A film is - or should be - more like music than like fiction.
It should be a progression of moods and feelings.
The theme, what's behind the emotion, the meaning, all that comes later.
― Stanley Kubrick

Unlike Wes Adnreson and David Lynch, Stanley Kubrick was less inclined to work with others, and more driven to create the Gesamtkunstwerk on his own.  While many Directors lack a background in advanced musical knowledge, some are compelled to influence the sound design to complete their vision. Kubrick - one such filmmaker - often worked with collage elements of pre recorded material in order to control this specific dimension of his films (e.g.: The Shining), as he was not a composer himself.  

A lot of the signature style of a Kubrick film comes from the editing process, in which music and sound design generally plays a crucial role. In fact, pacing is one of Kubrick’s most peculiar cinematographic elements, and in this Olio, we’ll pay close attention to how music influences the perception of time in two of his most well-known works: The Shinning and 2001: A Space Odyssey.