1:49:01
The four key elements were
the demolition, the signage. . .
1:49:05
. . .the palm trees and the smoke.
1:49:07
Most was shot in "magic hour. "
1:49:11
"Magic hour" is that delightful time
of day when you're all exhausted. . .
1:49:14
. . .and the light's perfect.
1:49:18
He's dead.
1:49:22
You collaborate with Stanley.
1:49:25
It's not easy to impress him
with what you do. . .
1:49:28
. . .but if you come out
not ticking off about something. . .
1:49:31
. . .you know you've done well.
1:49:33
You get very close.
You're part of the family.
1:49:36
It's a very close unit because you're
with him 24 hours a day sometimes.
1:49:41
You eat, drink and sleep it.
1:49:42
There's no life outside
of film with Stanley.
1:49:45
And if you enjoy it,
there's no greater experience.
1:49:48
Everybody earned their pay
when they worked for Stanley.
1:49:52
But nobody earned their pay
the way Stanley earned his pay.
1:49:56
No one worked as thoroughly, deeply. . .
1:49:58
. . .obsessively, as Stanley did.
1:50:01
And he understood
when you're making a movie. . .
1:50:04
. . .you often don't know what you want
until you see it.
1:50:07
Did you try it?
Let's give it a crack.
1:50:09
One way or another. . .
1:50:12
. . .I felt utterly compensated. . .
1:50:17
. . .for my time with Stanley.
1:50:19
If you're in it only for the money,
you might have a different feeling.
1:50:24
But my feeling was that. . .
1:50:27
. . .I have absolutely
had no complaints.
1:50:30
Kubrick had started work on the idea
for Full Metal Jacket in 1 980.
1:50:35
When released 7 years later. . .
1:50:37
. . .several Vietnam movies
had already reached the screen.
1:50:40
Kubrick, the great innovator, had
been overtaken by other filmmakers.
1:50:45
But it still appealed
to a wide audience. . .
1:50:48
. . .because it bore all the distinctive
hallmarks of a Kubrick film.
1:50:52
He didn't like
that he made so few films.
1:50:55
He always wished
he could've done more.
1:50:57
If he had anything negative
in his life. . .