Stanley Kubrick didn’t got down to be anybody’s employed hand, however the business had different concepts. The late director, who was notorious for having complete inventive management and methodical perfection, discovered himself in a decent spot after The Killing and Paths of Glory introduced him vital reward with out field workplace outcomes.
Whereas he was properly conscious of his immense expertise, it was a harsh fact that expertise alone didn’t cowl his hire or repay loans. Subsequently, Kubrick discovered himself scraping by on borrowed cash from his producing associate.
Stanley Kubrick’s Reluctant Studio Gig
Hollywood loves a narrative the place a promising filmmaker will get plucked from the indie world and handed the keys to a blockbuster. Typically, it really works out, however more often than not, it doesn’t, as the trail isn’t at all times easy.
Just a few administrators, resembling Christopher Nolan or David Lynch suits to that class, however with regards to Kubrick, he doesn’t precisely match into that mould. Why? As a result of he was too targeted and unwilling to let go of the steering wheel.
He wasn’t constructed to play good with studios eternally, however after being fired from One-Eyed Jacks by Marlon Brando and dropping two years of his life to nothing, he had little alternative. He wanted one thing, or to be sincere, something that will maintain the lights on.
And that one thing got here with Spartacus. It was a sprawling historic epic already full of names and studio palms everywhere in the manufacturing. Kirk Douglas, who had labored with Kubrick earlier than, introduced him in after firing the earlier director. It was a big-budget beast with awards buzz baked in, and it couldn’t have been farther from the intimate movies that had constructed Kubrick’s title.
Stanley Kubrick’s Discontent with Spartacus
Naturally, as any Kubrick fan would fathom, he completely loathed the expertise. It wasn’t his movie, it was everybody’s. Douglas had the ultimate phrase, the studio pulled strings, and Kubrick’s traditional management slipped via his fingers.
In response to Far Out Journal, Kubrick defined, “It was the one considered one of my movies over which I didn’t have full management; though I used to be the director, mine was the one considered one of many voices to which Kirk listened.”
But, regardless of the compromises and frustrations, Spartacus was successful. It introduced in cash and saved Kubrick afloat at a time when he wanted it most.
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