American Cinematographer - November 2001 - 26
A
Cinematographer Makes a Fiery Directing Debut
Since Point of
Origin involved
the frequent use
of fire and
burning
buildings that
had extremely
high contrast
ratios, director
Newton Thomas
Sigel, ASC
negotiated to
include a digital
intermediate
step in
postproduction
to control
the fire's color
and
shape.
fantasy look of X-Men (see AC
July '00), as well as the surreal visuals of
Three Kings (see New Products &
working
directly with actors. "I think it was
clear from the beginning of shooting
Services, AC Nov. '99, for details
that I love actors and that I'm tuned
Newton Thomas
film's
the Bureau of Alcohol, Tobacco and
Firearms to usurp his authority. Not only
it the
cinematographer's first crack
directing, but the job involved the addi¬
tional distractions that accompany the
shooting of scenes while a location is
at
ablaze.
Sigel's reputation as a cinematog¬
rapher is well established. Fie has been
much praised for his part in creating the
24 November 2001
how comfortable he would be
Sigel Takes the Reins
HBO's Point of Origin
by Jon Silberg
Sigel, ASC's
directing debut was a true baptism by
fire. Point of Origin, the thriller he
recently helmed for HBO, concerns a
serial arsonist and the fire investigator
intent on capturing him despite efforts by
was
bizarre
on
on
that
cross-processed reversal
stock). While he says he's in no hurry to
give up shooting, Sigel had let it be
into their concerns,"
known that he would be open to an
tors, so I've had more interaction with
of
use
opportunity to direct, so when HBO
offered him Point of Origin, he eagerly
accepted. In addition to the career oppor¬
tunity, Sigel felt that the story offered a
chance to
use some
unusual cinematic
storytelling techniques to express the
psychologically contorted perspective of
an
arsonist.
Although there was little ques¬
Sigel brought to the project a
strongly developed visual sense, some
involved in the production weren't sure
tion that
Sigel remarks.
cinematographer, I've shot for a
number of first-time or emerging direc¬
"As
a
actors and
experience with blocking
[cameramen]. Most of the
things I was doing as director were
things I'd already done to some extent
as a cinematographer."
Just as Point of Origin repre¬
sented a significant career opportunity
for Sigel, it also provided the chance for
his longtime gaffer, Anthony G.
Nakonechnyj, to come onboard as direc¬
tor of photography. Nakonechnyj had
already shot a number of independent
than
some
HWBocinOuerft.e,sy
Rafel
byPhots
American Cinematographer - November 2001
Table of Contents for the Digital Edition of American Cinematographer - November 2001
American Cinematographer - November 2001 - 1
American Cinematographer - November 2001 - 2
American Cinematographer - November 2001 - 3
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