Dave Gilmour of Pink Floyd.

‘Give Me The Film’

Pink Floyd

Knebworth, UK, 1975

I reached the front door of an old church. There were no signs, but I figured that this must be the place. I pressed the intercom and a lady answered:

“Hello?”

“Hello there, I just did the sandwich on the frungle, if you please?” I mumbled into my hand, breaking up the sound.

“Sorry?”

“I’ve got the fishcake, for the flaber on the ge’etz. Blumberblub” “Sorry, I can’t understand what you’re saying.”

Thinking there was something wrong with the intercom, she pushed the buzzer and told me to come up. I was in.

As I entered, I introduced myself and asked if they needed a photographer. I was told no, quite bluntly, and invited to leave again. A couple of weeks later, I had another go. More gibberish and up I went. This happened a few times, with the same conclusion each time.

Until, on one occasion, in an exasperated attempt to get rid of me, she agreed to make a note of my pager number – before the days of mobile phones, of course. A few months later and my pager went... Linda Stanbury at Britannia Row wanted me to call her immediately. So, I did.

“Where are you and have you got your cameras with you?”

I said I was a mile away and yes, I always had my cameras. It turned out that the band were there with some newly presented gold discs, but the EMI photographer hadn’t turned up! I told her I could be there in five minutes and I ran the whole way.

After all that, it was a few quick shots with the band who (thinking I was the EMI photographer who had stood them up) were a bit stroppy with me and then they swiftly departed without saying much. It was then that Linda asked me for the film… I said no. Irritated, she demanded I hand it over, as she needed to get it to the band’s manager, Steve O’Rourke.

“I’ll take it to him.” I said. Insistent, she said it was going by cab. “I’ll go in the cab then.” And so, I was off to New Bond Street.

O’Rourke’s offices blew me away. A proper, plush, ‘Rock ‘n’ Roll’ Manager’s office, with gold discs plastered across the walls. When the receptionist asked who I was, I explained and, just as Linda did, she asked for the film. I politely told her no, as I wished to speak to the manager.

She explained that he was busy and that it wasn’t necessary, but I refused. Before long, an impatient Steve O’Rourke marched in, asked “Where is he?” and stood in front of me. Just as with the others, he asked for the film. I said no. He asked again, increasingly displeased. I said no. Then, a pause.

“Give me the film.”

“Can I come and photograph the band at Knebworth?”

“…No.” I asked again, but he explained that it had all already been sorted and that there was no chance. Again, he asked for the film and so we had a stand-off.

“…Please?” I smiled, as he glared at me. After a tense silence, he broke into laughter.

“Bloody hell. Fine!” Shaking my hand, he agreed to give me an official photo pass in exchange for the film. A couple of weeks later, I arrived at Knebworth and began my collaboration with Pink Floyd.

Copyright Danny Clifford

This limited edition unframed print ( 17.5” x 15.5 - 44.5cm x 39.5cm ) will be numbered somewhere between 1-500 per size, subject to availability. All prints are produced with the very finest archival, acid-free museum paper.

Our Fine Art prints are produced on museum-quality, acid-free archival paper. We only use the very finest quality paper, for a combination of aesthetic perfection and ensured longevity. As such, we have selected Epson as our printing partner. We use top-of-the-range Epson printers and Epson UltraChrome ink. This combination produces, what we think are the finest Giclée prints available.

Each print is delivered in an acid-free wrap and we also supply a pair of cotton, museum gloves for further handling. You will also receive guidance on how best to preserve and protect your artwork, including recommendations for mounting and framing. If you have any further questions about maintaining or displaying your print, feel free to get in touch via the contact page.