Stanley Kubrick (1928 – 1999)
American film director born in The Bronx, New York City who lived most of his life in England.
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When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
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.
I don't like doing interviews. There is always the problem of being misquoted or, what's even worse, of being quoted exactly.
The very meaninglessness of life forces man to create his own meaning. If it can be written or thought, it can be filmed.
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.
One man writes a novel. One man writes a symphony. It is essential that one man make a film.
Include utter banalities.
There's something in the human personality which resents things that are clear, and conversely, something which is attracted to puzzles, enigmas, and allegories.
Think [Schindler's List] was about the Holocaust?... That was about success, wasn’t it? The Holocaust is about six million people who get killed. ‘'Schindler’s List’' is about 600 who don’t. Anything else?
The most terrifying fact about the universe is not that it is hostile but that it is indifferent; but if we can come to terms with this indifference and accept the challenges of life within the boundaries of death — however mutable man may be able to make them — our existence as a species can have genuine meaning and fulfillment. However vast the darkness, we must supply our own light.
Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write War and Peace in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.
I have always enjoyed dealing with a slightly surrealistic situation and presenting it in a realistic manner. I've always liked fairy tales and myths, magical stories. I think they are somehow closer to the sense of reality one feels today than the equally stylized "realistic" story in which a great deal of selectivity and omission has to occur in order to preserve its "realist" style.
If man merely sat back and thought about his impending termination, and his terrifying insignificance and aloneness in the cosmos, he would surely go mad, or succumb to a numbing sense of futility. Why, he might ask himself, should he bother to write a great symphony, or strive to make a living, or even to love another, when he is no more than a momentary microbe on a dust mote whirling through the unimaginable immensity of space? ...
Those of us who are forced by their own sensibilities to view their lives in this perspective — who recognize that there is no purpose they can comprehend and that amidst a countless myriad of stars their existence goes unknown and unchronicled — can fall prey all too easily to the ultimate anomie. ... The world's religions, for all their parochialism, did supply a kind of consolation for this great ache ... This shattering recognition of our mortality is at the root of far more mental illness than I suspect even psychiatrists are aware.
The first really important book I read about filmmaking was The Film Technique by Pudovkin. This was some time before I had ever touched a movie camera and it opened my eyes to cutting and montage.
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