 One of his pictures are equivalent to ten of somebody else's. You know, you go to movies, you go to movies to be, to be involved in the picture, to get a sense, I just want to, I want to lose myself up in that screen for a few hours, and in a sense, notice like to be human. Then you come across certain kinds of films that when you go to the theatre and when you see them, you're completely surprised. They make you look at life a different way, they make you look at being human a different way. They touch areas that you don't want to touch sometimes, it's provoke you. And then there's that rarest of films where when you see it continually over years, 10, 15, 20, 30, 40 years, you still see more in it. And what's even better is that if you're making pictures, you go back to this well, this source for A, inspiration, and B, and maybe it should be A, is to learn, to learn how to make pictures, to learn. And remember when you get tired, especially if you make 10 or 12 films in your life, you get tired and you say, why, how can I get that better? What can I do? You look at that source, you look at that inspiration, you say, well, Kubrick, Kubrick wouldn't let it stay this way. He would have changed that angle, he would have worked it out, he would have tried to figure out getting more time to shoot the scene this way or that way, he would have really seen it through to its end. And for that inspiration, I must say, I must say, it's looking at his films. And there's many ways I look at his films, besides on a big screen, I like watching on television, I like watching with the sound off. Sometimes you can see the rhythm of the cutting and the camera moves. And when he cuts in a two shot conversation, the classic one is Mr. Grady, Jack Torrance in the back from crossing the invisible line with the red background, the cuts. And when he cuts, when he destroys the invisible line, and when the shot gets tighter, on which line of dialogue. Did you know, Mr. Torrance, that you're savvy? As a filmmaker, you have to tell a story to the audience. And in so doing, you have to translate it through an image, which means that you direct the eye and the heart to look in a certain way, the way you want it to be, the way you want them to see it. And I never saw anybody tell a story that way. Pretty much every one of the films, pretty much every one of the films, you could study the shots. But first of all, if you don't go study the shot, you go look at the movie and it affects you or it doesn't affect you. They affected me. And then I went back, when I began to learn more about filmmaking, I went back and I kept saying, why is that one so powerful? Why is it so powerful? I went back and I tried to trace backwards the shots. And then eventually, you know, eventually it was, I started making films before there was video. So I had to do this going from theater to theater, you know. So it was a different thing, I was trying to write down notes. So why does something stay with you for so many years? Why do the tracking shots and pads of glory stay with you? It's really a person with a very strong, powerful storytelling ability, talent, genius, who could create a solid rock image that has conviction and that that is the image. What's in that frame stays in that frame. What isn't in the frame is out. And that's it. You have to compose it in that frame. I didn't know he was a still photographer before. And it's of course the still photography, once you get that image, but then it moves. Still cameras don't move, you know. And so it has this extraordinary authority saying, look, I'm going to tell you the story this way and you're going to see it this way. Then you add to that what I feel about this picture is when you add to that, you add to that, assuming there's good and there's bad, assuming something is wrong and something is right, what are we ultimately as human beings? Are we fundamentally good? Are we fundamentally bad? I think there's where you... That's why you can watch these films again and again and again. The shining is fascinating for that. It's really all going on in his head. Jack's head, you know. He'll leave an eyes wide shut with the husband touching areas that he probably should have left alone, you know, being too confident about himself and relationship. Remarkable film, remarkable. And the more you see eyes wide shut, the more you get involved in that world, at a certain point you don't want to because it's too painful. When I went to see it, I expected much more than a film. And I said, we got it. Hey everyone, I hope you enjoyed. Obviously this week's video was a bit different than usual. I'm working on a bigger video for next week and felt a little bit behind after the holidays. I needed some more time to catch up. I've also wanted to try content that's a little bit different than usual, and this was the perfect excuse to do that. Anyway, please let me know if you want more content like this or if I should just stick to the film dissection. If you're not already, be sure to hit that subscribe button. And if you want more Kubrick and Scorsese, I put a playlist of all of my videos on their films. Thanks for watching and I will see you next week. Again, I'm really excited to share that one with you.