http://www.digitalspy.com/tv/twin-peaks/news/a832484/twin-peaks-david-lynch-scenes-art-inspiration/

http://www.faithistorment.com/2016/04/three-dimensional-paper-art-by-ruben-martinez.html

FILM 1275: PATHS OF GLORY

TRIVIA: In 1969, Kirk Douglas recalled about the film "There's a picture that will always be good, years from now. I don't have to wait 50 years to know that; I know it now".

Winston Churchill claimed that the film was a highly accurate depiction of trench warfare and the sometimes misguided workings of the military mind.

Banned in Spain by the censorship under General Francisco Franco's dictatorship, for its anti-military message. It wasn't released until 1986, 11 years after Franco's death.

For box office reasons, Stanley Kubrick intended to impose a happier ending. After several draft scripts he changed his mind and restored the novel's original ending. Producer James B. Harris then had to inform studio executive Max E. Youngstein and risk rejection of the change. Harris managed by simply having the entire final script delivered without a memo of the changes, on the assumption that nobody in the studio would actually read it.

The title is a quotation from Thomas Gray's 'Elegy written in a country churchyard': "The paths of glory lead but to the grave".

Director Stanley Kubrick met Christiane Kubrick (then Christiane Harlan) during filming; she performs the singing at the end of the film. He divorced his second wife the following year to marry her, and they remained married until his death in 1999.

Actor Richard Anderson remembered, "The trench was gruesome. It just reeked, and then the weather was so lousy - it was cold, it was freezing and overcast and gray. We were all sick. We all had colds, we were all sick from the first week. We all looked awful, but it certainly added to the movie."

The film was shot near Munich, Germany, and most of the men playing French soldiers were actually off-duty officers from the Munich Police Department.

Stanley Kubrick's numerous fluid tracking shots required that the trenches be two feet wider than the original World War I trenches - six feet as opposed to four feet - to allow room for the roving camera dollies. Although the technical director did object to the widening, the duckboards the camera rolled on were authentic.

In an early attempt to sell the project to a studio, Stanley Kubrick and producer James B. Harris rented military uniforms and gathered several male friends to pose for a photograph that would capture the essence of their story. They affixed the photo to the cover of each screenplay copy.

FILM 1185: THE KILLING

TRIVIA: Initial test screenings were poor, citing the non-linear structure as the main problem. Stanley Kubrick was forced to go back and edit the film in a linear fashion, actually making the film even more confusing. In the end, it was released in its original form, and is often cited as being a huge influence on other non-linear films like Reservoir Dogs (1992) and Pulp Fiction (1994).

The narration was added at the studio's insistence. Stanley Kubrick hated the idea and thus makes much of the information that the narrator provides false or mistaken.

The location where John Clay (Sterling Hayden) proposes the deal to Maurice Oboukhoff (Kola Kwariani) is a mock-up of the 42nd Street Chess and Checker Parlor in New York City. Director Stanley Kubrick was a regular chess player there, as was Kola.

Kirk Douglas was so impressed with this film that he sought out the director for his next project, Paths of Glory (1957).

Stanley Kubrick initially wrote a script outline. He then asked Jim Thompson to flesh it out with dialog.

FILM 1178: BARRY LYNDON

TRIVIA: Contrary to legend, this film did use artificial lighting in some scenes (for example, when Brian learns he's getting a horse). However, it is true that no electronic lighting was used for the candle-lit scenes. A lens built by the Carl Zeiss company for N.A.S.A., a fifty millimetre Zeiss lens modified with the Kollmorgen adaptor used in still cameras, was used to shoot scenes lit only by candle. This lens had the largest aperture of any ever built for movie use (f/0.7).

Many of the shots were composed and filmed in order to evoke certain eighteenth century paintings, especially those by Thomas Gainsborough.

Production was moved from Ireland to England after Stanley Kubrick received word that his name was on an IRA hit list for directing a film featuring English soldiers in Ireland.

Stanley Kubrick used to play the soundtrack's classical music during takes to get the actors in a better mood. He was reportedly influenced by Sergio Leone's method in Once Upon a Time in the West (1968).

Stanley Kubrick instructed Marisa Berenson to keep out of the sun in the months before production in order to achieve the period-specific pallor he required.

A myth grew that the Academy Award-winning costumes used in the film were genuine antique clothes, but this is only partly correct. Some of the costumes were genuine antiques bought at auction by costume designer Milena Canonero, while others were custom-made specifically for the film and were based on clothing of the period and costumes seen in period paintings.

When Barry inquires about a painting, he is told it was painted by a man named "Ludovico Corde". This is a misspelling in the DVD subtitles, probably due to the pronunciation; the artist's name was Ludovico Cardi AKA "il Cigoli" and he actually was a disciple of Alessandro Allori, as it said in the movie. Interestingly, Kubrick's previous film, A Clockwork Orange (1971), prominently features a Ludovico process.

According to Stanley Kubrick's biographer, Robert Redford was the original choice for the role of Barry Lyndon but turned it down.

Brian Blessed was cut out of the final print.

Film 953: Room 237

A subjective documentary that explores the numerous theories about the hidden meanings within Stanley Kubrick's film The Shining (1980). The film may be over 30 years old but it continues to inspire debate, speculation, and mystery. Five very different points of view are illuminated through voice over, film clips, animation and dramatic reenactments. Together they'll draw the audience into a new maze, one with endless detours and dead ends, many ways in, but no way out.