Sidney Sidell has been a camera department mainstay for 34 years, the last 18 as a full-fledged cinematographer. He started out as a film loader on the 20th Century Fox lot for the series Dynasty in the early 1980s. He then moved up the ranks, gaining broad-based experience as an assistant cameraman in TV, theatrical features and commercials.
The latter discipline was where he broke in as a DP. From commercials he began shooting indie films. And from features he transitioned into television where Sidell says he’s “been happily working for the last ten years. ‘Happily’ because the quality of TV has become feature-esque. The desire to make something look as amazing and theatrical as you can has taken hold in the TV world and I’m gratified for the opportunity to do just that.”
Those opportunities have included over the years the NBC series Life starring Damian Lewis and more recently the DirecTV Audience Network’s Kingdom, the pilot for The Messengers (The CW) and the first full season (except for the pilot) of the FOX network’s hit series Empire. Sidell is a contender for Emmy nomination recognition this awards season based on his work on Empire and Kingdom.
Sidell reflected on Empire, shared some backstory on that series as well as Kingdom, and talked about a cinematographer mentor who helped him break in as a commercials DP.
SHOOT: How did you get the opportunity to shoot Empire? What drew you to the project?
Sidell: I had done two or three earlier shows for one of the FOX executive producers [Craig Hill] who recommended me to Lee Daniels [Empire director/writer/EP and co-creator]. The pilot was shot by Andrew Dunn who does features [Precious, The Butler] with Lee, and they were looking for a cinematographer to take over for him on Empire. I met with Lee and we hit it off immediately.
I was completely attracted to the show. I had just come off of Kingdom for DirecTV which is a very visceral show centered on a family of MMA [mixed martial arts] fighters. It’s very real life, edgy, gritty, ninety-five percent handheld. There’s no glamour. It’s about the gritty world these people live in. When Lee talked to me about Empire, I liked the fact that it was a complete 180 degrees from what I had come from on Kingdom. I’m always looking creatively for a great opportunity to change gears. Empire is large, grand, rich, classy. It has soap opera elements and is about elegance and extravagance. I went from bicycles in Venice [California] on Kingdom to an opening scene with a Bentley in Chicago for Empire.
I also was drawn to the chance to work with Terrence Howard and Taraji P. Henson, two actors whose work I admire.
SHOOT: What was the biggest creative challenge that Empire posed to you as a cinematographer?
Sidell: The biggest challenge was trying to make something look as grand and expensive as you can on a limited budget. I shot the sets so that they looked as lavish as possible, went with lighting that played up the elegance.
Also the show is supposed to take place in New York City but we shot in Chicago. Even though Chicago is magnificent and beautiful, I couldn’t show the city for what it is, always having to be mindful we are supposed to be in New York.
SHOOT: What camera(s) did you deploy on the first season of Empire?
Sidell: The ARRI ALEXA which is my favorite digital camera. I come from exposing and shooting film. ALEXA gives me the same versatile feeling and sort of a comfort level as it were, akin to shooting on film.
SHOOT: How did you get the Kingdom gig?
Sidell: I worked with director Adam Davidson earlier on a [CBS] show called Intelligence. When Kingdom came up, he asked me if I would do it. I was drawn to the show because it was raw and real, and had a great energy. Adam [a Best Live-Action Short Oscar winner for The Lunch Date in 1991] directed the first two episodes of Kingdom.
SHOOT: You broke in as a cinematographer on commercials. Did you have any mentors early on in your career and if so, who were they?
Sidell: British cinematographer John Stanier was my mentor in commercials, I was his assistant. He was my greatest mentor in terms of learning about and understanding photography and how to light beautifully. I did Rambo III with John and right after that he exploded upon the commercial world. I had a long working relationship with him, about ten years. He was simply one of the best cinematographers I’ve had the pleasure of watching work and working with. I stayed in commercials for a long time because of the work we were doing and what I was learning from him.
SHOOT: What’s next for you? Are you returning for season two of Empire?
Sidell: I’m working on season two of Kingdom until the end of the year. I recently did the Of Kings and Prophets pilot for ABC. As for Empire, I chose not to go back. I’m always looking for challenges and I don’t like to stay too long on a TV project. I like to seek out new challenges and live for the excitement level of finding a different way to do something. When I came off the first season of Kingdom–some of the best work I had ever done–I went to Empire which posed a completely different set of challenges. It was great work. A lot went into the show. It became an explosive hit and I am proud of that.
