History Creator / StanleyKubrick

16th Feb '17 8:01:33 PM JulianLapostat
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** [[http://birthmoviesdeath.com/2013/01/09/film-crit-hulk-smash-hulk-vs.-tom-hooper-and-art-of-cinematic-affectation [=FilmCritHulk=]]] argues that this was a much bigger part of Kubrick's MO than is typically acknowledged, and that rather than looking for perfection, the retakes were intended to break actors out of conventional acting and produce surreal, unpredictable results. Creator/RobertBresson, who reportedly hated actors and would only work with "models", used a similar approach, as he felt that acting tended to rationalise and simplify the behaviour of characters in a way that limited its artistic potential.

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** [[http://birthmoviesdeath.com/2013/01/09/film-crit-hulk-smash-hulk-vs.-tom-hooper-and-art-of-cinematic-affectation [=FilmCritHulk=]]] argues that this was a much bigger part of Kubrick's MO than is typically acknowledged, and that rather than looking for perfection, the retakes were intended to break actors out of conventional acting to better serve the director's intentions. Indeed this was the reason why directors in the GoldenAge such as Creator/WilliamWyler or Creator/CharlieChaplin used multiple takes, since they had specific intentions and produce surreal, unpredictable results. Creator/RobertBresson, who reportedly hated were not usually comfortable with actors trained in multiple styles and would only work with "models", used a similar approach, as he felt that acting tended to rationalise approaches, and simplify generally preferred a process to wear their resistance until they got the behaviour of characters in a way that limited its artistic potential.results they wanted.
16th Feb '17 7:57:07 PM JulianLapostat
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* AmbiguousDisorder: It is now widely suspected, at least among fans, that he may have had UsefulNotes/AspergerSyndrome or High-Functioning Autism. Those who knew him, his family and friends merely see him as a normal artist who did not like being a public figure.



** Mixed with CreatorBacklash after accusations of LifeImitatesArt: ''Film/AClockworkOrange'' was withdrawn from distribution in the UK at Kubrick's request - he did not believe it had actually inspired the crimes blamed on it, but his family received threats and saw protests staged outside their home. It remained unavailable in the UK until after Kubrick's death in 1999. [[invoked]]
** Certain scenes of ''Film/EyesWideShut'' were blurred out in the USA at the time for being too sexually explicit. In other Western countries people got the uncensored version and wondered what the hell the fuss was about?
* BigApplesauce: It was his home but aside from ''Killer's Kiss'', none of his films were shot in New York. Two of his films which were set in New York, ''Film/{{Lolita}}'' and ''Film/EyesWideShut''- was shot in London, using sets, second-unit projection and carefully chosen streets. Kubrick's insistence on perfection did not allow for location shooting and he generally preferred to shoot on studio sets.
* BittersweetEnding: This is as happy as his films get. The only happy ending Kubrick made was when he was forced to shoot a happy ending for ''Killer's Kiss'' due to ExecutiveMeddling.

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** Mixed with CreatorBacklash after accusations of LifeImitatesArt: It was widely believed that ''Film/AClockworkOrange'' was banned in England. But in truth, after accusations of LifeImitatesArt, the film was withdrawn from distribution in the UK at Kubrick's request - request. Not that he did not believe believed it had actually inspired the crimes blamed on it, but he was worried because his family received threats and saw protests staged outside their home. his home and he was a man who liked his privacy. It remained unavailable in the UK until after Kubrick's death in 1999. [[invoked]]
1999 and Kubrick and his family moved to a new home in England during the production of ''Film/BarryLyndon'' to avoid any further fallout.
** Certain scenes of ''Film/EyesWideShut'' were blurred out in the USA at the time for being too sexually explicit. In other Western countries people got the uncensored version version. There was also censorship in UK owing to the use of a recitation of the Bhagavad Gita (as part of the music by Jocelyn Pook which Kubrick excerpted) during the orgy scene, which Hindu organizations protested as sacrilege and wondered what it was removed for the hell the fuss was about?
UK release and remains missing in Region 2 releases.
* BigApplesauce: It was his home but aside from ''Killer's Kiss'', none of his films were shot in New York. Two One of his films which were was set in New York, ''Film/{{Lolita}}'' and ''Film/EyesWideShut''- York -- ''Film/EyesWideShut''-- was shot in London, using sets, second-unit projection and carefully chosen streets. Kubrick's insistence on perfection did not allow for location shooting and he generally preferred to shoot on studio sets.streets.
* BittersweetEnding: This is as happy as his films get. He generally favored DownerEnding or GainaxEnding. The only outright happy ending Kubrick made was when he was forced to shoot a happy ending for in his films is ''Killer's Kiss'' due which contrary to ExecutiveMeddling.belief was his call and not forced by ExecutiveMeddling. In the case of ''Film/2001ASpaceOdyssey'' and ''Film/EyesWideShut'' at least, it's possible to [[spoiler:see the endings of both films as positive, especially the latter where the couple seem to put aside their baggage and re-commit to their relationship, but the tone and approach in both is kind of ambiguous and comic, and left to the audience]].



* BunnyEarsLawyer: As mentioned above, Kubrick was famous for being eccentric, but the quality and impact of his films, as well as his good relations with Warner Bros. studios and ability to sustain an unusual niche career in the mainstream, [[HiddenDepths speaks for itself]].

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* BunnyEarsLawyer: As mentioned above, Kubrick was famous for being eccentric, but the quality and impact of his films, as well as his good relations with Warner Bros. studios and ability to sustain an unusual niche career in the mainstream, [[HiddenDepths speaks for itself]].



* TheChessmaster: Both literally and figuratively. He once attempted to assert himself over an uncooperative Creator/GeorgeCScott by challenging him to a chess game. Scott unwisely accepted. He also tended to see his actors and staff as pieces to be placed in his compositions.



* CruelToBeKind: Due to Kubrick's perfectionist views towards filming, it has been on record that during the filming of The Shining he was antagonistic to the actors (with the exception of Danny Lloyd see above for explanation) and bullied Shelly Duvall more than the others in order to make her a better actress for the film and while his treatment was really far from good for Duvalls mental health and stress levels, she did admit that she learned more from Kubrick's directing than her other films.
* TheConspiracy: Kubrick's entire filmography shows a huge distrust of humanity and institutions, like the government, the army, the police.
* ControlFreak: Famous for being a legendary perfectionist in movie history (though reading some of the stories of Creator/CharlieChaplin, Creator/WilliamWyler and Creator/JosefVonSternberg will make you think Kubrick is quite reasonable). He would demand dozens of takes for very minor scenes (which was not very unusual as a production practice at the time). Very few actors got to ad-lib a single word in his movies, but the exceptions are remarkable, see ThrowItIn below.

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* CruelToBeKind: Due to Kubrick's perfectionist views towards filming, it has been on record that during the filming of The Shining he was antagonistic to the actors (with the exception of Danny Lloyd see above for explanation) and bullied Shelly Duvall more than the others in order to make her a better actress for the film and while his treatment was really far from good for Duvalls mental health and stress levels, she did admit that she learned more from Kubrick's directing than her other films.
* TheConspiracy: Kubrick's entire filmography shows a huge distrust of humanity and A running motif in his movies is characters undone by fate, institutions, like machinations by unknown figures who are mysterious, powerful and whose interests and motives they cannot seem to comprehend, and to whom they will always remain small-fry. Whether it's Alex [=DeLarge=] finally [[spoiler:being cured and engaging in ultra-violence with the support of the dystopian government, Humbert being undone by Quilty and Lolita, Dave Bowman being undone by HAL and then the army, the police.
Monolith, Redmond Barry by society and class]]. Film/EyesWideShut directly uses conspiracy as a major element and its left ambiguous how much of it [[spoiler:is an actual conspiracy and how much of it is just Hartford imagining and projecting his paranoia and sexual frustration externally]].
* ControlFreak: Famous He had a reputation for being a legendary perfectionist in movie history (though reading some of the stories of Creator/CharlieChaplin, Creator/WilliamWyler and Creator/JosefVonSternberg will make you think Kubrick is quite reasonable). He would demand dozens of takes for very minor scenes (which was not very unusual as a production practice at the time). Very few actors got to ad-lib a single word when he started making films in his movies, but the exceptions are remarkable, see ThrowItIn below.TheFifties).



* DeliberatelyMonochrome: Every film up to ''2001'', with the exception of ''Spartacus''.

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* DeliberatelyMonochrome: Every film up to ''2001'', with the exception of ''Spartacus''. Since Kubrick preferred control and independence he preferred black-and-white which was cheaper than colour at the time[[note]]It only became cheaper and normal in UK and USA by the end of TheSixties[[/note]].



* EnforcedMethodActing: Invoked in many of his films.
* ExecutiveMeddling: [[invoked]]
** ''Film/AClockworkOrange'' suffered this. It was banned in some places because censors were afraid it would incite violence. Some claim it did. Added to this is the fact that Kubrick himself pulled the film out of circulation in England when he recieved reports of copycat crimes.
** ''Film/BarryLyndon'' almost got this when executives wanted to film to be "zanier" with more slapstick comedy and songs, in the vein of ''Film/TomJones''. Kubrick sent back with an [[CrowningMomentOfAwesome awesome]] response about how William Makepeace Thackeray (upon whose book the film is based) was known for his wit and satire but not for his zaniness, pratfalls, or musical numbers.



* HobbesWasRight: His work evokes extreme distrust of humanity and the lengths people will go through to control, hurt and kill each other as part of the grander scheme of the system. ''Film/PathsOfGlory'', ''Film/DrStrangelove'' and ''Film/AClockworkOrange'' definitely show Kubrick's hatred for these things. ''Film/FullMetalJacket'' is a bit more fodder for polarizing discussion. On the one hand it shows how the army dehumanizes its soldiers, but at the same time Kubrick doesn't seem really sure if it ever could/would or should be another way?
* HumansAreBastards: Kubrick's films show mankind at its worst, especially political and military institutions and organisations. A telling moment in ''Film/TwoThousandOneASpaceOdyssey'' is that one of the first things apeman does with his higher intelligence is bashing the head of his fellow apemans in with a huge bone.
* InsufferableGenius: Despite his perfectionist tendencies, Kubrick did not actually have much in common with this trope. He did poorly in school and even stated that his IQ was below average. On the other hand: if something interested him he wanted to know ''everything'' about the subject matter and you better take that literally. Every other book written about the topic, until the tiniest detail, was scrutinized by him.

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* HobbesWasRight: His work evokes extreme distrust is at times misanthrophic, critical of humanity institutions and the lengths people will go through to control, hurt governments, and kill each other as part of the grander scheme of the system. social mores which despite appearing civilized are often poor disguises for appalling violence and cruelty. ''Film/PathsOfGlory'', ''Film/DrStrangelove'' and ''Film/AClockworkOrange'' definitely show Kubrick's hatred for these things. ''Film/FullMetalJacket'' is things as does Film/BarryLyndon and Film/EyesWideShut in a bit more fodder for polarizing discussion. On the one hand it shows how the army dehumanizes its soldiers, but at the same time Kubrick doesn't seem really sure if it ever could/would or should be another way?
subtle manner.
* HumansAreBastards: Kubrick's films show mankind at its worst, weakest and most anti-heroic, especially political and military institutions and organisations. A telling moment in ''Film/TwoThousandOneASpaceOdyssey'' is that one of the first things apeman does with his higher intelligence is bashing the head of his fellow apemans in with a huge bone. \n* InsufferableGenius: Despite his perfectionist tendencies, Kubrick did not actually have much in common with this trope. He did poorly in school and even stated that his IQ was below average. On the other hand: if something interested him he wanted to know ''everything'' about the subject matter and you better take that literally. Every other book written about the topic, until the tiniest detail, was scrutinized by him.



* OddFriendship: Kubrick and Spielberg were polar opposites as far as film styles go. They had a close friendship and Kubrick handpicked Spielberg to direct [[Film/AIArtificialIntelligence his final film]].
* ThePerfectionist: In preparation of each new project Kubrick read every possible book about topics concerning the story that he could lay his hands on. One has to see this to believe it, because he also categorized the information in files and tried to find answers to really odd problems that seemed trivial to others. Nevertheless the end results were often staggering, with officials [[RiddleForTheAges often wondering how on Earth he was able to get his facts and details so accurately precise.]]

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* OddFriendship: Kubrick and Spielberg were polar opposites as far as film styles go. They had a close friendship and Kubrick handpicked Spielberg to direct [[Film/AIArtificialIntelligence his final film]].
* ThePerfectionist: In preparation of each new project Kubrick read every possible book about topics concerning the story that he could lay his hands on. on.
**
One has to see this to believe it, because he also categorized the information in files and tried to find answers to really odd problems that seemed trivial to others. Nevertheless the end results were often staggering, with officials [[RiddleForTheAges often wondering how on Earth he was able to get his facts and details so accurately precise.]]



* PetTheDog: Several. Especially during the filming of ''Film/TheShining''.
** Since the movie was Danny Lloyd's first acting job and that he was very young, Kubrick was genuinely concerned and highly protective of the child. Kubrick treated Danny's scenes like a little game, and kept him from discovering the true nature of the film. During the filming, Lloyd was under the impression that Kubrick was making a drama. He only realized the truth several years later, when he was shown a heavily edited version of the film. He did not see the uncut version of the film until he was 17 - eleven years after he had made it.
** Despite his reported abuse of Shelley Duvall on set, Kubrick spoke very highly of her ability in multiple interviews and found himself quite impressed by her performance in the finished film.



* ProperlyParanoid: Kubrick's work shows a deep paranoia and fear of humanity and how it is forced to function within certain systems.
* PublicDomainSoundtrack: A prominent use of classical music in all his films from ''2001'' onwards.
* ReclusiveArtist: [[invoked]] After he went to the UK, helped by his fear of flying. It should be noted that Kubrick was only reclusive in terms of being a public figure and Hollywood celebrity. He was generally accessible to critics who wanted to interview him about his films, such as Michel Ciment of Positif, and he also maintained friendships with producers and directors and kept up to speed with new film-makers. He also sent fan letters to film-makers he admired, [[http://www.cinematheia.com/stanley-kubricks-letter-to-ingmar-bergman-in-1980/ such as this one]] to Creator/IngmarBergman.

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* ProperlyParanoid: Kubrick's work shows a deep paranoia PublicDomainSoundtrack: A prominent use of classical music in all his films from ''2001'' onwards. Most notably he removed Alex North's original composition for ''2001'' during production, neglected to tell North about it, and fear of humanity the composer expectantly discovered the changes when he went for the screening. [[https://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(score)#Reception Alex North was a respected composer certainly and how it his unused score for ''2001'' is forced to function within certain systems.considered pretty good]].
* PublicDomainSoundtrack: A prominent use of classical music in all his films from ''2001'' onwards.
* ReclusiveArtist: [[invoked]] After he went to the UK, helped by his fear of flying. It [[invoked]]It should be noted that Kubrick was only reclusive in terms of being a public figure and Hollywood celebrity. He was generally accessible to critics who wanted to interview him about his films, such as Michel Ciment of Positif, and he also maintained friendships with producers and directors and kept up to speed with new film-makers. He also sent fan letters to film-makers he admired, [[http://www.cinematheia.com/stanley-kubricks-letter-to-ingmar-bergman-in-1980/ such as this one]] to Creator/IngmarBergman.



* SmartPeoplePlayChess: Kubrick was an avid chess player, and it forced him to be slow, methodical and deliberate with his actions, as seen in his movies.



* TheSpartanWay: Curiously and disconcertingly applied to filming up to Jerkass levels. Kubrick was a hardened and noted perfectionist, and the lengths he went to get the results he wanted were extreme. Jack Nicholson in particular swore off working with him after ''Film/TheShining'' because of the way he treated the cast and crew.



** Kubrick quit the production of Creator/MarlonBrando's vehicle ''One Eyed Jacks'' (1961) after it became clear that Brando wanted to direct the film himself and Kubrick would be the director in name only.

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** Kubrick quit the production of Creator/MarlonBrando's vehicle ''One Eyed Jacks'' (1961) after it became clear that Brando wanted to direct the film himself and Kubrick would be the director in name only. Brando was insecure and uncertain and finally did direct the film, and it's considered a pretty good film in its own right, albeit not really having the Kubrickian elements.



* WorthyOpponent: In chess, according to Creator/GeorgeCScott. It's why he still respected him after what Kubrick did to him in ''Strangelove''.
16th Feb '17 7:23:45 PM JulianLapostat
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* ''Fear And Desire'' (1953) -- His first real film, which he considered his [[invoked]] OldShame. Kubrick and his first wife were the only crew on-set during production. Recently restored and released on video via [=BluRay=]. Incidentally one of the actors is Creator/PaulMazursky who later went on to become an actor-director in his own right.

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* ''Fear And Desire'' (1953) -- His first real film, which he considered his [[invoked]] OldShame. Kubrick and his first wife were the only crew on-set during production. Recently restored and released on video via [=BluRay=]. Incidentally one of the actors is Creator/PaulMazursky Paul Mazursky who later went on to become an actor-director in his own right.
16th Feb '17 7:23:24 PM JulianLapostat
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Yet despite this seeming procrastination, Kubrick was still able to more or less make a film as per he pleased even with this arrangement in his subsequent films such as ''Film/AClockworkOrange, Film/BarryLyndon, Film/TheShining, Film/FullMetalJacket'' and much later ''Film/EyesWideShut''. During his lifetime virtually all his films were met with a polarizing reception by critics and the audience but they were all box-office successes. They were shocking and controversial both for the content but generally for the really cold, ironic and even sardonic tone, that somehow made his films feel more European than American, and certainly like nothing in Hollywood. All his movies were adaptations of literature, both LitFic and genre fiction, but they were all GenreBusting, subversive of Hollywood conventions, featuring AntiHero protagonists, violence and disturbing sexuality. They are celebrated for its visual design, his use of music[[note]]Kubrick generally didn't like original scores, much to the annoyance of composers who worked with him, and he tended to use samples from classical and modernist music and mix them up with other pieces[[/note]], the blazingly original iconography (his background in photography really shows in his work) and the overall bleak view of humanity and institutions made his films ripe for AffectionateParody, PopCulturalOsmosis and cult appeal.

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Yet despite this seeming procrastination, Kubrick was still able to more or less make a film as per he pleased even with this arrangement in his subsequent films such as evidenced by ''Film/AClockworkOrange, Film/BarryLyndon, Film/TheShining, Film/FullMetalJacket'' and much later ''Film/EyesWideShut''. During his lifetime virtually all his films were met with a polarizing reception by critics and the audience but they were all box-office successes. They were shocking and controversial both for the content but generally for the really cold, ironic and even sardonic tone, that somehow made his films feel more European than American, and certainly like nothing in Hollywood. All his movies were adaptations of literature, both LitFic and genre fiction, but they were all GenreBusting, subversive of Hollywood conventions, featuring AntiHero protagonists, violence and disturbing sexuality. They are celebrated for its visual design, his use of music[[note]]Kubrick generally didn't like original scores, much to the annoyance of composers who worked with him, and he tended to use samples from classical and modernist music and mix them up with other pieces[[/note]], the blazingly original iconography (his background in photography really shows in his work) and the overall bleak view of humanity and institutions made his films ripe for AffectionateParody, PopCulturalOsmosis and cult appeal.
16th Feb '17 7:22:38 PM JulianLapostat
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* ''Film/PathsOfGlory'' (1957) -- The first of his two films starring Creator/KirkDouglas, his first film produced by Jan Harlan[[note]][[note]]Jan's sister Christiane is the woman who appears in the last scene and sings at the end. She and Kubrick married and he settled in England with her for the rest of his life, with their family[[/note]] and his BreakthroughHit. Set in France during UsefulNotes/WorldWarI with a critical look at the military establishment that was quite daring for its time and which led to it being [[BannedInChina banned in France]].
* ''Film/{{Spartacus}}'' (1960) -- The second his films starring Kirk Douglas and the last film he would make in America before his exile. Despite Kubrick's dissatisfaction, it's considered a landmark EpicMovie, critical for ending UsefulNotes/TheHollywoodBlacklist and one of the most subversive mainstream blockbusters of that era.

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* ''Film/PathsOfGlory'' (1957) -- The first of his two films starring Creator/KirkDouglas, his first film produced by he also met Jan Harlan[[note]][[note]]Jan's Harlan during production[[note]][[note]]Jan's sister Christiane is the woman who appears in the last scene and sings at the end. She and Kubrick married and he settled in England with her and his family, for the rest of his life, with their family[[/note]] life[[/note]] and his BreakthroughHit. Set in France during UsefulNotes/WorldWarI with a critical look at the military establishment that was quite daring for its time and which led to it being [[BannedInChina banned in France]].
* ''Film/{{Spartacus}}'' (1960) -- The second his films starring Kirk Douglas and the last film he would make in America before his exile.and Hollywood. Despite Kubrick's dissatisfaction, it's considered a landmark EpicMovie, critical for ending UsefulNotes/TheHollywoodBlacklist and one of the most subversive mainstream blockbusters of that era.
16th Feb '17 7:20:37 PM JulianLapostat
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The UsefulNotes/FallOfTheStudioSystem began when a Supreme Court antitrust suit which broke up movie studios, and an indirect effect of this was the nurturing of independent theaters, and by extension, independent cinema. Kubrick could make documentary newsreels and find a way to distribute it without having to cross many hurdles, and he quickly taught himself the nuts-and-bolts of film-making without dealing with the studio system, cultivating an independent sensibility that he carried with him to the end of his life. His early films, ''Fear and Desire''[[note]]Which Kubrick has shelved because he was dissatisfied with it[[/note]] and ''Killer's Kiss'' were made entirely on his own, and Kubrick on his first feature served as not only his own director, but his own cinematographer, editor and sound-man, which provided him a thorough technical knowledge of film-making. ''Film/TheKilling'' proved to be his first success, and with that film, produced by associate James B. Harris, Kubrick found a foot in Hollywood, and he attracted the attention of Kirk Douglas who partnered with him to make ''Film/PathsOfGlory'' which became his BreakthroughHit, earning him respect and good notices from America and England. The interim period between that film and ''Film/{{Lolita}}'' (his first film made in self-imposed exile in England) featured a period of striving in the Hollywood system, including an attempt to collaborate with Creator/MarlonBrando on ''One-Eyed Jacks'' and ''Film/{{Spartacus}}'' produced by Kirk Douglas who brought Kubrick in after firing original director Creator/AnthonyMann. Although ''Spartacus'' was a major success, Kubrick felt dissatisfied because the project was clearly Douglas' (and screenwriter Dalton Trumbo's) more than his, he didn't feel personally invested in the subject and was generally too independent-minded to do journeyman work. [[TheDeterminator He resolved to maintain his independence]] against all odds. He went to England to make ''Film/{{Lolita}}'' and never returned to America, citing a fear of flying[[note]]Which biographer Bill Krohn believes [[UnreliableNarrator is a rather convenient excuse]]. He notes that during the making of ''Lolita'', Kubrick shuttled back and forth between England and America to shoot the footage for the exteriors, which he did not delegate to second-unit[[/note]].

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The UsefulNotes/FallOfTheStudioSystem began when a the Supreme Court ruled in favor of an antitrust suit which that broke up movie the monopoly of film distribution formerly held by major studios, and an indirect effect of this was the nurturing of independent theaters, and by extension, independent cinema. Kubrick could make documentary newsreels and find a way to distribute it without having to cross many hurdles, and he quickly taught himself the nuts-and-bolts of film-making without dealing with the studio system, cultivating an independent sensibility that he carried with him to the end of his life. His early films, ''Fear and Desire''[[note]]Which Kubrick has shelved because he was dissatisfied with it[[/note]] and ''Killer's Kiss'' were made entirely on his own, and Kubrick on his first feature served as not only his own director, but his own cinematographer, editor and sound-man, which provided him a thorough technical knowledge of film-making. ''Film/TheKilling'' proved to be his first success, and with that film, produced by associate James B. Harris, Kubrick found a foot in Hollywood, and he attracted the attention of Kirk Douglas who partnered with him to make ''Film/PathsOfGlory'' which became his BreakthroughHit, earning him respect and good notices from America and England. The interim period between that film and ''Film/{{Lolita}}'' (his first film made in self-imposed exile in England) featured a period of striving in the Hollywood system, including an attempt to collaborate with Creator/MarlonBrando on ''One-Eyed Jacks'' and ''Film/{{Spartacus}}'' produced by Kirk Douglas who brought Kubrick in after firing original director Creator/AnthonyMann. Although ''Spartacus'' was a major success, Kubrick felt dissatisfied because the project was clearly Douglas' (and screenwriter Dalton Trumbo's) more than his, he didn't feel personally invested in the subject and was generally too independent-minded to do journeyman work. [[TheDeterminator He resolved to maintain his independence]] against all odds. He went to England to make ''Film/{{Lolita}}'' and never returned to America, citing a fear of flying[[note]]Which biographer Bill Krohn believes [[UnreliableNarrator is a rather convenient excuse]]. He notes that during the making of ''Lolita'', Kubrick shuttled back and forth between England and America to shoot the footage for the exteriors, which he did not delegate to second-unit[[/note]].
16th Feb '17 7:19:10 PM JulianLapostat
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* ''Fear And Desire'' (1953) -- His first real film, which he considered his [[invoked]] OldShame. Kubrick and his first wife were the only crew on-set during production. Recently restored and released on video via [=BluRay=].

to:

* ''Fear And Desire'' (1953) -- His first real film, which he considered his [[invoked]] OldShame. Kubrick and his first wife were the only crew on-set during production. Recently restored and released on video via [=BluRay=]. Incidentally one of the actors is Creator/PaulMazursky who later went on to become an actor-director in his own right.



* ''Film/KillersKiss'' (1955) -- Kubrick's second wife cameos in this one. Another one Kubrick felt [[OldShame was too bad to be bothered with]].
* ''Film/TheKilling'' (1956) -- The archetypal FilmNoir, famous for its Non-Linear Plot.
* ''Film/PathsOfGlory'' (1957) -- The first of two anti-war films starring Creator/KirkDouglas. Set in WWI. The woman who would later become Kubrick's third wife (who would stay with him until his death) appears in this film. Also very underrated, Kirk Douglas once said in 1969 ; "There's a picture that will always be good, years from now. I don't have to wait 50 years to know that; I know it now."
* ''Film/{{Spartacus}}'' (1960) -- The second of the anti-war films starring Kirk Douglas. Set in Rome. Not really a Kubrick movie; he came in at the last minute as a favor to Mr. Douglas.
* ''Literature/{{Lolita}}'' (1962) -- Adapted from the [[Literature/{{Lolita}} novel]]. Theoretically starred James Mason and Sue Lyon. ''Really'' starred Creator/PeterSellers.
* ''Film/DrStrangelove'' (1964) -- A jet-black Cold War comedy that ends with [[KillEmAll the whole world dying]]. Starred Creator/PeterSellers in three brilliant and very different roles. Also features Sterling Hayden, AntiHero from ''The Killing''.
* ''Film/TwoThousandOneASpaceOdyssey'' (1968) -- An episodic film that is (probably) about the evolution of man. Starred special effects wizard Douglas Trumbull and was stolen (just as Lolita was stolen by Peter Sellers) by a computer named HAL.
* ''Film/AClockworkOrange'' (1971) -- A bit of the old ultra violence, adapted from the [[Literature/AClockworkOrange novel]]. Words can not describe how controversial this was when first released. Kubrick even had it banned ''himself'' in his home country until his death.
* ''Film/BarryLyndon'' (1975) -- Just about the most detailed and beautiful period piece in movie history. Creator/MartinScorsese has cited it as a personal favorite.
* ''Film/TheShining'' (1980) -- Despite being radically different from the [[Literature/TheShining novel]], it is a great horror movie in its own right, and is highly notable for its number of [[UsefulNotes/ConspiracyTheories fan explanations]] to the film's ambiguous message. Features one of Creator/JackNicholson's most indelible performances and cemented Kubrick's reputation as a perfectionist.
* ''Film/FullMetalJacket'' (1987) -- An iconic Vietnam War movie. Theoretically starred Matthew Modine as Private Joker. ''Really'' starred Creator/RLeeErmey as Gunnery Sergeant Hartman.
* ''Film/EyesWideShut'' (1999) -- Starring Creator/TomCruise and Creator/NicoleKidman. The last film he created, in fact finishing it six days before his death. Initially had a [[BrokenBase mixed]] reputation, but it's [[VindicatedByHistory not as divisive as it once was]].

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* ''Film/KillersKiss'' (1955) -- Kubrick's second wife cameos in this one. Another one Kubrick felt [[OldShame was too bad to be bothered with]].tyro-work]].
* ''Film/TheKilling'' (1956) -- The archetypal A FilmNoir, his first commercial success, first collaboration with Creator/SterlingHayden, famous for its Non-Linear Plot.
non-linear variation on ''Film/TheAsphaltJungle''-style heist movie plot that was highly popular in TheFifties.
* ''Film/PathsOfGlory'' (1957) -- The first of his two anti-war films starring Creator/KirkDouglas. Set in WWI. The Creator/KirkDouglas, his first film produced by Jan Harlan[[note]][[note]]Jan's sister Christiane is the woman who would later become Kubrick's third wife (who would stay with him until his death) appears in this film. Also very underrated, Kirk Douglas once said the last scene and sings at the end. She and Kubrick married and he settled in 1969 ; "There's England with her for the rest of his life, with their family[[/note]] and his BreakthroughHit. Set in France during UsefulNotes/WorldWarI with a picture critical look at the military establishment that will always be good, years from now. I don't have was quite daring for its time and which led to wait 50 years to know that; I know it now."
being [[BannedInChina banned in France]].
* ''Film/{{Spartacus}}'' (1960) -- The second of the anti-war his films starring Kirk Douglas. Set in Rome. Not really a Kubrick movie; he came in at Douglas and the last minute as film he would make in America before his exile. Despite Kubrick's dissatisfaction, it's considered a favor to Mr. Douglas.
landmark EpicMovie, critical for ending UsefulNotes/TheHollywoodBlacklist and one of the most subversive mainstream blockbusters of that era.
* ''Literature/{{Lolita}}'' (1962) -- Adapted from the [[Literature/{{Lolita}} novel]]. Theoretically starred James Mason novel]] by Creator/VladimirNabokov[[note]]Who actually really liked the film and Sue Lyon. ''Really'' starred Creator/PeterSellers.
* ''Film/DrStrangelove'' (1964) -- A jet-black Cold War comedy that ends
was satisfied with [[KillEmAll the whole world dying]]. Starred how it turned out. This despite him being cheesed by Kubrick asking him to write a long screenplay and then using little to none of it, albeit providing remuneration.[[/note]] Starring Creator/JamesMason, one of Kubrick's favorite actors[[note]]He appeared in two films by his hero Creator/MaxOphuls[[/note]], Sue Lyon, Shelley Winters and Creator/PeterSellers in three brilliant and very different roles. Also features Sterling Hayden, AntiHero from ''The Killing''.
* ''Film/TwoThousandOneASpaceOdyssey'' (1968) -- An episodic film that is (probably) about
the evolution scene-stealing expanded role of man. Starred special effects wizard Douglas Trumbull and was stolen (just as Lolita was stolen by Peter Sellers) by a computer named HAL.
* ''Film/AClockworkOrange'' (1971) -- A bit of the old ultra violence, adapted from the [[Literature/AClockworkOrange novel]]. Words can not describe how controversial this was when first released. Kubrick even had it banned ''himself'' in his home country until his death.
Quilty.
* ''Film/DrStrangelove'' (1964) -- A jet-black satire on the UsefulNotes/ColdWar with a screenplay by Terry Southern that ends with [[KillEmAll the whole world dying]] to the strains of Vera Lynn. Starring Creator/PeterSellers in three brilliant and very different roles, but also George C. Scott, Creator/JamesEarlJones, a second appearance by Creator/SterlingHayden and a scene-stealing turn by Slim Pickens.
* ''Film/TwoThousandOneASpaceOdyssey'' (1968) -- A landmark science-fiction with groundbreaking special effects by Douglas Trumbull, co-created with Creator/ArthurCClarke and a film that revolutionized the science-fiction genre, albeit made by a man who generally disliked the genre and wanted to bring it OutOfTheGhetto.
* ''Film/AClockworkOrange'' (1971) -- Adapted from a [[Literature/AClockworkOrange minor novel]] by Anthony Burgess. A major commercial success in its year of release, but extremely controversial for its scenes of violence and rape. The negative publicity was such that Kubrick himself shelved it after it turned out profits, and prevented it from being widely exhibited until his death. Extremely influential for its production design, its costumes[[note]]By Milena Canonero who would win an oscar for her work on Film/BarryLyndon and later work on every one of Creator/WesAnderson's films[[/note]] and unusual use of music.
* ''Film/BarryLyndon'' (1975) -- Just about the most detailed and beautiful Adapted from a minor novel by [[Literature/VanityFair W. M. Thackeray]], it's a GenreDeconstruction of period piece in films that shows how oppressive and downright weird European society was. Famously, the first movie history. Creator/MartinScorsese has cited in history to shoot a scene entirely lit by candlelight. Unpopular and neglected by the audience, it as a personal favorite.
is the preferred favorite of cinephiles like Creator/MartinScorsese, who consider it his masterpiece.
* ''Film/TheShining'' (1980) -- Despite being radically Radically different from the [[Literature/TheShining novel]], it is to Creator/StephenKing's distaste. It's now considered a great horror movie in its own right, and is highly notable for its classic of the genre, provoking a number of [[UsefulNotes/ConspiracyTheories fan explanations]] to the film's ambiguous message. and much like ''2001'', Kubrick eschewed conventional genre features by bringing in highbrow elements. Features one of Creator/JackNicholson's most indelible famous performances and cemented its extended production, with the gigantic set built in England and his treatment of Shelley Duvall, cementing Kubrick's reputation as a perfectionist.
* ''Film/FullMetalJacket'' (1987) -- An [[Film/ApocalypseNow One]] [[Film/{{Platoon}} of the]] most iconic Vietnam War movie. Theoretically starred movies, starring Matthew Modine as Private Joker. ''Really'' starred Modine, Adam Baldwin and in scene-stealing turns Creator/RLeeErmey as Gunnery Sergeant Hartman.
Hartman and Creator/VincentDOnofrio as Gomer Pyle. Controversial in its year of release for the fact that the film's two halves are entirely different from each other, with most preferring the first half (starring aforementioned scene-stealers).
* ''Film/EyesWideShut'' (1999) -- Starring Creator/TomCruise and Creator/NicoleKidman. The Creator/NicoleKidman, it became his last film he created, in fact finishing it film, completed six days before his death. Initially had death with some sound mixing work still left to be done. Three years in the making, and preceded with incredible publicity and buildup, the film faced a [[BrokenBase mixed]] reputation, but it's reception only to receive appreciation [[VindicatedByHistory not as divisive as it once was]].very recently]].
16th Feb '17 6:47:08 PM JulianLapostat
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Yet despite this seeming procrastination, Kubrick was still able to more or less make a film as per he pleased even with this arrangement and his subsequent films such as ''Film/AClockworkOrange, Film/BarryLyndon, Film/TheShining, Film/FullMetalJacket'' and much later ''Film/EyesWideShut''. During his lifetime virtually all his films were met with a polarizing reception by critics and the audience but they were all box-office successes. They were shocking and controversial both for the content but generally for the really cold, ironic and even sardonic tone, that somehow made his films feel more European than American, and certainly like nothing in Hollywood. All his movies were adaptations of literature, both LitFic and genre fiction, but they were all GenreBusting, subversive of Hollywood conventions, featuring AntiHero protagonists, violence and disturbing sexuality. They are celebrated for its visual design, his use of music[[note]]Kubrick generally didn't like original scores, much to the annoyance of composers who worked with him, and he tended to use samples from classical and modernist music and mix them up with other pieces[[/note]], the blazingly original iconography (his background in photography really shows in his work) and the overall bleak view of humanity and institutions made his films ripe for AffectionateParody, PopCulturalOsmosis and cult appeal.

to:

Yet despite this seeming procrastination, Kubrick was still able to more or less make a film as per he pleased even with this arrangement and in his subsequent films such as ''Film/AClockworkOrange, Film/BarryLyndon, Film/TheShining, Film/FullMetalJacket'' and much later ''Film/EyesWideShut''. During his lifetime virtually all his films were met with a polarizing reception by critics and the audience but they were all box-office successes. They were shocking and controversial both for the content but generally for the really cold, ironic and even sardonic tone, that somehow made his films feel more European than American, and certainly like nothing in Hollywood. All his movies were adaptations of literature, both LitFic and genre fiction, but they were all GenreBusting, subversive of Hollywood conventions, featuring AntiHero protagonists, violence and disturbing sexuality. They are celebrated for its visual design, his use of music[[note]]Kubrick generally didn't like original scores, much to the annoyance of composers who worked with him, and he tended to use samples from classical and modernist music and mix them up with other pieces[[/note]], the blazingly original iconography (his background in photography really shows in his work) and the overall bleak view of humanity and institutions made his films ripe for AffectionateParody, PopCulturalOsmosis and cult appeal.
16th Feb '17 6:43:37 PM JulianLapostat
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The UsefulNotes/FallOfTheStudioSystem began when a Supreme Court antitrust suit which broke up movie studios, and an indirect effect of this was the nurturing of independent theaters, and by extension, independent cinema. Kubrick could make documentary newsreels and find a way to distribute it without having to cross many hurdles, and he quickly taught himself the nuts-and-bolts of film-making without dealing with the studio system, cultivating an independent sensibility that he carried with him to the end of his life. His early films, ''Fear and Desire''[[note]]Which Kubrick has shelved because he was dissatisfied with it[[/note]] and ''Killer's Kiss'' were made entirely on his own, and Kubrick on his first feature served as not only his own director, but his own cinematographer, editor and sound-man, which provided him a thorough technical knowledge of film-making. ''Film/TheKilling'' proved to be his first success, and with that film, produced by associate James B. Harris, Kubrick found a foot in Hollywood, and he attracted the attention of Kirk Douglas who partnered with him to make ''Film/PathsOfGlory'' which became his BreakthroughHit, earning him respect and good notices from America, England and France. The interim period between that film and ''Film/{{Lolita}}'' (his first film made in self-imposed exile in England) featured a period of striving in the Hollywood system, including an attempt to collaborate with Creator/MarlonBrando on ''One-Eyed Jacks'' and ''Film/{{Spartacus}}'' produced by Kirk Douglas who brought Kubrick in after firing original director Creator/AnthonyMann. Although ''Spartacus'' was a major success, Kubrick felt dissatisfied because the project was clearly Douglas' (and screenwriter Dalton Trumbo's) more than his, he didn't feel personally invested in the subject and was generally too independent-minded to do journeyman work. [[TheDeterminator He resolved to maintain his independence]] against all odds. He went to England to make ''Film/{{Lolita}}'' and never returned to America, citing a fear of flying[[note]]Which biographer Bill Krohn believes [[UnreliableNarrator is a rather convenient excuse]]. He notes that during the making of ''Lolita'', Kubrick shuttled back and forth between England and America to shoot the footage for the exteriors, which he did not delegate to second-unit[[/note]].

to:

The UsefulNotes/FallOfTheStudioSystem began when a Supreme Court antitrust suit which broke up movie studios, and an indirect effect of this was the nurturing of independent theaters, and by extension, independent cinema. Kubrick could make documentary newsreels and find a way to distribute it without having to cross many hurdles, and he quickly taught himself the nuts-and-bolts of film-making without dealing with the studio system, cultivating an independent sensibility that he carried with him to the end of his life. His early films, ''Fear and Desire''[[note]]Which Kubrick has shelved because he was dissatisfied with it[[/note]] and ''Killer's Kiss'' were made entirely on his own, and Kubrick on his first feature served as not only his own director, but his own cinematographer, editor and sound-man, which provided him a thorough technical knowledge of film-making. ''Film/TheKilling'' proved to be his first success, and with that film, produced by associate James B. Harris, Kubrick found a foot in Hollywood, and he attracted the attention of Kirk Douglas who partnered with him to make ''Film/PathsOfGlory'' which became his BreakthroughHit, earning him respect and good notices from America, England America and France.England. The interim period between that film and ''Film/{{Lolita}}'' (his first film made in self-imposed exile in England) featured a period of striving in the Hollywood system, including an attempt to collaborate with Creator/MarlonBrando on ''One-Eyed Jacks'' and ''Film/{{Spartacus}}'' produced by Kirk Douglas who brought Kubrick in after firing original director Creator/AnthonyMann. Although ''Spartacus'' was a major success, Kubrick felt dissatisfied because the project was clearly Douglas' (and screenwriter Dalton Trumbo's) more than his, he didn't feel personally invested in the subject and was generally too independent-minded to do journeyman work. [[TheDeterminator He resolved to maintain his independence]] against all odds. He went to England to make ''Film/{{Lolita}}'' and never returned to America, citing a fear of flying[[note]]Which biographer Bill Krohn believes [[UnreliableNarrator is a rather convenient excuse]]. He notes that during the making of ''Lolita'', Kubrick shuttled back and forth between England and America to shoot the footage for the exteriors, which he did not delegate to second-unit[[/note]].
16th Feb '17 6:38:21 PM JulianLapostat
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Stanley Kubrick (July 26, 1928 March 7, 1999) was a controversial director. [[TropesAreNotBad In a good way]]. His films spanned nearly every genre he could get his hands on -- but start in the wrong place.

Originally a New York photographer, Mr. Kubrick wormed his way into film making with little difficulty. He made documentaries, which provided him the technical skill for turning stills into real movies. He never left England during his last forty years due to a [[WhyDidItHaveToBeSnakes fear of flying]].

People he had worked with have described him as [[NotGoodWithPeople acidic to others but amazingly fond of animals, particularly cats]], and very close to his wife and children. However, he treated pretty much all of the actors in his movies like crap. Some liked him anyway: Creator/MalcolmMcDowell thoroughly enjoyed working with him on ''Film/AClockworkOrange'', but was [[WhatHaveYouDoneForMeLately snubbed after shooting was complete]]. Equally abrasive individuals such as Creator/JackNicholson and Creator/RLeeErmey, however, remained friends with Kubrick until his death.

On average, however, his relationships could be defined by the making of ''Film/DrStrangelove''; Actors that did exactly as he said walked away with their paychecks (unless they were named Peter Sellers or R. Lee Ermey, who got to do a surprising amount of {{Improv}}). Slim Pickens [[EnforcedMethodActing was never told he was making a comedy]], implying that his character was the hero of the film, heroically delivering the bomb that ''ends the world''. Pickens was okay with it in the long run, spinning the publicity into a highly successful career. On the other hand, Creator/GeorgeCScott wanted to play General Turgidson as a dignified WellIntentionedExtremist, so Kubrick tricked him by [[FalseReassurance assuring him that]] [[BlatantLies the cameras were off]], and that Kubrick and the rest of the cast and crew are the only ones seeing him. He proceeded to use those takes, leading to Scott swearing to not work with Kubrick again.

[[OddFriendship He also had a long-time friendship with]] Creator/StevenSpielberg, and in spite of their radically different styles, the two would often have extended talks on the art of filmmaking and other subjects. Because of the England-Los Angeles time difference he would often call the latter up in the middle of the night, and the two would have conversations over the phone for ''hours''. He dismissed Spielberg's ''Film/SchindlersList'' for having a happy ending (a criticism echoed by Creator/TerryGilliam), but possibly he was miffed because he was planning to make his own film about the Holocaust and Spielberg beat him to it. After Kubrick's death Spielberg finished the last movie project that he had been working on as a token to him (although Kubrick had already pretty much given the reins of that project to Spielberg prior to his death), resulting in ''Film/AIArtificialIntelligence''.

Because of his tendency for blazingly original iconography (his background in photography really shows in his work), his films are ripe for AffectionateParody. Because his films include some of the bleakest and harshest ever made, it is completely impossible to do a cruel one.

Amazingly enough Kubrick is also a prime example of DeadArtistsAreBetter or rather VindicatedByHistory. During his lifetime virtually all his films were met with a polarizing reception by critics and the audience. They were box-office successes but they were all controversial, either for the content or the tone. His movies were never straight genre pieces, they subverted the cliches of Hollywood storytelling and often featured AntiHero protagonists. Kubrick was often accused of being too cold and intellectual, his generally cynical BlackComedy and HumansAreBastards theme and critique of institutions did not often find favor. Of course, because of this he was seen as being ahead of his time and his films tend to be popular among newer audiences than the people who saw his films on first run.

Oh--and many a ConspiracyTheorist has attributed the "faked" footage of the MoonLandingHoax to Kubrick. Understandable: considering the often-praised realism of ''2001'', he was basically the only filmmaker at the time who ''could'' have pulled it off. [[note]] [[FridgeBrilliance This would seem to be a motivation for Kubrick's]] {{Deconstruction}} of the "Illuminati" conspiracy theory in ''Film/EyesWideShut''. [[/note]]

He has appeared in an episode of ''WebVideo/EpicRapBattlesOfHistory'' against other directors Creator/StevenSpielberg, Creator/AlfredHitchcock, Creator/QuentinTarantino and Creator/MichaelBay.

to:

Stanley Kubrick (July 26, 1928 March 7, 1999) was a famous director of important and controversial director. [[TropesAreNotBad In films. Born to a good way]]. His films spanned nearly every genre he could get his hands on -- but start middle class Jewish family in the wrong place.

Originally a New York photographer, Mr.
UsefulNotes/NewYorkCity, Kubrick wormed was a college dropout [[SelfMadeMan albeit a voracious reader and autodidact]]. From an early age, he was [[TheMovieBuff a cinephile]] who was especially fond of foreign films and arthouse film-makers such as Creator/JosefVonSternberg and especially Creator/MaxOphuls (who he cited as his favorite, and his biggest influence).

The UsefulNotes/FallOfTheStudioSystem began when a Supreme Court antitrust suit which broke up movie studios, and an indirect effect of this was the nurturing of independent theaters, and by extension, independent cinema. Kubrick could make documentary newsreels and find a
way into film making to distribute it without having to cross many hurdles, and he quickly taught himself the nuts-and-bolts of film-making without dealing with little difficulty. He the studio system, cultivating an independent sensibility that he carried with him to the end of his life. His early films, ''Fear and Desire''[[note]]Which Kubrick has shelved because he was dissatisfied with it[[/note]] and ''Killer's Kiss'' were made documentaries, entirely on his own, and Kubrick on his first feature served as not only his own director, but his own cinematographer, editor and sound-man, which provided him the a thorough technical skill for turning stills into real movies. He never left knowledge of film-making. ''Film/TheKilling'' proved to be his first success, and with that film, produced by associate James B. Harris, Kubrick found a foot in Hollywood, and he attracted the attention of Kirk Douglas who partnered with him to make ''Film/PathsOfGlory'' which became his BreakthroughHit, earning him respect and good notices from America, England during and France. The interim period between that film and ''Film/{{Lolita}}'' (his first film made in self-imposed exile in England) featured a period of striving in the Hollywood system, including an attempt to collaborate with Creator/MarlonBrando on ''One-Eyed Jacks'' and ''Film/{{Spartacus}}'' produced by Kirk Douglas who brought Kubrick in after firing original director Creator/AnthonyMann. Although ''Spartacus'' was a major success, Kubrick felt dissatisfied because the project was clearly Douglas' (and screenwriter Dalton Trumbo's) more than his, he didn't feel personally invested in the subject and was generally too independent-minded to do journeyman work. [[TheDeterminator He resolved to maintain his last forty years due independence]] against all odds. He went to England to make ''Film/{{Lolita}}'' and never returned to America, citing a [[WhyDidItHaveToBeSnakes fear of flying]].

flying[[note]]Which biographer Bill Krohn believes [[UnreliableNarrator is a rather convenient excuse]]. He notes that during the making of ''Lolita'', Kubrick shuttled back and forth between England and America to shoot the footage for the exteriors, which he did not delegate to second-unit[[/note]].

In England, Kubrick was able to cultivate [[ShroudedInMyth a sense of mystery and excitement about his work]]. At a remote distance from Hollywood he was able to assert control over all aspects of film-making from pre-production to editing and sound-mixing, from advertising to exhibition[[note]]No [[NotMakingThisUpDisclaimer seriously]], Kubrick would appoint [[BigBrotherIsWatching staffers to go to different theaters across America]] and England and if he received reports and complaints that a projectionist was screening his film in the wrong aspect-ratio, or if the theatre had bad lighting, [[ControlFreak he would ''personally'' call the projector during the screening and tell the man how to screen it correctly]][[/note]]. He was able to do this thanks to support from excellent producers such as James B. Harris and Jan Harlan (who was also his brother-in-law) and the fact that his films were, relatively speaking, less expensive than other Hollywood super-productions of the time, and that they all made a profit. During this time, Kubrick also became, so to speak, a ReclusiveArtist. He would give interviews as per his convenience and would be inaccessible to journalists and celebrity gossip-columnists and generally interact only with his collaborators and producers. As such a number of legends cropped up about him.
People he had worked with have described him as [[NotGoodWithPeople acidic to others but amazingly fond of animals, particularly cats]], and very close to his wife and children. However, he treated pretty much all of the actors in Actors who worked on his movies like crap. Some liked films described him anyway: as manipulative, distant and aloof. Creator/MalcolmMcDowell thoroughly enjoyed working with him on ''Film/AClockworkOrange'', but was [[WhatHaveYouDoneForMeLately snubbed after shooting was complete]]. Equally abrasive individuals Others, such as Creator/JackNicholson Ryan O'Neal, Creator/JackNicholson, Creator/TomCruise and Creator/RLeeErmey, however, remained friends enjoyed working with Kubrick until his death.

On
him and described him fondly.[[note]]On average, however, his relationships could be defined by the making of ''Film/DrStrangelove''; Actors that did exactly as he said walked away with their paychecks (unless they were named Peter Sellers or R. Lee Ermey, who got to do a surprising amount of {{Improv}}). Slim Pickens [[EnforcedMethodActing was never told he was making a comedy]], implying that his character was the hero of the film, heroically delivering the bomb that ''ends the world''. Pickens was okay with it in the long run, spinning the publicity into a highly successful career. On the other hand, Creator/GeorgeCScott wanted to play General Turgidson as a dignified WellIntentionedExtremist, so Kubrick tricked him by [[FalseReassurance assuring him that]] [[BlatantLies the cameras were off]], and that Kubrick and the rest of the cast and crew are the only ones seeing him. He proceeded to use those takes, leading to Scott swearing to not work with Kubrick again.

[[OddFriendship He also had a long-time friendship with]] Creator/StevenSpielberg, and in spite of their radically different styles, the two would often have extended talks on the art of filmmaking and other subjects.
again.[[/note]]

Because of the England-Los Angeles time difference he his high artistic ambitions (he was obsessed with originality and doing things that had never been done before), his insistence on personally researching each aspect of pre-production (A side-effect of his autodidact origins[[note]]For Film/BarryLyndon, Kubrick would often call personally scour countless paintings to create reference material for the latter up film's look, costume and production designer, work that other film-makers, including great directors, would properly delegate to others but which he felt he had to do himself[[/note]]) and his insistence on doing a film that interests him thoroughly, his production pace slowed down drastically. He made four films in TheSixties and five films in the middle next three decades, much of his time spent on pre-production for unmade projects such as a planned {{Biopic}} on UsefulNotes/NapoleonBonaparte, a film on UsefulNotes/TheHolocaust, and a science-fiction project about an Android. The former two he abandoned because he felt he had been beaten to the night, punch[[note]]By an adaptation of ''Film/WarAndPeace'' in TheSeventies by Sergei Bondarchuk and the two would have conversations over the phone for ''hours''. He dismissed Spielberg's ''Film/SchindlersList'' for having a happy ending (a criticism echoed by Creator/TerryGilliam), but possibly he was miffed because he was planning to make his own film about the Holocaust and Spielberg beat him to it. After in TheNineties[[/note]]. The latter project was subsequently completed after his death by Creator/StevenSpielberg as ''Film/AIArtificialIntelligence'' as per Kubrick's death Spielberg finished the last movie project that he had been working on as a token to him (although Kubrick had already pretty much given the reins of that project to Spielberg prior to his death), resulting in ''Film/AIArtificialIntelligence''.

Because of his tendency for blazingly original iconography (his background in photography really shows in his work), his films are ripe for AffectionateParody. Because his films include some of the bleakest and harshest ever made, it is completely impossible to do a cruel one.

Amazingly enough Kubrick is also a prime example of DeadArtistsAreBetter or rather VindicatedByHistory. During his lifetime virtually all his films were met with a polarizing reception by critics and the audience. They were box-office successes but they were all controversial, either for the content or the tone. His movies were never straight genre pieces, they subverted the cliches of Hollywood storytelling and often featured AntiHero protagonists. Kubrick was often accused of being too cold and intellectual, his generally cynical BlackComedy and HumansAreBastards theme and critique of institutions did not often find favor. Of course, because of this he was seen as being ahead of his time and his films tend to be popular among newer audiences than the people who saw his films on first run.
suggestion.

Oh--and many a ConspiracyTheorist has attributed the "faked" footage of the MoonLandingHoax to Kubrick. Understandable: considering the often-praised realism of ''2001'', he Yet despite this seeming procrastination, Kubrick was basically the only filmmaker at the time who ''could'' have pulled it off. [[note]] [[FridgeBrilliance This would seem still able to be more or less make a motivation for Kubrick's]] {{Deconstruction}} of the "Illuminati" conspiracy theory in film as per he pleased even with this arrangement and his subsequent films such as ''Film/AClockworkOrange, Film/BarryLyndon, Film/TheShining, Film/FullMetalJacket'' and much later ''Film/EyesWideShut''. [[/note]]

He has appeared
During his lifetime virtually all his films were met with a polarizing reception by critics and the audience but they were all box-office successes. They were shocking and controversial both for the content but generally for the really cold, ironic and even sardonic tone, that somehow made his films feel more European than American, and certainly like nothing in an episode Hollywood. All his movies were adaptations of ''WebVideo/EpicRapBattlesOfHistory'' against literature, both LitFic and genre fiction, but they were all GenreBusting, subversive of Hollywood conventions, featuring AntiHero protagonists, violence and disturbing sexuality. They are celebrated for its visual design, his use of music[[note]]Kubrick generally didn't like original scores, much to the annoyance of composers who worked with him, and he tended to use samples from classical and modernist music and mix them up with other directors Creator/StevenSpielberg, Creator/AlfredHitchcock, Creator/QuentinTarantino pieces[[/note]], the blazingly original iconography (his background in photography really shows in his work) and Creator/MichaelBay.the overall bleak view of humanity and institutions made his films ripe for AffectionateParody, PopCulturalOsmosis and cult appeal.

In short, he's a film-maker no one is going to stop talking about any time soon.
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