Stanley Kubrick has topped a masterpiece with a masterpiece. A Clockwork Orange is not the best Anglo-Saxon language film of 1971, it is the best film of 1971, and there are so many masterful things in it that I hardly know where to begin.
This view of the Satyricon is proof positive that the golden resources lavished on Fellini by his trusting producers can be reduced to brightly-colored but unenriching fare.
Talking with the creators of Alien (1979). Interviews with Ridley Scott (Director), Walter Hill (Producer), David Giler (Producer), Carlo Rambaldi (Creator of Alien Head Effects), Bolaji Badejo (“The Alien”), Michael Seymour (Production Designer), Ivor Powell (Associate Producer), Roger Dicken (Creator of Small Alien Forms), H.R. Giger (Alien Designer)
With 2001, we learned the real depth and mass of space, and discovered that “The Ultimate Trip” was going to be a cold, lonely one—an adventure more daunting to the psyche than the body.
Spielberg, as co-author/producer (and some say director), has tempered Hooper’s harsh, visceral style with folksy humor and near-bloodless titillation, while Hooper has underscored Spielberg’s conservative, child-at-play consciousness with dark touches of Grand Guignol.