After decamping to Los Angeles in 1974 and even collaborating (without result) with Sam Shepard on an unproduced script, Richardson was tapped to direct Mahogany (1975), the Diana Ross vehicle produced under the Motown umbrella. The move was emblematic of the era's cross‑pollination between British auteurs and American studio or star‑driven enterprises — and also of how quickly such marriages could sour. Berry Gordy, Motown's boss, exercised tight creative control over the project and, according to accounts from the period, dismissed Richardson shortly after production began, citing irreconcilable creative differences. The firing highlighted the clash between Richardson's theatrically informed, director‑led approach and Gordy's commercial, star‑centered priorities; it marked a rude introduction to the politics of Motown filmmaking for Richardson and underscored how a celebrated auteur could be abruptly sidelined when studio or producer imperatives dominated.
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