OVERLAY REPORT

In the meticulous world of Stanley Kubrick, "improvisation" rarely meant spontaneous changes made during a final take. Instead, it was a fundamental part of a months-long **rehearsal and development process**. Kubrick used improvisation to "mine" the actors' real lives and personalities, eventually cementing those discoveries into a rigid, scripted performance that was then filmed over dozens (sometimes hundreds) of takes. The following scenes are the most notable examples of this process in *Eyes Wide Shut*: ### 1. The Bedroom "Monologue" Scene (Smoking Marijuana) This is arguably the most famous example of improvisation in the film. Nicole Kidman and Tom Cruise spent 6–8 weeks rehearsing at Kubrick’s home before production even moved to the studio. * **The Improvisation:** Kidman revealed that the "beginning" of the scene—the playful and then increasingly tense banter between Alice and Bill while sharing a joint—was largely improvised during these long rehearsal sessions. * **The Detail:** Kubrick encouraged them to use their own dynamics as a married couple. He would ask them probing questions about their relationship and incorporate their real-life responses and arguments into the script. The "construction" of the scene was a collaborative rework that evolved until Kubrick felt it hit the right emotional nerve. ### 2. The Party Scene (Alice and the Hungarian) During the Ziegler party, Alice is approached by a Hungarian seducer, Sandor Szavost, while she is slightly intoxicated. * **The Improvisation:** Kidman’s lines and physical gestures in this scene were not in the original script. * **The Detail:** The specific way Alice draws out her words, particularly her shaking her finger and saying **"I'm maaaaarried,"** was something Kidman came up with while experimenting in rehearsals. Kubrick liked the "provocative nature" Kidman brought to the character and allowed her to lean into that mischief. ### 3. Alice Dropping the Dress The very first shot of the film features Alice dropping her black dress as she prepares for the party. * **The Improvisation:** This was a physical improvisation suggested by Kidman herself. * **The Detail:** Kidman told Kubrick, **"This is how I take off the dress, Stanley."** The dress she used was actually from her own personal closet. Kubrick liked the naturalism of the movement and chose to make it the opening image of the movie. ### 4. The Hotel Clerk Scene (Alan Cumming) Alan Cumming plays the flirtatious, eccentric hotel clerk who interacts with Dr. Bill Harford while Bill is looking for Nick Nightingale. * **The Improvisation:** Cumming’s entire performance was a result of Kubrick "goading" him to go over-the-top and try "new stuff." * **The Detail:** The most famous improvised gesture in this scene is when the clerk describes the "big men" who took Nick away. Cumming made a **suggestive hand gesture** (mimicking a certain size) during one take as a joke. Kubrick loved it so much that when Cumming *didn't* do it in a subsequent take, Kubrick stopped him and asked, "Why are you not doing the thing with your hands?" and insisted it stay in. ### 5. The Billiard Room Scene (Sydney Pollack) The climactic 15-minute dialogue between Victor Ziegler (Sydney Pollack) and Bill was scheduled for four days but took **seven weeks** to complete. * **The Improvisation:** While the dialogue became highly structured, the *staging* and the *tone* were found through exhaustive improvisation and experimentation with props. * **The Detail:** Pollack (a director himself) noted that Kubrick would often wait for the actors to "accidentally" do something interesting. For instance, the way Ziegler moves around the billiard table and uses the pool balls to emphasize his points was developed through weeks of trial and error to see how the physical movement affected the "truth" of the dialogue. ### Summary of Kubrick’s Method For Kubrick, improvisation was a tool to **find the scene**. Once the "improvised" moment was discovered in rehearsal: 1. It was **written into the script**. 2. The actors were then required to **replicate it exactly** for dozens of takes. 3. Any deviation after that point was usually discouraged; the goal was to reach a level of "stilted realism" where the actors were so tired they stopped "acting" and simply inhabited the movements they had discovered weeks earlier.