![]() “My father was an engineer and my mother was an amateur painter,” Prieto says. He enrolled, and when that institution closed after the film stock was discontinued, his passion continued, learning from famed shooter Nadine Markova, who taught him the basics of composition. Fortunately, that changed in high school when a teacher pointed him to a small academy exclusively dedicated to training people in Super-8. ![]() Growing up in Mexico, Prieto had no idea this could become a viable profession. “I got hooked on thrilling our friends and seeing the impact of what we could do with our creativity.” Prieto recalls. As a child, he and his older brother, Antonio, would turn their parents’ home into a makeshift haunted house, where they’d use stop-motion animation and rear projection to make scary figurines move. Prieto, 57, says his film fandom started with monsters. (He bought the artwork in Mexico while making “Frida” in 2001.) And in one of the rooms upstairs, a wall bears a treasured poster of Prieto’s all-time favorite film, “Raging Bull,” which Scorsese, Robert De Niro and Joe Pesci all signed at his wife’s request during the shooting of “The Irishman.” Near the staircase hangs a kinetic, eye-catching painting by Emiliano Gironella Parra, inspired by “Pedro Páramo,” Juan Rulfo’s seminal 1955 novel that Prieto has just turned into his feature directorial debut. It felt like writing with Noah, in a way - a true collaboration.”Įntering Prieto’s two-story home in Pacific Palisades, one steps into a space of welcoming elegance: airy rooms accentuated by curated decorations that speak to his varied interests. “He was neither imposing his will nor executing mine, but in that in-between space where I like to be most. “He is a force for good on a movie set, a true leader,” Gerwig tells The Times. Scorsese was struck by Prieto’s photography for such varied filmmakers as Spike Lee (the vivid post-9/11 New York City of “25th Hour”), Ang Lee (“Brokeback Mountain’s” longing vastness) and Alejandro González Iñárritu (2000’s “Amores Perros,” his handheld breakout). “His work was sharp, dynamic and alive,” says Scorsese via email about choosing Prieto to shoot 2013’s “The Wolf of Wall Street,” the first of their five joint ventures. But it’s Prieto’s heart-first solutions to the technical demands of each story that have earned him the trust of several of the world’s most revered and idiosyncratic directors. Originally from Mexico City, the three-time Oscar nominee sometimes likens his craft to a magician’s tricks. “The lighting, the decisions on color, lenses, camera movement, texture - all that is based on memories and how I remember feelings with images in my life.” ![]() “I try to always approach cinematography from an emotional standpoint,” says the man who shot both movies, Rodrigo Prieto. What’s the cinematic DNA that links Greta Gerwig’s billion-dollar-grossing “Barbie” with Martin Scorsese’s brooding historical epic “Killers of the Flower Moon,” due in theaters next Friday?
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