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1
00:00:36,049 --> 00:00:38,928
(Audience applauds)
2
00:00:47,770 --> 00:00:49,044
Good evening.
3
00:00:49,850 --> 00:00:55,208
For those of us here tonight
that are 70 years old or younger,
4
00:00:56,690 --> 00:01:01,082
Jack Cardiff was shooting film
before we were born.
5
00:01:32,293 --> 00:01:35,171
(Kirk Douglas)
I don't do many interviews.
6
00:01:35,373 --> 00:01:42,643
But when I was invited to speak
about Jack Cardiff, my friend,
7
00:01:42,773 --> 00:01:44,126
I couldn't resist,
8
00:01:44,333 --> 00:01:49,727
because Jack Cardiff
is a...an amazing guy.
9
00:01:51,735 --> 00:01:53,531
(Scorsese)
Every time I saw certain names,
10
00:01:53,694 --> 00:01:56,492
and one of the names
that kept cropping up was Cardiff.
11
00:01:56,654 --> 00:02:00,250
Every time I saw these names, I knew
I was in for something very special.
12
00:02:00,615 --> 00:02:05,928
And I began to have a very strong
affinity towards British cinema,
13
00:02:06,055 --> 00:02:09,604
because of my recognition
of Cardiff's name, actually.
14
00:02:09,735 --> 00:02:13,570
The way a movie is photographed
creates a mood,
15
00:02:13,696 --> 00:02:15,288
and creates the mood of the movie,
16
00:02:15,576 --> 00:02:20,013
so that the audience is prepared
for the kind of movie it's going to be.
17
00:02:20,136 --> 00:02:22,013
(lnaudible)
18
00:02:23,496 --> 00:02:25,533
Cinematography is central to film.
19
00:02:25,657 --> 00:02:30,286
Motion pictures is...
is the art form of the 20th century,
20
00:02:30,616 --> 00:02:33,529
and you can't do them
without the camera.
21
00:02:53,938 --> 00:02:56,657
Going over to Bogie, he's dead.
22
00:02:56,778 --> 00:03:00,658
She's dead, she's dead, she's dead.
She's alive.
23
00:03:00,819 --> 00:03:03,572
I'm just alive.
24
00:03:03,699 --> 00:03:05,496
It's fantastic, isn't it?
25
00:03:05,659 --> 00:03:08,571
- (lnterviewer) You've outlivedthem all.
- Yeah.
26
00:03:08,739 --> 00:03:10,730
Incredible.
27
00:03:12,060 --> 00:03:16,052
I don't know. Do you think
it's a tragic industry to be in sometimes?
28
00:03:16,219 --> 00:03:22,216
No, I don't think so, I think
it's a nonsensical thing...job to be in,
29
00:03:22,540 --> 00:03:24,974
because it's full of, um...
30
00:03:25,100 --> 00:03:28,729
full of hypocrisy, hyperbole.
31
00:03:30,100 --> 00:03:32,820
Just about everything you can think of.
32
00:03:45,261 --> 00:03:47,822
At this moment
your room is still not ready.
33
00:03:53,542 --> 00:03:56,534
- Thank you.
- Your name?
34
00:03:57,542 --> 00:03:59,613
If anybody said, "Who is that guy? "
35
00:03:59,783 --> 00:04:02,138
because I don't think anybody
really knows who I am,
36
00:04:02,263 --> 00:04:06,495
I'd say, "Well, I used to be
a stand-in for Frank Sinatra."
37
00:04:09,143 --> 00:04:11,259
(Man speaking French)
38
00:04:25,865 --> 00:04:28,776
(Speaks French)
39
00:05:03,586 --> 00:05:06,020
(Sister Ruth laughs)
40
00:05:17,067 --> 00:05:18,978
(Audience applauds)
41
00:05:22,988 --> 00:05:25,707
- That was made 50 years ago.
- Cinquante ans.
42
00:05:25,908 --> 00:05:27,261
How are you?
43
00:05:27,468 --> 00:05:29,265
Pleased to meet you.
44
00:05:29,588 --> 00:05:31,260
- Nice to see you.
- Hello.
45
00:05:33,229 --> 00:05:34,947
Come up a bit on this one,
46
00:05:35,109 --> 00:05:37,906
and they're putting on a narrow one
on the number four.
47
00:05:38,068 --> 00:05:40,025
(lnterviewer) How oldare you now?
48
00:05:40,149 --> 00:05:43,027
A couple of weeks ago, I was 91.
49
00:05:43,229 --> 00:05:45,823
- Andyou're still working?
- Yes, well, not for long.
50
00:05:45,989 --> 00:05:50,858
Another ten years,
and I'll have to take it easy, I think.
51
00:05:51,069 --> 00:05:52,821
- Can you put it on now?
- Yes, sir.
52
00:05:52,989 --> 00:05:55,629
Where you are now with the smoke.
That's it.
53
00:05:55,830 --> 00:06:00,222
- When didyou begin, Jack?
- In this business?
54
00:06:00,351 --> 00:06:04,946
Er...well, I started in 1 9...
55
00:06:06,751 --> 00:06:09,663
1 91 8.
56
00:06:09,831 --> 00:06:12,550
As a kid actor.
That's a long way back, isn't it?
57
00:06:34,233 --> 00:06:38,145
And that's myself
when I was about five years of age.
58
00:06:38,272 --> 00:06:41,231
- You'dalready been in a movie.
- Yes, I had.
59
00:06:41,313 --> 00:06:45,545
Do you remember, as a child,
the fiirst fiilm you acted in?
60
00:06:45,713 --> 00:06:49,228
Very, very fuzzily. I know
that it was called "My Son, My Son".
61
00:06:49,593 --> 00:06:54,748
I was four years of age,
and it was a silent picture, of course.
62
00:06:54,874 --> 00:06:58,230
The director used to shout
the instructions through the megaphone.
63
00:06:58,554 --> 00:07:01,671
"Now smile a bit, look over to her.
You love her. Come on, you do this."
64
00:07:01,834 --> 00:07:04,553
That was...that was easy, you know.
65
00:07:08,115 --> 00:07:09,833
In between stage shows,
66
00:07:09,995 --> 00:07:14,034
my mother and father
would work as extras sometimes.
67
00:07:15,075 --> 00:07:19,591
The standard rate of pay in those days,
the extras got one guinea a day.
68
00:07:20,676 --> 00:07:24,827
And there was something like,
I don't know, 1 50 or 200 extras.
69
00:07:25,035 --> 00:07:29,905
They were paid at the end of the day
by filing past a little booth.
70
00:07:30,076 --> 00:07:32,226
After a while,
they realised what they could do,
71
00:07:32,556 --> 00:07:35,025
they'd get to the end of the queue
and they'd change hats,
72
00:07:35,157 --> 00:07:37,192
or put on a different coat,
73
00:07:37,316 --> 00:07:40,035
and they'd go by
and they'd take another guinea.
74
00:07:40,156 --> 00:07:42,546
They were making a fortune
until they were found out.
75
00:07:42,677 --> 00:07:46,306
The queue was filing by for hours
collecting guineas.
76
00:07:46,637 --> 00:07:48,673
I had a different home every week.
77
00:07:48,837 --> 00:07:55,516
I went to about 300 schools in my youth
and learnt practically nothing.
78
00:07:55,678 --> 00:07:57,669
So where didyou pick up
allyour skills?
79
00:07:57,838 --> 00:08:01,035
I read a pornographic book
by Frank Harris.
80
00:08:01,158 --> 00:08:04,309
But in between the porn, there was
all these great names he mentioned.
81
00:08:04,638 --> 00:08:09,235
He'd met all these great writers
and painters and musicians.
82
00:08:09,359 --> 00:08:11,031
And I went out to Foyles
83
00:08:11,159 --> 00:08:15,277
and bought all the books he mentioned
in his book, and I read the lot.
84
00:08:15,599 --> 00:08:17,794
That started it,
and I kept on reading ever since.
85
00:08:17,919 --> 00:08:20,035
So you learned
in between bits ofipornography?
86
00:08:20,159 --> 00:08:21,912
Yes.
87
00:08:26,879 --> 00:08:30,998
The first job I had was really
a kind of runner boy. I was...
88
00:08:31,120 --> 00:08:34,636
The director had
some kind of flatulence problem.
89
00:08:34,721 --> 00:08:39,032
He was...
he had to be given Vichy water.
90
00:08:39,200 --> 00:08:43,035
I had to hand him fresh, cold
Vichy water at any time of the day,
91
00:08:43,161 --> 00:08:45,231
so I had to sort of have it all ready.
92
00:08:45,361 --> 00:08:47,749
That was a silent picture.
93
00:08:47,881 --> 00:08:52,159
And then the next picture
was the beginning of sound.
94
00:08:53,641 --> 00:08:56,600
Hitchcock was in the next stage.
95
00:08:57,682 --> 00:09:01,277
When sound films first came out,
they had to be, obviously, synchronised,
96
00:09:01,562 --> 00:09:03,632
and to do that we had clappers.
97
00:09:03,762 --> 00:09:06,834
which was just two pieces of wood
that did that,
98
00:09:06,962 --> 00:09:11,240
and then you'd put the sound
against the picture as it closed.
99
00:09:11,362 --> 00:09:15,276
And the first clappers, they thought
it was such an important function,
100
00:09:15,603 --> 00:09:17,639
that they gave it to the director,
101
00:09:17,803 --> 00:09:20,033
and he would solemnly
announce the scene
102
00:09:20,243 --> 00:09:22,803
and then clap and sit down
and say, "Action."
103
00:09:22,923 --> 00:09:24,834
It was considered a very vital thing.
104
00:09:25,043 --> 00:09:27,841
But after a while, he found
it was a bit of a bore doing that,
105
00:09:28,003 --> 00:09:32,236
so they put the job with the young
clapper boy, as he was called.
106
00:09:32,564 --> 00:09:37,319
He was a number boy, and he became
a clapper boy, and I used to do that.
107
00:09:37,484 --> 00:09:38,917
4 take 1.
108
00:09:40,844 --> 00:09:44,997
While I was at B&D Studios,
I was working on British quota pictures,
109
00:09:45,165 --> 00:09:48,282
which had to be completed
in two to three weeks.
110
00:09:48,605 --> 00:09:52,075
I was then operating the camera,
and you couldn't make any mistakes
111
00:09:52,245 --> 00:09:54,679
cos they'd never do another take,
there wasn't time or money.
112
00:10:06,806 --> 00:10:11,641
(Challis) Korda brought over
a lot of very good people
113
00:10:11,766 --> 00:10:18,525
and, I think, was instrumental in founding
the sort of British school, if you like.
114
00:10:18,687 --> 00:10:23,886
I mean, he gave people the opportunity
to learn from masters of their craft.
115
00:10:24,887 --> 00:10:27,765
(Singing)
116
00:10:31,048 --> 00:10:34,119
Run, run, Orlando.
117
00:10:34,287 --> 00:10:38,645
(Cardiff) A lot of fascinating stars
were coming over, and big directors,
118
00:10:38,808 --> 00:10:44,645
and, what was most important,
very good top Hollywood cameramen.
119
00:10:44,809 --> 00:10:46,685
(Crowd shouting)
120
00:10:59,649 --> 00:11:00,843
What are you waiting for?
121
00:11:01,049 --> 00:11:03,325
Dietrich was a big sensation, of course,
122
00:11:03,650 --> 00:11:07,768
and she...she used to put
gold dust in her hair.
123
00:11:07,890 --> 00:11:10,563
She knew about lighting,
she'd worked with Josef von Sternberg.
124
00:11:10,730 --> 00:11:13,244
She would have been
a great cameraman,
125
00:11:13,610 --> 00:11:17,160
and she knew that
that lighting had to be so high,
126
00:11:17,331 --> 00:11:19,845
45 degrees,
to make a shadow under the nose,
127
00:11:20,011 --> 00:11:24,004
and most cameramen over the years
have done the same sort of lighting.
128
00:11:24,131 --> 00:11:27,521
She had a slightly turned-up nose.
Like Marilyn Monroe, in fact.
129
00:11:27,691 --> 00:11:30,047
So to straighten it out
she had this white line down here,
130
00:11:30,212 --> 00:11:34,250
and then inside here,
inside the eyes, she put this white.
131
00:11:34,491 --> 00:11:37,484
See this white inside.
It must've been painful to do this.
132
00:11:37,652 --> 00:11:40,644
She looked gorgeous.
But she was in command of the lighting.
133
00:11:40,812 --> 00:11:44,851
She used to have a full-length mirror
by the side of the camera.
134
00:11:45,012 --> 00:11:49,291
She'd look in the mirror and say, "Harry,
the back light could get a bit hotter,
135
00:11:49,573 --> 00:11:51,882
"and how about the kicker light? "
136
00:11:52,053 --> 00:11:53,805
She used to comment on it,
137
00:11:53,933 --> 00:11:57,642
and Harry would whisper to me,
"Goddamn it, she's always right."
138
00:11:57,813 --> 00:12:00,885
- Have you had luck so far?
- Wonderful luck.
139
00:12:01,013 --> 00:12:04,290
And the most wonderful of all
was to meet you.
140
00:12:06,654 --> 00:12:09,771
- Do you think so?
- Yes, I do think so.
141
00:12:11,294 --> 00:12:13,330
Even if tomorrow
means the end of us...
142
00:12:15,214 --> 00:12:17,729
...as it may do.
143
00:12:18,535 --> 00:12:20,843
What about this one?
144
00:12:21,014 --> 00:12:23,813
(Cardiff) We had this scene in the bath,
145
00:12:23,935 --> 00:12:25,846
and she came on the set,
146
00:12:25,975 --> 00:12:29,126
and we thought she was going to be
in a swimming costume,
147
00:12:29,295 --> 00:12:30,695
which was the usual thing.
148
00:12:30,816 --> 00:12:33,488
When she took off her dressing gown,
she was stark naked.
149
00:12:33,655 --> 00:12:37,569
Within half an hour of doing these shots
in the bath, the place was crowded.
150
00:12:37,696 --> 00:12:41,166
There was about 1 6 electricians
on the spot rail
151
00:12:41,296 --> 00:12:44,527
trying to look technical,
holding lamps and things.
152
00:12:44,696 --> 00:12:48,245
The ground, which was a paper floor,
was getting wetter and wetter.
153
00:12:48,376 --> 00:12:53,246
And as she got out, she slipped on
the soapy water, and fell with a crash,
154
00:12:53,577 --> 00:12:57,695
and the towels missed her completely,
east and west in the air,
155
00:12:57,857 --> 00:13:01,167
and there was the great Marlene
floundering about on the floor,
156
00:13:01,297 --> 00:13:03,254
stark naked.
157
00:13:07,857 --> 00:13:10,247
(Heston) He started very early in colour.
158
00:13:10,498 --> 00:13:14,093
Started about when
they started doing colour, I believe.
159
00:13:14,258 --> 00:13:16,055
It's a different medium, really.
160
00:13:16,178 --> 00:13:20,012
You light in a different way,
which, of course, is the cameraman.
161
00:13:21,658 --> 00:13:23,650
(Cardiff) The Technicolor people
had come over
162
00:13:23,819 --> 00:13:28,290
to choose one young operator
to be trained in Technicolor,
163
00:13:28,619 --> 00:13:29,847
and they came out shaking
164
00:13:30,060 --> 00:13:34,814
because the technical questions
were absolutely...very, very tough.
165
00:13:34,939 --> 00:13:37,135
So, when it came to my turn,
I said right away,
166
00:13:37,300 --> 00:13:39,768
"I'm afraid on the technical side,
I'm zero,"
167
00:13:39,900 --> 00:13:41,572
and there was a shocked silence,
168
00:13:41,700 --> 00:13:44,453
and they said, "How are you
going to get on in the film business? "
169
00:13:44,620 --> 00:13:48,772
I study painting and light
and lighting buildings and so on,
170
00:13:48,900 --> 00:13:52,052
and they asked me, "Which side
of the face did Rembrandt light? "
171
00:13:52,221 --> 00:13:56,179
I took a chance and said, "This side,
and it'd be reversed in an etching,"
172
00:13:56,300 --> 00:13:58,895
and then I talked about Pieter de Hooch
and his interiors
173
00:13:59,061 --> 00:14:01,097
and the camera obscura and that stuff,
174
00:14:01,261 --> 00:14:04,937
and the next day I learnt
that I had been chosen.
175
00:14:08,821 --> 00:14:11,859
Light comes through the front,
obviously, through the lens,
176
00:14:12,062 --> 00:14:15,771
and there's a prism here, which is
the soul of the Technicolor camera.
177
00:14:15,942 --> 00:14:20,140
Twenty-five per cent of the light
comes straight through the prism
178
00:14:20,262 --> 00:14:22,776
on to the one film in this gate here.
179
00:14:22,902 --> 00:14:24,336
That's the green record.
180
00:14:24,703 --> 00:14:29,823
And then the other...rest of the light,
75 per cent of the light,
181
00:14:29,943 --> 00:14:32,696
comes through
and is reflected on to a bipack.
182
00:14:32,863 --> 00:14:35,172
This is a bipack of the blue
and the red records.
183
00:14:35,303 --> 00:14:38,740
And, of course,
the magazine holds three films.
184
00:14:38,944 --> 00:14:43,061
Of course, these things free the
sprockets. They do nothing except that.
185
00:14:43,223 --> 00:14:46,580
But I used to put on this big act and say,
"l think I'll put a bit more green here,
186
00:14:46,744 --> 00:14:48,860
"a little less blue there,"
187
00:14:49,024 --> 00:14:52,904
and they believed it, they thought
I was creating colour with the camera.
188
00:15:03,825 --> 00:15:06,100
(Challis) The whole camera department
were American
189
00:15:06,265 --> 00:15:10,817
and Jack was the only one
on the camera crew who was English.
190
00:15:10,946 --> 00:15:13,858
And he was the camera operator
on it at Denham.
191
00:15:14,026 --> 00:15:17,939
- Here they come.
- (Cheering)
192
00:15:18,146 --> 00:15:20,944
Donnerhill still in rather a pocket
on Wings Of The Morning.
193
00:15:21,106 --> 00:15:23,176
(Cardiff) It was a fascinating new world,
194
00:15:23,346 --> 00:15:27,784
because I was into
the lmpressionists at that time,
195
00:15:27,947 --> 00:15:30,255
and I was mad
about the lmpressionist painters,
196
00:15:30,586 --> 00:15:32,578
and I thought, "Well, this is it."
197
00:15:42,667 --> 00:15:45,740
(Voiceover) The surface of anything
you look at is absorbing some colour rays
198
00:15:45,908 --> 00:15:47,785
and is reflecting the rest.
199
00:15:47,908 --> 00:15:53,029
What it reflects strikes the eye and that's
how we get our impression of colour.
200
00:15:53,149 --> 00:15:55,582
Colour is light and light is colour.
201
00:15:55,708 --> 00:15:57,300
(Challis) He always liked to experiment.
202
00:15:57,628 --> 00:16:01,861
He liked to apply certain things
which he felt he'd learnt from painting
203
00:16:01,989 --> 00:16:04,788
to cinematography.
204
00:16:17,950 --> 00:16:22,978
As you see, I've always collected a lot
of interesting paintings and drawings.
205
00:16:23,110 --> 00:16:26,740
I learnt a lot about painting...
Well, I'm still learning, let's face it.
206
00:16:26,911 --> 00:16:32,349
And the main idea is I copied
some painters, like I liked that Boucher.
207
00:16:32,591 --> 00:16:36,220
I couldn't afford to buy the real one
and so I copied it,
208
00:16:36,351 --> 00:16:38,343
and that's the way to learn.
209
00:16:38,592 --> 00:16:41,264
A lot of real painters copy
other painters, you know,
210
00:16:41,591 --> 00:16:45,744
because this way they learn from each
other, in a way, it's an interesting thing.
211
00:16:45,912 --> 00:16:48,062
Some people say it's a copy.
Yes, it's a copy.
212
00:16:48,192 --> 00:16:51,184
But it takes a long time to analyse
the painting, to make the copy.
213
00:16:58,473 --> 00:17:04,309
Then I had a big break, because
a German came in to Technicolor,
214
00:17:04,552 --> 00:17:07,590
who was a count, Count von Keller.
215
00:17:07,713 --> 00:17:09,112
(Challis) He was a great traveller.
216
00:17:09,273 --> 00:17:13,950
He was a sort of...I don't know,
you know, sort of buccaneer, almost.
217
00:17:14,114 --> 00:17:15,866
He was a wonderful character.
218
00:17:16,074 --> 00:17:17,870
Somebody suggested to him,
219
00:17:18,033 --> 00:17:20,946
"When you're on these travels,
why don't you make films?
220
00:17:21,114 --> 00:17:23,309
"Why don't you take along
a Technicolor camera and crew
221
00:17:23,634 --> 00:17:25,591
"and make travel films? "
222
00:17:25,715 --> 00:17:29,707
(Voiceover) The work and spirit of
the immortal Lawrence lives to this day,
223
00:17:29,874 --> 00:17:32,184
for Lawrence,
in his quiet unobtrusive way,
224
00:17:32,315 --> 00:17:35,068
imparted to the dwellers
of this wild territory
225
00:17:35,235 --> 00:17:37,988
a sense of law and order
of which they had never dreamed.
226
00:17:38,195 --> 00:17:42,586
(Challis) Jack is in the middle and I'm
on the right. That's in Palmyra in Syria.
227
00:17:42,755 --> 00:17:45,873
(Cardiff) We went to Africa and lndia
and all over the world
228
00:17:46,036 --> 00:17:48,072
with a Technicolor camera.
229
00:17:49,716 --> 00:17:54,107
(Voiceover) The outside walls are richly
carved with incidents from Hindu legend,
230
00:17:54,276 --> 00:17:57,825
so rich that not one panel
resembles any other.
231
00:17:57,956 --> 00:18:00,187
(Challis) Most people
hadn't been abroad.
232
00:18:00,317 --> 00:18:03,911
And to see places in colour
was marvellous.
233
00:18:04,076 --> 00:18:07,114
(Voiceover) He is Nundi the bull.
Nundi the joyous.
234
00:18:07,317 --> 00:18:10,354
Worshipped as an embodiment
of the force of reproduction.
235
00:18:10,557 --> 00:18:13,311
(Challis) But Jack was
the creative drive behind them.
236
00:18:13,558 --> 00:18:15,276
Nobody else had much idea
237
00:18:15,358 --> 00:18:19,988
about how to set about
making it original and different.
238
00:18:23,918 --> 00:18:28,116
(Cardiff) When Vesuvius was on, and
splotches of molten lava were falling,
239
00:18:28,278 --> 00:18:31,953
we had to sort of choose a moment
to dash in and just point the camera.
240
00:18:32,118 --> 00:18:34,713
(Voiceover)..while from the lips
of its many gaping mouths, the lava...
241
00:18:34,879 --> 00:18:38,349
I broke the prism
and burnt the tripod legs.
242
00:18:38,599 --> 00:18:41,193
Burnt my shoes, anyway.
But that's another story.
243
00:18:47,720 --> 00:18:49,995
(Christie) "Western Approaches"
is an extraordinary film,
244
00:18:50,120 --> 00:18:54,238
because it's the first ever
Technicolor documentary
245
00:18:54,360 --> 00:18:56,157
that isn't a travelogue.
246
00:18:56,360 --> 00:18:59,194
- What have you decided to do, sir?
- Make for lreland.
247
00:18:59,321 --> 00:19:02,358
Prevailing winds in part of
the Gulf Stream should be in our favour.
248
00:19:02,601 --> 00:19:06,640
(Cardiff) You had a lifeboat
with 22 merchant seamen in it
249
00:19:06,801 --> 00:19:09,998
and the Technicolor camera, it was
very clumsy and very difficult to work,
250
00:19:10,121 --> 00:19:13,273
and the director and myself
and a few assistants and so on.
251
00:19:13,602 --> 00:19:16,991
And we went out every day in the lrish
Channel, which was absolutely horrible.
252
00:19:17,201 --> 00:19:18,873
(Voiceover)
This is the "Forces Programme".
253
00:19:19,001 --> 00:19:21,721
Now here's a short recital
of gramophone records.
254
00:19:21,882 --> 00:19:24,350
We're on the home stretch now.
You can tell when you hear the old BBC.
255
00:19:24,642 --> 00:19:26,633
It won't be long now.
256
00:19:29,922 --> 00:19:32,072
(Christie) For the first time
in living memory,
257
00:19:32,202 --> 00:19:35,559
British film-makers
had a British audience.
258
00:19:38,602 --> 00:19:40,321
People enjoyed seeing British films.
259
00:19:40,643 --> 00:19:43,077
They actually preferred them
in some cases to American films.
260
00:19:43,283 --> 00:19:46,515
They felt they came closer
to the scene of the action.
261
00:19:46,684 --> 00:19:48,800
How could Americans understand
262
00:19:49,004 --> 00:19:52,678
what people in Britain
were going through during the war?
263
00:19:52,844 --> 00:19:56,280
So towards the end of the war, I think
British film-making was really on a high.
264
00:19:59,404 --> 00:20:00,884
(Cardiff) At that time,
265
00:20:01,045 --> 00:20:04,514
I had not yet photographed
a feature film in its entirety.
266
00:20:04,684 --> 00:20:09,634
I'd done lots of little pieces and
I'd worked mostly on the second unit,
267
00:20:09,725 --> 00:20:11,761
and I was desperate
to get the big break.
268
00:20:11,925 --> 00:20:14,564
- (Gunshot)
- (Clicks)
269
00:20:14,725 --> 00:20:18,161
- (Gunshots)
- (Clicks)
270
00:20:18,325 --> 00:20:21,284
(Schoonmaker) The main character,
played by Roger Livesey,
271
00:20:21,566 --> 00:20:25,081
is trying to deal with his loneliness
by going on safaris
272
00:20:25,286 --> 00:20:28,039
and shooting animals all over the world.
273
00:20:28,246 --> 00:20:32,558
Jack Cardiff was doing the shooting
of that as the second unit cameraman
274
00:20:32,726 --> 00:20:35,116
and my husband came in
and watched him doing it.
275
00:20:35,327 --> 00:20:39,205
I heard a voice say, "Very interesting,"
and there was the great Michael Powell,
276
00:20:39,326 --> 00:20:43,002
and he said, "Would you like
to photograph my next film? "
277
00:20:43,127 --> 00:20:45,721
and I said, "Oh, yes, Mr Powell,"
and he went,
278
00:20:45,887 --> 00:20:49,800
and I thought, "He's just said that and
he'll forget all about it," but he didn't.
279
00:20:49,927 --> 00:20:53,284
Are you wounded? Repeat,
are you wounded? Are you bailing out?
280
00:20:53,488 --> 00:20:55,285
- What's your name?
- June.
281
00:20:55,488 --> 00:20:56,887
Yes, June, I'm bailing out.
282
00:20:57,008 --> 00:20:59,921
I'm bailing out but there's a catch.
I've got no parachute.
283
00:21:00,169 --> 00:21:03,160
Oh...hello? Hello, Peter?
Do not understand.
284
00:21:03,328 --> 00:21:05,558
(Clock ticking)
285
00:21:05,728 --> 00:21:08,084
Hello? Hello, Peter? Can you hear me?
286
00:21:08,289 --> 00:21:11,804
(Schoonmaker) Michael Powell just felt
that Jack was the man at that time
287
00:21:11,929 --> 00:21:17,606
who knew the most about how to get
colour on to film in a new way.
288
00:21:17,729 --> 00:21:19,606
The Archers had what was described
289
00:21:19,729 --> 00:21:22,119
as the longest period
of subversive film-making
290
00:21:22,290 --> 00:21:24,042
within a major studio ever,
291
00:21:24,170 --> 00:21:28,800
and because their films were
very popular, commercially successful,
292
00:21:28,970 --> 00:21:30,688
they got away with murder.
293
00:21:30,890 --> 00:21:33,644
(Michael Powell)
We were our own bosses.
294
00:21:33,811 --> 00:21:36,325
We produced it,
we wrote it, we directed it,
295
00:21:36,690 --> 00:21:40,650
and if anybody said to us,
"May I suggest you do this? "
296
00:21:40,771 --> 00:21:42,807
we just said, "Eff off!"
297
00:21:42,931 --> 00:21:45,923
(Cardiff) It was a wonderful combination,
because you had Michael,
298
00:21:46,091 --> 00:21:50,164
who was daring and running around
and doing outlandish things,
299
00:21:50,331 --> 00:21:52,925
and Emeric,
who was a brilliant writer anyway.
300
00:21:53,091 --> 00:21:56,164
He would be the one
who occasionally would say to Michael,
301
00:21:56,372 --> 00:22:00,684
"This is going too far, because of this
or that," and he'd usually be right.
302
00:22:00,812 --> 00:22:03,884
(Schoonmaker) They were fantastic.
Fertile, imaginative mind.
303
00:22:04,052 --> 00:22:06,247
A very unique person in his own way.
304
00:22:06,372 --> 00:22:11,572
And then you add Jack to the mix,
you have a pretty powerful cocktail.
305
00:22:17,613 --> 00:22:19,843
(Cardiff) It was daunting for me,
as my first film,
306
00:22:19,973 --> 00:22:24,171
and even for Michael Powell
it was an ambitious project.
307
00:22:27,414 --> 00:22:31,805
We were doing an exterior and Michael
said, "Wait, I'd love to have a fade-in,
308
00:22:31,934 --> 00:22:33,731
"but instead of just a fade-in
309
00:22:33,894 --> 00:22:37,603
"I'd like to have something different
like a mist thing or something."
310
00:22:37,734 --> 00:22:39,804
And I said, "Look through the camera,"
311
00:22:39,974 --> 00:22:43,331
so he looked through the camera
and I went to the lens and went...
312
00:22:50,815 --> 00:22:53,773
(Scorsese) When I saw the Archers logo,
I knew I was in for something special.
313
00:22:53,895 --> 00:22:57,206
Then I saw the name Cardiff
attached with that,
314
00:22:57,336 --> 00:23:01,887
and I knew this was a unique...I was
about to undergo a unique experience.
315
00:23:05,976 --> 00:23:09,174
- Child, where were you born?
- In Boston, sir.
316
00:23:09,337 --> 00:23:13,329
I've made a bunch of films in Hollywood
but nothing to compare with this.
317
00:23:13,656 --> 00:23:15,329
It was an enormous production.
318
00:23:15,657 --> 00:23:18,296
The court will adjourn.
319
00:23:21,938 --> 00:23:27,295
(Challis) It was, I've always thought,
as pure cinema as Disney, really.
320
00:23:27,377 --> 00:23:31,132
I mean, you couldn't do it on the stage
or in any other way.
321
00:23:33,618 --> 00:23:38,009
(Cardiff) I remember,
in the first preparation days of the film,
322
00:23:38,138 --> 00:23:40,333
I said to him, quite casually,
323
00:23:40,618 --> 00:23:43,338
I said, "Michael,
I suppose heaven will be in colour
324
00:23:43,659 --> 00:23:45,729
"and the earth will be in black and white."
325
00:23:45,939 --> 00:23:48,294
He said, "No, the contrary."
326
00:23:48,459 --> 00:23:50,689
I said, "Why? "
He said, "Everyone expects that."
327
00:23:50,819 --> 00:23:52,696
That was typical in his nature.
328
00:23:52,819 --> 00:23:54,172
He was perverse to the extent
329
00:23:54,299 --> 00:23:57,098
that he would like to do
anything that was different.
330
00:23:57,180 --> 00:23:59,647
I mean, the ordinary
was anathema to him.
331
00:23:59,779 --> 00:24:01,736
A little trick of mine, you remember?
332
00:24:01,900 --> 00:24:05,688
In order to get the transition
from black and white to colour,
333
00:24:05,820 --> 00:24:08,779
we would shoot the main sequence
in black and white
334
00:24:08,941 --> 00:24:13,297
but the penultimate shot
was using the Technicolor camera
335
00:24:13,420 --> 00:24:16,777
so that they would be able to start
in black and white
336
00:24:16,941 --> 00:24:18,818
and then bring in the colour.
337
00:24:18,941 --> 00:24:22,252
(Hunter) Marius Goring ad-libbed
a line during one of the scenes
338
00:24:22,382 --> 00:24:26,374
and Mickey Powell immediately said,
"Keep it in, good line."
339
00:24:26,701 --> 00:24:30,900
One is starved for Technicolor up there.
340
00:24:31,102 --> 00:24:34,981
(Hunter) Really throughout
all of my life, I do not go to dailies,
341
00:24:35,142 --> 00:24:38,578
except that when we were doing
"A Matter Of Life And Death",
342
00:24:38,742 --> 00:24:43,259
I was so curious that I did go, early on,
343
00:24:43,383 --> 00:24:49,015
I think for the first time
that they had colour in the dailies,
344
00:24:49,223 --> 00:24:53,774
they clearly were not happy
with the colour.
345
00:24:53,903 --> 00:24:56,702
They said, "Send it back,"
and, "Do better than that,
346
00:24:56,784 --> 00:24:58,819
"we must have it better than that!"
347
00:24:58,943 --> 00:25:02,095
So I have a feeling that Jack
was very much behind all that.
348
00:25:08,625 --> 00:25:11,855
(Voiceover) Outside the Empire,
thousands crowd the approaches
349
00:25:11,984 --> 00:25:15,261
to see the royal family and also
the many film stars and notabilities
350
00:25:15,425 --> 00:25:18,815
attending the Royal Command
film performance.
351
00:25:18,945 --> 00:25:21,742
Michael Powell, one of the two
producers of the film, on the stairway.
352
00:25:21,905 --> 00:25:23,304
(Cardiff) At the end of the picture,
353
00:25:23,425 --> 00:25:27,703
either the cameramen
would collect these, put on one sheet,
354
00:25:27,865 --> 00:25:30,380
or Technicolor would do it for him.
355
00:25:30,706 --> 00:25:33,617
I have several,
and they're great fun to look at them.
356
00:25:51,747 --> 00:25:54,261
(Voiceover) Mopu is 8,000 feet up.
357
00:25:54,387 --> 00:25:57,185
The peaks on the range opposite
are nearly as high as Everest.
358
00:25:57,347 --> 00:26:01,898
The people call the highest peak
Nanga Devi. It means the bare goddess.
359
00:26:02,027 --> 00:26:06,738
(Cardiff) On "Black Narcissus", we all
expected to go on location to lndia,
360
00:26:06,908 --> 00:26:10,105
and we were greatly surprised when
Michael Powell the director told us
361
00:26:10,268 --> 00:26:14,864
the entire film was going to be made
at Pinewood Studios in England.
362
00:26:15,028 --> 00:26:20,057
(Powell) I saw it as a wonderful
exercise for all...for all of us,
363
00:26:20,189 --> 00:26:24,979
to produce a real perfect
colour work of art.
364
00:26:26,229 --> 00:26:30,382
(Cardiff) Michael collected around him
the best technicians that were available
365
00:26:30,710 --> 00:26:34,907
and he had a brilliant art director,
Alfred Junge.
366
00:26:35,069 --> 00:26:38,699
He was very German
and highly organised,
367
00:26:38,830 --> 00:26:40,388
and if he designed a set,
368
00:26:40,710 --> 00:26:44,226
when you walked on for the first time,
there would be a cross on the floor,
369
00:26:44,431 --> 00:26:48,343
and he said, "That is the camera
position with a 35 millimetre lens."
370
00:26:48,710 --> 00:26:53,102
(Powell) Alfred Junge the designer
and Jack Cardiff the cameraman
371
00:26:53,231 --> 00:26:58,021
would have endless arguments
and conversations about settings,
372
00:26:58,191 --> 00:27:02,230
first of all on paper
and then when they were painted,
373
00:27:02,351 --> 00:27:05,708
then in detail,
and then when the set was there.
374
00:27:07,872 --> 00:27:11,831
(Challis) The exteriors out on the lot
at Pinewood, with the Himalayas,
375
00:27:11,952 --> 00:27:13,305
were absolutely marvellous,
376
00:27:13,672 --> 00:27:16,904
because they were plaster mountains
in perspective,
377
00:27:16,993 --> 00:27:19,029
but the result was just unbelievable.
378
00:27:19,153 --> 00:27:21,712
You looked out of the window
and it looked real.
379
00:27:21,872 --> 00:27:26,503
(Powell) Sometimes Alfred
would have to tear half of it down
380
00:27:26,673 --> 00:27:30,110
and Jack pointed out that
the kind of lighting that he wanted
381
00:27:30,274 --> 00:27:32,582
for this particular sequence
382
00:27:32,753 --> 00:27:36,189
couldn't be done because
there was a wall in the way.
383
00:27:36,354 --> 00:27:38,822
Alfred would be furious.
384
00:27:38,954 --> 00:27:43,107
But together they just worked miracles.
385
00:27:45,234 --> 00:27:50,025
I mean, you never get
the slightest feeling of studio, do you?
386
00:27:54,715 --> 00:27:56,945
(Cardiff) After the film was released,
387
00:27:57,115 --> 00:27:59,834
I believe Micky got a letter
from someone in lndia
388
00:27:59,955 --> 00:28:03,187
who said that they knew the locations,
they'd seen them.
389
00:28:03,356 --> 00:28:05,824
It was a good, good idea!
390
00:28:09,956 --> 00:28:13,505
(Cardiff) Vermeer was the sort of painter
that I had in mind on "Black Narcissus"
391
00:28:13,676 --> 00:28:18,910
because the light had to be clear
and as simple as possible.
392
00:28:24,717 --> 00:28:27,072
(Bell ringing)
393
00:28:30,638 --> 00:28:33,868
(Cardiff) When I did this green,
having green filters in the filler light
394
00:28:33,997 --> 00:28:38,230
and sort of pinkish colours
in the sun effects,
395
00:28:38,358 --> 00:28:40,155
it was a thing of anger,
396
00:28:40,318 --> 00:28:42,911
I tried to use
the same kind of mood in that...
397
00:28:43,037 --> 00:28:46,633
I mean, any cameraman
would get ideas from Van Gogh
398
00:28:46,798 --> 00:28:48,914
and moods of light and things.
399
00:28:49,038 --> 00:28:50,916
Light is the principal agent,
400
00:28:50,999 --> 00:28:54,389
and that should be the same
with photography,
401
00:28:54,718 --> 00:28:59,668
that the use of light is like a painter,
that you use it in a simple form.
402
00:29:02,359 --> 00:29:04,715
(Scorsese) The emotional
and psychological connection
403
00:29:04,840 --> 00:29:07,273
that was made through
certain lighting in paintings,
404
00:29:07,399 --> 00:29:10,312
I felt, watching those pictures
that he photographed.
405
00:29:10,520 --> 00:29:11,999
He made them special.
406
00:29:12,120 --> 00:29:16,113
Because of that, you wanted to be
in that world with them.
407
00:29:20,920 --> 00:29:25,358
You can't order me about. You have
nothing to do with me any more.
408
00:29:25,641 --> 00:29:27,711
I know what you've done.
I know that you've left the order.
409
00:29:27,881 --> 00:29:31,112
I only want to stop you from
doing something you'll be sorry for.
410
00:29:31,281 --> 00:29:34,318
Sister Philippa is going back in a few
days' time. I want to send you with her.
411
00:29:34,441 --> 00:29:38,913
That's what you would like to do,
send me back and shut me up.
412
00:29:39,002 --> 00:29:41,721
(Schoonmaker) Michael Powell
felt colour was part of the narrative.
413
00:29:41,842 --> 00:29:43,958
Sister Clodagh, Sister Clodagh!
414
00:29:44,122 --> 00:29:46,192
- You know what she says about you?
- Whatever she said, it was true!
415
00:29:46,402 --> 00:29:49,758
- You say that because you love her!
- I don't love anyone!
416
00:29:49,922 --> 00:29:52,312
(Sister Ruth) Clodagh. Clodagh.
417
00:29:52,643 --> 00:29:54,280
Clodagh! Clodagh!
418
00:29:54,402 --> 00:29:57,155
- Clodagh! Clodagh!
- (Crash)
419
00:29:57,283 --> 00:30:01,196
When I saw their work on screen,
this was like being bathed in colour.
420
00:30:01,363 --> 00:30:05,243
It was palpable. It was...it...
I don't know what...
421
00:30:05,404 --> 00:30:08,679
The colour itself became
the emotion of the picture.
422
00:30:12,804 --> 00:30:17,036
The atmosphere that was
created around me was fantastic.
423
00:30:17,164 --> 00:30:19,120
I was most inspired by it.
424
00:30:23,284 --> 00:30:27,073
I mean, I thought I was just going out
looking a bit malevolent.
425
00:30:29,844 --> 00:30:36,114
But when I saw it on the screen, I was
amazed at this great blare of music
426
00:30:36,245 --> 00:30:39,318
and this incredible face with the wet hair.
427
00:30:39,406 --> 00:30:42,875
He gave me half of my performance
with the lighting.
428
00:30:46,366 --> 00:30:49,085
(Michael Powell) When Arthur Rank...
429
00:30:49,206 --> 00:30:54,678
he took it to California,
showed it in Hollywood,
430
00:30:54,806 --> 00:30:57,639
it got the most wonderful
technical praise.
431
00:30:57,767 --> 00:30:59,837
The art direction got two Oscars.
432
00:30:59,967 --> 00:31:03,801
Jack Cardiff's photography
got another Oscar.
433
00:31:07,247 --> 00:31:11,035
(Scorsese) The whole communication
of the film, what it tries to communicate,
434
00:31:11,168 --> 00:31:15,207
is combined through costume,
the positioning of people in the frame,
435
00:31:15,368 --> 00:31:17,928
the movement of people
within the frame,
436
00:31:18,088 --> 00:31:22,718
sometimes the movement
of the frame itself, light, shadow, colour,
437
00:31:22,888 --> 00:31:25,164
and cutting, all to music.
438
00:31:25,369 --> 00:31:27,166
All designed specifically to music.
439
00:31:27,329 --> 00:31:30,718
Then they took it and went further
with it with "The Red Shoes" ballet.
440
00:31:39,170 --> 00:31:41,364
The last day but one
of "Black Narcissus",
441
00:31:41,529 --> 00:31:43,804
Michael Powell said to me,
"What do you think about ballet? "
442
00:31:43,969 --> 00:31:48,760
I said, "Not much, all these sissies
prancing about, I don't think much of it."
443
00:31:48,930 --> 00:31:51,923
And he was amused
rather than horrified.
444
00:31:52,091 --> 00:31:55,400
He said, "Jack, you'd better get to like
ballet, because this is your next film.
445
00:31:55,730 --> 00:32:00,122
"I've got tickets for you to go practically
every night." I thought, "Oh, my God!"
446
00:32:00,251 --> 00:32:03,926
Very shortly, of course, I became
absolutely wrapped up in ballet
447
00:32:04,051 --> 00:32:05,928
and I loved it.
448
00:32:06,051 --> 00:32:08,406
Actually, Miss Page,
I want more, much more.
449
00:32:08,731 --> 00:32:12,407
I want to create, to make something big
out of something little.
450
00:32:12,612 --> 00:32:15,729
(Schoonmaker) The theme
of "The Red Shoes", of course, is that...
451
00:32:15,892 --> 00:32:20,329
Michael was saying that if you want to
be on the cutting edge of your art form,
452
00:32:20,652 --> 00:32:22,324
you have to be prepared
to pay the consequences,
453
00:32:22,652 --> 00:32:28,921
because you're challenging everybody
when you start breaking conventions,
454
00:32:29,052 --> 00:32:33,331
and you have to be aware that
some people may be able to attack you
455
00:32:33,653 --> 00:32:34,927
and bring you down when you do this.
456
00:32:35,133 --> 00:32:37,363
Why do you want to dance?
457
00:32:40,733 --> 00:32:43,327
Why do you want to live?
458
00:32:43,453 --> 00:32:47,606
I don't know exactly why, but I must.
459
00:32:48,814 --> 00:32:50,566
That's my answer too.
460
00:32:50,734 --> 00:32:56,650
Some ballet enthusiasts feel
that it's not the best shooting of ballet.
461
00:32:56,774 --> 00:33:00,848
The best shooting of ballet, to be literal
about it, would be from head to toe,
462
00:33:00,975 --> 00:33:02,328
Fred Astaire had in his contract
463
00:33:02,455 --> 00:33:05,413
that you had to keep photographing him
from head to toe.
464
00:33:08,255 --> 00:33:12,647
But they changed that completely.
They paid no attention to that.
465
00:33:12,776 --> 00:33:16,734
They made a film about what goes on
inside the dancer's head.
466
00:33:27,296 --> 00:33:31,926
It's how the dancer, he or she,
sees themselves, while they're dancing.
467
00:33:32,096 --> 00:33:35,055
So you get the spirit of the dance,
you get the spirit of it,
468
00:33:35,177 --> 00:33:39,773
and I applied that later
to the boxing scenes in "Raging Bull".
469
00:33:43,457 --> 00:33:45,095
What they hear, what they see.
470
00:33:45,257 --> 00:33:47,897
What they hear and what they see,
very important.
471
00:33:48,098 --> 00:33:51,169
(Cardiff) Michael Powell had courage.
472
00:33:51,337 --> 00:33:55,172
He would risk, he would take a risk,
a big chance to do something,
473
00:33:55,298 --> 00:33:59,292
which might seem crazy
but it usually came off.
474
00:33:59,419 --> 00:34:03,127
(Schoonmaker) The camera devices
are welded to the material.
475
00:34:03,418 --> 00:34:05,488
They're welded
to the emotion of the film.
476
00:34:05,658 --> 00:34:09,015
They are for the purpose
of impacting the audience.
477
00:34:14,779 --> 00:34:20,013
I think because Jack had vision,
you know,
478
00:34:20,180 --> 00:34:22,853
about what he was going to do,
479
00:34:22,980 --> 00:34:26,256
he didn't feel curbed
by the restrictions of that time.
480
00:34:26,380 --> 00:34:30,737
I had the idea of increasing
the speed of the camera very rapidly,
481
00:34:30,900 --> 00:34:35,133
that as he jumped,
I went from 24 frames to 48 frames
482
00:34:35,301 --> 00:34:38,212
for about less than a second.
483
00:34:38,380 --> 00:34:41,612
So it went up, and as it got up
it was going much faster,
484
00:34:41,781 --> 00:34:43,931
which slowed him down imperceptibly,
485
00:34:44,101 --> 00:34:46,935
and he seemed to linger in the air
on the top of the jump.
486
00:34:47,102 --> 00:34:49,377
(Music plays)
487
00:34:49,742 --> 00:34:53,940
(Schoonmaker) They were coming up
with great ways to use the camera,
488
00:34:54,182 --> 00:34:58,221
and when you see how big that thing
was, how they did it, I don't know.
489
00:34:58,382 --> 00:35:01,818
I mean, they did call it the "enchanted
cottage", cos it was so huge.
490
00:35:01,982 --> 00:35:05,338
How they moved that thing around,
I don't know. It was amazing.
491
00:35:05,662 --> 00:35:07,972
- Can you imagine?
- Things have changed.
492
00:35:08,143 --> 00:35:11,419
It was enormous, and you didn't have
much room to get the lights round it.
493
00:35:11,743 --> 00:35:15,941
(Challis) That's the famous
Technicolor camera. Jack, me.
494
00:35:16,103 --> 00:35:19,813
The camera flying in and out as though
from the point of view of a dancer.
495
00:35:19,984 --> 00:35:21,736
Would be a hand-held shot these days,
496
00:35:21,864 --> 00:35:25,742
but the camera is on a sort of bungee
slung from a chain in the roof.
497
00:35:38,984 --> 00:35:44,776
(Scorsese) You begin to see, I must
say, flourishes, where the camera cut,
498
00:35:44,945 --> 00:35:48,018
or a piece of composition
for the length of the shot,
499
00:35:48,186 --> 00:35:54,978
that you begin to realise that
he's using the lens like brush strokes.
500
00:35:56,146 --> 00:35:59,422
It becomes like moving paintings.
You know, it's a painting he's made.
501
00:35:59,786 --> 00:36:03,176
Along with Hein Heckroth, Michael and
Emeric Pressburger, there's no doubt.
502
00:36:03,346 --> 00:36:06,783
But it's a painting, paintings that moved,
extraordinarily moved,
503
00:36:06,907 --> 00:36:13,175
not only moved visually but emotionally
and psychologically also.
504
00:36:25,187 --> 00:36:28,305
There was something so audacious
about "Red Shoes",
505
00:36:28,468 --> 00:36:31,824
and something that was so utterly, um...
506
00:36:32,988 --> 00:36:37,106
unique, different from any film
being made at the time.
507
00:36:39,068 --> 00:36:41,185
(Woman speaking French)
508
00:36:42,349 --> 00:36:44,146
Qu'est-ce que tu as?
509
00:36:44,269 --> 00:36:45,941
Mon petit.
510
00:36:46,109 --> 00:36:48,146
Et ou vas-tu?
511
00:36:48,389 --> 00:36:51,426
Mon petit!
512
00:36:59,750 --> 00:37:01,786
No!
513
00:37:03,070 --> 00:37:06,779
The lessons of those films have never
left me. I still keep drawing upon them.
514
00:37:06,990 --> 00:37:10,745
It's had a huge influence. Particularly
on Scorsese and Brian de Palma.
515
00:37:10,911 --> 00:37:14,028
De Palma. De Palma, easily.
The expressionism.
516
00:37:14,191 --> 00:37:15,385
It's about expressing colour,
517
00:37:15,711 --> 00:37:19,863
it's expressing, you know, the glint
of a knife and the colour of the blood.
518
00:37:19,991 --> 00:37:22,108
It's all there with Brian.
Look at "Scarface".
519
00:37:22,352 --> 00:37:24,911
And Lucas and Coppola.
520
00:37:25,111 --> 00:37:27,751
And then of course you have
Francis all the time. "Godfather".
521
00:37:27,872 --> 00:37:29,783
Clearly in "One From The Heart".
522
00:37:29,992 --> 00:37:32,108
It's about passion, I think.
523
00:37:32,232 --> 00:37:37,670
You could feel these people were
really, really dedicated and involved.
524
00:37:37,792 --> 00:37:40,705
(Cardiff) When it was cut,
it was shown to Mr Rank.
525
00:37:40,873 --> 00:37:43,433
Usually if a film isn't very good,
you know,
526
00:37:43,753 --> 00:37:46,950
they might sort of put on a little bit
of an act, and say, "Most interesting,"
527
00:37:47,113 --> 00:37:50,423
and, you know, and say, "Well done,"
or something and walk out.
528
00:37:50,713 --> 00:37:54,103
But on this occasion
they walked out, they got up,
529
00:37:54,234 --> 00:37:56,429
and they walked out without
saying a word to Michael Powell.
530
00:37:56,754 --> 00:37:59,143
They just ignored him,
just walked straight out,
531
00:37:59,234 --> 00:38:02,032
because they were convinced
that it was a disastrous film.
532
00:38:02,234 --> 00:38:04,145
J Arthur Rank thought they'd gone mad
533
00:38:04,274 --> 00:38:07,152
and said, "This is terrible, we have
to stop this kind of film-making.
534
00:38:07,434 --> 00:38:10,950
"From now on, we will tell them what to
make", and Michael said, "You won't."
535
00:38:11,194 --> 00:38:15,666
It was a very sad end
to a great, great period of film-making.
536
00:38:17,435 --> 00:38:20,950
(Alan Parker) I mean,
they're seminal films, you know,
537
00:38:21,116 --> 00:38:23,868
but they're a particular aesthetic.
538
00:38:23,995 --> 00:38:28,148
It's the kind of aesthetic
that actually will be great art.
539
00:38:28,316 --> 00:38:30,193
- And then it will be kitsch...
- Yes.
540
00:38:30,396 --> 00:38:32,751
...and then it'll be art again.
541
00:38:46,317 --> 00:38:50,026
I've signed all over England
and America too,
542
00:38:50,197 --> 00:38:52,791
and I just lost count.
543
00:38:52,957 --> 00:38:55,677
- I'll put happy birthday.
- Yeah, that would be very good.
544
00:38:55,798 --> 00:38:57,754
I'm outside the studio gates once,
545
00:38:57,918 --> 00:39:01,957
I'd just come back from seeing
Marilyn Monroe and Laurence Olivier,
546
00:39:02,118 --> 00:39:04,393
and as they came through the gates
they're all screaming.
547
00:39:04,718 --> 00:39:08,155
I went by and they said, "Who's that? "
and somebody said, "He's just nobody."
548
00:39:08,279 --> 00:39:12,715
- So how did you feel?
- Well, just like a nobody.
549
00:39:15,039 --> 00:39:16,870
(Christie) After working
with Powell and Pressburger,
550
00:39:16,999 --> 00:39:18,955
Jack had a remarkable career,
551
00:39:19,079 --> 00:39:22,754
because in quite a short space of time,
in less than ten years,
552
00:39:22,839 --> 00:39:26,070
he worked with many of
the greatest film-makers in the world.
553
00:39:26,199 --> 00:39:28,839
It's a real roll call
that starts with Hitchcock.
554
00:39:37,120 --> 00:39:39,031
(George Turner)
Hitchcock had just made "Rope",
555
00:39:39,200 --> 00:39:42,079
and it was 80 minutes,
it was supposedly one take.
556
00:39:42,281 --> 00:39:47,718
A lot of eight-minute
and nine-minute takes put together
557
00:39:47,840 --> 00:39:50,674
so that the picture
appeared to be in actual time.
558
00:39:50,841 --> 00:39:53,116
(Cardiff) I think Hitch
was in love with this idea,
559
00:39:53,241 --> 00:39:55,676
because he felt
a certain technical satisfaction.
560
00:39:55,802 --> 00:39:58,190
Ingrid Bergman,
she is alleged to have said,
561
00:39:58,361 --> 00:40:01,957
"You care more about the technicalities
than you do about the acting."
562
00:40:02,082 --> 00:40:05,154
(Cardiff) He put everything
in the preparation of the picture.
563
00:40:05,402 --> 00:40:08,952
He rarely looked through the camera,
because he knew what it was getting.
564
00:40:09,123 --> 00:40:11,920
He'd say to me, "Jack,
you've got the 35 lens on? " "Yes."
565
00:40:12,042 --> 00:40:16,321
"You're getting the hands in the picture? "
He knew what he was getting.
566
00:40:16,523 --> 00:40:19,117
(Handford)
It was the first crane of its kind
567
00:40:19,243 --> 00:40:22,201
that ran entirely independent of tracks.
568
00:40:22,443 --> 00:40:26,675
(Cardiff) The camera started
in the front of the house,
569
00:40:26,803 --> 00:40:29,238
through the kitchen
and then into the drawing room.
570
00:40:29,404 --> 00:40:32,760
Talk, talk, talk, and went into the hall.
571
00:40:32,844 --> 00:40:36,154
(Handford) Parts of the set
would have to slide open
572
00:40:36,284 --> 00:40:39,401
to allow the camera crane
to go through them.
573
00:40:39,724 --> 00:40:42,193
We'd pan round to where
the walls had been closed.
574
00:40:42,365 --> 00:40:47,916
(Cardiff) I had to light six or eight sets,
more. Dozens of different positions.
575
00:40:48,044 --> 00:40:50,878
Round and round. Back to the hall.
576
00:40:51,005 --> 00:40:53,235
All in one shot
without the camera stopping.
577
00:40:53,405 --> 00:40:57,159
I had electricians holding lamps, and
dodging under a table and coming up.
578
00:40:57,325 --> 00:41:01,398
On one occasion we had a shot
where we had to go upstairs,
579
00:41:01,685 --> 00:41:03,358
through the door,
580
00:41:03,446 --> 00:41:07,883
and as we approached her bed,
we went into a big close-up
581
00:41:08,006 --> 00:41:10,804
when instead of going up,
looking down on the bed like that,
582
00:41:10,966 --> 00:41:13,764
which was a cumbersome thing to do,
583
00:41:13,926 --> 00:41:17,681
we approached her straight
and the bed was on electronic things,
584
00:41:17,807 --> 00:41:21,196
and as you tracked in,
the bed would come up like this,
585
00:41:21,446 --> 00:41:24,962
so that you'd have a big close-up
without the camera going too high.
586
00:41:25,167 --> 00:41:28,045
(Handford) It ended up
by not being ten-minute takes.
587
00:41:28,207 --> 00:41:32,803
There were some very long takes
but it became impractical to do.
588
00:41:32,967 --> 00:41:36,119
(Cardiff) It couldn't possibly be
wonderful photography
589
00:41:36,248 --> 00:41:38,762
because everything was a compromise.
590
00:41:38,928 --> 00:41:43,207
But it was really my greatest
achievement, in a funny way,
591
00:41:43,409 --> 00:41:46,923
because it was doing the impossible.
592
00:41:48,968 --> 00:41:52,757
I'm just going outside.
I may be away some time.
593
00:41:55,769 --> 00:41:57,441
(Wind howls)
594
00:42:06,890 --> 00:42:12,010
It was probably one of the most
marvellous pictures I've ever been on,
595
00:42:12,210 --> 00:42:17,763
and I had the luck of having
a fantastic cameraman.
596
00:42:31,372 --> 00:42:33,805
(Scorsese) There was something
very special and unique
597
00:42:33,971 --> 00:42:36,041
about the English use of Technicolor,
598
00:42:36,211 --> 00:42:39,170
particularly by a man like Cardiff.
599
00:42:39,292 --> 00:42:43,047
That became something else, and had
a lot to do with emotion, and painting.
600
00:42:43,213 --> 00:42:46,170
Not to say that the American
cinematographers didn't use painting.
601
00:42:46,332 --> 00:42:47,765
They were brilliant.
602
00:42:47,932 --> 00:42:51,721
But how should I put it?
That was a different type of commodity.
603
00:42:54,933 --> 00:42:56,160
(Christie) Jack joined Hollywood
604
00:42:56,372 --> 00:43:00,161
at the point at which it really began
to march out into the world.
605
00:43:09,133 --> 00:43:11,967
(Christie) I think that was a very exciting
moment for a cinematographer,
606
00:43:12,134 --> 00:43:14,853
to be working
with those Hollywood film-makers.
607
00:43:15,014 --> 00:43:16,767
He worked with Henry Hathaway.
608
00:43:16,895 --> 00:43:18,726
(Cardiff) He was a toughie.
609
00:43:18,855 --> 00:43:23,292
On "The Black Rose",
he fired so many people
610
00:43:23,495 --> 00:43:25,725
that we had a plane
called the Hathaway Special
611
00:43:25,855 --> 00:43:29,768
which flew people, every couple of days,
that had been fired, back to England.
612
00:43:29,935 --> 00:43:34,884
He would devote his life to that picture.
He would die for that picture, you know.
613
00:43:35,015 --> 00:43:38,770
And he expected everyone else
to die for the picture.
614
00:43:38,936 --> 00:43:42,928
And if they were not ready to die,
he would just crucify them.
615
00:43:43,135 --> 00:43:45,047
(Screams and war cries)
616
00:43:52,257 --> 00:43:56,010
I never saw anyone look less like young
gallants going off on a great adventure.
617
00:43:56,176 --> 00:43:57,815
(Cardiff)
He said he'd play Genghis Khan
618
00:43:57,977 --> 00:44:03,256
on condition that his coat
was lined inside with mink.
619
00:44:03,537 --> 00:44:07,450
They said, "But, Orson, we don't see
the mink coat, and it's expensive."
620
00:44:07,777 --> 00:44:09,813
Orson said, "I've got to do it that way."
621
00:44:09,977 --> 00:44:12,776
So, OK, they got the mink
and they put it in.
622
00:44:12,898 --> 00:44:15,731
You never saw it inside, the lining inside.
623
00:44:15,858 --> 00:44:18,895
Of course, at the end of the film,
when his part was finished,
624
00:44:19,018 --> 00:44:21,168
he slipped off with the coat
625
00:44:21,258 --> 00:44:24,968
and went off to do
some more scenes on "Othello"
626
00:44:25,139 --> 00:44:28,734
and turned the coat inside out so that
he had the mink coat for "Othello".
627
00:44:28,899 --> 00:44:31,459
What are you stewin' about,
mon capitaine?
628
00:44:31,659 --> 00:44:34,093
Bonnard told you
where we were going last night.
629
00:44:34,259 --> 00:44:36,454
- Where?
- The Sahara Desert.
630
00:44:36,739 --> 00:44:38,298
Straight ahead and turn to your left.
631
00:44:39,940 --> 00:44:42,772
(Cardiff) On the first day of shooting,
when John Wayne...
632
00:44:42,979 --> 00:44:47,098
He played the part
of a Foreign Legionnaire.
633
00:44:47,260 --> 00:44:50,776
He came on the set and he had...
he had a cowboy hat on,
634
00:44:50,941 --> 00:44:55,013
and the holster and the boots
and the gun, just like a cowboy.
635
00:44:55,180 --> 00:44:59,777
And I said to Hathaway, "Henry,
why is he wearing that cowboy outfit? "
636
00:44:59,901 --> 00:45:01,778
Hathaway looked at me
like I was an idiot
637
00:45:01,941 --> 00:45:05,298
and he said,
"He always wears the cowboy outfit."
638
00:45:05,501 --> 00:45:09,210
He was always doing the
withdrawing-the-gun business, you know,
639
00:45:09,381 --> 00:45:12,818
and flicking it round
and flicking it back again.
640
00:45:12,982 --> 00:45:15,860
I did a lot of shots of him doing that.
641
00:45:16,022 --> 00:45:19,059
Someone gave Sophia one of
these things you blow and it comes out,
642
00:45:19,222 --> 00:45:20,735
and she loved that.
643
00:45:20,902 --> 00:45:24,816
Hathaway was a wonderful director,
644
00:45:24,983 --> 00:45:31,422
but he was a man who,
in a sense, bulldozed his way along.
645
00:45:31,663 --> 00:45:33,381
(Cardiff) He had got far worse
on that picture,
646
00:45:33,703 --> 00:45:37,982
because we had this desert,
which had to be virgin desert, you know,
647
00:45:38,104 --> 00:45:40,174
no sign of a footprint or anything.
648
00:45:40,464 --> 00:45:44,821
And you can imagine a film unit
walking about. He was going crazy.
649
00:45:55,464 --> 00:45:59,174
The English crew were having
a cup of tea in this so-called place,
650
00:45:59,425 --> 00:46:02,861
and he'd put up a notice on the board
651
00:46:03,025 --> 00:46:05,937
because he hated the whole idea
of the English unit having tea.
652
00:46:06,025 --> 00:46:07,981
He said, "ln future," on the notice board,
653
00:46:08,145 --> 00:46:11,900
"the English crew
will drink their tea standing up."
654
00:46:12,026 --> 00:46:14,938
And he said, "Come on, Jack,
let's find these locations."
655
00:46:15,106 --> 00:46:19,019
I said, "Henry, you've blown it.
You've made a terrible mistake."
656
00:46:19,186 --> 00:46:22,019
He said, "What the hell are you
talking about? " and I said, "Well...
657
00:46:22,186 --> 00:46:24,142
"at the moment
the English crew respect you.
658
00:46:24,266 --> 00:46:26,656
"They don't particularly like you
but they respect you.
659
00:46:26,827 --> 00:46:31,776
"But now you've done that, English tea,
forget it, you're a villain from now on."
660
00:46:31,947 --> 00:46:35,906
He said, "Oh, you're full of shit,"
and he just thought for a moment,
661
00:46:36,027 --> 00:46:38,098
then he turned the car round
and drove back,
662
00:46:38,228 --> 00:46:40,821
and he tore the notice board
off the screen.
663
00:46:47,308 --> 00:46:52,177
I've got something for you too, and it's
my heart, black as it is, but all of it.
664
00:46:52,308 --> 00:46:55,778
The assistant director had come
on the set and said, "Flynn's arrived.
665
00:46:55,908 --> 00:46:58,264
"He's gone straight to the bar
and he's drinking double whiskies
666
00:46:58,429 --> 00:47:00,738
"followed by beer chasers."
667
00:47:00,869 --> 00:47:04,178
So when I got to the bar
and I was introduced to him...
668
00:47:04,308 --> 00:47:09,019
He was never really drunk. He was
always slightly sort of pleasantly drunk.
669
00:47:09,189 --> 00:47:13,183
Errol fell ill
halfway through "Crossed Swords",
670
00:47:13,430 --> 00:47:16,978
and he collapsed
and was taken to hospital,
671
00:47:17,229 --> 00:47:22,941
and the doctor said,
"Well, I'm afraid we think he's dying.
672
00:47:23,070 --> 00:47:25,824
"His liver doesn't exist any more.
He has no liver."
673
00:47:25,991 --> 00:47:30,666
And the producer said, "You don't
understand. We're making a movie."
674
00:47:30,830 --> 00:47:35,780
We carried on shooting with a double.
We did mostly Gina's stuff.
675
00:47:35,911 --> 00:47:41,986
And in something like three
or four weeks, he came on the set,
676
00:47:42,111 --> 00:47:44,989
and he did look pretty awful
but he had survived.
677
00:47:45,912 --> 00:47:47,789
The doctor said, "Well, it's a miracle,
678
00:47:47,952 --> 00:47:50,785
"but, of course, he must never
touch a drop of drink again."
679
00:47:50,952 --> 00:47:56,106
And he came on the set
with a glass of that much neat vodka,
680
00:47:56,232 --> 00:47:58,827
and as usual...carried on as usual.
681
00:48:04,112 --> 00:48:06,069
You have been studying my style,
monsieur!
682
00:48:06,273 --> 00:48:09,709
One has to understand
at that time films were still enter...
683
00:48:09,833 --> 00:48:11,949
I was going to say
films were still entertainment.
684
00:48:12,074 --> 00:48:13,905
No, today they're entertainment too.
685
00:48:14,114 --> 00:48:17,105
But at that time they were coming out
of the old Hollywood system.
686
00:48:17,273 --> 00:48:19,469
There were Westerns,
they were genre films,
687
00:48:19,794 --> 00:48:23,184
and Technicolor was used
for heightening the genre.
688
00:48:24,314 --> 00:48:29,434
In the '40s and '50s, colour was still
relegated to films as a special element,
689
00:48:29,754 --> 00:48:32,029
rather than what happened
in the late '60s and the early '70s
690
00:48:32,194 --> 00:48:33,753
where all films became colour.
691
00:48:47,796 --> 00:48:51,231
Jack was suggested
by the producer of the picture,
692
00:48:51,395 --> 00:48:54,115
who also happened to be the star.
693
00:48:54,236 --> 00:48:56,750
That's Kirk Douglas.
694
00:48:57,956 --> 00:49:00,790
(Kirk Douglas)
The shooting was very difficult.
695
00:49:00,917 --> 00:49:03,988
It seemed to be raining all the time.
696
00:49:04,196 --> 00:49:07,234
And once, in exasperation,
697
00:49:07,357 --> 00:49:11,191
I asked one of the young
Norwegian kids,
698
00:49:11,357 --> 00:49:15,350
"Hey, does it rain all the time here? "
699
00:49:15,517 --> 00:49:19,397
He said, "l don't know.
I'm only 1 8 years old."
700
00:49:20,838 --> 00:49:23,671
(Cardiff) I suggested to Dick,
"Why don't we shoot in the rain?
701
00:49:23,798 --> 00:49:26,392
"Because these Vikings
are tough guys, you know,
702
00:49:26,518 --> 00:49:28,986
"and they would be out in all weathers."
703
00:49:29,198 --> 00:49:32,110
Dick agreed
and Kirk Douglas was overjoyed,
704
00:49:32,238 --> 00:49:35,993
because it means that we could shoot,
wouldn't lose so much money.
705
00:49:36,159 --> 00:49:40,038
But as people know in the film business,
ordinary rain doesn't photograph.
706
00:49:40,199 --> 00:49:43,874
So we had to supplement it
with hoses coming down.
707
00:49:43,999 --> 00:49:46,150
The local villagers thought
we were out of our minds.
708
00:49:46,320 --> 00:49:48,311
It was already raining and
we were adding rain to it.
709
00:49:48,440 --> 00:49:50,475
But it worked very well.
710
00:49:50,799 --> 00:49:53,155
Kirk Douglas,
he liked doing his own stunts.
711
00:49:53,280 --> 00:49:55,077
In fact, he was a very good...
712
00:49:55,240 --> 00:49:58,915
He had a good sense of timing and all
the things that are good in a stunt man.
713
00:49:59,040 --> 00:50:02,237
- He does the shot walking on the oars.
- That's right.
714
00:50:02,400 --> 00:50:04,436
He fell in once or twice
but he soon got the hang of it.
715
00:50:04,760 --> 00:50:07,070
But that was considered a must,
that he had to fall off,
716
00:50:07,241 --> 00:50:09,755
cos he was too perfect, in fact.
717
00:50:10,641 --> 00:50:15,761
When he climbs up the wall of
the castle, after having thrown the axe,
718
00:50:15,881 --> 00:50:17,792
he climbed himself.
719
00:50:24,322 --> 00:50:25,720
(Fleischer) With Jack's ingenuity,
720
00:50:25,841 --> 00:50:29,960
we were able to do
some pretty remarkable shots.
721
00:50:30,042 --> 00:50:34,275
And looking at the film now, I'm really
astounded at how well they turned out,
722
00:50:34,443 --> 00:50:36,354
knowing how they were made,
723
00:50:36,483 --> 00:50:40,192
which is really with spit and cardboard
and some rubber bands,
724
00:50:40,403 --> 00:50:42,473
and it worked great.
725
00:50:46,323 --> 00:50:50,396
Jack and I were very worried,
how are we gonna make this scene,
726
00:50:50,763 --> 00:50:56,760
where you have all the Viking ships
going into a fog bank and disappearing.
727
00:50:56,884 --> 00:51:01,241
And it's essential to the story
that you have that scene.
728
00:51:01,404 --> 00:51:03,679
And Jack solved the problem with us.
729
00:51:03,844 --> 00:51:06,803
He said, "lf we could just get
a patch of fog,
730
00:51:07,005 --> 00:51:10,395
"where the ships go
into the patch of fog,
731
00:51:10,725 --> 00:51:15,276
"that's all I really need,
and I'll make up the rest of the fog,
732
00:51:15,445 --> 00:51:17,276
"I'll make my own filter,
733
00:51:17,565 --> 00:51:21,036
"and paint it, a white filter,
734
00:51:21,206 --> 00:51:24,402
"which we'll just put up in front
of the camera and leave a square,
735
00:51:24,525 --> 00:51:27,086
"where the real fog is."
736
00:51:27,246 --> 00:51:29,999
And that's what we did.
737
00:51:30,166 --> 00:51:34,718
And it's absolutely convincing.
It's a fantastic shot.
738
00:51:34,887 --> 00:51:37,764
Every time I see it, I get a chill,
knowing how it was made,
739
00:51:37,886 --> 00:51:40,447
but also the beauty of the shot.
740
00:51:43,047 --> 00:51:48,485
Jack, certainly, looking at his work,
and having worked with him,
741
00:51:48,767 --> 00:51:54,798
is probably the greatest
colour photographer that ever lived.
742
00:51:57,288 --> 00:52:00,199
(Cardiff) Turner, well, I mean,
he was the perfect cameraman.
743
00:52:00,367 --> 00:52:02,120
If he'd been alive today,
744
00:52:02,248 --> 00:52:05,285
he would have been probably
the best cameraman in the world.
745
00:52:05,568 --> 00:52:10,006
I mean the way that he got dramatic
emphasis by over-lighting things
746
00:52:10,129 --> 00:52:14,008
which takes courage,
with a cameraman, anyway,
747
00:52:14,209 --> 00:52:16,803
but he had plenty of courage,
you can see that.
748
00:52:16,929 --> 00:52:21,321
I mean, that church is burnt out
but it's so dramatic.
749
00:52:21,450 --> 00:52:25,408
I wouldn't start to dare to compare
myself to what Turner did,
750
00:52:25,769 --> 00:52:28,079
but I learnt a lot of lessons from Turner.
751
00:52:28,330 --> 00:52:31,163
You should go out and do something
that's different and bold,
752
00:52:31,290 --> 00:52:34,727
and that's the whole essence
of photography, in a sense.
753
00:52:39,690 --> 00:52:43,400
We wanted an extreme long shot,
with a wide-angle lens,
754
00:52:43,531 --> 00:52:46,091
of the duel in the snow,
755
00:52:46,251 --> 00:52:48,811
and these two guys
facing each other, long shot.
756
00:52:48,931 --> 00:52:51,764
But, of course, long shot,
we saw the spot rails,
757
00:52:51,891 --> 00:52:55,248
so I had this idea of putting a piece
of glass in front of the camera,
758
00:52:55,452 --> 00:52:57,329
about six feet away.
759
00:52:57,452 --> 00:53:00,045
I painted the glass,
in other words, the same colour.
760
00:53:00,251 --> 00:53:04,404
Then behind my shoulder I put
a little lamp that shone into the glass
761
00:53:04,532 --> 00:53:06,363
Iike a reflection of the sun.
762
00:53:06,612 --> 00:53:10,049
But the first attempt I made,
I was using the sprayer,
763
00:53:10,213 --> 00:53:12,407
and I overdid it, and the paint
was running down the glass,
764
00:53:12,532 --> 00:53:15,491
and Dino de Laurentiis the producer
came on the set and said,
765
00:53:15,813 --> 00:53:19,249
"Cardiff, what do you do?
Wasting time! What do you do? "
766
00:53:19,453 --> 00:53:23,412
I said, "I'm painting the glass,"
and he said...
767
00:53:23,533 --> 00:53:25,410
He was furious and walked off the stage.
768
00:53:25,613 --> 00:53:30,369
But later, it was a very effective shot
and he was showing it to everybody.
769
00:53:41,054 --> 00:53:44,809
(Voiceover) Of all the love stories
France has given to the world,
770
00:53:44,895 --> 00:53:47,454
this is the one to live in your memory.
771
00:53:47,774 --> 00:53:50,414
(Cardiff) I had a call from New York
from Josh Logan.
772
00:53:50,535 --> 00:53:54,289
He said, "Jack, I want
you to photograph 'Fanny'."'
773
00:53:54,415 --> 00:53:55,929
I loved the film.
774
00:53:56,056 --> 00:53:59,127
It was great fun working with
Maurice Chevalier and Leslie Caron.
775
00:54:16,417 --> 00:54:19,250
(Turner) One of the most
beautifully photographed pictures
776
00:54:19,377 --> 00:54:21,767
of this whole canon
777
00:54:21,937 --> 00:54:24,405
would be "Pandora
And The Flying Dutchman"...
778
00:54:24,537 --> 00:54:26,414
When do you want to marry me, Steve?
779
00:54:26,737 --> 00:54:29,969
...which was produced
and directed by Albert Lewin,
780
00:54:30,058 --> 00:54:33,289
who'd had a big success
with "The Picture Of Dorian Gray".
781
00:54:33,458 --> 00:54:35,892
(Scorsese) "Pandora And The Flying
Dutchman" was a unique film.
782
00:54:36,058 --> 00:54:38,413
It had fantasy and exotic locations.
783
00:54:38,538 --> 00:54:41,132
I am predisposed to that,
mainly because of where I come from.
784
00:54:41,298 --> 00:54:43,210
Neo-realism I had right around me.
785
00:54:43,379 --> 00:54:47,132
If I wanted to go to a movie, I wanted
to see something more fantastical.
786
00:54:47,258 --> 00:54:51,889
(James Mason) With one bloody blow,
I killed all that I loved on God's earth.
787
00:54:52,059 --> 00:54:54,812
(Music drowns speech)
788
00:54:55,940 --> 00:54:58,737
(Scorsese) It was so romantic,
you know, it was so romantic.
789
00:54:58,859 --> 00:55:00,451
It took you to another world.
790
00:55:00,779 --> 00:55:02,418
There was something
about the way it looked
791
00:55:02,540 --> 00:55:05,816
which put in my mind
Powell and Pressburger.
792
00:55:05,940 --> 00:55:09,250
Faith is a lie
and God himself is chaos!
793
00:55:09,500 --> 00:55:10,819
Silence!
794
00:55:10,980 --> 00:55:15,132
It had the magical quality of Ava
Gardner as almost a mystical figure,
795
00:55:15,261 --> 00:55:17,695
a mystical sexuality.
796
00:55:19,101 --> 00:55:20,454
Hello?
797
00:55:20,781 --> 00:55:24,410
(Cardiff) She said, "Jack, I'm pleased
you're gonna photograph me,
798
00:55:24,541 --> 00:55:28,375
"but you have to watch when I have my
periods, because I don't look so good."'
799
00:55:28,581 --> 00:55:32,211
I said, "I'll look after that."'
That was the first thing she said to me.
800
00:55:32,422 --> 00:55:37,780
Al Lewin used to do take after take, not
that he really wanted to do another take,
801
00:55:37,942 --> 00:55:42,778
but he just wanted to keep going
so he could gaze into Ava's face.
802
00:55:42,903 --> 00:55:46,815
And in a way that's true.
I've changed so since I've known you.
803
00:55:46,902 --> 00:55:49,895
(Cardiff) He said, "l want you to go
to Wallace Heaton's in Bond Street
804
00:55:50,063 --> 00:55:52,213
"and buy yourself a 1 6mm camera."'
805
00:55:52,383 --> 00:55:56,854
Which I have here, and it's just about
the cheapest one you can get.
806
00:55:57,023 --> 00:55:58,217
(Whirring)
807
00:55:58,383 --> 00:56:02,821
And I took it out to Africa
on "African Queen".
808
00:56:02,984 --> 00:56:05,020
Well, I've taken it on many films.
809
00:56:13,464 --> 00:56:17,174
A little to starboard, Miss!
No, no, the other way!
810
00:56:23,345 --> 00:56:26,815
(Cardiff) John Huston had the idea
of doing the whole thing in Africa,
811
00:56:26,945 --> 00:56:29,904
and he said
it was going to be so easy.
812
00:56:30,026 --> 00:56:35,019
Huston went out there and said he didn't
like that location, it was too pretty.
813
00:56:35,225 --> 00:56:38,024
He disappeared for a couple of weeks
and we wondered what had happened,
814
00:56:38,226 --> 00:56:40,296
whether he'd been eaten by crocodiles,
815
00:56:40,466 --> 00:56:43,743
but he then sent a telegram
saying he'd found the perfect place
816
00:56:43,866 --> 00:56:46,175
in the Belgian Congo.
817
00:56:46,266 --> 00:56:49,737
It was right in nowhere land.
818
00:56:49,867 --> 00:56:53,177
It was called Biondo, this place,
and it was beyond anywhere.
819
00:56:53,307 --> 00:56:56,663
It was two days' Jeep ride
from Stanleyville.
820
00:56:56,827 --> 00:56:59,136
He was not always thrilled
with the choice of locations
821
00:56:59,307 --> 00:57:02,379
because if there was
an impossible location to be found,
822
00:57:02,587 --> 00:57:04,897
John Huston was the man to find it.
823
00:57:05,068 --> 00:57:06,421
I was there for the whole shoot,
824
00:57:06,548 --> 00:57:11,019
and I think Jack had
tremendous admiration for John.
825
00:57:11,148 --> 00:57:15,983
John always tried to get
almost impossible shots,
826
00:57:16,068 --> 00:57:17,741
really difficult ones,
827
00:57:17,909 --> 00:57:20,024
and Jack always got what he wanted.
828
00:57:45,070 --> 00:57:48,380
(Kevin McClory)
Huston was quite easy-going, in a way.
829
00:57:48,510 --> 00:57:55,222
But ever, beneath the casual
kind of attitude, was the artist,
830
00:57:55,430 --> 00:57:57,422
was the perfectionist.
831
00:57:57,751 --> 00:58:01,300
He had the utmost regard for Jack,
that I know,
832
00:58:01,471 --> 00:58:05,021
because they basically
talked the same language.
833
00:58:06,072 --> 00:58:08,790
(Cardiff) We were towing this raft,
834
00:58:08,911 --> 00:58:12,825
and we had Katherine Hepburn's
little place as a dressing room.
835
00:58:12,952 --> 00:58:15,420
I had a tiny generator for my two lamps.
836
00:58:15,672 --> 00:58:18,028
I only had two lamps on the picture.
837
00:58:18,153 --> 00:58:20,461
And one or two others,
the sound department, had it.
838
00:58:20,792 --> 00:58:24,183
So it was a string of little boats
being towed along.
839
00:58:24,273 --> 00:58:28,027
Of course, when we came to a corner,
they were like a row of sausages,
840
00:58:28,233 --> 00:58:31,669
and they couldn't turn
so we would crash into the bank.
841
00:58:31,833 --> 00:58:36,384
(McClory) You could find yourself
with one leg, on "The African Queen",
842
00:58:36,513 --> 00:58:39,790
on the boat with Katie and Bogie
sitting down there,
843
00:58:39,914 --> 00:58:41,870
and your other leg up
on the bank of a river,
844
00:58:42,074 --> 00:58:45,146
holding a boom like that over them
and liable to go in,
845
00:58:45,314 --> 00:58:49,432
and in those rivers
were rather nasty creatures.
846
00:58:49,834 --> 00:58:53,953
(Cardiff) In Uganda on Lake Victoria,
we were all sick, very, very sick.
847
00:58:54,035 --> 00:58:59,029
I mean all kinds of dysentery,
all kinds of vomiting, everything.
848
00:58:59,275 --> 00:59:02,426
(Bacall) Sam Spiegel, our friend
and our producer, came to the location.
849
00:59:02,555 --> 00:59:06,309
He was furious cos the movie
had to shut down for three days.
850
00:59:06,515 --> 00:59:10,304
We got yet another doctor to look at it
and he found exactly what was wrong,
851
00:59:10,476 --> 00:59:12,353
that the filter, the water filter...
852
00:59:12,476 --> 00:59:15,707
We were on a houseboat,
you see, and the filter wasn't there.
853
00:59:15,876 --> 00:59:21,109
So we were drinking just river water with
the droppings of hippos and crocodiles.
854
00:59:21,356 --> 00:59:25,669
And the only two persons who weren't
sick was Bogie and John Huston
855
00:59:25,837 --> 00:59:28,397
because they never touched water,
they only drank whisky.
856
00:59:28,597 --> 00:59:32,385
- I could give you a hand.
- Close your eyes, please, Mr Allnut.
857
00:59:34,517 --> 00:59:36,826
I'm all right. I'm all right.
858
00:59:36,957 --> 00:59:39,153
(Cardiff) Hepburn was an incredible lady.
859
00:59:39,278 --> 00:59:41,030
She was very strong-minded,
860
00:59:41,198 --> 00:59:45,271
and in some ways she didn't want
to be regarded as a frail woman.
861
00:59:45,438 --> 00:59:50,672
She wanted to be tough and accepted
as a woman of character and courage.
862
00:59:50,839 --> 00:59:54,228
She did go in the jungle
and she was a very, very brave woman.
863
00:59:54,398 --> 00:59:56,832
Ain't no person in their right mind
ain't scared of white water.
864
00:59:56,998 --> 01:00:01,038
I never dreamed that any mere physical
experience could be so stimulating.
865
01:00:01,199 --> 01:00:02,154
How's that, Miss?
866
01:00:02,279 --> 01:00:06,272
(Cardiff) Bogie, of course, put on
this big act that he was a tough guy.
867
01:00:06,479 --> 01:00:09,437
I mean, he told me at the beginning
about makeup.
868
01:00:09,639 --> 01:00:11,471
He said, "Jack, see this face?
869
01:00:11,800 --> 01:00:15,110
"It's taken me many years to get
all these lines and crinkles in it.
870
01:00:15,280 --> 01:00:19,159
"That's the way I want it. Don't light me
up and make me look like a goddam fag.
871
01:00:19,320 --> 01:00:22,153
"l want to look like this."' So I did it.
872
01:00:22,280 --> 01:00:26,035
(Bacall) Bogie was not an actor who
cared much about the way he looked.
873
01:00:26,161 --> 01:00:29,038
But he appreciated good photography.
874
01:00:29,120 --> 01:00:34,434
And he loved effective photography
that worked for the story.
875
01:00:34,681 --> 01:00:39,153
(Bogart's character) I wrote and directed
ll three of the movies Maria was in,
876
01:00:39,282 --> 01:00:42,193
her short, full career
from start to finish.
877
01:00:42,321 --> 01:00:44,961
(Scorsese) It was a frightening film
for a young person to see.
878
01:00:45,082 --> 01:00:48,392
I'll never forget the opening scenes
in the graveyard in the rain.
879
01:00:48,682 --> 01:00:50,912
And his colour, his use of colour,
880
01:00:51,083 --> 01:00:53,915
particularly when they're in Monte Carlo
or on the yacht.
881
01:00:54,042 --> 01:00:57,273
She unveils, in a sense, and Edmond
O'Brien, all the guys, just look at her.
882
01:00:57,522 --> 01:00:59,514
It's an extraordinary picture.
883
01:00:59,843 --> 01:01:02,835
(Voiceover) The world's number-one
symbol of desirability
884
01:01:03,003 --> 01:01:06,200
on display all over the world's
number-one showroom
885
01:01:06,323 --> 01:01:09,235
with the world's number-one
customers wanting to buy,
886
01:01:09,403 --> 01:01:12,202
and nobody wrapped her up
and took her home.
887
01:01:12,364 --> 01:01:15,481
(Cardiff) Oh, she was gorgeous,
of course. She was so good-looking.
888
01:01:15,804 --> 01:01:19,922
I was on location
with that one as well, and that...
889
01:01:20,084 --> 01:01:23,713
Yeah, but I think that Ava Gardner
was certainly not hard to photograph.
890
01:01:23,844 --> 01:01:29,043
I mean, Bogie may have been,
but Ava was such a great beauty.
891
01:01:29,204 --> 01:01:36,122
(Cardiff) The first time I met her,
she was very happy with Frank Sinatra.
892
01:01:36,245 --> 01:01:39,840
The next time I worked with her,
she was leaving Frank.
893
01:01:40,005 --> 01:01:44,955
Something had gone wrong
and she was taking Soneryl to sleep
894
01:01:45,166 --> 01:01:48,397
and that made her a bit sleepy,
the eyes had to be looked after,
895
01:01:48,526 --> 01:01:50,323
so I was lighting her more carefully.
896
01:01:50,486 --> 01:01:56,038
And it is a fact, they rely
on the cameramen very much.
897
01:01:56,206 --> 01:01:59,836
I think I am pretty enough, but I would
not want to be that kind of star.
898
01:01:59,967 --> 01:02:04,084
Pretty enough? Any woman that
can use the moon for a key light...
899
01:02:04,326 --> 01:02:06,887
Key light? What is that?
900
01:02:07,007 --> 01:02:08,884
That's your light
when the stage is all lit up,
901
01:02:09,047 --> 01:02:11,163
the light that shines only on you.
902
01:02:11,407 --> 01:02:14,844
You took a lot ofiportraits ofiactresses,
didn'tyou, over the years?
903
01:02:14,968 --> 01:02:17,197
- Yes, I had...
- Could we have a look at those?
904
01:02:17,327 --> 01:02:20,877
I used to take them
usually in the lunch hour.
905
01:02:21,048 --> 01:02:25,281
And, um...I only had time to do a few.
906
01:02:32,089 --> 01:02:36,480
Audrey Hepburn was one
I did on "War And Peace".
907
01:02:39,449 --> 01:02:45,320
That's a typical type of lighting,
of light, dark, light, dark, you see.
908
01:02:45,490 --> 01:02:47,526
Dark, light, dark, light.
909
01:02:47,890 --> 01:02:51,086
- What's the name ofithat again?
- Chiaroscuro.
910
01:03:05,491 --> 01:03:07,288
Pierre.
911
01:03:20,532 --> 01:03:24,320
(Cardiff) I tried to photograph them
as many times as possible
912
01:03:24,492 --> 01:03:29,441
to get used to their face and study
any kind of flaws and things.
913
01:03:29,772 --> 01:03:32,731
Janet Leigh? That was on "The Vikings".
914
01:03:33,493 --> 01:03:37,850
And then we have Anita Ekberg,
who had a lovely face.
915
01:03:38,492 --> 01:03:41,053
And that was on "War And Peace".
916
01:03:48,814 --> 01:03:52,489
They all had different qualities. I mean,
Loren had the most gorgeous eyes.
917
01:03:52,814 --> 01:03:54,532
Very expressive eyes.
918
01:03:55,574 --> 01:04:00,365
Audrey Hepburn had these
very thick eyebrows, which was...
919
01:04:00,495 --> 01:04:04,328
She made a fashion out of that, and
she made a fashion out of many things.
920
01:04:06,935 --> 01:04:09,051
That's Sophia Loren,
921
01:04:10,255 --> 01:04:11,734
with a big hat.
922
01:04:11,855 --> 01:04:16,212
This is when I became like an amateur
enthusiast who takes pictures.
923
01:04:16,335 --> 01:04:19,487
Why does he take them?
He likes to take pictures, you know.
924
01:04:19,816 --> 01:04:21,852
And these women
were beautiful women.
925
01:04:22,016 --> 01:04:23,972
And, you know, like you collect stamps,
926
01:04:24,096 --> 01:04:28,135
I collected beautiful women,
photographically, of course.
927
01:04:28,376 --> 01:04:30,731
Marilyn was always
sort of perfectly made up
928
01:04:30,896 --> 01:04:34,492
and she had a face
which was virtually perfect.
929
01:04:34,777 --> 01:04:39,406
She had a slightly tipped-up nose,
which was very attractive.
930
01:04:39,617 --> 01:04:42,734
She specifiically asked
fioryou once. What was that?
931
01:04:42,897 --> 01:04:46,288
Well, that was because I was in vogue.
932
01:04:46,458 --> 01:04:49,177
It's almost like footballers
that are getting around.
933
01:04:49,297 --> 01:04:53,211
They want a certain footballer
to be in a certain position
934
01:04:53,338 --> 01:04:56,455
and they find out that
that's the best man, they get them.
935
01:04:56,698 --> 01:05:00,089
I don't know. And she asked for me,
and I was very flattered.
936
01:05:00,299 --> 01:05:01,890
You have pretty eyebrows.
937
01:05:02,058 --> 01:05:06,051
Love. What a universe of joy and pain
lies in that little word.
938
01:05:10,339 --> 01:05:13,411
Larry was...he was supposed
to be in that position.
939
01:05:13,539 --> 01:05:16,212
But he wanted to look through
the camera to see what the shot was.
940
01:05:16,339 --> 01:05:19,012
- He was directing.
- He wanted to see what the shot was.
941
01:05:19,139 --> 01:05:23,975
So I took his position and Marilyn
put her arms round me like that,
942
01:05:24,100 --> 01:05:27,456
and later on she wrote,
"Jack, I'll tell you what we'll do,"
943
01:05:27,540 --> 01:05:31,169
and Arthur Miller, the husband, said,
"Oh, no, you don't," so that was that.
944
01:05:31,300 --> 01:05:34,213
- What were you gonna do?
- I don't know.
945
01:05:34,421 --> 01:05:36,537
It was a tough job for him
because she was...
946
01:05:36,900 --> 01:05:40,371
I think she was a darling girl
in many instances,
947
01:05:40,541 --> 01:05:42,896
but she...she had a lot of problems...
948
01:05:43,021 --> 01:05:45,296
- Do you reverse?
- Just try me!
949
01:05:45,541 --> 01:05:50,774
She would come on the set very late,
and it was a tough picture to do.
950
01:05:54,822 --> 01:05:57,256
(Voiceover) Between Marilyn and Olivier,
who also directed,
951
01:05:57,342 --> 01:05:59,537
there were occasional reports of strain.
952
01:06:00,582 --> 01:06:02,732
(Cardiff) We had a wonderful
make-up man, Whitey,
953
01:06:02,902 --> 01:06:05,052
who was with her for years.
954
01:06:05,222 --> 01:06:07,862
When she died, there was
an urgent call to New York,
955
01:06:07,983 --> 01:06:11,134
for he was in New York at the time,
and he had to fly back,
956
01:06:11,303 --> 01:06:15,012
because it was in the contract he had
to make her up when she was dead.
957
01:06:15,223 --> 01:06:19,455
The idea of making up this gorgeous
creature when she was dead,
958
01:06:19,583 --> 01:06:22,974
and putting on the lipstick and
the usual thing, it was a tough break.
959
01:06:23,104 --> 01:06:27,063
He told me he had to have a couple
of stiff drinks before he started.
960
01:06:33,104 --> 01:06:36,380
Some weeks ago,
I had a celebration party,
961
01:06:36,504 --> 01:06:39,223
celebrating my 80 years in the cinema.
962
01:06:40,184 --> 01:06:43,541
No matter how good the cameraman is,
or thinks he is,
963
01:06:43,865 --> 01:06:48,416
he's got to serve the director,
that's absolutely important.
964
01:06:48,545 --> 01:06:53,335
The director has to be the one who
has the responsibility for the final film.
965
01:06:53,505 --> 01:06:57,385
(Speaks French)
966
01:06:57,506 --> 01:07:02,136
(Fleischer) It became apparent
when we were doing "The Vikings"
967
01:07:02,306 --> 01:07:07,096
that Jack really was
very interested in the actors
968
01:07:07,267 --> 01:07:09,462
and in the direction of the picture.
969
01:07:09,707 --> 01:07:15,100
Jack had every potential
of being an excellent director,
970
01:07:15,267 --> 01:07:17,223
and we discussed that,
971
01:07:17,427 --> 01:07:23,536
and as a matter of fact, I let him direct
one short scene in "The Vikings",
972
01:07:23,827 --> 01:07:28,140
just to see how he handled it,
973
01:07:28,308 --> 01:07:31,220
and how he felt directing a film.
974
01:07:31,388 --> 01:07:34,222
(Cardiff) I worked
on a couple of B pictures,
975
01:07:34,389 --> 01:07:37,300
and the first one,
the critics said, in effect,
976
01:07:37,548 --> 01:07:41,064
why on earth did I want
to be a mediocre director
977
01:07:41,229 --> 01:07:43,140
when I'd been on top as a cameraman.
978
01:07:43,309 --> 01:07:47,301
And they suggested that I went back
to photography as soon as I could.
979
01:07:47,468 --> 01:07:50,381
Anyway, soon after that I got
the big break on "Sons & Lovers".
980
01:07:50,589 --> 01:07:52,341
(Rumbling)
981
01:07:58,669 --> 01:08:00,466
What is it?
982
01:08:02,510 --> 01:08:04,387
It's the mine.
983
01:08:10,590 --> 01:08:14,425
I thought "Sons & Lovers"
did a marvellous job.
984
01:08:14,551 --> 01:08:19,306
Some of them don't make the transition
very well, do they? But he did.
985
01:08:19,511 --> 01:08:23,140
(Voiceover) Local people, many of them
from mining families, became actors,
986
01:08:23,311 --> 01:08:26,030
to help recreate a mining disaster.
987
01:08:26,151 --> 01:08:27,743
Jack Cardiff was the director.
988
01:08:27,912 --> 01:08:31,871
(Yates) I do think that cinematographers
are inclined to be suspected
989
01:08:31,992 --> 01:08:34,870
of concentrating
on the look of the picture,
990
01:08:34,992 --> 01:08:37,506
which I don't think Jack did,
991
01:08:37,792 --> 01:08:40,306
and I think that he was very clever
992
01:08:40,472 --> 01:08:43,306
to want to work with Freddie Francis,
993
01:08:43,433 --> 01:08:48,826
who was a very established
cameraman at that time.
994
01:08:48,953 --> 01:08:52,423
I'd just done a film for Jack Clayton,
called "Room At The Top",
995
01:08:52,713 --> 01:08:57,912
and I guess Jack liked the look of that
and decided he'd like me to do his film.
996
01:08:58,113 --> 01:09:01,230
Either that, or he thought I was cheap.
I can't remember.
997
01:09:01,434 --> 01:09:05,347
(Cardiff) I would never go to Freddie
and say, "ls the back light a bit hot? "
998
01:09:05,554 --> 01:09:07,385
Whatever. I would never say anything.
999
01:09:08,395 --> 01:09:12,387
(Christie) It's a beautifully lit and
beautifully directed black-and-white film.
1000
01:09:12,514 --> 01:09:14,027
It's one of the classics
1001
01:09:14,154 --> 01:09:18,034
of British black-and-white
cinematography of the postwar period.
1002
01:09:20,475 --> 01:09:22,272
Forgive me.
1003
01:09:22,435 --> 01:09:25,791
Forgive you? I love you.
1004
01:09:25,955 --> 01:09:28,550
I always thought, being a southerner,
1005
01:09:28,756 --> 01:09:33,068
I always thought that going up north,
it was dreary and dark like that,
1006
01:09:33,236 --> 01:09:35,386
so I was quite happy
to shoot it that way.
1007
01:09:38,196 --> 01:09:40,426
(Voiceover) Action,
and the local actors jump to it,
1008
01:09:40,596 --> 01:09:44,385
producing a scene which will be
one of the highlights of the film.
1009
01:09:56,238 --> 01:09:58,751
You fioundyourselfi
nominatedfiorbest direction
1010
01:09:58,917 --> 01:10:00,396
at the American Academy A wards,
1011
01:10:00,517 --> 01:10:03,510
alongside Alfired Hitchcock.
who'd done "Psycho "that year.
1012
01:10:03,838 --> 01:10:06,750
- I 'd worked with him, as you know.
- And he'd seen "Sons & Lovers ".
1013
01:10:06,918 --> 01:10:08,557
He said, "I've seen 'Sons & Lovers'."'
1014
01:10:08,838 --> 01:10:11,511
He said, "lt was bloody good."'
1015
01:10:11,838 --> 01:10:16,435
He looked at me as much to say,
"How could you make such a good film? "
1016
01:10:16,519 --> 01:10:19,033
Because to him, I was a cameraman,
you know.
1017
01:10:19,159 --> 01:10:20,796
Mother! We're here!
1018
01:10:21,478 --> 01:10:25,108
- Hey!
- Come on, Paul!
1019
01:10:25,239 --> 01:10:27,469
- Go on.
- Quickly, quickly.
1020
01:10:27,799 --> 01:10:30,314
They'll be waiting to see us.
1021
01:10:30,600 --> 01:10:34,877
(Cardiff) It had a tremendous reception
and I felt this was really something,
1022
01:10:35,039 --> 01:10:38,350
that the lights were coming on
and everyone was applauding.
1023
01:10:38,560 --> 01:10:44,908
And Buddy Adler, who was the chief of
20th Century Fox, whispered in my ear,
1024
01:10:45,080 --> 01:10:49,074
"Jack, you must enjoy every moment of
this. It may never happen to you again."'
1025
01:10:49,201 --> 01:10:52,273
In fact it never happened
quite as good as that.
1026
01:10:53,521 --> 01:10:55,318
Didyou see "Sons & Lovers"?
1027
01:10:55,521 --> 01:10:59,434
Of course. That's a beautiful film.
I have a print of it, a Scope print of it.
1028
01:10:59,561 --> 01:11:03,396
And I liked...I liked "Sons & Lovers".
1029
01:11:03,522 --> 01:11:07,401
"Young Cassidy" I like a great deal.
I have a print of that also.
1030
01:11:07,602 --> 01:11:09,911
(Shouting)
1031
01:11:11,122 --> 01:11:14,034
(Horse whinnying)
1032
01:11:16,683 --> 01:11:20,470
- We'll win freedom yet, you bastards!
- Shut up and get back!
1033
01:11:41,444 --> 01:11:43,037
2 take 3.
1034
01:11:43,245 --> 01:11:47,283
Was it hardfioryou to go back to
cinematography after "Sons & Lovers "?
1035
01:11:47,444 --> 01:11:49,356
Not really. I've always loved
photography anyway.
1036
01:11:49,525 --> 01:11:53,916
And that was the time after that,
some years after that, that...
1037
01:11:54,125 --> 01:11:56,195
I made about a dozen films in all,
1038
01:11:56,325 --> 01:11:59,203
and then the film business in England,
as you know, more or less collapsed.
1039
01:11:59,325 --> 01:12:01,475
There was no work at all.
1040
01:12:03,406 --> 01:12:11,165
(Fleisher) I think it was...must have been
a very wrenching, angst-ridden decision,
1041
01:12:11,326 --> 01:12:17,766
and I really felt for him
when he had to do it, in one way.
1042
01:12:17,927 --> 01:12:20,520
In the other way, I was happy
because I grabbed him immediately
1043
01:12:20,846 --> 01:12:27,195
to be the cinematographer
on the next picture that I made.
1044
01:12:27,327 --> 01:12:30,047
Your Majesty,
I'm not the Prince of Wales.
1045
01:12:30,208 --> 01:12:31,959
(Laughing)
1046
01:12:44,848 --> 01:12:49,319
There are good cameramen
and fast cameramen.
1047
01:12:49,488 --> 01:12:52,845
There are very few good and fast,
and Jack was one of them.
1048
01:12:53,009 --> 01:12:56,888
That one's "The Red Shoes"
andthat's "Rambo",
1049
01:12:56,969 --> 01:12:59,164
and I think mostpeople
are very surprised
1050
01:12:59,329 --> 01:13:04,085
that a CV could incorporate
"The Red Shoes "in the late '40s
1051
01:13:04,250 --> 01:13:05,524
and "Rambo "in the '80s.
1052
01:13:05,850 --> 01:13:07,487
I had fun on the " Rambo" picture.
1053
01:13:09,129 --> 01:13:11,280
(Groaning)
1054
01:13:11,410 --> 01:13:13,480
(Coughs)
1055
01:13:15,050 --> 01:13:17,167
I see you are not a stranger to pain.
1056
01:13:18,930 --> 01:13:21,490
Perhaps you have been among
my Vietnamese comrades before.
1057
01:13:21,690 --> 01:13:23,522
(Cardiff)
A totally different ball game then,
1058
01:13:23,811 --> 01:13:28,885
because, with Sylvester Stallone,
he was very masculine, very tough,
1059
01:13:29,051 --> 01:13:32,202
and the film that I made with him
was a toughie.
1060
01:13:32,371 --> 01:13:36,569
I couldn't try any beautiful composition
or anything. Everything was tough.
1061
01:13:36,932 --> 01:13:38,285
But it was successful.
1062
01:13:42,051 --> 01:13:43,279
Hurgh!
1063
01:13:46,212 --> 01:13:48,282
(Fleischer) Jack was the same
1064
01:13:48,532 --> 01:13:54,482
dedicated, brilliant creator
that he always was.
1065
01:13:54,612 --> 01:13:56,523
He didn't change in all that time,
1066
01:13:56,852 --> 01:13:59,287
and he put
the same amount of enthusiasm
1067
01:13:59,493 --> 01:14:01,529
and extreme professionalism
1068
01:14:01,893 --> 01:14:06,489
into the last film he made
as he did in the very first.
1069
01:14:06,733 --> 01:14:10,886
The only other cameraman I worked with
who was that fast and that good
1070
01:14:11,054 --> 01:14:12,965
is Sven Nykvist.
1071
01:14:13,134 --> 01:14:16,206
Sven is lightning-fast and so is Jack.
1072
01:14:24,895 --> 01:14:29,093
He had this box of filters
and he always carried it with him.
1073
01:14:29,255 --> 01:14:32,088
We were up in North Mexico,
in the desert,
1074
01:14:32,255 --> 01:14:36,168
and the sky was really bad, it was like
all grey, and there was nothing there,
1075
01:14:36,335 --> 01:14:40,887
so he pulled out a little thing and started
painting, and he put it in the camera,
1076
01:14:41,056 --> 01:14:45,891
and all of a sudden instead of being a
grey sky, he made it magical, you know?
1077
01:14:46,056 --> 01:14:47,284
He's just a genius.
1078
01:14:47,576 --> 01:14:49,328
(Music playing)
1079
01:14:58,137 --> 01:15:00,128
(Cardiff)
Today there's a big difference.
1080
01:15:00,377 --> 01:15:04,973
The days when I was working
on "Red Shoes", with all these effects,
1081
01:15:05,137 --> 01:15:07,492
and any film which had a lot of effects,
1082
01:15:07,617 --> 01:15:09,972
I wanted very much to do it myself,
1083
01:15:10,137 --> 01:15:13,289
even if it meant, like I said before,
breathing on a lens to have a fade-in
1084
01:15:13,418 --> 01:15:15,136
through mist or whatever.
1085
01:15:15,298 --> 01:15:20,213
But nowadays anything that comes up,
like a shot, is going to be made,
1086
01:15:20,338 --> 01:15:22,568
which is really fantastic,
1087
01:15:22,898 --> 01:15:25,811
they say, "Jack, don't worry about that,
special effects will do that."'
1088
01:15:25,939 --> 01:15:28,896
So I've always felt a bit left...
Ieft in the lurch.
1089
01:15:29,098 --> 01:15:35,447
Digital imagery looks real,
but it lacks an authenticity,
1090
01:15:35,579 --> 01:15:39,937
it lacks the used feeling in a way, it
lacks the feeling that you're really there.
1091
01:15:40,100 --> 01:15:42,329
(Voiceover) Andthen the attack.
1092
01:15:42,539 --> 01:15:45,338
(Scorsese) But what I'm saying now
won't matter at all,
1093
01:15:45,500 --> 01:15:49,254
because, er...it's already gone,
it's all finished.
1094
01:15:49,460 --> 01:15:51,577
(Voiceover) Today this scene
you see being fiilmed
1095
01:15:51,741 --> 01:15:54,334
has been processed in Technicolor.
1096
01:16:04,581 --> 01:16:08,574
(Fleischer) And cinematography
is definitely an art form,
1097
01:16:08,901 --> 01:16:14,215
and it is, I think,
the main art of the 20th century.
1098
01:16:14,342 --> 01:16:16,297
There's no question that it is,
1099
01:16:16,461 --> 01:16:20,853
because it involves every element of art
plus one, which is movement.
1100
01:16:25,423 --> 01:16:28,141
(Scorsese) I would like to think
it's an art form,
1101
01:16:28,302 --> 01:16:32,455
but there's always the stigma of cinema
because it's populist,
1102
01:16:34,143 --> 01:16:35,974
but those who are, you know,
1103
01:16:36,143 --> 01:16:39,375
wonderful literary figures,
critics et cetera, intellectuals,
1104
01:16:39,543 --> 01:16:44,094
will feel that cinema is a popular form,
therefore it's not really art.
1105
01:16:47,064 --> 01:16:55,893
When I see him,
I see the young eyes of a child peering.
1106
01:16:56,024 --> 01:17:01,543
It reminds me of the eyes
of Chagall the painter,
1107
01:17:01,825 --> 01:17:05,295
very inquisitive.
1108
01:17:05,465 --> 01:17:09,219
(Scorsese) How do you get...almost
like a spiritual image in your mind
1109
01:17:09,345 --> 01:17:11,063
and try to make that concrete?
1110
01:17:11,225 --> 01:17:13,945
An idea that hits you here,
an image that hits you here,
1111
01:17:14,106 --> 01:17:17,814
and then you have to translate it
through this piece of equipment.
1112
01:17:23,586 --> 01:17:28,421
(Cardiff) Some people, in an effort to be
kind and complimentary, say, "Ah, Jack,
1113
01:17:28,546 --> 01:17:31,344
"they don't make films
like those old Technicolor films."'
1114
01:17:31,466 --> 01:17:33,503
But that's all nonsense.
1115
01:17:33,827 --> 01:17:39,504
To me, the standard of photography
has improved, you know, enormously.
1116
01:17:39,827 --> 01:17:42,739
Go on, keep going, keep going.
1117
01:17:42,907 --> 01:17:45,547
OK, quiet, please, everyone.
1118
01:17:45,788 --> 01:17:47,540
See what I'm going for?
1119
01:17:47,868 --> 01:17:52,544
- Why don'tyou want to retire?
- No...I think I'd hate the idea.
1120
01:17:52,868 --> 01:17:54,779
I've got a big horizon.
1121
01:17:54,948 --> 01:17:57,416
There's painting in between,
which is nice to do.
1122
01:17:57,548 --> 01:18:01,337
And hopefully, one of these days,
1123
01:18:01,509 --> 01:18:04,102
I'll just drop dead on the film set.
1124
01:18:09,869 --> 01:18:11,587
(Audience applauding)
1125
01:18:11,909 --> 01:18:13,263
(Hoffman) This is the first time
1126
01:18:13,390 --> 01:18:17,780
an honorary Oscar has been given
to a cinematographer.
1127
01:18:19,550 --> 01:18:23,509
Ladies and gentlemen, it is
my special privilege to present to you
1128
01:18:23,630 --> 01:18:25,906
Mr Jack Cardiff.
1129
01:18:26,790 --> 01:18:28,781
(Orchestral intro)
1130
01:18:43,791 --> 01:18:45,509
Thank you.
1131
01:18:46,509 --> 01:18:56,509
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