Rachel Morrison Quotes
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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 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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The best kind of entertainment is the kind that also makes you question something or think outside the box or live another life. Those are the stories that I'm drawn to.
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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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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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The first female DPs that I was aware of were Ellen Kuras, Mandy Walker, Nancy Schreiber, Amy Vincent, Sandi Sissel, Maryse Alberti and Tami Reiker. You look for a role model as somebody who looks like yourself and is doing what you want to do; they were the handful.
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For me, it's always been about the work - it wasn't about, 'Let's go break some ceilings.' I just wanted to tell an important story and do the best work I can. Everything else is secondary.
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Photos have the real task of bringing exposure to places that we otherwise don't have much awareness of.
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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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Cinematography speaks to everything that women do inherently well: It's multitasking, it's empathy, and it's channeling visuals into human emotion.
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My dad, before he passed away, never understood what I did. What I say is that I'm responsible for translating the director's vision, hopefully turning an idea into something people can connect to and relate to.
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My wife jokes that any time I want to take a picture of her, it has nothing to do with her - it's just because the light is really nice. She's usually right. I definitely am somebody who notices the way the light skips off the floor.
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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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I might be one of the very few people in this industry who doesn't have a 'me too' story.
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I pour my blood, sweat, and tears into a movie. What I always look for is a message and a social consciousness: a relevance to what's happening in our world.
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I kind of grew up with a camera in my hand.
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I think there's this assumption that everybody would rather be a director, and I don't know that that's the case for me, so we'll see.
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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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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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You just sort of get used to being one of the only women on set, so it's really refreshing to start to enter a time when that's not the case anymore.
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For me, I just like new challenges.
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I'll never know what happens behind closed doors or why I don't get hired for things.
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Having a family is a compromise on some level, but it's so incredibly worth it. It actually informs the work that I do as a DP.
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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.