The striking imagery and offbeat sensibility Kathryn Bigelow exhibits in films such as “Point Break,” “Strange Days” and the cult classic “Near Dark” comes from a personalized visual sense she developed as an art student. Her new film, “The Hurt Locker,” a tense, evocative examination of an American bomb squad in Iraq, won grand prize at last year’s Venice Film Festival and is opening wider on Friday.
Bigelow talked with Eric Estrin about the confluence of art and film, discovering Willem Dafoe and her career’s watershed moment, courtesy of Walter Hill.
Film kind of found me, as opposed to me finding it.