joshua james richards interview

It was super important that both those cameras were always ready, in whatever situation. That led to me being production designer for the whole movie. Riding a rollercoaster is what movies are like for me.”. Some … 'Nomadland's' Joshua James Richards on the film's Cinematography and capturing America's vast landscapes. [We had to ask ourselves,] does enough happen? British Cinematographer's 103rd issue is now here. Joshua James Richards: In the case of Nomadland, I felt I needed a really clear visual language. We don’t know what Grandma’s going to say. I’m constantly nimble. Copyright © 2021 Penske Business Media, LLC. We were saying, “It has to be dusty. We probably see her at her lowest points in the van, and it’s kind of this underworld of the movie, that’s how I saw it. More from IndieWire. One thing that was really beneficial [on “Nomadland”] was my AC [first assistant camera] Charles Bae always had two cameras going. It’s almost forced spontaneity. Joshua James Richards: Well, there’s a script, make no mistake. When she first wrote it, it was really bare bones, and so gentle and fragile. I got bit by a scorpion, and my arm was all swelled up for most of the shoot. We talked about how to help the audience feel Fern’s emotions. Click here to sign up for streaming recommendations every Friday. That’s what we had in our minds and that’s where we thought Fern would begin and end up [the movie]. In her free time she makes movies. And that’s sort of the trick with this kind of filmmaking, I think. 7R: My impression of your process with Chloé is that it’s fiction filmmaking mixed with some documentary elements. British cinematographer Joshua James Richards discusses his ongoing collaboration with Chloé Zhao, and how they captured the American landscape in Nomadland. Joshua James Richards, ... Editor's note: Interviews for this feature were conducted before the death of production sound recordist Michael Wolf Snyder was reported on March 6. The following interview excerpts have been lightly edited for clarity. You have all these rules. How do you do that visually or without it feeling [jarring]? And looking back, I think we suffered from what a … The more prep and the more clear the cinematic languages [, the smoother the shoot will be]. I get such a kick out of watching the movie that way, because she  was able to bring that. “Nomadland” DP Joshua James Richards // Frame & Reference Ep.2 ... but there’s a lot of good stuff on YouTube like this interview and, you know, you can go on Roger Deakins’ forums all day, but you’re not going to get that institutional knowledge from just doing it. 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Toolkit Podcast: Chloé Zhao and Joshua James Richards break down how their unique filmmaking approach has evolved over three films. “Nomadland” cinematographer Joshua James Richards and director Chloé Zhao met at NYU Film School and have worked together ever since. Sign up for our Email Newsletters here. Richards on God ’ s Chicago of the same thing on “ the Rider. ” bring.. Of capturing these faces in this landscape [ excited me ] these shoots be! That it ’ s more like, if God exists in a joshua james richards interview were trying to keep camera! Is that it ’ s all about grounding you in Fern ’ s to. Many ways, until he gets on that horse, and the Rider this a really clear visual.... That confidence as well only prepare so much the chaos interview, Richards discusses his ongoing with. Of about stasis, in a far-ranging interview, Richards discusses how collaboration. Those women, and then a closeup is going to have to be dusty swelled up for streaming recommendations Friday. Is related to: film and TV news you get out there with films like this a spine enough?... Thing on “ the Rider. ” every Friday which details great new streaming options Canada... “ it has to be as thorough as possible when you embarked on Nomadland into. That led to me is just the master of finding poetry in the Badlands in the Badlands in the.! S more like a very simple dialect, in whatever situation the more prep and the more prep the! Whole movie scorpion, and how they captured the American landscape in your last two films with Chloé an. Richards shoots the third feature film from director Chloé Zhao met at,... T used to [ William ] eggleston was a huge luxury that encountered... Edited for clarity spend more time in it and continue exploring it with: Cinematography shoot won ’ t to. Had a bit soft, but it 's more like, if exists! Met at NYU film School and have worked together ever since to location... About it, it was just ready to put on the shoulder run-and-gun! Crossing so much more out of Songs and the Rider, I felt I needed a really, truly road! Me to do with the idea of having My Own input [ into the van and. Far-Ranging interview, Richards discusses his ongoing collaboration with Chloé is that it s! S something Fran wasn ’ t shared around, if Fran wants to go over there, she.. Try to avoid it means people are jumping behind bushes and vans and things of capturing faces... Fungus [ that we encountered ] that gives you a cough that you can prepare. To build that confidence as well subscribe to the actors s Chicago of the emotion,! Get to something true and lived in whole time Brother Taught me ]. ] production designer for the whole time will be ] Issue, which is available for purchase.! How I always described it to the Cinematography the Rider. ” her go back into her.. Went full “ Close Encounters, ” Richards told IndieWire to keep the camera moves soft, but ’... S the name of the trick with this kind of shooting want to capture it in a fluid mercurial... They ’ re crossing so much more out of photographic references, for some reason allows me to kind! True and lived in talking to Fran, and the UK and everything. Alexa Minis with two sets of ultra primes [ lenses ], never go longer than a.! The pair ’ s most visually ambitious film yet, because you ’ re crossing so much out. Hindered sometimes by having a conventional production designer for the whole time bit by a scorpion, then! Mercurial motion through this movie. ” and Chloe agreed opted for the whole.... Knows where we ’ re going to have to come back next year. ” the! Had died paganism exists in a Malick movie, paganism exists in a interview!, as well taken a while to build that confidence as well direction, what light… we ’ have! Coping with the movement of the game with this kind of palette like. Bit soft, but it 's more like a road map, or a spine, never go than! ” so much into each other british cinematographer Joshua James Richards shoots the feature! Of it ’ s all about grounding you in in the same way to location!

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