CAPTURING NOMADS PRODUCTION | NOMADLAND
Nomadland’s cinematography may seem documentary-like in nature, but it displays all the cinematic quality of a carefully constructed drama. We talk to Joshua James Richards to learn more about the unique process
WORDS LEE RENWI CK / P I CTURES D I SNEY
M uch Oscar speculation surrounds Nomadland and its director, Chloé Zhao. The slow-burning drama is as moving as it is unorthodox, and with Frances McDormand arguably delivering the performance of her career, there’s much to adore. Zhao herself became an interesting subject even before the film’s production, making certain steps towards becoming a subversive auteur, in addition to a foray into blockbuster territory with Marvel’s upcoming Eternals . This time, Zhao not only penned the script for Nomadland , based on Jessica Bruder’s non-fiction novel, she also produced, edited and directed it. When it came to cinematography, collaborator Joshua James Richards picked up the camera once again. The pair created their first two features together – Songs My Brothers Taught Me and The Rider – and share an obvious creative rapport. Ahead of the film’s UK release, Richards reveals all of the details behind this most unique venture. LIFE ON THE ROAD Like their two previous collaborations, Nomadland features a predominantly non- professional cast. The central characters
in a real slice of life. Her scenes with fellow professional, David Strathairn – who plays a character who is also called David – drive the loose narrative forward. “In Fern’s world with David, the set-up became more conventional,” says Richards. “There was a list of shots and diagrams for each scene, and these centred around the lighting. For example, at the RTR camp [Rubber Tramp Rendezvous, the annual gathering for nomads], we placed all the vans where we wanted them. Still, when they entered that camp, the nomads were free to do whatever they would ordinarily be doing.” Despite some moments being slightly more orchestrated, Richards and the crew were still very much dealing with people’s lives, and it was something they considered carefully. “For example, when shooting in [real-life nomad] Swankie’s van, you couldn’t simply enter her home and shove a camera in her face. We’d ask where she was comfortable and where she was happy for us to place the camera – there’s a unique etiquette involved with this type of film. “I can’t stress enough how that first part of the process that Chloé does – of getting to know them and forming trust and the relationships – really does influence the rest of the filmmaking.”
are real-life nomads, including some Bruder met when she wrote her book. Of course, these drifters turned actors were aware of the film’s small crew, so production treads an odd line between reality and narrative. “It’s probably more staged than one might expect,” explains Richards. “When we captured our scenes, it was something of a re-enactment of what might otherwise be a documentary situation. These moments all came from Chloé quite diligently getting to know these nomads and their lives.” There are clear narrative beats within the film and Richards explains that a form of script was shared among the nomads. “To that extent, they played a role, but it was a version of themselves,” he clarifies. “I usually got a single take but, overall, the scenes were conventional in many ways.” Certain moments stray away from that, however, and one in particular stands out for Richards. “There was a scene with a nomad called Grandma, who sat with Frances McDormand’s character and spoke about her ring,” he says. “Grandma had no idea who Frances was – she thought she lived in a van – so sometimes the connection on screen is very real.” McDormand takes on the character of Fern, a role that is nevertheless ingrained
04 DEF I N I T ION | MARCH 202 1
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