Rodrigo Prietowas on double duty atCamerimage.
This year the veteran Camerimage Golden Frog winner sat on the international competition jury alongside Cate Blanchett.
Pedro Paramois Prietos directorial feature debut.
Rodrigo Prieto.Gareth Cattermole/Getty Images for IMDb.
Prieto is now widely considered one of contemporary Hollywoods most trusted and in-demand cinematographers.
After a debut screening at TIFF,Pedro Paramolanded on Netflix on November 6.
The film was also in competition at Camerimage.
DEADLINE: Rodrigo, how are you?
RODRIGO PRIETO:Im happy to be here.
Its a new experience for me.
Ive been on juries before at Morelia and in Venice.
But Ive never solely judged cinematography.
And, of course, my movie is here.
DEADLINE: Yes, this is one of the more unique juries.
I guess youre watching these films and just discussing the cinematography?
PRIETO:Yes, but not always.
I make a run at focus in that direction because thats our task.
It works in the opposite direction too.
DEADLINE: Congrats on your film Pedro Paramo.
I was so taken by the story.
I read that children read that book in Mexico.
PRIETO:Well, you read it in high school and sometimes in junior high school.
The funny thing about that is, I was offered this film.
It wasnt something that I was looking for.
I was actually in Oklahoma onKillers Of The Flower Moon.
Foolishly because, as you see, its a very complex story and difficult to adapt.
During the process of negotiating with Netflix, they wanted me to make it a PG-13 movie.
I said to them, guys, I cant make a PG13 movie.
It has to be R-rated.
Their argument was that people read the original book in high school.
But all I could say was have you actually read the book?
Have you actually paid attention?
All these themes of incest, murder, nudity.
It all has to be in the film.
Fortunately, they relented and let me do it R-rated.
Was it just the usual complexities of film financing?
PRIETO:Yes, thats what happened.
I read that script.
And yeah, the film just ran out of money.
The same town has to look completely different.
So its very complicated and expensive.
I was fortunate that Netflix wanted to do it.
DEADLINE: Yes, the story is so complex.
Theres a lot of time hopping, which makes the film quite elusive.
Its also quite an ambitious film in terms of historical scope.
Can you talk a little about how you approached the adaptation and built this production?
PRIETO:It was very challenging.
I was working with Mateo Gil on re-adapting the script.
He had his vision of it.
That was a big negotiation.
He was such an expert on the story.
The schedule and budget were tight.
I dont even know how much it was in the end.
But I remember that we constantly needed more to work with but somehow the team made it possible.
DEADLINE: You share the cinematography credit on this film with Nico Aguilar.
Why did you decide to work with another DoP?
As the director, youre paying so much attention to the storyline and emotional moments.
I thought it was best to prep the film with Nico and figure out how to solve any issues.
And then Id remember wait, I am the DP.
That meant I never stopped.
I didnt have time for anything at all.
Directors can usually block the scene and then go off to do other things.
It was very intense, but I loved every second of it.
DEADLINE: I found Pedro Paramo terrifying in parts.
And I think its because of how natural and real it looks.
The terrifying things we see could happen to us.
Was this naturalistic visual style a considered choice?
And I kept saying why?
The terrifying thing about accidents is how they just happen.
Juan Preciado, for example, encounters these people who he thinks are just regular people.
He doesnt realize that theyre already dead.
And some of those people dont know theyre dead either.
So I wanted to have the audience experience it that way.
I tried to make it as naturalistic as possible until it started getting increasingly surreal for the characters.
Thats when I allowed myself to tap into the weirder things.
How did you manage to balance that work load?
PRIETO:My wife is great at multitasking.
Im terrible at it.
I just cant do it.
What I can do is focus.
I think what happens is that I focus intently.
So Id be shootingBarbieduring the week, for instance.
But on the weekend, I focused on working with Mateo Gil on the screenplay.
And I can separate the two well.
DEADLINE: Are you not tired?
PRIETO:I am.
I think Im gonna need a vacation.
What about the film did you take issue with?
PRIETO:First of all, Im unhappy that the film was not shot in Mexico.
Secondly, why wouldnt you include more Mexican people to participate in the production?
Not even just as actors.
We do have Adriana Paz in the film and shes great.
I think shes great.
It was a breath of fresh air when I saw her in the movie.
She feels Mexican to me in an authentic way.
Everything else in the movie feels inauthentic and it really bugs me.
Especially when the subject matter is so important to us Mexicans.
Its also a very sensitive subject.
The whole thing is completely inauthentic.
Im not talking about the musical side of it, which I think is great.
Thats a great idea.
But why not hire a Mexican production designer, costume designer, or at least some consultants?
It was just the details for me.
You would never have a jail sign that read Carcel it would be Penitenciaria.
Its just the details, and that shows me that nobody that knew was involved.
And it didnt even matter.
That was very troubling to me.
Im not against non-Mexicans making films in Mexico but the details are important.
Look at Ang Lee.
Hes from Taiwan and madeBrokeback Mountain.
But he focuses on the details.
Even me withPedro Paramo.
Its about the details.
