Veteran Mexican cinematographer Rodrigo Prieto is a multifaceted artist whose talent ranges from capturing the stunning beauty of a 1920s Osage Nation in Martin Scorsese’s Killers of the Flower Moon to shooting the candy-colored Barbie Land in Greta Gerwig’s upcoming film Barbie. Born and raised in Mexico City to a bicultural family – his mother hails from Montana – Prieto gained the attention of the cinematography world when he won the Camerimage Golden Frog for his work on Alejandro G. Iñárritu’s film Amores Perros in 2000. Since making the move to the U.S., he has continued to collaborate with Iñárritu while also working with other acclaimed directors such as Pedro Almodóvar, Oliver Stone, Ben Affleck, and Ang Lee, earning three Academy Award nominations in the process.
His ties with Scorsese are particularly strong, with Killers of the Flower Moon marking their fourth collaboration. Scorsese refers to Prieto as a “kindred spirit” and admires his relentless determination when it comes to tackling challenges on set. He still recalls the time when Prieto showed up in the middle of a typhoon and informed him that they were almost ready to shoot. Prieto’s ability to blend the technical precision of a cinematographer with the soul of a true artist has captured the attention and admiration of both his peers and the audiences.
Gerwig, Barbie’s director, also praises Prieto’s meticulous attention to detail and the emotional depth he brings to his work. The concept of “Barbie being ‘authentically artificial'” required a fine balance in visual storytelling, and this was achieved through Prieto’s skillful manipulation of lighting, camerawork, choice of lenses, and textures, all of which served to underline the emotions of the characters and the scenes. As Gerwig puts it, “Every frame of the film was a way to explore that idea.”
His talent has now led him to explore new horizons as he moves into the realm of feature film direction. Prieto is currently in postproduction on his directorial debut, Pedro Páramo, an adaptation of the 1955 novel by Juan Rulfo that holds significant cultural importance in Mexico. The project has been a labor of love for Prieto, who previously read the novel in high school and was deeply moved by it. The novel has already been adapted into two films, but Prieto’s adaptation carries his unique perspective, making it a fiercely and intricately personal project.
Reflecting on his career, Prieto acknowledges the influence of other great cinematographers. Néstor Almendros, known for his naturalistic approach to cinematography, inspired Prieto to push the boundaries of what could be achieved visually, especially in the context of Mexican cinema at the time. He also drew inspiration from Sven Nykvist and Vittorio Storaro, ultimately developing a style that incorporates a mix of their influences.
His collaborations with directors such as Iñárritu and Scorsese have profoundly impacted his approach to cinematography. With Iñárritu, he honed his ability to imagine shots with a musical quality, often focusing on the rhythm of the shots and the eventual edit. When working with Scorsese, he learned not to shy away from the raw, unfiltered aspects of the subject matter and to embrace the extreme nature and vulnerability of the characters.
Discussing his work on Killers of the Flower Moon and Barbie, Prieto delves into the thought processes behind creating visually distinct styles for each project. The former delved deeply into the historical context of the story, leading to a meticulous recreation of the color palette used in the early days of photography. Subtle changes in color grading were employed to convey the evolving emotional state of the characters, drawing the audience further into the narrative’s world. Contrastingly, Barbie Land called for a whimsical, bright, and innocent visual style, achieved through the use of specific camera angles and lighting techniques that conveyed a sense of perfection and playfulness.
Prieto also shared his experiences working with musician Taylor Swift on her music videos, praising Swift’s keen visual sense and her ability to express her music and lyrics through striking visuals.
As Prieto adds the finishing touches to Pedro Páramo, his feature directorial debut, cinema enthusiasts wait eagerly to experience the full force of his storytelling, deeply rooted in cultural significance. His masterful visual storytelling has captivated audiences, and with his move into directing, Prieto is poised to weave an equally enthralling narrative that is sure to make a profound impact in the world of cinema.
