Dick Zimmerman's "Thriller" Experience

The First Meeting

"I first met Michael Jackson at a recording studio on Beverly Blvd. in Hollywood, where he was three quarters of the way through finishing what would be the largest selling album in history. CBS records indicated that the project was between myself and another very well known photographer whose identity was never divulged to me.

Michael wanted to personally meet both candidates before deciding who he wanted to work with on the album package. I know now after having worked a substantial amount of time with Michael on other projects since, that he needed someone that was at the top of his profession, wasn't egotistical, was trustworthy and creative. But most importantly someone who would treat him with delicacy and consideration, who wasn't threatening or offending.

My first impression of Michael as he slowly and carefully moved through the studio doors where our meeting would take place was that he was taller and thinner than I had expected. His hand shake was very delicate with hardly a squeeze, and I was very conscious to return the same.

As we talked, Michael would ask me questions in his whispered voice about my likes and dislikes. I could tell from the way he poised his questions, that in a sly way, I was being highly scrutinized. That's when I first realized how important it was to Michael to work with the exact kind of person that would make him feel comfortable. Our meeting lasted about twenty minutes and we parted with a cordial good-bye.

The Call Back

Three days later I received a phone call from CBS Records saying that phase one was over and now Michael wanted to come to see my studio and look at my photographs. My studio entrance has a loud buzzer, but instead there was a very gentle knock at the door. Rather than have my secretary answer the door, I wanted to answer it myself. I wanted Michael to know that I was real and approachable and also wanted to avoid anything that may have had the potential of creating an uncomfortable situation for Michael. Evidently I passed the test as I received confirmation two days later from CBS that Michael had selected me to do the honors, and the album shoot was scheduled to take place in two weeks.

My fee from CBS was to be $4,000.00 - which was very good back then (and just about top dollar for an album cover). During the next two weeks I had various meetings with the creative heads from CBS and Freddie Demand, Michael's Manager at that time. The purpose was to create a visual direction for the album that everyone agreed on.

Shoot Day

The day of the shoot arrived, I had hired one of the best fashion stylists in LA to gather a large variety of wardrobe, and we began the arduous process of selecting attire for the cover and inside spread. After about an hour of weeding through the clothes, Michael couldn't find anything he was crazy about. I started to panic for a moment, then I noticed Michael looking at the white suit I was wearing. He asked if we had anything like it. We didn't, so I asked him if he would like to wear mine. Considering his choices, this was exactly what he wanted. Fortunately for the shoot and the time involved, the suit fit.

We had decided prior to the shoot that Michael would have a tiger cub in the shots so we had a selection for him to choose from. He loved a six week old cub but was very squeamish about letting it get to close to his face because of possible scratches from its claws. Throughout the shoot I had to get Michael to forget about the possibility of getting scratched, and to focus his attention on me and the camera.

During breaks Michael would stand in front of a full length mirror and practice continual spins, the legendary ones that are now so familiar to us all. He would come alive in front of that mirror. It was fascinating, because he had such a shy and subdued manner throughout the photo session. For lunch he ordered a special meal brought in from a vegetarian restaurant...the ----- on 3rd Avenue, which is his favorite in town. In fact, a few months later he would hire that chef as his personal cook, and to this day.

The shoot lasted about 6 hours with no particular problems out of the ordinary. At the days end, we said good-bye, and arranged to meet in a few days to go over the results. About four days later the photos were ready and we met at Michael's recording studio on Beverly Boulevard. Michael was in the middle of finishing up one of the tracks, so I set up my light table and spread out the transparencies so he could see them all at one time.

The Album Cover

Michael walked into the studio - he was in a very good mood. He looked over the transparencies and was very excited and pleased with what he saw. He said "There are so many good ones here, how can I ever make a decision?" He told me to hold on a minute, and went to the back of the studio. After a moment, he came back out with Quincy Jones. Quincy took one look at the transparencies and without any hesitation pointed to one, and said "That's the cover!"

That was the fastest I have ever seen anyone pick a final transparency for anything, and it was a good choice. I was happy, Michael was happy, the label was happy, and I guess the world was happy."



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Dick Zimmerman - About Me

Dick Zimmmerman
Clearwater, Florida/Los Angeles, California
dickzimmerman@richter10point2.com
http://www.dickzimmerman.com
800.781.8227

Imagine... possessing your own unique Masterpiece Portrait created by an artist at the top of his field whose clientele list includes a “Who’s Who” of world-renowned celebrities and notables... a portrait created with the highest artistic quality that magically captures your best look, emotion and essential “beingness” in a fleeting instant of perfection... your ideal image. Imagination becomes reality if you are fortunate enough to have a Masterpiece Portrait created by Dick Zimmerman.

A native of New York, Zimmerman experienced a career-shaping epiphany very early in life while standing transfixed before Salvador Dali’s “Crucifixion” in the Metropolitan Museum. At that moment, he knew he was going to be an artist. Years later, Zimmerman was to meet with Dali at his home in Spain when he was commissioned to create a portrait of Dali and Gala commemorating their golden wedding anniversary. Zimmerman spent a week with Dali in what could only be described as a wonderfully creative- and surreal- experience, an event he describes in detail on his website (http://www.dickzimmerman.com).

Zimmerman studied at Parsons School of Design, The School of Visual Arts, received his B of A degree at NYU, and studied fine art with contemporary master Isaac Sawyer. He also served as an award winning art director for top magazines in the New York area, and at 27 was the youngest art director McCall’s had ever utilized. His highly successful career as an artist spans three decades living, studying and applying his craft in New York, London, Rome, Vienna and Los Angeles. He currently divides his time between California and Florida.

In addition to his exceptional artistic skills with lighting, perspective, colors, texture and composition, one of the secrets to Zimmerman’s success is his ability to evaluate and communicate with his subject in such a way that draws out the individual’s style, character and intelligence and puts them at ease, thus allowing them to relax and be themselves. Zimmerman’s viewpoint is that if all the variables are controlled and captured, anyone at the right moment can assume a Botticeli-like essence and quality.

“When I’m creating a portrait for someone, there’s definitely a moment where something magical happens,” says Zimmerman. “That special moment in time is what I like to capture, enhance and bring to the surface of my canvas.” His ability to do so imbues Zimmerman’s portraits with life and a vibrant spirituality, with subtleties, making it seems as though his subjects are actually alive and communicating back to the observer... a hallmark of a classic Zimmerman portrait.

Dick Zimmerman is now accepting commissions.
800.781.8227
http://www.dickzimmerman.com

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