tag:blogger.com,1999:blog-44426057027516322572024-02-29T11:20:14.782+01:002001italiaA blog devoted to Stanley Kubrick's "2001: a space odyssey" / il blog dedicato al capolavoro di Stanley Kubrick "2001: Odissea nello spazio"Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.comBlogger148125tag:blogger.com,1999:blog-4442605702751632257.post-73750348446643728582022-02-21T14:59:00.015+01:002022-02-21T15:18:52.656+01:00Stanley Kubrick’s “Manhattan Project”: How Two Experimental Filmmakers Contributed to 2001: A Space Odyssey<i>It was December 1964, and Stanley Kubrick had a problem: no one wanted his new movie. <br /></i><br /><a href="https://filmmakermagazine.com/112357-stanley-kubricks-manhattan-project/" target="_blank">My latest essay</a> (four years in the making!) is the untold story of how two New York underground filmmakers, <b>Fredric Martin </b>and<b> Jack Malick</b>, helped Kubrick in the making of 2001: A Space Odyssey - told through their words, the memories of their friends and relatives, materials from the archives, etc.<br /><div><br /><div style="text-align: center;"><a href="https://www.blogger.com/#"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEhm5baMoHmxCPKhncAXvlzsWMaR9IbEAK5XoFOf24q75Fq0PKY_Fv84KgiCG49LJm6fUnrlrJE7jq1rpP2pAE_48LKIFxS1bbbqgLypqfY0TeKkQqfzM_qpkYVuHnvlGQlncFEbsfwLUPQ74BiISKixELZeDN61Zo7hEakcX5BUecs_1NahDS4HZoo4=w400-h222" /></a></div><br />The article is available <a href="https://filmmakermagazine.com/112357-stanley-kubricks-manhattan-project/">here</a> and in the fall 2021 issue of Filmmaker Magazine.<br /><br />Special thanks to <b>Mark Lentz </b>and<b> Gerry Flahive</b> for the additional interviews, to <b>Robert Schuhmann </b>and<b> Gary Malick</b> for their precious memories, and to the several members of the '2001' crew that helped me putting together the pieces over the years.</div>Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-30194534816566895182019-12-12T21:52:00.002+01:002019-12-12T21:54:18.078+01:00"2001 between Kubrick and Clarke" is available in english!The English edition of <b>2001 between Kubrick and Clarke: The Genesis, Making and Authorship of a Masterpiece</b> by myself and Filippo Ulivieri <b><a href="http://bit.ly/2001SKACC">is out now</a></b>, with a foreword by 'Moon-Watcher' himself, <b>Dan Richter</b>!<br />
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<b>What the book is about:</b></h3>
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The story of how <b>2001: A Space Odyssey</b> came to be made is in many ways as epic as the events portrayed in the film itself—and until now, just as mysterious. In 1964, with <b>Dr. Strangelove</b> ready for release, Stanley Kubrick was uncertain about what his next project would be, and considered making a film dealing with several contemporary themes; it was only when he encountered Arthur C. Clarke that he decided to make a science fiction film. Yet it took more than four years for <b>2001</b> to reach the screen—a productive and creative odyssey that involved experimentation, last-minute rethinks, strokes of genius, quarrels, ultimatums, feats of will, and mental breakdowns.<br />
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Drawing extensively from never before seen material, including production documents and private correspondences, <b>2001 between Kubrick and Clarke: The Genesis, Making and Authorship of a Masterpiece</b> gives for the first time a complete account of the two authors’ creative collaboration; one which casts lights on their on-again, off-again relationship, as well as revealing new information about the genesis, production, and reception of the first and most important film about space, the origin of humankind and its destiny among the stars.</div>
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<b>Reviews:</b></h3>
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"Wow! What a great book. I was there for over a year and I learned things I didn't know from it. The interplay between Stanley Kubrick and Arthur C. Clarke is detailed as never before. Bravo Filippo and Simone!" -- <b>Dan Richter, 'Moon-Watcher' and coreographer of the 'Dawn of Man' sequence.</b></blockquote>
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"Much like the film itself, this book by two leading Kubrick researchers takes its readers on a journey. By sidestepping the accumulated mythology about the making of 2001: A Space Odyssey and by letting the meticulously researched facts speak for themselves, 2001 between Kubrick and Clarke takes us deep into the creative process behind one of the greatest of all cinematic masterpieces. We are introduced to a wide range of collaborative relationships, none more complex and intriguing than that between Stanley Kubrick and Arthur C. Clarke. Our appreciation of their enormous achievement is enhanced - but as to what it all means, the book, like the film, challenges us to come up with our own answers." -- <b>Peter Krämer, author of the BFI Film Classics volume on '2001: A Space Odyssey'.</b></blockquote>
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<b>About the authors:</b></h3>
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<b>Filippo Ulivieri</b> (1977) is Italy's leading expert on Stanley Kubrick. Since 1999, he has been running <a href="http://www.archiviokubrick.it/">archiviokubrick.it</a>, a database of factual information about the life and work of Stanley Kubrick. His research on '2001: A Space Odyssey', 'A Clockwork Orange', Kubrick's unrealised films and the myths surrounding his public image have been presented in several international conferences and published in Italian and English. He is the author of <b><a href="https://www.amazon.com/gp/product/1628726695/ref=dbs_a_def_rwt_bibl_vppi_i0">Stanley Kubrick and Me: Thirty Years at His Side</a></b> (Arcade Publishing, 2016), the biography of Emilio D'Alessandro, personal assistant to the director. He is co-writer of <b><a href="https://www.facebook.com/sisforstanley/">S is for Stanley</a></b> (Alex Infascelli, 2015), winner of the David di Donatello award for Best Documentary Feature.</div>
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<b>Simone Odino</b> (1974) works as a librarian in Bologna. For the past five years he has been researching '2001: A Space Odyssey', visiting archives in the U.S., England and Italy and interviewing cast and crew members. This book was possible thanks to his visit to the 'Arthur C. Clarke Collection of Sri Lanka' at the Smithsonian Air & Space Museum. He gave papers in the conferences 'Stanley Kubrick: A Retrospective' (De Montfort University, Leicester, 2016) and 'Stanley Kubrick: Nouveaux Horizons' (Université Bordeaux Montaigne, Bordeaux, 2017), and was a guest speaker at the event 'Kubricks 2001: 50 Jahre A Space Odyssey' (Deutsches Filmmuseum, Frankfurt am Main, 2018). He has been running the website 2001italia.it since 2013.<br />
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<b>Where to buy:</b></h3>
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The book is available worldwide through <b>Amazon</b>, and in the United States in classic book shops, too.</div>
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Amazon USA: <a href="http://bit.ly/2001SKACC">http://bit.ly/2001SKACC</a></div>
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Amazon UK: <a href="http://bit.ly/2001SKACC-UK">http://bit.ly/2001SKACC-UK</a></div>
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Amazon France: <a href="http://bit.ly/2001SKACC-FR">http://bit.ly/2001SKACC-FR</a></div>
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Amazon Germany: <a href="http://bit.ly/2001SKACC-DE">http://bit.ly/2001SKACC-DE</a></div>
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Amazon Spain: <a href="http://bit.ly/2001SKACC-ES">http://bit.ly/2001SKACC-ES</a></div>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com1tag:blogger.com,1999:blog-4442605702751632257.post-16842370513917447652019-12-04T14:51:00.001+01:002019-12-05T12:32:14.767+01:00Promozione di Natale: '2001 tra Kubrick e Clarke' autografatoCari amici,<div>
<br>a Natale si regalano i libri! In occasione delle festività di fine anno, è possibile acquistare delle <b>copie del libro <i>2001 tra Kubrick e Clarke</i> autografate da me e Filippo Ulivieri</b>, al prezzo di 15€ l'una, comprensivo di spese di spedizione. <br><br>Il libro racconta la storia della creazione di <i>2001: Odissea nello Spazio</i> attraverso i documenti inediti che io e Filippo abbiamo consultato in esclusiva presso il Kubrick Archive di Londra e la Clarke Collection a Washington. <i>2001 tra Kubrick e Clarke</i> è un'<b>ottima idea regalo</b> per i vostri amici cinefili, gli appassionati di fantascienza, i lettori curiosi di sapere come si fanno i bei film. Questo Natale, regalate e regalatevi il solo e unico trip interstellare. </div>
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<b>Per ordinare le vostre copie mandate un'email all'indirizzo</b> <a href="mailto:nessuno2001@gmail.com?subject=Acquisto%20copie%20autografate%20di%202001%20tra%20Kubrick%20e%20Clarke">nessuno2001@gmail.com</a> indicando il nome della persona a cui volete regalare il libro e l'indirizzo a cui recapitarlo. Il pagamento viene effettuato tramite Paypal. La spedizione può esser fatta come piego di libri ordinario, per chi non ha fretta, o raccomandato, per una consegna in 3/4 giorni lavorativi. Per chi avesse urgenza, disponibile anche una spedizione espressa entro un giorno lavorativo con 5€ aggiuntivi. </div>
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<br>Grazie della vostra cortese attenzione,</div>
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<br>Simone e Filippo</div>
Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-696406204751378722019-11-19T22:40:00.002+01:002019-11-19T22:40:55.248+01:00Tour di presentazioni di "2001 tra Kubrick e Clarke"Carissimi amici sparpagliati per tutta Italia, sta per iniziare il <b>tour di presentazioni di "2001 tra Kubrick e Clarke"</b>: da questa settimana io e Filippo portiamo il nostro nuovo libro nelle scuole di cinema, librerie, associazioni culturali e caffè letterari per una serie di incontri col pubblico.<br />
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<b>"2001 tra Kubrick e Clarke"</b>: La storia della creazione di <i>2001: Odissea nello Spazio</i> come non è mai stata raccontata: <b>documenti di produzione inediti, pagine di diario, lettere e cablogrammi</b>.<br />
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<b>PISA</b>, Venerdì 22 novembre, ore 19:00, <a href="https://www.facebook.com/events/415768142667080/">Caffè Letterario Volta Pagina</a>, Via S. Martino 71<br />
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<b>FIRENZE</b>, Lunedì 25 novembre, ore 18:00, <a href="https://www.facebook.com/events/788586604915412/">Scuola di Cinema Immagina</a>, Via Borgo della Stella 11/R;<br />
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<b>SAVONA</b>, Mercoledì 27 novembre, ore 18:30, <a href="https://www.facebook.com/events/489919494980350/">la Feltrinelli Point</a>, Via Astengo 9r;<br />
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<b>ROMA</b>, Venerdì 29 novembre, ore 18:00, <a href="https://www.facebook.com/events/426671284927319/">Centro Romano di Fotografia e Cinema</a>, Via di Pietralata 157, con una proiezione di <i>S is for Stanley</i> alle 21:00;<br />
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<b>CASTEL CAMPAGNANO (CE)</b>, Domenica 1 dicembre, ore 18:30, <a href="https://www.blogger.com/blogger.g?blogID=4442605702751632257">Arte e Cultura</a>, Palazzo Aldi;<br />
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<b>GROSSETO</b>, Mercoledì 4 dicembre, ore 19:00, <a href="https://www.facebook.com/events/674904113033015/">Cinema Stella</a>, Via Mameli 24, con una lezione di Filippo Ulivieri su <i>2001</i> e proiezione della versione restaurata del film;<br />
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<b>BOLOGNA</b>, Venerdì 6 dicembre, ore 19:00, <a href="https://www.facebook.com/events/554711605364827/">Libreria Modo Infoshop</a>, Via Mascarella 24b.<br />
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Trovate maggiori informazioni sui link agli <b>eventi Facebook</b>.
Mai come questa volta il successo del libro è nelle vostre mani: ogni aiuto è prezioso, dal passaparola ai "mi piace" su Facebook, dalle condivisioni online al suggerirci nuovi posti dove presentare il libro.<br />
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Grazie della vostra attenzione, e speriamo di vedervi in tanti per fare due chiacchiere sul nostro amico barbuto preferito.
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-17217425124534799942019-10-10T21:14:00.000+02:002019-10-10T21:37:01.412+02:00Rassegna stampa per "2001 tra Kubrick e Clarke"Il libro <i>2001 tra Kubrick e Clarke: Genesi, realizzazione e paternità di un capolavoro</i> è uscito da tre settimane e negli ultimi giorni sono stati pubblicati alcuni articoli e interviste interessanti che ho il piacere di segnalarvi. <br />
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Il giorno dell'uscita, 16 settembre, <b>Filippo Ulivieri </b>è stato ospite della trasmissione di attualità culturale <b>Diderot</b> della <b>Radio Televisione Svizzera</b> per parlare in diretta con <b>Massimo Zenari</b> sulla paternità condivisa del film, l'arzigogolato sviluppo della sceneggiatura e alcune <b>scoperte sorprendenti</b> che Filippo ed io abbiamo compiuto consultando le carte degli archivi Kubrick e Clarke. Potete ascoltare il podcast qui sotto, che è anche disponibile sul <a href="https://www.rsi.ch/rete-due/programmi/cultura/diderot/2001-tra-Kubrick-e-Clarke-12090142.html">sito di Diderot</a>.<br />
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Le riviste online <b>CameraLook</b> e <b>VeroCinema</b> ci hanno dato modo di raccontare la realizzazione del libro con una sorta di dietro le quinte della ricerca kubrickiana. <b>L'intervista di Giacomo Aricò</b> è disponibile <a href="http://www.cameralook.it/web/2001-tra-kubrick-e-clarke-la-storia-definitiva-sulla-nascita-di-un-capolavoro/">su CameraLook</a>, mentre <b>quella di Simone Tarditi</b> è <a href="https://verocinema.com/2019/10/01/intervista-agli-autori-di-2001-tra-kubrick-e-clarke/">su VeroCinema</a>. <br />
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<b>Simone Tarditi </b>ha anche scritto una lusinghiera recensioneche afferma che <i>2001 tra Kubrick e Clarke </i>è "frutto di un'autentica passione per la materia ... narrato con una precisione assoluta" e con "modalità proprie dell'epopea," tanto che "<b>diventerà uno dei testi di riferimento per ogni futuro studio su Kubrick</b>." Su VeroCinema la <a href="https://verocinema.com/2019/09/26/2001-tra-kubrick-clarke-recensione-libro/">recensione completa</a>.</div>
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<b>Riccardo Bellini di Birdmen</b> ha scritto che il libro è "Lontano anni luce tanto dalla pedanteria di un approccio accademico quanto dai toni di un'agiografia settaria ... Per chi pensa di conoscere la storia di <i>2001</i>, come per chi non la conosce affatto; per i neofiti del cinema kubrickiano, come per gli spettatori e gli studiosi più preparati, <i>2001 tra Kubrick e Clarke</i> è <b>una lettura che arricchisce e appassiona</b> [e] stupisce nel saper coniugare leggerezza e densità." La recensione integrale è <a href="https://birdmenmagazine.com/2019/10/07/2001-tra-kubrick-e-clarke-lodissea-completa-raccontata-da-filippo-ulivieri-e-simone-odino/">sul sito della rivista</a>.<br />
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L'ultima recensione in ordine di arrivo è a firma di <b>Daniela Catelli per Coming Soon</b>, che definisce <i>2001 tra Kubrick e Clarke</i> "un saggio prezioso ... scorrevole e appassionante come un bel romanzo ... <b>Poche altre volte un libro italiano sul cinema ha saputo essere così illuminante</b> sull'opera di un autore unico come Stanley Kubrick, alla cui comprensione questo piccolo e fittissimo volume aggiunge un contributo determinante." Sul portale trovate <a href="https://www.comingsoon.it/libri/news/2001-tra-kubrick-e-clarke-genesi-realizzazione-e-paternita-di-un/n95439/">l'articolo intero</a>.<br />
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<i>2001 tra Kubrick e Clarke</i> è stato menzionato anche sui media cartacei: era il consiglio Cinelibri del numero di<b> Film Tv</b> della settimana scorsa ed è stato segnalato da <b>Michele Ceparano della Gazzetta di Parma</b>, da <b>Riccardo Bruni de La Nazione</b> e da <b>Sara Landi de Il Tirreno</b>, quest'ultima anche con un'intervista.<br />
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<b>Cliccando sulle immagini potrete visualizzare il 'ritaglio' alla dimensione originale:</b><br />
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Chiudo questo scampolo di rassegna stampa con il riassunto di una telefonata del famoso critico cinematografico e giornalista <b>Tatti Sanguineti</b> a Filippo: Tatti ha definito il libro "un'impresa titanica" e ha detto di essere "<b>rimasto sopraffatto dalla sua straordinaria bellezza</b>". Tra gli aggettivi che ha usato, Filippo ricorda "avvincente, illuminante, divertente." Ma il complimento più grande è stato: <b>"L'ho iniziato il pomeriggio e l'ho messo giù solo quando era finito, che ormai era notte fonda."</b><br />
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Grazie a Filippo per avermi fornito la rassegna stampa, che trovate in originale su <a href="http://akblog.archiviokubrick.it/2019/10/rassegna-stampa-per-2001-tra-kubrick-e.html" style="text-align: center;" target="_blank">ArchivioKubrick</a>, e auguro a tutti voi una lettura ugualmente appassionante. Grazie per l'attenzione!</div>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com1tag:blogger.com,1999:blog-4442605702751632257.post-58315006049984256412019-09-16T15:33:00.000+02:002019-09-16T15:37:14.807+02:002001 tra Kubrick e Clarke: Genesi, realizzazione e paternità di un capolavoroCarissimi,<br />
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da oggi il libro <i>2001 tra Kubrick e Clarke: Genesi, realizzazione e paternità di un capolavoro</i> è disponibile <b>in edizione cartacea presso <a href="https://store.streetlib.com/it/filippo-ulivieri-simone-odino/2001-tra-kubrick-e-clarke/?fbclid=IwAR01BJJ4K-lOHfpIr2XVhp56XvtqTc6wR_E6uPd973XutJVUy-22lKd2lko" target="_blank">tutti</a> gli <a href="https://www.amazon.it/dp/8834128494" target="_blank">store</a> online e su ordinazione nelle librerie fisiche.</b><br />
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Grazie alle ricerche che io e Filippo Ulivieri abbiamo condotto presso il Kubrick Archive di Londra e la Clarke Collection in Virginia, <i>2001 tra Kubrick e Clarke</i> racconta <b>per la prima volta in modo completo</b> l'odissea tecnica e artistica di Stanley Kubrick e di Arthur C. Clarke durante la creazione di <i>2001: Odissea nello Spazio</i>.<br />
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Nel 1964, concluso <i>Il Dottor Stranamore</i>, Kubrick era incerto su come bissare il successo appena ottenuto e stava considerando i temi più caldi del momento; solo quando incontrò Arthur C. Clarke si decise per un film di fantascienza. Ma perché Kubrick scelse lo scrittore inglese? Perché decise di utilizzare "La Sentinella", un racconto di Clarke vecchio di quasi vent'anni? E perché, poche settimane prima di ufficializzare il loro accordo, Kubrick aveva proposto allo scrittore di adattare <b>uno sceneggiato radiofonico sull'invasione della terra da parte di lucertole giganti?</b><br />
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Attingendo a fonti inedite, tra cui i documenti di produzione del film, il carteggio tra lo scrittore e il regista, le <b>bozze del trattamento di Clarke</b> con le dozzine di idee scartate per arrivare alla trama finale, <i>2001 tra Kubrick e Clarke</i> risponde a queste e altre domande, gettando una luce inedita sulla relazione altalenante tra Kubrick e Clarke, <b>rivelando particolari finora sconosciuti sulla nascita e la realizzazione del “proverbiale buon film di fantascienza,”</b> il primo e il più grande film sullo spazio, l’origine della specie umana e il suo destino tra le stelle.<br />
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Il carteggio della Clarke Collection, con le sue lettere autografe, i fax e gli sbiaditi cablogrammi transoceanici, ci ha anche rivelato l’<b>estenuante tira e molla tra Kubrick e Clarke</b> per la pubblicazione del romanzo collegato al film, una saga parallela dalla quale Kubrick emerge come un <b>condottiero dai nervi d’acciaio</b> in grado di piegare tutti al proprio volere. <br />
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<i>2001 tra Kubrick e Clarke</i> offre così il racconto definitivo della realizzazione del film e contemporaneamente dipinge un <b>vivido ritratto delle personalità di Kubrick e Clarke</b>, documentando la relazione – spesso idilliaca, a volte burrascosa – tra il più scientifico scrittore di fantascienza e il più intransigente regista cinematografico.<br />
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Potete acquistare <i>2001 tra Kubrick e Clarke</i> in edizione digitale a <b>4,99</b>€ presso tutti gli store online e in edizione cartacea a <b>14,99</b>€ sia online che, su ordinazione, dal vostro libraio di fiducia. (In copertina: illustrazioni di Roberto Baldassarri, progetto grafico di Gianni Denaro.)<br />
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Siamo oltremodo felici di riportare un commento di <b>Ruggero Eugeni</b>, autore del nostro libro di critica preferito, <i>Invito al Cinema di Kubrick</i>, che ha letto <i>2001 tra Kubrick e Clarke</i> in anteprima:<br />
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<i>Non lasciatevi illudere. Questo libro si legge come un romanzo, ma nasconde ore e ore di serio lavoro di archivio. Racconta una storia che forse pensate di conoscere – la genesi di 2001: Odissea nello spazio – ma lo fa come non era mai stato fatto prima, attingendo a decine di documenti inediti e rivelatori. Non lasciatevi illudere: questo libro racconta una storia che non conoscete, e lo fa in modo straordinariamente affascinante. Ulivieri e Odino si tuffano con coraggio nel mare magnum di lettere, documenti e sceneggiature che Kubrick e Clarke si sono scambiati e riemergono con un saggio fondamentale, appassionante e innovativo.</i></blockquote>
Non potevamo chiedere di meglio. Buona lettura e grazie della vostra attenzione!</div>
Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-8290781199246499792019-03-06T20:17:00.002+01:002019-03-11T18:36:30.487+01:00Disponibile da oggi "2001 tra Kubrick e Clarke: Genesi, realizzazione e paternità di un capolavoro"Nel ventesimo anniversario della scomparsa di Stanley Kubrick, per celebrarne l'immortale eredità artistica è disponibile da oggi in anteprima in edizione digitale il mio libro <b>2001 tra Kubrick e Clarke: Genesi, realizzazione e paternità di un capolavoro</b>, scritto insieme a <a href="http://www.archiviokubrick.it/">Filippo Ulivieri</a>. Le illustrazioni della copertina sono opera di Roberto Baldassarri; il progetto grafico è di Gianni Denaro.<br />
<b><br />2001 tra Kubrick e Clarke </b>è disponibile in anteprima su tutte le piattaforme digitali: lo trovate per Amazon Kindle a <a href="https://www.amazon.it/dp/B07PDMTW79/">questo indirizzo</a>, per iPad e altri device Apple su <a href="https://itunes.apple.com/it/book/2001-tra-kubrick-e-clarke/id1455634730">iBooks Store</a>, per i tablet ed e-read Android su <a href="https://play.google.com/store/search?q=9788832533873&c=books">Google Play Store</a> e infine in formato ePub per tutti gli altri lettori sul vostro store preferito (<a href="https://www.ibs.it/2001-tra-kubrick-clarke-ebook-filippo-ulivieri-simone-odino/e/9788832533873">Ibs.it</a>, <a href="https://www.lafeltrinelli.it/ebook/filippo-ulivieri/2001-kubrick-e-clarke/9788832533873">laFeltrinelli</a>, <a href="https://www.mondadoristore.it/2001-tra-Kubrick-e-Clarke-Filippo-Ulivieri-Simone-Odino/eai978883253387/">Mondadori</a>, <a href="https://www.bookrepublic.it/book/9788832533873-2001-tra-kubrick-e-clarke/">Bookrepublic</a>, <a href="https://www.kobo.com/it/it/ebook/2001-tra-kubrick-e-clarke">Kobo</a> e così via). Arriverà a breve in edizione cartacea e sarà possibile ordinarlo anche in tutte le librerie.<br />
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La storia della realizzazione di <b>2001</b> è tanto epica quanto gli eventi narrati dal film – e finora altrettanto misteriosa. Nel 1964, concluso <b>Il Dottor Stranamore</b>, Stanley Kubrick era incerto su come bissare il successo appena ottenuto e stava considerando i temi più caldi del momento; solo quando incontrò Arthur C. Clarke si decise per un film di fantascienza. Occorsero tuttavia più di quattro anni perché <b>2001</b> arrivasse sugli schermi: un titanico sforzo produttivo e creativo, costellato di ripensamenti, esperimenti, colpi di genio, debiti, litigi, minacce, esaurimenti nervosi e prove di forza. <br />
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Attingendo a fonti inedite, tra cui i documenti di produzione del film e il carteggio tra lo scrittore e il regista custoditi negli archivi di Londra e Chantilly (USA), <b>2001 tra Kubrick e Clarke</b> racconta per la prima volta in modo completo l’odissea tecnica e artistica dei due autori, getta luce sulla loro relazione altalenante e rivela particolari finora sconosciuti sulla nascita e la realizzazione del “proverbiale buon film di fantascienza”, il primo e il più grande film sullo spazio, l’origine della specie umana e il suo destino tra le stelle.<br />
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<b>2001 tra Kubrick e Clarke</b> presenta tre saggi (per un totale di 157 pagine) in un'inedita traduzione in italiano e in versioni largamente estese rispetto alla prima pubblicazione: <br />
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<b>1. «Mio Dio, sarà dura superare l'atomica» – Kubrick alla ricerca di una nuova ossessione tra Il Dottor Stranamore e 2001 </b>di Simone Odino<br />
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<i>In che modo Stanley Kubrick giunse alla decisione di realizzare un film di fantascienza, scartando altre opzioni? Per quale ragione l’idea di utilizzare il racconto La Sentinella di Arthur C. Clarke come punto di partenza prevalse su altre – invero stravaganti – idee? Il periodo intercorso tra Il Dottor Stranamore e l’inizio della produzione di '2001: Odissea nello Spazio' fornisce indicazioni preziose sugli interessi e le preoccupazioni di Kubrick oltre che sul suo atteggiamento verso il genere fantascientifico, offrendo una chiave di lettura socio-politica delle motivazioni dietro alla realizzazione del film.</i><br />
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<b>2. La corsa allo spazio di Stanley Kubrick – Il calendario di produzione di 2001: Odissea nello Spazio</b> di Filippo Ulivieri</div>
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<i>'2001: Odissea nello Spazio' ha avuto notoriamente una realizzazione macchinosa: centinaia di maestranze all’opera in nove teatri di posa, effetti fotografici pionieristici, un piano di produzione e un budget quasi raddoppiati rispetto a quanto preventivato. Il film si preannunciò da subito come una scommessa estremamente audace per complessità tecnica e aspirazioni filosofiche. Tuttavia, questa impresa titanica non è mai stata documentata appropriatamente. Per la prima volta, le informazioni disseminate tra riviste d’epoca, libri di memorie, monografie e fonti d’archivio vengono qui di seguito combinate per costruire il più completo racconto della lavorazione di '2001' – i quattro febbrili anni che lanciarono Stanley Kubrick nell’empireo dei cineasti più importanti della terra.</i><br />
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<b>3. Una meravigliosa esperienza striata di agonia – La relazione tra Arthur C. Clarke e Stanley Kubrick</b> di Filippo Ulivieri e Simone Odino</div>
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<i>Niente e-mail o SMS, niente chat o messaggi vocali: quando Arthur C. Clarke e Stanley Kubrick crearono il loro capolavoro, per comunicare a distanza usavano ancora la cara vecchia carta – che non sarà veloce, ma si conserva bene. Così, visitando l’Air & Space Museum dello Smithsonian dove è custodita la “Arthur C. Clarke Collection of Sri Lanka,” ci si può immergere nel carteggio tra i due artisti ed esplorare per la prima volta la relazione – spesso idilliaca, a volte burrascosa – tra il più scientifico scrittore di fantascienza e il più intransigente regista cinematografico.</i><br />
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Buona lettura e grazie dell'attenzione!</div>
Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-8480110923011556702019-01-29T20:26:00.002+01:002019-01-29T20:41:02.391+01:00Watch this space.<div class="separator" style="clear: both; text-align: center;">
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-2026097154790102552018-11-22T22:33:00.000+01:002018-11-22T22:37:19.441+01:002001 TRIBUTE: '2001' in 70 millimetri a Melzo il 7 e 12 dicembre<div class="separator" style="clear: both; text-align: center;">
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Cinquant’anni fa, il 12 dicembre 1968, <b>2001: Odissea nello Spazio</b> faceva il suo debutto nelle sale italiane. Quest'anno, <b>il 7 dicembre alle ore 17,00 e mercoledì 12 dicembre alle ore 20,30</b> al <a href="http://www.arcadiacinema.com/melzo/prog.php">Cinema Arcadia di Melzo</a>, nella prestigiosa Sala Energia (Miglior Sala in Europa ICTA) verrà proiettata in esclusiva la versione in 70MM in lingua originale senza sottotitoli presentata a giugno al Festival di Cannes e supervisionata dal regista <a href="https://movieplayer.it/articoli/christopher-nolan-incontro-a-cannes-sui-suoi-film-e-2001-odissea-nello_19025/">Christopher Nolan</a>. (I biglietti sono acquistabili qui: <a href="http://www.arcadiacinema.com/generic/scheda.php?id=39586#inside">http://www.arcadiacinema.com/generic/scheda.php?id=39586#inside</a>)<br />
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L'iniziativa appartiene alla rassegna <a href="https://milano.repubblica.it/tempo-libero/cultura/evento/2001_tribute_milano_rende_omaggio_a_2001_odissea_nello_spazio-60727.html">2001 TRIBUTE</a>: dal 1 dicembre fino al 12 dicembre Milano sarà al centro di eventi, appuntamenti e incontri che festeggeranno la ricorrenza ma anche i 90 dalla nascita del regista newyorkese.</div>
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Il tributo a <b>2001</b> comincia la notte di <b>sabato 1° dicembre</b> con la “<a href="http://www.museoscienza.org/news/cultnight-2001-odissea/">CULT NIGHT - 2001 Un’odissea spaziale</a>” al Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci. A partire dalle 18.30 e fino a mezzanotte il Museo aprirà le sue sale al pubblico e ospiterà la mostra “2001: a tribute to Odyssey”, performances di live painting, incontri e la proiezione del documentario “2001 secondi” di Gian Luca Margheriti e Monica Contessa Diani.<br />
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<b>Mercoledì 5 dicembre </b>La mostra “2001: a tribute to Odyssey” si sposta allo <a href="http://www.spazio36.com/">Spazio 36</a>, gli studi fotografici nel cuore di Milano inseriti in un contesto post-industriale di loft recuperati in Viale Umbria 36. Dalle 18.30 a mezzanotte gli autori delle opere esposte incontreranno il pubblico e li ammalieranno con le loro performances dal vivo.<br />
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<b>Venerdì 7 e sabato 8 dicembre </b><a href="https://www.it-comics.com/it-space/">It-Space</a>, l'agorà creativa, spazio di produzione e formazione professionale rivolto al fumetto e redazione della casa editrice It Comics, sito in Via Pestalozzi 10 loft 14/1, propone dalle 10.30 alle 19.30 la mostra UNO SGUARDO SUL FUTURO, galleria di omaggi e analisi visive di '2001'.<br />
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Il 12 dicembre '2001 Tribute' si chiude, a 50 anni esatti dalla “prima” italiana, con la proiezione del film alle 20,30 presso il Cinema Arcadia di Melzo (in anteprima il venerdì 7 alle ore 17).Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com2tag:blogger.com,1999:blog-4442605702751632257.post-6496793678552596102018-08-29T22:37:00.004+02:002018-08-29T22:38:38.791+02:00Nothing good on TV tonight?On July 22 I took part in the <a href="http://2001.deutsches-filmmuseum.de/symposium/">Kubrick symposium</a> event at the <a href="https://deutsches-filminstitut.de/filmmuseum/">Deutsches Filmmuseum</a> in Frankfurt, a series of lectures organized during the <a href="http://2001.deutsches-filmmuseum.de/">official 2001: A Space Odyssey 50th anniversary exhibition</a>, with a presentation titled <b>'I am certain it will all come out right in the end': The Kubrick-Clarke collaboration on “2001: A Space Odyssey” and beyond</b>.<br />
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Enjoy! All the other videos of the symposium are available <a href="https://www.youtube.com/user/deutschesfilmmuseum">here</a>.<br />
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(By the way, as the presentation does not feature slides for copyright reasons, you might find interesting to check <a href="http://www.2001italia.it/2018/07/dear-arthur-what-do-you-think-kubrick.html">the original paper</a> I based the presentation on)</div>
Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-84840022509780050312018-07-16T15:55:00.002+02:002018-07-16T15:55:13.617+02:00“Dear Arthur, what do you think?” The Kubrick-Clarke collaboration on '2001' (and beyond)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgceb4n9lPxs3OX1IrcOWk2B-d0-2tn7h10kon8Bm4HMBXSNgLb6ehfLEXaUwLIRmjtTQEPB8JifEhCuMj2l1daiI5fzxCq6RnFy9URVwxIgtq4vhDiHiAW5abVYrhA7g6mtuiqsMtK-CE/s1600/Schermata+2018-07-16+alle+15.49.51.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="767" data-original-width="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgceb4n9lPxs3OX1IrcOWk2B-d0-2tn7h10kon8Bm4HMBXSNgLb6ehfLEXaUwLIRmjtTQEPB8JifEhCuMj2l1daiI5fzxCq6RnFy9URVwxIgtq4vhDiHiAW5abVYrhA7g6mtuiqsMtK-CE/s1600/Schermata+2018-07-16+alle+15.49.51.png" /></a></div>
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Why Stanley Kubrick chose to work with Arthur C. Clarke on <b>2001: A Space Odyssey</b>? <br />How did they collaborate on the creation of the 'paranoid'<b> Hal 9000</b>? <br />To what extent was Kubrick involved in writing the book that came out in May 1968? <br />Why was their next collaboration - the development of Brian Aldiss' <b>Supertoys last all summer long</b> in 1992 - not as succesful as the first? <div>
<br />Read about it in my essay <b>“Dear Arthur, what do you think?” The Kubrick-Clarke collaboration in their correspondence from the Smithsonian and London Archives</b>, just published in the latest issue of <b><a href="http://www.u-bordeaux-montaigne.fr/fr/ecole-doctorale/la-revue-essais.html">Essais</a></b>, the scientific journal of the <a href="http://www.u-bordeaux-montaigne.fr/fr/index.html">Université Bordeaux Montaigne</a> (along with others very interesting works from Filippo Ulivieri, Rod Munday, Matthew Melia, Vincent Jaunas, Dijana Metlic, Manka Perko, Loig Le Bihan, etc.).<div>
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Download it here: <a href="http://www.u-bordeaux-montaigne.fr/fr/ecole-doctorale/la-revue-essais/les-numeros-de-la-revue/numeros-hors-serie.html">http://www.u-bordeaux-montaigne.fr/fr/ecole-doctorale/la-revue-essais/les-numeros-de-la-revue/numeros-hors-serie.html</a></div>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-72998721257592468912018-05-07T19:00:00.004+02:002018-05-15T17:58:55.452+02:00Understanding Kubrick's 2001: A Space Odyssey<div class="separator" style="clear: both; text-align: center;">
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The book <b>Understanding Kubrick's 2001: A Space Odyssey - Representation and Interpretation</b> (edited by James Fenwick and published by <a href="https://www.intellectbooks.co.uk/">Intellect Books</a>) for which I wrote the first chapter, is finally out next week! Here it is, featured in the last essay of Sight And Sound magazine.<br />
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In my chapter, titled "<b>God, it’ll be hard topping the H-bomb": Kubrick’s search for a new obsession in the path from 'Dr. Strangelove' to '2001'</b> I used both textual analysis and archival evidence to explore the genesis of the movie, and the search of what Stanley Kubrick called "his new obsession" after the release of <b>Dr. Strangelove - or: How I Learned to Stop Worrying and Love the Bomb </b>in January 1964. By analyzing three lesser-known projects the director was associated with before his involvement with Arthur C. Clarke, I documented the methods behind the sometimes-uneasy development of a new Kubrick project, and the various science-fiction ideas that were muted along the way to the eventual creation of <b>2001</b>. </div>
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I've read all the other chapters and they are extremely interesting; drawing inspiration from the introduction, they "<i>offer new and interpretative approaches that examine aesthetics, performance, technological design, philosophical discourse, genre and authorial agency in 2001. Each chapter is linked by the exploration of Kubrick’s intellectual concerns as an auteur and the historicism and aesthetic representation of 2001, with the ultimate aim of bringing together a range of new scholarly perspectives from the full spectrum of Kubrick Studies. [...] Taken together, this volume represents a wide-ranging examination from a number of standpoints about one of the most important and influential films in cinema history</i>".</div>
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Preorder the book now, at a special price, from <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.amazon.co.uk%2FUnderstanding-Kubricks-2001-Representation-Interpretation%2Fdp%2F1783208635%2Fref%3Dsr_1_1%3Fie%3DUTF8%26qid%3D1525710914%26sr%3D8-1%26keywords%3Dunderstanding%2B2001%26dpID%3D61CR3nnuoqL%26preST%3D_SY291_BO1%2C204%2C203%2C200_QL40_%26dpSrc%3Dsrch&h=ATPc3g5ia1NLm31wNsVfQknLvJBykmAEeEpL9C-EpcHw-w7kfiX3s0vhOufBMgGVdHSXiJer8_eEQl50-RvIfprETMcd9r9-XTcfD-rrmbI0Zsr1Fq4alK5NyG3NtcvQHAZNu8B9MCxm7b8">Amazon UK</a>.<br />
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<b>UPDATE 15/5: Sadly, the release has been postponed to <a href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.amazon.co.uk%2FUnderstanding-Kubricks-2001-Representation-Interpretation%2Fdp%2F1783208635%2Fref%3Dsr_1_1%3Fie%3DUTF8%26qid%3D1525710914%26sr%3D8-1%26keywords%3Dunderstanding%2B2001%26dpID%3D61CR3nnuoqL%26preST%3D_SY291_BO1%2C204%2C203%2C200_QL40_%26dpSrc%3Dsrch&h=ATPc3g5ia1NLm31wNsVfQknLvJBykmAEeEpL9C-EpcHw-w7kfiX3s0vhOufBMgGVdHSXiJer8_eEQl50-RvIfprETMcd9r9-XTcfD-rrmbI0Zsr1Fq4alK5NyG3NtcvQHAZNu8B9MCxm7b8">June 12</a>.</b></div>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com2tag:blogger.com,1999:blog-4442605702751632257.post-89200145125239706682018-05-04T12:23:00.005+02:002018-05-04T12:24:14.991+02:00In edicola su "Il Giornale": Kubrick, Clarke e 2001Stamani, in edicola su <b>Il Giornale</b> (<a href="http://www.ilgiornale.it/news/spettacoli/kubrick-e-clarke-storia-inedita-film-genio-e-ripicche-1522164.html">e online qui</a>), un articolo scritto a quattro mani dal sottoscritto e <b>Filippo Ulivieri</b> sulla relazione – spesso idilliaca, a volte burrascosa – tra Kubrick e Clarke durante la realizzazione di <b>2001: Odissea nello Spazio</b>. Attingendo dal carteggio inedito conservato allo Smithsonian Institution di Washington, io e Filippo abbiamo raccontato lo sviluppo della sceneggiatura del film e soprattutto l'estenuante tira e molla tra Kubrick e Clarke per la pubblicazione del romanzo collegato al film, una saga parallela che rivela la personalità dei due artisti. Buona lettura!<br />
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-38668694994181295422018-04-02T07:02:00.001+02:002018-04-02T07:50:16.159+02:00Fifty years ago, today<b>April 2, 1968</b>: '2001: A Space Odyssey' is revealed to the world at the Uptown Theatre in Washington D.C.<br />
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<b>Fifty years later</b>, the title of the first review in the Washington Post is still the best description for the movie.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSym1ahYpNBJYMENDYZ5MVhminUoRPNKDpDBGrui93tobMgJ7bgwHf3CKtkqUUDbq0oZMhJ6i6TusNl3sGNUnV8T92FLiw14RV0lbxKmYtfTOs8-n2RV4iLNOCy6CXLvgxNwMW_5En9EM/s1600/11042690_648113815293716_7046873348369710215_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="589" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSym1ahYpNBJYMENDYZ5MVhminUoRPNKDpDBGrui93tobMgJ7bgwHf3CKtkqUUDbq0oZMhJ6i6TusNl3sGNUnV8T92FLiw14RV0lbxKmYtfTOs8-n2RV4iLNOCy6CXLvgxNwMW_5En9EM/s1600/11042690_648113815293716_7046873348369710215_n.jpg" /></a></div>
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You can read the whole review here: <a href="https://l.facebook.com/l.php?u=http%3A%2F%2Fi6.photobucket.com%2Falbums%2Fy231%2Fbillhuelbig%2Fpostreview.jpg~original&h=ATOetQdtUXscXTDwQD-sJLk1tGZ9Qu7CM278hHsov1vpdS6nap3wdLZbsr0ffHEcl8OVi78yznNgaePUG7eWLPth4DYa9YlCaU3L-tuQ7Xa_KXvPNK9n4zCFrQ">http://photobucket.com/gallery/user/billhuelbig/media/cGF0aDovcG9zdHJldmlldy5qcGc=/?ref=</a></div>
Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com1tag:blogger.com,1999:blog-4442605702751632257.post-55606096966600124322018-03-29T02:12:00.002+02:002018-03-29T02:20:29.415+02:00'2001: A Space Odyssey' returns to theaters with a new 70mm printIt's been in the works for a while, and it has just been officially announced: on occasion of the 50th anniversary, <b>2001: A Space Odyssey</b> will be back in theaters. A new, "unrestored" 70mm print, whose production has been overseen by Christopher Nolan, will be unveiled at the <a href="http://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-to-celebrate-the-50th-anniversary-of-2001-a-space-odyssey">Cannes Film Festival</a> on May 12, introduced by the director. The screening will also be attended by members of Kubrick’s family, including his daughter Katharina Kubrick and his longtime producing partner and brother-in-law Jan Harlan, and also by Keir Dullea.<br />
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<b>2001</b> will return to select U.S. theatres in 70mm beginning May 18, 2018. No news yet about releases in the rest of the world (either in 35mm, digital or 70mm).<br />
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Also, the 4K UHD Blu-ray (now disappeared from Amazon US and France) will be now released in "the fall of 2018".<br />
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From the <a href="https://www.warnerbros.com/studio/news/warner-bros-pictures-celebrates-50-years-stanley-kubricks-2001-space-odyssey">Warner Bros official press release</a>:<br />
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For the first time since the original release, this 70mm print was struck from new printing elements made from the original camera negative. This is a true photochemical film recreation. <b>There are no digital tricks, remastered effects, or revisionist edits. </b><b>This is the unrestored film that recreates the cinematic event audiences experienced 50 years ago.</b></blockquote>
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<i><span style="font-size: x-small;">image </span></i><span style="background-color: white; color: #545454; font-family: "arial" , sans-serif; font-size: x-small;">© </span><i><span style="font-size: x-small;">Warner Bros 2018 - from Variety.com</span></i></div>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-30333341512998487202018-02-27T22:20:00.001+01:002018-04-02T07:07:58.451+02:00“I am certain it will all come out right in the end”It's now official, so I can post it here as well!<br />
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On July 22 I will take part in a symposium held by the Deutsches Filmmuseum in Frankfurt, Germany, in occasion of the '<b>2001'</b> official 50th anniversary exhibition, '<b>Kubrick’s 2001. 50 years A SPACE ODYSSEY'</b> that will be hosted there from March 21 to September 16. Here's the full program: <a href="http://2001.deutsches-filmmuseum.de/veranstaltungen/">http://2001.deutsches-filmmuseum.de/veranstaltungen/</a><br />
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I will deliver a 45-minutes long presentation titled<br />
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<b>“I am certain it will all come out right in the end”:</b></div>
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<b>The Kubrick-Clarke collaboration on '2001: A Space Odyssey' and beyond</b>. </div>
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Here's the abstract:<br />
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<i>The most celebrated of Stanley Kubrick’s artistic partnership, namely his work with Arthur C. Clarke on '2001: A Space Odyssey' (1968), has usually been discussed only through the lenses of the writer's published memoirs about the making of the movie. </i><br />
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<i>Mainly focused on the author’s struggle to come up with a satisfying plot and, perhaps most infamously, on his efforts to finalize a deal for the publication of the book that the two were concurrently writing, these works have contributed to a misunderstanding about the relationship between the writer and the director, that has often described in the general press as difficult or conflicted, true to the usual narrative about Kubrick the ‘dictatorial genius’. </i><br />
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<i>Actually, the two enjoyed a long friendship; the usually hard-to-please director said that his relationship with Clarke was one of the most “fruitful and enjoyable” he ever had, and when the director passed away in 1999, the writer said “My professional career owes more to Stanley than to anybody else in the world.”</i><br />
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<i>By making use of the correspondence held in the Kubrick Archive and in the recently opened Arthur C. Clarke Collection in the Smithsonian Museum in Virginia, I will shed some light on the collaboration between the director and the writer on 2001, using as case histories the key points in the evolution of the plot and the issue over the publication of the book. </i><br />
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<i>I will also cover their (so far) largely ignored collaboration in the development of a screenplay based on Brian Aldiss’s short story 'Supertoys last all summer long' in the early Nineties (a project eventually brought to the screen by Steven Spielberg as 'A.I. : Artificial Intelligence'), to compare the two experiences and see if their attitudes, interests and working methods changed over time.</i><br />
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So if you're planning to visit the exhibition, why don't you take your summer vacation on July and kill two birds with one stone? Not to mention that the two-day symposium will feature some great Kubrick scholars, like Filippo Ulivieri, James Fenwick (editor of the book <b><a href="http://www.2001italia.it/2018/01/50th-anniversary-events.html">Understanding Kubrick's 2001</a></b>, for which I wrote a chapter) and Vincent Jaunas!Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-61965390269759499922018-02-09T17:20:00.000+01:002018-04-02T07:09:27.990+02:00Book review: "Kubrick's Monolith", by Joe R. FrinziAs the year 2018 promises to be full of events and publications about our favorite movie, before being flooded with new releases it's time to finally catch up with stuff from last year that I haven't covered yet. Published by McFarland in July 2017, <a href="https://mcfarlandbooks.com/product/kubricks-monolith/" style="font-weight: bold;">Kubrick's Monolith: The Art and Mystery of 2001: A Space Odyssey</a>, written by Joe R. Frinzi, is one of the latest book about <b>2001</b> hitting the market, and I got in contact with the author to learn more about it. <i>(Full disclosure: McFarland sent me a review copy).</i><br />
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<i>"</i><b>Kubrick's Monolith</b><i> has been a long gestating project, going back before Kubrick died in 1999.", </i>Frinzi told me during an e-mail exchange. <i>"However, his death was the catalyst that got me thinking about it in a serious way. At the time, there were only two standout books that dealt specifically with 2001—Jerome Agel’s </i><b>The Making of Kubrick’s 2001</b><i> which came out in 1970 and is now long out of print, and Piers Bizony’s book, </i><b>2001: Filming the Future</b><i>, in 1994, a picture and text coverage of the film. While I liked both of them, I felt the need to examine the film in a way that neither book had done to the extent I wanted to see, bringing together so many aspects of the film and its making beyond what any other single book has accomplished."</i><br />
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Despite being "<i>a labor of love from a devoted fan", </i>the added value of<i> </i><b>Kubrick's Monolith</b> lies in the author being an experienced movie critic. Frinzi lives in Easton, Pennsylvania and has been a professional writer since 1981, writing regularly about movies in newspapers and online for the last twenty years; he explains that the book is written <i>"with the intent to bridge the gap between intellectual analysis and pure movie fandom"</i>, which is a welcome and refreshing attitude towards a movie that provoked so many heavy theorizations over the last fifty years.<br />
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Overall, <b>Kubrick's Monolith</b> makes for an engaging read; it's well written and with a warm personal touch that sets it apart from other similar works. Right from the beginning, in the first chapter - "Vision of the Cosmos" - Frinzi manages to swiftly convey the basic details of Kubrick and Clarke's lives previous to their meeting in 1964, and the decision to make the proverbial "really good" science fiction movie together, while intertwining the narrative with an extensive comment on the author's top ten sci-fi films prior to 1968. Seen through the lens of a knowledgeable movie critic, this makes for an enrichment of the text instead of an unnecessary burden; also, some of the movies Frinzi covers are not the usual suspects that always get in the conversation.<i> </i><br />
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According to the author, "<b>2001</b><i> raised the standards of the sci-fi movie genre completely, by showing you could have a screenplay that seriously examined our place in the universe, and do it with sophisticated production design and special effects. Kubrick took a B-movie genre and gave it the weight and gravitas of an arthouse masterpiece. There had been a few sci-fi films prior to </i><b>2001</b><i> that attempted to be serious, </i><i>which I cover in my book, but by and large, the majority of movies being made in that genre were monster flicks and space adventure stories geared toward children. </i><b>2001</b><i> changed all that."</i><br />
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Instead of resorting to a dry chronological account of the making of <b>2001</b>, Frinzi focuses on the key themes touched by Kubrick and Clarke, and while he's not shy in delving into a personal interpretation of the movie's mythology, he manages to keep it accessible, devoting the necessary attention to Joseph Campbell's influence, Homer's Odyssey analogies, and the various artistic symbolism in the movie (the monolith, the imagery of birth and death, etc.) <i>"The book was designed to work as a whole, progressively covering all aspects of the movie, from the men who made it to the writing of the screenplay, the production design, the special effects, the use of music, and the impact the film had when it was released, leading up to its legacy half a century later." </i><br />
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The central chapters of the book provide an interesting and surprisingly informative coverage of the scientific background from which <b>2001</b> originated, followed by a good round-up of the technological breakthroughs needed for shooting the notoriously complicated special effects, with significant space devoted to the crew members and their contribution. Later chapters are dedicated to the explanation of the Star Gate sequence in detail, and to the experience of what watching the movie is like and the subtle ways information is delineated there; especially interesting is the section devoted to the musical and overall sonic landscape of the movie, where Frinzi (who is also an avid collector of everything <b>2001</b>-related) provides detailed information about the several releases of the movie soundtrack over the years, something which was seldom included in previous books.</div>
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In the last chapters the author (correctly stating that the early critical reception of the movie was, but for a few - yet influent - New York critics, overwhelmingly positive) provides a comprehensive account of the influence and legacy the movie, up to Christopher Nolan's <b>Interstellar</b> and Ridley Scott's <b>The Martian</b>, adding the very personal touch of a trip to visit the key New York locations significant for the history of the movie. The up-to-date focus on the impact the movie had on contemporary culture, not only the movie business, is probably the book's biggest achievement.<br />
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In conclusion, despite not being based on original interviews (though the author was in contact with Dan Richter, who clarified some details about Moonwatcher and "The Dawn of Man" shooting) or new archival research, and despite a couple of omissions (most notably, there is no mention of the <a href="https://uclan.academia.edu/RobertPoole">significant influence</a> of Robert Ardrey's works on Kubrick and Clarke's early thinking), <b>Kubrick's Monolith</b> makes for an entertaining read, in which even hardcore fans will find interesting new insights.<br />
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I think it's telling about the overall attitude of the author that when asked about why he thinks <b>2001</b> is still relevant after 50 years, he highlights the fact that "<i>the movie has been a very inspirational touchstone for untold numbers of people who have gone on to work in the film industry, become writers (like myself) and perhaps even make a career for themselves in the space program. So many people have been influenced by </i><b>2001</b><i> whether as scientists, artists or what-have-you, that 50 years later it continues to have an impact and resonance in our culture and society. With my book, I’d like to think that I’m just doing my part to keep the spirit of </i><b>2001</b><i> alive. I certainly hope that whatever insights I have to offer will serve to help others who are seeking to find their own meaning about Kubrick’s film.</i>"<br />
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Especially if joined with archival-based books like Peter Krämer's <a href="http://shop.bfi.org.uk/books/bfi-film-and-tv-classics/2001-a-space-odyssey-bfi-film-classic-book.html#.WnuBW2b9vOQ">BFI monograph</a>, or Piers Bizony's lavishly illustrated <a href="http://www.2001italia.it/2014/06/the-making-of-making-of-piers-bizonys.html">magnum opus</a> (now available in a <a href="https://www.taschen.com/pages/en/catalogue/film/all/44602/facts.the_making_of_stanley_kubricks_2001_a_space_odyssey.htm">cheaper edition</a>) Frinzi's book is a worthy new addition to the ever-expanding <b>2001</b> canon.<br />
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<b>Kubrick's Monolith: The Art and Mystery of 2001: A Space Odyssey</b></div>
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<i>by Joe R. Frinzi</i><br />
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Softcover (6 x 9), 224 pages, 20 photos (b&w), $ 29,95.<br />
Available from <a href="https://mcfarlandbooks.com/product/kubricks-monolith/">McFarland</a>, Amazon (<a href="https://www.amazon.co.uk/Kubricks-Monolith-Mystery-Space-Odyssey/dp/1476664420">UK</a> and <a href="https://www.amazon.com/Kubricks-Monolith-Mystery-Space-Odyssey/dp/1476664420">US</a>), <a href="https://www.barnesandnoble.com/w/kubricks-monolith-joe-frinzi/1125361861">Barnes and Noble</a></div>
Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com1tag:blogger.com,1999:blog-4442605702751632257.post-42032803589643430212018-01-20T17:54:00.000+01:002018-01-20T18:40:07.119+01:00A couple of 50th anniversary-related eventsThe main event for 2018 - the year that marks the 50th anniversary of <b>2001: A Space Odyssey</b> - will surely be the Official exhibition that will be hosted at the Deutsches Filmmuseum in Frankfurt, Germany, from March 21 to September 16. On show there will be the largest collection of original designs, models, costumes, props, shooting schedules, production documents and photos from Kubrick's archive, accompanied by a series of talks and events. Watch out this space for the official information as soon as I get it, <b>as the lecture series may as well involve</b> <b>a familiar face</b>... The official site, only in german so far: <a href="http://2001.deutsches-filmmuseum.de/">http://2001.deutsches-filmmuseum.de</a>.<br />
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In the meantime, those of you who follow me on Facebook and Twitter will already know that the book "<b>Understanding Kubrick's 2001: a Space Odyssey - Representation and Interpretation</b>" (<a href="https://www.intellectbooks.co.uk/books/view-Book,id=5296/">Intellect Books</a>, Bristol, 2018) for which I wrote the first chapter (<b>'God, it’ll be hard topping the H-bomb’: Kubrick’s search for a new obsession in the path from Dr. Strangelove to 2001</b>) has been announced on Amazon (<a href="https://www.amazon.co.uk/Understanding-Kubricks-2001-Representation-Interpretation/dp/1783208635/ref=sr_1_1?ie=UTF8&qid=1508447151&sr=8-1&keywords=Understanding+Kubrick%27s+2001+-+a+Space+Odyssey%3A+Representation+and+Interpretation">UK</a>, <a href="https://www.amazon.com/Understanding-Kubricks-2001-Representation-Interpretation/dp/1783208635/ref=sr_1_1?ie=UTF8&qid=1516467084&sr=8-1&keywords=%22understanding+kubrick%27s+2001%3A+a+space+odyssey%22+%22intellect%22">USA</a>, <a href="https://www.amazon.it/Understanding-Kubricks-2001-Representation-Interpretation/dp/1783208635/ref=sr_1_1?ie=UTF8&qid=1516467064&sr=8-1&keywords=%22understanding+kubrick%27s+2001%3A+a+space+odyssey%22+%22intellect%22">ITA</a>) it will be available from April 15, 2018. Here's the official publicity blurb: <br />
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<i>Scholars have been studying the films of Stanley Kubrick for decades. This book, however, breaks new ground by bringing together recent empirical approaches to Kubrick with earlier, formalist approaches to arrive at a broader understanding of the ways in which Kubrick's methods were developed to create the unique aesthetic creation that is 2001: A Space Odyssey. As the fiftieth anniversary of the film nears, the contributors explore its still striking design, vision, and philosophical structure, offering new insights and analyses that will give even dedicated Kubrick fans new ways of thinking about the director and his masterpiece.</i></div>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-28543071713150253402017-03-07T13:57:00.002+01:002017-03-07T13:59:37.417+01:0018 years ago<div class="separator" style="clear: both; text-align: center;">
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Stanley Kubrick passed away 18 years ago today. His legacy lives on.<br />
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<i>"One of the things that I always find extremely difficult, when a picture's finished, is when a writer or a film viewer asks: "Now, what is it that you were trying to say in that picture?" And without being thought too presumptuous, for using this analogy, I like to remember what T.S. Eliot said to someone who had asked him - I believe it was about The Wasteland - what he meant by the poem. He said: "I meant what it said." If I could have said it any differently, I would have." </i>(Interview with R.E. Ginna, 1960; Picture from the documentary "Kubrick Remembered")</blockquote>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-318160879782878192016-07-07T10:42:00.001+02:002016-07-07T11:03:59.038+02:00Hotel room (with cube)<div class="separator" style="clear: both; text-align: center;">
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Fifty years ago today, <b>July 7, 1966</b>: Keir Dullea and Gary Lockwood had just completed shooting their
scenes and left England; before diving into the 18-month period of perfecting the special effects scenes, Kubrick and the crew had some pick-up shots to do. This is the last day of shooting in the hotel room "with cube" - everybody still called the monolith that way, despite the fact that it had a slab-like form since late 1965.<br />
It is unclear (to me) if the "matte shot" on the clapperboard refers to a visual effect that was meant to appear ON the monolith (an idea that had already been ruled out in April 1966 in relation to the 'lessons' the 'cube’ was to impart to the man-apes) or, most probably, to the shot of the bed where the Starchild would eventually appear.Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-66856710613231004552016-05-17T13:45:00.000+02:002019-06-17T16:10:25.544+02:00The moonwatchers that (almost) were<div class="separator" style="clear: both; text-align: center;">
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By February 1965 the "Dawn of Man" section of <b>2001</b> was still in its early stages of pre-production, and the final look of the ape-men (or men-apes) was still not agreed upon - this happened only in 1967. On February 17 Stanley Kubrick approached actor <b>Robert Shaw</b> and asked him if he was interested playing the <b>Moonwatcher </b>character; Shaw was fresh from its international breakthrough with the wildly successful second installation of the James Bond franchise,<b style="font-style: italic;"> 007 - </b><span style="text-align: center;"><b style="font-style: italic;">From Russia with love </b>(1963), where he had played a russian spy.</span><br />
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Here's an extract of the letter that the director <a href="http://www.telegraph.co.uk/culture/film/3555933/The-letters-of-Stanley-Kubrick.html">wrote to Shaw</a><b></b>:</div>
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<i>I am enclosing a sketch of an Australopithecine man-ape from Raymond Dart’s “Adventures with the missing link”, without wishing to seem unappreciative of your rugged and handsome countenance, I must observe there appears to be an incredible resemblance.</i></blockquote>
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<b>Robert Shaw</b> in a publicity still for <i>From Russia with love</i>, 1963</div>
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I got hold of a copy of the book mentioned by Kubrick and there is only one "sketch" that fits the description:</div>
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<i>Australopithecine sketch from R.Dart's "Adventures with the missing link", </i><i style="text-align: center;">The Viking Press, 1959; p.232</i></div>
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This apparently puzzling piece of alternative casting could be understood considering that, by then, the role of <b>Moonwatcher </b>was still conceived as a "cameo": indeed, an annex to the contract signed by MGM for <b>2001</b> in early 1965 mentioned not only Shaw but also <b>Toshiro Mifune, Albert Finney, </b><b>Jean-Paul Belmondo, Richard Kiley</b>,<b> Jose Ferrer</b> and even <b>Gary Lockwood</b> (who ultimately played Frank Poole) as tentative Moonwatchers. All these actors shared (with obvious differences) the same degree of
physical strength and atlethicism that an early version of an ape-men
was, supposedly, in need of.<br />
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<i>left to right, top to bottom:<b> </b><b>Toshiro Mifune, </b></i><i><b>Richard Kiley</b>, </i><i><b>Albert Finney</b><b>,</b> </i><i><b>José Ferrer, </b></i></div>
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<i><b>Jean-Paul Belmondo,</b> <b>Gary Lockwood</b></i></div>
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It is unclear if Kubrick actually wanted one of these actors to really play an apeman, or was, more likely, trying to appease MGM's hunger for star names to 'enhance' the status of a sci-fi flick and set it apart from the b-movie reputation that the genre movies enjoyed at that time; on this regard, for example, in 1964 Kubrick was in talks with <b>Paul Newman</b> for the role of the lead astronaut. Besides that, Kubrick obviously admired Shaw as an full-fledged actor beyond his appearance, as he considered him also for his aborted <b>Napoleon</b> movie, that he intended to shoot after <b>2001</b>.<br />
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"Six degrees of separation" trivia: the <a href="http://i.imgur.com/LFdgVt0.jpg">screenplay</a> of the first Kubrick movie <a href="http://davidlavery.net/Courses/Kubrick/Complete_Kubrick/Fear.pdf">Fear and Desire</a> was written by <a href="http://en.wikipedia.org/wiki/Howard_Sackler">Howard Sackler</a>, who would later write an early draft of <b>Jaws</b> (1975): it was him who came up with the idea of the <a href="http://www.youtube.com/watch?v=u9S41Kplsbs">“Indianapolis” speech</a> that was unforgettably delivered on screen by<b> Robert Shaw</b> himself, who (he was also a novelist and playwright) reworked and cut down the dialogue that had previously been expanded by <b>John Milius</b>.<br />
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<i>Robert Shaw delivers his famous </i><a href="http://www.youtube.com/watch?v=u9S41Kplsbs">“Indianapolis” speech</a> <i>in <b>Jaws</b></i></div>
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Anyway, as we all know, Moonwatcher was eventually played by <span style="text-align: center;"><a href="http://www.danrichter.com/Pages/Synopsis.htm" target="_blank">Dan Richter</a></span>, who brought along his talent as mime in order to, essentially, create the character from scratch, therefore departing significantly from the "rugged appearance" concept. (<i>I spoke with Dan for my article <a href="http://www.2001italia.it/2013/12/how-did-they-shoot-leopard-scenes.html" target="_blank">How did they shoot the leopard scenes?</a></i>).</div>
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<i>Apeman costume test for <b>Dan Richter</b> (<a href="http://www.danrichter.com/Pages/Synopsis.htm" target="_blank">source</a>)</i></div>
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Before Richter, even scottish comedian <b>Ronnie Corbett</b> was considered to play the role, apparently because he had played a Gibraltar barbary macaque in war film <b>Operation Snatch</b>, as he recalled speaking on the <a href="https://www.youtube.com/watch?v=wLMwHF3LMjc">Graham Norton TV show</a>.<br />
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<i>Ronnie Corbett - © Getty Images / Tony Evans</i>
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<i>"The theory </i><i><i>[</i></i>behind <b>Operation Snatch</b><i><i>]</i> was if there was a sudden drop in the population of barbary apes, the UK would lose control of Gibraltar. So they had soldiers playing barbary apes to make it look like there were loads of apes.” [...] “Kubrick really did ask to see me. He saw me in the Gibraltar (film)." Corbett laughed (<a href="http://www.gibraltarolivepress.com/2016/04/16/ronnie-corbett-offered-2001-a-space-odyssey-part-after-gibraltar-ape-film/" target="_blank">source</a>).</i> </blockquote>
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The comedian then went through weeks of tests with the <b>2001</b> make-up department, headed by Stuart Freeborn, for costume and make-up.<i> "It was a horrible experience," [...] "They put two straws up my nostrils so that I could breathe and then they covered my whole face, including my eyes, with warm plastic." </i>When he was given a pad to communicate with the plastic on his face, he wrote on it:<i> <b>'Get it off!'</b> [...] After this frightening ordeal I never did get the part in the end, but I
can't remember why not, or what happened next. (<a href="https://books.google.co.uk/books?id=2GeXB3jHeu8C&lpg=PA111&dq=They%20put%20two%20straws%20up%20my%20nostrils&pg=PA139#v=onepage&q=%22They%20put%20two%20straws%20up%20my%20nostrils%22&f=false" target="_blank">source</a>)</i></blockquote>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com1tag:blogger.com,1999:blog-4442605702751632257.post-36656732483036748022016-05-15T11:08:00.004+02:002016-05-15T11:08:54.706+02:00How I stopped worrying and love LeicesterThe conference in Leicester DMU University was GREAT! Here's Kubrick brother-in-law, Jan Harlan, taking a picture of the last slide of my paper, a quote from a 1964 interview with the director from the italian newsmagazine "L'Europeo":<div>
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<i>"In so far as we believe that good movies can educate the masses, we must believe that bad movies can make them worse."</i></blockquote>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-65249637088401062852016-05-04T21:04:00.003+02:002016-05-04T21:06:15.966+02:00Off to Leicester for the Kubrick RetrospectiveFrom May 11 to 13 the De Montfort University in Leicester (UK) will host "<a href="http://www.dmu.ac.uk/research/research-faculties-and-institutes/technology/cath/events/2016/stanley-kubrick-a-retrospective.aspx" target="_blank">Stanley Kubrick: A Retrospective</a>" (<a href="https://www.facebook.com/hashtag/kubrickdmu?source=feed_text&story_id=1123720500992301">#KubrickDMU</a> on Twitter and Facebook), a conference about the director and his works that will feature keynotes from Jan Harlan (Kubrick’s brother-in-law), Professor Robert P.Kolker, Professor Nathan Abrams, and Peter Krämer.<br />
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The University has received more than 30 proposals to its call for papers, and on May 13th at 14:30h <b>yours truly</b> will give a twenty-minutes presentation titled "<b>God, it'll be hard topping the H-bomb" : fragments of Kubrickiana in the path from Strangelove to 2001"</b>. Wish me good luck! <br />
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-37304726263308877532015-12-17T11:41:00.002+01:002016-02-15T09:35:04.481+01:00The first day of production of '2001', fifty years ago<b>It was Friday, December 17th, 1965</b>: Fifty years ago today, at nine o' clock in the morning, a young woman entered stage 1 of the MGM Borehamwood studios, near London.<br />
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<a href="http://www.imdb.com/name/nm0445152/" target="_blank">Judy Keirn</a> was a young american actress that had moved to London a few years earlier; in Brodway she had taken part in a few musicals, the most famous being <a href="http://www.broadwayworld.com/article/Photo-Coverage-BYE-BYE-BIRDIE-Celebrates-50th-Anniversary-at-Sardis-20101021" target="_blank">Bye Bye, Birdie</a> (1960). While in London she went through a few auditions, and one was for the small role of a 'passport girl' in an ambitious sci-fi flick that was already causing a sensation in the local actors' community: produced and directed by the young and ambitious Stanley Kubrick, it was set in outer space, and a shroud of mystery had engulfed its production ever since. <br />
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On that fateful Friday Judy, who possessed the right american accent that allowed her to beat the competion of <a href="http://www.2001italia.it/2013/06/two-days-turned-into-four-weeks.html" target="_blank">Maggie London</a> (later chosen for the 'elevator hostess' role), showed up at half past seven for make-up and costume fitting. Kubrick appeared a bit later, never an early riser, busy with other things to attend; Judy delivered the few lines she was given with no particular issues, but she could never imagine that <b>she had just appeared in the first day of production of '2001: A Space Odyssey'.</b><br />
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<i>A recent picture of Judy Keirn with a photo of herself as Linda in <a href="http://www.broadwayworld.com/article/Photo-Coverage-BYE-BYE-BIRDIE-Celebrates-50th-Anniversary-at-Sardis-20101021" target="_blank">Bye Bye, Birdie</a></i></div>
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It was usually thought that the first actual shooting of '2001' happened on December 29 for the TMA-1 excavation site, as Arthur C. Clarke famousy recalled in his book "The Lost Worlds of 2001". But if you look close at the call sheet he enclosed in the book, you'll see No.4 (a) up on the right:</div>
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Additionally, the Stanley Kubrick Archive catalogue <a href="http://archives.arts.ac.uk/CalmView/Record.aspx?src=CalmView.Catalog&id=SK%2f12%2f3%2f4%2f1" target="_blank">states</a> very <a href="http://archives.arts.ac.uk/CalmView/Record.aspx?src=CalmView.Catalog&id=SK%2f12%2f3%2f4%2f2" target="_blank">clearly </a>that the production started on December 17 with call sheet n.1, that also appeared in the DVD extras of the book <a href="http://www.2001italia.it/2013/05/2001-lost-science-book-review-and.html" target="_blank">"2001: The Lost Science"</a>. Also, some of the sequences that appeared in the "stargate" section of the movie had been shot as early as 1964, in an abandoned corset factory in Manhattan<span style="color: blue;"> <span style="color: black;">on the corner of Broadway and 72nd street in New York</span></span>, while Kubrick and his team were experimenting with some early special effects tecniques.<br />
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Judy Keirn completed her shooting session on Saturday, December 18th; a bit of her lines were cut from the final scene that appeared in the movie but surfaced on the book by Arthur C. Clarke.</div>
Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0tag:blogger.com,1999:blog-4442605702751632257.post-73443464341236372512015-10-16T12:40:00.000+02:002015-10-16T12:40:16.640+02:00The '2001' spacecraft art of Simon AtkinsonNow that Taschen's <a href="http://www.2001italia.it/2014/06/the-making-of-making-of-piers-bizonys.html" target="_blank">"The Making Of Stanley Kubrick's 2001: A Space Odyssey"</a> is out in a <a href="http://www.taschen.com/pages/en/catalogue/film_music/all/44602/facts.the_making_of_stanley_kubricks_2001_a_space_odyssey.htm" target="_blank">more affordable version</a>, many more fans have had the chance to access the superb work of Piers Bizony. They will surely remember that there was another book from Piers that had set the bar for the most authoritative and complete source of information on <b>2001</b>, and it was <b>2001: Filming The Future</b>, that first came out in 1994.<br />
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The book featured some accurate artworks of the main spacecraft featured in <b>2001</b>, made by <b><a href="http://www.satkinsoncreativearts.com/" target="_blank">Simon Atkinson</a></b>, a professional illustrator who rendered the landmark ships seen in the movie with previously unseen accuracy and clarity. Here's how Piers Bizony remembers Simon's work:<br />
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<i>“When Simon and I first began researching the hardware of <b>2001: A Space Odyssey</b> in the early 1990’s, computer graphics tools were not yet widely available outside major film and media industries. Many brilliant artists have taken on the challenge of recreating <b>2001</b>’s spacecraft using the very best digital techniques, and as often as not, the results are stunning. Yet almost without exception these modern practitioners cite the importance of Simon Atkinson’s painstaking traditional analogue work as an inspiration. <b>2001</b> was put together very much by hand. So were Simon’s wonderful renderings of the spacecraft. In fact I would challenge any CGI system to recapture the tone and feel that Simon accomplished.</i><br />
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<i>Simon presented one of the original pod illustrations he produced for <b>Filming The Future</b> to Arthur C. Clarke</i><i> during a <a href="http://www.satkinsoncreativearts.com/2001themineheadevent.htm" target="_blank"><b>2001</b>-related event in 1992</a> (Piers Bizony is on the right of the photo).</i></div>
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<i>Simon and Piers during a recent event at the Museum Of Science in London. Behind them, a LEM mockup.</i></div>
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Simon recalls the thrilling experience of producing those artworks and his meetings with Harry Lange (NASA designer and technical consultant to <b>2001</b>) and Arthur C. Clarke <a href="http://www.satkinsoncreativearts.com/2001filmingthefuture.htm" target="_blank">in this page</a> of his website - an exciting account on its own that I suggest all the <b>2001</b> fans to read. What's more exciting is that <b>Simon has recently rediscovered the original large format transparencies of his illustrations</b> that were used for printing purposes, and has painstakingly restored his artworks to a level where they can now be reproduced as large scale prints very close in size to his original paintings with much greater detail and clarity than previously seen. Simon's artworks are now about to be released as a<b> <a href="http://www.satkinsoncreativearts.com/2001-limited-edition-prints" target="_blank">signed limited edition fine art print collection</a>.</b><br />
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The prints will be produced using the Giclée process and printed on 260 gsm satin art paper; a Giclée print is high-quality art paper printed with super-fine ink spray dots and it's almost indistinguishable from an actual painting - it is indeed the same high-quality method used to produce Oliver Rennert's fabulous Discovery cut-out illustration I proudly own and that I previously reviewed <a href="http://www.2001italia.it/2014/10/a-spaceship-of-mind-oliver-rennerts.html" target="_blank">here</a>.<br />
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<i>Here's Simon Atkinson holding a print of his Aries 1B side elevation illustration from <b>2001: Filming The Future</b> (airbrush/coloured pencils on CS10 artboard, 1990). The original artwork of the Aries is now in the collection of <b>Tom Hanks</b>, a keen <b>2001</b> fan and collector; the limited edition prints will be very close in size to the originals.</i></div>
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Simon's prints will be available to purchase from <b>30th October 2015</b>; as the print run will be limited (only 250 for each artwork), Simon is currently inviting expressions of interest. You may contact him from the the contact page of his website, <a href="http://www.satkinsoncreativearts.com/contactingsimon.htm" target="_blank">www.satkinsoncreativearts.com</a>.<br />
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<h3>
<u><b>Actual print sizes</b></u></h3>
<i>(remember: the images of the various prints seen here </i><br />
<i>are not in proportion with their actual sizes)</i></div>
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<b>ARIES 1B : </b> Overall print size 20” x 22” (510mm x 555 mm); image size 13 ¼” x 14” (336mm x 360 mm)<br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8DL4QHM5PtFt7vIilInd8N94Y5jb3JJyzWbibnrPg4Vrc2gPRy9QrOT_DIS9r62rCnrXrrawIvrbO9ak8gYHwtbtvRucoKOA8Rhq9DQUjLl7UnoJvAhh6D5dctI0yicc7W6XDwlk8DU/s1600/ARIESClean+Backgroundtonechange.jpg" /></div>
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<b>DISCOVERY 1 :</b> Overall print size 38 ¼” x 6 ½” (975mm x 257mm); image size 32” x 4” (828mm x 104mm)<br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8h_scUUdop9kV0a9dMvGz0EV2Si3RFqC9bVNnrVhgHYCDsEnHtYh7q1YD4JB_5PKdvxIKvbFK1cUhNd8Ug0g1HiOPYWUW31w-_25GncovzLUcksdX-SxS0X-1MAZfExKeGH65Wu7DGMg/s1600/LATESTDISCOVERY+FULL+PRINT+revised03GREYSCALE-1.JPG" /></div>
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<b>ORION III :</b> Overall print size 32” x 24” (830mm x 610mm); image size 25 ¾” x 15 ½” (658mm x 396mm)<br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmRXHrh0GAXQ9ksRAHHJfD6tiK720ela_T-d4OSOiXfoFjafT1xIvGIeJEdeJgP7w7eeT-LZm7UD9cqlZWn77274_dbjYGghBHdnPyKd6oG-teY2OB7WhDrTVdC048SYwFkT1fSVDqhM/s1600/ORION+FULL+PRINTmedium+sizetonelogodkblurr2.JPG" /></div>
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<b>POD SIDE:</b> Overall print size 17 ¾” x 19 ¼” (452mm x 490mm); image size 11 ¾” x 10 “ (300mm x 250mm)<br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgijLoGCBKjB2FVrlO7nHlL4fa2eTEn6dmuF5svW0SJttI1nagrPBjo-6opDGdcoYMLArrTjBe3Iod1ndbUHgR_0hgKigRdlPF6q8hgf3sLBqMyc5_twVl3PykZc-WjUIgPCRTuiu-qoeo/s320/POD+SIDE+FINAL+F+Revised+01.jpg" width="320" /></div>
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<b>POD FRONT:</b> Overall print size 17 ¾” x 19 ¼” (452mm x 490mm); image size 10 ¾” x 10” (277mm x 250mm)<br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhGhuwww-TaIVawDzRB-eEUDlLE_CgqyIdIhLFBUCU6zDXjOHY1JJ7JNMOAgRYhGCHfuQEnmooqsb5Q6JKkdxgiz63EL7Dl46Ju9vvG3qlDubroq9-N5xxGjXeosAj2-3Vt-zU5T8PoEA/s320/POD+FRONT+FINAL+F+Revised+01.jpg" width="320" /></div>
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Simone Odinohttp://www.blogger.com/profile/03456415405405055172noreply@blogger.com0