Film Can's Blog
my time behind a film camera
- Location
-
New York City, New York, USA
- Birthday
- July 07
- Title
- Gaffer
- Company
- FilmCan
- Bio
- Even with great accomplishments you may never see your life, your story presented by a network, of my time behind a film camera you can see it on the movies. Home movies and boxes of photographs are lovely, personal treasures that capture precious moments. Your Life on Film connects the moments that make up a life.
With Your Life On Film you can create an invaluable personalized gift, connecting my time behind a film camera past to its present and creating a permanent record, no other worldly possession can ever match, and give generations to come a valuable record of your life’s story.
JUNE 29, 2009 3:46PM
you too
It’s not well known, friendship, but I spent 20 years of his life at the side of the great director (who passed away Sunday, March 7, 1999). On my kitchen walls hang a few framed photographs of Kubrick's family in their garden in St. Albans, near London, on my refrigerator, a picture of Nicole Kidman on the film set. I have a huge album full of photographs; pages and tells the stories of my friendship with Stanley Kubrick's. "It was 1968. I was 20, I was called to Abbots Mead, at the time the house of Stanley Kubrick, to Elstree Herts, an area outside London, where there were cinematographic studios. That first meeting with Kubrick left me with an indelible impression, just as strong today, of a calm man who never yelled. ("If he had to tell you something, he never said it to you in the heat of the moment but instead would let a few days pass and then bring up the subject, letting you know how he was thinking.") But he was also a solitary, insecure man, full of fears, above all in his relationships with other people. When he made 2001: A Space Odyssey, he saw both George C. Scott and Peter Sellars quite often. And he also really liked Ennio Morricone and Nino Rota. At that point he became friends with George Lucas and then there was Steven Spielberg. In 1980 Stanley Kubrick was very busy indeed with Jack Nicholson and Shelley Duvall in the making of the film The Shining, Full Metal Jacket, and Eyes Wide Shut, on the set of The Shining shooting of the scene in which the boy is chased through the labyrinth by Nicholson with an axe. 'It will be fun, I promise!' he said.", Kubrick appears as a perfectionist in his work. "Towards the end of the making of Barry Lyndon," I reassured him, but he asked me to stay next to him throughout the interview. At the end of Barry Lyndon, Kubrick began to think again about one of his old projects, a movie about Napoleon, the costumes for Barry Lyndon could be used again for Napoleon." after almost 20 years together "I advised him to look for another person, but he wouldn't have any of it. Only when I told him that I was going to work with George Lucas that I had accepted. George Lucas began filming Episode I: The Phantom Menace in 1997, the custom-set builders and mold makers who'd polished their craft on the original Star Wars. Stanley phoned me on the film set meny times. It was Jan Harlan. That told me, that Stanley's dead.'" great film director (who passed away Sunday, March 7, 1999). When Kubrick died suddenly in 1999, Spielberg reconsidered, taking a 90 page script treatment and conceptual art from Kubrick’s estate and fleshing them into a film, as a tribute to his late friend.Spielberg at least tries to make a Steven Spielberg film out of this, instead of doing the greatest hits of Kubrick. The majestic camera movement, swelling John Williams score, and sentimental ending are all straight from his repertoire. The best parts of the movie are the visual effects by ILM, which render decomposing robots, amphibiocopters, and the sunken city of Manhattan with breathtaking splendor.In “stranger in a strange land”Â
movies, the ones that work - E.T. for example - introduce a lost, misunderstood character who reacts to the world around them. These stories usually have a lot of humor, and at least some pathos, as the stranger tries to make sense of our ways. In the ones that don’t work - like Short Circuit - the humans react to the stranger, but inevitably, just get annoyed with it for making a mess.
Kerry Lauerman
Joan Walsh
Salon.com
Comments