Kathryn Bigelow Quotes

To me, the technique was almost irrelevant; it was what was coming across.

I didn't want people to sit there and watch 10 minutes of film, and all they write about is 48 frames.

If you catch me coming out of a film, when I'm emotionally involved, I can tell you at that moment why I like it - but to talk about it years later is not logical to me.

I did love 'The Artist.' I've seen it four times, and every time I see it, it gets better and better.

As a filmmaker, you want nothing more than to have people say, 'I love your movie.'

It's awesome when people respond to your movie and love it.

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.

The claims I'm making for art are simply the claims that we naturally make around music or around poetry. We're much more relaxed around those art forms. We're willing to ask, 'How could this find a place in my heart?'

I don't want people to look back at my matches and say, 'When you did that move, it was good, and I liked it because it was cool.' I want people to sort of remember a rush of images and the emotion that they felt when they saw it. That's when I think you have a real masterpiece in your hands.

People see my films, and they cheer and they clap, and they are the kind of movies I like to see myself.

I don't think it's right to define films as commercial or art house. What's important is that a film evokes a certain emotion when it's being watched.

If after I read a poem the world looks like that poem for 24 hours or so I'm sure it's a good one—and the same goes for paintings.

I have a suggestion for all of those award seekers and blue ribbon hunters. Spend your efforts on making art that connects with people. Awards impress the grandkids but they don't move the gauge on selling your product. Art needs to touch the emotions of the buyer.

Paintings can make you cry and it's just **colored dirt**.

Expression alone can invest beauty with supreme and lasting command over the eye.

"A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist."

I write music, and I want people to listen to it and care about it and have it make some difference in their lives. When I'm fortunate for that to happen, then of course I feel very, very good about it.

The greatest benefit we owe to the artist, whether painter, poet, or novelist, is the extension of our sympathies.

Art is good, bad, boring, ugly, useful to us or not. It does or doesn't disturb optical monotony, and succeeds or fails in surmounting sterility of style or visual stereotype; it creates new beauty or it doesn't.

A movie is made for an audience and a film is made for both the audience and the film-makers. I think that The Game is a movie and I think Fight Club's a film. I think that Fight Club is more than the sum of its parts, whereas Panic Room is the sum of its parts. I didn't look at Panic Room and think, "Wow, this is gonna set the world on fire". These are footnote movies, guilty pleasure movies. Thrillers. Woman-trapped-in-a-house movies. They're not particularly important.

Patti, did art get us?' I looked away, not really wanting to think about it. 'I don't know, Robert. I don't know.' Perhaps it did, but no one could regret that. Only a fool would regret being had by art; or a saint.

I often envy a filmmaker or a playwright or an author where people are like, "Yeah, I sat down every night and read your book and it was beautiful." Or, "Yeah, I went to the movies and all I did was watch the movie because that's all you could do at the movies." Where with music, it's like, "Ugh, I love your music. I listen to it while I'm jogging thinking about how I hate my body." But it is also the privilege of being a musician is you can have your music in this documented form and play it live and that's, I think, what draws me to it the most.

Beauty plus pity -- that is the closest we can get to a definition of art.

The wonderful thing about films is how they can be understood by so many different people on so many different levels.

I don't care how much people understand what it is that I'm doing, except if they're players in my ensemble or other ensembles. I just want people to be moved by the music. If you're not moved by the music, then everything else falls away. You're not interested in the text, you're not interested in how it was done, and you're not interested in interviewing the composer and all the rest of it.