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I'm always looking for directors who are very strong, they have great ideas, but on the other hand, that need help. It means they rely mostly on my eyes.

Vilmos Zsigmond

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Vilmos Zsigmond
Age: 85 †
Born: 1930
Born: June 16
Died: 2016
Died: January 1
Cinematographer
Film Producer
Segedo
Need
Looking
Mean
Help
Great
Eye
Needs
Means
Mostly
Always
Strong
Rely
Helping
Directors
Hands
Hand
Ideas
Eyes

More quotes by Vilmos Zsigmond

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Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And the films Ingmar Bergman did with Sven Nykvist were exceptional.
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When I was in Hungary in December I was looking at student films and I could not tell which ones were shot on film and which ones were shot digitally. I think that is because the filmmakers in Europe go to four years of film school and learn the techniques.
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I think film is about images. Cinema needs good images. I think that if you don’t have good images, it’s not going to be a good film. I think all films should be really visual.
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I don't think there is any advantage to digital unless it's in a case like Slumdog Millionaire, where you have to get a shot and a big bulky film camera is out of the question.
Vilmos Zsigmond
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There is something more to reality than just the tangible. There is also mood, and you cannot skip that.
Vilmos Zsigmond
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When you are shooting a movie, you have to collaborate with many, many, many people. First of all, the director with all his own ideas and I can only just help him with that. I cannot change his idea.
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I look at a picture like Scarecrow and think, 'Jesus, how could they have let us make that?' I mean, if you used technology that old nowadays, it would look like old Hollywood.
Vilmos Zsigmond
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As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
Vilmos Zsigmond
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I really like to work with people who know a lot, but they also give me space so I can add something to the movie.
Vilmos Zsigmond
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The studios are never going to make $200 million a picture with those types of movies. It's not familiar to them, and it's not a model that can necessarily be sustained. Now, if they go back to making movies about people ... well, I hope they do that.
Vilmos Zsigmond
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With television, it's difficult to do some things. You have to shoot so many minutes a day, so you always have to be prepared or you won't be able to complete the number of pages that you have scheduled for that day.
Vilmos Zsigmond
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I'm not really satisfied with the technology today. Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems.
Vilmos Zsigmond
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Jack [Nicholson] really knows about the camera. He's one of the directors who likes to play with the camera. He'll change things around, play with lighting, things like that. He'll even spend hours on the set-up for an insert shot. He's an interested person who gets involved in all the aspects of the films he is making.
Vilmos Zsigmond
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I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.
Vilmos Zsigmond
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I think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.
Vilmos Zsigmond
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You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.
Vilmos Zsigmond
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I don't like to be in front of the camera - my place is behind the camera.
Vilmos Zsigmond
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There are, of course, many, many, many good cinematographers and unfortunately they don't work as much as many of those people who do those crazy, stupid movies.
Vilmos Zsigmond
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As an actor, Sean [Penn] is brilliant. And he's really an excellent director, as well. We got along really well.
Vilmos Zsigmond
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Hayden [Sterling] told me that he was thrilled about the way he moved around the set, that wherever he would go, there would be lighting. He didn't think about his marks because they were set in the only places he could move.
Vilmos Zsigmond