Interview: Rodrigo Prieto on working with great auteurs and "The Irishman"

Rodrigo Prieto has long been one of the most versatile cinematographers in the world. He first came to international fame with the gritty Oscar nominated Mexican drama Amores Perros (2000) though filmmakers in Hollywood, we learned in our interview, had noticed his skill even earlier than that. Since then he's worked all over the world and in an impressive array of genres and styles.

We gave you a teaser of our long sit down with this great visual stylist a couple of months ago (we had to grill him about Brokeback Mountain first) but we were meeting to discuss The Irishman. Martin Scorsese's latest Best Picture nominee had yet to open when we spoke but it was a critical darling immediately and Prieto secured his third Oscar nomination for his contributions to the mournful epic. We spoke to him about his visual choices, what he loves about his job, and working with auteurs like Martin Scorsese and Ang Lee. How do they differ on set and which of Prieto's films had they seen to convince them to begin their long collaborations?

[This interview has been edited and condensed for clarity]

NATHANIEL: Your first several movies were in Mexico. It was Amores Perros (2000), wasn’t it, when Hollywood came calling? Could you feel your career exploding? 

RODRIGO PRIETO: It was actually a little bit before. My fourth movie All of Them Witches got international recognition. That's what got me my agents. I did another movie called  Un embrujo (1998)  that Carlos Carrera directed that got an award in San Sebastian  for cinematography. It put me on the “10 to watch list” in Variety. That's the one that made me think, you know, people might have started hearing my name a little bit...

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Horror Actressing: Barbara Hershey in "Insidious"

by Jason Adams

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On Wednesday the great Barbara Hershey will be celebrating her 72nd birthday, and per usual once an actress hits a certain age what's the genre that picks up the slack? The "disreputable" Horror genre,  that's who, always there to welcome these great talents into its warm, slimy embrace. I simply don't know how one could call one's self an "actressexual" and not be appreciative of all the meaty roles this genre's afforded actresses that nobody else is throwing their way. Yeah yeah maybe they're not always Chekov, but the work is there and the focus is often on women's stories and relationships, and great actresses can make anything sing.

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Ten years ago Hershey hit hard with two prime examples of this -- I'm not going to fall down the rabbit hole of whether Darren Aronofsky's Black Swan is a horror film (it is) though, because I want to focus on the other one, one which gifted Hershey with one of the decade's greatest scares...

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BAFTA Winners

BAFTA came and went with the almost all of the Oscar frontrunners crowned. The only real surprise was Parasite taking Best Original Screenplay rather than a Tarantino victory though that shouldn't be a surprise given the Korean hits ingenious construction and terrific dialogue. After the jump the winners list in some speeches...

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Sundance Review: Promising Young Woman

by Murtada Elfadl

Carey Mulligan is an actress of immense range. Since her breakout at the 2009 edition of Sundance with An Education, she’s given us many tremendous performances. All of them heartbreaking and deeply felt in different ways, whether she’s a replicant trying to make human connections (Never Let Me Go), F Scott Fitzgerald’s famous Daisy (The Great Gatsby), a broken sister singing her heart out as a last cry for help (Shame) or a wife and mother facing the dissolution of her marriage and the paucity of choices after (Wildlife). And once again she gives an exceptional performance in Promising Young Woman.

This time she’s Cassie, who at 30 still lives home with her parents (Clancy Brown and Jennifer Coolidge), whiles her days away working in a coffee shop where even the boss (Laverene Cox) thinks the job is beneath her. Little by little we find out the reason for her apathy. An event that happened during college made her dropout and become a sorta avenger against “nice guys” who take advantage of vulnerable women...

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1999 with Nick: Best Original Score

This week, in advance of the 2019 Oscars, Nick Davis is looking back at the Academy races of 20 years ago, spotlighting movies he’d never seen and what they teach us about those categories, then and now...

the surprise winner

Spotlight Movie: The Red Violin
One of the most exciting things that can happen on Oscar night is when a movie with no other nominations wins one of the “craft” or “technical” or “below-the-line” categories—three bad names for the races where very few contenders are celebrities. In a year like the current one, where the Best Picture nominees ran the table to a historic degree, and consuming most of the spots in every other race, we have even fewer prospects than usual to see this occur. I’d love to watch The Lighthouse win Cinematography or Ad Astra win Sound Mixing, both because they deserve these victories on merit and because it’s nice (but mostly false) to hope that Oscar voters make discerning judgments from category to category based on each discrete department of artistry.

The Red Violin’s Best Original Score trophy at the 1999 Oscars represented one of these glorious instances, and registered as a significant upset at the time...

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