The director, first woman who won Oscar as best director, illustrates in his new work race riots in Detroit in 1967
Gabriel Celaya was one who said that poetry is a weapon loaded with future. Kathryn Bigelow does not know poet of basque or ir work, but take se words engraved in fire. For her, cinema is weapon that creates empathy and generates conversation. That is his goal with Detroit, last work of filmmaker, which opens today in Spain. A film focused on murder of three young black men during race riots that took place in Detroit 50 years ago. Because, as he confessed to THE COUNTRY, “in cinema, as a director and especially in times that run, entertaining is not enough.”
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Speaking from comfort of Four Seasons hotel in Los Angeles, a place in heart of Beverly Hills frequented by Hollywood stars where only this california 65 years uncomfortable. It is easier to think of her, camera in hand, even in some of most dangerous places in Africa where you just roll The Protectors, his first foray into field of virtual reality, that drinking mineral water in this hotel. It is even difficult to see her making film that started his career. Movies are interesting but without more background as Point Break (1991), Strange Days (1995) or K-19 (2002). Since we discovered narrative journalist Mark Boal to which he adds his vision almost documentary eir with hurt locker (2008), darkest night (2012) or now with Detroit, re is no turning back. And give same obstacles. Your film is your weapon and is loaded for future. “I was first one to ask me if he was best director to bring this story to screen. And in all honesty, answer is no. But it is a story that needs to be told and I have means,” he admits over Detroit.
With appearance so cold that fires Bigelow, looking from his 1.82 m of height, that always keeps you upright in perfect posture, filmmaker is full of passion for what y do. And from that first moment in which Boal told what happened 50 years ago in Algiers Motel in Detroit when July 25, 1967 killed three black people at hands of local police after being savagely interrogated Bigelow jumped into action. Did not mind being a woman or being white. As he says, he prefers not to dignify stereotypes. “In addition to just those days we were living rebellion of Ferguson, Missouri. And a story that happened half a century ago has never been so topical and more in need of dialogue”, remember now director. Speaking of incidents of police brutality in recent history that gave rise to movement #Blacklivesmatter. A racial tension that does not improve in was Trump. “That's why I need to tell this story. Because I want to talk about this tragic aspect of our culture. You can call it racism systematic. Or institutional racism. But it is necessary to generate empathy. Only thus we will be aware of what is happening and that is key to change”, he recites.
Raised in a middle-class family in norrn California and educated at Columbia University, for Bigelow, words are as important as images. Why he speaks of rebellion in a place of unrest. And is not hesitant to portray good and bad for what y are. Will Poulter ended up crying due to intensity required of his character, one of police officers accused (and later released in anor controversial judgement) of se murders. “It is necessary to finish with an endemic problem in our police, in education, in society, such as racial prejudice,” he says a categorical. If you don't get at least Detroit will have viewer on edge of seat with a pace where Bigelow, with his usual fluid style and, many times, camera in hand, and will make audience's heart beat with same passion that flows in his blood. “Were weeks of shooting extremely difficult and functioned thanks to camaraderie and where I preferred to use as a weapon improvisation in place of test read because it is a piece a lot more physical,” summarized a production of 25 million euros.
don't ever try to describe your artistic style for your gender because your response will be chilling. Bigelow is first woman who won Oscar as best director but is also one of few that has not seen Wonder Woman, hymn to feminism of 2017. It is not like James Cameron, her former bed partner, and does not enter in a polemic. He praises work of or companions of profession as Ava DuVernay, Kimberly Pierce, and of course Patty Jenkins. But because y are good, not because y are women. “The sexism sure that re is,” he says with a few numbers that don't lie. Last year only 7% of 250 highest grossing films had a woman as director, reported to Center for Study of Women in Television and Film of San Diego (EE UU). “But talking about it only gives it more credibility. I don't think about my gender when I address. At least in a conscious way. I guess that my way of rolling will be different because I am a woman. And also what would be my career. But I don't want to dignificarlo talking about it. If re is anything I regret is not having done more films from Loveless (1983, his first film, co-directed with a man). This is perhaps best example of something that resists. But I prefer to ignore bias and continue rolling,” he summarizes. Maybe a James Bond movie as you suggested in your day Amy Pascal when I was at front of studios Sony? His silence and his gaze, almost as cold as ice dragon Game of Thrones, say it all. And answer is no.