A cinematographer is called an illusionist these days, says Oscar winner John Seale

Oscar-winning cinematographer John Seale, renowned for his work on iconic films such as 'The English Patient', 'Mad Max: Fury Road', and 'Harry Potter and the Philosopher's Stone', spoke candidly about the evolving role of cinematographers in today’s filmmaking landscape. At a masterclass during the ongoing International Film Festival of India (IFFI), Seale shared his thoughts on the modern perception of cinematographers and the art of creating moving images.

"I hear, under the grapevine, that cinematographers are often called illusionists, that we create the images. But is it photography?" Seale questioned, highlighting the growing complexity of the role. He emphasized the need for filmmakers to reflect on whether the art still aligns with traditional photography. "That is the big question that should be answered in each individual’s mind," he said, noting that the label "illusionist" can be quite challenging.

The 82-year-old cinematographer, who began his career working with the Australian TV channel ABC, recalled how his training in the 1960s proved invaluable during his work on 'Rain Man' (1988). In the film, which starred Dustin Hoffman and Tom Cruise, the actors were often ad-libbing on set, requiring multiple cameras to capture the improvisational moments. Seale suggested to director Barry Levinson that they "cross shoot" the scenes with two cameras, which ultimately improved continuity and storytelling. "It helped the actors because they were able to overlap, and the editor was able to cut it with perfect continuity. It made me feel like we were helping to make better films."

Seale also reminisced about his collaborations with fellow Australian director George Miller on 'Mad Max: Fury Road' (2015) and 'Three Thousand Years of Longing' (2022). He shared an interesting anecdote about the making of 'Fury Road', when Warner Bros. approached Miller with the idea to create a large 3D film. However, Miller had already written shots for the film that no existing 3D camera could capture. "George said, 'I'll build my own,'" Seale recalled. Miller then began designing custom 3D cameras that could fit through small spaces in vehicles, ensuring they could shoot the way he envisioned.

The process of working with these custom-built cameras was challenging. "When you change a lens on a 3D camera, you've got to change two lenses, and they must match optically," Seale explained. To save time on set, Miller decided to build a unique 3D camera body for each lens, resulting in 24 cameras, each fitted with a different lens. However, the project came with its own set of complications, including electronic issues and overheating. Ultimately, Miller switched to 2D filming, which proved to be a more manageable solution.

In another humorous moment, Seale revealed that the 'Fury Road' camera crew included a Namibian prince. "He was a young man who wanted to work in films, and he actually was a prince. So we did a lot of bowing," Seale joked.
Having witnessed the transition from film negatives to digital cameras, Seale expressed admiration for the advancements in technology. "The new medium is amazing," he said. "The latitude, their ability to shoot in low light areas—everything about them was a dream come true after battling through 40 years of film negative." Both 'Fury Road' and 'Three Thousand Years of Longing' were shot using digital cameras.

Seale also shared his perspective on working with American film crews in Australia. He noted that American crews were always pleased with the local Australian crews, appreciating their professionalism and easygoing attitude. "Americans liked the loose way of shooting films," Seale remarked. "We honoured the budget because Australian films couldn’t afford overtime. At the end of the day, we used to get a cold beer for doing two hours of overtime."
Australia is the country of focus at the 55th edition of IFFI, which will conclude on November 28.