Quotes By Kathryn Bigelow

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.

Something becomes personal when it deviates from the norm.

I thrive on production. It feels very much like a natural environment for me.

I can't stand outside myself and be anybody else.

The journey for women, no matter what venue it is - politics, business, film - it's, it's a long journey.

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.

Jordan is a very secular, Westernized country in some respects.

My interest is to work in as uncompromised a way as possible.

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.

I don't do what I do to try and break a glass ceiling.

One should make morals judgements for oneself.

Perhaps the only thing in my favor is that I am very tenacious. I don't take 'no' very well.

On the other hand, I believe there's hope, because the breakdown and the repair are happening simultaneously.

I like high impact movies.

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.

You never think the universe will reward your first choice - it just doesn't work like that.

Cinema has the capacity to be so physiological.

I don't believe in censorship in any form.

It's totally thrilling to direct.

I like to be strong.

There should be more women directing; I think there's just not the awareness that it's really possible.

I did a pilot for Anything But Love in 1988 that didn't sell.

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.

I realised that there's a more muscular approach to film-making that I found very inspiring.

Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.

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.

My movement from painting to film was a very conscious one.

I'm drawn to provocative characters that find themselves in extreme situations. And I think I'm drawn to that consistently.

I'm interested in social commentary.

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.