Thursday, August 31, 2017


Richard Anderson, who portrayed the obsequious prosecutor Major Saint-Auban in Stanley Kubrick's 1958 anti-war masterpiece Paths of Glory, has passed away at the age of 91. Anderson enjoyed steady work throughout the years before achieving the heights of popularity as fan favorite character Oscar Goldman in two hugely successful mid-70's science-fiction TV series, The Six Million Dollar Man and The Bionic Woman.

In an interview American Legends conducted with Anderson specifically to discuss Kubrick and Paths of Glory, we learn:
American Legends: Showing the execution of soldiers ran contrary to Hollywood's standard approach to filmmaking.
Richard Anderson: Max Youngstein insisted that the three soldiers not die at the end. He said, "If those guys die, who will go see the movie?" The studio wanted them reprieved at the last minute. In Munich, Stanley sent Youngstein the final script without making the changes Max wanted. He registered the script to show it had been sent--and held his breath. They prayed Max wouldn't call and say that the deal is off. No one at United Artists read the script. When Max was shown a cut of the picture, he turned to Stanley and said: "You were right."

Wednesday, August 23, 2017


Did you ever wonder what The Shining would have been like if it had been directed by Sam Raimi instead of Kubrick? Well now, thanks to the magic of the Interwebs, you need ponder no longer! Enjoy!

Here's a beautiful collection of images that inspired Stanley Kubrick's vision for The Shining, as assembled by Candice Drouet.


Here's a little bit of dance fluff in that weird art installation thing where they re-created the Human Zoo Room from 2001: A Space Odyssey.

And finally, is Chicago weirdo rapper Danny Brown's latest really "like Kubrick with two bricks"? I'm going to let YOU be the judge of that. Watch his strange new offering, below.



From Dangerous Minds:
Artist Murat Palta has created a fantastic series of works in which he juxtaposes a famous scene from a well-known film with the style of an “Ottoman miniature” painting. The results may alter a viewer’s perception of said films as Palta’s subjects wear expressionless faces in his paintings—despite (for the most part) being stuck in the midst of all kinds of fictional chaos and mayhem.

Hailing from Turkey, Palta’s first cinematic/Ottoman mashup from 2011 combined characters and scenes from Star Wars and received so much attention that he decided to take on a few other memorable movie scenes. Such as the bloodbath at the House of Blue Leaves in Kill Bill, Jack Nicholson’s door-smashing mental breakdown in The Shining and a scene from A Clockwork Orange where the Droogs and Alex DeLarge (played by Malcolm McDowell) put the boot in on a homeless man just for, ahem, kicks. 
I think it’s a pretty safe bet that you’re going to dig Palta’s paintings as much as I did. You can also view them in more detail over at Palta’s “Classic Movies in Minature Style” page on Behance. That said, some might be considered slightly NSFW.



Check out (and be inspired by) Stanley Kubrick's work as a brilliant "boy genius" photographer, thanks to the fine folks at Konbibi! There are some really cool photographs in this collection, some of which I'd never seen before. Fans of Kubrick's early photography really shouldn't miss out on this link!


Over at, James Dunlap presents his "Fan Theory" about Eyes Wide Shut, asking... was it all a dream? By the time you're done reading his exhaustive and entertaining exegesis, you just might end up convinced.


In this Vulture story about the all the influences on the TV series Legion, we get the following paragraph, sub-titled "Stanley Kubrick":
According to Abraham Riesman’s behind-the-scenes feature, Stanley Kubrick haunted the development of Legion, and Hawley was somewhat obsessed with the the late, great filmmaker. You can see Kubrick’s touches all over Legion — and not just because the facility that’s treating David (Dan Stevens) happens to be named Clockworks Psychiatric Hospital. The “normalization” of David feels similar to the treatment of Alex (Malcolm McDowell) in the second half of A Clockwork Orange, and the orange jumpsuits definitely look like a product of the era. There’s also a sense in Legion that the design is meant to reflect the confused mental state of the protagonist — production designer Michael Wylie told the Daily Beast, “We’re not supposed to know where we are or what year it is” — and using design to reflect a character’s psychology is a very Kubrickian device utilized across several of his films. Hawley has even referred to Legion as existing in a “hybrid A Clockwork Orange/Quadrophenia world.”

British film website Filmoria polled their employees to find out their favorite directors (and the reasons why), and I was glad to see that one of their female employees chose Stanley!


This FilmMaker Magazine article by Jim Hemphill points out some intriguing parallels between 2001: A Space Odyssey and the Raquel Welch jiggle-fest One Million Years B.C., declaring, of the latter: “It’s a surprisingly experimental movie in some ways, telling its story of prehistoric man with virtually no dialogue (what dialogue does exist consists of mostly grunts and made up words) and a reliance on a deliberately paced series of impressionistic images that had a clear influence on Stanley Kubrick.” The same column goes on to point out another Kubrick connection, this time to the Frederic Raphael scripted Two For The Road (directed by Stanley Donen). Raphael, notoriously, helped script Eyes Wide Shut.


Did you know there was a Kubrick connection with The Beatles movie A Hard Day's Night? And it's not that Hobbit thing, either! Check it out for yourself!


This Alex Sayf Cummings essay for asks a very good, salient question: “What is it about Stanley Kubrick that drives some people crazy?” It is a question to which I, myself, will be returning in future blog posts, but in the meantime, I wanted to post this link to Alex's excellent summary of the conspiracy community's latching on to Kubrick and his oeuvre--which has led to such serious projects as the documentary Room 237, as well as to silly fluff like this Oral History of the Faked Moonlanding--to help KubrickU readers get up to date about the current state of affairs in that particular speculative arena.


Here's a Guardian review of a homosexuality-themed stage production of A Clockwork Orange, which differs significantly from both the Burgess novel and the Kubrick film, and includes at least one Pink Floyd selection to help get the message over.


I never ran this in February, but on the occasion of Anthony Burgess' 100th birthday, Trainspotting novelist Irvine Welch wrote this beautiful think-piece on the influence A Clockwork Orange had on him and his writing. It begins:
Few writers, whatever the claims made for them by literary critics, ever manage to spawn big cultural moments. One who genuinely did so was Anthony Burgess, with his novel A Clockwork Orange. And, as novelists are often contrary by nature, he was highly ambivalent about this state of affairs. Burgess would disparagingly refer to the book, published in 1962, as a “novella”, regarding it as an inconsequential sliver of his Brobdingnagian canon. He blamed (and there’s really no other term for it) the book’s resonance on the Stanley Kubrick film adaptation, which appeared nine years later. 
My generation was obsessed with this stylistic, inventive affair, a movie that spurned both mainstream Hollywood concerns and European art house affectations to stake out a unique terrain for British independent cinema. Kubrick’s movie was an influence on the Ziggy-era David Bowie, and it was those cool credentials that made me backtrack to the film, which I first saw at a late-night screening several years after its release. As is generally the way of those things, far fewer of us had enjoyed any exposure to the novel. As a writer who has had many of his own books adapted for screen, I’m a little uncomfortable at conceding that I was in this camp.
It's a really good piece. You should read it. Cheers for now!


Visionary British science fiction author Brian Aldiss (OBE), who collaborated with Stanley Kubrick in the never-ending development of the latter's long-gestating film A.I. (Artificial Intelligence), has passed away at the age of 92. From The Register:
Aldiss published an enormous number of science fiction books and short stories – as well as non-fiction work – but is perhaps best known for the Helliconia trilogy and his short story “Supertoys Last All Summer Long”, which was used as the basis for the 2001 film AI Artificial Intelligence
“A friend and drinking companion of Kingsley Amis and correspondent with CS Lewis and JRR Tolkien, Aldiss was a founding member of the Groucho Club in London and a judge on the 1981 Booker Prize,” said his publisher in a statement
“Awarded the Hugo Award for Science Fiction in 1962 and the Nebula Award in 1965, Aldiss's writings were well received by the critics and earned a strong following in the United States and in Britain, as well as being widely translated into foreign languages.” 
Born in 1925, Aldiss began writing stories as a four-year old child, encouraged by his parents. He saw action in Burma during the Second World War and afterwards moved to Oxford and worked in a bookshop. 
He came to a publisher's attention after publishing a fictional tale of life as a bookseller in 1955 that did reasonably well, and was already writing science fiction short stories for magazines. After being commissioned for his first book of short stories, Aldiss began a career which spanned more than half a century and triggered the New Wave movement in British science fiction. 
“I actually think that the great days of science fiction have perhaps passed now,” he told Desert Island Discs in 2007. “But the fact is science fiction gave me an umbrella, and it gave me endless friends who are still my friends. I would never knock science fiction, I think it's splendid.”
Aldiss' short fiction is quite wonderful, and widely collected. I urge any Kubrick fan to read his work. Furthermore, for those of you with more time on your hands, the Helliconia series is well worth the effort.


Tuesday, June 27, 2017


Director Samuel Bright wishes to share with Kubrick U's readers the video he recently directed for Australian musician Curt Manor's song "Adelphi Hotel Nightmare", which is heavily influenced by The Shining in particular, and by the Kubrickean aesthetic in general.

We think it's pretty nifty, and as filmmakers ourselves, we find the fact that it cost under five grand to be all kinds of shocking. For a hi-rez version, check out the Vimeo version.

Friday, June 16, 2017

Tuesday, March 28, 2017


Over at Dangerous Minds, they always manage to dig up the coolest stuff. And they're big Kubrick nuts, too, which is great for us! Because that means when they find mind-bending creations like this incredible collection of hauntologically perfect bubblegum trading cards for Clockwork Orange, they just can't help but share with the rest of us! Here's the story of the cards as told by Bubblegum Fink, the creator of the now defunct art blog from whence they first emerged...
A Clockwork Orange is another set of trading cards, like The Wicker Man, that never could have existed at the time the film was released. But now, I would rush out to buy a box. Wouldn’t you? I’m happy with the card design, but less so with the Clockwork Orange font which I wish had been a little sharper. To do it over again, I’d just get rid of it. Of course, the cards represent a sort of edited-for-television version of the film, and it’s also the shortest set I’ve done at only 33 cards.
Click through to the Dangerous Minds story, linked above, for more information, more cards, and for that Wicker Man set I'm sure you're all dying to check out!

Tuesday, March 21, 2017


Thanks to the fine folks at Dangerous Minds for hipping me to this video that explores comics art titan Jack Kirby's decade-long obsession for his passion project, a comic book adaptation and elaboration upon Clarke/Kubrick's 2001: A Space Odyssey

Sunday, March 19, 2017


Today, I'd like to present you with a bunch of interesting Kubrick-related videos, starting with this rare 1967 trailer for 2001: A Space Odyssey that incorporates some Douglas Trumbull test footage into the mix. Thanks to The Playlist for making me aware of this one!

AV Club presents this intriguing mashup by Richard Vezina, which combines the work of Stanley Kubrick and David Lynch. Called "Blue Shining", it contains some real nightmare fuel, superimposing a bunch of different Lynch movie and TV show scenes into a new context via The Shining.

*** has a page featuring three Kubrick "Supercuts" covering three of the master's preferred techniques: The Kubrick Gaze, One-Point Perspective, and Red. They're all from Vimeo, and they're all pretty short, and they're all related, so I'll just leave this link here instead of embedding three more videos into this already crowded blog post.
And finally for today, I bring you a psychedelic ride through some dude's crazy Hot Wheels track set-up, using a model-mounted GoPro camera. It's called Hot Wheels Nightmare, and it's guaranteed to remind you of the "Jupiter and Beyond the Infinite" sequence in 2001!


Shot in Christchurch's Commodore Hotel, the eerie video for Lawrence Arabia's "The Palest of Them All" harks back to Kubrick's landmark films The Shining and 2001: A Space Odyssey, in both aesthetic and tone. Arabia (aka James Milne) elaborated on the clip's conception in a statement, which may be read at Under The Radar's music blog. Here's the video:

In some circles, the release of Pleasurekraft's new techno offering, Maskara, is apparently cause for some amount of rejoicing. Having absolutely no patience for this genre of music in general, I think I'll let Will McCarthy's commentary from the Dancing Astronaut website serve as an introduction of sorts:
Pleasurekraft’s darker inclinations are reiterated in their forthcoming Maskara EP, which is slated for a February 24 release on their own Kraftek label. Maskara consists of two tracks – the titular single and the Roberto Capuano-assisted “Penetrator.” Sharp-eared cinephiles may note Stanley Kubrick’s strong influence on the release. For “Maskara,” Pleasurekraft make use of Jocelyn Pook’s “Masked Ball,” which was crafted for a pivotal scene in Kubrick’s 1999 film, Eyes Wide Shut. Throughout the track, the duo transmogrify the composer’s Gregorian-inspired droning chants into a cerebral, club-germane format. Indeed, this deep, dark techno homage to “Masked Ball” would be a suitable soundtrack for an analogous iconic film today. Pleasurekraft’s use of the Kubrickian score comes just after their rebranding of the Kraftek logo to reflect imagery from 2001: A Space Odyssey.
Sounds intriguing, yes? You can listen to the track right here on Kubrick U:

To make the video for her latest song, "Thieves", Thayer Sarrano (the self-described New Queen of Shoegaze) collaborated with photographer/videographer Curtis Wayne Millard, who said of the project: “I would shoot these time-lapses and long-exposure images in nature. Take a sunset, rotate it and superimpose it on a long exposure of a star field to recreate the cosmos. Like most of my peers, I am highly inspired by Stanley Kubrick’s 2001: A Space Odyssey and Terrence Malick. To me, the song is very cinematic, so I knew right away that I wanted to make a tone poem of sorts in that same spirit.”

Find out more about both artists' work in this Huffington Post piece. And here's the video:


I recently ran across this brief interview with the unforgettable Sue Lyon, titular star of Kubrick's version of Nabokov's novel Lolita, conducted in Europe during an international roadshow tour for the movie, which would go on to become a worldwide box office hit. Something I learned from this exchange is that Lyon at one time had a seven year contract with Harris-Kubrick Productions.

This video set me off in search of more recent interviews, and I came across this one, titled "In Search of Lolita", conducted with a French TV channel in 1987, by which time Lyon hadn't made a film since Lewis Teague's Alligator, seven years previous. Her memories of James Mason are particularly warm and lovely. Not so her experience with the reporter who once asked if her brother had committed suicide because she'd performed in such a controversial film.

And... that's it, unfortunately. The above video appears to be the most recent video of Sue Lyon available, and she's sworn off interviews entirely, whether on video or in print. The most recent photograph I could find of her is a paparazzi shot from 2010, dug up by Stumptown Blogger.

The story attached to this video is not a happy one, unfortunately. I certainly hope that she's found some measure of peace and contentment.