Editing Barry Lyndon (section)

===Development===
After completing post production on ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'', Kubrick resumed planning a film about [[Napoleon]]. During pre-production, [[Sergei Bondarchuk]] and [[Dino De Laurentiis]]'s ''[[Waterloo (1970 film)|Waterloo]]'' was released, and failed at the box office. Reconsidering, Kubrick's financiers pulled funding, and he turned his attention towards a [[A Clockwork Orange (film)|film adaptation]] of [[Anthony Burgess]]'s 1962 novel ''[[A Clockwork Orange (novel)|A Clockwork Orange]]''. Subsequently, Kubrick showed an interest in Thackeray's ''[[Vanity Fair (novel)|Vanity Fair]]'' but dropped the project when a serialised version for television was produced. He told an interviewer, "At one time, ''Vanity Fair'' interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film ... as soon as I read ''Barry Lyndon'' I became very excited about it."<ref>{{cite web|first=Michel|title=Kubrick on Barry Lyndon|url=http://www.visual-memory.co.uk/amk/doc/interview.bl.html |access-date=31 May 2007|last=Ciment| archive-url= https://web.archive.org/web/20070505010625/http://www.visual-memory.co.uk/amk/doc/interview.bl.html| archive-date= 5 May 2007 | url-status=live}}</ref>

Having earned Oscar nominations for ''[[Dr. Strangelove]]'', ''2001: A Space Odyssey'' and ''A Clockwork Orange'', Kubrick's reputation in the early 1970s was that of "a perfectionist [[auteur]] who loomed larger over his movies than any concept or star".<ref name="TelegraphReview">{{Cite news|last=Robey|first=Tim|date=27 July 2016|title=Kubrick by candlelight: how Barry Lyndon became a gorgeous, period-perfect masterpiece|language=en-GB|work=The Telegraph|url=https://www.telegraph.co.uk/films/2016/07/27/kubrick-by-candlelight-how-barry-lyndon-became-a-gorgeous-period/|access-date=12 May 2020|issn=0307-1235|archive-url=https://web.archive.org/web/20190826130615/https://www.telegraph.co.uk/films/2016/07/27/kubrick-by-candlelight-how-barry-lyndon-became-a-gorgeous-period/|archive-date=26 August 2019}}</ref> His studio—Warner Bros.—was therefore "eager to bankroll" his next project, which Kubrick kept "shrouded in secrecy" from the press partly due to the furore surrounding the controversially violent ''A Clockwork Orange'' (particularly in the UK) and partly due to his "long-standing paranoia about the [[tabloid press]]."<ref name="TelegraphReview"/> Kubrick was initially rumored to be developing an adaptation of [[Arthur Schnitzler]]'s 1926 novella ''[[Dream Story]]'', which would serve as the source material for his later film ''[[Eyes Wide Shut]]'' (1999).<ref name=":0">{{Cite web |title=Barry Lyndon |url=https://catalog.afi.com/Film/55666-BARRY-LYNDON-?cxt=filmography |access-date=2023-04-18 |website=AFI Catalog |archive-date=18 April 2023 |archive-url=https://web.archive.org/web/20230418045533/https://catalog.afi.com/Film/55666-BARRY-LYNDON-?cxt=filmography |url-status=live }}</ref>

In 1972 Kubrick finally set his sights on Thackeray's 1844 "satirical [[picaresque]] about the fortune-hunting of an Irish rogue," ''The Luck of'' ''Barry Lyndon'', the setting of which allowed Kubrick to take advantage of the copious period research he had done for the now-aborted ''Napoleon''.<ref name="TelegraphReview"/><ref name=":0" /> At the time, Kubrick merely announced that his next film would star [[Ryan O'Neal]] (deemed "a seemingly un-Kubricky choice of leading man"<ref name="TelegraphReview"/>) and [[Marisa Berenson]], a former ''[[Vogue (magazine)|Vogue]]'' and ''[[Time (magazine)|Time]]'' magazine cover model,<ref name="Grdn2019">{{cite news |last1=Saner |first1=Emine |title='I did the first nude in Vogue': Marisa Berenson on being a blazing star of the 70s and beyond: Interview |url=https://www.theguardian.com/film/2019/oct/30/marisa-berenson-warhol-dali-vogue-cabaret |access-date=25 November 2019 |work=The Guardian |date=30 October 2019 |archive-date=16 November 2019 |archive-url=https://web.archive.org/web/20191116022317/https://www.theguardian.com/film/2019/oct/30/marisa-berenson-warhol-dali-vogue-cabaret |url-status=live }}</ref> and be shot largely in Ireland.<ref name="TelegraphReview"/> So heightened was the secrecy surrounding the film that "Even Berenson, when Kubrick first approached her, was told only that it was to be an 18th-century costume piece [and] she was instructed to keep out of the sun in the months before production, to achieve the period-specific pallor he required."<ref name="TelegraphReview"/>