Krämer, Peter (28. juni 2017). «Stanley Kubrick: Known and Unknown». Historical Journal of Film, Radio and Television. «Based on extensive archival research and a wide range of secondary sources, this essay offers a systematic survey of Kubrick’s unrealised projects, with regards to three distinctive phases in his career: the formative years up to 1955, his partnership with producer James B. Harris from 1955 to 1962, and his work as one of Hollywood’s leading producer-writer-directors after 1962. In a career spanning just over half a century, Stanley Kubrick took numerous pictures for Look magazine, made 4 documentary shorts and 13 feature films, and published a range of articles and books connected to his film-making. The vast majority of the work Kubrick presented to the public, including all of his photographs, articles and documentaries as well as seven of his features, came out within the first 20 years of his career,»
Sims, David (6. februar 2020). «Kirk Douglas Was a Movie Star Ahead of His Time». The Atlantic(engelsk). Besøkt 8. februar 2020. «Douglas insisted on hiring Kubrick for Spartacus (dismissing his initial choice, Anthony Mann), a swords-and-sandals epic filled with trenchant criticism of slavery and political corruption.»
theguardian.com
Thomson, David (6. februar 2020). «Kirk Douglas obituary». The Guardian(engelsk). ISSN0261-3077. Besøkt 20. februar 2020. «But Spartacus stands as a revealing portrait of a kind of naive Hollywood liberalism, pro-slave in all its sentiments, yet unerringly Roman at heart. For Douglas was by then an aristocrat who had no interest in giving up all he had won (except by charitable contribution). The picture was a commercial hit, but it won only one significant Oscar – best supporting actor for Peter Ustinov as the cynical slave-trader.»
Thomson, David (6. februar 2020). «Kirk Douglas obituary». The Guardian(engelsk). ISSN0261-3077. Besøkt 20. februar 2020. «But Spartacus stands as a revealing portrait of a kind of naive Hollywood liberalism, pro-slave in all its sentiments, yet unerringly Roman at heart. For Douglas was by then an aristocrat who had no interest in giving up all he had won (except by charitable contribution). The picture was a commercial hit, but it won only one significant Oscar – best supporting actor for Peter Ustinov as the cynical slave-trader.»
