Christmas lights, to be exact. It's one thing to establish the setting of the film around Christmas, especially to play with themes centered on family and wholesomeness in the face of infidelity and betrayal. It's another thing altogether to put Christmas lights in nearly every scene Follow the image link to see the entire collection. Kubrick was famous for building practical lighting into his sets and Eyes Wide Shut is no exception. The Christmas lights add a dreamy and even nostalgic glow into this domestic nightmare.
The effect in this film is two-fold: it establishes the setting and context but also adds another layer to the already complex themes at play. In fact, the color of lighting in Kubrick's movies is always noteworthy. Here's a video breakdown of how Kubrick uses color in mise en scene. Kubrick moved to England in and he made the rest of his films there.
For Full Metal Jacket , he recreated the bombed-out city of Hue. Kubrick's attention to detail is extreme, to say the least. He even dispatched assistants to the real New York to gather references. Despite this obsessive level of control, the end result is not quite perfect. There's something Martin Scorsese understands this presentation of artifice and what might motivate it.
As Bill Harford walks through this fake New York, his mind is buzzing. His wife has revealed to him that she fantasized about being with another man. What he thought he knew about his marriage and his wife is now in question. Reality has shifted for Bill. Consider this shot of Bill: a simple tracking shot but there's something unreal about it. It is a process shot. Tom Cruise is walking as the background is projected behind him.
They have the actor and they have the location. What purpose would making this a process shot serve? The separation between Bill and the background is barely noticeable. But it does give the character an extra layer of disconnection. He is not present at this moment, literally and figuratively. But Kubrick's was in a rare position where budget was rarely a factor. Building a set when a practical location is available can give your scenes added depth and meaning. The process shot here must be communicated clearly because otherwise, a like this scene can look especially simple.
And important elements could be missed the script breakdown. If we take look below The script breakdown allows you to highlight and tag all of the elements in a scene to better plan for what's needed once on set and how to schedule it. Here though, it seems like there aren't enough elements to tag. But because we know this is a potential opportunity for a process shot, we can highlight the heading as either "optical effects," or simply just write the game plan under "scene notes.
StudioBinder makes communicating creative ideas and plans simple. Also, feel free to use the comment feature on the right-hand side to chat with your team in real-time. It will be vital to your production to use an intuitive scheduling feature that can be arranged and re-arranged at your convenience. When you find your locations you can populate them easily on the stripboard.
It is unclear how far into the future this story takes place but the clues are there. The costumes and sound design are progressive.
The language has clearly evolved. The car that Alex and his droogs take on a joyride is borderline "futuristic. These elements might be enough to convince the audience that this is a different time and place.
But there is one element that adds a great deal of credibility to this idea. The lynchpin that brings this world together:. Kubrick doesn't push this futurism. With a select group of practical locations, the world of the film is complete. Consider this early scene as Alex ambles home along the rooftops.
The buildings are a modernist design with straight and diagonal lines. They appear as a hybrid between industrial and suburban. A sign of progress. We also have trash and furniture spread across the rooftop. Modern meets and squalor. Thus, we have a dystopian trope. The same, subtle effect comes into play later. When Alex arrives at the Ludovico Treatment Center, he passes a large, concrete building.
The modernist design suggests a futuristic setting without the need for flying cars. The bold, imposing design goes further to represent the oppressive regime Alex is at the mercy of. Both the rooftop and Ludovico locations were pre-existing. By using them, even for a brief moment, the story is grounded. World building doesn't mean starting from scratch.
It also doesn't mean pushing your budget passed reasonable. Look around and you will find what you need. Strangelove has one of the most iconic sets in Hollywood history: The War Room. The giant, round table and the massive, circular lighting around the perimeter. It is a bold design. Beyond function, it is an imposing space. We get the idea that whoever built this room must be powerful and in control. The genius of this design is that it's hubris matches that of the leaders who use it.
A throne room for those who refuse to admit they actually wield no power. This is why the dark comedy of Dr. Strangelove is so effective.
The conflict of power and control is built into the set itself. As things go awry in the film, that sense of power and control crumbles. The short-sightedness of our military is colossal. Turgidson's ego is massive. It is fitting then that the War Room's design would reflect that. The dozens of men sitting around the table cannot fix this situation.
The bells and whistles of "the big board" offer little comfort when human error takes over. When meeting with your Production Designer, you can upload images into your StudioBinder project as reference points. Create works like these iconic auteur directors. Explore practical directing tips you can immediately put into action on your next project. Kubrick's use of sets and locations are evocative and bold.
But there are more layers to add that really flesh out these films: sound and music. In the next section, we'll close our eyes and open our ears to how Kubrick uses audio in a very Kubrickian way — from minimal to maximum.
Music has the ability to dictate the direction of any scene. In fact, no other single element has such power in the filmmaking process. Stanley Kubrick uses music in this capacity in many of his films. The music in A Space Odyssey , for example, is just as iconic and memorable as the imagery. First, let's watch and listen to the scenes featuring the monolith. During the Dawn of Man sequence, the hominids awaken to the presence of a strange and foreign shape.
Yeah, completely unlike him, Kubrick was a master of form and composition, and his art is full of emotional distance and technical bravura and it still has enough impact to be worth something. Tarkovsky, while some of his ideas were good, his vision is just lazy and meandering and basically is just poorly done. Probably the most pretentious amount of fuckery ive seen is Stalker. His films are just lacking in any substance, if you want someone who can do a lot with very little, look to Bresson, Tsai Ming Liang, or Apichatpong Weerasethakul.
Also Tarkovsky is a lot more humanistic and less cold than Kubrick is. His films are just lacking in any substance, if you want someone who can do a lot with very little. Not gonna argue with Bresson considering Tarkovsky looked up to him and Ming-Liang is more interested in every-day life. Stalker is nothing more than half baked meditations on themes plenty of films have shown in more interesting ways. For me at least. And literally any filmmakers are two different filmmakers, Tsai deserved his mention because theyre all directors of a quieter cinema.
It the stylistic link i was thinking of, not the subject matter. My point is, i think they are all better than Tarkovsky. Do you even understand anything about spiritualism? Spiritual transcendence? You are the greatest idiot I have ever come across in my life. Era of Trumpism for sure. Well i mean, i voted for Hillary, but okay. And in my opinion, with the exception of Andrei Rublev, Tarkovsky affects a greater sense of mysticism and spirituality than is really present, and i have a very difficult time connecting with his films, and ive seen all of them.
Also i just want to say, if youre going to get unreasonably angry and insult me over the internet because my opinion differs from yours, I hope you realize one of us is more similar to Trump than the other ;.
You seem to be a very angry person, and i hope Tarkovskys evocations of spiritual transcendence help you find peace buddy. Tarkovsky is not your cup of tea. Go back to your MTV life. You cannot have a sane argument against someone who showers so many filthy comments against the Cinema Poet. For someone who likes his own comment probably sucks his own cock. Get a life. All offense but Yasujiro Ozu is the best director who ever lived, why are you so angry dude?
Come on. Yeah Kurosawa is on a different level but Kubrick is a close second. Just my opinion. This is just my opinion. Kubrick is 2nd after Ozu no director saw the human soul with more clarity and could show how it moves within us like Ozu not to mention his sublime visual style. This entire article is rubbish.
No way in hell is Kubrick the greatest director of all time. There are literally a dozen other directors who are better than Kubrick. Thank you, Stanley. I think his films are over produced and over rated, tho he did have his moments of genius, no doubt opening ape scene of for example, and the moon base approach. The Shining left me cold and I thought Clockwork Orange was a mean spirited film, tho technically excellent.
Read The Shining. Mean spirited? Read the novel A Clockwork Orange! He is over rated. They are both novels about hard subject matters to deal with. Your idea of mean spirited in that of a person sheltered from things of a dark nature. You need to actually realize the context in which the novels were written to get the movies were made that way.
They are both very bleak, horrifying and foreboding. Wow your a little bit of a fascist, huh? That is my opinion, deal with it. I was referring to the fact that you claim to have read The Shining and have never read A Clock Orange. You are a very boring person. Very boring. They are like beautiful paintings that you can not take your eyes away until you have devoured every inch.
I love Kubrick but Paths of Glory, Dr. Strangelove Even though they are good movies, his pre movies are just practice for , and Full Metal Jacket are not masterpieces. Cinema is language and art is partly measured by the test of time.
In the same vein, as with the other greats, he has redefined entire genres while giving birth to others. For Scifi fans, there is the before , and much later, the after, as it took a while for most to actually digest it. He got outer space right before we knew, and it took decades for it to show back up.
That is true Kubrik, just way too far ahead of the times, to be really acknowledged by his then peers. Talented, visionary man for sure, and this was a nicely enthusiastic and informative read. Everybody can compare and trash Kubrick or other directors if they want.
However, one thing about Kubrick that sets him apart from most directors is that he basically reinvented every genre he touched. I had the pleasure of once speaking with Roger Ebert about Kubrick. Having said that, Ebert told me that he always admired Kubrick because the director was always trying to hit a home run with his films; he was uncompromising in his aspiration to make each one of his films not just good, or even great, but one of the greatest movies ever made. In my opinion it is two fold.
He somehow created a situation for his authorship and then his execution not to be meddled with. He, Bergman, Kurasawa, and a few others were able to exclude the nuff nuffs who will ruin a singular vision, no matter how good their intention may be. He knew that, to be good was to be independent, yet have carte blance access to their huge availability to big budget cash. SK was the kind of man that other powerful men believed in…somehow I believe Paul T Anderson must have this ability.
SK had the courage to stand by his conviction, thru the whole process and the big boys respected him in kind…and they all won, mostly. Simple but rare. My problem is with number 9.
We all have our personal preferences of course. All of them are greatest for me. Personally, my top 3 would be Fellini, Tarkovsky and Bergman.
Followed by Visconti. Both are no. If I ever try to be objective and give my opinion, then I would probably have to say Bergman is the greatest, mainly because of his terrific consistency. Also no one seems to have named directors like Dreyer and Mizoguchi. A Clockwork Orange and Full Metal Jacket are a mess, close to being a masterpiece, and The Shining is a parody of horror, just horrible Ozu is the greatest film artist to have ever lived. T wenty years after his death, Stanley Kubrick has never been more popular or visible, particularly in the country he called home for the last 37 years of his life.
No other film-maker produced masterpieces in a such a wide variety of genres: war movies, political satire, sci-fi, literary adaptation and horror. He used sound, music, acting, architecture and design to create extraordinarily real worlds. As a design museum, we find that fascinating. We try to show how he achieved the magic, but also evoke the magic.
Born in New York to a family of Jewish immigrants from eastern Europe, Kubrick turned a childhood interest in photography into an early career in photojournalism, which then evolved into an obsession with film-making.
Without industry contacts, he had to borrow money from friends and relatives to fund his early features: his first, Fear and Desire, Kubrick considered an embarrassment and effectively suppressed.
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