Interview: Robert Richardson on working with Leonardo DiCaprio and Brad Pitt for #OnceUponATimeinHollywood --> https://t.co/Hfz4zYJM3p! pic.twitter.com/BBoA6DaDEl

— Collider (@Collider) November 26, 2018

That’s funny. I don’t want to take up too much of your time, but I can’t wait for Once Upon a Time in Hollywood. I was just curious how that shoot’s been going, and how it might differ from your previous collaborations with Quentin.
RICHARDSON: It’s a very close relationship right now, we’ve been through numerous films. I think it’s going to be, no jinx, but I think it’s going to be a fantastic film. It’s something extremely unusual and rare, it’s been going very well. It’s tumultuous of course, there are harder days than others, even when you have more days. I’m on day 89 right now, so when you think that you’re day 89, almost 100 days, and I just finished a film in 36 or 37 or whatever it was. It feels as if it’s supposedly luxurious, but you find it is not quite as luxurious as you would anticipate.

Also the caliber of talent on screen, that cast is just insane.
RICHARDSON: Insane, it’s beautiful. To work with Leo together with Brad …

Is it exciting to frame up a shot with two movie stars as huge as Leo and Brad in the same frame?
RICHARDSON: Yeah! It’s Butch Cassidy and the Sundance Kid, contemporary versions. These are two massive stars, and talented, and Margot [Robbie] is also phenomenal and wonderful to be around. There’s a number of people that you’ll see within the film that haven’t had as much exposure, that are remarkable. We’ve got Dakota Fanning in the movie, and she is—man is she a powerhouse. It’s a great cast.

What’s the tone of it, because it seems like a really big piece that’s taking on a lot.
RICHARDSON: It does, and I think the tone of it is difficult to describe, because it’s very fresh. It oscillates between humorous, serious, spooky; it’s playful, it’s not easily describable, but it’s very, very Quentin. Of course Al Pacino was in it, you’ve got remarkable monologues, but you also have remarkable small set pieces. It’s going to be a tremendously unique film.

That’s great. You guys shot on 70 mm for Hateful Eight, is there anything special in store for audiences on this one, cinematography-wise?
RICHARDSON: Not in terms of lensing, we’re doing anamorphic 35, but we didn’t trespass into the 70mm realm for financial reasons principally. The budget, there are a hundred sets or something, so they needed to cut back somewhere, and the added cost of 70 is quite remarkable. And it also has tremendous limitations, like no zooms. And Quentin wanted zooms in the film, so it required us to go to the 35 anamorphic.