He would read the script pages; then we would rewrite them and prepare them for shooting when we got to the studio, which was about an hour to an hour-and-a-half drive depending on the fog. For the final shooting script, as revised by Southern and Kubrick, is earmarked with Southern’s wacky, biting brand of black humor, starting with the two planes “coupling” during the opening credits. Stanley was very concerned about Slim being in London for the first time and asked me to greet him. 1964. Peter was under contract to A.I.P. Writing a Logline for a Character Driven Drama. During these conferences the hippie/dope caper premise went through quite a few changes. Kubrick would say, “Now what’s the most outrageous thing this guy [a character in the scene] would say at this point?” The thing about Kubrick is he’s not only extraordinarily creative, but he will encourage the other person to go all out, and not try to keep a “reasonable lid” on it. The first notion was that they not be bikers but a duo of daredevil car drivers barnstorming around the U.S. being exploited by a series of unscrupulous promoters until they were finally disgusted enough to quit. Paddy Chayefsky. Writers Guild honors include Best Written American Comedy for Dr. Strangelove. Kubrick is notorious for his organizational mania. Reader Question: Where to start when developing a story? Other books include Red Dirt Marijuana and Other Tastes, Writers in Revolt (coedited with Alexander Trocchi and Richard Seaver), The Log Book of “The Loved One,” The Rolling Stones on Tour — Log Book, and The Early Stones: 1962–1973. The Loved One (Tony Richardson). Then cut to the long shot of all these generals in a freeze frame. I understand you coached Sellers on his accent. People would call up the box office and be told there were no seats for Strangelove and asked if they would like to see The Victors instead. Easy Rider (Dennis Hopper and Peter Fonda). Co-script. “It’s too important to be treated in the conventional way. FADE IN: SLOW TRACK over dense cloud cover. It would be pitch black outside and really cold, and we would be in this cozy-rosey compartment, in a creative groove, working on the scene to be shot that day. 1965. But, as Liz Taylor said, “It’s hell on horses and women.” Because it’s a cultural desert.
But of course, he was hip enough to realize, a minute later, that their death was more or less mandatory. During their period of collaboration, Kubrick would pick up Southern at his London hotel in his chauffeured limousine at 5 A. M. , and they would work on the script en route to Shepperton Studios. We would occasionally dictate to an elderly woman typist who firmly believed in the arrival and presence everywhere of the inhabitants of Venus, so she would talk about this. Kubrick devoted five days to shooting this sequence. Terry Southern (1924–1995) 1955. So we began smoking dope in earnest and having a non-stop story conference. Then it was a question of replacing him. Then how did Dennis and Peter get included in the screenplay credits? Well, in the missing sequence, after taking one step he falls flat on his face and starts trying to get back in his wheelchair, but each time it scoots out of his grasp. Candy Kises (short subject) (David Burnett).
I think it was just the monetary thing.
When you first got together with Kubrick, did you start changing the tone of the script right away? About a week before shooting, he sent us a telegram saying he could not play a Texan, because he said it was one accent he was never able to do. It was ideal, although the circumstances may seem peculiar—in the back seat of a big car. Jack Nicholson as George Hanson in Easy Rider. Working with Stanley was terrific. It was very much like a train compartment. Stanley’s obsession with the auteur syndrome — that his films are by Stanley Kubrick — overrides any other credit at all. [Since I had] written this great best-seller, Candy, which was number one on the New York Times best-seller list for something like twenty-one weeks, my reputation eclipsed Stanley’s; so I got total credit for all the Strangelove success in Life, the New York Times, and other publications. It was only ten in the morning, so I asked Slim if it was too early for a drink. This symbolic coupling sets the tone for the sexual metaphors that are spread throughout the movie, underscoring the sexual obsessions of various characters, chiefly General Ripper, whose fear of impotency is symbolized by a limp cigar between his teeth. Columbia was embarrassed by the picture and tried to get people to see Carl Foreman’s The Victors instead. Not just writing but anything. Use the money to buy a boat in Key West and sail into the sunset was the general notion, and that was slated to be the film’s final poetic sequence. Well, Texas is probably a good place for a boy to grow up, in a Huck Finn sort of way, like one big outdoor playground, with a lot of hunting and fishing, Dad-and-Lad stuff going on. In a way it’s easy. He starts pushing him back across the floor, which by now is so deep in custard pies it resembles a beach—and sure enough we quickly pass the President and the Russian ambassador sitting there cross-legged like two children, doing sand castles, making mountains.
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