John Seale

Crucial.

You have John Seale, an Oscar-winning cinematographer.

Oh.

And he's capturing the sweltering, oppressive heat of Memphis and contrasting it with the icy, hyper-conditioned interiors of the law firm.

in his entire career, it's his only Oscar nomination.

So, yeah, Best Picture, Director for Peter Weir, Actor for Harrison Ford, Original Screenplay, which it won, Art Direction, Cinematography for John Seale, Editing, which it also won, and it's Score.

Those were the... all the nominations for oscars for that year so um to what you were talking about gdl is yes peter weir is known for show don't tell and famously with witness the end of the movie When right before John Book is sort of about to leave, there was there was pages of dialogue.

Yes.

Like so many stunning shots in this film.

Yeah.

So John Seale...

I can't wait

It's, I, I, I kind of guessed either you're from New Zea- New Zealand or Australia, which is, you know, a pool of talent, of talented people come from Australia, especially in Hollywood.

And, uh, I, I've had the pleasure of having several times, I'm sure you know of him, John Seale.

Oh, great guy.

Great cameraman.

Well, maybe I was more willing to let Anthony Mangala's rhythm wash over me.

Maybe I was more taken with John Seale's breathtaking cinematography than ever before.

But this viewing made me appreciate the film in a way I didn't completely when I first saw it.

I still have issues with it.

Kip's political awakening and anger are softened, and the film becomes less sharp on the subject of empire.

It still hints at colonial tension, but it doesn't explore it with the force that the novel does, and that's too bad.

Now, let's talk about the cinematography by John Seale, because it's without question the best part of the film, undoubtedly.

Seale was already one of the great cinematographers before this movie.