With Once Upon a Time… in Hollywood, his sixth film with Quentin Tarantino, cinematographer Robert Richardson sought to capture ‘60s Los Angeles in all its glory, filtered through the auteur’s sing…
with that of each of these productions, Richardson wound up shooting with a handful of cameras and many more lenses, on Super 8, 16 and 35mm, daunted by the question of whether all these formats would gel together nicely in the final film.
Speaking with Deadline, Richardson offers his insights into the process of photographing Tarantino’s latest, as well as his feelings about losing his closest collaborator, with the auteur’s impending retirement from directing.Once Upon a Time… in Hollywood: Well, he told me very little about the project until he asked me to come by and read it. I was sort of in the dark.
DEADLINE: Tarantino was watching you the entire time? This must have been a three- or four-hour read.: Yes, it was. [Laughs] That’s the intimidating factor of Quentin. Quentin had no problem watching me for three hours. I had a problem thinking, Dude, this is weird that you’re watching me read this. And at the same time, I thought, you know what? I don’t have an issue. I’ve known Quentin for way too long now.
DEADLINE: Reading the script, what stood out to you as exciting, in terms of what you might be able to do with the camera?: Well of course, to be able to deal in different time frames with different mediums—to go back and to have to deal with how television was shot. It was shot on film to do interviews for television, as well—as well as doing black-and-white material from earlier shows, basically with Leo [DiCaprio], and then later with.
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