7 Questions with KILLERS OF THE FLOWER MOON Cinematographer Rodrigo Prieto

IMAX In Frame  ‌ ‌ ‌ Welcome to the story behind the story. This is IMAX In Frame   'A Hot Blast of Sun' In conversation with cinematographer Rodrigo Prieto   Cinematographer Rodrigo Prieto constantly impresses us. Garnering countless awards and honors throughout his career, including three Oscar nominations (for BROKEBACK MOUNTAIN, SILENCE, and THE IRISHMAN), he is the man behind the lens of some of the most iconic cinematic works of the post-millennium era. From films set in Hong Kong to Barbieland; from trailer parks to penthouses, from BC to AD, here on earth and lost in space, his career has touched it all. Prieto is a frequent collaborator of director Martin Scorsese, in a relationship that began with WOLF OF WALL STREET. KILLERS OF THE FLOWER MOON is their fourth project together. We chatted with him about the chilling true story behind the film, his influences, and of course, IMAX. 1. Icebreaker: We’re learning that filmmakers have wildly different preferences about where to sit in an IMAX theatre. We’re of the opinion that there isn’t a right or wrong answer to this question. But where do you stand (or, rather, sit) on this topic? For me, the sweet spot is roughly the middle of the theater. Of course, this depends on the size of the cinema, but I would say about 14 rows back, where your eyes are more or less at the center height of the screen. Also, it’s where it sounds best. 2. Going back to the beginning, what inspired you to become a cinematographer? How did you get here? What were some of your influences over the years? My fascination with filmmaking started with movies that included stop motion, from JASON AND THE ARGONAUTS, CLASH OF THE TITANS, to MIGHTY JOE YOUNG and KING KONG. My brother and I would make short 8mm horror and sci-fi films which included stop motion clay monsters. I loved the “make believe” part of making films: the trickery behind it. For me, cinematography is an extension of that playfulness, where you use the tools of the craft to fool the audience into believing that they really are in, for example, 1920’s Oklahoma. Or in Barbieland! 3. And, back to today: KILLERS OF THE FLOWER MOON is the 4th film you’ve made with Martin Scorsese as a director of photography. Would you share a little bit about the working relationship between you? How is it different or the same from your working relationship with other directors? Every director is different in their approach to storytelling. One of the things I love about my job is getting to work with such diverse artists and really do my best to get in sync with their perspective. I’ve loved Scorsese’s movies since I can remember being aware of the power of cinema beyond science fiction and horror. I was transfixed by his use of the camera as an emotional tool. The complex empathy with which he treats his characters is amazing to me, and the way he places the camera to capture this is simply masterful and mysterious. It has been a dream come true for me to collaborate with him and help execute his vision. As the years have passed, I am more aware of what he might respond to when setting up a shot. I guess I now get approval of the shots I present to him more often than I did at the very start! The most exciting part of it all is listening to him explain his ideas and figuring out the best way to achieve them. 4. KILLERS OF THE FLOWER MOON chronicles a complex story, rooted in reality. How did you go about approaching the visual language of their world? What sort of things do you think about when approaching the look & feel of a film? Even though the story is based on true events, I think one of the characteristics of our approach is the exploration of how real stories are represented. From the black and white newsreel shots (that were done with Scorsese’s own 1917 Bell and Howell camera) all the way to the Radio Show epilogue where actors retell the story in a very biased 1930’s interpretation. The movie itself is obviously a representation and interpretation of those same events. So, I decided to explore how people at that time saw images from other places and how events were recorded. I studied the first explorations into color photography and ended up creating a LUT (Look Up Table) that emulates “Autochrome,” which is a color technique invented by the Lumiere Brothers in France in 1917. I used this LUT for every scene in the first half of the film that involved the descendants of European Settlers. So, Hale and Ernest’s story is seen through the “filter” of Autochrome, in contrast to the scenes where we see the Osage without white people around them. For these scenes, we stuck to naturalistic color, using a LUT that emulates film negative as seen on film print. We also shot on film negative, which I find gives us the most color depth, and richest nuanced colors for the Oklahoma landscapes and to represent the connection of the Osage to nature. About two thirds into the film, a tragic event happens, and the look changes to a harsher feel. We switched to a LUT that emulates ENR print technique, with desaturates colors and adds contrast. The lighting also becomes harsher and with deeper shadows. In several instances I used overexposure to accentuate the discomfort Ernest feels from his own mounting sense of confusion and guilt. 5. Two questions: What is your favorite scene in KILLERS OF THE FLOWER MOON? Are there any behind-the-scenes stories you can share about shooting that scene? There are many favorite moments in the movie for me. One of them is the whole sequence where Hale is burning the land around his ranch to collect insurance money. The effect of that fire seems to envelop everything, like Hell has taken over, with William Hale presiding over it like some sort of Lucifer. The scene of the burning of the land includes some long lens tight shots of Hale’s ranch hands controlling the fire. We had small flame bars close to the lens to create some heat distortion, but the additional distortion caused by the more distant fire created a surreal image that was mesmerizing while shooting it. Scorsese just kept the cameras rolling as we were all transfixed by the strange shapes that resulted. Another favorite of mine is Ernest’s cross examination at the witness stand in court. I lit him with an uncomfortable hot blast of sun, and most of the scene is just a medium shot of him as he answers questions. His performance is just incredible. Very powerful and moving. 6. What is your favorite bit of the IMAX Experience? And why should fans experience KILLERS OF THE FLOWER MOON in IMAX? IMAX is truly immersive. As a cinematographer, I always strive to put the audience in the middle of the scene, trying to create images that somehow resonate emotionally. The enveloping nature of the big IMAX screen helps the viewer forget that they are watching a movie and let themselves be fully taken into the experience. Killers of the Flower Moon is an intimate story of a specific family, but the backdrop of the story is huge. Not only the vastness of the Oklahoma Landscape, but the countless murders of Osage people due to the wealth generated from the oilfields on their land. IMAX enhances the delicate nuance of the great performances of the actors, while providing us with a big canvas to feel the impact of the epic scale of the story. 7. You’ve worked with some of the most respected directors – Gerwig, Stone, Iñárritu, Almodóvar, and both Lees (Ang & Spike). You’ve also worked with some of the most acclaimed musical artists – Jay-Z, Taylor Swift, as well as Travis Scott. Are there any commonalities in how you approach working with these visionaries? What is it about you, or your approach to filmmaking, that allows you to successfully straddle these two worlds? My approach is always the same when it comes to working with different directors. And it starts with listening. I really pay close attention to what a director says, to me or any other collaborator. It’s a deep form of attention, where I focus not only in the words, but also the energy of the way they express their ideas. From this deep listening, images come to my mind, sometimes from literal descriptions from the director, but also just from the way I emotionally interpret what is being said. I try to facilitate a bond of trust, where we can play with ideas freely, without any judgement or preconceived notions of mine. Each project has its own personality and vibe, which is generated from the director. I just try to capture that to the best of my abilities. 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