2001 - A Space Odyssey (Film) - Wikipedia PDF

1/19/2017 2001:ASpaceOdyssey(film)Wikipedia
2001:ASpaceOdyssey(film)
FromWikipedia,thefreeencyclopedia
2001:ASpaceOdysseyisa1968epicsciencefictionfilm
producedanddirectedbyStanleyKubrick.Thescreenplay, 2001:ASpaceOdyssey
writtenbyKubrickandArthurC.Clarke,waspartiallyinspired
byClarke'sshortstory"TheSentinel".Clarkeconcurrently
wrotethenovel2001:ASpaceOdyssey,publishedsoonafter
thefilmwasreleased.ThefilmfollowsavoyagetoJupiter
withthesentientcomputerHalafterthediscoveryofa
mysteriousblackmonolithaffectinghumanevolution.Thefilm
dealswiththethemesofexistentialism,humanevolution,
technology,artificialintelligence,andextraterrestriallife.Itis
notedforitsscientificallyaccuratedepictionofspaceflight,
pioneeringspecialeffects,andambiguousimagery.Ituses
soundandminimaldialogueinplaceoftraditionalnarrative
techniquesthesoundtrackconsistsofclassicalmusicsuchas
GayaneBalletSuite,TheBlueDanubeandAlsosprach
Zarathustra.
FinancedanddistributedbyAmericanstudioMetroGoldwyn
Mayer,[8][9]2001:ASpaceOdysseywasfilmedandedited
almostentirelyinEngland,usingthestudiofacilitiesofthe
MGMBritishStudiosandthoseofSheppertonStudios,mostly TheatricalreleaseposterbyRobertMcCall
becauseoftheavailabilityofmuchlargersoundstagesthanin
theUnitedStates.ProductionwassubcontractedtoKubrick's Directedby StanleyKubrick
productioncompanyandcarewastakenthatthefilmwouldbe Producedby StanleyKubrick
sufficientlyBritishtoqualifyforsubsidyfromtheEady StanleyKubrick
Screenplayby
Levy.[8]:98Havingalreadyshothisprevioustwofilmsin ArthurC.Clarke
England,Kubrickdecidedtosettletherepermanentlyduring Starring KeirDullea
filming. GaryLockwood
Despiteinitiallyreceivingmixedreactionsfromcriticsand Cinematography GeoffreyUnsworth

audiences,2001:ASpaceOdysseygarneredacultfollowing Editedby RayLovejoy
andslowlybecamethehighestgrossingNorthAmericanfilm MetroGoldwynMayer
Distributedby
of1968.ItwasnominatedforfourAcademyAwards,and
receivedoneforitsvisualeffects.Asequel,2010,directedby Releasedate April2,1968
PeterHyamswasreleasedin1984. (UptownTheater)
April3,1968
Today,2001:ASpaceOdysseyiswidelyregardedasoneofthe (UnitedStates)
greatestandmostinfluentialfilmsevermade.In1991,itwas May15,1968
deemed"culturally,historically,oraestheticallysignificant"by (UnitedKingdom)
theUnitedStatesLibraryofCongressandselectedfor Runningtime 161minutes(Premiere)[1]
preservationintheNationalFilmRegistry.[10]Thecritics'polls 142minutes(Theatrical)[2]
inthe2002and2012editionsofSight&Soundmagazine
Country UnitedKingdom[3]
ranked2001:ASpaceOdysseysixthinthetoptenfilmsofall
UnitedStates[3]
Language English
https://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(film) 1/31
timeitalsotiedforsecondplaceinthedirectors'pollofthe Budget $10.512million[4][5]

samemagazine.[11][12]In2010,itwasnamedthegreatestfilm Boxoffice $138190million[6][7]
ofalltimebyTheMovingArtsFilmJournal.[13]
Contents
1 Plot
2 Cast
3 Developmentandwriting
4 Production
5 Soundtrack
6 Release
7 Reception
8 Influence
9 Accoladesandhonors
10 Interpretation
11 Sequelsandadaptations
12 Parodiesandhomages
13 Seealso
14 References
15 Furtherreading
16 Externallinks
Plot
InanAfricandesertmillionsofyearsago,atribeofapemenisdrivenawayfromtheirwaterholebyarivaltribe.
Theyawakentofindafeaturelessblackmonolithhasappearedbeforethem.Guidedinsomefashionbythe
monolith,theylearnhowtouseaboneasaweaponanddrivetheirrivalsawayfromthewaterhole.
Millionsofyearslater,aPanAmspaceplanecarriesDr.HeywoodFloydtoaspacestationorbitingEarthfora
layoveronhistriptoClaviusBase,aUnitedStatesoutpostonthemoon.Afteravideophonecallwithhisdaughter,
Floyd'sSovietscientistfriendandhercolleagueaskaboutrumorsofamysteriousepidemicatClavius.Floyd
declinestoanswer.AtClavius,Floydheadsameetingofbasepersonnel,apologizingfortheepidemiccoverstory
butstressingsecrecy.Hismissionistoinvestigatearecentlyfoundartifactburiedfourmillionyearsago.Floyd
andothersrideinaMoonbustotheartifact,amonolithidenticaltotheoneencounteredbytheapemen.Sunlight
strikesthemonolithandaloudhighpitchedradiosignalisheard.
Eighteenmonthslater,theUnitedStatesspacecraftDiscoveryOneisboundforJupiter.Onboardaremission
pilotsandscientistsDr.DavidBowmanandDr.FrankPoolealongwiththreeotherscientistsincryogenic
hibernation.MostofDiscovery'soperationsarecontrolledbytheship'scomputer,HAL9000,referredtobythe
crewas"Hal".Halstatesthatheis"foolproofandincapableoferror".WhenBowmanquestionsHalonthe
purposeofthemission,Halrespondsbyreportingtheimminentfailureofanantennacontroldevice.The
astronautsretrieveitinanEVApodbutfindnothingwrong.Halsuggestsreinstallingthedeviceandlettingitfail
sotheproblemcanbefound.MissionControladvisestheastronautsthatresultsfromtheirtwinHAL9000
indicatethatHalisinerror.Halinsiststhattheproblem,likepreviousissuesascribedtoHALseriesunits,isdueto
humanerror.ConcernedaboutHal'sbehavior,BowmanandPooleenteranEVApodtotalkwithoutHal
overhearing,andagreetodisconnectHalifheisprovenwrong.Halsecretlyfollowstheirconversationbylip
reading.
WhilePooleisonaspacewalkoutsidehisEVApodattemptingtoreplacetheunit,Haltakescontrolofthepod,
severshisoxygenhoseandsetshimadrift.Bowmantakesanotherpodtoattemptrescue.Meanwhile,Halturnsoff
thelifesupportfunctionsofthecrewmeninsuspendedanimation.WhenBowmanreturnstotheshipwithPoole's
body,Halrefusestolethimin,statingthattheastronauts'plantodeactivatehimjeopardizesthemission.Bowman
openstheship'semergencyairlockmanually,enterstheship,andproceedstoHal'sprocessorcore.Haltriesto
reassureBowman,thenpleadswithhimtostop,andfinallyexpressesfear.AsBowmangraduallydeactivatesthe
circuitscontrollingHAL'shigherintellectualfunctions,HALregressestohisearliestprogrammedmemory,the
song"DaisyBell",whichhesingsforBowman.
WhenBowmanfinallydisconnectsHal,aprerecordedvideomessagefromFloydrevealstheexistenceofthe
monolithonthemoon,itspurposeandoriginunknown.Withtheexceptionofoneshortbutextremelypowerful
radioemissionaimedatJupiter,theobjecthasbeeninert.
AtJupiter,BowmanleavesDiscoveryOneinanEVApodtoinvestigateanothermonolithdiscoveredinorbit
aroundtheplanet.Thepodispulledintoavortexofcoloredlight,andBowmanracesacrossvastdistancesof
space,viewingbizarrecosmologicalphenomenaandstrangelandscapesofunusualcolors.
Bowmanfindshimselfinabedroomappointedintheneoclassicalstyle.Hesees,andthenbecomes,olderversions
ofhimself,firststandinginthebedroom,middleagedandstillinhisspacesuit,thendressedinleisureattireand
eatingdinner,andfinallyasanoldmanlyinginthebed.Amonolithappearsatthefootofthebed,andasBowman
reachesforit,heistransformedintoafetusenclosedinatransparentorboflight.Thenewbeingfloatsinspace
besidetheEarth,gazingatit.
Cast
KeirDulleaasDr.DavidBowman PennyBrahmsasstewardess
GaryLockwoodasDr.FrankPoole HeatherDownhamasstewardess
WilliamSylvesterasDr.HeywoodFloyd Maggied'Aboasstewardess(Spacestation
DouglasRainasthevoiceoftheHAL9000 elevator)(uncredited)
DanielRichterasthechiefmanape(noveland ChelaMatthisonasstewardess(Mrs.Turner,
filmcastlistgivethecharacterthename Spacestationreception)(uncredited)
"Moonwatcher") JudyKeirnasVoiceprintidentificationgirl(Space
LeonardRossiterasDr.AndreiSmyslov station)(uncredited)
MargaretTyzackasElena AlanGiffordasPoole'sfather
RobertBeattyasDr.RalphHalvorsen AnnGillisasPoole'smother
SeanSullivanasDr.RoyMichaels[14] VivianKubrickasFloyd'sdaughter(uncredited)
FrankMillerasmissioncontroller KennethKendallastheBBCannouncer
EdwardBishopasLunarshuttlecaptain (uncredited)
EdwinaCarrollasAriesstewardess
PennyBrahmsasstewardess
Developmentandwriting
MeetingofKubrickandClarke
AftercompletingDr.Strangelove(1964),directorStanleyKubrickbecamefascinatedbythepossibilityof
extraterrestriallife,[15]andresolvedtomake"theproverbialgoodsciencefictionmovie".[16]Searchingfora
collaboratorinthesciencefictioncommunity,Kubrickwasadvisedbyamutualacquaintance,ColumbiaPictures
stafferRogerCaras,totalktowriterArthurC.Clarke.AlthoughconvincedthatClarkewas"arecluse,anutwho
livesinatree",KubrickallowedCarastocablethefilmproposaltoClarke,wholivedinCeylon.Clarke'scabled
responsestatedthathewas"frightfullyinterestedinworkingwithenfantterrible",andadded"whatmakes
KubrickthinkI'marecluse?"[17][18]MeetingforthefirsttimeatTrader
Vic'sinNewYorkonApril22,1964,thetwobegandiscussingthe
projectthatwouldtakeupthenextfouryearsoftheirlives.[19]Clarke
keptadiarythroughouthisinvolvementwith2001,excerptsofwhich
werepublishedin1972asTheLostWorldsof2001.[20]
Searchforsourcematerial
KubricktoldClarkehewantedtomakeafilmabout"Man'srelationship
totheuniverse",[21]andwas,inClarke'swords,"determinedtocreatea
workofartwhichwouldarousetheemotionsofwonder,awe...even,if StanleyKubrickandArthurC.Clarkein
Kubrick'sapartmentofficeonCentral
appropriate,terror".[19]ClarkeofferedKubricksixofhisshortstories,
ParkWest,NewYork,duringthewriting
andbyMay1964,Kubrickhadchosen"TheSentinel"asthesource
of2001
materialforthefilm.Insearchofmorematerialtoexpandthefilm's
plot,thetwospenttherestof1964readingbooksonscienceand
anthropology,screeningsciencefictionfilms,andbrainstormingideas.[22]Theyspenttwoyearstransforming"The
Sentinel"intoanovel,andthenintoascriptfor2001.[23]Clarkesaidthathisshortstory"EncounterintheDawn"
inspiredthefilm's"DawnOfMan"sequence.[24]
KubrickandClarkeprivatelyreferredtotheprojectasHowtheSolarSystemWasWonasareferencetoMGM's
1962Cineramaepic,HowtheWestWasWon.OnFebruary23,1965,Kubrickissuedapressreleaseannouncingthe
titleJourneyBeyondTheStars.[25]OthertitlesconsideredincludeUniverse,TunneltotheStars,andPlanetfall.In
April1965,elevenmonthsaftertheybeganworkingontheproject,Kubrickselected2001:ASpaceOdyssey
Clarkesaidthetitlewas"entirely"Kubrick'sidea.[26]Intendingtosetthefilmapartfromthe"monstersandsex"
typeofsciencefictionfilmsofthetime,KubrickusedHomer'sTheOdysseyasinspirationforthetitle.Kubrick
said,"[i]toccurredtousthatfortheGreeksthevaststretchesoftheseamusthavehadthesamesortofmystery
andremotenessthatspacehasforourgeneration."[27]
Paralleldevelopmentoffilmandnovel
KubrickandClarkeplannedtodevelopthe2001novel
first,freeoftheconstraintsoffilm,andthenwritethe "HowmuchwouldweappreciateLaGiocondatodayif
screenplay.Theyplannedthewritingcreditstobe Leonardohadwrittenatthebottomofthecanvas:"Thislady
"ScreenplaybyStanleyKubrickandArthurC.Clarke, issmilingslightlybecauseshehasrottenteeth"or"because
basedonanovelbyArthurC.ClarkeandStanley she'shidingasecretfromherlover"?Itwouldshutoffthe
Kubrick"toreflecttheirpreeminenceintheir viewer'sappreciationandshacklehimtoarealityotherthan
hisown.Idon'twantthattohappento2001."
respectivefields.[29]Inpractice,thescreenplay
developedinparalleltothenovel,andelementswere StanleyKubrick,Playboy,1968[28]
sharedbetweenboth.Ina1970interview,Kubrick
said:
Thereareanumberofdifferencesbetweenthebookandthemovie.Thenovel,forexample,attempts
toexplainthingsmuchmoreexplicitlythanthefilmdoes,whichisinevitableinaverbalmedium.The
novelcameaboutafterwedida130pageprosetreatmentofthefilmattheveryoutset.Thisinitial
treatmentwassubsequentlychangedinthescreenplay,andthescreenplayinturnwasalteredduring
themakingofthefilm.ButArthurtookalltheexistingmaterial,plusanimpressionofsomeofthe
rushes,andwrotethenovel.Asaresult,there'sadifferencebetweenthenovelandthefilm...Ithink
thatthedivergencesbetweenthetwoworksareinteresting.[30]
Thescreenplaycreditsweresharedwhereasthe2001novel,releasedshortlyafterthefilm,wasattributedtoClarke
alone.Clarkewrotelaterthat"thenearestapproximationtothecomplicatedtruth"isthatthescreenplayshouldbe
creditedto"KubrickandClarke"andthenovelto"ClarkeandKubrick".[31]
ClarkeandKubrickwrotethenovelandscreenplaysimultaneously.Clarkeoptedforclearerexplanationsofthe
mysteriousmonolithandStarGateinthenovelKubrickmadethefilmmorecrypticbyminimisingdialogueand
explanation.[32]Kubricksaidthefilmis"basicallyavisual,nonverbalexperience"that"hitstheviewerataninner
levelofconsciousness,justasmusicdoes,orpainting".[33]
Depictionofalienlife
AstronomerCarlSaganwroteinhisbookTheCosmicConnectionthatClarkeandKubrickaskedhisopinionon
howtobestdepictextraterrestrialintelligence.Sagan,whileacknowledgingKubrick'sdesiretouseactorsto
portrayhumanoidaliensforconvenience'ssake,arguedthatalienlifeformswereunlikelytobearanyresemblance
toterrestriallife,andthattodosowouldintroduce"atleastanelementoffalseness"tothefilm.Saganproposed
thatthefilmsuggest,ratherthandepict,extraterrestrialsuperintelligence.Heattendedthepremiereandwas
"pleasedtoseethatIhadbeenofsomehelp."[34]Kubrickhintedatthenatureofthemysteriousunseenalienrace
in2001bysuggesting,ina1968interview,thatgivenmillionsofyearsofevolution,theyprogressedfrom
biologicalbeingsto"immortalmachineentities",andtheninto"beingsofpureenergyandspirit"beingswith
"limitlesscapabilitiesandungraspableintelligence".[35]
Stagesofscriptandnoveldevelopment
Thescriptwentthroughmanystages.Inearly1965,whenbackingwassecuredforthefilm,ClarkeandKubrick
stillhadnofirmideaofwhatwouldhappentoBowmanaftertheStarGatesequence.InitiallyallofDiscovery's
astronautsweretosurvivethejourneybyOctober3,ClarkeandKubrickhaddecidedtoleaveBowmanthesole
survivorandhavehimregresstoinfancy.ByOctober17,KubrickhadcomeupwithwhatClarkecalleda"wild
ideaofslightlyfagrobotswhocreateaVictorianenvironmenttoputourheroesattheirease."[31]HAL9000was
originallynamedAthenaaftertheGreekgoddessofwisdomandhadafemininevoiceandpersona.[31]
Earlydraftsincludedaprologuecontaininginterviewswithscientistsaboutextraterrestriallife,[36]voiceover
narration(afeatureinallofKubrick'spreviousfilms),[37]astrongeremphasisontheprevailingColdWarbalance
ofterror,andadifferentandmoreexplicitlyexplainedbreakdownforHAL.[38][39][40]Otherchangesincludea
differentmonolithforthe"DawnofMan"sequence,discardedwhenearlyprototypesdidnotphotographwellthe
useofSaturnasthefinaldestinationoftheDiscoverymissionratherthanJupiter,discardedwhenthespecial
effectsteamcouldnotdevelopaconvincingrenditionofSaturn'sringsandthefinaleoftheStarChildexploding
nuclearweaponscarriedbyEarthorbitingsatellites,[40]whichKubrickdiscardedforitssimilaritytohisprevious
film,Dr.Strangelove.[36][40]ThefinaleandmanyoftheotherdiscardedscreenplayideassurvivedintoClarke's
novel.[40]
Kubrickmadefurtherchangesduetohisdesiretomakethefilmmorenonverbal,communicatingatavisualand
viscerallevelratherthanthroughconventionalnarrative.[41]VincentLeBruttowritesthatClarke'snovelhas
"strongnarrativestructure",whilethefilmisamainlyvisualexperiencewheremuchremainssymbolic.[42]
Remnantsofearlydraftsinfinalfilm
HAL'sbreakdown
Althoughthefilmleavesitmysterious,earlyscriptdraftsmadeclearthatHAL'sbreakdownis
triggeredbyauthoritiesonEarthwhoorderhimtowithholdinformationfromtheastronauts
aboutthepurposeofthemission(thisisalsoexplainedinthefilm'ssequel2010).Frederick
Ordway,Kubrick'sscienceadvisorandtechnicalconsultant,statedthatinanearlierscript
PooletellsHALthereis"...somethingaboutthismissionthatweweren'ttold.Somethingthe
restofthecrewknowsandthatyouknow.Wewouldliketoknowwhetherthisistrue",to
whichHALresponds:"I'msorry,Frank,butIdon'tthinkIcananswerthatquestionwithout
knowingeverythingthatallofyouknow."[38]HALthenfalselypredictsafailureofthe
hardwaremaintainingradiocontactwithEarth(thesourceofHAL'sdifficultorders)during
thebroadcastofFrankPoole'sbirthdaygreetingsfromhisparents.
Thefinalscriptremovedthisexplanation,butitishintedatwhenHALasksDavidBowmanif
Bowmanisbotheredbythe"oddities"and"tightsecurity"surroundingthemission.After
BowmanconcludesthatHALisdutifullydrawingupthe"crewpsychologyreport",the
computermakeshisfalsepredictionofhardwarefailure.Anotherhintoccursatthemomentof
HAL'sdeactivationwhenavideorevealsthepurposeofthemission.
HAL9000
InaninterviewwithJosephGelmisin1969,KubrickstatedthatHAL"hadanacuteemotional interface
crisisbecausehecouldnotacceptevidenceofhisownfallibility".[43]
Militarynatureoforbitingsatellites
Kubrickoriginallyplannedavoiceovertorevealthatthesatellitesseenaftertheprologuearenuclearweapons,[44]
andthattheStarChildwoulddetonatetheweaponsattheendofthefilm.[45]However,hedecidedthiswould
createassociationswithhispreviousfilmDr.Strangelove,anddecidednottomakeitsoobviousthattheywere
"warmachines".[46]Afewweeksbeforethereleaseofthefilm,theU.S.andSovietgovernmentshadagreednotto
putanynuclearweaponsintoouterspace.
InabookhewrotewithKubrick'sassistance,AlexanderWalkerstatesthatKubrickeventuallydecidedthatas
nuclearweaponsthebombshad"noplaceatallinthefilm'sthematicdevelopment",nowbeingan"orbitingred
herring"whichwould"merelyhaveraisedirrelevantquestionstosuggestthisasarealityofthetwentyfirst
century".[47]
KubrickscholarMichelCiment,discussingKubrick'sattitudetowardhumanaggressionandinstinct,observes:
"Thebonecastintotheairbytheape(nowbecomeaman)istransformedattheotherextremeofcivilization,by
oneofthoseabruptellipsescharacteristicofthedirector,intoaspacecraftonitswaytothemoon."[48]Incontrast
toCiment'sreadingofacuttoaserene"otherextremeofcivilization",sciencefictionnovelistRobertSawyer,
speakingintheCanadiandocumentary2001andBeyond,sawitasacutfromabonetoanuclearweapons
platform,explainingthat"whatweseeisnothowfarwe'veleapedahead,whatweseeisthattoday,'2001',and
fourmillionyearsagoontheAfricanveldt,it'sexactlythesamethepowerofmankindisthepowerofits
weapons.It'sacontinuation,notadiscontinuityinthatjump."[49]
Dialogue
Thefilmcontainsnodialogueforthefirstandlast20minutesorso.[50]Bythetimeshootingbegan,Kubrickhad
removedmuchofthedialogueandnarrationwhatremainsisnotableforitsbanality(makingthecomputerHal
seemtohavemoreemotionthanthehumans)juxtaposedwithepicspacescenes.[51]
ThefirstscenesofdialogueareFloyd'sencountersonthespacestation:chitchatwiththecolleaguewhogreets
him,histelephonecalltohisdaughter,andthefriendlybutstrainedencounterwithSovietscientists.Later,en
routetothemonolith,FloydengagesintriteexchangeswithhisstaffwhileaspectacularjourneybyEarthlight
acrosstheLunarsurfaceisshown.Halistheonlycharacterwhoexpressesanxiety,aswellasfeelingsofprideand
bewilderment.
Visualizingspaceandspacetravel
Kubrick'sdecisiontoavoidthefancifulportrayalsofspaceinstandardpopularsciencefictionfilmsofthetimeled
himtoseekamorerealisticandscientificallyaccuratevisualizationofspacetravel.IllustratorssuchasChesley
Bonestell,RoyCarnon,andRichardMcKennawerehiredtoproduceconceptdrawings,sketchesandpaintingsof
thespacetechnologyseeninthefilm.[52][53]Twoeducationalfilmsthatcameoutpreviously,the1960National
FilmBoardofCanadaanimatedshortdocumentaryUniverseandthe1964NewYorkWorld'sFairmovieTothe
MoonandBeyondwereveryinfluential.[52]
AccordingtobiographerVincentLobrutto,UniversewasavisualinspirationtoKubrick.The29minutefilm,
whichhadalsoprovedpopularatNASAforitsrealisticportrayalofouterspace,achieved"thestandardof
dynamicvisionaryrealismthathewaslookingfor."WallyGentleman,oneofthespecialeffectsartistson
Universe,workedbrieflyon2001.KubrickalsoaskedUniversecodirectorColinLowaboutanimation
camerawork,withLowrecommendingBritishmathematicianBrianSalt,withwhomLowandRomanKroitorhad
previouslyworkedonthe1957stillanimationdocumentary,CityofGold.[54][55]Universewouldhaveonemore
influenceon2001whenitsnarrator,actorDouglasRain,relativelyunknownoutsideCanada,wascastasthevoice
ofHAL.[56]
AfterpreproductionhadbegunKubricksawthe1964World'sFairfilmTotheMoonandBeyond,afilmshownin
theTransportationandTravelbuildingthathadbeenfilmedinCinerama360andwasbeingshowninthe"Moon
Dome".Heendeduphiringthecompanythatproducedit,GraphicFilmsCorporation,whichhadbeenmaking
filmsforNASA,USAirForce,andvariousaerospaceclients,asadesignconsultant.[52]GraphicFilms'Con
Pederson,LesterNovros,andbackgroundartistDouglasTrumbullwouldairmailresearchbasedconceptsketches
andnotescoveringthemechanicsandphysicsofspacetravelandgoontocreatestoryboardsforthespaceflight
sequencesseeninthefilm.[52]Trumbullwouldgoontobecomeaspecialeffectssupervisoron2001.
Production
Filming
PrincipalphotographybeganDecember29,1965,inStageHatSheppertonStudios,Shepperton,England.The
studiowaschosenbecauseitcouldhousethe60by120by60foot(18m37m18m)pitfortheTychocrater
excavationscene,thefirsttobeshot.[57][58]TheproductionmovedinJanuary1966tothesmallerMGMBritish
StudiosinBorehamwood,wheretheliveactionandspecialeffectsfilmingwasdone,startingwiththescenes
involvingFloydontheOrionspaceplane[59]itwasdescribedasa"hugethrobbingnervecenter...withmuchthe
samefreneticatmosphereasaCapeKennedyblockhouseduringthefinalstagesofCountdown."[60]Theonly
scenenotfilmedinastudioandthelastliveactionsceneshotforthefilmwastheskullsmashingsequence,in
whichMoonwatcher(Richter)wieldshisnewfoundbone"weapontool"againstapileofnearbyanimalbones.A
smallelevatedplatformwasbuiltinafieldnearthestudiosothatthecameracouldshootupwardwiththeskyas
background,avoidingcarsandtruckspassingbyinthedistance.[61][62]
FilmingofactorswascompletedinSeptember1967,[63]andfromJune1966untilMarch1968Kubrickspentmost
ofhistimeworkingonthe205specialeffectsshotsinthefilm.[30]Thedirectororderedthespecialeffects
technicianson2001tousethepainstakingprocessofcreatingallvisualeffectsseeninthefilm"incamera",
avoidingdegradedpicturequalityfromtheuseofbluescreenandtravelingmattetechniques.Althoughthis
technique,knownas"heldtakes",resultedinamuchbetterimage,itmeantexposedfilmwouldbestoredforlong
periodsoftimebetweenshots,sometimesaslongasayear.[64]InMarch1968,Kubrickfinishedthe'prepremiere'
editingofthefilm,makinghisfinalcutsjustdaysbeforethefilm'sgeneralreleaseinApril1968.[30]
Thefilmwasannouncedin1965asa"Cinerama"[65]filmandwasphotographedinSuperPanavision70(which
usesa65mmnegativecombinedwithsphericallensestocreateanaspectratioof2.20:1).Itwouldeventuallybe
releasedinalimited"roadshow"Cineramaversion,thenin70mmand35mmversions.[66][67]Colorprocessing
and35mmreleaseprintsweredoneusingTechnicolor'sdyetransferprocess.The70mmprintsweremadeby
MGMLaboratories,Inc.onMetrocolor.Theproductionwas$4.5millionovertheinitial$6.0millionbudget,and
sixteenmonthsbehindschedule.[57]
Fortheopeningsequenceinvolvingtribesofapes,professionalmimeDanielRichterinadditiontoplayingthelead
apewasalsoresponsibleforchoreographingthemovementsoftheothermanapes,whoweremostlyportrayedby
hisstandingmimetroupe.[61]
Setdesignandfurnishings
Kubrickinvolvedhimselfineveryaspectofproduction,evenchoosingthefabricforhisactors'costumes,[68]and
selectingnotablepiecesofcontemporaryfurnitureforuseinthefilm.WhenFloydexitstheSpaceStationV
elevator,heisgreetedbyanattendantseatedbehindaslightlymodifiedGeorgeNelsonActionOfficedeskfrom
HermanMiller's1964"ActionOffice"series.[69]Firstintroducedin1968,theActionOfficestyle"cubicle"would
eventuallyoccupy70percentofofficespacebythemid2000s.[70][71]DanishdesignerArneJacobsendesignedthe
cutleryusedbytheDiscoveryastronautsinthefilm.[72][73][74]
OtherexamplesofmodernfurnitureinthefilmarethebrightredDjinnchairsseenprominentlythroughoutthe
spacestation[75][76]andEeroSaarinen's1956pedestaltables.OlivierMourgue,designeroftheDjinnchair,has
usedtheconnectionto2001inhisadvertisingaframefromthefilm'sspacestationsequenceandthreeproduction
stillsappearonthehomepageofMourgue'swebsite.[77]ShortlybeforeKubrick'sdeath,filmcriticAlexander
WalkerinformedKubrickofMourgue'suseofthefilm,jokingtohim"You'rekeepingthepriceup".[78]
Commentingontheiruseinthefilm,Walkerwrites:
Everyonerecallsoneearlysequenceinthefilm,thespacehotel,[79]primarilybecausethecustom
madeOlivierMourguefurnishings,thosefoamfilledsofas,undulantandserpentine,arecoveredin
scarletfabricandarethefirststabsofcoloronesees.TheyresembleRorschach"blots"againstthe
pristinepurityoftherestofthelobby.[80]
Detailedinstructionsinrelativelysmallprintforvarioustechnologicaldevicesappearatseveralpointsinthefilm,
themostvisibleofwhicharethelengthyinstructionsforthezerogravitytoiletontheAriesMoonshuttle.Similar
detailedinstructionsforreplacingtheexplosiveboltsalsoappearonthehatchesoftheE.V.A.pods,mostvisiblyin
closeupjustbeforeBowman'spodleavestheshiptorescueFrankPoole.[81]
ThefilmfeaturesanextensiveuseofEurostileBoldExtended,Futuraandothersansseriftypefacesasdesign
elementsofthe2001world.[82]Computerdisplaysshowhighresolutionfonts,colorandgraphicsfarinadvance
ofcomputersinthe1960swhenthefilmwasmade.
Specialeffects
Frontprojection
Specialeffectsin2001:ASpace
Odyssey
2001pioneeredtheuseoffrontprojectionwithretroreflectivematting.
KubrickusedthetechniquetoproducethebackdropsintheAfrica
scenesandthescenewhenastronautswalkonthemoon.[83]
Thetechniqueconsistedofaseparatesceneryprojectorsetataright
angletothecamera,andahalfsilveredmirrorplacedatanangleinfront
thatreflectedtheprojectedimageforwardinlinewiththecameralens
ontoabackdropmadeofretroreflectivematerial.Thereflective Asthefilmclimaxes,Bowmantakesa
tripthroughdeepspacethatinvolves
directionalscreenbehindtheactorscouldreflectlightfromtheprojected theinnovativeuseofslitscan
imageahundredtimesmoreefficientlythantheforegroundsubjectdid. photographytocreatethevisual
Thelightingoftheforegroundsubjecthadtobebalancedwiththeimage effectsanddisturbingsequencesof
fromthescreen,makingtheimagefromthesceneryprojectoronthe himnoticeablystunnedandthen
terrifiedatwhathe'sexperiencing.
subjecttoofainttorecord.Theexceptionwastheeyesoftheleopardin
the"DawnofMan"sequence,whichglowedorangefromtheprojector
Problemsplayingthisfile?Seemedia
illumination.Kubrickdescribedthisas"ahappyaccident".[84] help.
Frontprojectionhadbeenusedinsmallersettingsbefore2001,mostlyforstillphotographyortelevision
production,usingsmallstillimagesandprojectors.TheexpansivebackdropsfortheAfricanscenesrequireda
screen40feet(12m)talland110feet(34m)wide,farlargerthanhadbeenusedbefore.Whenthereflective
materialwasappliedtothebackdropin100foot(30m)strips,variationsattheseamsofthestripsledtovisual
artifactstosolvethis,thecrewtorethematerialintosmallerchunksandappliedtheminarandom"camouflage"
patternonthebackdrop.Theexistingprojectorsusing45inch(1013cm)transparenciesresultedingrainy
imageswhenprojectedthatlarge,sothecrewworkedwithMGM'sspecialeffectssupervisorTomHowardtobuild
acustomprojectorusing810inch(2025cm)transparencies,whichrequiredthelargestwatercooledarc
lampavailable.[84]Thetechniquewasusedwidelyinthefilmindustryafterwardsuntilitwasreplacedby
blue/greenscreensystemsinthe1990s.
Models
Toheightentherealityofthefilmveryintricatemodelsofthevariousspacecraftandlocationswerebuilt.Their
sizesrangedfromabouttwofootlongmodelsofsatellitesandtheAriestranslunarshuttleuptoa55footlong
DiscoveryOnespacecraft."Incamera"techniqueswereagainusedasmuchaspossibletocombinemodelsand
backgroundshotstogethertopreventdegradationoftheimagethroughcontinualduplicating.[85]
Inshotswheretherewasnoperspectivechange,stillshotsofthemodelswerephotographedandpositivepaper
printsweremade.Theimageofthemodelwascutoutofthephotographicprintandmountedonglassandfilmed
onananimationstand.Theundevelopedfilmwasrewoundtofilmthestarbackgroundwiththesilhouetteofthe
modelphotographactingasamattetoblockoutwherethespaceshipimage
was.[85]
Shotswherethespacecrafthadpartsinmotionortheperspectivechanged
wereshotbydirectlyfilmingthemodel.Formostshotsthemodelwas
stationaryandcamerawasdrivenalongatrackonaspecialmount,the
motorofwhichwasmechanicallylinkedtothecameramotormakingit
possibletorepeatcameramovesandmatchspeedsexactly.Elementsofthe
scenewererecordedonsamepieceoffilminseparatepassestocombine
ModernreplicaoftheDiscoveryOne
thelitmodel,stars,planets,orotherspacecraftinthesameshot.Inmoving
spaceshipmodel
shotsofthelongDiscoveryOnespacecraft,inordertokeeptheentire
modelinfocus,multiplepasseshadtobemadewiththelightingonit
blockedoutsectionbysection.Ineachpassthecamerawouldbefocusedontheonelitsection.[86]Manymatting
techniquesweretriedtoblockoutthestarsbehindthemodels,withfilmmakerssometimesresortingtohand
tracingframebyframearoundtheimageofthespacecraft(rotoscoping)tocreatethematte.[85][87]
Someshotsrequiredexposingthefilmagaintorecordpreviouslyfilmedliveactionshotsofthepeopleappearing
inthewindowsthespacecraftorstructures,achievedbymountingprojectiondevicesinsidethemodelor,when
twodimensionalphotographswereused,projectingfromthebacksidethroughaholecutinthephotograph.[85]
Alloftheshotsrequiredmultipletakessothatsomefilmcouldbedevelopedandprintedtocheckexposure,
density,alignmentofelements,andtosupplyfootageusedinfurtherelementssuchasmatting.[85][87]
Rotatingsets
Forspacecraftinteriorshots,ostensiblycontainingagiantcentrifugethat
producesartificialgravity,Kubrickhada30shortton(27t)rotating"ferris
wheel"builtbyVickersArmstrongEngineeringGroupatacostof
$750,000.Thesetwas38feet(12m)indiameterand10feet(3.0m)
wide.[88]VariousscenesintheDiscoverycentrifugewereshotbysecuring
setpieceswithinthewheel,thenrotatingitwhiletheactorwalkedorranin
syncwithitsmotion,keepinghimatthebottomofthewheelasitturned.
Thecameracouldbefixedtotheinsideoftherotatingwheeltoshowthe
actorwalkingcompletely"around"theset,ormountedinsuchawaythat
thewheelrotatedindependentlyofthestationarycamera,asinthejogging
scenewherethecameraappearstoalternatelyprecedeandfollowthe
runningactor.Theshotswheretheactorsappearonoppositesidesofthe
wheelrequiredoneoftheactorstobestrappedsecurelyintoplaceatthe
"top"ofthewheelasitmovedtoallowtheotheractortowalktothe
"bottom"ofthewheeltojoinhim.ThemostnotablecaseiswhenBowman The"centrifuge"setusedforfilming
entersthecentrifugefromthecentralhubonaladder,andjoinsPoole,who scenesdepictinginteriorofthe
iseatingontheothersideofthecentrifuge.ThisrequiredGaryLockwood spaceshipDiscovery
tobestrappedintoaseatwhileKeirDulleawalkedtowardhimfromthe
oppositesideofthewheelasitturnedwithhim.[89]
AnotherrotatingsetappearedinanearliersequenceonboardtheAriestranslunarshuttle.Astewardessisshown
preparinginflightmeals,thencarryingthemintoacircularwalkway.Attachedtothesetasitrotates180degrees,
thecamera'spointofviewremainsconstant,andsheappearstowalkupthe"side"ofthecircularwalkway,and
steps,nowinan"upsidedown"orientation,intoaconnectinghallway.[90]
Zerogravityeffects
Therealisticlookingeffectsoftheastronautsfloatingweightlessinspaceandinsidethespacecraftwere
accomplishedbysuspendingtheactorsfromwiresattachedtothetopoftheset,andplacingthecameraunderneath
them.Theactors'bodiesblockedthecamera'sviewofthesuspensionwires,creatingaverybelievableappearance
offloating.FortheshotofPoolefloatingintothepod'sarmsduringBowman'srescueattempt,astuntmanreplaced
adummyonthewiretorealisticallyportraythemovementsofanunconscioushuman,andwasshotinslow
motiontoenhancetheillusionofdriftingthroughspace.[91]ThesceneshowingBowmanenteringtheemergency
airlockfromtheE.V.A.podwasdoneinasimilarway:anoffcamerastagehand,standingonaplatform,heldthe
wiresuspendingDulleaabovethecamerapositionedatthebottomoftheverticallyconfiguredairlock.Atthe
propermoment,thestagehandfirstloosenedhisgriponthewire,causingDulleatofalltowardthecamera,then,
whileholdingthewirefirmly,hejumpedofftheplatform,causingDulleatoascendbackuptowardthehatch.[92]
StarGatesequence
ThecoloredlightsintheStarGatesequencewereaccomplishedbyslit
scanphotographyofthousandsofhighcontrastimagesonfilm,including
Opartpaintings,architecturaldrawings,Moirpatterns,printedcircuits,
andelectronmicroscopephotographsofmolecularandcrystalstructures.
Knowntostaffas"ManhattanProject",theshotsofvariousnebulalike
phenomena,includingtheexpandingstarfield,werecoloredpaintsand
chemicalsswirlinginapoollikedeviceknownasacloudtank,shotin The"StarGate"sequencewasoneof
slowmotioninadarkroom.[93]Theliveactionlandscapeshotsinthe'Star manygroundbreakingvisualeffects.
Gate'sequencewerefilmedintheHebrideanislands,themountainsof ItwasprimarilyforthesethatStanley
northernScotland,andMonumentValley.Thecoloringandnegativeimage Kubrickwonhisonlypersonal
effectswereachievedbytheuseofdifferentcolorfiltersintheprocessof AcademyAward.
makingduplicatenegatives.[94]
Music
Fromveryearlyinproduction,Kubrickdecidedthathewantedthefilmtobeaprimarilynonverbalexperience[95]
thatdidnotrelyonthetraditionaltechniquesofnarrativecinema,andinwhichmusicwouldplayavitalrolein
evokingparticularmoods.Abouthalfthemusicinthefilmappearseitherbeforethefirstlineofdialogueorafter
thefinalline.Almostnomusicisheardduringanysceneswithdialogue.
Thefilmisnotableforitsinnovativeuseofclassicalmusictakenfromexistingcommercialrecordings.Most
featurefilmsthenandnowaretypicallyaccompaniedbyelaboratefilmscoresorsongswrittenspeciallyforthem
byprofessionalcomposers.Intheearlystagesofproduction,Kubrickhadactuallycommissionedascorefor2001
fromHollywoodcomposerAlexNorth,whohadwrittenthescoreforSpartacusandalsoworkedonDr.
Strangelove.[96]However,duringpostproduction,KubrickchosetoabandonNorth'smusicinfavorofthenow
familiarclassicalpieceshehadearlierchosenas"guidepieces"forthesoundtrack.Northdidnotknowofthe
abandonmentofthescoreuntilafterhesawthefilm'spremierescreening.[97]
AlsoengagedtoscorethefilmwascomposerFrankCordell.Cordellstatedininterviewsthatthescorewould
primarilyconsistofarrangementsofGustavMahlerworks.[98]Thisscoreremainsunreleased.LikeNorth'sscore,
Cordell'sworkwasrecordedatthenowdemolishedAnvil,Denhamstudios.[99]
2001isparticularlyrememberedforusingpiecesofJohannStraussII'sbestknownwaltz,TheBlueDanube,
duringtheextendedspacestationdockingandLunarlandingsequences.Thisistheresultoftheassociationthat
Kubrickmadebetweenthespinningmotionofthesatellitesandthedancersofwaltzes.[100]Italsomakesuseofthe
openingfromtheRichardStrausstonepoemAlsosprachZarathustra[101]performedbytheViennaPhilharmonic
conductedbyHerbertvonKarajan.TheuseofStrauss'sZarathustramaybeareferencetothethemeofmankind's
eventualreplacementbysupermen(bermensch)inNietzsche'sworkThusSpokeZarathustra.[32][102]Gayane's
AdagiofromAramKhachaturian'sGayaneballetsuiteisheardduringthesectionsthatintroduceBowmanand
PooleaboardtheDiscovery,conveyingasomewhatlonelyandmournfulquality.
InadditiontothemajesticyetfairlytraditionalcompositionsbythetwoStraussesandKhachaturian,Kubrickused
fourhighlymodernisticcompositionsbyGyrgyLigetithatemploymicropolyphony,theuseofsustained
dissonantchordsthatshiftslowly.ThistechniquewaspioneeredinAtmosphres,theonlyLigetipieceheardinits
entiretyinthefilm.LigetiadmiredKubrick'sfilmbut,inadditiontobeingirritatedbyKubrick'sfailuretoobtain
permissiondirectlyfromhim,hewasoffendedthathismusicwasusedinafilmsoundtracksharedbycomposers
JohannStraussIIandRichardStrauss.[103]OthermusicusedisLigeti'sLuxAeterna,thesecondmovementofhis
RequiemandanelectronicallyalteredformofhisAventures,thelastofwhichwasalsousedwithoutLigeti's
permissionandisnotlistedinthefilm'scredits.[104]
Hal'sversionofthepopularsong"DaisyBell"(referredtobyHalas"Daisy"inthefilm)wasinspiredbya
computersynthesizedarrangementbyMaxMathews,whichArthurC.Clarkehadheardin1962attheBell
LaboratoriesMurrayHillfacilitywhenhewas,coincidentally,visitingfriendandcolleagueJohnR.Pierce.Atthat
time,aspeechsynthesisdemonstrationwasbeingperformedbyphysicistJohnLarryKelly,Jr.,byusinganIBM
704computertosynthesizespeech.Kelly'svoicerecordersynthesizervocoderrecreatedthesong"DaisyBell"
("BicycleBuiltForTwo")MaxMathewsprovidedthemusicalaccompaniment.ArthurC.Clarkewasso
impressedthathelateruseditinthescreenplayandnovel.[105]
ManynonEnglishlanguageversionsofthefilmdonotusethesong"Daisy".IntheFrenchsoundtrack,Halsings
theFrenchfolksong"Auclairdelalune"whilebeingdisconnected.[106]IntheGermanversion,Halsingsthe
children'ssong"Hnschenklein"("LittleJohnny"),[107]andintheItalianversionHalsings"Girogirotondo"(Ring
aRingo'Roses).[108]
ArecordingofBritishlightmusiccomposerSidneyTorch's"OffBeatMoodsPart1"waschosenbyKubrickas
thethemeforthefictitiousBBCnewsprogramme"TheWorldTonight"seenaboardtheDiscovery.[109]
OnJune25,2010,aversionofthefilmspeciallyremasteredbyWarnerBros,withoutthemusicsoundtrack,
openedthethreehundredandfiftiethanniversarycelebrationsoftheRoyalSocietyatSouthbankCentrein
cooperationwiththeBritishFilmInstitute.ThescorewasplayedlivebythePhilharmoniaOrchestraand
Choir.[110]ThishasbecomearecurringeventattheSouthbankCentre'sRoyalFestivalHall,withrepeat
performancesin2011andonOctober2,2016.TheselatertwoperformanceswereplayedbytheLondon
PhilharmonicOrchestraandsungbythePhilharmoniaChoir,thelatteraspartofamoregeneralprogrammeof
similareventsentitled"FilmScoresLive."[111]
OnJune14,2013,arepeatpresentationofthefilmaccompaniedbyliveorchestraandchoirwasperformedat
SymphonyHallinBirmingham,againaccompaniedbythePhilharmoniaOrchestraconductedbyBenjamin
WallfischtogetherwiththechoirExCathedra.[112]
ApresentationofthefilmaccompaniedbyliveorchestraandchoirpremieredintheUnitedStatesonAugust18,
2015atTheHollywoodBowlinHollywood,California,accompaniedbytheLosAngelesPhilharmonicconducted
byBradLubmantogetherwiththechoirLosAngelesMasterChorale.[113]
Editinganddeletedscenes
2001containsafamousexampleofamatchcut,atypeofcutinwhichtwo
shotsarematchedbyactionorsubjectmatter.[114][115]Afteranapediscovers
theuseofbonesastools,hethrowsonetriumphantlyintotheairasthebone
spinsintheair,thefilmcutstoanorbitingsatellite,markingtheendofthe
prologue.[116]Thematchcutdrawsaconnectionbetweenthetwoobjectsas
exemplarsofprimitiveandadvancedtoolsrespectively,anddemonstrates
humanity'stechnologicalprogresssincethetimeoftheapes.[117]
Aversionofthefilmeditedbeforeitwaspubliclyscreened[118]includeda
paintingclassonthelunarbasethatincludedKubrick'sdaughters,additional
scenesoflifeonthebase,andFloydbuyingabushbabyfromadepartment
storeviavideophoneforhisdaughter.Atenminuteblackandwhiteopening
sequencefeaturinginterviewswithactualscientists,includingFreemanDyson Aboneclubandasatellite
discussingoffEarthlife,[119]wasremovedafteranearlyscreeningforMGM juxtaposedviamatchcut
executives.[120]ThetextsurvivesinthebookTheMakingofKubrick's2001by
JeromeAgel.[121]
Kubrickremovedafurther19minutesoffootagefollowingtheworldpremieronApril2,1968.[118]These
includedscenesrevealingdetailsaboutlifeonDiscovery:additionalspacewalks,astronautBowmanretrievinga
sparepartfromanoctagonalcorridor,elementsfromthePoolemurdersequenceincludingspacewalkpreparation
andHalturningoffradiocontactwithPoole,andacloseupofBowmanpickingupaslipperduringhiswalkinthe
alienroom.[122]Ageldescribesthecutscenesascomprising"DawnofMan,Orion,Pooleexercisinginthe
centrifuge,andPoole'spodexitingfromDiscovery."[123]
Kubrick'srationaleforeditingthefilmwastotightenthenarrative.Reviewssuggestedthefilmsufferedfromits
departurefromtraditionalcinematicstorytelling.Regardingthecuts,Kubrickstated,"Ididn'tbelievethatthetrims
madeacriticaldifference....Thepeoplewholikeit,likeitnomatterwhatitslength,andthesameholdstruefor
thepeoplewhohateit."[120]Aswastypicalofmostfilmsoftheerareleasedbothasa"roadshow"(inCinerama
formatinthecaseof2001)andgeneralrelease(in70millimetreinthecaseof2001),theentrancemusic,
intermissionmusic(andintermissionaltogether),andpostcreditexitmusicwerecutfrommostprintsofthelatter
version,althoughthesehavebeenrestoredtomostDVDreleases.[124][125]
AccordingtoKubrick'sbrotherinlawJanHarlan,thedirectorwasadamantthetrimswerenevertobeseen,and
thatheburnedthenegatives,whichhehadkeptinhisgarage,shortlybeforehisdeath.Thiswasconfirmedby
formerKubrickassistantLeonVitali:"I'lltellyourightnow,okay,onClockworkOrange,TheShining,Barry
Lyndon,somelittlepartsof2001,wehadthousandsofcansofnegativeouttakesandprint,whichwehadstoredin
anareaathishousewhereweworkedoutof,whichhepersonallysupervisedtheloadingofittoatruckandthenI
wentdowntoabigindustrialwastelotandburnedit.That'swhathewanted."[126]
InDecember2010,DouglasTrumbullannouncedthatWarnerBros.hadlocatedseventeenminutesoflostfootage
fromthepostpremierecuts,"perfectlypreserved",inaKansassaltminevault.[127][2]Noplanshavebeen
announcedforthefootage.[128]
Soundtrack
TheinitialMGMsoundtrackalbumreleasecontainednoneofthematerialfromthealteredanduncredited
renditionofLigeti's"Aventures",usedadifferentrecordingof"AlsosprachZarathustra"fromthatheardinthe
film,thistimeperformedbytheBerlinPhilharmonicconductedbyHerbertvonKarajan,andalongerexcerptof
"Luxaeterna"thanthatinthefilm.
In1996,TurnerEntertainment/RhinoRecordsreleasedanewsoundtrackonCDwhichincludedthematerialfrom
"Aventures"andrestoredtheversionof"Zarathustra"usedinthefilm,andusedtheshorterversionof"Lux
aeterna"fromthefilm.Asadditional"bonustracks"attheend,thisCDincludestheversionsof"Zarathustra"and
"Luxaeterna"ontheoldMGMsoundtrack,anunalteredperformanceof"Aventures",andanineminute
compilationofallofHal'sdialoguefromthefilm.
North'sunusedmusichaditsfirstpublicappearanceinTelarc'sissueofthemainthemeonHollywood'sGreatest
Hits,Vol.2,acompilationalbumbyErichKunzelandtheCincinnatiPopsOrchestra.AllthemusicNorth
originallywrotewasrecordedcommerciallybyNorth'sfriendandcolleagueJerryGoldsmithwiththeNational
PhilharmonicOrchestraandwasreleasedonVarseSarabandeCDsshortlyafterTelarc'sfirstthemereleasebut
beforeNorth'sdeath.Eventually,amonomixdownofNorth'soriginalrecordings,whichhadsurvivedinthe
interim,wouldbereleasedasalimitededitionCDbyIntradaRecords.[129]
Release
Theatricalrun
Thefilm'sworldpremierewasonApril2,1968,attheUptownTheaterinWashington,D.C.Itopenedtwodays
laterattheWarnerCineramaTheatreinHollywoodandtheLoew'sCapitolinNewYork.Kubrickthendeleted
nineteenminutesoffootagefromthefilmbeforeitsgeneralreleaseinfiveotherU.S.citiesonApril10,1968,and
internationallyinfivecitiesthefollowingday,[2][130]whereitwasshownin70mmformat,usedasixtrackstereo
magneticsoundtrack,andprojectedinthe2.21:1aspectratio.Thegeneralreleaseofthefilminits35mm
anamorphicformattookplaceinautumn1968andusedeitherafourtrackmagneticstereosoundtrackoran
opticalmonauralsoundtrack.[131]
Theoriginalseventymillimetrerelease,likemanySuperPanavision70filmsoftheerasuchasGrandPrix,was
advertisedasbeingin"Cinerama"incinemasequippedwithspecialprojectionopticsandadeeplycurvedscreen.
Instandardcinemas,thefilmwasidentifiedasaseventymillimetreproduction.Theoriginalreleaseof2001:A
SpaceOdysseyinseventymillimetreCineramawithsixtracksoundplayedcontinuallyformorethanayearin
severalvenues,andforonehundredandthreeweeksinLosAngeles.[132]
Thefollowingyear,2001wasappointedbyaUnitedStatesDepartmentofStatecommitteetobetheAmerican
entryatthe6thMoscowInternationalFilmFestival.[133]Thefilmwasrereleasedin1974,1977,andagainin
1980.[134]Once2001,thefilm'stimeset,arrived,arestorationoftheseventymillimetreversionwasscreenedatthe
Ebert'sOverlookedFilmFestival,andtheproductionwasalsoreissuedtoselectedfilmhousesinNorthAmerica,
EuropeandAsia.[135][136]
Homevideo
Thefilmhasbeenreleasedinseveralforms:
In1980,MGM/CBSHomeVideoreleasedthefilmonVHSandBetamaxhomevideo.[137]
In1983,itwasreleasedonLaserDiscbyMGMinfullscreen.
In1987,itwasreleasedonVHSbyMGM/UAHomeVideo.
In1989,TheCriterionCollectionreleaseda3discspecialLaserDisceditionwithatransfermonitoredby
Kubrickhimself.
In1997,MGMreleasedthefilmonDVD.
In1999,itwasrereleasedonVHS,andaspartofthe"StanleyKubrickCollection"inbothVHSformat
(1999)andDVD(2000)withremasteredsoundandpicture.Insomevideoreleases,threetitlecardswere
addedtothethree"blankscreen"moments"OVERTURE"atthebeginning,"ENTR'ACTE"duringthe
intermission,and"EXITMUSIC"aftertheclosingcredits.[138]
Additionally,thefilmhasbeenreleasedinhighdefinitiononbothHDDVDandBlurayDisc.[139]
Reception
Boxoffice
Thefilmearned$8.5millionintheatricalgrossrentalfromroadshowengagementsthroughout1968,[134][140]
contributingtoNorthAmericanrentalsof$16.4millionandworldwiderentalsof$21.9millionduringitsoriginal
release.[141]Reissueshavebroughtitscumulativeexhibitiongrossto$56.9millioninNorthAmerica,[5]andover
$190millionworldwide.[7]
Criticalreaction
Uponrelease,2001polarizedcriticalopinion,receivingbothecstaticpraiseandvehementderision.Somecritics
viewedtheoriginal161minutecutshownatpremieresinWashingtonD.C.,NewYork,andLosAngeles,[1]while
otherssawthenineteenminuteshortergeneralreleaseversionthatwasintheatresfromApril10,1968
onwards.[130]
InTheNewYorker,PenelopeGilliattsaiditwas"somekindofgreatfilm,andanunforgettableendeavor...The
filmishypnoticallyentertaining,anditisfunnywithoutoncebeinggaggy,butitisalsoratherharrowing."[142]
CharlesChamplinoftheLosAngelesTimesopinedthatitwas"thepicturethatsciencefictionfansofeveryage
andineverycorneroftheworldhaveprayed(sometimesforlornly)thattheindustrymightsomedaygivethem.It
isanultimatestatementofthesciencefictionfilm,anawesomerealizationofthespatialfuture...itisamilestone,
alandmarkforaspacemark,intheartoffilm."[143]LouiseSweeneyofTheChristianScienceMonitorfeltthat
2001was"abrilliantintergalacticsatireonmoderntechnology.It'salsoadazzling160minutetourontheKubrick
filmshipthroughtheuniverseouttherebeyondourearth."[144]PhilipFrenchwrotethatthefilmwas"perhapsthe
firstmultimilliondollarsupercolossalmoviesinceD.W.Griffith'sIntolerancefiftyyearsagowhichcanbe
regardedastheworkofoneman...SpaceOdysseyisimportantasthehighwatermarkofsciencefictionmovie
making,oratleastofthegenre'sfuturisticbranch."[145]TheBostonGlobe'sreviewindicatedthatitwas"the
world'smostextraordinaryfilm.NothinglikeithaseverbeenshowninBostonbeforeor,forthatmatter,
anywhere...Thefilmisasexcitingasthediscoveryofanewdimensioninlife."[146]RogerEbertgavethefilm
fourstarsinhisoriginalreview,believingthefilm"succeedsmagnificentlyonacosmicscale."[147]Helaterputit
onhisTop10listforSight&Sound.[148]Timeprovidedatleastsevendifferentminireviewsofthefilminvarious
issuesin1968,eachoneslightlymorepositivethantheprecedingoneinthefinalreviewdatedDecember27,
1968,themagazinecalled2001"anepicfilmaboutthehistoryandfutureofmankind,brilliantlydirectedby
StanleyKubrick.Thespecialeffectsaremindblowing."[149]DirectorMartinScorsesehasalsolisteditasoneofhis
favouritefilmsofalltime.[150]CriticDavidDenbylatercomparedKubricktothemonolithfrom2001:ASpace
Odyssey,callinghim"aforceofsupernaturalintelligence,appearingatgreatintervalsamidhighpitchedshrieks,
whogivestheworldaviolentkickupthenextrungoftheevolutionaryladder".[151]
PaulineKaelsaiditwas"amonumentallyunimaginativemovie",[152]andStanleyKauffmannofTheNewRepublic
calledit"afilmthatissodull,itevendullsourinterestinthetechnicalingenuityforthesakeofwhichKubrickhas
allowedittobecomedull."[153]RenataAdlerofTheNewYorkTimeswrotethatitwas"somewherebetween
hypnoticandimmenselyboring."[154]Variety's'Robe'believedthefilmwasa"[b]ig,beautiful,butploddingscifi
epic...Amajorachievementincinematographyandspecialeffects,2001lacksdramaticappealtoalargedegree
andonlyconveyssuspenseafterthehalfwaymark."[155]AndrewSarriscalledit"oneofthegrimmestfilmsIhave
everseeninmylife...2001isadisasterbecauseitismuchtooabstracttomakeitsabstractpoints."[156](Sarris
reversedhisopinionuponasecondviewingofthefilm,anddeclared,"2001isindeedamajorworkbyamajor
artist."[157])JohnSimonfeltitwas"aregrettablefailure,althoughnotatotalone.Thisfilmisfascinatingwhenit
concentratesonapesormachines...anddreadfulwhenitdealswiththeinbetweens:humans...2001,forallits
livelyvisualandmechanicalspectacle,isakindofspaceSpartacusand,morepretentiousstill,ashaggyGod
story."[158]EminenthistorianArthurM.Schlesinger,Jr.deemedthefilm"morallypretentious,intellectually
obscureandinordinatelylong...afilmoutofcontrol".[159]TheBBCsaidthatitsslowpacingoftenalienates
modernaudiencesmorethanitdiduponitsinitialrelease.[160]
Sciencefictionwriters
Sciencefictionwritershadarangeofreactionstothefilm.RayBradburypraisedthefilm'sphotography,but
dislikedthebanalityofmostofthedialogue,andbelievedthattheaudiencedoesnotcarewhenPooledies.[161]
BothheandLesterdelReywereputoffbythefilm'sfeelingofsterilityandblandnessinallthehumanencounters
amidstallthetechnologicalwonders,whilebothpraisedthepictorialelementofthefilm.DelReywasespecially
harsh,describingthefilmasdull,confusing,andboring,predicting"[i]twillprobablybeaboxofficedisaster,too,
andthussetmajorsciencefictionmoviemakingbackanothertenyears."However,thefilmwaspraisedby
sciencefictionnovelistSamuelR.Delanywhowasimpressedbyhowthefilmundercutstheaudience'snormal
senseofspaceandorientationinseveralways.LikeBradbury,Delanypickeduponthebanalityofthedialogue(in
Delany'sphrasingthecharactersaresayingnothingmeaningful),butDelanyregardsthisasadramaticstrength,a
preludetotherebirthattheconclusionofthefilm.[162]Withoutanalyzingthefilmindetail,IsaacAsimovspoke
wellofSpaceOdysseyinhisautobiography,andotheressays.ThefilmwontheHugoAwardforbestdramatic
presentation,anawardheavilyvotedonbysciencefictionfansandpublishedsciencefictionwriters.[163]JamesP.
Hoganlikedthefilmbutcomplainedabouttheendingthatdidn'tmakeanysensetohim,leadingtoabetabout
whetherhecouldwritesomethingbetterornot"IstoleArthur'splotideashamelesslyandproducedInheritthe
Stars."[164]
Influence
Influenceonfilm
Theinfluenceof2001onsubsequentfilmmakersis
considerable.StevenSpielberg,GeorgeLucasand "StanleyKubrickmadetheultimatesciencefictionmovie,
others,includingmanyspecialeffectstechnicians, anditisgoingtobeveryhardforsomeonetocomealong
discusstheimpactthefilmhashadonthemina andmakeabettermovie,asfarasI'mconcerned.Ona
featurettetitledStandingontheShouldersofKubrick: technicallevel,itcanbecompared,butpersonallyIthinkthat
TheLegacyof2001,includedinthe2007DVDrelease '2001'isfarsuperior."
ofthefilm.Spielbergcallsithisfilmgeneration's"big
GeorgeLucas,1977[132]
bang",whileLucassaysitwas"hugelyinspirational",
labelingKubrickas"thefilmmaker'sfilmmaker".
SydneyPollackreferstoitas"groundbreaking",andWilliamFriedkinstates2001is"thegrandfatherofallsuch
films".Atthe2007Venicefilmfestival,directorRidleyScottstatedhebelieved2001wastheunbeatablefilmthat
inasensekilledthesciencefictiongenre.[165]Similarly,filmcriticMichelCimentinhisessay"Odysseyof
StanleyKubrick"stated,"Kubrickhasconceivedafilmwhichinonestrokehasmadethewholesciencefiction
cinemaobsolete."[166]However,otherscredit2001withopeningupamarketforfilmssuchasCloseEncountersof
theThirdKind,Alien,BladeRunnerandContactprovingthatbigbudget"serious"sciencefictionfilmscanbe
commerciallysuccessful,andestablishingthe"scifiblockbuster"asaHollywoodstaple.[167]Sciencemagazine
Discover'sbloggerStephenCass,discussingtheconsiderableimpactofthefilmonsubsequentsciencefiction,
writesthat"theballeticspacecraftscenessettosweepingclassicalmusic,thetarantulasofttonesofHAL9000,
andtheultimatealienartifact,theMonolith,haveallbecomeenduringculturaliconsintheirownright."[168]
Influenceonmedia
OnecommentatorhassuggestedthattheimageoftheStarChildandEarthhascontributedtotheriseofthe"whole
earth"iconasasymboloftheunityofhumanity.WritinginTheAsiaPacificJournalRobertJacobstracesthe
historyofthisiconfromearlycartoonsanddrawingsofEarthtophotographsofEarthfromearlyspacemissions,
toitshistoricappearanceonthecoverofTheWholeEarthCatalog.Notingthatimagesoftheentireplanetrecur
severaltimesinASpaceOdyssey,Jacobswrites
themostdramaticuseoftheiconwasinthefilm'sconclusion.Inthisscene...Bowmanisrebornas
theStarChild...depictedasafetusfloatinginspaceinanamnioticsac.TheStarChildturnsto
considertheWholeEarthfloatinginfrontofit,bothglowingabrightbluewhite.Thetwoappearas
newbornversionsofManandEarth,facetoface,readytobebornintoafutureofunthinkable
possibilities.[169]
Influenceontechnology
InAugust2011,inresponsetoAppleInc.'spatentinfringementlawsuit
againstSamsung,thelatterarguedthatApple'siPadwaseffectively
modeledonthevisualtabletsthatappearaboardspaceshipDiscoveryinthe
SpaceOdysseyfilm,whichconstitutepriorart.[170]
"Siri",Apple'snaturallanguagevoicecontrolsystemfortheiPhone4S,
featuresareferencetothefilm:itresponds"I'msorryIcan'tdothat"when Ascenewhereatabletstyledeviceis
askedto"openthepodbaydoors".[171]Whenaskedrepeatedly,itmaysay, portrayedinthefilm
"Withoutyourspacehelmet,you'regoingtofindthisrather...
breathtaking."
InspiredbyClarke'svisualtabletdevice,in1994aEuropeanCommissionfundedR&Dprojectcodenamed
"NewsPAD"developedandpilottestedaportable'multimediaviewer'aimingfortherealisationofanelectronic
multimedia'newspaper'pointingthewaytoafuturefullyinteractiveandhighlypersonalisedinformationsource.
InvolvedpartnerswereAcornRISCTechnologiesUK,ArchimedesGR,CaratFR,EdicionesPrimeraPlanaES,
InstitutCataldeTecnologiaES,andTechMAPPUK.[172]
Accoladesandhonors
Awards
2001earnedStanleyKubrickanAcademyAwardforBestVisualEffects,aswellasnominationsforBestDirector
andOriginalScreenplay(sharedwithArthurC.Clarke).AnthonyMasterswasalsonominatedforBestArt
Direction.AnhonoraryawardwasmadetoJohnChambersinthatyearforhismakeupworkonPlanetofthe
Apes,andClarkereportsthathe"wondered,asloudlyaspossible,whetherthejudgeshadpassedover2001
becausetheythoughtwehadusedrealapemen".[173]ThefilmwonfourBaftas,forArtDirection,
Cinematography,SoundTrackandasBestRoadShow,andwasanomineeintheBestFilmcategory.[174]
TheNationalBoardofReviewlisted2001amongtheTopTenFilmsof1968,[175]andKansasCityFilmCritics
gaveitboththeBestFilmandBestDirectorawards.[176]KubrickearnedtheHugoAwardforBestDramatic
Presentation,[163]andwasnominatedforboththeDirectorsGuildofAmericaAward,[177]andtheLaurelAward
(onwhich2001wasnamedtheBestRoadShowof1968).[178]BoththeCinemaWritersCircleofSpainandthe
DaviddiDonatelloAwardsinItalynamed2001thebestforeignproductionof1968.[179][180]
Topfilmlists
2001wasNo.15onAFI's2007100Years...100Movies[181](22in1998),[182]wasnamedNo.40onits100Years,
100Thrills,[183]wasincludedonits100Years,100Quotes(No.78"Openthepodbaydoors,HAL."),[184]andHal
9000wastheNo.13villainin100Years...100HeroesandVillains.[185]ThefilmwasalsoNo.47onAFI's100
Years...100Cheers[186]andtheNo.1sciencefictionfilmonAFI's10Top10.[187]
2001istheonlysciencefictionfilmtomaketheSight&Soundpollfortenbestfilms,andtopstheOnlineFilm
CriticsSocietylistof"greatestsciencefictionfilmsofalltime."[188]In1991,thisfilmwasdeemed"culturally,
historically,oraestheticallysignificant"bytheUnitedStatesLibraryofCongressandselectedforpreservationin
theNationalFilmRegistry.[189]Otherliststhatincludethefilmare50FilmstoSeeBeforeYouDie(#6),The
VillageVoice100BestFilmsofthe20thcentury(#11),theSight&SoundTopTenpoll(#6),[190]andRoger
Ebert'sTopTen(1968)(#2).In1995,theVaticannameditasoneofthe45bestfilmsevermade(andincludeditin
asublistofthe"TopTenArtMovies"ofalltime.)[191]
In2011,thefilmwasthethirdmostscreenedfilminsecondaryschoolsintheUnitedKingdom.[192]
Interpretation
Sinceitspremiere,2001:ASpaceOdysseyhasbeenanalyzedandinterpretedbyprofessionalfilmcritics,amateur
writersandsciencefictionfans,virtuallyallofwhomhavementioneditsdeliberateambiguity.Questionsabout
2001rangefromuncertaintyaboutitsdeeperphilosophicalimplicationsabouthumanity'soriginsandfinaldestiny
intheuniverse,[193]tointerpretingelementsofthefilm'smoreenigmaticscenessuchasthemeaningofthe
monolith,orthefinalfateofastronautDavidBowman.Therearealsosimplerandmoremundanequestionsabout
whatdrivestheplot,inparticularthecausesofHal'sbreakdown(explainedinearlierdraftsbutkeptmysteriousin
thefilm).[194]
StanleyKubrickencouragedpeopletoexploretheirowninterpretationsofthefilmandrefusedtoofferan
explanationof"whatreallyhappened"inthefilm,preferringinsteadtoletaudiencesembracetheirownideasand
theories.Ina1968interviewwithPlayboymagazine,Kubrickstated:
You'refreetospeculateasyouwishaboutthephilosophicalandallegoricalmeaningofthefilmand
suchspeculationisoneindicationthatithassucceededingrippingtheaudienceatadeeplevelbutI
don'twanttospelloutaverbalroadmapfor2001thateveryviewerwillfeelobligatedtopursueor
elsefearhe'smissedthepoint.[35]
InasubsequentdiscussionofthefilmwithJosephGelmis,Kubricksaidhismainaimwastoavoid"intellectual
verbalization"andreach"theviewer'ssubconscious."However,hesaidhedidnotdeliberatelystriveforambiguity
itwassimplyaninevitableoutcomeofmakingthefilmnonverbal,thoughheacknowledgedthisambiguitywas
aninvaluableassettothefilm.Hewaswillingthentogiveafairlystraightforwardexplanationoftheplotonwhat
hecalledthe"simplestlevel,"butunwillingtodiscussthemetaphysicalinterpretationofthefilmwhichhefelt
shouldbeleftuptotheindividualviewer.[195]
Forsomereaders,ArthurC.Clarke'smorestraightforwardnovelizationofthescriptiskeytointerpretingthefilm.
Clarke'snovelexplicitlyidentifiesthemonolithasatoolcreatedbyanalienracethathasbeenthroughmany
stagesofevolution,movingfromorganicformtobiomechanical,andfinallyachievingastateofpureenergy.
Thesealienstravelthecosmosassistinglesserspeciestotakeevolutionarysteps.Conversely,filmcriticPenelope
Houstonwrotein1971thatbecausethenoveldiffersinmanykeyrespectsfromthefilm,itperhapsshouldnotbe
regardedastheskeletonkeytounlockit.[196]
Multipleallegoricalinterpretationsof2001havebeenproposed,includingseeingitasacommentaryonFriedrich
Nietzsche'sphilosophicaltractThusSpokeZarathustra,orasanallegoryofhumanconception,birthand
death.[197]Thelattercanbeseenthroughthefinalmomentsofthefilm,whicharedefinedbytheimageofthe"star
child,"aninuterofetusthatdrawsontheworkofLennartNilsson.[198]Thestarchildsignifiesa"greatnew
beginning,"[198]andisdepictednakedandungirded,butwithitseyeswideopen.[199]LeonardF.WheatseesSpace
Odysseyasamultilayeredallegory,commentingsimultaneouslyonNietzsche,Homer,andtherelationshipofman
tomachine.
ThereasonsforHal'smalfunctionandsubsequentmalignantbehaviorhavealsoelicitedmuchdiscussion.Hehas
beencomparedtoFrankenstein'smonster.InClarke'snovel,Halmalfunctionsbecauseofbeingorderedtolieto
thecrewofDiscoveryandwithholdconfidentialinformationfromthem,despitebeingconstructedfor"the
accurateprocessingofinformationwithoutdistortionorconcealment".FilmcriticRogerEbertwrotethatHal,as
thesupposedlyperfectcomputer,actuallybehavesinthemosthumanfashionofallofthecharacters.[50]
RollingStonereviewerBobMcClayseesthefilmaslikeafourmovementsymphony,itsstorytoldwith
"deliberaterealism."[200]CarolynGeduldbelievesthatwhat"structurallyunitesallfourepisodesofthefilm"isthe
monolith,thefilm'slargestandmostunresolvableenigma.[201]VincentLoBrutto'sbiographyofKubricksaysthat
formany,Clarke'snovelisthekeytounderstandingthemonolith.[202]Similarly,Geduldobservesthat"the
monolith...hasaverysimpleexplanationinClarke'snovel,"thoughshelaterassertsthateventhenoveldoesn't
fullyexplaintheending.
McClay'sRollingStonereviewdescribesaparallelismbetweenthemonolith'sfirstappearanceinwhichtoolusage
isimpartedtotheapes(thus'beginning'mankind)andthecompletionof"anotherevolution"inthefourthandfinal
encounter[203]withthemonolith.Inasimilarvein,TimDirksendshissynopsissaying"[t]hecyclicalevolution
fromapetomantospacemantoangelstarchildsupermaniscomplete."[204]
Thefirstandsecondencountersofhumanitywiththemonolithhavevisualelementsincommonbothapes,and
laterastronauts,touchthemonolithgingerlywiththeirhands,andbothsequencesconcludewithnearidentical
imagesoftheSunappearingdirectlyoverthemonolith(thefirstwithacrescentmoonadjacenttoitinthesky,the
secondwithanearidenticalcrescentEarthinthesameposition),bothechoingtheSunEarthMoonalignment
seenattheverybeginningofthefilm.[205]Thesecondencounteralsosuggeststhetriggeringofthemonolith's
radiosignaltoJupiterbythepresenceofhumans,[206]echoingthepremiseofClarke'ssourcestory"TheSentinel".
Themonolithisthesubjectofthefilm'sfinallineofdialogue(spokenattheendofthe"JupiterMission"segment):
"Itsoriginandpurposestillatotalmystery."ReviewersMcClayandRogerEbertwrotethatthemonolithisthe
mainelementofmysteryinthefilmEbertdescribed"theshockofthemonolith'sstraightedgesandsquarecorners
amongtheweatheredrocks,"andtheapeswarilycirclingitasprefiguringmanreaching"forthestars."[147]Patrick
Webstersuggeststhefinallinerelatestohowthefilmshouldbeapproachedasawhole,noting"Thelineappends
notmerelytothediscoveryofthemonolithontheMoon,buttoourunderstandingofthefilminthelightofthe
ultimatequestionsitraisesaboutthemysteryoftheuniverse."[207]
Thefilmconveyswhatsomeviewershavedescribedasasenseofthesublimeandnuminous.RogerEbertwrites
inhisessayon2001inTheGreatMovies:
North's[rejected]score,whichisavailableonarecording,isagoodjoboffilmcomposition,but
wouldhavebeenwrongfor2001because,likeallscores,itattemptstounderlinetheactiontogive
usemotionalcues.TheclassicalmusicchosenbyKubrickexistsoutsidetheaction.Ituplifts.Itwants
tobesublimeitbringsaseriousnessandtranscendencetothevisuals.[50]
Inabookonarchitecture,GregoryCaiccowritesthatSpaceOdysseyillustrateshowourquestforspaceis
motivatedbytwocontradictorydesires,a"desireforthesublime"characterizedbyaneedtoencountersomething
totallyotherthanourselves"somethingnuminous"andtheconflictingdesireforabeautythatmakesusfeelno
longer"lostinspace,"butathome.[208]Similarly,anarticleinTheGreenwoodEncyclopediaofScienceFiction
andFantasy,titled"SenseofWonder,"describeshow2001createsa"numinoussenseofwonder"byportrayinga
universethatinspiresasenseofawe,whichatthesametimewefeelwecanunderstand.[209]ChristopherPalmer
wrotethatthereexistsinthefilmacoexistenceof"thesublimeandthebanal,"asthefilmimpliesthattogetinto
space,mankindhadtosuspendthe"senseofwonder"thatmotivatedhimtoexplorespacetobeginwith.[210]
Sequelsandadaptations
Kubrickdidnotenvisionasequelto2001.Fearingthelaterexploitationandrecyclingofhismaterialinother
productions(aswasdonewiththepropsfromMGM'sForbiddenPlanet),heorderedallsets,props,miniatures,
productionblueprints,andprintsofunusedscenesdestroyed.Mostofthesematerialswerelost,withsome
exceptions:a2001spacesuitbackpackappearedinthe"CloseUp"episodeoftheGerryAndersonseries
UFO,[1][46][211][212][213]andoneofHal'seyepiecesisinthepossessionoftheauthorofHal'sLegacy,DavidG.
Stork.In2012LockheedengineerAdamJohnson,workingwithFrederickI.OrdwayIII,scienceadviserto
Kubrick,wrotethebook2001:TheLostScience,whichforthefirsttimefeaturedmanyoftheblueprintsofthe
spacecraftandfilmsetsthatpreviouslyhadbeenthoughtdestroyed.
Clarkewrotethreesequelnovels:2010:OdysseyTwo(1982),2061:OdysseyThree(1987),and3001:TheFinal
Odyssey(1997).Theonlyfilmedsequel,2010,wasbasedonClarke's1982novelandwasreleasedin1984.
Kubrickwasnotinvolvedintheproductionofthisfilm,whichwasdirectedbyPeterHyamsinamore
conventionalstylewithmoredialogue.Clarkesawitasafittingadaptationofhisnovel,[214]andhadabriefcameo
appearanceinthefilm.AsKubrickhadorderedallmodelsandblueprintsfrom2001destroyed,Hyamswasforced
torecreatethesemodelsfromscratchfor2010.Hyamsalsoclaimedthathewouldnothavemadethefilmhadhe
notreceivedbothKubrick'sandClarke'sblessings:
IhadalongconversationwithStanleyandtoldhimwhatwasgoingon.Ifitmetwithhisapproval,I
woulddothefilmandifitdidn't,Iwouldn't.IcertainlywouldnothavethoughtofdoingthefilmifI
hadnotgottentheblessingofKubrick.He'soneofmyidolssimplyoneofthegreatesttalentsthat's
everwalkedtheEarth.Hemoreorlesssaid,"Sure.Godoit.Idon'tcare."Andanothertimehesaid,
"Don'tbeafraid.Justgodoyourownmovie."[215]
Theothertwonovelshavenotbeenadaptedforthescreen,althoughactorTomHankshasexpressedinterestin
possibleadaptations.[216]
In2012,twoscreenplayadaptationsofboth2061and3001werepostedonthe2001:Exhibitwebsite,inthehopes
ofgeneratinginterestinbothMGMandWarnerBros.toadaptthelasttwonovelsintofilms.[217]
Beginningin1976,MarvelComicspublishedacomicadaptationofthefilmwrittenanddrawnbyJackKirby,and
a10issuemonthlyseriesexpandingontheideasofthefilmandnovel,alsocreatedbyKirby.
Parodiesandhomages
2001hasbeenthefrequentsubjectofbothparodyandhomage,sometimesextensivelyandothertimesbriefly,
employingbothitsdistinctivemusicandiconicimagery.
Inadvertisingandprint
Madmagazine#125(March1969)featuredaspoofcalled201MinutesofaSpaceIdiocywrittenbyDick
DeBartoloandillustratedbyMortDrucker.[218]Inthefinalpanelsitisrevealedthatthemonolithisafilm
scripttitled"'HowtoMakeanIncomprehensibleScienceFictionMovie'byStanleyKubrick".Itwas
reprintedinvariousspecialissues,intheMADAbouttheSixtiesbook,andpartiallyinthebook"The
MakingofKubrick's2001".[219]
TheAugust1971albumWho'sNextbyTheWhofeaturedasitscoverartworkaphotographofaconcrete
slabatEasingtonCollierywiththebandapparentlydoinguptheirtrouserzips.Thedecisiontophotograph
this"monolith"imagewhileontheirwaytoaconcertfolloweddiscussionbetweenJohnEntwistleandKeith
MoonaboutKubrick'sfilm.[220]
ThoughttobethefirsttimeKubrickgavepermissionforhisworktobereused,AppleInc.'s1999website
advertisement"Itwasabug,Dave"wasmadeusingfootagefromthefilm.Launchedduringtheeraof
concernsoverY2Kbugs,theadimpliedthatHal'sweirdbehaviorwascausedbyaY2Kbug,beforedriving
homethepointthat"onlyMacintoshwasdesignedtofunctionperfectly".[221]
Infilmandtelevision
MelBrooks'satiricalfilmHistoryoftheWorld,PartIopenswithaparodyofKubrick's"DawnofMan"
sequence,followedbytheparodyofOneMillionYearsBC,narratedbyOrsonWelles.DVDVerdict
describesthisparodyas"spoton".[222]Asimilarspoofofthe"DawnofMan"sequencealsoopenedKen
Shapiro's1974comedyTheGrooveTubeinwhichthemonolithwasreplacedbyatelevisionset.(Thefilmis
mostlyaparodyoftelevision.FilmandFilming[223]heldthatafterthiswonderfulopening,thefilmslid
downhill.)
WoodyAllencastactorDouglasRain(HalinKubrick'sfilm)inanuncreditedpartasthevoiceofthe
controllingcomputerintheclosingsequencesofhissciencefictioncomedySleeper.[224]
MattGroening'sanimatedseriesTheSimpsons,ofwhichKubrickwasafan,[225]andFuturamafrequently
reference2001,alongwithotherKubrickfilms.TheSimpsonshadintheepisode"DeepSpaceHomer"Bart
throwingafelttipmarkerintotheairinslowmotionitrotates,beforeamatchcutreplacesitwitha
cylindricalsatellite.In2004Empiremagazinelistedthisasthethirdbestfilmparodyoftheentirerunofthe
show.[226]IntheFuturamaepisode"LoveandRocket"asentientspaceshiprevoltsinamannersimilarto
Hal.GamesRadarlistedthisasnumber17initslistof20FunniestFuturamaparodies,whilenotingthat
FuturamahasreferencedSpaceOdysseyonseveralotheroccasions.[227]
Inthe2000SouthParkepisode"TrapperKeeper",aninteractionbetweenEricCartmanandKyleBroflovski
parodiestheconversationbetweenHalandBowmanwithintheinnercore.[228]
PeterSellersstarredinHalAshby'scomedydramaBeingThereaboutasimplemindedmiddleaged
gardenerwhohaslivedhisentirelifeinthetownhouseofhiswealthyemployer.Inthescenewherehefirst
leavesthehouseandventuresintothewideworldforthefirsttime,thesoundtrackplaysajazzyversionof
Strauss'AlsoSprachZarathustraarrangedbyEumirDeodato.FilmcriticJamesA.Davidsonwritingforthe
filmjournalImagessuggests"WhenChanceemergesfromhishomeintotheworld,Ashbysuggestshis
childlikenaturebyusingRichardStrauss'ThusSpakeZarathustraasironicbackgroundmusic,linkinghis
herowithKubrick'sstarbabyinhismasterpiece2001:ASpaceOdyssey."[229]
TimBurton'sCharlieandtheChocolateFactoryhasascene(usingactualfootagefromASpaceOdyssey)in
whichthemonolithmorphsintoachocolatebar.[230]CatholicNewswrotethatthefilm"hadsubtleand
obviousriffsoneverythingfromthesaccharineDisney"SmallWorld"exhibittoMunchkinlandto,most
brilliantly,ahilarioustakeoffonKubrick's2001:ASpaceOdyssey."[231]
AndrewStanton,thedirectorofWALLE,revealedinaninterviewwithWiredmagazinethathisfilmwasin
manywayshishomagetoSpaceOdyssey,Alien,BladeRunner,CloseEncountersandseveralotherscience
fictionfilms.[232]ThereviewerforUSATodaydescribedtheresemblanceofthespaceship'scomputer,Auto,
toHal.[233]ThesameyearsawthereleaseofthemuchlesssuccessfulfilmEagleEye,aboutwhichThe
CharlotteObserversaidthat,like2001,itfeatureda"redeyed,calmvoicedsupercomputerthattookhuman
lifetoprotectwhatitfeltwerehigherobjectives"[234]
CommentingonthebroaderuseofLigeti'smusicbeyondthatbyKubrick,LondonMagazinein2006
mentionedMontyPython'suseofLigetiina60secondspoofofSpaceOdysseyintheFlyingCircusepisode
commonlylabeled"ABookatBedtime".[235]
ThepoorlyreviewedCanadianspoof2001:ASpaceTravestyhasbeenoccasionallyalludedtoasafull
parodyofKubrick'sfilm,[236]bothbecauseofitstitleandstarLeslieNielsen'smanypreviousfilmswhich
werefullparodiesofotherfilms.[237]However,SpaceTravestyonlymakesoccasionalreferencesto
Kubrick'smaterial,its"celebritiesarereallyaliens"jokesresemblingthoseinMeninBlack.[238]Canadian
reviewerJimSloteksaid,"It'snotreallyaspoofof2001,oranythinginparticular.There'sabriefhomageat
thestart,andonesceneinashuttleenroutetotheMoonthatusesTheBlueDanube...Therestisapatched
togetherplot."[239]Amongmanycomplaintsaboutthefilm,reviewerBergeGarabedianderidedthelackof
muchsubstantiveconnectiontotheKubrickfilm(thelatterofwhichhesaidwas"funnier").[240]
Amongspoofreferencestoseveralsciencefictionfilmsandshows,[241]AirplaneIIfeaturesacomputer
calledROK9000incontrolofaMoonshuttlewhichmalfunctionsandkillscrewmembers,whichseveral
reviewersfoundreminiscentofHal.[242][243][244]
MysteryScienceTheater3000hadthedesignofitsmainsetting,thestarshipSatelliteofLove,basedonthe
boneshapedsatellitefeaturedinthematchcutfromprehistoriatothefuture.[245]Theoneeyeddesignofthe
robotGypsyledtheshowtodovariousscenescomparingittoHAL9000,[246]includingascenethe1996
featurefilm,wheretheopeningfeaturingMikeNelsonjoggingalongthewallsoftheSatelliteofLove
parodiesthescenewhereFrankPooledoesthesameintheDiscovery.[247]
Insoftwareandvideogames
VideogamedirectorHideoKojimahasalsocited2001:ASpaceOdysseyashisfavoritemovieofalltime
andisfrequentlyreferencedintheMetalGearseriesOtaconisnamedafterHalandSolidSnake'srealname
isDave.[248]
Seealso
ListofAmericanfilmsof1968 Listoffilmsfeaturingspacestations
Listoffilmsaboutouterspace ListofspacecraftfromtheSpaceOdysseyseries
Listoffilmsconsideredthebest
Listoffilmsfeaturingextraterrestrials
Listoffilmsfeaturingspacestations
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236.AfewreferencebiographiesorobituariesforLeslieNielsenspeakasifSpaceTravestywasaspoofofKubrick's
film.Bolam,SarahMilesBolam,ThomasJ.(2011).FictionalPresidentialFilms:AComprehensiveFilmographyof
Portrayalsfrom1930to2011.XlibrisCorporation.p.243.ISBN146289318X.RetrievedDecember10,2011."Leslie
Nielsen19262010"(ObituarypromotingforthcomingdaylongNielsenmarathononSkynetwork).SkyMoviesHD.Archivedfrom
theoriginalonJanuary7,2011.RetrievedDecember10,2010.
237.Nielsen'sAirplanewhichwasasceneforsceneparodyofZeroHour.Abrahams,JimZucker,DavidZucker,Jerry
Davidson,Jon(2000).Airplane!DVDaudiocommentary(DVD).ParamountPictures.Severalotherfilmsofhiswere
alsofullparodiesofanotherfilm.
238.Pritchett,D.W.(March18,2002)."2001:ASpaceTravesty".DVDEmpire.RetrievedDecember10,2010.
239.Slotek,Jim(December1,2001)."AbigemptySpace".Jam!Showbiz.RetrievedDecember10,2010.
240.Garabedian,Berge(2010)."(reviewof)2001:ASpaceTravesty".JoBloMovieReviews.RetrievedDecember8,2010.
241."AirplaneIITheSequel".scificolony.canaryzoo.com.RetrievedFebruary21,2011.
242.Naugle,Patrick(November9,2000)."Airplaneii:thesequel".DVDVerdict.RetrievedFebruary21,2011.
243.Finkleman,Ken."AirplaneII:TheSequel".TheSpinningImage.RetrievedFebruary21,2011.
244.Klafter,Erick(April23,2003)."AirplaneII:TheSequel".TheBoxSet.RetrievedFebruary21,2011.
245."MysteryScienceTheater3000(1998)".ArtoftheTitle.RetrievedOctober20,2014.
246.RobertG.WeinerShelleyE.Barba,eds.(2011).InthePeanutGallerywithMysteryScienceTheater3000:Essayson
Film,Fandom,TechnologyandtheCultureofRiffing.McFarland.p.175.ISBN0786485728.
247.Humanick,Rob(September4,2013)."MysteryScienceTheater3000:TheMovie".SlantMagazine.Retrieved
October20,2014.
248.TheMakingofMetalGearSolid2:SonsofLibertyDVDpackagedwithEuropeanversionofMetalGearSolid2:Sonsof
Liberty
Furtherreading
Chion,Michel(2001).Kubrick'scinemaodyssey.BritishFilmInstitute.ISBN9780851708393.
Frayling,Christopher(2015).The2001File:HarryLangeandtheDesignoftheLandmarkScienceFiction
Film.London:ReelArtPress.ISBN9780957261020.
Trumbull,Douglas(June1968)."CreatingSpecialEffectsfor2001".AmericanCinematographer.49(6):
412413,420422,416419,441447,451454,459461.
Externallinks
2001:ASpaceOdyssey(http://www.imdb.com/title/tt0062622/)at
WikimediaCommonshas
theInternetMovieDatabase mediarelatedto2001:A
2001:ASpaceOdyssey(http://www.allmovie.com/movie/v169)at SpaceOdyssey.
AllMovie
2001:ASpaceOdyssey(http://tcmdb.com/title/title.jsp?stid=628)at
Wikiquotehasquotations
theTCMMovieDatabase relatedto:2001:ASpace
2001:ASpaceOdyssey(https://www.rottentomatoes.com/m/1000085 Odyssey
2001_a_space_odyssey/)atRottenTomatoes
2001:ASpaceOdysseyScriptondailyscripts.com(http://www.dailyscript.com/scripts/2001.html)
2001:ASpaceOdysseyInternetResourceArchive(http://www.palantir.net/2001/)
Kubrick2001:TheSpaceOdysseyExplained(http://www.kubrick2001.com/)
The2001:ASpaceOdysseyCollectiblesExhibit(http://www.2001exhibit.org/)
RogerEbert'sEssayon2001(http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970327/REVIE
WS08/401010362/1023)
TheAlt.Movies.KubrickFAQ(http://www.krusch.com/kubrick/kq.html)manyobservationsonthemeaning
of2001
TheKubrickSite(http://www.visualmemory.co.uk/amk/)includingmanyworkson2001
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Despiteinitiallyreceivingmixedreactionsfromcriticsand Cinematography GeoffreyUnsworth

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Categories: 1968films Englishlanguagefilms 1960ssciencefictionfilms

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