Polanski in his 1984 autobiography, Repulsions executive producer Michael Klinger "protested that Gil Taylor was one of the most expensive cameramen in the business, but I held out for Taylor and I got him". Taylor said his "aim was to get a stronger negative and good shadows in the final print. The shadows are what make good movies". Their collaboration continued with Cul-de-sac (1966) and Macbeth (1971), the third and last film he shot with Polanski. According to Ronald Bergan, "although shot in colour", Macbeth, "is as near to black and white as possible, with its grey, misty landscape". Taylor received BAFTA nominations over two consecutive years for the first two collaborations. Later work in colour Hitchcock requested Taylor work on his penultimate film Frenzy (1972). Despite a claim in Bergan's obituary of the cinematographer that Hitchcock was unaware the two men had worked together forty years earlier, according to Taylor they had stayed in touch. Hitchcock never looked through the camera, because of his use of storyboards, leaving decisions to Taylor. The tracking shot, up and down a flight of stairs and then into the street, which invisibly merged shots from a studio set and street location took a day to achieve with the switch disguised by the movement of an extra in front of the camera. Taylor's later films include The Omen (1976), and Star Wars (1977). On Star Wars, he established principles about visual aesthetics which have been maintained in the later films in the series. He told Mark Newbold in 2005: "I wanted to give Star Wars a unique visual style that would distinguish it from other films in the science fiction genre. I wanted Star Wars to have clarity because I think space isn’t out of focus, also I was mindful that there was an enormous amount of process work to be done in America with Dykstra after we had finished shooting in England, and a crisp result would help this process". Taylor found George Lucas an elusive person to consult, leading Taylor to make his own decisions as how to shoot the picture after multiple readings of the script. Differences of opinion between the director and cinematographer led to 20th Century Fox, for whom Taylor had shot The Omen, intervening to retain him on the picture. After the experience of working on Star Wars, Taylor decided he would never work again with Lucas. His