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Kathryn Bigelow Quotes
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.
On the other hand, I believe there's hope, because the breakdown and the repair are happening simultaneously.
I like to be strong.
I don't want to be made pacified or made comfortable. I like stuff that gets your adrenaline going.
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.
Perhaps the only thing in my favor is that I am very tenacious. I don't take 'no' very well.
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.
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.
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.
For some individuals - some soldiers, some contractors - combat provides a kind of purpose and meaning beyond which all else potentially pales in comparison.
One should make morals judgements for oneself.
I need to have my hands on the DNA of a film.
I'm drawn to provocative characters that find themselves in extreme situations. And I think I'm drawn to that consistently.
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.
Something becomes personal when it deviates from the norm.
War's dirty little secret is that some men love it.
I do have to say I have been very fortunate.
I don't believe in censorship in any form.
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.
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.
I think violence in a cinematic context can be, if handled in a certain way, very seductive.
The journey for women, no matter what venue it is - politics, business, film - it's, it's a long journey.
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.
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