KUBRICKBYKUBRICK

TheBlueDanube-Anderschönenbl暂无评分WilliBoskovskyWienerStaatsopernchorWienerPhilharmonikerJohannStraussII/1997Newsjustin,wex27;vejustheardthatthefilmdirectorStanleyKubrickhasdiedattheageof70.Kubrick,whowasanAmerican,beganhiscareerinHollywoodwherehedirectedSpartacusbuthedecidedtomovetoBritainwherehedirectedLolita,ClockworkOrange,2001:ASpaceOdyseyandTheShining.StanleyKubrickwaswidelyregardedasoneofthegreatestandmostcontroversialmastersofcinema.Hejustfinishedwhatwastobehislastfilm,EyesWideShutwhichtookfiveyearstomake.StanleyKubrickhasbeencalledtheHowardHughesofcinemabecausehewassucharecluse.IprefertothinkofhimastheFrankSinatraofcinemabecausehealwaysdideverthinginhisway.YoucangobacktoanyKubrickfilmandfeelrebirth.Thisfilmmakeeronlydirected13filmsin40years.Buteachofthemhasbeenanevent.Thisfilmmakerhasmadethebestepicfilm,thebestsciencefictionfilm,thebestfilmabouturbanviolence,thebesthorrorfilm,thebestfilmabouttheVietnamwar.Kubrickisattheveryleastagenuineinnovatorwhopushesouttheboundariesofwhatispossibleonfilmandtherehaveneverbeentoomanyofthoseabout.Heisalsoanelusivemanwhorarelypermitshimselftobeobservedatwork.Hewasnotanyofthethingsthatthenewspaperswroteabouthim.Andhehimselfsaid,quot;Itx27;sverydifficult.HowdoIdefendmyself?quot;DoIwriteanarticle,youknow,x27;Dearpublic,Ix27;mcharmingx27;?quot;Thatx27;smoredifficultthanitsounds,actually.Cause,youknow,heneverdoesatelevision,orveryrarelydoesanypressinterviews.Kubrick评价人数不足MichelCimentMartinScorsese/2003/FaberFaberThemasterstrokeisasuccessionofinterviewsthatMichelCimenthadwithStanleyKubrickovertime,over10years.Itisbroughttousinthisbook.Iguessitwasnx27;taneasytasktobeadoptedbyKubrikandtogetclosetoagiantlikKubrick.Kubrickdoesnx27;tadoptanybody.Hetoleratedmeortemporarilyacceptedmejustforaninterview.OnecannotbecomeKubrickx27;sintimatefriend.WheredoesyourpassionforKubrickcomefrom?Howcomeyoux27;reoneofthefewjournalistsintheworldwhogotintouchwithhim?Howdidyoudoit?HereadanarticleIwroteabouthisworkin1968.ItwasthefirstmajorstudyinFrance.AndwhenAClockworkOrangecameout,hegrantedmeaninterviewforExpressmagazine.SoImetwithhiminLondon.Doeshereviewwhatyouwriteabouthim?Doyousendhimacopy?Hedoesnx27;treviewwhatIwriteabouthim,heonlyreviewswhathetoldme.Well,perhapsthefirstquestionwouldbeaboutthisproblemofinterviewbecauseitseemsthatmoreandmoreyoufeelreluctanttospeakaboutyourfilms?Well,Ix27;veneverfounditmeaningfulorevenpossibletotalkaboutfilmaestheticsintermsofmyownfilms.Ialsodonx27;tparticularlyenjoytheinterviewsbecauseonealwaysfeelsundertheobligationtosaysomewitty,brilliantsummaryoftheintentionsofthefilms.AndwithDr.Strangelove,youcouldtalkabouttheproblemsofNuclearWar,2001youcouldtalkaboutextraterrestrialintelligence,butIx27;veneverbeenable......ClockworkOrangeaboutviolence.Yes,orfuture,socialstructures.Imean,Idonx27;tknowwhatledmetomakeanyofthefilms,really,thatImade.AndIrealisedthatmyownthoughtprocessesareveryhardtodefine,intermsof,youknow,whatstorydoyouwanttomakeintoafilm.Intheend,youknow,itdoesbecomethisveryindefinablethinglikewhydoyoufindoneparticulargirlattractiveorwhydidyoumarryyourwife.Yes,andalso,Isupposeitismoredifficultforyoutoanalyseyourselfbecausethematerialcomesfromsomebodyelse.So,itx27;smoredifficulttoseethepersonalreasonsthatwerebehinditsinceyoudidnx27;twriteityourself.Butobviouslythechoiceofthesubjectisaverypersonalthing,becauseyoucanchoosefromthousandsofbooksandyouchooseone.Youbecometheauthorofthebookinawaybychoosingit.Well,ifsomebodyelsehassrittenthestory,youhavetheonegreatfirstreading.Youneveragain,onceyoureadsomethingforthefirsttime,caneverhavethatexperience,andthejudgmentofthenarrativeandthesenseofexcitementofwhatpartsofthestoryreachyouemotionally,issomethingwihchdoesnx27;texistifyouwriteastory.Weknow,Imean,everybodyknows,its’snotoriousthatyoulovetoaccumulateinformation,doresearches.Imean,isitathrillforyou?Imean,likebeingareporteroradetective?Itisalittlebitlikeadetectivelookingforclues.OnBarryLyndon,Icreatedapicturefileofthousandsofdrawingsandpaintings.IthinkI’vedestroyedeveryartbookthatyoucanbuyinabookshopbytearingthepagesout,sortingthemout.Butthecostumeswereallcopiedfrompaintings.Imean,noneofthecostumeswere,quote,“designed”.It’sstupidtohavea,quote,a“designer”interpretthe18thcenturyastheymayrememberitfromartschoolorfromafewpicturestheygettogether.Wouldyouagreethatthemoreillusionworksthemorerealisticitis?Thecinemahastoextremelyrealistic,youknow,tocreateillusion?Well,Iwouldalwaysbeattractedtosomethingwhichofferedinterestingvisualpossibilities,butthatcertainlywouldn’tbetheonlyreason.And,sincepartoftheproblemofanystoryistomakeyoubelievewhatyouareseeing,certainlygettingarealisticatmosphere,especiallyifit’snotacontemporaryperiod,isjustnecessaryasastartingpoint.It’swhyyoucametothisideaofshootingwithlight,naturallight.Well,that’ssomethingthatI’vealwaysbeenverybotheredbyinperiodfilms,isthelightoninteriors.It’ssofalse.Itwasverydifferenttoanykindofothermoviesasfarasphotographywasconcerned,becausethelightningwasso...youknow,lotsofitwereshotbycandlelight,alotofitwasshotwithequipmentthatStanleyKubrickhadfound,thathadneverbeenusedbeforeonanyotherfilms.Soitwasquiteanexperienceworkingwiththat.Itwasalsoquitedifficultbecausethereweretimeswhenyoujustcouldn’tevenmoveafractionofaninch.Andthereweredayswherewewouldsitthereandjustbelitallday.Youknow,literally.Samuel,I’mgoingoutsideforabreathofair.Yes,mylady,ofcourse.Toknowaboutlightingandlensesandcompositionhastobeahelpasamoviedirector.IrememberwhenIwasmakingSpartacus,thecameraman,RussMetty,usedtothinkitwasveryfunnythatIsuedtopickset-upswithaviewfinder,andhesaidtome,youknow,“We’reshootinginthatdirectionandit’sakneefigureshot,andjust,youknow,yougoandrehearsewiththeactorsandwhenyoucomeback,we’llhavetheshotandset-upandeverything.”Hecouldn’tunderstandwhyIwantedtowastetimemakingacomposition.Certainly,photographygavemethefirststepwhereIcouldactuallytrytomakeamoviebecausewithoutthat,howcouldyoumakeamoviebyyourselfifyoudidn’tknowanythingaboutphotography?Whatkindofphotographswereyoudoing?Imean,thereisthefamousphotograhpyofthenewspapervendorandthePhotojournalismwithnaturallight.MostlythingsofthestreetlikeCartierBresson.Well,unfortunately,becauseLookalwaysdidfeaturestories,thesubjectmatteralwaystendedtobeidiotic.Theywoulddoastorylike“Isanathletestrongerthanababy?”AndIouldhavetogoandthere’dbesomeguythatwouldhavetotrytogetinthesamepositionsasababyandthingslikethat.TheywouldprettystupidfeaturestoriesbutoccasionallyIcoulddoasortofpersonalitystory,orastoryaboutsomethinglikeanuniverstiyorsomethinglikethatwhereyouhadachancetotakesomereasonablephotographs.YouwerefouryearsatLook?Yeah,aboutfouryears.Iwasabout20.NudemodelfromthePeterArnofeatureinLOOKmagazinebyStanleyKubrick.ThisimagemirrorstheshotofNicoleKidmaninquot;EyesWideShutquot;Thisforestthenandallthathappensnowisoutsidehistory.Onlytheunchangingshapesoffear,anddoubtanddeatharefromourworld.Thesesoldiersthatyouseekeepourlanguageandourtimebuthavenoothercountrybutthemind.恐惧与欲望(1953)7.01953/美国/战争剧情/斯坦利·库布里克/弗兰克·斯尔维拉肯尼思·哈普Youstartedbymakingalmostahomemovie,whenyouare23,FearandDesire,aboutfourmeninapatrol.Whatwasbehindthisproject?Thatwasaveryarrogant,flippantscriptputtogetherbymyselfandaboythatIknewwhowasapoet,wherewethoughtthatweweregeniuses,anditwassoincompetentlydoneandundramatic,andsopompous.ButIlearnedalessonfromthat.Atleastithadtheambitionofhavingsomeideasinit.AndIsupposeyoucouldsayinthatsense,there’ssomecontinuitywiththerestofmyfilms,whichIalsotriedtomakesurethattheyweren’tjusthollowentertainments.Yougetthefeelingsformyoufilms,thattheworldisnotonlyastagebutit’sawarbecausemanisfightingallthetime.Well,inaworkoffiction,youhavetohaveconflict.Ifthereisn’taprobleminastory,itcanalmostbydefinitionnotbeastory.Youknow,howmanyhappymarriagesarethere?Andhowmanystepfatherslovetheirstepsons?Andhowmanystepsonslovetheirstepfather?Andhowoftendopeoplewhohaveambitionswhichonlyinvolvemoney,dotheyfinditasatisfyingaccomplishment?CorporalBarry.Youareagallantsoldierandhaveevidentlycomeofgoodstock.Butyou’reidle,dissoluteandunpreincipled.You’vedoneagreatdealofharmtothemen,andforallyourtalentsandbravery,I’msureyouwillcometonogood.本文版权归作者DMing所有，任何形式转载请联系作者。