Reed Morano
-
“The Film Kept Building in Meaning Throughout the Time Working On It”: Madeleine Gavin on Editing I Think We’re Alone Now
With Reed Morano’s I Think We’re Alone Now in theaters, we’re running this short interview with its editor, Madeleine Gavin, conducted earlier this year before the film’s premiere at the Sundance Film Festival. For more on the film, see Meredith Alloway’s interview with Morano. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Gavin: I worked with Reed Morano on her feature directorial debut, Meadowland, and when I Think We’re Alone Now was getting set up, Reed sent me the […]
by Scott Macaulay on Sep 26, 2018 -
“We Can Never Forget that We’re in the Apocalypse”: Reed Morano on I Think We’re Alone Now and Her Post-Emmy Career
Reed Morano has had quite the year. She took home an Emmy this time last year for Outstanding Directing for a Drama Series for The Handmaid’s Tale. She started working alongside Blake Lively and Paramount Pictures on The Rhythm Section and her second directorial feature, I Think We’re Alone Now, premiered at Sundance, and then in theaters this month. And then a few days after we interviewed her, it was announced that she inked an overall deal with Amazon Studios. Morano’s work, from her start as a DP to her rise as a director, maintains a visual excellency and attention […]
by Meredith Alloway on Sep 26, 2018 -
“Letting Emotion Dictate the Scenes”: Breaking Down Reed Morano’s Direction of The Handmaid’s Tale
Meredith Alloway’s interview with director and DP Reed Morano (one of our top posts of the year), where Morano explains the exhaustive preparation that led her to be hired to direct the pilot of Hulu’s Margaret Atwood adaptation The Handmaid’s Tale, also contained a section where the director broke down the camera and direction decisions she made for one crucial scene. Now, Nathalie Sejean at Mentorless has taken that section and turned it into a concise visual essay that allows you to see for yourself the work that Morano described to Alloway. Check it out above.
by Scott Macaulay on Feb 1, 2018 -
Reed Morano on Successfully Pitching for and Directing the Intense Dystopian Drama, The Handmaid’s Tale
Reed Morano was told she wouldn’t get to pitch on The Handmaid’s Tale: “Don’t get too excited about it.” Someone showed her the pilot just so she had an idea of what Hulu was up to, but there was already a “very big male director” they were out to, as Morano discussed at an IFP Q&A earlier this year. When Morano heard that her long time collaborator and friend Elisabeth Moss was attached as the lead of the show, she reached out — not taking no for an answer. “A week and a half later, I got a call: ‘The producers […]
by Meredith Alloway on Aug 18, 2017 -
A Hole in the Heart
Ever since her work on 2008’s Sundance award-winner Frozen River, cinematographer Reed Morano has been a prominent voice in American independent film, with credits including Little Birds, Kill Your Darlings and The Skeleton Twins. Her method of creating what she calls “elegant naturalism” has made her Rob Reiner’s go-to director of photography on his recent films (The Magic of Belle Isle, And So it Goes), and has graced television screens via HBO’s Looking last year and its upcoming rock-and-roll series, Vinyl. Aside from her work in film, Morano is also an articulate commentator on film, and has given numerous interviews […]
by Jim Hemphill on Oct 28, 2015 -
Enter Olivia: Reed Morano’s Meadowland
The response to a student’s query about any deeper meaning behind a simple cigar — for which his professor had a signature fondness — was Freud’s possibly apocryphal, and definitely overly quoted, “Sometimes a cigar is just a cigar.” Right. At times, however, it isn’t. Anything can be either real or imaginary, or perhaps occupy a middle ground. That which lies in the in-between is often the most intriguing, revealing and nuanced of all. Working from a script by Chris Rossi that she significantly revised, Meadowland’s first-time director and very experienced cinematographer Reed Morano transports us and her female protagonist, […]
by Howard Feinstein on Oct 16, 2015 -
Cinematographer Reed Morano on the Fight Against TV’s “Smooth Motion” Setting
“Stop motion interpolation!” is the call on a Change.org petition urging TV manufacturers to disable the default “smooth motion” setting on new televisions. As the petition explains, “Motion Interpolation was an effect that was created to reduce motion blur on HDTVs but a very unfortunate side effect of using this function is that is takes something shot at 24 fps or shot on film and makes it look like it was shot on video at 60i. In short, it takes the cinematic look out of any image and makes it look like soap opera shot on a cheap video camera.” […]
by Reed Morano on Oct 28, 2014 -
Interview with The Skeleton Twins and War Story D.P. Reed Morano, ASC
When you meet cinematographer Reed Morano, ASC, you immediately start to think of cultivating ways you could maybe become a little cooler, because she seems to do life – in general – so well. For our photoshoot, Morano invited me over to her home in Brooklyn, which she shares with her husband and two young sons, who are five and three. Her apartment is cozy and magically extends outside into an unusually large Narnia-esque garden, replete with a swing set and slide for her kids to play on. Her kids are like calm, respectful, independent yet obedient unicorns: “We just […]
by Danielle Lurie on Jan 20, 2014 -
Cinematographer Reed Morano on Climbing the Ladder
Waitressing, temping and working as a grip and electric intern were some of the odd jobs Reed Morano had on the way to becoming a d.p. In this latest Craft Truck video, Morano makes the case that grip and electric is “not putting the light up, it’s what you do with it once you get the light up.” You can watch the full Craft Truck interview here.
by Nadia Ismail on Oct 25, 2013 -
Cinematographer Reed Morano on Learning by Doing
In the newest installment of our Craft Truck video series, cinematographer Reed Morano offers the career advice of figuring it out as you go, even if that means bluffing a bit on set. In the rest of the interview, Morano, the d.p. of the crime drama Frozen River, discusses how creativity is the answer to limitation, particularly when she learned that she only had one day to shoot on ice in Frozen River. You can watch all of Morano’s charming interview here.
by Nadia Ismail on Sep 6, 2013
