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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

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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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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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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 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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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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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.
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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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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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The best way to know when there's good lighting is when you don't notice it.
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Kubrick was one of those directors who actually did practically everything in his movies. He actually directed, photographed, wrote, lit, edited - everything. A few people can be like that.
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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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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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A good [film] director is talented, imaginative, and does his homework.
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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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For me, movies should be visual. If you want dialogue, you should read a book.
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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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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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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 don't like to be in front of the camera - my place is behind the camera.
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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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There is a difference between creating something and just capturing something. And when we were using film, it was not that fast, and it was expensive, so there was incentive to make sure the shot was exactly right before we rolled. With digital, it's fast and its cheap, and it's easy to bypass the rest.
Vilmos Zsigmond