A Hitchcock mashup where Kubrick is the villain. / Un mashup hitchcockien dont Kubrick est le méchant.
"The spirit of the 60s lives in these trailers, leaning hard on mood and music, not plot. The same is true for the Godfather trailer, as Coppola gives audiences a peak into the Corleone family.-- An epic history of the movie trailer, by Matthew Schimkowitz
However, the closer Hollywood gets to the age of the blockbuster, the more the modern trailer starts to reveal itself, and it all starts with Jaws -- the film phenomenon of the summer of 1975. [ ... ] It introduced something new to trailers: relying almost entirely on the narrative of the film to advertise it. In 3 minutes and 21 seconds, the entire story arc of the film, save for the ending, is given away. There’s a shark terrorizing the beach on the 4th of July, it’s up to a local sheriff to take care of it, and he teams with a scientist and a fisherman to get the job done."
How Adam Savage became obsessed with building a scale model of the maze from Kubrick's film The Shining. The Making Of and The Making Of The Making Of (both SLYT). [more inside]
Kubricks' 2001: One Man's Incredible Odyssey - "With today's article I've decided to cover the truly outstanding visual effects and design work from one of the single most influential and remarkable pieces of cinema of the twentieth century - Stanley Kubricks' 2001-A SPACE ODYSSEY (1968) - a film that just gets better and better with the passing years"
Steven Soderbergh decided to re-cut 2001: A Space Odyssey. Now it's only 110 minutes.
Introducing Sociology: Tim Kreider's influential 1999 essay (previously) on how Stanley Kubrick's Eyes Wide Shut uses sex and infidelity to cover up a story of greed and murder by the elite gets a brand new afterward by the author to introduce a new site for his non-fiction writing, TimKreider.com
Part 1 and Part 2 of a 35MM promo reel for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. The reel features some alternate takes and cut scenes, and is possibly narrated by Kubrick himself. via Cinephilia, who also have a bunch of great photos of Kubrick at work on the set.
2001: A Space Odyssey – Stanley Kubrick’s 1968 sci-fi masterpiece – seems an appropriate place to start a blog about typography in sci-fi. Amongst other delights, it offers a zero-gravity toilet, emergency resuscitations, exploding bolts, and product placement aplenty. It’s also the Ur Example of Eurostile Bold Extended’s regular appearance in spacecraft user interfaces. [via]
BBC Radio 4's 'The Film Programme' talks to George A Romero. 'Forty five years after the release of genre-defining Night of the Living Dead, Francine Stock talks to the director George A Romero about inventing the undead zombie and where he might unearth horror in contemporary society. Plus why he doesn't rate Stanley Kubrick as a horror director.' [SL BBC Radio 4 episode] [more inside]
A six-minute documentary snippet discusses Kubrick's camera modifications for special, low-light f/0.7 Zeiss lenses used to film candlelit scenes in Barry Lyndon, now available to rent by aspiring filmmakers.
Some insight into what Stanley Kubrick liked of what he saw in the world of film over the years, with a master list at the end.
"But The Shining speaks to what makes Kubrick such an interesting and, for a lot of people, troublesome filmmaker, because he does not give you what you want. At all. He does not give you a Vietnam movie set in the jungle, and he does not give you a horror movie that is just like Stephen King’s The Shining. He doesn’t even give you scares for a long time, [just] ominous foreboding. And it takes people a while to figure out, “Oh, maybe I don’t know what I want. Maybe this is better.” - Mefi's Own Jon Hodgman talks about Full Metal Jacket with Scott Tobias for "The Last Great Movie I Saw."
The stewardess who retrieved a sleeping passenger's floating pen. The man in the ape suit who howled at the monolith. Arthur C. Clarke, recalling how he thought Stanley Kubrick was wrong, back in the day, about HAL being able to read lips, but later, aware that computers were developing such ability, admitting that he had been wrong. This and much more in The Making of Kubrick's 2001: A Space Odyssey. Meanwhile, from Douglas Trumbull, here's Creating Special Effects for 2001: A Space Odyssey. And here, full to bursting with interesting info, is the IMDb trivia page for 2001: A Space Odyssey. Why all this? Well, it's in honor of the 45th anniversary of the film's world premiere. Thank you for the masterpiece, Mr. Kubrick.
Follow Tom Cruise as he navigates his way around Kubrick's Eyes Wide Shut Greenwich Village set [more inside]
A scene-by-scene breakdown of Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb.
Essayist and cartoonist Tim Kreider is no stranger to film criticism ( previously) but his thoughtful, surprising, detailed analysis of Lynch's The Straight Story and Spielberg/Kubrick's AI deserve special attention.
Stanley Kubrick didn’t like giving long interviews, but he loved playing chess. So when the physicist and writer Jeremy Bernstein paid him a visit to gather material for a piece for The New Yorker about a new film project he was writing with Arthur C. Clarke, Kubrick was intrigued to learn that Bernstein was a fairly serious chess player. The result was an unusually long and candid recorded interview for the New Yorker. (77 min)
"How to make sense of Conspiracy Theories" [Part 1 of 9 from YouTube] Rob Ager is best known for his very thoughtful analyses of films such as The Shining [see also this analysis of the Overlook's geometry, previously], A Clockwork Orange [and supplement], Psycho, Pulp Fiction, Aliens, Taxi Driver and others. He has recently completed an analysis of the subject of conspiracy theories. "All of us, from time to time, will believe that two or more people in a particular context have conspired to achieve a mutual aim – be it cheating in a card game or engineering an international war. It isn’t by definition a lapse in logic to believe that a conspiracy has or is going to occur in a given situation. Conspiracies do happen and it is a natural facet of healthy thinking and self-preservation to seek out awareness of conspiracies that may affect our lives." [Text version, Ager's Collative Learning site]
Many would agree that the advent of CGI has made movies worse, not better. Blogger Gin and Tacos makes the argument eloquently: "The fundamental problem is that CGI, rather that being a tool that allows directors to explore new creative possibilities, just enables laziness."
Stanley Kubrick liked things just so. Including cardboard boxes. (2:05 .wmv)
If you loved Stanley Kubrick's 2001: A Space Odyssey, check out these gorgeous, high-resolution promotional photographs. The film's special effects supervisor Douglas Trumbull invented numerous film techniques and effects to help Kubrick tell his story, and Trumbull is currently producing with film historian David Larson the documentary 2001: Beyond The Infinite - The Making of a Masterpiece (scroll down, click the link on the second video). This documentary aims to make use of the Kubrick Archives's well-preserved large-format Ektachrome photos taken of the film production, green screen techniques, surviving cast and production staff, and numerous interview transcripts to bring to life the story about the making of this classic.
Christiane Kubrick, widow of film director Stanley Kubrick, talks with the Guardian about her marriage to the film director, his lost project about the Holocaust, and his love of the waltz [via | Flash req'd].
How accurate was Kubrick's "2001: A Space Odyssey" about the future? "Part of the reason that Dr Floyd has been sent to Clavius Base is to deliver a morale-boosting speech to a crew bemused by what they have unearthed on the moon. [...] Frankly, there is no way that this would have been done in the real 2001 without the judicious use of PowerPoint featuring Excel charts and inspiring pictures of puppies, and probably some free branded goodies to take away and cheer everybody up."
Cult western classic One-Eyed Jacks (1961) is the only film ever directed by Marlon Brando, who happened to replace the original director, none other than Stanley Kubrick.
"Shown backwards it is a heroic film about human experience: A man trapped in the logic of ghosts, trapped in a grayscale 2-D flat world, a photograph inside history, frozen in spectral finity: is unfrozen, and is lured outside of a maze where both his wife and son proceed to ‘undouble’ him and assist him in his war with his self and is finally able to drive away from the Overlook, from the lunarscape of this unreal summit and into a perfect mirror, earthmade."An excerpt of a large-scale guide to the inner workings of The Shining. [more inside]
Channel 4 recreates The Shining to promote its Kubrick season. A 65-second tracking shot through a recreated Shining set, complete with look-alikes.
The Hidden Stanley Kubrick. In the nine years following Stanley Kubrick's death on March 7, 1999, several of his collaborators have written and spoken about their experiences working with this notoriously reclusive filmmaker. Their reminiscences shed light on aspects of Kubrick’s family life, private thoughts and work habits, and make for fascinating reading and viewing. Those who've shared their reflections include Michael Herr (co-screenwriter, "Full Metal Jacket"); Leon Vitali (actor, "Barry Lyndon" and Kubrick's personal assistant for nearly 25 years); Ian Watson (credited with the "screen story" for "A.I.: Artificial Intelligence"); and Brian Aldiss (who helped to develop the story for "A.I."). Peter Bogdanovich gathered together the impressions of others who worked with Kubrick on various projects over the legendary director's career. [more inside]
The Return of a Clockwork Orange - Writers, artists, directors, UK film censors and starring actor Malcolm McDowell discuss Stanley Kubrick's classic film A Clockwork Orange
Stanley Kubrick's "lost" first movie, Day of The Fight, has apparently been found. Assuming it's real, this 16-minute 1951 reel is the director's debut. Sadly, unless you're a fight fan, that's about all it has to recommend it.
Still looking for Rosebud. Nine Years after sending a copy of a radio programme he made to Stanley Kubrick, Jon Ronson, is invited to the late Kubrick's "secret lair". You drive through rural Hertfordshire, passing ordinary-sized postwar houses and opticians and vets. Then you turn right at an electric gate with a "Do Not Trespass" sign. Drive through that, and through some woods, and past a long, white fence with the paint peeling off, and then another electric gate, and then another electric gate, and then another electric gate, and you're in the middle of an estate full of boxes. [...] Tony takes me into a large room painted blue and filled with books. "This used to be the cinema," he says. "Is it the library now?" I ask. "Look closer at the books," says Tony. I do. "Bloody hell," I say.
Problem. Proposed solution : nominate a few films, Gladiator, Erin Brokovich and so on. And let Stanley Kubrick's disowned Sparticus take the top 5-6 Oscars. Just shows that god's worst film is still better than tripe created today.
This script for Stanley Kubrick's never-made film "Napolean" probably won't be online for long.
In other news - Spielberg hijacks project (A.I.) from Kubrick's grave, hacks it and Casts Robin Williams....
Williams? Williams? I'm going to go out and kill SS myself.
Williams? Williams? I'm going to go out and kill SS myself.