At first glance, Rodrigo Prieto’s job as cinematographer on Martin Scorsese’s “The Irishman” seems complicated. But if you dig deeper, you find out it’s even harder than you’d imagined. In the vide…
” seems complicated. But if you dig deeper, you find out it’s even harder than you’d imagined.
“The car interiors were all shot in the studio,” he smiles. “I had to create lighting to make it look like it was outside; we lit the car scenes with huge LED panels, like Jumbotrons. We fed onto those screens the images created by the second unit, where they had nine cameras filming around one car, all captured from every angle.
“In terms of the restaurants and bars, I went off Scorsese’s memories of these type of places. He didn’t go to the actual places mentioned but he went to places like that. For a restaurant like Villa Roma, he remembered low-wattage bulbs and the amber color. He listened to men talk, where they sat and the way they behaved. He also remembered the color of the light, as opposed to other restaurants.
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