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STANLEY KUBRICK/ 2012
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 3 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0250 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"The most terrifying fact about the universe is not that it is hostile but that it is indifferent; but if we can come to terms with this indifference and accept the challenges of life within the boundaries of death — however mutable man may be able to make them — our existence as a species can have genuine meaning and fulfillment. However vast the darkness, we must supply our own light."
- Stanley Kubrick
Interviewed by Eric Nordern, Playboy (September 1968); later published in Stanley Kubrick: Interviews (2001)
Stanley Kubrick -
Stanley Kubrick (July 26, 1928 – March 7, 1999) was an American film director, screenwriter, producer, and cinematographer, who lived in England during most of the last four decades of his career. Kubrick was noted for the scrupulous care with which he chose his subjects, a slow method of working, the variety of genres he worked in, technical perfectionism, reluctance to talk about his films, and reclusiveness. He maintained almost complete artistic control, but with the rare advantage of big-studio financial support for all his endeavors.
Several of his films broke new cinematic ground. 2001: A Space Odyssey (1968) was a science-fiction film noted for innovative visual effects and scientific realism. Barry Lyndon (1975) used specially-designed lenses to film scenes lit by natural candlelight. The Shining (1980) was the first film to make extensive use of a Steadicam to allow stabilized and fluid tracking shots. Kubrick was cinematographer for four of his thirteen films, and produced, directed, and wrote all or part of the screenplays for nearly all his films.
All of Kubrick's films from the mid-1950s onward, except The Shining, were nominated for Oscars, Golden Globes, or BAFTAs. Although he was nominated for an Academy Award as a screenwriter and director on several occasions, his only personal win was for the special effects in 2001: A Space Odyssey. Some of his films created controversy. A Clockwork Orange (1971) was not shown in Britain for many years because it inspired copycat crimes. Lolita (1962) faced opposition in the United States because of its theme of underage sexuality. Paths of Glory (1957) was banned in France for its anti-war portrayal of French soldiers.
Kubrick's films often initially met with lukewarm reception, only to be acclaimed years later as masterpieces that had a seminal influence on later generations of filmmakers. Some authors of novels he adapted, such as Stephen King, were highly critical of Kubrick's adaptations of their work, though others, such as Arthur C. Clarke and Gustav Hasford were pleased. He was widely admired by other prominent filmmakers such as Steven Spielberg who called Space Odyssey his generation's "big bang." Film historian Michel Ciment notes that "his films are among the most important contributions to world cinema in the twentieth century."[1]
1980s
The Shining:
Kubrick's film was among the earliest to make notably innovative and extensive use of the Steadicam, which can track motion smoothly without a dolly track.
The Shining, released in 1980, was adapted from the novel of the same name by bestselling horror writer Stephen King. The film stars Jack Nicholson as Jack Torrance, a failed writer who takes a job as a winter caretaker of the isolated Overlook Hotel. He lives there with his wife, Wendy (played by Shelley Duvall) and their young son, Danny (played by Danny Lloyd), who is gifted with a form of telepathy. As winter takes hold, the family's isolation deepens, and the demons and ghosts of the Overlook Hotel's dark past begin to awaken, driving Jack into a homicidal psychosis.
To convey the claustrophobic oppression of the haunted hotel, Kubrick made extensive use of the newly invented Steadicam, a weight-balanced camera support, which allowed for smooth hand-held camera movement in scenes where a conventional camera track was impractical. Garrett Brown, Steadicam's inventor, was closely involved with this production and regarded it as the first picture to fully employ the new system's potential.[44] The Shining particularly gave rise to the legend of Kubrick as a perfectionist. Reportedly, he demanded hundreds of takes of certain scenes (approximately 1.3 million feet of film were shot).[45] This process was difficult for the actress Shelley Duvall, who was used to the faster, improvisational style of director Robert Altman.
The novel's author Stephen King disliked the movie, calling Kubrick "a man who thinks too much and feels too little."[46] King objected to Kubrick's omission of Jack Torrance's return to sanity at the end of the novel, and relatively sympathetic character at the opening of the story.
It was during the filming of The Shining that Kubrick's reputation for taking multiple takes grew. Nicholson's scene with the ghostly bartender was shot thirty-six times. Director John Boorman stated upon seeing the film that the performances came out of extremity and exhaustion,[2] a comment that would be echoed years later by Nicole Kidman.
The film opened to mixed reviews, but proved a commercial success. As with most Kubrick films, subsequent critical reaction has treated the film more favorably. Among horror movie fans, The Shining is a cult classic, often appearing at the top of best horror film lists alongside Hitchcock’s Psycho (1960), William Friedkin’s The Exorcist (1973). Much of its imagery, such as the elevator shaft disgorging blood and the ghost girls in the hallway, are among the most recognizable and widely known images from any Stanley Kubrick film, as are the lines "Redrum," "All work and no play makes Jack a dull boy," and "Here's Johnny!". The financial success of The Shining renewed Warner Brothers' faith in Kubrick's ability to make artistically satisfying and profitable films after the commercial failure in the US of Barry Lyndon.
Kubrick developed a close friendship with his co-screenwriter, novelist Diane Johnson, during the film production. They conversed about a wide range of topics from psychoanalysis to horror and fairy tales. Johnson had several dinners with Kubrick's family and found him to be a warm family man.[2] During filming, Kubrick allowed his youngest daughter, Vivian, to make a documentary on the making of the film, an unusual move for him as he normally commanded a highly secure and closed set. As she was constantly filming on set herself, Kubrick often asked her about what had been talked about and decided in earlier days of shooting.[2]
Notes:
1. ^ a b c d e f g h i j Ciment, Michel. Kubrick: The Definitive Edition, Faber and Faber, Inc. (1980; 1999)p. 36, cover
2. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag LoBrutto, Vincent. Stanley Kubrick: a Biography, Penguin (1999)
44. ^ Brown, G. (1980) "The Steadicam and The Shining", American Cinematographer, August, 61 (8), pp. 786–9, 826–7, 850–4. Reproduced at The Kubrick Site without issue date or pages given
45. ^ Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films. McFarland. p. 221. ISBN 0786459166, 9780786459162.
46. ^ Bianculli 1997. Online at: 'The Shining,' By the Book
-http://en.wikipedia.org/wiki/Stanley_Kubrick
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