“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 5th and 7th 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 20th century. With Warner Bros., La Cinémathèque française is pleased to see the Cannes Film Festival making a fine gesture to mark the 40th 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 (5th and 7th), 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. As a director and producer, Kubrick created worlds of images that to this very day hold an unbroken fascination and continue to inspire and provoke their audience. (…)The exhibition stands out for the interplay of materials from the Estate – props, written documents, photographs, technical film equipment – and walk-through installations that recapture the atmosphere and themes of the individual films. The interdisciplinary exhibition draws attention to Kubrick’s visionary adaptations of influences from the fine arts, design, and architecture and enables us to experience the film cosmos of one of the great artists of the 20th century in all three dimensions.

Hans-Peter Reichmann*

Director of exhibitions at the Deutsches Filmmuseum and Curator of the exhibition on Stanley Kubrick, Hans-Peter Reichmann was also, among others, curator of exhibitions on Marlene Dietrich (1998) and Klaus Kinski (2001). * Extracts from the official catalogue of the exhibition.

Published by Deutsches Filminstitut / Deutsches Filmmuseum, Frankfurt am Main Available in English and German, exclusively at the bookshop of the Cinémathèque française, €32.

AROUND THE EXHIBITION at La Cinémathèque française

RETROSPECTIVES – ROUND TABLE – DIALOGUE – LECTURES

A COMPREHENSIVE RETROSPECTIVE from 23 March to 18 April

La Cinémathèque française will present all his films. A legendary film director, Kubrick produced a body of work which seems at first view to consist of heterogeneous elements : film noir (The Killing), science-fiction (2001: A Space Odyssey), social anticipation (A Clockwork Orange), historical reconstruction (Barry Lyndon), horror (The Shining), war film (Full Metal

Jacket). But all these titles, whatever genre they belong to, offer a visionary, deep and disillusioned reflection on humanity, and its relations with science and techniques, its evolution and its very identity.

Barry Lyndon (GB/USA 1973-75). © Warner Bros. Entertainment Inc.

Filmography of Stanley Kubrick Day of the Fight (USA/1950-1951/16’) Flying Padre (USA/1950-1951/9’) Fear and Desire (USA/1951-1953/68’)* Mr. Lincoln (TV) (USA/1952/Second Unit Director). The Seafarers (USA/1953/30’) Killer‘s Kiss (USA/1955/67’) The Killing (USA/1955-1956/84’) Paths of Glory (USA/1957/87’) Spartacus (USA/1959-1960/184’) Lolita (UK-USA/1960-1962/152’)

Dr. Strangelove or: How I learned to stop worrying and love the

Bomb (UK-USA/1963-1964/95’) 2001: A Space Odyssey (UK-USA/1968/160’) A Clockwork Orange (UK-USA/1971/137’) Barry Lyndon (UK-USA/1975/187’) The Shining (UK-USA/1980/146’/Abriged version for Europe 119’) Full Metal Jacket (UK-USA/1987/116’) Eyes Wide Shut (UK-USA/1999/159’)

* Stanley Kubrick during his lifetime expressed the wish that his first feature film, Fear and Desire, would no longer be shown. La Cinémathèque française will respect his wish.

A retrospective AROUND KUBRICK from 20 April to 2 May

It may appear paradoxical, or even totally illusory, to think that Kubrick’s films could have created heirs worthy of this name. Each of his films seems rather to have been the ultimate and unsurpassable expression of a genre whose evolution it ended. It was as if each title signed by Kubrick was also a way of getting out of its own category and escaping the determinations of his own nature. Did not 2001: A Space Odyssey make the cinema of science-fiction look derisory in 1968? And Full Metal

Jacket in 1987, surely it was the culminating point of the many cinematographic attempts to depict the Vietnam war? Did not The Shining sum up the horror film after Psycho, in 1960, had laid the foundations? How can there be heirs to a work whose author’s ambition we suspect was to eliminate any idea of descendents? So our purpose here is not to give scientific ratification to the existence of a “Kubrickian” cinema, during or after Kubrick, but more modestly to suppose that the work of the author of The Shining had a subtle influence on certain films, delicately determined the development of certain film directors marked by the images or the personal philosophy of Kubrick, and, more modestly dialogued with other films. We also want to see how certain motifs or obsessions attached to the work of Kubrick have become cinematographically expressed after him.

The War Room, final set design by Sir Kenneth Adam

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, GB/USA 1963-64)

© Columbia Pictures Industries Inc.

“STANLEY KUBRICK” ROUND TABLE Thursday 24 March at 6 pm Admission free.

To discuss in depth the propositions of the exhibition and understand the cinema of an obsessive and protean artist. Meeting with Christiane Kubrick, Marisa Berenson, Ken Adam, Michel Ciment, Nigel Galt, Jan Harlan and Hans-Peter Reichmann. Chaired by Serge Toubiana.

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.

Before interpreting the superb Lady Lyndon for Stanley Kubrick (Barry Lyndon, 1975), Marisa Berenson appeared in Death in Venice by Luchino Visconti (1971) and in Cabaret by Bob Fosse (1972). She then worked with Blake Edwards (S.O.B., 1981) and Clint Eastwood (White

Hunter, Black Heart, 1990) and then moved to France in 1984 to start a new career.

A British director of German origin, Ken Adam made his debuts in Hollywood on large productions: Around the World in 90 Days and Ben-

Hur. Thereafter he worked notably with Jacques Tourneur, Robert Aldrich, J. L. Mankiewicz and for the James Bond series of the 1960s and 1970s. For Stanley Kubrick, he designed the sets of Dr Strangelove (1964) and Barry Lyndon (1975).

A film historian and critic, Michel Ciment is a senior lecturer in American civilisation at Université de Paris VII and a member of the editorial committee of Positif, a regular contributor to Le Masque et la Plume and France Inter radio station, and the producer of Projection privée for France Culture radio station. He is the author, among other titles, of Kazan par Kazan (1973), Le Livre de Losey (1979) and Kubrick (1980), the first book in French on the film director.

Nigel Galt was the sound engineer for Stanley Kubrick on Full Metal Jacket in 1987 and, in 1999, the sound editor of Eyes Wide Shut.

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.

Director of exhibitions at the Deutsches Filmmuseum and Curator in 2004, with Tim Heptner of the exhibition on Stanley Kubrick, Hans-Peter Reichmann was also, among others, curator of exhibitions on Marlene Dietrich (1998) and Klaus Kinski (2001).

From 7:30 pm, book-signing session in the bookshop of the Cinémathèque with the speakers of the Round Table.

DIALOGUE WITH JAN HARLAN Friday 25 March at 8 pm

Dialogue with Jan Harlan followed by the screening of his documentary Stanley Kubrick, A Life in Pictures (United States – 2001 – 142’). Chaired by Matthieu Orléan.

Single ticket: Dialogue + Film. Full rate €6.50 / Reduced rate €5 / ”Atout prix” and “Cinétudiant” rate €4 / Free for “Libre pass”

Stanley Kubrick on the set of 2001: A Space Odyssey (GB/USA 1965-68) © The Stanley Kubrick Archive.

THE CINÉMATHÈQUE LECTURES

Monday 28 March 7:00 pm “THE CINEMA OF KUBRICK: BETWEEN REASON AND PASSION” LECTURE BY MICHEL CIMENT A leitmotif runs through the films of Kubrick which are warnings in the form of fables: the relationship in the heart of each individual and society between the desire to control, the affirmation of reason and the irruption of passion, violence and repressed instincts.

A film historian and critic, Michel Ciment is a senior lecturer in American civilisation at Université de Paris VII and a member of the editorial committee of Positif, a regular contributor to Le Masque et la Plume and France Inter radio station, and the producer of Projection privée for France Culture radio station. He is the author, among other titles, of Kazan par Kazan (1973), Le Livre de Losey (1979) and Kubrick (1980), the first book in French on the film director.

At 8:0 pm, after his lecture, Michel Ciment will sign his book Kubrick (Calmann-Lévy, Edition 2011) in the bookshop of the Cinémathèque française.

Monday 4 April 7:00 pm “BEFORE/AFTER 2001: KUBRICK AND THE SEARCH FOR THE NEW” LECTURE BY PIERRE BERTHOMIEU From the beginnings of his work, Kubrick established his distance from the dominant Hollywood styles, putting the emphasis on the search for singularity and new angles. That is how he approached his space odyssey, destined to revolutionise cinema science-fiction. Nourished by several films of the 1950s that he improved technically, 2001 drew its inspiration from experimental and scientific films, as well as classical music, with the a priori paradoxical idea of producing a great spectacular film in Cinerama.

Pierre Berthomieu is a teacher and a critic with Positif. He has published a history of the forms of the American film, Hollywood classique:

le temps des géants (2009) and, recently, the second volume: Hollywood moderne: le temps des voyants (February 2011) published by Editions Rouge Profond.

Monday 11 April 7:00 pm “AN AESTHETIC OF THE 20th CENTURY: AGAINST NAZISM, AGAINST THE WORLD” LECTURE BY PHILIPPE FRAISSE Beginning with Dr Strangelove, the Kubrick’s cinema confronts a totalitarian art of catastrophe. It is a political and aesthetic combat against the spectres of Nazism. But there is another combat. Inspired by a radically pessimistic view of the world – the heritage of Gnostic tradition which holds that the world is the creation of an evil god – Kubrick gives in his films a lesson in living whose moral is clearly formulated in Eyes Wide Shut. Philippe Fraisse teaches philosophy and has contributed since 1999 to the journal Positif. He published Le cinéma au bord du monde, une

approche de Stanley Kubrick , Editions Gallimard (2010).

At 8:0 pm, after his lecture, Philippe Fraisse will sign his book Le cinema au bord du monde, une approche de Stanley Kubrick (Gallimard, 2010) in the bookshop of La Cinémathèque française.

Monday 18 April 7:00 pm “THE BRAIN AND THE WORLD: THE SHINING AND AFTER” LECTURE by EMMANUEL SIETY In L’Image-temps, Gilles Deleuze saw Stanley Kubrick, like Alain Resnais, as a film director “of the identity of the world and the brain”. Focusing on The Shining, we will analyse and prolong this comparison by looking at three other names of film directors who explore the limits of the world and consciousness: David Lynch, Michael Haneke and Gus Van Sant.

Emmanuel Siety is a senior lecturer on cinema at Université Paris 3 - Sorbonne nouvelle. He is the author of La Peur au cinéma (Cinémathèque française/Actes Sud, 2006), Fictions d'images (Presses Universitaires de Rennes, 2009) and Le Plan, au commencement du

cinéma (Cahiers du Cinéma/CNDP, 2001).

At 8:30 pm, after his lecture, Emmanuel Siety will sign his book La Peur au cinema (Cinémathèque française/Actes Sud, new edition 2011), in the bookshop of La Cinémathèque française.

LECTURE OF THE CONSERVATOIRE DES TECHNIQUES CINEMATOGRAPHIQUES Friday 8 April 2:30 pm “STANLEY KUBRICK, TECHNICAL INVENTION IN THE SERVICE OF FILM ART” LECTURE BY CHRISTIAN APPELT How did the passion of Kubrick for shooting techniques effectively influence-his images? Some interviews, quotations and production notes offer answers, as does the analysis of films from a technical point of view.

Christian Appelt is a head cameraman and film editor. He carries out research on large formats , historical formats and visual effects. For the Stanley Kubrick exhibition presented in Frankfurt, he took charge of assembling the equipment exhibited and recorded an interview with Joe Dunton on the subject of Kubrick’s optical collection.

The Shining (GB/USA 1980) © Warner Bros. Entertainment Inc.

Tom Cruise, Nicole Kidman and Stanley Kubrick on the set of Eyes Wide Shut (GB/USA 1999). Photo: Manuel Harlan © Warner Bros. Entertainment Inc.

WARNER BROS., CRADLE OF GREAT FILM-MAKERS

Stanley Kubrick and Warner Bros.: thirty years of total loyalty that demonstrated the constant attachment of the Studio to a policy of quality and innovation. From its beginnings, Warner Bros. orchestrated the most decisive mutation in the history of the 7th art by producing in 1927 the first talking film, The Jazz Singer. In the 1930s, it was the most committed of the Hollywood majors, producing films with stunning realism like I am a Fugitive from a Chain Gang and Wild Boys of the

Road. In 1940, it released The Maltese Falcon, one of the first great classics of film noir which gave the prestigious scriptwriter John Huston, the opportunity to direct his first film. The “policy of author-directors” was not yet a part of the vocabulary, but the concept was already up and going… The war years were to reveal some of the finest films in the history of the studio, including Casablanca by Michael Curtiz and Objective, Burma! by Raoul Walsh, two immense directors closely linked to Warner, which brought out the best in them. The “house style” reached its peak during this decade when emblematic stars like Bogart, Bette Davis, Lauren Bacall and Joan Crawford gave epoch-making performances. The 1950s produced in A Star is Born by George Cukor, the summit of the musical and consecrated the talents of Elia Kazan, Nicholas Ray, Arthur Penn. A Tramway Named Desire, East of

Eden, Baby Doll, Rebel Without a Cause, The Left Handed Gun, etc. while Rio Bravo and Band of

Angels announced the culmination of the classic era, a “new wave” emerged long before the French movement, highlighting a raw, nervous and convulsive style that was to influence the entire cinema industry for several decades.

It was in this very fruitful period that Stanley Kubrick independently made his first films: The

Killing and Paths of Glory, in which he showed himself to be already totally in command of his craft. It was during these years also that another great favourite of the studio began his career: Clint

Eastwood. In 1971, Kubrick began his collaboration with Warner with A Clockwork Orange; the same year, Eastwood began the Dirty Harry series. Is that a simple coincidence in the rich and so varied history of Warner Bros.?

Since his death in 1999, the fame of Kubrick has grown constantly. During his career, each of his films was a major event, attracting crowds but dividing the critics. Now unanimously hailed as one of the greatest directors in the history of the cinema, his work continues to fascinate for the variety of its inspiration, the depth of its treatments and the force of its images. For the American directors who came after him, he was a model in dealing with the system. He was able to combine commercial success with artistic ambition, and above all he worked in complete freedom and independence with the logistics and financial backing of a great studio, Warner Bros, for the last thirty years of his life. Each of his films is an example of formal audacity and complex reflection while fitting into a recognised genre that he took pleasure in renewing and subverting: the war film (Paths of Glory, Full

Metal Jacket), science-fiction (2001, A Space Odyssey), horror (The Shining), the political fable (Dr

Strangelove, A Clockwork Orange), the costume film (Barry Lyndon), the tragic love story (Lolita), and the detective story (The Killing). His last Eyes Wide Shut was probably even more disorientating but it revealed his most intimate work and evaded all the categories.

Warner Bros. : 2011 the Kubrick year

23 MARCH: RELEASE OF A GIFT SET OF 19 DVDS ULTIMATE EDITION

in a prestigious packaging bring together for the 1st time the entire filmography of Stanley Kubrick in their most complete versions: Lolita, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The

Shining, Full Metal Jacket and Eyes Wide Shut as well as The Killer’s Kiss, The Killing, Paths of Glory

(MGM/UA), Spartacus (Universal Pictures), Dr Strangelove (Columbia Pictures) as well as the documentary A Life in Pictures directed by Jan Harlan and the reference book The Stanley Kubrick

Archives published by TASCHEN (544 pages).

FROM 1ST JUNE: NATIONAL RETROSPECTIVE IN CINEMAS of the following

films: 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining (US version never

released in France), Full Metal Jacket, Eyes Wide Shut and Lolita in 35mm copies and for the first time

in digital copies. The unique heritage of Stanley Kubrick is as important and significant for Warner Bros. in 2011 as it was when he began his collaboration with the Studio in 1971, the year which marked the beginning of a rare professional relationship that was to last over 25 years. His films are still topical and just as impressive for audiences today as they were innovative and revolutionary when first released.

Press Contacts Warner Bros. Entertainement Eugénie Pont Publicity Director +33 1 72 25 10 82 / eugenie.pont@warnerbros.com and Caroline Marechal Press Officer + 33 1 72 25 10 27 / caroline.marechal@warnerbros.com

DIGITAL SCREENING, WORLD PREVIEW, OF A CLOCKWORK ORANGE by Stanley Kubrick (UK-USA/1971/137’)

To mark the 40th anniversary of its release in cinemas. In the presence of Malcolm Mc Dowell. Restoration supervised by Warner Bros.

A MASTERPIECE OF ACTING BY MALCOLM MC DOWELL.

More details soon on http://www.festival-cannes.com/fr.html

A Clockwork Orange (GB/USA 1970-71) © Warner Bros. Entertainment Inc

PUBLICATIONS

OFFICIAL CATALOGUE OF STANLEY KUBRICK, THE EXHIBITION

304 pages – €32 Available in English and German Exclusively in the bookshop of La Cinémathèque française

Edited by Maja Keppler and Hans-Peter Reichmann Deutsches Filminstitut The catalogue is abundantly illustrated and brings together essays by authors specialising in the cinema, theatre, art history, photography, architecture, design and music. It accompanies the exhibition and offers

an original possibility of entering the world of Stanley Kubrick. Prefaces by Martin Scorsese, Christiane Kubrick and Jan Harlan.

© Deutsches Filminstitut / Deutsches Filmmuseum, Frankfurt am Main.

SPECIAL ISSUE OF TROIS COULEURS MAGAZINE

Stanley Kubrick // Eyes Wide Open // 132 pages – €9.90 Available from 2 March on newsstands and in bookshops. Guide to the exhibition. The magazine goes back over the life and career of the American film director with a biography and an exhaustive filmography, as well as an analysis of the key motifs of his work (breakdown of order, split personality, derailments). This overview will be completed by a panorama of his principal heirs (from Steven Spielberg to James Cameron), articles on his visionary use of techniques, sound and faces, a report made in London in his Childwickbury manor house, and interviews with his entourage: his wife Christiane, his brother-in-law and producer Jan Harlan, his editor Nigel Galt, his decorator Ken Adam, the inventor of the Garrett Brown Steadicam, etc.

While giving pride of place to the specialists of his work (Michel Ciment, Michel Chion, Philippe Fraisse, etc.), the magazine will also combine serious approaches and less reverent ones, describing for example the recurrence of toilette scenes in the work of Kubrick, his principal aborted projects, the heated reception of his films, and the various plot theories associated with him. Last but not least, a large portfolio will examine the fruitful rapports of the film director with photography (his first career), the plastic arts and design, contrasting works by Georges de La Tour, Saul Bass, Mark Rothko and Invader with the films of the immortal director of Eyes Wide Shut.

Press contacts Monica Donati and Anne-Charlotte Gilard / Tel : +33 1 43 07 55 22 monica.donati@mk2.com / anne-charlotte.gilard@mk2.com

SPECIAL ISSUE ON KUBRICK LES INROCKUPTIBLES

100 pages – €11.90 Available on 21 March 2011 on newsstands. Accompanied by the classic Lolita in DVD. A collection of the key articles published on the film director by the journal over the years, notably when he died in 1999, this special issue will also offer the opportunity to take a fresh look at the complete filmography of the master through new articles on each of his films.

It will offer a review of his influence on the new generations of outstanding directors (from David Lynch to Christopher Nolan, including the Coen Brothers and Gaspar Noé), contemporary video and graphic artists who prolong his taste for cinematographic experimentation and his visionary approach to image and story. Apart from a richly illustrated presentation of the exhibition and an iconographic exploration of the still fascinating world of Kubrick, as film director as well as photographer, this special issue will look into the philosophical and aesthetic themes tackled in his films in an attempt to decrypt a work that is still far from having revealed all its secrets. The presence of a “bonus” as prestigious as Lolita, his 1962 adaptation of the scandalous novel by Vladimir Nabokov, will allow the reader of this special issue to see or see again one of the masterpieces of Kubrick’s filmography.

Contacts Baptiste Vadon Elisabeth Laborde Tel : +33 1 42 44 16 07 - baptiste.vadon@inrocks.com Tel : +33 1 42 44 16 62 - elisabeth.laborde@inrocks.com

KUBRICK, EDITION 2011 By Michel Ciment. Preface by Martin Scorsese. Editions Calmann-Lévy – in bookshops: February 2011 – €45 A superb homage to Stanley Kubrick, one of the great visionaries of our epoch, written by Michel Ciment, French specialist of the cinema and confidant of the film director for 30 years. The book provides: a portrait of the director and his life story; a study of his relations with the fantastic and reflections on his creative approach; testimonies of fourteen collaborators; four interviews with the author, all the more precious in that the director was always reticent in commenting on his films; 400 illustrations including 150 in colour, often rare or published for the first time; a large section on his final work, Eyes Wide Shut; a complete filmography and bibliography.

Monday 28 March at 8:30 pm, after his lecture, Michel Ciment will sign his book in the bookshop of the Cinémathèque française.

Press contact Calmann-Lévy Florence Morin Tel : +33 1 49 54 36 00 fmorin@calmann-levy.fr

TASCHEN: REEDITIONS AVAILABLE IN EARLY MARCH 2011

THE STANLEY KUBRICK ARCHIVES 544 pages – €49.99 Editor: Alison Castle TASCHEN The first book dedicated to the archives of Stanley Kubrick, the most complete study ever made on this film director. About the Editor: Alison Castle holds a BA in philosophy from Columbia University and an MA in photography and cinema from New York University (NYU/International Center of Photography). Entrusted by TASCHEN with the edition of Some Like it Hot and the Stanley Kubrick Archives, she lives in Paris, where the best cinemas in the world are to be found.

STANLEY KUBRICK'S NAPOLEON : THE GREATEST MOVIE NEVER MADE 1 112 pages - €49.99

Now available in an unlimited edition, in one volume!

Editor: Alison Castle TASCHEN For 40 years, admirers of Kubrick and film enthusiasts have wondered about his mysterious film devoted to Napoleon Bonaparte, never made but due to go into production just after the release of 2001: A Space Odyssey. The Napoleon of Kubrick was to have been both a character study and a grand epic, with battle scenes and thousands of extras. The homage paid by TASCHEN to this aborted masterpiece allows fans of Kubrick to discover for the first time how the great director worked obstinately on his “Napoleon". Composed from the limited original edition published in 2009, ten volumes in a cover imitating the binding of a history work on Napoleon, this book brings together all the original elements in a single volume. Thanks to this unique volume, the culmination of years of research and preparation, the reader can become a witness of the creative approach of one of the greatest talents of the cinema and rediscover the fascinating and enigmatic personality of Napoleon Bonaparte.

Thursday 24 March, from 7:30 pm, meeting and signing session with Alison Castle in the bookshop of LaCinémathèque française.

STANLEY KUBRICK THE COMPLETE FILMS

Past, present, future: the world as seen by Kubrick.

192 pages – €9.99 The exceptional career of a genius of the cinema

Editor: Paul Duncan TASCHEN

About the Editor: Paul Duncan has directed the publication of over 40 titles on the cinema and is the author of the books Alfred Hitchcock and Stanley Kubrick in the Film Séries collection.

Press contact Lou Mollgaard PR Manager TASCHEN France Phone: + 33 1 40 51 73 08 - Mobile: + 33 6 80 90 15 02 l.mollgaard@taschen.com / http://www.taschen.com

LES CAHIERS DU CINÉMA present

STANLEY KUBRICK UNE VIE EN INSTANTANÉS By Christiane Kubrick 192 pages - 230 photographs - €45

This photo album offers a new look at Stanley Kubrick (1928-1999) at work behind the camera, with his teams and actors, from his beginnings as a director in the 1950s up to the shooting of his last film Eyes Wide Shut, terminated only six days before his death in March 1999. Christiane Kubrick, wife of the film director since 1957, has had a brilliant career as

actress and comedienne. She now defines herself as an artist-painter.

Thursday 24 March, from 7:30 pm, meeting and book-signing with Christiane Kubrick in the bookshop of La Cinémathèque française.

STANLEY KUBRICK L’HUMAIN, NI PLUS NI MOINS By Michel Chion 560 pages - 696 photographs - €39.95

From the invisible Fear and Desire, 1953, to Eyes Wide Shut, released in 1999, this book studies each of the films of Stanley Kubrick (1928-1999) and brings out the creative unity of the his work. Michel Chion, in this essay, allows us to approach the goal of his famous perfectionism: a search for the meaningful detail, an aesthetic movement around this mystery, the human quest no more and no less. Michel Chion, born in 1947, is a writer, a composer of concrete music, and maker of short films and videos. His books include Le Complexe de Cyrano and Ecrire un scénario (Cahiers du

Cinéma).

Press contact Caroline Bourrus Head of communications Phaidon Cahiers du Cinéma cbourrus@phaidon.fr / Tél. : 00 33 1 55 28 38 35 / 00 33 6 12 21 55 00

CINÉCINÉMA CLASSIC presents Two special evenings to mark Stanley Kubrick, The exhibition 31 March at 8:40 on CINÉCINÉMA CLASSIC Dr Strangelove (UK-USA/1963-1964/95’) Barry Lyndon (UK-USA/1975/187’) Programme and date of the second evening out soon.

http://www.cinecinema.fr/cinecinema-classic

STANLEY KUBRICK ON CINÉMATHÈQUE.FR ON-LINE EXHIBITION Based on documents, objects and extracts, the “Stanley Kubrick” on-line exhibition lays out paths in the work of the film director: associations of images, links between films, between an extract and an object or a photograph… A didactic prolongation in the spirit of the exhibition at the Cinémathèque (23 March-31 July 2011), this on-line will show simultaneously, by confrontations of images, a series of recurrences and correspondences in the work of a brilliantly obsessive and methodical film director.

On-line – 21 March 2011. www.Cinematheque.fr

THE BEST OF WEB CREATION ON KUBRICK The Cinémathèque française launches an ambitious project: to present on its website the best web creation on the Kubrick legend. Graphic artists, video artists, stylists, plastic artists: a whole generation of creative talents has turned to the work of Kubrick over the past 15 years, paying homage to him, questioning his work, remixing it, etc. The adoration of these artistes for Kubrick will be the occasion to highlight the modernity of a film director adopted by a host of netsurfers all over the world, and whose works will be united for the first time in the same place.

Matt Bellisle - www.gravitydsn.com

COMPETITION IN PARTNERSHIP WITH DAILYMOTION The Cinémathèque française is organising a big competition with DailyMotion, and invites netsurfers to send in a short film on Stanley Kubrick and his work.

Prizes: a trip to New York for 6 dayss/4 nights, for two persons offered by La Maison des Etats-Unis, the complete Stanley Kubrick collection with 19 DVDs and the key book Les Archives de Stanley Kubrick published by Taschen offered by Warner, sets of rolls of super 8 ektackrome 100 T film and Playsport pocket cameras offered by Kodak and the on-line publication of the best works on the website of the Cinémathèque…

On-line publication – 23 March 2011. www.Cinematheque.fr

VISITING INFORMATION

GUIDED VISIT AND AUDIO GUIDE

GUIDED VISIT The guided visit of the exhibition gives the keys for a better understanding, film after film, of the genesis of a complex and fascinating work. Time: 1h30 – Every Saturday and Sunday at 11:00 : €11.

AUDIO GUIDE Circuit of the exhibition in French with the voice of Marisa Berenson, in English with the voice of Malcolm McDowell and in German. + Stanley Kubrick commenting on The Shining, Barry Lyndon and Full Metal Jacket: extracts from the interviews held by Michel Ciment on the release of each of his films. Available on the spot for €3 and on Itunes for €1.99

OPENING HOURS From Monday to Friday 12:00-19:00. Open late until 22.00 on Thursday. Week-end, school & bank holidays from 10:00 to 20:00. Closed on Tuesday.

ADMISSION Full rate : €10 / Concession : €8 / Under 18s : €5 / Holders of Atout Prix or CinÉtudiant card : €7 / Libre Pass : free Combined ticket + film or exhibition + museum : €12 Audio guides available in 3 languages (French with the voice of Marisa Berenson - English with the voice of Malcolm McDowell – German) : available on the spot for €3 and on Itunes for €1.99. Guided visit every Saturday and Sunday at 11:00 : €11.

ADVANCE PURCHASE FOR INDIVIDUALS www.cinematheque.fr and www.fnac.com

CONTACTS

Jean-Christophe Mikhaïloff Elodie Dufour Head of Communication, Press officer +33 (0)1 71 19 33 14 / +33 (0)6 23 91 46 27 +33 (0)1 71 19 33 65 / +33 (0)6 86 83 65 00

jc.mikhailoff@cinematheque.fr e.dufour@cinematheque.fr

La Cinémathèque française Musée du cinéma 51 rue de Bercy, 75012 Paris Informations +33 1 71 19 33 33

WWW.CINEMATHEQUE.FR

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.

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