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PostPosted: Mon Dec 22, 2014 5:01 pm 
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Joined: Mon Dec 22, 2014 11:01 am
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Location: Hope, BC
Fruit of Lucinda's researches so far:


The first movie I ever saw was a horror movie. It was Bambi. When that little deer gets caught in a forest fire, I was terrified, but I was also exhilarated. I can't explain it.


“Children’s films are an area that should not just be left to the Disney Studios, who I don’t think really make very good children’s films. I’m talking about his cartoon features, which always seemed to me to have shocking and brutal elements in them that really upset children. I could never understand why they were thought to be so suitable. When Bambi’s mother dies this has got to be one of the most traumatic experiences a five-year-old could encounter.

— interviewed by Charlie Kohler in The East Village Eye, 1968, a few days after 2001: A Space Odyssey opened



“Good books don't give up all their secrets at once.”
from the short story Low Men in Yellow Coats ... 22&f=false


There's something in the human personality which resents things that are clear, and conversely, something which is attracted to puzzles, enigmas, and allegories.
Quoted in Kubrick : Inside a Film Artist's Maze (2000) by Thomas Allen Nelson, p. 10


For me writing has always been best when it's intimate, as sexy as skin on skin.

On Writing: A Memoir of the Craft ... 22&f=false


“When you think of the greatest moments of film, I think you are almost always involved with images rather than scenes, and certainly never dialogue. The thing a film does best is to use pictures with music and I think these are the moments you remember. Another thing is the way an actor did something: the way Emil Jannings took out his handkerchief and blew his nose in The Blue Angel, or those marvellous slow turns that Nikolay Cherkasov did in Ivan the Terrible.”

— all from an interview with Philip Strick and Penelope Houston in Sight & Sound, Spring 1972 ... -cinephile



"“Kids, fiction is the truth inside the lie, and the truth of this fiction is simple enough: the magic exists.” Dedication of the novel IT (1985) Stephen King ... 22&f=false


Look for Lie inside the truth?



Look for King on power?


"Never, ever go near power. Don't become friends with anyone who has real power. It's dangerous."

Quoted in "After Stanley Kubrick" (10 August 2010), an interview to his wife Christiane Kubrick by The Guradian


Look for King on myth, fantasy, realism and the unconscious?


"But I've never been able to decide whether the plot is just a way of keeping people's attention while you do everything else, or whether the plot is really more important than anything else, perhaps communicating with us on an unconscious level which affects us in the way that myths once did. I think, in some ways, the conventions of realistic fiction and drama may impose serious limitations on a story. For one thing, if you play by the rules and respect the preparation and pace required to establish realism, it takes a lot longer to make a point than it does, say, in fantasy. At the same time, it is possible that this very work that contributes to a story's realism may weaken its grip on the unconscious. Realism is probably the best way to dramatize argument and ideas. Fantasy may deal best with themes which lie primarily in the unconscious."

Kubrick on The Shining - lots of good stuff about ESP and psychology: ... ew.ts.html

Are you mystified by the cult that's grown around Kubrick's Shining?

I don't get it. But there are a lot of things that I don't get. But obviously people absolutely love it, and they don't understand why I don't. The book is hot, and the movie is cold; the book ends in fire, and the movie in ice. In the book, there's an actual arc where you see this guy, Jack Torrance, trying to be good, and little by little he moves over to this place where he's crazy. And as far as I was concerned, when I saw the movie, Jack was crazy from the first scene. ... 031?page=5

Side Note:
The first book to explore Stanley Kubrick's archives is also the most comprehensive study of the filmmaker to date ... chives.htm

[Looking for the "king wanted to kill his son" anecdote]

This comes close + poignant dedication to his son: ... 22&f=false

Seems like the only place it is explicit is in this biography but it's only snippet view: ... 22&f=false

It's nowhere else on the internet that I can find.

This might do:

Forced to work in a laundry during the school holidays to help pay the bills, and receiving a string of rejection letters from publishers, King became increasingly frustrated at his failure as a novelist. When he was drunk, his anger became focused on his children.
'I wanted to grab them and hit them,' he has admitted. 'Even though I didn't do it, I felt guilty because of my brutal impulses. I wasn't prepared for the realities of fatherhood.' ... d-him.html

This is a good insight, but should be followed up if you want to use it:

King told the BBC that he’d met Kubrick just once, during the filming of “The Shining,” and that he found the director “compulsive.” His distaste is evident, if unstated. In King’s eyes, Kubrick didn’t just get “The Shining” wrong; the director — with his domineering ways, his I’m-a-genius stance and the glassy perfection of his cinematic vision — embodied the very pathology King’s novel cautions against. ... e_shining/


I found a feminist critique of King that discusses his representation of the father and the mytho-poetic men's movement ie Robert Bly, that may be useful - it opens with a great anecdote about his father:
Stephen King's Bookish Boys: (Re)Imagining the Masculine

In his meditation on horror fiction and film, Danse Macabre, Stephen King indicates that his interest in horror was indirectly a gift from his father. One day when Stephen was two, his father, Donald King, went out for cigarettes and never returned. King left his wife, Nellie, and two sons, one biological, Stephen, and one adopted, David, behind to fend for themselves. Nellie King subsequently held a number of service jobs, "scrambling" to provide for her sons in small towns around New England. Eventually she moved her family to Durham, Maine, in order to care for Stephen's grandparents and receive family assistance raising her children.

After the family returned to Durham, Stephen and his brother often passed time in his aunt and uncle's attic. While playing, David discovered a home movie featuring his father; the two boys repeatedly and ritualistically viewed this film clip, looking for clues about the missing man. Stephen also discovered a box containing both rejection slips for his father's weird stories and works by H.P. Lovecraft. King indicates that Lovecraft, "courtesy of [his] father—opened the way," and led to his reading other horror authors: Ray Bradbury, Frank Belknap, Robert Bloch, etc. (Danse Macabre 102). Shortly after King found the box of books and stories in his aunt's attic, they disappeared. King suspected the books were removed by the same aunt, who disapproved of either his father, weird fiction, or both. In an interview with Mel Allen in Yankee magazine King reiterates the link between father-absence and horror, revealing that the former resulted in a lack of masculine power, a lack which he remedied through writing horror fiction. King says:

I was always interested in monsters . . . There are good psychological reasons for my attraction to horror stories as a kid. Without a father, I needed my own power trips . . . When I played baseball, I was always the kid who got picked last (102).


Kimmel and Kaufman further argue that mythopoetic mythology is characterized by the following themes: an idealization of childhood and lost boyhood; a veiled critique of patriarchal ideals for masculinity that exclude emotion and meaningful bonds with other males; and a search for lost fathers and/or an exposure to bad or absent fathers. I would add to this list rampant fears of homosexuality (along with explicit critiques of homophobic behavior). [2] King, too, indicates that feminism has given him pause and says: "I was fully aware of what women's liberation implied for me and others of my sex . . . the book [Carrie] is, in its more adult implications, an uneasy masculine shrinking from the future of female equality"(Danse Macabre 170). In a quite explicit manner, the threat of feminism invokes female monstrosity for King.;c=mfs;c=mfsfront;idno=ark5583.0014.002;rgn=main;view=text;xc=1;g=mfsg

And then there is this:


[young king finding lovecraft in the attic seems to be inspiration for Jack T finding Overlook scrapbook in basement, which is the key development that leads to his "possession"]

A quartet of novellas introduces some of Stephen King's most famous characters, including a teenager obsessed with his Nazi camp guard neighbor, a man falsely imprisoned, and four boys in search of a dead body, in a collection that includes "Rita Hayworth and the Shawshank Redemption," "Apt Pupil," "The Body," and "The Breathing Method." Reissue.

This may be useful: "The Body" is the story that "Stand by Me" was based on and King loves, loves, loves Rob Reiner - who also directed Misery.

The only thing new in this world is the history you don't know.

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