Meadowland director and DP Reed Morano talks to ARRI about her camera choices, including her decision to go completely handheld on the drama about two grieving parents dealing with the aftermath of the disappearance of their son.
“Anyone who knows me, knows that I favor handheld. I come from a documentary background and it’s the freedom to be able to react to the moment that’s most appealing to me,” she reveals. “I especially love this in narrative situations because I can be responsive based on what’s happening story-wise and lighting-wise. I like to ‘dance’ with the actors and I become a character in the story with them via the camera. Any operator will say the same thing, but when you’re handheld it’s the least restricted way. If you move a few steps in one direction, then an amazing flare could happen or you catch the right look from an actor from a not so typical angle. You can emotionally enable the audience and bring them deeper into the story and perspective of the characters. I call it a “static handheld” or “organic camera.” It’s not a frenetic handheld, but you can feel the camera is alive. Both characters have put up a wall around themselves and I shot it in hopes I could make the audience feel as though they were in trapped behind that wall with them.”