A Quote by Reed Morano

I know how a cinematographer wants to be treated by their director, and so I already have a leg up in that department, and I know what would be insulting to say to a DP because I've been one for so long.
When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn't want to give up being the DP, and really wanted to do both. And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.
You know, boy versus girl. But she's a tough warrior, so I almost treated it like unisex. But it makes a difference how tall the actors are, because I needed to know that if Olivia Wilde sits in a car that the director, Joe Kosinski can still get the angle he wants, as opposed to maybe in another vehicle than Jeff Bridges has to sit in. So that was fascinating. Because in a real car you change everything and adjust it. But here you have one shot.
Do you know how to wrap a leg?" "I was born wrapping legs," I say stiffly, because I'm insulted. "Must've been a challenging delivery," Sean notes.
Somebody saying something offensive to you, or insulting to you, is not pleasant, but it's part of life. And my belief is we need to shore ourselves up, and our kids up and our younger generation up to understand how to deal with that unpleasant reality, because we won't always be there to protect them. And you know, I for one want my own kids to know how to handle that.
I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.
I feel like I have more experience with publishing humor than pretty much any editor I'm going to be dealing with so sometimes I'll get a little bit nuts if I write something I know is good a certain way, and some editor because of some restriction he has and wants to change it that I know is going to make it less funny that'll piss me off and then I'm inclined to go, "Well, hey I've been doing this a long time, maybe you should..." That doesn't happen that often, but I'm more likely to say that now than I would have been a long time ago. Because dammit, I'm infallible!
The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
This may sound insulting to some of my cult studies friends, but there's a lot of cult studies people who ignore, shall we say, the wider canvas - because they simply don't know about its existence or they don't know how it operates.
In the old days when I first was coming up, you would turn up on set in the morning with your coffee, script, and hangover and you would figure out what you were going to do with the day and how you were going to play the scenes. You would rehearse and then invite the crew in to watch the actors go through the scenes. The actors would go away to makeup and costume and the director and the DP would work out how they were going to cover what the actors had just done.
I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.
You don't know who wants you for you, who wants you for the money, who wants you for the fame. You have no idea. And how would you know? There's no way.
It is no measure of health to be well adjusted to a profoundly sick society. We have lost it, or we have never had it; and, because we do not know how to judge anything, we have been led here and pushed there, beaten up, driven, politically, religiously and socially. We don't know, but it is difficult to say we don't know.
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.
A man who wants to die feels angry and full of life and desperate and bored and exhausted, all at the same time; he wants to fight everyone, and he wants to curl up in a ball and hide in a cupboard somewhere. He wants to say sorry to everyone, and he wants everyone to know just how badly they've all let him down.
A director makes 100 decisions an hour. Students ask me how you know how to make the right decision, and I say to them, 'If you don't know how to make the right decision, you're not a director.'
People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.
This site uses cookies to ensure you get the best experience. More info...
Got it!