Quotes of All Topics . Occasions . Authors
No, I'm not doing 'Star Wars.'
My family lives on Long Island.
Color correction is one of my things.
Don't think of your gender as a handicap.
A lot of TV and film commits to one tone.
Real people - everyone is not just one thing.
'The Handmaid's Tale' is a very special story.
I try to shoot film wherever possible. There's nothing like it.
A lot of cinematography is intuition. It's an art, not a formula.
Don’t get hung up on the female thing. The art is not about that.
I would rather be hired solely for my talent, not just to fill a quota.
I love strong women like Uma Thurman, Meryl Streep, and Charlize Theron.
My dreams are like fuzzy Charlie Kaufman movies, so I love going to sleep.
I learned a lot while I was ACing and gripping for other DPs as I was coming up.
I do think it's unfair for women who get pegged with creating fare for other women.
I have a lot of brothers and male cousins. I grew up in an informal, jokey environment.
We moved around every winter. I don't know. Maybe my dad was, like, on the run from the law.
I have a playlist for every project that I do. I made one for 'Handmaid' before I got the job.
The instant feeling I had after I gave birth was you couldn't get that baby in my hands fast enough.
I like movies as a viewer that challenge me to actually think rather than spoon feed everything to me.
You can't expect everything to happen all at once when it's been such a male-dominated world for so long.
Funny enough, the most discrimination I've ever gotten as a woman in this industry has been from other women.
In America, we tend to be very sheltered, and I'm speaking from personal experience because I feel sheltered.
Out of 10 projects I get sent, seven or eight are female protagonists, and that's not the only thing I'm interested in.
We're too complacent. We let things happen to us. And you don't have to let things happen to you. You can affect change.
As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.
If you push too much for somebody that everyone knows is your friend, and that you've worked with before, it can backfire.
As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.
A lot of male cinematographers stick a pillow to their stomachs so they have somewhere to rest their elbows while shooting.
I don't want to step on the DP's toes. That's the first lesson I learned when I started directing with other cinematographers.
Normally, if I would read in a script that there's mostly flashbacks and mostly voiceover, I would run as far away as possible.
There are a lot of women who direct in a way that is even more masculine sometimes than men - and that's not a bad thing, either.
Ultimately, the idea of being able to escape and lose myself in a new world every time I go to 'work' was too appealing to ignore.
I want people to think about what and who they have in their lives and then run home to hug them and tell them how much they love them.
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.
One of the color combos that I really love is the tones of technicolor, which older movies would have, these tones of blue and red in them.
The interesting thing about 'The Handmaid's Tale' is that everything that happens in it has happened or is happening somewhere in the world.
Being a cinematographer taught me a lot. I got to expedite the visions of many directors and learned how to navigate many styles and worlds.
Whenever a woman wields a gun in a film, it ends up looking like they're trying to be sexy rather than they actually know what they're doing.
I really hate having to put 'female' in front of any title, because it puts us in some kind of weird category for handicapped people or something.
I read it in college as an assignment. I didn't think about it at the time. But when I heard there was a 'The Handmaid's Tale' pilot, I freaked out.
In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.
My father passed away when I was 18. It was the worst thing that ever happened to me, but it is not like that all the time. Not every moment is dark.
I've DP'd so many films for first-time directors, and I know the trauma, the heartbreak, the vulnerability, how much you have to believe in the story.
There was a movie that was made about 'The Handmaid's Tale.' And I never watched it on purpose because I didn't want to... I just didn't want to know.
When I read 'Meadowland,' I could see the potential for a very internal, quiet story that could be powerful and emotional but also disturbing and dark.
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.'
When I was an undergraduate in Film & TV at NYU/Tisch School of the Arts, most of the projects I shot had male directors, and only a few had female directors.
Women have to compensate more in the personality department in order to get the things that men get. And they don't have as much leeway for being divas or jerks.
A sad truth I learned as a DP starting out was that it doesn't matter how beautiful I make it if the story and performance are not there. That should be number one.