Re: Barry Lyndon
> That daughter is Kubrick's. She grew up and wrote theHis family was always around when he was in pre-pro or shooting or editing,
> score for "Full Metal jacket"
and they were involved in everything he did. Christiane was the unit
photographer, and she and the girls were always being consulted about
creative and production decisions, according to Williams. Kubrick was hard
on everyone else, but very devoted to his family - and his pets. He would stop
a production meeting to look for a cat that went missing. These are slightly
exaggerated versions of traits the more proper Hitchcock also had - as was
the habit of always wearing the same clothes, with five duplicate sets hanging
in the closet.
After the latest dust-up about Shyamalyn's "weirdness," it occured to me that a
lot of press people really don't have much experience of filmmakers. If they
did, they wouldn't make a federal case out of this or that eccentricity. They are
all pretty "weird." Although the story of shooting the redcoat cahrge does kind
of take the cake.
I was reminded a few times of AH last night. Williams reported that Kubrick
was convinced Barry Lyndon would be another 11-week shoot like Orange,
and that "a good hour and a half" of it could be shot right in his own house.
That recalled something AH said to Whitlock about the famous bird's eye-view
shot: "We can shoot it right here in my office, Al - all we need is a few
- Dan writes:
> One can make observations with the goal of having others recognize them.Agreed. I think I can recognize why people might view Kubrick as aloof. I
just do not feel that way myself.
> But is it a different movie because we have different experiences?I think so, yes. The art product has not changed, but the art work (which
comes into existence when I view the art product) is going to change as my
store of experiences changes.
> usually feel a film as something solid, around which I might behave as aFor me, I would say that the art product is a solid around which I have a
fluid aesthetic experience. The experience "thickens" and gains texture as
what I bring to the viewing increases in experience, nuance and subtlety.
> If I hate a moment in Kubrick, but like a similar moment in, say, Alanpossibility that I'm being prejudiced.
> Clarke or Todd Haynes, and if I can't detect any substantial difference in
> the construction of the moment, then I need to consider the
You are very clear here, and I see that my block has to do with the fact
that I do not think I can say that I have ever felt that a moment in
director X's movie was similar to one in such-and-such movie by director Y.
I need to think more about this.