|
Cameraman The Life and Work of Jack Cardiff
|
| 00:00:47 |
Good evening. |
| 00:00:49 |
For those of us here tonight |
| 00:00:56 |
Jack Cardiff was shooting film |
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I don't do many interviews. |
| 00:01:34 |
But when I was invited to speak |
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I couldn't resist, |
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because Jack Cardiff |
| 00:01:51 |
Every time I saw certain names, |
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and one of the names |
| 00:01:56 |
Every time I saw these names, I knew |
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And I began to have a very strong |
| 00:02:05 |
because of my recognition |
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The way a movie is photographed |
| 00:02:13 |
and creates the mood of the movie, |
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so that the audience is prepared |
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Cinematography is central to film. |
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Motion pictures is... |
| 00:02:30 |
and you can't do them |
| 00:02:53 |
Going over to Bogie, he's dead. |
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She's dead, she's dead, she's dead. |
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I'm just alive. |
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It's fantastic, isn't it? |
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- You've outlived them all. |
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Incredible. |
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I don't know. Do you think |
| 00:03:15 |
No, I don't think so, I think |
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because it's full of, um... |
| 00:03:24 |
full of hypocrisy, hyperbole. |
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Just about everything you can think of. |
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At this moment |
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- Thank you. |
| 00:03:57 |
If anybody said, "Who is that guy? " |
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because I don't think anybody |
| 00:04:01 |
I'd say, "Well, I used to be |
| 00:05:22 |
- That was made 50 years ago. |
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How are you? |
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Pleased to meet you. |
| 00:05:29 |
- Nice to see you. |
| 00:05:32 |
Come up a bit on this one, |
| 00:05:34 |
and they're putting on a narrow one |
| 00:05:37 |
How old are you now? |
| 00:05:39 |
A couple of weeks ago, I was 91. |
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- And you're still working? |
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Another ten years, |
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- Can you put it on now? |
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Where you are now with the smoke. |
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- When did you begin, Jack? |
| 00:05:59 |
Er...well, I started in 19... |
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1918. |
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As a kid actor. |
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And that's myself |
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- You'd already been in a movie. |
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Do you remember, as a child, |
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Very, very fuzzily. I know |
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I was four years of age, |
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The director used to shout |
| 00:06:58 |
"Now smile a bit, look over to her. |
| 00:07:01 |
That was...that was easy, you know. |
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In between stage shows, |
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my mother and father |
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The standard rate of pay in those days, |
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And there was something like, |
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They were paid at the end of the day |
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After a while, |
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they'd get to the end of the queue |
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or put on a different coat, |
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and they'd go by |
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They were making a fortune |
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The queue was filing by for hours |
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I had a different home every week. |
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I went to about 300 schools in my youth |
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So where did you pick up |
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I read a pornographic book |
| 00:08:00 |
But in between the porn, there was |
| 00:08:04 |
He'd met all these great writers |
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And I went out to Foyles |
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and bought all the books he mentioned |
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That started it, |
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So you learned |
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Yes. |
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The first job I had was really |
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The director had |
| 00:08:34 |
He was... |
| 00:08:38 |
I had to hand him fresh, cold |
| 00:08:42 |
so I had to sort of have it all ready. |
| 00:08:44 |
That was a silent picture. |
| 00:08:47 |
And then the next picture |
| 00:08:53 |
Hitchcock was in the next stage. |
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When sound films first came out, |
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and to do that we had clappers. |
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which was just two pieces of wood |
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and then you'd put the sound |
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And the first clappers, they thought |
| 00:09:15 |
that they gave it to the director, |
| 00:09:17 |
and he would solemnly |
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and then clap and sit down |
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It was considered a very vital thing. |
| 00:09:24 |
But after a while, he found |
| 00:09:27 |
so they put the job with the young |
| 00:09:32 |
He was a number boy, and he became |
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4 take 1. |
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While I was at B&D Studios, |
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which had to be completed |
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I was then operating the camera, |
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cos they'd never do another take, |
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Korda brought over |
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and, I think, was instrumental in founding |
| 00:10:18 |
I mean, he gave people the opportunity |
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Run, run, Orlando. |
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A lot of fascinating stars |
| 00:10:38 |
and, what was most important, |
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What are you waiting for? |
| 00:11:00 |
Dietrich was a big sensation, of course, |
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and she...she used to put |
| 00:11:07 |
She knew about lighting, |
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She would have been |
| 00:11:13 |
and she knew that |
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45 degrees, |
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and most cameramen over the years |
| 00:11:23 |
She had a slightly turned-up nose. |
| 00:11:27 |
So to straighten it out |
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and then inside here, |
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See this white inside. |
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She looked gorgeous. |
| 00:11:40 |
She used to have a full-length mirror |
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She'd look in the mirror and say, "Harry, |
| 00:11:49 |
"and how about the kicker light? " |
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She used to comment on it, |
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and Harry would whisper to me, |
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- Have you had luck so far? |
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And the most wonderful of all |
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- Do you think so? |
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Even if tomorrow |
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...as it may do. |
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What about this one? |
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We had this scene in the bath, |
| 00:12:23 |
and she came on the set, |
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and we thought she was going to be |
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which was the usual thing. |
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When she took off her dressing gown, |
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Within half an hour of doing these shots |
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There was about 16 electricians |
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trying to look technical, |
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The ground, which was a paper floor, |
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And as she got out, she slipped on |
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and the towels missed her completely, |
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and there was the great Marlene |
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stark naked. |
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He started very early in colour. |
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Started about when |
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It's a different medium, really. |
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You light in a different way, |
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The Technicolor people |
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to choose one young operator |
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and they came out shaking |
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because the technical questions |
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So, when it came to my turn, |
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"I'm afraid on the technical side, |
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and there was a shocked silence, |
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and they said, "How are you |
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I study painting and light |
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and they asked me, "Which side |
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I took a chance and said, "This side, |
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and then I talked about Pieter de Hooch |
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and the camera obscura and that stuff, |
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and the next day I learnt |
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Light comes through the front, |
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and there's a prism here, which is |
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Twenty-five per cent of the light |
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on to the one film in this gate here. |
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That's the green record. |
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And then the other...rest of the light, |
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comes through |
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This is a bipack of the blue |
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And, of course, |
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Of course, these things free the |
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But I used to put on this big act and say, |
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"a little less blue there," |
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and they believed it, they thought |
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The whole camera department |
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and Jack was the only one |
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And he was the camera operator |
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Here they come. |
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Donnerhill still in rather a pocket |
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It was a fascinating new world, |
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because I was into |
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and I was mad |
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and I thought, "Well, this is it." |
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The surface of anything |
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and is reflecting the rest. |
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What it reflects strikes the eye and that's |
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Colour is light and light is colour. |
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He always liked to experiment. |
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He liked to apply certain things |
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to cinematography. |
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As you see, I've always collected a lot |
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I learnt a lot about painting... |
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And the main idea is I copied |
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I couldn't afford to buy the real one |
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and that's the way to learn. |
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A lot of real painters copy |
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because this way they learn from each |
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Some people say it's a copy. |
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But it takes a long time to analyse |
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Then I had a big break, because |
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who was a count, Count von Keller. |
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He was a great traveller. |
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He was a sort of...I don't know, |
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He was a wonderful character. |
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Somebody suggested to him, |
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"When you're on these travels, |
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"Why don't you take along |
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"and make travel films? " |
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The work and spirit of |
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for Lawrence, |
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imparted to the dwellers |
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a sense of law and order |
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Jack is in the middle and I'm |
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We went to Africa and India |
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with a Technicolor camera. |
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The outside walls are richly |
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so rich that not one panel |
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Most people |
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And to see places in colour |
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He is Nundi the bull. |
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Worshipped as an embodiment |
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But Jack was |
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Nobody else had much idea |
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about how to set about |
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When Vesuvius was on, and |
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we had to sort of choose a moment |
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...while from the lips |
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I broke the prism |
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Burnt my shoes, anyway. |
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"Western Approaches" |
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because it's the first ever |
| 00:18:53 |
that isn't a travelogue. |
| 00:18:55 |
- What have you decided to do, sir? |
| 00:18:58 |
Prevailing winds in part of |
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You had a lifeboat |
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and the Technicolor camera, it was |
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and the director and myself |
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And we went out every day in the Irish |
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This is the "Forces Programme". |
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Now here's a short recital |
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We're on the home stretch now. |
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It won't be long now. |
| 00:19:29 |
For the first time |
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British film-makers |
| 00:19:38 |
People enjoyed seeing British films. |
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They actually preferred them |
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They felt they came closer |
| 00:19:46 |
How could Americans understand |
| 00:19:48 |
what people in Britain |
| 00:19:52 |
So towards the end of the war, I think |
| 00:19:58 |
At that time, |
| 00:20:00 |
I had not yet photographed |
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I'd done lots of little pieces and |
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and I was desperate |
| 00:20:17 |
The main character, |
| 00:20:20 |
is trying to deal with his loneliness |
| 00:20:24 |
and shooting animals all over the world. |
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Jack Cardiff was doing the shooting |
| 00:20:32 |
and my husband came in |
| 00:20:34 |
I heard a voice say, "Very interesting," |
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and he said, "Would you like |
| 00:20:42 |
and I said, "Oh, yes, Mr. Powell," |
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and I thought, "He's just said that and |
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Are you wounded? Repeat, |
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- What's your name? |
| 00:20:54 |
Yes, June, I'm bailing out. |
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I'm bailing out but there's a catch. |
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Oh...hello? Hello, Peter? |
| 00:21:05 |
Hello? Hello, Peter? Can you hear me? |
| 00:21:07 |
Michael Powell just felt |
| 00:21:11 |
who knew the most about how to get |
| 00:21:17 |
The Archers had what was described |
| 00:21:19 |
as the longest period |
| 00:21:21 |
within a major studio ever, |
| 00:21:23 |
and because their films were |
| 00:21:28 |
they got away with murder. |
| 00:21:30 |
We were our own bosses. |
| 00:21:33 |
We produced it, |
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and if anybody said to us, |
| 00:21:40 |
we just said, "Eff off!" |
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It was a wonderful combination, |
| 00:21:45 |
who was daring and running around |
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and Emeric, |
| 00:21:52 |
He would be the one |
| 00:21:55 |
"This is going too far, because of this |
| 00:22:00 |
They were fantastic. |
| 00:22:03 |
A very unique person in his own way. |
| 00:22:05 |
And then you add Jack to the mix, |
| 00:22:17 |
It was daunting for me, |
| 00:22:19 |
and even for Michael Powell |
| 00:22:26 |
We were doing an exterior and Michael |
| 00:22:31 |
"but instead of just a fade-in |
| 00:22:33 |
"I'd like to have something different |
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And I said, "Look through the camera," |
| 00:22:39 |
so he looked through the camera |
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When I saw the Archers logo, |
| 00:22:53 |
Then I saw the name Cardiff |
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and.I knew this was a unique...I was |
| 00:23:05 |
- Child, where were you born? |
| 00:23:08 |
I've made a bunch of films in Hollywood |
| 00:23:13 |
It was an enormous production. |
| 00:23:15 |
The court will adjourn. |
| 00:23:21 |
It was, I've always thought, |
| 00:23:26 |
I mean, you couldn't do it on the stage |
| 00:23:33 |
I remember, |
| 00:23:37 |
I said to him, quite casually, |
| 00:23:40 |
I said, "Michael, |
| 00:23:43 |
"and the earth will be in black and white." |
| 00:23:45 |
He said, "No, the contrary." |
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I said, "Why? " |
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That was typical in his nature. |
| 00:23:52 |
He was perverse to the extent |
| 00:23:53 |
that he would like to do |
| 00:23:56 |
I mean, the ordinary |
| 00:23:59 |
A little trick of mine, you remember? |
| 00:24:01 |
In order to get the transition |
| 00:24:05 |
we would shoot the main sequence |
| 00:24:08 |
but the penultimate shot |
| 00:24:12 |
so that they would be able to start |
| 00:24:16 |
and then bring in the colour. |
| 00:24:18 |
Marius Goring ad-libbed |
| 00:24:21 |
and Mickey Powell immediately said, |
| 00:24:26 |
One is starved for Technicolor up there. |
| 00:24:30 |
Really throughout |
| 00:24:34 |
except that when we were doing |
| 00:24:38 |
I was so curious that I did go, early on, |
| 00:24:42 |
I think for the first time |
| 00:24:48 |
they clearly were not happy |
| 00:24:53 |
They said, "Send it back," |
| 00:24:56 |
"we must have it better than that!" |
| 00:24:58 |
So I have a feeling that Jack |
| 00:25:08 |
Outside the Empire, |
| 00:25:11 |
to see the royal family and also |
| 00:25:14 |
attending the Royal Command |
| 00:25:18 |
Michael Powell, one of the two |
| 00:25:21 |
At the end of the picture, |
| 00:25:22 |
either the cameramen |
| 00:25:27 |
or Technicolor would do it for him. |
| 00:25:30 |
I have several, |
| 00:25:51 |
Mopu is 8,000 feet up. |
| 00:25:53 |
The peaks on the range opposite |
| 00:25:56 |
The people call the highest peak |
| 00:26:01 |
On "Black Narcissus", we all |
| 00:26:06 |
and we were greatly surprised when |
| 00:26:09 |
the entire film was going to be made |
| 00:26:14 |
I saw it as a wonderful |
| 00:26:19 |
to produce a real perfect |
| 00:26:25 |
Michael collected around him |
| 00:26:30 |
and he had a brilliant art director, |
| 00:26:34 |
He was very German |
| 00:26:38 |
and if he designed a set, |
| 00:26:40 |
when you walked on for the first time, |
| 00:26:43 |
and he said, "That is the camera |
| 00:26:48 |
Alfred Junge the designer |
| 00:26:52 |
would have endless arguments |
| 00:26:57 |
first of all on paper |
| 00:27:01 |
then in detail, |
| 00:27:07 |
The exteriors out on the lot |
| 00:27:11 |
were absolutely marvellous, |
| 00:27:13 |
because they were plaster mountains |
| 00:27:16 |
but the result was just unbelievable. |
| 00:27:18 |
You looked out of the window |
| 00:27:21 |
Sometimes Alfred |
| 00:27:26 |
and Jack pointed out that |
| 00:27:29 |
for this particular sequence |
| 00:27:32 |
couldn't be done because |
| 00:27:35 |
Alfred would be furious. |
| 00:27:38 |
But together they just worked miracles. |
| 00:27:44 |
I mean, you never get |
| 00:27:54 |
After the film was released, |
| 00:27:56 |
I believe Micky got a letter |
| 00:27:59 |
who said that they knew the locations, |
| 00:28:02 |
It was a good, good idea! |
| 00:28:09 |
Vermeer was the sort of painter |
| 00:28:13 |
because the light had to be clear |
| 00:28:30 |
When I did this green, |
| 00:28:33 |
and sort of pinkish colours |
| 00:28:37 |
it was a thing of anger, |
| 00:28:39 |
I tried to use |
| 00:28:42 |
I mean, any cameraman |
| 00:28:46 |
and moods of light and things. |
| 00:28:48 |
Light is the principal agent, |
| 00:28:50 |
and that should be the same |
| 00:28:54 |
that the use of light is like a painter, |
| 00:29:01 |
The emotional |
| 00:29:04 |
that was made through |
| 00:29:06 |
I felt, watching those pictures |
| 00:29:09 |
He made them special. |
| 00:29:11 |
Because of that, you wanted to be |
| 00:29:20 |
You can't order me about. You have |
| 00:29:25 |
I know what you've done. |
| 00:29:27 |
I only want to stop you from |
| 00:29:30 |
Sister Philippa is going back in a few |
| 00:29:33 |
That's what you would like to do, |
| 00:29:38 |
Michael Powell |
| 00:29:41 |
Sister Clodagh, Sister Clodagh! |
| 00:29:43 |
- You know what she says about you? |
| 00:29:45 |
- You say that because you love her! |
| 00:29:49 |
Clodagh. Clodagh. |
| 00:29:52 |
Clodagh! Clodagh! |
| 00:29:53 |
Clodagh! Clodagh! |
| 00:29:56 |
When I saw their work on screen, |
| 00:30:00 |
It was palpable. It was...it... |
| 00:30:04 |
The colour itself became |
| 00:30:12 |
The atmosphere that was |
| 00:30:16 |
I was most inspired by it. |
| 00:30:22 |
I mean, I thought I was just going out |
| 00:30:29 |
But when I saw it on the screen, I was |
| 00:30:35 |
and this incredible face with the wet hair. |
| 00:30:38 |
He gave me half of my performance |
| 00:30:45 |
When Arthur Rank... |
| 00:30:48 |
he took it to California, |
| 00:30:54 |
it got the most wonderful |
| 00:30:57 |
The art direction got two Oscars. |
| 00:30:59 |
Jack Cardiff's photography |
| 00:31:06 |
The whole communication |
| 00:31:10 |
is combined through costume, |
| 00:31:14 |
the movement of people |
| 00:31:17 |
sometimes the movement |
| 00:31:22 |
and cutting, all to music. |
| 00:31:24 |
All designed specifically to music. |
| 00:31:26 |
Then they took it and went further |
| 00:31:38 |
The last day but one |
| 00:31:40 |
Michael Powell said to me, |
| 00:31:43 |
I said, "Not much, all these sissies |
| 00:31:48 |
And he was amused |
| 00:31:51 |
He said, "Jack, you'd better get to like |
| 00:31:55 |
"I've got tickets for you to go practically |
| 00:31:59 |
Very shortly, of course, I became |
| 00:32:03 |
and I loved it. |
| 00:32:05 |
Actually, Miss Page, |
| 00:32:08 |
I want to create, to make something big |
| 00:32:11 |
The theme |
| 00:32:15 |
Michael was saying that if you want to |
| 00:32:20 |
you have to be prepared |
| 00:32:22 |
because you're challenging everybody |
| 00:32:28 |
and you have to be aware that |
| 00:32:33 |
and bring you down when you do this. |
| 00:32:34 |
Why do you want to dance? |
| 00:32:40 |
Why do you want to live? |
| 00:32:42 |
I don't know exactly why, but I must. |
| 00:32:48 |
That's my answer too. |
| 00:32:50 |
Some ballet enthusiasts feel |
| 00:32:56 |
The best shooting of ballet, to be literal |
| 00:33:00 |
Fred Astaire had in his contract |
| 00:33:01 |
that you had to keep photographing him |
| 00:33:07 |
But they changed that completely. |
| 00:33:12 |
They made a film about what goes on |
| 00:33:26 |
It's how the dancer, he or she, |
| 00:33:31 |
So you get the spirit of the dance, |
| 00:33:34 |
and I applied that later |
| 00:33:42 |
What they hear, what they see. |
| 00:33:44 |
What they hear and what they see, |
| 00:33:47 |
Michael Powell had courage. |
| 00:33:50 |
He would risk, he would take a risk, |
| 00:33:54 |
which might seem crazy |
| 00:33:58 |
The camera devices |
| 00:34:02 |
They're welded |
| 00:34:05 |
They are for the purpose |
| 00:34:14 |
I think because Jack had vision, |
| 00:34:19 |
about what he was going to do, |
| 00:34:22 |
he didn't feel curbed |
| 00:34:25 |
I had the idea of increasing |
| 00:34:30 |
that as he jumped, |
| 00:34:34 |
for about less than a second. |
| 00:34:37 |
So it went up, and as it got up |
| 00:34:41 |
which slowed him down imperceptibly, |
| 00:34:43 |
and he seemed to linger in the air |
| 00:34:49 |
They were coming up |
| 00:34:53 |
and when you see how big that thing |
| 00:34:57 |
I mean, they did call it the "enchanted |
| 00:35:01 |
How they moved that thing around, |
| 00:35:05 |
- Can you imagine? |
| 00:35:07 |
It was enormous, and you didn't have |
| 00:35:11 |
That's the famous |
| 00:35:15 |
The camera flying in and out as though |
| 00:35:19 |
Would be a hand-held shot these days, |
| 00:35:21 |
but the camera is on a sort of bungee |
| 00:35:38 |
You begin to see, I must |
| 00:35:44 |
or a piece of composition |
| 00:35:47 |
that you begin to realise that |
| 00:35:55 |
It becomes like moving paintings. |
| 00:35:59 |
Along with Hein Heckroth, Michael and |
| 00:36:02 |
But it's a painting, paintings that moved, |
| 00:36:06 |
not only moved visually but emotionally |
| 00:36:24 |
There was something so audacious |
| 00:36:27 |
and something that was so utterly, um... |
| 00:36:32 |
unique, different from any film |
| 00:36:41 |
Qu'est-ce que tu as? |
| 00:36:43 |
Mon petit. |
| 00:36:45 |
Et ou vas-tu? |
| 00:36:47 |
Mon petit! |
| 00:36:59 |
No! |
| 00:37:02 |
The lessons of those films have never |
| 00:37:06 |
It's had a huge influence. Particularly |
| 00:37:10 |
De Palma. De Palma, easily. |
| 00:37:13 |
It's about expressing colour, |
| 00:37:15 |
it's expressing, you know, the glint |
| 00:37:19 |
It's all there with Brian. |
| 00:37:21 |
And Lucas and Coppola. |
| 00:37:24 |
And then of course you have |
| 00:37:27 |
Clearly in "One From The Heart". |
| 00:37:29 |
It's about passion, I think. |
| 00:37:31 |
You could feel these people were |
| 00:37:37 |
When it was cut, |
| 00:37:40 |
Usually if a film isn't very good, |
| 00:37:43 |
they might sort of put on a little bit |
| 00:37:46 |
and, you know, and say, "Well done," |
| 00:37:50 |
But on this occasion |
| 00:37:53 |
and they walked out without |
| 00:37:56 |
They just ignored him, |
| 00:37:58 |
because they were convinced |
| 00:38:01 |
J Arthur Rank thought they'd gone mad |
| 00:38:03 |
and said, "This is terrible, we have |
| 00:38:06 |
"From now on, we will tell them what to |
| 00:38:10 |
It was a very sad end |
| 00:38:16 |
I mean, |
| 00:38:20 |
but they're a particular aesthetic. |
| 00:38:23 |
It's the kind of aesthetic |
| 00:38:27 |
- And then it will be kitsch... |
| 00:38:29 |
...and then it'll be art again. |
| 00:38:45 |
I've signed all over England |
| 00:38:49 |
and I just lost count. |
| 00:38:52 |
- I'll put happy birthday. |
| 00:38:55 |
I'm outside the studio gates once, |
| 00:38:57 |
I'd just come back from seeing |
| 00:39:01 |
and as they came through the gates |
| 00:39:04 |
I went by and they said, "Who's that? " |
| 00:39:07 |
- So how did you feel? |
| 00:39:14 |
After working |
| 00:39:16 |
Jack had a remarkable career, |
| 00:39:18 |
because in quite a short space of time, |
| 00:39:22 |
he worked with many of |
| 00:39:25 |
It's a real roll call |
| 00:39:36 |
Hitchcock had just made "Rope", |
| 00:39:38 |
and it was 80 minutes, |
| 00:39:41 |
A lot of eight-minute |
| 00:39:47 |
so that the picture |
| 00:39:50 |
I think Hitch |
| 00:39:52 |
because he felt |
| 00:39:55 |
Ingrid Bergman, |
| 00:39:57 |
"You care more about the technicalities |
| 00:40:01 |
He put everything |
| 00:40:04 |
He rarely looked through the camera, |
| 00:40:08 |
He'd say to me, "Jack, |
| 00:40:11 |
"You're getting the hands in the picture? " |
| 00:40:15 |
It was the first crane of its kind |
| 00:40:18 |
that ran entirely independent of tracks. |
| 00:40:21 |
The camera started |
| 00:40:26 |
through the kitchen |
| 00:40:28 |
Talk, talk, talk, and went into the hall. |
| 00:40:32 |
Parts of the set |
| 00:40:35 |
to allow the camera crane |
| 00:40:39 |
We'd pan round to where |
| 00:40:41 |
I had to light six or eight sets, |
| 00:40:47 |
Round and round. Back to the hall. |
| 00:40:50 |
All in one shot |
| 00:40:52 |
I had electricians holding lamps, and |
| 00:40:56 |
On one occasion we had a shot |
| 00:41:01 |
through the door, |
| 00:41:02 |
and as we approached her bed, |
| 00:41:07 |
when instead of going up, |
| 00:41:10 |
which was a cumbersome thing to do, |
| 00:41:13 |
we approached her straight |
| 00:41:17 |
and as you tracked in, |
| 00:41:20 |
so that you'd have a big close-up |
| 00:41:24 |
It ended up |
| 00:41:27 |
There were some very long takes |
| 00:41:32 |
It couldn't possibly be |
| 00:41:35 |
because everything was a compromise. |
| 00:41:38 |
But it was really my greatest |
| 00:41:42 |
because it was doing the impossible. |
| 00:41:48 |
I'm just going outside. |
| 00:42:06 |
It was probably one of the most |
| 00:42:11 |
...and I had the luck of having |
| 00:42:30 |
There was something |
| 00:42:33 |
about the English use of Technicolor, |
| 00:42:35 |
particularly by a man like Cardiff. |
| 00:42:38 |
That became something else, and had |
| 00:42:42 |
Not to say that the American |
| 00:42:45 |
They were brilliant. |
| 00:42:47 |
But how should I put it? |
| 00:42:54 |
Jack joined Hollywood |
| 00:42:55 |
at the point at which it really began |
| 00:43:08 |
I think that was a very exciting |
| 00:43:11 |
to be working |
| 00:43:14 |
He worked with Henry Hathaway. |
| 00:43:16 |
He was a toughie. |
| 00:43:18 |
On "The Black Rose", |
| 00:43:22 |
that we had a plane |
| 00:43:25 |
which flew people, every couple of days, |
| 00:43:29 |
He would devote his life to that picture. |
| 00:43:34 |
And he expected everyone else |
| 00:43:38 |
And if they were not ready to die, |
| 00:43:51 |
I never saw anyone look less like young |
| 00:43:55 |
He said he'd play Genghis Khan |
| 00:43:57 |
on condition that his coat |
| 00:44:02 |
They said, "But, Orson, we don't see |
| 00:44:07 |
Orson said, "I've got to do it that way." |
| 00:44:09 |
So, OK, they got the mink |
| 00:44:12 |
You never saw it inside, the lining inside. |
| 00:44:15 |
Of course, at the end of the film, |
| 00:44:18 |
he slipped off with the coat |
| 00:44:20 |
and went off to do |
| 00:44:24 |
and turned the coat inside out so that |
| 00:44:28 |
What are you stewin' about, |
| 00:44:30 |
Bonnard told you |
| 00:44:33 |
- Where? |
| 00:44:36 |
Straight ahead and turn to your left. |
| 00:44:39 |
On the first day of shooting, |
| 00:44:42 |
He played the part |
| 00:44:46 |
He came on the set and he had... |
| 00:44:50 |
and the holster and the boots |
| 00:44:54 |
And I said to Hathaway, "Henry, |
| 00:44:59 |
Hathaway looked at me |
| 00:45:01 |
and he said, |
| 00:45:04 |
He was always doing the |
| 00:45:08 |
and flicking it round |
| 00:45:12 |
I did a lot of shots of him doing that. |
| 00:45:15 |
Someone gave Sophia one of |
| 00:45:18 |
and she loved that. |
| 00:45:20 |
Hathaway was a wonderful director, |
| 00:45:24 |
but he was a man who, |
| 00:45:30 |
He had got far worse |
| 00:45:33 |
because we had this desert, |
| 00:45:37 |
no sign of a footprint or anything. |
| 00:45:39 |
And you can imagine a film unit |
| 00:45:54 |
The English crew were having |
| 00:45:58 |
and he'd put up a notice on the board |
| 00:46:02 |
because he hated the whole idea |
| 00:46:05 |
He said, "In future," on the notice board, |
| 00:46:07 |
"the English crew |
| 00:46:11 |
And he said, "Come on, Jack, |
| 00:46:14 |
I said, "Henry, you've blown it. |
| 00:46:18 |
He said, "What the hell are you |
| 00:46:21 |
"at the moment |
| 00:46:23 |
"They don't particularly like you |
| 00:46:26 |
"But now you've done that, English tea, |
| 00:46:31 |
He said, "Oh, you're full of shit," |
| 00:46:35 |
then he turned the car round |
| 00:46:37 |
and he tore the notice board |
| 00:46:46 |
I've got something for you too, and it's |
| 00:46:51 |
The assistant director had come |
| 00:46:55 |
"He's gone straight to the bar |
| 00:46:57 |
"followed by beer chasers." |
| 00:47:00 |
So when I got to the bar |
| 00:47:03 |
He was never really drunk. He was |
| 00:47:08 |
Errol fell ill |
| 00:47:12 |
and he collapsed |
| 00:47:16 |
and the doctor said, |
| 00:47:22 |
"His liver doesn't exist any more. |
| 00:47:25 |
And the producer said, "You don't |
| 00:47:30 |
We carried on shooting with a double. |
| 00:47:35 |
And in something like three |
| 00:47:41 |
and he did look pretty awful |
| 00:47:45 |
The doctor said, "Well, it's a miracle, |
| 00:47:47 |
"but, of course, he must never |
| 00:47:50 |
And he came on the set |
| 00:47:55 |
and as usual...carried on as usual. |
| 00:48:03 |
You have been studying my style, |
| 00:48:05 |
One has to understand |
| 00:48:09 |
I was going to say |
| 00:48:11 |
No, today they're entertainment too. |
| 00:48:13 |
But at that time they were coming out |
| 00:48:16 |
There were Westerns, |
| 00:48:19 |
and Technicolor was used |
| 00:48:23 |
In the '40s and '50s, colour was still |
| 00:48:29 |
rather than what happened |
| 00:48:31 |
where all films became colour. |
| 00:48:47 |
Jack was suggested |
| 00:48:50 |
who also happened to be the star. |
| 00:48:53 |
That's Kirk Douglas. |
| 00:48:57 |
The shooting was very difficult. |
| 00:49:00 |
It seemed to be raining all the time. |
| 00:49:03 |
And once, in exasperation, |
| 00:49:06 |
I asked one of the young |
| 00:49:10 |
"Hey, does it rain all the time here? " |
| 00:49:14 |
He said, "I don't know. |
| 00:49:20 |
I suggested to Dick, |
| 00:49:23 |
"Because these Vikings |
| 00:49:25 |
"and they would be out in all weathers." |
| 00:49:28 |
Dick agreed |
| 00:49:31 |
because it means that we could shoot, |
| 00:49:35 |
But as people know in the film business, |
| 00:49:39 |
So we had to supplement it |
| 00:49:43 |
The local villagers thought |
| 00:49:45 |
It was already raining and |
| 00:49:47 |
But it worked very well. |
| 00:49:50 |
Kirk Douglas, |
| 00:49:52 |
In fact, he was a very good... |
| 00:49:54 |
He had a good sense of timing and all |
| 00:49:58 |
- He does the shot walking on the oars. |
| 00:50:01 |
He fell in once or twice |
| 00:50:04 |
But that was considered a must, |
| 00:50:06 |
cos he was too perfect, in fact. |
| 00:50:09 |
When he climbs up the wall of |
| 00:50:15 |
he climbed himself. |
| 00:50:23 |
With Jack's ingenuity, |
| 00:50:25 |
we were able to do |
| 00:50:29 |
And looking at the film now, I'm really |
| 00:50:33 |
knowing how they were made, |
| 00:50:35 |
which is really with spit and cardboard |
| 00:50:39 |
and it worked great. |
| 00:50:45 |
Jack and I were very worried, |
| 00:50:50 |
where you have all the Viking ships |
| 00:50:56 |
And it's essential to the story |
| 00:51:00 |
And Jack solved the problem with us. |
| 00:51:03 |
He said, "If we could just get |
| 00:51:06 |
"where the ships go |
| 00:51:10 |
"that's all I really need, |
| 00:51:14 |
"I'll make my own filter, |
| 00:51:16 |
"and paint it, a white filter, |
| 00:51:20 |
"which we'll just put up in front |
| 00:51:23 |
"where the real fog is." |
| 00:51:26 |
And that's what we did. |
| 00:51:29 |
And it's absolutely convincing. |
| 00:51:34 |
Every time I see it, I get a chill, |
| 00:51:37 |
but also the beauty of the shot. |
| 00:51:42 |
Jack, certainly, looking at his work, |
| 00:51:48 |
is probably the greatest |
| 00:51:56 |
Turner, well, I mean, |
| 00:51:59 |
If he'd been alive today, |
| 00:52:01 |
he would have been probably |
| 00:52:04 |
I mean the way that he got dramatic |
| 00:52:09 |
which takes courage, |
| 00:52:13 |
but he had plenty of courage, |
| 00:52:16 |
I mean, that church is burnt out |
| 00:52:20 |
I wouldn't start to dare to compare |
| 00:52:25 |
but I learnt a lot of lessons from Turner. |
| 00:52:27 |
You should go out and do something |
| 00:52:30 |
and that's the whole essence |
| 00:52:38 |
We wanted an extreme long shot, |
| 00:52:42 |
of the duel in the snow, |
| 00:52:45 |
and these two guys |
| 00:52:48 |
But, of course, long shot, |
| 00:52:51 |
so I had this idea of putting a piece |
| 00:52:54 |
about six feet away. |
| 00:52:56 |
I painted the glass, |
| 00:52:59 |
Then behind my shoulder I put |
| 00:53:03 |
Iike a reflection of the sun. |
| 00:53:05 |
But the first attempt I made, |
| 00:53:09 |
and I overdid it, and the paint |
| 00:53:11 |
and Dino de Laurentis the producer |
| 00:53:15 |
"Cardiff, what do you do? |
| 00:53:18 |
I said, "I'm painting the glass," |
| 00:53:22 |
He was furious and walked off the stage. |
| 00:53:24 |
But later, it was a very effective shot |
| 00:53:40 |
Of all the love stories |
| 00:53:44 |
this is the one to live in your memory. |
| 00:53:47 |
I had a call from New York |
| 00:53:49 |
He said, "Jack, I want |
| 00:53:53 |
I loved the film. |
| 00:53:55 |
It was great fun working with |
| 00:54:15 |
One of the most |
| 00:54:18 |
of this whole canon |
| 00:54:21 |
would be "Pandora |
| 00:54:23 |
When do you want to marry me, Steve? |
| 00:54:26 |
...which was produced |
| 00:54:29 |
who'd had a big success |
| 00:54:32 |
"Pandora And The Flying |
| 00:54:35 |
It had fantasy and exotic locations. |
| 00:54:37 |
I am predisposed to that, |
| 00:54:40 |
Neo-realism I had right around me. |
| 00:54:42 |
If I wanted to go to a movie, I wanted |
| 00:54:46 |
With one bloody blow, |
| 00:54:55 |
It was so romantic, |
| 00:54:58 |
It took you to another world. |
| 00:55:00 |
There was something |
| 00:55:01 |
which put in my mind |
| 00:55:05 |
Faith is a lie |
| 00:55:08 |
Silence! |
| 00:55:10 |
It had the magical quality of Ava |
| 00:55:14 |
a mystical sexuality. |
| 00:55:18 |
Hello? |
| 00:55:20 |
She said, "Jack, I'm pleased |
| 00:55:23 |
"but you have to watch when I have my |
| 00:55:27 |
I said, "I'll look after that." |
| 00:55:31 |
Al Lewin used to do take after take, not |
| 00:55:37 |
but he just wanted to keep going |
| 00:55:42 |
And in a way that's true. |
| 00:55:46 |
He said, "I want you to go |
| 00:55:49 |
"and buy yourself a 16mm camera." |
| 00:55:51 |
Which I have here, and it's just about |
| 00:55:57 |
And I took it out to Africa |
| 00:56:02 |
Well, I've taken it on many films. |
| 00:56:12 |
A little to starboard, Miss! |
| 00:56:22 |
John Huston had the idea |
| 00:56:26 |
and he said |
| 00:56:29 |
Huston went out there and said he didn't |
| 00:56:34 |
He disappeared for a couple of weeks |
| 00:56:37 |
whether he'd been eaten by crocodiles, |
| 00:56:39 |
but he then sent a telegram |
| 00:56:43 |
in the Belgian Congo. |
| 00:56:45 |
It was right in nowhere land. |
| 00:56:49 |
It was called Biondo, this place, |
| 00:56:52 |
It was two days' Jeep ride |
| 00:56:56 |
He was not always thrilled |
| 00:56:58 |
because if there was |
| 00:57:01 |
John Huston was the man to find it. |
| 00:57:04 |
I was there for the whole shoot, |
| 00:57:05 |
and I think Jack had |
| 00:57:10 |
John always tried to get |
| 00:57:15 |
really difficult ones, |
| 00:57:17 |
and Jack always got what he wanted. |
| 00:57:44 |
Huston was quite easy-going, in a way. |
| 00:57:47 |
But ever, beneath the casual |
| 00:57:54 |
was the perfectionist. |
| 00:57:57 |
He had the utmost regard for Jack, |
| 00:58:00 |
because they basically |
| 00:58:05 |
We were towing this raft, |
| 00:58:08 |
and we had Katherine Hepburn's |
| 00:58:12 |
I had a tiny generator for my two lamps. |
| 00:58:14 |
I only had two lamps on the picture. |
| 00:58:17 |
And one or two others, |
| 00:58:20 |
So it was a string of little boats |
| 00:58:23 |
Of course, when we came to a corner, |
| 00:58:27 |
and they couldn't turn |
| 00:58:31 |
You could find yourself |
| 00:58:35 |
on the boat with Katie and Bogie |
| 00:58:39 |
and your other leg up |
| 00:58:41 |
holding a boom like that over them |
| 00:58:44 |
and in those rivers |
| 00:58:49 |
In Uganda on Lake Victoria, |
| 00:58:53 |
I mean all kinds of dysentery, |
| 00:58:58 |
Sam Spiegel, our friend |
| 00:59:01 |
He was furious cos the movie |
| 00:59:05 |
We got yet another doctor to look at it |
| 00:59:09 |
that the filter, the water filter... |
| 00:59:11 |
We were on a houseboat, |
| 00:59:15 |
So we were drinking just river water with |
| 00:59:20 |
And the only two persons who weren't |
| 00:59:25 |
because they never touched water, |
| 00:59:27 |
- I could give you a hand. |
| 00:59:33 |
I'm all right. I'm all right. |
| 00:59:36 |
Hepburn was an incredible lady. |
| 00:59:38 |
She was very strong-minded, |
| 00:59:40 |
and in some ways she didn't want |
| 00:59:44 |
She wanted to be tough and accepted |
| 00:59:50 |
She did go in the jungle |
| 00:59:53 |
Ain't no person in their right mind |
| 00:59:56 |
I never dreamed that any mere physical |
| 01:00:00 |
How's that, Miss? |
| 01:00:01 |
Bogie, of course, put on |
| 01:00:05 |
I mean, he told me at the beginning |
| 01:00:08 |
He said, "Jack, see this face? |
| 01:00:11 |
"It's taken me many years to get |
| 01:00:14 |
"That's the way I want it. Don't light me |
| 01:00:18 |
"I want to look like this." So I did it. |
| 01:00:21 |
Bogie was not an actor who |
| 01:00:25 |
But he appreciated good photography. |
| 01:00:28 |
And he loved effective photography |
| 01:00:33 |
I wrote and directed |
| 01:00:38 |
her short, full career |
| 01:00:41 |
It was a frightening film |
| 01:00:44 |
I'll never forget the opening scenes |
| 01:00:47 |
And his colour, his use of colour, |
| 01:00:50 |
particularly when they're in Monte Carlo |
| 01:00:53 |
She unveils, in a sense, and Edmond |
| 01:00:56 |
It's an extraordinary picture. |
| 01:00:59 |
The world's number-one |
| 01:01:02 |
on display all over the world's |
| 01:01:05 |
with the world's number-one |
| 01:01:08 |
and nobody wrapped her up |
| 01:01:11 |
Oh, she was gorgeous, |
| 01:01:15 |
I was on location |
| 01:01:19 |
Yeah, but I think that Ava Gardner |
| 01:01:23 |
I mean, Bogie may have been, |
| 01:01:28 |
The first time I met her, |
| 01:01:35 |
The next time I worked with her, |
| 01:01:39 |
Something had gone wrong |
| 01:01:44 |
and that made her a bit sleepy, |
| 01:01:47 |
so I was lighting her more carefully. |
| 01:01:49 |
And it is a fact, they rely |
| 01:01:55 |
I think I am pretty enough, but I would |
| 01:01:59 |
Pretty enough? Any woman that |
| 01:02:03 |
Key light? What is that? |
| 01:02:06 |
That's your light |
| 01:02:08 |
the light that shines only on you. |
| 01:02:10 |
You took a lot of portraits of actresses, |
| 01:02:14 |
- Yes, I had... |
| 01:02:16 |
I used to take them |
| 01:02:20 |
And, um...I only had time to do a few. |
| 01:02:31 |
Audrey Hepburn was one |
| 01:02:38 |
That's a typical type of lighting, |
| 01:02:44 |
Dark, light, dark, light. |
| 01:02:47 |
- What's the name of that again? |
| 01:03:04 |
Pierre. |
| 01:03:19 |
I tried to photograph them |
| 01:03:23 |
to get used to their face and study |
| 01:03:29 |
Janet Leigh? That was on "The Vikings". |
| 01:03:32 |
And then we have Anita Ekberg, |
| 01:03:37 |
And that was on "War And Peace". |
| 01:03:48 |
They all had different qualities. I mean, |
| 01:03:52 |
Very expressive eyes. |
| 01:03:54 |
Audrey Hepburn had these |
| 01:03:59 |
She made a fashion out of that, and |
| 01:04:06 |
That's Sophia Loren, |
| 01:04:09 |
with a big hat. |
| 01:04:11 |
This is when I became like an amateur |
| 01:04:15 |
Why does he take them? |
| 01:04:19 |
And these women |
| 01:04:21 |
And, you know, like you collect stamps, |
| 01:04:23 |
I collected beautiful women, |
| 01:04:27 |
Marilyn was always |
| 01:04:30 |
and she had a face |
| 01:04:34 |
She had a slightly tipped-up nose, |
| 01:04:38 |
She specifically asked |
| 01:04:42 |
Well, that was because I was in vogue. |
| 01:04:45 |
It's almost like footballers |
| 01:04:48 |
They want a certain footballer |
| 01:04:52 |
and they find out that |
| 01:04:55 |
I don't know. And she asked for me, |
| 01:04:59 |
You have pretty eyebrows. |
| 01:05:01 |
Love. What a universe of joy and pain |
| 01:05:09 |
Larry was...he was supposed |
| 01:05:12 |
But he wanted to look through |
| 01:05:15 |
- He was directing. |
| 01:05:18 |
So I took his position and Marilyn |
| 01:05:23 |
and later on she wrote, |
| 01:05:26 |
and Arthur Miller, the husband, said, |
| 01:05:30 |
- What were you gonna do? |
| 01:05:33 |
It was a tough job for him |
| 01:05:36 |
I think she was a darling girl |
| 01:05:39 |
but she...she had a lot of problems... |
| 01:05:42 |
- Do you reverse? |
| 01:05:44 |
She would come on the set very late, |
| 01:05:54 |
Between Marilyn and Olivier, |
| 01:05:56 |
there were occasional reports of strain. |
| 01:05:59 |
We had a wonderful |
| 01:06:02 |
who was with her for years. |
| 01:06:04 |
When she died, there was |
| 01:06:07 |
for he was in New York at the time, |
| 01:06:10 |
because it was in the contract he had |
| 01:06:14 |
The idea of making up this gorgeous |
| 01:06:18 |
and putting on the lipstick and |
| 01:06:22 |
He told me he had to have a couple |
| 01:06:32 |
Some weeks ago, |
| 01:06:35 |
celebrating my 80 years in the cinema. |
| 01:06:39 |
No matter how good the cameraman is, |
| 01:06:43 |
he's got to serve the director, |
| 01:06:47 |
The director has to be the one who |
| 01:06:56 |
It became apparent |
| 01:07:01 |
that Jack really was |
| 01:07:06 |
and in the direction of the picture. |
| 01:07:08 |
Jack had every potential |
| 01:07:14 |
and we discussed that, |
| 01:07:16 |
and as a matter of fact, I let him direct |
| 01:07:23 |
just to see how he handled it, |
| 01:07:27 |
and how he felt directing a film. |
| 01:07:30 |
I worked |
| 01:07:33 |
and the first one, |
| 01:07:36 |
why on earth did I want |
| 01:07:40 |
when I'd been on top as a cameraman. |
| 01:07:42 |
And they suggested that I went back |
| 01:07:46 |
Anyway, soon after that I got |
| 01:07:57 |
What is it? |
| 01:08:01 |
It's the mine. |
| 01:08:09 |
I thought "Sons & Lovers" |
| 01:08:13 |
Some of them don't make the transition |
| 01:08:18 |
Local people, many of them |
| 01:08:22 |
to help recreate a mining disaster. |
| 01:08:25 |
Jack Cardiff was the director. |
| 01:08:27 |
I do think that cinematographers |
| 01:08:31 |
of concentrating |
| 01:08:34 |
which I don't think Jack did, |
| 01:08:37 |
and I think that he was very clever |
| 01:08:39 |
to want to work with Freddie Francis, |
| 01:08:42 |
who was a very established |
| 01:08:48 |
I'd just done a film for Jack Clayton, |
| 01:08:51 |
and I guess Jack liked the look of that |
| 01:08:57 |
Either that, or he thought I was cheap. |
| 01:09:00 |
I would never go to Freddie |
| 01:09:04 |
Whatever. I would never say anything. |
| 01:09:07 |
It's a beautifully lit and |
| 01:09:11 |
It's one of the classics |
| 01:09:13 |
of British black-and-white |
| 01:09:19 |
Forgive me. |
| 01:09:21 |
Forgive you? I love you. |
| 01:09:25 |
I always thought, being a southerner, |
| 01:09:27 |
I always thought that going up north, |
| 01:09:32 |
so I was quite happy |
| 01:09:37 |
Action, |
| 01:09:39 |
producing a scene which will be |
| 01:09:55 |
You found yourself |
| 01:09:58 |
at the American Academy Awards, |
| 01:09:59 |
alongside Alfired Hitchcock. |
| 01:10:03 |
- I'd worked with him, as you know. |
| 01:10:06 |
He said, "I've seen 'Sons & Lovers'." |
| 01:10:08 |
He said, "It was bloody good." |
| 01:10:11 |
He looked at me as much to say, |
| 01:10:15 |
Because to him, I was a cameraman, |
| 01:10:18 |
Mother! We're here! |
| 01:10:20 |
- Hey! |
| 01:10:24 |
- Go on. |
| 01:10:27 |
They'll be waiting to see us. |
| 01:10:29 |
It had a tremendous reception |
| 01:10:34 |
that the lights were coming on |
| 01:10:37 |
And Buddy Adler, who was the chief of |
| 01:10:44 |
"Jack, you must enjoy every moment of |
| 01:10:48 |
In fact it never happened |
| 01:10:52 |
Didyou see "Sons & Lovers"? |
| 01:10:54 |
Of course. That's a beautiful film. |
| 01:10:58 |
And I liked...I liked "Sons & Lovers". |
| 01:11:02 |
"Young Cassidy" I like a great deal. |
| 01:11:15 |
- We'll win freedom yet, you bastards! |
| 01:11:40 |
2 take 3. |
| 01:11:42 |
Was it hard for you to go back to |
| 01:11:46 |
Not really. I've always loved |
| 01:11:48 |
And that was the time after that, |
| 01:11:53 |
I made about a dozen films in all, |
| 01:11:55 |
and then the film business in England, |
| 01:11:58 |
There was no work at all. |
| 01:12:02 |
I think it was...must have been |
| 01:12:10 |
and I really felt for him |
| 01:12:17 |
In the other way, I was happy |
| 01:12:20 |
to be the cinematographer |
| 01:12:26 |
Your Majesty, |
| 01:12:44 |
There are good cameramen |
| 01:12:48 |
There are very few good and fast, |
| 01:12:52 |
That one's "The Red Shoes" |
| 01:12:56 |
and I think most people |
| 01:12:58 |
that a CV could incorporate |
| 01:13:03 |
and "Rambo" in the '80s. |
| 01:13:05 |
I had fun on the "Rambo" picture. |
| 01:13:14 |
I see you are not a stranger to pain. |
| 01:13:18 |
Perhaps you have been among |
| 01:13:20 |
A totally different ball game then, |
| 01:13:23 |
because, with Sylvester Stallone, |
| 01:13:28 |
and the film that I made with him |
| 01:13:31 |
I couldn't try any beautiful composition |
| 01:13:36 |
But it was successful. |
| 01:13:41 |
Hurgh! |
| 01:13:45 |
Jack was the same |
| 01:13:47 |
dedicated, brilliant creator |
| 01:13:53 |
He didn't change in all that time, |
| 01:13:56 |
and he put |
| 01:13:58 |
and extreme professionalism |
| 01:14:01 |
into the last film he made |
| 01:14:05 |
The only other cameraman I worked with |
| 01:14:10 |
is Sven Nykvist. |
| 01:14:12 |
Sven is lightning-fast and so is Jack. |
| 01:14:24 |
He had this box of filters |
| 01:14:28 |
We were up in North Mexico, |
| 01:14:31 |
and the sky was really bad, it was like |
| 01:14:35 |
so he pulled out a little thing and started |
| 01:14:40 |
and all of a sudden instead of being a |
| 01:14:45 |
He's just a genius. |
| 01:14:57 |
Today there's a big difference. |
| 01:14:59 |
The days when I was working |
| 01:15:04 |
and any film which had a lot of effects, |
| 01:15:06 |
I wanted very much to do it myself, |
| 01:15:09 |
even if it meant, like I said before, |
| 01:15:12 |
through mist or whatever. |
| 01:15:14 |
But nowadays anything that comes up, |
| 01:15:19 |
which is really fantastic, |
| 01:15:22 |
they say, "Jack, don't worry about that, |
| 01:15:25 |
So I've always felt a bit left... |
| 01:15:28 |
Digital imagery looks real, |
| 01:15:34 |
it lacks the used feeling in a way, it |
| 01:15:39 |
And then the attack. |
| 01:15:41 |
But what I'm saying now |
| 01:15:44 |
because, er...it's already gone, |
| 01:15:48 |
Today this scene |
| 01:15:50 |
has been processed in Technicolor. |
| 01:16:03 |
And cinematography |
| 01:16:08 |
and it is, I think, |
| 01:16:13 |
There's no question that it is, |
| 01:16:15 |
because it involves every element of art |
| 01:16:24 |
I would like to think |
| 01:16:27 |
but there's always the stigma of cinema |
| 01:16:33 |
but those who are, you know, |
| 01:16:35 |
wonderful literary figures, |
| 01:16:38 |
will feel that cinema is a popular form, |
| 01:16:46 |
When I see him, |
| 01:16:55 |
It reminds me of the eyes |
| 01:17:01 |
very inquisitive. |
| 01:17:04 |
How do you get...almost |
| 01:17:08 |
and try to make that concrete? |
| 01:17:10 |
An idea that hits you here, |
| 01:17:13 |
and then you have to translate it |
| 01:17:22 |
Some people, in an effort to be |
| 01:17:27 |
"they don't make films |
| 01:17:30 |
But that's all nonsense. |
| 01:17:33 |
To me, the standard of photography |
| 01:17:39 |
Go on, keep going, keep going. |
| 01:17:42 |
OK, quiet, please, everyone. |
| 01:17:44 |
See what I'm going for? |
| 01:17:47 |
- Why don'tyou want to retire? |
| 01:17:52 |
I've got a big horizon. |
| 01:17:54 |
There's painting in between, |
| 01:17:56 |
And hopefully, one of these days, |
| 01:18:00 |
I'll just drop dead on the film set. |
| 01:18:11 |
This is the first time |
| 01:18:12 |
an honorary Oscar has been given |
| 01:18:18 |
Ladies and gentlemen, it is |
| 01:18:22 |
Mr. Jack Cardiff. |
| 01:18:42 |
Thank you. |
