Woody Allen and Mia Farrow on the set of The Purple Rose of Cairo.
Stanley Kubrick, on location for Lolita (1962)
Kubrick and his camera stand in for the Cat Lady.
Ingmar Bergman on the set of The Seventh seal talking with Death.
Cinema’s incredibly adept at manipulating point of view invisibly. It allows you to put the audience into the head of a character without the audience realizing that- that’s exactly what you’ve done.
Stanley Kubrick, self-portrait, early 1970s
Stanley Kubrick on the set of Dr. Strangelove (1964)
Douglas Milsome with Stanley Kubrick, Full Metal Jacket (1987)
Tom Cruise, Stanley Kubrick, Larry Smith (far right) and Julienne Davis (lying down) in Eyes Wide Shut (1999)
James B. Harris (left, with hands in pockets) with Stanley Kubrick shooting The Killing in Los Angeles (1956)
Ridley Scott on set of Alien (1979)
In Hollywood, more often than not, they’re making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone. But what’s so fantastic is to get down into areas where things are abstract and where things are felt, or understood in an intuitive way that, you can’t, you know, put a microphone to somebody at the theatre and say ‘Did you understand that?’ but they come out with a strange, fantastic feeling and they can carry that, and it opens some little door or something that’s magical and that’s the power that film has.