American Cinematographer - April 2016 - 40

◗

Carrying Cinema's Flag
of character, love for people, and love for
the art of cinematography.
His love for people is shown in
every film he did, in every frame, in every
lighting and camera setup, starting from
his documentary footage about the nightmarish invasion by the Soviet Army of his
beloved Budapest, and continuing
through his earliest Hollywood days,
when he was called 'William' Zsigmond
and was shooting the classic B-horror
film The Incredibly Strange Creatures Who
Stopped Living and Became Mixed-Up
Zombies.
Michael Goi, ASC: A cinematographer's early work defines his or her
artistic abilities. It's what you have
accomplished with no money or
resources, just your imagination and a
camera, that demonstrates whether or not
you have what it takes. When I first saw
Vilmos' work in The Sadist, I saw the
same innovation and love of cinema that
I saw in McCabe & Mrs. Miller and
Deliverance. The only thing that had
changed was that the latter movies were
'artistic' and 'important,' but Vilmos' eye
was essentially the same. Vilmos' work
has always been important.
As opposed to many low-budget
movies of the time, The Sadist [made use
of ] compositions that would keep multiple characters in the same frame but not
on the same plane, thereby increasing the
tension in the relationships. The effect
of gasoline temporarily blinding the
villain was accomplished very effectively
by sliding a Vaseline-smeared glass in
front of the lens. When one of the female
characters leaves the site of a brutal
confrontation, the camera leads her on
the dolly, with the antagonist watching
her from behind. It was great cinematography doing what it should: telling the
story and making the audience experience
the world through the character.

Top, from left: Frank
Gardony, future ASC
member Laszlo
Kovacs, Zsigmond,
producer Ivan Nagy,
an unidentified
participant and a
sound man shooting
a commercial in 1960.
Middle: Zsigmond
and director Robert
Altman (the pair on
the right) on location
in Vancouver for
McCabe & Mrs.
Miller. Bottom:
Zsigmond in a
wetsuit operating on
a camera raft for
Deliverance.

40

April 2016

Caleb Deschanel, ASC: Vilmos'
first big film, McCabe & Mrs. Miller,
made a big impression on me and a lot of
other young filmmakers and cinematographers. Vilmos' gutsy use of pre-fogging
[or 'flashing'] the film - literally exposAmerican Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - April 2016

Contents
American Cinematographer - April 2016 - Cover1
American Cinematographer - April 2016 - Cover2
American Cinematographer - April 2016 - 1
American Cinematographer - April 2016 - 2
American Cinematographer - April 2016 - Contents
American Cinematographer - April 2016 - 4
American Cinematographer - April 2016 - 5
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American Cinematographer - April 2016 - 64a
American Cinematographer - April 2016 - 64b
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American Cinematographer - April 2016 - Cover3
American Cinematographer - April 2016 - Cover4
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