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Actresses who appeared with Stanley Kubrick on screen:

Nicole Kidman
Lee Lee Sobieski
Leelee Sobieski
Vinessa Shaw
Shelley Duvall
Shelley Winters
Jean Simmons
Sue Lyon
Lois Maxwell
Shirley Douglas
Nancy Sinatra
Marisa Berenson
Fay Masterson
Adrienne Corri
Lia Beldam
Carol Drinkwater

Stanley Kubrick
Birthday: July 26, 1928

Birth Place: New York, New York, USA
Height: 5' 8"

Below is a complete filmography (list of movies he's appeared in) for Stanley Kubrick. If you have any corrections or additions, please email us at corrections@actorsofhollywood.com. We'd also be interested in any trivia or other information you have.



Stanley Kubrick was born in New York, and was considered intelligent despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick's father Jack (a physician) sent him in 1940 to Pasadena, California, to stay with his uncle Martin Perveler. Returning to the Bronx in 1941 for his last year of grammar school, there seemed to be little change in his attitude or his results. Hoping to find something to interest his son, Jack introduced Stanley to chess, with the desired result. Kubrick took to the game passionately, and quickly became a skilled player. Chess would become an important device for Kubrick in later years, often as tool for for dealing with recalcitrant actors, but also as an artistic motif in his films.Jack Kubrick's decision to give his son a camera for his thirteenth birthday would be an even wiser move: Kubrick became an avid photographer, and would often make trips around New York taking photographs which he would develop in a friend's darkroom. After selling an unsolicited photograph to Look Magazine, Kubrick began to associate with their staff photographers, and at the age of seventeen was offered a job as an apprentice photographer.In the next few years, Kubrick had regular assignments for "Look", and would become a voracious movie-goer. Together with friend Alexander Singer, Kubrick planned a move into film, and in 1950 sank his savings into making the documentary Day of the Fight (1951). This was followed by several short commissioned documentaries (Flying Padre (1951), and _Seafarers, The (1952)_ ), but by attracting investors and hustling chess games in Central Park, Kubrick was able to make Fear and Desire (1953) in California.Filming this movie was not a happy experience; Kubrick's marriage to high school sweetheart Toba Metz did not survive the shooting. Despite mixed reviews for the film itself, Kubrick received good notices for his obvious directorial talents. Kubrick's next two films Killer's Kiss (1955) and The Killing (1956) brought him to the attention of Hollywood, and in 1957 directed Kirk Douglas in Paths of Glory (1957). Douglas later called upon Kubrick to take over the production of Spartacus (1960), by some accounts hoping that Kubrick would be daunted by the scale of the project and would thus be accommodating. This was not the case, however: Kubrick took charge of the project, imposing his ideas and standards on the film. Many crewmembers were upset by his style: cinematographer Russell Metty complained to producers that Kubrick was taking over his job. Kubrick's response was to tell him to sit there and do nothing. Metty complied, and ironically was awarded the Academy Award for his cinematography.Kubrick's next project was to direct Marlon Brando in One-Eyed Jacks (1961), but negotiations broke down and Brando himself ended up directing the film himself. Disenchanted with Hollywood and after another failed marriage, Kubrick moved permanently to England, from where he would make all of his subsequent films. Despite having obtained a pilot's license, Kubrick is rumored to be afraid of flying.Kubrick's first UK film was Lolita (1962), which was carefully constructed and guided so as to not offend the censorship boards which at the time had the power to severely damage the commercial success of a film. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) was a big risk for Kubrick; before this, "nuclear" was not considered a subject for comedy. Originally written as a drama, Kubrick decided that too many of the ideas he had written were just too funny to be taken seriously. The film's critical and commercial success allowed Kubrick the financial and artistic freedom to work on any project he desired. Around this time, Kubrick's focus diversified and he would always have several projects in various stages of development: "Blue Moon" (a story about Hollywood's first pornographic feature film), "Napoleon" (an epic historical biography, abandoned after studio losses on similar projects), "Wartime Lies" (based on the novel by Louis Begley), and "Rhapsody" (a psycho-sexual thriller).The next film he completed was a collaboration with sci-fi author Arthur C. Clarke 2001: A Space Odyssey (1968) is hailed by many as the best ever made; an instant cult favorite, it has set the standard and tone for many science fiction films that followed. Kubrick followed this with A Clockwork Orange (1971), which rivaled Lolita (1962) for the controversy it generated - this time not for only for its portrayal of sex, but also of violence. Barry Lyndon (1975) would prove a turning point in both his professional and private lives. His unrelenting demands of commitment and perfection of cast and crew had by now become legendary. Actors would be required to perform dozens of takes with no breaks. Filming a story in Ireland involving military, Kubrick received reports that the IRA had declared him a possible target. Production was promptly moved out of the country, and Kubrick's desire for privacy and security have resulted in him being considered a recluse ever since.Having turned down directing a sequel to The Exorcist (1973), Kubrick made his own horror film: The Shining (1980). Again, rumors circulated of demands made upon actors and crew. Stephen King (whose novel the film was based upon) reportedly didn't like Kubrick's adaptation (indeed, he would later write his own screenplay which was filmed as "The Shining" (1997) (mini).)Kubrick's subsequent work has been well spaced: it was seven years before Full Metal Jacket (1987) was released. By this time, Kubrick was married with children and had extensively remodeled his house. Seen by one critic as the dark side to the humanist story of Platoon (1986), Full Metal Jacket (1987) continued Kubrick's legacy of solid critical acclaim, and profit at the box office.In the 1990s, Kubrick began an on-again/off-again collaboration with Brian Aldiss on a new science fiction film called "Artificial Intelligence (AI)", but progress was very slow, and was backgrounded until special effects technology was up to the standard the Kubrick wanted.Kubrick returned to his in-development projects, but encountered a number of problems: "Napoleon" was completely dead, and "Wartime Lies" (now called "The Aryan Papers") was abandoned when Steven Spielberg announced he would direct Schindler's List (1993), which covered much of the same material.While pre-production work on "AI" crawled along, Kubrick combined "Rhapsody" and "Blue Movie" and officially announced his next project as Eyes Wide Shut (1999), starring the then-married Tom Cruise and Nicole Kidman. After two years of production under unprecedented security and privacy, the film was released to a typically polarized critical and public reception; Kubrick claimed it was his best film to date.Special effects technology had matured rapidly in the meantime, and Kubrick immediately begain active work on Artificial Intelligence: AI (2001), but tragically suffered a fatal heart attack in his sleep on March 7th, 1999.After Kubrick's death, Spielberg revealed that the two of them were friends that frequently communicated discretely about the art of filmmaking; both had a large degree of mutual respect for each other's work. "AI" was frequently discussed; Kubrick even suggested that Spielberg should direct it as it was more his type of project. Based on this relationship, Spielberg took over as the film's director and completed the last Kubrick project.How much of Kubrick's vision remains in the finished project -- and what he would think of the film as eventually released -- will be the final great unanswerable mysteries in the life of this talented and private filmmaker.

Movie Credits
Eyes Wide Shut (1999)
[ Tom Cruise ][ Alan Cumming ][ Thomas Gibson ][ Rade Serbedzija ]
Full Metal Jacket (1987)
[ Vincent D'Onofrio ][ Adam Baldwin ][ R. Lee Ermey ][ Matthew Modine ][ Mick Jagger ]
The Shining (1980)
[ Jack Nicholson ][ Stephen King ][ John Cho ][ Scatman Crothers ][ Danny Lloyd ]
Barry Lyndon (1975)
[ Ryan O'Neal ][ Steven Berkoff ]
A Clockwork Orange (1971)
[ Malcolm McDowell ][ David Prowse ][ Steven Berkoff ]
2001: A Space Odyssey (1968)
[ Keir Dullea ]
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
[ Peter Sellers ][ James Earl Jones ][ George C Scott ][ George C. Scott ][ Sterling Hayden ]
Lolita (1962)
[ Peter Sellers ][ James Mason ]
Spartacus (1960)
[ Kirk Douglas ][ Laurence Olivier ][ Tony Curtis ][ Peter Ustinov ][ Richard Farnsworth ]
Paths of Glory (1957)
[ Kirk Douglas ]
The Killing (1956)
[ Sterling Hayden ][ Vince Edwards ]
Killer's Kiss (1955)
The Seafarers (1953)
Fear and Desire (1953)
Flying Padre (1951)
Day of the Fight (1951)


  • Died 666 days before 1 January 2001.
  • Father-in-law of Philip Hobbs.
  • Stepfather of Katharina Kubrick.
  • Brother-in-law of Jan Harlan.
  • He wanted to make a film based on Umberto Eco's novel "Foucault's Pendulum" which appeared in 1988. Unfortunately, Eco refused, as he was dissatisfied with the filming of his earlier novel Name der Rose, Der (1986) and also because Kubrick wasn't willing to let him write the screenplay himself.
  • Planned to direct a film called "I Stole 16 Million Dollars" based on notorious 1930s bank robber Willie Sutton. It was to be made by Kirk Douglas's Bryna production company, but Douglas thought the script was "poorly written". Kubrick tried to get Cary Grant interested, which must have proved to be a failure as well, as the film was never made.
  • According to Kirk Douglas, Kubrick allegedly wanted to take credit for the Spartacus (1960) screenplay that was primarily written by Dalton Trumbo. Trumbo, who was blacklisted at the time, originally was going to use the alias Sam Jackson. During the production of the film, Otto Preminger announced he had hired Trumbo to write the screenplay for "Exodus" (1960). Douglas, in turn, announced that he had been the first to hire Dalton Trumbo, who would be credited on his film. Preminger's film was released six months earlier than "Spartacus," which was released in October 1960. Douglas later said he decided to give Trumbo credit because he was appalled at Kubrick's attempt to hog the credit. This "recollection" likely was colored by the fact that Kubrick went on to become a great director, and the film was seen as a Kubrick film rather than as the product of Kirk Douglas, who produced the film. Douglas viewed the film as a fulfillment of his personal vision. It is highly unlikely that Kubrick would try to take the credit as Trumbo served as one of the members of the "film's executive committee -- screenwriter Dalton Trumbo, Executive Producer Kirk Douglas, and Producer Edward Lewis," according to Duncan L. Cooper's 1996 article "Who Killed 'Spartacus'?" Trumbo was a friend of Ed Muhl, the boss of Universal Studios. which was financing the film. According to Cooper, Howard Fast, a convicted Communist Party member who wrote the novel the film is based on, worked on the screenplay but received no credit. Walter Winchell had already revealed that Trumbo was working on the film, and it was widely known that Trumbo had won an Oscar using the pseudonym Robert Rich on "The Brave One" (1957), and that his front Ian McLellan Hunter had won an Oscar for the story of "Roman Holiday" (1953) that Trumbo had, in fact, written. In other words, the blacklist was a sham. There were rumors that the House Un-American Activities Committee was going to investigate the movie industry again, and right-wingers began attacking the film. Douglas gave into studio boss Muhl's idea that the class conflict at the heart of "Spartacus" be muted, thus betraying both Trumbo's screenplay and Fast's novel. A major battle scene showing the triumph of Spartacus' slave army over the Romans was deleted lest it seem too provocative, and medium and closeup shots of Laurence Olivier that showed his character, the Roman dictator Crassus, experiencing fear over the slave rebellion were replaced with wide-shots. Scenes where the slave army was crushed, of course, remain, though their length was cut back to minimize the carnage of the original 197-minute cut. Part of what remains -- Olivier's Crassus looking for Spartacus' body among the living and the dead slaves -- is shot indifferently on a sound-stage and seems mismatched with the rest of the scene. Trumbo himself realized the necessity of muting his own passions in order to make the screenplay moderate so the film would be a success at the box office. He told an interviewer, "If the film had failed, neither I nor any other blacklisted writer would ever have been able to work again." The actions of Presminger and Douglas to give Trumbo credit effectively ended the blacklist, though many blacklisted screenwriters continued to write under pseudonyms until the early 1970s.
  • Often used war, or war like, themes. World War I - Paths of Glory (1957), Cold War - Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Vietnam War - Full Metal Jacket (1987). 2001: A Space Odyssey (1968) was also said to exist in a nuclear war era and A Clockwork Orange (1971) seemed to exist in a post apocalyptic era. Spartacus (1960) also had many war themes to it.
  • Was to direct One-Eyed Jacks (1961) but was replaced by Marlon Brando in pre-production.
  • Rarely gave interviews. Did however appear in a documentary made by his daughter Vivian Kubrick shot during the making of The Shining (1980).
  • According to Malcolm McDowell, Kubrick listened to air traffic controllers at Heathrow Airport for long stretches of time, and he advised McDowell never to fly.
  • Refused to talk about his movies on set as he was directing them and never watched them when they were completed.
  • One of the founders of the Directors Guild of Great Britain.
  • The controversy around A Clockwork Orange (1971)'s UK release was so strong that Kubrick was flooded with angry letters and protesters were showing up at his home, demanding that the film never be shown in England again. He personally petitioned the studio to pull it from theaters, despite his legal inability to control a film after production. The studio, out of respect for Kubrick, eventually decided to pull the film out of theaters prematurely.
  • His next project after Eyes Wide Shut (1999) was to be Artificial Intelligence: AI (2001), which was taken over by Steven Spielberg. It is dedicated to Kubrick's memory.
  • His dislike of his early film Fear and Desire (1953) is well known. He went out of his way to buy all the prints of it so no one else could see it.
  • In addition to The Seafarers (1953) (shot for the Seafarers International Union), he may have directed another commissioned project in the early fifties, "World Assembly of Youth," for the United Nations, documenting a UN-sponsored gathering in New York City of young people from throughout the world. No copy of the film has been found and it has never been conclusively proven that it even existed in the first place (as with "The Seafarers", Kubrick never publicly acknowledged it).
  • Several of his novel adaptations were often met with angry reactions from the authors, because they are usually unfaithful to the source material.
  • Loved the work of Franz Kafka, H.P. Lovecraft, Carlos Saura, Max Ophüls, Woody Allen, and Edgar Reitz (esp. "Heimat - Eine deutsche Chronik" (1984) (mini)), among many others.
  • Was voted the 23rd Greatest Director of all time by Entertainment Weekly. He was the least prolific director on this list, having made only 16 films over the course of a 48 year career.
  • His favorite pastime may have been chess and he was said to be a master at it. Many crew members and actors found themselves on the losing end of chess matches with him.
  • People would come to his door looking for him, and as few people knew what he looked like, he would tell them that "Stanley Kubrick wasn't home."
  • Had an extensive and rich friendship with Malcolm McDowell during the filming of A Clockwork Orange (1971). After filming ended, Kubrick never contacted him again.
  • Often read about psychology, and knew how to manipulate his cast quite well. A fine example of this is with Shelley Duvall in _Shining, The (1980)_ .
  • He reportedly briefly considered leaving England for either Vancouver, Canada or Sydney, Australia.
  • He was so reclusive that the press would make up wild stories about him. One such story was that he shot a fan on his property, and then shot him again for bleeding on the grass.
  • According to his wife Christine, he would screen every movie he could get hold of. One of his favorites was The Jerk (1979). He considered making Eyes Wide Shut (1999) a dark sex comedy with Steve Martin in the lead. He even met with Martin to discuss the project.
  • He was a big fan of American sitcoms "Seinfeld" (1990), "Roseanne" (1988) and "The Simpsons" (1989). He was also a fan of American football and would have his friends in America tape games and send them to him.
  • He had a well-known fear of flying, but he had to fly quite often early in his career. Because of his hysteria on planes, he simply tried to lessen the amount of times he flew.
  • Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945- 1985". Pages 544-552. New York: The H.W. Wilson Company, 1988.
  • According to his close friend Michael Herr, he watched The Godfather (1972) over ten times and said it was probably the greatest film ever made.
  • He considered Elia Kazan the best American director of all time.
  • As of 1963 his favorite films were, in order, Vitelloni, I (1953), Smultronstället (1957) (Wild Strawberries), Citizen Kane (1941), The Treasure of the Sierra Madre (1948), City Lights (1931), _Chronicle History or King Henry the Fift with His Battell Fought at Agincourt in France, The (1944)_ (Henry V), Cette nuit-là (1958), The Bank Dick (1940), Roxie Hart (1942) and Hell's Angels (1930).
  • He joined with directors Martin Scorsese, Woody Allen, Francis Ford Coppola, Steven Spielberg, 'Robert Redford' , Sydney Pollack and George Lucas in forming the Film Foundation (promotes restoration and preservation of film - May 1990)
  • Daniel Waters wrote the original 180 page screenplay for Heathers (1989) intending for Kubrick to direct it, as he believed Kubrick was the only director who could get away with making a three-hour high school film. Kubrick wasn't interested, and when the film was made the screenplay was cut nearly in half, resulting in a 102-minute film.
  • Was a lackadaisical student with grades near the bottom of his class.
  • According to a biography, Kubrick's wife finally convinced him once to take what she considered a long-overdue vacation. While vacationing, she noticed he was taking copious notes about something. When asked what he was writing, she discovered he was jotting some ideas down about a film project!
  • He was considered to be a well-read man with an extreme attention to detail. For his aborted film project on Napoleon, he had one of his assistants go out to various bookstores and acquire every book he could find on the French emperor, and returned with well in excess of 100. Kubrick read them all and astonished his associates with his level of retention. When working on a battlefield scene, he even examined a historical painting of the battle so he could note exactly what the weather was in the painting and make sure to film the battle on a day with similar weather patterns.
  • Due to his poor grades in high school (67% average) he was not accepted to a university. Although he never enrolled, he would sit in during classes at Columbia University.
  • He was a huge fan of the New York Yankees.
  • Is mentioned by name in "The Capital Song" from the 2005 album "Making Music So You Don't Have To" by Irish band Fred.
  • He was often noted for wanting to stick to each word of dialogue without changing it or an actor adding lines of his own. The two exceptions were Peter Sellers (with whom he worked on Lolita (1962) and Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)) and R. Lee Ermey (from Full Metal Jacket (1987)). -according to biographer Michael Herr.
  • His list of favorite directors included at various times Federico Fellini, David Lean, Ingmar Bergman, Vittorio De Sica, François Truffaut, Max Ophüls and Elia Kazan.
  • Seven of his last nine films were nominated for Oscars. He was nominated for Best Director four consecutive times, for his pictures starting with Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) and ending with Barry Lyndon (1975).
  • Biography in: "American National Biography". Supplement 1, pp. 329-332. New York: Oxford University Press, 2002.
  • Ranked #4 in Empire (UK) magazine's "The Greatest directors ever!" [2005]
  • Is portrayed by Stanley Tucci in The Life and Death of Peter Sellers (2004)
  • Was an avid feline lover, once having 16 of them at one point. He would often let his cats lay around his editing room after filming completed as his way of making up for time he lost with them while he was working.
  • By the age of thirteen he had become passionate about photography, chess and jazz drumming.
  • At the age of 16 he snapped a photograph of a news vendor in New York the day after President Franklin Delano Roosevelt died. He sold the photograph to Look magazine, which printed it. Soon after it hired him as a freelance photographer. He was still in high school.
  • Starting with Lolita (1962), he independently produced all his films from his adopted home of England, UK.
  • In 1950, after creating and publishing a photo essay for Look magazine on boxing, he used the proceeds from the sale to the magazine to make his first film, a 16-minute documentary on the same subject entitled Day of the Fight (1951).
  • Abigail Rosen, who co-starred with Viva in Andy Warhol's Tub Girls (1967), was the first door lady at Max's Kansas City, a nightclub in New York City. She claims she had the honor of throwing Kubrick out of the club. "At first Mickey [Ruskin] hired me as the coat-check girl, but it was on the second floor and we were schlepping coats from downstairs to upstairs, and taking them back down where the people wanted to leave. It was not a good plan, besides which people would go up and steal coats. So we abandoned the whole idea and I became the door lady with Bob Russell. The embarrassing times were when Mickey asked us to kick somebody out. The philosophy behind it was that no one would beat on or abuse a woman. I was asked one night to kick Stanley Kubrick out. He was drunk and obnoxious and neither Mickey or I knew who he was. I said, 'Sir, I think it's time for you to leave now, you're not going to be happy here.' And he left. Then Mickey found out the next day who we had kicked out, and he yelled at me for not recognizing him. 'That's why I have you here,' he said, 'you're supposed to know who these people are.'"
  • Carlo Fiore, who was credited as an assistant to the producer on One-Eyed Jacks (1961) and helped develop the picture, wrote that the firing of Kubrick by Marlon Brando (who went on to direct the film) was perhaps inevitable, as there was only room for one "genius" on the picture. Brando had originally intended to direct the film himself, but Paramount Pictures pressured him to hire a director. Both Kubrick and Brando, at the time, were represented by Music Corp. of America (MCA).
  • In his 1974 memoir "Bud: The Brando I Knew," 'Carlo Fiore' (I) -- writing of his experience developing and working on the movie _One-Eyed Jacks (1961)_ with his friend Marlon Brando - said that Kubrick had wanted to hire Spencer Tracy to play the character of Dad Longworth in the film. The part had already been cast with Karl Malden, and Brando countered that Malden was a fine actor. Kubrick agreed, but said that Malden played "losers" and the part needed a heavyweight to balance Brando's character of Rio. Brando immediately vetoed the idea of Tracy and forbade any more discussion on the topic. .
  • Kubrick and his partner James B. Harris, during the development of Lolita (1962), hired Marlon Brando's friend Carlo Fiore -- whom Kubrick had worked with on the development of One-Eyed Jacks (1961) -- to write a screenplay of Vladimir Nabokov's novel "Kamera obskura," which Fiore had optioned himself. Written in Russian in 1932, "Kamera obskura" was first translated into English around 1938 as "Camera Obscura" and again circa 1960 as "Laughter in the Dark.") The book had elements in common with "Lolita," and Kubrick -- who was worried he was being hustled when Fiore approached him with the rights to the novel -- tied up the production of a potential rival film by hiring Fiore. Nothing came of Fiore's foray into film development, although Tony Richardson later made a movie of the novel with Nicol Williamson starring.
  • "I want you to be big -- Lon Chaney big," Kubrick instructed Vincent D'Onofrio during the filming of Full Metal Jacket (1987).
  • According to his daughter, Vivian Kubrick, he was planning on doing a few formal TV interviews once Eyes Wide Shut (1999) was released, but died before he could.
  • Used his favorite piece of music "Thus spoke Zaratustra" by Richard Strauss, recorded by Herbert von Karajan as the music score in 2001: A Space Odyssey (1968).
  • Kubrick had started pre-production on Full Metal Jacket (1987) in 1980, a full 7 years before it was theatrically released. The success of similar films during that time (particularly 'Oliver Stone (I) 's Platoon (1986) and John Irvin's Hamburger Hill (1987)) left him a bit jaded, feeling like he had been beaten at his own game. This sentiment stayed with him in the early 1990s when he decided to shelf "The Aryan Papers", his adaptation of the Louis Begley novel "Wartime Lies". At the time Steven Spielberg was shooting the soon-to-become classic Schindler's List (1993), and Kubrick thought the Holocaust-based subject matter of the two projects was too similar. The shelving of this project explains the amount of time between "Full Metal Jacket" (1987) and Eyes Wide Shut (1999).
  • Has directed two films on the American Film Institute's 100 Most Inspiring Movies of All Time. They are "2001: A Space Odyssey" (1968) at #47 and "Spartacus" (1960) at #44.
  • He once called Ken Russell in the early 1970s but ended the conversation abruptly because, according to Russell, he had been frightened by a bee. He then called several days later to ask Russell where he had found the lovely English locations for his period films. Russell complied and Kubrick used the locations in his next film Barry Lyndon. Russell said, "I felt quite chuffed."
  • In interviews contemporaneous with the release of his highly controversial A Clockwork Orange (1971), cited the The Ox-Bow Incident (1943) as the kind of movie he did NOT want to make when defending the use of an "evil" protagonist (Alex). Kubrick reasoned that The Ox-Bow Incident (1943) was bad art as it took the stand that lynching was evil because innocent people might be lynched, not the stand that lynching (i.e, extra-judicial murder) was itself evil. He wanted Alex explicitly evil (thus, the jettisoning of the last chapter of the original novel, in which Alex is reformed; this chapter was not in the American edition that Terry Southern had given to Kubrick): Kubrick felt that an explicitly evil Alex underscores the point that the state's invasion of the prisoner's soul (turning him into a mechanical man, a "clockwork orange") was evil whatever the guilt or innocent, and the level thereof, of the prisoner.
  • Kubrick had no intention of having Anthony Burgess' write the screenplay but intended to do it himself. In fact, there is little that Kubrick added to Burgess' work except for editorial decisions such as eliminating the second murder Alex commits in prison and replacing Billy Boy with Georgie as police constable Dim's partner. (The entire last chapter of the novel was jettisoned, but it had been in the American edition of the novel that Kubrick had first read. Americans, as Burgess reasoned, did not like to see their criminals reformed.) The dialog was considered by many critics and cineastes as being lifted almost straight from the book (though there are enough differences to dismiss that as a valid criticism of Kubrick the screenwriter). This is the first of the two movies in which Kubrick has sole credit as screenwriter (_Barry Lyndon (1975)_, which immediately anteceded "Clockwork", is the other). Kubrick was one of the first director-writers to actually take credit on a film. Many directors from the beginning of the movies at the turn of the last century had participated in the writing of their films, but most did not take credit. It might have been the fact that Kubrick used less of Vladimir Nabokov's credited screenplay and more of his own writing (and the improvisations of Peter Sellers) for Lolita (1962) (1962) that influenced him to become a credited screenwriter. "Lolita" was shot at the time that the "auteur" theory (which held the director was the main author of a film) was gaining prominence, and from Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) onward Kubrick took credit as a screenwriter. Earlier, Kubrick had worked uncredited on the screenplays of Paths of Glory (1957) and One-Eyed Jacks (1961), which he had originally been hired by Marlon Brando to direct. As he was one of the greatest masters the cinema has ever had and truly was the author of his films, Kubrick likely was encouraged to go it alone on "Clockwork" and "Barry Lyndon" (which allegedly he shot in an improvisatory manner after reading sections of the novel, which he carried with him during shooting).
  • According to "The London Standard" (29 June 1999 edition), Kubrick left £66,000 in cash and his house, Childwickbury Manor in Hertfordshire, England, to his wife Christiane in a 24-page will drawn up on 22 July 1974. He also left her £21,000 in personal property. Before his death, Kubrick established a minimum of two private trusts, the Stanley Kubrick Trust Number One and the Children's Trust, in which his wealth was collected. Proceeds from the trusts will be distributed among his two children and one step-child.

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