1:16:01
Stanley was accused
of inciting violence. . .
1:16:05
. . .and it became very, very ugly.
1:16:08
He got terrible letters, you know,
almost death threats.
1:16:13
There were some death threats.
1:16:15
He asked Warner's,
"Can you please help me?
1:16:18
I can't live here
if this keeps going on.
1:16:21
I'm afraid to send my children to
school, my house is besieged.
1:16:26
I don't want
to show the film anymore. "
1:16:29
A Clockwork Orange had been playing
successfully for 61 weeks. . .
1:16:33
. . .but press attacks and threats of
violence against him and his family. . .
1:16:39
. . .drove Kubrick to withdraw the film
from British cinemas.
1:16:42
It was an astonishing display
of director power.
1:16:46
What came over to us was that
a filmmaker should have. . .
1:16:50
. . .the kind of power that he had
to be able to do it.
1:16:54
There's no other filmmaker who could
stop a studio distributing their film.
1:16:59
Studios are about making money.
1:17:02
For him to be able to do that
was always astonishing to us.
1:17:06
I remember me as a young
filmmaker thinking:
1:17:09
"That's extraordinary. "
1:17:11
But more than that is, actually,
he had the will to do it.
1:17:15
It hurt him financially,
but he didn't care.
1:17:18
It hurt Warner Bros. even more
financially, but they obliged.
1:17:22
It wasn't worth it to them.
1:17:24
Having peace with Stanley, and making
more films with Stanley.
1:17:29
Having him under contract for the
rest of his life was more important. . .
1:17:33
. . .than if the film played in England.
1:17:36
For the release of the film, Kubrick
went beyond the role of a director. . .
1:17:40
. . .persuading Warner Bros. about
how the film should be sold.
1:17:45
If you've taken all the trouble
with preproduction, shooting. . .
1:17:49
. . .with the postproduction
and trying to get the film together. . .
1:17:54
. . .and approach it in so many ways. . .
1:17:56
. . .why do you not be a part of it
just when the public's gonna see it?