“Stanley was the first director I worked with that found a way around perhaps the greatest obstacle a filmmaker faces; time. How does an artist create an environment for creativity — in an art form that demands a filmmaker to work like a factory worker on an assembly line? For Stanley, it meant living in and working in a place where he could stop, or at least slow down, the clock. I can’t speak for the size of productions he had on his other films, but on FMJ we had a crew smaller than many small budget independents I have worked on. He also owned much of the camera equipment we used on the film. We worked in locations that were very affordable, thus alleviating high production costs and allowing him more time to film in them. Because he was Stanley Kubrick, crew members and actors would work for reduced salaries for the chance to work with a master filmmaker. Each of these things have the effect of giving a filmmaker more time. Time allows the filmmaker to discover his film and the story he is telling. It allows them not to compromise. Arliss Howard, who played Cowboy told me a story a few years ago. On the final day of filming Stanley said to Arliss, ‘you’re going to miss me.’ ‘Yeah. Of course I’ll miss you’ said Arliss. ‘No. You’re going to miss me on every film you make after this one’ said Stanley. ‘You’re going to be working on a film and the director is going to say, ‘Cut! We got it. Lets move on’ and you’re going to miss me. You’re going to miss me because you’re going to know that he didn’t get it as good as it could be. And you’re going to miss me.’ Arliss said he hadn’t worked on a film since then where he didn’t miss Stanley for the reason he stated. Stanley created an environment where he could create a film, not shoot a schedule. Which is a massive achievement.Matthew Modine on Kubrick and His ‘Full Metal Jacket’ App

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