The criminal and the soldier at least have the virtue of being against something or for something in a world where many people have learned to accept a kind of grey nothingness, to strike an unreal series of poses in order to be considered normal…. It's difficult to say who is engaged in the greater conspiracy – the criminal, the soldier, or us.
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"I've got a peculiar weakness for criminals and artists. Neither takes life as it is. Any tragic story has to be in conflict with things as they are."
"The great problem with people is that they don't know what they want."
"You can't make a movie for the critics. You have to make it for yourself and hope that enough people like it."
"The most dangerous animal in the world is a human being with a good idea and a bad conscience."
"The truth is that most people are not very bright."
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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