Rachel Morrison Quotes

I actually started as a model builder and quickly progressed into production design, which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.

A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.

I really like shooting in real locations.

I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.

Music is where I have the most creative freedom, but I love producing. To me, that's kind of where all the action is. You get a chance to have your hands in every aspect of a film. From picking a director, sometimes picking a writer, to the actors, the wardrobe, set design, editing, music, and marketing.

The first year we actually did a lot of night shooting and the writers weren't even allowed on location.

In Hollywood, the cameraman lights the star. In Europe, he lights the set.

Movie making is really, it's a director's medium, it's not even so much an actor's medium.

The reason I chose the movies that I did was based on where they were being filmed.

I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.

A lot of a movie is locations, frankly.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

I always wanted to design for films.

With 'Tron,' we had so many crew members around and a stage full of special effects people that know exactly what has to be done in the situations. You're on a stage in sets the whole time.

Unless it's a song and something fancy, I would rather shoot on location.

I liked the whole process of creating on set. It's almost like creating magic. The work that the camera guys are doing at the same time, the lighting... all of the people working in their departments to make one thing.

Typically, whenever you're envisioning how you're going to shoot something, you have a location or a set that you're going to build, and it's going to be built to specifications.

You can't anticipate in the room the riches of what you encounter when you're location hunting for a movie.

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

We are able to create incredible set-pieces here in the US that TV shows often don't have the resources to create in the UK.

I wanted to be a movie director. I was just obsessed with watching movies and camera shots and directors. I read autobiographies and stuff of directors.

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

The production scale of 'Okja,' which I had never experienced before, was jaw-dropping. Not only the actors but also all the staff were experts in their fields.

Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.

My job is to kind of nudge them. Who said it, where, like, '90% of the job is casting,' so all I do is try to come to set and focus on getting all the best shots to cover the story; that's really it.