WEBVTT - The Sit-Down with Corinne Dubreuil

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<v Speaker 1>Hi everyone, and welcome to another episode of the sit Down.

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<v Speaker 1>I'm Matt Trolope from ozopen dot Com.

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<v Speaker 2>And I'm viv Christie from Australian Tennis magazine and Matt.

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<v Speaker 2>This week we delve into the life of an award

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<v Speaker 2>winning tennis photographer who is currently hard at work at

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<v Speaker 2>Roland Garross. Tell us more about your interview with Krinjibra.

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<v Speaker 1>Yeah, it was great to chat to her just before

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<v Speaker 1>Roland Garross qualifying started, So she's doing i think her

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<v Speaker 1>thirty eighth consecutive Roland Garross working for the French Tennis

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<v Speaker 1>Federation Photography Team. I was lucky enough for a couple

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<v Speaker 1>of years to work with Karin when I did some

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<v Speaker 1>work with the FFT. One of the best tennis photographers

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<v Speaker 1>in the world and has won lots of awards, and

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<v Speaker 1>I was very lucky to get a little bit of window,

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<v Speaker 1>a free time for her because it's coming into a

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<v Speaker 1>busy period.

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<v Speaker 2>Yeah, it was a fascinating interview. Karinn starts by telling

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<v Speaker 2>us how she got started in her dream tennis career.

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<v Speaker 1>Can you take us back to nineteen eighty seven. What

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<v Speaker 1>do you remember about your first Roland Garross.

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<v Speaker 3>So eighty seven. I was sixteen years old, so at

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<v Speaker 3>this time it was very easy to buy tickets. You know,

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<v Speaker 3>to have a general ticket to be able to go

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<v Speaker 3>on nearly every court. So I bought my ticket, took

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<v Speaker 3>my camera with me, and I went to Onlong House.

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<v Speaker 3>I was living in the suburb of Paris, so I

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<v Speaker 3>took the train and everything. When I arrived, I remember

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<v Speaker 3>that I went to the corner Merojuan number one court,

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<v Speaker 3>who is not there anymore. I loved that court. It

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<v Speaker 3>was one of the best, maybe the best in the world.

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<v Speaker 3>And at that time, Chris Evart, Chris Evert was playing

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<v Speaker 3>on that court, and I was watching her and said, wow,

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<v Speaker 3>I like her. She's great. And at the end of

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<v Speaker 3>the match, I said, okay, I would like to get

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<v Speaker 3>an autograph from her. But I didn't know how, so

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<v Speaker 3>I tried to know where she was staying in Paris.

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<v Speaker 3>I found it. I found a hotel. I went there.

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<v Speaker 3>I was waiting with other people, and then she when

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<v Speaker 3>she arrived and I asked her an autograph and everything,

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<v Speaker 3>and then I don't know how, we started to talk

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<v Speaker 3>and every day more and at the end of the tournament,

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<v Speaker 3>I got her shoes from her last match in Rongos.

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<v Speaker 3>She gave me her shoes, and she gave me a

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<v Speaker 3>phone number in Florida, and like this, I was able

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<v Speaker 3>to call her like hello, this is Coren from Paris

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<v Speaker 3>to get tickets to go anywhere. So I went to Wimbledon,

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<v Speaker 3>to US Open, to Germany, and Christy gave me tickets

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<v Speaker 3>to enter the tournaments. That's how it started. And when

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<v Speaker 3>I was traveling to tournaments, I was taking pictures okay,

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<v Speaker 3>of players at practice on court, and I was selling

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<v Speaker 3>that pictures through a little how do you say in magazine?

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<v Speaker 3>You could put some word and say selling Diffron ten

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<v Speaker 3>Francs or pictures, pictures of Agacy, graph Baker, Chris Evert

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<v Speaker 3>and everything. And with that money I was able to travel.

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<v Speaker 1>Wow, it is a fantastic story. I read that even earlier,

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<v Speaker 1>when you were fourteen, I think you were Were you

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<v Speaker 1>playing tennis as a teenager and you wanted to be

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<v Speaker 1>a photographer? Is that correct?

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<v Speaker 3>Yes, that's correct. I think I started playing badly tennis

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<v Speaker 3>at six or seven. I spent all my weekends and

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<v Speaker 3>at the tennis club. You know, I loved the game

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<v Speaker 3>and play in a team or individual or everything. I

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<v Speaker 3>loved the competition, but I was not good. And my

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<v Speaker 3>uncle was a photographer, but not professional, just amateur. And

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<v Speaker 3>when I was like, I think around eleven, he just

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<v Speaker 3>gave me his camera and I said, wow, that's nice. Nice,

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<v Speaker 3>this toy is amazing. I can change the lands. And

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<v Speaker 3>and I remember really that I went to my parents

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<v Speaker 3>and said, I will be a tennis photograph. Yes, I

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<v Speaker 3>will be a tennis photographer. That's what I want to do.

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<v Speaker 3>And years after the dream came true, and yeah, that's

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<v Speaker 3>that's swet. I was eleven, I think when I told

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<v Speaker 3>my parents what I would like to do in my life.

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<v Speaker 3>Because after eighty seven I was still going to school,

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<v Speaker 3>of course, but I was so so and I badly

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<v Speaker 3>wanted to make my dream come true to be a photographer. So,

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<v Speaker 3>as I told you, I traveled a lot, not a lot,

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<v Speaker 3>but a little, you know, in Berlin US opening staff

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<v Speaker 3>and I was taking pictures and one day I met

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<v Speaker 3>a guy who was working at the French tennis magazine

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<v Speaker 3>and he said, he told me, why don't you bring

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<v Speaker 3>your pictures to the magazine and you will see what happened.

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<v Speaker 3>So that's what I did in eighty seven, and my

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<v Speaker 3>pictures were published few of them at the beginning, one

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<v Speaker 3>by one, one by one. And three years after, in

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<v Speaker 3>nineteen ninety, I had a phone call from Tennis Magazine saying, Colin,

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<v Speaker 3>we have a job for you if you want to

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<v Speaker 3>be a photographer and also an editor. It starts in

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<v Speaker 3>September ninety. So if you want, that's for you, I say,

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<v Speaker 3>but this is my train. So I went to the

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<v Speaker 3>US Open in ninety nineteen nineteen, and when I come back,

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<v Speaker 3>I remember that my mother came to the airport and

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<v Speaker 3>drove me directly to Tennis Magazine. So I started my

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<v Speaker 3>job at Tennis Magazine. I was nineteen years old. I

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<v Speaker 3>stayed there for thirty years. I learned everything with another guy,

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<v Speaker 3>which name is ser He was like my mentor. And

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<v Speaker 3>after thirteen years, for different reasons, I really thought that's

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<v Speaker 3>the time to live and to go by yourself. That's

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<v Speaker 3>what I did and since then, So it was in

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<v Speaker 3>twenty or three. At the end of twenty or three,

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<v Speaker 3>I started to be freelance. And I'm still freelance.

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<v Speaker 1>And you're still freelancing. Oh, it's incredible. I love. Not

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<v Speaker 1>many people can say they are living their dream.

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<v Speaker 3>But yeah, I mean sometimes you get bored with work

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<v Speaker 3>with it's hard, it's long days. But I say, please quiet,

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<v Speaker 3>you're living your dream. Don't forget that. That's so amazing

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<v Speaker 3>to be able to leave your dream. So no, I

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<v Speaker 3>know I'm lucky, but it didn't happen Like you know,

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<v Speaker 3>I push to be there. I mean I did what

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<v Speaker 3>I had to do to be where I am.

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<v Speaker 1>Today, and you worked hard to make it happen. It

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<v Speaker 1>doesn't just land in your lap. I know you've done

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<v Speaker 1>other projects and worked in other spaces, but tennis is

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<v Speaker 1>your main one. So what is it about tennis that

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<v Speaker 1>captivates you?

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<v Speaker 3>I love the game first, and I think sports in

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<v Speaker 3>general brings you emotion, like emotion you can get in

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<v Speaker 3>your life, and tennis because that was the sport I

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<v Speaker 3>was doing. So I like the emotion and I like

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<v Speaker 3>the players. I like the game and the emotion that

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<v Speaker 3>that specific sport brings you.

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<v Speaker 1>Yeah, that's amazing. What is a typical day at Roland Garris?

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<v Speaker 1>Like for you? When do you arrive? What are the

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<v Speaker 1>kinds of things you have to do? Where do you go?

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<v Speaker 1>What do you have to bring with you? How many

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<v Speaker 1>steps do you do? Like it must be a big duy.

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<v Speaker 3>So Roloaos is a little bit different than the other

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<v Speaker 3>tournaments the other Slams I cover because at Honongawos I

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<v Speaker 3>work for Ronongawos and the French Federation, so I work

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<v Speaker 3>in a team. I love it. This is the only

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<v Speaker 3>time of the year that I work with other photographers,

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<v Speaker 3>so we are like ten photographers for Hongawos and each

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<v Speaker 3>of us has to do something special. So on Monday

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<v Speaker 3>we have a meeting at nine all together. It will

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<v Speaker 3>be nice because we are back together for three weeks

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<v Speaker 3>and since last year I'm doing behind the scenes and

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<v Speaker 3>everybody has something to do, the qualities, the practice, and

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<v Speaker 3>so I will be in the corridors. I will I

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<v Speaker 3>love it. It's very nice. You have to be patient. This

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<v Speaker 3>is not my best part. And from Sunday I will

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<v Speaker 3>have one main court and like two or three co

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<v Speaker 3>ops around and I will cover all the games and

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<v Speaker 3>send my pictures to the editor because they are publishing

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<v Speaker 3>pictures in real time, you know, the socials, media and everything,

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<v Speaker 3>so I don't have to edit the pictures myself, which

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<v Speaker 3>is very different than the other slams. The other slams,

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<v Speaker 3>at the end of the day, I go to my

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<v Speaker 3>computer download three thousand pictures and edit them and then

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<v Speaker 3>send them to my clients. So at Tronong Gaos, I

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<v Speaker 3>don't have this part. I only should, which is much

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<v Speaker 3>more comfortable.

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<v Speaker 1>Okay, that's interesting. I was going to ask you about

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<v Speaker 1>working at the other slams. What makes their unique? Do

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<v Speaker 1>you like them as well? Or is Roland Garross your favorite?

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<v Speaker 1>Like I know that the story is with slams. They

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<v Speaker 1>all have their own thing that makes them special. So

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<v Speaker 1>how do you feel about them when you visit all

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<v Speaker 1>the other Grand Slams?

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<v Speaker 3>So it's not because you're Australian mad. But I love

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<v Speaker 3>the Australian Open really for different reasons. I love the side,

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<v Speaker 3>the site, I love all. I mean, how we can

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<v Speaker 3>work there. It's very easy, very easy, and it's also

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<v Speaker 3>summer time in January, when in France it's winter time,

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<v Speaker 3>so I'm always excited to travel, even if it's a

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<v Speaker 3>long travel to Australia. So I really like it. Okay,

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<v Speaker 3>I would say my favorite. My favorite one is Horus

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<v Speaker 3>because it's Veries, because I don't it's in my heart.

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<v Speaker 3>But I love Australian Open. I like Wimbledon, even if

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<v Speaker 3>even if it's not as nice to work there because

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<v Speaker 3>of because we don't have so many angles. We it's

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<v Speaker 3>very uh restricted, you know, photographers cannot go everywhere, so

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<v Speaker 3>after one week you are like going in a circle,

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<v Speaker 3>always doing the same thing. But it's it's nice, it's green,

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<v Speaker 3>it's you don't have any ads on the background, so

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<v Speaker 3>it's nice also. And the US Open I like it,

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<v Speaker 3>even if the roof, the new roof is is not

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<v Speaker 3>good for us because we don't have light on center anymore,

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<v Speaker 3>you know, you have you can't see the circle, so

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<v Speaker 3>it's a bit different. You know before years ago after

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<v Speaker 3>six pm you had like an amazing light on this court,

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<v Speaker 3>on these courts because they have the more roof, but

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<v Speaker 3>they are all unique and different. But I would say

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<v Speaker 3>Australia Open are my favorites?

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<v Speaker 1>Yes, well that's fantastic. I'm sure you get asked this

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<v Speaker 1>question a lot, But who have been your favorite players

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<v Speaker 1>to photograph?

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<v Speaker 3>So I think we have been very, very very lucky

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<v Speaker 3>to have these three amazing players, Rafa, Roger Novak and

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<v Speaker 3>I will add Serena. Okay, So for me, if I

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<v Speaker 3>had to pick only one or two names, I would

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<v Speaker 3>say Rafa and Serena. Every time they play it's I

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<v Speaker 3>know that I will have fun. I will enjoy to

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<v Speaker 3>photograph them. There is something happening, you know, the emotion,

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<v Speaker 3>the power of the game and the personality. I mean,

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<v Speaker 3>how there. I love them. So I miss Serena and

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<v Speaker 3>I will miss Rafa very soon.

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<v Speaker 1>Also, yes, and I understand that you have won an

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<v Speaker 1>award for your coffee type of book. You did a

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<v Speaker 1>iconic twenty years of Rafa and the Dove photography.

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<v Speaker 3>Yes, yeah, first picture is from two thousand and four,

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<v Speaker 3>I think. And the first memory I have of Rapha

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<v Speaker 3>was in Alikonte in Spain during Davis's Cup. It was

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<v Speaker 3>against France. He was very young, I think it was

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<v Speaker 3>to two thousand and four, and he was already a fighter,

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<v Speaker 3>and I say, wow, that guy is great. And also

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<v Speaker 3>I remember in Kibiskane two thousand and four he met

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<v Speaker 3>Roger for the first time and I had this picture

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<v Speaker 3>that check hand at the end, and that's the first

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<v Speaker 3>picture of both of them.

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<v Speaker 1>So he won an award for that book. I just

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<v Speaker 1>was kind of curious about how that all came to be.

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<v Speaker 1>And I saw that you post there's a photo of

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<v Speaker 1>you with him and the book.

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<v Speaker 3>As you understood, Rapha is my favorite in my heart.

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<v Speaker 3>So I had the chance to photograph him for twenty years,

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<v Speaker 3>and I remember that I had this idea of making

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<v Speaker 3>a book about him in twenty twelve, I think. So

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<v Speaker 3>I did something myself and I show it to his

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<v Speaker 3>team and they said, well it's a bit earlier. We wait, wait, okay,

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<v Speaker 3>So I already have I always had that in my head.

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<v Speaker 3>And two years ago a friend of mine, a journalist,

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<v Speaker 3>did a book about Rafa, but a writing book, and

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<v Speaker 3>he said, okay, I would like to get you photographed

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<v Speaker 3>in my book. Are you okay? I say yes, of course.

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<v Speaker 3>So I had the opportunity to meet the editor of

0:14:37.560 --> 0:14:41.960
<v Speaker 3>that book and we talked and he said I love Rafa.

0:14:41.960 --> 0:14:44.120
<v Speaker 3>I said, but I love Rafa. My dream is to

0:14:44.160 --> 0:14:47.680
<v Speaker 3>make a book about Rafa. And the guy say, let's

0:14:47.680 --> 0:14:51.600
<v Speaker 3>do it. So it started like that. So it's a

0:14:51.640 --> 0:14:56.680
<v Speaker 3>French editor in Paris, and I told him, okay, I

0:14:56.720 --> 0:15:00.320
<v Speaker 3>want to do a book, a book, a specially one

0:15:00.360 --> 0:15:03.640
<v Speaker 3>I don't want. I want a book with pictures only

0:15:03.880 --> 0:15:07.400
<v Speaker 3>about Rafa. I don't want to tell his story. I

0:15:07.440 --> 0:15:11.280
<v Speaker 3>want to show artistic pictures and I want to choose

0:15:11.800 --> 0:15:14.640
<v Speaker 3>all of them and to be there when you do

0:15:14.760 --> 0:15:19.760
<v Speaker 3>the the frame and everything. So it's a great story

0:15:19.800 --> 0:15:22.840
<v Speaker 3>because when I had this book in my hands.

0:15:23.240 --> 0:15:24.600
<v Speaker 1>Wow, it's a huge book.

0:15:24.640 --> 0:15:28.560
<v Speaker 3>It's more than three kilos, and it was even better

0:15:28.640 --> 0:15:32.840
<v Speaker 3>when all than all my thoughts. So I was very

0:15:32.840 --> 0:15:38.000
<v Speaker 3>happy and very proud of it. And the editor was

0:15:38.040 --> 0:15:42.880
<v Speaker 3>selected by there is a contest with books, you know,

0:15:43.040 --> 0:15:46.720
<v Speaker 3>all books of the year, and that book was selected.

0:15:47.080 --> 0:15:51.520
<v Speaker 3>So we went to Monte Carlo for the party the

0:15:51.680 --> 0:15:57.480
<v Speaker 3>night with the price, you know, and we won. And

0:15:57.560 --> 0:15:59.360
<v Speaker 3>that was iconic Rapha.

0:16:00.080 --> 0:16:03.080
<v Speaker 1>And it was yours. It's so good. I love it,

0:16:03.120 --> 0:16:05.400
<v Speaker 1>and I love that he got to have his copy

0:16:05.680 --> 0:16:08.960
<v Speaker 1>and see your vision come to the product, the three

0:16:09.000 --> 0:16:12.120
<v Speaker 1>kilo book in his hand. It's great. You told me

0:16:12.200 --> 0:16:15.760
<v Speaker 1>about a photo in Miami in two thousand and four

0:16:15.800 --> 0:16:18.160
<v Speaker 1>with Federer and Nadal together, which is one of the

0:16:18.160 --> 0:16:20.720
<v Speaker 1>first photos of them together. And obviously all the photos

0:16:20.720 --> 0:16:23.960
<v Speaker 1>in the Wraffa book. You've taken millions of photos. Do

0:16:24.040 --> 0:16:25.880
<v Speaker 1>you have a favorite.

0:16:26.960 --> 0:16:30.840
<v Speaker 3>One? Is not easy? I will know. I we thought

0:16:30.880 --> 0:16:34.040
<v Speaker 3>about a special one. I think I want a prize

0:16:34.040 --> 0:16:37.200
<v Speaker 3>also with that one. It's not Raphie, it's not Roger,

0:16:37.280 --> 0:16:40.040
<v Speaker 3>it's sulting ends. It was at the US Open. I

0:16:40.080 --> 0:16:43.200
<v Speaker 3>don't remember when, like five or six years ago, and

0:16:43.320 --> 0:16:49.440
<v Speaker 3>the Bryan brothers were playing the final. Okay, and as

0:16:49.480 --> 0:16:52.760
<v Speaker 3>we all know, at the end of any match they won,

0:16:53.240 --> 0:16:54.720
<v Speaker 3>they win, they.

0:16:54.640 --> 0:16:57.640
<v Speaker 1>Jump and do their things, the chest pump.

0:16:57.920 --> 0:17:01.360
<v Speaker 3>Yes, let's do it. So I went up in the

0:17:01.400 --> 0:17:05.080
<v Speaker 3>stadium and said, I want to get this moment to

0:17:05.080 --> 0:17:09.480
<v Speaker 3>photograph it. And when I was up in the stadium,

0:17:09.520 --> 0:17:12.440
<v Speaker 3>I saw all the photographers at the same place. I said, no, no,

0:17:12.560 --> 0:17:16.280
<v Speaker 3>I'm going to move away, go in a different place.

0:17:17.119 --> 0:17:22.600
<v Speaker 3>So they won, They jumped and they threw the racket. Okay,

0:17:23.960 --> 0:17:28.800
<v Speaker 3>the racket was perfectly on court, and in my camera

0:17:28.920 --> 0:17:31.080
<v Speaker 3>I could see the racket because I was focusing on

0:17:31.160 --> 0:17:38.199
<v Speaker 3>the rackets, and suddenly the shadows of the brother came in.

0:17:38.240 --> 0:17:44.399
<v Speaker 3>My friend, and you have these shadows. They look the same,

0:17:44.960 --> 0:17:48.320
<v Speaker 3>really the same, and the rackets on the blue court.

0:17:48.960 --> 0:17:52.600
<v Speaker 3>So it's one of my favorite pictures because I I

0:17:52.800 --> 0:17:57.680
<v Speaker 3>tried something different and it worked better than expected.

0:17:58.040 --> 0:18:01.119
<v Speaker 1>Yes, obviously you've Macro said it. You've met rafa on Nadal.

0:18:01.680 --> 0:18:03.439
<v Speaker 1>In your job, you are getting close to the players.

0:18:03.440 --> 0:18:05.680
<v Speaker 1>Have you gotten a chance to meet players or made

0:18:05.720 --> 0:18:09.600
<v Speaker 1>relationships with players like the ones with Raffa and Chris Effett.

0:18:10.359 --> 0:18:13.600
<v Speaker 3>The French guys of course, the French players women and

0:18:13.720 --> 0:18:17.240
<v Speaker 3>men because of the language. Because you're David's cup, fat cup,

0:18:17.320 --> 0:18:24.879
<v Speaker 3>it's easier. And I think Serena is and maybe also

0:18:25.440 --> 0:18:31.040
<v Speaker 3>sharp over these two are the ones I didn't have

0:18:31.119 --> 0:18:36.120
<v Speaker 3>the chance to photograph, like one to one, I think

0:18:36.160 --> 0:18:42.720
<v Speaker 3>I should everybody, all of them except Serena and in Maria.

0:18:43.400 --> 0:18:47.440
<v Speaker 3>So for me, Serena is like on a stage that

0:18:47.480 --> 0:18:51.119
<v Speaker 3>you cannot reach. You know, each time I had the

0:18:51.560 --> 0:18:56.480
<v Speaker 3>chance to see her or to I'm very impressed. I mean,

0:18:56.480 --> 0:19:04.280
<v Speaker 3>she's wow, you know. So despite these two players, Maria

0:19:04.320 --> 0:19:09.520
<v Speaker 3>and Serena, I think I had a chance to photograph

0:19:09.600 --> 0:19:12.720
<v Speaker 3>all of them, not to know them. But you know,

0:19:13.280 --> 0:19:17.640
<v Speaker 3>with the yours, the players are used to see you

0:19:17.640 --> 0:19:22.840
<v Speaker 3>on tour, and I think it's for them. It's how

0:19:22.840 --> 0:19:24.800
<v Speaker 3>do you say.

0:19:24.560 --> 0:19:27.800
<v Speaker 1>Yes they recognize you and yes they get confident.

0:19:28.240 --> 0:19:31.240
<v Speaker 3>You know, they know I will never do something bad.

0:19:32.040 --> 0:19:34.439
<v Speaker 3>So no, it's nice. You know when you when you

0:19:34.520 --> 0:19:40.000
<v Speaker 3>see Novak or Rafa, they always say hello, Bojo or

0:19:40.760 --> 0:19:43.080
<v Speaker 3>no they and they are all very nice, but it

0:19:43.240 --> 0:19:46.960
<v Speaker 3>takes time to be in this little world to be

0:19:47.119 --> 0:19:52.159
<v Speaker 3>recognized as someone I would say of the family, you

0:19:52.200 --> 0:19:52.760
<v Speaker 3>know what I mean?

0:19:53.040 --> 0:19:57.560
<v Speaker 1>Yes, like any industry respectful. Yes. So, going back to

0:19:57.560 --> 0:19:59.920
<v Speaker 1>the beginning of the interview, you said you are living

0:20:00.080 --> 0:20:03.280
<v Speaker 1>your dream. So are there any other dreams you would

0:20:03.280 --> 0:20:05.639
<v Speaker 1>like to achieve? Any other things you would like to

0:20:05.640 --> 0:20:07.639
<v Speaker 1>do with your photography or places you would like to

0:20:07.680 --> 0:20:10.600
<v Speaker 1>go in your career that maybe you haven't tried or

0:20:10.680 --> 0:20:13.760
<v Speaker 1>experienced yet.

0:20:13.840 --> 0:20:17.000
<v Speaker 3>It's not a dream, but it's it's a kind of

0:20:17.040 --> 0:20:22.760
<v Speaker 3>a dream. So I'm getting old. Old, it's fine, but

0:20:23.480 --> 0:20:27.880
<v Speaker 3>it's a job that asks you to be in good shape.

0:20:28.280 --> 0:20:32.520
<v Speaker 3>You have you old twenty kilos on your back for

0:20:32.840 --> 0:20:36.760
<v Speaker 3>fifteen hours a day for two weeks, so it's tough.

0:20:37.320 --> 0:20:41.000
<v Speaker 3>So I think in a few years, I don't know

0:20:41.040 --> 0:20:44.879
<v Speaker 3>how many, but shure years I will go slowly, you know.

0:20:45.359 --> 0:20:50.240
<v Speaker 3>And one of my dream would be to open a gallery,

0:20:51.520 --> 0:20:57.879
<v Speaker 3>a photo gallery with maybe pictures of tennis, but I

0:20:58.240 --> 0:21:03.320
<v Speaker 3>really enjoyed going on the beach and photographs the ocean,

0:21:03.720 --> 0:21:08.280
<v Speaker 3>the light to send the surfers and all that stuff.

0:21:08.640 --> 0:21:13.080
<v Speaker 3>So I would like one day to open a small gallery.

0:21:13.440 --> 0:21:17.280
<v Speaker 3>You know what, I saw one in Sydney. What is

0:21:17.320 --> 0:21:18.720
<v Speaker 3>the name of that famous beach?

0:21:19.080 --> 0:21:20.639
<v Speaker 1>Bon Die Bon Dye.

0:21:20.720 --> 0:21:24.560
<v Speaker 3>In Bon Dy, there is a gallery. I don't remember

0:21:24.600 --> 0:21:27.480
<v Speaker 3>the name now. I was working in the street and say, oh,

0:21:28.320 --> 0:21:31.359
<v Speaker 3>this is what I want. It was a corridor and

0:21:32.200 --> 0:21:36.800
<v Speaker 3>the guide. The photographer's shooting the beach every day and

0:21:36.840 --> 0:21:40.240
<v Speaker 3>he sells pictures of that beach. And he said, that's

0:21:40.280 --> 0:21:44.479
<v Speaker 3>what I want to do in ten fifteen years. So

0:21:44.560 --> 0:21:49.119
<v Speaker 3>that would be nice to live in garrets, relax, play golf,

0:21:49.600 --> 0:21:54.560
<v Speaker 3>enjoy my friends, and have this gallery selling the pictures

0:21:54.560 --> 0:21:58.639
<v Speaker 3>of barrets and maybe pictures of four years, you know,

0:21:58.680 --> 0:21:59.800
<v Speaker 3>the players and everything.

0:22:00.320 --> 0:22:01.800
<v Speaker 1>That sounds delightful.

0:22:01.920 --> 0:22:04.680
<v Speaker 3>And I have one last thing to tell you.

0:22:04.880 --> 0:22:05.879
<v Speaker 1>Oh please tell me.

0:22:07.520 --> 0:22:11.600
<v Speaker 3>We mentioned the iconic Nadad and I'm very happy to

0:22:11.640 --> 0:22:18.080
<v Speaker 3>tell you that I'm working on another iconic, iconic ferrier

0:22:18.920 --> 0:22:23.240
<v Speaker 3>will be available in October twenty four.

0:22:23.520 --> 0:22:27.280
<v Speaker 1>Wow, that's coming up soon. Yes, our congratulations. That's exciting.

0:22:27.640 --> 0:22:30.560
<v Speaker 3>And that time it will be French and English, so

0:22:30.640 --> 0:22:35.159
<v Speaker 3>it would be good for everybody.

0:22:35.760 --> 0:22:39.520
<v Speaker 2>Great interview, Matt, Congratulations. Next time we stop and appreciate

0:22:39.560 --> 0:22:41.960
<v Speaker 2>a great tennis photo, we'll also think about the hard

0:22:41.960 --> 0:22:44.720
<v Speaker 2>work that goes into capturing that one single moment.

0:22:44.880 --> 0:22:47.000
<v Speaker 1>And I was really intrigued when she talked about that

0:22:47.040 --> 0:22:49.520
<v Speaker 1>photograph she took of the Brians at the US Open.

0:22:49.600 --> 0:22:52.159
<v Speaker 1>I hadn't seen that, so I would recommend people to

0:22:52.200 --> 0:22:57.040
<v Speaker 1>google Coringe Broil, Brian Brothers US Open and it'll come up,

0:22:57.240 --> 0:22:59.320
<v Speaker 1>and it is. It's a work of art what she

0:22:59.400 --> 0:23:02.200
<v Speaker 1>did there. And we'll be back next week with another

0:23:02.240 --> 0:23:05.120
<v Speaker 1>episode of The sit Down, where our colleague Luke Dennehy

0:23:05.280 --> 0:23:09.240
<v Speaker 1>catches up with nineteen eighty eight Roland Garros semifinalist Nicole Bradkitt.

0:23:09.800 --> 0:23:11.639
<v Speaker 1>In the meantime, you can tune into John of the

0:23:11.640 --> 0:23:13.320
<v Speaker 1>Team this Thursday on the AO Show.

0:23:13.320 --> 0:23:15.679
<v Speaker 2>Weekly details for how to contact us are in the

0:23:15.720 --> 0:23:19.439
<v Speaker 2>show notes. Remember to subscribe, rate and review. See you

0:23:19.440 --> 0:23:20.680
<v Speaker 2>next week, Matt ce viv