Taylor Nichols (who is in every Stillman film, except L&F) was recently interviewed by Coming Soon. There is a really funny quote about Metropolitan in there that could have been said by Nick Smith himself (actually said by Chris Eigeman).
And I can remember Chris Eigeman even saying, ‘No one’s ever going to see this movie except my mom.’ And it turned out to be the opposite.”
On “Barcelona” (1994)…
“I loved doing those projects and Whit was really supportive and he cast Chris and me right away for the next movie, for ‘Barcelona.’ And again, I did the same thing again. I didn’t know anything about Spain. I didn’t know anything about foreign sales. I read those books by Dale Carnegie and all of that stuff. Being the lead was scary, but I would argue a little bit that it is still an ensemble film with Mira Sorvino and with Tushka Bergen and all of that. We certainly saw it that way. Other people may have seen it as just Chris and my’s movie, but I think Chris and I really saw it as a foursome. Even with some of the Spanish actors, that it was an ensemble. I just saw it recently. There was a 25th anniversary screening that the American Cinematheque did. The movie holds up. It’s funny. The audience really seemed to respond to it. And I think for a long time, I was a little bit insecure about my work in the film. But seeing it 25 years later, I was like, ah, you know, don’t be so hard on yourself.”
A while back I posted an article on how Kubrick loved Barcelona, but now here’s another article that states Kubrick loved both Barcelona and The Last Days of Disco. The article also adds John Calley relayed this information on to Stillman. John Calley was a good friend of Stanley Kubrick. So now there are three sources that have said Kubrick was a fan of Stillman’s work. The sources being John Calley, Nicole Kidman, and Thomas Gibson.
In this Eye For Film Article by Anne-Katrin Titze, she interviews Whit Stillman on his connection to Stanley Kubrick.
At the bottom you can check out a link to another article by Anne-Katrin Titze. One part of it talks about how big trucks were used to block out anything that wasn’t period in The Last Days of Disco. Then another article here.
WS: It was a wonderful thing. You know, when these films are coming out, you are not sure how they are being received. And a lot of people don’t like them and complain about them. So that was true of both Barcelona and The Last Days Of Disco.
And then it was really encouraging that the studio head, John Calley, said “Oh, you’d be surprised who’s talking about you recently.” And I said “Well, who?” And he said “Stanley Kubrick. He really loved both Barcelona and Disco and wanted to know about the cinematographer John Thomas.”
Then someone from Warner Bros. at a film luncheon said the same thing to me. And Nicole Kidman. I went to the première of Eyes Wide Shut in Paris. And Nicole Kidman said the same thing. And he hired actually Thomas Gibson, who had a small part in Barcelona, for Eyes Wide Shut.
“Barcelona is very much an American expatriate film. People don’t talk
about it that much, but Kubrick was one of the legendary expatriates.”
And I was trying to think of that, because, you know, Kubrick cinema, our cinema, not much connection. I think it’s the expat point of view. Barcelona is very much an American expatriate film. People don’t talk about it that much, but Kubrick was one of the legendary expatriates.
Fans of Whit Stillman’s films should already suspect this: the guy can talk. He speaks in a literate, thoughtful, I’ve-read-way-too-much-English-Lit way. He is more likely to reference a classic text than a classic TV show, and actually finds uses for the word “treacly” in normal coversations. One gets the sense that although he travels in higher social circles nowadays (Stanley Kubrick asked him to take a meeting), it wasn’t always that way.