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.

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.'

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.

As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.

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.

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.

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.

I learned a lot while I was ACing and gripping for other DPs as I was coming up.

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.'

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.

My biggest wish is that I would have more time with my husband and my boys.

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.

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.

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.

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.

I love strong women like Uma Thurman, Meryl Streep, and Charlize Theron.

I have a playlist for every project that I do. I made one for 'Handmaid' before I got the job.

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.

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.'

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.

'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.

Out of 10 projects I get sent, seven or eight are female protagonists, and that's not the only thing I'm interested in.

There is a reason why, on a DS, you get that little click when you press a button. There is a reason that it was important to have a microphone in the Wii Remote.

We respect all of our competitors, and when I talk about our competitors, all of our competitors for entertainment time and leisure time.

We've always anticipated that, as Nintendo would demonstrate business potential with an idea, others would follow. And we believe that based on history - rumble, joystick - things that we invented, if you will, and first put in video games, others quickly latched on to.

Nintendo looks at every technology. Often times, we look at technology before it really is considered mass-market ready. The original DS had touch screen on a device. First time that a mass market product had touch screen built in.

We want the consumer who has bought into the Nintendo Switch platform. When there's a great third party experience, we want them to jump in immediately.

In particular, in the Americas that I have responsibility for, 'Zelda' is a franchise that is very well developed.

I grew up playing the Super Nintendo.

My favourite game is 'The Legend of Zelda: Link to the Past.'

I'm passionate about what I do.

The fact that the Nintendo 3DS business is backwards compatible incentivizes us to get as many new consumers into the core DS platform as possible.

Nintendo prides itself in being a technology-driven, mass-market, entertainment company.

For Nintendo Switch, it really is about a big-game experience.

We want the technology in our devices to enable a social experience.

We constantly push the edge on technology. But for us, technology needs to be fun.

You need to run the company on an even keel, and you need to be thinking about the company long-term and how to drive your next innovation.

You don't own a 3DS? What's wrong with you?

We do think deeply about the sequencing of our games, but having said that, Nintendo is well-known that if a game isn't ready, we will push out the development in order to make sure that it is as strong as possible when the game launches.

Nintendo, as a company, prides itself on doing things differently.

In the end, what developers want is a healthy ecosystem to create content and launch it into.

Our goal is that everything we do blows people away.

I love 'Spirit Tracks' - I'm a 'Zelda' fan all my life.

I still really like 'WarioWare.' It's a great quick hit, especially for air flights.

At Nintendo, we think deeply about everything.

'First to market' is simply a demarcation on a calendar. It really doesn't mean anything.

I think Nintendo is fortunate, having been in this business for over 30 years, to really understand the dynamics and recognize that it's software that drives hardware, and it's new, unique, compelling experiences within software that make it stand out.

The fact is, there's no single magic number that defines profitability for a game.

'Super Mario Maker' clearly is going to drive hardware. There are consumers who have always wanted to make their levels of Mario games. So that game will really speak to those consumers.

I get asked constantly, what's Nintendo's approach to the esports community. And our approach is we want to enable consistent standards. We want to enable an approach to the competition that's fair, that's balanced, that enables the players to showcase their skills.