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Stanley Kubrick: Shooting
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Gorbman, Claudia "Ears wide open : Kubrick's music." In: Changing tunes : the use of pre-existing music in film / edited by Phil Powrie, Robynn Stilwell. Aldershot, England ; Burlington, VT : Ashgate, c2006. Music ML2075.C46 2006 Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005013075.html
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Kubrick n’est pas un partisan des films où les décors et les monstres sont en papiers mâchés ou en cartons. Il souhaite que les décors de son film soient techniquement réalisables dans le futur qu’il présente. C’est Tom Howard, lauréat de l’Oscar des meilleurs décors en 1946 pour Le voleur de Bagdad
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"Stanley never wrote back to the fans," says Jan. "He never, never responded. It would have been too much. It would have driven him crazy. He didn't like to get engaged with strangers."
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Caldwell, Larry W. "'Come and Play with Us': The Play Metaphor in Kubrick's Shining." Literature/ Film Quarterly, vol. 14 no. 2. 1986. pp: 106-111. On the cohesive theme of play in "The Shining".
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What makes this incredible is that when you've finished watching a Kubrick film, you will have had an extremely personal experience. Should you talk to someone else who has seen the same film, it's not unusual to wonder if they were watching the same film.
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After everything's been said, much of the remaining soundtrack in 2001 comes from Kubrick's keen use of music. The music of the two Strausses plays an integral role in the film -- Johann's "The Blue Danube" and Richard's "Thus Spake Zarathustra."
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