In a period piece, particularly a fantasy, the lighting is your own choice, the lenses are your own choice. It's really a… — Vilmos Zsigmond Copy Share Image
I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional. — Vilmos Zsigmond Copy Share Image
There are, of course, many, many, many good cinematographers and unfortunately they don't work as much as many of those people who… — Vilmos Zsigmond Copy Share Image
Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And… — Vilmos Zsigmond Copy Share Image
As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a… — Vilmos Zsigmond Copy Share Image
I think all cinematographers, at least most of them, would love to do everything on location because you cannot cheat on location.… — Vilmos Zsigmond Copy Share Image
I look at a picture like Scarecrow and think, 'Jesus, how could they have let us make that?' I mean, if you used technology… — Vilmos Zsigmond Copy Share Image
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… — Vilmos Zsigmond Copy Share Image
I like to say that lighting is about taking the light away. I often like to use the shadows more than the light. — Vilmos Zsigmond Copy Share Image
I am actually retired - yes, I am retired. But I like to work. So I'm retired until someone calls me up to work. — Vilmos Zsigmond Copy Share Image
I'm always looking in the lighting to tell the story in a different way than it actually looks in real life because it's, for… — Vilmos Zsigmond Copy Share Image
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… — Vilmos Zsigmond Copy Share Image
I think that the audience should not be able to tell if it is real or not real - it should be an enhanced… — Vilmos Zsigmond Copy Share Image
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… — Vilmos Zsigmond Copy Share Image
Each story has a different approach for me and I try to work with lighting that will tell you visually the story better than… — Vilmos Zsigmond Copy Share Image
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… — Vilmos Zsigmond Copy Share Image
I encourage film students who are interested in cinematography to study sculpture, paintings, music, writing and other arts. Filmmaking consists of all the arts… — Vilmos Zsigmond Copy Share Image
In a period piece, particularly a fantasy, the lighting is your own choice, the lenses are your own choice. It's really a great thing… — Vilmos Zsigmond Copy Share Image
European films had art. And it was easy to make a European film. They didn't come from the studio system, they weren't shot in… — Vilmos Zsigmond Copy Share Image
I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional. — Vilmos Zsigmond Copy Share Image
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… — Vilmos Zsigmond Copy Share Image
