You never had a chance to meet Storm before his passing in 2013, right? You’ll notice his interview looks a little different from the others. The only person who wouldn’t let me light him that way was Paul McCartney. The interviews look like your photographs: these stark, black-and-white portraits lit from the side… But we made it happen.Īnton Corbijn at the 2023 Sundance Film Festival in Park City, Utah, on January 20, 2023. I know him a little better than I know Graham. I would have liked to have had Kevin Godley from 10cc in there. Forget that.” In the end, we got everybody we wanted more or less. “No, you can’t come to my house to interview me. So they were understandably very careful. Most of the musicians we have in the documentary are close to 80 years old or so. Getting the interviews became impossible. He’s very enthusiastic.Īs soon as we started working on it, of course, Covid hit. But the more he told me stories and showed me the books of their work, all of those album covers they did, I just relented. He came to Amsterdam to meet me a few years back and asked me if I’d make a documentary on the company’s history. In Europe, people are more open to interpretations of things.Īt what point did you decide you wanted to make a documentary on Po, Storm and Hipgnosis? Makes perfect sense.Īmericans like clarity. Using a picture of a cow to promote an album that just has a picture of a cow on it. It was just supposed to be a billboard of a cow. Yeah, Pink Floyd’s name initially wasn’t on the cover! And that billboard you see in the film, the one on Sunset Boulevard advertising the album? They wanted to get their name taken off that, too. ‘You Hurt My Feelings’: The Perfect Julia Louis-Dreyfus Cringe Comedy Shortly before Squaring the Circle played at Sundance (it’s set to hit theaters this spring), Cobijn sat down with Rolling Stone and talked about why he decided to make the doc, what we’ve lost by album covers no longer being a “thing,” and how the work these two ex-hippies did still inspires him today.
Or setting a man repeatedly on fire in the name of metaphorically sticking it to slick music-industry suits.
Or flying to the top of Mount Everest to photograph an Assyrian goddess for Paul McCartney. No stranger to shooting musicians (see: his work with Joy Division, David Bowie, Metallica, U2), the Dutch photographer-turned-filmmaker combines interviews, anecdotes and archival footage to give viewers a sense of how two misfits ended up, say, flying an inflatable pig between the smokestacks of Battersea Power Station in London. The duo’s accomplishments - along with the sanity-testing backstories that accompany the making of these covers and the love-hate relationship that sustained their partnership - get explored in depth in Squaring the Circle (The Story of Hipgnosis), Anton Corbijn’s look back at the rise, fall and heyday of the legendary graphic designers.
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