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Stanley Kubrick: Works
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Over the years, Stanley Kubrick developed a reputation as a distant, tyrannical, reclusive and monomaniacal person. I don’t think Kubrick nurtured these concepts, but the slow rate at which he worked and his virtual refusal to grant interviews or perform publicity tasks for his films meant that the public at large knew little about the man. As such, the myths took hold, and his stature grew to be larger than life in both positive and negative manners.
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The light was fixed, and Kubrick went back to work behind the camera. Keir Dullea was reinstalled in his hibernaculum and the cover rolled shut. "You better take your hands from under the blanket," Kubrick said. Kelvin Pike, the camera operator, took Kubrick's place behind the camera, and Cracknell called for quiet. The camera began to turn, and Kubrick said, "Open the hatch." The top of the hibernaculum slid back with a whirring sound, and Keir Dullea woke up, without any stirring, yawning, or rubbing.
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After Shaw, Kubrick approached another British science fiction writer, Ian Watson. Aldiss and Watson are not friendly, and Aldiss wrote to Kubrick explaining that he would find it difficult to work with him. Kubrick immediately responded with a letter saying that, in view of his refusal to work with Watson, their deal was off again. Aldiss denied vehemently that he was refusing to work with Watson; he was merely pointing out that there might be diplomatic problems. But it was clear that Kubrick was once more looking for a way out, as he had five years before. He found it when Aldiss wanted to go on holiday to Europe with his family.
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By the time the film appears, early next year, Kubrick estimates that he and Clarke will have put in an average of four hours a day, six days a week, on the writing of the script. (This works out to about twenty-four hundred hours of writing for two hours and forty minutes of film.) Even during the actual shooting of the film, Kubrick spends every free moment reworking the scenario. He has an extra office set up in a blue trailer that was once Deborah Kerr's dressing room, and when shooting is going on, he has it wheeled onto the set, to give him a certain amount of privacy for writing. He frequently gets ideas for dialogue from his actors, and when he likes an idea he puts it in. (Peter Sellers, he says, contributed some wonderful bits of humor for DR. STRANGELOVE.)
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Born in the Bronx in 1928, Kubrick worked as a photo-journalist for 'Look' magazine and spent four and a half years working for them before making a short film called Day of the Fight in 1950. It followed a day-in-the-life of middleweight boxer Walter Cartier in photo-documentary style and was bought for distribution by RKO. Delighted with his success, Kubrick quit his job and went back to college with a view to making more films.
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Likely the most divisive film out of Kubrick's entire body of work, 2001: A Space Odyssey is a film that is easier to appreciate than it is to enjoy. More than a simple piece of sci-fi entertainment, the film works better as an examination of human existence and intelligent life. That said, there's still an interesting story that serves as the skeleton on which Kubrick and author Arthur C. Clarke have hung the real meat of the film.
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