Author Topic: The ones that never were  (Read 21220 times)

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SailorOfTheSeas

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Re: The ones that never were
« Reply #45 on: October 29, 2014, 05:54:57 AM »
+1
What would Kubrick have made after Eyes Wide Shut, had he stayed alive? Is there any accurate info on this?
As far as i know, mostly from the bluray of ews, he passed A.I. onto spielberg and aryan papers was cancelled. I wonder if he would hav just stopped there.

Gold Trumpet

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Re: The ones that never were
« Reply #46 on: October 31, 2014, 10:24:42 PM »
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Intention was to go back to working on A.I. He didn't pass A.I. onto Spielberg during his lifetime. He just admitted to Spielberg may have been a film better suited for him but he still had plans to do it.

BB

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Re: The ones that never were
« Reply #47 on: November 01, 2014, 10:49:12 AM »
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I'm pretty sure that's not true. Kubrick had intended to produce A.I. for Spielberg to direct (presented him with a Produced-by-Directed-by title card) and so would have been working on it in that sense, but I don't think it's publicly known what he would have next directed.

Gold Trumpet

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Re: The ones that never were
« Reply #48 on: November 01, 2014, 11:06:54 PM »
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Yea, I was mistaken. I think I was remembering an old article but I just rewatched the Stanley and Me documentary and it basically said what you said.

OpO1832

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Re: The ones that never were
« Reply #49 on: May 13, 2015, 10:36:25 PM »
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I am totally buying that book about jazz under the third reich. Thanks for the heads up and the guy who wrote is from Queens!

wilder

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Re: The ones that never were
« Reply #50 on: June 22, 2015, 04:15:08 PM »
+2
Stanley Kubrick’s ‘The Downslope’ Will Be Film Trilogy From Filmmaker Marc Forster
via Deadline

The Downslope, Stanley Kubrick’s original screenplay written in 1956, is being developed as a feature trilogy with Marc Forster (Finding Neverland, Monster’s Ball, World War Z) attached to direct and produce the first in the series. He also will produce the subsequent features. The Downslope is said to be “a sweeping, historical action-drama” that Kubrick penned following the release of his allegorical war film Fear And Desire and prior to directing his seminal WWI period piece Paths Of Glory.

Kubrick — who died in 1999 — was, of course, one of the most notable filmmakers of our time. This is not the first time that one of his ideas has come to the screen after his death. In 2001, Steven Spielberg brought Kubrick’s vision of A.I. Artificial Intelligence to the screen via Kubrick’s longtime home, Warner Bros. This, however, is something that Kubrick had given to Spielberg after developing the story with numerous screenwriters over decades.

As only Kubrick could, the late filmmaker had spent years before his death studying, developing and writing the story for The Downslope. He even created maps and notes as to how he planned to shoot the movie. It is based on historical events and originally developed with renowned Civil War historian Shelby Foote. The project is said to have the full support from the Kubrick family.

An anti-war story, The Downslope focuses on a bitter, strategic series of Civil War battles in the Shenandoah Valley between young Union General George Armstrong Custer and Confederate Colonel John Singleton Mosby (known as the Gray Ghost for his stealth strategies). His cavalrymen, known as Mosby’s Rangers, continually outsmarted the much-larger enemy forces in a sequence of raids, which enraged Custer and eventually created a fierce cycle of revenge between the two men.

The films after that will expand upon the master filmmaker’s original story and journey west, as postwar Americans settled the new frontier, delivering on the country’s unbending ambitions and dreams of Manifest Destiny.

Lauren Selig — a producer on Lone Survivor and also the upcoming Everest — Barry Levine (Hercules, Oblivion) and Reneé Wolfe (All I See Is You) are developing the material with Forster. Selig initiated the project with producers/rights holders Phil Hobbs (Full Metal Jacket) and Steve Lanning, who are also serving as producers on the project.

OpO1832

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Re: The ones that never were
« Reply #51 on: June 27, 2015, 12:22:34 PM »
+1
Marc Forester is such a shitty director. He fucked up World War Z did an awful job with James Bond.

Monsters Ball was pretentious crap, its only saving grace was halle berry's nude scene and heath ledger's tormented performance.

how the fuck does this guy get the Kubrick property...?

03

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Re: The ones that never were
« Reply #52 on: June 28, 2015, 04:00:52 AM »
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easy cowboy

wilder

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Re: The ones that never were
« Reply #53 on: July 15, 2018, 04:05:38 AM »
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Lost Stanley Kubrick screenplay, Burning Secret, is found 60 years on
15 July 2018
via The Guardian

Script co-written by director is so close to completion it could be developed into a feature film



Stanley Kubrick on the set of Barry Lyndon in 1975


His first world war classic, Paths of Glory, is one of cinema’s most powerful anti-war movies, widely acclaimed as a masterpiece, as was his Roman epic, Spartacus, both of which starred Kirk Douglas. Now a “lost” screenplay by director Stanley Kubrick has been discovered – and it is so close to completion that it could be developed by film-makers.

Entitled Burning Secret, the script is an adaptation of the 1913 novella by the Viennese writer Stefan Zweig. In Kubrick’s adaptation of the story of adultery and passion set in a spa resort, a suave and predatory man befriends a 10-year-old boy, using him to seduce the child’s married mother.

He wrote it in 1956 with the novelist Calder Willingham, with whom he went on to collaborate on Paths of Glory the following year.

The screenplay was found by Nathan Abrams, professor in film at Bangor University and a leading Kubrick expert, who said: “I couldn’t believe it. It’s so exciting. It was believed to have been lost.”

He added: “Kubrick aficionados know he wanted to do it, [but] no one ever thought it was completed. We now have a copy and this proves that he had done a full screenplay.”

Kubrick made only 13 feature films, but he is revered as a master film-maker and supreme visual stylist with a painstaking approach to meticulous detail. His sci-fi epic, 2001: A Space Odyssey, pushed the boundaries of special effects and was at No 6 in the most recent Sight and Sound critics poll of the greatest films of all time.





Kubrick, an American who lived most of his life in Britain, died in 1999, months after completing Eyes Wide Shut, the controversial psychosexual thriller starring Tom Cruise and Nicole Kidman.

His Burning Secret screenplay bears the stamp of the script department of MGM. It is dated 24 October 1956, when Kubrick was still relatively unknown, having just made his crime heist film, The Killing.

MGM is thought to have cancelled the commissioned project after learning that Kubrick was also working on Paths of Glory, putting him in breach of contract. Another account suggests that MGM told Kubrick’s producing partner James B Harris that it did not see the screenplay’s potential as a movie.

But Abrams said that “the adultery storyline” involving a child as a go-between might have been considered too risque” in the era of Hollywood’s production code, which then governed morality in film-making: “The child acts as an unwitting go-between for his mother and her would-be lover, making for a disturbing story with sexuality and child abuse churning beneath its surface.”

He described Burning Secret as “the inverse of Lolita”, Kubrick’s adaptation of Vladimir Nabokov’s controversial story of love and lechery. “In Burning Secret, the main character befriends the son to get to the mother. In Lolita, he marries the mother to get to the daughter. I think that with the 1956 production code, that would be a tricky one to get by. But he managed with Lolita in 1962 – only just.”

In the Burning Secret screenplay, Kubrick and Willingham wrote of the child: “A young boy of about 10 stands on the veranda, hands clasped behind him in an almost adult manner ... Lonely, bored, he plays with a yo-yo …”



James Mason and Sue Lyon in Stanley Kubrick’s Lolita: his Burning Secret has been called ‘the inverse’ of the 1962 film.


They described the predator as a “very handsome, masculine-looking man of about 30”.

Abrams said that the screenplay extends to well over 100 typed pages. “It’s a full screenplay so could be completed by film-makers today.”

Steven Spielberg reworked another unrealised Kubrick project – A.I., the 2001 sci-fi film, two years after Kubrick’s death.

Abrams’s book Stanley Kubrick: New York Jewish Intellectual, was published in March by Rutgers University Press. He said that the Burning Secrets creenplay shows that Kubrick took a Viennese Jewish novel and translated it into a contemporary American idiom, just as he was to do with Eyes Wide Shut, which was based on another Viennese novella, Arthur Schnitzler’s 1926 Dream Story.

In Zweig’s original, the woman and her son are Jewish and the story is set in Austria. Abrams said: “Kubrick rewrites it and it’s contemporary American with American names.”

The boy is called Eddie rather than Edgar.

A version of Zweig’s novella, based on a different screenplay, was made in 1988 by Kubrick’s former assistant Andrew Birkin.

The screenplay is owned by the son of one of Kubrick’s former collaborators. Abrams discovered it while researching his next book, Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film, to be published by Oxford University Press next year.

jenkins

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Re: The ones that never were
« Reply #54 on: July 16, 2018, 03:26:17 AM »
0
personally i adore the attitude of "oh this will get made"

 

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