What was Stanley like to work for? Well, Stanley did value everyone that worked on the film, but he prized loyality as well. For that reason, Stanley would get quite nervous when someone who he wasn’t exactly familiar with started to work on one of his films. Stanley would use a specific group of people that he trusted on every film that he made, and frankly, I was also surprised by the fact that someone of Stanley’s stature wouldn’t be comfortable working with someone new as they came to the shoot. Every chance Stanley got, he would grill me about what I knew. He would ask me if I knew what I was doing and he would ask me how I knew that the way I was loading the film into the magazines was correct. You could go onto Stanley’s set being the utmost confident of your skills and training and he could just destroy you. He could say something like, “How do you know that the lens is going to remain sharp between 2 foot and 5 foot?” It was just brutal, but then after 6 weeks of that he finally became your friend. He was quite remarkable from that point-of-view. I can remember being called in to work on off days and when you’d get there Stanley would come in and have a chat with you in the camera room before you started. He was quite wonderful to work with once you gained his trust. Those first six weeks were complete hell on that shoot, but after that, Stanley really takes you into the fold and once you’re in, it sort of makes your career. —Camera Operator Peter Robinson talks about working with Stanley Kubrick and the making of The Shining
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The Ramones - The Rainbow Theatre, London, England, 1977
Another RIP. Oof. So long to Tommy Ramone, the unstoppable engine behind the Ramones (as well as the band’s producer [and manager in the early days]). Here’s they are showing England how it’s done in ‘77.