Cinematographers collaborating with Martin Scorsese
wouldn’t expect a brisk assignment, but even a veteran of Rodrigo Prieto
’s sort had plenty to handle with their latest, The Irishman
. A 209-minute epic with numerous locations, multiple shooting formats, and, you’ve probably heard, distinct visual effects–it’s tiring just to think about. Prieto is nevertheless casual in his assessment, and our interview at this year’s EnergaCAMERIMAGE covers its scope from both the most specific angle and on a gut level.
For that–and an obligatory question about the short he made with Scorsese, Leonardo DiCaprio
, Robert De Niro
, and Brad Pitt
that was never officially released–read on.
The Film Stage: Let’s start at the beginning: The Irishman opens with a tracking shot set to vintage music—not exactly unknown territory for Scorsese. But it surprised and excited me because there’s a jankiness at play: we