From being the first to capture the Contras on film in Nicaragua to photographing the X-Men series and Superman Returns (2006), Sigel has worn many hats (and no, we’re not talking about his fedoras and baseball caps, although there are those, too). I mean, what is it, really? where you get to come to New York. Retrouvez les photos de Newton Thomas Sigel : photos de tournage et de promotion, images de films et séries Were there other things? Because it’s literally a linear demarcation of my life. NTS: Well, Drive was directed by Nicolas Winding Refn, whose previous movies had been done in Denmark, one in London that he did with Tom Hardy called Bronson, and that’s the movie that really made me want to work with him. So we all mark time in different ways. I was amazed at the confidence that he had, and yet how much the prep and the structure of shooting the film I had to do on my own because he didn’t really prep. So the film test ends, the lights come on, and Lorenzo turns and he looks, not at David, but at me, and he says, “Well, if you think you can make this movie look like one, cogent whole—one, unified piece—go ahead.” And it just blew my mind. There are those movies that want the style to be front and center, and there are those movies that do want the style to take a backseat. What’s going on now is there’s a secret war to overthrow the Sandinistas. There’s also a Starbucks there? I’ll have to go to IMDB to remember. Was he sort of champion of the creative arts? NTS: I’ve come to revisit those ideas as an adult, but at the time, it was like, “Narrative filmmaking—that’s bourgeois.”. It was not antagonistic towards the arts, but I think my parents were clearly strong believers in “You go to school, you go to college, you pick a profession, you keep going.”. We did a documentary about the way that the indigenous population was being transformed, and it was the middle of the guerrilla war in Guatemala and the attempt by the Guatemalan military to really eradicate the indigenous population. I think it was really somewhere around high school that I started to paint. So the film test ends, the lights come on, and Lorenzo turns and he looks, not at David, but at me, and he says, “Well, if you think you can make this movie look like one, cogent whole—one, unified piece—go ahead.” And, it just blew my mind. To this day, I’m not sure how much of which it was, but for whatever reason, we were in the right place at the right time. But he goes, “Here’s the address; be there at like 5 a.m.” or whatever it was. The transcript has been slightly condensed and edited for clarity. Instagram; Newton Thomas Sigel. It won the prize at Cannes, so he must’ve known something. Check it out, and… More. It was a way of creating a look and a feel that both serviced the dramatic tension side, and yet let things breathe and let things take time, and gave a signature to each one of the car sequences that had its singularity, so that they are all very different from each other; they all had a different language. Sigel gets into his many projects over the past three decades, including working under Robert Richardson on films like Platoon (1986) and The Doors (1991), as well as DPing others, such as The Usual Suspects (1995), Valkyrie (2008), and Drive (2011). They hire a family for you, whether you like it or not. This bio has been generated automatically by our friendly Filmanic bot. Jan 16, 2019 - 10 Likes, 0 Comments - Cinematic Artistry (@cinemartistry) on Instagram: “Drive (2011) Director: Nicolas Winding Refn Cinematographer: Newton Thomas Sigel #cinema…” Photos and frame grabs courtesy of Film District. We’d sort of exposed the story of the Contras. Okay. AZ: [Laughs] You can’t art direct your home. Since then, he has worked on dozens of films. He found us, and he said, “I’m doing this movie about Nicaragua,” and he showed us the script. I never read the script, but we talked a lot about it and even had a, mezcal drinking trip to Catalina beforehand. I was amazed at the confidence that he had, and yet how much the prep and the structure of shooting the film I had to do on my own because he didn’t really prep. I don’t know if it’s a cinematic phenomena or what it is, but he’s something!”. Newton Thomas Sigel was born in August 1955 in Detroit, Michigan, USA. How we filmed it was something that evolved, but the concept of it was right there in the script. Now, a year or two later, I’m being asked to go see this press conference. And Chris McQuarrie had written this amazing script. You’re controlling the image, that’s theoretically what you’re doing. It wasn’t like I said, “I want to be a cinematographer.” It was never even like I said I wanted to be a director. Ironically, I didn’t really learn about lighting, stuff like that, to the extent that I should have or would have, but I learned so much about so many other things, just storytelling and camera, how to let things evolve from one character to another. Newton Thomas Sigel “Extraction” BTS Footage Reveals Some Crazy Cinematography by Yossy Mendelovich. AZ: You were there, though, on that day in the desert? This includes data values and the controlled vocabularies that house them. Instagram; Newton Thomas Sigel. NTS: But it was all right; it was too far uptown, anyway. So, as somebody that was always oriented and gravitated more toward films that were content-driven, I think that was my way of rationalizing that I was doing something valuable or worthwhile. had written this amazing script. She’s next to me, of course, being the purist, like, “Oh, it’s not really like that,” but I think, This is amazing! Published on April 15, 2020. We formed a company in New York called Skylight Pictures, which still exists to this day. Lenses: Panavision PCZ and H-Series; Oscar 2021 Predictions: Best Cinematography-Camera Chart 2019 Nominee BAFTA Film Award: Best Cinematography Bohemian Rhapsody (2018) Awards Circuit Community Awards. NTS: I guess. Other Contenders (alphabetical by film) The Father (Sony Pictures Classics) Ben Smithard. Podcast Credits: Episode Sponsors Hot R od Cameras Copyright © 2021 Centaur Media plc and / or its subsidiaries and licensors. 24.5k Likes, 23 Comments - Color Palette Cinema (@colorpalette.cinema) on Instagram: “: “Marshall” (2017). So I get in the car, I’m still asleep, I’m driving out, I’m going to fill in for him. How did that transpire, how did you get away with that? I loved shooting it, I loved watching Rami—and the rest of the guys, but he was just absolutely extraordinary. I mean, if you look at it, it’s just a series of titles, but for me, they represent, “Oh yeah, that’s when we were in Berlin and the kids were still in the cribs.” When I meet someone, they say, “Oh, yeah, I worked with you on …” or “I met you …” or “Do you remember when we were in …” I kind of know where that was in my life, timewise, by this relatively linear filmography. Posted 16 December 2020 by News. It was actually amazing. NTS: I’ve known Spike Lee for quite a while, from doing a little commercial work with him, and speaking of legends, there aren’t too many legends in the filmmaking world bigger than Spike Lee. So I start shooting, and I’ve got Oliver now standing next to me, in my ear, going, “Yeah, pan left, pan left, no, go to the drummer!” The first scene I did was the one where they were writing “Light My Fire,” and it’s madness, it’s Oliver Stone madness. Newton Thomas Sigel. Mulan (Walt Disney Pictures) Mandy Walker. I have young children, and I’ve been gone for a while; I come back, I’ve missed all this great time, I’m a bit of a satellite in the home, trying to remember where the silverware is kept, and things like that. AZ: But, somehow, you convinced the studio, without knowing that the film would deteriorate …. Academic disciplines Business Concepts Crime Culture Economy Education Energy Events Food and drink Geography Government Health Human behavior Humanities Knowledge Law Life Mind Objects Organizations People Philosophy Society Sports Universe World Arts Lists Glossaries. You should go down and film this military exercise. AZ: Yeah. I do have to say, when I got back, it was a little bit like, “Wow, everybody’s speaking English.” It was definitely some culture shock. At one point or another, no matter how much you prep and plan, you are going to follow your instincts. “avant-garde” cinema or experimental cinema, —it had all these different names. , I was gone for almost a year. The American Society of Cinematographers (ASC) resumes its Clubhouse Conversations series this month, featuring interviews with leading filmmakers discussing their creative process. His wife was a documentary filmmaker—she was actually the one, I believe, if I have the story right, that pushed both Oliver and Bob to watch my documentaries, which was essentially what got me the job. Neli A'asa: Norbert A’Campo: Nico Aaltonen: Nils Aaness : Nabil Aankour: Naïm Aarab: … AZ: With The Doors, you actually shot that amazing sequence in the desert. I went along for the ride to make a living while I was trying to be an artist in New York. So there was a pace and a lyrical quality that I knew he wanted in the movie. I don’t know that any of them necessarily became household names afterwards. I was rebellious, so anything that to them was revered in that way was bourgeois and to be rebelled against. It wasn’t like I said, “I want to be a cinematographer.” It was never even like I said I wanted to be a director. The minute I read the script, to me, it was a story of the cultural polemic between Martin Luther King and Malcolm X. That’s what the movie was. Welcome to the studio, Tom. I mean, it was a well-kept secret, but they’d never been filmed before. So I was like, “You know what, man, I would love to do it, but we just got back, we can’t really do it.” So that’s the end of the Jeff Harmon story. 2011 Nominee ACCA: Best Achievement in Cinematography Drive (2011) Broadcast Film Critics Association Awards. , which [was] another moment in your life that sort of pivoted into a whole run of things. , the look of the film. AZ: Somehow you brought something new to that. Newton Thomas Sigel was born in August 1955 in Detroit, Michigan, USA. NTS: We had no second unit; it was a very low-budget movie. NTS: Well, yeah, we really tried. When I watched that film, I was shocked. This interview was recorded in The Slowdown’s New York City studio on July 2, 2019. I had an older brother who was a photographer at the time, and like a lot of brother relationships, I idolized him and I hated him—you know, he was older, so he beat me up. But clearly I was drawn more to the visual and just naturally became the cinematographer. It’s very hard to go with the Free Syrian Army and then go with German military. There’s something circular to the idea of Newton Thomas Sigel shooting firefights in the jungle on 16mm. So I really got to think about what other jobs I can get, because I need a job. How do you get to Nicaragua? And that was about it. The cameras swishing everywhere, I got lights inside …, I hadn’t read the script. But my experience with Bob Richardson and Oliver Stone started when I was sent this script called Platoon. NTS: And again, I still wasn’t thinking of myself as a cinematographer, or even really a director. NTS: I’m sure that was after. So it’s a really interesting mix, not without its perils. So Haskell started rethinking his movie and, at that time, the Honduran and U.S. military were going to be doing one of their first-ever joint military exercises on the Honduran-Nicaraguan border. He tells CR what drives him to work across so many genres, and the importance of the DP-director relationship. We had a third partner [. ] Ads; People; Companies; Browse ads: Automotive- Alcoholic beverages- Clothing- Cosmetics- Entertainment- Food- Travel- Telecommunications- More... Newton Thomas Sigel. has helped shape cinematic history. But his desire to pursue these projects of various genres and styles all stem from the same goal: to delve into what makes humans human. Sigel talks about his upbringing in Detroit and, later, Buffalo; his nontraditional path to studying film-making; and his early life as an artist in downtown New York in the ’70s. In addition to listening here on our site, you can subscribe on Apple Podcasts, Google Podcasts, Spotify, and Stitcher, or via RSS, iHeartRadio, Overcast, Pocket Casts, RadioPublic, and TuneIn. Genre : Masculin. Right before that, I had met a woman named, , and I met her when I was around nineteen, fell totally in love. AZ: It’s a good time to talk about this. Well, it turns out, he was a guy that went to AFI and did this movie—that I had said no to—with Jeff Harmon in El Salvador. He says, “We were walking down the street and he saw this TV in the window of the store, and he just went in and bought it! Rather, his focus is on storytelling. Découvrez sa biographie, le détail de ses 37 ans de carrière et toute son actualité Posted 16 December 2020 by News. The transcript has been slightly condensed and edited for clarity. But every kid draws a lot. I lived in the city, not in the suburbs, and we lived through, whether you call it “riots” or “uprising,” depending on your point of view, of ‘67. , and I’m blown away by it. FILMS. . I mean, I grew up with Vietnam—the name “Vietnam” was almost like a cultural sign post. But his desire to pursue these projects of various genres and styles all stem from the same goal: to delve into what makes humans, Born and raised during a time of tense racial relations in Detroit, Sigel learned to look at the world through a political lens early in his youth, which later led to his pursuing social-minded documentaries. And he was only, I think, twenty-six at the time. If you’d come to the set of Three Kings, you would have thought I was shooting Hawaii Five-0 or something. . . , which in the press had a lot of, kind of, mythology and things around it. NTS: Yes, we were. 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