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Additional resources for Encyclopedia of Stanley Kubrick: From Day of the Fight to Eyes Wide Shut (Library of Great Filmmakers)
Every day, a limo would come to my door on Boars Hill,” writes Aldiss,“and I would be driven to Castle Kubrick, Stanley’s Blenheim-sized pad outside St. Albans. Stanley had often been up half the night, wandering his great desolate rooms choked with apparatus. “[Kubrick] did not permit argument or the consideration of any line of development he did not immediately like,” says Aldiss. For example, Aldiss rejected Kubrick’s allusions to the Pinocchio story, preferring to confront his character of David, who hitherto had been unaware of his mechanical identity, with the revelation of his true nature.
Doubleday and Company, 1973); Aldiss, Brian, Supertoys Last All Summer Long (New York: St. Martin’s Press, 2001). T. Also Sprach Zarathustra (1896) In the history of film music there is no more famous example of a classical piece of music translated into cinematic terms than RICHARD STRAUSS’s Also Sprach Zarathustra in STANLEY KUBRICK’s 2001: A SPACE ODYSSEY. Friedrich Nietzsche, author of the original poem “Also Sprach Zarathustra,” had always felt that it might be realized someday as a musical composition.
Treatment. I. I. I. ” References Aldiss, Brian, Trillion Year Spree: The History of Science Fiction (New York: Atheneum, 1986); ———, foreword to Supertoys Last All Summer Long (New York: St. Martin’s Press, 2001), vii–ix; Bailey, J. , From Mouse to Mermaid:The Politics of Film, Gender, and Culture (Bloomington: Indiana University Press, 1995), 62–71; Denby, David, “Face/Off,” New Yorker, July 2, 2001, 86–87; Lyman, Rick, “A Director’s Journey into a Darkness of the Heart,” New York Times, sec. , Children’s Novels and the Movies (New York: Frederick Ungar Publishing Company, 1983), 47–57; White, Armond, “Intelligence Quotient,” New York Press, July 4, 2001.