"If Kubrick had lived to see the opening of his final film, he obviously would have been disappointed by the hostile reactions. But I’m sure that in the end he would have taken it with a grain of salt and moved on. That’s the lot of all true visionaries, who don’t see the use of working in the same vein as everyone else. Artists like Kubrick have minds expansive and dynamic enough to picture the world in motion, to comprehend not just where its been, but where it’s going.
Take Eyes Wide Shut. Many people were put off by the film’s unreality – the New York streets were too big, the orgy scene was a total fantasy, the action was slow and deliberate. All of this is true, and if the movie were designed to be realistic, it would be absolutely reasonable to judge these as failings. But Eyes Wide Shut is based on a Schnitzler novella called Dream Story, the story of a rift in a marriage told with the logic of a dream. And as with all dreams, you never know precisely when you’ve entered it. Everything seems real and lifelike, but different, a little exaggerated, a little off. Things appear to happen as if they were preordained, sometimes in a strange rhythm from which it’s impossible to escape. Audiences really had no preparation for a dream movie that didn’t announce itself as such, without the usual signals - hovering mists, people appearing and disappearing at will or floating off the ground. Like Rossellini’s Viaggio in Italia, another film severely misunderstood in its time, Eyes Wide Shut takes a couple on a harrowing journey, at the end of which they’re left clinging to each other. Both are films of terrifying self-exposure. They both ask the question: How much trust and faith can you really place in another human being? And they both end tentatively, yet hopefully. Honestly.”
— Martin Scorsese on Eyes Wide Shut