Given its narrative structure and theme, the central character it chose to explore, the way it used Film Language, and its overall technique and style (especially the movie's editing, for which it got an Oscar) it's easy to see why Stanley loved Bob Fosse’s masterpiece “All That Jazz.”
*Taken from the 1997 biography Kubrick by John Baxter.
I don’t know about you, but I’m kind of looking forward to the “Michael” sequel. Whether Vantoine directs it or John Logan, it doesn’t matter—it’s an inevitable sh*tshow that will result from its making and release.