Author Topic: Philip Stone RIP  (Read 1088 times)

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Fernando

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Philip Stone RIP
« on: June 21, 2003, 05:01:25 PM »
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The British actor Philip Stone passed away yesterday, he was most known for his work with Kubrick in three of his films, ACO, Barry Lyndon and The Shining.

http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2003/06/20/db2003.xml&sSheet=/portal/2003/06/20/ixportal.html

modage

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Philip Stone RIP
« Reply #1 on: June 21, 2003, 06:03:46 PM »
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fuuuuck man. vader is on a fucking rampage, he must be stopped.  he's like the 10th one to turn up in a few weeks. :shock:
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Fernando

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Philip Stone RIP
« Reply #2 on: June 22, 2003, 01:15:28 PM »
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Quotes of PS.

On ACO

"Suddenly Stanley asked me to meet him on location. The filming of A Clockwork Orange had already begun,' Philip Stone recalled. 'We met. He said, "That's quite a performance you give in the play; would you like to be in this movie?" I said, "Well, I think we could do some good work together." He said, "Yeah, yeah, we could. Okay, you play Dad." I didn't know I was going to take part in film history.
"Dad seemed to be a downbeat character. I have a sadness side to my personality and it wasn't particularly difficult, so long as you were true Stanley doesn't take "crap." He's endlessly, painstakingly careful of everything before you go for a take - lights and particularly the sound. Small microphones were stuck all over the set. Stanley likes the authentic immediate sound. With that preparation it gives you confidence - just to let go and be true.
"At the time I was filming A Clockwork Orange for about two or three weeks, I was also working every night on stage in The Contractor. Long days. I was up at five-thirty and back to bed at midnight. I was very mentally turned on, working all day and part of the night. I had to finish at six o'clock in the evening. A car took me from location back to London. I ate a ham sandwich in the car for sustenance and then on to the stage, tent erecting. It was bloody hard, I couldn't do it now."

On Barry Lyndon

"Graham in the wonderful Barry Lyndon was like a bloody extra, but then at the end in the inn after Barry had his leg shot off, I suddenly had to come up with a highly concentrated scene. Ryan O'Neal was quite surprised by my performance -- my having stood around for weeks in the background. Stanley just gave me a wink and said, "Don't worry, Ryan, he knows how to do it.
"Stanley is strange, dark, quiet, seems secretive and obsessive - but who wouldn't be making films as he does. He seems to know with the inner eye exactly where he is going. You have great trust and belief in him. Stanley is always looking for the X-factor and he goes on until he feels he's found it. He'd say, "Okay, that's great! Let's go again." Every shot is a creation. You need a lot of patience working for him. You can be in a caravan all made up, ready to go, and you can wait for a week. Then suddenly he comes onto you for a concentrated scene. You need nerve working for Stanley and he can suddenly alter the dialogue on the set or give you a lot more dialogue to learn in a quick time and you've got to keep calm - no use losing your "bottle." I never did, and he just kept coming back to me for another film."

On The Shining

"That long scene with Grady and Jack took a long time. Long takes each time. We seemed to be in that set forever. I was proud of that work. Jack Nicholson kept saying, 'You should go to the States, Phil, you'd earn a bomb.' The inner concentration and stillness came from working in Pirandello plays, long speeches lightly played, the drama of the mind, but you've got to get your balls behind the lines."

Courtesy of:
http://www.geocities.com/malcolmtribute/

 

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