I think that a preoccupation with originality of form is more or less a fruitless thing. A truly original person with a truly original mind will not be able to function in the old form and will simply do something different. Others had much better think of the form as being some sort of classical tradition and try to work within it.
Click any product to generate a realistic preview. Up to 3 at a time.
* Initial load can take up to 90 seconds — revising the preview in another color is nearly instant.
"The problem with most people is that they're not willing to take risks. They want to play it safe, and that's why they never achieve anything great."
"The artist is a man who has to create a new way of looking at the world."
"I like to work with actors who are a little bit crazy."
"To be honest, the end of the book [The Shining] seemed a bit hackneyed to me and not very interesting."
"I'm not interested in making films that are politically correct. I'm interested in making films that are honest, and that reflect the truth, even if it's an uncomfortable truth."
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.
Your cart is empty
