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  • Diary of a Wimpy Kid: The Long Haul

  • Alvin and the Chipmunks: The Squeakquel

  • The Sandlot

  • The Man Who Fell to Earth

1 of 4
At Home
  • Scissors

  • Slapstick of Another Kind

  • Coffee Town

  • Silver Bears

  • Behaving Badly

  • Cinematographer Style

  • Diary of a Wimpy Kid: Dog Days

  • Timebomb

  • Big Mommas: Like Father, Like Son

  • Alvin and the Chipmunks: The Squeakquel

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Anthony Richmond Biography

  • Profession: Cinematographer
  • Born: Jul 7, 1942
  • Died: Jan 1, 0001
  • Birth Name: Anthony B. Richmond

Acclaimed British cinematographer [[Performer~P230123~Anthony Richmond~anthonyrichmond]]'s résumé not only spans more than half a century, but boasts multiple collaborations with a veritable who's-who of five-star international filmmakers and some of the most intelligently crafted features to have emerged from the U.S. and Britain in the post-'60s cinematic Zeitgeist.
A self-made professional, the London-born [[Performer~P230123~Richmond~anthonyrichmond]] entered the film world at the tender age of 15, with an entry-level position as messenger boy at Associated British Cinemas. He then climbed up from the bottom of the ranks, transferring to Pathé-News with a promotion to the camera department, first as a clapper boy and later -- on 1968's [[Feature~V292159~Casino Royale~casinoroyale]] -- as a focus puller. In 1964, [[Performer~P230123~Richmond~anthonyrichmond]] met iconoclast [[Performer~P108672~Nicolas Roeg~nicolasroeg]] (then a cameraman), thus beginning a lengthy friendship that would result in a series of astonishing professional collaborations and some of the finest work of either's career ([[Feature~V115855~Walkabout~walkabout]], [[Feature~V14330~Don't Look Now~dontlooknow]], [[Feature~V31102~The Man Who Fell to Earth~themanwhofelltoearth]], [[Feature~V119936~Bad Timing~badtiming]]).
[[Performer~P230123~Richmond~anthonyrichmond]] officially debuted as a D.O.P. under the directorial wing of a giant -- the late [[Performer~P87298~Basil Dearden~basildearden]] -- for 1967's [[Feature~V104981~Only When I Larf~onlywhenilarf]]. A kind of early [[Feature~V20935~Grifters~thegrifters]]-style comedy about a trio of con artists ([[Performer~P93993~David Hemmings~davidhemmings]], [[Performer~P68204~Alexandra Stewart~alexandrastewart]], and the eminent [[Performer~P80152~Richard Attenborough~richardattenborough]]), the film opened to generally favorable, if not spectacular, reviews; Variety tagged it "a pleasant little joke" and deemed the technical contributions (from [[Performer~P230123~Richmond~anthonyrichmond]] and others) satisfactory. Two dozen features followed throughout the '70s and '80s; during this period, [[Performer~P230123~Richmond~anthonyrichmond]]'s directorial collaborators included [[Performer~P108672~Roeg~nicolasroeg]], [[Performer~P91804~Jean-Luc Godard~jeanlucgodard]], [[Performer~P88685~Blake Edwards~blakeedwards]], [[Performer~P105732~Ivan Passer~ivanpasser]], [[Performer~P114079~J. Lee Thompson~jleethompson]], and many others.
[[Performer~P230123~Richmond~anthonyrichmond]]'s greatest cinematographic accomplishment during these two decades was probably [[Feature~V14330~Don't Look Now~dontlooknow]], thanks to his ability -- together with [[Performer~P108672~Roeg~nicolasroeg]] (who did uncredited cinematographic work on the piece) -- to lens an almost subliminal series of rapid-fire occultic images, establish a feeling of almost tangible dread and malaise, and evoke wintry Venice more atmospherically than any feature before or since. The reviews that praised [[Feature~V14330~Don't Look Now~dontlooknow]] invariably singled out [[Performer~P230123~Richmond~anthonyrichmond]]'s work on it; [[Performer~P187959~Roger Ebert~rogerebert]] wrote, "I've been though the film a shot at a time, paying close attention to the use of red as a marker in the visual scheme. It is a masterpiece of physical filmmaking, in the way the photography evokes mood and the editing underlines it with uncertainty." Amid production on [[Feature~V14330~Don't Look Now~dontlooknow]], [[Performer~P230123~Richmond~anthonyrichmond]] and [[Performer~P108672~Roeg~nicolasroeg]] also made movie history by purportedly shooting the first non-simulated love scene (between [[Performer~P69192~Donald Sutherland~donaldsutherland]] and [[Performer~P13030~Julie Christie~juliechristie]]) in a mainstream commercial feature.
[[Performer~P230123~Richmond~anthonyrichmond]] helmed commercials for KMart and made occasional forays into directing, such as 1984's [[Feature~V13122~Déjà Vu~dejavu]]. That film, however, failed to receive broad distribution and slipped past most critics, which doubtless encouraged [[Performer~P230123~Richmond~anthonyrichmond]] to adhere to his primary craft. The cinematographer's activity dipped during the '80s (though he lensed [[Performer~P88685~Blake Edwards~blakeedwards]]' [[Feature~V49305~That's Life!~thatslife]] and [[Feature~V47702~Sunset~sunset]], among others), but reaccelerated in the '90s and 2000s, when his credits included [[Feature~V24750~The Indian Runner~theindianrunner]] (1991), [[Feature~V136351~Bastard Out of Carolina~bastardoutofcarolina]] (1996), [[Feature~V246684~Legally Blonde~legallyblonde]] (2001), [[Feature~V280228~Dumb and Dumberer: When Harry Met Lloyd~dumbanddumberer:whenharrymetlloyd]] (2003), [[Feature~V326118~John Tucker Must Die~johntuckermustdie]] (2006), and [[Feature~V339716~Employee of the Month~employeeofthemonth]] (2006). As is apparent from even this brief list, [[Performer~P230123~Richmond~anthonyrichmond]]'s roster of projects became increasingly geared toward audience-pleasers as the years rolled on, doubtless because of the growing dominance of Hollywood product in the international marketplace.
[[Performer~P230123~Richmond~anthonyrichmond]] wed the former Breck model, [[Feature~V174891~Charlie's Angels~charliesangels[tvseries]]] alum, Kmart spokeswoman, and telemovie mainstay [[Performer~P66448~Jaclyn Smith~jaclynsmith]] in 1981; it marked her third marriage and his first. The couple divorced eight years later after having two children. ~ Nathan Southern, Rovi