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Even in manipulating the images, I would like to do my dailies in a digital way because you can do so many things in that stage that I cannot do in real photography.

Vilmos Zsigmond

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Vilmos Zsigmond
Age: 85 †
Born: 1930
Born: June 16
Died: 2016
Died: January 1
Cinematographer
Film Producer
Segedo
Would
Photography
Like
Stage
Cannot
Many
Real
Dailies
Even
Manipulating
Way
Digital
Things
Images

More quotes by 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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The best way to know when there's good lighting is when you don't notice it.
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I always try to tell the story the best possible way. I create the mood for each scene in a way that the audience feels that they are right there with me and they feel actually in the mood that was right for the scene.
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There are many, many different kinds of movies and directors and styles. I don't mind that a movie looks like a movie.
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You always like to be the collaborator. I don't want to take over the movie, because if I want to do that, I should really become a director because then you have the control of everything, basically. I'm very happy to just be the visual part of it, doing the visual part of the movie.
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There are a lot of directors out there that don't like to deal with actors, I think. Many of them have said something like, in the future they will actually manipulate the actors on their computers. But don't believe all this.
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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.
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I love Woody Allen. He's very clever, always thinking, and he's great with actors. He lets actors do what they want to do and occasionally he'll give them a specific kind of direction.
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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.
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I am not against digital at all.
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There is something missing in a lot of digital filmmaking, something I call poetic reality. That's something you see played out in film noir, where the technique establishes the mood.
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In a period piece, particularly a fantasy, the lighting is your own choice, the lenses are your own choice. It's really a great thing for a cinematographer to do. Everything is open for you. You can even be more creative and you can use more shadows than usual.
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I don't like to be in front of the camera - my place is behind the camera.
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I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.
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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.
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When we came to America, the movies here needed a new wave. European films looked totally different than American movies, which were these lush, glossy pictures with this elaborate production design.
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It's all about special effects and explosions now. It leaves me just cold when I walk out of the theater. There's no heart there's no soul. Movies used to be about people. It's as though we don't tell stories any more. The studios have to make money, and if you want to make $20 million, you have to spend $200 million.
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I'm always looking in the lighting to tell the story in a different way than it actually looks in real life because it's, for me, more contrast sometimes has to mean it's softer than normal.
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I love to make movies about young people - young scientists that are inventing things and all the writing they did was very funny and very true.
Vilmos Zsigmond
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Telling the story with only a few shots, I love that style. It makes you feel like you're part of the action, part of the story. It reminds me of the theater, where one act is basically like one long shot. It almost makes you forget that you're seeing a movie.
Vilmos Zsigmond