Editing Road to Perdition (section)

===Cinematography===
[[File:Perdition cinematography.jpg|right|thumb|250px|Cinematographer Conrad Hall set up atmospheric lighting similar to that found in the paintings of [[Edward Hopper]]]] To establish the lighting of scenes in ''Road to Perdition'', Mendes drew from the paintings of [[Edward Hopper]] as a source of inspiration, particularly Hopper's ''New York Movie'' (1939). Mendes and cinematographer [[Conrad Hall]] sought to convey similar atmospheric lighting for the film's scenes, applying a "less is more" mantra.<ref>{{cite news |author=Ray Zone |url=http://www.theasc.com/magazine/aug02/perdition/sidebar1.html |title=A Master of Mood |work=[[American Cinematographer]] |access-date=2007-06-06}}</ref> Hall also shot at wide apertures that retained one point in the [[depth of field]] sharply focused. Hall considered the technique to provide an emotional dimension to the scenes. The cinematographer also used unconventional techniques and materials to create unique lighting effects. One of Hall's methods was to use black silk in daylight exterior scenes to filter the light enough to create an in-shade look.<ref name="Triggers" />

Hall purposely distanced the camera from Hanks' character, Michael Sullivan Sr., at the beginning of the film to establish the perspective of Sullivan's son, who is unaware of his father's true nature.<ref name="Killer" /> Hanks's character was filmed as partially obscured and seen through doorways, and his entrances and exits took place in shadows. A wide lens was used to maintain a distance from the character.<ref name="Triggers" />

Shots in the film were drawn directly from panels in the graphic novel, illustrated by Richard Piers Rayner. An instance of the direct influence is the scene in which Michael Jr. looks up at the Chicago skyline from the vehicle, with the skyline reflected in the vehicle's glass.<ref name="Self"/>

A seamless 40-second driving scene, in which Michael Sullivan and his son travel into Chicago from the countryside, was aided by visual effects. The live-action part of the scene was filmed at [[LaSalle Street]], and due to the lack of scenery for part of the drive down LaSalle Street, the background of Balbo Drive was included with the use of visual effects.<ref>{{cite news |author=Heuring, David |url=http://www.theasc.com/magazine/aug02/perdition/sidebar2.html |title=Effecting a Key Transition |work=[[American Cinematographer]] |access-date=2007-06-06}}</ref>