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<blockquote data-quote="Snarky Oracle!" data-source="post: 170938" data-attributes="member: 57984">And yet many of those shots were indeed on a soundstage -- yet they look &quot;real&quot; as if shot on location. (The exterior shots for early in the season of course were shot in Texas).Cinematography can be sooooo important, psychologically. The year Bradford May filmed DALLAS he rarely used the &quot;flat lighting&quot; which Katzman preferred (Aaron Spelling was the same way) in which studio lights flood every corner of the set, making it look exactly like what it is: a studio set.But Katzman saw DALLAS as a cartoon, and seemed to refuse to see what his show had matured into by 1983. What the viewers loved about the look, Katzman hated. (The actresses supposedly complained that May&#039;s realistic side-lighting was less flattering in close up).But May&#039;s camerawork gave the show a bigness it had earned by that point, and it&#039;s a shame not everyone agreed. It makes one wonder how DALLAS might have fared had May stayed (although he had directorial ambitions, and likely would have left anyway, if not necessarily as quickly.)<img src="http://dallasdecoder.files.wordpress.com/2013/09/critique-dallas-episode-132-the-road-back-1.jpg?w=300" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://dallasdecoder.files.wordpress.com/2015/04/dal-list-37-reasons-to-love-dallas-16-copy.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://dallasdecoder.files.wordpress.com/2015/04/dal-list-37-reasons-to-love-dallas-17-copy.jpg?w=610" alt="" class="fr-fic fr-dii fr-draggable " style="" />Instead, Caramico stayed for the remaining 7 years of the show, flat-lighting everything as Katzman demanded, later shooting sitcoms.Sometimes I wish Katzman himself had left again after ~1988.</blockquote>

[QUOTE="Snarky Oracle!, post: 170938, member: 57984"] And yet many of those shots were indeed on a soundstage -- yet they look "real" as if shot on location. (The exterior shots for early in the season of course were shot in Texas). Cinematography can be sooooo important, psychologically. The year Bradford May filmed DALLAS he rarely used the "flat lighting" which Katzman preferred (Aaron Spelling was the same way) in which studio lights flood every corner of the set, making it look exactly like what it is: a studio set. But Katzman saw DALLAS as a cartoon, and seemed to refuse to see what his show had matured into by 1983. What the viewers loved about the look, Katzman hated. (The actresses supposedly complained that May's realistic side-lighting was less flattering in close up). But May's camerawork gave the show a bigness it had earned by that point, and it's a shame not everyone agreed. It makes one wonder how DALLAS might have fared had May stayed (although he had directorial ambitions, and likely would have left anyway, if not necessarily as quickly.) [IMG]http://dallasdecoder.files.wordpress.com/2013/09/critique-dallas-episode-132-the-road-back-1.jpg?w=300[/IMG][IMG]https://dallasdecoder.files.wordpress.com/2015/04/dal-list-37-reasons-to-love-dallas-16-copy.jpg[/IMG][IMG]https://dallasdecoder.files.wordpress.com/2015/04/dal-list-37-reasons-to-love-dallas-17-copy.jpg?w=610[/IMG] Instead, Caramico stayed for the remaining 7 years of the show, flat-lighting everything as Katzman demanded, later shooting sitcoms. Sometimes I wish Katzman himself had left again after ~1988. [/QUOTE]

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Who played Sue Ellen in Dallas?