Eyes Wide | Cut

What: Establishing shot outside of Bill & Alice’s Apartment, "New York City". 

Duration: 00:00:05:08

Why: There 14 still establishing shots of NYC and 14 moving establishing shots of NYC throughout the film. I cut 7 of the still ones and 3 moving ones or 10 out a total 28. From what I observe, the still establishing shots serve very little narrative or emotional purpose other than to orient the audience to where exactly we are in New York City (although there are only a few actual shots of New York City as the film was shot in London- for an in-depth look at this go here). 

Since, if you'll notice, the city sounds of these still shots usually comes in very harsh in contrast to the predominantly quiet film, (especially with no movement or central character to follow) I decided to use these shots sparingly as “wake up calls” or as ways to signal a certain shift in Dr. Bill’s internal journey. 

For example, I cut almost all of the still establishing shots before the masquerade scene. I felt that Dr. Harford’s growing jealousy and sexual tension was interrupted by these  motionless establishing shots and in some cases there were actually two shots that served as wide masters.

After the masquerade, as Dr. Harford's rude awakening begins, he begins a guilt driven investigation for restitution. I felt the still establishing shots were better utilized in this final part of the film to help give the feeling that reality was setting in for Dr. Harford.

What: Bill & Alice kiss their daughter, Helena, goodnight and give instructions to their babysitter, Roz.

Duration: 00:00:46:04

Why: As with Cut.01B this scene was cut in lieu of the alternate opening. This seemingly perfunctory scene serves to establish the Harford family and in addition, further accentuate Bill’s emotional disconnect when he doesn't remember their babysitters name (Roz) and furthermore when Roz, in stark contrast to Bill, emphatically compliments Alice’s appearance.

It can also be argued that Helena’s desire to watch the Nutcracker possibly serves two deeper purposes, first as a subtle parallel to the Nutcracker itself, a famous ballet incorporating the dream world as reality (in depth read here) and second to subtly establish the hierarchy of elites controlling the masses through media and entertainment (later Helena asks to buy a fictitious toy called magic circle; see in depth read here). Both purposes, though reflecting Kubrick’s usual innate and often incidental grasp of semiotics, are a bit of a stretch and in the end did not warrant enough reason for me to keep the shot.

What: Establishing shot outside Zieglers Party

Duration: 00:00:05:01

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This establishing shot of New York is the first of many throughout the film. They appear quite often, sometimes they are actually shots of New York, sometimes they are sets made to recreate New York (Film was shot in London), either way they occur are in places where it effects the pace antithetically to the fervor building within Dr. Bill.

To me they came across unnecessary. If the guiding quote is a theme of this film, “that no dream is ever just a dream,” and this film is meant to represent that blurred line, then these shots are just orienting enough to ground me and snap me out (which could explain Kubrick’s choice or justify his lack of choice about the sound in these shots being so crude) of whatever dreamlike state had been building which if used to proper effect can be nice to show seperation between Dr. Bill’s various states of reverie. 

My attempt was to make these establishing shots represent a resetting of Bill’s emotional state, a chance to breathe between his escapades.

This establishing shot of New York is the first of many throughout the film. They appear quite often, sometimes they are actually shots of New York, sometimes they are sets made to recreate New York (Film was shot in London), either way they occur are in places where it effects the pace antithetically to the fervor building within Dr. Bill.

To me they came across unnecessary. If the guiding quote is a theme of this film, “that no dream is ever just a dream,” and this film is meant to represent that blurred line, then these shots are just orienting enough to ground me and snap me out (which could explain Kubrick’s choice or justify his lack of choice about the sound in these shots being so crude) of whatever dreamlike state had been building which if used to proper effect can be nice to show seperation between Dr. Bill’s various states of reverie. 

My attempt was to make these establishing shots represent a resetting of Bill’s emotional state, a chance to breathe between his escapades.