- The Work of War, at a Fever Pitch - Manohla Dargis
- The Director's Guild Preview - Sasha Stone
- The PGA Unlocks the Hurt Locker, Rocks Oscar Race - Scott Feinberg
- Why We Fight: The Hurt Locker and All Quiet on the Western Front - Zay Amsbury
- Kathryn Bigelow Interview - The A.V. Club
- Q & A: Kathryn Bigelow - Men's Journal
A master's in film criticism from Columbia left her in love with foreign directors such as Passolini and Fassbinder. Then one night she went to a double bill of Mean StreetsThe Wild Bunch, and had an epiphany. "It took all my semiotic Lacanian deconstructivist saturation and torqued it," she says. "I realized there's a more muscular approach to filmmaking that I found very inspiring."
''I really, really love her,'' says actress-director Sarah Polley (Away From Her), who starred in The Weight of Water. ''A huge problem with trying to become a female filmmaker is that you don't have a lot of role models. Kathryn was so encouraging, trying to include me in the process, showing me what she was doing.'' Bigelow also gave Polley a bit of advice. Some of it was practical — never go over budget — but some of it revealed the drive that lies beneath Bigelow's vision and intelligence. ''I'll never forget it,'' Polley says. ''She said, 'As a woman, you have to be like a dog with a bone. Everybody is going to try and take the bone away from you. You have to be a dog.'''Oh. It's so true.
Let's talk a little bit about the I.E.D. Bigelow talks about U.S. troops confronting a faceless enemy and how disorienting and frustrating it can be. My father was in the Gulf War and he told me after his troops captured an Iraqi general that this man kept saying "how can you fight an enemy when you can't see him?" This in reference to how out of depth the Iraqis were in the face of U.S. military technology. The I.E.D. seems to be their answer. It certainly levels the playing field.
Here's what Bill Hicks had to say about the weapons used in the Gulf war:
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