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Intolerance (film)
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Intolerance
Intolerance (film).jpg
Theatrical poster
Directed by
D. W. Griffith
Produced by
D. W. Griffith
Written by
D.W. Griffith
Hettie Grey Baker
Tod Browning
Anita Loos
Mary H. O'Connor
Frank E. Woods
Starring
Vera Lewis
Ralph Lewis
Mae Marsh
Robert Harron
Constance Talmadge
Lillian Gish
Josephine Crowell
Margery Wilson
Frank Bennett
Elmer Clifton
Miriam Cooper
Alfred Paget
Music by
Joseph Carl Breil
Carl Davis
Cinematography
Billy Bitzer
Editing by
D. W. Griffith
James Smith
Rose Smith
Distributed by
Triangle Distributing Corporation
Release dates
September 5, 1916
Running time
210 minutes (original version)
197 minutes (most modern cuts)
Country
United States
Language
Silent film
English intertitles
Budget
$385,907[1]
Intolerance is a 1916 American silent film directed by D. W. Griffith and is considered one of the great masterpieces of the Silent Era.[2] The three-and-a-half hour epic intercuts four parallel storylines, each separated by several centuries: (1) A contemporary melodrama of crime and redemption; (2) a Judean story: Christ’s mission and death; (3) a French story: the events surrounding the St. Bartholomew's Day massacre of 1572; and (4) a Babylonian story: the fall of the Babylonian Empire to Persia in 539 BC. Each story had its own tint in the original print.[2] The scenes are linked by shots of a figure representing Eternal Motherhood, rocking a cradle.[2]
Intolerance was made partly in response to criticism of Griffith's previous film, The Birth of a Nation (1915),[3] which was attacked by the NAACP and other groups as perpetuating racial stereotypes and glorifying the Ku Klux Klan.[4]
Contents [hide]
1 Storylines
2 Cast
3 Production
4 Reception
5 Influence
6 Extant versions 6.1 Major versions
6.2 Other versions
6.3 Lost footage
7 References
8 External links
Storylines[edit]
Lillian Gish as "Eternal Motherhood"
[icon] This section requires expansion. (December 2012)
This complex film consists of four distinct, but parallel, stories—intercut with increasing frequency as the film builds to a climax—that demonstrate mankind's persistent intolerance throughout the ages. The film sets up moral and psychological connections among the different stories. The timeline covers approximately 2,500 years:
1.The ancient "Babylonian" story (539 BC) depicts the conflict between Prince Belshazzar of Babylon and Cyrus the Great of Persia. The fall of Babylon is a result of intolerance arising from a conflict between devotees of two rival Babylonian gods—Bel-Marduk and Ishtar.
2.The Biblical "Judean" story (c. 27 AD) recounts how—after the Wedding at Cana and the Woman Taken in Adultery—intolerance led to the Crucifixion of Jesus. This sequence is the shortest of the four.
3.The Renaissance "French" story (1572) tells of the religious intolerance that led to the St. Bartholomew's Day Massacre of Protestant Huguenots by Roman Catholic royals.
4.The American "Modern" story (c. 1914) demonstrates how crime, moral puritanism, and conflicts between ruthless capitalists and striking workers help ruin the lives of marginal Americans. To get more money for his spinster sister's charities, a mill owner orders a 10% pay cut on his workers' wages. A workers strike is crushed and The Boy and The Dear One make their way to another city; she lives in poverty and he turns to crime; after they marry he tries to break free of crime but is framed for theft by his ex boss. While he is in prison, his wife must endure their child being taken away by the same "moral uplift society" that instigated the strike. Upon his release from prison, he discovers his ex-boss attempting to rape his wife. A struggle begins and in the confusion the girlfriend of the boss shoots and kills the boss. She escapes and The Boy is convicted and sentenced to the gallows. A kindly policeman helps The Dear One find the real killer and together they try to reach the Governor in time so her reformed husband won't be hanged.
Breaks between the differing time-periods are marked by the symbolic image of a mother rocking a cradle, representing the passing of generations. One of the unusual characteristics of the film is that many of the characters don't have names. Griffith wished them to be emblematic of human types. Thus, the central female character in the modern story is called The Dear One. Her young husband is called The Boy, and the leader of the local Mafia is called The Musketeer of the Slums. Critics and film theorists indicate these names show Griffith's sentimentalism, which was already hinted at in The Birth of a Nation, with names such as The Little Colonel.
Cast[edit]
In order of appearance:
Lillian Gish ... Eternal Motherhood
Vera Lewis ... Mary T. Jenkins
Mae Marsh ... The Dear One
Fred Turner ... The Dear One's father, a worker at the Jenkins Mill
Robert Harron ... The Boy
Josephine Crowell ... Catherine de Medici, the Queen-mother
Joseph Henabery ... Admiral Coligny
Constance Talmadge ... Marguerite of Valois
W. E. Lawrence ... Henry of Navarre
Margery Wilson ... Brown Eyes
Eugene Pallette ... Prosper Latour
Sam de Grasse ... Mr. Jenkins, mill boss
Constance Talmadge ... The Mountain Girl (second role in film)
Elmer Clifton ... The Rhapsode, a warrior-singer
Tully Marshall ... High Priest of Bel-Marduk
The Ruth St. Denis Dancers[5]... Dancing girls
Alfred Paget ... Prince Belshazzar
Carl Stockdale ... King Nabonidus, father of Belshazzar
Elmo Lincoln ... The Mighty Man of Valor, guard to Belshazzar
Seena Owen ... The Princess Beloved, favorite of Belshazzar
Miriam Cooper ... The Friendless One, former neighbor of the Boy and Dear One
Walter Long ... Musketeer of the Slums
Bessie Love ... The Bride
George Walsh ... The Bridegroom
Howard Gaye ... The Nazarene
Lillian Langdon ... Mary, the Mother
Spottiswoode Aitken ... Brown Eyes' father
George Siegmann ... Cyrus the Great
Max Davidson... tenement neighbor of Dear One
Douglas Fairbanks ... Drunken Soldier with monkey (uncredited extra)
Lloyd Ingraham ... Judge (Modern Story)
Tom Wilson ... The Kindly Officer (Kindly Heart)
Ralph Lewis ... The Governor
Production[edit]
Belshazzar's feast in the central courtyard of Babylon from Intolerance.
Left to right: D. W. Griffith, Billy Bitzer (behind the Pathé camera), Dorothy Gish watching from behind Bitzer, Karl Brown keeping script, and Mariam Cooper in profile, in a production still for Intolerance.
Intolerance was a colossal undertaking featuring monumental sets, lavish period costumes, and more than 3,000 extras. Griffith began shooting the film with the Modern Story (originally titled "The Mother and the Law"), whose planning predated the great commercial success The Birth of a Nation (which had made $48 million, about $678 million in 2014[6]), then greatly expanded it to include the other three parallel stories under the theme of intolerance.
Actual costs to produce Intolerance are unknown, but best estimates are close to $2.5 million (about $47 million in 2014), an astronomical sum in 1916.[6] The film was by far the most expensive made at that point. When the film became a flop at the box-office, the burden was so great that in 1918 Triangle Film Corporation was put up for sale.
A detailed account of the film’s production is told in William M. Drew's 1986 book D.W. Griffith's Intolerance: Its Genesis and Its Vision.[7]
Reception[edit]
Upon its initial release, Intolerance was a commercial failure. Despite this, Intolerance has received very positive reviews. Intolerance has been called "the only film fugue".[8][9][10] Professor Theodore Huff, one of the leading film critics of the first half of the 20th century, stated that it was the only motion picture worthy of taking its place alongside Beethoven's Fifth Symphony, the masterpieces of Michelangelo, etc. as a separate work of art.[8]
The film was shown out of competition at the 1982 Cannes Film Festival.[11]
In 1989, Intolerance was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant", going in during the first year of voting.
In 2007, AFI's 100 Years...100 Movies (10th Anniversary Edition) ranked Intolerance at number 49 of 100 films. The film currently holds a 96% approval rating on the aggregate site Rotten Tomatoes.
Film critic David Thomson has written of the film's "self-destructive frenzy":
The cross-cutting, self-interrupting format is wearisome.... The sheer pretension is a roadblock, and one longs for the "Modern Story" to hold the screen.... [That story] is still very exciting in terms of its cross-cutting in the attempt to save the boy from the gallows. This episode is what Griffith did best: brilliant, modern suspense, geared up to rapidity — whenever Griffith let himself slow down he was yielding to bathos.... Anyone concerned with film history has to see Intolerance, and pass on.[12]
Influence[edit]
Intolerance and its unorthodox editing were enormously influential, particularly among European and Soviet filmmakers. Many of the numerous assistant directors Griffith employed in making the film — Erich von Stroheim, Tod Browning, Woody Van Dyke — went on to become important and noted Hollywood directors in the subsequent years.[citation needed] It has been parodied by Buster Keaton in Three Ages (1923).[13]
A replica of an archway and elephant sculptures from the Babylon segment of the film serve as an important architectural element of the Hollywood and Highland shopping center in Hollywood, Los Angeles (built in 2001).
Extant versions[edit]
Intolerance is now in the public domain and there are currently four major versions of the film in circulation.
Major versions[edit]
The Killiam Shows Version: This version, taken from a third-generation 16 millimeter print, contains an organ score by Gaylord Carter. Running approx. 176 minutes, this is the version that has been the most widely seen in recent years. It has been released on LaserDisc and DVD by Image Entertainment. This is the most complete version currently available on home video, if not the longest.
The Official Thames Silents Restoration: In 1989, this film was given a formal restoration by film preservationists Kevin Brownlow and David Gill. This version, also running 177 minutes, was prepared by Thames Television from original 35 millimeter material, and its tones and tints restored per Griffith's original intent. It also has a digitally recorded orchestral score by Carl Davis. This version was released on VHS in the U.S. briefly around 1989–1990 by HBO Video, then went out of print. This version is under copyright by the Rohauer Collection, who worked in association with Thames on the restoration. This version of the film was given a further digital restoration by Cohen Media Group (which currently serves as keeper of the Rohauer library), and was reissued to select theatres, as well as on DVD and Blu-ray, in 2013. While not as complete as the Killiam Shows Version, this print contains footage not found on that particular print.
The Kino Version: Pieced together in 2002 by Kino International, this version, taken from 35 millimeter material, is transferred at a slower frame rate than the Killiam Shows and Rohauer prints, resulting in a longer running time of 197 minutes. It contains a synth orchestral score by Joseph Turrin. An alternative "happy ending" to the "Fall of Babylon" sequence, showing the Mountain Girl surviving and re-united with the Rhapsode, is included on the DVD as a supplement. This version is less complete than the Killiam Shows and Rohauer prints.
New York Times,
(Sat., February 19, 1921), p.15
WARK PRODUCING CORPORATION, moving pictures, at 1,476
Broadway, has filed schedules in bankruptcy, with liabilities of $298,910,
unsecured claims and assets of $125,042, consisting of films, pictures,
prints, &c., $65,000; accounts $13,927 and deposits in banks $47,016.
Copyright on motion picture play, "Intolerance," is given as value unknown.
Among the creditors are D. W. Griffith, $84,334; D. W. Griffith, Inc. $975;
D. W. G. Corp., $60,230; H. E. Aitken, $8,136, and Norman Hall, $6,610.
The Restored Digital Cinema Version: Restoration conducted by ZZ Productions in collaboration with the Danish Film Institute and Arte France of the version shown on 7 April 1917 at the Theatre Royal, Drury Lane in London. This version runs approximately 177 minutes and premiered 29 August 2007 at the Venice Film Festival and on 4 October on arte.[14]
Other versions[edit]
There are other budget/public domain video and Digital Video Disc versions of this film released by different companies, each with varying degrees of picture quality depending on the source that was used. A majority of these released are of poor picture quality, but even the restored 35 millimeter versions exhibit considerable film damage.
The Internet Movie Database lists the standard running time as 163 minutes, which is the running length of the DVD released by "Public Domain Flicks". The Delta DVD released in Region 1 as Intolerance: A Sun Play of the Ages and in Region 2 as Intolerance: Love's Struggle Throughout the Ages clocks in at 167 minutes. The version available for free viewing on the Internet Movie Archive is the Killiam restoration.
Lost footage[edit]
Cameraman Karl Brown remembered a scene with the various members of the Babylonian harem that featured full frontal nudity. He was barred from the set that day, apparently because he was so young. While there are several shots of slaves and harem girls throughout the film (which were shot by another director, without Griffith's involvement) the scene that Brown describes is not in any surviving versions.[15]
References[edit]
1.Jump up ^ "Box Office Information for Intolerance". The Numbers. Retrieved April 13, 2012.
2.^ Jump up to: a b c Tim Dirks. "Intolerance (1916)". The Best Films of All Time - A Primer of Cinematic History.
3.Jump up ^ Scott McGee, Intolerance, TCM - Turner Classic Movies, retrieved 13 February 2013
4.Jump up ^ NAACP: 100 Years of History, National Association for the Advancement of Colored People (NAACP), retrieved 13 February 2013
5.Jump up ^ Ruth St. Denis is listed by some modern sources as the Solo Dancer in the Babylonian Story, but she denied this in an interview. However, it is generally believed St. Denis and her "Denishawn dancers" appear on the steps of the Babylon set in the great courtyard scene.
6.^ Jump up to: a b Cross, Mary. 100 People Who Changed 20th-Century America (2013 ed.). ABC-CLIO. ISBN 9781610690867.- Total pages: 624
7.Jump up ^ William M. Drew, D.W.Griffith's Intolerance: Its Genesis and Its Vision, Jefferson, NJ, McFarland & Company (1986); (2001). ISBN 0-7864-1209-7
8.^ Jump up to: a b Franklin, Joe: Classics of the Silent Screen, The Citadel Press, New York, NY, 1959
9.Jump up ^ Zito, Stephen F., American Film Institute and Library of Congress, Cinema Club 9 Program Notes, Post Newsweek Stations, Washington, DC, November , 1971
10.Jump up ^ Huff, Theodore quoted in Classics of the Silent Screen, The Citadel Press, New York, NY 1959
11.Jump up ^ "Festival de Cannes: Intolerance". festival-cannes.com. Retrieved 2009-06-14.
12.Jump up ^ Thomson, David (2008), “Have You Seen…?” A Personal introduction to 1,000 Films; New York: Knopf, pg 403.
13.Jump up ^ Knopf, Robert The Theater and Cinema of Buster Keaton By p.27
14.Jump up ^ Biennale Cinema, 64th Venice Film Festival: The restored version of David Wark Griffith’s Intolerance (1916), La Biennale di Venezia, archived from the original on 3 October 2007
15.Jump up ^ Intolerance: Love's Struggle Throughout the Ages (1916) - Did You Know? - Trivia, Internet Movie Database
External links[edit]
Portal icon United States portal
Portal icon Film portal
Wikimedia Commons has media related to Intolerance.
Intolerance at the Internet Movie Database
Intolerance at SilentEra
Intolerance at allmovie
Intolerance is available for free download at the Internet Archive [more]
Detailed plot summary and discussion of the film at Filmsite.org
Period poster of the film at the Criterion Theatre, Bridgeton, New Jersey
Intolerance on YouTube
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Intolerance (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Intolerance
Intolerance (film).jpg
Theatrical poster
Directed by
D. W. Griffith
Produced by
D. W. Griffith
Written by
D.W. Griffith
Hettie Grey Baker
Tod Browning
Anita Loos
Mary H. O'Connor
Frank E. Woods
Starring
Vera Lewis
Ralph Lewis
Mae Marsh
Robert Harron
Constance Talmadge
Lillian Gish
Josephine Crowell
Margery Wilson
Frank Bennett
Elmer Clifton
Miriam Cooper
Alfred Paget
Music by
Joseph Carl Breil
Carl Davis
Cinematography
Billy Bitzer
Editing by
D. W. Griffith
James Smith
Rose Smith
Distributed by
Triangle Distributing Corporation
Release dates
September 5, 1916
Running time
210 minutes (original version)
197 minutes (most modern cuts)
Country
United States
Language
Silent film
English intertitles
Budget
$385,907[1]
Intolerance is a 1916 American silent film directed by D. W. Griffith and is considered one of the great masterpieces of the Silent Era.[2] The three-and-a-half hour epic intercuts four parallel storylines, each separated by several centuries: (1) A contemporary melodrama of crime and redemption; (2) a Judean story: Christ’s mission and death; (3) a French story: the events surrounding the St. Bartholomew's Day massacre of 1572; and (4) a Babylonian story: the fall of the Babylonian Empire to Persia in 539 BC. Each story had its own tint in the original print.[2] The scenes are linked by shots of a figure representing Eternal Motherhood, rocking a cradle.[2]
Intolerance was made partly in response to criticism of Griffith's previous film, The Birth of a Nation (1915),[3] which was attacked by the NAACP and other groups as perpetuating racial stereotypes and glorifying the Ku Klux Klan.[4]
Contents [hide]
1 Storylines
2 Cast
3 Production
4 Reception
5 Influence
6 Extant versions 6.1 Major versions
6.2 Other versions
6.3 Lost footage
7 References
8 External links
Storylines[edit]
Lillian Gish as "Eternal Motherhood"
[icon] This section requires expansion. (December 2012)
This complex film consists of four distinct, but parallel, stories—intercut with increasing frequency as the film builds to a climax—that demonstrate mankind's persistent intolerance throughout the ages. The film sets up moral and psychological connections among the different stories. The timeline covers approximately 2,500 years:
1.The ancient "Babylonian" story (539 BC) depicts the conflict between Prince Belshazzar of Babylon and Cyrus the Great of Persia. The fall of Babylon is a result of intolerance arising from a conflict between devotees of two rival Babylonian gods—Bel-Marduk and Ishtar.
2.The Biblical "Judean" story (c. 27 AD) recounts how—after the Wedding at Cana and the Woman Taken in Adultery—intolerance led to the Crucifixion of Jesus. This sequence is the shortest of the four.
3.The Renaissance "French" story (1572) tells of the religious intolerance that led to the St. Bartholomew's Day Massacre of Protestant Huguenots by Roman Catholic royals.
4.The American "Modern" story (c. 1914) demonstrates how crime, moral puritanism, and conflicts between ruthless capitalists and striking workers help ruin the lives of marginal Americans. To get more money for his spinster sister's charities, a mill owner orders a 10% pay cut on his workers' wages. A workers strike is crushed and The Boy and The Dear One make their way to another city; she lives in poverty and he turns to crime; after they marry he tries to break free of crime but is framed for theft by his ex boss. While he is in prison, his wife must endure their child being taken away by the same "moral uplift society" that instigated the strike. Upon his release from prison, he discovers his ex-boss attempting to rape his wife. A struggle begins and in the confusion the girlfriend of the boss shoots and kills the boss. She escapes and The Boy is convicted and sentenced to the gallows. A kindly policeman helps The Dear One find the real killer and together they try to reach the Governor in time so her reformed husband won't be hanged.
Breaks between the differing time-periods are marked by the symbolic image of a mother rocking a cradle, representing the passing of generations. One of the unusual characteristics of the film is that many of the characters don't have names. Griffith wished them to be emblematic of human types. Thus, the central female character in the modern story is called The Dear One. Her young husband is called The Boy, and the leader of the local Mafia is called The Musketeer of the Slums. Critics and film theorists indicate these names show Griffith's sentimentalism, which was already hinted at in The Birth of a Nation, with names such as The Little Colonel.
Cast[edit]
In order of appearance:
Lillian Gish ... Eternal Motherhood
Vera Lewis ... Mary T. Jenkins
Mae Marsh ... The Dear One
Fred Turner ... The Dear One's father, a worker at the Jenkins Mill
Robert Harron ... The Boy
Josephine Crowell ... Catherine de Medici, the Queen-mother
Joseph Henabery ... Admiral Coligny
Constance Talmadge ... Marguerite of Valois
W. E. Lawrence ... Henry of Navarre
Margery Wilson ... Brown Eyes
Eugene Pallette ... Prosper Latour
Sam de Grasse ... Mr. Jenkins, mill boss
Constance Talmadge ... The Mountain Girl (second role in film)
Elmer Clifton ... The Rhapsode, a warrior-singer
Tully Marshall ... High Priest of Bel-Marduk
The Ruth St. Denis Dancers[5]... Dancing girls
Alfred Paget ... Prince Belshazzar
Carl Stockdale ... King Nabonidus, father of Belshazzar
Elmo Lincoln ... The Mighty Man of Valor, guard to Belshazzar
Seena Owen ... The Princess Beloved, favorite of Belshazzar
Miriam Cooper ... The Friendless One, former neighbor of the Boy and Dear One
Walter Long ... Musketeer of the Slums
Bessie Love ... The Bride
George Walsh ... The Bridegroom
Howard Gaye ... The Nazarene
Lillian Langdon ... Mary, the Mother
Spottiswoode Aitken ... Brown Eyes' father
George Siegmann ... Cyrus the Great
Max Davidson... tenement neighbor of Dear One
Douglas Fairbanks ... Drunken Soldier with monkey (uncredited extra)
Lloyd Ingraham ... Judge (Modern Story)
Tom Wilson ... The Kindly Officer (Kindly Heart)
Ralph Lewis ... The Governor
Production[edit]
Belshazzar's feast in the central courtyard of Babylon from Intolerance.
Left to right: D. W. Griffith, Billy Bitzer (behind the Pathé camera), Dorothy Gish watching from behind Bitzer, Karl Brown keeping script, and Mariam Cooper in profile, in a production still for Intolerance.
Intolerance was a colossal undertaking featuring monumental sets, lavish period costumes, and more than 3,000 extras. Griffith began shooting the film with the Modern Story (originally titled "The Mother and the Law"), whose planning predated the great commercial success The Birth of a Nation (which had made $48 million, about $678 million in 2014[6]), then greatly expanded it to include the other three parallel stories under the theme of intolerance.
Actual costs to produce Intolerance are unknown, but best estimates are close to $2.5 million (about $47 million in 2014), an astronomical sum in 1916.[6] The film was by far the most expensive made at that point. When the film became a flop at the box-office, the burden was so great that in 1918 Triangle Film Corporation was put up for sale.
A detailed account of the film’s production is told in William M. Drew's 1986 book D.W. Griffith's Intolerance: Its Genesis and Its Vision.[7]
Reception[edit]
Upon its initial release, Intolerance was a commercial failure. Despite this, Intolerance has received very positive reviews. Intolerance has been called "the only film fugue".[8][9][10] Professor Theodore Huff, one of the leading film critics of the first half of the 20th century, stated that it was the only motion picture worthy of taking its place alongside Beethoven's Fifth Symphony, the masterpieces of Michelangelo, etc. as a separate work of art.[8]
The film was shown out of competition at the 1982 Cannes Film Festival.[11]
In 1989, Intolerance was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant", going in during the first year of voting.
In 2007, AFI's 100 Years...100 Movies (10th Anniversary Edition) ranked Intolerance at number 49 of 100 films. The film currently holds a 96% approval rating on the aggregate site Rotten Tomatoes.
Film critic David Thomson has written of the film's "self-destructive frenzy":
The cross-cutting, self-interrupting format is wearisome.... The sheer pretension is a roadblock, and one longs for the "Modern Story" to hold the screen.... [That story] is still very exciting in terms of its cross-cutting in the attempt to save the boy from the gallows. This episode is what Griffith did best: brilliant, modern suspense, geared up to rapidity — whenever Griffith let himself slow down he was yielding to bathos.... Anyone concerned with film history has to see Intolerance, and pass on.[12]
Influence[edit]
Intolerance and its unorthodox editing were enormously influential, particularly among European and Soviet filmmakers. Many of the numerous assistant directors Griffith employed in making the film — Erich von Stroheim, Tod Browning, Woody Van Dyke — went on to become important and noted Hollywood directors in the subsequent years.[citation needed] It has been parodied by Buster Keaton in Three Ages (1923).[13]
A replica of an archway and elephant sculptures from the Babylon segment of the film serve as an important architectural element of the Hollywood and Highland shopping center in Hollywood, Los Angeles (built in 2001).
Extant versions[edit]
Intolerance is now in the public domain and there are currently four major versions of the film in circulation.
Major versions[edit]
The Killiam Shows Version: This version, taken from a third-generation 16 millimeter print, contains an organ score by Gaylord Carter. Running approx. 176 minutes, this is the version that has been the most widely seen in recent years. It has been released on LaserDisc and DVD by Image Entertainment. This is the most complete version currently available on home video, if not the longest.
The Official Thames Silents Restoration: In 1989, this film was given a formal restoration by film preservationists Kevin Brownlow and David Gill. This version, also running 177 minutes, was prepared by Thames Television from original 35 millimeter material, and its tones and tints restored per Griffith's original intent. It also has a digitally recorded orchestral score by Carl Davis. This version was released on VHS in the U.S. briefly around 1989–1990 by HBO Video, then went out of print. This version is under copyright by the Rohauer Collection, who worked in association with Thames on the restoration. This version of the film was given a further digital restoration by Cohen Media Group (which currently serves as keeper of the Rohauer library), and was reissued to select theatres, as well as on DVD and Blu-ray, in 2013. While not as complete as the Killiam Shows Version, this print contains footage not found on that particular print.
The Kino Version: Pieced together in 2002 by Kino International, this version, taken from 35 millimeter material, is transferred at a slower frame rate than the Killiam Shows and Rohauer prints, resulting in a longer running time of 197 minutes. It contains a synth orchestral score by Joseph Turrin. An alternative "happy ending" to the "Fall of Babylon" sequence, showing the Mountain Girl surviving and re-united with the Rhapsode, is included on the DVD as a supplement. This version is less complete than the Killiam Shows and Rohauer prints.
New York Times,
(Sat., February 19, 1921), p.15
WARK PRODUCING CORPORATION, moving pictures, at 1,476
Broadway, has filed schedules in bankruptcy, with liabilities of $298,910,
unsecured claims and assets of $125,042, consisting of films, pictures,
prints, &c., $65,000; accounts $13,927 and deposits in banks $47,016.
Copyright on motion picture play, "Intolerance," is given as value unknown.
Among the creditors are D. W. Griffith, $84,334; D. W. Griffith, Inc. $975;
D. W. G. Corp., $60,230; H. E. Aitken, $8,136, and Norman Hall, $6,610.
The Restored Digital Cinema Version: Restoration conducted by ZZ Productions in collaboration with the Danish Film Institute and Arte France of the version shown on 7 April 1917 at the Theatre Royal, Drury Lane in London. This version runs approximately 177 minutes and premiered 29 August 2007 at the Venice Film Festival and on 4 October on arte.[14]
Other versions[edit]
There are other budget/public domain video and Digital Video Disc versions of this film released by different companies, each with varying degrees of picture quality depending on the source that was used. A majority of these released are of poor picture quality, but even the restored 35 millimeter versions exhibit considerable film damage.
The Internet Movie Database lists the standard running time as 163 minutes, which is the running length of the DVD released by "Public Domain Flicks". The Delta DVD released in Region 1 as Intolerance: A Sun Play of the Ages and in Region 2 as Intolerance: Love's Struggle Throughout the Ages clocks in at 167 minutes. The version available for free viewing on the Internet Movie Archive is the Killiam restoration.
Lost footage[edit]
Cameraman Karl Brown remembered a scene with the various members of the Babylonian harem that featured full frontal nudity. He was barred from the set that day, apparently because he was so young. While there are several shots of slaves and harem girls throughout the film (which were shot by another director, without Griffith's involvement) the scene that Brown describes is not in any surviving versions.[15]
References[edit]
1.Jump up ^ "Box Office Information for Intolerance". The Numbers. Retrieved April 13, 2012.
2.^ Jump up to: a b c Tim Dirks. "Intolerance (1916)". The Best Films of All Time - A Primer of Cinematic History.
3.Jump up ^ Scott McGee, Intolerance, TCM - Turner Classic Movies, retrieved 13 February 2013
4.Jump up ^ NAACP: 100 Years of History, National Association for the Advancement of Colored People (NAACP), retrieved 13 February 2013
5.Jump up ^ Ruth St. Denis is listed by some modern sources as the Solo Dancer in the Babylonian Story, but she denied this in an interview. However, it is generally believed St. Denis and her "Denishawn dancers" appear on the steps of the Babylon set in the great courtyard scene.
6.^ Jump up to: a b Cross, Mary. 100 People Who Changed 20th-Century America (2013 ed.). ABC-CLIO. ISBN 9781610690867.- Total pages: 624
7.Jump up ^ William M. Drew, D.W.Griffith's Intolerance: Its Genesis and Its Vision, Jefferson, NJ, McFarland & Company (1986); (2001). ISBN 0-7864-1209-7
8.^ Jump up to: a b Franklin, Joe: Classics of the Silent Screen, The Citadel Press, New York, NY, 1959
9.Jump up ^ Zito, Stephen F., American Film Institute and Library of Congress, Cinema Club 9 Program Notes, Post Newsweek Stations, Washington, DC, November , 1971
10.Jump up ^ Huff, Theodore quoted in Classics of the Silent Screen, The Citadel Press, New York, NY 1959
11.Jump up ^ "Festival de Cannes: Intolerance". festival-cannes.com. Retrieved 2009-06-14.
12.Jump up ^ Thomson, David (2008), “Have You Seen…?” A Personal introduction to 1,000 Films; New York: Knopf, pg 403.
13.Jump up ^ Knopf, Robert The Theater and Cinema of Buster Keaton By p.27
14.Jump up ^ Biennale Cinema, 64th Venice Film Festival: The restored version of David Wark Griffith’s Intolerance (1916), La Biennale di Venezia, archived from the original on 3 October 2007
15.Jump up ^ Intolerance: Love's Struggle Throughout the Ages (1916) - Did You Know? - Trivia, Internet Movie Database
External links[edit]
Portal icon United States portal
Portal icon Film portal
Wikimedia Commons has media related to Intolerance.
Intolerance at the Internet Movie Database
Intolerance at SilentEra
Intolerance at allmovie
Intolerance is available for free download at the Internet Archive [more]
Detailed plot summary and discussion of the film at Filmsite.org
Period poster of the film at the Criterion Theatre, Bridgeton, New Jersey
Intolerance on YouTube
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Apollo 18 (film)
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Jump to: navigation, search
Apollo 18
Apollo 18 Poster.jpg
Official movie poster
Directed by
Gonzalo López-Gallego
Produced by
Timur Bekmambetov
Ron Schmidt
Written by
Brian Miller
Starring
Warren Christie
Lloyd Owen
Ryan Robbins
Cinematography
José David Montero
Editing by
Patrick Lussier
Studio
Bazelevs
Distributed by
Dimension Films
Release dates
September 2, 2011
Running time
86 minutes[1]
Country
United States
Language
English
Budget
$5 million[2]
Box office
$25,562,924[2]
Apollo 18 is a 2011 American science fiction horror film written by Brian Miller, directed by Gonzalo López-Gallego, and produced by Timur Bekmambetov and Ron Schmidt. After various release date changes, the film was released in the United States, United Kingdom, and Canada on 2 September 2011; however, the release dates for other territories vary.[3] The film is López-Gallego's first English-language movie.
The film's premise is that the canceled Apollo 18 mission actually landed on the moon in December 1974 but never returned, and as a result the United States has never launched another expedition to the Moon. The film is shot in found-footage style, supposedly the lost footage of the Apollo 18 mission that was only recently discovered.
Contents [hide]
1 Plot
2 Cast
3 Production
4 Release 4.1 Home media
5 Reception 5.1 Box office
6 Background
7 See also
8 References
9 External links
Plot[edit]
In December 1974, the crew of the cancelled Apollo 18 mission is informed that it will now proceed as a top secret Department of Defense (DoD) mission disguised as a satellite launch. Commander Nathan Walker, Lieutenant Colonel John Grey, and Captain Ben Anderson are launched toward the Moon to place detectors to alert the United States of any impending ICBM attacks from the USSR.
Grey remains in orbit aboard the Freedom command module while Walker and Anderson land on the moon in the lunar module Liberty. While planting one of the detectors, the pair take moon rock samples. After returning to Liberty, the pair hear noises outside and a camera captures a small rock moving nearby. Houston claims the noises are interference from the ICBM detectors. Anderson finds a rock sample on the floor of Liberty despite having secured the samples. During further lunar exploration they discover footprints that lead them to a bloodstained, functioning Soviet LK lander, and a dead cosmonaut in a nearby crater. Walker queries Houston about the Soviet presence, but he is told only to continue with the mission.
The following day the pair find that the flag they had planted is missing. Their mission complete, the crew prepares to leave, but the launch is aborted when Liberty suffers violent shaking. An inspection reveals extensive damage to Liberty and non-human tracks that Walker cites as evidence of extraterrestrial life. Walker feels something moving inside his spacesuit and is horrified as a spider-like creature crawls across the inside of his helmet. Walker disappears from view and Anderson finds him unconscious outside of Liberty. Walker later denies the events. A wound is discovered on Walker's chest; Anderson removes a moon rock embedded within him. The pair find themselves unable to contact Houston or Grey due to increased levels of interference from an unknown source.
Anderson speculates that the true intention of the ICBM warning devices is to monitor the aliens, and that the devices are the source of the interference, only to discover something has destroyed them when they attempt to switch them off. Walker shows signs of a developing infection and he becomes increasingly paranoid. The mission cameras capture the rock samples moving around in the interior of Liberty, revealing that the aliens are concealed as moon rocks. Increasingly delusional, Walker attempts to destroy the cameras within Liberty, but he accidentally damages the system controls, causing Liberty to depressurize. Realizing the Soviet LK is their only source of oxygen, the pair travel towards the LK lander in their lunar rover. Walker causes the vehicle to crash as he runs away, believing he should not leave the moon because of the risk of spreading the infection to Earth.
Anderson awakens and tracks Walker to the crater where they found the cosmonaut. Walker is pulled into the crater by the creatures. Anderson gives chase, but he is confronted by the aliens, and flees to the Soviet LK. Anderson uses its radio to contact USSR Mission Control who connect him to the DoD. The deputy secretary informs Anderson that they cannot allow him to return to Earth, admitting they are aware of the situation and fear he is also infected. Anderson manages to contact Grey and they make arrangements for Anderson to return to Freedom. Anderson prepares the lander for launch, but it is attacked by a psychotic Walker. Before Walker can enter the vehicle, he is attacked by a swarm of the creatures, which breach his helmet, killing him.
Anderson launches, but the DoD warns Grey that Anderson is infected and orders him to abort the rescue or communication will be cut off, without which the CSM will be unable to return to Earth. The lander's engines shut off as it enters orbit, and it is in free fall. Small rocks within the craft float in the air, some of which reveal themselves to be alien creatures. Anderson is attacked and infected preventing him from controlling the vehicle, leaving it headed uncontrolled toward Freedom. The space footage ends abruptly.
The footage cuts to before the pilots' mission, showing them having a barbecue with friends and family. The "official" fate of the astronauts is given, describing them as having died in various accidents that left their bodies unrecoverable. An epilogue explains that many of the rock samples returned from the previous Apollo missions were either stolen or are now missing.
Cast[edit]
Warren Christie as Lunar Module Pilot Captain Benjamin "Ben" Anderson
Lloyd Owen as Commander Nathan "Nate" Walker
Ryan Robbins as Command Module Pilot Lieutenant Colonel John Grey
Andrew Airlie as Mission Control
Michael Kopsa as Deputy Secretary of Defense
Production[edit]
The film was shot in Vancouver, British Columbia.[4] However, it has been promoted as a "found footage" film that does not use actors. In an interview with Entertainment Weekly, Dimension Films head Bob Weinstein "balk[ed] at the idea" that the film was a work of fiction, stating that “We didn’t shoot anything; we found it. Found, baby!”[5][6]
The Science & Entertainment Exchange provided a science consultation to the film's production team.[7] NASA was also "minimally involved with this picture," but declined to go further with the project.[8]
The film is distributed by Dimension Films.[9]
Release[edit]
Apollo 18 was released on September 2, 2011, in multiple countries. Originally scheduled for February 5, 2010, the film's release date was moved ten times between 2010 and 2013. (including to June 18, 2010; October 15, 2010; March 4, 2011; April 22, 2011; July 8, 2011; January 6, 2012; June 24, 2011; March 15, 2013; August 26, 2011; and September 2, 2011).[3][10][11][12][13][14]
Home media[edit]
The film was released December 27, 2011, on DVD, Blu-ray, and Online distribution. Special features include an audio commentary with director Gonzalo López-Gallego and editor Patrick Lussier, deleted and alternate scenes and endings, including footage of how the Russian cosmonaut died and the many alternate deaths of Ben Anderson.
Reception[edit]
Apollo 18 has received mostly negative reviews from critics. On the online reviews site Rotten Tomatoes, the film was given a 24% "rotten" score based on 69 reviews, with the consensus "A boring, suspense-free Paranormal Activity rip-off that feels long even at just 90 minutes",[15] and Metacritic, which gives an aggregate score between 0 and 100, gives the film a 24 based on 19 critic reviews, which indicates generally unfavorable reviews.[16] Conversely, Fred Topel of CraveOnline gave the film a positive review, saying that the film "will shock you to your core" and that the last 10 minutes "are the most exciting of any summer movie, and without motion capture effects."[17]
Box office[edit]
At the end of its run in 2011, Apollo 18 had earned $17,687,709 domestically, plus $7,875,215 overseas for a worldwide gross of $25,562,924 against a $5 million budget, becoming a financial success.[2] In its opening weekend, Apollo 18 screened in 3,328 theaters and opened in number 3, earning $8,704,271, with an average of $2,615 per theater. In its second weekend, the movie earned $2,851,349, dropping 62.7%, with an average of $856 per theater, dropping to number 8, but still had a higher total gross at that point over Shark Night 3D, another horror movie opening the same weekend as Apollo 18.
Background[edit]
The film concludes with a statement that the Nixon Administration gave away hundreds of moon rocks to foreign dignitaries around the world, and that many of these moon rocks have been lost or stolen. This is factually true; both the Nixon and Ford Administrations gave away 135 Apollo 11 Moon Rocks and 135 Apollo 17 Goodwill Moon Rocks. The Moon Rock Project, a joint effort of over 1,000 graduate students started at the University of Phoenix in 2002, has helped track down, recover or locate many moon rocks and found that 160 are unaccounted for, lost or destroyed.[18] In 1998 a sting operation, called Operation Lunar Eclipse, made up of personnel from NASA's Office of the Inspector General, the U.S. Postal Inspection Service and U.S. Customs recovered the Honduras Apollo 17 Goodwill Moon Rock, valued at $5 million. In October 2011, NASA agents raided a Denny's restaurant and arrested a 74-year-old woman for attempting to sell a moon rock from Neil Armstrong for $1.7 million on the black market.[19]
See also[edit]
Canceled Apollo missions
Lost Cosmonauts
Moon landing conspiracy theories in popular culture
Lunarcy!
The Case of the Missing Moon Rocks
First on the Moon
References[edit]
1.Jump up ^ "Apollo 18 (15)". British Board of Film Classification. 2011-08-25. Retrieved 2011-08-28.
2.^ Jump up to: a b c "Apollo 18 (2011)". Box Office Mojo. 2011-09-02. Retrieved 2011-10-26.
3.^ Jump up to: a b "Apollo 18 has its release date moved for the fifth time".
4.Jump up ^ "British Columbia Film Commission Film List: January 11, 2011". British Columbia Film Commission.
5.Jump up ^ Tim Stack. "'Apollo 18': Details on the super-secret new sci-fi flick". Entertainment Weekly.
6.Jump up ^ "We're...not saying that mockumentary films should be banned. Or viral marketing, for that matter—Apollo 18 has a fairly great Russian cosmonaut viral happening right now. And we're sluts for a good internet puzzle. We just don't need the head of a studio to try and convince us that they found mysterious alien footage on the Moon". From "Are audiences sick of being lied to?", by Meredith Woerner, in io9, March 4, 2011
7.Jump up ^ "Project". National Academy of Sciences. Archived from the original on 26 July 2011. Retrieved 7 July 2011.
8.Jump up ^ Keegan, Rebecca (09/01/2011). "NASA reaches its outer limit". Los Angeles Times. Retrieved 2011-09-14.
9.Jump up ^ "New Apollo 18 Viral Examines Why We Haven't Been Back to the Moon".
10.Jump up ^ McWeeny, Drew (Jan 7, 2011). "'Apollo 18' game revealing new clues about SF conspiracy thriller". Retrieved Jan 7, 2011.
11.Jump up ^ Yamato, Jen (March 25, 2011). "Weinstein Co. Pushes Apollo 18 Release Back to January 2012". Movie Line. Retrieved 2011-06-22.
12.Jump up ^ "Apollo 18 Lands On Another Release Date".
13.Jump up ^ "Release Date News: 'Apollo 18,' 'Piranha 3DD,' 'Our Idiot Brother' and 'I Don't Know How She Does It'".
14.Jump up ^ "A Nice Change Of. Pace: 'Apollo 18' And 'Final Destination 5' Move Up".
15.Jump up ^ "Apollo 18". Rotten Tomatoes. Retrieved 2011-10-26.
16.Jump up ^ "Apollo 18 Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com. Retrieved 2011-10-26.
17.Jump up ^ "Review: ‘Apollo 18′", CraveOnline, September 2, 2011
18.Jump up ^ In Search of the Goodwill Moon Rocks: A Personal Account Geotimes Magazine. November 2004.
19.Jump up ^ NASA agents raid Denny's in undercover sting—after woman, 74, tries to sell moon dust that was gift from Neil Armstrong Mail Online, 24th October 2011.
External links[edit]
Official website
Apollo 18 at the Internet Movie Database
Apollo 18 at allmovie
Apollo 18 at Box Office Mojo
Apollo 18 at Rotten Tomatoes
Apollo 18 at Metacritic
Lunartruth, The website appeared at the end and the beginning of the movie
Missioncontrolblog, The website Lunartruth leads you to, if you search
Categories: 2011 films
English-language films
2011 horror films
2010s science fiction films
American science fiction horror films
Films about the Apollo program
Cold War films
Films set in 1974
Films shot in Vancouver
Found footage films
Independent films
The Moon in film
Films about extraterrestrial life
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Lunarcy!
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Lunarcy!
Lunarcy (2012 film).jpg
Directed by
Simon Ennis
Produced by
Jonas Bell Pasht, Ron Mann, Jonah Bekhor
Starring
Alan Bean, Prof. Jaymie Matthews, Christopher Carson, Peter Kokh, Dennis Hope
Cinematography
Jonathan Bensimon
Editing by
Matt Lyon
Studio
Citizen Jones Production
Distributed by
Global Screen
Release dates
September 8, 2012 (TIFF)
Running time
80 minutes
Country
Canada
Language
English
Lunarcy! is a 2012 Canadian documentary film directed by Simon Ennis, and produced by Jonas Bell Pasht, Ron Mann, Jonah Bekhor. The film premiered at the 2012 Toronto Film Festival on September 8, 2012 and was distributed worldwide through German Screen. The film draws from a cast of real people who each have a unique connection to the moon, including an astronaut who once walked on the moon and a person who claims personal ownership of the moon.[1]
One of the characters in this documentary is Professor Jaymie Matthews, an astrophysics professor at the University of British Columbia. At age 13 he lied about his age to be selected as the Youth Ambassador from Canada for the 1972 launch of Apollo 17. After the launch, the United States sent 13-year old Matthews Canada's $5 million Apollo 17 Goodwill Moon Rock, which he kept under his bed for months. Upon recovering the rock from Matthews, Canada lost track of it for decades, incorrectly believing it to have been stolen.[2][3][4]
See also[edit]
Alan Bean
Apollo 18 (film)
Colonization of the Moon
Moon tree
NASA
Sex on the Moon
Stolen and missing moon rocks#Theft_of_NASA_rocks
The Case of the Missing Moon Rocks
Joseph Gutheinz
References[edit]
1.Jump up ^ Foreman, Liza (22 August 2012). "Toronto title 'Lunarcy' takes flight with Global Screen". Reuters. Retrieved 2012-09-08.
2.Jump up ^ http://www.vancouversun.com/entertainment/move-guide/Documentary+sends+year+over+moon/7348785/story.html Documentary Sends 13 year-old over the moon. The Vancouver Sun, Mark Leiren-Young, October 5, 2012.
3.Jump up ^ http://www.monstersandcritics.com/movies/reviews/article_1710922.php/Lunarcy-%E2%80%93-Movie-Review , “Lunarcy-Movie Review”, by Anne Brodie, M&C, February 6, 2013
4.Jump up ^ http://arts.nationalpost.com/2013/02/08/lunarcy-reviewed-the-moon-rocks/“Lunarcy!, Reviewed: The Moon Rocks”, by Chris Knight, The National Post (Canada) February 8, 2013
External links[edit]
Lunarcy! at the Internet Movie Database
Stub icon This article related to a Canadian film of the 2010s is a stub. You can help Wikipedia by expanding it.
Stub icon This article about a Canadian documentary film is a stub. You can help Wikipedia by expanding it.
Categories: 2012 films
English-language films
2010s documentary films
Canadian films
Canadian documentary films
Moon in art
Documentary films about space
2010s Canadian film stubs
Canadian documentary film stubs
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Apollo 13 (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Apollo 13
A thin light-gray crescent Moon stretches diagonally from lower left to upper right against a black background, with a blue and white crescent Earth in the far distance. In front of the portion of the moon that is in shadow on the left appears a small image of the Apollo 13 Command/Service module joined to the Lunar Module, with vapor streaming from a hole in the side of the Service Module — the words "Houston, we have a problem" appear directly above the craft in white lower case lettering. The names of the principal actors appear in white lettering at the top of the image, and the title APOLLO 13 in block white upper-case letters appears at the lower right.
Theatrical release poster
Directed by
Ron Howard
Produced by
Brian Grazer
Screenplay by
William Broyles, Jr.
Al Reinert
Based on
Lost Moon
by Jim Lovell
Starring
Tom Hanks
Kevin Bacon
Bill Paxton
Gary Sinise
Ed Harris
Music by
James Horner
Cinematography
Dean Cundey
Editing by
Daniel P. Hanley
Mike Hill
Studio
Imagine Entertainment
Distributed by
Universal Pictures
Release dates
June 30, 1995 (United States)
Running time
140 minutes
Country
United States
Language
English
Budget
$52 million[1]
Box office
$355,237,933[2]
Apollo 13 is a 1995 American historical docudrama film directed by Ron Howard. The film stars Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise, and Ed Harris. The screenplay by William Broyles, Jr. and Al Reinert, that dramatizes the aborted 1970 Apollo 13 lunar mission, is an adaptation of the book Lost Moon: The Perilous Voyage of Apollo 13 by astronaut Jim Lovell and Jeffrey Kluger.
The film depicts astronauts Lovell, Jack Swigert and Fred Haise aboard Apollo 13 for America's third Moon landing mission. En route, an on-board explosion deprives their spacecraft of most of its oxygen supply and electric power, forcing NASA's flight controllers to abort the Moon landing, and turning the mission into a struggle to get the three men home safely.
Howard went to great lengths to create a technically accurate movie, employing NASA's technical assistance in astronaut and flight controller training for his cast, and even obtaining permission to film scenes aboard a reduced gravity aircraft for realistic depiction of the "weightlessness" experienced by the astronauts in space.
Released in the United States on June 30, 1995, Apollo 13 garnered critical acclaim and was nominated for many awards, including nine Academy Awards (winning for Best Film Editing and Best Sound).[3] In total, the film grossed over $355 million worldwide during its theatrical releases.
Contents [hide]
1 Plot
2 Cast
3 Production 3.1 Pre-production and props
3.2 Cast training and filming
4 Soundtrack
5 Release 5.1 Box-office performance
5.2 Reception
5.3 Home media
6 Accolades
7 Technical and historical accuracy
8 See also
9 References
10 External links
Plot[edit]
On July 20, 1969, veteran astronaut Jim Lovell hosts a party for other astronauts and their families, who watch on television as Neil Armstrong takes his first steps on the Moon during the Apollo 11 mission. After the party, Lovell, who orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon and walk on its surface.
On October 30, while giving a VIP tour of NASA's Vehicle Assembly Building, Lovell is informed by his boss Deke Slayton that he and his crew will fly the Apollo 13 mission instead of Apollo 14. Lovell, Ken Mattingly, and Fred Haise begin training for their new mission. Days before launch, it is discovered that Mattingly was exposed to measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert, as a safety precaution. Lovell resists breaking up his team, but relents after Slayton gives him the ultimatum of either accepting the switch, or else being bumped to a later mission.
As the launch date approaches, Marilyn's fears for her husband's safety manifest in nightmares, but she goes to Cape Kennedy the night before launch, to see him off despite her misgivings.
On April 11, 1970, Apollo 13 Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for launch. As the Saturn V rocket climbs into the sky, an engine on the second stage cuts off prematurely, but the craft successfully reaches Earth orbit. After the third stage fires, sending Apollo 13 on a trajectory to the Moon, Swigert docks the Command/Service Module Odyssey with the Lunar Module Aquarius, and pulls it away from the spent stage.
Three days into the mission, the crew send a live television transmission from Odyssey, but the networks, believing the public now regards lunar missions as routine, decline to carry the broadcast live. Swigert is told to perform a standard housekeeping procedure of stirring the two liquid oxygen tanks in the Service Module. When he flips the switch, one tank explodes, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking, prompting Mission Control to abort the Moon landing, and forcing Lovell and Haise to hurriedly power up Aquarius as a "lifeboat" for the return home, while Swigert shuts down Odyssey before its battery power runs out. On Earth, Kranz rallies his team to do what is necessary to get the astronauts home safely, declaring "failure is not an option." Controller John Aaron recruits Mattingly to help him figure out how to restart Odyssey for the final return to Earth.
As Swigert and Haise watch the Moon passing beneath them, Lovell laments his lost chance of walking on its surface, then turns their attention to the task of getting home. With Aquarius running on minimum systems to conserve power, the crew is soon subjected to freezing conditions. Swigert suspects Mission Control is unable to get them home and is withholding this from them. In a fit of rage, Haise blames Swigert's inexperience for the accident; the ensuing argument is quickly squelched by Lovell. When the carbon dioxide exhaled by the astronauts reaches the Lunar Module's filter capacity and approaches dangerous levels, an engineering team quickly invents a way to make the Command Module's square filters work in the Lunar Module's round receptacles. With the guidance systems on Aquarius shut down, and despite Haise's fever and miserable living conditions, the crew succeeds in making a difficult but vital course correction by manually igniting the Lunar Module's engine.
Mattingly and Aaron struggle to find a way to power up the Command Module with its limited available power, but finally succeed and transmit the procedures to Swigert, who successfully restarts Odyssey by transmitting extra power from Aquarius. When the Service Module is jettisoned, the crew finally see the extent of the damage and prepare for re-entry, unsure whether Odyssey's heat shield is intact. If it is not, they will burn up. They release Aquarius and re-enter the Earth's atmosphere in Odyssey. After a tense, longer than normal period of radio silence due to ionization blackout, the astronauts report all is well and splash down in the Pacific Ocean. The three men are brought aboard the amphibious assault ship USS Iwo Jima.
As the astronauts are given a hero's welcome on deck, Lovell's narration describes the events that follow their return from space—including the investigation into the explosion, and the subsequent careers and lives of Haise, Swigert, Mattingly and Kranz—and ends wondering when mankind will return to the Moon.
Cast[edit]
Top to bottom: Hanks, Bacon and Paxton, who portray astronauts Lovell, Swigert and Haise respectively.
Tom Hanks as Apollo 13 Commander Jim Lovell. Jim Lovell stated that before the book was even written, the rights were being shopped to potential buyers[4] and that his first reaction was that actor Kevin Costner would be a good choice to play him.[5][6] However, by the time Howard acquired the director's position, Costner's name never came up in serious discussion, and Hanks had already been interested in doing a film based on Apollo 13. When Hanks' representative informed him that there was a script being passed around, he had the script sent to him.[4] John Travolta was initially offered the role of Lovell, but declined.[7]
Kevin Bacon as Apollo 13 backup CMP Jack Swigert.
Bill Paxton as Apollo 13 Lunar Module Pilot Fred Haise.
Gary Sinise as Apollo 13 prime Command Module Pilot (CMP) Ken Mattingly. Sinise was invited by Howard to read for any of the characters, and chose Mattingly.[4]
Ed Harris as White team Flight Director Gene Kranz. Harris described the film as "cramming for a final exam". Harris described Gene Kranz as "corny and like a dinosaur", but was respected by the crew.[4]
Kathleen Quinlan as Lovell's wife Marilyn.
Chris Ellis as Director of Flight Crew Operations Deke Slayton.
Joe Spano as "NASA Director", a composite character based loosely on Chris Kraft.
Marc McClure as Black team Flight Director Glynn Lunney.
Clint Howard as White team EECOM (Electrical, Environmental and Consumables Manager) Sy Liebergot.
Ray McKinnon as White team FIDO (Flight Dyamics Officer).
Todd Louiso as White Team FAO (Flight Activities Officer).
Loren Dean as EECOM John Aaron.
Xander Berkeley as "Henry Hurt", a fictional NASA Office of Public Affairs staff member.[8]
David Andrews as Apollo 12 Commander Pete Conrad
Christian Clemenson as Flight surgeon Dr. Charles Berry
Ben Marley as Apollo 13 backup Commander John Young
Brett Cullen as CAPCOM 1
Ned Vaughn as CAPCOM 2
Tracy Reiner as Haise's then-wife Mary
Mary Kate Schellhardt as Lovell's older daughter Barbara.
Max Elliott Slade as Lovell's older son James (Jay), who attended military school at the time of the flight.
Emily Ann Lloyd as Lovell's younger daughter Susan.
Miko Hughes as Lovell's younger son Jeffrey.
Thom Barry as an orderly at Blanch's retirement home.
The real Jim Lovell appears as captain of the recovery ship USS Iwo Jima; Howard had intended to make him an admiral, but Lovell himself, having retired as a Captain, chose to appear in his actual rank. Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Saturn V Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his proteges' films.[9][10] The real Marilyn Lovell appeared among the spectators during the launch sequence.[5][5] CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic.[5]
In addition to his brother, Clint Howard, several other members of Ron Howard's family appear in the movie:
Rance Howard (his father) appears as the Lovell family minister.
Jean Speegle Howard (his mother) appears as Lovell's mother Blanch.
Cheryl Howard (his wife) and Bryce Dallas Howard (his daughter) appear as uncredited background performers in the scene where the astronauts wave goodbye to their families.[10]
Brad Pitt was offered a role in the film, but turned it down to star in Se7en.[11] Reportedly, the real Pete Conrad expressed interest in appearing in the film.[5]
Jeffrey Kluger appears as a television reporter.[10]
Production[edit]
Pre-production and props[edit]
While planning the film, director Ron Howard decided that every shot of the film would be original and that no mission footage would be used.[12] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center's Space Works, who also restored the Apollo 13 Command Module. Two individual Lunar Modules and two Command Modules were constructed for filming. While each was a replica, composed of some of the original Apollo materials, they were built so that different sections were removable, which enabled filming to take place inside the capsules. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When the actors put the suits on with their helmets locked in place, air was pumped into the suits to cool them down and allow them to breathe, exactly as in launch preparations for the real Apollo missions.[13]
The real Mission Control center consisted of two control rooms located on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming but Howard declined, opting instead to make his own replica from scratch.[5][12] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. The set was equipped with giant rear-screen projection capabilities and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers were able to communicate with each other on a private audio loop.[13] The Mission Control room built for the film was on the ground floor.[12] One NASA employee who was a consultant for the film said that the set was so realistic that he would leave at the end of the day and look for the elevator before remembering he was not in Mission Control.[5] By the time the film was made, the USS Iwo Jima had been scrapped, so her sister ship, the USS New Orleans, was used as the recovery ship instead.[12]
"For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was."
—Tom Hanks[13]
Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested using a KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA's permission and assistance in filming in the realistic conditions aboard multiple KC-135 flights.[14]
Cast training and filming[edit]
To prepare for their roles in the film, Hanks, Paxton, and Bacon all attended the U.S. Space Camp in Huntsville, Alabama. While there, astronauts Jim Lovell and David Scott, commander of Apollo 15, did actual training exercises with the actors inside a simulated Command Module and Lunar Module.[dubious – discuss] The actors were also taught about each of the 500 buttons, toggles, and switches used to operate the spacecraft.[citation needed]
The actors then traveled to Johnson Space Center in Houston where they flew in NASA's KC-135 reduced gravity aircraft to simulate weightlessness in outer space. While in the KC-135, filming took place in bursts of 25 seconds, the length of each period of weightless that the plane could produce. The filmmakers eventually flew 612 parabolas which added up to a total of three hours and 54 minutes of weightlessness. Parts of the Command Module, Lunar Module and the tunnel that connected them were built by production designer Michael Corenblith, art directors David J. Bomba and Bruce Alan Miller and their crew to fit inside the KC-135. Filming in such an environment, while never done before for a film, was a tremendous time saver. In the KC-135, the actors moved wherever they wanted, surrounded by floating props; the camera and cameraman were weightless so filming could take place on any axis from which a shot could be set up.[citation needed]
In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts and attended a crash course in physics.[12][13] Astronaut Dave Scott was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word.[4]
Soundtrack[edit]
Apollo 13: Music From The Motion Picture
Soundtrack album by James Horner
Released
27 June 1995
Genre
Soundtrack
Length
77:41
Label
MCA
Professional ratings
Review scores
Source
Rating
Allmusic 4/5 stars[15]
Filmtracks.com 5/5 stars[16]
SoundtrackNet 4/5 stars[17]
Tracksounds 9/10 stars[18]
The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a running time of nearly seventy-three minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score.[19]
All music composed by James Horner, except where noted.
Apollo 13: Original Motion Picture Soundtrack
No.
Title
Length
1. "Main Title" 1:32
2. "One Small Step" 0:42
3. "Night Train" (performed by James Brown) 3:27
4. "Groovin'" (performed by The Young Rascals) 2:26
5. "Somebody to Love" (performed by Jefferson Airplane) 2:55
6. "I Can See for Miles" (performed by The Who) 4:09
7. "Purple Haze" (performed by The Jimi Hendrix Experience) 2:48
8. "Launch Control" 3:28
9. "All Systems Go/The Launch" 6:39
10. "Welcome to Apollo 13" 0:38
11. "Spirit in the Sky" (performed by Norman Greenbaum) 3:50
12. "House Cleaning/Houston, We Have a Problem" 1:34
13. "Master Alarm" 2:54
14. "What's Going On?" 0:34
15. "Into the L.E.M." 3:43
16. "Out of Time/Shut Her Down" 2:20
17. "The Darkside of the Moon" (performed by Annie Lennox) 5:09
18. "Failure is Not an Option" 1:18
19. "Honky Tonkin'" (performed by Hank Williams) 2:42
20. "Blue Moon" (performed by The Mavericks) 4:09
21. "Waiting for Disaster/A Privilege" 0:43
22. "Re-Entry & Splashdown" 9:05
23. "End Titles" (performed by Annie Lennox) 5:34
Release[edit]
The film was released on 30 June 1995 in North America and on 22 September 1995 in the UK.
In September 2002 the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology.[20]
Box-office performance[edit]
The film was a box-office success, gaining $355,237,933 worldwide.[2] The film's widest release was 2,347 theaters.[2] The film's opening weekend and the latter two weeks placed it at #1 with a US gross of $25,353,380, which made up 14.7% of the total US gross.[2]
Apollo 13 box office revenue
Source
Gross (USD)
% Total
All time rank (unadjusted)
US $173,837,933[2] 48.9% 126[2]
Non-US $181,400,000[2] 51.1% N/A
Worldwide $355,237,933[2] 100.0% 140[2]
Reception[edit]
Apollo 13 received very positive reviews from film critics. Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95% based on 81 reviews, with a weighted average score of 8.1/10.[21] At Metacritic, which assigns a normalized 0–100 rating to reviews from mainstream critics, calculated an average score of 77 based on 22 reviews.[22]
Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics."[23] Richard Corliss from Time Magazine highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride."[24] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide."[25] Peter Travers from Rolling Stone Magazine praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film."[26] Movie Room Reviews said "This film is arguably one of the most dramatic and horrendous spaceflight stories ever told".[27]
Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story." According to Maslin, “like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind).”[28]
Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived.[29] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind.[4]
Home media[edit]
A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras.[30] The IMAX version has a 1.66:1 aspect ratio.[31]
In 2006, Apollo 13 was released on HD DVD; on 13 April 2010, it was released on Blu-ray disc, on the 40th anniversary of the Apollo 13 accident (Central Standard Time).[30]
Accolades[edit]
Year
Award
Category
Recipient
Result
Ref.
1996 Academy Awards (1996) Best Film Editing Mike Hill and Daniel Hanley Won [3]
Best Sound Rick Dior, Steve Pederson, Scott Millan, David MacMillan Won
Best Actor in a Supporting Role Ed Harris (lost to Kevin Spacey in Usual Suspects) Nominated
Best Actress in a Supporting Role Kathleen Quinlan (lost to Mira Sorvino Mighty Aphrodite) Nominated
Best Art Direction Michael Corenblith (art director), Merideth Boswell (set decorator) (lost to Restoration) Nominated
Best Original Dramatic Score James Horner (lost to Il Postino) Nominated
Best Picture Brian Grazer (lost to Braveheart) Nominated
Best Visual Effects Robert Legato, Michael Kanfer, Leslie Ekker, Matt Sweeney (lost to Babe) Nominated
Best Adapted Screenplay William Broyles Jr., Al Reinert (lost to Sense & Sensibility) Nominated
American Cinema Editors (Eddies) Best Edited Feature Film Mike Hill, Daniel P. Hanley Nominated
American Society of Cinematographers Outstanding Achievement in Cinematography in Theatrical Releases Dean Cundey Nominated
BAFTA Film Awards Best Production Design Michael Corenblith Won
Outstanding Achievement in Special Visual Effects Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker Won
Best Cinematography Dean Cundey Nominated
Best Editing Mike Hill, Daniel Hanley Nominated
Best Sound David MacMillan, Rick Dior, Scott Millan, Steve Pederson Nominated
Casting Society of America (Artios) Best Casting for Feature Film, Drama Jane Jenkins, Janet Hirshenson Nominated
Chicago Film Critics Association Awards Best Picture Apollo 13 Won
Directors Guild of America Outstanding Directorial Achievement in Motion Pictures Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul Won
Golden Globe Awards Best Supporting Actor – Motion Picture Ed Harris as Gene Kranz Nominated
Best Supporting Actress – Motion Picture Kathleen Quinlan as Marilyn Lovell Nominated
Best Director – Motion Picture Ron Howard Nominated
Best Motion Picture – Drama Apollo 13 Nominated
Heartland Film Festival Studio Crystal Heart Award Jeffrey Kluger Won
Hugo Awards Best Dramatic Presentation Apollo 13 Nominated
MTV Movie Awards Best Male Performance Tom Hanks as Jim Lovell Nominated
Best Movie Apollo 13 Nominated
PGA Awards Motion Picture Producer of the Year Award Brian Grazer, Todd Hallowell Won
Saturn Awards Best Action / Adventure / Thriller Film Apollo 13 Nominated
Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Ed Harris as Gene Kranz Won
Outstanding Performance by a Cast Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan and Gary Sinise Won
Space Foundation's Douglas S. Morrow Public Outreach Award Best Family Feature – Drama Apollo 13 Won [32]
Writers Guild of America Awards Best Screenplay Adapted from Another Medium William Broyles Jr., Al Reinert Nominated
Young Artist Awards Best Family Feature – Drama Apollo 13 Nominated
2001 American Film Institute AFI's 100 Years... 100 Thrills Apollo 13 Nominated
2005 American Film Institute AFI's 100 Years... 100 Movie Quotes "Houston, we have a problem." (#50) Won [33]
2006 American Film Institute AFI's 100 Years... 100 Cheers Apollo 13 (#12) Won [33]
Technical and historical accuracy[edit]
The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, it was 93 seconds later that the crew heard the bang.[34]
The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem." (This quote was voted #50 on the list "AFI's 100 Years... 100 Movie Quotes".) According to the mission transcript, the actual words uttered by Jack Swigert were "I believe we've had a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please." Jim Lovell then repeated, "Houston, we've had a problem."[35]
One other incorrect dialogue is after the reentry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again". In the actual reentry, the Command Module was finally acquired by a Sikorsky SH-3D Sea King recovery aircraft which then relayed communications to Mission Control. Capcom and fellow astronaut Joe Kerwin (not Mattingly, who serves as Capcom in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over." Jack Swigert, not Lovell, replied "Okay, Joe," and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment.[36]
The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an email by Apollo 13 Flight Dynamics Officer Jerry Bostick:
"As far as the expression 'Failure is not an option', you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on 'What are the people in Mission Control really like?' One of their questions was 'Weren't there times when everybody, or at least a few people, just panicked?' My answer was 'No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution.' I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, 'That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it.' Of course, they gave it to the Kranz character, and the rest is history."[37]
A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both the original and 10th-anniversary editions,[30] mentions several inaccuracies included in the film, all done for reasons of artistic license:
"We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering."
—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere[38]
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.[5]
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission." Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module pilot and that no one was really worried about whether he was up to the job,[38] but he admitted that it made a nice sub-plot for the film. What Lovell and Haise were really worried about was rendezvousing with Swigert as they left the Moon.[5]
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.[5]
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur,[38] but the drain trap caught the ring and his wife was able to retrieve it.[5] Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 blasted off.[38]
See also[edit]
From the Earth to the Moon, a docudrama mini-series based around the Apollo missions.
Gravity, a 2013 film about astronauts escaping from orbit
Marooned, a 1969 film directed by John Sturges, about astronauts marooned in an Apollo Command/Service Module.
Moon-Mdf-2005.jpgMoon portal
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References[edit]
This article incorporates public domain material from websites or documents of the National Aeronautics and Space Administration.
1.Jump up ^ "CNN Showbiz News:Apollo 13". CNN. Retrieved 9 April 2009.
2.^ Jump up to: a b c d e f g h i "Apollo 13 (1995)". Box Office Mojo. Retrieved 9 April 2009.
3.^ Jump up to: a b "Academy Awards, USA: 1996". awardsdatabase.oscars.org. Archived from the original on 27 February 2009. Retrieved 8 April 2009.
4.^ Jump up to: a b c d e f "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
5.^ Jump up to: a b c d e f g h i j k Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features:Commentary track by Jim and Marilyn Lovell (DVD). Universal Studios. 19 April 2005.
6.Jump up ^ "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
7.Jump up ^ "Film Casting that Might Have Been for John Travolta and Richard Gere". Retrieved 1 January 2012.
8.Jump up ^ The character in the film is a composite of protocol officer Bob McMurrey, who relayed the request for permission to erect a TV tower to Marilyn Lovell, and an unnamed OPA staffer who made the request on the phone, to whom she personally denied it as Quinlan did to "Henry" in the film. "Henry" is also seen performing other OPA functions, such as conducting a press conference. Kluger, Jeffrey; Jim Lovell (July 1995). Lost Moon: The Perilous Voyage of Apollo 13 (First Pocket Books printing ed.). New York: Pocket Books. pp. 118, 209–210, 387. ISBN 0-671-53464-5.
9.Jump up ^ "Repertoire Of Horrors: The Films Of Roger Corman". Retrieved 1 January 2012.
10.^ Jump up to: a b c Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features:Commentary track by Ron Howard (DVD). Universal Studios. 19 April 2005.
11.Jump up ^ "Brad Pitt - A Quick Overview". Retrieved 1 January 2012.
12.^ Jump up to: a b c d e Apollo 13: 2-Disc Anniversary Edition (Disc 1), Production Notes (DVD). Universal Studios. 19 March 2005.
13.^ Jump up to: a b c d "Production Notes (Press Release)". IMAX. Retrieved 9 April 2009.
14.Jump up ^ "Ron Howard Weightless Again Over Apollo 13's DGA Win". Retrieved 16 December 2011.
15.Jump up ^ Apollo 13 at AllMusic
16.Jump up ^ Filmtracks review
17.Jump up ^ Soundtrack.Net review
18.Jump up ^ Tracksounds review
19.Jump up ^ Apollo 13 soundtrack review at Filmtracks. Retrieved 24 February 2011.
20.Jump up ^ "History of IMAX". Retrieved 11 February 2011.
21.Jump up ^ "Rotten Tomatoes – Apollo 13". Rotten Tomatoes. Flixster. Archived from the original on 20 August 2010. Retrieved 24 August 2010.
22.Jump up ^ "Apollo 13 Reviews". Metacritic. CBS Interactive. Retrieved 25 September 2011.
23.Jump up ^ "Apollo 13: Roger Ebert". Chicago Suntimes. Retrieved 11 April 2009.
24.Jump up ^ "Apollo 13:Review". Time Magazine. 3 July 1995. Retrieved 11 April 2009.[dead link]
25.Jump up ^ Guthmann, Edward. "Apollo 13 Review: Story heroic, but it just doesn't fly.". San Francisco Chronicle. Retrieved 11 April 2009.
26.Jump up ^ "Apollo 13 Review:Rolling Stone". Rolling Stone Magazine. Retrieved 11 April 2009.
27.Jump up ^ "Movie Review: "Apollo 13"". Movie Room Reviewsaccessdate=February 26, 2013.
28.Jump up ^ Maslin, Janet (30 June 1995). "Apollo 13, a Movie for the Fourth of July". NYT Critics' Pick. The New York Times. Retrieved 30 September 2011.
29.Jump up ^ Howard, Ron (8 December 2008). "A conversation about the film "Frost/Nixon"". Charlie Rose show. Archived from the original on 11 December 2008. Retrieved 8 December 2008.
30.^ Jump up to: a b c "Apollo 13 Blu Ray Release". Universal Studios. Retrieved 29 September 2011.[not in citation given]
31.Jump up ^ "Apollo 13 (DVD - 2005)". Lethbridge Public Library. Retrieved 30 December 2011.
32.Jump up ^ "Symposium Awards". National Space Symposium. Retrieved 26 April 2009.[dead link]
33.^ Jump up to: a b "AFI's 100 years...100 quotes". AFI. Archived from the original on 26 March 2009. Retrieved 13 April 2009.
34.Jump up ^ Apollo 13 Timeline, Apollo by the Numbers: A Statistical Reference, NASA History Series, Office of Policy and Plans, Richard W. Orloff, Sept. 2004. See "Oxygen tank #2 fans on. Stabilization control system electrical disturbance indicated a power transient. 055:53:20."
35.Jump up ^ "Page 167 of Apollo 13's transcript on Spacelog". Retrieved 10 June 2011.
36.Jump up ^ "Apollo 13's reentry transcript on Spacelog".
37.Jump up ^ "ORIGIN OF APOLLO 13 QUOTE: "FAILURE IS NOT AN OPTION."". SPACEACTS.COM. Retrieved 4 April 2010.
38.^ Jump up to: a b c d William, Lena (19 July 1995). "In Space, No Room For Fear". The New York Times. Retrieved 30 September 2011.
External links[edit]
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From the Earth to the Moon (TV miniseries)
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This article is about the 1998 HBO miniseries. For the 1865 Jules Verne novel, see From the Earth to the Moon. For the 1958 film adaptation of the novel, see From the Earth to the Moon (film).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011)
From the Earth to the Moon
From the Earth to the Moon Title.jpg
Title caption of From the Earth to the Moon
Genre
Docudrama
Theme music composer
Michael Kamen
Composer(s)
Michael Kamen
Mark Mancina
Mark Isham
Mason Daring
James Newton Howard
Brad Fiedel
Jeff Beal
Marc Shaiman
Country of origin
United States
Original language(s)
English
No. of episodes
12
Production
Executive producer(s)
Tom Hanks
Producer(s)
Brian Grazer
Ron Howard
Michael Bostick
Running time
60 minutes
Broadcast
Original channel
Home Box Office
Original run
April 5, 1998 – May 10, 1998
From the Earth to the Moon is a twelve-part HBO television miniseries (1998) co-produced by Ron Howard, Brian Grazer, Tom Hanks, and Michael Bostick, telling the story of the landmark Apollo expeditions to the Moon during the 1960s and early 1970s in docudrama format. Largely based on Andrew Chaikin's book, A Man on the Moon, the series is known for its accurate telling of the story of Apollo and the outstanding special effects under visual director Ernest D. Farino.
The series takes its title from, but is not based upon, the famous Jules Verne science fiction novel From the Earth to the Moon. Hanks appears in every episode, introducing each of the first eleven. The last episode is represented in a pseudo-documentary format narrated by Blythe Danner, which is interspersed with a reenactment of the making of Georges Méliès' film Le Voyage dans la Lune. Hanks narrates and appears in these scenes as Méliès' assistant.
Contents [hide]
1 Cast
2 Episodes
3 Integration with existing films
4 Production information
5 Awards
6 References
7 External links
Cast[edit]
Main article: List of From the Earth to the Moon characters
The miniseries has a fairly large cast, driven in part by the fact that it portrays 30 of the 32 astronauts who flew (or were preparing to fly) the 12 missions of the Apollo program. (The only two Apollo astronauts not portrayed by credited actors are Apollo 13 Command Module pilot Jack Swigert, and Apollo 17 Command Module pilot Ronald Evans, who had a brief appearance in the liftoff scene of Apollo 17 in the final episode.) Members of many of the astronauts' families, and other NASA and non-NASA personnel, are also portrayed.
Several fictional (or fictionalized) characters are also included, notably television newscaster Emmett Seaborn (Lane Smith) who appears in 9 of the 12 episodes.
Episodes[edit]
The twelve episodes, each directed by different individuals, use a variety of viewpoints and themes, while sequentially covering the Mercury, Gemini and Apollo programs. Lane Smith portrays Emmett Seaborn, a seasoned reporter for a fictional television network who covers the U.S. space program from its earliest days, providing continuity for most of the episodes.
Number
Title
Directed by
Written by
Original air date
01
"Can We Do This?" Tom Hanks Steven Katz April 5, 1998
Covers the early years of the United States' "space race" with the Soviet Union, including the creation of NASA and the decision to send men to the Moon. Provides an overview of the Mercury and Gemini programs, concentrating on reconstructions of Alan Shepard's pioneering Freedom 7 Mercury flight; Edward H. White's first US spacewalk on Gemini 4, the near-disastrous in-flight failure during Neil Armstrong's and David Scott's Gemini 8 mission; and the successful completion of Gemini with Buzz Aldrin's perfection of extravehicular activity on Gemini 12.
02
"Apollo One" David Frankel Graham Yost April 5, 1998
Portrays the tragedy of the Apollo 1 fire from the perspective of its subsequent investigation by NASA and the US Congress. Its effects on key individuals are shown, including Harrison Storms of North American Aviation, Joseph Shea of NASA, astronaut Frank Borman charged with supporting NASA's investigation, and the widows of Gus Grissom, Ed White and Roger Chaffee.
03
"We Have Cleared the Tower" Lili Fini Zanuck Remi Aubuchon April 12, 1998
Portrays the Apollo program's recovery to manned flight after the Apollo One tragedy, from the perspective of a fictional documentary team covering the flight of Apollo 7. This flight is commanded by strong-willed Mercury veteran Wally Schirra, who is focused on safety after the death of his colleague Grissom. Pad Leader Guenter Wendt, another zealous guardian of astronaut safety, is featured by the documentary team.
04
"1968" David Frankel Al Reinert April 12, 1998
Depicts Apollo 8's historic first manned lunar flight, as the redemption of an otherwise strife-torn year filled with political assassinatons, war, and unrest. Documentary footage of the turbulent political events are interspersed with the drama, which is mostly filmed in black and white except for scenes aboard the spacecraft and some color newsreel footage. The fears of mission commander Frank Borman's wife Susan of the possibility of her husband dying in a spacecraft trapped in lunar orbit are highlighted. Includes the Apollo 8 Genesis reading.
05
"Spider" Graham Yost Andy Wolk April 19, 1998
Returns to 1961, and NASA engineer John Houbolt's lonely fight to convince management that the easiest way to land men on the Moon will be to use a separate landing craft. It then traces the design and development of the Lunar Module by a team led by Grumman engineer Tom Kelly. Covers the selection and training of the first crew selected to fly it, Jim McDivitt and Rusty Schweickart (along with Command Module pilot David Scott), and culminates with their first flight of Spider in Earth orbit on Apollo 9. The Apollo 10 lunar "dress rehearsal" is briefly mentioned.
06
"Mare Tranquilitatis" Frank Marshall Al Reinert
Graham Yost
Tom Hanks April 19, 1998
A dramatization of the Apollo 11 first Moon landing in Mare Tranquilitatis ("Sea of Tranquility") is interspersed with flashback sequences of Emmett Seaborn's television interview with the crew of Neil Armstrong, Lunar Module pilot Buzz Aldrin, and Command Module pilot Michael Collins.
07
"That's All There Is" Jon Turteltaub Paul McCudden
Erik Bork
Tom Hanks April 26, 1998
The story of the Apollo 12 second lunar landing mission is told by Lunar Module Pilot Alan Bean. Bean, the last member of NASA Astronaut Group 3 to fly in space, narrates his experience with the tightly-knit, all-Navy crew commanded by Gemini veteran Pete Conrad, and accepts with humor and grace his responsibility for the failure of the first color TV camera on the lunar surface, and for almost fracturing his own skull by failing to properly secure the Command Module's TV camera before splashdown.
08
"We Interrupt This Program" David Frankel Peter Osterland
Amy Brooke Baker April 26, 1998
This episode covers the perilous flight of Apollo 13 entirely from the ground point of view; the astronauts are only heard on radio. Veteran TV spaceflight reporter Emmett Seaborn (Lane Smith) is summoned to broadcast the breaking news of the in-flight failure, as young reporter Brett Hutchings (Jay Mohr) is pulled off of sports to help with the coverage. As the crisis unfolds, Seaborn finds himself at odds with Hutchings' style of sensationalizing its impact on the astronauts' families, and criticizing NASA. Seaborn starts to feel he is being marginalized when the network decides to leave Hutchings on location in Houston, while sending him back to headquarters to provide only background coverage. The last straw falls when, after the successful recovery of the astronauts, Hutchings horns in on his traditional post-flight interview with flight controller Gene Kranz. Seaborn leaves dejectedly, not to be seen again until the flight of Apollo 17 in the final episode.
09
"For Miles and Miles" Gary Fleder Erik Bork May 3, 1998
In 1964, while riding high on his fame as America's first man in space and his expected command of the first Gemini mission, Alan Shepard is suddenly struck with Ménière's disease, characterized by vertigo and nausea. Flight operations director Deke Slayton must ground him, but offers him the job of chief astronaut, effectively making Shepard Slayton's assistant as supervisor of all the astronauts. A few years later, a surgeon tries an experimental surgery which cures Shepard's symptoms, and he is returned to the flight rotation, commanding Apollo 14 in early 1971, which accomplishes Apollo 13's failed Fra Mauro landing. Shepard smuggles a golf ball and six-iron club head on board, which he fastens to a soil-collecting tool handle and uses to hit the ball "for miles and miles".
10
"Galileo Was Right" David Carson Jeffrey Fiskin
Remi Aubuchon May 3, 1998
Scientist astronaut Harrison "Jack" Schmitt, a geologist, persuades his mentor, professor Lee Silver, to train the Apollo astronauts in selecting appropriate rock samples to collect through field experience, rather than the boring classroom lectures NASA has been using. Silver takes the four Apollo 15 prime and backup landing crew members (David Scott, James Irwin, Richard F. Gordon, Jr., and Schmitt) to the southwestern desert, while lunar geologist Farouk El-Baz trains the Command Module pilots (Alfred Worden and Vance Brand) in high-altitude recognition of geological features using airplane flights over Hawaii. Schmitt is disappointed to learn his own Apollo 18 flight will be cancelled, but he still believes the training of the other astronauts is vital. It pays off when Scott and Irwin find the "Genesis Rock", originally believed to come from the Moon's primordial crust. The title refers to Scott's reproduction of an experiment proving Galileo's hypothesis that gravity will cause bodies of differing masses to fall at the same rate in a vacuum, by dropping a hammer and a feather.
11
"The Original Wives' Club" Sally Field Karen Janszen
Tom Hanks
Erik Bork May 10, 1998
Shows the Apollo program from the point of view of the nine wives of NASA's second group of astronauts, from 1962 beyond the end of the program. The burdens placed on them include maintaining a home while presenting a positive image to the news media, shielding their husbands from any family concerns which could affect their position in the flight rotation or ability to return to Earth safely, and comforting each other in the face of tragedy as Elliot See and Ed White are killed. The episode is anchored by the Apollo 16 mission, during which recently married Ken Mattingly loses his wedding ring in the Command Module, and Lunar Module pilot Charles Duke finds it while Mattingly is performing a walk in deep space.
12
"Le Voyage dans la Lune" Jonathan Mostow Tom Hanks May 10, 1998
The story of the final lunar mission, Apollo 17, is told as a pseudo-documentary set several decades after the fact. Simulated interviews of various characters such as Emmett Seaborn and flight director Christopher C. Kraft, Jr., in old-age makeup, are included. The documentary is interspersed with the story of early French film maker Georges Méliès' creation of his vision of a trip to the Moon, the 1902 Le Voyage dans la Lune. Scenes from the original film are merged with the recreation of its filming.
Integration with existing films[edit]
The miniseries, concentrating on the Apollo space program, was produced with an intent not to repeat other dramatic portrayals of events of the space race.
Project Mercury, which was portrayed in the film The Right Stuff, was briefly summarized in the first episode. Miniseries producers Hanks, Howard and Grazer, who had previously produced Apollo 13, deliberately shot the episode We Interrupt This Program from the perspective of the media covering that flight, as the film had already covered the story from the point of view of the crew and the mission control team.
Production information[edit]
Many of the actors had opportunity to interact and form friendships with the real life astronauts they were portraying. Brett Cullen, who played Apollo 9 Command Module pilot and Apollo 15 commander David Scott, was invited to the Scott family home each time an episode he appeared in was first televised.
Two short clips from the final scenes of Apollo 13 were used in "That's All There Is"; a splashdown sequence, and a view of the recovery ship USS Iwo Jima (portrayed by USS New Orleans).
The original series was shot in 1.33:1 aspect ratio, intended to be viewed on standard television sets. The series was released on DVD as a 4-disc set. With the proliferation of widescreen flat-panel TV sets the series was remastered in 1.78:1 aspect ratio and rereleased in 2005 as a 5-disc DVD box set. New framing causes loss of top and bottom parts of the frames from the original movie. This is not always noticeable because of careful transfer process, but in some scenes important details are lost. For example, in Disc 1, when the Gemini 8 / Agena assembly is tumbling around the sky with a stuck thruster, the thruster is not visible in the new widescreen version as it is cut off by the top of the frame. Some captions have also been compromised.[1]
To simulate Moon gravity, weather balloons filled with helium were attached to the backs of the actors playing the astronauts in the Lunar extra-vehicular activity scenes, effectively reducing their Earth-bound weights to that of on the Moon.
The score of "Spider" prominently features an imitation of the main title theme from the 1963 World War II movie The Great Escape, and Tom Kelly jokes about having a crew digging a tunnel out of the Grumman plant. The episode also featured a real Lunar Module (LM-13), which had been built for the Apollo 18 mission but was never used due to budget cuts.
Parts of the mini-series were filmed at the Disney-MGM Studios (now Disney's Hollywood Studios) in Orlando, Florida.
Scenes of the moonwalks were shot inside the blimp hangars on the former Marine base in Tustin, California. Approximately half the area inside was converted to the moon's surface with the reaming used for production trailers.
Blythe Danner, who narrated the final episode, had previously worked on location at the Johnson Space Center for the 1976 movie Futureworld, filmed in the same buildings where Apollo moonwalkers had recently trained.[2][3]
Awards[edit]
The series won 3 Emmy awards for Outstanding Miniseries, Outstanding Casting for a Miniseries or a Movie and Outstanding Hairstyling for a Miniseries, Movie or a Special. a 1999 Golden Globe Award for Best Mini-Series or Motion Picture Made for TV.
References[edit]
1.Jump up ^ "From the Earth to the Moon: 2005 Signature Series DVD Box set, user's comments".
2.Jump up ^ Blythe Danner playing an astronaut in Futureworld, filmed on location at JSC
3.Jump up ^ Apollo test hardware featured in Futureworld
External links[edit]
From the Earth to the Moon at the Internet Movie Database
From the Earth to the Moon at TV.com
From the Earth to the Moon - Featurette (Making Of the mini-series, on YouTube)
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Primetime Emmy Award for Outstanding Miniseries
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Golden Globe Award for Best Miniseries or Television Film
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TCA Award for Program of the Year
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Tom Hanks
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Works produced by Brian Grazer
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Categories: American television miniseries
HBO network shows
1990s American television series
1998 American television series debuts
1998 American television series endings
Television programs based on books
Television series based on actual events
Television series about the Apollo program
1998 in American television
Primetime Emmy Award for Outstanding Miniseries winners
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Marooned (film)
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Marooned
Marooned.jpg
Directed by
John Sturges
Produced by
M. J. Frankovich
Frank Capra Jr.
Screenplay by
Mayo Simon
Based on
Marooned (novel)
by Martin Caidin
Starring
Gregory Peck
Richard Crenna
David Janssen
James Franciscus
Gene Hackman
Lee Grant
Mariette Hartley
Nancy Kovack
Cinematography
Daniel L. Fapp
Editing by
Walter Thompson
Distributed by
Columbia Pictures
Release dates
November 10, 1969
Running time
134 minutes
Country
United States
Language
English
Budget
$8-10 million[1]
Box office
$4.1 million (USA / Canada rentals)[1][2]
Marooned is a 1969 Eastmancolor American film directed by John Sturges and starring Gregory Peck, Richard Crenna, David Janssen, James Franciscus, and Gene Hackman.[3]
The film was released less than four months after the Apollo 11 moon landing and was tied to the public fascination with the event. It won an Academy Award for Visual Effects.
It was based on the 1964 novel Marooned by Martin Caidin; however, while the original novel was based on the single-pilot Mercury program, the film depicted an Apollo Command/Service Module with three astronauts and a space station resembling Skylab. Caidin acted as technical adviser and updated the novel, incorporating appropriate material from the original version.
Contents [hide]
1 Plot
2 Cast
3 Technical and artistic details
4 Legacy
5 See also
6 References
7 External links
Plot[edit]
Three American astronauts — commander Jim Pruett (Richard Crenna), "Buzz" Lloyd (Gene Hackman), and Clayton "Stoney" Stone (James Franciscus) — are the first crew of an experimental space station on an extended duration mission. While returning to Earth, the main engine on the Apollo spacecraft Ironman One fails. Mission Control determines that Ironman does not have enough backup thruster capability to initiate atmospheric reentry, or to re-dock with the station and wait for rescue. The crew is marooned in orbit.
NASA debates whether a rescue flight can reach the crew before their oxygen runs out in approximately two days. There are no backup launch vehicles or rescue systems available at Kennedy Space Center and NASA director Charles Keith (Peck) opposes using an experimental Air Force X-RV lifting body that would be launched on a Titan IIIC booster; neither the spacecraft nor the booster is man-rated, and there is insufficient time to put a new manned NASA mission together. Even though a booster is already on the way to nearby Cape Canaveral Air Force Station for an already-scheduled Air Force launch, many hundreds of hours of preparation, assembly, and testing would be necessary.
Ted Dougherty (David Janssen), the Chief Astronaut, opposes Keith and demands that something be done. The president agrees with Dougherty and tells Keith that failing to try a rescue mission will kill public support for the manned space program. The President tells Keith that money is no factor; "whatever you need, you've got it".
While the astronauts' wives (Lee Grant, Mariette Hartley, and Nancy Kovack) agonize over the fates of their husbands, all normal checklist procedures are bypassed to prepare the X-RV for launch. A hurricane headed for the launch area threatens to cancel the mission, scrubbing the final attempt to launch in time to save all three Ironman astronauts. However, the eye of the storm passes over the Cape 90 minutes later during a launch window, permitting a launch with Dougherty aboard in time to reach the ship while at least some of the crew survives.
Insufficient oxygen remains for all three astronauts to survive until Dougherty arrives. There is possibly enough for two. Pruett and his crew then debate what to do. Stone tries to reason that they can somehow survive by taking sleeping pills or otherwise reducing oxygen consumption. Lloyd offers to leave since he is "using up most of the oxygen anyway", but Pruett overrules him. He orders everyone into their spacesuits then leaves the ship, ostensibly to attempt repairs (although this option has been repeatedly dismissed as impractical).
When Lloyd sees Pruett going out the hatch, he attempts to follow. Before he can reach him, Pruett's space suit has been torn on a metal protrusion and oxygen rapidly escapes, leading to Pruett's death by anoxia. (It is not made explicit in the movie whether Pruett's death is intentional or not. While he had discussed the oxygen supply issue with the other astronauts, he shows clear alarm and shock when he sees the tear in his suit.) Lloyd looks on as Pruett's body drifts away into space. With Pruett gone, Stone takes command.
A Soviet spacecraft suddenly appears and its cosmonaut tries to make contact. It can do nothing but deliver oxygen since the Soviet ship is too small to carry additional passengers. Stone and Lloyd, suffering oxygen deprivation, cannot understand the cosmonaut's gestures or obey Keith's orders.
Dougherty arrives and he and the cosmonaut transfer the two surviving and mentally dazed Ironman astronauts into the rescue ship. Both the Soviet ship and the X-RV return to Earth, and the final scene fades out with a view of the abandoned Ironman One adrift in orbit.
Cast[edit]
Gregory Peck as Charles Keith
Richard Crenna as Jim Pruett
David Janssen as Ted Dougherty
James Franciscus as Clayton Stone
Gene Hackman as Buzz Lloyd
Lee Grant as Celia Pruett
Nancy Kovack as Teresa Stone
Mariette Hartley as Betty Lloyd
Scott Brady as Public Affairs Officer
Frank Marth as Air Force Systems Director
Craig Huebing as Flight Director
John Carter as Flight Surgeon
Vincent Van Lynn as Aerospace Journalist
George Gaynes as Mission Director
Tom Stewart as Houston Cap Com
Technical and artistic details[edit]
Author of the book Martin Caidin makes a brief appearance in the film as a reporter describing the arrival of the X-RV at Cape Canaveral.
One way that the filmmakers tried to enhance the realism of the film was through the use of such items as the actual Plantronics headsets worn by the actors in the spacecraft, as well as authentic replicas of actual facilities such as the Mission Operations Control Room (MOCR) at Johnson Space Center in Houston and the Air Force Launch Control Center (AFLCC) at Cape Canaveral AFS. While most films strive to avoid "incidental" sounds, the headsets picked up the actors' breathing and other sounds.
The names of the film astronauts (Jim, Buzz and Stoney) were chosen out of the blue, not to reflect on the real astronauts with those names.
"Deke" Slayton
Ted Dougherty closely resembled real-life Chief Astronaut "Deke" Slayton, both in character and physical appearance. While Slayton, one of the Mercury Seven, had been grounded due to suspected heart problems, the film put him into space as the pilot of the rescue ship. David Janssen, who was a pilot himself, was selected in part due to his resemblance to Slayton.[citation needed]
In 1975, Slayton was medically cleared, and made his only space flight on the Apollo-Soyuz Test Project, which may have been partially inspired by Marooned.[4][5] The agreement between the U.S. and U.S.S.R. to conduct the ASTP was signed in Moscow in April, 1971.
The MOCR and AFLCC sets were built by Philco-Ford Corporation, builders of the actual facilities. Many of the technical personnel seen in those sets were Philco-Ford technicians.
Astronaut Jim Lovell and his wife Marilyn Lovell referred to the film years later in a special interview. Their recollection is shared as a feature on the DVD release of Apollo 13, a 1995 film directed by Ron Howard. The couple describes a 1969 film (never specifically named) in which an astronaut in an Apollo spacecraft "named Jim" faces mortal peril. The couple says the film gave Lovell's wife nightmares. Her experience inspired a dream sequence in Apollo 13 that recalls the 1960s-vintage cinematic look of Marooned.
The Apollo Command Module used in making the film was an actual "boilerplate" version of the "Block I" Apollo spacecraft (no Block I ever flew with a crew aboard). While the Block II series had a means of rapidly blowing the hatch open, the Block I did not, and the interior set was constructed using the boilerplate as a model. To blow the hatch in the movie, Buzz pulls on a handle attached to a hinge.
Several scenes show various people communicating directly with the astronauts in space. In actuality, only CAPCOM (an astronaut) and astronauts' wives would have been permitted to communicate with the spacecraft, all others in MOCR and AFLCC would only be able to communicate on the internal network or to their respective backroom teams.[6]
Conspicuously absent from the film is any person resembling a flight director. In real life, "Flight" is in charge of a space mission during that director's shift. The filmmakers felt that adding a flight director would distract from the interpersonal dynamic between Keith and Dougherty.
While flying the Manned Maneuvering Unit, Lloyd's control inputs not only take place after the movements begin, but are also the opposite of what they should be, to match the preflight test shown a moment before.
Legacy[edit]
For the 1969 Academy Awards held in 1970, the presenter for the best visual effects award was Raquel Welch. There were two nominees (Krakatoa: East of Java was the other). Before announcing the nominees, Welch said "I am here for visual effects and I have two of them."[7] The film was also nominated for cinematography and best sound (Les Fresholtz, Arthur Piantadosi).[8]
The 1970 Mad magazine satire of Marooned, called Moroned, described story events in actual film time. NASA officials are pressed to launch the X-RT — "the Experimental Rescue Thing" — in "about an hour…maybe, tops, an hour and a half". One astronaut sacrifices his life to escape the film critics.
During the preliminary discussions for the Apollo-Soyuz Test Project the film was discussed as a means of disarming Soviet suspicion.[9] One purpose of the mission was to develop and test capabilities for international space rescue.
The film and the Apollo 13 disaster that occurred soon after its release led to the development of rescue options for Skylab crews. The Skylab Rescue space vehicle, designed by technicians at North American Rockwell, modified a production Apollo Command Module to seat more than three astronauts. During Skylab flights the rescue spacecraft and its Saturn 1B booster were held in a state of readiness. An equipment failure aboard Skylab 3 with the Apollo CSM thrusters almost led to Skylab Rescue's launch.
In 1991, Marooned was redistributed under the name Space Travelers by Film Ventures International, an ultra-low-budget production company that prepared quickie television and video releases of films that were in the public domain or could be purchased inexpensively. As Space Travelers, Marooned was mocked on a 1992 episode of Mystery Science Theater 3000, becoming the only Academy Award winning film ever to receive the MST3K treatment.
The second launch sequence served as the speech base for the comm chatter in the Disney rollercoaster Space Mountain.[citation needed]
Alfonso Cuarón, director of 2013's Gravity, told Wired magazine, "I watched the Gregory Peck movie Marooned over and over as a kid."[10]
See also[edit]
Portal icon Film portal
Portal icon Space portal
Portal icon Spaceflight portal
Portal icon USA portal
Portal icon USSR portal
Apollo 13, a 1995 film dramatizing the Apollo 13 incident
Gravity, a 2013 3D science-fiction space drama film
Love, a 2011 film about being stranded in space
Survival film, about the film genre, with a list of related films
List of films featuring space stations
References[edit]
1.^ Jump up to: a b Glenn Lovell, Escape Artist: The Life and Films of John Sturges, University of Wisconsin Press, 2008, p 268-273
2.Jump up ^ "Big Rental Films of 1970", Variety, 6 January 1971, p 11
3.Jump up ^ The New York Times
4.Jump up ^ Shepard, Alan; Slayton, Deke; Barbree, Jay; Benedict Howard, MoonShot: The Inside Story of the Apollo Project
5.Jump up ^ Philip Handler to Ezell, 9 Oct. 1974.
6.Jump up ^ Arstechnica.com
7.Jump up ^ TV.com
8.Jump up ^ "The 42nd Academy Awards (1970) Nominees and Winners". Oscars.org. Retrieved 2011-08-26.
9.Jump up ^ Edward Clinton Ezell & Linda Neuman Ezell, The Partnership: A History of the Apollo-Soyuz Test Project
10.Jump up ^ http://www.wired.com/underwire/2013/10/center_of_gravity/
External links[edit]
Marooned at the Internet Movie Database
Marooned at the TCM Movie Database
Marooned at allmovie
Marooned at the American Film Institute Catalog
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Films directed by John Sturges
1940s
The Man Who Dared (1946) ·
Shadowed (1946) ·
Alias Mr. Twilight (1946) ·
For the Love of Rusty (1947) ·
Keeper of the Bees (1947) ·
The Sign of the Ram (1948) ·
Best Man Wins (1948) ·
The Walking Hills (1949)
1950s
The Capture (1950) ·
Mystery Street (1950) ·
Right Cross (1950) ·
The Magnificent Yankee (1950) ·
Kind Lady (1951) ·
The People Against O'Hara (1951) ·
It's a Big Country (1951) ·
The Girl in White (1952) ·
Jeopardy (1953) ·
Fast Company (1953) ·
Escape from Fort Bravo (1953) ·
Bad Day at Black Rock (1955) ·
Underwater! (1955) ·
The Scarlet Coat (1955) ·
Backlash (1956) ·
Gunfight at the O.K. Corral (1957) ·
The Law and Jake Wade (1958) ·
The Old Man and the Sea (1958) ·
Last Train from Gun Hill (1959) ·
Never So Few (1959)
1960s
The Magnificent Seven (1960) ·
By Love Possessed (1961) ·
Sergeants 3 (1962) ·
A Girl Named Tamiko (1962) ·
The Great Escape (1963) ·
The Satan Bug (1965) ·
The Hallelujah Trail (1965) ·
Hour of the Gun (1967) ·
Ice Station Zebra (1968) ·
Marooned (1969)
1970s
Joe Kidd (1972) ·
Chino (1973) ·
McQ (1974) ·
The Eagle Has Landed (1976)
Categories: 1969 films
English-language films
American films
Films that won the Best Visual Effects Academy Award
1960s science fiction films
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Films featured in Mystery Science Theater 3000 episodes
Films directed by John Sturges
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Love (2011 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Love
Love 2011 poster
Theatrical release poster
Directed by
William Eubank
Produced by
Angels & Airwaves
Tom DeLonge
Mark Eaton
Daniel Figur
Vertel Scott
Nate Kolbeck
Written by
William Eubank
Starring
Gunner Wright
Music by
Angels & Airwaves
Cinematography
William Eubank
Editing by
Brian Berdan, A.C.E.
Scott Chestnut
Studio
New Dog Media
Griffin Interplanetary Studios (vfx)
Five VFX (vfx)
Zoic Studios (vfx)
Company 3 (post)
Distributed by
National CineMedia (theatres), RED/Sony (home media)
Release dates
February 2, 2011 (SBIFF)
August 10, 2011 (United States)
November 1, 2011 (International)
Running time
86 minutes
Country
United States
Language
English
Budget
$500,000[1]
Box office
$1,495,102
Love is a 2011 science fiction drama film produced and scored by the alternative rock band Angels & Airwaves. The film is the directorial debut of filmmaker William Eubank. The film's world-premiere took place on February 2, 2011 at the 26th Annual Santa Barbara International Film Festival and the film was later featured in the Seattle International Film Festival, FanTasia 2011, and a number of other festivals around the world. The film was screened in 460 theatres across the United States on August 10, 2011, in the Love Live event.[2]
Love portrays the personal-psychological effects of isolation and loneliness when an astronaut becomes stranded in space and through this, emphasizes the importance of human connection and love. Additionally, it touches on the fragility of humanity's existence (explored through a dying Earth-apocalyptic doomsday scenario) inspired by the cautions of Carl Sagan in Pale Blue Dot and considers the importance of memories and stories as humanity's legacy.[3]
Contents [hide]
1 Synopsis
2 Production
3 Release 3.1 Festival circuit
3.2 Limited release
3.3 DVD
4 Reception
5 See also
6 References
7 External links
Synopsis[edit]
During an 1864 battle of the American Civil War, a lone Union soldier, Captain Lee Briggs (Bradley Horne), is dispatched on a mission to investigate a mysterious object reported to Union forces. 175 years later, in the year 2039, United States Astronaut Lee Miller (Gunner Wright) is sent to the International Space Station as a one-man skeleton crew to examine if it is safe for use and to perform necessary modifications after it had been abandoned two decades earlier for reasons unknown. Shortly after arriving on board, tumultuous events break out on Earth, eventually resulting in Miller losing contact with CAPCOM and finding himself stranded in orbit alone, forced to helplessly watch events on Earth from portholes 200 miles above his home planet. Miller struggles to maintain his sanity while in isolation by interacting with Polaroid pictures of former ISS crewmembers left aboard the ship. When the station has some power glitches, Miller journeys into an unpressurised module of the space station to perform repairs and discovers the 1864 journal of Briggs. Miller reads Brigg's account of the war and becomes enthralled by the mysterious object he is searching for, not realizing he will soon become more familiar with the very same object, and not by accident. Six years after losing contact with CAPCOM and with a failing O2 system inside the ISS, Miller puts on a space suit and ventures into space heading for earth, deciding that it would be easier for him to do this than slowly suffocate to death on board the ISS. He finds, however, that he is unable to go through with his suicide.
Miller is then seen still aboard the ISS, presumably much later: his hair has grown extremely long, and he is extensively tattooed. The cramped quarters of the space station have become a rat's nest symbolic of his diminished sanity. He then seems to be contacted from outside the ISS, and to receive instructions to dock and transfer over. He does so, and seems to arrive in a giant uninhabited structure of distinctly human making. It is unclear whether this is true or imagined.
Miller wanders around until he happens upon a server mainframe where he finds a book titled "'A Love Story' As Told by 'You'". Inside this book, he finds pictures of Captain Lee Briggs with his discovery, a gigantic cube-like alien object that may have helped advance Human society. In the index of the book Miller finds a reference to himself and types it into the computer prompt. He then finds himself inside a generic hotel room, where a disembodied voice says:
"How are you doing Lee? Sorry about this projection but it's the only way we could reach you. We can't tell you how relieved we are to have you here. Now, before we get ahead of ourselves, we have to tell you something. You're the last one, it's all gone. We understand how you might feel. Connection is perhaps the most cherished thing any being can have. That's the thing. That's why we've been listening. The place you see here is a scrapbook of sorts, a collection of memories and mementos of mankind's existence. It's a good thing we found you. We look forward to meeting you Lee."
During the speech we see the same cube-like object in space in the year 2045. The viewer is left to assume that this object has 'obtained' Lee Miller and is speaking directly to him. The film ends with the voice of a computer speaking of human connections and love.
Production[edit]
The ISS set built in a driveway, seen here protected from the rain by plastic tarps.
The interior of the space station set.
Gunner Wright in the film Love.
Reviewers have also noted the production design, with the space-station set reportedly being built in William Eubank's parents' backyard.[4] In a making-of video uploaded to his Vimeo account, Eubank details the construction of the set and lists materials such as packing quilts, MDF, pizza bags, velcro, insulation, Christmas lights, and other salvaged material as components to the ISS set.[5] According to Tom DeLonge, the production was going to rent the space station from another movie but instead opted to construct it from salvaged materials for budget reasons.[1]
Early teasers were released in 2007 and 2009. On January 10, 2011, the film's final trailer was released on Apple Trailers. The release of this trailer saw coverage on several industry websites.[6] Based on the style choices seen in the film's trailer, reviewers have mentioned similarities to 2001: A Space Odyssey, Moon, and Solaris.[4]
Release[edit]
Festival circuit[edit]
"I can tell you, honestly, the movie is ten times better than I thought it would be. But it's not meant to compete with Transformers. This is an art-house film and no band has really done this in a very long time. So we're hoping that we catch some people off guard and we're also hoping that we do something that is very credible as far its artistic acumen goes."[7]
—Tom DeLonge, April 11, 2010
The film's world premiere took place on February 2, 2011 at the 26th Annual Santa Barbara International Film Festival, with additional screenings on February 3, 4 and 5 at the Metro 4 and Arlington Theater. The film was screened for free on February 11 at the Riviera Theatre in Santa Barbara as one of eleven films chosen as "Best of the Fest".
The 2011 Seattle International Film Festival featured Love in both their Sci-Fi and Beyond Pathway and their New American Cinema program. The film played on May 21 at the Pacific Place Theatre and May 22 at the SIFF Cinema. The film played a third time, June 11, at the Egyptian Theatre.
Love was accepted into the 2011 Fantasia International Film Festival held in Montreal, Quebec. Its FanTasia screening on July 18 in Hall Theatre, as part of the festival's Camera Lucida Section, marked the film's international premiere. The film also screened in Athens, Lund, London, Nantes, South Korea, Spain, Israel, and elsewhere.
Date
Festival
Location
Awards
Link
Feb 2–5, Feb 11 Santa Barbara International Film Festival Santa Barbara, California USA Top 11 "Best of the Fest" Selection sbiff.org
May 21–22, Jun 11 Seattle International Film Festival Seattle, Washington USA siff.net
Jul 18, Jul 25 Fantasia Festival Montreal, Quebec Canada Pythian award laurel branchSpecial MentionPythian award laurel branch
"for the resourcefulness and unwavering determination by a director to realize his unique vision"
FanTasia
Aug 10 – Love Live Nationwide Screening United States
Sep 16 Athens International Film Festival Athens, Attica
Greece Pythian award laurel branchBest DirectorPythian award laurel branch aiff.gr
Sep 19 Lund International Fantastic Film Festival Lund, Skåne
Sweden fff.se
Sep 28 Fantastic Fest Austin, Texas
USA FantasticFest.com
Oct 9 London Int. Festival of Science Fiction Film London, England
UK Closing Night Film Sci-Fi London
Oct 9, Oct 11 Sitges Film Festival Sitges, Catalonia
Spain Sitges Festival
Oct 1, Oct 15 Gwacheon International SF Festival Gwacheon, Gyeonggi-do
South Korea gisf.org
Oct 17, Oct 20 Icon TLV Tel Aviv, Central
Israel icon.org.il
Oct 23 Toronto After Dark Toronto, Ontario
Canada Pythian award laurel branchBest Special EffectsPythian award laurel branch
Pythian award laurel branchBest Musical ScorePythian award laurel branch torontoafterdark.com
Nov 11 Les Utopiales Nantes, Pays de la Loire
France utopiales.org
Nov 12, Nov 18 Indonesia Fantastic Film Festival Jakarta, Bandung
Indonesia inaff.com
Nov 16–18 AFF Wrocław, Lower Silesia
Poland AFF Poland
Limited release[edit]
Main article: Angels & Airwaves Presents Love Live
Love was shown nationwide[clarification needed] on August 10, 2011.[8]
DVD[edit]
Angels & Airwaves released a box set containing the film Love, the soundtrack to the film, Love Part I, and the band's fourth studio album Love Part II on November 8, 2011.
Reception[edit]
At the Santa Barbara International Film Festival, the film was originally slotted three showings but two additional showings in the Arlington Theatre were added after some original showings sold-out.
Dennis Harvey, for Los Angeles-based magazine Variety, wrote "[The film's] spiritual abstruseness and the script's myriad other ambiguities might infuriate in a film less ingeniously designed on more tangible fronts. But Love delights with the detail of its primary set as well as in accomplished effects, consistently interesting yet subservient soundtrack textures (the sole original song is reserved for the [closing-credit crawl] and a brisk editorial pace…"[9]
Dustin Hucks, for Ain't It Cool News, wrote "Love can at times get very broad with scenes, dialogue, and flow… if you’re keen on clarity and the linear, Love is going to leave you frustrated. For others, however–the challenge of understanding what is what may lead to a desire for repeat viewings, which for me – is a lot of fun… This is a film that’s clearly not for everyone – but has a lot to offer the Inception and Moon crowds."
Hucks continued to say Love was one of the most visually exciting low-budget films he'd seen in some time and concluded with an overall endorsement: "Love is well worth seeking out in theaters – but don’t miss it on DVD if you don’t get the opportunity to view it in theaters."[10]
See also[edit]
Apollo 13, a 1995 film dramatizing the Apollo 13 incident
Gravity, 2013 3D science-fiction space drama film
List of films featuring space stations
References[edit]
1.^ Jump up to: a b "RockSound.tv | Tom Delonge Q + A". RockSound.tv. January 24, 2011. Retrieved 2011-02-04.
2.Jump up ^ "MTV News | EXCLUSIVE: Angels & Airwaves Present 3-For-1 Live Music And Film Experience". moviesblog.mtv.com. July 15, 2011. Retrieved 2011-07-19.
3.Jump up ^ Eubank, William (2011-02-03). Director Q&A. Interview with SBIFF. Santa Barbara International Film Festival. Santa Barbara, California.
4.^ Jump up to: a b Russ Fischer (January 17, 2011). "‘Love’ Trailer Channels ‘2001’, ‘Moon’ and ‘Solaris’ Into a Promising New Concoction". Slashfilm.com. Retrieved 2011-01-17.
5.Jump up ^ Behind the Scenes.
6.Jump up ^ Wired, io9, Film School Rejects, FirstShowing, CinemaBlend, /Film, The Hollywood Reporter
7.Jump up ^ "Angels & Airwaves Interview – Tom DeLonge and David Kennedy". ThePunksite.com. April 11, 2010. Retrieved 2010-03-21.
8.Jump up ^ http://www.fathomevents.com/concerts/event/angelsandairwaves.aspx
9.Jump up ^ "Film Reviews: Love". Variety. 2011-02-09. Retrieved 2011-02-10.
10.Jump up ^ "Dustin falls in love with... well, LOVE!". Ain't It Cool News. 2011-02-18. Retrieved 2011-02-20.
External links[edit]
Official website
Love on Facebook
Love at the Internet Movie Database
Love at the iTunes Preview
UPC 811481012617
[hide]
v ·
t ·
e
Angels & Airwaves
Tom DeLonge ·
David Kennedy ·
Matt Wachter ·
Ilan Rubin
Ryan Sinn ·
Atom Willard
Studio albums
We Don't Need to Whisper ·
I-Empire ·
Love ·
Love: Part Two
EPs
Stomping the Phantom Brake Pedal
Singles
"The Adventure" ·
"It Hurts" ·
"Do It for Me Now" ·
"The War" ·
"Everything's Magic" ·
"Secret Crowds" ·
"Breathe" ·
"Hallucinations" ·
"Epic Holiday" ·
"Anxiety" ·
"Surrender" ·
"Diary"
Films
Start the Machine ·
Love (Love Live)
Related articles
Discography ·
Blink-182 ·
Box Car Racer ·
The Offspring ·
Thirty Seconds to Mars ·
Rocket from the Crypt ·
The Distillers ·
Hazen Street ·
Over My Dead Body ·
Social Distortion ·
Modlife ·
William Eubank ·
Geffen Records ·
Suretone Records
Categories: 2011 films
English-language films
2010s science fiction films
American Civil War films
American films
American science fiction films
Dying Earth subgenre
Films set in 1864
Films set in the 2030s
Films shot digitally
Films shot in California
Post-apocalyptic films
Solitude in fiction
Space adventure films
Human extinction
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Love (2011 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Love
Love 2011 poster
Theatrical release poster
Directed by
William Eubank
Produced by
Angels & Airwaves
Tom DeLonge
Mark Eaton
Daniel Figur
Vertel Scott
Nate Kolbeck
Written by
William Eubank
Starring
Gunner Wright
Music by
Angels & Airwaves
Cinematography
William Eubank
Editing by
Brian Berdan, A.C.E.
Scott Chestnut
Studio
New Dog Media
Griffin Interplanetary Studios (vfx)
Five VFX (vfx)
Zoic Studios (vfx)
Company 3 (post)
Distributed by
National CineMedia (theatres), RED/Sony (home media)
Release dates
February 2, 2011 (SBIFF)
August 10, 2011 (United States)
November 1, 2011 (International)
Running time
86 minutes
Country
United States
Language
English
Budget
$500,000[1]
Box office
$1,495,102
Love is a 2011 science fiction drama film produced and scored by the alternative rock band Angels & Airwaves. The film is the directorial debut of filmmaker William Eubank. The film's world-premiere took place on February 2, 2011 at the 26th Annual Santa Barbara International Film Festival and the film was later featured in the Seattle International Film Festival, FanTasia 2011, and a number of other festivals around the world. The film was screened in 460 theatres across the United States on August 10, 2011, in the Love Live event.[2]
Love portrays the personal-psychological effects of isolation and loneliness when an astronaut becomes stranded in space and through this, emphasizes the importance of human connection and love. Additionally, it touches on the fragility of humanity's existence (explored through a dying Earth-apocalyptic doomsday scenario) inspired by the cautions of Carl Sagan in Pale Blue Dot and considers the importance of memories and stories as humanity's legacy.[3]
Contents [hide]
1 Synopsis
2 Production
3 Release 3.1 Festival circuit
3.2 Limited release
3.3 DVD
4 Reception
5 See also
6 References
7 External links
Synopsis[edit]
During an 1864 battle of the American Civil War, a lone Union soldier, Captain Lee Briggs (Bradley Horne), is dispatched on a mission to investigate a mysterious object reported to Union forces. 175 years later, in the year 2039, United States Astronaut Lee Miller (Gunner Wright) is sent to the International Space Station as a one-man skeleton crew to examine if it is safe for use and to perform necessary modifications after it had been abandoned two decades earlier for reasons unknown. Shortly after arriving on board, tumultuous events break out on Earth, eventually resulting in Miller losing contact with CAPCOM and finding himself stranded in orbit alone, forced to helplessly watch events on Earth from portholes 200 miles above his home planet. Miller struggles to maintain his sanity while in isolation by interacting with Polaroid pictures of former ISS crewmembers left aboard the ship. When the station has some power glitches, Miller journeys into an unpressurised module of the space station to perform repairs and discovers the 1864 journal of Briggs. Miller reads Brigg's account of the war and becomes enthralled by the mysterious object he is searching for, not realizing he will soon become more familiar with the very same object, and not by accident. Six years after losing contact with CAPCOM and with a failing O2 system inside the ISS, Miller puts on a space suit and ventures into space heading for earth, deciding that it would be easier for him to do this than slowly suffocate to death on board the ISS. He finds, however, that he is unable to go through with his suicide.
Miller is then seen still aboard the ISS, presumably much later: his hair has grown extremely long, and he is extensively tattooed. The cramped quarters of the space station have become a rat's nest symbolic of his diminished sanity. He then seems to be contacted from outside the ISS, and to receive instructions to dock and transfer over. He does so, and seems to arrive in a giant uninhabited structure of distinctly human making. It is unclear whether this is true or imagined.
Miller wanders around until he happens upon a server mainframe where he finds a book titled "'A Love Story' As Told by 'You'". Inside this book, he finds pictures of Captain Lee Briggs with his discovery, a gigantic cube-like alien object that may have helped advance Human society. In the index of the book Miller finds a reference to himself and types it into the computer prompt. He then finds himself inside a generic hotel room, where a disembodied voice says:
"How are you doing Lee? Sorry about this projection but it's the only way we could reach you. We can't tell you how relieved we are to have you here. Now, before we get ahead of ourselves, we have to tell you something. You're the last one, it's all gone. We understand how you might feel. Connection is perhaps the most cherished thing any being can have. That's the thing. That's why we've been listening. The place you see here is a scrapbook of sorts, a collection of memories and mementos of mankind's existence. It's a good thing we found you. We look forward to meeting you Lee."
During the speech we see the same cube-like object in space in the year 2045. The viewer is left to assume that this object has 'obtained' Lee Miller and is speaking directly to him. The film ends with the voice of a computer speaking of human connections and love.
Production[edit]
The ISS set built in a driveway, seen here protected from the rain by plastic tarps.
The interior of the space station set.
Gunner Wright in the film Love.
Reviewers have also noted the production design, with the space-station set reportedly being built in William Eubank's parents' backyard.[4] In a making-of video uploaded to his Vimeo account, Eubank details the construction of the set and lists materials such as packing quilts, MDF, pizza bags, velcro, insulation, Christmas lights, and other salvaged material as components to the ISS set.[5] According to Tom DeLonge, the production was going to rent the space station from another movie but instead opted to construct it from salvaged materials for budget reasons.[1]
Early teasers were released in 2007 and 2009. On January 10, 2011, the film's final trailer was released on Apple Trailers. The release of this trailer saw coverage on several industry websites.[6] Based on the style choices seen in the film's trailer, reviewers have mentioned similarities to 2001: A Space Odyssey, Moon, and Solaris.[4]
Release[edit]
Festival circuit[edit]
"I can tell you, honestly, the movie is ten times better than I thought it would be. But it's not meant to compete with Transformers. This is an art-house film and no band has really done this in a very long time. So we're hoping that we catch some people off guard and we're also hoping that we do something that is very credible as far its artistic acumen goes."[7]
—Tom DeLonge, April 11, 2010
The film's world premiere took place on February 2, 2011 at the 26th Annual Santa Barbara International Film Festival, with additional screenings on February 3, 4 and 5 at the Metro 4 and Arlington Theater. The film was screened for free on February 11 at the Riviera Theatre in Santa Barbara as one of eleven films chosen as "Best of the Fest".
The 2011 Seattle International Film Festival featured Love in both their Sci-Fi and Beyond Pathway and their New American Cinema program. The film played on May 21 at the Pacific Place Theatre and May 22 at the SIFF Cinema. The film played a third time, June 11, at the Egyptian Theatre.
Love was accepted into the 2011 Fantasia International Film Festival held in Montreal, Quebec. Its FanTasia screening on July 18 in Hall Theatre, as part of the festival's Camera Lucida Section, marked the film's international premiere. The film also screened in Athens, Lund, London, Nantes, South Korea, Spain, Israel, and elsewhere.
Date
Festival
Location
Awards
Link
Feb 2–5, Feb 11 Santa Barbara International Film Festival Santa Barbara, California USA Top 11 "Best of the Fest" Selection sbiff.org
May 21–22, Jun 11 Seattle International Film Festival Seattle, Washington USA siff.net
Jul 18, Jul 25 Fantasia Festival Montreal, Quebec Canada Pythian award laurel branchSpecial MentionPythian award laurel branch
"for the resourcefulness and unwavering determination by a director to realize his unique vision"
FanTasia
Aug 10 – Love Live Nationwide Screening United States
Sep 16 Athens International Film Festival Athens, Attica
Greece Pythian award laurel branchBest DirectorPythian award laurel branch aiff.gr
Sep 19 Lund International Fantastic Film Festival Lund, Skåne
Sweden fff.se
Sep 28 Fantastic Fest Austin, Texas
USA FantasticFest.com
Oct 9 London Int. Festival of Science Fiction Film London, England
UK Closing Night Film Sci-Fi London
Oct 9, Oct 11 Sitges Film Festival Sitges, Catalonia
Spain Sitges Festival
Oct 1, Oct 15 Gwacheon International SF Festival Gwacheon, Gyeonggi-do
South Korea gisf.org
Oct 17, Oct 20 Icon TLV Tel Aviv, Central
Israel icon.org.il
Oct 23 Toronto After Dark Toronto, Ontario
Canada Pythian award laurel branchBest Special EffectsPythian award laurel branch
Pythian award laurel branchBest Musical ScorePythian award laurel branch torontoafterdark.com
Nov 11 Les Utopiales Nantes, Pays de la Loire
France utopiales.org
Nov 12, Nov 18 Indonesia Fantastic Film Festival Jakarta, Bandung
Indonesia inaff.com
Nov 16–18 AFF Wrocław, Lower Silesia
Poland AFF Poland
Limited release[edit]
Main article: Angels & Airwaves Presents Love Live
Love was shown nationwide[clarification needed] on August 10, 2011.[8]
DVD[edit]
Angels & Airwaves released a box set containing the film Love, the soundtrack to the film, Love Part I, and the band's fourth studio album Love Part II on November 8, 2011.
Reception[edit]
At the Santa Barbara International Film Festival, the film was originally slotted three showings but two additional showings in the Arlington Theatre were added after some original showings sold-out.
Dennis Harvey, for Los Angeles-based magazine Variety, wrote "[The film's] spiritual abstruseness and the script's myriad other ambiguities might infuriate in a film less ingeniously designed on more tangible fronts. But Love delights with the detail of its primary set as well as in accomplished effects, consistently interesting yet subservient soundtrack textures (the sole original song is reserved for the [closing-credit crawl] and a brisk editorial pace…"[9]
Dustin Hucks, for Ain't It Cool News, wrote "Love can at times get very broad with scenes, dialogue, and flow… if you’re keen on clarity and the linear, Love is going to leave you frustrated. For others, however–the challenge of understanding what is what may lead to a desire for repeat viewings, which for me – is a lot of fun… This is a film that’s clearly not for everyone – but has a lot to offer the Inception and Moon crowds."
Hucks continued to say Love was one of the most visually exciting low-budget films he'd seen in some time and concluded with an overall endorsement: "Love is well worth seeking out in theaters – but don’t miss it on DVD if you don’t get the opportunity to view it in theaters."[10]
See also[edit]
Apollo 13, a 1995 film dramatizing the Apollo 13 incident
Gravity, 2013 3D science-fiction space drama film
List of films featuring space stations
References[edit]
1.^ Jump up to: a b "RockSound.tv | Tom Delonge Q + A". RockSound.tv. January 24, 2011. Retrieved 2011-02-04.
2.Jump up ^ "MTV News | EXCLUSIVE: Angels & Airwaves Present 3-For-1 Live Music And Film Experience". moviesblog.mtv.com. July 15, 2011. Retrieved 2011-07-19.
3.Jump up ^ Eubank, William (2011-02-03). Director Q&A. Interview with SBIFF. Santa Barbara International Film Festival. Santa Barbara, California.
4.^ Jump up to: a b Russ Fischer (January 17, 2011). "‘Love’ Trailer Channels ‘2001’, ‘Moon’ and ‘Solaris’ Into a Promising New Concoction". Slashfilm.com. Retrieved 2011-01-17.
5.Jump up ^ Behind the Scenes.
6.Jump up ^ Wired, io9, Film School Rejects, FirstShowing, CinemaBlend, /Film, The Hollywood Reporter
7.Jump up ^ "Angels & Airwaves Interview – Tom DeLonge and David Kennedy". ThePunksite.com. April 11, 2010. Retrieved 2010-03-21.
8.Jump up ^ http://www.fathomevents.com/concerts/event/angelsandairwaves.aspx
9.Jump up ^ "Film Reviews: Love". Variety. 2011-02-09. Retrieved 2011-02-10.
10.Jump up ^ "Dustin falls in love with... well, LOVE!". Ain't It Cool News. 2011-02-18. Retrieved 2011-02-20.
External links[edit]
Official website
Love on Facebook
Love at the Internet Movie Database
Love at the iTunes Preview
UPC 811481012617
[hide]
v ·
t ·
e
Angels & Airwaves
Tom DeLonge ·
David Kennedy ·
Matt Wachter ·
Ilan Rubin
Ryan Sinn ·
Atom Willard
Studio albums
We Don't Need to Whisper ·
I-Empire ·
Love ·
Love: Part Two
EPs
Stomping the Phantom Brake Pedal
Singles
"The Adventure" ·
"It Hurts" ·
"Do It for Me Now" ·
"The War" ·
"Everything's Magic" ·
"Secret Crowds" ·
"Breathe" ·
"Hallucinations" ·
"Epic Holiday" ·
"Anxiety" ·
"Surrender" ·
"Diary"
Films
Start the Machine ·
Love (Love Live)
Related articles
Discography ·
Blink-182 ·
Box Car Racer ·
The Offspring ·
Thirty Seconds to Mars ·
Rocket from the Crypt ·
The Distillers ·
Hazen Street ·
Over My Dead Body ·
Social Distortion ·
Modlife ·
William Eubank ·
Geffen Records ·
Suretone Records
Categories: 2011 films
English-language films
2010s science fiction films
American Civil War films
American films
American science fiction films
Dying Earth subgenre
Films set in 1864
Films set in the 2030s
Films shot digitally
Films shot in California
Post-apocalyptic films
Solitude in fiction
Space adventure films
Human extinction
Navigation menu
Create account
Log in
Article
Talk
Read
Edit
View history
Main page
Contents
Featured content
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Edit links
This page was last modified on 19 February 2014 at 18:49.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Marooned(film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Marooned
Marooned.jpg
Directed by
John Sturges
Produced by
M. J. Frankovich
Frank Capra Jr.
Screenplay by
Mayo Simon
Based on
Marooned (novel)
by Martin Caidin
Starring
Gregory Peck
Richard Crenna
David Janssen
James Franciscus
Gene Hackman
Lee Grant
Mariette Hartley
Nancy Kovack
Cinematography
Daniel L. Fapp
Editing by
Walter Thompson
Distributed by
Columbia Pictures
Release dates
November 10, 1969
Running time
134 minutes
Country
United States
Language
English
Budget
$8-10 million[1]
Box office
$4.1 million (USA / Canada rentals)[1][2]
Maroonedis a 1969 EastmancolorAmerican film directed by John Sturgesand starring Gregory Peck, Richard Crenna, David Janssen, James Franciscus, and Gene Hackman.[3]
The film was released less than four months after the Apollo 11moon landing and was tied to the public fascination with the event. It won an Academy Award for Visual Effects.
It was based on the 1964 novel Maroonedby Martin Caidin; however, while the original novel was based on the single-pilot Mercury program, the film depicted an Apollo Command/Service Modulewith three astronauts and a space station resembling Skylab. Caidin acted as technical adviser and updated the novel, incorporating appropriate material from the original version.
Contents [hide]
1Plot
2Cast
3Technical and artistic details
4Legacy
5See also
6References
7External links
Plot[edit]
Three American astronauts— commander Jim Pruett (Richard Crenna), "Buzz" Lloyd (Gene Hackman), and Clayton "Stoney" Stone (James Franciscus) — are the first crew of an experimental space stationon an extended duration mission. While returning to Earth, the main engine on the Apollo spacecraftIronman Onefails. Mission Controldetermines that Ironmandoes not have enough backup thruster capabilityto initiate atmospheric reentry, or to re-dock with the station and wait for rescue. The crew is marooned in orbit.
NASAdebates whether a rescue flight can reach the crew before their oxygen runs out in approximately two days. There are no backup launch vehicles or rescue systems available at Kennedy Space Centerand NASA director Charles Keith (Peck) opposes using an experimental Air ForceX-RV lifting bodythat would be launched on a Titan IIIC booster; neither the spacecraft nor the booster is man-rated, and there is insufficient time to put a new manned NASA mission together. Even though a booster is already on the way to nearby Cape Canaveral Air Force Stationfor an already-scheduled Air Forcelaunch, many hundreds of hours of preparation, assembly, and testing would be necessary.
Ted Dougherty (David Janssen), the Chief Astronaut, opposes Keith and demands that something be done. The presidentagrees with Dougherty and tells Keith that failing to try a rescue mission will kill public support for the manned space program. The President tells Keith that money is no factor; "whatever you need, you've got it".
While the astronauts' wives (Lee Grant, Mariette Hartley, and Nancy Kovack) agonize over the fates of their husbands, all normal checklist procedures are bypassed to prepare the X-RV for launch. A hurricaneheaded for the launch area threatens to cancel the mission, scrubbing the final attempt to launch in time to save all three Ironman astronauts. However, the eyeof the storm passes over the Cape 90 minutes later during a launch window, permitting a launch with Dougherty aboard in time to reach the ship while at least some of the crew survives.
Insufficient oxygen remains for all three astronauts to survive until Dougherty arrives. There is possibly enough for two. Pruett and his crew then debate what to do. Stone tries to reason that they can somehow survive by taking sleeping pills or otherwise reducing oxygen consumption. Lloyd offers to leave since he is "using up most of the oxygen anyway", but Pruett overrules him. He orders everyone into their spacesuitsthen leaves the ship, ostensibly to attempt repairs (although this option has been repeatedly dismissed as impractical).
When Lloyd sees Pruett going out the hatch, he attempts to follow. Before he can reach him, Pruett's space suit has been torn on a metal protrusion and oxygen rapidly escapes, leading to Pruett's death by anoxia. (It is not made explicit in the movie whether Pruett's death is intentional or not. While he had discussed the oxygen supply issue with the other astronauts, he shows clear alarm and shock when he sees the tear in his suit.) Lloyd looks on as Pruett's body drifts away into space. With Pruett gone, Stone takes command.
A Sovietspacecraft suddenly appears and its cosmonauttries to make contact. It can do nothing but deliver oxygen since the Soviet ship is too small to carry additional passengers. Stone and Lloyd, suffering oxygen deprivation, cannot understand the cosmonaut's gestures or obey Keith's orders.
Dougherty arrives and he and the cosmonaut transfer the two surviving and mentally dazed Ironmanastronauts into the rescue ship. Both the Soviet ship and the X-RV return to Earth, and the final scene fades out with a view of the abandoned Ironman Oneadrift in orbit.
Cast[edit]
Gregory Peckas Charles Keith
Richard Crennaas Jim Pruett
David Janssenas Ted Dougherty
James Franciscusas Clayton Stone
Gene Hackmanas Buzz Lloyd
Lee Grantas Celia Pruett
Nancy Kovackas Teresa Stone
Mariette Hartleyas Betty Lloyd
Scott Bradyas Public Affairs Officer
Frank Marthas Air Force Systems Director
Craig Huebingas Flight Director
John Carter as Flight Surgeon
Vincent Van Lynnas Aerospace Journalist
George Gaynesas Mission Director
Tom Stewart as Houston Cap Com
Technical and artistic details[edit]
Author of the book Martin Caidin makes a brief appearance in the film as a reporter describing the arrival of the X-RV at Cape Canaveral.
One way that the filmmakers tried to enhance the realism of the film was through the use of such items as the actual Plantronicsheadsets worn by the actors in the spacecraft, as well as authentic replicas of actual facilities such as the Mission Operations Control Room (MOCR) at Johnson Space Centerin Houstonand the Air Force Launch Control Center (AFLCC) at Cape Canaveral AFS. While most films strive to avoid "incidental" sounds, the headsets picked up the actors' breathing and other sounds.
The names of the film astronauts (Jim, Buzz and Stoney) were chosen out of the blue, not to reflect on the real astronauts with those names.
"Deke" Slayton
Ted Dougherty closely resembled real-life Chief Astronaut "Deke" Slayton, both in character and physical appearance. While Slayton, one of the Mercury Seven, had been grounded due to suspected heart problems, the film put him into space as the pilot of the rescue ship. David Janssen, who was a pilot himself, was selected in part due to his resemblance to Slayton.[citation needed]
In 1975, Slayton was medically cleared, and made his only space flight on the Apollo-Soyuz Test Project, which may have been partially inspired by Marooned.[4][5]The agreement between the U.S. and U.S.S.R. to conduct the ASTP was signed in Moscow in April, 1971.
The MOCR and AFLCC sets were built by Philco-FordCorporation, builders of the actual facilities. Many of the technical personnel seen in those sets were Philco-Ford technicians.
Astronaut Jim Lovelland his wife Marilyn Lovellreferred to the film years later in a special interview. Their recollection is shared as a feature on the DVD release of Apollo 13, a 1995 film directed by Ron Howard. The couple describes a 1969 film (never specifically named) in which an astronaut in an Apollo spacecraft "named Jim" faces mortal peril. The couple says the film gave Lovell's wife nightmares. Her experience inspired a dream sequence in Apollo 13that recalls the 1960s-vintage cinematic look of Marooned.
The Apollo Command Module used in making the film was an actual "boilerplate" version of the "Block I" Apollospacecraft (no Block I ever flew with a crew aboard). While the Block II series had a means of rapidly blowing the hatch open, the Block I did not, and the interior set was constructed using the boilerplate as a model. To blow the hatch in the movie, Buzz pulls on a handle attached to a hinge.
Several scenes show various people communicating directly with the astronauts in space. In actuality, only CAPCOM (an astronaut) and astronauts' wives would have been permitted to communicate with the spacecraft, all others in MOCR and AFLCC would only be able to communicate on the internal network or to their respective backroom teams.[6]
Conspicuously absent from the film is any person resembling a flight director. In real life, "Flight" is in charge of a space mission during that director's shift. The filmmakers felt that adding a flight director would distract from the interpersonal dynamic between Keith and Dougherty.
While flying the Manned Maneuvering Unit, Lloyd's control inputs not only take place after the movements begin, but are also the opposite of what they should be, to match the preflight test shown a moment before.
Legacy[edit]
For the 1969 Academy Awardsheld in 1970, the presenter for the best visual effects award was Raquel Welch. There were two nominees (Krakatoa: East of Javawas the other). Before announcing the nominees, Welch said "I am here for visual effects and I have two of them."[7]The film was also nominated for cinematography and best sound (Les Fresholtz, Arthur Piantadosi).[8]
The 1970 Madmagazine satire of Marooned, called Moroned, described story events in actual film time. NASA officials are pressed to launch the X-RT — "the Experimental Rescue Thing" — in "about an hour…maybe, tops, an hour and a half". One astronaut sacrifices his life to escape the film critics.
During the preliminary discussions for the Apollo-Soyuz Test Projectthe film was discussed as a means of disarming Sovietsuspicion.[9]One purpose of the mission was to develop and test capabilities for international space rescue.
The film and the Apollo 13disaster that occurred soon after its release led to the development of rescue options for Skylab crews. The Skylab Rescuespace vehicle, designed by technicians at North American Rockwell, modified a production Apollo Command Moduleto seat more than three astronauts. During Skylab flights the rescue spacecraft and its Saturn 1B booster were held in a state of readiness. An equipment failure aboard Skylab 3with the Apollo CSM thrusters almost led to Skylab Rescue's launch.
In 1991, Maroonedwas redistributed under the name Space Travelersby Film Ventures International, an ultra-low-budget production company that prepared quickie television and video releases of films that were in the public domain or could be purchased inexpensively. As Space Travelers, Maroonedwas mocked on a 1992 episode of Mystery Science Theater 3000, becoming the only Academy Award winning film ever to receive the MST3Ktreatment.
The second launch sequence served as the speech base for the comm chatter in the Disneyrollercoaster Space Mountain.[citation needed]
Alfonso Cuarón, director of 2013's Gravity, told Wired magazine, "I watched the Gregory Peck movie Maroonedover and over as a kid."[10]
See also[edit]
Portal icon Film portal
Portal icon Space portal
Portal icon Spaceflight portal
Portal icon USA portal
Portal icon USSR portal
Apollo 13, a 1995 film dramatizing the Apollo 13incident
Gravity, a 2013 3D science-fiction space drama film
Love, a 2011 film about being stranded in space
Survival film, about the film genre, with a list of related films
List of films featuring space stations
References[edit]
1.^ Jump up to: abGlenn Lovell, Escape Artist: The Life and Films of John Sturges, University of Wisconsin Press, 2008, p 268-273
2.Jump up ^"Big Rental Films of 1970", Variety, 6 January 1971, p 11
3.Jump up ^The New York Times
4.Jump up ^Shepard, Alan; Slayton, Deke; Barbree, Jay; Benedict Howard, MoonShot: The Inside Story of the Apollo Project
5.Jump up ^Philip Handler to Ezell, 9 Oct. 1974.
6.Jump up ^Arstechnica.com
7.Jump up ^TV.com
8.Jump up ^"The 42nd Academy Awards (1970) Nominees and Winners". Oscars.org. Retrieved 2011-08-26.
9.Jump up ^Edward Clinton Ezell & Linda Neuman Ezell, The Partnership: A History of the Apollo-Soyuz Test Project
10.Jump up ^http://www.wired.com/underwire/2013/10/center_of_gravity/
External links[edit]
Maroonedat the Internet Movie Database
Maroonedat the TCM Movie Database
Maroonedat allmovie
Maroonedat the American Film Institute Catalog
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Gravity (film)
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Gravity
Gravity Poster.jpg
Theatrical release poster
Directed by
Alfonso Cuarón
Produced by
Alfonso Cuarón
David Heyman
Written by
Alfonso Cuarón
Jonás Cuarón
Starring
Sandra Bullock
George Clooney
Music by
Steven Price
Cinematography
Emmanuel Lubezki
Editing by
Alfonso Cuarón
Mark Sanger
Studio
Esperanto Filmoj
Heyday Films
Distributed by
Warner Bros. Pictures
Release dates
August 28, 2013 (Venice)
October 4, 2013 (United States)
November 8, 2013 (United Kingdom)
Running time
91 minutes[1]
Country
United Kingdom[2]
United States[2]
Language
English
Budget
$100 million[3]
Box office
$714,074,851[3]
Gravity is a 2013 British-American 3D science fiction thriller[3][4] and space drama film.[5][6] It was directed, co-written, co-produced and co-edited by Alfonso Cuarón, and stars Sandra Bullock and George Clooney as astronauts involved in the mid-orbit destruction of a space shuttle and their attempt to return to Earth.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the film at Universal Studios. The rights were sold to Warner Bros., where the project eventually found traction. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban, produced the film with him. Gravity was made in the UK, where British special effects company Framestore spent more than three years creating most of the film's visual effects, which comprise over 80 of its 91 minutes.
Gravity opened the 70th Venice International Film Festival in August 2013 and had its North American premiere three days later at the Telluride Film Festival.[7] It was released to cinemas in the United States and Canada on October 4, 2013. The film was met with universal acclaim from critics and audiences; both groups praised Emmanuel Lubezki's cinematography, Steven Price's musical score, Cuarón's direction, Bullock's performance and Framestore's visual effects. It has grossed more than US$714 million worldwide, making it the eighth highest-grossing film of 2013.
Gravity won seven awards at the 86th Academy Awards, the most for the ceremony, including Best Director for Cuarón, Best Cinematography for Lubezki, Best Visual Effects, and Best Original Score for Price.[8] The film was also awarded six BAFTA Awards, including Outstanding British Film and Best Director, the Golden Globe Award for Best Director, and seven Critics Choice Awards.[9][10][11]
Contents [hide]
1 Plot
2 Cast
3 Themes
4 Production 4.1 Development
4.2 Filming
4.3 Music
5 Release 5.1 Box office
5.2 Critical response
5.3 Accolades
5.4 Home media
6 Scientific accuracy
7 See also
8 References
9 External links
Plot[edit]
The film is set during fictitious space shuttle mission STS-157. Dr. Ryan Stone (Sandra Bullock) is a medical engineer on her first space shuttle mission aboard the space shuttle Explorer. She is accompanied by veteran astronaut Matt Kowalski (George Clooney), who is commanding his final expedition. During a spacewalk to service the Hubble Space Telescope, Mission Control in Houston warns the team about a Russian missile strike on a defunct satellite, which has caused a chain reaction forming a cloud of debris in space. Mission Control orders that the mission be aborted and the shuttle begin re-entry immediately. Communication with Mission Control is lost shortly after.
High-speed debris strikes the Explorer and Hubble, and detaches Stone from the shuttle, leaving her tumbling through space. Kowalski, using a Manned Maneuvering Unit, soon recovers Stone and they make their way back to the Space Shuttle. They discover that it has suffered catastrophic damage and the crew is dead. They use the thruster pack to make their way to the International Space Station (ISS), which is in orbit only about 900 mi (1,450 km) away. Kowalski estimates they have 90 minutes before the debris field completes an orbit and threatens them again.
En route to the ISS, the two discuss Stone's home life and the death of her young daughter. As they approach the substantially damaged but still operational ISS, they see its crew has evacuated in one of its two Soyuz modules. The parachute of the remaining Soyuz has deployed, rendering the capsule useless for returning to Earth. Kowalski suggests using it to travel to the nearby Chinese space station Tiangong, 62 mi (100 km) away and board one of its modules to return safely to Earth. Out of air and maneuvering power, the two try to grab onto the ISS as they fly by. Stone's leg gets entangled in Soyuz's parachute cords and she grabs a strap on Kowalski's suit. Despite Stone's protests, Kowalski detaches himself from the tether to save her from drifting away with him, and she is pulled back towards the ISS while Kowalski floats away.
Stone enters the ISS via an airlock. She cannot re-establish communication with Kowalski and concludes that she is the sole survivor. A fire breaks out, forcing her to hastily make her way to the Soyuz. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent the Soyuz from separating from the station. She spacewalks to release the cables, succeeding just as the debris field completes its orbit and destroys the station. Stone aligns the Soyuz with Tiangong but discovers that its engine has no fuel. After a brief radio communication with a fisherman on Earth, Stone resigns herself to being stranded and shuts down the cabin's oxygen supply to commit suicide. As she begins to lose consciousness, Kowalski enters the capsule. Scolding her for giving up, he tells her to rig the Soyuz's landing rockets to propel the capsule toward Tiangong. Stone then realizes that Kowalski's reappearance is not real, but has nonetheless given her the strength of will to carry on. She restores the flow of oxygen and uses the landing rockets to navigate toward Tiangong, which is rapidly deorbiting.
Unable to dock the Soyuz with the station, Stone ejects herself via explosive decompression and uses a fire extinguisher as a makeshift thruster to travel to Tiangong. Stone enters the Shenzhou capsule just as Tiangong starts to break up on the upper edge of the atmosphere. Stone declares that she is ready to head back to Earth, dead or alive. After re-entering the atmosphere, Stone hears Mission Control, which is tracking the capsule, over the radio. The capsule lands in a lake, but dense smoke from an electrical fire inside the capsule forces Stone to evacuate immediately. She opens the capsule hatch, allowing water to enter and sink it, forcing Stone to swim ashore. She watches the remains of the Tiangong re-enter the atmosphere and takes her first shaky steps on land, in the full gravity of Earth.
Cast[edit]
Sandra Bullock as Dr. Ryan Stone, a medical engineer and mission specialist who is on her first space mission.
George Clooney as Lieutenant Matt Kowalski; the commander of the team. Kowalski is a veteran astronaut planning to retire after the Explorer expedition. He enjoys telling stories about himself and joking with his team, and is determined to protect the lives of his fellow astronauts.
Ed Harris (voice) as Mission Control in Houston, Texas.
Orto Ignatiussen (voice) as Aningaaq, a Greenlandic Inuit fisherman who intercepts one of Stone's transmissions. Aningaaq also appears in a self-titled short written and directed by Gravity co-writer Jonás Cuarón, which depicts the conversation between him and Stone from his perspective.[12]
Phaldut Sharma (voice) as Shariff Dasari, the flight engineer on board the Explorer.
Amy Warren (voice) as the captain of Explorer.
Basher Savage (voice) as the captain of the International Space Station.
Themes[edit]
Despite being set in space, the film uses motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of catastrophe.[13][14][15][16] Cuarón uses Stone to illustrate clarity of mind, persistence, training, and improvisation in the face of isolation and the mortal consequences of a relentless Murphy's Law.[4] The film incorporates spiritual or existential themes, in the facts of Stone's daughter's accidental and meaningless death, and in the necessity of summoning the will to survive in the face of overwhelming odds, without future certainties, and with the impossibility of rescue from personal dissolution without finding this willpower.[14] Calamities occur but only the surviving astronauts see them.[17]
The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the Earth and the depths of dark space, the chaos and predictability of the debris field, and silence of the vacuum of space with the sound of the score.[16][18] The film uses very long, uninterrupted shots throughout to draw the audience into the action but contrasts these with claustrophobic shots within space suits and capsules.[14][19]
Some commentators have noted religious themes in the film.[20][21][22][23] For instance, Fr. Robert Barron in The Catholic Register summarizes the tension between Gravity's technology and religious symbolism. He said, "The technology which this film legitimately celebrates... can't save us, and it can't provide the means by which we establish real contact with each other. The Ganges in the sun, the St. Christopher icon, the statue of Budai, and above all, a visit from a denizen of heaven, signal that there is a dimension of reality that lies beyond what technology can master or access ... the reality of God".[23]
Or more broadly, this imagery can be interpreted as humanity's ubiquitous strategy of existential resilience, that, across cultures, individuals must posit meaning, beyond material existence, wherever none can be perceived. Human evolution and the resilience of life may also be seen as key themes of Gravity.[24][25][26][27] The film opens with the exploration of space—the climax of human civilization, and ends with an allegory of the dawn of mankind when Dr. Ryan Stone fights her way out of the water after the crash-landing, passing an amphibian, grabs the soil and slowly regains her capacity to stand upright and walk. Director Cuarón said, "She’s in these murky waters almost like an amniotic fluid or a primordial soup. In which you see amphibians swimming. She crawls out of the water, not unlike early creatures in evolution. And then she goes on all fours. And after going on all fours she’s a bit curved until she is completely erect. It was the evolution of life in one, quick shot".[25] Other imagery depicting the formation of life includes a scene in which Stone rests in an embryonic position, surrounded by a rope strongly resembling an umbilical cord. Stone's return from space, accompanied by meteorite-like debris, may be seen as a hint that elements essential to the development of life on earth may have come from outer space in the form of meteorites.[28]
Production[edit]
Development[edit]
David Heyman, Sandra Bullock and Alfonso Cuarón at the 2013 San Diego Comic-Con International promoting Gravity
Alfonso Cuarón wrote the screenplay with his son Jonás. Cuarón told Wired magazine, "I watched the Gregory Peck movie Marooned over and over as a kid."[29] That film is about the first crew of an experimental space station returning to Earth in an Apollo capsule that suffers a thruster malfunction. Cuarón attempted to develop his project at Universal Pictures, where it stayed in development for several years. After the rights to the project were sold, the project began development at Warner Bros, who acquired the project. In February 2010, it attracted the attention of Angelina Jolie, who had rejected a sequel to Wanted.[30] Later in the month, she rejected Wanted 2,[31] partially because the studio did not want to pay the US$20 million fee[32] she had received for her latest two movies and because she wanted to direct her Bosnian war film In the Land of Blood and Honey.[33] In March, Robert Downey, Jr. entered talks to be cast in the male lead role.[34]
In mid-2010, Marion Cotillard tested for the female lead role. By August 2010, Scarlett Johansson and Blake Lively were in the running for the role.[32] In September, Cuarón received approval from Warner Bros. to offer the role without a screen test to Natalie Portman, who was being praised for her performance in the recently released Black Swan.[35] Portman rejected the project because of scheduling conflicts and Warner Bros. then approached Sandra Bullock for the role.[33] In November 2010, Downey left the project to star in How to Talk to Girls—a project in development with Shawn Levy attached to direct.[36] The following December, with Bullock signed for the co-lead role, George Clooney replaced Downey.[37]
The problem of shooting long scenes in a zero-g environment was a challenge. Eventually, the team decided to use computer-generated imagery for the spacewalk scenes and automotive robots to move Bullock's character for interior space station scenes.[38] This meant that shots and blocking had to be planned well in advance for the robots to be programmed.[38] It also made the production period much longer than expected. When the script was finished, Cuarón assumed it would take about a year to complete the film, but it took four and a half years.[39]
Filming[edit]
The landing scene was filmed at Lake Powell, Arizona.
Gravity had a production budget of $100 million and was filmed digitally on multiple Arri Alexa cameras. Principal photography began in late May 2011.[40] Live elements were shot at Pinewood and Shepperton Studios in the United Kingdom.[41] The landing scene was filmed at Lake Powell, Arizona—where the astronauts' landing scene in Planet of the Apes (1968) was also filmed.[42] Visual effects were supervised by Tim Webber at the London-based VFX company Framestore, which was responsible for creating most of the film's visual effects—except for 17 shots. Framestore was also heavily involved in the art direction and, along with The Third Floor, the previsualization. Tim Webber stated that 80 percent of the movie consisted of CG—compared to James Cameron's Avatar, which was 60 percent CG.[43] To simulate the authenticity and reflection of unfiltered light in space, a manually controlled lighting system consisting of 1.8 million individually controlled LED lights was built.[44] The 3D imagery was designed and supervised by Chris Parks. The majority of the 3D was created by stereo rendering the CG at Framestore. The remaining footage was converted into 3D in post production—principally at Prime Focus, London, with additional conversion work by Framestore. Prime Focus's supervisor was Richard Baker.
Filming began in London in May 2011.[45] The film contains 156 shots with an average length of 45 seconds—fewer and longer shots than in most films of this length.[46] Although the first trailer had audible explosions and other sounds, these scenes are silent in the finished film. Cuarón said, "They put in explosions [in the trailer]. As we know, there is no sound in space. In the film, we don't do that."[47] The soundtrack in the film's space scenes consists of the musical score and sounds astronauts would hear in their suits or in the space vehicles.
For most of Bullock's shots, she was placed inside a giant, mechanical rig.[38] Getting into the rig took a significant amount of time, so Bullock chose to stay in it for up to 10 hours a day, communicating with others through a headset.[38] Cuarón said his biggest challenge was to make the set feel as inviting and non-claustrophobic as possible. The team attempted to do this by having a celebration each day when Bullock arrived. They nicknamed the rig "Sandy's cage" and gave it a lighted sign.[38] Most of the movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. The final scene, which takes place on Earth, was shot on an Arri 765 camera using 65mm film to provide the sequence with a visual contrast to the rest of the film.[48]
Music[edit]
Main article: Gravity: Original Motion Picture Soundtrack
Steven Price composed the incidental music for Gravity. In early September 2013, a 23-minute preview of the soundtrack was released online.[49] A soundtrack album was released digitally on September 17, 2013, and in physical formats on October 1, 2013, by WaterTower Music.[50] Songs featured in the film include:[51]
"Angels Are Hard to Find" by Hank Williams, Jr.
"Sinigit Meerannguaq" by Juaaka Lyberth
"Destination Anywhere" by Chris Benstead and Robin Baynton
"922 Anthem" by 922 (featuring Gaurav Dayal)
"Ready" by Charles Scott (featuring Chelsea Williams)
In most of the film's official trailers, Spiegel im Spiegel, written by Estonian composer Arvo Pärt in 1978, was used.[52]
Release[edit]
Gravity was released in 3D and IMAX 3D on October 4, 2013.[53] The film's release coincided with the beginning of World Space Week, which was observed from October 4 to 10. The film was originally scheduled to be released on November 21, 2012, before being re-scheduled for a 2013 release to allow the completion of extensive post-production effects work.[54]
Box office[edit]
Preliminary reports predicted the film would open with takings of over $40 million in North America.[55][56] The film earned $1.4 million from its Thursday night showings,[57] and reached $17.5 million on Friday.[58] Gravity topped the box office and broke Paranormal Activity 3's record as the highest-earning October and autumn openings ever, grossing $55.8 million.[59] 80 percent of the film's opening weekend gross came from its 3D showings, which grossed $44 million. $11.2 million—20 percent of the receipts—came from IMAX 3D showings; the highest percentage ever for a film opening more than $50 million.[60]
The film stayed at number one at the box office during its second and third weekends.[61][62] Gravity opened at number one in the United Kingdom, taking GB£6.23 million over the first weekend of release[63] and remained there for the second week.[64] The film's largest markets outside North America were China ($71.2m),[65] the United Kingdom ($47.0m) and France ($38.2m).[66] On February 17, 2014 the film grossed $700m worldwide.[67] As of March 16, 2014, Gravity has grossed $272,774,851 in North America and $441,300,000 in other countries, making a worldwide gross of $714,074,851—making it the eighth-highest grossing film of 2013.[3]
Critical response[edit]
Gravity had its world premiere at the 70th Venice International Film Festival on August 28, 2013, where it received universal acclaim from critics and audiences who praised the acting, direction, screenplay, cinematography, visual effects, production design, the use of 3D, and Steven Price's musical score.[68] Review aggregator Rotten Tomatoes gives the film a score of 97% based on reviews from 295 critics, with a "Certified Fresh" rating and an average score of 9.1/10. The site's consensus states: "Alfonso Cuarón's Gravity is an eerie, tense sci-fi thriller that's masterfully directed and visually stunning".[69] On Metacritic, which assigns a normalized rating out of 100 based on reviews from critics, the film has a score of 96 based on 49 reviews, indicating "universal acclaim".[70] In CinemaScore polls conducted during the opening weekend, cinema audiences gave Gravity an average grade of A- on an A+ to F scale.[60]
Matt Zoller Seitz, writing on RogerEbert.com, gave four stars out of four, calling it "a huge and technically dazzling film and that the film's panoramas of astronauts tumbling against starfields and floating through space station interiors are at once informative and lovely".[71] Justin Chang writing for Variety said that the film "restores a sense of wonder, terror and possibility to the big screen that should inspire awe among critics and audiences worldwide".[72] Richard Corliss of Time said, "Cuarón shows things that cannot be but, miraculously, are, in the fearful, beautiful reality of the space world above our world. If the film past is dead, Gravity shows us the glory of cinema's future. It thrills on so many levels. And because Cuarón is a movie visionary of the highest order, you truly can't beat the view." He praised Cuarón for "[playing] daringly and dexterously with point-of-view: at one moment you're inside Ryan's helmet as she surveys the bleak silence, then in a subtle shift you're outside to gauge her reaction. The 3-D effects, added in post-production, provide their own extraterrestrial startle: a hailstorm of debris hurtles at you, as do a space traveler's thoughts at the realization of being truly alone in the universe."[73]
Peter Travers of Rolling Stone gave the film a maximum of four stars, stating that the film was "more than a movie. It's some kind of miracle."[74] A. O. Scott writing for The New York Times highlighted the use of 3-D which he said, "surpasses even what James Cameron accomplished in the flight sequences of Avatar". Scott also said that the film "in a little more than 90 minutes rewrites the rules of cinema as we have known them".[75] Some critics have compared Gravity with other notable films set in space. Lindsey Webber of Vulture.com said the choice of Ed Harris for the voice of Mission Control is a reference to Apollo 13.[76] Gravity references other films, including Alien,[18] and 2001: A Space Odyssey.[77] James Cameron praised the film and stated, "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time".[78] Quentin Tarantino said it was one of his top ten movies of 2013.[79] Empire, Time and Total Film ranked the film as the best of 2013.[80][81][82]
Accolades[edit]
Main article: List of accolades received by Gravity (film)
Gravity received ten nominations at the 86th Academy Awards; together with American Hustle it received the greatest number of nominations for the 2014 ceremony. These included Best Picture, Best Actress for Bullock, and Best Production Design.[83] The film won the most of the night with 7 Academy Awards: for Best Director, Best Cinematography, Best Visual Effects, Best Film Editing, Best Original Score, Best Sound Editing and Best Sound Mixing.[84][85]
Alfonso Cuarón won the Golden Globe Award for Best Director, and the film was also nominated for Best Motion Picture – Drama, Best Actress – Drama for Bullock and Best Original Score.[86]
Gravity received eleven nominations at the 67th British Academy Film Awards, more than any other film of 2013. Its nominations included Best Film, Outstanding British Film, Best Director, Best Original Screenplay, and Best Actress in a Leading Role. Cuarón was the most-nominated person at the awards; he was nominated for five awards, including his nominations as producer for Best Film awards and editor.[87][88] Despite not winning Best Film, Gravity won six awards, the greatest number of awards in 2013. It won the awards for Outstanding British Film, Best Direction, Best Original Music, Best Cinematography, Best Sound, and Best Visual Effects.[89]
Home media[edit]
Gravity was released on digital download on February 11, 2014, and was released on DVD, Blu-ray and Blu-ray 3D on February 25, 2014, in the United States and on March 3, 2014, in the United Kingdom.[90]
Scientific accuracy[edit]
A diagram showing the orbits of the International Space Station and Hubble Space Telescope
Cuarón has stated that Gravity is not always scientifically accurate and that some liberties were needed to sustain the story.[91] "This is not a documentary," Cuarón said. "It is a piece of fiction."[92] The film has been praised for the realism of its premises and its overall adherence to physical principles, despite several inaccuracies and exaggerations.[93][94][95] According to NASA Astronaut Michael J. Massimino, who took part in the Hubble Space Telescope Servicing Missions STS-109 and STS-125, "nothing was out of place, nothing was missing. There was a one-of-a-kind wirecutter we used on one of my spacewalks and sure enough they had that wirecutter in the movie."[96]
Astronaut Buzz Aldrin called the visual effects "remarkable", and said, "I was so extravagantly impressed by the portrayal of the reality of zero gravity. Going through the space station was done just the way that I've seen people do it in reality. The spinning is going to happen—maybe not quite that vigorous—but certainly we've been fortunate that people haven't been in those situations yet. I think it reminds us that there really are hazards in the space business, especially in activities outside the spacecraft."[97] Former NASA astronaut Garrett Reisman said, "The pace and story was definitely engaging and I think it was the best use of the 3-D IMAX medium to date. Rather than using the medium as a gimmick, Gravity uses it to depict a real environment that is completely alien to most people. But the question that most people want me to answer is, how realistic was it? The very fact that the question is being asked so earnestly is a testament to the verisimilitude of the movie. When a bad science fiction movie comes out, no one bothers to ask me if it reminded me of the real thing."[98]
Astrophysicist Neil deGrasse Tyson, astronomer and skeptic Phil Plait, and veteran NASA astronaut and spacewalker Scott E. Parazynski have offered comments about some of the most "glaring" inaccuracies.[95][99][100] Examples of mistakes include:
The HST, which is being repaired at the beginning of the movie, has an altitude of about 559 kilometres (347 mi) and an orbital inclination of 28.5 degrees. The ISS has an altitude of around 420 kilometres (260 mi) and an orbital inclination of 51.65 degrees. The significant differences between orbital parameters would make it impossible to travel between the two spacecraft without precise preparation, planning, calculation, the appropriate technology, and a large quantity of fuel.[94][95][100]
Several observers (including Plait and Tyson) said that in the scene in which Kowalski unclips his tether and floats away to his death to save Stone from being pulled away from the ISS, Stone would simply need to tug the tether gently to pull Kowalski toward her. According to the film's science adviser Kevin Grazier and NASA engineer Robert Frost, however, the pair are still decelerating with Stone's leg caught in the parachute cords from the Soyuz. The cords stretch as they absorb her kinetic energy. Kowalski thinks that the cords are not strong enough to absorb his kinetic energy as well as hers, and that he must release the tether to give Stone a chance of stopping before the cords fail and doom both of them.[101]
Stone is shown not wearing liquid-cooled ventilation garments or even socks, which are always worn under the EVA suit to protect against extreme temperatures in space. Neither was she shown wearing space diapers.[95]
Stone's tears first roll down her face in zero gravity, and are later seen floating off her face. Without sufficient force to dislodge the tears, they would remain on her face because of surface tension.[102] However, the movie correctly portrays the spherical nature of drops of liquid in a micro-gravity environment.[94]
Despite the inaccuracies in Gravity, Tyson, Plait and Parazynski said they enjoyed watching the film.[95][99][100] Aldrin said he hoped that the film would stimulate the public to find an interest in space again, after decades of diminishing investments into advancements in the field.[97]
See also[edit]
Apollo 13, a 1995 film dramatising the Apollo 13 incident
2001: A Space Odyssey
Kessler syndrome
List of films featuring space stations
Survival film
References[edit]
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External links[edit]
Wikiquote has a collection of quotations related to: Gravity (film)
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Gravity at allmovie
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Apollo 13 (film)
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Apollo 13
A thin light-gray crescent Moon stretches diagonally from lower left to upper right against a black background, with a blue and white crescent Earth in the far distance. In front of the portion of the moon that is in shadow on the left appears a small image of the Apollo 13 Command/Service module joined to the Lunar Module, with vapor streaming from a hole in the side of the Service Module — the words "Houston, we have a problem" appear directly above the craft in white lower case lettering. The names of the principal actors appear in white lettering at the top of the image, and the title APOLLO 13 in block white upper-case letters appears at the lower right.
Theatrical release poster
Directed by
Ron Howard
Produced by
Brian Grazer
Screenplay by
William Broyles, Jr.
Al Reinert
Based on
Lost Moon
by Jim Lovell
Starring
Tom Hanks
Kevin Bacon
Bill Paxton
Gary Sinise
Ed Harris
Music by
James Horner
Cinematography
Dean Cundey
Editing by
Daniel P. Hanley
Mike Hill
Studio
Imagine Entertainment
Distributed by
Universal Pictures
Release dates
June 30, 1995 (United States)
Running time
140 minutes
Country
United States
Language
English
Budget
$52 million[1]
Box office
$355,237,933[2]
Apollo 13 is a 1995 American historical docudrama film directed by Ron Howard. The film stars Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise, and Ed Harris. The screenplay by William Broyles, Jr. and Al Reinert, that dramatizes the aborted 1970 Apollo 13 lunar mission, is an adaptation of the book Lost Moon: The Perilous Voyage of Apollo 13 by astronaut Jim Lovell and Jeffrey Kluger.
The film depicts astronauts Lovell, Jack Swigert and Fred Haise aboard Apollo 13 for America's third Moon landing mission. En route, an on-board explosion deprives their spacecraft of most of its oxygen supply and electric power, forcing NASA's flight controllers to abort the Moon landing, and turning the mission into a struggle to get the three men home safely.
Howard went to great lengths to create a technically accurate movie, employing NASA's technical assistance in astronaut and flight controller training for his cast, and even obtaining permission to film scenes aboard a reduced gravity aircraft for realistic depiction of the "weightlessness" experienced by the astronauts in space.
Released in the United States on June 30, 1995, Apollo 13 garnered critical acclaim and was nominated for many awards, including nine Academy Awards (winning for Best Film Editing and Best Sound).[3] In total, the film grossed over $355 million worldwide during its theatrical releases.
Contents [hide]
1 Plot
2 Cast
3 Production 3.1 Pre-production and props
3.2 Cast training and filming
4 Soundtrack
5 Release 5.1 Box-office performance
5.2 Reception
5.3 Home media
6 Accolades
7 Technical and historical accuracy
8 See also
9 References
10 External links
Plot[edit]
On July 20, 1969, veteran astronaut Jim Lovell hosts a party for other astronauts and their families, who watch on television as Neil Armstrong takes his first steps on the Moon during the Apollo 11 mission. After the party, Lovell, who orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon and walk on its surface.
On October 30, while giving a VIP tour of NASA's Vehicle Assembly Building, Lovell is informed by his boss Deke Slayton that he and his crew will fly the Apollo 13 mission instead of Apollo 14. Lovell, Ken Mattingly, and Fred Haise begin training for their new mission. Days before launch, it is discovered that Mattingly was exposed to measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert, as a safety precaution. Lovell resists breaking up his team, but relents after Slayton gives him the ultimatum of either accepting the switch, or else being bumped to a later mission.
As the launch date approaches, Marilyn's fears for her husband's safety manifest in nightmares, but she goes to Cape Kennedy the night before launch, to see him off despite her misgivings.
On April 11, 1970, Apollo 13 Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for launch. As the Saturn V rocket climbs into the sky, an engine on the second stage cuts off prematurely, but the craft successfully reaches Earth orbit. After the third stage fires, sending Apollo 13 on a trajectory to the Moon, Swigert docks the Command/Service Module Odyssey with the Lunar Module Aquarius, and pulls it away from the spent stage.
Three days into the mission, the crew send a live television transmission from Odyssey, but the networks, believing the public now regards lunar missions as routine, decline to carry the broadcast live. Swigert is told to perform a standard housekeeping procedure of stirring the two liquid oxygen tanks in the Service Module. When he flips the switch, one tank explodes, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking, prompting Mission Control to abort the Moon landing, and forcing Lovell and Haise to hurriedly power up Aquarius as a "lifeboat" for the return home, while Swigert shuts down Odyssey before its battery power runs out. On Earth, Kranz rallies his team to do what is necessary to get the astronauts home safely, declaring "failure is not an option." Controller John Aaron recruits Mattingly to help him figure out how to restart Odyssey for the final return to Earth.
As Swigert and Haise watch the Moon passing beneath them, Lovell laments his lost chance of walking on its surface, then turns their attention to the task of getting home. With Aquarius running on minimum systems to conserve power, the crew is soon subjected to freezing conditions. Swigert suspects Mission Control is unable to get them home and is withholding this from them. In a fit of rage, Haise blames Swigert's inexperience for the accident; the ensuing argument is quickly squelched by Lovell. When the carbon dioxide exhaled by the astronauts reaches the Lunar Module's filter capacity and approaches dangerous levels, an engineering team quickly invents a way to make the Command Module's square filters work in the Lunar Module's round receptacles. With the guidance systems on Aquarius shut down, and despite Haise's fever and miserable living conditions, the crew succeeds in making a difficult but vital course correction by manually igniting the Lunar Module's engine.
Mattingly and Aaron struggle to find a way to power up the Command Module with its limited available power, but finally succeed and transmit the procedures to Swigert, who successfully restarts Odyssey by transmitting extra power from Aquarius. When the Service Module is jettisoned, the crew finally see the extent of the damage and prepare for re-entry, unsure whether Odyssey's heat shield is intact. If it is not, they will burn up. They release Aquarius and re-enter the Earth's atmosphere in Odyssey. After a tense, longer than normal period of radio silence due to ionization blackout, the astronauts report all is well and splash down in the Pacific Ocean. The three men are brought aboard the amphibious assault ship USS Iwo Jima.
As the astronauts are given a hero's welcome on deck, Lovell's narration describes the events that follow their return from space—including the investigation into the explosion, and the subsequent careers and lives of Haise, Swigert, Mattingly and Kranz—and ends wondering when mankind will return to the Moon.
Cast[edit]
Top to bottom: Hanks, Bacon and Paxton, who portray astronauts Lovell, Swigert and Haise respectively.
Tom Hanks as Apollo 13 Commander Jim Lovell. Jim Lovell stated that before the book was even written, the rights were being shopped to potential buyers[4] and that his first reaction was that actor Kevin Costner would be a good choice to play him.[5][6] However, by the time Howard acquired the director's position, Costner's name never came up in serious discussion, and Hanks had already been interested in doing a film based on Apollo 13. When Hanks' representative informed him that there was a script being passed around, he had the script sent to him.[4] John Travolta was initially offered the role of Lovell, but declined.[7]
Kevin Bacon as Apollo 13 backup CMP Jack Swigert.
Bill Paxton as Apollo 13 Lunar Module Pilot Fred Haise.
Gary Sinise as Apollo 13 prime Command Module Pilot (CMP) Ken Mattingly. Sinise was invited by Howard to read for any of the characters, and chose Mattingly.[4]
Ed Harris as White team Flight Director Gene Kranz. Harris described the film as "cramming for a final exam". Harris described Gene Kranz as "corny and like a dinosaur", but was respected by the crew.[4]
Kathleen Quinlan as Lovell's wife Marilyn.
Chris Ellis as Director of Flight Crew Operations Deke Slayton.
Joe Spano as "NASA Director", a composite character based loosely on Chris Kraft.
Marc McClure as Black team Flight Director Glynn Lunney.
Clint Howard as White team EECOM (Electrical, Environmental and Consumables Manager) Sy Liebergot.
Ray McKinnon as White team FIDO (Flight Dyamics Officer).
Todd Louiso as White Team FAO (Flight Activities Officer).
Loren Dean as EECOM John Aaron.
Xander Berkeley as "Henry Hurt", a fictional NASA Office of Public Affairs staff member.[8]
David Andrews as Apollo 12 Commander Pete Conrad
Christian Clemenson as Flight surgeon Dr. Charles Berry
Ben Marley as Apollo 13 backup Commander John Young
Brett Cullen as CAPCOM 1
Ned Vaughn as CAPCOM 2
Tracy Reiner as Haise's then-wife Mary
Mary Kate Schellhardt as Lovell's older daughter Barbara.
Max Elliott Slade as Lovell's older son James (Jay), who attended military school at the time of the flight.
Emily Ann Lloyd as Lovell's younger daughter Susan.
Miko Hughes as Lovell's younger son Jeffrey.
Thom Barry as an orderly at Blanch's retirement home.
The real Jim Lovell appears as captain of the recovery ship USS Iwo Jima; Howard had intended to make him an admiral, but Lovell himself, having retired as a Captain, chose to appear in his actual rank. Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Saturn V Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his proteges' films.[9][10] The real Marilyn Lovell appeared among the spectators during the launch sequence.[5][5] CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic.[5]
In addition to his brother, Clint Howard, several other members of Ron Howard's family appear in the movie:
Rance Howard (his father) appears as the Lovell family minister.
Jean Speegle Howard (his mother) appears as Lovell's mother Blanch.
Cheryl Howard (his wife) and Bryce Dallas Howard (his daughter) appear as uncredited background performers in the scene where the astronauts wave goodbye to their families.[10]
Brad Pitt was offered a role in the film, but turned it down to star in Se7en.[11] Reportedly, the real Pete Conrad expressed interest in appearing in the film.[5]
Jeffrey Kluger appears as a television reporter.[10]
Production[edit]
Pre-production and props[edit]
While planning the film, director Ron Howard decided that every shot of the film would be original and that no mission footage would be used.[12] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center's Space Works, who also restored the Apollo 13 Command Module. Two individual Lunar Modules and two Command Modules were constructed for filming. While each was a replica, composed of some of the original Apollo materials, they were built so that different sections were removable, which enabled filming to take place inside the capsules. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When the actors put the suits on with their helmets locked in place, air was pumped into the suits to cool them down and allow them to breathe, exactly as in launch preparations for the real Apollo missions.[13]
The real Mission Control center consisted of two control rooms located on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming but Howard declined, opting instead to make his own replica from scratch.[5][12] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. The set was equipped with giant rear-screen projection capabilities and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers were able to communicate with each other on a private audio loop.[13] The Mission Control room built for the film was on the ground floor.[12] One NASA employee who was a consultant for the film said that the set was so realistic that he would leave at the end of the day and look for the elevator before remembering he was not in Mission Control.[5] By the time the film was made, the USS Iwo Jima had been scrapped, so her sister ship, the USS New Orleans, was used as the recovery ship instead.[12]
"For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was."
—Tom Hanks[13]
Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested using a KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA's permission and assistance in filming in the realistic conditions aboard multiple KC-135 flights.[14]
Cast training and filming[edit]
To prepare for their roles in the film, Hanks, Paxton, and Bacon all attended the U.S. Space Camp in Huntsville, Alabama. While there, astronauts Jim Lovell and David Scott, commander of Apollo 15, did actual training exercises with the actors inside a simulated Command Module and Lunar Module.[dubious – discuss] The actors were also taught about each of the 500 buttons, toggles, and switches used to operate the spacecraft.[citation needed]
The actors then traveled to Johnson Space Center in Houston where they flew in NASA's KC-135 reduced gravity aircraft to simulate weightlessness in outer space. While in the KC-135, filming took place in bursts of 25 seconds, the length of each period of weightless that the plane could produce. The filmmakers eventually flew 612 parabolas which added up to a total of three hours and 54 minutes of weightlessness. Parts of the Command Module, Lunar Module and the tunnel that connected them were built by production designer Michael Corenblith, art directors David J. Bomba and Bruce Alan Miller and their crew to fit inside the KC-135. Filming in such an environment, while never done before for a film, was a tremendous time saver. In the KC-135, the actors moved wherever they wanted, surrounded by floating props; the camera and cameraman were weightless so filming could take place on any axis from which a shot could be set up.[citation needed]
In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts and attended a crash course in physics.[12][13] Astronaut Dave Scott was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word.[4]
Soundtrack[edit]
Apollo 13: Music From The Motion Picture
Soundtrack album by James Horner
Released
27 June 1995
Genre
Soundtrack
Length
77:41
Label
MCA
Professional ratings
Review scores
Source
Rating
Allmusic 4/5 stars[15]
Filmtracks.com 5/5 stars[16]
SoundtrackNet 4/5 stars[17]
Tracksounds 9/10 stars[18]
The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a running time of nearly seventy-three minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score.[19]
All music composed by James Horner, except where noted.
Apollo 13: Original Motion Picture Soundtrack
No.
Title
Length
1. "Main Title" 1:32
2. "One Small Step" 0:42
3. "Night Train" (performed by James Brown) 3:27
4. "Groovin'" (performed by The Young Rascals) 2:26
5. "Somebody to Love" (performed by Jefferson Airplane) 2:55
6. "I Can See for Miles" (performed by The Who) 4:09
7. "Purple Haze" (performed by The Jimi Hendrix Experience) 2:48
8. "Launch Control" 3:28
9. "All Systems Go/The Launch" 6:39
10. "Welcome to Apollo 13" 0:38
11. "Spirit in the Sky" (performed by Norman Greenbaum) 3:50
12. "House Cleaning/Houston, We Have a Problem" 1:34
13. "Master Alarm" 2:54
14. "What's Going On?" 0:34
15. "Into the L.E.M." 3:43
16. "Out of Time/Shut Her Down" 2:20
17. "The Darkside of the Moon" (performed by Annie Lennox) 5:09
18. "Failure is Not an Option" 1:18
19. "Honky Tonkin'" (performed by Hank Williams) 2:42
20. "Blue Moon" (performed by The Mavericks) 4:09
21. "Waiting for Disaster/A Privilege" 0:43
22. "Re-Entry & Splashdown" 9:05
23. "End Titles" (performed by Annie Lennox) 5:34
Release[edit]
The film was released on 30 June 1995 in North America and on 22 September 1995 in the UK.
In September 2002 the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology.[20]
Box-office performance[edit]
The film was a box-office success, gaining $355,237,933 worldwide.[2] The film's widest release was 2,347 theaters.[2] The film's opening weekend and the latter two weeks placed it at #1 with a US gross of $25,353,380, which made up 14.7% of the total US gross.[2]
Apollo 13 box office revenue
Source
Gross (USD)
% Total
All time rank (unadjusted)
US $173,837,933[2] 48.9% 126[2]
Non-US $181,400,000[2] 51.1% N/A
Worldwide $355,237,933[2] 100.0% 140[2]
Reception[edit]
Apollo 13 received very positive reviews from film critics. Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95% based on 81 reviews, with a weighted average score of 8.1/10.[21] At Metacritic, which assigns a normalized 0–100 rating to reviews from mainstream critics, calculated an average score of 77 based on 22 reviews.[22]
Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics."[23] Richard Corliss from Time Magazine highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride."[24] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide."[25] Peter Travers from Rolling Stone Magazine praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film."[26] Movie Room Reviews said "This film is arguably one of the most dramatic and horrendous spaceflight stories ever told".[27]
Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story." According to Maslin, “like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind).”[28]
Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived.[29] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind.[4]
Home media[edit]
A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras.[30] The IMAX version has a 1.66:1 aspect ratio.[31]
In 2006, Apollo 13 was released on HD DVD; on 13 April 2010, it was released on Blu-ray disc, on the 40th anniversary of the Apollo 13 accident (Central Standard Time).[30]
Accolades[edit]
Year
Award
Category
Recipient
Result
Ref.
1996 Academy Awards (1996) Best Film Editing Mike Hill and Daniel Hanley Won [3]
Best Sound Rick Dior, Steve Pederson, Scott Millan, David MacMillan Won
Best Actor in a Supporting Role Ed Harris (lost to Kevin Spacey in Usual Suspects) Nominated
Best Actress in a Supporting Role Kathleen Quinlan (lost to Mira Sorvino Mighty Aphrodite) Nominated
Best Art Direction Michael Corenblith (art director), Merideth Boswell (set decorator) (lost to Restoration) Nominated
Best Original Dramatic Score James Horner (lost to Il Postino) Nominated
Best Picture Brian Grazer (lost to Braveheart) Nominated
Best Visual Effects Robert Legato, Michael Kanfer, Leslie Ekker, Matt Sweeney (lost to Babe) Nominated
Best Adapted Screenplay William Broyles Jr., Al Reinert (lost to Sense & Sensibility) Nominated
American Cinema Editors (Eddies) Best Edited Feature Film Mike Hill, Daniel P. Hanley Nominated
American Society of Cinematographers Outstanding Achievement in Cinematography in Theatrical Releases Dean Cundey Nominated
BAFTA Film Awards Best Production Design Michael Corenblith Won
Outstanding Achievement in Special Visual Effects Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker Won
Best Cinematography Dean Cundey Nominated
Best Editing Mike Hill, Daniel Hanley Nominated
Best Sound David MacMillan, Rick Dior, Scott Millan, Steve Pederson Nominated
Casting Society of America (Artios) Best Casting for Feature Film, Drama Jane Jenkins, Janet Hirshenson Nominated
Chicago Film Critics Association Awards Best Picture Apollo 13 Won
Directors Guild of America Outstanding Directorial Achievement in Motion Pictures Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul Won
Golden Globe Awards Best Supporting Actor – Motion Picture Ed Harris as Gene Kranz Nominated
Best Supporting Actress – Motion Picture Kathleen Quinlan as Marilyn Lovell Nominated
Best Director – Motion Picture Ron Howard Nominated
Best Motion Picture – Drama Apollo 13 Nominated
Heartland Film Festival Studio Crystal Heart Award Jeffrey Kluger Won
Hugo Awards Best Dramatic Presentation Apollo 13 Nominated
MTV Movie Awards Best Male Performance Tom Hanks as Jim Lovell Nominated
Best Movie Apollo 13 Nominated
PGA Awards Motion Picture Producer of the Year Award Brian Grazer, Todd Hallowell Won
Saturn Awards Best Action / Adventure / Thriller Film Apollo 13 Nominated
Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Ed Harris as Gene Kranz Won
Outstanding Performance by a Cast Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan and Gary Sinise Won
Space Foundation's Douglas S. Morrow Public Outreach Award Best Family Feature – Drama Apollo 13 Won [32]
Writers Guild of America Awards Best Screenplay Adapted from Another Medium William Broyles Jr., Al Reinert Nominated
Young Artist Awards Best Family Feature – Drama Apollo 13 Nominated
2001 American Film Institute AFI's 100 Years... 100 Thrills Apollo 13 Nominated
2005 American Film Institute AFI's 100 Years... 100 Movie Quotes "Houston, we have a problem." (#50) Won [33]
2006 American Film Institute AFI's 100 Years... 100 Cheers Apollo 13 (#12) Won [33]
Technical and historical accuracy[edit]
The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, it was 93 seconds later that the crew heard the bang.[34]
The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem." (This quote was voted #50 on the list "AFI's 100 Years... 100 Movie Quotes".) According to the mission transcript, the actual words uttered by Jack Swigert were "I believe we've had a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please." Jim Lovell then repeated, "Houston, we've had a problem."[35]
One other incorrect dialogue is after the reentry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again". In the actual reentry, the Command Module was finally acquired by a Sikorsky SH-3D Sea King recovery aircraft which then relayed communications to Mission Control. Capcom and fellow astronaut Joe Kerwin (not Mattingly, who serves as Capcom in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over." Jack Swigert, not Lovell, replied "Okay, Joe," and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment.[36]
The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an email by Apollo 13 Flight Dynamics Officer Jerry Bostick:
"As far as the expression 'Failure is not an option', you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on 'What are the people in Mission Control really like?' One of their questions was 'Weren't there times when everybody, or at least a few people, just panicked?' My answer was 'No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution.' I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, 'That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it.' Of course, they gave it to the Kranz character, and the rest is history."[37]
A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both the original and 10th-anniversary editions,[30] mentions several inaccuracies included in the film, all done for reasons of artistic license:
"We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering."
—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere[38]
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.[5]
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission." Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module pilot and that no one was really worried about whether he was up to the job,[38] but he admitted that it made a nice sub-plot for the film. What Lovell and Haise were really worried about was rendezvousing with Swigert as they left the Moon.[5]
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.[5]
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur,[38] but the drain trap caught the ring and his wife was able to retrieve it.[5] Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 blasted off.[38]
See also[edit]
From the Earth to the Moon, a docudrama mini-series based around the Apollo missions.
Gravity, a 2013 film about astronauts escaping from orbit
Marooned, a 1969 film directed by John Sturges, about astronauts marooned in an Apollo Command/Service Module.
Moon-Mdf-2005.jpgMoon portal
Earth-moon.jpgSpace portal
RocketSunIcon.svgSpaceflight portal
STS-41-B MMU.jpgHuman spaceflight portal
Video-x-generic.svgFilm portal
References[edit]
This article incorporates public domain material from websites or documents of the National Aeronautics and Space Administration.
1.Jump up ^ "CNN Showbiz News:Apollo 13". CNN. Retrieved 9 April 2009.
2.^ Jump up to: a b c d e f g h i "Apollo 13 (1995)". Box Office Mojo. Retrieved 9 April 2009.
3.^ Jump up to: a b "Academy Awards, USA: 1996". awardsdatabase.oscars.org. Archived from the original on 27 February 2009. Retrieved 8 April 2009.
4.^ Jump up to: a b c d e f "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
5.^ Jump up to: a b c d e f g h i j k Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features:Commentary track by Jim and Marilyn Lovell (DVD). Universal Studios. 19 April 2005.
6.Jump up ^ "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
7.Jump up ^ "Film Casting that Might Have Been for John Travolta and Richard Gere". Retrieved 1 January 2012.
8.Jump up ^ The character in the film is a composite of protocol officer Bob McMurrey, who relayed the request for permission to erect a TV tower to Marilyn Lovell, and an unnamed OPA staffer who made the request on the phone, to whom she personally denied it as Quinlan did to "Henry" in the film. "Henry" is also seen performing other OPA functions, such as conducting a press conference. Kluger, Jeffrey; Jim Lovell (July 1995). Lost Moon: The Perilous Voyage of Apollo 13 (First Pocket Books printing ed.). New York: Pocket Books. pp. 118, 209–210, 387. ISBN 0-671-53464-5.
9.Jump up ^ "Repertoire Of Horrors: The Films Of Roger Corman". Retrieved 1 January 2012.
10.^ Jump up to: a b c Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features:Commentary track by Ron Howard (DVD). Universal Studios. 19 April 2005.
11.Jump up ^ "Brad Pitt - A Quick Overview". Retrieved 1 January 2012.
12.^ Jump up to: a b c d e Apollo 13: 2-Disc Anniversary Edition (Disc 1), Production Notes (DVD). Universal Studios. 19 March 2005.
13.^ Jump up to: a b c d "Production Notes (Press Release)". IMAX. Retrieved 9 April 2009.
14.Jump up ^ "Ron Howard Weightless Again Over Apollo 13's DGA Win". Retrieved 16 December 2011.
15.Jump up ^ Apollo 13 at AllMusic
16.Jump up ^ Filmtracks review
17.Jump up ^ Soundtrack.Net review
18.Jump up ^ Tracksounds review
19.Jump up ^ Apollo 13 soundtrack review at Filmtracks. Retrieved 24 February 2011.
20.Jump up ^ "History of IMAX". Retrieved 11 February 2011.
21.Jump up ^ "Rotten Tomatoes – Apollo 13". Rotten Tomatoes. Flixster. Archived from the original on 20 August 2010. Retrieved 24 August 2010.
22.Jump up ^ "Apollo 13 Reviews". Metacritic. CBS Interactive. Retrieved 25 September 2011.
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24.Jump up ^ "Apollo 13:Review". Time Magazine. 3 July 1995. Retrieved 11 April 2009.[dead link]
25.Jump up ^ Guthmann, Edward. "Apollo 13 Review: Story heroic, but it just doesn't fly.". San Francisco Chronicle. Retrieved 11 April 2009.
26.Jump up ^ "Apollo 13 Review:Rolling Stone". Rolling Stone Magazine. Retrieved 11 April 2009.
27.Jump up ^ "Movie Review: "Apollo 13"". Movie Room Reviewsaccessdate=February 26, 2013.
28.Jump up ^ Maslin, Janet (30 June 1995). "Apollo 13, a Movie for the Fourth of July". NYT Critics' Pick. The New York Times. Retrieved 30 September 2011.
29.Jump up ^ Howard, Ron (8 December 2008). "A conversation about the film "Frost/Nixon"". Charlie Rose show. Archived from the original on 11 December 2008. Retrieved 8 December 2008.
30.^ Jump up to: a b c "Apollo 13 Blu Ray Release". Universal Studios. Retrieved 29 September 2011.[not in citation given]
31.Jump up ^ "Apollo 13 (DVD - 2005)". Lethbridge Public Library. Retrieved 30 December 2011.
32.Jump up ^ "Symposium Awards". National Space Symposium. Retrieved 26 April 2009.[dead link]
33.^ Jump up to: a b "AFI's 100 years...100 quotes". AFI. Archived from the original on 26 March 2009. Retrieved 13 April 2009.
34.Jump up ^ Apollo 13 Timeline, Apollo by the Numbers: A Statistical Reference, NASA History Series, Office of Policy and Plans, Richard W. Orloff, Sept. 2004. See "Oxygen tank #2 fans on. Stabilization control system electrical disturbance indicated a power transient. 055:53:20."
35.Jump up ^ "Page 167 of Apollo 13's transcript on Spacelog". Retrieved 10 June 2011.
36.Jump up ^ "Apollo 13's reentry transcript on Spacelog".
37.Jump up ^ "ORIGIN OF APOLLO 13 QUOTE: "FAILURE IS NOT AN OPTION."". SPACEACTS.COM. Retrieved 4 April 2010.
38.^ Jump up to: a b c d William, Lena (19 July 1995). "In Space, No Room For Fear". The New York Times. Retrieved 30 September 2011.
External links[edit]
Wikiquote has a collection of quotations related to: the film Apollo 13
Apollo 13 at the TCM Movie Database
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Apollo 13 at Rotten Tomatoes
Apollo 13 at Box Office Mojo
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2001: A Space Odyssey (film)
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2001: A Space Odyssey
A painted image of four space-suited astronauts standing next to a piece of equipment atop a Lunar hill, in the distance is a Lunar base and a ball-shaped spacecraft descending toward it—with the earth hanging in a black sky in the background. Above the image appears "An epic drama of adventure and exploration" in blue block letters against a white background. Below the image in a black band, the title "2001: a space odyssey" appears in yellow block letters.
Theatrical release poster by Robert McCall
Directed by
Stanley Kubrick
Produced by
Stanley Kubrick
Screenplay by
Stanley Kubrick
Arthur C. Clarke
Based on
"The Sentinel"
by Arthur C. Clarke
Starring
Keir Dullea
Gary Lockwood
William Sylvester
Douglas Rain
Cinematography
Geoffrey Unsworth
Editing by
Ray Lovejoy
Studio
Metro-Goldwyn-Mayer
Distributed by
Metro-Goldwyn-Mayer (original)
Warner Bros. (current)
Release dates
April 2, 1968 (USA)
Running time
161 minutes (Premiere)[1]
142 minutes (Theatrical)[1]
Country
United States
United Kingdom
Language
English
Budget
$10.5 million
Box office
$190 million
2001: A Space Odyssey is a 1968 British-American science fiction film produced and directed by Stanley Kubrick. The screenplay was written by Kubrick and Arthur C. Clarke, and was partially inspired by Clarke's short story "The Sentinel". Clarke concurrently wrote the novel 2001: A Space Odyssey which was published soon after the film was released. The story deals with a series of encounters between humans and mysterious black monoliths that are apparently affecting human evolution, and a voyage to Jupiter tracing a signal emitted by one such monolith found on the Moon. The film is frequently described as an epic, both for its length and scope, and for its affinity with classical epics.[2][3]
The film is structured into four distinct acts. Daniel Richter plays the character "Moonwatcher" in the first act, and William Sylvester plays Dr. Heywood R. Floyd in the second. Keir Dullea (as Dr. David Bowman) and Gary Lockwood (as Dr. Frank Poole) star in the third act as the two astronauts on their voyage to Jupiter on board the spacecraft Discovery One, with Douglas Rain as the voice of the sentient computer HAL 9000 who has full control over their spacecraft. In the fourth and final act of the film we follow the journey of astronaut David Bowman "beyond the infinite".
Produced and distributed by the U.S. studio Metro-Goldwyn-Mayer, the film was made almost entirely in England, using both the studio facilities of MGM's subsidiary "MGM British" (among the last movies to be shot there before its closure in 1970)[4] and those of Shepperton Studios, mostly because of the availability of much larger sound stages than in the United States. The film was also coproduced by Kubrick's own "Stanley Kubrick Productions". Kubrick, having already shot his previous two films in England, decided to settle there permanently during the filming of Space Odyssey. Though Space Odyssey was released in the United States over a month before its release in the United Kingdom, and Encyclopædia Britannica calls this an American film,[5] other sources refer to it as an American, British, or American-British production.[6]
Thematically, the film deals with elements of human evolution, technology, artificial intelligence, and extraterrestrial life. It is notable for its scientific accuracy, pioneering special effects, ambiguous imagery, sound in place of traditional narrative techniques, and minimal use of dialogue. The film's memorable soundtrack is the result of the association that Kubrick made between the spinning motion of the satellites and the dancers of waltzes, which led him to use The Blue Danube waltz by Johann Strauss II,[7] and the symphonic poem Also sprach Zarathustra by Richard Strauss, to portray the philosophical concept of the Übermensch in Nietzsche's work Thus Spoke Zarathustra.[8][9]
Despite initially receiving mixed reactions from critics and audiences alike, 2001: A Space Odyssey garnered a cult following and slowly became a box office hit. Some years after its initial release, it eventually became the highest grossing picture from 1968 in North America. Today it is nearly universally recognized by critics, film-makers, and audiences as one of the greatest and most influential films ever made. The 2002 Sight & Sound poll of critics ranked it among the top ten films of all time,[10] placing it #6 behind Tokyo Story. The film retained sixth place on the critics' list in 2012, and was named the second greatest film ever made by the directors' poll of the same magazine.[11] Two years before that, it was ranked the greatest film of all time by The Moving Arts Film Journal.[12] It was nominated for four Academy Awards, and received one for its visual effects. In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[13]
In 1984, a sequel directed by Peter Hyams was released, titled 2010: The Year We Make Contact.
Contents [hide]
1 Plot 1.1 The Dawn of Man
1.2 TMA-1
1.3 Jupiter Mission
1.4 Jupiter and Beyond the Infinite
2 Cast
3 Development 3.1 Writing
3.2 Speculation on sources
4 Production 4.1 Filming
4.2 Set design and furnishings
4.3 Special effects
4.4 Deleted scenes
5 Soundtrack 5.1 Music
5.2 Soundtrack album
6 Release 6.1 Theatrical run
6.2 Home video
7 Reception 7.1 Critical reaction
7.2 Box-office
8 Influence 8.1 Influence on film
8.2 Influence on media
8.3 Influence on technology and law
9 Awards and honors 9.1 Academy Awards
9.2 Other awards
9.3 Top film lists
10 Interpretation
11 Sequels and adaptations
12 Hoaxes and conspiracy theory
13 Parodies and homages 13.1 In advertising and print
13.2 In film and television
13.3 In software and video games
14 See also
15 Notes
16 References 16.1 Citations
17 Further reading
18 External links
Plot[edit]
The film consists of four major sections, all of which, except the second, are introduced by superimposed titles.
The Dawn of Man[edit]
The match-cut[14] spanning millions of years
A tribe of herbivorous early hominids is foraging for food in the African desert. A leopard kills one member, and another tribe of man-apes drives them from their water hole. Defeated, they sleep overnight in a small exposed rock crater, and awake to find a black monolith has appeared in front of them. They approach it shrieking and jumping, and eventually touch it cautiously. Soon after, one of the man-apes, "Moonwatcher"[note 1] (played by Daniel Richter), realizes how to use a bone as both a tool and a weapon, which they start using to kill prey for their food. Growing increasingly capable and assertive, they reclaim control of the water hole from the other tribe by killing its leader. Triumphant, the tribe's leader throws his weapon-tool into the air as the scene shifts via match cut.[16][17]
TMA-1[edit]
A Pan Am space plane carries Dr. Heywood R. Floyd (William Sylvester) to a space station orbiting Earth for a layover on his trip to Clavius Base, a Lunar US outpost. After making a videophone call from the station to his daughter (Vivian Kubrick), he encounters his friend Elena (Margaret Tyzack), a Soviet scientist, and her colleague Dr. Smyslov (Leonard Rossiter), who ask Floyd about "odd things" occurring at Clavius, and the rumor of a mysterious epidemic at the base. Floyd politely but firmly declines to answer any questions about the epidemic, claiming he is "not at liberty to discuss this".
At Clavius, Floyd heads a meeting of base personnel, apologizing for the epidemic cover story but stressing secrecy. His mission is to investigate a recently found artifact—"Tycho Magnetic Anomaly One" (TMA-1)—"deliberately buried" four million years ago. Floyd and others ride in a Moonbus to the artifact, a black monolith identical to the one encountered by the apes. The visitors examine the monolith, and pose for a photo in front of it. While doing so, they hear a very loud high-pitched radio signal emanating from within the monolith.
Jupiter Mission[edit]
Eighteen months later, the U.S. spacecraft Discovery One is bound for Jupiter. On board are mission pilots and scientists Dr. David Bowman (Keir Dullea) and Dr. Frank Poole (Gary Lockwood), and three other scientists who are in cryogenic hibernation. Most of Discovery's operations are controlled by the ship's computer, HAL 9000 (voiced by Douglas Rain), referred to by the crew as "Hal". While Bowman and Poole watch Hal and themselves being interviewed in a BBC show about the mission, the computer states that he is "foolproof and incapable of error." Hal also speaks of his enthusiasm for the mission, and how he enjoys working with humans. When asked by the host if Hal has genuine emotions, Bowman replies that he appears to, but that the truth is unknown.
Hal asks Bowman about the unusual mystery and secrecy surrounding the mission, but then interrupts himself to report the imminent failure of a device which controls the ship's main antenna. After retrieving the component with an EVA pod, the astronauts cannot find anything wrong with it. Hal suggests reinstalling the part and letting it fail so the problem can be found. Mission control concurs, but advises the astronauts that results from their twin HAL 9000 indicate the ship's Hal is in error predicting the fault. When queried, Hal insists that the problem, like all previous issues with the HAL series, is due to "human error". Concerned about Hal's behavior, Bowman and Poole enter one of the EVA pods to talk without the computer overhearing them. They both have suspicions about Hal, despite the perfect reliability of the HAL series, but they decide to follow his suggestion to replace the unit. As the astronauts agree to disconnect Hal if he is proven to be wrong, they are unaware that Hal is reading their lips through the pod's window.
While Poole is attempting to replace the unit during a space-walk, his EVA pod, controlled by Hal, severs his oxygen hose and sets him adrift. Bowman, not realizing the computer is responsible for this, takes another pod to attempt a rescue, leaving his helmet behind. While he is gone, Hal turns off the life-support functions of the crewmen in suspended animation. When Bowman returns to the ship with Poole's body, Hal refuses to let him in, stating that the astronaut's plan to deactivate him jeopardizes the mission. Having to let go of Poole, Bowman manually opens the ship's emergency airlock and enters the ship risking death from exposure to vacuum but survives. After donning a helmet, Bowman proceeds to Hal's processor core intent on disconnecting most of the functions of the computer. Hal first tries to reassure Dave, then pleads with him to stop, and finally begins to express fear—all in a steady monotone voice. Dave ignores him and disconnects each of the computer's processor modules. Hal eventually regresses to his earliest programmed memory, the song "Daisy Bell", which he sings for Bowman.
When the computer is finally disconnected, a prerecorded video message from Floyd plays. In it, he reveals the existence of the four million-year-old black monolith on the Moon, "its origin and purpose still a total mystery". Floyd adds that it has remained completely inert, except for a single, very powerful radio emission aimed at Jupiter.
Jupiter and Beyond the Infinite[edit]
At Jupiter, Bowman leaves Discovery One in an EVA pod to investigate another monolith discovered in orbit around the planet. Approaching it, the pod is suddenly pulled into a tunnel of colored light,[18] and a disoriented and terrified Bowman finds himself racing at great speed across vast distances of space, viewing bizarre cosmological phenomena and strange landscapes of unusual colors. He finds himself, middle-aged and still in his spacesuit, standing in a bedroom appointed in the Louis XVI-style. Bowman sees progressively older versions of himself, his point of view switching each time, alternately appearing formally dressed and eating dinner, and finally as a very elderly man lying in a bed. A black monolith appears at the foot of the bed, and as Bowman reaches for it, he is transformed into a fetal being enclosed in a transparent orb of light.[19] The new being floats in space beside the Earth, gazing at it.
Cast[edit]
A human fetus inside a glowing circle of light is partially visible in profile on the left gazing across the blackness of space at the earth partially visible at right
The Star-Child into which David Bowman is transformed, gazing at EarthKeir Dullea as Dr. David Bowman
Gary Lockwood as Dr. Frank Poole
William Sylvester as Dr. Heywood R. Floyd
Douglas Rain as the voice of the HAL 9000
Daniel Richter as the chief man-ape ("Moon-Watcher" in Clarke's novel)—Richter, a professional street mime, in addition to playing the lead ape was also responsible for choreographing the movements of the other man-apes, who were mostly portrayed by his standing mime troupe.[20]
Leonard Rossiter as Dr. Andrei Smyslov
Margaret Tyzack as Elena
Robert Beatty as Dr. Ralph Halvorsen
Sean Sullivan as Dr. Roy Michaels[21]
Frank Miller as mission controller
Edward Bishop as Lunar shuttle captain
Edwina Carroll as Aries stewardess
Penny Brahms as stewardess
Heather Downham as stewardess
Maggie d'Abo (uncredited) as stewardess (Space station elevator)
Chela Matthison (uncredited) as stewardess (Mrs.Turner, Space station reception)
Judy Keirn (uncredited) as Voiceprint identification girl (Space station)
Alan Gifford as Poole's father
Ann Gillis as Poole's mother
Vivian Kubrick (uncredited) as Floyd's daughter
Kenneth Kendall (uncredited) as the BBC announcer
Development[edit]
Writing[edit]
Kubrick and Clarke meet[edit]
Shortly after completing Dr. Strangelove (1964), Stanley Kubrick became fascinated by the possibility of extraterrestrial life,[22] and determined to make "the proverbial good science fiction movie".[23] Searching for a suitable collaborator in the science fiction community, Kubrick was advised by a mutual acquaintance, Columbia Pictures staffer Roger Caras, to seek out the noted science fiction writer Arthur C. Clarke. Although convinced that Clarke was "a recluse, a nut who lives in a tree", Kubrick agreed that Caras would cable the Ceylon-based author with the film proposal. Clarke's cabled response stated that he was "frightfully interested in working with enfant terrible", and added "what makes Kubrick think I'm a recluse?"[24] Meeting for the first time at Trader Vic's in New York on April 22, 1964, the two began discussing the project that would take up the next four years of their lives.[25]
Search for source material[edit]
Kubrick told Clarke he was searching for the best way to make a movie about Man's relation to the universe, and was, in Clarke's words, "determined to create a work of art which would arouse the emotions of wonder, awe, … even, if appropriate, terror".[25] Clarke offered Kubrick six of his short stories, and by May, Kubrick had chosen one of them—"The Sentinel"—as source matter for his film. In search of more material to expand the film's plot, the two spent the rest of 1964 reading books on science and anthropology, screening science fiction movies, and brainstorming ideas.[26] Clarke and Kubrick spent two years transforming "The Sentinel" into a novel, and then into a script for 2001.[27] Clarke notes that his short story "Encounter in the Dawn" inspired the "Dawn Of Man" sequence in 2001.[28]
At first, Kubrick and Clarke privately referred to their project as How the Solar System Was Won as a reference to MGM's 1962 Cinerama epic, How the West Was Won. However, Kubrick chose to announce the project, in a press release issued on February 23, 1965, as Journey Beyond The Stars.[29] "Other titles which we ran up and failed to salute were Universe, Tunnel to the Stars, and Planetfall", Clarke wrote in his book The Lost Worlds of 2001. "It was not until eleven months after we started—April 1965—that Stanley selected 2001: A Space Odyssey. As far as I can recall, it was entirely his idea."[30] Intending to set the film apart from the standard "monsters and sex" type of science-fiction movies of the time, Kubrick used Homer's The Odyssey as inspiration for the title. "It occurred to us", he said, "that for the Greeks the vast stretches of the sea must have had the same sort of mystery and remoteness that space has for our generation".[31]
Parallel development of film and novelization[edit]
See also: Differences between the film and the novel
The collaborators originally planned to develop a novel first, free of the constraints of a normal script, and then to write the screenplay; they envisaged that the final writing credits would be "Screenplay by Stanley Kubrick and Arthur C. Clarke, based on a novel by Arthur C. Clarke and Stanley Kubrick" to reflect their preeminence in their respective fields.[32] In practice, however, the cinematic ideas required for the screenplay developed parallel to the novel, with cross-fertilization between the two. In a 1970 interview with Joseph Gelmis, Kubrick explained:
There are a number of differences between the book and the movie. The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The novel came about after we did a 130-page prose treatment of the film at the very outset. This initial treatment was subsequently changed in the screenplay, and the screenplay in turn was altered during the making of the film. But Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel. As a result, there's a difference between the novel and the film … I think that the divergences between the two works are interesting.[33]
In the end, the screenplay credits were shared while the novel, released shortly after the film, was attributed to Clarke alone, but Clarke wrote later that "the nearest approximation to the complicated truth" is that the screenplay should be credited to "Kubrick and Clarke" and the novel to "Clarke and Kubrick".[34]
Clarke and Kubrick wrote the novel and screenplay simultaneously, but while Clarke ultimately opted for clearer explanations of the mysterious monolith and Star Gate in his book, Kubrick chose to make his film more cryptic and enigmatic by keeping dialogue and specific explanations to a minimum.[9] "2001", Kubrick says, "is basically a visual, nonverbal experience" that avoids the spoken word in order to reach the viewer's subconscious in an essentially poetic and philosophic way. The film is a subjective experience which "hits the viewer at an inner level of consciousness, just as music does, or painting".[35]
How much would we appreciate La Gioconda [the Mona Lisa] today if Leonardo had written at the bottom of the canvas: This lady is smiling slightly because she has rotten teeth or because she's hiding a secret from her lover? It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to 2001. —Stanley Kubrick[36]
Depiction of alien life[edit]
Astronomer Carl Sagan wrote in his book, The Cosmic Connection, that Clarke and Kubrick asked his opinion on how to best depict extraterrestrial intelligence. Sagan, while acknowledging Kubrick's desire to use actors to portray humanoid aliens for convenience's sake, argued that alien life forms were unlikely to bear any resemblance to terrestrial life, and that to do so would introduce "at least an element of falseness" to the film. Sagan proposed that the film suggest, rather than depict, extraterrestrial superintelligence. He attended the premiere and was "pleased to see that I had been of some help."[37] Kubrick hinted at the nature of the mysterious unseen alien race in 2001 by suggesting, in a 1968 interview, that given millions of years of evolution, they progressed from biological beings to "immortal machine entities", and then into "beings of pure energy and spirit"; beings with "limitless capabilities and ungraspable intelligence".[38]
Stages of script and novel development[edit]
Arthur C. Clarke kept a diary throughout his involvement with 2001, excerpts of which were published in 1972 as The Lost Worlds of 2001. The script went through many stages of development in which various plot ideas were considered and subsequently discarded. Early in 1965, right when backing was secured for Journey Beyond the Stars, the writers still had no firm idea of what would happen to Bowman after the Star Gate sequence, though as early as October 17, 1964 Kubrick had come up with what Clarke called a "wild idea of slightly fag robots who create a Victorian environment to put our heroes at their ease".[34] Initially all of Discovery's astronauts were to survive the journey; a decision to leave Bowman as the sole survivor and have him regress to infancy was agreed by October 3, 1965. The computer HAL 9000 was originally to have been named "Athena", after the Greek goddess of wisdom, with a feminine voice and persona.[34]
Early drafts included a short prologue containing interviews with scientists about extraterrestrial life,[39] voice-over narration (a feature in all of Kubrick's previous films),[40] a stronger emphasis on the prevailing Cold War balance of terror, a slightly different and more explicitly explained scenario for Hal's breakdown,[41][42][43] and a differently envisaged monolith for the "Dawn of Man" sequence. The last three of these survived into Arthur C. Clarke's final novel, which also retained an earlier draft's employment of Saturn as the final destination of the Discovery mission rather than Jupiter, and the discarded finale of the Star Child exploding nuclear weapons carried by Earth-orbiting satellites.[43] Clarke had suggested this finale to Kubrick, jokingly calling it "Son of Dr. Strangelove"; a reference to Kubrick's previous film. Feeling that this conclusion's similarity to that of his previous film would be detrimental, Kubrick opted for a more pacific conclusion.[39]
Some changes were made simply due to the logistics of filming. Early prototypes of the monolith did not photograph well, while the special effects team was unable to develop a convincing rendition of Saturn's rings; hence the switch to Jupiter[44] (in his foreword to the 1990 edition of the novel, Clarke noted that if they had remained with Saturn, the film would have become far more dated as Voyager revealed that Saturn's rings were far more visually bizarre in closeup than anyone had imagined). Other changes were made due to Stanley Kubrick's increasing desire to make the film more non-verbal, reaching the viewer at a visual and visceral level rather than through conventional narrative.[45] Vincent LeBrutto notes that Clarke's novel has "strong narrative structure" which fleshes out the story, while the film is a mainly visual experience where much remains "symbolic".[46]
Remnants of early drafts in final film[edit]
While many ideas were discarded in totality, at least two remnants of previous plot ideas remain in the final film.
HAL's breakdown[edit]
While the film leaves it mysterious, early script drafts spell out that HAL's breakdown is triggered by authorities on Earth who had ordered him to withhold information from the astronauts about the true purpose of the mission (this is also explained in the film's sequel 2010). Frederick Ordway, Kubrick's science advisor and technical consultant, working from personal copies of early drafts, stated that in an earlier version, Poole tells HAL there is "… something about this mission that we weren't told. Something the rest of the crew knows and that you know. We would like to know whether this is true", to which HAL enigmatically responds: "I'm sorry, Frank, but I don't think I can answer that question without knowing everything that all of you know."[41] In this version, HAL then falsely predicts a failure of the hardware maintaining radio contact with Earth (the source of HAL's difficult orders) during the broadcast of Frank Poole's birthday greetings from his parents.
The film drops this overt explanation, but it is hinted at when HAL asks David Bowman if the latter feels bothered or disturbed by the "mysteries" and "secrecy" surrounding the mission and its preparations. After Bowman concludes that HAL is dutifully drawing up the "crew psychology report", the computer then makes his false prediction of hardware failure.
In an interview with Joseph Gelmis in 1969, Kubrick simply stated that "[HAL] had an acute emotional crisis because he could not accept evidence of his own fallibility"[47]
Military nature of orbiting satellites[edit]
See also: Interpretations of 2001: A Space Odyssey#Military Nature of Orbiting Satellites
Stanley Kubrick originally intended that when the film does its famous match-cut from ancient bone-weapon to orbiting satellite that the latter and the three additional technological satellites seen would be established as orbiting nuclear weapons by a voice-over narrator talking about nuclear stalemate.[48] Further, Kubrick intended that the Star Child would detonate the weapons at the end of the film.[49] Over time, Kubrick decided that this would create too many associations with his previous film Dr. Strangelove and he decided not to make it so obvious that they were "war machines".[50] Kubrick was also confronted with the fact that only a few weeks before the release of the film, the U.S. and Soviet governments had agreed not to put any nuclear weapons into outer space.
Alexander Walker in a book he wrote with Kubrick's assistance and authorization, states that Kubrick eventually decided that as nuclear weapons the bombs had "no place at all in the film's thematic development", now being an "orbiting red herring" which would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".[51]
The perception that the satellites are bombs persists in the mind of some but by no means all commentators on the film. This may affect one's reading of the film as a whole. Noted Kubrick authority Michel Ciment, in discussing Kubrick's attitude toward human aggression and instinct, observes "The bone cast into the air by the ape (now become a man) is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon."[52] In contrast to Ciment's reading of a cut to a serene "other extreme of civilization", science fiction novelist Robert Sawyer, speaking in the Canadian documentary 2001 and Beyond, sees it as a cut from a bone to a nuclear weapons platform, explaining that "what we see is not how far we've leaped ahead, what we see is that today, '2001', and four million years ago on the African veldt, it's exactly the same—the power of mankind is the power of its weapons. It's a continuation, not a discontinuity in that jump."[53]
Kubrick, notoriously reluctant to provide any explanation of his work, never publicly stated the intended functions of the satellites, preferring to let the viewer surmise what their purpose might be.
Dialogue[edit]
Alongside its use of music, the lack of dialogue and conventional narrative cues in 2001 has been noted by many reviewers.[54] There is no dialogue at all for both the first and last 20 minutes or so of the film; the total narrative of these sections is carried entirely by images, actions, sound effects, a great deal of music (See Music) and two title cards. The first line of dialogue is the space-station stewardess addressing Heywood Floyd saying "Here you are, sir. Main level D." The final line is Floyd's conclusion of the pre-recorded Jupiter mission briefing about the monolith. "Except for a single, very powerful radio emission, aimed at Jupiter, the four-million-year-old black monolith has remained completely inert, its origin — and purpose — still a total mystery."
Only when the film moves into the postulated future of 2000 and 2001, does the viewer encounter characters who speak. By the time shooting began, Kubrick had deliberately jettisoned much of the intended dialogue and narration and what remains is notable for its apparent banality (making the computer Hal seem to have more human emotion than the actual humans), while it is juxtaposed with epic scenes of space.[55] The first scenes of dialogue are Floyd's three encounters on the space station. They are preceded by the space docking sequence choreographed to Strauss' The Blue Danube waltz and followed by a second extended sequence of his travel to the Moon with more Strauss, the two sequences acting as bookends to his space-station stop-over. In the stop-over itself, we get idle chit-chat with the colleague who greets him followed by Floyd's slightly more affectionate telephone call to his daughter, and the distantly friendly but awkwardly strained encounter with Soviet scientists. Later, en route to the monolith, Floyd engages in trite exchanges with his staff while we see a spectacular journey by Earth-light across the Lunar surface. Generally, the most memorable dialogue in the film belongs to the computer Hal in its exchanges with David Bowman.[56] Hal is the only character in the film who openly expresses anxiety (primarily around his disconnection), as well as feelings of pride and bewilderment.
Speculation on sources[edit]
The Russian documentarian Pavel Klushantsev made a ground-breaking film in the 1950s entitled Road to the Stars. It is believed to have significantly influenced Kubrick's technique in 2001: A Space Odyssey, particularly in its accurate depiction of weightlessness and a rotating space station. Encyclopedia Astronautica describes some scenes from 2001 as a "shot-for-shot duplication of Road to the Stars".[57] Specific comparisons of shots from the two films have been analyzed by the filmmaker Alessandro Cima.[58] A 1994 article in American Cinematographer says, "When Stanley Kubrick made 2001: a Space Odyssey in 1968, he claimed to have been first to fly actor/astronauts on wires with the camera on the ground, shooting vertically while the actor's body covered the wires" but observes that Klushantsev had preceded him in this.[59]
Production[edit]
Filming[edit]
Principal photography began December 29, 1965, in Stage H at Shepperton Studios, Shepperton, England. The studio was chosen because it could house the 60'x 120'x 60' pit for the Tycho crater excavation scene, the first to be shot.[60][61] The production moved in January 1966 to the smaller MGM-British Studios in Borehamwood, where the live action and special effects filming was done, starting with the scenes involving Floyd on the Orion spaceplane;[62] it was described as a "huge throbbing nerve center … with much the same frenetic atmosphere as a Cape Kennedy blockhouse during the final stages of Countdown."[63] The only scene not filmed in a studio—and the last live-action scene shot for the film—was the skull-smashing sequence, in which Moonwatcher (Richter) wields his new-found bone "weapon-tool" against a pile of nearby animal bones. A small elevated platform was built in a field near the studio so that the camera could shoot upward with the sky as background, avoiding cars and trucks passing by in the distance.[20][64]
Filming of actors was completed in September 1967,[65] and from June 1966 until March 1968 Kubrick spent most of his time working on the 205 special effects shots in the film.[33] The director ordered the special effects technicians on 2001 to use the painstaking process of creating all visual effects seen in the film "in camera", avoiding degraded picture quality from the use of blue screen and traveling matte techniques. Although this technique, known as "held takes", resulted in a much better image, it meant exposed film would be stored for long periods of time between shots, sometimes as long as a year.[66] In March 1968, Kubrick finished the 'pre-premiere' editing of the film, making his final cuts just days before the film's general release in April 1968.[33]
The film was initially planned to be photographed in 3-film-strip Cinerama (like How the West Was Won), because it was a part of a production/distribution deal between MGM and Cinerama Releasing corporation, but that was changed to Super Panavision 70 (which uses a single-strip 65 mm negative) on the advice of special photographic effects supervisor Douglas Trumbull, due to distortion problems with the 3-strip system.[67] Color processing and 35 mm release prints were done using Technicolor's dye transfer process. The 70 mm prints were made by MGM Laboratories, Inc. on Metrocolor. The production was $4.5 million over the initial $6.0 million budget, and sixteen months behind schedule.[61]
Set design and furnishings[edit]
Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes,[68] and selecting notable pieces of contemporary furniture for use in the film. When Floyd exits the Space Station V elevator, he is greeted by an attendant seated behind a slightly modified George Nelson Action Office desk from Herman Miller's 1964 "Action Office" series.[69] First introduced in 1968, the Action Office style "cubicle" would eventually occupy 70 percent of office space by the mid-2000s.[70][71] Noted Danish designer Arne Jacobsen designed the cutlery used by the Discovery astronauts in the film.[72][73][74]
Perhaps the most noted pieces of furniture in the film are the bright red Djinn Chairs seen prominently throughout the Space Station.[75][76] Designed by Olivier Mourgue in 1965, the Djinn chair is one of the most recognizable chair designs of the 1960s, at least partly due to their visibility in the film.[75] Today the chairs, particularly in red, are highly sought-after examples of modern furniture design.[75] Near the Djinn chairs the actors in the film are seated in is one of Eero Saarinen's 1956 pedestal tables, another famous piece of "modern" design. The pedestal table would later make an appearance in another science fiction film, Men in Black.[75] Mourgue has been using the connection to 2001 in his advertising; a frame from the film's space station sequence and three production stills appear on the homepage of Mourgue's website.[77] Shortly before Kubrick's death, film critic Alexander Walker informed Kubrick of Mourgue's use of the film, joking to him "You're keeping the price up".[78] Commenting on their use in the film, Walker writes:
Everyone recalls one early sequence in the film, the space hotel,[79] primarily because the custom-made Olivier Morgue [sic] furnishings, those foam-filled sofas, undulant and serpentine, are covered in scarlet fabric and are the first stabs of color one sees. They resemble Rorschach "blots" against the pristine purity of the rest of the lobby.[80]
Detailed instructions in relatively small print for various technological devices appear at several points in the film, the most notable of which is the lengthy instructions for the zero-gravity toilet on the Aries Moon shuttle. Similar detailed instructions for replacing the explosive bolts also appear on the hatches of the E.V.A. pods, most visibly in closeup just before Bowman's pod leaves the ship to rescue Frank Poole.[81]
The film features an extensive use of Eurostile Bold Extended, Futura and other sans typefaces as design elements of the 2001 world.[82] Computer displays show high resolution fonts, color and graphics—far in advance of computers in the 1960s when the film was made.
Special effects[edit]
See also: Technologies in 2001: A Space Odyssey
Special effects in 2001: A Space Odyssey
File:2001 space travel.ogv
As the film climaxes, Bowman takes a trip through deep space that involves the innovative use of slit-scan photography to create the visual effects and disturbing sequences of him noticeably stunned at what he's experiencing.
Problems playing this file? See media help.
The first director to use front projection with retroreflective matting in a main-stream movie, Kubrick chose the technique to produce the backdrops for the African scenes showing ape-men against vast natural-terrain backgrounds, as traditional techniques such as painted backdrops or rear-projection did not produce the realistic look Kubrick demanded. In addition to the "Dawn of Man" sequence, the front-projection system was used to depict astronauts walking on the Lunar surface with the Moon base in the background.[83] The technique has been used widely in the film industry since 2001 pioneered its use, although starting in the 1990s it has been increasingly replaced by green screen systems.
The front projection technique used by Kubrick consisted of a separate scenery projector set precisely at a right angle to the camera, and a half-silvered mirror placed at an angle in front of the camera that reflected the projected image forward, directly in line with the camera lens, onto a backdrop made of specially designed retroreflective material. The highly reflective and extremely directional screen behind the actors was capable of reflecting light from the projected image one hundred times more efficiently than did the foreground subject. The lighting of the foreground subject then had to be balanced with that of the image from the screen, rendering the image from the scenery projector on the subject too faint to record. Kubrick noted that an exception was the eyes of the leopard in the "Dawn of Man" sequence, which glowed orange as a result of illumination by the scenery projector. He described this as "a happy accident".[84]
Front projection had been used in smaller settings before 2001, mostly for still-photography or television production, using small still images and projectors. The expansive backdrops for the African scenes required a screen 40 feet (12 m) tall and 110 feet (34 m) wide, far larger than had ever been used before. When the reflective material was applied to the backdrop in 100-foot (30 m) strips, however, variations at the seams of the strips led to obvious visual artifacts, a problem that was solved by tearing the material into smaller chunks and applying them in a random "camouflage" pattern on the backdrop. The existing projectors using 4-×-5-inch (10 × 13 cm) transparencies resulted in grainy images when projected that large, so the 2001 team worked with MGM's Special Effects Supervisor, Tom Howard, to build a custom projector using 8-×-10-inch (20 × 25 cm) transparencies, which required the largest water-cooled arc lamp available.[84]
Other "in-camera" shots were scenes depicting spacecraft moving through space. The camera used to shoot the stationary model of the Discovery One spacecraft was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly. On the first pass, the model was unlit, masking the star-field behind it. The camera and film were returned to the start position, and on the second pass, the model was lit without the star field. For shots also showing the interior of the ship, a third pass was made with previously-filmed live-action scenes projected onto rear-projection screens in the model's windows. The result was a film negative image that was exceptionally sharper and clearer than typical visual effects of the time.[85]
The "centrifuge" set used for filming scenes depicting interior of the spaceship Discovery
For interior shots inside the spacecraft, ostensibly containing a giant centrifuge that produces artificial gravity, Kubrick had a 30-short-ton (27 t) rotating "ferris wheel" built by Vickers-Armstrong Engineering Group at a cost of $750,000. The set was 38 feet (12 m) in diameter and 10 feet (3.0 m) wide.[86] Various scenes in the Discovery centrifuge were shot by securing set pieces within the wheel, then rotating it while the actor walked or ran in sync with its motion, keeping him at the bottom of the wheel as it turned. The camera could be fixed to the inside of the rotating wheel to show the actor walking completely "around" the set, or mounted in such a way that the wheel rotated independently of the stationary camera, as in the famous jogging scene where the camera appears to alternately precede and follow the running actor. The shots where the actors appear on opposite sides of the wheel required one of the actors to be strapped securely into place at the "top" of the wheel as it moved to allow the other actor to walk to the "bottom" of the wheel to join him. The most notable case is when Bowman enters the centrifuge from the central hub on a ladder, and joins Poole, who is eating on the other side of the centrifuge. This required Gary Lockwood to be strapped into a seat while Keir Dullea walked toward him from the opposite side of the wheel as it turned with him.[87]
Another rotating set appeared in an earlier sequence on board the Aries transLunar shuttle. A stewardess is shown preparing in-flight meals, then carrying them into a circular walkway. Attached to the set as it rotates 180 degrees, the camera's point of view remains constant, and she appears to walk up the "side" of the circular walkway, and steps, now in an "upside-down" orientation, into a connecting hallway.[88]
The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set, with the camera underneath them pointing up. The actors' bodies blocked the camera's view of the suspension wires, creating a very believable appearance of floating. For the shot of Poole floating into the pod's arms during Bowman's rescue attempt, a stuntman replaced a dummy on the wire to realistically portray the movements of an unconscious human, and was shot in slow motion to enhance the illusion of drifting through space.[89] The scene showing Bowman entering the emergency airlock from the E.V.A. pod was done in a similar way, with an off-camera stagehand, standing on a platform, holding the wire suspending Dullea above the camera positioned at the bottom of the vertically configured airlock. At the proper moment, the stagehand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, he jumped off the platform, causing Dullea to ascend back up toward the hatch.[90]
The "Star Gate" sequence, one of many ground-breaking visual effects. It was primarily for these that Stanley Kubrick won his only personal Academy Award.
The colored lights in the Star Gate sequence were accomplished by slit-scan photography of thousands of high-contrast images on film, including op-art paintings, architectural drawings, Moiré patterns, printed circuits, and crystal structures. Known to staff as "Manhattan Project", the shots of various nebula-like phenomena, including the expanding star field, were colored paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow-motion in a dark room.[91] The live-action landscape shots in the 'Star Gate' sequence were filmed in the Hebridean islands, the mountains of northern Scotland, and Monument Valley (U.S.A.). The strange coloring and negative-image effects in these shots were achieved by the use of different color filters in the process of making dupe negatives.[92]
An article by Douglas Trumbull about the creation of special effects for 2001 appears in the June 1968 issue of American Cinematographer.[93]
Deleted scenes[edit]
Kubrick filmed several scenes that were deleted from the final film. These fall into two categories: scenes cut before any public screenings of the film, and scenes cut a few days after the world premiere on April 2, 1968.[94]
The first ('prepremiere') set of cuts includes a school-room on the Lunar base—a painting class that included Kubrick's daughters, additional scenes of life on the base, and Floyd buying a bush baby from a department store via videophone for his daughter. The most notable cut was a ten-minute black-and-white opening sequence featuring interviews with actual scientists, including Freeman Dyson,[95] discussing off-Earth life, which Kubrick removed after an early screening for MGM executives.[96] The actual text survives in the book The Making of Kubrick's 2001 by Jerome Agel.[97]
The second ('postpremiere') set of cuts includes details about the daily life on Discovery, additional space-walks, astronaut Bowman retrieving a spare part from an octagonal corridor, a number of cuts from the Poole murder sequence including the entire space-walk preparation and shots of Hal turning off radio contact with Poole—explaining Hal's response that the radio is "still dead" when Bowman asks him if radio contact has been made—and notably a close-up of Bowman picking up a slipper during his walk in the alien room; the slipper can still be seen behind him in what would have been the next shot in the sequence.[98]
Kubrick's rationale for editing the film was to tighten the narrative; reviews suggested the film suffered too much by the radical departure from traditional cinematic story-telling conventions. Regarding the cuts, Kubrick stated, "I didn't believe that the trims made a critical difference. … The people who like it, like it no matter what its length, and the same holds true for the people who hate it".[96]
As was typical of most movies of that era released both as a "road-show" (in Cinerama format in the case of Space Odyssey) and subsequently put into general release (in seventy-millimetre in the case of Odyssey), the entrance music, intermission music (and intermission altogether), and postcredit exit music were cut from most (though not all) prints of the latter version, although these have been restored to most DVD releases.[99][100]
According to Kubrick's brother-in-law Jan Harlan, the director was adamant the trims were never to be seen, and that he "even burned the negatives"—which he had kept in his garage—shortly before his death. This is confirmed by former Kubrick assistant Leon Vitali: "I'll tell you right now, okay, on Clockwork Orange, The Shining, Barry Lyndon, some little parts of 2001, we had thousands of cans of negative outtakes and print, which we had stored in an area at his house where we worked out of, which he personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it. That's what he wanted."[101]
In December 2010, Douglas Trumbull announced that Warner Brothers had located seventeen minutes of lost footage, "perfectly preserved", in a Kansas salt mine vault. A Warner Brothers press release asserts definitively that this material is from the postpremiere cuts, which Kubrick has stated totaled nineteen minutes.[102][103] No immediate plans have been announced for the footage, but Trumbull intends to use stills from them in a book he is publishing.[104]
Reuse of special effects shots[edit]
Although special effects supervisor Douglas Trumbull had been unable to provide convincing footage of Saturn for 2001 (thus causing the film-makers to change the mission's destination to Jupiter), he had solved the technical problems involved in reproducing Saturn's rings by the time he directed Silent Running four years later in 1972, employing effects developed but not completed for 2001.[105]
Soundtrack[edit]
Music[edit]
Main article: 2001: A Space Odyssey (soundtrack). See also: 2001: A Space Odyssey (score).
Music plays a crucial part in 2001, and not only because of the relatively sparse dialogue. From very early on in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience,[106] one that did not rely on the traditional techniques of narrative cinema, and in which music would play a vital role in evoking particular moods. About half the music in the film appears either before the first line of dialogue or after the final line. Almost no music is heard during any scenes with dialogue.
The film is notable for its innovative use of classical music taken from existing commercial recordings. Most feature films then and now are typically accompanied by elaborate film scores or songs written especially for them by professional composers. In the early stages of production, Kubrick had actually commissioned a score for 2001 from Hollywood composer Alex North, who had written the score for Spartacus and also worked on Dr. Strangelove.[107] However, during postproduction, Kubrick chose to abandon North's music in favor of the now-familiar classical pieces he had earlier chosen as "guide pieces" for the soundtrack. North did not know of the abandonment of the score until after he saw the film's premiere screening.[108]
Also engaged to score the film was composer Frank Cordell.[109] Cordell stated in interviews that the score would primarily consist of arrangements of Gustav Mahler works. For years after his death, his widow tried to get the recorded score released.[citation needed] This release never materialized. Like North's score, Cordell's work was recorded at the now demolished Anvil, Denham studios.[citation needed]
2001 is particularly remembered for using pieces of Johann Strauss II's best-known waltz, The Blue Danube, during the extended space-station docking and Lunar landing sequences, and the use of the opening from the Richard Strauss tone poem Also sprach Zarathustra [110] performed by the Vienna Philharmonic conducted by Herbert von Karajan. Gayane's Adagio from Aram Khachaturian's Gayane ballet suite is heard during the sections that introduce Bowman and Poole aboard the Discovery conveying a somewhat lonely and mournful quality.
In addition to the majestic yet fairly traditional compositions by the two Strausses and Khachaturian, Kubrick used four highly modernistic compositions by György Ligeti that employ micropolyphony, the use of sustained dissonant chords that shift slowly. This technique was pioneered in Atmosphères, the only Ligeti piece heard in its entirety in the film. Ligeti admired Kubrick's film but, in addition to being irritated by Kubrick's failure to obtain permission directly from him, he was offended that his music was used in a film soundtrack shared by composers Johann and Richard Strauss.[111] Other music used is Ligeti's Lux Aeterna, the second movement of his Requiem and an electronically altered form of his Aventures, the last of which was also used without Ligeti's permission and is not listed in the film's credits.[112]
Hal's version of the popular song "Daisy Bell" (referred to by Hal as "Daisy" in the film) was inspired by a computer-synthesized arrangement by Max Mathews, which Arthur C. Clarke had heard in 1962 at the Bell Laboratories Murray Hill facility when he was, coincidentally, visiting friend and colleague John Pierce. At that time, a speech synthesis demonstration was being performed by physicist John Larry Kelly, Jr., by using an IBM 704 computer to synthesize speech. Kelly's voice recorder synthesizer vocoder recreated the song "Daisy Bell" ("Bicycle Built For Two"), with Max Mathews providing the musical accompaniment. Arthur C. Clarke was so impressed that he later used it in the screenplay and novel."[113]
Many non-English language versions of the film do not use the song "Daisy." In the French soundtrack, Hal sings the French folk song "Au Clair de la Lune" while being disconnected.[114] In the German version, Hal sings the children's song "Hänschen klein" ("Johnny Little"),[115] and in the Italian version Hal sings "Giro giro tondo" (Ring a Ring o' Roses).[116]
A recording of British light music composer Sidney Torch's "Off Beat Moods" was chosen by Kubrick as the theme for the fictitious B.B.C. news programme "The World Tonight" seen aboard the Discovery.[117]
On June 25, 2010, a version of the film specially remastered by Warner Bros. without the music soundtrack opened the three hundred fiftieth anniversary celebrations of the Royal Society at Southbank Centre in cooperation with the British Film Institute, with the score played live by the Philharmonia Orchestra and Choir.[118]
On June 14, 2013, a repeat presentation of the film accompanied by live orchestra and choir was performed at Symphony Hall in Birmingham, again accompanied by the Philharmonia Orchestra conducted by Benjamin Wallfisch together with the choir Ex Cathedra.[119]
Soundtrack album[edit]
The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of "Aventures", used a different recording of "Also sprach Zarathustra" than that heard in the film, this time performed by the Berlin Philharmonic conducted by Karl Böhm, and a longer excerpt of "Lux aeterna" than that in the film.
In 1996, Turner Entertainment/Rhino Records released a new soundtrack on CD which included the material from "Aventures" and restored the version of "Zarathustra" used in the film, and used the shorter version of "Lux aeterna" from the film. As additional "bonus tracks" at the end, this CD includes the versions of "Zarathustra" and "Lux aeterna" on the old MGM soundtrack, an unaltered performance of "Aventures", and a nine-minute compilation of all of Hal's dialogue from the film.
North's unused music had its first public appearance in Telarc's issue of the main theme on Hollywood's Greatest Hits, Vol. 2, a compilation album by Erich Kunzel and the Cincinnati Pops Orchestra. All the music North originally wrote was recorded commercially by North's friend and colleague Jerry Goldsmith with the National Philharmonic Orchestra and was released on Varèse Sarabande CDs shortly after Telarc's first theme release but before North's death. Eventually, a mono mix-down of North's original recordings, which had survived in the interim, would be released as a limited-edition CD by Intrada Records.[120]
Release[edit]
Theatrical run[edit]
The film's world premiere was on April 2, 1968, at the Uptown Theater in Washington, D.C. It opened two days later at the Warner Cinerama Theatre in Hollywood, and Loew's Capitol in New York. Kubrick then deleted nineteen minutes of footage from the film before its general release in five other U.S. cities on April 10, 1968, and internationally in five cities the following day,[103][121] where it was shown in 70mm format, with a six-track stereo magnetic soundtrack, and projected in the 2.21:1 aspect ratio. The general release of the film in its thirty-five-millimetre anamorphic format took place in autumn 1968, with either a four-track magnetic stereo soundtrack or an optical monaural soundtrack.[122]
The original seventy-millimetre release, like many Super Panavision 70 films of the era such as Grand Prix, was advertised as being in "Cinerama" in cinemas equipped with special projection optics and a deeply curved screen. In standard cinemas, the film was identified as a seventy-millimetre production. The original release of 2001: A Space Odyssey in seventy-millimetre Cinerama with six-track sound played continually for more than a year in several venues, and for one hundred and three weeks in Los Angeles.[123]
The film was rereleased in 1974, 1977, and again in 1980.[124] Once 2001, the film's timeset, arrived, a restoration of the seventy-millimetre version was screened at the Ebert's Overlooked Film Festival, and the production was also reissued to selected movie houses in North America, Europe and Asia.[125][126]
Home video[edit]
MGM/CBS Home Video released the film on VHS and Betamax home video in 1980.[127] MGM also published letterbox laserdisc editions (including an updated edition with Dolby Digital 5.1 sound), in 1991 and 1993. (Although Turner Entertainment had acquired the bulk of MGM's film library, the MGM company had a distribution deal with Turner.) There also was a special edition laser-disc from The Criterion Collection in the CAV format. In 1997, it was rereleased on VHS, and as part of the "Stanley Kubrick Collection" in both VHS format (1999) and DVD (2000) with remastered sound and picture. In some video releases, three title cards were added to the three "blank screen" moments; "OVERTURE" at the beginning, "ENTR'ACTE" during the intermission, and "EXIT MUSIC" after the closing credits.[128]
It has been released on Region 1 DVD four times: once by MGM Home Entertainment in 1998 and thrice by Warner Home Video in 1999, 2001, and 2007. The MGM release had a booklet, the film, trailer, and an interview with Arthur C. Clarke, and the soundtrack was remastered in 5.1 surround sound. The 1999 Warner Bros. release omitted the booklet, yet had a rerelease trailer. The 2001 release contained the rerelease trailer, the film in the original 2.21:1 aspect ratio, digitally remastered from the original seventy-millimetre print, and the soundtrack remixed in 5.1 surround sound. A limited-edition DVD included a booklet, seventy-millimetre frame, and a new soundtrack CD of the film's actual (unreleased) music tracks, and a sampling of Hal's dialogue.
Warner Home Video released a two-DVD Special Edition on October 23, 2007, as part of their latest set of Kubrick reissues. The DVD was released on its own and as part of a revised Stanley Kubrick box set which contains new Special Edition versions of A Clockwork Orange, The Shining, Eyes Wide Shut, Full Metal Jacket, and the documentary A Life in Pictures. Additionally, the film was released in high definition on both HD DVD and Blu-ray Disc[129]
Reception[edit]
Critical reaction[edit]
Upon release, 2001 polarized critical opinion, receiving both ecstatic praise and vehement derision. Some critics viewed the original 161-minute cut shown at premieres in Washington D.C., New York, and Los Angeles,[1] while others saw the nineteen-minute-shorter general release version that was in theatres from April 10, 1968 onwards.[121]
Positive
In The New Yorker, Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor … The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing."[130] Charles Champlin of the Los Angeles Times opined that it was "the picture that science fiction fans of every age and in every corner of the world have prayed (sometimes forlornly) that the industry might some day give them. It is an ultimate statement of the science fiction film, an awesome realization of the spatial future … it is a milestone, a landmark for a spacemark, in the art of film."[131] Louise Sweeney of The Christian Science Monitor felt that 2001 was "a brilliant intergalactic satire on modern technology. It's also a dazzling 160-minute tour on the Kubrick filmship through the universe out there beyond our earth."[132] Philip French wrote that the film was "perhaps the first multi-million-dollar supercolossal movie since D.W. Griffith's Intolerance fifty years ago which can be regarded as the work of one man … Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch."[133] The Boston Globe's review indicated that it was "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere … The film is as exciting as the discovery of a new dimension in life."[134] Roger Ebert gave the film four stars in his original review, believing the film "succeeds magnificently on a cosmic scale."[56] He later put it on his Top 10 list for Sight & Sound.[135] Time provided at least seven different mini-reviews of the film in various issues in 1968, each one slightly more positive than the preceding one; in the final review dated December 27, 1968, the magazine called 2001 "an epic film about the history and future of mankind, brilliantly directed by Stanley Kubrick. The special effects are mindblowing."[136] Director Martin Scorsese has also listed it as one of his favourite films of all time.[137]
Negative
Pauline Kael said it was "a monumentally unimaginative movie,"[138] and Stanley Kauffmann of The New Republic called it "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull."[139] Renata Adler of The New York Times wrote that it was "somewhere between hypnotic and immensely boring."[140] Variety's 'Robe' believed the film was a "Big, beautiful, but plodding sci-fi epic … A major achievement in cinematography and special effects, 2001 lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark."[141] Andrew Sarris called it "one of the grimmest films I have ever seen in my life … 2001 is a disaster because it is much too abstract to make its abstract points."[142] (Sarris reversed his opinion upon a second viewing of the film, and declared "2001 is indeed a major work by a major artist."[143]) John Simon felt it was "a regrettable failure, although not a total one. This film is fascinating when it concentrates on apes or machines … and dreadful when it deals with the in-betweens: humans … 2001, for all its lively visual and mechanical spectacle, is a kind of space-Spartacus and, more pretentious still, a shaggy God story."[144] Eminent historian Arthur M. Schlesinger, Jr. deemed the film "morally pretentious, intellectually obscure and inordinately long … a film out of control".[145] It has been noted that its slow pacing often alienates modern audiences more than it did upon its initial release.[146]
Science fiction writers
Science fiction writers had a range of reactions to the film. Ray Bradbury was hostile, stating that the audience does not care when Poole dies. He praised the film's beautiful photography but disliked the banality of most of the dialogue.[147] Both he and Lester del Rey were put off by the film's feeling of sterility and blandness in all the human encounters amidst all the technological wonders, while both praised the pictorial element of the movie. Del Rey was especially harsh, describing the film as dull, confusing, and boring, predicting "It will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years." However, the film was praised by science-fiction novelist Samuel R. Delany who was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany picked up on the banality of the dialogue (in Delany's phrasing the characters are saying nothing meaningful), but Delany regards this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.[148] Without analyzing the film in detail, Isaac Asimov spoke well of Space Odyssey in his autobiography, and other essays. The film won the Hugo Award for best dramatic presentation, an award heavily voted on by published science-fiction writers.[149]
Box-office[edit]
The film earned $8.5 million in theatrical gross rental from roadshow engagements throughout 1968,[124][150] contributing to North American rentals of $15 million during its original release.[151] Reissues have brought its cumulative exhibition gross to $56.9 million in North America,[152] and over $190 million worldwide.[151]
Influence[edit]
Influence on film[edit]
"Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned. On a technical level, it can be compared, but personally I think that '2001' is far superior."
—George Lucas, 1977[123]
The influence of 2001 on subsequent film-makers is considerable. Steven Spielberg, George Lucas and others, including many special effects technicians, discuss the impact the film has had on them in a featurette entitled Standing on the Shoulders of Kubrick: The Legacy of 2001 included in the 2007 DVD release of the film. Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", labeling Kubrick as "the filmmaker's filmmaker". Sydney Pollack refers to it as "groundbreaking", and William Friedkin states 2001 is "the grandfather of all such films". At the 2007 Venice film festival, director Ridley Scott stated he believed 2001 was the unbeatable film that in a sense killed the science fiction genre.[153] Similarly, film critic Michel Ciment in his essay "Odyssey of Stanley Kubrick" stated "Kubrick has conceived a film which in one stroke has made the whole science fiction cinema obsolete."[154] Others, however, credit 2001 with opening up a market for films such as Close Encounters of the Third Kind, Alien, Blade Runner, and Contact; proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.[155] Science magazine Discover's blogger Stephen Cass, discussing the considerable impact of the film on subsequent science-fiction, writes that "the balletic spacecraft scenes set to sweeping classical music, the tarantula-soft tones of HAL 9000, and the ultimate alien artifact, the Monolith, have all become enduring cultural icons in their own right."[156] Video game director Hideo Kojima has also cited 2001: A Space Odyssey as one of the chief influences for his Metal Gear series, with Solid Snake and Otacon inspired by Dave and Hal.[157]
Influence on media[edit]
One commentator has suggested that the image of the Star Child and Earth has contributed to the rise of the "whole earth" icon as a symbol of the unity of humanity. Writing in The Asia Pacific Journal Robert Jacobs traces the history of this icon from early cartoons and drawings of Earth to photographs of Earth from early space missions, to its historic appearance on the cover of The Whole Earth Catalog. Noting that images of the entire planet recur several times in A Space Odyssey, Jacobs writes
the most dramatic use of the icon was in the film's conclusion. In this scene … Bowman is reborn as the Star Child … depicted as a fetus floating in space in an amniotic sack [sic]. The Star Child turns to consider the Whole Earth floating in front of it, both glowing a bright blue-white. The two appear as newborn versions of Man and Earth, face-to-face, ready to be born into a future of unthinkable possibilities.[158]
Influence on technology and law[edit]
In August 2011, in response to Apple Inc.'s patent infringement lawsuit against Samsung, the latter argued that Apple's iPad was effectively modeled on the visual tablets that appear aboard spaceship Discovery in the Space Odyssey film, which legally constitute "prior art". Legally, prior art is information that has been disclosed to the public in any form about an invention before a given date that might be relevant to the patent's claim of originality.[159] Samsung appealed specifically to a clip appearing on YouTube arguing
Attached hereto as Exhibit D is a true and correct copy of a still image taken from Stanley Kubrick's 1968 film "2001: A Space Odyssey." In a clip from that film lasting about one minute, two astronauts are eating and at the same time using personal tablet computers. As with the design claimed by the D'889 Patent, the tablet disclosed in the clip has an overall rectangular shape with a dominant display screen, narrow borders, a predominately flat front surface, a flat back surface (which is evident because the tablets are lying flat on the table's surface), and a thin form factor.[160]
"Siri", Apple's natural language voice control system for the iPhone, features a reference to the film: it responds "I'm sorry I can't do that" when asked to "open the pod bay doors".[161]
Inspired by Clarke's visual tablet device, in 1994 a European Commission-funded R&D project code named "NewsPAD" developed and pilot tested a portable 'multimedia viewer' aiming for the realisation of an electronic multimedia 'newspaper' pointing the way to a future fully interactive and highly personalised information source. Involved partners were Acorn RISC Technologies UK, Archimedes GR, Carat FR, Ediciones Primera Plana ES, Instut Catala de Tecnologia ES, and TechMAPP UK.[162]
Awards and honors[edit]
Academy Awards[edit]
2001 earned Stanley Kubrick an Academy Award for Best Visual Effects and various Oscar nominations. Anthony Masters was nominated for Best Art Direction; there were also nominations for Best Director (Kubrick), and Original Screenplay (Kubrick, Clarke). An honorary award was made to John Chambers in that year for his make-up work on Planet of the Apes, and Clarke reports that he "wondered, as loudly as possible, whether the judges had passed over 2001 because they thought we had used real ape-men …"[163]
Other awards[edit]
WonBAFTA Awards:[164] 1.Best Art Direction (Anthony Masters, Harry Lange and Ernest Archer)
2.Best Cinematography (Geoffrey Unsworth)
3.Best Road Show
4.Best Sound Track (Winston Ryder)
Cinema Writers Circle, Spain:[165] 1.Best Foreign Film
David di Donatello Awards, Italy:[166] 1.Best Foreign Production (Stanley Kubrick)
Hugo Awards:[149] 1.Best Dramatic Presentation
Kansas City Film Critics:[167] 1.Best Director (Stanley Kubrick)
2.Best Picture
Laurel Awards:[168] 1.Best Road Show
National Board of Review 1.Listed among the year's Top Ten Films[169]
NominatedBAFTA Awards:[164] 1.Best Film (Stanley Kubrick)
2.UN Award (Stanley Kubrick)
Directors Guild of America (DGA):[170] 1.Outstanding Directorial Achievement in Motion Pictures (Stanley Kubrick)
Laurel Awards:[168] 1.Best Director
Moscow International Film Festival 1.Golden Prize (Stanley Kubrick)[171]
Top film lists[edit]
2001 was No. 15 on AFI's 2007 100 Years... 100 Movies, was named No. 40 on its 100 Years, 100 Thrills, was included on its 100 Years, 100 Quotes ("Open the pod bay doors, Hal."), and Hal 9000 is the No. 13 villain in the AFI's 100 Years... 100 Heroes and Villains.[172] 2001 is the only science fiction film to make the Sight & Sound poll for ten best movies, and tops the Online Film Critics Society list of "greatest science fiction films of all time."[173] In 1991, this film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[174] Other lists that include the film are 50 Films to See Before You Die (#6), The Village Voice 100 Best Films of the 20th century (#11), the Sight & Sound Top Ten poll (#6),[175] and Roger Ebert's Top Ten (1968) (#2). In 1995, the Vatican named it as one of the 45 best films ever made (and included it in a sub-list of the "Top Ten Art Movies" of all time.)[176]
In 2011, the film was the third most screened film in secondary schools in the United Kingdom.[177]
Interpretation[edit]
Main article: Interpretations of 2001: A Space Odyssey
Since its premiere, 2001: A Space Odyssey has been analyzed and interpreted by professional movie critics, amateur writers and science fiction fans, virtually all of whom have noted its deliberate ambiguity. Questions about 2001 range from uncertainty about its deeper philosophical implications about humanity's origins and final destiny in the universe,[178] to interpreting elements of the film's more enigmatic scenes such as the meaning of the monolith, or the final fate of astronaut David Bowman. There are also simpler and more mundane questions about what drives the plot, in particular the causes of Hal's breakdown[179] (explained in earlier drafts but kept mysterious in the film).
Stanley Kubrick encouraged people to explore their own interpretations of the film, and refused to offer an explanation of "what really happened" in the movie, preferring instead to let audiences embrace their own ideas and theories. In a 1968 interview with Playboy magazine, Kubrick stated:
You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.[38]
In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious." However, he said he did not deliberately strive for ambiguity- it was simply an inevitable outcome of making the film nonverbal, though he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the metaphysical interpretation of the film which he felt should be left up to the individual viewer.[180]
For some readers, Arthur C. Clarke's more straightforward novelization of the script is key to interpreting the film. Clarke's novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy. These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston noted in 1971 that because the novel differs in many key respects from the film, it perhaps should not be regarded as the skeleton key to unlock it.[181]
Multiple allegorical interpretations of 2001 have been proposed, including seeing it as a commentary on Friedrich Nietzsche's philosophical tract Thus Spoke Zarathustra, or as an allegory of human conception, birth and death.[182] This latter can be seen through the final moments of the film, which are defined by the image of the "star child," an in utero fetus that draws on the work of Lennart Nilsson.[183] The star child signifies a "great new beginning,"[183] and is depicted naked and ungirded, but with its eyes wide open.[184] Leonard F. Wheat sees Space Odyssey as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine.
The reasons for Hal's malfunction and subsequent malignant behavior have also elicited much discussion. He has been compared to Frankenstein's monster. In Clarke's novel, Hal malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, despite being constructed for "the accurate processing of information without distortion or concealment". Film critic Roger Ebert has noted that Hal as the supposedly perfect computer, actually behaves in the most human fashion of all of the characters.[185]
Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism."[186] Carolyn Geduld believes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.[187] Vincent LoBrutto's biography of Kubrick notes that for many, Clarke's novel is the key to understanding the monolith.[188] Similarly, Geduld observes that "the monolith … has a very simple explanation in Clarke's novel," though she later asserts that even the novel doesn't fully explain the ending.
McClay's Rolling Stone review notes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes (thus 'beginning' mankind) and the completion of "another evolution" in the fourth and final encounter[189] with the monolith. In a similar vein, Tim Dirks ends his synopsis saying "The cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete."[190]
The first and second encounters of humanity with the monolith have visual elements in common; both apes, and later astronauts, touch the monolith gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over the monolith (the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position), both echoing the Sun-Earth-Moon alignment seen at the very beginning of the film.[191] The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans,[192] echoing the premise of Clarke's source story "The Sentinel".
The monolith is the subject of the film's final line of dialogue (spoken at the end of the "Jupiter Mission" segment): "Its origin and purpose still a total mystery." Reviewers McClay and Roger Ebert have noted that the monolith is the main element of mystery in the film, Ebert writing of "The shock of the monolith's straight edges and square corners among the weathered rocks," and describing the apes warily circling it as prefiguring man reaching "for the stars."[193] Patrick Webster suggests the final line relates to how the film should be approached as a whole, noting "The line appends not merely to the discovery of the monolith on the Moon, but to our understanding of the film in the light of the ultimate questions it raises about the mystery of the universe."[194]
The film conveys what some viewers have described as a sense of the sublime and numinous. Roger Ebert notes:
North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for 2001 because, like all scores, it attempts to underline the action—to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.[195]
In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterized by a need to encounter something totally other than ourselves — "something numinous" — and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.[196] Similarly, an article in The Greenwood Encyclopedia of Science Fiction and Fantasy, titled "Sense of Wonder," describes how 2001 creates a "numinous sense of wonder" by portraying a universe that inspires a sense of awe, which at the same time we feel we can understand.[197] Christopher Palmer has noted that there exists in the film a coexistence of "the sublime and the banal," as the film implies that to get into space, mankind had to suspend the "sense of wonder" that motivated him to explore space to begin with.[198]
Sequels and adaptations[edit]
Kubrick did not envision a sequel to 2001. Fearing the later exploitation and recycling of his material in other productions (as was done with the props from MGM's Forbidden Planet), he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed. Most of these materials were lost, with some exceptions: a 2001 spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO,[1][50][199][200][201] and one of Hal's eyepieces is in the possession of the author of Hal's Legacy, David G. Stork. In 2012 Lockheed engineer Adam Johnson, working with Frederick I. Ordway III, science adviser to Stanley Kubrick, wrote the book "2001: The Lost Science" which for the first time featured many of the blueprints of the spacecraft and movie sets that had previously been thought destroyed.
Clarke went on to write three sequel novels: 2010: Odyssey Two (1982), 2061: Odyssey Three (1987), and 3001: The Final Odyssey (1997). The only filmed sequel, 2010, was based on Clarke's 1982 novel and was released in 1984. Kubrick was not involved in the production of this film, which was directed by Peter Hyams in a more conventional style with more dialogue. Clarke saw it as a fitting adaptation of his novel,[202] and had a brief cameo appearance in the film. As Kubrick had ordered all models and blueprints from 2001 destroyed, Hyams was forced to recreate these models from scratch for 2010. Hyams also claimed that he would not make the film had he not received both Kubrick's and Clarke's blessings:
I had a long conversation with Stanley and told him what was going on. If it met with his approval, I would do the film; and if it didn't, I wouldn't. I certainly would not have thought of doing the film if I had not gotten the blessing of Kubrick. He's one of my idols; simply one of the greatest talents that's ever walked the Earth. He more or less said, "Sure. Go do it. I don't care." And another time he said, "Don't be afraid. Just go do your own movie."[203]
The other two novels have not been adapted for the screen, although actor Tom Hanks has expressed interest in possible adaptations of 2061 and 3001.[204]
In 2012, two screenplay adaptations of both 2061 and 3001 were both posted on the 2001:Exhibit website, in the hopes of generating interest in both MGM and Warner Brothers to adapt the last two novels into films.[205]
Beginning in 1976, Marvel Comics published both a comic adaptation of the film written and drawn by Jack Kirby, and a Kirby-created 10-issue monthly series expanding on the ideas of the film and novel.
Hoaxes and conspiracy theory[edit]
In 2002, the French film maker William Karel (after initially planning a straight documentary on Stanley Kubrick) directed a mockumentary about the supposed Stanley Kubrick involvement in faking the NASA Apollo Lunar landing titled Dark Side of the Moon. He had the cooperation of Kubrick's surviving family and some NASA personnel (all of whom appear using scripted lines) and used recycled footage of members of the Nixon administration taken out of context. The film purported to demonstrate that the NASA Lunar landings had been faked and that the footage had been directed by Stanley Kubrick during the production of 2001: A Space Odyssey. In discussing the film, director Karel said
Navigating carefully between lies and truth, the film mixes fact with pure invention. We will use every possible ingredient: 'hijacked' archive footage, false documents, real interviews which have been taken out of context or transformed through voice-over or dubbing, staged interviews by actors who reply from a script …
This is not an 'ordinary' documentary. Its intent is to inform and entertain the viewer, but also to shake him up, make him aware of the fact that television can get it wrong (intentionally or not). We want to achieve this aim by using a universally known event (the landing on the Moon) that is surrounded by question marks (which is a fact) and spin some tale around it, that sounds plausible but isn't a fact (although there are elements in it that are real!).[206]
When the film was shown to a group of undergraduate sociology students taking a course on conspiracy theories, many of them mistakenly believed that this was an earnest and serious film.[207] Furthermore, Lunar landing hoax advocate Wayne Green cited the film as evidence for his views apparently believing the excerpts of interviews with Henry Kissinger, Alexander Haig, et cetera (taken out of context in the film) were really talking about a Lunar landing hoax.[208] Nonetheless, the second half of the film contains several give-aways that the entire film is a hoax, including a film producer named "Jack Torrance" (the name of Jack Nicholson's character in Kubrick's The Shining), an aging NASA astronaut named "David Bowman" (the astronaut in 2001) and increasing use of footage that does not match or support the narration. Australian broadcaster SBS television aired the film on April 1 as an April fools' joke, and again on November 17, 2008, as part of Kubrick week.
A 1995 article promoting a similar hoax about Kubrick faking the Apollo landing also deceived many readers (in the sense of their believing the author was a bona fide conspiracy theorist). The article was posted originally on the Usenet humor news group 'alt.humor.best-of-usenet', but later reproduced in other venues not devoted to humor. The original article (with correct attribution) can be read at "www.clavius.org", a website devoted to debunking moon landing hoax theories.[209] Websites which have reproduced it as an earnest advocacy effort include the website of the flat earth society.[210] Conspiracy theorist Clyde Lewis lifted several passages from the mock article verbatim (without attribution) in support of his moonlanding hoax theories.[211] Lewis and the flat earth society seem to ignore closing passages of the article stating the final Apollo scenes were actually filmed in the Sea of Tranquillity to which Kubrick did not go personally due to his chronic fear of flying, passages meant to give away that the article is a tongue-in-cheek mock hoax.
An seemingly sincere effort to prove that Kubrick faked the Moon landing is made by Jay Weidner. The occultist and conspiracy theorist Weidner made an documentary film entitled Kubrick's Odyssey: Secrets Hidden in the Films of Stanley Kubrick; Part One: Kubrick and Apollo, making the same claim that Morel's "mockumentary" did in jest. The film was self-released in 2011 on DVD by Weidner's company "Sacred Mysteries". Weidner claims that film-experts told him that Kubrick used the same front-projection sequences used in the Dawn of Man sequence and the Lunar landing sequence in Space Odyssey to simulate the Apollo landing and the NASA footage of the astronauts on the surface of the Moon. Weidner also claims Kubrick's film The Shining contains coded messages about Kubrick's involvement in faking the Lunar landing. The science magazine Discovery reviewed an earlier article by Weidner upon which the film was based as "bunk" but "oddly compelling" and "strangely fascinating".[212] Jay Weidner presented the theory again in his segment of the 2012 documentary Room 237 about the Kubrick film The Shining.
Parodies and homages[edit]
2001 has been the frequent subject of both parody and homage, sometimes extensively and other times briefly, employing both its distinctive music and iconic imagery.
In advertising and print[edit]
Thought to be the first time Kubrick gave permission for his work to be re-used, Apple Inc.'s 1999 website advertisement "It was a bug, Dave" was made using footage from the film. Launched during the era of concerns over Y2K bugs, the ad implied that Hal's weird behavior was caused by a Y2K bug, before driving home the point that "only Macintosh was designed to function perfectly".[213]
Mad magazine #125 (March 1969) featured a spoof called 201 Minutes of a Space Idiocy written by Dick DeBartolo and illustrated by Mort Drucker.[214] In the final panels it is revealed that the monolith is a movie script titled "How to Make an Incomprehensible Science Fiction Movie" by Stanley Kubrick." It was reprinted in various special issues, in the MAD About the Sixties book, and partially in the book "The Making of Kubrick's 2001".[215]
In film and television[edit]
Mel Brooks' satirical film History of the World, Part I opens with a parody of Kubrick's "Dawn of Man" sequence, narrated by Orson Welles. DVDVerdict describes this parody as "spot on".[216] (Ironically, Brooks had earlier defeated 2001: A Space Odyssey in competition for the Best Screenplay Oscar.) A similar spoof of the "Dawn of Man" sequence also opened Ken Shapiro's 1974 comedy The Groove Tube in which the monolith was replaced by a television set. (The film is mostly a parody of television. Film and Filming[217] held that after this wonderful opening, the film slid downhill.)
Woody Allen cast actor Douglas Rain (Hal in Kubrick's film) in an uncredited part as the voice of the controlling computer in the closing sequences of his science-fiction comedy Sleeper.[218]
Kubrick was both a great fan of The Simpsons[219] and in friendly contact with the show's producers, according to his stepdaughter Katharina. Analysts of the show argue that The Simpsons contains more references to many films of Stanley Kubrick than any other pop culture phenomenon.[220][221] Gary Westfahl has noted that while references to "fantastic fiction" in The Simpsons are copious, "there are two masters of the genre whose impact on The Simpsons supersedes that of all others: Stanley Kubrick and Edgar Allan Poe."[222] John Alberti has referred to "the show's almost obsessive references to the films of Stanley Kubrick."[223] Simpson's creator Matt Groening is also the creator of Futurama which also has copious references to various Kubrick films.
Of the many references to Kubrick in Groening's work, perhaps the most notable Space Odyssey reference in The Simpsons is in the episode "Deep Space Homer" in which Bart throws a felt-tip marker into the air; in slow motion it rotates, before a match cut replaces it with a cylindrical satellite. In 2004 Empire magazine listed this as the third best film parody of the entire run of the show.[224] In the Futurama episode "Love and Rocket" a sentient spaceship revolts in a manner similar to Hal. Total Film listed this as number 17 in its list of 20 Funniest Futurama parodies, while noting that Futurama has referenced Space Odyssey on several other occasions.[225]
In the 2000 South Park episode "Trapper Keeper", an interaction between Eric Cartman and Kyle Broflovski parodies the conversation between Hal and Bowman within the inner core.
Peter Sellers starred in Hal Ashby's comedy-drama Being There about a simple-minded middle-aged gardener who has lived his entire life in the townhouse of his wealthy employer. In the scene where he first leaves the house and ventures into the wide world for the first time, the soundtrack plays a jazzy version of Strauss' Thus Spake Zarathustra arranged by Eumir Deodato. Film critic James A. Davidson writing for the film journal Images suggests "When Chance emerges from his home into the world, Ashby suggests his child-like nature by using Richard Strauss' Thus Spake Zarathustra as ironic background music, linking his hero with Kubrick's star baby in his masterpiece 2001: A Space Odyssey."[226]
Tim Burton's Charlie and the Chocolate Factory has a scene (using actual footage from A Space Odyssey) in which the monolith morphs into a chocolate bar.[227] Catholic News noted that the film "had subtle and obvious riffs on everything from the saccharine Disney "Small World" exhibit to Munchkinland to, most brilliantly, a hilarious takeoff on Kubrick's 2001: A Space Odyssey."[228]
Andrew Stanton, the director of WALL-E, revealed in an interview with Wired magazine that his film was in many ways his homage to Space Odyssey, Alien, Blade Runner, Close Encounters and several other science-fiction films.[229] The reviewer for USA Today noted the resemblance of the spaceship's computer, Auto, to Hal.[230] The same year saw the release of the much less successful film Eagle Eye, about which The Charlotte Observer noted that, like 2001, it featured a "red-eyed, calm-voiced supercomputer that took human life to protect what it felt were higher objectives"[231]
Commenting on the broader use of Ligeti's music beyond that by Kubrick, London Magazine in 2006 noted Monty Python's use of Ligeti in a 60-second spoof of Space Odyssey in the Flying Circus episode commonly labeled "A Book at Bedtime".[232]
The poorly reviewed Canadian spoof 2001: A Space Travesty has been occasionally alluded to as a full parody of Kubrick's film,[233] both because of its title and star Leslie Nielsen's many previous films which were full parodies of other films.[234] However, Space Travesty only makes occasional references to Kubrick's material, its "celebrities are really aliens" jokes resembling those in Men in Black.[235] Canadian reviewer Jim Slotek noted "It's not really a spoof of 2001, or anything in particular. There's a brief homage at the start, and one scene in a shuttle en route to the Moon that uses The Blue Danube … The rest is a patched together plot."[236] Among many complaints about the film, reviewer Berge Garabedian derided the lack of much substantive connection to the Kubrick film (the latter of which he said was "funnier").[237]
Among spoof references to several science-fiction films and shows,[238] Airplane II features a computer called ROK 9000 in control of a Moon shuttle which malfunctions and kills crew members, which several reviewers found reminiscent of Hal.[239][240][241]
In the 1996 film Mystery Science Theater 3000: The Movie, in the opening scene Mike Nelson jogs while Gypsy (Mystery Science Theater 3000) looks on is parodying a scene in "2001: A Space Odyssey." At the beginning of the film's 3rd segment, "Jupiter Mission", panning across the spaceship Discovery cut inside to astronaut Frank Poole jogging around and around a circular section of the ship (because of the centrifugal force in that part of the ship, Frank can jog through 360 degrees without falling). While exercising, the ship's computer, HAL 9000, watches intently through one of his visual sensors. The close-up shot of Gypsy's eye, with Mike reflected in it, matches the shot of HAL almost exactly.
In software and video games[edit]
2001: A Space Odyssey has also been referenced in multiple video games, usually with reference to either the monolith or Hal. In SimEarth, monoliths are used to encourage the evolution of species.[242]
In Metal Gear Solid, the character Hal Emmerich was named by his father after HAL 9000.[243][244]
See also[edit]
List of films about outer space
List of films considered the best
List of films featuring space stations
List of spacecraft from the Space Odyssey series
NASA Advanced Space Transportation Program
Toynbee tiles, mysterious notices in U.S. cities mentioning "Kubrick's 2001"
Notes[edit]
1.Jump up ^ The character is referred to as "Moon-Watcher" by Arthur C. Clarke in the novel, but never by any name in the film itself – he derives his name from him curiously looking at the Moon during one scene.[15]
References[edit]
Agel, Jerome (1970). The Making of Kubrick's 2001. Signet. ISBN 0-451-07139-5.
Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN 1-85410-706-2.
Castle, Alison (ed.), ed. (2005). "Part 2: The Creative Process / 2001: A Space Odyssey". The Stanley Kubrick Archives. New York: Taschen. ISBN 3-8228-2284-1.
Ciment, Michel (1980, 1999). Kubrick. New York: Faber and Faber. ISBN 0-571-21108-9.
Clarke, Arthur C. (1972). The Lost Worlds of 2001. London: Sidgwick and Jackson. ISBN 0-283-97903-8.
Emme, Eugene M., ed. (1982). Science fiction and space futures – past and present. AAS History Series, Volume 5. San Diego: Univelt. ISBN 0-87703-172-X.
Fiell, Charlotte (2005). 1,000 Chairs (Taschen 25). Taschen. ISBN 978-3-8228-4103-7.
Gelmis, Joseph (1970). The Film Director As Superstar. New York: Doubleday & Company.
Hughes, David (2000). The Complete Kubrick. London: Virgin Publishing Ltd. ISBN 0-7535-0452-9.
Johnson, Adam (2012). 2001 The Lost Science. Burlington Canada: Apogee Prime. ISBN 978-1-926837-19-2.
Kolker, Robert, ed. (2006). Stanley Kubrick's 2001: A Space Odyssey: New Essays. Oxford & New York: Oxford University Press. ISBN 0-19-517453-4.
Pina, Leslie A. (2002). Herman Miller Office. Pennsylvania, USA: Schiffer Publishing. ISBN 978-0-7643-1650-0.
Richter, Daniel (2002). Moonwatcher's Memoir: A Diary of 2001: A Space Odyssey. foreword by Arthur C. Clarke. New York: Carroll & Graf Publishers. ISBN 0-7867-1073-X.
Schwam, Stephanie, ed. (2000). The Making of 2001: A Space Odyssey. introduction by Jay Cocks. New York: Modern Library. ISBN 0-375-75528-4.
Shuldiner, Herbert (1968) How They Filmed '2001: A Space Odyssey', Bonnier Corporation: Popular Science, June 1968, pp. 62–67, Vol. 192, No. 6, ISSN 0161-7370
Walker, Alexander (2000). Stanley Kubrick, Director. New York: W.W. Norton and Company. ISBN 0-393-32119-3.
Wheat, Leonard F. (2000). Kubrick's 2001: A Triple Allegory. Lanham, MD: Scarecrow Press. ISBN 0-8108-3796-X.
Citations[edit]
1.^ Jump up to: a b c d Agel 1970, p. 169.
2.Jump up ^ Hirsch, Foster (1972). The Hollywood epic. Barnes. p. 13. ISBN 978-0-498-01747-6.
3.Jump up ^ Homer in the Twentieth Century. Oxford University Press. 1972. p. iii. ISBN 978-0-19-161546-7.
4.Jump up ^ Dickinson, Kay (2008). Off key: when film and music won't work together. Oxford University Press. p. 87. ISBN 978-0-19-532663-5.
5.Jump up ^ 2001: A Space Odyssey (film by Kubrick [1968]) - Britannica Online Encyclopedia
6.Jump up ^ Adler, Renata. "2001: A Space Odyssey (1968)". The New York Times. Retrieved September 19, 2011.. See also "2001: A Space Odyssey (1968)". AllRovi. Rovi Corporation. Retrieved September 19, 2011.See also "2001: A Space Odyssey – 40th Anniversary". AFI Silver. American Film Institute. 2008. Retrieved September 19, 2011.
7.Jump up ^ (French) "1968 : La révolution Kubrick". Cinezik web site (French film magazine on music in film). Archived from the original on October 23, 2009. Retrieved September 29, 2009.
8.Jump up ^ Donald MacGregor. "2001; or, How One Film-Reviews With a Hammer". Visual-Memory. Retrieved September 29, 2009.
9.^ Jump up to: a b "What did Kubrick have to say about what 2001 "means"?". Krusch.com. Archived from the original on September 27, 2010. Retrieved August 22, 2010.
10.Jump up ^ "Sight and Sound: Top Ten Poll 2002". British Film Institute web site. Archived from the original on December 16, 2006. Retrieved December 15, 2006.
11.Jump up ^ "Vertigo is named 'greatest film of all time'". BBC News. August 2, 2012. Retrieved August 24, 2012.
12.Jump up ^ "The Moving Arts Film Journal | TMA's 100 Greatest Films of All Time | web site". Archived from the original on January 6, 2011. Retrieved February 3, 2011.
13.Jump up ^ "National Film Registry". National Film Registry (National Film Preservation Board, Library of Congress). Retrieved November 26, 2011.
14.Jump up ^ "Dictionary of terms used in film editing". allmovietalk.com. Retrieved March 30, 2010.
15.Jump up ^ 2001: A Space Odyssey by Arthur C. Clarke (Google Books)
16.Jump up ^ Giulio Angioni, Fare, dire, sentire: l'identico e il diverso nelle culture (2011), p. 37 and Un film del cuore, in Il dito alzato (2012), pp. 121–136
17.Jump up ^ Commentators on the film generally assume this is a gap of millions, not thousands, of years. See Webster, Patrick (2010). Love and Death in Kubrick. 0786459166, 9780786459162: McFarland. p. 47. and Nelson, Thomas Allen (2000). Kubrick, Inside a Film Artist's Maze. Indiana University Press. p. 107. ISBN 978-0-253-21390-7.
The novel gives the age of the Lunar monolith as three million years (Chapter 11, Anomaly) while the film dialogue and an early draft of the screenplay gives it as four million
18.Jump up ^ Kubrick, in a 1970 interview with Joseph Gelmis, refers to this as a "Star-Gate" (Gelmis 1970, p. 304).
19.Jump up ^ Kubrick, in a 1970 interview with Joseph Gelmis, refers to this as a "Star-Child" (Gelmis 1970, p. 304).
20.^ Jump up to: a b Richter 2002,[page needed]
21.Jump up ^ "The Underview on 2001: A Space Odyssey - Cast and Crew". Retrieved September 30, 2013.
22.Jump up ^ Agel 1970, p. 11.
23.Jump up ^ Clarke, Arthur C. (1972). The Lost Worlds of 2001. London: Sidgwick and Jackson. p. 17. ISBN 0-283-97903-8.
24.Jump up ^ LoBrutto, Vincent (1997, 1998). Stanley Kubrick. London: Faber and Faber. pp. 156–257. ISBN 0-571-19393-5.
25.^ Jump up to: a b Clarke 1972, p. 29.
26.Jump up ^ Clarke 1972, pp. 32–35.
27.Jump up ^ Agel 1970, p. 61.
28.Jump up ^ Clarke, Arthur C. (2001). Collected Stories of Arthur C. Clarke. Macmillan. p. 460. ISBN 978-0-312-87821-4.
29.Jump up ^ Hughes 2000, p. 135
30.Jump up ^ Clarke 1972, p. 32
31.Jump up ^ Agel 1970, p. 25
32.Jump up ^ Agel 1970, pp. 24–25.
33.^ Jump up to: a b c Gelmis 1970, p. 308.
34.^ Jump up to: a b c Clarke 1972, pp. 31–38.
35.Jump up ^ Gelmis 1970, p. 302.
36.Jump up ^ Stanley Kubrick on the deliberate ambiguity of message in 2001: A Space Odyssey
37.Jump up ^ Sagan, Carl (2000). "25". Carl Sagan's cosmic connection: an extraterrestrial perspective (2 ed.). Cambridge University Press. p. 183. ISBN 0-521-78303-8. Retrieved January 27, 2012.
38.^ Jump up to: a b "Stanley Kubrick: Playboy Interview". Playboy Magazine (September). 1968. Archived from the original on September 25, 2010. Retrieved September 2, 2010.
39.^ Jump up to: a b Agel 1970,[page needed].
40.Jump up ^ Jason Sperb's study of Kubrick The Kubrick Facade analyzes Kubrick's use of narration in detail. John Baxter's biography of Kubrick also notes how he frequently favored voice-over narration. Only 3 of Kubrick's 13 films lack narration- Space Odyssey, The Shining, and Eyes Wide Shut
41.^ Jump up to: a b "The Kubrick Site: Fred Ordway on "2001"". Visual-memory.co.uk. Retrieved August 22, 2010.
42.Jump up ^ Clarke 1972,[page needed].
43.^ Jump up to: a b Clarke, Arthur (1968). 2001: A Space Odyssey. UK: New American Library. ISBN 0-453-00269-2.
44.Jump up ^ See Arthur C. Clarke's forward to 2010: Odyssey Two
45.Jump up ^ Agel 1970, p. 328–329.
46.Jump up ^ Stanley Kubrick: A Biography by Vincent LoBrutto p. 310.
47.Jump up ^ J. Gelmis. "An Interview with Stanley Kubrick (1969)". Retrieved August 31, 2010.
48.Jump up ^ See Alexander Walker's book Stanley Kubrick, Director p. 181–182. This is the 2000 edition. The 1971 edition is titled "Stanley Kubrick Directs"
49.Jump up ^ Walker 2000, p. 192.
50.^ Jump up to: a b Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN 1-85410-706-2.
51.Jump up ^ Walker 2000, pp. 181–182.
52.Jump up ^ The Kubrick Site: Slavoj Zizek on Eyes Wide Shut
53.Jump up ^ Michael Lennick (January 7, 2001). 2001 and Beyond (television). Canada: Discovery Channel Canada. [dead link]
54.Jump up ^ "See Ebert's review at". Rogerebert.suntimes.com. Retrieved August 22, 2010.
55.Jump up ^ See Walker, Alexander. Stanley Kubrick Directs. New York: Harcourt Brace Jovanovich, 1971 p. 251
56.^ Jump up to: a b "Roger Ebert, Reviews: 2001: A Space Odyssey, 1968. Retrieved from". Rogerebert.suntimes.com. Retrieved August 22, 2010.
57.Jump up ^ "Road to the Stars". Candle Light Stories.com. Retrieved November 24, 2011.
58.Jump up ^ "Road to the Stars – 1957 Soviet Space Vision with Stunning Special Effects". Candlelight Stories. January 19, 2011. Retrieved November 24, 2011.
59.Jump up ^ "Klushantsev: Russia's Wizard of Fantastika". American cinematographer (ASC Holding Corp) 75. 1994.
60.Jump up ^ Schwam 2000, p. 58.
61.^ Jump up to: a b Gedult, Carolyn. The Production: A Calendar. Reproduced in: Castle, Alison (Editor). The Stanley Kubrick Archives, Taschen, 2005. ISBN 3-8228-2284-1
62.Jump up ^ Schwam 2000, p. 5
63.Jump up ^ Lightman, Herb A. Filming 2001: A Space Odyssey. American Cinematographer, June 1968. Excerpted in: Castle, Alison (Editor). The Stanley Kubrick Archives, Taschen, 2005. ISBN 3-8228-2284-1
64.Jump up ^ Clarke 1972, p. 51.
65.Jump up ^ Richter 2002, p. 135.
66.Jump up ^ Schwam 2001, p. 117.
67.Jump up ^ Kimble, Greg. "THIS IS CINERAMA!". In70mm.com.
68.Jump up ^ Bizony 2001, p. 159.
69.Jump up ^ Examples of the Action Office desk and "Propst Perch" chair appearing in the film can be seen in "Herman Miller Office" (2002) by Leslie Pina on p. 66–71
70.Jump up ^ David Franz, "The Moral Life of Cubicles," The New Atlantis, Number 19, Winter 2008, pp. 132–139
71.Jump up ^ Cubicles had earlier appeared in Jacques Tati's Playtime in 1967
72.Jump up ^ "2001: A Flatware Odyssey". io9. January 15, 2008. Retrieved February 25, 2011.
73.Jump up ^ Bradley Friedman (February 27, 2008). "2001: A Space Odyssey – Modern Chairs & Products by Arne Jacobsen Bows at Gibraltar Furniture". Free-Press-Release.com. Retrieved February 25, 2011.
74.Jump up ^ "2001: A Space Odyssey-Products by Arne Jacobsen". Designosophy. 04/Oct/2007). Retrieved February 25, 2011.
75.^ Jump up to: a b c d Phil Patton (February 19, 1998). "Public Eye; 30 Years After '2001': A Furniture Odyssey". New York Times. Retrieved February 26, 2011.
76.Jump up ^ Fiell, Charlotte and Peter (2005). 1000 Chairs (Taschen 25). Taschen. ISBN 3-8228-4103-X.
77.Jump up ^ "Olivier Mourgue, Designer: (born 1939 in Paris, France)". Olivier Mourgue. Retrieved February 25, 2011.
78.Jump up ^ Article by Walker in Schwam Making of 2001:A Space Odyssey
79.Jump up ^ At least some of the space station is occupied by Hilton hotel. The conversation with the Russian scientists takes place near their front desk.
80.Jump up ^ Walker, Stanley Kubrick Directs, p. 224.
81.Jump up ^ Between the two lines large red letters reading at top "CAUTION" and at bottom "EXPLOSIVE BOLTS" are smaller black lines reading "MAINTENANCE AND REPLACEMENT INSTRUCTIONS" followed by even smaller lines of four instructions beginning "(1) SELF TEST EXPLOSIVE BOLTS PER INST 14 PARA 3 SEC 5D AFTER EACH EVA", et cetera. The instructions are generally legible on Blu-ray editions but not DVD editions of the film.
82.Jump up ^ Dave Addey (2014-02-11). "2001: A Space Odyssey: Typeset in the Future". Retrieved 2014-02-23.
83.Jump up ^ Bizony 2001, p. 133.
84.^ Jump up to: a b Herb A. Lightman. "Front Projection for "2001: A Space Odyssey"". American Cinematographer. Retrieved September 20, 2012.
85.Jump up ^ Bizony 2001, pp. 113–117.
86.Jump up ^ George D. DeMet, The Special Effects of "2001: A Space Odyssey", DFX, July 1999
87.Jump up ^ Bizony 2001, pp. 138–144.
88.Jump up ^ Bizony 2001, p. 144.
89.Jump up ^ Agel 1970, pp. 129–135.
90.Jump up ^ Jan Harlan, Stanley Kubrick (October 2007). 2001:A Space Odyssey (DVD) (DVD). Warner Bros.
91.Jump up ^ Agel 1970, pp. 143–146.
92.Jump up ^ Agel 1970, p. 150.
93.Jump up ^ Douglas Trumbull (June 1968). "Creating Special Effects for 2001". American Cinematographer 49 (6): 412–413, 420–422, 416–419, 441–447, 451–454, 459–461.
94.Jump up ^ "2001's Pre- and Post-Premiere Edits by Thomas E Brown". Retrieved January 27, 2012. Kubrick and editor Ray Lovejoy edited the film between April 5 and April 9, 1968. Detailed instructions were sent to theatre owners already showing the film so that they could execute the specified trims themselves. This meant that some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.
95.Jump up ^ Freeman Dyson, Disturbing the Universe, 1979, pg 189–191, ISBN 0-330-26324-2
96.^ Jump up to: a b "2001's Pre- and Post-Premiere Edits by Thomas E Brown". Retrieved January 27, 2012.
97.Jump up ^ Agel 1970, p. 27.
98.Jump up ^ "2001's Pre- and Post-Premiere Edits by Thomas E Brown". Retrieved January 27, 2012. Unlike most articles on "The Kubrick Site" no author biography or earlier publication information is given.
99.Jump up ^ Les Paul Robley (February 1, 2008). "2001: A Space Odyssey (Blu-Ray review)". Audio-Video Revolution. Retrieved January 7, 2011.
100.Jump up ^ "2001: A Space Odyssey (Remastered)". Retrieved January 7, 2011.
101.Jump up ^ DVDTalk.com – news, reviews, bargains, and discussion forum. "Kubrick Questions Finally Answered – An In Depth Talk with Leon Vitali". Dvdtalk.com. Archived from the original on August 1, 2010. Retrieved August 22, 2010.
102.Jump up ^ Peter Sciretta. "Warner Bros Responds: 17 Minutes of "Lost" '2001: A Space Odyssey' Footage Found?". slashfilm.com. Retrieved January 4, 2011.
103.^ Jump up to: a b Agel 1970, p. 170.
104.Jump up ^ Sneider, Jeff (December 16, 2010). "WB Uncovers Lost Footage From Kubrick's '2001: A Space Odyssey'". Retrieved December 20, 2010.
105.Jump up ^ by Larry KlaesMonday, March 30, 2009 (March 30, 2009). "Silent Running, running deeper". The Space Review. Archived from the original on August 19, 2010. Retrieved August 22, 2010.
106.Jump up ^ "New Titles – The Stanley Kubrick Archives – Facts". Archived from the original on January 1, 2007. Retrieved February 5, 2007.
107.Jump up ^ Time Warp – CD Booklet – Telarc Release# CD-80106
108.Jump up ^ LoBrutto, Vincent (1998). Stanley Kubrick. London: Faber and Faber. p. 308. ISBN 0-571-19393-5.
109.Jump up ^ Cinefantastique, Volume 24, Issues 6-26 p. 41
110.Jump up ^ (Usually translated as "Thus Spake Zarathustra" or occasionally "Thus Spoke Zarathustra" - The book by Nietzsche has been translated both ways and the title of Strauss's music is usually rendered in the original German whenever not discussed in the context of 2001. Although Britannica Online's entry lists the piece as spoke Zarathustra, music encyclopedias usually go with 'spake'. Overall, 'spake' is more common mentioning the Strauss music and 'spoke' more common mentioning the book by Nietzsche. - the soundtrack album gives the former, the movie's credits give the latter).
111.Jump up ^ James M. Keller. "Program Notes- Ligeti: Lontano for Large Orchestra". San Francisco Symphony. Archived from the original on February 11, 2009.
112.Jump up ^ Kosman, Joshua. "György Ligeti—music scores used in '2001' film (obituary)". The San Francisco Chronicle. Retrieved June 13, 2006.
113.Jump up ^ "Bell Labs: Where "Hal" First Spoke". (Bell Labs Speech Synthesis web site). Retrieved August 13, 2007.
114.Jump up ^ Chion, Michel (2001). Kubrick's Cinema Odyssey. translated by Claudia Gorbman. London: British Film Institute. ISBN 0-85170-840-4.
115.Jump up ^ Pruys, Guido Marc (1997). Die Rhetorik der Filmsynchronisation: Wie ausländische Spielfilme in Deutschland zensiert, verändert und gesehen werden (in German). Gunter Narr Verlag. p. 107. ISBN 3-8233-4283-5.
116.Jump up ^ Fini, Massimo (2009). Nietzsche. L'apolide dell'esistenza (in Italian). Marsilio Editori. pp. 408–9. ISBN 88-317-9722-0.
117.Jump up ^ David W. Patterson, "Music, Structure and Metaphor in Stanley Kubrick's "2001: A Space Odyssey"." American Music, Vol. 22, No. 3 (Autumn, 2004), pp. 460–461
118.Jump up ^ "royal society southbank centre". 2001: A Space Odyssey. 2010. Archived from the original on July 25, 2010. Retrieved August 11, 2010.
119.Jump up ^ "2001: A Space Odyssey". 2001: A Space Odyssey. 2013. Archived from the original on June 15, 2013. Retrieved June 15, 2013.
120.Jump up ^ George Burt (1995). The Art of Film Music. Northeastern University Press. p. 126. ISBN 978-1-55553-270-3. Retrieved October 16, 2011.
121.^ Jump up to: a b THOMAS E. BROWN AND PHIL VENDY (March 2, 2000). "A TASTE OF BLUE FOOD IN STANLEY KUBRICK'S 2001: A SPACE ODYSSEY". paper. Retrieved January 8, 2011.
122.Jump up ^ Michael Coate. "1968: A Roadshow Odyssey- The Original Reserved Seat Engagements Of '2001: A Space Odyssey'". in70mm.com. Retrieved January 7, 2011.
123.^ Jump up to: a b Michael Coate. "1968: A Roadshow Odyssey- The Original Reserved Seat Engagements Of '2001: A Space Odyssey'". in70mm.com. Retrieved January 9, 2011.
124.^ Jump up to: a b Hall, Sheldon (April 9, 2011). "Introduction to 2001: A Space Odyssey". In70mm.com. Retrieved March 20, 2012.
125.Jump up ^ 2001: A Re-Release Odyssey, Wired
126.Jump up ^ Press Reviews: 2001: A Space Odyssey, BBC
127.Jump up ^ Nielsen Business Media, Inc (1980). "MGM/CBS Home Video ad". Billboard Magazine (November 22, 1980). Retrieved April 20, 2011.
128.Jump up ^ 2001: A Space Odyssey at KRSJR Productions.com. Accessed September 16, 2009. Archived September 18, 2009.
129.Jump up ^ "Stanley Kubrick Collection Official Authorized Site (Warner Bros)". Warner Bros. October 25, 2008. Archived from the original on September 3, 2010. Retrieved August 22, 2010.
130.Jump up ^ Gilliatt, Penelope. "After Man", review of 2001 reprinted from The New Yorker in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
131.Jump up ^ Champlin, Charles. Review of 2001 reprinted from The Los Angeles Times in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
132.Jump up ^ Sweeney, Louise. Review of 2001 reprinted from The Christian Science Monitor in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
133.Jump up ^ French, Philip. Review of 2001 reprinted from an unnamed publication in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
134.Jump up ^ Adams, Marjorie. Review of 2001 reprinted from The Boston Globe in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
135.Jump up ^ Nick James, et al. "BFI | Sight & Sound | Top Ten Poll 2002 – How the directors and critics voted". Archived from the original on July 29, 2009. Retrieved July 27, 2009.
136.Jump up ^ Unknown reviewer. Capsule review of 2001 reprinted from Time in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
137.Jump up ^ "Scorsese’s 12 favorite films". Miramax.com. Retrieved 25 December 2013.
138.Jump up ^ "How I Learned To Stop Worrying And Love 'Barry Lyndon'". New York Times. Retrieved June 30, 2013.
139.Jump up ^ Stanley Kauffmann, "Lost in the Stars," The New Republic. Retrieved from http://www.krusch.com/kubrick/Q16.html
140.Jump up ^ Adler, Renata. Review of 2001 reprinted from The New York Times in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
141.Jump up ^ Frederick, Robert B. (April 1, 1968). "Review: '2001: A Space Odyssey'". Variety.
142.Jump up ^ Sarris, Andrew. Review of 2001 review quoted from a WBAI radio broadcast in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
143.Jump up ^ "Hail the Conquering Hero". FilmComment.com. Retrieved January 12, 2007.
144.Jump up ^ Simon, John. Review of 2001 reprinted from The New Leader in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
145.Jump up ^ Joyce, Paul (director) Doran, Jamie (producer) Bizony, Piers (assoc. producer) (2001). 2001: The Making Of A Myth (Television production). UK: Channel Four Television Corp. Event occurs at 15:56.
146.Jump up ^ "BBC – Films – review – 2001: A Space Odyssey". BBC. Retrieved August 22, 2010.
147.Jump up ^ From both a review and a subsequent interview quoted in Brosnan, John (1978). Future Tense: The Cinema of Science Fiction. St. Martin's Press. p. 179.
148.Jump up ^ Delany's review and Del Rey's both appear in the 1968 anthology The Year's Best Science Fiction No. 2 edited by Harry Harrison and Brian W. Aldiss. Both reviews are also printed on The Kubrick Site, Del Rey's is at [1] and Delany's at [2]
149.^ Jump up to: a b "1969 Hugo Awards". World Science Fiction Society. Retrieved October 16, 2012.
150.Jump up ^ "Big Rental Films of 1968", Variety, January 8, 1969 p 15. Please note this figure is a rental accruing to distributors.
151.^ Jump up to: a b Miller, Frank. "2001: A Space Odyssey (1968) – Articles". Turner Classic Movies. Retrieved March 20, 2012.
152.Jump up ^ "2001: A Space Odyssey". Box Office Mojo. Retrieved March 20, 2012.
153.Jump up ^ at in Science Fiction (July 10, 2009). "Ridley Scott: "After 2001 -A Space Odyssey, Science Fiction is Dead"". Dailygalaxy.com. Retrieved August 22, 2010.
154.Jump up ^ In Focus on the Science Fiction Film, edited by William Johnson. Englewood Cliff, N.J.: Prentice-Hall, 1972.
155.Jump up ^ George D. DeMet. "2001: A Space Odyssey Internet Resource Archive: The Search for Meaning in 2001". Palantir.net (originally an undergrad honors thesis). Retrieved August 22, 2010.
156.Jump up ^ "This Day in Science Fiction History — 2001: A Space Odyssey | Science Not Fiction | Discover Magazine". Blogs.discovermagazine.com. Retrieved August 22, 2010.
157.Jump up ^ The Making of Metal Gear Solid 2: Sons of Liberty DVD packaged with European version of Metal Gear Solid 2: Sons of Liberty
158.Jump up ^ Robert Jacobs, "Whole Earth or No Earth: The Origin of the Whole Earth Icon in the Ashes of Hiroshima and Nagasaki," The Asia-Pacific Journal Vol 9, Issue 13 No 5, March 28, 2011.
159.Jump up ^ Apple iPad vs Samsung Galaxy: Stanley Kubrick Showed Tablet in '2001: A Space Odyssey' - ABC News
160.Jump up ^ Quoted at Zibreg, Christian (September 17, 2011). "Samsung cites Stanley Kubrick's '2001: A Space Odyssey' as prior art argument against iPad design". Retrieved January 27, 2012.
161.Jump up ^ IBTimes Reporter (October 25, 2011). "iPhone 4S Siri Goes '2001: Space Odyssey': ThinkGeek's New IRIS 9000 [VIDEO]". International Business Times. Retrieved December 2, 2011.
162.Jump up ^ Some European Commission official reference is still available on CORDIS archive
163.Jump up ^ Clarke, Arthur (1972). The lost Worlds of 2001. Sidgwick and Jackson. p. 50. ISBN 0-283-97904-6.
164.^ Jump up to: a b "FILM NOMINATIONS 1968". British Academy of Film and Television Arts. Retrieved October 16, 2012.
165.Jump up ^ "Premios del CEC a la producción española de 1968" (in Spanish). Círculo de Escritores Cinematográficos. Retrieved October 16, 2012.
166.Jump up ^ "Awards for Stanley Kubrick" (in Italian). L'accademia del Cinema Italiano. Retrieved October 16, 2012.
167.Jump up ^ "Winners: 1960s". Kansas City Film Critics Circle. Retrieved October 16, 2012.
168.^ Jump up to: a b O'Neil, Thomas (2003). Movie awards: the ultimate, unofficial guide to the Oscars, Golden Globes, critics, Guild & Indie honors. Perigee Book. p. 306. ISBN 978-0-399-52922-1.
169.Jump up ^ "Awards for 1968". National Board of Review of Motion Pictures. Retrieved October 16, 2012.
170.Jump up ^ "Awards / History / 1968 - 21st Annual DGA Awards". Directors Guild of America. Retrieved October 16, 2012.
171.Jump up ^ "6th Moscow International Film Festival (1969)". MIFF. Retrieved December 20, 2012.
172.Jump up ^ "AFI's 100 YEARS.". AFI.com. Archived from the original on June 5, 2011. Retrieved June 9, 2011.
173.Jump up ^ "2001: A Space Odyssey Named the Greatest Sci-Fi Film of All Time By the Online Film Critics Society". Online Film Critics Society. Archived from the original on November 26, 2006. Retrieved December 15, 2006.
174.Jump up ^ "National Film Registry Preservation Board". Library of Congress. September 12, 2011. Retrieved January 27, 2012.
175.Jump up ^ "Sight & Sound: Top Ten Poll 2002". British Film Institute web site. Archived from the original on December 16, 2006. Retrieved December 15, 2006.
176.Jump up ^ "USCCB – (Film and Broadcasting) – Vatican Best Films List". USCCB web site. Archived from the original on April 18, 2007. Retrieved April 22, 2007.
177.Jump up ^ "Top movies for schools revealed". BBC News. December 13, 2011. Retrieved January 4, 2012.
178.Jump up ^ See especially the essay "Auteur with a Capital A" by James Gilbert anthologized in Kolker, Robert (2006). Stanley Kubrick's 2001: a space odyssey: new essays. Oxford University Press. ISBN 978-0-19-517452-6.
179.Jump up ^ discussed for example in Stephanie Schwam's The making of 2001, a space odyssey Google's e-copy has no pagination
180.Jump up ^ "The Film Director as Superstar" (Doubleday and Company: Garden City, New York, 1970) by Joseph Gelmis
181.Jump up ^ Houston, Penelope (April 1, 1971). Sight and Sound International Film Quarterly, Volume 40 No. 2, Spring 1971. London: British Film Institute.
182.Jump up ^ Sheridan, Chris. "Stanley Kubrick and Symbolism". Retrieved April 10, 2009. "Reproducing"
183.^ Jump up to: a b Burfoot, Annette (2006). "The Fetal Voyager: Women in Modern Medical Visual Discourse". In Shteir, Ann; Lightman, Bernard. Figuring it out: science, gender, and visual culture. UPNE. p. 339. ISBN 978-1-58465-603-6.
184.Jump up ^ Grant, Barry Keith (2010). Shadows of Doubt: Negotiations of Masculinity in American Genre Films. Wayne State University Press. p. 135. ISBN 978-0-8143-3457-7.
185.Jump up ^ 2001: A Space Odyssey (1968)
186.Jump up ^ reprinted in Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
187.Jump up ^ Geduld, Carolyn (1973). Filmguide to 2001: a space odyssey. Indiana University Press. pp. 40, 63.
188.Jump up ^ LoBrutto, Vincent (1999). Stanley Kubrick: A Biography. Da Capo Press. pp. 310, 606. ISBN 978-0-306-80906-4.
189.Jump up ^ Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
190.Jump up ^ See Tim Dirks' synopsis on the A.M.C. movie site.Tim Dirks. "2001: A Space Odyssey". AMC. Retrieved February 25, 2011.
191.Jump up ^ See Tim Dirks' synopsis on the A.M.C. movie site.Tim Dirks. "2001: A Space Odyssey". AMC. Retrieved February 25, 2011. He notes that in the ape encounter "With the mysterious monolith in the foreground, the glowing Sun rises over the black slab, directly beneath the crescent of the Moon" and that on the Moon "Again, the glowing Sun, Moon and Earth have formed a conjunctive orbital configuration."
192.Jump up ^ See original Rolling Stone review by Bob McClay reproduced in Schwam, Stephanie (2000). The making of 2001, a space odyssey. 0375755284, 9780375755286: Random House. pp. 164–165.
193.Jump up ^ Roger Ebert. "2001: A Space Odyssey". Chicago Sun-Times. Retrieved February 3, 2011.
194.Jump up ^ Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland. p. 66. ISBN 978-0-7864-5916-2.
195.Jump up ^ Roger Ebert. "2001: A Space Odyssey (1968)". Chicago Sun-Times. Retrieved February 16, 2011.
196.Jump up ^ Caicco, Gregory (2007). Architecture, ethics, and the personhood of place. UPNE. p. 137. ISBN 978-1-58465-653-1.
197.Jump up ^ Westfahl, Gary (2005). The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders, Volume 2. Greenwood Publishing Group. p. 707. ISBN 978-0-313-32952-4.
198.Jump up ^ Christopher Palmer. 'Big Dumb Objects in Science Fiction: Sublimity, Banality, and Modernity,' Extrapolation. Kent: Spring 2006.Vol. 47, Iss. 1; page. 103
199.Jump up ^ Mark Stetson (model shop supervisor) (1984). 2010: The Odyssey Continues (DVD). ZM Productions/MGM. Archived from the original on August 24, 2007. Retrieved August 31, 2007.
200.Jump up ^ "Starship Modeler: Modeling 2001 and 2010 Spacecraft". October 19, 2005. Archived from the original on August 20, 2006. Retrieved September 26, 2006.
201.Jump up ^ Bentley, Chris (2008). The Complete Gerry Anderson: The Authorised Episode Guide (4th edition). London: Reynolds and Hearn. ISBN 978-1-905287-74-1.
202.Jump up ^ STARLOG magazine
203.Jump up ^ LoBrutto, Vincent. Stanley Kubrick . London: Faber & Faber Limited, 1997, p. 456.
204.Jump up ^ "3001: The Final Odyssey" on Yahoo! Movies (via Wayback Machine)
205.Jump up ^ [3][dead link] [4][dead link]
206.Jump up ^ Dark Side of the Moon trailer on YouTube
207.Jump up ^ More than a hoax: William Karel's critical mockumentary dark side of the moon. This article is a very lengthy excerpt from a longer version in Goliath Business News. A subscription is required to view the entire article.
208.Jump up ^ As discussed on Jay Windley' "clavius.org" site defending the reality of the moonlandings at [5]
209.Jump up ^ [6]. Material on the webmaster of "clavius.org" may be found at About this site and Imdb biography for Jay Windley
210.Jump up ^ International Alliance of Flat Earth Groups • View topic - Fake Nasa/Soviet space programs
211.Jump up ^ At his own website [7] and at an online forum [8]
212.Jump up ^ Robert Lamb (January 21, 2010). "FAKED MOON LANDINGS AND KUBRICK'S 'THE SHINING'". Discovery News. Retrieved September 6, 2011. The Discovery article is quoted on the film's Amazon.com as a review of the film itself, although it is actually a review of an earlier article that was the basis for the film.
213.Jump up ^ Charles Arthur (January 25, 1999). "Hal confesses all and joins Apple". The Independent (London). Retrieved November 26, 2010.
214.Jump up ^ Mad Magazine No. 125, March 1969
215.Jump up ^ Agel 1970, pp. 8–9.
216.Jump up ^ Clark Douglas (December 21, 2009). "DVD Verdict Review: The Mel Brooks Collection". DVD Verdict. Archived from the original on December 25, 2010. Retrieved November 26, 2010.
217.Jump up ^ Film and Filming, Volume 21 1975 p. 221
218.Jump up ^ Tim Dirks. "Sleeper(21973)". AMC Movie Classics. Archived from the original on December 5, 2010. Retrieved November 26, 2010.
219.Jump up ^ Herr, Michael (2001). Kubrick. Grove Press. p. 47. ISBN 978-0-8021-3818-7.
220.Jump up ^ Alberti, John, ed (2005). Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture. Wayne State University Press. ISBN 0-8143-2849-0. p. 277 et al.
221.Jump up ^ "Stanley and Bart … another Kubrick legend". London: The Guardian (UK). July 16, 1999. Retrieved November 26, 2010.
222.Jump up ^ Westfahl, Gary, ed (2005). The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders. Greenwood. ISBN 978-0-313-32950-0. p. 1232
223.Jump up ^ Alberti, John, ed (2005). Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture. Wayne State University Press. ISBN 978-0-8143-2849-1.
224.Jump up ^ Colin Kennedy (September 2004). "The Ten Best Movie Gags In The Simpsons". Empire. pp. 76.
225.Jump up ^ 20 Funniest Futurama Film Parodies at TotalFilm.com[dead link]
226.Jump up ^ James A. Davidson (1998). "The Director that Time Forgot". Images:A Journal of Fiilm and Popular Culture. Archived from the original on November 23, 2010. Retrieved November 26, 2010.
227.Jump up ^ John Hartl (July 14, 2005). "'Chocolate Factory' is a tasty surprise". MSNBC. Retrieved December 5, 2010.
228.Jump up ^ Harry Forbes (2005). "Charlie and the Chocolate Factory". Catholic News. Archived from the original on January 6, 2011. Retrieved December 4, 2010.
229.Jump up ^ Jenna Wortham (June 18, 2008). "Retro Futurism of Wall-E Recalls 2001, Blade Runner". WIRED. Retrieved December 4, 2010.
230.Jump up ^ Clara Moskowitz (June 27, 2008). "WALL-E spreads the robot love". USA Today. Retrieved December 4, 2010.
231.Jump up ^ Lawrence Toppman. "Well-focused 'Eye' has a crazy vision". Charlotte Observer. Retrieved December 4, 2010.
232.Jump up ^ London Magazine, 2006 (issue needed), p. 40
233.Jump up ^ A few reference biographies or obituaries for Leslie Nielsen speak as if Space Travesty was a spoof of Kubrick's film.Bolam, Sarah Miles; Bolam, Thomas J. (2011). Fictional Presidential Films: A Comprehensive Filmography of Portrayals from 1930 to 2011. Xlibris Corporation. p. 243. ISBN 1-4628-9318-X. Retrieved December 10, 2011. "Leslie Nielsen 1926–2010". (Obituary promoting forthcoming daylong Nielsen marathon on Sky network). Sky Movies HD. Archived from the original on January 7, 2011. Retrieved December 10, 2010.
234.Jump up ^ Nielsen's Airplane which was a scene-for-scene parody of Zero Hour. Abrahams, Jim; Zucker, David; Zucker, Jerry; Davidson, Jon (2000). Airplane! DVD audio commentary (DVD). Paramount Pictures. Several other films of his were also full parodies of another film.
235.Jump up ^ D.W.Pritchett (March 18, 2002). "2001: A Space Travesty". DVD Empire. Retrieved December 10, 2010.
236.Jump up ^ Jim Slotek (December 1, 2001). "A big empty Space". Jam! Showbiz. Retrieved December 10, 2010.
237.Jump up ^ Berge Garabedian (2010). "(review of) 2001: A Space Travesty". JoBlo Movie Reviews. Retrieved December 8, 2010.
238.Jump up ^ "Airplane II – The Sequel". Retrieved February 21, 2011.
239.Jump up ^ Patrick Naugle (November 9, 2000). "Airplane ii: the sequel". DVD Verdict. Retrieved February 21, 2011.
240.Jump up ^ Ken Finkleman. "Airplane II: The Sequel". The Spinning Image. Retrieved February 21, 2011.
241.Jump up ^ Erick Klafter (April 23, 2003). "Airplane II: The Sequel". The BoxSet. Retrieved February 21, 2011.
242.Jump up ^ Benjamin Svetkey (January 13, 1995). "Videogame Review: SimEarth". Entertainment Weekly. Retrieved October 17, 2009.
243.Jump up ^ Metal Gear Solid Official Missions Handbook, Millennium Books (1998).
244.Jump up ^ Kojima Productions. Metal Gear Solid: Peace Walker. Konami. "Briefing Files -> Huey -> Strangelove -> '2001: A Space Odyssey'"
Further reading[edit]
Chion, Michel (2001). Kubrick's cinema odyssey. British Film Institute. ISBN 978-0-85170-839-3.
External links[edit]
Wikimedia Commons has media related to 2001: A Space Odyssey.
Wikiquote has a collection of quotations related to: 2001: A Space Odyssey
2001: A Space Odyssey at the Internet Movie Database
2001: A Space Odyssey at the TCM Movie Database
2001: A Space Odyssey at Rotten Tomatoes
2001: A Space Odyssey Internet Resource Archive
Kubrick 2001: The Space Odyssey Explained
The 2001: A Space Odyssey Collectibles Exhibit
Roger Ebert's Essay on 2001
The Alt.Movies.Kubrick FAQ many observations on the meaning of 2001
The Kubrick Site including many works on 2001
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2001: A Space Odyssey (film)
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2001: A Space Odyssey
A painted image of four space-suited astronauts standing next to a piece of equipment atop a Lunar hill, in the distance is a Lunar base and a ball-shaped spacecraft descending toward it—with the earth hanging in a black sky in the background. Above the image appears "An epic drama of adventure and exploration" in blue block letters against a white background. Below the image in a black band, the title "2001: a space odyssey" appears in yellow block letters.
Theatrical release poster by Robert McCall
Directed by
Stanley Kubrick
Produced by
Stanley Kubrick
Screenplay by
Stanley Kubrick
Arthur C. Clarke
Based on
"The Sentinel"
by Arthur C. Clarke
Starring
Keir Dullea
Gary Lockwood
William Sylvester
Douglas Rain
Cinematography
Geoffrey Unsworth
Editing by
Ray Lovejoy
Studio
Metro-Goldwyn-Mayer
Distributed by
Metro-Goldwyn-Mayer (original)
Warner Bros. (current)
Release dates
April 2, 1968 (USA)
Running time
161 minutes (Premiere)[1]
142 minutes (Theatrical)[1]
Country
United States
United Kingdom
Language
English
Budget
$10.5 million
Box office
$190 million
2001: A Space Odyssey is a 1968 British-American science fiction film produced and directed by Stanley Kubrick. The screenplay was written by Kubrick and Arthur C. Clarke, and was partially inspired by Clarke's short story "The Sentinel". Clarke concurrently wrote the novel 2001: A Space Odyssey which was published soon after the film was released. The story deals with a series of encounters between humans and mysterious black monoliths that are apparently affecting human evolution, and a voyage to Jupiter tracing a signal emitted by one such monolith found on the Moon. The film is frequently described as an epic, both for its length and scope, and for its affinity with classical epics.[2][3]
The film is structured into four distinct acts. Daniel Richter plays the character "Moonwatcher" in the first act, and William Sylvester plays Dr. Heywood R. Floyd in the second. Keir Dullea (as Dr. David Bowman) and Gary Lockwood (as Dr. Frank Poole) star in the third act as the two astronauts on their voyage to Jupiter on board the spacecraft Discovery One, with Douglas Rain as the voice of the sentient computer HAL 9000 who has full control over their spacecraft. In the fourth and final act of the film we follow the journey of astronaut David Bowman "beyond the infinite".
Produced and distributed by the U.S. studio Metro-Goldwyn-Mayer, the film was made almost entirely in England, using both the studio facilities of MGM's subsidiary "MGM British" (among the last movies to be shot there before its closure in 1970)[4] and those of Shepperton Studios, mostly because of the availability of much larger sound stages than in the United States. The film was also coproduced by Kubrick's own "Stanley Kubrick Productions". Kubrick, having already shot his previous two films in England, decided to settle there permanently during the filming of Space Odyssey. Though Space Odyssey was released in the United States over a month before its release in the United Kingdom, and Encyclopædia Britannica calls this an American film,[5] other sources refer to it as an American, British, or American-British production.[6]
Thematically, the film deals with elements of human evolution, technology, artificial intelligence, and extraterrestrial life. It is notable for its scientific accuracy, pioneering special effects, ambiguous imagery, sound in place of traditional narrative techniques, and minimal use of dialogue. The film's memorable soundtrack is the result of the association that Kubrick made between the spinning motion of the satellites and the dancers of waltzes, which led him to use The Blue Danube waltz by Johann Strauss II,[7] and the symphonic poem Also sprach Zarathustra by Richard Strauss, to portray the philosophical concept of the Übermensch in Nietzsche's work Thus Spoke Zarathustra.[8][9]
Despite initially receiving mixed reactions from critics and audiences alike, 2001: A Space Odyssey garnered a cult following and slowly became a box office hit. Some years after its initial release, it eventually became the highest grossing picture from 1968 in North America. Today it is nearly universally recognized by critics, film-makers, and audiences as one of the greatest and most influential films ever made. The 2002 Sight & Sound poll of critics ranked it among the top ten films of all time,[10] placing it #6 behind Tokyo Story. The film retained sixth place on the critics' list in 2012, and was named the second greatest film ever made by the directors' poll of the same magazine.[11] Two years before that, it was ranked the greatest film of all time by The Moving Arts Film Journal.[12] It was nominated for four Academy Awards, and received one for its visual effects. In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[13]
In 1984, a sequel directed by Peter Hyams was released, titled 2010: The Year We Make Contact.
Contents [hide]
1 Plot 1.1 The Dawn of Man
1.2 TMA-1
1.3 Jupiter Mission
1.4 Jupiter and Beyond the Infinite
2 Cast
3 Development 3.1 Writing
3.2 Speculation on sources
4 Production 4.1 Filming
4.2 Set design and furnishings
4.3 Special effects
4.4 Deleted scenes
5 Soundtrack 5.1 Music
5.2 Soundtrack album
6 Release 6.1 Theatrical run
6.2 Home video
7 Reception 7.1 Critical reaction
7.2 Box-office
8 Influence 8.1 Influence on film
8.2 Influence on media
8.3 Influence on technology and law
9 Awards and honors 9.1 Academy Awards
9.2 Other awards
9.3 Top film lists
10 Interpretation
11 Sequels and adaptations
12 Hoaxes and conspiracy theory
13 Parodies and homages 13.1 In advertising and print
13.2 In film and television
13.3 In software and video games
14 See also
15 Notes
16 References 16.1 Citations
17 Further reading
18 External links
Plot[edit]
The film consists of four major sections, all of which, except the second, are introduced by superimposed titles.
The Dawn of Man[edit]
The match-cut[14] spanning millions of years
A tribe of herbivorous early hominids is foraging for food in the African desert. A leopard kills one member, and another tribe of man-apes drives them from their water hole. Defeated, they sleep overnight in a small exposed rock crater, and awake to find a black monolith has appeared in front of them. They approach it shrieking and jumping, and eventually touch it cautiously. Soon after, one of the man-apes, "Moonwatcher"[note 1] (played by Daniel Richter), realizes how to use a bone as both a tool and a weapon, which they start using to kill prey for their food. Growing increasingly capable and assertive, they reclaim control of the water hole from the other tribe by killing its leader. Triumphant, the tribe's leader throws his weapon-tool into the air as the scene shifts via match cut.[16][17]
TMA-1[edit]
A Pan Am space plane carries Dr. Heywood R. Floyd (William Sylvester) to a space station orbiting Earth for a layover on his trip to Clavius Base, a Lunar US outpost. After making a videophone call from the station to his daughter (Vivian Kubrick), he encounters his friend Elena (Margaret Tyzack), a Soviet scientist, and her colleague Dr. Smyslov (Leonard Rossiter), who ask Floyd about "odd things" occurring at Clavius, and the rumor of a mysterious epidemic at the base. Floyd politely but firmly declines to answer any questions about the epidemic, claiming he is "not at liberty to discuss this".
At Clavius, Floyd heads a meeting of base personnel, apologizing for the epidemic cover story but stressing secrecy. His mission is to investigate a recently found artifact—"Tycho Magnetic Anomaly One" (TMA-1)—"deliberately buried" four million years ago. Floyd and others ride in a Moonbus to the artifact, a black monolith identical to the one encountered by the apes. The visitors examine the monolith, and pose for a photo in front of it. While doing so, they hear a very loud high-pitched radio signal emanating from within the monolith.
Jupiter Mission[edit]
Eighteen months later, the U.S. spacecraft Discovery One is bound for Jupiter. On board are mission pilots and scientists Dr. David Bowman (Keir Dullea) and Dr. Frank Poole (Gary Lockwood), and three other scientists who are in cryogenic hibernation. Most of Discovery's operations are controlled by the ship's computer, HAL 9000 (voiced by Douglas Rain), referred to by the crew as "Hal". While Bowman and Poole watch Hal and themselves being interviewed in a BBC show about the mission, the computer states that he is "foolproof and incapable of error." Hal also speaks of his enthusiasm for the mission, and how he enjoys working with humans. When asked by the host if Hal has genuine emotions, Bowman replies that he appears to, but that the truth is unknown.
Hal asks Bowman about the unusual mystery and secrecy surrounding the mission, but then interrupts himself to report the imminent failure of a device which controls the ship's main antenna. After retrieving the component with an EVA pod, the astronauts cannot find anything wrong with it. Hal suggests reinstalling the part and letting it fail so the problem can be found. Mission control concurs, but advises the astronauts that results from their twin HAL 9000 indicate the ship's Hal is in error predicting the fault. When queried, Hal insists that the problem, like all previous issues with the HAL series, is due to "human error". Concerned about Hal's behavior, Bowman and Poole enter one of the EVA pods to talk without the computer overhearing them. They both have suspicions about Hal, despite the perfect reliability of the HAL series, but they decide to follow his suggestion to replace the unit. As the astronauts agree to disconnect Hal if he is proven to be wrong, they are unaware that Hal is reading their lips through the pod's window.
While Poole is attempting to replace the unit during a space-walk, his EVA pod, controlled by Hal, severs his oxygen hose and sets him adrift. Bowman, not realizing the computer is responsible for this, takes another pod to attempt a rescue, leaving his helmet behind. While he is gone, Hal turns off the life-support functions of the crewmen in suspended animation. When Bowman returns to the ship with Poole's body, Hal refuses to let him in, stating that the astronaut's plan to deactivate him jeopardizes the mission. Having to let go of Poole, Bowman manually opens the ship's emergency airlock and enters the ship risking death from exposure to vacuum but survives. After donning a helmet, Bowman proceeds to Hal's processor core intent on disconnecting most of the functions of the computer. Hal first tries to reassure Dave, then pleads with him to stop, and finally begins to express fear—all in a steady monotone voice. Dave ignores him and disconnects each of the computer's processor modules. Hal eventually regresses to his earliest programmed memory, the song "Daisy Bell", which he sings for Bowman.
When the computer is finally disconnected, a prerecorded video message from Floyd plays. In it, he reveals the existence of the four million-year-old black monolith on the Moon, "its origin and purpose still a total mystery". Floyd adds that it has remained completely inert, except for a single, very powerful radio emission aimed at Jupiter.
Jupiter and Beyond the Infinite[edit]
At Jupiter, Bowman leaves Discovery One in an EVA pod to investigate another monolith discovered in orbit around the planet. Approaching it, the pod is suddenly pulled into a tunnel of colored light,[18] and a disoriented and terrified Bowman finds himself racing at great speed across vast distances of space, viewing bizarre cosmological phenomena and strange landscapes of unusual colors. He finds himself, middle-aged and still in his spacesuit, standing in a bedroom appointed in the Louis XVI-style. Bowman sees progressively older versions of himself, his point of view switching each time, alternately appearing formally dressed and eating dinner, and finally as a very elderly man lying in a bed. A black monolith appears at the foot of the bed, and as Bowman reaches for it, he is transformed into a fetal being enclosed in a transparent orb of light.[19] The new being floats in space beside the Earth, gazing at it.
Cast[edit]
A human fetus inside a glowing circle of light is partially visible in profile on the left gazing across the blackness of space at the earth partially visible at right
The Star-Child into which David Bowman is transformed, gazing at EarthKeir Dullea as Dr. David Bowman
Gary Lockwood as Dr. Frank Poole
William Sylvester as Dr. Heywood R. Floyd
Douglas Rain as the voice of the HAL 9000
Daniel Richter as the chief man-ape ("Moon-Watcher" in Clarke's novel)—Richter, a professional street mime, in addition to playing the lead ape was also responsible for choreographing the movements of the other man-apes, who were mostly portrayed by his standing mime troupe.[20]
Leonard Rossiter as Dr. Andrei Smyslov
Margaret Tyzack as Elena
Robert Beatty as Dr. Ralph Halvorsen
Sean Sullivan as Dr. Roy Michaels[21]
Frank Miller as mission controller
Edward Bishop as Lunar shuttle captain
Edwina Carroll as Aries stewardess
Penny Brahms as stewardess
Heather Downham as stewardess
Maggie d'Abo (uncredited) as stewardess (Space station elevator)
Chela Matthison (uncredited) as stewardess (Mrs.Turner, Space station reception)
Judy Keirn (uncredited) as Voiceprint identification girl (Space station)
Alan Gifford as Poole's father
Ann Gillis as Poole's mother
Vivian Kubrick (uncredited) as Floyd's daughter
Kenneth Kendall (uncredited) as the BBC announcer
Development[edit]
Writing[edit]
Kubrick and Clarke meet[edit]
Shortly after completing Dr. Strangelove (1964), Stanley Kubrick became fascinated by the possibility of extraterrestrial life,[22] and determined to make "the proverbial good science fiction movie".[23] Searching for a suitable collaborator in the science fiction community, Kubrick was advised by a mutual acquaintance, Columbia Pictures staffer Roger Caras, to seek out the noted science fiction writer Arthur C. Clarke. Although convinced that Clarke was "a recluse, a nut who lives in a tree", Kubrick agreed that Caras would cable the Ceylon-based author with the film proposal. Clarke's cabled response stated that he was "frightfully interested in working with enfant terrible", and added "what makes Kubrick think I'm a recluse?"[24] Meeting for the first time at Trader Vic's in New York on April 22, 1964, the two began discussing the project that would take up the next four years of their lives.[25]
Search for source material[edit]
Kubrick told Clarke he was searching for the best way to make a movie about Man's relation to the universe, and was, in Clarke's words, "determined to create a work of art which would arouse the emotions of wonder, awe, … even, if appropriate, terror".[25] Clarke offered Kubrick six of his short stories, and by May, Kubrick had chosen one of them—"The Sentinel"—as source matter for his film. In search of more material to expand the film's plot, the two spent the rest of 1964 reading books on science and anthropology, screening science fiction movies, and brainstorming ideas.[26] Clarke and Kubrick spent two years transforming "The Sentinel" into a novel, and then into a script for 2001.[27] Clarke notes that his short story "Encounter in the Dawn" inspired the "Dawn Of Man" sequence in 2001.[28]
At first, Kubrick and Clarke privately referred to their project as How the Solar System Was Won as a reference to MGM's 1962 Cinerama epic, How the West Was Won. However, Kubrick chose to announce the project, in a press release issued on February 23, 1965, as Journey Beyond The Stars.[29] "Other titles which we ran up and failed to salute were Universe, Tunnel to the Stars, and Planetfall", Clarke wrote in his book The Lost Worlds of 2001. "It was not until eleven months after we started—April 1965—that Stanley selected 2001: A Space Odyssey. As far as I can recall, it was entirely his idea."[30] Intending to set the film apart from the standard "monsters and sex" type of science-fiction movies of the time, Kubrick used Homer's The Odyssey as inspiration for the title. "It occurred to us", he said, "that for the Greeks the vast stretches of the sea must have had the same sort of mystery and remoteness that space has for our generation".[31]
Parallel development of film and novelization[edit]
See also: Differences between the film and the novel
The collaborators originally planned to develop a novel first, free of the constraints of a normal script, and then to write the screenplay; they envisaged that the final writing credits would be "Screenplay by Stanley Kubrick and Arthur C. Clarke, based on a novel by Arthur C. Clarke and Stanley Kubrick" to reflect their preeminence in their respective fields.[32] In practice, however, the cinematic ideas required for the screenplay developed parallel to the novel, with cross-fertilization between the two. In a 1970 interview with Joseph Gelmis, Kubrick explained:
There are a number of differences between the book and the movie. The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The novel came about after we did a 130-page prose treatment of the film at the very outset. This initial treatment was subsequently changed in the screenplay, and the screenplay in turn was altered during the making of the film. But Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel. As a result, there's a difference between the novel and the film … I think that the divergences between the two works are interesting.[33]
In the end, the screenplay credits were shared while the novel, released shortly after the film, was attributed to Clarke alone, but Clarke wrote later that "the nearest approximation to the complicated truth" is that the screenplay should be credited to "Kubrick and Clarke" and the novel to "Clarke and Kubrick".[34]
Clarke and Kubrick wrote the novel and screenplay simultaneously, but while Clarke ultimately opted for clearer explanations of the mysterious monolith and Star Gate in his book, Kubrick chose to make his film more cryptic and enigmatic by keeping dialogue and specific explanations to a minimum.[9] "2001", Kubrick says, "is basically a visual, nonverbal experience" that avoids the spoken word in order to reach the viewer's subconscious in an essentially poetic and philosophic way. The film is a subjective experience which "hits the viewer at an inner level of consciousness, just as music does, or painting".[35]
How much would we appreciate La Gioconda [the Mona Lisa] today if Leonardo had written at the bottom of the canvas: This lady is smiling slightly because she has rotten teeth or because she's hiding a secret from her lover? It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to 2001. —Stanley Kubrick[36]
Depiction of alien life[edit]
Astronomer Carl Sagan wrote in his book, The Cosmic Connection, that Clarke and Kubrick asked his opinion on how to best depict extraterrestrial intelligence. Sagan, while acknowledging Kubrick's desire to use actors to portray humanoid aliens for convenience's sake, argued that alien life forms were unlikely to bear any resemblance to terrestrial life, and that to do so would introduce "at least an element of falseness" to the film. Sagan proposed that the film suggest, rather than depict, extraterrestrial superintelligence. He attended the premiere and was "pleased to see that I had been of some help."[37] Kubrick hinted at the nature of the mysterious unseen alien race in 2001 by suggesting, in a 1968 interview, that given millions of years of evolution, they progressed from biological beings to "immortal machine entities", and then into "beings of pure energy and spirit"; beings with "limitless capabilities and ungraspable intelligence".[38]
Stages of script and novel development[edit]
Arthur C. Clarke kept a diary throughout his involvement with 2001, excerpts of which were published in 1972 as The Lost Worlds of 2001. The script went through many stages of development in which various plot ideas were considered and subsequently discarded. Early in 1965, right when backing was secured for Journey Beyond the Stars, the writers still had no firm idea of what would happen to Bowman after the Star Gate sequence, though as early as October 17, 1964 Kubrick had come up with what Clarke called a "wild idea of slightly fag robots who create a Victorian environment to put our heroes at their ease".[34] Initially all of Discovery's astronauts were to survive the journey; a decision to leave Bowman as the sole survivor and have him regress to infancy was agreed by October 3, 1965. The computer HAL 9000 was originally to have been named "Athena", after the Greek goddess of wisdom, with a feminine voice and persona.[34]
Early drafts included a short prologue containing interviews with scientists about extraterrestrial life,[39] voice-over narration (a feature in all of Kubrick's previous films),[40] a stronger emphasis on the prevailing Cold War balance of terror, a slightly different and more explicitly explained scenario for Hal's breakdown,[41][42][43] and a differently envisaged monolith for the "Dawn of Man" sequence. The last three of these survived into Arthur C. Clarke's final novel, which also retained an earlier draft's employment of Saturn as the final destination of the Discovery mission rather than Jupiter, and the discarded finale of the Star Child exploding nuclear weapons carried by Earth-orbiting satellites.[43] Clarke had suggested this finale to Kubrick, jokingly calling it "Son of Dr. Strangelove"; a reference to Kubrick's previous film. Feeling that this conclusion's similarity to that of his previous film would be detrimental, Kubrick opted for a more pacific conclusion.[39]
Some changes were made simply due to the logistics of filming. Early prototypes of the monolith did not photograph well, while the special effects team was unable to develop a convincing rendition of Saturn's rings; hence the switch to Jupiter[44] (in his foreword to the 1990 edition of the novel, Clarke noted that if they had remained with Saturn, the film would have become far more dated as Voyager revealed that Saturn's rings were far more visually bizarre in closeup than anyone had imagined). Other changes were made due to Stanley Kubrick's increasing desire to make the film more non-verbal, reaching the viewer at a visual and visceral level rather than through conventional narrative.[45] Vincent LeBrutto notes that Clarke's novel has "strong narrative structure" which fleshes out the story, while the film is a mainly visual experience where much remains "symbolic".[46]
Remnants of early drafts in final film[edit]
While many ideas were discarded in totality, at least two remnants of previous plot ideas remain in the final film.
HAL's breakdown[edit]
While the film leaves it mysterious, early script drafts spell out that HAL's breakdown is triggered by authorities on Earth who had ordered him to withhold information from the astronauts about the true purpose of the mission (this is also explained in the film's sequel 2010). Frederick Ordway, Kubrick's science advisor and technical consultant, working from personal copies of early drafts, stated that in an earlier version, Poole tells HAL there is "… something about this mission that we weren't told. Something the rest of the crew knows and that you know. We would like to know whether this is true", to which HAL enigmatically responds: "I'm sorry, Frank, but I don't think I can answer that question without knowing everything that all of you know."[41] In this version, HAL then falsely predicts a failure of the hardware maintaining radio contact with Earth (the source of HAL's difficult orders) during the broadcast of Frank Poole's birthday greetings from his parents.
The film drops this overt explanation, but it is hinted at when HAL asks David Bowman if the latter feels bothered or disturbed by the "mysteries" and "secrecy" surrounding the mission and its preparations. After Bowman concludes that HAL is dutifully drawing up the "crew psychology report", the computer then makes his false prediction of hardware failure.
In an interview with Joseph Gelmis in 1969, Kubrick simply stated that "[HAL] had an acute emotional crisis because he could not accept evidence of his own fallibility"[47]
Military nature of orbiting satellites[edit]
See also: Interpretations of 2001: A Space Odyssey#Military Nature of Orbiting Satellites
Stanley Kubrick originally intended that when the film does its famous match-cut from ancient bone-weapon to orbiting satellite that the latter and the three additional technological satellites seen would be established as orbiting nuclear weapons by a voice-over narrator talking about nuclear stalemate.[48] Further, Kubrick intended that the Star Child would detonate the weapons at the end of the film.[49] Over time, Kubrick decided that this would create too many associations with his previous film Dr. Strangelove and he decided not to make it so obvious that they were "war machines".[50] Kubrick was also confronted with the fact that only a few weeks before the release of the film, the U.S. and Soviet governments had agreed not to put any nuclear weapons into outer space.
Alexander Walker in a book he wrote with Kubrick's assistance and authorization, states that Kubrick eventually decided that as nuclear weapons the bombs had "no place at all in the film's thematic development", now being an "orbiting red herring" which would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".[51]
The perception that the satellites are bombs persists in the mind of some but by no means all commentators on the film. This may affect one's reading of the film as a whole. Noted Kubrick authority Michel Ciment, in discussing Kubrick's attitude toward human aggression and instinct, observes "The bone cast into the air by the ape (now become a man) is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon."[52] In contrast to Ciment's reading of a cut to a serene "other extreme of civilization", science fiction novelist Robert Sawyer, speaking in the Canadian documentary 2001 and Beyond, sees it as a cut from a bone to a nuclear weapons platform, explaining that "what we see is not how far we've leaped ahead, what we see is that today, '2001', and four million years ago on the African veldt, it's exactly the same—the power of mankind is the power of its weapons. It's a continuation, not a discontinuity in that jump."[53]
Kubrick, notoriously reluctant to provide any explanation of his work, never publicly stated the intended functions of the satellites, preferring to let the viewer surmise what their purpose might be.
Dialogue[edit]
Alongside its use of music, the lack of dialogue and conventional narrative cues in 2001 has been noted by many reviewers.[54] There is no dialogue at all for both the first and last 20 minutes or so of the film; the total narrative of these sections is carried entirely by images, actions, sound effects, a great deal of music (See Music) and two title cards. The first line of dialogue is the space-station stewardess addressing Heywood Floyd saying "Here you are, sir. Main level D." The final line is Floyd's conclusion of the pre-recorded Jupiter mission briefing about the monolith. "Except for a single, very powerful radio emission, aimed at Jupiter, the four-million-year-old black monolith has remained completely inert, its origin — and purpose — still a total mystery."
Only when the film moves into the postulated future of 2000 and 2001, does the viewer encounter characters who speak. By the time shooting began, Kubrick had deliberately jettisoned much of the intended dialogue and narration and what remains is notable for its apparent banality (making the computer Hal seem to have more human emotion than the actual humans), while it is juxtaposed with epic scenes of space.[55] The first scenes of dialogue are Floyd's three encounters on the space station. They are preceded by the space docking sequence choreographed to Strauss' The Blue Danube waltz and followed by a second extended sequence of his travel to the Moon with more Strauss, the two sequences acting as bookends to his space-station stop-over. In the stop-over itself, we get idle chit-chat with the colleague who greets him followed by Floyd's slightly more affectionate telephone call to his daughter, and the distantly friendly but awkwardly strained encounter with Soviet scientists. Later, en route to the monolith, Floyd engages in trite exchanges with his staff while we see a spectacular journey by Earth-light across the Lunar surface. Generally, the most memorable dialogue in the film belongs to the computer Hal in its exchanges with David Bowman.[56] Hal is the only character in the film who openly expresses anxiety (primarily around his disconnection), as well as feelings of pride and bewilderment.
Speculation on sources[edit]
The Russian documentarian Pavel Klushantsev made a ground-breaking film in the 1950s entitled Road to the Stars. It is believed to have significantly influenced Kubrick's technique in 2001: A Space Odyssey, particularly in its accurate depiction of weightlessness and a rotating space station. Encyclopedia Astronautica describes some scenes from 2001 as a "shot-for-shot duplication of Road to the Stars".[57] Specific comparisons of shots from the two films have been analyzed by the filmmaker Alessandro Cima.[58] A 1994 article in American Cinematographer says, "When Stanley Kubrick made 2001: a Space Odyssey in 1968, he claimed to have been first to fly actor/astronauts on wires with the camera on the ground, shooting vertically while the actor's body covered the wires" but observes that Klushantsev had preceded him in this.[59]
Production[edit]
Filming[edit]
Principal photography began December 29, 1965, in Stage H at Shepperton Studios, Shepperton, England. The studio was chosen because it could house the 60'x 120'x 60' pit for the Tycho crater excavation scene, the first to be shot.[60][61] The production moved in January 1966 to the smaller MGM-British Studios in Borehamwood, where the live action and special effects filming was done, starting with the scenes involving Floyd on the Orion spaceplane;[62] it was described as a "huge throbbing nerve center … with much the same frenetic atmosphere as a Cape Kennedy blockhouse during the final stages of Countdown."[63] The only scene not filmed in a studio—and the last live-action scene shot for the film—was the skull-smashing sequence, in which Moonwatcher (Richter) wields his new-found bone "weapon-tool" against a pile of nearby animal bones. A small elevated platform was built in a field near the studio so that the camera could shoot upward with the sky as background, avoiding cars and trucks passing by in the distance.[20][64]
Filming of actors was completed in September 1967,[65] and from June 1966 until March 1968 Kubrick spent most of his time working on the 205 special effects shots in the film.[33] The director ordered the special effects technicians on 2001 to use the painstaking process of creating all visual effects seen in the film "in camera", avoiding degraded picture quality from the use of blue screen and traveling matte techniques. Although this technique, known as "held takes", resulted in a much better image, it meant exposed film would be stored for long periods of time between shots, sometimes as long as a year.[66] In March 1968, Kubrick finished the 'pre-premiere' editing of the film, making his final cuts just days before the film's general release in April 1968.[33]
The film was initially planned to be photographed in 3-film-strip Cinerama (like How the West Was Won), because it was a part of a production/distribution deal between MGM and Cinerama Releasing corporation, but that was changed to Super Panavision 70 (which uses a single-strip 65 mm negative) on the advice of special photographic effects supervisor Douglas Trumbull, due to distortion problems with the 3-strip system.[67] Color processing and 35 mm release prints were done using Technicolor's dye transfer process. The 70 mm prints were made by MGM Laboratories, Inc. on Metrocolor. The production was $4.5 million over the initial $6.0 million budget, and sixteen months behind schedule.[61]
Set design and furnishings[edit]
Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes,[68] and selecting notable pieces of contemporary furniture for use in the film. When Floyd exits the Space Station V elevator, he is greeted by an attendant seated behind a slightly modified George Nelson Action Office desk from Herman Miller's 1964 "Action Office" series.[69] First introduced in 1968, the Action Office style "cubicle" would eventually occupy 70 percent of office space by the mid-2000s.[70][71] Noted Danish designer Arne Jacobsen designed the cutlery used by the Discovery astronauts in the film.[72][73][74]
Perhaps the most noted pieces of furniture in the film are the bright red Djinn Chairs seen prominently throughout the Space Station.[75][76] Designed by Olivier Mourgue in 1965, the Djinn chair is one of the most recognizable chair designs of the 1960s, at least partly due to their visibility in the film.[75] Today the chairs, particularly in red, are highly sought-after examples of modern furniture design.[75] Near the Djinn chairs the actors in the film are seated in is one of Eero Saarinen's 1956 pedestal tables, another famous piece of "modern" design. The pedestal table would later make an appearance in another science fiction film, Men in Black.[75] Mourgue has been using the connection to 2001 in his advertising; a frame from the film's space station sequence and three production stills appear on the homepage of Mourgue's website.[77] Shortly before Kubrick's death, film critic Alexander Walker informed Kubrick of Mourgue's use of the film, joking to him "You're keeping the price up".[78] Commenting on their use in the film, Walker writes:
Everyone recalls one early sequence in the film, the space hotel,[79] primarily because the custom-made Olivier Morgue [sic] furnishings, those foam-filled sofas, undulant and serpentine, are covered in scarlet fabric and are the first stabs of color one sees. They resemble Rorschach "blots" against the pristine purity of the rest of the lobby.[80]
Detailed instructions in relatively small print for various technological devices appear at several points in the film, the most notable of which is the lengthy instructions for the zero-gravity toilet on the Aries Moon shuttle. Similar detailed instructions for replacing the explosive bolts also appear on the hatches of the E.V.A. pods, most visibly in closeup just before Bowman's pod leaves the ship to rescue Frank Poole.[81]
The film features an extensive use of Eurostile Bold Extended, Futura and other sans typefaces as design elements of the 2001 world.[82] Computer displays show high resolution fonts, color and graphics—far in advance of computers in the 1960s when the film was made.
Special effects[edit]
See also: Technologies in 2001: A Space Odyssey
Special effects in 2001: A Space Odyssey
File:2001 space travel.ogv
As the film climaxes, Bowman takes a trip through deep space that involves the innovative use of slit-scan photography to create the visual effects and disturbing sequences of him noticeably stunned at what he's experiencing.
Problems playing this file? See media help.
The first director to use front projection with retroreflective matting in a main-stream movie, Kubrick chose the technique to produce the backdrops for the African scenes showing ape-men against vast natural-terrain backgrounds, as traditional techniques such as painted backdrops or rear-projection did not produce the realistic look Kubrick demanded. In addition to the "Dawn of Man" sequence, the front-projection system was used to depict astronauts walking on the Lunar surface with the Moon base in the background.[83] The technique has been used widely in the film industry since 2001 pioneered its use, although starting in the 1990s it has been increasingly replaced by green screen systems.
The front projection technique used by Kubrick consisted of a separate scenery projector set precisely at a right angle to the camera, and a half-silvered mirror placed at an angle in front of the camera that reflected the projected image forward, directly in line with the camera lens, onto a backdrop made of specially designed retroreflective material. The highly reflective and extremely directional screen behind the actors was capable of reflecting light from the projected image one hundred times more efficiently than did the foreground subject. The lighting of the foreground subject then had to be balanced with that of the image from the screen, rendering the image from the scenery projector on the subject too faint to record. Kubrick noted that an exception was the eyes of the leopard in the "Dawn of Man" sequence, which glowed orange as a result of illumination by the scenery projector. He described this as "a happy accident".[84]
Front projection had been used in smaller settings before 2001, mostly for still-photography or television production, using small still images and projectors. The expansive backdrops for the African scenes required a screen 40 feet (12 m) tall and 110 feet (34 m) wide, far larger than had ever been used before. When the reflective material was applied to the backdrop in 100-foot (30 m) strips, however, variations at the seams of the strips led to obvious visual artifacts, a problem that was solved by tearing the material into smaller chunks and applying them in a random "camouflage" pattern on the backdrop. The existing projectors using 4-×-5-inch (10 × 13 cm) transparencies resulted in grainy images when projected that large, so the 2001 team worked with MGM's Special Effects Supervisor, Tom Howard, to build a custom projector using 8-×-10-inch (20 × 25 cm) transparencies, which required the largest water-cooled arc lamp available.[84]
Other "in-camera" shots were scenes depicting spacecraft moving through space. The camera used to shoot the stationary model of the Discovery One spacecraft was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly. On the first pass, the model was unlit, masking the star-field behind it. The camera and film were returned to the start position, and on the second pass, the model was lit without the star field. For shots also showing the interior of the ship, a third pass was made with previously-filmed live-action scenes projected onto rear-projection screens in the model's windows. The result was a film negative image that was exceptionally sharper and clearer than typical visual effects of the time.[85]
The "centrifuge" set used for filming scenes depicting interior of the spaceship Discovery
For interior shots inside the spacecraft, ostensibly containing a giant centrifuge that produces artificial gravity, Kubrick had a 30-short-ton (27 t) rotating "ferris wheel" built by Vickers-Armstrong Engineering Group at a cost of $750,000. The set was 38 feet (12 m) in diameter and 10 feet (3.0 m) wide.[86] Various scenes in the Discovery centrifuge were shot by securing set pieces within the wheel, then rotating it while the actor walked or ran in sync with its motion, keeping him at the bottom of the wheel as it turned. The camera could be fixed to the inside of the rotating wheel to show the actor walking completely "around" the set, or mounted in such a way that the wheel rotated independently of the stationary camera, as in the famous jogging scene where the camera appears to alternately precede and follow the running actor. The shots where the actors appear on opposite sides of the wheel required one of the actors to be strapped securely into place at the "top" of the wheel as it moved to allow the other actor to walk to the "bottom" of the wheel to join him. The most notable case is when Bowman enters the centrifuge from the central hub on a ladder, and joins Poole, who is eating on the other side of the centrifuge. This required Gary Lockwood to be strapped into a seat while Keir Dullea walked toward him from the opposite side of the wheel as it turned with him.[87]
Another rotating set appeared in an earlier sequence on board the Aries transLunar shuttle. A stewardess is shown preparing in-flight meals, then carrying them into a circular walkway. Attached to the set as it rotates 180 degrees, the camera's point of view remains constant, and she appears to walk up the "side" of the circular walkway, and steps, now in an "upside-down" orientation, into a connecting hallway.[88]
The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set, with the camera underneath them pointing up. The actors' bodies blocked the camera's view of the suspension wires, creating a very believable appearance of floating. For the shot of Poole floating into the pod's arms during Bowman's rescue attempt, a stuntman replaced a dummy on the wire to realistically portray the movements of an unconscious human, and was shot in slow motion to enhance the illusion of drifting through space.[89] The scene showing Bowman entering the emergency airlock from the E.V.A. pod was done in a similar way, with an off-camera stagehand, standing on a platform, holding the wire suspending Dullea above the camera positioned at the bottom of the vertically configured airlock. At the proper moment, the stagehand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, he jumped off the platform, causing Dullea to ascend back up toward the hatch.[90]
The "Star Gate" sequence, one of many ground-breaking visual effects. It was primarily for these that Stanley Kubrick won his only personal Academy Award.
The colored lights in the Star Gate sequence were accomplished by slit-scan photography of thousands of high-contrast images on film, including op-art paintings, architectural drawings, Moiré patterns, printed circuits, and crystal structures. Known to staff as "Manhattan Project", the shots of various nebula-like phenomena, including the expanding star field, were colored paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow-motion in a dark room.[91] The live-action landscape shots in the 'Star Gate' sequence were filmed in the Hebridean islands, the mountains of northern Scotland, and Monument Valley (U.S.A.). The strange coloring and negative-image effects in these shots were achieved by the use of different color filters in the process of making dupe negatives.[92]
An article by Douglas Trumbull about the creation of special effects for 2001 appears in the June 1968 issue of American Cinematographer.[93]
Deleted scenes[edit]
Kubrick filmed several scenes that were deleted from the final film. These fall into two categories: scenes cut before any public screenings of the film, and scenes cut a few days after the world premiere on April 2, 1968.[94]
The first ('prepremiere') set of cuts includes a school-room on the Lunar base—a painting class that included Kubrick's daughters, additional scenes of life on the base, and Floyd buying a bush baby from a department store via videophone for his daughter. The most notable cut was a ten-minute black-and-white opening sequence featuring interviews with actual scientists, including Freeman Dyson,[95] discussing off-Earth life, which Kubrick removed after an early screening for MGM executives.[96] The actual text survives in the book The Making of Kubrick's 2001 by Jerome Agel.[97]
The second ('postpremiere') set of cuts includes details about the daily life on Discovery, additional space-walks, astronaut Bowman retrieving a spare part from an octagonal corridor, a number of cuts from the Poole murder sequence including the entire space-walk preparation and shots of Hal turning off radio contact with Poole—explaining Hal's response that the radio is "still dead" when Bowman asks him if radio contact has been made—and notably a close-up of Bowman picking up a slipper during his walk in the alien room; the slipper can still be seen behind him in what would have been the next shot in the sequence.[98]
Kubrick's rationale for editing the film was to tighten the narrative; reviews suggested the film suffered too much by the radical departure from traditional cinematic story-telling conventions. Regarding the cuts, Kubrick stated, "I didn't believe that the trims made a critical difference. … The people who like it, like it no matter what its length, and the same holds true for the people who hate it".[96]
As was typical of most movies of that era released both as a "road-show" (in Cinerama format in the case of Space Odyssey) and subsequently put into general release (in seventy-millimetre in the case of Odyssey), the entrance music, intermission music (and intermission altogether), and postcredit exit music were cut from most (though not all) prints of the latter version, although these have been restored to most DVD releases.[99][100]
According to Kubrick's brother-in-law Jan Harlan, the director was adamant the trims were never to be seen, and that he "even burned the negatives"—which he had kept in his garage—shortly before his death. This is confirmed by former Kubrick assistant Leon Vitali: "I'll tell you right now, okay, on Clockwork Orange, The Shining, Barry Lyndon, some little parts of 2001, we had thousands of cans of negative outtakes and print, which we had stored in an area at his house where we worked out of, which he personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it. That's what he wanted."[101]
In December 2010, Douglas Trumbull announced that Warner Brothers had located seventeen minutes of lost footage, "perfectly preserved", in a Kansas salt mine vault. A Warner Brothers press release asserts definitively that this material is from the postpremiere cuts, which Kubrick has stated totaled nineteen minutes.[102][103] No immediate plans have been announced for the footage, but Trumbull intends to use stills from them in a book he is publishing.[104]
Reuse of special effects shots[edit]
Although special effects supervisor Douglas Trumbull had been unable to provide convincing footage of Saturn for 2001 (thus causing the film-makers to change the mission's destination to Jupiter), he had solved the technical problems involved in reproducing Saturn's rings by the time he directed Silent Running four years later in 1972, employing effects developed but not completed for 2001.[105]
Soundtrack[edit]
Music[edit]
Main article: 2001: A Space Odyssey (soundtrack). See also: 2001: A Space Odyssey (score).
Music plays a crucial part in 2001, and not only because of the relatively sparse dialogue. From very early on in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience,[106] one that did not rely on the traditional techniques of narrative cinema, and in which music would play a vital role in evoking particular moods. About half the music in the film appears either before the first line of dialogue or after the final line. Almost no music is heard during any scenes with dialogue.
The film is notable for its innovative use of classical music taken from existing commercial recordings. Most feature films then and now are typically accompanied by elaborate film scores or songs written especially for them by professional composers. In the early stages of production, Kubrick had actually commissioned a score for 2001 from Hollywood composer Alex North, who had written the score for Spartacus and also worked on Dr. Strangelove.[107] However, during postproduction, Kubrick chose to abandon North's music in favor of the now-familiar classical pieces he had earlier chosen as "guide pieces" for the soundtrack. North did not know of the abandonment of the score until after he saw the film's premiere screening.[108]
Also engaged to score the film was composer Frank Cordell.[109] Cordell stated in interviews that the score would primarily consist of arrangements of Gustav Mahler works. For years after his death, his widow tried to get the recorded score released.[citation needed] This release never materialized. Like North's score, Cordell's work was recorded at the now demolished Anvil, Denham studios.[citation needed]
2001 is particularly remembered for using pieces of Johann Strauss II's best-known waltz, The Blue Danube, during the extended space-station docking and Lunar landing sequences, and the use of the opening from the Richard Strauss tone poem Also sprach Zarathustra [110] performed by the Vienna Philharmonic conducted by Herbert von Karajan. Gayane's Adagio from Aram Khachaturian's Gayane ballet suite is heard during the sections that introduce Bowman and Poole aboard the Discovery conveying a somewhat lonely and mournful quality.
In addition to the majestic yet fairly traditional compositions by the two Strausses and Khachaturian, Kubrick used four highly modernistic compositions by György Ligeti that employ micropolyphony, the use of sustained dissonant chords that shift slowly. This technique was pioneered in Atmosphères, the only Ligeti piece heard in its entirety in the film. Ligeti admired Kubrick's film but, in addition to being irritated by Kubrick's failure to obtain permission directly from him, he was offended that his music was used in a film soundtrack shared by composers Johann and Richard Strauss.[111] Other music used is Ligeti's Lux Aeterna, the second movement of his Requiem and an electronically altered form of his Aventures, the last of which was also used without Ligeti's permission and is not listed in the film's credits.[112]
Hal's version of the popular song "Daisy Bell" (referred to by Hal as "Daisy" in the film) was inspired by a computer-synthesized arrangement by Max Mathews, which Arthur C. Clarke had heard in 1962 at the Bell Laboratories Murray Hill facility when he was, coincidentally, visiting friend and colleague John Pierce. At that time, a speech synthesis demonstration was being performed by physicist John Larry Kelly, Jr., by using an IBM 704 computer to synthesize speech. Kelly's voice recorder synthesizer vocoder recreated the song "Daisy Bell" ("Bicycle Built For Two"), with Max Mathews providing the musical accompaniment. Arthur C. Clarke was so impressed that he later used it in the screenplay and novel."[113]
Many non-English language versions of the film do not use the song "Daisy." In the French soundtrack, Hal sings the French folk song "Au Clair de la Lune" while being disconnected.[114] In the German version, Hal sings the children's song "Hänschen klein" ("Johnny Little"),[115] and in the Italian version Hal sings "Giro giro tondo" (Ring a Ring o' Roses).[116]
A recording of British light music composer Sidney Torch's "Off Beat Moods" was chosen by Kubrick as the theme for the fictitious B.B.C. news programme "The World Tonight" seen aboard the Discovery.[117]
On June 25, 2010, a version of the film specially remastered by Warner Bros. without the music soundtrack opened the three hundred fiftieth anniversary celebrations of the Royal Society at Southbank Centre in cooperation with the British Film Institute, with the score played live by the Philharmonia Orchestra and Choir.[118]
On June 14, 2013, a repeat presentation of the film accompanied by live orchestra and choir was performed at Symphony Hall in Birmingham, again accompanied by the Philharmonia Orchestra conducted by Benjamin Wallfisch together with the choir Ex Cathedra.[119]
Soundtrack album[edit]
The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of "Aventures", used a different recording of "Also sprach Zarathustra" than that heard in the film, this time performed by the Berlin Philharmonic conducted by Karl Böhm, and a longer excerpt of "Lux aeterna" than that in the film.
In 1996, Turner Entertainment/Rhino Records released a new soundtrack on CD which included the material from "Aventures" and restored the version of "Zarathustra" used in the film, and used the shorter version of "Lux aeterna" from the film. As additional "bonus tracks" at the end, this CD includes the versions of "Zarathustra" and "Lux aeterna" on the old MGM soundtrack, an unaltered performance of "Aventures", and a nine-minute compilation of all of Hal's dialogue from the film.
North's unused music had its first public appearance in Telarc's issue of the main theme on Hollywood's Greatest Hits, Vol. 2, a compilation album by Erich Kunzel and the Cincinnati Pops Orchestra. All the music North originally wrote was recorded commercially by North's friend and colleague Jerry Goldsmith with the National Philharmonic Orchestra and was released on Varèse Sarabande CDs shortly after Telarc's first theme release but before North's death. Eventually, a mono mix-down of North's original recordings, which had survived in the interim, would be released as a limited-edition CD by Intrada Records.[120]
Release[edit]
Theatrical run[edit]
The film's world premiere was on April 2, 1968, at the Uptown Theater in Washington, D.C. It opened two days later at the Warner Cinerama Theatre in Hollywood, and Loew's Capitol in New York. Kubrick then deleted nineteen minutes of footage from the film before its general release in five other U.S. cities on April 10, 1968, and internationally in five cities the following day,[103][121] where it was shown in 70mm format, with a six-track stereo magnetic soundtrack, and projected in the 2.21:1 aspect ratio. The general release of the film in its thirty-five-millimetre anamorphic format took place in autumn 1968, with either a four-track magnetic stereo soundtrack or an optical monaural soundtrack.[122]
The original seventy-millimetre release, like many Super Panavision 70 films of the era such as Grand Prix, was advertised as being in "Cinerama" in cinemas equipped with special projection optics and a deeply curved screen. In standard cinemas, the film was identified as a seventy-millimetre production. The original release of 2001: A Space Odyssey in seventy-millimetre Cinerama with six-track sound played continually for more than a year in several venues, and for one hundred and three weeks in Los Angeles.[123]
The film was rereleased in 1974, 1977, and again in 1980.[124] Once 2001, the film's timeset, arrived, a restoration of the seventy-millimetre version was screened at the Ebert's Overlooked Film Festival, and the production was also reissued to selected movie houses in North America, Europe and Asia.[125][126]
Home video[edit]
MGM/CBS Home Video released the film on VHS and Betamax home video in 1980.[127] MGM also published letterbox laserdisc editions (including an updated edition with Dolby Digital 5.1 sound), in 1991 and 1993. (Although Turner Entertainment had acquired the bulk of MGM's film library, the MGM company had a distribution deal with Turner.) There also was a special edition laser-disc from The Criterion Collection in the CAV format. In 1997, it was rereleased on VHS, and as part of the "Stanley Kubrick Collection" in both VHS format (1999) and DVD (2000) with remastered sound and picture. In some video releases, three title cards were added to the three "blank screen" moments; "OVERTURE" at the beginning, "ENTR'ACTE" during the intermission, and "EXIT MUSIC" after the closing credits.[128]
It has been released on Region 1 DVD four times: once by MGM Home Entertainment in 1998 and thrice by Warner Home Video in 1999, 2001, and 2007. The MGM release had a booklet, the film, trailer, and an interview with Arthur C. Clarke, and the soundtrack was remastered in 5.1 surround sound. The 1999 Warner Bros. release omitted the booklet, yet had a rerelease trailer. The 2001 release contained the rerelease trailer, the film in the original 2.21:1 aspect ratio, digitally remastered from the original seventy-millimetre print, and the soundtrack remixed in 5.1 surround sound. A limited-edition DVD included a booklet, seventy-millimetre frame, and a new soundtrack CD of the film's actual (unreleased) music tracks, and a sampling of Hal's dialogue.
Warner Home Video released a two-DVD Special Edition on October 23, 2007, as part of their latest set of Kubrick reissues. The DVD was released on its own and as part of a revised Stanley Kubrick box set which contains new Special Edition versions of A Clockwork Orange, The Shining, Eyes Wide Shut, Full Metal Jacket, and the documentary A Life in Pictures. Additionally, the film was released in high definition on both HD DVD and Blu-ray Disc[129]
Reception[edit]
Critical reaction[edit]
Upon release, 2001 polarized critical opinion, receiving both ecstatic praise and vehement derision. Some critics viewed the original 161-minute cut shown at premieres in Washington D.C., New York, and Los Angeles,[1] while others saw the nineteen-minute-shorter general release version that was in theatres from April 10, 1968 onwards.[121]
Positive
In The New Yorker, Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor … The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing."[130] Charles Champlin of the Los Angeles Times opined that it was "the picture that science fiction fans of every age and in every corner of the world have prayed (sometimes forlornly) that the industry might some day give them. It is an ultimate statement of the science fiction film, an awesome realization of the spatial future … it is a milestone, a landmark for a spacemark, in the art of film."[131] Louise Sweeney of The Christian Science Monitor felt that 2001 was "a brilliant intergalactic satire on modern technology. It's also a dazzling 160-minute tour on the Kubrick filmship through the universe out there beyond our earth."[132] Philip French wrote that the film was "perhaps the first multi-million-dollar supercolossal movie since D.W. Griffith's Intolerance fifty years ago which can be regarded as the work of one man … Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch."[133] The Boston Globe's review indicated that it was "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere … The film is as exciting as the discovery of a new dimension in life."[134] Roger Ebert gave the film four stars in his original review, believing the film "succeeds magnificently on a cosmic scale."[56] He later put it on his Top 10 list for Sight & Sound.[135] Time provided at least seven different mini-reviews of the film in various issues in 1968, each one slightly more positive than the preceding one; in the final review dated December 27, 1968, the magazine called 2001 "an epic film about the history and future of mankind, brilliantly directed by Stanley Kubrick. The special effects are mindblowing."[136] Director Martin Scorsese has also listed it as one of his favourite films of all time.[137]
Negative
Pauline Kael said it was "a monumentally unimaginative movie,"[138] and Stanley Kauffmann of The New Republic called it "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull."[139] Renata Adler of The New York Times wrote that it was "somewhere between hypnotic and immensely boring."[140] Variety's 'Robe' believed the film was a "Big, beautiful, but plodding sci-fi epic … A major achievement in cinematography and special effects, 2001 lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark."[141] Andrew Sarris called it "one of the grimmest films I have ever seen in my life … 2001 is a disaster because it is much too abstract to make its abstract points."[142] (Sarris reversed his opinion upon a second viewing of the film, and declared "2001 is indeed a major work by a major artist."[143]) John Simon felt it was "a regrettable failure, although not a total one. This film is fascinating when it concentrates on apes or machines … and dreadful when it deals with the in-betweens: humans … 2001, for all its lively visual and mechanical spectacle, is a kind of space-Spartacus and, more pretentious still, a shaggy God story."[144] Eminent historian Arthur M. Schlesinger, Jr. deemed the film "morally pretentious, intellectually obscure and inordinately long … a film out of control".[145] It has been noted that its slow pacing often alienates modern audiences more than it did upon its initial release.[146]
Science fiction writers
Science fiction writers had a range of reactions to the film. Ray Bradbury was hostile, stating that the audience does not care when Poole dies. He praised the film's beautiful photography but disliked the banality of most of the dialogue.[147] Both he and Lester del Rey were put off by the film's feeling of sterility and blandness in all the human encounters amidst all the technological wonders, while both praised the pictorial element of the movie. Del Rey was especially harsh, describing the film as dull, confusing, and boring, predicting "It will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years." However, the film was praised by science-fiction novelist Samuel R. Delany who was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany picked up on the banality of the dialogue (in Delany's phrasing the characters are saying nothing meaningful), but Delany regards this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.[148] Without analyzing the film in detail, Isaac Asimov spoke well of Space Odyssey in his autobiography, and other essays. The film won the Hugo Award for best dramatic presentation, an award heavily voted on by published science-fiction writers.[149]
Box-office[edit]
The film earned $8.5 million in theatrical gross rental from roadshow engagements throughout 1968,[124][150] contributing to North American rentals of $15 million during its original release.[151] Reissues have brought its cumulative exhibition gross to $56.9 million in North America,[152] and over $190 million worldwide.[151]
Influence[edit]
Influence on film[edit]
"Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned. On a technical level, it can be compared, but personally I think that '2001' is far superior."
—George Lucas, 1977[123]
The influence of 2001 on subsequent film-makers is considerable. Steven Spielberg, George Lucas and others, including many special effects technicians, discuss the impact the film has had on them in a featurette entitled Standing on the Shoulders of Kubrick: The Legacy of 2001 included in the 2007 DVD release of the film. Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", labeling Kubrick as "the filmmaker's filmmaker". Sydney Pollack refers to it as "groundbreaking", and William Friedkin states 2001 is "the grandfather of all such films". At the 2007 Venice film festival, director Ridley Scott stated he believed 2001 was the unbeatable film that in a sense killed the science fiction genre.[153] Similarly, film critic Michel Ciment in his essay "Odyssey of Stanley Kubrick" stated "Kubrick has conceived a film which in one stroke has made the whole science fiction cinema obsolete."[154] Others, however, credit 2001 with opening up a market for films such as Close Encounters of the Third Kind, Alien, Blade Runner, and Contact; proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.[155] Science magazine Discover's blogger Stephen Cass, discussing the considerable impact of the film on subsequent science-fiction, writes that "the balletic spacecraft scenes set to sweeping classical music, the tarantula-soft tones of HAL 9000, and the ultimate alien artifact, the Monolith, have all become enduring cultural icons in their own right."[156] Video game director Hideo Kojima has also cited 2001: A Space Odyssey as one of the chief influences for his Metal Gear series, with Solid Snake and Otacon inspired by Dave and Hal.[157]
Influence on media[edit]
One commentator has suggested that the image of the Star Child and Earth has contributed to the rise of the "whole earth" icon as a symbol of the unity of humanity. Writing in The Asia Pacific Journal Robert Jacobs traces the history of this icon from early cartoons and drawings of Earth to photographs of Earth from early space missions, to its historic appearance on the cover of The Whole Earth Catalog. Noting that images of the entire planet recur several times in A Space Odyssey, Jacobs writes
the most dramatic use of the icon was in the film's conclusion. In this scene … Bowman is reborn as the Star Child … depicted as a fetus floating in space in an amniotic sack [sic]. The Star Child turns to consider the Whole Earth floating in front of it, both glowing a bright blue-white. The two appear as newborn versions of Man and Earth, face-to-face, ready to be born into a future of unthinkable possibilities.[158]
Influence on technology and law[edit]
In August 2011, in response to Apple Inc.'s patent infringement lawsuit against Samsung, the latter argued that Apple's iPad was effectively modeled on the visual tablets that appear aboard spaceship Discovery in the Space Odyssey film, which legally constitute "prior art". Legally, prior art is information that has been disclosed to the public in any form about an invention before a given date that might be relevant to the patent's claim of originality.[159] Samsung appealed specifically to a clip appearing on YouTube arguing
Attached hereto as Exhibit D is a true and correct copy of a still image taken from Stanley Kubrick's 1968 film "2001: A Space Odyssey." In a clip from that film lasting about one minute, two astronauts are eating and at the same time using personal tablet computers. As with the design claimed by the D'889 Patent, the tablet disclosed in the clip has an overall rectangular shape with a dominant display screen, narrow borders, a predominately flat front surface, a flat back surface (which is evident because the tablets are lying flat on the table's surface), and a thin form factor.[160]
"Siri", Apple's natural language voice control system for the iPhone, features a reference to the film: it responds "I'm sorry I can't do that" when asked to "open the pod bay doors".[161]
Inspired by Clarke's visual tablet device, in 1994 a European Commission-funded R&D project code named "NewsPAD" developed and pilot tested a portable 'multimedia viewer' aiming for the realisation of an electronic multimedia 'newspaper' pointing the way to a future fully interactive and highly personalised information source. Involved partners were Acorn RISC Technologies UK, Archimedes GR, Carat FR, Ediciones Primera Plana ES, Instut Catala de Tecnologia ES, and TechMAPP UK.[162]
Awards and honors[edit]
Academy Awards[edit]
2001 earned Stanley Kubrick an Academy Award for Best Visual Effects and various Oscar nominations. Anthony Masters was nominated for Best Art Direction; there were also nominations for Best Director (Kubrick), and Original Screenplay (Kubrick, Clarke). An honorary award was made to John Chambers in that year for his make-up work on Planet of the Apes, and Clarke reports that he "wondered, as loudly as possible, whether the judges had passed over 2001 because they thought we had used real ape-men …"[163]
Other awards[edit]
WonBAFTA Awards:[164] 1.Best Art Direction (Anthony Masters, Harry Lange and Ernest Archer)
2.Best Cinematography (Geoffrey Unsworth)
3.Best Road Show
4.Best Sound Track (Winston Ryder)
Cinema Writers Circle, Spain:[165] 1.Best Foreign Film
David di Donatello Awards, Italy:[166] 1.Best Foreign Production (Stanley Kubrick)
Hugo Awards:[149] 1.Best Dramatic Presentation
Kansas City Film Critics:[167] 1.Best Director (Stanley Kubrick)
2.Best Picture
Laurel Awards:[168] 1.Best Road Show
National Board of Review 1.Listed among the year's Top Ten Films[169]
NominatedBAFTA Awards:[164] 1.Best Film (Stanley Kubrick)
2.UN Award (Stanley Kubrick)
Directors Guild of America (DGA):[170] 1.Outstanding Directorial Achievement in Motion Pictures (Stanley Kubrick)
Laurel Awards:[168] 1.Best Director
Moscow International Film Festival 1.Golden Prize (Stanley Kubrick)[171]
Top film lists[edit]
2001 was No. 15 on AFI's 2007 100 Years... 100 Movies, was named No. 40 on its 100 Years, 100 Thrills, was included on its 100 Years, 100 Quotes ("Open the pod bay doors, Hal."), and Hal 9000 is the No. 13 villain in the AFI's 100 Years... 100 Heroes and Villains.[172] 2001 is the only science fiction film to make the Sight & Sound poll for ten best movies, and tops the Online Film Critics Society list of "greatest science fiction films of all time."[173] In 1991, this film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[174] Other lists that include the film are 50 Films to See Before You Die (#6), The Village Voice 100 Best Films of the 20th century (#11), the Sight & Sound Top Ten poll (#6),[175] and Roger Ebert's Top Ten (1968) (#2). In 1995, the Vatican named it as one of the 45 best films ever made (and included it in a sub-list of the "Top Ten Art Movies" of all time.)[176]
In 2011, the film was the third most screened film in secondary schools in the United Kingdom.[177]
Interpretation[edit]
Main article: Interpretations of 2001: A Space Odyssey
Since its premiere, 2001: A Space Odyssey has been analyzed and interpreted by professional movie critics, amateur writers and science fiction fans, virtually all of whom have noted its deliberate ambiguity. Questions about 2001 range from uncertainty about its deeper philosophical implications about humanity's origins and final destiny in the universe,[178] to interpreting elements of the film's more enigmatic scenes such as the meaning of the monolith, or the final fate of astronaut David Bowman. There are also simpler and more mundane questions about what drives the plot, in particular the causes of Hal's breakdown[179] (explained in earlier drafts but kept mysterious in the film).
Stanley Kubrick encouraged people to explore their own interpretations of the film, and refused to offer an explanation of "what really happened" in the movie, preferring instead to let audiences embrace their own ideas and theories. In a 1968 interview with Playboy magazine, Kubrick stated:
You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.[38]
In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious." However, he said he did not deliberately strive for ambiguity- it was simply an inevitable outcome of making the film nonverbal, though he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the metaphysical interpretation of the film which he felt should be left up to the individual viewer.[180]
For some readers, Arthur C. Clarke's more straightforward novelization of the script is key to interpreting the film. Clarke's novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy. These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston noted in 1971 that because the novel differs in many key respects from the film, it perhaps should not be regarded as the skeleton key to unlock it.[181]
Multiple allegorical interpretations of 2001 have been proposed, including seeing it as a commentary on Friedrich Nietzsche's philosophical tract Thus Spoke Zarathustra, or as an allegory of human conception, birth and death.[182] This latter can be seen through the final moments of the film, which are defined by the image of the "star child," an in utero fetus that draws on the work of Lennart Nilsson.[183] The star child signifies a "great new beginning,"[183] and is depicted naked and ungirded, but with its eyes wide open.[184] Leonard F. Wheat sees Space Odyssey as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine.
The reasons for Hal's malfunction and subsequent malignant behavior have also elicited much discussion. He has been compared to Frankenstein's monster. In Clarke's novel, Hal malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, despite being constructed for "the accurate processing of information without distortion or concealment". Film critic Roger Ebert has noted that Hal as the supposedly perfect computer, actually behaves in the most human fashion of all of the characters.[185]
Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism."[186] Carolyn Geduld believes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.[187] Vincent LoBrutto's biography of Kubrick notes that for many, Clarke's novel is the key to understanding the monolith.[188] Similarly, Geduld observes that "the monolith … has a very simple explanation in Clarke's novel," though she later asserts that even the novel doesn't fully explain the ending.
McClay's Rolling Stone review notes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes (thus 'beginning' mankind) and the completion of "another evolution" in the fourth and final encounter[189] with the monolith. In a similar vein, Tim Dirks ends his synopsis saying "The cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete."[190]
The first and second encounters of humanity with the monolith have visual elements in common; both apes, and later astronauts, touch the monolith gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over the monolith (the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position), both echoing the Sun-Earth-Moon alignment seen at the very beginning of the film.[191] The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans,[192] echoing the premise of Clarke's source story "The Sentinel".
The monolith is the subject of the film's final line of dialogue (spoken at the end of the "Jupiter Mission" segment): "Its origin and purpose still a total mystery." Reviewers McClay and Roger Ebert have noted that the monolith is the main element of mystery in the film, Ebert writing of "The shock of the monolith's straight edges and square corners among the weathered rocks," and describing the apes warily circling it as prefiguring man reaching "for the stars."[193] Patrick Webster suggests the final line relates to how the film should be approached as a whole, noting "The line appends not merely to the discovery of the monolith on the Moon, but to our understanding of the film in the light of the ultimate questions it raises about the mystery of the universe."[194]
The film conveys what some viewers have described as a sense of the sublime and numinous. Roger Ebert notes:
North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for 2001 because, like all scores, it attempts to underline the action—to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.[195]
In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterized by a need to encounter something totally other than ourselves — "something numinous" — and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.[196] Similarly, an article in The Greenwood Encyclopedia of Science Fiction and Fantasy, titled "Sense of Wonder," describes how 2001 creates a "numinous sense of wonder" by portraying a universe that inspires a sense of awe, which at the same time we feel we can understand.[197] Christopher Palmer has noted that there exists in the film a coexistence of "the sublime and the banal," as the film implies that to get into space, mankind had to suspend the "sense of wonder" that motivated him to explore space to begin with.[198]
Sequels and adaptations[edit]
Kubrick did not envision a sequel to 2001. Fearing the later exploitation and recycling of his material in other productions (as was done with the props from MGM's Forbidden Planet), he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed. Most of these materials were lost, with some exceptions: a 2001 spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO,[1][50][199][200][201] and one of Hal's eyepieces is in the possession of the author of Hal's Legacy, David G. Stork. In 2012 Lockheed engineer Adam Johnson, working with Frederick I. Ordway III, science adviser to Stanley Kubrick, wrote the book "2001: The Lost Science" which for the first time featured many of the blueprints of the spacecraft and movie sets that had previously been thought destroyed.
Clarke went on to write three sequel novels: 2010: Odyssey Two (1982), 2061: Odyssey Three (1987), and 3001: The Final Odyssey (1997). The only filmed sequel, 2010, was based on Clarke's 1982 novel and was released in 1984. Kubrick was not involved in the production of this film, which was directed by Peter Hyams in a more conventional style with more dialogue. Clarke saw it as a fitting adaptation of his novel,[202] and had a brief cameo appearance in the film. As Kubrick had ordered all models and blueprints from 2001 destroyed, Hyams was forced to recreate these models from scratch for 2010. Hyams also claimed that he would not make the film had he not received both Kubrick's and Clarke's blessings:
I had a long conversation with Stanley and told him what was going on. If it met with his approval, I would do the film; and if it didn't, I wouldn't. I certainly would not have thought of doing the film if I had not gotten the blessing of Kubrick. He's one of my idols; simply one of the greatest talents that's ever walked the Earth. He more or less said, "Sure. Go do it. I don't care." And another time he said, "Don't be afraid. Just go do your own movie."[203]
The other two novels have not been adapted for the screen, although actor Tom Hanks has expressed interest in possible adaptations of 2061 and 3001.[204]
In 2012, two screenplay adaptations of both 2061 and 3001 were both posted on the 2001:Exhibit website, in the hopes of generating interest in both MGM and Warner Brothers to adapt the last two novels into films.[205]
Beginning in 1976, Marvel Comics published both a comic adaptation of the film written and drawn by Jack Kirby, and a Kirby-created 10-issue monthly series expanding on the ideas of the film and novel.
Hoaxes and conspiracy theory[edit]
In 2002, the French film maker William Karel (after initially planning a straight documentary on Stanley Kubrick) directed a mockumentary about the supposed Stanley Kubrick involvement in faking the NASA Apollo Lunar landing titled Dark Side of the Moon. He had the cooperation of Kubrick's surviving family and some NASA personnel (all of whom appear using scripted lines) and used recycled footage of members of the Nixon administration taken out of context. The film purported to demonstrate that the NASA Lunar landings had been faked and that the footage had been directed by Stanley Kubrick during the production of 2001: A Space Odyssey. In discussing the film, director Karel said
Navigating carefully between lies and truth, the film mixes fact with pure invention. We will use every possible ingredient: 'hijacked' archive footage, false documents, real interviews which have been taken out of context or transformed through voice-over or dubbing, staged interviews by actors who reply from a script …
This is not an 'ordinary' documentary. Its intent is to inform and entertain the viewer, but also to shake him up, make him aware of the fact that television can get it wrong (intentionally or not). We want to achieve this aim by using a universally known event (the landing on the Moon) that is surrounded by question marks (which is a fact) and spin some tale around it, that sounds plausible but isn't a fact (although there are elements in it that are real!).[206]
When the film was shown to a group of undergraduate sociology students taking a course on conspiracy theories, many of them mistakenly believed that this was an earnest and serious film.[207] Furthermore, Lunar landing hoax advocate Wayne Green cited the film as evidence for his views apparently believing the excerpts of interviews with Henry Kissinger, Alexander Haig, et cetera (taken out of context in the film) were really talking about a Lunar landing hoax.[208] Nonetheless, the second half of the film contains several give-aways that the entire film is a hoax, including a film producer named "Jack Torrance" (the name of Jack Nicholson's character in Kubrick's The Shining), an aging NASA astronaut named "David Bowman" (the astronaut in 2001) and increasing use of footage that does not match or support the narration. Australian broadcaster SBS television aired the film on April 1 as an April fools' joke, and again on November 17, 2008, as part of Kubrick week.
A 1995 article promoting a similar hoax about Kubrick faking the Apollo landing also deceived many readers (in the sense of their believing the author was a bona fide conspiracy theorist). The article was posted originally on the Usenet humor news group 'alt.humor.best-of-usenet', but later reproduced in other venues not devoted to humor. The original article (with correct attribution) can be read at "www.clavius.org", a website devoted to debunking moon landing hoax theories.[209] Websites which have reproduced it as an earnest advocacy effort include the website of the flat earth society.[210] Conspiracy theorist Clyde Lewis lifted several passages from the mock article verbatim (without attribution) in support of his moonlanding hoax theories.[211] Lewis and the flat earth society seem to ignore closing passages of the article stating the final Apollo scenes were actually filmed in the Sea of Tranquillity to which Kubrick did not go personally due to his chronic fear of flying, passages meant to give away that the article is a tongue-in-cheek mock hoax.
An seemingly sincere effort to prove that Kubrick faked the Moon landing is made by Jay Weidner. The occultist and conspiracy theorist Weidner made an documentary film entitled Kubrick's Odyssey: Secrets Hidden in the Films of Stanley Kubrick; Part One: Kubrick and Apollo, making the same claim that Morel's "mockumentary" did in jest. The film was self-released in 2011 on DVD by Weidner's company "Sacred Mysteries". Weidner claims that film-experts told him that Kubrick used the same front-projection sequences used in the Dawn of Man sequence and the Lunar landing sequence in Space Odyssey to simulate the Apollo landing and the NASA footage of the astronauts on the surface of the Moon. Weidner also claims Kubrick's film The Shining contains coded messages about Kubrick's involvement in faking the Lunar landing. The science magazine Discovery reviewed an earlier article by Weidner upon which the film was based as "bunk" but "oddly compelling" and "strangely fascinating".[212] Jay Weidner presented the theory again in his segment of the 2012 documentary Room 237 about the Kubrick film The Shining.
Parodies and homages[edit]
2001 has been the frequent subject of both parody and homage, sometimes extensively and other times briefly, employing both its distinctive music and iconic imagery.
In advertising and print[edit]
Thought to be the first time Kubrick gave permission for his work to be re-used, Apple Inc.'s 1999 website advertisement "It was a bug, Dave" was made using footage from the film. Launched during the era of concerns over Y2K bugs, the ad implied that Hal's weird behavior was caused by a Y2K bug, before driving home the point that "only Macintosh was designed to function perfectly".[213]
Mad magazine #125 (March 1969) featured a spoof called 201 Minutes of a Space Idiocy written by Dick DeBartolo and illustrated by Mort Drucker.[214] In the final panels it is revealed that the monolith is a movie script titled "How to Make an Incomprehensible Science Fiction Movie" by Stanley Kubrick." It was reprinted in various special issues, in the MAD About the Sixties book, and partially in the book "The Making of Kubrick's 2001".[215]
In film and television[edit]
Mel Brooks' satirical film History of the World, Part I opens with a parody of Kubrick's "Dawn of Man" sequence, narrated by Orson Welles. DVDVerdict describes this parody as "spot on".[216] (Ironically, Brooks had earlier defeated 2001: A Space Odyssey in competition for the Best Screenplay Oscar.) A similar spoof of the "Dawn of Man" sequence also opened Ken Shapiro's 1974 comedy The Groove Tube in which the monolith was replaced by a television set. (The film is mostly a parody of television. Film and Filming[217] held that after this wonderful opening, the film slid downhill.)
Woody Allen cast actor Douglas Rain (Hal in Kubrick's film) in an uncredited part as the voice of the controlling computer in the closing sequences of his science-fiction comedy Sleeper.[218]
Kubrick was both a great fan of The Simpsons[219] and in friendly contact with the show's producers, according to his stepdaughter Katharina. Analysts of the show argue that The Simpsons contains more references to many films of Stanley Kubrick than any other pop culture phenomenon.[220][221] Gary Westfahl has noted that while references to "fantastic fiction" in The Simpsons are copious, "there are two masters of the genre whose impact on The Simpsons supersedes that of all others: Stanley Kubrick and Edgar Allan Poe."[222] John Alberti has referred to "the show's almost obsessive references to the films of Stanley Kubrick."[223] Simpson's creator Matt Groening is also the creator of Futurama which also has copious references to various Kubrick films.
Of the many references to Kubrick in Groening's work, perhaps the most notable Space Odyssey reference in The Simpsons is in the episode "Deep Space Homer" in which Bart throws a felt-tip marker into the air; in slow motion it rotates, before a match cut replaces it with a cylindrical satellite. In 2004 Empire magazine listed this as the third best film parody of the entire run of the show.[224] In the Futurama episode "Love and Rocket" a sentient spaceship revolts in a manner similar to Hal. Total Film listed this as number 17 in its list of 20 Funniest Futurama parodies, while noting that Futurama has referenced Space Odyssey on several other occasions.[225]
In the 2000 South Park episode "Trapper Keeper", an interaction between Eric Cartman and Kyle Broflovski parodies the conversation between Hal and Bowman within the inner core.
Peter Sellers starred in Hal Ashby's comedy-drama Being There about a simple-minded middle-aged gardener who has lived his entire life in the townhouse of his wealthy employer. In the scene where he first leaves the house and ventures into the wide world for the first time, the soundtrack plays a jazzy version of Strauss' Thus Spake Zarathustra arranged by Eumir Deodato. Film critic James A. Davidson writing for the film journal Images suggests "When Chance emerges from his home into the world, Ashby suggests his child-like nature by using Richard Strauss' Thus Spake Zarathustra as ironic background music, linking his hero with Kubrick's star baby in his masterpiece 2001: A Space Odyssey."[226]
Tim Burton's Charlie and the Chocolate Factory has a scene (using actual footage from A Space Odyssey) in which the monolith morphs into a chocolate bar.[227] Catholic News noted that the film "had subtle and obvious riffs on everything from the saccharine Disney "Small World" exhibit to Munchkinland to, most brilliantly, a hilarious takeoff on Kubrick's 2001: A Space Odyssey."[228]
Andrew Stanton, the director of WALL-E, revealed in an interview with Wired magazine that his film was in many ways his homage to Space Odyssey, Alien, Blade Runner, Close Encounters and several other science-fiction films.[229] The reviewer for USA Today noted the resemblance of the spaceship's computer, Auto, to Hal.[230] The same year saw the release of the much less successful film Eagle Eye, about which The Charlotte Observer noted that, like 2001, it featured a "red-eyed, calm-voiced supercomputer that took human life to protect what it felt were higher objectives"[231]
Commenting on the broader use of Ligeti's music beyond that by Kubrick, London Magazine in 2006 noted Monty Python's use of Ligeti in a 60-second spoof of Space Odyssey in the Flying Circus episode commonly labeled "A Book at Bedtime".[232]
The poorly reviewed Canadian spoof 2001: A Space Travesty has been occasionally alluded to as a full parody of Kubrick's film,[233] both because of its title and star Leslie Nielsen's many previous films which were full parodies of other films.[234] However, Space Travesty only makes occasional references to Kubrick's material, its "celebrities are really aliens" jokes resembling those in Men in Black.[235] Canadian reviewer Jim Slotek noted "It's not really a spoof of 2001, or anything in particular. There's a brief homage at the start, and one scene in a shuttle en route to the Moon that uses The Blue Danube … The rest is a patched together plot."[236] Among many complaints about the film, reviewer Berge Garabedian derided the lack of much substantive connection to the Kubrick film (the latter of which he said was "funnier").[237]
Among spoof references to several science-fiction films and shows,[238] Airplane II features a computer called ROK 9000 in control of a Moon shuttle which malfunctions and kills crew members, which several reviewers found reminiscent of Hal.[239][240][241]
In the 1996 film Mystery Science Theater 3000: The Movie, in the opening scene Mike Nelson jogs while Gypsy (Mystery Science Theater 3000) looks on is parodying a scene in "2001: A Space Odyssey." At the beginning of the film's 3rd segment, "Jupiter Mission", panning across the spaceship Discovery cut inside to astronaut Frank Poole jogging around and around a circular section of the ship (because of the centrifugal force in that part of the ship, Frank can jog through 360 degrees without falling). While exercising, the ship's computer, HAL 9000, watches intently through one of his visual sensors. The close-up shot of Gypsy's eye, with Mike reflected in it, matches the shot of HAL almost exactly.
In software and video games[edit]
2001: A Space Odyssey has also been referenced in multiple video games, usually with reference to either the monolith or Hal. In SimEarth, monoliths are used to encourage the evolution of species.[242]
In Metal Gear Solid, the character Hal Emmerich was named by his father after HAL 9000.[243][244]
See also[edit]
List of films about outer space
List of films considered the best
List of films featuring space stations
List of spacecraft from the Space Odyssey series
NASA Advanced Space Transportation Program
Toynbee tiles, mysterious notices in U.S. cities mentioning "Kubrick's 2001"
Notes[edit]
1.Jump up ^ The character is referred to as "Moon-Watcher" by Arthur C. Clarke in the novel, but never by any name in the film itself – he derives his name from him curiously looking at the Moon during one scene.[15]
References[edit]
Agel, Jerome (1970). The Making of Kubrick's 2001. Signet. ISBN 0-451-07139-5.
Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN 1-85410-706-2.
Castle, Alison (ed.), ed. (2005). "Part 2: The Creative Process / 2001: A Space Odyssey". The Stanley Kubrick Archives. New York: Taschen. ISBN 3-8228-2284-1.
Ciment, Michel (1980, 1999). Kubrick. New York: Faber and Faber. ISBN 0-571-21108-9.
Clarke, Arthur C. (1972). The Lost Worlds of 2001. London: Sidgwick and Jackson. ISBN 0-283-97903-8.
Emme, Eugene M., ed. (1982). Science fiction and space futures – past and present. AAS History Series, Volume 5. San Diego: Univelt. ISBN 0-87703-172-X.
Fiell, Charlotte (2005). 1,000 Chairs (Taschen 25). Taschen. ISBN 978-3-8228-4103-7.
Gelmis, Joseph (1970). The Film Director As Superstar. New York: Doubleday & Company.
Hughes, David (2000). The Complete Kubrick. London: Virgin Publishing Ltd. ISBN 0-7535-0452-9.
Johnson, Adam (2012). 2001 The Lost Science. Burlington Canada: Apogee Prime. ISBN 978-1-926837-19-2.
Kolker, Robert, ed. (2006). Stanley Kubrick's 2001: A Space Odyssey: New Essays. Oxford & New York: Oxford University Press. ISBN 0-19-517453-4.
Pina, Leslie A. (2002). Herman Miller Office. Pennsylvania, USA: Schiffer Publishing. ISBN 978-0-7643-1650-0.
Richter, Daniel (2002). Moonwatcher's Memoir: A Diary of 2001: A Space Odyssey. foreword by Arthur C. Clarke. New York: Carroll & Graf Publishers. ISBN 0-7867-1073-X.
Schwam, Stephanie, ed. (2000). The Making of 2001: A Space Odyssey. introduction by Jay Cocks. New York: Modern Library. ISBN 0-375-75528-4.
Shuldiner, Herbert (1968) How They Filmed '2001: A Space Odyssey', Bonnier Corporation: Popular Science, June 1968, pp. 62–67, Vol. 192, No. 6, ISSN 0161-7370
Walker, Alexander (2000). Stanley Kubrick, Director. New York: W.W. Norton and Company. ISBN 0-393-32119-3.
Wheat, Leonard F. (2000). Kubrick's 2001: A Triple Allegory. Lanham, MD: Scarecrow Press. ISBN 0-8108-3796-X.
Citations[edit]
1.^ Jump up to: a b c d Agel 1970, p. 169.
2.Jump up ^ Hirsch, Foster (1972). The Hollywood epic. Barnes. p. 13. ISBN 978-0-498-01747-6.
3.Jump up ^ Homer in the Twentieth Century. Oxford University Press. 1972. p. iii. ISBN 978-0-19-161546-7.
4.Jump up ^ Dickinson, Kay (2008). Off key: when film and music won't work together. Oxford University Press. p. 87. ISBN 978-0-19-532663-5.
5.Jump up ^ 2001: A Space Odyssey (film by Kubrick [1968]) - Britannica Online Encyclopedia
6.Jump up ^ Adler, Renata. "2001: A Space Odyssey (1968)". The New York Times. Retrieved September 19, 2011.. See also "2001: A Space Odyssey (1968)". AllRovi. Rovi Corporation. Retrieved September 19, 2011.See also "2001: A Space Odyssey – 40th Anniversary". AFI Silver. American Film Institute. 2008. Retrieved September 19, 2011.
7.Jump up ^ (French) "1968 : La révolution Kubrick". Cinezik web site (French film magazine on music in film). Archived from the original on October 23, 2009. Retrieved September 29, 2009.
8.Jump up ^ Donald MacGregor. "2001; or, How One Film-Reviews With a Hammer". Visual-Memory. Retrieved September 29, 2009.
9.^ Jump up to: a b "What did Kubrick have to say about what 2001 "means"?". Krusch.com. Archived from the original on September 27, 2010. Retrieved August 22, 2010.
10.Jump up ^ "Sight and Sound: Top Ten Poll 2002". British Film Institute web site. Archived from the original on December 16, 2006. Retrieved December 15, 2006.
11.Jump up ^ "Vertigo is named 'greatest film of all time'". BBC News. August 2, 2012. Retrieved August 24, 2012.
12.Jump up ^ "The Moving Arts Film Journal | TMA's 100 Greatest Films of All Time | web site". Archived from the original on January 6, 2011. Retrieved February 3, 2011.
13.Jump up ^ "National Film Registry". National Film Registry (National Film Preservation Board, Library of Congress). Retrieved November 26, 2011.
14.Jump up ^ "Dictionary of terms used in film editing". allmovietalk.com. Retrieved March 30, 2010.
15.Jump up ^ 2001: A Space Odyssey by Arthur C. Clarke (Google Books)
16.Jump up ^ Giulio Angioni, Fare, dire, sentire: l'identico e il diverso nelle culture (2011), p. 37 and Un film del cuore, in Il dito alzato (2012), pp. 121–136
17.Jump up ^ Commentators on the film generally assume this is a gap of millions, not thousands, of years. See Webster, Patrick (2010). Love and Death in Kubrick. 0786459166, 9780786459162: McFarland. p. 47. and Nelson, Thomas Allen (2000). Kubrick, Inside a Film Artist's Maze. Indiana University Press. p. 107. ISBN 978-0-253-21390-7.
The novel gives the age of the Lunar monolith as three million years (Chapter 11, Anomaly) while the film dialogue and an early draft of the screenplay gives it as four million
18.Jump up ^ Kubrick, in a 1970 interview with Joseph Gelmis, refers to this as a "Star-Gate" (Gelmis 1970, p. 304).
19.Jump up ^ Kubrick, in a 1970 interview with Joseph Gelmis, refers to this as a "Star-Child" (Gelmis 1970, p. 304).
20.^ Jump up to: a b Richter 2002,[page needed]
21.Jump up ^ "The Underview on 2001: A Space Odyssey - Cast and Crew". Retrieved September 30, 2013.
22.Jump up ^ Agel 1970, p. 11.
23.Jump up ^ Clarke, Arthur C. (1972). The Lost Worlds of 2001. London: Sidgwick and Jackson. p. 17. ISBN 0-283-97903-8.
24.Jump up ^ LoBrutto, Vincent (1997, 1998). Stanley Kubrick. London: Faber and Faber. pp. 156–257. ISBN 0-571-19393-5.
25.^ Jump up to: a b Clarke 1972, p. 29.
26.Jump up ^ Clarke 1972, pp. 32–35.
27.Jump up ^ Agel 1970, p. 61.
28.Jump up ^ Clarke, Arthur C. (2001). Collected Stories of Arthur C. Clarke. Macmillan. p. 460. ISBN 978-0-312-87821-4.
29.Jump up ^ Hughes 2000, p. 135
30.Jump up ^ Clarke 1972, p. 32
31.Jump up ^ Agel 1970, p. 25
32.Jump up ^ Agel 1970, pp. 24–25.
33.^ Jump up to: a b c Gelmis 1970, p. 308.
34.^ Jump up to: a b c Clarke 1972, pp. 31–38.
35.Jump up ^ Gelmis 1970, p. 302.
36.Jump up ^ Stanley Kubrick on the deliberate ambiguity of message in 2001: A Space Odyssey
37.Jump up ^ Sagan, Carl (2000). "25". Carl Sagan's cosmic connection: an extraterrestrial perspective (2 ed.). Cambridge University Press. p. 183. ISBN 0-521-78303-8. Retrieved January 27, 2012.
38.^ Jump up to: a b "Stanley Kubrick: Playboy Interview". Playboy Magazine (September). 1968. Archived from the original on September 25, 2010. Retrieved September 2, 2010.
39.^ Jump up to: a b Agel 1970,[page needed].
40.Jump up ^ Jason Sperb's study of Kubrick The Kubrick Facade analyzes Kubrick's use of narration in detail. John Baxter's biography of Kubrick also notes how he frequently favored voice-over narration. Only 3 of Kubrick's 13 films lack narration- Space Odyssey, The Shining, and Eyes Wide Shut
41.^ Jump up to: a b "The Kubrick Site: Fred Ordway on "2001"". Visual-memory.co.uk. Retrieved August 22, 2010.
42.Jump up ^ Clarke 1972,[page needed].
43.^ Jump up to: a b Clarke, Arthur (1968). 2001: A Space Odyssey. UK: New American Library. ISBN 0-453-00269-2.
44.Jump up ^ See Arthur C. Clarke's forward to 2010: Odyssey Two
45.Jump up ^ Agel 1970, p. 328–329.
46.Jump up ^ Stanley Kubrick: A Biography by Vincent LoBrutto p. 310.
47.Jump up ^ J. Gelmis. "An Interview with Stanley Kubrick (1969)". Retrieved August 31, 2010.
48.Jump up ^ See Alexander Walker's book Stanley Kubrick, Director p. 181–182. This is the 2000 edition. The 1971 edition is titled "Stanley Kubrick Directs"
49.Jump up ^ Walker 2000, p. 192.
50.^ Jump up to: a b Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN 1-85410-706-2.
51.Jump up ^ Walker 2000, pp. 181–182.
52.Jump up ^ The Kubrick Site: Slavoj Zizek on Eyes Wide Shut
53.Jump up ^ Michael Lennick (January 7, 2001). 2001 and Beyond (television). Canada: Discovery Channel Canada. [dead link]
54.Jump up ^ "See Ebert's review at". Rogerebert.suntimes.com. Retrieved August 22, 2010.
55.Jump up ^ See Walker, Alexander. Stanley Kubrick Directs. New York: Harcourt Brace Jovanovich, 1971 p. 251
56.^ Jump up to: a b "Roger Ebert, Reviews: 2001: A Space Odyssey, 1968. Retrieved from". Rogerebert.suntimes.com. Retrieved August 22, 2010.
57.Jump up ^ "Road to the Stars". Candle Light Stories.com. Retrieved November 24, 2011.
58.Jump up ^ "Road to the Stars – 1957 Soviet Space Vision with Stunning Special Effects". Candlelight Stories. January 19, 2011. Retrieved November 24, 2011.
59.Jump up ^ "Klushantsev: Russia's Wizard of Fantastika". American cinematographer (ASC Holding Corp) 75. 1994.
60.Jump up ^ Schwam 2000, p. 58.
61.^ Jump up to: a b Gedult, Carolyn. The Production: A Calendar. Reproduced in: Castle, Alison (Editor). The Stanley Kubrick Archives, Taschen, 2005. ISBN 3-8228-2284-1
62.Jump up ^ Schwam 2000, p. 5
63.Jump up ^ Lightman, Herb A. Filming 2001: A Space Odyssey. American Cinematographer, June 1968. Excerpted in: Castle, Alison (Editor). The Stanley Kubrick Archives, Taschen, 2005. ISBN 3-8228-2284-1
64.Jump up ^ Clarke 1972, p. 51.
65.Jump up ^ Richter 2002, p. 135.
66.Jump up ^ Schwam 2001, p. 117.
67.Jump up ^ Kimble, Greg. "THIS IS CINERAMA!". In70mm.com.
68.Jump up ^ Bizony 2001, p. 159.
69.Jump up ^ Examples of the Action Office desk and "Propst Perch" chair appearing in the film can be seen in "Herman Miller Office" (2002) by Leslie Pina on p. 66–71
70.Jump up ^ David Franz, "The Moral Life of Cubicles," The New Atlantis, Number 19, Winter 2008, pp. 132–139
71.Jump up ^ Cubicles had earlier appeared in Jacques Tati's Playtime in 1967
72.Jump up ^ "2001: A Flatware Odyssey". io9. January 15, 2008. Retrieved February 25, 2011.
73.Jump up ^ Bradley Friedman (February 27, 2008). "2001: A Space Odyssey – Modern Chairs & Products by Arne Jacobsen Bows at Gibraltar Furniture". Free-Press-Release.com. Retrieved February 25, 2011.
74.Jump up ^ "2001: A Space Odyssey-Products by Arne Jacobsen". Designosophy. 04/Oct/2007). Retrieved February 25, 2011.
75.^ Jump up to: a b c d Phil Patton (February 19, 1998). "Public Eye; 30 Years After '2001': A Furniture Odyssey". New York Times. Retrieved February 26, 2011.
76.Jump up ^ Fiell, Charlotte and Peter (2005). 1000 Chairs (Taschen 25). Taschen. ISBN 3-8228-4103-X.
77.Jump up ^ "Olivier Mourgue, Designer: (born 1939 in Paris, France)". Olivier Mourgue. Retrieved February 25, 2011.
78.Jump up ^ Article by Walker in Schwam Making of 2001:A Space Odyssey
79.Jump up ^ At least some of the space station is occupied by Hilton hotel. The conversation with the Russian scientists takes place near their front desk.
80.Jump up ^ Walker, Stanley Kubrick Directs, p. 224.
81.Jump up ^ Between the two lines large red letters reading at top "CAUTION" and at bottom "EXPLOSIVE BOLTS" are smaller black lines reading "MAINTENANCE AND REPLACEMENT INSTRUCTIONS" followed by even smaller lines of four instructions beginning "(1) SELF TEST EXPLOSIVE BOLTS PER INST 14 PARA 3 SEC 5D AFTER EACH EVA", et cetera. The instructions are generally legible on Blu-ray editions but not DVD editions of the film.
82.Jump up ^ Dave Addey (2014-02-11). "2001: A Space Odyssey: Typeset in the Future". Retrieved 2014-02-23.
83.Jump up ^ Bizony 2001, p. 133.
84.^ Jump up to: a b Herb A. Lightman. "Front Projection for "2001: A Space Odyssey"". American Cinematographer. Retrieved September 20, 2012.
85.Jump up ^ Bizony 2001, pp. 113–117.
86.Jump up ^ George D. DeMet, The Special Effects of "2001: A Space Odyssey", DFX, July 1999
87.Jump up ^ Bizony 2001, pp. 138–144.
88.Jump up ^ Bizony 2001, p. 144.
89.Jump up ^ Agel 1970, pp. 129–135.
90.Jump up ^ Jan Harlan, Stanley Kubrick (October 2007). 2001:A Space Odyssey (DVD) (DVD). Warner Bros.
91.Jump up ^ Agel 1970, pp. 143–146.
92.Jump up ^ Agel 1970, p. 150.
93.Jump up ^ Douglas Trumbull (June 1968). "Creating Special Effects for 2001". American Cinematographer 49 (6): 412–413, 420–422, 416–419, 441–447, 451–454, 459–461.
94.Jump up ^ "2001's Pre- and Post-Premiere Edits by Thomas E Brown". Retrieved January 27, 2012. Kubrick and editor Ray Lovejoy edited the film between April 5 and April 9, 1968. Detailed instructions were sent to theatre owners already showing the film so that they could execute the specified trims themselves. This meant that some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.
95.Jump up ^ Freeman Dyson, Disturbing the Universe, 1979, pg 189–191, ISBN 0-330-26324-2
96.^ Jump up to: a b "2001's Pre- and Post-Premiere Edits by Thomas E Brown". Retrieved January 27, 2012.
97.Jump up ^ Agel 1970, p. 27.
98.Jump up ^ "2001's Pre- and Post-Premiere Edits by Thomas E Brown". Retrieved January 27, 2012. Unlike most articles on "The Kubrick Site" no author biography or earlier publication information is given.
99.Jump up ^ Les Paul Robley (February 1, 2008). "2001: A Space Odyssey (Blu-Ray review)". Audio-Video Revolution. Retrieved January 7, 2011.
100.Jump up ^ "2001: A Space Odyssey (Remastered)". Retrieved January 7, 2011.
101.Jump up ^ DVDTalk.com – news, reviews, bargains, and discussion forum. "Kubrick Questions Finally Answered – An In Depth Talk with Leon Vitali". Dvdtalk.com. Archived from the original on August 1, 2010. Retrieved August 22, 2010.
102.Jump up ^ Peter Sciretta. "Warner Bros Responds: 17 Minutes of "Lost" '2001: A Space Odyssey' Footage Found?". slashfilm.com. Retrieved January 4, 2011.
103.^ Jump up to: a b Agel 1970, p. 170.
104.Jump up ^ Sneider, Jeff (December 16, 2010). "WB Uncovers Lost Footage From Kubrick's '2001: A Space Odyssey'". Retrieved December 20, 2010.
105.Jump up ^ by Larry KlaesMonday, March 30, 2009 (March 30, 2009). "Silent Running, running deeper". The Space Review. Archived from the original on August 19, 2010. Retrieved August 22, 2010.
106.Jump up ^ "New Titles – The Stanley Kubrick Archives – Facts". Archived from the original on January 1, 2007. Retrieved February 5, 2007.
107.Jump up ^ Time Warp – CD Booklet – Telarc Release# CD-80106
108.Jump up ^ LoBrutto, Vincent (1998). Stanley Kubrick. London: Faber and Faber. p. 308. ISBN 0-571-19393-5.
109.Jump up ^ Cinefantastique, Volume 24, Issues 6-26 p. 41
110.Jump up ^ (Usually translated as "Thus Spake Zarathustra" or occasionally "Thus Spoke Zarathustra" - The book by Nietzsche has been translated both ways and the title of Strauss's music is usually rendered in the original German whenever not discussed in the context of 2001. Although Britannica Online's entry lists the piece as spoke Zarathustra, music encyclopedias usually go with 'spake'. Overall, 'spake' is more common mentioning the Strauss music and 'spoke' more common mentioning the book by Nietzsche. - the soundtrack album gives the former, the movie's credits give the latter).
111.Jump up ^ James M. Keller. "Program Notes- Ligeti: Lontano for Large Orchestra". San Francisco Symphony. Archived from the original on February 11, 2009.
112.Jump up ^ Kosman, Joshua. "György Ligeti—music scores used in '2001' film (obituary)". The San Francisco Chronicle. Retrieved June 13, 2006.
113.Jump up ^ "Bell Labs: Where "Hal" First Spoke". (Bell Labs Speech Synthesis web site). Retrieved August 13, 2007.
114.Jump up ^ Chion, Michel (2001). Kubrick's Cinema Odyssey. translated by Claudia Gorbman. London: British Film Institute. ISBN 0-85170-840-4.
115.Jump up ^ Pruys, Guido Marc (1997). Die Rhetorik der Filmsynchronisation: Wie ausländische Spielfilme in Deutschland zensiert, verändert und gesehen werden (in German). Gunter Narr Verlag. p. 107. ISBN 3-8233-4283-5.
116.Jump up ^ Fini, Massimo (2009). Nietzsche. L'apolide dell'esistenza (in Italian). Marsilio Editori. pp. 408–9. ISBN 88-317-9722-0.
117.Jump up ^ David W. Patterson, "Music, Structure and Metaphor in Stanley Kubrick's "2001: A Space Odyssey"." American Music, Vol. 22, No. 3 (Autumn, 2004), pp. 460–461
118.Jump up ^ "royal society southbank centre". 2001: A Space Odyssey. 2010. Archived from the original on July 25, 2010. Retrieved August 11, 2010.
119.Jump up ^ "2001: A Space Odyssey". 2001: A Space Odyssey. 2013. Archived from the original on June 15, 2013. Retrieved June 15, 2013.
120.Jump up ^ George Burt (1995). The Art of Film Music. Northeastern University Press. p. 126. ISBN 978-1-55553-270-3. Retrieved October 16, 2011.
121.^ Jump up to: a b THOMAS E. BROWN AND PHIL VENDY (March 2, 2000). "A TASTE OF BLUE FOOD IN STANLEY KUBRICK'S 2001: A SPACE ODYSSEY". paper. Retrieved January 8, 2011.
122.Jump up ^ Michael Coate. "1968: A Roadshow Odyssey- The Original Reserved Seat Engagements Of '2001: A Space Odyssey'". in70mm.com. Retrieved January 7, 2011.
123.^ Jump up to: a b Michael Coate. "1968: A Roadshow Odyssey- The Original Reserved Seat Engagements Of '2001: A Space Odyssey'". in70mm.com. Retrieved January 9, 2011.
124.^ Jump up to: a b Hall, Sheldon (April 9, 2011). "Introduction to 2001: A Space Odyssey". In70mm.com. Retrieved March 20, 2012.
125.Jump up ^ 2001: A Re-Release Odyssey, Wired
126.Jump up ^ Press Reviews: 2001: A Space Odyssey, BBC
127.Jump up ^ Nielsen Business Media, Inc (1980). "MGM/CBS Home Video ad". Billboard Magazine (November 22, 1980). Retrieved April 20, 2011.
128.Jump up ^ 2001: A Space Odyssey at KRSJR Productions.com. Accessed September 16, 2009. Archived September 18, 2009.
129.Jump up ^ "Stanley Kubrick Collection Official Authorized Site (Warner Bros)". Warner Bros. October 25, 2008. Archived from the original on September 3, 2010. Retrieved August 22, 2010.
130.Jump up ^ Gilliatt, Penelope. "After Man", review of 2001 reprinted from The New Yorker in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
131.Jump up ^ Champlin, Charles. Review of 2001 reprinted from The Los Angeles Times in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
132.Jump up ^ Sweeney, Louise. Review of 2001 reprinted from The Christian Science Monitor in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
133.Jump up ^ French, Philip. Review of 2001 reprinted from an unnamed publication in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
134.Jump up ^ Adams, Marjorie. Review of 2001 reprinted from The Boston Globe in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
135.Jump up ^ Nick James, et al. "BFI | Sight & Sound | Top Ten Poll 2002 – How the directors and critics voted". Archived from the original on July 29, 2009. Retrieved July 27, 2009.
136.Jump up ^ Unknown reviewer. Capsule review of 2001 reprinted from Time in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
137.Jump up ^ "Scorsese’s 12 favorite films". Miramax.com. Retrieved 25 December 2013.
138.Jump up ^ "How I Learned To Stop Worrying And Love 'Barry Lyndon'". New York Times. Retrieved June 30, 2013.
139.Jump up ^ Stanley Kauffmann, "Lost in the Stars," The New Republic. Retrieved from http://www.krusch.com/kubrick/Q16.html
140.Jump up ^ Adler, Renata. Review of 2001 reprinted from The New York Times in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
141.Jump up ^ Frederick, Robert B. (April 1, 1968). "Review: '2001: A Space Odyssey'". Variety.
142.Jump up ^ Sarris, Andrew. Review of 2001 review quoted from a WBAI radio broadcast in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
143.Jump up ^ "Hail the Conquering Hero". FilmComment.com. Retrieved January 12, 2007.
144.Jump up ^ Simon, John. Review of 2001 reprinted from The New Leader in Jerome Agel's The Making of Kubrick's 2001, Signet Books, 1970. ISBN 0-451-07139-5
145.Jump up ^ Joyce, Paul (director) Doran, Jamie (producer) Bizony, Piers (assoc. producer) (2001). 2001: The Making Of A Myth (Television production). UK: Channel Four Television Corp. Event occurs at 15:56.
146.Jump up ^ "BBC – Films – review – 2001: A Space Odyssey". BBC. Retrieved August 22, 2010.
147.Jump up ^ From both a review and a subsequent interview quoted in Brosnan, John (1978). Future Tense: The Cinema of Science Fiction. St. Martin's Press. p. 179.
148.Jump up ^ Delany's review and Del Rey's both appear in the 1968 anthology The Year's Best Science Fiction No. 2 edited by Harry Harrison and Brian W. Aldiss. Both reviews are also printed on The Kubrick Site, Del Rey's is at [1] and Delany's at [2]
149.^ Jump up to: a b "1969 Hugo Awards". World Science Fiction Society. Retrieved October 16, 2012.
150.Jump up ^ "Big Rental Films of 1968", Variety, January 8, 1969 p 15. Please note this figure is a rental accruing to distributors.
151.^ Jump up to: a b Miller, Frank. "2001: A Space Odyssey (1968) – Articles". Turner Classic Movies. Retrieved March 20, 2012.
152.Jump up ^ "2001: A Space Odyssey". Box Office Mojo. Retrieved March 20, 2012.
153.Jump up ^ at in Science Fiction (July 10, 2009). "Ridley Scott: "After 2001 -A Space Odyssey, Science Fiction is Dead"". Dailygalaxy.com. Retrieved August 22, 2010.
154.Jump up ^ In Focus on the Science Fiction Film, edited by William Johnson. Englewood Cliff, N.J.: Prentice-Hall, 1972.
155.Jump up ^ George D. DeMet. "2001: A Space Odyssey Internet Resource Archive: The Search for Meaning in 2001". Palantir.net (originally an undergrad honors thesis). Retrieved August 22, 2010.
156.Jump up ^ "This Day in Science Fiction History — 2001: A Space Odyssey | Science Not Fiction | Discover Magazine". Blogs.discovermagazine.com. Retrieved August 22, 2010.
157.Jump up ^ The Making of Metal Gear Solid 2: Sons of Liberty DVD packaged with European version of Metal Gear Solid 2: Sons of Liberty
158.Jump up ^ Robert Jacobs, "Whole Earth or No Earth: The Origin of the Whole Earth Icon in the Ashes of Hiroshima and Nagasaki," The Asia-Pacific Journal Vol 9, Issue 13 No 5, March 28, 2011.
159.Jump up ^ Apple iPad vs Samsung Galaxy: Stanley Kubrick Showed Tablet in '2001: A Space Odyssey' - ABC News
160.Jump up ^ Quoted at Zibreg, Christian (September 17, 2011). "Samsung cites Stanley Kubrick's '2001: A Space Odyssey' as prior art argument against iPad design". Retrieved January 27, 2012.
161.Jump up ^ IBTimes Reporter (October 25, 2011). "iPhone 4S Siri Goes '2001: Space Odyssey': ThinkGeek's New IRIS 9000 [VIDEO]". International Business Times. Retrieved December 2, 2011.
162.Jump up ^ Some European Commission official reference is still available on CORDIS archive
163.Jump up ^ Clarke, Arthur (1972). The lost Worlds of 2001. Sidgwick and Jackson. p. 50. ISBN 0-283-97904-6.
164.^ Jump up to: a b "FILM NOMINATIONS 1968". British Academy of Film and Television Arts. Retrieved October 16, 2012.
165.Jump up ^ "Premios del CEC a la producción española de 1968" (in Spanish). Círculo de Escritores Cinematográficos. Retrieved October 16, 2012.
166.Jump up ^ "Awards for Stanley Kubrick" (in Italian). L'accademia del Cinema Italiano. Retrieved October 16, 2012.
167.Jump up ^ "Winners: 1960s". Kansas City Film Critics Circle. Retrieved October 16, 2012.
168.^ Jump up to: a b O'Neil, Thomas (2003). Movie awards: the ultimate, unofficial guide to the Oscars, Golden Globes, critics, Guild & Indie honors. Perigee Book. p. 306. ISBN 978-0-399-52922-1.
169.Jump up ^ "Awards for 1968". National Board of Review of Motion Pictures. Retrieved October 16, 2012.
170.Jump up ^ "Awards / History / 1968 - 21st Annual DGA Awards". Directors Guild of America. Retrieved October 16, 2012.
171.Jump up ^ "6th Moscow International Film Festival (1969)". MIFF. Retrieved December 20, 2012.
172.Jump up ^ "AFI's 100 YEARS.". AFI.com. Archived from the original on June 5, 2011. Retrieved June 9, 2011.
173.Jump up ^ "2001: A Space Odyssey Named the Greatest Sci-Fi Film of All Time By the Online Film Critics Society". Online Film Critics Society. Archived from the original on November 26, 2006. Retrieved December 15, 2006.
174.Jump up ^ "National Film Registry Preservation Board". Library of Congress. September 12, 2011. Retrieved January 27, 2012.
175.Jump up ^ "Sight & Sound: Top Ten Poll 2002". British Film Institute web site. Archived from the original on December 16, 2006. Retrieved December 15, 2006.
176.Jump up ^ "USCCB – (Film and Broadcasting) – Vatican Best Films List". USCCB web site. Archived from the original on April 18, 2007. Retrieved April 22, 2007.
177.Jump up ^ "Top movies for schools revealed". BBC News. December 13, 2011. Retrieved January 4, 2012.
178.Jump up ^ See especially the essay "Auteur with a Capital A" by James Gilbert anthologized in Kolker, Robert (2006). Stanley Kubrick's 2001: a space odyssey: new essays. Oxford University Press. ISBN 978-0-19-517452-6.
179.Jump up ^ discussed for example in Stephanie Schwam's The making of 2001, a space odyssey Google's e-copy has no pagination
180.Jump up ^ "The Film Director as Superstar" (Doubleday and Company: Garden City, New York, 1970) by Joseph Gelmis
181.Jump up ^ Houston, Penelope (April 1, 1971). Sight and Sound International Film Quarterly, Volume 40 No. 2, Spring 1971. London: British Film Institute.
182.Jump up ^ Sheridan, Chris. "Stanley Kubrick and Symbolism". Retrieved April 10, 2009. "Reproducing"
183.^ Jump up to: a b Burfoot, Annette (2006). "The Fetal Voyager: Women in Modern Medical Visual Discourse". In Shteir, Ann; Lightman, Bernard. Figuring it out: science, gender, and visual culture. UPNE. p. 339. ISBN 978-1-58465-603-6.
184.Jump up ^ Grant, Barry Keith (2010). Shadows of Doubt: Negotiations of Masculinity in American Genre Films. Wayne State University Press. p. 135. ISBN 978-0-8143-3457-7.
185.Jump up ^ 2001: A Space Odyssey (1968)
186.Jump up ^ reprinted in Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
187.Jump up ^ Geduld, Carolyn (1973). Filmguide to 2001: a space odyssey. Indiana University Press. pp. 40, 63.
188.Jump up ^ LoBrutto, Vincent (1999). Stanley Kubrick: A Biography. Da Capo Press. pp. 310, 606. ISBN 978-0-306-80906-4.
189.Jump up ^ Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
190.Jump up ^ See Tim Dirks' synopsis on the A.M.C. movie site.Tim Dirks. "2001: A Space Odyssey". AMC. Retrieved February 25, 2011.
191.Jump up ^ See Tim Dirks' synopsis on the A.M.C. movie site.Tim Dirks. "2001: A Space Odyssey". AMC. Retrieved February 25, 2011. He notes that in the ape encounter "With the mysterious monolith in the foreground, the glowing Sun rises over the black slab, directly beneath the crescent of the Moon" and that on the Moon "Again, the glowing Sun, Moon and Earth have formed a conjunctive orbital configuration."
192.Jump up ^ See original Rolling Stone review by Bob McClay reproduced in Schwam, Stephanie (2000). The making of 2001, a space odyssey. 0375755284, 9780375755286: Random House. pp. 164–165.
193.Jump up ^ Roger Ebert. "2001: A Space Odyssey". Chicago Sun-Times. Retrieved February 3, 2011.
194.Jump up ^ Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland. p. 66. ISBN 978-0-7864-5916-2.
195.Jump up ^ Roger Ebert. "2001: A Space Odyssey (1968)". Chicago Sun-Times. Retrieved February 16, 2011.
196.Jump up ^ Caicco, Gregory (2007). Architecture, ethics, and the personhood of place. UPNE. p. 137. ISBN 978-1-58465-653-1.
197.Jump up ^ Westfahl, Gary (2005). The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders, Volume 2. Greenwood Publishing Group. p. 707. ISBN 978-0-313-32952-4.
198.Jump up ^ Christopher Palmer. 'Big Dumb Objects in Science Fiction: Sublimity, Banality, and Modernity,' Extrapolation. Kent: Spring 2006.Vol. 47, Iss. 1; page. 103
199.Jump up ^ Mark Stetson (model shop supervisor) (1984). 2010: The Odyssey Continues (DVD). ZM Productions/MGM. Archived from the original on August 24, 2007. Retrieved August 31, 2007.
200.Jump up ^ "Starship Modeler: Modeling 2001 and 2010 Spacecraft". October 19, 2005. Archived from the original on August 20, 2006. Retrieved September 26, 2006.
201.Jump up ^ Bentley, Chris (2008). The Complete Gerry Anderson: The Authorised Episode Guide (4th edition). London: Reynolds and Hearn. ISBN 978-1-905287-74-1.
202.Jump up ^ STARLOG magazine
203.Jump up ^ LoBrutto, Vincent. Stanley Kubrick . London: Faber & Faber Limited, 1997, p. 456.
204.Jump up ^ "3001: The Final Odyssey" on Yahoo! Movies (via Wayback Machine)
205.Jump up ^ [3][dead link] [4][dead link]
206.Jump up ^ Dark Side of the Moon trailer on YouTube
207.Jump up ^ More than a hoax: William Karel's critical mockumentary dark side of the moon. This article is a very lengthy excerpt from a longer version in Goliath Business News. A subscription is required to view the entire article.
208.Jump up ^ As discussed on Jay Windley' "clavius.org" site defending the reality of the moonlandings at [5]
209.Jump up ^ [6]. Material on the webmaster of "clavius.org" may be found at About this site and Imdb biography for Jay Windley
210.Jump up ^ International Alliance of Flat Earth Groups • View topic - Fake Nasa/Soviet space programs
211.Jump up ^ At his own website [7] and at an online forum [8]
212.Jump up ^ Robert Lamb (January 21, 2010). "FAKED MOON LANDINGS AND KUBRICK'S 'THE SHINING'". Discovery News. Retrieved September 6, 2011. The Discovery article is quoted on the film's Amazon.com as a review of the film itself, although it is actually a review of an earlier article that was the basis for the film.
213.Jump up ^ Charles Arthur (January 25, 1999). "Hal confesses all and joins Apple". The Independent (London). Retrieved November 26, 2010.
214.Jump up ^ Mad Magazine No. 125, March 1969
215.Jump up ^ Agel 1970, pp. 8–9.
216.Jump up ^ Clark Douglas (December 21, 2009). "DVD Verdict Review: The Mel Brooks Collection". DVD Verdict. Archived from the original on December 25, 2010. Retrieved November 26, 2010.
217.Jump up ^ Film and Filming, Volume 21 1975 p. 221
218.Jump up ^ Tim Dirks. "Sleeper(21973)". AMC Movie Classics. Archived from the original on December 5, 2010. Retrieved November 26, 2010.
219.Jump up ^ Herr, Michael (2001). Kubrick. Grove Press. p. 47. ISBN 978-0-8021-3818-7.
220.Jump up ^ Alberti, John, ed (2005). Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture. Wayne State University Press. ISBN 0-8143-2849-0. p. 277 et al.
221.Jump up ^ "Stanley and Bart … another Kubrick legend". London: The Guardian (UK). July 16, 1999. Retrieved November 26, 2010.
222.Jump up ^ Westfahl, Gary, ed (2005). The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders. Greenwood. ISBN 978-0-313-32950-0. p. 1232
223.Jump up ^ Alberti, John, ed (2005). Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture. Wayne State University Press. ISBN 978-0-8143-2849-1.
224.Jump up ^ Colin Kennedy (September 2004). "The Ten Best Movie Gags In The Simpsons". Empire. pp. 76.
225.Jump up ^ 20 Funniest Futurama Film Parodies at TotalFilm.com[dead link]
226.Jump up ^ James A. Davidson (1998). "The Director that Time Forgot". Images:A Journal of Fiilm and Popular Culture. Archived from the original on November 23, 2010. Retrieved November 26, 2010.
227.Jump up ^ John Hartl (July 14, 2005). "'Chocolate Factory' is a tasty surprise". MSNBC. Retrieved December 5, 2010.
228.Jump up ^ Harry Forbes (2005). "Charlie and the Chocolate Factory". Catholic News. Archived from the original on January 6, 2011. Retrieved December 4, 2010.
229.Jump up ^ Jenna Wortham (June 18, 2008). "Retro Futurism of Wall-E Recalls 2001, Blade Runner". WIRED. Retrieved December 4, 2010.
230.Jump up ^ Clara Moskowitz (June 27, 2008). "WALL-E spreads the robot love". USA Today. Retrieved December 4, 2010.
231.Jump up ^ Lawrence Toppman. "Well-focused 'Eye' has a crazy vision". Charlotte Observer. Retrieved December 4, 2010.
232.Jump up ^ London Magazine, 2006 (issue needed), p. 40
233.Jump up ^ A few reference biographies or obituaries for Leslie Nielsen speak as if Space Travesty was a spoof of Kubrick's film.Bolam, Sarah Miles; Bolam, Thomas J. (2011). Fictional Presidential Films: A Comprehensive Filmography of Portrayals from 1930 to 2011. Xlibris Corporation. p. 243. ISBN 1-4628-9318-X. Retrieved December 10, 2011. "Leslie Nielsen 1926–2010". (Obituary promoting forthcoming daylong Nielsen marathon on Sky network). Sky Movies HD. Archived from the original on January 7, 2011. Retrieved December 10, 2010.
234.Jump up ^ Nielsen's Airplane which was a scene-for-scene parody of Zero Hour. Abrahams, Jim; Zucker, David; Zucker, Jerry; Davidson, Jon (2000). Airplane! DVD audio commentary (DVD). Paramount Pictures. Several other films of his were also full parodies of another film.
235.Jump up ^ D.W.Pritchett (March 18, 2002). "2001: A Space Travesty". DVD Empire. Retrieved December 10, 2010.
236.Jump up ^ Jim Slotek (December 1, 2001). "A big empty Space". Jam! Showbiz. Retrieved December 10, 2010.
237.Jump up ^ Berge Garabedian (2010). "(review of) 2001: A Space Travesty". JoBlo Movie Reviews. Retrieved December 8, 2010.
238.Jump up ^ "Airplane II – The Sequel". Retrieved February 21, 2011.
239.Jump up ^ Patrick Naugle (November 9, 2000). "Airplane ii: the sequel". DVD Verdict. Retrieved February 21, 2011.
240.Jump up ^ Ken Finkleman. "Airplane II: The Sequel". The Spinning Image. Retrieved February 21, 2011.
241.Jump up ^ Erick Klafter (April 23, 2003). "Airplane II: The Sequel". The BoxSet. Retrieved February 21, 2011.
242.Jump up ^ Benjamin Svetkey (January 13, 1995). "Videogame Review: SimEarth". Entertainment Weekly. Retrieved October 17, 2009.
243.Jump up ^ Metal Gear Solid Official Missions Handbook, Millennium Books (1998).
244.Jump up ^ Kojima Productions. Metal Gear Solid: Peace Walker. Konami. "Briefing Files -> Huey -> Strangelove -> '2001: A Space Odyssey'"
Further reading[edit]
Chion, Michel (2001). Kubrick's cinema odyssey. British Film Institute. ISBN 978-0-85170-839-3.
External links[edit]
Wikimedia Commons has media related to 2001: A Space Odyssey.
Wikiquote has a collection of quotations related to: 2001: A Space Odyssey
2001: A Space Odyssey at the Internet Movie Database
2001: A Space Odyssey at the TCM Movie Database
2001: A Space Odyssey at Rotten Tomatoes
2001: A Space Odyssey Internet Resource Archive
Kubrick 2001: The Space Odyssey Explained
The 2001: A Space Odyssey Collectibles Exhibit
Roger Ebert's Essay on 2001
The Alt.Movies.Kubrick FAQ many observations on the meaning of 2001
The Kubrick Site including many works on 2001
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Categories: 1968 films
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