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
Would
Moved
Think
Places
Hayden
Thinking
Move
Sterling
Told
Thrilled
Moving
Lighting
Didn
Marks
Around
Wherever
Way
Mark

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Some movies are what I would call murky. Just because it's murky doesn't make it artistic. It makes it hard to see.
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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'm always looking for directors who are very strong, they have great ideas, but on the other hand, that need help. It means they rely mostly on my eyes.
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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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These days that wouldn't happen - waiting for the light to be exactly right. Because it takes time and time is money. And with these big productions with expensive actors, you just don't have the time to get every shot exactly right.
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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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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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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 should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.
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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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The best way to know when there's good lighting is when you don't notice it.
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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 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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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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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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I don't like to be in front of the camera - my place is behind the camera.
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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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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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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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For me, movies should be visual. If you want dialogue, you should read a book.
Vilmos Zsigmond