Major Project: Director Research - Stanley Kubrick
Who is Stanley Kubrick?
Stanley Kubrick was born in Manhattan, New York on July 26th 1928. His parents were Jewish immigrants from Austria, Romania and Russia.
At 13 years old his Father gave him a photography camera which kicked off his passion for photography. Quickly learning lenses and techniques for developing photographs in dark rooms, his talent began to grow and was evident. At just 17 years old he got his first job for Look magazine. Although running into trouble socially given his age to be working in such a job, he was able to build up his savings by being sensible with his money. Also being a very good chess player, he was able to make money for his tournament winnings.
Kubrick became fascinated by film, he enjoyed them but more so studied them. He realized that what he really wanted to do was make films.
To build his experience, test his skills and essentially practice, he went on to make a few short documentaries. The first of which was:
Day of the Fight (1951)
The 12 minute short documentary details the events of the day of a boxer's bout from the morning leading to the end of the fight. The key thing to take from this documentary is the early signs of what would become this great directors legendary traits. What can be noticed is his photo-graphical background, eye for shot composition. We see his ability as a director being able to direct non-actors and his attention to detail.
What is key from this short is Kubrick's beginnings, seeing his blocking and framing along with selected shots presents his ability and the early signs of what would become an incredible director's vision. Particular mention to the low angle shot during the boxers' bout as they hit one another, a shot that would go on to feature in many of his greatest works.
Kubrick went on to make another short documentary called:
The Flying Padre (1951)
This documentary features a unconventional Priest's method of reaching all of his mission churches and others who are in need.
Once more this film shows Kubrick's ability as a director. We see his ability to direct aircraft. non-actors and animals whilst also being ambitious and creative with his choice of shots and coverage, especially the flying shots. We see again the use of low angle shots, also the use of big close ups and grand wide shots. Another trademark of Kubrick. Another notable shot within this film is the final shot in which the camera moves away from the Priest at the end. A huge indicator and start for his famous use of zoom and camera movement within his films. A prolific part of Kubrick's shooting style.
Following his success with his documentaries, Kubrick set his eyes upon creating his first feature film.
Fear & Desire (1953)
Kubrick had some money saved and at this point he was still working for Look Magazine. He decided to quit this lucrative job in pursuit of his first feature film. He concluded there was little money in short films, and through research had found out how much feature films were being made for at the time. This being around the Million Dollar mark at the time.
Kubrick thought that he could make a feature film for approximately $10,000. This by shooting low budget, with actors and crew working for little money and himself taking control of the majority of roles such as director and cameraman. All by cutting costs to as little he could. A friend of his wrote the script, which Kubrick described as 'Al Gorical', dull and boring. He famously financed the film with his father's life insurance.
Kubrick stated that he failed to recognize the difference between making a short documentary and a feature film. He stated that 'he didn't know what he didn't know', and 'had no idea how to direct actors'.
Fear and Desire, feels like a first film. It has scenes and moments of which Kubrick's style can be seen, some beautiful shots and the exploration of the theme of humanity is thought provoking and a stepping stone of what this director is capable of and what he will become. The river scene in which 'Sidney' stands alone in the river, is a clear example of Kubrick's artistic eye and talent.
However, there are moments where the 180 degree rule is broken, the script and dialogue is weak and the film has little substance with a rather dull story. It is evident within this film that this may well be the root of Kubrick's desire for attention to detail in his later films as Fear and Desire stands out as not at all Kubrick for is vague and unclear storytelling.
In his later career Kubrick tried to destroy every copy of this film. He disowned it, likening it to "a child's drawing on a fridge", also stating that it was "a bumbling amateur film exercise, written by a failed poet, crewed by a few friends, and a completely inept oddity: boring and pretentious". These strong words show the change in standards over years of work and highlight Kubrick's progression in ability and vision.
Following his first feature Kubrick began working on scripts for his next film. To practice and fund his next feature, he decided to create another documentary where he could further display his skills as as Director and also experiment within a short film, lower budget atmosphere.
The Seafarers (1953)
This documentary was about the profession of seafarers and their lives. By way of content and what the documentary is less important but what is important about this documentary is the way it was shot, how it was shot and the directing within it.
Once more Kubrick's use of grand wides and extensive coverage enabled him to give the audience a sense of space quickly, shooting good visuals with interesting techniques. Most noticeable of which may be his use of the dolly in the cafeteria scene. This smooth moving shot can be seen in a variety of his later work to great effect establishing space, following movement and allowing for narrative progression. Also what is also recognizable is his skill directing non actors and large groups, something that can be daunting and hard to do for even an experienced director.
Following this film Kubrick began creating Killers Kiss and continued to the rest of his iconic and renowned works.
List of Short Films
Day of the Fight (1951) - Documentary
Flying Padre (1951) - Documentary
The Seafarers (1953) - Documentary
List of Feature Films
Fear and Desire (1953)
Killer's Kiss (1955)
The Killing (1956)
Paths of Glory (1957)
Spartacus (1960)
Lolita (1962)
Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
2001: A Space Odyssey (1968)
A Clockwork Orange (1971)
Barry Lyndon (1975)
The Shining (1980)
Full Metal Jacket (1987)
Eyes Wide Shut (1999)
Techniques & Styles
There are many different parts to Kubrick's films that make them his own. Be it the music, the theme of the story or his incredible attention to detail. Such attention to detail means each individual choice has been chosen for a specific reason, each frame is a painting to him, exactly the way he wants to make it. To better understand Kubrick, one needs to understand his finer details and the subtle parts of his films that add up to make each groundbreaking film.
Shots
Low Angle Shots:
We first saw this type of shot in Kubrick's work in his first documentary short film Day of the Fight. Its unconventional and unique style gave a new perspective of viewing a scene. In a scene where two boxers come to trade blows, the shot gives the audience an very close and intimate look into the fight.
The focus of this shot however is the characters, and this applies to every time he uses this shot. This invasive shot of the characters makes them able to convey a variety of different emotions, given the performance and tone of the film.
What this particular shot does is it puts the audience in a position to see the character in a way that they would not usually be seen.When used in Dr. Stranglove, the use of the low angle shot conveys Sterling Hayden's character Ripper, as a dangerous and crazed man with authority and power as he glares at Mandrake (Peter Sellers) telling him he has just launched nuclear missiles at the Soviet Union. The low angle and puts Ripper on a pedestal to the audience, like a king of the hill, looking over the audience as a terrible example of a leader.
In A Clockwork Orange, the use of the low angle shot portrays Mr. Alexander's discovery that Alex was the one responsible for a horrible event done to him, prior in the film. This moment of sudden realization and pure shock and anger is captured in a low angle shot that is alone terrifying. Combines with Alex singing 'Singing in the Rain' in the background as it becomes distorted the shot and scene is hugely effective at creating a uncomfortable, tense and hard to watch moment as Mr. Alexander snaps and cannot hold himself together.
While the shot does present him as imposing, his breakdown being covered in this way is very effective as we see the raw emotion in Patrick Magee's performance.
In The Shining the shot is used in the Pantry Scene as Jack (Jack Nicholson) and Wendy (Shelly Duvall) are separated by a large iron door. Wendy think she has trapped Jack and she is able to escape with their son. However, it turns out it is Wendy who is trapped. Jack taunts her as his madness builds as he bangs on the door shouting "Go check it out".
With fantastic acting in this scene the tables are turned and a moment that should reflect Wendy's safety, turns into her worst nightmare. As Jack's madness escalates and he begins to taunt her, it is all covered in this low angle shot. He stares through the door, right into her eyes as his words are effective. This shot alone reflects his upper hand and prominence within not only the shot but Wendy's nightmare as she cannot escape him. It reflects the madness or Jack's character and the horror he is able to commit within one simple shot, as it effectively highlights his upper hand.
Low Angle shots within Kubrick's work, and in general, do not connote one specific meaning. A low angle shot will not always simply just put the subject in a dominating position, but as proved by Kubrick, can be used in a variety of different moods, styles and tones. As long as it is used correctly, it can make a scene work perfectly. As with all of Kubrick's work, and films in general, there has to be a reason for it. Something that Kubrick ensures with the majority of his work, that each of his decisions are for a specific reason and have cause and effect.
Wide Angle Shots:
Wide shots are generally used to establish space and setting. However, this shot is not simply limited to this purpose, like all other shots, the framing of them can help connote certain hidden meanings which create subtext for the audience. Kubrick is a master at this, as can be seen with most of his shots as his attention to detail provides such subtext.
In Paths of Glory, just as the three soldiers are about to be executed we are presented with a shot from above the solider's perspective. The audience is presented with a perfectly framed display of the firing squad taking aim in front of the grand mansion.
The shot establishes space and gives the audience perspective as to what the soldier's see. However, what is important is the subtext it provides. The grand nature of this shot reflects the overwhelming odds presented to the tried soldiers, with a sense of ceremony for the deaths of these poor men. The film is Anti-War, and it comes across very well in this scene. The shot could be seen as a reference to democracy and the difference between classes. The Grand Mansion could be a symbol of the aristocratic officers, who are protected by the lower class soldiers, who are expendable for a large more 'important' cause.
This is another example of Kubrick's ability to provide incredibly detailed subtext to shots that may even last less than 5 seconds.
Once again Dr. Strangelove's use of the wide angle shot clearly establishes space within the 'war room'. During discussions on what the US government plans to do after a rogue officer authorizes a nuclear strike on the Soviet Union at the height of the cold war, the shot is used to familiarize the audience with the space and the round table setting.
However, what else this shot conveys, is the sense of impending doom for the nation. With the large image looming over the members around the table, it acts as a visual elephant in the room. It not only gives context to what they are talking about but also largely dwarfs them as the situation becomes more and more out of control. It could also be seen to connote a sense of elitism, as the fate of the world is determined by a select, and inadequate few as they discuss the future and fate for their country and the world.
In The Shining, Kubrick uses the wide shot to a different effect. As Wendy informs Jack of the weather, as Jack clearly loses his mind and rudely tells her to leave.
This use of shot gives the audience the huge amount of space around Jack. It provides a visual reference that he is alone, as Wendy arrives it is disruptive to the space around him that he has built and we are able to understand how much she suddenly stands out in shot after becoming accustomed to silence and being alone.
The eerie space that is created provides a reference to a man that is clearly on his final nerves. The scene works because of this shot and the way in which it controls the space. This combined with the rising tension of the string based music and her innocent line "hi hun", comes together as Jack boils over like a kettle.
Close Ups:
Close Ups are generally used to draw the audience attention to a specific thing or person. Be that a key object, movement or character's face, the close up is there to get the audience in the moment, close and involved, to see the smaller more subtle moments.
Kubrick uses this to effect in his first feature film Fear and Desire. During a scene in which Sidney tries to get the girl the group captured to like him, the shot is used to reflect her confused and false emotions. The shot is uncomfortably close, to reflect Sidney's invasion of her personal space as he touches her face. It highlights her discomfort and the strange situation she is in, her emotions are detailed by the shot as she tries to keep face.
A simple yet effective use of a close up which stands as a benchmark for Kubrick to expand upon for his use of iconic close ups.
In The Shining the shot again looks at emotion and performance. In the famous "Here's Jonny" shot, Jack has just chopped a hole through the the bathroom door with an axe, Wendy is hiding in the room as he tries to kill her.
The shot is iconic for its framing and the way in which Jack Nicholson pokes his face through the gap. He invades the space, he takes over the gap and delivers the line with a great performance. The way this shot is done allows the audience to get a sense of this monster character, the audience is forced to look at every fine detail in his face as he taunts his wife.
In Full Metal Jacket we see the use of the use of the' Kubrick Glare'. This time the close up is used to represent another monster character. As Pvt. Pyle's mental state deteriorates he becomes a disturbed and psychotic danger. This shot alone reflects this as he stares past the audience.
This tightly framed shot helps the audience conclude the decent into madness Pvt. Pyle has descended into, with it being a 'he has now completely lost it' notifier. Combined with great performance, this shot closely focuses on not only his facial expression but his mind. With little context a viewer could tell that the man in this frame is disturbed. A simple yet effective shot that ties the narrative.
2 Shots
2 Shots are generally used as a master shot or for coverage. While a wide or establishing shot will set the space, the two shot frames both characters or objects of interest to provide the audience with a visual reference to their position and location within the scene.
Kubrick uses these shots carefully but to great effect in his films, holding on them longer where another director may cut to a close up single or cut the sequence differently. Kubrick instead holds on 2 shots for a long time and allows the action to take place in one shot.
This also benefits flowing performance but in a shooting sense it becomes very interesting.
In Dr. Strangelove Ripper describes his theory of fluoride in the water to a very uncomfortable Mandrake. This 2 shot is held for the duration of Ripper's theory, and by doing to the audience is made to feel just as uncomfortable as Mandrake.
The use of the shot and the decision not to cut away is one of the reasons why his scenes works so well. Cutting away can sometimes disrupt performance or the atmosphere of a scene, however his choice to frame this shot as a 2 shot and allow it to run through the whole scene, shows confidence in his cast and his ability to direct.
In The Shining a similar shooting style is incorporated as Danny questions his dad Jack whether he will hurt him and his mother Wendy. The scene is shot entirely with 2 shots. Accompanied by the music and the performance, the tension in the room is on a knife edge as the camera frames for both of their performances.
This shot works, because as Kubrick often holds for longer shots the performance is able to flow. By framing this once again in a 2 shot the audience are able to look at both characters at the same time. Holding on this can make an audience feel uncomfortable as they would be used to cutting to singles, however this discomfort is key to the scene and shot perfectly by Kubrick.
Camera Movements
Kubrick use of Camera movement within his films are iconic. In a time now where zooms are rarely used, Kubrick's films all feature them. Camera movements in his films are prominent, meaningful and expertly used. Ranging from zooms, Ariel shots, dolly shots, motivated camera movements and even physics defying spinning, Kubrick masters the use of camera movement.
Zoom:
Zooming can be used for a variety of different purposes, it can focus audience attention on something small, or reveal the world after initially looking at something closely. However, they are visually distracting and rarely seen in modern cinema because of this. To an audience the zoom can feel like a guide, the zoom is the director's control. It guides you to what you should be looking at or provides context to a smaller part of a large picture. However, Kubrick uses them extensively.
As can be seen in the video below, Kubrick uses prolific zooms in almost all of his film. Some directors would avoid these as to not break the rules of audience immersion. However, Kubrick actively seems to look to break these rules to his own benefit.
Kubrick has a reason for each of his decisions, by using a zoom that could well break audience immersion, has to be done for a certain reason. Be it the desire to make the audience feel uncomfortable or highlight something hidden in plain sight, the directors guidance of this camera movement is something that always blends within Kubrick's films.
Dolly:
The dolly was used in as early The Seafarers in Kubrick's work. However, among the many others one of the most notable uses of this was in A Clockwork Orange in which it sets the scene and surroundings of Mr. Alexander's house before Alex and his Droogs arrive.
0:38 - 1:07
The shot is used very well for its establishing of surroundings due to the revisiting of this location later in the film. This allows the audience, from previous viewing, to understand and tell the difference from how it looked originally to how it looks now.
The slow movement of the shot also provides a sense of calm, a calm before the storm of which Alex brings which Kubrick blocks and paces very well. All beginning with this slow dolly shot.
Kubrick uses this particular type of camera movement in his films to establish space but also provide a running performance. While avoiding cutting, the fluid dolly shot which tracks movement or moved director motivated, provides a narrative flow to be establishes and continued upon. Setting the scene for proceedings.
Long Tracking Shots:
Maybe most notably is Kubrick's use of long tracking shots. All his films feature them. As early as Flying Padre and Paths of Glory.
Be it tracking in front of a character moving backwards, or following in their footsteps, Kubrick uses this shot religiously. He uses it to track characters, cars, objects, or even as a POV.
As can be noticed in Kubrick's style, he like to maintain performance, to cut away as little as possible and by making grand scenes where his incredible detail can shine, is able to be accomplished with the use of these longer takes. By using the tracking shots Kubrick is able to provide a visual experience in which a simple shot of a character moving can become a a guided tour within the narrative with some subtle and some very distinct background actions take place to create a moment within film.
This is only possible with Kubrick's attention to detail, a tracking shot for the sake of a tracking shot would be boring or unnecessary, however Kubrick's though process and decisions mean that it works as it serves a purpose or a greater meaning.
Mise-en-scene
Translated from French, Mise-en-scene means staging. It is defined as everything within the frame and applies to theatre and film. Kubrick's control of each individual shot of his films means the mise-en-scene of his works is not only detailed but meticulously planned, the framing, perspective and the position of the characters and props within the frame is exactly as desired by Kubrick.
One Point Perspective:
One point perspective is a technique used greatly by Kubrick. As can be seen in the video above, it is used within almost all of his works as he looks to guide the audiences eyes through framing, and then play with their reaction and feeling from the shots by staging symmetry and holding the shots.
As can be seen in Paths of Glory, Kubrick uses the one point perspective perfectly. He guides the audiences' eye by framing the shot with the firing squad around the border of the shot, he uses the rifles like arrows, pointing the audience in the direction of what they should be looking at and places the target character dead centre of the shot.
Kubrick holds this shot with no camera movement or action from the cast for a moment. The perfection of this shot through its staging makes it already visually anxious for the viewer. The symmetry adds to this as the audience anticipate the firing of the rifles. By holding he waits to leave the audience in a state of anxiety before the rifles finally fire. Centre of which the main movement and character action happens.
This perspective allows Kubrick to know that through his framing and visual iconography the audience will be looking exactly at what he guides them too, meaning their attention is on exactly what he wants the audiences' attention to be on. A master of this technique, he is able to not only guide the audiences attention and make the shot visually appealing, but creates a sense of 'too perfect'. He is able to create the illusion to his audiences that something isn't right or that bad is coming.
One point perspective is a powerful, while unsubtle it holds the audiences' eye to the director's point of attention while also providing a sometimes unsettling effect.
Pacing - Slow Protracted Scenes:
In Kubrick films the pacing of his shots are frequently protracted. Kubrick is famous for drawing out scenes to create long intense moments within his films.
He does this effectively but not just for one reason but for multiple. He allows his actors perform their roles uncut and without stopping. This aids there performance as the consistent, more natural performance is allowed to flow rather than being stalled. By doing this Kubrick allows his actors to build to a climax. Naturally this method would only be used at the correct time in a tension building or pivotal scene but Kubrick does not fail to make it work to all genres.
Kubrick notably uses the method for an unnerving and classic moment within both The Shining and 2001: A Space Odyssey. However, he also uses it for comedic effect within Dr. Strangelove, while a completely different genre, it works perfectly by emphasizing the absurdity of this moment.
During these long protracted moments, Kubrick uses little editing. By staying true to the performance the actors provide and the atmosphere the little cuts provide, makes his films iconic and stand out as some of the greats.
The reaction shot was also more important to Kubrick as he believed that it was more important to see how people reacted to moments rather than what was actually happening. This meant he would overlook what the character was looking at and instead focus on the characters reaction. A style rarely seen in cinema today, but one that focuses greatly on performance.
Common Themes
Humanity:
Every single one of Kubrick's films touches on the idea of the de-humanization of man. From his first, Fear and Desire where the polar opposites meet as we see the demise of Sidney's mind and a group of soldier's desperation.
Kubrick was keen on messages and he used his films to express them. He became notorious to the British Press as he refused to appear on talk shows or do interviews, he would express that whatever he wanted noticed, he would show in his films.
Where Kubrick's films are detailed, there are vast amounts of subtext within his films but what can be recognized is the overlying theme of humanity and its de-humanization. Noticeable maybe most within Full Metal Jacket during the training portion of the film where the soldiers are stripped of emotions and trained to be killers.
War:
Many of Kubrick's films also focus on themes surrounding war. Once again it could be seen as one of his famous statements within his films, combined with subtext which is to convey a greater meaning. However, Kubrick focuses on the effects and dark sides of war. Paths of Glory which was set during The Great War, was an anti-war film which was banned in France for depicting its military in a bad light.
Kubrick focused on these due to his underlying theme of the de-humanization of man and it could be argued that Kubrick saw war as one of the key factors that contribute to this. The films below all feature war within them.
Characters:
All characters after Spartacus have characters that we, as an audience, are not supposed to warm too. These cold, un-warming characters are an extension of the overall tone and execution of his films. It could be said that the reason for these cold characters is that Kubrick never supplied answers. By saying this Kubrick never gave an audience answers but instead proposed questions on humanity, he cared greatly for giving the audience the ability to think for themselves about who the character is and their standing as a person, rather than make it easy and define them as 'man in the white hat good' or 'man in the black hat bad'.
Often sporting the famous 'Kubrick Glare', seen in films such as Full Metal Jacket and The Shining. Kubrick's characters are an extension of himself. They are complex, but are for a reason, they make the audience think rather than spell their actions out. This is one of the things that Kubrick's films are famous for, was their subtext, hidden meaning and requirement for thought. The audience is required to think and examine rather than absorb.
His Directing Approach
Actors
Kubrick has a infamous relationships with his actors. Notoriously he did not get along with Kirk Douglas during Paths of Glory and Spartacus. They would often fight and disagree, as their creative minds clashed. Kubrick was known to re-write scripts and not tell the actors and he would often play mind games to, according to Kubrick, add to their performance. Douglas would later describe him as a "Bastard, but a talented, talented guy".
However, Kubrick's poor relationship with Douglas was not the only one. He pressured Shelly Duval on the set of The Shining until her hair began to fall out from stress as he looked to improve her performance by keeping her on edge at all times.
Kubrick would cross moral lines and no actor got special treatment on his films. His infamous amount of takes for certain scenes would only reinforce his control on set as he would not call a wrap until he was satisfied with a scene.
Although his high demands for actors took a toll on his relationship with them, Kubrick also had high standards for his extras and non actors. Kubrick's staging and attention to detail as discussed before found its way into performances as Kubrick had a huge talent for directing large groups of extras and non actors. This can be seen in Spartacus where each body was laid out personally by Kubrick an overseen, also numerically ordered so each person had their place. It can also be seen in Paths of Glory and Full Metal Jacket.
Kubrick's attention to detail leaves its mark in almost all aspects of his work. Performance, actors, set design, framing and everything else. Kubrick understood that to get a director's vision on screen, you have to take absolute control.
Crew
Kubrick was also notorious in his early career for his relationships with his Directors of Photography (DOP). While making his third feature film The Killing he threatened to fire his Oscar winning DOP on the first day, even though Kubrick was young and considered inexperienced.
While making Spartacus the DOP quit half way through filming and Kubrick finished the rest of filming as Director and DOP. Ironically the DOP won an Oscar for it, even though Kubrick filmed a great deal of it.
Kubrick required complete commitment in all roles, he also required cast and crew to understand and respect his vision, ultimately his control within his films would upset and anger others as his control would take over other's roles. As a director his decisions and attention to detail is to this day considered almost obsessive, but this was his personal style, in later films as his reputation grew, cast and crew were aware of this and knew what to expect. Something that perhaps originally annoyed some as a young starting out director having such a presence may have intimidated his production team.
Effects on my Work
It is important to recognize the influence Stanley Kubrick has had on cinema. It could be argued that his distinct, impressive and statements within film are second to none as he defines the change from classic to modern cinema. His films today hold up as a visual masterpiece and still pose questions in today's society.
Now it is time to see his influences on my own work.
Framing:
Mirrors:
Mirrors within Kubrick's films are common, notably seen in A Clockwork Orange, The Shining and Dr. Strangelove. Mirrors often feature within psychological thrillers to helps represent the seperate minds and sometimes to reflect dual personalities.
A subtext and effective way of telling the narrative, Double Exposure incorporates a number of different mirror shot to reflect Emily's personality, the way she views herself and the two realities going on at once, the one Emily has fabricated and the one that is real.
Music to Tell Story:
Similar to A Clockwork Orange where the song 'Singing in the Rain' plays a major plot changing part within the film. In which Mr. Alexander suddenly realizes Alex was the man who broke into his house and attacked him and his wife years ago, whilst singing the song. He is reminded as the song plays a vital part in making him realize the who the man in his bath really is.
Double Exposure does this in a similar way but instead prompts the audience to understand when the timeline changes. On the whistling of 'Twisted Nerve' the events jump to the day before and acts as a marker within the narrative timeline. A simple but effective technique, it removes the need for a title screen or narration, of which Kubrick uses in many films but notably in The Shining instead we signal the timeline change wit music, as a narrative guide.
Ariel Shots:
One of the shots within Double Exposure is a homage to Kubrick for his influences on my work. The shot is of the Torrence Family on their way to the Overlook Hotel at the beginning of The Shining. The fluidity of this shot, filmed on a helicopter, is visually astonishing. The timing of the car moving and the directing ability to shoot an opening sequence in this way is inspiring to any filmmaker.
As Kubrick pushed technological boundaries, I feel like this shot defines his style of beauty meeting forward thinking. Something I wanted to pay homage to in Double Exposure.
Fear & Desire:
One of the most valuable lessons taught from researching Kubrick was strangely from something he tried desperately to hide. The film Fear and Desire. It stands out as the most unlike Kubrick film he has made, it crosses the line, it has a weak script and little goes on within the entire story. While there are glimpses of his talent and ability the film is understandably something Kubrick wanted destroyed as it shows a genius learning, and making mistakes.
However, this is exactly what inspired me as even the great Stanley Kubrick had to start somewhere and made errors. It serves as an example to me and should do to others that as long as a filmmaker learns from their mistakes and moves forward, they will succeed. Everyone has to start somewhere, as even Kubrick did.
Similarities and Differences
There are a great deal of similarities and differences within my works and Kubrick's, excluding budget, time period of film making and the difference in cast.
Number of Takes:
Kubrick's takes are themselves something that sums up his attention to detail and perfectionism. While I myself look to aim for attention to detail I am not even close to his level. This is not necessarily a bad thing. As an aspiring director I am still finding my own style and learning the aspects of what works and what looks good and what does not. I personally would not, at this stage of my creative vision, reach any where near the amount of takes Kubrick would get too.
It may me confidence or perspective as at this stage I would begin to question what was going wrong with the scene, whether this shot works and begin to target what is, if there is, the common thing going wrong with the shot.
At these moments I would discuss with my cast or DOP, depending on the issue and try to come to a resolution. While Kubrick obviously resolved issues until he got the shot, given the time frame of the project, our university deadline and the duration we had the location for; I could not afford to take high number of takes.
Control over Performance and Relationship with Actors:
Kubrick's relationships with Actors were questionable and considerably different to my own. It seems evident that Kubrick saw his actors to be similar to his props. They needed his direction constantly and it was to be done his way entirely, with minimal free reign given to the actor.
My approach was different as I made it clear with all our actors that I was open to their interpretations of their characters and roles, it was clear that I was director and I had my own vision for how the characters would act, but I was open to their perspectives playing the character.
Casting played a huge role in who we got as our actors and our time was well spent as we managed to get fantastic actors that understood the role and characters perfectly providing perspective and alternatives to actions.
This played out to be a huge strength as at the moment I feel I am still very much finding my style as a director, while I had my vision and knew what I wanted from the film, the actors provided ideas that worked very well within their characters which I had not thought of and added to their performance. It allowed me to understand what it was like to work with professional and experienced actors.
I felt this worked well for me as it allowed me to understand and draw from the actors creative experience and work it within the film. It was this flexibility and these discussions that not only improved performance but kept a good atmosphere on set.
Attention to detail:
Kubrick's attention to detail is something that is evident through almost all of his work. His eye for fine detail is something that ties together his work. This is something I am looking to build upon within my own work.
Previous projects of mine have lacked the finer elements to make them good pieces of work and this is something that causes great frustration later on during the edit. For this reason going into this project it was something I wanted to focus on.
Emily's character within the film is someone that focuses on the finer elements, this meant that for this film to work the finer elements had to be focused on with a constant eye. As a test to myself, this project works as a exercise for myself to focus on the fine details.
In the film prop placement, actor positioning, framing, symmetry and performance where the key areas my attention to detail came in. I realized from studying Kubrick's work is that the attention to detail can sometimes go unnoticed, forcing the viewer to look at a slight movement is effective but what is equally effective and more impressive is drawing their attention to a small movement in an extreme wide. Framing and performance play their pivotal role in this and given only the single word being spoken in a majority of the film, it relies on these elements to tell the story.
Focuses on Acting Performance:
Kubrick holds his shots on performance. He rarely cuts during climactic scene and favours the reaction shot over sometimes even the thing the character is looking at. This shows his focus on performance, allowing the story to be told through a characters emotions and their reactions to situations.
I feel that we are similar in this respect as I had the luxury of working with good actors in which cutting around their performance was not necessary. I chose to hold two shots of the characters engaging with another and held on the reactions of characters to show the audience what they are thinking. This was vital as this is a psychological thriller we are exploring the mind of the main character, Emily. We understand her emotions by seeing her reaction and interaction with other characters.
By holding longer shots it not only allows the performance of the actors to flow but it also shows the confidence I had in their ability and their interaction.
References
Stanley Kubrick was born in Manhattan, New York on July 26th 1928. His parents were Jewish immigrants from Austria, Romania and Russia.
At 13 years old his Father gave him a photography camera which kicked off his passion for photography. Quickly learning lenses and techniques for developing photographs in dark rooms, his talent began to grow and was evident. At just 17 years old he got his first job for Look magazine. Although running into trouble socially given his age to be working in such a job, he was able to build up his savings by being sensible with his money. Also being a very good chess player, he was able to make money for his tournament winnings.
Kubrick became fascinated by film, he enjoyed them but more so studied them. He realized that what he really wanted to do was make films.
To build his experience, test his skills and essentially practice, he went on to make a few short documentaries. The first of which was:
Day of the Fight (1951)
The 12 minute short documentary details the events of the day of a boxer's bout from the morning leading to the end of the fight. The key thing to take from this documentary is the early signs of what would become this great directors legendary traits. What can be noticed is his photo-graphical background, eye for shot composition. We see his ability as a director being able to direct non-actors and his attention to detail.
What is key from this short is Kubrick's beginnings, seeing his blocking and framing along with selected shots presents his ability and the early signs of what would become an incredible director's vision. Particular mention to the low angle shot during the boxers' bout as they hit one another, a shot that would go on to feature in many of his greatest works.
Kubrick went on to make another short documentary called:
The Flying Padre (1951)
This documentary features a unconventional Priest's method of reaching all of his mission churches and others who are in need.
Once more this film shows Kubrick's ability as a director. We see his ability to direct aircraft. non-actors and animals whilst also being ambitious and creative with his choice of shots and coverage, especially the flying shots. We see again the use of low angle shots, also the use of big close ups and grand wide shots. Another trademark of Kubrick. Another notable shot within this film is the final shot in which the camera moves away from the Priest at the end. A huge indicator and start for his famous use of zoom and camera movement within his films. A prolific part of Kubrick's shooting style.
Following his success with his documentaries, Kubrick set his eyes upon creating his first feature film.
Fear & Desire (1953)
Kubrick had some money saved and at this point he was still working for Look Magazine. He decided to quit this lucrative job in pursuit of his first feature film. He concluded there was little money in short films, and through research had found out how much feature films were being made for at the time. This being around the Million Dollar mark at the time.
Kubrick thought that he could make a feature film for approximately $10,000. This by shooting low budget, with actors and crew working for little money and himself taking control of the majority of roles such as director and cameraman. All by cutting costs to as little he could. A friend of his wrote the script, which Kubrick described as 'Al Gorical', dull and boring. He famously financed the film with his father's life insurance.
Kubrick stated that he failed to recognize the difference between making a short documentary and a feature film. He stated that 'he didn't know what he didn't know', and 'had no idea how to direct actors'.
Fear and Desire, feels like a first film. It has scenes and moments of which Kubrick's style can be seen, some beautiful shots and the exploration of the theme of humanity is thought provoking and a stepping stone of what this director is capable of and what he will become. The river scene in which 'Sidney' stands alone in the river, is a clear example of Kubrick's artistic eye and talent.
However, there are moments where the 180 degree rule is broken, the script and dialogue is weak and the film has little substance with a rather dull story. It is evident within this film that this may well be the root of Kubrick's desire for attention to detail in his later films as Fear and Desire stands out as not at all Kubrick for is vague and unclear storytelling.
In his later career Kubrick tried to destroy every copy of this film. He disowned it, likening it to "a child's drawing on a fridge", also stating that it was "a bumbling amateur film exercise, written by a failed poet, crewed by a few friends, and a completely inept oddity: boring and pretentious". These strong words show the change in standards over years of work and highlight Kubrick's progression in ability and vision.
Following his first feature Kubrick began working on scripts for his next film. To practice and fund his next feature, he decided to create another documentary where he could further display his skills as as Director and also experiment within a short film, lower budget atmosphere.
The Seafarers (1953)
This documentary was about the profession of seafarers and their lives. By way of content and what the documentary is less important but what is important about this documentary is the way it was shot, how it was shot and the directing within it.
Once more Kubrick's use of grand wides and extensive coverage enabled him to give the audience a sense of space quickly, shooting good visuals with interesting techniques. Most noticeable of which may be his use of the dolly in the cafeteria scene. This smooth moving shot can be seen in a variety of his later work to great effect establishing space, following movement and allowing for narrative progression. Also what is also recognizable is his skill directing non actors and large groups, something that can be daunting and hard to do for even an experienced director.
Following this film Kubrick began creating Killers Kiss and continued to the rest of his iconic and renowned works.
List of Short Films
Day of the Fight (1951) - Documentary
Flying Padre (1951) - Documentary
The Seafarers (1953) - Documentary
List of Feature Films
Fear and Desire (1953)
Killer's Kiss (1955)
The Killing (1956)
Paths of Glory (1957)
Spartacus (1960)
Lolita (1962)
Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
2001: A Space Odyssey (1968)
A Clockwork Orange (1971)
Barry Lyndon (1975)
The Shining (1980)
Full Metal Jacket (1987)
Eyes Wide Shut (1999)
Techniques & Styles
There are many different parts to Kubrick's films that make them his own. Be it the music, the theme of the story or his incredible attention to detail. Such attention to detail means each individual choice has been chosen for a specific reason, each frame is a painting to him, exactly the way he wants to make it. To better understand Kubrick, one needs to understand his finer details and the subtle parts of his films that add up to make each groundbreaking film.
Shots
Low Angle Shots:
We first saw this type of shot in Kubrick's work in his first documentary short film Day of the Fight. Its unconventional and unique style gave a new perspective of viewing a scene. In a scene where two boxers come to trade blows, the shot gives the audience an very close and intimate look into the fight.
Day of the Fight (1951)
The focus of this shot however is the characters, and this applies to every time he uses this shot. This invasive shot of the characters makes them able to convey a variety of different emotions, given the performance and tone of the film.
What this particular shot does is it puts the audience in a position to see the character in a way that they would not usually be seen.When used in Dr. Stranglove, the use of the low angle shot conveys Sterling Hayden's character Ripper, as a dangerous and crazed man with authority and power as he glares at Mandrake (Peter Sellers) telling him he has just launched nuclear missiles at the Soviet Union. The low angle and puts Ripper on a pedestal to the audience, like a king of the hill, looking over the audience as a terrible example of a leader.
Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb (1964)
While the shot does present him as imposing, his breakdown being covered in this way is very effective as we see the raw emotion in Patrick Magee's performance.
A Clockwork Orange (1971)
In The Shining the shot is used in the Pantry Scene as Jack (Jack Nicholson) and Wendy (Shelly Duvall) are separated by a large iron door. Wendy think she has trapped Jack and she is able to escape with their son. However, it turns out it is Wendy who is trapped. Jack taunts her as his madness builds as he bangs on the door shouting "Go check it out".
With fantastic acting in this scene the tables are turned and a moment that should reflect Wendy's safety, turns into her worst nightmare. As Jack's madness escalates and he begins to taunt her, it is all covered in this low angle shot. He stares through the door, right into her eyes as his words are effective. This shot alone reflects his upper hand and prominence within not only the shot but Wendy's nightmare as she cannot escape him. It reflects the madness or Jack's character and the horror he is able to commit within one simple shot, as it effectively highlights his upper hand.
The Shining (1980)
In Full Metal Jacket the shot is used as Sgt. Hartman disciplines Joker for speaking out making a joke. In this shot Sgt. Hartman is a overbearing and loudly asserts his dominance in a style that only a real Marine Drill Sergeant can. His loud angry and autocratic dominance of the screen in this shot asserts him as the one in charge. Accompanied with his point we see from the point of view of Joker.
The shot is almost telling off, it replicates that of a child being told off by their teacher or by their parents. This shot provides the means for Sgt. Hartman to be dominant and allows the audience to see Joker's view as not only he but the audience falls in line.
A fantastic improvisation from R. Lee Ermy (Hartman) accompanied with the shot type allows the shot and scene to be expertly covered with interesting perspective.
Full Metal Jacket (1987)
Low Angle shots within Kubrick's work, and in general, do not connote one specific meaning. A low angle shot will not always simply just put the subject in a dominating position, but as proved by Kubrick, can be used in a variety of different moods, styles and tones. As long as it is used correctly, it can make a scene work perfectly. As with all of Kubrick's work, and films in general, there has to be a reason for it. Something that Kubrick ensures with the majority of his work, that each of his decisions are for a specific reason and have cause and effect.
Wide Angle Shots:
Wide shots are generally used to establish space and setting. However, this shot is not simply limited to this purpose, like all other shots, the framing of them can help connote certain hidden meanings which create subtext for the audience. Kubrick is a master at this, as can be seen with most of his shots as his attention to detail provides such subtext.
In Paths of Glory, just as the three soldiers are about to be executed we are presented with a shot from above the solider's perspective. The audience is presented with a perfectly framed display of the firing squad taking aim in front of the grand mansion.
The shot establishes space and gives the audience perspective as to what the soldier's see. However, what is important is the subtext it provides. The grand nature of this shot reflects the overwhelming odds presented to the tried soldiers, with a sense of ceremony for the deaths of these poor men. The film is Anti-War, and it comes across very well in this scene. The shot could be seen as a reference to democracy and the difference between classes. The Grand Mansion could be a symbol of the aristocratic officers, who are protected by the lower class soldiers, who are expendable for a large more 'important' cause.
This is another example of Kubrick's ability to provide incredibly detailed subtext to shots that may even last less than 5 seconds.
Paths of Glory (1957)
Once again Dr. Strangelove's use of the wide angle shot clearly establishes space within the 'war room'. During discussions on what the US government plans to do after a rogue officer authorizes a nuclear strike on the Soviet Union at the height of the cold war, the shot is used to familiarize the audience with the space and the round table setting.
However, what else this shot conveys, is the sense of impending doom for the nation. With the large image looming over the members around the table, it acts as a visual elephant in the room. It not only gives context to what they are talking about but also largely dwarfs them as the situation becomes more and more out of control. It could also be seen to connote a sense of elitism, as the fate of the world is determined by a select, and inadequate few as they discuss the future and fate for their country and the world.
Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb (1964)
In The Shining, Kubrick uses the wide shot to a different effect. As Wendy informs Jack of the weather, as Jack clearly loses his mind and rudely tells her to leave.
This use of shot gives the audience the huge amount of space around Jack. It provides a visual reference that he is alone, as Wendy arrives it is disruptive to the space around him that he has built and we are able to understand how much she suddenly stands out in shot after becoming accustomed to silence and being alone.
The eerie space that is created provides a reference to a man that is clearly on his final nerves. The scene works because of this shot and the way in which it controls the space. This combined with the rising tension of the string based music and her innocent line "hi hun", comes together as Jack boils over like a kettle.
The Shining (1980)
Close Ups:
Close Ups are generally used to draw the audience attention to a specific thing or person. Be that a key object, movement or character's face, the close up is there to get the audience in the moment, close and involved, to see the smaller more subtle moments.
Kubrick uses this to effect in his first feature film Fear and Desire. During a scene in which Sidney tries to get the girl the group captured to like him, the shot is used to reflect her confused and false emotions. The shot is uncomfortably close, to reflect Sidney's invasion of her personal space as he touches her face. It highlights her discomfort and the strange situation she is in, her emotions are detailed by the shot as she tries to keep face.
A simple yet effective use of a close up which stands as a benchmark for Kubrick to expand upon for his use of iconic close ups.
Fear and Desire (1953)
The shot is iconic for its framing and the way in which Jack Nicholson pokes his face through the gap. He invades the space, he takes over the gap and delivers the line with a great performance. The way this shot is done allows the audience to get a sense of this monster character, the audience is forced to look at every fine detail in his face as he taunts his wife.
The Shining (1980)
In Full Metal Jacket we see the use of the use of the' Kubrick Glare'. This time the close up is used to represent another monster character. As Pvt. Pyle's mental state deteriorates he becomes a disturbed and psychotic danger. This shot alone reflects this as he stares past the audience.
This tightly framed shot helps the audience conclude the decent into madness Pvt. Pyle has descended into, with it being a 'he has now completely lost it' notifier. Combined with great performance, this shot closely focuses on not only his facial expression but his mind. With little context a viewer could tell that the man in this frame is disturbed. A simple yet effective shot that ties the narrative.
Full Metal Jacket (1987)
2 Shots
2 Shots are generally used as a master shot or for coverage. While a wide or establishing shot will set the space, the two shot frames both characters or objects of interest to provide the audience with a visual reference to their position and location within the scene.
Kubrick uses these shots carefully but to great effect in his films, holding on them longer where another director may cut to a close up single or cut the sequence differently. Kubrick instead holds on 2 shots for a long time and allows the action to take place in one shot.
This also benefits flowing performance but in a shooting sense it becomes very interesting.
In Dr. Strangelove Ripper describes his theory of fluoride in the water to a very uncomfortable Mandrake. This 2 shot is held for the duration of Ripper's theory, and by doing to the audience is made to feel just as uncomfortable as Mandrake.
The use of the shot and the decision not to cut away is one of the reasons why his scenes works so well. Cutting away can sometimes disrupt performance or the atmosphere of a scene, however his choice to frame this shot as a 2 shot and allow it to run through the whole scene, shows confidence in his cast and his ability to direct.
Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb (1964)
In The Shining a similar shooting style is incorporated as Danny questions his dad Jack whether he will hurt him and his mother Wendy. The scene is shot entirely with 2 shots. Accompanied by the music and the performance, the tension in the room is on a knife edge as the camera frames for both of their performances.
This shot works, because as Kubrick often holds for longer shots the performance is able to flow. By framing this once again in a 2 shot the audience are able to look at both characters at the same time. Holding on this can make an audience feel uncomfortable as they would be used to cutting to singles, however this discomfort is key to the scene and shot perfectly by Kubrick.
The Shining (1980)
Camera Movements
Kubrick use of Camera movement within his films are iconic. In a time now where zooms are rarely used, Kubrick's films all feature them. Camera movements in his films are prominent, meaningful and expertly used. Ranging from zooms, Ariel shots, dolly shots, motivated camera movements and even physics defying spinning, Kubrick masters the use of camera movement.
Zoom:
Zooming can be used for a variety of different purposes, it can focus audience attention on something small, or reveal the world after initially looking at something closely. However, they are visually distracting and rarely seen in modern cinema because of this. To an audience the zoom can feel like a guide, the zoom is the director's control. It guides you to what you should be looking at or provides context to a smaller part of a large picture. However, Kubrick uses them extensively.
As can be seen in the video below, Kubrick uses prolific zooms in almost all of his film. Some directors would avoid these as to not break the rules of audience immersion. However, Kubrick actively seems to look to break these rules to his own benefit.
Kubrick has a reason for each of his decisions, by using a zoom that could well break audience immersion, has to be done for a certain reason. Be it the desire to make the audience feel uncomfortable or highlight something hidden in plain sight, the directors guidance of this camera movement is something that always blends within Kubrick's films.
Dolly:
The dolly was used in as early The Seafarers in Kubrick's work. However, among the many others one of the most notable uses of this was in A Clockwork Orange in which it sets the scene and surroundings of Mr. Alexander's house before Alex and his Droogs arrive.
0:38 - 1:07
The shot is used very well for its establishing of surroundings due to the revisiting of this location later in the film. This allows the audience, from previous viewing, to understand and tell the difference from how it looked originally to how it looks now.
The slow movement of the shot also provides a sense of calm, a calm before the storm of which Alex brings which Kubrick blocks and paces very well. All beginning with this slow dolly shot.
Kubrick uses this particular type of camera movement in his films to establish space but also provide a running performance. While avoiding cutting, the fluid dolly shot which tracks movement or moved director motivated, provides a narrative flow to be establishes and continued upon. Setting the scene for proceedings.
Long Tracking Shots:
Maybe most notably is Kubrick's use of long tracking shots. All his films feature them. As early as Flying Padre and Paths of Glory.
Paths of Glory (1957)
Be it tracking in front of a character moving backwards, or following in their footsteps, Kubrick uses this shot religiously. He uses it to track characters, cars, objects, or even as a POV.
As can be noticed in Kubrick's style, he like to maintain performance, to cut away as little as possible and by making grand scenes where his incredible detail can shine, is able to be accomplished with the use of these longer takes. By using the tracking shots Kubrick is able to provide a visual experience in which a simple shot of a character moving can become a a guided tour within the narrative with some subtle and some very distinct background actions take place to create a moment within film.
This is only possible with Kubrick's attention to detail, a tracking shot for the sake of a tracking shot would be boring or unnecessary, however Kubrick's though process and decisions mean that it works as it serves a purpose or a greater meaning.
Mise-en-scene
Translated from French, Mise-en-scene means staging. It is defined as everything within the frame and applies to theatre and film. Kubrick's control of each individual shot of his films means the mise-en-scene of his works is not only detailed but meticulously planned, the framing, perspective and the position of the characters and props within the frame is exactly as desired by Kubrick.
One Point Perspective:
One point perspective is a technique used greatly by Kubrick. As can be seen in the video above, it is used within almost all of his works as he looks to guide the audiences eyes through framing, and then play with their reaction and feeling from the shots by staging symmetry and holding the shots.
Paths of Glory (1957)
As can be seen in Paths of Glory, Kubrick uses the one point perspective perfectly. He guides the audiences' eye by framing the shot with the firing squad around the border of the shot, he uses the rifles like arrows, pointing the audience in the direction of what they should be looking at and places the target character dead centre of the shot.
Kubrick holds this shot with no camera movement or action from the cast for a moment. The perfection of this shot through its staging makes it already visually anxious for the viewer. The symmetry adds to this as the audience anticipate the firing of the rifles. By holding he waits to leave the audience in a state of anxiety before the rifles finally fire. Centre of which the main movement and character action happens.
This perspective allows Kubrick to know that through his framing and visual iconography the audience will be looking exactly at what he guides them too, meaning their attention is on exactly what he wants the audiences' attention to be on. A master of this technique, he is able to not only guide the audiences attention and make the shot visually appealing, but creates a sense of 'too perfect'. He is able to create the illusion to his audiences that something isn't right or that bad is coming.
One point perspective is a powerful, while unsubtle it holds the audiences' eye to the director's point of attention while also providing a sometimes unsettling effect.
Pacing - Slow Protracted Scenes:
In Kubrick films the pacing of his shots are frequently protracted. Kubrick is famous for drawing out scenes to create long intense moments within his films.
He does this effectively but not just for one reason but for multiple. He allows his actors perform their roles uncut and without stopping. This aids there performance as the consistent, more natural performance is allowed to flow rather than being stalled. By doing this Kubrick allows his actors to build to a climax. Naturally this method would only be used at the correct time in a tension building or pivotal scene but Kubrick does not fail to make it work to all genres.
Kubrick notably uses the method for an unnerving and classic moment within both The Shining and 2001: A Space Odyssey. However, he also uses it for comedic effect within Dr. Strangelove, while a completely different genre, it works perfectly by emphasizing the absurdity of this moment.
Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb (1964)
The Shining (1980)
2001: A Space Odyssey (1968)
During these long protracted moments, Kubrick uses little editing. By staying true to the performance the actors provide and the atmosphere the little cuts provide, makes his films iconic and stand out as some of the greats.
The reaction shot was also more important to Kubrick as he believed that it was more important to see how people reacted to moments rather than what was actually happening. This meant he would overlook what the character was looking at and instead focus on the characters reaction. A style rarely seen in cinema today, but one that focuses greatly on performance.
Common Themes
Humanity:
Every single one of Kubrick's films touches on the idea of the de-humanization of man. From his first, Fear and Desire where the polar opposites meet as we see the demise of Sidney's mind and a group of soldier's desperation.
Kubrick was keen on messages and he used his films to express them. He became notorious to the British Press as he refused to appear on talk shows or do interviews, he would express that whatever he wanted noticed, he would show in his films.
Where Kubrick's films are detailed, there are vast amounts of subtext within his films but what can be recognized is the overlying theme of humanity and its de-humanization. Noticeable maybe most within Full Metal Jacket during the training portion of the film where the soldiers are stripped of emotions and trained to be killers.
War:
Many of Kubrick's films also focus on themes surrounding war. Once again it could be seen as one of his famous statements within his films, combined with subtext which is to convey a greater meaning. However, Kubrick focuses on the effects and dark sides of war. Paths of Glory which was set during The Great War, was an anti-war film which was banned in France for depicting its military in a bad light.
Kubrick focused on these due to his underlying theme of the de-humanization of man and it could be argued that Kubrick saw war as one of the key factors that contribute to this. The films below all feature war within them.
- Fear and Desire
- Paths of Glory
- Spartacus
- Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb
- 2001: A Space Odyssey (War on Earth)
- Barry Lyndon
- Full Metal Jacket
Characters:
All characters after Spartacus have characters that we, as an audience, are not supposed to warm too. These cold, un-warming characters are an extension of the overall tone and execution of his films. It could be said that the reason for these cold characters is that Kubrick never supplied answers. By saying this Kubrick never gave an audience answers but instead proposed questions on humanity, he cared greatly for giving the audience the ability to think for themselves about who the character is and their standing as a person, rather than make it easy and define them as 'man in the white hat good' or 'man in the black hat bad'.
Often sporting the famous 'Kubrick Glare', seen in films such as Full Metal Jacket and The Shining. Kubrick's characters are an extension of himself. They are complex, but are for a reason, they make the audience think rather than spell their actions out. This is one of the things that Kubrick's films are famous for, was their subtext, hidden meaning and requirement for thought. The audience is required to think and examine rather than absorb.
The Shining (1980)
The Shining (1987)
Actors
Kubrick has a infamous relationships with his actors. Notoriously he did not get along with Kirk Douglas during Paths of Glory and Spartacus. They would often fight and disagree, as their creative minds clashed. Kubrick was known to re-write scripts and not tell the actors and he would often play mind games to, according to Kubrick, add to their performance. Douglas would later describe him as a "Bastard, but a talented, talented guy".
However, Kubrick's poor relationship with Douglas was not the only one. He pressured Shelly Duval on the set of The Shining until her hair began to fall out from stress as he looked to improve her performance by keeping her on edge at all times.
Kubrick would cross moral lines and no actor got special treatment on his films. His infamous amount of takes for certain scenes would only reinforce his control on set as he would not call a wrap until he was satisfied with a scene.
Although his high demands for actors took a toll on his relationship with them, Kubrick also had high standards for his extras and non actors. Kubrick's staging and attention to detail as discussed before found its way into performances as Kubrick had a huge talent for directing large groups of extras and non actors. This can be seen in Spartacus where each body was laid out personally by Kubrick an overseen, also numerically ordered so each person had their place. It can also be seen in Paths of Glory and Full Metal Jacket.
Spartacus (1960)
Kubrick's attention to detail leaves its mark in almost all aspects of his work. Performance, actors, set design, framing and everything else. Kubrick understood that to get a director's vision on screen, you have to take absolute control.
Crew
Kubrick was also notorious in his early career for his relationships with his Directors of Photography (DOP). While making his third feature film The Killing he threatened to fire his Oscar winning DOP on the first day, even though Kubrick was young and considered inexperienced.
While making Spartacus the DOP quit half way through filming and Kubrick finished the rest of filming as Director and DOP. Ironically the DOP won an Oscar for it, even though Kubrick filmed a great deal of it.
Kubrick required complete commitment in all roles, he also required cast and crew to understand and respect his vision, ultimately his control within his films would upset and anger others as his control would take over other's roles. As a director his decisions and attention to detail is to this day considered almost obsessive, but this was his personal style, in later films as his reputation grew, cast and crew were aware of this and knew what to expect. Something that perhaps originally annoyed some as a young starting out director having such a presence may have intimidated his production team.
Effects on my Work
It is important to recognize the influence Stanley Kubrick has had on cinema. It could be argued that his distinct, impressive and statements within film are second to none as he defines the change from classic to modern cinema. His films today hold up as a visual masterpiece and still pose questions in today's society.
Now it is time to see his influences on my own work.
Framing:
A key part of Kubrick's work is framing and particularly his one point perspective. This is something I have looking into in detail to understand the way he is able to direct the audiences eye specific points within the frame.
Framing for this is vital combined with actions from the character and props. In doing this I tried to use one point perspective along with the wide angle lens to create a slow tracking shot that moves closer to the point in which the audiences eye is guided too. Her hands.
This simple yet effective technique is able to direct the audiences eye to specific points, even in a wide angle shot.
Double Exposure (2017)
Mirrors within Kubrick's films are common, notably seen in A Clockwork Orange, The Shining and Dr. Strangelove. Mirrors often feature within psychological thrillers to helps represent the seperate minds and sometimes to reflect dual personalities.
A subtext and effective way of telling the narrative, Double Exposure incorporates a number of different mirror shot to reflect Emily's personality, the way she views herself and the two realities going on at once, the one Emily has fabricated and the one that is real.
Double Exposure (2017)
Double Exposure (2017)
Music to Tell Story:
Similar to A Clockwork Orange where the song 'Singing in the Rain' plays a major plot changing part within the film. In which Mr. Alexander suddenly realizes Alex was the man who broke into his house and attacked him and his wife years ago, whilst singing the song. He is reminded as the song plays a vital part in making him realize the who the man in his bath really is.
Double Exposure does this in a similar way but instead prompts the audience to understand when the timeline changes. On the whistling of 'Twisted Nerve' the events jump to the day before and acts as a marker within the narrative timeline. A simple but effective technique, it removes the need for a title screen or narration, of which Kubrick uses in many films but notably in The Shining instead we signal the timeline change wit music, as a narrative guide.
Ariel Shots:
One of the shots within Double Exposure is a homage to Kubrick for his influences on my work. The shot is of the Torrence Family on their way to the Overlook Hotel at the beginning of The Shining. The fluidity of this shot, filmed on a helicopter, is visually astonishing. The timing of the car moving and the directing ability to shoot an opening sequence in this way is inspiring to any filmmaker.
As Kubrick pushed technological boundaries, I feel like this shot defines his style of beauty meeting forward thinking. Something I wanted to pay homage to in Double Exposure.
The Shining (1980)
Double Exposure (2017)
Fear & Desire:
One of the most valuable lessons taught from researching Kubrick was strangely from something he tried desperately to hide. The film Fear and Desire. It stands out as the most unlike Kubrick film he has made, it crosses the line, it has a weak script and little goes on within the entire story. While there are glimpses of his talent and ability the film is understandably something Kubrick wanted destroyed as it shows a genius learning, and making mistakes.
However, this is exactly what inspired me as even the great Stanley Kubrick had to start somewhere and made errors. It serves as an example to me and should do to others that as long as a filmmaker learns from their mistakes and moves forward, they will succeed. Everyone has to start somewhere, as even Kubrick did.
Similarities and Differences
There are a great deal of similarities and differences within my works and Kubrick's, excluding budget, time period of film making and the difference in cast.
Number of Takes:
Kubrick's takes are themselves something that sums up his attention to detail and perfectionism. While I myself look to aim for attention to detail I am not even close to his level. This is not necessarily a bad thing. As an aspiring director I am still finding my own style and learning the aspects of what works and what looks good and what does not. I personally would not, at this stage of my creative vision, reach any where near the amount of takes Kubrick would get too.
It may me confidence or perspective as at this stage I would begin to question what was going wrong with the scene, whether this shot works and begin to target what is, if there is, the common thing going wrong with the shot.
At these moments I would discuss with my cast or DOP, depending on the issue and try to come to a resolution. While Kubrick obviously resolved issues until he got the shot, given the time frame of the project, our university deadline and the duration we had the location for; I could not afford to take high number of takes.
Control over Performance and Relationship with Actors:
Kubrick's relationships with Actors were questionable and considerably different to my own. It seems evident that Kubrick saw his actors to be similar to his props. They needed his direction constantly and it was to be done his way entirely, with minimal free reign given to the actor.
My approach was different as I made it clear with all our actors that I was open to their interpretations of their characters and roles, it was clear that I was director and I had my own vision for how the characters would act, but I was open to their perspectives playing the character.
Casting played a huge role in who we got as our actors and our time was well spent as we managed to get fantastic actors that understood the role and characters perfectly providing perspective and alternatives to actions.
This played out to be a huge strength as at the moment I feel I am still very much finding my style as a director, while I had my vision and knew what I wanted from the film, the actors provided ideas that worked very well within their characters which I had not thought of and added to their performance. It allowed me to understand what it was like to work with professional and experienced actors.
I felt this worked well for me as it allowed me to understand and draw from the actors creative experience and work it within the film. It was this flexibility and these discussions that not only improved performance but kept a good atmosphere on set.
Attention to detail:
Kubrick's attention to detail is something that is evident through almost all of his work. His eye for fine detail is something that ties together his work. This is something I am looking to build upon within my own work.
Previous projects of mine have lacked the finer elements to make them good pieces of work and this is something that causes great frustration later on during the edit. For this reason going into this project it was something I wanted to focus on.
Emily's character within the film is someone that focuses on the finer elements, this meant that for this film to work the finer elements had to be focused on with a constant eye. As a test to myself, this project works as a exercise for myself to focus on the fine details.
In the film prop placement, actor positioning, framing, symmetry and performance where the key areas my attention to detail came in. I realized from studying Kubrick's work is that the attention to detail can sometimes go unnoticed, forcing the viewer to look at a slight movement is effective but what is equally effective and more impressive is drawing their attention to a small movement in an extreme wide. Framing and performance play their pivotal role in this and given only the single word being spoken in a majority of the film, it relies on these elements to tell the story.
Focuses on Acting Performance:
Kubrick holds his shots on performance. He rarely cuts during climactic scene and favours the reaction shot over sometimes even the thing the character is looking at. This shows his focus on performance, allowing the story to be told through a characters emotions and their reactions to situations.
I feel that we are similar in this respect as I had the luxury of working with good actors in which cutting around their performance was not necessary. I chose to hold two shots of the characters engaging with another and held on the reactions of characters to show the audience what they are thinking. This was vital as this is a psychological thriller we are exploring the mind of the main character, Emily. We understand her emotions by seeing her reaction and interaction with other characters.
By holding longer shots it not only allows the performance of the actors to flow but it also shows the confidence I had in their ability and their interaction.
References
- Kinda Crazy
- Behind the Scenes of The Shining
- Behind the Scenes of Full Metal Jacket
- Stanley Kubrick Documentary
- Kubrick Beyond Perspective
- Kubrick Zooms
- Following Kubrick
- The Cinematic Experience
- Douglas on Kubrick
- Centre Framing
- Kubrick Film Techniques
- Day of the Fight
- Flying Padre
- Fear and Desire
- The Seafarers
- Paths of Glory Tracking Shot
- Deactivation of Hal 9000
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