A Quote by Carol Drinkwater
My first job after drama school was with Stanley Kubrick. It was only a few lines in 'A Clockwork Orange', but I was working with a master of cinema.
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At age 12 I had an obsession with Kubrick's A Clockwork Orange and then proceeded to watch all the other Kubrick films I could including a doc called Stanley Kubrick: A Life in Pictures in which it was revealed to me that he started as a photographer...I got a camera sometime shortly after, but spent many years just photographing flowers in my neighborhood.
I'd worked in Clockwork Orange with Stanley Kubrick and since Stanley was such a prestigious director this opened all sorts of doors for me - one of them being Star Wars.
Working on '2001' was my film school. Stanley Kubrick was my mentor.
It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" (1952) in "A Clockwork Orange" (1971) - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind.
I remember hearing a good story about Jack Nicholson working with Stanley Kubrick on The Shining [1980]. Nicholson was saying that, as an actor, you always want to try to make things real. And believable. When he was working with Kubrick, he finished a take and said, "I feel like that was real." And Kubrick said, "Yes, it's real, but it's not interesting".
I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.
I saw 'A Clockwork Orange' when I was 11. When you watch 'Clockwork Orange' at 11, it either totally scares you from watching movies, or you want to become a filmmaker. I was the latter.
If he can only perform good or only perform evil, then he is a clockwork orange—meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil.
For me the most moving moment came when I first started working on 2001. I was already in awe of him, and he had very much already become Stanley Kubrick by the time the film started.
My first job after college was at Magic Quest, an educational software startup company where I was responsible for writing the content. I found that job somewhat accidentally but after working there a few weeks and loving my job, I decided to pursue a career in technology.
I used to hold Stanley Kubrick film festivals at my house in high school. These are not cool things.
I like the idea of the audience absorbing the language and getting to understand it as they journey through the film. It starts off being more obscure, but you get used to it. A 'Clockwork Orange' thing. I read 'Clockwork Orange' without any vocabulary, and I got to understand the words as I went through it. I like that process. It immerses you.
When I was a kid and I was being introduced to science fiction by watching movies with my Dad, Kubrick is one of those guys that we used to watch, you know, I watched Clockwork Orange at an age that was incredibly inappropriate, but he sat there with me and he explained what was going on and you know, I came to appreciate it even if I was terrified at the time.
McLeod's Daughters' was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera.
'McLeod's Daughters' was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera.
Yeah, Kubrick's a big influence. In something like 'A Clockwork Orange,' he is trying to use the practical light - I mean, at least he says that in his interviews, like they're not using traditionally Hollywood lights. In 'Elephant' we basically used no lights; we never really adjusted.
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