/page/2
kvetchlandia:

oldhollywood:

2001: A Space Odyssey (1968, dir. Stanley Kubrick)
“Film operates on a level much closer to music and to painting than to the printed word, and, of course, movies present the opportunity to  convey complex concepts and abstractions without the traditional reliance  on words. I think that 2001, like music, succeeds in  short-circuiting the rigid surface cultural blocks that shackle our  consciousness to narrowly limited areas of experience and is able to cut  directly through to areas of emotional comprehension. In two hours and  twenty minutes of film there are only forty minutes of dialogue.
I think one of the areas where 2001 succeeds is in stimulating thoughts about man’s destiny and role in the universe in the minds of  people who in the normal course of their lives would never have considered  such matters. Here again, you’ve got the resemblance to music; an Alabama  truck driver, whose views in every other respect would be extremely narrow,  is able to listen to a Beatles record on the same level of appreciation and  perception as a young Cambridge intellectual, because their emotions and  subconscious are far more similar than their intellects. The common bond  is their subconscious emotional reaction; and I think that a film which can  communicate on this level can have a more profound spectrum of impact than  any form of traditional verbal communication.
The problem with movies is that since the talkies the film industry has historically been conservative and word-oriented. The three-act play has  been the model. It’s time to abandon the conventional view of the movie as  an extension of the three-act play.”
-Kubrick, quoted in Stanley Kubrick: Interviews (1970)

Dave…Dave!

kvetchlandia:

oldhollywood:

2001: A Space Odyssey (1968, dir. Stanley Kubrick)

“Film operates on a level much closer to music and to painting than to the printed word, and, of course, movies present the opportunity to convey complex concepts and abstractions without the traditional reliance on words. I think that 2001, like music, succeeds in short-circuiting the rigid surface cultural blocks that shackle our consciousness to narrowly limited areas of experience and is able to cut directly through to areas of emotional comprehension. In two hours and twenty minutes of film there are only forty minutes of dialogue.

I think one of the areas where 2001 succeeds is in stimulating thoughts about man’s destiny and role in the universe in the minds of people who in the normal course of their lives would never have considered such matters. Here again, you’ve got the resemblance to music; an Alabama truck driver, whose views in every other respect would be extremely narrow, is able to listen to a Beatles record on the same level of appreciation and perception as a young Cambridge intellectual, because their emotions and subconscious are far more similar than their intellects. The common bond is their subconscious emotional reaction; and I think that a film which can communicate on this level can have a more profound spectrum of impact than any form of traditional verbal communication.

The problem with movies is that since the talkies the film industry has historically been conservative and word-oriented. The three-act play has been the model. It’s time to abandon the conventional view of the movie as an extension of the three-act play.”

-Kubrick, quoted in Stanley Kubrick: Interviews (1970)

Dave…Dave!

blogthoven:

nprfreshair:

The unfinished draft of a 1971 letter from Stanley Kubrick to an associate where he states, “I expect to make the  best movie ever made.” (via lettersofnote)

What could have been… at least “Barry Lyndon” came out of this attempt.

blogthoven:

nprfreshair:

The unfinished draft of a 1971 letter from Stanley Kubrick to an associate where he states, “I expect to make the best movie ever made.” (via lettersofnote)

What could have been… at least “Barry Lyndon” came out of this attempt.

cakelalo:

 
Filming “A clockwork orange”.-

cakelalo:

 

Filming “A clockwork orange”.-

oldhollywood:

Stanley Kubrick on the set of 2001: A Space Odyssey (1968, dir. Stanley Kubrick) (via)
“One day I said: ‘I got a joke for you - you’re dead.’ [Kubrick] said, ‘It’s not funny.’ I said: ‘Let me tell the joke. Steven Spielberg’s dead, too.’ He said, ‘Steven’s dead, oh, that’s funny.’ And I said: ‘You’re dead and you’re up in heaven and Steven Spielberg has just died and he’s being greeted at the gate by Gabriel and Gabriel says: ‘God’s really dug a lot of your movies and he wants to make sure that you’re comfortable. If there’s anything you need, you come to me, I’m your man.’ And Steven says, ‘Well, you know, I always wanted to meet Stanley Kubrick, do you think you could arrange that?’
And Gabriel looks at him and says: ‘You know, Steven, of all the things that you could ask for, why would you ask for that? You know that Stanley doesn’t take meetings.’ He says, ‘Well, you said that if there was anything I wanted.’ Gabriel says: ‘I’m really sorry. I can’t do that.’ So now he’s showing him around heaven and Steven sees this guy wearing an army jacket with a beard riding a bicycle. And Steven says to Gabriel: ‘Oh, my God, look, over there, that’s Stanley Kubrick. Couldn’t we just stop him and say hello?’ And Gabriel pulls Steven to the side and says, ‘That’s not Stanley Kubrick; that’s God — he just thinks he’s Stanley Kubrick.’
Stanley liked that joke.”
-Matthew Modine 

oldhollywood:

Stanley Kubrick on the set of 2001: A Space Odyssey (1968, dir. Stanley Kubrick) (via)

“One day I said: ‘I got a joke for you - you’re dead.’ [Kubrick] said, ‘It’s not funny.’ I said: ‘Let me tell the joke. Steven Spielberg’s dead, too.’ He said, ‘Steven’s dead, oh, that’s funny.’ And I said: ‘You’re dead and you’re up in heaven and Steven Spielberg has just died and he’s being greeted at the gate by Gabriel and Gabriel says: ‘God’s really dug a lot of your movies and he wants to make sure that you’re comfortable. If there’s anything you need, you come to me, I’m your man.’ And Steven says, ‘Well, you know, I always wanted to meet Stanley Kubrick, do you think you could arrange that?’

And Gabriel looks at him and says: ‘You know, Steven, of all the things that you could ask for, why would you ask for that? You know that Stanley doesn’t take meetings.’ He says, ‘Well, you said that if there was anything I wanted.’ Gabriel says: ‘I’m really sorry. I can’t do that.’ So now he’s showing him around heaven and Steven sees this guy wearing an army jacket with a beard riding a bicycle. And Steven says to Gabriel: ‘Oh, my God, look, over there, that’s Stanley Kubrick. Couldn’t we just stop him and say hello?’ And Gabriel pulls Steven to the side and says, ‘That’s not Stanley Kubrick; that’s God — he just thinks he’s Stanley Kubrick.’

Stanley liked that joke.”

-Matthew Modine 

(via blogthoven)

Jocelyn Pook – Masked Ball
[Flash 9 is required to listen to audio.]

javiercarrete:

© Jocelyn Pook ◙ Eyes wide shut ♫ Masked Ball

Masked Ball is, for me, one of most hipnotic songs I never listened, composed by Jocelyn Pook, and first released in her album Flood, was used in Stanley Kubrick’s film Eyes Wide Shut.

The piece Masked Ball, which incorporates a fragment of an Orthodox Liturgy played backwards and lyrics chanted in Romanian.

Pook’s inspiration for the compositions (originally conceived as “Deluge”, music for a Canadian dance company) was “linking up the two millenia - the year 1000 and the year 2000 - by means of myth, legends and fears about the end of the world”. She “wanted the music to embody ideas and influences from both these ages, and to draw upon cultures as diverse as Hinduism and Christianity, Judaism and Islam”. The result is a broody, eclectic and at times minimalistic fusion of medieval chant motifs, lush modern harmonies, childlike lead vocals, traditionally nasal world folksongs and chamber-style strings that alternately drone menacingly and pulse like heartbeats.

In the ritual, the incantations in the background are part of a Romanian Orthodox Divine Liturgy recorded in a church in Baia Mare, played backwards. The piece, named “Masked Ball”, is an adaptation by Jocelyn Pook of her “Backwards Priests.” When contacting Pook in regard to providing music for the film, Kubrick asked if she had anything else like Backwards Priests - “you know, weird.

This is the lyrics as sound in the film:

Auov uad auon acnurop ias iicinecu ertac iulunmod asiz. Aiutseca iulusacal iulutnafs ia irotacafenib is irotiulim irotanihcni. Uezenmud iul rolibor roletacap aeratrei is aerasal aeratecrec aer.

But if you reverse it, you can listen a cite of Bible, (Jn 13, 34) in romanian language:

Zisa Domnului catre ucenicii sai, porunca noua dau voua. Domnului sa ne rugam pentru mila, viata, pacea, sanatatea, mantuirea, cercetarea, lasarea si iertarea pacatelor robilor lui Dumnezeu. Inchinatori, miluitori si binefacatori ai sfantului lacasului acestuia.

And translated says:

And God told to his apprentices…I gave you a command…to pray to the Lord for the mercy, life, peace, health, salvation, the search, the leave and the forgiveness of the sins of God’s children. The ones that pray, they have mercy and they take good care of this holy place.

It is curious and especially controversial, just “The new commandment” was sung in the orgy scene, claiming the maximum should love each other in a way never called by the Church, focusing solely on sexual love or eros, ignoring the transcendent and pure love for Christians, agape.

(via blogthoven)

Download

blogthoven:

The final scene from Stanley Kubrick’s film “Paths of Glory.” Featuring the German folk song “Der treue Husar” (“The Faithful Hussar”) sung by Christiane Kubrick.

Richard Strauss – Also Sprach Zarathustra (Thus Spake Zarathustra)
[Flash 9 is required to listen to audio.]

sneekasounds:

#640. Also Sprach Zarathustra (Thus Spake Zarathustra) by Richard Strauss (1896)

(via sarahswonderfullife)

Download

kvetchlandia:

oldhollywood:

2001: A Space Odyssey (1968, dir. Stanley Kubrick)
“Film operates on a level much closer to music and to painting than to the printed word, and, of course, movies present the opportunity to  convey complex concepts and abstractions without the traditional reliance  on words. I think that 2001, like music, succeeds in  short-circuiting the rigid surface cultural blocks that shackle our  consciousness to narrowly limited areas of experience and is able to cut  directly through to areas of emotional comprehension. In two hours and  twenty minutes of film there are only forty minutes of dialogue.
I think one of the areas where 2001 succeeds is in stimulating thoughts about man’s destiny and role in the universe in the minds of  people who in the normal course of their lives would never have considered  such matters. Here again, you’ve got the resemblance to music; an Alabama  truck driver, whose views in every other respect would be extremely narrow,  is able to listen to a Beatles record on the same level of appreciation and  perception as a young Cambridge intellectual, because their emotions and  subconscious are far more similar than their intellects. The common bond  is their subconscious emotional reaction; and I think that a film which can  communicate on this level can have a more profound spectrum of impact than  any form of traditional verbal communication.
The problem with movies is that since the talkies the film industry has historically been conservative and word-oriented. The three-act play has  been the model. It’s time to abandon the conventional view of the movie as  an extension of the three-act play.”
-Kubrick, quoted in Stanley Kubrick: Interviews (1970)

Dave…Dave!

kvetchlandia:

oldhollywood:

2001: A Space Odyssey (1968, dir. Stanley Kubrick)

“Film operates on a level much closer to music and to painting than to the printed word, and, of course, movies present the opportunity to convey complex concepts and abstractions without the traditional reliance on words. I think that 2001, like music, succeeds in short-circuiting the rigid surface cultural blocks that shackle our consciousness to narrowly limited areas of experience and is able to cut directly through to areas of emotional comprehension. In two hours and twenty minutes of film there are only forty minutes of dialogue.

I think one of the areas where 2001 succeeds is in stimulating thoughts about man’s destiny and role in the universe in the minds of people who in the normal course of their lives would never have considered such matters. Here again, you’ve got the resemblance to music; an Alabama truck driver, whose views in every other respect would be extremely narrow, is able to listen to a Beatles record on the same level of appreciation and perception as a young Cambridge intellectual, because their emotions and subconscious are far more similar than their intellects. The common bond is their subconscious emotional reaction; and I think that a film which can communicate on this level can have a more profound spectrum of impact than any form of traditional verbal communication.

The problem with movies is that since the talkies the film industry has historically been conservative and word-oriented. The three-act play has been the model. It’s time to abandon the conventional view of the movie as an extension of the three-act play.”

-Kubrick, quoted in Stanley Kubrick: Interviews (1970)

Dave…Dave!

popsnacking:

What ifs!!! Click the here for more.

popsnacking:

What ifs!!! Click the here for more.

blogthoven:

nprfreshair:

The unfinished draft of a 1971 letter from Stanley Kubrick to an associate where he states, “I expect to make the  best movie ever made.” (via lettersofnote)

What could have been… at least “Barry Lyndon” came out of this attempt.

blogthoven:

nprfreshair:

The unfinished draft of a 1971 letter from Stanley Kubrick to an associate where he states, “I expect to make the best movie ever made.” (via lettersofnote)

What could have been… at least “Barry Lyndon” came out of this attempt.

cakelalo:

 
Filming “A clockwork orange”.-

cakelalo:

 

Filming “A clockwork orange”.-

(Source: herszele)

oldhollywood:

Stanley Kubrick on the set of 2001: A Space Odyssey (1968, dir. Stanley Kubrick) (via)
“One day I said: ‘I got a joke for you - you’re dead.’ [Kubrick] said, ‘It’s not funny.’ I said: ‘Let me tell the joke. Steven Spielberg’s dead, too.’ He said, ‘Steven’s dead, oh, that’s funny.’ And I said: ‘You’re dead and you’re up in heaven and Steven Spielberg has just died and he’s being greeted at the gate by Gabriel and Gabriel says: ‘God’s really dug a lot of your movies and he wants to make sure that you’re comfortable. If there’s anything you need, you come to me, I’m your man.’ And Steven says, ‘Well, you know, I always wanted to meet Stanley Kubrick, do you think you could arrange that?’
And Gabriel looks at him and says: ‘You know, Steven, of all the things that you could ask for, why would you ask for that? You know that Stanley doesn’t take meetings.’ He says, ‘Well, you said that if there was anything I wanted.’ Gabriel says: ‘I’m really sorry. I can’t do that.’ So now he’s showing him around heaven and Steven sees this guy wearing an army jacket with a beard riding a bicycle. And Steven says to Gabriel: ‘Oh, my God, look, over there, that’s Stanley Kubrick. Couldn’t we just stop him and say hello?’ And Gabriel pulls Steven to the side and says, ‘That’s not Stanley Kubrick; that’s God — he just thinks he’s Stanley Kubrick.’
Stanley liked that joke.”
-Matthew Modine 

oldhollywood:

Stanley Kubrick on the set of 2001: A Space Odyssey (1968, dir. Stanley Kubrick) (via)

“One day I said: ‘I got a joke for you - you’re dead.’ [Kubrick] said, ‘It’s not funny.’ I said: ‘Let me tell the joke. Steven Spielberg’s dead, too.’ He said, ‘Steven’s dead, oh, that’s funny.’ And I said: ‘You’re dead and you’re up in heaven and Steven Spielberg has just died and he’s being greeted at the gate by Gabriel and Gabriel says: ‘God’s really dug a lot of your movies and he wants to make sure that you’re comfortable. If there’s anything you need, you come to me, I’m your man.’ And Steven says, ‘Well, you know, I always wanted to meet Stanley Kubrick, do you think you could arrange that?’

And Gabriel looks at him and says: ‘You know, Steven, of all the things that you could ask for, why would you ask for that? You know that Stanley doesn’t take meetings.’ He says, ‘Well, you said that if there was anything I wanted.’ Gabriel says: ‘I’m really sorry. I can’t do that.’ So now he’s showing him around heaven and Steven sees this guy wearing an army jacket with a beard riding a bicycle. And Steven says to Gabriel: ‘Oh, my God, look, over there, that’s Stanley Kubrick. Couldn’t we just stop him and say hello?’ And Gabriel pulls Steven to the side and says, ‘That’s not Stanley Kubrick; that’s God — he just thinks he’s Stanley Kubrick.’

Stanley liked that joke.”

-Matthew Modine 

(via blogthoven)

(via cojica)

(Source: johnygrim)

blogthoven:

The final scene from Stanley Kubrick’s film “Paths of Glory.” Featuring the German folk song “Der treue Husar” (“The Faithful Hussar”) sung by Christiane Kubrick.

Jocelyn Pook – Masked Ball

javiercarrete:

© Jocelyn Pook ◙ Eyes wide shut ♫ Masked Ball

Masked Ball is, for me, one of most hipnotic songs I never listened, composed by Jocelyn Pook, and first released in her album Flood, was used in Stanley Kubrick’s film Eyes Wide Shut.

The piece Masked Ball, which incorporates a fragment of an Orthodox Liturgy played backwards and lyrics chanted in Romanian.

Pook’s inspiration for the compositions (originally conceived as “Deluge”, music for a Canadian dance company) was “linking up the two millenia - the year 1000 and the year 2000 - by means of myth, legends and fears about the end of the world”. She “wanted the music to embody ideas and influences from both these ages, and to draw upon cultures as diverse as Hinduism and Christianity, Judaism and Islam”. The result is a broody, eclectic and at times minimalistic fusion of medieval chant motifs, lush modern harmonies, childlike lead vocals, traditionally nasal world folksongs and chamber-style strings that alternately drone menacingly and pulse like heartbeats.

In the ritual, the incantations in the background are part of a Romanian Orthodox Divine Liturgy recorded in a church in Baia Mare, played backwards. The piece, named “Masked Ball”, is an adaptation by Jocelyn Pook of her “Backwards Priests.” When contacting Pook in regard to providing music for the film, Kubrick asked if she had anything else like Backwards Priests - “you know, weird.

This is the lyrics as sound in the film:

Auov uad auon acnurop ias iicinecu ertac iulunmod asiz. Aiutseca iulusacal iulutnafs ia irotacafenib is irotiulim irotanihcni. Uezenmud iul rolibor roletacap aeratrei is aerasal aeratecrec aer.

But if you reverse it, you can listen a cite of Bible, (Jn 13, 34) in romanian language:

Zisa Domnului catre ucenicii sai, porunca noua dau voua. Domnului sa ne rugam pentru mila, viata, pacea, sanatatea, mantuirea, cercetarea, lasarea si iertarea pacatelor robilor lui Dumnezeu. Inchinatori, miluitori si binefacatori ai sfantului lacasului acestuia.

And translated says:

And God told to his apprentices…I gave you a command…to pray to the Lord for the mercy, life, peace, health, salvation, the search, the leave and the forgiveness of the sins of God’s children. The ones that pray, they have mercy and they take good care of this holy place.

It is curious and especially controversial, just “The new commandment” was sung in the orgy scene, claiming the maximum should love each other in a way never called by the Church, focusing solely on sexual love or eros, ignoring the transcendent and pure love for Christians, agape.

(via blogthoven)

Richard Strauss – Also Sprach Zarathustra (Thus Spake Zarathustra)

sneekasounds:

#640. Also Sprach Zarathustra (Thus Spake Zarathustra) by Richard Strauss (1896)

(via sarahswonderfullife)

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