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  1. 4 mag 2024 · Un grande plauso va fatto anche alla fotografia di Vilmos Zsigmond, fortemente pregna di immagini studiate e significative, al montaggio di Peter Zinner, che conferisce un andamento straniante ma funzionale all’opera, e al reparto sonoro capeggiato da Richard Portman e William L. McCaughey, sottolineando come il tema principale del ...

  2. 2 mag 2024 · Robert Altman, l’odio di John Wayne e un western dimenticato: I compari. Wayne lo disprezzò fin dall’uscita, ma rimane ancora un grande film. Ecco perché…. Tris d'assi: Warren Beatty e Robert Altman con il direttore della fotografia, Vilmos Zsigmond. di Tommaso Aprigliano 2 Maggio 2024.

  3. 7 mag 2024 · Vilmos Zsigmond was the hottest shit director of photography in Hollywood at that time, having recently won an Oscar for Close Enounters of the Third Kind (1977). He and his lifelong Hungarian buddy, Laszlo Kovacs, were huge.

  4. I read that Vilmos Zsigmond desaturated some of the shots in The Deer Hunter (1978), particularly exteriors. Some of them in the lab and some in-camera. I’m familiar with some of the lab processes (though, experts—— do share), but how would you desaturate an image in-camera?

  5. 5 giorni fa · The Parts Unknown episode on Budapest, which aired a little over a year after the one on Russia, begins with footage of the 1956 uprising secretly shot by the cinematographer Vilmos Zsigmond, famous for his work on McCabe and Mrs. Miller, Close Encounters of the Third Kind, and The Deer Hunter.

  6. www.americancinematheque.com › now-showing › heavens-gate-4/27/24HEAVEN'S GATE - American Cinematheque

    27 apr 2024 · Vilmos Zsigmonds cinematography provides as much dramatic pull, capturing a spectacular dust-filled, snow-peaked setting that evokes not only the enormity of Cimino’s Western tale but the awesome nature of America’s landscape and its historical significance in the film’s post Civil War era.

  7. 4 mag 2024 · Director Robert Altman sets the bleak, elegiac tone immediately, with the film’s unique look (cinematographer Vilmos Zsigmond ‘flashed’ the negative before the exposure rather than in post-production) creating the feel of a history textbook brought to life.