![]() Stanley Kubrick: 1928-1999Stanley Kubrick made his first film (Day of the Fight) in 1951, and his last (Eyes Wide Shut) almost fifty years later, in 1999. He was often described as a perfectionist, and devoted several years to the production of each film. Since his death in 1999, shortly after filming Eyes Wide Shut, he has been widely regarded as one of the greatest directors in the history of cinema. Kubrick avoided the Hollywood system by living and working in England, earning a reputation as a reclusive genius. He worked in a wide range of genres, notably science-fiction (2001), black comedy (Dr. Strangelove), horror (The Shining), period drama (Barry Lyndon), and war (Paths Of Glory). In addition to the films mentioned below, Kubrick worked uncredited in an unknown capacity on the short documentary World Assembly of Youth (1953), directed by D. Corbitt Curtis and Richard Millett. He also worked as a second-unit director for Norman Lloyd’s five-part Omnibus television mini-series Mr. Lincoln (broadcast in 1952-1953; Kubrick was photographed on the set by The Kentucky Courier-Journal, published on 26th October 1952). Marlon Brando asked him to direct and co-write One-Eyed Jacks (1961), and they collaborated on a revision of the screenplay, though in the end Brando directed the film himself and Kubrick did not receive a screen credit. He also worked briefly (again uncredited) on the set of Lewis Gilbert’s film The Spy Who Loved Me (1977), lighting the supertanker set under condition of anonymity. Kubrick appeared with his future wife Toba Metz as an uncredited extra in Hans Richter’s Dreams That Money Can Buy (1947); coincidentally, the film starred Ruth Sobotka, who would become Kubrick’s second wife. He worked uncredited on the English-language dubbing of the Russian film Илья Муромец (1956), released in America as The Sword and the Dragon in 1960; he is also known to have worked on the dubbing and sound editing of an exploitation film with the working title Shark Safari, in 1953. Day of the Fight1951, 16 minutes, black-and-white, 1.37:1. Directed, produced, written, and photographed by Stanley Kubrick. A documentary about boxer Walter Cartier preparing for a match in New York, released as part of RKO’s This Is America series. (An alternate version, without the four-minute prologue added by RKO, omits the This Is America title.) Cartier was the subject of a photo-spread by Kubrick for Look, and was therefore a natural choice for this suitably fast-paced film. Kubrick also appears in the film himself: he can be seen loading his camera at the ringside. Flying Padre1951, 9 minutes, black-and-white, 1.37:1. Directed by Stanley Kubrick. A documentary about Fred Stadtmuller, released as part of RKO’s Pathé Screenliner series. Stadtmuller, a priest from New Mexico who travelled around his parish by aeroplane, is an unusual topic for a Kubrick film (though Kubrick did have a pilot’s license). Flying Padre has little of the kinetic energy Kubrick demonstrated in Day of the Fight. The Seafarers1953, 30 minutes, colour, 1.37:1. Directed and photographed by Stanley Kubrick. Kubrick was commissioned by the Seafarers International Union to produce this promotional documentary, and The Seafarers serves this purpose though it seems much more of a pedestrian exercise than a typically Kubrickian film. It’s significant, though, as it was Kubrick’s first film in colour. Some versions begin with a few seconds of silent footage from the workprint. Fear and Desire1953, 68 minutes, black-and-white, 1.37:1. Directed, produced, photographed, edited, and co-written by Stanley Kubrick. An existential drama set during an unnamed war, starring Frank Silvera and Paul Mazursky. Fear and Desire was filmed with a skeleton cast and crew of less than ten people, and Kubrick even publicised the film himself by photographing the stars for posters and lobby cards. Kubrick later suppressed its distribution, however there were occasional screenings of archival prints at American film festivals. The film was initially available only as a bootleg video, though a restored version was released after Kubrick’s death. Killer’s Kiss1955, 67 minutes, black-and-white, 1.37:1. Directed, co-produced, edited, and photographed by Stanley Kubrick. A noir thriller whose archetypal plot involves a boxer throwing a rigged fight, starring Jamie Smith and Irene Kane. Killer’s Kiss includes a solarised sequence and a surreal fight in a mannequin factory. Kubrick was photographed on the set by Life magazine in 1954, and his voice can be heard briefly on the police radio in one scene. A scene in which Smith fondles Kane’s breasts, which was cut from the film at her request, may have been present in the preview version. The film was censored by the MPAA, with four minutes of footage deleted. A further three minutes were removed before its release. (The original running time was 74 minutes.) The film’s original title, Kiss Me Kill Me, was changed to Killer’s Kiss before general release, though some surviving prints bear the original title. The Killing1956, 85 minutes, black-and-white, 1.66:1. Directed and co-written by Stanley Kubrick. With this drama about a meticulous race track heist, starring Sterling Hayden and Elisha Cook, Kubrick experimented with a complex, non-linear narrative, constructing a series of interconnecting flashbacks, confidently alternating between past and present. He produced the film in partnership with James B. Harris, forming Harris-Kubrick Pictures, and photographed himself and Harris for a Variety press advertisement to promote the film. Paths of Glory1957, 87 minutes, black-and-white, 1.66:1. Directed and co-written by Stanley Kubrick. Exposing the self-serving corruption of the generals during World War I, Paths of Glory was Kubrick’s first film with a major star (Kirk Douglas). The dolly shots in the battle trenches, and the incredible German locations, were the film’s highlights. The preview version was 89 minutes, though two minutes were cut by Kubrick before general release. The film was banned in France for nineteen years, though when it was initially released in other Francophone countries the French national anthem was removed from the opening titles soundtrack. Spartacus1960, 189 minutes, Technicolor, 2.21:1 Super Technirama. Directed by Stanley Kubrick. A Roman epic about a slave rebellion starring Kirk Douglas, Laurence Olivier, Tony Curtis, Charles Laughton, and Jean Simmons. Spartacus was originally screened with an overture, intermission, entr’acte, and exit music. 35mm prints were released in 2.35:1 Technirama with mono sound. As the film’s executive producer, Douglas fired the original director (Anthony Mann) and hired Kubrick after production had already started, with his contract stipulating that he was unable to alter the script. It’s telling that Kubrick’s most personal contributions—the battle scenes—are the film’s most powerful sequences. He was photographed on the set in 1960 by Life magazine. After preview screenings at 202 minutes, Kubrick cut thirteen minutes from the film and changed the placement of the intermission, resulting in a first-run version at 189 minutes. Further cuts were then made at the behest of the MPAA, with a “snails and oysters” homoerotic bathing sequence totally removed and milder alternate takes replacing some of the violent shots. The MPAA-approved, censored version was 182 minutes. In 1967, a significantly truncated version (161 minutes) was released in 35mm. In 1991, Spartacus was rereleased in a restored version (196 minutes), with Kubrick’s approval. The soundtrack format was 5.1 surround sound, appropriate to the original six-channel version. The MPAA-censored shots were reinstated, as was much of the footage Kubrick himself had removed after the previews. As the original violent shots were restored, the milder alternate takes were removed. The “snails and oysters” sequence was reinserted, though the dialogue between Olivier and Curtis had to be redubbed as the original soundtrack had been destroyed. Olivier’s lines were dubbed by Anthony Hopkins, as Olivier himself had died before the restoration. Additional footage of Charles Laughton now exists as audio only. Lolita1962, 152 minutes, black-and-white, 1.66:1/1.37:1. Directed by Stanley Kubrick. A comedy drama about a writer’s obsession with a nymphet, starring Sue Lyon, James Mason, and Peter Sellers, Lolita was the first of Kubrick’s films to be made in England. Its paedophilia theme caused a predictable controversy, and several of its more risqué innuendos were censored before its release. The MPAA also insisted upon the partial removal of the film’s cot seduction sequence: in the American cinema version, the scene fades ten seconds earlier than in the British version. Kubrick himself is (inexplicably) visible in the first shot inside Sellers’s mansion, walking out of the frame on the right hand side. He also personally took some of the publicity photographs of star Sue Lyon. The film was shot with alternating aspect ratios: some scenes are in Academy format, while others are matted at 1.66:1. Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb1964, 96 minutes, black-and-white, 1.66:1/1.37:1. Directed, produced, and co-written by Stanley Kubrick. Peters Sellers stars in this blackly comic political satire in which a paranoid general initiates an American nuclear attack against Russia. In Dr. Strangelove, the most terrifying and hilarious of the four characters played by Sellers is the eponymous eccentric Nazi who plans to create an underground master race. The cavernous War Room set is another striking element. Kubrick personally painted the ‘DEAR JOHN’ and ‘Hi THERE!’ slogans on the film’s prop nuclear bombs. An epilogue involving a custard pie fight, which altered the film’s tone from satire to slapstick, was removed by Kubrick before the general release. (This footage is archived at the British Film Institute in London.) Also before the premiere, the word ‘Dallas’ was redubbed to “Vegas” following the Dallas assassination of John F Kennedy. In America, the film begins with a written disclaimer emphasising that it is a work of fiction. The film was shot with alternating aspect ratios: some scenes are in Academy format, while others are matted at 1.66:1. The sleeve for the Criterion Collection’s Dr. Strangelove laserdisc (1992) was designed by Kubrick. 2001: A Space Odyssey1968, 141 minutes, Metrocolor, Cinerama, 2.21:1 Super Panavision 70. Directed, produced, and co-written by Stanley Kubrick. A science-fiction epic starring Keir Dullea and Gary Lockwood, 2001 features some of the greatest cinematography and special effects in cinema history, with Kubrick’s trademark symmetrical framing accompanied by graceful Viennese waltzes. Largely devoid of dialogue, its impact comes from a series of ambiguous episodes that culminate in a psychedelic reel of abstract images. Kubrick is visible as a reflection in the astronauts’ helmets during some sequences, and he also provided the breathing soundtrack for Dullea and Lockwood’s spacewalking scenes. As the film’s special effects supervisor, Kubrick won his only Academy Award. A documentary, A Look Behind the Future (1967), includes footage of Kubrick on the set, and he was photographed by Antony Armstrong-Jones for Life magazine (vol. 60, no. 20; 20th May 1966) during the making of the film. Nineteen minutes were cut from 2001 by Kubrick after preview screenings, and two of the intertitles were also added at this time; a prologue and voiceover were cut after the exhibitors’ preview. The film’s Cinerama version, identified by the Cinerama logo in the end credits, included an overture, an intermission, music played over a black screen before the overture, and exit music played after the end credits. There was also a non-Cinerama version, in 35mm, with four-track stereo sound. A Clockwork Orange1971, 136 minutes, Warnercolor, 1.66:1. Directed, produced, and written by Stanley Kubrick. A near-future dystopian fable starring Malcolm McDowell as a young hooligan brainwashed by an oppressive political regime. The brutal violence of A Clockwork Orange marks a stark contrast to the grandeur of 2001, though both films have the same balletic grace and both are ultimately explorations of free will. It was filmed entirely on location, in contrast to the totally studio-bound 2001. The film was originally rated ‘X’ by the MPAA, and the version first released in US cinemas was the uncut ‘X’ version. The following year, Kubrick withdrew the film from US cinemas and modified two sequences with milder alternate takes. This modified version was reclassified ‘R’ by the MPAA, and the ‘R’ version was rereleased in US cinemas to replace the original ‘X’ version. In British cinemas, the original ‘X’ version was the only version to be screened, though in 1974 Kubrick withdrew the film from Britain altogether after he received death threats. (It was rereleased in Britain in 2000, after Kubrick’s death.) Barry Lyndon1975, 184 minutes, Eastmancolor, 1.66:1. Directed, produced, and written by Stanley Kubrick. An account of the rise and fall in the fortunes of Redmond Barry, played by Ryan O’Neal. Barry Lyndon is yet another complete contrast, the shocking brutality of A Clockwork Orange being replaced by this sumptuous and restrained period drama. Kubrick’s technical perfectionism paid dividends when he used Zeiss lenses originally developed for NASA to film in candle-light. The Shining1980, 143 minutes, colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. A horror film starring Jack Nicholson and Shelley Duvall, in which the caretaker of a haunted hotel attacks his wife and son with an axe. Using the new SteadiCam to its fullest potential, Kubrick’s cameras prowl menacingly around literal and metaphorical mazes, and Nicholson gives a characteristically manic performance as Jack. The voice of Charley, the radio weather announcer, was played by Kubrick himself; Kubrick’s reflection is visible in an office window in the opening scene; and (like Alfred Hitchcock in Psycho) Kubrick wielded the knife himself when it was used to slash Nicholson’s hand. His daughter, Vivian, directed a behind-the-scenes documentary titled Making the Shining for the television series Arena, broadcast in 1980. After the film’s premiere (running 146 minutes), Kubrick cut a short scene outside Durkin’s shop and an explanatory epilogue with Duvall in hospital before the US general release. Kubrick then cut the film a second time (to 119 minutes), before its European general release (trimming the sequences that revealed Jack’s history as an abusive father). Italian, Spanish, and German inserts were filmed to replace the English-language text seen in Jack’s manuscript. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format. The end credits, originally blue, are white on most video releases. Full Metal Jacket1987, 116 minutes, colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. Starring Matthew Modine and R. Lee Ermey, this is Kubrick’s take on the Vietnam war, and, though it once again displays his typically outstanding camerawork, Vietnam seems an unusual choice of subject given the notable cinematic predecessors dealing with the same topic. Kubrick played the part of Murphy, the radio announcer. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format. Eyes Wide Shut1999, 159 minutes, DeLuxe colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. A psychological thriller starring Tom Cruise and Nicole Kidman, released shortly after Kubrick’s death in 1999. The narrative concerns marital jealousy and temptation, and it seemed to prefigure the collapse of Cruise and Kidman’s own marriage. Eyes Wide Shut was the subject of intense speculation and rumour, climaxing in a frenzy of anticipation. The increasingly lengthy periods between Kubrick’s completed film projects caused much online debate. The secrecy in which Kubrick shrouded each of his productions, and his seemingly endless filming schedules, added to the internet gossip. The scene in which Cruise and Kidman kiss in front of a mirror was released in isolation as a teaser trailer at the ShoWest trade fair before the film’s general release. The same scene, as it appears in the film itself, is shorter, is cropped on all four sides, and utilises an alternate take for the moment when Kidman removes her glasses. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format. In America, cloaked figures were digitally inserted to mask the simulated sex in the film’s orgy sequence, in order to secure an ‘R’ rating from the MPAA. (Like A Clockwork Orange, the film’s extensive nudity is exclusively female and largely gratuitous.) The digital figures were, thankfully, not present when the film was screened in the UK. However, for the UK release the orgy scene was censored in a different way: a recital from the Bhagavad Gita during the Meditations music in the orgy scene was removed and replaced. Italian inserts were filmed to replace the English-language text in the warning letter handed to Bill and the newspaper article he reads. ![]() Kubrick on Kubrick: InterviewsKubrick avoided public appearances, television interviews, and photographers, though he spoke to journalists with surprising frequency, as this first comprehensive list of Kubrick’s interviews demonstrates. Kubrick also published some of his screenplays, and wrote several published articles and letters; these activities are all listed here. Entries are listed according to the date of their first publication. (Kubrick: The Last Interview, by Adrian Rigelsford and Kim Meffen, published in TV Times on 4th September 1999, is not included, as it was a hoax published by the magazine in error.) The interviews list has been revised and expanded in collaboration with Filippo Ulivieri. 1940s
Camera Quiz Kid... Stan Kubrick 1950s
Stanley Kubrick, 22, Plans to Make Movie for $50,000
Young Man with Ideas and a Camera By Way of Report By Way of Report Kubrick Another Boy Film Producer Non-Pro Features May Set a Trend Sultry New Siren and New All-Around Movie Wizard Spark ‘Fear and Desire’ Snap Hundreds, Says ‘Boy Genius’ More Action, Less Talking in Movies 24-Year-Old Is ‘Factotum’ of New Film Of Pictures and People: New Drama, ‘Kiss Me, Kill Me,’ Filmed Here in Its Entirety Gilles Jacob, 1957 Alexander Walker, 1957 Pfeift auf hübsche Mädchen Bonjour M. Kubrick Twenty-Nine and Running: The Director with Hollywood by the Horns... Dissects the Movies Conversation with Stanley Kubrick ‘Lolita’ Bought by Screen Team Very Funny Relationship Film Fan to Filmmaker The Changing Face of Hollywood Boy Genius Holds His Own Amid the Alumni Hollywood ‘Rome’ The Hollywood War of Independence No Art and No Box Office California Movie Morals: Hollywood Bypasses the Production Code Pueblo, 21st October 1959 1960sThe Artist Speaks for Himself: Stanley Kubrick Bob Thomas, Associated Press, 1960 Talking of Films Stan Kubrick’s Mettle Tested by ‘Spartacus’ Teenager Will Play ‘Lolita’: She’s Sue Lyon of TV Show Schoolgirl Gets Lead in ‘Lolita’ $12 Million Risk Taken by Douglas Hailed in Farewell: ‘Spartacus’ Gets Praise of Pleased Director Nymphet Found Stanley Kubrick... Thirty-Two-Year-Old Director of a $12,000,000 Movie Mr Disney and Mr Kubrick Interview with Kubrick Love Before Breakfast... A Money Matter Oriental Invasion on - but Peacefully: ‘Lolita’ - A Report from London ‘Ban Lolita’ Rumpus Before Film Is Shown ‘Ban This Dangerous Film Lolita’ ‘Lolita’ Kubrick Picks Another Hot One... Vine St. Looms as New Theater Row MGM to Release ‘Lolita’ in Spring The East: Kubrick’s and Sellers’ New Film How to Make a Film That Can’t Be Made Meet Sue: Here’s Our Lolita Milwaukee Journal, 3rd June 1962 Sue ‘Lolita’ Lyon a Well Kept Secret Really the Real Lolita? ‘Lolita’ On Screen... For Adults Only La fuga di Lolita Kubrick Escaped Interference by Taking ‘Lolita’ to England Nymphets, Naiveté, and a New Star ‘Lolita’ Held Production of Artistry New York World Telegram and Sun, 13th July 1962 Controversial Film ‘Lolita’ Stars Unspoiled 16-Year-Old Sue Lyon: Star of the Year’s Most Controversial Movie - Lolita David Lewin, Daily Express, 1963 Stanley Kubrick’s Point of View Coming: The End of the World Kubrick’s Sellers Takes Four Parts Everybody Blows Up! Stanley Kubrick and Dr. Strangelove ‘Nerve Center’ for Nuclear Nightmare Kubrick ci parla del suo film su un generale demente che scatena la guerra atomica Kubrick Explains ‘Movie of Absurd’ Kubrick’s Strange Love A Bombastic Bit of Irony Is Ready to Be Let Loose Atomic Bomb Spoofed - Grin and Bear It The Ubiquitous, Multifarious Sellers Anthony Quinn Having Ball In Paris The Bomb and Stanley Kubrick
Do They Hit the Target? The Directors: The New Creators and Rulers of the Movie Realms Reveal the Skills and Egos That Go Into Their Art Stanley Kubrick and Joseph Heller: A Conversation How to Learn to Love World Destruction
The Astonishing Stanley Kubrick
Hollywood’s Man Stanley
Direct Hit
What Makes Kubrick Laugh? It’s the Bomb Stanley Kubrick: A Filmmaker Obsessed The Strange Case of Dr. Strangelove Director Says Movie Industry ‘Must’ Use More Negroes Hollywood dissepolta Ten Questions to Nine Directors: Stanley Kubrick How Mr Kubrick Learned to Stop Worrying Herald Tribune, 1965 The Sunday Times Magazine, 1965 ‘Strangelove’ First Planned as Serious Film Beyond the Blue Horizon
Beyond the Stars
Sex and Dr. Strangelove Just for Variety Space Film by Kubrick Will Break Image of Madmen and Monsters Somebody Up There Likes Me, I Hope Happiness Is a Filmmaker in London Bernard Asbell, 1966 Is It Strangelove? Is It Buck Rogers? Is It the Future? Offbeat Director in Outer Space 2001: An Informal Diary of an Infernal Machine Kubrick, Farther Out
How About a Little Game?
Interview with Stanley Kubrick
L’Odissea del 2001 Ulysses in Space Sight and Sound Picture of a Girl on Her Way to the Moon Thirty-Three Years from Now Loew’s Capitol, New York, 1st April 1968 The Territorial Imperative of Stanley Kubrick Tomorrow Will Decide if Kubrick has Goofed It’s a Fantastic World - Wrapped in Reality Kubrick’s Sure ‘2001’ to Click In 2001, Will Love Be a Seven-Letter Word? Give Me the Moon, Baby... Kubrick Trims ‘2001’ by 19 Mins, Adds Titles to Frame Sequences; Chi., Houston Hub Reviews Good So Who Wants to Die on the Moon? Kazan, Kubrick, and Keaton Sophisticated Science Fiction ‘2001’ and ‘Hair’ - Are They the Groove of the Future? Filming 2001: A Space Odyssey Front-Projection for 2001: A Space Odyssey Kubrick’s Message Is Nonverbal Ignore the Audience at Your Peril: Kubrick’s ‘2001’ Revisited For the First Time, Kubrick Explains His Space Odyssey Stanley Kubrick Raps Le film de l’annee: 2001 de Stanley Kubrick Playboy Interview: Stanley Kubrick Stanley Kubrick Answers Questions about Film ‘2001: A Space Odyssey’ Le second berceau de la vie Belief in Life Elsewhere in Universe Inspired Stanley Kubrick’s Film ‘2001’ Entretien avec Stanley Kubrick Kubrick Watches Bronfman’s Flight The Making of Kubrick’s 2001 1970sStanley Kubrick Stanley Kubrick Directs Mind’s Eye: A Clockwork Orange Kubrick Kubrick: Degrees of Madness Kubrick Country Kubrick Kubrick’s Brilliant Vision Kubrick Tells What Makes ‘Clockwork Orange’ Tick This Violent Age A Clockwork Utopia: Semi-Scrutable Stanley Kubrick Discusses His New Film Nice Boy from the Bronx? Kubrick’s Creative Concern Kubrick: ‘Chacun de nous tue et viole’ Interview with Stanley Kubrick A propos de Orange méchanique Why Kubrick Thinks ‘A Clockwork Orange’ Ticks Helena Faltysova, Film a doba vol. 18, no. 8, August 1972 Stanley Kubrick: Stop the World What Stanley Kubrick Has up His Sleeve This Time Film Company Denies IRA Intimidation Stanley Kubrick: A Film Odyssey Les sentiers de la gloire Kubrick’s Grandest Gamble: Barry Lyndon Barry Lyndon, comment Stanley Kubrick a réalisé un chef d’œuvre Stanley Kubrick’s Time Warp How I Learned to Stop Worrying and Love ‘Barry Lyndon’ Kubrick’s Done It Again Kubrick Almost a Legend Kubrick à L’Express: ‘Je suis un detective de l’histoire...’ Filmen Ist Detektivarbeit ‘Barry Lyndon’ du pur cinema ‘Barry Lyndon’ le nouveau film de Stanley Kubrick ‘Orange méchanique’ La gran adventura de Kubrick Stanley Kubrick’s Barry Lyndon ‘Superman’: Leaping Tall Budgets 1980sThe Man of Many Myths Alexander Walker, Los Angeles Herald-Examiner, 23rd May 1980 Stanley Kubrick’s Horror Show Kubrick: Critics Be Damned ’Shining’ and ‘Empire’ Set Records Kubrick: ‘Tous les fous n’ont pas l’air d’etre fous’ Il faut courir le risque du subtilite: Une rencontre avec Stanley Kubrick ‘Oui, il y a des revenants’ Gänsehaut der Luxusklasse Entretien avec Stanley Kubrick
Peter Sellers: The Authorized Biography Cinque film contro Rambo Stanley Kubrick parle de Peter Sellers Stanley Kubrick’s War Realities Stanley Kubrick’s Vietnam Candidly Kubrick Dig a Foxhole! We’re Fighting in ’Nam Again Vietnam on Thames I’m Always Surprised by the Reactions to My Films Stanley Kubrick, at a Distance: The Director Does Vietnam His Way - in London 1968: Kubrick’s Vietnam Odyssey Kubrick’s Odyssey The Rolling Stone Interview: Stanley Kubrick Heavy Metal: Full Metal Jacket or How Stanley Kubrick’s Marines Learned to Stop Worrying and Love Vietnam Kubrick, enfin! Es ist ein Glück das der Krieg so fürchterlich ist Stanley Kubrick: Der liebe Gott des Kino Sind Sie ein Misanthrop, Mr Kubrick?: Gesprach mit dem Full Metal Jacket Regisseur Vietnam, Wie es wirklich war Kubrick bei der Arbeit Françoise Maupin, Le Figaro, October 1987 Kubrick’s War Un entretien avec le realisteur de Full Metal Jacket: Le Vietnam de Stanley Kubrick Kubrick übers Filmemachen The Professionals Reveal Essence of Filmmaking 1990sIch würde liebend gern mehr Filme machen L’Entrevue An Interview with Stanley Kubrick, Director of Lolita 2000sEntretien avec Stanley Kubrick sur Full Metal Jacket Entretien avec Stanley Kubrick: “Full Metal Jacket” (Suite et fin) ![]() Written by Stanley KubrickArticles and EssaysDirector’s Notes Words and Movies Why Sue (‘Lolita’) Lyon Was Guarded as If Actress Was an Atomic Bomb How I Learned to Stop Worrying and Love the Cinema The Directors Choose the Best Films Why They’ll Never Ban the Bomb Foreword Critics and Film Introduction Kubrick sur Full Metal Jacket Introduction Published ScreenplaysDr. Strangelove Napoleon A Clockwork Orange Full Metal Jacket Eyes Wide Shut Letters to the EditorLes Sentiers de la gloire: Pourquoi avez-vous choisi les soldats français? Mr Kubrick on: Lolita and the Press Now Kubrick Fights Back Stan Kubrick to Detroit News 1,001 Public StatementsDr. Strangelove Commander-1 The Films of Frank Capra The Killer Inside Me National Film Theatre, London, June 1985 [Bill Rowe retrospective] This Is Your Life: Arthur C. Clarke Stanley Kubrick, 17th January 1994 D.W. Griffith and His Wings of Fortune Mostra internazionale d’arte cinematografica The Kubrick EstateFollowing his death in 1999, Kubrick’s family permitted Jon Ronson, Bernd Eichhorn, and Alison Castle to visit Childwickbury Manor (his home near St Albans) and catalogue his archives. Ronson made a documentary for More4 (Stanley Kubrick’s Boxes, 15th July 2008). The props and documents Bernd Eichhorn discovered were shown as part of an extensive Stanley Kubrick touring exhibition beginning in 2004, and an exhibition catalogue (Kinematograph XX: Stanley Kubrick, 2004) and documentary (Stanley Kubrick: The Exhibition by Katia de Vidas, 2005) were also released. Alison Castle edited two enormous, lavish books: The Stanley Kubrick Archives (2005) and Stanley Kubrick’s Napoleon: The Greatest Movie Never Made (2009). Jan Harlan, Kubrick’s brother-in-law, directed A Life in Pictures (2001), a feature-length documentary with extensive and rare footage of Kubrick; he also co-edited a book about AI with Jane M. Struthers: Artificial Intelligence - From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film (2009). Christiane Kubrick, the director’s widow, wrote A Life in Pictures (2002), featuring a large selection of Kubrick photographs. In 2007, Kubrick’s archives were transferred from Childwickbury to the University of the Arts in London. In 2014, two books were produced in cooperation with the Archives: The Making of Stanley Kubrick’s 2001: A Space Odyssey (four volumes, by Piers Bizony) and Stanley Kubrick: New Perspectives (edited by Tatjana Ljujic, Peter Kramer, and Richard Daniels). ![]() Kubrick’s Look Photographs: 1945-1950At high school (from 1942 to 1946), Kubrick took pictures for the school magazine (Portfolio) and yearbooks. He also sold images to Look magazine, and worked as a photojournalist for the publication until 1950. One of his Look photographs, a portrait of Montgomery Clift, was also published in Flair magazine (vol. 1, no. 8, September 1950); another, taken in the Copacabana nightclub, was published in Quick magazine (Are Nightclubs Old-Fashioned?, 26th November 1951). After leaving Look to become a director, Kubrick had no further photographs published, with one exception: a colour self-portrait for the cover of Newsweek (vol. 79, no. 1; 3rd January 1972). Kubrick’s photographs were included alongside other Look images in the exhibitions Look at America (1957) and Only in New York: Photographs from Look Magazine (Donald Albrecht and Thomas Mellins, 2009), and the books Our Land, Our People (Edward A. Hamilton and Charles Preston, 1958), School Photojournalism: Telling Your School Story in Pictures (Edward A. Hamilton, 1958), and The Look Book (Leo Calvin Rosten, 1975). Look reprinted two of Kubrick’s photographs after he left the magazine: a portrait of Richard Rodgers and Oscar Hammerstein (12th July 1955), and a photo of cannabis (Dope Is Threatening Our Youth, 13th March 1951). The Look photographic archives are currently held at the Library of Congress in Washington and the Museum of the City of New York. An exhibition of Kubrick’s photographs curated by Michel Draguet, Stanley Kubrick: Photographer, opened in 2012, and its catalogue was published as Stanley Kubrick: Fotografo. Donald Albrecht and Sean Corcoran curated the exhibition Through a Different Lens: Stanley Kubrick Photographs in 2018, which was accompanied by an extensive catalogue. Rainer Crone curated three exhibitions of Kubrick’s photographs, all with accompanying catalogues: Stanley Kubrick: Still Moving Pictures - Fotografien 1945-1950 (with Petrus Graf Schaesberg, 1999), Stanley Kubrick: Fotografie 1945-1950 (2010), and Stanley Kubrick: Visioni e finzioni 1945-1950 (2011). Selections of Kubrick’s Look photographs have been published in three further books: Stanley Kubrick: Ladro di sguardi - Fotografie di fotografie 1945-1950 (1994), Art by Film Directors (Karl French, 1994), and Stanley Kubrick: Drama and Shadows - Photographs 1945-1950 (Rainer Crone, 2005). A copy of this first comprehensive list of Kubrick’s photographs is included in the Stanley Kubrick Archive at the University of the Arts, London, and it was reprinted in Stanley Kubrick: Fotografie 1945-1950 - Un narratore della condizione (Rainer Crone, 2010). Unless stated otherwise, all images were photographed in New York and published in black-and-white. Entries are listed according to the date of their first publication. 1945Truman and Roosevelt Kids at a Ball Game 1946Psychoquiz: Are You a Fatalist? Look vol. 10, no. 1, 8th January 1946 Teacher Puts “Ham” in Hamlet A Short-Short an a Movie Balcony A Woman Buys a Hat Meet the People: How Many Times Did You Propose? How a Monkey Looks to People............And How People Look to a Monkey Buy Victory Bonds Meet the People: What Was Your Childhood Ambition? Psychoquiz: Do You Have Imaginary Illnesses? Dentist’s Office Meet the People: How Would You Spend $1,000 in a Week? Bronx Street Scene Johnny on the Spot Midsummer Nights in New York Meet the People: What’s Your Idea of a Good Time? 1947Television: It Will Start to Grow Up Meet the People: What Part of America Would You Like to See This Year? Photoquiz How to Spot a Communist Meet the People: Why Do You Wear a Mustache? Life and Love on the New York Subway Photocrime: Cobb Reasons It Out Meet the People: What Is Your Favorite Way of Loafing? Baby Wears Out 205lb Athlete While Mama Shops Meet the People: What Was Your Worst Experience? First Look at Mirror Bewilders Baby Photoquiz Meet the People: Do You Have Any Desire to Go West? Meet the People: What Celebrity Would You Like to Marry? Fun at an Amusement Park Look vol. 11, no. 15, 22nd July 1947 Look vol. 11, no. 16, 5th August 1947 Photoquiz In Amerika Habe Ich die Freiheit Gefunden (I Found Freedom in America) Look’s 5th Annual All-America High School Track Team Family Full of Health: The Jantzens Enjoy Keeping Fit The 5 and 10 Meet the People: Children Tell How They Should Be Punished Walkathon: The World’s Wackiest Show - It Gets 4,000 Customers a Night Look vol. 11, no. 20, 30th September 1947 Teen-Agers Take Over a Radio Station Look vol. 11, no. 22, 28th October 1947 Look vol. 11, no. 23, 11th November 1947 Look vol. 11, no. 24, 25th November 1947 Meet the People: Who Stands Pain the Best? Look vol. 11, no. 25, 9th December 1947 High Button Shoes Look vol. 11, no. 25, 9th December 1947 1948Look vol. 12, no. 1, 6th January 1948 Bubble-Gum Contest Help Your Doctor Diagnose Appendicitis It Happened Here Miss America Goes to the Methodist Youth Conference Photocrime: Death in a Flash The Case Against Universal Military Training The Boss Talks It Over with Labor Art Gallery Dalí Exhibition Psychoquiz Look vol. 12, no. 8, 13th April 1948 Wash Day in a Self-Service Laundry Rheumatic Fever: Childhood’s Most Neglected Disease Meet the People: Meet President Truman? Musical Tycoon Columbia How the Circus Gets Set Look vol. 12, no. 11, 25th May 1948 He Sells Success Deaf Children Hear for the First Time Mooseheart: The Child City Look vol. 12, no. 12, 8th June 1948 One-Man Track Team: Irving Mondschein Reaches for Olympic Honors New York: World Art Center Holiday in Portugal Bumper Baby Crop Starts School Will This Be the New Look for Men? Wally Conquers Polio Look vol. 12, no. 21, 12th October 1948 What Makes Their Eyes Pop? Look vol. 12, no. 22, 26th October 1948 New Toy Spurs Milk Drinking The Races How Eight Look Photographers See Jane Greer 1949Kiss Me, Kate Prizefighter Taft Meets the People - And Proves a Human Campaigner America’s Man Godfrey: One of the Highest Paid and Most Listened to Entertainers in the Nation Fight Night at the Garden: Some Fans Roar for Gore Lobster Comes Home The American Look Is a Proud Thing Look vol. 13, no. 7, 29th March 1949 Chicago: City of Extremes It Takes These 103 Persons to Stop the Music Pint-Size Sculptor with Big Ideas: Koren der Harootian Gridiron Show: St. Louis Stages Its Own University Of Michigan Carl Milles The 16-Ounce Look Father’s Day for Father Berle Montgomery Clift... Glamour Boy in Baggy Pants Look vol. 13, no. 5, 19th July 1949 Look vol. 13, no. 5, 19th July 1949 Guy Lombardo Look vol. 13, no. 16, 2nd August 1949 Look vol. 13, no. 17, 16th August 1949 Vaughn Monroe: He Makes a Mint out of Music Look vol. 13, no. 17, 16th August 1949 Philadelphia’s First Beaux Arts Ball Teenage Columnist Look vol. 13, no. 20, 27th September 1949 Peter Arno... Sophisticated Cartoonist World’s Most Escape-Proof Paddy-Wagon Nehru: Charles Baskerville Paints India’s Prime Minister Home-Town Hero Meet the Chairman of the GOP A Dog’s Life in the Big City Divorce: A Woman’s Tragedy Celebrities Paint to Raise Money for Charity New York Society Ball Look vol. 13, no. 25, 6th December 1949 Look vol. 13, no. 25, 6th December 1949 Portable Porter: Luggage on Wheels Look vol. 13, no. 26, 20th December 1949 Look vol. 13, no. 26, 20th December 1949 Howdy Doody WOWS the Kids 1950Look vol. 14, no. 1, 3rd January 1950 Look vol. 14, no. 1, 3rd January 1950 The Mid-Century Look Is Now the American Look Eisenhower Is Open to Being a Republican Candidate Don’t Be Afraid of Middle Age Candidate Robert A. Taft Sinatra and Kirsten Take Richmond Rocky Graziano: He’s a Good Boy Now Lady Lecturer Hits the Road Big Little Art Collection Traveling Saleswoman USA Leonard Bernstein: Boy Wonder Grows Up Look vol. 14, no. 7, 28th March 1950 Baseball Player Don Newcombe: Can He Win the Next 30 Games? Phil Rizzuto: The Yankee Nipper Ken Murray Tries out TV Talent Look vol. 14, no. 10, 9th May 1950 The GOP Has a Roosevelt Too Dixieland Jazz Is “Hot” Again Double or Nothing Guests See Sights of Hollywood Look vol. 14, no. 13, 20th June 1950 12 Children - $75 A Week The Ballad of Peggy Lee The Debutante Who Went to Work The US Is Going Cowboy Crazy What Every Teenager Should Know About Dating Look vol. 14, no. 16, 1st August 1950 Look vol. 14, no. 16, 1st August 1950 Faye Emerson: Young Lady in a Hurry Hair Coloring Becomes Part of the American Look Canasta Mistakes You Can Avoid Our Last Frontier: Transoceanic TV Look vol. 14, no. 19, 12th September 1950 Red Rolfe: The Heart of the Tiger Meet the People: Mind Your Manners Record Guide What Teenagers Should Know About Love The Look All-American Baseball Team Ballet Is Fast Becoming Entertainment for the Masses Jealousy: A Threat to Marriage Peter Lind Hayes Puts the Stork Club on TV How to Check Your City’s Health Fifty Years of Model Railroads How Radio’s Top News Team Covers the World |