Craft Leaders: Robert Richardson, Cinematographer

There are few more hot-bloodied or revered auteurs in the last thirty years of cinema than Oliver Stone, Martin Scorsese and Quentin Tarantino so it must take a cool head to be the eyes for them all.

“I will always put the director and the story first. That does not make producers overly happy but I don’t know another way,” says Robert Richardson, ASC.

His extraordinary career has seen him craft nine films with Stone, five with Scorsese and five for Tarantino and counting. He’s experimented with everything from digital 3D to an ultra-wide 70mm format, landed three Oscars including for JFK, The Aviator and Hugo, and is the DP to whom Robert De Niro, Ben Affleck and Andy Serkis turned to compose their directorial features (The Good Shepherd, Live By Night, Breathe).

“At the beginning I was raw - now I offer experience,” he says. “I believe I understand how to tell a story.”

With his latest film, A Private War, he has come full circle with his first film, Salvador. Based on events leading to the murder in Syria of venerated war correspondent Marie Colvin, A Private War is documentary filmmaker Matthew Heineman’s narrative debut. Salvador (1986) is a polemic of Reagan-era Central America conflicts through the lens of gonzo journalist Richard Boyle (James Woods). It still retains its venom.

The power of the story

“I do feel I’m returning to my roots on this project,” says Richardson of Heineman’s film. “The subject matter aligns quite remarkably [with Salvador]. Both are low budget and both are essentially documentary in style. Of course, I felt blessed to have been asked to make Salvador but now I have the choice.

“In this case, Marie Colvin was a monumental inspiration, her influence is incalculable. In addition, Matt’s clear willingness to make this film does not hold back on the truth – Syria, in particular, where genocide continues. He is an extremely focused and honest filmmaker which is rare. Very rare.”

It is the chance to…