Iceland-born, U.S.-based producer Sigurjón Sighvatsson is ‘highkey’ a legend in the film industry, and he’s not holding back his thoughts. Known for an impressive résumé that includes David Lynch’s Cannes Palme d’Or winner ‘Wild at Heart’, Julian Schnabel’s ‘Basquiat’, and Kathryn Bigelow’s ‘The Weight of Water’, plus series like ‘Twin Peaks’ and ‘Beverly Hills, 90210’, Sighvatsson is set to receive the prestigious Raimondo Rezzonico Award at the 79th edition of the Locarno Film Festival. Ahead of this significant honor, the Palomar Pictures principal, who co-founded Propaganda Films in 1986, opened up about everything from artificial intelligence to the current state of streaming giants like Netflix and the evolving landscape of film festivals. His insights are ‘straight up’ and thought-provoking, offering a veteran’s perspective on where the industry is headed.
Sighvatsson’s admiration for Locarno ‘hits different’ compared to his views on other, larger festivals. He praised Locarno for its adventurous and less predictable curation, highlighting that it’s ‘not just focused on what is in the competition.’ This stands in stark contrast to festivals like Cannes, which he feels have lost their original vision. According to Sighvatsson, while ‘Wild at Heart’ found a massive platform at Cannes in 1990, the festival’s purpose is now unclear, and it has become ‘prisoners of their own success.’ He predicts that smaller, more flexible festivals like Locarno, with their distinct approaches to film, are ‘for real’ better positioned to thrive as the business continues to change.
On the hot topic of AI, Sighvatsson maintains a nuanced perspective, describing it as a ‘double-edged sword.’ He believes AI will ‘actually help in many ways’ but doesn’t foresee ‘AI movies changing things’ fundamentally, as films at their core are about people and stories. He points to Christopher Nolan’s approach with ‘The Odyssey,’ where the director intentionally avoided AI to preserve an authentic feel. Conversely, he notes that Disney’s new live-action ‘Moana,’ despite using real characters and CGI, reportedly feels ‘just like an AI film.’ His ‘no cap’ take is that AI, like any powerful tool, depends entirely on its application, and while it will certainly impact television, it won’t necessarily alter the fundamental course of cinema.
However, Sighvatsson is less optimistic when it comes to the current state of television, particularly due to streaming, and he draws a sharp distinction concerning Netflix’s offerings. He ‘lowkey’ calls out what Netflix produces as ‘Netflix films,’ not true ‘films.’ He argues that these productions often lack a deep meaning and are not designed for a long life. More significantly, he describes Netflix as a ‘closed system,’ where content is created exclusively for its platform, which he believes restricts artistic scope. In his view, this approach contrasts sharply with his own work, which has always been for an ‘open system’ accessible to anyone, regardless of the distribution channel.
Expanding on his critique, Sighvatsson emphasizes that Netflix’s model means it doesn’t sell its products to anyone else, effectively creating a unique ‘language that fits this box that is called the Netflix box.’ While acknowledging Netflix’s success, especially with animation and children’s content, and its role in changing the business, he firmly states that a ‘Netflix film fits only in a Netflix box.’ He cites that such content wouldn’t typically fit in an Imax theater, for example, and believes that producing for ‘such masses’ inherently demands ‘less complexity.’ This fundamental difference means you shouldn’t expect a Sighvatsson-produced Netflix title anytime soon, as he clearly states, ‘I don’t think I’m in the Netflix universe.’ Despite his criticisms, he does credit Netflix with providing ‘people in other countries an opportunity to make material in different languages, in different cultures,’ calling it a ‘greatest contribution.’
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Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.
