 1:21:19he wanted to make another one.
1:21:19 > 1:21:21And we wound up working 18 hours a day.
1:21:21 > 1:21:24I mean, it was slave labour for 49 days.
1:21:24 > 1:21:27All of us just loved it. We couldn't get enough of it.
1:21:27 > 1:21:32Because each and every piece he made was just one more note
1:21:32 > 1:21:37of greatness that he was putting down for us to hear, to see.
1:21:37 > 1:21:42And he knew that he was onto something as much as we did.
1:21:53 > 1:21:55I think Paper Pools helped him tremendously in his painting.
1:21:55 > 1:21:57Yeah, I really do.
1:21:58 > 1:22:00Um, because I think it freed him up.
1:22:04 > 1:22:08I think it also gave him a different kind of idea about colour,
1:22:08 > 1:22:10how to use colour more boldly.
1:22:58 > 1:23:00Come on, Stanley. Come on.
1:23:02 > 1:23:05'David loved having the dachshunds down there and walking on the beach.'
1:23:08 > 1:23:09DOG BARKS
1:23:12 > 1:23:16'But I think, ultimately, David's house in Malibu, it wasn't very David.
1:23:16 > 1:23:19'I mean, it was very David in its kind of hominess,
1:23:19 > 1:23:21'but I don't think it ever became
1:23:21 > 1:23:25'his home, I mean, David's never been a weekend person, so
1:23:25 > 1:23:26'I thought it was a bit strange.
1:23:26 > 1:23:29'And it was decorated very nicely and cosy.
1:23:31 > 1:23:35'It was very funky and old-fashioned, unlike slick Malibu at the time.'
1:23:36 > 1:23:39But, er, as anybody that's lived in LA knows,
1:23:39 > 1:23:43it's actually a long way to go to go have lunch or to have a dinner
1:23:43 > 1:23:44and get in the car and drive.
1:23:52 > 1:23:53It was a transitional time.
1:23:53 > 1:23:57A lot of David's older friends were not there all the time.
1:24:04 > 1:24:07It was a world in the 1970s where to be gay was
1:24:07 > 1:24:09to be beautiful and fashionable.
1:24:09 > 1:24:13It... The whole world was right there in the palm of your hands.
1:24:16 > 1:24:19When David came to New York, a lot of times, he was here to party.
1:24:19 > 1:24:21He would go to the baths.
1:24:21 > 1:24:23He would go out to the bars.
1:24:23 > 1:24:24He was having a good time.
1:24:28 > 1:24:31And then, all of a sudden, AIDS came along
1:24:31 > 1:24:34and suddenly things went exactly in the opposite direction,
1:24:34 > 1:24:36and it... It was like a plague.
1:24:55 > 1:25:00One person after the next would come down with AIDS
1:25:00 > 1:25:02and it was quite simply a death sentence.
1:25:36 > 1:25:37I think it was something that
1:25:37 > 1:25:39shook David to his core.
1:25:41 > 1:25:42You think about them every day
1:25:42 > 1:25:44and then you stop it,
1:25:44 > 1:25:46because there's too many, actually,
1:25:46 > 1:25:50er, and it would
1:25:50 > 1:25:53rather drive you mad if you think about it.
1:25:53 > 1:25:58Er, and slowly, you have to realise it's kind of part of...
1:25:58 > 1:26:02it's become part of your life, this, er...
1:26:02 > 1:26:05something you never, ever expected.
1:26:13 > 1:26:17At the time, I couldn't write down all the people.
1:26:20 > 1:26:21I mean...
1:26:24 > 1:26:26It did change New York.
1:26:26 > 1:26:30I think it's THAT that changed it more than anything else,
1:26:30 > 1:26:31because I...
1:26:33 > 1:26:37When I think of all those people, if they were still there
1:26:37 > 1:26:41in New York, New York would be different today, it would.
1:26:43 > 1:26:46There would be Bohemia still.
1:26:46 > 1:26:48And that's the world I arrived in and that's the world
1:26:48 > 1:26:51I lived in, actually.
1:26:55 > 1:26:57Two thirds of the people that he was really close to
1:26:57 > 1:26:59suddenly just weren't there any more.
1:26:59 > 1:27:02They just disappeared.
1:27:02 > 1:27:05And Henry, when Henry died, it really was the final blow.
1:27:06 > 1:27:10Of course, Henry didn't die of anything to do with HIV or AIDS,
1:27:10 > 1:27:14but I think that was a terrible blow for David.
1:27:18 > 1:27:23When Henry died, it affected David, I think, particularly badly
1:27:23 > 1:27:26because I think he realised he was never going to find another person
1:27:26 > 1:27:29who knew him as well as Henry did.
1:27:31 > 1:27:34Truman Capote once said, "Love is never having to finish a sentence."
1:27:34 > 1:27:37And what that means is you're so much on the same page
1:27:37 > 1:27:39with the other person, you can begin a sentence
1:27:39 > 1:27:42and they immediately know what you're going to say.
1:27:42 > 1:27:44It's that kind of communication
1:27:44 > 1:27:49that Henry had with David and vice versa. And when Henry died, that was
1:27:49 > 1:27:53something that David never really discovered in anybody else again.
1:28:00 > 1:28:02CHAMBER MUSIC PLAYS
1:28:02 > 1:28:03FIRE CRACKLES
1:28:21 > 1:28:24So, I goes round to David's, you see, one morning,
1:28:24 > 1:28:27and he's got this colour TV set and he says, er, and says,
1:28:27 > 1:28:30"Ah, would you like to see it? You ever seen colour TV?"
1:28:30 > 1:28:33And he switches it on, you see, and he gets the colour
1:28:33 > 1:28:36and he turns the colour up right full on,
1:28:36 > 1:28:39as far as the knobs'll go, you know, and he goes, "Aye."
1:28:39 > 1:28:41And he looks like this and he says, "Aye,"
1:28:41 > 1:28:44he says, "you can have it Fauvist if you want," you know.
1:28:45 > 1:28:50# Happy birthday, dear David
1:28:50 > 1:28:54# Happy birthday to you. #
1:28:54 > 1:28:57CHEERING
1:29:04 > 1:29:08- WOMAN:- Oh, he's icing his cake. Oh, you see that?
1:29:08 > 1:29:09'There's a wonderful self-portrait
1:29:09 > 1:29:11'he did on his birthday, where he literally
1:29:11 > 1:29:14'took off his Brooks Brothers red-and-white striped shirt'
1:29:14 > 1:29:17and laid it on the copying machine and printed it in red.
1:29:17 > 1:29:19It's a wonderful... And then he drew his face
1:29:19 > 1:29:21and did the self-portrait.
1:29:23 > 1:29:25He has such bravura
1:29:25 > 1:29:28because he has such amazing ability as a draughtsman.
1:29:36 > 1:29:37FAX MACHINE BEEPS
1:29:39 > 1:29:41When the plain paper fax came,
1:29:41 > 1:29:44where you could have individual pieces of paper,
1:29:44 > 1:29:45David bought back that
1:29:45 > 1:29:48pattern he uses all the time of doing pictures in grids,
1:29:48 > 1:29:50so that the small piece of paper can suddenly become
1:29:50 > 1:29:52this enormous picture.
1:29:54 > 1:29:56WOMAN: Oh, it's tennis.
1:29:56 > 1:29:59There's two players, a net in the middle.
1:29:59 > 1:30:00APPLAUSE
1:30:03 > 1:30:05He even sent a big show, a whole show, to Brazil,
1:30:05 > 1:30:09to the Biennale, er, that he never went to.
1:30:09 > 1:30:13He just gave the instructions of how to put it up and it was put up.
1:30:13 > 1:30:18I think he thought it was amusing that hand was coming back
1:30:18 > 1:30:21to this technology that most people in business
1:30:21 > 1:30:25were using to communicate contracts and legal deals.
1:30:26 > 1:30:29I think he's always looking for new tools.
1:30:29 > 1:30:34He takes something that seems very common and everyday.
1:30:34 > 1:30:38And in 2009, David had already done, I think,
1:30:38 > 1:30:41about 200 of the iPhone drawings.
1:30:41 > 1:30:42Most of them were flowers.
1:30:42 > 1:30:44We all got them in New York, when we woke up
1:30:44 > 1:30:47in the morning, so you'd have this wonderful flower
1:30:47 > 1:30:48in the sunlight of his bedroom window.
1:30:50 > 1:30:52Then the iPad came out
1:30:52 > 1:30:55and then the drawings got so even more amazing, but also you
1:30:55 > 1:30:59could do the playback of the animation of the actual drawing,
1:30:59 > 1:31:01which was a huge new thing.
1:31:01 > 1:31:04Even David had never been able to watch his own work as it was
1:31:04 > 1:31:05unfolding.
1:31:07 > 1:31:10I think it was a real lens into David's creative process.
1:31:19 > 1:31:21Stanley.
1:31:21 > 1:31:24Good boy. Good boy.
1:31:24 > 1:31:26He's a good boy.
1:31:33 > 1:31:34- Thank you.- You're welcome.
1:31:55 > 1:31:59I think that David wants us to think differently.
1:31:59 > 1:32:02He wants us to see differently and think differently.
1:32:02 > 1:32:04He makes you stand in the painting.
1:32:04 > 1:32:07He makes you look up and left and right and down.
1:32:07 > 1:32:10And you, the experience becomes a different one
1:32:10 > 1:32:12from the traditional easel painting.
1:32:18 > 1:32:21David thought that the idea of a viewer
1:32:21 > 1:32:25and the vanishing point was very anti-humanistic.
1:32:25 > 1:32:29And the idea of you being the vanishing point
1:32:29 > 1:32:31and the world around you opening up to you
1:32:31 > 1:32:35was almost a religious concept in David's mind, I think.
1:32:44 > 1:32:48I think there is possibly a great connection
1:32:48 > 1:32:53between the way we depict space and the way we behave in it.
1:33:02 > 1:33:05I've always thought perspective was a problem,
1:33:05 > 1:33:10so anything that is now helping to change it, like this
1:33:10 > 1:33:16photograph I did on an iPhone, I find quite exciting, actually.
1:33:18 > 1:33:23This is... This seems to me to be widening perspectives.
1:33:23 > 1:33:27It's a different perspective, wider.
1:33:27 > 1:33:30Things are opening out, it seems to me.
1:33:32 > 1:33:35It's better to go that way than that way, I think.
1:33:35 > 1:33:41That way is... better than doing that, I think.
1:33:57 > 1:33:59He realised that there was a non-photographic way
1:33:59 > 1:34:02of seeing the world, which David really embraced.
1:34:04 > 1:34:07Particularly because we don't see the world through one eye,
1:34:07 > 1:34:10we see the world through two eyes spatially,
1:34:10 > 1:34:12and I think that the spaces of California, the Grand Canyon,
1:34:12 > 1:34:16all of those things excited him, and he always thought that painting
1:34:16 > 1:34:20could express those things in ways that photography couldn't.
1:34:22 > 1:34:25He always said one photograph is not good enough
1:34:25 > 1:34:27and that photo collages were
1:34:27 > 1:34:30an attempt to try to have a wider perspective.
1:34:35 > 1:34:38He kept saying, "Wider perspectives are needed now."
1:34:53 > 1:34:57'There are some good landscape photographs.'
1:34:58 > 1:35:00There are, but not that many.
1:35:01 > 1:35:04Partly because, I mean,
1:35:04 > 1:35:09cameras see surfaces, they don't see space.
1:35:09 > 1:35:11But WE see space.
1:35:13 > 1:35:15I think the thrill in landscape
1:35:15 > 1:35:18is a spatial thrill, actually.
1:35:18 > 1:35:19I think so.
1:36:16 > 1:36:19Nature is the endless infinity, isn't it?
1:36:20 > 1:36:23You always go back to nature for things.
1:36:23 > 1:36:24I mean...
1:36:24 > 1:36:27That's what I was doing in Yorkshire, yeah.
1:36:37 > 1:36:38He ate it, yeah.
1:36:38 > 1:36:40So, now we've got an I
1:36:40 > 1:36:42that's been made into an X.
1:36:42 > 1:36:44You ate it, didn't you, Barney?
1:36:44 > 1:36:46See that letter there, look? That X?
1:36:46 > 1:36:49Barney ate the X. So I had to make a new one.
1:36:49 > 1:36:51- So you had to make one from an I. - Yeah.
1:36:51 > 1:36:52And what about that missing I?
1:36:52 > 1:36:55That's totally confused me now. I realise what's thrown me out.
1:36:55 > 1:36:57You never had too many Is.
1:36:57 > 1:36:58It's lack of the I.
1:36:58 > 1:37:00Yeah, in this game.
1:37:00 > 1:37:0265. That's, er, K.
1:37:04 > 1:37:08I don't believe it. And you've got 177?
1:37:08 > 1:37:11- Yeah.- And I'm 65?- I'm 193.
1:37:11 > 1:37:13You've not been watching.
1:37:13 > 1:37:16And that, also, you see, Barney helping's not much help, really.
1:37:16 > 1:37:17No, he's a bit thick.
1:37:17 > 1:37:19He can't spell that good, really.
1:37:19 > 1:37:21No, he can't spell at all.
1:37:21 > 1:37:22Would you like the timer?
1:37:22 > 1:37:25No, I would not, sir. Thank you.
1:37:25 > 1:37:27DAVID LAUGHS
1:37:35 > 1:37:40My mother was a very, very...strong woman.
1:37:40 > 1:37:46She could look at me with piercing eyes.
1:37:50 > 1:37:52All right.
1:37:52 > 1:37:53Oh, there they are.
1:37:55 > 1:37:57She died at 99. She lived
1:37:57 > 1:38:00most of the 20th century.
1:38:00 > 1:38:02She was born in 1900
1:38:02 > 1:38:04and died in 1999.
1:38:06 > 1:38:08Ooh, are you feeling it, Paul?
1:38:08 > 1:38:09- No.- Oh.
1:38:13 > 1:38:15Great! The Queen's on!
1:38:15 > 1:38:18'She had four of her children there when she died,
1:38:18 > 1:38:19'so she was blessed, actually.'
1:38:19 > 1:38:21Cheers.
1:38:21 > 1:38:22Cheers.
1:38:24 > 1:38:29'I think her last act of will was waiting for John to come
1:38:29 > 1:38:30'from Australia.'
1:38:30 > 1:38:32Do you want some more cream, David?
1:38:32 > 1:38:34Oh, just a little bit, please. That's enough.
1:38:34 > 1:38:36- 'There?- Yes, thank you.'
1:38:36 > 1:38:41The last night I stayed up with her telling her John would be
1:38:41 > 1:38:42here in a few minutes.
1:38:42 > 1:38:46And then she died two hours later.
1:38:46 > 1:38:50But he was very pleased that he'd got there
1:38:50 > 1:38:52and she knew he'd got there.
1:39:12 > 1:39:17I remember 1966 and I've just arrived back in Bradford,
1:39:17 > 1:39:20and you can tell, I've just come back from Hollywood.
1:39:20 > 1:39:22And I put a cigarette in my mouth
1:39:22 > 1:39:25and my father's trying to take it out of my hand.
1:39:27 > 1:39:30And that's 50 years ago now.
1:39:30 > 1:39:33And I'm just about to outlive him, I think, this year.
1:39:49 > 1:39:53Back then, in the '50s, you've got to remember that a young painter
1:39:53 > 1:39:54was 40.
1:39:54 > 1:39:58So, if you were going to be a painter,
1:39:58 > 1:40:01it took a tremendous amount of commitment then...
1:40:01 > 1:40:06that you had to face the fact that you'd probably be digging roads
1:40:06 > 1:40:09or working in the mill or anything
1:40:09 > 1:40:12until you got old enough to be a young painter.
1:40:19 > 1:40:21In those days,
1:40:21 > 1:40:24there was a tremendous amount of aggression going on,
1:40:24 > 1:40:27and I was involved with various gangs and things.
1:40:27 > 1:40:30I was all in all sorts of fights, always was.
1:40:30 > 1:40:32But Dave was much tougher than me.
1:40:32 > 1:40:35He wasn't involved with fights and things.
1:40:35 > 1:40:38But he'd go around with his bowler hat on
1:40:38 > 1:40:42and his moleskin trousers, pushing a pram
1:40:42 > 1:40:46with an easel, canvas and paints.
1:40:47 > 1:40:50And it takes a bit of strength to do that.
1:40:52 > 1:40:53I couldn't have done that.
1:40:55 > 1:41:01# L is for the way you look at me... #
1:41:01 > 1:41:03When David left to go to America,
1:41:03 > 1:41:07he just changed his pram for whatever else there was out there.
1:41:07 > 1:41:10It was the same thing.
1:41:10 > 1:41:12In a way, LA was another Bradford.
1:41:14 > 1:41:18His whole outlook on things, in many ways, has stayed the same.
1:41:18 > 1:41:21I mean, there were things that opened up for him,
1:41:21 > 1:41:24like the gay thing and all that.
1:41:24 > 1:41:27I mean, that, that was a tremendous influence on him.
1:41:27 > 1:41:32But, basically, he's still searching.
1:41:57 > 1:42:03# L is for the way you look at me
1:42:03 > 1:42:10# O is for the only one I see
1:42:10 > 1:42:16# V is very, very extraordinary
1:42:16 > 1:42:22# E is even more than anyone that you adore can
1:42:22 > 1:42:28# Love is all that I can give to you
1:42:28 > 1:42:34# Love is more than just a game for two
1:42:34 > 1:42:37# Two in love can make it
1:42:37 > 1:42:40# Take my heart and please don't break it
1:42:40 > 1:42:45# Love was made for me and you
1:42:45 > 1:42:50# Love was made for me and you
1:42:50 > 1:42:54# Love was made... #
1:42:58 > 1:43:00MUSIC: Sauntering by John Harle