The interiors are uniformly and flatly lit, with no regard to what might be going on outside the windows or any indication as to where the light is coming from. There are no shadows. This studio work sits uncomfortably beside the naturalistic location filming.
Everything is wonderfully slow. And I don't mean that adjective ironically. No modern film-maker (outside the art house) would dare let his shots and his sequences last as long as Lean does. I admire his confidence. The desert looks tremendous with the riders moving across it; why wouldn't one want to linger?
