00:00:22.400 --> 00:00:22.999
(speed bag slapping)

00:00:38.960 --> 00:00:39.560
- It's been a long life.

00:00:43.999 --> 00:00:46.080
I was born in 1936
in Munich, Germany,

00:00:48.800 --> 00:00:53.000
and this was the beginning
of the Second World War.

00:00:53.160 --> 00:00:57.560
After the war we
moved to Stuttgart

00:00:57.720 --> 00:01:02.200
and then to Hamburg,
to Hannover,

00:01:02.360 --> 00:01:05.160
so I was traveling
around because my
father was a journalist

00:01:05.320 --> 00:01:09.400
and he worked for
different newspapers.

00:01:09.560 --> 00:01:11.920
Then when I was still in school,

00:01:11.999 --> 00:01:15.920
my grandfather gave me a camera,

00:01:15.999 --> 00:01:18.640
a very old traditional
camera which has this

00:01:18.800 --> 00:01:23.320
harmonica and a round
glass, and you would use

00:01:23.480 --> 00:01:26.680
a glass plates, and I was very
fascinated by that machine

00:01:26.999 --> 00:01:31.680
and I used it, I tried to
pick pictures of my friends,

00:01:32.000 --> 00:01:36.200
my family but it was
all on glass plates

00:01:36.360 --> 00:01:38.999
and I had my little dark
room in our kitchen.

00:01:39.120 --> 00:01:41.999
at night, and I developed
my glass plates.

00:01:42.000 --> 00:01:46.160
And I won a prize
in a youth contest

00:01:46.320 --> 00:01:50.280
and I got a 35 millimeter camera

00:01:50.440 --> 00:01:53.120
with film so this was
a new step in my life.

00:01:54.320 --> 00:01:56.040
I'm Thomas Hoepker.

00:01:59.480 --> 00:02:00.880
(inspirational piano music)

00:02:20.760 --> 00:02:21.320
(lilting bass music)

00:02:27.999 --> 00:02:29.280
- [Voiceover] An entire career
devoted to groundbreaking

00:02:33.040 --> 00:02:35.280
photojournalism and major
international magazines.

00:02:35.440 --> 00:02:39.320
A balancing act between
the demands of the press

00:02:39.480 --> 00:02:41.680
and his own desires to express a

00:02:41.840 --> 00:02:43.600
definitive style
and taste in images.

00:02:43.760 --> 00:02:47.480
Thomas Hoepker, a Magnum
photographer since 1989,

00:02:47.640 --> 00:02:50.999
has suceeded in a very personal
way in recounting events,

00:02:51.080 --> 00:02:55.400
stories, and personalities
that have made heir mark

00:02:55.560 --> 00:02:58.999
on the international scene
from the 1950s to today.

00:02:59.040 --> 00:03:02.999
As many like to describe
him, he is a photographer

00:03:04.040 --> 00:03:06.760
of vivid colors and
dreamy rich tones,

00:03:06.920 --> 00:03:10.360
or as he considers
himself, a photojournalist

00:03:10.520 --> 00:03:13.760
simply searching for
every day situations.

00:03:13.920 --> 00:03:16.999
- A photojournalist is someone

00:03:17.080 --> 00:03:18.920
who works for a newspaper,
mainly, because those are the

00:03:18.999 --> 00:03:23.040
uses of photography, and
that's what I did later.

00:03:23.200 --> 00:03:26.999
So in these golden days,
which are over now,

00:03:27.080 --> 00:03:30.960
photographers became
hired by a magazine.

00:03:30.999 --> 00:03:34.120
They were staffers, they worked
for that specific magazine.

00:03:34.280 --> 00:03:38.999
I started out with a magazine
called "Muünchner Illustrierte"

00:03:39.080 --> 00:03:42.440
and then another
magazine came up

00:03:42.600 --> 00:03:45.080
called "Kristall,"
crystal, and that was

00:03:45.240 --> 00:03:48.440
an interesting type of
magazine because they used long

00:03:48.600 --> 00:03:53.440
stories, very large picture
layouts of many, many pictures.

00:03:56.999 --> 00:03:57.880
- [Voiceover] Like many of his

00:04:02.000 --> 00:04:03.160
contemporaries, other
Magnum photographers,

00:04:03.320 --> 00:04:05.600
Thomas Hoepker narrates distant
and inaccessible stories.

00:04:05.760 --> 00:04:10.200
His shots are accompanied by
the articles of journalists

00:04:10.360 --> 00:04:12.680
traveling with him and
offered glimpses of the world

00:04:12.840 --> 00:04:15.600
of distant lands, often
unknown to his audience.

00:04:15.760 --> 00:04:20.240
And so Hoepker's journey begins,

00:04:20.400 --> 00:04:22.280
one that will take him
across and beyond borders

00:04:22.440 --> 00:04:24.760
from Ethiopia to
Peru, up to the USA,

00:04:24.920 --> 00:04:28.120
a journey of exploration
and discovery.

00:04:28.280 --> 00:04:30.920
- Our friends were journalists.

00:04:32.480 --> 00:04:34.560
I visited my father
in his office.

00:04:34.720 --> 00:04:36.440
I smelled the ink,
the printers ink.

00:04:36.600 --> 00:04:39.000
So eventually, after I had
finished school, I thought

00:04:39.160 --> 00:04:42.800
I would like to become a
photojournalist, a photographer.

00:04:42.960 --> 00:04:46.040
My father, as all fathers
said, no, this is not a serious

00:04:46.200 --> 00:04:48.999
business and how I should
do something, you have to go

00:04:49.080 --> 00:04:51.999
to university, and eventually
I went to university

00:04:52.000 --> 00:04:55.840
and I studied history
of art, art history.

00:04:55.999 --> 00:04:59.720
I traveled to
Italy a lot because

00:04:59.880 --> 00:05:02.080
there was art I wanted to see,

00:05:02.240 --> 00:05:04.640
and I took pictures
and I went to museums,

00:05:04.800 --> 00:05:08.800
but after a while I discovered
that in the museums,

00:05:08.960 --> 00:05:12.080
I was more fascinated
with the people

00:05:12.240 --> 00:05:14.120
looking at the pictures,
as the pictures themselves.

00:05:14.280 --> 00:05:17.760
So i combined a
little bit my love

00:05:17.920 --> 00:05:19.999
for art and my love
for photography.

00:05:20.000 --> 00:05:22.360
(fast-paced guitar music)

00:05:27.480 --> 00:05:28.240
- [Voiceover] The year is 1960.

00:05:32.640 --> 00:05:34.360
At the Rome Olympics, a
new boxing star is born.

00:05:34.520 --> 00:05:37.520
He is a young black
man from Kentucky,

00:05:37.680 --> 00:05:39.280
and his name is Cassius Clay.

00:05:39.440 --> 00:05:42.440
Only six years after that
gold medal, his face begins to

00:05:42.600 --> 00:05:44.975
appear on magazine covers
all over the world.

00:05:44.999 --> 00:05:47.080
- [Voiceover] Cassius
Clay of Chicago

00:05:47.240 --> 00:05:48.720
challenges Gary Jawish
and Jawish is in

00:05:48.880 --> 00:05:50.920
trouble from the first round on.

00:05:50.999 --> 00:05:52.560
- [Voiceover] He's a
new boxing champion

00:05:52.720 --> 00:05:53.999
who floats like a butterfly,
stings like a bee.

00:05:54.080 --> 00:05:56.999
He is acclaimed
for his nimbleness

00:05:57.000 --> 00:05:58.400
and a technique that makes
him unique and unbeatable.

00:05:58.560 --> 00:06:00.920
But most of all, he is known
for his indomitable character.

00:06:00.999 --> 00:06:04.880
In 1964, he wins the world
championship title for the

00:06:04.999 --> 00:06:07.840
first time beating boxing
big bad guy "The Jailbird,"

00:06:07.999 --> 00:06:11.720
Sonny Liston, surprising both
reporters and the public,

00:06:11.880 --> 00:06:14.999
who had predicted
Clay would do down.

00:06:15.040 --> 00:06:18.520
But it's the second match
fought by the same champs

00:06:18.680 --> 00:06:20.800
a year later that
goes down in history.

00:06:21.080 --> 00:06:23.360
Cassius Clay has now a
new name, Muhammad Ali.

00:06:26.240 --> 00:06:30.999
He has converted to
Islam and declares

00:06:31.040 --> 00:06:32.680
that he's guided
by a divine force.

00:06:32.840 --> 00:06:35.200
He knocks Liston out
just one minute into

00:06:35.360 --> 00:06:36.999
the first round with an
apparently innocuous blow.

00:06:37.999 --> 00:06:40.920
The year is 1966 and the
22-year-old Muhammad Ali

00:06:43.080 --> 00:06:46.440
is already and
absolute champion.

00:06:46.600 --> 00:06:48.800
Impetuous, provocative, always
pushing life to the limit,

00:06:48.960 --> 00:06:52.520
He embodies the aspirations and
attentions of 1960s America.

00:06:54.999 --> 00:06:56.999
- Stern Magazine said go

00:07:00.120 --> 00:07:01.760
and photograph this
interesting guy.

00:07:01.920 --> 00:07:03.999
He seems to be a little
strange but very interesting.

00:07:05.200 --> 00:07:09.400
And my wife and
I, Eva Windmöller,

00:07:09.560 --> 00:07:12.960
we moved to Chicago
to meet the champ,

00:07:12.999 --> 00:07:16.480
and I had no idea about boxing.

00:07:16.640 --> 00:07:18.999
I'd never photographed
a boxing match.

00:07:19.080 --> 00:07:21.320
I didn't know about
the sport, but we were

00:07:21.480 --> 00:07:24.640
both fascinated by
this personality.

00:07:24.800 --> 00:07:27.440
The situation was
difficult because

00:07:27.600 --> 00:07:29.440
he had just converted
to Islam, and part

00:07:29.600 --> 00:07:34.400
of it is that he shouldn't
talk to a strange woman.

00:07:34.560 --> 00:07:38.800
So here I was with
my wife and the boxer

00:07:38.960 --> 00:07:43.080
who didn't really want to have
a conversation with my wife.

00:07:43.240 --> 00:07:46.800
So we just followed
him and we just

00:07:46.960 --> 00:07:48.999
followed him around when
he went to the gym in the

00:07:49.120 --> 00:07:51.720
morning and he was boxing
there and he met friends,

00:07:51.880 --> 00:07:55.480
and he went to a deli for lunch.

00:07:55.640 --> 00:07:58.975
After a while, we became
part of the furniture,

00:07:58.999 --> 00:08:02.760
so he didn't notice us anymore.

00:08:02.920 --> 00:08:05.320
We were simply there,
impossible today.

00:08:05.480 --> 00:08:08.999
(slow-paced clarinet music)

00:08:14.480 --> 00:08:15.760
I think it was Henri
Cartier-Bresson who said,

00:08:19.640 --> 00:08:22.960
the best thing is you
are the fly on the wall.

00:08:22.999 --> 00:08:25.999
You see everything with
your big eyes all over,

00:08:26.080 --> 00:08:29.999
but you are not noticed
by the other people,

00:08:30.000 --> 00:08:32.440
and that was the
situation with Ali.

00:08:32.600 --> 00:08:34.320
After a week or so, we simply
were there and watched him.

00:08:37.840 --> 00:08:39.320
- [Voiceover] Thomas
Hoepker and Eva Windmöller

00:08:42.999 --> 00:08:44.960
follow Ali for weeks on
end, going back and forth

00:08:44.999 --> 00:08:47.999
between his private
and public life.

00:08:48.000 --> 00:08:50.760
They document and record his
habits, moods and passions.

00:08:50.920 --> 00:08:54.999
The result is an
authentic, exclusive,

00:08:55.120 --> 00:08:57.720
and extremely private
portrait, recounting the life

00:08:57.880 --> 00:09:01.080
of a young man, already
an icon of his time,

00:09:01.240 --> 00:09:03.999
who excited, scandalized,
and rejected any stereotype.

00:09:04.440 --> 00:09:08.600
He was totally aware of
his impact on the press,

00:09:09.600 --> 00:09:11.999
but above all, on the people
who shared his humble origins.

00:09:13.600 --> 00:09:16.560
- Occasionally when he went out
in his car, we followed him.

00:09:18.760 --> 00:09:22.000
We stayed with the car
and he drove around town.

00:09:22.160 --> 00:09:24.920
He had mood swings, you know,
he could come one morning

00:09:24.999 --> 00:09:27.600
and was in a bad mood and
wouldn't like to talk,

00:09:27.760 --> 00:09:30.480
and so we just stayed behind
and didn't bother him.

00:09:30.640 --> 00:09:34.880
On other days, he was
in a good mood and said,

00:09:34.999 --> 00:09:38.920
go along with me and
I'll show you Chicago.

00:09:38.999 --> 00:09:43.080
Then there was this
situation when we drove

00:09:43.240 --> 00:09:46.920
in his very nice
limousine across a bridge

00:09:46.999 --> 00:09:51.200
over the Chicago
River and I said,

00:09:51.360 --> 00:09:54.320
oh, that's a nice
view can we get out,

00:09:54.480 --> 00:09:56.080
and we got out of the car.

00:09:56.240 --> 00:09:57.920
Then there was this
railing of the bridge,

00:09:57.999 --> 00:10:01.975
and I said could you
get up on that railing

00:10:01.999 --> 00:10:04.920
so I can photograph you
in front of the skyline.

00:10:04.999 --> 00:10:08.000
And he got up and he
was standing there

00:10:08.160 --> 00:10:10.600
and said, I'm beautiful,
and he took his jacket off.

00:10:14.360 --> 00:10:15.760
And he was standing there
like this and I said jump.

00:10:20.360 --> 00:10:24.360
And he jumped towards
me, towards the camera,

00:10:25.520 --> 00:10:28.760
and I had just once
chance, one click.

00:10:31.999 --> 00:10:33.280
And that was it, and it's
one of the most prominent

00:10:37.040 --> 00:10:40.760
pictures of Ali flying through
the air in front of Chicago.

00:10:45.000 --> 00:10:46.080
- [Voiceover] Thomas
Hoepker's contact sheets

00:10:50.160 --> 00:10:52.200
encapsulate the photographer's
vision in his attempt to

00:10:52.360 --> 00:10:54.999
capture the essential aspects of

00:10:55.120 --> 00:10:56.999
the champion's life with
exacting authenticity.

00:10:57.120 --> 00:11:00.240
The differing shades
of Muhammad Ali's life

00:11:01.999 --> 00:11:04.520
from strength to vulnerability,
emerged from each shot.

00:11:04.680 --> 00:11:07.999
But these snapshots
also represent

00:11:09.440 --> 00:11:11.160
the photographer's
artistic unconscious.

00:11:11.320 --> 00:11:14.960
Henri Cartier Bresson,
co-founder of Magnum Photo,

00:11:14.999 --> 00:11:18.920
never liked to share
his contact sheets.

00:11:19.720 --> 00:11:21.880
- Henri said
wonderful, I don't want

00:11:24.880 --> 00:11:27.600
people to look at
my contact sheets.

00:11:27.760 --> 00:11:29.999
It's like watching
me making pee pee.

00:11:31.040 --> 00:11:32.999
He had assumed a
status of grandeur.

00:11:36.480 --> 00:11:40.600
And I think from that
point on he didn't want to

00:11:41.640 --> 00:11:45.800
know people that he also
took mediocre pictures,

00:11:45.960 --> 00:11:49.280
which I don't share, I
think it's the process.

00:11:49.440 --> 00:11:52.120
You go to your street
and you take a picture

00:11:52.280 --> 00:11:54.840
and hope it is
something but then

00:11:54.999 --> 00:11:57.040
you're not satisfied but
you click and take it.

00:11:57.200 --> 00:12:00.600
Not every shot that
you take is good,

00:12:00.760 --> 00:12:02.960
maybe 1% maybe 5%
of the pictures

00:12:02.999 --> 00:12:06.960
ever will see the light of
day after you shot them.

00:12:06.999 --> 00:12:09.975
(heavy breathing)

00:12:09.999 --> 00:12:12.999
- [Voiceover]
Muhammad Ali fights

00:12:13.120 --> 00:12:14.280
in the ring as he does in life.

00:12:14.440 --> 00:12:17.280
Fame, wealth, and
medals are his prize,

00:12:17.440 --> 00:12:20.999
but Ali isn't just
a boxing champ.

00:12:21.040 --> 00:12:23.520
He's black America's
new defender.

00:12:23.680 --> 00:12:27.360
His mentor is Malcom X, the
American Muslim activist

00:12:27.520 --> 00:12:31.240
who guides him in his battle
against social injustice.

00:12:31.400 --> 00:12:34.680
He rails against US
attacks in Vietnam.

00:12:34.840 --> 00:12:37.400
He refuses to enroll in the
military and pays the price

00:12:37.560 --> 00:12:41.120
when he gives up his
world championship title.

00:12:41.280 --> 00:12:43.760
- My intention is to box,
to win a clean fight,

00:12:43.920 --> 00:12:46.960
but in war, the intention
is to kill, kill, kill, kill

00:12:46.999 --> 00:12:51.600
and continue killing
innocent people.

00:12:51.760 --> 00:12:54.320
That's what the vision's in war.

00:12:54.480 --> 00:12:57.040
- [Voiceover] Ali's ascent
coincides with the revolt on the

00:12:57.200 --> 00:12:59.240
part of the blacks excluded
from public life at the time,

00:12:59.400 --> 00:13:02.975
alienated and left
alone in urban decay,

00:13:02.999 --> 00:13:05.600
in total submission to whites.

00:13:05.760 --> 00:13:08.520
Ali, with his biting
tongue, defined expression,

00:13:08.680 --> 00:13:11.480
and above all, his fists,
begins giving a voice

00:13:11.640 --> 00:13:14.920
to those whose mouths
have long been kept shut,

00:13:14.999 --> 00:13:17.680
to the hidden faces,
and to the oppressed.

00:13:17.840 --> 00:13:21.000
He keeps up his battle with
a prophetic sense of destiny,

00:13:21.160 --> 00:13:24.999
something no one else had ever

00:13:25.080 --> 00:13:26.160
done before in the boxing world.

00:13:27.999 --> 00:13:28.999
- He was kind of
bragging all the time.

00:13:32.999 --> 00:13:36.000
It's almost like he was

00:13:36.160 --> 00:13:37.999
encouraging himself
to be courageous.

00:13:38.080 --> 00:13:40.999
He was always talking
how wonderful he is

00:13:41.120 --> 00:13:43.080
and how pretty he was, that
he looked great and he did.

00:13:43.240 --> 00:13:46.480
And everybody was fascinated
because he had won title after

00:13:46.640 --> 00:13:50.400
the other, and he was a great

00:13:51.840 --> 00:13:54.999
manifestation of himself.

00:13:56.999 --> 00:13:58.480
He made himself into
somebody who is not

00:13:58.640 --> 00:14:02.520
just a wonderful
athlete and a boxer

00:14:02.680 --> 00:14:05.320
but a political figure
also, and that became

00:14:05.480 --> 00:14:09.240
a very important
aspect of his career.

00:14:09.400 --> 00:14:12.880
And he was not only
the fantastic boxer,

00:14:12.999 --> 00:14:17.120
he became a politician in a way

00:14:17.280 --> 00:14:18.999
because he was fighting
his own goverment in their

00:14:19.040 --> 00:14:23.440
policies about Vietnam,
about the board, etcetera.

00:14:23.600 --> 00:14:27.240
- [Voiceover] From
the photos enclosed

00:14:27.400 --> 00:14:28.680
in the contact sheets,
Muhammad Ali seems to

00:14:28.840 --> 00:14:31.280
reincarnate the passions
and hopes of his

00:14:31.440 --> 00:14:33.360
country in search
of an identity.

00:14:33.640 --> 00:14:35.960
This was not the first time
Hoepker told American stories.

00:14:38.800 --> 00:14:42.080
In a 1963 reportage, he
translated the routine

00:14:42.240 --> 00:14:45.040
of daily life into unique images
full of depth and contrast.

00:14:48.680 --> 00:14:49.800
His shots remind us
of the scenes found in

00:14:53.840 --> 00:14:55.600
Edward Hopper's pantings
with their mixes of

00:14:55.760 --> 00:14:58.120
indistinguishable
faces and settings.

00:14:58.280 --> 00:15:01.400
Solitude, extravagance,
and patriotism

00:15:01.560 --> 00:15:04.999
are revealed in every
facial expression.

00:15:05.280 --> 00:15:07.880
- So for the journalism,
of course, it is something

00:15:10.440 --> 00:15:14.960
that describes a situation,
a real situation,

00:15:14.999 --> 00:15:18.120
but it's also in my case very
much so that I interpret.

00:15:18.280 --> 00:15:23.120
I have an opinion about
what I see hopefully,

00:15:23.440 --> 00:15:26.480
and hopefully this opinion
comes across in the picture,

00:15:26.640 --> 00:15:30.840
so if I find something very
beautiful and very wonderful,

00:15:30.999 --> 00:15:34.240
the picture should reflect this.

00:15:34.400 --> 00:15:35.800
But if I see events which
are horrible or depressing

00:15:35.960 --> 00:15:40.320
or ironically felt,
had some irony in them,

00:15:40.480 --> 00:15:45.280
I interpret it, my world,
so it's not certainly

00:15:45.440 --> 00:15:49.360
a very objective way
to approach this.

00:15:49.520 --> 00:15:52.080
It was a more, an
artist's way somehow.

00:15:52.240 --> 00:15:55.720
(speed bag slapping)

00:15:55.880 --> 00:15:57.320
- I am the greatest.

00:15:57.480 --> 00:15:59.000
(beeping)

00:16:02.920 --> 00:16:03.999
(speed bag slapping)

00:16:09.640 --> 00:16:10.999
- The bell comes and he was
boxing and then he paused,

00:16:14.800 --> 00:16:18.600
and then he goes boxing again,

00:16:18.760 --> 00:16:20.960
and in one of these
brief intervals,

00:16:20.999 --> 00:16:23.999
I think it's just a minute or
so, he saw me sitting there

00:16:24.040 --> 00:16:27.040
in the darkness outside of
the ring, a very shabby gym.

00:16:27.480 --> 00:16:32.040
And he hadn't seen
me for a few days

00:16:32.640 --> 00:16:34.999
and he just came
up and told me hi,

00:16:35.000 --> 00:16:38.080
and then he did his
trademark thing with his fist

00:16:38.240 --> 00:16:42.920
and I had time only
to get three frames

00:16:42.999 --> 00:16:45.360
clock, clock, clock,
and that was it,

00:16:45.520 --> 00:16:47.000
and then he went again back
to his training's position

00:16:47.160 --> 00:16:52.000
and was bouncing the heavy bag.

00:16:52.200 --> 00:16:57.000
So this was a total surprising,

00:16:57.360 --> 00:17:00.160
and when I look at
the contact sheet,

00:17:00.320 --> 00:17:02.880
there's only one sharp picture.

00:17:02.999 --> 00:17:04.280
The other ones are
dark and not good.

00:17:04.440 --> 00:17:07.320
The only one was this
one with the fist,

00:17:07.480 --> 00:17:09.720
and I just had a moment to
focus my Leica on that fist.

00:17:14.800 --> 00:17:15.880
One morning we drove
around in his limousine,

00:17:19.960 --> 00:17:24.800
and after a while
he stopped at a

00:17:24.999 --> 00:17:26.999
bakery in the south
side of Chicago.

00:17:27.000 --> 00:17:30.040
And he went in and we were
waiting for him, and he came out

00:17:30.200 --> 00:17:33.040
with a paper bag and said,
I bought some doughnuts,

00:17:33.200 --> 00:17:36.160
like he was eating the donuts.

00:17:36.320 --> 00:17:38.240
And okay, well, he
even gave us one

00:17:38.400 --> 00:17:42.320
and he drove away, we
looked at other places

00:17:42.480 --> 00:17:45.840
in the south side, and suddenly
he came by that same bakery

00:17:45.999 --> 00:17:50.360
again and said, hey listen
I need more doughnuts.

00:17:50.520 --> 00:17:53.360
So he got out, come
back with his doughnuts.

00:17:53.520 --> 00:17:56.680
Now the third time,
I became suspicious,

00:17:56.840 --> 00:17:58.999
and I wondered,
what's going on here?

00:17:59.080 --> 00:18:00.840
And I went with him into the
bakery and then I found out

00:18:00.999 --> 00:18:04.120
he wasn't so much
interested in the doughnuts,

00:18:04.280 --> 00:18:06.320
he was interested in
the baker's daughter,

00:18:06.480 --> 00:18:08.999
who was a very,
very pretty girl.

00:18:09.040 --> 00:18:11.440
And he was flirting
with her, and she was

00:18:11.600 --> 00:18:13.400
flirting with him and of
course, she knew who he was.

00:18:13.560 --> 00:18:15.999
It was a wonderful
situation, so I got some

00:18:16.080 --> 00:18:18.880
very nice pictures of the two.

00:18:18.999 --> 00:18:21.360
And only years later, I
found out that this girl

00:18:21.520 --> 00:18:25.240
from the bakery had become
his third wife, Belinda.

00:18:25.560 --> 00:18:30.240
Belinda, very beautiful
and I think they had

00:18:30.720 --> 00:18:34.999
three children
together, so I was there

00:18:35.000 --> 00:18:39.000
when they met for the first
time and fell in love.

00:18:54.880 --> 00:18:56.120
- [Voiceover] Curiosity and
the excitement of discovering

00:18:59.999 --> 00:19:01.999
hidden worlds lead Thomas
Hoepker to further travel,

00:19:02.040 --> 00:19:05.320
while still embracing new
challenges, such as becoming

00:19:05.480 --> 00:19:07.999
artistic director of
the art edition of "Geo"

00:19:08.120 --> 00:19:11.080
and the German
magazine, "Stern."

00:19:11.240 --> 00:19:14.800
But he will never abandon
his Germany for good

00:19:14.960 --> 00:19:17.640
and will return to describe
it through the eyes

00:19:17.800 --> 00:19:19.480
of someone who
knows his land well

00:19:19.640 --> 00:19:21.720
and understands
its deepest soul.

00:19:21.880 --> 00:19:24.920
His photo reportage on life
on the other side of the wall

00:19:24.999 --> 00:19:27.999
will provide a full
portrait of a people

00:19:28.080 --> 00:19:29.975
unknown to the
rest of the world.

00:19:29.999 --> 00:19:32.400
(thoughtful piano music)

00:19:52.400 --> 00:19:52.999
(siren wailing)

00:19:57.560 --> 00:19:59.280
- On 9/11, I was in my
apartment in Manhattan

00:20:02.640 --> 00:20:06.520
and I heard the news over
the radio and television,

00:20:06.680 --> 00:20:09.960
and finally I took out the car,

00:20:09.999 --> 00:20:11.999
and I was driving over this
bridge to get to Queens.

00:20:12.160 --> 00:20:16.160
I'll be on the same
bridge and from Queens,

00:20:17.320 --> 00:20:21.999
I went to Brooklyn, on the
other side of New York.

00:20:23.280 --> 00:20:26.999
And I saw the black
cloud coming out

00:20:28.440 --> 00:20:32.320
of lower New York, and I knew
when I heard on the radio.

00:20:32.480 --> 00:20:36.360
And I was totally
confused and I didn't

00:20:37.400 --> 00:20:40.720
really know what was going on.

00:20:40.880 --> 00:20:43.360
And at the end, I ended
up in a little place

00:20:43.520 --> 00:20:46.840
very close to the river
and I had the view

00:20:46.999 --> 00:20:49.320
of lower Manhattan, and
suddenly in the front,

00:20:49.480 --> 00:20:52.560
I saw a scene of some
young people sitting

00:20:52.720 --> 00:20:56.200
in the sunshine, and it
looked very peaceful.

00:20:56.360 --> 00:20:59.760
They were talking,
they're looking my

00:20:59.920 --> 00:21:01.760
way so I could photograph them,

00:21:01.920 --> 00:21:04.080
and I took three
shots of the scene.

00:21:04.240 --> 00:21:07.880
And actually, I forgot about
it because I felt it was not

00:21:07.999 --> 00:21:12.360
depicting the horror,
and the scare,

00:21:12.520 --> 00:21:15.999
and the incredible
confusion of the moment.

00:21:16.120 --> 00:21:19.320
But strangely enough,
there was this curator

00:21:19.480 --> 00:21:22.280
from my museum in Munich
who came to visit,

00:21:22.440 --> 00:21:25.480
and he looked at my photographs

00:21:25.640 --> 00:21:27.680
of 9/11 and he
picked this one shot

00:21:27.840 --> 00:21:30.999
and said, listen,
this is incredible.

00:21:31.120 --> 00:21:32.999
The contrast between the
peaceful people in the sunshine

00:21:33.120 --> 00:21:37.080
and the burning big city behind,

00:21:37.240 --> 00:21:41.040
and it became kind of
a symbol of a peaceful

00:21:41.200 --> 00:21:46.040
situation suddenly shattered
by this horrific event.

00:21:46.320 --> 00:21:50.640
(peaceful jazz music)

00:22:06.200 --> 00:22:06.999
(inspirational piano music)

00:22:16.280 --> 00:22:17.040
- [Voiceover] Thomas Hoepker and

00:22:21.440 --> 00:22:22.560
Ali met on two more occasions.

00:22:22.720 --> 00:22:25.080
In 1970, the champ is at
the peak of his strength,

00:22:25.240 --> 00:22:28.760
cocky as always and
ready for new challenges,

00:22:28.920 --> 00:22:32.080
like the fight of the century
with Joe Frazier, Smoking Joe.

00:22:32.240 --> 00:22:35.800
His hook knocks Ali out, and
he beats him in the last round.

00:22:35.960 --> 00:22:40.560
But Ali doesn't
give up and in 1974,

00:22:40.720 --> 00:22:43.360
decides to face George
Foreman, Big George,

00:22:43.520 --> 00:22:46.600
in a match that has
gone down in history as

00:22:46.760 --> 00:22:49.160
"The Rumble in the Jungle"
in Kinshasa, Zaire.

00:22:49.320 --> 00:22:53.160
Ali uses his head,
staying on the

00:22:53.320 --> 00:22:55.040
defensive against
the ropes and simply

00:22:55.200 --> 00:22:57.840
protecting himself
from Foreman's blows.

00:22:57.999 --> 00:23:00.640
This tires Foreman out,
enabling Ali to counterattack

00:23:00.800 --> 00:23:03.600
suddenly with a decisive
hook in the fifth round.

00:23:03.760 --> 00:23:07.800
Big George was down.

00:23:09.440 --> 00:23:10.760
But it was once again with
Frazier that he fought

00:23:14.600 --> 00:23:16.800
a fight to the finish for
the title of world champion

00:23:16.960 --> 00:23:19.480
in the match known as
"The Thrilla in Manilla."

00:23:19.640 --> 00:23:23.680
In the 15th round, both
champs were exhausted,

00:23:23.840 --> 00:23:27.520
but it was Smoking
Joe totally spent,

00:23:27.680 --> 00:23:30.160
face swollen and bruised who
finally threw in the towel.

00:23:33.840 --> 00:23:34.840
Ali is by now a legend,
and the portrait

00:23:38.999 --> 00:23:41.975
that represents him
more than any other

00:23:41.999 --> 00:23:44.240
is the iconic photo snapped
just 10 years earlier,

00:23:44.400 --> 00:23:47.720
when Thomas Hoepker
captured Ali's fist

00:23:47.880 --> 00:23:50.680
thrust out from the
shadows of the ring.

00:23:50.840 --> 00:23:53.920
- It was with a Leica,
it was a wide angle lens.

00:23:53.999 --> 00:23:56.720
And I tried X film but
the lighting was terrible.

00:23:56.880 --> 00:24:00.200
I went to the dark room and made

00:24:00.360 --> 00:24:01.920
prints and said,
ok, that's fine.

00:24:01.999 --> 00:24:03.800
I saw the most important
instrument of his trade,

00:24:03.960 --> 00:24:07.280
his fist, and so the fist
is bigger than the head.

00:24:07.440 --> 00:24:11.440
It's been a very important
picture in my career.

00:24:17.720 --> 00:24:18.999
I think the fame of the picture
is done by other people,

00:24:22.880 --> 00:24:27.480
by people who look at it
and like it and so suddenly,

00:24:27.840 --> 00:24:31.200
I don't know, it must have
a certain impact on people,

00:24:32.999 --> 00:24:36.200
so it's that they immediately
feel there's something.

00:24:36.880 --> 00:24:41.200
It also happens that
later, after I had

00:24:41.999 --> 00:24:44.760
looked through my negatives
of my color slides,

00:24:44.920 --> 00:24:47.999
and I rediscover another
print at a later day,

00:24:48.120 --> 00:24:51.160
and suddenly think
well it's not so bad.

00:24:51.320 --> 00:24:53.720
So life is a surprise
because I have to walk a lot.

00:24:54.440 --> 00:24:58.160
You take pictures by walking
the street, I'm a streetwalker.

00:24:59.600 --> 00:25:03.840
And New York is a
wonderful subject.

00:25:03.999 --> 00:25:06.680
And I walk through the streets

00:25:06.840 --> 00:25:08.440
and suddenly there is something.

00:25:08.999 --> 00:25:10.920
So it's a wonderful discovery
if you find a good picture.

00:25:14.000 --> 00:25:18.280
If I'm just walking the
streets of New York,

00:25:18.440 --> 00:25:21.320
I might have only one
camera with a zoom lens,

00:25:21.480 --> 00:25:24.240
and I can cover 90%
of what's happening.

00:25:24.400 --> 00:25:28.975
And then by chance, you
see something that might

00:25:28.999 --> 00:25:31.999
be something, and you
have to grab the chance

00:25:32.040 --> 00:25:35.880
and stay with it and eventually,
you get a good picture.

00:25:35.999 --> 00:25:39.640
(peaceful guitar music)