Frederic Raphael
American-born British screenwriter, as well as a prolific novelist and journalist.
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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.
Who now reads novels as a guide to life and love? Everyone wants to star in his or her own movie.
Modest successes are better known as failures.
A screenwriter is wise to have a life elsewhere.
Although he was an intelligent man, I don’t think that he was a supreme intelligence. He had a sense of having missed a university education. He was working when he was 17. It may have been his choice because his father was not a poor man. I would not, to say the least, call him a frank man. He talked about a great many things and then would occasionally reveal little anecdotal aspects of his own life. He was not interested in our becoming buddies. He was avid for knowledge, which he hoped I possessed, and which I tried to give the impression I did. I don’t have any notion whatever of being omniscient.
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