Reed Morano Quotes

I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.

Every film deserves its own unique look.

I believe that we will elevate and differentiate the discourse of cinema the more we discuss image creation in specific terms.

I believe that the best cameraman is one who recognizes the source, the story, as the basis of his work.

I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.

With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.

Cinematography is so much about instinct and intuition - you want the same range of experience going into behind the camera as what you see in front of it. Your life experience will come through the lens.

Usually, if you notice good cinematography, then the cinematographer's failing. I try to make light feel like it's always motivated and natural in some way and hope that the lighting goes unnoticed.

For a cinematographer, every frame has to be important.

Laszlo Kovacs was marvelous. He was very much in the same school as Bill Frake, who was, of course, a great cinematographer as well. They had a very similar style and similar sensibility.

The job is trying to create movie shots that have depth, that have the meanings you need them to have, and then good enough so that they will add something to the final picture. They will make the picture; they'll get into the picture, and give them what they need. It's an interesting job.

A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.

I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.

If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.

There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.

Certain directors are known for a certain kind of beauty; it becomes their signature.

Film directing has perfected my theater directing. I think when I first started directing, a lot of my stuff was very lateral; I was afraid to have the actors' backs turned away, afraid to put them too far upstage, and I think once I did more things with film, I got more interested in composition.

Every shot is unique, even if it's just a close-up, an insert of your hand. You've got to work with the guy behind the lens to get it right, focus in. Those are critical little nothing things, but you've got to work with the people who are trying to put it down, in order to get it.

I was never one for multi-cameras; my approach was always... I always considered there was only one place to be to do a shot.

A shot is only as every as good as how well it tells the story.

I prepare for a shoot by saturating my brain with images that have different moods or expressions.

I'm no snapshot artist. I make very careful choices always, even if I'm using a 35mm camera.

'La Notte' is my favorite of the Antonioni pictures and my favorite work of the master cinematographer Gianni di Venanzo, who also shot '8 1/2' for Fellini.