Joe Marvullo

“She glided into the studio, looked around, approved and proceeded to take it over. She walked around gazing at the lights, the furniture and most importantly the pictures that were hanging in frames and the magazine and book covers that covered the front entrance. “

“Gia and I shared the philosophy that we would rather shoot, fast and wild, feel the moment, make the moment, steal the moment. That’s what it’s really all about. The image on film is the “through the looking glass” result of the medium. Nothing is real but everything is true. The pictures must be genuine, original and evoke an emotional response.”

“Gia was a consummate artist, a little mad, a lot of balls, a great deal of raw natural talent and most especially, a processor of sex appeal, the American culture’s natural produce. She was the first model to make it big and have it all and not give a damn. “

“I believe Gia’s attitude was based on one fact, she knew she could deliver the goods when she wanted and deliver them she did with a vengeance. As her quick rise and demise took place in the annals of the international world of glamour, her look and her posturing changed the solidly straight sphere of serious business and stood it on its uptight ear.”

“They can still hear her laughing. It wasn’t the death of a Supermodel that was her real claim to fame, it was the pain she endured, the photographs she brought to life that are her legacy.”

“Calling Gia a model is a misnomer, she was a superb born actress, a mime, a user of space. Being gorgeous certainly didn’t hurt, the camera loved her more than some of her friends, perhaps that, in the end for posterity, is what really counts.”

“In Gia’s case, a beautiful body that had a body of work to show made her a muse of model madness, a messenger of magical moments. She could strike the pose, dance around the set and give the look that disarms.”

“When she was on, she was into total concentration and zeal projecting an overpowering presence. She could be called a Zen-Model, at peace with her talent, but not with herself. She was an image enigma, an icon with an attitude. She was a three-dimensional presence.”

“Gia liked being called “the filly from Philly.” Humor, smirking and a good wise-crack were natural to this street urchin boy-girl “put on.” She loved playing the game, when she wanted to.”

“There was always that element of danger that seemed to be waiting to pounce on the unsuspecting. This, mixed with her heartfelt warmth, charm and childishness made for a complicated package of attractiveness, one with a short ticking fuse.”

“With Gia, an explosion was creative, seductive or perilous. She was always full of surprises. It was like a model mine field, everything looks safe, just don’t step on one.”

“Gia loved the edge, she could get away with it because she was one of the best that ever walked in front of and performed for a camera. She could dance standing still, there were no freeze frames unless that was the motivation; otherwise, it was a pure live wire of life and exuberance, poetry in motion that was released. It was free fall fashion photography and it was a long drop down.”

“As she warmed up in the studio and blow-dried her wet hair, she asked me if she could switch the TV news to her favorite cartoons!”

“This was vintage Gia, the child-woman that confounded the international beauty and publication world. Needless to say, it blew my mind.”

“So, sitting in my studio bathrobe, drying her thick brown hair, smiling and now fully relaxed was this enchantress watching ‘The Flintstones’ smoking a cigarette and easing into the pose of a school girl curled on a lounge with the body and sexual magnetism of several megatons of lust in full splendor. It was a scene of Freudian wonder.”

“The cartoons and the intrusive thunderstorm adding a slight touch of Fellini for good measure. I was ready to shoot. I didn’t care if it was one frame or a hundred, I wanted to light Gia, eye her and let the games begin.”

~ source: “GIA, THE SESSION” by Joe Marvullo (c) 1998 All Rights Reserved