Check Out Stanley Kubrick’s Brainstorming Titles for ‘Dr. Strangelove’

My first viewing of Stanley Kubrick’s Eyes Wide Shut took place on my mother’s bed when I was nine years old. She had dozed off somewhere in the beginning but I stayed engrossed—both frightened and pleased—completely in awe of what I was watching. It would be a few more years before I saw A Clockwork Orange, to be followed by the rest of his magnificent oeuvre, but it was always that first film that struck me the most and had a profound effect on my own artisitc and aesthetic sensibilities. However, Kubrick’s black comedy Dr. Strange Love or: How I Learned to Stop Worrying and Love the Bomb has remained one of his most acclaimed and beloved films since its 1964 release. And with a title that wonderful its hard to imagine it wasn’t the only working name for the project—but in true Kubrick fashion, he probably had boxes full of titles for each of his films. And now thanks to Endpaper, we get a closer glimpse into the director’s mind with his brainstorming process revealed by a journal entry from the early 60s in which he has sketched out the alternate titles for the film.

Here’s a list of the titles:

  • Doctor Doomsday
  • Don’t Knock the Bomb
  • Dr. Doomsday and his Nuclear Wiseman
  • Dr. Doomsday Meets Ingrid Strangelove
  • Dr. Doomsday or: How to Start World War III Without Even Trying
  • Dr. Strangelove’s Bomb
  • Dr. Strangelove’s Secret Uses of Uranus
  • My Bomb, Your Bomb
  • Save The Bomb
  • Strangelove: Nuclear Wiseman
  • The Bomb and Dr. Strangelove or: How to be Afraid 24hrs a Day
  • The Bomb of Bombs
  • The Doomsday Machine
  • The Passion of Dr. Strangelove
  • Wonderful Bomb

Check it out below:


Looking Back on Stanley Kubrick’s ‘A Clockwork Orange’ and The Ignoble Savagery of Man

“Given the freedom to choose, Kubrick seems to be saying, some people will inevitably choose to be violent, yet for the state to deny men freedom of choice is itself an act of violence,” notes Cagin & Drey’s Hollywood Films of the Seventies. “Both these extremes—the justification of state violence and the glorification of individualistic violence—are often labeled fascist. A Clockwork Orange pits them against each other, opting ultimately (and uneasily) for the individual when the state is forced by the scandal of Alex’s suicide attempt to restore him to his antisocial old self. Kubrick’s pessimism is thus fully expressed.”

And as one of the most psychologically fascinating, technically brilliant, highly-acclaimed, and widely controversial films of the last century, Stanley Kubrick’s A Clockwork Orange remains a brilliant examination on the savagery of man and the social confines of human existence. Its dystopian near-future, based on Anthony Burgess’ 1962 novel provides the cold base for Kubrick’s visceral brand of storytelling and aesthetic/design sensibility that critic Robert Hughes once pointed out being as important to the film as technology was to 2001: A Space Odyssey.

He mentions that Kubrick “extrapolated the time frame of the late seventies or early eighties from then-contemporary trends in architecture and fashion, achieving a remarkably prescient vision of the hard-edged punk (or New Wave) aesthetic…a response to an increasingly depersonalized social environment.” But with a budget of $2.2 million, Kubrick used every tool he had to create the film, working like a “sponge” and “hearing every last idea anyone could offer him and adapting them to his and Burgess’ hybrid vision. He worked not from a script but straight from the novel, exhaustively attacking each page from every possible visual approach.”

And today, you can enjoy a half hour long documentary on the making of the film, that goes deeper into the mind of Kubrick and just how the film with the biting tagline—”the adventures of a young man whose principal interests are rape, ultra-violence and Beethoven”—got made. “Man isn’t a noble savage, he’s an ignoble savage,” Kubrick told a Times reporter. “He is irrational, brutal, weak, silly, unable to be objective about anything where his own interests are involved—that about sums it up. I’m interested in the brutal and violent nature of man because it’s a true picture of him. Any attempt to create social institutions on a false view of the nature of man is probably doomed to failure.” And thus, within those words A Clockwork Orange lives. Enjoy.

Imagining ‘A Clockwork Orange’ Without Stanley Kubrick and Starring Mick Jagger

As infamously controversial as it has been lauded and made iconic throughout the last half-century, Stanley Kubrick’s A Clockwork Orange did not always belong to the celebrated auteur. Before he had signed on to direct the feature, in 1968 producer Si Litvinoff had his eye on a handful of directors whom he approached to helm the film—from Roman Polanski to Ken Russell to Nicolas Roeg—the Terry Southern-penned script floating through the hands of Hollywood. Another one of the names in the directing hat was John Schlesigner, who would go on to make the wonderful dramas Midnight Cowboy, Sunday Bloody Sunday, Marathon Man, and more. But although a brilliant director of emotionally painful and progressive films, it’s almost impossible to imagine his muted color and rawly expressive edge imposed upon the dystopian future ultra-violence world of A Clockwork Orange.

Kubrick, with his affinity for exposing the man’s natural inclination towards evil and telling a story through the psychological undercurrent of color, as a perfect fit for Anthony Burgess’ novel, and just as difficult it is to see the film through another’s eyes, it’s just as strange to imagine anyone else playing the role of Alex DeLarge more perfectly than Malcolm McDowell. But thanks to Letters of Note, we learn that Litvinoff sent Schlesigner a letter expressing his interest in having him direct—giving him the draft and novel to look over—saying, that for the lead role, Mick Jagger and David Hemmings (recently attractive for his role in Antonioni’s Blowup) were keen on playing Alex, with The Beatles very interested in doing the music for the film.

"With regard to A CLOCKWORK ORANGE, we have in mind juxtaposing the "Nasdats" (in a futuristic-Edwardian look) and their unique language, against a totally science-oriented society (with their own attitudes and language). The "Nasdats" would thus be the equivalent of that age’s Renaissance men. Only in prison, where exposure to this new life is limited, is there "normal" life and "normal" language. This has not been treated in the first draft which is just a point from which to take off. This film should break ground in its language, cinematic style and its soundtrack."

Well, now. Let’s just take a moment of our day to imagine that cinematic world, one sans Wendy Carlos’ absolutely brilliant classical moog music score, with Schlesigner behind the camera, and either Hemmings or Jagger in the iconic role dressed in white. You can check out the rest of the letter HERE, as well as Jagger-lovers’ “vehemently” unhappy reaction to Hemmings being favored for the role ahead of Mick.

Listening Through Cinema’s Best Soundtracks: Your Wednesday Morning Treat

A film’s soundtrack is a necessary component to the total sum. The best use of music in film is not when its manipulative but rather acting as a character of its own, helping bring to life the filmmakers artistic vision. And this year, we’ve been graced with some truly fantastic new soundtracks—from Shane Carruth’s complex ethereal wonder Upstream Color to Clint Mansell’s stirringly sensuous Stoker. So to liven up your Wednesday afternoon, I’ve rounded up the best film soundtracks floating around in their enitrety. So whether you’re in the mood to transport yourself into a delicate and gauzy Coppola world or the existential romatic longing world of Wenders, peruse our listen and see whar perks up your emotions. Enjoy.

Eternal Sunshine of the Spotless Mind

Almost Famous

The Virgin Suicides


For more

Requiem for a Dream

Upstream Color

A Clockwork Orange

For more



For more

Pulp Fiction

For more

The Last Waltz

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The Assassination of Jesse James by the Coward Robert Ford

For more


Natural Born Killers

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Blue Velvet

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Paris, Texas


Punch-Drunk Love

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Waltz With Bashir

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The Graduate

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Schindler’s List

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Spring Breakers

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Fire Walk With Me

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Chungking Express

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Elevator to the Gallows


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Mishima: A Life in Four Chapters

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Taxi Driver




Mystery Train

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From Kubrick to Korine, Here’s What You Should Be Seeing Around New York This Weekend

In the coming weeks everything from Upstream Color and Room 237 to The Place Beyond the Pines and Simon Killer will finally see their theatrical release. But in the meantime, this weekend is so packed with incredible films screening all over the city, there is absolutely no reason not to try and indulge. There’s IFC’s massive Stanley Kubrick retrospective, showing all 13 of his feature films from The Killing to Eyes Wide Shut, Film Forum’s beautiful print of Heaven’s Gate, and many, many more. So if you’ve had a long and hellish week and need nothing more than to escape into a dark anonymous theatre and sink into a another world, this is the perfect time do so. And after all, what else are weekeends for? So to get you prepared for what’s in store, here’s a roundup of the best films playing throughout the city. Enjoy.



Musuem of the Moving Image

Trash Humpers
Fuses, with The Bed and Fly
Titicut Follies



Film Forum

Heaven’s Gate
The Gatekeepers
Young Frankenstein



IFC Center

A Clockwork Orange
2001: A Space Odyssey
Gimme the Loot
Killer’s Kiss
The Holy Mountain
The Shining
The We and the I
Top Gun
The Killing
Eyes Wide Shut
Dr. Strangelove
Beyond the Hills



Landmark Sunshine

Citizen Kane
The Sahppires
Beasts of the Southern Wild
Upside Down



Nitehawk Cinema

Streets of Fire
Spring Breakers



Film Society Lincoln Center

From Up on Poppy Hill
My Brother the Devil
Mon Oncle
ND/NF Shorts Program

For the Love of Stanley: Get Excited for Kubrick’s IFC Center Retrospective

"Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write War and Peace in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling," said Stanley Kubrick, who must have felt that particular brand of pleasure many, many times throughout his life. With a career that spanned from the 1950s to the late 90s, the meticulous and austere director was an auteur of the highest order, penetrating our screens with his vision and aesthetic sensibilities in a way that many have tried to replicate but none can touch. And with the release of Rodney Ascher’s upcoming documentary Room 237 about to have its theatrical release, New York’s IFC Center—starting today—will be a hosting a Kubrick retrospective, showing all 13 of his feature films from Spartacus to Eyes Wide Shut—and even the Spielberg-helmed A.I.

So to get you excited about their screenings and what you really need to make you see on the big screen, watch some of your favorite Kubrickian moments and listen to a selection of interviews with the iconic and brilliant director.


A Clockwork Orange

Wednesday, March 20 – Saturday, March 23
DCP Projection

2001: A Space Odyssey 

Friday, March 22 – Saturday, March 23
DCP projection

A. I. Artificial Intelligence 

Wednesday, March 27
35mm print

Barry Lyndon

Tuesday, March 26
DCP projection

Kubrick at the 2001 Opening in New York

Dr. Strangelove 

Thursday, March 21 – Thursday, March 28
DCP projection

Eyes Wide Shut

Thursday, March 21 – Sunday, March 24
35mm print

Fear and Desire

Wednesday, March 20 – Monday, March 25
DCP projection

Full Metal Jacket

Wednesday, March 27
DCP propjection

Killer’s Kiss

Friday, March 22 – Tuesday, March 26
35mm print

The Killing

Thursday, March 21 – Thursday, March 28
DCP projection

Kubrick, November 27th, 1966


Thursday, March 21st – Thursday March 28
DCP projection

Kubrick’s Speech

Paths of Glory

Thursday, March 21
35mm projection

The Shining

Wednesday, March 20 – Thursday March 28
DCP projection














Enjoy an 11-Minute Interview with Stanley Kubrick and Some of His Best Scenes

Perhaps it’s the spirit of Room 237‘s imminent release, but our cinemaic collective unconscious seems to be quite fixated on Stanley Kubrick as of late—you know, more so than usual. But it’s interesting that a director that left us over a decade ago still continues to make news and excite with his legacy on a daily basis. And because the genius auteur is no longer around to grace us with his brilliance, discovering new insights into his complex mind and creative process is always more than welcome. And in a recently surfaced 11-minute interview with French film critic Michel Ciment, we get the chance to hear Kubrick discuss Barry Lyndon, The Shining, and Full Metal Jacket—so you’ll definitely need to pause what you’re doing and enjoy this. Plus, have a look back on some of the meticulous and director’s finest moments from The Killing to Eyes Wide Shut.

Michel Ciment Interviews Stanley Kubrick

A Clockwork Orange, Beethoven’s 9th

Barry Lyndon, Seduction 

Dr. Strangelove, War Room Scene

Lolita, Ping Pong

The Shining, Bar Scene

Killer’s Kiss, Fight

Full Metal Jacket, Mickey Mouse Song


The Killing, Chess Club Scene

2001: A Space Odyssey, I’m Sorry Dave

Eyes Wide Shut, West Village

Looking Back on Cinema’s Best Soundtracks Of All Time

A film’s soundtrack is a necessary component to the total sum. The best use of music in film is not when its manipulative but rather acting as a character of its own, helping bring to life the filmmakers artistic vision. And earlier this week, we premiered the soundtrack to Park Chan-wook’s upcoming gothic thriller Stoker, from one of the greatest contemporary masters of cinematic sound, Clint Mansell. So, to honor his fantastic score, I’ve compiled some of the greatest film soundtracks of all time for your listening pleasure. Of course there are hundreds to love but here are some that particularly tickle my sonic fancy and hopefully yours. Enjoy.



Requiem for a Dream, Clint Mansell

Mulholland Drive, Angelo Badalamenti


Performance, Various Artists

Trainspotting, Various Artists

Taxi Driver, Bernard Herrmann

A Clockwork Orange, Wendy Carlos

The Graduate, Simon & Garfunkel

Magnolia, Jon Brion

Blue Velvet, Angelo Badalamenti


Drive, Cliff Martinez

Nashville, Various Artists


Close Encounters of the Third Kind, John Williams


Paris, Texas, Ry Cooder

Pulp Fiction, Various Artists


Chungking Express, Various Artists

The Double Life of Veronique, Zbigniew Preisner


The Social Network, Trent Reznor & Atticus Ross


Psycho Beach Party, Various Artists

American Graffiti, Various Artists

Almost Famous, Various Artists


8 1/2, Nino Rota

Goodfellas, Various Artists

Blade Runner, Vangelis


Apocalypse Now, Various Artists

2001: A Space Odyssey, Various Artists


Superfly, Curtis Mayfield


Suspiria, Goblin


Harold and Maude, Cat Stevens


Watch the Book Trailer For ‘Stanley Kubrick & Me’

They say don’t judge a book by its cover but fine, then I shall judge it by its trailer. And well sure, of course books have trailers now. And if the trailer for Stanley Kubrick & Me tells me anything, it’s that I might need a box of tissues.

Set to a piano variation on Wendy Carlos’ iconic synthed-up classical soundtrack for A Clockwork Orange, we learn that Emilio D’Alessanrdo, a former race car driver has written a book about his time spent with one of cinema’s most important figures. After moving to England in the 1960s, D’Alessandro drove minicabs before becoming the exclusive driver for Kubrick and his family.

His book chronincles his personal experiences with the beloved director, saying that he wasn’t only his “employer but his university,” and that he was, “really like a father.” Unlike a lot of the texts written about Kubrick, this isn’t about the brilliance of his work or the obsessive and isolated myths we hear about his personage, this looks to debunk what we’re read before in a compelling account of a life spent watching the work of a great genius. So far, the book is only available in Italian but we’re hoping it finds American publishing soon enough.