An exhibition of some of my photographs that I took during the filming of
A Clockwork Orange, directed by Stanley Kubrick, opens on March 19, 2016 at Ono Arte Contemporanea in Bologna, Italy.
Time spent with Stanley Kubrick
I first heard about Stanley Kubrick in 1963 from a film publicist
who had worked on two of his films. She recommended I see
Paths of
Glory which had just come out in London. After seeing it I asked
the editor of the magazine
Queen if she would be interested in
an article about him. She agreed and I went down to Shepperton
Studios where he was making
Dr. Strangelove. When I arrived he was
standing at a makeshift table on the war room set playing chess with
a large man in an American Air Force uniform seated opposite him
—
General Turgidson, played by the late George C. Scott.
When I said goodbye to Stanley at the end of the day, he asked me
if I would like to work for him,
“You stand in the right place.” he added. I said yes to his
invitation, though knowing perfectly well that the last person you
want to be on a film set is a stills photographer. You are always in
the way, and in my experience, actors don't really like their
pictures taken. That was the start of my association with Stanley as
a guest photographer on three of his films. I guess I just liked
Stanley
— and he
operated the camera himself, which I thought was unusual and
sensible. An image that has stuck in my mind is the way he hand-held
his stripped down Arriflex
— so
gently, and as though it weighed no more than a packet of Camel
cigarettes.
His children used to come and sit beside him on the set. His
eldest, Vivian, became an accomplished musician and film maker
herself. I recommend a short film called
Stanley Kubrick's Boxes
directed by Jon Ronson, because in it are two clips by Vivian of her
father, showing his sharpness and humor, and his calmness. It also
shows the tracking shots through burning buildings towards the end of
Full Metal Jacket, which Vivian scored. When I knew Vivian, sitting
beside her father on the set, she was more worried about her pet mice
than the techniques of film making. Stanley was worried about them
too. Stanley particularly liked cats (and all animals for that
matter) and I made a print for him of a photograph he took of one of
his cats sitting on a shelf in his office. He wrote me such a
charming letter thanking me.
When I spoke to Adrienne Corri after her rape in “A Clockwork
Orange” she was full of praise for Stanley's handling of the
filming. He was fair, patient, considerate and endlessly painstaking.
She said that she too had received a charming letter from him,
thanking her for being such a “sport.” I remember one of his
directorial commands to her: “Turn around, Adrienne, we're paying
you for full frontal.”
After chess, ping-pong was his favorite game. I'm not sure he ever
beat Malcolm McDowell whereas he almost always won his chess games
whoever the opponent. His ping-pong table, when I knew him, was under
a tent on the front lawn of his house.
There was with Stanley never a question of accepting a shot or a
take, until he knew it was right. It looked like he answered to
no-one, but, at the same time he listened to everybody he thought
knew something that he did not
—
the people from NASA, advice from the director of photography
about lighting, his co-writers and his executive producer, the
actors and designers. I don't know if he listened to the studio executives, but one
day I turned up on the set and we hung around for a couple hours
waiting for Stanley to appear. I asked what was happening. Somebody
said, “We are expecting a visit from the studio executives so
Stanley won't be coming in today.”
Copyright: Dmitri Kasterine 2016