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Stanley Kubrick and me: thirty years at his side
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Contributors:
Published:
New York : Arcade Publishing, [2016].
Physical Desc:
357 pages : illustrations (chiefly color) ; 24 cm
Status:
Arcade
791.430233 K95zd2 2016
Central
791.430233 K95zd2 2016

Description

"This intimate portrait by his former personal assistant and confidante reveals the man behind the legendary filmmaker--for the first time. Stanley Kubrick, the director of a string of timeless movies from Lolita and Dr. Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999. Emilio was the silent guy in the room when the script for The Shining was discussed. He still has the coat Jack Nicholson used in the movie. He was an extra on the set of Eyes Wide Shut, Kubrick's last movie. He knew all the actors and producers Kubrick worked with; he observed firsthand Kubrick's working methods down to the smallest detail. Making no claim of expertise in cinematography but with plenty of anecdotes, he offers a completely fresh perspective on the artist and a warm, affecting portrait of a generous, kind, caring man who was a perfectionist in work and life. "--

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Arcade
791.430233 K95zd2 2016
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791.430233 K95zd2 2016
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More Details

Format:
Book
Edition:
First English-language edition.
Language:
English
ISBN:
9781628726695

Notes

General Note
Includes index.
Description
"This intimate portrait by his former personal assistant and confidante reveals the man behind the legendary filmmaker--for the first time. Stanley Kubrick, the director of a string of timeless movies from Lolita and Dr. Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999. Emilio was the silent guy in the room when the script for The Shining was discussed. He still has the coat Jack Nicholson used in the movie. He was an extra on the set of Eyes Wide Shut, Kubrick's last movie. He knew all the actors and producers Kubrick worked with; he observed firsthand Kubrick's working methods down to the smallest detail. Making no claim of expertise in cinematography but with plenty of anecdotes, he offers a completely fresh perspective on the artist and a warm, affecting portrait of a generous, kind, caring man who was a perfectionist in work and life. "--,Provided by publisher.

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Citations

APA Citation (style guide)

D'Alessandro, E., Ulivieri, F., & Marsh, S. (2016). Stanley Kubrick and me: thirty years at his side. First English-language edition. New York, Arcade Publishing.

Chicago / Turabian - Author Date Citation (style guide)

D'Alessandro, Emilio, Filippo Ulivieri and Simon Marsh. 2016. Stanley Kubrick and Me: Thirty Years At His Side. New York, Arcade Publishing.

Chicago / Turabian - Humanities Citation (style guide)

D'Alessandro, Emilio, Filippo Ulivieri and Simon Marsh, Stanley Kubrick and Me: Thirty Years At His Side. New York, Arcade Publishing, 2016.

MLA Citation (style guide)

D'Alessandro, Emilio., et al. Stanley Kubrick and Me: Thirty Years At His Side. First English-language edition. New York, Arcade Publishing, 2016.

Note! Citation formats are based on standards as of July 2022. Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy.

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Grouped Work ID:
94a4e032-d1c8-f521-31a1-00864e70200d
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Record Information

Last Sierra Extract TimeJul 16, 2024 07:53:50 PM
Last File Modification TimeJul 16, 2024 07:54:22 PM
Last Grouped Work Modification TimeJul 22, 2024 02:09:59 AM

MARC Record

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520 |a "This intimate portrait by his former personal assistant and confidante reveals the man behind the legendary filmmaker--for the first time. Stanley Kubrick, the director of a string of timeless movies from Lolita and Dr. Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999. Emilio was the silent guy in the room when the script for The Shining was discussed. He still has the coat Jack Nicholson used in the movie. He was an extra on the set of Eyes Wide Shut, Kubrick's last movie. He knew all the actors and producers Kubrick worked with; he observed firsthand Kubrick's working methods down to the smallest detail. Making no claim of expertise in cinematography but with plenty of anecdotes, he offers a completely fresh perspective on the artist and a warm, affecting portrait of a generous, kind, caring man who was a perfectionist in work and life. "-- |c Provided by publisher.
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