A Quote by Reed Morano
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.
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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.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
I've always laughed at the term "female director" or even "black director." A director's a director.
When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.
Yes, they allowed us to play around a lot because, like we said, the director's such a good comedy director.
Sometimes the producer has more say and the director takes what he is given. On other occasions, you don't see the producer very much and the director is the one who it is all about.
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.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
As a DP who mostly does features, I'm normally in a director's pocket, 24/7.
When 'Humsafar' did well, every single person associated with it shined. Its DoP [Director of Photography], Shehzad Kashmiri, went on to become a huge director. So, a good and successful project just blesses everybody.
The artistry on the show [ Underground] is apparent in each episode. From the riveting writing to the purposeful and precise direction, the masterful work of the DP [Director of Photography] Kevin McKnight and his crew, and the layers and depths each actor goes to to ensure we the audience feel a human connection to these characters led me to sign my name on the dotted line.
Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.
A little secret - I'm the child of a shrink. I am; my mom's a shrink, and my father's a lawyer. So believe me, I analyze and negotiate. That is a huge amount of the director's work, especially when you're working with people who - such a variety.
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
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