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.

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.

As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.

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.

I want to make the movies that move people in a way they've never been moved before.

I don't want to just make the safe, easy commercial films.

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.

In America, we tend to be very sheltered, and I'm speaking from personal experience because I feel sheltered.

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.

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've DP'd so many films for first-time directors, and I know the trauma, the heartbreak, the vulnerability, how much you have to believe in the story.

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!'

My family lives on Long Island.

We moved around every winter. I don't know. Maybe my dad was, like, on the run from the law.

I always like to do sound design, and in movies, you have more leeway with that, but I don't really notice that sound design is being used in TV other than just location sound.

In everything I do, the aesthetics are driven by the emotion. However I can do that with a camera, whether it's a long lens or a wide lens, I'll do.

My dreams are like fuzzy Charlie Kaufman movies, so I love going to sleep.

When 'Frozen River' started to get really big, I was four months pregnant. So when these agents and directors wanted to meet me, I was coming in pregnant, and people didn't really take me seriously. They thought, 'This woman is not going to shoot another movie again. She's going to become a mom, and that's what happens.' But that was not the case.

Color correction is one of my things.

I try to shoot film wherever possible. There's nothing like it.

A lot of TV and film commits to one tone.

I feel like directing is more about who the individual is rather than if they're a man or a woman. It's kind of hard to generalize and group all of us female filmmakers into one group, like we're all going provide you with the same thing, because we're not. We're all individuals.

I think it took me seven years before I got the script for 'Frozen River.' That's the movie I had been looking for my whole career. When I read that, I knew I had to shoot that movie - that it'd be a game-changer. It was one of those scripts where I read it, and I was like, 'This movie could get into Sundance.'

Don't think of your gender as a handicap.