Stanley Kubrick
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Watch: “Kubrick/Tarkovsky”
It’s one auteur illuminating similarities with another’s work in another split-screen video. This time around, it’s Stanley Kubrick on the left and Andrei Tarkovsky on the right.
by Filmmaker Staff on Jul 28, 2016 -
Watch: Adam Savage Goes on a Walking Tour of the Stanley Kubrick Exhibition
For those of us who can’t make it out to the Contemporary Jewish Museum in San Francisco, Adam Savage of Mythbusters gives us a brief tour of their Stanley Kubrick exhibition and reveals himself to be quite the Kubrick fan. Listen and watch as he views cameras from Barry Lyndon, costumes from 2001 and more.
by Scott Macaulay on Jul 19, 2016 -
Watch: Stanley Kubrick, Across the Color Spectrum
In 2014 we posted Rishi Kaneria’s supercut on Stanley Kubrick’s love of the color red. Now, inspired by that video, Marc Anthony Figueras has created his own video, this time surveying the director’s use of color all across the color spectrum. Films referenced: 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, Eyes Wide Shut. And, for those who’d like to simply skip to their favorite hue, here are the chapter markings: Red- 0:07 Blue- 1:30 Yellow- 2:12 Purple- 2:42 Pink- 2:51 Orange- 2:59 Green- 3:15 Black & White- 3:45
by Scott Macaulay on Apr 6, 2016 -
Watch: Shelley Duvall Talks Kubrick Using an 18mm Lens on The Shining
A while back we posted a vintage half-hour documentary about the great cinematographer John Alcott. For Kubrick fans reluctant to commit to that whole program, here’s an excerpt in which Shelley Duvall talks about the director’s use of the 18mm lens on The Shining. The lens is great for furniture but terrible for faces, she says, speculating that Kubrick was trying to make everybody look more frightening. In her telling, Alcott tried to get Kubrick to occasionally relent and use a 50 or 75mm lens, but with no success.
by Filmmaker Staff on Jun 16, 2015 -
How Stanley Kubrick Shot Barry Lyndon Using Natural Light
Earlier this week we posted this video with Joe Dunton discussing the lenses used by Stanley Kubrick in his films. (Note: unfortunately, that previous video has been removed by the uploader.) Here’s the next in a Kubrick cinematography playlist: various cinematographers on his use of the BNC camera and Zeiss f/0.7 lenses to shoot Barry Lyndon in natural light. (As a reader below notes, this is an excerpt from Stanley Kubrick: A Life in Pictures, which is recommended viewing.) Previously at Filmmaker, Jim Hemphill sat down with three of the film’s actors for a discussion of the making of that […]
by Scott Macaulay on Apr 3, 2015 -
Watch: A Guide to Stanley Kubrick’s Lenses
April 3: 2015: EDITOR’S NOTE. We apologize, but this video is no longer viewable on YouTube. In this 12-minute video, legendary British camera innovator Joe Dunton (you can read up on him here) identifies every lens used by Stanley Kubrick and how they work. Learn about the Angénieux zoom lens that was the most popular in the world from 1966 to the early ’70s, more about the difficulties of shooting natural light on Barry Lyndon and many other aspects of the director’s technically meticulous productions.
by Filmmaker Staff on Mar 30, 2015 -
“I Never Had Any Interest in Becoming a Cinematographer Until 1965, When I Met Stanley Kubrick”: A Rare Profile of d.p. John Alcott
Here’s a true deep cut, evidently taped off New Jersey’s WNET and now resurrected on the internet. This ’80s profile of d.p. John Alcott (A Clockwork Orange, Barry Lyndon) features a lot of on-set footage of the cinematographer plying his craft; if you’re a big Beastmaster fan, this is for you. If just interested in the Kubrick stories you may want to skip to the 8-minute mark (where the d.p. talks about his initial collaborations with the director) and then to 14:20 or so, where Alcott discusses waiting patiently to capture very particular wind and cloud changes on the set of Barry […]
by Filmmaker Staff on Feb 18, 2015 -
Soderbergh Posts His 110-Minute Recut and Rethink of Kubrick’s 2001
If you noticed that Steven Soderbergh watched Stanley Kubrick’s 2001 three times in 2014, here’s the reason why: he was working on his own recut. Just as he did with Raiders of the Lost Ark, Soderbergh has worked over Kubrick’s masterpiece and he’s posted his version over at his Extension 765 website. He sets the bar high for his adaptation: i’ve been watching 2001: A SPACE ODYSSEY regularly for four decades, but it wasn’t until a few years ago i started thinking about touching it, and then over the holidays i decided to make my move. why now? I don’t […]
by Scott Macaulay on Jan 14, 2015 -
Watch: 2001 Stars Keir Dullea and Gary Lockwood Do a Q&A
In this Q&A from a recent Toronto screening of 2001: A Space Odyssey, stars Keir Dullea and Gary Lockwood are in fine form as they take to the stage to discuss why all the actors in the film were Canadian (Canadian actors didn’t need visas to live in the UK at the time), trade interpretations of what that ending means, and share a plethora of production anecdotes. Other highlights include Dullea’s reminiscences of how he came to be involved in the sequel 2010 and the two recalling Gene Hackman and Warren Beatty’s post-screening reaction: Beatty told the pair they were […]
by Vadim Rizov on Nov 20, 2014 -
Kubrick Sees Red: A Supercut On the Director’s Love of the Color
Blood can’t be any other color, but there are plenty of things — like spacesuits and bathroom walls — that can. In this punchy, to-the-point supercut, Rishi Kaneria draws from 2001, Full Metal Jacket, The Shining, Barry Lyndon and other Kubrick films to make a case for the director’s love of the crimson.
by Scott Macaulay on Nov 19, 2014
