AmericanCinematographer201201

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Close-up Rodrigo Prieto, ASC, AMCWhen you were a child, what film made the strongest impressionon you?I was blown away by Jason and the Argonauts (1963), particularlythe skeletons’ fight. That scene changed my life. Because of it, Ilearned how to do stop-motion animation and made my ownmonster films with my older brother.Which cinematographers, past or present, do you mostadmire?Since I was in film school, I’ve been inspired by the naturalism ofNéstor Almendros, ASC; the style of Jordan Cronenweth, ASC; theelegance of Sven Nykvist, ASC; and the strong compositions ofGabriel Figueroa.What sparked your interest inphotography?Working for a year as an assistant in astill-photography studio in Mexico Citywith photographer Nadine Markovamade me aware of the power of framing,lighting and color.Where did you train and/or study?At the Centro de Capacitación Cinematográficain Mexico City.Who were your early teachers or mentors?Nadine Markova; Miguel Fernández Morán; Guillermo Navarro,ASC; and Emmanuel Lubezki, ASC, AMC.What are some of your key artistic influences?I use the work of still photographers as my main reference for lightingand composition. I admire the work of Nan Goldin, Alex Webb,Cindy Sherman, Sebastiao Salgado, Jonas Bendiksen and manyothers.How did you get your first break in the business?I was working on a commercial as a PA and still photographer whenI was 22 and still in film school. The client liked my photos and askedthe production company to hire me as the director of photographyon their next commercial. That kick-started my career as a cinematographer.What has been your most satisfying moment on a project?So many! Moments like sharing a cry with Naomi Watts on 21Grams after an emotional scene, or watching Tony Leung reacting toTang Wei singing on Lust, Caution, or improvising with the cameraonstage with Eminem on 8 Mile, or seeing Matt Damon imagininghis deceased wife on We Bought a Zoo . Also, watching the firstdailies of the color-infrared battle scene on Alexander.Have you made any memorable blunders?On one of my first commercials in Mexico, I was required to shoot atelecommunications facility from the air, and I operated the Tyler sidemount on a helicopter. On the way to the location, I filmed landscapesand sheep in idyllic pastures. We arrived, and as I started filmingthe huge antenna, I saw soldiers running to trenches and pointingtheir guns at us — apparently they weren’t aware of our permit.So after circling once, we left. Upon landing, I realized I had run outof film before we reached the antenna! I had to go back and shootit from the ground on another day.What is the best professional advice you’ve ever received?On my first day on my first job as aPA, the production manager waslate, and a grip said, ‘It is disrespectfulto be late on a shoot day.’ Thatmade a big impression on me.What recent books, films orartworks have inspired you?I enjoy books by Haruki Murakami.His mysterious, introspective andvivid style is fascinating to me. I alsoappreciate the work of artist FrancisAlÿs, particularly his keen eye on thepolitics and life in Mexico City.Do you have any favorite genres, or genres you would like totry?I love science fiction and horror, but I have not had an opportunityto delve into those genres since I did my own Super 8 films!If you weren’t a cinematographer, what might you be doinginstead?I would probably be a graphic designer.Which ASC cinematographers recommended you formembership?Steven Poster, Guillermo Navarro and Emmanuel Lubezki.How has ASC membership impacted your life and career?Being a member of the ASC has allowed me to be in direct contactwith cinematographers I admire and keep learning from them, aswell as discuss ideas and techniques with them. It is also a greatforum to participate in defining the evolving role of the cinematographer.●104 January 2012 American Cinematographer
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