Rachel Morrison Quotes

One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it.

I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.

People say that soundstage sets never quite look like reality. But actually, they can. They can be as real as you want as long as you pay attention to the kind of detail that is given for free in a real place.

One thing I learnt was that you don't have to spend all day shooting: you can get it done in half an hour if you're that talented as a cameraman.

My photography is mainly focused on my work making movies, which I've done my whole life. I think I have a perspective that not many people have. And I get to take advantage of all of the strange sources of light on a set.

Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.

It's always a challenge to shoot a period film and not have it look like you hit the tea stain button in post.

The script is so important... Even if you have a huge entourage or big lighting trucks, the most important thing is the space between the actor and the camera.

My whole approach is very much about using the locations as a world, trying to find the beauty in the time of day we shoot or the ugliness of it, in cases.

For all my films, location plays an important role because I like to give the authentic look of the place. And for that, one must go there and shoot at the right spots.

Before I started to make films, I didn't give much thought to the way the characters were physically positioned in the story world.

I can still recall the thrill of shooting my first film.

Period recreation is very difficult unless you make a black-and-white movie.

Making a pretty picture, an image, is a completely different thing from acting to camera.

Videos are more like photography. It's not as much about trying to tell a story as it is creating images.

I always saw photography as a way to get to film.

Architecture has a strong link with the movies in terms of time progression, sequencing, framing, all of that.

I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.

I really got into filmmaking through photography.

As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.

All my film ideas and subjects have come from photography.

I look at directing as a sporting event. It's a race, a marathon. It's great when it clicks, which is why I push my crews so hard so we can excel.

TV, it's a director's medium, and they wanna make it look interesting. To be rehearsing mostly for the sake of where you're standing so they can do the lighting, that's what I don't like.

I would love to direct a western. I love taking photographs and I'm always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren't always in a script.

I'm one of the few directors that actually shoots a lot in camera.