Tom Richmond

Tom Richmond, born in the thick of 1950s New York, carved out a serious niche for himself behind the camera. If you’ve ever watched Repo Man and got sucked into that wild, offbeat vibe, you’ve seen Tom’s fingerprints all over it—his style wasn’t exactly subtle, and honestly, thank goodness for that. He had a knack for making even the weirdest stories feel grounded, which is no small feat. Jump to Right at Your Door (2006)—man, that film oozes tension, and Tom’s camera work turns a low-budget thriller into something that sits in your gut for days. He had this way of framing a shot so you just can’t shake it, like the world’s closing in and you’re right there gasping for air with the characters. Then he totally flips the script with Nick and Norah’s Infinite Playlist (2008), where he captures the electric energy of New York at night. You almost feel like you’re stumbling through the city, chasing music and maybe a little bit of love. Tom wasn’t just some faceless technician. He made movies look and feel like lived-in spaces—gritty, dreamy, or just downright raw. People in the industry respected the hell out of him because he didn’t just point a camera; he told stories with light and shadow. He passed away in July 2022, but his work? Still flickering on screens, still making people pay attention.