Stanley Kubrick
- justeleblanc
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- Fletch F. Fletch
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Lynch recounts (I believe it might be in Lynch on Lynch) how Kubrick was so taken with Eraserhead that he contacted Lynch and asked him how he did the Baby in the movie because he couldn't figure out. Lynch refused to tell him. Also, I read in an interview with Paul Thomas Anderson, that Kubrick was a fan of his movies and invited him to the set of Eyes Wide Shut.Oedipax wrote:Oh, also, I just remembered reading that Kubrick was a big fan of Eraserhead - David Lynch reportedly heard from someone that it was Kubrick's all-time favorite.
- Doctor Sunshine
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As Kubrick's name gets dropped in more commentary tracks than any other director, I remember these from those: Altman said Kubrick phoned him up to ask him how he knew he got the shot, in McCabe and Mrs. Miller, where Keith Carradine visibly lights a cigarette in a silhouette long shot from across a bridge. And Albert Brooks said, I don't even know which movie, that Kubrick phoned him up to say how impressed he was with the film's portrayal of jealousy and that he'd been trying to figure out how to pull that off for ages. Though, I suppose neither of those anecdotes prove that Kubrick actually liked the entire movies.
- The Fanciful Norwegian
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The Brooks movie was Modern Romance. Brooks talked about it in a Playboy interview back in 2000:
PLAYBOY: You actually had a peculiar relationship with Stanley Kubrick. How did his death hit you?
BROOKS: I cried. I swear to God. Just for minute. He was the kind of guy that you never thought would die. Because you never thought he was alive anyway.
PLAYBOY: You never actually laid eyes on the man, did you?
BROOKS: That's right! Therefore, why should he go? But he was truly the greatest film maker that ever lived. I'll tell you, the biggest thrill I probably ever had in the film business was when he called me after seeing Modern Romance. He was so complimentary and said, "This is the movie I've always wanted to make!" I'm anxious to see Eyes Wide Shut, because, from what I understand, this is his jealousy movie.
PLAYBOY: But, for a while there, you talked to him regularly.
BROOKS: We started to correspond and have these conversations. I probably got a little too friendly. When The Shining came out, I saw Scatman Crothers on a talk show saying how many takes Kubrick made him do: "I had to walk into the Overlook Hotel fifty-five-hundred tiiiimes!" So I couldn't wait for my weekly call to Stanley -- I thought I'd make him laugh with my Scatman imitation. He came on the phone and I started doing Scatman -- "I had to walk into the Overlook fiffffty-fiâ€â€" I never got any further. This man lost it: "Never use him! Don't ever work with him! He never knew his lines!" He started telling me secrets I didn't want to know: "I was in the editing room for 150 hours!" I said, "No, no, I just wanted to do the imitation..." It was one of the last conversations we ever had. But he was so private. He would reach out for a minute, then close the door again. Years later, he called me about an idea he had for a comedy and asked what I thought of Steve Martin. And I was like: What -- are you crazy? I mean, I'd give my right ball to work with you! Do I really have to recommend Steve Martin? What do I think? He's wonderful -- go use him!
- flyonthewall2983
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- viridiana
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If we're on the subject of Kubrick's favorite films, then I feel obligated to bring up Toshio Matsumoto's avant-garde masterpiece Funeral Parade of Roses. Kubrick borrowed certain elements of the film in A Clockwork Orange. Having recently seen the film for the first time, I must say that Kubrick did not have bad taste.
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Could you elaborate? What elements did SK borrow, I wonder? I like the Matsumoto film a lot, but I wonder how Kubrick might have seen the film before he started working on ACO.viridiana wrote:...Toshio Matsumoto's avant-garde masterpiece Funeral Parade of Roses. Kubrick borrowed certain elements of the film in A Clockwork Orange.
- flyonthewall2983
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Is it true Stanley wanted to use Pink Floyd's "Atom Heart Mother Suite" for Clockwork Orange but the offer was rejected by the band or it's management? I've heard this rumor on PF sites before, and I know for a fact that Stanley refused to let Roger Waters use some dialogue from 2001 on his Amused to Death album.
- viridiana
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Well, seeing as how I haven't seen ACO in quite a long time, my statement was based more on hearsay than on my own knowledge. But, there are two extremely obvious scenes that come to mind. In Funeral Parade of Roses, there is a scene in which two men have to clean their office and they do so in an extremely sped-up fashion, very similar to the scene in which Alex cleans what I believe was his room in A Clockwork Orange. Also, there is a scene in FPoR where a group of three transvestites walk very in a horizontal to a pier, just like the infamous scene with Alex and his droogs in ACO. I'm sure there are more similarities, but like I said, it's been years since I've seen ACO, so mind draws a blank.
- flyonthewall2983
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Does anyone know? I'm honestly very curious about this.flyonthewall2983 wrote:Is it true Stanley wanted to use Pink Floyd's "Atom Heart Mother Suite" for Clockwork Orange but the offer was rejected by the band or it's management? I've heard this rumor on PF sites before, and I know for a fact that Stanley refused to let Roger Waters use some dialogue from 2001 on his Amused to Death album.
- Godot
- Cri me a Tearion
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I've read that he also adored these: ...Kieslowski...
In particular, The Decalogue (Dekalog). SK told Frederick Rafael that the work was the best he'd seen in recent years and (impressing Rafael) he wished he'd done it. SK also wrote an introduction to the published screenplays for Dekalog, which is instructive:
I am always reluctant to single out some particular feature of the work of a major filmmaker because it tends inevitably to simplify and reduce the work. But in this book of screenplays by Krzysztof Kieslowski and his co-author, Krzysztof Piesiewicz, it should not be out of place to observe that they have the very rare ability to dramatize their ideas rather than just talking about them. By making their points through the dramatic action of the story they gain the added power of allowing the audience to discover what's really going on rather than being told. They do this with such dazzling skill, you never see the ideas coming and don't realize until much later how profoundly they have reached your heart.
Stanley Kubrick
January 1991
Kubrick repeatedly told Michael Herr that The Godfather was "possibly the greatest movie ever made." And when Christiane Kubrick and producer Jan Harlan appeared on the Charlie Rose show in 2001, they noted that Kubrick enjoyed films by New York directors, especially those taking place in NYC, and in particular those of Woody Allen and Martin Scorsese (never missing a film by them). This dumbfounded and moved Scorsese (present on the panel) nearly to tears. I still am kicking myself for not recording this while I was watching. Maybe it will show up on the SE of EWS someday.
- flyonthewall2983
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- tavernier
- Joined: Sat Apr 02, 2005 7:18 pm
In Friday's NY Times, there's a preview of a Kubrick retro beginning Saturday at the Museum of the Moving Image in Queens. So what's wrong with this sentence?
The Museum of the Moving Image is screening all 12 of his feature films in this five-week series, plus Max Ophuls' 1950 Vienna romance "La Ronde," based on the same Arthur Schnitzler novel as Kubrick's "Eyes Wide Shut"
The Museum of the Moving Image is screening all 12 of his feature films in this five-week series, plus Max Ophuls' 1950 Vienna romance "La Ronde," based on the same Arthur Schnitzler novel as Kubrick's "Eyes Wide Shut"
- toiletduck!
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A.I.? Appreciate the inclusion, but as one of Kubrick's feature films? That's sketchy at best.
EDIT: Being the moron that I am, I just scanned the screenshots. I thought it was a little odd that they would do a retro w/o Lolita...
-Toilet Dcuk
EDIT: Being the moron that I am, I just scanned the screenshots. I thought it was a little odd that they would do a retro w/o Lolita...
-Toilet Dcuk
Last edited by toiletduck! on Fri Jun 02, 2006 4:30 pm, edited 1 time in total.
- hearthesilence
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- Matt
- Joined: Tue Nov 02, 2004 12:58 pm
You mean beyond the fact that La Ronde is based on Schnitzler's Der Reigen whereas Eyes Wide Shut is based on Schnitzler's Traumnovelle? And thus La Ronde has absolutely no business being included in even the most loosely-defined Kubrick retrospective?tavernier wrote:In Friday's NY Times, there's a preview of a Kubrick retro beginning Saturday at the Museum of the Moving Image in Queens. So what's wrong with this sentence?
The Museum of the Moving Image is screening all 12 of his feature films in this five-week series, plus Max Ophuls' 1950 Vienna romance "La Ronde," based on the same Arthur Schnitzler novel as Kubrick's "Eyes Wide Shut"...
Actually, according the the MotMI website, they're showing it because Ophuls was "Kubrick's favorite director" and because the source materials share an author. Well, shit, why not just show Carrie, too? Or those Nescafe commercials Kubrick was obsessed with?
But then again, any excuse to show La Ronde in 35mm is a good one.
Last edited by Matt on Fri Jun 02, 2006 4:12 pm, edited 1 time in total.
- Matt
- Joined: Tue Nov 02, 2004 12:58 pm
skuhn8 wrote:Wait, I want to know more about this? What Nescafe commercials?matt wrote:Or those Nescafe commercials Kubrick was obsessed with?
These were the ones with Anthony Stewart Head trying to woo his neighbor with Taster's Choice.Sydney Pollack wrote:I remember once we got into a discussion over there being too many words in English dialogue. So he started taping NesCafe commercials. At the time in France there were these NesCafe commercials that were basically mini-dramas. So Stanley would send me these little NesCafe commercials ... and he would edit them! Then he would say, "Now, there were 93 words in this and I took 17 of them out." He'd do stuff like this.