-- Opening image of ACO flips last image of 2001, as 2001 flips ending of DR. STRANGELOVE. Death ==> Dawn StarChild ==> Evil Teenager -- It is Alex's parents who understand him the least. (Z.R.) -- The bodybuilder is played by David Prowse, who was also Darth Vader in STAR WARS. NIETZSCHE STILL IN THE BACKGROUND -- Here is what Alex thinks while he is listening to Beethoven's 9th Symphony: "It was like a bird of rarest spun heaven metal. Like silvery wine flowing in a spaceship, gravity all nonsense. It was gorgeousness and gorgeosity..." I have found Nietzsche's HUMAN, ALL TOO HUMAN book (tr. Marion Faber, Univ. of Nebraska Press), and here is a quote from page 106. (NOTE: this book was written in the late 1870s). "At a certain place in Beethoven's Ninth Symphony, for example, he [the free spirit] might feel that he is floating above the earth in a starry dome, with the dream of immortality in his heart; all the stars seem to glimmer around him, and the earth seems to sink ever deeper downwards . . . " (Z.R.) CLOCKWORK ORANGE FILMBOOK When ACO was released, Stanley Kubrick published a book version of the film. It consists of a scene by scene series of black and white stills with the dialog printed underneath. To my knowledge this is the first and last time that Kubrick did this. . . . I found it odd that a director who has such a perfect grasp of the medium of cinema would produce such a non-cinematic version of his work . . . devoid of the colour, music, pacing, and drama of the original. The book presents a flat, cartoon version of the film. Here is the preface to the book, written by Kubrick on May 22, 1972: I have always wondered if there might be a more meaningful way to present a book about a film. To make, as it were, a complete, graphic representation of the film, cut by cut, with the dialogue printed in the proper place in relation to the cuts, so that within the limits of still-photographs and words, an accurate (and I hope interesting) record of a film might be available to anyone who had a bit more curiosity than just knowing what happened in the last reel. This book represents that attempt. If there are inaccuracies then they have escaped the endless chekcing and re-checking of myself and my assistants, Andros Epaminondas and Margaret Adams. I have similar "film books" of a couple of Hitcock's films, but these seem like odd artifacts of a pre-VCR society. Is there still a market for this kind of publication in this adge of interactive CD-ROMs and readily available video-tape versions of any film you'd care to own? I have always had the idea of producing an annotated 2001 in a book or CD-ROM format with all available production notes, special effects explanations, trivia, analysis, etc. I just don't know if the market for this kind of thing exists anymore . . . (J.H.T.)
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