WHO TO FOLLOW: Filmmaker, photographer, watch guy – @nicholask_la

nicholask la 3 - WHO TO FOLLOW: Filmmaker, photographer, watch guy – @nicholask_la

WHO TO FOLLOW: Filmmaker, photographer, watch guy – @nicholask_la

Nicholas Alexander Kalikow is a producer, director, screenwriter and photographer. He loves being on set and working with talented people to make films and take photos.

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Hi Nicholas, what’s your daily watch and why?
Right now it’s a Patek 5167A Aquanaut. I like it because most people don’t know what it is and I can wear it with jeans and a T-shirt or a tux. And a Rolex 16710 GMT II Pepsi. I think the Pepsi GMT is the coolest watch around and incredibly useful if you travel a lot or have business in multiple time zones (like I do).

What else is in your collection? Have you got a favourite?
I have a few Tudors, Heuers and Rolex watches from the ’50s to the early ’80s. Highlights include a Tudor Snowflake Sub, an Omega Speedy 321, and a Rolex 5513 and 1016 (both of which I bought before the prices shot up). Right now my favourites are my 1969 Rolex 1675 GMT and a Heuer 2446C Autavia GMT.

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How did you find yourself collecting watches? Do you remember your first piece, and do you still have it?
Like many kids with dyslexia, I had a hard time learning my left from my right, so my mother bought me a Casio, put it on my left wrist and said, “Whenever you get confused, the watch is on the left.” We also had a family friend who wore a GMT (probably a 16750) that I thought was cool. The 16710 Rolex was my first nice watch. After a brief interest in Panerai, I started selling them and bought my 5513 Sub (for maybe 50 per cent of what they go for today). That was how the interest got started.

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How did you find yourself writing/directing/producing? Was it something you always wanted to do?
When I was a kid, my parents took me to see Return Of The Jedi. I had popcorn, a Coke, M&M’s … and Darth Vader was 20-feet tall! I was the happiest kid on Earth! I still love films, both blockbusters and tiny indie films. After college, I worked at Miramax briefly but left to go to law school, but before I applied, I produced a short film and law school never happened. I would’ve been a terrible lawyer.

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How important is good timekeeping to your work?
It’s actually really important. My work takes me to Canada, NY, England and Italy, so watches with a GMT function are a huge help. But for table reads and when I’m actually on set, a chronograph is really useful. The watch I mainly wear is an Omega Speedy I bought new about seven years ago. The chrono lets me keep track of how we’re doing on lighting changes, lens swaps, how long an actor takes to cross a set, etc. Stanley Kubrick was often seen wearing a Heuer Monaco, and I assume it was for the same reasons I wear a chrono.

Tell us about what you’re working on at the moment?
So right now my film Carter & June is in theatres in the US. It’s also available on iTunes, Hulu, Amazon Prime and just about every other streaming service (not Netflix, that’s a separate deal). A car documentary I produced called The Mirage is playing on a few services, but you’re going to have to hunt for that one. The first film I directed, Concrete Blondes, is also available on iTunes. I have a few projects in the works, but right now I’m focused on commercial work.

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Have you noticed any unusual or memorable watches on set?
Hmm, I learned the chronograph thing from my 1st AD who had been an Olympic rower for Germany; needless to say, that set ran flawlessly.

Lastly, do you have any cool ‘prop watch’ stories? These days, whenever a watch is used in a big film as a prop, we see the watch media go crazy. Being a watch connoisseur, have you ever found yourself giving this area extra attention?
In Carter & June, Carter wearing his grandfather’s Omega Seamaster was a thing, but that got cut from the script. We gave Michael Raymond-James the watch as a ‘wrap gift’. In Concrete Blondes the character Tara (played by my friend Samaire Armstrong) is a lesbian and wears a Rolex GMT as a nod to Pussy Galore from Goldfinger.

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