Dubbed “Big Bad Bob” by none other than Brad Pitt, Robert Richardson managed to carve out some time from his packed schedule to visit the Czech Republic over the July 4 weekend. This visit was for the global debut of the documentary Robert Richardson: The White Devil, directed by Czech filmmaker Jana Hojdová. This project started back in 2016 as a student endeavor when Hojdová unexpectedly sent Richardson a letter, not expecting any response. Surprisingly, Richardson not only responded but also invited her to the U.S. This initial invitation led to an extended stay due to the unforeseen COVID pandemic.
This partnership resulted in a revealing, no-holds-barred portrait of one of the film industry’s most esteemed cinematographers, who boasts three Oscar wins from ten nominations, achieved through his work with notable directors like Oliver Stone, Quentin Tarantino, and Martin Scorsese. Interestingly, Scorsese once rejected Richardson for Cape Fear, preferring a more traditional cinematographer, saying, “I’m thinking I need somebody that’s more old school.” Now at 70, Richardson appears to have softened somewhat—if the intense stories about his earlier combative nature are true—yet he maintains the distinctive sharpness that sets him apart in the industry. Tarantino describes him in the film saying, “There’s Bob Richardson and there’s everybody else.”
DEADLINE: Would this documentary have come to life without the pandemic?
ROBERT RICHARDSON: Absolutely not. Without the pandemic, the time constraints would have been too much. [Laughs.] It forced a situation that otherwise would not have happened.
DEADLINE: The film has a unique energy, seemingly not just from your wish for her departure, but also from the unexpected magic in those interviews…
RICHARDSON: It’s fascinating because once it was clear she couldn’t return home, I had to adjust to the extended stay. There were moments I felt overwhelmed, thinking, “If this lockdown prolongs, I might lose my house. It’s over. I just can’t afford it.” And she was relentless, pushing every day which was exhausting, but it led to unexpected discoveries.
Despite the challenges, I’m thankful. She unearthed everything—old archived materials, some ruined, others intact, even childhood photo albums. This deep dive into the past proved to be a great benefit not just for me but for my family too. It also allowed us to indulge in some tech nostalgia, like setting up a 16mm projector to see what we’d find on old film reels.
DEADLINE: So, you found yourself getting actively involved?
RICHARDSON: What else could I do? [Laughs.] I ended up buying several projectors, including Super 8 models, some of which didn’t even work properly. But this process allowed us to sift through a large amount of material, discovering old cameras and finding ways to bring them back to life, despite missing parts.
DEADLINE: It’s been 40 years since Platoon, and technology has evolved significantly. Yet, you seem quite adept with the latest changes.
RICHARDSON: I enjoy keeping up with technological advancements. I recall when producers would tell me about new film stocks that required less lighting. Now, cameras are so sensitive that producers sometimes suggest we might not need any additional lighting at all.
DEADLINE: And you’re okay with this shift?
RICHARDSON: Not entirely! It’s about learning to work with less sometimes, not just adding more light.
DEADLINE: Your career has had its wild moments. Would you recommend extreme experiences like taking six tabs of acid?
RICHARDSON: [Laughs] Definitely not. That’s for the very few, and really, only for the resilience of a young mind. I’ve experimented lightly with substances like cocaine but nothing beyond that. However, acid did open up a new way of seeing things for me.
DEADLINE: Acid is known to enhance creativity without creating dependency, right?
RICHARDSON: Exactly, it can make the grass seem like the universe. That perspective was actually helpful when we were preparing for The Doors film; I used mushrooms to understand the visuals for a tripping sequence while Oliver Stone remained sober.
DEADLINE: Can you separate where your creative input ends and Oliver Stone’s begins?
RICHARDSON: It’s a true collaboration. Take the scene outside the Whisky A Go Go in The Doors—that was all Oliver. I contribute with technical support like time-lapse photography, but his vision is what drives the final outcome.
DEADLINE: You seem very engaged with both the technological and artistic sides of filmmaking. Is that a fair assessment?
RICHARDSON: Absolutely. If you look at Natural Born Killers, you’ll see how Oliver and I were in different places creatively. The experience was intense, and it almost led to personal upheaval when my wife threatened to leave if I continued on the project after hearing hurtful comments from Oliver’s camp.
DEADLINE: So what are you working on now?
RICHARDSON: I recently wrapped up Madden with David O. Russell and was set to start Hannibal with Antoine Fuqua and Denzel Washington for Netflix, but unfortunately, that project just fell through. Now, I’m looking forward to my next venture.
DEADLINE: Finally, how would you describe working with David O. Russell?
RICHARDSON: He’s undeniably talented but can be quite unpredictable. It’s always an adventure.
DEADLINE: What’s your take on the upcoming film?
RICHARDSON: It’s hard to say until I see the final cut. We moved quickly during filming, and while I have some reservations about my own work, I’m hopeful it complements David’s vision effectively.
Daniel Hayes is a business journalist with a focus on market trends, startups, and corporate strategies.
His sharp analysis and investigative reports make complex financial topics accessible to all readers.
