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  • Hello.

  • My subscribers and others who were goingto watch a clip you're about to see about one of the greatest photojournalists that ever lived telling his own story.

  • His name is Alfred Eisenstat.

  • People call them Isay.

  • Five foot two.

  • He started off in Germany, I think.

  • 1918.

  • Then he became a journalist, left Germany in the Hitler era and came back after.

  • So you're about to see a story about him returning to Germany and what he sees and how he shoots and how he views the world.

  • He was really famous.

  • He was like magazines.

  • Probably greatest photographer.

  • He was the major photographer released.

  • He was most loved by Marilyn Monroe and Sophia Loren, among others, to spectacular women who were about 10 inches taller than my Z.

  • So before you see the scenes from this film, I'd like you to just know a few things of background.

  • The first is the first scene is shot in a church on Good Friday Catholic Church in Germany.

  • You don't shoot on Good Friday in a Catholic church.

  • It's no no.

  • How did I get to shoot this scene?

  • I'm going to tell you that story after another scene you're going to see is in a museum where Isay is walking in the museum is doing his thing on a cop, puts his hand up.

  • It says No, no, no.

  • And he goes to the museum manager.

  • And although it's a short scene in German, what he says is, just let me show you what kind of pictures I take.

  • And that was one of the things that I Z was famous for.

  • One shot, he took one shot.

  • That was the shot, and that was what became famous.

  • So take a look.

  • And after I'll tell you how I got to make this film and about that church scene and how I got to shoot that scene.

  • We have a feeling off.

  • We don't handle this the way he gets wild photograph, I'm afraid.

  • Isaac split Belene Born off.

  • Give oxen immediate house would become gods and take some guy sick America.

  • Kitten food.

  • Feeling yard?

  • Yes, Germany, The country of my birth.

  • How do you feel being here?

  • Interested?

  • Excited?

  • When I was last year, I couldn't have imagined myself photographing in a church.

  • Good Friday.

  • But times have changed.

  • I love my Bergen, a burger medium machine has to run.

  • Who has to be oiled.

  • And that's the reason I'm burger all the time.

  • I don't work for a few days.

  • I don't feel happy.

  • 16 17 18 19 20.

  • That's enough for today.

  • Now come the push ups.

  • I have done 30 to push ups.

  • Uh, but now I do want five.

  • This my body has to be absolutely straight.

  • You always have been in good physical condition.

  • Yes.

  • Oh yeah, I My head's bug.

  • What I am is a photo journalist now Borders afforded journalist.

  • Really, it's someone records what he sees people, events, moments in time.

  • If I do my job extremely well, some might say that I'm an artist, but I wouldn't say that an artist creates an image in his mind.

  • What I do is trying to capture reality more or less a documentary, for I'll be a mere condition.

  • But the fact is, it's there for the grab Your job for fear of Dharma sensation that's obvious for you comes here.

  • You couldn't help.

  • It is done.

  • Thank you.

  • When Francis over him?

  • No good.

  • Good one.

  • It's a form solid phone.

  • I always choose to work alone.

  • I'm not a very large person.

  • And so it is not too difficult for me to fade into the background.

  • And that's how I like it for the photograph.

  • Truly candid pictures People must not know you are there.

  • Can't help you.

  • Caution on course off.

  • Numb from building off She never knew of this museum off *** Lloyd before the four stain for appear that smell jersey loiter when she gets a capital even mention which I'm in this house.

  • Turkomans Exam.

  • No, no and starts gathering Silvestre.

  • Clumsy, secure Israeli inside passage for six minutes ended.

  • Do it.

  • Get off me school.

  • I had difficulties, really only difficulties.

  • I mean, not a version.

  • Difficulties with one human being.

  • That was Ernest Hemingway, Hemingway for sitting with Marius wife in the patio, and I was standing there with a tripod, 30 striper or not sisterly a four by five camera.

  • He was sitting about 10 or 15 feet away, drinking spiced water right on.

  • I wanted to take some portrays off him, but he was around it by 33 cats.

  • Two dogs with him and a wife married, and those cats came and rub their bodies on the trip.

  • But in my legs and I had to dance and former Ephraim and dancing for them in the debate.

  • The cats like this and he came to me slowly.

  • Don't you like cats?

  • What did you say?

  • E have to think for us.

  • You know, with Hemingway you have orders to think before you say anything.

  • Yes, I love cats.

  • But when the cat's rubbed their bodies on the tribe of the change of focusing off my camera and he understood this, chase them away and everything was fine.

  • Life picture added a bridge mix told me in 9 30 effort, I'm going to send you to Hollywood to photo off all these movie queens on the only, uh uh, The only advice I can give you Don't be in off anybody.

  • Don't be in all the movie Queens said you are a king and your profession, but I've never forgotten it.

  • So when I go to photo of famous people, I'm never and all I see them only as people.

  • And the thing that shows in my fault Well, I said but I possess that beautiful new good because then on computer basics Okay, you found them cheap.

  • Didn't convert I stopped it.

  • Way ran a fast spin.

  • This original director here, And just like in Hollywood directors can be the easy to shoot or impossible.

  • Fassbender is a letter he tried to avoid me since one second Dr Transplanted American card.

  • And the immediate question is young.

  • No, this isn't finished inside.

  • I get along wonderfully with women.

  • I don't know what I don't know.

  • I don't look too impressive, but they all liked me because I I am nice to them.

  • They're nice to me.

  • They probably like me.

  • I don't know what it is.

  • I don't know whether have sex appeal?

  • I have no idea.

  • The first assignment.

  • So for you up in Hollywood Waas in 1938.

  • It was at that time when women started to wear slacks and they looked just more sexy and wonderful.

  • You know, it looked at everyone passing.

  • I've never seen this before.

  • This just came out at that time, Whether I'm photographing famous women or not so famous women or anybody for that matter.

  • They're often difficulties and I never known advance what I'm going to see.

  • For instance, when I arrived at the local modeling school, they were not women as I expected.

  • They were just young girls shy and full of giggles.

  • But it's my job to take good pictures anyhow to make them alive.

  • You give them a sense of quality of reality off honesty.

  • Yeah.

  • No, no.

  • People have asked me How did they learn this?

  • My craft?

  • Well, I'm not so sure.

  • After all, when I started, photography wasn't really a craft at all.

  • It wasn't even a job.

  • When I started being paid for my photographs, I was earning a living as a belt on button salesman.

  • And I was so bad, I wasn't good at all.

  • I hated myself.

  • I couldn't sell you.

  • No, I'm not.

  • I'm not a salesman.

  • I was always more or less artistically inclined on dhe.

  • One day it was end of November.

  • I remember this.

  • The bosses said to me, Look, you are so bad.

  • I say I know it, that I'm bad.

  • Uh, in three days, you have to decide whether you would would continue with us or take up always That called what you're doing.

  • I said I'm taking picture photography.

  • I remember that I quarter up only with large glass plates and friend are payback under a friend off mine or an acquaintance might should be out there large.

  • And this was the moment for the photo bug bit me.

  • I developed those in our bathroom.

  • Do the consternation off my parents who couldn't go to the bathroom for hours.

  • I didn't have an exposure meter and people had to sit still.

  • And when they moved, I do it over again.

  • But I took only one picture.

  • They moved out to take two pictures, just compared to today's unbelievable.

  • In 1925 when do you hand a spot in Bohemia?

  • And that saw a woman tennis player around 4 p.m. Photographed it.

  • I brought this picture to AH Photo magazine on They like the picture very rushed such we will give you first marks.

  • It's a cripple end of about $3.

  • I said I had no idea.

  • You mean you can sell picture make money with the authorities as off course?

  • And he says, Why don't you bring us more pictures like that?

  • 1930 1931?

  • I'm not sure.

  • The editor off the ah, we're in a rush Straight asked me to go to ST Moritz, Switzerland, to photograph society and the goings on in the fashionable place.

  • And so I asked him, I have no idea what you do there, and he says, You photograph anything you see both wild, very nice.

  • And if you come back with a picture of a snow looks like sugar, the trip would be worthwhile.

  • I asked the head waiter to show me how he serves drinks to some guests.

  • As I had.

  • Only a large camera reflects camera to 1/4 3 1/4 with glass plates for me.

  • I put this chair in here to focus.

  • As you see in the beta past year, click the shutter.

  • The share was only put up there that I can focus, but it adds to the to the picture because otherwise everything would have been invited.

  • Today, those glass plates are just a memory.

  • No, I work with very light equipment, like a Nikon, some lenses, maybe a tripod.

  • So I'm still not equipment crazy.

  • I'm crazy.

  • Maybe, but not about back Whitman.

  • That's how clever Wife.

  • Plastic Base.

  • Well, where should I put?

  • Does equipment listen to the trick?

  • The most important thing, and for Torabi still the eye.

  • But all of us be the I even in 10 years when we probably don't work with cameras anymore.

  • When b push a button and everything this is, let's say on tape, you still need the eye.

  • This picture was taken about five months after the bomb for Oshima.

  • I found this woman rummaging through a former house and asked her whether she would pose for me.

  • And this is opposed Picture.

  • I found the spot and ask her to sit there after I photograph them and said goodbye.

  • She bowed very low again.

  • And I must say tears came to my eyes because, uh, I'm a rather emotional men.

  • I was shocked and very distressed.

  • See Search tragedy While I was in Japan, I covered also the indictment off all the Japanese war criminals when they were brought from Suge Army Prison.

  • I've wanted a picture off to you and in some moments and happened that I can't work with my brain after you have a shortcut before my eyes, my fingertip and I said to him, and in 1000 of a sickness, that dude I said, General told you what I said, Hey, told you, look at me and he looked for one second.

  • One picture with a roller flicks in 1951 life asked me to cover the the British election.

  • I traveled with him when he came to live up with, he fell almost asleep on a dice runner runoff churches and kept them on the shoulder.

  • Did this?

  • I'm sure quite I was sitting like this.

  • That's the big shot.

  • One picture.

  • Not too big one like this.

  • The whole world has changed since the Second World War, and everything is now so different and yet funny.

  • I'm still off a tower off Are still searching for the right moment to take that one Absolutely perfect picture.

  • Go vote on.

  • I wait, you know?

  • Yeah, I just All right.

  • I hate to sing in the morning.

  • E the rest be busted now.

  • Really?

  • Do it.

  • Germany I see today is different from the Germany and new as a young man as a photo or over have witnessed it.

  • And as a person I failed it.

  • I have an idea that Germany has really changed our thinking.

  • The youth is very, very, very different from the unit.

  • I knew that I am.

  • Everything was very regimented.

  • My goodness.

  • I remember when I went to school and the teacher came to a classroom, we had to get up.

  • Stood up almost at attention.

  • It was absolutely impossible unthinkable that any employees or anybody spoke to the boss with a cigarette in the sand or your cigarette in his mouth, put its hands in their pockets.

  • It's impossible.

  • Everything was very regimented today.

  • I'm comfortable here and able to.

  • Workers are normally do.

  • Okay, so first, let me tell you about Good Friday in the Catholic Church.

  • So I hired a German producer.

  • So it's Mia's director.

  • There's a cameraman, and there's a German producer who was a famous journalist from making trouble.

  • She's the one who got me all these scenes.

  • The film was shot in six days, and every one of these scenes had to really say something about him on about Germany at that time.

  • So it's good Friday and I go to the church is a beautiful church in little town, and the priest says, No, no, no, you can't film and the producer says to me, David, step outside a minute.

  • Step outside a minute she opens the door, she says, Come on in we can shoot, I said to her, How did you get the chance to shoot this?

  • And she said, Well, I had the mole in a circle, the priests and the other people in the church And I said we had German.

  • Alfred Eisenstaedt was Jewish.

  • Do you understand that?

  • And as a result, they all put their heads down.

  • People said, You know what, Okay, it's the great Alfred Eyes is that he's Jewish.

  • We did his family at this service.

  • We're gonna make good on it.

  • That's how I got to shoot that scene and a lot of the other things in that film, like the one by phosphate there.

  • When we go to Foster Bender, all the crew is wearing German uniforms.

  • Nazi uniforms.

  • It's a World War two story, and the way Fost bended directs, he likes tohave the crew in uniform to add to the feeling of the scene.

  • I never forgot that, and it changed me in terms of my dress when I was shooting my kinds of documentaries.

  • So how did I get to make this film?

  • Well, the people who gave me the money of the United Technologies Corporation and they're a multi product corporation, and they're not that well known in Germany at this time.

  • So the guy I work for is one of these geniuses who thinks out ways that you can make something beautiful, that the corporation also benefits by fine with me so long as I could make something beautiful and it didn't break with any basic truth.

  • So the CEO says, What is it?

  • And Gordon says it's a cameraman, a photographer and foretell journalist who's Jewish coming back to Germany, and the CEO says, Well, I don't know about that.

  • So Gordon says, call some friends in Germany and ask them how they feel.

  • So he calls forth CEOs of major corporations in Germany, three of whom say sounds great to me and one of them says, I wouldn't do that.

  • So Harry Grey, the great CEO of United Technologies, says.

  • Go ahead, make the movie and we went ahead and we made the movie.

  • And the hope in the movie was that advertises that the great photographer would return to Germany and love it again, which is exactly what happened.

  • Everything about Germany he loved as he had loved it before he was forced to leave in 1935 whenever he left.

  • So that's my story, Alfred Eyes is that great?

  • Photojournalists is gone now, but I still thank him for giving me the opportunity to be with him on for telling him what to do with all these seas, which he wasn't all that comfortable with that first, but ended up being an Emmy Award winning television documentary that ran in about 26 countries around the world.

  • I hope you enjoyed it.

  • David Hoffman, FILMMAKER.

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  • Please become a patron.

  • W w w dot patri on dot com Thank you.

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