Reed Morano Quotes

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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...

In TV, you are much more likely to see the episode closer to the script as written - in terms of the order of the scenes - than you would in a movie, and here's why: you don't have as...

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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...

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.

A lot of TV and film commits to one tone.

When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which...

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.

Color correction is one of my things.

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 would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes...

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

A lot of cinematography is intuition. It's an art, not a formula.

I try to shoot film wherever possible. There's nothing like it.

I was in film school as an undergrad with a focus on directing. Once I started working on shoots, I realized, 'Oh, I really like this cinematography thing.'

The first director who ever allowed me to shoot a film for him was a male. He was a gay male. My first feature also came from him. I worked for a lot of dudes at NYU.

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...

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...

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