A Quote by Rachel Morrison
A period film is a gift for a cinematographer.
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When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.
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.
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.
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
I wanted to be in film. I wanted to be a film student, possibly be a director or cinematographer, not an actor. That was my goal. I didn't believe I had the physical beauty that I'd seen projected and advertised in movies, in theater. It just wasn't for me.
I was at the National Film School and was a cinematographer there. I got quite a lot of experience on documentary film-making and with directors who were interesting - maybe they weren't using scripts or were using non-actors.
I was at film school when I made 'Small Debts' and I was a cinematographer, so I didn't actually study to be a director.
I probably learned, being in 'Taxi Driver' before I made my first film, I would come to the set every day just to watch how that film came about. It's like a graduate course: it's terrific. You talk to the cinematographer during the breaks. You ask the electrician why they are doing this.
I thought that was a pretty stupid argument, really, because it's the final product that matters. The look of the film, however it's done, is still the cinematographer's vision in my mind. People said the same when color film came in, didn't they? The world evolves, and image-making evolves.
When I was in college, I wanted to study film. My first passion was to be a cinematographer. So maybe there's something innate in my music where it partners well with images.
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.
I grew up as a cameraman, so it's much easier for me to shoot it myself. I work with an operator and a crew, but it's way easier for me to function as a cinematographer, than to have a cinematographer between me and the lens. I don't need that.
The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.
In comics, the writer is also the director in a certain way. So if this were a film, you wouldn't tell the cinematographer to make a good fight scene while you go and get a cup of coffee.
I would like to do more film scoring, period. Whether it is a big film, a small film, or just anything. I feel like I have a lot to learn, and what better way to do it than on the job?
This is a gift. This is a gift from God. It's really like the old Biblical passage that talks about your body being a temple. That's not to say that I've never done anything but I've never abused myself. Never gone over the top for a long period of time.
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