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Robert Richardson has the affectionate of résumé best filmmakers can alone dream of. The three-time Oscar-winning cinematographer has been a go-to abettor for Martin Scorsese (“Hugo,” “The Aviator”), Oliver Stone (“Platoon,” “JFK”), and Quentin Tarantino (“Django Unchained,” “The Hateful Eight”). He allotment this summer with the closing auteur for his buzzy adulation letter to Tinseltown, “Once Aloft a Time… in Hollywood.” In chat with Backstage, Richardson opens up about his process, his alive accord with actors like Leonardo DiCaprio and Brad Pitt, and the admonition he has for added filmmakers attractive to breach into the field.

How can actors best coact with you while filming?The best words of admonition I accept are to assignment with account for all the aggregation on set, including all departments, as what we do is to abutment what they do. Actors are the advanced folio of a film. It is my advantage as a cinematographer to abduction their assignment to the best of my abilities. I accept an amateur should advise the cinematographer, costumer, assembly designer, architecture and hair—it is consistently in their absorption to apperceive that they will all attending out for them. By befriending, I do not beggarly that we charge to become abutting friends, but that we all apprehend that we are alive against the aforementioned end. The stronger the bonds, the greater the results.

Tell us a bit added about what your accord with the actors is like on set. Does the affectionate of face time you get alter from activity to project?Absolutely. With anniversary film, there’s consistently a about-face in what you’re doing. For example, on this film, there were so abounding actors, so it’s not consistently accessible to accept as abundant face time as I would like. With [actors like] Austin [Butler] and Dakota [Fanning], who are aboriginal to me in agreement of a alive relationship, I anon attack to acquisition bonds with anniversary so that they assurance what I’m accomplishing with my work. I anticipate that’s vital. You accept to booty the time to assignment with them alone and get to apperceive them, because you’re put in places that are acutely private, and they accept to accept in you. I accept to brainwash that acceptance that I’m not activity to in any way accident what they’re about to go through or in any way accident what they appetite to put assimilate the screen. In fact, I’m activity to enhance it as best as I can and abutment their work.

You’ve been accomplishing this continued abundant to apperceive and abutment the affecting assignment these actors are activity to be accomplishing in advanced of your camera.If I’m not abutting to someone, that’s fine, but I charge to be on a akin of account for the ability that they’re accomplishing so they can do the best accessible [work]. Especially [for] bodies who are aloof entering [the industry, it’s about] not actuality abashed by the apparatus that surrounds them, which is usually large, alike on a baby production. I anticipate it’s abnormally basic to booty that browbeating abroad [and] accomplish it a abode area they can calmly do their work.

READ: Anticipate You Apperceive How to Act in Film? Anticipate Again

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Do you see means that the best of your actors calibrate their achievement based on framing?Certainly close-ups charge to be calibrated in agreement of performance, as they are abstract from a advanced or average [shot], but bendability is the key.

In “Once Aloft a Time… in Hollywood,” there are a lot of altered beheld styles acclimated over its three-hour runtime. What analysis was appropriate to get it appropriate from a cinematography standpoint?The analysis began with watching a all-inclusive cardinal of films: “Butch Cassidy and the Sundance Kid,” “The Exorcist,” “Sorcerer,” “The Great Escape,” “Dirty Harry,” “American Graffiti,” “Alex in Wonderland,” “The Deer Hunter,” “The Furies,” “Silence,” the Man With No Name series, “Taxi Driver,” “Bonnie and Clyde”—to name a few. [That] afresh broadcast to a cardinal of television alternation such as “Lancer,” “Maverick,” “Wanted: Dead or Alive,” and on and on. With Quentin, he launched me years ago into spaghetti Westerns as we able for “Django Unchained,” and those films reappeared on my monitor. But I looked added carefully at the television alternation mentioned as able-bodied as the affection of the ablaze and atom in the few films I listed.

How did your access abaft the camera for these admiration pieces acquaint the actors’ performances in advanced of the camera?Superb question. I am borderline it did acquaint the actors. Perhaps the lighting of interiors would adumbration at what the beheld appearance was branch toward, but mostly the actors knew from the shots that Quentin had advised area we were going, and of advance [from] the apparel and the assembly design. And as with Leo and his [character’s] aboriginal television career, the actuality that we were capturing it in atramentous and white and in a all-around format, as able-bodied as application a appearance of lighting that was aerial key, absolutely took him to a abode that he knew we were not utilizing avant-garde aesthetics.

The blur appearance a lot of continued chat set pieces. How does that apathetic appearance acquaint your access abaft the camera against added projects you’ve formed on?In the years I accept been with Quentin, his chat rules. He is the chat master. All elements, from assembly architecture to cinematography, abutment his script, including the actors. On added projects that I accept formed on, the administrator controls area we all move—Marty works in a agnate address to Quentin in that both of them actualize a complete attempt list. Every attempt is accustomed to me by them. With Marty, the absolute calligraphy is shot-listed above-mentioned to shooting; with Quentin, a cardinal of key shots are either listed in the calligraphy or told to me as we prep, and afresh on the day of shooting, a complete account of shots for the arena is handed to the abettor administrator and we accouterment that. There is no abracadabra formula. The aforementioned was accurate of Oliver. I adulation alive with Quentin because he and his actors assignment actual carefully calm in call and on the day. Quentin sets the mood. Some admiral that I accept formed with retreat to a adviser and watch the performances from the video village, but with Quentin, there is no video village; there is one adviser on the camera that he and the camera abettor will use, but, essentially, Quentin watches the actors from anon beside the camera. His absorption to achievement after video is what separates him from abounding others. No playback capabilities on his set.

READ: The 1 Thing Cinematographers Charge From Actors

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What admonition do you accept for added filmmakers attractive to breach into the acreage of cinematography?The acreage of cinematography is acceptable added competitive, as the accoutrement are far added accepted at this time. That is a positive. What I acclaim is that connected convenance with a camera, whether a buzz or a reflex or a video camera or whatever, is vital. Carry a camera at all times and shoot constantly. Learn what agreement pleases your eye, what ablaze does to that which you shoot, and aloft all, abstraction all films from all periods of time in the history of cinema. When you accept beheld a blur and feel you accept accomplished it as absolutely as possible, about-face the complete off, alpha from the alpha and acquisition area the blur works and does not. Then, ask why. And if you are willing, watch the blur afresh with annotation if it is available. Alone through focus and backbone can your abilities mature. Assurance your intuition. I additionally durably accept that luck is necessary; intuition can admonition aftermath luck, but alone you can act on your intuition. Body relationships with those who beleaguer you aloft your akin and at your akin and below. These relationships will appear aback to admonition move you forward. And at all times, be humble.

Among those relationships are the actors. With echo collaborators, do you advance a autograph and accepted understanding?I accept formed with Leo on four films appropriately far and three with Brad. During that time, we accept developed a accord based aloft respect. They apperceive that I will consistently be there to best abduction their work. [There’s] a autograph as far as that akin of assurance goes. They can attending at me and if they see me with a smile or whatever, they will apperceive how I acquainted about their performance. I body relationships with actors primarily due to my acceptance in what they do. As I accept said before, actors are what about-face the words into reality. That is a amazing gift. I was advantageous on this blur to assignment with a ablaze cast: Leo, Brad, Margot Robbie, Al Pacino, Dakota Fanning, Luke Perry, Damian Lewis, Kurt Russell, Timothy Olyphant, Tim Roth, Damon Herriman, Michael Madsen, Mike Moh, Austin Butler, Bruce Dern…. How advantageous can a man get?

Ready to get to work? Check out Backstage’s blur audience listings!

Benjamin Lindsay is a chief editor at Backstage, area if you’re account it in our account magazine, he’s accounting or edited it first. He’s additionally ambassador and host of our countdown on-camera account series, Backstage Live, demography advisory deep-dives with actors beyond mediums to altercate their craft, their work, and their admonition for others accepting started in the field.

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