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It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.

Conrad Hall

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Conrad Hall
Age: 76 †
Born: 1926
Born: June 21
Died: 2003
Died: January 4
Cinematographer
Film Cinematographer
Screenwriter
Conrad L. Hall
Conrad Lafcadio Hall
Cinema
Subtleties
Emotions
Metaphors
Aren
Subtlety
Emotion
Articulate
Words
Evoke
Difficult
Attempting
Also
Metaphor
Many
Describe

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To me, the camera is like a musical instrument. You use it to control the flow, shape, size and colors of images.
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Dad, wherever you are, you are gone but you will never be forgotten.
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There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.
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You are always a student, never a master. You have to keep moving forward.
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With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.
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I think one of the reasons people quit is because they're afraid they won't be able to get better and better that they have to come to a zenith of some kind.
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Contrast is what makes photography interesting.
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I hope I'm still shooting when I'm 80.
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The sun is the most parallel light source because it is so far away.
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Cinematography is infinite in its possibilities... much more so than music or language.
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I was very happy sitting alone at a dining room table, writing a script.
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In Hollywood, maybe only ten percent will make it and the other ninety percent try. This elusive dream of making it and being on top is the same story as the moth being drawn to the flame. The flame and it's attractiveness is something you'll never eliminate. Some will learn how to live in that environment and others will burn in it.
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I can still recall the thrill of shooting my first film.
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Billions of people have seen and been influenced by movies in the short history of this industry.
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It was 100 feet of 16 mm black-and-white film of a car coming to a stop sign, and driving off. I had to decide how to frame and light it. It was magic. There was a sense of mystery.
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It's important to know that if you are dealing with shadows.
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But you know you haven't done it all because you know everything keeps evolving and changing and you know you can evolve with it if you grow and develop as a human being.
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The closer the source of light is to a subject, the broader the beams are.
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My peers say I have made a difference. That means more to me than winning an Oscar.
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