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2001: A Space Odyssey
This nOde
last updated December 17th, 2004 and is permanently morphing...
(3 Ix (Jaguar) / 17 Mac - 94/260 - 12.19.11.15.14)

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based on the short story by
Arthur
C. Clarke - _The Sentinel_
"And now, out among the stars,
evolution
was driving toward new goals. [They had] long since come to the limits
of flesh and blood; as soon as their machines were better than their bodies,
it was
time
to move. First their brains, and then their thoughts alone, they transferred
into
shining
new homes of metal and plastic.
"In these they roamed the stars. They no longer built spaceships. They were spaceships.
"But the age of the Machine-entities
swiftly passed. In their ceaseless experimenting, they had learned
to store knowledge in the structure of space itself, and to preserve their
thoughts for eternity in frozen lattices of
light.
They could become creatures of radiation, free at last from the tyranny
of matter.
"Into pure energy, therefore, they presently transformed themselves, beyond the reach of time...They could rove at will among the stars, and sink like a subtle mist through the very interstices of space."
"I tried to create a visual experience, one that bypasses
verbalized pigeonholing and directly penetrates the subconscious with
an emotional and philosophical content...I
intended
the film to be an
intensely
subjective
experience that reaches the viewer at an inner level of consciousness, just
as music does...You're free to speculate as you wish about the philosophical
and allegorical meaning of the film." - Stanley Kubrick
"Roger Waters (bassist for
Pink
Floyd), yet to balk at the
sci-fi
association, went so far as to say his 'greatest regret' was that they
didn't do the score for 2001: A Space Odyssey -- parts of which, particularly
in the long, mind-blowing hallucinatory
sequence near the end, nonetheless sound remarkably Floydian..."
-- (_Saucerful Of Secrets_, by Nicholas Schaffner, pg. 142)

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2001: A Space Odyssey (1968)
Directed by
Stanley
Kubrick
Writing credits
Arthur
C. Clarke
(story ...)
Stanley Kubrick
Tagline: The Ultimate Trip.
Plot Outline: Mankind finds a mysterious, obviously
artificial, artifact buried on the
moon
and, with the intelligent computer HAL, sets off on a quest.
Full Cast and Crew for
2001: A Space Odyssey (1968)
Directed by
Stanley Kubrick
Writing credits
Arthur C. Clarke
(story The Sentinel)
Stanley Kubrick
Arthur C. Clarke
Cast verified as complete
Keir Dullea ....David
Bowman
Gary Lockwood ....Frank
Poole
William Sylvester ....Heywood
Floyd
Daniel Richter ....Moonwatcher
Leonard Rossiter ....Smyslov
Margaret Tyzack ....Elena
Robert Beatty ....Halvorsen
Sean Sullivan ....Michaels
Douglas Rain ....HAL
9000 (voice)
Frank Miller ....Mission
Controller
Bill Weston
Ed Bishop ....Lunar
shuttle captain
Glenn Beck
Alan Gifford ....Poole's
Father
Ann Gillis (I)
Edwina Carroll ....Stewardess
Penny Brahms ....Stewardess
Heather
Downham
Mike Lovell
John Ashley
Jimmy Bell
David Charkham
Simon Davis
Jonathan Daw
Péter Delmár
Terry Duggan
David Fleetwood
Danny Grover
Brian Hawley
David Hines
Tony Jackson
John Jordan
Scott MacKee
Laurence Marchant
Darryl Paes
Joe Refalo
Andy Wallace
Bob Wilyman
Richard Wood
rest of cast listed alphabetically
Vivian Kubrick ....Squirt
(uncredited)
Produced by
Stanley Kubrick
Music by
Aram Khachaturyan
(from "Ballet Suite Gayane")
György Ligeti
(from "Atmospheres")
Richard Strauss
(from "Also sprach Zarathustra")
Johann Strauß
(from "Blue Danube Waltz")
Cinematography by
John Alcott
(additional photography)
Geoffrey Unsworth
Costume Design by
Hardy Amies
Production Design by
Ernest Archer
Harry Lange
Anthony Masters
Film Editing by
Ray Lovejoy
Other crew
H.L. Bird ....sound
mixer
Colin Cantwell ....special
photographic effects unit
Derek Cracknell ....first
assistant director
David De Wilde ....editorial
assistant
Stuart Freeborn ....make-up
artist
John Hoesli ....art
director
Tom Howard (IV) ....special
photographic effects supervisor
Stanley Kubrick ....special
photographic effects designer and director
Bryan Loftus ....special
photographic effects unit
Bruce Logan ....special
photographic effects unit
John Jack Malick ....special
photographic effects unit
Frederick Martin ....special
photographic effects unit
Frederick I. Ordway III ....technical
advisor
David Osborne ....special
photographic effects unit
Con Pederson ....special
photographic effects supervisor
special visual effects supervisor
Kelvin Pike ....camera
operator
Winston Ryder ....sound
editor
J.B. Smith ....chief
dubbing
mixer
Douglas
Trumbull.... special photographic effects
supervisor
Wally Veevers ....special
photographic effects supervisor
A.W. Watkins ....sound
supervisor
Also Known As:
Journey Beyond the Stars (1967) (USA: working
title)
Runtime: Germany:133 / Sweden:149 / 139 (final
cut) / 156 (premiere cut)
Country: UK / USA
Language:
English
Color: Color
Sound Mix: 70mm 6-Track (70mm prints)
Certification: UK:U / USA:G / Germany:12 / Norway:11 /
Portugal:M/12 / Sweden:11
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Djinn
chairs designed by Olivier Mourgue, 1964-65. Can be seen in the space station
interior in the film _2001: A Space
Odyssey_
. Made of a steel frame covered with nylon stretch jersey fabric over rubber
and foam. Manufactured by Airborne in France.
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Q: this is the question about the "great
attractor"
that you mentioned... did you ever see that movie 2001?
TM: ah, a couple of times [laughter from the audience]
Q: could the great attractor be symbolized in that
movie by the
monolith?
TM: yeah, absolutely... that's the myth of what i'm saying... if instead of having those monkeys jumping around in front of a slab of linoleum, they had had them cavorting in the presence of the mushroom, then you would pretty much have my theory in a nutshell... [laughter/applause]
Stanley
Kubrick uses
alchemical
allegories through out the film _2001: A Space
Odyssey_
DVD
(1968). The obvious analogies are the celestial alignments that proceed each
of the alchemical transmutations in the film. The second main allegory is that
it is a black stone that initiates these transmutations. Again this mirrors
the alchemical lore about the black stone causing the transmutation of the alchemist.
Finally we get to Kubrick's ultimate trick.
He proves that he knows exactly what he is doing with this trick. His secret
is in plain sight. First one must remember that everytime the
monolith,
the
magical
stone, appears in the film there is a strange beautiful celestial alignment
occurring. And one must remember that every celestial alignment in the film
is followed by a monolith, that is, except for one. That would be the lunar
eclipse that occurs at the very beginning of the film. So the question arises
- if we are to stay within the rules that are prescribed in the rest of the
film - where is the monolith that is supposed to follow that first alignment?
The monolith itself doesn't show up in the film for ten more minutes after that
first celestial alignment, so what gives here? Is Kubrick just showing off his
incredible special effects? Is it just there to
impress
the viewer from the beginning? These things may very well also be
true,
but the ultimate trick of Kubrick's is embedded in the idea that the monolith
must appear after every one of these magical alignments. Once again, the secret
of the film is completely revealed from the beginning. There is a monolith that
appears right after the opening sequence with the magical, lunar eclipse. But
where is it? It is right in front of the viewer's eyes! The film is the monolith.
In a secret that seems to never have been seen by anyone - the monolith in the
film has the same exact dimensions as the Cinerama movie screen on which 2001
was projected in 1968. This can only be seen if one sees the film in it's wide-screen
format. Completely hidden, from critic and fan alike, is the fact that Kubrick
consciously designed his film to be the monolith, the stone that transforms.
Like the monolith, the film projects images into our heads that make us consider
wider possibilities and ideas. Like the monolith, the film ultimately presents
an initiation, not just of the actor on the screen, but also of the audience
viewing the film. That is Kubrick's ultimate trick. He slyly shows here that
he knows what he is doing at every step in the
process.
The monolith and the movie are the same thing.
- _Alchemical Kubrick - 2001: The Great Work On Film_ by Jay Weidner
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