Quotes by Rachel Morrison - Page 2

'Fruitvale' set the bar for what I wanted to do with my career, which was to make films that had consciousness and messaging in an entertaining package. Once I hit that mark, I never wanted to go back.
Rachel Morrison /
Consciousness
Entertaining
Never Back Go
Bar
Messaging
Package
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Cinematography is so much about instinct and intuition - you want the same range of experience going into behind the camera as what you see in front of it. Your life experience will come through the lens.
Rachel Morrison /
Experience
Cinematography
Instinct
Intuition
Life Experience
Range
Life Your Will
Life Experience Your
Come
Much
Behind
Same
Camera
Through
Front
Lens
See
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The only consistency in the work I do is that I try to use cinematography to best tell the narrative and do justice to the character arcs, but not to do it in such an overt way that people are distracted by it.
Rachel Morrison /
Cinematography
Consistency
Distracted
Narrative
Best Work Character
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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.
Rachel Morrison /
Relate
Turning
Passed
Something People
Translating
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There's something so inspiring about being in real locations, where you can feel the tactile qualities from the layer of paint that has been chipping off and the hundreds of years that have been lived in the space.
Rachel Morrison /
Inspiring
Paint
Tactile
Chipping
Hundreds
Hundreds Of Years
Layer
Locations
Qualities
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My mom was diagnosed with breast cancer when I was four. And she was re-diagnosed when I was seven or eight, and again when I was 13, and my dad was very unhealthy, too. I was living on the edge of mortality my entire childhood.
Rachel Morrison /
Breast Cancer
Cancer
Childhood
Eight
Mortality
Unhealthy
Mom Dad Childhood
Diagnosed
Edge
Entire
Dad Mom Childhood
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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.
Rachel Morrison /
Floor
Notices
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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.
Rachel Morrison /
Break
Sound
Work Done Look
Led
Piece
Suddenly
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When shooting in real spaces, the work of a cinematographer begins where location meets production design meets time of day. No movie light will ever look as real as the sun, so scheduling becomes truly paramount to naturalistic lighting.
Rachel Morrison /
Movie
Design
Light
Location
Paramount
Scheduling
Shooting
Sun
Time Work Design
Becomes
Begins
Cinematographer
Work Time Design
Production
Meets
Naturalistic
Spaces
Truly
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Part of the reason why I love to operate is because I find that so much of what we do is instinctual. It's dancing with the actors and responding to their body language, and you feel what the right place for the camera is at any given moment.
Rachel Morrison /
Body Language
Responding
Any Given Moment
Camera
Instinctual
Operate
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It took me a long time to adapt to the West Coast. I lived eight years in New York before California and might have gone back. Then I discovered surfing. It's the California equivalent of ice hockey, I guess. It gave me a real sense of place.
Rachel Morrison /
Hockey
Ice
Surfing
West Coast
Time Me Long
Adapt
Time Long Me
Equivalent
Real Sense
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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.
Rachel Morrison /
Heat
Humidity
Multiple
Pouring
Rain
Extreme
Glaring
Skies
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The theatrical experience is also a communal one. When people saw 'Fruitvale' in the theater, there was not a dry eye at the end of the movie, and you would look to your neighbor and have this shared moment together that had a real weight behind it.
Rachel Morrison /
Dry
Neighbor
Theatrical
Communal
Shared
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Your movie becomes much more narrow-minded when you have like-minded department heads. Whereas if you can surround yourself with people who have been a mother before, been a grandmother before, you get a much broader and wide-reaching swath of human emotions.
Rachel Morrison /
Department
Human Emotions
Narrow-minded
Surround
Surround Yourself
Broader
Surround Yourself Yourself Your
Surround Yourself Yourself People
Heads
Whereas
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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.
Rachel Morrison /
Amy
Handful
Nancy
Ellen
Role Model
Walker
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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.
Rachel Morrison /
Elements
Insignificance
Powerless
Frame
Highlight
Isolate
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The big trick is just to get to a point where we're just considered DPs, and we're not 'female DPs.' When you think of the word 'doctor' or 'teacher,' you don't think gender. And it would be nice to get to a place where 'DP' meant either and 'director' meant either and 'gaffer' meant either.
Rachel Morrison /
Be Nice
Trick
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I think you can make a gorgeous movie on any piece of equipment. Look at 'Tangerine,' which is a beautiful movie shot on an iPhone. You see so many movies that are impeccably shot but are vapid, and there's no audience for that except for other cinematographers who just like to watch two-hour-long music videos.
Rachel Morrison /
Equipment
Gorgeous
Iphone
Vapid
Shot
Except
Music Videos
Piece
Tangerine
Videos
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When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.
Rachel Morrison /
Cinematography
Conflict
Grad
Grad School
Lighting
Amazing Thing
Photographing
Studying
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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.
Rachel Morrison /
Summer Camp
Chose
Photo
Individualist
Medium
Whereas
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Rachel Morrison Quotes - Page 2

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