THE MANY SAINTS OF NEWARK PRODUC T I ON .
HISTORIC Set during the summer of 1967, TMSON explores the development of Tony Soprano, against a background of unrest and racial discrimination
LUTs, we were able to give the LEDs a tungsten quality. “Were we missing out on something by not using real tungsten?” Morgenthau asks himself. “Maybe. There’s something very intense about a real heat source, something very primitive, but sometimes you’ve got to go with control.” The Many Saints of Newark ’s riot sequences are distinct enough to have been made into a film in and of themselves. They’re unique to view and, as Morgenthau explains, were just as unique to create. “We actually studied original photos and film of the historic Newark riots, shot by news cameramen at the time. We really wanted to emulate the drama and significance.
“We actually studied original photos and film of the historic Newark riots, shot by news cameramen”
“We took over four city blocks in downtown Newark, and the art department did some outstanding work. All the storefront lights and neon signs were really built, then the fire light sources were real flame bars, or a result of actual fires you can see in certain shots. “I used maxi rutes on large condors for backlighting, to supplement all that. The warmer tungsten lights felt more fitting with the period, compared to a bluer HMI. We also switched out any modern LED streetlights in frame for orange ones
you would have seen around in the sixties, fitting to the era.” Looking back at what can only be seen as the successful undertaking of a somewhat perilous task – considering The Sopranos ’ fanatical following and significance, at least – Morgenthau remains modest. “I’d say it’s a lighter footprint than what I’ve done on other films,” he concludes. “I remained reserved in many ways and gave the story the space it deserved.” Out now in UK and US cinemas
17. NOVEMBER 2021
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