A pretty impressive homage to Stanley Kubrick’s 1971 masterpiece A Clockwork Orange hosted by Grand Theft Auto Online on YouTube. It took more than a dozen people to recreate some of the most iconic scenes from the movie using Grand Theft Auto V. Now I’ve played GTA a few times myself—this was years ago, btw—and I can’t figure out for the life of me just how they were able to recreate a few of these scenes. Incredible work!

 
With thanks to Edward Ludvigsen!

 
It wasn’t just the nuclear fallout in the milk that concerned most people during the late 1950s and early 1960s, there was a genuine fear that the world was on the verge of an all-out nuclear war between Russia and America that would end life on the planet or make it rather awful for the few survivors. These anxieties were heightened by the Cuban Missile Crisis of 1962 and were reflected in a series of novels, films, and TV dramas that predicted humanity’s seemingly inevitable nuclear annihilation at the push of a button.

When Stanley Kubrick optioned Peter George’s book Red Alert (aka Two Hours to Doom), he intended to make a faithful film adaptation of the George’s chilling tale of near nuclear armageddon. But as he researched the subject and began work on a script with the author, Kubrick found the proposition of nuclear war utterly absurd and decided to make not a thriller but “a nightmare comedy” that satirized the insanity of two countries arming themselves with such horrific weapons of mass destruction.

Kubrick considered telling the story of Earth’s nuclear demise from the point of view of visiting extraterrestrials, but didn’t think this approach had the right amount of “inspired lunacy.” He then decided to bring in author Terry Southern to write a story using George’s novel as a loose framework to play up the comedy rather than the thrills. The result was Doctor Strangelove or: How I Learned to Stop Worrying and Love the Bomb—“the most perfectly written comedic screenplay of post-war cinema,” as critic Alexander Walker described it. Dr. Strangelove was also the film that brought Kubrick’s unique visionary talents as a director to the fore.
 

Kubrick discusses a shot with camera operator Kelvin Pike and the director’s wife Christiane Kubrick.
 

Kubrick instructs cast members during filming of the siege of the airbase.
 

Operating the camera prior to filming a scene with George C. Scott as General Buck Turgidson and Tracy Reed as Miss Scott.
 
Many more pics from the filming of the Cold War classic after the jump…..

 
One of the best things about being Stanley Kubrick would be that people like Scatman Crothers, who played Dick Hallorann in The Shining, would just spontaneously write songs about you and sing them to you. I feel like if that ever happened to you, your life would be complete. And no, you can’t just substitute Kanye in for Scatman or something like that. Biz Markie, maybe.

Anyway, in a 1980 interview conducted by Mick Garris, Crothers discusses Kubrick’s excessive perfectionism (as represented by the unwieldy number of takes) and then essays a rendition of a little song he composed about Kubrick during a down moment on the set of The Shining—it sounds like there were plenty of down moments to choose from.

Even more fabulously, Scatman, true to his name, actually does do some scat-singing in the song. Here are the lyrics to “Stanley (Does It All)”—Scatman was very insistent about the parentheses there.
 

There’s a man
Livin’ in London Town
Makes movies
He’s a world renown
Yes, he’s really got the fame
Stanley Kubrick is his name
He does it all
He does it all
I’m tellin’ y’all
Stanley does it all

He’s a writer, he directs
He produces his projects
He’s the man behind the lens
And Stanley always wins
He’s a man who looks ahead
Can make you think he raised the dead
It’s and cuts all his flicks
He’s a genius with his tricks
He does it all
He does it all

 
In his 1972 book The Lost Worlds of 2001, Arthur C. Clarke says that he met Stanley Kubrick in a Trader Vic’s on April 22, 1964. The two formed a fast partnership. In May of that year, Clarke and Kubrick began hammering out the basic ideas that would eventually become 2001: A Space Odyssey. They would use Clarke’s short story, “The Sentinel” as a jumping off point and, in order to generate a rich background for the film, they took the somewhat unusual approach of attempting to collaborate on the creation of a new novel “with an eye on the screen” before writing the screenplay (although, in reality, the process became much more blurred).

Right around the same time, Clarke appeared on the BBC series Horizon in September of 1964 where he discussed some of his predictions for the year 2000 and beyond. You can watch the fascinating appearance in the two clips below. Horizon, now its 50th year, had just aired its first episode on Buckminster Fuller in May of 1964. Clarke’s appearance was part of the 6th episode of the series entitled The Knowledge Explosion and it provides us with some interesting insight into his vision of the future and some of the concepts that he and Kubrick were likely contemplating. 

Clarke was keeping a detailed log of his work with Kubrick during this time period. To give the Horizon clips some context, here are a few of Clarke’s journal entries from 1964 as he and Kubrick went back and forth about their ideas for the novel and film. From The Lost Worlds of 2001:

May 31. One hilarious idea we won’t use. Seventeen aliens – featureless black pyramids – riding in open cars down Fifth Avenue, surrounded by Irish cops.

June 20. Finished the opening chapter, “View from the Year 2000,” and started on the robot sequence.

August 6. Stanley suggests that we make the computer female and call her Athena.

August 19. Writing all day. Two thousand words exploring Jupiter’s satellites. Dull work.

September 7. Stanley quite happy: “We’re in fantastic shape.” He has made up a 100-word questionnaire about our astronauts, e.g. do they sleep in their pajamas, what do they eat for breakfast, etc.

September 8. Upset stomach last night. Dreamed I was a robot, being rebuilt. In a great burst of energy managed to redo two chapters. Took them to Stanley, who was very pleased and cooked me a fine steak, remarking “Joe Levine doesn’t do this for his writers.”

September 29. Dreamed that shooting had started. Lots of actors standing around, but I still didn’t know the story line.

On Horizon, Clarke accurately predicts instantaneous communication via satellite between people across the globe and talks about putting space travelers in suspended animation to traverse long distances over huge periods of time just as the astronauts do in 2001. He also throws out some bizarre concepts like replacing human servants with bioengineered apes and dolphins, but as he says early in the first clip “If what I say now seems to you to be very reasonable, then I’ll have failed completely.”

 
Part II after the jump…

 
Only the most observant of Kubrick-aholics will even remember the Howard Johnson’s reference in his landmark 1968 movie 2001: A Space Odyssey, but it’s right there, around the 30th minute. Dr. Heywood Floyd, played with purposeful blandness by William Sylvester, finds himself in a veritable barrage of product placement following the legendary Johann Strauss “Blue Danube” slam cut from the apes’ bone to the graceful, silent spacecraft. Dr. Floyd is flying in a Pan Am vehicle, we’re told, and over the next few minutes, at the space station, he walks through a Hilton hotel lobby, places a call to his wife and daughter using a Ma Bell videophone, and yes, walks by a “Howard Johnson’s Earthlight Room.”

As the beneficiary of a truly special promotional opportunity, Howard Johnson’s did their part, releasing a combined comic book/children’s menu depicting a visit to the premiere of the movie by two youngsters—well, the title actually tells it pretty well: “Debbie and Robin Go to a Movie Premiere with Their Parents.” Neat-O! Given that in the movie (SPOILER ALERT) a computer bloodlessly kills off several members of the crew of the U.S.S. Discovery One and that the movie ends in a psychedelic and well-nigh incomprehensible farrago of colorful effects that Mad Magazine insisted was a result of David Bowman (Keir Dullea) crashing into “the brand new 105-story Jupiter Museum of Op Art,” it’s understandable that the comic focuses on the gee-whiz feeling conveyed in the middle chunk of the movie, and glosses over the ending—the two comic panels in which the family emerges from the theater discussing “the way the mystery was solved!” are, given the downbeat goings-on in the movie, perfectly apposite and false in the only way it can be. The synopsis ignores one of the movie’s most noteworthy aspects outright, by which I mean the apes of the opening sequence. But note that the comic’s discussion of the movie—hilariously—does not gloss over Hal’s murders, as evidenced by the above panel.

What we see here is the old Hollywood promotional methods associated with Mary Poppins, perhaps, or Cleopatra attempting to deal with the totally new, technologically sophisticated, and thematically bleak mode of filmmaking. Would you be able to create credibly cute kiddie characters who gush about “The Dawn of Man” and what lies “Beyond the Infinite”? I sure can’t.   
 

 

 

 

 

 

 

 
More great cartoon panels and a video clip, all after the jump…..

 
So, did Stanley Kubrick fake the Moon landing?

Well, that’s the proposition of William Kare’s documentary (mockumentary?) Dark Side of the Moon, which originally aired on French TV channel Arte in 2002 as Opération Lune.

According to Karel’s (fictional?) film, Kubrick was hired to fake the Apollo 11 mission by the U.S. government. The evidence? Well, secret documents alluding to Kubrick’s involvement in the “fraud” were discovered among the director’s papers after his death in March 1999.

Moreover, Kubrick apparently left clues to his involvement into the scam: firstly, his being loaned lenses by NASA to recreate the candle-lit scenes in his film Barry Lyndon—how else could have got hold of these unless NASA owed him a BIG favor?; secondly, Kubrick allegedly made a confession of his involvement in the conspiracy that is contained in his film version of Stephen King’s The Shining.

Adding substance to these alleged facts, Karel wheels out a highly convincing array of contributors: Henry Kissinger, Buzz Aldrin, Jan Harlan, Richard Helms, Vernon Walters (who is claimed to have mysteriously died after filming) and Christiane Kubrick.

It’s a great romp, and for those who are tempted to believe, watch the bloopers reel at the end.
 

 
Via Open Culture

 
These various tales of Kubrick from The Stanley and Us Project were originally included as part of a documentary by directors Mauro di Flaviano, Federico Greco, Stefano Landini on Stanley Kubrick.

In 1997 during the course of making the original Stanley and Us documentary, the trio recorded over seven-and-half hours’ worth of interviews, but only used a small percentage of this in the finished film. After Stanley and Us was released in 1999, they packaged the interviews in to 30-minute shows for Italian television’s RAI channel.

Over the past two years as part of the on-going Stanley and Us Project interviews have been appearing on YouTube and include such gems as waspish critic, the late Alexander Walker explaining why Kubrick was in awe of Peter Sellers, and why Sellers was mad; daughter Katharina Kubrick talking about the “crazy time” after the release of A Clockwork Orange; designer Ken Adam on Kubrick verses Bond; the legendary actor Murray Melvin discussing 57 takes on Barry Lyndon; editor Gordon Stainforth on why Kubrick was always right; Darth Vader actor David Prowse on “one-take Kubrick”; actor Michael Tarn on why the script was the book; executive producer Jan Harlan on Kubrick’s use of time; and Kubrick’s wife Christiane on Stanley’s acceptance speech video for Directors Guild of America D.W. Griffith Award and why he didn’t do interviews; and Walker again, this time on Kubrick’s funeral.
 

 
More tales of Kubrick from ‘Stanley and Us,’ after the jump…

Kubrick at 21, then a visionary photographer for Look magazine
 
Stanley Kubrick was a man of wildly variant yet intensely focused interests. He was never prolific—his obsessive devotion to perfection and research wouldn’t allow it. With that kind of artistic dedication, you’d at least hope all his projects were completed. Unfortunately for us, he had quite a few awesome-sounding films that got shelved—some of which he spent years on. This little mini-doc gives a neat little run-down of Kubrick’s unrealized visions.

Kubrick developed A.I. for years, which was later passed on to Steven Spielberg. A simple side-by-side viewing of E.T. and 2001: A Space Odyssey tells you everything you need to know about a Spielberg sci-fi versus a Kubrick sci-fi. Honestly, I don’t mind a little bit of that old schmaltzy Spielbergian glow, but I can’t help but think that Kubrick would have done something a million times more interesting with a movie on artificial intelligence. The man developed HAL 9000, for chrissake!

That’s not the only time Spielberg played a role in Kubrick’s career. Schindler’s List undercut Kubrick’s push for his own film on the Holocaust after the director had already starting casting and scouting locations. Perhaps the most ambitious of his “dreams deferred ” was a Napoleon biopic. Kubrick researched every day of Napoleon’s life and kept a meticulous log. He even had dirt from a Napoleonic battleground, so that he might match the soil color for accuracy in the film!
 

 
Someone on imgur has uploaded a whole lot of fantastic images depicting the filming of Stanley Kubrick’s 2001: A Space Odyssey. There are 100 of them, and boy, do they provide a lot of fascinating detail about one of the most ambitious movie sets ever constructed—especially in terms of the available technology. It’s great to see how much of this is analog—I mean we know it had to be analog, but the contrast with today’s CGI way is stark. I especially love the stills where you can see the grandeur of the massive stage sets, how they solved the problem of filming, for example, a set in which the inside of a massive wheel is a continuous flat surface in a zero-gravity space vessel.

I feel like I run into the opinion fairly often that 2001 is boring, dated. I couldn’t disagree more. My dad first took me to see 2001 in Vienna in 1982; I was 12. It really did blow my mind; I didn’t understand a thing. I watch 2001 every five years or so and I have never watched it and not been tremendously impressed and enthralled.

(Even so, I can admire the wit behind Mad Magazine’s snippet of dialogue in their satire 201 (Min. of) A Space Idiocy, poking fun at the movie’s ending: “What did you expect…!? You just crashed through the brand-new 105-story Jupiter Museum of Op Art!”)

These pictures appear to be a heterogenous collection from a variety of sources; it’s more a feat of collection and curation than anything else. The pictures are cleverly arranged in the approximate order of the movie’s unfolding, so it feels a little bit like watching the movie itself. Really, hats off. 

Remember, there’s a lot more where this came from, so be sure and look at the rest.
 

 

 

 

 

 

 

 

 

 

 
Here’s the official trailer, which is quite a piece of work in its own right:
 

 
via Tombolare

 
European filmmakers, including George Sluizer (director of Spoorloos, aka The Vanishing. and Utz), Peter Delpeut (Felice..Felice..)  and Harry Kümel (Daughters of Darkness, Malpertuis) discuss the films and famously obsessive work practices of Stanley Kubrick.

Kubrick thought Sluizer’s The Vanishing the most terrifying film he had seen—even more frightening than The Shining, and it led to Kubrick ‘phoning the Dutch filmmaker to discuss editing.

There is also an interview with Johanna ter Steege, who was set to star in Kubrick’s so-called “lost Holocaust” movie The Aryan Papers, which was dropped after Steven Spielberg made Schindler’s List.

The Aryan Papers was adapted from Louise Begley’s semi-autobiographical novel Wartime Lies, and it has been said that had Kubrick made this movie, then ter Steege “would have become a huge international star.”

“He [Kubrick] was convinced that he had found an actress whose performance would catapult a new star to the forefront of international stardom and give this dark and serious film the needed ‘gloss’,” Kubrick’s brother-in-law and producer Jan Harlan has said of Ter Steege. He believes that it was “devastating” for her that the film wasn’t made. “It’s like a young musician getting his first Carnegie Hall [concert] and then being told you can’t do it. It must be terrible, after you’ve prepared yourself for months and months.”

It ends with (who else?) Malcolm McDowell in performance, recounting a tale of working with Kubrick.
 

 
Filmmaker/musician Vivian Kubrick, daughter of the great Stanley Kubrick, has posted a selection of photographs on Twitter, depicting her once close relationship working with her father on his, and her own projects. The pictures may be viewed as a possible attempt at some form of reconciliation as Vivian has been allegedly out of touch with her family since joining the Church of Scientology in 1999.

Vivian’s filmmaking career started with her documentary on her father making The Shining in 1979. She scored Stanley’s next film Full Metal Jacket in 1987. Her father then asked Vivian to score Eyes Wide Shut, but she turned down his offer to dedicate herself to Scientology, as Raw Story reported last year when the reclusive Vivian attended at an “anti government Alex Jones rally”:

“Stanley asked Vivian to compose the score, but at the last moment she said she wouldn’t,” Kubrick’s widow Christiane told the Guardian in 2009. “They had a huge fight. He was very unhappy. He wrote her a 40-page letter trying to win her back. He begged her endlessly to come home from California. I’m glad he didn’t live to see what happened.”

It has been suggested that Eyes Wide Shut was Stanley Kubrick’s “requiem for his lost daughter”:

In “The Secret of the Pyramid,” which appeared in the January 2013 issue of the film journal Positif, critic and screenwriter Laurent Vachaud offered a new interpretation of “Eyes Wide Shut,” Stanley Kubrick’s last film, which came out in 1999 and was based on Arthur Schnitzler’s “Dream Story” (1926). After analyzing the omnipresence of triangle patterns in the film’s sets, Vachaud (interviewed this week by ARTINFO) concluded that “Eyes Wide Shut” is much more than a simple story of spousal jealousy. He theorizes that it is about mind control exerted by the secret society to which Alice Harford (Nicole Kidman) belongs. Her husband, Bill Harford (Tom Cruise), with “big closed eyes,” is blind to the fact that his wife is part of a cult that provides sex slaves to wealthy elites. This use of women echoes Doctor Strangelove’s final speech, in which he says that “with the right genetic policy, a ratio of 10 females per male, the population could return to its current level within 20 years.”       

In his article, Vachaud wrote that the theme of abused children is at the heart of all Kubrick’s movies since “Lolita,” and that the Harfords’ child would also become, under the control of her mother, a slave of the secret society. Uncovering “barely veiled allusions” to Scientology in “Eyes Wide Shut” (among them the fact that Tom Cruise is himself a zealous Scientologist), the article claimed to discover a parallel between the movie and Kubrick’s personal life. His daughter Vivian Kubrick, who acted in several of her father’s movies, directed a film about the making of “The Shining,” and wrote the music for “Full Metal Jacket” (under the pseudonym Abigail Mead), joined the Scientologists during the preparation for “Eyes Wide Shut” and was no longer speaking to her family as of 1998.

Revealed by Kubrick’s widow in 2010, the disappearance of Vivian into the hands of Scientologists takes on a special resonance after viewing “Eyes Wide Shut,” a film with a deeply lethal atmosphere. Vachaud mentions the disturbing scene where Bill Harford, shocked and upset, learns from a newspaper of the brutal death of Mandy, a young woman whom he was unable to save, while Mozart’s “Requiem” plays. Vachaud concludes that “after this moment, it is hard not to see all of ‘Eyes Wide Shut’ as a father’s requiem for his lost daughter.”

Vivian allegedly turned-up at her father’s funeral with a Scientology handler. Vivian’s distance from her family became more apparent after she apparently failed to attend her sister Anya’s funeral in 2009. The sisters had once been inseparable.

The photographs start with Vivian and Anya as children in New York, and move almost film-by-film through Stanley Kubrick’s career, ending on a photograph of father and daughter together.
 

Vivian and Anya Kubrick, New York City 1965
 

 

Vivian and a baby chimp from ‘2001: A Space Odyssey, 1967’
 

Vivian’s ‘Making The Shining’ cutting room, 1979
 

Editing ‘Making of The Shining’ at EMI studio, 1979
 

Vivian on location with camera, dog Fanny and father, ‘Full Metal Jacket’ 1986
 

Vivian in her bedroom where she wrote the score for ‘Full metal Jacket’ 1987
 

“Makes me smile: Me&Dad FMJ @ Beckton Gas Works: filthiest place on earth - 2 baths every night to get the filth off.”

“In Memory of my Dad, who I loved with all my heart and soul ... Dad and Me 1979 on the back veranda of Abbots Mead.”

 
Via Reddit
 

 
In the early eighties, after he had finished making the The Shining, Stanley Kubrick began to look for another story to film, another movie to make.

“When I don’t have a story, it’s like saying a lion walking around in the veld isn’t looking for a meal. I’m always looking.”

Eventually, he found his story: The Short-Timers, a semi-autobiographical novel by Gustav Hasford about Vietnam. In 1987, Kubrick explained the book’s appeal to the Washington Post:

“This book,” Kubrick says, “was written in a very, very, almost poetically spare way. There was tremendous economy of statement, and Hasford left out all the ‘mandatory’ war scenes that are put in to make sure you understand the characters and make you wish he would get on with the story ... I tried to retain this approach in the film. I think as a result, the film moves along at an alarming – hopefully an alarming – pace….”

“I think it tries to give a sense of the war and the people, and how it affected them. I think with any work of art, if I can call it that, that stays around the truth and is effective, it’s very hard to write a nice capsule explanation of what it’s about.”

From 1983 on, Kubrick read everything he could find about Vietnam including “countless movies and documentaries, Vietnamese newspapers on microfilm from the Library of Congress and hundreds of photographs from the era.” He was relentless, obsessive, single-minded. He worked on a screenplay with Hasford and Michael Herr, which he then filmed at an old T.A. barracks, and at disused gasworks on the banks of the Thames River at Beckton. The result was Full Metal Jacket.

These brief clips of Kubrick directing Full Metal Jacket shows (as Michael Herr once described) the legendary director as “control freak” also being “philosophical about the things he can’t control.”
 

 
Bonus documentary on the making of ‘Full Metal Jacket,’ after the jump…
 

 
Fifty years ago today, on January 29th, 1964, Stanley Kubrick’s film Doctor Strangelove or: How I Learned t to Stop Worrying and Love the Bomb was released.

In light of the Cold War, and the Cuban Missile Crisis, Kubrick (like millions of others) was deeply concerned at the thought of a possible nuclear war between America and Russia. He decided to make a movie about it, and read numerous books on the subject. At first, he considered making a straightforward thriller about a possible nuclear accident. As this rough idea evolved, Kubrick bought the rights for Peter George’s Red Alert (aka Two Hours to Doom) and began working on a screenplay.

As he researched the subject further, Kubrick began to see the total absurdity of an all out nuclear war, and opted to make “a nightmare comedy.” An original draft opened with extra-terrestrials viewing Earth after a nuclear holocaust. It was to be called The Delicate Balance of Terror. Kubrick then decided the film required a level of “inspired lunacy” within a realistic framework. He therefore brought in “Existentialist hipster” and controversial author of Candy, Terry Southern.

As the late film critic Alexander Walker described it, the result was:

“...the most perfectly written comedic screenplay of post-war cinema.”

 
Stanley Kubrick was a notorious perfectionist—Slim Pickens turned down the role of Dick Hallorann in The Shining, eventually played by Scatman Crothers, because Kubrick refused to promise to limit his number of takes on any of Pickens’ shots to under 100.

So it’s no surprise that Kubrick gave some thought to the foreign-language versions of his movies. One of the pivotal scenes in The Shining occurs when Wendy Torrance, played by Shelley Duvall, comes upon the thick, typewritten manuscript that her husband Jack has been working on for weeks, only to find that every single page is covered with thousands of iterations of the creepy phrase “All work and no play makes Jack a dull boy.”

Kubrick understood that the power of the scene is considerably blunted if you can’t understand the text and therefore must rely on a bland, impersonal, possibly poorly translated subtitle at the bottom of the screen. So Kubrick took the time to shoot four other versions of the scene, for use in the Spanish, Italian, French, and German cuts of the movie.  According to The Overlook Hotel, a website run by Toy Story 3 director Lee Unkrich that is dedicated to Shining ephemera and lore, “Kubrick filmed a number of different language versions of the ‘All work and no play makes Jack a dull boy’ insert shot as Wendy leafs through Jack’s work. Many of these alternate language stacks of paper can be seen in the Stanley Kubrick Archive.”
 

Italian:
Il mattino ha l’oro in bocca
(The morning has gold in its mouth)

German:
Was du heute kannst besorgen, das verschiebe nicht auf morgen
(Never put off until tomorrow what can be done today)

Spanish:
No por mucho madrugar amanece más temprano
(No matter how early you get up, you can’t make the sun rise any sooner)

French:
Un Tiens vaut mieux que deux Tu l’auras
(What you have is worth much more than what you will have)

 
The link provided by The Overlook Hotel is 404, and my lengthy, feverish attempts to track down pictures of these “alternate stacks of paper,” alas, came to nothing. I would love to see these stacks of paper!

I was able to track down stills of the German and Italian versions on the Internet, but I can’t vouch for their authenticity. They do look legit, though.
 

 

 
Here’s the legendary “All work and no play” scene—in English:

Previously on Dangerous Minds:
The Shining: Overlook Hotel Children’s Placemat
Impressive Jack Nicholson from ‘The Shining’ and 1/6th scale Joker head sculptures

 
According to Todd Brown at Twitchfilm, an uncompleted outline for Son of Strangelove, a sequel to Stanley Kubrick’s immortal 1964 Cold War satire Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, was found among the effects of the legendary screenwriter Terry Southern (Easy Rider, Barbarella) after his death in 1995. The story was set in the underground bunkers discussed in the infamous war room scene of the original film. As tantalizing as it is to wonder how such a film would have turned out had it indeed come to pass, it turns out that Kubrick had Monty Python refugee and great visionary of the dismal Terry Gilliam in mind to direct. Straight from Gilliam himself:

I was told after Kubrick died - by someone who had been dealing with him - that he had been interested in trying to do another Strangelove with me directing. I never knew about that until after he died but I would have loved to.

 

This is my face, just thinking about ‘Son of Strangelove.’

Just imagine the psycho-in-toyland wonders of an underground bunker for post-apocalypse elites as conceived by the deliriously inventive mind behind The Adventures of Baron Munchausen and The Imaginarium of Doctor Parnassus! It’s sad that we’ll likely never know, but Gilliam fans still have something to look forward to. This winter will see the release of his new film The Zero Theorem, which, per the director in a recent Guardian interview, constitutes the third piece of a dystopian trilogy begun with his 1985 masterpiece Brazil and 1995’s mind bending time-travel drama 12 Monkeys.

The Zero Theorem has already screened to acclaim at the Venice Film Festival. Euronews featured a preview of the film prominently in this clip:
 

 
Bonus: Enjoy this lengthy interview with Gilliam from CBC Radio’s Q.