{"id":17820,"date":"2021-03-10T09:04:59","date_gmt":"2021-03-10T09:04:59","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&p=17820"},"modified":"2026-03-05T20:08:15","modified_gmt":"2026-03-05T20:08:15","slug":"how-cherry-cinematographer-newton-thomas-sigel-crafted-six-different-cinema-styles","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/how-cherry-cinematographer-newton-thomas-sigel-crafted-six-different-cinema-styles\/","title":{"rendered":"How Newton Thomas Sigel, ASC Crafted Six Distinct Looks for Apple TV+ Drama \u201cCherry\u201d"},"content":{"rendered":"\n
\"Tom
Tom Holland in \u201cCherry.\u201d Cr: Apple TV+<\/figcaption><\/figure>\n\n\n\n
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For his collaboration with directors Anthony and Joe Russo, veteran cinematographer Newton Thomas Sigel \u2014 known for his work with Bryan Singer on the X-Men<\/em> franchise \u2014 created six different looks for the Apple TV+ drama Cherry<\/em>. Split into six separate chapters, Cherry<\/em> follows the journey of a disenfranchised young man (Tom Holland) who spirals into PTSD and drug addiction following his service in Iraq as an Army medic, anchored only by his one true love, Emily (Ciara Bravo).<\/p>\n\n\n\n

\u201cIt\u2019s all one story, but it\u2019s a series of chapters that were all bringing the character from one place to a very, very different place at the end,\u201d Sigel, who also recently shot Spike Lee\u2019s Da 5 Bloods<\/em>, explains to IndieWire<\/em> film & TV craft deputy editor Chris O\u2019Falt<\/a>. \u201cIt was almost like you were talking about six different films. We talked about each one of these chapters as having its own look. The bigger, global picture for me was now that I\u2019m defining these different looks, how do I put it all into one coherent movie.\u201d<\/p>\n\n\n\n

READ MORE: How \u2018Cherry\u2019 Cinematographer Newton Thomas Sigel Crafted Six Different Cinema Styles for One Film (IndieWire)<\/a><\/h3>\n\n\n\n
\"Tom
Tom Holland and Ciara Bravo in \u201cCherry.\u201d Cr: Apple TV+<\/figcaption><\/figure>\n\n\n\n

To create these separate looks, Cherry<\/em> was shot in 6K with the Sony Venice digital cinema camera outfitted with a range of lenses.<\/p>\n\n\n\n

In the first \u201cchapter\u201d of the film, dubbed \u201cMagical Realism,\u201d Cherry meets Emily and falls in love. Shot with an extremely shallow depth of field, these sequences have a soft, fairytale-like aesthetic. To achieve the look, Sigel used vintage Todd AO Anamorphic lenses, which \u201chave a romantic and distinct look with a lot of character,\u201d as he said to Variety<\/em> artisans editor Jazz Tangcay<\/a>.<\/p>\n\n\n\n

\u201cThe first half and the last third of the movie were all shot using Todd AO Anamorphic lenses which were first developed in the \u201850s and modified in the \u201870s,\u201d Sigel told Tangcay. \u201cThey were developed by Mike Todd who was trying to promote a certain widescreen exhibition format that never took off, but the lenses survived.\u201d<\/p>\n\n\n\n

READ MORE: \u2018Cherry\u2019 Cinematographer Breaks Down the Distinctive Chapters of the Tom Holland Film (Variety)<\/a><\/h3>\n\n\n\n
\"Tom
Tom Holland in \u201cCherry.\u201d Cr: Apple TV+<\/figcaption><\/figure>\n\n\n\n

For scenes where reality abruptly intrudes into this romantic ideal, such as when Cherry puts his foot in his mouth while describing a girlfriend at another college to Emily, Sigel employed Hawk X anamorphic lenses, which he describes to Matt Grobar<\/a> in an interview for Deadline<\/em> as \u201ca more modern, cleaner, flatter-across-the-field lens.\u201d<\/p>\n\n\n\n

The second chapter, \u201cFarce,\u201d features Cherry\u2019s military training in a series of distorted close-up shots that create a boxed-in, claustrophobic atmosphere. Sigel tells Grobar how he paired the Sony  Venice with a Sigma 12mm wide-angle lens to achieve the look:<\/p>\n\n\n\n

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\u201cThen, when we went to basic training\u2026 we switched to a spherical format and used only one lens, which was the 12mm Sigma lens \u2014 a very wide lens. It has a certain degree of distortion \u2014 not horrific \u2014 but when you put it at a large format, in a big 6K sensor, what happens is, you are using the lens all the way to the edges, and you are actually enhancing the inherent distortion that\u2019s already there.\u201d<\/p>\n<\/blockquote>\n\n\n\n

The third chapter of the movie, \u201cHuman Drama,\u201d places Cherry in Iraq and employed a more straightforward, documentary-like approach, Sigel notes to Grobar. \u201cI used the Leica M series still lenses, which are a slightly more modern version of a 60-year-old design of the lenses that, for many years, were the favorite of photographers like Robert Frank, and the great documentarians,\u201d he says.<\/p>\n\n\n\n

When Cherry returns from the war, his discomfort with returning to civilian life begins a new phase the filmmakers called \u201cThe Fractured POV.\u201d The anamorphic lenses were once again put in play, but Sigel added unbalanced frames and asymmetric compositions that underscore Cherry\u2019s descent as he becomes increasingly destabilized:<\/p>\n\n\n\n

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\u201cFrom this horrific experience that he\u2019d had in the war, we return to the Todd AO lenses that we began the journey with Emily with \u2014 once again, interspersed with the Hawk X for certain types of punctuation or description, outside of the basic story that we were telling with him and Emily.

\u201cThat took us all the way till his capture, and when he goes to prison, we return to the Hawk X. And again, the end of the film then has this more straightforward, cleaner, anamorphic look to it.\u201d<\/p>\n<\/blockquote>\n\n\n\n

READ MORE: How \u2018Cherry\u2019 Cinematographer Newton Thomas Sigel Gave Visual Form To The Heightened Emotions And Psychic Wounds Of An Iraq War Veteran (Deadline)<\/a><\/h3>\n\n\n\n
\"Ciara
Ciara Bravo and Tom Holland in \u201cCherry.\u201d Cr: Apple TV+<\/figcaption><\/figure>\n\n\n\n

Working with the Russo brothers was \u201cpretty amazing, really,\u201d Sigel says to Adam Chitwood<\/a> in an interview for Collider<\/em>:<\/p>\n\n\n\n

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\u201cFirst of all, they had a very strong script and they had a very bold storytelling that was inherent in the script itself. The first thing from the minute they talked about the movie, it was clear that they were looking for a kind of bravura meaning and boldness in technique.

\u201cSo, they were really kind of a cinematographer\u2019s dream, which is on the one hand, very open and collaborative and encouraging, taking risks and doing newer, innovative things. And at the same time, having very clear opinions and ideas about what they wanted and didn\u2019t want. So while I could make the craziest propositions or proposals, I knew that fairly quickly I would know if it landed or not, and if it was something that they embraced and we were going to do.\u201d<\/p>\n<\/blockquote>\n\n\n\n

READ MORE: \u2018Cherry\u2019 Cinematographer Newton Thomas Sigel on the Film\u2019s Ambitious Visual Approach and the Russo Brothers (Collider)<\/a><\/h3>\n\n\n\n
\"Tom
Tom Holland in \u201cCherry.\u201d Cr: Apple TV+<\/figcaption><\/figure>\n\n\n\n

Want more? Check out \u201c10 Minutes with the Artisans of \u2018Cherry\u2019<\/a>\u201c with cinematographer Newton Thomas Sigel moderated by The Russo Brothers, part of the Apple TV+ Behind The Slate<\/em> screening series on Vimeo.<\/p>\n\n\n\n

Cherry<\/em> premieres globally on Apple TV+ beginning March 12.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Cinematographer Newton Thomas Sigel employed the Sony Venice for his collaboration with directors Anthony and Joe Russo for Apple TV+.<\/p>\n","protected":false},"author":2,"featured_media":28722,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-17820","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"\nHow Newton Thomas Sigel, ASC Crafted Six Distinct Looks for Apple TV+ Drama \u201cCherry\u201d | Jennifer Wolfe<\/title>\n<meta name=\"description\" content=\"Cinematographer Newton Thomas Sigel employs the Sony Venice for his collaboration with directors Anthony and Joe Russo for Apple TV+.\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" 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