In today's world, Wilkie Cooper is an issue that has taken on great relevance in society. For a long time, Wilkie Cooper has been the subject of debate and discussion, since its impact covers different aspects of daily life. Whether in the personal, work, cultural or social sphere, Wilkie Cooper has become a topic that leaves no one indifferent. Its importance lies in its influence on our decisions, the way we perceive the world around us and how we relate to others. In this article, we will thoroughly explore the concept of Wilkie Cooper and its impact on our daily lives, in order to better understand its meaning and be able to analyze its relevance today.
Wilkie Cooper BSC (19 October 1911 – 15 December 2001) was a British cinematographer.[1]
Cooper was born in London, the son of the silent era cinematographer Douglas Percival Cooper. His early career included Green for Danger (1946) and London Belongs to Me (1948) for producer-director team Frank Launder and Sidney Gilliat, Stage Fright (1950) for Alfred Hitchcock, and Undercover (1943) for Ealing Studios.[2] He worked with Jack Cardiff on Web of Evidence (1956), a thriller starring Van Johnson and Vera Miles and worked with J. Lee Thompson on the Wernher von Braun biopic I Aim at the Stars (1960). He co-produced Sea of Sand (1958) with Monty Berman.[1]
He forged a partnership with special effects maestro Ray Harryhausen in later years, photographing several of his productions, including The 7th Voyage of Sinbad (1958), Jason and the Argonauts (1963) and First Men in the Moon (1964).[3]
Cooper retired in 1972. He was married to actress Peggy Bryan, whom he outlived. They had two sons. For many years he resided in a seafront flat overlooking the sea in Ferring, West Sussex.[4]