Bigelow at the 82nd Academy Awards, 2010
|Born||Kathryn Ann Bigelow
November 27, 1951
San Carlos, California, U.S.
|Alma mater||San Francisco Art Institute
|Occupation||Director, producer, writer|
|Notable work||The Hurt Locker, Zero Dark Thirty, Near Dark, Strange Days, Point Break|
|Spouse(s)||James Cameron (1989â€“1991)|
There's a conventional reaction when you see a star: You anticipate he'll be a part of a particular denouement down the road, so you don't worry for that character.
The Communist regime didn't consider this to be a shining moment in history and assigned no heroism to it. They classified it as merely an accident.
The urge to purge the material I come up with is, I guess, an ongoing process.
There should be more women directing; I think there's just not the awareness that it's really possible.
My dad used to draw these great cartoon figures. His dream was being a cartoonist, but he never achieved it, and it kind of broke my heart. I think part of my interest in art had to do with his yearning for something he could never have.
I realised that there's a more muscular approach to film-making that I found very inspiring.
I really look for peak experiences and dramatic material that can allow peak experiences.
On the other hand, I believe there's hope, because the breakdown and the repair are happening simultaneously.
When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.
One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.
The journey for women, no matter what venue it is – politics, business, film – it's, it's a long journey.
I'm drawn to provocative characters that find themselves in extreme situations. And I think I'm drawn to that consistently.
I thrive on production. It feels very much like a natural environment for me.
You never think the universe will reward your first choice – it just doesn't work like that.
I don't want to be made pacified or made comfortable. I like stuff that gets your adrenaline going.
I think violence in a cinematic context can be, if handled in a certain way, very seductive.
Right now, there's the illusion of order and civilization, but there's a tremendous amount of economic tension in this country and the educational system is constantly eroding.
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.
I choose material instinctually – at the heart of it are characters that I feel are fresh and original, and allow for an opportunity to, I suppose, explore uncharted ground.
Character and emotionality don't always have to be relegated to quieter, more simple constructs.
I've always developed all my own pieces, and they're time-consumers.
Perhaps the only thing in my favor is that I am very tenacious. I don't take 'no' very well.
There's really no difference between what I do and what a male filmmaker might do. I mean we all try to make our days, we all try to give the best performances we can, we try to make our budget, we try to make the best movie we possibly can.
When I made my first film, I didn't think of it as directing, so it wasn't like I set out to become a director.
It's irrelevant who or what directed a movie; the important thing is that you either respond to it or you don't.
When he brought it to me four years ago, Rodney King had just arrived, I was involved in the clean-up of L.A. and I guess it was part of my experience.
For some individuals – some soldiers, some contractors – combat provides a kind of purpose and meaning beyond which all else potentially pales in comparison.
If there's specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can't change my gender, and I refuse to stop making movies.
I'm drawn to filmmaking that can transport me. Film can immerse you, put you there.
What's most galvanizing for me is the opportunity to be topical and relevant and entertaining. That's the holy grail.
I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist; film was not.
Whereas painting is a more rarefied art form, with a limited audience, I recognized film as this extraordinary social tool that could reach tremendous numbers of people.