Schiller_Marilyn_Teaser_v14.indd 1 21.03.12 13:35 marilyn & meme
A Memoir in Words & Photographs
ou’re already famous, now you’re going “ to make me famous,” photographer Lawrence Schiller said to Y Marilyn Monroe as they discussed the photos he was about to shoot of her. “Don’t be so cocky,” Marilyn replied, “photographers can be easily replaced.” The year was 1962, and Schiller, 25, was on assignment for Paris Match magazine. He already knew Marilyn — they had met on the set of Let’s Make Love — but nothing could have prepared him for the day she appeared nude during a swimming pool scene for the motion picture Something’s Got to Give. Marilyn & Me is an intimate story of a legend before her fall and a young photographer on his way to the top. Schiller’s original text and extraordinary photographs take us back to that time, and to the surprising connection that allowed Marilyn to bond with a kid from Brooklyn, a kid with a lot of ambition but very little experience. Schiller’s is a story that has never been told before, and he tells it with tact, humor, and compassion. The result is a real and unexpected portrait that captures the star in the midst of her final struggle.
Schiller_Marilyn_Teaser_v14.indd 2 21.03.12 13:36 Schiller_Marilyn_Teaser_v14.indd 3 21.03.12 13:36 Marilyn was a photographer’s dream subject with her clothes on and even more stunning with them off. She was a week away from her thirty-sixth birthday, and she looked as good as she had ever looked. — lawrence schiller
when lawrence schiller proposed a new book on marilyn monroe we wondered, why another? Yes, the world is familiar with Schiller’s famous photographs of the swimming pool scene from Something’s Got to Give or Marilyn’s birthday party on set, but we were surprised by the hundreds of strips of film from the photographer’s archives that had never seen the light of day. Frame after frame, we could feel the heat between her and Yves Montand on Let’s Make Love, the trust she had in acting coach Paula Strasberg, the fun she had with co-stars Dean Martin and Wally Cox, and the utter devastation of Joe DiMaggio at her funeral. Even more surprising was the power of the text, a coming-of-age story that fit hand in glove with the pictures. And paired with over a hundred photographs from two of Monroe’s final films, most of them never published before, what at first glance seemed like old news soon turned into an important publishing event. Now, 50 years after Monroe’s untimely death, TASCHEN is publishing Lawrence Schiller’s story as a signed, numbered monograph limited to 1,962 above Lawrence Schiller and Marilyn copies. But while Marilyn & Me may look like an art book, it reads like a Monroe on the set of Something’s Got to Give, 1962. The film, which was never true-life novel. Schiller’s writing demanded the widest possible audience. So, finished, would be her last. for the first time in our publishing house’s history, we are partnering with
previous spread and opposite “When another publisher, the esteemed Nan A. Talese, whose eponymous literary I looked over the script,” writes Schiller, “it didn’t take me very long to find the one imprint at Knopf Doubleday in New York will simultaneously publish a scene I was sure I wanted to shoot.” Even small reader-friendly memoir edition. Whether with the photographs or after director George Cukor was done with the day’s shooting, Monroe continued to without, we think it’s a story you won’t be able to put down. pose for Schiller’s still camera. They were the first nudes the world had seen of the star in ten years. lawrence schiller began his career as a photojournalist for
back cover and inside back cover Life, Playboy, and Paris Match, among others, photographing some of Recent discoveries from the photogra- the most iconic figures of the 1960s, from Lee Harvey Oswald to Robert pher’s archive include those from the first day he photographed Monroe. She F. Kennedy, from Ali and Foreman to Redford and Newman. His many caught his reflection in the mirror of her dressing room and stopped him in his book collaborations include the Pulitzer Prize-winning book with Norman tracks: “That’s not the best angle for me. Mailer, The Executioner’s Song; and he has written five New York Times If you go over there” — tilting her head slightly, indicating a spot to the left — best sellers. He has also directed seven motion pictures and miniseries “you’ll get a better photo, because the light will be better.” When a proofsheet was for television; The Executioner’s Song and Peter the Great won five Emmys. submitted to her for approval she crossed He is also the founder of The Norman Mailer Center & Writer’s Colony out almost every frame but the shot she had suggested. in Provincetown, Massachusetts.
Schiller_Marilyn_Teaser_v14.indd 4 21.03.12 13:36 Schiller_Marilyn_Teaser_v14.indd 5 21.03.12 13:36 . Available in a Collector’s Edition and two Art . Both the book and clamshell box are covered in a Editions, totaling 1,962 copies, the year of Marilyn custom woven duchesse silk from one of the world’s Monroe’s death most distinguished silk mills, Taroni, of Como, Italy . Includes photographs of Marilyn on the sets of Let’s . Four foldouts, with one gatefold measuring a full Make Love (1960) and Something’s Got to Give (1962), 110 cm (44 in.) across “Like some real-life Zelig or her final film .Printed on archival-quality paper Forrest Gump, Schiller has a talent . Over two-thirds of the pictures have never been for popping up, inexplicably, published before or have been rarely seen in the middle of historic events. . . . Schiller has phenomenal instincts Collector’s edition
and even better luck.” No. 251–1,962 Edition of 1,712 numbered copies, — playboy, february 1997 Signed by Lawrence Schiller Silk cloth cover, packaged in a clamshell box XL-format: 29 x 39.5 cm (11.4 x 15.6 in.), 210 pages English language edition Translation booklets of the text available in German, French, and Spanish with purchase upon request
isbn 978-3-8365-3624-0 list prices € 750 | $ 1000 | £ 650
ART EditionS Limited to two editions of 125 numbered copies, each with a numbered archive print, signed by Lawrence Schiller Print size: 29 x 39.5 cm (11.4 x 15.6 in.) Frame not included
No. 1–125 Marilyn: Roll 11, Frame 12, May 1962 Archival black-and-white fiber-based silver gelatin print isbn 978-3-8365-3836-7
No. 126–250 Marilyn: Color 3, Frame 18, May 1962 Archival pigment print on Hahnemühle Photo Rag Baryta 315GS paper isbn 978-3-8365-3901-2
list prices € 1,500 | $ 2,000 | £ 1,250
opposite The box and book are covered in a duchesse silk from Taroni, famous in the fashion world for the elegance and quality of its fabrics. The oldest silk mill in Como, Italy, Taroni still employs 19th- century techniques of silk weaving and has supplied couturiers from Givenchy to Valentino for decades. Custom woven for this publication, the blue silk gives the feeling of the rippling blue water from Marilyn Monroe’s famous swimming pool scene, captured with such intensity and sensuality by Lawrence Schiller.
following spread Monroe celebrates her 36th birthday on set.
this teaser is produced at the actual size ^ using the same paper stock as the book.
Schiller_Marilyn_Teaser_v14.indd 6 21.03.12 13:37 Schiller_Marilyn_Teaser_v14.indd 7 21.03.12 13:37 “I never wanted to be Marilyn — it just happened. Marilyn’s like a veil I wear over Norma Jeane.” — marilyn monroe
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Paula was like a Svengali to Marilyn. At work, her mother hen, her shadow. . . . Paula believed in Marilyn, and that allowed Marilyn to believe that she could become a great actress. The Big Bad Wolf
hen I pulled In to the 20th Century Fox studios parking lot in Los Angeles in my station wagon in knowing that i needed time to ingratiate myself, i got to the April 1960, I kept telling myself that this was just another set a few days before the shooting of the pool sequence. Each motion W picture was like a new love affair. A friend of mine once described them assignment, just another pretty girl that I was going to photograph. But as “short sweet love stories.” I started my assignment by shooting Marilyn in fact it wasn’t just another assignment, and she wasn’t just a pretty girl. with her entourage and Dean Martin. They were decent shots and a good In 1956, when I was a college photographer, I had seen her angelic face warm-up for me to get known around the set and, little by little, zero in on the cover of Time magazine. After that, as I began to make my way on Marilyn. In the afternoon Pat Newcomb arrived and began clowning around with Martin. In between setups I had an opportunity to be in in photojournalism, I got assignments to shoot Jimmy Stewart and Lee Marilyn’s dressing room, even though I was not part of her entourage of Remick in Anatomy of a Murder and the dancer Julie Newmar in Li’l Gladys, Whitey, and Paula Strasberg, the wife of Marilyn’s drama coach, Abner, but it had never even occurred to me that I might get a chance to Lee Strasberg. photograph the star who was every man’s — and woman’s — fantasy. But now, four years later, Look magazine had hired me to do just that. In a marilyn had two dressing rooms on the lot, one on the set few minutes, I’d be meeting the Marilyn Monroe, face-to-face, on the set and one in a bungalow next to the studio commissary. In the bungalow, of Let’s Make Love. where Paula practiced lines of dialogue with Marilyn, I captured their As the studio publicist walked me to one of the many soundstages, relationship. Marilyn would often sprawl out on the couch wearing a this wasn’t the first time I’d seen large trucks containing recording white robe, her bare legs tucked up under her. One day, she sat there as equipment parked outside and a red light flashing in front of the Paula walked into my frame to put something on the coffee table. It was already covered with food and a cake. The composition was perfect, and entrance, indicating that filming was in progress. We waited a few I pressed the shutter release. The picture said it all: Paula was there to seconds, and the light went off. Then the publicist led the way through serve Marilyn. the heavy soundproof doors. Inside, large arc lights and dolly tracks Paula Strasberg was an enigma to me. She was there, but she was always were being moved from one side of the stage to another. in the background. Marilyn needed her advice and had insisted that the studio hire her as a personal acting coach. Since Marilyn couldn’t have Lee Strasberg on set, because he was working with needy actors in New York, his wife, Paula, would do as an extension of him. Paula was like a Svengali to Marilyn. At work, her mother hen, her shadow. She never left
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The images were so small that it was very difficult for her to see them, so sometimes she’d cross out an image with a red marker just because she couldn’t make it out.
Marilyn didn’t have a preconceived idea of how she wanted to be seen by As the last drops of champagne were consumed, Marilyn said she was the public. All she wanted was to make sure that her face or body wasn’t going to a charity baseball game at Dodger Stadium. Her producer, deformed in any way. She didn’t want to see her head or neck turned a way Henry Weinstein, arrived and tried to talk her out of it, worrying that there in which lines or wrinkles might appear. If she was wearing, say, a tight was a chill in the air and that she might catch cold. Marilyn laughed at dance outfit and was swinging around a pole, she wanted to be sure that him and said she had made a commitment to attend. She would make her legs looked right. She was interested in the total image, so she was very, an appearance, she said. very careful about what her entire body looked like. If the whole picture worked, Marilyn was happy. At the bottom of one of my proof sheets she wrote with that red marker: meanwhile, tom blau, who had flown back to england, was “Explain or remove sweat pads.” She had marked a shot of her with making deals in Europe and Asia, and then I flew to New York over the Montand, and damned if I could see the sweat on her face that she saw. weekend to make a deal at Life. The picture editor, Dick Pollard, didn’t like When I looked at the entire image, not just her face, I noticed a tissue my conditions at first, but seeing that he could do nothing about them, and under her right arm that she kept to catch the perspiration on her body. liking the photos enough to want to run five or six pages of them, he agreed. She wanted the tissue retouched out just in case this shot was going to Later that day he asked me how much I wanted, including for the cover. I be published without a caption explaining that she was perspiring under told him a lot — around $10,000. I understood the value of exclusive U.S. the hot lights while rehearsing. rights. I had sold the teen heartthrob Fabian Forte’s first kiss to a fan mag- “You see what I’m saying?” she asked. azine for $5,000, and this was the first time I had something that I knew “Yes, of course,” I answered, though it would be years before I really the whole world would want. But what was really most important to me was understood what she’d been concerned about back then. I was too green. the cover. “Just kidding,” I added before he could protest. “You can have the I never discussed with Marilyn whether I thought an image was good entire set — but no more than six pages — and the cover for $6,000.” Dick or bad. She knew what she was doing. And my goal was to have as many nodded and said Life would publish the following week on June 16, which approved pictures as I could. We both got what we wanted. would become the worldwide release date of the photos. As luck would have it, I’d meet Marilyn again. By then, we’d both have I had a deal, and I had my firstLife cover. a little more experience with life.
above Newsreel footage of Monroe attending a muscular dystrophy charity event at Dodger Stadium, June 1, 1962. This would be her last public appearance.
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Schiller_Marilyn_Teaser_v14.indd 10 21.03.12 13:38 Schiller_Marilyn_Teaser_v14.indd 11 21.03.12 13:38 I was stunned to discover that they had used one of my photographs on the cover . . . the ethereal shot where she looked like an angel.
Wilder, and Elia Kazan were not there. Her first husband, Jim Dougherty, and her third, Arthur Miller, were not there. Frank Sinatra, Peter Lawford, Dean Martin, and Wally Cox were not there. Pat Newcomb was not there. The Kennedy brothers were not there. The word was that DiMaggio had made sure that those he thought had destroyed her were not invited to pay their respects. The Strasbergs were there, and Lee Strasberg delivered the eulogy. He called her “a legend.” He described her as “a warm human being, impulsive and shy and lonely, sensitive and in fear of rejection.” He talked about her hopes for the future and spoke of her “luminous quality — a combination of wistfulness, radiance, yearning — that set her apart and yet made everyone wish to be part of it.” Of the pictures I took that day, the one that resonated for me was of Joe DiMaggio and his son in his military uniform, at the funeral. The tragedy, love, and unrelenting sadness of the moment were all on the great DiMaggio’s grief-stricken face. I was there with other members of the press to take pictures, not to shed tears. In addition to my coverage of the funeral, Life asked me to send them some head shots taken in May during the filming of Something’s Got to Give. The next morning the picture editor called to tell me that my photograph of Joe DiMaggio and his son would run across two pages. I was afraid to ask him whose image of Marilyn had been selected for the cover. I figured that it had to be one by one of the great photographers: Milton Greene, Richard Avedon, Arnold Newman, or Alfred Eisenstaedt. On Monday morning I went to the Life offices in Beverly Hills to get an advance copy of the magazine. I was stunned to discover that they had used one of my photographs on the cover, the image where she was wearing the golden fur cap with the matching fur surrounding her neck, the picture where she looked like she was breathing in a little more air, the ethereal shot where she looked like an above Life magazine, August 17, 1962. Cover photo Lawrence Schiller. angel. It’s the Marilyn I most remember, and it was on the cover of Life magazine.
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Schiller_Marilyn_Teaser_v14.indd 12 21.03.12 13:38 Schiller_Marilyn_Teaser_v14.indd 13 21.03.12 13:38 When I looked over the script . . . it didn’t take me very long to find the one scene I was sure I wanted to shoot . . .
“Let me ask you, Larry Wolf — how many Academy Award nominations I could get some idea of the story and of what scenes might work best photo- Less than two weeks after I took that picture, on November 19, it do I have?” graphically. By then I had learned a lot more about the business. I understood seemed I was moving back in the direction of Marilyn when, on another “I don’t know,” I said. And it was true. I had no idea. the power of publicity and of Life magazine in the United States and Paris assignment from Paris Match, I photographed what is now a classic “I do,” she said. “None.” Match abroad. I’d become a much better businessman, maybe a little tough. image of Spencer Tracy and Jimmy Stewart at Clark Gable’s funeral, Just then the door opened, and Whitey came in with her food. But I understood the value of exclusivity to a photographer. capturing the sadness and the loss on their faces. The editor in chief Marilyn wasn’t interested in eating. I soon discovered that Jimmy Mitchell, the studio photographer, and Don called to congratulate me. “Marilyn is waiting,” she said to him. It was an odd remark, and very Ornitz for Globe Photos would also be covering the movie. Ornitz, who had photo- Since I retained the copyright and publication rights to all my photos, odd for her to refer to herself in the third person, I thought. But somehow graphed Marilyn in 1951, early in her career, was a fine photographer of women, an important agent, Tom Blau, took me on and started to syndicate my I knew that she was telling Whitey it was time to get her ready for the and I gave Globe a call to touch base with him. Don was out sick, I was told. photographs all over the world. It wasn’t long before my wife and I moved cameras. He left, saying he would look for Gladys. I decided to continue When I looked over the script, which contained numerous pages of into a larger apartment and I was driving a Mercedes 220. I talked a lot, photographing Marilyn. revisions, it didn’t take me very long to find the one scene I was sure I wanted I told stories about the people or events I covered, and by November 1961 She stopped me. to shoot: when Marilyn jumps into a swimming pool to seduce Dean Martin, Judi and I had become the parents of a baby girl, Suzanne. “Nobody should ever be photographed while they’re eating,” she said, who is looking down at her from a balcony. This scene would shoot for As my ego was being fed and getting healthier, I would soon discover even though she hadn’t taken a bite. several days in May. that Marilyn’s was shrinking. “So you lied about your age to get some work,” she said, continuing our I knew I had to call Pat Newcomb, Marilyn’s personal press representative, conversation where we’d left it off. whom I had not met in 1960. Pat suggested that we meet at Marilyn’s house “Yeah, and it worked,” I said. “That got me started, and before long I to discuss the shooting schedule. I didn’t understand what there was to in those same two years, let’s make love died at the box office. top Profile on Lawrence Schiller by was getting published — a little in Life, but mostly in Paris Match and the discuss: Marilyn swims, I shoot during rehearsals or camera setups, she gets Jacob Deschin, U.S. Camera magazine, The press reported that Marilyn had suffered a third miscarriage, and her March 1954. sports magazines.” Then I started to brag, hoping it would impress her. out of the pool, I shoot her wearing a bathing suit. And I cover some other next picture, The Misfits, with the dream cast of Clark Gable, Montgomery pageabove 46 “Faces“The Face of Defeat,” of America” Richard series, and I was, after all, twenty-three years old. “I won the Graflex awards,” I said. scenes that are on the schedule to flesh out my coverage. Clift, and Eli Wallach, fell apart when John Huston, who directed it, was PatThe Nixon Saturday for Paris Evening Match Post magazine,, November 16, “And an editor for the New York Times even wrote this article in U. S. Meanwhile, Globe called me back to say that Don Ornitz was still out France,1957. PhotographNovember 19, Lawrence 1960. Photograph Schiller. at a loss trying to get Marilyn to work on time. Her eyes didn’t focus, and Lawrence Schiller. Camera magazine about me.” sick and that William Read Woodfield might be covering for him. I’d never opposite Maianne Gaba, Playmate of she eventually had to return to Los Angeles from location for a hospital abovethe Month, Jimmy Playboy Stewart magazine,and Spencer September I found myself talking nonstop. Marilyn began to pick at her fruit, eating a heard of Woodfield, and I didn’t know that although he had photographed rest. Filming in Nevada was shut down for a few weeks. Shortly after the Tracy1959. at Photographthe funeral of Lawrence Clark Gable, Schiller. strawberry, a piece of cantaloupe, and a slice of orange. She was not listening Holly-wood, he was more of a writer than a photographer. When I asked Paris Match magazine, France, movie was finished, Gable died and Marilyn was unfairly blamed for his December 3, 1960. Photographs to me, but I continued to rattle on, telling her about having shot some nude to meet him, I was told he’d meet me on the set. That was it. Lawrence Schiller. death: they said she had kept him waiting too many hours in the broiling-hot photos in the basement of the home of the president of Pepperdine College, When I arrived at Marilyn’s new house, at 12305 Fifth Helena Drive, desert sun. Marilyn’s six-month affair with Frank Sinatra, which followed, opposite Lawrence Schiller in his which I had attended. I found the one-story Spanish-style home almost bare. The house wrapped studio on Sunset Boulevard with didn’t seem to solve any of her emotional problems. Against her will, Joan Staley, Playmate of the Month, “And then I photographed these baton twirlers in shorts for the Saturday around a nice-size pool in the back and there was a guesthouse. There was Playboy magazine, November 1958. she spent three days in a locked and padded room at the Payne Whitney
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the still cameras. Nobody had to ask her to turn right or turn left; she knew exactly what to do. Marilyn was a photographer’s dream subject with her clothes on and even more stunning with them off. Her wet skin glistened. Her eyes sparkled. Her smile was provocative. She was a week away from her thirty-sixth birthday, and she looked as good as she had ever looked. She was so sure of herself in front of the camera that her confidence was infectious. There was no hint of the woman who had been in trouble for most of her life. As I shot, I was sure that the pictures I was taking were going to be beautiful and unforgettable. The curve of her spine complemented her natural curves as the water reflected the lights, and the whole scene sparkled. I wasn’t even thinking about how many of these images she would approve. How could she not approve them all? She was giving it her best, and her best was as good as it got. She was, after all, Marilyn Monroe! In all, I shot sixteen rolls of thirty-six-exposure black-and-white and three rolls of color, constantly adjusting my cameras, checking exposure, checking the shutter speed, moving so that the key lights produced the right high- lights on her body. The black-and-white film was Tri-X, and the color was high-speed Ektachrome. The scene was repeated time and time again so that the director could capture it from every conceivable angle. It wound up taking a full day, but the actual shooting was only two hours. The director finished at around five in the afternoon, and immediately I rushed to the phone, just outside the soundstage doors, to call Tom Blau and Paris Match to let them know what I had. I realized it was almost three in the morning in Europe, but I didn’t care. I told Tom, “You better get on a plane. I’ve got Marilyn Monroe in the nude, and we’re gonna make a lot of money.” Tom balked. “Can’t you put them on a plane?”
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A huge birthday cake was brought in with I wasn’t ready to give up unless I heard sparklers for candles, and Marilyn posed it from Marilyn herself. behind it looking joyful and appreciative . . .
was soft. She seemed almost to be gasping for a little air. As if she were WhenAnd I rememberMarilyn returned her saying to Los something Angeles, like, she “Wheneversaw her ex-husband it came close, Joe looking for a little more life. DiMaggio,my body said had no, Robert and I Kennedy lost the baby.”at her Ihouse remember for dinner, her talking and began about thinking being When Thompson finished his interview, he came over and said, “When can aboutafraid appearingthat she’d onwind the up front like and her back mother, covers who of hadPlayboy been. in and out of I get all the pictures? I’ve got to fly to New York.” mental institutions her whole life. And I could see how that scared her. “Tommy,” I said, “you’re not taking the pictures.” And then, all at once, Marilyn pulled herself together. She looked at the “What do you mean?” oncover friday, of Life ,august smiled, and, 3, i herwas voice packing returning a suitcase to its normal for tone,a weekend said, “The “I haven’t closed a deal with Life yet. I’m going to New York to show them tripshape to I’mPalm in, Springs I’ll have with a child.” Judi andI took Suzanne the clue when and Patmoved Newcomb on to business. called. “It’s directly to Pollard.” He replied, “That’s not what I understand. I’m supposed notWhen going I’d to originallyhappen,” sheshown said Marilyn curtly. “Sothe youblack-and-white should stop pushing proof sheets, it.” I had to fly back with the pictures.” Clearly, he wanted to make sure thatLife got purposely“What’s left not out going two to strips happen?” of images I asked, that playingrevealed dumb, more body,but I hadbecause a sinking I was below Card signed by the cast and crew first crack at the best pictures. of Something’s Got to Give for Monroe’s feeling.afraid she would kill them. In fact in those days, no general interest magazine 36th birthday, June 1, 1962. Illustration “Marilyn has insisted on a worldwide release date,” I said, putting it Joseph Kautak. would“Playboy have ,”shown she said. the “I’m images totally we opposedhad, because to it. theyI don’t were think too Marilyn revealing should for back on her again. But that didn’t impress Thompson. He was furious dothe it. era. You But guys Billy have and done I knew very that well Playboy with the would pictures, jump but at it’s the Marilyn’s opportunity life, andto and walked away without saying another word. I would never find out she’s got her own problems. Let’s not add any more to them.” above Se magazine, Sweden, June 28, publish them, now that the other photos had been released. They would want what he thought. I saw him at other events over the years, but he never 1962. to publishI didn’t knowwhat nobodywhat to else say. had seen — full bust with nipple.
talked to me again. below L’Europeo magazine, Italy, June And then,now that filling Marilyn the void, was Pattalking continued. about how“Let goodit be,” sheshe lookedsaid. in the 18, 1962. nude,There I thought was no itsense was tryingan opportune to change time her to mind, bring because up Playboy it sounded. as if she“Marilyn,” was relaying I started, what Marilyn “I was going had told through her to my say. camera But I wasn’tbag and ready found to givea marilyn called in sick the next day, but she was well enough uproll unless of film I heardthat wasn’tit from developed. Marilyn herself. When I decideddeveloped that them, before I discovered heading off that to ask me to come over to her house so that she could look at the color slides tosome Palm images Springs were the a nextbit more morning risqué I would than the take others.” some printsAnd then of her, I took drive a to once again. I brought over the strips that she hadn’t zipped in half with herdeep house, breath and and let continued, her tell me “I’m personally pretty sure that Playboythe deal wouldwas off. love to publish those pinking shears. She found one or two more she couldn’t stand because these.On SaturdayNo question morning, Hefner at will around agree 9:00 to the a.m., same I drove conditions to Brentwood. we got every - they highlighted the muscles in her legs, but she left the rest. I was relieved. whereMarilyn in the was world.” in the front yard, dressed in a simple, light-colored slacks out- “How many pages are we getting in Life?” she asked. fit.Marilyn She was was on quiether knees, for a minute.I think Shedoing seemed something a little with upset. the “Whereflowers. are As they?” I got “Don’t know. I’m flying to New York. I’ll let Pat know,” I replied. out“In of themy car,car.” she stood up and looked as if she’d been expecting someone else. “Good,” she said. “And what about a cover?” Her“Well, hair wasgo get uncombed them.” and loose, her face without makeup. You’d never know “I’m sure we’ll have the cover,” I replied. “You sell magazines.” it wasI ran Marilyn out to Monroe.my car to She get didn’t the enlarged look like proof any ofsheet. the pictures Back in thatthe house,I had taken. I “You’re like a businessman, aren’t you?” she said. held“I didn’tmy breath know as you she were looked going at tothe come images. by,” sheShe said. took She her wasn’t time, lookingvery friendly, at “You have to be, my father taught me that. He was a salesman.” andher curvaceous,she seemed impatient.incredible body.
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Schiller_Marilyn_Teaser_v14.indd 14 21.03.12 13:39 Schiller_Marilyn_Teaser_v14.indd 15 21.03.12 13:40 “With the precision of a surgeon, Schiller slices through the façade of Marilyn Monroe in his unflinching memoir. Revealing and readable, it’s a book I couldn’t put down.” —tina brown
“Marilyn & Me is an archival event, in which the anatomy of a star is expertly documented.” —steven klein
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