I have a 22-year-old son, and when my son was born I made a decision to raise him. My husband and I took turns working, and it's easier to raise a kid in the documentary world, where you go away for two weeks or three weeks rather than the months that you spend on a feature. That was and still is much more open to women DPs than the world of fiction.
As important as it is to learn the techniques of cinematography, you also have to learn how to deal with the movie set, with show business. I came up with a cinematographer who is very talented, but she was never quite able to handle everything else you have to do - dealing with the producer and the crew and the time frame that you have to follow.
One of my first films was Zebrahead. I remember the producer asking me, "Can you handle the big lights?" And I thought, Do I want to be sarcastic, or do I want the job? So I said, "I don't handle the big lights, I just tell big men where to put the big lights and they do it."
One of my first films was Zebrahead. I remember the producer asking me, 'Can you handle the big lights?' And I thought, Do I want to be sarcastic, or do I want the job? So I said, 'I don't handle the big lights, I just tell big men where to put the big lights and they do it.'
I have a 22-year-old son, and when my son was born I made a decision to raise him. My husband and I took turns working, and it's easier to raise a kid in the documentary world, where you go away for two weeks or three weeks rather than the months that you spend on a feature. That was and still is much more open to women DPs than the world of fiction.
As important as it is to learn the techniques of cinematography, you also have to learn how to deal with the movie set, with show business. I came up with a cinematographer who is very talented, but she was never quite able to handle everything else you have to do - dealing with the producer and the crew and the time frame that you have to follow.
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