A Quote by Rachel Morrison
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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I taught writing for a while and whenever somebody would tell me they were going to write about their dad, I would tell them they might as well go write about killing puppies because neither story was going to work. It just doesn't work.
It's tempting to think, 'This is silly. I'm an artist. I care about my work, my work is first. I don't care about what kind of dress I wear... That's so secondary to me.' But if you care about your work... then you need to take this part of it just as seriously as you would going into an audition and going into work.
I think just what my parents instilled in me was hard work and being able to always go out there and focus and be 100%. I took that work ethic into the NFL and everyday I always gave 100% and never wanted anything to be handed to me. I wanted to earn it. And every time I stepped on that football field during practice I wanted to leave that football field with learning something about what the practice was about for me that day...
If you're really on some heavily addictive drug, you think about the drug, and everything else is secondary. You try and make everything work, but the drug comes first.
I suppose for me as an artist it wasn't always just about expressing my work; I really wanted, more than anything else, to contribute in some way to the culture that I was living in. It just seemed like a challenge to move it a little bit towards the way I thought it might be interesting to go.
I don't worry about overexposure [in work], I think it's important just to go in, and think about quality work and try to put the best movies out.
I like being on a set where you can make decisions and everything is involved and are happy to work together to make the best work. For me, it's all about making the best work and creative people working together and all being respected and all having their opinions of what gives it the best quality is important.
'An Education' was a complicated piece of work because it came from a tiny essay, so it took me a while to find the story I wanted to tell and the characters I wanted to tell it about. That really only emerged after four or five drafts.
I like to think I've been a good example and an inspiration to some people. And some people say that about me, but I'm just going about my work and doing what I do best. I'm a very professional 'Me.'
The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.
I've always looked at filmmaking as a lifestyle. There is no decision of when you go to work. It's a way of life: you're thinking about scripts; you see things and think, 'That could be interesting'... I don't think about my work as, 'Today I'll work on this, this and that.' It just comes to me.
I care about doing the work as best as I can do, and that it should go on reaching people. It's not about fame and it's not about me. It's about creating something that might allow someone else to create something.
You don't just go to your bosses and say, 'This sucks. I'm supposed to be winning everything.' If you have an awesome idea or a story, or something great, you go, 'Hey, how about we do this,' but when the story is not you, you have to find a way to make it work.
I've been doing this for seven and a half years. I've been just bustin' it, trying to break in as an artist in this business. For me, it's still just about the work. I get the scripts and I'm all about that. I don't really even have an idea what that's going to be like.
It is a great honor for me to be compared to Henri Cartier-BressonBut I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don't work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.
It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.
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