The Four Million Year Jump Cut

TimeOut magazine in London recently asked several big name movie directors to pick a favorite Stanley Kubrick picture. Here is a snip from the article.

Shekhar Kapur (‘Elizabeth’) on ‘2001: A Space Odyssey’ (1968)(Sci-fi epic loved by stoners and intellectuals alike): ‘Forty years on and we are still trying to comprehend its visual and poetic philosophy – what more can you ask from a film? Just for sheer achievement in the art and technology of cinema, “2001” remains a defining movie for me. It is certainly the film that made me fall in love with cinema and want to become a director. Visually, it was one of the most compelling of its time, setting standards in visual effects that have yet to be bettered. Most people now associate “The Blue Danube” waltz with that amazing cut from the broken bone defying gravity as it sails up in slow motion to the space ship floating in space: a cut that not only leaves the audience to imagine the entire history of human development, but also is one of the best uses of classical music in film that I have ever seen. It still takes my breath away.’

Wonder what Kubrick would make of the YouTubian mashup I posted below? I loved it. I think I found a clip for the Kubrick Napoleon project. While we're on the subject of 2001, check out the new widget in the sidebar. It gives you the "Cliff Notes" to what has been a seemingly imponderable movie to many. I will admit that it takes repeated showings for the story of 2001 to sink in, but it is worth the challenge. It certainly did what Kubrick set out to do, which was to lift the science fiction movie out of a critical genre ghetto. The picture was a masterpiece of film making technique and Kubrick deservedly won his first Oscar for the work of his special effects team.

Kubrick in a Nutshell?

Kubrick was not as complicated a cookie as some have made him out to be. At least, that is what his personal assistant thinks. Leon Vitali was hired by Stanley Kubrick to play Lord Bullingdon in "Barry Lyndon" and continued to work for him until Kubrick's death in 1999. An interviewer in 2007 asked Vitali to describe the real Stanley Kubrick.

You know, it's not as complicated as you might think. The best way I can put it is this: If you make it in more of a personal context and you think about yourself as being someone who can sometimes be angry, sometimes be generous, sometimes be jealous, sometimes be resentful, sometimes be extremely kind -- all those basic human qualities. Everybody's got them. And the thing is, for many people, there's one part of them that drives them more than another. Some people are continually feeling guilty about life. He could feel guilty about some of the things he had to do. Or they could be extremely ambitious. Something drives them more than all the others. They have all those other qualities inside them. But somebody like Stanley, who had all those like you or I, but to about the power of a gazillion, all right? Because from minute to minute it could change. One of those, the ambitious, would suddenly give way to something quite mean. And then equally give way to something almost over-generous. Everything he did was almost overpowering.

It seems that how a person may come across depends upon what emotion is in the driver's seat at the time. Things may not always be what they seem, which makes finding the truth a hit or miss pursuit at best. How does the old Marvin Gaye song go, only believe half of what you see, some or none of what you hear?

Picture of the day. Pakistan asked Google over the weekend to cut off access to You Tube from within the country. That explains why You Tube was inaccessible everywhere last Sunday. But information wants to be free, so the news story spread the that the request was prompted by the posting on You Tube of footage of several Danish editorial cartoons. These were cartoons from 2005 satirizing Mohammed and led to deadly riots world wide. The cartoons were recirculated by the Danes once a secret plot to kill the cartoonist was discovered. For the benefit of you InterWebs gear heads out there, here is why You Tube had to pull the plug everywhere to shut out Pakistan.

Production Diary - Day Twelve

Legal limbo. The Kubrick Napoleon documentary is paused as the director negotiates his contract. Thomas Bender made his first documentary on his own so he had no need to negotiate terms with himself, unless he is hiding some deep psychological problem. The contours of La Boca Productions original offer to the director to work on the project have shifted. Originally, we offered him a deal where La Boca would supply the entire budget, a location camera kit and the use of our business operations to produce the Kubrick Napoleon documentary. The thinking behind that deal was that it would free up the director to focus on the creating the picture and remove the distractions of insurance brokers, lawyers and accountants from the process. But moving from calling all the shots on his first documentary to having to deal with an established production company has proved to be a challenge for Thomas. So La Boca presented the director with another alternative. For a reduced budget figure, the director would produce the Kubrick Napoleon documentary on his own, without the camera kit or support from La Boca Productions. This alternative would provide the director with maximum flexibility but he would in essence become his own indie producer and take on the business burdens directly. La Boca would benefit by not going into the equipment business by purchasing the camera kit and by saving money on the budget at the outset. But while the director was considering the two alternatives, internally at La Boca, fear started to creep in. Thomas Bender had only made one other documentary in a small town in rural Illinois and La Boca was contemplating spanning the globe for the Kubrick Napoleon documentary. The feeling inside La Boca was that this project may prove to be too complex for a newbie film maker and it was still not too late to consider partnering with a more experienced documentarian to make the film. In a compromise, La Boca offered the director a third alternative: a scaled back production of the Kubrick Napoleon documentary reduced to 6 weeks and two locations, Paris and New York, and a budget closer to the budget of the director's "Hoopeston" project. La Boca believes in supporting emerging talent, but it does have to protect itself from the risk and expense of the director abandoning the project part way during production. So now we wait as the director considers his options.

Picture of the day. After joining the staff of Look magazine as a photographer, Kubrick eventually graduated from Taft High School in the boogie down Bronx. He watched movies at the Museum of Modern Art and took some classes at Columbia University while working the New York City chess circuit to make spending money. (Imagine if the Matt Damon movie "Rounders" was set in the late 1940s in the seedy world of chess clubs and outdoor park chess boards.) It took him several years working at Look magazine until he decided to make his first film. He was inspired by the subject of one of his photo assignments for Look, the journeyman boxer Walter Cartier, and his twin brother Vincent. He shot the sixteen minute film, Day of the Fight, and had it picked up by RKO for distribution. The short subject is posted in two parts on You Tube. Here are both parts.

Production Diary - Day Two

Boarded a flight to Singapore to visit with potential investors in the film. Twelve hour flight and no Kubrick movies on board. Fortunately YouTube has uploads of a number of Kubrick's earlier black and white movies in segments. I will view his first feature, "Fear and Desire" when I get to Singapore. The first segment is embedded below.
Check out this short video bio on Brother Kubrick courtesy of another YouTubian in the meantime.