Quotes from Reed Morano

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.

A lot of TV and film commits to one tone.

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.

I have been lucky in getting a lot of the projects I've wanted, maybe because I'm really, really driven. But there is a stigma that women can't direct big studio films. Not that I want to do that, but it is a topic that comes up a lot.

It's really the best time to be a woman. And instead it can be an advantage. Think about what you can bring to the table that what you have to offer that makes you unique.

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.

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.'

In my 20s, I was too shy to reach out to successful DPs and directors for an internship or to shadow them. I see young people nowadays doing that all the time. I think that experience would have been cool.

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.'

I have a lot of brothers and male cousins. I grew up in an informal, jokey environment.

The instant feeling I had after I gave birth was you couldn't get that baby in my hands fast enough.

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 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.

A lot of cinematography is intuition. It's an art, not a formula.

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.

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 think it's a common misconception that because you're a woman, you can't command a set and have people respect you, and for some reason, Hollywood is really far behind every other industry. It's getting better; it's just slow.

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 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.

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.

Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'

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.

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

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.