American - Director | April 27, 1978 -
I've had something like seven films at Sundance, one of which won the Grand Jury Prize.
Rachel Morrison
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Half of 'Mudbound' were shots I stole in between other scenes.
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It's hard to go back to shooting contemporary apartment interiors after you shoot something like 'Mudbound.'
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Lighting practically whenever I can when shooting period really helps with authenticity.
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I didn't want 'Mudbound' to feel stylized in any way.
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I came up in photography, and Dust Bowl-era photography is a lot of the reason that I got behind the camera in the first place.
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My experience - I'll never know what happens behind closed doors or why I don't get hired for something, but I've never had an experience that made me feel any less than.
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The big trick is just to get to a point where we're just considered DPs, and we're not 'female DPs.' When you think of the word 'doctor' or 'teacher,' you don't think gender. And it would be nice to get to a place where 'DP' meant either and 'director' meant either and 'gaffer' meant either.
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I think Marvel's incredibly supportive of young auteurs and really let them do their thing and support their vision. They give you a sandbox to play in, but it's a pretty massive one.
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The biggest difference for me was that I operated almost every frame on 'Mudbound,' and I didn't operate on 'Black Panther.'
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Documentaries are inherently instinctual; you're constantly moment to moment, determining what the best place for the camera is to tell the story, usually in service of natural lighting.
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The focus has to be about making good work. I don't ever want to be hired for a job because I'm a woman. And I don't ever want to be recognized for a job because I'm a woman.
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