Stanley Kubrick Quotes
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Don't do anything. Just tolerate me and let me suffer, knowing how you feel.
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You sit at the board and suddenly your heart leaps. Your hand trembles to pick up the piece and move it. But what chess teaches you is that you must sit there calmly and think about whether it's really a good idea and whether there are other, better ideas.
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I don't think that writers or painters or filmmakers function because they have something they particularly want to say. They have something that they feel. And they like the art form; they like words, or the smell of paint, or celluloid and photographic images and working with actors. I don't think that any genuine artist has ever been oriented by some didactic point of view, even if he thought he was.
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I'm a slave to my imagination in terms of making narrative films.
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From the very beginning, all of my films have divided the critics. Some have thought them wonderful, and others have found very little good to say. But subsequent critical opinion has always resulted in a very remarkable shift to the favorable. In one instance, the same critic who originally rapped the film has several years later put it on an all-time best list. But of course, 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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All work and no play makes Jack a dull boy.
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I'm not afraid of dying tomorrow, only of being killed.
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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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The best education in film is to make one
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My period as a young teenager when you really listen to music so you can get understand a little bit more about what the music is was, say, 1965 to 1968. I was just lucky to be in those times.
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Everybody has their black moments.
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A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.
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I don't like doing interviews. There is always the problem of being misquoted or, what's even worse, of being quoted exactly.
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My reputation has grown slowly.
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Bad films gave me the courage to try making a movie
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The reality of the final moment, just before shooting the scene, is so powerful that all previous analysis must yield before the impressions you receive under these circumstances, and unless you use this feedback to your positive advantage, unless you adjust to it, adapt to it and accept the sometimes terrifying weaknesses it can expose, you can never realize the most out of your film.
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You either care or you don’t.
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I never learned anything at all in school and didn't read a book for pleasure until I was 19 years old.
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Regret isn't going to get me anywhere. It's like being obsessed with something. It doesn't bring you anywhere.
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Don't get obsessed with not liking a movie.
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Chess teaches you to control the initial excitement you feel when you see something that looks good and it trains you to think objectively when you're in trouble
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One man writes a novel. One man writes a symphony. It is essential that one man make a film.
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Critical opinion on my films has always been salvaged by what I would call subsequent critical opinion.