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. . .
2:06:00
. . .it was the most desperate.
2:06:03
It was a knife in Stalin's heart.
2:06:30
He had that director's disease. . .
2:06:33
. . .of really imagining the easy part
of it until you get there, you know.
2:06:38
I'm sure he didn't go into Eyes Wide
Shut expecting to shoot for 1 4 months.
2:06:43
I thought the same thing, I said,
"I'll be out of here in three days. "
2:06:48
The first scene we did in two hours,
that night at the house. . .
2:06:51
. . .where they come in and say hello.
2:06:54
I said "What are all these things
I hear about it taking forever?
2:06:58
I went there, three hours later
I was back at the hotel in London. "