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Stevens achieves his goal of making a spectacular film. Cinematographer William C. Moffat finds precise beauty in a desolate land and frames it perfectly for the story. The plain Texas ranch with its acres of brown dirt left little colorful scenery to brighten up the sets, so it was natural to capitalize on Taylor’s beauty as much as possible. The way she’s framed in the scene when she first meets Bick is a testament to Moffat’s playful insight. An example where his craft stands out is a scene where she’s half hidden behind a vine while talking to Bick. Moffat centers the camera on her and places one eye right in the middle of a circled vine. It frames her, and she lights up like a cupie doll in two-bit circus. Moffat was one of the few crewmembers who did not receive an Oscar nomination for the film.