The Homesman cinematographer Rodrigo Prieto talks to Indiewire about shooting Tommy Lee Jones’s Western, The Homesman.
Says Prieto, “When we were deciding how to shoot the film, originally we were going to do it with a digital camera. But I did a few tests on different locations with the digital camera and a film camera as well. But when Tommy Lee saw the digital image of the landscapes, it didn’t feel like a western. So he said that he wanted the audience—in a big theater—to see this first image and think ‘Oh, we’re gonna watch a western.’ And settle into that. And then, surprise them. Then you realize this is not a classic western at all. He twists the genre around that way. In the end, we shot it maybe 85 percent on film negative. And we did a few scenes with the digital cameras, which were the low light night scenes. And that’s the advantage of digital cameras—that we were able to shoot some of these scenes with candlelight or oil lamps or fire at night. So we did a hybrid. Most of the movie is film though.”
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