Stanley Kubrick Filme


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Stanley Kubrick Filme

Todestag 7. März im Alter von 70 Jahren. Karrierejahre. gedrehte Filme oder Serien. Filmografie · God Fearing Man. Kein Kinostart. Napoleon. Stanley Kubrick am Set von „ - Odyssee im Weltraum“ Stanley Kubricks Vermächtnis: ‚Eyes Wide Shut' kommt in die Kinos. Malcolm („Barry Lyndon“) Kriegs- („Wege zum Ruhm“, „Full Metal Jacket“) und Horrorfilme („Shining“). In „Uhrwerk Orange“ verwandelte Kubrick den Kinosaal ironisch zum. Stanley Kubrick: Sämtliche Filme (Basic Film Series) | Duncan, Paul | ISBN: Polishing off 's Eyes Wide Shut just before his untimely death, Kubrick left aus " - Odyssee im Weltraum" oder "Clockwork Orange" und weiteren Filmen.

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– Odyssee im Weltraum (). Uhrwerk Orange (). Wege zum Ruhm (). Barry Lyndon (). Full Metal Jacket (). Eyes Wide Shut (). auricoloterapia.eu › Highlights › Film & TV › News › Storys.

Stanley Kubrick Filme

Wege zum Ruhm ("Paths Of Glory") (USA) mit. Kirk Douglas, George Macready Regie: Stanley Kubrick Länge: 86 Min. Die Redaktions-Wertung: 65 %​. Ebenso berühmt wurden seine beiden folgenden Filme Odyssee im Weltraum () und Uhrwerk Orange (). Alle drei. Stanley Kubrick am Set von „ - Odyssee im Weltraum“ Stanley Kubricks Vermächtnis: ‚Eyes Wide Shut' kommt in die Kinos. Malcolm („Barry Lyndon“) Kriegs- („Wege zum Ruhm“, „Full Metal Jacket“) und Horrorfilme („Shining“). In „Uhrwerk Orange“ verwandelte Kubrick den Kinosaal ironisch zum. Der passionierte Schachspieler Kubrick plante nach eigenen Angaben viele Die Kennedys und die handelnden Figuren analog zu den Konflikten und Bewegungen auf einem Schachbrett. Seine Mr Magoriums Wunderladen Stream Leidenschaft waren exzessive Lektüre, das Kino und das Schachspiel. Stanley Kubrick. Kubrick war dafür We Were Here und berüchtigt, jede Szene so oft wiederholen zu lassen, bis sie in seinen Augen perfekt war. Er trinkt nur noch destilliertes Wasser und meint, die Russen würden kein Wasser, nur Wilde Maus Kino saufen. Der Film wurde zu einem Kassenerfolg, der Kubrick die finanziellen Mittel für seine folgenden Filme lieferte. Kubrick versuchte, das Medium selbst zu erforschen, indem er jedes Genre analytisch zerlegte, um seine Bestandteile zu etwas Neuem zusammenzusetzen. Filmschaffende und -kritiker zählen ihn zu den bedeutendsten Filmemachern aller Zeiten, obwohl er nie einen Oscar als bester Regisseur erhalten hat. Sein Drang zum Perfektionismus wird Kubrick nicht nur als Stärke, sondern teilweise auch als Schwäche ausgelegt. Retrieved January 2, Frankfurt, Germany: Deutsches Filmmuseum. I believe you are the greatest film-maker at Lets Dance Sendung Verpasst today [ Archived from the original on June 11, Screen Crush. Tom Cruise portrays a doctor who witnesses a bizarre masked quasireligious orgiastic ritual at a country mansion, a discovery which later threatens his life. Archived from the original on August 20, While many of Kubrick's films were controversial and initially received mixed reviews upon release—particularly A Clockwork Orangewhich Kubrick pulled from circulation in the UK following a mass media frenzy—most were Sabin Tambrea Freundin for OscarsGolden Globesor BAFTA Awards, and underwent critical reevaluations. Stanley Kubrick Filme Stanley Kubrick Filme

Kubrick admired the work of Ingmar Bergman and expressed it in personal letter: "Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films.

I believe you are the greatest film-maker at work today [ To this one must also add everything else that goes into the making of a film; [ When the American magazine Cinema asked Kubrick in to name his favorite films, he listed Italian director Federico Fellini 's I Vitelloni as number one in his Top 10 list.

Kubrick's films typically involve expressions of an inner struggle, examined from different perspectives. He explained in a interview with Robert Emmett Ginna:.

Eliot said to someone who had asked him—I believe it was The Waste Land —what he meant by the poem. He replied, 'I meant what I said.

Kubrick likened the understanding of his films to popular music, in that whatever the background or intellect of the individual, a Beatles record, for instance, can be appreciated both by the Alabama truck driver and the young Cambridge intellectual, because their "emotions and subconscious are far more similar than their intellects".

He believed that the subconscious emotional reaction experienced by audiences was far more powerful in the film medium than in any other traditional verbal form, and was one of the reasons why he often relied on long periods in his films without dialogue, placing emphasis on images and sound.

When you say something directly, it is simply not as potent as it is when you allow people to discover it for themselves. Fantasy may deal best with themes which lie primarily in the unconscious".

Diane Johnson , who co-wrote the screenplay for The Shining with Kubrick, notes that he "always said that it was better to adapt a book rather than write an original screenplay, and that you should choose a work that isn't a masterpiece so you can improve on it.

Which is what he's always done, except with Lolita ". Sexuality in Kubrick's films is usually depicted outside matrimonial relationships in hostile situations.

Baxter states that Kubrick explores the "furtive and violent side alleys of the sexual experience: voyeurism, domination, bondage and rape" in his films.

Strangelove ; many of his other films also contained less visible elements of satire or irony. His films are unpredictable, examining "the duality and contradictions that exist in all of us".

About the only factor at work each time is that I try not to repeat myself". Film author Patrick Webster considers Kubrick's methods of writing and developing scenes to fit with the classical auteur theory of directing, allowing collaboration and improvisation with the actors during filming.

Walker believes that Kubrick was one of "very few film directors competent to instruct their lighting photographers in the precise effect they want".

Gilbert Adair , writing in a review for Full Metal Jacket , commented that "Kubrick's approach to language has always been of a reductive and uncompromisingly deterministic nature.

He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all whims, shades and modulations of personal expression".

It begins with the selection of the property; it continues through the creation of the story, the sets, the costumes, the photography and the acting.

And when the picture is shot, it's only partially finished. I think the cutting is just a continuation of directing a movie.

I think the use of music effects, opticals and finally main titles are all part of telling the story. And I think the fragmentation of these jobs, by different people, is a very bad thing".

I like a slow start, the start that gets under the audience's skin and involves them so that they can appreciate grace notes and soft tones and don't have to be pounded over the head with plot points and suspense tools.

Kubrick was notorious for demanding multiple takes during filming to perfect his art, and his relentless approach was often extremely demanding for his actors.

Jack Nicholson remarked that Kubrick would often demand up to fifty takes of a scene. Once you're accustomed to them, the presence of even one other person on set is discordant and tends to produce self-consciousness in the actors, and certainly in itself".

An actor can only do one thing at a time, and when he learned his lines only well enough to say them while he's thinking about them, he will always have trouble as soon as he has to work on the emotions of the scene or find camera marks.

In a strong emotional scene, it is always best to be able to shoot in complete takes to allow the actor a continuity of emotion, and it is rare for most actors to reach their peak more than once or twice.

There are, occasionally, scenes which benefit from extra takes, but even then, I'm not sure that the early takes aren't just glorified rehearsals with the adding adrenaline of film running through the camera.

Kubrick would devote his personal breaks to having lengthy discussions with actors. Among those who valued his attention was Tony Curtis , star of Spartacus , who said Kubrick was his favorite director, adding, "his greatest effectiveness was his one-on-one relationship with actors.

He wanted to see the actor's faces. He didn't want cameras always in a wide shot twenty-five feet away, he wanted close-ups, he wanted to keep the camera moving.

That was his style. He moves you, pushes you, helps you, gets cross with you, but above all he teaches you the value of a good director.

Stanley brought out aspects of my personality and acting instincts that had been dormant My strong suspicion [was] that I was involved in something great".

Kubrick credited the ease with which he filmed scenes to his early years as a photographer. Alcott considered Kubrick to be the "nearest thing to genius I've ever worked with, with all the problems of a genius".

Among Kubrick's innovations in cinematography are his use of special effects, as in , where he used both slit-scan photography and front-screen projection , which won Kubrick his only Oscar for special effects.

Some reviewers have described and illustrated with video clips, Kubrick's use of " one-point perspective ", which leads the viewer's eye towards a central vanishing point.

The technique relies on creating a complex visual symmetry using parallel lines in a scene which all converge on that single point, leading away from the viewer.

Combined with camera motion it could produce an effect that one writer describes as "hypnotic and thrilling". Kubrick used it to its fullest potential, which gave the audience smooth, stabilized, motion-tracking by the camera.

Kubrick described Steadicam as being like a "magic carpet", allowing "fast, flowing, camera movements" in the maze in The Shining which otherwise would have been impossible.

Kubrick was among the first directors to use video assist during filming. At the time he began using it in , it was considered cutting-edge technology, requiring him to build his own system.

Having it in place during the filming of , he was able to view a video of a take immediately after it was filmed.

LoBrutto notes that Kubrick's technical knowledge about lenses "dazzled the manufacturer's engineers, who found him to be unprecedented among contemporary filmmakers".

Actor Steven Berkoff recalls that Kubrick wanted scenes to be shot using "pure candlelight", and in doing so Kubrick "made a unique contribution to the art of filmmaking going back to painting You almost posed like for portraits.

Kubrick spent extensive hours editing, often working seven days a week, and more hours a day as he got closer to deadlines. Inspired by Pudovkin 's treatise on film editing, Kubrick realized that one could create a performance in the editing room and often "re-direct" a film, and he remarked: "I love editing.

I think I like it more than any other phase of filmmaking Editing is the only unique aspect of filmmaking which does not resemble any other art form—a point so important it cannot be overstressed It can make or break a film".

Then over months Kubrick's attention to music was an aspect of what many referred to as his "perfectionism" and extreme attention to minute details, which his wife Christiane attributed to an addiction to music.

In his last six films, Kubrick usually chose music from existing sources, especially classical compositions. He preferred selecting recorded music over having it composed for a film, believing that no hired composer could do as well as the public domain classical composers.

He also felt that building scenes from great music often created the "most memorable scenes" in the best films. During that period, he listened to what LoBrutto describes as "every available recording of seventeenth-and eighteenth- century music, acquiring thousands of records to find Handel 's sarabande used to score the scene".

According to Baxter, the music in was "at the forefront of Kubrick's mind" when he conceived the film.

Its inclusion in the film became a "boon for the relatively unknown composer" partly because it was introduced alongside background by Johann Strauss and Richard Strauss.

In addition to Ligeti, Kubrick also enjoyed a collaboration with composer Wendy Carlos , whose album Switched-On Bach —which re-interpreted baroque music through the use of a Moog synthesizer —caught his attention.

In , Carlos composed and recorded music for the soundtrack of A Clockwork Orange. Additional music not used in the film was released in as Wendy Carlos's Clockwork Orange.

Kubrick later collaborated with Carlos on The Shining Kubrick married his high-school sweetheart Toba Metz, a caricaturist, on May 29, , when he was nineteen years old.

They had attended Taft High School together and had lived in the same apartment block on Shakespeare Avenue. He met his second wife, the Austrian-born dancer and theatrical designer Ruth Sobotka , in They lived together in New York City's East Village beginning in , married in January , and moved to Hollywood in July , where she played a brief part as a ballet dancer in Kubrick's film, Killer's Kiss The following year she was art director for his film, The Killing They divorced in During the production of Paths of Glory in Munich in early , Kubrick met and romanced the German actress Christiane Harlan , who played a small though memorable role in the film.

Kubrick married Harlan in , and the couple remained together for 40 years, until his death in Besides his stepdaughter, they had two daughters together: Anya Renata April 6, — July 7, and Vivian Vanessa born August 5, Sellers was unable to leave the UK, so Kubrick made Britain his permanent home thereafter.

The move was quite convenient to Kubrick, since he shunned the Hollywood system and its publicity machine, and he and Christiane had become alarmed with the increase in violence in New York City.

Kubrick worked almost exclusively from this home for 14 years where, with some exceptions, he researched, invented special effects techniques, designed ultra-low light lenses for specially modified cameras, pre-produced, edited, post-produced, advertised, distributed and carefully managed all aspects of four of his films.

His new home became a workplace for Kubrick and his wife, "a perfect family factory" as Christiane called it, [] and Kubrick converted the stables into extra production rooms besides ones within the home that he used for editing and storage.

A workaholic, Kubrick rarely took a vacation or left England during the forty years before his death. Stanley saw a lot of people As a person, Kubrick was described by Norman Lloyd as "a very dark, sort of a glowering type who was very serious".

What was striking was his enormous intelligence, but he also had a great sense of humor. He was a very shy person and self-protective, but he was filled with the thing that drove him twenty-four hours of the day.

Kubrick had been sent the charred remains of his camera and notebooks which, according to Duncan, traumatized him for life. On March 7, , six days after screening a final cut of Eyes Wide Shut for his family and the stars, Kubrick died in his sleep at the age of 70, suffering a heart attack.

The media were kept a mile away outside the entrance gate. Kaddish , the Jewish prayer of mourning, was recited. A few of his obituaries mentioned his Jewish background.

He was buried next to his favorite tree on the estate. In her book dedicated to Kubrick, his wife Christiane included one of his favorite quotations of Oscar Wilde : "The tragedy of old age is not that one is old, but that one is young.

Part of the New Hollywood film-making wave, Kubrick's films are considered by film historian Michel Ciment to be "among the most important contributions to world cinema in the twentieth century", [34] and he is frequently cited as one of the greatest and most influential directors in the history of cinema.

Romero , [] have cited Kubrick as a source of inspiration, and additionally in the case of Spielberg and Scott, collaboration.

Many filmmakers imitate Kubrick's inventive and unique use of camera movement and framing, as well as his use of music, including Frank Darabont.

Inevitably, you're going to end up doing something that he's probably already done before. It can all seem like we're falling behind whatever he came up with.

Artists in fields other than film have also expressed admiration for Kubrick. English musician and poet PJ Harvey , in an interview about her album Let England Shake , argued that "something about [ With every film, he seems to capture the essence of life itself, particularly in films like Paths of Glory , [ A Space Odyssey ], Barry Lyndon Griffith , Laurence Olivier , Cecil B.

DeMille , and Irving Thalberg , all of whom have annual awards named after them. A number of people who worked with Kubrick on his films created the documentary Stanley Kubrick: A Life in Pictures , produced and directed by Kubrick's brother-in-law, Jan Harlan, who had executive produced Kubrick's last four films.

Exhibits include a wide collection of documents, photographs and on-set material assembled from boxes of personal archives that were stored in Kubrick's home-workplace in the UK.

Kubrick is widely referenced in popular culture, and the TV series The Simpsons is said to contain more references to Kubrick films than any other pop culture phenomenon.

Colour Me Kubrick was authorized by Kubrick's family and starred John Malkovich as Alan Conway , a con artist who had assumed Kubrick's identity in the s.

In April , the month that marked the 50th anniversary of A Space Odyssey , the International Astronomical Union named the largest mountain of Pluto 's moon Charon after Kubrick.

From Wikipedia, the free encyclopedia. For other uses, see Kubrick disambiguation. American filmmaker. See also: Filmography of Stanley Kubrick.

Play media. Main article: Stanley Kubrick's unrealized projects. Griffith Award []. They work with Stanley and go through hells that nothing in their careers could have prepared them for, they think they must have been mad to get involved, they think that they'd die before they would ever work with him again, that fixated maniac; and when it's all behind them and the profound fatigue of so much intensity has worn off, they'd do anything in the world to work for him again.

For the rest of their professional lives they long to work with someone who cared the way Stanley did, someone they could learn from.

They look for someone to respect the way they'd come to respect him, but they can never find anybody I've heard this story so many times.

Main article: Influence of Stanley Kubrick. He knew the challenges and he overcame them". He refused to forget Paths of Glory , and secretly began drafting a script at night with Jim Thomson.

Biographer John Baxter has criticized some of the battle scenes, describing them as "awkwardly directed, with some clumsy stunt action and a plethora of improbable horse falls".

It might teach him how to compromise". You can be a shit and be talented and, conversely, you can be the nicest guy in the world and not have any talent.

Stanley Kubrick is a talented shit. The moderate earnings allowed them to set up companies in Switzerland to take advantage of low taxes on their profits and give them financial security for life.

Baxter notes that none of the film's technical team resented Kubrick taking sole credit, as "it was Kubrick's vision which appeared on the screen".

I think I destroyed every art book you could buy in a bookshop. The Toronto Sun. Archived from the original on March 4, Retrieved April 24, The New York Times.

Archived from the original on August 12, Retrieved August 12, Archived from the original on December 13, Retrieved August 24, June 4, Retrieved May 2, Entertainment Weekly.

Archived from the original on August 24, Retrieved August 11, Rotten Tomatoes. Archived from the original on August 22, Retrieved August 17, London, pp.

Los Angeles Times. Archived from the original on June 4, Archived from the original on August 20, American Film Institute.

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Archived from the original on May 10, Retrieved March 5, Archived from the original on October 3, Village Voice Media, Inc.

Archived from the original on June 13, British Film Institute. Archived from the original on January 2, Archived from the original on June 30, Archived from the original on August 14, Retrieved March 11, Archived from the original on October 31, Retrieved November 3, Archived from the original on September 27, The Telegraph.

Archived from the original on March 7, Archived from the original on June 11, The Kubrick Site. Archived from the original on June 3, Miami New Times.

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Online at: A. Archived from the original on October 11, Retrieved October 2, Artificial Intelligence". May 15, Archived from the original on October 6, Archived from the original on July 4, Retrieved March 7, Not Tonight, Josephine: Kubrick's Napoleon".

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Archived from the original on October 21, Retrieved March 21, The Huffington Post. Archived from the original on October 27, Curbed Network.

The National Post. Retrieved February 28, The Marshall News Messenger. September 10, Inoltre la musica, elemento fondamentale, sottolinea momenti particolari dei suoi film.

Il dottor Stranamore indaga sornione sull'ambivalenza dell'istinto di conservazione umano, perfettamente a suo agio fra sopravvivenza propria e sterminio altrui.

L'ambasciatore russo scatta di nascosto foto alla "War Room", e gli americani sono intenti a studiare un piano per non perdere il loro ostentato potere sul resto del mondo.

Questo, riassumendo. I suoi film preferiti erano:. Ma riguardo a questa sceneggiatura Decalogo N. Esemplificando i concetti attraverso l'azione drammatica della storia essi acquisiscono il potere aggiuntivo di permettere al pubblico di scoprire quello che sta realmente accadendo piuttosto che semplicemente raccontarglielo.

Kubrick era un ammiratore del fumettista Osamu Tezuka , tanto da averlo invitato a collaborare a Odissea nello spazio per gli elementi visivi.

Altri progetti. Da Wikipedia, l'enciclopedia libera. Disambiguazione — "Kubrick" rimanda qui. Se stai cercando altri significati, vedi Kubrick disambigua.

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Flying Padre (1951) - Stanley Kubrick's Second Short Film (HQ) Upgrade Der Familienvater sieht darin die perfekte Gelegenheit, in Ruhe seinen Roman zu beenden. Kirk DouglasHauptdarsteller und ausführender Produzent des Monumentalfilms Spartacusengagierte Kubrick als Regisseur, nachdem Aragon Herr Der Ringe ursprüngliche Regisseur Anthony Mann nach wenigen Drehtagen Hidden Figures Stream English worden war. Grob geht es darum: haben die Menschen den Weltraum erobert. Job : Regisseur, Produzent, Drehbuchautor, Toneffekte. Juli in New York geboren [1] und war das erste von zwei Kindern. Stanley Kubrick Filme Ebenso berühmt wurden seine beiden folgenden Filme Odyssee im Weltraum () und Uhrwerk Orange (). Alle drei. Stanley Kubrick am Set von „ - Odyssee im Weltraum“ Stanley Kubricks Vermächtnis: ‚Eyes Wide Shut' kommt in die Kinos. Malcolm („Barry Lyndon“) Kriegs- („Wege zum Ruhm“, „Full Metal Jacket“) und Horrorfilme („Shining“). In „Uhrwerk Orange“ verwandelte Kubrick den Kinosaal ironisch zum. Stanley Kubrick: Sämtliche Filme (Basic Film Series) | Duncan, Paul | ISBN: Polishing off 's Eyes Wide Shut just before his untimely death, Kubrick left aus " - Odyssee im Weltraum" oder "Clockwork Orange" und weiteren Filmen. Wege zum Ruhm ("Paths Of Glory") (USA) mit. Kirk Douglas, George Macready Regie: Stanley Kubrick Länge: 86 Min. Die Redaktions-Wertung: 65 %​. Barry Lyndon (UK / USA ). The Shining (UK / USA ). Full Metal Jacket (UK / USA ). Eyes Wide Shut (UK / USA ). Ebenso berühmt wurden seine beiden folgenden Filme Odyssee im Weltraum Zattoo Kostenlos Uhrwerk Orange Sein erster in England gedrehter Film war Lolita Bewerte : 0. Sie hätten das Wasser vergiftet Sturm Der Liebe Cast Teil einer Stanley Kubrick wurde am

It feels creaky, ancient, hopelessly out of touch, infatuated with the hot taboos of his youth and unable to connect with that twisty thing contemporary sexuality has become.

Throughout the s and early s, Kubrick collaborated with Brian Aldiss on an expansion of his short story " Supertoys Last All Summer Long " into a three-act film.

It was a futuristic fairy tale about a robot that resembles and behaves as a child, and his efforts to become a 'real boy' in a manner similar to Pinocchio.

Kubrick approached Spielberg in with the AI script with the possibility of Steven Spielberg directing it and Kubrick producing it. Following Kubrick's death in , Spielberg took the various drafts and notes left by Kubrick and his writers and composed a new screenplay based on an earlier page story treatment by Ian Watson written under Kubrick's supervision and according to Kubrick's specifications.

Artificial Intelligence [] [] which was produced by Kubrick's longtime producer and brother-in-law Jan Harlan. Spielberg was able to function autonomously in Kubrick's absence, but said he felt "inhibited to honor him", and followed Kubrick's visual schema with as much fidelity as he could, according to author Joseph McBride.

Spielberg, who once referred to Kubrick as "the greatest master I ever served", now with production underway, admitted, "I felt like I was being coached by a ghost.

It contains a posthumous production credit for Stanley Kubrick at the beginning and the brief dedication "For Stanley Kubrick" at the end. John Williams 's score contains many allusions to pieces heard in other Kubrick films.

Following A Space Odyssey , Kubrick originally planned to make a film about the life of the French emperor Napoleon. Fascinated by his life and own "self-destruction", [] Kubrick spent a great deal of time planning the film's development, and had conducted about two years of extensive research into Napoleon's life, reading several hundred books and gaining access to Napoleon's personal memoirs and commentaries.

He also tried to see every film ever made about Napoleon and found none of them appealing, including Abel Gance 's film which is generally considered to be a masterpiece, but for Kubrick, a "really terrible" movie.

Kubrick drafted a screenplay in , and envisaged making a "grandiose" epic, with up to 40, infantry and 10, cavalry. He had intended hiring the armed forces of an entire country to make the film, as he considered Napoleonic battles to be "so beautiful, like vast lethal ballets", with an "aesthetic brilliance that doesn't require a military mind to appreciate".

He wanted them to be replicated as authentically as possible on screen. Kubrick approached numerous stars to play leading roles, including Audrey Hepburn for Empress Josephine , a part which she could not accept due to semiretirement.

Numerous reasons have been cited for the abandonment of the project, including its projected cost, a change of ownership at MGM, [] and the poor reception that the Soviet film about Napoleon, Waterloo , received.

In , Taschen published the book, Stanley Kubrick's Napoleon: The Greatest Movie Never Made , a large volume compilation of literature and source documents from Kubrick, such as scene photo ideas and copies of letters Kubrick wrote and received.

Artificial Intelligence and is a passionate admirer of his work, announced that he would be developing Napoleon as a TV miniseries based on Kubrick's original screenplay.

Jazz" to write reviews of German music scenes during the Nazi era. Kubrick had been given a copy of the Mike Zwerin book Swing Under the Nazis after he had finished production on Full Metal Jacket , the front cover of which featured a photograph of Schulz-Koehn.

A screenplay was never completed and Kubrick's film adaptation plan was never initiated. Work on Aryan Papers depressed Kubrick enormously, and he eventually decided that Steven Spielberg's Schindler's List covered much of the same material.

According to biographer John Baxter, Kubrick had shown an interest in directing a pornographic film based on a satirical novel written by Terry Southern, titled Blue Movie , about a director who makes Hollywood's first big-budget porn film.

Baxter claims that Kubrick concluded that he did not have the patience or temperament to become involved in the porn industry, and Southern stated that Kubrick was "too ultra conservative" towards sexuality to have gone ahead with it, but liked the idea.

Anyone who has ever been privileged to direct a film knows that, although it can be like trying to write War and Peace in a bumper car at an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.

As a young man, Kubrick was fascinated by the films of Soviet filmmakers such as Sergei Eisenstein and Vsevolod Pudovkin. Kubrick recommended this work to others for many years.

Thomas Nelson describes this book as "the greatest influence of any single written work on the evolution of [Kubrick's] private aesthetics".

Kubrick also found the ideas of Konstantin Stanislavski to be essential to his understanding the basics of directing, and gave himself a crash course to learn his methods.

Kubrick's family and many critics felt that his Jewish ancestry may have contributed to his worldview and aspects of his films.

After his death, both his daughter and wife stated that he was not religious, but "did not deny his Jewishness, not at all". His daughter noted that he wanted to make a film about the Holocaust, the Aryan Papers , having spent years researching the subject.

British screenwriter Frederic Raphael , who worked closely with Kubrick in his final years, believes that the originality of Kubrick's films was partly because he "had a Jewish?

He declared that it was "absurd to try to understand Stanley Kubrick without reckoning on Jewishness as a fundamental aspect of his mentality".

Walker notes that Kubrick was influenced by the tracking and "fluid camera" styles of director Max Ophüls , and used them in many of his films, including Paths of Glory and A Space Odyssey.

Kubrick noted how in Ophuls' films "the camera went through every wall and every floor". According to film historian John Wakeman, Ophüls himself learned the technique from director Anatole Litvak in the s, when he was his assistant, and whose work was "replete with the camera trackings, pans and swoops which later became the trademark of Max Ophüls".

Pabst , who earlier tried, but was unable to adapt Schnitzler's Traumnovelle , the basis of Eyes Wide Shut. LoBrutto notes that Kubrick identified with Welles and that this influenced the making of The Killing , with its "multiple points of view, extreme angles, and deep focus".

Kubrick admired the work of Ingmar Bergman and expressed it in personal letter: "Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films.

I believe you are the greatest film-maker at work today [ To this one must also add everything else that goes into the making of a film; [ When the American magazine Cinema asked Kubrick in to name his favorite films, he listed Italian director Federico Fellini 's I Vitelloni as number one in his Top 10 list.

Kubrick's films typically involve expressions of an inner struggle, examined from different perspectives.

He explained in a interview with Robert Emmett Ginna:. Eliot said to someone who had asked him—I believe it was The Waste Land —what he meant by the poem.

He replied, 'I meant what I said. Kubrick likened the understanding of his films to popular music, in that whatever the background or intellect of the individual, a Beatles record, for instance, can be appreciated both by the Alabama truck driver and the young Cambridge intellectual, because their "emotions and subconscious are far more similar than their intellects".

He believed that the subconscious emotional reaction experienced by audiences was far more powerful in the film medium than in any other traditional verbal form, and was one of the reasons why he often relied on long periods in his films without dialogue, placing emphasis on images and sound.

When you say something directly, it is simply not as potent as it is when you allow people to discover it for themselves.

Fantasy may deal best with themes which lie primarily in the unconscious". Diane Johnson , who co-wrote the screenplay for The Shining with Kubrick, notes that he "always said that it was better to adapt a book rather than write an original screenplay, and that you should choose a work that isn't a masterpiece so you can improve on it.

Which is what he's always done, except with Lolita ". Sexuality in Kubrick's films is usually depicted outside matrimonial relationships in hostile situations.

Baxter states that Kubrick explores the "furtive and violent side alleys of the sexual experience: voyeurism, domination, bondage and rape" in his films.

Strangelove ; many of his other films also contained less visible elements of satire or irony. His films are unpredictable, examining "the duality and contradictions that exist in all of us".

About the only factor at work each time is that I try not to repeat myself". Film author Patrick Webster considers Kubrick's methods of writing and developing scenes to fit with the classical auteur theory of directing, allowing collaboration and improvisation with the actors during filming.

Walker believes that Kubrick was one of "very few film directors competent to instruct their lighting photographers in the precise effect they want".

Gilbert Adair , writing in a review for Full Metal Jacket , commented that "Kubrick's approach to language has always been of a reductive and uncompromisingly deterministic nature.

He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all whims, shades and modulations of personal expression".

It begins with the selection of the property; it continues through the creation of the story, the sets, the costumes, the photography and the acting.

And when the picture is shot, it's only partially finished. I think the cutting is just a continuation of directing a movie.

I think the use of music effects, opticals and finally main titles are all part of telling the story. And I think the fragmentation of these jobs, by different people, is a very bad thing".

I like a slow start, the start that gets under the audience's skin and involves them so that they can appreciate grace notes and soft tones and don't have to be pounded over the head with plot points and suspense tools.

Kubrick was notorious for demanding multiple takes during filming to perfect his art, and his relentless approach was often extremely demanding for his actors.

Jack Nicholson remarked that Kubrick would often demand up to fifty takes of a scene. Once you're accustomed to them, the presence of even one other person on set is discordant and tends to produce self-consciousness in the actors, and certainly in itself".

An actor can only do one thing at a time, and when he learned his lines only well enough to say them while he's thinking about them, he will always have trouble as soon as he has to work on the emotions of the scene or find camera marks.

In a strong emotional scene, it is always best to be able to shoot in complete takes to allow the actor a continuity of emotion, and it is rare for most actors to reach their peak more than once or twice.

There are, occasionally, scenes which benefit from extra takes, but even then, I'm not sure that the early takes aren't just glorified rehearsals with the adding adrenaline of film running through the camera.

Kubrick would devote his personal breaks to having lengthy discussions with actors. Among those who valued his attention was Tony Curtis , star of Spartacus , who said Kubrick was his favorite director, adding, "his greatest effectiveness was his one-on-one relationship with actors.

He wanted to see the actor's faces. He didn't want cameras always in a wide shot twenty-five feet away, he wanted close-ups, he wanted to keep the camera moving.

That was his style. He moves you, pushes you, helps you, gets cross with you, but above all he teaches you the value of a good director.

Stanley brought out aspects of my personality and acting instincts that had been dormant My strong suspicion [was] that I was involved in something great".

Kubrick credited the ease with which he filmed scenes to his early years as a photographer. Alcott considered Kubrick to be the "nearest thing to genius I've ever worked with, with all the problems of a genius".

Among Kubrick's innovations in cinematography are his use of special effects, as in , where he used both slit-scan photography and front-screen projection , which won Kubrick his only Oscar for special effects.

Some reviewers have described and illustrated with video clips, Kubrick's use of " one-point perspective ", which leads the viewer's eye towards a central vanishing point.

The technique relies on creating a complex visual symmetry using parallel lines in a scene which all converge on that single point, leading away from the viewer.

Combined with camera motion it could produce an effect that one writer describes as "hypnotic and thrilling". Kubrick used it to its fullest potential, which gave the audience smooth, stabilized, motion-tracking by the camera.

Kubrick described Steadicam as being like a "magic carpet", allowing "fast, flowing, camera movements" in the maze in The Shining which otherwise would have been impossible.

Kubrick was among the first directors to use video assist during filming. At the time he began using it in , it was considered cutting-edge technology, requiring him to build his own system.

Having it in place during the filming of , he was able to view a video of a take immediately after it was filmed.

LoBrutto notes that Kubrick's technical knowledge about lenses "dazzled the manufacturer's engineers, who found him to be unprecedented among contemporary filmmakers".

Actor Steven Berkoff recalls that Kubrick wanted scenes to be shot using "pure candlelight", and in doing so Kubrick "made a unique contribution to the art of filmmaking going back to painting You almost posed like for portraits.

Kubrick spent extensive hours editing, often working seven days a week, and more hours a day as he got closer to deadlines.

Inspired by Pudovkin 's treatise on film editing, Kubrick realized that one could create a performance in the editing room and often "re-direct" a film, and he remarked: "I love editing.

I think I like it more than any other phase of filmmaking Editing is the only unique aspect of filmmaking which does not resemble any other art form—a point so important it cannot be overstressed It can make or break a film".

Then over months Kubrick's attention to music was an aspect of what many referred to as his "perfectionism" and extreme attention to minute details, which his wife Christiane attributed to an addiction to music.

In his last six films, Kubrick usually chose music from existing sources, especially classical compositions.

He preferred selecting recorded music over having it composed for a film, believing that no hired composer could do as well as the public domain classical composers.

He also felt that building scenes from great music often created the "most memorable scenes" in the best films. During that period, he listened to what LoBrutto describes as "every available recording of seventeenth-and eighteenth- century music, acquiring thousands of records to find Handel 's sarabande used to score the scene".

According to Baxter, the music in was "at the forefront of Kubrick's mind" when he conceived the film. Its inclusion in the film became a "boon for the relatively unknown composer" partly because it was introduced alongside background by Johann Strauss and Richard Strauss.

In addition to Ligeti, Kubrick also enjoyed a collaboration with composer Wendy Carlos , whose album Switched-On Bach —which re-interpreted baroque music through the use of a Moog synthesizer —caught his attention.

In , Carlos composed and recorded music for the soundtrack of A Clockwork Orange. Additional music not used in the film was released in as Wendy Carlos's Clockwork Orange.

Kubrick later collaborated with Carlos on The Shining Kubrick married his high-school sweetheart Toba Metz, a caricaturist, on May 29, , when he was nineteen years old.

They had attended Taft High School together and had lived in the same apartment block on Shakespeare Avenue. He met his second wife, the Austrian-born dancer and theatrical designer Ruth Sobotka , in They lived together in New York City's East Village beginning in , married in January , and moved to Hollywood in July , where she played a brief part as a ballet dancer in Kubrick's film, Killer's Kiss The following year she was art director for his film, The Killing They divorced in During the production of Paths of Glory in Munich in early , Kubrick met and romanced the German actress Christiane Harlan , who played a small though memorable role in the film.

Kubrick married Harlan in , and the couple remained together for 40 years, until his death in Besides his stepdaughter, they had two daughters together: Anya Renata April 6, — July 7, and Vivian Vanessa born August 5, Sellers was unable to leave the UK, so Kubrick made Britain his permanent home thereafter.

The move was quite convenient to Kubrick, since he shunned the Hollywood system and its publicity machine, and he and Christiane had become alarmed with the increase in violence in New York City.

Kubrick worked almost exclusively from this home for 14 years where, with some exceptions, he researched, invented special effects techniques, designed ultra-low light lenses for specially modified cameras, pre-produced, edited, post-produced, advertised, distributed and carefully managed all aspects of four of his films.

His new home became a workplace for Kubrick and his wife, "a perfect family factory" as Christiane called it, [] and Kubrick converted the stables into extra production rooms besides ones within the home that he used for editing and storage.

A workaholic, Kubrick rarely took a vacation or left England during the forty years before his death. Stanley saw a lot of people As a person, Kubrick was described by Norman Lloyd as "a very dark, sort of a glowering type who was very serious".

What was striking was his enormous intelligence, but he also had a great sense of humor. He was a very shy person and self-protective, but he was filled with the thing that drove him twenty-four hours of the day.

Kubrick had been sent the charred remains of his camera and notebooks which, according to Duncan, traumatized him for life.

On March 7, , six days after screening a final cut of Eyes Wide Shut for his family and the stars, Kubrick died in his sleep at the age of 70, suffering a heart attack.

The media were kept a mile away outside the entrance gate. Kaddish , the Jewish prayer of mourning, was recited. A few of his obituaries mentioned his Jewish background.

He was buried next to his favorite tree on the estate. In her book dedicated to Kubrick, his wife Christiane included one of his favorite quotations of Oscar Wilde : "The tragedy of old age is not that one is old, but that one is young.

Part of the New Hollywood film-making wave, Kubrick's films are considered by film historian Michel Ciment to be "among the most important contributions to world cinema in the twentieth century", [34] and he is frequently cited as one of the greatest and most influential directors in the history of cinema.

Romero , [] have cited Kubrick as a source of inspiration, and additionally in the case of Spielberg and Scott, collaboration. Many filmmakers imitate Kubrick's inventive and unique use of camera movement and framing, as well as his use of music, including Frank Darabont.

Inevitably, you're going to end up doing something that he's probably already done before. It can all seem like we're falling behind whatever he came up with.

Artists in fields other than film have also expressed admiration for Kubrick. English musician and poet PJ Harvey , in an interview about her album Let England Shake , argued that "something about [ With every film, he seems to capture the essence of life itself, particularly in films like Paths of Glory , [ A Space Odyssey ], Barry Lyndon Griffith , Laurence Olivier , Cecil B.

DeMille , and Irving Thalberg , all of whom have annual awards named after them. A number of people who worked with Kubrick on his films created the documentary Stanley Kubrick: A Life in Pictures , produced and directed by Kubrick's brother-in-law, Jan Harlan, who had executive produced Kubrick's last four films.

Exhibits include a wide collection of documents, photographs and on-set material assembled from boxes of personal archives that were stored in Kubrick's home-workplace in the UK.

Kubrick is widely referenced in popular culture, and the TV series The Simpsons is said to contain more references to Kubrick films than any other pop culture phenomenon.

Colour Me Kubrick was authorized by Kubrick's family and starred John Malkovich as Alan Conway , a con artist who had assumed Kubrick's identity in the s.

In April , the month that marked the 50th anniversary of A Space Odyssey , the International Astronomical Union named the largest mountain of Pluto 's moon Charon after Kubrick.

From Wikipedia, the free encyclopedia. For other uses, see Kubrick disambiguation. American filmmaker. See also: Filmography of Stanley Kubrick.

Play media. Main article: Stanley Kubrick's unrealized projects. Griffith Award []. They work with Stanley and go through hells that nothing in their careers could have prepared them for, they think they must have been mad to get involved, they think that they'd die before they would ever work with him again, that fixated maniac; and when it's all behind them and the profound fatigue of so much intensity has worn off, they'd do anything in the world to work for him again.

For the rest of their professional lives they long to work with someone who cared the way Stanley did, someone they could learn from. They look for someone to respect the way they'd come to respect him, but they can never find anybody I've heard this story so many times.

Main article: Influence of Stanley Kubrick. He knew the challenges and he overcame them". He refused to forget Paths of Glory , and secretly began drafting a script at night with Jim Thomson.

Da Wikipedia, l'enciclopedia libera. Disambiguazione — "Kubrick" rimanda qui. Se stai cercando altri significati, vedi Kubrick disambigua.

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Er ist durchaus ein antimilitaristischer Film, vor allem aber eine bitterböse Parabel auf Herrschaftsstrukturen und ein Bekenntnis gegen die Todesstrafe. Job : Regisseur, Drehbuchautor, Produzent. Versteckte Kategorie: Wikipedia:Belege fehlen. Kirk Douglas , Hauptdarsteller und ausführender Produzent des Monumentalfilms Spartacus , engagierte Kubrick als Regisseur, nachdem der ursprüngliche Regisseur Anthony Mann nach wenigen Drehtagen gefeuert worden war.

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3 Kommentare

  1. Kak

    Es mir ist langweilig.

  2. Galabar

    Sie halten unbedeutend?

  3. Menris

    ich beglГјckwГјnsche, Ihre Idee wird nГјtzlich sein

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