Conrad L. Hall

[Greg Gross]

Hello Andy O'Neil,

I knew that you would want to see this quote from Conrad Hall, if you

have'nt already. I quote Conrad Hall:

 

"There's something about cinematographers and the passion we bring to

our work,that gives us a sense of being blood brothers. We have a love

and admiration for each other,and a desire to help each other out"

Conrad Hall ASC

 

God bless Conrad Hall.

 

 

Greg

[mark leuchter]

My favorite five:

 

1) Welles' The Trial

2) Reed's The Third Man (might be my all-time favorite for cinematography)

3) Coppola's Godfather 2

4) Kubrick's Dr. Strangelove

5) Allen's Stardust Memories OR Radio Days, I can't decide

 

 

Mark

[Timo Haapasaari]

The scene in Road to Perdition where mr. Roonie and his gang get shot in the rain is already a classic! Damn!

[Guest Daniel J. Ashley-Smith]

I haven't seen a film with better cinematography yet than Road to Perdition. The scene where hanks is shooting them all in the rain, or the second to last scene when the camera dolly?s out of that room.

 

This film was just unbelievable... Certainly one of my favourites. Top notch DP, top notch director, top notch actors and a brilliant story.

[Stephen Alexander Griebel]

Certainly well shot and acted. The story is a ripoff (uncredited) of Lone Wolf and Cub, one of the great Samurai flicks. Anyone ever see Three Outlaw Samurai? Lesser known film from the 60s, gorgeos black and white cinematography like so many Japanese films from that time.

 

Why does nobody mention Kubrick films as being the best-shot? Because he didn't have a famous artsy cinematographer? He was the greatest DP ever, with a knowledge that rivaled even camera engineers. C'mon! Compare any of his films to anything else from the same time and it just blows them away.

 

2001, incredibly shot. Just to pick out one scene in particular, when Dave is killing Hal, with the red light, reflections on his helmet. Clockwork Orange. The use of practical light is amazing.

 

Barry Lyndon, nuff said. He accomplished something that no other cinematographer could have done in the candlelight scene. Not just through his connections, but his vision and refusal to compromise. He could have cheeted with some arcs as has always been done but he didn't.

 

The Shining. Perfection on the zoom, wonderful look to the film. While my least favorite of his, you can't argue with the way it was shot. Oh yeh, 1st movie to use Steadicam.

 

Full Metal Jacket. There's something so true about it, yet no other color film has ever had the same quality.

 

Lastly, Eyes Wide Shut. One of the most gorgeous color films ever. Kubrick recognized that modern film stock is too good. So what does he do? He tweaks it sans computer, in the lab. And I haven't even mentioned his color films like Strangelove, Lolita, the Killing (genius use of bare lighting), and the best for last, Paths of Glory. Forget the dolly shots, the great zooms, even the mindblowing framing that goes on. His choice of lenses is just fantastic, especially in the trial sequence.

Edited March 3, 2006 by stephen griebel

[David Mullen ASC]

Those are some of my favorite films of all time for cinematography. But this discussion was supposed to be about Conrad Hall's work.

[Stephen Alexander Griebel]

Yeh, it kind of deviated-- I even forgot. I just wanted to put it out there somewhere since it is (amazingly) rarely mentioned. Love Conny Hall's work though. What he said about how he got the rain to "drip" off Robert Blake's face in Visions of Light just proves you gotta try everything I guess-- even stuff you couldn't possibly plan.

Edited March 4, 2006 by stephen griebel

[Michael Ryan]

Hello All,

 

As David Mullen has pointed out, it's really impossible to pick the "best" movie or "best cinematographer", but you can pick films and cinematographers that belong in a seperate catagory in film history.

 

Conrad Hall is one of those cinematographers that has left his mark and is surely one of the very few that can be called, "the best of the best".

 

Widescreen cinematography is really an art form that, in my opnion, is handled very poorly, even in recent films that are shot with anamorphic lens. Among other talents Hall was really a master of using that 2.35:1 aspect ratio. Perhaps as well or better than any other cinematographer.

 

You should do yourself a big favor and watch THE PROFESSIONALS. Expertly directed by Richard Brooks and superbly acted by Lee Marvin, Burt Lancaster, Robert Ryan and Woody Strode, it is a film that is a Hall widescreen masterpiece (he was nominated for an Oscar for his work in this film). Stunning vistas, great framing of the actors and check out the colors on the stone walls in those canyon shots!!!!

 

Another great widescreen film by Hall is HELL IN THE PACIFIC. Really outstanding. I would strongly recommmend both films for anyone interested in 2.35:1 filmmaking. In these films it is more than obvious that his framing was for the big screen in a motion picture theater.

 

There will never be another like Conrad Hall.

 

Mike

[Mario C. Jackson]

I am a big fan of Conrad Hall. Of the choices listed I would have to say Road to Peridition. I like the pacing of the movie and how the photography complimented it.

Mario Concepcion Jackson

[richard thomas]

David, you're right. A better word would have been "favorite," which is the word I think I used in the Fujimoto poll. So, David and other miffed users, please substitute "best" with "favorite." However, I understand that people's "favorites" change day to day, month to month, year to year, etc.

 

I think you can compare "Butch Cassidy" to "Bobby Fischer" in the realm of favorite cinematography regardless of era, genre, setting,... Maybe a western motif would fit your fancy better than interiors. Thus, at this point in time, "Butch Cassidy" would supercede "Bobby."

 

Everyone feel free to explain the reasoning behind their choice. I love this stuff. Opinions are good. Keep them coming.

My Favorite was Searching for Bobby Fisher and I was the Gaffer on Road to Perdition!

[richard thomas]

My Favorite was Searching for Bobby Fisher and I was the Gaffer on Road to Perdition!

 

I am happy that Conrad is being discussed. Before Road to Perditon came to Chicago, I had wished to work with Conrad probably more than anyone. I can tell you that although it was the hardest movie that I have ever worked on, Conrad was everything one could hope for in a mentor! He truly carried a "Beginners mind" and lit each scene as if he never lit a scene before. He was very kind and very Humble! At almost 75 years old when we filmed the movie, he worked 15 hours a day 6 days a week from the end of January until June! something thats difficult to do at any age! I once talked to him about Cool Hand Luke a movie which I thought had nearly perfect photographic composition, Conrad, being humble did not like the word "perfect" and he was eager to discuss why with me. When I asked him which of his films was his favorites, he replied, "I can't pic, they are all like my children" I will never forget the influence or his kind mannerisms. He was truly a great artist but more importantly he was a great human being!!!!!!!

[Brad Grimmett]

Wasn't Tom Stern the gaffer on Road to Perdition?

[Rupe Whiteman]

Hall's work is always craft and creativity in harmony... Amazing to have shot Road to Perdition with all the longs hours and with such results aged 73! - I don't think you can underestimate that! The movies a fitting epitaph for such an innovator.

 

- on the 'Butch and Sundance' dvd there's a fascinating original doco' on the making of it narrated by director George Roy Hill - he mentions the use of backlight and exposure techniques brought to the movie by Hall. On the famous arrival of the posse scene (bursting on horse-back from a sinister stationary train) Hall set up 5 cameras, with only four operators. At the time he was getting it together with heroine Katherine Ross and Hall decided to let her operate and he did focus! - The other (union) operator's were not happy with Hall and neither was Roy Hill - he banned Ross from being on set and gave her a hard time for the rest of the shoot! Her panning shot of the horse riders is in the cut...

 

- if you haven't seen this doco it gives really interesting insights as to how some of the classic scenes were realized...

 

What a career!

 

Rupe Whiteman

Edited June 9, 2006 by rupe w

[Leo Anthony Vale]

Wasn't Tom Stern the gaffer on Road to Perdition?

 

---One would think a big movie woulb have more than one gaffer.

 

From IMDB.com:

 

Road to Perdition (2002)

 

Other crew

 

Tom Stern .... chief lighting technician (as Thomas E. Stern)

 

Rick Thomas .... gaffer: Chicago

 

---LV

[Brad Grimmett]

---One would think a big movie woulb have more than one gaffer.

 

From IMDB.com:

 

Road to Perdition (2002)

 

Other crew

 

Tom Stern .... chief lighting technician (as Thomas E. Stern)

 

Rick Thomas .... gaffer: Chicago

 

---LV

I wouldn't think a movie would have more than one gaffer. I've never really heard of a film having two gaffers unless one got replaced. But I guess it makes sense that they had a Chicago gaffer, especially since Tom Stern was credited as the chief lighting technician.

I didn't mean to call the guy a liar, I just thought I'd heard that Tom Stern was the gaffer.

[richard thomas]

Wasn't Tom Stern the gaffer on Road to Perdition?

 

Actually, Tom Stern (a good friend of mine) was the Chief Lighting Technician and I was the Gaffer. We worked side by side during the movie. Tom had been Conrads right hand man and I was fortunate to be invited along!

[David Mullen ASC]

I thought the Chief Lighting Technician and Gaffer were the same thing. Is there a union classification under the Chief Lighting Technician called Gaffer (unless Rigging Gaffer or 2nd Unit Gaffer or something)? I'm a little confused -- I've never had both a Chief Lighting Technician and a separate Gaffer on a show. Is this a regional thing, i.e. a Gaffer from the Midwest Local had to be hired even though there was a Chief Lighting Technician?

[Dan Goulder]

Remember, this movie's about the Chicago mob. Who's gonna argue if they insist on having both a gaffer and a chief lighting technician? You don't want to mess with these guys.

[richard thomas]

I thought the Chief Lighting Technician and Gaffer were the same thing. Is there a union classification under the Chief Lighting Technician called Gaffer (unless Rigging Gaffer or 2nd Unit Gaffer or something)? I'm a little confused -- I've never had both a Chief Lighting Technician and a separate Gaffer on a show. Is this a regional thing, i.e. a Gaffer from the Midwest Local had to be hired even though there was a Chief Lighting Technician?

You are absolutely correct David. A Chief Lighting Technician and Gaffer are essentially the same. And you are also correct about it being a regional circumstance. In many production cities around the U.S and Canada, the local unions require a "Matching Gaffer" and sometimes a "Matching Key Grip". On Road to Perdition, I was interviewed and then hired by Tom Stern. Tom brought his Best Boy and Rigging Gaffer in from L.A and the rest of the crew was mine.

 

I am happy to clear up any confusion regarding this issue however, lets remember, this forum was supposed to be about Conrad!

 

Rick

 

Remember, this movie's about the Chicago mob. Who's gonna argue if they insist on having both a gaffer and a chief lighting technician? You don't want to mess with these guys.

For your information. Most of the unions across the U.S work the same way. I have a union card in both L.A and Chicago, but before I got my L.A card, it was nearly impossible to work here. Each city wants to guarantee that it's members are guaranteed work first and thats what unions are supposed to do! Furthermore, there is some logic to having a "Matching Gaffer or Key". When you work that way, you are getting a cohesive unit that knows how to work with each other. When I am travelling I always look for a crew that has worked together first. On another note, the process of working side by side with another Gaffer can be both fun and informative. Everyone has there way of doing things and its nice to see alternatives to your own ways.

 

Rick

[JA Tadena]

wow. That must have been really great to have worked in Conrad Halls last film. I was hoping you could share some lighting setup experiences with him. How was he like explaining what he wants? I think Road to Perdition was really beautifully made. I think it takes a lot of experience (and ofcourse a great eye) to make that kind of cinematography happen.

[Tom Lowe]

I recently saw Road to Perdition for the first time about a week ago, and I was totally and completely blown away. It's probably among the most masterful cinematography ever put to celluloid. It's a tour de force, essentially flawless. I felt I was watching a true master at his absolute zenith.. it felt like the crescendo of an amazing career. That this picture was basically Hall's swan song is so fitting.

Edited August 9, 2007 by Tom Lowe

[Daniel Smith]

The only thing that got me about Road to Perdition was the softness. Not to say this is Conrad Halls fault, but many of the scenes didn't look very sharp to me.

[MARC BENOLIEL]

"The Shining. Perfection on the zoom, wonderful look to the film. While my least favorite of his, you can't argue with the way it was shot. Oh yeh, 1st movie to use Steadicam."

 

The shinning wasn't the first movie which used steadicam. First movies was "Rocky" (1976) and "Bound of glory", then was "Days of heavens" (1978) and then "the shinning" in 1980.

 

Anyway...from Halls' work i saw ROAD TO PERDTION, BUTCH CASSIDY AND SUNDANCE KID and both films blow me away just by the lightning. I didn't like very much "American beauty", specially by the directing.

But his light can be soft and also violent, just when it has to be in the story.

Edited August 9, 2007 by MARC BENOLIEL

[Felipe Perez-Burchard]

I don't think you can really pick a "best" and like it was said before, "favorite" might change depending on the mood, so out of the films in the poll, my feelings:

 

(unfortunately haven't seen Moriurti or The Professionals, hope to sometime soon)

- In Cold Blood: his most remembered (because of the great happy accident mentioned already)

- Butch Cassidy: his most groundbreaking (Im surprised this is no ones pick; I would have thought it'd be #1)

- Day of the Locust: His most Intriguing work to me

- Tequila Sunrise: his most "photographic" ; (meaning where the subject / genre always lends itself to getting great comments about the lighting & photographic aspects (if done well of course) - landscape movies, NOIR movies)

- Searching for Bobby Fisher: his most naturalistic

- A Civil Action: His most traditional (this is not a bad thing ; also I only saw it once, so memory might be forgetting much about it)

- American Beauty: His most romantic

- Road to Perdition: His most refined ; I think unlike most artists in any media, Conrad Hall kept improving with each movie (I think many people reach a peak so high sometimes, that the rest of their career is in the shadow of their own achievements), and that is why most people on this forum picked his last work... truly stellar and perfectly cohesive to every other element of the film.

 

Just sharing thoughts.

 

Best,

 

-felipe.

[Kenny N Suleimanagich]

I particularly like American Beauty because there were so many tract home scenes in that film and I think it was a challenge to shoot them in such a manner to make it not look dull as most tract homes do. Also the end scenes with the thunderstorm and Kevin Spacey in that dark room with the moonlight coming through the window.