Vittorio Storaro recalls the photographic challenges he confronted during the tumultuous production of Francis Ford Coppola’s hallucinatory Vietnam War epic Apocalypse Now. Interview by Stephen Burum, ASC and Stephen Pizzello [pdf].
A cinematographer has to design and write a story, starting at the beginning, through the evolution to the end. That’s why I consider my profession is as a writer of light. —Vittorio Storaro
We’re so lucky to have all of his [Robert MItchum’s] performances preserved on film. There was and is no other screen presence like his: dangerous, strong but guarded, ever-unconvinced by the actions of those around him, and that odd sense of someone smoldering on the inside but so damn cool on the outside. Now I just want to go home and watch Out of the Past, or Night of the Hunter, or The Lusty Men, or Macao, or Blood on the Moon and soak in every subtle expression and move, every word spoken by that low, mesmerizing voice; just anything Robert Mitchum ever did. —Jim Jarmusch
An invite to a sneak preview that never was for Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb with Kubrick’s own handwriting. With special thanks to Will McCrabb for sharing this shocking piece of history.
Stanley Kubrick allowed his then-17-year-old daughter, Vivian, to make a documentary about the production of The Shining. Created originally for the BBC television show Arena, this documentary offers rare insight into the shooting process of a Kubrick film. This version of the documentary has commentary by Vivian Kubrick.
Staircases to Nowhere: Making Stanley Kubrick’s The Shining. The most in-depth exploration into the making of The Shining on film, from the perspective of those who actually worked on the production.
“The real source of happiness, not just in the cinema but in any kind of human endeavor, is the fact of creating. Once a thing is done, well, it’s done. Of course it’s very nice to be applauded by audiences and very unpleasant to be booed: I’ll admit that’s important, but not that important. The real thing, the real intoxication if I may call it that, is in the act of creation: that’s what matters, whether one is creating an apple pie, a film, a child or a painting.”