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BBC's @BBC Documentary Imagine The Colorful | Mr Eggleston released in July of 2009 fstoppers.com/film/colourful…

You see Dr. Vernon Richards with his human cadaver skull, Misty Lavender as Marsha O'Hare with William Eggleston are flashed on the screen in the beginning of Imagine The Colorful Mr Eggleston.

Claim about William Eggleston by German Photographer Juergen Teller, "I know quite a few people that are quite afraid of him, If he doesn't like you, he can just kill you off in a minute."

Alan Yentob explores the work of William Eggleston, one of the most influential and original living photographers, as the normally shy and elusive legend is shown at work. Eggleston is a Mississippi aristocrat with a fondness for guns, drink and women. bbc.co.uk/programmes/b00…

William Eggleston can be seen going on a photographic excursion with his son Winston.

In a career spanning almost 50 years, William Eggleston has shot thousands of photographs here in and around his home town. His subject matter is the banal and everyday.

William Eggleston, "Did I grab any master pieces yet?"

William Eggleston,"Often people ask what I am photographing. Which is a hard question to answer and the best thing I can come up with is I just say life today."

William Eggleston, "I don't know whether they believe me or not. (snicker....ha,ha) Or what that means."

William Eggleston, "I don't know what to say about that, but it is today."
Alan Yentob, "Eggleston hardly ever gives titles to his photographs."

William Eggleston, "I don't particularly even like to identify where or the date. (I took the photo) I don't. It's just not about Photography."

William Eggleston, "I do have a personal discipline. I have only taken one picture of one thing, not two."

William Eggleston, "I would take more than one, Get so confused later. I was trying to figure out which one was the best frame. Said this is ridiculous. I am just going to take one that's going to be."

Alan Yentob, Eggleston got his first camera at the age of 18, he started off in black and white printing the pictures himself."
William Eggleston, "I didn't know anything about photography."

William Eggleston, "Reading things like literature from Kodak. Some company like that. There wasn't much of that around either. To sort of teach myself."

Alan Yentob, "Even in the early black and White photos. He chose subjects similar to those he would later shoot in color. The everyday unspectacular moments, shot without any photo journalistic ambitions."

William Eggleston, "My friend who also was interested in photographs. At one time he bought many books containing photojournalism pictures. To me they were not interesting."

William Eggleston, "But then I found this one and said my god this is not just photojournalism. This is great art, compositions."

William Eggleston, "A lot like Dago in here. Great painters in the way they are composing and they are still great."

Curator Mark Holborn, "The great influence was Cartier-Bresson. There's such extraordinary structure and what seems so fleeting. This decisive moment, but when you break down the frame."

Curator Mark Holborn, "The frame has it's inherit geronomy and it's fluid and I think that's what Eggleston inspired to. I love Eggleston's black and white photographs."

British Photographer Martin Parr, "The composition appeared so intuitive and so natural. You know it's not forced upon us at all. It appears the simplest thing, but of course when you're analyzing it. It becomes quite sophisticated and the message these pictures.."

Photographer Martin Parr, "can release to us are quite complex and fascinating and that of course is a hallmark of a very good Eggleston."

Rosa Eggleston, "One thing I will never forget that really stuck with me in my mind is that Bill did say to me early on, you know he was talking to me about photography, he says, you must not take anything for granted when you are looking for a picture."

Rosa Eggleston, "Never do that. Every single tiny space on that page works and counts."

Alan Yentob, "Color accents also underline the feeling of uncanny by radiating Eggleston's pictures. By emphasizing and isolation by not explaining what's really going on in the picture."

Alan Yentob, "He creates an atmosphere of apprehension and unease."

Below here is the murder weapon William Eggleston claims murdered my father in his photo called (Untitled) Near the River in Greenville Mississippi 1983-86, A Photo of an Axe 🪓

William Eggleston, "I think red is a very difficult color to work with. I don't know why. It's as if red is at war with all the other colors."

Alan Yentob, "(William) Eggleston's most famous photograph Untitled Greenwood Mississippi, 1973. It shows a bright red ceiling. It was taken in the house of his best friend T.C."

The Red Ceiling is part of Eggleston's Murderabilia in regards to T.C.'s Cold Case murder.

William Eggleston, "One evening he and I. The three of us are lying in this big bed talking and I had my camera and a flash. I looked up and took the picture. Then we continued talking."

Alan Yentob, T.C. was later murdered in his house.
William Eggleston, "Hit in the head with an axe and then his house was set on fire. He was a dentist by profession."

William Eggleston, "He loved drugs that could have been what the murder was about. Not heroin hard but pharmaceuticals because he was a doctor he could get it."

(Untitled) T.C. Boring 1972 is also part of Eggleston's Murderabilia in regards to T.C. Cold Case murder.

Mark Holborn, "The red ceiling is simply a red ceiling with white diagonal colors and a light bulb hanging down in the middle. There's a Kamasutra freeze in the middle. There is something pornographic here almost. It's the site of a murder. The walls are bleeding." #Murderabilia

Mark Holborn, "It could also be witnessed by a fly buzzing around that bulb in the obsident heat. The room probably stinks. One picture of a red ceiling and it can carry all of that."

The Red Ceiling is part of William Eggleston's Murderabilia in regards to Dr. Boring's murder.

Mark Holborn, "It is about surface and it's not about surface. It is about what it depicts and it is not about what it depicts. It is about something much more."

The Red Ceiling is part of William Eggleston's Murderabilia in regards to Dr. Boring's Cold Case murder.

Alan Yentob, "T.C.'s murder is just one episode in the highly unconventional private life involving guns, drugs, drink and woman."

T.C.'s murder is also defamed and fabricated with William Eggleston's Murderabilia.

Alan Yentob, "(William) Eggleston used to keep two large houses in Memphis. One for his wife and children. The other for his mistress with each woman aware of the other."

Juergen Teller, "I remember he said, Juergen we have a couple things in common which is drinking, smoking and women. Photography just gets us out of the house."

Alan Yentob, "In the early 70's he (William Eggleston) hung out with Andy Warhol in New York and had a long standing affair with Viva. One of the Stars of Warhol's Factory. It was Warhol that introduced him to the emerging video scene and the Sony Portapak camera."

Alan Yentob, " He took one back to Memphis and out to the bars and clubs where he captured his friends drunks, geeks and quaalude popping misfits in raw unedited form. The footage later became known as Stranded in Canton."

William Eggleston's gay friend exclaimed, "Amber you fool, Amber. To do, I never knew what to do in life."

This is a scene from Stranded in Canton filmed by William Eggleston..

William Eggleston, "I just remember being very happy in the dream. Always in color."

This is the ending of BBC's @BBC Imagine The Colorful Mr. Eggleston with Eggleston walked off into the distance."

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