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Conrad Hall

I knew exactly how I wanted it to play, but you are never sure until you watch the projected images reflect off the screen. That's when you know it worked.

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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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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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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.

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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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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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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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The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

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