| Videos (see all 10) |
Directed by | |||
| Stanley Kubrick | |||
Writing credits | ||
| Stanley Kubrick | (screenplay) | |
| Anthony Burgess | (novel) | |
Produced by | |||
| Stanley Kubrick | .... | producer | |
| Si Litvinoff | .... | executive producer | |
| Max L. Raab | .... | executive producer | |
| Bernard Williams | .... | associate producer | |
Cinematography by | |||
| John Alcott | (lighting cameraman) | ||
Film Editing by | |||
| Bill Butler | |||
Casting by | |||
| James Liggat | (as Jimmy Liggat) | ||
Production Design by | |||
| John Barry | |||
Art Direction by | |||
| Russell Hagg | |||
| Peter Sheilds | |||
Costume Design by | |||
| Milena Canonero | |||
Makeup Department | |||
| Olga Angelinetta | .... | hair stylist | |
| Barbara Daly | .... | makeup artist | |
| Leonard | .... | hair and coloring consultant (as Leonard of London) | |
| George Partleton | .... | makeup artist | |
| Freddie Williamson | .... | makeup artist (as Fred Williamson) | |
| Jim Gillespie | .... | makeup artist (uncredited) | |
Second Unit Director or Assistant Director | |||
| Derek Cracknell | .... | assistant director | |
| Dusty Symonds | .... | assistant director | |
| Raymond Becket | .... | third assistant director (uncredited) | |
Art Department | |||
| Frank Bruton | .... | prop master | |
| Peter Hancock | .... | prop man | |
| Tommy Ibbetson | .... | prop man | |
| Christiane Kubrick | .... | paintings | |
| Christiane Kubrick | .... | sculptor | |
| Cornelius Makkink | .... | paintings | |
| Cornelius Makkink | .... | sculptor | |
| Herman Makkink | .... | paintings | |
| Herman Makkink | .... | sculptor | |
| Liz Moore | .... | paintings | |
| Liz Moore | .... | sculptor | |
| John Oliver | .... | prop man | |
| Bill Welch | .... | construction manager | |
Sound Department | |||
| Brian Blamey | .... | sound editor | |
| Peter Glossop | .... | boom operator | |
| Eddie Haben | .... | dubbing mixer | |
| John Jordan | .... | sound recordist | |
| Bill Rowe | .... | dubbing mixer | |
Visual Effects by | |||
| Sandy DellaMarie | .... | digital production coordinator: Pacific Title & Art Studio: re-release | |
| Mark Freund | .... | visual effects supervisor: Pacific Title & Art Studio: re-release | |
| George Gervan | .... | digital paint artist: Pacific itle & Art Studio: re-release | |
| Richard Gervan | .... | digital paint artist: Pacific Title & Art Studio: re-release | |
| Martin Hall | .... | digital paint artist: Pacific Title & Art Studio: re-release | |
| Maureen Healy | .... | digital paint artist: Pacific Title & Art Studio: re-release | |
| Heather Hoyland | .... | lead digital compositor: Pacific Title & Art Studio: re-release | |
| Greg Kimble | .... | digital compositor: Pacific Title & Art Studio: re-release | |
| Jeff Wells | .... | digital compositor: Pacific Title & Art Studio: re-release | |
| Chris Crowell | .... | digital compositor (restored version) (uncredited) | |
Stunts | |||
| Eddie Frewin | .... | stunt driver (uncredited) | |
| Roy Scammell | .... | stunt arranger (uncredited) | |
Camera and Electrical Department | |||
| Lou Bogue | .... | electrician (as Louis Bogue) | |
| Don Budge | .... | grip | |
| Tony Cridlin | .... | grip | |
| Ernest Day | .... | camera operator (as Ernie Day) | |
| Ron Drinkwater | .... | focus puller | |
| Laurie Frost | .... | assistant camera | |
| Derek Gattrell | .... | electrician (as Derek Gatrell) | |
| David Lenham | .... | assistant camera | |
| Mike Molloy | .... | camera operator | |
| Frank Wardale | .... | supervising electrician | |
| Ken Worringham | .... | camera operator (uncredited) | |
Costume and Wardrobe Department | |||
| Ron Beck | .... | wardrobe supervisor | |
Editorial Department | |||
| David Beesley | .... | assistant editor | |
| Peter Burgess | .... | assistant editor | |
| Gary Shepherd | .... | assistant editor | |
Music Department | |||
| Wendy Carlos | .... | composer: electronic music (as Walter Carlos) | |
Other crew | |||
| Len Barnard | .... | production accountant | |
| Terence A. Clegg | .... | location manager (as Terence Clegg) | |
| Andros Epaminondas | .... | production assistant | |
| Jan Harlan | .... | assistant to producer | |
| Kay Johnson | .... | secretary to director | |
| Mike Kaplan | .... | promotion coordinator | |
| Jonathan Marshall | .... | technical advisor (as Jon Marshall) | |
| Arthur Morgan | .... | location liaison | |
| Loretta Ordewer | .... | production secretary | |
| June Randall | .... | continuity | |
| Margaret Adams | .... | production assistant (uncredited) | |
| Pablo Ferro | .... | title designer (uncredited) | |
| Anthony Frewin | .... | assistant: Stanley Kubrick (uncredited) | |
| Dick Haydon | .... | stand-in: male (uncredited) | |
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| V for Vendetta | Salò o le 120 giornate di Sodoma | Watchmen | Straw Dogs | Ex Drummer |
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A disturbing but yet very beautiful piece of film-making, Kubrick has created the ultimate study of mind manipulation in this film. It is a protest against reform programs that take away freedom of a choice, and the message of the film in terms of paying for one's sins in all eternity is inescapable, evident to a large extent in the sardonic nature of the tale. Although set in the future, it hardly feels like it is, this being because the message of the film is overwhelmingly powerful and capable of applying to any age. The film has a number of possible hidden meanings to it a feat equaled on scale only by Kubrick's former film '2001: A Space Odyssey'. Besides for the meaning behind the film, there are still the marks of a masterpiece. Kubrick's direction is superb alongside the good photography, capturing shadows and angles needed to establish tone. The editing is excellent too, done in a flashy, brainwashing style at times to have relevance to the film. The choice of cast is again inspirational, however the film achieves the most in terms of music. Kubrick manages to use one of the earliest forms of art, classical music, and give it an unforgettable style and importance in the film. It is truly a difficult task to explain what is so great about a film such as 'A Clockwork Orange' it is maybe best explained by watching the film itself.