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Kathryn Bigelow

Kathryn Bigelow: Interviews

Edited by Peter Keough
Copyright Date: 2013
Pages: 224
  • Cite this Item
  • Book Info
    Kathryn Bigelow
    Book Description:

    With her gripping film The Hurt Locker, Kathryn Bigelow (b. 1951) made history in 2010 by becoming the first woman to win an Oscar for Best Director. Since then she has also filmed history with her latest movie, which is about the mission to kill Osama Bin Laden.

    The Loveless

    Near Dark

    Blue Steel

    Point Break

    Near Dark

    Strange Days

    K-19: The Widowmaker

    The Hurt Locker

    eISBN: 978-1-62103-941-9
    Subjects: Performing Arts, History

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-viii)
  3. Introduction
    (pp. ix-xviii)

    Despite the millions of viewers and all the hoopla, the Academy Awards rarely amount to much of cultural significance. Not so the 82nd annual Oscar ceremony, which took place on March 7, 2010.

    Though there were ten nominees for Best Picture, the first time more than five had competed since 1944, the contests had come down to only two films and two directors, who, adding to the drama, were also formerly husband and wife. They were James Cameron with his sci-fi epic Avatar, and his ex-spouse Kathryn Bigelow with her tale of bomb disposal crews in Iraq, The Hurt Locker....

  4. Chronology
    (pp. xix-xxiv)
  5. Filmography
    (pp. xxv-2)
  6. Nicholas Ray: The Last Interview
    (pp. 3-9)
    Kathryn Bigelow, Sarah Fatima Parsons and Nicholas Ray

    Nicholas Ray: You know, I hate watching Johnny Guitar on television. But I really appreciate what Andrew Sarris wrote in the Village Voice: “With Johnny Guitar Nick Ray reaches the absolute criteria of the auteur theory.”

    Question: What did you think when you went to Europe and noticed how filmmakers, especially, the French ones, were influenced by your work? Truffaut, for example?

    NR: And also Godard, Rohmer. Yes, I did have a strong influence on their work. I’m not sure if it was always for the best. I remember one evening I was driving home during the filming of Rebel...

  7. A Visit with the Master of Melodrama: Douglas Sirk
    (pp. 10-16)
    Kathryn Bigelow, Matthias Brunner, Monty Montgomery and Douglas Sirk

    On the terrace of the Sirk home overlooking Lake Lugano, situated against the base of the Alps in Lugano, Switzerland, Hilde Sirk (beautiful and gracious former stage actress in Germany), Mathias Brunner (Swiss film exhibitor and friend of the Sirks), Kathryn Bigelow (American film director), and Monty Montgomery (American film director) meet with the eighty-two-year-old film director Douglas Sirk. Born Hans Detlef Sierck in 1900, in Hamburg, Douglas Sirk entered a prewar America—1938—to become one of the great directors of Hollywood’s last decade of studio grandeur. Sirk began his career with a classical education and maintained a conscious...

  8. Revamping Vampires
    (pp. 17-19)
    Marcia Froelke Coburn

    It’s not that Kathryn Bigelow believes in vampires. Not exactly. And even though she has just directed an erotic vampire thriller, Bigelow says that’s not really the reason she’s wearing a gold cross around her neck now.

    “Well,” the thirty-five-year-old director of Near Dark admits, “I did think, ‘I’m making this picture which is sort of blasphemous, so maybe I should cover my bets.’”

    Still, Bigelow is quick to point out, that’s her only concession to the idea of dark, supernatural powers. “I’m not carrying garlic or mirrors or stakes of wood.”

    None of which, by the way, would help...

  9. Black-Leather Director in a Business World
    (pp. 20-23)
    Clarke Taylor

    Bang! Bang! Bang!

    Shots rang out along the dim paths into Central Park, reminding intrepid strollers and joggers of the danger that lay deep within the huge, cavernous park.

    And then, a reassuring shout from within the park: “Cut! Print!”

    Kathryn Bigelow, sinewy and dark-haired, stood in long shadows that streaked the floodlighted clearing, directing her third film. It’s Blue Steel, an action thriller about a rookie police detective who becomes embroiled in the hunt for a serial killer. Jamie Lee Curtis is the detective in pursuit of psychotic murderer Ron Silver.

    The camera operators, grips, and other technical personnel...

  10. Happiness Is a Warm Gun
    (pp. 24-29)
    Phoebe Hoban

    In a narrow cul-de-sac near Wall Street, a woman cop is fighting for her life. Jamie Lee Curtis, arm and hand bloodied, collapses against a car. Ron Silver’s gun is aimed at her. It’s the final showdown of a long, gory battle. Curtis, bleeding profusely from her ear and arm, gun clenched tight in her bloody hand, is struggling slowly to her feet.

    “I’m in the wrong place,” Curtis says, standing up suddenly. Her matter-of-fact voice is more jolting than gunfire. Silver, totally covered with blood, relaxes for a second. The makeup woman takes the opportunity to smear some blood...

  11. Dark by Design
    (pp. 30-39)
    Victoria Hamburg and Kathryn Bigelow

    Writer-director Kathryn Bigelow makes tough, violent movies. Her first feature, The Loveless (1983), in which a motorcycle gang faces off against small-town rednecks, starred Willem Dafoe and rockabilly star Robert Gordon. Four years later she gained a small cult following with her second feature film, Near Dark, a mixed-genre tale about a young man who falls in love with a beautiful teenage vampire and joins her blood-sucking family on a gory rampage through the wild West. Bigelow’s new picture, Blue Steel, co-produced by Oliver Stone, is an action thriller about a rookie cop, played by Jamie Lee Curtis, and a...

  12. Blue Steel: Kathryn Bigelow in Action
    (pp. 40-41)
    Nancy Mills

    Kathryn Bigelow gave up film to be a director and has given her films the distinctive style that she once put on canvas. “I was an abstract expressionist,” Bigelow says. “My paintings definitely reflected a sense of light, but they were dark and frenzied.” And so are her films.

    The Loveless, which introduced Willem Dafoe to film audiences, was about bikers. Near Dark was a vampire Western. Critics described both films as “visually thrilling.” And New York’s Museum of Modern Art added Near Dark to its permanent film collection.

    Bigelow’s latest film, Blue Steel, a psychological thriller starring Jamie Lee...

  13. Genre Bender
    (pp. 42-45)
    Kenneth Turan

    Speed may kill, but action, filmed action, is the real drug. Like many narcotics, it is a special taste, and one that is a little suspect in some circles. Film should enlighten and uplift the race, the spoilsports say. And if all that high-mindedness brings with it more than its fair share of snores, it’s a small price to pay for the putative benefits of culture. As Gene Kelly says mockingly in Singin’ in the Rain, “Dignity, always dignity.”

    Action junkies have a different, more operatic motto: a direct steal, in fact, from Puccini’s Turandot: “Nessun dorma,” they insist, “Nobody...

  14. Kathryn Bigelow’s Disturbing Vision
    (pp. 46-49)
    Gerald Peary

    “I keep saying I should go into psychoanalysis to see why I am attracted to showing violence,” says Kathryn Bigelow. She is the director of Near Dark, a blood-soaked 1987 vampire movie, and now, Blue Steel, a volatile cop movie featuring a pistol-packing police officer (Jamie Lee Curtis) after a serial killer (Ron Silver) who is shooting up New York City.

    Bigelow insists that “film genres are not gender-specific,” and that men should be able to direct gentle romances, and women gory shoot-’em-ups. Still, she can’t help puzzling about how significantly her ultraviolent obsessions diverge from the pacifist concerns of...

  15. James Cameron and Kathryn Bigelow
    (pp. 50-60)
    Tom Johnson, Kathryn Bigelow and James Cameron

    James Cameron, self-described “king of the sequel” has built his career on the intelligent action-adventure flick. After supporting himself as a truck driver while writing screenplays, he landed in the industry with a job at Roger Corman’s New World Pictures as a miniature-set builder and art director. Cameron came into his own as a director with The Terminator, which he co-wrote with Gale Anne Hurd. With its inventive special effects, sophisticated plot twists, and feminist undertones, it set new standards for the genre. Now Cameron must clear his own hurdles with the release of Terminator 2: Judgment Day.

    It should...

  16. From Style to Steel
    (pp. 61-63)
    Nick James

    In 1982, London clubs were almost entirely patronized by people who had dumped their New Romantic sash cords for the frisson of torn jeans and a perfect flattop. When it came to music, those hedonists were all soul fans, but in looks they plumped for the downhome classicism of fifties rebel style. The previous year, Kathryn Bigelow’s debut feature The Loveless had opened, mostly to critical abuse. Complaints followed the line that Bigelow’s tale of the disruption of an American small town by a gang of marauding bikers was slow, pretentious, and too much in love with its period. Watching...

  17. Hollywood’s Macho Woman
    (pp. 64-66)
    Mark Salisbury

    Kathryn Bigelow has been asked this particular question a lot. No matter how delicately you phrase it, how much you skirt around the issue, it comes down to the same thing: why does she make the kind of movie she makes? As the sole woman director regularly working in the traditionally male-dominated action movie arena, Bigelow has had to contend with her critics ill-at-ease with her proficiency with the medium. Moreover, she does it better than most of her male counterparts.

    “I don’t think of filmmaking as a gender-related occupation or skill,” Bigelow recites in response. It’s an answer she...

  18. Kathryn Bigelow
    (pp. 67-72)
    Ana Maria Bahiana and Kathryn Bigelow

    Born in 1951 and raised in San Francisco, Bigelow was trained in the arts; first in the San Francisco Art Institute and then at the Whitney Museum in New York. She found herself bored with what she called the “elitist limitations” of traditional visual arts, so with a group of other avant-garde painters and sculptors Bigelow started dabbling in film as an expressive medium.

    The passion struck immediately and lasted. Bigelow enrolled in Columbia University’s Graduate School of Film, where she studied under Milos Forman. In 1978 she completed her first project, Set-Up, a much-praised short film chronicling a violent...

  19. Momentum and Design: Kathryn Bigelow Interviewed
    (pp. 73-90)
    Gavin Smith and Kathryn Bigelow

    “Everything’s already been done,” someone observes early in the fever dream of noir dread, yearning desire, and euphoric millennial convulsion that is Strange Days. It’s New Year’s Eve 1999, and in Kathryn Bigelow’s alternately brooding and pulverizing new film, Entertainment has, for all intents and purposes, become the medium for a jaded nation’s ever more spectral political life. By extension, the film frames the End of History as the End of Cinema as we know it. We’re in a Los Angeles of confetti and riot helmets, where the sun never rises and Hollywood is obsolete. In this ultimate police state,...

  20. Kathryn Bigelow: Vicarious Thrills
    (pp. 91-94)
    Sheila Johnston

    Kathryn Bigelow’s second feature was reviewed by the trade magazine Variety as “undoubtedly the most hard-edged, violent actioner by an American woman,” but she must have long since smashed her own record. That film—Near Dark, a “vampire western”—had cannibalism, child sex, and blood. Blue Steel, in which Jamie Lee Curtis’s novice cop is stalked by a psychotic killer, had gun fetishes, rape, wife-beating, and blood. Point Break had bloody shoot-outs and Keanu Reeves’s face in close proximity to the whirring blades of a lawn-mower. “When Rembrandt died, he gathered everyone around him and said, ‘Mehr Licht, mehr Licht’...

  21. Reality Bytes
    (pp. 95-102)
    Andrew Hultkrans and Kathryn Bigelow

    A painter who enrolled in the Whitney Program before migrating to Columbia Film School, Kathryn Bigelow is something of an anomaly in Planet Hollywood. Combining an affinity for the frenetic rhythms of the thriller with a taste for subversive genre-bending that recalls her “high art” beginnings, Bigelow is a consummate technician whose balletic action sequences remind us how cinematically pure the language of violence can be. Her latest film, Strange Days, is a tech-noir set in a Los Angeles on the brink of the millennium, where conflicting visions of rapture and revolution divide the collective psyche, and the apolitical insulate...

  22. Strange Days Probes Import of Vicarious Living
    (pp. 103-104)
    David Sterritt

    “I think it’s about time a movie coming out of the studio system had some content,” says Kathryn Bigelow about Strange Days, her latest film. “I know it’s disturbing. I know it’s provocative. But it’s about something. And that, in and of itself, is a step in the right direction.”

    Many who disagree about the merits of Strange Days would agree with Bigelow on that point. Although the movie has not stirred major waves at the box office, to the disappointment of 20th Century Fox, it has stirred major discussion among critics and audiences. It also earned the distinction of...

  23. Happy New Millennium
    (pp. 105-108)
    Roald Rynning

    Tall, dark, and beautiful, Kathryn Bigelow looks more like a Hollywood actress than a film director. And she looks nothing like the other creators of the action movie genre—all Hollywood tough guys.

    Nor is the forty-three-year-old painter-turned-director known for doing the expected. What other woman ever made films about bikers (The Loveless), vampires (Near Dark), surfers (Point Break) and cops (Blue Steel)? And in March Bigelow is serving up a controversial blend of violent sci-fi in Strange Days, a film starring Ralph Fiennes, Angela Bassett, and Juliette Lewis. In America, this shocking vision of pre-apocalyptic Los Angeles at the...

  24. Action Figure
    (pp. 109-116)
    Johanna Schneller

    Kathryn Bigelow is whipping up a storm. The stunning, six-feet-tall director is on a barge lashed to a dock in the maritime village of Chester, Nova Scotia, shooting the climactic scene of The Weight of Water. At her call of action, huge wind and rain machines whir to life. Orange Zodiac boats and green Sea-Doo jet skis skip back and forth, churning up waves. A crew of firemen shoot high-pressure hoses straight up to create a slashing rain, and fifteen burly men in yellow rubberwear overalls run up and down the length of the dock, heave-hoing a thick rope that...

  25. Direct from the Gut
    (pp. 117-119)
    Peter Howell

    Sexism may be rampant in Hollywood, with female directors all but shut out of the boys’ club of moviemaking, but it isn’t bothering Kathryn Bigelow.

    The striking six-footer who directed tonight’s Roy Thomson Hall festival gala presentation The Weight of Water, her seventh film, says her biggest work problems have had nothing to do with sex. She hasn’t even heard of the current book Is That a Gun in Your Pocket?, by Premiere writer Rachel Abramowitz, which complains of how decades of feminism have failed to make major changes to the male domination of studio filmmaking.

    “To be honest, I...

  26. K-19: The Widowmaker: A Film by Kathryn Bigelow
    (pp. 120-128)
    Ted Elick

    In 1961, at the height of the Cold War, the Soviet Union was eager to display its ability to launch nuclear missiles within striking distance of the United States. With arms-race tensions at fever pitch, the Soviets believed it essential to demonstrate to American intelligence that they had the capability to strike back.

    Their newest sub, the K-19, was rushed from the shipyard for sea trials and missile-test firing. Unfortunately for the crew, at depth in the North Atlantic, the atomic reactor’s cooling system sprung a leak. The reactor core began to heat up, threatening a reactor meltdown—all with...

  27. Her Underwater Canvas
    (pp. 129-133)
    Richard Natale

    One of Kathryn Bigelow’s teachers in art school instructed his students to find their “most productive weakness.”

    That seemingly contradictory bit of advice remained lodged somewhere in a corner of her mind, and when she began directing movies, Bigelow discovered what her weakness was. “Withstanding pressure,” she says. So she set out to conquer it.

    “I learned to treat the reality of constant pressure on a movie set abstractly, like it was a mental process,” she says.

    It’s a character trait that was called on during the shooting of K-19: The Widowmaker. A $100-million Soviet submarine drama based on a...

  28. K-19: The Widowmaker: Harrison Ford and Kathryn Bigelow Interview
    (pp. 134-137)
    Scott Huver, Harrison Ford and Kathryn Bigelow

    “I don’t play heroes,” insists Harrison Ford. It’s a rather remarkable statement from an actor who’s portrayed more than his share of iconic big-screen good guys, from cocky interplanetary rogue Han Solo to intrepid adventurer Indiana Jones to crisis-wrangling CIA analyst Jack Ryan. Instead, Ford has a different definition for his film protagonists: “I play guys who behave well under difficult circumstances,” he says. “I play people who have particular dilemmas and if it comes off as heroic, then that’s a cultural definition of the behavior.”

    In his latest film, K-19: The Widowmaker, Ford gets an ideal opportunity to prove...

  29. “I Like to Be Strong”
    (pp. 138-141)
    Stuart Jeffries

    In 1997 James Cameron made Titanic, a film about the real-life disastrous maiden voyage of a state-of-the-art ocean liner across the north Atlantic. Five years later, Kathryn Bigelow has got the same sinking feeling as her former husband. She has made K-19: The Widowmaker, a film about the real-life disastrous maiden voyage of the first, purportedly state-of-theart, nuclear Soviet submarine across the north Atlantic.

    True, there are huge differences between the two projects: not least that the story of K-19 is hardly embedded in our collective consciousness, as is the sinking of the Titanic. For decades, the events that took...

  30. Time’s Up
    (pp. 142-149)
    Nick Dawson and Kathryn Bigelow

    Leading up to the Oscars on March 7, we will be highlighting the nominated films that have appeared in the magazine or on the Website in the last year. Nick Dawson interviewed The Hurt Locker director Kathryn Bigelow for our Spring 2009 issue. The Hurt Locker is nominated for Best Picture, Best Director (Bigelow), Best Actor (Jeremy Renner), Original Screenplay (Mark Boal), Best Cinematography (Barry Ackroyd), Best Editing (Bob Murawski and Chris Innis), Best Original Score (Marco Beltrami and Buck Sanders), Best Sound Editing (Paul N. J. Ottosson) and Best Sound Mixing (Paul N. J. Ottosson and Ray Beckett).


  31. An Interview with Hurt Locker’s Kathryn Bigelow
    (pp. 150-152)
    Robert Horton and Kathryn Bigelow

    Kathryn Bigelow held the local premiere of her new film The Hurt Locker at the Seattle International Film Festival in May. Bigelow has a reputation as a director of male-oriented cult films such as Point Break and Near Dark but hasn’t made a feature since the financially disappointing K-19.

    I interviewed her in a gigantic conference room at a Seattle hotel, and in person she seems far from the cliché of an action-movie maven: willowy, thoughtful, and quick to laugh, she gives off the air of someone with defined ideas about how she sees the world.

    The Hurt Locker rivetingly...

  32. Interview: Kathryn Bigelow
    (pp. 153-158)
    Scott Tobias and Kathryn Bigelow

    Drawn into filmmaking after earlier creative endeavors as a painter—first at the San Francisco Art Institute, and later as a fellow at the Whitney Museum—director Kathryn Bigelow made her feature debut with the 1982 biker movie The Loveless, but her real breakthrough was 1987’s Near Dark, a superb vampire Western that showcased a graphic intensity and a love of genre cinema. Those same qualities are apparent in her subsequent work, including 1990’s Blue Steel, 1991’s Point Break, 1995’s Strange Days, and 2002’s K-19: The Widowmaker. Bigelow’s résumé also includes directing stints on acclaimed television shows like Homicide: Life...

  33. Kathryn Bigelow to Movieline: “I Thrive on Production. I Don’t Know if I Thrive in Normal Life.”
    (pp. 159-163)
    Kyle Buchanan and Kathryn Bigelow

    It’s long been taken for granted that Kathryn Bigelow is Hollywood’s best female action director—and that’s a reputation she firmed up before tomorrow’s release of The Hurt Locker, her best film so far. The Iraq War bomb squad thriller is a shot of adrenaline for not just the audience, but Bigelow’s career, which includes classics like Near Dark, Point Break, and Strange Days. The whip-smart director recently sat down with Movieline to talk all things Hurt Locker, though the conversation soon veered to Point Break parodies, wooing the King of Jordan, and a certain vampire franchise she’d been heavily...

  34. Interview with Kathryn Bigelow
    (pp. 164-168)
    Ryan Stewart and Kathryn Bigelow

    “There’s a price for that kind of heroism,” Kathryn Bigelow says of The Hurt Locker’s lead character, an ingenious Army grunt who stares bombs in the face for his daily bread and who slowly comes to appreciate the immense toll that such death-defying work takes on the psyche. Depictions of men under nerve-melting pressure are frequent in Bigelow’s famously kinetic oeuvre, which spans two decades and includes the deliriously inventive cowboy-vampire pastiche Near Dark and the darkly spiritual surf saga Point Break, but rarely have form and favored subject been so expertly harmonized as in Hurt Locker.

    Earlier this week,...

  35. Big Bang Theory: Kathryn Bigelow Breaks out with The Hurt Locker
    (pp. 169-171)
    Peter Keough and Kathryn Bigelow

    Okay, so Kathryn Bigelow might be the only major filmmaker to have modeled for The Gap. And now, at fifty-seven, she could very well do so again. Though everyone makes a point of Bigelow’s gender and height and good looks, what’s germane is that even if she was short and had bushy eyebrows like Martin Scorsese, she still would be directing action pictures like no one since Sam Peckinpah and Sergio Leone. With her latest movie The Hurt Locker getting terrific buzz, maybe she’ll start getting the recognition she deserves.

    Here’s another point that might cause some to pause: the...

  36. An Interview with Kathryn Bigelow
    (pp. 172-179)
    Peter Keough and Kathryn Bigelow

    Happy Fourth of July, all. On this holiday celebrated with fireworks perhaps it is appropriate to talk about those heroes who put their lives on the line to prevent things from exploding. Kathryn Bigelow’s The Hurt Locker tells the story of the demolition experts in Iraq whose dangerous duty involves defusing the lethal improvised explosive devices (IEDs) set by insurgents and which have been responsible for a frightening death toll, both military and civilian.

    Plus, it’s the best film so far this year. But don’t let that dissuade you. True, Transformers opened with about $200 million last weekend and The...

  37. A Discussion with Kathryn Bigelow at the Harvard Film Archive
    (pp. 180-195)
    David Pendleton and Kathryn Bigelow

    David Pendleton: Good evening ladies and gentlemen. My name’s Dave Pendleton. I’m the programmer here at the Harvard Film Archive, and tonight—I love my job as few other nights—I’m very happy to welcome all of you to the local premiere of The Hurt Locker, and we’re thrilled to have in person the director of the film, Kathryn Bigelow. [Applause].

    I’m going to just gush for a little bit. I also want to say some thanks. Thanks to Summit Entertainment, the film’s distributor, for making tonight’s screening possible. The film does open locally a week from tomorrow. I also...

  38. A Maverick Female Director Explores Men Who Dare Death
    (pp. 196-198)
    Carrie Rickey

    Slim as lightning, Kathryn Bigelow makes movies charged with adrenaline and electricity, action thrillers like Blue Steel and Point Break. The six-footer with the radiant presence of a Redgrave and the steel nerves of a high-wire artist is drawn to stories about daredevils addicted to the rush.

    Her latest, The Hurt Locker, about a U.S. bomb-disposal technician in Baghdad in 2004, plugs viewers directly into the central nervous system of such a risk junkie, and it’s earning Bigelow the best reviews of her career. “An instant classic that demonstrates … how the drug of war hooks its victims and why...

  39. The Hurt Locker Interview: Kathryn Bigelow and Mark Boal
    (pp. 199-202)
    Kingsley Marshall, Kathryn Bigelow and Mark Boal

    The Hurt Locker, Kathryn Bigelow’s war film centered around a three-man U.S. Explosive Ordnance Disposal team, swept the Academy Awards in 2010. The movie collected six Oscars from nine nominations, including Best Director for Bigelow, Best Original Screenplay for its writer, Mark Boal, awards for Sound Editing and Sound Mixing, as well as Best Picture at the ceremony.

    Bigelow’s first feature since K-19 in 2002 was a close collaboration with Boal, whose screenplay was seeded in his profile of elite bomb technician Jeffrey Sarver, entitled “The Man in the Bomb Suit,” first published in Playboy magazine.

    The resultant film was...

  40. Shoot Shoot, Bang Bang
    (pp. 203-211)
    Paul Hond

    Baghdad, 2004. An explosive ordnance robot rolls along a dusty city street toward a pile of white burlap sacks. Soldiers, American, leap from armored vehicles, cradling their M16s. They must evacuate the women, children, and old men, who could be killed or maimed if they don’t move faster. Cars race past, horns blaring. Soldiers yell and push. Closer to the kill zone, three members of the Explosive Ordnance Disposal (EOD) unit—Thompson, Eldridge, and Sanborn—huddle around a monitor, watching the feed from the robot’s camera. Sanborn controls the robot by moving small joysticks on a board. The robot’s pincer...

  41. Kathryn Bigelow’s 2010 Oscar Acceptance Speech
    (pp. 212-212)
    Kathryn Bigelow

    “This really is … There’s no other way to describe it, it’s the moment of a lifetime. First of all, this is so extraordinary to be in the company of such powerful, my fellow nominees, such powerful filmmakers who have inspired me and I have admired for, some of whom, for decades. And thank you to every member of the Academy. This is, again, the moment of a lifetime.

    “I would not be standing here if it wasn’t for Mark Boal, who risked his life for the words on the page and wrote such a courageous screenplay that I was...

  42. Introduction and Q&A for Museum of Modern Art Retrospective
    (pp. 213-218)
    Brett Michel and Kathryn Bigelow

    Kathryn Bigelow: I’m honored to be here in this extraordinary museum, and I’m not sure it’s deserved, but I’m enjoying it! Again, it’s such an honor; my head is spinning. So tonight, you’re going to see Set-Up and The Loveless.

    Set-Up was … actually, I began with an NEA grant before I went to Columbia University for my graduate degree, but I ran out of money to finish it, so I went to Columbia to use their editing equipment, and was able to go to school at the same time. So, I finished it as my thesis film, and it’s...

  43. Press Conference for Zero Dark Thirty
    (pp. 219-234)
    Peter Keough, Brett Michel, Sony Publicist, Jessica Chastain, Jason Clarke, Kyle Chandler, Kathryn Bigelow and Mark Boal

    Sony Publicist: Hey everybody! Thank you. We are at the Zero Dark Thirty press conference with Kyle Chandler, Jason Clarke, Jessica Chastain, Kathryn Bigelow, and Mark Boal. And our first question.

    Question: Good morning. Thank you all so much for this wonderful and so important film. I have a question for the cast. I wondered what beyond the script you looked at in terms of your research and considering some of the very dark and murky content of this piece, how you were able to extricate yourself at the end of the day once Ms. Bigelow had called “cut.”


  44. Additional Resources
    (pp. 235-236)
  45. Index
    (pp. 237-247)