cinephilia

Kubrick on the best preparation for being a film director  Seeing movies. One of the things that gave me the most confidence in trying to make a film was seeing all the lousy films that I saw. Because I sat there and thought, Well, I don’t know a goddamn thing about movies, but I know I can make a film better than that. —Stanley Kubrick, The Artist Speaks for Himself  cinephiliabeyond :

Kubrick on the best preparation for being a film director

Seeing movies. One of the things that gave me the most confidence in trying to make a film was seeing all the lousy films that I saw. Because I sat there and thought, Well, I don’t know a goddamn thing about movies, but I know I can make a film better than that. —Stanley Kubrick, The Artist Speaks for Himself

cinephiliabeyond:

About the only law that I think relates to the genre [of horror] is that you should not try to explain, to find neat explanations for what happens, and that the object of the thing is to produce a sense of the uncanny. Freud in his essay on the uncanny wrote that the sense of the uncanny is the only emotion which is more powerfully expressed in art than in life, which I found very illuminating; it didn’t help writing the screen-play, but I think it’s an interesting insight into the genre. And I read an essay by the great master H.P. Lovecraft where he said that you should never attempt to explain what happens, as long as what happens stimulates people’s imagination, their sense of the uncanny, their sense of anxiety and fear. And as long as it doesn’t, within itself, have any obvious inner contradictions, it is just a matter of, as it were, building on the imagination (imaginary ideas, surprises, etc.), working in this area of feeling. I think also that the ingeniousness of a story like this is something which the audience ultimately enjoys; they obviously wonder as the story goes on what’s going to happen, and there’s a great satisfaction when it’s all over not having been able to have anticipated the major development of the story, and yet at the end not to feel that you have been fooled or swindled.   
    
  - Stanley Kubrick  
  cinephiliabeyond

About the only law that I think relates to the genre [of horror] is that you should not try to explain, to find neat explanations for what happens, and that the object of the thing is to produce a sense of the uncanny. Freud in his essay on the uncanny wrote that the sense of the uncanny is the only emotion which is more powerfully expressed in art than in life, which I found very illuminating; it didn’t help writing the screen-play, but I think it’s an interesting insight into the genre. And I read an essay by the great master H.P. Lovecraft where he said that you should never attempt to explain what happens, as long as what happens stimulates people’s imagination, their sense of the uncanny, their sense of anxiety and fear. And as long as it doesn’t, within itself, have any obvious inner contradictions, it is just a matter of, as it were, building on the imagination (imaginary ideas, surprises, etc.), working in this area of feeling. I think also that the ingeniousness of a story like this is something which the audience ultimately enjoys; they obviously wonder as the story goes on what’s going to happen, and there’s a great satisfaction when it’s all over not having been able to have anticipated the major development of the story, and yet at the end not to feel that you have been fooled or swindled.

- Stanley Kubrick

cinephiliabeyond

Arnold Schwarzenegger called it “a shitty film” on one occasion. Michael Biehn was unsure about coming on board because he thought the film sounded silly. James Cameron’s agent called his idea stupid, and Orion Pictures, the distributor, had little to no faith in the film’s commercial and critical success. And yet, Cameron insisted on going all the way with the project born as a vision that came to him in a fever-ridden dream. As they say, the rest is history. Starting from an idea immediately labeled as implausible, silly and that was unlikely to be done properly with the technology at disposal,   Terminator   turned into a science fiction and horror giant, launching director James Cameron’s career into the orbit, transforming Schwarzenegger into a deeply desired commodity, telling a story that would not only spawn a series of sequels, but ultimately change the way we observed the genre. Since 1984, the chronology of science fiction action films was defined as either before or after   Terminator  .   From our experience, seeing   Terminator   for the first time is like having your eyes opened and mind blown after years of blind boredom. One of a kind.  
    
  http://www.cinephiliabeyond.org/james-camerons-terminator-true-classic-powerful-influential-films-can-get/

Arnold Schwarzenegger called it “a shitty film” on one occasion. Michael Biehn was unsure about coming on board because he thought the film sounded silly. James Cameron’s agent called his idea stupid, and Orion Pictures, the distributor, had little to no faith in the film’s commercial and critical success. And yet, Cameron insisted on going all the way with the project born as a vision that came to him in a fever-ridden dream. As they say, the rest is history. Starting from an idea immediately labeled as implausible, silly and that was unlikely to be done properly with the technology at disposal, Terminator turned into a science fiction and horror giant, launching director James Cameron’s career into the orbit, transforming Schwarzenegger into a deeply desired commodity, telling a story that would not only spawn a series of sequels, but ultimately change the way we observed the genre. Since 1984, the chronology of science fiction action films was defined as either before or after TerminatorFrom our experience, seeing Terminator for the first time is like having your eyes opened and mind blown after years of blind boredom. One of a kind.

http://www.cinephiliabeyond.org/james-camerons-terminator-true-classic-powerful-influential-films-can-get/