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By Christopher Rosen
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When filmmaker Rodrigo Prieto spoke to Taylor Swift on the set of the “cardigan” video clip, he dressed not only with a mask, but also with a face screen. So did the project’s assistant director, the production designer, and all the other members of the small organization of collaborators who worked hard with Swift on the video, which was released last week along with her wonderful new album, Folklore.
“It was one of the first works we started filming in the COVID era,” Prieto, who was nominated for an Oscar this year by Martin Scorsese’s Irishman, to Vanity Fair this week. “So, at first, much of the preparation was to figure out how to film this, with all the needs to take care of all of us and, of course, take care of it and be and all that. Matrix »
He added: “Being one of the first outbreaks to occur, if, God forbid, someone gets sick, it would be bad for the whole industry. Let alone, of course, get sick. But all of a sudden it’s like, “Okay, now we have to avoid filming.” So we talked about something else. We want to make sure that we all comply with all these policies”.
Conceptualized and shot in a few days, the video of “cardigan” is positioned in 3 positions: a secluded hut that is torn from the adaptation of Mujercites de greta Gerwig, an enchanted forest and a restless and restless sea, where Swift is drifting and clinging to a piano for an expensive life. But the 3 positions were created at a sound level in Los Angeles, Prieto said, to take into account not only the visual effects needed to produce such images, but also to avoid the option of a leak. “We learned that we had to do it internally because otherwise someone took a picture,” Prieto said.
The secret around the video also extended to filming. While in general circumstances, an artist reproduced the production of his song to provide context for the images, Swift had mapped everything to the previous time, Prieto said. As a result, the filming was free of music. “I had heard it myself, but it was something very, very private and very safe,” Prieto said of the song. “That’s why I knew where the scenes were going, but the crane operator and everyone else didn’t know.”
Prieto, who has worked with Oscar-winning filmmakers such as Scorsese, Ang Lee, Alejandro González Isrritu, Spike Lee, Cameron Crowe and Oliver Stone, would possibly seem like an unforeseen collaborator of Swift at first glance. But the couple logged in earlier this year on the video for “The Man,” which Swift directed herself, the first time she earned a solo credit as a director for one of her videos.
“Rodrigo was the wisest thing about a dream DP list I’d compiled for this video, but I never imagined I’d be interested or interested,” Swift told the American director of photography about the video for “The Man, ” which was heavily influenced by what Prieto and Scorsese did with The Wolf of Wall Street. “I cited his style, versatility and technique as an example of what I was looking for. I’m a big fan of the paintings he’s made, and I’m still out of luck, having been able to paint with him.”
Speaking now, after his moment fit into the more than six months, Prieto said the feeling was mutual. “In fact, I like it when a director like Taylor has a very express point of view and yet listens to what others have to say and asks, “What do you think? You think it’s good? You like it? Do you have another concept? Prieto said. “And rarely could we be proposing anything else, and if he didn’t like it he said it, well. It’s not that he’s asking for recommendation because he doesn’t know what to do, he asks for an opinion to listen.” what workers have to say. And if you like this concept better, you’ll settle for it. In that sense, she doesn’t have that kind of fragile ego where she tries to be the director, [as] the director will have to do what the director thinks and is a little dictator. It’s not like that.”
With “cardigan” completed, Prieto can now in his next film with Scorsese, the next adaptation of Killers of the Flower Moon, starring Leonardo DiCaprio and Robert De Niro.
“Certainly, this film will also be very sensitive because, well, even Martin Scorsese as director suffers from asthma. So we have to be very careful with him,” Prieto said. A trick he used in the “cardigan” to use remote heads on the cameras allowed Prieto to film Swift up close without having to break the social distance patterns.
“That’s the kind of thing I learned in the video and I think I’ll keep applying, especially in a movie like that,” he said of Killers of the Flower Moon. “We don’t need De Niro or touch anything right now.”
But running with Swift, he said, has shown a way forward for the industry, as he struggles to restart production amid the pandemic. “I learned, because I did the filming and I also did some other advertisements, which is imaginable because everyone is very aware of it and everyone has to keep running,” he says. “There are many protocols that are in place and I have noticed that they are implemented in each tray. I think we’re going to have to don’t forget to do all those things. So far, I haven’t heard of anyone who gets sick. Let’s check to keep it that way”.
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