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If you can talk brilliantly about a problem, it can create the consoling illusion that it has been mastered.

Stanley Kubrick

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Stanley Kubrick
Age: 70 †
Born: 1928
Born: July 26
Died: 1999
Died: March 7
Camera Operator
Chess Player
Cinematographer
Director
Executive Producer
Film Director
Film Editor
Film Producer
Photographer
Producer
The Bronx
New York City
Mastered
Illusion
Intelligence
Intellectual
Teaching
Create
Talk
Brilliantly
Problem
Consoling

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Busy people begrudge the days being short. I can no longer sit back and allow Communist infiltration, Communist indoctrination, Communist subversion, and the international Communist conspiracy to sap and impurify all of our precious bodily fluids.
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God has a hard-on for a Marine because we kill everything we see. He plays His game, we play ours.
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A film needs more than you can give it in a lifetime.
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Be suspicious of people who have, or crave, power. Never, ever go near power. Don't become friends with anyone who has real power. It's dangerous.
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The truth of a thing is in the feel of it, not in the think of it.
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In his essay on the uncanny, Das Unheimliche, Freud said that the uncanny is the only feeling which is more powerfully experienced in art than in life. If the horror genre required any justification, I should think this alone would serve as its credentials.
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However vast the darkness, we must supply our own light.
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I'm happy - at times - making films. I'm certainly unhappy not making films.
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The best education in film is to make one
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I'm not afraid of dying tomorrow, only of being killed.
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A filmmaker has almost the same freedom as a novelist has when he buys himself some paper.
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Bad films gave me the courage to try making a movie
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[Making movies] you're not trying to capture reality, you're trying to capture a photograph of reality.
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It's crazy how you can get yourself in a mess sometimes and not even be able to think about it with any sense and yet not be able to think about anything else.
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The great nations have always acted like gangsters, and the small nations like prostitutes.
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You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.
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You know, I often thought that the gangster and the artist are the same in the eyes of the masses. They're admired and hero-worshipped but there is always present underlying desire to see them destroyed at the peak of their glory.
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How does anybody ever think of anything?
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