come on! come on, come on, what are you staring for? come on! robinson apparently tired, punched with a fairly well and rocked jake lamotta right to his heels. come on, ray. a director and actor find a story at the right time and the right place. and out comes this amazing combination of cinematic virility and absolute fear. it s like watching an animal. i think raging bull is a great title and the film fulfills the promise. the reality of the boxing and the great slow motion, all the black and white gore. the violence of the flashbulbs going off. when he designed the movie, marty purposefully, he didn t put a clutch on the film. there s no clutch. hey, ray, never went down, man. you never got me down, ray. raging bull is a boxing movie for people who don t like boxing because it s really not about that. it s about this man, jake lamotta, who was based on a real person, who s really at war with himself. come on. harder. harder. i didn t really unde
About horror. it s about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley kubrick. mom! it was as if i had been in the overlook hotel for two and a half hours. he creates a pacing where it overtakes the way you re breathing and the way you re existing, and you re in there. in all kubrick films, he controls you. kubrick s steady cam work in the shining broke new ground. the steady cam gave stanley a chance to put us in a scene that didn t have any time constraints. you get so hypnotized being behind that tricycle. you don t even see his face. you re behind it, which leads to one of the scariest shots in the movie.
Kubrick because you re going to see something you never saw before, and he did that in, think about it, every genre. he s going to make a horror movie, it s going to be the horror movie done in a way that you would not expect. to me the shining isn t about horror, it s about dread. from the very first frame, something grabs your solar plexus and pulls on it. nobody uses silence like stanley kubrick. mom? it was as if i was in the overlook hotel for 2 1/2 hours. he creates a pacing where it overtakes the way you re breathing and you re existing and you re in there. in all films, he controls you. kubrick s steady cam work in the shining broke new ground. the steady cam gave stanley a