and when Strangelove was finished, and I left the theatre and I stood on the curb waiting

for my father to pick me up. I had totally forgotten that I had a letter threatening to draft
me into the United States Armed Services. And that's when I first became aware of the
power of Stanley Kubrick. The first time I saw 2001, I believe it was in Hollywood, the
Pantages Theatre. He took you into space for the first time. I mean, since 2001, no
documentary, no other movie, no IMAX experience being on the shuttle and looking
down that earth has ever really put me in space as much as 2001 did it may be feared
made me want so desperately, want to be part of that great mystery, wouldn't want to be
at the forefront of the pioneers that would discover the Monolith and Stargate and what
lies beyond. So that was maybe for me is most realistic movie that he had ever made.
And I think a second most realistic movie that he ever made for me was Clockwork
Orange. Clockwork Orange is a depiction of road-test violence, but it also has utter
contempt for violence. And it is almost like saying, “why isn't somebody doing something
about this? Where's the world when these acts of man against man are happening all
over the world?” every 30 seconds? We know, where's justice? Where's order? why do
we allow this chaos to happen? And of course, the great morality play that is Clockwork
Orange is that after all of this, deprogramming and in a kind of proselytizing of the
Malcolm McDowell character to science and theory he comes out the other end, more
charming, more witty, and with such a devilish wink and blink at the audience that I am
completely certain that when he gets out of that hospital, he's going to be worse than he
was when he went in. And so in a sense, I've always felt the Clockwork Orange was
Stanley's most defeatist movie is a film where he's appears to totally give up on society.

And the film that maybe justifies why he lives st. Albans in the safety of the British
countryside. I'll tell you a quick story, when we first met, which was 1980 when he was
just finishing the construction of his sets for the shining. And we met for the first time, we
talked a lot about movies, and I was like Raiders of the Lost Ark, and I was actually
moving on to the stages. When he finished I was moving in. When it was all over the
movie was done. I saw Stanley again went to his house for dinner in London and seen
albums in and he asked me, “how he's like my movie?” and I only seen it once and I
didn't love shining the first time I saw it. I have seen in China 25 times one of my favorite
pictures, Kubrick films tend to grow on you have to see them more than once. But the
Wild Thing is nearly one Kubrick film that you can turn off once you started, it's
impossible. You got this failsafe button or something. It's impossible to turn on the
Kubrick film. But I didn't like it. The first time I saw, I really wanted to be scared by it.
Number one, I wanted to be frightened by it in a kind of Carnival fear, I wanted things to
pop out of me, I wanted to jump out of my seat. I wasn't expecting a psychological shock
storm. I was hoping for visual assault on all of my senses. And instead it was about the
descent into madness. And he very inexorably pulled the entire audience down with him.
So at that moment, where Shelly is reading the last three months of what he has been
writing, and we see the litany of what he has written. That is the biggest shock of the
shining. You know, that was the equivalent of the chair turning around the psycho and
sudden reveal of Mrs. Bates and it's more shocking than the sudden reveal Mrs. Bates. If
you get into the proto cast of that movie, you give yourself over to it, You'll be more
shocked by what he's written over the last four months