A Quote by Kathryn Bigelow

My movement from painting to film was a very conscious one. — © Kathryn Bigelow
My movement from painting to film was a very conscious one.
In less than a century we experienced great movement. The youth movement! The labor movement! The civil rights movement! The peace movement! The solidarity movement! The women's movement! The disability movement! The disarmament movement! The gay rights movement! The environmental movement! Movement! Transformation! Is there any reason to believe we are done?
The difference between film and theater is that in film, an actor is sort of under a magnifying glass and everything that they do, just the smallest movement, is very detectible.
This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
Futurists wanted to suggest movement by means of a dynamic painting; Duchamp applies the notion of delay - or, rather, or analysis - to movement.
Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.
In figure painting, the type of all painting, I have endeavoured to set forth that the principal if not sole source of life enchantments are Tactile Values, Movement and Space Composition.
The whole reason for the success of Dr. King's civil-rights movement was that it was not a movement for itself. The civil-rights movement understood very clearly, and stated very beautifully, that it was a question of humanism, not a sectarian movement at all.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.
It is not the natural movement of film that gives the objects their expression, but the artistic movement, that is to say, a rhythmical movement regulated by itself in which variations and pulsations form a part of the artistic design.
I realized painting could look like a film, and a film like a painting.
Painting doesn't have a function, not in the way that music or film does... I mean, you can dance to music. Music can be used for a soundtrack, so it has a function in that sense, beyond itself. But painting doesn't... But I do believe that painting has a purpose.
It was very hard breaking into the film industry in Britain. I had been to art school, and I was painting and doing commercials. And I did some of the very first rock videos.
Ever since I started painting, I have tried to get the fluidity and surprise of image connection, the simultaneity of film montage, into painting.
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