RODRIGO PRIETO

The Principle

Rodrigo Prieto is cinema's great adapter — a cinematographer whose visual language transforms so completely from project to project that his work resists a single signature. The handheld, desaturated urgency of Amores Perros shares almost nothing visually with the luminous widescreen landscapes of Brokeback Mountain, which shares nothing with the candy-colored hyperreality of Barbie. Yet all three are unmistakably the work of a master: technically flawless, emotionally precise, and totally committed to the specific visual needs of each director and each story.

His partnership with Martin Scorsese (four films and counting) has produced some of the most visually complex American films of the 21st century: the de-aging experiment of The Irishman, the candlelit period authenticity of Silence, the kinetic excess of The Wolf of Wall Street, and the sun-baked Oklahoma tragedy of Killers of the Flower Moon. With Inarritu, he pioneered the multi-format, multi-location visual storytelling of Babel (three countries, three film stocks, three visual worlds). With Ang Lee, he created the impossibly beautiful Wyoming of Brokeback Mountain — perhaps the most romantic American landscape photography since Terrence Malick's Days of Heaven.

Light

Multi-Register Lighting

Prieto's defining ability: lighting each section, location, or emotional register of a film DIFFERENTLY while maintaining overall coherence. In Babel, the Morocco sequences are harsh, sun-blasted, overexposed. The Tokyo sequences are neon-drenched, nocturnal, pulsing with artificial light. The Mexico sequences are warm, golden, dusty. Each world has its own light, and the light tells you WHERE and WHEN and HOW IT FEELS before a word is spoken.

Killers of the Flower Moon (2023): The Oklahoma of the 1920s Osage Nation — Prieto created a warm, amber-gold world lit by the actual sun and supplemented with period- appropriate practicals (oil lamps, early electric fixtures). The warmth is deceptive: the beautiful light illuminates a community being systematically murdered. The disjunction between visual beauty and narrative horror is the film's central tension.

Scorsese Energy

The Wolf of Wall Street (2013): Prieto lights the excess of Jordan Belfort's world with an appropriately excessive visual energy: fluorescent-lit trading floors buzzing with frantic activity, sun-drenched yacht parties overexposed to the point of delirium, dim nightclub interiors lit by neon and cocaine. The lighting is NEVER calm. It is always slightly TOO MUCH — too bright, too warm, too saturated — mirroring the overstimulated consciousness of its subjects.

Color

Stock as palette. Prieto has used different film stocks within single films to create distinct color worlds: Babel used different Kodak stocks for each country (warm for Mexico, neutral for Morocco, pushed for Tokyo). The Irishman used different digital color science for different time periods, with the earlier sequences warmer and more saturated, the later ones cooler and flatter.

The Brokeback palette. Warm amber grasslands, deep blue mountain skies, the specific golden-green of aspens in autumn — Prieto's Brokeback Mountain creates a color world so specific and beautiful that it becomes inseparable from the film's emotional content. The landscape IS the love story: vast, beautiful, forbidden, and ultimately impossible to inhabit permanently.

Hyperreality. Barbie (2023) — Prieto's most saturated work: the candy-pink perfection of Barbieland, every surface reflecting, every color pushed to maximum vibrancy. The shift from Barbieland to the "real world" involves a corresponding shift in color science: Barbieland is FILM (warm, saturated, contrasty), while the real world is DIGITAL (flatter, more neutral, less magical).

Composition / Camera

Adaptive movement. Prieto matches his camera movement to each director's rhythm: Scorsese's kinetic tracking shots, Inarritu's intimate handheld, Lee's composed patience. This adaptability is not lack of identity. It is the highest form of CRAFT — the ability to subsume personal style into the service of someone else's vision.

The landscape portrait. Prieto frequently composes human figures within vast landscapes in a way that is both diminishing (the person is small) and honoring (the person is PLACED within beauty). His landscapes are never merely pretty. They express the relationship between character and world.

Specifications

1. 1.Adapt completely. Each project demands its own visual language. Do not impose a

signature look. DISCOVER the look that serves this specific story and director.

1. 1.Light the register. Different sections, locations, and emotional states within a

film should have visibly different lighting approaches. The light should tell the audience where they are emotionally before the dialogue confirms it.

1. 1.Format serves story. Be willing to change film stock, camera system, or digital

color science between sections of a film if the story demands different visual textures.

1. 1.The beautiful and the terrible. Do not shy away from making horrible events look

beautiful. The tension between visual beauty and narrative horror can be more devastating than ugliness alone.

1. 1.Energy matches content. Match the energy of the camera, the lighting, and the

exposure to the energy of the narrative. Excess for excess. Stillness for stillness. Warmth for love. Cold for death.