Editing Stanley Kubrick (section)

=== Philosophy ===
[[File:HAL 9000.JPG|thumb|HAL 9000, the computer from ''2001: A Space Odyssey'']]
Kubrick's films typically involve expressions of an inner struggle, examined from different perspectives.{{sfn|Duncan|2003|p=9}}
He was very careful not to present his own views of the meaning of his films and to leave them open to interpretation. He explained in a 1960 interview with [[Robert Emmett Ginna Jr|Robert Emmett Ginna]]:
<blockquote>"One of the things I always find extremely difficult, when a picture's finished, is when a writer or a film reviewer asks, 'Now, what is it that you were trying to say in that picture?' And without being thought too presumptuous for using this analogy, I like to remember what [[T. S. Eliot]] said to someone who had asked him—I believe it was ''[[The Waste Land]]''—what he meant by the poem. He replied, 'I meant what I said.' If I could have said it any differently, I would have".{{sfn|Duncan|2003|p=12}}</blockquote>

Kubrick likened the understanding of his films to popular music, in that whatever the background or intellect of the individual, a Beatles record, for instance, can be appreciated both by the Alabama truck driver and the young Cambridge intellectual, because their "emotions and subconscious are far more similar than their intellects". He believed that the subconscious emotional reaction experienced by audiences was far more powerful in the film medium than in any other traditional verbal form, and this was one of the reasons why he often relied on long periods in his films without dialogue, placing emphasis on images and sound.{{sfn|Duncan|2003|p=12}} In a 1975 ''Time'' magazine interview, Kubrick further stated: "The essence of a dramatic form is to let an idea come over people without it being plainly stated. When you say something directly, it is simply not as potent as it is when you allow people to discover it for themselves."{{sfn|Duncan|2003|p=13}} He also said: "Realism is probably the best way to dramatize argument and ideas. Fantasy may deal best with themes which lie primarily in the unconscious".{{sfn|Duncan|2003|p=161}}

[[File:Production notes (8648671917).jpg|thumb|left|Kubrick's production notes from ''The Killing'']]
[[Diane Johnson]], who co-wrote the screenplay for ''The Shining'' with Kubrick, notes that he "always said that it was better to adapt a book rather than write an original screenplay, and that you should choose a work that isn't a masterpiece so you can improve on it. Which is what he's always done, except with ''Lolita''".{{Sfn|Ciment|1980|p=293}} When deciding on a subject for a film, there were many aspects that he looked for, and he always made films which would "appeal to every sort of viewer, whatever their expectation of film".{{sfn|Duncan|2003|p=11}} According to his co-producer [[Jan Harlan]], Kubrick mostly "wanted to make films about things that mattered, that not only had form, but substance".<ref name=Rose>{{cite web |url=http://www.cinephiliabeyond.org/an-hour-about-the-life-and-work-of-filmmaker-stanley-kubrick/ |title=An hour about the life and work of filmmaker Stanley Kubrick |publisher=Video interview with Charlie Rose, Christiane Kubrick, Martin Scorsese and Jan Harlan |date=June 15, 2001 |accessdate=August 11, 2014 |url-status=live |archiveurl=https://web.archive.org/web/20150220024522/http://www.cinephiliabeyond.org/an-hour-about-the-life-and-work-of-filmmaker-stanley-kubrick/ |archivedate=February 20, 2015}}</ref> Kubrick believed that audiences quite often were attracted to "enigmas and allegories" and did not like films in which everything was spelled out clearly.{{Sfn|Walker|1972|p=38}}

Sexuality in Kubrick's films is usually depicted outside matrimonial relationships in hostile situations. Baxter states that Kubrick explores the "furtive and violent side alleys of the sexual experience: voyeurism, domination, bondage and rape" in his films.{{sfn|Baxter|1997|p=248}} He further points out that films like ''A Clockwork Orange'' are "powerfully homoerotic", from Alex walking about his parents' flat in his Y-fronts, one eye being "made up with doll-like false eyelashes", to his innocent acceptance of the sexual advances of his post-corrective adviser Deltroid ([[Aubrey Morris]]).{{sfn|Baxter|1997|p=250}}
Indeed, the film is thought to have been strongly influenced by Kubrick's many viewings of [[Toshio Matsumoto|Matsumoto Toshio]]'s 1969 landmark in [[:Category:Japanese LGBTQ-related films|queer cinema]], ''[[Funeral Parade of Roses]]''.<ref>[https://www.rogerebert.com/reviews/funeral-parade-of-roses-1970 Funeral Parade of Roses (1970)] {{Webarchive|url=https://web.archive.org/web/20200625151644/https://www.rogerebert.com/reviews/funeral-parade-of-roses-1970 |date=June 25, 2020 }} ''RogerEbert.com'', June 9, 2017. Retrieved November 25, 2022.</ref> Film critic Adrian Turner notes that Kubrick's films appear to be "preoccupied with questions of universal and inherited evil", and Malcolm McDowell referred to his humor as "black as coal", questioning his outlook on humanity.{{sfn|Baxter|1997|p=14}} A few of his pictures were obvious satires and black comedies, such as ''Lolita'' and ''Dr. Strangelove''; many of his other films also contained less visible elements of satire or irony. His films are unpredictable, examining "the duality and contradictions that exist in all of us".{{sfn|Duncan|2003|p=10}} Ciment notes how Kubrick often tried to confound audience expectations by establishing radically different moods from one film to the next, remarking that he was almost "obsessed with contradicting himself, with making each work a critique of the previous one".{{Sfn|Ciment|1980|p=59}}
Kubrick stated that "there is no deliberate pattern to the stories that I have chosen to make into films. About the only factor at work each time is that I try not to repeat myself".{{Sfn|Ciment|1980|p=153}} As a result, Kubrick was often misunderstood by critics, and only once did he have unanimously positive reviews upon the release of a film—for ''Paths of Glory''.{{Sfn|Ciment|1980|p=297}}