American Cinematographer - January 2017 - 49

Top: In the
infirmary, Jim and
Aurora realize
their options are
limited. Bottom,
left: Prieto plans a
shot in the
hibernation-bay
set. Bottom, right:
Jim and Aurora
stroll through the
hibernation bay on
their date night.

the courtyard would be behind Ferreira.
The ambient daylight is brighter on
Rodrigues' face, and conceptually that
makes sense because he believes he is
right and Ferreira is wrong, so Ferreira's
face is darker with the ambient daylight
behind him. Marty agreed with this
notion, and the actors felt comfortable
in those positions.
Light is energy, and we use that
energy not just to create mood and
depth, but also to express something.
It's abstract; you may not understand it,

but you feel it. People watching this
scene may not notice the subtle difference in the light on these two priests,
but I hope they will feel it.
Shortly after you wrapped
Silence, you began prepping
Passengers, your first science-fiction
film. Was the genre what made it
attractive?
Prieto: I've always loved science
fiction. As a teenager, I read Clarke,
Bradbury and Asimov, and when I
started making my little Super 8
www.theasc.com

movies, most of them were science
fiction, complete with visual effects! But
when I started out professionally, there
were no science-fiction projects being
made in Mexico, so Passengers was a
great opportunity to finally work in that
genre. Also, I liked Morten's last movie,
The Imitation Game, very much, and we
had a great conversation when he called
me in Taiwan to discuss this project.
Did a specific film of yours
inspire him to think of you?
Prieto: He said he had noticed
January 2017

49


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Table of Contents for the Digital Edition of American Cinematographer - January 2017

Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
American Cinematographer - January 2017 - 5
American Cinematographer - January 2017 - 6
American Cinematographer - January 2017 - 7
American Cinematographer - January 2017 - 8
American Cinematographer - January 2017 - 9
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American Cinematographer - January 2017 - 18
American Cinematographer - January 2017 - 19
American Cinematographer - January 2017 - 20
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American Cinematographer - January 2017 - 26
American Cinematographer - January 2017 - 27
American Cinematographer - January 2017 - 28
American Cinematographer - January 2017 - 29
American Cinematographer - January 2017 - 30
American Cinematographer - January 2017 - 31
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American Cinematographer - January 2017 - 33
American Cinematographer - January 2017 - 34
American Cinematographer - January 2017 - 35
American Cinematographer - January 2017 - 36
American Cinematographer - January 2017 - 37
American Cinematographer - January 2017 - 38
American Cinematographer - January 2017 - 39
American Cinematographer - January 2017 - 40
American Cinematographer - January 2017 - 41
American Cinematographer - January 2017 - 42
American Cinematographer - January 2017 - 43
American Cinematographer - January 2017 - 44
American Cinematographer - January 2017 - 45
American Cinematographer - January 2017 - 46
American Cinematographer - January 2017 - 47
American Cinematographer - January 2017 - 48
American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
American Cinematographer - January 2017 - 49
American Cinematographer - January 2017 - 50
American Cinematographer - January 2017 - 51
American Cinematographer - January 2017 - 52
American Cinematographer - January 2017 - 53
American Cinematographer - January 2017 - 54
American Cinematographer - January 2017 - 55
American Cinematographer - January 2017 - 56
American Cinematographer - January 2017 - 57
American Cinematographer - January 2017 - 58
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American Cinematographer - January 2017 - 107
American Cinematographer - January 2017 - 108
American Cinematographer - January 2017 - Cover3
American Cinematographer - January 2017 - Cover4
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