NOMADLAND | PRODUCTION
Every image needed to be adding some kind of emotion – that was our rule. If it wasn’t, we wouldn’t even do the take
One major consideration involved the practicalities of what gear to use, alongside the desired look. Ultimately, they chose the Arri Amira with a set of Zeiss Ultra Primes. “Chloé and I worked with that combination on The Rider ,” says Richards. “I showed her tests with other lenses, but ultimately nothing topped the Ultra Primes for us. I worked with my AC to get the Amira body as small and as compact as possible, but when you get the batteries and the monitor on there, it still feels like the technology has a way to go.” Nonetheless, Richards was full of praise for the camera, particularly taking today’s high standards into account. “It’s exciting that cameras are getting smaller,” he adds. “With the kind of films I want to make, it means I can get into more situations that you rarely see in cinema.” Richards admits that there was perhaps a temptation to use filters to combat digital aspect. “But this time we questioned why that was and decided we liked that it felt modern,” he says. RIGHT In a moment that highlights the close quarters and intimacy of Nomadland, Joshua James Richards shoots handheld just feet from McDormand, as the director, Chloé Zhao, monitors the frame
MARCH 202 1 | DEF I N I T ION 05
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