Stanley Kubrick — "The greatest danger for most of us is not that our aim is too high and we miss i…"
The greatest danger for most of us is not that our aim is too high and we miss it, but that it is too low and we reach it.
The greatest danger for most of us is not that our aim is too high and we miss it, but that it is too low and we reach it.
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"I'm just an old man and I smell bad, remember?"
"I'm not interested in making films that are purely entertainment. I want to make films that make people think."
"I'm not interested in making films for critics. I'm interested in making films for audiences, and if they like them, that's all that matters."
"If you really want to understand a film, you have to watch it at least three times. The first time, you watch the story. The second time, you watch the characters. The third time, you watch the subtex…"
"I think the best plots are the ones that are not too obvious, that are sort of hidden in the subtext, so that you have to think about them a bit."
American filmmaker (2001: A Space Odyssey, Dr. Strangelove, The Shining) whose perfectionist year-long shoots and 100-take method redefined auteurist cinema. Closely associated with Orson Welles (auteur predecessor and Citizen Kane director) and Steven Spielberg (younger collaborator (A.I. Artificial Intelligence)). For an intellectual contrast, see Quentin Tarantino, postmodern American filmmaker — Kubrick's films erase influences into singular monolithic vision; Tarantino's foreground every reference as a deliberate tribute. The two opposite ways auteurist cinema can be made.
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