Andy Gotts

I was trying to shoot Tony for many years but he was either always busy or not feeling well. I had a trip to LA planned so I dropped Tony a note saying I was on the West Coast and tried again to set up a shoot. To my shock I received a note back saying that if I traveled to Vegas that I could shoot him at his house. I was thrilled and literally was counting the days down before I flew to the US. The day before I left my mobile phone rang and saw it was his number. I answered with a heavy heart as I was expecting him to cancel the shoot; but instead in a quiet and humble voice Tony said 'Andy I know you are coming to photograph me tomorrow and I have seen your amazing work. I'm not in a good way at the moment but can I ask you one thing? Can you make me look like an icon just one more time?' it didn't take me long to think of my flag idea as I knew his nickname was the American Prince. But meeting Tony was one of the highlights of my career as not only was he one of my icons but he was also a genuinely nice guy. Little was I to know Tony would die only a few days later and this would be the very last portrait taken of him.

I shot Vivienne in Flemings Mayfair. I have shot Dame Viv many many times over the years. I shot a project for her and Greenpeace entitled SAVE THE ARCTIC and ever since we have supported each others projects. Dame Viv commented that a few shoots she had modeled for (by other photographers) recently made her look old. So I suggested she comes over to me and we would do some fun shots. We started shooting and she was on good form and wanted to move and lark around, this coupled with afternoon tea made a very pleasurable shoot.

I shot Tom near Belfast whist he was shooting the bizarre film High-Rise. He had just finished a big scene, which was the last shot of the day, and he knew there was a line of adoring fans awaiting autographs and selfies outside the studio. Tom and I spoke for a while about his filming projects and then he asked if I wanted to take any more shots. Not wanting to miss the chance a quickly unpacked the camera and took a handful more. He was a very giving and kind guy.

It was shot on Rodeo Drive at Samuel's publicist. To this day I have never understood why they flew me to LA from London to shoot Samuel who was doing the shoot on his way to the airport to fly to London. It was instantaneous the minute Samuel entered the building. The atmosphere lifted as he addressed every member of staff on his way through the building. You could also not miss him with his bright orange cap, tshirt and green shorts. I got the measure of Samuel very quickly when he insisted on making a phone call before the shoot. Only to inform me he needed a new suit and so was sending flowers to his tailor's wife for his troubles. After a quick wardrobe change we began shooting. Samuel being a busy man was on his phone. Yet this did not stop him giving me what I wanted while he chatted on loud speaker between shots. And by the time his call had ended the shoot was a wrap and it all had been done on an office swivel chair. Samuel oozes charm and coolness. He has a wonderful ability to make you feel good about yourself, it's a real privilege to be in his company.

Penelope was a dream and every inch as beautiful in the flesh as she is on film. I was all set up and ready to shoot in The Dorchester hotel, when Penelope arrived. I could hear muffled talking and laughing as she entered, and following her in the studio was her husband the actor Javier Bardem. I had shot Javier before and we got on very well so he wanted to come to the shoot to see me and say hi. My idea for Penelope was a sexy brooding shot. But every time we started shooting Javier kept making comments to her in Spanish. I've no idea what was said but each time her cheeks flushed and she burst into hysterical laughter. I took the chance to take some fun shots during their banter but when I wanted the brooding shots I made Javier stand outside like a naughty schoolboy, which actually made her laugh more. But eventually I got the shot I was after.

I shot Peter in Flemings Mayfair, London. I had never met Peter before, but he bounded into the room like we were old friends. I haven’t seen Dr Who since Tom Baker left the role, so I was not a devoted fan. When the conversation started we spoke about everything else except Dr Who; the environment, politics, projects that he was working on. Time really flew. When the actual shoot began he went into full-on emotional, erratic mode. Every shot was a gem!

The original shoot was to be in his house in Malibu, but there was a big fire days before we were meant to meet, so it took place in a rental property down the street. Pierce is a relaxed man and I met him on the street walking his dog. He was casting a new movie to be filmed in Ireland and he was picking my brain on actresses that I may have photographed, that he did not know. Since Remington Steele, Pierce has been cast as a good looking charismatic. Any photos of him he does classic smouldering face or wide mouth. So my mission was to get him to do silly faces and Pierce termed this request as "interesting". Ultimately, Pierce still sees himself as 93/94 James Bond. He finds it hard to accept he is greying and has liver spots. When he normally sees pictures after a shoot, they have been retouched, therefore keeping alive his James Bond perception of himself. He probably would like the world to see the retouched version of him but I believe my shots show Pierce in a new playful light which is a nice change from Bond.

I shot Rita in Flemings Mayfair. My concept for the shoot was a close crop shot of her face, as she has very striking features. She turned up to the shoot in a wool jumper with quite a high collar, which was no good. I asked if she could take it off, and I assumed she would have a T-shirt or vest underneath. To my surprise when she pulled the jumper off she was totally naked! I had no idea she had SO many tattoos over her body and she was very happy to show them off for the shoot.

When I first asked Robert De Niro to be shot for my Icons Project he said no, in the same week as Al Pacino had also refused. Strangely he then said yes, the same week that Al Pacino said yes. The shoot was done at the Dorchester Hotel in London. He was an hour late coming from Manchester and was further delayed making his way through the Dorchester whilst being besieged by adoring fans. He arrived in an old blazer and captains hat. He sat as close to possible to me, put his arm around me asking me if he can call me Andy, and for me to call him Bob. I could not shoot Robert De Niro and not do some iconic shots, especially from the Godfather. And as expected he breezed through these so we moved on to silly images, which turned out to be my favourite ones and used in the contact sheet.

My shoot with Marion was at the BAFTA dinner after the awards ceremony. I had a little studio set up and there were a small number of actors I was shooting that evening. They all arrived at the same time and I have a wonderful evening shooting Marion, Helen Mirren, Daniel Day-Lewis and Christoph Waltz. Daniel shouted heckling remarks during the shoot which everyone found very amusing and made Marion giggle a few times.