A Quote by Suhasini Maniratnam

I'm very happy that Kathryn Bigelow has become the first woman in the 82-year history of the Oscars to earn Hollywood's top prize for filmmakers. — © Suhasini Maniratnam
I'm very happy that Kathryn Bigelow has become the first woman in the 82-year history of the Oscars to earn Hollywood's top prize for filmmakers.
To go to the Oscars for 'Moneyball' - that was pretty amazing. And to be able to go work with Kathryn Bigelow - that's going to be pretty sweet. Hopefully I don't have to go back to being a waiter. That's still my main goal.
To go to the Oscars for Moneyball - that was pretty amazing. And to be able to go work with Kathryn Bigelow - that's going to be pretty sweet. Hopefully I don't have to go back to being a waiter. That's still my main goal.
When industry people see something different they don't know what to do with it, so filmmakers who make films about women, they kind of fall through the cracks. If a woman filmmaker makes film about war, like [Kathryn] Bigelow, they say "Okay, this is a war film, it has ninety percent men in it, we know what to do with it." But then she still gets attacked for not doing it properly. [...] But even though it bothers me I don't want to dwell on the sex and gender thing.
I'm a huge fan of Kathryn Bigelow's 'Near Dark.'
I look at someone like Kathryn Bigelow, and I have so much admiration. She's playing in the boy's sandpit, and winning.
Even after such milestones as Kathryn Bigelow winning an Oscar, there still seem to be few women in leadership roles.
I have always been saying that we are making a mockery of ourselves by sending such idiotic films to the Oscars. This is very sad. We have great filmmakers but none of their films are sent to the Oscars, why?
For American filmmakers, the Oscars is like a mystic thing. For me, it was being in a mirror of my dreams when I was dreaming of Hollywood when I was an adolescent.
I loved Kathryn Bigelow's 'Zero Dark Thirty;' my favorite films are 'The Godfather,' 'Kill Bill: Volume 2'... I dig Tarantino's works.
I hate The Oscars. The Oscars make me want to throw things at the TV. In the ancient history of The Oscars, people would go on and make political statements and get thrown off the stage, but the last great political statement, I think, was when Michael Moore started raging against Bush a few years back. Everybody booed him, even though I can't imagine Hollywood booing a guy who's bashing Bush. That was the last great spontaneous moment on The Oscars.
I love the Kathryn Bigelow example: she didn't just do war movies - she did them better than other directors.
Oscars just ain't gonna do it for me anymore. I need the Nobel Peace Prize. The Oscars have worn off, man.
For me, I am a huge fan of Sofia Coppola and Lynn Shelton. I love Lena Dunham, like everybody else. I love Kathryn Bigelow.
I tried [being a mogul]. It bores me. I don't really want to produce other people's movies. Because they're either grown-up filmmakers like Steven Soderbergh or Kathryn Bigelow that didn't really need me - and I've produced both of them. It's fun to sit around with them and be collegial, but they don't need me. They can make the film without me. I make my own stuff. There are tons and tons of other things I'm interested in that have nothing to do with movies or are documentary projects.
It was only when I saw films in my early 20s by Jane Campion, Mira Nair, Sally Potter and Kathryn Bigelow, I started to think, 'Oh, it's possible.' I dared to suggest that I wanted to train to be a film director.
For 82 minutes, 'The Little Mermaid' reclaims the movie house as a dream palace and the big screen as a window into enchantment. Live-action filmmakers, see this and try to top it. Go on and try.
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