Tony Zierra's 'Filmworker'

Seldom do these helpers end up in the spotlight; they usually labor tirelessly, often anonymously, in the shadow of their maestro. But, as Zierra demonstrates, if you take the time to study these behind-the-scenes facilitators, fascinating information emerges. It’s not just about how essential these people are to the work but the psychology that drives them to subsume their own purpose into that of their chosen Great One.

Out of the spotlight

In the early 1960s, Vitali was a young British actor who was beginning to make a name for himself on the British stage and TV when he encountered Kubrick’s work: first 2001: A Space Odyssey and then A Clockwork Orange. Both had a profound effect on him. Vitali was then cast in Kubrick’s next opus, the historical masterpiece Barry Lyndon, opposite Ryan O’Neal.

Vitali’s performance in the film as Lord Bullingdon brought him critical acclaim and the promise of a successful career as a film star. However, he chose a different path.

Working with the meticulous and demanding Kubrick fundamentally reordered Vitali’s priorities. He decided that he shared Kubrick’s vision and became determined to assist the master. Kubrick was willing to mentor him, starting his education in Barry Lyndon’s editing room.

By the time production geared up for Kubrick’s next film, the horror classic The Shining, Vitali was not only Kubrick’s most valued and trusted production assistant, he served as de facto assistant director, patiently coaching Daniel Lloyd, the child actor who played the young psychic Danny in the film.

Joy in service

Vitali worked with Kubrick throughout the director’s life, and that dedication has extended even beyond Kubrick’s death. He oversaw the final post-production work on Kubrick’s last film, Eyes Wide Shut, and is working on the restoration of 2001: A Space Odyssey in preparation for its 50th-anniversary re-release.

Zierra gives Vitali plenty of on-camera time to illustrate what it was like to assist the famously demanding Kubrick. Vitali often worked 16-hour days doing a multitude of chores for which other studios and films hire armies of underlings. One producer recalls explaining to a studio head that Kubrick’s budgets were relatively modest because he did so much work himself or farmed it out to the trusted Vitali.

At no point does Vitali complain about the long hours, unremitting toil, and even sometimes dealing with Kubrick’s volatile temper. Clearly, for over 30 years, he has been doing what he loves to do.

Zierra also gives face time to many in Vitali and Kubrick’s professional circle, including actors Ryan O’Neal (Barry Lyndon), Matthew Modine (Full Metal Jacket), and Lloyd (The Shining). Remarkably, regardless of the actors’ feelings toward Kubrick, no hint of animosity or resentment is ever expressed toward Vitali. Apparently, his joy at serving Kubrick’s vision carried over into his work.

Filmworker provides a fascinating look at how Kubrick brought his cinematic masterpieces to life. But more important, in its portrait of Vitali, we see the importance of the quiet person behind the scenes. We also see how difficult and how satisfying it can be to work with a genius and to have a part in bringing these great works to fruition.