ID: You’ve received a lot of awards and recognition for films over the years. Is there
anything left that you really want to accomplish, anyone you want to work with,
any goals?
RD: Just to continue doing it as best I can. There are a number of good young
directors out there I’d love to work with. I wouldn’t mention any names because I’d leave people out. But a lot of directors now work with the same cameraman over
a long period, and I think that’s a very good thing. But it’s hard to get to work with certain directors. Like I was lucky to get to work
with Paul [Haggis], for instance, because he works with Jimmy Murro, who did Crash and a lot of his TV work, and I know he’s going to work with him next time, if he’s available. It just happened that Jimmy was busy with something when Elah came together. Sometimes you just get that one chance. I managed to work with
Marty Scorsese once, but he usually works with Bob Richardson or Michael
Ballhaus. I was very lucky that one particular moment, he was looking for
someone who had experience doing documentaries, and would do something
stylistically like that, I was very lucky to get that chance. You just hope you
get the breaks, and work on good films, something of value.
ID: What are working on now, what’s next?
RD: Difficult question really. At the moment I’m working on this film called The Reader, in Berlin. But it’s kind of stalled at the moment. So I’m not sure what’s happening.
ID: How about the Coen Brothers’ new film?
RD: They were going to do one this spring, but I talked to Joel the other day
and he said they can’t get it together. I’m not really sure. I’m at a bit of a loss at the moment. [laughs] So if you hear of anything…
ID: I’ll ask around and give you a call.
RD: Yes, please. [laughs]
ID: Is there any special method to choosing a film for you? You’ve said you’re interested in telling personal stories. Do you find anything in particular
that draws you into a project, aside from working with someone who you trust
and frequently collaborate with?
RD: You read the script, if you’re attracted by the script, then whomever it is you need to know that you’re going to connect with the person you’re working with. You need to view the material in a similar way. I think it’s quite an interesting time in the business. I think there are more films being
made with some sort of content. I’m kind of optimistic about the next few years.
ID: Are there any cinematographers that you really keep an eye on, whose work
you find particularly engaging?
RD: Oh yeah, lots. I wouldn’t mention one, because I wouldn’t mention even more. That’s sort of a joy really, getting to watch their work in between your own stuff.
Not that I want to copy anybody, but it’s great to get out and see what they’re doing.
ID: Do you still get the chance to watch many films?
RD: As much as I can. I’ve been so busy in the last year I haven’t seen a lot of movies. But hopefully I’m going to have a bit of down time and I’ll catch up.
ID: With three movies in theaters at the same time you had an incredibly busy
year. Do you ever have trouble balancing all of the projects you want to work
on?
RD: Yeah, well Jesse James was actually shot a while ago. They do tend to come at the same time, which is
annoying. There were a couple of other films I was approached about at the same
time as No Country. You kind of think, I’d of loved to do that, but you can’t do everything. I’m so lucky to be able to do what I do. I couldn’t have dreamt of this, as I was telling you, I couldn’t have dreamt of making films when I was watching films in the film society as a
kid. One of the early films I remember watching was Fat City, I think Conrad Hall was probably the greatest cinematographer ever. Watching Fat City, with John Huston, who was one of the greatest directors, I thought well if I
could only do that sort of thing. But that was way before I got into the
industry. I’m so lucky, period.
ID: How did you get here, from doing a little documentary work and some TV?
RD: I just lucked out, really. I was in film school and shot a lot of films for
other people who wanted to be directors. So when I left film school I went off
and did documentaries, because that’s what I could do. I had a few contacts and a few projects I was offered that no
one else wanted to do because they were dangerous or whatever else. So I went
off and did documentaries. After awhile some of the students from school
started directing projects and asked me to shoot for them. The first feature I
got was with Michael Radford who’d been at the film school. We did
Another Time, Another Place, then straight after that he did 1984, so I shot that as well. Then right after that he shot White Mischief. So basically he did three pictures in quick succession, so I had three features
under my belt just with him.
ID: I’ve seen some conflicting sources that credited you with a co-director credit on Sid & Nancy. It made me curious if you’ve ever considered directing or if that doesn’t interest you as much as photography.
RD: A co-director? Not really. [laughs] Flattering really. I had a few years
ago, I’ve written a few scripts over the years. But I love what I do, and I guess I
wouldn’t really be any good at all that other stuff, all the things involved in
directing. It’s one thing actually shooting a film and being on set, but it’s another dealing with all the background stuff. I’m just really glad that I can contribute what I do on a film and get the
satisfaction I get from working on the three films I did this year. I couldn’t want much more.
