Kathryn Bigelow Quotes
The journey for women, no matter what venue it is - politics, business, film - it's, it's a long journey.
I don't want to be made pacified or made comfortable. I like stuff that gets your adrenaline going.
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.
It's irrelevant who or what directed a movie; the important thing is that you either respond to it or you don't.
There should be more women directing; I think there's just not the awareness that it's really possible.
Films don't cause violence, people do. Violence defines our existence. To shield oneself is more dangerous than trying to reflect it.
Perhaps the only thing in my favor is that I am very tenacious. I don't take 'no' very well.
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.
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, whereas film was not.
I'd love to just think of myself as a filmmaker, and I wait for the day when the modifier can be a moot point.
I'm drawn to provocative characters that find themselves in extreme situations. And I think I'm drawn to that consistently.
There will come a time when the world will look back to modern vivisection in the name of science, as they do now to burning at the stake in the name of religion.
You never think the universe will reward your first choice - it just doesnt work like that.
On the other hand, I believe there's hope, because the breakdown and the repair are happening simultaneously.
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.
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.
Character and emotionality don't always have to be relegated to quieter, more simple constructs.
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.
I really look for peak experiences and dramatic material that can allow peak experiences.
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.
I think violence in a cinematic context can be, if handled in a certain way, very seductive.
For some individuals - some soldiers, some contractors - combat provides a kind of purpose and meaning beyond which all else potentially pales in comparison.
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.
My criteria for doing a television series never changed. I wanted more stability, I wanted more of a sense of family, I wanted to do light comedy.
War's dirty little secret is that some men love it. I'm trying to unpack why, to look at what it means to be a hero in the context of 21st-century combat.
I realised that there's a more muscular approach to film-making that I found very inspiring.
What's most galvanizing for me is the opportunity to be topical and relevant and entertaining. That's the holy grail.
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.
