Cameraman: The Life and Work of Jack Cardiff Page #2
What are you waiting for?
Dietrich was a big sensation, of course,
and she...she used to put
gold dust in her hair.
She knew about lighting,
she'd worked with Josef von Sternberg.
She would have been
a great cameraman,
and she knew that
that lighting had to be so high,
to make a shadow under the nose,
and most cameramen over the years
have done the same sort of lighting.
She had a slightly turned-up nose.
Like Marilyn Monroe, in fact.
So to straighten it out
she had this white line down here,
and then inside here,
inside the eyes, she put this white.
See this white inside.
It must've been painful to do this.
She looked gorgeous.
But she was in command of the lighting.
She used to have a full-length mirror
by the side of the camera.
She'd look in the mirror and say, "Harry,
the back light could get a bit hotter,
"and how about the kicker light? "
She used to comment on it,
and Harry would whisper to me,
"Goddamn it, she's always right."
- Have you had luck so far?
- Wonderful luck.
And the most wonderful of all
was to meet you.
- Do you think so?
- Yes, I do think so.
Even if tomorrow
means the end of us...
...as it may do.
What about this one?
We had this scene in the bath,
and she came on the set,
and we thought she was going to be
in a swimming costume,
which was the usual thing.
When she took off her dressing gown,
she was stark naked.
Within half an hour of doing these shots
in the bath, the place was crowded.
There was about 16 electricians
on the spot rail
trying to look technical,
holding lamps and things.
The ground, which was a paper floor,
was getting wetter and wetter.
And as she got out, she slipped on
the soapy water, and fell with a crash,
and the towels missed her completely,
east and west in the air,
and there was the great Marlene
floundering about on the floor,
stark naked.
He started very early in colour.
Started about when
they started doing colour, I believe.
It's a different medium, really.
which, of course, is the cameraman.
The Technicolor people
had come over
to be trained in Technicolor,
and they came out shaking
because the technical questions
were absolutely...very, very tough.
So, when it came to my turn,
I said right away,
"I'm afraid on the technical side,
I'm zero,"
and there was a shocked silence,
and they said, "How are you
going to get on in the film business? "
and lighting buildings and so on,
and they asked me, "Which side
of the face did Rembrandt light? "
I took a chance and said, "This side,
and it'd be reversed in an etching,"
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