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Half of 'Mudbound' were shots I stole in between other scenes.
Half of 'Mudbound' were shots I stole in between other scenes.
Half of 'Mudbound' were shots I stole in between other scenes.
Half of 'Mudbound' were shots I stole in between other scenes.
Half of 'Mudbound' were shots I stole in between other scenes.
Half of 'Mudbound' were shots I stole in between other scenes.
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Rachel Morrison:
A period film is a gift for a cinematographer.Rachel Morrison:
It's hard to go back to shooting contemporary apartment interiors after you shoot something like 'MRachel Morrison:
Lighting practically whenever I can when shooting period really helps with authenticity.Rachel Morrison:
I didn't want 'Mudbound' to feel stylized in any way.Rachel Morrison:
I came up in photography, and Dust Bowl-era photography is a lot of the reason that I got behind thRachel Morrison:
My experience - I'll never know what happens behind closed doors or why I don't get hired for sometRachel Morrison:
The big trick is just to get to a point where we're just considered DPs, and we're not 'female DPs.Rachel Morrison:
My lighting tends to use contrast as a reflection of the stakes in the scene. The higher the stakesRachel Nichols:
I love the physicality side of roles, I really do, And when I get to do my own stunts, it's that muRachel Nichols:
History is fickle. We know that. The good and bad come around and go around, and go around again. T