Completely in charge, he would begin to take enormous risks, and his first project was designed to do exactly that.
But he couldn't touch Trumbo's screenplay ( Douglas wanted to make a point of staying faithful to the black-listed writer's script ) and the experience left Kubrick convinced that Hollywood was not the place he wanted to work-and he'd only take on projects where he had complete autonomy.
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The battles and training sequences are brutal (they'd be echoed in Barry Lyndon and Full Metal Jacket ) and brilliantly realized, and Kubrick creates an indelible character in Woody Strode's Draba without a single line of dialog. Still, Kubrick did right by his boss by off-setting the rebel-slave romanticism of Dalton Trumbo's script with the cold and ruthless efficiency of the Romans in action. A bit like throwing Christians to the lions, the indie-minded Kubrick had to contend with entrenched studio personnel and bickering bitchy stars -not the least of whom was the producer who'd hired him. Spartacus ( 1960) Kirk Douglas kicked Anthony Mann off his "religious epic without Jesus" after a week of shooting, and hired Kubrick to take over. Here are his first films-the documentaries The Day of the Fight, Flying Padre, and The Seafarers : ** I'm still learning about Kubrick's movies decades after their completion, and more than 10 years after his death. The Chess-Master/director was so many moves ahead by the time he completed the fiilm, that it takes the rest of us-without benefit of his thought and strategizing (and deliberately so as he never explained his films)-a little while to catch up. Kubrick's films, like Kurosawa's, benefit from the passage of time.
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I'll be walking down the street, ruminating on a Kubrick film and all of a sudden, it'll hit me: "Oh, that's why he did that." " That's why that's there." His films, especially his meticulously prepared, laboriously shot later films, starting with Barry Lyndon, are puzzles-though some would say mazes-that defy appreciation on the first viewing, exploding all expectations, slowly burrowing into your mind, staying there, with the bursts of illumination, that on the next viewing seem so obvious, so essential, that the movie morphs into something else, speeds up, * changes. "One wishes there were more films, but the material is so rich, it's enough. On " The Charlie Rose Show," examining his family's "warts-and-all" celebration of director Stanley Kubrick, A Life in Pictures, director Martin Scorsese weighed in on the one down-side, as he saw it, of the director's career.