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Of course I want unforgettable--didn't Kubrick, always?
You've got lots of good examples. I just mention the few that strike me the most; that struck me tremendously at the time. Probably "Ludwig von" in Clockwork Orange, too, though that was a choice dictated by Burgess' book.
The music is gorgeous in Barry Lyndon. As are the images. Let's not forget the development of special camera technology to shoot by candlelight, a great wedding of period and tech.
...he commissioned her to do a piece for Gangs of New York. (A deadly piece, btw)
Deadly in what sense?
THE SHINING TRAILOR OF THE ELEVATOR AND THE BLOOD: As you may know, PT Anderson watched a lot of trailors when preparing to design his for Magnolia (and any good director is a fool, I'd think, not to design his own--they're so bad nowadays, so offputting) and in interviews he especiallyl noted the Kubrick one for The Shining as an example of what a trailor should be--a teaser, and a powerful one. This thing of telling us the whole story, blowing all the important scenes, has just got to go.
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