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You're constantly changing man. But the film's not changing. The film stays the same. That's the beautiful aspect of it.

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
Stays
Changing
Constantly
Aspect
Film
Beautiful
Men

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Critical opinion on my films has always been salvaged by what I would call subsequent critical opinion.
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I’ve never been certain whether the moral of the Icarus story should only be, as is generally accepted, ‘don’t try to fly too high,’ or whether it might also be thought of as ‘forget the wax and feathers, and do a better job on the wings.
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It's a mistake to confuse pity with love.
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The hardest thing in making a movie is to keep in the front of your consciousness your original response to the material. Because that's going to be the thing that will make the movie. And the loss of that will break the movie.
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There's something in the human personality which resents things that are clear, and conversely, something which is attracted to puzzles, enigmas, and allegories.
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You're an idealist, and I pity you as I would the village idiot.
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The very meaninglessness of life forces man to create his own meaning. If it can be written or thought, it can be filmed.
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Shooting a movie is the worst milieu for creative work ever devised by man.
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Everything has already been done. every story has been told every scene has been shot. it’s our job to do it one better.
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If Gary Cooper and Henry Fonda had a baby, it would be Matthew Modine.
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All work and no play makes Jack a dull boy.
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The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.
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Suppose by chance you do get picked up. What have you done? You shot a horse that isn't first degree murder in fact, it isn't even murder in fact, I don't know what it is.
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The lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
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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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A film is - or should be - more like music than like fiction.
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There are few things more fundamentally encouraging and stimulating than seeing someone else die.
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It's a passion when you're doing it for other people and you're doing it for the people around you making the film and the people who are going to see the film, and the giving. When you start thinking about you doing it for some sort of self-gain, then I think it becomes an obsession. It becomes a negative experience.
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Any time you take a chance you better be sure the rewards are worth the risk because they can put you away just as fast for a ten dollar heist as they can for a million dollar job.
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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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