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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.

Vilmos Zsigmond

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Vilmos Zsigmond
Age: 85 †
Born: 1930
Born: June 16
Died: 2016
Died: January 1
Cinematographer
Film Producer
Segedo
Mexican
Sven
Exceptional
Exteriors
Films
Emilio
Students
Bergman
Film
Gabriel
Exterior
Lighting
Gorgeous
Eisenstein

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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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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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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 should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.
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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 don't know the American photographers as well, but I admit I love Ansel Adams. His landscapes are so crisp.
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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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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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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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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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The best way to know when there's good lighting is when you don't notice it.
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If you use hand-held techniques just to make the film stylish I think it's wrong.
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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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.
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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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For me, movies should be visual. If you want dialogue, you should read a book.
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I was really fortunate from the time I arrived in Hollywood to work with some of the greatest directors from the beginning. I worked with Robert Altman, John Boorman, and of course Steven Spielberg, Michael Cimino, Brian De Palma ... I couldn't pick one of them they were all different, but they are all so talented.
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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.
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If you do not bother to take the time to compose and to light properly, then you end up with something almost less than reality. You end up without the soul, the heart, the art of the moment.
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I had never met Woody Allen before Melinda and Melinda. My agent knew the producer of the movie and he suggested that we would work well together and then we did. We had a great time on that film.
Vilmos Zsigmond