some good bits about working with Welles in there too. I don't want to get this site in trouble so I will just post the first paragraph. if anyone is interested in reading the rest I can send you a link.
Gregg Toland's cinematographic revolution
Flashback: 1936, Hollywoodland. An ambitious young director named William Wyler has made his way from Alsace to Southern California, where he plans to contribute a few new frames to the collective American dream--the movies. Already, "forty-take Willie," as more than one disgruntled star has called him, has put John Barrymore through his paces for the 1933 Elmer Rice-scripted weepie "Counsellor at Law." Now he has joined forces with the independent producer Samuel Goldwyn to begin the next phase of his career. For his first Goldwyn feature, "These Three"--penned by Lillian Hellman--Wyler has been paired with a cinematographer he's never worked with before, the thirty-two-year-old Gregg Toland. Like many other directors of the era, Wyler regards cinematographers as little more than glorified mechanics. In the past, he has often directed the camerawork himself. "I was in the habit of saying, 'Put the camera here with a forty-millimeter lens, move it this way, pan over here, do this,'" Wyler remarked, in Jan Herman's 1996 biography, "A Talent for Trouble." This approach doesn't work with Toland: after several days, he asks Goldwyn to transfer him off Wyler's set. When Wyler, braised, demands an explanation, he learns that, with Toland, "you didn't tell him what lens to use, but what you wanted. And he would help you by suggesting the best way to photograph it." The two men reconcile, and go on to make six films together, including "Wuthering Heights" (1939) and "The Best Years of Our Lives" (1946). "We discussed every move," Wyler said. "He was an artist."