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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
Cannot
Many
Real
Dailies
Even
Manipulating
Way
Digital
Things
Images
Would
Photography
Like
Stage

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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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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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I hope that film is going to stay as an artform and that people won't forget that there are good movies also to be made.
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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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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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Technology has a great deal to do with it. The Panaflex camera was a big breakthrough when it came along it changed everything, because now you could shoot from the perspective of a person riding in the backseat of a car.
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In Slumdog Millionaire when you are immersed in the point of view of children in the slum and the bustle of the city, the handheld camerawork is amazing. A handheld camera is perfect for establishing point-of-view and for instilling the feeling that you are there.
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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'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.
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When I do a still picture, I'm doing it all by myself with no help. I'm designing everything. I am my own art director. I'm doing everything. I'm directing, editing, whatever.
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What I would suggest to the young people is to not forget this and don't try to get assimilated into today's Hollywood style of movies because I don't think it's going to last long.
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I like to say that lighting is about taking the light away. I often like to use the shadows more than the light.
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You make a film for a million dollars and then it costs $10 million to sell it. That's the problem at the moment with independent filmmaking: You can make it cheap and then there's no money to market it.
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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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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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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.
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If you use hand-held techniques just to make the film stylish I think it's wrong.
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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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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.
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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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