Behind-the-scenes tales from acclaimed film set photographer who shares iconic images

Charlotte Rampling wrote a poem about her. Jacqueline Bisset is ‘Jacky’ to her. Robert de Niro politely asked she not take his photo because he was concentrating on his next scene: walking across a room. Al Pacino begrudgingly let her take some shots. Audrey Hepburn was ‘absolutely extraordinary.’

And those were just the actors.

Photographer Eva Sereny’s astounding career shooting actors and directors on film sets during the 1970s and 1980s took her around the world. She has captured remarkable images of Hollywood heavy hitters and legends – Truffaut, Fellini, Nichols, Spielberg, Lucas, Herzog – and has the behind-the-scenes stories to match.

‘This word awesome, yes. It’s pretty awesome,’ she told DailyMail.com when asked about witnessing the master directors in action.

A young wife and mother, Sereny had the moxie to walk into The Times office in London and show an editor her photographs, the first step that would eventually land her on many film sets – including three of the Indiana Jones movies.

These images and more are now part of her recent book ‘Through Her Lens: The Stories Behind the Photography of Eva Sereny.’ Quick with a laugh, Sereny had many tales to tell – even about those relationships that had inauspicious starts.

Photographer Eva Sereny’s long and stellar career was spurred by an unusual incident: her husband’s car accident in Rome. He was not hurt, but she realized that she wanted to do something, and she plunged herself into photography. She ended up on film sets taking photos of Hollywood legends. Above, Marlon Brando, left, lights the cigarette of director Bernardo Bertolucci, right, on the set for his film ‘Last Tango In Paris,’ which was released in 1973 but remains controversial today

After realizing she wanted to be a photographer, Sereny learned all she could about the craft. A good friend was the head of the Italian Olympic Committee and asked her to take photos at the youth centers they were developing. Sereny wanted to know if the photos she had taken were any good, and so she hopped on a plane and went to The Times office in London. She met an editor who eventually put her photos into the newspaper. Above, actress Raquel Welch wears a royal blue, one-piece bathing suit in an image Sereny took in the 1980s

After realizing she wanted to be a photographer, Sereny learned all she could about the craft. A good friend was the head of the Italian Olympic Committee and asked her to take photos at the youth centers they were developing. Sereny wanted to know if the photos she had taken were any good, and so she hopped on a plane and went to The Times office in London. She met an editor who eventually put her photos into the newspaper. Above, actress Raquel Welch wears a royal blue, one-piece bathing suit in an image Sereny took in the 1980s

Getting her photos in The Times was the first step in Sereny's career and she would eventually take shots on film sets. Sigourney Weaver, pictured, had just wrapped the first 'Alien,' which was released in 1979. The actress and Sereny both happened to be in Paris, and she was asked to photograph Weaver. Sereny told DailyMail.com that she wanted the shoot to somewhat have a feel of the movie, and it took place at the architecturally-interesting Centre Pompidou, a museum in Paris 

Getting her photos in The Times was the first step in Sereny’s career and she would eventually take shots on film sets. Sigourney Weaver, pictured, had just wrapped the first ‘Alien,’ which was released in 1979. The actress and Sereny both happened to be in Paris, and she was asked to photograph Weaver. Sereny told DailyMail.com that she wanted the shoot to somewhat have a feel of the movie, and it took place at the architecturally-interesting Centre Pompidou, a museum in Paris 

'The Last Picture Show,' released in 1971, had put director Peter Bogdanovich 'on the map,' Eva Sereny wrote in her recent book, 'Through Her Lens: The Stories Behind the Photography of Eva Sereny.' 'I could tell he was completely besotted by actress Cybill Shepherd, whom I liked very much. She was very easy to work with and took beautiful pictures.' Sereny took the above image of Bogdanovich, left, and Shepherd, right, on the set of 'At Long Last Love,' which was released in 1975

‘The Last Picture Show,’ released in 1971, had put director Peter Bogdanovich ‘on the map,’ Eva Sereny wrote in her recent book, ‘Through Her Lens: The Stories Behind the Photography of Eva Sereny.’ ‘I could tell he was completely besotted by actress Cybill Shepherd, whom I liked very much. She was very easy to work with and took beautiful pictures.’ Sereny took the above image of Bogdanovich, left, and Shepherd, right, on the set of ‘At Long Last Love,’ which was released in 1975

Above, an image of director Sydney Pollack, left, and Robert Redford, right, on the set of the film 'The Electric Horseman,' which was released in late 1979. Sereny told DailyMail.com that she worked with four cameras - two that were for color and two that were black and white. ‘I always wanted to be quick,’ she explained. Images like the one above were ‘quite difficult to do because I had no idea how it would come out. Don’t forget, I’m using film – the real McCoy… You hope to God that it’s going to come out right,’ she said

Above, an image of director Sydney Pollack, left, and Robert Redford, right, on the set of the film ‘The Electric Horseman,’ which was released in late 1979. Sereny told DailyMail.com that she worked with four cameras – two that were for color and two that were black and white. ‘I always wanted to be quick,’ she explained. Images like the one above were ‘quite difficult to do because I had no idea how it would come out. Don’t forget, I’m using film – the real McCoy… You hope to God that it’s going to come out right,’ she said

By the 1980s, Sereny had taken photos on several film sets. Producer Frank Marshall  joined Steven Spielberg’s team for ‘Raiders of the Lost Ark’ – the first film of the blockbuster Indiana Jones movies – and asked her to be the special photographer on set. Above, from left, Kate Capshaw, Steven Spielberg, George Lucas, and Harrison Ford take a break during the filming of 'Indiana Jones and the Temple of Doom,' which was released in 1984

By the 1980s, Sereny had taken photos on several film sets. Producer Frank Marshall joined Steven Spielberg’s team for ‘Raiders of the Lost Ark’ – the first film of the blockbuster Indiana Jones movies – and asked her to be the special photographer on set. Above, from left, Kate Capshaw, Steven Spielberg, George Lucas, and Harrison Ford take a break during the filming of ‘Indiana Jones and the Temple of Doom,’ which was released in 1984

Photographer Eva Sereny, left, with director Steven Spielberg, right. Sereny took photos on three of the Indiana Jones movies - traveling to Tunisia, Sri Lanka and Marbella in Spain. ‘Of course, working on a Spielberg movie is something very special. Just seeing Steven direct is fascinating,’ she wrote

Photographer Eva Sereny, left, with director Steven Spielberg, right. Sereny took photos on three of the Indiana Jones movies – traveling to Tunisia, Sri Lanka and Marbella in Spain. ‘Of course, working on a Spielberg movie is something very special. Just seeing Steven direct is fascinating,’ she wrote

While shooting on film sets, she tried to be as unobtrusive as possible – and did not take photos during filming.

‘I always put myself very much in the back. I didn’t want to be seen. I wanted to be camouflaged,’ she explained.

Even so, there were snafus.

When she started taking photos on the set of director Herbert Ross’ ‘The Last of Sheila,’ released in 1973, Raquel Welch, she recalled, ‘shouted at me, “Who the hell are you?”’

Ross, the director, come to Sereny’s side and let Welch know that she was alright to be on set.

‘I don’t want her here. I don’t want her here,’ Welch said.

Sereny said she then ‘disappeared. So that was my first encounter with Raquel.’

However, she was slated to work with actress again.

‘I was very worried that she would remember me. But she didn’t remember me and I never told her,’ she said and then laughed.

Sereny said that they are now great work friends, and she has taken many images of Welch. In one photo that is part of her book, the actress wears a royal blue, one-piece bathing suit. 

While taking snaps on ‘The Last of Sheila,’ Sereny was also the special photographer for Francois Truffaut’s film, ‘Day for Night,’ which was released in 1973, and that was when she meet her good friend Jacqueline Bisset.

‘We connected immediately from the beginning and have been very good friends ever since that movie,’ she wrote in her book.

Bisset wrote the foreword for Sereny’s book, saying that her ‘photographs capture the deeper soul.’

Truffaut, director of the seminal films ‘The 400 Blows’ and ‘Jules and Jim,’ ‘was always very busy on set, one minute he’d be in a conversation, the next second he was somewhere else. I felt even the little time I was on the set with him he was very understanding and pleasant in his commanding position as a director vis-à-vis his actors and crew,’ Sereny wrote.

Sereny also worked on some of Bernardo Bertolucci’s films, including ‘The Conformist,’ ‘1900,’ ‘Last Tango in Paris,’ and ‘Luna.’

‘I have to admit that working with Bernardo has definitely inspired my photography,’ she wrote.

For ‘Last Tango in Paris,’ star Marlon Brando initially didn’t want her to take his picture but she managed to convince him. As relayed in her book, she told Brando that he would be shown the photos for his approval.

But before she could run the images by Brando, French magazine Paris Match wanted the photos right away.

‘All he said was “Don’t worry, Eva: you make the choice.” I was able to gain Brando’s trust in me and my work,’ she wrote. ‘What a great feeling!’ 

In the book, there is an image of Brando lighting Bertolucci’s cigarette on the set of the film, which remains controversial to this day, and another portrait of the actor fixing his red tie.

Francois Truffaut, left, directed many seminal films, including ‘The 400 Blows’ and ‘Jules and Jim.’ He ‘was always very busy on set, one minute he’d be in a conversation, the next second he was somewhere else,’ Sereny wrote in her book 'Through Her Lens.' Sereny took the above photo during 'Day for Night,' which was released in 1973, and starred Jacqueline Bisset. Bisset and Sereny 'connected immediately' and became friends, she wrote in her book. Bisset penned the foreword for Sereny's book, writing her ‘photographs capture the deeper soul’

Francois Truffaut, left, directed many seminal films, including ‘The 400 Blows’ and ‘Jules and Jim.’ He ‘was always very busy on set, one minute he’d be in a conversation, the next second he was somewhere else,’ Sereny wrote in her book ‘Through Her Lens.’ Sereny took the above photo during ‘Day for Night,’ which was released in 1973, and starred Jacqueline Bisset. Bisset and Sereny ‘connected immediately’ and became friends, she wrote in her book. Bisset penned the foreword for Sereny’s book, writing her ‘photographs capture the deeper soul’

Sereny took the image of Werner Herzog, above, off the film set. ‘He was the most interesting director,’ she wrote of Herzog, adding that he was also charming. She photographed Herzog and his cast during  the filming of 'Nosferatu the Vampyre,' which was shot in the Netherlands. His ‘inspired 1979 remake’ starred Klaus Kinski and Isabelle Adjani, Sereny wrote

Sereny took the image of Werner Herzog, above, off the film set. ‘He was the most interesting director,’ she wrote of Herzog, adding that he was also charming. She photographed Herzog and his cast during the filming of ‘Nosferatu the Vampyre,’ which was shot in the Netherlands. His ‘inspired 1979 remake’ starred Klaus Kinski and Isabelle Adjani, Sereny wrote

Director Steven Spielberg on the set of his movie 'Always,' which starred Audrey Hepburn in what turned out to be her last film. 'Always' was in theaters in late 1989, and Hepburn died on January 20, 1993. Sereny told DailyMail.com that Hepburn was  ‘absolutely extraordinary. She was just gorgeous, just gorgeous. It just makes me tearful really to think that’s she gone.' Sereny had taken photos on three of Spielberg's Indiana Jones movies

Director Steven Spielberg on the set of his movie ‘Always,’ which starred Audrey Hepburn in what turned out to be her last film. ‘Always’ was in theaters in late 1989, and Hepburn died on January 20, 1993. Sereny told DailyMail.com that Hepburn was ‘absolutely extraordinary. She was just gorgeous, just gorgeous. It just makes me tearful really to think that’s she gone.’ Sereny had taken photos on three of Spielberg’s Indiana Jones movies

Director Luchino Visconti, pictured, on set of his  film 'Death in Venice,' which was released in 1971. Sereny took the above photo, and the 'Death in Venice' filming was the second time she had taken snaps on a set. The photos she took of one the film's stars, Italian actress Silvana Mangano, in costume were featured in The Sunday Times Magazine. ‘That’s how everything started for me. It was enormous,’ Sereny recalled

Director Luchino Visconti, pictured, on set of his film ‘Death in Venice,’ which was released in 1971. Sereny took the above photo, and the ‘Death in Venice’ filming was the second time she had taken snaps on a set. The photos she took of one the film’s stars, Italian actress Silvana Mangano, in costume were featured in The Sunday Times Magazine. ‘That’s how everything started for me. It was enormous,’ Sereny recalled

Sereny took this photo of Peter Bogdanovich during the filming of 'At Long Last Love,' a movie that starred Cybill Shepherd and Burt Reynolds and was in theaters in 1975. After Sereny's husband was in a car accident in the late 1960s, she knew that she wanted to pursue a creative outlet and chose photography. This photo and others are part of her book, 'Through Her Lens'

Sereny took this photo of Peter Bogdanovich during the filming of ‘At Long Last Love,’ a movie that starred Cybill Shepherd and Burt Reynolds and was in theaters in 1975. After Sereny’s husband was in a car accident in the late 1960s, she knew that she wanted to pursue a creative outlet and chose photography. This photo and others are part of her book, ‘Through Her Lens’

The first movie set that Eva Sereny was on to take photos was director Mike Nichols' film 'Catch-22,' released in 1970. Throughout his prolific career, Nichols, pictured above on the 'Catch- 22' set, directed such classics as 'The Graduate.' In her book, Sereny recalled how nervous she was to show Nichols her photos: 'I studied his face and didn’t notice a change of expression; until, slowly, a broad smile surfaced. All was well. I was asked to stay on for the last two weeks of shooting as a paid "special photographer" '

The first movie set that Eva Sereny was on to take photos was director Mike Nichols’ film ‘Catch-22,’ released in 1970. Throughout his prolific career, Nichols, pictured above on the ‘Catch- 22’ set, directed such classics as ‘The Graduate.’ In her book, Sereny recalled how nervous she was to show Nichols her photos: ‘I studied his face and didn’t notice a change of expression; until, slowly, a broad smile surfaced. All was well. I was asked to stay on for the last two weeks of shooting as a paid “special photographer” ‘

In one of the most famous scenes of 'Indiana Jones and the Temple of Doom,' star Harrison Ford, playing Jones, cuts the above bridge when he finds himself in a pickle. Sereny took snaps on three of the Indiana Jones films, including this one above with Steven Spielberg, left, and George Lucas, right 

In one of the most famous scenes of ‘Indiana Jones and the Temple of Doom,’ star Harrison Ford, playing Jones, cuts the above bridge when he finds himself in a pickle. Sereny took snaps on three of the Indiana Jones films, including this one above with Steven Spielberg, left, and George Lucas, right 

One of Sereny’s first ‘photo shoots’ was much less glamorous than Paris: she had to take a shot of her husband’s car after an accident.

At around aged 20, Sereny decided to leave London and went to Italy. 

‘I was going to stay there for a few months but I stayed there for 50 years,’ she said and then laughed.

She married an Italian man, who was an engineer, her first year in Rome and they had two children.

One day in 1967, he was on his way to work when his car skidded and went through the side of a bridge.

‘I don’t think he even had a scratch – I don’t know how that happened. He had nine lives, thank God,’ she recalled.

But he wanted a photo of the car, and Sereny said: ‘Maybe that inspired me.’

When the accident happened, Sereny knew that she wanted to do something – she just didn’t know what.

‘I knew I was creative but I couldn’t draw. This is God’s truth, I mean, that’s really (what) I was thinking. Maybe photography – I mean literally like that. But I didn’t even think it would become a metier, I mean a profession,’ she recalled. 

Sereny plunged into photography, getting books and becoming obsessed with developing and printing. 

‘I was really, really raw. I didn’t know anything.’ 

Her first break came from an unlikely source: the Italian Olympic Committee. A good friend was the head of the committee and asked her to take photos at the youth centers they were developing.

Sereny wanted to know if the photos she had taken were any good, and so she hopped on a plane and went to London.

‘I literally just walked into the foyer of The Times.’

At The Times, she met editor Norman Hall, who would take a few days but eventually printed her photos – framing it as future Italian hopefuls for the next Olympics – in the newspaper.

Now Sereny had published photos she could show. Her next break was to be hired as a special photographer for director Mike Nichols’ 1970 film ‘Catch-22.’ In her book, she explained that a special photographer was ‘someone who just comes to the set and sends their work out via their agency – I was with Camera Press at the time – or directly to newspapers and magazines.’

‘The way I like to approach my job is to catch images of the off-moments, when the cameras are not rolling, by focusing on the actors in character, in this way I can still manage to catch the essence of the film,’ she wrote.  

Marlon Brando, above, in a portrait that Sereny took on the film 'Last Tango in Paris,' which was released in 1973. In her book, 'Through Her Lens,' Sereny recounted how she convinced Brando to let her take his picture, telling him that he would get photo approval. But a French magazine, Paris Match, wanted the photos right away and she was unable to show him the images. She wrote: 'All he said was 'Don’t worry, Eva: you make the choice." I was able to gain Brando’s trust in me and my work. What a great feeling!’

Marlon Brando, above, in a portrait that Sereny took on the film ‘Last Tango in Paris,’ which was released in 1973. In her book, ‘Through Her Lens,’ Sereny recounted how she convinced Brando to let her take his picture, telling him that he would get photo approval. But a French magazine, Paris Match, wanted the photos right away and she was unable to show him the images. She wrote: ‘All he said was ‘Don’t worry, Eva: you make the choice.” I was able to gain Brando’s trust in me and my work. What a great feeling!’

In her book, 'Through Her Lens,' Serent wrote: ‘Working with someone like Fellini was extraordinary. He was an artist who worked without brush or palette. He had the unbelievable talent of illustrating everything on the big screen from the characters to the costumes and the atmospheric environments.’ Above, Federico Fellini, right, puts makeup on star Donald Sutherland, left, during the filming of 'Casanova,' released in 1977 

In her book, ‘Through Her Lens,’ Serent wrote: ‘Working with someone like Fellini was extraordinary. He was an artist who worked without brush or palette. He had the unbelievable talent of illustrating everything on the big screen from the characters to the costumes and the atmospheric environments.’ Above, Federico Fellini, right, puts makeup on star Donald Sutherland, left, during the filming of ‘Casanova,’ released in 1977 

Robert Redford, above, in character during the filming of director of Sydney Pollack's film, 'The Electric Horseman,' which was in theaters in late 1979. Sereny told DailyMail.com that she worked at times without an assistant - no small feat when cameras had to be loaded with film - and that she had three cameras around her neck and one in her hand while taking photos

Robert Redford, above, in character during the filming of director of Sydney Pollack’s film, ‘The Electric Horseman,’ which was in theaters in late 1979. Sereny told DailyMail.com that she worked at times without an assistant – no small feat when cameras had to be loaded with film – and that she had three cameras around her neck and one in her hand while taking photos

In 1980, Sereny was assigned to take photos of Luciano Pavarotti for the London Observer Magazine. She went to his home in   Modena, Italy. ‘Larger than life in every way and he commanded attention. Well, he had every right – he was one of the greatest tenors of his time,’ she wrote. Sereny told DailyMail.com: ‘He smoked - I didn’t ask him to smoke’

In 1980, Sereny was assigned to take photos of Luciano Pavarotti for the London Observer Magazine. She went to his home in  Modena, Italy. ‘Larger than life in every way and he commanded attention. Well, he had every right – he was one of the greatest tenors of his time,’ she wrote. Sereny told DailyMail.com: ‘He smoked – I didn’t ask him to smoke’

Sereny took the above photo of Clint Eastwood while he was showing her where he would build his home in Carmel, California in the early 1970s. After beating the incumbent, Eastwood would end up being mayor of Carmel from 1986 until 1988, and has been active in politics, speaking at Republican National Conventions

Sereny took the above photo of Clint Eastwood while he was showing her where he would build his home in Carmel, California in the early 1970s. After beating the incumbent, Eastwood would end up being mayor of Carmel from 1986 until 1988, and has been active in politics, speaking at Republican National Conventions

Above, Robert Redford as the character Jay Gatsby. Sereny took photos on the set of 'The Great Gatsby,' the 1974 film adaption of F. Scott Fitzgerald's classic novel of the same name. The film starred Redford and Mia Farrow as Daisy Buchanan, and was directed by Jack Clayton

Above, Robert Redford as the character Jay Gatsby. Sereny took photos on the set of ‘The Great Gatsby,’ the 1974 film adaption of F. Scott Fitzgerald’s classic novel of the same name. The film starred Redford and Mia Farrow as Daisy Buchanan, and was directed by Jack Clayton

A year or two later, she then took photos on the set of Luchino Visconti’s 1971 film ‘Death in Venice.’ The photos she took of one of the film’s star, Italian actress Silvana Mangano, in costume were featured in The Sunday Times Magazine.

‘That’s how everything started for me. It was enormous,’ she recalled. 

By the times the 1980s rolled around, Sereny had already been the special photographer for several well-known directors and their sets, including Peter Bogdanovich’s 1975 ‘At Long Last Love’ starring Cybill Shepherd and Burt Reynolds.     

Producer Frank Marshall helped her get the gig on the set of ‘At Long Last Love.’

‘He would turn out to become one of my strongest supporters over the years,’ she wrote.

After Marshall joined Steven Spielberg’s team for ‘Raiders of the Lost Ark’ – the first film of the blockbuster Indiana Jones movies – he called her up and asked her to be the special photographer on set.

‘That’s how an extraordinary adventure began for me,’ Sereny wrote.

Sereny took snaps on three of the films: ‘Raiders of the Lost Ark,’ released in 1981, ‘Indiana Jones and the Temple of Doom,’ out in theaters in 1984, and ‘Indiana Jones and the Last Crusade,’ released in 1989. She traveled to sets in Tunisia, Sri Lanka, and Marbella in Spain.

‘Of course, working on a Spielberg movie is something very special. Just seeing Steven direct is fascinating,’ she wrote.

Sereny used to shoot with four cameras: two for black and white, and two for color. Three would be slung around her neck, the fourth in her hand. She often worked without an assistant during a time when cameras needed their film loaded.

‘I always wanted to be quick,’ she said about the four cameras. ‘You just had to feel which one was right.’

Adding with a laugh: ‘I don’t know how I did it. I really don’t.’

Sereny pegged her incredible career to luck and being ready when opportunities arose.

‘It’s been a very strange journey doing this book,’ she told DailyMail.com.

‘It was an extraordinary journey because many of the times I could not remember… how, when I did do these things. I sometimes think, “Good God, I did that?” ‘

In the spring of 1971, Sereny got a call from actress Romy Schneider whom she had just met a few days earlier on the set of Joseph Losey’s film ‘The Assassination of Trotsky,’ and asked if Sereny would take photos of her. ‘My heart skipped a beat. Romy Schneider was asking to have a photo session with me! This was a very unusual situation. It’s usually the other way around,’ Sereny wrote in her book, 'Through Her Lens.'  Above is one of the images of Romy Schneider from that photo shoot, which Sereny wrote lasted until 5am

In the spring of 1971, Sereny got a call from actress Romy Schneider whom she had just met a few days earlier on the set of Joseph Losey’s film ‘The Assassination of Trotsky,’ and asked if Sereny would take photos of her. ‘My heart skipped a beat. Romy Schneider was asking to have a photo session with me! This was a very unusual situation. It’s usually the other way around,’ Sereny wrote in her book, ‘Through Her Lens.’  Above is one of the images of Romy Schneider from that photo shoot, which Sereny wrote lasted until 5am

An image of actress Raquel Welch taken in the late 1980s

Actress Raquel Welch in a photo taken in the late 1980s

While shooting on film sets, Sereny said she tried to be as unobtrusive as possible – and did not take photos during filming. Even so, there were snafus. When she started taking photos on the set of director Herbert Ross’ ‘The Last of Sheila,’ released in 1973, Raquel Welch, she recalled, ‘shouted at me, “Who the hell are you?” ’ Ross, the director, come to Sereny’s side and let Welch know that she was alright to be on set. ‘I don’t want her here. I don’t want her here,’ Welch said. Sereny said she then ‘disappeared. So that was my first encounter with Raquel.’ But later on the two became good work friends. Above, actress Raquel Welch in photos Sereny took in the late 1980s

Sereny worked with actress Raquel Welch again after an inauspicious start. ‘I was very worried that she would remember me. But she didn’t remember me and I never told her,’ she said and then laughed. Sereny said that they are now great work friends, and she has taken many images, including the one above of the actress

Sereny worked with actress Raquel Welch again after an inauspicious start. ‘I was very worried that she would remember me. But she didn’t remember me and I never told her,’ she said and then laughed. Sereny said that they are now great work friends, and she has taken many images, including the one above of the actress

Eva Sereny photographed many Hollywood legends on film sets during the 1970s and 1980s

The cover of 'Through Her Lens: The Stories Behind the Photography of Eva Sereny' featuring an image of Mia Farrow as the character Daisy Buchanan in the 1974 film 'The Great Gatsby'

Photographer Eva Sereny, left, has taken images of numerous Hollywood legends – directors and actors – throughout her stellar career. Her film set photos are now part of her recent book: ‘Through Her Lens: The Stories Behind the Photography of Eva Sereny.’ On the right, is the cover of Sereny’s book featuring an image of Mia Farrow as the character Daisy Buchanan in the 1974 film ‘The Great Gatsby’

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