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Frederic Raphael

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Kubrick wasn’t making a movie when I was working with him. He was preparing to make a movie, which is something quite different. Part of the charm of working with a director like Kubrick, if there is or was a director like him, was that during the privileged period before he even showed (the script) to the studio, it was just between him and me. You are sort of creating a game in the ball court of theory. There is no film being shot; there is no budget. It was in many ways a very exciting time. It’s also very fraught, particularly for a writer, because you don’t know if it’s going to be of any point.
--
Of Eyes Wide Shut

 
Frederic Raphael

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I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick.

 
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...a creation of Kubrick....a lesser English novelist until Kubrick came along with that film....the book was more or less forgotten until Kubrick made the film....Thanks to the film [Burgess was] transformed into a personality.

 
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The biggest alien invasion picture of the summer of 1996 is Independence Day. But it's not the first. The Arrival, with a significantly lower budget than Fox's July 3 release, has that distinction, and, while this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.

 
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