Dowd, Vincent (16. august 2013). «The 'adventure' of working with Kubrick». BBC News(engelsk). Besøkt 6. februar 2020. «As Sir Ken recalls it, once in Ireland Kubrick changed totally. "He saw himself as General Rommel, who he admired greatly. He equipped all of us with Volkswagens so we became a complete mobile unit driving around Ireland finding locations.»
«Barry Lyndon». Box Office Mojo. Besøkt 21. desember 2019.
bscine.com
«BSC Members | British Society of Cinematographers». bscine.com. Besøkt 19. desember 2019. «Alcott preferred lighting that appeared natural and did not draw attention to itself. His ideas meshed perfectly with those of Kubrick, and the two developed their ideas about "natural" lighting in two landmark films, A Clockwork Orange (1971) and Barry Lyndon, which incorporated scenes shot entirely by candlelight.»
centralcinema865.com
«Barry Lyndon». Central Cinema(engelsk). Arkivert fra originalen 21. desember 2019. Besøkt 21. desember 2019.
Jaunas, Vincent (4. desember 2017). «Acting out of the World: The Distancing and Underplaying of the Main Actors in 2001: A Space Odyssey and Eyes Wide Shut». Cinergie – Il Cinema e le altre Arti. 12 (engelsk). 6: 73–82. ISSN2280-9481. doi:10.6092/issn.2280-9481/7343. Besøkt 24. november 2019. «This article focuses on Performance Studies in an effort to integrate acting – this little-studied aspect of Kubrick's filmography – within a broader aesthetic analysis. By comparing the main actors and actresses of 2001: A Space Odyssey and Eyes Wide Shut, I suggest those two films can shed light on the way Kubrick collaborated with performers in order to confront various acting styles, thus creating a specific aesthetics of distancing. I connect those two works through the exploration of underplayed main roles and a loss of the characters' physical relation to the world which may be breached in the endings.»
Gleiberman, Owen (19. mars 1999). «Stanley Kubrick's Films». EW.com(engelsk). Besøkt 26. november 2019. «After two voyages into the future, Kubrick set himself an ultimate aesthetic challenge: He’d make a costume drama, a brocade-and-powdered-wig period piece so unprecedented in its authenticity that it would seem as enigmatic — and compelling — to modern audiences as a visit to another galaxy. The now famously overdeliberate Kubrick rhythms grow all the slower here (to many a viewer’s impatience), yet only because the brutality that lurks beneath civilization’s facade is so coiled in its destructive force.»
«Barry Lyndon». www.goldenglobes.com(engelsk). Besøkt 19. desember 2019.
hollywoodreporter.com
«Todd McCarthy: The 7 Directors Who Should Make Spielberg's 'Napoleon'». The Hollywood Reporter(engelsk). 7. mars 2013. Besøkt 7. desember 2019. «On the other hand, Kubrick's script is a great blueprint for a potentially incredible film; after reading it, I urgently want to see it on the screen. All the essays in the Taschen volume correctly stress that the published screenplay would have been revised through more drafts and then during production; Kubrick estimated that the script he wrote probably would result in a film of about 200 minutes, though he also spoke of making a two-part, six-hour film.»
independent.co.uk
«Marisa Berenson on the making of Barry Lyndon». The Independent(engelsk). 13. juli 2016. Besøkt 29. april 2020. «When shooting was finally completed, O’Neal annoyed Kubrick by making critical remarks about the movie in the press. (He may have been jealous that Berenson, not him, had appeared on the cover of Time magazine, billed as Kubrick’s latest muse in the director’s “grandest gamble".) It was therefore left to Berenson to go on a world publicity tour on her own.»
independent.ie
«Kubrick in Ireland: the making of Barry Lyndon». Independent.ie(engelsk). Besøkt 16. november 2019. «In the spring of 1973, a movie circus arrived in Ireland - the like of which had surely never been seen before. The great Stanley Kubrick, maker of such instant 1960s classics as Dr. Strangelove and 2001: A Space Odyssey, had come here to shoot a typically ambitious period drama based on a story by William Makepeace Thackeray. He would spend almost a year touring the great houses and castles of south-east.»
Schickel, Richard (18. desember 2005). «Kubrick, in action». Los Angeles Times(engelsk). Besøkt 5. desember 2019. «More often, he preferred to minimize dialogue (“2001: A Space Odyssey,” “Barry Lyndon,” “The Shining”) as he pursued an ideal many directors share -- telling his stories primarily through images, using actors more as design elements than as active carriers of ideas.»
«Kubrick's 'Barry Lyndon' Is Brilliant in Its Images». New York Times. 19. desember 1975. Besøkt 21. november 2019. «As in every Kubrick film, the musical score is special indeed, though no one element in this film can stand apart from the others. They all fit together. "Barry Lyndon" is another fascinating challenge from one of our most remarkable, independent-minded directors.»
nytimes.com
Saxon, Wolfgang (3. august 1986). «John Alcott, an Oscar Winner for Cinematography, Is Dead». The New York Times(engelsk). ISSN0362-4331. Besøkt 19. desember 2019. «The London-born Mr. Alcott reached prominence with four Kubrick films: 2001: A Space Odyssey,A Clockwork Orange,The Shining, and Barry Lyndon, for which he won the Oscar and was named the outstanding cinematographer of 1975 by the National Society of Film Critics.»
Sobczynski, Peter. «Stanley Kubrick's». www.rogerebert.com(engelsk). Besøkt 16. november 2019.
Ebert, Roger (20. september 1975). «Barry Lyndon movie review & film summary (1975) | Roger Ebert». www.rogerebert.com(engelsk). Besøkt 16. november 2019. «Some people find “Barry Lyndon” a fascinating, if cold, exercise in masterful filmmaking; others find it a terrific bore. I have little sympathy for the second opinion; how can anyone be bored by such an audacious film, unless they’ve become such passive filmgoers that no movie can involve them unless it caters to them? “Barry Lyndon” isn’t a great success, and it’s not a great entertainment, but it’s a great example of directorial vision: Kubrick saying he’s going to make this material function as an illustration of the way he sees the world.»
Ebert, Roger (22. oktober 2011). «Knocked up at the movies | Roger Ebert's Journal | Roger Ebert». www.rogerebert.com(engelsk). Besøkt 19. desember 2019. «She was the most powerful, loved and hated film critic of her time, but her work cannot be discussed objectively by simply reading it. She challenges you on every page, she's always in your face, and she functioned as the arbiter of any social group she joined. She was quite a dame.»
Johnson, G. Allen (21. mars 2018). «Kubrick’s ‘Barry Lyndon’ a visual masterpiece that pops on Castro’s big screen». SFGate. Besøkt 7. desember 2019. «History has sided with Scorsese. In an art house era of often inscrutable films (not a dig, but a compliment), it is now rightly regarded as a masterpiece, and 42 years later its technical innovations are still eye-popping. … Perhaps Kubrick’s greatest achievement, though, is the authenticity of “Barry Lyndon.”»
telegraph.co.uk
Robey, Tim (27. juli 2016). «Kubrick by candlelight: how Barry Lyndon became a gorgeous, period-perfect masterpiece». The Telegraph(engelsk). ISSN0307-1235. Besøkt 21. november 2019. «In the early Seventies, Stanley Kubrick was enjoying one of the most extraordinary positions the film industry has ever given a director/producer. His last three films – Dr Strangelove (1964), 2001: A Space Odyssey (1968) and A Clockwork Orange (1971) had been, in their different ways, global sensations, all three earning him Best Director nominations at the Oscars, and securing his reputation as a perfectionist auteur who loomed larger over his movies than any concept or star. "Kubrick" was by now an imprimatur of a certain style, and one that his current studio, Warner Bros, was eager to bankroll wherever it might lead them.»
Collin, Robbie (29. juli 2016). «Marisa Berenson on Kubrick, modelling, and regrets : 'I wish Dali had painted me nude'». The Telegraph(engelsk). ISSN0307-1235. Besøkt 19. desember 2019. «Then there were the constant retakes. One of Berenson’s lines (she only has 13) took more than 50 attempts to meet Kubrick’s approval, and a two-minute scene in which she sits in the bath and does absolutely nothing, apart from take her husband’s hand then kiss him, took two days to perfect. “He never gave me a single direction,” she says. “I can’t tell you how I played it. I just felt it.”»
Robey, Tim (25. mars 2017). «The Lost City of Z director James Gray on braving crocodiles and tussling with Harvey Weinstein». The Telegraph(engelsk). ISSN0307-1235. Besøkt 15. desember 2019. «You know what I’m saying, it’s totally vapid? So it’s a strange movie because his character is a cipher. Not because of the performance, but because, narratively, it’s a little dysfunctional. I’m sounding like a jerk, because I’m complaining about Barry Lyndon! That’s not what I mean, Barry Lyndon is amazing. But it’s a strange movie. I’m not sure it operates on the level of his intent. As we know, artistic intent is meaningless. But even so, intent is not clear, and how the film operates ultimately is not clear.»
«Stanley Kubrick: the Barry Lyndon archives – in pictures». The Guardian. 10. desember 2015. «Page from research book with fabric swatch. Jan Harlan: ‘Stanley would look through art books himself; he would pick out paintings which he would then give to the designers and say, “This is what I want.” Stanley would pick up on and pay great attention to little details: for example, he noticed the paintings showed us that tables were often placed near windows; this makes total sense as daylight was so important. We don’t really think about that sort of thing now.’»
Houston, Penelope (5. september 2001). «Obituary: Pauline Kael». The Guardian(engelsk). ISSN0261-3077. Besøkt 19. desember 2019. «Pauline Kael, the immensely influential critic of the New Yorker magazine from 1968 to 1991, who has died aged 82 from Parkinson's disease, always insisted that she was also writing about life - "the sense of the way movies interacted with public life".»
Pulver, Andrew (4. april 2019). «Stanley Kubrick's best films – ranked!». The Guardian(engelsk). ISSN0261-3077. Besøkt 16. november 2019. «As always, Kubrick pushed the boat out technically, using Nasa lenses on those wondrous candlelit card-game scenes, and took his fondness for choreographing action to classical pieces to possibly its most intense pitch, as Barry courts Marisa Berenson’s Lady Lyndon to Schubert’s Trio No 2, a Gainsborough portrait come to life. Barry Lyndon really is a flawless film.»
Jaunas, Vincent (4. desember 2017). «Acting out of the World: The Distancing and Underplaying of the Main Actors in 2001: A Space Odyssey and Eyes Wide Shut». Cinergie – Il Cinema e le altre Arti. 12 (engelsk). 6: 73–82. ISSN2280-9481. doi:10.6092/issn.2280-9481/7343. Besøkt 24. november 2019. «This article focuses on Performance Studies in an effort to integrate acting – this little-studied aspect of Kubrick's filmography – within a broader aesthetic analysis. By comparing the main actors and actresses of 2001: A Space Odyssey and Eyes Wide Shut, I suggest those two films can shed light on the way Kubrick collaborated with performers in order to confront various acting styles, thus creating a specific aesthetics of distancing. I connect those two works through the exploration of underplayed main roles and a loss of the characters' physical relation to the world which may be breached in the endings.»
Lash, D. (2017). Distance Listening: Musical Anachronism in Stanley Kubrick’s Barry Lyndon. Cinergie–Il Cinema e le altre Arti, 6(12), 83-93. https://cinergie.unibo.it/article/view/7348
variety.com
Staff, Variety; Staff, Variety (1. januar 1976). «Barry Lyndon». Variety(engelsk). Besøkt 19. desember 2019.
Robey, Tim (27. juli 2016). «Kubrick by candlelight: how Barry Lyndon became a gorgeous, period-perfect masterpiece». The Telegraph(engelsk). ISSN0307-1235. Besøkt 21. november 2019. «In the early Seventies, Stanley Kubrick was enjoying one of the most extraordinary positions the film industry has ever given a director/producer. His last three films – Dr Strangelove (1964), 2001: A Space Odyssey (1968) and A Clockwork Orange (1971) had been, in their different ways, global sensations, all three earning him Best Director nominations at the Oscars, and securing his reputation as a perfectionist auteur who loomed larger over his movies than any concept or star. "Kubrick" was by now an imprimatur of a certain style, and one that his current studio, Warner Bros, was eager to bankroll wherever it might lead them.»
Collin, Robbie (29. juli 2016). «Marisa Berenson on Kubrick, modelling, and regrets : 'I wish Dali had painted me nude'». The Telegraph(engelsk). ISSN0307-1235. Besøkt 19. desember 2019. «Then there were the constant retakes. One of Berenson’s lines (she only has 13) took more than 50 attempts to meet Kubrick’s approval, and a two-minute scene in which she sits in the bath and does absolutely nothing, apart from take her husband’s hand then kiss him, took two days to perfect. “He never gave me a single direction,” she says. “I can’t tell you how I played it. I just felt it.”»
Jaunas, Vincent (4. desember 2017). «Acting out of the World: The Distancing and Underplaying of the Main Actors in 2001: A Space Odyssey and Eyes Wide Shut». Cinergie – Il Cinema e le altre Arti. 12 (engelsk). 6: 73–82. ISSN2280-9481. doi:10.6092/issn.2280-9481/7343. Besøkt 24. november 2019. «This article focuses on Performance Studies in an effort to integrate acting – this little-studied aspect of Kubrick's filmography – within a broader aesthetic analysis. By comparing the main actors and actresses of 2001: A Space Odyssey and Eyes Wide Shut, I suggest those two films can shed light on the way Kubrick collaborated with performers in order to confront various acting styles, thus creating a specific aesthetics of distancing. I connect those two works through the exploration of underplayed main roles and a loss of the characters' physical relation to the world which may be breached in the endings.»
Saxon, Wolfgang (3. august 1986). «John Alcott, an Oscar Winner for Cinematography, Is Dead». The New York Times(engelsk). ISSN0362-4331. Besøkt 19. desember 2019. «The London-born Mr. Alcott reached prominence with four Kubrick films: 2001: A Space Odyssey,A Clockwork Orange,The Shining, and Barry Lyndon, for which he won the Oscar and was named the outstanding cinematographer of 1975 by the National Society of Film Critics.»
Houston, Penelope (5. september 2001). «Obituary: Pauline Kael». The Guardian(engelsk). ISSN0261-3077. Besøkt 19. desember 2019. «Pauline Kael, the immensely influential critic of the New Yorker magazine from 1968 to 1991, who has died aged 82 from Parkinson's disease, always insisted that she was also writing about life - "the sense of the way movies interacted with public life".»
Pulver, Andrew (4. april 2019). «Stanley Kubrick's best films – ranked!». The Guardian(engelsk). ISSN0261-3077. Besøkt 16. november 2019. «As always, Kubrick pushed the boat out technically, using Nasa lenses on those wondrous candlelit card-game scenes, and took his fondness for choreographing action to classical pieces to possibly its most intense pitch, as Barry courts Marisa Berenson’s Lady Lyndon to Schubert’s Trio No 2, a Gainsborough portrait come to life. Barry Lyndon really is a flawless film.»
Robey, Tim (25. mars 2017). «The Lost City of Z director James Gray on braving crocodiles and tussling with Harvey Weinstein». The Telegraph(engelsk). ISSN0307-1235. Besøkt 15. desember 2019. «You know what I’m saying, it’s totally vapid? So it’s a strange movie because his character is a cipher. Not because of the performance, but because, narratively, it’s a little dysfunctional. I’m sounding like a jerk, because I’m complaining about Barry Lyndon! That’s not what I mean, Barry Lyndon is amazing. But it’s a strange movie. I’m not sure it operates on the level of his intent. As we know, artistic intent is meaningless. But even so, intent is not clear, and how the film operates ultimately is not clear.»
