Robert Burks

Robert Burks and his wife, Elysabeth, were tragically killed in a fire at their house in May 1968.

The Hitchcock-Burks partnership ended after Marnie (1964), and, under less-inspired directors (except for A Patch of Blue (1965)), his later work inevitably declined in quality.

His range varied from the neo-realist, almost semi-documentary black & white look of The Wrong Man (1956) to the intensely warm and beautiful deep focus VistaVision colour photography of Vertigo (1958).

His muted tones matching the claustrophobic setting of Rear Window (1954) stood in sharp contrast to the vibrant, full-hued colours used in the expansive outdoor footage of To Catch a Thief (1955) and North by Northwest (1959). The experience Burks had gained in forced perspective miniatures in his early days at Warner Brothers, also stood him in good stead on 'Vertigo' (the mission tower), 'North by Northwest' (the Mount Rushmore scenes) and, later, 'The Birds'. Because of his expertise, Burks was often able to contribute ideas to shooting scenes more effectively. He was also an innovator in the application of both telephoto and wide angle lenses as a means to creating a specific mood.

When his contract at Warner Brothers expired in 1953, Burks followed Hitchcock to Paramount and went on to play an integral part in creating the brooding, tension-laden atmosphere of the director's best work between 1954 and 1964.

On the strength of this, and his next film, The Glass Menagerie (1950), Hitchcock hired him to shoot his thriller Strangers on a Train (1951). From this developed one of Hollywood's most inspired collaborations, as well as a close personal friendship.

In 1949, Burks graduated to becoming a fully-fledged director of photography.

His striking black & white work on The Fountainhead (1949) was particularly evocative in showcasing the stark, austere architectural lines of the film's chief protagonist, Howard Roark (Gary Cooper).

The favorite cinematographer of legendary director Alfred Hitchcock began working at Warner Bros. when he was 19 years old. He climbed his way up from camera operator to assistant camera man and eventually took over the Special Photographic Effects unit at Warners on Stage 5 in 1944. He became an expert in forced perspective techniques which were widely in use at the time as cost-saving measures, or on B-pictures.

Burks did special effects work on major productions like Arsenic and Old Lace (1942), The Unsuspected (1947) and Key Largo (1948).