Podcast appearances and mentions of Conrad L Hall

“There are only murderers in this room! Michael! Open your eyes! This is the life we chose, the life we lead. And there is only one guarantee: none of us will see heaven.”April Showers roll on, and this week Henrique and David are heading to Rock Island, Illinois for a rainy, emotionally charged journey into organized crime and father-son bonds. We're diving deep into Sam Mendes' 2002 neo-noir masterpiece Road to Perdition—a film soaked in atmosphere, grief, and some of the most stunning cinematography in modern cinema. Set in 1930s Illinois, Road to Perdition tells the story of a mob enforcer whose son witnesses a murder, launching them on a road trip fueled by vengeance, protection, and ultimately, redemption. Starring Tom Hanks, Paul Newman, and Tyler Hoechlin, with Oscar-winning cinematography by Conrad L. Hall, this film blends brutal violence with heartbreaking beauty—and we're unpacking it all.

Following his breakout success with American Beauty, director Sam Mendes had a variety of projects to choose from, including films like A Beautiful Mind, K-PAX, and The Shipping News. Mendes chose instead to adapt a graphic novel about a hitman and his son on the run in the Prohibition Era Midwest. Starring Tom Hanks, Jude Law, Stanley Tucci, a pre-Bond Daniel Craig, and featuring Paul Newman in his last on-screen film role, the film draws on gangster flicks, Kurosawa, Once Upon a Time in America, and Lone Wolf and Cub to bring the story from page to screen. Nominated for six Academy Awards, cinematographer Conrad L. Hall won a posthumous Oscar for his work, and Tom Hanks himself counts his turn as hitman Michael Sullivan among his most underrated roles. The night is dark, the wind is cold, and we're on the Road to Perdition!    For more geeky podcasts visit GonnaGeek.com   You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com   You can write to Rum Daddy directly: rumdaddylegends@gmail.com You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com

It's Oscars-week, listeners! So we're taking a break before the season six playoffs for an Academy Awards trivia special with three very special guests. Joe Reid and Chris Feil (This Had Oscar Buzz) and Katey Rich (Vanity Fair / Little Gold Men) will have their awards season historical acumen tested with a tougher-than-usual Oscar speech game, and puzzles about long term Oscar narratives. Some crazy title-deciphering makes for an excellent lightning round where our true champion takes home that Oscar gold.Support Us On Patreon

It's Oscars-week, listeners! So we're taking a break before the season six playoffs for an Academy Awards trivia special with three very special guests. Joe Reid and Chris Feil (This Had Oscar Buzz) and Katey Rich (Vanity Fair / Little Gold Men) will have their awards season historical acumen tested with a tougher-than-usual Oscar speech game, and puzzles about long term Oscar narratives. Some crazy title-deciphering makes for an excellent lightning round where our true champion takes home that Oscar gold. NOTES ⚠️ Inline notes below may be truncated due to podcast feed character limits. Full notes are always on the episode page.

País Estados Unidos Dirección George Roy Hill Guion William Goldman Música Burt Bacharach Fotografía Conrad L. Hall Reparto Robert Redford, Paul Newman, Katharine Ross, Strother Martin, Jeff Corey, Henry Jones, Cloris Leachman, Ted Cassidy, Kenneth Mars Sinopsis Un grupo de jóvenes pistoleros se dedica a asaltar los bancos del estado de Wyoming y el tren-correo de la Union Pacific. El jefe de la banda es el carismático Butch Cassidy (Newman), y Sundance Kid (Redford) es su inseparable compañero. Un día, después de un atraco, el grupo se disuelve. Será entonces cuando Butch, Sundance y una joven maestra de Denver (Ross) formen un trío de románticos forajidos que, huyendo de la ley, llegan hasta Bolivia.

Our first episode covers John Schlesinger’s 1975 film The Day of the Locust, which is set in the self-absorbed and all-consuming world of 1930s Hollywood. The film’s all-star cast includes William Atherton, Karen Black, Burgess Meredith, and Donald Sutherland — the latter of whom appears in the role of the original Homer Simpson. Hailing from the U.K., where he had made an early mark with the "kitchen sink" drama A Kind of Loving, Schlesinger won a directing Oscar for his 1969 film Midnight Cowboy. For The Day of the Locust, he reteamed with Midnight Cowboy screenwriter Waldo Salt and partnered for the first time with legendary cinematographer Conrad L. Hall, ASC.

Episode Notes "I saw then that my father's only fear was that his son would follow the same road." Road to Perdition, it's a movie that you might not even be aware was based on a comic. Thankfully it is though so we have a more than regular excuse to gush about how much we love Tom Hanks. And that's not all Sam Mendes' gangster masterpiece has to offer. We get in to the touching family drama, phenomenal performances and Conrad L. Hall's stunning cinematography. Look... sometimes a film is just so good that there's no point in pretending you might not have loved it. And stay tuned after the end for a special "deleted scenes" bonus! Get in touch: beholdpod@gmail.com https://twitter.com/Beholdpod Music: The Descent by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4490-the-descent License: http://creativecommons.org/licenses/by/4.0/ Find out more at https://behold.pinecast.co Find out more at https://behold.pinecast.co

Fred und Sebastian sprechen in Folge 23 über Sam Mendes zweite Hollywood-Produktion, dem packenden Road-Movie "Road to Perdition". Wir schauen fasziniert auf die letzte Kameraarbeit von Conrad L. Hall, lauschen dem tollen Score von Thomas Newman und stellen insgesamt fest, dass wir es hier mit einem sehr ästhetischen und runden Film zu tun haben der uns auf ganzer Linie überzeugt hat. Warum Fred aber blank ziehen will, es wichtig ist ein Skript zu haben und was das alles mit Kataklysm und EBM zu tun hat erfahrt ihr in dieser neuen Folge! Wir wünschen viel Spaß beim hören! ❤️

  Book Vs Movie  Road to Perdition The Margos Return to Graphic Novels in This Special Episode The world of midwest Prohibition-era gangster life is the subject of this episode of Book Vs Movie with Road to Perdition--the 1998 graphic novel from Max Allan Collins and the 2000 film directed by Sam Mendes.  This returns the Margos to the graphic novel genre for the first time since Batman.  The novel is the first in a series on a gangster family--the O-Sullivan’s. Michael O’Sullivan Sr. works for the Looney family and sees the head boss Michael Looney as a father figure. Michaels is known as the “Angel of Death” and a ruthless enforcer for the Looney family. You owe them money and don’t pay--Michael will make you pay the ultimate price. He is played by Tom Hanks in the movie.  Michael has a wife (Annie) and two sons--Michael Jr. and Peter. One day, Annie and Peter are murdered and it’s up to Michael Sr. and his son as an unlikely duo to find the killers and avenge their loved one’s deaths.  In the novel, we meet a cast of characters including real-life criminals Al Capone and his enforcer Frank Nitti. Eliot Ness also makes an appearance and John Looney is quite a bit different than his movie counterpart played by Paul Newman (called John Rooney in the film.)  The movie sticks mostly with the basics of the plot with just a few name changes and without the appearance of Ness of Capone (Anthony LaPaglia filmed a scene as Capone that never made it to the final cut.) And Conrad L. Hall won an Academy Award for Best Cinematography who had passed away just before the award season.  So between the graphic novel and short story--which did the Margos like better? Click on the link below to find out! In this ep the Margos discuss: The author’s journey to this particular story The biggest differences between the short story and the 2002 film  Trivia about the shooting of the film The cast includes Tom Hanks (Michael Sullivan Sr.), Paul Newman (John Rooney,) Daniel Craig (Connor Rooney,) Jennifer Jason Leigh (Annie Sullivan,) Stanley Tucci (Frank Nitti,) Tyler Hoechlin (Michael Sullivan Jr.), Jude Law (Maguire,) and Dylan Baker (Alexander Rance.)  Clips Featured: Road to Perdition  trailer Michael Sullivan Sr. confronts Rooney Connor Rooney “apologizes” Maguire meets Michael Sullivan Sr.  Outro music: Score by Thomas Newman Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/ 

Edición 177 de La Gran Evasión, 10/4/2018, esta noche de tormenta veremos que la voluntad del hombre es inconquistable, asistiremos a la forja de una leyenda, de un mito, de Luke el indomable, un excelso Paul Newman en la obra cumbre de Stuart Rosenberg, La Leyenda del Indomable, 1967. Magnifica parábola este Cool Hand Luke, todo un análisis de esos soldados que regresaron de la segunda guerra mundial y se trajeron la guerra con ellos, una premonición de la desconexión con el sistema, que llegaría en los años sesenta, pero la película es mucho más, de fondo, deja profundas reflexiones: Preferir la muerte a vivir entre grilletes, el Sacrificio que conlleva una autentica amistad, el Precio a pagar por tus Principios, la Dignidad del ser humano, el Cruel y Brutal sistema penitenciario, la Religión, la Forja de los mitos, esos Mártires que todos necesitamos, para no rendirnos, para no olvidar lo que somos, hombres, ni bestias, ni esclavos, simplemente, Hombres. La película de Rosenberg se mueve por el gran guión de Donn Pearce y Frank Pierson, basado en la novela, con trazos autobiográficos, de éste último, con emoción y cine, transita por la voluntad de Luke a través de escenas míticas, que ya forman parte de la historia del cine, la de los huevos, el alquitranado de la carretera, la llegada de la madre, el símbolo fascista y represor de ese guardián con gafas de espejo, el sadismo del Capitán, el sometimiento de la voluntad a partir de la rutina, de las reglas… Luke es un canto rodado, un insurrecto por genética, su obstinación es admirada por los reclusos y también rechazada, lo convierten en un ídolo, al que adoran primero y repudian después, otra alegoría cristiana. Para ser una leyenda, un mártir, debe haber un sacrificio, una entrega, unos “milagros”, que son sus hazañas… Pocos confían en ese espíritu, incluso los espectadores nos creemos su rendición, cuando lo atrapan por segunda vez, su sometimiento, tras la escena de la zanja, terrible, literalmente cava su tumba y se sepulta, su cuerpo se rinde pero su alma…NO. Se convierte en un mártir y tiene sus apóstoles, su acólito, Dragline, George Kennedy, su misión será mantener vivo el recuerdo de Luke, de un tipo indomable que realizó prodigios increíbles, y que sobre todo, era su amigo. Paul Newman está pletórico, nos brinda una gran interpretación, el Oscar se lo arrebató Rod Steiger por En el Calor de la noche (Jewison), pero Luke merecía la estatuilla, ese laconismo con el que se expresa, sólo habla para sentenciar, brillante. Consigue transmitir esa terquedad con su presencia, con su actitud ante el poder y la autoridad, fue ascendido y condecorado en la guerra, pero también degradado a soldado raso, ante alguna injusticia que no permitió, es un rebelde que no sabe que hacer ni como actuar en el mundo civil, siempre fuera de lugar, incapaz de acatar las reglas, los corsés sociales. Romper unos parquímetros le acarrean dos años de trabajos forzados… Los secundarios, vistos hoy en día son tremendos, Hopper, Dean Stanton, Strother Martin, George Kennedy, a destacar el breve, pero inolvidable papel, de la madre de Luke, Arletta, la gran Jo Van Fleet, una actriz de teatro inmensa, que en apenas unos minutos deja marca. La película realiza una clara denuncia de la crueldad penitenciaria, de los abusos de poder, de la vileza de los poderosos, el despotismo, la arbitrariedad y el sadismo de los jefes, acrecentado con ese “Jefe, ¿puedo...?” Todos deben pedir permiso, para secarse el sudor, para quitarse la camisa, para beber agua, hasta para mear, una humillación constante. La fotografía de Conrad L. Hall es muy importante, la narración se nutre de esa estética realista, notamos el calor, el sofocante calor, los sudores, los mosquitos, la atmósfera opresiva del barracón, los atardeceres llenos de simbolismo y libertad, con las siluetas de hombres engrilletados, esos crepúsculos desde una carretera interminable, geniales, ademas utiliza muchos ángulos ingeniosos, ver la fuga a través del reflejo de las gafas del jefe, las tomas desde arriba de Luke en la escena de los huevos, prácticamente un Cristo crucificado… El ritmo es pausado, pero cuando la historia lo requiere, salimos de la rutina y respiramos con los prodigios de Luke, ahí el montaje y el ritmo se aceleran, como en la primera fuga y su astucia para despistar a los sabuesos, otro golpe más a la conciencia, pues se siente más la muerte de un animal que la de un preso. Todo el conjunto está apoyado en una genial banda sonora de Lalo Schifrin, mezclando esos temas de guitarra y banjo, llenos de sentimiento y dolor, canciones populares del sur, de esos desposeídos, y las mezcla, con la emoción del uso de instrumentos de viento. Schifrin era un auténtico maestro en melodías. Bonus Track: Os dejamos como bonus un par de maravillas, otro tema de la banda sonora de Schifrin, el del concurso de comer huevos duros y una versión del Cotton Field, a cargo de la Creedence Clearwater Revival, que aparece en su memorable disco "Willy And The Poor Boys" (1969). Disfrutad de la libertad. -Egg Eating Contest -Cotton Fields Huimos del campo de trabajos forzados de Radiopolis, despistando a los sabuesos…..José Miguel Moreno, Gervi Navío y moviendo astutamente las ramas del cine con un cordelito, nuestro crítico, César Bardés Gervasio Navío Flores.

Perry and Geoff explore the perfect shots of Sam Mendes' Road to Perdition, shot by the great Conrad L. Hall.

"How'd you like to wake up in the morning and be him?"The Next Reel's Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month's episode, cinematographer Sam Levy joins us to talk about one of his favorite films, John Huston's 1972 boxing film Fat City. We talk about the depressing story presented here as these characters try to reach the good life and why some of us can connect easier to it than others. We look at the incredible (and incredibly dark) cinematography by Conrad L. Hall and discuss the importance of a cinematographer getting to time their own film. We chat about the brilliant cast, from the actors like Stacy Keach, Jeff Bridges, Susan Tyrrell and Nicholas Colasanto; to the real-life boxers like Curtis Cokes and Sixto Rodriguez. We discuss Kris Kristofferson's song “Help Me Make It Through the Night” and why it works so well in this movie. And we touch on what critics thought of the movie compared with how it did at the box office. John Huston was at a period in his career where he'd been making some duds so it's great to see him return to top form with Fat City. It's a master class in cinematic realism and a boxing film well worth watching and discussing. Check it out then tune in!Film Sundries Watch this film: iTunes • Amazon Screenplay Original theatrical trailer Original poster artwork Fat City by Leonard Gardner Flickchart Letterboxd Sam Levy on Instagram Visit our ORIGINALS PAGE to buy books, comics, plays, or other source material for the movies we've talked about on the show. By doing so, you get to find your next book to dig into and help us out in the process as a portion comes back our way. Enjoy!Star your own podcast journey with the best host in the business. Try Transistor today!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Here's where you can find us around the internet: The Web Letterboxd Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE. Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT. Or sign up for AUDIBLE.

"How’d you like to wake up in the morning and be him?" The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, cinematographer Sam Levy joins us to talk about one of his favorite films, John Huston’s 1972 boxing film Fat City.  We talk about the depressing story presented here as these characters try to reach the good life and why some of us can connect easier to it than others. We look at the incredible (and incredibly dark) cinematography by Conrad L. Hall and discuss the importance of a cinematographer getting to time their own film. We chat about the brilliant cast, from the actors like Stacy Keach, Jeff Bridges, Susan Tyrrell and Nicholas Colasanto; to the real-life boxers like Curtis Cokes and Sixto Rodriguez. We discuss Kris Kristofferson’s song “Help Me Make It Through the Night” and why it works so well in this movie. And we touch on what critics thought of the movie compared with how it did at the box office.  John Huston was at a period in his career where he’d been making some duds so it’s great to see him return to top form with Fat City. It’s a master class in cinematic realism and a boxing film well worth watching and discussing. Check it out then tune in! Film Sundries Watch this film: iTunes • Amazon Screenplay Original theatrical trailer Original poster artwork Fat City by Leonard Gardner Flickchart Letterboxd Sam Levy on Instagram

Título original American Beauty Año 1999 Duración 122 min. País Estados Unidos Estados Unidos Director Sam Mendes Guión Alan Ball Música Thomas Newman Fotografía Conrad L. Hall Reparto Kevin Spacey, Annette Bening, Thora Birch, Allison Janney, Peter Gallagher, Mena Suvari, Wes Bentley, Chris Cooper, Scott Bakula, Sam Robards, Barry Del Sherman Productora Dreamworks Pictures Género Drama. Comedia | Comedia dramática. Sátira Sinopsis Lester Burnham (Kevin Spacey), un cuarentón en crisis, cansado de su trabajo y de su mujer Carolyn (Annette Bening), despierta de su letargo cuando conoce a la atractiva amiga (Mena Suvari) de su hija (Thora Birch), a la que intentará impresionar a toda costa.