Eyes Wide Shut - Stanley Kubrick
- Thread starter Miss Isness
- Start date
Evan
The Living Force
On the topic of inanimate objects that move, in the end scene at the toy store, when daughter Helena is by the baby carriage and reaches for the Carlotta doll, there’s a tall display tower in the center of the room behind them with teddy bears on it. If you watch the top tier of bears, the one on the left moves though no one is anywhere near it.
Ricardo
The Living Force
Tangentially related to hollowood and movies , if true , but it points in the same direction that EWS "speaks of ". Also reminds me of what Epstein victim Juliette Rose Bryant stated in one interview , of observing some facial changes in a face , Epstein's iirc , link here , post of sott forum here with the interview.
Here is the scene you are talking about and yes, it is a white bear, it seems he says hello to us.
This scene is super interesting and maybe one of the most important in the film. I don't know if this is what Kubrick wanted as an ending. Let's say. The scene is magical, it's Christmas, there are Christmas melodies in the air, many people buying toys for children, it's a place of joy and innocence and yet it's there that these two are going to give their little girl to the predators. I hadn't noticed three things: the sad look of the little girl who turns to her parents, before disappearing as if to ask for help and then no, they continue as if nothing but aware that two predators are taking their little girl.
And I hadn't noticed Tom's slightly terrified look, unable to change the course of things. And then Nicole plays this part very badly, because she plays that she plays. Something terrible is going to happen, their daughter is going to disappear and she plays as if nothing happened. In fact, in this toy store, this couple doesn't look happy at all. They are bland, lifeless, almost without energy. They didn't come to the store to buy anything for their child because even if the little girl would like a teddy bear or a Barbie, the parents are not there to buy her a present but to give her as a present to those we know.
Sindy-S.R
Padawan Learner
I believe Stanley Kubrick wasn't the only one murdered for creating a film that expressed the actions of the world's pedophile elite.
It seems that the film "Salò, or the 120 Days of Sodom" (premiering at the Paris Film Festival on November 23, 1975) was the reason for the death of the famous Italian director Pier Paolo Pasolini (March 5, 1922 – November 2, 1975).
For those interested, I've created a thread about this film here: Salò, or the 120 Days of Sodom
It seems that the film "Salò, or the 120 Days of Sodom" (premiering at the Paris Film Festival on November 23, 1975) was the reason for the death of the famous Italian director Pier Paolo Pasolini (March 5, 1922 – November 2, 1975).
For those interested, I've created a thread about this film here: Salò, or the 120 Days of Sodom
wmu9
Jedi Master
I never noticed all the changing furniture/backgrounds/manikins in Kubrik's films before. He's really using every tool to play with your mind. I've watched quite a few analysis videos, but none discussed that.
Here's the link to interview with actor Rade Serbedija.
It's in Croatian, but I translated the part where he's talking about collaboration with Kubrik.
Link:
Translation of part about Kubrik:
And now, as a big Kubrick fan, I can't help but ask you a thousand times how the collaboration came about and what it was like to work with the great Stanley Kubrick? Did you encounter his well-known or "notorious" perfectionism?
The collaboration began with Leon Vitali, whose story is special in itself. He became Kubrick's right-hand man after his role in the film Barry Lyndon. He chose all the other roles, while Kubrick only knew that he wanted Tom Cruise, Nicole Kidman, and Sidney Pollack. All other roles were Vitali's initiative.
There were more than 30 actors for my role, Vitali chose me and two others, and Kubrick decided on me.
And what was the deciding factor in choosing you?
I don't know. I filmed a scene and sent the video. Vitali had seen me in The Saint and The Truce, where I played opposite John Turturro. When I met him, Kubrick first asked me if I knew who Vasja Pirc was. I said I did, and he said, "OK, start. Open the game." I look at him and remember, I don't know how, but later I was very proud of myself and said, "No, you have to open, because Pirc was known for his defense." And that impressed him.
But the collaboration itself was interesting. At first, we had a misunderstanding about how I should play the role I had been given. During rehearsals, he kept asking me to re-shoot that one scene, and in the end, he stopped rehearsals and went to his apartment. Then later, he called me and Tom, angry. He put the tape of my audition on the big screen and we watched it. Both he and Tom were laughing. Kubrick looked at me and said, "It's excellent. Fantastic. Can you do it like that?"
I didn't understand what he wanted me to do. He obviously knows I'm a good actor, which is why he chose me. But I don't know what he's looking for. He doesn't want me to act in the way that is classically understood as good acting. And then I think, what kind of character is this? He's crazy. So he wants me to be crazy. And so I started acting crazy with everyone.
When the assistants came to get me, I refused to go to the shoot until they sent the first assistant, and then I went, angry. The whole crew is afraid of me, only Stanley looks at me and is satisfied. He understood that I understood what he wanted from me. It's a direct madness that you can't act a little bit, or a little bit not. You have to put yourself in that state and become that character. The camera recognizes that.
Yes, I've read about many people who've had similar experiences with him.
But there's also the last part of the story with him. Basically, he cut two very good scenes because I was holding the mask in my hands before he wanted the mask to appear. And then I wanted to suggest to him that my character appear again at the end of the film. To knock on Tom's character's door and ask him what he did to his daughter because she can't sleep anymore. But I thought, "I can't do that. He'll say, 'Look at this Balkan guy, he wants to expand his role.'" And in the end, I didn't.
After filming ended, he invited me to the studio to record a line in voice-over. He even told me that he was working on two projects and that one of them was about Rasputin and that I would be good for that role. And as I sat with him during this break, I decided to tell him about the scene I wanted to propose to him.
And I explained it to him the same way I explained it to you. He stared ahead for a few moments, turned to me and said, "You're an idiot." Fuck you, I'm not an idiot, I'm a hundred idiots. He comes back half an hour later, literally white in the face, angry, stands in front of me and says with hatred in his eyes: "Why didn't you tell me that? It's brilliant." After that, he only greeted me once, and that was the last time I saw him. He died a month later.
Since then, I tell my students to always tell editors what they think. A smart editor will see and decide whether the idea is good or bad, but they shouldn't miss the opportunity.
(translated with deepL)
It's in Croatian, but I translated the part where he's talking about collaboration with Kubrik.
Link:
Rade Šerbedžija: Kad sam ovo predložio Kubricku, rekao mi je da sam idiot
VELIKI intervju s Radom Šerbedžijom.
www.index.hr
Translation of part about Kubrik:
And now, as a big Kubrick fan, I can't help but ask you a thousand times how the collaboration came about and what it was like to work with the great Stanley Kubrick? Did you encounter his well-known or "notorious" perfectionism?
The collaboration began with Leon Vitali, whose story is special in itself. He became Kubrick's right-hand man after his role in the film Barry Lyndon. He chose all the other roles, while Kubrick only knew that he wanted Tom Cruise, Nicole Kidman, and Sidney Pollack. All other roles were Vitali's initiative.
There were more than 30 actors for my role, Vitali chose me and two others, and Kubrick decided on me.
And what was the deciding factor in choosing you?
I don't know. I filmed a scene and sent the video. Vitali had seen me in The Saint and The Truce, where I played opposite John Turturro. When I met him, Kubrick first asked me if I knew who Vasja Pirc was. I said I did, and he said, "OK, start. Open the game." I look at him and remember, I don't know how, but later I was very proud of myself and said, "No, you have to open, because Pirc was known for his defense." And that impressed him.
But the collaboration itself was interesting. At first, we had a misunderstanding about how I should play the role I had been given. During rehearsals, he kept asking me to re-shoot that one scene, and in the end, he stopped rehearsals and went to his apartment. Then later, he called me and Tom, angry. He put the tape of my audition on the big screen and we watched it. Both he and Tom were laughing. Kubrick looked at me and said, "It's excellent. Fantastic. Can you do it like that?"
I didn't understand what he wanted me to do. He obviously knows I'm a good actor, which is why he chose me. But I don't know what he's looking for. He doesn't want me to act in the way that is classically understood as good acting. And then I think, what kind of character is this? He's crazy. So he wants me to be crazy. And so I started acting crazy with everyone.
When the assistants came to get me, I refused to go to the shoot until they sent the first assistant, and then I went, angry. The whole crew is afraid of me, only Stanley looks at me and is satisfied. He understood that I understood what he wanted from me. It's a direct madness that you can't act a little bit, or a little bit not. You have to put yourself in that state and become that character. The camera recognizes that.
Yes, I've read about many people who've had similar experiences with him.
But there's also the last part of the story with him. Basically, he cut two very good scenes because I was holding the mask in my hands before he wanted the mask to appear. And then I wanted to suggest to him that my character appear again at the end of the film. To knock on Tom's character's door and ask him what he did to his daughter because she can't sleep anymore. But I thought, "I can't do that. He'll say, 'Look at this Balkan guy, he wants to expand his role.'" And in the end, I didn't.
After filming ended, he invited me to the studio to record a line in voice-over. He even told me that he was working on two projects and that one of them was about Rasputin and that I would be good for that role. And as I sat with him during this break, I decided to tell him about the scene I wanted to propose to him.
And I explained it to him the same way I explained it to you. He stared ahead for a few moments, turned to me and said, "You're an idiot." Fuck you, I'm not an idiot, I'm a hundred idiots. He comes back half an hour later, literally white in the face, angry, stands in front of me and says with hatred in his eyes: "Why didn't you tell me that? It's brilliant." After that, he only greeted me once, and that was the last time I saw him. He died a month later.
Since then, I tell my students to always tell editors what they think. A smart editor will see and decide whether the idea is good or bad, but they shouldn't miss the opportunity.
(translated with deepL)
Watched the movie throughout the week. A few thoughts that came to mind. Like in the shining, the characters in the movie also serve as representations or archetypes. Bill with his dollar bills represents the upper middle class citizen, who thinks highly of himself (look at this money, I'm a doctor don't you know) but has no power. In the dialogues he often repeats what people tell him, as if he's unable to process the situation, a middle class person not comprehending how the real world and power dynamics work. The upper class in New York seem to be of eastern european origins who do not celebrate christmas with christian symbols, I'll leave that one at that. The women we encounter throughout the movie seem to be of the same type, maybe at different roles/ages. The ones at the two parties, the one whom the "father" dies, the prostittutes (same hair color) and the wife and daughter. The shining dealt with inter-generational fate and social immobility ("you've always been the care taker") and clockwork orange with mind control/state violence. Some maybe some of these themes intersect with eyes wide shut.
It seems Leon Vitali played six other characters behind a mask
including appearing in the infamous orgy scene as the Red Cloak.
Link:
www.looper.com
including appearing in the infamous orgy scene as the Red Cloak.
Link:
Leon Vitali Played More Roles In Stanley Kubrick's Eyes Wide Shut Than You Might Think - Looper
Leon Vitali was an integral member of Stanley Kubrick's "Eyes Wide Shut" and even played far more characters on screen than you may have initially thought.
www.looper.com
caballero reyes
The Living Force
Speaking of symbolism in movies and on a personal level.
At minute 1:41 of the final sequence of Eyes Wide Shut, there is a jump in the composition of the image. The position of the characters Bill and Alice chatting has been moved to another space, located on another level, and the characters parading in the background are seen on a lower level than the couple Bill and Alice.
This reminded me of a conversation about two years ago between friends Madonna and Maluma, the Colombian singer.
She tells him in a mysterious tone, as if they belonged to a cult with initiation levels: "Now you can go up to the next level."
At minute 1:41 of the final sequence of Eyes Wide Shut, there is a jump in the composition of the image. The position of the characters Bill and Alice chatting has been moved to another space, located on another level, and the characters parading in the background are seen on a lower level than the couple Bill and Alice.
This reminded me of a conversation about two years ago between friends Madonna and Maluma, the Colombian singer.
She tells him in a mysterious tone, as if they belonged to a cult with initiation levels: "Now you can go up to the next level."
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