martedì 22 aprile 2014

"Parlammo per otto ore senza sosta": Clarke ricorda il suo primo incontro con Kubrick, cinquant'anni fa oggi, il 22 aprile 1964

Arthur C. Clarke, dal libro The Lost World of 2001:
Quando incontrai Stanley Kubrick per la prima volta, al Trader Vic's, il 22 Aprile 1964, lui aveva già assorbito un'immensa quantità di scienza e di fantascienza, ed stava pericolosamente cominciando a credere ai dischi volanti; credo di essere arrivato appena in tempo per averlo salvato da questa triste fine. 
Sin dall'inizio aveva un'idea molto precisa di quale fosse il suo scopo finale, e stava cercando il miglior modo di avvicinarsi all'argomento. [Kubrick] voleva fare un film sulla relazione dell'Uomo con l'Universo, qualcosa che non era mai stato tentato, tanto meno realizzato, nella storia del cinema.
Ovviamente c'erano già stati innumerevoli film "spaziali", per lo più robaccia. Anche i pochi che erano stati fatti con un certo talento e cura erano stati piuttosto semplificati, preoccupati più dell'eccitazione che il volo spaziale provocava nei ragazzini piuttosto che delle sue profonde implicazioni nella società, nella filosofia e nella religione.

Da Odyssey of a Visionary: A Biography di Neil McAleer:
Clarke descrive [Kubrick] come "un newyorkese piuttosto silenzioso, di media statura", ancora privo di quella barba che avrebbe fatto crescere durante la realizzazione di 2001. Era praticamente pallido in viso, notò Clarke, perché era perlopiù un tipo notturno - un fatto che divenne evidente più avanti nella loro relazione lavorativa. [...]
"Parlammo per otto ore senza sosta di fantascienza, Il Dottor Stranamore, i dischi volanti, la politica, il programma spaziale, il senatore Goldwater - e ovviamente, il nostro futuro film." 


"We talked for eight solid hours": Arthur C. Clarke recalls meeting Stanley Kubrick for the first time fifty years ago today, April 22, 1964

Arthur C. Clarke, from The Lost World of 2001:
When I met Stanley Kubrick for the first time, in Trader Vic's on April 22, 1964, he had already absorbed an immense amount of science fact and science fiction, and was in some danger of believing in flying saucers; I felt I had arrived just in time to save him from this gruesome fate. Even from the beginning, he had a very clear idea of his ultimate goal, and was searching for the best way to approach it. He wanted to make a movie about Man's relation to the universe, something which had never been attempted, still less achieved, in the history of motion pictures.  
Of course, there had been innumerable "space" movies, most of them trash. Even the few that had been made with some skill and accuracy had been rather simpleminded, concerned more with the schoolboy excitement of space flight than its profound implications to society, philosophy, and religion. 

From Son Of Dr.Strangelove, an essay wrote by Clarke for Report on Planet Three (1972, read it on Google books) and reprinted with small corrections in Greetings, carbon-based bipeds (1998, p.261):
My first meeting with Stanley Kubrick took place at Trader Vic's in the Plaza Hotel. The date - April 22, 1964 - coincided with the opening of the ill-starred New York World'sFair, which, might or might not be regarded as an unfavorable omen. Stanley arrived on time, and turned out to be a rather quite, average-height New Yorker (to be specific, Bronxite) with none of the idiosyncrasies one associates with major Hollywood movie directors. 
He had a night-person pallor, and one of our minor problems was that he functions best in the small hours of the morning, whereas I believe that no sane person is awake after 10 p.m. and no law-abiding one after midnight. He never tried with me his usual tactic of phoning at 4 a.m. to discuss an important idea. But his curtesy did non stop him from being absolutely inflexible once he had decided on some course of action. Tears, hysterics, flattery, sulks, threats of lawsuits, will not defect him one millimeter.
"We talked for eight solid hours about science fiction, Dr. Strangelove, flying saucers, politics, the space program, Senator Goldwater - and, of course, the projected next movie." 


sabato 19 aprile 2014

Taschen's "The Making Of Stanley Kubrick's '2001: A Space Odyssey'" is available for pre-order!

Made in exclusive collaboration with the Kubrick estate and Warner Bros., The Making Of Stanley Kubrick's '2001: A Space Odyssey' is a copiously illustrated work features hundreds of unique 2001-related documents, concept artworks, and superb behind-the-scenes photographs from the Kubrick Archives—most of which have never been published before—as well as exclusive correspondence and personal testimony from Kubrick's co-screenwriter Arthur C. Clarke.

Four hardcover volumes with a metal slipcase, all designed by M/M (Paris):
Volume 1: Film stills
Volume 2: Behind the scenes (including new interviews with lead actors, senior production designers, and key special-effects experts)
Volume 3: Facsimile of original screenplay
Volume 4: Facsimile of original 1965 production notes
Box cover painted by Wayne Haag based on 2001: A Space Odyssey elements
Plus a small comic surprise

Limited to a total of 1,500 copies: Art Edition No 1-500 (Art Edition A and B, with a signed print by Brian Sanders) and Collector’s Edition No. 501-1,500

The author:

Piers Bizony has written about science and the history of technology for a wide variety of publishers in the UK and the US. A recent project, Atom, a book linked with a major BBC TV series, told the dramatic story of the rivalries and passions behind the discovery of quantum physics. The Man Who Ran the Moon picked up rave reviews for its account of NASA's lunar-era chief administrator, Jim Webb, and Starman, a gripping biography of Yuri Gagarin (co-authored with Jamie Doran) was optioned earlier this year. A feature film is being planned. His text for The Making of Stanley Kubrick’s '2001: A Space Odyssey' is a much extended and updated version of his bestselling 1994 monograph 2001: Filming the Future.

The designer:

Established in Paris in 1992, M/M (Paris) is an art and design partnership consisting of Mathias Augustyniak and Michael Amzalag. They are best known for their art direction and collaborations with musicians, fashion designers, and contemporary artists, including Björk, Madonna, Yohji Yamamoto, Balenciaga, Pierre Huyghe, and Inez van Lamsweerde & Vinoodh Matadin, as well as magazines including Vogue Paris, Interview, and Purple Fashion. In addition to solo shows in galleries in Europe and Japan, they have participated in exhibitions at Centre Pompidou and Guggenheim New York, and their work is featured in public collections around the world.