This self-portrait/exposure test was taken by actor Matthew Modine in November 1985, as he appeared on the set of Stanley Kubrick's "Full Metal Jacket." "The English weather was getting wet, nasty and cold -- difficult for scenes where you need to believe we are in Vietnam," Modine said. "I had gloves on because the weather was in the 30s -- too cold for Marine Corps-issue combat fatigues. In the background, you can see one of Beckton Gas Works' large coal bins -- artistically 'destroyed' for Stanley's production."
This self-portrait/exposure test was taken by actor Matthew Modine in November 1985, as he appeared on the set of Stanley Kubrick's "Full Metal Jacket." "The English weather was getting wet, nasty and cold -- difficult for scenes where you need to believe we are in Vietnam," Modine said. "I had gloves on because the weather was in the 30s -- too cold for Marine Corps-issue combat fatigues. In the background, you can see one of Beckton Gas Works' large coal bins -- artistically 'destroyed' for Stanley's production."
Matthew Modine
Adam Baldwin as Animal Mother in a scene at Beckton Gas Works in November 1985. "In this shot, Adam Baldwin is trying to locate the sniper while Doc Jay (John Stafford) and Eightball (Dorian Harewood) bleed to death," Modine said. "Notice the rolled-up rain cover on the lower right. This was placed as an 'eyeline' for Adam, so that Dorian and John didn't have to lie in the cold, bloody, poisoned earth of Beckton."
Adam Baldwin as Animal Mother in a scene at Beckton Gas Works in November 1985. "In this shot, Adam Baldwin is trying to locate the sniper while Doc Jay (John Stafford) and Eightball (Dorian Harewood) bleed to death," Modine said. "Notice the rolled-up rain cover on the lower right. This was placed as an 'eyeline' for Adam, so that Dorian and John didn't have to lie in the cold, bloody, poisoned earth of Beckton."
Matthew Modine
Kubrick's director's chair sits at Bassingbourn Airfield, England, in 1986. "I don't know why I stuck it on this chunk of concrete," Modine said. "I thought it was funny. With Stanley's passing, the image has taken on an unexplainable significance. It is with this photo that I discovered that photographs continue to develop over time."
Kubrick's director's chair sits at Bassingbourn Airfield, England, in 1986. "I don't know why I stuck it on this chunk of concrete," Modine said. "I thought it was funny. With Stanley's passing, the image has taken on an unexplainable significance. It is with this photo that I discovered that photographs continue to develop over time."
Matthew Modine
Kubrick during filming in summer 1986. "Stanley is amused and a bit embarrassed that Vivian Kubrick and I are both capturing his image at the same time," Modine said. "Vivian is filming him for what would become an uncompleted documentary about her father and the making of the film."
Kubrick during filming in summer 1986. "Stanley is amused and a bit embarrassed that Vivian Kubrick and I are both capturing his image at the same time," Modine said. "Vivian is filming him for what would become an uncompleted documentary about her father and the making of the film."
Matthew Modine
Kubrick operates his Arriflex camera for a shot of Marines training at Bassingbourn Airfield in 1986.
Kubrick operates his Arriflex camera for a shot of Marines training at Bassingbourn Airfield in 1986.
Matthew Modine
Kubrick, right, sits with director of photography Doug Milsome while filming the road to Hue scene in 1986. "This is one of the wonderful things revealed in the production photographs," Modine said. "Kubrick was a master photographer and lighting perfectionist. He was also an amazing producer; keeping his production costs as low as possible. He once explained to me that there was only one source of light when you're outside, the sun, which he actually called God in his explanation of how best to light a scene."
Kubrick, right, sits with director of photography Doug Milsome while filming the road to Hue scene in 1986. "This is one of the wonderful things revealed in the production photographs," Modine said. "Kubrick was a master photographer and lighting perfectionist. He was also an amazing producer; keeping his production costs as low as possible. He once explained to me that there was only one source of light when you're outside, the sun, which he actually called God in his explanation of how best to light a scene."
Matthew Modine
"Arliss Howard as Pvt. Cowboy mugging for me beside a burning, overturned military vehicle," Modine said.
"Arliss Howard as Pvt. Cowboy mugging for me beside a burning, overturned military vehicle," Modine said.
Matthew Modine
R. Lee Ermey as Gunnery Sgt. Hartman, watching his performance on video playback in the Marine Corps barracks in 1986. "He worked very hard on his performance," Modine said, "and studying himself on the playback was very helpful."
R. Lee Ermey as Gunnery Sgt. Hartman, watching his performance on video playback in the Marine Corps barracks in 1986. "He worked very hard on his performance," Modine said, "and studying himself on the playback was very helpful."
Matthew Modine
Ermey inspects his recruits (Howard, center, and Tony Hayes, right) in 1986. The boot camp scenes were physically and emotionally brutal to shoot. Kubrick was intentionally blurring the lines between art and life. "The scenes were as hard as you imagine," Modine said. "And the filming of boot camp was around six months. So it was a long journey from shaved heads to graduation day."
Ermey inspects his recruits (Howard, center, and Tony Hayes, right) in 1986. The boot camp scenes were physically and emotionally brutal to shoot. Kubrick was intentionally blurring the lines between art and life. "The scenes were as hard as you imagine," Modine said. "And the filming of boot camp was around six months. So it was a long journey from shaved heads to graduation day."
Matthew Modine
Baldwin before a scene.
Baldwin before a scene.
Matthew Modine
Marine recruits read in their bunks on set.
Marine recruits read in their bunks on set.
Matthew Modine
"The Lusthog Squad" --from left, Del Anderson, Howard and Baldwin.
"The Lusthog Squad" --from left, Del Anderson, Howard and Baldwin.
Matthew Modine
Sgt. Crazy Earl was played by Kieron Jecchinis. "One of the local guys hired to play war with the rest of us," Modine said. "He asked me if I would take a picture of him preparing to take out an imaginary bad guy."
Sgt. Crazy Earl was played by Kieron Jecchinis. "One of the local guys hired to play war with the rest of us," Modine said. "He asked me if I would take a picture of him preparing to take out an imaginary bad guy."
Matthew Modine
From left, Kubrick, Milsome and co-producer Phil Hobbs discuss the road to Hue scene in spring 1986.
From left, Kubrick, Milsome and co-producer Phil Hobbs discuss the road to Hue scene in spring 1986.
Matthew Modine
Gil Koppel, as Stoke, poses for Modine in 1985. "Gil Koppel does his Audie Murphy pose," Modine said. "The Spanish palm behind him is starting to suffer."
Gil Koppel, as Stoke, poses for Modine in 1985. "Gil Koppel does his Audie Murphy pose," Modine said. "The Spanish palm behind him is starting to suffer."
Matthew Modine
Vincent D'Onofrio plays Pvt. Pyle in the scene where the drill instructor (Ermey) is trying to "wipe the smile off his face."
Vincent D'Onofrio plays Pvt. Pyle in the scene where the drill instructor (Ermey) is trying to "wipe the smile off his face."
Matthew Modine
Modine's wife, Cari, and their newborn son Boman at a hospital in London on November 11, 1985. Modine's son was born during the filming of "Full Metal Jacket," and he had to plead with Kubrick to let him leave production to attend the birth. "I'd never seen such love from one creature to another in my life," Modine said.
Modine's wife, Cari, and their newborn son Boman at a hospital in London on November 11, 1985. Modine's son was born during the filming of "Full Metal Jacket," and he had to plead with Kubrick to let him leave production to attend the birth. "I'd never seen such love from one creature to another in my life," Modine said.
Matthew Modine
The road to Hue and the "mass grave" scene in spring 1986.
The road to Hue and the "mass grave" scene in spring 1986.
Matthew Modine