Author: insidious_plots

a fascinating article about a guy getting to spend a whole lot of time digging through stanley kubrick’s house…

Stanley Kubrick’s films were landmark events – majestic, memorable and richly researched. But, as the years went by, the time between films grew longer and longer, and less and less was seen of the director. What on earth was he doing? Two years after his death, Jon Ronson was invited to the Kubrick estate and let loose among the fabled archive. He was looking for a solution to the mystery – this is what he found

and here are some excerpts giving you a hint of the weirdness within…

starting with a bit of background…

nine years had passed since Kubrick’s last film, Full Metal Jacket. All anyone outside his circle knew about him was that he was living in a vast country house somewhere near St Albans – or a “secret lair”, according to a Sunday Times article of that year – behaving presumably like some kind of mad hermit genius. Nobody even knew what he looked like. It had been 16 years since a photograph of him had been published.
He’d gone from making a film a year in the 1950s (including the brilliant, horrific Paths Of Glory), to a film every couple of years in the 1960s (Lolita, Dr Strangelove and 2001: A Space Odyssey all came out within a six-year period), to two films a decade in the 1970s and 1980s (there had been a seven-year gap between The Shining and Full Metal Jacket), and now, in the 1990s, absolutely nothing. What the hell was he doing in there? According to rumours, he was passing his time being terrified of germs and refusing to let his chauffeur drive over 30mph.

and…

“The good news,” wrote Nicholas Wapshott in the Times in 1997, bemoaning the ever-lengthening gaps between his films, “is that Kubrick is a hoarder … There is an extensive archive of material at his home in Childwick Bury. When that is eventually opened, we may get close to understanding the tangled brain which brought to life HAL, the Droogs and Jack Torrance.”

and then, inside kubrick’s world…

There are boxes everywhere – shelves of boxes in the stable block, rooms full of boxes in the main house. In the fields, where racehorses once stood and grazed, are half a dozen portable cabins, each packed with boxes. These are the boxes that contain the legendary Kubrick archive.

Tony takes me into a large room painted blue and filled with books. “This used to be the cinema,” he says.
“Is it the library now?” I ask.
“Look closer at the books,” says Tony.
I do. “Bloody hell,” I say. “Every book in this room is about Napoleon!”
“Look in the drawers,” says Tony.
I do.
“It’s all about Napoleon, too!” I say. “Everything in here is about Napoleon!”

“Somewhere else in this house,” Tony says, “is a cabinet full of 25,000 library cards, three inches by five inches. If you want to know what Napoleon, or Josephine, or anyone within Napoleon’s inner circle was doing on the afternoon of July 23 17-whatever, you go to that card and it’ll tell you.”
“Who made up the cards?” I ask.
“Stanley,” says Tony. “With some assistants.”
“How long did it take?” I ask.
“Years,” says Tony. “The late 1960s.”

In one portable cabin, for example, there are hundreds and hundreds of boxes related to Eyes Wide Shut, marked EWS – Portman Square, EWS – Kensington & Chelsea, etc, etc. I choose the one marked EWS – Islington because that’s where I live. Inside are hundreds of photographs of doorways. The doorway of my local video shop, Century Video, is here, as is the doorway of my dry cleaner’s, Spots Suede Services on Upper Street. Then, as I continue to flick through the photographs, I find, to my astonishment, pictures of the doorways of the houses in my own street. Handwritten at the top of these photographs are the words, “Hooker doorway?”
“Huh,” I think. So somebody within the Kubrick organisation (it was, in fact, his nephew) once walked up my street, on Kubrick’s orders, hoping to find a suitable doorway for a hooker in Eyes Wide Shut. It is both an extremely interesting find and a bit of a kick in the teeth.
It is not, though, as incredible a coincidence as it may at first seem. Judging by the writing on the boxes, probably just about every doorway in London has been captured and placed inside this cabin.

The fan letters are perfectly preserved. They are not in the least bit dusty or crushed. The system used to file them is, in fact, extraordinary. Each fan box contains perhaps 50 orange folders. Each folder has the name of a town or city typed on the front – Agincourt, Ontario; Alhambra, California; Cincinnati, Ohio; Daly City, California, and so on – and they are in alphabetical order inside the boxes. And inside each folder are all the fan letters that came from that particular place in any one year. Kubrick has handwritten “F-P” on the positive ones and “F-N” on the negative ones. The crazy ones have been marked “F-C”.

“Stanley loved typefaces.” Jan pauses. “I tell you what else he loved.”
“What?” I ask.
“Stationery,” says Jan.
I glance over at the boxes full of letters from people who felt about Kubrick the way Kubrick felt about stationery, and then back to Jan. “His great hobby was stationery,” he says. “One time a package arrived with 100 bottles of brown ink. I said to Stanley, ‘What are you going to do with all that ink?’ He said, ‘I was told they were going to discontinue the line, so I bought all the remaining bottles in existence.’ Stanley had a tremendous amount of ink.” Jan pauses. “He loved stationery, pads, everything like that.”

I suppose that the closer you get to an enigma, the more explicable it becomes. Even the somewhat crazy-seeming stuff, like the filing of the fan letters by the town from which they came, begins to make sense after a while.
It turns out that Kubrick ordered this filing in case he ever wanted to have a local cinema checked out. If 2001, say, was being screened in Daly City, California, at a cinema unknown to Kubrick, he would get Tony or one of his secretaries to telephone a fan from that town to ask them to visit the cinema to ensure that, say, the screen wasn’t ripped.