Rodrigo Prieto

[sikri06]

Emma Tillinger Koskoff gave an interview on mainly WOWWS but she also revealed two new informations about Silence, besides that it will be shot in Taiwan, which we already knew. One thing was the budget, that is larger than previously reported, it is $35 million. The other is that Marty will continue to work with Rodrigo Prieto as his DP.

[foeller]

Very interesting, sikri06!

Earlier it was reported that the budget was $45 million (look at the article I translated on one of the previous pages), so to me it looks like the budget is smaller now.

[arnzilla]

She adds that Prieto will also shoot Scorsese's new HBO pilot.

[will]

From a Scorsese interview at In Contention:

And I also think it's great you're working with Rodrigo Prieto now. Is he going to shoot "Silence?"

I hope so, yes. We went to a location scout together. It's just a matter of working on our schedules. But I had a very good time working with him. He's a real poet of light. He really is. And also camera movement.



Which is always crucial in your movies, I've noticed.



Yeah. Yes! Exactly! Exactly. And he had a kind of flexibility with the camera that made me feel very comfortable. I could ask for anything, you know?



And finally, speaking of "Silence," I talked to Thelma about it and she mentioned it'll be part of a sort of trilogy of religion films you've done with "The Last Temptation of Christ" and "Kundun." What can you tell me about it? What can we expect from it and what are you looking to do with it as an artist?



Well, it's just…huh…



Not to be too broad!



[Laughs.] It's really focusing on the story of it. I don't mean the narratives. I mean the inner core of the story. And that has to come through the character and the actors playing these parts. And to strip away a lot of the artifice around the picture. "Artifice" may be the wrong word, but strip away a lot of the production — hmm, that's the wrong word, too. Sorry. Strip away a lot of the visual complexity and get to something that may be, for this subject matter, essential, without mimicking the festival art films. Because you could fall into that, and — let me put it this way, without mimicking a different style of the greats, which I can never do. I can imitate it, maybe, but how am I going to find that silence in myself without making it, you know, something where no one's interested, you see? It's a hard one.


www.hitfix.com/in-contention/martin-scorsese-looks-at-the-changing-face-of-oscar-season-over-four-decades/4

[foeller]

That's a great interview by the way!

[nas78]

And I also think it's great you're working with Rodrigo Prieto now. Is he going to shoot "Silence?"

I hope so, yes. We went to a location scout together. It's just a matter of working on our schedules. But I had a very good time working with him. He's a real poet of light. He really is. And also camera movement.

I just watched The Homesman. Prieto did an amazing job. The way he captures the wide open spaces in this film is remarkable. I think he is ideal for Silence.

[arnzilla]

Rodrigo Prieto on Instagram:

http://instagram.com/p/vj0ewgm2N_

http://instagram.com/p/vpl5GVm2H4

[arnzilla]

Here's an interview with Mexico's El Universal.

[arnzilla]

IndieWire.com - November 10, 2016

Martin Scorsese’s passion project about two 17th-century Portuguese Jesuit priests (Andrew Garfield and Adam Driver), who return to Japan to find their mentor (Liam Neeson), and endure torture and persecution, was shot primarily on film by Rodrigo Prieto (“The Wolf of Wall Street”), who went digital for night scenes.

“We both agreed immediately that ‘Silence’ needed to be on film [shot in Taiwan with the Arricam LT] and, from my perspective, it’s because of color depth and this is a movie that’s very much about nature and these priests in Japan surrounded by the foliage,” Prieto told IndieWire. “And a big part of the movie is how that sounds, how that feels, the presence or absence of God in this natural environment. I found through testing that no other medium captures the nuance of greens, for example.”

Skin tone is another reason, which makes Scorsese feel more connected to the faces. But there’s also a subjective, hallucinatory quality to the look since it’s told primarily from Garfield’s point of view — and the hellish experience tests both his sanity and faith.

By contrast, the use of baroque, religious paintings as inspiration, lent a spiritual aura with chiaroscuro lighting emanating from the center of the frame.

“To be confronted with the silence of God is really tough for these priests,” said Prieto, who found it a hard shoot because of weather in remote locations and being high up in the mountains.