A biography for Reed Moranohasn’t been written yet.
“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.”
“Most of the people I know in the film business here in New York, the moms and the dads, just take different turns working. So everybody's a working parent, and nobody bats an eyelash at it.”
“The interesting thing about 'The Handmaid's Tale' is that everything that happens in it has happened or is happening somewhere in the world.”
“Funny enough, the most discrimination I've ever gotten as a woman in this industry has been from other women.”
“As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.”
“I have a lot of brothers and male cousins. I grew up in an informal, jokey environment.”
“The first director who ever allowed me to shoot a film for him was a male. He was a gay male. My first feature also came from him. I worked for a lot of dudes at NYU.”
“Color correction is one of my things.”
“When I got on my first set, I watched what the cinematographer was doing, and at that level in film school, the cinematographer has the most control. They're the one looking through the viewfinder, carrying the camera, framing the shots.”
“I know how a cinematographer wants to be treated by their director, and so I already have a leg up in that department, and I know what would be insulting to say to a DP because I've been one for so long.”
“I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.”
“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.”
“When it was time to go to college, I was going to apply to Boston University for journalism, and dad said, 'Why not apply to NYU film school, because you love telling stories and taking pictures?' And I thought, 'Oh, I can do that for a job? Cool!'”
“What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.”
“I started a business with my cousins in Fire Island called 'Wagoneers.' Since there are no cars on the island, we would hustle people at the ferry docks to bring their luggage to their houses in our wagons for a large fee.”
“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.”
“After graduating, I was shooting as well as working as a key grip, and I often found myself the only female out of the whole crew, except for producers and the occasional AC.”
“Out of 10 projects I get sent, seven or eight are female protagonists, and that's not the only thing I'm interested in.”
“A lot of cinematography is intuition. It's an art, not a formula.”
“I want to make the movies that move people in a way they've never been moved before.”