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These are the user uploaded subtitles that are being translated: 1 00:00:08,448 --> 00:00:14,592 Born July 26 2 00:00:14,848 --> 00:00:18,944 28 New York City my father is a doctor 3 00:00:20,224 --> 00:00:26,368 I had a few intellectual interest as a child 4 00:00:26,624 --> 00:00:29,596 Was the school Misfit and I I don't think I read a 5 00:00:29,608 --> 00:00:32,768 book for pleasure until after I graduated high school 6 00:00:33,024 --> 00:00:35,879 I had that one thing I think 7 00:00:35,891 --> 00:00:39,168 that that that perhaps help me 8 00:00:40,192 --> 00:00:43,280 Get over being a misfit that's gonna stay the night in 9 00:00:43,292 --> 00:00:46,336 fact I became action photography I mean at this point 10 00:00:46,592 --> 00:00:49,152 Cameraman assistant cameraman 11 00:00:49,664 --> 00:00:52,224 Director of everything 12 00:00:52,992 --> 00:00:55,040 You have to have patience because some 13 00:00:55,552 --> 00:00:58,139 If you don't cure on frustrations proved to 14 00:00:58,151 --> 00:01:00,928 be too much of a distraction it is this pillow 15 00:01:02,976 --> 00:01:06,005 It's like those games where you take a lullabies 16 00:01:06,017 --> 00:01:09,120 in the place sometimes has more balls or jiggling 17 00:01:09,376 --> 00:01:12,095 And if you allow yourself to become 18 00:01:12,107 --> 00:01:15,520 irritated then it's just another distraction 19 00:01:29,344 --> 00:01:31,392 Your first experience with Kubrick film 20 00:01:31,648 --> 00:01:33,184 Will be a somewhat perplexing one 21 00:01:33,696 --> 00:01:35,592 The distinguished approach to filmmaking 22 00:01:35,604 --> 00:01:37,280 can make it difficult to comprehend 23 00:01:37,792 --> 00:01:39,584 What's alone analyze what you just seen 24 00:01:40,096 --> 00:01:41,671 Weather if you do find yourself 25 00:01:41,683 --> 00:01:43,424 delving into the softest s'ouvre 26 00:01:43,680 --> 00:01:45,280 And you'll discover filmography 27 00:01:45,292 --> 00:01:47,008 comprise notes of accessibility 28 00:01:47,520 --> 00:01:48,800 Experimentation 29 00:01:49,312 --> 00:01:51,988 Headed by director hewescraft becomes established 30 00:01:52,000 --> 00:01:54,688 through a desire to reshape cinematic form itself 31 00:01:54,944 --> 00:01:56,511 Defined by constant need for 32 00:01:56,523 --> 00:01:58,272 continual change in technique 33 00:01:58,528 --> 00:01:59,675 Where everything becomes 34 00:01:59,687 --> 00:02:01,088 centered around reinvention 35 00:02:05,696 --> 00:02:07,090 Is a strenuous task to look 36 00:02:07,102 --> 00:02:08,768 at the work to Stanley Kubrick 37 00:02:09,024 --> 00:02:10,816 Without coming across as panegyric 38 00:02:11,328 --> 00:02:12,608 Why have to make that process 39 00:02:12,864 --> 00:02:14,388 When discussing possibly the 40 00:02:14,400 --> 00:02:16,704 most celebrated visual artists of the 20 41 00:02:17,984 --> 00:02:19,520 You know everybody pretty much 42 00:02:20,800 --> 00:02:21,800 The man 43 00:02:22,336 --> 00:02:23,360 And 44 00:02:24,128 --> 00:02:26,176 I still feel that underwrites him 45 00:02:27,712 --> 00:02:29,501 So what's this about Kubrick film The 46 00:02:29,513 --> 00:02:31,552 escalating into the highest Terrace Cinema 47 00:02:32,064 --> 00:02:33,645 Will you find that every project 48 00:02:33,657 --> 00:02:35,648 has received is an autistic Revolution 49 00:02:35,904 --> 00:02:37,696 Not just in the context of his other one 50 00:02:37,952 --> 00:02:39,744 When the domain is film itself 51 00:02:40,256 --> 00:02:42,304 Is filmmaking techniques a striking 52 00:02:42,560 --> 00:02:44,526 Belize sailing approaches to find 53 00:02:44,538 --> 00:02:46,400 them on as a directive extremes 54 00:02:46,912 --> 00:02:48,192 Open content and 55 00:02:49,472 --> 00:02:51,520 Dispose don't deal with intimate dramas 56 00:02:52,032 --> 00:02:53,824 Examine the grandiose characteristic 57 00:02:55,104 --> 00:02:57,408 Exploring the deteriorating effects of War 58 00:02:57,920 --> 00:02:59,712 All the secrets kept by Society 59 00:02:59,968 --> 00:03:02,272 So they may partake in that Doc is fun to see 60 00:03:03,040 --> 00:03:04,576 High concept subject matter 61 00:03:04,832 --> 00:03:05,980 Filmmaking techniques 62 00:03:05,992 --> 00:03:07,648 delivered with such ferocity 63 00:03:07,904 --> 00:03:10,208 It redefine The Cinematic experience 64 00:03:10,720 --> 00:03:12,256 Redefined to such a degree 65 00:03:12,512 --> 00:03:13,792 The logic almost dissipates 66 00:03:14,304 --> 00:03:15,840 NPO experiential 67 00:03:16,096 --> 00:03:17,096 Takes over 68 00:03:17,376 --> 00:03:18,833 Few other filmmakers much 69 00:03:18,845 --> 00:03:20,960 to attention to detail in his work 70 00:03:21,472 --> 00:03:22,240 Ice protest 71 00:03:22,496 --> 00:03:24,544 Think of what is way to reshape life 72 00:03:25,056 --> 00:03:26,592 Kobe saying is the origin of this 73 00:03:27,104 --> 00:03:28,788 Because to think of all is having 74 00:03:28,800 --> 00:03:30,944 responsibilities other than just to be on. 75 00:03:31,456 --> 00:03:32,599 Elevates its importance 76 00:03:32,611 --> 00:03:34,016 in the mind of its creator 77 00:03:34,528 --> 00:03:36,064 Wouldn't most convey a message 78 00:03:36,576 --> 00:03:37,600 You must have a purpose 79 00:03:38,368 --> 00:03:40,953 The Creator style of directing for Kubrick 80 00:03:40,965 --> 00:03:43,744 every single elements on screen with motivate 81 00:03:44,512 --> 00:03:46,560 Uncharted 2 movement 2 costume design 82 00:03:46,816 --> 00:03:48,096 Everything has a meaning 83 00:03:48,608 --> 00:03:51,804 Doesn't a measurable degree of depth in Kubrick collection 84 00:03:51,816 --> 00:03:54,752 of work duties refined conscientious filmmaking Style 85 00:03:55,264 --> 00:03:57,635 Because when every detail becomes a necessary 86 00:03:57,647 --> 00:03:59,616 intellectual component of a narrative 87 00:04:00,128 --> 00:04:01,625 Become simpler to understand 88 00:04:01,637 --> 00:04:03,200 this prestige in the medium 89 00:04:03,712 --> 00:04:06,016 I first saw 2001 I didn't like 90 00:04:07,040 --> 00:04:09,088 Three or four months later I was just 91 00:04:09,344 --> 00:04:09,856 Woman in 92 00:04:10,112 --> 00:04:10,880 California 93 00:04:11,136 --> 00:04:12,672 I went to see it again 94 00:04:14,464 --> 00:04:16,256 I liked it a lot more 95 00:04:16,768 --> 00:04:18,501 Couple of years later I saw it 96 00:04:18,513 --> 00:04:20,607 again and I thought this is really 97 00:04:21,375 --> 00:04:23,679 Sensational movie and 98 00:04:23,935 --> 00:04:26,751 It was one of the few times in my life that 99 00:04:27,263 --> 00:04:29,311 I realize that the artist 100 00:04:29,823 --> 00:04:31,359 Was much ahead of me 101 00:04:38,527 --> 00:04:40,063 In order to research this project 102 00:04:40,319 --> 00:04:41,764 I decided to visit the Stanley 103 00:04:41,776 --> 00:04:43,135 Kubrick archives in London 104 00:04:43,903 --> 00:04:46,207 My time that I was spent rummaging through 105 00:04:46,463 --> 00:04:47,999 What is upon boxes of reset 106 00:04:48,255 --> 00:04:50,303 Material script Amendment StoryBots 107 00:04:50,815 --> 00:04:51,808 Is a Haven of everything 108 00:04:51,820 --> 00:04:53,119 from his films that you could 109 00:04:53,375 --> 00:04:54,375 Possibly imagine 110 00:04:54,655 --> 00:04:55,679 What are discovered 111 00:04:55,935 --> 00:04:57,122 What's the procedure of 112 00:04:57,134 --> 00:04:58,751 how Kubrick would make a film 113 00:04:59,263 --> 00:05:01,001 Listening to every stage required a 114 00:05:01,013 --> 00:05:03,103 meticulous approach in the molding of them 115 00:05:03,615 --> 00:05:05,151 Arrival is research 116 00:05:05,407 --> 00:05:07,455 And his work ethic boarded on the up sex 117 00:05:08,223 --> 00:05:10,003 This experience was how I imagined 118 00:05:10,015 --> 00:05:11,807 is to see a great painters brushes 119 00:05:12,319 --> 00:05:14,111 It was a way to gain a brief glimpse 120 00:05:14,623 --> 00:05:16,415 The mind of a master at work 121 00:05:29,215 --> 00:05:31,263 Across all phases of cubics projects 122 00:05:31,775 --> 00:05:33,823 Diligent attention to detail can be found 123 00:05:34,335 --> 00:05:35,757 It was a man who even though 124 00:05:35,769 --> 00:05:37,407 he was financed by the studios 125 00:05:37,663 --> 00:05:39,711 Get a good enough reputation that men 126 00:05:39,967 --> 00:05:42,015 He can maintain full creative control 127 00:05:42,271 --> 00:05:43,551 Disadvantage 128 00:05:44,319 --> 00:05:45,319 Every area 129 00:05:45,599 --> 00:05:46,599 Every project 130 00:05:47,135 --> 00:05:48,415 I remember one of them 131 00:05:49,183 --> 00:05:50,183 But I had one 132 00:05:50,463 --> 00:05:51,231 Was it is 133 00:05:51,487 --> 00:05:53,279 When he was working on the polian 134 00:05:53,791 --> 00:05:55,327 And she had a grid 135 00:05:55,839 --> 00:05:57,375 Great detail grid 136 00:05:57,887 --> 00:05:58,655 Cover the wall 137 00:05:58,911 --> 00:05:59,935 He was counting 138 00:06:00,959 --> 00:06:01,959 The figures 139 00:06:02,239 --> 00:06:03,263 Each of these little 140 00:06:03,519 --> 00:06:04,031 Squares 141 00:06:04,543 --> 00:06:05,567 The made-up the grid 142 00:06:06,079 --> 00:06:07,653 Reproduction may have meant 143 00:06:07,665 --> 00:06:09,663 location scouting an entire city 144 00:06:10,175 --> 00:06:11,711 Just to find the perfect do away 145 00:06:12,223 --> 00:06:14,073 During filming it was an unknown 146 00:06:14,085 --> 00:06:16,063 for wanting to have over 50 take 147 00:06:16,575 --> 00:06:17,855 And once the film is finished 148 00:06:18,111 --> 00:06:20,415 The Edison mayor's being the most of minding task 149 00:06:20,927 --> 00:06:22,975 Kubrick would have countless reaction show 150 00:06:23,487 --> 00:06:26,047 Instead of settling simply with one that worked 151 00:06:26,303 --> 00:06:28,607 It would go through every single take 152 00:06:29,119 --> 00:06:30,952 Teen Titans control even continue to 153 00:06:30,964 --> 00:06:32,959 Kubrick's involvement with distribution 154 00:06:33,727 --> 00:06:35,519 Checking all the prince sent to Cinemas 155 00:06:35,775 --> 00:06:37,823 Even visiting a few status himself 156 00:06:38,335 --> 00:06:39,631 Many may look upon this 157 00:06:39,643 --> 00:06:41,407 work ethic and find extensive 158 00:06:41,919 --> 00:06:43,779 Police need to complete his vision and 159 00:06:43,791 --> 00:06:45,759 the determination he could shoot it with 160 00:06:46,015 --> 00:06:47,551 Is what gave Kubrick films 161 00:06:48,831 --> 00:06:50,617 What exactly are people referring to 162 00:06:50,629 --> 00:06:52,671 when they refer to that's inaccurate film 163 00:06:53,183 --> 00:06:54,183 Many artists 164 00:06:54,463 --> 00:06:55,743 When they put a canvas up 165 00:06:57,791 --> 00:06:58,559 They start with 166 00:06:58,815 --> 00:07:00,863 Very detailed pencil Strokes Trace 167 00:07:01,119 --> 00:07:02,119 Small delicate 168 00:07:02,399 --> 00:07:02,911 Pencil Strokes 169 00:07:03,167 --> 00:07:04,167 Stanley 170 00:07:05,215 --> 00:07:06,239 Conceptual all this 171 00:07:07,263 --> 00:07:08,263 My point of view 172 00:07:08,799 --> 00:07:09,311 Large 173 00:07:09,823 --> 00:07:10,847 Primary colors 174 00:07:13,151 --> 00:07:14,175 And he would just like 175 00:07:14,431 --> 00:07:16,223 Beat out these Concepts 176 00:07:16,735 --> 00:07:18,527 What was the culmination of this method 177 00:07:19,039 --> 00:07:20,575 Well it's one thing to have control 178 00:07:21,087 --> 00:07:22,751 What's a fuse that's with Kubrick's 179 00:07:22,763 --> 00:07:24,671 tendency for dynamic visual storytelling 180 00:07:24,927 --> 00:07:27,231 Granted every visual aspect of the frame 181 00:07:27,487 --> 00:07:28,767 An almost sacred quality 182 00:07:29,535 --> 00:07:31,839 This is one thing. Should be remembered for 183 00:07:32,095 --> 00:07:34,655 They say he changed the way visual stories told 184 00:07:34,911 --> 00:07:36,514 By manipulating The Muse on sand 185 00:07:36,526 --> 00:07:38,495 in a way that hasn't been done before 186 00:07:38,751 --> 00:07:40,116 Who is able to communicate 187 00:07:40,128 --> 00:07:41,823 through his own unique methods 188 00:07:42,591 --> 00:07:43,910 Backgrounds and supporting 189 00:07:43,922 --> 00:07:45,407 areas at the main narrative 190 00:07:45,663 --> 00:07:47,015 Contains some of the most Vital 191 00:07:47,027 --> 00:07:48,479 Information through its imagery 192 00:07:48,991 --> 00:07:51,213 A majority of the film steamatic presents 193 00:07:51,225 --> 00:07:53,087 those became hidden in plain sight 194 00:07:53,599 --> 00:07:55,196 This resulted in films with a 195 00:07:55,208 --> 00:07:56,927 multitude of narrative layers 196 00:07:57,695 --> 00:07:58,980 Kubrick's nursery Focus 197 00:07:58,992 --> 00:08:01,023 existed perpetually in a gray area 198 00:08:01,535 --> 00:08:03,839 You would never sacrifice the main subject story 199 00:08:04,095 --> 00:08:06,399 However his ostensible subject matter 200 00:08:06,655 --> 00:08:08,959 Concealed the true messages within his films 201 00:08:09,471 --> 00:08:10,239 With Kubrick 202 00:08:10,495 --> 00:08:11,621 Camera movement was more 203 00:08:11,633 --> 00:08:13,055 than just a counter-movement 204 00:08:13,311 --> 00:08:15,103 And an action was more than just an option 205 00:08:15,615 --> 00:08:17,303 This method of articulating 206 00:08:17,315 --> 00:08:19,455 ideas was one wearing everything 207 00:08:19,967 --> 00:08:21,247 Cinta containable meaning 208 00:08:21,759 --> 00:08:23,551 One that service and narrative 209 00:08:23,807 --> 00:08:24,319 And another 210 00:08:24,831 --> 00:08:26,623 To deliver a symbolic connotation 211 00:08:27,391 --> 00:08:30,518 He reaches over to shake Jack Nicholson's hand 212 00:08:30,530 --> 00:08:33,535 in so step through that scene frame by frame 213 00:08:33,791 --> 00:08:36,863 And the minute that he and Jack Nicholson 214 00:08:37,119 --> 00:08:38,143 Touch hands 215 00:08:38,399 --> 00:08:40,395 And right after the lines 216 00:08:40,407 --> 00:08:42,495 which is nice to see you 217 00:08:42,751 --> 00:08:43,775 You can say 218 00:08:44,287 --> 00:08:46,079 I ate a paper tray 219 00:08:46,335 --> 00:08:47,871 On the desk 220 00:08:48,383 --> 00:08:49,407 Turns into 221 00:08:49,663 --> 00:08:52,471 A very large straight on hardened 222 00:08:52,483 --> 00:08:55,551 coming out of Barry Nelson Princeton 223 00:08:55,807 --> 00:08:57,331 Instacart to intentions were 224 00:08:57,343 --> 00:08:58,879 disguised in their options 225 00:08:59,135 --> 00:09:01,183 Fixes to Tops on the red table 226 00:09:02,207 --> 00:09:03,231 I was just 227 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 229 00:09:12,959 --> 00:09:14,557 Akubra carefully choreographed 230 00:09:14,569 --> 00:09:16,287 the sequence down to each step 231 00:09:16,799 --> 00:09:18,079 Similarly in clockwork 232 00:09:18,335 --> 00:09:20,895 Alex's enjoyment of violence is demonstrated 233 00:09:21,151 --> 00:09:22,943 32 cakes on the writer 234 00:09:27,295 --> 00:09:28,575 Matched with the two top 235 00:09:28,831 --> 00:09:29,831 In the bathtub 236 00:09:34,719 --> 00:09:36,767 Andes at a less extreme example 237 00:09:38,047 --> 00:09:40,095 Because of Cubix fascination with the visuals 238 00:09:40,351 --> 00:09:42,655 Is Transcendence that usage in his films 239 00:09:42,911 --> 00:09:45,471 3 implemented in the most abstract form 240 00:09:45,983 --> 00:09:47,007 Pure symbolism 241 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 244 00:09:54,943 --> 00:09:56,344 Because he found that the least 245 00:09:56,356 --> 00:09:58,271 effective way to tackle ambitious themes 246 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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