Photographer Reveals Marilyn Monroe’s Calculated Bid for Publicity and Final Days

Lawrence Schiller, the photographer behind Marilyn Monroe's famous n^de photos, recently discussed the star's calculated bid for publicity and her final days in an exclusive interview with The Hollywood Reporter.

It has been almost 50 years since Monroe's death on August 5, 1962, which occurred during the shooting of the unfinished film Somethings Gotta Give.

Schiller's set of 12 n^de photos of Monroe, which he did not release to the public until many years later, are currently on display at the Duncan Miller Gallery in Culver City, California.

These photos, which ultimately won Monroe the cover of Life magazine, were taken during a time when she was envious of the attention and higher salary that Elizabeth Taylor was receiving for her role in Cleopatra.

In the interview, Schiller explains that Monroe's decision to take off her clothes during the movie's pool scene was not spontaneous, but rather a carefully planned move.

She had full approval of the shots and handpicked the photographs herself.

Monroe wanted to prove to the studio that she could generate the same type of publicity as Taylor, who was earning significantly more money than her.

Additionally, Monroe sang “Happy Birthday” to President Kennedy around the same time, further displaying her desire for attention.

When the n^de photos were released, they caused quite a scandal.

Headlines like “The n^de Wars” appeared in newspapers, and the photos were featured on the covers of Paris Match and Stern.

However, Schiller believes that today's celebrity skin scandals have evolved into something much more explicit, such as p^rn tapes.

Schiller had a close relationship with Monroe over a two-year period, from the time he first met her on the set of Let's Make Love until her death.

Their relationship was not s**ual, but rather one where Monroe taught Schiller how to capture her best angles and lighting in his photographs.

Schiller describes Monroe as a woman who was in control in 1960, but slowly slipping away as time went on.

He felt a strong desire to protect her, which he believes is what made her attractive to both men and women.

When asked about Monroe's beauty, Schiller admits that while she had an incredible body and was a worldwide s** symbol, he doesn't consider her a true cultured beauty like Catherine Deneuve or Sophia Loren.

However, he still finds Monroe incredibly sensual and believes that she has a lasting appeal.

In discussing today's photographic subjects, Schiller mentions that he doesn't see actresses like Bette Davis or Deborah Kerr anymore.

While there are many talented actresses today, they don't have the same excitement for still photographers.

Even creative photographers like Annie Leibovitz struggle to capture unique images of celebrities like Brad Pitt, who all seem to look the same.

Schiller notes that the evolution from Monroe's n^de photos to today's celebrity s** tapes is a result of society becoming more open about sexuality and advancements in technology.

However, he believes that when stars create s** tapes for publicity, it shows a lack of belief in their own talent and abilities.

The interview concludes with Schiller's thoughts on Kim Kardashian and Lindsay Lohan.

While he admits to being close to the Kardashian family and not understanding their talent, he has not seen Kim's s** tape.

However, he does find s** tapes made by Russian spy Robert Hanssen intriguing, as they reveal how a person can compartmentalize their mind.

Overall, Schiller's insights offer a unique perspective on Monroe's calculated bid for publicity and shed light on the changing nature of celebrity scandals in today's world.