Quote

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

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Vilmos Zsigmond
Age: 85 †
Born: 1930
Born: June 16
Died: 2016
Died: January 1
Cinematographer
Film Producer
Segedo
Didn
Marks
Around
Wherever
Way
Mark
Would
Moved
Think
Places
Hayden
Thinking
Move
Sterling
Told
Thrilled
Moving
Lighting

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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 am actually retired - yes, I am retired. But I like to work. So I'm retired until someone calls me up to work.
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When I first came to America there still was Look Magazine and LIFE Magazine, and the photography in those magazines was amazing to look at. They had the best portraits, and their news photography.
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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 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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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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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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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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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 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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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.
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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 think too many film students in America are losing the artistry and not learning lighting the right way.
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I love the Dutch impressionists - Vermeer, Rembrandt. What they were able to do with light was astonishing. As for photographers, I think mostly of the Hungarians: Robert Capa, Laszlo Moholy-Nagy, Jozsef Pesci. In fact, I have one of his photographs hanging in my house.
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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 that the audience should not be able to tell if it is real or not real - it should be an enhanced version of reality, or an artistic view of reality, that captures not only what is physically there, but what is not visible - the mood.
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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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A good [film] director is talented, imaginative, and does his homework.
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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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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