If you’re doing something really experiential — I think of it more as experiential than action, even though these are probably just semantics — you have to maintain geography. Geography is really, really key. The minute you lose geography and just have kinetic shooting or kinetic cutting, I check out of it. I need to have a really rhythmic sense of the emotion on the actor, the details on the actor, and where the actor lives in that physical universe… It’s not arbitrarily constructed for sheer kineticism; there really is an innate physicality that reveals itself.
“
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Kathryn Bigelow, interviewed in Cinemascope 37 (Winter 2009), page 35. I really really love this. This is the key to Bigelow’s aesthetic as an action director (or, as she would prefer it, experiential director). The care she takes over geography and physicality is what unites her with Samuel Fuller, Don Siegel, Sam Peckinpah, and John Woo, and separates her absolutely from the likes of Michael Bay, whose films are full of kineticism but utterly devoid of physicality and emotion. |
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