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Ray Pride

By Ray Pride Pride@moviecitynews.com

Kubrick's legacy, ten years on

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Fuck. Simple, declarative, the last word of Stanley Kubrick’s final film, Eyes Wide Shut, which also was the same thing I said when I heard he was dead at 70, ten years ago today. (Not knowing, of course, that was the same breath of his last moment of filmmaking.) Kubricktician Jamie Stuart reminded me that today’s the tenth anniversary of his passing, and served up a mess of links while we’re waiting for the epic 1,900-page “Napoleon” volume to arrive from Taschen this summer. To start, there’s a zip file of images of all of the pages of the original 2001: A Space Odyssey program book, individually photographed like Kubrick remaking the negative of Strangelove one click at a time. Kubrick’s little-seen early short, Day of the Fight (1951) is here. Leon Vitali talks about working with Kubrick here. Want Slavoj Zizek to go all Lacanian on Kubrick? Michael Ciment talks A Clockwork Orange with Kubrick… and Barry Lyndon, as well as The Shining. Watch Scorsese on Kubrick and “the complexity of the human psyche” here. A Charlie Rose roundtable on Stanley Kubrick: A Life in Pictures, with Scorsese, Jan Harlan and Christiane Kubrick here. The “Kubrick blooper reel”. Mogwai’s video for “Stanley Kubrick”. Scripts: A continuity for Dr. Strangelove: Or, How I Learned To Stop Worrying And Love The Bomb. Here’s the 1965 draft of 2001. And Full Metal JacketEyes Wide Shut. And for good measure, my 1999 swoon over Eyes Wide Shut. [H/t to Jamie Stuart for links and hosting the original 2001 booklet.]

2 Responses to “Kubrick's legacy, ten years on”

  1. Tom Hall says:

    Man, I miss his work. I really do. Thanks for this reminder, Ray.

  2. T. Holly says:

    I’m going to do some Kubricktian self-portraits and make a face book.

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“Film festivals, for those who don’t know, are not exactly the glitzy red carpet affairs you see on TV. Those do happen, but they’re a tiny part of the festival. The main part of any film festival are the thousands of people with festival passes hanging on lanyards beneath their anoraks, carrying brochures for movies you have never and will never hear of, desperately scrabbling to sell whatever movie it is to buyers from all over the world. Every hotel bar, every cafe, every restaurant is filled to the brim with these people, talking loudly about non-existent deals. The Brits are the worst because most of the British film industry, with a few honourable exceptions, are scam artists and chancers who move around from company to company failing to get anything good made and trying to cast Danny Dyer in anything that moves. I’m seeing guys here who I first met twenty years ago and who are still wearing the same clothes, doing the same job (albeit for a different company) and spinning the same line of bullshit about how THIS movie has Al Pacino or Meryl Streep or George Clooney attached and, whilst that last one didn’t work out, THIS ONE is going to be HUGE. As the day goes on, they start drinking and it all gets ugly and, well, that’s why I’m the guy walking through the Tiergarten with a camera taking pictures of frozen lakes and pretending this isn’t happening.

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