Robert Richardson has spent decades shooting some of the most famous films by Oliver Stone, Quentin Tarantino, and Martin Scorsese, and as we wrote over the weekend from the Karlovy Vary International Film Festival, the legendary cinematographer is the subject of the new documentary “Robert Richardson: The White Devil.” But while Richardson spoke to us about his career, his collaborators, and the documentary itself, he elaborated to Deadline on one newsy detail we had also flagged: a potential reunion with writer/director Quentin Tarantino.
Richardson said there is a “possibility” Tarantino’s next, potentially final feature could shoot in summer 2027, though he emphasized that no one seems to know what the mystery project actually is. If it comes together, it would mark his latest collaboration with Tarantino after “Kill Bill,” “Once Upon A Time In Hollywood,” “Django Unchained,” and “Inglourious Basterds.”
That possibility is especially intriguing given that Richardson and Tarantino nearly reunited on the filmmaker’s now-abandoned “The Movie Critic” project. Richardson has had his own shifting dance card lately, exiting Antoine Fuqua’s Michael Jackson biopic “Michael,” which is inching closer to crossing $1 billion, and hoping to reteam with Fuqua on “Hannibal,” with Denzel Washington in the lead role, before that project was reportedly nixed at Netflix over budgetary concerns (something he confirmed to us too: the “Hannibal” project is dead).
“No, nobody [knows] what he’s going to do,” Richardson said when asked what the mystery Tarantino project was and about whether the filmmaker is really moving toward his tenth and final movie. “We know that he’s going to finish [his play], so he’s not going to shoot till after that. So, there’s a possibility sometime next summer. I have no idea what it is, but he won’t be walking down the same path he’s currently walking. I don’t know what he’ll do.”
Richardson also recalled how Tarantino called him about “The Movie Critic” while he was preparing to shoot “Michael” with Fuqua, a move that ultimately led Richardson to exit the biopic.
“Actually, I was going to make ‘Michael’ [with Antoine Fuqua],” Richardson said. “And it was a different version. I scouted it. I was hired. Quentin called me. He said, ‘I’m going to make this film, and I want you to [shoot] it because it’s my last movie, ‘The Movie Critic.’ Can you talk to Antoine and ask if he’ll let you go so that you can finish my last film?’ I called Antoine, and Antoine didn’t even hesitate. He said, ‘Absolutely. You two should finish together.’ He went on and hired another DP, and then Quentin dropped out. He called me and said, ‘I’m going to change the script. It’s going to be another script.’ And then he started prepping that film, and it got out of whack, and it went away.”
“The Movie Critic” was going to be set in the 1970s and center on a critic working for a “porno rag” magazine in Los Angeles, but the project was ultimately scrapped, with Tarantino handing off his other script, “The Adventures of Cliff Booth,” to David Fincher. He is also gearing up for the debut of his first stage play in London in the near future, “The Popinjay Cavalier.” We don’t know what this mystery summer 2027 shoot is going to be about, although we cannot rule out the play—a swashbuckling European comedy set in the 1800s—as a possibility. “The Hateful Eight,” after all, was resurrected after a positive reaction to a live read, following the leak of an unpolished script. While QT has mused about making “Kill Bill 3” aka “Kill Kiddo,” after shooting a new scene and releasing “Kill Bill: The Whole Bloody Affair,” that’s very likely off the table, even if it breaks our heart. We’re sure a novelization or script will surface down the road.
We should proceed with EXTREME caution, though. This untitled project, likely to be at Sony Pictures unless otherwise stated—as Quentin Tarantino has previously suggested his follow-up to “Once Upon A Time In Hollywood” would be at the studio—isn’t the real deal until we have a cast secured and set photos to back up cameras rolling on it. In Richardson’s case, Tarantino may want to have a window scheduled for his DP, just in case he wants to get that film up and running with his loyal cinematographer and doesn’t want him to be pulled off another feature when called upon.
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