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THE COMPLETE KUBRICK 📕 Thirteen films, one singular collection. Introducing THE COMPLETE KUBRICK: an unprecedented box set bringing together Stanley Kubrick’s entire directorial output for the first time. A titan of cinema whose influence extends across visual art, philosophy, politics, technology, fashion, and beyond, Kubrick created an unparalleled string... show more

Criterion Collection

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Designing the Box: THE COMPLETE KUBRICK Michael Chaiken, the Criterion producer of THE COMPLETE KUBRICK—a monumental 4K UHD + Blu-ray collector’s set bringing together Stanley Kubrick’s entire directorial output for the first time—offers a glimpse inside the process of designing a box that could house the legendary filmmaker’s complete works, sharing how the acclaimed graphic designer Drusilla Adeline (aka Sister Hyde) found inspiration in Kubrick’s personal archives.

Designing the Box: THE COMPLETE KUBRICK Michael Chaiken, the Criterion producer of THE COMPLETE KUBRICK—a monumental 4K UHD + Blu-ray collector’s set bringing together Stanley Kubrick’s entire directorial output for the first time—offers a glimpse inside the process of designing a box that could house the legendary filmmaker’s complete works, sharing how the acclaimed graphic designer Drusilla Adeline (aka Sister Hyde) found inspiration in Kubrick’s personal archives.

Criterion Collection

101,284 views • 3 days ago

THE COMPLETE KUBRICK: Over 25 Hours of Special Features 🎞️ 📕 Our unprecedented 4K UHD + Blu-ray box set bringing together Kubrick’s entire directorial output for the first time is coming to Criterion in October! Pairing Kubrick's complete filmography with in-depth interviews, test footage, extensive documentaries, and invaluable behind-the-scenes materials, Criterion’s 30-disc box set offers a film school’s worth of special features on the vision, practice, and career of the legendary filmmaker.

THE COMPLETE KUBRICK: Over 25 Hours of Special Features 🎞️ 📕 Our unprecedented 4K UHD + Blu-ray box set bringing together Kubrick’s entire directorial output for the first time is coming to Criterion in October! Pairing Kubrick's complete filmography with in-depth interviews, test footage, extensive documentaries, and invaluable behind-the-scenes materials, Criterion’s 30-disc box set offers a film school’s worth of special features on the vision, practice, and career of the legendary filmmaker.

Criterion Collection

241,684 views • 11 days ago

Stanley Kubrick is getting the full Criterion Collection treatment: The Complete Kubrick is a 4k restoration of all Kubrick’s 13 features (all masterpieces in their own right) along with some short films & behind-the-scenes footage of Kubrick. The cost comes in at about $480, which I think is hefty, but I plan on purchasing The Complete Kubrick for multiple reasons, the primary reason being I want to have physical editions of each of Kubrick’s films in my home. Period. Drops October 20th, folks.

Stanley Kubrick is getting the full Criterion Collection treatment: The Complete Kubrick is a 4k restoration of all Kubrick’s 13 features (all masterpieces in their own right) along with some short films & behind-the-scenes footage of Kubrick. The cost comes in at about $480, which I think is hefty, but I plan on purchasing The Complete Kubrick for multiple reasons, the primary reason being I want to have physical editions of each of Kubrick’s films in my home. Period. Drops October 20th, folks.

Cinema Tweets

17,035 views • 11 days ago

All 13 of Stanley Kubrick’s films (aka all 13 of his masterpieces) are coming to Criterion Collection on October 20th. The entire set is $600 but includes new versions, restorations, and behind-the-scenes footage of all Kubrick’s films. While I personally grapple with the $600 price (that’s a lot of dough), I really want to pull the trigger & make this purchase simply because Kubrick is God.

All 13 of Stanley Kubrick’s films (aka all 13 of his masterpieces) are coming to Criterion Collection on October 20th. The entire set is $600 but includes new versions, restorations, and behind-the-scenes footage of all Kubrick’s films. While I personally grapple with the $600 price (that’s a lot of dough), I really want to pull the trigger & make this purchase simply because Kubrick is God.

Cinema Tweets

25,465 views • 26 days ago

CIA Officer Confesses On Deathbed: 'I Killed Stanley Kubrick' Stanley Kubrick didn't just make films - he exposed truths. His final movie, Eyes Wide Shut, pulled back the mask on the rituals of the elite, and just days after delivering his cut, he was dead. Officially, it was a heart attack. But a CIA officer, speaking on his deathbed, confessed it was an assassination - carried out under orders from above. He revealed that the Eyes Wide Shut we saw was a mutilated version of Kubrick’s vision - its narration torn out, whole sequences erased, and a chilling subplot exposing elite pedophile networks buried in the cutting room floor.

CIA Officer Confesses On Deathbed: 'I Killed Stanley Kubrick' Stanley Kubrick didn't just make films - he exposed truths. His final movie, Eyes Wide Shut, pulled back the mask on the rituals of the elite, and just days after delivering his cut, he was dead. Officially, it was a heart attack. But a CIA officer, speaking on his deathbed, confessed it was an assassination - carried out under orders from above. He revealed that the Eyes Wide Shut we saw was a mutilated version of Kubrick’s vision - its narration torn out, whole sequences erased, and a chilling subplot exposing elite pedophile networks buried in the cutting room floor.

TPV Sean

124,746 views • 11 months ago

Those who have followed Stanley Kubrick’s films have long felt that Eyes Wide Shut was slightly off, almost as if it wasn’t entirely his film. And it got validated when Roger Avary, co-writer of Pulp Fiction, told Joe Rogan on The Joe Rogan Experience (December, 2024) that the original script of Eyes Wide Shut was far darker than the film we saw. According to Avary, it centered on uncovering an elite pedophile ring. After an early cut, the studio allegedly pushed Stanley Kubrick to remove those elements. Kubrick resisted. Kubrick died just six days after screening the final cut of Eyes Wide Shut (1999) to the studio, before the film’s premiere. Avary has also claimed the original ending implied that Tom Cruise and Nicole Kidman’s characters ultimately sell their child to the very circle they expose. Kubrick’s film depicts secretive, ritualistic elite gatherings -imagery that many now view differently in light of what has emerged in the Epstein files.

Those who have followed Stanley Kubrick’s films have long felt that Eyes Wide Shut was slightly off, almost as if it wasn’t entirely his film. And it got validated when Roger Avary, co-writer of Pulp Fiction, told Joe Rogan on The Joe Rogan Experience (December, 2024) that the original script of Eyes Wide Shut was far darker than the film we saw. According to Avary, it centered on uncovering an elite pedophile ring. After an early cut, the studio allegedly pushed Stanley Kubrick to remove those elements. Kubrick resisted. Kubrick died just six days after screening the final cut of Eyes Wide Shut (1999) to the studio, before the film’s premiere. Avary has also claimed the original ending implied that Tom Cruise and Nicole Kidman’s characters ultimately sell their child to the very circle they expose. Kubrick’s film depicts secretive, ritualistic elite gatherings -imagery that many now view differently in light of what has emerged in the Epstein files.

The Cinéprism

721,386 views • 5 months ago

Steven Spielberg saw Stanley Kubrick for the first time in 1980 while he was building sets for "The Shining" (1980). After the movie was released, Spielberg went to Kubrick's house for dinner. Kubrick asked him if he liked the movie. Spielberg, who didn't like the movie in the first viewing, started to tell Kubrick all the things he liked about the movie, rather than telling that he didn't like the movie. Kubrick saw right through him and said, "Steven, you obviously didn't like my picture very much". Spielberg replied, "There is a lot of things that I like about the picture". Kubrick stopped him and said, "But there is a lot of things you didn't love about the picture, probably a lot more that you didn't than did. So tell me what you didn't like about it." Spielberg pinpointed Jack Nicholson's performance. He called him a "great actor" and a "great performance", but a "Great Kabuki Performance", almost like Kabuki theater. Kubrick then asked, "You mean you think Jack went over the top?". Spielberg replied affirmatively. Kubrick then asked Spielberg to name his top 5 favourite actors of all time without thinking much. Spielberg listed Spencer Tracy, Henry Fonda, James Stewart, Cary Grant and Clark Gable. Kubrick said, "Stop" & questioned, "Where was James Cagney on that list?" Spielberg said that he is up there high, Kubrick then said, "But not in the top 5". Finally Kubrick said," You don't consider James Cagney as one of the 5 best actors around, but I do. This is why Jack Nicholson's performance is a great one." Since then, Spielberg has caw "The Shining" more than 25 times & considers it one of his favourite pictures. P.S: Remembering the legendary American actor James Cagney on his 127th birthday! Clip from: One, Two, Three (1961) Director: Billy Wilder

Steven Spielberg saw Stanley Kubrick for the first time in 1980 while he was building sets for "The Shining" (1980). After the movie was released, Spielberg went to Kubrick's house for dinner. Kubrick asked him if he liked the movie. Spielberg, who didn't like the movie in the first viewing, started to tell Kubrick all the things he liked about the movie, rather than telling that he didn't like the movie. Kubrick saw right through him and said, "Steven, you obviously didn't like my picture very much". Spielberg replied, "There is a lot of things that I like about the picture". Kubrick stopped him and said, "But there is a lot of things you didn't love about the picture, probably a lot more that you didn't than did. So tell me what you didn't like about it." Spielberg pinpointed Jack Nicholson's performance. He called him a "great actor" and a "great performance", but a "Great Kabuki Performance", almost like Kabuki theater. Kubrick then asked, "You mean you think Jack went over the top?". Spielberg replied affirmatively. Kubrick then asked Spielberg to name his top 5 favourite actors of all time without thinking much. Spielberg listed Spencer Tracy, Henry Fonda, James Stewart, Cary Grant and Clark Gable. Kubrick said, "Stop" & questioned, "Where was James Cagney on that list?" Spielberg said that he is up there high, Kubrick then said, "But not in the top 5". Finally Kubrick said," You don't consider James Cagney as one of the 5 best actors around, but I do. This is why Jack Nicholson's performance is a great one." Since then, Spielberg has caw "The Shining" more than 25 times & considers it one of his favourite pictures. P.S: Remembering the legendary American actor James Cagney on his 127th birthday! Clip from: One, Two, Three (1961) Director: Billy Wilder

DepressedBergman

388,329 views • 1 day ago

Introducing `Claude-Author` 📕✍️ One prompt -> an entire novel! Just describe the high-level details, and a chain of AI systems will write an entire book for you in minutes. - complete w/ cover art - packages your book as a real e-book And it's open-source!

Introducing `Claude-Author` 📕✍️ One prompt -> an entire novel! Just describe the high-level details, and a chain of AI systems will write an entire book for you in minutes. - complete w/ cover art - packages your book as a real e-book And it's open-source!

Matt Shumer

671,966 views • 2 years ago

Introducing: UNTITLED. The first Ordinals collection to be minted in a Rune. In partnership with Magic Eden 🪄, we have created one of the first use-cases for Runes in the form of using a fungible to mint a non-fungible collection. UNTITLED is a first-of-its-kind Ordinals collection. We believe it is important for the Decentralized community to have an identity. On top of that, innovating and experimenting is crucial for cementing the culture and provenance of Decentralized, as well as pushing forward the technology-driven brand identity.

⚡️DECENTRALIZED

267,050 views • 2 years ago

Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

illuminatibot

48,483 views • 2 months ago

On this day in 1975, Stanley Kubrick’s 'Barry Lyndon' premiered in London. 50 years later, the film remains a monumental experience, one of cinema’s most meticulously crafted achievements, a work of beauty and precision. Adapted from William Makepeace Thackeray’s novel, ‘Barry Lyndon’ follows the rise and fall of Redmond Barry, an ambitious outsider who maneuvers his way into aristocratic society. The candlelit scenes were filmed almost entirely by candlelight, made possible by ultra-fast Zeiss lenses developed for NASA. For the rest of the film, Kubrick combined natural light, hidden reflectors, and carefully controlled lighting to craft interiors and landscapes that look as if they were pulled straight from 18th-century paintings. The film’s obsessive attention to period detail (from costumes stitched using historical techniques to locations lit as they would have been in 1770), reached a level of authenticity that’s still incredible today. After months of shooting across remote estates in Ireland, and a production so demanding that cast and crew joked they aged in “Kubrick years,” the result was a vision so controlled and immersive it feels like stepping into a living museum.

On this day in 1975, Stanley Kubrick’s 'Barry Lyndon' premiered in London. 50 years later, the film remains a monumental experience, one of cinema’s most meticulously crafted achievements, a work of beauty and precision. Adapted from William Makepeace Thackeray’s novel, ‘Barry Lyndon’ follows the rise and fall of Redmond Barry, an ambitious outsider who maneuvers his way into aristocratic society. The candlelit scenes were filmed almost entirely by candlelight, made possible by ultra-fast Zeiss lenses developed for NASA. For the rest of the film, Kubrick combined natural light, hidden reflectors, and carefully controlled lighting to craft interiors and landscapes that look as if they were pulled straight from 18th-century paintings. The film’s obsessive attention to period detail (from costumes stitched using historical techniques to locations lit as they would have been in 1770), reached a level of authenticity that’s still incredible today. After months of shooting across remote estates in Ireland, and a production so demanding that cast and crew joked they aged in “Kubrick years,” the result was a vision so controlled and immersive it feels like stepping into a living museum.

Lost In Film

90,926 views • 7 months ago

WATCH: Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

WATCH: Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

redpillbot

33,095 views • 5 months ago

WATCH: Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

WATCH: Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

redpillbot

25,009 views • 4 months ago

WATCH: Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

WATCH: Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

illuminatibot

132,954 views • 6 months ago

WATCH: Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

WATCH: Stanley Kubrick's Eyes Wide Shut had a lot of secret truths hidden in it. Eyes Wide Shut was not the movie Kubrick intended audiences to see. The studio cut 24 minutes from the film, and just a few days later, the legendary filmmaker was dead... What was in those 24 minutes? And what happens at the real masked parties? The director was found dead on March 7th, 1999, at his home in Harpenden, Hertfordshire, just six days after screening the final cut of Eyes Wide Shut to Warner Brothers executives. As a result, he was unable to control the release of what was to be his final film... Considering the theme of Eyes Wide Shut, the fact Stanley Kubrick had first thought of casting actor Woody Allen as the lead actor in the movie only hyperbolizes the so-called conspiracy theories about the film. The director also considered Dustin Hoffman, Warren Beatty, Alan Alda, Alec Baldwin, Albert Brooks, Bill Murray, Sam Shepherd, and Tom Hanks for the leading role. What was Stanley Kubrick trying to tell us in this movie from 1999?

illuminatibot

237,426 views • 7 months ago

Introduction for namjoon 👤 as many of you knoe, BTS has not only dominated music charts worldwide but also garnered prestigious accolades. Beyond his groundbreaking musical career with BTS and his impactful solo work. RM is renowned as an art enthusiast and a collector, celebrated for his insightful perspectives on art. He is also recognized as an artnet Art innovator and a significant patron of the arts wirlding considerable influence in the art world. And now please once again, big applause for RM Namjoon: that was so long. Thank you

Introduction for namjoon 👤 as many of you knoe, BTS has not only dominated music charts worldwide but also garnered prestigious accolades. Beyond his groundbreaking musical career with BTS and his impactful solo work. RM is renowned as an art enthusiast and a collector, celebrated for his insightful perspectives on art. He is also recognized as an artnet Art innovator and a significant patron of the arts wirlding considerable influence in the art world. And now please once again, big applause for RM Namjoon: that was so long. Thank you

hope⁷

73,076 views • 1 year ago

Stanley Kubrick on why he doesn't like to explain about his movies: "Interviewer: All the books, most of the articles I read about you—It’s all conceptualizing. Kubrick: Yeah, but not by me. I thought I had to ask those kinds of questions. No. Hell, no. That’s my... [He shudders.] It’s the thing I hate the worst. Interviewer: Really? I’ve got all these questions written down in a form I thought you might require. They all sound like essay questions for the finals in a graduate philosophy seminar. Kubrick: The truth is that I’ve always felt trapped and pinned down and harried by those questions. Questions like [reading from notes] “Your first feature, 'Fear and Desire', in 1953, concerned a group of soldiers lost behind enemy lines in an unnamed war; 'Spartacus' contained some battle scenes; 'Paths of Glory' was an indictment of war and, more specifically, of the generals who wage it; and 'Dr. Strangelove' was the blackest of comedies about accidental nuclear war. How does 'Full Metal Jacket' complete your examination of the subject of war? Or does it?” Those kinds of questions. Interviewer: You feel the real question lurking behind all the verbiage is “What does this new movie mean?” Kubrick: Exactly. And that’s almost impossible to answer, especially when you’ve been so deeply inside the film for so long. Some people demand a five-line capsule summary. Something you’d read in a magazine. They want you to say, “This is the story of the duality of man and the duplicity of governments.” [A pretty good description of the subtext that informs Full Metal Jacket, actually.] I hear people try to do it— give the five-line summary — but if a film has any substance or subtlety, whatever you say is never complete, it’s usually wrong, and it’s necessarily simplistic: truth is too multifaceted to be contained in a five-line summary. If the work is good, what you say about it is usually irrelevant. I don’t know. Perhaps it’s vanity, this idea that the work is bigger than one’s capacity to describe it. Some people can do interviews. They’re very slick, and they neatly evade this hateful conceptualizing. Fellini is good; his interviews are very amusing. He just makes jokes and says preposterous things that you know he can’t possibly mean. I mean, I’m doing interviews to help the film, and I think they do help the film, so I can’t complain. But it isn’t... it’s... it’s difficult." (Stanley Kubrick's interview with Tim Cahill, 1987) Clip from: Full Metal Jacket (1987) Director: Stanley Kubrick

Stanley Kubrick on why he doesn't like to explain about his movies: "Interviewer: All the books, most of the articles I read about you—It’s all conceptualizing. Kubrick: Yeah, but not by me. I thought I had to ask those kinds of questions. No. Hell, no. That’s my... [He shudders.] It’s the thing I hate the worst. Interviewer: Really? I’ve got all these questions written down in a form I thought you might require. They all sound like essay questions for the finals in a graduate philosophy seminar. Kubrick: The truth is that I’ve always felt trapped and pinned down and harried by those questions. Questions like [reading from notes] “Your first feature, 'Fear and Desire', in 1953, concerned a group of soldiers lost behind enemy lines in an unnamed war; 'Spartacus' contained some battle scenes; 'Paths of Glory' was an indictment of war and, more specifically, of the generals who wage it; and 'Dr. Strangelove' was the blackest of comedies about accidental nuclear war. How does 'Full Metal Jacket' complete your examination of the subject of war? Or does it?” Those kinds of questions. Interviewer: You feel the real question lurking behind all the verbiage is “What does this new movie mean?” Kubrick: Exactly. And that’s almost impossible to answer, especially when you’ve been so deeply inside the film for so long. Some people demand a five-line capsule summary. Something you’d read in a magazine. They want you to say, “This is the story of the duality of man and the duplicity of governments.” [A pretty good description of the subtext that informs Full Metal Jacket, actually.] I hear people try to do it— give the five-line summary — but if a film has any substance or subtlety, whatever you say is never complete, it’s usually wrong, and it’s necessarily simplistic: truth is too multifaceted to be contained in a five-line summary. If the work is good, what you say about it is usually irrelevant. I don’t know. Perhaps it’s vanity, this idea that the work is bigger than one’s capacity to describe it. Some people can do interviews. They’re very slick, and they neatly evade this hateful conceptualizing. Fellini is good; his interviews are very amusing. He just makes jokes and says preposterous things that you know he can’t possibly mean. I mean, I’m doing interviews to help the film, and I think they do help the film, so I can’t complain. But it isn’t... it’s... it’s difficult." (Stanley Kubrick's interview with Tim Cahill, 1987) Clip from: Full Metal Jacket (1987) Director: Stanley Kubrick

DepressedBergman

58,791 views • 7 months ago

While creating Destiny, Park Kitae said that it felt like writing a letter to Woozi, and Bumzu said he was deeply thinking, “What has Jihoon’s heart been like over the past 10 years?” as Woozi's hyung. And when Woozi performs the song, an image of himself gradually forms, slowly coming together until it becomes a complete portrait of Woozi by the end of the song. The performance feels as if Woozi is reading a letter written just for him and we are watching the whole movie of his growth 🥺

While creating Destiny, Park Kitae said that it felt like writing a letter to Woozi, and Bumzu said he was deeply thinking, “What has Jihoon’s heart been like over the past 10 years?” as Woozi's hyung. And when Woozi performs the song, an image of himself gradually forms, slowly coming together until it becomes a complete portrait of Woozi by the end of the song. The performance feels as if Woozi is reading a letter written just for him and we are watching the whole movie of his growth 🥺

nasi.

31,808 views • 1 year ago

Barry marrying Lady Lyndon should be his triumph. He's climbed from Irish outsider to the middle of the aristocracy, and the marriage hands him the wealth, the title, the land, and the standing he's chased for most of the film. Then Kubrick declines to shoot it as romance. He shoots it as a painting of a transaction. The guests barely move. The composition is flat and formal, everyone arranged on the canvas rather than living inside the moment, and the slow zoom-out pulls the wedding back into something more like a historical portrait — symmetrical, distant, frozen. Barry is getting everything he ever wanted, and the image is already dead. No warmth in the room, no sense of destiny. Lady Lyndon looks less like a bride entering a love story than a figure being quietly filed into an arrangement. He's won his seat at the table, and the win is hollow before the marriage has started. Which is where the look of the film does its real work. Barry Lyndon was built to pass for the eighteenth century preserved in oil. Kubrick and John Alcott shot by natural light where they could, and for the candlelit interiors Kubrick used ultra-fast Zeiss f/0.7 lenses that had been made for NASA — glass fast enough to expose a scene by three candles. The point wasn't only beauty. It was to make everyone look trapped inside history. The wedding is the clearest case. On the surface it's a masterpiece of faces, light and ritual. Underneath it's ice. Barry has finally entered the world he wanted, and Kubrick frames that world as rigid and airless. He doesn't look like a man beginning a marriage. He looks like a man stepping into a portrait that's about to become his cell.

Barry marrying Lady Lyndon should be his triumph. He's climbed from Irish outsider to the middle of the aristocracy, and the marriage hands him the wealth, the title, the land, and the standing he's chased for most of the film. Then Kubrick declines to shoot it as romance. He shoots it as a painting of a transaction. The guests barely move. The composition is flat and formal, everyone arranged on the canvas rather than living inside the moment, and the slow zoom-out pulls the wedding back into something more like a historical portrait — symmetrical, distant, frozen. Barry is getting everything he ever wanted, and the image is already dead. No warmth in the room, no sense of destiny. Lady Lyndon looks less like a bride entering a love story than a figure being quietly filed into an arrangement. He's won his seat at the table, and the win is hollow before the marriage has started. Which is where the look of the film does its real work. Barry Lyndon was built to pass for the eighteenth century preserved in oil. Kubrick and John Alcott shot by natural light where they could, and for the candlelit interiors Kubrick used ultra-fast Zeiss f/0.7 lenses that had been made for NASA — glass fast enough to expose a scene by three candles. The point wasn't only beauty. It was to make everyone look trapped inside history. The wedding is the clearest case. On the surface it's a masterpiece of faces, light and ritual. Underneath it's ice. Barry has finally entered the world he wanted, and Kubrick frames that world as rigid and airless. He doesn't look like a man beginning a marriage. He looks like a man stepping into a portrait that's about to become his cell.

Best of Kubrick

35,292 views • 6 days ago