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      "body": "Congratulations @joeyt2k! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@joeyt2k/birthday1.png</td><td>Happy Birthday! - You are on the Steem blockchain for 1 year!</td></tr></table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@joeyt2k) and compare to others on the [Steem Ranking](http://steemitboard.com/ranking/index.php?name=joeyt2k)_</sub>\n\n\n**Do not miss the last post from @steemitboard:**\n<table><tr><td><a href=\"https://steemit.com/steem/@steemitboard/3-years-on-steem-happy-birthday-the-distribution-of-commemorative-badges-has-begun\"><img src=\"https://steemitimages.com/64x128/http://u.cubeupload.com/arcange/BG6u6k.png\"></a></td><td><a href=\"https://steemit.com/steem/@steemitboard/3-years-on-steem-happy-birthday-the-distribution-of-commemorative-badges-has-begun\">3 years on Steem - The distribution of commemorative badges has begun!</a></td></tr><tr><td><a href=\"https://steemit.com/steem/@steemitboard/happy-birthday-the-steem-blockchain-is-running-for-3-years\"><img src=\"https://steemitimages.com/64x128/http://u.cubeupload.com/arcange/BG6u6k.png\"></a></td><td><a href=\"https://steemit.com/steem/@steemitboard/happy-birthday-the-steem-blockchain-is-running-for-3-years\">Happy Birthday! The Steem blockchain is running for 3 years.</a></td></tr></table>\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "body": "*The following is an excerpt from Gianni Bozzacchi's autobiography, \"My Life in Focus: A Photographer's Journey with Elizabeth Taylor and the Hollywood Jet Set,\" which I co-wrote.*\n\n**[An Introduction to the Life and Work of Gianni Bozzachi](https://steemit.com/writing/@joeyt2k/my-life-in-focus-a-photographer-s-journey-with-elizabeth-taylor-and-the-hollywood-jet-set)**\n\n**[I. Living \"La Dolce Vita\"](https://steemit.com/writing/@joeyt2k/my-life-in-focus-i-living-la-dolce-vita)**\n\n**[II. Welcome to the Jungle](https://steemit.com/writing/@joeyt2k/my-life-in-focus-ii-welcome-to-the-jungle)**\n\n**[III. Introverted in America](https://steemit.com/writing/@joeyt2k/my-life-in-focus-iii-introverted-in-america)**\n\n**[IV. Shooting a Cult Classic](https://steemit.com/movie/@joeyt2k/my-life-in-focus-shooting-a-cult-classic)**\n\n**[V. Two Movies, One Photographer](https://steemit.com/writing/@joeyt2k/my-life-in-focus-v-two-movies-one-photographer)**\n\n**VI. \"One Million Dollars for a Piece of Glass\"**\n\nWe were docked in Monte Carlo when Harriet Annenberg Ames put her famous diamond up for public auction in New York, the pear-shaped 69-carat diamond that she’d acquired from Harry Winston. Jewelers’ representatives arrived from around the world, including one of Jackie Onassis’ assistants and Richard’s own auction agent, Al Yugler, who followed the bidding firsthand and kept in touch with Richard by radio. \n\nFrom a starting price of $200,000, bidding rose rapidly. Richard was a little tipsy, and got irritated at the way the price seemed to spiral crazily out of control. When it got to one million dollars, he decided to pull out, convinced it would just keep rising – to one and a half million, two million, three. When Richard then discovered the diamond had gone to Cartier owner Robert Kenmore for $1,050,000, he was furious. He couldn’t believe Kenmore would outbid him, given all the free publicity that Elizabeth gave Cartier. He promptly called Kenmore from the yacht to negotiate for the diamond directly, and ended up buying it for $1,100,000 dollars, on condition that the diamond be known as the “Taylor-Burton Cartier Diamond.” This was the world’s first million-dollar diamond. Others may have previously changed hands for seven-figure sums, but this was the first to do so at a public auction and it made instant worldwide news.\n\nNow, with the initial excitement over, all that was left to do was deliver the thing. However, given the huge publicity that the auction had generated, Cartier feared someone might attempt to steal it in transit. Kenmore had two copies made and sent them separately: three people with three different diamonds, two fakes and only one for real. I got to the yacht shortly before they arrived: three identical Cartier boxes carried by three identical, bull-shaped Cartier delivery men. \n\nRichard was drunk, and Elizabeth no less so. Richard opened two of the boxes and just started laughing uncontrollably. “One million dollars for a piece of glass,” he kept saying, while standing by one of the portholes juggling the two “diamonds” in his hands. Suddenly he slipped, and one of the diamonds flew out of the porthole, landed on the deck outside and rolled into the sea. \n\nClaudye moved just in time to catch Elizabeth before she fainted. \n\nEveryone went crazy. Gastone, the bodyguard/driver, slapped on a diving mask and threw himself into the pitch-black sea, in the middle of the night. Elizabeth, Claudye and Richard just kept staring at the two remaining diamonds, wondering whether either was the real one. But Richard and Elizabeth were too drunk and stunned to make any sense of the thing. They asked what I thought, which was laughable. It was the first time in my life I’d even seen a diamond close up. What would I know? Panic seemed to make them sober up. They made a string of telephone calls and eventually, with dawn breaking, decided to wake Pierre Arpels of Van Cleef & Arpels and get him to come on board and evaluate the situation. As the goddess of good luck would have it, what Richard had tossed into the sea was finally confirmed as merely a piece of glass. Not a $1,100,000 diamond.\n\n![08-02.jpg](https://steemitimages.com/DQmRBF2NTP6YXsFY6W8VDDdDtyQx8RQJKYRRJPaxWu1Lecr/08-02.jpg)\n\n*(Elizabeth, Richard, and the Taylor-Burton Cartier Diamond. Docked in Monte Carlo, 1969. Copyright Gianni Bozzacchi.)*\n\nThe following day, Elizabeth wore the jewel to Princess Grace Kelly’s 40th Birthday Party. As you can see from the photo I took just before they left, Richard was now being a lot more careful with that diamond. In the end, I got a cut of its value too, given that I sold that photo worldwide.\n\n*Come back on Monday for Part VII and hear Gianni talk about Brigitte Bardot “in viva voce.”*\n\n[![now available.jpg](https://steemitimages.com/DQmXmMbjdZbA1g8mpcfkVNaJDSr39uATehtKZUF4EuxhdRz/now%20available.jpg)](https://www.amazon.com/Life-Focus-Photographers-Elizabeth-Hollywood/dp/0813168740/ref=sr_1_1?ie=UTF8&qid=1522990169&sr=8-1&keywords=my+life+in+focus)",
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      "body": "*The following is an excerpt from Gianni Bozzacchi's autobiography, \"My Life in Focus: A Photographer's Journey with Elizabeth Taylor and the Hollywood Jet Set,\" which I co-wrote.*\n\n**[An Introduction to the Life and Work of Gianni Bozzachi](https://steemit.com/writing/@joeyt2k/my-life-in-focus-a-photographer-s-journey-with-elizabeth-taylor-and-the-hollywood-jet-set)**\n\n**[I. Living \"La Dolce Vita\"](https://steemit.com/writing/@joeyt2k/my-life-in-focus-i-living-la-dolce-vita)**\n\n**[II. Welcome to the Jungle](https://steemit.com/writing/@joeyt2k/my-life-in-focus-ii-welcome-to-the-jungle)**\n\n**[III. Introverted in America](https://steemit.com/writing/@joeyt2k/my-life-in-focus-iii-introverted-in-america)**\n\n**[IV. Shooting a Cult Classic](https://steemit.com/movie/@joeyt2k/my-life-in-focus-shooting-a-cult-classic)**\n\n**V. Two Movies, One Photographer** \n\n“Where Eagles Dare” was filmed in Wolfern, northern Austria. Every morning, for a month and a half, we toiled up a steep mountain road to the set, located in a castle an hour by car from Salzberg. It was so cold that my cameras froze and my lenses fogged over. I wore two overcoats and tried to protect my cameras by slipping them between the two layers. But it didn’t help much. Licking the lenses was the only way to effectively defrost them. And wearing gloves made correcting the focus a clumsy operation. There were no automatic functions in those days. You had to constantly fuss with all the various mechanisms to adjust the levels.\n\nThe members of the cast and crew were almost all English. To keep warm, they drank – cognac in their coffee, gin, whatever. But I didn’t drink. So I froze. One morning I woke in my hotel room, put one foot out of bed and fell to the floor. I was stunned. I took my temperature and the thermometer almost exploded. I withdrew from the battlefront for a couple of days before returning to that icy mountain.\n\nThe weather in Austria was very unstable. One day we were forced to evacuate the set when it was swept by a blizzard. Half of us were taken out by helicopter. The others drove down to the valley by jeep. So much snow fell, that the following day our location was unrecognizable. \n\nThere was one scene where two actors came down by parachute, and the one with the radio had to fall and die. Hutton then wanted Richard to walk out over the virgin snow and retrieve the radio. Richard took two steps and vanished, swallowed up by the snow. No one had noticed that there was a huge ditch right in front of him, because Hutton had forbidden anyone to walk over the snow. Everyone rushed to pull him out. It was a very funny moment. But Richard flew into a rage with both the director and cameraman, the pair of them doubled up laughing. \n\nFrom Austria, the production of “Where Eagles Dare” moved to England, where filming was completed at the MGM studios in Elstree. Elizabeth had already signed to act in another Joseph Losey movie, “Secret Ceremony,” which they were shooting across the street in another part of the Elstree Studios. As a result, at some point I found myself photographing the sets of both movies. This was Elizabeth and Richard, remember. You’ve got to work. And now I had to work as well! I ended up so busy doing “Secret Ceremony” and “Where Eagles Dare” that I barely got a moment to enjoy London. A car would take us to the studios in the morning, before it was even light. And by the time we finished, it was already dark. On a few occasions we went out for a nightcap. But mostly we went straight to bed, hoping to grab as much sleep as possible before that car came to get us again in the morning.\n\nOn the first day of shooting “Secret Ceremony,” I arrived at the set around 7:30 in the morning and was walking down a corridor when Mia Farrow stepped from her dressing room. She had a bottle of Italian wine in her hand, a Verdicchio. “Can you open this for me?” she asked, waving the bottle in the air. Her marriage to Frank Sinatra had just ended. We’d all heard the story of how he’d served her divorce papers right in the middle of shooting “Rosemary’s Baby,” apparently furious that, as his wife, she’d dared to go back to work. So, while I opened the Verdicchio, I couldn’t help asking her why they’d separated. “Because I like the Beatles,” she replied. I took a photo of her posing with “Sgt. Pepper’s Lonely Hearts Club Band,” which she then put on a turntable and began dancing to, right there in the dressing room. \n\n![06-01.jpg](https://steemitimages.com/DQmWae4fbzuRxCprxrVQxEFH4aYZRn4sBGJZqaahJ6Vsb4L/06-01.jpg)\n*(Mia Farrow had just left Frank Sinatra when she invited me for an impromptu 7:30 a.m. drink in her dressing room on the London set of “Secret Ceremony,\" 1968. Copyright Gianni Bozzacchi.)*\n\nI enjoyed a good rapport with Mia. She was like a child, sweet and innocent. I never felt out of place with her. She never criticized others and never made a big thing about her celebrity.\n\n![06-02.jpg](https://steemitimages.com/DQmPyQqiSW6i5DQRgy4tzy7xCQvFsGF3XJ2es7jU7jusHeF/06-02.jpg)\n*(Copyright Gianni Bozzacchi.)*\n\nSome photos I took of Mia were very sad. I don’t know if it was due to Sinatra or not. Mia was strange, but I liked her. She was sweet and kind, though also enigmatic. You couldn’t have a real conversation with her. She’d keep jumping from one thing to another. I never really understood her personality. Maybe it was because she was so young. Or maybe because I was so young. Or maybe I just couldn’t separate her from “Rosemary’s Baby.” I hated that movie, its darkness, its abstract quality. I’d come to cinema through Neorealism and American epics. It was strange to think of this actress together with Frank Sinatra, and I’d actually seen them together in Los Angeles. \n\nAnother star in “Secret Ceremony” was Robert Mitchum. He came and went as he pleased, without getting close to anyone. The attitude fitted with the image he wanted to give of himself – tough, distant, cynical, like a lot of his characters. But after I’d spent some time with him, I actually found him very friendly. I’d chat with him in my stumbling English, and he’d tell me dirty jokes in his equally stumbling Italian.\n\n![06-04.jpg](https://steemitimages.com/DQmcHYzffihqNU2JvVjcpUyZ6ZPrJaq26F8TeuYJcBUP8Vu/06-04.jpg)\n*(Robert Mitchum, 1968. Copyright Gianni Bozzacchi.)*\n\nMitchum never liked to pose, which was just perfect for me. He had a very interesting face. Light sculpted it. He didn’t have conventional good looks – like Richard. His features were more consumed than defined, and he had a shrewd air, which didn’t inspire trust. Photographing him made me understand more clearly the difference between having a woman as a subject and a man. The exposure can be the same, but the stop has to be different. With the right light, you can smooth a woman’s face without having to resort to artificial retouching (or a computer, as they do today). With a man, on the other hand, you have to close down the stop in order to highlight the features of his face.\n\nIn Mitchum’s case, that meant highlighting all the marvelous crevices in his face, the furrows of a survivor, his gangster’s grimace. Mitchum appreciated my photos. He said he was never conscious of my presence, never noticed if I was on set, and he liked that. A lot of photographers only worry about pleasing their subjects. I concentrated on the overall context of a photo, on its artistic quality. \n\nI surprised everyone with my work on “Secret Ceremony,” including myself. For the first time, I got huge compliments from the producer, the actors, everyone. It was the movie that made me feel I’d grown as a photographer. And the fact that so many important people had appreciated my work instilled a great sense of confidence in me. Around then, an interview with me appeared in the London Daily Mirror under the headline, “The new king of the camera.”\n\n*Come back on Friday for Part VI, in which Richard Burton throws a $1 million diamond into the ocean. Maybe.*\n\n[![now available.jpg](https://steemitimages.com/DQmXmMbjdZbA1g8mpcfkVNaJDSr39uATehtKZUF4EuxhdRz/now%20available.jpg)](https://www.amazon.com/Life-Focus-Photographers-Elizabeth-Hollywood/dp/0813168740/ref=sr_1_1?ie=UTF8&qid=1522990169&sr=8-1&keywords=my+life+in+focus)",
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      "body": "*The following is an excerpt from Gianni Bozzacchi's autobiography, \"My Life in Focus: A Photographer's Journey with Elizabeth Taylor and the Hollywood Jet Set,\" which I co-wrote.*\n\n**[An Introduction to the Life and Work of Gianni Bozzachi](https://steemit.com/writing/@joeyt2k/my-life-in-focus-a-photographer-s-journey-with-elizabeth-taylor-and-the-hollywood-jet-set)**\n\n**[I. Living \"La Dolce Vita\"](https://steemit.com/writing/@joeyt2k/my-life-in-focus-i-living-la-dolce-vita)**\n\n**[II. Welcome to the Jungle](https://steemit.com/writing/@joeyt2k/my-life-in-focus-ii-welcome-to-the-jungle)**\n\n**[III. Introverted in America](https://steemit.com/writing/@joeyt2k/my-life-in-focus-iii-introverted-in-america)**\n\n**IV. Shooting a Cult Classic**\n\nRichard Burton came down to Rome with Elizabeth Taylor to fit in ten days’ shooting on “Candy,” an adaptation of a Terry Southern novel written by Buck Henry and, in part, by Anthony Burgess. Robert Haggiag was a very shrewd producer. To get the funding he needed, he put together an exceptional cast – Richard, Marlon Brando, Ringo Star (in his solo movie-acting debut), Walter Matthau, James Coburn, John Astin and Sugar Ray Robinson – and then shot everything in his own studios to cut costs.\n\n![05-04.jpg](https://steemitimages.com/DQmPw5MYHsFd5j4YQk2P7hV8CpH3bvFAUQ8wmpQiP89ZSEh/05-04.jpg)\n*(Ringo Starr ready for his cinema debut in the 1968 erotic comedy, “Candy.” Copyright Gianni Bozzacchi.)*\n\nAs special photographer, my job was to take photos for advertising layouts, both on set as well as backstage – with actors getting ready, or fooling around, little episodes that happen on every set but which people rarely see. If a producer uses his special photographer well, he can save a lot on advertising, because the public will see his photos in advance and know all about the movie before it comes out. It’s a bit like doing a photojournalist report on a movie under production, without being chained to the director of photography and the cameraman, the way that an official photographer always is.\n\n![brando.jpg](https://steemitimages.com/DQmfMEropDHZbmrQzVPMBVQkm6noVHV6H17FekL4PZbbJo6/brando.jpg)\n*(Marlon Brando (with Ewa Aulin) was probably the hardest star I ever had to shoot. He could never stop thinking about himself -- and maybe how to shoot me. Copyright Gianni Bozzacchi.)*\n\nBrando was the hardest person to photograph on that set. He was always very aware of the camera’s presence. The young idol of “On The Waterfront” and “A Streetcar Named Desire” had already begun to show signs of considerable eccentricity. No one knew this better than Brando himself. He’d been such an Adonis in his youth that he now hated to see himself looking ugly in movies and photographs. He kept a close eye on me – controlling where I stood, what angle I was shooting him from – and that made it very difficult for me to get the natural photos I wanted. I never chatted with him, so I don’t know whether he remembered seeing me in those bushes in Africa, and whether that had anything to do with his awkwardness in front of my camera. \n\n“Candy” was a disaster, although the movie is so weird and features so many random stars that it’s something of a cult classic now. No one understood the movie, not the director, the actors. Throughout the movie, the protagonist, played by Swedish actress Ewa Aulin (known principally for having won “Miss Teen Sweden”) basically goes to bed with every man she meets. Brando played a mystic. Richard was an eccentric poet called MacPhisto. Ringo was a gardener. The shooting was in such chaos that, when Richard completed his ten days, he arranged to to hire me for “Where Eagles Dare,” just so that I could get off the set.\n\n![richard and ewa.jpg](https://steemitimages.com/DQmdsQTFmYFDCUGZGKeTqTY4b5vRd2wXDgo219PyREtHadi/richard%20and%20ewa.jpg)\n*(Ewa Aulin, the title character in “Candy,” clearly has no trouble keeping Richard’s eye on the prize. Copyright Gianni Bozzacchi.)*\n\n*Come back on Monday for Part V, in which Gianni, Richard, and Clint Eastwood battle frigid weather and Nazis.*\n\n[![now available.jpg](https://steemitimages.com/DQmXmMbjdZbA1g8mpcfkVNaJDSr39uATehtKZUF4EuxhdRz/now%20available.jpg)](https://www.amazon.com/Life-Focus-Photographers-Elizabeth-Hollywood/dp/0813168740/ref=sr_1_1?ie=UTF8&qid=1522990169&sr=8-1&keywords=my+life+in+focus)",
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      "body": "*The following is an excerpt from Gianni Bozzacchi's autobiography, \"My Life in Focus: A Photographer's Journey with Elizabeth Taylor and the Hollywood Jet Set,\" which I co-wrote.*\n\n**[An Introduction to the Life and Work of Gianni Bozzachi](https://steemit.com/writing/@joeyt2k/my-life-in-focus-a-photographer-s-journey-with-elizabeth-taylor-and-the-hollywood-jet-set)**\n\n**[I. Living \"La Dolce Vita\"](https://steemit.com/writing/@joeyt2k/my-life-in-focus-i-living-la-dolce-vita)**\n\n**[II. Welcome to the Jungle](https://steemit.com/writing/@joeyt2k/my-life-in-focus-ii-welcome-to-the-jungle)**\n\n**[III. Introverted in America](https://steemit.com/writing/@joeyt2k/my-life-in-focus-iii-introverted-in-america)**\n\n**IV. Shooting a Cult Classic**\n\nRichard Burton came down to Rome with Elizabeth Taylor to fit in ten days’ shooting on “Candy,” an adaptation of a Terry Southern novel written by Buck Henry and, in part, by Anthony Burgess. Robert Haggiag was a very shrewd producer. To get the funding he needed, he put together an exceptional cast – Richard, Marlon Brando, Ringo Star (in his solo movie-acting debut), Walter Matthau, James Coburn, John Astin and Sugar Ray Robinson – and then shot everything in his own studios to cut costs.\n\n![ringo.jpg](https://steemitimages.com/DQmSdfsMqmUB9frLJ9TCGkWrHjtZRdThCmfNZcvjbNPqUkB/ringo.jpg)\n*(Ringo Starr ready for his cinema debut in the 1968 erotic comedy, “Candy.” Copyright Gianni Bozzacchi.)*\n\nAs special photographer, my job was to take photos for advertising layouts, both on set as well as backstage – with actors getting ready, or fooling around, little episodes that happen on every set but which people rarely see. If a producer uses his special photographer well, he can save a lot on advertising, because the public will see his photos in advance and know all about the movie before it comes out. It’s a bit like doing a photojournalist report on a movie under production, without being chained to the director of photography and the cameraman, the way that an official photographer always is.\n\n![brando.jpg](https://steemitimages.com/DQmfMEropDHZbmrQzVPMBVQkm6noVHV6H17FekL4PZbbJo6/brando.jpg)\n*(Marlon Brando (with Ewa Aulin) was probably the hardest star I ever had to shoot. He could never stop thinking about himself -- and maybe how to shoot me. Copyright Gianni Bozzacchi.)*\n\nBrando was the hardest person to photograph on that set. He was always very aware of the camera’s presence. The young idol of “On The Waterfront” and “A Streetcar Named Desire” had already begun to show signs of considerable eccentricity. No one knew this better than Brando himself. He’d been such an Adonis in his youth that he now hated to see himself looking ugly in movies and photographs. He kept a close eye on me – controlling where I stood, what angle I was shooting him from – and that made it very difficult for me to get the natural photos I wanted. I never chatted with him, so I don’t know whether he remembered seeing me in those bushes in Africa, and whether that had anything to do with his awkwardness in front of my camera. \n\n“Candy” was a disaster, although the movie is so weird and features so many random stars that it’s something of a cult classic now. No one understood the movie, not the director, the actors. Throughout the movie, the protagonist, played by Swedish actress Ewa Aulin (known principally for having won “Miss Teen Sweden”) basically goes to bed with every man she meets. Brando played a mystic. Richard was an eccentric poet called MacPhisto. Ringo was a gardener. The shooting was in such chaos that, when Richard completed his ten days, he arranged to to hire me for “Where Eagles Dare,” just so that I could get off the set.\n\n![richard and ewa.jpg](https://steemitimages.com/DQmdsQTFmYFDCUGZGKeTqTY4b5vRd2wXDgo219PyREtHadi/richard%20and%20ewa.jpg)\n*(Ewa Aulin, the title character in “Candy,” clearly has no trouble keeping Richard’s eye on the prize. Copyright Gianni Bozzacchi.)*\n\n*Come back on Monday for Part V, in which Gianni, Richard, and Clint Eastwood battle frigid weather and Nazis.*\n\n[![now available.jpg](https://steemitimages.com/DQmXmMbjdZbA1g8mpcfkVNaJDSr39uATehtKZUF4EuxhdRz/now%20available.jpg)](https://www.amazon.com/Life-Focus-Photographers-Elizabeth-Hollywood/dp/0813168740/ref=sr_1_1?ie=UTF8&qid=1522990169&sr=8-1&keywords=my+life+in+focus)",
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      "body": "*The following is an excerpt from Gianni Bozzacchi's autobiography, \"My Life in Focus: A Photographer's Journey with Elizabeth Taylor and the Hollywood Jet Set,\" which I co-wrote.*\n\n**[An Introduction to the Life and Work of Gianni Bozzachi](https://steemit.com/writing/@joeyt2k/my-life-in-focus-a-photographer-s-journey-with-elizabeth-taylor-and-the-hollywood-jet-set)**\n\n**[I. Living \"La Dolce Vita\"](https://steemit.com/writing/@joeyt2k/my-life-in-focus-i-living-la-dolce-vita)**\n\n**[II. Welcome to the Jungle**](https://steemit.com/writing/@joeyt2k/my-life-in-focus-ii-welcome-to-the-jungle)**\n\n**III. Introverted in America**\n\nThe world acquired an entirely different dimension when traveling with Elizabeth and Richard. It was like stepping inside an enormous Technicolor cinema screen. Life suddenly became extremely easy. No waiting in line, no lost luggage, no delays – unless, of course, the delays were Elizabeth and Richard calling the airport to make a plane wait. No one was impolite. If you had a problem, someone solved it. If you forgot something, someone went and got you another. If you saw something you liked, it was immediately given as a gift to the biggest star in the world. When Elizabeth and Richard travelled on commercial flights, they bought out the entire first class, which, in the case of our family trip to the States, left four people with a third of the plane at our disposal. \n\nWhen we landed in New York, the cabin crew let us leave the plane before everyone else. The moment we stepped into sight, we found ourselves facing a sea of journalists, photographers and police. Security guards escorted us to a car that took us to the Regency Hotel on Park Avenue. I was dumbfounded by the extreme kindness shown me by the drivers, the hotel staff, everyone. Their care and attention was as overwhelming as the contrast between my simple street culture and the five-star service that I now received wherever I went. \n\nShortly after our arrival, the agent Jack Painter contacted me, asking me if I was interested in photographing a young actor who everyone was talking about. It seemed like a good opportunity, so I went to the address he gave me, a commercial office building on Fifth Avenue, and got into the elevator with this strange, short guy wearing a long, black coat complete with hood. We got off at the same floor, he went one way and I went another, two separate entrances to what turned out to be the same set of offices. And when a secretary showed me into a room, the guy from the elevator was already there, sitting by a window waiting for me. His name was Al Pacino. Faced with my camera, he was very shy, almost embarrassed. It was raining, and I’d have preferred to photograph him outside. But he refused to move. So, without insisting, I photographed him as he was, with all his shyness.\n\n![pacino.jpg](https://steemitimages.com/DQmcgLM5Cy8RFbBzRGxG27WzpB97fNf4PTMMW41TiHLPpBz/pacino.jpg)\n*(A young Al Pacino, New York, December 1968. Copyright Gianni Bozzacchi.)*\n\nAfter our stop in New York, we flew on to Los Angeles. When we landed, the plane stopped a long way from the arrivals gate. I got worried. Had something happened? Then I saw a limousine drive onto the landing strip, followed by a mob of reporters and photographers. Elizabeth and Richard posed for a number of photos and answered all their questions. I was in a daze as we climbed into the limo.\n\nI never understood the American frenzy over Elizabeth and Richard. Maybe I’d lived in Rome too long. Romans don’t get impressed by anything, or at least don’t show it by racing after celebrities, screaming and crying hysterically. Marcello Mastroianni or Anna Magnani could stroll down Via Veneto without ever getting mobbed the way Elizabeth and Richard were in Los Angeles. When the Burtons moved, everyone moved with them, from police and journalists, to fans and private detectives. Yes, even detectives. One night I decided to get a breath of air in the hotel garden. Suddenly I saw a large tropical plant move, then stop. A man poked his head out from behind it and smiled at me. He was a detective up to who knows what. But I realized he was interested in Elizabeth and Richard because, before running away, he said, “Bye, Mr. Bozzacchi. Have a good day.” He must have really studied up on everyone to know who the heck I was.\n  \nOne day they took me to Frank Sinatra’s place. I’d barely stepped out of the car with my camera when Frank looked at me and said, “He stays in the car.” I was crestfallen. Mia Farrow was there. And Peter Lawford. A photo of Frank, Elizabeth, Richard, Mia and Peter all together… It would have been crazy. Anyway, they explained who I was and Frank, addressing me in Italian, asked, “You Italian? – Yes, Italian – Sicilian? – No, Roman – Boot boy? – No! Photographer.” I showed him my bag. “I’m a photographer. That’s why I’ve brought my cameras.” He gestured imperceptibly to a waiter – who looked more like a bouncer – and they took my bag. End of conversation. Then they all began drinking and laughing about stuff I didn’t understand. \n\nI wasn’t able to follow the conversation. Every now and then I’d catch a name, but I had no idea who they were talking about. Sometimes Claudye would do her best to translate for me. I was confused and embarrassed. I was a street kid in a foreign country, expected to behave like everyone else, light years from my own world in terms of class and culture.\n\nTowards the end of the trip, we went to see a screening of Mike Nichols’ “The Graduate.” Even though I didn’t understand everything, I liked it a lot – the images, the sense of confusion, the abuse of power. And I loved the Simon & Garfunkel soundtrack. I’d never heard pop music used that way in a movie, and no one else had either. I watched it again often – always in English – until I understood everything. It became one of my favorite movies. \n\nWhen the lights came up at the end of that first screening, I saw Dustin Hoffman, sitting silently at the back of the theater. He was incredibly shy and kept himself to himself. Mike had first noticed Dustin when he was playing Hamlet in an off-Broadway production. During post-production of his 1966 movie, “Who’s Afraid of Virginia Woolf?” Mike asked Richard to go with him to watch a performance, and Richard had been very struck by this little guy who put so much depth and drama into the role.\n\nI wondered why Elizabeth, Richard and Mike hadn’t worked together again after the huge success of “Who’s Afraid of Virginia Woolf?” Mike was one of the world’s leading directors, and Elizabeth and Richard were among his closest friends. So why didn’t they develop a major Hollywood production instead of returning to Europe? Why did they live and work at such a frantic pace?\n\nSlowly I began to realize that Elizabeth and Richard didn’t have much choice. They were trapped inside their own fame. A helicopter, a plane, a luxury car, an entourage, a yacht, homes in various countries, lawyers all over the place, not to mention children… All this had to be paid for, which meant work. Lots of it. Richard was already getting ready for his next movie, “Where Eagles Dare,” and confessed to me that he was only doing it for the money. Plus, they had endless tax problems. Neither of them could reside in England or Los Angeles for more than ninety consecutive days, otherwise they’d have to pay taxes on their movie revenues. Elizabeth and Richard enjoyed being citizens of the world, but what looked like carefree wandering actually followed a precise plan.\n\nAll this came to me slowly over time. Meanwhile, I struggled to work out how I could find a place for myself inside Elizabeth and Richard’s world, should the opportunity ever arise. When I’d worked for Pierluigi or Johnny Moncada, I’d been loquacious, extroverted and sure of myself, even with famous people. But it was one thing being myself when celebrities came to a studio – inside my own territory – for a couple of hours of professional work. It was quite another thing being part of Elizabeth and Richard’s entourage, where the relationship was personal, as well as professional. A certain level of class and sophistication was expected, and I knew I didn’t have either.\n\nI wasn’t even comforted by my own work. I was too young and inexperienced to be able to appreciate my abilities. The compliments I received sounded too exaggerated. When you spend a lot of time with celebrities, you get tired of hearing how everything is “amazing” and “brilliant.” That new book was “brilliant”, even if the reviews had been terrible and you hadn’t read it. That new movie was “amazing,” even if Hollywood had condemned it as a flop. I was always fearfully anxious that all the compliments I received were dictated by the mere fact that I was close to Elizabeth and Richard, who were “amazing” and “brilliant” in everything they did. \n\nThat said – and maybe I didn’t yet understand the industry very well – it seemed to me they hadn’t done an important movie since “Who’s Afraid of Virginia Woolf?” \n\n*Come back on Friday for Part IV, in which Gianni photographs Brando, Ringo, and Richard on the set of a cult classic*\n\n[![now available.jpg](https://steemitimages.com/DQmXmMbjdZbA1g8mpcfkVNaJDSr39uATehtKZUF4EuxhdRz/now%20available.jpg)](https://www.amazon.com/Life-Focus-Photographers-Elizabeth-Hollywood/dp/0813168740/ref=sr_1_1?ie=UTF8&qid=1522990169&sr=8-1&keywords=my+life+in+focus)",
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