American Cinematographer - April 2016 - 53

Mindy Kaling (creator and star of
The Mindy Project): When my director
Charles McDougall told me Vilmos had
signed on to shoot my pilot, I couldn't
believe it. Charles had worked with him
before, and Vilmos had read the script and
liked it, and I think it was as simple as that.
All I had told Charles was that I wanted
the show to look like a beautiful movie -
but getting Vilmos involved exceeded all
of my expectations!
Vilmos had such a focused, quiet
energy, and spoke to me in such a gentle
way. [It was] very calming and appreciated.
He was also quick to laugh - a quality I
loved. Vilmos told us about his experience
on McCabe & Mrs. Miller, which is one of
my favorite movies. He talked about Julie
Christie with such reverence. It felt so
special to hear him talk about his leading
ladies.
Chressanthis: I think the cinematography in his masterpiece films
reflects his aesthetic rigor, but also was shot

through the lens of his own experience
- a complicated childhood, finding
passion in his photography, coming
within a hair's breadth of death while
bravely filming a revolution, and then
fleeing as a refugee before building a
new life in a strange and forbidding new
land. Vilmos Zsigmond was fearless,
relentless in his art, but also modest,
generous and kind. He lived - and he
still lives, because his images will last to
the end of humankind.
Goodich: During our numerous
conversations about cinematography,
my impression was that a certain
wisdom related to his life experience, a
centeredness worth noting and learning
from, was expressed without words,
primarily in his eyes - his eyes spoke.
He was a consummate gentleman,
patient and attentive. He had this smile:
enigmatic at times, a tender inspiration
and encouragement, a subtle way to
make you feel good about what you

were attempting to achieve. This master
of cinematography was a master student
and a master teacher.
Urbanczyk: Above all, I like to
think he taught us about that delicate
balance of light and shadow, and not just
in the creation of film, but also the light
and shadows within ourselves, in our
lives. In his youth in Hungary, he stood
with his camera before the darkest shadows of oppression; later, he went on to
become one of the greatest cinematographers in the world. And by his extraordinary life and example, he showed us
all the very opposite of what he had
witnessed in his youth. He revealed to
us, both as a filmmaker and as a friend,
that magnificent light that lives forever
in the human spirit. For that - and
much more - I am eternally grateful to
this wonderful man who was my mentor
and my friend.
●

53



http://www.kinoflo.com

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
American Cinematographer - April 2016 - 6
American Cinematographer - April 2016 - 7
American Cinematographer - April 2016 - 8
American Cinematographer - April 2016 - 9
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American Cinematographer - April 2016 - 37
American Cinematographer - April 2016 - 38
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American Cinematographer - April 2016 - 40
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American Cinematographer - April 2016 - 43
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American Cinematographer - April 2016 - 45
American Cinematographer - April 2016 - 46
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American Cinematographer - April 2016 - 53
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American Cinematographer - April 2016 - 61
American Cinematographer - April 2016 - 62
American Cinematographer - April 2016 - 63
American Cinematographer - April 2016 - 64
American Cinematographer - April 2016 - 64a
American Cinematographer - April 2016 - 64b
American Cinematographer - April 2016 - 65
American Cinematographer - April 2016 - 66
American Cinematographer - April 2016 - 67
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American Cinematographer - April 2016 - Cover3
American Cinematographer - April 2016 - Cover4
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