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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From pink tacos to dark political ads, Barbie mania takes over Latin AmericaLatin America is taking Barbie mania to an extreme, with everything from pink-colored tacos and pastries, commercial planes bearing the Barbie logo, political ads and even Barbie-themed protests.
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