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
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