Rachel Morrison, the first-ever female to be nominated for Best Cinematographer at the Academy Awards, speaks candidly about working on Marvel's Black Panther.
Morrison could not have asked for a better start to 2018. Last month, she entered the history books after picking up a nomination in the category for her role behind the camera on the critically acclaimed Dee Rees film Mudbound.
Now, she's in the news for her exceptional camerawork on Ryan Coogler's blockbuster superhero flick that is being hailed as a game-changer for the superhero genre. In a recent interview, the 39-year-old talked about her Oscar nod as well as her experience on Black Panther.
On Her Academy Award Nomination
Morrison became the first female nominee in a category that has been dominated by men over 89 Academy Award ceremonies. She will be competing with Blade Runner 2049's Roger Deakins, The Shape of Water's Dan Lausten, Darkest Hour's Bruno Delbonnel, and Dunkirk's Hoyte van Hoytema for the iconic golden statue at the Oscars next month.
Although she was ecstatic to not only earn a nomination but also to make history in the process, she felt it should've happened earlier with other female cinematographers who have done commendable work in the past such as Ellen Kuras and Mandy Walker.
"It's a shame it didn't come sooner and didn't happen for women like Ellen Kuras (Eternal Sunshine of the Spotless Mind) or Mandy Walker (Hidden Figures) who have been making incredible work," she told People, before adding that she's happy with her nomination and expressed her hopes of earning many more in the future.
On Working As A Cinematographer On 'Black Panther'
Coogler roped in Morrison for Black Panther after working with her on his 2013 biographical drama Fruitvale Station. The Marvel film, which stars Chadwick Boseman as the titular superhero, has already surpassed the $500 million mark at the global box office and has shattered several records in the process.
When she was asked about her work on the film and what she was most pleased with, Morrison said it wasn't an individual aspect of the film that makes her proud but how the film turned out overall.
"In some ways it's the variation from the smaller intimate moments and the bigger car chases and explosions," she said. "I'm a humanity person, so the small moments are the ones I always get closest too, but I like that in one film you have such a wide range."