23
DP Robert Richardson takes a light
reading as Quentin Tarantino dis-
cusses the scene with Kurt Russell,
Jennifer Jason Leigh and Tim Roth
The work we do is more
about the filmmaking
than it is about the hard-
ware. The tools are ham-
mers and nails—what's
the music we're trying to
perform? I push on that a
lot. People will often call
me, explaining they're
doing a small project
and what's the best
microphone or recorder
to buy? I always suggest
that if you care about
getting sound that works
for your movie, get a
skilled, passionate prac-
titioner who is dedicat-
ed to nothing less than
getting you every bit of
sound you need for every
shot, every day. Because
the brain that's doing
that for you, like your
DP, has got a singular
and focused mission to
protect your project, to
be its best. It's not about
a piece of gear that's
inexpensive or smart or
can do a lot of things; it's
about the filmmaking. It's
about knowing what you
need to get out of it with
the best you
can. This
answer doesn't always
satisfy, but that's really
the right answer.
Mark working out
of the bag
The Hateful Eight slate
Mark Ulano working in the snow cat
Photos by Andrew Cooper SMPSP
© 2015 The Weinstein Company.
All Rights Reserved.
