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1
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Born July 26
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28 New York City my father is a doctor
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I had a few intellectual
interest as a child
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00:00:26,624 --> 00:00:29,596
Was the school Misfit
and I I don't think I read a
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00:00:29,608 --> 00:00:32,768
book for pleasure until
after I graduated high school
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00:00:33,024 --> 00:00:35,879
I had that one thing I think
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00:00:35,891 --> 00:00:39,168
that that that perhaps help me
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Get over being a misfit
that's gonna stay the night in
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00:00:43,292 --> 00:00:46,336
fact I became action
photography I mean at this point
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Cameraman assistant cameraman
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Director of everything
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00:00:52,992 --> 00:00:55,040
You have to have patience because some
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00:00:55,552 --> 00:00:58,139
If you don't cure on
frustrations proved to
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00:00:58,151 --> 00:01:00,928
be too much of a
distraction it is this pillow
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00:01:02,976 --> 00:01:06,005
It's like those games
where you take a lullabies
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00:01:06,017 --> 00:01:09,120
in the place sometimes
has more balls or jiggling
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00:01:09,376 --> 00:01:12,095
And if you allow
yourself to become
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00:01:12,107 --> 00:01:15,520
irritated then it's just
another distraction
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Your first experience with Kubrick film
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Will be a somewhat perplexing one
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The distinguished
approach to filmmaking
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can make it difficult
to comprehend
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What's alone analyze what you just seen
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Weather if you do find yourself
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delving into the softest s'ouvre
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And you'll discover filmography
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comprise notes of accessibility
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Experimentation
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00:01:49,312 --> 00:01:51,988
Headed by director
hewescraft becomes established
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through a desire to
reshape cinematic form itself
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Defined by constant need for
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continual change in technique
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Where everything becomes
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centered around reinvention
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00:02:05,696 --> 00:02:07,090
Is a strenuous task to look
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00:02:07,102 --> 00:02:08,768
at the work to Stanley Kubrick
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Without coming across as panegyric
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Why have to make that process
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When discussing possibly the
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most celebrated
visual artists of the 20
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You know everybody pretty much
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The man
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And
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I still feel that underwrites him
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So what's this about
Kubrick film The
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escalating into the
highest Terrace Cinema
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00:02:32,064 --> 00:02:33,645
Will you find that every project
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has received is an
autistic Revolution
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Not just in the context of his other one
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When the domain is film itself
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Is filmmaking techniques a striking
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Belize sailing
approaches to find
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them on as a directive extremes
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Open content and
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Dispose don't deal with intimate dramas
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Examine the grandiose characteristic
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Exploring the deteriorating effects of War
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00:02:57,920 --> 00:02:59,712
All the secrets kept by Society
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00:02:59,968 --> 00:03:02,272
So they may partake
in that Doc is fun to see
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00:03:03,040 --> 00:03:04,576
High concept subject matter
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Filmmaking techniques
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delivered with such ferocity
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It redefine The Cinematic experience
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Redefined to such a degree
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The logic almost dissipates
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NPO experiential
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Takes over
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Few other filmmakers much
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00:03:18,845 --> 00:03:20,960
to attention to
detail in his work
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Ice protest
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Think of what is way to reshape life
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Kobe saying is the origin of this
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Because to think
of all is having
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responsibilities other
than just to be on.
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Elevates its importance
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in the mind of its creator
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Wouldn't most convey a message
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00:03:36,576 --> 00:03:37,600
You must have a purpose
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00:03:38,368 --> 00:03:40,953
The Creator style of
directing for Kubrick
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every single elements
on screen with motivate
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Uncharted 2 movement 2 costume design
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Everything has a meaning
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00:03:48,608 --> 00:03:51,804
Doesn't a measurable degree
of depth in Kubrick collection
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of work duties refined
conscientious filmmaking Style
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Because when every
detail becomes a necessary
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00:03:57,647 --> 00:03:59,616
intellectual component
of a narrative
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Become simpler to understand
88
00:04:01,637 --> 00:04:03,200
this prestige in the medium
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00:04:03,712 --> 00:04:06,016
I first saw 2001 I didn't like
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00:04:07,040 --> 00:04:09,088
Three or four months later I was just
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00:04:09,344 --> 00:04:09,856
Woman in
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00:04:10,112 --> 00:04:10,880
California
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I went to see it again
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I liked it a lot more
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Couple of years later I saw it
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again and I
thought this is really
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Sensational movie and
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It was one of the few times in my life that
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I realize that the artist
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Was much ahead of me
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In order to research this project
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I decided to visit the Stanley
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Kubrick archives in London
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My time that I was spent rummaging through
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What is upon boxes of reset
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Material script Amendment StoryBots
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Is a Haven of everything
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from his films that you could
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Possibly imagine
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What are discovered
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What's the procedure of
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00:04:57,134 --> 00:04:58,751
how Kubrick would make a film
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Listening to every
stage required a
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00:05:01,013 --> 00:05:03,103
meticulous approach
in the molding of them
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00:05:03,615 --> 00:05:05,151
Arrival is research
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00:05:05,407 --> 00:05:07,455
And his work ethic boarded on the up sex
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This experience
was how I imagined
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is to see a great
painters brushes
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It was a way to gain a brief glimpse
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The mind of a master at work
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Across all phases of cubics projects
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Diligent attention to detail can be found
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It was a man who even though
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he was financed by the studios
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Get a good enough reputation that men
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He can maintain full creative control
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Disadvantage
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Every area
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Every project
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I remember one of them
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But I had one
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Was it is
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When he was working on the polian
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And she had a grid
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Great detail grid
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Cover the wall
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He was counting
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The figures
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Each of these little
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Squares
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The made-up the grid
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Reproduction may have meant
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00:06:07,665 --> 00:06:09,663
location scouting an entire city
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Just to find the perfect do away
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During filming it was an unknown
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00:06:14,085 --> 00:06:16,063
for wanting to have over 50 take
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And once the film is finished
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The Edison mayor's being
the most of minding task
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Kubrick would have countless reaction show
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Instead of settling simply
with one that worked
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It would go through every single take
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Teen Titans control
even continue to
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Kubrick's involvement
with distribution
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Checking all the prince sent to Cinemas
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Even visiting a few status himself
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Many may look upon this
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work ethic and find extensive
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Police need to
complete his vision and
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the determination
he could shoot it with
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Is what gave Kubrick films
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What exactly are
people referring to
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when they refer to
that's inaccurate film
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Many artists
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When they put a canvas up
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They start with
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Very detailed pencil Strokes Trace
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Small delicate
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00:07:02,399 --> 00:07:02,911
Pencil Strokes
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00:07:03,167 --> 00:07:04,167
Stanley
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00:07:05,215 --> 00:07:06,239
Conceptual all this
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My point of view
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Large
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00:07:09,823 --> 00:07:10,847
Primary colors
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And he would just like
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Beat out these Concepts
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What was the culmination of this method
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Well it's one thing to have control
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What's a fuse
that's with Kubrick's
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tendency for dynamic
visual storytelling
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Granted every visual aspect of the frame
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An almost sacred quality
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This is one thing. Should be remembered for
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They say he changed
the way visual stories told
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By manipulating The Muse on sand
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in a way that hasn't
been done before
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Who is able to communicate
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through his own unique methods
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Backgrounds and supporting
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areas at the main narrative
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Contains some of the most Vital
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Information through its imagery
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A majority of the film
steamatic presents
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those became
hidden in plain sight
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This resulted in films with a
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multitude of narrative layers
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Kubrick's nursery Focus
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existed perpetually
in a gray area
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You would never sacrifice
the main subject story
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However his ostensible subject matter
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Concealed the true
messages within his films
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With Kubrick
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Camera movement was more
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than just a counter-movement
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And an action was more than just an option
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This method of articulating
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ideas was one wearing everything
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Cinta containable meaning
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One that service and narrative
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And another
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To deliver a symbolic connotation
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He reaches over to shake
Jack Nicholson's hand
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in so step through that
scene frame by frame
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And the minute that he and Jack Nicholson
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Touch hands
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And right after the lines
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which is nice to see you
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You can say
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I ate a paper tray
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On the desk
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Turns into
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A very large
straight on hardened
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coming out of Barry
Nelson Princeton
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Instacart to intentions were
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disguised in their options
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Fixes to Tops on the red table
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00:09:02,207 --> 00:09:03,231
I was just
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00:09:04,767 --> 00:09:07,071
Manchester to tops of Red Cloak star
228
00:09:07,583 --> 00:09:08,583
On the wrestler
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00:09:12,959 --> 00:09:14,557
Akubra carefully choreographed
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00:09:14,569 --> 00:09:16,287
the sequence down to each step
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00:09:16,799 --> 00:09:18,079
Similarly in clockwork
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Alex's enjoyment of
violence is demonstrated
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32 cakes on the writer
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Matched with the two top
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In the bathtub
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Andes at a less extreme example
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Because of Cubix
fascination with the visuals
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Is Transcendence that usage in his films
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3 implemented in the most abstract form
240
00:09:45,983 --> 00:09:47,007
Pure symbolism
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00:09:47,775 --> 00:09:49,957
Hubert's manner of
filmmaking was to deliver
242
00:09:49,969 --> 00:09:51,871
all of the information
to the audience
243
00:09:52,383 --> 00:09:54,431
Just not tell them that
that information is that
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Because he found that the least
245
00:09:56,356 --> 00:09:58,271
effective way to tackle
ambitious themes
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00:09:58,527 --> 00:09:59,551
What to do so Direct
247
00:10:00,319 --> 00:10:00,831
So instead
248
00:10:01,087 --> 00:10:01,855
DeSoto seed
249
00:10:02,111 --> 00:10:02,879
How to be planted
250
00:10:03,135 --> 00:10:04,135
Into the audience
251
00:10:05,439 --> 00:10:07,050
Kubrick raise the importance
252
00:10:07,062 --> 00:10:08,511
of a symbolic narrative
253
00:10:08,767 --> 00:10:09,535
2 equals
254
00:10:09,791 --> 00:10:10,871
What is main subject matter
255
00:10:11,327 --> 00:10:12,351
And in doing so
256
00:10:12,863 --> 00:10:14,911
Is films below-the-line at the conscious
257
00:10:15,167 --> 00:10:16,167
And the unconscious
258
00:10:16,447 --> 00:10:17,967
Kubricky and storytelling can
259
00:10:17,979 --> 00:10:19,775
be summed up by saying that it's
260
00:10:20,031 --> 00:10:21,055
Audiences job
261
00:10:21,311 --> 00:10:23,103
Discover meaning for themselves
262
00:10:23,615 --> 00:10:24,383
It is accomplished
263
00:10:24,639 --> 00:10:27,199
By complimenting those two opposing forces
264
00:10:28,223 --> 00:10:29,552
I think I was trying to suggest
265
00:10:29,564 --> 00:10:31,295
something about
the duality of man sir
266
00:10:32,063 --> 00:10:34,111
Duality of man the jungian thing sir
267
00:10:35,135 --> 00:10:37,340
The most important
part of watching a
268
00:10:37,352 --> 00:10:39,743
Kubrick film is how
the experience feels
269
00:10:39,999 --> 00:10:41,535
The analysis of its reasoning
270
00:10:42,047 --> 00:10:43,415
His film the puzzles that
271
00:10:43,427 --> 00:10:44,863
the viewer must Assemble
272
00:10:45,119 --> 00:10:46,399
Quoting Warcraft
273
00:10:46,911 --> 00:10:48,447
In all things mysterious
274
00:10:48,703 --> 00:10:49,703
Never explain
275
00:10:49,983 --> 00:10:52,182
Kubrick avoided
offering ounces in
276
00:10:52,194 --> 00:10:54,847
his work each film is
merely a hypothesis
277
00:10:55,615 --> 00:10:57,753
Never abandoning
the key subjects of his
278
00:10:57,765 --> 00:10:59,967
films they always
remained his main focus
279
00:11:00,223 --> 00:11:01,503
I was the one that you cease
280
00:11:01,759 --> 00:11:03,157
Wikipedia vessel for the
281
00:11:03,169 --> 00:11:05,343
filmmaker to explore
greater themes
282
00:11:05,855 --> 00:11:08,415
Is films a method of expressing an idea
283
00:11:08,671 --> 00:11:10,207
Without suffering explanation to it
284
00:11:10,975 --> 00:11:12,041
Because when an audience
285
00:11:12,053 --> 00:11:13,535
must create meanings themselves
286
00:11:13,791 --> 00:11:15,010
Attach them to think on a
287
00:11:15,022 --> 00:11:16,351
higher plane of conscious
288
00:11:17,119 --> 00:11:18,143
Remenda
289
00:11:18,399 --> 00:11:20,247
Kubrick wanted to reshape lives
290
00:11:20,259 --> 00:11:22,239
we see this even in his subject
291
00:11:22,495 --> 00:11:24,543
Writer Michelle Seaman
292
00:11:24,799 --> 00:11:26,386
That the eyes watched show in
293
00:11:26,398 --> 00:11:28,383
The Shining
opposite and intention
294
00:11:28,895 --> 00:11:30,069
One is about the dangers
295
00:11:30,081 --> 00:11:31,711
of being pent up in family life
296
00:11:31,967 --> 00:11:33,323
Where's the other is about the
297
00:11:33,335 --> 00:11:35,295
dangers of strain
too far from the family
298
00:11:36,063 --> 00:11:38,623
These could be viewed contradictory ideals
299
00:11:38,879 --> 00:11:40,927
Keurig doesn't say that either is right
300
00:11:41,183 --> 00:11:43,231
The themes don't offer conclusion
301
00:11:43,487 --> 00:11:45,535
The filmmaker is holding a mirror tools
302
00:11:45,791 --> 00:11:47,071
And I seen that we figure out
303
00:11:47,583 --> 00:11:50,143
Many Kubrick films can
be viewed as allegory
304
00:11:50,655 --> 00:11:52,207
Is first film fare in bisaya
305
00:11:52,219 --> 00:11:53,727
is a very obvious example
306
00:11:54,239 --> 00:11:55,007
Pilot selfie
307
00:11:55,263 --> 00:11:56,287
Is the themes of the film
308
00:11:56,543 --> 00:11:59,635
Over the course of his
career Glen that the key
309
00:11:59,647 --> 00:12:02,687
to his ideas cinematic
experience is ambiguity
310
00:12:03,455 --> 00:12:05,398
Princeton take out transitions
311
00:12:05,410 --> 00:12:07,039
be used in a daily walk
312
00:12:09,599 --> 00:12:12,240
3 days later at 10:15
on a Tuesday Morning
313
00:12:12,252 --> 00:12:14,719
County clay began
the final preparation
314
00:12:15,999 --> 00:12:17,023
And hit a Olathe
315
00:12:17,279 --> 00:12:19,071
What's your experience with the priority
316
00:12:26,239 --> 00:12:27,511
Kubrick understood the
317
00:12:27,523 --> 00:12:29,567
exposition isn't
always necessary
318
00:12:30,079 --> 00:12:31,871
Best wax on the continent piscine
319
00:12:32,127 --> 00:12:33,569
And then figure out how that
320
00:12:33,581 --> 00:12:35,711
message can be
translated cinematically
321
00:12:36,223 --> 00:12:37,861
The Kubrick is to be injected
322
00:12:37,873 --> 00:12:39,295
in the simplest of ways
323
00:12:39,551 --> 00:12:41,343
Because of his prestigious control
324
00:12:41,855 --> 00:12:43,642
Character relationships
surreptitiously
325
00:12:43,654 --> 00:12:45,183
convey through
the art Department
326
00:12:45,695 --> 00:12:47,743
Positioning displaying paradigm shift
327
00:12:48,255 --> 00:12:49,023
Papa hops
328
00:12:49,279 --> 00:12:50,559
The things that remain the same
329
00:12:51,583 --> 00:12:53,491
Does the circularity
at the films
330
00:12:53,503 --> 00:12:55,423
details throughout
Kubrick's work
331
00:12:55,935 --> 00:12:58,239
Take me to re-emerge later in the piece
332
00:12:58,495 --> 00:13:00,011
So that seems to be compared
333
00:13:00,023 --> 00:13:01,823
and contrasted with one another
334
00:13:02,335 --> 00:13:04,639
This is how cubic. With his grumpiness
335
00:13:05,151 --> 00:13:07,967
Envisioning his films
a self-contained ideas
336
00:13:08,223 --> 00:13:10,271
The Crow and more
throughout their expression
337
00:13:10,783 --> 00:13:12,319
Is ideas do in real life
338
00:13:13,087 --> 00:13:15,135
Visuals with Kubrick's biggest Ally
339
00:13:15,647 --> 00:13:17,090
He utilized the notion that
340
00:13:17,102 --> 00:13:18,719
all elements within an image
341
00:13:18,975 --> 00:13:20,767
Have the capacity to convey something
342
00:13:21,279 --> 00:13:23,583
Something that the audience must figure out
343
00:13:23,839 --> 00:13:24,839
The jigsaw
344
00:13:25,119 --> 00:13:27,167
Where peace is not so much missing
345
00:13:27,423 --> 00:13:29,215
As it is purposely concealed
346
00:13:29,727 --> 00:13:30,239
This
347
00:13:30,495 --> 00:13:31,519
Is how Cinema is done
348
00:13:35,871 --> 00:13:36,871
Sweetheart
349
00:13:38,175 --> 00:13:39,967
What's an artist is nothing without form
350
00:13:40,223 --> 00:13:41,376
In filmmaking techniques
351
00:13:41,388 --> 00:13:43,039
are the trademarks if any direct
352
00:13:43,807 --> 00:13:45,343
So what was Kubrick known for
353
00:13:45,855 --> 00:13:47,224
I refer to Kubrick earlier
354
00:13:47,236 --> 00:13:48,671
as a director of extremes
355
00:13:48,927 --> 00:13:50,170
Can I use this definition
356
00:13:50,182 --> 00:13:51,487
because of the frequency
357
00:13:51,743 --> 00:13:53,535
As well as the intensity of his techniques
358
00:13:54,047 --> 00:13:56,351
Kubrick films often feel very distant
359
00:13:56,863 --> 00:13:58,463
And that's because that's supposed to be
360
00:13:58,911 --> 00:14:00,275
You can send to certain barrier
361
00:14:00,287 --> 00:14:02,239
between the viewer
and the film's universe
362
00:14:03,007 --> 00:14:05,067
I've already that
strengthened by the film
363
00:14:05,079 --> 00:14:07,103
Cinema City methods
to disengage The View
364
00:14:07,359 --> 00:14:09,151
From personally identifying with the well
365
00:14:09,663 --> 00:14:11,455
Techniques that stand out or essential
366
00:14:11,967 --> 00:14:14,527
Because cubert was
creating unique perspective
367
00:14:15,039 --> 00:14:16,063
This was an hour well
368
00:14:16,575 --> 00:14:18,623
This world is exclusive of the movie
369
00:14:19,135 --> 00:14:20,689
One of the things you said to me
370
00:14:20,701 --> 00:14:22,463
that I've always
remembered was in
371
00:14:22,719 --> 00:14:23,743
Movies you don't
372
00:14:25,023 --> 00:14:28,351
You don't try and photograph the reality
373
00:14:29,119 --> 00:14:30,655
Try and photograph the
374
00:14:30,911 --> 00:14:31,911
Photograph
375
00:14:32,191 --> 00:14:32,703
The reality
376
00:14:33,215 --> 00:14:34,506
First we need to examine the
377
00:14:34,518 --> 00:14:36,287
artistic decisions
that Kubrick made
378
00:14:36,799 --> 00:14:38,606
Are we can
categorize the purpose
379
00:14:38,618 --> 00:14:40,383
of many as methods to exaggerate
380
00:14:40,639 --> 00:14:41,639
Distract
381
00:14:42,175 --> 00:14:43,773
I'm retired a friend Sydney to
382
00:14:43,785 --> 00:14:45,503
amplify whatever was on screen
383
00:14:46,015 --> 00:14:48,063
Why don't girls become extremely odd angles
384
00:14:48,575 --> 00:14:50,879
Blowing Olympic home extremely low angles
385
00:14:51,135 --> 00:14:53,439
The reason behind his
penchant for excessive
386
00:14:53,695 --> 00:14:55,999
What's because cubic emphasizes a reality
387
00:14:56,255 --> 00:14:58,815
Represent a waltz
representation of humanity
388
00:14:59,327 --> 00:15:01,119
And the university film replicates
389
00:15:02,143 --> 00:15:03,935
This is a metaphoric reality
390
00:15:04,447 --> 00:15:05,727
Cinematic reality
391
00:15:06,239 --> 00:15:08,031
His methods always reminded us at the
392
00:15:08,799 --> 00:15:11,103
I thought it was crucial
that they be distinctive
393
00:15:11,871 --> 00:15:13,191
Take a look at Zoom strike sample
394
00:15:13,663 --> 00:15:15,983
Turn almost absent to
Liz Cinema nowadays
395
00:15:15,995 --> 00:15:18,271
just because of how
distracting they are
396
00:15:18,783 --> 00:15:20,575
YouTuber accused them religiously
397
00:15:21,343 --> 00:15:23,223
There's certain rules
that filmmakers typically
398
00:15:23,391 --> 00:15:24,635
We follow so that they can
399
00:15:24,647 --> 00:15:25,951
retain audience immersion
400
00:15:26,463 --> 00:15:27,485
Book he breaks all to
401
00:15:27,497 --> 00:15:29,023
continually break these rules
402
00:15:29,791 --> 00:15:31,583
To utilize the techniques
that what you need
403
00:15:32,607 --> 00:15:34,143
The camera movement the Addison
404
00:15:34,399 --> 00:15:35,167
Tighten them
405
00:15:35,423 --> 00:15:37,215
So that he could distinguish his world
406
00:15:37,471 --> 00:15:38,495
A separate from our own
407
00:15:39,007 --> 00:15:39,775
Intern
408
00:15:40,031 --> 00:15:41,311
Acknowledge and embrace
409
00:15:41,567 --> 00:15:42,591
Symbolic nature
410
00:15:43,103 --> 00:15:44,441
This can be seen even further
411
00:15:44,453 --> 00:15:46,175
with the inhabitants
of these world
412
00:15:46,943 --> 00:15:48,419
Because Cubix Focus revolves
413
00:15:48,431 --> 00:15:49,759
heavily around Humanity
414
00:15:50,015 --> 00:15:50,783
The acting was what
415
00:15:51,039 --> 00:15:52,039
With heavy scrutiny
416
00:15:52,575 --> 00:15:53,843
Cubic typically let shots
417
00:15:53,855 --> 00:15:55,647
ride out with
very little editing
418
00:15:55,903 --> 00:15:57,439
Can only build to a climax
419
00:15:57,951 --> 00:15:58,975
What's a focus on an
420
00:16:00,511 --> 00:16:02,047
Austin during dialogue scenes
421
00:16:02,303 --> 00:16:03,456
Sometimes the only thing
422
00:16:03,468 --> 00:16:05,119
shown would be the reaction show
423
00:16:05,887 --> 00:16:07,623
Cubic sauce at more important to
424
00:16:07,635 --> 00:16:09,983
show how people
deal with that situations
425
00:16:10,239 --> 00:16:12,031
Rather than the situations themselves
426
00:16:12,543 --> 00:16:13,989
Focusing on the reaction get
427
00:16:14,001 --> 00:16:15,615
this message across very well
428
00:16:15,871 --> 00:16:17,407
As you isolate the effects
429
00:16:18,175 --> 00:16:20,991
Kubrick legionfall go-karts was looking at
430
00:16:21,247 --> 00:16:22,783
Just a focus on that face
431
00:16:23,039 --> 00:16:25,087
Removing what would typically be a close-up
432
00:16:25,599 --> 00:16:26,948
Another example of reducing
433
00:16:26,960 --> 00:16:28,927
information delivered
to the audience
434
00:16:29,439 --> 00:16:30,719
But whenever possible
435
00:16:30,975 --> 00:16:31,999
Action and reaction
436
00:16:32,255 --> 00:16:33,279
Would be in the same shot
437
00:16:34,047 --> 00:16:35,839
I'm coming through fine to it
438
00:16:36,351 --> 00:16:37,351
Good then
439
00:16:42,495 --> 00:16:45,311
Displaying the exaggerated
depiction of humanity
440
00:16:45,567 --> 00:16:47,359
Becomes evident in the performance itself
441
00:16:47,871 --> 00:16:50,190
Cupid want said that
it can be very difficult
442
00:16:50,202 --> 00:16:52,735
not to have a cynical view
of Human Relationships
443
00:16:53,247 --> 00:16:55,807
I just pessimistic view,
ignored from his what
444
00:16:56,319 --> 00:16:58,111
Is it becomes very visible in his carrot
445
00:16:58,367 --> 00:16:59,135
Expressions
446
00:16:59,391 --> 00:17:00,391
And performance
447
00:17:00,671 --> 00:17:02,463
We see the infamous Kubrick glass
448
00:17:02,975 --> 00:17:04,423
What phases can talk into the
449
00:17:04,435 --> 00:17:06,047
most Sinister forms imaginable
450
00:17:06,559 --> 00:17:07,803
And character interactions
451
00:17:07,815 --> 00:17:09,119
Canfield stilted and cold
452
00:17:09,631 --> 00:17:10,911
That's because these characters
453
00:17:11,167 --> 00:17:13,471
A product to the environments they populate
454
00:17:13,727 --> 00:17:16,221
The denizens of each
Universe simply exist in
455
00:17:16,233 --> 00:17:18,847
the most discernible part
of the model Spectrum
456
00:17:19,103 --> 00:17:20,895
And the actions are intensified
457
00:17:21,151 --> 00:17:22,809
Too much Qbert extreme view of
458
00:17:22,821 --> 00:17:24,991
the darkest parts
of the human spirit
459
00:17:25,247 --> 00:17:27,039
The area he was so interested in it
460
00:17:28,063 --> 00:17:29,599
The methodology of Kubrick
461
00:17:29,855 --> 00:17:32,226
Center on developing
a cinematic world who
462
00:17:32,238 --> 00:17:35,231
self-awareness mimic the
extreme tone that is correct
463
00:17:35,487 --> 00:17:35,999
Does Lipton
464
00:17:36,511 --> 00:17:37,858
It's all services creating an
465
00:17:37,870 --> 00:17:39,839
atmosphere that
would make it believable
466
00:17:40,095 --> 00:17:42,143
Did the situations we see cortica
467
00:17:42,655 --> 00:17:44,179
The techniques of Kubrick what
468
00:17:44,191 --> 00:17:46,239
just that to be
obnoxious and show off
469
00:17:46,495 --> 00:17:48,031
Do complimentary of disbelief
470
00:17:48,543 --> 00:17:50,481
Whether this man
the destabilization of
471
00:17:50,493 --> 00:17:52,639
the camera during the
most thrilling moment
472
00:17:52,895 --> 00:17:53,967
All the action on-screen
473
00:17:53,979 --> 00:17:55,199
practically choreographed
474
00:17:55,455 --> 00:17:56,479
To the music that played
475
00:17:58,783 --> 00:18:04,927
It's important that the filmmaking
476
00:18:05,183 --> 00:18:07,528
The movie matches at
tone and Kubrick did just
477
00:18:07,540 --> 00:18:10,047
that as well as create a
much deeper significance
478
00:18:10,559 --> 00:18:12,607
Assembled films of tonal axilla
479
00:18:13,375 --> 00:18:15,167
Every possibility was exhausted
480
00:18:15,423 --> 00:18:16,563
In order to find the correct
481
00:18:16,575 --> 00:18:17,727
way to relay these message
482
00:18:18,495 --> 00:18:19,870
The multiple narratives were
483
00:18:19,882 --> 00:18:21,567
complemented by Cubix filmmaking
484
00:18:22,079 --> 00:18:23,871
Because every decision was galvanized
485
00:18:24,127 --> 00:18:27,711
By his desire for artistic expression
486
00:18:45,887 --> 00:18:48,703
Kubeckas wants a stone
how much he plans a scene
487
00:18:48,959 --> 00:18:49,959
You responded
488
00:18:50,239 --> 00:18:51,775
Is witches are always in the day
489
00:18:52,031 --> 00:18:53,031
10 days in a week
490
00:18:53,567 --> 00:18:56,383
This pretty much sums
up how character of movies
491
00:18:56,895 --> 00:18:57,919
Prison on perfectionist
492
00:18:58,431 --> 00:19:00,223
How can you argue with the results
493
00:19:00,991 --> 00:19:01,985
Nothing was out of the
494
00:19:01,997 --> 00:19:03,551
realm of possibility for Kubrick
495
00:19:03,807 --> 00:19:05,343
If something seems impossible
496
00:19:05,599 --> 00:19:07,123
Put simply work
on propelling the
497
00:19:07,135 --> 00:19:08,671
technology of the
meeting forward
498
00:19:08,927 --> 00:19:10,207
So he could get it done
499
00:19:10,719 --> 00:19:12,511
Is everything Kubrick dead
500
00:19:12,767 --> 00:19:14,047
How does sufficient reason
501
00:19:14,559 --> 00:19:15,839
Through his stylization
502
00:19:16,095 --> 00:19:17,375
Every filmic elements
503
00:19:17,887 --> 00:19:19,935
He was able to communicate
through all faucet
504
00:19:20,447 --> 00:19:22,751
Turn Odyssey he treated with respect
505
00:19:23,263 --> 00:19:24,799
Because in order to test the audience
506
00:19:25,311 --> 00:19:26,847
You must fast test yourself
507
00:19:27,615 --> 00:19:29,919
Stanley Kubrick didn't just make films
508
00:19:30,431 --> 00:19:31,455
He defined
509
00:19:31,711 --> 00:19:33,247
The Cinematic experience
35775
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