American Cinematographer - April 2016 - 47

◗ Carrying Cinema's Flag
Heart, Life as a House, Timeline, Jersey
Girl and The Black Dahlia): I applied to
AFI with the [understanding] that if I did
get accepted, there was a possibility that I
could intern with Vilmos. I got in, and I
turned down another picture to intern on
because I really wanted to intern with
Vilmos. He came to AFI to speak as a
guest lecturer, and after the lecture I
explained the situation, and we just hit it
off. He said, 'Of course, I'd love to have you
on board if we can work it out. But the
movie that we're doing is The River; it's in
Tennessee, we can't pay you, and you're
going to have to live in the camera room in
the hotel.' I said, 'That's great! Let's do it!'
So, sure enough, I interned on that
for three months. The mud was up to our
waists every day, and we'd take the equipment to my hotel room caked with mud
and stacked to the ceiling. I loved it so
much, but The River was one of the most
physical, demanding jobs I've ever encountered in my career. That and The Ghost and
the Darkness in South Africa were the
toughest shows.
Michael Douglas (actor on The
Ghost and the Darkness): The Ghost and the
Darkness was a difficult shoot. There was a
relative amount of conflict between the
director and producer. Throughout, Vilmos
had great dignity, diplomacy, and a
wonderful sense of humor during very
trying times. He did a superb job on the
picture.
Gershman: Blow Out was a hard
film as well. But I never saw Vilmos get
down when we were working. He was
always positive. And I think that the idea
that he was always creating beautiful
images - he thrived on it.
Vilmos would say, 'Michael,
Michael, there are no rules, Michael! You
can do whatever you want to do!' That's
something that stayed with me as I became
a cinematographer: The only rule is that
there are no rules.
Urbanczyk: When we got back
[from The River], I asked Vilmos if I could
intern again with him on another movie.
And he said, 'Well, let me look into it.

Top: Zsigmond with director Richard Donner. Middle: Mel Gibson and Zsigmond on the set of
Maverick. Bottom: Zsigmond on the Maverick set.

www.theasc.com

April 2016

47



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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 - 11
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American Cinematographer - April 2016 - 14
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American Cinematographer - April 2016 - 20
American Cinematographer - April 2016 - 21
American Cinematographer - April 2016 - 22
American Cinematographer - April 2016 - 23
American Cinematographer - April 2016 - 24
American Cinematographer - April 2016 - 25
American Cinematographer - April 2016 - 26
American Cinematographer - April 2016 - 27
American Cinematographer - April 2016 - 28
American Cinematographer - April 2016 - 29
American Cinematographer - April 2016 - 30
American Cinematographer - April 2016 - 31
American Cinematographer - April 2016 - 32
American Cinematographer - April 2016 - 33
American Cinematographer - April 2016 - 34
American Cinematographer - April 2016 - 35
American Cinematographer - April 2016 - 36
American Cinematographer - April 2016 - 37
American Cinematographer - April 2016 - 38
American Cinematographer - April 2016 - 39
American Cinematographer - April 2016 - 40
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American Cinematographer - April 2016 - 42
American Cinematographer - April 2016 - 43
American Cinematographer - April 2016 - 44
American Cinematographer - April 2016 - 45
American Cinematographer - April 2016 - 46
American Cinematographer - April 2016 - 47
American Cinematographer - April 2016 - 48
American Cinematographer - April 2016 - 49
American Cinematographer - April 2016 - 50
American Cinematographer - April 2016 - 51
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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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