American - Director | April 15, 1977 -
A lot of TV and film commits to one tone.
Reed Morano
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When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which impacts the story.
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Color correction is one of my things.
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When I was an undergraduate in Film & TV at NYU/Tisch School of the Arts, most of the projects I shot had male directors, and only a few had female directors.
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After graduating, I was shooting as well as working as a key grip, and I often found myself the only female out of the whole crew, except for producers and the occasional AC.
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I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.
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I learned a lot while I was ACing and gripping for other DPs as I was coming up.
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I try to shoot film wherever possible. There's nothing like it.
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I was in film school as an undergrad with a focus on directing. Once I started working on shoots, I realized, 'Oh, I really like this cinematography thing.'
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The first director who ever allowed me to shoot a film for him was a male. He was a gay male. My first feature also came from him. I worked for a lot of dudes at NYU.
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Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'
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I think it took me seven years before I got the script for 'Frozen River.' That's the movie I had been looking for my whole career. When I read that, I knew I had to shoot that movie - that it'd be a game-changer. It was one of those scripts where I read it, and I was like, 'This movie could get into Sundance.'
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