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Robert Richardson Poster

Biography

Jump to: Overview (3) | Mini Bio (1) | Spouse (2) | Trade Mark (2) | Trivia (5) | Personal Quotes (10)

Overview (3)

Date of Birth 27 August 1955Hyannis, Massachusetts, USA
Birth NameRobert Bridge Richardson
Nickname Bob

Mini Bio (1)

Robert Richardson was born on August 27, 1955 in Hyannis, Massachusetts, USA as Robert Bridge Richardson. He is known for his work on Inglourious Basterds (2009), Django Unchained (2012) and Shutter Island (2010).

Spouse (2)

Stephanie Martin (6 February 2011 - ?) (divorced) (1 child)
Monona Wali (? - ?) (divorced) (2 children)

Trade Mark (2)

One strong key light facing straight down to create a pool of light or a bounce light off of a performer.
He has frequently worked with 'Oliver Stone', Martin Scorsese and Quentin Tarantino.

Trivia (5)

M.F.A. - American Film Institute
Member of the American Society of Cinematographers (ASC) since 1992.
As of 2012 he, Vittorio Storaro and Conrad L. Hall are the only cinematographers to win three Oscars.
Was the original cinematographer of World War Z (2013) but, due to the time consuming troubled production of the film and the several re-shoots, Richardson had to leave the set early to work on Quentin Tarantino's Django Unchained (2012). He was replaced by Ben Seresin, who received the whole credit.
The Hateful Eight (2015) is the first film shot in anamorphic Ultra Panavision 70mm since Khartoum (1966).

Personal Quotes (10)

It's important not to confuse visual clichés with artistic photography. If a choice had to be made, I would much rather shoot a good picture than a good-looking picture.
[on photographing many of Quentin Tarantino's films] Most have a pop approach to the use of vibrant color, which is quite in opposition to the majority of work being done in cinema. That was a tremendous shift for me because I had to move from what I'm normally prone to use, which is a muted palette, to one that's fuller.
[on photographing Samuel L. Jackson's scenes in Django Unchained (2012)] Skin naturally reflects in a way that makeup doesn't. So we had to figure out a way to light him. Because the primary story circles slavery, of course every shot will, in one way or the other, deal with the contrast of black and white. I hope we succeeded.
My career is based primarily upon finding a balance with a director and their vision, and that means sublimating my own personal ego toward their material. It's far better to shoot a good picture than a good-looking picture.
[from his Oscar acceptance speech for Hugo (2011)] To all the past, future and present filmmakers, this is for you.
I don't watch my movies after I've shot them. I can't go back. I went back to see Snow Falling on Cedars (1999) with the AFI and I just can't watch it - I remember sitting there going, "I can't look at this", and I get out of the room, because all I can see are my faults - I'm just looking at how poor my work is, and that is an extraordinarily uncomfortable thing for me, so I walk out. I don't watch my films; I haven't seen any of them for years. I mean, I know they exist there.
[how he accidentally came up with the idea to shoot The Hateful Eight (2015) in anamorphic Ultra Panavision 70] We went in thinking we were going to shoot standard format for 65mm and one day I was with Gregor Tavenner, my first camera assistant, and Dan Sasaki [Panavision VP of optical engineering] was showing us standard Panavision lenses for 65mm and while looking at them, I slipped behind the curtain and saw this shelf filled with odd-shaped lenses [triangular with prisms]. They were Ultra Panavision lenses...[2015]
[framing The Hateful Eight (2015) in the ultra-wide 1:2.76 aspect ratio of anamorphic Ultra Panavision 70] The most complex thing for me was that the set was primarily this one building where they arrive in this stagecoach. But if you shoot a medium shot with the lenses, anywhere you're seeing two-thirds or more of the room, depending on where the character is, because it's such a wide frame. You're lighting the entire set and other characters are constantly in your frame. Quentin first looked at It's a Mad, Mad, Mad, Mad World (1963) [shot in Ultra Panavision 70, too]. Part of what happened in that film is that you had a medium shot with all the characters in the frame. It was an adjustment for all of us.[2015]
[on Kodak's new Super 8 camera] I am a strong believer that a filmmaker should have as many tools at his or her command. The news that Kodak is bringing back Super 8 came as a great delight for it fortifies the future of film being made available to all. My career began with Super 8 and that transferred into working with the stock on a number of projects from JFK (1991) to Natural Born Killers (1994). I could not be pleased more to hear that what I felt was slipping away into darkness is returning to the light. [2016]
I took my name off World War Z (2013). It was a digital show. We worked very hard coming up with lookup tables [a digital roadmap]. They were pretty radical, but they were a look the studio had agreed upon. There was no disagreement with the studio, nor the director. Then they dropped it all. They chose their own lookup tables. And a little later, they decided they were going to release it in 3D. I felt I was at a point in my life where: 'OK, you have to take some strength for all of us that can't. So Paramount's going to be angry with me. It's going to result in conflict.' And I said I was willing to take that conflict on, because no one's protecting us. If the studio has a right to change your things, you hope to have some artistic position to battle them. (...) I haven't seen Paramount send me one script for a few years. [2016]

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