It’s funny, because what I do, and when you’re directing, it’s even worse—you’re being asked so many questions: “What lens do you want?” “Do you want to start this way in the morning or the other way?” So there’s a million questions you get asked, minute by minute, and I find that when I come home, “Where would you like to go for dinner?” is a vexing question, because I really don’t want to think about it, I don’t want to make any decisions. Indeed, one of them was like, “Oh, it’s too long, it’s too slow, it’s too this,” and the other one was like, “No, we’re going to support the director.” And I was amazed at how much he was able to stay true to the pace and the rhythm that he wanted for the movie. We can use all of the stuff you film of the helicopters and tanks and parachutists as second-unit material, because we’ll never be able to afford to get that on our movie.” We were like, “Great!” So we used old, outdated CBS credentials we had had from a previous shoot; we got ourselves in there; we filmed the military exercise; and when it was over, we said, “We can’t just go back. My life tends to be one movie a year, and then filling the time in between with commercials. 2011 Nominee ACCA: Best Achievement in Cinematography Drive (2011) Broadcast Film Critics Association Awards. 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And you’ll see that in cinematographers, where there are those who see themselves as an artist, and they have a style and a look, and when they’re given a job, they figure out how to adapt that job to their style, and there are those who are more freewheeling, shall we say, and take on a project, and their style evolves and morphs. The cameras swishing everywhere, I got lights inside …. 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! It wasn’t like you were coming into a longstanding, institutional community. and was doing documentaries. 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. .” His second child—was it his first? 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. Was he interested in symbols with you? So there was a pace and a lyrical quality that I knew he wanted in the movie. When The Mountains Tremble, un film de Pamela YATES, Newton Thomas Sigel | Synopsis : avec But I love to travel and I love to experience the world, and I started in documentary, so for me, those opportunities are the ones that make you a better person and make you grow into a more responsible citizen. You’ve mentioned your dad a couple times over the years when we’ve spoken, but I had read his obituary, actually, before this interview, and it talked about the work he’d done in children’s capacity for symbolic and representational thought, and I thought, that’s so interesting that we’d never talked about that. Moderated by ASC members, the in-depth discussions explore the cinematographer’s experience, and, in some instances, … Instagram; 16mm. We spent twelve years together. I was camera, and I actually taught [Yates] how to do sound. And it was Nick’s first movie in Hollywood, and as such, I felt this sort of compulsion that I should get him maybe a little more coverage than he might want, because I thought, I love what we’re doing, but I know the financiers are going to make him tighten this thing up. Born in Detroit. So it’s interesting. NTS: I got fired, yeah, yeah. It was very cool. There’s something circular to the idea of Newton Thomas Sigel shooting firefights in the jungle on 16mm. But we’re talking about the ’60s and ’70s. Pam was very young and very pretty, and he was a huge flirt. Lorenzo walks into the theater, sits down next to me, and just signals for the projectionist to start the film. 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. No idea who this guy was. It was a big exposé of the first time the Contras had ever been filmed. I find that process fun, fascinating, invigorating, but you’re right, when you come back, everything is different. Newton Thomas Sigel est un directeur de la photographie, réalisateur et scénariste, né en 1955. Do you find that, when looking back on the history of your own life, it’s marked in the films that you’ve made? Suivez-nous sur Instagram; Suivez-nous sur Facebook; Suivez-nous sur Twitter; directeur de la photographie Newton Thomas Sigel. Rôle de Newton Thomas Sigel : (Tous) (Directeur de la photographie) (Réalisateur) (Scénariste) 2013. Découvrez sa biographie, le détail de ses 37 ans de carrière et toute son actualité Introducing: Time Sensitive With Spencer Bailey and Andrew Zuckerman, Spencer is a writer, editor, and journalist. Designed by Apple in California (2016), a book exploring 20 years of Apple design, was the result of a multiyear commission. What were you thinking about in terms of that film, and why did you make the choices? I think I had been inculcated so deeply from Gerry O’Grady and this program into the purity and sanctity of this avant-garde filmmaking that something like, , specifically in symbols, and I was thinking about that. Tom is a legendary cinematographer. ANDREW ZUCKERMAN: Today on Time Sensitive we have Tom Sigel in the studio. •Directed by Nicolas Winding Refn •Cinematography: Newton Thomas Sigel…” Jun 18, 2017 - 1,838 Likes, 28 Comments - cinema.magic (@colorpalette.cinema) on Instagram: “: "Drive" (2011). It literally was my film school. AZ: And you were making money building people’s lofts. FILMS. I think the first time I went was on a documentary about Todos Santos Cuchumatán, which is a little village in the northwest of Guatemala. At the same time, it was a movie about driving and speed that had these tense action moments—and yet whose central character was silent and nonverbal. Newton Thomas Sigel is a film worker and director. NTS: Well, yeah, we really tried. This was the real beginning of the sort of underground film/video/performance art. The editor-at-large of the publisher Phaidon and a contributing editor at, magazine, he has written at length about architecture, art, culture, design, and technology for publications such as, . Newton Thomas Sigel – Instagram. Sigel most recently worked with Singer in 2018—their tenth film together—on a celebratory biopic of Queen, British Academy of Film and Television Arts), On this episode of Time Sensitive—recorded shortly after his arrival back in the U.S. from Vietnam, where he was the director of photography on Spike Lee’s. I realized that the actors were really good and the story was fun, but I was a little surprised at how … it was my first film with Bryan Singer. 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.”. And Chris McQuarrie had written this amazing script. AZ: Yeah, and context is everything if you want to get to the truth, and that’s what we’re lacking today. But instead of going to RISD or … I went to a very new, experimental college called Hampshire College. I walked out the door, called Oliver, and I went, “All right, I’ll do this, I flew to the Philippines where I met this guy named Robert Richardson, Bob, and then we started talking, and we realize we were born two days apart. From 2013 to 2018, he was the editor-in-chief of. I’m not sure. You have to kind of push yourself, and rather than just passing out and collapsing when you have a day or two off, you go out and you experience the environment and the world that you’re in. This test is going to end, the lights are going to come on, and I’m going to get fired. keep listening to Andrew Zuckerman, because he only talks to interesting people, with this exception. He agreed to meet us in Florida. So he was trying to start one in Buffalo, and he started a [department] called “Media Study,” which was outside of the school, though tangentially related to it. It was so surreal. 0 Posts - See Instagram photos and videos from ‘newtonthomassigel’ hashtag Because it’s literally a linear demarcation of my life. And he was only, I think, twenty-six at the time. We came back and made a couple little short news pieces that went out to CBS. I’ll have to go to IMDB to remember. But he talked me into it, so I literally finished a movie [Dhaka] for the Russo brothers one night and started Spike’s movie the next day. AZ: This is like early [Donald] Judd and [Frank] Stella. So I applied to a bunch of college, and—it tells you how things have changed—I got into all of them, I don’t even know why. Right after I had worked on a movie called, , I came back to New York, and literally—I think it was the next day or two days later—a man showed up at my office named, , asking me if I wanted to do a documentary in El Salvador about the aesthetics of the right and the aesthetics of the left. Haskell said to Pam and I, “I can get ten thousand dollars. They were horrified. You kind of have to earn that back. Because it’s literally a linear demarcation of my life. The editor-at-large of the publisher Phaidon and a contributing editor at Town & Country magazine, he has written at length about architecture, art, culture, design, and technology for publications such as The New York Times Magazine, Fortune, Newsweek, and Bloomberg Businessweek. You’re given a place to live; somebody comes and cleans it while you’re at work; you have room service if you’re hungry; they give you a car to drive or somebody drives you some place; they give you a piece of paper that says, “Wake up at this time” and “This is what you’re going to do.” And you have a family. He had two roommates and a house—remember, he’s in his mid-twenties, twenty-six, I think, and I come to his house, and there’s like four hundred people at his house. NEWTON THOMAS SIGEL: Thanks for inviting me. NTS: Yeah, and I think for me—today, everybody talks about it like it’s obvious, but it wasn’t maybe quite as obvious at the beginning. Because of my parents being academics, I was given a partial scholarship, and I could go there very cheap. It definitely felt like you were doing something from the grassroots up. That’s how I started The Doors. Malika Favre’s sexy Kama Sutra alphabet is now available in book form. Things have come full circle for Sigel in his latest project, Spike Lee’s hotly anticipated new film Da 5 Bloods, as he reminds audiences of the immorality of the Vietnam War from the perspectives of four Black veterans, who return decades later to search for the remains of their fallen squad leader and the promise of long-lost treasure. 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, and it’s madness, it’s Oliver Stone madness. How did you choose that film? Until I open up a magazine, the American Cinematographer magazine, and I see an advertisement, and it says, “Cinematographer Robert Richardson on the front lines of El Salvador with Birns & Sawyer cameras.” And I was like, “Who is Robert Richardson?” I never heard of any guy—and I knew all the photojournalists there, because in Central America, I had done many movies there, but as a photojournalist. and was doing documentaries. Auto Added by WPeMatico “Second Unit is a Very Broad Label”: DP Newton Thomas Sigel on Da 5 Bloods. I figured I’d just go there and make movies. 36 Likes, 0 Comments - Cinematogra3 (@cinematogra3) on Instagram: “. I just liked making these little movies. Greg likes things very controlled, very specific, very intentional, shall we say. I worked a little bit on Nixon. NTS: No. NTS: I’ve come to revisit those ideas as an adult, but at the time, it was like, “Narrative filmmaking—that’s bourgeois.”. 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. 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. 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. NTS: Well, a while ago, I decided I would begin to do commercials in between movies so that I could be a little more picky about what movies I take, so that I could spend more time with my family. He found us, and he said, “I’m doing this movie about Nicaragua,” and he showed us the script. I mean, I grew up with Vietnam—the name “Vietnam” was almost like a cultural sign post. But I get to set, and I realize it’s day one of shooting. It’s interesting because Bob Richardson did for quite a while. What will British branding look like post-Brexit? Cinematographer Newton Thomas Sigel told Insider how he worked with Spike Lee to come up with some of the movie's best moments. Because I came out of the art world, it was more like an artist—you create, you make things, you don’t label your job category. So he was trying to start one in Buffalo, and he started a [department] called “Media Study,” which was outside of the school, though tangentially related to it. So I took my test, and David and I went to the theater at Warner Brothers. He had a script, and he had seen documentaries that Pam and I had made. I was rebellious, so anything that to them was revered in that way was bourgeois and to be rebelled against. Whether it would all come together like lightning in a bottle as the great movies do, you never know. Regarder maintenant Dans Le Cinéma Bientôt Cinémas Derniers remorques Nouvelles Trouver Film Commentaires . Découvrez toutes les infos sur Newton Thomas Sigel, sa biographie, sa filmographie complète, son actualité. NTS: We had to shoot film that was so profoundly improperly developed. We did a documentary about the way that the indigenous population was being transformed, and it was the middle of. There’s something circular to the idea of Newton Thomas Sigel shooting firefights in the jungle on 16mm. That’s fine, because he was so enamored of her that he gave us not only permission to film with them, but he hooked us up with the necessary channels. I’ll never forget that our first day of shooting the producers brought us into the trailer and afterwards—he had a trailer; never heard about that—they sort of raked us over the coals because we had shot a little over five thousand feet of film, and it was like one more roll than we were budgeted for or something. NTS: That was all David O. Russell. Other Contenders (alphabetical by film) The Father (Sony Pictures Classics) Ben Smithard. Editor in Chief: Illya Friedman Host: Ben Rock Producer: Alana Kode Composer: Kays Alatractchi Editior: Benjamin Katz . 10.8k Followers, 171 Following, 685 Posts - See Instagram photos and videos from Newton Thomas Sigel (@tsigel) So it was a great ride, it really was. I kind of closed the script up and said, “I guess I’m on my own.” And then he invited me to his birthday party, which was coming up in a few days, and I said sure. No singular aesthetic, mood, or technique. So I knew them, I knew the guys that you would run into at press conferences, at various events. It was about the time during [Anastasio] Somoza [García]. NTS: Well, I started going to Central America around that time. Notes. So I get in the car, I’m still asleep, I’m driving out, I’m going to fill in for him. 10.7k Likes, 154 Comments - Cinematography (@cinematography) on Instagram: “Behind the Scenes with @thesamhargrave Extraction (2020) Directed by Sam Hargrave …” Cinematography on Instagram: “Behind the Scenes with @thesamhargrave Extraction (2020) Directed by Sam Hargrave Cinematography by Newton Thomas Sigel A…” For cinematography : BOHEMIAN RHAPSODY Newton Thomas Sigel. Sigel most recently worked with Singer in 2018—their tenth film together—on a celebratory biopic of Queen, Bohemian Rhapsody, which was nominated for a BAFTA (British Academy of Film and Television Arts) award for best cinematography. We had just gotten back like the day before, and Pam was across the room kind of wagging her finger like, “No, don’t …” She was convinced everybody was in the CIA. So the challenge was to balance these two seemingly opposing qualities into something that again, all worked in unison. It was so surreal. Doing Meg Ryan’s first close-up, it’s literally like being thrown from your bed into the lion’s den. AZ: Which was …? At one point or another, no matter how much you prep and plan, you are going to follow your instincts. 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. 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). Jan 16, 2019 - 10 Likes, 0 Comments - Cinematic Artistry (@cinemartistry) on Instagram: “Drive (2011) Director: Nicolas Winding Refn Cinematographer: Newton Thomas Sigel #cinema…” AZ: But this was one of those moments that showed us something real that we couldn’t have seen without that medium. Do you find that, when looking back on the history of your own life, it’s marked in the films that you’ve made? I didn’t last long, but I wound up at the Whitney Museum in New York, as part of their independent study program where you get to come to New York. I was already on another movie and really wasn’t finishing on time, so initially I had to say, “I’m so sorry, but I’ll never be able to be ready in time to properly prep this movie,” and I remember Spike saying to me, “Well, you’re a veteran, you’ll be fine.” My prep start date would be a week before I’d even finished on this show. 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. "Bohemian Rhapsody" - 2018 Brian Singer - Director Newton Thomas Sigel - Director of Photography…” AZ: Well, for some people, the bubble of production shields them from reality; it’s a phenomenon that all filmmakers deal with on some level. That was the first of several movies I did with Oliver, and [started] a lifelong relationship with Bob. He had a script, and he had seen documentaries that Pam and I had made. 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. What’s going on now is there’s a secret war to overthrow the Sandinistas. And he was only, I think, twenty-six at the time. So we drove up and down the border trying to get in, and we’d get as far as, like, a guy on a dirt road leaning against a pickup truck [saying], “No hay Contras aquí.” They’d say, “There’s no Contras here, there’s nothing here.” And we’d kind of go, “Why do you have those. I went along for the ride to make a living while I was trying to be an artist in New York. We had a third partner [Peter Kinoy] who was an editor. How we filmed it was something that evolved, but the concept of it was right there in the script. I mean, it’s not your interest. And it’s interesting because—. , which in the press had a lot of, kind of, mythology and things around it. AZ: I feel like your interest has always been “story,” and the choices are in pushing the story along. It’s interesting because Bob Richardson did for quite a while. He was starting a movie called Lucifer Rising, and he asked me if I would shoot some stuff for him, so I went to Niagara Falls, and that was my first job. How do you get to Nicaragua? Follow us on Instagram (@slowdown.tv) and Twitter (@time__sensitive), and subscribe to our weekly newsletter. I hated school, which is a shame, really. I kind of transitioned with her into doing documentaries, and they were, of course, what you would call “social-change documentaries.”, , which still exists to this day. And, let’s face it, he wasn’t the writer that Oliver Stone is. Things like Anthology Film Archives were blooming, and filmmakers like Kenneth Anger and Stan Brakhage were out there doing these non-narrative—. You’re controlling the image, that’s theoretically what you’re doing. The online video conversations highlight a wide array of award-contending productions. 2012 Nominee Critics Choice Award : Best Cinematography Drive (2011) … The American Society of Cinematographers (ASC) resumes its popular Clubhouse Conversations series this month, featuring insightful interviews with leading filmmakers discussing their creative process. I kind of transitioned with her into doing documentaries, and they were, of course, what you would call “social-change documentaries.”. Then he was given this opportunity to do his research, because he was a teacher but more of a research psychologist. "Bohemian Rhapsody" - 2018 Brian Singer - Director Newton Thomas Sigel - Director of Photography…” I was an artist. AZ: Was it after? AZ: You were there, though, on that day in the desert? News. Website design: Apartamento Studios. When I watched that film, I was shocked. Lorenzo walks into the theater, sits down next to me, and just signals for the projectionist to start the film. Vietnam was amazing. Tell me a little bit about that. Mulan (Walt Disney Pictures) Mandy Walker. He is perhaps best-known for his work on, (1999), and, of course, for his first collaboration with director Bryan Singer, on. This bio has been generated automatically by our friendly Filmanic bot. I was already living on my own for that whole year, but [my parents] really wanted me to apply to college, and I wanted to get out of Buffalo. So he got the storefront. Now four guys are, for the first time, in the real world of Iraq, amongst the people, without the shelter of a whole … So I had used cross-processing before on small pieces of other films, but I thought I wanted to almost all of this film cross-processed. AZ: And also, an intimidating character, from many accounts. 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. NTS: And again, I still wasn’t thinking of myself as a cinematographer, or even really a director. I didn’t want to be in Buffalo, but that kept me there the first year after high school because I hadn’t applied to any colleges. NTS: But it was all right; it was too far uptown, anyway. NTS: I played a lot of sports when I was little, and I drew a lot. Born in Detroit. How would you define the role of DP or cinematographer? who was an editor. She had, after high school, gone to South America, learned Spanish, worked as a photojournalist for, , and travelled all around Latin America. Right after I had worked on a movie called El Salvador: Another Vietnam, I came back to New York, and literally—I think it was the next day or two days later—a man showed up at my office named Jeff Harmon, asking me if I wanted to do a documentary in El Salvador about the aesthetics of the right and the aesthetics of the left. She’s next to me, of course, being the purist, like, “Oh, it’s not really like that,” but I think, This is amazing! NTS: Well, we were in Thailand and Vietnam. AZ: Exactly. So that was my first job in film, and that’s where I met Kenneth Anger, who came and was one of the guest lecturers and showed his films. He is known for his work on Drive (2011), Three Kings (1999) and The Usual Suspects (1995). 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. All rights reserved. Is branding’s post-Brexit future a sea of Union Jacks, or does the UK’s exit from the European Union offer a chance for companies to explore what being British actually means? Newton Thomas Sigel “Extraction” BTS Footage Reveals Some Crazy Cinematography by Yossy Mendelovich. You’re given a place to live; somebody comes and cleans it while you’re at work; you have room service if you’re hungry; they give you a car to drive or somebody drives you some place; they give you a piece of paper that says, “Wake up at this time” and “This is what you’re going to do.” And you have a family. You only get to be a legend by being really old. I don’t think I got paid, but there was a director! FEATURED VIDEO: Newton Thomas Sigel answers your questions. And now Pam was doing sound, but really sound eventually became her stepping stone into directing, producing, creating. AZ: And somehow, you just weren’t in agreement at the time. It was still reversal film; we had to have, make it for us, we had to buy it ahead of time, we had to sign a waiver that said Kodak was not responsible for anything that happened. I took a little mid-season break because of the pandemic, but rest assured that the Art of the Shot is alive and well. 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. NTS: Some people are legends in their own mind, you know, so. More information We would put in electricity and plumbing and walls and all that stuff. NTS: So, at any rate, we found our, sort of, symbiosis—what his strengths were and what mine were, and they came together. When his family moved from Detroit to Buffalo, Sigel got involved in a developing media-study program there, his first foray into the field. And you were in this program with …? I didn’t know that much about film, but I had done enough movies that … like, I had done a movie in Alaska with a director where we shotlisted every shot and worked it all out, and it was great! You were working on Da 5 Bloods with Spike Lee. I never read the script, but we talked a lot about it and even had a Doors mezcal drinking trip to Catalina beforehand. NTS: Yeah, all of them. It was about the time during. I mean, what is it, really? It was a German director, and my mother was German … I work both ways, but I like it when you actually know what you’re going to do. 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