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Natural Light and Anamorphic Lenses Create Immediacy of ‘Silence’

Silence

cinematographer Rodrigo Prieto speaks to

The Hollywood Reporter

about his work on the Martin Scorsese film and how they achieved the visceral feel of the novel it was based on.

“Our choice of lenses was determined by the immediacy we wanted the audience to experience,” says Prieto. “We tested many Anamorphic lenses, but settled on the Master Anamorphics from Arri/Zeiss because they’re sharper and cleaner than most of these kinds of lenses. We didn’t want to romanticize the images with filmic flares and distortions that are so much in vogue these days. Another way of achieving this tactile feel was the use of natural light in our exterior shots. I worked closely with our first assistant director, David Webb, to schedule each shot so we could utilize the natural daylight and its interaction with whatever surrounded the characters, allowing the sunlight to bounce off the foliage or the dirt. This sometimes creates some funky colors on the skin tones, but we embraced that, doing away with any electrical lighting in our day exteriors.”

Silence is about two 17th century priests who travel to Japan in search of a missing mentor. Read the full story

here

.

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