Robert Richardson, ASC Archives @BobASCarchives
Robert Richardson, ASC has won the Academy Award for Best Cinematography three times, for his work on JFK, The Aviator, and Hugo. Joined December 2018-
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WATCH: Learn Cinematography from Robert Richardson, ASC — Working with Tarantino, Scorsese, and Oliver Stone : youtube.com/watch?v=i0NTyr…
Award-winning Cinematographer Robert Richardson shot the latest star-studded @StateFarm commercial for Super Sunday on the #RANGER8K with #MONSTRO8K sensor. youtu.be/lvpq2OjmJvg
A MUST-WATCH: Robert Richardson, ASC on the Restoration of SNOW FALLING ON CEDARS (Scott Hicks, 1999): youtube.com/watch?v=-aeIsk…
#Flashback: In this AC cover story from 1995, director Martin Scorsese recruits a crack production team — including Academy Award-winning cinematographer Robert Richardson, ASC — to help create his complex Las Vegas crime epic Casino. Full story: bit.ly/CasinoAC #TBT
WATCH: 22-minute interview with #cinematographer Robert Richardson, ASC on “The Hateful Eight" (Quentin Tarantino, 2015): youtube.com/watch?v=pVLtub… #QuentinTarantino #RobertRichardson #TheHatefulEight
WATCH: Cinematographer Robert Richardson, ASC takes us through his illustrious cinematography career, including films 'Salvador,' 'Platoon,' 'JFK,' 'Casino,' 'Kill Bill Volume 1,' 'The Aviator,' 'The Hateful Eight,' 'Once Upon a Time... in Hollywood.': youtube.com/watch?time_con…
#Flashback: In this archival article, Robert Richardson, ASC lends his keen grasp of aesthetics to Quentin Tarantino's Kill Bill Vol. I (2003), a genre-blending martial-arts extravaganza. Full story: bit.ly/ACKillBillVolI. #TBT
I prefer to stay away from anything that would help you see a difference between lenses unless it's deliberately sought after." 3/3 — Robert Richardson, ASC #RobertRichardson #Casino #MartinScorsese
Once I started using it as a primary lens, I preferred to stay within its quality range. When you start off with something, it's wise to stay with it, because the limitations or strengths of the particular lens you're using become relative throughout the picture. 2/3 #Casino
#Casino: "Using the Primos in Super 35 was strange for me, because I'm so accustomed to seeing the widescreen 2.35 format shot with either E- or C-series lenses in anamorphic. The 4:1 was really our workhorse lens; a good three-quarters of the picture was shot on that zoom. 1/3
To shoot anamorphic with a zoom was impossible at the lighting levels I wanted to work at — from 2.8 to 4." 2/2 — Robert Richardson, ASC #RobertRichardson #Casino #MartinScorsese
#Casino marked the first time that Robert Richardson had worked in Super 35: "The primary reason I didn't press to use anamorphic was that #MartinScorsese's shots often require adjustments on a zoom during the shot. 1/2 #RobertRichardson
#Casino: "#MartinScorsese's notes are voluminous and precise. His notations detail a shot-by-shot description of each sequence, and also include drawings which express an exact composition that he wants to replicate." — Robert Richardson, ASC #RobertRichardson #theASC
In any new relationship, you go through certain stages of communication, some successful and some not so successful. At the beginning of this project, I was extremely tentative in my suggestions, but I got a bit bolder as we went along." 3/3 — Robert Richardson, ASC #Casino
By forming a common grammar, we could expand on what we were doing. Knowing what #MartinScorsese liked or disliked about something allowed me to give him options visually that I might have been more reticent about had we not had those discussions. 2/3 #RobertRichardson #Casino
#Casino: "The Alton films we watched together were inspirational in many ways, especially in terms of the quality of the light. But they were primary inspirational because they helped the two of us develop a vocabulary and syntax. 1/3 #RobertRichardson
@robhrr Great! "Painting with Light" is a must-read. Since 1930, John Alton had been a contributor to International Photographer, so"Painting with light" was the fruition of both Alton's studio work and his journalism.
#Casino: "I first showed #RobertRichardson ‘T-Men’, a black-and-white film shot by John Alton. It's one of the quintessential film noirs, and certainly one of the best-photographed. Alton's photography on that film is the very essence of film noir. 1/3 #MartinScorsese
Alton was doing things like lighting through lampshades - in Technicolor IB! That was the kind of thing we were trying to go for on #Casino, but we were also dealing with the real look of Vegas itself, which altered our approach from time to time." 3/3 — Martin Scorsese
Bob and I also watched another film by Mann and Alton called ‘Raw Deal’, as well as a Technicolor IB print of an Allan Dwan film called ‘Slightly Scarlet’. It's kind of a gangster movie, and it was also shot by Alton. 2/3 #MartinScorsese #RobertRichardson #Casino
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