1 00:00:01,305 --> 00:00:03,655 [elevator whirring] 2 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 4 00:00:09,096 --> 00:00:10,271 [elevator dings] 5 00:00:11,968 --> 00:00:14,144 ["The Blue Danube" from "2001: A Space Odyssey" plays] 6 00:00:14,275 --> 00:00:19,106 [♪♪♪] 7 00:01:16,380 --> 00:01:18,513 [film camera rolling] 8 00:01:18,643 --> 00:01:20,993 ["Waltz No. 2" from "Eyes Wide Shut" plays] 9 00:01:21,124 --> 00:01:26,260 [♪♪♪] 10 00:01:29,914 --> 00:01:31,482 News just in, we've just heard 11 00:01:31,613 --> 00:01:33,745 that the film director Stanley Kubrick 12 00:01:33,876 --> 00:01:35,834 has died at the age of 70. 13 00:01:35,965 --> 00:01:37,706 Kubrick, who was an American, 14 00:01:37,836 --> 00:01:41,318 began his career in Hollywood, where he directedSpartacus, 15 00:01:41,449 --> 00:01:43,233 but he decided to move to Britain, 16 00:01:43,364 --> 00:01:45,670 where he directed Lolita, Clockwork Orange, 17 00:01:45,801 --> 00:01:48,759 2001: A Space Odyssey andThe Shining. 18 00:01:50,240 --> 00:01:51,981 Stanley Kubrick was widely regarded 19 00:01:52,112 --> 00:01:55,723 as one of the greatest and most controversial masters of cinema. 20 00:01:55,854 --> 00:01:58,292 He'd just finished what was to be his last film, 21 00:01:58,422 --> 00:02:00,990 Eyes Wide Shut, which took five years to make. 22 00:02:02,774 --> 00:02:04,907 Stanley Kubrick has been called the Howard Hughes of cinema 23 00:02:05,037 --> 00:02:06,822 because he was such a recluse. 24 00:02:06,952 --> 00:02:09,477 I prefer to think him as the Frank Sinatra of cinema 25 00:02:09,607 --> 00:02:11,566 because he always did everything his way. 26 00:02:11,696 --> 00:02:13,959 You can go back to any Kubrick film 27 00:02:14,090 --> 00:02:15,352 and feel rebirth. 28 00:02:36,852 --> 00:02:39,333 Kubrick is at the very least a genuine innovator 29 00:02:39,463 --> 00:02:41,857 who pushes out the boundaries of what it's possible on film, 30 00:02:41,987 --> 00:02:43,815 and there have never been many of those about. 31 00:02:43,946 --> 00:02:45,165 He is also an elusive man 32 00:02:45,295 --> 00:02:47,602 who rarely permits himself to be observed at work. 33 00:02:47,732 --> 00:02:49,691 He was not any of the things 34 00:02:49,821 --> 00:02:52,433 that the newspapers wrote about him. 35 00:02:52,563 --> 00:02:53,608 And... 36 00:02:55,218 --> 00:02:57,351 he himself said, "It's very difficult. 37 00:02:57,481 --> 00:02:58,874 How do I defend myself? 38 00:02:59,004 --> 00:03:02,617 Do I write an article, you know, 'Dear public, I'm charming'?" 39 00:03:02,747 --> 00:03:05,359 Um, that's more difficult than it sounds actually. 40 00:03:05,489 --> 00:03:07,491 'Cause, you know, he never ever does a television show 41 00:03:07,622 --> 00:03:09,580 or very rarely does any press interviews. 42 00:03:09,711 --> 00:03:14,281 [♪♪♪] 43 00:04:20,999 --> 00:04:25,613 [♪♪♪] 44 00:04:29,269 --> 00:04:30,574 MICHEL: Well perhaps the first question would be about 45 00:04:30,705 --> 00:04:32,141 this problem of interview 46 00:04:32,272 --> 00:04:35,579 because, it seems that more and more you feel reluctant 47 00:04:35,710 --> 00:04:37,320 to speak about your films ? 48 00:04:38,669 --> 00:04:41,759 STANLEY: Well, I've never found it meaningful 49 00:04:41,890 --> 00:04:44,719 or even... possible 50 00:04:44,849 --> 00:04:48,505 to talk about film aesthetics in terms of my own films. 51 00:04:50,725 --> 00:04:54,294 I also don't particularly enjoy [chuckles] the interviews 52 00:04:54,424 --> 00:04:56,687 because one always feels under the obligation 53 00:04:56,818 --> 00:05:00,474 to say some witty, brilliant summary 54 00:05:00,604 --> 00:05:01,823 of the intentions of the film. 55 00:05:01,953 --> 00:05:03,520 And... 56 00:05:03,651 --> 00:05:05,348 withDr. Strangelove you could talk about 57 00:05:05,479 --> 00:05:06,610 the problems of nuclear war... 58 00:05:07,959 --> 00:05:09,483 2001 you could talk about 59 00:05:09,613 --> 00:05:11,441 extraterrestrial intelligence, but I've never been-- 60 00:05:11,572 --> 00:05:12,877 MICHEL: Clockwork Orange about violence. 61 00:05:13,008 --> 00:05:16,446 STANLEY: Yes, or future social structures. 62 00:05:16,577 --> 00:05:18,056 I mean I don't know what led me 63 00:05:18,187 --> 00:05:21,364 to make any of the films, really, that I've made. 64 00:05:21,495 --> 00:05:24,236 And I realize that my own thought processes are... 65 00:05:25,890 --> 00:05:27,109 very hard to define, 66 00:05:29,024 --> 00:05:31,505 in terms of you know, "What story do you want 67 00:05:31,635 --> 00:05:32,680 to make into a film?" 68 00:05:34,072 --> 00:05:39,207 In the end, it does become this very indefinable thing, 69 00:05:39,339 --> 00:05:41,732 like why do you find one particular girl attractive, 70 00:05:41,863 --> 00:05:43,343 or why did you marry your wife. 71 00:05:46,476 --> 00:05:48,130 MICHEL: Yes, and also I suppose it is more difficult 72 00:05:48,260 --> 00:05:50,437 for you to analyze yourself 73 00:05:50,567 --> 00:05:52,569 because the material comes from somebody else. 74 00:05:52,700 --> 00:05:55,311 So, it's more difficult to see the personal reasons 75 00:05:55,442 --> 00:05:56,356 that were behind it 76 00:05:56,486 --> 00:05:57,618 since you didn't write it yourself 77 00:05:57,748 --> 00:05:59,837 but of obviously the choice of the subject 78 00:05:59,968 --> 00:06:01,665 is a very personal thing, because you can choose 79 00:06:01,796 --> 00:06:04,276 between thousands of books but you chose one. 80 00:06:04,407 --> 00:06:06,322 So, it's-- you become the author of the book, 81 00:06:06,453 --> 00:06:07,715 in a way, by choosing it. 82 00:06:07,845 --> 00:06:08,977 STANLEY Well... 83 00:06:09,107 --> 00:06:11,545 if somebody else has written the story, 84 00:06:11,675 --> 00:06:15,723 you have that one great first reading. 85 00:06:15,853 --> 00:06:18,769 You never again, once you read something for the first time, 86 00:06:18,900 --> 00:06:21,076 can ever have that experience. 87 00:06:21,206 --> 00:06:23,252 And the judgment of the narrative 88 00:06:23,383 --> 00:06:24,906 and the sense of excitement 89 00:06:25,036 --> 00:06:28,736 of what parts of the story reach you emotionally, 90 00:06:28,866 --> 00:06:32,522 is something which doesn't exist if you write a story. 91 00:06:36,308 --> 00:06:37,919 MICHEL: We know, I mean everybody knows, 92 00:06:38,049 --> 00:06:41,488 it's notorious that you love to accumulate information 93 00:06:41,618 --> 00:06:42,576 and do research. 94 00:06:42,706 --> 00:06:44,447 Is it a thrill for you, 95 00:06:44,578 --> 00:06:47,537 like being a reporter or a detective? 96 00:06:47,668 --> 00:06:50,366 STANLEY: It is a little bit like a detective 97 00:06:50,497 --> 00:06:51,498 looking for clues. 98 00:06:54,805 --> 00:06:58,330 On Barry Lyndon, I created a picture file 99 00:06:58,461 --> 00:07:02,465 of thousands of drawings and paintings. 100 00:07:02,596 --> 00:07:05,250 I think I destroyed every art book 101 00:07:05,381 --> 00:07:06,687 that you can buy in a bookshop 102 00:07:06,817 --> 00:07:09,472 by tearing the pages out and sorting them out. 103 00:07:09,603 --> 00:07:11,039 But... 104 00:07:11,169 --> 00:07:15,043 the costumes were all copied from paintings. 105 00:07:15,173 --> 00:07:18,742 I mean none of the costumes were quote "designed". 106 00:07:18,873 --> 00:07:22,180 It's stupid to have quote "a designer" 107 00:07:22,311 --> 00:07:24,052 that interpret the 18th Century 108 00:07:24,182 --> 00:07:25,706 as they may remember it from art school 109 00:07:25,836 --> 00:07:27,490 or from a few pictures they get together. 110 00:07:30,624 --> 00:07:33,409 ["Sarabande" from "Barry Lyndon" plays] 111 00:07:36,586 --> 00:07:39,502 MICHEL: Would you agree that the more illusion works, 112 00:07:39,633 --> 00:07:41,330 the more realistic it is? 113 00:07:41,461 --> 00:07:44,202 That cinema has to extremely realistic, 114 00:07:44,332 --> 00:07:46,422 you know, to create illusion? 115 00:07:46,553 --> 00:07:48,337 STANLEY: Well, I would always be attracted 116 00:07:48,468 --> 00:07:50,644 to something which offered 117 00:07:50,774 --> 00:07:52,384 interesting visual possibilities, 118 00:07:52,515 --> 00:07:55,300 but that certainly wouldn't be the only reason. 119 00:07:55,431 --> 00:07:58,608 And, since part of the problem of any story 120 00:07:58,739 --> 00:08:01,742 is to make you believe what you are seeing, 121 00:08:01,872 --> 00:08:04,092 certainly getting a realistic atmosphere, 122 00:08:04,222 --> 00:08:07,095 especially if it's not a contemporary period, 123 00:08:07,225 --> 00:08:10,272 is just necessary as a starting point. 124 00:08:13,667 --> 00:08:14,755 MICHEL: It's why you came to this idea 125 00:08:14,885 --> 00:08:17,366 of shooting with light, natural light. 126 00:08:17,497 --> 00:08:18,454 STANLEY: Well, that's something 127 00:08:18,585 --> 00:08:20,456 that I've always been very bothered by 128 00:08:20,587 --> 00:08:21,631 in period films 129 00:08:21,762 --> 00:08:24,721 is the light on interiors is so false. 130 00:08:28,072 --> 00:08:32,424 MARISA: It was very different to any kind of other movies 131 00:08:32,554 --> 00:08:34,164 as far as photography was concerned, 132 00:08:34,296 --> 00:08:36,864 because the lightning was so-- 133 00:08:36,994 --> 00:08:39,606 You know, lot of it was shot by candle light, 134 00:08:39,736 --> 00:08:43,044 a lot of it was shot with equipment 135 00:08:43,174 --> 00:08:44,785 that Stanley Kubrick had found, 136 00:08:44,915 --> 00:08:48,223 that had never been used before really, on film. 137 00:08:48,353 --> 00:08:50,790 So, it was quite an experience working with that. 138 00:08:50,921 --> 00:08:53,228 It was also difficult because there were times 139 00:08:53,358 --> 00:08:55,926 when you just couldn't even move a fraction of an inch. 140 00:08:57,754 --> 00:08:58,755 And... 141 00:09:00,365 --> 00:09:01,845 there were days we would just sit there 142 00:09:01,976 --> 00:09:04,413 and just be lit all day. [chuckles] 143 00:09:04,544 --> 00:09:05,327 You know... 144 00:09:06,371 --> 00:09:07,372 Literally. 145 00:09:07,503 --> 00:09:10,854 [indistinct chatter] 146 00:09:10,985 --> 00:09:12,769 Samuel, I'm going outside for a breath of air. 147 00:09:13,683 --> 00:09:14,858 Yes, My Lady, of course. 148 00:09:17,774 --> 00:09:20,385 [indistinct chatter] 149 00:09:21,952 --> 00:09:26,435 STANLEY: To know about lighting and lenses and composition 150 00:09:26,566 --> 00:09:28,176 has to be a help as a movie director. 151 00:09:29,830 --> 00:09:32,702 ["Spartacus" theme plays] 152 00:09:32,833 --> 00:09:37,664 [♪♪♪] 153 00:09:43,583 --> 00:09:45,759 STANLEY: I remember, when I was makingSpartacus , 154 00:09:45,889 --> 00:09:49,937 the cameraman, Russ Metty, used to think it was very funny 155 00:09:50,067 --> 00:09:52,330 that I used to pick set-ups with a view finder, 156 00:09:52,461 --> 00:09:54,332 and he said to me, 157 00:09:54,463 --> 00:09:55,551 "We are shooting in that direction 158 00:09:55,682 --> 00:09:57,161 and it's a knee figure shot 159 00:09:57,292 --> 00:09:59,381 and just, you know, go and rehearse with the actors 160 00:09:59,511 --> 00:10:00,817 and when you come back 161 00:10:00,948 --> 00:10:02,558 we'll have the shot and the set-up and everything" 162 00:10:05,169 --> 00:10:06,388 He couldn't understand 163 00:10:06,518 --> 00:10:08,564 why I wanted to waste time making a composition. 164 00:10:12,742 --> 00:10:15,702 STANLEY: Certainly, photography gave me the first step 165 00:10:15,832 --> 00:10:17,225 where I could actually try to make a movie 166 00:10:17,355 --> 00:10:18,922 because without that 167 00:10:19,053 --> 00:10:20,358 how could you make a movie by yourself 168 00:10:20,489 --> 00:10:21,838 if you didn't know anything about photography? 169 00:10:26,060 --> 00:10:27,844 MICHEL: What kind of photographs were you doing? 170 00:10:27,975 --> 00:10:29,193 I mean there is the famous photograph 171 00:10:29,324 --> 00:10:31,892 of the newspaper vendor and the-- 172 00:10:32,022 --> 00:10:34,851 STANLEY: Photojournalism with natural light. 173 00:10:36,244 --> 00:10:38,115 MICHEL: Mostly things of the street, like Cartier Bresson-- 174 00:10:38,246 --> 00:10:39,856 STANLEY: Well unfortunately, 175 00:10:39,987 --> 00:10:42,076 becauseLook always did feature stories, 176 00:10:42,206 --> 00:10:44,948 the subject matter always tended to be idiotic. 177 00:10:47,647 --> 00:10:48,691 They would do a story like 178 00:10:48,822 --> 00:10:51,302 "Is an Athlete Stronger Than a Baby?" 179 00:10:51,433 --> 00:10:53,696 And I would have to go and there'd be some guy 180 00:10:53,827 --> 00:10:55,872 that would have to try to get in the same positions 181 00:10:56,003 --> 00:10:57,657 as a baby and things like that. 182 00:10:59,397 --> 00:11:01,530 They were pretty stupid feature stories, 183 00:11:01,661 --> 00:11:04,098 but occasionally I could do a sort of personality story, 184 00:11:04,228 --> 00:11:07,797 or a story about something like a university, 185 00:11:07,928 --> 00:11:09,190 or something like that, where you had a chance 186 00:11:09,320 --> 00:11:11,192 to take some reasonable photographs. 187 00:11:13,368 --> 00:11:15,326 MICHEL: You worked four years atLook ? 188 00:11:15,457 --> 00:11:18,634 STANLEY: Yeah, about four years. I was about 20. 189 00:11:19,461 --> 00:11:20,897 [camera shutter clicks] 190 00:11:23,987 --> 00:11:27,861 NARRATOR: This forest then, and all that happens now 191 00:11:27,991 --> 00:11:29,601 is outside history. 192 00:11:31,212 --> 00:11:34,084 Only the unchanging shapes of fear, 193 00:11:34,215 --> 00:11:35,564 and doubt 194 00:11:35,695 --> 00:11:37,000 and death 195 00:11:37,131 --> 00:11:38,567 are from our world. 196 00:11:40,525 --> 00:11:44,790 These soldiers that you see keep our language and our time, 197 00:11:46,096 --> 00:11:49,709 but have no other country but the mind. 198 00:11:51,711 --> 00:11:55,453 MICHEL: You started by making almost a home movie, when you were 23, 199 00:11:55,584 --> 00:11:58,892 Fear and Desire, about four men in a patrol. 200 00:11:59,022 --> 00:12:01,111 What was behind this project? 201 00:12:01,242 --> 00:12:04,071 STANLEY: That was a very arrogant, flippant script 202 00:12:04,201 --> 00:12:05,463 put together by myself, 203 00:12:05,594 --> 00:12:07,596 and a boy that I knew who was a poet. 204 00:12:07,727 --> 00:12:10,686 Where we thought that we were geniuses, 205 00:12:10,817 --> 00:12:14,734 and it was so incompetently done... 206 00:12:14,864 --> 00:12:17,040 and undramatic... 207 00:12:17,171 --> 00:12:18,781 and so pompous. 208 00:12:18,912 --> 00:12:20,740 But I learnt a lesson from that. 209 00:12:20,870 --> 00:12:22,480 -[gunshots] -[thuds] 210 00:12:24,395 --> 00:12:27,137 STANLEY: At least it had the ambition of having some ideas in it, 211 00:12:27,268 --> 00:12:29,705 and I suppose you could say in that sense 212 00:12:29,836 --> 00:12:33,143 there is some continuity with the rest of my films, 213 00:12:33,274 --> 00:12:35,842 which I've also tried to make sure that... 214 00:12:37,408 --> 00:12:39,497 you know, they weren't just hollow entertainments. 215 00:12:43,371 --> 00:12:45,329 [grunts] 216 00:12:53,424 --> 00:12:56,210 -[grunts] -[objects clattering] 217 00:12:56,863 --> 00:13:00,475 ["Sarabande" plays] 218 00:13:00,605 --> 00:13:02,085 [machine gunfire] 219 00:13:04,914 --> 00:13:07,656 ["Sarabande" plays over battle] 220 00:13:10,398 --> 00:13:11,747 MICHEL: You get the feeling from your films 221 00:13:11,878 --> 00:13:14,097 that really the world is not only a stage, 222 00:13:14,228 --> 00:13:15,403 but it's a war, 223 00:13:15,533 --> 00:13:17,318 because man is fighting all the time. 224 00:13:17,448 --> 00:13:19,668 ["Sarabande" still playing] 225 00:13:22,279 --> 00:13:26,370 STANLEY: Well, in a work of fiction you have to have conflict. 226 00:13:26,501 --> 00:13:28,938 If there isn't a problem in a story, 227 00:13:29,069 --> 00:13:31,114 it can almost by definition not be a story. 228 00:13:31,245 --> 00:13:36,293 [♪♪♪] 229 00:13:36,424 --> 00:13:37,947 STANLEY: You know, how many happy marriages are there? 230 00:13:38,078 --> 00:13:42,386 And how many stepfathers love their stepsons? 231 00:13:42,517 --> 00:13:44,649 And how many stepsons love their stepfather? 232 00:13:44,780 --> 00:13:46,695 And how often... 233 00:13:47,957 --> 00:13:52,614 do people who have ambitions which only involve money 234 00:13:52,744 --> 00:13:56,792 do they find a satisfying accomplishment? 235 00:13:57,662 --> 00:13:58,620 Corporal Barry. 236 00:14:01,753 --> 00:14:02,624 [coins jingle] 237 00:14:03,581 --> 00:14:04,887 You are a gallant soldier 238 00:14:05,018 --> 00:14:07,063 and have evidently come of good stock. 239 00:14:07,194 --> 00:14:08,978 But you're idle, dissolute and unprincipled. 240 00:14:10,327 --> 00:14:12,677 You've done a great deal of harm to the men... 241 00:14:12,808 --> 00:14:15,071 and for all your talents and bravery 242 00:14:15,202 --> 00:14:16,507 I'm sure you will come to no good. 243 00:14:18,205 --> 00:14:22,774 [♪♪♪] 244 00:14:22,905 --> 00:14:24,472 BARRY: Barry Lyndon tells of the rise and fall 245 00:14:24,602 --> 00:14:27,257 of an Irish adventurer and let's face it, cad, 246 00:14:27,388 --> 00:14:30,086 who becomes a soldier, a deserter, a gambler, a duelist 247 00:14:30,217 --> 00:14:32,741 and eventuallythe husband of a very rich widow. 248 00:14:32,872 --> 00:14:34,308 There is I think deliberately a distance 249 00:14:34,438 --> 00:14:36,092 between the audience and characters. 250 00:14:36,223 --> 00:14:37,441 You are asked to watch the story 251 00:14:37,572 --> 00:14:39,008 of their adventures and misadventures, 252 00:14:39,139 --> 00:14:41,184 but not necessarily to identify with them. 253 00:14:41,315 --> 00:14:42,403 Well, that's a dangerous approach, 254 00:14:42,533 --> 00:14:43,491 but it works. 255 00:14:43,621 --> 00:14:45,145 What also works is the leisurely pace 256 00:14:45,275 --> 00:14:46,407 of the film, 257 00:14:46,537 --> 00:14:47,930 the pace that matches the pace of the novel 258 00:14:48,061 --> 00:14:50,324 and I dare say of the 18th-Century life itself. 259 00:14:50,454 --> 00:14:52,500 So, if you're expecting an all-action, swashbuckler, 260 00:14:52,630 --> 00:14:53,544 forget it. 261 00:14:53,675 --> 00:14:54,850 What Kubrick presents instead 262 00:14:54,981 --> 00:14:57,679 is a hard, unromantic and unsentimental look 263 00:14:57,809 --> 00:14:59,420 at the life and times of a good-looking 264 00:14:59,550 --> 00:15:01,074 but ill-fated opportunist. 265 00:15:03,206 --> 00:15:04,642 MICHEL: Some people get out of the movie and say, 266 00:15:04,773 --> 00:15:06,079 "This character, we have absolutely 267 00:15:06,209 --> 00:15:08,690 no sympathy for him." 268 00:15:08,820 --> 00:15:09,560 STANLEY: Well, I don't see how you can have 269 00:15:09,691 --> 00:15:11,084 no sympathy for him. 270 00:15:11,214 --> 00:15:13,521 On the other hand, we're well aware of the weakness 271 00:15:13,651 --> 00:15:15,044 of his character 272 00:15:15,175 --> 00:15:19,440 and the trap that he places himself in 273 00:15:19,570 --> 00:15:21,007 as a result of his ambitions, 274 00:15:21,137 --> 00:15:23,835 and the limitation of his personality 275 00:15:23,966 --> 00:15:28,405 that arises from the cynicism which develops 276 00:15:28,536 --> 00:15:32,366 from his early relationships with people. 277 00:15:33,106 --> 00:15:37,284 He then becomes a very limited person. 278 00:15:38,459 --> 00:15:40,156 He is completely unsuited for the life, 279 00:15:40,287 --> 00:15:45,379 not only socially but temperamentally. 280 00:15:45,509 --> 00:15:49,122 And so he puts himself into a gilded cage. 281 00:15:49,252 --> 00:15:52,777 And from then on, everything goes sour. 282 00:15:53,953 --> 00:15:59,610 [♪♪♪] 283 00:15:59,741 --> 00:16:02,222 MICHEL: But how did you decide on Ryan O'Neal 284 00:16:02,352 --> 00:16:03,571 for the main role? 285 00:16:03,701 --> 00:16:05,138 STANLEY: Well, I couldn't think of anybody else, 286 00:16:05,268 --> 00:16:06,704 to tell you the truth. I mean... 287 00:16:07,923 --> 00:16:10,795 Obviously, Barry Lyndon has to be physically attractive. 288 00:16:10,926 --> 00:16:14,234 He couldn't be played by Al Pacino or Jack Nicholson. 289 00:16:15,322 --> 00:16:18,064 He had to also be able to, in the beginning, 290 00:16:18,194 --> 00:16:19,456 appear to be young 291 00:16:19,587 --> 00:16:22,416 and yet not look too young at the end. 292 00:16:24,940 --> 00:16:26,724 MICHEL: And the actors, how do you direct actors? 293 00:16:26,855 --> 00:16:28,726 Do you speak with them a lot, 294 00:16:28,857 --> 00:16:33,079 or do you let them feel the text or do you have an explanation? 295 00:16:33,209 --> 00:16:36,821 STANLEY: Well, first of all, you discuss the character in general, 296 00:16:36,952 --> 00:16:39,346 and then you discuss the scene, 297 00:16:39,476 --> 00:16:41,783 what the character's real attitude is in the scene. 298 00:16:42,827 --> 00:16:45,134 Then comes this terrible moment: 299 00:16:45,265 --> 00:16:48,094 the first time that you actually rehearse a scene 300 00:16:48,224 --> 00:16:49,834 in the place you are going to shoot it. 301 00:16:49,965 --> 00:16:51,271 It's always a surprise, 302 00:16:51,401 --> 00:16:53,577 it's never what you thought it would be. 303 00:16:53,708 --> 00:16:55,449 The text usually has to be changed 304 00:16:55,579 --> 00:16:56,798 in some way or another. 305 00:16:58,104 --> 00:16:59,453 Then they have to get it to a level 306 00:16:59,583 --> 00:17:02,369 where it's realistic and interesting. 307 00:17:02,499 --> 00:17:05,675 And at that point, it then becomes relatively easy. 308 00:17:09,244 --> 00:17:10,550 MALCOLM: It was an extraordinary experience 309 00:17:10,681 --> 00:17:12,335 doingClockwork Orange. 310 00:17:12,465 --> 00:17:14,816 A very long and arduous film to shoot. 311 00:17:15,817 --> 00:17:17,601 It was seven months shooting. 312 00:17:19,473 --> 00:17:21,648 And I was injured a couple of times on the film. 313 00:17:21,779 --> 00:17:24,304 I had my ribs dented. 314 00:17:24,434 --> 00:17:25,957 I was off for two weeks with that. 315 00:17:27,133 --> 00:17:29,265 I think I had tonsillitis or something, I... 316 00:17:29,396 --> 00:17:31,006 One disaster after another 317 00:17:31,137 --> 00:17:33,356 as far as I wa-- my health was concerned. 318 00:17:33,487 --> 00:17:35,271 I got a couple of scratched corneas 319 00:17:35,402 --> 00:17:36,664 on my eyes. 320 00:17:36,794 --> 00:17:39,145 But having said all that, of course, 321 00:17:39,275 --> 00:17:41,364 I suppose one can say it was worth it. 322 00:17:41,495 --> 00:17:43,627 And if Stanley trusts you, 323 00:17:43,758 --> 00:17:46,326 if he trusts you, you're all right. 324 00:17:46,456 --> 00:17:47,936 If he doesn't, beware. 325 00:17:49,242 --> 00:17:50,721 Very well, now listen to me carefully. 326 00:17:52,419 --> 00:17:54,899 The base is being put on condition red. 327 00:17:55,030 --> 00:17:57,076 I want this flashed to all sections immediately. 328 00:17:57,206 --> 00:17:58,990 I had the worst time I've ever had on a picture, 329 00:17:59,121 --> 00:18:00,557 and... 330 00:18:00,688 --> 00:18:02,429 Nothing to do with Stanley, 331 00:18:02,559 --> 00:18:04,605 and everything to do, I guess, with my own hang-ups. 332 00:18:04,735 --> 00:18:06,737 I worked the first day at Shepperton, 333 00:18:06,868 --> 00:18:10,045 and I had a great deal of technical jargon, you know? 334 00:18:10,176 --> 00:18:13,396 And so I started to work and I began to blow. 335 00:18:13,527 --> 00:18:14,963 You know those clowns outside 336 00:18:15,094 --> 00:18:17,966 are gonna give me a pretty good going over in a few minutes. 337 00:18:18,097 --> 00:18:21,448 Okay, and so he went something like 38 takes. 338 00:18:21,578 --> 00:18:24,233 I don't know how well I could stand up under torture. 339 00:18:24,364 --> 00:18:26,496 And I was getting worse and worse. 340 00:18:26,627 --> 00:18:29,238 So finally, he began to do pickups. Hmm? 341 00:18:29,369 --> 00:18:31,371 A sentence at a time. 342 00:18:31,501 --> 00:18:33,329 And I mean this is painful, this is embarrassing. 343 00:18:33,460 --> 00:18:36,115 Shit, I'm here and I want to do well, mm? 344 00:18:36,245 --> 00:18:38,378 I know I'll have to answer for what I've done. 345 00:18:39,509 --> 00:18:41,772 And finally I walked up and said, "Stanley I'm sorry, 346 00:18:41,903 --> 00:18:43,426 but there is nothing I can do." 347 00:18:43,557 --> 00:18:45,036 He said, "I know that." 348 00:18:45,167 --> 00:18:46,603 He said, "There's nothing I can do." 349 00:18:46,734 --> 00:18:48,214 I said, "I know that." 350 00:18:48,344 --> 00:18:49,606 He said, "But I'll tell you one thing." 351 00:18:49,737 --> 00:18:53,044 He said, "The terror, the terror that's in your eyes 352 00:18:53,175 --> 00:18:54,829 may just give us the quality that we want." 353 00:18:58,485 --> 00:19:00,748 JACK: He is a perfectionist. 354 00:19:00,878 --> 00:19:03,620 But I mean, on a more approvable level. 355 00:19:03,751 --> 00:19:07,189 I mean, you know, it's different in a movie situation 356 00:19:07,320 --> 00:19:09,409 if you say, "How was it?" to the operator. 357 00:19:09,539 --> 00:19:13,326 Stanley has the teleprompter now, so he knows. 358 00:19:13,456 --> 00:19:15,893 And the amount of reason that he has 359 00:19:16,024 --> 00:19:18,853 why a take is not acceptable... 360 00:19:18,983 --> 00:19:21,247 Quintessentially perfectionist. 361 00:19:24,511 --> 00:19:26,600 GARRETT: We had discussions about the elusive quality 362 00:19:26,730 --> 00:19:30,517 of perfection because down by take 75, 363 00:19:30,647 --> 00:19:32,301 a host of other things start going wrong. 364 00:19:32,432 --> 00:19:33,563 The tape finally gives out 365 00:19:33,694 --> 00:19:34,912 that held something onto the wall, 366 00:19:35,043 --> 00:19:36,871 and entropy takes over, 367 00:19:37,001 --> 00:19:38,264 we're all growing older, you know? 368 00:19:38,394 --> 00:19:42,355 So, the search is extraordinary, he never gives up. 369 00:19:42,485 --> 00:19:45,662 [battle drums beating] 370 00:19:50,319 --> 00:19:53,409 LEONARD: It was during a scene of a great many army people, 371 00:19:53,540 --> 00:19:55,455 or Irish army whatever it was, 372 00:19:55,585 --> 00:19:58,022 but we utilized a lot of material 373 00:19:58,153 --> 00:19:59,589 that was absolutely authentic. 374 00:19:59,720 --> 00:20:01,896 Authentic flutes from museums, 375 00:20:02,026 --> 00:20:04,507 authentic drums, and so on and so forth. 376 00:20:04,638 --> 00:20:05,552 And it was very easy. 377 00:20:06,944 --> 00:20:09,817 I've after all recorded some very avant-garde music 378 00:20:09,947 --> 00:20:12,646 that's very difficult and this was a cinch. 379 00:20:12,776 --> 00:20:15,910 We did a 105 takes on this thing and take two was perfect. 380 00:20:17,390 --> 00:20:20,219 And the orchestra looked at me and I looked at them 381 00:20:20,349 --> 00:20:23,309 as though, "We're dealing with an insane person." 382 00:20:23,439 --> 00:20:25,093 And 105 takes, 383 00:20:25,224 --> 00:20:27,487 and finally, I threw down the baton, 384 00:20:27,617 --> 00:20:29,793 ran into the thing, and grabbed him by the neck. 385 00:20:29,924 --> 00:20:31,186 I wanted to throw him through the window 386 00:20:31,317 --> 00:20:33,188 when everyone started laughing... 387 00:20:33,319 --> 00:20:34,537 kind of nervously. 388 00:20:34,668 --> 00:20:36,322 And he said, "You're crazy." 389 00:20:36,452 --> 00:20:38,193 And I said, "Well, you've driven everybody crazy, 390 00:20:38,324 --> 00:20:39,934 that's... that's the problem." 391 00:20:40,848 --> 00:20:43,372 [battle drums beat] 392 00:20:43,503 --> 00:20:46,680 STANLEY: Directing a movie, if you try to do it properly, 393 00:20:46,810 --> 00:20:48,986 is not always fun, 394 00:20:49,117 --> 00:20:52,686 because you are in conflict with people. 395 00:20:52,816 --> 00:20:55,341 If you try to get it right and you care about it, 396 00:20:55,471 --> 00:20:57,865 it isn't something which is the greatest fun in the world. 397 00:20:57,995 --> 00:21:01,303 It's immensely satisfying sometimes, 398 00:21:01,434 --> 00:21:03,044 but it is a lot of hard work 399 00:21:03,174 --> 00:21:06,134 and there is a lot of personal tension 400 00:21:06,265 --> 00:21:07,788 that occurs with everybody. 401 00:21:09,355 --> 00:21:12,793 The analogy would better in a sort of military sense 402 00:21:12,923 --> 00:21:15,012 in that Napoleon, 403 00:21:15,143 --> 00:21:16,536 if he didn't pay as much attention 404 00:21:16,666 --> 00:21:19,669 to the precise details of his marching, 405 00:21:19,800 --> 00:21:22,846 how he brought his troops to the right town 406 00:21:22,977 --> 00:21:24,326 on the right day, 407 00:21:24,457 --> 00:21:26,023 he worked out all the calculations 408 00:21:26,154 --> 00:21:28,243 where they would come from different places, 409 00:21:28,374 --> 00:21:30,680 and did all the mathematics himself, 410 00:21:30,811 --> 00:21:33,509 and got them there at the right time. 411 00:21:33,640 --> 00:21:34,858 He would never have an opportunity 412 00:21:34,989 --> 00:21:37,121 to be a genius on the battlefield. 413 00:21:37,252 --> 00:21:39,733 [military pipes and drums play] 414 00:21:39,863 --> 00:21:45,608 [♪♪♪] 415 00:21:45,739 --> 00:21:48,002 STANLEY: Battles are like the equivalent of making a film. 416 00:21:54,095 --> 00:21:56,663 DANN: The key to his success as a filmmaker is that 417 00:21:56,793 --> 00:21:59,840 he was the ruthless general everyone wanted to march with. 418 00:22:00,754 --> 00:22:02,712 He got everyone on his side and no matter what happened 419 00:22:02,843 --> 00:22:07,282 he expected his cast and crew to keep up with his standard. 420 00:22:07,413 --> 00:22:09,937 In a way, he kind of represented something to all of us 421 00:22:10,067 --> 00:22:11,982 because he was over there on his estate in England, 422 00:22:12,113 --> 00:22:13,767 he was far from Hollywood, 423 00:22:13,897 --> 00:22:15,769 he owned his own cameras, his own editing equipment, 424 00:22:15,899 --> 00:22:17,248 his own sound 425 00:22:17,379 --> 00:22:19,990 and he worked entirely according to his own schedule. 426 00:22:20,121 --> 00:22:22,950 It's kind of inspiring at a time when everybody else seems to be 427 00:22:23,080 --> 00:22:26,606 marching to the drums of commerce and promotion. 428 00:22:26,736 --> 00:22:29,260 ["Sarabande" plays] 429 00:22:29,391 --> 00:22:34,614 [♪♪♪] 430 00:22:36,529 --> 00:22:38,313 You know what kind of a camera that is? 431 00:22:38,444 --> 00:22:39,227 - What it's called? - It's... 432 00:22:40,620 --> 00:22:42,709 -A home movie -Arriflex. 433 00:22:45,799 --> 00:22:48,323 Napoleon is still in his grave, waiting... 434 00:22:48,454 --> 00:22:50,586 waiting to be brought back to life. 435 00:22:50,717 --> 00:22:51,935 I wonder what Napoleon would think 436 00:22:52,066 --> 00:22:53,284 of Lew Wasserman and David Picker. 437 00:22:55,504 --> 00:22:58,289 Whether he would have liked to have them passing judgment 438 00:22:58,420 --> 00:22:59,682 on his life. 439 00:22:59,813 --> 00:23:01,858 [film camera rolling] 440 00:23:53,867 --> 00:23:58,915 [♪♪♪] 441 00:24:13,887 --> 00:24:16,019 MICHEL: You worked in a disaffected plant? 442 00:24:16,150 --> 00:24:18,369 STANLEY: Well, the first thing I noticed 443 00:24:18,500 --> 00:24:22,373 was that the architecture in the peripheral areas 444 00:24:22,504 --> 00:24:24,027 where the fighting seemed to be, 445 00:24:24,158 --> 00:24:27,944 was this sort of 1930s industrial functionalism. 446 00:24:28,075 --> 00:24:30,686 And by the sheerest accident we found this area 447 00:24:30,817 --> 00:24:33,472 that is about a square mile, 448 00:24:33,602 --> 00:24:35,256 and it was designed by a German architect 449 00:24:35,386 --> 00:24:36,518 in the 30s, 450 00:24:36,649 --> 00:24:38,607 and it looked exactly like photographs 451 00:24:38,738 --> 00:24:41,392 we'd seen in the Hue and Saigon borders, 452 00:24:41,523 --> 00:24:43,264 you know, the outskirts of the city. 453 00:24:43,394 --> 00:24:46,136 And it just seemed like a miracle, 454 00:24:46,267 --> 00:24:48,530 because I don't know where-- looking back, I don't know 455 00:24:48,661 --> 00:24:50,837 how we could have done those scenes 456 00:24:50,967 --> 00:24:53,666 with a tiny fraction of the reality and interest 457 00:24:53,796 --> 00:24:55,145 that we got from this location. 458 00:24:55,972 --> 00:24:57,974 [rubble crumbling underfoot] 459 00:24:59,367 --> 00:25:01,108 STANLEY: In Hue, we could never have achieved 460 00:25:01,238 --> 00:25:04,677 this vision of hell that actually Hue looked like. 461 00:25:06,156 --> 00:25:09,377 [metal clattering] 462 00:25:10,857 --> 00:25:12,815 [tape whirring] 463 00:25:14,687 --> 00:25:16,297 [ghostly music over TV sounds] 464 00:25:16,427 --> 00:25:21,520 [♪♪♪] 465 00:25:21,650 --> 00:25:24,044 STANLEY: And I had done tremendous research, 466 00:25:24,174 --> 00:25:27,003 I had thousands of stills 467 00:25:27,134 --> 00:25:31,530 and as much documentary footage as we could get from archives. 468 00:25:34,533 --> 00:25:38,449 There was so much wonderful documentary material on Vietnam, 469 00:25:38,580 --> 00:25:40,843 you know, that had not been shot in any other war. 470 00:25:40,974 --> 00:25:42,715 Including scenes of men dying. 471 00:25:43,933 --> 00:25:47,371 So, looking at 100 hours of documentary film, 472 00:25:47,502 --> 00:25:49,417 actually probably tells you more than if you were there 473 00:25:49,548 --> 00:25:52,159 and didn't actually have combat. 474 00:26:04,475 --> 00:26:07,130 [ghostly music plays] 475 00:26:07,261 --> 00:26:10,525 MICHEL: The title,Full Metal Jacket , how did it come? 476 00:26:10,656 --> 00:26:13,006 STANLEY: Full metal jacket is a type of bullet design, 477 00:26:13,136 --> 00:26:15,051 which-- where the led of the bullet 478 00:26:15,182 --> 00:26:16,749 is in encased in copper. 479 00:26:16,879 --> 00:26:18,185 It's done to increase 480 00:26:18,315 --> 00:26:21,101 the reliability of the bullet feeding up the ramp 481 00:26:21,231 --> 00:26:22,406 into the chamber from the magazine, 482 00:26:22,537 --> 00:26:23,669 because it's smoother. 483 00:26:23,799 --> 00:26:24,844 And also, I think 484 00:26:24,974 --> 00:26:26,976 the Geneva Convention has laid down 485 00:26:27,107 --> 00:26:29,196 that it's a more humane type of bullet 486 00:26:29,326 --> 00:26:31,590 because led expands a little bit 487 00:26:31,720 --> 00:26:34,201 and this one just goes and makes a nice clean hole. 488 00:26:34,331 --> 00:26:36,290 [gunfire echoes] 489 00:26:41,600 --> 00:26:43,776 MICHEL: Do you think the problem of a war film 490 00:26:43,906 --> 00:26:46,387 is whatever you do to 491 00:26:46,517 --> 00:26:48,955 not to involve the audience into the battles, 492 00:26:49,085 --> 00:26:51,784 not to give them a vicarious experience. 493 00:26:51,914 --> 00:26:54,917 But isn't it an ethical problem for a filmmaker? 494 00:26:55,048 --> 00:26:56,571 STANLEY: When you read the memoirs of people 495 00:26:56,702 --> 00:26:58,355 that have survived the war, 496 00:26:58,486 --> 00:27:01,228 many of them look back on it as being the greatest moments 497 00:27:01,358 --> 00:27:02,621 of their lives. 498 00:27:02,751 --> 00:27:04,274 So, obviously there must be an aspect to it 499 00:27:04,405 --> 00:27:08,931 that is genuinely inspiring and spectacular 500 00:27:09,062 --> 00:27:10,324 in the real sense of the word. 501 00:27:11,847 --> 00:27:15,590 And the elements of comradeship, loyalty, courage, 502 00:27:15,721 --> 00:27:17,679 those things, in retrospect, 503 00:27:17,810 --> 00:27:19,986 people who take part in are moved. 504 00:27:20,116 --> 00:27:22,989 COMMANDER: It is then with great pride that I note the fine work 505 00:27:23,119 --> 00:27:25,252 done by the soldiers of this command 506 00:27:25,382 --> 00:27:26,601 during the recent operation. 507 00:27:27,994 --> 00:27:30,823 It is with pleasure that I say: a job well done. 508 00:27:32,563 --> 00:27:37,699 [♪♪♪] 509 00:27:39,222 --> 00:27:40,833 MICHEL: If you are interested by war in itself 510 00:27:40,963 --> 00:27:42,835 and the ambiguity of war, 511 00:27:42,965 --> 00:27:44,401 there is no ambiguity in the way you look 512 00:27:44,532 --> 00:27:45,707 at the hierarchy. 513 00:27:45,838 --> 00:27:47,535 I mean whether inDr. Strangelove 514 00:27:47,666 --> 00:27:49,711 or even inPaths of Glory , 515 00:27:49,842 --> 00:27:52,105 or, in this film, the drill instructor. 516 00:27:53,236 --> 00:27:55,151 STANLEY: Well, the drill instructor in this film is as nalïve 517 00:27:55,282 --> 00:27:56,413 as the boys are. 518 00:27:56,544 --> 00:27:58,764 I mean, he is just programmed to do that. 519 00:27:58,894 --> 00:28:00,896 [shouts] Did your parents have any children that lived? 520 00:28:01,027 --> 00:28:03,246 -Sir, yes, sir. -I bet they regret that. 521 00:28:03,377 --> 00:28:06,815 You're so ugly you can be a modern art masterpiece. 522 00:28:06,946 --> 00:28:09,513 STANLEY: Lee Ermey was a Parris Island drill instructor. 523 00:28:09,644 --> 00:28:11,907 He actually was what he played. 524 00:28:12,038 --> 00:28:14,780 He was hired as a technical adviser, 525 00:28:14,910 --> 00:28:17,434 and I was looking for an actor for the part. 526 00:28:17,565 --> 00:28:20,394 But when we started interviewing boys 527 00:28:20,524 --> 00:28:22,875 for the recruits at Parris Island, 528 00:28:23,005 --> 00:28:24,441 we had the idea that Lee would do 529 00:28:24,572 --> 00:28:26,139 an improvisation with them. 530 00:28:26,269 --> 00:28:29,142 Originally this was just to see how they would react, 531 00:28:29,272 --> 00:28:31,448 and he did what he did in the scene: 532 00:28:31,579 --> 00:28:33,886 the most bizarre, off-the-wall dialogue 533 00:28:34,016 --> 00:28:35,322 you could ever imagine. 534 00:28:35,452 --> 00:28:36,845 He asked one guy what his name was, 535 00:28:36,976 --> 00:28:39,587 and he said, "Lawrence", and he actually said to him... 536 00:28:39,718 --> 00:28:41,154 [shouts] Lawrence? Lawrence, what, of Arabia? 537 00:28:41,284 --> 00:28:42,372 Sir, no, sir. 538 00:28:42,503 --> 00:28:43,896 That name sounds like royalty. 539 00:28:44,026 --> 00:28:45,898 -Are you royalty? -Sir, no, sir. 540 00:28:46,028 --> 00:28:47,116 Do you suck dicks? 541 00:28:47,247 --> 00:28:48,596 -Sir, no, sir. -Bullshit! 542 00:28:48,727 --> 00:28:51,512 I'll bet you could suck a golf ball through a hose! 543 00:28:51,642 --> 00:28:53,427 STANLEY: So, I suppose drill instructors 544 00:28:53,557 --> 00:28:55,777 are in some way or another actors, 545 00:28:55,908 --> 00:28:58,301 but Lee of course I think is special. 546 00:28:58,432 --> 00:28:59,825 I don't like the name Lawrence! 547 00:28:59,955 --> 00:29:02,175 Only faggots and sailors are called Lawrence! 548 00:29:02,305 --> 00:29:04,873 -From now on you're Gomer Pyle! -Sir, yes, sir. 549 00:29:06,657 --> 00:29:09,312 Tell me, you were in Vietnam. Is this realistic? 550 00:29:09,443 --> 00:29:11,184 When you look at the movie, is that...? 551 00:29:11,314 --> 00:29:13,360 It's very realistic. I have a cross section... 552 00:29:13,490 --> 00:29:15,666 When somebody hires me to give technical advice, 553 00:29:15,797 --> 00:29:17,277 I like technical advice 554 00:29:17,407 --> 00:29:19,322 because I like putting the realism in there. 555 00:29:19,453 --> 00:29:21,324 It's good for me. 556 00:29:21,455 --> 00:29:23,544 -Why? -Good therapy maybe, I think. 557 00:29:23,674 --> 00:29:25,676 When you look at it, does it ring true with you? 558 00:29:25,807 --> 00:29:27,113 Is it hard for you to watch? 559 00:29:27,243 --> 00:29:28,201 'Cause you didn't even like talking 560 00:29:28,331 --> 00:29:29,985 about your experiences in Vietnam. 561 00:29:30,116 --> 00:29:32,640 It's really not that difficult for me to watch 562 00:29:32,771 --> 00:29:34,773 because I know it's not... 563 00:29:34,903 --> 00:29:36,557 it's not something that directly... 564 00:29:37,732 --> 00:29:39,690 that I was involved with, okay? 565 00:29:40,953 --> 00:29:43,869 I don't see the face of my friend or... 566 00:29:43,999 --> 00:29:45,784 I don't have any problem with this. 567 00:29:46,872 --> 00:29:48,177 But realism is there. 568 00:29:48,308 --> 00:29:52,573 And you can take a circle of ten Vietnam vets 569 00:29:52,703 --> 00:29:54,575 and give them each a situation 570 00:29:54,705 --> 00:29:55,576 and they will have ten different ways 571 00:29:55,706 --> 00:29:56,751 to solve the problem. 572 00:29:56,882 --> 00:29:58,405 So what's real, you know? 573 00:29:58,535 --> 00:30:00,233 [ghostly music plays] 574 00:30:00,363 --> 00:30:04,933 [♪♪♪] 575 00:30:05,064 --> 00:30:07,936 [distant explosions] 576 00:30:16,162 --> 00:30:18,555 STANLEY: One of the other central features of the war 577 00:30:18,686 --> 00:30:23,996 was the manipulation of the reality of the war 578 00:30:24,126 --> 00:30:28,348 by technocrats and quote "intellectuals" in Washington, 579 00:30:28,478 --> 00:30:31,133 who were always finding light at the end of the tunnel 580 00:30:31,264 --> 00:30:32,874 and... 581 00:30:33,005 --> 00:30:38,445 encouraging the men there to lie and to exaggerate kill ratios. 582 00:30:38,575 --> 00:30:40,577 There was an arrogance back in Washington 583 00:30:40,708 --> 00:30:42,318 by these quote "intellectuals", 584 00:30:42,449 --> 00:30:45,365 who ran the war like an advertising campaign, 585 00:30:45,495 --> 00:30:46,801 when they suffered terrific casualties 586 00:30:46,932 --> 00:30:48,977 and accomplished nothing they thought they would. 587 00:30:49,108 --> 00:30:51,719 You know, they thought people would actually rise up 588 00:30:51,850 --> 00:30:53,025 and join them. 589 00:30:55,723 --> 00:30:57,943 But, because of the lying, 590 00:30:58,073 --> 00:31:00,510 the press and the public were so shocked. 591 00:31:02,643 --> 00:31:04,166 Well, it's a bit like the generals and the men 592 00:31:04,297 --> 00:31:05,254 inPaths of Glory. 593 00:31:06,473 --> 00:31:07,474 But in this case it was more 594 00:31:07,604 --> 00:31:10,216 than just the ambition of the generals 595 00:31:10,346 --> 00:31:11,695 versus the men's lives. 596 00:31:13,436 --> 00:31:15,221 I ordered an attack. 597 00:31:15,351 --> 00:31:17,223 Your troops refused to attack. 598 00:31:17,353 --> 00:31:19,616 My troops did attack, sir, but they could make no headway. 599 00:31:19,747 --> 00:31:20,966 Because they didn't try, Colonel. 600 00:31:21,096 --> 00:31:22,532 I saw it myself. 601 00:31:22,663 --> 00:31:24,056 Half of your men never left the trenches. 602 00:31:24,186 --> 00:31:25,448 A third of my men were pinned down 603 00:31:25,579 --> 00:31:27,059 because the fire was so intense. 604 00:31:27,189 --> 00:31:28,843 Don't quibble over fractions, Colonel. 605 00:31:28,974 --> 00:31:30,366 The fact remains 606 00:31:30,497 --> 00:31:31,890 that a good part of your men never left their own trenches. 607 00:31:33,282 --> 00:31:35,632 Colonel Dax, I'm going to have ten men 608 00:31:35,763 --> 00:31:37,025 from each company in your regiment 609 00:31:37,156 --> 00:31:39,158 tried under penalty of death for cowardice. 610 00:31:40,028 --> 00:31:41,595 -Penalty of death? -GENERAL: For cowardice! 611 00:31:42,857 --> 00:31:46,426 [rhythmic gunfire] 612 00:31:52,345 --> 00:31:53,259 [shouts] Aim! 613 00:31:55,826 --> 00:31:56,827 -Fire! -[gunshots] 614 00:32:01,963 --> 00:32:03,747 MICHEL: ButPaths of Glory was not fundamentally different 615 00:32:03,878 --> 00:32:05,836 - in philosophy from this film. -STANLEY: Hmm. 616 00:32:05,967 --> 00:32:07,969 MICHEL: WWI was really a fight 617 00:32:08,100 --> 00:32:09,710 - for nothing. -STANLEY: For nothing. 618 00:32:10,711 --> 00:32:12,495 MICHEL: Certainly WWI was a big turning point. 619 00:32:12,626 --> 00:32:14,671 Certainly the Vietnam War for Americans, 620 00:32:14,802 --> 00:32:17,587 because it was the first time that America really lost a war. 621 00:32:17,718 --> 00:32:19,546 So, it's a big trauma. 622 00:32:19,676 --> 00:32:23,115 STANLEY: Well, I think it taught America that you don't fight a war 623 00:32:23,245 --> 00:32:24,768 because some intellectuals decide 624 00:32:24,899 --> 00:32:27,684 that it might be a good thing, you know? 625 00:32:29,164 --> 00:32:31,601 I don't think you're gonna get Americans to fight a war again 626 00:32:31,732 --> 00:32:34,517 unless they think it really means something to them. 627 00:32:35,649 --> 00:32:36,867 Now, how far... 628 00:32:38,043 --> 00:32:40,175 that kind of isolationism will go, I don't know. 629 00:32:41,698 --> 00:32:42,786 Colonel. 630 00:32:44,832 --> 00:32:46,660 Marine, what is that button on your body armor? 631 00:32:47,574 --> 00:32:48,923 A peace symbol, sir. 632 00:32:49,054 --> 00:32:51,795 -COLONEL: Where d'ya get it? -I don't remember, sir. 633 00:32:51,926 --> 00:32:53,623 What is that you've got written on your helmet? 634 00:32:53,754 --> 00:32:55,364 "Born to kill", sir. 635 00:32:55,495 --> 00:32:56,713 You write "Born to kill" on your helmet 636 00:32:56,844 --> 00:32:58,411 and you wear a peace button. 637 00:32:58,541 --> 00:33:00,587 What's that supposed to be, some kind of sick joke? 638 00:33:00,717 --> 00:33:02,763 -No, sir. -What is it supposed to mean? 639 00:33:07,942 --> 00:33:11,119 STANLEY: And that, of course, is playing off on the Jungian ideas 640 00:33:11,250 --> 00:33:12,642 of the duality of man. 641 00:33:12,773 --> 00:33:15,123 Altruism and cooperation 642 00:33:15,254 --> 00:33:18,518 versus xenophobia and aggression, you know? 643 00:33:18,648 --> 00:33:23,827 The fact that people do not see the dark side of themselves, 644 00:33:23,958 --> 00:33:25,742 and tend to externalize evil. 645 00:33:25,873 --> 00:33:28,136 People do only see themselves as good 646 00:33:28,267 --> 00:33:30,530 and everybody else as either weak or evil. 647 00:33:30,660 --> 00:33:31,661 I mean... 648 00:33:32,445 --> 00:33:33,837 there is always a problem 649 00:33:33,968 --> 00:33:36,623 when people are confronted with the shadow of the side. 650 00:33:36,753 --> 00:33:39,321 ["La Gazza Ladra" from "Clockwork Orange" plays] 651 00:33:40,888 --> 00:33:42,324 [Alex cries out] 652 00:33:42,455 --> 00:33:47,416 [♪♪♪] 653 00:33:47,547 --> 00:33:49,723 -[screams] -[loud thud] 654 00:33:55,381 --> 00:33:57,252 [sirens wailing in distance] 655 00:34:09,525 --> 00:34:14,226 STANLEY: Certainly in the case of Alex, he must be aware of his duality 656 00:34:14,356 --> 00:34:16,576 and he must be aware of his own weakness 657 00:34:16,706 --> 00:34:18,708 in order to be good, 658 00:34:18,839 --> 00:34:23,322 or to prevent the worst kinds of personal and social evil. 659 00:34:28,109 --> 00:34:29,980 What crime did you commit? 660 00:34:30,110 --> 00:34:32,418 The accidental killing of a person, sir. 661 00:34:32,547 --> 00:34:33,853 He brutally murdered a woman, sir, 662 00:34:33,984 --> 00:34:35,072 in furtherance of theft. 663 00:34:35,203 --> 00:34:36,726 [shouts] Fourteen years, sir! 664 00:34:37,900 --> 00:34:39,077 Excellent. 665 00:34:40,513 --> 00:34:43,036 He's enterprising, aggressive, 666 00:34:43,168 --> 00:34:46,867 outgoing, young, bold... 667 00:34:46,996 --> 00:34:47,911 vicious. 668 00:34:48,956 --> 00:34:49,956 He'll do. 669 00:34:53,395 --> 00:34:56,311 STANLEY: InClockwork Orange, he was in conflict with people 670 00:34:56,442 --> 00:35:00,315 who, in a way, were just as bad as he was in a different sense 671 00:35:00,446 --> 00:35:03,405 and I suppose, in an emotional way, 672 00:35:03,536 --> 00:35:05,059 seemed less sympathetic. 673 00:35:05,190 --> 00:35:08,584 [screams] 674 00:35:11,761 --> 00:35:14,024 No... No! 675 00:35:15,374 --> 00:35:18,246 [shouts] Stop it! Stop it, please! I beg you! 676 00:35:18,377 --> 00:35:19,900 It's a sin! 677 00:35:20,030 --> 00:35:21,510 It's a sin! 678 00:35:21,641 --> 00:35:23,469 It's a sin! 679 00:35:23,599 --> 00:35:26,689 It's a sin! It's a sin! It's a sin! 680 00:35:26,820 --> 00:35:29,649 Sin? What's all this about sin? 681 00:35:29,779 --> 00:35:32,173 [piano music plays] 682 00:35:32,304 --> 00:35:35,437 [crowd shouts indistinctly] 683 00:35:40,442 --> 00:35:44,229 STANLEY: One of the really most puzzling social problems today 684 00:35:44,359 --> 00:35:48,276 is how can authority maintain itself 685 00:35:48,407 --> 00:35:49,973 without becoming repressive? 686 00:35:51,540 --> 00:35:53,977 You have an ever-increasing feeling 687 00:35:54,108 --> 00:35:56,415 among young people that... 688 00:35:57,459 --> 00:36:01,985 politics and legal means of social change 689 00:36:02,116 --> 00:36:06,076 are too slow and may be useless. 690 00:36:06,207 --> 00:36:07,556 On the other hand, you have authority 691 00:36:07,687 --> 00:36:11,081 that feels threatened by terrorism 692 00:36:12,257 --> 00:36:14,172 and this growing sense of anarchy 693 00:36:14,302 --> 00:36:15,477 that they can feel. 694 00:36:15,608 --> 00:36:17,958 And the question is, how do you achieve, 695 00:36:18,088 --> 00:36:21,570 uh, if it is possible anymore, some kind of... 696 00:36:22,919 --> 00:36:24,182 balance? 697 00:36:26,053 --> 00:36:30,492 It certainly doesn't lie in this very utopian 698 00:36:30,623 --> 00:36:33,408 sort of optimistic view that if you destroy authority, 699 00:36:33,539 --> 00:36:35,193 then something good will come of it. 700 00:36:35,323 --> 00:36:37,804 And it equally doesn't lie by saying, you know, 701 00:36:37,934 --> 00:36:41,286 authority must impose its will with greater and greater force. 702 00:36:41,416 --> 00:36:42,983 It's a dilemma. 703 00:36:43,113 --> 00:36:46,639 [menacing drums] 704 00:36:46,769 --> 00:36:49,207 [piano music] 705 00:36:49,337 --> 00:36:52,079 The Scala Cinema in London is in court today 706 00:36:52,210 --> 00:36:54,603 accused of a breach of copyright after allegedly showing 707 00:36:54,734 --> 00:36:57,345 the controversial film Clockwork Orange. 708 00:36:57,476 --> 00:36:59,260 The film has been banned in Britain for 20 years 709 00:36:59,391 --> 00:37:00,957 at the request of its director, 710 00:37:01,088 --> 00:37:03,221 after critics claimed it glamorized violence. 711 00:37:05,745 --> 00:37:08,356 MALCOLM: You see more violence on a news program. 712 00:37:08,487 --> 00:37:12,012 You know, you see more violence in a John Wayne film, 713 00:37:12,142 --> 00:37:13,883 'cause John Wayne always shoots and you always feel, 714 00:37:14,014 --> 00:37:16,146 "Oh, good old John Wayne. 715 00:37:16,277 --> 00:37:18,323 He is the goody and he shot the baddy." 716 00:37:18,453 --> 00:37:21,108 And it's an emotional response, you know? 717 00:37:21,239 --> 00:37:24,198 I personally feel that it's more violence 718 00:37:24,329 --> 00:37:27,245 of the imagination, of the mind. 719 00:37:27,375 --> 00:37:29,551 I think the film is very important 720 00:37:29,682 --> 00:37:30,857 because the statement it makes 721 00:37:30,987 --> 00:37:34,904 is about the freedom of human beings to choose. 722 00:37:35,035 --> 00:37:36,254 And that's more important 723 00:37:36,384 --> 00:37:39,344 than any of these sensational elements 724 00:37:39,474 --> 00:37:42,521 that the press and people have been talking about. 725 00:37:45,611 --> 00:37:49,049 STANLEY: Nobody, except people who were trying to prove 726 00:37:49,179 --> 00:37:52,444 thatClockwork Orange was an evil film, 727 00:37:52,574 --> 00:37:55,055 nobody could believe that one was in favor of Alex. 728 00:37:55,185 --> 00:37:57,666 It's only that in telling a story like that, 729 00:37:57,797 --> 00:38:00,626 you want to present Alex as he feels 730 00:38:00,756 --> 00:38:02,715 and as he is to himself. 731 00:38:02,845 --> 00:38:04,194 And in analyzing the film, you could think 732 00:38:04,325 --> 00:38:05,500 that there was more sympathy for Alex 733 00:38:05,631 --> 00:38:08,808 but, since it is satirical story, 734 00:38:08,938 --> 00:38:11,027 and since the nature of satire is that 735 00:38:11,158 --> 00:38:13,116 you state the opposite of the truth 736 00:38:13,247 --> 00:38:14,379 as if it is the truth... 737 00:38:16,032 --> 00:38:17,947 I don't see how anybody of any intelligence, 738 00:38:18,078 --> 00:38:20,080 or even any ordinary person, 739 00:38:20,210 --> 00:38:22,561 could think that you really thought Alex was the hero. 740 00:38:24,867 --> 00:38:26,608 It's probably what attracted me to the book. 741 00:38:26,739 --> 00:38:31,091 It was this strange duality of a character 742 00:38:31,221 --> 00:38:32,701 who is plainly evil, 743 00:38:32,832 --> 00:38:35,356 and yet, because of him operating 744 00:38:35,487 --> 00:38:37,619 on this unconscious level, 745 00:38:37,750 --> 00:38:40,666 makes you aware of things within your own personality 746 00:38:40,796 --> 00:38:43,233 which you then identify with him. 747 00:38:44,365 --> 00:38:47,716 [suspenseful music] 748 00:38:47,847 --> 00:38:49,936 MICHEL: You are more attracted by evil characters 749 00:38:50,066 --> 00:38:51,154 than by good ones. 750 00:38:51,285 --> 00:38:53,156 I was thinking of Milton, 751 00:38:53,287 --> 00:38:55,463 makingParadise Lost much more interesting. 752 00:38:56,203 --> 00:38:57,465 STANLEY: Uh... 753 00:38:57,596 --> 00:39:00,120 "Better to reign in Hell than serve in Heaven." 754 00:39:01,208 --> 00:39:03,297 [suspenseful music grows in volume] 755 00:39:03,428 --> 00:39:08,433 [♪♪♪] 756 00:39:18,007 --> 00:39:20,096 [typewriter keys tapping] 757 00:39:21,576 --> 00:39:23,665 [eerie tinkling music plays] 758 00:39:23,796 --> 00:39:28,931 [♪♪♪] 759 00:39:30,846 --> 00:39:33,109 MICHEL: How do you see your character in this film? 760 00:39:33,240 --> 00:39:36,199 How do you see the reason of his behavior? 761 00:39:36,330 --> 00:39:38,637 It's very ironical because he wants to write, 762 00:39:38,767 --> 00:39:41,291 to be creative and he wants to be free 763 00:39:41,422 --> 00:39:44,599 and he is a slave in fact of his own neurosis. 764 00:39:44,730 --> 00:39:46,384 STANLEY: Well, you can only fill in the details 765 00:39:46,514 --> 00:39:48,516 of Jack's personality. 766 00:39:48,647 --> 00:39:50,823 He is bitterly disappointed with himself, 767 00:39:50,953 --> 00:39:54,217 he is a person who... who obviously has immense rage. 768 00:39:54,348 --> 00:39:57,220 He is married to a woman whom he obviously has nothing 769 00:39:57,351 --> 00:40:00,398 but contempt for and he doesn't like his son. 770 00:40:02,182 --> 00:40:04,140 You then put him in a situation 771 00:40:04,271 --> 00:40:09,145 where he then is exposed to evil forces in the hotel. 772 00:40:09,276 --> 00:40:11,539 Now, you are getting into the supernatural side 773 00:40:11,670 --> 00:40:13,106 of the story. 774 00:40:13,236 --> 00:40:16,849 And all those other factors simply serve to prepare him, 775 00:40:16,979 --> 00:40:20,374 to make him a suitable servant of their wishes. 776 00:40:21,723 --> 00:40:23,943 [suspenseful music plays] 777 00:40:26,075 --> 00:40:28,600 -[screams] -[wood cracking] 778 00:40:30,166 --> 00:40:31,820 -No! -[wood cracking] 779 00:40:31,951 --> 00:40:32,691 Please! 780 00:40:33,953 --> 00:40:35,737 [screams] 781 00:40:40,655 --> 00:40:41,787 [woman shrieks] Please! 782 00:40:43,963 --> 00:40:49,055 [♪♪♪] 783 00:40:51,013 --> 00:40:51,971 MICHEL: In this story, 784 00:40:52,101 --> 00:40:53,842 I mean at least the way you have shot it 785 00:40:53,973 --> 00:40:59,892 there is always the possibility that everything is in the mind. 786 00:41:00,022 --> 00:41:01,894 STANLEY: Well, this is what I found so ingenious 787 00:41:02,024 --> 00:41:04,157 about the way the novel was written. 788 00:41:04,287 --> 00:41:07,334 And you assume as you read it 789 00:41:07,465 --> 00:41:09,249 that the things that are happening 790 00:41:09,379 --> 00:41:13,427 are probably going to be a product of his imagination. 791 00:41:13,558 --> 00:41:16,474 And I think this allows you to start accepting them. 792 00:41:19,781 --> 00:41:20,826 MICHEL: Do you think there's an interaction 793 00:41:20,956 --> 00:41:23,306 between the souls in the hotel 794 00:41:23,437 --> 00:41:26,005 and it's not purely a projection of his mental thing? 795 00:41:26,135 --> 00:41:27,397 Well, you can interpret that. 796 00:41:28,616 --> 00:41:30,966 STANLEY: Well, I mean I interpret the story as being real. 797 00:41:32,446 --> 00:41:35,014 I mean I just accept for the story purposes 798 00:41:35,144 --> 00:41:36,885 that everything is true. 799 00:41:38,887 --> 00:41:41,020 [suspenseful music buzzes] 800 00:41:41,150 --> 00:41:45,241 [♪♪♪] 801 00:41:45,372 --> 00:41:47,287 [wind blows] 802 00:41:47,417 --> 00:41:49,419 [trees creak] 803 00:41:51,030 --> 00:41:52,945 [pants] 804 00:42:01,867 --> 00:42:04,434 MICHEL: There are three mazes if I remember well. 805 00:42:04,565 --> 00:42:06,915 There is the real maze, 806 00:42:07,046 --> 00:42:10,266 there is a kind of map or plan of the maze, 807 00:42:10,397 --> 00:42:11,877 and it's also the maze is in a way 808 00:42:12,007 --> 00:42:13,487 that the hotel in reduction 809 00:42:13,618 --> 00:42:16,011 because hotels are full of corridors 810 00:42:16,142 --> 00:42:17,317 and things like that. 811 00:42:17,447 --> 00:42:19,406 So this idea is extremely powerful 812 00:42:19,537 --> 00:42:22,148 and it goes with the imaginary dimension 813 00:42:22,278 --> 00:42:23,018 of the film. 814 00:42:24,846 --> 00:42:27,240 [suspenseful music buzzes] 815 00:42:30,809 --> 00:42:32,245 [wind blowing] 816 00:42:32,375 --> 00:42:33,594 [pants] 817 00:42:33,725 --> 00:42:38,425 [♪♪♪] 818 00:42:40,862 --> 00:42:43,256 STANLEY: I remember once reading something about 819 00:42:43,386 --> 00:42:47,913 which were maze seem the perfect kind of metaphor for many things 820 00:42:48,043 --> 00:42:50,785 about life and that somebody was describing how in a maze 821 00:42:50,916 --> 00:42:54,049 everybody is giving advice to each other, 822 00:42:54,180 --> 00:42:56,617 and misleading each other completely by their advice. 823 00:42:56,748 --> 00:42:59,707 So nobody knows quite what to do, 824 00:42:59,838 --> 00:43:02,449 they are all giving each other ideas which are all wrong. 825 00:43:02,580 --> 00:43:04,538 [pants] 826 00:43:04,669 --> 00:43:07,323 [suspenseful music buzzes] 827 00:43:07,454 --> 00:43:12,720 [♪♪♪] 828 00:43:34,612 --> 00:43:37,353 STANLEY: Many types of genre material 829 00:43:37,484 --> 00:43:40,705 are really ways of thinking about death. 830 00:43:40,835 --> 00:43:45,840 [♪♪♪] 831 00:43:48,234 --> 00:43:50,889 STANLEY: So that in a way it is, on a psychological level, 832 00:43:51,019 --> 00:43:54,762 possibly a way of exploring attitudes towards death. 833 00:43:56,634 --> 00:43:59,680 MICHEL: Your films give a feeling of great despair. 834 00:44:01,334 --> 00:44:03,945 STANLEY: If you make certain assumptions about the nature of man 835 00:44:04,076 --> 00:44:08,907 and you build a social situation on false assumptions, 836 00:44:09,037 --> 00:44:12,954 if you assume that man is fundamentally good, 837 00:44:13,085 --> 00:44:15,174 it will disappoint you. 838 00:44:24,357 --> 00:44:27,055 [suspenseful music crescendos] 839 00:44:27,186 --> 00:44:32,234 [♪♪♪] 840 00:44:37,892 --> 00:44:44,420 [♪♪♪] 841 00:44:44,551 --> 00:44:48,990 ARTHUR: What we are doing in the movie 2001: A Space Odyssey 842 00:44:49,121 --> 00:44:50,992 is showing some of the things 843 00:44:51,123 --> 00:44:53,691 we will develop in the world of the future 844 00:44:53,821 --> 00:44:57,172 as a result of our present first steps into space. 845 00:44:58,434 --> 00:45:01,263 The next generation will explore the planets, 846 00:45:01,394 --> 00:45:04,484 bring back new knowledge, answering old questions, 847 00:45:04,614 --> 00:45:07,574 and of course asking fresh ones. 848 00:45:07,705 --> 00:45:10,882 It's really the next stage in the evolution of mankind. 849 00:45:12,840 --> 00:45:14,320 About half a century ago, 850 00:45:14,450 --> 00:45:18,541 the great Russian space pioneer, Tsiolkovsky said, 851 00:45:18,672 --> 00:45:21,022 "Earth is the cradle of mankind 852 00:45:21,153 --> 00:45:23,851 but you cannot live in the cradle forever." 853 00:45:23,982 --> 00:45:25,374 And that is very true. 854 00:45:25,505 --> 00:45:29,814 And out here among the stars, lies the destiny of mankind. 855 00:45:29,944 --> 00:45:36,559 [♪♪♪] 856 00:46:06,459 --> 00:46:08,287 STANLEY: The human species hasn't changed 857 00:46:08,417 --> 00:46:10,376 since Cro-Magnon men, 858 00:46:10,506 --> 00:46:13,814 and, in terms of evolutionary time, 859 00:46:13,945 --> 00:46:17,296 we're not going to change much in the next 100 or 200 years. 860 00:46:17,426 --> 00:46:20,255 The critical problem of our survival 861 00:46:20,386 --> 00:46:22,867 is going to have to be settled long before 100 or 200 years. 862 00:46:22,997 --> 00:46:25,434 Now, where is this source of intelligence 863 00:46:25,565 --> 00:46:26,435 going to come from? 864 00:46:28,350 --> 00:46:30,265 -HAL: Good evening, Dave. -How you doin', HAL? 865 00:46:30,396 --> 00:46:32,311 HAL: Everything's running smoothly. And you? 866 00:46:32,441 --> 00:46:33,399 Oh, not too bad. 867 00:46:33,529 --> 00:46:35,227 HAL: Have you been doing more work? 868 00:46:35,357 --> 00:46:37,577 -DAVE: A few sketches. -HAL: May I see them? 869 00:46:37,707 --> 00:46:38,708 Sure. 870 00:46:42,582 --> 00:46:44,236 HAL: That's a very nice rendering, Dave. 871 00:46:45,890 --> 00:46:47,587 I think you've improved a great deal. 872 00:46:51,983 --> 00:46:53,854 STANLEY: There is something that's happening already today, 873 00:46:53,985 --> 00:46:57,684 you might say, "a mechaniarchy" or whatever the word would be. 874 00:46:57,815 --> 00:47:01,079 The love that we have now for machines. 875 00:47:01,209 --> 00:47:03,429 The smell and the feel of a beautiful camera, 876 00:47:03,559 --> 00:47:04,909 or a tape recorder. 877 00:47:05,039 --> 00:47:06,562 There is an aesthetic, 878 00:47:06,693 --> 00:47:09,130 an almost sensuous aesthetic about machines. 879 00:47:11,002 --> 00:47:12,481 I'm sure it will be useful to them to know 880 00:47:12,612 --> 00:47:13,700 what human feelings are 881 00:47:13,831 --> 00:47:15,006 because it will help them understand us. 882 00:47:17,095 --> 00:47:19,619 HAL: The 9000 series is the most reliable computer 883 00:47:19,749 --> 00:47:20,620 ever made. 884 00:47:22,013 --> 00:47:24,711 No 9000 computer has ever made a mistake 885 00:47:24,842 --> 00:47:26,321 or distorted information. 886 00:47:27,627 --> 00:47:29,542 We are all, by any practical definition 887 00:47:29,672 --> 00:47:30,848 of the words, 888 00:47:30,978 --> 00:47:34,503 foolproof and incapable of error. 889 00:47:34,634 --> 00:47:37,245 INTERVIEWER: HAL, despite your enormous intellect 890 00:47:37,376 --> 00:47:40,161 are you ever frustrated by your dependence on people 891 00:47:40,292 --> 00:47:41,771 to carry out actions? 892 00:47:41,902 --> 00:47:43,425 HAL: Not in the slightest bit. 893 00:47:44,383 --> 00:47:45,819 I enjoy working with people. 894 00:48:05,404 --> 00:48:08,276 STANLEY: We do now obviously need some source of intelligence 895 00:48:08,407 --> 00:48:10,409 of a magnitude considerably greater 896 00:48:10,539 --> 00:48:13,151 than seems to exist at the moment. 897 00:48:13,281 --> 00:48:16,850 And you could say that man's survival depends 898 00:48:16,981 --> 00:48:18,460 on the ultra-intelligent machine. 899 00:48:19,897 --> 00:48:24,162 I can't think of any reason why it's a frightening prospect, 900 00:48:24,292 --> 00:48:29,558 because intelligence seems to me to be something which is good, 901 00:48:29,689 --> 00:48:31,604 and so I can't see 902 00:48:31,734 --> 00:48:33,171 how your ultra-intelligent machine 903 00:48:33,301 --> 00:48:34,912 is going to be any worse than a man. 904 00:48:37,610 --> 00:48:39,307 Open the pod bay doors, HAL. 905 00:48:41,005 --> 00:48:44,182 HAL: I'm sorry, Dave. I'm afraid I can't do that. 906 00:48:46,619 --> 00:48:47,837 What's the problem? 907 00:48:48,926 --> 00:48:50,275 HAL: I think you know what the problem is 908 00:48:50,405 --> 00:48:51,972 just as well as I do. 909 00:48:52,103 --> 00:48:53,582 What are you talking about, HAL? 910 00:48:54,975 --> 00:48:56,629 HAL: This mission is too important for me 911 00:48:56,759 --> 00:48:57,978 to allow you to jeopardize it. 912 00:49:00,024 --> 00:49:01,851 I don't know what you're talking about, HAL. 913 00:49:01,982 --> 00:49:07,031 [♪♪♪] 914 00:49:31,229 --> 00:49:34,014 [air hisses] 915 00:49:45,373 --> 00:49:48,159 [breathes steadily] 916 00:50:05,045 --> 00:50:06,264 HAL: I'm afraid. 917 00:50:11,704 --> 00:50:13,662 I'm afraid, Dave. 918 00:50:17,231 --> 00:50:19,407 STANLEY: At the moment, the problems of the world 919 00:50:19,538 --> 00:50:23,585 appear to be problems only because man seems to lack 920 00:50:23,716 --> 00:50:28,025 the intelligence to think his wayout of the present trap 921 00:50:28,155 --> 00:50:29,504 that we seem to be in. 922 00:50:30,375 --> 00:50:31,289 HAL: Dave. 923 00:50:34,422 --> 00:50:35,423 My mind is going. 924 00:50:41,212 --> 00:50:42,474 I can feel it. 925 00:50:44,737 --> 00:50:45,781 I can feel it. 926 00:50:47,479 --> 00:50:49,046 I can feel it. 927 00:50:52,005 --> 00:50:53,006 I can feel it. 928 00:51:46,015 --> 00:51:49,541 ["Masked Ball" from "Eyes Wide Shut" plays] 929 00:51:49,671 --> 00:51:54,633 [♪♪♪] 930 00:52:04,904 --> 00:52:08,125 [indistinct chatter] 931 00:52:15,915 --> 00:52:18,178 MICHEL: You have no other projects now? As usual? 932 00:52:18,309 --> 00:52:20,006 STANLEY: No, I wish I did. 933 00:52:20,137 --> 00:52:21,790 MICHEL: But Schnitzler, you still don't want to do that: 934 00:52:21,921 --> 00:52:23,575 Traumnovelle. 935 00:52:23,705 --> 00:52:26,099 STANLEY: I am not sure, I might, it is interesting. 936 00:52:26,230 --> 00:52:28,275 -You've read it? -MICHEL: It's extraordinary. 937 00:52:31,409 --> 00:52:34,455 ["Masked Ball" plays] 938 00:52:34,586 --> 00:52:39,373 [♪♪♪] 939 00:52:41,897 --> 00:52:42,637 [thumps] 940 00:52:53,605 --> 00:52:55,607 TOM: It's not about sex. 941 00:52:56,738 --> 00:52:58,392 Stanley never said it was about sex. 942 00:52:58,523 --> 00:52:59,828 It's about sexual obsession. 943 00:52:59,959 --> 00:53:02,527 It's a thriller about sexual obsession, and jealousy. 944 00:53:02,657 --> 00:53:07,140 And all the rumors that surfaced about just the wildest stories 945 00:53:07,271 --> 00:53:09,142 you could ever imagine that were... 946 00:53:09,273 --> 00:53:11,100 It's not pornography. 947 00:53:11,231 --> 00:53:13,059 If he wanted to do that he would have done that. 948 00:53:14,626 --> 00:53:17,498 If you men only knew. 949 00:53:19,370 --> 00:53:20,414 I tell you what I do know, 950 00:53:20,545 --> 00:53:21,937 is you got a little stoned tonight, 951 00:53:22,068 --> 00:53:23,417 you've been trying to pick a fight with me, 952 00:53:23,548 --> 00:53:26,594 and now you're trying to make me jealous. 953 00:53:26,725 --> 00:53:28,640 But you're not the jealous type, are you? 954 00:53:28,770 --> 00:53:30,294 No, I'm not. 955 00:53:30,424 --> 00:53:32,296 You've never been jealous about me, have you? 956 00:53:32,426 --> 00:53:33,601 No, I haven't. 957 00:53:33,732 --> 00:53:36,387 And why haven't you ever been jealous about me? 958 00:53:36,517 --> 00:53:39,651 Well, I don't know, Alice. Maybe because you're my wife. 959 00:53:39,781 --> 00:53:42,306 ["Masked Ball" plays] 960 00:53:46,179 --> 00:53:48,660 Do you think monogamy is a natural state? 961 00:53:49,965 --> 00:53:51,184 I think it's a choice. 962 00:53:53,012 --> 00:53:53,839 Uh... 963 00:53:54,840 --> 00:53:57,669 I mean... if it was just a natural state 964 00:53:57,799 --> 00:54:00,019 why would people desire other people? 965 00:54:05,807 --> 00:54:09,420 INTERVIEWER: Do you think that there is in everybody a... 966 00:54:10,334 --> 00:54:12,118 a thin edge? 967 00:54:12,249 --> 00:54:16,949 A depravity or extreme danger of desire, I suppose? 968 00:54:17,079 --> 00:54:17,993 Is it in everyone? 969 00:54:19,604 --> 00:54:20,561 Sure. 970 00:54:20,692 --> 00:54:21,823 Yeah. 971 00:54:21,954 --> 00:54:23,782 Uhm... 972 00:54:23,912 --> 00:54:25,958 How honest people are about it is a different thing, 973 00:54:26,088 --> 00:54:27,568 but I think we all have it. 974 00:54:33,008 --> 00:54:37,056 STANLEY: Most situations where somebody is hopelessly in love 975 00:54:37,186 --> 00:54:39,232 with someone who they shouldn't be, 976 00:54:39,363 --> 00:54:42,757 it always is really, it tends to be physical. 977 00:54:42,888 --> 00:54:46,021 And most tragic 978 00:54:46,152 --> 00:54:50,156 masochistic relationships that I'm aware of 979 00:54:50,287 --> 00:54:52,419 are essentially physical attraction 980 00:54:52,550 --> 00:54:53,768 and this seemed to say it. 981 00:54:58,817 --> 00:55:01,167 This sort of primitive part of your mind 982 00:55:01,298 --> 00:55:03,430 that is just fascinated by the mystery 983 00:55:03,561 --> 00:55:04,953 of what's going on. 984 00:55:05,084 --> 00:55:09,088 It's all part of the sort of gigantic fantasy, 985 00:55:09,218 --> 00:55:13,092 that the male sex fantasy. 986 00:55:14,528 --> 00:55:17,009 I think that the story would become impossible 987 00:55:17,139 --> 00:55:19,011 if you tried to give reasons for it. 988 00:55:20,578 --> 00:55:25,496 [♪♪♪] 989 00:55:31,893 --> 00:55:33,939 MICHEL: I think that you are an innovator. 990 00:55:34,069 --> 00:55:36,376 I mean you like very much to break things, new things. 991 00:55:36,507 --> 00:55:38,291 But sometimes you are very conscious on traditions. 992 00:55:39,771 --> 00:55:42,077 STANLEY: Well, I think that one of the things 993 00:55:42,208 --> 00:55:45,472 that characterizes some of the failures 994 00:55:45,603 --> 00:55:47,953 of 20th-Century art, in all art forms, 995 00:55:49,084 --> 00:55:53,306 is an obsession with total originality. 996 00:55:56,744 --> 00:56:00,313 Innovation means moving it forward, 997 00:56:00,444 --> 00:56:05,536 but not abandoning the classical form, 998 00:56:05,666 --> 00:56:07,712 the art form that you are working with. 999 00:56:07,842 --> 00:56:11,324 But I do think that the real explosion will come 1000 00:56:11,455 --> 00:56:15,502 when someone finally liberates the narrative structure. 1001 00:56:15,633 --> 00:56:18,723 ["Sarabande" plays] 1002 00:56:21,334 --> 00:56:24,032 MICHEL: What surprises me is that you have absolutely no prejudice 1003 00:56:24,163 --> 00:56:25,599 towards choice of a subject. 1004 00:56:25,730 --> 00:56:27,035 I mean, anything can happen. 1005 00:56:27,166 --> 00:56:28,602 STANLEY: Well I might, but I am not aware of it, 1006 00:56:28,733 --> 00:56:30,082 I mean... 1007 00:56:30,212 --> 00:56:32,824 A good story you can make into a film is a miracle, 1008 00:56:32,954 --> 00:56:35,348 and it is very hard to work miracles. 1009 00:56:35,479 --> 00:56:40,614 [♪♪♪] 1010 00:56:43,530 --> 00:56:45,837 STANLEY: Someone sent me an article about Schnitzler. 1011 00:56:45,967 --> 00:56:47,491 He died in the most wonderful way. 1012 00:56:48,883 --> 00:56:51,495 He was sitting, writing at the type writer. 1013 00:56:52,713 --> 00:56:54,323 Somebody was in the next room and he got up to give him a page 1014 00:56:54,454 --> 00:56:57,283 and he just fell over, and that was it. 1015 00:56:58,850 --> 00:57:00,852 He hadn't been ill or anything, he was just working, 1016 00:57:00,982 --> 00:57:02,288 and dying. 1017 00:57:06,466 --> 00:57:07,641 TOM: I was supposed to talk to him on Sunday. 1018 00:57:07,772 --> 00:57:09,382 And sometimes Stanley would call, 1019 00:57:09,513 --> 00:57:10,949 you know, in the middle of the night. 1020 00:57:11,819 --> 00:57:12,907 I remember thinking... 1021 00:57:13,038 --> 00:57:15,562 The phone rang, it was either Nick or Stanley, 1022 00:57:15,693 --> 00:57:17,782 the only people who usually call in the middle of the night. 1023 00:57:17,912 --> 00:57:21,742 And it was Leon, and he said, 1024 00:57:21,873 --> 00:57:23,222 "Tom, you know, Stanley Kubrick... 1025 00:57:24,876 --> 00:57:26,530 died in his sleep." 1026 00:57:26,660 --> 00:57:27,618 And... 1027 00:57:32,753 --> 00:57:35,364 And I remember just thinking, "This just isn't happening." 1028 00:57:43,111 --> 00:57:45,287 -[lights shut] -[electricity crackles] 1029 00:57:50,075 --> 00:57:51,598 [film camera whirring] 1030 00:57:55,472 --> 00:57:58,605 ["Midnight, the Stars and You" from "The Shining" plays] 1031 00:57:58,736 --> 00:58:03,915 [♪♪♪] 1032 00:58:16,101 --> 00:58:18,364 STANLEY: How disappointing you make the end of a film 1033 00:58:18,495 --> 00:58:21,715 is a matter of, I suppose, taste or artistic balance, 1034 00:58:21,846 --> 00:58:24,544 whatever it is, but you always are faced with the problem 1035 00:58:24,675 --> 00:58:28,940 of are you going to try to reinforce 1036 00:58:29,070 --> 00:58:32,204 this illusion which melodrama fosters 1037 00:58:32,334 --> 00:58:34,206 or are you going to try to reflect 1038 00:58:34,336 --> 00:58:36,817 what one sees about life? 1039 00:58:38,471 --> 00:58:43,041 Melodrama uses all the problems of the world 1040 00:58:43,171 --> 00:58:46,479 and all the disasters which befall the main characters 1041 00:58:46,610 --> 00:58:49,526 to finally show you that... 1042 00:58:49,656 --> 00:58:53,268 the world is a benevolent and fair place, 1043 00:58:53,399 --> 00:58:57,055 and all the tests and trials and seeming misfortunes 1044 00:58:57,185 --> 00:58:59,797 which occur, in the end just reinforce this belief. 1045 00:58:59,927 --> 00:59:04,366 But tragedy, or honesty, 1046 00:59:04,497 --> 00:59:06,934 or an attempt at presenting life 1047 00:59:07,065 --> 00:59:10,329 in a way that seems closer to reality than melodrama... 1048 00:59:10,459 --> 00:59:12,505 can leave you with a feeling of desolation. 1049 00:59:14,768 --> 00:59:18,293 But certainly, the formula approach, 1050 00:59:18,424 --> 00:59:21,470 which presents the world in a way other than it is, 1051 00:59:21,601 --> 00:59:22,863 doesn't seem to have a great deal of merit 1052 00:59:22,994 --> 00:59:25,170 unless you're just... 1053 00:59:25,300 --> 00:59:26,693 making entertainment. 1054 00:59:34,222 --> 00:59:37,225 MICHEL: Thank you very much. 1055 00:59:37,356 --> 00:59:40,272 ["Midnight, the Stars and You" continues to play] 1056 00:59:40,402 --> 00:59:45,538 [♪♪♪]