The Crew


"Stanley Kubrick was a friend of mine, insofar as people like Stanley have friends, and as if there are any people like Stanley now.  Famously reclusive, as I'm sure you've heard, he was in fact a complete failure as a recluse, unless you believe that a recluse is simply someone who seldom leaves his house."
--Michael Herr

"I like Stanley.  Stanley is funny and human and not as eccentric as he would perhaps prefer to appear.  My favorite movie is Dr. Strangelove, and Paths of Glory is one of the great classic war films.  I'd stand Stanley a glass anytime.  Two, maybe."
--Gustav Hasford
 


Stanley Kubrick
Producer, Director, Screenwriter

Born: July 26, 1928, the Bronx, New York
Died: Suffered a fatal heart attack in his sleep, March 7, 1999
Passions: Chess
Eccentricities:  Afraid of flying, rarely granted interviews, notorious for long film shoots and countless takes
Quote:  "Some people demand a five-line capsule summary.  Something you'd read in a magazine.  They want you to say, 'This is the story of the duality of man and the duplicity of governments.'  I hear people try to do it -- give the five-line summary -- but if a film has any substance or subtlety, whatever you say is never complete, it's usually wrong, and it's necessarily simplistic: truth is too multifaceted to be contained in a five-line summary.  If the work is good, what you say about it is usually irrelevant."

    After spending his early years in New York as a poor student yet avid chess player, Kubrick became a staff photographer for Look Magazine at age 17.   He directed his first film, Fear and Desire, in 1953 to mixed reviews, and in later years he came to so despise the film that he bought every print for himself to keep it from being shown.  His next two films, Killer's Kiss and the caper classic The Killing got the attention of Hollywood and led to Kubrick directing Kirk Douglas in Paths of Glory, which remains one of the most powerful anti-war films ever made.  After a tumultuous stint directing Spartacus and the break-down of plans to direct Jack Nicholson in One-Eyed Jacks, in addition to suffering his second divorce, Kubrick moved to England, permanently disenchanted with Hollywood.
    His subsequent works included Lolita (based on Nabakov's controversial novel), Dr. Strangelove: Or How I Learned To Stop Worrying and Love the Bomb (an absolutely hilarious satire starring Peter Sellers in multiple roles),2001: A Space Odyssey (hailed by many critics as one of greatest films ever made), A Clockwork Orange (an inflamatory adaptation of Anthony Burgess's novel, it provoked copycat violence across England, prompting Kubrick to pull the film from theaters) and Barry Lyndon (a deliberately-paced, beautifully-lit period drama).  Kubrick turned down the chance to direct a sequel to the hugely-successful The Exorcist, and instead made his own horror film, The Shining.  Author Stephen King publicly voiced his displeasure with Kubrick's adaptation of his novel, just as Burgess had done with A Clockwork Orange and Gustav Hasford was soon to do with Kubrick's next film, Full Metal Jacket.  Over the course of the film's lengthy production, Kubrick and Hasford waged a heated battle over how best to portray the Vietnam War and who deserved the most credit for the film.  Kubrick's final film, Eyes Wide Shut, was a bit of suspenseful eroticism that perplexed most moviegoers.
    Kubrick's unfinished projects included an epic biopic of Napolean, a story about Hollywood's first pornographic feature film, a Holocaust drama that was dropped once Steven Spielberg decided to film Schindler's List and A.I.: Artificial Intelligence, which was directed by Spielberg after Kubrick's death.  The acclaimed director and notorious recluse suffered a fatal heart attack in his sleep on March 7, 1999.


 
 
"Gus (Hasford) wrote a beautiful little book but was otherwise pretty nuts."
--Arliss Howard

"Hasford was, by Herr's own description, 'a scary man, a big, haunted marine', whom Kubrick was determined to meet.  'I advised him against it,' recalls Herr.  'I told Stanley I didn't think they'd get on.'  Kubrick insisted, Hasford duly came over to Britain and there was a dinner during which Kubrick passed Herr a note saying: 'I can't deal with this man.'  From then on, Hasford was dismissed from the maestro's presence."
--Interview with Michael Herr
 


Gustav Hasford
Screenwriter

Born: November 28, 1947, Haleyville, Alabama
Died: Of complications from diabetes, January 29, 1993, on the Greek island of Aegina
Passions: Beer, book collecting, the Civil War
Eccentricities:  Sentenced to six months in jail for possessing 748 library books that he said were simply "overdue." 
Quote:  "I've always considered everyone in the movie business to be a little insane, and the whole thing (to be) sort of a chase for fairy gold . . .I trust Stanley, but I always kept both of my eyes open.  I didn't want to make another film that veterans are just going to go see and go, 'Oh, wow, we've been ripped off again."

    Gustav Hasford knocked around the small town of Russellville, Alabama, covering car wrecks for the local paper and reading voraciously, until 1967, when he joined the Marines and found himself in Vietnam, serving as a combat correspondent with the First Marine Division in locations like Hue City and Khe Sanh.  While still in Vietnam, Hasford began writing his first novel, which would take seven years to finish and another three years to sell.  Along the way, the book went through several different variations.  While a student at a Washington State community college, Hasford penned a story titled "Is That You, John Wayne? Is This Me?" which appeared in the student literary magazine.  The story consisted of a confrontation, between an angry colonel and a recruit wearing a peace button, that would eventually find its way into the final novel, as well as the resulting film version.  At one point, Hasford's book even morphed into a Civil War era story titled The Tattooed Chicken
    First released in 1979, The Short-Timers was hailed by Newsweek as the "finest work of fiction about the Vietnam War."  After spending part of the 70s living in his car, working late nights at a seedy hotel and writing for pornographic magazines under the pseudonym George Gordon, Hasford suddenly found himself conducting marathon phone conversations with Stanley Kubrick, once the legendary director optioned the rights to Hasford's novel in 1982.  After the release of Full Metal Jacket, Hasford published a sequel to his first novel titled The Phantom Blooper, which detailed Private Joker's time as a POW and his resulting transformation into a Viet Cong sympathisizer.  Hasford expected that the book would strike a blow against the gung-ho, right-wing Rambo mentality pervading the country, in addition to making him a lot of money and proving to the world once and for all that his was the true genius behind FMJ.  Unfortunately, The Phantom Blooper achieved none of that.  It received virtually no critical attention and sold very little, never making it past the first hardcover printing.
    In the wake of FMJ, which should have been his crowning moment, Hasford was instead already better known for his infamous collection of stolen library books than for any of his creative output.  In 1989, Hasford was sentenced to six months in the San Luis Obispo county jail for stealing 748 library books from libraries across the country.  After his release, Hasford began devoting his creative energies to exposing the "moral majority conspiracy" that he was convinced had railroaded him.  His final novel was the first in a proposed series of hard-boiled, Hollywood detective stories.  Wretchedly bitter and terribly cliched, the book, A Gypsy Good Time, disappeared almost immediately.
    Struggling with writer's block and drinking heavily, Hasford moved to Greece in 1992, despite the objections of his friends.  On January 29, 1993, he lay down in his motel bed after a night of drinking and never rose again.  The cause of death was listed as complications arising from untreated diabetes.  Hasford left behind several unfinished projects, including a third Vietnam War novel, a biography of his favorite author, Ambrose Bierce, and a long-rumored Civil War project.  Despite his wish to be buried on the beach where the pretty girls could sit on his face forever, Hasford was instead laid to rest in Russellville, Alabama. 


 
 
"The other day (Kubrick) threatened to hire Michael Herr to help him write the film.  I told him, be my guest.  Stanley can't replace me...Michael Herr can rite gud, but he wasn't a Marine, he was just a very perceptive tourist."
--Gustav Hasford
 


Michael Herr
Associate Producer, Screenwriter

Born:  1940, Syracuse, New York
Eccentricities:  Lives in seclusion in England
Quote:  (On Dispatches) "Vietnam is awkward, everybody knows how awkward, and if people don't even want to hear about it, you know they're not going to pay money to sit there in the dark and have it brought up.  (The Green Berets doesn't count.  That wasn't really about Vietnam, it was about Santa Monica.)  So we have all been compelled to make our own movies, as many movies as there are correspondents, and this one is mine."

    Among the most private of contemporary writers, Michael Herr has revealed little of his personal life.  Born and raised in Syracuse, New York, he attended Syracuse University before moving to New York City, where he worked in the editorial offices of Holiday magazine and produced articles and film criticism for such periodicals as Mademoiselle and the New Leader.  In 1967, Herr persuaded the editor of Esquire magazine to send him to Vietnam.  He stayed there for over a year, with no particular assignment, unencumbered by deadlines, publishing only a few pieces in Esquire.   It was only in 1977, with the publication of his memoir Dispatches, that Herr finally wrote extensively about the war.  The book has been called the most brilliant American literary treatment of the Vietnam War.
    Herr's other works include The Big Room, Walter Winchell and an appreciation of Stanley Kubrick titled simply Kubrick, as well as the narration for Francis Ford Coppola's Apocalypse Now.  At last report, Herr lives in London.


 
 
"We had demolition guys in there for a week, laying charges. One Sunday, all the executives from British Gas brought their families down to watch us blow the place up. It was spectacular. Then we had a wrecking ball there for two months, with the art director telling the operator which hole to knock in which building."
--Stanley Kubrick
 


Anton Furst
Production Designer

Born:  May 6, 1944, London, England
Died:  Committed suicide, November 21, 1991, Los Angeles, California
Quote:  "My job, basically, is to work out, from the script, what we require the camera to look at, apart from the actors.  It is, to a certain extent, illustration, but you're obviously going into a totally different kind of reality with film work. The whole art, method, form of making something which is illustrational for film is a completely different technique. You're obviously talking on a much bigger scale for a start, and you're talking in a much more three-dimensional sense, So, you've got to know enough about filmmaking to know what not to build and what not to do."

    Born in England, Anton Furst was trained at the Royal College of Art in London.   After doing uncredited special effects work on 1979's Alien and Moonraker films, Furst served as production designer on director Neil Jordan's eerie, adult fairy tale, The Company of Wolves.   Furst scored his biggest success with 1989's Batman, when his designs for a gothic, metal Gotham City earned an Oscar for Best Art Direction.  Batman director Tim Burton had initially approached Furst about working on Beetlejuice, but at the time, Furst was in the midst of his two year stint on Full Metal Jacket, transforming an abandoned English gasworks into the war-torn Hue City.  Following the success of Batman, Furst moved to Hollywood and rented a house in the Hollywood Hills, where his gold Oscar statuette adorned the toilet top in the guest bathroom.  Not content designing the Planet Hollywood in New York,  Furst tried in vain to find work as a director.  Contractual obligations kept him from re-teaming with Tim Burton for Batman Returns.  Separated from his wife, sinking deeper into substance abuse, Furst was supposedly on the verge of checking into rehab in 1991, when he told some friends he was going to the car to fetch his cigarettes and jumped off an eighth story parking deck. 


 
 

Vivian Kubrick
Composer

Born: August 5, 1960

    Stanley Kubrick's youngest daughter, Vivian Vanessa Kubrick, composed FMJ's haunting score under the name "Abigail Mead."  The alias was inspired by the Kubrick family home, named Abbott's Mead.  Director Kubrick had initially envisioned a score that featured Japanese drum compositions, but after hearing an original piece his daughter had recorded, he asked her to score the entire film.  Her soundtrack spawned a minor hit in the UK with the song "I Wanna Be Your Drill Instructor," which put some of R. Lee Ermey's FMJ dialogue to a rap beat.  Ms Kubrick also made an uncredited appearance in FMJ, as a news camera operator filming the mass grave.  She had previously made uncredited appearances in The Shining, Barry Lyndon and 2001: A Space Odyssey.  In 1980, at the age of 17, she directed, filmed and edited Making The Shining,  the only Behind the Scenes documentary her father ever allowed for one of his films.  Ms Kubrick's other film score work includes The Mao Game, a 1999 drama starring Kirstie Alley, and an unused score for her father's final film, Eyes Wide Shut.


 

Produced by
Jan Harlan ....  executive producer
Michael Herr ....  associate producer
Philip Hobbs (II) ....  co-producer
Stanley Kubrick ....  producer
 

Non-Original Music by
Jeff Barry (I)   (song "Chapel of Love")
Tom T. Hall   (song "Hello Vietnam")
Lee Hazlewood   (song "These Boots Are Made For Walking")
Mick Jagger   (song "Paint it Black")
Keith Richards (II)   (song "Paint it Black")
Domingo Samudio   (song "Wooly Bully")
 

Cinematography by
Douglas Milsome

Film Editing by
Martin Hunter (I)

Casting by
Leon Vitali

Production Design by
Anton Furst

Art Direction by
Keith Pain
Rod Stratfold
Leslie Tomkins   (as Les Tomkins)

Set Decoration by
Barbara Drake (II)

Costume Design by
Keith Denny

Makeup Department
Jennifer Boost ....  co-makeup artist
Leonard (I) ....  hair stylist

Production Management
Philip Kohler ....  production manager (as Phil Kohler)

Second Unit Director or Assistant Director
Terry Needham ....  first assistant director
Ken Shane ....  third assistant director
Chris Thompson (I) ....  second assistant director (as Christopher Thompson)
Nikolas Korda ....  third assistant director (uncredited)

Art Department
Steve Allett ....  standby prop
Frank Billington-Marks ....  propman
John Chapple ....  supervising painter
Alan Cheevers ....  plasterer
Leonard Chubb ....  painter
Winston Depper ....  dressing prop
Philip Elton (II) ....  draughtsman
Anthony Frewin ....  art department researcher
Danny Hunter (I) ....  standby prop
Brian Morris (III) ....  standby construction
Nigel Phelps ....  assistant art director
Michael Quinn (III) ....  plasterer
George Reynolds (II) ....  standby construction
Tom Roberts (IV) ....  painter
Andrew Rothschild ....  assistant art director
Steve Simmonds ....  set dresser (as Stephen Simmonds)
Paul Turner (IV) ....  chargehand prop
Brian Wells ....  property master
Mark Wilkinson (II) ....  carpenter

Sound Department
Paul Conway (I) ....  assistant sound editor
Peter Culverwell ....  assistant sound editor
Mike Dowson ....  dubbing mixer
Nigel Galt ....  sound editor
Joe Illing ....  dialogue editor
Andy Nelson (I) ....  dubbing mixer
Edward Tise ....  sound editor
Edward Tise ....  sound recordist
Martin Trevis ....  boom operator

Special Effects by
Alan Barnard ....  senior special effects technician
Jeff Clifford ....  senior special effects technician
Peter Dawson (IV) ....  special effects senior technician
John Evans (III) ....  special effects supervisor

Visual Effects by
Eddie Butler (II) ....  modeller

Other crew
Margaret Adams (III) ....  production coordinator
Ken Arlidge ....  aerial camera operator
John Birkinshaw ....  wardrobe master (as John Birkenshaw)
Jean Marc Bringuier ....  steadicam operator
Rona Buchanan ....  editor trainee
Paul Cadiou (I) ....  production accountant
Joseph Cline ....  production assistant
Matthew Coles ....  production runner
Rita Dean ....  assistant accountant
Marion Dougherty ....  additional casting
R. Lee Ermey ....  technical advisor (as Lee Ermey)
Jane Feinberg ....  additional casting
Mike Fenton ....  additional casting
Anthony Frewin ....  assistant: Stanley Kubrick
Helen Gill (II) ....  wardrobe assistant
Linda Glatzel ....  nurse
Stewart Hadley ....  generator operator
Manuel Harlan (II) ....  video operator
Simon Mills (I) ....  clapper loader: second unit
Douglas Milsome ....  lighting cameraman
Julie Robinson (III) ....  continuity
The Rolling Stones ....  music performers: "Paint it Black"
Domingo Samudio ....  singer: "Chapel of Love" and "Wooly Bully" (as Sam the Sham & the Pharaohs)
Michael Shevloff ....  production runner
Jonathan Taylor (II) ....  first assistant camera
Leon Vitali ....  assistant to director
John Ward (II) ....  steadicam operator
Bob Warren (II) ....  helicopter pilot
Marc Wolff ....  aerial coordinator
Jason Wrenn ....  assistant camera
Bill Wright (II) ....  unit driver
 
 
 

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