DIRECTOR · BORN 1928 · DIED 1999
Stanley Kubrick
- Born
- 26 July 1928, New York City, New York, USA
- Died
- 7 March 1999
- Known for
- 2001: A Space Odyssey (1968), Full Metal Jacket (1987), Eyes Wide Shut (1999), Stanley Kubrick - Ein Leben für den Film (2001)
96 archived facts 7 topics 1 source Last reviewed Sep 2026
All facts (96)
- #001
The friendship Stanley Kubrick formed with Malcolm McDowell during the shooting of A Clockwork Orange (1971) is regarded as one of the most productive director-actor collaborations in cinema history. Kubrick was so pleased with McDowell's performance that he showed him great warmth on set, and a strong bond developed between them. After filming ended, however, Kubrick never contacted McDowell again; this abrupt break has been read as a sign of the director's absolute commitment to his work and his tendency to keep personal relationships separate from it. In interviews years later, McDowell said he was surprised by the situation, but that his admiration for Kubrick's genius never diminished.
- #002
In May 1990, Stanley Kubrick joined some of the most influential directors in cinema history to found The Film Foundation. The step, taken together with Martin Scorsese, Woody Allen, Francis Ford Coppola, Steven Spielberg, Robert Redford, Sydney Pollack and George Lucas, became a turning point for the preservation and restoration of film heritage. The foundation worked in particular to ensure that classic films could be passed on to future generations without deterioration, and Kubrick's role in the initiative showed that he saw cinema not only as an art form but also as a cultural heritage.
- #003
Kubrick's reclusive lifestyle drew fans and curious visitors to his door, but since few people recognized his face, Kubrick himself would open the door to these visitors and turn them away by saying, "Stanley Kubrick isn't home." This behavior shows the importance he placed on his private life and his desire to avoid the attention that fame brought. Such anecdotes also became part of the legend surrounding Kubrick and further reinforced his mysterious persona.
- #004
Kubrick was known for his obsession with detail and his vast store of knowledge, traits that made him one of the most meticulous directors in cinema history. For his unrealized film project about Napoléon Bonaparte, he assigned one of his assistants to collect every book he could find about the French emperor, and the assistant returned with more than 100 books. Kubrick read all of them and astonished those around him with his ability to retain the information in his memory. While working on a battle scene, his effort to reflect the atmosphere of the moment exactly by studying a historical painting lays bare the importance he gave to visual realism.
- #005
Kubrick's photography career began when, at just 16, he photographed a newspaper seller in New York the day after President Franklin D. Roosevelt's death. He sold the photograph to Look magazine, which published it; this success led to his being hired as an apprentice photographer at the magazine while still in high school. The experience helped Kubrick develop his visual storytelling ability and laid the foundation for his interest in cinema.
- #006
Kubrick was known for his fondness for cats; at one point he kept 16 cats in his home. He felt guilty that he could not give them enough attention during shoots, so when his work was done he would let his cats roam around him in the editing room. This behavior shows that he had a sensitive and affectionate side toward animals; it is also thought that he relieved the stress of his intense work pace by spending time with them.
- #007
Kubrick's high school report card was quite poor; his grade average was only 67%, and as a result he was not accepted by any university. This did not discourage him, however; he sat in on classes at Columbia University without enrolling. The experience showed his hunger for learning and that he could improve himself outside the traditional education system. The knowledge Kubrick acquired during this period formed the basis of his later intellectual depth.
- #008
Kubrick first grew the beard that became his trademark during the production of 2001: A Space Odyssey (1968). After this film he never shaved it off and also let his hair grow long; this look became identified with his mysterious and authoritarian persona. The beard also became part of his artistic identity, and the director kept this image in his later films.
- #009
Kubrick's project after his last film, Eyes Wide Shut (1999), was the science fiction film A.I. (2001), but following Kubrick's death Steven Spielberg took over the project. The film was dedicated to Kubrick's memory and stands as a tribute to his contributions to cinema. Spielberg completed the film while remaining faithful to Kubrick's vision, and this collaboration also revealed the admiration and friendship between the two great directors.
- #010
While directing his films, Kubrick refused to discuss them on set, and once they were completed he never watched them. This behavior shows his detached approach to his films and his desire to withdraw after bringing his art to audiences. Kubrick believed his films should speak for themselves; he therefore avoided commenting and preferred his works to make their own impact on the viewer.
- #011
By the age of thirteen, Kubrick was passionately devoted to photography, chess and jazz drumming. These three fields deeply influenced his later career: photography developed his visual storytelling, chess his strategic thinking, and jazz his sense of rhythm and timing. These early interests laid the foundation for him to become a versatile artist.
- #012
A heavy smoker in his youth, Kubrick largely quit smoking in the 1970s, in his forties, though he was known to smoke occasionally under stress during intense shooting periods. By contrast, he is said to have consumed almost no alcohol. These habits show that he adopted a disciplined and controlled lifestyle, but could give in to his weaknesses under the pressure of work.
- #013
One of Kubrick's eccentric behaviors was to call people several times a day when an idea came to him, even at midnight. He was himself a night owl and rarely slept more than a few hours, so his late-night calls were part of his creative process. Although this behavior was exhausting for those around him, it was a sign of Kubrick's passion and dedication to his work.
- #014
In his youth, Kubrick often skipped school because of his devotion to cinema and would watch double features at the cinema all day. These escapes fed his passion for cinema and allowed him to learn the language of visual storytelling by watching films of different genres. These experiences built a rich visual memory that he would later use when creating his own films.
- #015
The legendary director Billy Wilder was a great admirer of Kubrick and claimed that he "never made a bad film." In an interview with Cameron Crowe, Wilder described the first half of Full Metal Jacket (1987) as "the best film I've ever seen." This praise lays bare Kubrick's reputation in the film world and his influence on his colleagues.
- #016
One of Kubrick's favorite films was David Lynch's Eraserhead (1977). The film is known for Lynch's dark and surreal storytelling; Kubrick's admiration for it shows his interest in unconventional and experimental cinema. This choice reveals how broad and bold his artistic taste was.
- #017
According to his close friend Michael Herr, Kubrick watched The Godfather (1972) more than ten times and said it was "the greatest film ever made." This view reflects Kubrick's understanding of cinema and his admiration for great works. Kubrick's being influenced by this film may have inspired him to portray strong characters and deep themes in his own films.
- #018
Kubrick's daughter Vivian Kubrick explained that the family surname is pronounced "Que-brick," not "koo-brick." This difference in pronunciation offers an interesting detail about the family's origins and the etymology of the name. The correct pronunciation of Kubrick's name is regarded as important information for those interested in his legacy.
- #019
According to biographer Michael Herr, Kubrick was meticulous about staying faithful to every word of dialogue and did not allow actors to add their own lines. There were two exceptions to this rule, however: Peter Sellers and R. Lee Ermey. Sellers had earned Kubrick's trust with his improvisational ability in Lolita (1962) and Dr. Strangelove (1964), while Ermey gave an unforgettable performance as the drill instructor in Full Metal Jacket (1987), drawing on his own experience. These exceptions show how much Kubrick valued talented actors and how open he was to their creativity.
- #020
Until the 1970s, Kubrick wore a suit and tie every day while directing; this was part of his professional and serious image. After that date, however, he switched to casual work clothes. His wife Christiane said that Kubrick disliked choosing what to wear and that his wardrobe was full of identical shirts and trousers. This detail shows that he adopted a practical and simple lifestyle and did not want to spend his time on unimportant decisions.
- #021
Stanley Kubrick's dissatisfaction with his first film, Fear and Desire (1952), is one of the best-known examples of a director's self-criticism in cinema history. Regarding the work as a product of his youth, he tried to buy up all copies so that others would not see it. This behavior reveals his perfectionist nature and the importance he placed on his artistic reputation, and it also shows how ruthless an artist can be toward his own early work.
- #022
One of Stanley Kubrick's greatest passions was chess, and he was said to be a master of the game. Crew members and actors were frequently defeated in matches against him, which highlights Kubrick's strategic intelligence and competitive spirit. Chess may also have nourished his ability to plan and anticipate in filmmaking.
- #023
Stanley Kubrick formed a close friendship with Steven Spielberg; the two directors held each other's work in great respect. After Kubrick's death, Spielberg completed the film A.I. (2001), carrying on his legacy. This friendship is remembered as an example of the mutual admiration and collaboration between two giants of the film world.
- #024
Stanley Kubrick regarded Elia Kazan as the best American director of all time. His list of favorite directors, which changed from period to period, included names such as Federico Fellini, David Lean, Ingmar Bergman, Vittorio De Sica, François Truffaut and Max Ophüls. These choices show how broad and international Kubrick's cinematic taste was and how he drew on different cultures and movements.
- #025
Stanley Kubrick's fear of flying never went away, even though he often had to fly early in his career; he was even known to react hysterically on planes. For this reason he tried to keep the number of flights to a minimum. According to Malcolm McDowell, Kubrick would listen to the air traffic controllers at Heathrow Airport for long stretches and would advise McDowell never to fly. This fear played a part in his settling in England and in his avoidance of travel in the later years of his career.
- #026
Kubrick's wife Christiane said that he watched every film he could get hold of and that one of his favorites was The Salamander (1979). Kubrick initially conceived Eyes Wide Shut (1999) as a dark sex comedy starring Steve Martin and met with Martin to discuss the project. The project later evolved in a different direction, which shows how changeable and open to development Kubrick's ideas were.
- #027
The only writer Stanley Kubrick worked with personally was Arthur C. Clarke, for 2001: A Space Odyssey (1968). This collaboration is regarded as one of the most productive writer-director partnerships in cinema history; Clarke's scientific vision combined with Kubrick's visual genius to produce one of the most impressive science fiction films in cinema history. The fact that Kubrick generally used adapted novels for his other films makes this partnership all the more special.
- #028
The release of A Clockwork Orange (1971) in the United Kingdom caused a great controversy in society; Kubrick received angry letters and protesters appeared in front of his house demanding that the film never be shown again. Although he did not have the right to control a film after production, Kubrick applied to the studio and asked for the film to be withdrawn from release. Out of respect for Kubrick, the studio granted the request, and the film was not shown in England for many years; this episode shows Kubrick's desire for control over his works and the importance he attached to public reactions.
- #029
Stanley Kubrick was a great fan of the American sitcoms Seinfeld (1989), Roseanne (1988) and The Simpsons (1989). He also liked American football and would ask his friends in America to record the games and send them to him. His interest in television advertising stemmed from his admiration for the ability to tell an effective story in 30 seconds; this shows his curiosity about narrative techniques and his willingness to learn from different media.
- #030
Stanley Kubrick loved animals; at the time of his death he owned a Highland Terrier, seven Golden Retrievers, a Scotch Terrier, eight cats and four Fern Donkeys. These animals roamed freely on his estate in rural England. Kubrick's fondness for animals shows that he built a calm life close to nature; it is also thought that he relieved the stress of his intense work pace by spending time with animals.
- #031
When Stanley Kubrick bought Simon Cowell's childhood home, he converted the entire ground floor of the house into a private cinema. This cinema reflects his passion for watching films and the way he evaluated his own work. The presence of a private screening room in Kubrick's home is an indication of his commitment to cinema and the importance he placed on a comfortable viewing experience.
- #032
Stanley Kubrick opposed conceptual analysis of his films and did not want to have to explain what his works meant. He argued that each film should be evaluated on its own and disliked having them assessed within the whole of his career. He said his method was to find stories that interested him and not to repeat himself; this approach shows the importance he placed on his artistic freedom and innovation.
- #033
After J.R.R. Tolkien sold the film rights to The Lord of the Rings to United Artists in 1969, The Beatles considered adapting the novel for the screen and offered Stanley Kubrick the directing job. Kubrick turned down the offer, telling John Lennon that he thought the novel could not be adapted into a film because of its size. Years later, the adaptation directed by Peter Jackson achieved great success; Kubrick's decision shows how meticulous he was in assessing the limits of a project.
- #034
Stanley Kubrick rarely gave interviews, but he appeared in the documentary his daughter Vivian Kubrick shot during the making of The Shining (1980). According to Vivian, Kubrick planned to give a few official TV interviews after Eyes Wide Shut (1999) was released, but he died before he could carry out these plans. This once again demonstrates Kubrick's tendency to stay away from the media and the importance he placed on his private life.
- #035
A few days before his sudden death, Stanley Kubrick stated that among his own films the one he liked least was Fear and Desire (1952) and the one he liked most was Eyes Wide Shut (1999). This statement shows his critical view of his early work and his attachment to his last film. Kubrick's preference reflects his artistic development and the value he placed on the works of his mature period.
- #036
In 1963, the magazine Cinema, published in the USA, asked Stanley Kubrick to compile a list of his favorite films. Kubrick's list included the following films: I Vitelloni (1953), Wild Strawberries (1957), Citizen Kane (1941), The Treasure of the Sierra Madre (1948), City Lights (1931), Henry V (1944), La Notte (1961) and The Bank Dick (1940). This list shows how broad Kubrick's cinematic taste was and his admiration for films from different periods and different countries.
- #037
Thanks to his interest in psychology, Stanley Kubrick directed his actors masterfully; the best-known example of this is what happened with Shelley Duvall on The Shining (1980). Duvall's performance in the film is filled with a realistic sense of fear and helplessness that Kubrick obtained by pushing her psychologically. This method shows that Kubrick could use every technique to get the best performance out of his actors.
- #038
Although Stanley Kubrick was known as a perfectionist, he denied it; yet even when he thought his actors had given the right performance, he would repeat takes because he felt they were unhappy. Just one week after The Shining (1980) was released, he had the hospital scene with Wendy and Danny at the end of the film removed because he did not like it. Dorian Harewood, who played Eightball in Full Metal Jacket (1987), said in an interview that Kubrick was a perfectionist; when Kubrick heard this, he called Harewood to deny the claim. This episode shows how passionately Kubrick was committed to his work and how he reacted to criticism.
- #039
While working on the film One-Eyed Jacks (1961), at Marlon Brando's house, Brando asked visitors to take off their shoes so as not to scratch the wooden floor. Kubrick not only followed this rule and took off his shoes, he often also took off his trousers and preferred to work in just a shirt and underwear. This behavior reflects Kubrick's relaxed and unconventional working style and the informal atmosphere at Brando's house.
- #040
Stanley Kubrick's reclusive life led the press to write fabricated stories about him; one of them was that he shot a fan who entered his property and shot him again because the grass was bleeding. Such exaggerated reports further reinforced Kubrick's mysterious image and led to legends forming about him. The fact that Kubrick never responded to these stories shows that he maintained his policy of staying away from the media.
- #041
In the fifth edition of Steven Jay Schneider's edited book '1001 Movies You Must See Before You Die', nine of Kubrick's films were listed. Since Kubrick made only 13 feature films, this gave him the highest proportion of any director on the list. The listed films include Paths of Glory (1957), Spartacus (1960), Lolita (1962), Dr. Strangelove (1964), 2001: A Space Odyssey (1968), A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980) and Full Metal Jacket (1987). This achievement proves how strong and enduring Kubrick's filmography is.
- #042
As a student, Kubrick was indifferent and his grades were near the bottom of his class. This reflects his disinterest in the traditional education system and his desire to pursue his own interests. Kubrick's passion for cinema motivated him more than academic success, and it was through this that he became a self-taught artist.
- #043
Kubrick never recorded audio commentaries for the home releases of his films, because he did not want to explain the mystery and depth of his films and preferred that viewers form their own interpretations. He believed his films should speak for themselves. This stance shows his respect for his art and his trust in the audience.
- #044
Over the course of his career, Kubrick directed two actors in Oscar-nominated roles: Peter Sellers for his performance in Dr. Strangelove (1964) and Peter Ustinov for his role in Spartacus (1960). Ustinov went on to win the Oscar for this role. This achievement shows Kubrick's mastery of directing actors and his ability to bring out their best performances.
- #045
Kubrick claimed his IQ was below average; however, contrary to this statement, a rumor spread that his IQ was around 200. This contradiction was interpreted as Kubrick's modesty and his tendency to conceal his intelligence. The depth and complexity of Kubrick's films are regarded as an indication of his superior intelligence.
- #046
In the early 1970s, Kubrick telephoned the director Ken Russell, but according to Russell he abruptly ended the call because he was afraid of a bee. A few days later he called again and asked Russell about the beautiful English locations he had used for period films. Russell shared these locations, and Kubrick used them in his next film, Barry Lyndon (1975). Russell expressed great satisfaction with this; the incident is remembered as an example of Kubrick's curious and sudden behavior.
- #047
Kubrick shared with Peter Sellers a love of photography and home cinema; the two often photographed each other on set. This shared interest strengthened the friendship between them and laid the groundwork for their creative collaborations. Sellers's improvisational talent and Kubrick's meticulous direction created unforgettable moments in films such as Lolita (1962) and Dr. Strangelove (1964).
- #048
During the controversies sparked by A Clockwork Orange (1971), Kubrick cited The Ox-Bow Incident (1943) while defending the use of a 'bad' protagonist. Kubrick said that this film was bad art, because it argued the view that lynching is bad because innocent people can be lynched, but did not argue the view that lynching itself is bad. Kubrick wanted Alex to be clearly evil, and in this way aimed to trigger the audience's moral questioning. This statement lays bare Kubrick's understanding of art and the way he handled moral dilemmas.
- #049
After the success of 2001: A Space Odyssey (1968), Kubrick planned to make a large-scale biographical film about Napoleon Bonaparte. He conducted extensive research for this project, read books about the French emperor and wrote a preliminary screenplay that was published online. With the help of his assistants, he created a meticulous card catalog containing the locations and actions of Napoleon's inner circle throughout his active years. Kubrick planned to shoot large portions of the film in France and scouted locations; however, the project was never realized due to cost and logistical difficulties.
- #050
Kubrick's family descended from Jewish immigrants of Austrian and Romanian origin. His father was born in New York, the child of Elias Kubrick, an Austrian Jewish father, and Rosa Spiegelblatt, a Romanian Jewish mother. His mother was also born in New York, the child of Samuel Perveler, an Austrian Jewish father, and Celia Siegel, a Russian Jewish mother. These origins were influential in shaping Kubrick's identity and worldview.
- #051
Kubrick began pre-production on Full Metal Jacket (1987) in 1980, a full seven years before its release. During this time, the success of similarly themed films such as Oliver Stone's Platoon (1986) and John Irvin's Hamburger Hill (1987) frustrated Kubrick; he felt as if he had been beaten at his own game. This feeling was also influential in his decision in the early 1990s to shelve Aryan Papers, an adaptation of Louis Begley's novel Wartime Lies. Kubrick had completed the screenplay, but the fact that films on similar subjects had already been made caused him to give it up.
- #052
Between Eyes Wide Shut (1999) and A.I. (2001), Kubrick was interested in making a film for children and young adults based on the Viking saga novel Eric Brighteyes. This project shows his desire to turn to different genres and target audiences; however, this film was never realized. Kubrick's projects during this period reveal how productive his creative mind was and that he was constantly in pursuit of new ideas.
- #053
From Lolita (1962) onward, Kubrick produced all his films independently from his adopted home in England, from the United Kingdom. This decision gave him full control over the production processes and created a free working environment far from Hollywood's studio pressure. Kubrick's choice of England is also associated with his fear of flying and his attachment to his private life.
- #054
In 2001: A Space Odyssey (1968), Kubrick used Richard Strauss's 'Thus Spoke Zarathustra' in the recording conducted by Herbert von Karajan. This music became identified with the film's opening scene and became one of the most iconic music-narrative pairings in cinema history. This choice by Kubrick shows his interest in classical music and how well he understood the contribution of film music to narrative.
- #055
Kubrick's favorite cartoon character was Woody Woodpecker; he liked him so much that, as George Pal had done, he wanted to include him in every one of his films. However, Woody's creator Walter Lantz rejected this offer. In his final interview, Lantz stated that when he saw films such as The Shining (1980) or A Clockwork Orange (1971) he did not regret his decision, but that when he saw films such as 2001: A Space Odyssey (1968) or Dr. Strangelove he did regret it. This anecdote shows Kubrick's sense of humor and his interest in popular culture.
- #056
According to a biography, Kubrick's wife Christiane persuaded him to go on a long-postponed vacation. During the vacation, Christiane noticed that Kubrick was constantly taking notes, and when she asked what he was writing, she learned that Kubrick was scribbling ideas about a film project. This incident shows that Kubrick's passion for his work and his creative mind never stopped, even on vacation.
- #057
According to the June 29, 1999 edition of The London Standard, in his 24-page will dated July 22, 1974, Kubrick left his wife Christiane Kubrick £66,000 in cash and the Childwickbury Estate in Hertfordshire. He also bequeathed her personal effects worth £21,000. Before his death, Kubrick established at least two private trusts in which his fortune was pooled, named Stanley Kubrick Trust Number One and Children's Trust; the income from these trusts was to be distributed among his children.
- #058
Kubrick directed six films selected for the National Film Registry by the Library of Congress for being 'culturally, historically or aesthetically' significant: Paths of Glory (1957), Spartacus (1960), Dr. Strangelove (1964), 2001: A Space Odyssey (1968), A Clockwork Orange (1971) and The Shining (1980). This achievement proves the lasting impact of Kubrick's films on American cultural heritage and their importance in cinema history.
- #059
Kubrick enjoyed the works of artists such as Franz Kafka, H.P. Lovecraft, Carlos Saura, Max Ophüls, Woody Allen and Edgar Reitz; he was especially an admirer of Reitz's Heimat: A Chronicle of Germany (1984). These names show how broad and deep Kubrick's taste in literature and cinema was; they also reflect his interest in dark themes and the complexity of human nature.
- #060
In 1950, Kubrick prepared and published a photo essay on boxing for Look magazine; with the income from its sale, he made his first film, the 16-minute documentary Day of the Fight (1951), on the same subject. The film marked the beginning of Kubrick's cinema career and is regarded as an important step in his transition from photography to filmmaking.
- #061
Among Kubrick's favorite films were The Texas Chain Saw Massacre (1974), An American Werewolf in London (1981), Metropolis (1927), Dog Day Afternoon (1975), White Men Can't Jump (1992), Citizen Kane (1941), One Flew Over the Cuckoo's Nest (1975) and The Silence of the Lambs (1991). This list shows Kubrick's interest in different genres and his broad taste, nourished by a variety of cinematic genres such as horror, thriller and drama.
- #062
Kubrick wanted to adapt Umberto Eco's 1988 novel Foucault's Pendulum for the screen, but Eco refused the offer. Eco had been unhappy with the film adaptation of his earlier novel The Name of the Rose (1986), and his reluctance to let Kubrick write the screenplay himself also played a part in the decision. The episode illustrates the difficulties Kubrick faced with adaptation projects and the disagreements he had with authors.
- #063
Kubrick grew up in the Bronx in New York. This environment meant that in his youth he was immersed in the city's commotion and cultural diversity; these experiences were reflected in his later use of setting and atmosphere in his films. His years in the Bronx developed Kubrick's powers of observation and his storytelling.
- #064
Entertainment Weekly named Kubrick the 23rd Greatest Director of All Time; he made the list despite having made only 16 films over a 48-year career. This shows that he was one of the least prolific directors, yet each of his films had a major impact. Kubrick's sparse but substantial filmography left a deep mark on cinema history.
- #065
Kubrick was reported to have at one point considered leaving England to move to Vancouver in Canada or Sydney in Australia. The idea may reflect dissatisfaction with his life in England or a search for a new environment; however, these plans never materialized and Kubrick stayed in England until the end of his life.
- #066
Kubrick was fascinated by the career of the Nazi filmmaker Veit Harlan, his wife's uncle, and considered making a film about the social circle surrounding Joseph Goebbels. Although he worked on this project for several years, the director never got beyond a rough story outline. This interest shows Kubrick's curiosity about the dark sides of history and the dynamics of power.
- #067
In 1976, Kubrick sought an idea for a film about the Holocaust and tried to persuade Isaac Bashevis Singer to write an original screenplay. Kubrick said he wanted 'a dramatic structure that compresses complex and vast information into the story of an individual who represents the essence of this man-made hell.' Singer, however, turned down the offer, saying, 'I know nothing about the Holocaust.' In the early 1990s, Kubrick considered adapting Louis Begley's novel Wartime Lies, but that project was also shelved.
- #068
Kubrick was one of the founders of the Directors Guild of Great Britain. The organization was established to protect the rights of directors in Britain and to raise professional standards. Kubrick's role in this initiative shows the importance he placed on the development of the film industry and the welfare of his colleagues.
- #069
Kubrick did not want Anthony Burgess to write the screenplay for A Clockwork Orange (1971); he planned to write it himself. The things Kubrick added to Burgess's novel were limited: he cut the second murder Alex commits in prison and replaced Billy Boy with Georgie as the partner of the police officer Dim. The novel's final chapter was removed entirely; however, that chapter was not in the American edition Kubrick first read. By Burgess's logic, Americans had not read the novel's original ending, and so the film's ending differed from that of the British edition of the book.
- #070
Among all his feature films, the only one to whose screenplay he did not contribute is Spartacus (1960).
- #071
He ranked 4th on Empire (UK) magazine's list of the 'Greatest Directors of All Time!' [2005].
- #072
Four of his films appeared on the American Film Institute's list of the 100 Greatest Films: 2001: A Space Odyssey (1968) at No. 15, Dr. Strangelove (1964) at No. 39, A Clockwork Orange (1971) at No. 70 and Spartacus (1960) at No. 81.
- #073
A popular joke among fans regarding the conspiracy theory that the Moon landing was faked: NASA is said to have hired Kubrick to direct a fake Moon landing, but Kubrick was so perfectionist that he insisted on actually shooting on the Moon to make it look convincing.
- #074
In the early 1960s, Kubrick, an avid BBC Radio listener, heard the radio serial Shadow on the Sun, written by Gavin Blakeney; Shadow on the Sun is a science fiction work in which a virus enters the Earth when a meteorite lands. While looking for a new project, Kubrick became interested in Shadow on the Sun again. In 1988, Kubrick bought the screenplay rights from Blakeney for £1,500. Kubrick then read a screenplay and took notes before moving on to A.I. Artificial Intelligence...
- #075
Daniel Waters wrote the 180-page original screenplay for Heathers (1989) with the aim of having Kubrick direct it, because he believed Kubrick was the only director who could get away with making a three-hour high school film. Kubrick was not interested, and when the film was made the screenplay was cut to nearly half, resulting in a 102-minute film.
- #076
He shares his birthday with the famous psychologist Carl Jung, whose work is referenced in Full Metal Jacket.
- #077
Seven of his last nine films were nominated for Oscars. With his films from Dr. Strangelove (1964) through Barry Lyndon (1975), he was nominated for Best Director four times in a row.
- #078
In 1956, after MGM rejected Kubrick and his producing partner James B. Harris's request to make Paths of Glory (1957), MGM invited Kubrick to look over the studio's other projects. Harris and Kubrick discovered Stefan Zweig's novel The Burning Secret, in which a young baron first befriends a twelve-year-old boy in order to seduce a young Jewish woman, and the son eventually realizes the baron's true intentions. Kubrick was enthusiastic about the novel and hired the novelist Calder Willingham to write a screenplay...
- #079
In March 2013, Tony Frewin, Kubrick's assistant for many years, wrote in an article in The Atlantic: "He [Kubrick] had an unlimited interest in anything to do with the Nazis and very much wanted to make a film about it." The article also covered another unrealized Kubrick Second World War film, based on the life story of the Nazi officer Dietrich Schulz-Koehn, who used the pseudonym "Dr. Jazz" to write reviews about German music scenes during the Nazi era. Kubrick had been given a copy...
- #080
A famous conspiracy theory claims that NASA, influenced by 2001: A Space Odyssey (1968), hired Kubrick to fake the moon landings, and that Kubrick hinted at this in The Shining (1980). The video for Imagine Dragons' On Top of the World (2013) mocks this theory, showing a bearded, intense film director making the band shoot multiple takes of a moon landing while Richard Nixon and the Secret Service watch.
- #081
Kubrick shares his birthday with Peter Hyams, who directed 2010: The Year We Make Contact (1984), the sequel to Kubrick's 2001: A Space Odyssey (1968). He also shares his birthday with Blake Edwards, who likewise directed Peter Sellers in multiple films. He also shares his birthday with Leon Vitali, who was his personal assistant for nearly 25 years and appeared in two of his films.
- #082
Despite being known for his meticulous shooting methods, Kubrick was quite prolific in his early years. The average gap between his films, from Fear and Desire (1952) to Barry Lyndon (1975), was two years. His last three films took much longer. Completing and releasing The Shining (1980) took five years, Full Metal Jacket (1987) seven years, and Eyes Wide Shut (1999) a full twelve years.
- #083
Although Kubrick made many films with politically progressive themes, his own actual political views were quite complex and have long been a subject of debate. Most biographers agree that he was a mostly right-leaning centrist who became more conservative over the years.
- #084
Kubrick expressed frustration that he never found the time to learn German fluently.
- #085
Kubrick was a big New York Yankees fan.
- #086
While working with Ian Watson on the story for A.I. Artificial Intelligence (2001), Kubrick asked Watson for an advance copy of Inquisitor, a Warhammer 40,000 tie-in novel. Watson recounts that Kubrick said, "Who knows, Ian? Maybe this could be my next film?"
- #087
Burning Secret, the 1956 screenplay Kubrick wrote with Calder Willingham based on Stefan Zweig's work, was discovered in 2018.
- #088
Kubrick described the collaboration between Anthony Michael Hall and John Hughes as "the most promising since James Stewart and Frank Capra." He also wanted to cast Hall as Private Joker in Full Metal Jacket (1987), but salary disputes and scheduling conflicts prevented it.
- #089
Kubrick planned to direct a film titled "I Stole 16 Million Dollars," based on the famous 1930s bank robber Willie Sutton. The film was to be made by Kirk Douglas's Bryna production company, but Douglas thought the script was poorly written. Kubrick tried to interest Cary Grant, which must have failed, since the film was never made.
- #090
On November 1, 2006, Kubrick's son-in-law Philip Hobbs announced that he would direct a treatment for the film Lunatic at Large. Kubrick had commissioned the project from crime novelist Jim Thompson in the 1950s, but it was lost after Kubrick's death until Hobbs found a manuscript. As of August 2011, the project was in development for a future release, with Scarlett Johansson and Sam Rockwell attached and British screenwriter Stephen Clarke involved.
- #091
According to his daughter Katharina, Kubrick intensely disliked The Wizard of Oz (1939).
- #092
Carlo Fiore, who appears as an assistant producer on One-Eyed Jacks (1961) and helped develop the film, wrote that Kubrick's dismissal by Marlon Brando (who went on to direct the film) was perhaps inevitable, because there was room for only one "genius" on the film. Brando had initially planned to direct the film himself, but Paramount Pictures pressured him to hire a director. At the time, both Kubrick and Brando were represented by the Music Corp. of America (MCA).
- #093
Kubrick owned much of his 35mm cinema camera equipment, which allowed him to make custom modifications to achieve specific effects. This also helped lower the budgets of his films, since none of the cameras or lenses had to be rented.
- #094
In his 1974 memoir "Bud: The Brando I Knew," Carlo Fiore, writing about his experience developing and working on One-Eyed Jacks (1961) with his friend Marlon Brando, said that Kubrick wanted to hire Spencer Tracy to play the character Dad Longworth in the film. The role had already been filled by Karl Malden, and Brando said Malden was a good actor. Kubrick agreed, but said Malden played "losers" and that the role required a heavyweight to balance Brando's character Rio. Brando...
- #095
Kubrick considered adapting Patrick Süskind's novel Perfume, which he enjoyed; however, the idea was never realized. The novel was later adapted for the screen by Tom Tykwer as Perfume: The Story of a Murderer (2006).
- #096
Kubrick directed three films nominated for the Best Picture Oscar: Dr. Strangelove (1964), A Clockwork Orange (1971) and Barry Lyndon (1975).
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