The Films of Kubrick

FMJ all day. so many quotable moments. "Because your a disgusting fat body pvt pile"
 
Overpressure said:
He apparently was very open to ideas from anyone, actor to stagehand. And if you could impress him, you had a great chance to be in his film or even get a big part.

What an eye... His films are amazingly shot, you can be stunned by one of his movies even without the sound on.
One of those directors I would watch anything he made, because he delivers on so many levels. There aren't too many directors whose work is almost endlessly rewarding to watch over and over.
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I have seen all his movies and Orange was my favorite movie for about 10 years. My ONE gripe with Kubrick was how he shot his movies so they would look good on TV and how everything was centered. Too bad he didn't shoot for the movie screen instead (now that we have hd tv and shit)

HereticBD said:
Don't give him any excuses. He's just a bad actor. Even Kubrick couldn't get anything out of that worthless sack. He's never been good in anything. FMJ is probably his least noticeably awful performance, but that ain't saying much. He was still pretty bad.
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Modine was fine. Nothing wrong with his performance. He fit the character he played just fine.
 
Skip Reming said:
I have seen all his movies and Orange was my favorite movie for about 10 years. My ONE gripe with Kubrick was how he shot his movies so they would look good on TV and how everything was centered. Too bad he didn't shoot for the movie screen instead (now that we have hd tv and shit)



Modine was fine. Nothing wrong with his performance. He fit the character he played just fine.
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He shot his movies so they would look good on television?
Not that I doubt you, but can you back that up with a link?
 
Overpressure said:
He shot his movies so they would look good on television?
Not that I doubt you, but can you back that up with a link?
Click to expand...

Look at the aspect ratio he shot most of his movies in

from another mb but have heard it on docs about him before, maybe kubrick a life in pictures

When Kubrick started shooting his films 1.33:1 it was in direct response to how movies were being modified to fit television screens. He shot his films a certain way and why should he have his films ruined by some techie in a booth? No movies were being shown on television in their proper aspect ratios in the 60s, 70s and early 80s, or during the boom of home video. If I'm not mistaken Janus Films and the Criterion Collection were the first groups to showcase films in their proper aspect ratios and the response to it grew and grew. However, regardless of letterbox/widescreen versions being available, the majority of television channels will air standard versions of films, even now. Shooting his films 1.33:1 negates any of his films, from about A CLOCKWORK ORANGE on, to have to be modified in any way.
http://forum.tarantino.info/viewtopic.php?t=8218

https://en.wikipedia.org/wiki/Talk:Stanley_Kubrick/Sandbox
There has been a longstanding debate regarding the DVD releases of Kubrick's films, specifically regarding the aspect ratio of many of the films. The primary point of contention relates to his final five films: A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut.

Kubrick's initial involvement with home video mastering of his films was a result of television screenings of 2001: A Space Odyssey.[9] Because the film was shot in 65 mm, the composition of each shot was compromised by the pan-and-scan method of transferring a wide-screen image to fit a 1.33:1 television set.

Kubrick's final five films were shot "flat"—the full 1.37:1 area is exposed in the camera, but with appropriate markings on the viewfinder, the picture was composed for and cropped to the 1.85:1 aspect ratio in a theater's projector.

The first mastering of these five films was in 2000 as part of the "Stanley Kubrick Collection", consisting of his last 8 films. Kubrick oversaw the video masters in 1989 for Warner Home Video, and approved of 1.33:1 transfers for all of the films except for 2001, which was letterboxed[citation needed].

Kubrick never approved a 1.85:1 video transfer of any of his films; when he died in 1999, DVDs and the 16:9 format were only beginning to become popular in the US. Most people were accustomed to seeing movies fill their television screen. Warner Home Video chose to release these films with the transfers that Kubrick had explicitly approved.[10] In 2007, Warner Home Video remastered 2001: A Space Odyssey, A Clockwork Orange, The Shining, Full Metal Jacket, and Eyes Wide Shut in High-Definition, releasing the titles on DVD, HD DVD, and Blu-ray Disc. All were released as 16:9 transfers, preserving the theatrical 1.85:1 aspect ratios for all of the flat films except A Clockwork Orange, which was transferred at the aspect ratio of 1.66:1.[11] In regards to the Warner Bros. titles, there is little studio documentation that is public about them other than instructions given to projectionists on initial release; however, Kubrick's storyboards for The Shining do prove that he composed the film for wide-screen. In instructions given to photographer John Alcott in one panel, Kubrick writes: THE FRAME IS EXACTLY 1.85–1. Obviously you compose for that but protect the full 1.33–1 area.[12]

More confusion results regarding Kubrick's non-Warner-distributed titles. During the days of laserdisc, The Criterion Collection released six Kubrick films. Spartacus and 2001 were both native 70 mm releases (exhibited in their roadshow engagements at a ratio of 2.20:1) at the same ratio as their subsequent DVD releases, and The Killing and Paths of Glory were both transferred at 1.33:1, despite the latter being hard matted extensively. Both pictures were theatrically projected at an aspect ratio of 1.85:1.[13][14]

Dr. Strangelove and Lolita were also transferred at 1.33:1, although Strangelove exhibits a number of hard mattes at a ratio of 1.66:1 in second-unit footage. This is sometimes falsely attributed to the use of stock footage in Strangelove. Both films were presented theatrically at ratios of 1.85:1.[15][16]

The DVD versions of The Killing and Paths of Glory released by MGM Home Entertainment retained the same 1.33:1 aspect ratio as the laserdisc versions, while the Criterion Collection DVD and Blu-ray editions of the two films feature a 1.66:1 aspect ratio.[17][18] The initial DVD releases of Strangelove maintained the 1.33:1, Kubrick-approved transfer, but for the most recent DVD and Blu-ray editions, Sony Pictures Home Entertainment replaced it with a new, digitally remastered anamorphic transfer with an aspect ratio of 1.66:1. All DVD and Blu-ray releases of Lolita to date have been at a uniform 1.66:1 aspect ratio. The Blu-ray edition of Barry Lyndon presents the film in a 1.78:1 aspect ratio.

Laserdisc releases of 2001 were presented in a slightly different aspect ratio than the original film. The film was shot in 65 mm, which has a ratio of 2.20:1, but many theaters could only show it in 35 mm reduction prints, which were presented at a ratio of 2.35:1. Thus, the picture was slightly modified for the 35 mm prints. The laserdisc releases maintained the 2.20:1 ratio, but the source material was an already-cropped 35 mm print; thus, the edges were slightly cropped and the top and bottom of the image slightly opened up. This seems to have been corrected with the most recent DVD release, which was newly remastered from a 70 mm print.
 
Skip Reming said:
Look at the aspect ratio he shot most of his movies in

from another mb but have heard it on docs about him before, maybe kubrick a life in pictures

When Kubrick started shooting his films 1.33:1 it was in direct response to how movies were being modified to fit television screens. He shot his films a certain way and why should he have his films ruined by some techie in a booth? No movies were being shown on television in their proper aspect ratios in the 60s, 70s and early 80s, or during the boom of home video. If I'm not mistaken Janus Films and the Criterion Collection were the first groups to showcase films in their proper aspect ratios and the response to it grew and grew. However, regardless of letterbox/widescreen versions being available, the majority of television channels will air standard versions of films, even now. Shooting his films 1.33:1 negates any of his films, from about A CLOCKWORK ORANGE on, to have to be modified in any way.
http://forum.tarantino.info/viewtopic.php?t=8218

https://en.wikipedia.org/wiki/Talk:Stanley_Kubrick/Sandbox
There has been a longstanding debate regarding the DVD releases of Kubrick's films, specifically regarding the aspect ratio of many of the films. The primary point of contention relates to his final five films: A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut.

Kubrick's initial involvement with home video mastering of his films was a result of television screenings of 2001: A Space Odyssey.[9] Because the film was shot in 65 mm, the composition of each shot was compromised by the pan-and-scan method of transferring a wide-screen image to fit a 1.33:1 television set.

Kubrick's final five films were shot "flat"—the full 1.37:1 area is exposed in the camera, but with appropriate markings on the viewfinder, the picture was composed for and cropped to the 1.85:1 aspect ratio in a theater's projector.

The first mastering of these five films was in 2000 as part of the "Stanley Kubrick Collection", consisting of his last 8 films. Kubrick oversaw the video masters in 1989 for Warner Home Video, and approved of 1.33:1 transfers for all of the films except for 2001, which was letterboxed[citation needed].

Kubrick never approved a 1.85:1 video transfer of any of his films; when he died in 1999, DVDs and the 16:9 format were only beginning to become popular in the US. Most people were accustomed to seeing movies fill their television screen. Warner Home Video chose to release these films with the transfers that Kubrick had explicitly approved.[10] In 2007, Warner Home Video remastered 2001: A Space Odyssey, A Clockwork Orange, The Shining, Full Metal Jacket, and Eyes Wide Shut in High-Definition, releasing the titles on DVD, HD DVD, and Blu-ray Disc. All were released as 16:9 transfers, preserving the theatrical 1.85:1 aspect ratios for all of the flat films except A Clockwork Orange, which was transferred at the aspect ratio of 1.66:1.[11] In regards to the Warner Bros. titles, there is little studio documentation that is public about them other than instructions given to projectionists on initial release; however, Kubrick's storyboards for The Shining do prove that he composed the film for wide-screen. In instructions given to photographer John Alcott in one panel, Kubrick writes: THE FRAME IS EXACTLY 1.85–1. Obviously you compose for that but protect the full 1.33–1 area.[12]

More confusion results regarding Kubrick's non-Warner-distributed titles. During the days of laserdisc, The Criterion Collection released six Kubrick films. Spartacus and 2001 were both native 70 mm releases (exhibited in their roadshow engagements at a ratio of 2.20:1) at the same ratio as their subsequent DVD releases, and The Killing and Paths of Glory were both transferred at 1.33:1, despite the latter being hard matted extensively. Both pictures were theatrically projected at an aspect ratio of 1.85:1.[13][14]

Dr. Strangelove and Lolita were also transferred at 1.33:1, although Strangelove exhibits a number of hard mattes at a ratio of 1.66:1 in second-unit footage. This is sometimes falsely attributed to the use of stock footage in Strangelove. Both films were presented theatrically at ratios of 1.85:1.[15][16]

The DVD versions of The Killing and Paths of Glory released by MGM Home Entertainment retained the same 1.33:1 aspect ratio as the laserdisc versions, while the Criterion Collection DVD and Blu-ray editions of the two films feature a 1.66:1 aspect ratio.[17][18] The initial DVD releases of Strangelove maintained the 1.33:1, Kubrick-approved transfer, but for the most recent DVD and Blu-ray editions, Sony Pictures Home Entertainment replaced it with a new, digitally remastered anamorphic transfer with an aspect ratio of 1.66:1. All DVD and Blu-ray releases of Lolita to date have been at a uniform 1.66:1 aspect ratio. The Blu-ray edition of Barry Lyndon presents the film in a 1.78:1 aspect ratio.

Laserdisc releases of 2001 were presented in a slightly different aspect ratio than the original film. The film was shot in 65 mm, which has a ratio of 2.20:1, but many theaters could only show it in 35 mm reduction prints, which were presented at a ratio of 2.35:1. Thus, the picture was slightly modified for the 35 mm prints. The laserdisc releases maintained the 2.20:1 ratio, but the source material was an already-cropped 35 mm print; thus, the edges were slightly cropped and the top and bottom of the image slightly opened up. This seems to have been corrected with the most recent DVD release, which was newly remastered from a 70 mm print.
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Phenomenal! Excellent post, that's gonna take some reading. Many Internets for you today, with thanks
 
Overpressure said:
Feel free to continue contributing nothing worthwhile to threads that don't interest you, it's great stuff
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Thanks for the permission. Since you seem bothered let me cheer you up with a little known Kubrick fact. His real last name was George but he adopted Kubrick after becoming obsessed with the Rubik's cube. He was also hard of hearing and a not so great speller.
 
Monstrocity said:
Thanks for the permission. Since you seem bothered let me cheer you up with a little known Kubrick fact. His real last name was George but he adopted Kubrick after becoming obsessed with the Rubik's cube. He was also hard of hearing and a not so great speller.
Click to expand...
He invented the slide whistle, wrote a well-regarded book on chess openings, advocated for social acceptance of chromatically deficient rainbows, and created the first working internal combustion engine.
FACTS
 
Overpressure said:
He invented the slide whistle, wrote a well-regarded book on chess openings, advocated for social acceptance of chromatically deficient rainbows, and created the first working internal combustion engine.
FACTS
Click to expand...
I think you're referring to John Voight.
 
the Neil Armstrong First Moon Landing film was okay, Kubrick could've used a better soundstage to make it seem more authentic.
 
A CLOCKWORK ORANGE is the GOAT film.

2001 is excellent, but slightly too abstract/experimental for my tastes.

Despite not seeing it when it came out (I was like 11 at the time, and it was rated R), I've since developed a major liking for EYES WIDE SHUT. The studio-replicated Manhattan environment mixed in with the chilling, bizarre atmosphere did wonders for enhancing the story.

Kubrick was a master at this, and the same formula is what made ORANGE excellent (in addition to Wendy Carlos' music).
 
Overpressure said:
Isn't it crazy how you can watch Spartacus and 2001 and be impressed that it's the same director?
Talk about an artist finding his voice.
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Just about every one of his movies are completely different then each other but yeah you definitely can watch the movies and tell they were made by the same guy. That's with Dr. Strangelove, 2001, A Clockwork Orange, Full Metal Jacket and so on seeming so completely different from each other.
 
I would give the first half of FMJ a 10/10 but the second half a 7/10.
 
The Shining is the greatest horror movie ever made imo. Jack, the score, the bizzare mixed with the terrifying, the setting.....And the best line ever..before Ahnold, before Die Hard...was "Heeeeres Johnny!"
 
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