@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=i0NTyrbj…
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Robert Richardson, ASC Archives retweeted
RED Digital Cinema
@RED_Cinema12 Feb 2021
Award-winning Cinematographer Robert Richardson shot the latest star-studded @StateFarm commercial for Super Sunday on the #RANGER8K with #MONSTRO8K sensor. youtu.be/lvpq2OjmJvg
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A MUST-WATCH: Robert Richardson, ASC on the Restoration of SNOW FALLING ON CEDARS (Scott Hicks, 1999): youtube.com/watch?v=-aeIsk5F…
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Robert Richardson, ASC Archives retweeted
American Cinematographer@AmericanCine24 Sep 2020
#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
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WATCH: 22-minute interview with #cinematographer Robert Richardson, ASC on “The Hateful Eight" (Quentin Tarantino, 2015): youtube.com/watch?v=pVLtubra… #QuentinTarantino #RobertRichardson #TheHatefulEight
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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_conti…
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Robert Richardson, ASC Archives retweeted
American Cinematographer@AmericanCine9 Jul 2020
#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
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#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
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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
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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
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#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
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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
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#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
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#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
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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
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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
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#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
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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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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
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#Casino: "I admire the look of Oliver Stone's films. When Michael Ballhaus wasn't available to shoot ‘Cape Fear’, I met with #RobertRichardson, but I later decided to work with Freddie Francis because I wanted a more traditional look. 1/3 #MartinScorsese
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But I remember being very impressed with Bob because he sent me some photographs — fragmented, interesting pieces of images like faces and so forth — that he felt dealt with the subject matter of the film. 2/3 #MartinScorsese #RobertRichardson #Casino
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He wasn't trying to be literal in suggesting a specific look; he was trying more to convey a theory or a philosophy in terms of the way the film would look. I was impressed with somebody who would go into that sort of detail." 3/3 — Martin Scorsese #RobertRichardson #Casino
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