"I'm prepared to argue that all the hardware will look something like this. Clarke and Stanley Kubrick were committed to making the film as scientifically accurate as possible, even if they were projecting more than 30 years ahead. Kubrick wanted the film to be as scientifically accurate as possibleīoth author Arthur C. "I think probably if she'd twisted it slightly it might have worked better but it worked." "You can actually see pull it off the glass if you look carefully," remembered special effects artist Brian Johnson. The special effects artists taped the pen to a large circular piece of glass, which they could then rotate and swivel to give the illusion that the pen was floating. Of course CGI didn't exist when 2001 was first created, so how did they get the pen to drift so smoothly in that classic floating pen scene? They used a brand new technology: double-sided tape. The floating pen scene relied on a brand new technology ![]() But I guess he had insights that I don't have."īut he wasn't entirely surprised. Several years earlier a palm reader at a fair had told Dullea there was a rocket ship in his future. "And looking at my previous work - The Hoodlum Priest, David and Lisa - I don't know how he got the idea from the characters I was portraying that I was right for the part. "I'd never met Kubrick before getting hired," he said in an interview earlier this month. spaceship Discovery mission commander David Bowman, landed the part without even having to audition - and even now he's amazed. The lead actor who plays mission commander David Bowman got hired without an auditionĪctor Keir Dullea, who played U.S. Make sure to check out the sequence starting at 5:50, because if you're a 2001 fan, it will look very familiar. Those names included special effects artist Wally Gentleman, who went on to work on 2001, and voiceover artist Rain, who went on to play HAL. As the credits rolled, Kubrick studied the names of the magicians who created the images." Universe proved that the camera could be a telescope to the heavens. "These images were not flawed by the shoddy matte work, obvious animation and poor miniatures typically found in science fiction films. "As the film unspooled, Kubrick watched the screen with rapt attention while a panorama of the galaxies swirled by, achieving the standard of dynamic visionary realism that he was looking for," remembered biographer Vincent Labrutto. ![]() Director Stanley Kubrick reportedly watched as many space films as he could find, but the Canadian film - which was nominated for an Oscar in 1961 - had an especially strong impact. References to the film continue to appear across pop culture, from the “Dawn of Man” scene making its way into an episode of “The Simpsons” to the design and familiar all-seeing red eye of the robot “Auto” in Disney-Pixar’s “WALL-E.” Last month, it was reported that at this year’s Cannes Film Festival in May, director Christopher Nolan will present a restored 70mm print of the film.But HAL wasn't the film's only Canadian connectionĢ001: A Space Odyssey is very much an American film, but it was inspired at least in part by a Canadian National Film Board short called Universe. And despite debuting to mixed reviews and failing to receive a Best Picture nomination at the 1968 Academy Awards (though it did win for Best Special Visual Effects and Kubrick was nominated for Best Director), the film has had and likely will continue to have a lasting impact on the sci-fi genre as we know it. In an age where we have smartphones and speakers that can respond to commands, accomplish tasks, and even tell jokes, Kubrick’s message about the ability of machines to replicate human emotion and feeling rings as true as it ever has. But the film is about more than space travel becoming the norm, or even humanity pushing the boundaries of the universe in search of the meaning of its existence. Movies like “Star Wars,” “Blade Runner,” “Alien,” “Contact” and more have followed in its footsteps. ![]() “2001” turned 50 years old earlier this week, and its influence on the sci-fi genre is hard to understate. ![]() And that sense of fear is only amplified as, in yet another iconic and haunting moment, astronaut Dave Bowman (Keir Dullea) shuts HAL down for good as it sings a warbling, eerie version of “Bicycle Built for Two.” The deadpan, emotionless response from supercomputer HAL 9000 in Stanley Kubrick’s 1968 sci-fi classic “2001: A Space Odyssey” sets the tone for what is arguably one of the most spine-chilling final sequences in film as viewers stare into HAL’s unblinking, emotionless red eye and realize the extent of its omnipotence that it sees itself not as subservient to the humans who created it, but as an equal.
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