American Cinematographer - October 2002 - 48

A

PW gyoury

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director, and not that technically

about filmmaking, she can
imagine things, period, rather than
savvy

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limitations of film?' She would say,
'This is what I'd like to do,' and

of my colleagues to give it a try."

knowing the tools available to

us, I
could contribute ideas and suggest

things that would enhance her idea. I
found it very exciting to be able to
participate at that level and help
generate visual concepts."
Prieto had to recreate

the

paintings, such

as

some

of

The Two

Fridas, Self Portrait With Cropped
Hair and The Broken Column, by

filming Hayek in poses matching
paintings; the actress
wore makeup designed to look as
though she had literally been
painted. The live-action image then
dissolves to match the painting, or
those in the

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contrast

there was a stark

between the shadowless

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paintings Kahlo created and the
film's own rich palette of shadows
and color. "You don't

see

shadows in

Frida's

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paintings, and the lighting is
quite flat," the cinematographer says.
"I wanted them to have

depth

on

a

little bit of

film, but they still had to

feel flat. I created lots of fill with
bounced

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light - I think the lighting
2:1. Also, the sets [depicted
in the paintings] were built in forced
perspective, with tilted floors,
because in her paintings the perspec¬
ratio

was

tive is

.8/T1.9

a

little off."

Paintings such as My Dress
Hangs There, The Suicide ofDorothy
8mm

fl.8/T1.9

Hale and What the Water Gave Me
were

animated with

a

blend of digi¬

tal visual effects and live-action

photography. "I wanted the effects
to look as though Frida could have
created them, and in a funny way,
as
though I could have, too,"
Taymor says. "Naive can be very
sophisticated. Frida was inspired by
retablos [small paintings docu¬
menting religious events] and
picked up on folk art, but there's a

5.5mm fl.8/Tl.9

twist with her, and I think that's
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true

of my

work in general. Her
American Cinematographer - October 2002

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