QUOTES by Reed Morano
Find most favourite and famour Authors from A.A Milne to Zoe Kravitz.
Out of 10 projects I get sent, seven or eight are female protagonists, and that's not the only thing I'm interested in.
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'Meadowland' was the reason I got 'The Handmaid's Tale,' and probably my experience in cinematography helped. Everything was like a stepping stone to the next thing.
Quote by -Reed Morano
It's a very tricky job we have as DPs, where you are expected to make something that really is an emotional art but also needs to be technically spot on. You're often given a very small window of time to achieve it. People sometimes expect it to be even quicker and forget that there's a schedule for a reason.
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There are many legendary DPs that I admire, some of whom have a very strong signature, but I'm not sure I want to be the DP where you see my work and say 'Oh, Reed shot that.'
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I actually carried a Panavision Platinum and a G2 when I was seven months pregnant for a film called 'Little Birds,' and the whole movie was handheld. And we were shooting in the desert. That's a 35-millimeter camera. It's huge, probably at least 50, 55 pounds, and I did all my own operating.
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I have a playlist for every project that I do. I made one for 'Handmaid' before I got the job.
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Huge studio movies are handed over to a man with less experience before they're handed over to a woman with less experience. That's a fact. But I think it's not just about men not hiring women: it's about women not hiring women, too.
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When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.
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One of the color combos that I really love is the tones of technicolor, which older movies would have, these tones of blue and red in them.
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There was a movie that was made about 'The Handmaid's Tale.' And I never watched it on purpose because I didn't want to... I just didn't want to know.
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I started a business with my cousins in Fire Island called 'Wagoneers.' Since there are no cars on the island, we would hustle people at the ferry docks to bring their luggage to their houses in our wagons for a large fee.
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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 learned a lot while I was ACing and gripping for other DPs as I was coming up.
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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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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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Being a cinematographer taught me a lot. I got to expedite the visions of many directors and learned how to navigate many styles and worlds.
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As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.
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I read it in college as an assignment. I didn't think about it at the time. But when I heard there was a 'The Handmaid's Tale' pilot, I freaked out.
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There is something to be said for one vision and following one vision through. I do think it's something TV will catch up to at some point and realize, 'Wow, we're in the Golden Age of Television right now; we've taken television to another level, but now let's take it to an even higher level where it is one vision throughout a whole season.'
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What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.
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When I read 'Meadowland,' I could see the potential for a very internal, quiet story that could be powerful and emotional but also disturbing and dark.
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As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.
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My father passed away when I was 18. It was the worst thing that ever happened to me, but it is not like that all the time. Not every moment is dark.
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I want to make the movies that move people in a way they've never been moved before.
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I think it's a common misconception that because you're a woman, you can't command a set and have people respect you, and for some reason, Hollywood is really far behind every other industry. It's getting better; it's just slow.
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In America, we tend to be very sheltered, and I'm speaking from personal experience because I feel sheltered.
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I have been lucky in getting a lot of the projects I've wanted, maybe because I'm really, really driven. But there is a stigma that women can't direct big studio films. Not that I want to do that, but it is a topic that comes up a lot.
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Women have to compensate more in the personality department in order to get the things that men get. And they don't have as much leeway for being divas or jerks.
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I've DP'd so many films for first-time directors, and I know the trauma, the heartbreak, the vulnerability, how much you have to believe in the story.
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When it was time to go to college, I was going to apply to Boston University for journalism, and dad said, 'Why not apply to NYU film school, because you love telling stories and taking pictures?' And I thought, 'Oh, I can do that for a job? Cool!'
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We moved around every winter. I don't know. Maybe my dad was, like, on the run from the law.
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I always like to do sound design, and in movies, you have more leeway with that, but I don't really notice that sound design is being used in TV other than just location sound.
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In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.
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When 'Frozen River' started to get really big, I was four months pregnant. So when these agents and directors wanted to meet me, I was coming in pregnant, and people didn't really take me seriously. They thought, 'This woman is not going to shoot another movie again. She's going to become a mom, and that's what happens.' But that was not the case.
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I feel like directing is more about who the individual is rather than if they're a man or a woman. It's kind of hard to generalize and group all of us female filmmakers into one group, like we're all going provide you with the same thing, because we're not. We're all individuals.
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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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I'm trying to make people understand: yes, women are oppressed in 'The Handmaid's Tale.' But the men are also oppressed, too. It's just a very scary world for anyone.
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