Mr Flibble Talks To... The Phantom Flibble
From Kubrick to Polanski, Hancock to the Beatles, Gil Taylor has worked as a cinematographer with some of the finest directors and biggest stars of the twentieth century. But in the first part of this exclusive interview, Gil talks exclusively about his time on one movie in particular - the original Star Wars: Episode IV - A New Hope.
20 November, 2000
Gil Taylor Part 1
Mr Flibble's right hand provided by
Andrew Ellard
Flash Gordon (1980)
Dracula (1979)
Star Wars (1977)
The Omen (1976)
Frenzy (1972)
Macbeth (1971)
Cul-de-sac (1966)
Repulsion (1965)
A Hard Day's Night (1964)
Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb(1964)
The Rebel (1961)
Ice Cold in Alex (1958)

The role of a cinematographer, or Director of Photography (DP), is to take care of the look of the film. Firstly by lighting the set - with the lighting crew - in line with the tone the director wants. Gil remains justifiably proud of his style of lighting, offering a clarity which always highlighted the faces (and eyes) of the actors.

Secondly, the cinematographer runs the camera - again, following the insticts of the director. Lens type, framing and movement are all decided upon by the director and the DP, with instructions then given to the camera operator who will perform the shot. Like many DP's, Gil would often operate the camera himself to make sure the film-makers got exactly what they wanted.