A Quote by Kathryn Bigelow
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.
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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.
Leon Golub was a painter. He was an artist struggling to make it in the New York City art world, but at the same time he was a very political guy, and engaged in the world around him. In the film, we saw how that world eventually encroached into his painting. One of my favorite lines in the film was how he had to be more precise, 'but now the pants have wrinkles, I hated to do it, but I had to do it.'
The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
I began my career creating art for an animated feature film, and it has been a life-long dream to tell some of the story of my own life - the story behind my art - through the medium of motion pictures.
I feel the art world in New York has a stronger following than Britain. If you go to a New York art district on a Saturday morning, it will be so busy with families and openings - art is much more ingrained in the culture.
I naively thought I was making a low-budget movie. But, when the film came out, the Daily Variety reviewer at that time who was named Art Murphy described it as an exploitation film. I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film.
I wanted to be an artist. I was studying art. I wanted to be a great painter. When I went into the Navy, there wasn't much to draw at sea. So I began writing, and I began reading a lot.
I started buying films a couple of years ago. The first film-maker I began to obsessively collect was Andy Milligan. He was a New York frustrated artist.
I made my first film on 16mm. Then I began using 35mm.Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn't very impressed.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
All art began as sacred art, you know? I mean, all painting began as religious painting. All writing began as religious writing.
After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
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