Martin Scorsese interview on Stanley Kubrick (2001)

Stanley Kubrick was one of the most innovative film directors in the history of cinema when he died on March 7th 1999 he left behind an astonishing body of work but because of the veil of mystery that surrounded this director he also left behind many questions about his life and his career they are revealed in a new documentary Stanley Kubrick a light in pictures you it was magnificent one of his pictures are equivalent to ten of somebody else's and shade you said do you know him and nobody ever really knew him he was known as a kind of future threat one of the all-time great motion pension makers a future threat to peace and quiet legendary Lima what times he drove me crazy he was a very lovable individual I love him one minute and the next minute I hate him I could kill him absolutely intelligent person I've ever met he got fascinated with the speakership if you've seen the film Groundhog Day because they told stories those bad well that's what it was like this man was born to push the envelope there is still a part of County that's of great mystery to me and he always pushed the envelope and you must expect someone like that to be different from the rest I think we were too scared of the movement it everybody pretty much acknowledges he's the man and I still feel that under eight [Music] joining me now for a look back at the life and work of Stanley Kubrick his wife of four to two years Christiane Kubrick John Harlan the director of this new documentary Kubrick's longtime producer and filmmaker Martin Scorsese I am pleased to have all of them here to celebrate is what we do here celebrate an extraordinary career in film by a very interesting man let me talk about the filmmaker first what made him so good well I think the one thing you know you go to movies you go to movies to be to be involved in the picture to get a sense I just want to I want to lose myself up in that screen for a few hours and in a sense notice like to be human really then you come across certain kinds of films that when you go to the theater I mean you see them you're completely surprised they make you look at life a different way to make it look at being you in a different way they touch areas that you don't want touch sometimes it's purple provoke you really and then there's that rarest of films where when you see it continually over years 10 15 20 30 40 years you still see more in it and what's even better is that if you're making pictures you go back to this well this source for a inspiration and be maybe we should be a is to learn to learn how to make relationships to learn and remember when you get tired especially as you make 10 to 12 films realizing you get tired to say why how can I get that there what can I do you look at that sources look at that inspiration you say well Kubrick Kubrick wouldn't let us stay this way he would have he would've changed that angle he would worked it out he would try to figure out getting more time to shoot the scene this way of that way would he would have really seen it through to its end and so that inspiration I must say I must say it's looking at his films there's many ways they look at his films besides on a big screen I like watching one television I like watching with the sound off so I can see the rivet of that well yeah sometimes you can see the rhythm of the cutting in the camera moves and when he cut in a two-shot conversation the classic one is mr. Grady and Jack Torrance in the back right crossing the invisible line right right a red background the cuts and when he touched when he destroys him visible line and when the shot gets tighter on which line of dialogue your son has a very great talent I don't think you are aware how great it is but he is attempting to you that very talent against your own will remember in Johnny on I think and there's a piece in the film where he says don't you want to be perfect just Stanley say something like that to someone don't you want it to be perfect yes well it is it's a story that it goes like this Tom Cruise and Sydney [ __ ] have a dialogue about the many takes and how long it took to do a particular scene and Sydney says oh and after three weeks you know we were still on this and then comes as well and Stanley said Sydney I mean I know I didn't think it would take that long but don't you want to get it right yeah so what's the connect between the genius on film that we see and the genius and the man and what was it about him well I suppose the reason I left him is because in his own life he had the same enormous attention to what is important and I think many people do that so he was very interesting yeah you met in person when he came to California no no agent Libra and he hired me in Germany he made past glory and he wanted in the end a lyrical note and so he wrote a scene about a girl being dragged on a stage to a lot of rowdy soldiers singing a song so he's looking for an actress yeah and he hired me commenting roll take take a look at this [Music] enticement in the board saspa design health leaps in in seven lakh yeah the relationship started soon after that yes my shooting wasn't until the end of the film and he sought me out at a masked ball yes there's a big carnival in Munich fast knock and all the people that work in theaters they are hired for Great Red Cross balls so he got somebody to take him there and he looked for me and that's how I met him so we were already living together and I shot the scene so you live and get one shot to see ya where do you think I mean this is just the most difficult question to ask what makes a great artist I mean what what do you know I don't know but I'm not hopefully it stays secret and it's interesting that one cannot know just having seen AI I realize that's what's interesting about people if anything you've just seen a young and then you get on the finished bike Steven Spielberg yes you know and you clean it and what does it tell you yes I pushes many buttons I mean I'm very very clearly you used it's got many layers it's a wonderful film wonderful wonderful and I was sort of in an emotional mangle sitting there and I get there were so many names to be read afterwards I could pull myself together very very good so and so what makes an artist thank God you know you can't explain it just hope that it's there hope that you're out hunting how did he think of himself to me started as a photographer yes he hoped that he was good he hoped he hoped that he was good yeah really I don't think I've ever heard him brag or be wonderfully secure and I feel that also cause if you are that you also get you know don't linger thing they all strive for the great self esteem I think in the estimation of others you have to be good you know the self esteem thing to Murphy alright what I love about him and he shared this with Marnie is the choice of film themes I mean he clearly was someone it seems to me who wanted to treat cinematically great ideas or great human beings he wanted to Napoleon he wanted to find and make a film about half the glory was about war full-metal-jacket was about war they wanted to make a film about men and women which was Eyes Wide Shut he want to make a film about Napoleon which didn't happen because of financing and all that you want to make a film about the Holocaust but it was like someone who wanted to make films about things that interested him that he could that he could investigate get his arms around and and find out things and yes but the third of the truly want to make films that mattered that had not only good form but also substance and while his films are all very different from each other in form they're not that different if you look very closely because there is something that connects them all and that is a very serious look at human nature human frailty it's interesting that he wanted to make a film about Napoleon he read for two years about Napoleon he was a great expert on Napoleon what was it that interested him but a man who is so talented really one of the great talents of his time as a politician and as a military man he ruined himself it was in the end the family always says the emotions carried him away and the emotions dictated and not the knowledge and not the sharp intellect and the analytical thinking and this is true all the time and this goes through his films in 2001 the computer didn't malfunction the computer was perfectly fine it was silly it was operator error them near the people who told the computer to not disclose information but just glued in him yeah hit computer and so yeah all the films are very different and when you say the Oscars gianni before how did he think of himself the word genius was clearly not allowed not allowed absolutely someone Stanley you're a genius oh yeah work anyway it was almost came close to insult because you know they always said about himself and he was called a genius but genius is 10% talent which is the mystery yes we don't know what it is 90% hard work yeah it's bad inspiration and project rating right yeah hard work yeah and that's what he weighed then obviously it was almost like him he was a hard worker I mean some people call him obsessive yeah what does it mean the perfectionist I considered a compliment to being a perfectionist yes he was and he was very demanding it was very difficult but so what yeah as a student of film which you are when you've done television surveys of film what is it that interest you most about him I think um as a filmmaker you have to tell a story to the audience and in so doing you have to translate it through an image which means that you direct the eye and the heart to look in a certain way the way you want it to be where you want them to see it and I never saw anybody tell a story that way pretty much every one of the films pretty much every one of the films you can study the shot first of all you don't go setting the shot you go look at the movie and it affects you it doesn't affect you they affected me and then I went back when I begin to learn more about filmmaking I went back and I kept saying why is that one so powerful why so powerful language back and I try to trace backwards the shots and then eventually you know eventually it was I started making films before there was video so I had to do this going from theater to theater you know it was a different thing they're trying to write down notes it'd be why does something stay with you for so many years what are the tracking shots and pads of glory today with you it's really a person with a very strong powerful storytelling ability talent genius who could create a solid rock image that has conviction and that that is the image what's in that frame stays in that frame what is it in the frame is out and that's it you have to composure in that frame I know it was just oh photographer before until you saw this done oh I knew that I do a few years later okay I never we never really actually met but I I've read over the years so the Steve Spielberg told me about them and that sort of thing that's of course still photography once you get that image but then it moves still cameras don't move you know and so it had different ordinary authority saying look I'm going to I'm going to tell you the story this way and you're going to see it this way then you add to that what I what I feel about his pictures and you add to that you add to that if something is good there's good in this bad assuming something is wrong and something is right but what are we altima t as human beings are we fundamentally good or we fundamentally bad I think I think there's there's where you that's why they that's why they they you can you can watch these films again and again and again The Shining is fascinating for that it's really all going on in his head Jack's head yeah you know but those those scenes that's so believe in Eyes Wide Shut what the husband touching areas that it probably should have left alone you know being too confident about himself in a relationship remarkable film remarkable any the more you see Eyes Wide Shut the more the more you get involved that we're all at a certain point you to want to because it's too painful but it's it stands up it holds bertolucci was saying this in Rome then about building in Rome yeah yes Wide Shut is really good person yes they did say that yeah how did he say whose world he said yeah I know how did you feel about ours watcher I lived with a story for a long time because he read it in Oh ages ago and in 68 when 2001 came out you know he was going to do that next and after 2001 yeah would be been he as curtain and and I was real very young still and I thought that is a very moisture seeking story very uncomfortable and I known plays Resnick's learned somehow I just really responded as probably young people do with fear great discomfort and here yes because because he would have these stories at home and right at home and he he would I don't know it was just oh we had fight there is a very strange and and you know it's the sort of thing we I don't like to start why don't you like the story and your auto time and it becomes third degree yeah and then he read clock or continent did that first and I was much relieved at the time and but if I knew it wasn't going to go away was always you know something I know back there animated and luckily I think being so much older and it was then a much wiser film not so furious anymore he had was about what men cannot never know and what women will know men could never know and so I think it's a very wise and very forceful film and I think very much in the spirit in which it was written were you surprised by the reaction of the critics yeah I always am you are yeah I was imagine what will people criticize him what were they like and I'm always wrong and always by indignant as I approach anybody who's on the stage yeah yeah hurts hurts yeah because so many years so much of Europe yeah yeah I mean and it stinks to admit it you know roll.take eyes wide shut here it is because he ones just means that what you're saying well I don't think it's quite that black-and-white but but I think we both know what men are like you said as we're watching this he was outside the room you said he's standing out that the camera was it's called a hotel forget the term the camera is on a remote and you spend it was sitting outside and watched at the monitor and control the movement of the camera even a good operator yeah yeah and so so they were all alone they didn't see anybody else and they experimented you see what we could afford to do is take time you know we could afford to take time ah so we took job don't let an order-taker week or the Portofino our budget was so I mean we typically spend in in a week what equivalent films spend in a day they did my nude crew I'm offended with it count at the lunch counter place there are more than 50 plates to be washed up everything is relative images we do get more money less freedom you know that's exactly I mean just after its control vector that unit an actual production unit day by day to it save your money for what's on the screen yeah the but there was always this about stana that's reflected in your documentary it always took him a while to make up time yes absolutely I mean part of it the perfection yeah and it's also if he didn't he didn't plan to do it that way I'll tell you when we get rescheduled when the first assistant director Brian Cooke and myself proposed an original schedule for Eyes Wide Shut he proposed 24 weeks because we thought we wouldn't get much more he is a 24 weeks it's ridiculous I mean you know these are two people talking we can go ahead a have to reduce it to 18 he meant it I'm sitting here all over here it'll make you feel good yeah how long did it take him oh it took a year a year yeah but I know it doesn't really matter and Warner Bros be alarmed ruined and they were not alarmed you know not even a little bit of a player that's nice a lot of the association with tear I mean very similar Glee Association yeah but they would have loved the association had he gone over budget three hundred percent he didn't he always delivered he delivered the good and even if you went ten percent of a budget also that doesn't really matter that much but he went sometimes over schedule and for good reason he didn't make any shortcuts he wanted it to be as good as it can possibly be but I was counting the dinner plate yeah more than 50 you know in you there's a number too many people are arrogant saying I was so profound everything you know that's all I was unhappy like moving quicker what did chess mean to him oh this is he played it extremely well and at some point I think you made living with it the chess hustler something like that yeah and throughout his light play yes yes he did and unfortunately I I know I can't do it at all yeah and so I didn't place would you play on the set yes during strange laughs and there's other fancy play for the Jagger's yeah and and also with shining and over they will cry whenever the ground was really good yeah you look at the competition yeah and you later he then later like he played with the computer we did became interested in the computer yeah you said that with a certain exasperation yes he was exasperated with it so one of the most exasperating thing about Stanley for you exactly exasperated and I think he was he was because of the aforementioned intensity he tended perhaps to be domineering and but having more women in his family didn't always succeed so we fought back but he without him we're also like without an umbrella it's a horrible and maybe he wasn't in the end exasperated I mean no you know I feel very lucky what does this film mean for you this compilation of his life in which you contributed early private moments yes we really nervous that because we were so sad we tend to be sentimental and and and cute and indiscreet and we had all the material to be so and then we quickly took away and because the sort of gushing stuff that families do is vomit inducing rather and often family looked over our shoulder he would have been very upset so we were then very disciplined and there conscious of it's interesting thing that did you feel that he was looking over your shoulders you were putting this together because you'd spend so much time with him as a filmmaker and so he was there in the presence of a film about himself and only actually very little because I was also used in representing him and being loyal to him that I didn't break that loyalty after his death I had very specific aims I wanted to show the man as he was comprehensively now you could ask who was he yeah the first answer is he was one of the most important American directors and one of the most important artists of his generation he was also a real New Yorker he stayed in New York and I not only wanted to have certain people his friends and other actors and colleagues to contribute I want I was made my father name to specifically get for people who didn't work with him into this documentary this were in MO Bergman Martin Scorsese Woody Allen and Steven Spielberg and I was very grateful that I got three over four and Ingmar Bergman unfortunately couldn't do it and I think is very very important with the Allen and Martin Scorsese because they were also New Yorkers and they were people he admired he loved their films yes and Steven Spielberg he always had a relationship where they they talked on the telephone all the time and of course he offered to me years ago to be the director of AI and a wonderful scene I think in my documentaries and Steven Spielberg and tells about this visit in his kitchen and in as well and I didn't believe it but but Stanley actually offered me already a credit card say Oh a Stanley Kubrick film a Steven Spielberg here's a I and then however I explained it was ICA is about it because then he felt that Steven would have sort of more than knack for this kind of huge fairy tale that it is well and then it didn't happen and I both made other films and it did eyes wide shot and I'm really really really good very glad but then after Stanley stirs a year later it came to be that that Steven Spielberg in fact did make AI and it's beautifully I mean I'm so impressed by film because he is really the only director who had the moral authority to take it on because they had already collaborated and but however really put his own handwriting on it which is also necessary and yeah so I had very specific aims of this film and I hope okay but one of the aims was to is you were talking about this take Marty who's so powerful in the film mmm because he was a filmmaker of the same generation and he stand alone and it was in New York you know in the New York yeah but here is Martin Scorsese who lives in New York yeah Stanley lived throughout the latter part of the dot life in London you know what his daily newspaper The New York Times the New York Times I should have loved the internet and i'ma get it all you know II didn't mean you didn't say they love you I did my wife did my gosh yeah but he but how do you explain the fact that that he felt like for creative purposes he had to stay in we were sent there because in the beginning to make a leader it was 40% cheaper yeah because of the IDI plan which is a tax thing uh-huh and then we were in England and our children grew up there and went to school and it became harder and harder to leave and we also loved living there is sort of happened wasn't the plan we're now and it wasn't a reason to reject New York a minister didn't reject any it wasn't a need for private I just feminine by the time we were there for a while we sort of were involved with other people and the children school is very difficult to take children of all the times he made which one speaks to you most is there some part of this collective works that says to you I think it's hard it's hard to choose one of the pictures I kind of very strong feelings about Barry Lyndon and about 2001 and those two out of a bolita of Clockwork Orange at of Eyes Wide Shut that that sort of thing but 2001 strange thing I mean when I saw that the Capitol Theatre year you know as I said you know when is named of course there was a great deal written about the film or written about the mystery of the film before before it was before was released and so when when I went to see it I expected much more than a film and I as I said we got it you know and I think what I guess good very affected by religion in my life and that's or that that side of me founder extraordinary extraordinary kind of comfort in the end of the film a very beautiful moment rotate 2001 open the pod bay doors oh I'm sorry Dave I'm afraid I can't do that what's the problem I think you know what the problem is just as well as I do what are you talking about you screen this 2001 for the Vatican six months ago yes the Vatican invited one US Warner Brothers and you know but that they could screen 2001 and invited because John and myself and one of the Cardinals gave a little speech of it saying why why this is such a monumental film and Stanley also received a prize from the Catholic Church at the time for making 2001 he was actually very very surprised because he had a bad time on Lolita with a Catholic Church but they gave him the prize for 2001 and they made the reason is because it is a very reverential film it makes it the big bow to the unknown creator only was not a religious man but he was very very respectful to the unknown and to the origin of what is did he think after he wanted megaphone about the Holocaust and he didn't because of Shen was lit correct did he ever want to go back to that theme or do that that I don't think so because he and the next in line was clearly for him eyes wide Chardonnay I and I actually thumbs out yes these are the next two films after he gave up on Aryan papers which is a wonderful script on a great book yeah I Lewis Begley right cold water right right do you have a favorite people ask me that and I thought about it no I I also have a weakness for Bey Linden and I love 2001 what do you have Barry Lyndon and I'm also a painter so I'm very very what kind of wife that sometimes yeah yeah else was character poor guy yeah I always - from the beginning I had that great last line where everyone's equal now I'm decorator now Anna I did like I was sort of nervous going into the Vatican and sitting there was 2001 and I thought and film looked sort of small up on a big church wall I think oh god it's really a little agnostic prayer you know we we're also thinking about these things and it's a moving to see it then tell me about the style then was this revolutionary at the time oh yes I mean you come off the style wonderful style coming out of England I think Richard Lester the hard day's night the Beatles the way MTV is affected now films MTV cutting commercials we're affecting I think oversimplification I guess but commercials were affecting cinema editing and logic in a way continuity at the time and Richard Lester was like in the forefront of that and the neck and how to use it and not how to get I should say and 1 2001 come everything screech the other way it was amazing because it simply stopped how you normally would experience time and forced you again with great authority to look at a world part of it conjecture part of it based on scientific fact but to take you somewhere else completely never been before and we made you immerse you in in the drama I thought one of the great murder scenes of all time is the destruction of how the examples ordinary murder see really his murdering of the other scientists are in that were in the who's sleeping just those malfunction you know and they're written you begin me realizing it's a person takes the machine taking their lives but again basically as I say it's a murder scene but look how it's done sincerely my mind is going there is no question about it you've never seen anything like it I think we didn't see anything like it up at that point I still don't think you you've you've been immersed in a world in that way certainly not in commercial quote commercials for unquote you know at that time coming out MGM presents and subtly are taken to another time frame what did he think of actors and how did he choose actors carefully thanks slowly decided that certainly I mean the decision to use Tom Cruise came very quickly actually that may have been an exception and he was very he's gonna cruise film or based on because they wanted he wanted a young man who was good-looking successful for this rather normal New York doctor it was wasn't supposed to be anything special about him rich successful beautiful life everything's fine a whole record and I think his Akashi was brilliant in eyes cleared yes and about Jack Nicholson in the shining he was I think complete master yes no that was a very deliberate choice yes I remember that there ever an alternative I think I think this man he wanted Jack Nicholson right away I mean the shining happened because he got jacked ago I would put the point that that Dominique all were chosen even stronger and that he wanted two people who are so perfect great looking very sexy no trouble in any field as only uh only of her own making they do it themselves they're not other people might have psychological problem of the very ugly or unsuccessful network would be side issues that would enjoy the impact this does nothing wrong for them except what they're doing roll tape here as a shiny we'll come back to actors Jack Nicholson and Shelley Duvall here it is here's Johnny great okay yeah we should say this and you're talking as we see this unjust he makes the point that you the camera which is there follows the axe back and then followed you forward with great with great control it does not hand help ya it hands calmly but not calmly this is kind of tension when it reaches a certain position then pans back and it's a very interesting offer operator in calculating and you said all kinds of angles I mean he shot you ran through about fifteen doors and shot angles everywhere yes he covered himself fully because he didn't edit steering shooting right which is an unusual way maybe it's doing with it what's his charge that's how I like doing it he wanted to be able to edit after he got there anyone everything every possibility and I said to Marty it'd be great to watch movies with you because you notice so many things and you said family talked all the time and yeah and you would say just shut up yeah just because he cries alone I want to hear what they're saying okay he loved loved loved loved them yes like a sky yes so millions of so screenings everything it gives hands-on if he stole be heard about an active hear it about a film yeah he caught up Warner brother somebody give me all the single scenes over and over he saw hope so she saw some really dumb films and where there was one scene that he was waiting for her he saw films wait where he was embarrassed being caught seeing them good therapy for you wait I don't know all those things you thought you were late at night not never know I just watching this find myself yeah I know everybody's research enough somebody with he did they talk and react here's Ulta to to change real soon okay let me change typically I mean if you were in the film you know I change on he went into Mexico but he was right there and we sometimes had ten sitting in a projection too long we can be there you know and then Oh what shall we see you know I have this and this all rose is a nine way let's get this one six three two older films matches no way Oh everything in that bag and oh yeah he was a real movie buff he was on other foreign films also he loved certain directors colossally and he will never miss a film of these directors not only Scorsese Woody Allen he would never miss khalasar a film which are happy birthday young and or still works in all the major films of course is also magically but also smaller films you can't even get a trend you happy adores I mean for example a Swedish film called the immigrants in the new land oh yeah they were certain schools we hired yeah we hired the costume designer for very London and then a bad woman record I can deserve a million I can on arrow and what's her name elaborate further Loomis yeah and she she died down later on hood I think it was Tom Cruise or maybe someone else it you just love being with him because of all the dirt in just the fact that while he was difficult tough offensive driven passionate anything I agree with all this so far yes although he wouldn't you wouldn't confess to all of them but you would observe he would reserve a little I'm you know not as you know he didn't like to hear being called all these things at once lovely one love attenuator and yeah he was I forgot what you asked me well I hadn't gotten there yet I was going to say but but he what was it like being on the set with then the Kubrick was he me did he have video he I think crews said Tom Cruise did he just love to have friends for dinner he'd love to be able to walk he got interested in everything he talked all the time he liked talking and and it was very interesting I had the greatest floor show anyone's ever had normy need wood meaning interesting stories interesting life interesting it was interesting he interpreted the news and he covered the news for me now I don't he told me what to believe and what not to believe and yes yes you look interesting and a horrible gossip he's a horrible doctor all gossip is good isn't it yes yes so do I really everything about everybody right nitty-gritty everything but he got up in the morning thinking about movies and he was the best thing about movie yes I'm he wouldn't have put again he wouldn't yes of Cour been told about filming all the time but he I think he was just like a huge radar dish everything to between the sports was very important notice I could not I couldn't get anything in my documentary I mean certain things you have to believe out he absolutely adored good sports like soccer like bikes all right and its second week Wimbledon for some reason everything quieted down in our office he loved it and I remember I saw off matches him between McEnroe and Boris spec of those the great absolutely was absolutely amazing and and we were riveted and afterwards he said hmm I don't think any movie can come up to that level of exciting next I did it because you never know what's going to happen that is one thing about sports is and he loves it here we love an important part anyways first film was really about sports was one boxing yeah that day of the fight and that is very well covered in the documentary take a look at this this shows you this is a man's to rant about women all the time his wife and his kids here it is you know what kind of a camera that is maricely he is often to find me in ad ever yeah oh I don't believe that I can't believe that well you better believe cookie news 10 didn't you had to see this film because anyone giggles I think I completely I think I'm one of the many most even-tempered people you'll ever meet tell me about that and he made family films all the time yeah and we insisted that he was to leave his directors hat behind and they were usually asked victims to some new camera I was and found this is all new in those days it was never working properly and we were so horrible to him we didn't do it well impatient and how much longer do we have to be here and he said I have not appreciated that's all it was I mean it was it was very boring to do it's very funny we're very glad we have the film's now but he would have us do all sorts of things well he could match it I think without the only family actually this is that no no no no how much do I mean that there's always a great story about larger families where the kids who were born first would say there'll be all these thousands and thousands of still or movies is all done by the fourth kid there's nothing simpler no the how hard was it in making this for you to say I have to be rigorous after me I have to show the man that I know but as I often get but this was a man you love this way we work with this was a man you care deeply about yes it was hard to leave things out it requires an enormous discipline because it would have been much easier to make a four-hour film a fantastic material art department material from 2001 that nobody has never seen I would have loved to bring this in but you know that was not the topic I would have loved to have much more material for example this Martin Scorsese over the L&O all the others many people are interviewed having just a single friend who callously Marisa Berenson top field many sovyetsky Vanessa Shaw yeah I could add no room I had no time and you can't be too Kutty yeah if he if he doesn't know much we have to let it breathe yes just let it breathe and Jax you have to give the impression that actually you're not rushing from time to time we have to come down and really be quiet and show a clip and let it run long enough because if the audience feels you are rushing then the whole thing is destroyed or is there something about the light he lived in the way he lived his life when you look at the talent that might have enabled him if he did it differently to be even better as a filmmaker as an artist you know did anything he was wondering it was in anyway so you know counterproductive to his own work he didn't think so he thought if he could find a reason why he can't knock out films faster he would have liked to have known the reason he thought he wants to really find a good story and until he'd found the story he wasn't going to do it and it made him very unhappy when it wasn't happening and he couldn't find it and he sort of got hurt I just can't tell anymore what's the matter with me and it made him miserable when you had to give up the the holocaust film friend yeah he had read so much about that and it became red and Napoleon and the probably the Pauline he was furious that he couldn't get he still had a sneaking hope maybe he could still do it he did he did it sounds like that that you when you'd make that you just I guess nobody is admitting for different reasons sometimes just to be able to do the process to relearn how to make a picture in some cases yeah I've been the industry change for example in the type of film I was making the early 80s was not accepted that much in Hollywood anymore I started document back and did independent film after hours and then upped it again a year later with movie stars of Paul Newman and Tom Cruise and color money to try to learn if I could survive it's really experimenting even keep fear seems I could do a film that I don't know that has another reason for being rather than it's really a learning process for me more than anything else and still fit within some sort of commercial commercial framework and that was a dangerous part man and I this is this is extraordinary you know it's to hear this for the first time to a it's I didn't know anything I really had never both more you know so it's really interesting because uh they're right you have to wait for a story that's worth telling you really do Stanley Kubrick died at 70 years old much too young this is just a small part of what a life in film is about and this is you'll see here the thing that we have been talking about is this Stanley Kubrick liking pictures of them by on Harlan edited by now in the biner today canal canal I thank you Martin Scorsese a man who loves them as much as anyone I know but probably rivaled by Stanley Kubrick's John thank you very much and especially you for coming here and sharing this conversation about someone you spent your life with and shared joy and joy and joy and be guiding to sleep page 70 in London thank you for joining us see you next time

Channel: Manufacturing Intellect

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Id: vYmMIA1hWDE

Length: 47min 24sec (2844 seconds)

Published: Tue Feb 21 2017