American Cinematographer - January 2007 - 49

Opposite:
Reluctant CIA

spymaster
Edward Wilson

(Matt Damon)
listens to

a

mysterious
recording. This
page, top:
Wilson and his

espionage
partner, Sam
Murach (Alec

Baldwin), confer
while

supervising
surveillance.
Bottom:

Cinematographer
Robert

Richardson, ASC

shapes a scene
with director
Robert De Niro.

Richardson's

body of work is noth¬
ing if not forceful. But in teaming
with director Robert De Niro

on

rise within his direction.

The

Good

Certainly the

Prior

to

Good

Shepherd,

Richardson had worked with De

Shepherd, which reveals the
history of the Central Intelligence
Agency through the eyes of an
increasingly world-weary spy
(played by Matt Damon), De Niro

projects in which the
actor starred, Casino and Wag the
Dog. "It felt like a fruitful relation¬
ship," says Richardson, and that con¬

and Richardson chose

a

nection carried him and De Niro

cinematog¬
rapher abandoned his trademark
burning key lights in order to "illu¬

through almost a decade of false
starts in readying Good Shepherd for
production. After completing The

to move

in

different direction. The

Niro

on

Aviator, Richardson shot
cials for

passion [will]....

two

a

year

commer¬

while waiting for De

Niro's labor of love

to

receive

a

light.
During that time, Richardson
began to feel an increasingly per¬
sonal attraction to the project and
its protagonist, Edward Wilson
(Damon). "The most interesting
aspect of the script was the invisibil¬
ity of Edward as a character," he
says. "He is swallowed into a philosgreen

minate with darkness," and stilled
his balletic

camera

to create

"clinical,

dispassionate" compositions. "There
is

a

blend of the

overt

and the

covert," Richardson says of his

PUinccotvueruesrfsate.lsy
Phot s

approach to the film, which he calls
"a portrait of a ghost."
From Richardson's diary:
May 11, 2005: Have been for
some time cautious
of The Good
Shepherd - go/not/red/green -
many twists - "wilderness of mir¬
rors," indeed.

May 13: Watched New York,
once
again. The brilliance
ofBob as an actor is riveting. Perhaps
the intensity evident as an actor will
New York

American

Cinematographer 49



American Cinematographer - January 2007

Table of Contents for the Digital Edition of American Cinematographer - January 2007

Contents
American Cinematographer - January 2007 - Cover1
American Cinematographer - January 2007 - Cover2
American Cinematographer - January 2007 - 1
American Cinematographer - January 2007 - 2
American Cinematographer - January 2007 - Contents
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