All language subtitles for Stanley.Kubrick.A.Life.in.Pictures (2001)_track3_[eng]

This film contains some
violent scenes, some strong language

and some scenes which some viewers
may find upsetting

It was...magnificent.

One of his pictures are equivalent
to ten of somebody else's.

"Oh, Nicole," and shake his head.

"Do you know him?"
And nobody ever really knew him.

He was known as a...

..a kind of future threat.

One of the all-time great
motion picture makers.

A future threat to peace and quiet.

Legendary...

..meanness.

At times, he drove me crazy.

He was a very lovable individual.

I love him one minute, and the next
I hate him, I could kill him.

Perhaps the most intelligent person
I've ever met.

He got fascinated
with Nescafe commercials...

Have you seen the film
Groundhog Day?

..because they told stories so fast.

That's what it was like.

This man was born
to push the envelope...

There is still a part of Stanley
that is a great mystery to me.

..and he always pushed the envelope.

You must expect someone like that
to be different from the rest of us.

I think we were too scared of him
over here.

Everybody pretty much acknowledges
he's the Man...

..and I still feel
that underrates him.

MUSIC: La Gazza Ladra - Overture
by Rossini

This film is about the life
and work of Stanley Kubrick -

an outstanding film-maker,

one of the great artists
of our time.

Stanley Kubrick was an enigma
to many people.

In his films, he was extrovert,

challenging,

and ready to break conventions.

But Kubrick himself
was intensely private,

shunning publicity and fiercely
guarding his anonymity.

Happiest at work and at home
with his family

and a large circle of friends.

He was a chess player
in every sense.

Both cautious and aggressive,

he took great risks but evaluated
each move with the greatest of care.

Stanley was born in New York

and remained a New Yorker
all his life,

even though he and his family lived
in England for nearly 40 years.

He died at his home
on the 7th of March, 1999.

This film will make use of unique
material which has never been seen.

It is a document about a man
who remained silent,

whether he was being applauded
or damned.

Stanley Kubrick was born in New York
on the 26th of July, 1928.

His father, Jack, was a doctor,

who'd married Gertrude Perveler
the previous year.

His sister, Barbara, was born
six years later, in 1934.

Today, a lot of people that have
kids that are that far apart,

they encourage the older one to
nurture the younger one as a baby

so they sort of get to love them.

But I gather Stanley
was very jealous...

..you know, that I was there.

He was very good, though.
He was very good to me.

INTERVIEWER: Nobody ever accuses him
of being playful.

Well, he was playful

like on The Addams Family
kind of playful.

When he was little, I think they did
consider him kind of a sissy,

cos he just wasn't
like your typical boy.

He read a lot. He always had a book.

Well, my mother read all the time.

She always was behind him, always,
and she really believed it.

She says, "There's nothing
you can't do."

She always was supportive of him.

She was really a great mother,
I think.

INTERVIEWER: Were they strict,
Gert and Jack?

No.

Never. He always did what he wanted.

In 1941, when Stanley was
12 years old,

he went to Taft High School
in the Bronx.

At the beginning, I think, of the
second week, Stanley turned to me

as the class opened and said

could I let him copy the day's
homework?

I said, "Of course, why not?"

The next day he asked the
same thing.

And the next day after that,
and before I knew it

he was doing it every day.

So after about a week or ten days,

I finally got up enough
aggressiveness to say,

"Stanley, why aren't you doing
your homework?"

He said to me, very simply

and in what I learned was his
characteristic quiet way,

"Well, I'm not interested."

It wasn't as if he were stupid.
He was simply not interested

and acted upon that.

Stanley was really quite involved,
quite passionate about photography.

Stanley, you must understand, was,
by the general lights of the time...

..the son of a wealthy person,
as they had their own home.

They could have a darkroom.

And his father was interested
in photography

and I think he encouraged Stanley
to use the darkroom

and to become a photographer.

That darkroom background, actually
was one of the bedrock things

that enabled him to develop
a very high level

of sophistication
about photography

and then finally cinematography.

Stanley was fascinated
by photography.

He was the photographer on
the school newspaper

and was constantly on the lookout
for pictures

that would capture the
imagination.

We interrupt this programme to
bring you a special news bulletin.

A press association has just
announced

that President Roosevelt is dead.

Roosevelt was a god to us. That's
what my mother said. She said,

"I'm not sure there's a God,"
when he died.

And then when he
took that picture, whoa.

It just made
Everybody that saw it would cry.

They'd just start to cry.

He looked like just
the world had ended

and Stanley just got that.

It was this photograph of a
news vendor mourning the death of
President Roosevelt

that transformed the amateur
into a professional.

Stanley was just 16 when he sold
this picture to Look,

one of America's great
illustrated magazines.

When he graduated high school, he
joined Look as a staff photographer,

taking thousands of pictures,

perpetually experimenting and
gaining experience

for the next stage of his career.

JAZZ MUSIC

Kubrick shot several features
on boxing for Look,

one on the rising young fighter
Walter Cartier.

Passionate about the sport,

he realised he'd found
the subject for his first film.

Day Of The Fight was Stanley's
first effort at film-making.

I was his assistant on that

and I'm very proud of the fact
that I operated the second camera

during the final fight sequence,

which is a real fight.

And we were alternating
with each other.

I was shooting when he was loading.

I got the knock-down
because Stanley was loading.

He's done it.
He's KO'd Bobby Jane.

This is a fighter, Walter Cartier.

He's just moved up one more place
in a line

that may end with the championship.

Following Day Of The Fight,
Kubrick quit his job at Look

and devoted himself to making films.

He moved to Greenwich Village
and for the next few years

supported himself by making
short documentaries,

hustling chess in Washington Square

and playing tournaments
for prize money.

But chess winnings were never
going to be enough

to fund an entire film.

So, in 1953, Kubrick's father
cashed in his life insurance

to help his son make
Fear And Desire -

a film about a fictitious war.

It was Kubrick's first feature.

She'll see us. Shut up.

He was absolutely
and totally involved

in the making of this movie.

He knew nothing about acting.

I probably didn't know much more.

He was not a Bohemian.

He was not an avant-garde,
left-bank figure.

He was a kid from the Bronx
who was smart.

I don't think he had too much
education.

He was a very good chess player.

It's The intensity impressed me.

I thought he had a vision
of someplace he was going.

Fear And Desire was a youthful
apprentice exercise.

Kubrick would later withdraw
the film from circulation.

But it got him noticed
and helped to get financial backing

for his next feature.

Killer's Kiss revealed Kubrick's
extraordinary ability

to play with light.

Stanley was making his second film

and I wanted very much
to be the still photographer.

I also wanted to see somebody
discovering, somebody learning.

I knew I'd be seeing that.

This was Stanley at a point where he
had no physical resources at all.

On Fridays, he dismissed the company
for a couple of hours,

went to the unemployment line and
collected his unemployment check,

because that's what he
was living on. It was $30 a week.

He just about made it.

He was very ambitious and he knew
this was going to help him,

because once, there was a scene
in the morning, and the crew

wasn't being paid much either.
Everyone was in a bad mood.

Stanley said,

"Well, why don't we just take
the afternoon off?"

I was amazed he was giving us
the day off.

He always drove me home.
So on the ride home, I said,

"Why are you always
so nice to everyone?"

He said, "Honey, nobody's going
to get anything out of this movie
but me."

The theatrical release of
Killer's Kiss

brought Kubrick to
the attention of James Harris,

an up-and-coming producer
who had access to finance.

They teamed up to form
Harris-Kubrick Pictures.

The only thing is, we didn't have
anything to do at that time.

We had no subject to deal with.

That night, I left the office
and went to a book store

and found a book
about the robbery of a race track.

I don't suppose there's
anything for dinner.

Of course there is, darling.
There are all sorts of things.

There's steak, asparagus, potatoes.
I don't smell nothing.

That figures. Cos you're too far
away from it.

Too far away from it?

Certainly. You don't think I had it
all cooked, do you?

It's all down the shopping centre.

I thought he was a kid.

Both he and Jim were so very young.

I'm guessing, but I think Stanley
was only 26 at the time.

I don't think anything
was difficult for Stanley.

He had this tremendous confidence
and if he hadn't,

I don't think he could have worked
with Lucien Ballard as he had.

The cameraman was Lucien Ballard.

Lucien had, I believe,
won an Academy Award,

was regarded as one of the top 12
or so photographers in the business.

And was a particularly stylish
fellow, married to Merle Oberon,

a classic example of the
old-style cinematographer.

Stanley had done his own photography
on the two films he'd done
previously,

so he knew exactly what he wanted,
and I think that Lucien Ballard

kind of resented this young fellow
from New York.

The first shot of the picture,
first day, first shot

Stanley set up a shot.
It was quite complex.

It was a long dolly shot.

And he's lined it up specifically
with a 25mm lens.

He set it up and turned it over
to Lucien and Lucien said, "Fine"

and began the elaborate business
of lighting and setting a dolly
track and so on.

Stanley went over to talk to Jimmy
or do something

and looked back over his shoulder

and noticed that the dolly track

was much further away
from where he had set the camera.

He said to Lucien,
"What are you doing, Lucien?

"I put the camera here,
you're pulling it way back.

"Why haven't you put it
where I've asked for it?"

He said, "Well, I haven't
changed anything.

"I'm using a 50mm lens

"to give you precisely the
same coverage that you've asked for

"but it's with the 50. I've used the
50 because it makes

"my job a lot easier
and it'll go a lot faster."

Stanley listened to this and said,

"But what about the change
in perspective that occurs?"

He said, "That really
doesn't matter that much."

That particular piece of
information, of course,
is dead wrong.

The perspective changes.
It's a different shot.

Stanley was aware that Lucien was
simply bulling passed him

but also what particularly
nettled him was the assumption

that he wouldn't understand this
or wouldn't care about it.

And Stanley said,

"Put the camera where I told you,
with the lens that I asked for

"or get off the set
and don't come back."

He said it very quietly,
very softly,

and there was a look between them...

..and Lucien changed the set-up

and moved the camera
where it had to be

and there was never an argument
again, about anything.

All right, all right,
check it through.

Thank you, sir.
I'm sure you'll find our service to
your complete satisfaction.

I suppose that a lot of
what Stanley is, and what he,

in more complicated ways,
did with later films

is implicit in that rather simple
movie

about this
meticulously planned crime.

The sense the Sterling Hayden
character has that he's on top of
it,

he really knows what he's doing.
And the fact that

at the end of the movie,

the little yapping dog gets loose
and the propwash goes,

and the money blows
all over the place.

I mean, it's sort of brilliant
movie.

And it is an existential movie.
That is to say,

if existentialism basically posits
that we define ourselves by doing

and that chance is the one thing
we can never quite fully
comprehend

prior to its impinging on our
desires, or plans,

or whatever it is,

it's a brilliant statement of that.

The Killing was not
a commercial success,

but the ingenious caper story
did succeed

in building Kubrick and
Harris' reputation.

When I saw The Killing I said,
"My God.

"Stanley's going to make it.
This is good."

But it's Paths Of Glory
that turned it all around.

WHISTLE BLOWS

EXPLOSIONS

MEN SHOUTING

We walked in the middle,
as we usually did when we were kids,

in the middle of the movie
Paths Of Glory.

And myself and my friends,
who were war-film buffs,

we had never seen anything
quite like it,

and we'd never seen anything or
quite like the tone of it.

We'd seen other anti-war films.

But this one was so honest,

particularly the trial scene,

and scenes between Macready
and Kirk Douglas.

I ordered an attack.
Your troops refused to attack.

My troops did attack, sir,
but they could make no headway.

Because they didn't try, Colonel,
I saw it myself.

Half of your men
never left the trenches.

A third of my men were pinned down
because the fire was so intense.

Don't quibble over fractions.

The fact remains that a good part of
them never left their own trenches.

Colonel Dax, I'm going to have
ten men from each company in your
regiment

tried under penalty of death
for cowardice.

Penalty of death? For cowardice.

They've skimmed milk in
their veins instead of blood.

The reddest milk I've ever seen,
my trenches are soaked...

That's enough out of you!
I won't mince words...

Colonel Dax, if you continue
in this manner,

I shall have to place
you under arrest.

It was so honest that it was
shocking.

What, you know,
made it even more shocking

was the nature of the way
it was shot.

The use of the tracking camera
in the trenches.

There's something that's happening.
They're trying to be objective.

"I'm just showing you this, man,
make up your own mind.

"But I'm telling you right now,
this is what went down.

"It's bad, it's a lie,
it's hypocrisy."

Maybe the attack against the ant
hill was impossible.

Perhaps it was an error of judgment
on our part, on the other hand,

but if your men had been more
daring, they might have taken it.

Who knows? In any case,

why should we have to bear any more
criticism than we have to?

Aside from the inescapable fact
that a good many of your men

never left the trenches

is the question
of the troop's morale.

The troop's morale? Certainly.

These executions will be a perfect
tonic for the entire division.

There are few things more
fundamentally more encouraging

and stimulating
than seeing someone else die.

Many artists, when they put
a canvas up which is blank,

they start with very detailed
pencil strokes,

very small, delicate pencil strokes
on a canvas.

Stanley started conceptually
on all of his movies,

from my point of view,

with large primary-coloured
brush strokes,

and he would just beat
out these concepts that were,

you know, pretty obvious.

When you look at Paths Of Glory,

every sequence hammers
its points home,

but within every sequence

the film-making is delicate and
subtle and gentle almost.

I guess what really hit us
was the end of the film.

There's a tendency when you want
to get to that kind of emotion

or that level of sentiment,

not sentimental, not sentimentality,
but sentiment,

and just portray this aspect
of humanity,

very often you fall into
sentimentality. You really do.

It's very, very hard to pull off.

This one works like...
You cannot see it without weeping.

MEN CHEERING

Louder!

WHISTLING AND CHEERING OVER SINGING

SINGING IN GERMAN

He was sitting behind his desk
for this interview I was to have,

because he was looking
for an actress

for that scene in Paths Of Glory.

And...

You know, I thought
he looked extraordinary.

And he just sat there

beaming at me, grinning at me
throughout the interview

and I must have grinned back.

And he's been smiling at me
for 43 years afterwards.

SHE LAUGHS

Following Paths Of Glory, Christiane

and her three-year-old daughter,
Katharina,

moved with Stanley to Los Angeles.

Stanley and Christiane
were married in 1958

and Hollywood would be their home
for the next few years,

where they were to have two more
children, Anya and Vivian.

For its damning portrayal
of the French officer class

Paths Of Glory would be banned
in France for nearly 20 years.

But the film brought its director

firmly to the attention
of Hollywood.

He was still only 28.

This is Stanley Kubrick.

I think that if the reigning powers
had any respect for good pictures

or the people who could make them

that this respect was probably
very well tempered

by the somewhat cynical observation

that poor and mediocre pictures

might just as well
prove successful

as their pictures of
higher value.

Television has changed
this completely.

And I think that despite
the unhappy financial upheaval

that it's caused in the
movie industry,

it's also provided a very
invigorating and stimulating
challenge

which has made it necessary

for films to be made
with more sincerity

and more daring.

If Hollywood lacks the colour
and excitement of its early days

with Rolls-Royces
and leopard-skin seat covers,

I think on the other hand,

it provides the most exciting and
stimulating atmosphere

of opportunity and possibilities
for young people today.

Slaves,

you have arrived at the gladiatorial
school of Lentulus Batiatus.

Here you will be trained by experts
to fight in pairs to the death.

Obviously, you won't be required
to fight to the death here.

That will only be after you're
sold

and then for ladies and gentlemen
of quality.

Those who appreciate a fine kill.

A gladiator's like a stallion.

He must be pampered.

You'll be oiled, bathed,
shaved, massaged

taught to use your heads.

A good body with a dull brain
is as cheap as life itself.

I congratulate you, and may fortune
smile on most of you.

Then Kirk Douglas came to us and was
having trouble with Spartacus.

He had shot for three days

and wanted to replace the director
who was doing the film

and asked if Stanley could be
acquired,

sort of on a loan-out basis.

We thought it'd be good for
Stanley's career

and for our company. Stanley,

I thought, did an incredible job
of taking that film,

which the script didn't even have
battle sequences in it,

and sort of did some recasting
of some of the parts,

took some of the film to Spain
and did the big battle scenes,

and turned it into
a marvellous epic film.

I was rather dreading the arrival
of Stanley. I knew nothing about him

but I had seen Paths Of Glory,

which I find one of the best
films I've ever seen.

In spite of your vices, you are
the most generous Roman of our time.

Vices?

Ladies.

Ladies. Since when are they a vice?

I had a high opinion of him but also
had a great affection for Tony Mann.

Tony Mann directed the early parts
of the film,

the ones in Death Valley,

but I think probably the studio

wanted the reassurance of an
older, more routine man.

Kirk always had the idea
of wanting Stanley.

It was a very difficult task
for him

because we all had different
acting styles.

Olivier and Laughton hated each
other. It was like two dogs.

I'll take a little republican
corruption

along with a little
republican freedom,

but I won't take
the dictatorship of Crassus

and no freedom at all!

APPLAUSE

That's what he's out for,
and that's why he'll be back.

I look back now... I think he was
30 years old when he did it.

Yeah, working with Olivier and
Charles Laughton. He was fearless.

If he was terrified, he didn't show
it, because he knew he mustn't.

I think he had
an extraordinary ability

to concentrate
on what is important.

He did not allow himself
to be sidetracked.

And even if it was emotional turmoil
and great worry,

he wouldn't...

Perhaps it's a chess-playing thing.

..he wouldn't allow it
to influence him.

And I think that very soon
the actors noticed,

"Oh, yeah, you know,
we're quite safe."

Travelled a long ways together.

Fought many battles.

Won great victories.

Now, instead of taking ship
for our homes across the sea,

we must fight again.

Maybe there's no peace
in this world,

for us or for anyone else.
I don't know.

But I do know
that as long as we live,

we must stay true to ourselves.

USTINOV: Its great virtue was

it was the only film of that kind
that didn't have Jesus in it.

There was no trace of Christianity
in Spartacus really.

There was faith,
but not Christianity.

If Kirk wants to be rewarded
for his courage,

which I'd certainly be the
first to do so,

to make a film like that
without Jesus but with Kubrick,

is already a tremendous achievement.

CHRISTIANE: I think they were both
fairly temperamental.

Neither of them would give
an inch,

so there was tension.

But he was uncomfortable
during the making of that film.

But not necessarily
because of Kirk alone.

It's because he had no rights
over the script.

All those things he'd got
used to and fought for having

he didn't have, he had no say.

Stanley was unhappy
because he was dealing

with the star who was also
the producer

and in charge of the production.

There were certain instances

where he felt that things should
be done differently

but because Kirk was in charge,

they were done Kirk's way.

I'm not saying that Kirk
was wrong or right,

but nevertheless, Stanley said,

"From now on,
I want to do pictures

"where I really have final cut."

NEWSREEL: The first overseas premier
of UI's screen epic Spartacus

is the most brilliant event
on London's show business calendar.

Director Stanley Kubrick...

Spartacus was a critical
and commercial success,

winning four Oscars.

Despite Kubrick's youth,

he was now a recognised
Hollywood director.

But the process had also taught him

that he had to have full control
over his films.

USTINOV: I had a feeling that during
Spartacus he was biding his time,

getting on the record
as the director

of a big and successful film

which would give him
greater freedom in the future.

And he did turn his career
into that of an artist,

whereas it could quite easily,

had he surrendered at
any juncture,

have been that of
a very successful journeyman.

He felt now he had this label,
"I'm a film director, officially.

"Now I can make a story
that I have a crush on."

ROMANTIC MUSIC

SCORSESE: The interpretation of the
image, where to place the camera,

the nature of the subject matter,
which, at that time, everything

was opening up in the early '60s
here in America, you know,

and it was scandalous.

Put your head back.

Open your mouth.

You can have one little bite.

I think what a lot of people
forget

is just what a hot book
Lolita was.

Originally, Nabokov couldn't get a
publisher in the States or the UK

so it was published
as a dirty book in Paris.

It was in 1955 that Graham Greene
and The Sunday Times in London

nominated it as
his novel of the year.

It then took off
and it very soon found a publisher.

CHRISTIANE: He thought Lolita
was a fantastic book

because it clarified
the feeling we all have

that good and evil does not
come in the expected package.

DRAMATIC MUSIC

I guess I won't be seeing you
again, huh?

I shall be moving on.

I must prepare for my work
at Beardsley College in the fall.

Then I guess this is goodbye.

CAR HORN BEEPS

Yes.

Don't forget me.

SPIELBERG: It shocks me when
people say Stanley didn't make
"people" movies

or movies about characters,
he made movies about machines or...

..or, you know, I...

It's always confounding
when I've heard that.

Lolita is, you know,
it's nothing like the book.

But he did draft the author
to write the screenplay.

They were, you know, in
collaboration with each other

in another kind of version,

away from the novel

that is much more about the
human condition than the novel was.

ALEX COX: Lolita works

as the very first
Stanley Kubrick film for me

because I couldn't imagine
anybody else making Lolita.

It's a comedy but it's got
a lot of serious elements.

It's risque. It's in your face.

It's got big performances

and it works completely.

You're a disgusting, despicable,
loathsome, criminal fraud!

Don't do that.

Can we discuss...?
Get out of my way.

Get out of my way!
No. I want to talk...

Go on, get out of my way.

I'm leaving here today.

You can have all of it.

But you are never going to see
that miserable brat again!

At a time when American cinema
in the early '60s was on the way
down...

In other words, the studio system
was finishing.

..this was a vision, this was
somebody with authority

making you look a certain way
at things.

"When I stood Adam-naked..."

Adam-naked!

You should be ashamed of yourself,
captain.

"Before a federal law
and all its stinging stars."

Tarnation! You old horn toad.

That's mighty pretty.
That's a pretty poem.

"Because you took advantage..."

It's getting a bit repetitious,
isn't it?

"Because" Here's another one...
"Because you cheated me.

"Because you took her at an age
when young lads..."

That's enough!

Say, what'd you take it
away for, mister?

It was getting kind of smutty there.

Because of its scandalous theme,

the film had
a crippling distribution problem.

The Catholic Church had
their own censorship.

If they condemned your film,

they would then send notices

to their Churches, the Catholic
Churches all over the country

that it would be sinful
to see this film.

Hum, you just touch me
and I go as limp as a noodle.

It scares me.
Yes, I know the feeling.

That held up the film for
about six months,

because they did condemn it.

There was a picture of Lolita
on the bedside stand

so when Humbert and his wife
Charlotte were in bed,

they felt that Humbert was using
the picture for sexual stimulation.

I denied that. I think that,
in all fairness, they were right.

Anyway, we agreed to limit the
number of looks at that picture.

To get a release,
Kubrick had to re-cut Lolita.

As he later told Newsweek,

"Had I known how severe
the limitations were going to be,

"I probably wouldn't have
made the film."

There is acclaim in the film world
for Stanley Kubrick,

director of Lolita,
arriving with Mrs Kubrick.

Lolita's strong performance
at the box office

was, no doubt,
boosted by the controversy.

Kubrick's next film would prove
even more controversial.

Now then, Dimitri,

you know how we've always talked
about the possibility

of something going wrong
with the bomb.

The bomb, Dimitri.

The hydrogen bomb.

Everything wonderful
about that movie...

..is because of the way
it was directed.

Otherwise, I thought there were
flaws in the writing of the movie

and flaws in some
of the performances in the movie,

but the directing of the movie
was so bravura

and so superb that it just,
you know, it was just a knockout.

The vision of just the
opening credits

and the use of music over the
opening credits,

we knew immediately
anything could happen in this movie.

People remember the film

because it deals with one of the
most dark things

of the post-war period,

the idea, you know,
that hanging over us

was nuclear oblivion. This is the
time of the Cuban Missile Crisis.

It can't have possibly got closer
than those few days

where one mistake by either side

could have started World War III,
quite literally.

This piece of satire just hit it
right on the button

and it was frightening.
Very, very frightening.

Well, now, what happened is, um,

one of our base commanders,
he had a sort of...

Well, he went a little funny
in the head.

You know, just a little...funny.

And...he went and did a silly thing.

Well, I'll tell you what he did,
he ordered his planes...

..to attack your country.

Well, let me finish, Dimitri.

Let me finish, Dimitri.

Well, listen, how do you think
I feel about it?

He was able to say what we all knew

about the madness of it.

He had bought the book
and was trying to make it straight

and realised that he couldn't,

that it was so utterly insane

that it couldn't be done
that way.

And what he did was say that.
That this is insane, I mean...

Please, who are we kidding?

STRUGGLE, INDISTINCT SPEECH

Gentlemen, you can't fight in here.
This is the War Room!

And it, ever after,
made it very difficult

to take seriously
the Strategic Air Command.

I mean, they seemed like they
were nuts from then on.

I think they probably were.

The most extraordinary part
of Dr Strangelove for me

was that 30 years on, as part
of a BBC team, I investigated

over a period of two years, many
of the central tenets in the film.

What had happened in reality,

what had happened to Strategic
Air Command in the '50s and '60s.

And the various elements of
the film,

like the idea that the military
would take command

against the President

and use nuclear weapons without
consulting the him.

I was under the impression that
I was the only one in authority

to order the use of nuclear weapons.

That's right, sir. You are the only
person authorised to do so,

and although I hate to judge
before all the facts are in,

it's beginning to look like General
Ripper exceeded his authority.

We're all, you know, seen as
appalling when that film came out.

Now we know many of those elements
were absolutely smack-on.

Curtis LeMay, he actually did
a test run

to see whether you could provoke
the Russians into war.

We talked to a senior officer
who'd worked for LeMay's successor,

this is General Tommy Power,

and they said this guy
was basically psychotic.

This has not come out for 30 years,
but there it is

right in the core of Strangelove.

Tell me, Jack,
when did you first become...

GUNFIRE

Well, develop this theory?

Well, I...

I first became aware of it,
Mandrake,

during the physical act of love.

Yes, a profound sense of fatigue,

a feeling of emptiness followed.

Luckily, I was able to interpret
these feelings correctly.

Loss of essence.

I can assure you it
has not recurred, Mandrake.

Women...women sense my power...

..and they seek the life essence.

I don't avoid women, Mandrake...

..but I do deny them my essence.

HE CHUCKLES
Yes.

The other films that were being made
at the time about these themes,

about the idea of nuclear war,

a military takeover in the USA,

films like Fail Safe
and Seven Days In May,

they're very naturalistic
and rather turgid films.

They have no longevity.
They don't endure.

They're not films
that you would watch

for any reason
except out of sociological interest.

But people will watch Dr Strangelove
over and over again,

because it is so funny.

That was the genius of Kubrick,

but also his collaborators.

I mean, he had the massive fortune
to be working with

two of the funniest people who have
ever involved in the film industry -

Terry Southern and Peter Sellers.

What's happened, you see,
the string in my leg's gone.

The what? The string.

I never told you, but, you see...

..I've got a gammy leg.
Oh, dear, gone shot off.

CHRISTIANE: Stanley was his
best audience. In fact,

he spent many of the scenes
just being an audience,

not a director at all.

He would simply put cameras
everywhere he could

so that when Peter
was off flying high,

as Stanley says, "I don't want
anything to be lost."

He would just lie on his back,
you know, roaring with laughter.

That egged Peter on
to ever greater heights.

Also, when you go down into the
mine, everyone will still be alive.

There will be no
shocking memories

and the prevailing emotion
will be one of nostalgia

for those left behind,

combined with a spirit of bold
curiosity for the adventure ahead.

Ha!

One of the great things about his
films is the scrupulous detail

in which everything... You know,
that's part of the power of it,

the detail in Dr Strangelove,
you know, you would think

that he'd lived through
that experience.

Survival kit contents check.

In them you will find one
.45 calibre automatic,

two boxes of ammunition,

four days concentrated
emergency rations,

one drug issue
containing antibiotics,

morphine, vitamin pills, pep pills,

sleeping pills, tranquillizer
pills,

one miniature combination
Russian phrase book and Bible.

KEN ADAM: While we were shooting,
somebody had invited

some American service personnel
to come to Shepperton.

They were terrified

by the amount of accuracy
we had in this aircraft

and the next day I got a memo
from Stanley saying,

"You better make sure that you know
where all your references came from

"because otherwise we might be
investigated by the FBI."

I discovered very quickly that

behind this boyish enthusiasm
and apparent naivete,

there was this super brain
and enormous power

and utter dedication
to movie-making.

You know, it was quite demoralising
at times when he changed his mind,

but every time he did change his
mind, it was for the better.

But I learned a great deal
on that film.

Sir!

I have a plan.

Mien Fuhrer!

I can walk!

# We'll meet again

# Don't know where

# Don't know when... #

SCORSESE: I was kind of shocked
by it at first.

It was so irreverent, and it was
the height of the Cold War.

I was at NYU at the time, but my
friends from the neighbourhood

that I saw the film with,

some were at a Jesuit college
called Fordham,

others were street kids.

We all went up there to
see this movie. They all loved it.

And they were extremely
conservative.

The word on the street was,
"It's great."

SYDNEY POLLACK: I had a kind of a
giddy exhilaration at the end.

When she was singing,

"We'll meet again, don't know
where, don't know when,"

and he's riding the bomb, I thought,

"Man, what kind of an imagination
came up with this?"

Dr Strangelove caused uproar.

Younger audiences loved its
irreverence and anarchic humour

but many people saw it
as dangerously subversive.

I remember
reading a review in, I think,

a Beverly Hills paper,

where the critic said that Stanley
Kubrick should be physically harmed

for having made that picture.

Now, that's a pretty bad review,
I must say.

I can't remember
any Stanley Kubrick movie

that was released
where there wasn't controversy.

2001 I remember very well.

I remember Pauline Kael's
review of 2001.

They were not good reviews.

And then ten years goes by,
and they're all classics.

By that time I knew
that Kubrick was the one.

Meaning that, yes, all these
extraordinary directors

around the world were making film
after film,

but there was something,

after you saw Lolita and
Dr Strangelove,

I knew that Kubrick...

We had to wait for a Kubrick film.

We knew that when we went
to see it,

that it was extremely special and
that it was...

We expected a lot from him,
quite honestly.

And in 2001, we got it.

By 1963, Stanley Kubrick had
established so high a reputation

that he could pick his next project

without bowing to
the dictates of Hollywood.

As a director whose films were both
popular and critically acclaimed,

he had won an astonishing degree
of creative independence.

Stanley Kubrick now began work
on a film

which would establish him
as one of the great film directors.

With 2001: A Space Odyssey,

the boy from the Bronx would write
a new chapter in cinema history.

In the early 1960s, the age of
space exploration began

when both Russia and America

sent men outside the Earth's
atmosphere for the first time.

As the space race came to dominate
the popular imagination,

Stanley Kubrick
captured the spirit of the times

by collaborating on a film

with the science fiction writer,
Arthur C Clarke.

Behind everyone alive today
stand 30 ghosts

for that is the ratio by which
the dead outnumber the living.

Since the dawn of time, about
100 billion human beings

have walked on this planet.

Now, 100 billion
is about the number of stars

in our Milky Way galaxy.

So this means that for everyone
who has ever lived

there could be a star.

And, of course, stars are suns,
with planets circling around them.

So isn't it an interesting thought

that there's enough land
in the sky

for everyone to have
a whole world?

We don't know how many of those
worlds are inhabited

and by what kind of creatures.

But one day we should know,
perhaps by radio

perhaps by other means,
perhaps by direct contact.

The impact of that on the human race
will be profound,

especially if we encounter creatures
far in advance

of our own rather primitive species.

Well, it's a wonderful thing
to look forward to

and perhaps a terrifying one.

It may happen in our lifetimes.

It may not happen for 1,000 years.

But one day, we will know
the truth about

this incredible and wonderful
universe around us,

and perhaps understand
our own place in it.

SCORSESE: The extraordinary
audacity, but also power

and, I think, guts to say,

"Let's just screech everything to
a halt, take everybody

"back to prehistoric times
where it wasn't that fast."

Considering the way the world was
moving so quickly at the time,

this just said, "No, no, no.
I want you to see something.

"I'm gonna take you through
something you never thought you'd
ever experience."

CHIMPS ROAR

WIND BLOWS

MUSIC: The Blue Danube
by Johann Strauss

BRIAN ALDISS: His way of making a
film was to concentrate

on seven or eight, as he called
them, "non-submersible units."

And what this meant was

you had a very good chunk,
and you had another good chunk,

and when you had six good chunks,

you were almost home with a movie.

It would be easy to connect them,

and you can see
this principle operating

in particular in 2001,

where I believe that the bits
don't quite fit on.

And this is why there's a mystery
about 2001,

it's what still interests people.

I just remember going to the
theatre and seeing the picture for
the first time

and feeling that it wasn't a movie,
it was the first time

that the motion picture form
had been changed.

It wasn't a documentary,
and it wasn't a drama

and it wasn't really
science fiction.

It was more science eventuality.

Hal, despite your enormous
intellect,

are you ever frustrated

by your dependence on people
to carry out actions?

Not in the slightest bit.

I enjoy working with people.

I have a stimulating relationship
with Dr Poole and Dr Bowman.

My mission responsibilities range
over the entire operation of the
ship,

so I am constantly occupied.

I am putting myself
to the fullest possible use,

which is all, I think,

that any conscious entity
can ever hope to do.

Unlike many a
science fiction writer,

including, I must say, myself,

he regarded the future
as unknowable.

This is the first movie,
the first work of science fiction

that actually, I think, depicts
the future as unknowable.

18 months ago...

AIR HISSING

..the first evidence
of intelligent life off the Earth

was discovered.

It was buried 40 feet
below the lunar surface,

near the crater Tycho.

Except for a single, very powerful
radio emission aimed at Jupiter...

..the four-million-year-old
black monolith

has remained completely inert.

Its origin and purpose

still a total mystery.

I respect in awe...

I'm in awe of the mystery
of the universe.

Something which Einstein's
often said,

"Anyone who isn't awed by the
universe, they haven't any soul."

So, from my earliest days,

the wonder of space and time
has intrigued me.

And Stanley and I tried to put
some of this feeling into the film.

I think it made people realise
that we were

a rather small part
of an enormous universe.

It's hard to realise
when we made that film

we didn't know what Earth looked
like from space,

from any real distance.

All these things had to be imagined.

ANTHONY FREWIN: The special
effects in 2001

were a quantum leap forward
for the film industry.

These looked the real thing.

Stanley had very firm
and very specific ideas

about how these models
were to be lit.

The painstaking attention
to detail

the colouration,
the dirtying up of the models,

I mean, this really hadn't
been seen before.

One of the best examples
for my contribution to the film

is what's known as the slitscan
sequence, the stargate sequence.

There was a lot of evolution
to that concept

of how you would be transported
from one dimension to another.

It was never really solved
in the screenplay.

I had remembered, knowing
of an experimental film-maker

who was exploring this whole idea
of long-time exposures

and while the shutter is open,

he would move various kinds
of artwork or slits

around in front of the camera

to scan colour blocks
and objects onto the film

in a rather unusual way.

I thought if you took what
he was going,

which was kind of flat
and two-dimensional,

and made it three-dimensional
in the Z axis,

that you could create
this streak exposure.

A streak exposure's like
a time exposure

of car headlights on the freeway.

If you leave the camera
shutter open,

the car headlight
becomes a streak of light.

It occurred to me
that there might be some way

to apply that
to the stargate sequence.

I walked that minute
down to Stanley's office.

I said, "Stanly, I think this is
the answer to the stargate."

And he looked at it and said,
"I think you could be right."

He said, "Just do whatever
you need to do.

"You have carte blanche to do it."

That's an example of my whole
experience on 2001

was support from Stanley
to explore, experiment,

take risks and produce something
that was different.

KEIR DULLEA: If you can imagine a
giant Ferris wheel,

and if you were to cover the
Ferris wheel with a skin.

On the inside edge of that skin,

imagine the set being built

and imagine an endless hallway
with things along the side.

Well, that revolved.

There's a scene
where I come down a ladder

and the other astronaut,
Gary Lockwood, is eating

apparently upside down,

because he's on the other side
of the centrifuge.

It looks like I walk
upside down to him.

How that actually was done was that
Gary had a hidden harness.

He was upside down,
so I came in right-side up

and they just revolved Gary down
to me, and I just walked in place.

There was this theme of constant
rotating, rotating, rotating.

The space station was rotating,
the spacecraft is rotating.

Earth's rotating.
Everything's in orbit.

And that established a style

of intercuttable shots

that ultimately later

leant itself, in Stanley's mind,
to the Strauss waltz.

MUSIC: The Blue Danube
by Johann Strauss

I always think the history of
the cinema

divides into two essential eras -

before Stanley Kubrick
and after Stanley Kubrick.

Especially in relation
to the use of music in films.

Before Stanley Kubrick,
music tended to be used in films

as either decorative
or as heightening emotions.

After Stanley Kubrick,

because of his use of classical
music in particular,

it became absolutely an essential
part of the narrative

intellectual drive of the film.

MUSIC: Jupiter And Beyond
by Gyorgy Ligeti

In the use of Ligeti's music...

I actually knew that piece of Ligeti

and I remember seeing 2001
and thinking,

"I'm hearing things.

"This can't possibly be Ligeti
in a Hollywood film."

But sure enough, it was,

and, of course, it makes the
sequence utterly unforgettable.

It was for me,

especially the visual fantasy...

..with the speed, with the colour
and light changes

when the spaceship goes down

on the moon of Jupiter. Yeah?

And then the speed is
more and more and more,

and it was very clear
that Dr Einstein pretended

that the light velocity is
the highest, you cannot go beyond.

But in this film it was suggested
as if it would be

beyond the speed of light...

..and then we enter
in another world.

I never know whether the images
arose out of the music

or the music arose out of the
images.

But perhaps the true thing to say

is that they became in his
imagination, clearly

and so have become in ours,
totally inseparable.

MUSIC: Also Sprach Zarathustra
by Richard Strauss

When 2001 opened,
like previous films of Kubrick's

it split both the critics
and the audience.

CHRISTIANE: The opening of 2001
was very frightening

because we had all the executives
sitting in the audience,

very old, many of them.

They didn't understand the film
at all and left,

whole rows of them.

And we were panic stricken.

Then there was an enormous

catastrophic meeting
in our hotel room

and Stanley was so upset
he lost his voice.

We were up all night. The next
morning, we went to this house

and Stanley was battling on
in New York.

I sort of fell,
clutching my handbag,

across my bed, asleep,
because I hadn't slept all night.

And woke up to the sounds of
a DJ saying,

"This is the most fantastic film

"and the people are queuing
around the block."

He was talking about 2001.

I was desperately trying
to ring Stanley to tell him

some people like it enormously,
you know,

it was just the blue-rinse brigade
that walked out.

He told me that the first
exhibitor screening of 2001

had, I believe he said,
241 walk-outs.

You know, I'm sure he
counted them too.

When I first saw 2001,
I didn't like it

and I was very disappointed.

And...

And then three or four months later,

I was with some woman
in California

and she was telling me
what a wonderful film it was.

And I went to see it again

and I liked it a lot more
the second time I saw it.

Then a couple of years later
I saw it again and I thought,

"Gee, this is really
a sensational movie."

And it was one of the few times
in my life that I realised

that the artist
was much ahead of me.

A lot of people didn't get it
the first time around

and I'm really fond of quoting
the MGM executive who said,

"Well, that's the end
of Stanley Kubrick."

But I think now
the message has got over,

even though we didn't intend
a message specifically. More that,

you know, Stanley wanted to
create an experience.

Any message... Perhaps people will
get different messages from it

according to their own individual
philosophies and outlooks.

2001 received a National Catholic
Award for its imaginative vision

of man's creative encounter
with the universe.

Some turnaround for Kubrick,
who had so upset

the Catholic Legion of Decency
with Lolita.

2001 also won an Academy Award
for best visual effects.

As the film's director
and designer,

Kubrick received his
only ever Oscar.

It was that kind of process

of personally taking possession
of not only the people,

the technology, the art
and the craft of making movies.

He was it.
He embodied the whole thing.

And he invited actors,
cinematographers

and production designers to come
into his family and collaborate,

which for some people was difficult.

After working with Stanley on 2001,

I swore I'd never work
for anybody again.

Cos Stanley was
a hell of a taskmaster.

He was difficult, he was demanding.

His level of quality control was
just astronomically near perfection.

And I found, as a young guy,
this was hard.

His mind was so insatiable
and so active

that he could barely sleep,
he could barely stop.

I saw that Stanley Kubrick worked
and lived his work

seven days a week,
almost 24 hours a day.

And I think he had a hard time
keeping up with his own intellect.

Kubrick now turned to a mighty
historical character

whose triumphs, failures
and personality

had always fascinated him -
Napoleon.

Napoleon is still in his grave,
waiting to be brought back to life.

I wonder what Napoleon would think
of Lou Wasserman and David Picker.

Whether he would've liked to have
them passing judgment on his life.

JAN HARLAN: Napoleon represented
for him

the worldly genius

that, at the same time, failed.

Stanley was fascinated by the fact
that somebody so intelligent

and so talented,

could make such mistakes.

CHRISTIANE: He liked comparing war
and chess and making films,

and the idea of seeing
everything as a battle.

All directors like battle analogies
for movies

and certainly nobody planned

with the...the mixed results.

When somebody that meticulous
plans something,

anything that goes wrong
seems to wreak havoc.

If Stanley was afraid of anything,

it was of making these
kind of mistakes

whereby you get carried away
without checking thoroughly.

There was the chess player in him,
you could say.

Maybe that's why
he took so long between films.

The Napoleon project was
well-prepared.

We were ready to go to Romania,

where we could have 5,000
pieces of cavalry,

including all the men and
commanding officers.

We had paper uniforms
and everything ready

and then came this film Waterloo.

It was a very well-made film
with Rod Steiger,

but for some reason,
it failed at the box office,

and our backers got scared
and pulled out.

By 1969, the Kubrick family was
living close to the film studios

in Elstree, Hertfordshire.

He's always liked living here.

There were moments where he was
homesick for New York,

but he knew that was
a New York that no longer existed.

I don't know. When you brought up
your children here

and all your childrens' friends
live here, and...

You know, you get attached.

Do you know what kind
of camera that is?

It's a home movie... Arriflex.

I watch the video of me
as a very fresh ten-year-old...

SHE CHUCKLES
..being very fresh to him.

And...

But also, him being bossy
and too impatient

and putting his director's hat on
in an inappropriate way.

Get him off, Anya.

Anya, get him off, we're shooting.
I'm trying to.

Grab him and get him off.

Even as a child,
I remember thinking,

"I'm sure you're not supposed to
talk to me like this."

Do you often find me in a temper?
BOTH: Yes!

Oh, I don't believe that.
I can't believe that.

You better believe it

cos you just went into a temper
a couple of minutes ago.

You can't do this stupid film
because everyone giggles.

And because I can't play like that.

I think I'm one of the most
even-tempered people you'll ever
meet. Ha!

Kubrick had found privacy
and tranquillity in England,

but this idyllic world was about to
be torn apart by his next project,

an adaptation of Anthony Burgess'
controversial novel

A Clockwork Orange.

MUSIC: Clockwork Orange Theme
by Wendy Carlos

MALCOLM MCDOWELL: There are certain
parts that you have in a career

that nobody else can play,
that you are born to play.

That is one of the parts.

There was me.

That is, Alex,
and my three droogs.

That is, Pete, Georgie and Dim.

And we sat in the Korova Milk Bar,

trying to make up our rassoodocks
what to do with the evening.

The Korova Milk Bar sold milk-plus.

Milk plus vellocet
or synthemesc or drencrom,

which is what we were drinking.

This would sharpen you up

and make you ready for a bit
of the old ultra-violence.

I remember saying to him once,
"Look, Stanley, how do you direct?

"What's your style?" And he said,

"I really don't know.
I never know what I want.

"But I do know what I don't want."

I don't think I've really ever had
that much fun on a job.

I've worked with other great
directors,

certainly Lindsay Anderson,

but, actually, the actual fun
of doing the work

which was, of course,
in the character of Alex too.

He was a wicked son of a bitch,

but the great thing that I think
Stanley and I had in common

is a wicked sense of humour.

It was my rabbit

to help the prison Charlie
with the Sunday service.

He was a bolshie,
great burly bastard.

But he was very fond of myself,
me being very young

and also now very interested
in the Big Book.

I didn't so much like
the latter part of the Book,

which is more like
all preachy talking

than fighting and the old in-out.

I like the parts where these old
yahoodies tolchok each other

and then drink their Hebrew vino

and getting onto the bed
with their wives' handmaidens.

That kept me going.

SYDNEY POLLACK: He explored these
extreme subjects

that you kind of sometimes
wanted to recoil from,

like in Clockwork Orange.

But they were

explored in a way that was
dissecting them.

Truly dissecting them
to try to find out

what makes that kind
of evil tick.

And I think that there was a search
behind all of those films

to say, in a way,

in a world where we know man
is capable of the most base,

shockingly destructive behaviour

is hope and virtue possible?

LAUGHING

Go on! Do me in, you bastard
cowards!

I don't want to live anyway.

Not in a stinking world
like this.

Oh.

And what's so stinking about it?

What sort of a world is it
at all?

Men on the moon.

And men spinning around the Earth.

And there's not no attention paid

to earthly law and order no more.

# Oh, dear land

# I fought for thee... #

You'd have to say that, you know,

Stanley's view of human nature

was, you know, really
very, very bleak.

It's fairly miraculous,
in this day and age in particular,

to have pursued the kind of
career he pursued

in making these
uncompromising movies.

It had been a wonderful evening.

And what I needed now
to give it the perfect ending

was a bit of the old Ludwig van.

MUSIC: William Tell Overture
by Beethoven

ALEX COX: In a way, Kubrick's
playing around with the music

with what he'd done previously.

Having taken like a real classy
classical music score

for his previous film,

now he's saying, "OK, we're going
to have Beethoven

"but we're also going to have the
William Tell Overture

played five times too fast.

Kubrick's being playful

in the same way as when Alex visits
the record store.

There in the record rack
is a copy of 2001.

Which is a great joke,

but also we're also talking
about a film director

who has given up
being influenced by others.

A film director whose primary
influence has become himself.

For now it was lovely music
that came to my aid.

There was a window open
with a stereo on

and I viddied right at once
what to do.

I did two weeks of narration.

It was like the purest
kind of film-making.

You know, just a Sennheiser
microphone and a Nagra,

that's all he had.

No operator. It was Stanley
pushing the button, that was it.

And it was highly you know,
concentrated, so I'd say,

"I've got to stretch my legs,
Stanley." And he'd say, "Ping-pong."

He was always trying to beat me,
he never did, not at ping-pong.

Chess, another matter.

So we'd have fun, we'd play,
and we'd come back

we'd do another piece.
The voice-over works very well.

So about maybe six months later,
my agent said,

"By the way, Malcolm,

"you have two weeks of voice-over
you haven't been paid for yet."

I went, "Oh, I'm going out to see
Stanley this afternoon.

"I'll mention it to him."

As I was leaving, I think I said,
"By the way, my agent informs me

"that I haven't been paid
for the two weeks' narration."

He had a slide rule in his pocket
and he took the slide rule out.

He went like this, and he went,

"I'll pay you for a week."
I went, "A week?"

He goes, "Yup. The other week
was ping-pong!"

Oh, bliss!

Bliss and heaven!

It was gorgeousness
and gorgeosity made flesh.

It was like a bird
of rarest spun heaven metal.

Or like silvery wine
flowing in a spaceship,

gravity all nonsense now.

As I slooshied,

I knew such lovely pictures.

Stanley and Malcolm McDowell got
along like a house on fire.

Stanley was very happy
with the choice of Malcolm

and he delivered spectacularly well.

We became very, very close.

I, of course, thought that this
was a great friendship.

I expected to be part of his life.

And I didn't understand at the time,
being a young actor

and not having done
very many films,

so being somewhat inexperienced,

that, you know, that the way
of a film life is -

intense relationship, separate.

Intense relationship, separate.

So I was expecting the relationship
to carry on in some form,

but he cut it like this.
He didn't really want to know.

It was over for him.

I think the other thing is this,

some of the things that I said
about him

which were perhaps unfair,

maybe it was a cry out to say,

"Stanley, pick up the phone
and call me."

And, of course, he never did.

I have arranged a little
surprise for you.

Surprise?

One that I hope
that you will like

as a,

how shall we put it,

as a symbol of
our new understanding.

An understanding
between two friends.

MUSIC: Ninth Symphony
by Beethoven

A Clockwork Orange dealt in part
with media exploitation

but now real life imitated art.

The film was blamed for many brutal
crimes committed by youths

claiming to have been inspired
by the film's violence.

The press and public reaction

had a devastating impact
on Kubrick and his family.

The attack on Clockwork Orange
was fierce in Britain.

It was unbelievable.

He was directly accused
of murder and mayhem.

Then every crime in England
was because of Clockwork Orange.

Stanley was accused of
inciting violence

and it became very, very ugly.

He got terrible letters, you know,
almost death threats. In fact,

there were some death threats.

He asked Warner's,
"Can you please help me?

"I can't live here
if this keeps going on.

"I'm afraid to send my children to
school, my house is besieged.

"I don't know what to do, I don't
want to show the film any more."

A Clockwork Orange had been playing
successfully for 61 weeks

but continuing press attacks

and repeated threats of violence
against him and his family

drove Kubrick to withdraw the film
from British cinemas.

It was an astonishing
display of director power.

What came over to us was that
a film-maker should have

the kind of power that he had
to be able to do it.

There's no other film-maker

who could stop any studio
distributing their film.

Studios are about making money.

For him to be able to do that
was always astonishing to us.

I remember me as a young
film-maker thinking,

"That's extraordinary that someone
could do that."

But more than that is, actually,
he had the will to do it.

It hurt him financially,
but he didn't care.

It hurt Warner Bros even more
financially, but they obliged.

It wasn't worth it to them.

Having peace with Stanley, and
making more films with Stanley,

having Stanley under contract
for the rest of his life

was more important to Warner Bros

than whether Clockwork Orange plays
in England or not.

For the release
of A Clockwork Orange,

Kubrick went way beyond
the role of a director

persuading Warner Bros to adapt his
ideas about how the film

should be sold to the public.

If you've taken all the trouble
with preproduction, shooting

with the postproduction and trying
to get the film together

and approach it in so many ways,

why do you not be a part of it just
when the public's going to see it?

If I'm not incorrect,
Clockwork Orange

was the second largest-grossing
film in the history

of Warner's after My Fair Lady.

I'd meet with the foreign
distribution guys

and say, "Wait a minute.

"What we're doing is
following Stanley's instruction

"and getting a great result.

"We're grossing huge numbers
on a picture

"you said would be a catastrophe
because it was so inaccessible.

"Is it not possible that he knows
something we don't know?

"Is it not possible that his way
is a better way?"

"No, no.
He's just a pain in the ass."

Kubrick had a unique relationship
with Warner Bros.

Enjoying complete creative control

and, at the same time, the support
of a major Hollywood studio.

We all envied that more than
anything over here.

The fact that one studio would
support an artist in that way

is extraordinary.

It was a question
of working with a master

and wanting to do
the movies of Stanley Kubrick.

There weren't runaway costs,
it was always overblown

and overestimated because he shot
films for long periods of time.

But he did them at low cost.

You'd walk on a Kubrick set,

which was almost never allowed,
I might add,

and marvel at the fact
that there was hardly anyone there.

Compared to most movies,
there'd be crowds,

there'd be people standing
around with doughnuts,

and passing coffee,
and people coming and going.

I saw it as an absolute priority.

Something that we were going
to focus our attention on

and that was to continue to nurture
the relationship

and to enhance the relationship.

He was obviously always a step ahead
of me. He called me once,

I was at Warner's,

I think he was getting
ready to do Lyndon,

and he said,
"Do you have any of those

"special BNC cameras
that we used for rear process?"

I said, "Why?"
He said, "For sentimental reasons

"I'd love to buy one
from you if I could get one."

I called the camera department and I
said, "Do you have any of those?"

They said, "We've got a couple."

I called Stanley back and said,
"I got a couple."

He said, "I'd love to get those
cameras. I admire the workmanship."

I said, "Great," and sent him
one or maybe two, I can't remember.

About six months later, Gottschalk,
who ran Panavision for us

and who was a certified camera
and opticals genius,

called and said, "Why are you
sending those

"rear-projection cameras
to Kubrick?"

I said, "He asked for them,
they sit down there,

"we don't use rear projection any
more, we're doing front projection."

He said, "They're priceless,

"they're the most fantastic works
ever put in a camera.

"They are brilliantly conceived and
brilliantly executed camera works.

"You could never build a camera like
it if your life depended on it.

"I want to get every one I can,
because I can't duplicate them."

Stanley had anticipated it and
acquired and built his own cameras!

He looked for the old-fashioned
Mitchell BNC cameras

for a very specific reason.

These were the only cameras
where he had a chance

of fitting these big Zeiss lenses.

Stanley sent me this lens and said,
could I mount it on his BNC camera?

I said it's absolutely impossible

because the BNC has two shutters

a thick aperture plate, and all that

between the film plane

and the rear element of the lens.

And so I explained that to Stanley
and said we'd have to

damn near wreck your camera
and make it purely dedicated.

He said, "Go ahead and do it."

It originally was a lens
manufacture, designed,

developed and manufactured
by Zeiss for NASA.

And, of course, NASA was planning to
use it in satellite photography.

For that reason, it's an extremely
fast lens. It's an FO.7.

Which is two stops faster than
the fastest lenses

that are available even today.

Of course, Stanley's intention
for these lenses was to shoot

the famous candlelit scenes
in Barry Lyndon.

That being the case, he shot
with the lenses wide open, FO.7.

As a consequence of that,

he had practically
no depth of field at all.

It was quite a chore
to do it, but of course

the images were absolutely gorgeous.

I think Stanley would have a concept
of wanting to do something

in a way that had never
been achieved before.

He wanted to put himself into that
century,

and with these characters,

and these settings, and give you
a way of seeing them

as they would've been seen
at the time the book was written.

Yet, he used the most
extraordinarily modern instruments

and daring instruments.

The fact that he used these candles.

That's part of it but also the
interiors,

the way sunlight came into rooms.

It was to achieve
the presence in a period

in a way that I don't think
anybody had ever done it before.

I knew it was a costume piece, but I
hoped he'd take it somewhere else.

He took it back in time. The use
of the zoom lens is interesting

because you'd never think
to use a zoom lens in the past.

No, the zoom lens flattens it
out like the 18th-century painting.

The movement, body language,

and the use of music and editing

how transporting that moment is
when Ryan O'Neal,

who gives a wonderful performance,

and Marisa Berenson, as he meets
her for the first time,

kissing her on the balcony with
the music and how his body moves.

Stanley did not want the film to
look like a traditional movie

where period clothes
look like wardrobes.

He wanted the clothes
to move and have life.

He wanted to do something
reminiscent

of certain painters of that period.

Stanley sent me to all kinds of
auction houses who were dealing

with period costumes, so we
were mixing some period costumes.

Stanley wanted beautiful materials,
as he quite rightly said,

"That's why, in those paintings,
they gave those wonderful lights."

Everybody talks of Barry Lyndon
still now

as one of the most beautiful
18th-century movie.

It's because of the way he shot it,
the way he pushed us to do our work.

You know, as an artist,

you very often instinctively design

and to intellectually justify...

..your creativity

is very difficult.

I think the same applies to actors.

Though he knew and respected,
I'm sure, the actors

he would permutate
their performances

almost to the breaking point.

I remember...

..going on the set one day and there
were 1,000 candles burning.

And outside there was a huge storm,

and there were these men outside,

who, because of the storm,
had to hold the big lamps.

There was a huge gale in Dublin
and the rain was pouring,

it was icy cold. I thought,

"Poor guys, I hope they don't have
to do it too long."

And then the candles are burning
down very gradually.

Stanley's just sitting there
with Hardy Kruger

discussing a problem that Hardy had,
and he's just saying,

"Well, Hardy, I think
we should do a..."

Kruger, I think, was getting
also in a state.

It was interesting, never getting
flustered, never raising his voice.

He was wonderful working with
actors because it was one-to-one.

You had a relationship
with the director.

If he was working with any detail
on a role with an actor,

the others were there, sure,
but it was just you and him.

What is your call, Lord Bullingdon?

Heads.

It is heads.

Lord Bullingdon will have
the first fire.

Lord Bullingdon...

..will you take your ground?

VOICEOVER, And it was the fact that
Stanley was so open

and so engaging,
when I asked him a question,

it might be about the lighting
or the camera, the lenses,

he would take the trouble
to speak about it

and talk about it in a really
well-detailed way

so that I understood
what was happening,

and that's what really stimulated
me and interested me.

For instance, if he came onto the
floor,

he didn't know how to shoot a scene.

He wasn't sure how he
was going to do it.

Also, as an actor, I found that
stimulating because

he was saying to me was, you know,
"Do whatever it is you think

"you're going to do,
but do it for real.

"That may change the way
I'm thinking about the scene."

GUNSHOT

BIRD FLUTTER

Sir Richard, this pistol
must be faulty.

I must have another one.

I'm sorry, Lord Bullingdon, but you
must first stand your ground

and allow Mr Lyndon
his turn to fire.

I always felt Stanley was

a film-maker most appreciated
by his fellow film-makers.

Critics were always looking for
something

that wasn't in the movie,
and then they were disappointed.

And, I suppose, in a way, that's a
little bit Stanley's fault,

for example, Barry Lyndon.

I think everybody was expecting
a kind of raucous, Tom Jones movie.

You realise, as you look at the
movie, that it's really about

this slightly dim, handsome boy,

trying to find the clues and the
cues to what's the right behaviour.

What's the behaviour that's going
to advance me in this society?

So, it's a movie really about
a young man defining himself

in a climate that's foreign to him.

That's not at all what people
were led to believe it was about.

Barry Lyndon was released
just as Hollywood entered

the age of the blockbuster
action movie.

With a running time of nearly
three hours,

the film came in
for heavy criticism.

It was labelled as tedious

and boring by most critics
in America and Britain.

But, in Europe, it was hailed
as a film of breathtaking beauty.

I remember it won four Oscars -

Cinematography, production design,

costume design and the music.

I think Stanley was disappointed
because, in the end,

it wasn't a commercial success.

He was very, very, very sad
and disheartened

that particularly smaller papers

and smaller television stations

did not at all appreciate
the tremendous effort

that went into these films,
and just simply dismissed it.

Whatever movie Stanley made,
what I love about his work

is they are completely conscious.

You may like them,
you may not like them

you may say, "What about this,
that or the other thing?"

But, you know, everybody pretty much
acknowledges he's the man.

And I still feel
that underrates him.

Kubrick's next project
looked far more commercial

with Stephen King's
bestselling novel, The Shining.

He seized the chance to make a film

that would both satisfy him
artistically

and meet the demands
of the box office.

I'm asking about The Shining, it's
so unusual, and he says,

"In reality, this is
an optimistic picture."

I said, "On what basis, Stanley?"

And he said,

as the existential, pragmatic
man that he was, he said,

"Well, in some way
this movie's about ghosts.

"Anything that says there's anything
after death is an optimistic story."

There are still images
in The Shining

that I wake up screaming about.

That little boy in the hall.

The tracking of the Steadicam...

The boy on the bike.

..of the boy. The sense of movement

it gave that picture
inside this very foreboding place.

Hello, Danny.

You know something
is building up in this place.

And the way the...

It's the blandness,
let's say, of the people.

How quiet they are.

Is Tony the one
that tells you things?

Yes.

How does he tell you things?

It's like I go to sleep
and he shows me things.

But, when I wake up,
I can't remember everything.

Has Tony ever told you
anything about this place?

About the Overlook Hotel?

It's holding back this
extraordinarily emotional, powerful,

dramatic punch that's going to
happen. You know it'll come somehow,

at some time and it just creates
such suspense.

Is there something bad here?

At first, I was taken aback
by the performance

and, then, after
the third or fourth viewing,

I understood the level of intensity

of what Nicholson was doing.

I'm not sure that it's
intended to be

what a typical horror movie is,
which is a realistic portrayal

of supernatural spookiness.

I think that what's going on
in that movie

is largely going on
in Jack Nicholson's head.

Hi, Lloyd.

A little slow tonight, isn't it?

Yes, it is, Mr Torrance.

I like the kind of film he makes.

I don't need to be
naturalistic in a film

to feel satisfied as an actor.

One thing he said to me that
I'll always remember was,

"In movies you don't...

"..try and photograph the reality.

"You try and photograph
the photograph of the reality."

I knew it wouldn't be a performance
about idiosyncratic behaviourism

but that it would be I always
thought of it as balletic

in The Shining. Another lesson
was, "Here, Jack,

"the script says,
'Jack is not writing.'

"The question is what is he doing?"

I said, "Whenever I'm inside
a big, empty place,

"that you normally
wouldn't be alone in,

"I always think of doing things
that I might do outside."

And that's where throwing that
tennis ball all during the picture.

And it wound up being
a big part of staging.

It rolls into things

it's thrown the length of hallways,
all those kinds of things.

And it's from those little things
that he would develop

sort of preconceived idiosyncrasy.

He always knew
what he was going to get.

He said often that every scene,
really, has been done.

Our job is always to do it
just a little bit better.

Mr Grady...

..you WERE the caretaker here.

I'm sorry to differ with you, sir.

But you...

..are the caretaker.

You've always been the caretaker.

I should know, sir.

I've always been here.

VOICEOVER, We had a good,
friendly relationship.

I mean, he'd turn on you
in a moment and say,

"All right, you're the big fella.
Let's see it."

That's about as harsh
as he ever got with me.

He was a completely different
director with Shelley.

Oh, come on! What do you mean roll
the video? Two seconds.

We're BLEEP killing ourselves
and you've got to be ready!

I'm standing right by the door.
Mood music?

I can't hear.
When you came out like this...

We're sitting there cos you say,
"Wait a minute."

Then you say on the radio, "Go."

When you do it, you've got to
look desperate.

You're wasting everybody's time now.
I can't even get this door open.

VOICEOVER, For a person so charming
and so likeable...

..indeed lovable...

..he can do some pretty cruel things

when you're filming.

Because it seemed to me, at times,

that the end justified the means.

SHE SCREAMS

Don't!

Stop it!

Here's Johnny!

SHE SCREAMS

It was a very difficult role.

It was a long shoot and I had to
cry, and hyperventilate,

and carry a little boy,

and run for most of the time
we shot.

And that was about a year,
a little over a year.

Anywhere between 3O and 5O
videotaped rehearsals

before we even rolled film.

I wouldn't trade
the experience for anything.

Why? Because of Stanley.

And it was a fascinating
learning experience.

It was such intense work,
that I think it makes you smarter.

But I wouldn't want
to go through it again.

We were working with
the material in the book

and trying to make music
that fit the mood

of a sort of updated,
Gothic horror story.

Which is what The Shining is,

really, as a novel, in any case.

Of course, the stylization
that came out from the filming

was not present in the book.

And, so, we failed in our attempt.

Which is why there's a great deal of
other music in the movie.

Danny, you win.

Let's take the rest of this walking.

VOICEOVER, A lot of the music cues
are combinations

of some of Ligeti's music,
some of Penderecki's music.

And lots of background patterns
and textures

with heartbeats and sizzling,
electronic, weird sounds

all mixed together. That's how he
finally did what he was looking for.

When The Shining was released,
the response was mixed.

Some people appreciated its riddles
and ambiguities.

Others felt that Kubrick had strayed
too far from Stephen King's book.

When I say that the people

who love Stanley's movies
were mostly movie people,

they're just looking
at what's in the frame.

What's the "movieness" of the movie.

They, of course, love Stanley
in a very uncomplicated way.

Whereas the critical community...

..tends to fuss and fidget...

..over what Stanley did.

After The Shining,
Kubrick and his family

moved to a large, rambling mansion
in the Hertfordshire countryside.

Except when filming on location,
he would do all his work here

supported by a small
and dedicated team.

The joke line we had about
Stanley was,

this was the line you would never
hear from Stanley was,

"Don't bother me with details,
I've got faith in your judgment."

Stanley would involve himself
to such an extent

with the detail of stuff that
one thought was a bit beneath him.

He should've been doing major stuff

not worrying about
how you had files in your office.

I guess he saw it as a package deal.
You either cared or you didn't.

When we went to Ireland
on Barry Lyndon

he left this 15-page document,

care instructions,
of how to look after the animals.

And the 37th instruction is,

"If a fight should develop
between Freddy and Leo..."

That was a father and son
tom cats that we had

"..the only way you can do anything
about it is to dump water on them

"try to grab Freddy
and run out of the room with him.

"Do not try and pick up Leo.

"Alternatively, if you open a door
and let Freddy out,

"he can outrun Leo but if
he's trapped in a place

"where you can't separate them
keep dumping water,

"shouting, screaming,
jumping up and down

"and distracting and waving shirts,
towels, just try and get

"them apart and grab Freddy."

I remember once he had a cat that
was drinking excessively and I said,

"Perhaps you can measure
how much he's drinking."

He said, "No, that's impossible.
There are too many cats."

Then he phoned back and said,
"I could count the number of laps."

And he said, "How much does each lap
take up in terms of water?"

I said, "I don't think
there's any information."

He said, "Leave it with me,
I'll try and find out."

He'd go off and try and find out

then he'd work it out
and have a figure.

He was compulsive in that way.

He was a kind of
ultimate Jewish mother.

If an animal was ill,
or if one of us were ill,

I mean, Stanley...

Stanley was like Superman.

I was very ill myself
for quite a while

and he was so sweet

so kind, so loyal.

Everything you want somebody to be,
he was.

He was really, really kind.

However, when you weren't ill,

that's when you bought it.

He very seldom praised you,
because he had this obsession

that if he praised you

you would fall to pieces
and not do the job right.

He knew how far he could push you.
That was the other clever thing.

Occasionally, he pushed too far,

then he was confused
why you were angry.

Philosophically,
he was just no-nonsense.

Honest. Had his view.

Very cool view of humanity.

He was a warm guy at home,
I'm sure everybody says that.

Crazy about animals.

But could be...

..brutal with people
he worked with.

He wasn't all that way.

Sometimes, he could be
generous as well.

But he felt everybody
was an opponent.

No matter what,
he wasn't sure they weren't...

..didn't have an agenda
of their own.

And he wasn't going to have that
on his pictures.

I'm asking the fucking questions
here, Private, do you understand?

Sir! Yes, sir! Thank you!
Can I be in charge for a while?

Sir! Yes, sir!
Are you shook up? Nervous?

Sir, I am, sir!

Do I make you nervous?

Sir... Sir, what? Were you about
to call me an asshole?!

Full Metal Jacket was based on a
novel, The Short-Timers,

by Gustav Hasford,
a Vietnam veteran.

He collaborated on the screenplay
with Kubrick and Michael Herr

who had covered the war
as a correspondent.

He was thinking about
making a war movie.

I said, "You already made
Paths of Glory."

He said, "People think of that
as an anti-war movie.

"I want to make a war movie,

"just to consider the subject

"without a moral position
or a political position

"but as a phenomenon."

Holy shit! The sniper has a clean
shot through the hole!

RAPID GUNFIRE

VOICEOVER, What he ended up doing
in Full Metal Jacket,

he had an almost
the detachment of the view.

It's like a god's-eye-view of combat
in the second half of the film.

It seems to be so still and removed.

The cleanliness of it...

..and the power of it.

And the beauty of it, because
it was all so beautifully filmed.

And he understood
that it was accepted

that it was quite OK to acknowledge

that, among all the things war is,
it's also very beautiful.

It's the only film that's ever
done that, to give you a real idea

what it's like and also what the
kids have got to go through

and how important
a drill sergeant is.

That's right, Private Pyle, don't
make any fucking effort

to get up to the top of
the fucking obstacle!

If God wanted you up there, He would
have miracled your ass up there!

Sir, yes, sir!
Get your fat ass up there, Pyle!

And also the nature of...
the tragedy of it.

What is your major malfunction,
numb-nuts?

Didn't Mommy and Daddy show you
enough attention

when you were a child?!

Easy, Leonard.

Go easy, man.

No!

And then the whole movie changes
and moves out.

What's interesting, too,
about Kubrick

is that the structure is all.

He doesn't deal with traditional
dramatic structure, which is good.

He was experimenting.

Fucking son of a bitch!

Looked like something, didn't it?

For a director who is perceived
as being completely uptight

and controlling, he was very
freeform, Stanley.

He'd try anything.

He'd ask the actors in for
long meetings

and say, "There's no such thing
as a stupid idea in this context.

"If you have an idea, just say it."

And he'd often adopt them.

I'm not saying Stanley
wasn't a control freak.

I would never say that.

But there were many ways
he was not controlling.

KUBRICK, You should probably not
be... Should be more...

..frightened, then get into that.

Do something brilliant.

I loved him, I enjoyed his sense
of humour, but I would be lying

if I didn't say there were times
when he was incredibly difficult.

If you weren't willing

to solve the problem as much
as he was trying to solve it.

If you weren't...

..as devoted to understanding

what it was he was trying
to go after,

it was really hard for him.

The thing was, sometimes, you didn't
know what it was he was looking for.

I remember walking around Beckton
Gas Works and stumbling around

by myself and he drove up
in the Jeep and said,

"What's wrong?
Why are you walking around?"

I said, "I don't know
what it is you want from me."

And he said,
"Are you crazy? Get in the Jeep."

He said, "I don't want you
to do anything!

"I want you just to be yourself,
that's all I want."

You put "Born to Kill" on your
helmet and wear a peace button.

Is that some kind of sick joke?

No, sir!

Well, what is it supposed to mean?

I don't know, sir. You don't know
very much, do you? No, sir!

Get your head and your ass wired
together or I will shit on you!

Yes, sir! Answer my question
or you'll stand tall before the Man.

I think I was trying to suggest
something

about the duality of man, sir.
The what? The duality of man.

The Jungian thing, sir.

Whose side are you on, son?

Kubrick shot part of
Full Metal Jacket in East London

where a derelict gas works was
transformed into the bombed out city

of Hue, Vietnam.

The four key elements were the
demolition, the signage,

the palm trees and the smoke.

Most was shot in "magic hour."

"Magic hour" is that delightful time
of day when you're all exhausted

and the light's perfect.

All right.

He's dead.

VOICEOVER, You impart what you know
and you collaborate with Stanley.

It's not easy to impress him
with what you do

but if you come out not getting
a ticking off about something,

you know you've done well.

You get very close.
You're part of the family.

As a unit that works very clos,
hand-in-glove,

because you're there
24 hours a day sometimes with him.

You eat, drink and sleep it.

There's no life outside
of film with Stanley.

And, if you enjoy it, there's no
greater experience, in my mind.

Everybody earned their pay
when they worked for Stanley.

But nobody earned their pay
the way Stanley earned his pay.

No-one worked as thoroughly, deeply,

obsessively as Stanley did.

And he understood that,
when you're making a movie,

you often don't know what it is
you want until you see it.

Did you try it?
Let's give it a crack.

One way or another...

..I felt utterly compensated...

..for my time with Stanley.

If you're in it only for the money,
you might have a different feeling.

But my feeling was that...

..you know, I have absolutely
had no complaints.

Kubrick had started work on the idea
for Full Metal Jacket in 198O.

When the film was released
seven years later,

several Vietnam movies
had already reached the screen.

Kubrick, the great innovator,

had been overtaken
by other film-makers.

But Full Metal Jacket still appealed
to a wide audience

because it bore all the distinctive
hallmarks of a Stanley Kubrick film.

He didn't ever like
that he made so few films.

He always wished
he could've done more.

If he had anything negative
in his life,

I think it was that feeling
that he was slow.

I suppose the other thing
I noted about Stanley was

there were still magnificent
obsessions he had

that he never quite realised.

His fascination with World War II

and with the movie industry,
and Goebbels during that period.

For years, Kubrick had tried to find
a way of portraying

the appalling inhumanity
of the Holocaust on screen.

Now he turned Louis Begley's book,
Wartime Lies into Aryan Papers,

a story of a Jewish family in Poland

trying to evade capture
by the Nazis.

By the time he was ready
to go into production,

Spielberg had begun shooting
Schindler's List.

Feeling the similarities
were too great,

Kubrick reluctantly
shelved Aryan Papers.

There was another thing that he felt
it just couldn't be told.

"If I really want to show
what I've read and know happened,"

and he read everything...

.."How can I even film it?

"How can you even pretend it?"

He became very depressed
during the preparation,

and I was glad
when he gave up on it

because it was really
taking its toll.

Now Kubrick turned his attention
to another longstanding project

based on a short story
by Brian Aldiss.

But AI Evolved
into such a mammoth undertaking

that Kubrick eventually sought the
collaboration of another director.

He said, "You ought to direct AI
and I should produce it for you."

I was shocked. I said,
"Yeah, right."

He said, "I'm serious.

"It would be a Kubrick production
of a Spielberg film."

I remember him actually giving me
a title card on the whole proposal.

I said, "Why would you want to?"

Because I knew this was something
he had been developing

from his heart for so long, and had
contributed so many elements,

beyond Brian's original short story.

And Stanley just said,

"I think this movie is closer
to your sensibility than mine."

He was so insistent, in fact,
he said,

"When can you come out and talk in
person?"

I said, "When would you like me to
come out here?"

He said, "Tomorrow morning."
I was on Long Island,

it was during the summer.

So I got on an airplane the next day
and I flew to his kitchen.

We, for the first time,
sat down and he said,

"I'll show you the storyboards."

And he started to show me
a plethora of work

that he had done on this picture.

It was a project which needed
a lot of special effects.

He eventually postponed the project
for technical reasons.

Computer technology
was about to explode

and he figured he would benefit
enormously by waiting a few years.

So the next project
became Eyes Wide Shut.

When Eyes Wide Shut was announced
as Kubrick's next film,

celebrity columnists focused
on the mysterious director

who had not made a film or given an
interview for over ten years.

They rehashed old stories,

which Kubrick
had never bothered to deny.

He had been pegged,

"Reclusive film-maker,
probably half mad."

For a man to whom, I think,
control was everything

the notion that he could not,
in the last analysis,

control this image that had
grown up about who he was,

it must have brought him a despair,
kind of like, "The hell with it.

"If that's what they want to think,
that's what they'll think,

"and I can't do anything about it."

He dealt with it the way he had to
deal with it.

I knew it was rubbish and that was
all that mattered to me.

And it mostly was
all that mattered to him

although the more disgusting
things did upset him.

He would talk about that sometimes.

I know until the end of
Eyes Wide Shut, he'd started to say,

"Right, now I'm going to do
a few proper interviews

"and try and set the record
a little straighter."

He didn't want to be somebody who
shoots tourists on his lawn

then give them money
when they bleed.

But also because it's another thing
that fits into, you know,

the nerdy monster, sliming around
in his house and hating women.

Hating women?
He was surrounded by them.

I think there are few men who knew
as much about women as he did.

It's impossible for me to just
be objective and say,

"Well, he should have spoken up.

"He should have been more
gregarious."

Should? He couldn't.
He wasn't. Why should he?

He had a great nerve.

He'd open the door to somebody
looking for Stanley Kubrick and say,

"He's not at home."

For a long time, nobody knew
what his face looked like.

He was very, very knowledgeable
about things, Stanley.

Deeply curious and interested
in the world.

I think people aren't aware of that.

They think for someone so obsessive
and so committed to what he does,

that the rest of the world might
pass him by, but, of course,

as we all know, he funnelled
the world into his life,

into his kitchen. Well, here was
a man who set up his life

so that he was warmed constantly
by his family

and by his circle of friends,

who worked in a situation where he
was a matter of minutes

from the place that he worked.

Who among us would be
anything but envious

of the way he's managed
to set up his life?

The book is a tract about, you know,

what are the dangers
of married life?

What are the silent desperations

of keeping an ongoing
relationship alive,

and what are the choices?

You're either in that or you're not.

And Stanley was very, very much
a family man and in it.

And the conjectures that he made
about what it might be like

outside it had a lot to do with
what he was curious about.

It was a theme that we both
talked about a great deal.

He thought about it
in many different ways.

It used to come back
over the years, again and again,

and, as you see friends getting
divorced and remarried,

the topic would come up again.

It had so many variations

and so much really
serious thought to it

that he knew one day
he was going to make it.

May I ask why a beautiful woman...

..who could have any man in this
room, wants to be married?

Why wouldn't she?

Is it as bad as that?

As good as that.

Stanley's expectations of people
were not really, really high.

You see it in his films.

There was human beings he loved.
Christiane was the love of his life.

He would talk about her
with... He adored her.

That's something people didn't know.

His daughters, adored them.

I'd see that because he would
talk to me about them, very proudly.

But his understanding of humans

was that we are very bittersweet.

But he admired, I think,

you know, like, passion,
and commitment, and loyalty.

Ultimately, Eyes Wide Shut
is about that - commitment.

It's a very hopeful film.
People see it as a very dark film

but it's not, it's very hopeful.

Alice...

..I must see you again.

That's impossible. Why?

Because...

..I'm married.

His films are often thought
to be without pity.

That's a good quality,
it seems to me,

because he's saying, "We are like
this. We are hopeless, muddled

"fallible, desperate,
needing-love human beings."

In the end, I think that's what
is the central quality of his films.

He tells us about human beings as we
are, not as we'd like

to imagine we are.

The heart of it
was illustrating a truth

about relationships and sexuality.

But it was not illustrated
in a literal way

but in a theatrical way.

People said the streets
don't look like New York.

I said, "It doesn't matter.
Look at the name of the street."

No such street exists in New York.

In a funny way, it's as if you're
experiencing New York in a dream.

It seems like New York,
but it's not.

It seems like your wife, you know,
but what is she telling me?

And do I want to know?
Maybe I shouldn't ask.

Because I'm a beautiful woman,

the only reason any man
ever wants to talk to me...

..is because he wants to fuck me.

Is that what you're saying?

Well, I don't think it's quite
that black-and-white...

..but I think we both know
what men are like.

So, on that basis,

I should conclude that you
wanted to fuck those two models.

There are...exceptions.

And what makes you an exception?

I took that character
of Bill home with me.

At times, that was not
a nice place to be sitting,

in that character
for that amount of time.

It really is not the kind of person
that I am, that contained,

non-communicative,
likes the daily routine,

the stability of his life.

Ignoring his wife
in that relationship.

Not wanting to rock the boat.

Taking things for granted, Bill did.

Took her for granted, took his
family for granted,

his life for granted.
He's just a little too smug,

and she just goes, "Bang."

I first saw him
that morning in the lobby.

He was checking into the hotel

and he was following the bellboy
with his luggage...

..to the elevator.

He glanced at me as he walked past.
Just a glance.

Nothing more.

But I could hardly...

..move.

When we went to rehearse that scene,

it was the three of us and we
just kind of got in our underwear...

..not Stanley,
we got in our underwear.

And we just talked about the scene
and just kind of didn't really

worry about the lines too much
at that point.

It just slowly evolved.

We were doing take after take.

I said to Stanley,
"What do you want?"

He said, "I want the magic.
I want the magic."

But, then, as the scene progressed,
take after take, doing it,

you'd feel the scene reach a level,
everyone felt that's acceptable,

that's interesting, and then we'd
keep working on it and it would...

..it would feel bad.

It was stale. It just didn't...
It wasn't working.

And, then, suddenly we could feel it
break into a place

that none of us
had really thought of before.

The whole process of the film
was a discovery.

It was never about the result.
It was never about,

"Well, we have a week to shoot
this scene. So, quick, quick, quick,

"we have to do it, let's see...

"We may not fully explore it,
but we'll get something good."

Stanley wanted
to explore every avenue,

and then make his decisions
based on that.

And Stanley was not restricted
by time, he refused to be.

That is a great luxury that only
somebody like he could afford

because of what he'd achieved
through his career

to be able to say, "Do you want to
know what's gold with film-making?

"Time is gold."

Not having to walk away from a scene

before you feel like
you really perfected it.

And I...I wanted to make
fun of you...

..to laugh in your face.

And, so, I laughed as loud
as I could.

SHE SOBS

That must have been
when you woke me up.

VOICEOVER: The other thing
Stanley hated doing

was ever explaining himself.

"So, what's the film about,
Stanley?"

He'd look down,
look away and not answer.

Um...so... The same for a scene,

"What do you really want
this scene to be?"

He'd never answer that.

Eyes Wide Shut seems to be
a Rake's Progress story.

He goes on an adventure
that could turn out any way.

It's an irresponsible adventure
for him to embark on.

It's a fantasy, isn't it?
It's a dream film.

I don't think we're supposed to
believe anything that we see.

I think that one thing that people
do have a hard time with

in the cinema is ambiguity.

Ambiguity is great, but in
the cinema it's almost verboten.

Perhaps the most extraordinary
example of how

a piece of music is used to drive
home something about character,

and story, and atmosphere of
a film is in Eyes Wide Shut.

UNNERVING PIANO MUSIC

Please, come forward.

I was in Stalinist...

..terroristic Hungary

where this kind of music
was not allowed,

and I just wrote it for myself.

Stanley Kubrick understood
the dramaticism of this moment,

and this is what he did in the
film. For me, when I composed it,

in the year '5O,

it was the most desperate.

It was a knife in Stalin's heart.

STACCATO NOTE ON PIANO

STACCATO BECOMES FASTER

IT QUIETENS

He had that director's disease

of really imagining the easy part
of it until you get there, you know.

I'm sure he didn't go into
Eyes Wide Shut

expecting to shoot for 14 months.

But I must say, I thought the same
thing, I said,

"I'll be out of here in three days."

The first scene we did in two hours,
that night at the house

where they come in and I just say
hello.

I said "What are all these things
I hear about it taking forever?"

I went there, three hours later
I was back at the hotel in London.

This is going to be a snap!

I remember him teasing me, saying,
"What are you doing, Cruise?"

I said, "I know it's great having
you here, Sydney, you're perfect.

"You're fantastic,"
cos we shot it in a day.

And, then, my God!

Of course, the next day...

..Sydney comes out

and he's dressed.
He's got his sleeves up.

He's in his pants. He knows
every line of this massive scene.

He says, "Let's run lines.
Let's go, Cruise.

"Let's go. I've got to go,
I've got a week.

"We're going to jam this out
and it's going to be fantastic!"

And we're doing the Steadicam shot
of me coming into the room,

and Sydney goes,
"How do you want me to do this?"

Stanley said,
"Well, let's try it and see."

"Well, I can go to the door fast."

"OK, well, let's see
what that's like."

He says, "OK, now open the door."

Then he says, "Maybe that's a little
too fast." "OK, I'll go slower."

We start doing
the scene this way, and...

By the third week,
when we're in the billiard room,

I'm saying, "My God. How... How..."

Of course, Stanley said,

"Sydney, I didn't think you
would be much longer than that.

"But don't you want
to get it right?"

I tell you, there are a lot of
people in our business who are...

Well, they label themselves
perfectionists.

That's a kind of euphemism
for a pain in the ass, really.

Stanley was the first real
perfectionist that I met.

I mean, he just...
There just wasn't any way

for him to go one take less.

He never gave an inch on anything.

So much was expected of him
every time.

He wasn't allowed just
to make a movie.

It had to be an amazing movie

cos so many of us were waiting
for the next Stanley Kubrick film.

It had to be an event. I think,
on his shoulders,

therefore, was a terrible
responsibility, in a way.

When Eyes Wide Shut was finally
shown for the first time in New York

on March 1st, 1999,

to Tom and Nicole,
and the heads of the studio,

the response was very enthusiastic.

Stanley was very, very happy.

And a great, heavy weight
was lifted from his shoulders.

I think this change of his being

caused almost a physical
change in his body

because he had lived with this
enormous responsibility

for a very expensive film

which was long in the shooting, for
a long time, for two years.

And, suddenly, it was all gone.

He died a week later.

The enormous intensity
that Stanley had

with his work,
he also applied to his family.

I always felt very much-loved,
and so did the children.

He was consistent...

..in that he always said,

"Either you care or you don't."

Well, Stanley was always a man
who never wanted to repeat himself.

He reinvented himself with every
single motion picture he directed.

As a film-maker, you know, for me,

he was a conceptual illustrator

of the human condition.

You say, "I wish he'd made more,"
but these were enough.

Because there's so much
in each one, you know?

It would've been nice for him
to make more

but that's not the process.
That wasn't his process.

What he did make was so special and
unique, it's like

a different movie each time
you see it.

I think, as a director,

I think that what we all
admired the most

was that it was a single vision.

It was one man's vision, and no-one
interfered with that vision.

The complete control he had
in the making of his films

that meant that whatever he had in
the back of his head

was up there on the screen,

I know that he struggled
a lot to get to that place.

I think it's something that all of
us, actually, have benefited from.

Two major artists were Orson Welles
and Stanley,

in terms of being,

you know, genuine,
no-holds-barred artists.

So I would put him in the pantheon

of the absolute top film directors
that the world has seen.

And he was one of the people
that sort of knew...

..what was wrong with the world,
in a weird way...

..and was able to turn that
into art.

He just didn't grouse about it...

..or bitch, or write lousy
editorials.

He converted it into something
that was amazing,

and important for us as a species.

I always thought
I'd work with Stanley again.

We kept in touch over the years,
and everything,

talked about other projects.

It's a sad thing that I won't
have that great opportunity.

I miss him.

How could one not miss him?

He was a man who
was completely unique.

He's a man I loved and admired,

with all the difficulties
he had with him.

He was not an easy person,
but it didn't matter.

Obviously, I worked with him
for 30 years for good reasons.

Stanley is gone.

There's never going to be
another Kubrick film.

You'll never have a film that will
look like this ever again

because it is Stanley,

and he pushed everyone
to the limit.

He pushed the film to the limit.

He pushed the actors emotionally.

But because we all wanted
to go there with him.

Part of Stanley's legacy
on my life is that...

..if you believe in something,

you passionately believe in
something,

so, devote yourself to it,

completely, utterly,
and don't apologise for doing it.

He felt extremely lucky

to be in a situation
where he could tell stories

on such a large scale,

and millions of dollars involved.

I think, when he was young,

he didn't dare hope
he would be able to do that.

I don't think he ever
took that for granted.

He would often say to people, say,
"How are you doing, Stan?"

He'd say, "I'm still fooling them."