Conrad Hall

Conrad Lafcadio Hall, ASC (June 21, 1926 – January 4, 2003) was a French Polynesian-born American cinematographer.

Named after writers Joseph Conrad and Lafcadio Hearn, he came 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.

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.

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”.

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.

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.

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).

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.

He is also known for Cool Hand Luke (1967), Fat City (1972), and Marathon Man (1976).

Their second collaboration, 1967's In Cold Blood, resulted in yet another Oscar nomination.

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.

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.

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).

In 1969, Hall received his first Oscar for Butch Cassidy and the Sundance Kid.

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.

He has been given a star on the Hollywood Walk of Fame.