2:04:00
The other thing Stanley hated doing
was ever explaining himself.
2:04:04
"So, what's the film about, Stanley?"
2:04:06
He'd look down,
look away and not answer.
2:04:12
The same for a scene, "What do you
really want this scene to be?"
2:04:16
He'd never answer that.
2:04:18
Eyes Wide Shut seems to be
a rake's progress story.
2:04:22
He goes on an adventure that could
turn out any way.
2:04:26
It's an irresponsible adventure
for him to embark on.
2:04:29
It's a fantasy, isn't it?
It's a dream film.
2:04:32
I don't think we're supposed to
believe anything that we see.
2:04:36
One thing that people do have
a hard time with in the cinema. . .
2:04:40
. . .is ambiguity.
2:04:42
Ambiguity is great, but in the cinema
it's almost verboten.
2:05:02
Perhaps the most extraordinary example
of how a piece of music is used. . .
2:05:06
. . .to drive home something
about character and story. . .
2:05:11
. . .and atmosphere of a film
is in Eyes Wide Shut.
2:05:31
Please, come forward.
2:05:34
I was in Stalinist. . .
2:05:38
. . .terroristic Hungary. . .
2:05:40
. . .where this kind of music
was not allowed. . .
2:05:44
. . .and I just wrote it for myself.
2:05:47
Stanley Kubrick understood
the dramatics of this moment. . .
2:05:52
. . .and this is what he did in the
film. For me, when I composed it. . .
2:05:57
. . .in the year 50. . .