Rare & Unseen

TERRY 0’NEILL

RARE AND UNSEEN

A PORTFOLIO OF VINTAGE PRINTS

FOREWORD R AQ U E L W E LC H

that… as did I. It was inevitable that Terry’s connection to music led to a bond between he and Frank, shot by O’Neill. I’ve read it several times… and discovered that I’m in it, too.

Throughout my long collaboration with Terry; starting with the doeskin bikini and continuing through the filming of 50 plus movies: I look back mostly on our friendship. Terry adopted a nickname for me, “Rocky,” is how he refers to me… and I don’t stop him!

I’m forever grateful to Terry, for transforming our collaboration in front of ‘his camera’ into something unique and original.

But, every photographer is not an O’Neill. So, I've adopted the habit of re-channelling O’Neill, when needed. The same dude, who I first encountered on a sound stage in London back in 1966! And over time, out of necessity, I’ve learned how to re-channel ‘the fun’ of being photographed by Terry O’Neill!

It's been said that the photographer is like a predator. But the ‘subject’ can choose whether to yield, or not. If there’s a rapport between the lensman and his subject, it’s great! But you can't force it. After all, who can dance well with an awkward partner? As an artist, your role is to do everything in your power to make the chemistry work.

I was told Terry would be there – camera at the ready, and he was. Well, I thought, glancing in his direction, he’s attractive. “Hey Rocky”, he smiled.

Huh!? How did he know my nickname!? My school friends used to call me that, but I smiled back… and thought… That’s a cool way to break the ice!

I’m glad that I've had the luxury of pouring over thousands of frames in my head which hold memories and real emotions… and I remember how much I love natural light – and yes, 35mm slides, from my old photo files.

They represent an accumulation of memories and images, which I made mostly with… O’Neill behind the camera.

We met inside his lens… and a unique connection occurred, which over the years produced countless images. O’Neill's photographs have a language – all of their own. It’s a conversation between lens and subject without the use of words. I'm glad to be counted as a subject of O’Neill’s focus.

I always think of Terry as he was when I first met him in London. He came on the set of my breakthrough movie One Million Years B.C. I’d never liked being photographed... until I started working with Terry. He introduced me, at just the right time, to what I most needed: to ‘interact’ with the lensman. But, that doesn't always work… unless, O’Neill is behind the camera.

Bob Webb, the publicist, was keen for Terry O’Neill and I to work together. I was excited too, but I was also uneasy; ’cuz I was almost clad in that skimpy ‘doe-skin bikini’, which was barely draped around my frame!

Finally… with some artful re-arranging, everything fell into place.

Whew!! That’s one way of breaking the ice. But, O’Neill didn’t even flinch.

And I knew – there and then – that I really liked this dude.

Here’s this cool dude, who strolls onto a prehistoric movie set like a footballer. And there I am, an unseasoned American ‘actress’ struggling to hold my act together. Thank God, he was relaxed enough to lay-back and avoid adding to my discomfort. I so appreciated his innate kindness.

I think any girl would soften to a guy as cool as that. O’Neill should give lessons!

A connection between O’Neill and I began to grow. I couldn’t hide my insecurities, but Terry was calm and reassuring, and I became convinced that I was in capable hands! So now, the ice was broken and O’Neill and I proceeded to have great fun shooting! Plus, the photos came out great… and they ran in all the London Sunday papers!

I needn’t have worried. Our first shoot was well received. And from then on, I’ve continued to shoot with O’Neill on most of my films, which have spanned the course of several decades! I’ve purposely lost count.

O’Neill became my first choice photographer on so many of my movies; including 100 Rifles co-starring, Burt Reynolds and Jim Brown; and he was also came aboard Hannie Caulder. Later he was booked to shoot on Lady in Cement in Miami with ‘Ole Blue Eyes’. Sinatra was filming during the day – but was also appearing on stage every night with Nelson Riddle’s orchestra at the Fontainebleau nightclub! Whew! Terry developed a close rapport with Sinatra. And later, he ended up doing a whole photo biography on Frank – entitled “Sinatra: Frank and Friendly.” Terry was fascinated with Sinatra’s nightly pre-show vocal ritual. O’Neill respected

XX Rocky.

—4—

—5—

FOREWORD R AQ U E L W E LC H

that… as did I. It was inevitable that Terry’s connection to music led to a bond between he and Frank, shot by O’Neill. I’ve read it several times… and discovered that I’m in it, too.

Throughout my long collaboration with Terry; starting with the doeskin bikini and continuing through the filming of 50 plus movies: I look back mostly on our friendship. Terry adopted a nickname for me, “Rocky,” is how he refers to me… and I don’t stop him!

I’m forever grateful to Terry, for transforming our collaboration in front of ‘his camera’ into something unique and original.

But, every photographer is not an O’Neill. So, I've adopted the habit of re-channelling O’Neill, when needed. The same dude, who I first encountered on a sound stage in London back in 1966! And over time, out of necessity, I’ve learned how to re-channel ‘the fun’ of being photographed by Terry O’Neill!

It's been said that the photographer is like a predator. But the ‘subject’ can choose whether to yield, or not. If there’s a rapport between the lensman and his subject, it’s great! But you can't force it. After all, who can dance well with an awkward partner? As an artist, your role is to do everything in your power to make the chemistry work.

I was told Terry would be there – camera at the ready, and he was. Well, I thought, glancing in his direction, he’s attractive. “Hey Rocky”, he smiled.

Huh!? How did he know my nickname!? My school friends used to call me that, but I smiled back… and thought… That’s a cool way to break the ice!

I’m glad that I've had the luxury of pouring over thousands of frames in my head which hold memories and real emotions… and I remember how much I love natural light – and yes, 35mm slides, from my old photo files.

They represent an accumulation of memories and images, which I made mostly with… O’Neill behind the camera.

We met inside his lens… and a unique connection occurred, which over the years produced countless images. O’Neill's photographs have a language – all of their own. It’s a conversation between lens and subject without the use of words. I'm glad to be counted as a subject of O’Neill’s focus.

I always think of Terry as he was when I first met him in London. He came on the set of my breakthrough movie One Million Years B.C. I’d never liked being photographed... until I started working with Terry. He introduced me, at just the right time, to what I most needed: to ‘interact’ with the lensman. But, that doesn't always work… unless, O’Neill is behind the camera.

Bob Webb, the publicist, was keen for Terry O’Neill and I to work together. I was excited too, but I was also uneasy; ’cuz I was almost clad in that skimpy ‘doe-skin bikini’, which was barely draped around my frame!

Finally… with some artful re-arranging, everything fell into place.

Whew!! That’s one way of breaking the ice. But, O’Neill didn’t even flinch.

And I knew – there and then – that I really liked this dude.

Here’s this cool dude, who strolls onto a prehistoric movie set like a footballer. And there I am, an unseasoned American ‘actress’ struggling to hold my act together. Thank God, he was relaxed enough to lay-back and avoid adding to my discomfort. I so appreciated his innate kindness.

I think any girl would soften to a guy as cool as that. O’Neill should give lessons!

A connection between O’Neill and I began to grow. I couldn’t hide my insecurities, but Terry was calm and reassuring, and I became convinced that I was in capable hands! So now, the ice was broken and O’Neill and I proceeded to have great fun shooting! Plus, the photos came out great… and they ran in all the London Sunday papers!

I needn’t have worried. Our first shoot was well received. And from then on, I’ve continued to shoot with O’Neill on most of my films, which have spanned the course of several decades! I’ve purposely lost count.

O’Neill became my first choice photographer on so many of my movies; including 100 Rifles co-starring, Burt Reynolds and Jim Brown; and he was also came aboard Hannie Caulder. Later he was booked to shoot on Lady in Cement in Miami with ‘Ole Blue Eyes’. Sinatra was filming during the day – but was also appearing on stage every night with Nelson Riddle’s orchestra at the Fontainebleau nightclub! Whew! Terry developed a close rapport with Sinatra. And later, he ended up doing a whole photo biography on Frank – entitled “Sinatra: Frank and Friendly.” Terry was fascinated with Sinatra’s nightly pre-show vocal ritual. O’Neill respected

XX Rocky.

—4—

—5—

INTRODUCTION

BY R O B I N M O R G A N

Thousands line the streets and braver souls shimmy up lampposts for a better view. Nurses and patients squeeze from the windows of a London hospital as policemen usher an ambulance away. Inside it is the headline story of the day.

It’s August 21, 1962 and the streets are lined with well-wishers, the great Sir Winston Churchill, aged and infirm but still smiling and brandishing one of his booming cigars, has been released from hospital after a serious fall he was not expected to survive at the age of 87. He’s going home.

Blink, and you’ll miss the face in the crowd, arm raised, hustling his way against the tide. The headline awaits a picture and a handsome, dapper young press photographer called Terry O’Neill has the scoop on his rivals.

Newsreels on television that night capture him, smartly dressed in his brown mohair suit, ducking and diving through the police cordon, escaping the clutches of a beefy copper to get face-to-face with the wartime leader and snatch four or five frames his peers can only dream of.

Churchill gives O’Neill the Victory sign, waves his cigar and smiles into his camera. And even as the doors close, O’Neill is already turning to get his film back to the dark room and on to the front page.

Fast forward now five decades. It’s 2008, Nelson Mandela leaves the Dorchester Hotel in London after a week celebrating his 90th year. The world’s great and the good, presidents, prime ministers, movie stars and rock ’n’ rollers have all visited to pay tribute.

O’Neill is there again, Mandela spots him in the crowd, stops, winks and gives him a wave. But this time O’Neill isn’t just another camera in the press pack. He has just spent the entire week with Mandela, in his apartment, at banquets, at the rock concert in nearby Hyde Park, in private, in public, in person.

It is HIS camera, his eye, that Mandela requested to record what may be the frail Mandela’s last public appearance for posterity, and in that time the two men have become close, close enough for O’Neill to admit to tears blurring his vision as he clicked the shutter for the last time.

“I thought I’d photographed everyone, all the great names that populated our lives and our post-war history. There was no-one left I wanted to photograph – and then I met Mandela and it took me back, all

A young Terry O’Neill in the crowd, rushing to the developer with his photograph of Winston Churchill. Above: the image O’Neill captured

—6—

—7—

INTRODUCTION

BY R O B I N M O R G A N

Thousands line the streets and braver souls shimmy up lampposts for a better view. Nurses and patients squeeze from the windows of a London hospital as policemen usher an ambulance away. Inside it is the headline story of the day.

It’s August 21, 1962 and the streets are lined with well-wishers, the great Sir Winston Churchill, aged and infirm but still smiling and brandishing one of his booming cigars, has been released from hospital after a serious fall he was not expected to survive at the age of 87. He’s going home.

Blink, and you’ll miss the face in the crowd, arm raised, hustling his way against the tide. The headline awaits a picture and a handsome, dapper young press photographer called Terry O’Neill has the scoop on his rivals.

Newsreels on television that night capture him, smartly dressed in his brown mohair suit, ducking and diving through the police cordon, escaping the clutches of a beefy copper to get face-to-face with the wartime leader and snatch four or five frames his peers can only dream of.

Churchill gives O’Neill the Victory sign, waves his cigar and smiles into his camera. And even as the doors close, O’Neill is already turning to get his film back to the dark room and on to the front page.

Fast forward now five decades. It’s 2008, Nelson Mandela leaves the Dorchester Hotel in London after a week celebrating his 90th year. The world’s great and the good, presidents, prime ministers, movie stars and rock ’n’ rollers have all visited to pay tribute.

O’Neill is there again, Mandela spots him in the crowd, stops, winks and gives him a wave. But this time O’Neill isn’t just another camera in the press pack. He has just spent the entire week with Mandela, in his apartment, at banquets, at the rock concert in nearby Hyde Park, in private, in public, in person.

It is HIS camera, his eye, that Mandela requested to record what may be the frail Mandela’s last public appearance for posterity, and in that time the two men have become close, close enough for O’Neill to admit to tears blurring his vision as he clicked the shutter for the last time.

“I thought I’d photographed everyone, all the great names that populated our lives and our post-war history. There was no-one left I wanted to photograph – and then I met Mandela and it took me back, all

A young Terry O’Neill in the crowd, rushing to the developer with his photograph of Winston Churchill. Above: the image O’Neill captured

—6—

—7—

T H E B E AT L E S W I T H H A R O L D W I L S O N Original press print.

Taken at the Dorchester Hotel on 19 March 1964. Named Show Business Personalitlies of 1963, The Beatles were presented with their Silver Heart awards by the then Prime Minister, Harold Wilson. This event was a major press opportunity, and Terry O'Neill's image ran the following day.

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T H E B E AT L E S W I T H H A R O L D W I L S O N Original press print.

Taken at the Dorchester Hotel on 19 March 1964. Named Show Business Personalitlies of 1963, The Beatles were presented with their Silver Heart awards by the then Prime Minister, Harold Wilson. This event was a major press opportunity, and Terry O'Neill's image ran the following day.

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— 27 —

MIA FARROW On the set of the film John and Mary in NYC, 1969

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MIA FARROW On the set of the film John and Mary in NYC, 1969

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DAV I D B O W I E & W I L L I A M B U R R O U G H S Portrait for Rolling Stone magazine, which ran on 28 February 1974

“ These original negatives were lost for decades and only recently rediscovered.

It was David Bowie who rang Terry up directly to ask him to come take photos of him with Burroughs. That’s how close stars were with Terry. That wouldn’t happen today.”

Robin Morgan

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— 173 —

DAV I D B O W I E & W I L L I A M B U R R O U G H S Portrait for Rolling Stone magazine, which ran on 28 February 1974

“ These original negatives were lost for decades and only recently rediscovered.

It was David Bowie who rang Terry up directly to ask him to come take photos of him with Burroughs. That’s how close stars were with Terry. That wouldn’t happen today.”

Robin Morgan

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— 173 —

BIANCA JAGGER On the set of the film The American Success Company, 1978

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BIANCA JAGGER On the set of the film The American Success Company, 1978

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JUDI DENCH For a series called ‘Great British Actresses’ for the Sunday Times Magazine, 2005

“ When I was the editor-in-chief at the Sunday Times Magazine, O’Neill was the first number I’d dial. He started as a newspaper man and knew the power of an image. That’s why – nearly 60 years after his first images started to appear in the papers – we are still here, celebrating his life, work and legacy.”

Robin Morgan

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— 233 —

JUDI DENCH For a series called ‘Great British Actresses’ for the Sunday Times Magazine, 2005

“ When I was the editor-in-chief at the Sunday Times Magazine, O’Neill was the first number I’d dial. He started as a newspaper man and knew the power of an image. That’s why – nearly 60 years after his first images started to appear in the papers – we are still here, celebrating his life, work and legacy.”

Robin Morgan

— 232 —

— 233 —

“I had the feeling that something special was happening and I decided I wanted to be the one to record it.�

Terry O’Neill

“I had the feeling that something special was happening and I decided I wanted to be the one to record it.�

Terry O’Neill

ISBN: 978-1-85149-891-8

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£75.00/$95.00

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