“For Marty [Scorsese], the camera ‘writes’ in a way. Every camera angle has a meaning to it. If the camera moves or doesn’t, there is always a reason for that. He does extensive shot listings and diagrams and drawings and shares those with me. And he pretty much sticks to it. With The Irishman, he wanted it to have this sense of the routine of this man who is a killer, much less fancy camerawork. Also, he thought that this should be like a home movie, but not Super 8 or grainy 16 or handheld. So how do you do a home movie if you don’t do any of those things, right? But then that’s how I thought to emulate still photography of the ’50s and ’60s and the emulsions of those different eras.” —Rodrigo Prieto, Director of Photography, The Irishman (Source: The Hollywood Reporter)
Why This Matters:
The Hollywood Reporter’s Carolyn Giardina spoke with Rodrigo Prieto (The Irishman), Roger Deakins (1917 and The Goldfinch), Caleb Deschanel (The Lion King), Robert Richardson (Once Upon a Time in Hollywood), César Charlone (The Two Popes) and Natasha Braier (Honey Boy) for the magazine’s annual Cinematographer Roundtable, uncovering insights about how some of the biggest feature films of the year were photographed.
Want more expert insights?