I admire Kubrick greatly. He is often accused of being a prodigious technician and rigid intellectual, which people say makes his films very cold. I don’t agree. I think that “Barry Lyndon” or “A Clockwork Orange” are the most perfect marriages of personality and subject. But in fact, “Full Metal Jacket” is even more so. It looked at rigidity and brutality with an almost clinical eye. It is, for me, a singular film about the military, about war and its consequences. The famous scenes, like the induction with R Lee Ermey where he renames the soldiers and reshapes them into sub-human maggots, had a particular impact on me. Also the suicide scene with Vincent D’Onofrio in the bathroom. And the sniper set-piece at the end. Those are absolutely virtuoso pieces of filmmaking.
“My thoughts drift back to erect nipple wet dreams about Mary Jane Rottencrotch and the Great Homecoming Fuck Fantasy. I am so happy that I am alive, in one piece and short. I’m in a world of shit… yes. But I am alive. And I am not afraid.”
To create the rubble-strewn city, Kubrick said he spent two months carefully destroying the gas works, blowing up buildings and strategically punching holes in others with a wrecking ball, all with photographs of Hue circa 1969 as his guide. (x)