A Quote by Philip Kerr

I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different. — © Philip Kerr
I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.
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.
Does anyone remember who shot Kubrick's movies? Do you remember who shot David Lean's movies? No one remembers who shot 'Dr. Strangelove' or 'Barry Lyndon.'
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.
I generally like very visually striking films. I love a lot of Stanley Kubrick's films. I would have to say 'Dr. Strangelove', which of course has got resonance in 'Watchmen'. It's a favorite movie of mine.
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.
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.
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.
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.
Kubrick is a machine, a mutant, a Martian. He has no human feeling whatsoever. But it's great when the machine films other machines, as in 2001.
... A CLOCKWORK ORANGE- and I said: 'That's a fair gloopy title. Who ever heard of a clockwork orange?' Then I read a malenky bit out loud in a sort of very high type preaching goloss: '- The attempt to impose upon a man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this I raise my swordpen-
Stanley Kubrick went with his gut feeling: he directed 'Dr. Strangelove' as a black comedy. The film is routinely described as a masterpiece.
When 'American Pie' happened, I was so lucky to get that opportunity and I just tried to do a good job in that genre. But the films that inspired me as a kid were, like, Malcolm McDowall in 'A Clockwork Orange.' He was my hero.
Tragedies such as Nevil Shute's 'On the Beach' and Stanley Kubrick's 'Dr Strangelove' are so powerful because there's an underlying assumption that this did not have to happen. It is empowering.
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.
I was fantastically well versed by the time I left school. I had a teacher who put 'A Clockwork Orange' my way, and 'Catcher in the Rye.'
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