Robby Müller
Santa Fe, New Mexico, 1985
Polaroid camera SX-70
Inkjet-print fine-art on cardboard
Inkjet-print fine-art on cardboard
32,7 x 39,8 cm
This polaroid was made during shooting Robert Altman's 'Fool for Love'. Robby Muller only shot the first 9 days of the film after he got replaced by another cameraman. Robert...
This polaroid was made during shooting Robert Altman's "Fool for Love". Robby Muller only shot the first 9 days of the film after he got replaced by another cameraman. Robert Altman said the following about his (short) experience of working with Robby Muller:
“For the last ten years, I’ve been working with two Canadian cameramen, Pierre Mignot and Jean Lapine. I shot a film called Fool For Love, on which Robby Müller was the cameraman because those guys weren’t available at the time and I had to start. And he’s a great cameraman. I mean, really a great cameraman. And we got down to New Mexico and started shooting, and suddenly I’m seeing these beautiful pictures, and I don’t know how to make this kind of movie. And I stopped after nine days, and I said, ‘You know, we have to get divorced.’ I said, ‘You’re making a beautiful movie. I don’t want a beautiful movie.’ And by that time, Pierre was finished, and he came down and shot it. And it’s a terrible thing to happen. But there was no communication about what we both wanted. We were just making two kinds of movies.”
— Robert Altman, Robert Altman and The Long Goodbye, Michael Wilmington, 1991.
“For the last ten years, I’ve been working with two Canadian cameramen, Pierre Mignot and Jean Lapine. I shot a film called Fool For Love, on which Robby Müller was the cameraman because those guys weren’t available at the time and I had to start. And he’s a great cameraman. I mean, really a great cameraman. And we got down to New Mexico and started shooting, and suddenly I’m seeing these beautiful pictures, and I don’t know how to make this kind of movie. And I stopped after nine days, and I said, ‘You know, we have to get divorced.’ I said, ‘You’re making a beautiful movie. I don’t want a beautiful movie.’ And by that time, Pierre was finished, and he came down and shot it. And it’s a terrible thing to happen. But there was no communication about what we both wanted. We were just making two kinds of movies.”
— Robert Altman, Robert Altman and The Long Goodbye, Michael Wilmington, 1991.
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