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

I was in film school as an undergrad with a focus on directing. Once I started working on shoots, I realized, 'Oh, I really like this cinematography thing.'

The interesting thing about 'The Handmaid's Tale' is that everything that happens in it has happened or is happening somewhere in the world.

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 don't want to step on the DP's toes. That's the first lesson I learned when I started directing with other cinematographers.

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.

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.

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.

A lot of male cinematographers stick a pillow to their stomachs so they have somewhere to rest their elbows while shooting.