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  • - It's the same way you choose this path of making movies.

  • If you're going to commit to doing something,

  • and if you have that fire, that large in your belly,

  • then you're going to, you're going to destroy everything

  • in its path to achieve the highest level all the time.

  • And I wasn't going to let a broken back stop me.

  • Hi, I'm Robert Richardson

  • and this is the timeline of my career.

  • It's a long career, so beware.

  • [music]

  • [gunshots]

  • - I'd gone to El Salvador on a documentary for Frontline

  • and when I returned,

  • the sound man that had been working with me

  • became the assistant director to Oliver Stone on Salvador.

  • Ramon made a recommendation to meet me.

  • I went in, met Oliver.

  • It was sweltering hot,

  • they didn't have any air conditioning.

  • And Oliver was wearing a leather jacket.

  • And he's pouring sweat.

  • To meet Oliver the first time,

  • my, you know, I was like...

  • I was shaking.

  • To be asked to shoot a feature when you're 28 years old,

  • And I remember the woman I was with at the time,

  • who became my future wife.

  • Uh, the two of us were like,

  • I can't believe this is already happening.

  • I felt comfortable because he wanted to attack it

  • form the perceptive of documentary.

  • I felt very comfortable with a camera on my shoulder

  • and instinctively reacting to whatever's taking place

  • in front of me.

  • And I always have,

  • I think that's something that's hidden within my work.

  • [explosions] [shouting]

  • [dramatic orchestral music]

  • [helicopter flying past]

  • - It was remarkable because at the end of Salvador,

  • Oliver said to me, you know it'd been tough.

  • It's a tough shoot.

  • And learning to work with the director,

  • you know, a very demanding man.

  • As you can well expect.

  • So for me, dealing with him was dealing with

  • something that I'd never had before.

  • Somebody so forceful,

  • who is also an extraordinarily brilliant writer,

  • and is an extremely precise director.

  • Then to say, at the end he goes,

  • I have a project I'm trying to get off the ground

  • and I'd like you to shoot it.

  • And it was Platoon.

  • And I read Platoon,

  • and I was shocked by Platoon.

  • It was a film that was very dear

  • to him because it's historic.

  • And then to consider how to shoot that movie

  • so it wouldn't feel like we were replicating Salvador.

  • There's a documentary element but there was a lot more

  • on dollies and long lenses, and counter moves.

  • Also we needed a level of improvisations

  • to have the shoulder in combination,

  • because there are sequences within the movie

  • where Oliver wasn't feeling like

  • "I'm getting the reaction I need out of the actors".

  • He would plant gasoline bombs around the action.

  • And in the middle of the performance,

  • he'd blow them up, without them knowing.

  • And of course you'd get this reaction,

  • cause no one's expecting it.

  • For the actors it suddenly became: this is real.

  • It's up in front of me.

  • And sometimes you get to hear

  • a lot of shots being fired.

  • Not live ammo but blanks, things like that

  • to throw them off.

  • [explosions]

  • - If you look back in retrospect,

  • you've got Johnny Depp, you probably don't even know

  • Johnny Depp was in the movie.

  • Forest Whitaker, you have so many actors that are

  • inside that that went on to find strong careers.

  • I mean, when you look back in retrospect.

  • But when I'm in the middle of it I'm not thinking about it.

  • I'm more in the zone of shooting a movie

  • and I'm thinking less about where it sits in the timeline.

  • When I got the nomination, I was...

  • You got to be kidding me.

  • And it was my first event.

  • And I had my first real suit, tie,

  • I was all dressed up.

  • I had also a tremendous level of fear about the event.

  • I have a huge phobia of being in this place,

  • but I had greater phobia of like,

  • having to walk up on a stage and deliver a speech.

  • I'm sitting next to people that I've admired

  • my entire life in terms of what they've created.

  • These people were a part of what brought me into

  • the world understanding how to shoot.

  • And I'm sitting next to them,

  • and I'm meeting people that I've held up as gods

  • for most of my life.

  • And so for me it was totally fresh, but when I got there,

  • I started to panic.

  • I started to yawn, I'm yawning,

  • and I'm yawning.

  • I can't stop yawning, cause like,

  • I'm not getting enough oxygen into my system,

  • so my body's trying to pull more.

  • And I feel like I'm going to pass out any second.

  • And the second, the second,

  • they said the winner was,

  • and it wasn't me.

  • [clapping] - Out

  • I just had to leave, I could not stay any longer.

  • And I swore never go back to another Academy Award

  • because my fear was so great.

  • Which is why I ended up missing, which will slip by,

  • but why I missed up, did not arrive at JFK.

  • Because I was so frightened of the first experience

  • that I didn't want to repeat.

  • [orchestral music]

  • - You really have me consorting

  • with a sorted cast of characters.

  • - Please answer the question.

  • - [Clay Shaw] Of course not.

  • Such a pity, that assassination.

  • In fact, I admired President Kennedy.

  • A man of true panache, wife of impeccable taste.

  • - Oliver and I formed a bond and,

  • he was shooting a film a year.

  • The only time I'd go away was when I could schedule

  • something that would fit.

  • And I'd always ask Oliver,

  • like you know, and he'd tell me,

  • like I'm going to be doing this.

  • And so, I would fit in films like you know

  • whether it'd be Rob Reiner's "A Few Good Men"

  • or was working with Errol Morris on, you know,

  • "Fast, Cheap & Out of Control".

  • I knew Oliver was what and who I wanted and,

  • I was working with Oliver.

  • So he had become a brother to me and

  • keenly responsible for a lot of my personality now.

  • I'm in love with Oliver, he's like,

  • we don't see a lot of each other anymore but,

  • he was a brother.

  • He made me very aware of the level of

  • concentration required,

  • that you have to come with 100% every single day.

  • He made me very aware of the quality of a word-man,

  • versus a bird-man.

  • Eye vs words, what are more important.

  • For me, when I watch a movie,

  • I don't evaluate it from the perspective of

  • what's it look like.

  • Aww, that was a great shot.

  • Unless the movie's bad, or unless I'm coming back

  • to watch and study it for why it's good,

  • then I think what was central to that particular film

  • was the recreation.

  • The 8 mm that was used to shoot, there's a perimeter film.

  • So we centered everything out on this 8 mm

  • which we shot in Super 8.

  • But we tried to move out from that circle to

  • all the way out to 35.

  • But if you wondered about selling visually like

  • Oswald in the cell, when he's burning out so heavy.

  • It's like, chwooo...

  • It's like 13 stops over-exposed or whatever it was.

  • And I remember I was doing A Few Good Men and Rob Reiner

  • had just seen the movie. [chuckling]

  • - And he goes

  • - [Bob impersonating Reiner] "Bob, uh,

  • I saw JFK it's a great movie.

  • But I have a question, why was Oswald so over-exposed?"

  • And I was like, oh the f*cking thing,

  • I mean love that aspect!

  • But, you know, it bothered him

  • and it took him out of the movie.

  • [chattering and clattering cutlery]

  • - When's Daddy coming Momma?

  • - Soon, he's coming soon

  • ["Whip it" by Devo]

  • - See that?

  • Dumb Jew motherfucker, grew up together

  • and he's acting like he don't even know me.

  • - The AD on JFK was that, a man named Joseph Reidy.

  • And Joe had done a number of films with Oliver and myself.

  • And he also did simultaneously work with Marty

  • on a number of his films.

  • At one point Marty asked, said that he wanted to

  • have a meeting with me for Cape Fear.

  • So I went to New York and met him for Cape Fear.

  • Now I'd always wanted to work with Marty.

  • I mean, you know,

  • why would you not want to work with Scorsese?

  • It's like, he's a pinnacle.

  • He's, you know,

  • the same way that we look at many people now.

  • It's like, he's a god of cinema.

  • I wanted to meet him and I went in.

  • And I had prepared certain thoughts for the movie.

  • And he very politely sat in the chair,

  • and I pulled out photographs from Edward and Rebre--

  • I mean like, all these f*cking strange things.

  • You know, and,

  • he looked at me.

  • At the end he said,

  • it was a tremendous pleasure meeting you,

  • but I've actually already made my decision of whom

  • I'm going to hire.

  • And I was like, uh, okay...

  • I'll head back to California now.

  • And it was like, that, it was like okay, I met him.

  • But then, when Michael Bahas was not available

  • to shoot Casino,

  • he'd already met me and he felt comfortable.

  • And he brought me in to start that film.

  • I started, we scouted, I was there for about three weeks,

  • and Marty was in, um, California,

  • Los Angeles, doing the final rewrite.

  • I'd seen all the locations, I didn't know what else to do.

  • So I asked Joe Reidy and Barbara De Fina if,

  • who's the producer, if I could just write some notes down

  • about ideas.

  • And they said yeah sure.

  • So I put together these ideas of shots

  • and things for the film.

  • And I'd done that my whole career with Oliver.

  • With Marty, he got these notes

  • and I was suddenly called into the production office.

  • And Barbara De Fina, and Barbara was, uh,

  • head down and behind a table, she looks up.

  • And she goes:

  • "Uh, Marty wants to talk to you".

  • And I met my head went down, like oh f*ck.

  • Okay, I said about what.

  • About the notes...

  • Marty got on the phone.

  • Very polite, cause he is a tremendous gentleman.

  • He goes:

  • "Bob, I got your notes, I have not looked at them.

  • Nor will I ever look at them.

  • When I finish writing the script

  • and I'm happy with my script,

  • I will give you notes for every shot in the film.

  • That was it.

  • And I left, like, oh...

  • All right.

  • I guess I'll be operating and lighting on this show.

  • Some people want more help,

  • and I like to work in all capacity.

  • So I like to be a chameleon.

  • Anyway that was the result of, uh,

  • my mistake, almost,

  • I thought was going to get me fired.

  • But, fortunately it did not.

  • It's not collaborative with Marty.

  • It's collaborative in terms of lighting.

  • Marty will talk about and do,

  • it's very important, he'll do screenings.

  • Like, for Casino, it was a number of John Alton's films

  • that he'd--

  • and that his photography, John Alton's cinematographer.

  • And it was a style of lighting.

  • And it was a noir,

  • and so for me,

  • I was learning, like okay, this is where he wants to go.

  • And he would show films,

  • and each of the films that we had ever made,

  • he would put us into a screening room.

  • Marty would sometimes be there, sometimes not.

  • If he was there, he would be making comments about

  • certain shots during the piece to say

  • what I like here is the level of shadow

  • and I like this and I like that.

  • And what he's doing is giving you the ideas of

  • where he wants you to extend yourself in your lighting.

  • And to step up into this place.

  • That's a collaboration.

  • And uh, also about operating.

  • He's extremely specific about his operating.

  • So I had to hone my tools as an operator

  • to work with him.

  • And uh, I did, I became a much better operator.

  • We had to work in the Riviera.

  • This is old Vegas, new Vegas was only slowly coming.

  • They were just beginning to take down

  • a number of the major casinos in Vegas.

  • But we were on an all night schedule because

  • we're utilizing the Riviera.

  • And they would only give it to us in the evening,

  • from, like I think 5 o'clock.

  • So then we had to black out all the windows.

  • We could only work in certain sections.

  • If there was a high-roller you couldn't work there.

  • So we would be working like 5 to 5 or 6 to 6,

  • whatever it ended up being.

  • So you'd go all the way to dawn.

  • And that was for many, many months,

  • so it was a very difficult world to work within.

  • - I know we're supposed to avoid each other,

  • but you knows there's ways to do things,

  • there's ways not to.

  • [clashing swords] [flamingo music]

  • - I wanted to do Pulp Fiction cause I knew the key grip

  • and he was going to talk to Quentin.

  • But it never took place and I never had a meeting.

  • So then I went and I got,

  • I saw the Kill Bill script.

  • I got through back channel, read it.

  • I don't know if he knows I read it.

  • And asked to have a meeting.

  • And Quentin said sure, I'll meet with Bob.

  • And we met at a restaurant on I think Hollywood Blvd.

  • And the way he tells the story is, I had 14 espressos.

  • Um, now I can believe that might be true.

  • Fourteen...

  • That makes sense, it's about my number a day.

  • And, he said I didn't even eat.

  • But it was so great to just talk with him.

  • It just felt like easy chemistry, flooding together.

  • It was like-- [making explosion sound]

  • - Solid, solid as a rock.

  • I learned later that he'd already hired two DPs.

  • One to shoot China, one to shoot in America.

  • But he offered me the job.

  • They originally said, you know,

  • would you do just America?

  • And I said I'd like to do the whole movie.

  • He agreed, I guess so he let both the other DPs go.

  • And that was the beginning of our relationship.

  • That kind of fight choreography, I'd never done before.

  • It was learning experience, obviously.

  • Now I'd watched a lot of these films that were shot,

  • and I'd watched what the master had done himself

  • with his work with choreography.

  • So I was well aware of what they might do but

  • once you start to see all the wire work happening,

  • it was awe-inspiring but also,

  • it just pushed you higher.

  • Like I got to reach their level.

  • I got to do better.

  • I got to create at a higher level.

  • And, and working with Quentin is like that as well.

  • Working with any great director is about

  • creating at a very high level.

  • The higher your level, the better it is.

  • I think I've been extraordinarily fortunate in my life

  • to have such magnificent directors.

  • I feel very, very fortunate.

  • [flamingo music]

  • - [Announcer] Tonight, he discovered her for this picture

  • and we think her platinum blond locks

  • and hot-jazz baby-doll style

  • are going to make her a big star.

  • [cameras flashing]

  • - I got a call to go to Beverley Hills,

  • and meet with Marty.

  • And I was with Joe Reidy, who I've talked about before,

  • as assistant director.

  • And I had this plan.

  • I pulled my hair out, put it down,

  • put, I took one of his white bath robes.

  • Put it around me.

  • I took kleenex and I put it between every toe,

  • as Howard Hughes did in his later life.

  • I hide in the darkness of the room.

  • And so, when Joe brought in Marty,

  • I was hiding in the spot.

  • And Marty says well where's Bob?

  • And I go, Marty, I'm over here!

  • And he turned towards me and I go,

  • if you need someone to play an old Howard Hughes,

  • I'm here.

  • Anyways, we worked and it was,

  • the script required so much preparation.

  • But you're working with some of the most

  • talented people in the business.

  • Dante is a brilliant production designer.

  • Yet, you're sitting in that situation where,

  • it's daunting but you're in a very high league of talent.

  • You're playing at the very highest level

  • and you need to provide the highest A-game you can.

  • And it was a huge reach for me.

  • Because of the sequences, the music, the colors.

  • The first time I actually,

  • when I finally when I started to say,

  • okay, Bob you need to go, you need to go.

  • And I was sitting next to Oprah.

  • I'd gotten two shots tequila.

  • And that was on top of many others that I'd had.

  • And I ran into Santana who was out there.

  • And I was like, oh f*cking Santana.

  • It's like I was so like,

  • I don't need to go back to the Oscars.

  • This is really where I want to go, this is rock and roll.

  • And I got back in and Oprah leaned over and said

  • where'd you go?

  • I said, I went out and got two drinks.

  • And she looked at me and she was like furious.

  • That's an insult to the Academy.

  • And I'm thinking, have you looked at the bar by the way?

  • That bar is full.

  • And it's full all the time, but you're absolutely right.

  • But then, I knew what I wanted to say.

  • So the the whole issue was,

  • my mother was in the hospital at that time.

  • And, they thought she was going to die.

  • And the nurses and the doctors said I'll take in

  • extreme care of her.

  • I had, I just knew what I was going to say,

  • which is I wanted dedicate with Oscar to the health-givers.

  • To the healthcare givers, and to the doctors.

  • Not only that are taking care of my mother

  • but to all.

  • And, so I wasn't afraid of having to say a speech.

  • I did the speech relatively easily in that one.

  • [cameras flashing] [chattering]

  • - This is just one of the letters--

  • [spitting]

  • [punching]

  • - What the--

  • Ah!

  • - Yah! O.B! [knocking on coach roof]

  • - Stop!

  • - [O.B] Whoa! Easy! Whoa [whinnying horses]

  • - We were going to shoot the film initially

  • in 35 mm anamorphic.

  • I was there looking at anamorphic lenses

  • and we brought her up to Dan Sasaki and Panavision.

  • And Dan was going through the lens,

  • we wanted to shift it a little bit.

  • I wanted an older flavor to it.

  • And while he was playing with the lens,

  • there was a curtain on both sides.

  • Cause he projected it onto a screen.

  • And I walked back into this room,

  • and there are these strange shaped lenses.

  • And we'd pick it up and I'd grab one, he'd grabs one.

  • We go out to Daniel.

  • Daniel, what are these?

  • And he goes "Whoa..."

  • [laughing]

  • And that's how we got to shooting in the format

  • we ended up with.

  • They hadn't been used in 50 years,

  • and one by one,

  • Panavision stuck with us.

  • We didn't tell Quentin.

  • If he knew that we could get anywhere near a centerama frame

  • he would have just exploded.

  • So I get tasked with him in regular 35 anamorphic.

  • And then we open the screen,

  • while he was there.

  • And we put up the next ones.

  • And you go--

  • and he's like

  • "Oh my god what is this?"

  • Said, we have these lenses Quentin.

  • We can't guarantee they'll all be ready in time but...

  • And it was remarkable, he was so, so happy.

  • And those lenses are now extremely, extremely hard to find.

  • Everyone's using them.

  • They're-- I can't get them.

  • I should be able to get them anytime I want.

  • Because you don't have to just shoot wide screen, 279.

  • You can shoot a small format and just use

  • the middle section of a lens.

  • That's very highly technical, who wants that?

  • That was a very difficult movie for me.

  • We were in Telluride on Superbowl Sunday.

  • Two friends asked me to going skiing

  • and I went with them.

  • And I went skiing before the game started.

  • And on about my third or fourth run,

  • I flipped, I hit a mogul and broke my back.

  • There were no doctors on duty that day,

  • cause they're all what-- you couldn't find a doctor.

  • So I went to work the next day,

  • not knowing what had happened.

  • Whether I'd maybe broken a rib.

  • I ended up going at lunch time

  • and they did X-rays and an MRI

  • and they said you have a broken back,

  • you have to stop working.

  • The phone rang almost instantly.

  • Quentin needs you back on the set now!

  • And I already knew I was going back.

  • Quentin didn't have to call me back.

  • I'm going to work with a broken back.

  • Just give me a brace, give me something.

  • Give me a small painkiller, give me something.

  • And I'll just go back and do it.

  • And I shot the movie in Telluride

  • and all through the sections we did.

  • Cause it rebuild it on a stage at Red Studio.

  • And then I shot in there with the same broken back.

  • That was complicated, cause I'd often by myself on the floor

  • or in a position that was extremely hard to accomplish.

  • The pain was so extraordinary,

  • I'd just would have tears coming out.

  • I wouldn't, if I was on a crane I had to do something

  • and it was bent,

  • I would sit there for as long as it took get the next take.

  • I was not going to let my body off.

  • I didn't move, I just, once I found that position,

  • even though it hurt, I'd just stay in it.

  • And I'd just look down at the Earth.

  • And then wait until the next take.

  • And then to the next take.

  • In Telluride, it was cold, in Telluride.

  • But it was bearable.

  • In the studio, it was the worst.

  • Because they had these giant trucks outside pumping in,

  • so it was always below freezing.

  • And then on top of that,

  • they pumped in water.

  • So that you'd get,

  • they found the perfect temperature and mixture

  • that would form breath out of the actors.

  • We would constantly attempt to sabotage the water.

  • God it killed us, God it killed us!

  • It's too cold, you know but.

  • We were always caught.

  • They would all go out to lunch.

  • And it'd be 90 degrees or 100 degrees in California.

  • And I would just go to a backroom and lie on a cold floor

  • so that my back would feel better.

  • It was hell.

  • - Aww, that stupid--

  • rip my goddamn arm off!

  • - Hey!

  • You're Rick fucking Dalton.

  • Don't you forget it.

  • [car engine revving]

  • - I get called up to go see Quentin,

  • and this usually happens.

  • Another film, Bob I want you to come up and read the script.

  • I said great, I went to his house.

  • We haven't seen each other in a while,

  • so usually we'll sit down, have a cocktail.

  • Usually it's a margarita.

  • And then he handed me the script.

  • And he handed me the script, in his living room.

  • On a small dining room table.

  • And he didn't leave the room.

  • I'm reading the script, and talk about daunting,

  • while he was daunting.

  • Daunting is standing in front of a writer

  • while I'm reading his script.

  • Now I'm making multiple notes.

  • Because I don't know this, I don't know that.

  • Who is this?

  • Cause a lot of it's about television music.

  • And I'm not-- he's so specific.

  • I'm just taking my time and you know,

  • it's a good four hour read.

  • And Quentin is in there doing a thing,

  • watching movies, doing whatever.

  • And I would catch him glancing at me just to see

  • whether I had a smile on my face

  • or didn't have a smile on my face.

  • And it was such a, such a brilliant script.

  • And I get to the end and I go,

  • oh, Quentin, where's the final act?

  • How's this movie end?

  • "I can't give that out.

  • You'll get that, later."

  • Later?

  • Why, I need to know what the ending is--

  • "No, you'll get that later".

  • And it wasn't until we started firmly production,

  • you got assigned to a room,

  • someone went to a safe, pulled the ending out,

  • brought it to you, you read it,

  • you had to go back, give it to the person

  • and they would put it in.

  • Total security.

  • I don't even know if they allowed me to have my bag

  • and my phone in there.

  • Quentin will often be right beside me.

  • If the camera's on a dolly, he wants to ride dolly.

  • When we're on a crane, the cranes aren't that capable

  • of carrying the two of us.

  • So it's usually me and he just has to

  • sort of trust that aspect.

  • But that's about the only time he looks at video,

  • is when he can't ride something or be there.

  • When Quentin's there,

  • they just turn the monitor towards him.

  • When people ask me what is the movie about,

  • I said it's about when your career gets to a certain level,

  • it begins to ebb down.

  • You know like, if you're Leo,

  • and then you find that the projects that are coming in

  • are not nearly as valuable as the previous projects,

  • then you see this sort of demise

  • and you begin to take, feel less about yourself.

  • I always felt that this is what this movies is

  • and that's how it relates to me.

  • Is like, are you at this point.

  • Are you at the point where you're not going to

  • get any good scripts anymore.

  • And you know, you never know, it could be.

  • When I look at my work,

  • I never thought about the future.

  • Because I was only thinking about the present.

  • You got to be moving forward, you're on the express.

  • And you're fortunate, you want to keep thing going.

  • That's what's important, is that we keep moving forward.

  • When you're on it, you're on a wave.

  • It's like surfing, when you get it,

  • you're just going hope that wave stays up there

  • for a substantial period of time.

  • Which is remarkable and I feel graced by that.

- It's the same way you choose this path of making movies.

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A2 初級

Cinematographer Robert Richardson Breaks Down His Career, from 'Kill Bill' to 'The Hateful Eight'

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    林宜悉 發佈於 2020 年 12 月 15 日
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