He found widescreen equipment sometimes restrictive, finding the Technirama camera system used on "Davy" (1958) "a block of flats" and difficult to compose shots with. Financial problems forced Ealing Studios to wind down from 1955 onwards, and close later in the decade. In 2015, Slocombe said of the period that "we had to get on with our careers – there was little time for sentiment." For "The Italian Job" (1969), Slocombe was hired by producer Michael Deeley because "he tended to do very moody work, and he was very efficient". Slocombe later remembered shooting inside Kilmainham Gaol, a genuine closed prison, and finding the experience unpleasant: "the real thing, there is something quite terrifying about it. One knows hundreds and hundreds of people have suffered here...although this was a comedy, all this was still in the back of one's mind". He won the British Society of Cinematographers Award five times, and was awarded its Lifetime Achievement Award in 1996. He also won a special BAFTA award in 1993. Roger Ebert particularly praised his work on "Jesus Christ Superstar" (1973), writing that it "achieve[s] a color range that glows with life and somehow doesn’t make the desert look barren." Not all reviews of his later colour work were favourable: while his cinematography on "Never Say Never Again" (1983) has been described by one author as "subtle, subdued...[it] creates a mellow mood", it has also been assessed as "muddled and brown". Notable among his later films is "Rollerball" (1975). In the 1980s, he worked with Steven Spielberg on the first three "Indiana Jones" films, after Spielberg enjoyed working with him as an auxiliary cinematographer on "Close Encounters of the Third Kind" (1977). These were among his last major projects, as he was 75 at the time of filming the last, "Indiana Jones and the Last Crusade", and also began to suffer from eyesight problems in the 1980s. He was quoted in 1989 as saying of it "there's an excitement in doing action films. I probably enjoy them on a sort of boy scout level." Janusz Kamiński, cinematographer on "Indiana Jones and the Kingdom of the Crystal Skull", said that he deliberately shot the film to emulate Slocombe's visuals, in order to create an appearance of continuity with the previous pictures.