Hitchcock’s cameraman, Jack Cox, seems almost as fond of cameo appearances as the Master himself. In THE MANXMAN his name appears as signatory on a sailors’ petition, and here in JUNO AND THE PAYCOCK, he’s apparently a partner in the law firm that provides the plot’s, well, “MacGuffin” might be too dismissive a word for it.
Here’s Ronald Neame, quoted in Charlotte Chandler’s It’s Only a Movie: Alfred Hitchcock, a Personal Biography (personal? is there another kind?) ~
“I was just starting out, and I was terribly overeager. Someone sent me to fetch the ‘sky hook,’ which I was told was a terribly valuable piece of equipment. I looked all over until I got to THE FARMER’S WIFE set. A rather plump twenty-seven-year-old director named Alfred Hitchcock was rehearsing the actors.
“For several minutes, I forgot all about the sky hook and watched the great director at work. Then I approached Hitchcock’s cameraman, Jack Cox.
“This kind man said, ‘You have been given a sort of initiation, because the sky-hook is a leg-pull. Why don’t you go back and tell them it was sold last week because it wasn’t being used.’
“Because of that nonexistent sky hook, I was able to watch Hitchcock directing, and I met Jack Cox, with whom I would be working.”
Later, Chandler quotes Roy Ward Baker ~
“Cox was very tall, a man of very few words, with a complete lack of pretense, and a sardonic wit. He didn’t chatter, you know. He just got on with his lighting.”
I suspect most cinematographers are a bit like that. My friend Scott Ward is, even down to being very tall. And Hitchcock wouldn’t be attracted to the “rock star” kind of cinematographer who puts his personal style first. I saw Nestor Almendros talk once, a charming, gentle man, and somebody from the audience asked him if he’d like to have worked with Hitchcock. A strange question, really, but Almendros graciously replied, saying that he’d have loved the chance, and that it could have happened. But I wonder if their styles would have fused or clashed?