Conrad L. Hall, was a cinematographer. His credits include In Cold Blood, Cool Hand Luke, Butch Cassidy and the Sundance Kid, Fat City, American Beauty.
WATCH: A Cinematic Life: The Art & Influence of Conrad L. Hall, ASC (26 minutes): https://t.co/TNBjtxzgxe
with Connie Hall, Haskell Wexler, Conrad W. Hall, Janusz Kaminski, Roger Deakins, Sam Mendes, Vilmos Zsigmond, Owen Roizman, Philippe Rousselot, and William Goldman.
WATCH: Cinematographer Conrad L. Hall, ASC in conversation with production designer Robert F. Boyle (North by Northwest, The Birds, Marnie and In Cold Blood): https://t.co/aZppyxZ6XE
A MUST-WATCH: Haskell Wexler: Tell Them Who You Are":
https://t.co/l5xdDZpe54
With HW, Conrad L. Hall, Bill Butler, Milos Forman, George Lucas, Michael Douglas, Jane Fonda, Julia Roberts, John Sayles, Paul Newman, Irvin Kershner, Albert Maysles, Norman Jewison, and many others.
A MUST-WATCH: Visions of Light: The Art of Cinematography (92 minutes - 1992): https://t.co/EokbeuExh2
With Conrad L. Hall, Gordon Willis, Néstor Almendros, Michael Chapman, László Kovács, Vittorio Storaro, Haskell Wexler, Sven Nykvist, Vilmos Zsigmond, and others.
WATCH: A Cinematic Life: The Art & Influence of Conrad L. Hall, ASC (26 minutes): https://t.co/TNBjtxzgxe
with Connie Hall, Haskell Wexler, Conrad W. Hall, Janusz Kaminski, Roger Deakins, Sam Mendes, Vilmos Zsigmond, Owen Roizman, Philippe Rousselot, and William Goldman.
#Flashback: In this archival AC story, Conrad L. Hall, ASC candidly discusses his Oscar-winning camerawork in Butch Cassidy and the Sundance Kid (1969) — what he liked and what he didn’t: https://t.co/1MXHaSnYH7 #FBF
"Conrad Hall used to say cinematography is just ‘happy accidents’. What he meant is that they’re not really accidents at all—you’re just there in a situation and something happens that triggers an idea in your head. And it may change your idea of how to do a scene or a shot. 1/2
"To me, all the technical stuff is not as interesting as making the light conform to the mood of the story and the characters, It's at that subtext level that I like to work. I'm struggling to find and reach into that deeper realm of visual storytelling. "
— Conrad L. Hall, ASC
Conrad L. Hall on IN COLD BLOOD's final speech scene: “Robert Blake rehearsed the whole scene in an empty set; it wasn't lit. When I was lighting the scene, I had a stand-in where Bobby rehearsed the scene. I wanted it dark inside. 1/7
#ConradHall
I kept the light pooled where the chaplin was sitting because he was reading from the Bible. We needed that light, but I kept it very localized. So I used a strong light from outside the window to come through. We had rain coming down as I was lighting. 2/7
#ConradHall
I had a little wind machine on, and it was taking some of the spray and creating a mist on the window. As the mist became heavier and heavier, it became heavy enough to form a drop which started running on the window. 3/7
#ConradHall