All language subtitles for Kubrick Remembered (2014)_track4_[eng]

♪♪[somber piano]

[Christiane] Stanley was finished with
Eyes Wide Shut, and he was exhausted.

He suffered discomfort
and huge tiredness in the last two weeks.

He was overworked,
and even for his lack of sleep,

he had even less sleep.

I don't think he looked well.

I was worried about him, and I was all set
to send him to a doctor to have a checkup,

and he looked awfully pale.

He was exhausted,

which is very much a sign of a bad heart.

I had a father who died of a heart attack,

so I assumed if there was
anything wrong with him,

it would be the same symptoms.

A wrong assumption, because
most people who have a heart attack

are very surprised by it.

He had a big infarct, which is a clot.

What I very much hope is
that his brain was gone

before he had any sensation
of suffocation or suffering.

I console myself.

He would have been so unhappy
with a horrible heart

that constantly makes him die
over and over and over.

I'm so sad he died so young.

But we were really very happy
for 42 years.

We were one of the lucky couples.

♪♪[stirring]

[Christiane] Unlike rumors about him
that he was a hermit,

Stanley was the opposite of a recluse.

♪♪[upbeat]

First of all,
he was an immensely curious person.

He wanted to know everything
about everybody, to a tactless degree.

He would come right out and ask people,
and they'd say, "Stanley, you can't--"

"I just wanna know, you know?" [laughs]

And that could both be insulting
and flattering,

because, you know,
most people are just not that interested

in anything as he was.

Recluse, that's not true.

We used to go down
into the little town of Saint Albans

and walk around the supermarket.

It's just that nobody knew
what he looked like.

So he never got bothered
when he was doing that.

Work center was at home.

So there was nowhere to go
to go to work.

So that was another area of it
which people don't understand.

It wasn't that he didn't go anywhere
because he didn't wanna go anywhere.

He didn't need to go anywhere.

You can be a hermit poet,
a hermit novelist, a hermit gardener.

But you can't be a hermit filmmaker.

That's a big misconception about him.

I mean, Stanley was very gregarious.

And as a film director, I mean,
he was surrounded by people all the time.

He loved people, talking to people,
the right people.

I mean, fools didn't last long
with Stanley.

[Dullea] Stanley was a lot of fun.

He would invite us to his home
for dinners from time to time.

The most stimulating company.
There were people from all walks of life.

Not the film business.
Scientists, painters, writers.

And he could hold his own
on any level on any subject.

I mean, he was an autodidact, I suspect.

He was amazing.

He was no more private than myself
or anybody that's--

Is not, you know, a social butterfly.

But we were invited, you know,

every weekend to go and drink beers
and watch a movie with him

and talk about anything.

That very day I met Stanley,
he invited me over to his house

in Saint Albans for dinner.

And so I got a chance
not only to meet Stanley

but, the same day,
to meet Christiane and his kids.

And the entire evening I spent
in his house was spent in the kitchen,

not in a dining room,
not in a formal dining room,

but it was in a kitchen.

I couldn't believe,
because I had also heard

that Stanley was kind of distant and cool,

but he was a family man,
first and foremost,

and that surprised me the most.

He had his kids and he had his wife.

Obviously, it was a very tight family.

He was very much in love with her.
You could tell that for sure.

[Christiane] I met Stanley
because he saw me on television,

and he wanted to cast me
for the girl in Paths of Glory.

And so I went to his office
in Geiselgasteig, and there he sat.

And I was very impressed, and so was he.

♪♪[warm, pensive piano]

[Harris] When I got to Munich
just before Paths of Glory...

It was about to start shooting.

...Stanley said that he had an idea
for the end of the movie,

which was not in the script.

He explained to me that this--
A German woman in the hands of the French

would come up on the stage
and sing a song.

And he said,
"And I have just the girl to do the part,

and it just so happens
that we're going out together too."

And I said,
"Oh, now I understand what this is about."

He'd written that scene because
he wanted a lyrical ending for the film,

and Harris accused him
of just wanting to sleep with me

and sacrificing his artistic purity
to that, which was not true.

It really was not true.

And it's a point of honor
for me to mention that.

I didn't interfere in anything.

I had already been hired and everything,
and then it all started.

And it had nothing to do
with Jim Harris's fantasy

of total moral decline.

[Harris] I saw the light, at some point,
that he was so right.

It turned out to be so important
as a punctuation for that picture.

And Stanley went on to marry her,

which proves it wasn't just a fling
or a passing fancy.

The song I sang in Paths of Glory
was my last part, and I knew that also.

From then on, I really--

He was a control freak.

I wasn't allowed
out of his sight. [laughs]

So I was very happy,
because ever since I met him,

it seemed to me
that all the other people that I knew

were really horrendously boring
in comparison.

♪♪[mellow]

Stanley grew up fairly sheltered,
except he lived in the Bronx,

so once he was out of the house,
not so sheltered.

So he really lived very much
a New York City life.

His father gave him a camera,
and that was it.

He'd learn to do it properly.

He did everything in the darkroom.
He knew everything about lenses.

And he was quite scientific
in his approach and really eager to know.

So by the time he got his first job
in Look magazine,

he was a child, really.

He was just 17.

Socially, totally inadequate
to have this job,

and he ran into endless amount
of trouble socially.

But he made good money, and he was very--
And he saved it, and he was very sensible.

He also was making money
on the side playing chess.

He was a very good chess player.

Then he was clever enough to realize that
what he really wanted to make is films

and that he had to give up

what had become
a very lucrative job by now.

And saved up money to make his first film,
and his uncle lent him some money.

And the whole story is very hand-knitted,
the start of his career.

I sometimes read his old diaries
when he was a very young man,

and I wish I could show this
to film students.

It would give them courage,
how difficult it is to make up--

How nobody wanted
to talk to him on the phone.

How he had nothing but rejection
after rejection for everything he did.

And he never gave up.

And that, I believe,
is the testing ground for most artists,

this ability to just hang in there
because that's what you have to do.

We finally got married...

I think it was on the 14th of April,
in Las Vegas.

And I had never seen Las Vegas.

Everybody said,
"What? It sounds so sleazy."

It was brilliant.

To a young European,
to go to Las Vegas was...

[chuckles] ...everything,
you know, just fabulous.

And then we lived in Los Angeles.

When I arrived, not only was
the weather amazing, everything was.

And I went to UCLA.

I was very grateful to UCLA,
sort of filling me in on certain things.

And I studied both painting
and English there.

The mixture of toddlers and a painter
is not very good for your home decoration.

I knew many women painters whose husband
wouldn't allow them to make a mess.

I messed up every room.

Luckily, Stanley was extremely tolerant
of all my painting stuff.

Boy, did I not fit in.

Oh, God. Poor--
I had a very patient husband, I must say.

And I made every social mistake possible,
as you can imagine.

Jim Harris was forever trying
to bring me up to scratch.

And they taught me horrible things
to say in English with great amusement.

So they trained me to be an American.

And then soon we left for England,
and I had to be trained to be English.

So now I'm just a wreck.

♪♪[upbeat]

[Frewin] Fifty, 60 years ago,
you could be a celebrity

and still be a private person.

Nowadays, if you're a celebrity,
the public feel that they own you.

And you're expected to go on TV,
bare your soul, your heart.

You know, you become
a sort of public property, in other words.

Stanley, I guess,
was a bit old-fashioned in that way,

in the sense that he thought,
"Well, what matters are the films.

I mean, not what I had for breakfast
or my favorite color.

This is unimportant.
It's the work that matters."

[Christiane] He wasn't pompous or vain

or walking around thinking,
"I'm a genius."

He-- The very opposite.

The very fact, if you care that much
about making good films,

you constantly find yourself inadequate,
so did he.

He wasn't a show-off at all
and never played the "Mr. Film-Director"

for one second.

He did come back from the BBC once
and say, "Oh, God, it was so embarrassing.

This man recognized me in the hallway,

and I had to give him my autograph,
and..." You know.

[Senat] The fact is, he liked
to live his life slightly differently

from other people

and could afford to do it, and did it.

Not a lot of people build their own lives
in that way.

Didn't care to do interviews
or to be recognized in the street,

which is not a criminal offense.

It's just the way that he liked it.

[Katharina] That was a great treasure
to have, that he could be incognito.

But isn't that
the ultimate luxury, though?

Being famous for your work
and what you do and what's important

and not have to worry
about some lens following you.

Because he wouldn't talk to the press,

very often the press liked to build up
some kind of myth about him.

But it wasn't accurate
in the case of Stanley.

♪♪[pensive]

He had a very bad relationship,
always, with the UK press,

but it was only the UK press.

In the rest of the world, it was fine.

The English press didn't like him
because he never talked to them.

He was so often invited by TV and radio
to talk and to be in chat shows.

If there was anything important to say,
he would put it in his film,

and that was the end of it.

[Christiane] I think
he thought of it himself.

He says, "I am far better as a filmmaker
than I would be as a chat-show guest.

I would be inferior.
I would say wrong things.

I would be nervous."
He had no faith in himself at all in that.

And he apologized to Warner Bros.

He just said, "I can't do it. Forget it.
I'll make a fool of myself."

I felt like, at the end of it,
that what he had created

was a kind of Wizard of Oz character.

What he projected out to the world,

that brow and those eyes
and that focus of making a film,

that was the way
that he wanted the world to see him.

But then what I discovered as Toto,

the little dog running
and pulling the curtain back,

was that it was just a kid from the Bronx
who was in love with making movies.

[Harris] Stanley had two things
that he was devoted to,

and he separated his time

and devoted 100%
of that separation in each case.

One was to his work,
the other to his family.

He was probably a tough taskmaster
for the children

because he is a tough taskmaster
for his work as well.

But it's because of a dedication,
it's because of a desire

to bring out the best,
in the movie that he's making

or in the children's growing up.

♪♪[tender piano]

[Katharina] He was very protective.

He didn't like going to bed
if the cats weren't all home

and he didn't know where we all were.

Thank God there weren't mobile phones
when we were teenagers.

Oh, my God. You know...
"Where are you?" [laughs]

So, yeah, he was extremely protective
but also very supportive.

And certainly,
if ever you were confused about anything,

what to study, what job to have,
any of that stuff,

he would always come up trumps.

Always, always, always.
He was problem-solver number one.

He loved his children, he loved me,

and he wanted us to do exactly
what he thought was right.

That felt very bad for his daughters,
especially during the women's lib era.

[Katharina] I remember
bringing one boy home one time.

I was about 17, and he-- To have dinner.

And, you know, he'd had the look
and the questions,

and I just said,
"Oh, God, this is not going well."

So we came back,
and he dropped me off at the door,

and I was going upstairs,

and Dad pokes his head
out of the dining-room door,

and he looks at me and says,
"You're kidding, right?" [laughs]

It's just, like... It was so harsh.

But I was the first of three girls.

My sisters got away with murder.
I sort of cleared the way.

♪♪[lighthearted]

People didn't realize
how good his sense of humor was.

It was a very, very funny sense of humor.

That would appear, as I say,
when I would be here at the house

and, you know, he'd be making tea.

You know, he wasn't practical
with these things,

but he was always happy to--
"Do you want a cup of coffee, Larry?

Want some toast?" And he'd burn the toast,
and the tea would get spilt.

I loved that, you know.

See, that was part
of the attraction for me.

It was more about the personal side
and seeing Stanley and laughing.

We would laugh.
And he used to tell terrible jokes.

Very funny jokes, but some people
might find them distasteful.

But I used to find them really funny.

I think our sense of humor
was a little bit similar,

so I think that helped, you know,
our working relationship.

He was one of the funniest men
on the planet.

He was like a stand-up comedian
in many respects.

Even when the chips were down
on one or two things,

it's very rare that you'd had
a conversation with him

that didn't begin
with some kind of a joke.

And because he had this Brooklyn accent,

he sounded like a comedian
from time to time.

But his jokes,
his stories were very funny. Very funny.

I mean, maybe they weren't for everybody,
but I got his humor, and I loved it.

When he was funny,
he was incredibly funny.

And if he was feeling a little upset
with someone,

he could be bitingly sarcastic.

We all went through it. [chuckles]

He was just
such a powerful force of nature.

That's what he was, really.

I think it was the very first scene
in the Shell House

at the very beginning of Barry Lyndon.

And I took the ribbon off
from around my neck

and hid it down between my breasts.

And it was when
we were doing the close-up.

I don't know where he was sitting.
He was somewhere over there.

And he said,
"Can you lift the right one up a bit?"

[laughing]

"Thank you.

Okay, just pull in the left one
a little bit.

Yeah, okay.

And the right one again.

And can you push them both...?"

And then the whole studio fell about.

It was his idea of a gag, okay? [laughs]

[Christiane]After the Paths of Glory,
it was a very uncomfortable time for him

because nothing sort of
was happening right away.

And he tried, and he didn't want
to just make any old film

in order to support himself

and, by now, me and the children.

So when Kirk phoned him and said,

"I want you to do Spartacus, "
he jumped at it.

He knew that if he got through this film,
this would be, for his career,

a good thing that he made the film,
finished it,

and was now an established film director,

not somebody
who made little independent films.

♪♪[dramatic]

[Harris]Unlike Paths of Glory,
where Kirk was our employee,

in this particular case,
Stanley was his employee,

directing the picture for Kirk.

And Stanley had never been
in this posture before,

where he had a boss.

He was very used to pleasing himself,
having done everything himself.

So this was a new experience for him,

to now have to do
whatever was put in front of him.

And I think 90% of the time,

if not more,
everything went extremely well.

He got through the picture.
The picture turned out great.

And the experience of working
with these actors was terrific.

Stanley brought a lot to that picture.

But he felt that he couldn't wait
to get on to the kind of filmmaking

that we were used to,
where there's no boss over our heads,

that we made what we wanted
and didn't have to account to anybody.

[Kaplan] Stanley chose to make movies
in the UK rather than in America

because he had more freedom there.

He was away from the studio structure
in Hollywood and the studio system.

It was a creative choice
as well as a physical choice.

[Christiane] Many New Yorkers,
I think, feel trapped in California.

It felt like being in a boarding school.

You know, all the people you work with,
you meet at dinner

and you meet them in restaurants
if you go out.

And: "How's it going, Stan?"
And he didn't like that.

So after Lolita,
then soon we left to England.

♪♪[stately classical]

[Field] I remember asking Stanley,
"Why did you leave the States?

Why did you leave Hollywood?"

He goes, "It was really simple."

He said, "I was living
in the Flats of Beverly Hills,

and I was tired
of walking up to people that I knew

and shaking hands with them
and them saying, 'How are you?'

and knowing that they hoped
my answer was 'Lousy."'

[Modine] He said that in Los Angeles,
people would ask him,

"How are the dailies?
How's the film going along?"

And he'd say, "Oh, it's great."

He said that before they turned away,

he said you could start to see
the bitterness on their face,

the animosity,

that everyone in Los Angeles seemed to him
to be waiting for you to fail.

And he didn't want to stay
in that environment.

[Christiane] He liked England because,

like many people
who read a lot of English lit,

they got hooked
with certain fantasies about England

and found them to be partly true.

And he liked the weather.

And he said, "When I got to England,

I found that the crews, the technicians,
were really wonderful at what they did."

The sound man wasn't trying
to direct the film.

The director of photography
wasn't trying to direct the film.

The director was the director,
and they were technicians.

And he loved that.
So he started making films there.

And because he was a chess player,

there he was, now eight hours ahead
of Los Angeles, as the time goes.

Playing chess, you make your move,
stop the clock,

and wait for the other person
to make their move.

He was eight hours ahead of them.

It was a great position
to find himself in.

He was a part of the system

because he was being financed
by the major studios,

but he wasn't as subject
to their directives

by being away from it,

and I think it gave him
a real sense of freedom.

♪♪[peaceful classical]

[Christiane] Stanley recognized,
when he saw this house,

that this had endless possibilities.

This house is actually quite amazing.
It's very old.

It's been there pre-Roman days

because we live
above the water of Saint Albans.

There's a river called Ver,
and the river flows under our house.

It's always been occupied.

Wherever there's water, there are people.

So Childwickbury was owned by the Church,

and I believe there were monks here
and novices, and they kept cattle.

And, it's mentioned
in Samuel Pepys' diaries,

they fled here during the plague.

This house has been added onto
into a rabbit warren

of Victorian and Georgian
and down to medieval bits.

So it's got an amazing history.

It is a dream house.

We had some cats run over
in our old house,

and this was very protective
to the animals

because it's, you know,
quite a distance from the road.

It was strange when you move
to the country here,

the things that are normal
to other people.

He'd never seen a cow close-up.

So it was a splendid education,

teaching him what could
and couldn't be done in the country.

He took it very seriously,
the whole thing.

The isolation and the newness
of his surroundings were very good.

It looked like he had
the ultimate privacy, and so he did.

He loved living here.
He never left at all.

He simply liked working from here,
and he had the room to do so

and keep all his family with him
without being disturbed by anybody.

You can't disturb each other
if the walls are thick and old.

I mean, I'm totally aware of how spoiled
I am to be able to live here.

I am.

[Frewin] He used to say, "It's easier
to fall in love than find a good story."

Which may be true.

There aren't that many
good stories out there.

♪♪[pensive piano]

"Watch Spot run."
"Jack and Jill went up the hill."

Something like that
would have bored Stanley.

He would want to do something
challenging to himself

that would also be challenging
to the audience.

I mean, otherwise, why bother?

[Christiane] Stanley struggled
with each script.

He wrote and threw away,
and he wrote and he threw away,

and he changed and he put it back.

I think it was the writing process
of most people, filmmakers especially.

[McDowell] He wasn't just gonna make
any movie that came down the pike.

He wasn't the kind of director
you could just send, you know,

a kind of middle-of-the-road-ing
kind of movie script to.

It had to be a subject that really
embraced things that he was interested in.

And so he worked on the scripts.

If he didn't write them,
he developed them.

[Vitali] That was a constant process.

In between camera setups,
he was there on the typewriter,

working and reworking and reworking.

Sometimes we had eight or nine different
color-coded pages of changes

inside the scene in a day.

It used to get to the point
where you kind of thought,

"Well, which color are we on now?"

Because it was just impossible
to keep track of it.

[Christiane] It was one
of his great fears,

not finding a story
that was really interesting,

really good enough,
and he dismissed many.

He probably had three or four things
at any one time that he was reading,

and he had a dilemma
which one he really wanted to do.

And then he'd read something about one,

went, "Ah. Yeah, I'd better not..."
then pick something else up.

I know, you know, he would do this.
This was how he was as a person.

He didn't go out of his way
to work that way.

It just happened.

[Christiane] He was very depressed
and sad that he wasted time doing that.

It was like...

yeah, falling in love with something
and not paying off.

Yeah, he went through that very often.

He wanted to do this film
on the Holocaust, Aryan Papers.

Yeah, that was a big, big project,

and we had one year
of preproduction on it

because it's a huge topic,
and it's a topic close to his heart.

It is something he wanted to do.

♪♪[solemn, pensive]

We had already the permission,
for example,

in the city of Brno in Czechoslovakia

to get the Nazi flags on the houses

and get the trams out of the museum
and the road and close the city center.

We were very much advanced.

And then Terry Semel
and Stanley decided to postpone it

because of Schindler's List.

That was finally his way out.

"Oh, well, it's coming too late.
You know, you can't make two in a row."

But Schindler's List was a story

about somebody
who saved a handful of Jews,

not about the actual killings.

And as he developed this film,

it became clear to him
he just couldn't do it.

He had absorbed all this information,

and at some point,
he just imploded on knowing this.

He very much felt
that if you show the total truth...

how would you get an actor to do that?

How would you get an audience to see that?

You just can't do it.

And at that point,
you're not a filmmaker anymore.

You're a contributor to the ultimate crime
of all the torture stories in the world.

So in a way, he was unhappy,

but he was happy that
that was his official remark

about stopping that film.

It's just coincidence. It's just...

It shows you, you know,
two minds with a single thought.

They were all good filmmakers

and had the same interest
in those subjects.

The Napoleon thing,
he was the saddest about.

He would have liked to have made that.

♪♪[dramatic classical]

[Jan] Stanley was interested
in this figure

because that was such a brilliant person
who was also so foolish at the same time.

That interested Stanley,

this mix of huge talent, huge charisma,
and utter foolishness.

[Christiane] He thought
the history of Napoleon

was the most interesting thing
he'd ever read.

And he was immensely well educated,
and he spoke about it very well.

And he was very thoughtful,
and it would have been a brilliant film.

I remember one of the visits
that I had with Stanley

was at his home
when he was working on Napoleon.

And I remember he invited me
into this workroom, huge room,

and there was an aerial shot
of a possible location for a battle scene.

And he had a grid over this thing,
a very detailed grid,

and this covered the wall.

He was counting the figures

in each of these little squares
that made up the grid.

He had an eye for extreme detail.

MGM got cold feet and pulled out

because there was a project,

Dino De Laurentiis
making a film with Rod Steiger.

Waterloo, that was the title
of the other film,

was just one particular episode
of Napoleon.

It was his end, really.

Well, that's not what Stanley
was interested in at all.

[Christiane] And it was a total flop.

And so the studio told Stanley

the Americans don't like films
where people write with feathers.

[Harris] Stanley's always told me,
when he was prepping,

that casting is like maybe 80% of your film

in terms of whether
it's gonna be good or not.

[Dullea] Great directors cast very well.

And if you cast very well,
you don't have to do a lot.

I've always found

that the most successful things
that I've done in my life,

both in theater and in film,

have been when I suspect
that I've been cast well.

[Harris] So you pick the right actors
that can contribute something,

that are intelligent,

that they know their lines,
they're prepared, professional,

and when they come on to the picture,
they're going to make it better.

So casting is so important,

and you notice,
in all of Stanley's pictures,

the acting is impeccable.

[engine running]

[McDowell] He called me in to meet
with him because he had a project.

Now, at first, I misunderstood my agent.

I thought it was Stanley Kramer,
a very different animal.

I was shooting a movie at Elstree Studios,
so I was very close to where he lived,

and I just popped in to see him.

And we went into a tiny little office.

And I said, "Well, what is it?"

And he goes, "Um..."

And then he, of course,
realized that he was gonna have to tell me

if he was gonna give me the book.

He said, "Have you ever heard of it?"
And I went, "No."

He went, "You haven't?"
Like it was some big thing, you know?

I said, "No, I haven't heard of...
Clockwork Orange?

No, I have no idea what it is."

He said, "Oh, it's a huge cult book."

And I went, "Well,
not in Notting Hill Gate, it's not."

[laughs]

[O'Neal] I think it started that
Stanley Kubrick was sending me a script.

I said, "Who? Really? Am I dreaming?"

And he had sent me a script,
and all the names were changed

because he didn't want anyone to get wind
of what he was working on next.

An elaborate story of the 18th century
with lots of duels and love affairs.

What could he imagine of the 18th century?

And I flew to London,
to the Dorchester Hotel,

where Mr. Stanley Kubrick
would be waiting for me in the restaurant.

And I found him,
from the beginning, dynamic.

Extremely attractive.

Beautiful eyes.

Look right through you. Look beyond you.

He's framing, always framing a scene.

♪♪[dramatic]

[Field] Leon Vitali was
an incredible young actor,

one of the best in England,

when Stanley asked him to come play
Lord Bullingdon in Barry Lyndon.

He and Stanley got on
when they were making the movie,

and Leon showed an interest in filmmaking.

And when Stanley was looking
for an assistant,

Leon stepped right up
and right into that other role.

You know, he was responsible
for a good deal,

if not all, of Stanley's casting
on the rest of the movies,

like The Shining, Full Metal Jacket,
and Eyes Wide Shut.

I got a book... [chuckles]
...sent to me through the post,

and it was The Shining,

and a little yellow sticker
on the front saying, "Read it."

That was Stanley's handwriting.

And the next night, he rang me.

He didn't even say, you know,
"Hi, it's Stanley" or anything.

He said, "Did you read it?"
I said, "Yeah, I read it."

He said, "Do you want to go to America
and find a little boy?"

I said, "Yeah, of course." [chuckles]

And it went on from there.

With The Shining, you know,

I saw 4000 little boys
over a period of six months in America.

With Eyes Wide Shut,

you know, for the role
of the receptionist in the hotel

where he goes to find Nick Nightingale,

a role that Alan Cumming played, actually,

I saw 80 actors for that one.

Just one scene.

And casting with Full Metal Jacket,

that went on
all the way through the movie.

I mean, the aim was always to get
the cast together before we started,

but we never managed to do it.

[D'Onofrio] I was doing theater
in New York,

and Modine and I had met at an audition,

and we went together in Central Park
and learned our dialogue together.

He was passing by the Ritz one night,

and because he hadn't been around
for a while, I asked where he was,

and he said he was preparing
to do a movie with Stanley Kubrick

and that there was a part available
and that I should send a tape.

And a couple of weeks later,
Stanley Kubrick called me on the phone.

♪♪[energetic, pensive]

[Vitali] Stanley was
the first person, really,

to do any kind of auditioning
on video in England.

And what was beautifully refreshing
about that was,

it wasn't about walking in

and meeting a producer or director
in a room with a 10-by-8.

This was a thing where you were given
text up front and you had to learn it,

and then you auditioned in front
of a video camera with a casting director.

And it was just great

because what you felt was that
"I've shown what I can do."

One of the things we never did was say,

"Well, this character is,
you know, physically like this

or psychologically like that."

It was all about letting in as many people
into the process of auditioning for it

and seeing exactly
what they could give you.

They might give you an extra dimension

to whatever you had
in the back of your mind,

which was always a wonderful surprise
when they did.

[loud thump]

[McDowell] What I remember about him,
outside of him the director,

what really impressed me,
I think, the most

was Stanley Kubrick the producer.

♪♪[dramatic]

He was such a parsimonious producer
that he watched the costs.

I mean, really, really,
he was on top of it.

And that's a good lesson
to learn, actually,

because a lot of it is complete waste,

a lot of what we do, you know, in terms
of getting the money on the screen.

Stanley was brilliant
at getting the money on the screen.

[gunfire]

[man 1] Fire!

- Good.
- [man 2] Cut it!

Good.

[Ermey] Other directors,
the problem they have

is they have a producer
looking over their shoulder.

That producer's the money guy

because there has to be
some sort of control.

We've got a certain amount of money,
and here's the project.

It's all mapped out
exactly where this money goes

and how much goes for this scene

and how many minutes
this scene's going to last.

Stanley doesn't have that.

He doesn't have that producer
looking right over his shoulder.

Stanley had freedom.

He wouldn't even allow
a Warner Bros. representative

to come on his set
while we were filming, period.

[D'Onofrio] I remember
my first day on set,

I wanted to meet Stanley Kubrick,

the guy who had just hired me
for a film, you know?

And they said, "Well, you'll have time."
I go, "Where are they shooting?"

"Over there, that bunch of people."
I said, "That's where I'm going."

So he walks me over, right?

And as we're walking over,
there's this van,

and it's full of these people
sitting in it.

I knew it wasn't part of the movie.

It was very odd
'cause it's just sitting there.

We get there, I'm introduced,
and Stanley shakes my hand.

He goes, "Sit down. We're gonna do a thing
where they march through this alley."

So they shoot it,
and then they shoot it again and again.

And I'm watching this van,

and those people are just sitting
in the van.

I said, "Who are the people in the van?"

Stanley leaned over and he said,

"Those are the Warner Bros. executives.
They're not allowed to get out."

[laughs]

[Smith] That dilemma of director-producer

and with that amount of control
that he had,

you can imagine
these conversations going on.

"I'd really like
to shoot a bit more on this,

but it's gonna cost this,
and I can't justify that."

Even though he could say,
"I'll spend this,"

he wouldn't just do it, you know,
without any good reason.

I'm sure he analyzed everything
in that way.

He was totally entrusted with his budget,
with his money, everything.

Nobody interfered.

Warner Bros. trusted him.

Terry Semel said, "Look, I mean,
either you have this guy or you don't.

There's no point in interfering."

They trusted him, and he knew that.

[Sobieski] I was supposed
to be there for two weeks,

and I was there for two months.

It sounds so expensive
when you think about it now.

How did he keep a production
going on for that amount of time?

How did all these things happen?

But people don't realize
that he worked with his family so much.

And by working with his family,

he was able to keep things
really secretive and really small.

And there's nothing more beautiful
than working in a family business.

The very first time
I became involved with the business

was after I had finished school.

I was 17, and I became the video operator
on Full Metal Jacket.

Everything that the camera films
is also recorded on video

so that the director can see
the playback of the take.

And I was in charge of just making sure
everything was recorded,

that it could be played back,
and that I archived it.

But it was interesting

because Stanley relied
on the video playback quite extensively

to look at the take back with the actors.

And I was there spooling back
and then pressing play.

And I would overhear his conversations
with the actors and his thoughts.

So it was a good place to be.

When you are on his set,
it's, you know, really lovely.

You don't realize
that the catering company is, like,

the little kid on the truck
is his grandson,

and it's run by his son-in-law,

and that his daughter is in the office.

My least favorite job

was xeroxing scripts, 'cause it would--
"Give me 20 copies of that."

He'd always preface it by:
"You got five minutes?"

'Cause if you walked past
and you weren't actually doing anything...

"It'll take you five minutes."
No, it won't.

There was one time,
I can't remember what I was printing,

and he kept sending me back,
saying, "I can't read it."

And it wasn't until some time after
we realized, actually, he needed glasses.

That's why he couldn't read it, 'cause
his arms weren't long enough. [laughs]

[Stanley] All right,
shall we try this, Doug?

- [Doug] Yeah, sure.
- Okay.

[Doug] Okay.

All right, let's go. Take the coats off.

♪♪[upbeat]

[Harris] The best players, whether
it's in sports or even in making films,

make it look easy, the real good ones.

So watching Stanley, it really looked easy
because he was so good

and he always could articulate
what he wanted.

He gained the respect of his actors,
and things just flowed.

The impression as a director

was the opposite to what my preconception
of what a director would do.

Which is the idea
of being this very commandeering,

domineering, shouting,
tyrannical character.

He was never like that.
He was just really quiet.

And he was really friendly with everyone.
That's the point.

My very first note from him
was a very discreet...

You know how some directors say,
"Oh, for God's sake, do..." blah, blah?

He didn't do that.
He said, "Can I talk to you a moment?"

And he took me aside and he said,
"Just to tell you,

we know that she's a little flirt,

so you can play her
as sweetly as you like."

I've thought of that note so often since
in things I've done.

'Cause it's so perfect, obviously.
You don't have to act it.

The audience know.

His directions were--
Nothing eccentric about his directions.

I mean, they were as straightforward as:

"Matthew, you're not gonna do it
that way, are you?"

[laughs]

Or one that he'd said,
as I'm marching into combat,

was pulling the beard down, looking at me,
coming over, whispering in my ear,

"Look really scared."

My entire experience with him,

he was like the nicest,
most considerate director,

you know, the entire time,

even, like, super protective, actually.

I was, like, a little kid,
but I had to ask him

if I could take a break in the middle
to shoot another movie.

I was really scared, and everybody
would get, like, really quiet

as if, like, the president was coming
into the room.

And this guy came in and he was just--
Couldn't have been sweeter.

Had eyes that were so twinkling.

He was just lovable
and made me feel super comfortable.

It was a really great experience.

People say he wasn't--
Didn't come forward with things,

but when he was saying goodbye
to me, he said...

He said, "You are a really lovely actress,

and I wish there were more,
but there's no more in the story."

I mean, so lovely things like that.

[Modine] I was worried because
we were getting further behind schedule.

What I felt-- Because of one's ego,
you think, "Oh, I'm responsible."

And not considering
what problems he was faced with.

You got it.

So I thought, "Jeez, what am I
not giving him? What am I not doing?

How do I play this character?
I don't know what I'm doing."

And he goes, "What's the matter?"

And I said, "I don't know."

And he said, "What's wrong?
Obviously, you're upset about something."

And I said, "Well, Stanley,
I don't know what to do.

I don't know how to play this part.
I don't know what I'm doing wrong.

What do you need from me?"

And he shook his head and he said,
"I don't want you to play anything.

All I want you to do is be yourself."

I marked that down in my diary because
I know the important part of that sentence

was to be yourself.

[D'Onofrio] It's a very legitimate thing
that Stanley did.

There was no nonsense, none.

He goes, "Do you know
what you're gonna do tomorrow?"

Tomorrow was the bathroom scene.

And I said, "Yeah, I think so."

And he said, "Okay, it has to be big.
It has to be Lon Chaney big.

Do you understand what I mean?"

And I said, "Yeah,
I understand what you mean."

"Okay, see you tomorrow morning."

So I incorporated what I had in mind.

And we went in
and we did the dialogue in two takes.

And then he asked me to come
and sit with him after,

'cause he would watch playback.

And he put his hand on my hand,

and he squeezed my hand a little bit
during one of the takes,

and he goes, "That is incredible work."

He goes, "That is incredible."

♪♪[dramatic]

I always kind of took it as, you know,
"Thanks for doing the right thing for me."

You know, like,
"I trusted you to come here and do this.

And thanks for showing up."

It was kind of nice that he did that.

[soldiers]♪ This is my rifle
This is my gun ♪

♪ This is for fighting
This is for fun ♪

[Frewin] Stanley tended to stick
with a crew he knew wherever possible.

Also, Stanley's reputation preceded him,
so you knew what you were in for.

He expected a lot out of you, but, I mean,
he expected even more out of himself.

So he wasn't one of these directors
who sort of ponces about and says,

"Can you go and do that?"

And then gives you a bollocking
for not doing it properly.

He led by example.

♪♪[lively classical]

He didn't want to rush.

He-- For him, it was absolutely essential

that there was no pressure
when it really comes to film.

That's the moment
when you don't want to have any pressure.

You can have it in preproduction,
that's fine.

Yeah? But not when it comes
to turning over.

Take your time.

And the actors liked it.

There's no doubt about it.

I just know
that I had turned myself over to him.

That he was my general,
and that I wouldn't be saying to him,

"Listen, are we gonna be done soon?"

All these stories about him doing
a hundred takes of everything

are so not true.

It depended on the moment.

When it was necessary
to do a hundred takes, he would.

But most of the time, he sometimes
took hardly any takes at all.

[McDowell] He didn't do
that many takes on Clockwork,

but I heard that later, or it's legend,
he went over a hundred and all this.

I think that, you know,
Stanley got it in his head.

He was a man of theories.

And unless they could be
disproved quickly,

you could be in an awful lot of trouble.

And the theory was,

the more takes you do, the more
resistance you break down in the actor,

that you're likely to get something
fantastic around 100, 120 takes.

I think I got to 50 in one take
because it was a very technical thing.

And I just said to him,
"Stanley, could we go back to 1A?

Because to hear 'take 50' is so, ugh...
It just so takes the air out of it."

And he looked at me and he went, "No."

[laughs]

That was it.
I went, "Okay, excuse me for asking."

Could you stand the way you do
with your gun, or simulate the gun?

[Vitali] He'd walk around
with a viewfinder

and just keep putting different lenses on,
and you'd run through it once,

you'd run through it twice,
you'd run through it a hundred times

if necessary,
till he found his first shot.

[Savage] When he was directing you and
when you were doing those multiple takes,

he was looking for something.

You knew when he'd got it.

There was a kind of an excitement from him

that you felt and you saw in his face

as soon as the take
that he was really happy with.

There was already an image
he had in his head,

and he would go until he got that image.

On that dance field, we danced,

which we knew inside out

'cause we'd done it
for two or three weeks. [laughs]

He'd say, "Lovely, let's go again."

And so take one, take two, take three.

I have never done
as many takes on anything.

And when you thought it was good

and you thought,
"God, that was a good one,"

"Lovely, go again." [laughs]

You'd think,
"Uh-oh, what could you be wanting?"

He would just say, "Do it again.
Let's do it again." And I said:

[sighs]

"Well, I should do it differently, right?
If you want me to do it again?"

He said, "No, just like that."

"Just like that?
And yet you want another one?"

He said, "Yeah." I said,
"It's your 16th just like that."

He said of Peter Sellers,

he said, "He will give you 50 takes,
and 49 are not usable,

and the 50th, it can't be repeated,
it's so good."

And if you remember Peter
in some of Stanley's movies,

he's pretty breathtaking.

You kind of started
to just lose this idea of acting.

You were just being it.

He was just waiting for you to drop
all those add-ons that you do as an actor,

those little touches
you think make the performance.

He just wanted you to be,
and so by the end of it,

there wasn't this pretension
of a great acting performance,

and you were in the moment, simply
because you'd done it so many times.

There was one actor that did, I think,
two days' worth of takes

on one line that never made it
in the movie.

[man] Bring all the flames up.

[D'Onofrio] We were about 50 yards,
looking through this broken wall.

There was a hole and all these flames
coming from these gas pipes.

Cameras are in there,
and we're outside the building,

we're sitting at the monitors watching
this scene, and he had his megaphone.

And he would click the thing and go...
[clears throat] ...in the megaphone.

It would go like, "Wah, wah," like that.

And he'd say, "Well, uh...
[clears throat] ...it's take 66.

Um, that was absolutely not good at all.

And we're going again."

[clears throat] Hang up.

[O'Neal] I was there in England
and Ireland for almost a year and a half.

And at times,
I didn't think it would ever end.

When Stanley turns the camera
from here to here,

we got a lighting job ahead of us, okay?

Now, the actors can go away and rehearse,

but when they call us back in,
then Stanley has to relight the scene.

It's his baby.

But there was a rhythm to it,
and you found the rhythm.

Stanley's approach was very, very simple.
He wanted to test everything.

- It's a good hand warmer.
- [Doug] Just angle it.

No, honestly, this is a log.

- [man] Just drop it down.
- Look at this, Doug. Look.

How's that look? To me, it looks great.

[Smith] Jan used
a really great expression:

"He looks under every stone,
and then he looks again."

The thought that he'd gone away
from something

without knowing that he's done
every single possible thing

to make it as good as it can be.

And that was the kind of conversations
that I used to have with Stanley.

"Stanley, we had this,
and that looked great.

We liked it when we saw the tests."

And he couldn't always explain that.
But there was something in him

that he just wasn't comfortable with,
that he wanted to explore something else.

He lights for a long time, and then
he decides he's not happy with it,

and you go home and come back
the next day and try again.

So there was maybe three
or four pages in this scene.

Marie Richardson and Tom Cruise
do the first few pages,

and I come in at the end of this one--
This first scene that I'm in.

I thought, you know, it'll be a few days.
But it was more than a few days.

So I got to the set to start to shoot
my entrance into that scene.

And he said,
"I don't really like what I'm--

How I've kind of got you guys lit,
so I'll see you tomorrow."

I was like, "I was so close
to actually shooting a frame of footage,"

but we didn't do it until the next day.

[Christiane] He was trying things out.

He had little models of things,
and he was lighting them.

And he would travel with a flashlight
and then get it lit properly.

He liked to play with that
and had some good ideas

of how to get scenes
very logically constructed

and visually very nice
by playing with his little paper dolls.

Stanley found out that I was on the same
lot that he was preparing The Shining,

and he took me on a tour
of the sets, which were--

I had never seen anything
quite like it before.

Then Stanley showed me
how he planned his shots.

He had a Nikon still camera,
and he had rigged a periscope

that went from the lens straight down.

So when he took me
into a miniature version

of all the sets of the Overlook Hotel,

he could put that little periscope down
into the set

and he could basically
take a lot of pictures

and plan where his camera was going.

So I had a real tutorial
that first day I went to Elstree

from the great master himself.

[Ermey] You know, it took seven days
to light that bathroom.

Every morning, the first thing we would do
when Stanley'd come in,

we would go right to that head.

And he would adjust filters
and lights and get rid of this...

He wanted an icy, cold, blue ambiance.

And I think
he accomplished that mission too.

♪♪[warm, pensive]

[Smith] The reason that made Stanley's
days longer than most other people

is because we would shoot
for the designated hours,

but then we would go off
into another part of the studio

and test the sets, light and test the sets

with just a skeleton crew,
like five or six people.

And then we would maybe do
two or three hours there,

get some food in,
and invariably, it was very relaxed.

At the end of the day in The Shining,
McDonald's would arrive.

In those days, the hamburgers
from McDonald's were a big thing.

Then after our hamburgers,
you'd do a lighting test.

And it was fascinating to see
the way he was doing lighting tests.

I learned all the time because Stanley
is a great, great teacher.

Yeah. Well, that's not bad.

I have to say, that's probably...

Was one of the things Stanley enjoyed
as much as anything.

And it was very, very relaxed.

It was almost like a social evening,
I would say.

And it was very enjoyable.

[O'Neal] You know, we had no stand-ins.

He said, "Well, I can't light the scene
to a stand-in. It's not you."

So we had to be
completely dressed, coiffed,

even with my sword... [grunts]

And do our own standing in

until it's lit,
which could take half a day.

They'd touch us up,

and we'd begin shooting.

No matter how good a stand-in is,

you bring them in and light them,
and it never looks right, and you say,

[mutters] "Doesn't look right, doesn't
feel right." 'Cause they're a stand-in.

The second the actor comes in, boom,
there's a spark that happens.

And it's the only time you can tell

if you really filled the lighting in
right or not.

Action.

You little scumbag!
I got your name! I got your ass!

You will not laugh! You will not cry!

You will learn by the numbers!
I will teach you!

Now get up! Get on your feet!

[Smith] Stanley didn't like big crews.
It was a thing that he had.

He never wanted to have
more people around than was necessary.

And sometimes he was 100% right,
and sometimes, you know, he was wrong

and we'd have to get more people in
because we didn't have enough.

But he, generally speaking,
didn't like to have more people

than was really essential.

We had a very, very humble setup.

On Eyes Wide Shut, we had
four offices and a Xerox machine.

We were very few people.

You could go on our set
and you thought they had wrapped.

We did major, major scenes
on Eyes Wide Shut

and we had a setup of seven people.

Very, very, very simple.

He was totally entrusted with his budget,
with his money, everything.

Nobody interfered.

Warner Bros. trusted him,
and he knew that.

He knew he had to deliver.

And I think that's the secret,
that relatively small crew,

because we went over schedule by 200%,

but certainly only 10% over budget.

On the whole, Stanley thought
time is the most important thing

that you spend with actors.

And if you have such an emotional story,

such incredibly complicated
thought processes

that go into these scenes,

you want to take time.

And he'd keep his crew very small,

keep it all as cheap as possible,
and take the time.

[Vitali]With Eyes Wide Shut, it was
scheduled for 89 days, that shoot.

After day one,
we were half a day behind schedule.

And I just thought, "That's great.

How wonderful. This one's gonna go
rolling on and rolling on and rolling on."

On the call sheets, you know, you'd have
"day 24 out of 89," "day 50 out of 89."

So when we got to day 89
and we still had a third of it to do,

we sort of said,
"Well, what do we do now, Stanley?

Tomorrow do we put
'day 90 out of 89' or...?"

And he just said,
"Don't put any days at all."

That was it.

The number of days we'd been shooting
was taken off the call sheet,

and we never thought about it again.

♪♪[warm, pensive]

[Ermey] He told me that his favorite part
of filmmaking is editing.

Because in the editing room,
that's where the film comes to life.

And he loved editing.

He couldn't wait to finish the movie.

He said, "I only really enjoy making films
after the actors are gone

and I just have it to myself."

Full Metal Jacket was the first time

that he actually started using
a computer editing system.

[gunfire]

We had over a million feet of film
for Full Metal Jacket,

which ended up
as not even six double reels.

It was astonishing.

Every word of dialogue was listened to.

Every single take was looked at.

And before, you know,
computer editing systems, of course,

everything had to be cut, spliced, tried,

and then there were
so many combinations of it.

If a character sort of had
a simple line like "I love you,"

just for argument's sake, okay,

and it was 40 takes or 50 takes,

he'd listen to every single "I"
in isolation,

every single "love" in isolation,
and every single "you" in isolation.

And then bit by bit, he'd start knocking
out the ones that sounded like nothing.

He'd find the right combination
of "I love you."

So you could only thank God
on Full Metal Jacket,

yeah, that we actually had
a computerized editing system.

♪♪[classical waltz]

He used to play music
through the editing process.

Close to something
that he thought might work.

And then, you know, the choices
would narrow down, narrow down.

He used to say that the biggest
music library in the world is the world.

So, you know, try and find it there.

[Christiane] Stanley was
an extremely musical man.

He was often accused that he didn't use
enough composers and so on

because he was playing music
around the clock,

and he was always hooked on something.

He was himself a drummer, and he liked
anything from Dixieland and jazz

and modern music and classical music.

Hugely catholic tastes in, I mean,

enormous range of music
that interested him.

He always had a tune in mind.

So, for instance,
to have the waltz in 2001.

He said, "Everything in space turns.

You can't be out there
without going in circles, like a waltz."

[Vitali] It's giving you
such an atmosphere,

which you just put the picture
into that context

instead of the other way round.

It's not reinforcing a mood
of drama or humor or anything.

It's just, this is where we are.

It set up a whole different feeling

and different understanding
of what was going on.

He did it with all of them.

[Kaplan] He'd get as much pleasure out of
dealing in the distribution and marketing

of his films as he did
with making the movie.

So he was watching them grow,

grow from their, you know, birth
at the opening through the release

and making sure that every stage
was done to benefit the film.

[Senat] Stanley made a point, quite how
he managed to do it, I don't really know,

of studying and learning and coming up
with alternative ways of doing things,

or at least questioning
the old ways of doing things.

So as a result of that,

he learned his way around different
aspects of the contractual advertising

and distribution issues as well.

[Kaplan] Stanley wanted
to control advertising.

He didn't want the studios
to have anything to do with it.

He would want to see which
of kind of three ways could be better.

So you'd have to get all
of the information

from each of the three ways

and present it to him
before an action could be taken.

♪♪[pensive electronic]

The great example was the film poster
for Clockwork Orange.

He had found a couple
of newspaper illustrations,

and one of them, that I found out that
he found, happened to be Philip Castle.

They set up a screening

of very rough footage.

I took a little writing pad,
a Basildon Bond writing pad this size,

and I was drawing in the dark,

you know, ideas as they came
from the screen,

'cause he was leaping with ideas.

Mike would take the drawings
and we'd look at them,

and then he would take them to Stanley.

They looked at them together,
and he would have chosen that format

of the A in Clockwork Orange.

One directive that was really interesting
that Stanley told me

was to ask Philip to do the logo as well.

I found that if someone is creative
in one area,

they could be just as creative
in a related area,

even though they won't know it.

And I said,
"Philip, we need a title treatment.

Just give it a shot."

And he said, "I don't really do it."
And then suddenly he comes up with it.

And then Stanley had him
do the title treatment

in every single language.

So Philip was working
on the title treatment

of Clockwork Orange for a year.

I found he didn't really know
what he wanted until he saw it,

at least as far as artwork.

I knew that he wanted to see lots of ideas

rather than one lukewarm idea developed.

With Full Metal Jacket, of course,
he knew he wanted that helmet.

It was just the means of getting to it.

I've come across a lot of directors

who want to get involved in the process

and have demanded certain approval rights,

but none of them had the authority
that Stanley did.

I do remember on one occasion
when we were working on The Shining,

I'd been involved
in some very complex discussion

on the telephone with Stanley.

And so I got up and started wandering
around the office, as one does,

and I wandered into the office
of the theatrical supervisor

for Europe, Middle East
and Africa at the time.

This is about three minutes later.

And he goes, "Stanley, Stanley."

And I can see
that he's looking at a newspaper,

or a photocopy of a newspaper,

from France,

and he's looking at the timing
of the screenings at a cinema in Lyon,

and he's talking about:

"Yep, if we move that by ten minutes,

we could then start ten minutes earlier,
we'd get an extra screening in."

And of course, he was probably
supposed to be shooting a film

at the time for Warner Bros.

[laughing] instead of doing
all of this stuff,

but that didn't stop Stanley.

♪♪[somber]

[Harris] When you were choosing to make
movies that appealed to you

and not being concerned
about the box-office potential,

whether they're commercial,
whether they're mainstream,

you're gonna have trouble.

Stanley and I always liked pictures
that were not mainstream.

Not because they were not mainstream,

they just happened to be...

esoteric or away
from the popular type of movies.

What can you do
about a bad review? Nothing.

If you're a creator,
once you've put your work out there,

it's kind of not yours anymore.

You then open yourself up
to all the criticism there is.

And if people interpret it one way,
that's their interpretation.

You mustn't explain it,
because you did it,

and now it's out there,

and let people take from it
what they will.

[Smith] He did like people
to enjoy his work, to like his work.

You can criticize it, by all means,

but that wasn't a problem to him,
I'm sure.

But he liked-- I think he liked to feel
that once he delivered something,

then look at the film, you know,
examine it, and be critical, yes,

but, you know, see what I've tried to do.

It's interesting, for example,
the reaction to 2001.

There is a man
who did just Dr. Strangelove

and Lolita and Paths of Glory,

and now he takes a bow
to the unknowable creator of the universe.

And many people over 40 or 50
were angered by this.

It got very mixed reviews.

It was not the iconic film
that it has now become.

There were a lot of bad reviews
for this film.

[McDowell] Stanley told me that when
they first showed it in Washington,

for the sort of politicos,

there was a guy from MGM
at the back with a clicker.

And Stanley goes, "What are you doing?"

He goes, "I'm counting
how many people leave."

And there was like 380 left the movie!

Just... [whistles] ...didn't get it.

[Jan] 2001 was saved by teenagers.
Yeah, there's no doubt about it.

Or "teenagers." Let's say,
by people between 12 and 30.

Particularly young boys
were absolutely enthused by 2001.

For the first time,
we see a so-called science-fiction film

as something which is
really philosophical, almost spiritual.

That hasn't been done before.

Pauline Kael didn't like it.
She thought it was incredibly boring.

But 12-year-olds and 14-year-olds
saw something that is indirectly

a very, very strong presence,
but it isn't talked about.

♪♪[stirring]

Eyes Wide Shut was
the most difficult film of his life.

But he also considered Eyes Wide Shut
his greatest contribution,

his greatest contribution
to the art of filmmaking.

I remember a fax from the Japan office

which said how wonderful this film was

and that couples are leaving the cinema
holding hands.

So many people have come to me

over the last four or five years and said,

"You know,
I just saw Eyes Wide Shut again.

I hadn't seen it since its release.
And I get it now, where I didn't before."

And it was exactly the same
with Barry Lyndon,

exactly the same with 2001,

people who didn't get it
when they first saw it.

♪♪[classical]

The critical reaction to Barry Lyndon
hurt him for years.

I mean, he was upset, disappointed,
depressed about it.

He was very, very disappointed
that the film wasn't successful,

because one of the things
he wanted to be sure

is that Warner Bros. get their money back.

It was much more important to him
that the backers get the money back

than that he got paid, which is good.

So that was part of his character.

So, yes, that was the biggest
disappointment on Barry Lyndon.

He was also disappointed
that not enough people liked the film.

I know when Barry Lyndon came out,

it wasn't wildly--

People were saying,
"My God, it's three hours long,"

you know, all this sort of thing.

But the latest release in London
gave it five stars across the board.

And, you know, I meet people who say,
"It's my favorite Kubrick,"

which is a little bit heartwarming.

BBC, BBC Television,
they ran a series of his films,

everything from Lolita
on to Full Metal Jacket.

And so the Sunday they showed
Barry Lyndon, he watched it.

I think it's the first time
he'd actually watched that film

from beginning to end without a break.

And the next day he came bouncing
into my office and he said,

"It really is a great movie,
isn't it, Leon?"

I said, "Yeah,
we've been telling you that for years."

♪♪[somber]

[Smith] One of the big tragedies for me,

one of the most upsetting things for me,

is that he's never been honored
in any way by the Academy.

I doubt that it'll come now

'cause I think it's just gone on--
It's too long now.

But, I mean, his body of work, come on.

Surely... [chuckles] ...somebody,
somebody, somewhere,

even if it was a posthumous award

of a Lifetime Achievement Award,
I mean, or whatever...

If any director should be awarded
something by the Academy,

it has to be Stanley Kubrick.

[Katharina] Daddy had died,
and the house was full of stuff.

Shelves, cupboards, rooms, famously boxes,

statues, awards, scripts, you name it.

♪♪[solemn, pensive]

[Christiane] He would take everything
out of his office

when the film was finished,
give it to the driver,

and he would dump it at home.

He said, "Just put it
in the bloody ballroom."

And because we have enough room,
it was just put somewhere.

"I'll tidy it up."

He had good intentions,
but it was a total lie. He never did.

Which, in a way, was good,

because had he tidied it up,
he would have been ruthless.

You don't value your own rubbish
around everywhere.

Stanley famously kept everything.

Everything was labeled in boxes,

and there were whole storerooms
full of stuff.

He never threw anything away.

[Christiane] I was very depressed
when I saw it all,

because a person seems suddenly
very long dead

when the paper starts to go yellow.

It's the most depressing thing to do,
to open up and: "Oh, my God, yes,"

and you start reading old letters,

and sooner or later you start to cry,

and it's a horrible widow's fate,
that one.

I had no idea what to do.

Then, through the Frankfurt Film Museum,

and I talked to Hans-Peter Reichmann,
who ran it,

and we got the idea of doing
the Stanley Kubrick Exhibition.

♪♪[upbeat]

He sent me an archivist,
a very talented archivist,

because it takes talent to spot

what is interesting.

[Katharina] We had an archivist here
for eight, nine months

with his white gloves,
going through everything meticulously.

He became a member of the family.

And we found things
that we didn't know were there.

[Christiane] He opened my eyes
a great deal,

what people would be interested in.

In the beginning, I thought,

"Oh, would he find this embarrassing
or that embarrassing?"

Once you start on that, you find
almost everything embarrassing.

If it's written down on horrible paper,
or if you doodled...

Even the old yellow pads
with a ring of coffee stains

and horrible remarks on the side.

"You drank all my orange juice,"
it said on one. [laughs]

But, of course,
that's what interested people.

This gives you a little bit of an idea
of what this person was like.

And so we had to really go
through it very carefully.

So that was a lot of work.

But in a way, it now gave me
something to do that made sense,

so I could stop
just sitting there and crying.

It was something positive to do,
and it was very valuable in every way.

[Katharina] We knew
that eventually, an exhibition,

or a traveling exhibition, as it now is,

where would that stuff go?

So it had to find a final resting place.

Several museums and countries,
you know, were considered.

But, you know, we lived in England,
and Daddy liked England.

And we're also very close to Europe,
where his films are hugely appreciated.

So it enables anybody who's interested
in the medium of film at all

to come and look at that archive
and look at all his stuff.

♪♪[stirring]

We're sitting
in the University of the Arts London

Archives and Special Collections Centre,

where we house
the Stanley Kubrick archive.

The storeroom itself is kept
at a constant 17 degrees centigrade,

50% relative humidity,

which is kind of about the optimum
temperature and humidity level

for things like photographs and paper.

It's pretty much top of the range
as far as archival storage is concerned.

The majority of the archive is paper-based
or photography-based.

There's something like
820 linear meters' worth of material

in boxes and plan chests.

It spans the entire of his career,

so we've got everything
from original copies of Look magazine

from when he was a photojournalist
in the 1940s,

all the way through to material
that relates to Eyes Wide Shut.

And obviously, because he was so involved
in every aspect of filmmaking,

the film materials can relate
to all of those aspects as well.

So everything from kind of draft scripts,
his notes on the original novels,

all the way through to advertising designs
and which quotes to use on the ads.

And we have a huge range
of researchers come in,

anything from academics writing books

or our own University of the Arts
London students,

students from other film schools,

even members of the general public

who are just interested
in seeing a bit of Stanley's stuff.

[Katharina] I would love
to see Renoir's palette.

You know, I would love
to see Vermeer's brushes.

Whatever it is that you're into,
you want to...

be in the presence, [laughs]

the ghostly presence,

and feel some of the mojo

of the people who have practiced the work
that you love to do.

So I get that completely.

♪♪[stirring]

[Modine] I stayed in touch with Stanley

until he started production
on Eyes Wide Shut.

And I called him up one day,

and I don't even remember
why I was calling.

I said, "Hey, Stanley, it's Matthew."

"Yeah, what do you want?"

And it was the first time he'd ever said
something like that to me.

I didn't want anything.

I was just-- Except conversation
and to see how he was doing.

I spent two years with him
working on Full Metal Jacket,

so him saying something like that to me,

while it was a punch in the gut, it was
just because he was getting busy

on another project,
and I had to respect that.

But that was the last time I spoke to him.

[Smith] For me, he died too young,

because there are times
when you, you know,

you feel like you want
to have a conversation,

not about anything in particular,
not about work, about anything,

but those moments come back... to me,

more often now than they did
in the early days, funnily enough.

I wish I could have spoke to him
one last time,

just been in his company one last time.

He's just somebody that,
if you were invited to sit with him,

you wouldn't turn it down.

You know, you would hang out.

He was such an interesting guy.

We were not only business associates,

but we were really best friends.

And we were together all the time.

We played poker together.

We went to the stock-market offices
at 6 in the morning.

We played touch football.

He was dedicated to his family,
dedicated to his work.

I know him as a regular guy.

I worshiped him. I loved him.

Stanley was...
I think he's the best director ever.

I know his history,
and I know where he came from

and how difficult the climb was

and how many noes he had had
to put up with

and rejections he had had
to put up with in his life.

I was quite shocked when he died.

All I could think of:
What would have been all the great movies

that we're never gonna see?

What makes an artist?

My definition of an artist is somebody who
does something that does not disappear,

that's relevant for the next generation.

Kubrick will not disappear.

You may not like him.
It has nothing to do with it.

People didn't particularly like
the French Impressionists,

and they changed the way people paint.

And so Stanley's films changed everything.

I feel, you know,
my education didn't start

until I started working for Stanley.

And coming to work for Stanley,
I mean, it was, you know,

like suddenly jumping on a roller coaster.

That was quite something,
quite exhilarating.

He was funny, witty,
tremendously stimulating,

and a good laugh, yeah.

Great guy.

People ask me if I miss him,
you know, even now.

Well, yeah, I do. I mean, of course I do.

It didn't really hit me
that he wasn't around

until the October of that year,
because by then,

I'd kicked out the very last
theatrical prints of Eyes Wide Shut.

So from March to October,

I was kind of...
just keeping myself going.

October, it was the first time
I ever went on Prozac.

[chuckles]

It was the first time
I ever went on an antidepressant,

'cause I crashed so quickly.

That's when I realized
he really wasn't around anymore.

He was...

a very passionate, loving,

concerned husband,

father, dog owner, employer.

He was probably one
of the most caring people I've ever met.

If it was in his power to do something
to help somebody who needed it

or an animal who needed it,
he would be there.

And he would always try.

Yeah, not many like him.

So I miss him.

I miss him a lot.

♪♪[stirring]

[Christiane] I really considered myself
extremely lucky.

We were people
from the most opposite side of things.

And so in that sense,
we both were lucky

that we were a good match.

When he was dead, I really suffered.

I didn't have his voice to give me
the rundown on what he thought.

Anything that he ran across,
he was very interested, and intensely so.

And it sounds like such a clichè,

but he was really engaged in life,
every part of it.

That kind of energy
and enthusiasm and intensity

made him very different
from other people to me.

He was brilliant.

He was unique.

He was Stanley Kubrick.

♪♪[uplifting]

♪♪[pensive]