Freddie Francis

He was not very fond of special effects, which he thought diminished the cinematographer's art.
Completed his autobiography before suffering a stroke in December of 2006.
Started to direct from 1962, particularly horror films for Hammer and Amicus. Accepted many assignments to make a name for himself, but regretted this later when he became somewhat typecast in the genre. However, he was a stylist who created superior visuals for several poorly written films. After reading a script, he would 'photograph the film in his mind'. One of his personal favorites among his work was The Skull (1965).
In addition to his Oscar-winning shooting of Sons and Lovers (1960) and Glory (1989), he was also a respected director of horror and science fiction.
Began working in films as a still photographer at Shepherds Bush Studios in 1934, then proceeded to make short films for the British Army during WWII.

[on Peter Cushing]: I think Peter is absolutely wonderful - there is not an actor in the world who can speak rubbish like Peter and make it sound real.
[on Michael Powell]: I adored Michael. I know all his faults...Michael loved bullying people, because he wanted them to bully him back; I've seen him have artistes in tears - but if you kicked back, it was all right. We used to have the most fantastic rows, but I always got the last word.
[on working with Martin Scorsese in Cape Fear (1991)]. Scorsese is another director who has shot the film in his head before you've exposed a single frame of film. You can sometimes talk him into something, though. There was one scene with Bob De Niro where he's talking on the phone, hanging upside-down from a bar strung across a doorway. I suggested that we start the shot upside down, tight on his face, and then rotate the camera as we tracked backwards so the room would become upside-down. We did that shot with a Panatate remote head, and Marty just fell madly in love with the thing.