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Stanley
Kubrick
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BIOGRAPHY
PAGE 3
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Director,
Producer, Screenwriter, D.O.P.,
Editor
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Stanley looked up at Lucien
Ballard and said, ‘Lucien, either you move
that camera and put it where it has to be to
use a 25mm or get off this set and never
come back!’
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For
their first group effort Harris suggested
the book
Clean Break by Lionel White.
Stanley liked the idea and Harris
bought the rights to the book for $10,000.
In collaboration with Jim Thompson,
they presented the screenplay The
Killing to United Artists (UA).
UA said they liked the idea but
needed the assurance of an actor to sign.
After searching they told UA Sterling
Hayden was very interested, but UA wanted to
wait 18 months for Victor Mature to become
available.
Harris and Kubrick didn’t want to
wait so they took the stricter budget of
$200,000 for being impatient.
The cameraman’s union forced
Stanley to hire a cameraman, and he hired
the well-known and well-respected Lucien
Ballard.
Stanley and Lucien didn’t get along
well, and one day on the set control was
almost lost. Alex Singer recalls the
incident, “Stanley looked up at Lucien
Ballard and said, ‘Lucien, either you move
that camera and put it where it has to be to
use a 25mm or get off this set and never
come back!’
There’s a long silence and I’m
waiting for Lucien to say the appropriate
things in two or three languages to dismiss
this young snot-nose, but no, he puts the
camera where it has to be and there is never
an argument about focal and length and
lenses again.
To me it was a defining moment.
I don’t think Stanley did it
casually and it cost him something, but it
was done without hesitation.
It was done calmly, unhysterically,
and in deadly earnest.
It marked the kind of control and icy
nerve he brought to the job at the very
beginning.”
The movie was about a racetrack
robbery but was oddly presented in a
nonlinear fashion.
This caused for terrible reviews and
right before the movie premiered they
discussed changing the form.
They eventually decided against the
idea feeling that the movie would lose touch
from the book.
The film ended out totaling $330,000.
During the production process of the
movie Stanley was spending extremely long
hours on the set causing him to not be at
home with his new wife as much as she would
have liked.
This eventually was the demise of
their marriage.
For their next film Harris and
Kubrick decided on Paths
of Glory.
UA denied the script the first couple
of attempts, but said that if they got a big
time actor they would reconsider.
After a long and arduous search they
found Kirk Douglas.
The terms of the deal were not very
good for Kubrick and Harris.
The deal was that Kirk Douglas would
get $350,000, first class accommodations, a
staff for on location work, and the delivery
of a 16mm print of the film.
“The killer was Harris--Kubrick had
to sign a deal with Bryna for five
movies,” recalls Harris, “two of which
he would be in and three of which he did not
have to be in.
So we were going to work for Kirk
Douglas at this point for our future.”
To top it off UA still gave them a
low budget of $850,000 and the movie ended
up costing $950,000.
The movie was shot in Munich, Germany
for two main reasons. First, they needed the
World War I trench warfare effect, and
second because it was impossible to try and
film in France.
Instantly Kubrick and Douglas did not
get along.
Douglas arrived on the set and read
the script (which had been revised a bit),
and he was furious. As a result, they
returned to the original script. Also on the
defensive, throughout the movie Kubrick was
putting up posters hailing Harris-Kubrick
Productions responsible for the film but
Bryna had the rights to it.
Douglas never said anything.
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Kubrick felt nothing constructive was
going to come out of the eccentric Marlon
Brando.
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Kubrick
met his future and lifelong wife Katherina
Christiane on the set of Paths
of Glory.
She played the part of a German girl
who sang to the shell-shocked men. Katherina
was born in Nazi Germany and had been
divorced four years earlier from German
actor, Werner Bruhns.
She enjoyed painting and drawing.
When the movie was released in
Europe, French troops stood in front of the
theatres in protest.
The movie was banned all over Europe
but was eventually legal everywhere in 1974.
It won best foreign film in Italy and
Winston Churchill was said to have like the
authenticity of the movie.
For
their next project Marlon Brando teamed up
with Kubrick.
The movie was called One
Eyed Jacks and was about Billy the Kid.
Unfortunately, the egos of both
Kubrick and Brando saw too many differences.
Kubrick felt nothing constructive was
going to come out of the eccentric Brando.
Brando’s “no shoes” meetings
with gongs at his house and the constant
playing of games such as poker, dominoes, or
chess made it impossible to get anything
done. Eventually Kubrick was removed from
the project.
While all of this was going on Harris
was fulfilling their obligations to Kirk
Douglas.
The two had decided that five movies
together would be too much.
So, they agreed that making two
movies together would be binding to both
sides.
As 1959 was nearing Stan and
Christiane Harlan moved to Beverly Hills.
Katharina (Stanley’s first daughter) was
six now and Christiane was expecting her
first child with Stanley.
Kirk
Douglas came to Stanley and Harris for their
next work and suggested the novel Spartacus
by Howard Fast. Before talks about
Stanley at the helm of the project got
serious however, Douglas’s agent, Lew
Wasserman, persuaded him they needed a
“big-name” director.
Instead of Kubrick, Anthony Mann was
chosen.
On January 27, 1959 the project
started filming in Death Valley.
Mann shot the film for three weeks,
but as Vincent LoBrutto stated, “Douglas
felt that the director was allowing actor
Peter Ustinov to direct himself by his
docile acceptance of many-if not all- of the
actor’s suggestions.” Kubrick was then
called.
He came to the set over the weekend
and was directing in days.
With such a star studded and a young
cocky director, no one got along and it was
obvious.
Kubrick’s numerous takes were
growing on the large cast.
Loren Janes recalls, “I said,
‘Well, the only way would be shooting
straight up and putting the camera on the
ground.
He’ll probably come and dig a hole
and put the camera down in the hole to shoot
up,’ and just as I said this, five guys
walked by with shoves and started digging a
hole. Kubrick
loved weird and unusual camera angles.”
There were numerous times like this
in the making of this film where the cast
thought the cocky and young Kubrick would
never get the take he wanted.
But, he always did and that’s the
way he worked.
The movie did very well in the box
office and won four Oscars, but nothing for
Kubrick.
During the production of Spartacus
Stanley became a father to Vivian
Vanessa on August 5, 1960.
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Harris decided during
this time in his career that he wanted to
direct himself and consequently left the
team. |
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Next
in line was Lolita.
He was just itching to start it ever
since the episode with One
Eyed Jacks, but Spartacus had priority because of the Kirk Douglas deal.
They had already bought the rights to
the book and convinced the author Vladimir
Nabokov to write the screenplay adaptation.
This book was very popular and it was
known about all over the world.
The story is about an older man
falling in love with a fourteen-year-old
girl. Harris
borrowed a million dollars from Kenneth
Hyman for the making of the movie.
They opted to film in England at the Elstree Studios because
it was cheaper and also because Stanley was
getting sick of the Hollywood scene.
They had to delete a lot of scenes
because of the touchy subject, which made it
hard to get the Code Seal.
After deleting a lot of scenes they
finally had it approved and the movie ended
up costing two million but made $4.5 million
at the box office.
This movie was a huge success for the
two at the time and Kubrick was slowly
starting to get the respect he deserved.
Kubrick told Newsweek
in 1972 that, “Had I realized how
severe the limitations were going to be, I
probably wouldn’t have made the film.”
Clearly Stan didn’t feel he got to
truly represent Nabokov’s work, despite it
fairing well in the box office.
For the next project they bought the
rights to Red
Alert for $3,500 and started working on
a script for Dr.
Strangelove (a.k.a. How I learned to Love
the Bomb).
They joked around one day pretending
the movie could be satiric. The more he
thought about the idea the more he liked it,
and with the help of Terry Southern Stan
decided to go for it. Harris decided during
this time in his career that he wanted to
direct himself and consequently left the
team. He
remembers the silly idea of making the movie
satiric. “I said to myself, ‘I leave him alone for ten minutes
and he’s going to blow his whole
career.’
I was actually convinced he was out
of control to do this as a comedy-as it
turns out, it’s my favorite Kubrick
picture.”
Harris and Kubrick had been a great
team but their careers were at a fork in the
road and they were both going in different
directions.
Harris went back to the US, while
Kubrick decided to film in England again.
Kubrick completed the film there for $2
million.
MCA executives whom all
hated the film screened the finished picture.
After the JFK assassination he made
some minor adjustments and the film was
released on November 22, 1963.
Although at the time it was given
mixed reviews, today Dr.
Strangelove is considered to be one of
the greatest films of
all time by the American Film Institute .
A
Space Odyssey: 2001 was Stanley’s next
film, based on the book The
Sentinel by Arthur Clarke.
The two worked on a script together
in New York.
To get the effect he wanted Stanley
was going to have to get some of the
industry’s top special effects people.
He hired Harry
Lange who eventually helped make space
vehicles for NASA and Frederick Orway who
worked for NASA as well.
They also worked with special effects
team Wally Veevers, Douglas Trumball, Con
Pederson, and Tom Howard.
Stanley was in a science fiction
phase and couldn’t stop reading and
talking to people.
Even the renowned Carl Sagan spoke
with Stanley one night about the movie and
said this about it.
“I argued that the number of
individually unlikely events in the
evolutionary history of man was so great
that nothing like us is ever likely to
evolve again anywhere else in the universe.
I suggested that any explicit
representation of an advanced
extraterrestrial being was bound to have at
least an element of falseness about it and
that the best solution would be to suggest
rather than explicitly to display the
extra-terrestrials.”
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When it was finally released it broke
opening day records at the box office
despite an influx of reviews despising the
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On
May 1st a fire ruined the rough copy
screenplay.
After the fire Clarke was very
worried the script would never get done.
“Clarke was increasingly fearful
that he would never come up with a suitable
plot for the film.
Nightmares interrupted his fitful
sleep.
He has described one that envisioned
the writer on the set-the shooting had
begun-and actors were standing around with
nothing to say, while Kubrick continued to
question and probe the writer, who still
hadn’t found the story line the director
was searching for.
In Clarke’s waking hours, long
walks with Kubrick ended at the East River
with few answers and many new prospects to
consider.” On December 25 the script was
eventually finished. Kubrick loved it and
apparently so did MGM, who gave the green
light with a $6
million budget.
Stanley was only working with a few actors but there
were 35 designers and 25 special effect
technicians. In February of 1968 Stanley had a premonition that this was
his masterpiece and it would do very well.
So, he purchased $20,500 worth of MGM
shares. After the MGM executives saw a screening on April 15 they
felt it was too long and boring.
So before the world premiere he cut
seventeen minutes.
When it was finally released it broke
opening day records at the box office
despite an influx of reviews despising the
movie. Vogue magazine’s Stanley Kauffmann called 2001,”a film that is
so dull, it even dulls our interest in the
technical ingenuity for the sake of which
Kubrick has allowed it to become dull.
He is so infatuated with
technology-of film and of the future-that it
has numbed his formerly keen feeling for
attention-span.” |
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