Prieto says he first heard about The Irishman during the post production phase on Silence. “I actually read the book before I read the script and found the narrative to be very interesting and hugely entertaining. Along with organized crime and the Jimmy Hoffa story, it was also peppered with all sorts of U.S. historical aspects from the several different decades. It was pretty epic in scope, and I realized it would be very challenging to visualize those different decades. It was very exciting for me to come up with a visual design for such a vast story.”

He adds: “In defining the look of the movie, Marty mentioned early on his thoughts about it being like a home movie – not in the way that the camera might be shaky or with grainy images, but in the way it might evoke the kind of feeling and emotion you get from the visual memory of the past

“Our goal on The Irishman was transport the viewer back into different eras of Frank Sheeran’s life – WWII, the 1950s, ’60s, ’70s and early 2000s – with different looks that felt authentic and palpable. Film negative has an innate magic to help you do this, to reproduce the subtle nuances of feelings on an actor’s face, as well as to create visual environments to embody these emotions.”

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