A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.
A filmmaker has almost the same freedom as a novelist has when he buys himself some paper.
Here's to five miserable months on the wagon and the irreparable harm that it's caused me.
I never learned anything at all in school and didn't read a book for pleasure until I was 19 years old.
I think the big mistake in schools is trying to teach children anything, and by using fear as the basic motivation. Fear of getting failing grades, fear of not staying with your class, etc. Interest can produce learning on a scale compared to fear as a nuclear explosion to a firecracker.
I've got a peculiar weakness for criminals and artists-neither takes life as it is. Any tragic story has to be in conflict with things as they are.
If it can be written, or thought, it can be filmed.
If you can talk brilliantly about a problem, it can create the consoling illusion that it has been mastered.
It's a mistake to confuse pity with love.
It's crazy how you can get yourself in a mess sometimes and not even be able to think about it with any sense and yet not be able to think about anything else.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
The great nations have always acted like gangsters, and the small nations like prostitutes.
The greatest nations have all acted like gangsters and the smallest like prostitutes.
The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle.
There are few things more fundamentally encouraging and stimulating than seeing someone else die.
What do you take me for? A fourteen karat sucker?
When a man cannot choose, he ceases to be a man.
You sit at the board and suddenly your heart leaps. Your hand trembles to pick up the piece and move it. But what chess teaches you is that you must sit there calmly and think about whether it's really a good idea and whether there are other, better ideas.
You're an idealist, and I pity you as I would the village idiot.
Kubrick kept the original negatives for 2001: A Space Odyssey (1968) in his garage, and prior to his death, made his own final 70mm cut of the film, which was released on Warner Bros. DVD, after which he burned the negatives.
CRM-114 is now also being used as the name of a spam filter/mail control freeware program being shared around the Internet.
Stanley adapted every one of his films except his first two and 2001: A Space Odyssey (1968) from published novels.
Stanley's favorite letter/number combination, CRM-114, is featured in Back To The Future (1985) on an amplifier Michael J. Fox's character plugs his guitar into.
Stanley died 666 days before 2001.
Stanley had planned to do a movie about the Holocaust, "The Aryan Papers," but was afraid the publicity from Steven Spielberg's Schindler's List (1993) would upstage him and abandoned the project.
Stanley wanted to do an epic movie about Napoleon Bonaparte, but after seeing similar material in War And Peace (1968) and the failure of Waterloo (1970) he reconsidered.
Stanley's image was used as the Russian premier along with Arthur C. Clarke's as the American president on the cover of Time Magazine in 2010: The Year We Make Contact (1984).
Stanley shot 1.3 million feet of film while making The Shining (1980), and used less than 1% of it for the final 142 minute print.
Stanley became good friends with Malcolm McDowell during the filming of A Clockwork Orange (1971), even advising McDowell not to fly. McDowell said that he sat and listened to air traffic controllers at Heathrow Airport for hours at a time. However, when the filming was finished, Kubrick stopped associating with McDowell altogether, something McDowell has felt hurt over to this day.
Stanley was a big animal lover, at one time he had 16 cats alone. During the filming of Full Metal Jacket (1987) a family of wild rabbits was accidentally killed when an equipment truck accidentally ran over them; he was so upset he halted film production for the rest of the day.
Stanley was a big American football fan and had friends send him tapes of games to his residence in England.
Stanley was afraid of flying and often insisted on ground transportation. This resulted in his not leaving England for over 40 years.
Stanley was interested in jazz, and had a brief career as a drummer in his 20s.
Stanley managed to convince MPAA censors that the elevator doors in the trailer for The Shining (1980) were releasing rusty water, to get around their possibly rejecting the use of the scene since it was blood being portrayed rushing out.
Academy Award Nominations: 1965 - Best Director for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964); 1965 - Best Picture for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964); 1965 - Best Writing, Screenplay Based on Material from Another Medium for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964); 1969 - Best Director for 2001: A Space Odyssey (1968); 1969 - Best Writing, Story and Screenplay - Written Directly for the Screen for 2001: A Space Odyssey (1968); 1972 - Best Director for A Clockwork Orange (1971); 1972 - Best Picture for A Clockwork Orange (1971); 1976 - Best Director for Barry Lyndon (1975); 1976 - Best Picture for Barry Lyndon (1975); 1976 - Best Writing, Screenplay Adapted From Other Material for Barry Lyndon (1975); 1988 - Best Writing, Screenplay Based on Material from Another Medium for Full Metal Jacket (1987).
Kubrick Motifs: Credits are always a slide show. Kubrick never used rolling credits except for the opening of The Shining (1980). Beginning Voice-over / Narration (nearly all of Kubrick's films contain a voice-over at the beginning or a narration at some point); First-Person Perspective (character's perspective) always shown: Often features shots down the length of tall, parallel walls; Often uses the theme of dehumanization; Constructs three-way conflicts; "The Glare" (extreme close-ups of intensely emotional / maniacal faces); Often uses the number 114 in serial numbers; Bathroom (all of his films feature a scene that takes place in a bathroom); Involves his wives in his movies; Almost always uses previously composed classical music for his films rather than commissioning an original score to be written or discards original score in lieu of the aforementioned.
Wanted to take credit for Dalton Trumbo's screenplay for Spartacus (1960) since Trumbo was blacklisted at the time. Originally Trumbo was going to use the alias Sam Jackson but so many people knew about him and his alias that they had to figure something else out. Upset at Kubrick's desire to take credit for someone else's work, Kirk Douglas opted to simply credit Trumbo himself. This ended the Hollywood blacklist started in 1948.
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