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Kathryn Bigelow [1952-0] American

Rank: 101
Director, Film director

Kathryn Ann Bigelow is an American film director, producer, and writer. Her films include the vampire Western horror film Near Dark, the action crime film Point Break, the science fiction action thriller Strange Days, the mystery thriller The Weight of Water, the submarine thriller K-19: The Widowmaker, the war film The Hurt Locker, the action thriller war film Zero Dark Thirty, and the short film Last Days of Ivory.

Change, Courage, Dad, Movies, Politics, Women

Quote	Tags	Rank
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.	Change, Movies, Women	101
I don't want to be made pacified or made comfortable. I like stuff that gets your adrenaline going.		102
The urge to purge the material I come up with is, I guess, an ongoing process.		103
I thrive on production. It feels very much like a natural environment for me.		104
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.	Courage	105
Perhaps the only thing in my favor is that I am very tenacious. I don't take 'no' very well.		106
I'm drawn to filmmaking that can transport me. Film can immerse you, put you there.		107
What's most galvanizing for me is the opportunity to be topical and relevant and entertaining. That's the holy grail.		108
On the other hand, I believe there's hope, because the breakdown and the repair are happening simultaneously.		109
Something becomes personal when it deviates from the norm.		110
There should be more women directing; I think there's just not the awareness that it's really possible.		111
I do have to say I have been very fortunate.		112
The journey for women, no matter what venue it is - politics, business, film - it's, it's a long journey.	Politics	113
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.		114
One should make morals judgements for oneself.		115
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.		116
Cinema has the capacity to be so physiological.		117
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.		118
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.	Dad	119
For some individuals - some soldiers, some contractors - combat provides a kind of purpose and meaning beyond which all else potentially pales in comparison.		120
I like to be strong.		121
I don't believe in censorship in any form.		122
I think violence in a cinematic context can be, if handled in a certain way, very seductive.		123
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.		124
War's dirty little secret is that some men love it.		125
I'm drawn to provocative characters that find themselves in extreme situations. And I think I'm drawn to that consistently.		126
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.		201
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.		202
I need to have my hands on the DNA of a film.		203
I like high impact movies.		204
I don't know if I thrive in normal life.		205
Character and emotionality don't always have to be relegated to quieter, more simple constructs.		206
I did a pilot for Anything But Love in 1988 that didn't sell.		207
My movement from painting to film was a very conscious one.		208
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.		209
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.		210
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.		211
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.		212
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.		213
You never think the universe will reward your first choice - it just doesn't work like that.		214
I suppose I like to think of myself as a film-maker.		215
I've always developed all my own pieces, and they're time-consumers.		216
You only have so much money to shoot a movie with.		217
Jordan is a very secular, Westernized country in some respects.		218
I'm interested in social commentary.		219
I don't do what I do to try and break a glass ceiling.		220
I'm definitely not drawn to shooting on a stage, I'm just not.		221
Am I a 'woman of action'? I don't think of myself that way.		222
You have to disengage at some point in order to be fresh.		223
I realised that there's a more muscular approach to film-making that I found very inspiring.		224
It's irrelevant who or what directed a movie; the important thing is that you either respond to it or you don't.		225
I really look for peak experiences and dramatic material that can allow peak experiences.		226
I can't stand outside myself and be anybody else.		301
My interest is to work in as uncompromised a way as possible.		302
It's totally thrilling to direct.		303

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