Reed Morano

“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.”

“I have a playlist for every project that I do. I made one for 'Handmaid' before I got the job.”

“I don't want to come in and do something that's been done before. You know, for me, it's not that I wouldn't come in and do a sequel to something, but it's only if I can bring something new to the table and I'm not following an extremely strict path.”

“It's a very tricky job we have as DPs, where you are expected to make something that really is an emotional art but also needs to be technically spot on. You're often given a very small window of time to achieve it. People sometimes expect it to be even quicker and forget that there's a schedule for a reason.”

“No, I'm not doing 'Star Wars.'”

“I actually carried a Panavision Platinum and a G2 when I was seven months pregnant for a film called 'Little Birds,' and the whole movie was handheld. And we were shooting in the desert. That's a 35-millimeter camera. It's huge, probably at least 50, 55 pounds, and I did all my own operating.”

“As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.”

“There is something to be said for one vision and following one vision through. I do think it's something TV will catch up to at some point and realize, 'Wow, we're in the Golden Age of Television right now; we've taken television to another level, but now let's take it to an even higher level where it is one vision throughout a whole season.'”

“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.”

“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.”

“Real people - everyone is not just one thing.”

“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.”

“I feel like directing is more about who the individual is rather than if they're a man or a woman. It's kind of hard to generalize and group all of us female filmmakers into one group, like we're all going provide you with the same thing, because we're not. We're all individuals.”

“I think I subconsciously knew you needed life experience to direct, and the best films are directed by people who have really lived, with exceptions like Orson Welles, who just burst out of the gate. There are prodigies like that, but for me, personally, I thought I needed life experience.”

“I don't want to just make the safe, easy commercial films.”

“Sometimes you come up with an idea when you're going out for a job, and then when you actually get into dissecting the world, you end up changing your approach, just because that's the way art goes sometimes.”

“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.”

“There are many legendary DPs that I admire, some of whom have a very strong signature, but I'm not sure I want to be the DP where you see my work and say 'Oh, Reed shot that.'”

“A lot of people who are in charge in Hollywood are women, so they have the power. Now, I've met a lot of these amazing women who are offering opportunities to other women, and they're awesome. But for the women who maybe haven't done that yet, it's like, why?”

“I do think it's unfair for women who get pegged with creating fare for other women.”