By Robert Goldrich

While she appreciates several key differences between commercials and feature filmmaking, director Kathryn Bigelow–who recently signed with RSA Films for worldwide spot representation–is most drawn to their common bond: storytelling and hopefully great creative.
    “You first have to have a story to tell and it’s a story that has to be inhabited by characters who need to feel real, honest and truthful,” she affirmed. “At the end of the day, whether it’s short form, long form or whatever, the emphasis is on story and character. That’s why moving back and forth between the two [features and commercials] seems very fluid and natural to me.”
    As for great creative, Bigelow reflects on being blessed with the work of writer/investigative journalist Mark Boal who penned the screenplay for The Hurt Locker, which tells the story of military bomb specialists stationed in Iraq.
    Debuting at the Venice Film Festival last year, The Hurt Locker, directed by Bigelow, has opened to critical acclaim domestically and internationally in 2009. “Mark gave us a moving story that is part of what to the general public is a fairly abstract conflict,” related Bigelow. “EOD [Explosive Ordnance Disposal] found itself at the epicenter of the war in Iraq with all the insurgents’ roadside bombs. What’s so pervasive and insidious about this conflict is you’re dealing with an enemy who is virtually invisible. The EOD techs have arguably the most dangerous job in the world. But unlike Vietnam, this is a volunteer military which makes for a wonderful psychological paradox. It’s an incredibly dangerous job that men are walking towards–that you and I would run away from by choice. This makes for an inherent drama in the reality and a very engaging entry point for a film.
    “This is my long-winded way of saying the creative, the idea, is where it all begins,” continued Bigelow. “It’s the entry point for a filmmaker and it’s what excites and challenges me. It’s not the time frame that excites me so much–that’s more mechanical. What excites me is the creative and working within whatever the time frame is–thirty seconds or a couple of hours–to find the most engaging way to tell a story.”

Viva le difference(s)    Still there are those differences between commercials and features alluded to at the very beginning of this story. “There’s more of an instant gratification to commercials than features. You get involved in a commercial and within a relatively short time your work is on screen,” observed Bigelow. “That’s fantastic, particularly when compared to the long drawn-out process that can go into bringing a feature film to the screen. That process can be very enduring to say the least. From development, from raising the money which we did in the case of The Hurt Locker, to working within a challenged budget–it was a long journey that can be gratifying when you reach the end. But there’s something nice by contrast about the immediacy of commercials.”
    Another key difference is that the short production timetable for commercials makes it possible for Bigelow to work with talented artisans, like cinematographers, whom she might not get the chance to collaborate with in the feature world due to their commitments and scheduling logistics.
    She cited “the joy” of working with renowned cinematographers Janusz Kaminski and Wally Pfister on spot projects. The former shot a dreamy, romantic Bailey’s job in Canada a few years ago for Bigelow and later a short action/adventure web film for Pirelli starring Uma Thurman. (Both Pfister and Kaminski are directing commercials via Independent Media, a Santa Monica house which also earlier represented Bigelow as a spot director.)
    Though best known for her feature filmography which in addition to The Hurt Locker also includes action pic Point Break, sci-fi thriller Strange Days, cold war drama K19: The Widowmaker, and the cult vampire movie Near Dark, Bigelow is also experienced in commercials spanning such clients as Budweiser, Coca-Cola, Hummer, Mazda and Rexona.
    Bigelow’s body of feature work will see her honored with a career Tribute at The Independent Filmmaker Project’s 19th annual Gotham Independent Film Awards on Nov. 30 in New York.
    But even with a Tribute award in the offing, Bigelow is just in the midst of her ongoing career. She hopes to add to her body of work in both features and commercials, and feels RSA is an ideal roost for her. Drawing her to the company was the chance to work with directors Ridley Scott and Tony Scott whom she described as “two highly influential luminaries. Back when I was crossing over from art into film, I began studying Ridley and Tony’s work in earnest.  I have been fans of them for years. To now be part of their production company RSA means a great deal to me.”

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