Conrad L. Hall, Westward Beach, Malibu, 1999
“Connie did something I could never explain, and I’ve talked to other cinematographers about this. How could he light something to be incredibly stylized and still make it look so naturalistic? It almost doesn’t make sense. But if you analyze his work shot by shot, especially toward the end of his career, it’s very stylized. Light just doesn’t happen that way, but when it’s onscreen, it doesn’t create a barrier between the story and the audience at all. It feels absolutely realistic.”
Emmanuel Lubeski
Butch Cassidy and the Sundance Kid, 1969
Cool Hand Luke, 1967
Road to Perdition, 2002 (I love the Hopper-esque look of this film)
American Beauty, 1999
Electra Glide in Blue, 1973 (Great, under-rated cinematography)
Marathon Man, 1976
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