Reed Morano Quotes

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

I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.

I was in film school as an undergrad with a focus on directing. Once I started working on shoots, I realized, 'Oh, I really like this cinematography thing.'

I really like photography, and I'd like to do more of that kind of thing. If I had to choose a different job within the industry and do it well, I would love to do cinematography.

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.

Yes, if I had it my way I would do all the shots myself - I used to do that when I was just a cameraman, an operator - but there's no way; you can't do that anymore.

I've always wanted to be behind the camera in some capacity.

Finding where to put the camera is probably the most important thing you have to learn when you're a young director, and it's something that's a mixture of instinct and technique.

The biggest difference for me was that I operated almost every frame on 'Mudbound,' and I didn't operate on 'Black Panther.'

I am very much open to doing cinematography for any talented filmmaker, if the script is good.

I really enjoy being behind the camera. A ton of projects I've done that are my most favorite projects would be where I actually executive produce and I'm behind the camera.

I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.

I went to USC and tried to learn about the other side of the camera a little bit.

I started playing around with GoPros on my own to get some cool footage. But it's actually become a big training tool for my team and me.

Most screenplays depend primarily on the vision of a director.

In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.

I knew from early on I would go to film school and try to work behind the camera.

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.

I think you cannot make films without choosing everything.

People who are good at film have a relationship with the camera.

The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.

We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.

If you are making a record, you are the one saying 'action', and you are the one saying 'cut,' and you have to be sure that the most interesting thing is not going on outside the frame.

Making a movie and not directing the little moments is like drinking a soda and leaving the little slurp puddle for someone else.

I learned quickly at Columbia that the only eye that mattered was the one on the camera.