or the lighting's doing as much as I
probably had done in the past. That's
the path I'm taking.
S&P: What led you to pursue this
effortless approach to cinematography, and how did this influence your work on Once Upon a
Time… in Hollywood?
RR: I think that I locked into this
effortless element after I had done
World War Z, which was a complicated film for me professionally. I
made a series of films like Breathe
with Andy Serkis and also A Private
War and Adrift. Particularly with A
Private War, I realized that I didn't
want to light; I wanted to go another place where my work was not
present. And within this film I told
Quentin, let's just make a great film.
Let's step up, not drive ourselves
operatically, and let's just make
the most brilliant film we can and
try to do it as natural as possible.
Quentin is a master of cinema and
his language is extensive, and neither one of us want to abandon that.
We love that aspect, but I did not
want to drive backwards in time to
a space in which I felt did not fit in
terms of cinematography, which I've
been profoundly a part of. I wanted
to make a film that fit his language
without drawing attention away
from the words.
S&P: Were you able to accomplish this so effectively because
of your ongoing working relationship with Quentin?
RR: My relationship with Quentin
certainly was a large aspect of that,
but also my relationship with my
crew. I've worked with this crew for
20-odd years. It's a silent language.
And then it's also how you deal with
actors. I've worked with Brad and
Leo numerous times in other films
and there is a level of respect that
we all have for each other, and that
respect rebounds out of it. There's a
movement which is heart and cre-
ative. You have emotion, you have
creativity. And I try always to sup-
port actors in what they're perform-
ing, how they perform, to give them Cliff Booth (Brad Pitt) relaxes in the driver's seat
DP Robert Richardson captures a shot of Margot Robbie on location