American - Director | April 27, 1978 -
I might be one of the very few people in this industry who doesn't have a 'me too' story.
Rachel Morrison
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Success doesn't come overnight, especially for women.
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I was probably five when I first picked up a camera. My mom had an Olympus OM-10 that she carried around to document our family photos. And I just always loved it.
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I did photography in summer camp; I did it in high school. The only hard decision I've had to make was whether to go towards photo or film. And I ultimately realized that the type of photo I was interested in was actually photojournalism. And it's a very individualist career, whereas film is a very team-driven medium. So that's why I chose film.
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I think 'Sound of My Voice' was the first film where suddenly I could point to something I had done that I was proud of and say, 'Look at this piece of work.' And that's probably what led to 'Fruitvale Station,' which was the real break.
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I love the team aspect of filmmaking.
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It's always a challenge to shoot a period film and not have it look like you hit the tea stain button in post.
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So much of 'Mudbound' is about man's relationship to the land and to the elements. It's about the desire for control and how powerless we are against nature. We always knew we would shoot widescreen as a means to isolate a body in the frame and to highlight our own insignificance.
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We shot 'Mudbound' in the South in the summer, which meant we were working in extreme heat and humidity at all times and that it could go from glaring sun to overcast skies to pouring rain in a matter of minutes, often shifting multiple times a day.
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I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.
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It would be naive to say that you could make a movie on film for the same price you can digitally.
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I don't love cinematography that's very flashy because I find that it keeps the audience from becoming a part of the film; it becomes sort of self-reflective.
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