Product Description

This book showcases the drawings of Ken Adam, the man who has created some of the most iconic and memorable sets in the history of film. Presented chronologically, the book takes us from design sketches for his earliest movies, including Around theWorld in Eighty Days, through his Oscar-winning work with Stanley Kubrick, to production designs for what are probably his most celebrated films â the first seven James Bond movies, including Dr No, Goldfinger, Diamonds are Forever and Moonraker. Also included are production drawings for classics such as Chitty Chitty Bang Bang, Goodbye, Mr Chips, Sleuth and The Last Emperor. Adamâs virtuoso sketches for films and other projects are accompanied by illuminating commentary from the eminent Sir Christopher Frayling, and together present an unrivalled archive of breathtaking and inspirational production design.

Product Details

• Amazon Sales Rank: #28301 in Books
• Published on: 2008-09-29
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 224 pages

Review
`Adam's sleek charcoals render unique stylized realities, as though Piranesi had driven a Porsche'
--The World of Interiors

Review
`A visual feast with concise anecdotal commentary'

Customer Reviews

Ken Adams Designs the movies-James Bond and Beyond
I bought this for my husband who is very keen on James Bond and Architecture. He loved the book and said it is about the set design during the making of their films. Lots of good photos and explainations. Very good if you are in to design,art,set design or James Bond in general!

Excellent coffee table book
This is a pretty light overview of Ken Adam's work as a production designer. It takes in his beginnings as art director on films such as Hornblower, and sweeps right through to his work on the computer game Goldeneye: Rogue Agent. It also includes illustrations from productions that were never realised, and films on which Adam worked but subsequently left, such as Star Trek.

The quality and range of the reproductions is excellent. Having been faced with numerous slightly different sketches of Adam's work, and having ended that experience by feeling slightly sick of it, I'm glad that the authors have made sensible and sparing selections.

If you want a detailed commentary on Adam's work, go for the Serpentine catalogue from 1999. This is more of an art sample book, and it isn't pretending to be anything else.