{"id":126,"date":"2026-07-05T12:48:03","date_gmt":"2026-07-05T07:48:03","guid":{"rendered":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/?p=126"},"modified":"2026-07-05T12:48:03","modified_gmt":"2026-07-05T07:48:03","slug":"the-three-time-oscar-winner-looks-back","status":"publish","type":"post","link":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/?p=126","title":{"rendered":"The Three-Time Oscar Winner Looks Back"},"content":{"rendered":"<p><script>\r\n  atOptions = {\r\n    'key' : '644b717812d811d6a1c1fc5b6ccd6fa6',\r\n    'format' : 'iframe',\r\n    'height' : 90,\r\n    'width' : 728,\r\n    'params' : {}\r\n  };\r\n<\/script>\r\n<script src=\"https:\/\/www.highperformanceformat.com\/644b717812d811d6a1c1fc5b6ccd6fa6\/invoke.js\"><\/script>\r\n<br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<a href=\"https:\/\/deadline.com\/tag\/robert-richardson\/\" id=\"auto-tag_robert-richardson\" data-tag=\"robert-richardson\">Robert Richardson<\/a>, christened \u201cBig Bad Bob\u201d by Brad Pitt, took time of his insanely busy schedule to spend his July 4 weekend in the Czech Republic. The occasion was the world premiere of <em><a href=\"https:\/\/deadline.com\/tag\/robert-richardson-the-white-devil\/\" id=\"auto-tag_robert-richardson-the-white-devil\" data-tag=\"robert-richardson-the-white-devil\">Robert Richardson: The White Devil<\/a><\/em>, an eye-opening documentary directed by Czech filmmaker Jana Hojdov\u00e1. The film began life as a student project in 2016, with Hojdov\u00e1 writing a letter on spec, not expecting a reply. But not only did Richardson reply, he invited the director to visit him in the States \u2014 little realizing that the imminent COVID epidemic meant that his houseguest would be staying a <em>lot<\/em> longer than expected.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\tThe result of this collaboration is a candid, warts-and-all depiction of one of the most respected cinematographers in the business, with ten Oscar nominations and three wins for his work with American auteurs such as <a href=\"https:\/\/deadline.com\/tag\/oliver-stone\/\" id=\"auto-tag_oliver-stone\" data-tag=\"oliver-stone\">Oliver Stone<\/a>, <a href=\"https:\/\/deadline.com\/tag\/quentin-tarantino\/\" id=\"auto-tag_quentin-tarantino\" data-tag=\"quentin-tarantino\">Quentin Tarantino<\/a> and <a href=\"https:\/\/deadline.com\/tag\/martin-scorsese\/\" id=\"auto-tag_martin-scorsese\" data-tag=\"martin-scorsese\">Martin Scorsese<\/a> (who \u2014 surprisingly \u2014 turned Richardson down for <em>Cape Fear<\/em>, saying, \u201cI\u2019m thinking I need somebody that\u2019s more old school\u201d). Now 70, Richardson has mellowed with age \u2014 assuming some of the more brutal anecdotes about his tendency to fire at will are true \u2014 but he retains the edge that separates him from his contemporaries. As Tarantino puts it in the movie, \u201cThere\u2019s Bob Richardson and there\u2019s everybody else.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: Do you think this film would have existed without COVID?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>ROBERT RICHARDSON:<\/strong> It wouldn\u2019t have been the same if COVID hadn\u2019t happened. There\u2019s no way. No, not possible, because I wouldn\u2019t have had the time. [Laughs.] She wouldn\u2019t have the time to force me into what she did.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: There\u2019s a real energy to the film, which is not so much about you wishing she wasn\u2019t <\/strong><strong>there but<\/strong><strong> just wishing she\u2019d go. But, at the same time, you seem to know that there\u2019s a kind of magic coming out of <\/strong><strong>these<\/strong><strong> interview<\/strong><strong>s\u2026<\/strong><strong\/><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> It\u2019s interesting because I knew I was going to be there with her once it became clear she couldn\u2019t fly home. And then it was just a matter of having to learn to accept what the length of that time was going to be. I literally say, \u201cIf lockdown goes too long, someone\u2019s going to come down and take my home away. It\u2019s over. Just I\u2019m not going to be able to afford it.\u201d And with her, she would not stop! Every f*cking day, it would be something new. It was like I didn\u2019t want to get up sometimes, but I had no place to escape to. You could walk to the beach, but you couldn\u2019t really get in the car and go out. If you did, you\u2019d just go out and drive around. You couldn\u2019t get out of the car. You\u2019ve got to put a mask on if you want to grab groceries, and you come straight back.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\tBut I\u2019m grateful to her, she found everything, all the archives and all the things that had been boxed away. Some destroyed, some not, photographic albums from when I was a kid. And as a result of that, it was actually to my great benefit because it\u2019s great for my family. So, in that, I saw a positive, and I also enjoyed some of the technical elements, like, \u201cAlright, let\u2019s buy a 16mm projector. Let\u2019s put this up on the screen. Let\u2019s see what this reel of film looks like, because we just don\u2019t know.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: So,<\/strong><strong> you couldn\u2019t help but interfere?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> What else am I going to do? [Laughs.] I would buy different projectors, Super 8 projectors, and have them shipped in. Some would be bad. They wouldn\u2019t even have bulbs. But at least we got through a lot of material, and then we even found ways to be able to project some of the videos and find old different format cameras to put, because I didn\u2019t have those cameras anymore. They\u2019re all defunct. I have probably 60 different cameras, but none of them are working, and I don\u2019t have all the parts for them. You don\u2019t have the batteries, you don\u2019t have this, you don\u2019t have that. You don\u2019t have the cables. And so, we found all those things and she just was tenacious about it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>It\u2019s only been 40 years since <em>Platoon<\/em>, and yet the technology has changed so much. But you seem to be on top of it.<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> It\u2019s what I like to do. I don\u2019t see it as any reason not to think what the next step\u2019s going to be. I remember when producers said, \u201cWell, we now have a fast stock. It\u2019s 500 [ISO]. You\u2019re going to need less lights.\u201d Well, now you have a camera that\u2019s 6,000. I\u2019d be like, \u201cOK, so are you just saying that we don\u2019t need to light anymore?\u201d And the producers would say, \u201cYeah, that\u2019s actually what we\u2019re saying.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>And you\u2019re fine with that?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> No! But sometimes you need to subtract, to learn how to get rid of light, not add it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>Your story\u2019s very rock and roll, if you don\u2019t mind me saying. Anybody who can take six tabs of acid at one time is pretty hardcore. Is that something you\u2019d recommend?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> [Laughs] No, I <em>don\u2019t<\/em> recommend that. I think it\u2019s for the very limited few. And it has to be a young brain that can absorb basically having issues for the rest of your life. I never went hard. I did coke, but I didn\u2019t do anything else. No interest. But [acid] made me see things differently.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>It\u2019s a very creative drug. You don\u2019t really become a slave to it.<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> No, you can sit on a grass and suddenly the grass is the universe. Which is when we were scouting for <em>The Doors<\/em>, I ate mushrooms for the tripping sequence. Oliver was completely straight that whole time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>For that movie?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> No, on that scout. But I wasn\u2019t. And it helped me to see. But shooting is different. When I\u2019m shooting. I don\u2019t play around.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>How would you describe your relationship with Oliver Stone? It\u2019s hard to know where your work starts and his work ends\u2026<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> You remember the scene in <em>The Doors<\/em>? It\u2019s outside the Whisky A Go Go [in LA] \u2014 Jim Morrison jumps up [onto a parked car], and the stars move. That\u2019s pure Oliver. That\u2019s not a shot where I said, \u201cLet\u2019s go shoot that shot.\u201d I did things like help him with timelapse, for example. But Oliver\u2019s work is inspirational. Look at <em>JFK<\/em>. It\u2019s like those are words put up on a screen that have been transported to a visual medium. But it\u2019s also very, very, very dependent upon the words that are being spoken, and the way he lets the situations play out. He allowed a lot of things to take place in that movie.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>You\u2019re very physical with the medium of film. Obviously, you had to be physical with celluloid, but it does seem that you are always thinking about the language of technology and also the language of cinema<\/strong><strong>,<\/strong><strong> and<\/strong><strong> that<\/strong><strong> you\u2019re always trying to find a way to put the two together. Am I just imagining that?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> No, no, that\u2019s it. If you look at <em>Natural Born Killers<\/em>\u2026 [Pauses.] Oliver and I were in different spaces on <em>Natural Born Killers<\/em>.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>In what way?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> Well, my wife almost died giving birth to our second child and then his wife told my wife that Oliver had said, \u201cWell if she dies, he\u2019ll have no problem getting another wife.\u201d And it did <em>not<\/em> go over. I was scouting in New Mexico, and she called and said, \u201cI talked to Elizabeth, and I want you off that movie when you come back. You\u2019re not making it or I\u2019m going to divorce you.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>Is that the last film you made with him?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> No, I did <em>U-Turn<\/em>. But I made the movie with him and I said, essentially, \u201cAlright, well, if that\u2019s how she feels, that\u2019s the end. I\u2019m sticking with this one.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>Has a movie shoot ever been too crazy for you?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> <em>Natural Born Killers<\/em> was too crazy. That one went over the edge.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>Can you say why without libeling anybody?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> I think you can hear it in the interviews. Like, Woody Harrelson goes, \u201cI don\u2019t know [what happened].\u201d Robert Downey says, \u201cIt\u2019s like, what illicit substance was <em>not<\/em> [taken]?\u201d You just look at the film and you can <em>feel<\/em> it. Also, when I decided I would make it with him, I told him that I didn\u2019t like the script. And he said, \u201cWell, if you make it, you can do anything you want in support of the script. But when you make it, you have to make it with the same level of passion you would any of my other scripts.\u201d So that\u2019s why you see so much rear projection, and blood, and all those things that start to happen. And it <em>is<\/em> a pretty genre-bending movie.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: Did Quentin ever<\/strong><strong> hold it against you that you did <em>Natural Born Killers<\/em><\/strong><strong>? D<\/strong><strong>o you ever discuss it?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> No, we don\u2019t discuss it. It just doesn\u2019t come up. Don [Murphy] and he, they sold the script to Oliver, and Quentin wishes it hadn\u2019t been that way, but there was nothing he could do about it because he sold it. He\u2019s never watched the movie. It\u2019s so not him. A lot of the elements that are in <em>Kill Bill<\/em> \u2014 the animation and all that \u2014 are all in this film. But, no, it\u2019s not him.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: D<\/strong><strong>id you discuss that when you started preparing for <em>Kill Bill<\/em>? <\/strong><strong\/><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> No, never. I don\u2019t bring up any movie before shooting. I mean, for that movie, we watched a lot of films. I\u2019ve seen a lot of anime and things like that, so I was very interested to see what he was going to do, and it\u2019s brilliant what he did too. <em>Kill Bill<\/em> is a masterpiece.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: And<\/strong><strong> <em>The Whole Bloody Affair<\/em><\/strong><strong>?<\/strong><strong\/><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> I liked seeing [The House of Blue Leaves scene] back in color. I was a little upset when the black-and-white came in, but it was the only way he wasn\u2019t not going to get an NC17, or whatever it was at that time. It\u2019s so much fun. That\u2019s the way Quentin is. I think all his films have done the same thing one way or another.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>There\u2019s an interesting <\/strong><strong>moment towards the end of the documentary<\/strong><strong> where Quentin says he wouldn\u2019t have worked with you again if you<\/strong><strong> hadn\u2019t changed your attitude<\/strong><strong>. What changed?<\/strong><strong\/><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> I don\u2019t even know what happened. [Laughs.] I don\u2019t know what he\u2019s talking about. Who knows if I was [a nightmare]? But that\u2019s a crew that I worked with for 30 years and I\u2019m right now shooting with the key grip and the gaffer, so\u2026 Sorry, folks!<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: T<\/strong><strong>here\u2019s a misunderstanding <\/strong><strong>about Tarantino, because people think the personality he projects to the media is the one he brings to set. But he\u2019<\/strong><strong>s not a mercurial character on set<\/strong><strong>, he\u2019s very collaborative<\/strong><strong>. <\/strong><strong>Although <\/strong><strong>I\u2019m sure<\/strong><strong> there are times\u2026<\/strong><strong\/><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> Initially when we were making [<em>Kill Bill<\/em>], there were [a few incidents] because he was falling behind. I said to the guys like, \u201cSee yourself on the beach. You\u2019re grass, and the wind\u2019s coming. Just bend. Let it go right through you.\u201d But generally, he was always really great. And the more he worked with the crew \u2014 like when we did each of the films after \u2014 he was brilliant, because he fell in love with the crews that we were working with, and they became close friends of his. And also, he had more trust in me as we went along in <em>Kill Bill<\/em>, and that shifted us because initially he was, \u201cI want my own camera operator.\u201d I said, \u201cNo, I want to operate. That\u2019s a deal-breaker, because I want to be next to you and I want to look at the actors with you. I want that because that\u2019s going to be us and how we talk.\u201d So, we formed a very tight bond.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>When did the crane become your signature?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> Well, now it\u2019s gone more and more remote, because more and more people can\u2019t handle the crane. Y\u2019know, it\u2019s a cumbersome animal to build, and to weigh in, and it doesn\u2019t have the same flexibility that you get with a 50-foot techno or something with a remote head on it. So, you can get more out of it, but for <em>O<\/em><em>nce <\/em><em>U<\/em><em>pon a <\/em><em>T<\/em><em>ime<\/em><em>\u2026<\/em> he said, \u201cLet\u2019s not use that.\u201d I said, \u201cOK, no problem.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>Is there any news on what\u2019s going to happen with <\/strong><strong><em>O<\/em><\/strong><strong><em>nce <\/em><\/strong><strong><em>U<\/em><\/strong><strong><em>pon a <\/em><\/strong><strong><em>T<\/em><\/strong><strong><em>ime<\/em><\/strong><strong><em>\u2026<\/em><\/strong><strong>? <\/strong><strong>\u00a0<\/strong><strong>There was so much shot for that movie that didn\u2019t make the final edit. Have y<\/strong><strong>ou ever heard whether there\u2019s going to be a long<\/strong><strong>er<\/strong><strong> version?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> You have to anticipate that. I would think you\u2019d be a fool not to think there\u2019ll be something that\u2019s longer. I think as time moves on, he\u2019ll go back and redo films. Look how many versions <em>Reservoir Dogs<\/em> came out in, and I think that you\u2019re going to see more versions of <em>O<\/em><em>nce <\/em><em>U<\/em><em>pon a <\/em><em>T<\/em><em>ime<\/em><em>\u2026<\/em> once David Fincher\u2019s film comes out.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: Tarantino<\/strong><strong> keeps tantalizing us with <\/strong><strong>his<\/strong><strong> 10th movie<\/strong><strong>. D<\/strong><strong>o you ever speak to him about <\/strong><strong>that?<\/strong><strong\/><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> No, nobody know what he\u2019s going to do. We know that he\u2019s going to finish [his play], so he\u2019s not going to shoot till after that. So, there\u2019s a possibility sometime next summer. I have no idea what it is, but he won\u2019t be walking down the same path he\u2019s currently walking. I don\u2019t know what he\u2019ll do.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: Were you going to do <em>The Movie Critic<\/em> with him?<\/strong><strong\/><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> Yeah, I was. Actually, I was going to make <em>Michael<\/em> [with Antoine Fuqua]. And it was a different version. I scouted it. I was hired, and then Quentin called me. He said, \u201cI\u2019m going to make this film, and I want you to make it because it\u2019s my last movie, <em>The Movie Critic<\/em>. Can you talk to Antoine and ask if he\u2019ll let you go, so that you can finish my last film?\u201d I called Antoine, and Antoine didn\u2019t even hesitate. He said, \u201cAbsolutely. You two should finish together.\u201d He went on and hired another DP, and then Quentin dropped out. He called me and said, \u201cI\u2019m going to change the script. It\u2019s going to be another script.\u201d And then he started prepping that film and it got out of whack and it went away.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: So,<\/strong><strong> to bring us up to date, what are you working at the moment?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> I just did <em>Madden<\/em>, with David O. Russell, and I was going to make <em>Hannibal<\/em> with Antoine and Denzel Washington for Netflix \u2014 Hannibal Barca being the general in Carthage \u2014 but it fell through just two weeks ago. I was on it for 10 or 12 weeks.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: <\/strong><strong>How would you describe David O. Russell?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> [Laughs.] Seriously brilliant, but he\u2019s got a side of him that is highly unpredictable!<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>DEADLINE: In a sentence,<\/strong><strong> what can you say about the new film that he\u2019s made and your work on it?<\/strong><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto     \">\n\t<strong>RICHARDSON:<\/strong> I\u2019m unsure what my work\u2019s going to be like because I haven\u2019t seen it. I haven\u2019t seen a cut. I was disappointed in my work when I was doing it. We were working so fast, and we had so many pages of script, so I\u2019m not yet sure whether I\u2019m going to be happy with my work. What I want to be is happy with <em>his<\/em> work. If <em>his<\/em> work\u2019s good, mine\u2019s good.<\/p>\n<\/div>\n<script async=\"async\" data-cfasync=\"false\" src=\"https:\/\/pl30214220.effectivecpmnetwork.com\/9ab3d4df8a7e1a6171e16ddbf732cc19\/invoke.js\"><\/script>\r\n<div id=\"container-9ab3d4df8a7e1a6171e16ddbf732cc19\"><\/div>\r\n\n","protected":false},"excerpt":{"rendered":"<p>Robert Richardson, christened \u201cBig Bad Bob\u201d by Brad Pitt, took time of his insanely busy schedule to spend his July 4 weekend in the Czech Republic. The occasion was the world premiere of Robert Richardson: The White Devil, an eye-opening documentary directed by Czech filmmaker Jana Hojdov\u00e1. The film began life as a student project&#8230;<\/p>\n","protected":false},"author":1,"featured_media":127,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/deadline.com\/wp-content\/uploads\/2026\/07\/robert-richardson-the-white-devil.jpg?w=1024","fifu_image_alt":"","footnotes":""},"categories":[6],"tags":[],"class_list":["post-126","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pics-news"],"brizy_media":[],"_links":{"self":[{"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/posts\/126","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=126"}],"version-history":[{"count":0,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/posts\/126\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=\/wp\/v2\/media\/127"}],"wp:attachment":[{"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=126"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=126"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/usnews-14267fa.ingress-comporellon.ewp.live\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=126"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}