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I think Kubrick feels cold in a lot of films because of the sacrifice of characterization for a kind of painterly aesthetic that seems almost more interested in it's surrounding architecture than the humanity within the frame. His movies are for me mostly about the staging in which his characters exist than the characters themselves. The hotel is more important than any of the characters in the shining. The ship, hal, and space itself are more important than any human in the movie. Full Metal Jacket--war and militarization are more of a focus.

His characters are often almost cyphers to me, within his larger statement as a filmmaker. I don't see humanity in them. With the exception of Barry Lyndon which is I think the least Kubrick film he made in some ways. And because of that it's my favorite one.

Compared to Tarkovsky though--who I think is constant in his imbuing his frames with humanity--there are so many tortured glances from his characters--we don't often understand the full breadth of what they are thinking--but not because it's not communicated--but because it is uncommunicable. I think when people call Tarkovsky cold--they are doing it in the same way they might call Bergman or Von Trier cold--which I think is more just an expression of their uncomfortableness with the soul crunching innerspace they are exploring in their films.

It is interesting. I do think there's probably a case to be made for latter day Spielberg films to be considered cold films. But only for the same reasons that the Star Wars prequels were ostensibly cold films as well. Passionless beaten director husk connects dots for latest feature.

It took me a minute to get back on track with these with Tucker being gone. But I'm happy to say I'm still enjoying the podcast. You guys do a great job and go really interesting places that I wouldn't normally think about on films I don't think very much about generally. And are also extremely entertaining while doing so. Thank you.

Attack of the SuperJews.

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