DOCSLIB.ORG

Contents B4RT1 the Films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contents B4RT1 the Films Contents B4RT1 The Films KKI.1955 POG1957 UH.1962 DRS.1964 2SO.1968 ACO.1971 BLY.1975 SHI.1980 Ä Ai ^d Preface Killer's Kiss The Killing Paths of Glory Spartacus Lolita Dr. Strangelove, 2001: ASpace A Clockwork Barry Lyndon The Shining Füll Metal Eyes Wide Shut 1955 1956 1957 1960 1962 or: How 1 Odyssee Orange 1975 1980 Jacket 1999 Learned to Stop 1968 1971 1987 Worrying and Love the Bomb 1964 10 24 36 54 68 88 104 142 166 188 218 238 A note about aspect ratios N.B. The aspect ratios for the film sfills reproduced Though his last three films in this book adhere to the films' original formats, were masked to 1.85:1 for as follows: theatrical release, in compliance with the Standard FILM FORMAT ASPECT RATIO format, Kubrick composed Killer's Kiss 35 mm 1.33:1 them to be also viewable at Killing 35 mm 1.33:1 the füll aspect ratio of the Paths ot Glory 35 mm 1.33:1 camera negative ratio, 1.33:1. Spartacus 70 mm 2.2:1 The stills herein are presented Lolita 35 mm 1,66:1 1.33:1, as per Kubrick's inten- Di. Strangelove 35 mm 1.33:1/1.66:1 (variable) tions. 2001 70 mm 2.2:1 A Clockwork Orange 35 mm 1.66:1 The version of Killer's Kiss used Barry Lyndon 35 mm 1.77:1 for reproduction was Kubrick's The Shining 35 mm 1.33:1 personal print that featured Füll Metal Jacket 35 mm 1.33:1 the tilm's original title, "Kiss Me, Eyes Wide Shut 35 mm 1.33:1 Kill Me." B4RT2 The Creative Process EWO BIY.1975 SHI.1980 Early Work Killer's Kiss The Killing Paths of Glory Spartacus Lolita Dr. Strangelove, 2001: A Space A Clockwork Barry Lyndon The Shining Füll Metal Eyes Wide Shut 1955 1956 1957 1960 1962 or: How I Odyssee Orange 1975 1980 Jacket 1999 Learned to Stop 1968 1971 1987 Worrying and Love the Bomb 1964 266 278 288 298 314 326 344 366 408 428 444 464 480 Essay by Essay by Essay by Essay by Essay by Essay by Essay by "Outline" by Essay by Essay by Essay by Essay by Essay by Gene D. Phillips Gene D. Phillips Gene D. Phillips Gene D. Phillips Gene D. Phillips Gene D. Phillips Gene D. Phillips Carolyn Geduld Michel Ciment Rodney Hill Rodney Hill Rodney Hill Rodney Hill 268 280 290 300 316 328 346 368 410 430 446 466 482 Interview by Interview by Essay by Essay by Essay by "The Production: Letter by Interview by Interview by Interview by Thomas Pryor Raymond Haine Stanley Kubrick Stanley Kubrick Stanley Kubrick A Calendar" by Stanley Kubrick Michel Ciment Vicente Molina Foix Daniele Heymann 277 308 324 338 360 Carolyn Geduld 418 441 460 476 373 Interview by Interview by Stanley Kubrick and Interview by Jay Varela Terry Southern Joseph Heller: "Stanley Kubrick and Philip Strick and 312 340 A Conversation the Search Penelope Houston 362 for Extraterrestrial 420 Intelligence" by Anthony Frewin 378 "Filming 2001: A Space Odysse/' by Herb A. Lightman 380 "Front Projection Appendix for 2001' A Space Odyssey" by Herb A. Lightman 386 "Fiction & Fact" 388 Appendix A Appendix B Appendix C "Music in 2001: A Space Odyssey" Projects Essays Chronology by Gene D. Phillips 390 "Interpretations of 2001:A Space 494 510 530 Odyssey" by Margaret Stackhouse "Napoleon" "The Long Road Chronology by 392 Essay by to Eyes Wide Shuf Vincent LoBrutto Gene D. Phillips by Jan Harlan 532 "The Playboy 496 512 Interview: Stanley Kubrick" "A.l." Essay by "Stanley Kubrick: Bibliography by Eric Nordern Alison Castle Writers, Writing, Credits 398 504 Reading" by Acknowledgements Anthony Frewin 542 "Aryan Papers" 514 Essay by Jan Harlan Afterword by 509 "Kubrick" by Christiane Kubrick Michael Herr 544 520.
Load more

Recommended publications
  • ENGLISH DOSSIER DE PRESSE Stanley Kubrick
    “If it can be written, or thought, it can be filmed. A director is a kind of idea and taste machine ; a movie is a series of creative and technical decisions, and it‘s the director‘s job to make the right decisions as frequently as possible.” EDITORIAL Our flagship exhibition in 2011 is devoted to Stanley Kubrick (from 23 March to 31 July). It is the first time that La Cinémathèque française hosts a travelling exhibition not initiated by our teams but by those of another institution. This Kubrick exhibition owes its existence to the Deutsches Filmmuseum in Frankfurt and to Hans- Peter Reichmann, its Curator, who designed it in 2004 in close collaboration with Christiane Kubrick, Jan Harlan and The Stanley Kubrick Archive in London. Since 2004, the exhibition has opened with success in several cities: Berlin, Zurich, Gand, Rome and Melbourne, before coming to the Cinémathèque. The archives of Stanley Kubrick contain numerous and precious working documents: scenarios, correspondences, research documents, photos of film shoots, costumes and accessories. The exhibition, film after film, includes the unfinished projects: the Napoleon that Kubrick hoped to direct and his project for a film on the death camps, Aryan Papers . These materials allow us to get backstage and better understand the narrative and technical intentions of the director who was a demigod of world cinema, a secret and fascinating figure. The exhibition will be installed on two floors of the Frank Gehry building, on the 5 th and 7 th storeys, owing to the bulk of the materials exhibited, including large-scale models and interactive digital installations.
    [Show full text]
  • A Space Odyssey
    THE JOURNAL OF FILM MUSIC VOLUME 2, NUMBER 1, FALL 2007 PAGES 1–34 ISSN 1087-7142 CO P YRIGH T © 2007 THE IN T ERNA T IONAL FILM MUSIC SOCIE T Y , INC . “Stanley Hates This But I Like It!”: North vs. Kubrick on the Music for 2001: A Space Odyssey Paul A. merkley, frsc n 1968 Stanley Kubrick Kubrick’s compilation score and the inadequate for the film. With premiered his landmark controversial rejection of North’s the premiere looming up, I had no time left even to think about I science-fiction film on the music have excited considerable another score being written, dawn of human consciousness discussion in the intervening years. and had I not been able to use and its future.1 2001: A Space Most commentators have based the music I had already selected Odyssey astonished its audience their remarks on the premise that for the temporary tracks I don’t know what I would have done. with elaborate sets, an enigmatic the director became so enamored plot, and stunning music with his “temp track”—the presented “in the open.”2 Instead excerpts of classical music he The composer’s agent phoned Robert O’Brien, the then head of accompanying his imaginative was using as placeholders for the of MGM, to warn him that if and painstakingly processed screen eventual score while filming and I didn’t use his client’s score images with the music that he had doing rough editing—that he could the film would not make its commissioned from the eminent not accept North’s music.
    [Show full text]
  • Stanley Kubrick at the Interface of Film and Television
    Essais Revue interdisciplinaire d’Humanités Hors-série 4 | 2018 Stanley Kubrick Stanley Kubrick at the Interface of film and television Matthew Melia Electronic version URL: http://journals.openedition.org/essais/646 DOI: 10.4000/essais.646 ISSN: 2276-0970 Publisher École doctorale Montaigne Humanités Printed version Date of publication: 1 July 2018 Number of pages: 195-219 ISBN: 979-10-97024-04-8 ISSN: 2417-4211 Electronic reference Matthew Melia, « Stanley Kubrick at the Interface of film and television », Essais [Online], Hors-série 4 | 2018, Online since 01 December 2019, connection on 16 December 2019. URL : http:// journals.openedition.org/essais/646 ; DOI : 10.4000/essais.646 Essais Stanley Kubrick at the Interface of film and television Matthew Melia During his keynote address at the 2016 conference Stanley Kubrick: A Retrospective1 Jan Harlan2 announced that Napoleon, Kubrick’s great unrea- lised project3 would finally be produced, as a HBO TV mini-series, directed by Cary Fukunaga (True Detective, HBO) and executively produced by Steven Spielberg. He also suggested that had Kubrick survived into the 21st century he would not only have chosen TV as a medium to work in, he would also have contributed to the contemporary post-millennium zeitgeist of cinematic TV drama. There has been little news on the development of the project since and we are left to speculate how this cinematic spectacle eventually may (or may not) turn out on the “small screen”. Alison Castle’s monolithic edited collection of research and production material surrounding Napoleon4 gives some idea of the scale, ambition and problematic nature of re-purposing such a momen- tous project for television.
    [Show full text]
  • Kubrick by Kubrick (2020) Un Mosaico Di Materiali D'archivio Che Si Ritaglia Un Posto Nella Folta Schiera Di Ammiratori Del Maestro
    Kubrick By Kubrick (2020) Un mosaico di materiali d'archivio che si ritaglia un posto nella folta schiera di ammiratori del Maestro. Un film di Gregory Monro Genere Documentario durata 72 minuti. Produzione Polonia, Francia 2020. Un ritratto intimo e privato di Stanley Kubrick. Uno sguardo speciale sul mondo di un grande regista. Ascoltiamo una voce rimasta a lungo inedita. Raffaella Giancristofaro - www.mymovies.it Per circa vent'anni il critico cinematografico e giornalista parigino Michel Ciment, direttore della rivista specializzata "Positif", ha studiato il lavoro di Stanley Kubrick, intervistandolo più volte, in particolare su quattro dei suoi tredici lungometraggi: 'Arancia meccanica', 'Barry Lyndon', 'Shining' e 'Full Metal Jacket'. Le loro conversazioni, registrate su nastro, una volta trascritte hanno dato corpo a un autorevole volume monografico (edito in Italia da Milano Libri per la prima volta nel 1981, poi ripubblicato da Rizzoli nel 2007 in una versione ampliata). L'attore e sceneggiatore Gregory Monro (già autore di speciali su Calamity Jane, Jerry Lewis, Michel Legrand), riscoperti quegli audio, nel frattempo digitalizzati, ha colto l'opportunità per ridare letteralmente voce al regista e cucire attorno ad essa una nuova narrazione. In ossequioso atteggiamento verso Ciment e il suo privilegio di un dialogo prolungato con uno dei più enigmatici creatori di immagini, il film si offre come un mosaico di soli materiali d'archivio (estratti dai film, foto e interviste coeve). Dando per scontata la conoscenza dell'opera kubrickiana, con questa sintesi parziale Monro si ritaglia un posto nella folta schiera di ammiratori, collaboratori e studiosi (tra cui va nominato Filippo Ulivieri, creatore di archiviokubrick.it) che nei due decenni dalla morte del regista (1999) hanno ragionato sul suo opus.
    [Show full text]
  • Entretien Avec Jan Harlan Jean-Philippe Gravel
    Document generated on 10/02/2021 10:56 p.m. Ciné-Bulles Le cinéma d'auteur avant tout Entretien avec Jan Harlan Jean-Philippe Gravel Volume 20, Number 2, Spring 2002 URI: https://id.erudit.org/iderudit/33283ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this document Gravel, J.-P. (2002). Entretien avec Jan Harlan. Ciné-Bulles, 20(2), 10–13. Tous droits réservés © Association des cinémas parallèles du Québec, 2002 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ avec .J.nn Harlan «L'arrogance est souvent un signe de bêtise. » an Harlan PAR JEAN-PHILIPPE GRAVEL Ce n'était pas une apparition. Dans les couloirs de l'Ex-Centris, Jan Harlan était là. La théorie des six degrés de séparation prouvait sa pertinence: aujourd'hui, apparemment, il n'en fallait qu'un Seul, degré, pour séparer votre serviteur de Stanley Kubrick. Harlan était son beau-frère et son producteur exécutif depuis le projet, avorté, de Napoleon; il faisait partie de la famille et se présentait certainement, du moins aux yeux de l'auteur de ces lignes, comme une sorte d'apôtre qui aurait rencontré Dieu pour propager la bonne nouvelle.
    [Show full text]
  • The Encyclopedia of Stanley Kubrick
    THE ENCYCLOPEDIA OF STANLEY KUBRICK THE ENCYCLOPEDIA OF STANLEY KUBRICK GENE D. PHILLIPS RODNEY HILL with John C.Tibbetts James M.Welsh Series Editors Foreword by Anthony Frewin Afterword by Leon Vitali The Encyclopedia of Stanley Kubrick Copyright © 2002 by Gene D. Phillips and Rodney Hill All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Hill, Rodney, 1965– The encyclopedia of Stanley Kubrick / Gene D. Phillips and Rodney Hill; foreword by Anthony Frewin p. cm.— (Library of great filmmakers) Includes bibliographical references and index. ISBN 0-8160-4388-4 (alk. paper) 1. Kubrick, Stanley—Encyclopedias. I. Phillips, Gene D. II.Title. III. Series. PN1998.3.K83 H55 2002 791.43'0233'092—dc21 [B] 2001040402 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K.Arroyo Cover design by Nora Wertz Illustrations by John C.Tibbetts Printed in the United States of America VB FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper.
    [Show full text]
  • The Dharma Blues
    Journal of Religion & Film Volume 6 Issue 1 April 2002 Article 6 April 2002 The Dharma Blues Robert Castle [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Castle, Robert (2002) "The Dharma Blues," Journal of Religion & Film: Vol. 6 : Iss. 1 , Article 6. Available at: https://digitalcommons.unomaha.edu/jrf/vol6/iss1/6 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The Dharma Blues Abstract So much attention was given to the ratings controversy for Stanley Kubrick's film, Eyes Wide Shut, that a problem with the film for members of the Hindu faith was almost entirely ignored. So worried were people about the images of the infamous orgy scene at the Long Island Mansion, that they failed to notice that the music composed for that scene generated its own protest - enough protest to cause the film to be altered for its releases outside of the United States and for both video and DVD sales. The Hindu protest, however, might have positive, if unexpected, results. The protest revealed that the music included a shloka from the Bhagwad Gita, bringing public attention to this sacred text. But, once this shloka is identified, its connection ot the movie can be determined and, on artistic grounds, it seems that the shloka makes an important contribution to our understanding of the movie. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol6/iss1/6 Castle: The Dharma Blues Stanley Kubrick's last movie, Eyes Wide Shut, generated a serious battle over its rating between Warner Brothers and the Motion Picture Association of America (MPAA).
    [Show full text]
  • POST SCRIPT: Essays in Film and the Humanities Volume 32, No
    POST SCRIPT: Essays in Film and the Humanities Volume 32, No. 2 Winter/Spring 2013 ISSN-0277-9897 Special Issue: Holocaust and Film Guest Editors: Yvonne Kozlovsky Golan and Boaz Cohen Contents Introduction Yvonne Kozlovsky Golan and Boaz Cohen 3 The “Sub-epidermic” Shoah: Barton Fink, the Migration of the Holocaust, and Contemporary Cinema NATHAN ABRAMS 6 Indirected by Stanley Kubrick GEOFFREY COCKS 20 A Filmmaker in the Holocaust Archives: Photography and Narrative in Peter Thompson’s Universal Hotel GARY WEISSMAN 34 The Missing Links of Holocaust Cinema: Evacuation in Soviet Films OLGA GERSHENSON 53 Jews, Kangaroos, and Koalas: The Animated Holocaust Films of Yoram Gross LAWRENCE BARON 63 "Was Bedeutet Treblinka?”: Meanings of Silence in Jean-Pierre Melville’s First Film MARAT GRINBERG 74 "What do you feel now?' The Poetics of Animosity in Fateless” BRIAN WALTER 91 Volume 32, No. 2 1 Post Script Exhibiting the Shoah: A Curator's Viewpoint YEHUDIT KOL-INBAR 100 Book Reviews The Holocaust & Historical Methodology REVIEWED BY JOANN DIGEORGIO-LUTZ 111 The Modern Jewish Experience in World Cinema REVIEWED BY ALEXIS POGORELSKIN 113 Review Essay The Filmic and the Jew: A Re-view A Discussion of Nathan Abram's The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema REVIEWED BY ITZHAK BENYAMINI 115 Volume 32, No. 2 2 Post Script INTRODUCTION YVONNE KOZLOVSKY GOLAN AND BOAZ COHEN This issue is dedicated to the fascinating Claude Lanzmann claimed that these could subject of film and the Holocaust. It includes not capture the essence of the Holocaust new research and new viewpoints on the and failed to interpret the action into visual presence of the Holocaust in western culture language.
    [Show full text]
  • Stanley Kubrick As Auteur and Adapter University of Sydney
    Grant Domonic Malfitano [REDACTION] The Duality of Man: Stanley Kubrick as Auteur and Adapter University of Sydney Faculty of Arts, Department of English Thesis submitted to fulfil requirements for the degree of Master of Research 1 Statement of Originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. I certify that the intellectual content of this this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. 2 Dedication For my parents, who lit the flame. 3 List of Contents Title Page 1 Statement of Originality 2 Dedication 3 Abstract 5 Introduction - Adaptation and Adaptation Theory; 6 i) Fidelity 10 ii) Intertextuality 11 iii) Raw Material Adaptation 14 iv) The place of the auteur in adaptation studies 16 The Kubrickian Tenets of Adaptation Chapter 1 – Narrative and Structure. 18 Chapter 2 – Visual Technique 35 Chapter 3 – Actor Performance 60 Chapter 4 – Music Selection, Arrangement and Design 85 In Conclusion 103 4 Abstract In this thesis I examine the scholarship of Adaptation Theory, commencing with the seminal work of George Bluestone in 1957, up to and including the more recent approaches of Kyle Meikle (2013), Thomas Leitch (2007), Linda Hutcheon (2006) and both Brian McFarlane (1996) and Karen Kline (1996). Each of these theorists has grappled with the overarching concept of fidelity, the status of film as autonomous art, the status of film authorship, and textual primacy. Secondly, I apply the current scholarship on Adaptation Theory to the work of film auteur, Stanley Kubrick.
    [Show full text]
  • Toward a Biopoetics of Second-Order Symbolism in the Storytelling Arts
    UNIVERSITY OF CALIFORNIA Santa Barbara Narrative (K)nots / Symbolic Seduction: Toward a Biopoetics of Second-Order Symbolism in the Storytelling Arts A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Nicholas Fate Pici Committee in charge: Professor Kay Young, Chair Professor Sowon Park Professor Edward Branigan December 2017 The dissertation of Nick Pici is approved. _______________________________________________ Edward Branigan _______________________________________________ Sowon Park _______________________________________________ Kay Young, Committee Chair December 2017 Narrative (K)nots / Symbolic Seduction: Toward a Biopoetics of Second-Order Symbolism in the Storytelling Arts Copyright © 2017 by Nick Pici iii DEDICATION To Joe and Anne Jennifer and Kayla Cooper and Roxy Stanley, Edgar, and Ernest iv ACKNOWLEDGEMENTS Deepest gratitude to Dr. Kay Young and Dr. Edward Branigan for their unyielding patience with my meandering intellectual explorations, writerly false starts, and frequent hesitations. Their willingness to allow me to build this project up slowly, brick by painstaking brick, and to write what I truly wanted to write is appreciated beyond words. The same can be said of UCSB’s Department of English and Graduate Division. Great thanks also to Sowon Park, who nimbly agreed to join my committee in the late stages and who furnished eloquent and invaluable feedback about my project’s content and trajectory. Further thanks to Dr. Miyoung Chun, who provided professional mentorship, morale boosts, and employment during across the entire arc of my graduate career and dissertation-writing process. Love and special thanks to my parents for being the most unswerving and persistent supporters of my ambitions to earn the PhD.
    [Show full text]
  • AFF 2009 Katalog
    Poďakovanie • Acknowledgements Ďakujeme • Special thanks to Slovenský filmový ústav Eva Zaoralová, Karlovy Vary IFF Markéta Okezz, Atypfilm Slovak Film Institute Jan Harlan Zdeňka Barcalová, Vapet Production Radovan Holub Evelyna Koublová, Vapet Production Rudolf Biermann, InFilm Praha Jarmila Outratová, OutCome Ivan Lacho, Intersonic Orlow Seunke, ECCO Films Indonesia Slovenská filmová a televízna akadémia Michal Drobný, Continental Film Joko Anwar, Life Like Pictures Slovak Film and Television Academy Ivan Hronec, SPI International Geraldine Higgins, Hollywood Classics Ivan Sollár, Tatrafilm Nicholas Varley, Park Circus Dana Freyerová, Intersonic Sarah Hack, Magnolia Pictures Taliansky kultúrny inštitút v Bratislave Dana Pfeiferová, Tatarafilm Jack Stevenson Istituto Italiano di Cultura di Bratislava Zuzana Mistriková, Miro Janura, AVI Studio Slovenská filmová a televízna akadémia/ Cory McAbee Slovak Film and Television Academy Gunnar Almer, Swedish Film Institute Peter Dubecký, Andrew Youdell, British Film Institute Ministerstvo obrany Slovenskej republiky Slovenský filmový ústav/Slovak Film Institute Thilde Kallerup, Danish Film Institute The Ministry of Defence of the Slovak Republic Alexandra Strelková, Eduard Ferrer, Cooper Film Slovenský filmový ústav/Slovak Film Institute Laurence Berbon, Tamasa Distribution Hana Válková, Nicki Adams, Warner Bros. Intersonic Slovenský filmový ústav/Slovak Film Institute Helena Dametka, Filmoteka Narodowa Silvia Dubecká, Asociácia slovenských filmových Saadia Karim, MK2 klubov/Association of Slovak
    [Show full text]
  • Emilio D'alessandro with Filippo Ulivieri, Stanley Kubrick
    Reviews Cinergie – Il cinema e le altre arti. N.12 (2017) https://doi.org/10.6092/issn.2280-9481/7560 ISSN 2280-9481 Emilio D’Alessandro with Filippo Ulivieri, Stanley Kubrick and Me: Thirty Years at His Side. Translated by Simon Marsh. New York: Arcade Publishing, 2016 Nathan Abrams* Published: 4th December 2017 Given the wealth of scholarship on Stanley Kubrick, there are surprisingly few biographies of him. So far, we have Vincent LoBrutto’s excellently researched tome. That was followed by Stanley Baxter’s less-extensively researched book, one which relied heavily on interviews, and which took a much more jaundiced approach than LoBrutto’s. Neither author benefited from the voluminous material located at the Stanley Kubrick Archive at the University of the Arts in London. There has also been various memoirs from his screenwriting collaborat- ors, including Diane Johnson, Michael Herr and, most controversially, Frederic Raphael. However, apart from the odd interview and essay, we have never had a full-blown account from anyone within the inner Kubrick circle – that constellation of individuals who were located closest to the director. This includes those who were given space on Kubrick’s sprawling estate at Childwickbury – Jan Harlan, Tony Frewin, Leon Vitali and, of course, his wife and family. But, with the arrival of Emilio D’Alessandro’s memoir, Stanley and Me, and Filmworker (dir. Tony Zierra, 2017), a documentary about Vitali, we now have two different, yet invaluable, perspectives on Kubrick, perspectives from some of those who were closest to him. D’Alessandro was Kubrick’s driver and handyman for many years.
    [Show full text]