Hello, my name is Justin the Klu, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And today, we're going to talk about something that we've never talked about before, cinematographers.

We talked about Ernest Dickerson.

That's true. And today, we're going to be talking about James Wong-Hau and Christopher Doyle. Now, you probably know Chris Doyle, as his friends like to call him. He's the guy who did all of Wong-Car-Wise famous films. But James Wong-Hau may be a name that you are not that familiar with in the sense that he worked on a lot of films because he got there right on the ground floor of the industry,

but not a lot of them are classics.

And we'll be talking about Sweet Smell's Success in his case.

And for Christopher Doyle, Lady in the Water.

But before we talk about them, Will, what do you think of when you think of cinematographer?

Like, what is their role on a motion picture?

Well, we definitely have an O-Tur bias on this podcast.

I think it's fair to say.

I think one of the things that I think is interesting about movies is that I value

movies primarily as the work of one creator.

Most of my favorite movies are sort of O-oore type works. And yet, you take a

classic example like Citizen Kane, even though it's so obviously an Orson Welles movie,

you can clearly decipher the contributions of Greg Tollin, the cinematographer, or Herman Mankowitz,

the co-writer, or Robert Wise, the editor. And there's a paradox there, and there's a tension

there that makes film interesting. I think that when we talk about otters, it's just so much

easier because you can speak about the vision of one person, and that when you start kind of

dismantling it and talking about why this is important or that is important, that's where it gets a little bit more complicated. But I agree with you. I think that movies are made up by so many people. And that's why when I direct films, I feel uncomfortable putting like a Justin DeClew film because it would be a lie to say that all of this is mine. Like, it's not my film. It's everybody who made

it film. But then there's an example of somebody like, you know, talk about cinematographer,

...