A Quote by Rachel Morrison
The cinematographer's basically translating the director's vision into imagery.
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As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
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.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
I learn a lot as a director from acting in other people's films and just in general. I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer. Basically, I like to help and be involved, so anything anybody asks me to do, my first reaction is to say "Yes."
The process of working with the second unit director and basically sharing your workload with another director is such an interesting, delicate thing - and entrusting that person with your vision and making sure that you are not adding a completely different aesthetic to the mix that you don't have to contend with in editing.
But things such as 'Harry Potter', all I can do is shape my character, seek the director's approval on that, and basically take it from there. Professor Flitwick in 'Harry Potter', I kind of defined how I saw him from reading the book, and luckily that matched up with the director's vision.
I'm the most experienced cinematographer in this medium, so there's no point in having that extra conversation in the middle of the loop. You're making the film in relation to what's happening now, and you can't really affect what's happening now. It's not like you're in control of anything in front of the camera. If you're calling yourself the director and you're not the cinematographer, I think you're kidding yourself.
When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.
In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.
As an actor, you've got to have faith in the director's vision, that the director has a vision for this that is greater than the critics say.
The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.
An actor is nothing without the vision of the director. The director needs to have a vision that will cross boundaries, that makes the audience sit on the edge of their seats and that pushes the envelope.
When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.
I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
The music video director really wanted to incorporate the imagery of guns into 'Nega Dola' because the lyrics are very aggressive. It kind of portrayed a very strong image. So that's how we connected weapons and the imagery of a dangerous atmosphere.
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