Hello, my name Justin Clue and I'm here today with Will Sloan.

And you're listening to the Important Cinema Club.

And today we're talking about Catherine Bigelow, the director that for a long time when someone

would go, oh, we should get a woman director for this.

Everybody in the message boards would be like, Catherine Bigelow, Casson Bigelow, Casson Bigelow, because they seemingly knew nobody else. Well, because if you're the sort of person who writes on the IMDB message board, you're probably a 16-year-old boy. Yes. And what do you like in movies when you're a 16-year-old boy on the IMDB message board you like big flashy camera moves

really kind of muscular energy you like big men with big balls I mean I don't know big themes

loyalty and friendship you know trail yeah ostatious, big movies that are movies.

So I like Point Break?

Yes, you like Point Break.

Because other than that, it's weird as you go through her career

that she is the perfect otura study

because you can see where she starts

and you can see where she evolves from there.

Because her first film, The Loveless, is a very arty take on, like, 50s youth pictures.

And then in the 80s and 90s, she becomes very associated with studio action movies, K-19, The Widowmaker.

She acquires a vague air of disrepute, I think.

Which is weird because if you watch most of her movies and reading about her and interviews with her,

she likes to talk about what she wanted to do was deconstruct genre tropes.

She got started studying art in university.

That's what she did for a big chunk of her career.

And when she moved to New York, she was roommates with Julian Schnabel.

She was friends, of course, with Lizzie Borden.

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