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|birth_name = Conrad Lafcadio Hall
|birth_name = Conrad Lafcadio Hall
|birth_date = {{birth date|1926|6|21}}
|birth_date = {{birth date|1926|6|21}}
|birth_place = [[Papeete]], [[Tahiti]], [[French Polynesia]]
|birth_place = [[Papeete]], Tahiti, French Polynesia
|death_date = {{death date and age|2003|1|4|1926|3|3}}
|death_date = {{death date and age|2003|1|4|1926|3|3}}
|death_place = [[Santa Monica, California]], U.S.
|death_place = [[Santa Monica, California]], U.S.
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|alma_mater =
|alma_mater =
|occupation = [[Cinematographer]]
|occupation = [[Cinematographer]]
|years_active = 1958–2003
|years_active = 1949–2003
|employer =
|employer =
|known_for =
|known_for =
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|spouse = {{ubl
|spouse = {{ubl
| {{marriage|Virginia Schwartz|1952|1969|end=div}}
| {{marriage|Virginia Schwartz|1952|1969|end=div}}
| {{marriage|[[Katharine Ross]]|1969|1975|end=div}}
| {{marriage|[[Katharine Ross]]|1969|1974|end=div}}
| {{marriage|Susan Kowarsh-Hall<br>||2003}}
| {{marriage|Susan Kowarsh-Hall||2003}}
}}
}}
|partner =
|partner =
|children = 3, including [[Conrad W. Hall]]
|children = 3, including [[Conrad W. Hall]]
|father = [[James Norman Hall]]
|father = [[James Norman Hall]]
|awards = [[Conrad Hall#Awards and nominations|Full list]]
|awards = '''[[Academy Award for Best Cinematography]]'''<br />''[[Butch Cassidy and the Sundance Kid]]'' 1969<br />''[[American Beauty (1999 film)|American Beauty]]'' 1999<br />''[[Road to Perdition]]'' 2002
|footnotes =
|footnotes =
|relations =
|relations =
}}
}}


'''Conrad Lafcadio Hall''', {{small|[[American Society of Cinematographers|ASC]]}} (June 21, 1926 &ndash; January 4, 2003) was a [[French Polynesia]]n-born American [[cinematographer]].<ref name=nytimesobit>{{cite news |author1=Rick Lyman |author-link1= |title=Conrad Hall, Cinematographer Of 'Butch Cassidy,' Dies at 76 |url=https://www.nytimes.com/2003/01/08/movies/conrad-hall-cinematographer-of-butch-cassidy-dies-at-76.html |url-access=subscription |access-date=August 2, 2021 |work=[[The New York Times]] |date=January 8, 2003 |page=A 21}}</ref> Named after writers [[Joseph Conrad]] and [[Lafcadio Hearn]], he was best known for photographing such films as ''[[In Cold Blood (film)|In Cold Blood]]'', ''[[Cool Hand Luke]]'', ''[[Butch Cassidy and the Sundance Kid]]'', ''[[American Beauty (1999 film)|American Beauty]]'', and ''[[Road to Perdition]]''. For his work he garnered a number of awards, including three [[Academy Awards]] and three [[British Academy of Film and Television Arts|BAFTA Awards]].
'''Conrad Lafcadio Hall''', {{small|[[American Society of Cinematographers|ASC]]}} (June 21, 1926 &ndash; January 4, 2003) was a [[French Polynesia]]n-born American [[cinematographer]].<ref name=nytimesobit>{{cite news |author1=Rick Lyman |author-link1= |title=Conrad Hall, Cinematographer Of 'Butch Cassidy,' Dies at 76 |url=https://www.nytimes.com/2003/01/08/movies/conrad-hall-cinematographer-of-butch-cassidy-dies-at-76.html |url-access=subscription |access-date=August 2, 2021 |work=[[The New York Times]] |date=January 8, 2003 |page=A 21}}</ref> Named after writers [[Joseph Conrad]] and [[Lafcadio Hearn]], he became widely prominent as a cinematographer earning numerous accolades including three [[Academy Awards]] (with ten nominations), three [[BAFTA Awards]] and five [[American Society of Cinematographers|American Society of Cinematographers Awards]].


Hall won three [[Academy Award for Best Cinematography|Academy Awards for Best Cinematography]] for his work on ''[[Butch Cassidy and the Sundance Kid]]'' (1969), ''[[American Beauty (1999 film)|American Beauty]]'' (1999), and ''[[Road to Perdition]]'' (2002). He was also Oscar-nominated for ''[[Morituri (1965 film)|Morituri]]'' (1965), ''[[The Professionals (1966 film)|The Professionals]]'' (1966), ''[[In Cold Blood (film)|In Cold Blood]]'' (1967), ''[[The Day of the Locust (film)|The Day of the Locust]]'' (1975), ''[[Tequila Sunrise (film)|Tequila Sunrise]]'' (1988), ''[[Searching for Bobby Fischer]]'' (1993), and ''[[A Civil Action (film)|A Civil Action]]'' (1998). He is also known for ''[[Cool Hand Luke]]'' (1967), ''[[Fat City (film)|Fat City]]'' (1972), and ''[[Marathon Man (film)|Marathon Man]]'' (1976).
In 2003, Hall was judged to be one of history's ten most influential cinematographers in a survey of the members of the International Cinematographers Guild.<ref>{{cite web| url=http://www.thefreelibrary.com/Top+10+Most+Influential+Cinematographers+Voted+on+by+Camera+Guild.-a0108995062 |title=Top 10 Most Influential Cinematographers Voted on by Camera Guild |date=August 16, 2003 |access-date=January 28, 2011}}</ref> He has been given a star on the [[Hollywood Walk of Fame]].


In 2003, Hall was judged to be one of history's ten most influential cinematographers in a survey of the members of the International Cinematographers Guild.<ref>{{cite web |url=http://www.thefreelibrary.com/Top+10+Most+Influential+Cinematographers+Voted+on+by+Camera+Guild.-a0108995062 |title=Top 10 Most Influential Cinematographers Voted on by Camera Guild |date=August 16, 2003 |access-date=January 28, 2011 |archive-date=January 9, 2014 |archive-url=https://web.archive.org/web/20140109110930/http://www.thefreelibrary.com/Top+10+Most+Influential+Cinematographers+Voted+on+by+Camera+Guild.-a0108995062 |url-status=dead }}</ref> He has been given a star on the [[Hollywood Walk of Fame]].
==Early life==


== Early life and education ==
Conrad L Hall was born on June 21, 1926 in [[Papeete]], [[Tahiti]], [[French Polynesia]]. His father was [[James Norman Hall]], an ace pilot and captain in the [[Lafayette Escadrille]] that fought for France in [[World War I]]. James also co-wrote the 1932 novel ''[[Mutiny on the Bounty (novel)|Mutiny on the Bounty.]]'' His mother was Sarah ("Lala") Winchester Hall, who was half Polynesian.<ref>{{Cite journal |last=Hunter |first=Allen |year=2003 |title=Obituary Conrad L Hall |journal=Scotsman Publication |id={{ProQuest|327066352}} }}</ref> Growing up during the relative infancy of cinema, Hall never was around cameras, and the idea of going to the movies was a foreign concept. In his early-mid teens, Hall attended Cate School, a boarding preparatory school near Santa Barbara, California.

Conrad L Hall was born on June 21, 1926, in [[Papeete]], [[Tahiti]], [[French Polynesia]]. His father was [[James Norman Hall]], an ace pilot and captain in the [[Lafayette Escadrille]] that fought for France in [[World War I]]. James also co-wrote the 1932 novel ''[[Mutiny on the Bounty (novel)|Mutiny on the Bounty.]]'' His mother was Sarah ("Lala") Winchester Hall, who was half Polynesian.<ref>{{Cite journal |last=Hunter |first=Allen |year=2003 |title=Obituary Conrad L Hall |journal=Scotsman Publication |id={{ProQuest|327066352}} }}</ref> Growing up during the relative infancy of cinema, Hall never was around cameras, and the idea of going to the movies was a foreign concept. In his early-mid teens, Hall attended Cate School, a boarding preparatory school near Santa Barbara, California.


After graduating, Hall was told by his father to find his path in life. Hall attended the [[University of Southern California]], intending to study journalism, but ended up doing poorly and instead went to USC's School of Cinema-Television (now the [[USC School of Cinematic Arts]]). He wasn't sure this was the right decision, but that since this was a new art form it would be interesting to start from the bottom. Hall attended the School of Cinema at a time when [[Slavko Vorkapić]] was the head of the program; Hall later recalled that “He taught me that film-making was a new visual language. He taught the principles, and left the rest up to us”.<ref name=":0">{{Cite book |title=A Lifetime of Achievement: Conrad Hall |last=Fisher |first=Bob |publisher=American Cinematographer |year=1994 }}</ref> After creating his first shots in school he fell in love with the art and wanted to continue telling his stories through imagery. A few people that visited the school during his education included [[John Huston]] and [[Orson Welles]]. After graduation in 1949, Hall expected to get a job right out of college. At the time, however, Hollywood only allowed the camera crew to be filled with people that were on the International Photographers Guild roster.<ref name=":0" />
After graduating, Hall was told by his father to find his path in life. Hall attended the [[University of Southern California]], intending to study journalism, but ended up doing poorly and instead went to USC's School of Cinema-Television (now the [[USC School of Cinematic Arts]]). He wasn't sure this was the right decision, but that since this was a new art form it would be interesting to start from the bottom. Hall attended the School of Cinema at a time when [[Slavko Vorkapić]] was the head of the program; Hall later recalled that “He taught me that film-making was a new visual language. He taught the principles, and left the rest up to us”.<ref name=":0">{{Cite book |title=A Lifetime of Achievement: Conrad Hall |last=Fisher |first=Bob |publisher=American Cinematographer |year=1994 }}</ref> After creating his first shots in school he fell in love with the art and wanted to continue telling his stories through imagery. A few people that visited the school during his education included [[John Huston]] and [[Orson Welles]]. After graduation in 1949, Hall expected to get a job right out of college. At the time, however, Hollywood only allowed the camera crew to be filled with people that were on the International Photographers Guild roster.<ref name=":0" />


==Career==
==Career==
=== 1949–1966 ===
After graduation Hall collaborated with his classmates, Marvin R. Weinstein and [[Jack Couffer|Jack C. Couffer]], to create Canyon Films in 1949. In the beginning they made advertising commercials and documentaries and did pickup shots for features. In 1956 Canyon Films acquired a short film, ''My Brother Down There,'' which allowed Hall to enter into the cameraman position and become part of the International Photographers Guild. However, the Guild made Canyon Films hire an established Guild Cameraman for ''My Brother Down There'', denying Hall credit, even though he shot the entire film. Instead he was credited as the visual consultant, after [[United Artists]] released the film under the new title ''[[Running Target]]''.
After graduation Hall collaborated with his classmates, Marvin R. Weinstein and [[Jack Couffer|Jack C. Couffer]], to create Canyon Films in 1949. In the beginning they made advertising commercials and documentaries and did pickup shots for features. In 1956 Canyon Films acquired a short film, ''My Brother Down There,'' which allowed Hall to enter into the cameraman position and become part of the International Photographers Guild. However, the Guild made Canyon Films hire an established Guild Cameraman for ''My Brother Down There'', denying Hall credit, even though he shot the entire film. Instead he was credited as the visual consultant, after [[United Artists]] released the film under the new title ''[[Running Target]]''.


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Hall's breakthrough came with ''[[Morituri (1965 film)|Morituri]]'' in 1965, for which he received his first Oscar nomination. In the following year Hall shot ''[[Incubus (1966 film)|Incubus]]'', ''[[The Professionals (1966 film)|The Professionals]],'' and ''[[Harper (film)|Harper]]'', which was his first color film. His first collaboration with director [[Richard Brooks]] on ''The Professionals'' was put in motion by assistant director Tom Shaw, who worked with Hall on ''Wild Seed'' and recommended him to Brooks; the work resulted in his second Oscar nomination.
Hall's breakthrough came with ''[[Morituri (1965 film)|Morituri]]'' in 1965, for which he received his first Oscar nomination. In the following year Hall shot ''[[Incubus (1966 film)|Incubus]]'', ''[[The Professionals (1966 film)|The Professionals]],'' and ''[[Harper (film)|Harper]]'', which was his first color film. His first collaboration with director [[Richard Brooks]] on ''The Professionals'' was put in motion by assistant director Tom Shaw, who worked with Hall on ''Wild Seed'' and recommended him to Brooks; the work resulted in his second Oscar nomination.


=== 1967–1976 ===
Their second collaboration, 1967's ''[[In Cold Blood (film)|In Cold Blood]]'', resulted in yet another Oscar nomination.<ref name=":0" /> It is notable for the documentary feel and location shots, which were rare at the time. In that same year, Hall shot ''[[Cool Hand Luke]]'' and ''[[Divorce American Style]]''. ''Cool Hand Luke'' is known for being shot in Panavision, which contributed to its lush color palette.<ref>{{Cite news |title=Cinematography's Hall of Fame |last=Brodesser |first=Claude |id = {{ProQuest|236330589}}}}</ref> In 1968, Hall filmed ''[[Hell in the Pacific]]'' for director [[John Boorman]], which was not a box-office success but has since become a cult classic.
Their second collaboration, 1967's ''[[In Cold Blood (film)|In Cold Blood]]'', resulted in yet another Oscar nomination.<ref name=":0" /> It is notable for the documentary feel and location shots, which were rare at the time. In that same year, Hall shot ''[[Cool Hand Luke]]'' and ''[[Divorce American Style]]''. ''Cool Hand Luke'' is known for being shot in Panavision, which contributed to its lush color palette.<ref>{{Cite news |title=Cinematography's Hall of Fame |last=Brodesser |first=Claude |id = {{ProQuest|236330589}}}}</ref> In 1968, Hall filmed ''[[Hell in the Pacific]]'' for director [[John Boorman]], which was not a box-office success but has since become a cult classic.


In 1969, Hall received his first Oscar for ''[[Butch Cassidy and the Sundance Kid]]''. To make ''Butch Cassidy'' visually compatible with the time period, he used experimental techniques, such as overexposing the negatives in order to mute the primary colors when printing it back (Hunter, 2003). The result was considered an innovative success. He made two other films that year, ''[[The Happy Ending]]'' and ''[[Tell Them Willie Boy Is Here|Tell them Willie Boy is Here]].'' In 1972, Hall shot ''[[Fat City (film)|Fat City]],'' with director John Huston. ''Fat City'' was known for its grainy texture to reflect the harsh reality of the storyline.<ref name=":0" /> In 1973 he shot the police thriller ''[[Electra Glide in Blue]]'', followed by ''[[Smile (1975 film)|Smile]]'' and ''[[The Day of the Locust (film)|The Day of the Locust]]'' in 1975, the latter of which earned him his fifth Oscar nomination. In 1976 he shot ''[[Marathon Man (film)|Marathon Man]]'' with director [[John Schlesinger]] which was one of the first to use the [[Steadicam]] technique (although it was not the first to be released).
In 1969, Hall received his first Oscar for ''[[Butch Cassidy and the Sundance Kid]]''. To make ''Butch Cassidy'' visually compatible with the time period, he used experimental techniques, such as overexposing the negatives in order to mute the primary colors when printing it back (Hunter, 2003). The result was considered an innovative success. He made two other films that year, ''[[The Happy Ending]]'' and ''[[Tell Them Willie Boy Is Here|Tell them Willie Boy is Here]].'' In 1972, Hall shot ''[[Fat City (film)|Fat City]],'' with director John Huston. ''Fat City'' was known for its grainy texture to reflect the harsh reality of the storyline.<ref name=":0" /> In 1973 he shot the police thriller ''[[Electra Glide in Blue]]'', followed by ''[[Smile (1975 film)|Smile]]'' and ''[[The Day of the Locust (film)|The Day of the Locust]]'' in 1975, the latter of which earned him his fifth Oscar nomination. In 1976 he shot ''[[Marathon Man (film)|Marathon Man]]'' with director [[John Schlesinger]] which was one of the first to use the [[Steadicam]] technique (although it was not the first to be released).


=== 1987–2002 ===
After shooting 18 films in 12 years, Hall took an 11-year break. Around the same time he teamed up with noted cinematographer [[Haskell Wexler]] to make a commercial production company (Vinson, 1987). This allowed him to not only be the cameraman on his own work, but also the director. The break for him was about understanding and learning from others about their unique techniques. As Hall stated: "At heart I am more than a cinematographer. I'm a filmmaker."<ref name=":0" /> This led to his exploration of writing, such as an adaptation of the novel ''The Wild Palms''.
After shooting 18 films in 12 years, Hall took an 11-year break. Around the same time he teamed up with noted cinematographer [[Haskell Wexler]] to make a commercial production company (Vinson, 1987). This allowed him to not only be the cameraman on his own work, but also the director. The break for him was about understanding and learning from others about their unique techniques. As Hall stated: "At heart I am more than a cinematographer. I'm a filmmaker."<ref name=":0" /> This led to his exploration of writing, such as an adaptation of the novel ''[[If I Forget Thee, Jerusalem|The Wild Palms]]''.


Hall returned to the film industry in 1987 to shoot ''[[Black Widow (1987 film)|Black Widow]]''. In 1988 Hall became part of the union crew for ''[[Tequila Sunrise (film)|Tequila Sunrise]]'' after a few complications.<ref name=":1">{{Cite book |title=The International Dictionary of Films and Filmmakers 4 |last=Vinson |first=James |year=1987}}</ref> His work resulted in a sixth Oscar nomination. Also in 1988, the ASC gave Hall an outstanding achievement award. After his work on ''Tequila Sunrise,'' he picked up his old pace, making ''[[Class Action (film)|Class Action]]'' (1991), ''[[Jennifer 8]]'' (1992), ''[[Searching for Bobby Fischer]]'' (1993) and ''[[Love Affair (1994 film)|Love Affair]]'' (1994) one after the other. ''Searching for Bobby Fischer'' received an Oscar nomination for cinematography, his seventh.
Hall returned to the film industry in 1987 to shoot ''[[Black Widow (1987 film)|Black Widow]]''. In 1988, Hall became part of the union crew for ''[[Tequila Sunrise (film)|Tequila Sunrise]]'' after a few complications.<ref name=":1">{{Cite book |title=The International Dictionary of Films and Filmmakers 4 |last=Vinson |first=James |year=1987}}</ref> His work resulted in a sixth Oscar nomination. Also in 1988, the ASC gave Hall an outstanding achievement award. After his work on ''Tequila Sunrise,'' he picked up his old pace, making ''[[Class Action (film)|Class Action]]'' (1991), ''[[Jennifer 8]]'' (1992), ''[[Searching for Bobby Fischer]]'' (1993) and ''[[Love Affair (1994 film)|Love Affair]]'' (1994) one after the other. ''[[Searching for Bobby Fischer]]'' received an Oscar nomination for cinematography, his seventh.


In 1994, Hall was honored with the lifetime achievement award from the American Society of Cinematographers. In 1998 he shot ''[[Without Limits]]'' and was Oscar nominated for ''[[A Civil Action (film)|A Civil Action]]'', followed by his second win for ''[[American Beauty (1999 film)|American Beauty]]'' in 1999. ''American Beauty'', his first collaboration with director [[Sam Mendes]], highlighted his "unique use of the hand-held camera to capture the film's heightened reality and almost dream-like atmosphere".<ref name=":2">{{Cite journal |last=Horn |first=John |year=2003 |title=Obituaries; Conrad Hall, 76; Cinematographer Won Oscars for 'Butch Cassidy' and 'Beauty' |journal=[[Los Angeles Times]] |id={{ProQuest|421756791}} }}</ref> His final film was ''[[Road to Perdition]]'' in 2002, a second collaboration with Mendes, for which he was posthumously awarded another Academy Award. In total, he won three Oscars throughout his 50-year career.
In 1994, Hall was honored with the lifetime achievement award from the [[American Society of Cinematographers]].<ref>{{Cite web |title=A Lifetime of Achievement: Conrad Hall, ASC |url=https://theasc.com/articles/lifetime-of-achievement-conrad-hall-asc |access-date=2024-09-03 |website=The American Society of Cinematographers |language=en}}</ref> In 1998, he shot ''[[Without Limits]]'' and was Oscar nominated for ''[[A Civil Action (film)|A Civil Action]]'', followed by his second win for ''[[American Beauty (1999 film)|American Beauty]]'' in 1999. ''American Beauty'', his first collaboration with director [[Sam Mendes]], highlighted his "unique use of the hand-held camera to capture the film's heightened reality and almost dream-like atmosphere".<ref name=":2">{{Cite journal |last=Horn |first=John |year=2003 |title=Obituaries; Conrad Hall, 76; Cinematographer Won Oscars for 'Butch Cassidy' and 'Beauty' |journal=[[Los Angeles Times]] |id={{ProQuest|421756791}} }}</ref> His final film was ''[[Road to Perdition]]'' in 2002, a second collaboration with Mendes, for which he was [[Posthumous award|posthumously]] awarded another [[Academy Awards|Academy Award]]. In total, he won three Oscars throughout his 50-year career.<ref>{{Cite web |last=Ntim |first=Zac |date=2022-11-13 |title=Sam Mendes Pays Tribute To Conrad Hall & Roger Deakins At Camerimage Opening Ceremony: “Cinematographers Have Always Been My Guide” |url=https://deadline.com/2022/11/sam-mendes-pays-tribute-to-conrad-hall-roger-deakins-camerimage-1235170877/ |access-date=2024-09-03 |website=Deadline |language=en-US}}</ref><ref name=":3">{{Cite news |date=2003-02-18 |title=Posthumous award for film legend |url=http://news.bbc.co.uk/2/hi/entertainment/2774621.stm |access-date=2024-09-03 |language=en-GB}}</ref>


==Personal life==
==Personal life==
Hall married Virginia Schwartz in 1952. They had three children, [[Conrad W. Hall]], Kate Hall-Feist and Naia Hall-West, before they divorced in 1969.<ref>{{cite web |url=http://www.tcm.com/tcmdb/participant.jsp?spid=79446&apid=33871 |title=Biography for Conrad Hall |access-date=August 5, 2009 |work=[[Turner Classic Movies]]}}</ref> Hall met actress [[Katharine Ross]] on the set of ''Butch Cassidy and the Sundance Kid'' and became her third of five husbands in 1969. Hall and Ross separated in 1973, finalizing their divorce in 1975 so that she could marry her fourth husband.<ref>{{cite news |url=https://pqasb.pqarchiver.com/latimes/access/604022782.html?dids=604022782:604022782&FMT=ABS&FMTS=ABS:AI&type=historic&date=Mar+19%2C+1973&author=&pub=Los+Angeles+Times&desc=Katharine+Moves%2C+Horses+and+All&pqatl=google |title=Katharine Moves, Horses and All |last=Haber |first=Joyce |date=March 19, 1973 |work=[[Los Angeles Times]] |access-date=August 12, 2010}}</ref> His third marriage was to [[costume designer]] Susan Kowarsh-Hall, whom he worked with on ''[[Road to Perdition]]'' (2002), from an unknown date until his death.<ref>{{cite encyclopedia |url=http://www.cinematographers.nl/GreatDoPh/hall.htm |title=CONRAD L. HALL |access-date=January 28, 2011 |encyclopedia=Internet Encyclopedia of Cinematographers}}</ref>
Hall married Virginia Schwartz in 1952. They had three children, [[Conrad W. Hall]], Kate Hall-Feist and Naia Hall-West, before they divorced in 1969.<ref>{{cite web |url=http://www.tcm.com/tcmdb/participant.jsp?spid=79446&apid=33871 |title=Biography for Conrad Hall |access-date=August 5, 2009 |work=[[Turner Classic Movies]]}}</ref> Hall met actress [[Katharine Ross]] on the set of ''[[Butch Cassidy and the Sundance Kid]]'' and became her third of five husbands in 1969. Hall and Ross separated in 1973, finalizing their divorce in 1975 so that she could marry her fourth husband.<ref>{{cite news |url=https://pqasb.pqarchiver.com/latimes/access/604022782.html?dids=604022782:604022782&FMT=ABS&FMTS=ABS:AI&type=historic&date=Mar+19%2C+1973&author=&pub=Los+Angeles+Times&desc=Katharine+Moves%2C+Horses+and+All&pqatl=google |title=Katharine Moves, Horses and All |last=Haber |first=Joyce |date=March 19, 1973 |work=[[Los Angeles Times]] |access-date=August 12, 2010 |archive-date=November 3, 2012 |archive-url=https://web.archive.org/web/20121103130703/http://pqasb.pqarchiver.com/latimes/access/604022782.html?dids=604022782:604022782&FMT=ABS&FMTS=ABS:AI&type=historic&date=Mar+19,+1973&author=&pub=Los+Angeles+Times&desc=Katharine+Moves,+Horses+and+All&pqatl=google |url-status=dead }}</ref> His third marriage was to [[costume designer]] Susan Kowarsh-Hall, whom he worked with on ''[[Road to Perdition]]'' (2002), from an unknown date until his death.<ref>{{cite encyclopedia |url=http://www.cinematographers.nl/GreatDoPh/hall.htm |title=CONRAD L. HALL |access-date=January 28, 2011 |encyclopedia=Internet Encyclopedia of Cinematographers}}</ref>


==Death==
==Death==
Hall died from [[bladder cancer]] at [[Santa Monica-UCLA Medical Center|Santa Monica Hospital]] on January 4, 2003, at the age of 76.<ref>{{cite news |url=http://www.ew.com/ew/article/0,,404351,00.html |title=Goodbye |date=January 6, 2003 |access-date=August 5, 2009 |work=[[Entertainment Weekly]] |last=Susman |first=Gary}}</ref> His Oscar for ''[[Road to Perdition]]'' (2002), which is dedicated to Hall, was posthumously accepted by his son [[Conrad W. Hall]], also a cinematographer.
Hall died from [[bladder cancer]] at [[Santa Monica-UCLA Medical Center|Santa Monica Hospital]] on January 4, 2003, at the age of 76.<ref>{{cite magazine |url=https://ew.com/article/2003/01/06/oscar-winning-american-beauty-lenser-conrad-l-hall-dies/ |title=Goodbye |date=January 6, 2003 |access-date=August 5, 2009 |magazine=[[Entertainment Weekly]] |last=Susman |first=Gary |archive-date=November 4, 2014 |archive-url=https://web.archive.org/web/20141104184037/http://www.ew.com/ew/article/0,,404351,00.html |url-status=live }}</ref> His Oscar for ''[[Road to Perdition]]'' (2002), which is dedicated to Hall, was posthumously accepted by his son [[Conrad W. Hall]], also a cinematographer.<ref name=":3" />


Hall was and still is affectionately referred to as "Connie" by his peers and associates.
Hall was and still is affectionately referred to as "Connie" by his peers and associates.
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==Filmography==
==Filmography==
===Film===
===Film===
'''Screenriter'''
* ''[[Running Target]]'' (1956)

'''Cinematographer'''
{| class="wikitable"
{| class="wikitable"
|-
|-
! Year
! Year
! Film
! Title
! Director
! Director
! Notes
! Notes
|-
|1956
|''[[Running Target]]''
|Martin R. Weinstein
|Also screenwriter
|-
|-
| 1958
| 1958
| ''[[Edge of Fury]]''
| ''[[Edge of Fury]]''
| Robert J. Gurney Jr.<br>[[Irving Lerner]]
| Robert J. Gurney Jr.<br>[[Irving Lerner]]
| Co-cinematographer with [[Jack Couffer]] and Marvin R. Weinstein
| With [[Jack Couffer]] and Marvin R. Weinstein
|-
|-
|rowspan=3| 1965
|rowspan=2|1965
| ''[[Wild Seed (film)|Wild Seed]]''
| ''[[Wild Seed (film)|Wild Seed]]''
| [[Brian G. Hutton]]
| [[Brian G. Hutton]]
Line 98: Line 102:
| [[Bernhard Wicki]]
| [[Bernhard Wicki]]
|
|
|-
|rowspan=3|1966
| ''[[Harper (film)|Harper]]''
| [[Jack Smight]]
|
|-
|-
| ''[[Incubus (1966 film)|Incubus]]''
| ''[[Incubus (1966 film)|Incubus]]''
Line 103: Line 112:
|
|
|-
|-
|rowspan=2| 1966
| ''[[The Professionals (1966 film)|The Professionals]]''
| ''[[The Professionals (1966 film)|The Professionals]]''
| [[Richard Brooks]]
| [[Richard Brooks]]
|
|
|-
| ''[[Harper (film)|Harper]]''
| [[Jack Smight]]
|
|-
|-
|rowspan=3|1967
|rowspan=3|1967
Line 116: Line 120:
| [[Bud Yorkin]]
| [[Bud Yorkin]]
|
|
|-
| ''[[In Cold Blood (film)|In Cold Blood]]''
| [[Richard Brooks]]
|
|-
|-
| ''[[Cool Hand Luke]]''
| ''[[Cool Hand Luke]]''
Line 125: Line 125:
|
|
|-
|-
| ''[[In Cold Blood (film)|In Cold Blood]]''
| 1968
| [[Richard Brooks]]
|
|-
|rowspan=2|1968
| ''[[Hell in the Pacific]]''
| ''[[Hell in the Pacific]]''
| [[John Boorman]]
| [[John Boorman]]
|
|
|-
|-
| ''[[Rogue's Gallery (1968 film)|Rogue's Gallery]]''
|rowspan=4| 1969
| [[Leonard Horn]]
| ''[[Trilogy (film)|Truman Capote's Trilogy]]''
|
| [[Frank Perry]]
|-
|Co-cinematographer with [[Jordan Cronenweth]]
|rowspan=3|1969
| ''[[Butch Cassidy and the Sundance Kid]]''
| [[George Roy Hill]]
|
|-
|-
| ''[[Tell Them Willie Boy Is Here]]''
| ''[[Tell Them Willie Boy Is Here]]''
Line 142: Line 150:
| Richard Brooks
| Richard Brooks
|
|
|-
| ''[[Butch Cassidy and the Sundance Kid]]''
| [[George Roy Hill]]
|
|-
|-
| 1972
| 1972
Line 162: Line 166:
|
|
|-
|-
|rowspan=2| 1975
|rowspan=2|1975
| ''[[Smile (1975 film)|Smile]]''
| ''[[Smile (1975 film)|Smile]]''
| [[Michael Ritchie (film director)|Michael Ritchie]]
| [[Michael Ritchie (film director)|Michael Ritchie]]
Line 168: Line 172:
|-
|-
| ''[[The Day of the Locust (film)|The Day of the Locust]]''
| ''[[The Day of the Locust (film)|The Day of the Locust]]''
|rowspan=2| [[John Schlesinger]]
|rowspan=2|[[John Schlesinger]]
|
|
|-
|-
Line 205: Line 209:
|
|
|-
|-
| 1996
|rowspan=2| 1998
| ''[[A Civil Action (film)|A Civil Action]]''
| ''[[Faithful (1996 film)|Faithful]]''
| [[Paul Mazursky]]
| Steven Zaillian
| Uncredited
|
|-
|-
|rowspan=2|1998
| ''[[Without Limits]]''
| ''[[Without Limits]]''
| Robert Towne
| Robert Towne
|
|
|-
| ''[[A Civil Action (film)|A Civil Action]]''
| Steven Zaillian
|
|-
|-
| 1999
| 1999
| ''[[American Beauty (1999 film)|American Beauty]]''
| ''[[American Beauty (1999 film)|American Beauty]]''
|rowspan=2| [[Sam Mendes]]
|rowspan=2|[[Sam Mendes]]
|
|
|-
|-
Line 225: Line 234:
|}
|}


'''Short film'''
==== Additional photography credits ====
{| class="wikitable"
{| class="wikitable"
|-
|-
! Year
! Year
! Film
! Title
! Director
! Director
! DoP.
! Role
! Notes
! Notes
|-
|-
| 1955
| 1960
|''[[East of Eden (film)|East of Eden]]''
| ''Islands of the Sea''
|[[Elia Kazan]]
| [[Ben Sharpsteen]]
| Documentary short
|rowspan="3"|[[Ted McCord (cinematographer)|Ted McCord]]
|rowspan=7|Camera operator
|Uncredited
|-
|-
| 1969
| rowspan="2"| 1960
| ''A Christmas Memory''
|''[[Private Property (1960 film)|Private Property]]''
|[[Leslie Stevens]]
| [[Frank Perry]]
| Segment of ''[[Trilogy (film)|Trilogy]]'';<br>Shared credit with [[Jordan Cronenweth]] and Vincent Saizis
|
|-
|''[[The Adventures of Huckleberry Finn (1960 film)|The Adventures of Huckleberry Finn]]''
|[[Michael Curtiz]]
|rowspan=3|Uncredited
|-
| 1961
|''[[The Gambler Wore a Gun]]''
|[[Edward L. Cahn]]
|[[Floyd Crosby]]
|-
|-
| 1977
| rowspan="3"| 1962
|''[[Hero's Island]]''
| ''Plymouth Fury''
|Leslie Stevens
|Ted McCord
|-
|''[[Pressure Point (1962 film)|Pressure Point]]''
|[[Hubert Cornfield]]
|[[Ernest Haller]]
|
|
| With [[Haskell Wexler]]
|-
|-
| 1991
|''[[Mutiny on the Bounty (1962 film)|Mutiny on the Bounty]]''
| ''Sharkskin''
|[[Lewis Milestone]]
| [[Dan Perri]]
|[[Robert Surtees (cinematographer)|Robert Surtees]]
|Uncredited
|-
| 1979
|[[The Rose (film)|''The Rose'']]
|[[Mark Rydell]]
|[[Vilmos Zsigmond]]
|Additional photography
|
|-
| 1999
|[[Sleepy Hollow (film)|''Sleepy Hollow'']]
|[[Tim Burton]]
|[[Emmanuel Lubezki]]
|Director of photography: New York
|
|
|-
|}
|}


Line 291: Line 267:
|-
|-
! Year
! Year
! Film
! Title
! Director
! Notes
! Notes
|-
|-
| 1963
| 1963
|''[[Stoney Burke (TV series)|Stoney Burke]]''
| ''[[Stoney Burke (TV series)|Stoney Burke]]''
| [[Leslie Stevens]]<br>[[Robert Butler (director)|Robert Butler]]<br>[[Leonard Horn]]<br>[[Tom Gries]]<br>[[William Graham (director)|William A. Graham]]<br>[[László Benedek|Laslo Benedek]]
| 3 episodes
| 10 episodes
|-
|-
|1963-64
| 1963-64
|''[[The Outer Limits (1963 TV series)|The Outer Limits]]''
| ''[[The Outer Limits (1963 TV series)|The Outer Limits]]''
| [[Byron Haskin]]<br>Laslo Benedek<br>Leonard Horn<br>[[Gerd Oswald]]<br>[[Abner Biberman]]<br>[[Alan Crosland Jr.]]<br>[[John Brahm]]
|15 episodes
| 15 episodes
|-
|-
| 1966
| rowspan="3" |1964
|''The Unknown''
| ''[[ABC Stage 67]]''
| [[Frank Berry]]
| rowspan="3" |Television film
| Episode "A Christmas Memory"
|}

'''TV movies'''
{| class="wikitable"
|-
|-
! Year
|''[[Fanfare for a Death Scene]]''
! Title
! Director
! Notes
|-
|-
|rowspan=3|1964
|''[[The Ghost of Sierra de Cobre]]''
| ''The Unknown''
| [[Gerd Oswald]]
|
|-
|-
| ''[[Fanfare for a Death Scene]]''
|1966
|''[[ABC Stage 67]]''
| [[Leslie Stevens]]
| With Monroe P. Askins
|Episode: "A Christmas Memory"
|-
|-
| ''[[The Ghost of Sierra de Cobre]]''
|1977
| [[Joseph Stefano]]
|''[[It Happened One Christmas]]''
|
|Television film
|-
|-
| 1977
| ''[[It Happened One Christmas]]''
| [[Donald Wrye]]
|
|}
|}


==Awards and nominations==
==Awards and nominations==
===[[Academy Awards]]===
'''Academy Awards'''<ref name=":1" /><ref name=":2" />
{| class="wikitable"
{| class="wikitable"
! Year
|-
! Year<ref name=":1" /><ref name=":2" />
! Film
! Category
! Category
! Title
! Result
! Result
|-
|-
| 1965
| 1965
| ''[[Morituri (1965 film)|Morituri]]''
|rowspan=10|[[Academy Award for Best Cinematography|Best Cinematography]]
|rowspan=10|[[Academy Award for Best Cinematography|Best Cinematography]]
| ''Morituri''
| {{nom}}
| {{nom}}
|-
|-
| 1966
| 1966
| ''[[The Professionals (1966 film)|The Professionals]]''
| ''The Professionals''
| {{nom}}
| {{nom}}
|-
|-
| 1967
| 1967
| ''[[In Cold Blood (film)|In Cold Blood]]''
| ''In Cold Blood''
| {{nom}}
| {{nom}}
|-
|-
| 1969
| 1969
| ''[[Butch Cassidy and the Sundance Kid]]''
| ''Butch Cassidy and the Sundance Kid''
| {{won}}
| {{won}}
|-
|-
| 1975
| 1975
| ''[[The Day of the Locust (film)|The Day of the Locust]]''
| ''The Day of the Locust''
| {{nom}}
| {{nom}}
|-
|-
| 1988
| 1988
| ''[[Tequila Sunrise (film)|Tequila Sunrise]]''
| ''Tequila Sunrise''
| {{nom}}
| {{nom}}
|-
|-
| 1993
| 1993
| ''[[Searching for Bobby Fischer]]''
| ''Searching for Bobby Fischer''
| {{nom}}
| {{nom}}
|-
|-
| 1998
| 1998
| ''[[A Civil Action (film)|A Civil Action]]''
| ''A Civil Action''
| {{nom}}
| {{nom}}
|-
|-
| 1999
| 1999
| ''[[American Beauty (1999 film)|American Beauty]]''
| ''American Beauty''
| {{won}}
| {{won}}
|-
|-
| 2002
| 2002
| ''[[Road to Perdition]]''<small> ([[List of posthumous Academy Award winners and nominees|posthumous]])</small>
| ''Road to Perdition''<small> ([[List of posthumous Academy Award winners and nominees|posthumous]])</small>
| {{won}}
| {{won}}
|}
|}


'''BAFTA Awards'''
===[[British Academy Film Awards]]===
{| class="wikitable"
{| class="wikitable"
! Year
|-
! Year<ref name=":1" />
! Film
! Category
! Category
! Title
! Result
! Result
|-
|-
| 1969
| 1969
| ''[[Butch Cassidy and the Sundance Kid]]''
|rowspan=3| [[BAFTA Award for Best Cinematography|Best Cinematography]]
|rowspan=3| [[BAFTA Award for Best Cinematography|Best Cinematography]]
| ''Butch Cassidy and the Sundance Kid''
| {{won}}
| {{won}}
|-
|-
| 1999
| 1999
| ''[[American Beauty (1999 film)|American Beauty]]''
| ''American Beauty''
| {{won}}
| {{won}}
|-
|-
| 2002
| 2002
| ''[[Road to Perdition]]''<small> (posthumous)</small>
| ''Road to Perdition''<small> (posthumous)</small>
| {{won}}
| {{won}}
|}
|}


===[[American Society of Cinematographers]]===
'''American Society of Cinematographers'''
{| class="wikitable"
{| class="wikitable"
|-
! Year
! Year
! Film
! Category
! Category
! Title
! Result
! Result
|-
|-
| 1988
| 1988
|rowspan=5|[[American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases|Outstanding Cinematography]]
| ''[[Tequila Sunrise (film)|Tequila Sunrise]]''
| ''Tequila Sunrise''
|rowspan=3|[[American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases|Outstanding Cinematography]]
| {{won}}
| {{won}}
|-
|-
| 1993
| 1993
| ''[[Searching for Bobby Fischer]]''
| ''Searching for Bobby Fischer''
| {{won}}
| {{won}}
|-
|-
|rowspan=2| 1994
| 1994
| ''[[Love Affair (1994 film)|Love Affair]]''
| ''Love Affair''
| {{nom}}
| {{nom}}
|-
|
| Lifetime Achievement Award<ref name=":0" />
| {{won}}
|-
|-
| 1999
| 1999
| ''[[American Beauty (1999 film)|American Beauty]]''
| ''American Beauty''
|rowspan=2| Outstanding Cinematography
| {{won}}
| {{won}}
|-
|-
| 2002
| 2002
| ''[[Road to Perdition]]''<small> (posthumous)</small>
| ''Road to Perdition''<small> (posthumous)</small>
| {{won}}
| {{won}}
|-
| 1994
| colspan=2|Lifetime Achievement Award<ref name=":0" />
| {{won}}
|-
|}
|}


'''Las Vegas Film Critics Society'''
=== Other Awards ===
{| class="wikitable"
{| class="wikitable"
! Year
! Category
! Title
! Result
|-
|-
| 1999
|rowspan=2|Best Cinematography
| ''American Beauty''
| {{nom}}
|-
| 2002
| ''Road to Perdition''<small> (posthumous)</small>
| {{won}}
|}

'''Los Angeles Film Critics Association'''
{| class="wikitable"
! Year
! Year
! Film
! Category
! Category
! Title
! Result
! Result
|-
|-
|rowspan=4| 1999
| 1999
|rowspan=2|[[Los Angeles Film Critics Association Award for Best Cinematography|Best Cinematography]]
|rowspan=4| ''[[American Beauty (1999 film)|American Beauty]]''
| ''American Beauty''
| Las Vegas Film Critics Society Award for Best Cinematography
| {{nom}}
| {{nom}}
|-
|-
| 2002
| [[Los Angeles Film Critics Association Award for Best Cinematography]]
| ''Road to Perdition''<small> (posthumous)</small>
| {{nom}}
| {{nom}}
|}

'''Online Film Critics Society'''
{| class="wikitable"
! Year
! Category
! Title
! Result
|-
|-
| 1999
| [[Online Film Critics Society Award for Best Cinematography]]
|rowspan=2|[[Online Film Critics Society Award for Best Cinematography|Best Cinematography]]
| ''American Beauty''
| {{nom}}
| {{nom}}
|-
|-
| 2002
| [[Satellite Award for Best Cinematography]]
| ''Road to Perdition''<small> (posthumous)</small>
| {{nom}}
| {{nom}}
|}

'''Satellite Awards'''
{| class="wikitable"
! Year
! Category
! Title
! Result
|-
|-
| 1999
|rowspan=8| 2002
|rowspan=8| ''[[Road to Perdition]]''
|rowspan=2|[[Satellite Award for Best Cinematography|Best Cinematography]]
| ''American Beauty''
| [[Dallas–Fort Worth Film Critics Association Award for Best Cinematography]]<small> (posthumous)</small>
| {{won}}
| {{nom}}
|-
|-
| 2002
| Las Vegas Film Critics Society Award for Best Cinematography<small> (posthumous)</small>
| ''Road to Perdition''<small> (posthumous)</small>
| {{won}}
| {{won}}
|}

'''Other awards'''
{| class="wikitable"
|-
|-
! Year
| [[Satellite Award for Best Cinematography]]<small> (posthumous)</small>
! Award
| {{won}}
! Category
! Title
! Result
|-
|-
|rowspan=4|2002
| Gold Derby Award for Best Cinematography<small> (posthumous)</small>
| [[Dallas–Fort Worth Film Critics Association]]
| {{nom}}
| [[Dallas–Fort Worth Film Critics Association Award for Best Cinematography|Best Cinematography]]<small> (posthumous)</small>
|-
|rowspan=4|''Road to Perdition''
| [[Los Angeles Film Critics Association Award for Best Cinematography]]<small> (posthumous)</small>
| {{nom}}
| {{won}}
|-
|-
| Gold Derby Awards
| [[New York Film Critics Circle Award for Best Cinematographer]]<small> (posthumous)</small>
| Best Cinematography<small> (posthumous)</small>
| {{nom}}
| {{nom}}
|-
|-
| [[Online Film Critics Society Award for Best Cinematography]]<small> (posthumous)</small>
| [[New York Film Critics Circle]]
| [[New York Film Critics Circle Award for Best Cinematographer|Best Cinematographer]]<small> (posthumous)</small>
| {{nom}}
| {{nom}}
|-
|-
| Phoenix Film Critics Society Award for Best Cinematography<small> (posthumous)</small>
| Phoenix Film Critics Society
| Best Cinematography<small> (posthumous)</small>
| {{nom}}
| {{nom}}
|-
|-
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[[Category:20th-century American male writers]]
[[Category:20th-century American male writers]]
[[Category:20th-century American writers]]
[[Category:20th-century American writers]]
[[Category:20th Century Fox people]]
[[Category:20th Century Studios people]]
[[Category:American male screenwriters]]
[[Category:American male screenwriters]]
[[Category:American cinematographers]]
[[Category:American cinematographers]]
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[[Category:People from Papeete]]
[[Category:People from Papeete]]
[[Category:USC School of Cinematic Arts alumni]]
[[Category:USC School of Cinematic Arts alumni]]
[[Category:Deaths from bladder cancer]]
[[Category:Deaths from bladder cancer in California]]
[[Category:Deaths from cancer in California]]
[[Category:American people of French Polynesian descent]]
[[Category:American people of French Polynesian descent]]
[[Category:20th-century American screenwriters]]
[[Category:20th-century American screenwriters]]

Latest revision as of 23:36, 4 September 2024

Conrad L. Hall
On the set of Jennifer 8 (1992)
Born
Conrad Lafcadio Hall

(1926-06-21)June 21, 1926
Papeete, Tahiti, French Polynesia
DiedJanuary 4, 2003(2003-01-04) (aged 76)
Santa Monica, California, U.S.
Other namesConnie
OccupationCinematographer
Years active1949–2003
TitleASC
Spouses
  • Virginia Schwartz
    ​
    ​
    (m. 1952; div. 1969)​
  • ​
    ​
    (m. 1969; div. 1974)​
  • Susan Kowarsh-Hall
    ​
    (before 2003)​
Children3, including Conrad W. Hall
FatherJames Norman Hall
AwardsFull list

Conrad Lafcadio Hall, ASC (June 21, 1926 – January 4, 2003) was a French Polynesian-born American cinematographer.[1] Named after writers Joseph Conrad and Lafcadio Hearn, he became widely prominent as a cinematographer earning numerous accolades including three Academy Awards (with ten nominations), three BAFTA Awards and five American Society of Cinematographers Awards.

Hall won three Academy Awards for Best Cinematography for his work on Butch Cassidy and the Sundance Kid (1969), American Beauty (1999), and Road to Perdition (2002). He was also Oscar-nominated for Morituri (1965), The Professionals (1966), In Cold Blood (1967), The Day of the Locust (1975), Tequila Sunrise (1988), Searching for Bobby Fischer (1993), and A Civil Action (1998). He is also known for Cool Hand Luke (1967), Fat City (1972), and Marathon Man (1976).

In 2003, Hall was judged to be one of history's ten most influential cinematographers in a survey of the members of the International Cinematographers Guild.[2] He has been given a star on the Hollywood Walk of Fame.

Early life and education

[edit]

Conrad L Hall was born on June 21, 1926, in Papeete, Tahiti, French Polynesia. His father was James Norman Hall, an ace pilot and captain in the Lafayette Escadrille that fought for France in World War I. James also co-wrote the 1932 novel Mutiny on the Bounty. His mother was Sarah ("Lala") Winchester Hall, who was half Polynesian.[3] Growing up during the relative infancy of cinema, Hall never was around cameras, and the idea of going to the movies was a foreign concept. In his early-mid teens, Hall attended Cate School, a boarding preparatory school near Santa Barbara, California.

After graduating, Hall was told by his father to find his path in life. Hall attended the University of Southern California, intending to study journalism, but ended up doing poorly and instead went to USC's School of Cinema-Television (now the USC School of Cinematic Arts). He wasn't sure this was the right decision, but that since this was a new art form it would be interesting to start from the bottom. Hall attended the School of Cinema at a time when Slavko Vorkapić was the head of the program; Hall later recalled that “He taught me that film-making was a new visual language. He taught the principles, and left the rest up to us”.[4] After creating his first shots in school he fell in love with the art and wanted to continue telling his stories through imagery. A few people that visited the school during his education included John Huston and Orson Welles. After graduation in 1949, Hall expected to get a job right out of college. At the time, however, Hollywood only allowed the camera crew to be filled with people that were on the International Photographers Guild roster.[4]

Career

[edit]

1949–1966

[edit]

After graduation Hall collaborated with his classmates, Marvin R. Weinstein and Jack C. Couffer, to create Canyon Films in 1949. In the beginning they made advertising commercials and documentaries and did pickup shots for features. In 1956 Canyon Films acquired a short film, My Brother Down There, which allowed Hall to enter into the cameraman position and become part of the International Photographers Guild. However, the Guild made Canyon Films hire an established Guild Cameraman for My Brother Down There, denying Hall credit, even though he shot the entire film. Instead he was credited as the visual consultant, after United Artists released the film under the new title Running Target.

Once Running Target was finished Canyon Films dissolved, and its members went off on their own paths. Since Hall was part of the Guild, he was able to work as an assistant cameraman at the side of many influential cinematographers such as Hall Mohr, Ernie Haller, Burnie Guffey and Ted McCord, who were all part of the ASC. Following a year of working as an assistant cameraman, he was awarded the chance to be the camera operator on the television series Stoney Burke. In 1963, he began filming another television series called The Outer Limits. Then, in 1964, he shot his first feature-length black and white film, Wild Seed, which was made in roughly 24 days with producer Albert S. Ruddy.

Hall's breakthrough came with Morituri in 1965, for which he received his first Oscar nomination. In the following year Hall shot Incubus, The Professionals, and Harper, which was his first color film. His first collaboration with director Richard Brooks on The Professionals was put in motion by assistant director Tom Shaw, who worked with Hall on Wild Seed and recommended him to Brooks; the work resulted in his second Oscar nomination.

1967–1976

[edit]

Their second collaboration, 1967's In Cold Blood, resulted in yet another Oscar nomination.[4] It is notable for the documentary feel and location shots, which were rare at the time. In that same year, Hall shot Cool Hand Luke and Divorce American Style. Cool Hand Luke is known for being shot in Panavision, which contributed to its lush color palette.[5] In 1968, Hall filmed Hell in the Pacific for director John Boorman, which was not a box-office success but has since become a cult classic.

In 1969, Hall received his first Oscar for Butch Cassidy and the Sundance Kid. To make Butch Cassidy visually compatible with the time period, he used experimental techniques, such as overexposing the negatives in order to mute the primary colors when printing it back (Hunter, 2003). The result was considered an innovative success. He made two other films that year, The Happy Ending and Tell them Willie Boy is Here. In 1972, Hall shot Fat City, with director John Huston. Fat City was known for its grainy texture to reflect the harsh reality of the storyline.[4] In 1973 he shot the police thriller Electra Glide in Blue, followed by Smile and The Day of the Locust in 1975, the latter of which earned him his fifth Oscar nomination. In 1976 he shot Marathon Man with director John Schlesinger which was one of the first to use the Steadicam technique (although it was not the first to be released).

1987–2002

[edit]

After shooting 18 films in 12 years, Hall took an 11-year break. Around the same time he teamed up with noted cinematographer Haskell Wexler to make a commercial production company (Vinson, 1987). This allowed him to not only be the cameraman on his own work, but also the director. The break for him was about understanding and learning from others about their unique techniques. As Hall stated: "At heart I am more than a cinematographer. I'm a filmmaker."[4] This led to his exploration of writing, such as an adaptation of the novel The Wild Palms.

Hall returned to the film industry in 1987 to shoot Black Widow. In 1988, Hall became part of the union crew for Tequila Sunrise after a few complications.[6] His work resulted in a sixth Oscar nomination. Also in 1988, the ASC gave Hall an outstanding achievement award. After his work on Tequila Sunrise, he picked up his old pace, making Class Action (1991), Jennifer 8 (1992), Searching for Bobby Fischer (1993) and Love Affair (1994) one after the other. Searching for Bobby Fischer received an Oscar nomination for cinematography, his seventh.

In 1994, Hall was honored with the lifetime achievement award from the American Society of Cinematographers.[7] In 1998, he shot Without Limits and was Oscar nominated for A Civil Action, followed by his second win for American Beauty in 1999. American Beauty, his first collaboration with director Sam Mendes, highlighted his "unique use of the hand-held camera to capture the film's heightened reality and almost dream-like atmosphere".[8] His final film was Road to Perdition in 2002, a second collaboration with Mendes, for which he was posthumously awarded another Academy Award. In total, he won three Oscars throughout his 50-year career.[9][10]

Personal life

[edit]

Hall married Virginia Schwartz in 1952. They had three children, Conrad W. Hall, Kate Hall-Feist and Naia Hall-West, before they divorced in 1969.[11] Hall met actress Katharine Ross on the set of Butch Cassidy and the Sundance Kid and became her third of five husbands in 1969. Hall and Ross separated in 1973, finalizing their divorce in 1975 so that she could marry her fourth husband.[12] His third marriage was to costume designer Susan Kowarsh-Hall, whom he worked with on Road to Perdition (2002), from an unknown date until his death.[13]

Death

[edit]

Hall died from bladder cancer at Santa Monica Hospital on January 4, 2003, at the age of 76.[14] His Oscar for Road to Perdition (2002), which is dedicated to Hall, was posthumously accepted by his son Conrad W. Hall, also a cinematographer.[10]

Hall was and still is affectionately referred to as "Connie" by his peers and associates.

Filmography

[edit]

Film

[edit]

Screenriter

Cinematographer

Year Title Director Notes
1958 Edge of Fury Robert J. Gurney Jr.
Irving Lerner 		With Jack Couffer and Marvin R. Weinstein
1965 Wild Seed Brian G. Hutton
Morituri Bernhard Wicki
1966 Harper Jack Smight
Incubus Leslie Stevens
The Professionals Richard Brooks
1967 Divorce American Style Bud Yorkin
Cool Hand Luke Stuart Rosenberg
In Cold Blood Richard Brooks
1968 Hell in the Pacific John Boorman
Rogue's Gallery Leonard Horn
1969 Butch Cassidy and the Sundance Kid George Roy Hill
Tell Them Willie Boy Is Here Abraham Polonsky
The Happy Ending Richard Brooks
1972 Fat City John Huston
1973 Electra Glide in Blue James William Guercio
1974 Catch My Soul Patrick McGoohan
1975 Smile Michael Ritchie
The Day of the Locust John Schlesinger
1976 Marathon Man
1987 Black Widow Bob Rafelson
1988 Tequila Sunrise Robert Towne
1991 Class Action Michael Apted
1992 Jennifer 8 Bruce Robinson
1993 Searching for Bobby Fischer Steven Zaillian
1994 Love Affair Glenn Gordon Caron
1996 Faithful Paul Mazursky Uncredited
1998 Without Limits Robert Towne
A Civil Action Steven Zaillian
1999 American Beauty Sam Mendes
2002 Road to Perdition

Short film

Year Title Director Notes
1960 Islands of the Sea Ben Sharpsteen Documentary short
1969 A Christmas Memory Frank Perry Segment of Trilogy;
Shared credit with Jordan Cronenweth and Vincent Saizis
1977 Plymouth Fury With Haskell Wexler
1991 Sharkskin Dan Perri

Television

[edit]
Year Title Director Notes
1963 Stoney Burke Leslie Stevens
Robert Butler
Leonard Horn
Tom Gries
William A. Graham
Laslo Benedek 		10 episodes
1963-64 The Outer Limits Byron Haskin
Laslo Benedek
Leonard Horn
Gerd Oswald
Abner Biberman
Alan Crosland Jr.
John Brahm 		15 episodes
1966 ABC Stage 67 Frank Berry Episode "A Christmas Memory"

TV movies

Year Title Director Notes
1964 The Unknown Gerd Oswald
Fanfare for a Death Scene Leslie Stevens With Monroe P. Askins
The Ghost of Sierra de Cobre Joseph Stefano
1977 It Happened One Christmas Donald Wrye

Awards and nominations

[edit]

Academy Awards[6][8]

Year Category Title Result
1965 Best Cinematography Morituri Nominated
1966 The Professionals Nominated
1967 In Cold Blood Nominated
1969 Butch Cassidy and the Sundance Kid Won
1975 The Day of the Locust Nominated
1988 Tequila Sunrise Nominated
1993 Searching for Bobby Fischer Nominated
1998 A Civil Action Nominated
1999 American Beauty Won
2002 Road to Perdition (posthumous) Won

BAFTA Awards

Year Category Title Result
1969 Best Cinematography Butch Cassidy and the Sundance Kid Won
1999 American Beauty Won
2002 Road to Perdition (posthumous) Won

American Society of Cinematographers

Year Category Title Result
1988 Outstanding Cinematography Tequila Sunrise Won
1993 Searching for Bobby Fischer Won
1994 Love Affair Nominated
1999 American Beauty Won
2002 Road to Perdition (posthumous) Won
1994 Lifetime Achievement Award[4] Won

Las Vegas Film Critics Society

Year Category Title Result
1999 Best Cinematography American Beauty Nominated
2002 Road to Perdition (posthumous) Won

Los Angeles Film Critics Association

Year Category Title Result
1999 Best Cinematography American Beauty Nominated
2002 Road to Perdition (posthumous) Nominated

Online Film Critics Society

Year Category Title Result
1999 Best Cinematography American Beauty Nominated
2002 Road to Perdition (posthumous) Nominated

Satellite Awards

Year Category Title Result
1999 Best Cinematography American Beauty Nominated
2002 Road to Perdition (posthumous) Won

Other awards

Year Award Category Title Result
2002 Dallas–Fort Worth Film Critics Association Best Cinematography (posthumous) Road to Perdition Won
Gold Derby Awards Best Cinematography (posthumous) Nominated
New York Film Critics Circle Best Cinematographer (posthumous) Nominated
Phoenix Film Critics Society Best Cinematography (posthumous) Nominated

References

[edit]
  1. ^ Rick Lyman (January 8, 2003). "Conrad Hall, Cinematographer Of 'Butch Cassidy,' Dies at 76". The New York Times. p. A 21. Retrieved August 2, 2021.
  2. ^ "Top 10 Most Influential Cinematographers Voted on by Camera Guild". August 16, 2003. Archived from the original on January 9, 2014. Retrieved January 28, 2011.
  3. ^ Hunter, Allen (2003). "Obituary Conrad L Hall". Scotsman Publication. ProQuest 327066352.
  4. ^ a b c d e f Fisher, Bob (1994). A Lifetime of Achievement: Conrad Hall. American Cinematographer.
  5. ^ Brodesser, Claude. "Cinematography's Hall of Fame". ProQuest 236330589.
  6. ^ a b Vinson, James (1987). The International Dictionary of Films and Filmmakers 4.
  7. ^ "A Lifetime of Achievement: Conrad Hall, ASC". The American Society of Cinematographers. Retrieved September 3, 2024.
  8. ^ a b Horn, John (2003). "Obituaries; Conrad Hall, 76; Cinematographer Won Oscars for 'Butch Cassidy' and 'Beauty'". Los Angeles Times. ProQuest 421756791.
  9. ^ Ntim, Zac (November 13, 2022). "Sam Mendes Pays Tribute To Conrad Hall & Roger Deakins At Camerimage Opening Ceremony: "Cinematographers Have Always Been My Guide"". Deadline. Retrieved September 3, 2024.
  10. ^ a b "Posthumous award for film legend". February 18, 2003. Retrieved September 3, 2024.
  11. ^ "Biography for Conrad Hall". Turner Classic Movies. Retrieved August 5, 2009.
  12. ^ Haber, Joyce (March 19, 1973). "Katharine Moves, Horses and All". Los Angeles Times. Archived from the original on November 3, 2012. Retrieved August 12, 2010.
  13. ^ "CONRAD L. HALL". Internet Encyclopedia of Cinematographers. Retrieved January 28, 2011.
  14. ^ Susman, Gary (January 6, 2003). "Goodbye". Entertainment Weekly. Archived from the original on November 4, 2014. Retrieved August 5, 2009.
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