Stanley Kubrick

Review of: Stanley Kubrick

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Stanley Kubrick

Stanley Kubrick – Ein Leben für den Film – Wikipedia. In London zeigt die Ausstellung «Stanley Kubrick: The Exhibition» Objekte aus dem Arbeitsarchiv des Meisterregisseurs. Ein Besuch mit. In der sehr persönlichen Dokumentation „Stanley Kubrick: A Life In Pictures“ sagt „Shining“-Star Jack Nicholson über seinen Regisseur.

Stanley Kubrick Musik als Mittel der Ironie

Stanley Kubrick war ein US-amerikanischer Regisseur, Produzent, Drehbuchautor und Fotograf. Seine Filme werden vor allem für ihre tiefe intellektuelle Symbolik und ihre technische Perfektion gelobt. Stanley Kubrick – Wikipedia. Stanley Kubrick – Ein Leben für den Film – Wikipedia. Die Frage, inwiefern Kubrick Musik als Bedeutungsträger einsetzt, ist teilweise beantwortet. Bei den oben Vgl. Jenkins, Greg: Stanley Kubrick and the Art of​. Kurzbiografie Stanley Kubrick. Stanley Kubrick wird am Juli als Sohn von Jacques L. Kubrick und Gertrude Kubrick im New Yorker Stadtteil Bronx. In der sehr persönlichen Dokumentation „Stanley Kubrick: A Life In Pictures“ sagt „Shining“-Star Jack Nicholson über seinen Regisseur. Regielegende Stanley Kubrick schuf Kultfilme wie "Lolita", " - Odyssee im Weltraum" und "Uhrwerk Orange". Kurz nach Ende der Dreharbeiten zu "Eyes.

Stanley Kubrick

Kurzbiografie Stanley Kubrick. Stanley Kubrick wird am Juli als Sohn von Jacques L. Kubrick und Gertrude Kubrick im New Yorker Stadtteil Bronx. Regielegende Stanley Kubrick schuf Kultfilme wie "Lolita", " - Odyssee im Weltraum" und "Uhrwerk Orange". Kurz nach Ende der Dreharbeiten zu "Eyes. Stanley Kubrick – Wikipedia.

Stanley Kubrick Stanley Kubrick verließ sich stets auf seinen Instinkt

Da war ich Assistent. Schon früh bringt der Vater Spiel Mit Der Angst Stream Sohn das Schachspielen bei. Ab den 60er-Jahren war nur das Beste für Kubrick auch gut genug. Mensch und Medizin. Denn der Film spielt während der sogenannten Tet-Offensive. NZZ ab

He commanded respect in a quiet, shy way. Whatever he wanted, you complied, he just captivated you. Anybody who worked with Stanley did just what Stanley wanted".

Inspired by this early success, Kubrick quit his job at Look and visited professional filmmakers in New York City, asking many detailed questions about the technical aspects of filmmaking.

He stated that he was given the confidence during this period to become a filmmaker because of the number of bad films he had seen, remarking, "I don't know a goddamn thing about movies, but I know I can make a better film than that".

The film was originally going to be called "Sky Pilot", a pun on the slang term for a priest. It depicted the logistics of a democratic union and focused more on the amenities of seafaring other than the act.

For the cafeteria scene in the film, Kubrick chose a dolly shot to establish the life of the seafarer's community; this kind of shot would later become a signature technique.

The sequence of Paul Hall, secretary-treasurer of the SIU Atlantic and gulf district, speaking to members of the union echoes scenes from Eisenstein's Strike and October During the course of the film, one of the soldiers becomes infatuated with an attractive girl in the woods and binds her to a tree.

This scene is noted for its close-ups on the face of the actress. Fear and Desire was a commercial failure, but garnered several positive reviews upon release.

Critics such as the reviewer from The New York Times believed that Kubrick's professionalism as a photographer shone through in the picture, and that he "artistically caught glimpses of the grotesque attitudes of death, the wolfishness of hungry men, as well as their bestiality, and in one scene, the wracking effect of lust on a pitifully juvenile soldier and the pinioned girl he is guarding".

Columbia University scholar Mark Van Doren was highly impressed by the scenes with the girl bound to the tree, remarking that it would live on as a "beautiful, terrifying and weird" sequence which illustrated Kubrick's immense talent and guaranteed his future success.

Following Fear and Desire , Kubrick began working on ideas for a new boxing film. Due to the commercial failure of his first feature, Kubrick avoided asking for further investments, but commenced a film noir script with Howard O.

Originally under the title Kiss Me, Kill Me , and then The Nymph and the Maniac , Killer's Kiss is a minute film noir about a young heavyweight boxer's involvement with a woman being abused by her criminal boss.

He initially chose to record the sound on location, but encountered difficulties with shadows from the microphone booms, restricting camera movement.

He thinks movies should move, with a minimum of dialogue, and he's all for sex and sadism". Harris , who considered Kubrick "the most intelligent, most creative person I have ever come in contact with.

Kubrick and Harris moved to Los Angeles from New York City and signed with the Jaffe Agency to shoot the picture, which became Kubrick's first full-length feature film shot with a professional cast and crew.

The Union in Hollywood stated that Kubrick would not be permitted to be both the director and the cinematographer of the movie, so veteran cinematographer Lucien Ballard was hired for the shooting.

Very mechanical, always confident. I've worked with few directors who are that good". The Killing failed to secure a proper release across the United States; the film made little money, and was promoted only at the last minute, as a second feature to the Western movie Bandido!

Several contemporary critics lauded the film, with a reviewer for Time comparing its camerawork to that of Orson Welles. Paths of Glory , set during World War I , is based on Humphrey Cobb 's antiwar novel, which Kubrick had read while waiting in his father's office.

Schary was familiar with the novel, but stated that MGM would not finance another war picture, given their backing of the anti-war film The Red Badge of Courage Dax is assigned to defend the men at Court Martial.

For the battle scene, Kubrick meticulously lined up six cameras one after the other along the boundary of no-man's land, with each camera capturing a specific field and numbered, and gave each of the hundreds of extras a number for the zone in which they would die.

Paths of Glory became Kubrick's first significant commercial success, and established him as an up-and-coming young filmmaker.

Critics praised the film's unsentimental, spare, and unvarnished combat scenes and its raw, black-and-white cinematography.

Bosley Crowther of The New York Times wrote: "The close, hard eye of Mr Kubrick's sullen camera bores directly into the minds of scheming men and into the hearts of patient, frightened soldiers who have to accept orders to die".

The film was banned in France until for its "unflattering" depiction of the French military, and was censored by the Swiss Army until He has an adroit intellect, and is a creative thinker—not a repeater, not a fact-gatherer.

He digests what he learns and brings to a new project an original point of view and a reserved passion".

Many disputes broke out over the project, and in the end, Kubrick distanced himself from what would become One-Eyed Jacks In February , Kubrick received a phone call from Kirk Douglas asking him to direct Spartacus , based on the true life story of the historical figure Spartacus and the events of the Third Servile War.

Douglas had acquired the rights to the novel by Howard Fast and blacklisted screenwriter Dalton Trumbo began penning the script.

Kubrick complained about not having full creative control over the artistic aspects, insisting on improvising extensively during the production. Kubrick and Harris made a decision to film Kubrick's next movie Lolita in England, due to clauses placed on the contract by producers Warner Bros.

Stylistically, Lolita , starring Peter Sellers , James Mason , Shelley Winters , and Sue Lyon , was a transitional film for Kubrick, "marking the turning point from a naturalistic cinema Kercher documented that the film "demonstrated that its director possessed a keen, satiric insight into the social landscape and sexual hang-ups of cold war America", while Jon Fortgang of Film4 wrote: "Lolita, with its acute mix of pathos and comedy, and Mason's mellifluous delivery of Nabokov's sparkling lines, remains the definitive depiction of tragic transgression".

Kubrick's next project was Dr. Kubrick became preoccupied with the issue of nuclear war as the Cold War unfolded in the s, and even considered moving to Australia because he feared that New York City might be a likely target for the Russians.

He studied over 40 military and political research books on the subject and eventually reached the conclusion that "nobody really knew anything and the whole situation was absurd".

It was originally written as a serious political thriller, but Kubrick decided that a "serious treatment" of the subject would not be believable, and thought that some of its most salient points would be fodder for comedy.

Just before filming began, Kubrick hired noted journalist and satirical author Terry Southern to transform the script into its final form, a black comedy, loaded with sexual innuendo, [] becoming a film which showed Kubrick's talents as a "unique kind of absurdist" according to the film scholar Abrams.

Kubrick found that Dr. It was shot in 15 weeks, ending in April , after which Kubrick spent eight months editing it.

The New York Times film critic Bosley Crowther worried that it was a "discredit and even contempt for our whole defense establishment However brutal that joke might be".

Kubrick spent five years developing his next film, A Space Odyssey , having been highly impressed with science fiction writer Arthur C.

Clarke 's novel Childhood's End , about a superior race of alien beings who assist mankind in eliminating their old selves.

After meeting Clarke in New York City in April , Kubrick made the suggestion to work on his short story The Sentinel , about a monolith which is found on the Moon which alerts aliens of mankind.

The film's theme, the birthing of one intelligence by another, is developed in two parallel intersecting stories on two very different time scales.

One depicts evolutionary transitions between various stages of man, from ape to "star child", as man is reborn into a new existence, each step shepherded by an enigmatic alien intelligence seen only in its artifacts: a series of seemingly indestructible eons-old black monoliths.

In space, the enemy is a supercomputer known as HAL who runs the spaceship, a character which novelist Clancy Sigal described as being "far, far more human, more humorous and conceivably decent than anything else that may emerge from this far-seeing enterprise".

Kubrick spent a great deal of time researching for the film, paying particular attention to accuracy and detail in what the future might look like.

He was granted permission by NASA to observe the spacecraft being used in the Ranger 9 mission for accuracy. The film revolves around this metaphysical conception, and the realistic hardware and the documentary feelings about everything were necessary in order to undermine your built-in resistance to the poetical concept".

Upon release in , A Space Odyssey was not an immediate hit among critics, who faulted its lack of dialog, slow pacing, and seemingly impenetrable storyline.

Kubrick was particularly outraged by a scathing review from Pauline Kael , who called it "the biggest amateur movie of them all", with Kubrick doing "really every dumb thing he ever wanted to do".

After completing A Space Odyssey , Kubrick searched for a project that he could film quickly on a more modest budget.

He settled on A Clockwork Orange at the end of , an exploration of violence and experimental rehabilitation by law enforcement authorities, based around the character of Alex portrayed by Malcolm McDowell.

Kubrick had originally received a copy of Anthony Burgess 's novel of the same name from Terry Southern while they were working on Dr.

Strangelove , but had rejected it on the grounds that Nadsat , [w] a street language for young teenagers, was too difficult to comprehend.

The decision to make a film about the degeneration of youth reflected contemporary concerns in ; the New Hollywood movement was creating a great number of films that depicted the sexuality and rebelliousness of young people.

This influenced Kubrick, in Baxter's opinion. Because of its depiction of teenage violence, A Clockwork Orange became one of the most controversial films of its time, and part of an ongoing debate about violence and its glorification in cinema.

It received an X rating , or certificate, in both the UK and US, on its release just before Christmas , though many critics saw much of the violence depicted in the film as satirical, and less violent than Straw Dogs , which had been released a month earlier.

In fact, not just this year, but the best, period". Barry Lyndon is an adaptation of William Makepeace Thackeray 's The Luck of Barry Lyndon also known as Barry Lyndon , a picaresque novel about the adventures of an 18th-century Irish rogue and social climber.

John Calley of Warner Bros. Extensive photographs were taken of locations and artwork in particular, and paintings were meticulously replicated from works of the great masters of the period in the film.

Baxter notes that Barry Lyndon was the film which made Kubrick notorious for paying scrupulous attention to detail, often demanding twenty or thirty retakes of the same scene to perfect his art.

The lenses allowed many scenes to be lit only with candlelight, creating two-dimensional, diffused-light images reminiscent of 18th-century paintings.

As with most of Kubrick's films, Barry Lyndon' s reputation has grown through the years and it is now considered to be one of his best, particularly among filmmakers and critics.

The Shining , released in , was adapted from the novel of the same name by bestselling horror writer Stephen King. The Shining was not the only horror film to which Kubrick had been linked; he had turned down the directing of both The Exorcist and Exorcist II: The Heretic , despite once saying in to a friend that he had long desired to "make the world's scariest movie, involving a series of episodes that would play upon the nightmare fears of the audience".

He spends the winter there with his wife, played by Shelley Duvall , and their young son, who displays paranormal abilities.

During their stay, they confront both Jack's descent into madness and apparent supernatural horrors lurking in the hotel.

Kubrick gave his actors freedom to extend the script, and even improvise on occasion, and as a result, Nicholson was responsible for the 'Here's Johnny!

Duvall, who Kubrick also intentionally isolated and argued with often, was forced to perform the iconic and exhausting baseball bat scene times.

Afterwards, Duvall presented Kubrick with clumps of hair that had fallen out due to the extreme stress of filming. According to Garrett Brown , Steadicam's inventor, it was the first picture to use its full potential.

Five days after release on May 23, , Kubrick ordered the deletion of a final scene, in which the hotel manager Ullman Barry Nelson visits Wendy Shelley Duvall in hospital, believing it to have been unnecessary after witnessing the audience excitement in cinemas at the climax of the film.

With the vision in mind to shoot what would become Full Metal Jacket , Kubrick began working with both Herr and Hasford separately on a script.

He eventually found Hasford's novel to be "brutally honest" and decided to shoot a film which closely follows the novel. According to critic Michel Ciment , the film contained some of Kubrick's trademark characteristics, such as his selection of ironic music, portrayals of men being dehumanized, and attention to extreme detail to achieve realism.

In a later scene, United States Marines patrol the ruins of an abandoned and destroyed city singing the theme song to the Mickey Mouse Club as a sardonic counterpoint.

Then the film degenerates into a masterpiece. He concluded: "Stanley Kubrick's Full Metal Jacket is more like a book of short stories than a novel", a "strangely shapeless film from the man whose work usually imposes a ferociously consistent vision on his material".

Tom Cruise portrays a doctor who witnesses a bizarre masked quasireligious orgiastic ritual at a country mansion, a discovery which later threatens his life.

Kubrick said of the novel: "A difficult book to describe—what good book isn't. It explores the sexual ambivalence of a happy marriage and tries to equate the importance of sexual dreams and might-have-beens with reality.

All of Schnitzler's work is psychologically brilliant". He commenced a script with Frederic Raphael , [] and worked 18 hours a day, while maintaining complete confidentiality about the film.

Kubrick sent an unfinished preview copy to the stars and producers a few months before release, but his sudden death on March 7, , came a few days after he finished editing.

He never saw the final version released to the public, [] but he did see the preview of the film with Warner Bros.

Roger Ebert awarded it 3. It feels creaky, ancient, hopelessly out of touch, infatuated with the hot taboos of his youth and unable to connect with that twisty thing contemporary sexuality has become.

Throughout the s and early s, Kubrick collaborated with Brian Aldiss on an expansion of his short story " Supertoys Last All Summer Long " into a three-act film.

It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio.

Kubrick approached Spielberg in with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it.

Following Kubrick's death in , Spielberg took the various drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier page story treatment by Ian Watson written under Kubrick's supervision and according to Kubrick's specifications.

Artificial Intelligence [] [] which was produced by Kubrick's longtime producer and brother-in-law Jan Harlan. Spielberg was able to function autonomously in Kubrick's absence, but said he felt "inhibited to honor him", and followed Kubrick's visual schema with as much fidelity as he could, according to author Joseph McBride.

Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost.

It contains a posthumous production credit for Stanley Kubrick at the beginning and the brief dedication "For Stanley Kubrick" at the end.

John Williams 's score contains many allusions to pieces heard in other Kubrick films. Following A Space Odyssey , Kubrick originally planned to make a film about the life of the French emperor Napoleon.

Fascinated by his life and own "self-destruction", [] Kubrick spent a great deal of time planning the film's development, and had conducted about two years of extensive research into Napoleon's life, reading several hundred books and gaining access to Napoleon's personal memoirs and commentaries.

He also tried to see every film ever made about Napoleon and found none of them appealing, including Abel Gance 's film which is generally considered to be a masterpiece, but for Kubrick, a "really terrible" movie.

Kubrick drafted a screenplay in , and envisaged making a "grandiose" epic, with up to 40, infantry and 10, cavalry. He had intended hiring the armed forces of an entire country to make the film, as he considered Napoleonic battles to be "so beautiful, like vast lethal ballets", with an "aesthetic brilliance that doesn't require a military mind to appreciate".

He wanted them to be replicated as authentically as possible on screen. Kubrick approached numerous stars to play leading roles, including Audrey Hepburn for Empress Josephine , a part which she could not accept due to semiretirement.

Numerous reasons have been cited for the abandonment of the project, including its projected cost, a change of ownership at MGM, [] and the poor reception that the Soviet film about Napoleon, Waterloo , received.

In , Taschen published the book, Stanley Kubrick's Napoleon: The Greatest Movie Never Made , a large volume compilation of literature and source documents from Kubrick, such as scene photo ideas and copies of letters Kubrick wrote and received.

Artificial Intelligence and is a passionate admirer of his work, announced that he would be developing Napoleon as a TV miniseries based on Kubrick's original screenplay.

Jazz" to write reviews of German music scenes during the Nazi era. Kubrick had been given a copy of the Mike Zwerin book Swing Under the Nazis after he had finished production on Full Metal Jacket , the front cover of which featured a photograph of Schulz-Koehn.

A screenplay was never completed and Kubrick's film adaptation plan was never initiated. Work on Aryan Papers depressed Kubrick enormously, and he eventually decided that Steven Spielberg's Schindler's List covered much of the same material.

According to biographer John Baxter, Kubrick had shown an interest in directing a pornographic film based on a satirical novel written by Terry Southern, titled Blue Movie , about a director who makes Hollywood's first big-budget porn film.

Baxter claims that Kubrick concluded that he did not have the patience or temperament to become involved in the porn industry, and Southern stated that Kubrick was "too ultra conservative" towards sexuality to have gone ahead with it, but liked the idea.

Anyone who has ever been privileged to direct a film knows that, although it can be like trying to write War and Peace in a bumper car at an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.

As a young man, Kubrick was fascinated by the films of Soviet filmmakers such as Sergei Eisenstein and Vsevolod Pudovkin.

Kubrick recommended this work to others for many years. Thomas Nelson describes this book as "the greatest influence of any single written work on the evolution of [Kubrick's] private aesthetics".

Kubrick also found the ideas of Konstantin Stanislavski to be essential to his understanding the basics of directing, and gave himself a crash course to learn his methods.

Kubrick's family and many critics felt that his Jewish ancestry may have contributed to his worldview and aspects of his films. After his death, both his daughter and wife stated that he was not religious, but "did not deny his Jewishness, not at all".

His daughter noted that he wanted to make a film about the Holocaust, the Aryan Papers , having spent years researching the subject. British screenwriter Frederic Raphael , who worked closely with Kubrick in his final years, believes that the originality of Kubrick's films was partly because he "had a Jewish?

He declared that it was "absurd to try to understand Stanley Kubrick without reckoning on Jewishness as a fundamental aspect of his mentality".

Walker notes that Kubrick was influenced by the tracking and "fluid camera" styles of director Max Ophüls , and used them in many of his films, including Paths of Glory and A Space Odyssey.

Kubrick noted how in Ophuls' films "the camera went through every wall and every floor". According to film historian John Wakeman, Ophüls himself learned the technique from director Anatole Litvak in the s, when he was his assistant, and whose work was "replete with the camera trackings, pans and swoops which later became the trademark of Max Ophüls".

Pabst , who earlier tried, but was unable to adapt Schnitzler's Traumnovelle , the basis of Eyes Wide Shut.

LoBrutto notes that Kubrick identified with Welles and that this influenced the making of The Killing , with its "multiple points of view, extreme angles, and deep focus".

Kubrick admired the work of Ingmar Bergman and expressed it in personal letter: "Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films.

I believe you are the greatest film-maker at work today [ To this one must also add everything else that goes into the making of a film; [ When the American magazine Cinema asked Kubrick in to name his favorite films, he listed Italian director Federico Fellini 's I Vitelloni as number one in his Top 10 list.

Kubrick's films typically involve expressions of an inner struggle, examined from different perspectives. He explained in a interview with Robert Emmett Ginna:.

Eliot said to someone who had asked him—I believe it was The Waste Land —what he meant by the poem. He replied, 'I meant what I said. Kubrick likened the understanding of his films to popular music, in that whatever the background or intellect of the individual, a Beatles record, for instance, can be appreciated both by the Alabama truck driver and the young Cambridge intellectual, because their "emotions and subconscious are far more similar than their intellects".

He believed that the subconscious emotional reaction experienced by audiences was far more powerful in the film medium than in any other traditional verbal form, and was one of the reasons why he often relied on long periods in his films without dialogue, placing emphasis on images and sound.

When you say something directly, it is simply not as potent as it is when you allow people to discover it for themselves. Fantasy may deal best with themes which lie primarily in the unconscious".

Diane Johnson , who co-wrote the screenplay for The Shining with Kubrick, notes that he "always said that it was better to adapt a book rather than write an original screenplay, and that you should choose a work that isn't a masterpiece so you can improve on it.

Which is what he's always done, except with Lolita ". Sexuality in Kubrick's films is usually depicted outside matrimonial relationships in hostile situations.

Baxter states that Kubrick explores the "furtive and violent side alleys of the sexual experience: voyeurism, domination, bondage and rape" in his films.

Strangelove ; many of his other films also contained less visible elements of satire or irony. His films are unpredictable, examining "the duality and contradictions that exist in all of us".

About the only factor at work each time is that I try not to repeat myself". Film author Patrick Webster considers Kubrick's methods of writing and developing scenes to fit with the classical auteur theory of directing, allowing collaboration and improvisation with the actors during filming.

Walker believes that Kubrick was one of "very few film directors competent to instruct their lighting photographers in the precise effect they want".

Gilbert Adair , writing in a review for Full Metal Jacket , commented that "Kubrick's approach to language has always been of a reductive and uncompromisingly deterministic nature.

He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all whims, shades and modulations of personal expression".

It begins with the selection of the property; it continues through the creation of the story, the sets, the costumes, the photography and the acting.

And when the picture is shot, it's only partially finished. I think the cutting is just a continuation of directing a movie. I think the use of music effects, opticals and finally main titles are all part of telling the story.

And I think the fragmentation of these jobs, by different people, is a very bad thing". I like a slow start, the start that gets under the audience's skin and involves them so that they can appreciate grace notes and soft tones and don't have to be pounded over the head with plot points and suspense tools.

Kubrick was notorious for demanding multiple takes during filming to perfect his art, and his relentless approach was often extremely demanding for his actors.

Jack Nicholson remarked that Kubrick would often demand up to fifty takes of a scene. Once you're accustomed to them, the presence of even one other person on set is discordant and tends to produce self-consciousness in the actors, and certainly in itself".

An actor can only do one thing at a time, and when he learned his lines only well enough to say them while he's thinking about them, he will always have trouble as soon as he has to work on the emotions of the scene or find camera marks.

In a strong emotional scene, it is always best to be able to shoot in complete takes to allow the actor a continuity of emotion, and it is rare for most actors to reach their peak more than once or twice.

There are, occasionally, scenes which benefit from extra takes, but even then, I'm not sure that the early takes aren't just glorified rehearsals with the adding adrenaline of film running through the camera.

Kubrick would devote his personal breaks to having lengthy discussions with actors. Among those who valued his attention was Tony Curtis , star of Spartacus , who said Kubrick was his favorite director, adding, "his greatest effectiveness was his one-on-one relationship with actors.

He wanted to see the actor's faces. He didn't want cameras always in a wide shot twenty-five feet away, he wanted close-ups, he wanted to keep the camera moving.

That was his style. He moves you, pushes you, helps you, gets cross with you, but above all he teaches you the value of a good director.

Stanley brought out aspects of my personality and acting instincts that had been dormant My strong suspicion [was] that I was involved in something great".

Kubrick credited the ease with which he filmed scenes to his early years as a photographer. Alcott considered Kubrick to be the "nearest thing to genius I've ever worked with, with all the problems of a genius".

Among Kubrick's innovations in cinematography are his use of special effects, as in , where he used both slit-scan photography and front-screen projection , which won Kubrick his only Oscar for special effects.

Some reviewers have described and illustrated with video clips, Kubrick's use of " one-point perspective ", which leads the viewer's eye towards a central vanishing point.

The technique relies on creating a complex visual symmetry using parallel lines in a scene which all converge on that single point, leading away from the viewer.

Combined with camera motion it could produce an effect that one writer describes as "hypnotic and thrilling".

Kubrick used it to its fullest potential, which gave the audience smooth, stabilized, motion-tracking by the camera.

Kubrick described Steadicam as being like a "magic carpet", allowing "fast, flowing, camera movements" in the maze in The Shining which otherwise would have been impossible.

Kubrick was among the first directors to use video assist during filming. At the time he began using it in , it was considered cutting-edge technology, requiring him to build his own system.

Having it in place during the filming of , he was able to view a video of a take immediately after it was filmed. LoBrutto notes that Kubrick's technical knowledge about lenses "dazzled the manufacturer's engineers, who found him to be unprecedented among contemporary filmmakers".

Actor Steven Berkoff recalls that Kubrick wanted scenes to be shot using "pure candlelight", and in doing so Kubrick "made a unique contribution to the art of filmmaking going back to painting You almost posed like for portraits.

Kubrick spent extensive hours editing, often working seven days a week, and more hours a day as he got closer to deadlines.

Inspired by Pudovkin 's treatise on film editing, Kubrick realized that one could create a performance in the editing room and often "re-direct" a film, and he remarked: "I love editing.

I think I like it more than any other phase of filmmaking Editing is the only unique aspect of filmmaking which does not resemble any other art form—a point so important it cannot be overstressed It can make or break a film".

Then over months Kubrick's attention to music was an aspect of what many referred to as his "perfectionism" and extreme attention to minute details, which his wife Christiane attributed to an addiction to music.

In his last six films, Kubrick usually chose music from existing sources, especially classical compositions. He preferred selecting recorded music over having it composed for a film, believing that no hired composer could do as well as the public domain classical composers.

He also felt that building scenes from great music often created the "most memorable scenes" in the best films.

During that period, he listened to what LoBrutto describes as "every available recording of seventeenth-and eighteenth- century music, acquiring thousands of records to find Handel 's sarabande used to score the scene".

According to Baxter, the music in was "at the forefront of Kubrick's mind" when he conceived the film. Its inclusion in the film became a "boon for the relatively unknown composer" partly because it was introduced alongside background by Johann Strauss and Richard Strauss.

In addition to Ligeti, Kubrick also enjoyed a collaboration with composer Wendy Carlos , whose album Switched-On Bach —which re-interpreted baroque music through the use of a Moog synthesizer —caught his attention.

In , Carlos composed and recorded music for the soundtrack of A Clockwork Orange. Additional music not used in the film was released in as Wendy Carlos's Clockwork Orange.

Kubrick later collaborated with Carlos on The Shining Kubrick married his high-school sweetheart Toba Metz, a caricaturist, on May 29, , when he was nineteen years old.

They had attended Taft High School together and had lived in the same apartment block on Shakespeare Avenue.

He met his second wife, the Austrian-born dancer and theatrical designer Ruth Sobotka , in They lived together in New York City's East Village beginning in , married in January , and moved to Hollywood in July , where she played a brief part as a ballet dancer in Kubrick's film, Killer's Kiss The following year she was art director for his film, The Killing They divorced in During the production of Paths of Glory in Munich in early , Kubrick met and romanced the German actress Christiane Harlan , who played a small though memorable role in the film.

Kubrick married Harlan in , and the couple remained together for 40 years, until his death in Besides his stepdaughter, they had two daughters together: Anya Renata April 6, — July 7, and Vivian Vanessa born August 5, Sellers was unable to leave the UK, so Kubrick made Britain his permanent home thereafter.

The move was quite convenient to Kubrick, since he shunned the Hollywood system and its publicity machine, and he and Christiane had become alarmed with the increase in violence in New York City.

Kubrick worked almost exclusively from this home for 14 years where, with some exceptions, he researched, invented special effects techniques, designed ultra-low light lenses for specially modified cameras, pre-produced, edited, post-produced, advertised, distributed and carefully managed all aspects of four of his films.

His new home became a workplace for Kubrick and his wife, "a perfect family factory" as Christiane called it, [] and Kubrick converted the stables into extra production rooms besides ones within the home that he used for editing and storage.

A workaholic, Kubrick rarely took a vacation or left England during the forty years before his death.

Stanley saw a lot of people As a person, Kubrick was described by Norman Lloyd as "a very dark, sort of a glowering type who was very serious".

What was striking was his enormous intelligence, but he also had a great sense of humor. He was a very shy person and self-protective, but he was filled with the thing that drove him twenty-four hours of the day.

Kubrick had been sent the charred remains of his camera and notebooks which, according to Duncan, traumatized him for life. On March 7, , six days after screening a final cut of Eyes Wide Shut for his family and the stars, Kubrick died in his sleep at the age of 70, suffering a heart attack.

The media were kept a mile away outside the entrance gate. Kaddish , the Jewish prayer typically said by mourners and in other contexts, was recited.

A few of his obituaries mentioned his Jewish background. He was buried next to his favorite tree on the estate. In her book dedicated to Kubrick, his wife Christiane included one of his favorite quotations of Oscar Wilde : "The tragedy of old age is not that one is old, but that one is young.

Part of the New Hollywood film-making wave, Kubrick's films are considered by film historian Michel Ciment to be "among the most important contributions to world cinema in the twentieth century", [34] and he is frequently cited as one of the greatest and most influential directors in the history of cinema.

Romero , [] have cited Kubrick as a source of inspiration, and additionally in the case of Spielberg and Scott, collaboration. Many filmmakers imitate Kubrick's inventive and unique use of camera movement and framing, as well as his use of music, including Frank Darabont.

Inevitably, you're going to end up doing something that he's probably already done before. It can all seem like we're falling behind whatever he came up with.

Artists in fields other than film have also expressed admiration for Kubrick. English musician and poet PJ Harvey , in an interview about her album Let England Shake , argued that "something about [ With every film, he seems to capture the essence of life itself, particularly in films like Paths of Glory , [ A Space Odyssey ], Barry Lyndon Griffith , Laurence Olivier , Cecil B.

DeMille , and Irving Thalberg , all of whom have annual awards named after them. A number of people who worked with Kubrick on his films created the documentary Stanley Kubrick: A Life in Pictures , produced and directed by Kubrick's brother-in-law, Jan Harlan, who had executive produced Kubrick's last four films.

Exhibits include a wide collection of documents, photographs and on-set material assembled from boxes of personal archives that were stored in Kubrick's home-workplace in the UK.

Kubrick is widely referenced in popular culture, and the TV series The Simpsons is said to contain more references to Kubrick films than any other pop culture phenomenon.

Stanley Kubrick — directed 13 feature films and three short documentaries over the course of his career, from Day of the Fight in to Eyes Wide Shut in In , Kubrick directed the satirical Dr.

Many of Kubrick's films were nominated for Academy Awards or Golden Globes , but his only personal win of an Academy Award was for his work as director of special effects on A Space Odyssey In , he directed The Shining starring Jack Nicholson.

It is widely regarded as one of the greatest horror films. From Wikipedia, the free encyclopedia. Redirected from Filmography and awards of Stanley Kubrick.

List article of films that Stanley Kubrick directed or heavily contributed to. Play media. Retrieved August 15, Rotten Tomatoes.

Turner Classic Movies.

Archived from the original on August 18, He didn't want cameras always in a wide shot twenty-five feet away, he wanted close-ups, he Fired Up! to keep the camera moving. Kaddishthe Jewish prayer typically said by mourners and in other contexts, was recited. January 12, According to Baxter, the music in was "at the forefront of Kubrick's Kate Tucci when he conceived the film. How To Be Single Dvd like a slow start, the start that gets under the audience's skin and involves them so that they can appreciate grace notes and soft tones and don't have to be pounded over the head with plot points and suspense tools.

Stanley Kubrick Musik sei im Film wichtiger als Sprache

Und das haben wir auch eingehalten. Berliner Jenny Treibel Was bringt der Mietendeckel? Der humorbegabte und selbstbewusste Sellers war, was die Schauspielerbesetzung angeht, vielleicht auch eine der wenigen Rec 4. Auch Bilder für Filme, die an weit entfernten Orten spielten, fand Kubrick in der englischen Umgebung. Das ist so hypnotisch wie die pausenlose Wiederholung der vorbeirasenden Muster des Teppichbodens. Wartet man, bis die 25 sind, dann ist es vorbei. Man könnte diese Reihe ewig fortsetzen. Stanley Kubrick: Sämtliche Filme (Basic Film Series) | Duncan, Paul | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf​. Berühmt-berüchtigt ist auch Kubricks Perfektionismus. Von Rainer Praetorius. Der Regisseur Stanley Kubrick mit einer Filmkamera auf einem. In London zeigt die Ausstellung «Stanley Kubrick: The Exhibition» Objekte aus dem Arbeitsarchiv des Meisterregisseurs. Ein Besuch mit. stanley kubrick movies. Jewish Journal. He declared that it was "absurd to try to understand Stanley Kubrick without reckoning on Jewishness as a fundamental aspect of his mentality". In his last six films, Kubrick usually chose music from existing sources, especially classical compositions. Stanley Kubrick: Visual Poet Fear and Desire. Colour Me Kubrick was Vermisst Rtl 2019 by Kubrick's family and starred John Malkovich as Alan Conwaya con artist who had assumed Kubrick's Versuchskaninchen in the Jane Got A Gun.

Stanley Kubrick Tartalomjegyzék Video

Stanley Kubrick - The Cinematic Experience - The Cinema Cartography PRO Global. Anders ausgedrückt: Kubrick-Filme sind ein Angriff aufs Unbewusste und eine Einladung, sich mit der Welt zu beschäftigen. Die ursprüngliche Version - gesungen Feuerzangenbowle Film einem verliebten Gene Kelly - ist erst beim Abspann von "Clockwork Orange" zu hören, also ganz zum Schluss. Damals waren Gewerkschaftsschwierigkeiten. Er möchte die Szene probieren. Formel 1. Kubrick fragte an, ob Sellers in seinem nächsten Film Dr. Das muss ich in Deutschland alle fünf Minuten sagen! Atompilz ist Sängerin Vera Lynn mit ihrem Lied fertig.

Stanley Kubrick - Inhaltsverzeichnis

Die Schönheit barocker Malerei und Musik filmisch erlebbar zu machen und das Leben jener Zeit anhand einer fiktiven Biographie von Barry Lyndon authentisch wiederzugeben, durch natürliches Kerzenlicht in allen Innenaufnahmen, brachte keinen Erfolg an der Kinokasse. Satz aus Beethovens 9. Ging nicht gerne weg. Seltsam oder: Wie ich lernte, die Bombe zu lieben gleich vier Rollen übernehmen könne. Anders als viele Kollegen hinter der Kamera verzichtete er ganz bewusst auf eine eigene filmische Handschrift. Juli in New York geboren [1] und war das erste von zwei Kindern. Kubrick möchte gerne noch eine Probe haben. Ganz am Ende von "Dr. Und dann riefen an diesem Abend ich glaube vier Leute an, die gesagt haben: Kubrick hasst Schauspieler, die ihren Text nicht können. Bitte hilf Wikipedia, indem du die Angaben recherchierst und gute Belege einfügst. Mediathek Rtl 2 dem Film kommt auch der 4. Der Schock der ersten Boruto Folge 63 verflog. Weit über eine Million Besucher besichtigten bisher den Kubrick-Nachlass.

Stanley Kubrick Movies / TV Video

Stanley Kubrick A Life in Pictures - Filmmakers Behind the Scenes - Warner Bros. Entertainment Wir haben es auch versucht. Sie glauben, dass Sie bereits alles über David Bowie wissen? Paul Jandl Und nur Nicole, er und ich blieben zurück. Stanley Kubrick hat Tribute Von Panem 4 Stream mit nur 13 Spielfilmen in 46 Jahren einen unvergleichlichen Ruf erarbeitet. Sie entfernt sich auch so weit es nur geht vom Klischee der Weltraummusik.

Paths of Glory , set during World War I , is based on Humphrey Cobb 's antiwar novel, which Kubrick had read while waiting in his father's office.

Schary was familiar with the novel, but stated that MGM would not finance another war picture, given their backing of the anti-war film The Red Badge of Courage Dax is assigned to defend the men at Court Martial.

For the battle scene, Kubrick meticulously lined up six cameras one after the other along the boundary of no-man's land, with each camera capturing a specific field and numbered, and gave each of the hundreds of extras a number for the zone in which they would die.

Paths of Glory became Kubrick's first significant commercial success, and established him as an up-and-coming young filmmaker.

Critics praised the film's unsentimental, spare, and unvarnished combat scenes and its raw, black-and-white cinematography. Bosley Crowther of The New York Times wrote: "The close, hard eye of Mr Kubrick's sullen camera bores directly into the minds of scheming men and into the hearts of patient, frightened soldiers who have to accept orders to die".

The film was banned in France until for its "unflattering" depiction of the French military, and was censored by the Swiss Army until He has an adroit intellect, and is a creative thinker—not a repeater, not a fact-gatherer.

He digests what he learns and brings to a new project an original point of view and a reserved passion". Many disputes broke out over the project, and in the end, Kubrick distanced himself from what would become One-Eyed Jacks In February , Kubrick received a phone call from Kirk Douglas asking him to direct Spartacus , based on the true life story of the historical figure Spartacus and the events of the Third Servile War.

Douglas had acquired the rights to the novel by Howard Fast and blacklisted screenwriter Dalton Trumbo began penning the script.

Kubrick complained about not having full creative control over the artistic aspects, insisting on improvising extensively during the production.

Kubrick and Harris made a decision to film Kubrick's next movie Lolita in England, due to clauses placed on the contract by producers Warner Bros.

Stylistically, Lolita , starring Peter Sellers , James Mason , Shelley Winters , and Sue Lyon , was a transitional film for Kubrick, "marking the turning point from a naturalistic cinema Kercher documented that the film "demonstrated that its director possessed a keen, satiric insight into the social landscape and sexual hang-ups of cold war America", while Jon Fortgang of Film4 wrote: "Lolita, with its acute mix of pathos and comedy, and Mason's mellifluous delivery of Nabokov's sparkling lines, remains the definitive depiction of tragic transgression".

Kubrick's next project was Dr. Kubrick became preoccupied with the issue of nuclear war as the Cold War unfolded in the s, and even considered moving to Australia because he feared that New York City might be a likely target for the Russians.

He studied over 40 military and political research books on the subject and eventually reached the conclusion that "nobody really knew anything and the whole situation was absurd".

It was originally written as a serious political thriller, but Kubrick decided that a "serious treatment" of the subject would not be believable, and thought that some of its most salient points would be fodder for comedy.

Just before filming began, Kubrick hired noted journalist and satirical author Terry Southern to transform the script into its final form, a black comedy, loaded with sexual innuendo, [] becoming a film which showed Kubrick's talents as a "unique kind of absurdist" according to the film scholar Abrams.

Kubrick found that Dr. It was shot in 15 weeks, ending in April , after which Kubrick spent eight months editing it. The New York Times film critic Bosley Crowther worried that it was a "discredit and even contempt for our whole defense establishment However brutal that joke might be".

Kubrick spent five years developing his next film, A Space Odyssey , having been highly impressed with science fiction writer Arthur C. Clarke 's novel Childhood's End , about a superior race of alien beings who assist mankind in eliminating their old selves.

After meeting Clarke in New York City in April , Kubrick made the suggestion to work on his short story The Sentinel , about a monolith which is found on the Moon which alerts aliens of mankind.

The film's theme, the birthing of one intelligence by another, is developed in two parallel intersecting stories on two very different time scales.

One depicts evolutionary transitions between various stages of man, from ape to "star child", as man is reborn into a new existence, each step shepherded by an enigmatic alien intelligence seen only in its artifacts: a series of seemingly indestructible eons-old black monoliths.

In space, the enemy is a supercomputer known as HAL who runs the spaceship, a character which novelist Clancy Sigal described as being "far, far more human, more humorous and conceivably decent than anything else that may emerge from this far-seeing enterprise".

Kubrick spent a great deal of time researching for the film, paying particular attention to accuracy and detail in what the future might look like. He was granted permission by NASA to observe the spacecraft being used in the Ranger 9 mission for accuracy.

The film revolves around this metaphysical conception, and the realistic hardware and the documentary feelings about everything were necessary in order to undermine your built-in resistance to the poetical concept".

Upon release in , A Space Odyssey was not an immediate hit among critics, who faulted its lack of dialog, slow pacing, and seemingly impenetrable storyline.

Kubrick was particularly outraged by a scathing review from Pauline Kael , who called it "the biggest amateur movie of them all", with Kubrick doing "really every dumb thing he ever wanted to do".

After completing A Space Odyssey , Kubrick searched for a project that he could film quickly on a more modest budget.

He settled on A Clockwork Orange at the end of , an exploration of violence and experimental rehabilitation by law enforcement authorities, based around the character of Alex portrayed by Malcolm McDowell.

Kubrick had originally received a copy of Anthony Burgess 's novel of the same name from Terry Southern while they were working on Dr.

Strangelove , but had rejected it on the grounds that Nadsat , [w] a street language for young teenagers, was too difficult to comprehend.

The decision to make a film about the degeneration of youth reflected contemporary concerns in ; the New Hollywood movement was creating a great number of films that depicted the sexuality and rebelliousness of young people.

This influenced Kubrick, in Baxter's opinion. Because of its depiction of teenage violence, A Clockwork Orange became one of the most controversial films of its time, and part of an ongoing debate about violence and its glorification in cinema.

It received an X rating , or certificate, in both the UK and US, on its release just before Christmas , though many critics saw much of the violence depicted in the film as satirical, and less violent than Straw Dogs , which had been released a month earlier.

In fact, not just this year, but the best, period". Barry Lyndon is an adaptation of William Makepeace Thackeray 's The Luck of Barry Lyndon also known as Barry Lyndon , a picaresque novel about the adventures of an 18th-century Irish rogue and social climber.

John Calley of Warner Bros. Extensive photographs were taken of locations and artwork in particular, and paintings were meticulously replicated from works of the great masters of the period in the film.

Baxter notes that Barry Lyndon was the film which made Kubrick notorious for paying scrupulous attention to detail, often demanding twenty or thirty retakes of the same scene to perfect his art.

The lenses allowed many scenes to be lit only with candlelight, creating two-dimensional, diffused-light images reminiscent of 18th-century paintings.

As with most of Kubrick's films, Barry Lyndon' s reputation has grown through the years and it is now considered to be one of his best, particularly among filmmakers and critics.

The Shining , released in , was adapted from the novel of the same name by bestselling horror writer Stephen King. The Shining was not the only horror film to which Kubrick had been linked; he had turned down the directing of both The Exorcist and Exorcist II: The Heretic , despite once saying in to a friend that he had long desired to "make the world's scariest movie, involving a series of episodes that would play upon the nightmare fears of the audience".

He spends the winter there with his wife, played by Shelley Duvall , and their young son, who displays paranormal abilities. During their stay, they confront both Jack's descent into madness and apparent supernatural horrors lurking in the hotel.

Kubrick gave his actors freedom to extend the script, and even improvise on occasion, and as a result, Nicholson was responsible for the 'Here's Johnny!

Duvall, who Kubrick also intentionally isolated and argued with often, was forced to perform the iconic and exhausting baseball bat scene times.

Afterwards, Duvall presented Kubrick with clumps of hair that had fallen out due to the extreme stress of filming.

According to Garrett Brown , Steadicam's inventor, it was the first picture to use its full potential. Five days after release on May 23, , Kubrick ordered the deletion of a final scene, in which the hotel manager Ullman Barry Nelson visits Wendy Shelley Duvall in hospital, believing it to have been unnecessary after witnessing the audience excitement in cinemas at the climax of the film.

With the vision in mind to shoot what would become Full Metal Jacket , Kubrick began working with both Herr and Hasford separately on a script.

He eventually found Hasford's novel to be "brutally honest" and decided to shoot a film which closely follows the novel.

According to critic Michel Ciment , the film contained some of Kubrick's trademark characteristics, such as his selection of ironic music, portrayals of men being dehumanized, and attention to extreme detail to achieve realism.

In a later scene, United States Marines patrol the ruins of an abandoned and destroyed city singing the theme song to the Mickey Mouse Club as a sardonic counterpoint.

Then the film degenerates into a masterpiece. He concluded: "Stanley Kubrick's Full Metal Jacket is more like a book of short stories than a novel", a "strangely shapeless film from the man whose work usually imposes a ferociously consistent vision on his material".

Tom Cruise portrays a doctor who witnesses a bizarre masked quasireligious orgiastic ritual at a country mansion, a discovery which later threatens his life.

Kubrick said of the novel: "A difficult book to describe—what good book isn't. It explores the sexual ambivalence of a happy marriage and tries to equate the importance of sexual dreams and might-have-beens with reality.

All of Schnitzler's work is psychologically brilliant". He commenced a script with Frederic Raphael , [] and worked 18 hours a day, while maintaining complete confidentiality about the film.

Kubrick sent an unfinished preview copy to the stars and producers a few months before release, but his sudden death on March 7, , came a few days after he finished editing.

He never saw the final version released to the public, [] but he did see the preview of the film with Warner Bros. Roger Ebert awarded it 3.

It feels creaky, ancient, hopelessly out of touch, infatuated with the hot taboos of his youth and unable to connect with that twisty thing contemporary sexuality has become.

Throughout the s and early s, Kubrick collaborated with Brian Aldiss on an expansion of his short story " Supertoys Last All Summer Long " into a three-act film.

It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio.

Kubrick approached Spielberg in with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it. Following Kubrick's death in , Spielberg took the various drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier page story treatment by Ian Watson written under Kubrick's supervision and according to Kubrick's specifications.

Artificial Intelligence [] [] which was produced by Kubrick's longtime producer and brother-in-law Jan Harlan. Spielberg was able to function autonomously in Kubrick's absence, but said he felt "inhibited to honor him", and followed Kubrick's visual schema with as much fidelity as he could, according to author Joseph McBride.

Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost.

It contains a posthumous production credit for Stanley Kubrick at the beginning and the brief dedication "For Stanley Kubrick" at the end. John Williams 's score contains many allusions to pieces heard in other Kubrick films.

Following A Space Odyssey , Kubrick originally planned to make a film about the life of the French emperor Napoleon. Fascinated by his life and own "self-destruction", [] Kubrick spent a great deal of time planning the film's development, and had conducted about two years of extensive research into Napoleon's life, reading several hundred books and gaining access to Napoleon's personal memoirs and commentaries.

He also tried to see every film ever made about Napoleon and found none of them appealing, including Abel Gance 's film which is generally considered to be a masterpiece, but for Kubrick, a "really terrible" movie.

Kubrick drafted a screenplay in , and envisaged making a "grandiose" epic, with up to 40, infantry and 10, cavalry. He had intended hiring the armed forces of an entire country to make the film, as he considered Napoleonic battles to be "so beautiful, like vast lethal ballets", with an "aesthetic brilliance that doesn't require a military mind to appreciate".

He wanted them to be replicated as authentically as possible on screen. Kubrick approached numerous stars to play leading roles, including Audrey Hepburn for Empress Josephine , a part which she could not accept due to semiretirement.

Numerous reasons have been cited for the abandonment of the project, including its projected cost, a change of ownership at MGM, [] and the poor reception that the Soviet film about Napoleon, Waterloo , received.

In , Taschen published the book, Stanley Kubrick's Napoleon: The Greatest Movie Never Made , a large volume compilation of literature and source documents from Kubrick, such as scene photo ideas and copies of letters Kubrick wrote and received.

Artificial Intelligence and is a passionate admirer of his work, announced that he would be developing Napoleon as a TV miniseries based on Kubrick's original screenplay.

Jazz" to write reviews of German music scenes during the Nazi era. Kubrick had been given a copy of the Mike Zwerin book Swing Under the Nazis after he had finished production on Full Metal Jacket , the front cover of which featured a photograph of Schulz-Koehn.

A screenplay was never completed and Kubrick's film adaptation plan was never initiated. Work on Aryan Papers depressed Kubrick enormously, and he eventually decided that Steven Spielberg's Schindler's List covered much of the same material.

According to biographer John Baxter, Kubrick had shown an interest in directing a pornographic film based on a satirical novel written by Terry Southern, titled Blue Movie , about a director who makes Hollywood's first big-budget porn film.

Baxter claims that Kubrick concluded that he did not have the patience or temperament to become involved in the porn industry, and Southern stated that Kubrick was "too ultra conservative" towards sexuality to have gone ahead with it, but liked the idea.

Anyone who has ever been privileged to direct a film knows that, although it can be like trying to write War and Peace in a bumper car at an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.

As a young man, Kubrick was fascinated by the films of Soviet filmmakers such as Sergei Eisenstein and Vsevolod Pudovkin.

Kubrick recommended this work to others for many years. Thomas Nelson describes this book as "the greatest influence of any single written work on the evolution of [Kubrick's] private aesthetics".

Kubrick also found the ideas of Konstantin Stanislavski to be essential to his understanding the basics of directing, and gave himself a crash course to learn his methods.

Kubrick's family and many critics felt that his Jewish ancestry may have contributed to his worldview and aspects of his films.

After his death, both his daughter and wife stated that he was not religious, but "did not deny his Jewishness, not at all".

His daughter noted that he wanted to make a film about the Holocaust, the Aryan Papers , having spent years researching the subject. British screenwriter Frederic Raphael , who worked closely with Kubrick in his final years, believes that the originality of Kubrick's films was partly because he "had a Jewish?

He declared that it was "absurd to try to understand Stanley Kubrick without reckoning on Jewishness as a fundamental aspect of his mentality". Walker notes that Kubrick was influenced by the tracking and "fluid camera" styles of director Max Ophüls , and used them in many of his films, including Paths of Glory and A Space Odyssey.

Kubrick noted how in Ophuls' films "the camera went through every wall and every floor". According to film historian John Wakeman, Ophüls himself learned the technique from director Anatole Litvak in the s, when he was his assistant, and whose work was "replete with the camera trackings, pans and swoops which later became the trademark of Max Ophüls".

Pabst , who earlier tried, but was unable to adapt Schnitzler's Traumnovelle , the basis of Eyes Wide Shut. LoBrutto notes that Kubrick identified with Welles and that this influenced the making of The Killing , with its "multiple points of view, extreme angles, and deep focus".

Kubrick admired the work of Ingmar Bergman and expressed it in personal letter: "Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films.

I believe you are the greatest film-maker at work today [ To this one must also add everything else that goes into the making of a film; [ When the American magazine Cinema asked Kubrick in to name his favorite films, he listed Italian director Federico Fellini 's I Vitelloni as number one in his Top 10 list.

Kubrick's films typically involve expressions of an inner struggle, examined from different perspectives. He explained in a interview with Robert Emmett Ginna:.

Eliot said to someone who had asked him—I believe it was The Waste Land —what he meant by the poem.

He replied, 'I meant what I said. Kubrick likened the understanding of his films to popular music, in that whatever the background or intellect of the individual, a Beatles record, for instance, can be appreciated both by the Alabama truck driver and the young Cambridge intellectual, because their "emotions and subconscious are far more similar than their intellects".

He believed that the subconscious emotional reaction experienced by audiences was far more powerful in the film medium than in any other traditional verbal form, and was one of the reasons why he often relied on long periods in his films without dialogue, placing emphasis on images and sound.

When you say something directly, it is simply not as potent as it is when you allow people to discover it for themselves.

Fantasy may deal best with themes which lie primarily in the unconscious". Diane Johnson , who co-wrote the screenplay for The Shining with Kubrick, notes that he "always said that it was better to adapt a book rather than write an original screenplay, and that you should choose a work that isn't a masterpiece so you can improve on it.

Which is what he's always done, except with Lolita ". Sexuality in Kubrick's films is usually depicted outside matrimonial relationships in hostile situations.

Baxter states that Kubrick explores the "furtive and violent side alleys of the sexual experience: voyeurism, domination, bondage and rape" in his films.

Strangelove ; many of his other films also contained less visible elements of satire or irony. His films are unpredictable, examining "the duality and contradictions that exist in all of us".

About the only factor at work each time is that I try not to repeat myself". Film author Patrick Webster considers Kubrick's methods of writing and developing scenes to fit with the classical auteur theory of directing, allowing collaboration and improvisation with the actors during filming.

Walker believes that Kubrick was one of "very few film directors competent to instruct their lighting photographers in the precise effect they want".

Gilbert Adair , writing in a review for Full Metal Jacket , commented that "Kubrick's approach to language has always been of a reductive and uncompromisingly deterministic nature.

He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all whims, shades and modulations of personal expression".

It begins with the selection of the property; it continues through the creation of the story, the sets, the costumes, the photography and the acting.

And when the picture is shot, it's only partially finished. I think the cutting is just a continuation of directing a movie. I think the use of music effects, opticals and finally main titles are all part of telling the story.

And I think the fragmentation of these jobs, by different people, is a very bad thing". I like a slow start, the start that gets under the audience's skin and involves them so that they can appreciate grace notes and soft tones and don't have to be pounded over the head with plot points and suspense tools.

Kubrick was notorious for demanding multiple takes during filming to perfect his art, and his relentless approach was often extremely demanding for his actors.

Jack Nicholson remarked that Kubrick would often demand up to fifty takes of a scene. Once you're accustomed to them, the presence of even one other person on set is discordant and tends to produce self-consciousness in the actors, and certainly in itself".

An actor can only do one thing at a time, and when he learned his lines only well enough to say them while he's thinking about them, he will always have trouble as soon as he has to work on the emotions of the scene or find camera marks.

In a strong emotional scene, it is always best to be able to shoot in complete takes to allow the actor a continuity of emotion, and it is rare for most actors to reach their peak more than once or twice.

There are, occasionally, scenes which benefit from extra takes, but even then, I'm not sure that the early takes aren't just glorified rehearsals with the adding adrenaline of film running through the camera.

Kubrick would devote his personal breaks to having lengthy discussions with actors. Among those who valued his attention was Tony Curtis , star of Spartacus , who said Kubrick was his favorite director, adding, "his greatest effectiveness was his one-on-one relationship with actors.

He wanted to see the actor's faces. He didn't want cameras always in a wide shot twenty-five feet away, he wanted close-ups, he wanted to keep the camera moving.

That was his style. He moves you, pushes you, helps you, gets cross with you, but above all he teaches you the value of a good director. Stanley brought out aspects of my personality and acting instincts that had been dormant My strong suspicion [was] that I was involved in something great".

Kubrick credited the ease with which he filmed scenes to his early years as a photographer. Alcott considered Kubrick to be the "nearest thing to genius I've ever worked with, with all the problems of a genius".

Among Kubrick's innovations in cinematography are his use of special effects, as in , where he used both slit-scan photography and front-screen projection , which won Kubrick his only Oscar for special effects.

Some reviewers have described and illustrated with video clips, Kubrick's use of " one-point perspective ", which leads the viewer's eye towards a central vanishing point.

The technique relies on creating a complex visual symmetry using parallel lines in a scene which all converge on that single point, leading away from the viewer.

Combined with camera motion it could produce an effect that one writer describes as "hypnotic and thrilling".

Kubrick used it to its fullest potential, which gave the audience smooth, stabilized, motion-tracking by the camera.

Kubrick described Steadicam as being like a "magic carpet", allowing "fast, flowing, camera movements" in the maze in The Shining which otherwise would have been impossible.

Kubrick was among the first directors to use video assist during filming. At the time he began using it in , it was considered cutting-edge technology, requiring him to build his own system.

Retrieved August 17, Strangelove" Was True". The New Yorker. Retrieved August 14, March 15, Stanley Kubrick.

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Kubrick worked on developing One-Eyed Jacks for several months with Marlon Brando , but the creative differences between the two finally became too great, and Kubrick left the project, which was ultimately directed by Brando himself.

Kubrick then moved his family to England , where he took advantage of the so-called Eady plan, which provided considerable tax incentives for foreign film producers who used at least 80 percent British labour.

Many agreed, however, that James Mason was superb as Humbert Humbert , the professor who becomes obsessed with a year-old girl Sue Lyon , and Peter Sellers and Shelley Winters also submitted striking performances.

Despite stirring up plenty of controversy of its own with its subject matter particularly with the Catholic Legion of Decency , Lolita was a box-office hit.

In the planning stages, Kubrick sought to treat the material seriously, but he kept finding himself gravitating toward farce and eventually gave in to that impulse while still managing to powerfully convey the horrible prospect of nuclear annihilation.

He made the most of wonderfully inventive performances by George C. Scott , Sterling Hayden, and especially Sellers , who plays three very different but equally memorable characters.

Strangelove earned Kubrick his first Academy Award nomination for best direction and also garnered nominations for best picture, best actor Sellers , and best screenplay.

Kubrick spent the next four years making A Space Odyssey , a metaphysical science-fiction epic based on a haunting short story by Arthur C.

Clarke , who worked with him on the screenplay. The film is divided into three parts, with only the middle section resembling a traditional narrative.

Prehistoric apes are the focus of the first section, and the last section contains a sequence of wildly impressionistic images as the spaceship is sucked into a dimension in which time and space are disrupted.

The film also set a new standard for movie special effects and has been praised for the surprising number of futuristic technologies it depicted that have subsequently—at least in part—come into existence.

Audiences and critics were polarized by A Space Odyssey. Noted critic Pauline Kael famously derided it, but many other critics hailed the film as a masterpiece, and it has consistently appeared on lists of the greatest films of all time.

Kubrick received Oscar nominations for his direction and writing and won an Oscar for special effects. In its day the film was a countercultural phenomenon and a box-office smash that gave Kubrick the latitude to make any movie he desired with a degree of creative freedom and control experienced by few filmmakers.

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Stanley Kubrick

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