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Vilmos Zsigmond
Birthday:
16 June 1930
Biography
I like to work with Michael Cimino. I don't like him personally - he's very difficult to work with, because he's very demanding and he doesn't think about anybody around him, he's yelling at everybody. But as a film director, I think he's one of the best.
I like to work with Michael Cimino. I don't like him personally - he's very difficult to work with, because he's very demanding and he doesn't think about anybody around him, he's yelling at everybody. But as a film director, I think he's one of the best.
We had a terrible situation on "Close Encounters", because they wanted to fire me several times. The only reason they didn't was because they didn't have a replacement who could take over.
We had a terrible situation on "Close Encounters", because they wanted to fire me several times. The only reason they didn't was because they didn't have a replacement who could take over.
[on Heaven's Gate (1980)] Michael [Cimino] really wanted to make a perfect film. He could have made this film for much less. He overdid it; he overcomplicated it. But they should not have killed him for it.
[on Heaven's Gate (1980)] Michael [Cimino] really wanted to make a perfect film. He could have made this film for much less. He overdid it; he overcomplicated it. But they should not have killed him for it.
Vilmos Zsigmond
Along with László Kovács, a fellow student who fled Hungary in 1956, Zsigmond rose to prominence in the 1970s. He is known for his use of natural light and vivid use of color on features such as The Long Goodbye (1973) and Close Encounters of the Third Kind (1977).
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