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PostPosted: Mon Dec 22, 2014 5:07 pm 
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In an interview with William Kloman of The New York Times, when asked why there is hardly any dialogue in 2001, Kubrick explained:

I don't have the slightest doubt that to tell a story like this, you couldn't do it with words. There are only 46 minutes of dialogue scenes in the film, and 113 of non-dialogue. There are certain areas of feeling and reality—or unreality or innermost yearning, whatever you want to call it—which are notably inaccessible to words. Music can get into these areas. Painting can get into them. Non-verbal forms of expression can. But words are a terrible straitjacket. It's interesting how many prisoners of that straitjacket resent its being loosened or taken off. There's a side to the human personality that somehow senses that wherever the cosmic truth may lie, it doesn't lie in A, B, C, D. It lies somewhere in the mysterious, unknowable aspects of thought and life and experience. Man has always responded to it. Religion, mythology, allegories—it's always been one of the most responsive chords in man. With rationalism, modern man has tried to eliminate it, and successfully dealt some pretty jarring blows to religion. In a sense, what's happening now in films and in popular music is a reaction to the stifling limitations of rationalism. One wants to break out of the clearly arguable, demonstrable things which really are not very meaningful, or very useful or inspiring, nor does one even sense any enormous truth in them.

http://en.wikipedia.org/wiki/Political_ ... ey_Kubrick


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On ET
Don’t laugh, but I’m fascinated with the possibility of extra-terrestrials. - Kubrick speaking to Roger Caras, Columbia film publicist, p201 Stanley Kubrick: A Biography by John Baxter

Among the possibilities they (Kubrick and Clarke) discussed was a Rand Corporation report on the possibility of life on other planets, which Kubrick had read during his research on nuclear warfare, and which had already contributed to the framing ‘documentary by aliens’ device planned for Dr Strangelove. - p205 Stanley Kubrick: A Biography by John Baxter

http://www.collativelearning.com/Kubric ... notes.html

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“And I know, because I've been there, that there is a hellworld where you're always expected to have an opinion about everything all the time: a judgment, a take - a 'view,' in the most ordinary sense of the word.”
― Michael Herr, Kubrick (SK's longtime friend and collaborator http://en.wikipedia.org/wiki/Michael_Herr )

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Toy Story Is Full of References to The Shining
As you've probably noticed, the children's animation studios of today just love filling their movies with references to things that a large percentage of their audience couldn't possibly get. For DreamWorks, that means blatant dick jokes ... and in the case of Pixar, it means slipping in connections to a movie about an alcoholic who's driven insane by ghosts and tries to murder his entire family. For example, remember the scene in Toy Story where Buzz and Woody are trying to escape Sid's house?

Did you feel an inexplicable sense of dread while watching that scene? Well, that's probably because the carpet in Sid's house has the exact same pattern as the carpet in the Overlook Hotel in The Shining, the same one where junior psychic Danny Torrance used to play with his toys
(Sid tortures his toys)

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Stanley always acted like he knew something you didn’t know. – p4 Kubrick by Michael Herr
(SK's longtime friend and collaborator http://en.wikipedia.org/wiki/Michael_Herr )
http://www.collativelearning.com/Kubric ... notes.html

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Culture lies were especially revolting [to Stanley] ... sentimentality ... sanctimoniousness. p44 Kubrick by Michael Herr
https://books.google.ca/books?id=1f5FeR ... 20&f=false
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I have always enjoyed dealing with a slightly surrealistic situation and presenting it in a realistic manner. I've always liked fairy tales and myths, magical stories. I think they are somehow closer to the sense of reality one feels today than the equally stylized "realistic" story in which a great deal of selectivity and omission has to occur in order to preserve its "realist" style.
Quoted in Kubrick : Inside a Film Artist's Maze (2000) by Thomas Allen Nelson, p. 14

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The very meaninglessness of life forces man to create his own meaning. If it can be written or thought, it can be filmed.
Quoted in Halliwell's Filmgoer's and Video Viewer's Companion (1988), p. 403

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The most terrifying fact about the universe is not that it is hostile but that it is indifferent; but if we can come to terms with this indifference and accept the challenges of life within the boundaries of death — however mutable man may be able to make them — our existence as a species can have genuine meaning and fulfillment. However vast the darkness, we must supply our own light.

Interviewed by Eric Nordern, Playboy (September 1968); later published in Stanley Kubrick: Interviews (2001)

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Dialogue from Paths to Glory, Written by Stanley Kubrick, Calder Willingham, and Jim Thompson, based on the novel by Humphrey Cobb.

General Broulard
Maybe the attack against the Ant Hill was impossible. Perhaps it was an error of judgment on our part. On the other hand, if your men had been a little more daring, you might have taken it. Who knows? Why should we have to bear more criticism and failure than we have to?...These executions will be a perfect tonic for the entire division. There are few things more fundamentally encouraging and stimulating than seeing someone else die...You see, Colonel, troops are like children. Just as a child wants his father to be firm, troops crave discipline. And one way to maintain discipline is to shoot a man now and then.
[to Dax, about Mireau] Well, it had to be done. France [U.S?] cannot afford to have fools guiding her military destiny.
http://en.wikiquote.org/wiki/Paths_of_Glory

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PostPosted: Tue Dec 30, 2014 10:45 am 
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no source on this, found on imdb

Quote:
While location scouting for the film (FMJ) Stanley Kubrick was driving his wife's new SUV around the countryside with cinematographer Douglas Milsome and R. Lee Ermey as passengers. At one point Kubrick noticed a potential location out his window, and became so distracted describing to Milsome how he wanted the location used in the film that he crashed the car into a six foot deep ditch, rolling the SUV onto its side. Undeterred, Kubrick continued talking about the location uninterrupted as they climbed out of the car and walked back home.


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PostPosted: Wed Feb 11, 2015 10:53 pm 
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Arthur C. Clarke's 2001 diary is an interesting and revealing read:

http://www.visual-memory.co.uk/amk/doc/0073.html

Quote:
March 8. Fighting hard to stop Stan from bringing Dr. Poole back from the dead. I'm afraid his obsession with immortality has overcome his artistic instincts.


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