Q: Can you imagine yourself going down with just a cameraman and sound man and half a dozen people and shooting a film?
Kubrick: Sure I can. In fact, any contemporary story is best done just that way. The only time you need vast amounts of money and a huge crew is when you require complex special effects, as in 2001, or big battle or crowd scenes, as in the Napoleon film. But if you’re just dealing with a story set in modern times, then you could do it very easily with both limited funds and a limited crew.
“If I write a piece and it has to do with my walking from the living room to the kitchen and some funny things happen, the same funny things will happen every time. Those are my chords. On the way, I may do some different things, but I’m not forgetting where the chords are and I always hit them. I may change things, but the song is the same. The improvisation is always within that, and the timing is always different. You can’t sit there and watch Bill Cosby — I don’t care how many times you’ve seen the piece, unless it’s “Noah” or “The Dentist” — and beat me to the punch line. Because I’m not going there yet. It may take me two minutes, three minutes or 15 minutes in that piece to get to the kitchen. But the song is the same.”—
Bill Cosby, answering How did jazz influence your style as a comedian?
People usually call it pretentious to compare a non-musical process to music. Especially so with jazz. (“It’s the notes you don’t play” is an overused, hacky punchline.) But man, I compare my process to music all the time. Editing, especially, has to be musical in order to be great. So it gives me chills to hear the Cos say something like this.
“I was the only punk rocker at my high school. And there were at least a handful of black kids who liked hip-hop. Both were kind of the new music of the day, and it was lonely being the only punk. If times were different and we’d had the Internet, I would have had punk-rock friends all over the world. I probably never would have gotten into hip-hop. But because of where I lived and because there was no community to be a punk with, I started hanging out with the kids who liked hip-hop. And I learned about it through them. They had cassettes of Mr. Magic’s Rap Attack, which was the one place where hip-hop was on the radio.”—
“3D is antithetical to storytelling, where immersion in character is the goal. It constantly reminds you you’re watching a screen - and it completely prevents emotional involvement. Natural human vision bears no resemblance to 3D in the cinema.”—
“His default was to assume anyone nice was setting him up for some kind of fall. That lasted about three hours on set. “Everyone was either very warm and accepting,” he says, “or busy enough that I could see they had bigger things to worry about than how to treat me badly.”—
Stephen Lea Sheppard (Harris Trinsky from “Freaks and Geeks”, Dudley Heinsbergen from “The Royal Tenenbaums”)
I’m half-way through “Freaks and Geeks” for the first time (!) and am as fascinated by these characters as Raleigh St. Clair is by Dudley. And this quote from this wonderful Macleans portrait of Sheppard gets to the bottom of “Freaks and Geeks” for me. Thinking the world is one way, and then finding out it’s different, and then spending the rest of your life negotiating between the two.
I knew a few Harrises in school. They’re rich, rich characters, those Harrises. Possibly the richest.