Rodrigo Prieto, who first visited Poland’s Camerimage fest in 2000 to take the top prize for “Amores perros” and later filmed “Brokeback Mountain” and “The Wolf of Wall Street,” says his cinematogr…
The crime thriller, adapted from Charles Brandt’s book “I Heard You Paint Houses,” follows decades of the story of union organizer Jimmy Hoffa and the mob. The project forged new tools and techniques to create the authentic look of ages passing as characters turbulent lives roll on., following up on 2016’s “Silence.” Has the intimidation factor fully passed now?
The design of the camera work is predicated on Frank Sheeran’s ways. He is a very methodical person and he approaches a murder as just part of a job. He got desensitized to killing in World War II, where he saw many, many days of combat and had to kill prisoners of war.For him it was just you get an order, go and do it. So the camera behaves very simply. We didn’t do any spectacular angles or movements when a killing is happening.
That does become the bible of how we shoot it. But he is not technical in the sense that he says, ‘OK, this is a 27mm lens.’ It’s more the feel he wants, the type of movement. When I execute the shot I have the freedom to propose within that idea. It really was challenging. Also with the de-aging technique with these camera rigs – each angle had three cameras. It was a big rig. But any shot that Scorsese wanted us to do we had to be able to deliver. It took so long to finish one of these shots – the post production was more than a year.
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