The Kubrick Crazy Stare is the term his director of photography, Doug Milsome coined – as mentioned in the Lobrutto biography. Kubrick would flash the stare when upset (sometimes joking) and apparently no one else came close to matching its intensity. If you’ve seen the photo accompanying the Playboy interview, that is the all time best Kubrick Crazy Stare A good Kubrick stare can be approximated by tilting the head down so that you are staring from behind your brow line and opening your mouth to expose your bottom teeth: try to look as evil as you can. Examples of the stare can be found in his films:- Dr Strangelove When Turgidson is told off by the president and sits chewing his gum. 2001 Dave when he’s just re-entered Discovery and is walking toward the camera on his way to kill HAL. A Clockwork Orange Alex in the opening shot, when reacting to Dim’s reaction to the lady singing in the Milkbar; Mr. Alexander, after he knows Alex is his attacker and tells him of the death of his wife
The Kubrick Crazy Stare is the term his director of photography, Doug Milsome coined – as mentioned in the Lobrutto biography. Kubrick would flash the stare when upset (sometimes joking) and apparently no one else came close to matching its intensity. If you’ve seen the photo accompanying the Playboy interview, that is the all time best Kubrick Crazy Stare A good Kubrick stare can be approximated by tilting the head down so that you are staring from behind your brow line and opening your mouth to expose your bottom teeth: try to look as evil as you can. Examples of the stare can be found in his films:- Dr Strangelove When Turgidson is told off by the president and sits chewing his gum. 2001 Dave when he’s just re-entered Discovery and is walking toward the camera on his way to kill HAL. A Clockwork Orange Alex in the opening shot, when reacting to Dim’s reaction to the lady singing in the Milkbar; Mr. Alexander, after he knows Alex is his attacker and tells him of the death of his wife
In that showdown, and at several other times in the film, Kubrick indulges his favorite closeup, a shot of a man glowering up at the camera from beneath lowered brows. This was the trademark visual in A Clockwork Orange, and Jack Nicholson practiced it in The Shining. What does it mean? That Kubrick thinks it’s an interesting angle from which to shoot the face, I think.
— Roger Ebert, review of Full Metal Jacket
- Full Metal Jacket
- A Clockwork Orange
- The Shining
- Eyes Wide Shut
- Dr. Strangelove
- 2001: A Space Odyssey