Other names Glen Thomas Winter Years active 1994–present | Name Glen Winter Role Television Director | |
 | ||
Occupation Television director, cinematographer, producer Awards American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Regular Series Nominations American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Regular Series One Episode/Pilot Movies MVP: Most Valuable Primate, MVP: Most Vertical Primate, Air Bud: Seventh Inning Fet, Stone of Destiny, Rags Similar Miles Millar, Alfred Gough, Robert Vince, Blanche Oelrichs, Charles Martin Smith | ||
Director Glen Winter thanks fans of 'Arrow' 'The Flash' 'Supergirl' and 'Legends of Tomorrow'!
Glen Winter is a Canadian television director, cinematographer, and producer who is well known for his work on The WB/The CW's Smallville and for his significant contributions to the Arrowverse.
Contents
- Director Glen Winter thanks fans of Arrow The Flash Supergirl and Legends of Tomorrow
- Career
- Smallville
- Arrow The Flash and Legends of Tomorrow
- Credits
- References
Career
Winter began his career as a filmloader on Mark Rydell's Intersection. He worked on several films as a camera operator, such as The Crow: Stairway To Heaven, MVP: Most Vertical Primate, and Air Bud: Seventh Inning Fetch. As a cinematographer his work included Stone of Destiny, Rags, and Dead Heat.
He serves as the director of the pilot episode of CBS' Supergirl, which premiered in late 2015. The series was developed by The New Normal co-creator Ali Adler, and Arrow and The Flash executive producers Andrew Kreisberg and Greg Berlanti. Winter has directed seven episodes of the series.
Smallville
Winter had a mainstay position on the Superman prequel series Smallville, on which he first served as second unit director of photography, and then series cinematographer. He went on to direct 12 episodes, including "Cyborg", introducing the titular hero, "Fallout", "Crimson", "Blue", "Traveler", "Committed", and "Legion". He also did the first collaboration with DC Comics' Geoff Johns and introduced the titular group of heroes from the future; "Infamous", "Idol", featuring the Wonder Twins, the first part of the TV movie "Absolute Justice", "Hostage", and "Shield", showcasing the supervillain Deadshot.
Arrow, The Flash and Legends of Tomorrow
In spring 2012, Winter signed on to another DC Comics produced series, Arrow. After starting as series cinematographer, he segued to episode directing. His first effort was written by frequent collaborator, and DC Comics CCO, Geoff Johns. Entitled "Dead to Rights", the installment was met with fan and critical acclaim. He went on to direct second season episodes "Broken Dolls", "Blind Spot", and "The Promise".
He helmed Arrow's third season premiere, "The Calm". He then directed the first episode of 2015, "Left Behind".
Starting with the fourth season premiere, "Green Arrow", Winter was named a producer on Arrow.
He served as the director of photography on the pilot of Arrow's sister-series The Flash. He went on to direct the fourth episode, "Going Rogue", in which the supervillain Captain Cold is introduced. He next helmed the series' 8th installment, which features a crossover event with Arrow, "Flash vs. Arrow"; and the 13th "The Nuclear Man", featuring the exploration of the titular hero. During the latter portion of the season, he was named as producer.
In September 2015, it was confirmed that Winter would helm the pilot for the Arrow/Flash spin-off Legends of Tomorrow. The series focuses on a band of tag-team heroes and villains made up from the Arrowverse, traveling through space and time to stop the maniacal Vandal Savage. It was later confirmed that Winter would also serve as a producer on the series. Winter said of directing the two-part pilot episode that he was most proud of a technically challenging battle involving The Atom. "He flies out of [Martin] Stein's pocket. [The creators] write, "Atom basically comes in and shoots up the place." I'm like, "Oh, my god. How am I going to do that? What is that? What does that even look like?" I decided I didn't want to do it in a bunch of cuts. I wanted it to feel like one flowing, big piece. I shot it on the camera car. I shot it on high-res at 6k. We did it in one take."