Title: Charles D. Hall
Content:  Charles D. Hall (April 20, 1888 – April 8, 1970) was a British-American art director and production designer. He is perhaps best remembered for his tenure at Universal Pictures, where he began his career during the silent era. He was art director for many of Universal's most famous productions of the 1920s and '30's: The Phantom of the Opera (1925), All Quiet on the Western Front (1930), the original Bela Lugosi Dracula (1931), the original Magnificent Obsession (1935), and the 1936 My Man Godfrey among them, as well as eleven films directed by James Whale, including the original Boris Karloff Frankenstein (1931), The Invisible Man (1933), Bride of Frankenstein (1935), and the 1936 film version of Show Boat. Hall also worked on the 1929 part-talkie film version 
Title: Mauritz Stiller
Content:  By 1912, Stiller had become involved with Sweden's rapidly developing silent film industry. He began by writing scripts, acting and directing in short films but within a few years gave up acting to devote his time to writing and directing. He was soon directing feature-length productions, and his 1918 work Thomas Graals bästa barn (Thomas Graal's First Child), starring Karin Molander, and with Victor Sjöström in the leading role, received much acclaim. By 1920, having directed more than 35 films, including Sir Arne's Treasure and Erotikon, Stiller was a leading figure in Swedish filmmaking. He also directed The Blizzard starring a young Einar Hanson and based on the Selma Lagerlöf novel En herrgårdssägen.
Title: John M. Stahl
Content:  Academy of Motion Picture Arts and Sciences. With the industry's transition to talkies and feature-length films, Stahl successfully made the adjustment. From 1927 through 1929 Stahl was an executive at the short-lived independent studio Tiffany Pictures, and renamed the company "Tiffany-Stahl Productions". In 1930 he joined Universal Pictures where he directed in 1934 the film Imitation of Life, which was nominated for an Academy Award for Best Picture. The following year, he directed Magnificent Obsession, starring Irene Dunne and Robert Taylor. Both films were later remade in the 1950s by director Douglas Sirk. John Stahl continued to produce and direct major productions as well as filler shorts up to 
Title: Annie Hall
Content:  Technically, the film marked an advance for the director. He selected Gordon Willis as his cinematographer—for Allen "a very important teacher" and a "technical wizard," saying, "I really count Annie Hall as the first step toward maturity in some way in making films." At the time, it was considered an "odd pairing" by many, Keaton among them. The director was known for his comedies and farces, while Willis was known as "the prince of darkness" for work on dramatic films like The Godfather. Despite this, the two became friends during filming and continued the collaboration on several later films, including Zelig, which earned Willis his first Academy Award nomination for Best Cinematography. Willis described the production for the 
Title: Ralph Steiner
Content: H2O (1929; cinematographer/director) ; Mechanical Principles (1930; cinematographer/director) ; Surf and Seaweed (1931; cinematographer/director) ; Panther Woman of the Needle Trades, or The Lovely Life of Little Lisa (1931; cinematographer/director) ; May Day in New York (1931; cinematographer/co-director) ; Dance Film (1931; cinematographer/director) ; Harbor Scenes (1932; cinematographer/director) ; Granite, a.k.a. The Quarry (1932; cinematographer/director) ; G-3 (1933; cinematographer/director) ; Café Universal (1934; cinematographer/director) ; Hands (1934; cinematographer/co-director) ; Pie in the Sky (1935; cinematographer/co-director) ; The People's March of Time (1935; cinematographer/co-director) ; The World Today: Black Legion (1936; cinematographer/co-director) ; The World Today: Sunnyside (1936; cinematographer/co-director) ; The Plow That Broke the Plains (1936; cinematographer) ; People of the Cumberland (1938; cinematographer) ; The River (1938; cinematographer) ; The City (1939; cinematographer/co-director) ; New Hampshire Heritage (1940; cinematographer/director) ; Youth Gets a Break (1941; cinematographer) ; Troop Train (1942; cinematographer/director) ; The Joy of Seeing (1960-1975; cinematographer/director), includes: ; Seaweed, a Seduction (1960) ; One Man's Island (1969) ; Glory, Glory (1971) ; A Look at Laundry (1971) ; Beyond Niagara (1973) ; Look Park (1974) ; Hooray for Light! (1975) ; Showdown (1975) 
Title: George Stevens
Content:  George Cooper Stevens (December 18, 1904 – March 8, 1975) was an American film director, producer, screenwriter and cinematographer. Among his most notable films are Swing Time (1936), The More the Merrier (1943; for which he was nominated for the Best Director Oscar), A Place in the Sun (1951; for which he won the Best Director Oscar), Shane (1953; nominated for the Best Director Oscar), Giant (1956; won the Best Director Oscar), and The Diary of Anne Frank (1959; nominated for the Best Director Oscar).
Title: Morocco (film)
Content:  Charles Silver, curator at the Museum of Modern Art's Department of Film, offers this assessment of Morocco: ""Sternberg was the first director to attain full mastery and control over what was essentially a new medium by restoring the fluidity and beauty of the late silent period. One of the key elements in this was his understanding of the value of silence itself. Morocco contains long sections sustained only by its stunning visual beauty, augmented with appropriate music and aural effects. Sternberg was the first artist to make an authentic virtue of the arrival of sound."
Title: Stephen B. Grimes
Content:  Reno and Dayton). ; Lawrence of Arabia (1962); directed by David Lean. Grimes made some contributions to the art direction but was not credited. John Box was the production designer. ; Freud (1962); directed by John Huston. Locations: Vienna, Munich, London. ; The List of Adrian Messenger (1963); directed by John Huston. Locations: Ireland, London. ; The Chalk Garden (1964); directed by Ronald Neame. Location: Sussex. Carmen Dillon was the art director, Grimes associate art director. ; The Night of the Iguana (1964); directed by John Huston. Locations: Puerto Vallarta, Mexico. ; The Bible (1966); directed by John Huston. Locations: Rome, 
Title: Josef von Sternberg
Content:  Josef von Sternberg (born Jonas Sternberg; 29 May 1894 – 22 December 1969) was an Austrian-American filmmaker whose career successfully spanned the transition from the silent to the sound era, during which he worked with most of the major Hollywood studios. He is best known for his film collaboration with actress Marlene Dietrich in the 1930s, including the highly regarded Paramount/UFA production, The Blue Angel (1930). Sternberg's finest works are noteworthy for their striking pictorial compositions, dense décor, chiaroscuro illumination, and relentless camera motion, endowing the scenes with emotional intensity. He is also credited with having initiated the gangster film genre with his silent era movie Underworld (1927). Sternberg's themes typically offer the spectacle of an individual's desperate struggle to maintain their personal integrity as they sacrifice themselves for lust or love. He was nominated for the Academy Award for Best Director for Morocco (1930) and Shanghai Express (1932).
Title: Wilfred Shingleton
Content:  Wilfred Shingleton (January 24, 1914 – June, 1983) was an English art director. He enjoyed a distinguished career in the British film industry from his debut in 1937. Some of his early assignments were several George Formby vehicles – hugely popular with wartime audiences. His career really kicked off into a higher gear in 1947 when he won the Academy Award for his atmospheric sets for David Lean's Great Expectations. This led to a string of high-profile projects, including Anna Karenina (1948), The African Queen (1951) and Beat the Devil (1953), both for director John Huston, Hobson's Choice (1954) and Tunes of Glory (1960). He won a BAFTA for the wartime flying epic The Blue Max in 1966, after which he moved seamlessly into the world of TV, working on the stylish hit series The Avengers. He received an Emmy nomination for the miniseries Holocaust in 1978, winning the award two years later for the TV movie Gauguin the Savage. His last film – for which he received a BAFTA nomination – was the Merchant Ivory film Heat and Dust in 1983.

Question: Who was the director of Still Life?
Answer: Jia Zhangke.