Problem: Kubrick was born in the Lying-In Hospital at 307 Second Avenue in Manhattan, New York City, to a Jewish family. He was the first of two children of Jacob Leonard Kubrick (May 21, 1902 - October 19, 1985), known as Jack or Jacques, and his wife Sadie Gertrude Kubrick (nee Perveler; October 28, 1903 - April 23, 1985), known as Gert. His sister, Barbara Mary Kubrick, was born in May 1934. Jack Kubrick, whose parents and paternal grandparents were of Polish Jewish, Austrian Jewish, and Romanian Jewish origin, was a doctor, graduating from the New York Homeopathic Medical College in 1927, the same year he married Kubrick's mother, the child of Austrian Jewish immigrants.

Kubrick credited the ease with which he photographed scenes to his early years as a photographer. He rarely added camera instructions in the script, preferring to handle that after a scene is created, as the visual part of film-making came easiest to him. Even in deciding which props and settings would be used, Kubrick paid meticulous attention to detail and tried to collect as much background material as possible, functioning rather like what he described as "a detective". Cinematographer John Alcott, who worked closely with Kubrick on four of his films, and won an Oscar for Best Cinematography on Barry Lyndon, remarked that Kubrick "questions everything", and was involved in the technical aspects of film-making including camera placement, scene composition, choice of lens, and even operating the camera which would usually be left to the cinematographer. Alcott considered Kubrick to be the "nearest thing to genius I've ever worked with, with all the problems of a genius".  Among Kubrick's notable innovations in cinematography are his use of special effects, as in 2001, where he used both slit-scan photography and front-screen projection, which won Kubrick his only Oscar for special effects. Some reviewers have described and illustrated with video clips, Kubrick's use of "one-point perspective", which leads the viewer's eye towards a central vanishing point. The technique relies on creating a complex visual symmetry using parallel lines in a scene which all converge on that single point, leading away from the viewer. Combined with camera motion it could produce an effect that one writer describes as "hypnotic and thrilling". The Shining was among the first half-dozen features to use the then-revolutionary Steadicam (after the 1976 films Bound for Glory, Marathon Man and Rocky). Kubrick used it to its fullest potential, which gave the audience smooth, stabilized, motion-tracking by the camera. Kubrick described Steadicam as being like a "magic carpet", allowing "fast, flowing, camera movements" in the maze in The Shining which otherwise would have been impossible.  Kubrick was among the first directors to use video assist during filming. At the time he began using it in 1966, it was considered cutting-edge technology, requiring him to build his own system. Having it in place during the filming of 2001, he was able to view a video of a take immediately after it was filmed. On some films, such as Barry Lyndon, he used custom made zoom lenses, which allowed him to start a scene with a close-up and slowly zoom out to capture the full panorama of scenery and to film long takes under changing outdoor lighting conditions by making aperture adjustments while the cameras rolled. LoBrutto notes that Kubrick's technical knowledge about lenses "dazzled the manufacturer's engineers, who found him to be unprecedented among contemporary filmmakers". For Barry Lyndon he also used a specially adapted high-speed (f/0.7) Zeiss camera lens, originally developed for NASA, to shoot numerous scenes lit only with candlelight. Actor Steven Berkoff recalls that Kubrick wanted scenes to be shot using "pure candlelight", and in doing so Kubrick "made a unique contribution to the art of filmmaking going back to painting ... You almost posed like for portraits." LoBrutto notes that cinematographers all over the world wanted to know about Kubrick's "magic lens" and that he became a "legend" among cameramen around the world.

Who did he work with?

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Problem: Anton Grigorevich Rubinstein (Russian: Anton Grigor'evich Rubinshtein, tr. Anton Grigorevich Rubinshteyn; November 28 [O.S. November 16] 1829 - November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. He was the elder brother of Nikolai Rubinstein who founded the Moscow Conservatory. As a pianist, Rubinstein ranks among the great 19th-century keyboard virtuosos.

Rubinstein was born to Jewish parents in the village of Vikhvatinets in the Podolia Governorate, Russian Empire (now known as Ofatinti in Transnistria, Republic of Moldova), on the Dniestr River, about 150 kilometres (93 mi) northwest of Odessa. Before he was 5 years old, his paternal grandfather ordered all members of the Rubinstein family to convert from Judaism to Russian Orthodoxy. Although he was raised as a Christian, Rubinstein would later return to being atheist.  Rubinstein's father opened a pencil factory in Moscow. His mother, a competent musician, began giving him piano lessons at five, until the teacher Alexander Villoing heard and accepted Rubinstein as a non-paying student. Rubinstein made his first public appearance at a charity benefit concert at the age of nine. Later that year Rubinstein's mother sent him, accompanied by Villoing, to Paris where he sought unsuccessfully to enroll at the Paris Conservatoire.  Rubinstein and Villoing remained in Paris for a year. In December 1840, Rubinstein played in the Salle Erard for an audience that included Frederic Chopin and Franz Liszt. Chopin invited Rubinstein to his studio and played for him. Liszt advised Villoing to take him to Germany to study composition; however, Villoing took Rubinstein on an extended concert tour of Europe and Western Russia. They finally returned to Moscow in June 1843. Determined to raise money to further the musical careers of both Anton and his younger brother Nikolai, their mother sent Rubinstein and Villoing on a tour of Russia, following which the brothers were dispatched to Saint Petersburg to play for Tsar Nicholas I and the Imperial family at the Winter Palace. Anton was 14 years old; Nikolai was eight.

what songs did he play

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Chopin invited Rubinstein to his studio and played for him.