After working on ‘The Irishman’ and ‘Killers of the Flower Moon,’ cinematographer Rodrigo Prieto let loose with Barbie.
represented the chance to really change gears. The film gave Prieto an opportunity to break some of his old habits, to immerse himself in a completely new process of inspiration. “We’ve been so influenced by the Dutch Masters—Caravaggio, Rembrandt, that sort of very contrasty lighting to create depth—and there's a reason for it. You do that to create emotion, atmosphere, depth, and I love it,” he says. “But in, it’s the opposite.
The film’s surrealist, playful aesthetic perhaps masks the precise craft and consideration that went into every design element. Indeed, it’sOne thing he had to get used to—in a good way—was how loud theset could be. “The biggest difference is that Scorsese likes to concentrate in silence. When he’s shooting, he needs absolute quiet—especially when we’re beginning and starting the day, he needs to think about it,” Prieto says.
Prieto is known for juxtaposing different worlds and templates within individual films. His early work with Iñárritu, across
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