CONRAD L.
HALL, ASC
Road to Perdition
Conrad Hall, ASC, was born and raised in Papeete, Tahiti. His father was James
Norman Hall, who co-authored such classic novels and Mutiny on the Bounty
and Men Against the Sea. He enrolled at the University of Southern
California with instructions from his father to find a career. After graduation,
Hall and several classmates produced commercials, documentaries and industrial
films. He was an assistant cameraman and operator with Bob Surtees, ASC, Ted McCord,
ASC, and Ernie Haller, ASC and earned his first cinematography credit on the Stoney
Burke TV series. Hall’s first feature was Wild Seed. Hall
received Lifetime Achievement Awards from the ASC in 1994 and the Camerimage International
Film Festival of Cinematography in 1995. He earned ASC Outstanding Achievement
Awards for Tequila Sunrise, Searching for Bobby Fischer, American Beauty and
Road to Perdition. This is his tenth Academy Award nomination. He won for
Butch Cassidy and the Sundance Kid and American Beauty. His
other nominations were for Morituri, The Professionals, In Cold Blood, The
Day of the Locust, Tequila Sunrise, Searching for Bobby Fischer and A
Civil Action. Hall died January 4, 2003.
Synopsis:
Set in Depression-era Chicago, Road to Perdition is the portrayal of
two families whose fates are determined by the complex and often combative relationships
between fathers and sons. Mike Sullivan is a hit man for a 1930s gangland boss.
When his young son Michael witnesses one of his crimes — with tragic repercussions
for the family — Sullivan and the boy take to the road in search of both
sanctuary and revenge. The movie stars Tom Hanks, Paul Newman, Jude Law, Stanley
Tucci, Daniel Craig, Jennifer Jason Leigh and Tyler Hoechlin.
Quote:
“I thought carefully about how to make this picture special in terms of
the visuals. Like any movie, the visual language is complex. Each scene requires
its own palette. There is a lot of darkness, and a lot of things that I chose
not to light. Sometimes we just have an image of a face against blackness, where
you don’t see the background at all. It’s brief, stark sensibility
that is almost shocking.”
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