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[elevator whirring]
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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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[elevator dings]
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["The Blue Danube" from
"2001: A Space Odyssey" plays]
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[♪♪♪]
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[film camera rolling]
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["Waltz No. 2"
from "Eyes Wide Shut" plays]
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[♪♪♪]
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News just in, we've just heard
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that the film director
Stanley Kubrick
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has died at the age of 70.
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Kubrick, who was an American,
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began his career in Hollywood,
where he directedSpartacus,
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but he decided
to move to Britain,
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where he directed
Lolita, Clockwork Orange,
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2001: A Space Odyssey
andThe Shining.
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Stanley Kubrick
was widely regarded
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as one of the greatest and most
controversial masters of cinema.
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He'd just finished
what was to be his last film,
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Eyes Wide Shut,
which took five years to make.
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00:02:02,774 --> 00:02:04,907
Stanley Kubrick has been called
the Howard Hughes of cinema
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because he was such a recluse.
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I prefer to think him
as the Frank Sinatra of cinema
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because he always did everything
his way.
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You can go back
to any Kubrick film
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00:02:14,090 --> 00:02:15,352
and feel rebirth.
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Kubrick is at the very least
a genuine innovator
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who pushes out the boundaries
of what it's possible on film,
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00:02:41,987 --> 00:02:43,815
and there have never been
many of those about.
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He is also an elusive man
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who rarely permits himself
to be observed at work.
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He was not any of the things
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00:02:49,821 --> 00:02:52,433
that the newspapers
wrote about him.
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And...
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he himself said,
"It's very difficult.
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How do I defend myself?
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Do I write an article, you know,
'Dear public, I'm charming'?"
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Um, that's more difficult
than it sounds actually.
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'Cause, you know, he never ever
does a television show
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or very rarely does
any press interviews.
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[♪♪♪]
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[♪♪♪]
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MICHEL:
Well perhaps the first question
would be about
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this problem of interview
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because, it seems that more
and more you feel reluctant
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00:04:35,710 --> 00:04:37,320
to speak about your films ?
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STANLEY:
Well, I've never
found it meaningful
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00:04:41,890 --> 00:04:44,719
or even... possible
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00:04:44,849 --> 00:04:48,505
to talk about film aesthetics
in terms of my own films.
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00:04:50,725 --> 00:04:54,294
I also don't particularly enjoy
[chuckles] the interviews
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because one always feels
under the obligation
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to say some witty,
brilliant summary
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00:05:00,604 --> 00:05:01,823
of the intentions of the film.
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00:05:01,953 --> 00:05:03,520
And...
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00:05:03,651 --> 00:05:05,348
withDr. Strangelove
you could talk about
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00:05:05,479 --> 00:05:06,610
the problems of nuclear war...
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00:05:07,959 --> 00:05:09,483
2001 you could talk about
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00:05:09,613 --> 00:05:11,441
extraterrestrial intelligence,
but I've never been--
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00:05:11,572 --> 00:05:12,877
MICHEL:
Clockwork Orange
about violence.
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STANLEY:
Yes, or future
social structures.
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00:05:16,577 --> 00:05:18,056
I mean I don't know what led me
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to make any of the films,
really, that I've made.
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00:05:21,495 --> 00:05:24,236
And I realize that
my own thought processes are...
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00:05:25,890 --> 00:05:27,109
very hard to define,
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in terms of you know,
"What story do you want
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00:05:31,635 --> 00:05:32,680
to make into a film?"
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00:05:34,072 --> 00:05:39,207
In the end, it does become
this very indefinable thing,
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00:05:39,339 --> 00:05:41,732
like why do you find
one particular girl attractive,
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or why did you marry your wife.
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MICHEL:
Yes, and also I suppose
it is more difficult
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for you to analyze yourself
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00:05:50,567 --> 00:05:52,569
because the material
comes from somebody else.
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So, it's more difficult to see
the personal reasons
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00:05:55,442 --> 00:05:56,356
that were behind it
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since you didn't
write it yourself
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but of obviously the choice
of the subject
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is a very personal thing,
because you can choose
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between thousands of books
but you chose one.
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So, it's-- you become the author
of the book,
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in a way, by choosing it.
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STANLEY
Well...
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if somebody else
has written the story,
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you have that one
great first reading.
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You never again, once you read
something for the first time,
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can ever have that experience.
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00:06:21,206 --> 00:06:23,252
And the judgment
of the narrative
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and the sense of excitement
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of what parts of the story
reach you emotionally,
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is something which doesn't exist
if you write a story.
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00:06:36,308 --> 00:06:37,919
MICHEL:
We know,
I mean everybody knows,
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it's notorious that you love
to accumulate information
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and do research.
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Is it a thrill for you,
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like being a reporter
or a detective?
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STANLEY:
It is a little bit
like a detective
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looking for clues.
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On Barry Lyndon,
I created a picture file
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of thousands of drawings
and paintings.
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00:07:02,596 --> 00:07:05,250
I think I destroyed
every art book
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00:07:05,381 --> 00:07:06,687
that you can buy in a bookshop
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00:07:06,817 --> 00:07:09,472
by tearing the pages out
and sorting them out.
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00:07:09,603 --> 00:07:11,039
But...
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the costumes were all copied
from paintings.
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I mean none of the costumes
were quote "designed".
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It's stupid to have
quote "a designer"
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that interpret the 18th Century
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as they may remember it
from art school
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00:07:25,836 --> 00:07:27,490
or from a few pictures
they get together.
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00:07:30,624 --> 00:07:33,409
["Sarabande"
from "Barry Lyndon" plays]
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MICHEL:
Would you agree
that the more illusion works,
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the more realistic it is?
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That cinema
has to extremely realistic,
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you know, to create illusion?
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STANLEY:
Well, I would always
be attracted
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to something which offered
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interesting
visual possibilities,
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but that certainly wouldn't be
the only reason.
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And, since part of the problem
of any story
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is to make you believe
what you are seeing,
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00:08:01,872 --> 00:08:04,092
certainly getting
a realistic atmosphere,
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00:08:04,222 --> 00:08:07,095
especially if it's not
a contemporary period,
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00:08:07,225 --> 00:08:10,272
is just necessary
as a starting point.
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MICHEL:
It's why you came to this idea
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of shooting with light,
natural light.
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00:08:17,497 --> 00:08:18,454
STANLEY:
Well, that's something
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that I've always been
very bothered by
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00:08:20,587 --> 00:08:21,631
in period films
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is the light on interiors
is so false.
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00:08:28,072 --> 00:08:32,424
MARISA:
It was very different
to any kind of other movies
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as far as photography
was concerned,
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because the lightning was so--
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You know, lot of it was shot
by candle light,
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00:08:39,736 --> 00:08:43,044
a lot of it was shot
with equipment
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00:08:43,174 --> 00:08:44,785
that Stanley Kubrick had found,
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00:08:44,915 --> 00:08:48,223
that had never been used before
really, on film.
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00:08:48,353 --> 00:08:50,790
So, it was quite an experience
working with that.
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00:08:50,921 --> 00:08:53,228
It was also difficult
because there were times
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00:08:53,358 --> 00:08:55,926
when you just couldn't even move
a fraction of an inch.
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00:08:57,754 --> 00:08:58,755
And...
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00:09:00,365 --> 00:09:01,845
there were days
we would just sit there
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00:09:01,976 --> 00:09:04,413
and just be lit all day.
[chuckles]
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00:09:04,544 --> 00:09:05,327
You know...
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Literally.
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00:09:07,503 --> 00:09:10,854
[indistinct chatter]
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00:09:10,985 --> 00:09:12,769
Samuel, I'm going outside
for a breath of air.
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00:09:13,683 --> 00:09:14,858
Yes, My Lady, of course.
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00:09:17,774 --> 00:09:20,385
[indistinct chatter]
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00:09:21,952 --> 00:09:26,435
STANLEY:
To know about lighting
and lenses and composition
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00:09:26,566 --> 00:09:28,176
has to be a help
as a movie director.
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00:09:29,830 --> 00:09:32,702
["Spartacus" theme plays]
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00:09:32,833 --> 00:09:37,664
[♪♪♪]
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STANLEY:
I remember,
when I was makingSpartacus ,
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00:09:45,889 --> 00:09:49,937
the cameraman, Russ Metty,
used to think it was very funny
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that I used to pick set-ups
with a view finder,
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and he said to me,
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"We are shooting
in that direction
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and it's a knee figure shot
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and just, you know,
go and rehearse with the actors
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and when you come back
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00:10:00,948 --> 00:10:02,558
we'll have the shot
and the set-up and everything"
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00:10:05,169 --> 00:10:06,388
He couldn't understand
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00:10:06,518 --> 00:10:08,564
why I wanted to waste time
making a composition.
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00:10:12,742 --> 00:10:15,702
STANLEY:
Certainly, photography gave me
the first step
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00:10:15,832 --> 00:10:17,225
where I could actually try
to make a movie
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00:10:17,355 --> 00:10:18,922
because without that
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00:10:19,053 --> 00:10:20,358
how could you make a movie
by yourself
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00:10:20,489 --> 00:10:21,838
if you didn't know anything
about photography?
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00:10:26,060 --> 00:10:27,844
MICHEL:
What kind of photographs
were you doing?
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00:10:27,975 --> 00:10:29,193
I mean
there is the famous photograph
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00:10:29,324 --> 00:10:31,892
of the newspaper vendor
and the--
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00:10:32,022 --> 00:10:34,851
STANLEY:
Photojournalism
with natural light.
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00:10:36,244 --> 00:10:38,115
MICHEL:
Mostly things of the street,
like Cartier Bresson--
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00:10:38,246 --> 00:10:39,856
STANLEY:
Well unfortunately,
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00:10:39,987 --> 00:10:42,076
becauseLook always did
feature stories,
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the subject matter
always tended to be idiotic.
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They would do a story like
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"Is an Athlete Stronger
Than a Baby?"
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And I would have to go
and there'd be some guy
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00:10:53,827 --> 00:10:55,872
that would have to try
to get in the same positions
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00:10:56,003 --> 00:10:57,657
as a baby and things like that.
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00:10:59,397 --> 00:11:01,530
They were pretty stupid
feature stories,
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00:11:01,661 --> 00:11:04,098
but occasionally I could do
a sort of personality story,
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00:11:04,228 --> 00:11:07,797
or a story about something
like a university,
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00:11:07,928 --> 00:11:09,190
or something like that,
where you had a chance
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00:11:09,320 --> 00:11:11,192
to take some
reasonable photographs.
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00:11:13,368 --> 00:11:15,326
MICHEL:
You worked four years atLook ?
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00:11:15,457 --> 00:11:18,634
STANLEY:
Yeah, about four years.
I was about 20.
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00:11:19,461 --> 00:11:20,897
[camera shutter clicks]
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00:11:23,987 --> 00:11:27,861
NARRATOR:
This forest then,
and all that happens now
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00:11:27,991 --> 00:11:29,601
is outside history.
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00:11:31,212 --> 00:11:34,084
Only the unchanging shapes
of fear,
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00:11:34,215 --> 00:11:35,564
and doubt
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00:11:35,695 --> 00:11:37,000
and death
195
00:11:37,131 --> 00:11:38,567
are from our world.
196
00:11:40,525 --> 00:11:44,790
These soldiers that you see
keep our language and our time,
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00:11:46,096 --> 00:11:49,709
but have no other country
but the mind.
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00:11:51,711 --> 00:11:55,453
MICHEL:
You started by making almost
a home movie, when you were 23,
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00:11:55,584 --> 00:11:58,892
Fear and Desire,
about four men in a patrol.
200
00:11:59,022 --> 00:12:01,111
What was behind this project?
201
00:12:01,242 --> 00:12:04,071
STANLEY:
That was a very arrogant,
flippant script
202
00:12:04,201 --> 00:12:05,463
put together by myself,
203
00:12:05,594 --> 00:12:07,596
and a boy that I knew
who was a poet.
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00:12:07,727 --> 00:12:10,686
Where we thought
that we were geniuses,
205
00:12:10,817 --> 00:12:14,734
and it was so
incompetently done...
206
00:12:14,864 --> 00:12:17,040
and undramatic...
207
00:12:17,171 --> 00:12:18,781
and so pompous.
208
00:12:18,912 --> 00:12:20,740
But I learnt a lesson
from that.
209
00:12:20,870 --> 00:12:22,480
-[gunshots]
-[thuds]
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00:12:24,395 --> 00:12:27,137
STANLEY:
At least it had the ambition
of having some ideas in it,
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00:12:27,268 --> 00:12:29,705
and I suppose you could say
in that sense
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00:12:29,836 --> 00:12:33,143
there is some continuity
with the rest of my films,
213
00:12:33,274 --> 00:12:35,842
which I've also tried
to make sure that...
214
00:12:37,408 --> 00:12:39,497
you know, they weren't just
hollow entertainments.
215
00:12:43,371 --> 00:12:45,329
[grunts]
216
00:12:53,424 --> 00:12:56,210
-[grunts]
-[objects clattering]
217
00:12:56,863 --> 00:13:00,475
["Sarabande" plays]
218
00:13:00,605 --> 00:13:02,085
[machine gunfire]
219
00:13:04,914 --> 00:13:07,656
["Sarabande" plays over battle]
220
00:13:10,398 --> 00:13:11,747
MICHEL:
You get the feeling
from your films
221
00:13:11,878 --> 00:13:14,097
that really the world
is not only a stage,
222
00:13:14,228 --> 00:13:15,403
but it's a war,
223
00:13:15,533 --> 00:13:17,318
because man is fighting
all the time.
224
00:13:17,448 --> 00:13:19,668
["Sarabande" still playing]
225
00:13:22,279 --> 00:13:26,370
STANLEY:
Well, in a work of fiction
you have to have conflict.
226
00:13:26,501 --> 00:13:28,938
If there isn't a problem
in a story,
227
00:13:29,069 --> 00:13:31,114
it can almost by definition
not be a story.
228
00:13:31,245 --> 00:13:36,293
[♪♪♪]
229
00:13:36,424 --> 00:13:37,947
STANLEY:
You know, how many
happy marriages are there?
230
00:13:38,078 --> 00:13:42,386
And how many stepfathers
love their stepsons?
231
00:13:42,517 --> 00:13:44,649
And how many
stepsons love their stepfather?
232
00:13:44,780 --> 00:13:46,695
And how often...
233
00:13:47,957 --> 00:13:52,614
do people who have ambitions
which only involve money
234
00:13:52,744 --> 00:13:56,792
do they find
a satisfying accomplishment?
235
00:13:57,662 --> 00:13:58,620
Corporal Barry.
236
00:14:01,753 --> 00:14:02,624
[coins jingle]
237
00:14:03,581 --> 00:14:04,887
You are a gallant soldier
238
00:14:05,018 --> 00:14:07,063
and have evidently
come of good stock.
239
00:14:07,194 --> 00:14:08,978
But you're idle,
dissolute and unprincipled.
240
00:14:10,327 --> 00:14:12,677
You've done a great deal of harm
to the men...
241
00:14:12,808 --> 00:14:15,071
and for all your talents
and bravery
242
00:14:15,202 --> 00:14:16,507
I'm sure
you will come to no good.
243
00:14:18,205 --> 00:14:22,774
[♪♪♪]
244
00:14:22,905 --> 00:14:24,472
BARRY:
Barry Lyndon tells
of the rise and fall
245
00:14:24,602 --> 00:14:27,257
of an Irish adventurer
and let's face it, cad,
246
00:14:27,388 --> 00:14:30,086
who becomes a soldier,
a deserter, a gambler, a duelist
247
00:14:30,217 --> 00:14:32,741
and eventuallythe husband
of a very rich widow.
248
00:14:32,872 --> 00:14:34,308
There is I think deliberately
a distance
249
00:14:34,438 --> 00:14:36,092
between the audience
and characters.
250
00:14:36,223 --> 00:14:37,441
You are asked to watch the story
251
00:14:37,572 --> 00:14:39,008
of their adventures
and misadventures,
252
00:14:39,139 --> 00:14:41,184
but not necessarily
to identify with them.
253
00:14:41,315 --> 00:14:42,403
Well,
that's a dangerous approach,
254
00:14:42,533 --> 00:14:43,491
but it works.
255
00:14:43,621 --> 00:14:45,145
What also works
is the leisurely pace
256
00:14:45,275 --> 00:14:46,407
of the film,
257
00:14:46,537 --> 00:14:47,930
the pace that matches
the pace of the novel
258
00:14:48,061 --> 00:14:50,324
and I dare say
of the 18th-Century life itself.
259
00:14:50,454 --> 00:14:52,500
So, if you're expecting
an all-action, swashbuckler,
260
00:14:52,630 --> 00:14:53,544
forget it.
261
00:14:53,675 --> 00:14:54,850
What Kubrick presents instead
262
00:14:54,981 --> 00:14:57,679
is a hard, unromantic
and unsentimental look
263
00:14:57,809 --> 00:14:59,420
at the life and times
of a good-looking
264
00:14:59,550 --> 00:15:01,074
but ill-fated opportunist.
265
00:15:03,206 --> 00:15:04,642
MICHEL:
Some people get out
of the movie and say,
266
00:15:04,773 --> 00:15:06,079
"This character,
we have absolutely
267
00:15:06,209 --> 00:15:08,690
no sympathy for him."
268
00:15:08,820 --> 00:15:09,560
STANLEY:
Well, I don't see
how you can have
269
00:15:09,691 --> 00:15:11,084
no sympathy for him.
270
00:15:11,214 --> 00:15:13,521
On the other hand,
we're well aware of the weakness
271
00:15:13,651 --> 00:15:15,044
of his character
272
00:15:15,175 --> 00:15:19,440
and the trap
that he places himself in
273
00:15:19,570 --> 00:15:21,007
as a result of his ambitions,
274
00:15:21,137 --> 00:15:23,835
and the limitation
of his personality
275
00:15:23,966 --> 00:15:28,405
that arises from the cynicism
which develops
276
00:15:28,536 --> 00:15:32,366
from his early relationships
with people.
277
00:15:33,106 --> 00:15:37,284
He then becomes
a very limited person.
278
00:15:38,459 --> 00:15:40,156
He is completely unsuited
for the life,
279
00:15:40,287 --> 00:15:45,379
not only socially
but temperamentally.
280
00:15:45,509 --> 00:15:49,122
And so he puts himself
into a gilded cage.
281
00:15:49,252 --> 00:15:52,777
And from then on,
everything goes sour.
282
00:15:53,953 --> 00:15:59,610
[♪♪♪]
283
00:15:59,741 --> 00:16:02,222
MICHEL:
But how did you decide
on Ryan O'Neal
284
00:16:02,352 --> 00:16:03,571
for the main role?
285
00:16:03,701 --> 00:16:05,138
STANLEY:
Well, I couldn't think
of anybody else,
286
00:16:05,268 --> 00:16:06,704
to tell you the truth.
I mean...
287
00:16:07,923 --> 00:16:10,795
Obviously, Barry Lyndon
has to be physically attractive.
288
00:16:10,926 --> 00:16:14,234
He couldn't be played
by Al Pacino or Jack Nicholson.
289
00:16:15,322 --> 00:16:18,064
He had to also be able to,
in the beginning,
290
00:16:18,194 --> 00:16:19,456
appear to be young
291
00:16:19,587 --> 00:16:22,416
and yet not look too young
at the end.
292
00:16:24,940 --> 00:16:26,724
MICHEL:
And the actors,
how do you direct actors?
293
00:16:26,855 --> 00:16:28,726
Do you speak with them a lot,
294
00:16:28,857 --> 00:16:33,079
or do you let them feel the text
or do you have an explanation?
295
00:16:33,209 --> 00:16:36,821
STANLEY:
Well, first of all, you discuss
the character in general,
296
00:16:36,952 --> 00:16:39,346
and then you discuss the scene,
297
00:16:39,476 --> 00:16:41,783
what the character's
real attitude is in the scene.
298
00:16:42,827 --> 00:16:45,134
Then comes this terrible moment:
299
00:16:45,265 --> 00:16:48,094
the first time that
you actually rehearse a scene
300
00:16:48,224 --> 00:16:49,834
in the place
you are going to shoot it.
301
00:16:49,965 --> 00:16:51,271
It's always a surprise,
302
00:16:51,401 --> 00:16:53,577
it's never what you thought
it would be.
303
00:16:53,708 --> 00:16:55,449
The text usually
has to be changed
304
00:16:55,579 --> 00:16:56,798
in some way or another.
305
00:16:58,104 --> 00:16:59,453
Then they have to get it
to a level
306
00:16:59,583 --> 00:17:02,369
where it's realistic
and interesting.
307
00:17:02,499 --> 00:17:05,675
And at that point,
it then becomes relatively easy.
308
00:17:09,244 --> 00:17:10,550
MALCOLM:
It was an extraordinary
experience
309
00:17:10,681 --> 00:17:12,335
doingClockwork Orange.
310
00:17:12,465 --> 00:17:14,816
A very long and arduous film
to shoot.
311
00:17:15,817 --> 00:17:17,601
It was seven months shooting.
312
00:17:19,473 --> 00:17:21,648
And I was injured
a couple of times on the film.
313
00:17:21,779 --> 00:17:24,304
I had my ribs dented.
314
00:17:24,434 --> 00:17:25,957
I was off for two weeks
with that.
315
00:17:27,133 --> 00:17:29,265
I think I had tonsillitis
or something, I...
316
00:17:29,396 --> 00:17:31,006
One disaster after another
317
00:17:31,137 --> 00:17:33,356
as far as I wa--
my health was concerned.
318
00:17:33,487 --> 00:17:35,271
I got a couple
of scratched corneas
319
00:17:35,402 --> 00:17:36,664
on my eyes.
320
00:17:36,794 --> 00:17:39,145
But having said all that,
of course,
321
00:17:39,275 --> 00:17:41,364
I suppose one can say
it was worth it.
322
00:17:41,495 --> 00:17:43,627
And if Stanley trusts you,
323
00:17:43,758 --> 00:17:46,326
if he trusts you,
you're all right.
324
00:17:46,456 --> 00:17:47,936
If he doesn't, beware.
325
00:17:49,242 --> 00:17:50,721
Very well,
now listen to me carefully.
326
00:17:52,419 --> 00:17:54,899
The base is being put
on condition red.
327
00:17:55,030 --> 00:17:57,076
I want this flashed
to all sections immediately.
328
00:17:57,206 --> 00:17:58,990
I had the worst time
I've ever had on a picture,
329
00:17:59,121 --> 00:18:00,557
and...
330
00:18:00,688 --> 00:18:02,429
Nothing to do with Stanley,
331
00:18:02,559 --> 00:18:04,605
and everything to do, I guess,
with my own hang-ups.
332
00:18:04,735 --> 00:18:06,737
I worked the first day
at Shepperton,
333
00:18:06,868 --> 00:18:10,045
and I had a great deal
of technical jargon, you know?
334
00:18:10,176 --> 00:18:13,396
And so I started to work
and I began to blow.
335
00:18:13,527 --> 00:18:14,963
You know those clowns outside
336
00:18:15,094 --> 00:18:17,966
are gonna give me a pretty good
going over in a few minutes.
337
00:18:18,097 --> 00:18:21,448
Okay, and so he went
something like 38 takes.
338
00:18:21,578 --> 00:18:24,233
I don't know how well
I could stand up under torture.
339
00:18:24,364 --> 00:18:26,496
And I was getting worse
and worse.
340
00:18:26,627 --> 00:18:29,238
So finally,
he began to do pickups. Hmm?
341
00:18:29,369 --> 00:18:31,371
A sentence at a time.
342
00:18:31,501 --> 00:18:33,329
And I mean this is painful,
this is embarrassing.
343
00:18:33,460 --> 00:18:36,115
Shit, I'm here
and I want to do well, mm?
344
00:18:36,245 --> 00:18:38,378
I know I'll have to answer
for what I've done.
345
00:18:39,509 --> 00:18:41,772
And finally I walked up
and said, "Stanley I'm sorry,
346
00:18:41,903 --> 00:18:43,426
but there is nothing I can do."
347
00:18:43,557 --> 00:18:45,036
He said, "I know that."
348
00:18:45,167 --> 00:18:46,603
He said,
"There's nothing I can do."
349
00:18:46,734 --> 00:18:48,214
I said, "I know that."
350
00:18:48,344 --> 00:18:49,606
He said,
"But I'll tell you one thing."
351
00:18:49,737 --> 00:18:53,044
He said, "The terror,
the terror that's in your eyes
352
00:18:53,175 --> 00:18:54,829
may just give us
the quality that we want."
353
00:18:58,485 --> 00:19:00,748
JACK:
He is a perfectionist.
354
00:19:00,878 --> 00:19:03,620
But I mean,
on a more approvable level.
355
00:19:03,751 --> 00:19:07,189
I mean, you know, it's different
in a movie situation
356
00:19:07,320 --> 00:19:09,409
if you say, "How was it?"
to the operator.
357
00:19:09,539 --> 00:19:13,326
Stanley has the teleprompter
now, so he knows.
358
00:19:13,456 --> 00:19:15,893
And the amount of reason
that he has
359
00:19:16,024 --> 00:19:18,853
why a take is not acceptable...
360
00:19:18,983 --> 00:19:21,247
Quintessentially perfectionist.
361
00:19:24,511 --> 00:19:26,600
GARRETT:
We had discussions
about the elusive quality
362
00:19:26,730 --> 00:19:30,517
of perfection
because down by take 75,
363
00:19:30,647 --> 00:19:32,301
a host of other things
start going wrong.
364
00:19:32,432 --> 00:19:33,563
The tape finally gives out
365
00:19:33,694 --> 00:19:34,912
that held something onto
the wall,
366
00:19:35,043 --> 00:19:36,871
and entropy takes over,
367
00:19:37,001 --> 00:19:38,264
we're all growing older,
you know?
368
00:19:38,394 --> 00:19:42,355
So, the search is extraordinary,
he never gives up.
369
00:19:42,485 --> 00:19:45,662
[battle drums beating]
370
00:19:50,319 --> 00:19:53,409
LEONARD:
It was during a scene
of a great many army people,
371
00:19:53,540 --> 00:19:55,455
or Irish army whatever it was,
372
00:19:55,585 --> 00:19:58,022
but we utilized
a lot of material
373
00:19:58,153 --> 00:19:59,589
that was absolutely authentic.
374
00:19:59,720 --> 00:20:01,896
Authentic flutes from museums,
375
00:20:02,026 --> 00:20:04,507
authentic drums,
and so on and so forth.
376
00:20:04,638 --> 00:20:05,552
And it was very easy.
377
00:20:06,944 --> 00:20:09,817
I've after all recorded
some very avant-garde music
378
00:20:09,947 --> 00:20:12,646
that's very difficult
and this was a cinch.
379
00:20:12,776 --> 00:20:15,910
We did a 105 takes on this thing
and take two was perfect.
380
00:20:17,390 --> 00:20:20,219
And the orchestra looked at me
and I looked at them
381
00:20:20,349 --> 00:20:23,309
as though, "We're dealing
with an insane person."
382
00:20:23,439 --> 00:20:25,093
And 105 takes,
383
00:20:25,224 --> 00:20:27,487
and finally,
I threw down the baton,
384
00:20:27,617 --> 00:20:29,793
ran into the thing,
and grabbed him by the neck.
385
00:20:29,924 --> 00:20:31,186
I wanted to throw him
through the window
386
00:20:31,317 --> 00:20:33,188
when everyone
started laughing...
387
00:20:33,319 --> 00:20:34,537
kind of nervously.
388
00:20:34,668 --> 00:20:36,322
And he said, "You're crazy."
389
00:20:36,452 --> 00:20:38,193
And I said, "Well,
you've driven everybody crazy,
390
00:20:38,324 --> 00:20:39,934
that's... that's the problem."
391
00:20:40,848 --> 00:20:43,372
[battle drums beat]
392
00:20:43,503 --> 00:20:46,680
STANLEY:
Directing a movie,
if you try to do it properly,
393
00:20:46,810 --> 00:20:48,986
is not always fun,
394
00:20:49,117 --> 00:20:52,686
because you are in conflict
with people.
395
00:20:52,816 --> 00:20:55,341
If you try to get it right
and you care about it,
396
00:20:55,471 --> 00:20:57,865
it isn't something which is
the greatest fun in the world.
397
00:20:57,995 --> 00:21:01,303
It's immensely satisfying
sometimes,
398
00:21:01,434 --> 00:21:03,044
but it is a lot of hard work
399
00:21:03,174 --> 00:21:06,134
and there is a lot
of personal tension
400
00:21:06,265 --> 00:21:07,788
that occurs with everybody.
401
00:21:09,355 --> 00:21:12,793
The analogy would better
in a sort of military sense
402
00:21:12,923 --> 00:21:15,012
in that Napoleon,
403
00:21:15,143 --> 00:21:16,536
if he didn't pay
as much attention
404
00:21:16,666 --> 00:21:19,669
to the precise details
of his marching,
405
00:21:19,800 --> 00:21:22,846
how he brought his troops
to the right town
406
00:21:22,977 --> 00:21:24,326
on the right day,
407
00:21:24,457 --> 00:21:26,023
he worked out
all the calculations
408
00:21:26,154 --> 00:21:28,243
where they would come
from different places,
409
00:21:28,374 --> 00:21:30,680
and did all the mathematics
himself,
410
00:21:30,811 --> 00:21:33,509
and got them there
at the right time.
411
00:21:33,640 --> 00:21:34,858
He would never
have an opportunity
412
00:21:34,989 --> 00:21:37,121
to be a genius
on the battlefield.
413
00:21:37,252 --> 00:21:39,733
[military pipes and drums play]
414
00:21:39,863 --> 00:21:45,608
[♪♪♪]
415
00:21:45,739 --> 00:21:48,002
STANLEY:
Battles are like the equivalent
of making a film.
416
00:21:54,095 --> 00:21:56,663
DANN:
The key to his success
as a filmmaker is that
417
00:21:56,793 --> 00:21:59,840
he was the ruthless general
everyone wanted to march with.
418
00:22:00,754 --> 00:22:02,712
He got everyone on his side
and no matter what happened
419
00:22:02,843 --> 00:22:07,282
he expected his cast and crew
to keep up with his standard.
420
00:22:07,413 --> 00:22:09,937
In a way, he kind of represented
something to all of us
421
00:22:10,067 --> 00:22:11,982
because he was over there
on his estate in England,
422
00:22:12,113 --> 00:22:13,767
he was far from Hollywood,
423
00:22:13,897 --> 00:22:15,769
he owned his own cameras,
his own editing equipment,
424
00:22:15,899 --> 00:22:17,248
his own sound
425
00:22:17,379 --> 00:22:19,990
and he worked entirely
according to his own schedule.
426
00:22:20,121 --> 00:22:22,950
It's kind of inspiring at a time
when everybody else seems to be
427
00:22:23,080 --> 00:22:26,606
marching to the drums
of commerce and promotion.
428
00:22:26,736 --> 00:22:29,260
["Sarabande" plays]
429
00:22:29,391 --> 00:22:34,614
[♪♪♪]
430
00:22:36,529 --> 00:22:38,313
You know what kind of
a camera that is?
431
00:22:38,444 --> 00:22:39,227
- What it's called?
- It's...
432
00:22:40,620 --> 00:22:42,709
-A home movie
-Arriflex.
433
00:22:45,799 --> 00:22:48,323
Napoleon is still in his grave,
waiting...
434
00:22:48,454 --> 00:22:50,586
waiting to be brought back
to life.
435
00:22:50,717 --> 00:22:51,935
I wonder what Napoleon
would think
436
00:22:52,066 --> 00:22:53,284
of Lew Wasserman
and David Picker.
437
00:22:55,504 --> 00:22:58,289
Whether he would have liked
to have them passing judgment
438
00:22:58,420 --> 00:22:59,682
on his life.
439
00:22:59,813 --> 00:23:01,858
[film camera rolling]
440
00:23:53,867 --> 00:23:58,915
[♪♪♪]
441
00:24:13,887 --> 00:24:16,019
MICHEL:
You worked
in a disaffected plant?
442
00:24:16,150 --> 00:24:18,369
STANLEY:
Well, the first thing I noticed
443
00:24:18,500 --> 00:24:22,373
was that the architecture
in the peripheral areas
444
00:24:22,504 --> 00:24:24,027
where the fighting
seemed to be,
445
00:24:24,158 --> 00:24:27,944
was this sort of 1930s
industrial functionalism.
446
00:24:28,075 --> 00:24:30,686
And by the sheerest accident
we found this area
447
00:24:30,817 --> 00:24:33,472
that is about a square mile,
448
00:24:33,602 --> 00:24:35,256
and it was designed
by a German architect
449
00:24:35,386 --> 00:24:36,518
in the 30s,
450
00:24:36,649 --> 00:24:38,607
and it looked exactly
like photographs
451
00:24:38,738 --> 00:24:41,392
we'd seen in the Hue
and Saigon borders,
452
00:24:41,523 --> 00:24:43,264
you know, the outskirts
of the city.
453
00:24:43,394 --> 00:24:46,136
And it just seemed like
a miracle,
454
00:24:46,267 --> 00:24:48,530
because I don't know where--
looking back, I don't know
455
00:24:48,661 --> 00:24:50,837
how we could have done
those scenes
456
00:24:50,967 --> 00:24:53,666
with a tiny fraction
of the reality and interest
457
00:24:53,796 --> 00:24:55,145
that we got from this location.
458
00:24:55,972 --> 00:24:57,974
[rubble crumbling underfoot]
459
00:24:59,367 --> 00:25:01,108
STANLEY:
In Hue,
we could never have achieved
460
00:25:01,238 --> 00:25:04,677
this vision of hell
that actually Hue looked like.
461
00:25:06,156 --> 00:25:09,377
[metal clattering]
462
00:25:10,857 --> 00:25:12,815
[tape whirring]
463
00:25:14,687 --> 00:25:16,297
[ghostly music over TV sounds]
464
00:25:16,427 --> 00:25:21,520
[♪♪♪]
465
00:25:21,650 --> 00:25:24,044
STANLEY:
And I had done
tremendous research,
466
00:25:24,174 --> 00:25:27,003
I had thousands of stills
467
00:25:27,134 --> 00:25:31,530
and as much documentary footage
as we could get from archives.
468
00:25:34,533 --> 00:25:38,449
There was so much wonderful
documentary material on Vietnam,
469
00:25:38,580 --> 00:25:40,843
you know, that had not been shot
in any other war.
470
00:25:40,974 --> 00:25:42,715
Including scenes of men dying.
471
00:25:43,933 --> 00:25:47,371
So, looking at 100 hours
of documentary film,
472
00:25:47,502 --> 00:25:49,417
actually probably tells you more
than if you were there
473
00:25:49,548 --> 00:25:52,159
and didn't actually have combat.
474
00:26:04,475 --> 00:26:07,130
[ghostly music plays]
475
00:26:07,261 --> 00:26:10,525
MICHEL:
The title,Full Metal Jacket ,
how did it come?
476
00:26:10,656 --> 00:26:13,006
STANLEY:
Full metal jacket
is a type of bullet design,
477
00:26:13,136 --> 00:26:15,051
which-- where the led
of the bullet
478
00:26:15,182 --> 00:26:16,749
is in encased in copper.
479
00:26:16,879 --> 00:26:18,185
It's done to increase
480
00:26:18,315 --> 00:26:21,101
the reliability of the bullet
feeding up the ramp
481
00:26:21,231 --> 00:26:22,406
into the chamber
from the magazine,
482
00:26:22,537 --> 00:26:23,669
because it's smoother.
483
00:26:23,799 --> 00:26:24,844
And also, I think
484
00:26:24,974 --> 00:26:26,976
the Geneva Convention
has laid down
485
00:26:27,107 --> 00:26:29,196
that it's a more humane type
of bullet
486
00:26:29,326 --> 00:26:31,590
because led expands
a little bit
487
00:26:31,720 --> 00:26:34,201
and this one just goes
and makes a nice clean hole.
488
00:26:34,331 --> 00:26:36,290
[gunfire echoes]
489
00:26:41,600 --> 00:26:43,776
MICHEL:
Do you think the problem
of a war film
490
00:26:43,906 --> 00:26:46,387
is whatever you do to
491
00:26:46,517 --> 00:26:48,955
not to involve the audience
into the battles,
492
00:26:49,085 --> 00:26:51,784
not to give them
a vicarious experience.
493
00:26:51,914 --> 00:26:54,917
But isn't it an ethical problem
for a filmmaker?
494
00:26:55,048 --> 00:26:56,571
STANLEY:
When you read
the memoirs of people
495
00:26:56,702 --> 00:26:58,355
that have survived the war,
496
00:26:58,486 --> 00:27:01,228
many of them look back on it
as being the greatest moments
497
00:27:01,358 --> 00:27:02,621
of their lives.
498
00:27:02,751 --> 00:27:04,274
So, obviously there must be
an aspect to it
499
00:27:04,405 --> 00:27:08,931
that is genuinely inspiring
and spectacular
500
00:27:09,062 --> 00:27:10,324
in the real sense of the word.
501
00:27:11,847 --> 00:27:15,590
And the elements of comradeship,
loyalty, courage,
502
00:27:15,721 --> 00:27:17,679
those things, in retrospect,
503
00:27:17,810 --> 00:27:19,986
people who take part in
are moved.
504
00:27:20,116 --> 00:27:22,989
COMMANDER:
It is then with great pride
that I note the fine work
505
00:27:23,119 --> 00:27:25,252
done by the soldiers
of this command
506
00:27:25,382 --> 00:27:26,601
during the recent operation.
507
00:27:27,994 --> 00:27:30,823
It is with pleasure that I say:
a job well done.
508
00:27:32,563 --> 00:27:37,699
[♪♪♪]
509
00:27:39,222 --> 00:27:40,833
MICHEL:
If you are interested
by war in itself
510
00:27:40,963 --> 00:27:42,835
and the ambiguity of war,
511
00:27:42,965 --> 00:27:44,401
there is no ambiguity
in the way you look
512
00:27:44,532 --> 00:27:45,707
at the hierarchy.
513
00:27:45,838 --> 00:27:47,535
I mean
whether inDr. Strangelove
514
00:27:47,666 --> 00:27:49,711
or even inPaths of Glory ,
515
00:27:49,842 --> 00:27:52,105
or, in this film,
the drill instructor.
516
00:27:53,236 --> 00:27:55,151
STANLEY:
Well, the drill instructor
in this film is as nalïve
517
00:27:55,282 --> 00:27:56,413
as the boys are.
518
00:27:56,544 --> 00:27:58,764
I mean, he is just programmed
to do that.
519
00:27:58,894 --> 00:28:00,896
[shouts] Did your parents have
any children that lived?
520
00:28:01,027 --> 00:28:03,246
-Sir, yes, sir.
-I bet they regret that.
521
00:28:03,377 --> 00:28:06,815
You're so ugly you can be
a modern art masterpiece.
522
00:28:06,946 --> 00:28:09,513
STANLEY:
Lee Ermey was a Parris Island
drill instructor.
523
00:28:09,644 --> 00:28:11,907
He actually was what he played.
524
00:28:12,038 --> 00:28:14,780
He was hired
as a technical adviser,
525
00:28:14,910 --> 00:28:17,434
and I was looking
for an actor for the part.
526
00:28:17,565 --> 00:28:20,394
But when we started
interviewing boys
527
00:28:20,524 --> 00:28:22,875
for the recruits
at Parris Island,
528
00:28:23,005 --> 00:28:24,441
we had the idea
that Lee would do
529
00:28:24,572 --> 00:28:26,139
an improvisation with them.
530
00:28:26,269 --> 00:28:29,142
Originally this was just to see
how they would react,
531
00:28:29,272 --> 00:28:31,448
and he did what he did
in the scene:
532
00:28:31,579 --> 00:28:33,886
the most bizarre,
off-the-wall dialogue
533
00:28:34,016 --> 00:28:35,322
you could ever imagine.
534
00:28:35,452 --> 00:28:36,845
He asked one guy
what his name was,
535
00:28:36,976 --> 00:28:39,587
and he said, "Lawrence",
and he actually said to him...
536
00:28:39,718 --> 00:28:41,154
[shouts] Lawrence? Lawrence,
what, of Arabia?
537
00:28:41,284 --> 00:28:42,372
Sir, no, sir.
538
00:28:42,503 --> 00:28:43,896
That name sounds like royalty.
539
00:28:44,026 --> 00:28:45,898
-Are you royalty?
-Sir, no, sir.
540
00:28:46,028 --> 00:28:47,116
Do you suck dicks?
541
00:28:47,247 --> 00:28:48,596
-Sir, no, sir.
-Bullshit!
542
00:28:48,727 --> 00:28:51,512
I'll bet you could suck
a golf ball through a hose!
543
00:28:51,642 --> 00:28:53,427
STANLEY:
So, I suppose drill instructors
544
00:28:53,557 --> 00:28:55,777
are in some way
or another actors,
545
00:28:55,908 --> 00:28:58,301
but Lee of course
I think is special.
546
00:28:58,432 --> 00:28:59,825
I don't like the name Lawrence!
547
00:28:59,955 --> 00:29:02,175
Only faggots and sailors
are called Lawrence!
548
00:29:02,305 --> 00:29:04,873
-From now on you're Gomer Pyle!
-Sir, yes, sir.
549
00:29:06,657 --> 00:29:09,312
Tell me, you were in Vietnam.
Is this realistic?
550
00:29:09,443 --> 00:29:11,184
When you look at the movie,
is that...?
551
00:29:11,314 --> 00:29:13,360
It's very realistic.
I have a cross section...
552
00:29:13,490 --> 00:29:15,666
When somebody hires me
to give technical advice,
553
00:29:15,797 --> 00:29:17,277
I like technical advice
554
00:29:17,407 --> 00:29:19,322
because I like putting
the realism in there.
555
00:29:19,453 --> 00:29:21,324
It's good for me.
556
00:29:21,455 --> 00:29:23,544
-Why?
-Good therapy maybe, I think.
557
00:29:23,674 --> 00:29:25,676
When you look at it,
does it ring true with you?
558
00:29:25,807 --> 00:29:27,113
Is it hard for you to watch?
559
00:29:27,243 --> 00:29:28,201
'Cause you didn't
even like talking
560
00:29:28,331 --> 00:29:29,985
about your experiences
in Vietnam.
561
00:29:30,116 --> 00:29:32,640
It's really not that difficult
for me to watch
562
00:29:32,771 --> 00:29:34,773
because I know it's not...
563
00:29:34,903 --> 00:29:36,557
it's not something
that directly...
564
00:29:37,732 --> 00:29:39,690
that I was involved with, okay?
565
00:29:40,953 --> 00:29:43,869
I don't see the face
of my friend or...
566
00:29:43,999 --> 00:29:45,784
I don't have any problem
with this.
567
00:29:46,872 --> 00:29:48,177
But realism is there.
568
00:29:48,308 --> 00:29:52,573
And you can take
a circle of ten Vietnam vets
569
00:29:52,703 --> 00:29:54,575
and give them each a situation
570
00:29:54,705 --> 00:29:55,576
and they will have
ten different ways
571
00:29:55,706 --> 00:29:56,751
to solve the problem.
572
00:29:56,882 --> 00:29:58,405
So what's real, you know?
573
00:29:58,535 --> 00:30:00,233
[ghostly music plays]
574
00:30:00,363 --> 00:30:04,933
[♪♪♪]
575
00:30:05,064 --> 00:30:07,936
[distant explosions]
576
00:30:16,162 --> 00:30:18,555
STANLEY:
One of the other
central features of the war
577
00:30:18,686 --> 00:30:23,996
was the manipulation
of the reality of the war
578
00:30:24,126 --> 00:30:28,348
by technocrats and quote
"intellectuals" in Washington,
579
00:30:28,478 --> 00:30:31,133
who were always finding
light at the end of the tunnel
580
00:30:31,264 --> 00:30:32,874
and...
581
00:30:33,005 --> 00:30:38,445
encouraging the men there to lie
and to exaggerate kill ratios.
582
00:30:38,575 --> 00:30:40,577
There was an arrogance
back in Washington
583
00:30:40,708 --> 00:30:42,318
by these quote "intellectuals",
584
00:30:42,449 --> 00:30:45,365
who ran the war
like an advertising campaign,
585
00:30:45,495 --> 00:30:46,801
when they suffered
terrific casualties
586
00:30:46,932 --> 00:30:48,977
and accomplished nothing
they thought they would.
587
00:30:49,108 --> 00:30:51,719
You know, they thought people
would actually rise up
588
00:30:51,850 --> 00:30:53,025
and join them.
589
00:30:55,723 --> 00:30:57,943
But, because of the lying,
590
00:30:58,073 --> 00:31:00,510
the press and the public
were so shocked.
591
00:31:02,643 --> 00:31:04,166
Well, it's a bit like
the generals and the men
592
00:31:04,297 --> 00:31:05,254
inPaths of Glory.
593
00:31:06,473 --> 00:31:07,474
But in this case it was more
594
00:31:07,604 --> 00:31:10,216
than just the ambition
of the generals
595
00:31:10,346 --> 00:31:11,695
versus the men's lives.
596
00:31:13,436 --> 00:31:15,221
I ordered an attack.
597
00:31:15,351 --> 00:31:17,223
Your troops refused to attack.
598
00:31:17,353 --> 00:31:19,616
My troops did attack, sir,
but they could make no headway.
599
00:31:19,747 --> 00:31:20,966
Because they didn't try,
Colonel.
600
00:31:21,096 --> 00:31:22,532
I saw it myself.
601
00:31:22,663 --> 00:31:24,056
Half of your men never left
the trenches.
602
00:31:24,186 --> 00:31:25,448
A third of my men
were pinned down
603
00:31:25,579 --> 00:31:27,059
because the fire was so intense.
604
00:31:27,189 --> 00:31:28,843
Don't quibble over fractions,
Colonel.
605
00:31:28,974 --> 00:31:30,366
The fact remains
606
00:31:30,497 --> 00:31:31,890
that a good part of your men
never left their own trenches.
607
00:31:33,282 --> 00:31:35,632
Colonel Dax,
I'm going to have ten men
608
00:31:35,763 --> 00:31:37,025
from each company
in your regiment
609
00:31:37,156 --> 00:31:39,158
tried under penalty of death
for cowardice.
610
00:31:40,028 --> 00:31:41,595
-Penalty of death?
-GENERAL: For cowardice!
611
00:31:42,857 --> 00:31:46,426
[rhythmic gunfire]
612
00:31:52,345 --> 00:31:53,259
[shouts] Aim!
613
00:31:55,826 --> 00:31:56,827
-Fire!
-[gunshots]
614
00:32:01,963 --> 00:32:03,747
MICHEL:
ButPaths of Glory
was not fundamentally different
615
00:32:03,878 --> 00:32:05,836
- in philosophy from this film.
-STANLEY: Hmm.
616
00:32:05,967 --> 00:32:07,969
MICHEL:
WWI was really a fight
617
00:32:08,100 --> 00:32:09,710
- for nothing.
-STANLEY: For nothing.
618
00:32:10,711 --> 00:32:12,495
MICHEL:
Certainly WWI
was a big turning point.
619
00:32:12,626 --> 00:32:14,671
Certainly the Vietnam War
for Americans,
620
00:32:14,802 --> 00:32:17,587
because it was the first time
that America really lost a war.
621
00:32:17,718 --> 00:32:19,546
So, it's a big trauma.
622
00:32:19,676 --> 00:32:23,115
STANLEY:
Well, I think it taught America
that you don't fight a war
623
00:32:23,245 --> 00:32:24,768
because
some intellectuals decide
624
00:32:24,899 --> 00:32:27,684
that it might be a good thing,
you know?
625
00:32:29,164 --> 00:32:31,601
I don't think you're gonna get
Americans to fight a war again
626
00:32:31,732 --> 00:32:34,517
unless they think it really
means something to them.
627
00:32:35,649 --> 00:32:36,867
Now, how far...
628
00:32:38,043 --> 00:32:40,175
that kind of isolationism
will go, I don't know.
629
00:32:41,698 --> 00:32:42,786
Colonel.
630
00:32:44,832 --> 00:32:46,660
Marine, what is that button
on your body armor?
631
00:32:47,574 --> 00:32:48,923
A peace symbol, sir.
632
00:32:49,054 --> 00:32:51,795
-COLONEL: Where d'ya get it?
-I don't remember, sir.
633
00:32:51,926 --> 00:32:53,623
What is that you've got
written on your helmet?
634
00:32:53,754 --> 00:32:55,364
"Born to kill", sir.
635
00:32:55,495 --> 00:32:56,713
You write "Born to kill"
on your helmet
636
00:32:56,844 --> 00:32:58,411
and you wear a peace button.
637
00:32:58,541 --> 00:33:00,587
What's that supposed to be,
some kind of sick joke?
638
00:33:00,717 --> 00:33:02,763
-No, sir.
-What is it supposed to mean?
639
00:33:07,942 --> 00:33:11,119
STANLEY:
And that, of course, is playing
off on the Jungian ideas
640
00:33:11,250 --> 00:33:12,642
of the duality of man.
641
00:33:12,773 --> 00:33:15,123
Altruism and cooperation
642
00:33:15,254 --> 00:33:18,518
versus xenophobia
and aggression, you know?
643
00:33:18,648 --> 00:33:23,827
The fact that people do not see
the dark side of themselves,
644
00:33:23,958 --> 00:33:25,742
and tend to externalize evil.
645
00:33:25,873 --> 00:33:28,136
People do only see themselves
as good
646
00:33:28,267 --> 00:33:30,530
and everybody else
as either weak or evil.
647
00:33:30,660 --> 00:33:31,661
I mean...
648
00:33:32,445 --> 00:33:33,837
there is always a problem
649
00:33:33,968 --> 00:33:36,623
when people are confronted
with the shadow of the side.
650
00:33:36,753 --> 00:33:39,321
["La Gazza Ladra"
from "Clockwork Orange" plays]
651
00:33:40,888 --> 00:33:42,324
[Alex cries out]
652
00:33:42,455 --> 00:33:47,416
[♪♪♪]
653
00:33:47,547 --> 00:33:49,723
-[screams]
-[loud thud]
654
00:33:55,381 --> 00:33:57,252
[sirens wailing in distance]
655
00:34:09,525 --> 00:34:14,226
STANLEY:
Certainly in the case of Alex,
he must be aware of his duality
656
00:34:14,356 --> 00:34:16,576
and he must be aware
of his own weakness
657
00:34:16,706 --> 00:34:18,708
in order to be good,
658
00:34:18,839 --> 00:34:23,322
or to prevent the worst kinds
of personal and social evil.
659
00:34:28,109 --> 00:34:29,980
What crime did you commit?
660
00:34:30,110 --> 00:34:32,418
The accidental killing
of a person, sir.
661
00:34:32,547 --> 00:34:33,853
He brutally murdered
a woman, sir,
662
00:34:33,984 --> 00:34:35,072
in furtherance of theft.
663
00:34:35,203 --> 00:34:36,726
[shouts] Fourteen years, sir!
664
00:34:37,900 --> 00:34:39,077
Excellent.
665
00:34:40,513 --> 00:34:43,036
He's enterprising, aggressive,
666
00:34:43,168 --> 00:34:46,867
outgoing, young, bold...
667
00:34:46,996 --> 00:34:47,911
vicious.
668
00:34:48,956 --> 00:34:49,956
He'll do.
669
00:34:53,395 --> 00:34:56,311
STANLEY:
InClockwork Orange,
he was in conflict with people
670
00:34:56,442 --> 00:35:00,315
who, in a way, were just as bad
as he was in a different sense
671
00:35:00,446 --> 00:35:03,405
and I suppose,
in an emotional way,
672
00:35:03,536 --> 00:35:05,059
seemed less sympathetic.
673
00:35:05,190 --> 00:35:08,584
[screams]
674
00:35:11,761 --> 00:35:14,024
No... No!
675
00:35:15,374 --> 00:35:18,246
[shouts] Stop it!
Stop it, please! I beg you!
676
00:35:18,377 --> 00:35:19,900
It's a sin!
677
00:35:20,030 --> 00:35:21,510
It's a sin!
678
00:35:21,641 --> 00:35:23,469
It's a sin!
679
00:35:23,599 --> 00:35:26,689
It's a sin!
It's a sin! It's a sin!
680
00:35:26,820 --> 00:35:29,649
Sin? What's all this about sin?
681
00:35:29,779 --> 00:35:32,173
[piano music plays]
682
00:35:32,304 --> 00:35:35,437
[crowd shouts indistinctly]
683
00:35:40,442 --> 00:35:44,229
STANLEY:
One of the really most puzzling
social problems today
684
00:35:44,359 --> 00:35:48,276
is how can authority
maintain itself
685
00:35:48,407 --> 00:35:49,973
without becoming repressive?
686
00:35:51,540 --> 00:35:53,977
You have
an ever-increasing feeling
687
00:35:54,108 --> 00:35:56,415
among young people that...
688
00:35:57,459 --> 00:36:01,985
politics and legal means
of social change
689
00:36:02,116 --> 00:36:06,076
are too slow and may be useless.
690
00:36:06,207 --> 00:36:07,556
On the other hand,
you have authority
691
00:36:07,687 --> 00:36:11,081
that feels threatened
by terrorism
692
00:36:12,257 --> 00:36:14,172
and this growing sense
of anarchy
693
00:36:14,302 --> 00:36:15,477
that they can feel.
694
00:36:15,608 --> 00:36:17,958
And the question is,
how do you achieve,
695
00:36:18,088 --> 00:36:21,570
uh, if it is possible anymore,
some kind of...
696
00:36:22,919 --> 00:36:24,182
balance?
697
00:36:26,053 --> 00:36:30,492
It certainly doesn't lie
in this very utopian
698
00:36:30,623 --> 00:36:33,408
sort of optimistic view
that if you destroy authority,
699
00:36:33,539 --> 00:36:35,193
then something good
will come of it.
700
00:36:35,323 --> 00:36:37,804
And it equally doesn't lie
by saying, you know,
701
00:36:37,934 --> 00:36:41,286
authority must impose its will
with greater and greater force.
702
00:36:41,416 --> 00:36:42,983
It's a dilemma.
703
00:36:43,113 --> 00:36:46,639
[menacing drums]
704
00:36:46,769 --> 00:36:49,207
[piano music]
705
00:36:49,337 --> 00:36:52,079
The Scala Cinema in London
is in court today
706
00:36:52,210 --> 00:36:54,603
accused of a breach of copyright
after allegedly showing
707
00:36:54,734 --> 00:36:57,345
the controversial film
Clockwork Orange.
708
00:36:57,476 --> 00:36:59,260
The film has been banned
in Britain for 20 years
709
00:36:59,391 --> 00:37:00,957
at the request
of its director,
710
00:37:01,088 --> 00:37:03,221
after critics claimed
it glamorized violence.
711
00:37:05,745 --> 00:37:08,356
MALCOLM:
You see more violence
on a news program.
712
00:37:08,487 --> 00:37:12,012
You know, you see more violence
in a John Wayne film,
713
00:37:12,142 --> 00:37:13,883
'cause John Wayne always shoots
and you always feel,
714
00:37:14,014 --> 00:37:16,146
"Oh, good old John Wayne.
715
00:37:16,277 --> 00:37:18,323
He is the goody
and he shot the baddy."
716
00:37:18,453 --> 00:37:21,108
And it's an emotional response,
you know?
717
00:37:21,239 --> 00:37:24,198
I personally feel
that it's more violence
718
00:37:24,329 --> 00:37:27,245
of the imagination, of the mind.
719
00:37:27,375 --> 00:37:29,551
I think the film
is very important
720
00:37:29,682 --> 00:37:30,857
because the statement it makes
721
00:37:30,987 --> 00:37:34,904
is about the freedom
of human beings to choose.
722
00:37:35,035 --> 00:37:36,254
And that's more important
723
00:37:36,384 --> 00:37:39,344
than any of these
sensational elements
724
00:37:39,474 --> 00:37:42,521
that the press and people
have been talking about.
725
00:37:45,611 --> 00:37:49,049
STANLEY:
Nobody, except people
who were trying to prove
726
00:37:49,179 --> 00:37:52,444
thatClockwork Orange
was an evil film,
727
00:37:52,574 --> 00:37:55,055
nobody could believe
that one was in favor of Alex.
728
00:37:55,185 --> 00:37:57,666
It's only that in telling
a story like that,
729
00:37:57,797 --> 00:38:00,626
you want to present Alex
as he feels
730
00:38:00,756 --> 00:38:02,715
and as he is to himself.
731
00:38:02,845 --> 00:38:04,194
And in analyzing the film,
you could think
732
00:38:04,325 --> 00:38:05,500
that there was more sympathy
for Alex
733
00:38:05,631 --> 00:38:08,808
but, since
it is satirical story,
734
00:38:08,938 --> 00:38:11,027
and since the nature
of satire is that
735
00:38:11,158 --> 00:38:13,116
you state the opposite
of the truth
736
00:38:13,247 --> 00:38:14,379
as if it is the truth...
737
00:38:16,032 --> 00:38:17,947
I don't see how anybody
of any intelligence,
738
00:38:18,078 --> 00:38:20,080
or even any ordinary person,
739
00:38:20,210 --> 00:38:22,561
could think that you really
thought Alex was the hero.
740
00:38:24,867 --> 00:38:26,608
It's probably what attracted me
to the book.
741
00:38:26,739 --> 00:38:31,091
It was this strange duality
of a character
742
00:38:31,221 --> 00:38:32,701
who is plainly evil,
743
00:38:32,832 --> 00:38:35,356
and yet,
because of him operating
744
00:38:35,487 --> 00:38:37,619
on this unconscious level,
745
00:38:37,750 --> 00:38:40,666
makes you aware of things
within your own personality
746
00:38:40,796 --> 00:38:43,233
which you then identify
with him.
747
00:38:44,365 --> 00:38:47,716
[suspenseful music]
748
00:38:47,847 --> 00:38:49,936
MICHEL:
You are more attracted
by evil characters
749
00:38:50,066 --> 00:38:51,154
than by good ones.
750
00:38:51,285 --> 00:38:53,156
I was thinking of Milton,
751
00:38:53,287 --> 00:38:55,463
makingParadise Lost
much more interesting.
752
00:38:56,203 --> 00:38:57,465
STANLEY:
Uh...
753
00:38:57,596 --> 00:39:00,120
"Better to reign in Hell
than serve in Heaven."
754
00:39:01,208 --> 00:39:03,297
[suspenseful music
grows in volume]
755
00:39:03,428 --> 00:39:08,433
[♪♪♪]
756
00:39:18,007 --> 00:39:20,096
[typewriter keys tapping]
757
00:39:21,576 --> 00:39:23,665
[eerie tinkling music plays]
758
00:39:23,796 --> 00:39:28,931
[♪♪♪]
759
00:39:30,846 --> 00:39:33,109
MICHEL:
How do you see your character
in this film?
760
00:39:33,240 --> 00:39:36,199
How do you see
the reason of his behavior?
761
00:39:36,330 --> 00:39:38,637
It's very ironical
because he wants to write,
762
00:39:38,767 --> 00:39:41,291
to be creative
and he wants to be free
763
00:39:41,422 --> 00:39:44,599
and he is a slave in fact
of his own neurosis.
764
00:39:44,730 --> 00:39:46,384
STANLEY:
Well, you can only fill in
the details
765
00:39:46,514 --> 00:39:48,516
of Jack's personality.
766
00:39:48,647 --> 00:39:50,823
He is bitterly disappointed
with himself,
767
00:39:50,953 --> 00:39:54,217
he is a person who...
who obviously has immense rage.
768
00:39:54,348 --> 00:39:57,220
He is married to a woman
whom he obviously has nothing
769
00:39:57,351 --> 00:40:00,398
but contempt for
and he doesn't like his son.
770
00:40:02,182 --> 00:40:04,140
You then put him in a situation
771
00:40:04,271 --> 00:40:09,145
where he then is exposed
to evil forces in the hotel.
772
00:40:09,276 --> 00:40:11,539
Now, you are getting
into the supernatural side
773
00:40:11,670 --> 00:40:13,106
of the story.
774
00:40:13,236 --> 00:40:16,849
And all those other factors
simply serve to prepare him,
775
00:40:16,979 --> 00:40:20,374
to make him a suitable servant
of their wishes.
776
00:40:21,723 --> 00:40:23,943
[suspenseful music plays]
777
00:40:26,075 --> 00:40:28,600
-[screams]
-[wood cracking]
778
00:40:30,166 --> 00:40:31,820
-No!
-[wood cracking]
779
00:40:31,951 --> 00:40:32,691
Please!
780
00:40:33,953 --> 00:40:35,737
[screams]
781
00:40:40,655 --> 00:40:41,787
[woman shrieks] Please!
782
00:40:43,963 --> 00:40:49,055
[♪♪♪]
783
00:40:51,013 --> 00:40:51,971
MICHEL:
In this story,
784
00:40:52,101 --> 00:40:53,842
I mean at least the way
you have shot it
785
00:40:53,973 --> 00:40:59,892
there is always the possibility
that everything is in the mind.
786
00:41:00,022 --> 00:41:01,894
STANLEY:
Well, this is what I found
so ingenious
787
00:41:02,024 --> 00:41:04,157
about the way
the novel was written.
788
00:41:04,287 --> 00:41:07,334
And you assume as you read it
789
00:41:07,465 --> 00:41:09,249
that the things
that are happening
790
00:41:09,379 --> 00:41:13,427
are probably going to be
a product of his imagination.
791
00:41:13,558 --> 00:41:16,474
And I think this allows you
to start accepting them.
792
00:41:19,781 --> 00:41:20,826
MICHEL:
Do you think
there's an interaction
793
00:41:20,956 --> 00:41:23,306
between the souls in the hotel
794
00:41:23,437 --> 00:41:26,005
and it's not purely a projection
of his mental thing?
795
00:41:26,135 --> 00:41:27,397
Well, you can interpret that.
796
00:41:28,616 --> 00:41:30,966
STANLEY:
Well, I mean I interpret
the story as being real.
797
00:41:32,446 --> 00:41:35,014
I mean I just accept
for the story purposes
798
00:41:35,144 --> 00:41:36,885
that everything is true.
799
00:41:38,887 --> 00:41:41,020
[suspenseful music buzzes]
800
00:41:41,150 --> 00:41:45,241
[♪♪♪]
801
00:41:45,372 --> 00:41:47,287
[wind blows]
802
00:41:47,417 --> 00:41:49,419
[trees creak]
803
00:41:51,030 --> 00:41:52,945
[pants]
804
00:42:01,867 --> 00:42:04,434
MICHEL:
There are three mazes
if I remember well.
805
00:42:04,565 --> 00:42:06,915
There is the real maze,
806
00:42:07,046 --> 00:42:10,266
there is a kind of map
or plan of the maze,
807
00:42:10,397 --> 00:42:11,877
and it's also the maze is
in a way
808
00:42:12,007 --> 00:42:13,487
that the hotel in reduction
809
00:42:13,618 --> 00:42:16,011
because hotels
are full of corridors
810
00:42:16,142 --> 00:42:17,317
and things like that.
811
00:42:17,447 --> 00:42:19,406
So this idea
is extremely powerful
812
00:42:19,537 --> 00:42:22,148
and it goes
with the imaginary dimension
813
00:42:22,278 --> 00:42:23,018
of the film.
814
00:42:24,846 --> 00:42:27,240
[suspenseful music buzzes]
815
00:42:30,809 --> 00:42:32,245
[wind blowing]
816
00:42:32,375 --> 00:42:33,594
[pants]
817
00:42:33,725 --> 00:42:38,425
[♪♪♪]
818
00:42:40,862 --> 00:42:43,256
STANLEY:
I remember once
reading something about
819
00:42:43,386 --> 00:42:47,913
which were maze seem the perfect
kind of metaphor for many things
820
00:42:48,043 --> 00:42:50,785
about life and that somebody
was describing how in a maze
821
00:42:50,916 --> 00:42:54,049
everybody is giving advice
to each other,
822
00:42:54,180 --> 00:42:56,617
and misleading each other
completely by their advice.
823
00:42:56,748 --> 00:42:59,707
So nobody knows quite
what to do,
824
00:42:59,838 --> 00:43:02,449
they are all giving each other
ideas which are all wrong.
825
00:43:02,580 --> 00:43:04,538
[pants]
826
00:43:04,669 --> 00:43:07,323
[suspenseful music buzzes]
827
00:43:07,454 --> 00:43:12,720
[♪♪♪]
828
00:43:34,612 --> 00:43:37,353
STANLEY:
Many types of genre material
829
00:43:37,484 --> 00:43:40,705
are really ways
of thinking about death.
830
00:43:40,835 --> 00:43:45,840
[♪♪♪]
831
00:43:48,234 --> 00:43:50,889
STANLEY:
So that in a way
it is, on a psychological level,
832
00:43:51,019 --> 00:43:54,762
possibly a way of exploring
attitudes towards death.
833
00:43:56,634 --> 00:43:59,680
MICHEL:
Your films give a feeling
of great despair.
834
00:44:01,334 --> 00:44:03,945
STANLEY:
If you make certain assumptions
about the nature of man
835
00:44:04,076 --> 00:44:08,907
and you build a social situation
on false assumptions,
836
00:44:09,037 --> 00:44:12,954
if you assume
that man is fundamentally good,
837
00:44:13,085 --> 00:44:15,174
it will disappoint you.
838
00:44:24,357 --> 00:44:27,055
[suspenseful music crescendos]
839
00:44:27,186 --> 00:44:32,234
[♪♪♪]
840
00:44:37,892 --> 00:44:44,420
[♪♪♪]
841
00:44:44,551 --> 00:44:48,990
ARTHUR:
What we are doing in the movie
2001: A Space Odyssey
842
00:44:49,121 --> 00:44:50,992
is showing some of the things
843
00:44:51,123 --> 00:44:53,691
we will develop in the world
of the future
844
00:44:53,821 --> 00:44:57,172
as a result of our present
first steps into space.
845
00:44:58,434 --> 00:45:01,263
The next generation
will explore the planets,
846
00:45:01,394 --> 00:45:04,484
bring back new knowledge,
answering old questions,
847
00:45:04,614 --> 00:45:07,574
and of course asking fresh ones.
848
00:45:07,705 --> 00:45:10,882
It's really the next stage
in the evolution of mankind.
849
00:45:12,840 --> 00:45:14,320
About half a century ago,
850
00:45:14,450 --> 00:45:18,541
the great Russian
space pioneer, Tsiolkovsky said,
851
00:45:18,672 --> 00:45:21,022
"Earth is the cradle
of mankind
852
00:45:21,153 --> 00:45:23,851
but you cannot live
in the cradle forever."
853
00:45:23,982 --> 00:45:25,374
And that is very true.
854
00:45:25,505 --> 00:45:29,814
And out here among the stars,
lies the destiny of mankind.
855
00:45:29,944 --> 00:45:36,559
[♪♪♪]
856
00:46:06,459 --> 00:46:08,287
STANLEY:
The human species
hasn't changed
857
00:46:08,417 --> 00:46:10,376
since Cro-Magnon men,
858
00:46:10,506 --> 00:46:13,814
and, in terms
of evolutionary time,
859
00:46:13,945 --> 00:46:17,296
we're not going to change much
in the next 100 or 200 years.
860
00:46:17,426 --> 00:46:20,255
The critical problem
of our survival
861
00:46:20,386 --> 00:46:22,867
is going to have to be settled
long before 100 or 200 years.
862
00:46:22,997 --> 00:46:25,434
Now, where is this source
of intelligence
863
00:46:25,565 --> 00:46:26,435
going to come from?
864
00:46:28,350 --> 00:46:30,265
-HAL: Good evening, Dave.
-How you doin', HAL?
865
00:46:30,396 --> 00:46:32,311
HAL:
Everything's running smoothly.
And you?
866
00:46:32,441 --> 00:46:33,399
Oh, not too bad.
867
00:46:33,529 --> 00:46:35,227
HAL:
Have you been doing more work?
868
00:46:35,357 --> 00:46:37,577
-DAVE: A few sketches.
-HAL: May I see them?
869
00:46:37,707 --> 00:46:38,708
Sure.
870
00:46:42,582 --> 00:46:44,236
HAL:
That's a very nice rendering,
Dave.
871
00:46:45,890 --> 00:46:47,587
I think you've improved
a great deal.
872
00:46:51,983 --> 00:46:53,854
STANLEY:
There is something
that's happening already today,
873
00:46:53,985 --> 00:46:57,684
you might say, "a mechaniarchy"
or whatever the word would be.
874
00:46:57,815 --> 00:47:01,079
The love that we have now
for machines.
875
00:47:01,209 --> 00:47:03,429
The smell and the feel
of a beautiful camera,
876
00:47:03,559 --> 00:47:04,909
or a tape recorder.
877
00:47:05,039 --> 00:47:06,562
There is an aesthetic,
878
00:47:06,693 --> 00:47:09,130
an almost sensuous aesthetic
about machines.
879
00:47:11,002 --> 00:47:12,481
I'm sure it will be useful
to them to know
880
00:47:12,612 --> 00:47:13,700
what human feelings are
881
00:47:13,831 --> 00:47:15,006
because it will help them
understand us.
882
00:47:17,095 --> 00:47:19,619
HAL:
The 9000 series
is the most reliable computer
883
00:47:19,749 --> 00:47:20,620
ever made.
884
00:47:22,013 --> 00:47:24,711
No 9000 computer
has ever made a mistake
885
00:47:24,842 --> 00:47:26,321
or distorted information.
886
00:47:27,627 --> 00:47:29,542
We are all,
by any practical definition
887
00:47:29,672 --> 00:47:30,848
of the words,
888
00:47:30,978 --> 00:47:34,503
foolproof and incapable
of error.
889
00:47:34,634 --> 00:47:37,245
INTERVIEWER:
HAL, despite
your enormous intellect
890
00:47:37,376 --> 00:47:40,161
are you ever frustrated
by your dependence on people
891
00:47:40,292 --> 00:47:41,771
to carry out actions?
892
00:47:41,902 --> 00:47:43,425
HAL:
Not in the slightest bit.
893
00:47:44,383 --> 00:47:45,819
I enjoy working with people.
894
00:48:05,404 --> 00:48:08,276
STANLEY:
We do now obviously need
some source of intelligence
895
00:48:08,407 --> 00:48:10,409
of a magnitude
considerably greater
896
00:48:10,539 --> 00:48:13,151
than seems to exist
at the moment.
897
00:48:13,281 --> 00:48:16,850
And you could say
that man's survival depends
898
00:48:16,981 --> 00:48:18,460
on the ultra-intelligent
machine.
899
00:48:19,897 --> 00:48:24,162
I can't think of any reason
why it's a frightening prospect,
900
00:48:24,292 --> 00:48:29,558
because intelligence seems to me
to be something which is good,
901
00:48:29,689 --> 00:48:31,604
and so I can't see
902
00:48:31,734 --> 00:48:33,171
how your ultra-intelligent
machine
903
00:48:33,301 --> 00:48:34,912
is going to be any worse
than a man.
904
00:48:37,610 --> 00:48:39,307
Open the pod bay doors, HAL.
905
00:48:41,005 --> 00:48:44,182
HAL:
I'm sorry, Dave.
I'm afraid I can't do that.
906
00:48:46,619 --> 00:48:47,837
What's the problem?
907
00:48:48,926 --> 00:48:50,275
HAL:
I think you know
what the problem is
908
00:48:50,405 --> 00:48:51,972
just as well as I do.
909
00:48:52,103 --> 00:48:53,582
What are you talking about, HAL?
910
00:48:54,975 --> 00:48:56,629
HAL:
This mission
is too important for me
911
00:48:56,759 --> 00:48:57,978
to allow you to jeopardize it.
912
00:49:00,024 --> 00:49:01,851
I don't know
what you're talking about, HAL.
913
00:49:01,982 --> 00:49:07,031
[♪♪♪]
914
00:49:31,229 --> 00:49:34,014
[air hisses]
915
00:49:45,373 --> 00:49:48,159
[breathes steadily]
916
00:50:05,045 --> 00:50:06,264
HAL:
I'm afraid.
917
00:50:11,704 --> 00:50:13,662
I'm afraid, Dave.
918
00:50:17,231 --> 00:50:19,407
STANLEY:
At the moment,
the problems of the world
919
00:50:19,538 --> 00:50:23,585
appear to be problems
only because man seems to lack
920
00:50:23,716 --> 00:50:28,025
the intelligence to think
his wayout of the present trap
921
00:50:28,155 --> 00:50:29,504
that we seem to be in.
922
00:50:30,375 --> 00:50:31,289
HAL:
Dave.
923
00:50:34,422 --> 00:50:35,423
My mind is going.
924
00:50:41,212 --> 00:50:42,474
I can feel it.
925
00:50:44,737 --> 00:50:45,781
I can feel it.
926
00:50:47,479 --> 00:50:49,046
I can feel it.
927
00:50:52,005 --> 00:50:53,006
I can feel it.
928
00:51:46,015 --> 00:51:49,541
["Masked Ball"
from "Eyes Wide Shut" plays]
929
00:51:49,671 --> 00:51:54,633
[♪♪♪]
930
00:52:04,904 --> 00:52:08,125
[indistinct chatter]
931
00:52:15,915 --> 00:52:18,178
MICHEL:
You have no other projects now?
As usual?
932
00:52:18,309 --> 00:52:20,006
STANLEY:
No, I wish I did.
933
00:52:20,137 --> 00:52:21,790
MICHEL:
But Schnitzler,
you still don't want to do that:
934
00:52:21,921 --> 00:52:23,575
Traumnovelle.
935
00:52:23,705 --> 00:52:26,099
STANLEY:
I am not sure, I might,
it is interesting.
936
00:52:26,230 --> 00:52:28,275
-You've read it?
-MICHEL: It's extraordinary.
937
00:52:31,409 --> 00:52:34,455
["Masked Ball" plays]
938
00:52:34,586 --> 00:52:39,373
[♪♪♪]
939
00:52:41,897 --> 00:52:42,637
[thumps]
940
00:52:53,605 --> 00:52:55,607
TOM:
It's not about sex.
941
00:52:56,738 --> 00:52:58,392
Stanley never said
it was about sex.
942
00:52:58,523 --> 00:52:59,828
It's about sexual obsession.
943
00:52:59,959 --> 00:53:02,527
It's a thriller about
sexual obsession, and jealousy.
944
00:53:02,657 --> 00:53:07,140
And all the rumors that surfaced
about just the wildest stories
945
00:53:07,271 --> 00:53:09,142
you could ever imagine
that were...
946
00:53:09,273 --> 00:53:11,100
It's not pornography.
947
00:53:11,231 --> 00:53:13,059
If he wanted to do that
he would have done that.
948
00:53:14,626 --> 00:53:17,498
If you men only knew.
949
00:53:19,370 --> 00:53:20,414
I tell you what I do know,
950
00:53:20,545 --> 00:53:21,937
is you got
a little stoned tonight,
951
00:53:22,068 --> 00:53:23,417
you've been trying
to pick a fight with me,
952
00:53:23,548 --> 00:53:26,594
and now you're trying
to make me jealous.
953
00:53:26,725 --> 00:53:28,640
But you're not the jealous type,
are you?
954
00:53:28,770 --> 00:53:30,294
No, I'm not.
955
00:53:30,424 --> 00:53:32,296
You've never been jealous
about me, have you?
956
00:53:32,426 --> 00:53:33,601
No, I haven't.
957
00:53:33,732 --> 00:53:36,387
And why haven't you ever been
jealous about me?
958
00:53:36,517 --> 00:53:39,651
Well, I don't know, Alice.
Maybe because you're my wife.
959
00:53:39,781 --> 00:53:42,306
["Masked Ball" plays]
960
00:53:46,179 --> 00:53:48,660
Do you think monogamy
is a natural state?
961
00:53:49,965 --> 00:53:51,184
I think it's a choice.
962
00:53:53,012 --> 00:53:53,839
Uh...
963
00:53:54,840 --> 00:53:57,669
I mean...
if it was just a natural state
964
00:53:57,799 --> 00:54:00,019
why would people desire
other people?
965
00:54:05,807 --> 00:54:09,420
INTERVIEWER:
Do you think
that there is in everybody a...
966
00:54:10,334 --> 00:54:12,118
a thin edge?
967
00:54:12,249 --> 00:54:16,949
A depravity or extreme danger
of desire, I suppose?
968
00:54:17,079 --> 00:54:17,993
Is it in everyone?
969
00:54:19,604 --> 00:54:20,561
Sure.
970
00:54:20,692 --> 00:54:21,823
Yeah.
971
00:54:21,954 --> 00:54:23,782
Uhm...
972
00:54:23,912 --> 00:54:25,958
How honest people are about it
is a different thing,
973
00:54:26,088 --> 00:54:27,568
but I think we all have it.
974
00:54:33,008 --> 00:54:37,056
STANLEY:
Most situations where somebody
is hopelessly in love
975
00:54:37,186 --> 00:54:39,232
with someone
who they shouldn't be,
976
00:54:39,363 --> 00:54:42,757
it always is really,
it tends to be physical.
977
00:54:42,888 --> 00:54:46,021
And most tragic
978
00:54:46,152 --> 00:54:50,156
masochistic relationships
that I'm aware of
979
00:54:50,287 --> 00:54:52,419
are essentially
physical attraction
980
00:54:52,550 --> 00:54:53,768
and this seemed to say it.
981
00:54:58,817 --> 00:55:01,167
This sort of primitive part
of your mind
982
00:55:01,298 --> 00:55:03,430
that is just fascinated
by the mystery
983
00:55:03,561 --> 00:55:04,953
of what's going on.
984
00:55:05,084 --> 00:55:09,088
It's all part of the sort of
gigantic fantasy,
985
00:55:09,218 --> 00:55:13,092
that the male sex fantasy.
986
00:55:14,528 --> 00:55:17,009
I think that the story
would become impossible
987
00:55:17,139 --> 00:55:19,011
if you tried to give
reasons for it.
988
00:55:20,578 --> 00:55:25,496
[♪♪♪]
989
00:55:31,893 --> 00:55:33,939
MICHEL:
I think that you are
an innovator.
990
00:55:34,069 --> 00:55:36,376
I mean you like very much
to break things, new things.
991
00:55:36,507 --> 00:55:38,291
But sometimes you are very
conscious on traditions.
992
00:55:39,771 --> 00:55:42,077
STANLEY:
Well, I think
that one of the things
993
00:55:42,208 --> 00:55:45,472
that characterizes
some of the failures
994
00:55:45,603 --> 00:55:47,953
of 20th-Century art,
in all art forms,
995
00:55:49,084 --> 00:55:53,306
is an obsession
with total originality.
996
00:55:56,744 --> 00:56:00,313
Innovation means
moving it forward,
997
00:56:00,444 --> 00:56:05,536
but not abandoning
the classical form,
998
00:56:05,666 --> 00:56:07,712
the art form
that you are working with.
999
00:56:07,842 --> 00:56:11,324
But I do think that
the real explosion will come
1000
00:56:11,455 --> 00:56:15,502
when someone finally liberates
the narrative structure.
1001
00:56:15,633 --> 00:56:18,723
["Sarabande" plays]
1002
00:56:21,334 --> 00:56:24,032
MICHEL:
What surprises me is that
you have absolutely no prejudice
1003
00:56:24,163 --> 00:56:25,599
towards choice of a subject.
1004
00:56:25,730 --> 00:56:27,035
I mean, anything can happen.
1005
00:56:27,166 --> 00:56:28,602
STANLEY:
Well I might,
but I am not aware of it,
1006
00:56:28,733 --> 00:56:30,082
I mean...
1007
00:56:30,212 --> 00:56:32,824
A good story you can make
into a film is a miracle,
1008
00:56:32,954 --> 00:56:35,348
and it is very hard
to work miracles.
1009
00:56:35,479 --> 00:56:40,614
[♪♪♪]
1010
00:56:43,530 --> 00:56:45,837
STANLEY:
Someone sent me an article
about Schnitzler.
1011
00:56:45,967 --> 00:56:47,491
He died
in the most wonderful way.
1012
00:56:48,883 --> 00:56:51,495
He was sitting, writing
at the type writer.
1013
00:56:52,713 --> 00:56:54,323
Somebody was in the next room
and he got up to give him a page
1014
00:56:54,454 --> 00:56:57,283
and he just fell over,
and that was it.
1015
00:56:58,850 --> 00:57:00,852
He hadn't been ill or anything,
he was just working,
1016
00:57:00,982 --> 00:57:02,288
and dying.
1017
00:57:06,466 --> 00:57:07,641
TOM:
I was supposed to talk to him
on Sunday.
1018
00:57:07,772 --> 00:57:09,382
And sometimes
Stanley would call,
1019
00:57:09,513 --> 00:57:10,949
you know,
in the middle of the night.
1020
00:57:11,819 --> 00:57:12,907
I remember thinking...
1021
00:57:13,038 --> 00:57:15,562
The phone rang,
it was either Nick or Stanley,
1022
00:57:15,693 --> 00:57:17,782
the only people who usually call
in the middle of the night.
1023
00:57:17,912 --> 00:57:21,742
And it was Leon,
and he said,
1024
00:57:21,873 --> 00:57:23,222
"Tom, you know,
Stanley Kubrick...
1025
00:57:24,876 --> 00:57:26,530
died in his sleep."
1026
00:57:26,660 --> 00:57:27,618
And...
1027
00:57:32,753 --> 00:57:35,364
And I remember just thinking,
"This just isn't happening."
1028
00:57:43,111 --> 00:57:45,287
-[lights shut]
-[electricity crackles]
1029
00:57:50,075 --> 00:57:51,598
[film camera whirring]
1030
00:57:55,472 --> 00:57:58,605
["Midnight, the Stars & You"
from "The Shining" plays]
1031
00:57:58,736 --> 00:58:03,915
[♪♪♪]
1032
00:58:16,101 --> 00:58:18,364
STANLEY:
How disappointing
you make the end of a film
1033
00:58:18,495 --> 00:58:21,715
is a matter of, I suppose,
taste or artistic balance,
1034
00:58:21,846 --> 00:58:24,544
whatever it is, but you always
are faced with the problem
1035
00:58:24,675 --> 00:58:28,940
of are you going to try
to reinforce
1036
00:58:29,070 --> 00:58:32,204
this illusion
which melodrama fosters
1037
00:58:32,334 --> 00:58:34,206
or are you going to try
to reflect
1038
00:58:34,336 --> 00:58:36,817
what one sees about life?
1039
00:58:38,471 --> 00:58:43,041
Melodrama uses
all the problems of the world
1040
00:58:43,171 --> 00:58:46,479
and all the disasters
which befall the main characters
1041
00:58:46,610 --> 00:58:49,526
to finally show you that...
1042
00:58:49,656 --> 00:58:53,268
the world is a benevolent
and fair place,
1043
00:58:53,399 --> 00:58:57,055
and all the tests and trials
and seeming misfortunes
1044
00:58:57,185 --> 00:58:59,797
which occur, in the end
just reinforce this belief.
1045
00:58:59,927 --> 00:59:04,366
But tragedy, or honesty,
1046
00:59:04,497 --> 00:59:06,934
or an attempt at presenting life
1047
00:59:07,065 --> 00:59:10,329
in a way that seems closer
to reality than melodrama...
1048
00:59:10,459 --> 00:59:12,505
can leave you
with a feeling of desolation.
1049
00:59:14,768 --> 00:59:18,293
But certainly,
the formula approach,
1050
00:59:18,424 --> 00:59:21,470
which presents the world
in a way other than it is,
1051
00:59:21,601 --> 00:59:22,863
doesn't seem to have
a great deal of merit
1052
00:59:22,994 --> 00:59:25,170
unless you're just...
1053
00:59:25,300 --> 00:59:26,693
making entertainment.
1054
00:59:34,222 --> 00:59:37,225
MICHEL:
Thank you very much.
1055
00:59:37,356 --> 00:59:40,272
["Midnight, the Stars & You"
continues to play]
1056
00:59:40,402 --> 00:59:45,538
[♪♪♪]
75925
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