“If it can be written, or thought, it can be filmed. A director is a kind of idea and taste machine ; a movie is a series of creative and technical decisions, and it‘s the director‘s job to make the right decisions as frequently as possible.” EDITORIAL Our flagship exhibition in 2011 is devoted to Stanley Kubrick (from 23 March to 31 July). It is the first time that La Cinémathèque française hosts a travelling exhibition not initiated by our teams but by those of another institution. This Kubrick exhibition owes its existence to the Deutsches Filmmuseum in Frankfurt and to Hans- Peter Reichmann, its Curator, who designed it in 2004 in close collaboration with Christiane Kubrick, Jan Harlan and The Stanley Kubrick Archive in London. Since 2004, the exhibition has opened with success in several cities: Berlin, Zurich, Gand, Rome and Melbourne, before coming to the Cinémathèque. The archives of Stanley Kubrick contain numerous and precious working documents: scenarios, correspondences, research documents, photos of film shoots, costumes and accessories. The exhibition, film after film, includes the unfinished projects: the Napoleon that Kubrick hoped to direct and his project for a film on the death camps, Aryan Papers . These materials allow us to get backstage and better understand the narrative and technical intentions of the director who was a demigod of world cinema, a secret and fascinating figure. The exhibition will be installed on two floors of the Frank Gehry building, on the 5 th and 7 th storeys, owing to the bulk of the materials exhibited, including large-scale models and interactive digital installations. The exhibition will be accompanied by a retrospective of Kubrick’s films, various publications, books, special issues of magazines devoted to the author of Dr Strangelove , Lolita and Full Metal Jacket , numerous lectures and debates. So it is the entire Cinémathèque française which, over several months, will be at the service of this director and his work, among the most important of the 20 th century. With Warner Bros., La Cinémathèque française is pleased to see the Cannes Film Festival making a fine gesture to mark the 40 th anniversary of the release of A Clockwork Orange by presenting the world preview of the film in its restored version. La Cinémathèque française wishes to give its very warm thanks to Christiane Kubrick, Jan Harlan and The Stanley Kubrick Archive. It also thanks Hans-Peter Reichmann and Tim Heptner, Curators of the exhibition, and the Deutsches Filmmuseum of Frankfurt. This exhibition is proposed with the kind collaboration of Warner Bros. Entertainment Inc., Columbia Pictures Industries Inc., Metro Goldwyn Mayer Studios Inc., Universal Studios Inc., and SK Films Archives LLC. Thanks to the sponsorship of Warner Bros. and Canal +. La Cinémathèque française also thanks its two great sponsors, Neuflize OBC and Groupama. It has also received the support of Kodak, the Fnac and the Regional Tourism Committee of Paris Île- de-France. The Stanley Kubrick exhibition media partners are: CinéCinéma, Dailymotion, Allociné, Les Inrockuptibles, Positif, Trois Couleurs, France Inter and Paris Match. Our very special thanks go to Iris Knobloch, President and CEO of Warner Bros. France, Olivier Snanoudj, Vice-President Distribution for Warner Bros. France, Michel Ciment and Eric Garandeau, President of the Centre national du cinéma et de l’image animée. Costa-Gavras Serge Toubiana President Director General of La Cinémathèque française of La Cinémathèque française STANLEY KUBRICK THE EXHIBITION 23 March – 31 July 2011 at La Cinémathèque française An exhibition of the Deutsches Filmmuseum, Frankfurt am Main, Christiane Kubrick and The Stanley Kubrick Archive at the University of the Arts London. Curators of the exhibition : Hans-Peter Reichmann and Tim Heptner Staging-design : Günter Illner, con©eptdesign Produced with the kind collaboration of Warner Bros. Entertainment Inc. , Columbia Pictures Industries Inc. , Metro Goldwyn Mayer Studios Inc. , Universal Studios Inc. , SK Films Archives LLC Thanks to the sponsorship of Warner Bros. and Canal+ and the Great Sponsors of La Cinémathèque française, Neuflize OBC and Groupama With the support of the Ministry of Culture and Communication , the CNC and the Île-de-France Region In partnership with Kodak , the FNAC and the Comité régional du tourisme Paris Île-de-France In media partnership with Ciné Cinéma , Dailymotion , Allociné , Les Inrockuptibles , Positif , Trois Couleurs , France Inter and Paris Match 2001: A Space Odyssey (GB/USA 1965-68). © Warner Bros. Entertainment Inc . “All you have to do is hear the name, or read it on a page, and a whole world opens up before your eyes. A vast, mysterious world, unlike any other in the history of cinema. (…) He expanded our idea of what is possible in movies. And I believe that in so doing, he actually expanded our consciousness of ourselves – the cruelties of which we’re capable of, the longing we feel for something unnameable, the forces that compel us to move in strange, troubling directions. (…) Kubrick was an artist of real vision, in every sense of that overused word, and this exhibit is a fitting tribute.” Martin Scorsese* “He created more than movies. He gave us complete environmental experiences that got more, not less, intense the more you watched them.” Steven Spielberg Inside the mind of a visionary filmmaker The Stanley Kubrick Exhibition exceptionally occupies two floors of La Cinémathèque française (5 th and 7 th ), covering an area of nearly 1,000 sq m. This exhibition was initially set up by the Deutsches Filmmuseum in Frankfurt in 2004, in close cooperation with Christiane Kubrick, Jan Harlan and The Stanley Kubrick Archive at the University of the Arts London. Hans-Peter Reichmann, Exhibitions Director of the Deutsches Filmmuseum, is the Curator. It has already had immense public success in several cities around the world: Berlin in 2005, Melbourne in 2006, Gand in 2006-2007, Zurich in 2007, and Rome in 2007-2008. The Stanley Kubrick Archive contains numerous and precious working documents : scenarios, correspondences, research documents, photos of film shoots, costumes and accessories (among them the survival-kit from Dr. Strangelove , the Starchild and the ape‘s costume from 2001: A Space Odyssey , costumes from Barry Lyndon…), as well as a very detailed documentation of his unfinished and cult projects, such as Napoleon (1968-1973). These documents are presented exclusively in this exhibition, which also retraces the first artistic steps of Stanley Kubrick, who started his career as a photographer for the American magazine Look in the 1940s. Dozens of prints, mostly unpublished, from the collection of the Library of Congress (Washington D.C.), prove that the very young Kubrick already had a solid grasp of visual composition. The exhibition offers us the opportunity to go backstage and to understand the technical inventions of Kubrick (the slit-scan, for example). The special effects are explained by large-scale models and interactive digital installations. A Clockwork Orange , Replicas of the Korova Milkbar Puppets © Deutsches Filminstitut, Frankfurt. In the preface of the official catalogue, Christiane Kubrick, Jan Harlan and Hans-Peter Reichmann evoke the origin of this exhibition and go back over the figure of Stanley Kubrick. EXTRACTS During the 43 years we were married, the question of what to do with the personal effects in case of one of us should die never arose. (…) The suggestion by the Deutsches Filmmuseum to mount an exhibition which after Frankfurt and Berlin might travel the world presented itself as an incentive to deal with the task and to honour Stanley at the same time. The aim was to chose items which best represent Stanley’s involvement in all aspects of film-making. (…) Christiane Kubrick* An actress of German origin, Christiane Kubrick married Stanley Kubrick in 1958. She played the German singer in Paths of Glory and produced paintings and sculptures for the sets of the films A Clockwork Orange and Eyes Wide Shut . The whole idea seemed strange at first. Exhibiting Stanley’s equipment, his plans, notes, photos? It did not feel right and would have been unthinkable during his lifetime, yet on careful reflection and discussion with Christiane Kubrick it became quite clear that while his privacy had to be guarded, his professional output was for all to be seen to celebrate the life of a great film maker. (…)Overcoming obstacles was part of his personality and one of the passions that spiced up his life. I am reminded of Jean Cocteau’s famous remark : ”I didn’t know that it was impossible, that’s why I did it.” That was Stanley’s approach too. So we undertook the impossible. We had a vast amount of material in many places in England and America, countless boxes full of notes, photographs, correspondence, scripts, reams of draft pages, plans, a huge library and a truckload full of equipment. All this would be meaningless in an exhibition unless we succeeded in making it relevant and could provoke enthusiasm in a visitor to watch Stanley’s films – again or for the first time. Jan Harlan* Assistant director in 1957 on the film Paths of Glory , Jan Harlan became the brother-in-law of Stanley Kubrick who married his sister Christiane Harlan and, from Barry Lyndon in 1975, was the executive producer of all his films. In 2001, he directed the documentary Stanley Kubrick, A Life in Pictures. There are many superlatives and they are readily repeated in attempts to explain Stanley Kubrick and his oeuvre. Only few of his contemporaries actually met him. Those who did meet him were often pushed to their limits, yet remain full of admiration. (…)Stanley Kubrick was selftaught, read widely, researched, and questioned everything. He developed plans only to abandon and redefine them according to his own unique and incomparable vision.