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“Yes,” Cardiff told me. “Olivier knows exactly what he wants from his cameramen, right down to the finest detail. I’ve a tremendous admiration for the way in which he manages to cope simultaneously with all the prob¬ lems of acting without losing his grasp as a director.”
Apart from Hitchcock’s “Under Capricon,” with its involved ten-minute takes, Cardiff considers “The Sleeping Prince” his most challenging film to date — largely because of the lighting problems which the dolly presents. Of his own past work his favorite films are “Black Narcissus” and “The Red Shoes.”
His next film, at present untitled, will be with director Henry Hathaway, star¬ ring Sophia Loren and John Wayne. Locations will include Libya, Tripoli and Rome. But to Cardiff the most exciting aspect of the film is that it is to be shot in Teehnirama, the potentiali¬ ties of which aroused his intense en¬ thusiasm during his last visit to Holly¬ wood.
Early next year Jack Cardiff will turn director. “Death of a Doll” and “Deep Freeze” are already lined up as his first two films. He won’t attempt to tackle the photography as well, but he has very definite ideas on the camerman he wants. END
(TflmeRR CouipmenT (o.jnc.
Dept. A dl5 West 43rd Street,
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American Cinematographer
December, 1956
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