00:00:21.680 --> 00:00:22.120
(crowd cheering)

00:00:26.840 --> 00:00:29.440
- [Voiceover] Mrs. Thatcher's
now gone over to greet

00:00:29.600 --> 00:00:31.999
the crowd. Some very, very loud
cheers, a lot of enthusiasm.

00:00:32.280 --> 00:00:36.999
Now, she waves as
Prime Minister . . .

00:00:38.999 --> 00:00:42.120
once again as she's done
throughout this campaign.

00:00:44.040 --> 00:00:47.040
This is now the
great photo call.

00:00:47.200 --> 00:00:49.760
She's become really
quite an expert at this,

00:00:49.920 --> 00:00:51.600
she spends really
considerable minutes

00:00:51.760 --> 00:00:55.000
getting the right photograph.

00:00:55.160 --> 00:00:57.760
(ambient music)

00:01:28.999 --> 00:01:30.160
- My son, who's now nine,
we actually sat down

00:01:34.040 --> 00:01:38.640
with the atlas, and I think
I got to 90 countries,

00:01:38.800 --> 00:01:42.280
and he's got a list on his wall

00:01:42.440 --> 00:01:43.999
of all the countries
I've been to.

00:01:44.080 --> 00:01:47.680
But I mean, I still
love this place,

00:01:47.840 --> 00:01:49.920
I still love where I
live, I mean, I live here,

00:01:49.999 --> 00:01:51.760
and I think
photographing in England,

00:01:51.920 --> 00:01:53.720
I do it because it's personal.

00:01:53.880 --> 00:01:58.720
It's where I live and I like
to photograph where I live,

00:01:58.880 --> 00:02:02.999
I like to photograph
what I'm doing.

00:02:03.080 --> 00:02:05.975
I think a lot of photographers
kind of pigeon hole

00:02:05.999 --> 00:02:08.975
photography is, when I go
to work, I take pictures,

00:02:08.999 --> 00:02:13.720
when I don't, I
don't take pictures.

00:02:13.880 --> 00:02:15.480
Well, I kind of mix the two up.

00:02:15.640 --> 00:02:20.360
I'm Peter Marlow, member
of the human race,

00:02:20.520 --> 00:02:22.520
and member of Magnum Photos.

00:02:22.680 --> 00:02:24.720
(upbeat piano and drum melody)

00:02:43.280 --> 00:02:43.920
(ambient music)

00:02:57.999 --> 00:02:59.240
- [Voiceover] His travels
are a source of inspiration.

00:03:03.120 --> 00:03:07.999
Britain, the land he
intimately recounts,

00:03:08.280 --> 00:03:10.800
revealing backstage
political and social events,

00:03:10.960 --> 00:03:14.160
with a mundanity that has
distinguished his work

00:03:14.320 --> 00:03:16.720
from the start, both in
style and subject matter.

00:03:16.880 --> 00:03:21.040
(ambient music)

00:03:22.280 --> 00:03:26.000
He is the emblem of
the "New Vision,"

00:03:27.440 --> 00:03:29.320
ranging from portraits to
depictions of those non-places

00:03:29.480 --> 00:03:32.160
that characterize
our everyday lives,

00:03:32.320 --> 00:03:35.160
where anonymity acquires
meaning in an instant.

00:03:35.320 --> 00:03:37.999
(ambient piano music)

00:03:58.320 --> 00:03:59.640
- I think I learned an
enormous amount from other

00:04:03.480 --> 00:04:07.640
photographers, watching
them, talking to them, and

00:04:07.800 --> 00:04:11.280
it was so much a part of my
life then, I mean, it still is,

00:04:11.440 --> 00:04:14.800
but in quite a different way.

00:04:14.960 --> 00:04:16.960
You really had to understand
lights, and understand how film

00:04:16.999 --> 00:04:19.800
worked, and understand
sometimes, it wasn't working

00:04:19.960 --> 00:04:24.480
in that photojournalistic world,
it wasn't necessarily about

00:04:24.640 --> 00:04:26.999
taking the best picture, it
was about taking the picture

00:04:27.000 --> 00:04:30.120
that was fastest
back to the office.

00:04:30.280 --> 00:04:33.880
So, it's no good taking an
amazing picture, if by the end

00:04:33.999 --> 00:04:38.400
of the week, Time,
Newsweek, Paris Match

00:04:38.560 --> 00:04:40.480
close their deadlines.
you had to get it back.

00:04:40.640 --> 00:04:43.720
I think a lot of photojournalism
is about intelligence.

00:04:43.960 --> 00:04:48.720
I don't think, I really
totally admit, I was not a good

00:04:48.999 --> 00:04:52.999
photographer then, but I think
I was reasonably intelligent,

00:04:53.120 --> 00:04:57.640
so I realized what you
needed to photograph,

00:04:57.800 --> 00:05:00.080
I actually really thought
about it and worked out what

00:05:00.240 --> 00:05:04.600
the story was, and how I
was going to illustrate it,

00:05:04.760 --> 00:05:07.680
and would it make a
double-spread in Life magazine,

00:05:07.840 --> 00:05:10.160
or Time, or whatever?

00:05:10.320 --> 00:05:12.160
- I stand before
you tonight in my

00:05:12.320 --> 00:05:15.400
Red Star chiffon evening gown.

00:05:15.560 --> 00:05:19.240
The Iron Lady of
the Western world.

00:05:19.960 --> 00:05:24.240
- [Voiceover] 1981, Margaret
Thatcher is the first woman

00:05:24.999 --> 00:05:28.320
in history to lead the
British government.

00:05:28.480 --> 00:05:31.760
She's the Iron Lady, hated
and adored at the same time,

00:05:31.920 --> 00:05:36.320
who accepts no compromise,
and who implements strict

00:05:36.480 --> 00:05:38.800
financial and social policies.

00:05:38.960 --> 00:05:42.440
She challenges the trade
unions, cuts expenditure,

00:05:42.600 --> 00:05:45.240
and raises taxes.

00:05:45.400 --> 00:05:47.975
During that year her popularity
drops to 25% percent,

00:05:47.999 --> 00:05:51.640
the lowest ever registered,
but Mrs. Thatcher

00:05:51.800 --> 00:05:54.480
has no intention of changing.

00:05:54.640 --> 00:05:57.680
(high-pitch violin music)

00:05:57.840 --> 00:06:00.120
(ambient music)

00:06:00.280 --> 00:06:04.160
- I was in Brighton at
the Conservative Party's

00:06:04.320 --> 00:06:06.720
Tory conference in 1981,
Thatcher being Prime Minister

00:06:07.999 --> 00:06:11.720
for nearly two years.

00:06:12.999 --> 00:06:14.840
It was pretty nice to photograph
the Conservative Party

00:06:14.999 --> 00:06:17.880
conferences, because the
whole thing was full of these,

00:06:17.999 --> 00:06:22.160
what we call, blue women,
women with blue hair,

00:06:22.320 --> 00:06:24.999
and nice hats and handbags,
and it was quite a spectacle.

00:06:25.120 --> 00:06:29.800
She made a very passionate
speech that day, and I think

00:06:29.960 --> 00:06:33.999
I was working on assignment
for Newsweek magazine

00:06:34.040 --> 00:06:37.999
and they were looking to
do a cover picture of her.

00:06:38.080 --> 00:06:41.080
I think I had color
film in the camera,

00:06:41.240 --> 00:06:43.280
that's why I took so many for
that one particular shoot.

00:06:43.440 --> 00:06:47.280
In fact, the sheet is two
films, because in those days,

00:06:47.440 --> 00:06:52.000
to save money, if you had
a short piece of film,

00:06:52.160 --> 00:06:54.999
you could join them together
and make one contact sheet.

00:06:57.840 --> 00:06:59.999
(cheerful music)

00:07:02.999 --> 00:07:06.000
- Mrs. Thatcher making the
keynote speech, I suppose you've

00:07:06.160 --> 00:07:08.960
got a row in the front of
photographers who stand up.

00:07:08.999 --> 00:07:13.720
In those days you were aloud
to go as close as you wanted,

00:07:13.880 --> 00:07:15.840
it didn't really matter.

00:07:15.999 --> 00:07:17.200
So, I'm there with all my
cameras, there's probably

00:07:17.360 --> 00:07:19.975
ten other photographers,
and somehow once you get

00:07:19.999 --> 00:07:22.999
the camera to your face, it
doesn't matter, I've always felt

00:07:23.120 --> 00:07:27.160
an aversion to being anywhere
where other photographers are.

00:07:27.320 --> 00:07:30.880
You know, I was once given
an assignment by Life,

00:07:30.999 --> 00:07:33.999
on a big-set piece tour, to
never ever take a picture

00:07:36.160 --> 00:07:38.999
when there's another
photographer within
twenty meters

00:07:41.320 --> 00:07:43.840
of me, so I always
find another spot.

00:07:43.999 --> 00:07:46.640
You know, the motor drives
are going, I'm swapping over

00:07:46.800 --> 00:07:50.200
cameras, winding back
automatically the film,

00:07:50.360 --> 00:07:53.560
chucking a new one in.
You feel like a total pro.

00:07:53.720 --> 00:07:57.400
(upbeat music)

00:08:00.999 --> 00:08:02.280
- [Voiceover] Astuteness and
talent enable Marlow to make

00:08:06.040 --> 00:08:08.240
his name among the most
important publications.

00:08:08.400 --> 00:08:12.960
Shortly after joining the
Sigma Agency, he distinguishes

00:08:12.999 --> 00:08:16.320
himself by always
producing the right photo

00:08:16.480 --> 00:08:18.480
for every occasion. His
non-conformity and originality

00:08:18.640 --> 00:08:21.975
set his personal vision apart.

00:08:21.999 --> 00:08:25.000
(upbeat ambient music)

00:08:37.080 --> 00:08:38.360
- My first job in photography,
I would have to say,

00:08:42.240 --> 00:08:45.520
would be in the Caribbean,
working for an Italian

00:08:45.680 --> 00:08:47.999
cruise liner, Sitmar Cruises.

00:08:48.120 --> 00:08:52.560
I didn't really know what to
do with myself, having left

00:08:52.720 --> 00:08:55.160
university in an era when we
had pretty good life, I think.

00:08:56.720 --> 00:09:00.240
We didn't really need to get
a job, so I never thought

00:09:01.880 --> 00:09:04.000
about getting a job.

00:09:04.160 --> 00:09:05.520
Then I met somebody on a
subway in London, who said,

00:09:05.680 --> 00:09:09.999
"Well why don't you become
a ship's photographer?"

00:09:10.080 --> 00:09:12.999
This was a concept I'd
never really heard about.

00:09:13.000 --> 00:09:15.200
The only ship I knew was the
Queen Elizabeth, the QE2.

00:09:15.360 --> 00:09:20.080
I grew up in a village
in Gloucestershire,

00:09:20.240 --> 00:09:23.840
in the countryside,
and I had a friend,

00:09:23.999 --> 00:09:26.080
we were very interested
in photography.

00:09:26.240 --> 00:09:27.840
He was a wedding
photographer then,

00:09:27.999 --> 00:09:29.560
and I borrowed his portfolio.

00:09:29.720 --> 00:09:31.280
A week later I was in the
Caribbean taking pictures

00:09:31.440 --> 00:09:35.160
on this ship, and I
remember the first day,

00:09:35.320 --> 00:09:37.560
I was focussing, then pressing
the button with the right

00:09:37.720 --> 00:09:41.520
hand, the same hand, and the
photographer, he said to me,

00:09:41.680 --> 00:09:44.999
Peter, I think it's better if
you focus with the other hand,

00:09:45.160 --> 00:09:49.999
and keep your on the
button with that one,

00:09:50.320 --> 00:09:52.400
and then you wouldn't have
to make two movements.

00:09:53.480 --> 00:09:57.400
This is actually my first
camera, a Kodak Cresta 2,

00:10:01.000 --> 00:10:03.480
and I thought I was very, very
professional because I had

00:10:06.160 --> 00:10:09.560
a lens hood, and the
only controls on this is

00:10:09.720 --> 00:10:13.480
a "bright day," a "dark day,"
and it's such a simple thing.

00:10:13.640 --> 00:10:17.999
My father was a
keen photographer.

00:10:18.080 --> 00:10:21.400
He had this camera, which
is called an Exacta,

00:10:21.560 --> 00:10:24.680
single lens reflex, and I was
endlessly fascinated by it,

00:10:24.840 --> 00:10:29.680
and if you listen to the
sound of this, when the thing

00:10:29.920 --> 00:10:33.840
comes up, and you look down
into it, and there's this whole

00:10:33.999 --> 00:10:37.999
sort of magic
world looking down.

00:10:38.000 --> 00:10:40.600
I'm quite a formal photographer,
I like things to be

00:10:40.760 --> 00:10:42.999
straight, vertical, horizontal,
and he was exactly the same.

00:10:43.360 --> 00:10:47.999
He was very sort of
stylized, you know,

00:10:48.520 --> 00:10:51.360
we could show some
pictures if you'd like.

00:10:51.520 --> 00:10:54.280
(ambient tone, birds chirping)

00:10:54.440 --> 00:10:58.680
I'm showing you how I
worked on my project

00:10:58.840 --> 00:11:02.999
on the English Cathedrals,
photographing all 42.

00:11:03.040 --> 00:11:07.240
This is about as far away
from a digital camera

00:11:07.400 --> 00:11:10.440
as you possibly could get, it's
a 4x5 view camera using film

00:11:12.160 --> 00:11:15.440
and I'm using it because I
can correct the verticals,

00:11:17.320 --> 00:11:21.240
I like to see a vey
parallel cathedral.

00:11:21.400 --> 00:11:25.880
I probably take about five
pictures, so it's completely

00:11:25.999 --> 00:11:28.640
the opposite of what I do
in digital photography.

00:11:28.800 --> 00:11:32.240
As you can see, with the
lights turned off, it's kind of

00:11:32.400 --> 00:11:35.160
a magical place, especially
so early in the morning,

00:11:35.320 --> 00:11:37.760
before the services
start, before, you know,

00:11:37.920 --> 00:11:41.999
you get the school
kids coming to look.

00:11:42.000 --> 00:11:44.480
It feels like it's your own
for a half-an-hour, 20 minutes.

00:11:45.440 --> 00:11:49.480
I think that's one thing I'll
remember about the project,

00:11:50.600 --> 00:11:54.120
was that quietness and having
these places to myself.

00:11:54.280 --> 00:11:58.560
So I'll do a couple of
Polaroids and work out

00:11:58.720 --> 00:12:00.920
what the exposure is, and
then be ready with film

00:12:01.160 --> 00:12:05.880
in the camera, with a
plate, a single shot.

00:12:06.320 --> 00:12:08.480
(ambient music)

00:12:14.560 --> 00:12:15.960
I'm not a religious person, but
I mean, you can't fail to be

00:12:19.720 --> 00:12:22.640
impressed by these
Medieval cathedrals.

00:12:22.800 --> 00:12:25.520
People has sat in these chairs
for hundreds and hundreds

00:12:25.680 --> 00:12:30.200
of years, feeling the power
of the place, and the energy,

00:12:30.360 --> 00:12:34.320
and i think you can't help
but be impressed by that.

00:12:34.480 --> 00:12:38.920
There was an English poet,
W.H. Auden, said about

00:12:39.200 --> 00:12:43.920
English Cathedrals, "Great
ocean liners filled with souls."

00:12:45.520 --> 00:12:49.200
(peaceful music)

00:12:59.520 --> 00:13:00.960
Actually, what I've done
with this, I've increased

00:13:04.680 --> 00:13:05.999
the exposure so we're seeing
some detail in the very

00:13:06.000 --> 00:13:08.680
black ceiling, and the fact
that it was slightly lighter,

00:13:09.320 --> 00:13:13.680
the sun had come
up a little bit,

00:13:14.480 --> 00:13:15.640
has made a very big difference.

00:13:15.800 --> 00:13:17.400
I've also changed the
amount of chairs in the shot

00:13:17.560 --> 00:13:21.080
because I quite like having
the chairs in the picture,

00:13:21.240 --> 00:13:25.480
and don't try to hide the
fact that they're there.

00:13:25.640 --> 00:13:28.040
But yeah, I'm pretty
pleased with it.

00:13:28.200 --> 00:13:31.600
(peaceful ambient music)

00:13:33.600 --> 00:13:35.999
(upbeat music)

00:13:43.400 --> 00:13:44.760
- [Voiceover] Since girlhood
and her years as political

00:13:48.560 --> 00:13:50.800
activist in Kent, Margaret
Thatcher set records,

00:13:50.960 --> 00:13:53.280
achieving popularity as the
youngest political candidate

00:13:53.440 --> 00:13:57.120
of the Conservative Party.

00:13:57.280 --> 00:13:59.320
She would become the
most revolutionary
Conservative leader,

00:13:59.480 --> 00:14:02.760
rejuvenating England
and ushering in a

00:14:02.920 --> 00:14:04.760
period of economic liberalism.

00:14:04.920 --> 00:14:09.680
(soft guitar music)

00:14:12.560 --> 00:14:14.680
(classical music)

00:14:18.240 --> 00:14:22.560
- Yeah, Mrs. Thatcher,
an historic figure.

00:14:23.400 --> 00:14:26.600
That's the first thing you
have to understand about her.

00:14:26.760 --> 00:14:31.240
I wouldn't say a
flamboyant character,

00:14:31.400 --> 00:14:33.120
but it's someone
you couldn't ignore.

00:14:33.280 --> 00:14:35.240
I mean, you either loved her,
you hated her, but you never

00:14:35.400 --> 00:14:39.040
ignored her, she was always
there, and for lots of people

00:14:39.520 --> 00:14:44.040
around the world
she was Britain,

00:14:44.680 --> 00:14:46.080
there's no escaping the fact.

00:14:46.240 --> 00:14:47.999
So 1978, the end of the
Callaghan government,

00:14:48.120 --> 00:14:51.999
the Labor Party, unemployment
was nudging 2 million,

00:14:52.040 --> 00:14:55.800
it was nearly up to 2 million,

00:14:55.960 --> 00:14:57.720
there was 29.6 lost
days in strikes.

00:14:59.240 --> 00:15:02.720
I think if you look at
the context, Thatcher
came along with

00:15:04.400 --> 00:15:08.120
some, I don't necessarily
agree with it, and her medicine

00:15:08.520 --> 00:15:13.120
was pretty tough, it was
all about more flexible

00:15:13.680 --> 00:15:16.440
working hours, it was about
taking all the controls

00:15:16.880 --> 00:15:21.440
off the city to do what they
want, it was about selling

00:15:21.999 --> 00:15:24.120
the Council Houses, it was
general liberalization,

00:15:26.600 --> 00:15:29.120
and also an attack
on the unions.

00:15:31.760 --> 00:15:34.840
All that happened and it
really devided the nation.

00:15:35.960 --> 00:15:39.840
You have to say the legacy
she has is a divided Britain,

00:15:41.800 --> 00:15:45.960
I mean, she was tough,
there's no doubt about it.

00:15:46.960 --> 00:15:50.880
I'd say certainly in the early
days when I was photographing

00:15:50.999 --> 00:15:54.440
her, Margaret Thatcher had
quite a good relationship

00:15:54.600 --> 00:15:57.999
with the media, she'd be on
the bus with us, she knew most

00:15:58.240 --> 00:16:02.999
of us by name, and you almost
felt like you were going

00:16:04.040 --> 00:16:08.240
to get whacked by a hamburger
if you stepped out of line.

00:16:09.200 --> 00:16:12.840
But it was always quite,
perhaps it was the period,

00:16:12.999 --> 00:16:15.800
but it was always quite fun.

00:16:17.520 --> 00:16:20.560
- [Voiceover] 1981 was also the
year that Mrs. Thatcher began

00:16:22.680 --> 00:16:26.120
taking up a hardline stance
against the I.R.A., with a very

00:16:26.280 --> 00:16:29.280
controversial approach to
an impossible situation,

00:16:29.440 --> 00:16:33.600
a situation that Peter
Marlow had already

00:16:33.760 --> 00:16:35.800
been documenting for years.

00:16:35.960 --> 00:16:37.920
- One subject that really
sticks in my mind as being

00:16:37.999 --> 00:16:41.440
important and that I was very
close to, was the situation

00:16:41.600 --> 00:16:45.999
in Northern Ireland,
the so-called troubles.

00:16:46.120 --> 00:16:49.800
I think it was important
because they were part,

00:16:49.960 --> 00:16:52.999
well, very debatable, but
it was part of my country

00:16:53.080 --> 00:16:57.320
depending on which side
of the fence you were on,

00:16:57.480 --> 00:17:00.920
whether you were Republican
or a Unionist, and it was

00:17:00.999 --> 00:17:05.080
right on the doorstep, but
visually it was amazing.

00:17:05.240 --> 00:17:10.040
I don't think it was
that dangerous actually,

00:17:10.200 --> 00:17:12.120
compared with situations
today like in Libya.

00:17:12.280 --> 00:17:15.360
I mean, I could be, there's
a picture here of a riot

00:17:15.520 --> 00:17:19.400
on the Falls Road, and it was
almost like, its 4 o'clock,

00:17:19.560 --> 00:17:22.240
there's going to be a riot,
let's go and photograph it,

00:17:22.400 --> 00:17:24.999
and, you know, you had problems
with the Army, I remember

00:17:25.000 --> 00:17:28.440
standing next to a guy once
and watched his leg get

00:17:28.600 --> 00:17:31.680
virtually chopped in half
with a plastic bullet.

00:17:31.840 --> 00:17:34.040
To me, it was my
first taste of action,

00:17:34.200 --> 00:17:38.400
and I was absolutely
shit scared.

00:17:38.560 --> 00:17:41.999
I think that was, in a way,
photojournalism now hasn't been

00:17:43.760 --> 00:17:46.999
on any of those big, violent
stories for a long time.

00:17:48.920 --> 00:17:50.999
I'm sure it's far
more dangerous now.

00:17:52.880 --> 00:17:55.999
But then much later
my son was born,

00:17:57.999 --> 00:18:01.320
and he used to get very
upset when I travelled,

00:18:02.560 --> 00:18:06.320
and one day I found him, it
all went quiet like it does

00:18:07.720 --> 00:18:10.360
with children, I found him
trying to wreck my passport,

00:18:10.520 --> 00:18:14.480
you know, coloring in
the pages, and I thought,

00:18:14.640 --> 00:18:19.040
well, perhaps I better
spend more time at home.

00:18:19.200 --> 00:18:23.999
I heard that the
people in Magnum could
do what they wanted.

00:18:24.080 --> 00:18:26.680
I joined Magnum with a
portfolio of 43 pictures,

00:18:26.840 --> 00:18:30.880
I mean, there's no way
I would have got in now.

00:18:30.999 --> 00:18:33.040
Later on, I suppose once
I got more established

00:18:33.200 --> 00:18:37.440
in that world in the late
80's, I did feel slightly

00:18:37.600 --> 00:18:41.880
second-class citizen in Magnum.

00:18:41.999 --> 00:18:45.200
I wasn't one of the artists,
and that frustrated me a bit.

00:18:45.360 --> 00:18:49.880
I remember when I became
a full member in '86

00:18:49.999 --> 00:18:52.920
another photographer, Josef
Koudelka, came up to me,

00:18:52.999 --> 00:18:55.999
congratulated me, and
said, "Congratulations,

00:18:56.080 --> 00:18:59.999
you're a full member of Magnum,

00:19:00.080 --> 00:19:02.800
but your portfolio was
a complete disaster."

00:19:02.960 --> 00:19:07.000
You remember those things,
and it really hurt me

00:19:07.160 --> 00:19:11.200
at the time, but I think
that kind of illustrates

00:19:11.360 --> 00:19:14.480
what's good about Magnum, it
really forces you to address

00:19:14.640 --> 00:19:17.999
what you're doing, it's
hard to be comfortable

00:19:18.040 --> 00:19:20.440
because you're always being
pushed by your colleagues.

00:19:20.600 --> 00:19:24.920
(dramatic music)

00:19:25.200 --> 00:19:29.040
- [Voiceover] That photo,
taken during the conference

00:19:30.360 --> 00:19:31.975
of 1981, became the
enduring image of a woman

00:19:31.999 --> 00:19:35.480
who will govern for 11 years.

00:19:35.640 --> 00:19:37.720
But it's the contact sheet
that becomes a cult item.

00:19:37.880 --> 00:19:40.920
Marlow's shots are also
used as the cover photo

00:19:40.999 --> 00:19:43.280
for her official biography,
and that iconic photo,

00:19:43.440 --> 00:19:46.240
chosen by Marlow, appeared
on countless magazine covers

00:19:46.400 --> 00:19:50.400
all over the world when she
died, with articles dedicated

00:19:50.560 --> 00:19:53.400
to the leader who
shaped her country's

00:19:53.560 --> 00:19:55.840
politics for an
entire generation.

00:19:55.999 --> 00:19:58.840
- It's just so amazing that
you can see so many different

00:19:58.999 --> 00:20:02.800
emotions in one small
piece of paper, whispering,

00:20:02.960 --> 00:20:06.999
determination, conviction,
joy, anger, pain, disgust,

00:20:09.999 --> 00:20:11.999
and incredulity, sadness,
fear, fragility and reflection,

00:20:18.400 --> 00:20:19.999
loneliness, and peace, but
overall, determination.

00:20:25.280 --> 00:20:28.400
(high-pitch dramatic music)

00:20:32.999 --> 00:20:34.640
(playful music)

00:20:38.400 --> 00:20:42.999
In '96 I got invited
to when Blair became

00:20:43.560 --> 00:20:47.680
leader of the Labor Party.

00:20:47.840 --> 00:20:49.280
Alistair Campbell, who looked
after Blair's press side,

00:20:49.440 --> 00:20:53.360
I said, "How come I'm here?"

00:20:53.520 --> 00:20:54.880
They said, "Well, we just
fell for your patter."

00:20:54.999 --> 00:20:57.200
I was like the top on a
pile of faxes, and I think

00:20:57.360 --> 00:20:59.975
they thought, okay, let's get
Magnum in, because he said,

00:20:59.999 --> 00:21:02.975
"We do not have and iconic
picture of Tony Blair,

00:21:02.999 --> 00:21:07.999
and we need it, we need
the kind of Kennedy shot."

00:21:08.040 --> 00:21:10.600
At the time I didn't
really want to do it.

00:21:10.760 --> 00:21:12.720
I was invited to
their conference again
in Brighton in '97,

00:21:13.840 --> 00:21:17.720
and I remember meeting
Blair for the first time,

00:21:18.999 --> 00:21:23.160
and the train going down
there, this is a picture of him

00:21:23.320 --> 00:21:26.000
in first class, and him
saying to Alastair Campbell,

00:21:26.160 --> 00:21:30.999
the minder, "Who
the hell is he?"

00:21:31.120 --> 00:21:33.200
I was there taking a
picture with my Rolleiflex,

00:21:33.360 --> 00:21:36.640
and Alastair just said,
"Ah, don't worry about him,

00:21:36.800 --> 00:21:38.840
it's fine," and
"Peter, just carry on."

00:21:38.999 --> 00:21:40.920
So I spent a lot of time
with him behind the scenes,

00:21:40.999 --> 00:21:43.480
and it was absolutely
fascinating, and I suppose

00:21:43.640 --> 00:21:45.920
for Thatcher I was never
really "out-back" if you like,

00:21:46.160 --> 00:21:50.920
you didn't really have
that genre of photography,

00:21:51.320 --> 00:21:55.840
with Blair I much more
behind-the-scenes,

00:21:55.999 --> 00:21:58.360
and what was fascinating was
seeing the persona change

00:21:58.520 --> 00:22:03.360
from front-of-house
to back-of-house.

00:22:03.640 --> 00:22:07.560
(playful music)

00:22:07.720 --> 00:22:11.200
(high-pitched ambient music)

00:23:07.680 --> 00:23:08.120
(birds chirping)

00:23:18.600 --> 00:23:19.360
(light piano and drum melody)