The highly anticipated opus from director Quentin Tarantino
doesn’t disappoint. It’s a typically outrageous conglomeration of comedy and
shock laced with pop culture references to cult B movie film and TV shows,
replete with a soundtrack of 1970s hits.
The all-star cast for Once Upon A Time in...Hollywood is
headed by Leonardo DiCaprio and Brad Pitt playing a TV actor and stuntman,
respectively, who cross paths with the Charles Manson cult.
The director’s longtime cinematographer Robert Richardson,
ASC returns behind the camera, having lensed every Tarantino picture
since Kill Bill (Vols 1 and 2), to shoot 1969 Los Angeles in primary
colors of sky blue and sunset gold. Richardson returned to Panavision in
Woodland Hills, the same facility where the filmmakers collaborated on the
groundbreaking large-format release of The Hateful Eight (2015) as
well as Django Unchained (2012).
“When I first met with Quentin to read (Once Upon a Time
in...Hollywood), he told me he was uncertain if he would shoot in 70 or 35 or
perhaps a mixture of both. Over time, he decided to shoot 35mm. One of the
prime reasons was that Quentin had designed a series of shots that were to
utilize a zoom and that’s not currently an option in 70mm.”
Thinking that a certain amount of handheld shots might form
part of Tarantino’s design, Richardson chose the Panaflex Millennium XL2 as
“ergonomically the most balanced 35mm” camera around. It can be converted from
handheld to Steadicam to studio mode within seconds.
“The XL2 has the sharpest video viewfinder that Panavision
has yet to offer, and the video is also improved in brightness levels which
aids the camera assistant.”
Like The Hateful Eight, the film retains an epic
cinemascope presentation paired with anamorphic lenses. Shooting in scope using
anamorphics provided greater texture when moving between the various formats
used in Once Upon a Time in...Hollywood such as 1.33:1 for early
western TV sequences (based on CBS show Lancer) and 1:85 which was used
for a series of commercials (that were shot but didn’t make the final cut).
“Quentin loves the
wide screen and didn’t want to consider a spherical Super 35 option,” the
Oscar-winning cinematographer notes. “The aesthetic of Panavision’s anamorphics
is wide ranging and the most impressive in the industry. From Ts to Gs to Cs to
Es to Primos - each offers a unique look.”
Richardson says Tarantino envisioned a vintage feel to match
the story’s era “but with a modern twist” and in pre-production embarked on a
series of tests to find the precise lens selection. “We wanted a 1970’s retro,
something familiar from the past but sitting in the present so when audiences
watch the film it should feel slightly off balance.”
With camera assistant Gregor Tavenner, Richardson tested a
range of Panavision glass both on site at Panavision and on location of the
western set that was eventually used for black-and-white sequences of
DiCaprio’s actor character playing a bounty hunter.
“Each of these lens
series has a specific feel and different personality so Gregor and I had to
base our decision on what Quentin was requesting for a particular shot. At
times we would utilize a lens with heavier flare capabilities or flaring that
we thought more interesting in design, and other times we chose a lens that
could handle high contrast without getting washed out. There is no magic
formula – it’s test, trial and error.
“That said, Dan Sasaki greatly aided us in getting closer
focus for the T Series and losing the capability, to some degree, in distance.”
The film stock was KODAK VISION3 5219, 5213 and EASTMAN
DOUBLE-X Black-and White film 5222 with one small sequence on Super 8
EKTACHROME and part of another short scene on 16mm EKTACHROME.
Colorist Yvan Lucas collaborated with Richardson on setting
the look and supervised the 4K digital intermediate. FotoKem developed and
printed the dailies.
“We took our initial tests to Yvan and to FotoKem and
searched for a richer, saturated look particularly in the skin tones. With the
aid of production design, costume and make-up, we got closer and closer to what
Quentin was asking. Certain lenses capture color in a more natural manner while
others give a richness. It takes time to understand how each is performing and
the skill of a talented grader to make the adjustments.”
Richardson adds, “I am very pleased with how the film looks
but more importantly how it supports the brilliance of what Quentin directed by
meeting his initial requests for a rich tapestry of color. I hope audiences
agree.
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