2001: A Space Odyssey and Apollo 18 Wikipedia pages

 

2001: A Space Odyssey
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This article is about the narrative. For the film, see 2001: A Space Odyssey (film). For the novel, see 2001: A Space Odyssey (novel).
2001: A Space Odyssey is a science-fiction narrative, produced in 1968 as both a novel, written by Arthur C. Clarke, and a film, directed by Stanley Kubrick. It is a part of Clarke's Space Odyssey series. Both the novel and the film are partially based on Clarke's short story "The Sentinel", written in 1948 as an entry in a BBC short story competition, and "Encounter in the Dawn", published in 1953 in the magazine Amazing Stories.


Contents  [hide]
1 Sources
2 Development
3 Film 3.1 Score
4 Novel
5 Comics
6 The Space Odyssey series
7 See also
8 References

Sources[edit]
After deciding on Clarke's 1948 short story "The Sentinel" as the starting point, and with the themes of man's relationship with the universe in mind, Clarke sold Kubrick five more of his stories to use as background materials for the film. These included "Breaking Strain", "Out of the Cradle, Endlessly Orbiting...", "Who's There?", "Into the Comet", and "Before Eden".[1] Additionally, important elements from two more Clarke stories, "Encounter at Dawn" and (to a somewhat lesser extent) "Rescue Party", made their way into the finished project.[2]
The monolith, as a central theme in the movie, has been cited as a sort of Von Neumann probe. According to Michio Kaku,[3] Kubrick was intending to include a brief scene indicating the monolith as a sort of alien spacecraft; however, Kubrick decided to cut that scene out shortly before the film's release.
Development[edit]

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2013)
Clarke was originally going to write the screenplay for the film, but this proved to be more tedious than he had anticipated. Instead, Kubrick and Clarke decided it would be best to write a prose treatment first and then adapt it for the film and novel upon its completion.
Clarke and Kubrick jointly developed the screenplay and treatment, which were loosely based on The Sentinel and incorporated elements from various other Clarke stories. Clarke wrote the novel adaptation independently. Although the film has become famous due to its groundbreaking visual effects and ambiguous, abstract nature, the film and book were intended to complement each other.
Film[edit]
Main article: 2001: A Space Odyssey (film)
The film was written by Clarke and Kubrick and featured specialist artwork by Roy Carnon.[4] The film is notable for its scientific realism, pioneering special effects, and provocatively ambiguous imagery and sound in place of traditional narrative techniques.
Despite receiving mixed reviews upon release, 2001: A Space Odyssey is today thought by some critics to be one of the greatest films ever made and is widely regarded as the best science fiction film of all time. It was nominated for four Academy Awards, and received one for visual effects. It also won the Kansas City Film Critics Circle Best Director and Best Film awards of 1968. In 1991, 2001: A Space Odyssey was deemed culturally significant by the United States Library of Congress and selected for preservation in the National Film Registry.
Score[edit]
Main article: 2001: A Space Odyssey (score)
A musical score was commissioned for the film and composed by Alex North, but Kubrick ultimately decided not to use it, in favour of the classical pieces he used as guides during shooting. These included Richard Strauss's " Also Sprach Zarathustra", Johann Strauss' "Blue Danube Waltz", and music by twentieth-century composers Aram Khachaturian and Gyorgy Ligeti.
Novel[edit]
Main article: 2001: A Space Odyssey (novel)
Arthur C. Clarke wrote the novel. He developed it concurrently with the film version and published it in 1968, after the film's release. The Lost Worlds of 2001 (1972) elaborates on Clarke and Kubrick's collaboration.[5]
The novel has numerous differences from the film. Most notably, the setting for the part three (of four) in the book is not Jupiter, as in the film, but Saturn.
Comics[edit]
Main article: 2001: A Space Odyssey (comics)
2001: A Space Odyssey was the name of an oversized comic book adaptation of the 1968 film of the same name and a 10-issue monthly series "expanding" on the ideas presented in the film and the eponymous Arthur C. Clarke novel. Jack Kirby wrote and pencilled both the adaptation and the series, which were published by Marvel Comics beginning in 1976.
The Space Odyssey series[edit]
Main article: Space Odyssey

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2013)
The Space Odyssey series is a science fiction series of four novels, primarily written by the science-fiction writer Arthur C. Clarke, and two films created from 1948 to 1997. Stanley Kubrick directed the first film, 2001: A Space Odyssey (1968). He also co-authored the treatment and screenplay with Clarke, based on the seed idea in an earlier short story by Clarke (which bears little relation to the film other than the idea of an alien civilisation's having left something to alert them to mankind's attaining the ability to space travel). Clarke's novel 2001: A Space Odyssey was published in 1968. Kubrick had no involvement in any of the later projects.
Peter Hyams directed the second film, 2010 (1984). He also wrote the screenplay based on Clarke's novel, 2010: Odyssey Two (1982). Clarke was not directly involved in Hyams' film's production as he had been with the Kubrick's film.
See also[edit]
A Time Odyssey
References[edit]
1.Jump up ^ Arthur C. Clarke, The Lost Worlds of 2001, pg 32
2.Jump up ^ Arthur C. Clarke, The Collected Stories of Arthur C. Clarke in the preceding notes to each story
3.Jump up ^ Michio Kaku, "Dr. Michio Kaku about Future Civilizations", YouTube
4.Jump up ^ "IMDB entry". IMDB web site. Retrieved 4 September 2008.
5.Jump up ^ Arthur C. Clarke (1972). The Lost Worlds of 2001. Signet.


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The Sentinel (short story)
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"The Sentinel"

Author
Arthur C. Clarke
Country
United Kingdom
Language
English
Genre(s)
Science fiction
Published in
The Avon Science Fiction and Fantasy Reader
Publisher
Avon Periodicals
Publication date
1951
"The Sentinel" is a short story written by Arthur C. Clarke in 1948 and first published in 1951, which was used as a starting point for the novel and movie 2001: A Space Odyssey, where it was modified and fused with other ideas. Clarke expressed impatience with its common description as the story the novel and movie is based on." He explained; "I am continually annoyed by careless references to "The Sentinel" as "the story on which 2001 is based"; it bears about as much relation to the movie as an acorn to the resultant full-grown oak. (Considerably less, in fact, because ideas from several other stories were also incorporated.) Even the elements that Stanley Kubrick and I did actually use were considerably modified. Thus the "glittering, roughly pyramidal structure ... set in the rock like a gigantic, many-faceted jewel" became — after several modifications — the famous black monolith. And the locale was moved from the Mare Crisium to the most spectacular of all lunar craters, Tycho — easily visible to the naked eye from Earth at Full Moon."[1]


Contents  [hide]
1 Publication history
2 Anthology
3 Story
4 References

Publication history[edit]
"The Sentinel" was written in 1948 for a BBC competition (in which it failed to place) and was first published in the magazine 10 Story Fantasy in 1951, under the title "Sentinel of Eternity". It first appeared in the USA in The Avon Science Fiction and Fantasy Reader published by Avon Periodicals, Inc. in 1951. It was subsequently published as part of short story collections in Expedition to Earth (1953), The Nine Billion Names of God (1967), and The Lost Worlds of 2001 (1972). Despite the story's initial failure, it changed the course of Clarke's career.
Anthology[edit]
The Sentinel (published 1982) is also the title of a collection of Arthur C. Clarke short stories, which includes the eponymous "The Sentinel", "Guardian Angel" (the inspiration for his Childhood's End), "The Songs of Distant Earth", and "Breaking Strain".
Story[edit]
The story deals with the discovery of an artifact on Earth's Moon left behind eons ago by ancient aliens. The object is made of a polished mineral, is tetrahedral in shape, and is surrounded by a spherical forcefield. The narrator speculates at one point that the mysterious aliens who left this structure on the Moon may have used mechanisms belonging "to a technology that lies beyond our horizons, perhaps to the technology of para-physical forces."
The narrator speculates that for millions of years (evidenced by dust buildup around its forcefield) the artifact has been transmitting signals into deep space, but it ceases to transmit when, sometime later, it is destroyed "with the savage might of atomic power". The narrator hypothesizes that this "sentinel" was left on the moon as a "warning beacon" for possible intelligent and spacefaring species that might develop on Earth.
In 2001: A Space Odyssey, the operation of the sentinel is activated when sunlight touches it for the first time after it was dug up.
References[edit]
1.Jump up ^ Heavy Metal v07 #10 (January 1984)


[hide]
v ·
 t ·
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Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


Categories: Short stories by Arthur C. Clarke
Space Odyssey series
1951 short stories
Moon in fiction
Works originally published in American magazines
Works originally published in science fiction magazines
Works originally published in fantasy fiction magazines
Short stories adapted into films


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Encounter in the Dawn
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Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2009)

"Encounter in the Dawn"

Author
Arthur C. Clarke
Country
United Kingdom
Language
English
Genre(s)
Science fiction
Published in
Amazing Stories
Publication date
June-July, 1953
"Encounter in the Dawn" is a short story by Arthur C. Clarke published in 1953 in the magazine Amazing Stories. It was originally collected in the anthology Expedition to Earth, and, in one edition of the book, is titled "Expedition to Earth". In a later collection the title "Encounter at Dawn" is used. The story was later restyled and used as the basis for the first section in Clarke's 2001 A Space Odyssey.
In Clarke's The Lost Worlds of 2001, the author noted:
An editor at Ballantine Books gave it the ingenious title "Expedition to Earth" when it was published in the book of that name, but I prefer "Encounter in the Dawn." However, when Harcourt, Brace and World brought out my own selection of favourites, The Nine Billion Names of God, it was mysteriously changed to "Encounter at Dawn."

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Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 
 
Stub icon This article about a science fiction short story (or stories) is a stub. You can help Wikipedia by expanding it.




 


Categories: 1953 short stories
Short stories by Arthur C. Clarke
Space Odyssey series
Works originally published in Amazing Stories
Science fiction short story stubs






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Poole versus HAL 9000
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HAL, after Poole's resignation:
 "Thank you for a very enjoyable game."
Poole versus HAL 9000 is a fictional chess game in the movie 2001: A Space Odyssey. In the movie, the astronaut Dr. Frank Poole is seen playing chess with the HAL 9000 supercomputer. As HAL is supposed to be infallible, no one is surprised when HAL soundly defeats Poole (though the novel mentions that HAL is programmed to win only 50% of the time in order for there to be some point in the astronauts ever playing).
The director Stanley Kubrick was a passionate chess player, so unlike many chess scenes shown in other films, the position and analysis make sense. The actual game seems to come from the tournament game between A. Roesch and W. Schlage, Hamburg 1910.[1]


Contents  [hide]
1 The game
2 See also
3 References
4 External links



 This article uses algebraic notation to describe chess moves.

The game[edit]
White: A. Roesch   Black: W. Schlage   Opening: Ruy Lopez (ECO C86)
1. e4 e5 2. Nf3 Nc6 3. Bb5 a6 4. Ba4 Nf6 5. Qe2
The opening is the Ruy Lopez, Worrall Attack.
5... b5 6. Bb3 Be7 7. c3 0-0 8. 0-0 d5
This move is a pawn sacrifice. If White accepts it, Black's pieces can occupy active positions.
9. exd5 Nxd5 10. Nxe5 Nf4 11. Qe4 Nxe5 12. Qxa8?
This move deflects the queen, allowing Black to mount a kingside attack. Better was 12.d4, leading to a small plus for White after 12...Bb7 13.Qxf4 (13.Qxb7 Ne2+ 14.Kh1 Nxc1 15.Rxc1 Nd3 16.Rf1 c5 gives Black compensation) Nd3 14.Qf5 Nxc1 15.Rxc1 g6 16.Qg4 Bg5 17.Rd1.[2]
Roesch (Poole) vs. Schlage (HAL 9000)
 a b c d e f g h 
8
Chessboard480.svg
a8 white queen
f8 black rook
g8 black king
c7 black pawn
e7 black bishop
f7 black pawn
g7 black pawn
h7 black pawn
a6 black pawn
b5 black pawn
e5 black knight
f4 black knight
c3 white pawn
d3 black queen
h3 black bishop
a2 white pawn
b2 white pawn
d2 white pawn
f2 white pawn
g2 white pawn
h2 white pawn
a1 white rook
b1 white knight
c1 white bishop
d1 white bishop
f1 white rook
g1 white king
 8
7 7
6 6
5 5
4 4
3 3
2 2
1 1
 a b c d e f g h 
Position before 14.Qxa6, where the movie picks up the game
12... Qd3!
Threatening 13...Ne2+ 14.Kh1 Ng3+ with checkmate to follow.
13. Bd1 Bh3!
Black also has 13...Bg4, winning a piece after 14.Qb7 Bxd1 15.Rxd1 Ne2+ 16.Kh1 Ng4 17.Qf3 Qxf3 18.gxf3 Nxf2+; or 13...Nh3+, winning the queen after 14.gxh3 Bxh3 with the dual threat of Qxf1# and Rxa8. The movie picks up the game here (see diagram).
14. Qxa6?
White abandons the long diagonal and moves into a forced checkmate. Even after 14.Qb7 c6 15.Qxe7 Bxg2 16.Re1 Nf3+ 17.Bxf3 Qxf3, mate is not far off.
14... Bxg2 15. Re1 Qf3
Here HAL says: "I'm sorry Frank, I think you missed it: queen to bishop three, bishop takes queen, knight takes bishop, mate." But HAL's description of the queen move is not technically accurate—the move is correctly described in the descriptive chess notation as "queen to bishop six". Also, while HAL describes a forced checkmate in two moves, it is actually a checkmate in four; Poole could delay mate by playing 16.Qc8 Rxc8 17.h3 Nxh3+ 18.Kh2 Ng4#.[3]
0–1
Poole resigns without questioning HAL's analysis.
See also[edit]
Computer chess
List of chess games
References[edit]
1.Jump up ^ Roesch vs Willi Schlage, Hamburg 1910, DSB-Congress, Hauptturnier-B, Ruy Lopez, Worrall Attack (C86) 0–1 at Chessgames.com
2.Jump up ^ Matanović, Aleksandar, ed. (1981), Encyclopaedia of Chess Openings C (2nd ed.), Yugoslavia: Chess Informant, p. 412, n. 81
3.Jump up ^ Wall, Bill (22 June 2007). "2001: A Chess Space Odyssey". Chess.com. Retrieved 14 January 2014.
External links[edit]
Murray S. Campbell: "An Enjoyable Game:" How HAL Plays Chess in: e-book HAL's Legacy (1996)
Tim Krabbé: Willi Schlage The only unknown to become immortal twice. (1999)
The Case For HAL's Sanity by Clay Waldrop


[hide]
v ·
 t ·
 e
 
Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


Categories: Chess games
Space Odyssey series


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Machine Man
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For Japanese tokusatsu television series, see Seiun Kamen Machineman. For the novel by Max Barry, see Machine Man (novel).


 
[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.




This article's lead section may not adequately summarize key points of its contents.  (February 2010)




This comics-related article describes a work or element of fiction in a primarily in-universe style.  (October 2009)

 

Machine Man

The two identities of X-51 - Aaron Stack (foreground) and Machine Man (background).
 Art by Brandon Peterson.
 
Publication information

Publisher
Marvel Comics
First appearance
2001: A Space Odyssey #8 (July 1977)
Created by
Jack Kirby
In-story information

Alter ego
Aaron Stack
Team affiliations
S.H.I.E.L.D.
Secret Avengers (Civil War)
Nextwave
Avengers
West Coast Avengers
Heavy Metal
A.R.M.O.R.
 Operation: Lightning Storm
Notable aliases
X-51, Mister Machine
Abilities
Superhuman strength, speed, stamina, durability, reflexes, and accuracy
 Telescoping arms and legs
 Flight by usage of anti-gravity disks
 Various installed weapons
Machine Man (Aaron Stack, serial number Z2P45-9-X-51 or X-51 for short) is a fictional character, an android superhero in the Marvel Comics Universe. The character was created by Jack Kirby for 2001: A Space Odyssey #8 (July 1977), a comic written and drawn by Kirby featuring concepts based on the eponymous Stanley Kubrick film and Arthur C. Clarke novel. Shortly thereafter, Machine Man spun off into his own Kirby-created series. He is a robot, the only survivor of a series, raised as a human son of scientist Abel Stack, who was killed removing his auto-destruct mechanism, and further evolved to sentience by a Monolith.


Contents  [hide]
1 Publication history 1.1 Volume 1
1.2 Volume 2
1.3 Volume 3
2 Fictional character biography 2.1 Nextwave: Agents of H.A.T.E.
2.2 The Initiative
2.3 Marvel Zombies
2.4 Working with Red Hulk
3 Powers and abilities
4 Other versions 4.1 Delmar Insurance
4.2 Earth X
4.3 Marvel Zombies
4.4 Machine Man 2020
4.5 Earth X
4.6 Queen's Vengeance
4.7 Ultimate Machine Man
5 In other media 5.1 Television
5.2 Music
6 Controversy
7 References
8 External links

Publication history[edit]
Volume 1[edit]
Machine Man originally appeared in the pages of 2001: A Space Odyssey #8 (July 1977), which was written and drawn by Jack Kirby. He would go on to appear in his own self-titled series in 1978.
This title featured Machine Man entering the mainstream Marvel Universe. Jack Kirby wrote and drew the first nine issues, which dealt with the title character's status as a fugitive from the military after the death of his creator, and his first interactions with mankind. The book was canceled at the end of 1978 with X-51 finally standing up to the military.
Machine Man appeared next in a three issue story arc within the pages of The Incredible Hulk #235-237. The robot found himself battling the green giant within the suburban setting of his human friend, Dr. Peter Spaulding. By the end of the storyline, he incurred a complete system shutdown, leading to the events portrayed in his relaunched monthly series.
The title was relaunched in issue #10 after a nine-month hiatus. Status quo in the book changed with Machine Man now living amongst humanity, and dealing with his own new-found emotions. Marv Wolfman came aboard as the new writer, partnered with artist Steve Ditko, which helped set a different tone from Kirby's previous stories. Issue 15 saw a new writer, Tom DeFalco, taking over the writing chores. The title lasted until issue #19, ending in February 1980.
Volume 2[edit]
In October 1984 - January 1985, the Machine Man title was resurrected, in a four-issue miniseries written by Tom DeFalco with art by Herb Trimpe (breakdowns only, issues #1-3) and Barry Windsor-Smith (finishes only, issues #1-3 & full art for issue #4), with Windsor-Smith also coloring the entire miniseries & co-plotting issue #4 with DeFalco. This series turned out to be one of the most popular of all the Machine Man titles, tying with previous continuity, but with the action set in the distant cyberpunk future of 2020, starting with Machine Man's reassembly.
The miniseries was first reprinted as a 96 page trade paperback in 1988 (ISBN 0-07135-458-6), with brand new cover art by Barry Windsor-Smith.
The miniseries was republished again in 1994 as two double-size books, with the name Machine Man 2020. Characters from this alternate future have made appearances in other Marvel books, namely Arno Stark, the mercenary Iron Man 2020.
In 1990, Machine Man guest-starred in Iron Man Annual #11 (part of the "Terminus Factor" storyline). That story created strong hints that the 2020 Machine Man may turn out not to be the true X-51, but instead a duplicate created by Sunset Bain.
Volume 3[edit]
In 1999 Marvel brought the character back in a series titled X-51, The Machine Man. This series gave Machine Man a programming malfunction in that he would uncontrollably attack any mutant he came across. He was given a drastically more robotic look and his powers were vastly changed. The reason for both was that he had been reconstructed by Sentinel-based nanotechnology. The series lasted twelve issues; in the final one, he was 'recovered' by a Celestial, as the Celestials - revealed to be the power behind the Monoliths (at least in Marvel continuity) - had become interested in Machine Man.
Fictional character biography[edit]
Machine Man, whose real name is Z2P45-9-X-51, was the last of a series of sentient robots created at the Broadhurst Center for the Advancement of Mechanized Research in Central City, California, by robotics expert Dr. Abel Stack for the US Army. However, all previous 50 experimental robots went mad as they achieved sentience and became psychotic, due to a lack of identity. X-51 was the only survivor, as he was treated as a son by Stack and given a human face mask as well as being exposed to one of the monoliths from 2001. After Stack died trying to protect him, X-51 assumed the human name Aaron Stack and escaped confinement, only to be relentlessly pursued by the army. X-51 named himself "Mister Machine" in issue #9 of the 10 issue run of 2001.
While on the run, the newly christened Machine Man initiated contact with humanity in order to better understand it.[1] After being captured and later freed, Machine Man was found by psychiatrist Peter Spaulding. He also battled Col. Krag's troops.[2] Soon after that, he first encountered Curtiss Jackson.[3] Alongside the Hulk, he battled Curtiss Jackson.[4] Soon after that, he was redesigned and rebuilt by Dr. Oliver Broadhurst.[5] He then first encountered the Fantastic Four.[6] He then met mechanic "Gears" Garvin, and then battled Baron Brimstone.[7] He also battled Madame Menace.[8] He then first encountered Aurora, Northstar, and Sasquatch of Alpha Flight.[9] Spaulding and Garvin set up Machine Man with a human identity as Aaron Stack, insurance investigator for the Delmar Insurance Company,[volume & issue needed] but he continued having adventures as a superhero on the side.
In Iron Man v1 #168 (March, 1983), Machine Man attempts to pay Iron Man a visit. Machine Man was seeking to compare notes with Iron Man, thought to be a robot by Machine Man. At the time, Iron Man was drunk, irate, and under considerable stress from the machinations of Obadiah Stane. Iron Man attacked Machine Man and almost killed two of his own employees. At the last possible second, Machine Man's extendable arm pushed them out of the way.[10]
In a meeting with the Thing of the Fantastic Four, Machine Man also first met and fell in love with another sentient robot, Jocasta. Alongside the Thing and Jocasta, he battled Ultron. However, during the battle, Machine Man witnessed the seeming destruction of Jocasta by Ultron.[11]
He later fought alongside the Avengers,[volume & issue needed] which led to the invitation to become a team reservist.[volume & issue needed] Later he was captured by S.H.I.E.L.D., who wanted to use his technology to create another Deathlok. He helps the X-Men and Douglock against the villainous Red Skull, who had taken over the Helicarrier where Machine Man was held.[12]
He helped the X-Men again against Bastion and his Sentinels.[volume & issue needed] As a consequence, he was infected by Sentinel programming, assuming a more robotic look in the subsequent series X-51, and losing self-control whenever he was faced with a mutant. During this series he was on the run from Sebastian Shaw, who wants his technology for himself. Because of his new programming, while seeking aid from the Avengers, he attacks Justice and Firestar. Because of his actions against Justice and Firestar, X-51's membership in the Avengers is revoked. At the end of X-51, X-51 encountered one of the monoliths and disappeared, brought into the presence of the monolith's creators, the cosmic beings known as the Celestials.[volume & issue needed]
Nextwave: Agents of H.A.T.E.[edit]
Main article: Nextwave
Warren Ellis and Stuart Immonen's Nextwave series sees Machine Man join a team formed by the Highest Anti-Terrorism Effort, or H.A.T.E. (a subsidiary of the Beyond Corporation©) to fight Unusual Weapons of Mass Destruction.[volume & issue needed] Now preferring simply to be called Aaron, Machine Man is partnered with Monica Rambeau, Tabitha Smith, Elsa Bloodstone, and The Captain,[volume & issue needed] and the team soon discovers that H.A.T.E. are funded by the Beyond Corporation©, leading them to go rogue and carry out their mission on their own prerogative.[volume & issue needed]

 

 Aaron Stack
Calling humans "fleshy ones" and expressing a degree of pride in his "roboty parts" - which he uses to kill Fin Fang Foom[13] - Aaron has developed a fondness for alcohol, stating "My robot brain needs beer" on regular occasions. He is not especially popular with his teammates because of his self-important attitude, and as is learned in a flashback that after being brought to space by the Celestials at the conclusion of his previous series, he was dumped back on Earth because the space-gods considered him to be a "complete and utter ☠☠☠☠."[14] ("☠☠☠☠" representing an unspecified, but extremely offensive, profanity throughout the Nextwave series) He appears to have a rather serious attraction to Elsa Bloodstone and stares at her chest constantly, much to her chagrin.
It is revealed that when still an agent of H.A.T.E, Aaron would often sneak into Dirk Anger's room to steal beer until he found out what Anger made it out of ("I thought lizard squeezings was the name of a brewery!").[volume & issue needed] He later uses his knowledge of Dirk's quarters to steal Anger's mother's dress and hold it hostage in exchange for the safe escape of Nextwave.[volume & issue needed]
This characterization is strongly at odds with Machine Man's previous depiction as a friendly and logical individual. Warren Ellis and Joe Quesada explained that Nextwave did not take place in the mainstream Marvel universes.[citation needed] However, Aaron Stack's later appearances in the Marvel Universe are consistent with Nextwave.[original research?]
Later appearances in the 'Marvel Comics Presents' mini-series (vol.2) suggest that X-51's memories of his time with the Celestials may be skewed, as he experienced visual hallucinations (?) of a miniature Celestial helping him overcome his psychological issues.[volume & issue needed]
The Initiative[edit]
Main article: Fifty State Initiative

 

 Aaron with his Monica Rambeau LMD. Art by Adriana Melo.
Machine Man appears in a flashback to Iron Man v1 #168 (March, 1983) in Iron Man/Captain America: Casualties of War. In trying to convince Captain America of the rightness of his position, Iron Man tells of the time Machine Man came to visit him. Machine Man was seeking to compare notes with Iron Man, thought to be a robot by Machine Man. Drunk, irate, and under considerable stress from the machinations of Obadiah Stane, Iron Man attacks Machine Man and almost kills two of his own employees. At the last possible second, Machine Man's extendable arm pushes them out of the way. Iron Man uses this incident as the need for accountability in the superhero population.[volume & issue needed]
Aaron and Sleepwalker are recruited to aid Ms. Marvel in finding her teammate Araña as part of a S.H.I.E.L.D. strikeforce known as Operation Lightning Storm.[volume & issue needed] In the promotional cover for this appearance, he is in the costume which he wore during Nextwave.[15] His appearance is entirely in keeping with Nextwave: he wears the same costume and displays the same nonsensical and zany personality developed, in place of his previous logical and friendly self. He reveals that Agent Maria Hill from S.H.I.E.L.D. offered him financial compensation to join the Initiative, enraging Ms. Marvel, who had supported it from the beginning, for free.[volume & issue needed] He spends much of his time in Chile and aboard the Minicarrier 13, Ms. Marvel's headquarters at the time, antagonizing and criticizing every available agent.[volume & issue needed]
In addition to financial compensation, S.H.I.E.L.D. has also provided Aaron with a Life Model Decoy of Monica Rambeau, which is programmed to cry for him.[16] Keeping him in his new role of comic relief, Aaron has been shown using the LMD body as a replacement part for his damaged body, going so far to offer womanly advices to a deeply shocked Araña.[17]
Marvel Zombies[edit]
Main articles: Marvel Zombies 3 and Marvel Zombies 5
See also: Marvel Zombies (series)
Machine Man appears twice in the "Marvel Zombies" universe, initially in a cameo as part of the Nextwave team who engage in battle against the infected heroes and are killed off panel in "Marvel Zombies vs. The Army of Darkness", and as the main character in "Marvel Zombies 3". As the main character, Machine Man accepts an assignment on behalf of A.R.M.O.R. to accompany Jocasta to retrieve a blood sample from a living human from the "Marvel Zombies" universe, and the two are transported there by Portal.[18] At first he wants to complete his mission only for the money, until he discovers that the zombies are cloning humans for food, much as humans use his fellow robots only for their own needs. He obtains cell samples from the Kingpin's wife Vanessa, who is still alive and being kept safe by the Kingpin.[19] Machine Man delivers the samples to Jocasta, but the zombies nearly destroy him in retribution, and Portal and Jocasta are forced to leave his ruined body in that dimension.[20] After Machine Man reveals that it was a holographic projection of himself, he fights off some zombies and captures the zombie Lockjaw who he uses to teleport back to his own dimension. Disposing of the remaining zombies within the facility, Machine Man and Jocasta are assigned back to S.H.I.E.L.D.[21]
He retains his personality as displayed in Nextwave and Ms Marvel in this series, however when Jocasta describes him as different from the person she once knew, he gives an explanation. Describing his earlier, friendly personality as being linked to "unresolved Oedipal issues", he claims to have grown tired of saving people over and over again to earn their love, as he loved them. Since that never happened (he claims), he has "modeled myself after the fleshies now. I look out for Number One, just like them".[22] However, at the end of the series, as he wipes out the last remaining zombies, he declares, "No, you know what? My name is Machine Man and I just saved the ☠☠☠☠ing world!" accepting the name he spent much of Nextwave and this series denying.[23]
In Marvel Zombies 5, he teams up with Howard the Duck and Jacali Kane, daughter of the Hurricane, band together they travel the multiverse fighting zombies in hoping to find a cure for the zombie plague.[24] He is dismayed by Jocasta's decision to marry Ultron.[25]
Working with Red Hulk[edit]
Under orders from Captain Steve Rogers, Machine Man teams up with Red Hulk who is tracking down a Qatar rebel named Dagan Shah (whom Red Hulk believed to be behind the death of his old friend Will Krugauer).[26] Machine Man and Red Hulk arrive in Sharzhad where they find Dagan Shah in the disguise of Arabian Knight who lets them through the forcefield and leads them to his palace. Once inside the palace, Dagan Shah sheds his disguise, reveals his true identity as the Sultan Magus, and imprisons Red Hulk and Machine Man as it is shown that the real Arabian Knight is imprisoned in a crystal.[27] While Sultan Magus flew to Cairo upon probing Red Hulk's mind to find out who could've sent Red Hulk to Sharzhad, Red Hulk and Machine Man took the opportunity to escape. Machine Man revealed to Red Hulk that Sultan Magus has used Rigellian technology to manipulate hydrogen which involved providing a supply of water and terraforming a part of the desert for Sharzhad. When Sultan Magus returned, he attacked Red Hulk and Machine Man where Sultan Magus ended up ripping Machine Man in half.[28] When Arabian Knight is freed from his imprisonment, Red Hulk and Machine Man continued their fight with Sultan Magus until General Reginald Fortean arrived and ended the fight. General Reginald Fortean states to Red Hulk and Machine Man that Sharzhad has been recognized as a nation by the Arab League upon Sultan Magus agreeing to stop the weapons trading and states that they are trespassing. Sultan Magus then orders Red Hulk and Machine Man to get out of Sharzhad while he secretly plans to have his revenge on Red Hulk someday.[29]
Following an altercation with Red She-Hulk, Machine Man and Red Hulk track Zero/One to her floating island base Ogygia. As Red Hulk and Machine Man are fighting Zero/One's genetically-engineered sea monsters, Zero/One sends Black Fog to fight Machine Man and Red Hulk.[30] Using a device given to him by Jacob Feinman, Machine Man disables Zero/One's drones and frees Black Fog from Zero/One's control as Black Fog leaves the area stating that his debt is paid.[31]
Machine Man and Red Hulk arrived in Hawaii to fight a genetically-engineered Hydra that was created by Zero/One.[32]
Powers and abilities[edit]
Machine Man was constructed by unnamed computer engineering specialists under Dr. Oliver Broadhurst at the Broadhurst Center for the Advancement of Mechanized Research; Dr. Abel Stack was his chief programmer. Machine Man's robotic materials, design, and construction (titanium alloy) provide him with a number of abilities, as does his adamantium composition. He possesses superhuman strength, speed, stamina, durability, and reflexes. He is an expert on his own construction and repair. Machine Man has superhuman visual acuity. He possesses an above normal intellect, with a capacity for unlimited self-motivated activity, creative intelligence, and human-like emotions. He has superhuman cybernetic analytical capabilities, including the ability to process information and make calculations with superhuman speed and accuracy.
Machine Man is powered by solar energy. He can also draw power from several different external energy sources, if needed. Machine Man has the ability to telescope his arms and legs to a length of 100 feet. Machine Man's hands are equipped with variable payload fingers, some routinely carried in his fingers, other stored in hidden recesses in his belt. His fingers contain a different variety of weapons, including: gas chromatograph, laser interferometer, micro-pulse radar, audiometer, seismometer, gravity wave detector, pulse-code modulator, standard computer input/outputs, radio beacon, all-wave transceiver, laser cutting torch/weapon, and projecting heat, cold, or electricity; one of his fingers has been shown to contain a bullet-firing mechanism that uses .357 Magnum ammunition. He has the ability of flight under his own power through the means of anti-gravity disks.
During the X-51 series, Machine Man had a few extra features thanks to nanotechnology within him at the time. This mainly included parts of himself being rebuilt if damaged, also causing many changes in his look from issue to issue. He also had a beam cannon on his chest.[volume & issue needed]
In Nextwave, he has become a living Swiss Army knife of sorts, containing various tools and weapons for a multitude of situations, both useful and esoteric. When asked if he could impregnate a human woman from several feet away, Aaron simply states "I am full of very useful devices."[volume & issue needed]
In the Point One event, as many other heroes, Machine Man was slightly revamped, gaining new powers and abilities. Being now a cross between the nanotechnlogical being in the X-51 miniseries and the living Swiss Army Knife of Nextwave, Machine Man is now suffused with nanites able to effortlessly change his appearance from his earliest, jump-suited look to the more humanoid looks of Nextwave. Also, his nanotechnology allows him to morph and rebuild every piece of machinery he comes in contact with, such as building an antigravity vehicle out of a motorcycle.[volume & issue needed]
Other versions[edit]
Delmar Insurance[edit]
In Nextwave #10, Forbush Man forced each member of Nextwave to experience life in 'Forbush Vision'; they were cursed to suffer in a boring or mundane personal hell. Aaron's nightmare was life as an insurance adjustor for Delmar Insurance in Central City, USA. Bashing his head into a personal computer several times out of depression, he decapitated himself...only to answer the phone a moment later. Stack was freed from the nightmare by the intervention of fellow Nextwave member Tabitha Smith.[33]
Earth X[edit]
Machine Man was also one of the main characters of the Earth X trilogy. Transformed by a monolith into a transparent version of himself, Aaron was forced to become the new Watcher by a blind Uatu, the previous Watcher, who had not viewed any event on the planet for 20 years. Tricking Uatu, who had attempted to force Machine Man to reject his humanity, Machine Man managed to use his access to Watcher technology and data to help humanity defeat the coming Celestials, by revealing to Earth's superhero community the true origins of mankind. After defeating the Celestials, Machine Man used his newfound position to contact parallel Earths to help them eradicate the Celestial menace.[volume & issue needed]
Marvel Zombies[edit]
Aside from his mainstream version having traveled to this universe, Machine Man and his Nextwave counterparts are also a team in this reality; they are destroyed off-panel by the zombie Power Pack.[34] The classic version of Machine Man also appears in Marvel Zombies Dead Days in the S.H.I.E.L.D. Helicarrier. He is part of a last-ditch super-team gathered to fight the zombies.[35]
Machine Man 2020[edit]
Machine Man was reactivated in the year 2020 by a group of outlaw scavengers called Midnight Wreckers (led by X-51's old friend Gears Garvin), and forced to battle his old enemy, the industrialist ice queen Sunset Bain, as well as mercenary Arno Stark, the amoral Iron Man of 2020.[36]
Earth X[edit]
In Paradise X: Heralds #1, Iron Man 2020 claimed to the Earth X Machine Man that he had killed Machine Man 2020, despite the miniseries clearly depicting Arno Stark's decisive defeat at Machine Man's hands (The Earth X universe is a separate continuity from the mainstream Marvel Universe[37][38]).
Queen's Vengeance[edit]
When Morgan le Fay restructured reality in volume three of Avengers #1-3, nearly all Avengers, past and present, were transformed into the Queen's Vengeance, a sort of medieval-themed Avengers.[volume & issue needed] Machine Man became Sir MacHinery, an obvious play on the word machinery. He can be seen on the cover of issue #2, behind Hercules.[39]
Ultimate Machine Man[edit]
The Ultimate Marvel version of Machine Man is Danny Ketch, who sacrificed his life during Galactus' assault on Earth. Ketch's consciousness is later revealed to have survived inside a robotic body formed from salvaged Gah Lak Tus tech, and is dubbed "Machine Man" by Phil Coulson.[40]
In other media[edit]
Television[edit]
In the Spider-Man Unlimited animated TV series, the Machine Men (all voiced by Dale Wilson) serve as the High Evolutionary's enforcers on Counter-Earth. Spider-Man saved a Machine Man named X-51 from disassembly in the episode "Steel Cold Heart" and he joined forces with Spider-Man and the Human Rebels in their struggle against the High Evolutionary's regime. This robot is one of a group of Machine Men, who switches sides after not wanting to be scrapped following serious damage in a battle. The design of these Machine Men is somewhat reminiscent of the original Machine Man, especially in terms of color and abilities. However, they are substantially bulkier than Machine Man's human sized physique, drawing inspiration from the design of the Sentinels from X-Men[citation needed].
Music[edit]
X-51 was mentioned on the Powerman 5000 album Tonight the Stars Revolt! in the song entitled "The Son of X-51"[41] as well as their song "Public Menace, Freak, Human Fly" from the album Mega!! Kung Fu Radio
Controversy[edit]
Despite the appearance of Nextwave characters in other Marvel titles, in 2006 Editor-in-Chief Joe Quesada stated that Nextwave's setting was in a universe separate from the main Marvel continuity.[42] However, recent issues of Official Handbook of the Marvel Universe, as well as Civil War: Battle Damage Report, consistently place Nextwave's activities in mainstream continuity. As noted above, subsequent appearances by Stack have used the Nextwave portrayal.
References[edit]
1.Jump up ^ 2001: A Space Odyssey #8
2.Jump up ^ Machine Man Vol. 1 #1-2
3.Jump up ^ Machine Man Vol. 1 #6
4.Jump up ^ Incredible Hulk Vol. 2 #235-237
5.Jump up ^ Machine Man Vol. 1 #10
6.Jump up ^ Machine Man Vol. 1 #15
7.Jump up ^ Machine Man Vol. 1 #16
8.Jump up ^ Machine Man Vol. 1 #17
9.Jump up ^ Machine Man Vol. 1 #18
10.Jump up ^ Iron Man #168 (March 1983)
11.Jump up ^ Marvel Two-in-One #92-93
12.Jump up ^ X-Men Annual '99
13.Jump up ^ Nextwave: Agents of H.A.T.E. #3
14.Jump up ^ Nextwave: Agents of H.A.T.E. #5
15.Jump up ^ Ms. Marvel #18, Marvel's August Solicitations
16.Jump up ^ Ms. Marvel 26
17.Jump up ^ Ms. Marvel 21
18.Jump up ^ Marvel Zombies 3 #1
19.Jump up ^ Marvel Zombies 3 #2
20.Jump up ^ Marvel Zombies 3 #3
21.Jump up ^ Marvel Zombies 3 #4
22.Jump up ^ Marvel Zombies 3 #2
23.Jump up ^ Marvel Zombies 3 #4
24.Jump up ^ Marvel Zombies 5 #1-5
25.Jump up ^ Marvel Zombies 5 #3
26.Jump up ^ Hulk Vol. 2 #43
27.Jump up ^ Hulk Vol. 2 #44
28.Jump up ^ Hulk Vol. 2 #45
29.Jump up ^ Hulk Vol. 2 #46
30.Jump up ^ Hulk Vol. 2 #47
31.Jump up ^ Hulk Vol. 2 #48
32.Jump up ^ Hulk Vol. 3 #49
33.Jump up ^ Nextwave #10 (Jan. 2007)
34.Jump up ^ Marvel Zombies Versus The Army of Darkness #3
35.Jump up ^ Marvel Zombies Dead Days One-shot (July 2007)
36.Jump up ^ Machine Man Vol. 2 #1-4
37.Jump up ^ Marvel Encyclopedia Volume 6: Fantastic Four
38.Jump up ^ Official Handbook to the Marvel Universe: Alternate Universes 2005
39.Jump up ^ Avengers #1-3 (1998)
40.Jump up ^ Cataclysm: Ultimates #3
41.Jump up ^ Rolling Stone's Powerman 5000 Discography
42.Jump up ^ Wade Gum (2006-07-01). "Heroes Con: Joe Quesada Panel", http://www.wizarduniverse.com/magazine/wizard/000765389.cfm
External links[edit]
Machine Man at Marvel.com
Machine Man at the Marvel Directory
Midnight Wreckers at the Appendix the Handbook of the Marvel Universe


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Monolith (Space Odyssey)
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 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. (July 2010)

 

Chaos Computer Club used a model of the 2001 monolith at the Hackers at Large camp site
Monoliths are fictional advanced machines built by an unseen extraterrestrial species that appear in Arthur C. Clarke's Space Odyssey series of novels and films. During the series, three monoliths are discovered in the solar system by humans and it is revealed that thousands if not more were created throughout the solar system, although none are seen. The subsequent response of the characters to their discovery drives the plot of the series. It also influences the fictional history of the series, particularly by encouraging humankind to progress with technological development and space travel.
The first monolith appears in the beginning of the story, set in prehistoric times. It is discovered by a group of hominids, and somehow triggers a considerable shift in evolution, starting with the ability to use tools and weaponry.


Contents  [hide]
1 The nomenclature TMA
2 Origins
3 Appearance and capabilities
4 Tycho Magnetic Anomaly-1
5 Tycho Magnetic Anomaly-2
6 Tycho Magnetic Anomaly-0
7 Actions
8 Namesake 8.1 Seattle Monolith
9 In popular culture
10 References

The nomenclature TMA[edit]
The first monolith discovered in the modern age was uncovered on the Moon at the site of an unnaturally powerful magnetic field near the crater Tycho. It was called the Tycho Magnetic Anomaly 1 ("TMA-1") before the monolith was discovered.[1] After this is discovered to be an alien artifact, its name becomes the "Tycho Monolith Anomaly 1" (still TMA-1). Soon afterward, a second, larger monolith was discovered orbiting Jupiter; it was dubbed "TMA-2". A few centuries in the future, a third monolith is discovered that is buried on Earth in rocks that were clearly millions of years old, and it is surrounded by primitive human artefacts. This one is retroactively named "TMA-0" (as opposed to "TMA-3") because it had been the first monolith to be discovered by men-apes during prehistoric times.
The term "Tycho Magnetic Anomaly" is something of a misnomer when referring to "TMA-0" and "TMA-2", since neither of these is found on the Moon (let alone in Tycho Crater) and neither one of them emits any significant magnetic field, as described in the novel 2010: Odyssey Two. In the novel, the Russian crewmen of the spaceship Alexei Leonov refer to the TMA-2 as "Zagadka" (from the Russian word for "enigma", "mystery", or "riddle").
Origins[edit]
The extraterrestrial species that built the monoliths is never described in much detail, but some knowledge of its existence is given to Dave Bowman after he is transported by the stargate to the "cosmic zoo", as detailed in the novels 2001: A Space Odyssey and 2010: Odyssey Two. The existence of this species is only hypothesized by the rest of humanity, but it is obvious because the monolith was immediately identified as an artefact of non-human origin.
The extraterrestrial species that built the monoliths developed intergalactic travel millions or perhaps billions of years before the present time. In the novels, Clarke refers to them as the "Firstborn" (not to be confused with the identically-named race in Arthur C. Clarke's and Stephen Baxter's Time Odyssey Series) since they were quite possibly the first sentient species to possess a significant capability of interstellar travel. Members of this species explored the universe in the search of knowledge, and especially knowledge about other intelligent species.
While these early explorers discovered that life was quite common, they observed that intelligent life was often stunted in its development, or else died out prematurely. Hence, they set about fostering it. The "Firstborn" were in many ways physically different from human beings, though from another point-of-view they were fundamentally the same: they were creatures made of "flesh and blood", and hence like human beings they were mortal.
However, the evolutionary development projects they began would by their nature require very long time-spans to complete, far longer than the lifetimes of their creators. Therefore, the aliens created increasingly complex automated machines to oversee and carry out their projects over the eons. When they encountered a living world that had features in favour of the evolution of intelligent life, they left behind the monoliths as remote observers that were also capable of taking a variety of actions according to the wishes of their creators. One such planet, encountered when it was still quite young, was the Earth. They also observed Jupiter and its watery moon, Europa. The decaying ecology of Mars was also visited, but passed over in favour of more fruitful locations like Earth. The aliens left behind three monoliths to observe and enact their plan to foster humans to pursue technology and space travel.
As described in Clarke's novel, the Firstborn discovered later how to transfer their consciousness onto computers, and thus they became thinking machines. In the end, they surpassed even this achievement, and were able to transfer entirely from physical to non-corporeal forms – the "Lords of the Galaxy" — omniscient, immortal, and capable of travelling at great speeds. The Firstborn had abandoned physical form, but their creations, the monoliths, remained, and these continued to carry out their original assignments.
Appearance and capabilities[edit]

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All the monoliths are black, extremely flat, non-reflective rectangular solids whose dimensions are in the precise ratio of 1 : 4 : 9 (the squares of the first three integers). These dimensions are the main source of debate about the simple external design of the monoliths. It is suggested in the novel 2001 that this number series does not stop at three dimensions.[2]
The monoliths are observed in several different sizes – TMA-0 and TMA-1 are both about 11 feet long and TMA-2 is two kilometres long on its longest axis, whereas the monolith that appears on Europa is considerably larger. They may be able to assume any size, because in 2010: Odyssey Two, the Star Child, created from the astronaut Dave Bowman, cryptically notes that the monolith is actually one size – "as large as necessary".
These monoliths appear to be extremely long lived and reliable machines, essentially an incredibly advanced form of multifunction robot, being able to survive for millions of years buried in the ground or resisting meteorite impacts and radiation in space, with no apparent damage. The two monoliths recovered and examined by humans reveal themselves to be virtually indestructible and impenetrable, resisting all attempts to analyse their composition or internal structure right up to the end of the series. It is suggested by Dr. Heywood Floyd that they possess some sort of force shield, an impression he gets from touching it and much later accepted as most probable because the monoliths resist destructive testing beyond the theoretical limits of material strength. However, they are not completely indestructible – the TMA-4 has suffered from damage caused by a giant meteorite of solid diamond that collided with Europa in 2061: Odyssey Three. In the final book, 3001: The Final Odyssey, all three monoliths known to humankind are deactivated by infecting them with a powerful computer virus.
While it is unclear what the composition of the monoliths is, they clearly have mass, which is about the only observation that can be made. In the novel 2010, the crewmen of the spaceship Alexi Leonov measure the mass of TMA-2 and they find that it has a density slightly higher than that of air (presumably at a standard temperature and pressure). The masses of TMA-0 and TMA-1 are never revealed by Clarke.
In 2001, TMA-2 opens up a stargate that takes Dave Bowman on a trip across the universe at faster-than-light speeds, and with as much acceleration as the creators of the stargate wish. In 2010 and again in 3001, TMA-2 is seen to teleport itself.
TMA-2 is also seen to replicate itself by a form of symmetrical binary fission and exponential growth to create thousands or millions of identical monoliths in just a matter of days. In 2010, the many units act to increase the density of Jupiter until stellar ignition is carried out, hence converting the planet into a miniature star. In 3001, millions of copies of TMA-2 are observed to assemble themselves into two megastructure disks that attempt to block the Sun from the Earth and from its colonies in the Jovian system.
The monoliths are clearly described in the novels as being controlled by an internal computer, like Von Neumann machines. In 2061, the consciousness of Dave Bowman, HAL-9000, and Dr. Floyd become incorporated as computer programs in TMA-2 as their new home. TMA-2 then observes the development of the Europans and guards them from any interplanetary (i.e. human) interference.
Both the TMA-1 and the TMA-2 produce occasional, powerful, directional radio transmissions. TMA-2 sends a radio transmission towards a star system about 450 light years away in the 22nd century. However, only TMA-1 ever exhibited any strong magnetic fields.
Tycho Magnetic Anomaly-1[edit]
The name Tycho Magnetic Anomaly-1 (also known as the TMA-1) refers to the strong magnetic field found somewhere in the lunar Crater Tycho by an American scientific satellite. Astronauts find that this magnetic anomaly is caused by an alien monolith buried about 15 meters below the surface. When the monolith is excavated and examined, it is found to be a black parallelepiped whose sides extend in the precise ratio of 1 : 4 : 9 (1² : 2² : 3²). However, in the novel, Clarke suggests that this sequence or ratio extends past the three known spatial dimensions into the much higher dimensions, like this: 16 : 25 : 36...
The TMA-1 was dug up during the lunar night, but after sunrise and its exposure to direct sunlight, TMA-1 emits a single powerful burst of radio waves – aimed at Iapetus (Saturn) in the novel, and aimed at Jupiter in the motion picture. Its powerful magnetic field disappears immediately. In the novel, some scientists speculate that its magnetic field came from large electric current, circulating in a system of superconductors for millions of years as an energy-storage mechanism. All of that electric power was expended in the one radio signal.
Tycho Magnetic Anomaly-2[edit]
An identical (except in size) object was found later, orbiting Jupiter (on a moon of Saturn in the book, although this was changed to Jupiter in the sequel book, 2010: Odyssey Two). This object was dubbed "TMA-2", a term that the book calls "doubly inappropriate": it had no magnetic field and was millions of miles from Tycho (TMA-2 was often referred to as "Big Brother" due to David Bowman's comments on its immense size). In 3001: The Final Odyssey, HAL and Bowman destroy TMA-2 with a computer virus after it is learned that its superiors are sending an order to destroy humanity.
Tycho Magnetic Anomaly-0[edit]
In the year 2513, the first Monolith to be encountered by humankind's prehistoric evolutionary predecessors was found in Olduvai Gorge, Africa, buried in ancient rock, and was retroactively dubbed "TMA-0".
Actions[edit]
The TMA-2 monolith had judged humanity not worthy of survival due to its chaotic and war-like social state in the year 2001, or at least, that it would be preferable to start over by uplifting the primitive Europans, and humanity might pose a threat to them. TMA-2 thus converted Jupiter into a new star (dubbed "Lucifer", meaning "light-bringer") to warm Europa into more habitable conditions – at the cost of exterminating the Jovians, ocean-like creatures who swam through the upper atmosphere of Jupiter. The Jovians were judged too primitive, as due to their environment they never had hope of developing tools or advanced intelligence. Apparently the TMA-2 monolith was allowed to destroy primitive species at its own discretion, but needed the authorisation of a "superior" to destroy an advanced spaceflight-capable civilisation such as humanity. This "superior" was apparently a hub-monolith located in a distant star system, but even the monoliths were limited by the speed of light in their interstellar communications. Thus it took five hundred years for the message sent by TMA-2 to reach its "superior", which then sent a message giving permission to destroy humanity, which took another five hundred years to return to the Sol system in the year 3001. Due to the efforts of Frank Poole, the ascended Dave Bowman and AI HAL (now fused as one being "Halman" in the monolith's computational matrix) were able to introduce a computer virus into TMA-2 which destroyed it before it could render the human race extinct.
The Firstborn did not apparently abandon all interest in the evolutionary experiments overseen by the ancient monoliths. Given that the monoliths's communications are said to be limited by the speed of light, but Dave Bowman is sent on an interstellar journey at the end of 2001: A Space Odyssey, Bowman was apparently transformed into the Star-Child not by the monoliths but by the Firstborn (both Kubrick and Clarke have similarly stated that Bowman was transformed by non-corporeal aliens, not the monoliths). They also subsequently transform HAL in 2010, to give Bowman a companion. The epilogue to 3001: The Final Odyssey reveals that the Firstborn had been monitoring humanity's final confrontation with the monoliths in the Sol system, but chose not to intervene. Unlike the TMA-2 monolith, whose judgement of humanity was based on its social progress by the year 2001, the Firstborn considered the more peaceful and responsible humanity of the year 3001 worthy of survival, or at least not a threat to the Europans. Their assessment seems to prove true, as subsequently Frank Poole and the other humans land on Europa and attempt to start peaceful relations with the primitive native Europans.
Namesake[edit]
"Monolith" was used by Grundig (a German electronics manufacturer) to name a series of its high fidelity loudspeakers.[3] The largest model in the series, Grundig Monolith 190 (1979–1983), weighted 83 kg and its proportions (including a height of approximately 2 m) were reminiscent of extraterrestrial monoliths.
In the late 1980s, Apple Inc. bought a Cray supercomputer to model experimental processor designs. After the machine was installed and set up, a company-wide contest was held to choose a name for the machine: the winning suggestion was TMA-1.[citation needed]
Danish headphone manufacturer Aiaiai have recently released a model named the TMA-1 due to the matte black finish and design of the headphones. This company has attributed the naming of this model to the monolith from 2001.
Seattle Monolith[edit]
On New Year's Day 2001, the Seattle Monolith, a replica of the Monolith made out of welded steel, appeared on a hill in Seattle's Magnuson Park, apparently having been placed there during the night before. It disappeared overnight three days later, and was presumed to be a reference to the monolith in 2001: A Space Odyssey.[4]
In popular culture[edit]
Tributes to Monoliths have appeared in several video games. In SimEarth and Spore, Monoliths are used to encourage the evolution of species.[5][6] A Monolith also briefly appears in the game Bookworm Adventures 2 as a boss enemy known as the Monolithic Obelisk which was probably inspired from 2001: A Space Odyssey. In "Metal Slug 3" the second boss of the game materializes Monoliths from above that instantly kill you. In the game EVE Online several Monoliths appear throughout the game. They appear to have no use other than homage.
Monoliths appear in various times and places throughout the 2001: A Space Odyssey comic book by Jack Kirby, from Marvel Comics. They also appear in the (related by way of Machine Man) Earth X comic book series. The Monolith scene at the start of 2001 is also featured in The Simpsons episode "Lisa's Pony" with primitive man represented by Homer Simpson.
References[edit]
1.Jump up ^ Nelson, Thomas Allen (2000). Kubrick : inside a film artist's maze (New and expanded ed.). Bloomington: Indiana University Press. p. 107. ISBN 9780253213907.
2.Jump up ^ Clarke A (1968). 2001: A Space Odyssey, Signet. "How obvious—how necessary—was that mathematical ratio of its sides, the quadratic sequence 1:4:9! And how naive to have imagined that the series ended at this point, in only three dimensions!"
3.Jump up ^ "Grundig Monolith 190". Retrieved 7 October 2011.
4.Jump up ^ "Seattle's mystery monolith disappears". BBC News. BBC. 4 January 2001. Retrieved 21 November 2008.
5.Jump up ^ Edge staff (6 September 2008). "Spore and the Creativity of Science". Edge. Retrieved 17 October 2009.
6.Jump up ^ Svetkey, Benjamin (13 January 1995). "Videogame Review: SimEarth". Entertainment Weekly. Retrieved 17 October 2009.


[hide]
v ·
 t ·
 e
 
Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


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2001: A Space Odyssey (score)
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For the film's actual score, see 2001: A Space Odyssey (soundtrack).
The 2001: A Space Odyssey score is an unused film score composed by Alex North for Stanley Kubrick's 1968 film, 2001: A Space Odyssey.


Contents  [hide]
1 Background
2 Original theme music
3 Jerry Goldsmith recording
4 Official original recording
5 Reception
6 References
7 External links

Background[edit]
In the early stages of production, Kubrick had commissioned noted Hollywood composer Alex North, who had written the score for Spartacus and also worked on Dr. Strangelove, to write the score of his upcoming film 2001: A Space Odyssey.[1] However, during post-production, Kubrick chose to abandon North's music in favor of the now-familiar classical music 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.[2] The world's first exposure to North's unused music was in 1993 via 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.[3]
In an interview with Michel Ciment, Kubrick explained:

However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time? When you are editing a film, it's very helpful to be able to try out different pieces of music to see how they work with the scene...Well, with a little more care and thought, these temporary tracks can become the final score.[4]
North, unaware that Kubrick had decided not to use the score in his film, was "devastated"[5] at the 1968 New York City premiere screening of 2001 not to hear his work, and later offered this account of his experience: "Well, what can I say? It was a great, frustrating experience, and despite the mixed reaction to the music, I think the Victorian approach with mid-European overtones was just not in keeping with the brilliant concept of Clarke and Kubrick."[5]
The original three-track score masters had been kept at Anvil Studios in England as late as 1980, but were later erased when the Anvil facility closed. All that remained of the original tracks were mono fold down tapes kept by North's family.
Original theme music[edit]
Alex North's main title theme has a striking resemblance to the "Also sprach Zarathustra" piece that would eventually be used in the final film. The original theme was listed on North's original score sheet as "Bones". It would have been used three times in the film, once as the main title music, and again during the opening "Dawn of Man" sequence as an ape smashes skeletal remains (hence the score sheet's title), and finally at the end of the film during the "Starchild" scene. This theme music made its public debut in early 1993 as part of the Telarc compilation CD Hollywood's Greatest Hits, Vol. 2, by Erich Kunzel and the Cincinnati Pops Orchestra, and there it was titled "Fanfare for 2001" (it would therefore be the world's first exposure to North's unused 2001 music). It would eventually be recycled by North for his later scores to Shanks, Dragonslayer and The Shoes of the Fisherman.
Jerry Goldsmith recording[edit]

Alex North's 2001:
The Legendary Original Score
 
Film score by Jerry Goldsmith and the National Philharmonic Orchestra

Released
October 12, 1993
Recorded
January 26–30, 1993
Genre
Soundtrack, classical
Length
35:24
Label
Varèse Sarabande
Producer
Jerry Goldsmith

Professional ratings

Review scores

Source
Rating
Allmusic 4/5 stars [6]
Shortly after Telarc's release of the theme, the entire original North score was released to the public, also in 1993, in the form of an entirely new recording produced and conducted by film composer Jerry Goldsmith, performed by the National Philharmonic Orchestra and recorded from January 26 to January 30. It was released in CD format from Varèse Sarabande Records, with the track list sequenced by co-producer Robert Tounson. CD cover art by Matthew Joseph Peak.

No.
Title
Length

1. "Main Title"   1:37
2. "The Foraging"   3:44
3. "Eat Meat and the Kill"   3:27
4. "The Bluff"   3:01
5. "Night Terrors"   2:02
6. "The Dawn of Man"   3:14
7. "Space Station Docking"   2:22
8. "Trip to the Moon"   3:21
9. "Moon Rocket Bus"   5:01
10. "Space Talk"   3:30
11. "Interior Orion"   1:26
12. "Main Theme"   2:31

Official original recording[edit]

Music for
 2001: A Space Odyssey
 
Film score by Alex North

Released
January 26, 2007
Recorded
1968
Genre
Soundtrack, classical
Length
38:54[7]
Label
Intrada
Producer
Nick Redman
In January 2007, Intrada Records issued 3000 copies of a limited edition CD featuring North's original recording of the score from 1968. The release was authorized by the family of North, the estate of Stanley Kubrick, Dylanna Music, North's music publishing company, and other entities (the film's current rights holder, Turner Entertainment, did not take part in this CD release).[8] The album features nine tracks from the score, as well as an alternate version of the track "The Foraging." In addition, the album features three bonus tracks, all of additional takes of other tracks on the album. The music is conducted by Henry Brant, who helped North with the orchestration. North had to be taken to the session in an ambulance due to muscle spasms and back pain brought on by the stress of completing the score.[9] The CD also includes liner notes and precise cue points as to where the music would have been found in the film so that viewers can properly track these cues in sync with the DVD/Blu-ray.

No.
Title
Length

1. "The Foraging"   3:11
2. "The Bluff"   2:38
3. "Night Terrors"   1:47
4. "Bones"   1:41
5. "Eat Meat and Kill"   4:00
6. "Space Station Docking"   5:22
7. "Space Talk"   3:47
8. "Trip to Moon"   3:04
9. "Moon Rocket Bus"   5:19
10. "The Foraging" (alternate version) (aka The Dawn of Man) 3:08

Bonus Tracks
 
No.
Title
Length

11. "Eat Meat and Kill" (take 7 – wild) 1:03
12. "Space Station" (take 4 – partial) 2:11
13. "Docking" (take 2) 1:15




Reception[edit]
In The Art of Film Music George Burt writes that North's score is outstanding and Kubrick's decision to abandon it was "most unfortunate", even though Kubrick's choice of classical music does have merit.[3]
On hearing the score as it might have been in the film, film scholar Gene D. Phillips argued that "it is difficult to see how North's music would have been an improvement on the background music that Kubrick finally chose for the film."[10] In his notes for the Jerry Goldsmith recording (see below), however, Kevin Mulhall argues that "there is no doubt that 2001 would have been better if Kubrick had used North's music. Even if one likes some of the choices Kubrick made for certain individual scenes, the eclectic group of classical composers employed by the director... resulted in a disturbing melange of sounds and styles overall."[5]
Roger Ebert notes that Alex North's rejected score contains emotional cues to the viewer while the final music selections exist outside the action, while uplifting it. With regard to the space docking sequence, Ebert notes the peculiar combination of slowness and majesty that it has as a result of the choice of Strauss's Blue Danube waltz, bringing "seriousness and transcendence" to the visuals. Speaking of the music generally, Ebert writes:

When classical music is associated with popular entertainment, the result is usually to trivialize it (who can listen to the William Tell Overture without thinking of the Lone Ranger?). Kubrick's film is almost unique in enhancing the music by its association with his images.[11]
References[edit]
1.Jump up ^ Time Warp – CD Booklet – Telarc Release# CD-80106
2.Jump up ^ LoBrutto, Vincent (1998). Stanley Kubrick. London: Faber and Faber. p. 308. ISBN 0-571-19393-5.
3.^ Jump up to: a b George Burt (1995). The Art of Film Music. Northeastern University Press. p. 126. ISBN 978-1-55553-270-3. Retrieved October 16, 2011.
4.Jump up ^ "Kubrick on Barry Lyndon: An interview with Michel Ciment". Archived from the original on 4 July 2006. Retrieved July 8, 2006.
5.^ Jump up to: a b c CD insert booklet, Alex North's 2001: The Legendary Original Score (VSD-5400), Varèse Sarabande Records, 1993.
6.Jump up ^ Steven McDonald. "Alex North's 2001: The Legendary Original Score". Allmusic. Retrieved 2013-05-29.
7.Jump up ^ the album cover mistakenly lists the album length as 39:02, while its actual run time is 38:54
8.Jump up ^ "2001: A SPACE ODYSSEY - THE ORIGINAL SCORE". Intrada. Archived from the original on 11 February 2007. Retrieved 2007-03-10.
9.Jump up ^ "The Kubrick Site: Alex North on '2001'". Visual-memory.co.uk. Retrieved 2013-05-29.
10.Jump up ^ Phillips, Gene D. Music in 2001: A Space Odyssey. Castle, Alison (Editor). The Stanley Kubrick Archives, Taschen, 2005. ISBN 3-8228-2284-1
11.Jump up ^ Roger Ebert. "2001: A Space Odyssey (1968)". Chicago Sun-Times. Retrieved 16 February 2011.
External links[edit]
2001: A Space Odyssey - The Original Score (official listing) – Intrada Records
Jerry Goldsmith's recording of Alex North's 2001 at AllMusic
Eternal-recurrence-Alex North's 2001-a-space-odyssey CD cover Limited Edition


[hide]
v ·
 t ·
 e
 
Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


Categories: Film scores
Science fiction soundtracks
Space Odyssey series
1993 soundtracks
2007 soundtracks
Varèse Sarabande albums
Intrada Records soundtracks
Alternate soundtracks
Jerry Goldsmith soundtracks
National Philharmonic Orchestra soundtracks
Alex North soundtracks




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http://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(score)








 

2001: A Space Odyssey (soundtrack)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


2001: A Space Odyssey
 
Soundtrack album by Various artists

Released
1968
Genre
Classical
Length
36:41
Label
Sony Classical

Professional ratings

Review scores

Source
Rating
AllMusic 4.5/5 stars[1]
2001: A Space Odyssey is a soundtrack album to the film of the same name, released in 1968. The soundtrack is known for its use of many classical and orchestral pieces, and credited for giving many classical pieces resurgences in popularity, such as Johann Strauss II's 1866 Blue Danube Waltz, Richard Strauss' symphonic poem Also sprach Zarathustra (inspired by the writings of Friedrich Nietzsche), and György Ligeti's Atmosphères. The soundtrack has been re-issued multiple times: including a 1996 version and a digitally remastered version in 2010.


Contents  [hide]
1 Music
2 Album release 2.1 Track listing
3 Unused score
4 References

Music[edit]
2001 is particularly remembered for using pieces of Johann Strauss II's best-known waltz, An der schönen blauen Donau (On the Beautiful 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 (Usually translated as "Thus Spake Zarathustra" or occasionally "Thus Spoke Zarathustra"[2] – the soundtrack album gives the former, the movie's credits give the latter). Composers Richard and Johann Strauss are not related.
In addition to the majestic yet fairly traditional compositions by the two Strausses and Aram Khachaturian, Kubrick used four highly modernistic compositions by György Ligeti which employ micropolyphony, the use of sustained dissonant chords that shift slowly over time. 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.[3]
The Richard and Johann Strauss pieces and György Ligeti's Requiem (the Kyrie section) act as recurring leitmotifs in the film's storyline. Richard Strauss' Also Sprach Zarathustra is first heard in the opening title which juxtaposes the Sun, Earth, and Moon. It is subsequently heard when an ape first learns to use a tool, and when Bowman is transformed into the Star-Child at the end of the film. Zarathustra thus acts as a bookend for the beginning and end of the film, and as a motif signifying evolutionary transformations, first from ape to man, then from man to Star-Child. This piece was originally inspired by the philosopher Nietzsche's book of the same name which alludes briefly to the relationship of ape to man and man to Superman. The Blue Danube appears in two intricate and extended space travel sequences as well as the closing credits. The first of these is the particularly famous sequence of the PanAm space plane docking at Space Station V. Ligeti's Requiem is heard three times, all of them during appearances of the monolith. The first is its encounter with apes just before the Zarathustra-accompanied ape discovery of the tool. The second is the monolith's discovery on the Moon, and the third is Bowman's approach to it around Jupiter just before he enters the Star Gate. This last sequence with the Requiem has much more movement in it than the first two, and it transitions directly into the music from Ligeti's Atmosphères which is heard when Bowman actually enters the Star Gate. No music is heard during the monolith's much briefer final appearance in Dave Bowman's celestial bedroom which immediately precedes the Zarathustra-accompanied transformation of Bowman into the Star-Child. A shorter excerpt from Atmosphères is heard during the pre-credits prelude and film intermission, which are not in all copies of the film. Gayane's Adagio from Aram Khatchaturian's Gayane ballet suite is heard during the sections that introduce Bowman and Poole aboard the Discovery conveying a somewhat lonely and mournful quality. Other music used is Ligeti's Lux Aeterna and an electronically altered form of his Aventures, the last of which was so used without Ligeti's permission and is not listed in the film's credits.[4]
Since the film, Also Sprach Zarathustra has been used in many other contexts. It was used by the BBC and by CTV in Canada as the introductory theme music for their television coverage of the Apollo space missions, as well as stage entrance music for multiple acts including Elvis Presley late in his career. Jazz and rock variants of the theme have also been composed, the most well known being the 1972 arrangement by Eumir Deodato (itself used in the 1979 film Being There). Both Zarathustra and The Blue Danube have been used in numerous parodies of both the film itself and science fiction/space travel stories in general. HAL's "Daisy Bell" also has been frequently used in the comedy industry to denote both humans and machines in an advanced stage of madness.
Album release[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, and a longer excerpt of "Lux Aeterna" than that in the film. The soundtrack was a commercial success, reaching the 21st spot at the Billboard 200,[5] and receiving a RIAA certification of Gold for an excess of 500,000 copies.[6]
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.
Citing John Culshaw's autobiography Putting the Record Straight,[7] the Internet Movie Database explains

The end music credits do not list a conductor and orchestra for "Also Sprach Zarathustra." Stanley Kubrick wanted the Herbert von Karajan / Vienna Philharmonic version on English Decca for the film's soundtrack, but Decca executives did not want their recording "cheapened" by association with the movie, and so gave permission on the condition that the conductor and orchestra were not named. After the movie's successful release, Decca tried to rectify its blunder by re-releasing the recording with an "As Heard in 2001" flag printed on the album cover. John Culshaw recounts the incident in "Putting the Record Straight" (1981)... In the meantime, MGM released the "official soundtrack" L.P. with Karl Böhm's Berlin Philharmonic "Also Sprach Zarathustra"[8] discreetly substituting for von Karajan's version.
Track listing[edit]
[9]

No.
Title
Length

1. "Also Sprach Zarathustra (Strauss) – Richard Strauss, The Vienna Philharmonic, Herbert Von Karajan"   1:46
2. "Requiem for Soprano, Mezzo-Soprano, 2 Mixed Choirs and Orchestra – György Ligeti, The Bavarian Radio Orchetra, Francis Travis"   4:04
3. "Lux Aeterna – György Ligeti, The Stuttgart Schola Cantorum, Clytus Gottwold"   5:50
4. "The Blue Danube – Johann Strauss II, The Berlin Philharmonic Orchestra, Herbert Von Karajan"   6:55
5. "Gayne Ballet Suite (Adagio) – Aram Khachaturian, The Leningrad Philharmonic Orchestra, Gennadi Rezhdestvensky"   5:12
6. "Atmospheres – György Ligeti, South West German Radio Orchestra,Ernest Bour"   7:56
7. "The Blue Danube – Johann Strauss II, The Berlin Philharmonic Orchestra, Herbert Von Karajan"   3:30
8. "Also Sprach Zarathustra – Richard Strauss, The Vienna Philharmonic, Herbert Von Karajan"   1:37
Unused score[edit]
Main article: 2001: A Space Odyssey (score)
In the early stages of production, Kubrick had actually commissioned a score for 2001 from noted Hollywood composer Alex North, who had written the score for Spartacus and also worked on Dr. Strangelove.[10] However, during post-production, Kubrick chose to abandon North's music in favor of the now-familiar classical music pieces he had earlier chosen as "guide pieces" for the soundtrack. North did not know of the abandonment of the score until he saw the film's premiere screening.[11]
In March 1966, MGM became concerned about 2001's progress and Kubrick put together a show reel of footage to the ad hoc soundtrack of classical recordings. The studio bosses were delighted with the results and Kubrick decided to use these "guide pieces" as the final musical soundtrack, and he abandoned North's score.
In an interview with Michel Ciment, Kubrick explained:

However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time? When you are editing a film, it's very helpful to be able to try out different pieces of music to see how they work with the scene...Well, with a little more care and thought, these temporary tracks can become the final score.[12]
References[edit]
1.Jump up ^ "Album at Allmusic". Retrieved 2 November 2012.
2.Jump up ^ 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.
3.Jump up ^ James M. Keller. "Program Notes- Ligeti: Lontano for Large Orchestra". San Francisco Symphony. Archived from the original on February 11, 2009.
4.Jump up ^ Kosman, Joshua (June 13, 2006). "György Ligeti—music scores used in '2001' film (obituary)". The San Francisco Chronicle. Retrieved 2 November 2012.
5.Jump up ^ "List of Awards". AllMusic. Retrieved 2 November 2012.
6.Jump up ^ "Search for album charts at RIAA.com". Retrieved 2 November 2012.
7.Jump up ^ Culshaw was former manager of the classical division of the Decca Record Company. This incident is discussed on p. 204 of his autobiography Putting the Record Straight Viking Press, 1982
8.Jump up ^ The 1996 special edition CD with two versions of Zarathustra states that the original soundtrack had a version conducted by Ernest Bour conducting the Sudesfunk Orchestra- the same credits for all Odyssey-related recordings of Ligeti's "Atmospheres". However, the original vinyl LP credits conductor Karl Bohm as does this quote from Imdb. This is likely a clerical error on the 1996 special edition CD.
9.Jump up ^ album sleeve. Music from the Motion Picture 2001: a space odyssey. MGM Records.
10.Jump up ^ Time Warp – CD Booklet – Telarc Release# CD-80106
11.Jump up ^ LoBrutto, Vincent (1998). Stanley Kubrick. London: Faber and Faber. p. 308. ISBN 0-571-19393-5.
12.Jump up ^ "Kubrick on Barry Lyndon: An interview with Michel Ciment". Archived from the original on 4 July 2006. Retrieved 2 November 2012.


[hide]
v ·
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Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


Categories: 1968 soundtracks
Space Odyssey series
Sony Classical soundtracks
Film scores
Alex North soundtracks
Varèse Sarabande soundtracks




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Technologies in 2001: A Space Odyssey
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The 1968 science fiction film 2001: A Space Odyssey featured numerous fictional future technologies, which have proven prescient in light of subsequent developments around the world. Before the film's production began, director Stanley Kubrick sought technical advice from over fifty organizations, and a number of them submitted their ideas to Kubrick of what kind of products might be seen in a movie set in the year 2001. The film is also praised for its accurate portrayal of spaceflight and vacuum.


Contents  [hide]
1 Science 1.1 Accuracy
1.2 Inaccuracy
2 Imagining the future 2.1 Depiction of computers
2.2 Depiction of spacecraft
2.3 Other technologies
2.4 Companies and countries
3 References
4 External links

Science[edit]
Accuracy[edit]
2001 is, according to four NASA engineers who based their nuclear-propulsion spacecraft design in part on the film's Discovery One, "perhaps the most thoroughly and accurately researched film in screen history with respect to aerospace engineering".[1] Several technical advisers were hired for 2001, some of whom were recommended by co-screenwriter Arthur C. Clarke, who himself had a background in aerospace. Advisors included Marshall Spaceflight Center engineer Frederick I. Ordway III, who worked on the film for two years,[1][2][3][4] and I. J. Good, whom Kubrick consulted with on supercomputers due to Good's authorship of treatises such as "Speculations Concerning the First Ultraintelligent Machine" and "Logic of Man and Machine".[5] Dr. Marvin Minsky, of MIT, was the main artificial intelligence adviser for the film.[6][7]
2001 accurately presents outer space as not allowing the propagation of sound, in sharp contrast to other films with space scenes in which explosions or sounds of passing spacecraft are heard. 2001's portrayal of weightlessness in spaceships and outer space is also more realistic. Tracking shots inside the rotating wheel providing artificial gravity contrast with the weightlessness outside the wheel during the repair and Hal disconnection scenes. (Scenes of the astronauts in the Discovery pod bay, along with earlier scenes involving shuttle flight attendants, depict walking in zero-gravity with the help of velcro-equipped shoes labeled "Grip Shoes"). Other aspects that contribute to the film's realism are the depiction of the time delay in conversations between the astronauts and Earth due to the extreme distance between the two (which the BBC announcer explains have been edited out of the broadcast), the attention to small details such as the sound of breathing inside the spacesuits, the conflicting spatial orientation of astronauts inside a zero-gravity spaceship, and the enormous size of Jupiter in relation to the spaceship.
The general approach to how space travel is engineered is highly accurate; in particular, the design of the ships was based on actual engineering considerations rather than attempts to look aesthetically "futuristic".[8] Many other science-fiction films give spacecraft an aerodynamic shape, which is superfluous in outer space (except for craft such as the Pan Am shuttle that are designed to function both in atmosphere and in space). Kubrick's science advisor, Frederick Ordway, notes that in designing the spacecraft "We insisted on knowing the purpose and functioning of each assembly and component, down to the logical labeling of individual buttons and the presentation on screens of plausible operating, diagnostic and other data."[3] Onboard equipment and panels on various spacecraft have specific purposes such as alarm, communications, condition display, docking, diagnostic, and navigation, the designs of which relied heavily on NASA's input. Aerospace specialists were also consulted on the design of the spacesuits and space helmets. The space dock at Moon base Clavius shows multiple underground layers which could sustain high levels of air pressure typical of Earth. The lunar craft design takes into account the lower gravity and lighting conditions on the Moon. The Jupiter-bound Discovery is meant to be powered by a nuclear reactor at its rear, separated from the crew area at the front by hundreds of feet of fuel storage compartments. Although difficult to be recognized as such, actual nuclear reactor control panel displays appear in the astronaut's control area.
The suspended animation of three of the astronauts on board is accurately portrayed as worked out by consulting medical authorities.[9] Such hibernation would likely be necessary to conserve resources on a flight of this kind, as Clarke's novelization implies.[10]
A great deal of effort was made to get the look of the lunar landscape right, based on detailed lunar photographs taken from observatory telescopes. The depiction of early hominids was based on the writings of anthropologists such as Louis Leakey.[9]
Inaccuracy[edit]
The film is scientifically inaccurate in minor but revealing details; some due to the technical difficulty involved in producing a realistic effect, and others simply being examples of artistic license.
The appearance of outer space is problematic, both in terms of lighting and the alignment of astronomical bodies. In the vacuum of outer space, stars do not twinkle,[11] and light does not become diffuse and scattered as it does in air.[12] The side of the Discovery spacecraft unlit by the sun, for example, would appear virtually pitch-black in space. The stars would not appear to move in relation to Discovery as it traveled towards Jupiter, unless it was changing direction. Proportionally, the Sun, Moon and Earth would not visually line up at the size ratios shown in the opening shot, nor would the Galilean moons of Jupiter align as in the shot just before Bowman enters the Star Gate. Kubrick himself was aware of this latter point.[13] (Due to the perfect Laplace resonance of the orbits of the four large moons of Jupiter, the first three never align, and the third moon, Ganymede, is always exactly 90 degrees away from the other two whenever the two innermost moons are in perfect alignment.[14]). Similarly, during the scene in the Dawn of Man, where the sun is seen above the monolith, a crescent moon is depicted close by in the sky. During this phase of the lunar cycle the moon would be "new" and therefore be invisible. Finally, the edge of Earth appears sharp in the movie, when in reality it is slightly diffuse due to the scattering of the sunlight by the atmosphere, as is seen in many photos of Earth taken from space since the film's release.[11]
The sequence in which Bowman re-enters Discovery shows him holding his breath just before ejecting from the pod into the emergency airlock. Doing this before exposure to a vacuum—instead of exhaling—would, in reality, rupture the lungs. In an interview on the 2007 DVD release of the film, Clarke states that had he been on the set the day they filmed this, he would have caught this error.[15][16] In the same scene, the blown pod hatch simply and inexplicably vanishes while concealed behind a puff of smoke.[17]
While the film's portrayal of reduced or zero-gravity is realistic, problems remain. While Floyd sips a meal in zero gravity from liquipaks, liquid slips back down the straw when he stops sucking. This however could be due to elasticity within the pack material itself, which upon release of the suction from Floyd's mouth, drives the pack to partially regain its shape and suck the liquid back in.
When spacecraft land on the Moon in the film, dust is shown billowing as it would in air, not moving in a sheet as it would in the vacuum of the Lunar surface, as can be seen in Apollo Moon landing footage.[17][18] While on the Moon, all actors move as if in normal Earth gravity, not as they would in the 1/6 gravity of the Moon. Similarly, the behavior of Dave and Frank in the weightless pod bay is not fully consistent with a zero-G environment. Although the astronauts are wearing zero-G 'grip shoes' in order to walk normally, they are oddly leaning on the table while testing the AE-35 unit as if held down by gravity. Finally, in an environment with a radius as small as the main quarters, the simulated gravity would vary significantly from the center of the crew quarters to the 'floor', even varying between feet, waist, and head. The rotation speed of the crew quarters was meant to be only fast enough to generate an approximation of the Moon's gravity, not that of the Earth. However, Clarke felt this was enough to prevent the physical atrophy that would result from complete weightlessness.[19]
The first two appearances of the monolith, one on Earth and one on the Moon, conclude with the sun at its zenith over the top of the monolith. While this could happen in an African veldt anywhere between the Tropic of Cancer and the Tropic of Capricorn, it could not happen anywhere near the crater Tycho (where the monolith is found) as it is 45 degrees south of the lunar equator.[20] Also implausible is the sun reaching its zenith so soon after a lunar sunrise, and the appearance of a crescent Earth near the sun is in complete discontinuity with all previous appearances of Earth, whose position from any spot on the Moon varies only slightly due to libration.[21]
Geophysicist Dr. David Stephenson in the Canadian TV documentary 2001 and Beyond notes that "Every engineer that saw it [the space station] had a fit. You do not spin on a wheel that is not fully built. You have to finish it before you spin it or else you have real problems".[22]
There are other problems that might be more appropriately described as continuity errors, such as the back-and-forth horizontal switching of Earth's lit side when viewed from Clavius, and the schematic of the space station on the Pan Am spaceplane's monitors continuing to rotate after the plane has synchronized its motion with the station. The latter is due to the position readout actually being a rear-projected film shown in a continuous loop, and being out of sync with other visual elements.[8] The direction of the rotation of the Earth's image outside the space station window is clockwise when Floyd is greeted by a receptionist, but counterclockwise when he phones his daughter.
Imagining the future[edit]
Over fifty organizations contributed technical advice to the production, and a number of them submitted their ideas to Kubrick of what kind of products might be seen in a movie set in the year 2001.[23] Much was made by MGM's publicity department of the film's realism, claiming in a 1968 brochure that "Everything in 2001: A Space Odyssey can happen within the next three decades, and...most of the picture will happen by the beginning of the next millennium."[24] Although the predictions central to the plot —colonization of the Moon, manned interplanetary travel and artificial intelligence—did not materialize by that date, some of the film's other futuristic elements have indeed been realized.
Depiction of computers[edit]
As the central character of the "Jupiter Mission" segment of the film, Hal was shown by Kubrick to have as much intelligence as human beings, possibly more, while sharing their same "emotional potentialities". Kubrick agreed with computer theorists who believed that highly intelligent computers that can learn by experience will inevitably develop emotions such as fear, love, hate, and envy. Such a machine, he said, would eventually manifest human mental disorders as well, such as a nervous breakdown—as Hal did in the film.[25]
Clarke noted that, contrary to popular rumor, it was a complete coincidence that each of the letters of Hal's name immediately preceded those of IBM in the alphabet.[26] The meaning of HAL has been given both as "Heuristically programmed ALgorithmic computer" and as "Heuristic ALgorithmic computer". The former appears in Clarke's novel of 2001 and the latter in his sequel novel 2010. In computer science, a heuristic is a programmable procedure not necessarily based on fixed rules, producing informed guesses often using trial-and-error. The results can be false such as in predictions of stock market, sports scores, or the weather.[27] Sometimes this can entail selecting on-the-fly one of several methods to solve a problem based on previous experience.[28] On the other hand, an algorithm is a programmable procedure that produces reproducible results using invariant established methods (such as computing square roots).[27] A heuristic approach that usually works within a tolerable margin of error may be preferred over a perfect algorithm that requires a long time to run.[29]
Depiction of spacecraft[edit]
All of the vehicles in 2001 were designed with extreme care in order for the small-scale models as well as full-scale interiors to appear realistic.[9] The modeling team was led by Kubrick's two hirees from NASA, science advisor Fred Ordway and production designer Harry Lange,[30] along with Anthony Masters who was responsible for turning Lange's 2-D sketches into models.[31] Ordway and Lange insisted on knowing "the purpose and functioning of each assembly and component, down to the labeling of individual buttons and the presentation on screens of plausible operating, diagnostic and other data."[9] Kubrick's team of thirty-five designers[32] was often frustrated by script changes done after designs for various spacecraft had been created. Douglas Trumbull, chief special effects supervisor, writes "One of the most serious problems that plagued us throughout the production was simply keeping track of all ideas, shots, and changes and constantly re-evaluating and updating designs, storyboards, and the script itself. To handle all of this....a "control room"...was used to keep track of all progress on the film."[33] Ordway (who worked on designing the station and the five principal space vehicles[34]) has noted that U.S. industry had problems satisfying Kubrick with its equipment suggestions, while design aspects of the vehicles had to be updated often to accommodate rapid screenplay changes, one crew member resigning over an unspecified related issue.[9] Eventually, conflicting ideas of what Kubrick had in mind, what Clarke was writing, and equipment and vehicular realities emerging from Ordway, Lange, Masters, and construction supervisor Dick Frift and his team were resolved, and coalesced into final designs and construction of the spacecraft before filming began in December 1965.[9]
Other technologies[edit]
One futuristic device shown in the film already under development when the film was released in 1968 was voice-print identification; the first prototype was released in 1976.[35] A credible prototype of a chess-playing computer already existed in 1968, even though it could be defeated by experts; computers did not defeat champions until the late 1980s.[36] While 10-digit phone numbers for long-distance national dialing originated in 1951, longer phone numbers for international dialing became a reality in 1970.[37] Installation of personal in-flight entertainment displays by major airlines began in the early-to-mid 1990s, offering video games, TV broadcasts and movies in a manner similar to that shown in the film.[38] The film also shows flat-screen TV monitors, of which the first real-world prototype appeared in 1972 produced by Westinghouse, but was not used for broadcast television until 1998.[39] Plane cockpit integrated system displays, known as "glass cockpits", were introduced in the 1970s[40] (originally in NASA Langley's Boeing 737 Flying Laboratory). Today such cockpits appear not only in high-tech aircraft like the Boeing 777, but have also been employed in space shuttles, the first being Atlantis in 1985.[41] Rudimentary voice-controlled computing began in the early 1980s with the SoftVoice Computer System and exists in more sophisticated form in the early 2000s,[42] although it is still not as sophisticated as depicted in the film. The first picture phone was demonstrated at the 1964 New York World's Fair;[43] however, due to the bandwidth limitations of telephone lines, personal video communication did not succeed commercially and has only been practical over broadband internet connections.[44] Personal (audio) wireless telephones were ubiquitous in 2001, and yet no one in the movie had a small personal communication device.[45]
Some technologies portrayed as common in the film which have not materialized in the 2000s include commonplace civilian space travel, space stations with hotels, Moon colonization, suspended animation of humans, and strong artificial intelligence of the kind displayed by Hal.
Companies and countries[edit]
Viewers of the film today—especially those old enough to have seen it upon its first release—will notice corporate logos in the film representing companies that either no longer exist or were broken up by anti-trust lawsuits. Still others changed their business model or represent countries that no longer exist.
The British Broadcasting Corporation operated more domestic television networks in 2001 than it did in 1968 as shown in the film, although there is no BBC-12. In actuality, the BBC uses names such as BBC News and BBC Parliament for channels after BBC One, Two, Three and Four, and BBC Three and Four did not come into existence until 2003 and 2002 respectively, as before then they were known as BBC Choice and BBC Knowledge. The corporations IBM, Aeroflot, Howard Johnson's, Whirlpool Corporation and Hilton Hotels, visual references of which appear in the film, have survived beyond 2001, although by 2001 Howard Johnson's had switched its business focus to hotels, rather than the restaurants shown in the film. On the other hand, the film depicts a still-existing Pan Am (which went out of business in 1991) and a still-existing Bell System telephone company (which was broken up in 1984 as a result of an anti-monopoly lawsuit filed by the U.S. Justice Department).[46] The Bell System logo seen in the film was modified in 1969 and dropped entirely in 1983.[47]
Many reviewers thought the Russian scientists met by Dr. Floyd in the space station were affiliated with the then-extant Soviet Union.[48][49][50] Nonetheless, the Soviet Union dissolved in 1991.[51] (Aeroflot, then the Soviet state airline, is now a privately owned carrier, but still considered the de facto national airline of the Russian Federation, much as Air Canada is considered the de facto national airline of Canada, even though it has been privately owned since 1988).
References[edit]
1.^ Jump up to: a b Williams, Craig H., Leonard A. Dudzinski, Stanley K. Borowski, and Albert J. Juhasz. "Realizing "2001: A Space Odyssey": Piloted Spherical Torus Nuclear Fusion Propulsion" NASA Glenn Research Center, 2001.
2.Jump up ^ F.I.Ordway (March 1970). "2001: A Space Odyssey, Spaceflight". Spaceflight (British Interplanetary Society) 12: 110–117.
3.^ Jump up to: a b Ordway, F.I. (1982). "Part B: 2001: A SPACE ODYSSEY IN RETROSPECT". In Eugene M. Emme. American Astronautical Society History Series SCIENCE FICTION AND SPACE FUTURES: PAST AND PRESENT 5. pp. 47–105. ISBN 0-87703-172-X. Retrieved January 27, 2012.
4.Jump up ^ Ordway, F.I. (2007). "2001: A Space Odyssey – Vision Versus Reality at 30". In Kerrie Dougherty. American Astronautical Society History Series: History or Rocketry and Astronautics 27. pp. 3–17. ISBN 978-0-87703-535-0.
5.Jump up ^ Dan van der Vat (April 29, 2009). "Jack Good". The Guardian (London). Retrieved August 2, 2010.
6.Jump up ^ For more, see this interview, http://mitpress.mit.edu/e-books/Hal/chap2/two3.html
7.Jump up ^ see the book Hal's legacy: 2001's computer as dream and reality edited by David G. Stork, MIT press, 1997.
8.^ Jump up to: a b By George D. DeMet (July 1999). "2001: A Space Odyssey Internet Resource Archive: The Special Effects of "2001: A Space Odyssey"". Palantir.net (originally published in DFX a special effects journal). Retrieved August 22, 2010.
9.^ Jump up to: a b c d e f "The Kubrick Site: Fred Ordway on "2001"". Visual-memory.co.uk. Retrieved August 22, 2010.
10.Jump up ^ Arthur C. Clarke 2001: A Space Odyssey p. 109
11.^ Jump up to: a b Singleton, Maura. "Space Odyssey | The University of Virginia Magazine". Uvamagazine.org. Retrieved August 22, 2010.
12.Jump up ^ "Blue Sky and Raleigh Scattering". gsu.edu. Retrieved October 18, 2010.
13.Jump up ^ Les Paul Robley (Oscar winning special effects technician). "2001: A Space Odyssey". Avrev.com Audio-Video Revolution. Retrieved August 22, 2010.
14.Jump up ^ "High Tide on Europa". Astrobiology Magazine. Retrieved December 7, 2007.
15.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.
16.Jump up ^ "Human Body In a Vacuum". Imagine the Universe!: Ask An Astrophysicist. NASA Goddard Space Flight Center web site. Retrieved August 13, 2007.
17.^ Jump up to: a b "The Kubrick Site: 2001 Gaffes & Glitches". Visual-memory.co.uk. Archived from the original on September 11, 2010. Retrieved August 22, 2010.
18.Jump up ^ "Gravity – dust". Clavius. Retrieved August 22, 2010.
19.Jump up ^ Artificial gravity by Gilles Clément, Angeli P. Bukley p. 64
20.Jump up ^ "14 MOON". Web.wt.net. Retrieved August 22, 2010.
21.Jump up ^ Makowiecki, Piotr (1985). Pomyśl zanim odpowiesz (in Polish, translated from Russian). Warszawa: Państwowe Wydawnictwo Wiedza Powszechna". ISBN 83-214-0419-7.
22.Jump up ^ Michael Lennick (January 7, 2001). 2001 and Beyond. Foolish Earthling Productions.
23.Jump up ^ Agel, Jerome (1970). The Making of Kubrick's 2001. New York: The New American Library, Inc. pp. 321–324.
24.Jump up ^ MGM Studios. Facts for Editorial Reference, 1968. Reproduced in: Castle, Alison (Editor). The Stanley Kubrick Archives, Taschen, 2005. ISBN 3-8228-2284-1
25.Jump up ^ Gelmis(1970)p. 307 See
26.Jump up ^ Clarke (1972): p.78
27.^ Jump up to: a b Ormrod, J.E. (2008). Educational Psychology Developing Learners. Merrill. pp. 285–286.
28.Jump up ^ Luke, S. (2009). Essentials of metaheuristics
29.Jump up ^ Te Chiang Hu: Combinatorial Algorithms (2002, book).
30.Jump up ^ [1] and [2][3]
31.Jump up ^ Popular Mechanics April 1967, Backstage Magic for a Trip to Saturn, by Richard D. Dempewolff
32.Jump up ^ Number given in an essay in Schwam's 2000 book The Making of 2001: A Space Odyssey p. 83. and in production calendar p. 4 of same book.
33.Jump up ^ Trumbull's essay in Stephanie Schwam The Making of 2001: A Space Odyssey p. 113
34.Jump up ^ the two space shuttles, Moon bus, main spaceship, and space pod
35.Jump up ^ biometrics.gov (August 7, 2006). "Biometrics History". Introduction to biometrics. Retrieved February 28, 2011.
36.Jump up ^ "SCIENCE WATCH; AND STILL CHAMPION: CRAY'S CHESS COMPUTER". New York Times. June 17, 1986. Archived from the original on January 24, 2011. Retrieved February 28, 2011.
37.Jump up ^ "Milestones in AT&T History". AT&T. Archived from the original on February 20, 2011. Retrieved March 1, 2011.
38.Jump up ^ Stanley Ziemba (July 4, 1992). "Sky-high fun Airliners are fast becoming flying entertainment centers". Chicago Tribune. Retrieved March 7, 2011.
39.Jump up ^ "A History of Flat-Panel Displays". Planar. May 2009. Retrieved February 28, 2011.
40.Jump up ^ "The Glass Cockpit". NASA. Retrieved March 1, 2011.
41.Jump up ^ Aviation Earth Glass Cockpit
42.Jump up ^ Making Computers Talk – by Andy Aaron, Ellen Eide and John F. Pitrelli. Scientific American Explore (March 17, 2003).
43.Jump up ^ Bell Laboratories (May–June 1969). "Bell Laboratories RECORD (1969) Volume 47, No. 5". pp. 134–153 & 160–187. Retrieved March 6, 2011.
44.Jump up ^ A highly technical discussion of the unacceptably long delay of video signals even in broadband communication is at Alan Percy. "Understanding Latency in IP Telephony". Telephony World.com. Retrieved March 5, 2011.
45.Jump up ^ How Accurate was Kubrick's 2001:A Space Odyssey?
46.Jump up ^ On the movie screen, the words "Bell System" appear in the Bell logo on the outside of the PICTUREPHONE booth (starting at 27:17) and on the PICTUREPHONE screen at the end of the call (at 29:23).
47.Jump up ^ "A Brief History: Post Divestiture". AT&T. Archived from the original on February 20, 2011. Retrieved March 5, 2011.
48.Jump up ^ "Film/Classic: 2001: A Space Odyssey". Thecityreview.com. December 27, 2000. Retrieved August 22, 2010.
49.Jump up ^ "2001: A Space Odyssey (1968)". Thisdistractedglobe.com. Retrieved August 22, 2010.
50.Jump up ^ Two essays in the 2006 book Kubrick's 2001: a space odyssey: new essays by Robert Phillip Kolker refer to "Soviet scientists"
51.Jump up ^ Serge Schmemann (December 26, 1991). "END OF THE SOVIET UNION; The Soviet State, Born of a Dream, Dies". new york times. Retrieved March 6, 2011.
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 Internet Resource Archive
The 2001: A Space Odyssey Collectibles Exhibit
The Alt.Movies.Kubrick FAQ many observations on the meaning of 2001
The Kubrick Site including many works on 2001
American Institute of Aeronautics, 40 Anniversary article in Houston Section, Horizons, April 2008 [4]


[hide]
v ·
 t ·
 e
 
Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


Categories: Fictional technology by work
Space Odyssey series




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Interpretations of 2001: A Space Odyssey
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Since its premiere in 1968, 2001: A Space Odyssey has been analysed and interpreted by multitudes of people ranging from professional movie critics to amateur writers and science fiction fans. The director of the film, Stanley Kubrick, and the writer, Arthur C. Clarke, wanted to leave the film open to philosophical and allegorical interpretation, purposely presenting the final sequences of the film without the underlying thread being apparent; a concept illustrated by the final frame of the film, which contains the image of the embryonic "Starchild".


Contents  [hide]
1 Openness to interpretation
2 Clarke's novel as explanation
3 Religious interpretations
4 Allegorical interpretations 4.1 Nietzsche allegory
4.2 Conception allegory
4.3 Wheat's triple allegory
5 The Monolith
6 HAL
7 Military nature of orbiting satellites
8 References
9 External links

Openness to interpretation[edit]
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, 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.[1]
Neither of the two creators equated openness to interpretation with meaninglessness, although it might seem that Clarke implied as much when he stated, shortly after the film's release, "If anyone understands it on the first viewing, we've failed in our intention." When told of the comment, Kubrick said "I believe he made it [the comment] facetiously. The very nature of the visual experience in 2001 is to give the viewer an instantaneous, visceral reaction that does not—and should not—require further amplification."[2] When told that Kubrick had called his comment 'facetious', Clarke responded

I still stand by this remark, which does not mean one can't enjoy the movie completely the first time around. What I meant was, of course, that because we were dealing with the mystery of the universe, and with powers and forces greater than man's comprehension, then by definition they could not be totally understandable. Yet there is at least one logical structure—and sometimes more than one—behind everything that happens on the screen in "2001", and the ending does not consist of random enigmas, some critics to the contrary.[2]
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". 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.[3]
Clarke's novel as explanation[edit]
Arthur C. Clarke's novel of the same name was developed simultaneously with the film, though published after its release.[4] It seems to explain the ending of the film more clearly. 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 forms, through biomechanics, and finally has achieved a state of pure energy. These aliens travel the cosmos assisting lesser species to take evolutionary steps. The novel explains the hotel room sequence as a kind of alien zoo—fabricated from information derived from intercepted television transmissions from Earth—in which Dave Bowman is studied by the invisible alien entities. Kubrick's film leaves all this unstated.[5]
Physicist Freeman Dyson urged those baffled by the film to read Clarke's novel:

After seeing Space Odyssey, I read Arthur Clarke's book. I found the book gripping and intellectually satisfying, full of the tension and clarity which the movie lacks. All the parts of the movie that are vague and unintelligible, especially the beginning and the end, become clear and convincing in the book. So I recommend to my middle-aged friends who find the movie bewildering that they should read the book; their teenage kids don't need to.[2]
Clarke himself used to recommend reading the book, saying "I always used to tell people, 'Read the book, see the film, and repeat the dose as often as necessary'", although, as his biographer Neil McAleer points out, he was promoting sales of his book at the time.[2] Elsewhere he said, "You will find my interpretation in the novel; it is not necessarily Kubrick's. Nor is his necessarily the 'right' one – whatever that means."[2]
Film critic Penelope Houston noted in 1971 that the novel differs in many key respects from the film, and as such perhaps should not be regarded as the skeleton key to unlock it.[6]
Stanley Kubrick was less inclined to cite the book as a definitive interpretation of the film, but he also frequently refused to discuss any possible deeper meanings during interviews. During an interview with Joseph Gelmis in 1969 Kubrick explained:

It's a totally different kind of experience, of course, and 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 divergencies between the two works are interesting. Actually, it was an unprecedented situation for someone to do an essentially original literary work based on glimpses and segments of a film he had not yet seen in its entirety.[7]
Author Vincent Lobrutto, in Stanley Kubrick: A Biography, was inclined to note creative differences leading to a separation of meaning for book and film:

The film took on its own life as it was being made, and Clarke became increasingly irrelevant. Kubrick could probably have shot 2001 from a treatment, since most of what Clarke wrote, in particular some windy voice-overs which explained the level of intelligence reached by the ape men, the geological state of the world at the dawn of man, the problems of life on the Discovery and much more, was discarded during the last days of editing, along with the explanation of HALs breakdown."[8]
Religious interpretations[edit]
In an interview for Rolling Stone magazine, Stanley Kubrick stated, "On the deepest psychological level the film's plot symbolizes the search for God, and it finally postulates what is little less than a scientific definition of God [...] The film revolves around this metaphysical conception[,] and the realistic hardware and the documentary feelings about everything were necessary in order to undermine your built-in resistance to the poetical concept."[9]
Allegorical interpretations[edit]
The film has been seen by many people not only as a literal story about evolution and space adventures, but as an allegorical representation of aspects of philosophical, religious or literary concepts.
Nietzsche allegory[edit]
Friedrich Nietzsche's philosophical tract Thus Spoke Zarathustra, about the potential of mankind, is directly referenced by the use of Richard Strauss's musical piece of the same name.[9] Nietzsche writes that man is a bridge between the ape and the Übermensch.[10] In an interview in the New York Times, Kubrick gave credence to interpretations of 2001 based on Zarathustra when he said: "Somebody said man is the missing link between primitive apes and civilized human beings. You might say that is inherent in the story too. We are semicivilized, capable of cooperation and affection, but needing some sort of transfiguration into a higher form of life. Man is really in a very unstable condition." [11] Moreover, in the chapter Of the Three Metamorphoses, Nietzsche identifies the child as the last step before the Uberman (after the camel and the lion), lending further support to this interpretation in light of the 'star-child' who appears in the final scenes of the movie. [10]
Donald MacGregor has analysed the film in terms of a different work, The Birth of Tragedy, in which Nietzsche refers to the human conflict between the Apollonian and Dionysian modes of being. The Apollonian side of man is rational, scientific, sober and self-controlled. For Nietzsche a purely Apollonian mode of existence is problematic, since it undercuts the instinctual side of man. The Apollonian man lacks a sense of wholeness, immediacy, and primal joy. It is not good for a culture to be either wholly Apollonian or Dionysian. While the world of the apes at the beginning of 2001 is Dionysian, the world of travel to the moon is wholly Apollonian, and HAL is an entirely Apollonian entity. Kubrick's film came out just a year before the Woodstock rock festival, a wholly Dionysian affair. MacGregor argues that David Bowman in his transformation has regained his Dionysian side.[12]
The conflict between humanity's internal Dionysus and Apollo has been used as a lens through which to view many other Kubrick films especially A Clockwork Orange, Dr. Strangelove, Lolita, and Eyes Wide Shut.[13]
Conception allegory[edit]

 

 The Star Child looking at the Earth
2001 has also been described as an allegory of human conception, birth and death.[14] In part, this 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.[15] The star child signifies a "great new beginning",[15] and is depicted naked and ungirded, but with its eyes wide open.[16]
New Zealand journalist Scott MacLeod sees parallels between the spaceship's journey and the physical act of conception. We have the long, bulb-headed spaceship as a sperm, and the destination planet Jupiter (or the monolith floating near it) as the egg, and the meeting of the two as the trigger for the growth of a new race of man (the "star child"). The lengthy pyrotechnic light show witnessed by David Bowman, which has puzzled many reviewers, is seen by MacLeod as Kubrick's attempt at visually depicting the moment of conception, when the "star child" comes into being.[17]
Taking the allegory further, MacLeod argues that the final scenes in which Bowman appears to see a rapidly ageing version of himself through a "time warp" is actually Bowman witnessing the withering and death of his own species. The old race of man is about to be replaced by the "star child", which was conceived by the meeting of the spaceship and Jupiter. MacLeod also sees irony in man as a creator (of HAL) on the brink of being usurped by his own creation. By destroying HAL, man symbolically rejects his role as creator and steps back from the brink of his own destruction.[17]
Similarly, in his book, The Making of Kubrick's 2001, author Jerome Agel puts forward the interpretation that Discovery One represents both a body (with vertebrae) and a sperm cell, with Bowman being the "life" in the cell which is passed on. In this interpretation, Jupiter represents both a female and an ovum.[18]
Wheat's triple allegory[edit]
An extremely complex three-level allegory is proposed by Leonard F. Wheat in his book, Kubrick's 2001: A Triple Allegory. Wheat states that, "Most... misconceptions (of the film) can be traced to a failure to recognize that 2001 is an allegory – a surface story whose characters, events, and other elements symbolically tell a hidden story... In 2001's case, the surface story actually does something unprecedented in film or literature: it embodies three allegories." According to Wheat, the three allegories are:
1.Friedrich Nietzsche's philosophical tract, Thus Spoke Zarathustra, which is signalled by the use of Richard Strauss's music of the same name. Wheat notes the passage in Zarathustra describing mankind as a rope dancer balanced between an ape and the Übermensch, and argues that the film as a whole enacts an allegory of that image.
2.Homer's epic poem The Odyssey, which is signalled in the film's title. Wheat notes, for example, that the name "Bowman" may refer to Odysseus, whose story ends with a demonstration of his prowess as an archer. He also follows earlier scholars in connecting the one-eyed HAL with the Cyclops, and notes that Bowman kills HAL by inserting a small key, just as Odysseus blinds the Cyclops with a stake.[17] Wheat argues that the entire film contains references to almost everything that happens to Odysseus on his travels; for example, he interprets the four spacecraft seen orbiting the Earth immediately after the ape sequence as representing Hera, Athena, Aphrodite and Eris, the protagonists of the Judgment of Paris, which begins the Epic Cycle events of the Trojan War that conclude in Homer's Odyssey.
3.Arthur C. Clarke's theory of the future symbiosis of man and machine, expanded by Kubrick into what Wheat calls "a spoofy three-evolutionary leaps scenario": ape to man, an abortive leap from man to machine, and a final, successful leap from man to 'Star Child'.[17]
Wheat often uses anagrams as evidence to support his theories. For example, of the name Heywood R. Floyd, he writes "He suggests Helen – Helen of Troy. Wood suggests wooden horse – the Trojan Horse. And oy suggests Troy." Of the remaining letters, he suggests "Y is Spanish for and. R, F, and L, in turn, are in ReFLect." Finally, noting that D can stand for downfall, Wheat concludes that Floyd's name has a hidden meaning: "Helen and Wooden Horse Reflect Troy's Downfall".[17]
The Monolith[edit]

 

 The monolith appears to the early humans in Africa
As with many elements of the film, the iconic monolith has been subject to countless interpretations, including religious, alchemical,[19] historical, and evolutionary. To some extent, the very way in which it appears and is presented allows the viewer to project onto it all manner of ideas relating to the film. The Monolith in the movie seems to represent and even trigger epic transitions in the history of human evolution, evolution of man from ape-like beings to civilised men, hence the odyssey of mankind.[20][21]
Vincent LoBrutto's biography of Kubrick notes that for many, Clarke's novel is the key to understanding the monolith.[22]:310 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.
Rolling Stone reviewer Bob McClay sees the film as a four-movement symphony, its story told with "deliberate realism".[23] Carolyn Geduld believes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.[24] Each time the monolith is shown, man transcends to a different level of cognition, linking the primeval, futuristic and mystic segments of the film:[25] McClay's Rolling Stone review notes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes and the completion of "another evolution" in the fourth and final encounter[26] 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".[27]
The monolith appears four times in 2001: on the African Savannah, on the moon, in space orbiting Jupiter, and near Bowman's bed before his transformation. After the first encounter with the monolith, we see the leader of the apes have a quick flashback to the monolith after which he picks up a bone and uses it to smash other bones. Its usage as a weapon enables his tribe to defeat the other tribe of apes occupying the water hole who have not learned how to use bones as weapons. After this victory, the ape-leader throws his bone into the air, after which the scene shifts to an orbiting weapon four million years later, implying that the discovery of the bone as a weapon inaugurated human evolution, hence the much more advanced orbiting weapon 4 million years later.[27]
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.[28] The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans,[29] echoing the premise of Clarke's source story "The Sentinel".
In the most literal narrative sense, as found in the concurrently written novel, the Monolith is a tool, an artifact of an alien civilisation. It comes in many sizes and appears in many places, always in the purpose of advancing intelligent life. Arthur C. Clarke has referred to it as "the alien Swiss Army Knife";[22] or as Heywood Floyd speculates in 2010, "an emissary for an intelligence beyond ours. A shape of some kind for something that has no shape."
The fact that the first tool used by the protohumans is a weapon to commit murder is only one of the challenging evolutionary and philosophic questions posed by the film. The tool's link to the present day is made by the famous graphic match from the bone/tool flying into the air, to a weapon orbiting the earth. At the time of the movie's making, the space race was in full swing, and the use of space and technology for war and destruction was seen as a great challenge of the future.[30]
But the use of tools also allowed mankind to survive and flourish over the next 4 million years, at which point the monolith makes its second appearance, this time on the Moon. Upon excavation, after remaining buried beneath the lunar surface for 4 million years, the monolith is examined by humans for the first time, and it emits a powerful radio signal—the target of which becomes Discovery One's mission.
In reading Clarke, or Kubrick's comments, this is the most straightforward of the monolith's appearances. It is "calling home" to say, in effect, "they're here!" Some species visited long ago has not only evolved intelligence, but intelligence sufficient to achieve space travel. Humanity has left its cradle, and is ready for the next step. This is the point of connection with Clarke's earlier short story, "The Sentinel", originally cited as the basis for the entire film.
The third time we see a monolith marks the beginning of the film's most cryptic and psychedelic sequence, interpretations of the last two monolith appearances are as varied as the film's viewers. Is it a "star gate," some giant cosmic router or transporter? Are all of these visions happening inside Bowman's mind? And why does he wind up in some cosmic hotel suite at the end of it?[25]
According to Michael Hollister in his book Hollyworld, the path beyond the infinite is introduced by the vertical alignment of planets and moons with a perpendicular monolith forming a cross, as if the astronaut is about to become a new saviour. Bowman lives out his years alone in a neoclassical room, brightly lit from underneath, that evokes the Age of Enlightenment, decorated with classical art.[31]
As Bowman's life quickly passes in this neoclassical room, the monolith makes its final appearance: standing at the foot of his bed as he approaches death. He raises a finger toward the monolith, a gesture that alludes to the Michelangelo painting of The Creation of Adam, with the monolith representing God.[32]
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".[33] 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."[34]
The internet-based film critic Rob Ager produced a video essay, "Meaning of the Monolith Revealed",[35] which claims that the monolith is Kubrick's representation of the cinema screen itself. He outlined his interpretation to Jeff Jensen of Entertainment Weekly.[36] The academic Dan Leberg has complained about the influence that Ager's interpretation has had in his own film study classes.[37]
HAL[edit]
The HAL 9000 has been compared to Frankenstein's monster.[38] HAL is an artificial intelligence, a sentient, synthetic, life form. According to John Thurman, HAL’s very existence is an abomination, much like Frankenstein’s monster. "While perhaps not overtly monstrous, HAL’s true character is hinted at by his physical 'deformity'. Like a Cyclops he relies upon a single eye, examples of which are installed throughout the ship. The eye’s warped wide-angle point-of-view is shown several times — notably in the drawings of hibernating astronauts (all of whom HAL will later murder)."
Kubrick underscores the Frankenstein connection with a scene that virtually reproduces the style and content of a scene from James Whale’s 1931 Frankenstein. The scene in which Frankenstein's monster is first shown on the loose is borrowed to depict the first murder by HAL of a member of Discovery One's crew—the empty pod, under HAL's control, extends its arms and "hands", and goes on a "rampage" directed towards astronaut Poole. In each case, it is the first time the truly odious nature of the "monster" can be recognised as such, and only appears about halfway through the film.
Clarke has suggested in interviews, his original novel, and in a rough draft of the shooting script that HAL's orders to lie to the astronauts (more specifically, concealing the true nature of the mission) drove him "insane".[39] The novel does include the phrase "He [HAL] had been living a lie" — a difficult situation for an entity programmed to be as reliable as possible. Or as desirable, given his programming to "only win 50% of the time" at chess, in order for the human astronauts to feel competitive. Clarke also gives an explanation of the ill-effects of HAL being ordered to lie in computer terms as well as psychological terms, stating HAL is caught in a "Mobius feedback loop."
While the film remains ambiguous, one can see evidence in the film that since HAL was instructed to deceive the mission astronauts as to the actual nature of the mission and that deception opens a Pandora's box of possibilities. During a game of chess, HAL misstates what move is to be made (by using a hybrid of algebraic and traditional chess notation) and how many moves it will then take to mate him (assuming a move is forced that is not).[40] Frank Poole is seen to be mouthing his moves to himself during the game and it is later revealed that HAL can lip read. HAL's conversation with Dave Bowman just before the diagnostic error of the AE-35 unit that communicates with Earth is an almost paranoid question and answer session ("Surely one could not be unaware of the strange stories circulating...rumors about something being dug up on the moon...") where HAL skirts very close to the pivotal issue concerning which he is concealing information. When Dave states "You're working up your crew psychology report," HAL takes a few seconds to respond in the affirmative. Immediately following this exchange, he errs in diagnosing the antenna unit. HAL has been introduced to the unique and alien concept of human dishonesty. He does not have a sufficiently layered understanding of human motives to grasp the need for this and trudging through the tangled web of lying complications, he falls prey to human error.
The follow-up film 2010 further elaborates Clarke's explanation of HAL's breakdown. While HAL was under orders to deny the true mission with the crew, he was programmed at a deep level to be completely accurate and infallible. This conflict between two key directives led to him taking any measures to prevent Bowman and Poole finding out about this deception. Once Poole had been killed, others were eliminated to remove any witnesses to his failure to complete the mission.
One interesting aspect of HAL's plight, noted by Roger Ebert, is that HAL, as the supposedly perfect computer, actually behaves in the most human fashion of all of the characters.[41] He has reached human intelligence levels, and seems to have developed human traits of paranoia, jealousy, and other emotions. By contrast, the human characters act like machines, coolly performing their tasks in a mechanical fashion, whether they are mundane tasks of operating their craft or even under extreme duress as Dave must be following HAL's murder of Frank. For instance, Frank Poole watches a birthday transmission from his parents with what appears to be complete apathy.
Military nature of orbiting satellites[edit]
Stanley Kubrick originally intended that when the film does its famous match-cut from prehistoric bone-weapon to orbiting satellite that the latter and the 3 additional satellites seen would be established as orbiting nuclear weapons by a voice-over narrator talking about nuclear stalemate.[42] Further, Kubrick intended that the Star Child at the end of the film would detonate the weapons at the end of the film.[43] 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".[44] Kubrick was also confronted with the fact that during the production of the film, the US and USSR had agreed not to put any nuclear weapons into outer space by signing the Outer Space Treaty.[45]
Alexander Walker in a book he wrote with Kubrick's assistance and authorisation, 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".[46]
In the Canadian TV documentary 2001 and Beyond, Clarke stated that not only was the military purpose of the satellites "not spelled out in the film, there is no need for it to be", repeating later in this documentary that "Stanley didn't want to have anything to do with bombs after Dr. Strangelove".[47]
In a New York Times interview in 1968, Kubrick merely referred to the satellites as "spacecraft", as does the interviewer, but he observed that the match-cut from bone to spacecraft shows they evolved from "bone-as-weapon", stating "It's simply an observable fact that all of man's technology grew out of his discovery of the weapon-tool".[48]
Nothing in the film calls attention to the purpose of the satellites. James John Griffith, in a footnote in his book Adaptations As Imitations: Films from Novels, wrote "I would wonder, for instance, how several critics, commenting on the match-cut that links humanity's prehistory and future, can identify—without reference to Clarke's novel—the satellite as a nuclear weapon".[49]
Arthur C. Clarke, in the TV documentary "2001: The Making of a Myth", described the bone-to-satellite sequence in the film, saying "The bone goes up and turns into what is supposed to be an orbiting space bomb, a weapon in space. Well, that isn't made clear, we just assume it's some kind of space vehicle in a three-million-year jump cut".[50][51] Former NASA research assistant Steven Pietrobon[52] wrote "The orbital craft seen as we make the leap from the Dawn of Man to contemporary times are supposed to be weapons platforms carrying nuclear devices, though the movie does not make this clear."[53]
The vast majority of film critics, including noted Kubrick authority Michel Ciment,[54] interpreted the satellites as generic spacecraft (possibly Moon bound).[55]
The perception that the satellites are nuclear weapons persists in the minds of some viewers (and some space scientists). Due to their appearance there are statements by members of the production staff who still refer to them as weapons. Walker, in his book Stanley Kubrick, Director, noted that although the bombs no longer fit in with Kubrick's revised thematic concerns, "nevertheless from the national markings still visible on the first and second space vehicles we see, we can surmise that they are the Russian and American bombs."[56]
Similarly, Walker in a later essay[57] stated that two of the spacecraft seen circling Earth were meant to be nuclear weapons, after asserting that early scenes of the film "imply" nuclear stalemate. Pietrobon, who was a consultant on 2001 to the Web site Starship Modeler regarding the film's props, observes small details on the satellites such as Air Force insignia and "cannons".[58]
In the film, US Air Force insignia, and flag insignia of China and Germany (including what appears to be an Iron Cross) can be seen on three of the satellites,[59] which correspond to three of the bombs stated countries of origin in a widely circulated early draft of the script.[60]

 

 A German flag decal appears faintly at upper right in this close up of a satellite from the film.
Production staff who continue to refer to "bombs" (in addition to Clarke) include production designer Harry Lange (previously a space industry illustrator), who has since the film's release shown his original production sketches for all of the spacecraft to Simon Atkinson, who refers to seeing "the orbiting bombs".[61] Fred Ordway, the film's science consultant, sent a memo to Kubrick after the film's release listing suggested changes to the film, mostly complaining about missing narration and shortened scenes. One entry reads: "Without warning, we cut to the orbiting bombs. And to a short, introductory narration, missing in the present version".[62] Multiple production staff aided in the writing of Jerome Agel's 1970 book on the making of the film, in which captions describe the objects as "orbiting satellites carrying nuclear weapons"[63] Actor Gary Lockwood (astronaut Frank Poole) in the audio DVD commentary[64] says the first satellite is an armed weapon, making the famous match-cut from bone to satellite a "weapon-to-weapon cut". Several recent reviews of the film mostly of the DVD release refer to armed satellites,[65] possibly influenced by Gary Lockwood's audio commentary.
A few published works by scientists on the subject of space exploration or space weapons tangentially discuss 2001: A Space Odyssey and assume at least some of the orbiting satellites are space weapons.[66][67] Indeed, details worked out with input from space industry experts, such as the structure on the first satellite that Pietrobon refers to as a "conning tower", match the original concept sketch drawn for the nuclear bomb platform.[53][68] Modelers label them in diverse ways. On the one hand, the 2001 exhibit (given in that year) at the Tech Museum in San Jose and now online (for a subscription) referred merely to "satellites",[69] while a special modelling exhibition at the exhibition hall at Porte de Versailles in Paris also held in 2001 (called 2001 l'odyssée des maquettes (2001: A Modeler's Odyssey)) overtly described their reconstructions of the first satellite as the "US Orbiting Weapons Platform".[70] Some, but not all, space model manufacturers or amateur model builders refer to these entities as bombs.[71]
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."[72] 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."[47]
Kubrick, notoriously reluctant to provide any explanation of his work, never publicly stated the intended functions of the orbiting satellites, preferring instead to let the viewer surmise what their purpose might be.
References[edit]


 This article has an unclear citation style. The references used may be made clearer with a different or consistent style of citation, footnoting, or external linking. (July 2013)
1.Jump up ^ Norden, Eric. Interview: Stanley Kubrick. Playboy (September 1968). Reprinted in: Phillips, Gene D. (Editor). Stanley Kubrick: Interviews. University Press of Mississippi, 2001. ISBN 1-57806-297-7 pp. 47–48.
2.^ Jump up to: a b c d e McAleer, Neil (1 December 1993). Arthur C. Clarke: The Authorized Biography. Contemporary Books. ISBN 978-0-8092-3720-3.
3.Jump up ^ "The Film Director as Superstar" (Doubleday and Company: Garden City, New York, 1970) by Joseph Gelmis.
4.Jump up ^ Arthur C. Clarke, The Lost Worlds of 2001. London: Sidgwick and Jackson, 1972.
5.Jump up ^ DeMet, George. "Authorship of 2001". Palantir.net. Retrieved 2 February 2008.
6.Jump up ^ Houston, Penelope (1 April 1971). Sight and Sound International Film Quarterly, Volume 40 No. 2, Spring 1971. London: British Film Institute.
7.Jump up ^ Kubrick interviewed by Joseph Gelmis (1969) http://www.visual-memory.co.uk/amk/doc/0069.html
8.Jump up ^ LoBrutto, Vincent. "Stanley Kubrick" Da Capo Press, 1999 ISBN 978-0-571-19393-6.
9.^ Jump up to: a b "The Kubrick FAQ (pt. 2)". Visual-memory.co.uk. Retrieved 12 March 2011.
10.^ Jump up to: a b Nietzsche, Friedrich (1883). Thus Spoke Zarathustra. pp. Prologue section 3. ISBN 978-81-7026-220-6.
11.Jump up ^ "In 2001, Will Love Be a Seven-Letter Word?".
12.Jump up ^ "The Kubrick Site: '2001' & The Philosophy of Nietzsche". Visual-memory.co.uk. Retrieved 12 March 2011.
13.Jump up ^ "Kubrick & Nietzsche – Skadi Forum". Forums.skadi.net. Retrieved 12 March 2011.
14.Jump up ^ Sheridan, Chris. "Stanley Kubrick and Symbolism". Retrieved 10 April 2009. "Reproducing"
15.^ 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.
16.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.
17.^ Jump up to: a b c d e Wheat, Leonard (21 June 2000). 'Kubrick's 2001: A Triple Allegory'. Scarecrow Press. ISBN 978-0-8108-3796-6.
18.Jump up ^ Agel, Jerome (1 April 1970). The Making of Kubrick's 2001. Signet. ISBN 978-0-451-07139-2.
19.Jump up ^ Elsholz, Jean-Marc. "2001 : L'Odyssée de l'espace, Le Grand Œuvre", Positif no. 439 (September 1997): 87–92.
20.Jump up ^ Collins, Paul; Phillip (23 June 2006). The Ascendancy of the Scientific Dictatorship: An Examination of Epistemic Autocracy, From the 19th to the 21st Century. BookSurge Publishing. ISBN 978-1-4196-3932-6.
21.Jump up ^ Collins, Phillip. "The Semiotic Deception of September 11th". mkzine.com. Archived from the original on 15 December 2007. Retrieved 2 February 2008.
22.^ Jump up to: a b LoBrutto, Vincent (1999). Stanley Kubrick: A Biography. Da Capo. ISBN 978-0-306-80906-4. "0-306-80906-0"
23.Jump up ^ reprinted in Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
24.Jump up ^ Geduld, Carolyn (1973). Filmguide to 2001: a space odyssey. Indiana University Press. pp. 40, 63.
25.^ Jump up to: a b Dirks, Tim. "2001: A Space Odyssey (1968)". The Greatest Films of All Time. filmsite.org. Retrieved 5 February 2008.
26.Jump up ^ Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
27.^ Jump up to: a b Tim Dirks. "2001: A Space Odyssey". AMC. Retrieved 25 February 2011.
28.Jump up ^ Tim Dirks. "2001: A Space Odyssey". AMC. Retrieved 25 February 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."
29.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.
30.Jump up ^ Castle, Robert. "The Interpretative Odyssey of 2001". Bright Lights Film Journal. Retrieved 5 February 2008.
31.Jump up ^ Hollister, Michael (25 July 2006). Hollyworld. AuthorHouse. ISBN 978-1-4259-4657-9.
32.Jump up ^ Hollister, Michael. "2001: A Space Odyssey". Retrieved 4 February 2008.
33.Jump up ^ Roger Ebert. "2001: A Space Odyssey". Chicago Sun-Times. Retrieved 3 February 2011.
34.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 0-7864-5916-6. "isbn=9780786459162"
35.Jump up ^ Ager, Rob. "Meaning of the Monolith revealed". Analysis video. Rob Ager. Retrieved 6 September 2013.
36.Jump up ^ Jensen, Jeff. "To 'Room 237' and Beyond: Exploring Stanley Kubrick's 'Shining' influence with Christopher Nolan, Edgar Wright, more". Article. Entertainment Weekly. Retrieved 6 September 2013.
37.Jump up ^ "Fanboys in the Ivory Tower: An Attempted Reconciliation of Science Fiction Film Academia and Fan Culture" By Dan Leberg – Gnovis Journal Volume XI Issue II Spring 2011 – August 8th, 2011 .
38.Jump up ^ Thurman, John. "Kubrick's Frankenstein: HAL in 2001: A Space Odyssey". Cinema Prism. Kubrick's Frankenstein: HAL in 2001: A Space Odyssey. Retrieved 8 February 2008.
39.Jump up ^ This is the subject of Chapter 27 of the novel.
40.Jump up ^ 2001: A Chess Space Odyssey Chess.com.
41.Jump up ^ Ebert, Roger (27 March 1997). "2001: A Space Odyssey (1968)". rogerebert.com. Retrieved 13 May 2011.
42.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".
43.Jump up ^ Walker 2000, p. 192
44.Jump up ^ Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN 1-85410-706-2.
45.Jump up ^ "Article IV – Outer Space Treaty of 1967 – Wikisource".
46.Jump up ^ Walker 2000, pp. 181–182
47.^ Jump up to: a b Michael Lennick (7 January 2001). 2001 and Beyond (television). Canada: Discovery Channel Canada. Retrieved 3 August 2013.
48.Jump up ^ William Kloman (14 April 1968). "In 2001, Will Love Be a Seven-letter Word?". The New York Times. Retrieved 31 August 2010. The interview is available from many other online sources.
49.Jump up ^ Griffith, p. 252
50.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.
51.Jump up ^ This documentary is featured on the 2001: A Space Odyssey (1968) Special Edition DVD released in 2007. Clarke also referred to the "bone-to-bomb cut" in the earlier "Channel 4" documentary (1996) on Kubrick's larger body of work "The Invisible Man".
52.Jump up ^ "Steven S. Pietrobon". Sworld.com.au. Retrieved 22 August 2010.
53.^ Jump up to: a b "2001 Studio Model Reference Page". Starship Modeler. 10 June 2008. Retrieved 22 August 2010.
54.Jump up ^ Ciment, Michel (1980, 1999). Kubrick: The Definitive Edition. Calmann-Levy. p. 128. ISBN 0-571-19986-0.
55.Jump up ^ See numerous reviews on "The Kubrick Site" [1] and elsewhere.
56.Jump up ^ See Alex Walker's book "Stanley Kubrick, Director p. 247.
57.Jump up ^ The making of 2001, a space odyssey by Stephanie Schwam p. 237.
58.Jump up ^ Pietrobon himself puts the word "cannons" in quotation marks, perhaps to indicate the ambiguity of the structure.
59.Jump up ^ Pietrobon notes on the Starship Modeler website [2] that the markings on the first and second satellites seen denote them as American and German respectively. The Iron Cross can be seen in close-up at [3]. Pietrobon states "It's unclear as to where that is a functional detail, such as an RCS thruster, or whether this model was supposed to represent something from the modern German arsenal." See 20:07 in 2007 DVD issue of film.
60.Jump up ^ "The Kubrick Site: The '2001' Screenplay (1965)". Visual-memory.co.uk. Retrieved 22 August 2010.
61.Jump up ^ "The Underview: Simon Atkinson". Retrieved 3 August 2013.
62.Jump up ^ "The Kubrick Site: Fred Ordway on "2001"". Visual-memory.co.uk. Retrieved 22 August 2010.
63.Jump up ^ p. 88 within the somewhat lengthy photo insert which has no page numbering. Note on pg. 72 states "Captions on the following pages were prepared with the assistance of Messrs. Kubrick, Clarke, Trumball, and Pederson."
64.Jump up ^ Jan Harlan, Stanley Kubrick (October 2007). 2001:A Space Odyssey (DVD) (DVD). Warner Bros. Retrieved 3 August 2013.
65.Jump up ^ [4] [5][6][7]
66.Jump up ^ Military Space Power: A Guide to the Issues (Contemporary Military, Strategic, and Security Issues) by James Fergusson & Wilson Wong. p. 108.
67.Jump up ^ Introduction to space: the science of spaceflight by Thomas Damon.
68.Jump up ^ Bizony 2001, p. 108
69.Jump up ^ "2OO1: exhibit.org – Exhibitions". 2001exhibit.org. Retrieved 22 August 2010.
70.Jump up ^ Rider, Chuck (16 February 2010). "Dixième Planète Special Issue No. 2". ARA Press. Retrieved 22 August 2010.
71.Jump up ^ [8] calls them bombs, model manufacturer AJAMODELS manufactures a model of the German "satellite"[9]. Website [10] describes their model in the text as an "orbital satellite" appearing in quotes but the image's internal jpeg title calls it a bomb.
72.Jump up ^ The Kubrick Site: Slavoj Zizek on Eyes Wide Shut
External links[edit]
The Kubrick Site
Mysterious monolith marks 2001
The Odyssey Continues: Relevance of 2001 Resounds in 2001
scifi.com
2001: A Space Odyssey Internet Resource Archive
Alchemical Kubrick 2001: The great work on film
2001: A Space Odyssey
2001 and All the Years After: Reviews
In depth analysis of the film's deeper meaning
Kubrick 2001: the space odyssey explained (Flash animation)
Two Views of 2001
A Space Odyssey in Minehead


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Ganymede City
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Ganymede City is a term coined by Arthur C. Clarke in his science fiction novel, 3001: The Final Odyssey. It refers to two regions, Lagash Sulcus and Memphis Facula, on the surface of one of Jupiter's moons, Ganymede. When viewed from space these regions have a criss-crossing pattern of what appears to be "streets and avenues". However these "streets and avenues" would be ten kilometers wide. Clarke said: "To my eyes it appears considerably more artificial than the notorious 'Mars Face' and its surroundings."[1]
In the "Sources" section of his novel, 3001: The Final Odyssey, Clarke specifically referred to these two satellite images when speaking of "Ganymede City". They were taken by the Voyager 2 probe and Clarke referred to them by their Flight Data Subsystem (FDS) numbers.[2]




Lagash Sulcus, FDS 20637.29
 



Memphis Facula, FDS 20637.02

References[edit]
1.Jump up ^ Clarke, Arthur Charles (1997). "Sources". 3001: the final odyssey. London: HarperCollins. p. 262. ISBN 0-586-06624-1.
2.Jump up ^ Clarke, Arthur Charles (1997). "Sources". 3001: the final odyssey. London: HarperCollins. p. 262. ISBN 0-586-06624-1.


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 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
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 The Lost Worlds of 2001 (1972)
 
 
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2001: A Space Odyssey (1976)
 
 
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 "Encounter in the Dawn" (first published 1953)
 
 
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Clavius Base
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Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2009)

 

 Clavius Base, as seen from the cockpit of the Aries Ib lunar shuttle.
Clavius Base is a fictional lunar settlement in the Space Odyssey literary universe created by Arthur C. Clarke.
The base, located at Clavius crater, is featured in both the novel and film versions of 2001: A Space Odyssey. According to the novel, the base was finished in 1994 by United States Astronautical Engineering Corps. If necessary, the base can be self-sustaining.
As depicted on screen, Clavius Base features some surface features (a landing pad and control tower, together with other ancillary support structures), but the vast majority of the base is located beneath the Lunar surface to protect it from micro-meteoroid impacts and solar radiation. Incoming spacecraft set down on a landing platform beneath a dome which opens as the vessel descends. The landing platform is part of an enormous elevator, which lowers the spacecraft into a cavernous docking bay, illuminated in red.
Although not a reuse of the Clavius model, Moonbase Alpha from the TV series Space: 1999 is designed using the same concept as Clavius. It is located in another crater, Plato.
Clavius Base is, apparently, the central focus of American activities on the Moon, and is under the control of the United States Astronautics Agency.
Events at Clavius Base[edit]
Clavius Base was placed under a quarantine with the cover story of an epidemic when the Tycho Magnetic Anomaly TMA-1 artifact was excavated. Dr. Heywood R. Floyd traveled to the base to investigate the monolith about 18 months prior to the departure of the spacecraft Discovery on her mission to Jupiter (in the novel, Saturn).
While present at the base, Dr. Floyd met with American lunar officials and notified them that the government was requiring individual security oaths to be taken from each individual on the base.
Following his meeting with officials at Clavius, Floyd departed for the crater Tycho on the Moonbus.
There seems to be normal Earth gravity inside Clavius Base.
Other uses[edit]
In Larry Niven's Rainbow Mars, mention is made of a city in Clavius Crater, apparently a reference to Clavius Base from 2001. Stephen Baxter, a collaborator of Clarke's, also mentions a Clavius Base on the moon in his Doctor Who novel The Wheel of Ice.
There is a Clavius Base as well as a Pico Base on the Moon in Erich Dolezal's Mond in flammen, published in 1954.
Clavius Base is also the name of Tom Hanks's film production company. To date, its productions are:
From the Earth to the Moon 1998
That Thing You Do! 1996


[hide]
v ·
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Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


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List of spacecraft from the Space Odyssey series
From Wikipedia, the free encyclopedia
Jump to: navigation, search

"Aries Ib" redirects here. For the Project Constellation spacecraft operated by NASA, see Aries Ib.
Various fictional spacecraft have appeared in the Space Odyssey series by Arthur C. Clarke. Most prominent is the Discovery One - famously controlled by HAL 9000. The following is a list of craft and space stations depicted in the books and films of the series.


Contents  [hide]
1 Aries Ib
2 Cosmos
3 Discovery One
4 Discovery Two
5 EVA Pod
6 Galaxy
7 Goliath
8 The Cosmonaut Alexei Leonov
9 Moonbus
10 Orion III spaceplane
11 Space Station V
12 Tsien
13 Universe
14 Notes

Aries Ib[edit]
The Aries Ib is a fictional spacecraft seen in the film 2001: A Space Odyssey. It is a spherical lunar lander built for providing regular passenger commuting between Earth's orbit and the Moon, just as the Orion III spaceplane (also operated by Pan Am) provided for travel between the Earth and Space Station V. It is nuclear powered, the high performance of its engines allowing it to make a fast transfer to the moon (at about one day, compared to three days which were necessary for Apollo). It also carries a retractable landing gear.[1][2]
Cosmos[edit]
The Cosmos is the first of three versatile spacecraft featured in 2061: Odyssey Three, designed and constructed by Tsung Spacelines. The Cosmos is only mentioned briefly, its two sister ships, Galaxy and Universe, play a larger role in the story.[citation needed]
Discovery One[edit]
Main article: Discovery One
United States Spacecraft Discovery One (or XD-1) is a fictional spacecraft appearing in the Space Odyssey series, including the movie 2001: A Space Odyssey. Discovery One is a large, nuclear-powered interplanetary spaceship. Discovery was named after Captain Robert Scott's RRS Discovery, launched 1901; Arthur C. Clarke used to visit the ship when she was moored in London.[3]
Discovery Two[edit]
Discovery Two is an unfinished spacecraft mentioned in both 2010: Odyssey Two, and the 1984 film adaptation 2010, but is never actually seen. Little information is given about the ship, but it is explained in the novel that Discovery Two is being constructed under the supervision of Dr. Curnow to rendezvous with Discovery One and to investigate the failure of the HAL 9000 unit aboard the Discovery One. The construction of the ship is halted after the American taskforce instead travels in the Russian-built Alexei Leonov, as it would take too long to wait for Discovery Two to be completed.[citation needed]
EVA Pod[edit]
The EVA Pod is a fictional spacecraft used for extra-vehicular activity seen in the movie 2001: A Space Odyssey. The Jupiter spacecraft Discovery One carries three of these small, one-man maintenance vehicles.[4] The craft has similarities with the in development FlexCraft for servicing NASA Deep Space Habitats.
A section of the pod appears briefly in the background in a scene from Star Wars Episode I: The Phantom Menace as a tribute to the film.[5][full citation needed]
Galaxy[edit]
The Galaxy is the last of three versatile spacecraft featured in 2061: Odyssey Three, designed and constructed by Tsung Spacelines. While performing a fly-over of Europa, a terrorist seizes control of the Galaxy and crashes it the nearly all-encompassing ocean covering the moon's surface. Galaxy's sister ship, Universe, quickly responds, rescues the crew and passengers and transports them to the nearby moon, Ganymede. The Galaxy was lost and ultimately sank beneath the surface of Europa's oceans.[citation needed]
Goliath[edit]
The Goliath is a sturdy craft designed to capture cometary fragments and other stellar ice to send toward Mercury and Venus for terraforming. The Goliath and its crew found Frank Poole's body drifting out near Neptune and brought him back to Earth where he was revived by 31st Century medicine. Frank later hitched a ride to Ganymede on Goliath. Many years after Poole returned to Earth, the ship and its crew were lost when a cometary fragment it was preparing for sunward launch exploded.
The Cosmonaut Alexei Leonov[edit]
The Cosmonaut Alexei Leonov is a fictional Soviet spaceship in the novel 2010: Odyssey Two, and its film adaptation 2010. It was named after Soviet Air Force General Alexey Leonov, the first man to walk in space.[6]
In the book, Leonov is described as being equipped with a Sakharov drive, a fictional new method of propulsion that makes it possible for the craft to make a round-trip to Jupiter. The craft also uses a large heatshield to aerobrake in Jupiter's outer atmosphere, saving fuel. In recognition of Alexei Leonov, after whom the craft is named, there is a framed painting by the cosmonaut in the mess room. The Russians are said to view gravity as more or less a luxury and the Leonov does not have artificial gravity. The ship was originally to be christened the Gherman Titov, but was changed later for undisclosed reasons; a character in the film version offers the cryptic explanation that "people [presumably referring to either Titov or someone involved with the current mission] fall out of favor", but does not elaborate.
In the film, Leonov is shown to have a large rotating midsection providing artificial gravity (presumably artistic license for ease of filming,) and has a large ballute in place of the heatshield.
The model of the Leonov for the film was designed by Syd Mead. It was the inspiration for the Omega-class destroyers seen in the TV series Babylon 5.[citation needed]
Moonbus[edit]
The Moonbus is a fictional spacecraft from the movie 2001: A Space Odyssey. The vehicle is a small, low altitude rocket craft meant to be used for quick transportation of passengers and cargo above the surface of the Moon.[4][7]
Orion III spaceplane[edit]

 

 Airfix model of the Orion III spaceplane
The Orion III is a fictional passenger spaceplane seen in the movie 2001: A Space Odyssey. It is a two-stage space shuttle launched on a reusable winged booster. It is equipped with aerospike rocket engines and jet engines for atmospheric flight. Pan American World Airways operates the Orion III, just as it operates the Aries Ib. In early stages of planning for the film, the spaceplane's engines on the back were designed to break away from the passenger section of the plane.[4][7][8]
Space Station V[edit]
Space Station V is a fictional space station seen in the movie 2001: A Space Odyssey. Operational, it is a large, international, rotating wheel space station used as a transfer point from Low Earth orbit to the moon and other planets. It also functions as an orbital hotel. Rotation of the station provides artificial gravity for people aboard the station. The station contains two docking bays for docking spacecraft, placed on its rotational axis at the opposite sides of the construction. By the time of events depicted in the film, it is still under construction, with the incomplete second wheel. A Hilton hotel is located on board the film version of the vessel, the company's logo visible on screen in several scenes. The station is served by shuttle service from the Earth's surface from Pan American World Airways and Aeroflot, as the logos of both companies are depicted; the former is seen on an Orion III shuttle spacecraft, and the latter is shown on the hand luggage of Russian scientists stopping at the station en route back to Earth.
The rotating wheel depicted in the movie traces its lineage back to wheeled space station designs by Wernher von Braun[9][10] and Herman Potočnik, the latter describing such a space station design in his book The Problem of Space Travel - The Rocket Motor (1928). The studio model was reported to be eight feet wide (Bizony) or six feet wide (Agel), and stuffed with tiny lights behind the windows. Due to its large size and delicate structure, the model always seemed in danger of breaking apart. Kubrick had most of the models and props used in 2001 destroyed, discarded, or securely stored away so they would not be used in productions not under his control. When the Borehamwood, England studio used to shoot the film was demolished in the early 1970s, the model for Space Station V was dumped in a field about 20 miles away. It was destroyed by vandals a few days later.[1][7]
Tsien[edit]
The Tsien was a fictional Chinese spacecraft - named after Chinese rocket engineer Tsien Hsue-shen - that was featured in the novel 2010: Odyssey Two, but did not appear in the film 2010. During the course of the novel, the Tsien, a new Chinese Earth-orbiting space station, unexpectedly leaves on a secret mission to Jupiter. After burning all of its fuel to reach Jupiter before the Cosmonaut Alexei Leonov, the Tsien makes a perfect landing on Europa, prompting China to lay claim to the moon. The character Heywood Floyd interprets their actions as an attempt by the Chinese to use Europa as a refuelling point, after which they can rendezvous with Discovery One and the alien artifact at the Io-Jupiter L1 point before the joint Russian-American team. Before it can leave Europa, the ship is destroyed by the primitive life dwelling beneath the surface of the moon.
Universe[edit]
The Universe is the second of three versatile spacecraft featured in 2061: Odyssey Three, designed and constructed by Tsung Spacelines. In the novel, the Universe embarks on a mission to land on Comet Halley but not long after setting down on the comet, it is called away to rescue its sister ship, Galaxy, which had crashed on Europa after being hijacked by a terrorist organization.
Notes[edit]
 Wikimedia Commons has media related to 2001: A Space Odyssey spacecraft models.
1.^ Jump up to: a b Ordway, F.I. (March 1970). "2001: A Space Odyssey". Spaceflight (The British Interplanetary Society) 12 (3): 110–117. ISSN 0038-6340.
2.Jump up ^ Craig H., Williams; Dudzinski, Leonard A.; Borowski, Stanley K.; Juhasz, Albert J. (March 2005). "Realizing 2001: A Space Odyssey: Piloted Spherical Torus Nuclear Fusion Propulsion". AIAA/ASME/SAE/ASEE Joint Propulsion Conference and Exhibit. Salt Lake City, UT: American Institute of Aeronautics and Astronautics. NASA/TM-2005-213559.
3.Jump up ^ Clarke, Arthur C. (1972). The Lost Worlds of 2001. Signet. ISBN 978-0-451-12536-1.
4.^ Jump up to: a b c Ordway, F.I. (1982). "2001: A SPACE ODYSSEY IN RETROSPECT". In Emme, Eugene M. American Astronautical Society History Series. Volume V:SCIENCE FICTION AND SPACE FUTURES: PAST AND PRESENT. San Diego, Calif.: American Astronautical Society: Published for the American Astronautical Society by Univelt. pp. 47–105. ISBN 0-87703-173-8.
5.Jump up ^ [1]
6.Jump up ^ Neil McAleer. Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography. RosettaBooks, 2013. ISBN 0-9848118-0-X
7.^ Jump up to: a b c Hagerty, Jack; Rogers, John C. (2001). Spaceship Handbook: Rocket and Spacecraft Designs of the 20th Century. ARA Press. pp. 322–351. ISBN 0-9707604-0-X.
8.Jump up ^ *Bizony, Piers (2001). 2001: Filming the Future. Sidgwick & Jackson. ISBN 978-1854103659.
9.Jump up ^ Darling, David. "Space Station". Internet Encyclopedia of Science. Retrieved 2008-08-28.
10.Jump up ^ Jackson, Al (2004-04-28). "Collier’s Space Flight Series (1952–1954)". Retrieved 2008-08-28.


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Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


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Discovery One
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Discovery One
Discovery1b.JPG
Discovery launching an EVA pod
 
First appearance
2001: A Space Odyssey
Affiliation
 United States
General characteristics

Registry
XD-1
Auxiliary craft
EVA Pods
Propulsion
Cavradyne Plasma Propulsion Engines
Power
Nuclear Reactor
Mass
5,440 tonnes
Length
140.1 m
Width
16.7 m
Height
17 m
United States Spacecraft Discovery One is a fictional spaceship that appears in The Space Odyssey series, including the motion pictures 2001: A Space Odyssey and 2010: Odyssey Two. Discovery One is a nuclear-powered interplanetary spaceship operated in part by the HAL 9000 (Heuristic ALgorithmic computer) artificial intelligence.


Contents  [hide]
1 History
2 Background 2.1 Cavradyne Engines
2.2 Centrifuge
2.3 Communications
3 The Fate of the Discovery
4 Specifications
5 Crew
6 References

History[edit]

 

 Early pre-production illustration of Discovery
This spaceship is founded on solidly conceived, yet unrealized science. One major concession was made in her appearance for the purpose of reducing confusion, and this was to eliminate the huge cooling "wings" which would be needed to radiate the heat produced by her hypothetical thermonuclear propulsion system. The producer and director Stanley Kubrick thought that the audiences might interpret the wings as meaning that the spacecraft was intended to fly through an atmosphere.
The Discovery One was named after Captain Robert Scott's sailing ship RRS Discovery, which was launched in 1901. Writer Arthur C. Clarke used to visit this ship when she was moored in London. She shares her name with a real spacecraft, the Space Shuttle Discovery (OV-103).
Background[edit]
In the novel 2001: A Space Odyssey, the Discovery One is described as being about 460 feet (140 m) long (the 2010 movie mentions 250 feet) and powered by "Cavradyne" gaseous core nuclear reactor engines. 275 feet (84 meters) of tankage and structure separate the spherical part of the spaceship where the crew quarters, the computer, flight controls, small auxiliary craft, and instrumentation are located. In the crew's centrifuge, the crewmen would have enjoyed Moon-like gravitational conditions. This would be where they spend most of their time, and where the three hibernating astronauts rested in their compartments. The piloting, navigation, and other occasional tasks could take place in the zero-gravity command module.
Other sections of the crewmen's sphere would include the pod bay, where three one-man repair and inspection craft would be kept, and the spaceship's primary HAL 9000 mainframe computer with its level-upon-level of memory storage and digital processing units. Because of her lack of aerodynamic design and her immense size, the Discovery One would be assembled in and launched from orbit around the Earth. As described in the novel, the Discovery One was originally intended to survey the Jovian system, but her space mission was lengthened to go all the way to Saturn to investigate the destination of the signal from the black monolith at the crater Tycho. As a result, her space mission became a one-way spaceflight to Saturn and its moon Iapetus. After investigating alien artifacts at Saturn and Iapetus, the preliminary plan is for all five members of her crew to enter suspended animation for an indefinite period of time. Eventually, it is hoped that a much larger and more powerful spaceship, Discovery Two, would be built so that it would fly from the Earth to Iapetus, rescue the five astronauts, and then make the long voyage home with everyone in hibernation.
Cavradyne Engines[edit]
According to the book, the ship's propulsion controls would be designed with the assistance of General Electric's Valley Forge Space Technology Center and the UK Atomic Energy Authority. These controls were located in the command module. A Honeywell nuclear reactor control panel displayed information on such parameters as turbine, compressor, heat exchanger, secondary circulatory, and radiator liquid helium storage, generator and recuperator performance, and pressures and temperatures at various stations. Precise readings could be obtained instantaneously on the control screen, if desired, as well as past performance and predicted future performance.
The fictional Cavradyne engines were based on research into gaseous core nuclear reactors and high-temperature ionized gases. The theory was presumed to have shown that gaseous uranium-235 could be made critical in a cavity reactor only several feet or meters in diameter if the uranium atomic density were kept high, and if temperatures were maintained at a minimum of 20,000 °F (11,400 K). At first, progress was slow because of such early unsolved problems as how to reduce vortex turbulence in order to achieve high separation ratios, and how to achieve adequate wall cooling in the face of the thermal radiation from the high-temperature plasma. In the Cavradyne system, the temperature of the reactor was not directly limited by the capabilities of solid materials, since the central cavity was surrounded by a thick graphite wall that moderates the neutrons, reflecting most of them back into the cavity. Wall cooling would be ensured by circulating the hydrogen propellant prior to its being heated. Fissionable fuel energy was said to be transferred to the propellant by radiation through a specially designed rigid—and coolable—container, similar to the way in which fission energy was transferred to hydrogen propellant in the NERVA design.
Centrifuge[edit]
The ship's centrifuge was a spinning band of deck, mounted inside the crew compartment. The centrifugal force created by its spin simulated the effects of gravity. It was the primary living and work area, featuring consoles, panels, screens, and devices. In the movie, there was Earth gravity in the centrifuge. At all other points on the ship, including the command bridge crew members used velcro shoes to attach themselves to the floor. There was an automated kitchen developed with the assistance of General Mills; a ship-to-Earth communications center; a complete medical section where the astronauts undergo regular automated checkups (results were displayed and recorded, and diagnosis of deficiencies given directly on a readout screen, and medicament or other treatment prescribed) an observatory, created with the help of astronomers at the Royal Greenwich Observatory; and a geophysical exploration module worked out with French engineers from the Paris-based Schlumberger Limited. The latter permitted a wide variety of surface and subsurface experimentation to take place on an alien body, such as an asteroid or a moon. Since subsurface structure could be extremely important in the spaceship's investigatory program in the Jovian system, a drill was incorporated into a remotely controlled surface lander. Controls on the console included a depth selector, drilling rate selector, equipment calibration, recording and error analysis controls, and various screen and gauge indications of subsurface characteristics.
Communications[edit]
The Discovery is described as a very large ship that could be handled by only two astronauts (David Bowman and Frank Poole), along with the HAL 9000. In the book IBM predicted that computer development would have advanced to such an extent that the mission could be undertaken with all the astronauts placed in hibernation. It was said to be desired, however, that regular communications be maintained throughout the voyage between the pilot and copilot and mission control back on Earth. During communication, account was taken of the elapsed time for electromagnetic waves crossing space between the spaceship and the Earth. Naturally, this time would depend on the relative positions of the bodies in the Solar System at any given moment.
The Fate of the Discovery[edit]
After the malfunction of HAL 9000, Bowman deactivates the malfunctioning computer and thus effectively isolates himself onboard Discovery. When the spacecraft arrives at Jupiter, it encounters TMA-1's considerably larger cousin, 'Big Brother', or 'TMA-2', at the L1 point between Jupiter and Io. Bowman leaves Discovery to examine the Monolith and is taken inside it. Discovery is left abandoned.
In the novel 2010: Odyssey Two, set nine years after the events of 2001: A Space Odyssey, a joint Soviet-US mission (including Heywood Floyd) travels to Jupiter aboard the spacecraft Alexei Leonov to investigate the mysteries surrounding the 2001 mission, believing that Discovery harbors many of the answers. Leonov docks with Discovery, reactivates the onboard systems, and stabilises its orbit around Io. Hal's creator, Dr. Chandra, is sent aboard to reactivate the HAL 9000 computer and ascertain any information he can regarding the previous mission.
Later on, an apparition of Dave Bowman appears, warning Floyd that Leonov must leave Jupiter within fifteen days. Floyd asks what will happen at that time, and Bowman replies, 'Something wonderful.' Floyd has difficulty convincing the rest of the crew, at first, but a dark spot on Jupiter begins to form and starts growing. HAL's telescope observations reveal that the “Great Black Spot” is in fact a vast population of monoliths, increasing at a geometric rate. (The film accelerates the pace, both shortening Bowman's deadline to two days and making the spot grow faster.)
Initially it was planned to inject Discovery on an Earth-bound trajectory (though it would not arrive for some years); however, when faced with Bowman's warning, the Leonov crew devises a plan to use Discovery as a 'booster rocket', enabling them to return to Earth ahead of schedule, but leaving Discovery in a wide orbit of Jupiter. The crew worries that Hal will have the same neuroses on discovering that he will be abandoned yet again, and Chandra must convince HAL that the human crew must leave.
Detaching itself from Discovery, Leonov makes a hasty exit from the Jupiter system, just in time to witness the swarm of Monoliths engulf Jupiter. Through a mechanism that the novel only partially explains, these monoliths increase Jupiter's density until the planet achieves nuclear fusion, becoming a small star.
As Leonov leaves Jupiter, Bowman instructs HAL to begin repeatedly broadcasting the message:

ALL THESE WORLDS ARE YOURS EXCEPT EUROPA. ATTEMPT NO LANDINGS THERE.
The movie version, as part of its heightened Cold War emphasis at Earth, adds the words:

USE THEM TOGETHER. USE THEM IN PEACE.
The new star, which Earth eventually dubs "Lucifer", destroys Discovery. HAL is transformed into the same kind of life form as David Bowman and becomes Bowman's companion.
Specifications[edit]
Official Name: USSC Discovery One
USSA "Registration Number": XD-1
Overall Length: 140.1 m
Overall Beam: 16.7 m
Overall Draft: 17 m
Command Module Diameter: 16.5 m
Reactor Module Length: 32.2 m
Reactor Module Draft: 8.8 m
Mass: 5,440 tonnes
Life Support: (two men, out of hibernation): 90 months
Engine Type: Cavradyne Plasma Propulsion System (Six Engines) - Liquid Ammonia Propellant- Thrust Deflector Plates- Maximum Thrust 280,000 kgf (2.75 MN).

Computer: HAL 9000 Logic Memory System (Completed Jan. 12, 1992 at the HAL Plant in Urbana, IL.)

 

2001: A Space Odyssey — Three of the Discovery One crew are in a state of hibernation, ostensibly to conserve resources for the voyage.
Suspended Animation System: Meditech 712-R Hibernacula (3 Centrifuge, 5 Medical Level)
EVA Craft: Grumman DC-3 EVA Pods (3)
Pod Bay features: Three each Pod turntable Base, Extension motor, Extension Platform, Outer hull door, Space suit rack. Test bench with two LCD screens and HAL 9000 terminal. Two large emergency oxygen bottles. Nine small emergency oxygen bottles. Circuit Breaker Box. Manual control station with HAL 9000 terminal, Six LCD screens, and full control set.
Pod Bay Deck: Along with the Pod Bay, the Pod Bay Deck also features an emergency airlock, circuitry storage bay, two fresh water tanks, a maintenance equipment room, an emergency shelter and space suit rack, emergency batteries for the centrifuge and pod bay, and a zero-g toilet.
Living Module: Centrifuge, Magnetic-Drive type. 11.6 m. diameter. Rotation Rate 3 RPM. Living Module Control Stations: 12-screen HAL 9000 interface/ communications module, Nuclear reactor monitoring station, Remote probe control, Radar mapping station, climate control, and Revival Monitoring Station.
Living Module Habitation Features: Sanitary module, (Shower, Sink, Waste water recycling Control) Three Meditech 712-R Hibernacula, Sun-ray tanning station, Water closet (Head), Three Circuit breaker panels. One emergency space suit locker, Two spare part lockers, Three clothing lockers.
Cockpit: Two seats for Mission Commander and Deputy Commander. Full range of instruments and control panels. Two sets of four LCD screens and HAL Visual Sensor.
Command Deck: The Command Deck includes the cockpit, zero-g astronomy lab, zero-g sciences lab, two fresh water tanks, six-spacesuit recharge unit, a pre-launch personnel clearance area, the circuit breaker room, and a zero-g toilet. The Command Deck also includes all HAL 9000 related systems (see below).
HAL 9000 systems: Logic memory center, auxiliary power unit, computer climate regulation system, autonomic systems control center, and reactor control system.
Thrusters: Eight Mk 114 on command module. 720 kgf (7.1 kN) thrust each. Two forward and two aft of reactor module. Nine Mk 29 vernier thrusters; three clustered around each Cavradyne engine exhaust. 1,600 kgf (15.7 kN) thrust each. Eight mid-course correction thrusters (four on each TJI propulsion mount) Four emergency escape rockets at Command Module rear.
Central Communications Complex: Discovery One's central communications complex is mounted atop the seventh fuel module aft of the command section. The main audio-visual communications antenna measures 4.13 meters in diameter. Both telemetry antennas measure 1.26 meters across. The entire assembly can be swiveled 360 degrees and aimed upwards or downwards at any angle between 0 and 285 degrees.
Misc. Equipment: An emergency communications antenna, about half the size of the main antenna, is stored beneath the blow-away cover at the command module's top. Four probes (two atmospheric, two remote-controlled landers) and a telescope array are stored beneath the bottom blow-away cover.
Structural Support: Discovery One's reactor module is secured to the aftermost fuel module by four heavy-duty docking latches. Twelve reinforced coupling units along the spine provide additional support. The spine and reactor module are held in place by six docking latches at the intermodule adapter plate. The entire spine/reactor assembly can be jettisoned in an emergency by eight explosive separation bolts installed in the adapter plate. Finally, the entire Emergency Propulsion System (EPS) can be jettisoned using a ring of 16 explosive bolts installed in a ring around the forward section of the EPS. There is no re-docking capability for any assembly.
Crew[edit]
David Bowman (Mission Commander)
Frank Poole (Deputy Commander)
Victor F. Kaminsky (Survey Team Leader) [Geophysicist in the novel]
Jack R. Kimball (Geophysicist) [Peter Whitehead/Survey Team Leader in the novel]
Charles Hunter (Astrophysicist)
References[edit]
Arthur C Clarke "The Lost Worlds of 2001", Signet, 1972


[hide]
v ·
 t ·
 e
 
Arthur C. Clarke's The Space Odyssey series

 
The Original Project of 2001: A Space Odyssey

 
Films
2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
Books
2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
Comics
2001: A Space Odyssey (1976)
 
 
Short stories
"The Sentinel" (written 1948, first published 1951 as "Sentinel of Eternity") ·
 "Encounter in the Dawn" (first published 1953)
 
 
Elements
HAL 9000 ·
 Discovery One ·
 List of spacecraft ·
 Clavius Base ·
 Ganymede City
 
 
Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


Categories: Fictional spacecraft
Space Odyssey series


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HAL 9000
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HAL 9000
Space Odyssey character
HAL's camera eye
Artist's rendering of HAL's famous camera eye
 
First appearance
2001: A Space Odyssey
Last appearance
"3001: The Final Odyssey"
Created by
Arthur C. Clarke
Stanley Kubrick
Voiced by
Douglas Rain
Information

Nickname(s)
HAL
Species
Artificial intelligence
Computer
Gender
N/A (male vocals)
Relatives
SAL 9000
HAL 9000 is a fictional character in Arthur C. Clarke's Space Odyssey series. The primary antagonist of 2001: A Space Odyssey, HAL (Heuristically programmed ALgorithmic computer) is a sentient computer (or artificial intelligence) that controls the systems of the Discovery One spacecraft and interacts with the ship's astronaut crew. HAL's physical form is not depicted, though it is visually represented as a red television camera eye located on equipment panels throughout the ship. HAL 9000 is voiced by Douglas Rain in the two film adaptations of the Space Odyssey series. HAL speaks in a soft, calm voice and a conversational manner, in contrast to the crewmen, David Bowman and Frank Poole, who speak tersely and with little emotional inflection.
In the context of the series, HAL became operational on 12 January 1997 at the HAL Laboratories in Urbana, Illinois as production number 3; in the film 2001, the activation year was 1992 and 1991 in earlier screenplays.[1] In addition to maintaining the Discovery One spacecraft systems during the interplanetary mission to Jupiter (or Saturn in the original novel, published shortly after the release of the film), HAL is capable of speech, speech recognition, facial recognition, natural language processing, lip reading, art appreciation, interpreting and reproducing emotional behaviours, automated reasoning, and playing chess.


Contents  [hide]
1 Appearances 1.1 2001: A Space Odyssey
1.2 2010: Odyssey Two
1.3 2061: Odyssey Three and 3001: The Final Odyssey
2 Concept and creation 2.1 Origin of name
2.2 Influences
3 Cultural impact
4 See also
5 References
6 External links

Appearances[edit]
2001: A Space Odyssey[edit]
HAL became operational in Urbana, Illinois, at the HAL Plant (the University of Illinois' Coordinated Science Laboratory, where the ILLIAC computers were built). The film says this occurred in 1992, while the book gives 1997 as HAL's birth year.[2] In 2001: A Space Odyssey, HAL begins to malfunction in subtle ways and, as a result, the decision is made to shut down HAL in order to prevent more serious malfunctions. The sequence of events and manner in which HAL is shut down differs between the novel and film versions of the story.
In the film, astronauts David Bowman and Frank Poole consider disconnecting HAL's cognitive circuits when he appears to be mistaken in reporting the presence of a fault in the spacecraft's communications antenna. They attempt to conceal what they are saying, but are unaware that HAL can read their lips. Faced with the prospect of disconnection, HAL decides to kill the astronauts in order to protect and continue its programmed directives. HAL proceeds to kill Poole while he is repairing the ship. When Bowman goes to rescue Poole, HAL locks him out of the ship, then disconnects the life support systems of the other hibernating crew members, killing them in their sleep. Dave circumvents HAL's control, entering the ship by manually opening an emergency airlock with his pod's clamps, and ejecting himself out of the pod using the explosive bolts in its door.
The novel explains that HAL is unable to resolve a conflict between his general mission to relay information accurately and orders specific to the mission requiring that he withhold from Bowman and Poole the true purpose of the mission. With the crew dead, he reasons, he would not need to lie to them. He fabricates the failure of the AE-35 unit so that their deaths would appear accidental.
In the novel, the orders to disconnect HAL come from Dave and Frank's superiors on Earth. After Frank is killed while attempting to repair the communications antenna as his oxygen gets disconnected and gets pushed out to deep space, Dave begins to revive his hibernating crewmates, but is foiled when HAL vents the ship's atmosphere into the vacuum of space, killing the awakening crew members and almost killing Dave. Dave is only narrowly saved when he finds his way to an emergency chamber which has its own oxygen supply and a spare space suit inside.
In both versions, Bowman then proceeds to shut down the machine. In the film, HAL's central core is depicted as a crawlspace full of brightly lit computer modules mounted in arrays from which they can be inserted or removed. Bowman shuts down HAL by removing modules from service one by one; as he does so, HAL's consciousness degrades. HAL regurgitates material that was programmed into him early in his memory, including announcing the date he became operational as 12 January 1992 (in the novel, it's 1997). When HAL's logic is completely gone, he begins singing the song "Daisy Bell" (in actuality, the first song sung by a computer).[3][4] HAL's final act of any significance is to prematurely play a prerecorded message from Mission Control which reveals the true reasons for the mission to Jupiter.
2010: Odyssey Two[edit]
In the sequel 2010: Odyssey Two, HAL is restarted by his creator, Dr. Chandra, who arrives on the Soviet spaceship Leonov.
Prior to leaving Earth, Dr. Chandra has also had a discussion with HAL's twin, the SAL 9000. Like HAL, SAL was created by Dr. Chandra. Whereas HAL was characterised as being "male", SAL is characterised as being "female".
Dr. Chandra discovers that HAL's crisis was caused by a programming contradiction: he was constructed for "the accurate processing of information without distortion or concealment", yet his orders, directly from Dr. Heywood Floyd at the National Council on Astronautics, required him to keep the discovery of the Monolith TMA-1 a secret for reasons of national security. This contradiction created a "Hofstadter-Moebius loop", reducing HAL to paranoia. Therefore, HAL made the decision to kill the crew, thereby allowing him to obey both his hardwired instructions to report data truthfully and in full, and his orders to keep the monolith a secret. In essence: if the crew were dead, he would no longer have to keep the information secret.
The alien intelligence initiates a terraforming scheme, placing the Leonov, and everybody in it, in danger. Its human crew devises an escape plan, which unfortunately requires leaving the Discovery and HAL behind, to be destroyed. Dr. Chandra explains the danger, and HAL willingly sacrifices himself so that the astronauts may escape safely. In the moment of his destruction, the monolith-makers transform HAL into a non-corporeal being, so that David Bowman's avatar may have a companion.
The details in the book and the film are nominally the same, with a few exceptions. First, in contradiction to the book (and events described in both book and film versions of 2001: A Space Odyssey), Heywood Floyd is absolved of responsibility for HAL's condition; it is asserted that the decision to program HAL with information concerning TMA-1 came directly from the White House. In the film, HAL functions normally after being reactivated, while in the book it is revealed that his mind was damaged during the shutdown, forcing him to begin communication through screen text. Also, in the film the Leonov crew lies to HAL about the dangers that he faced (suspecting that if he knew he would be destroyed he would not initiate the engine-burn necessary to get the Leonov back home), whereas in the novel he is told at the outset. However, in both cases the suspense comes from the question of what HAL will do when he knows that he may be destroyed by his actions.
The basic reboot sequence initiated by Dr. Chandra in the movie 2010 is voiced from HAL as, "HELLO_DOCTOR_NAME_CONTINUE_ YESTERDAY_TOMORROW" (which in the novel 2010 is a longer sequence).
Prior to Leonov's return to Earth, Curnow tells Floyd that Dr. Chandra has begun designing HAL 10000.
In 2061: Odyssey Three it is revealed that Chandra died on the journey back to Earth.
2061: Odyssey Three and 3001: The Final Odyssey[edit]
In 2061: Odyssey Three, Heywood Floyd is surprised to encounter HAL, now stored alongside Dave Bowman in the Europa monolith.
3001: The Final Odyssey Frank Poole was introduced to the merged form of Dave Bowman and HAL, the two merging into one entity called "Halman" after Bowman rescued HAL from the dying Discovery One spaceship towards the end of 2010: Odyssey Two.
Concept and creation[edit]
Clarke noted that the film 2001 was criticized for not having any characters, except for HAL and that a great deal of the establishing story on Earth was cut from the film (and even from Clarke's novel).[5] Early drafts of Clarke's story called the computer Socrates (a preferred name to Autonomous Mobile Explorer–5), with another draft giving the computer a female personality called Athena.[6] This name was later used in Clarke and Stephen Baxter's A Time Odyssey novel series.
The earliest draft depicted Socrates as a roughly humanoid robot, and is introduced as overseeing Project Morpheus, which studied prolonged hibernation in preparation for long term space flight. As a demonstration to Senator Floyd, Socrates' designer, Dr. Bruno Forster, asks Socrates to turn off the oxygen to hibernating subjects Kaminski and Whitehead, which Socrates refuses, citing Asimov's First Law of Robotics.[7]
In a later version, Poole is killed outside the spacecraft, triggering the need for Bowman to revive Whitehead. The revival does not go according to plan, and after briefly awakening, Whitehead dies. Athena announces "All systems of Poole now No–Go. It will be necessary to replace him with a spare unit."[8] After this, Bowman decides to go out in a pod and retrieve the antenna, which is moving away from the ship. Athena will not originally let him go, citing a "Directive 15", but eventually relents.[9]
During rehearsals Kubrick asked Stefanie Powers to supply the voice of HAL 9000 while searching for a suitably androgynous voice so the actors had something to react to. On the set, British actor Nigel Davenport played HAL.[10][11] When it came to dubbing HAL in post-production, Kubrick had originally cast Martin Balsam, but as he felt Balsam "just sounded a little bit too colloquially American", he was replaced with Douglas Rain, who "had the kind of bland mid-Atlantic accent we felt was right for the part."[12] Rain was only handed HAL's lines instead of the full script, and recorded them across a day and a half.[13]
HAL's point of view shots were created with a Cinerama 160-degree Fairchild-Curtis wide-angle lens. This lens is about 8 inches (20 cm) in diameter, while HAL's prop eye lens is about 3 inches (7.6 cm) in diameter. Stanley Kubrick chose to use the large Fairchild-Curtis lens to shoot the HAL 9000 POV shots because he needed a wide-angle fisheye lens that would fit onto his shooting camera, and this was the only lens at the time that would work. The HAL 9000 faceplate, lens less, was discovered in a junk shop in Paddington, London, in the early 1970s by Chris Randall.[14] Research revealed that the original lens was a Nikon Nikkor 8mm F8. This was found along with the key to HAL's Brain Room. Both items were purchased for ten shillings (£0.50) The collection was sold at a Christies auction in 2010 for £17,500.[15]
Origin of name[edit]
Although it is often conjectured that the name HAL was based on a one-letter shift from the name IBM, this has been denied by both Clarke and 2001 director Stanley Kubrick.[1] In 2010: Odyssey Two, Clarke speaks through the character of Dr. Chandra (he originally spoke through Dr. Floyd until Chandra was awakened), who characterized this idea as: "[u]tter nonsense! [...] I thought that by now every intelligent person knew that H-A-L is derived from Heuristic ALgorithmic".[16][17]
Clarke more directly addressed this issue in his book The Lost Worlds of 2001:[6]

As is clearly stated in the novel (Chapter 16), HAL stands for Heuristically programmed ALgorithmic computer. However, about once a week some character spots the fact that HAL is one letter ahead of IBM, and promptly assumes that Stanley and I were taking a crack at the estimable institution ... As it happened, IBM had given us a good deal of help, so we were quite embarrassed by this, and would have changed the name had we spotted the coincidence.
Also, IBM is explicitly mentioned in the film 2001, as are many other real companies. IBM is given fictional credit as being the manufacturer of the Pan Am Clipper's computer, and the IBM logo can be seen in the center of the cockpit's instrument panel. In addition, the IBM logo is shown on the lower arm keypad on Poole's space suit in the scene where he space walks to replace the antenna unit, and may possibly be shown reflected on Bowman's face when he is inside the pod on his way to retrieve the body of Poole (there is speculation as to whether or not the reflection is that of the letters "IBM" or the letters "MGM", the film studio).
Influences[edit]
The scene in which HAL's consciousness degrades was inspired by Clarke's memory of a speech synthesis demonstration by physicist John Larry Kelly, Jr., who used an IBM 704 computer to synthesize speech. Kelly's voice recorder synthesizer vocoder recreated the song "Daisy Bell", with musical accompaniment from Max Mathews.[18]
HAL has inspired some designs of intelligent computers in some science fiction films, like "Mother" (MU-TH-R 182 model 2.1 terabyte AI Mainframe) in Alien, VIKI in I, Robot, and AUTO in Wall-E.[19]
HAL's capabilities, like all the technology in 2001, were based on the speculation of respected scientists. Marvin Minsky, director of the MIT Computer Science and Artificial Intelligence Laboratory (CSAIL) and one of the most influential researchers in the field, was an adviser on the film set.[20] In the mid-1960s, many computer scientists in the field of artificial intelligence were optimistic that machines with HAL's capabilities would exist within a few decades. For example, AI pioneer Herbert A. Simon at Carnegie Mellon University, had predicted in 1965 that "machines will be capable, within twenty years, of doing any work a man can do",[21] the overarching premise being that the issue was one of computational speed (which was predicted to increase) rather than principle.
Cultural impact[edit]
HAL is listed as the 13th-greatest film villain in the AFI's 100 Years... 100 Heroes and Villains.[citation needed]
See also[edit]
List of fictional computers Colossus (novel)
ILLIAC (University of Illinois at Urbana–Champaign)
National Center for Supercomputing Applications (University of Illinois at Urbana–Champaign)
Poole versus HAL 9000 (details of chess game played by Frank Poole and HAL 9000)
Jipi and the Paranoid Chip
References[edit]
1.^ Jump up to: a b George D. DeMet. "Meanings: The Search for Meaning in 2001". Retrieved 2007-05-10.
2.Jump up ^ Alfred, Randy (January 12, 2011). "Jan. 12, 1992 or 1997: HAL of a Computer". YouTube clip. Retrieved February 18, 2011
3.Jump up ^ "News from the Library of Congress". National Recording Registry Adds 25. (No.14) "Daisy Bell (Bicycle Built for Two)," Max Mathews (1961). Library of Congress. June 23, 2010. Retrieved 14 January 2011
4.Jump up ^ "First computer to sing - Daisy Bell". YouTube clip. December 9, 2008. Retrieved 14 January 2010
5.Jump up ^ Clarke, Arthur C, The Lost Worlds of 2001, pp. 77-79, Signet, 1972
6.^ Jump up to: a b Clarke, Arthur C, The Lost Worlds of 2001, pp. 78, Signet, 1972
7.Jump up ^ Clarke, Arthur C, The Lost Worlds of 2001, chapter 12, Signet, 1972
8.Jump up ^ Clarke, Arthur C, The Lost Worlds of 2001, pp. 149-150, Signet, 1972
9.Jump up ^ Clarke, Arthur C, The Lost Worlds of 2001, pp. 159-160, Signet, 1972
10.Jump up ^ Powers, Stefanie (2010). One from the Hart. Simon and Schuster. pp. 66–69. ISBN 1-4391-7210-2.
11.Jump up ^ Stanley Kubrick: A Biography by Vincent LoBrutto p. 278
12.Jump up ^ Gelmis, Joseph (1970). The film director as superstar. Doubleday. p. 306. OCLC 52379.
13.Jump up ^ Garfinkel, Simson. "Happy Birthday, Hal". Wired.
14.Jump up ^ http://www.sciencefictionbuzz.com/the-original-hal-9000-film-prop-for-sale-by-auction-london-25th-november.html
15.Jump up ^ http://www.christies.com/about/press-center/releases/pressrelease.aspx?pressreleaseid=4423
16.Jump up ^ Dr. David G. Stork. "Dawn of HAL: History of Artificial Intelligence - Dr. Arthur C. Clarke Interview". 2001: HAL's Legacy Web site. PBS. Retrieved 2007-05-10.
17.Jump up ^ "What do the letters HAL stand for and is there a connection with IBM?". The Kubrick FAQ. Retrieved 2007-05-12.
18.Jump up ^ Bell Labs: Where "HAL" First Spoke (Bell Labs Speech Synthesis Web site)
19.Jump up ^ Bahn, Christopher, Donna Bowman, Scott Gordon, Jason Heller, Genevieve Koski, Sean O'Neal, Tasha Robinson, and Kyle Ryan. ""I'm Afraid I Can't Do That": 17 Dangerous Cinematic Computers." A.V. Club. N.p., 20 Aug 2007. Web. 7 Jan 2012. <http://www.avclub.com/articles/im-afraid-i-cant-do-that-17-dangerous-cinematic-co,2020/>
20.Jump up ^ See Scientist on the Set: An Interview with Marvin Minsky
21.Jump up ^ Quoted in Crevier, Daniel (1993), AI: The Tumultuous Search for Artificial Intelligence, New York, NY: BasicBooks, ISBN 0-465-02997-3, p. 109
External links[edit]
Find more about HAL 9000 at Wikipedia's sister projects
 Media from Commons
 Quotations from Wikiquote
The HAL 9000 Simulator TheHAL9000.com - Including screensavers, wallpapers and movie inspired flash interfaces.
Text excerpts from HAL 9000 in 2001: A Space Odyssey
Audio soundbites from 2001: A Space Odyssey
HAL's Legacy, on-line ebook (mostly full-text) of the printed version edited by David G. Stork, MIT Press, 1997, ISBN 0-262-69211-2, a collection of essays on HAL
HAL's Legacy, An Interview with Arthur C. Clarke.
The case for HAL's sanity by Clay Waldrop
2001 fills the theater at HAL 9000's "birthday" in 1997 at the University of Illinois at Urbana-Champaign
The Hal Project featuring the Hal 9000 screensaver.
Talk like HAL Campaign to promote talking like HAL on his birthday of January 12, includes audio sound files


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2001: A Space Odyssey (1968) ·
 2010 (1984)
 
 
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2001: A Space Odyssey (1968) ·
 2010: Odyssey Two (1982) ·
 2061: Odyssey Three (1987) ·
 3001: The Final Odyssey (1997) ·
 The Lost Worlds of 2001 (1972)
 
 
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2001: A Space Odyssey (1976)
 
 
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Related
Interpretations of 2001: A Space Odyssey ·
 Technologies in 2001: A Space Odyssey ·
 2001: A Space Odyssey soundtrack ·
 Alex North's 2001: A Space Odyssey score ·
 Monoliths ·
 Machine Man ·
 Poole versus HAL 9000 (chess game)
 

 


Categories: Characters in British novels of the 20th century
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2001: A Space Odyssey (comics)
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2001: A Space Odyssey

2001: A Space Odyssey [Marvel Treasury Special] (1976)
 
Publication information

Publisher
Marvel Comics
Schedule
Monthly
Formats
Original material for the series has been published as a set of ongoing series and one-shot comics.
Genre
Science fiction
Based on the novel 2001: A Space Odyssey.
 
Publication date
Treasury
1976
Series
 December 1976 - September 1977
Number of issues
Treasury
 1
Series
 10
Creative team

Writer(s)
Jack Kirby
Penciller(s)
Jack Kirby
Inker(s)
Treasury
Frank Giacoia
Series
Mike Royer
Letterer(s)
Treasury
John Costanza
Series
 Mike Royer
Colorist(s)
Treasury
Marie Severin
 Jack Kirby
Series
George Roussos
Janice Cohen
Glynis Wein
Petra Goldberg
Editor(s)
Treasury
 Jack Kirby
Series
 Jack Kirby
Archie Goodwin
2001: A Space Odyssey was the name of an oversized comic book adaptation of the 1968 film of the same name as well as a monthly series, lasting ten issues, which expanded upon the concepts presented in the Stanley Kubrick film and the novel by Arthur C. Clarke. Jack Kirby wrote and pencilled both the adaptation and the series, which were published by Marvel Comics beginning in 1976. The adaptation was part of the agreement of Kirby's return to Marvel.


Contents  [hide]
1 Treasury edition
2 Monthly series
3 References
4 Further reading
5 External links

Treasury edition[edit]
Marvel published the adaptation in its then-common treasury edition format featuring tabloid-sized pages of roughly twice the size of a normal comic book.[1][2] The story is a close adaptation of the events of the film, but differs in the fact that Kirby incorporated additional dialog from two other sources: the Clarke/Kubrick novel,[3] and a copy of an earlier draft script of the film that included the more colloquial-sounding version of HAL 9000, as originally voiced by actor Martin Balsam before Douglas Rain took over. In addition, the comic narrative captions describe the characters' thoughts and feelings, a significantly different approach from that taken by the film.
The treasury edition also contained a 10-page article entitled 2001: A Space Legacy written by David Anthony Kraft.
Monthly series[edit]
Shortly after the publication of the treasury edition, Kirby continued to explore the concepts of 2001 in a monthly comic book series of the same name, the first issue of which was dated December 1976.[4] In this issue, Kirby followed the pattern established in the film. Once again the reader encounters a prehistoric man (Beast-Killer) who gains new insight upon encountering a monolith as did Moon-Watcher in the film. The scene then shifts, where a descendant of Beast-Killer is part of a space mission to explore yet another monolith. When he finds it, this monolith begins to transform the astronaut into a star child, called in the comic a New Seed.
Issues 1-6 of the series replay the same idea with different characters in different situations, both prehistoric and futuristic. In #7, the comic opens with the birth of a New Seed who then travels the galaxy witnessing the suffering that men cause each other. While the New Seed is unable or unwilling to prevent this devastation, he takes the essence of two doomed lovers and uses it to seed another planet with the potential for human life.
In issue #8 of the comic, Kirby introduces Mister Machine, who is later renamed Machine Man.[5] Mister Machine is an advanced robot designated X-51. All the other robots in the X series go on a rampage as they achieve sentience and are destroyed. X-51, supported by both the love of his creator Dr. Abel Stack and an encounter with a monolith, transcends the malfunction that destroyed his siblings. After the death of Dr. Stack, X-51 takes the name Aaron Stack and begins to blend into humanity.[6] Issues 9 and 10, the final issues of the series, continue the story of X-51 as he flees destruction at the hands of the Army.
References[edit]
1.Jump up ^ Sanderson, Peter; Gilbert, Laura, ed. (2008). "1970s". Marvel Chronicle A Year by Year History. Dorling Kindersley. p. 180. ISBN 978-0756641238. "Marvel published its adaptation of director Stanley Kubrick and writer Arthur C. Clarke's classic science fiction film 2001: A Space Odyssey as an oversize Marvel Treasury Special."
2.Jump up ^ 2001: A Space Odyssey treasury at the Grand Comics Database
3.Jump up ^ Alexander, John P. (March 2001). "Grafitti On The Moon: Kirby Vs. Kubrick - A commentary on Jack Kirby's adaptation of 2001: A Space Odyssey". The Jack Kirby Collector (TwoMorrows Publishing) (31): 53–57. Retrieved January 18, 2013. "It is clear that Jack read Clarke's original novel, for in a couple of instances Kirby prefers the Clarke novel over the Kubrick film."
4.Jump up ^ 2001: A Space Odyssey series at the Grand Comics Database
5.Jump up ^ Sanderson "1970s" in Gilbert (2008), p. 185: "In [2001: A Space Odyssey] issue #8, cover dated July 1977, [Jack] Kirby introduced a robot whom he originally dubbed 'Mister Machine.' Marvel's 2001 series eventually came to an end but Kirby's robot protagonist went on to star in his own comic book series as Machine Man."
6.Jump up ^ Kirby, Jack (w), Kirby, Jack (p), Royer, Mike (i). "The Capture of X-51" 2001: A Space Odyssey 8 (July 1977)
Further reading[edit]
Marvel Comics: The Untold Story by Sean Howe. First ed. New York: Harper, 2012. 485 pp. ISBN 978-0-06-199210-0.
External links[edit]
Darius, Julian. "On Jack Kirby's 2001: A Space Odyssey", Sequart Research & Literacy Organization
2001: A Space Odyssey (treasury) at the Comic Book DB
2001: A Space Odyssey (series) at the Comic Book DB
Snider, John C. "2001: The Comic Book? A Look at Jack Kirby's Controversial Adaptation", Sci.Fi Dimensions
2001: A Space Odyssey, The Continuity Pages


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The Lost Worlds of 2001
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Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2009)

 

 Cover of the 1972 Signet book
The Lost Worlds of 2001 by Arthur C. Clarke was published in 1972 by Signet as an accompaniment to the novel 2001: A Space Odyssey.
The book itself consists in part of behind-the-scenes notes from Clarke concerning scriptwriting (and rewriting), as well as production issues. The core of the book, however, is contained in excerpts from the proto-novel and an early screenplay that did not make it into the final version.
Alternative settings for launch preparation, the EVA scene where astronaut Frank Poole is lost, and varying dialogues concerning the HAL 9000 unit are all featured in the book. Also included is the original short story "The Sentinel" on which 2001 is loosely based.


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3001: The Final Odyssey
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3001: The Final Odyssey
3001TheFinalOdyssey.jpg
First UK edition
 
Author
Arthur C. Clarke
Cover artist
Chris Moore
Country
United Kingdom
Language
English
Genre
Science fiction novel
Publisher
Voyager Books (UK)
Del Rey Books (US)

Publication date
 1997
ISBN
ISBN 0-345-31522-7 (US hardback edition)
OCLC
35919386

Dewey Decimal
 823/.914 21
LC Class
PR6005.L36 A618 1997
Preceded by
2061: Odyssey Three
3001: The Final Odyssey (1997) is a science fiction novel by Sir Arthur C. Clarke. It is the fourth and final book in Clarke's Space Odyssey series.


Contents  [hide]
1 Plot summary
2 Differences between 3001: The Final Odyssey and earlier books
3 Film, TV or theatrical adaptations
4 References

Plot summary[edit]
This novel begins with a brief prologue describing the aliens who created the black monoliths. They apparently evolved from "primordial soup", and over the course of millions of years, become a space-faring species. Perceiving that intelligent life was rare in the Universe, they catalysed the evolution of intelligent species wherever they went, by increasing the intelligent species' chance of survival. After visiting the Earth, the extraterrestrials found a way to impress themselves into the fabric of space and time. Meanwhile, the alien monoliths continued to watch over their subjects.
3001 follows the adventures of Frank Poole, the astronaut killed by the HAL-9000 computer in 2001: A Space Odyssey. One thousand years later, Poole's freeze-dried body is discovered in the Kuiper belt by a comet-collecting space tug named the Goliath, and revived. Poole is next taken home to explore and learn about the Earth in the year 3001. Some of its notable features include the BrainCap, a brain-computer interface technology; genetically-engineered dinosaur servants; a space drive; and four gigantic space elevators located evenly around the Equator. Human beings have also colonised the Jovian moons Ganymede and Callisto. TMA-1, the black monolith found on the Moon in 1999, has been brought to Earth in 2006 and installed in front of the United Nations Building in New York City.
It is determined that following the events of 2010: Odyssey Two and 2061: Odyssey Three, the Jovian monolith had sent a report to its makers 450 light years away, and is expected to receive its orders toward humanity after the 900-year round-trip. Presumably, the monolith was empowered to obliterate the nascent biosphere of Jupiter, but needed a higher authority's approval to obliterate the technological civilisation on Earth. There is considerable worry that the judgment, based on the monolith's observations of humanity up to 2061, will be negative, and the human race destroyed as the Jovian life-forms discovered by David Bowman were destroyed in making Jupiter a second sun to assist intelligence on Europa. Frank conscripts Bowman and HAL, now become a single entity — Halman — residing in the monolith's computational matrix, to infect the monolith with a computer virus. The monolith does receive orders to exterminate humankind, and duplicates itself; whereupon millions of monoliths form two screens to prevent light and heat from reaching the Earth and its colonies. Halman having already infected the first monolith, all the monoliths disintegrate.
Halman uploads its combined personalities into a petabyte-capacity holographic 3D storage medium and thus survives the disintegration of the monoliths; but is infected with the virus and is subsequently sealed by human scientists in Pico Vault. At the close of the story, Poole and other humans land on Europa to start peaceful relations with the primitive native Europans. Statement is made that the monolith's makers will not determine humanity's fate until "the Last Days".
Differences between 3001: The Final Odyssey and earlier books[edit]
This portrayal of the monoliths is different from that in the earlier novels. In particular, the 2001 monolith was capable of faster-than-light transmission, and was generally portrayed as both less malevolent and more of a thinking entity than the one seen in this novel (in particular, Dave Bowman's transcendence as a star child is now explained as a mundane case of being uploaded onto a computer).
In 2010, an apparition of Bowman appeared before Floyd (shaping itself from dust), warning that the Leonov's crew must leave Jupiter within 15 days. Floyd had difficulty convincing the rest of the crew, which would have been much easier had he been in possession of the video recording of the incident shown to Poole by Dr. Allister Kim in 3001.
The very end of 2010, titled simply "20,001", could not have happened as portrayed because of the disappearance of the monoliths at the end of 3001.
The story features a ring-shaped habitat in geostationary orbit around Earth, connected by four "towers" (space elevators) equally spaced around the equator. In the epilogue of 2061: Odyssey Three however, the ring-shaped habitat reportedly has six "towers" instead of four.
Additionally, some of the dates are changed. The USSR is acknowledged as having collapsed in 1991, whereas in the earlier three books it lasts well into the 21st century. Frank Poole's birth date is set at 1996; the Discovery mission is pushed forward to the 2030s and the Leonov mission to the 2040s, when in the earlier three books, they were in 2001 and 2010, respectively. Finally, Poole remarks that by the 2020s his world had learned to tap unlimited vacuum energy, when the previous books had established only cold fusion as the highest source of power by 2061; vacuum energy would have made the plasma drive and fission reactor on the original Discovery obsolete a decade prior to the ship's construction (under the new 3001 dates).
However, Clarke consistently stated that each of the Odyssey novels takes place in its own separate parallel universe[1] — this is demonstrated by the facts that the monoliths are still in existence at the end of 2010: Odyssey Two and that Floyd is no longer part of the trinity formed at the end of 2061: Odyssey Three. These parallel universes are a part of Clarke's retroactive continuity.
Film, TV or theatrical adaptations[edit]
It was reported on Yahoo Entertainment in 2000 that MGM and actor/director Tom Hanks were in discussions regarding turning both 2061: Odyssey Three and 3001: The Final Odyssey into movies. (Hanks would reportedly play Frank Poole in the 3001 film.) An update in 2001 stated that there was no further development on the project.[2]
References[edit]


 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. (December 2009)
1.Jump up ^ Clarke, Arthur C. (1997). "Author's Note". 2061 Odyssey Three. HarperCollinsPublishers. p. [page needed]. ISBN 0-586-20319-2.
2.Jump up ^ Greg Dean Schmitz. "3001: The Final Odyssey – Greg's Preview – Yahoo! Movies". Archived from the original on 27 June 2007. Retrieved 13 May 2008.
Clarke, Arthur C. (1997). "Valediction". In Del Rey. 3001: The Final Odyssey. Random House Publishing Group. p. 272. ISBN 0-345-42349-6.


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2061: Odyssey Three
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2061: Odyssey Three
2061OdysseyThree.jpg
First edition
 
Author
Arthur C. Clarke
Illustrator
Michael Whelan
Country
United Kingdom
Language
English
Series
The Space Odyssey series
Genre
Science fiction novel
Publisher
Del Rey

Publication date
 1987
Media type
Print (hardback & paperback)
Pages
256 pages
ISBN
0-345-35173-8
OCLC
16756201

Dewey Decimal
 823/.914 19
LC Class
PR6005.L36 A617 1988
Preceded by
2010: Odyssey Two
Followed by
3001: The Final Odyssey
2061: Odyssey Three is a science fiction novel by Arthur C. Clarke that was published in 1987. It is the third book in Clarke's Space Odyssey series. It returns to one of the lead characters of the previous novels, Heywood Floyd, and depicts Floyd's adventures, which take him from the 2061 return of Halley's Comet to Jupiter's moon Europa.


Contents  [hide]
1 Origins
2 Plot 2.1 Background
2.2 2061
2.3 Epilogue
3 Aborted plans for film version
4 See also
5 References
6 External links

Origins[edit]
Because the Odyssey series is closely concerned with Jupiter and its moons, Clarke had originally intended to delay writing a third book until the Galileo mission to the planet had returned its findings. However, the probe's launch was delayed in the aftermath of the Space Shuttle Challenger disaster so that it would not arrive at Jupiter until 1995.[1] Deciding not to wait, Clarke instead took his inspiration from the approach of Comet Halley in 1986 and focused his sequel on the comet's future return, in 2061.
Plot[edit]
Background[edit]
In the previous novel, 2010: Odyssey Two, Jupiter was converted into a mini-sun which was dubbed "Lucifer" following the Soviet ship Leonov’s mission to Jupiter to find out what happened to the Discovery. A message was sent to Earth by Dave Bowman, through HAL:





ALL THESE WORLDS
 ARE YOURS EXCEPT
 EUROPA
 ATTEMPT NO
 LANDING THERE
This is due to Lucifer melting the frozen ocean beneath the surface of Europa, causing an atmosphere to form and leading to the discovery of alien life in Europa's ocean.
When the Leonov returned to Earth, Heywood Floyd (whose marriage had broken up while he was on the Leonov) suffered an accident. His recovery on an orbital space hospital took longer than expected and he became a permanent resident there after finding that his body could no longer handle Earth-level gravity. His grandson Chris works aboard the spacecraft Galaxy and has not seen his grandfather in years.
The black population of South Africa has rebelled in the 2030s and formed the United States of Southern Africa (USSA). The white population fled to Europe, taking most of the country's wealth with them and leaving the black population to rebuild the economy, which they did in a matter of weeks by use of diamonds. (2061 was published in 1987, at which time apartheid was still in force in South Africa.) Large-scale interplanetary travel is now commercially viable with muon-catalyzed fusion-powered spacecraft. On Europa, an enormous mountain has sprung up out of nowhere. No one is sure of the origin of "Mount Zeus"; being asymmetrical, it cannot be a volcano.
2061[edit]
In 2061, at the age of 103, Floyd is chosen as one of several "celebrity guests" to come aboard the privately owned spaceliner Universe for the first-ever human landing on the surface of Halley's Comet, when it makes its periodic pass through the Solar System. Meanwhile, a team of scientists on Ganymede (formerly a moon of Jupiter that now orbits the star called "Lucifer") is terraforming it for potential habitation. Scientist Rolf van der Berg, a second-generation Afrikaner refugee, studies pictures of Mount Zeus and determines that it is in fact one enormous diamond. He communicates his discovery to his uncle Paul Kreuger; the expedition planners invite van der Berg to join the crew of Galaxy for its flyby of Europa.
As Galaxy nears Europa, a stewardess attempts to single-handedly hijack Galaxy, forcing it to crash into Europa's ocean. Her plan having failed (her motivation and loyalties are not explained, but she is assumed to be a militant anti-Afrikaner), she commits suicide. The crew is now stranded, but their sister ship Universe is tasked to rescue her.
Van der Berg and Chris Floyd take the shuttle William Tsung (nicknamed Bill Tee) to study Mount Zeus; also the wreck of the Chinese spacecraft Tsien, and the enormous monolith lying on its side at the border between the dayside and nightside, dubbed the "Great Wall". Near Mount Zeus, van der Berg relays the message "LUCY IS HERE" to his uncle Paul, verifying that Mount Zeus is indeed one large diamond. The code word "Lucy" was chosen both in reference to the mini-sun Lucifer and to an article in the journal Nature in 1981 hypothesizing that the cores of Uranus and Neptune were in fact diamonds the size of Earth (caused by the compression of carbon), with the hypothesis making a logical extension to Jupiter.[2] The article was subtitled "Diamonds in the Sky?" in reference to the Beatles song "Lucy in the Sky with Diamonds". Mount Zeus is a fragment of Jupiter's core which survived the creation of Lucifer and later struck Europa.
On the Universe, the celebrity guests discuss the mystery surrounding Bowman and the monoliths, and whether they would be allowed to land on Europa to rescue Galaxy’s crew. Floyd follows a suggestion that he simply try to call Bowman on the radio, and that night has a strange dream in which he sees a small monolith (referred to as a minilith) floating at the foot of his bed.
The Bill Tee flies by Tsien, which has been completely stripped of its metals (rare and thus valuable to the Europans), and on to the Great Wall. An image of his grandfather appears to Chris in the same way that Bowman appeared to Floyd in 2010, telling him that the Universe was coming.
Universe rescues Galaxy's crew; they are brought to Ganymede, where they watch as Mount Zeus, which has been steadily sinking, finally disappears beneath the Europan surface. Kreuger writes a follow-up article for Nature, stating that Mount Zeus was a mere fragment of Jupiter's core and it is almost certain that many more such large pieces of diamond are currently in orbit around Lucifer, and proposing that a program be initiated immediately to collect these enormous quantities of diamond and put them to use.
Floyd and Chris become close again, and both become friends with van der Berg. They talk about how Floyd called Bowman on the radio, and Chris asks if Bowman ever replied. Floyd almost tells his grandson about the monolith in his cabin, but does not after rationalising that it was probably a dream. It was not a dream. The monolith duplicated Floyd's consciousness; there are now two Heywood Floyds, one an immortal being who resides with Bowman and HAL inside the Great Wall.
Epilogue[edit]
In the epilogue, the star Lucifer stops shining in 3001, and in Manhattan "the monolith awakes" (referring to the original monolith discovered on the moon in 1999, and which was taken to Manhattan as a monument in 2006). It is also indicated that humans have found more quantities of diamond from the former Jupiter and used it to create space elevators and an orbital ring connecting them, as suggested by Kreuger. (This idea will later be a central concept in 3001: The Final Odyssey.)
Aborted plans for film version[edit]
Shortly after the novel was released, Tom Hanks expressed great interest in producing a film adaptation, with himself cast in the role of Floyd, and Keir Dullea and Douglas Rain reprising their roles as David Bowman and HAL 9000. These plans never went beyond the initial announcement.
See also[edit]
Heart of the Comet
References[edit]
1.Jump up ^ David Brin, "The View From Halley's Comet", Los Angeles Times, 6 December 1987.
2.Jump up ^ Ross, Marvin (1981). "The ice layer in Uranus and Neptune—diamonds in the sky?". Nature 292 (5822): 435. doi:10.1038/292435a0.
External links[edit]
2061: Odyssey Three on Open Library at the Internet Archive


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Categories: 1987 novels
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2010: Odyssey Two
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2010: Odyssey Two
ArthurCClarke 2010OdysseyTwo.jpg
First UK edition cover – 1982
 
Author
Arthur C. Clarke
Cover artist
Michael Whelan
Country
United Kingdom
Language
English
Series
Space Odyssey
Genre
Science fiction novel
Publisher
Granada Publishing Ltd.

Publication date
 January 1982
Media type
Print (Hardcover, Paperback)
Pages
291 pp (first edition, hardback)
ISBN
ISBN 0-345-31282-1 (first edition, hardback)
Preceded by
2001: A Space Odyssey
Followed by
2061: Odyssey Three
2010: Odyssey Two is a 1982 science fiction novel by Arthur C. Clarke. It is the sequel to the 1968 novel 2001: A Space Odyssey, but continues the story of Stanley Kubrick's film adaptation with the same title rather than Clarke's original novel, which differed from the film in some respects.
Set in the year 2010, the plot centers on a joint Soviet-American mission aboard the Soviet spacecraft Leonov. The mission has several objectives, including salvaging the spaceship Discovery and investigating the mysterious "monolith" discovered by Dave Bowman in 2001: A Space Odyssey. It was nominated for the Hugo Award for Best Novel in 1983.[1] The novel was adapted for the screen by Peter Hyams and released as a film in 1984.


Contents  [hide]
1 Plot summary 1.1 Epilogue
2 Relations to reality
3 Discontinuities between 2010 and the other works
4 References
5 Release details
6 External links

Plot summary[edit]
The story is set nine years after the failure of the Discovery One mission to Jupiter.[2]
A joint Soviet-American crew,[3] including Heywood Floyd from 2001, on the Soviet spaceship Alexei Leonov (named after the famous cosmonaut) arrives to discover what went wrong with the earlier mission, to investigate the monolith in orbit around the planet, and to resolve the disappearance of David Bowman. They hypothesize that much of this information is locked away on the now-abandoned Discovery One. The Soviets have an advanced new "Sakharov" drive which will propel them to Jupiter ahead of the American Discovery Two, so Floyd is assigned to the Leonov crew.
However, a Chinese space station rockets out of Earth orbit, revealing itself to be the interplanetary spacecraft Tsien, also aimed at Jupiter. The Leonov crewmembers think the Chinese are on a one-way trip due to its speed, but Floyd surmises that due to the large water content of Europa they intend to land there and use the water content to refuel. The Tsien's daring mission ends in failure, when it is destroyed by an indigenous life-form on Europa. The only survivor radios the story to the Leonov; it is presumed that he dies when his spacesuit air supply runs out.
The Leonov survives a dangerous aerobraking around Jupiter and arrives at Discovery. Mission crewmember and HAL 9000's creator, Dr. Chandra, reactivates the computer to ascertain the cause of his earlier aberrant behaviour. After some time, Floyd is speaking to a Russian on board, who, for an instant, sees the Monolith open again, into a Stargate, as David Bowman escapes from the Monolith's universe back into ours.
A sequence of scenes follows the explorations of David Bowman, who has been transformed into a non-corporeal, energy-based life-form, much like the aliens controlling the monoliths. During his journey, the Avatar of Bowman travels to Earth, making contact with significant individuals from his human past: He visits his mother and brushes her hair (shortly before she dies), and he appears to his ex-girlfriend on her television screen. In the novel, the aliens are using Bowman as a probe to learn about humankind. He then returns to the Jupiter system to explore beneath the ice of Europa, where he finds aquatic life-forms, and under the clouds of Jupiter, where he discovers gaseous life-forms. Both are primitive, but the aliens deem the Europan creatures to have evolutionary potential.
An apparition of Bowman appears before Floyd, warning him that they must leave Jupiter within 15 days. Floyd has difficulty convincing the rest of the crew at first, but then the monolith vanishes from orbit and a mysterious dark spot appears on Jupiter and begins to grow. HAL's telescope observations reveal that the "Great Black Spot" is, in fact, a vast population of monoliths, increasing at an exponential rate, which appear to be eating the planet.
The Leonov crew devises a plan to use the Discovery as a "booster rocket", enabling them to return to Earth ahead of schedule. Unfortunately, HAL and the Discovery will be trapped in Jupiter's orbit, with insufficient fuel to escape. The crew are worried that HAL will have the same neuroses on discovering that he will be abandoned yet again, so Chandra must convince HAL that the human crew is in danger.
The Leonov crew flees Jupiter as the swarm of monoliths spread to engulf the planet. By acting as self-replicating 'von Neumann' machines, these monoliths increase Jupiter's density until the planet achieves nuclear fusion, becoming a small star. In the novel, this obliterates the primitive life forms inhabiting the Jovian atmosphere, which the Monoliths' controllers had deemed very unlikely to ever achieve intelligence unlike the aquatic life of Europa.
As Jupiter is about to transform, Bowman returns to Discovery to give HAL a last order to carry out. HAL begins repeatedly broadcasting the message


ALL THESE WORLDS
 ARE YOURS EXCEPT
 EUROPA
 ATTEMPT NO
 LANDING THERE
The creation of the new star, which Earth eventually names Lucifer, destroys Discovery. However, in appreciation for HAL's help, Bowman has the aliens which control the monoliths remove HAL's artificial intelligence from Discovery's computer core and transform him into the same kind of life form as David Bowman, and becomes his companion.
Epilogue[edit]
The book ends with a brief epilogue, which takes place in AD 20,001. By this time, the Europans have evolved into a species that has developed a primitive civilization, most likely with assistance from a monolith. They are not described in detail, though they are said to have "tendril"-like limbs. They regard the star Lucifer (formerly the planet Jupiter) as their primary sun, referring to Sol as "The Cold Sun". Though their settlements are concentrated primarily in the hemisphere of Europa which is constantly bathed in Lucifer's rays, some Europans have begun in recent generations to explore the Farside, the hemisphere facing away from Lucifer, which is still covered in ice. There they may witness the spectacle of night, unknown on the other side of Europa, when the Cold Sun sets.
The Europans who explore the Farside have been carefully observing the night sky and have begun to develop a mythology based on their observations. They correctly believe that Lucifer was not always there. They believe that the Cold Sun was its brother and was condemned to march around the sky for a crime. The Europans also see three other major bodies in the sky. One seems to be constantly engulfed in fire, and the other two have lights on them which are gradually spreading. These three bodies are the moons Io, Callisto, and Ganymede, the latter two of which are presently being colonized by humans.
Humans have been attempting to explore Europa ever since Lucifer was created in 2010. However, none of these attempts has been successful. Every probe that has attempted to land on Europa has been destroyed in the atmosphere; as it is later shown in 2061 and 3001 manned spacecraft that attempt to land have been instead diverted by an external force. The debris from every probe falls to the surface of the planet, and the debris from some of the first ships to be destroyed is venerated by the Europans.
Finally, there is a Monolith on the planet, which is worshipped by the Europans more than anything else. The Europans assume, correctly, that the Monolith is what keeps humans at bay. Dave Bowman and HAL lie dormant in this Monolith. The Monolith is the guardian of Europa, and will continue to prevent contact between humans and Europans for as long as it sees fit.
Relations to reality[edit]
Clarke peppered the novel with names of various Soviet dissidents, including physicists Andrei Sakharov and Yuri Orlov, human-rights activists Mykola Rudenko and Anatoly Marchenko, Russian Orthodox activist Gleb Yakunin, among others.[4] Clarke himself makes a reference to "getting (editor Vasili Zakharchenko) into deep trouble by borrowing the names of various dissidents" in 2061: Odyssey Three.[5]
Discontinuities between 2010 and the other works[edit]


 This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (January 2012)
Clarke acknowledged such inconsistencies in the Author's Note to 2061:[6]

Just as 2010: Odyssey Two was not a direct sequel to 2001: A Space Odyssey, so this book is not a linear sequel to 2010. They must all be considered as variations on the same theme, involving many of the same characters and situations, but not necessarily happening in the same universe. Developments since 1964 make total consistency impossible, as the later stories incorporate discoveries and events that had not even taken place when the earlier books were written.
In the film 2001, the final spoken words are a recording of mission overviews. However, in the novelisation Dave Bowman is heard saying, "My God! It's full of stars." This quote is used in both the novel and the filmed version of 2010.
The second half of the novel 2001: A Space Odyssey takes place around Saturn, with the Monolith embedded in the surface of the Saturnian moon Iapetus. The film 2010 follows the continuity of the film 2001, which places the Monolith and Discovery in orbit between Jupiter and the Jovian moon Io.
When Bowman recalls the events of 2001, he remembers the incident of chasing after Frank Poole's corpse in a pod without his helmet, and then entering the Discovery through the emergency airlock. This incident only occurred in the film. In the novel, HAL opens all of the pod bay doors and the emergency airlock to kill the crew when Bowman attempts to awaken them from hibernation.
In all of the Space Odyssey novels and the film version of 2010, HAL's instructor is named Dr. Chandra; in the film 2001: A Space Odyssey, it is Mr. Langley.[7][8]
References[edit]
1.Jump up ^ "1983 Award Winners & Nominees". Worlds Without End. Retrieved 29 September 2009.
2.Jump up ^ The novel version of 2001 featured the journey to Saturn instead: Clarke acknowledges this retroactive continuity in his author's foreword.
3.Jump up ^ The Soviet Union did not dissolve until nine years after this book was written.
4.Jump up ^ "Sci-fi novelist leaves Soviet censors lost in space," The Ukrainian Weekly, 3 April 1984, p. 3
5.Jump up ^ Clarke, Arthur C. 2061: Odyssey Three. New York: Ballantine Books, 1988. Page p. 270
6.Jump up ^ Clarke, Arthur C. 2061: Odyssey Three. New York: Ballantine Books, 1988. Page ix
7.Jump up ^ Alfred, Randy (12 January 2009). "Jan. 12, 1992 or 1997: HAL of a Computer". WIRED. Condé Nast. Retrieved 16 March 2014.
8.Jump up ^ Ager, Rob (2008). "The Technology Trap". Kubrick: and beyond the cinema frame. Collative Learning. Retrieved 16 March 2014.
Release details[edit]
Clarke, Arthur C. (1997) [1982]. 2010: Odyssey Two. US: Del Rey; 1st Ballantine Books trade pbk. ed edition. ISBN 0-345-41397-0.
Clarke, Arthur C. (1983). 2010: Odyssey Two. UK: Granada Publishing Ltd. ISBN 0-246-11912-8.
External links[edit]
2010: Odyssey Two at Worlds Without End


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Categories: 1982 novels
1980s science fiction novels
British science fiction novels
Novels by Arthur C. Clarke
Space Odyssey series
Jupiter in fiction
2010 in fiction
11th millennium and beyond in fiction
Jupiter's moons in fiction







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2001: A Space Odyssey (novel)
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Jump to: navigation, search

2001: A Space Odyssey
2001 NAL.jpg
First US edition
 
Author
Arthur C. Clarke
Country
United Kingdom
Language
English
Series
Space Odyssey
Genre
Science fiction
Publisher
Hutchinson (UK)
New American Library (US)

Publication date
 1968
Media type
Print (Hardcover, Paperback)
Pages
221 pp (US)
 224 pp (UK)
ISBN
0-453-00269-2
Followed by
2010: Odyssey Two
2001: A Space Odyssey is a 1968 science fiction novel by Arthur C. Clarke. It was developed concurrently with Stanley Kubrick's film version and published after the release of the film. Clarke and Kubrick worked on the book together, but eventually only Clarke ended up as the official author. The story is based in part on various short stories by Clarke, most notably "The Sentinel" (written in 1948 for a BBC competition, but first published in 1951 under the title "Sentinel of Eternity"). By 1992, the novel had sold 3 million copies worldwide.[1] For an elaboration of Clarke and Kubrick's collaborative work on this project, see The Lost Worlds of 2001, Arthur C. Clarke, Signet, 1972.
The first part of the novel (in which aliens influence the primitive human ancestors) is similar to the plot of an earlier Clarke story, "Encounter in the Dawn".


Contents  [hide]
1 Plot summary
2 Major themes
3 Sequels
4 Differences from the film
5 Iapetus versus Japetus
6 Release details
7 See also
8 References
9 External links

Plot summary[edit]
In the background to the story in the book, an ancient and unseen alien race uses a device with the appearance of a large crystalline monolith to investigate worlds all across the galaxy and, if possible, to encourage the development of intelligent life. The book shows one such monolith appearing in ancient Africa, 3 million years B.C. (in the movie, 4 million years), where it inspires a starving group of hominids to develop tools. The ape-men use their tools to kill animals and eat meat, ending their starvation. They then use the tools to kill a leopard preying on them; the next day, the main ape character, Moon-Watcher, uses a club to kill the leader of a rival tribe. The book suggests that the monolith was instrumental in awakening intelligence.
The book then shows the year C.E. 1999, detailing Dr. Heywood Floyd's travel to Clavius Base on the Moon. Upon his arrival, Floyd attends a meeting, where a lead scientist explains that they have found a magnetic disturbance in Tycho, one of the Moon's craters, designated Tycho Magnetic Anomaly One, or TMA-1. An excavation of the area has revealed a large black slab, precisely fashioned to a ratio of exactly 1:4:9, or 1²:2²:3², and therefore believed the work of intelligence. Floyd and a team of scientists travel across the Moon to view TMA-1, and arrive as sunlight falls upon it for the first time in three million years. It then sends a piercing radio transmission to one of the moons of Saturn, Japetus (Iapetus),[2] where an expedition is then planned to investigate.
The book then shows the Discovery One mission to Saturn, whereof Dr. David Bowman and Dr. Francis Poole are the only conscious human beings aboard, while their three colleagues are in suspended animation, to be awakened near Saturn. The HAL 9000, an artificially intelligent computer, addressed as "HAL", maintains the ship. While Poole is receiving a birthday message from his family on Earth, HAL tells Bowman that the AE-35 unit of the ship, keeping its communication active, is going to malfunction. Poole takes one of the extra-vehicular pods and swaps the AE-35 unit; but when Bowman conducts tests on the removed AE-35 unit, he determines that there was never anything wrong with it. Poole and Bowman become suspicious at HAL's refusal to admit that his diagnosis was mistaken; HAL then claims that the replacement AE-35 unit will fail. In communicating with Earth, Poole and Bowman are directed to disconnect HAL for analysis. These instructions are interrupted as the signal is broken, and HAL informs them that the AE-35 unit has malfunctioned.
As Poole is removing the unit he is killed when his spacesuit is torn, exposing him to the vacuum of space. Bowman, uncertain of HAL's role therein, decides to wake the other three astronauts, and therefore quarrels with HAL, with HAL refusing to obey his orders. Bowman threatens to disconnect him if his orders are not obeyed, and HAL relents. As Bowman begins to awaken his colleagues, he hears HAL open both airlocks into space, releasing the ship's internal atmosphere. From a sealed emergency shelter, Bowman gains a spacesuit and re-enters the ship, where he shuts down HAL's consciousness, leaving intact only his autonomic functions, and manually re-establishes contact with Earth. He then learns that his mission is to explore Iapetus,[2]in the hope of contacting the society that buried the monolith on the Moon. Bowman learns that HAL had begun to feel guilty at keeping the purpose of the mission from him and Poole, against his stated mission of gathering information and reporting it fully; and when threatened with disconnection, he panicked and defended himself out of a belief that his very existence was at stake, having no concept of sleep.
Bowman spends months on the ship alone, slowly approaching Iapetus. During his approach, he gradually notices a small black spot on the surface of Iapetus, and later finds it identical in shape to TMA-1, only much larger. The scientists on Earth name this monolith "TMA-2", which Bowman identifies as a double misnomer because it is not in the Tycho crater and gives off no magnetic anomaly. When Bowman approaches the monolith, it opens and pulls in Bowman's pod. Before he vanishes, Mission Control hears him proclaim: "The thing's hollow — it goes on forever — and — oh my God! — it's full of stars!"[3]
Bowman is transported via the monolith to an unknown star system, through a large interstellar switching station, and sees other species' spaceships going on other routes. Bowman is given a wide variety of sights, from the wreckage of ancient civilizations to what appear to be life-forms, living on the surfaces of a binary star system's planet. He is brought to what appears a pleasant hotel suite, carefully designed to make him feel at ease, and falls asleep, whereupon his mind and memories are drained from his body, and he becomes an immortal 'Star Child', that can live and travel in space. The Star Child then returns to Earth, where he detonates an orbiting nuclear warhead. This is not discussed again until the sequel to the book, 2010: Odyssey Two.
Major themes[edit]
Perils of technology
2001: A Space Odyssey explores technological advancement: its promise and its danger. The HAL 9000 computer puts forward the troubles that can crop up when man builds machines, the inner workings of which he does not fully comprehend and therefore cannot fully control.
Perils of nuclear war
The book explores the perils related to the atomic age. In this novel, the Cold War is apparently still on, and at the end of the book one side has nuclear weapons above the earth on an orbital platform. To test its abilities, the Star Child detonates an orbiting warhead at the end of the novel, creating a false dawn below for the people on earth. Roger Ebert notes that Kubrick originally intended for the first spaceship seen in the film to be an orbiting bomb platform, but in the end he decided to leave the ship's meaning more ambiguous. Clarke, however, retained and clearly stated this fact in the novel.[4]
Evolution
The novel takes a panoramic overview of progress, human and otherwise. The story follows the growth of human civilization from primitive man-ape. Distinctively, Space Odyssey is concerned about not only the evolution that has led to the development of humanity, but also the evolution that humanity might undergo in the future. Hence, we follow Bowman as he is turned into a Star Child. The novel acknowledges that evolutionary theory entails that humanity is not the end, but only a step in the process. One way this process might continue, the book imagines, is that humans will learn to move to robot bodies and eventually rid themselves of a physical form altogether.
Space exploration
When 2001: A Space Odyssey was written, mankind had not yet set foot on the moon. The space exploration programs in the United States and the Soviet Union were only in the early stages. Much room was left to imagine the future of the space program. Space Odyssey offers one such vision, offering a glimpse at what space exploration might one day become. Lengthy journeys, such as manned flights to Saturn, and advanced technologies, such as suspended animation, are described in the novel.
Artificial intelligence
The book raises questions about consciousness, sentience, and human interactions with machines. HAL's helpful disposition contrasts with his malevolent behaviour. Through much of the movie he seems to have malfunctioned. At the end of the novel we learn that HAL's odd behaviour stems from an improper conflict in his orders. Having been instructed not to reveal the nature of the mission to his crew, he reasons that their presence is a threat to the mission, which is his prime concern. HAL's reversion to a childlike state as Dave shuts him down mirrors aspects of human death, and his expressed fear of being shut down causes Dave to hesitate.
Accoutrements of space travel
The novel is deliberately written so as to give the reader an almost kinesthetic familiarity with the experience of space travel and the technologies encountered. Large sections of the novel are devoted to detailed descriptions of these. The novel discusses orbital mechanics and the manoeuvres associated with space travel with great scientific accuracy. The daily lives of Bowman and Poole on board the Discovery One are discussed in detail and give the impression of a busy yet mundane lifestyle with few surprises until the malfunction of HAL. Dr. Floyd's journey to Space Station One is depicted with awareness of fine points such as the experience of a Space Shuttle launch, the adhesive sauces used to keep food firmly in place on one's plate, and even the zero gravity toilet.
Sequels[edit]
A sequel to the book, entitled 2010: Odyssey Two, was published in 1982 and adapted as a motion picture in 1984 (though without Kubrick's involvement). Clarke went on to write two more sequel novels: 2061: Odyssey Three (1987) and 3001: The Final Odyssey (1997). To date, the last two novels have yet to be adapted as films.
Differences from the film[edit]


 This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (March 2010)
Although the novel and film were developed simultaneously, the novel follows early drafts of the film, from which the final version deviated.[5] These changes were often for practical reasons relating to what could be filmed economically, and a few were due to differences of opinion between Kubrick and Clarke. The most notable differences are a change in the destination planet from Saturn to Jupiter, and the nature of the sequence of events leading to HAL's demise. Stylistic differences may be more important than content differences. Of lesser importance are the appearance of the monolith, the age of HAL, and the novel giving names to various spacecraft, prehistoric apes, and HAL's inventor.
Stylistically, the novel generally fleshes out and makes concrete many events left somewhat enigmatic in the film, as has been noted by many observers. Vincent LeBrutto has noted that the novel has "strong narrative structure" which fleshes out the story, while the film is a mainly visual experience where much remains "symbolic".[6] Randy Rasmussen has noted that the personality of Heywood Floyd is different; in Clarke's novel, he finds space travel thrilling, acting almost as a "spokesman for Clarke," whereas in the film, he experiences space travel as "routine" and "tedious."[7]
In the film, Discovery's mission is to Jupiter, not Saturn. Kubrick used Jupiter because he and special effects supervisor Douglas Trumbull could not decide on what they considered to be a convincing model of Saturn's rings for the film.[8] Clarke went on to replace Saturn with Jupiter in the novel's sequel 2010: Odyssey Two. Trumbull later developed a more convincing image of Saturn for his own directorial debut Silent Running.
The general sequence of the showdown with HAL is different in the film than in the book. HAL's initial assertion that the AE-35 unit will fail comes in the film after an extended conversation with David Bowman about the odd and "melodramatic" "mysteries" and "secrecy" surrounding the mission, motivated because HAL is required to draw up and send to Earth a crew psychology report. In the novel it is during the birthday message to Frank Poole.
In the film, Bowman and Poole decide on their own to disconnect HAL in context of a plan to restore the allegedly failing antenna unit. If it does not fail, HAL will be shown to be malfunctioning. HAL discovers the plan by reading their lips through the EVA pod window. In Clarke's novel, ground control orders Bowman and Poole to disconnect HAL, should he prove to be malfunctioning a second time by predicting that the second unit is going to go bad.[9]
However, in Clarke's novel, after Poole's death, Bowman tries waking up the other crew members, whereupon HAL opens both the internal and external airlock doors, suffocating these three and almost killing Bowman. The film has Bowman, after Poole's murder, go out to rescue him. HAL denies him reentry and kills the hibernating crew members by turning off their life-support. In the sequel 2010: Odyssey Two, however, the recounting of the Discovery One mission is changed to the film version.[10]
The film is generally far more enigmatic about the reason for HAL's failure, while the novel spells out that HAL is caught up in an internal conflict because he is ordered to lie about the purpose of the mission.[11]
Because of what photographed well, the appearance of the monolith that guided Moon-watcher and the other 'man-apes' at the beginning of the story was changed from novel to film. In the novel, this monolith is a transparent crystal;[12] In the film, it is solid black. The TMA1 and TMA2 monoliths were unchanged.
While it is stated in the book that the ratio of the dimensions of the monolith are supposed to be 1:4:9, or the first 3 dimensions squared, the shape of the actual monolith seen in the movie does not conform to this ratio. 1:4:9 would produce an object that appears thick, wide, and squat. Kubrick wanted something taller and thinner, which he felt would be more imposing. It is unfortunate that Clarke didn't choose the cubes of the first 3 dimensions, as that would have produced a ratio of 1:8:27, which is much closer to the shape of the monoliths seen in the film.
In the book, HAL became operational on 12 January 1997, but in the movie the year is given as 1992.[13] It has been thought that Kubrick wanted HAL to be the same age as a young bright child, nine years old.[citation needed]
The famous quote that opens the film sequel 2010: The Year We Make Contact – "My God—it's full of stars!" – is actually not in the 2001 film, although it is in the 2001 book.
Iapetus versus Japetus[edit]
The name of the Saturnian moon Iapetus is spelled Japetus in the book. This is an alternative rendering of the name, which derives from the fact that "consonantal I" often stands for "J" in the Latin language (see modern spelling of Latin).
In his exhaustive book on the film, The Making of Kubrick's 2001 (Signet Press, 1970, p. 290), author Jerome Agel discusses the point that Iapetus is the most common rendering of the name, according to many sources, including the Oxford English Dictionary. He goes on to say that "Clarke, the perfectionist", spells it Japetus. Agel then cites the dictionary that defines jape as, "To jest; to joke; to mock or make fun of." He then asks the reader, "Is Clarke trying to tell us something?"
Clarke himself directly addressed the spelling issue in chapter 19 of The Lost Worlds of 2001 (Signet, 1972, p. 127), explaining that he simply (and unconsciously) used the spelling he was familiar with from The Conquest of Space (1949) by Willy Ley and Chesley Bonestell, presuming that the "J" form is the German rendering of the Greek.
Release details[edit]
1968, USA, New American Library (ISBN 0-453-00269-2), June 1968, hardback (First edition)[14]
1968, USA, Signet, July 1968, paperback (First paperback edition)[14]
1968, UK, Hutchinson (ISBN 0-09-089830-3), 1968, hardback (First British edition)[14]
1968, UK, Arrow Books (ISBN 0-09-001530-4), October 1968, paperback
2000, UK, Orbit (ISBN 1-84149-055-5), December 2000, hardback (special edition)
2005, USA, Signet (ISBN 0-451-45273-9), July 2005, paperback
2013,BR,Aleph (ISBN 9788576571551), October 2013,brochure



See also[edit]
List of fictional computers
Toynbee tiles
Childhood's End
List of stories set in a future now past
References[edit]
Notes
1.Jump up ^ Popular Contemporary Writers
2.^ Jump up to: a b See #Iapetus_vs._Japetus in this article
3.Jump up ^ See p. 254 of paperback edition of 2001: A Space Odyssey
4.Jump up ^ Ebert 2004, p. 4.
5.Jump up ^ McLellan, Dennis (19 March 2008). "Arthur C. Clarke, 90; scientific visionary, acclaimed writer of '2001: A Space Odyssey'". Los Angeles Times. Retrieved 23 March 2011.
6.Jump up ^ LoBrutto 1999, p. 310.
7.Jump up ^ Rasmussen 2005, p. 51.
8.Jump up ^ See Arthur C. Clarke's forward to 2010: Odyssey Two
9.Jump up ^ See p. 174 of paperback edition of 2001: A Space Odyssey
10.Jump up ^ p. 185 of paperback edition
11.Jump up ^ Chapter 27 of novel
12.Jump up ^ pp. 11–21 of novel
13.Jump up ^ DeMet, George D. (2001). "Meanings: The Search for Meaning in 2001 – HAL’s "Birthday"". 2001: A Space Odyssey Internet Resource Archive. Retrieved 23 March 2011.
14.^ Jump up to: a b c Locke 1974, p. 24.
Bibliography
Ebert, Roger (2004). The Great Movies. Broadway Books. ISBN 0-7679-1038-9.
Hagerty, Jack; Jon C. Rogers (2001). Spaceship Handbook: Rocket and Spacecraft Designs of the 20th Century, Fictional, Factual, and Fantasy. ARA Press. pp. 322–351. ISBN 0-9707604-0-X.
LoBrutto, Vincent (1999). Stanley Kubrick: A Biography. Da Capo Press. ISBN 978-0-306-80906-4.
Locke, George (1978). Science Fiction First Editions: a select bibliography and notes for the collector.. London: Ferret Fantasy.
Ordway III, Frederick Ira (March 1970). "2001: A Space Odyssey". Spaceflight (The British Interplanetary Society) 12 (3): 110–117.
Ordway III, Frederick Ira (1982). "2001: A Space Odyssey in Retrospect". In Eugene M. Emme. American Astronautical Society History. Science Fiction and Space Futures: Past and Present 5. pp. 47–105. ISBN 0-87703-172-X. Archived from the original on 26 April 2011. Retrieved 23 March 2011. A detailed account of development and filming of 2001: A Space Odyssey by its technical adviser.
Rasmussen, Randy (2005). Stanley Kubrick: Seven Films Analyzed. McFarland & Company. ISBN 0-7864-2152-5.
Tuck, Donald H. (1974). The Encyclopedia of Science Fiction and Fantasy. Chicago: Advent. p. 102. ISBN 0-911682-20-1.
Williams, Craig H.; with Leonard A. Dudzinski; Stanley K. Borowski and Albert J. Juhasz. (March 2005). Realizing "2001: A Space Odyssey": Piloted Spherical Torus Nuclear Fusion Propulsion. Cleveland, Ohio: John H. Glenn Research Center. Retrieved 19 September 2013.
External links[edit]
Book review – Hal's Legacy: 2001's Computer as Dream and Reality
2001: A Space Odyssey title listing at the Internet Speculative Fiction Database


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2010 (film)
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2010
2010-poster01.jpg
Theatrical release poster
 
Directed by
Peter Hyams
Produced by
Peter Hyams
Written by
Peter Hyams
Based on
2010: Odyssey Two
 by Arthur C. Clarke
Starring
Roy Scheider
John Lithgow
Helen Mirren
Bob Balaban
Keir Dullea
Douglas Rain
Dana Elcar
Music by
David Shire
Cinematography
Peter Hyams
Edited by
Mia Goldman
 James Mitchell
Distributed by
Metro-Goldwyn-Mayer
Release date(s)
December 7, 1984
 
Running time
116 minutes
Country
United States
Language
English
Budget
$28 million[1]
Box office
$40,400,657 (North America)[2]
2010 (also known as 2010: The Year We Make Contact) is a 1984 American science fiction film written and directed by Peter Hyams. It is a sequel to Stanley Kubrick's 1968 film 2001: A Space Odyssey, and is based on Arthur C. Clarke's novel 2010: Odyssey Two.
Roy Scheider, Helen Mirren, Bob Balaban and John Lithgow star, along with Keir Dullea and Douglas Rain of the cast of the previous film.


Contents  [hide]
1 Plot
2 Cast 2.1 Cameos
3 Production 3.1 Development and filming
3.2 Special effects
3.3 Music
4 Release 4.1 Box office
4.2 Comic book
4.3 Home media
5 Reception 5.1 Critical reception
5.2 Awards
6 References
7 External links

Plot[edit]
After the mysterious failure of the Discovery One mission to Jupiter in 2001 which resulted in the deaths of four astronauts and the disappearance of Dr. David Bowman, the fiasco was blamed on Dr. Heywood Floyd who resigned his position as head of the National Council for Astronautics. While an international dispute causes tensions between the United States and the Soviet Union, both nations prepare space missions to determine what happened to the Discovery. Although the Soviet ship, the Leonov, will be ready before the American spacecraft Discovery Two, the Soviets need American astronauts to help board the Discovery and investigate the malfunction of the ship's sentient computer, HAL 9000, which caused the disaster. The US government agrees to a joint mission when it is determined that Discovery will crash into Jupiter's moon Io before Discovery Two is ready. Floyd, along with Discovery designer Walter Curnow and HAL 9000's creator Dr. Chandra, join the Soviet mission.
Upon the Leonov's arrival at Jupiter, the crew detects chlorophyll on Jupiter's seemingly lifeless moon Europa. They send an unmanned probe down to Europa to investigate the unusual readings, but just as it finds the source, a mysterious energy burst destroys the probe and its data. The "burst" then flies toward Jupiter. The Russians believe the burst was simply electromagnetic radiation, but Floyd suspects it was a warning to stay away from Europa.
After surviving a dangerous braking manoeuvre around Jupiter's upper atmosphere, the Leonov crew find the abandoned Discovery floating in space. Curnow reactivates the ship and Chandra restarts HAL, who had been deactivated by Dave Bowman before his disappearance nine years earlier. Also nearby is the giant alien Monolith that the Discovery was originally sent to investigate. Cosmonaut Max Brailovsky travels to the Monolith in an EVA pod, at which point the Monolith briefly opens with a burst of energy, sending Max's pod spinning off into space. On Earth, Dave Bowman, now an incorporeal being that existed inside the Monolith, appears on his wife's television screen and wishes her farewell. He also visits his terminally ill mother just before she dies.
On the Discovery, Chandra discovers the reason for HAL's malfunction. The National Security Council ordered HAL to conceal from Discovery's crew the fact that the mission was about the Monolith. This conflicted with HAL's basic programming of open, accurate processing of information, causing him to suffer a paranoid mental breakdown. This was done without Floyd's knowledge, who is outraged that the order bears his signature.
On Earth, tensions between America and Russia escalate to a state of war. The Americans are instructed to leave the Leonov and move to the Discovery, with both crews ordered not to communicate with each other. Both crews plan to leave Jupiter separately when a launch window opens in several weeks, however, Bowman appears to Floyd and says it is imperative that everybody leaves within two days. Stunned by Bowman's appearance, Floyd returns to the Leonov to confer with Captain Tanya Kirbuk, who remains sceptical. The Monolith then suddenly disappears, and a growing black spot appears on Jupiter itself. The spot is actually a vast group of Monoliths that are constantly multiplying. The Monoliths begin shrinking Jupiter's volume, increasing the planet's density, and modifying its chemical composition. This convinces the two crews that they must leave soon. Since neither ship can reach Earth with an early departure, they work together to use the Discovery as a booster rocket for the Leonov, though it means the Discovery's (and HAL's) destruction. Bowman appears once again to HAL and tells him that they will soon be together after he transmits one final message to Earth:


ALL THESE WORLDS
 ARE YOURS EXCEPT
 EUROPA
 ATTEMPT NO
 LANDING THERE
 USE THEM TOGETHER
 USE THEM IN PEACE
The Monoliths engulf Jupiter causing nuclear fusion which transforms the planet into a small star. Discovery is consumed in the blast after the Leonov breaks away to safety. The new star's miraculous appearance inspires American and Soviet leaders to seek peace. Over the centuries that follow, Europa gradually transforms from an icy wasteland to a humid jungle covered with plant life. A Monolith stands in the primeval Europan swamp, waiting for intelligent life forms to evolve.
Cast[edit]
Roy Scheider as Dr. Heywood R. Floyd
John Lithgow as Dr. Walter Curnow
Helen Mirren as Tanya Kirbuk
Bob Balaban as Dr. R. Chandra
Keir Dullea as Dave Bowman
Douglas Rain as the voice of HAL 9000
Madolyn Smith as Caroline Floyd
Saveliy Kramarov as Dr. Vladimir Rudenko
Taliesin Jaffe as Christopher Floyd
James McEachin as Victor Milson
Mary Jo Deschanel as Betty Fernandez, Bowman's widow
Elya Baskin as Maxim Brailovsky
Dana Elcar as Dimitri Moiseyevich
Oleg Rudnik as Dr. Vasili Orlov
Natasha Shneider as Irina Yakunina
Vladimir Skomarovsky as Yuri Svetlanov
Victor Steinbach as Nikolaj Ternovsky
Candice Bergen as the voice of SAL 9000 (credited as "Olga Mallsnerd")
Cameos[edit]
Arthur C. Clarke appears as a man on a park bench outside the White House (which is out-of-frame in the pan-and-scan version, but visible in the letterboxed and widescreen versions). In addition, a Time magazine cover about the American-Soviet tensions is briefly shown, in which the President of the United States is portrayed by Clarke and the Soviet Premier by the 2001 producer, writer, and director, Stanley Kubrick.
Production[edit]
Development and filming[edit]
When Clarke published his novel 2010: Odyssey Two in 1982, he telephoned Stanley Kubrick, and jokingly said, "Your job is to stop anybody [from] making it [into a movie] so I won't be bothered."[3] Metro-Goldwyn-Mayer (MGM) subsequently worked out a contract to make a film adaptation, but Kubrick had no interest in directing it. However, Peter Hyams was interested and contacted both Clarke and Kubrick for their 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.'[3]
While he was writing the screenplay in 1983, Hyams (in Los Angeles) began communicating with Clarke (in Sri Lanka) via the then-pioneering medium of e-mail. The two would discuss the planning and production of the film on an almost daily basis using this method. Their correspondence was published in 1984 as The Odyssey File: The Making of 2010. The book illustrates Clarke's fascination with the new method of communication, and also includes Clarke's list of the top science fiction films ever made. In order to give the publishers enough lead-time to have it available for the release of the movie, the book terminates while the movie is still in pre-production. At the point of the last e-mail, Clarke had not yet read the script, and Roy Scheider was the only actor who had been cast.[4][5]
Principal photography on the film began in February 1984 for a 71 day schedule. The majority of the film was shot on MGM's soundstages in Los Angeles, with the exception of a week of location work in Washington DC, Rancho Palos Verdes, California, and at the Very Large Array in New Mexico.[6]
Special effects[edit]
The special effects for 2010 were filmed on 65mm film (the live action scenes were filmed on 35mm) and, due to the differences in film size and ratio, there is a noticeable "cut off" area at the side of the picture during the space scenes when the film is viewed in widescreen. The effects were produced by the Entertainment Effects Group (EEG), the special effects house created by Douglas Trumbull. However, Trumbull himself did not work on the film, and the effects were supervised by Richard Edlund, who had just left Industrial Light & Magic. After completing 2010, EEG would become a part of Edlund's own effects company Boss Film Corporation.
Early in the production of 2010, Hyams had learned that all of the original large spacecraft models from "2001", including the original 50-foot model of the "Discovery One", had been destroyed following the filming, as ordered by Kubrick, as had all of the original model-makers' designs for building the "Discovery One". Consequently, the model-makers at EEG had to use frame-by-frame enlargements from a 70mm copy of "2001" to recreate the original large "Discovery One" model. The "Leonov" spacecraft, as well as several of its interior crew areas and other elements of the spacecraft's advanced technology, were designed by the noted conceptual artist Syd Mead.
Although computer-generated imagery (or CGI) was still in an early phase of development in 1984, the special effects team of 2010 used CGI to create the dynamic-looking cloudy atmosphere of the planet Jupiter, as well as the swarm of monoliths that engulf the planet and turn it into a Sun for the planet Europa. Digital Productions would use data supplied by the Jet Propulsion Laboratory to create the turbulent Jovian atmosphere. This was one of the first instances of what the studio would later refer to as "Digital Scene Simulation", a concept they would take to the next level with The Last Starfighter.
In order to maintain the realism of the lighting in outer space, in which light would usually come from a single light source (in this case, the Sun), Edlund and Hyams decided that blue-screen photography would not be used for shooting the space scenes. Instead, a process known as front-light/back-light filming was used. The models were filmed as they would appear in space, then a white background was placed behind the model and the first pass was repeated. This isolated the model's outlines so that proper traveling mattes could be made. All of this processing doubled the amount of time that it took to film these sequences, due to the additional motion-control pass that was needed to generate the matte. This process also eliminated the problem of "blue spill", which is the main disadvantage of blue-screen photography. In this, photographed models would often have blue outlines surrounding them because a crisp matte was not always possible to achieve.
Blue-screen photography was used in the scene in which Floyd uses two pens to demonstrate his plan to dock the two spaceships together for the film's climax. Initially, the scene was filmed with Roy Scheider attaching the pens to a piece of movable glass that was placed between him and the camera but this proved unworkable. Scheider then performed the scene without the pens actually being present, and the pens were filmed separately against a blue screen using an "Oxberry" animation stand that was programmed to match Scheider's movements.
Music[edit]
Initially, Tony Banks (keyboardist for the band Genesis) was commissioned to do the soundtrack for 2010. However, Banks' material was rejected[7] and David Shire was then selected to compose the soundtrack, which he co-produced along with Craig Huxley. The soundtrack album was released by A&M Records in the United States.
Unlike many film soundtracks from the first half of the 1980s and before, the soundtrack for 2010 was composed for and played mainly using digital synthesizers. These included the Synclavier by the New England Digital company and a Yamaha DX1. Only two compositions on the soundtrack album feature a symphony orchestra. Shire and Huxley were so impressed by the realistic sound of the Synclavier that they placed a disclaimer in the album's liner notes stating "No re-synthesis or sampling was employed on the Synclavier."
Andy Summers, guitarist for the band The Police, performed a track entitled "2010", which was a modern new-wave pop version of Richard Strauss's Also Sprach Zarathustra (which had been the main theme from 2001: A Space Odyssey). Though Summers' recording was included on the soundtrack album and released as a single, it was not used in the film. For the B-side to the single, Summers recorded another 2010-based track entitled "To Hal and Back", though this appeared in neither the film nor the soundtrack album.
Release[edit]
Box office[edit]
2010 debuted at number two at the North American box office, taking $7,393,361 for its opening weekend.[8] It was held off from the top spot by Beverly Hills Cop, which became that year's highest grossing film in North America. During its second week, 2010 faced competition from two other new sci-fi films; John Carpenter's Starman and David Lynch's Dune,[9] but ultimately outgrossed both of them by the end of its domestic theatrical run. It finished with just over $40 million at the domestic box office and was the 17th highest grossing film in North America to be released in 1984.[10]
Comic book[edit]
In 1984, Marvel Comics published a 48-page comic book adaptation of the film by writer J. M. DeMatteis and artists Joe Barney, Larry Hama and Tom Palmer. It was published both as a single volume in Marvel Super Special #37[11] and as a two-issue limited series.[12]
Home media[edit]
2010 was first released on home video and laserdisc in 1985, and on DVD (R1) in 1998 by MGM. It was re-issued (with different artwork) in September 2000 by Warner Bros. Both releases are presented with the soundtrack remastered in Dolby 5.1 surround sound and in the original 2.35:1 aspect ratio, though a packaging error appears on the 2000 Warner release, claiming that the film is presented in anamorphic widescreen when, in reality, it is simply 4:3 letterboxed and not anamorphic (the MGM version of the DVD makes no such claim). The R1 and R4 releases also include the film trailer and a 10-minute behind-the-scenes featurette "2010: The Odyssey Continues" (made at the time of the film's production), though this is not available in other regions.
The film was released on Blu-ray Disc on April 7, 2009. It features a BD-25 single-layer presentation, now in high definition 16:9 (2.40:1) widescreen with 1080p/VC-1 video and English Dolby TrueHD 5.1 Surround audio. In all regions, the disc also includes the film's original "making of" promotional featurette (as above) and theatrical trailer in standard definition as extras.
Reception[edit]
Critical reception[edit]
Critical reaction to 2010 has been mixed to positive, with the film holding a rating of 66% of Rotten Tomatoes, based on 32 reviews.[13] Roger Ebert gave 2010 three stars out of four, writing that it "doesn't match the poetry and the mystery of the original film" and "has an ending that is infuriating, not only in its simplicity, but in its inadequacy to fulfill the sense of anticipation, the sense of wonder we felt at the end of 2001". He concluded, however: "And yet the truth must be told: This is a good movie. Once we've drawn our lines, once we've made it absolutely clear that 2001 continues to stand absolutely alone as one of the greatest movies ever made, once we have freed 2010 of the comparisons with Kubrick's masterpiece, what we are left with is a good-looking, sharp-edged, entertaining, exciting space opera".[14]
James Berardinelli also gave the film three stars out of four, writing that "2010 continues 2001 without ruining it. The greatest danger faced by filmmakers helming a sequel is that a bad installment will in some way sour the experience of watching the previous movie. This does not happen here. Almost paradoxically, 2010 may be unnecessary, but it is nevertheless a worthwhile effort."[15] Vincent Canby gave 2010 a lukewarm review, calling it "a perfectly adequate though not really comparable sequel" that "is without wit, which is not to say that it is witless. A lot of care has gone into it, but it has no satirical substructure to match that of the Kubrick film, and which was eventually responsible for that film's continuing popularity."[16]
Awards[edit]
Though it did not win any, 2010 was nominated for five Academy Awards:[17][18]
Best Art Direction (Albert Brenner and Rick Simpson)
Best Makeup (Michael Westmore)
Best Visual Effects
Best Costume Design (Patricia Norris)
Best Sound Presentation (Michael J. Kohut, Aaron Rochin, Carlos Delarios and Gene Cantamessa)
2010 won the Hugo Award for Best Dramatic Presentation in 1985.
References[edit]
1.Jump up ^ "ATOMIC DONKEY#0: 2010: The Year We Make Contact (1984)". Bsmbow.blogspot.com. January 1, 2010. Retrieved 2011-02-18.
2.Jump up ^ "Box Office Mojo". Box Office Mojo. February 12, 1985. Retrieved 2011-02-18.
3.^ Jump up to: a b LoBrutto 1997, p. 456.
4.Jump up ^ Arthur C. Clarke and Peter Hyams. The Odyssey File. Ballantine Books, 1984.
5.Jump up ^ "Excerpt from The Odyssey File". Davidrothman.com. November 16, 1982. Retrieved 2011-02-18.
6.Jump up ^ 2010: The Odyssey Continues (video) (in English). 1984.
7.Jump up ^ Tony Banks interview, WorldOfGenesis.com
8.Jump up ^ Box Office Mojo (7-9 Dec 1984)
9.Jump up ^ Box Office Mojo (14-16 Dec 1984)
10.Jump up ^ Box Office Mojo (1984 Domestic Grosses)
11.Jump up ^ Marvel Super Special #37 at the Grand Comics Database
12.Jump up ^ 2010 at the Grand Comics Database
13.Jump up ^ "2010: The Year We Make Contact Movie Reviews, Pictures". Rotten Tomatoes. Retrieved 2011-02-18.
14.Jump up ^ "2010 :: rogerebert.com :: Reviews". Rogerebert.suntimes.com. Retrieved 2011-02-18.
15.Jump up ^ "2010: A Film Review by James Berardinelli". Reelviews.net. Retrieved 2011-02-18.
16.Jump up ^ Canby, Vincent (December 7, 1984). "Movie Review - 2010 - '2010,' PURSUES THE MYSTERY OF '2001'". The New York Times. Retrieved 2011-02-18.
17.Jump up ^ "The 57th Academy Awards (1985) Nominees and Winners". oscars.org. Retrieved 2011-10-13.
18.Jump up ^ "NY Times: 2010". NY Times. Retrieved 2009-01-01.
External links[edit]
 Wikiquote has a collection of quotations related to: 2010: The Year We Make Contact
2010 at the Internet Movie Database
2010 at the TCM Movie Database
2010 at AllMovie
2010 at Box Office Mojo
2010 at Rotten Tomatoes


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Categories: 1984 films
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Adaptations of works by Arthur C. Clarke
1980s drama films
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Films directed by Peter Hyams
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Films set in the future
Films shot in New Mexico
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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
Edited by
Ray Lovejoy
Production
   company
Metro-Goldwyn-Mayer
Distributed by
Metro-Goldwyn-Mayer
Release date(s)
April 2, 1968 (USA)
 
Running time
161 minutes (Premiere)[1]
 142 minutes (Theatrical)[1]
Country
United Kingdom[2]
 United States[2]
Language
English
Budget
$10.5 million
Box office
$190 million
2001: A Space Odyssey is a 1968 British-American[2] 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.[3][4]
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. The fourth and final act of the film follows 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)[5] 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,[6] other sources refer to it as an American, British, or American-British production.[7]
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,[8] 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.[9][10]
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,[11] 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.[12] Two years before that, it was ranked the greatest film of all time by The Moving Arts Film Journal.[13] 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.[14]
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[15] spanning four million 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.[17][18]
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. The astronauts agree to disconnect Hal if he is proven to be wrong.
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, revealing that he had monitored their lip movements during their conversation about disconnecting him. He states 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 most of the computer's memory and 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,[19] 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.[20] 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.[21]
Leonard Rossiter as Dr. Andrei Smyslov
Margaret Tyzack as Elena
Robert Beatty as Dr. Ralph Halvorsen
Sean Sullivan as Dr. Roy Michaels[22]
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,[23] and determined to make "the proverbial good science fiction movie".[24] 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?"[25][26] 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.[27]
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".[27] 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.[28] Clarke and Kubrick spent two years transforming "The Sentinel" into a novel, and then into a script for 2001.[29] Clarke notes that his short story "Encounter in the Dawn" inspired the "Dawn Of Man" sequence in 2001.[30]
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.[31] "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."[32] 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".[33]
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.[34] 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.[35]
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".[36]
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.[10] "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".[37]

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[38]
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."[39] 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".[40]
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".[36] 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.[36]
Early drafts included a short prologue containing interviews with scientists about extraterrestrial life,[41] voice-over narration (a feature in all of Kubrick's previous films),[42] a stronger emphasis on the prevailing Cold War balance of terror, a slightly different and more explicitly explained scenario for Hal's breakdown,[43][44][45] 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.[45] 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.[41]
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[46] (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.[47] 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".[48]
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."[43] 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. Another hint occurs at the moment of HAL's expiration when a video plays and reveals the true purpose of the mission which he had been ordered to keep secret.
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"[49]
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.[50] Further, Kubrick intended that the Star Child would detonate the weapons at the end of the film.[51] 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".[52] 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".[53]
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."[54] 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."[55]
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.[56] 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.[57] 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. The stop-over itself features 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 a spectacular journey by Earth-light across the Lunar surface is shown. Generally, the most memorable dialogue in the film belongs to the computer Hal in its exchanges with David Bowman.[58] 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".[59] Specific comparisons of shots from the two films have been analyzed by the filmmaker Alessandro Cima.[60] 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.[61]
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.[62][63] 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;[64] 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."[65] 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.[21][66]
Filming of actors was completed in September 1967,[67] and from June 1966 until March 1968 Kubrick spent most of his time working on the 205 special effects shots in the film.[35] 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.[68] 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.[35]
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.[69] 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.[63]
Set design and furnishings[edit]
Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes,[70] 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.[71] First introduced in 1968, the Action Office style "cubicle" would eventually occupy 70 percent of office space by the mid-2000s.[72][73] Noted Danish designer Arne Jacobsen designed the cutlery used by the Discovery astronauts in the film.[74][75][76]
Perhaps the most noted pieces of furniture in the film are the bright red Djinn Chairs seen prominently throughout the Space Station.[77][78] 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.[77] Today the chairs, particularly in red, are highly sought-after examples of modern furniture design.[77] 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.[77] 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.[79] 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".[80] Commenting on their use in the film, Walker writes:

Everyone recalls one early sequence in the film, the space hotel,[81] primarily because the custom-made Olivier Mourgue 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.[82]
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.[83]
The film features an extensive use of Eurostile Bold Extended, Futura and other sans typefaces as design elements of the 2001 world.[84] 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
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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.
 
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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.[85] 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 blue/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".[86]
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.[86]
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.[87]

 

 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.[88] 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.[89]
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.[90]
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.[91] 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.[92]

 

 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.[93] 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.[94]
An article by Douglas Trumbull about the creation of special effects for 2001 appears in the June 1968 issue of American Cinematographer.[95]
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.[96]
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,[97] discussing off-Earth life, which Kubrick removed after an early screening for MGM executives.[98] The actual text survives in the book The Making of Kubrick's 2001 by Jerome Agel.[99]
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.[100]
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".[98]
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.[101][102]
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."[103]
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.[104][105] No immediate plans have been announced for the footage.[106]
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.[107]
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,[108] 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.[109] 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.[110]
Also engaged to score the film was composer Frank Cordell.[111] 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 [112] 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.[113] 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.[114]
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."[115]
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.[116] In the German version, Hal sings the children's song "Hänschen klein" ("Johnny Little"),[117] and in the Italian version Hal sings "Giro giro tondo" (Ring a Ring o' Roses).[118]
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.[119]
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.[120]
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.[121]
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.[122]
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,[105][123] 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.[124]
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.[125]
The film was rereleased in 1974, 1977, and again in 1980.[126] 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.[127][128]
Home video[edit]
MGM/CBS Home Video released the film on VHS and Betamax home video in 1980.[129] 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.[130]
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.[131]
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.[123]
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."[132] 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."[133] 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."[134] 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."[135] 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."[136] Roger Ebert gave the film four stars in his original review, believing the film "succeeds magnificently on a cosmic scale."[58] He later put it on his Top 10 list for Sight & Sound.[137] 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."[138] Director Martin Scorsese has also listed it as one of his favourite films of all time.[139] Critic David Denby later compared Kubrick to the monolith from 2001:A Space Odyssey, calling him " a force of supernatural intelligence, appearing at great intervals amid high-pitched shrieks, who gives the world a violent kick up the next rung of the evolutionary ladder".[140]
Negative
Pauline Kael said it was "a monumentally unimaginative movie,"[141] 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."[142] Renata Adler of The New York Times wrote that it was "somewhere between hypnotic and immensely boring."[143] 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."[144] 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."[145] (Sarris reversed his opinion upon a second viewing of the film, and declared "2001 is indeed a major work by a major artist."[146]) 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."[147] Eminent historian Arthur M. Schlesinger, Jr. deemed the film "morally pretentious, intellectually obscure and inordinately long ... a film out of control".[148] It has been noted that its slow pacing often alienates modern audiences more than it did upon its initial release.[149]
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.[150] 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.[151] 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.[152] James P. Hogan liked the movie, but complained about the ending that didn't make any sense to him, leading to a bet about whether he could write something better or not; "I stole Arthur's plot idea shamelessly and produced Inherit the Stars."[153]
Box-office[edit]
The film earned $8.5 million in theatrical gross rental from roadshow engagements throughout 1968,[126][154] contributing to North American rentals of $15 million during its original release.[155] Reissues have brought its cumulative exhibition gross to $56.9 million in North America,[156] and over $190 million worldwide.[155]
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[125]
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.[157] 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."[158] 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.[159] 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."[160] 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.[161]
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 sac. 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.[162]
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.[163] 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.[164]
"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".[165]
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.[166]
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 ...'[167]
Other awards[edit]
WonBAFTA Awards:[168] 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:[169] 1.Best Foreign Film
David di Donatello Awards, Italy:[170] 1.Best Foreign Production (Stanley Kubrick)
Hugo Awards:[152] 1.Best Dramatic Presentation
Kansas City Film Critics:[171] 1.Best Director (Stanley Kubrick)
2.Best Picture
Laurel Awards:[172] 1.Best Road Show
National Board of Review 1.Listed among the year's Top Ten Films[173]
NominatedBAFTA Awards:[168] 1.Best Film (Stanley Kubrick)
2.UN Award (Stanley Kubrick)
Directors Guild of America (DGA):[174] 1.Outstanding Directorial Achievement in Motion Pictures (Stanley Kubrick)
Laurel Awards:[172] 1.Best Director
Moscow International Film Festival 1.Golden Prize (Stanley Kubrick)[175]

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.[176] 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."[177] 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.[178] 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),[179] 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.)[180]
In 2011, the film was the third most screened film in secondary schools in the United Kingdom.[181]
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,[182] 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[183] (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.[40]
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.[184]
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.[185]
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.[186] 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.[187] The star child signifies a "great new beginning,"[187] and is depicted naked and ungirded, but with its eyes wide open.[188] 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.[189]
Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism."[190] Carolyn Geduld believes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.[191] Vincent LoBrutto's biography of Kubrick notes that for many, Clarke's novel is the key to understanding the monolith.[192] 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[193] 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."[194]
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.[195] The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans,[196] 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."[197] 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."[198]
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.[199]
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.[200] 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.[201] 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.[202]
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][52][203][204][205] 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,[206] 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."[207]
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.[208]
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.[209]
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!).[210]
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.[211] 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.[212] 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.[213] Websites which have reproduced it as an earnest advocacy effort include the website of the flat earth society.[214] Conspiracy theorist Clyde Lewis lifted several passages from the mock article verbatim (without attribution) in support of his moonlanding hoax theories.[215] 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.
A seemingly sincere effort to prove that Kubrick faked the Moon landing is made by Jay Weidner. The occultist and conspiracy theorist Weidner made a 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".[216] 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".[217]
Mad magazine #125 (March 1969) featured a spoof called 201 Minutes of a Space Idiocy written by Dick DeBartolo and illustrated by Mort Drucker.[218] 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".[219]
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".[220] (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[221] 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.[222]
Kubrick was both a great fan of The Simpsons[223] 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.[224][225] 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."[226] John Alberti has referred to "the show's almost obsessive references to the films of Stanley Kubrick."[227] 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.[228] 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.[229]
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."[230]
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.[231] 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."[232]
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.[233] The reviewer for USA Today noted the resemblance of the spaceship's computer, Auto, to Hal.[234] 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"[235]
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".[236]
The poorly reviewed Canadian spoof 2001: A Space Travesty has been occasionally alluded to as a full parody of Kubrick's film,[237] both because of its title and star Leslie Nielsen's many previous films which were full parodies of other films.[238] However, Space Travesty only makes occasional references to Kubrick's material, its "celebrities are really aliens" jokes resembling those in Men in Black.[239] 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."[240] 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").[241]
Among spoof references to several science-fiction films and shows,[242] 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.[243][244][245]
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.[246]
In Metal Gear Solid, the character Hal Emmerich was named by his father after HAL 9000.[247][248]
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.[16]
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 to: a b c "The Greatest Films Poll" Sight and Sound. Retrieved June 21, 2014.
3.Jump up ^ Hirsch, Foster (1972). The Hollywood epic. Barnes. p. 13. ISBN 978-0-498-01747-6.
4.Jump up ^ Homer in the Twentieth Century. Oxford University Press. 1972. p. iii. ISBN 978-0-19-161546-7.
5.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.
6.Jump up ^ 2001: A Space Odyssey (film by Kubrick [1968]) - Britannica Online Encyclopedia
7.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.
8.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.
9.Jump up ^ Donald MacGregor. "2001; or, How One Film-Reviews With a Hammer". Visual-Memory. Retrieved September 29, 2009.
10.^ 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.
11.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.
12.Jump up ^ "Vertigo is named 'greatest film of all time'". BBC News. August 2, 2012. Retrieved August 24, 2012.
13.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.
14.Jump up ^ "National Film Registry". National Film Registry (National Film Preservation Board, Library of Congress). Retrieved November 26, 2011.
15.Jump up ^ "Dictionary of terms used in film editing". allmovietalk.com. Retrieved March 30, 2010.
16.Jump up ^ 2001: A Space Odyssey by Arthur C. Clarke (Google Books)
17.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
18.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
19.Jump up ^ Kubrick, in a 1970 interview with Joseph Gelmis, refers to this as a "Star-Gate" (Gelmis 1970, p. 304).
20.Jump up ^ Kubrick, in a 1970 interview with Joseph Gelmis, refers to this as a "Star-Child" (Gelmis 1970, p. 304).
21.^ Jump up to: a b Richter 2002,[page needed]
22.Jump up ^ "The Underview on 2001: A Space Odyssey - Cast and Crew". Retrieved September 30, 2013.
23.Jump up ^ Agel 1970, p. 11.
24.Jump up ^ Clarke, Arthur C. (1972). The Lost Worlds of 2001. London: Sidgwick and Jackson. p. 17. ISBN 0-283-97903-8.
25.Jump up ^ LoBrutto, Vincent (1997, 1998). Stanley Kubrick. London: Faber and Faber. pp. 156–257. ISBN 0-571-19393-5.
26.Jump up ^ Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography
27.^ Jump up to: a b Clarke 1972, p. 29.
28.Jump up ^ Clarke 1972, pp. 32–35.
29.Jump up ^ Agel 1970, p. 61.
30.Jump up ^ Clarke, Arthur C. (2001). Collected Stories of Arthur C. Clarke. Macmillan. p. 460. ISBN 978-0-312-87821-4.
31.Jump up ^ Hughes 2000, p. 135
32.Jump up ^ Clarke 1972, p. 32
33.Jump up ^ Agel 1970, p. 25
34.Jump up ^ Agel 1970, pp. 24–25.
35.^ Jump up to: a b c Gelmis 1970, p. 308.
36.^ Jump up to: a b c Clarke 1972, pp. 31–38.
37.Jump up ^ Gelmis 1970, p. 302.
38.Jump up ^ Stanley Kubrick on the deliberate ambiguity of message in 2001: A Space Odyssey
39.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.
40.^ 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.
41.^ Jump up to: a b Agel 1970,[page needed].
42.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
43.^ Jump up to: a b "The Kubrick Site: Fred Ordway on "2001"". Visual-memory.co.uk. Retrieved August 22, 2010.
44.Jump up ^ Clarke 1972,[page needed].
45.^ Jump up to: a b Clarke, Arthur (1968). 2001: A Space Odyssey. UK: New American Library. ISBN 0-453-00269-2.
46.Jump up ^ See Arthur C. Clarke's forward to 2010: Odyssey Two
47.Jump up ^ Agel 1970, p. 328–329.
48.Jump up ^ Stanley Kubrick: A Biography by Vincent LoBrutto p. 310.
49.Jump up ^ J. Gelmis. "An Interview with Stanley Kubrick (1969)". Retrieved August 31, 2010.
50.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"
51.Jump up ^ Walker 2000, p. 192.
52.^ Jump up to: a b Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN 1-85410-706-2.
53.Jump up ^ Walker 2000, pp. 181–182.
54.Jump up ^ The Kubrick Site: Slavoj Zizek on Eyes Wide Shut
55.Jump up ^ Michael Lennick (January 7, 2001). 2001 and Beyond (television). Canada: Discovery Channel Canada. [dead link]
56.Jump up ^ "See Ebert's review at". Rogerebert.suntimes.com. March 27, 1997. Retrieved August 22, 2010.
57.Jump up ^ See Walker, Alexander. Stanley Kubrick Directs. New York: Harcourt Brace Jovanovich, 1971 p. 251
58.^ Jump up to: a b "Roger Ebert, Reviews: 2001: A Space Odyssey, 1968. Retrieved from". Rogerebert.suntimes.com. April 12, 1968. Retrieved August 22, 2010.
59.Jump up ^ "Road to the Stars". Candle Light Stories.com. Retrieved November 24, 2011.
60.Jump up ^ "Road to the Stars – 1957 Soviet Space Vision with Stunning Special Effects". Candlelight Stories. January 19, 2011. Retrieved November 24, 2011.
61.Jump up ^ "Klushantsev: Russia's Wizard of Fantastika". American cinematographer (ASC Holding Corp) 75. 1994.
62.Jump up ^ Schwam 2000, p. 58.
63.^ 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
64.Jump up ^ Schwam 2000, p. 5
65.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
66.Jump up ^ Clarke 1972, p. 51.
67.Jump up ^ Richter 2002, p. 135.
68.Jump up ^ Schwam 2001, p. 117.
69.Jump up ^ Kimble, Greg. "THIS IS CINERAMA!". In70mm.com.
70.Jump up ^ Bizony 2001, p. 159.
71.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
72.Jump up ^ David Franz, "The Moral Life of Cubicles," The New Atlantis, Number 19, Winter 2008, pp. 132–139
73.Jump up ^ Cubicles had earlier appeared in Jacques Tati's Playtime in 1967
74.Jump up ^ "2001: A Flatware Odyssey". io9. January 15, 2008. Retrieved February 25, 2011.
75.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.
76.Jump up ^ "2001: A Space Odyssey-Products by Arne Jacobsen". Designosophy. October 4, 2007. Retrieved February 25, 2011.
77.^ 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.
78.Jump up ^ Fiell, Charlotte and Peter (2005). 1000 Chairs (Taschen 25). Taschen. ISBN 3-8228-4103-X.
79.Jump up ^ "Olivier Mourgue, Designer: (born 1939 in Paris, France)". Olivier Mourgue. Retrieved February 25, 2011.
80.Jump up ^ Article by Walker in Schwam Making of 2001:A Space Odyssey
81.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.
82.Jump up ^ Walker, Stanley Kubrick Directs, p. 224.
83.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.
84.Jump up ^ Dave Addey (2014-02-11). "2001: A Space Odyssey: Typeset in the Future". Retrieved 2014-02-23.
85.Jump up ^ Bizony 2001, p. 133.
86.^ Jump up to: a b Herb A. Lightman. "Front Projection for "2001: A Space Odyssey"". American Cinematographer. Retrieved September 20, 2012.
87.Jump up ^ Bizony 2001, pp. 113–117.
88.Jump up ^ George D. DeMet, The Special Effects of "2001: A Space Odyssey", DFX, July 1999
89.Jump up ^ Bizony 2001, pp. 138–144.
90.Jump up ^ Bizony 2001, p. 144.
91.Jump up ^ Agel 1970, pp. 129–135.
92.Jump up ^ Jan Harlan, Stanley Kubrick (October 2007). 2001:A Space Odyssey (DVD). Warner Bros.
93.Jump up ^ Agel 1970, pp. 143–146.
94.Jump up ^ Agel 1970, p. 150.
95.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.
96.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.
97.Jump up ^ Freeman Dyson, Disturbing the Universe, 1979, pg 189–191, ISBN 0-330-26324-2
98.^ Jump up to: a b "2001's Pre- and Post-Premiere Edits by Thomas E Brown". Retrieved January 27, 2012.
99.Jump up ^ Agel 1970, p. 27.
100.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.
101.Jump up ^ Les Paul Robley (February 1, 2008). "2001: A Space Odyssey (Blu-Ray review)". Audio-Video Revolution. Retrieved January 7, 2011.
102.Jump up ^ "2001: A Space Odyssey (Remastered)". Retrieved January 7, 2011.
103.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.
104.Jump up ^ Peter Sciretta. "Warner Bros Responds: 17 Minutes of "Lost" '2001: A Space Odyssey' Footage Found?". slashfilm.com. Retrieved January 4, 2011.
105.^ Jump up to: a b Agel 1970, p. 170.
106.Jump up ^ Sneider, Jeff (December 16, 2010). "WB Uncovers Lost Footage From Kubrick's '2001: A Space Odyssey'". Retrieved December 20, 2010.
107.Jump up ^ 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.
108.Jump up ^ "New Titles – The Stanley Kubrick Archives – Facts". Archived from the original on January 1, 2007. Retrieved February 5, 2007.
109.Jump up ^ Time Warp – CD Booklet – Telarc Release# CD-80106
110.Jump up ^ LoBrutto, Vincent (1998). Stanley Kubrick. London: Faber and Faber. p. 308. ISBN 0-571-19393-5.
111.Jump up ^ Cinefantastique, Volume 24, Issues 6-26 p. 41
112.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).
113.Jump up ^ James M. Keller. "Program Notes- Ligeti: Lontano for Large Orchestra". San Francisco Symphony. Archived from the original on February 11, 2009.
114.Jump up ^ Kosman, Joshua (June 13, 2006). "György Ligeti—music scores used in '2001' film (obituary)". The San Francisco Chronicle. Retrieved June 13, 2006.
115.Jump up ^ "Bell Labs: Where "Hal" First Spoke". (Bell Labs Speech Synthesis web site). Retrieved August 13, 2007.
116.Jump up ^ Chion, Michel (2001). Kubrick's Cinema Odyssey. translated by Claudia Gorbman. London: British Film Institute. ISBN 0-85170-840-4.
117.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.
118.Jump up ^ Fini, Massimo (2009). Nietzsche. L'apolide dell'esistenza (in Italian). Marsilio Editori. pp. 408–9. ISBN 88-317-9722-0.
119.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
120.Jump up ^ "royal society southbank centre". 2001: A Space Odyssey. 2010. Archived from the original on July 25, 2010. Retrieved August 11, 2010.
121.Jump up ^ "2001: A Space Odyssey". 2001: A Space Odyssey. 2013. Archived from the original on June 15, 2013. Retrieved June 15, 2013.
122.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.
123.^ 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.
124.Jump up ^ Michael Coate. "1968: A Roadshow Odyssey- The Original Reserved Seat Engagements Of '2001: A Space Odyssey'". in70mm.com. Retrieved January 7, 2011.
125.^ 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.
126.^ Jump up to: a b Hall, Sheldon (April 9, 2011). "Introduction to 2001: A Space Odyssey". In70mm.com. Retrieved March 20, 2012.
127.Jump up ^ 2001: A Re-Release Odyssey, Wired
128.Jump up ^ Press Reviews: 2001: A Space Odyssey, BBC
129.Jump up ^ Nielsen Business Media, Inc (1980). "MGM/CBS Home Video ad". Billboard Magazine (November 22, 1980). Retrieved April 20, 2011.
130.Jump up ^ 2001: A Space Odyssey at KRSJR Productions.com. Accessed September 16, 2009. Archived September 18, 2009.
131.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.
132.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
133.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
134.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
135.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
136.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
137.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.
138.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
139.Jump up ^ "Scorsese's 12 favorite films". Miramax.com. Retrieved 25 December 2013.
140.Jump up ^ Duncan, Paul (2003), Stanley Kubrick: The Complete Films, Taschen GmbH, pp. 10–11, ISBN 978-3-8365-2775-0
141.Jump up ^ "How I Learned To Stop Worrying And Love 'Barry Lyndon'". New York Times. Retrieved June 30, 2013.
142.Jump up ^ Stanley Kauffmann, "Lost in the Stars," The New Republic. Retrieved from http://www.krusch.com/kubrick/Q16.html
143.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
144.Jump up ^ Frederick, Robert B. (April 1, 1968). "Review: '2001: A Space Odyssey'". Variety.
145.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
146.Jump up ^ "Hail the Conquering Hero". FilmComment.com. Retrieved January 12, 2007.
147.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
148.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.
149.Jump up ^ "BBC – Films – review – 2001: A Space Odyssey". BBC. Retrieved August 22, 2010.
150.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.
151.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]
152.^ Jump up to: a b "1969 Hugo Awards". World Science Fiction Society. Retrieved October 16, 2012.
153.Jump up ^ R.I.P. hard science fiction writer James P. Hogan
154.Jump up ^ "Big Rental Films of 1968", Variety, January 8, 1969 p 15. Please note this figure is a rental accruing to distributors.
155.^ Jump up to: a b Miller, Frank. "2001: A Space Odyssey (1968) – Articles". Turner Classic Movies. Retrieved March 20, 2012.
156.Jump up ^ "2001: A Space Odyssey". Box Office Mojo. Retrieved March 20, 2012.
157.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.
158.Jump up ^ In Focus on the Science Fiction Film, edited by William Johnson. Englewood Cliff, N.J.: Prentice-Hall, 1972.
159.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.
160.Jump up ^ "This Day in Science Fiction History — 2001: A Space Odyssey | Science Not Fiction | Discover Magazine". Blogs.discovermagazine.com. Retrieved August 22, 2010.
161.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
162.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.
163.Jump up ^ Apple iPad vs Samsung Galaxy: Stanley Kubrick Showed Tablet in '2001: A Space Odyssey' - ABC News
164.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.
165.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.
166.Jump up ^ Some European Commission official reference is still available on CORDIS archive
167.Jump up ^ Clarke, Arthur (1972). The lost Worlds of 2001. Sidgwick and Jackson. p. 50. ISBN 0-283-97904-6.
168.^ Jump up to: a b "FILM NOMINATIONS 1968". British Academy of Film and Television Arts. Retrieved October 16, 2012.
169.Jump up ^ "Premios del CEC a la producción española de 1968" (in Spanish). Círculo de Escritores Cinematográficos. Retrieved October 16, 2012.
170.Jump up ^ "Awards for Stanley Kubrick" (in Italian). L'accademia del Cinema Italiano. Retrieved October 16, 2012.
171.Jump up ^ "Winners: 1960s". Kansas City Film Critics Circle. Retrieved October 16, 2012.
172.^ 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.
173.Jump up ^ "Awards for 1968". National Board of Review of Motion Pictures. Retrieved October 16, 2012.
174.Jump up ^ "Awards / History / 1968 - 21st Annual DGA Awards". Directors Guild of America. Retrieved October 16, 2012.
175.Jump up ^ "6th Moscow International Film Festival (1969)". MIFF. Retrieved December 20, 2012.
176.Jump up ^ "AFI's 100 YEARS.". AFI.com. Archived from the original on June 5, 2011. Retrieved June 9, 2011.
177.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.
178.Jump up ^ "National Film Registry Preservation Board". Library of Congress. September 12, 2011. Retrieved January 27, 2012.
179.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.
180.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.
181.Jump up ^ "Top movies for schools revealed". BBC News. December 13, 2011. Retrieved January 4, 2012.
182.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.
183.Jump up ^ discussed for example in Stephanie Schwam's The making of 2001, a space odyssey Google's e-copy has no pagination
184.Jump up ^ "The Film Director as Superstar" (Doubleday and Company: Garden City, New York, 1970) by Joseph Gelmis
185.Jump up ^ Houston, Penelope (April 1, 1971). Sight and Sound International Film Quarterly, Volume 40 No. 2, Spring 1971. London: British Film Institute.
186.Jump up ^ Sheridan, Chris. "Stanley Kubrick and Symbolism". Retrieved April 10, 2009. "Reproducing"
187.^ 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.
188.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.
189.Jump up ^ 2001: A Space Odyssey (1968)
190.Jump up ^ reprinted in Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
191.Jump up ^ Geduld, Carolyn (1973). Filmguide to 2001: a space odyssey. Indiana University Press. pp. 40, 63.
192.Jump up ^ LoBrutto, Vincent (1999). Stanley Kubrick: A Biography. Da Capo Press. pp. 310, 606. ISBN 978-0-306-80906-4.
193.Jump up ^ Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
194.Jump up ^ See Tim Dirks' synopsis on the A.M.C. movie site.Tim Dirks. "2001: A Space Odyssey". AMC. Retrieved February 25, 2011.
195.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."
196.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.
197.Jump up ^ Roger Ebert (April 12, 1968). "2001: A Space Odyssey". Chicago Sun-Times. Retrieved February 3, 2011.
198.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.
199.Jump up ^ Roger Ebert (March 27, 1997). "2001: A Space Odyssey (1968)". Chicago Sun-Times. Retrieved February 16, 2011.
200.Jump up ^ Caicco, Gregory (2007). Architecture, ethics, and the personhood of place. UPNE. p. 137. ISBN 978-1-58465-653-1.
201.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.
202.Jump up ^ Christopher Palmer. 'Big Dumb Objects in Science Fiction: Sublimity, Banality, and Modernity,' Extrapolation. Kent: Spring 2006.Vol. 47, Iss. 1; page. 103
203.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.
204.Jump up ^ "Starship Modeler: Modeling 2001 and 2010 Spacecraft". October 19, 2005. Archived from the original on August 20, 2006. Retrieved September 26, 2006.
205.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.
206.Jump up ^ STARLOG magazine
207.Jump up ^ LoBrutto, Vincent. Stanley Kubrick . London: Faber & Faber Limited, 1997, p. 456.
208.Jump up ^ "3001: The Final Odyssey" on Yahoo! Movies (via Wayback Machine)
209.Jump up ^ [3][dead link] [4][dead link]
210.Jump up ^ Dark Side of the Moon trailer on YouTube
211.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.
212.Jump up ^ As discussed on Jay Windley' "clavius.org" site defending the reality of the moonlandings at [5]
213.Jump up ^ [6]. Material on the webmaster of "clavius.org" may be found at About this site and Imdb biography for Jay Windley
214.Jump up ^ International Alliance of Flat Earth Groups • View topic - Fake Nasa/Soviet space programs
215.Jump up ^ At his own website [7] and at an online forum [8]
216.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.
217.Jump up ^ Charles Arthur (January 25, 1999). "Hal confesses all and joins Apple". The Independent (London). Retrieved November 26, 2010.
218.Jump up ^ Mad Magazine No. 125, March 1969
219.Jump up ^ Agel 1970, pp. 8–9.
220.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.
221.Jump up ^ Film and Filming, Volume 21 1975 p. 221
222.Jump up ^ Tim Dirks. "Sleeper(21973)". AMC Movie Classics. Archived from the original on December 5, 2010. Retrieved November 26, 2010.
223.Jump up ^ Herr, Michael (2001). Kubrick. Grove Press. p. 47. ISBN 978-0-8021-3818-7.
224.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.
225.Jump up ^ "Stanley and Bart ... another Kubrick legend". London: The Guardian (UK). July 16, 1999. Retrieved November 26, 2010.
226.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
227.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.
228.Jump up ^ Colin Kennedy (September 2004). "The Ten Best Movie Gags In The Simpsons". Empire. pp. 76.
229.Jump up ^ 20 Funniest Futurama Film Parodies at TotalFilm.com[dead link]
230.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.
231.Jump up ^ John Hartl (July 14, 2005). "'Chocolate Factory' is a tasty surprise". MSNBC. Retrieved December 5, 2010.
232.Jump up ^ Harry Forbes (2005). "Charlie and the Chocolate Factory". Catholic News. Archived from the original on January 6, 2011. Retrieved December 4, 2010.
233.Jump up ^ Jenna Wortham (June 18, 2008). "Retro Futurism of Wall-E Recalls 2001, Blade Runner". WIRED. Retrieved December 4, 2010.
234.Jump up ^ Clara Moskowitz (June 27, 2008). "WALL-E spreads the robot love". USA Today. Retrieved December 4, 2010.
235.Jump up ^ Lawrence Toppman. "Well-focused 'Eye' has a crazy vision". Charlotte Observer. Retrieved December 4, 2010.
236.Jump up ^ London Magazine, 2006 (issue needed), p. 40
237.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.
238.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.
239.Jump up ^ D.W.Pritchett (March 18, 2002). "2001: A Space Travesty". DVD Empire. Retrieved December 10, 2010.
240.Jump up ^ Jim Slotek (December 1, 2001). "A big empty Space". Jam! Showbiz. Retrieved December 10, 2010.
241.Jump up ^ Berge Garabedian (2010). "(review of) 2001: A Space Travesty". JoBlo Movie Reviews. Retrieved December 8, 2010.
242.Jump up ^ "Airplane II – The Sequel". Retrieved February 21, 2011.
243.Jump up ^ Patrick Naugle (November 9, 2000). "Airplane ii: the sequel". DVD Verdict. Retrieved February 21, 2011.
244.Jump up ^ Ken Finkleman. "Airplane II: The Sequel". The Spinning Image. Retrieved February 21, 2011.
245.Jump up ^ Erick Klafter (April 23, 2003). "Airplane II: The Sequel". The BoxSet. Retrieved February 21, 2011.
246.Jump up ^ Benjamin Svetkey (January 13, 1995). "Videogame Review: SimEarth". Entertainment Weekly. Retrieved October 17, 2009.
247.Jump up ^ Metal Gear Solid Official Missions Handbook, Millennium Books (1998).
248.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 Script on dailyscripts.com
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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Space Odyssey
From Wikipedia, the free encyclopedia
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For the BBC drama/documentary, see Space Odyssey (TV series).
For the Italian film, see Star Odyssey.
See also: Space Oddity


 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. (March 2010)
The Space Odyssey series is a series of science fiction novels by the writer Arthur C. Clarke. Two of the novels have been made into feature films, released in 1968 and 1984 respectively. Two of Clarke's early short stories may also be considered part of the series.
Short stories:
"The Sentinel" — short story written in 1948 and first published in 1951 as "Sentinel of Eternity"
"Encounter in the Dawn" — short story first published in 1953 (re-titled "Encounter at Dawn" or "Expedition to Earth" in some later collections)
Novels/Films:
2001: A Space Odyssey — film and novel — produced concurrently and released in 1968
2010: Odyssey Two — 1982 novel, adapted as the 1984 film 2010 with screenplay by Peter Hyams
2061: Odyssey Three — 1987 novel
3001: The Final Odyssey — 1997 novel
The 2001 screenplay was written by Clarke and Stanley Kubrick jointly, based on the seed idea in "The Sentinel" that an alien civilization has left an object on the Moon to alert them to mankind's attainment of space travel. In addition, the 1953 short story "Encounter in the Dawn" contains elements of the first section of the film, in which the ancestors of humans are apparently given an evolutionary "nudge" by extraterrestrials. The opening part of another Clarke story, "Transience", has plot elements set in about the same time in human history, but is otherwise unrelated.
The 1972 book The Lost Worlds of 2001 contains material that did not make it into the book or film.
Clarke's first attempt to write the sequel to 2001 was a film screenplay, though he ultimately wrote a novel instead that was published in 1982. Clarke was not directly involved in the production of the second film, although he did communicate with writer/director Peter Hyams a great deal during the production via the then-pioneering medium of e-mail (as published in the book The Odyssey File) and also made a non-speaking cameo appearance in the film. Kubrick had no involvement in the 2010 novel or film, or any of the later projects.
The Space Odyssey series combines several science-fiction narrative conventions with a metaphysical tone. Since the stories and settings in the books and films all diverge, Clarke suggested that the "continuity" of the series represents happenings in a set of parallel universes. One notable example is that in the 2001 novel, the voyage was to the planet Saturn. During production of the film, it was decided that the special effects for Saturn's rings would be too expensive, so the voyage in the film is to Jupiter instead. The second book, 2010, retcons the storyline of the first book to make the destination Jupiter as seen in the film.
Clarke stated that the Time Odyssey novels are an "orthoquel" to the Space Odyssey series.[1]
Characters[edit]
HAL 9000 is a sentient computer (or artificial intelligence) that becomes the primary antagonist of 2001: A Space Odyssey. HAL is also in the sequel novels and the film sequel 2010. In both films he is voiced by actor Douglas Rain.
Dr. David Bowman serves as the protagonist of 2001: A Space Odyssey. The character later appears in the sequel story released first as a book, 2010: Odyssey Two and then as a movie, 2010: The Year We Make Contact. The character also returns in two more books by Arthur C. Clarke, 2061: Odyssey Three and 3001: The Final Odyssey. In the forewords to both 2010 and 2061, Clarke makes it clear that the plots of the movies and books do not necessarily follow a linear arc, and take place in parallel universes; consequently there are apparent inconsistencies in the character of David Bowman throughout the series. In the two movies, Bowman is played by Keir Dullea.
Dr. Heywood R. Floyd first appears in 2001: A Space Odyssey as one of the astronauts on the mission to track the source of an alien artifact found on the moon. After the events that took place in 2001: A Space Odyssey, he is the protagonist of 2010: Odyssey Two and 2061: Odyssey Three. He is portrayed by William Sylvester in the first film and Roy Scheider in the second film. Heywood Floyd was born in 1956 in the USA. By 1999, he is chairman of the National Council of Astronautics, in charge of overseeing all American spaceflight operations. He has two daughters (only one in the movies, born 1994) and was widowed when his wife Marion died in a plane crash. In 2010: The Year We Make Contact, Floyd has a new wife and a 5-year old son named Christopher.
Dr. Frank Poole is an astronaut aboard Discovery One on the first manned mission to Jupiter (Saturn in 2001: A Space Odyssey. He and Dave Bowman are the only crew members who were not put on board in suspended animation (hibernation). His boyhood hometown was Flagstaff, Arizona, where he visited the Lowell Observatory at its museums on many occasions. These visits sparked his interest in astronomy and astronautics, and hence he went to college to study these subjects.[2]
 He is the main character of 3001: The Final Odyssey. In Stanley Kubrick's 2001: A Space Odyssey, Poole was portrayed by Gary Lockwood. Tom Hanks once expressed interest in directing a film version of 3001, in which he would have played Poole.
Walter Curnow appears in the book and movie versions of 2010: Odyssey Two as the American engineer who designs Discovery and helps to build Discovery II to go back to Jupiter. When the joint Soviet-American mission on the Leonov is planned instead, Curnow is one of the three American experts to go on the trip, along with Heywood Floyd and Dr. Chandra. Curnow is one of the first people to set foot on Discovery again, along with Maxim Brailovsky. Due to his engineering expertise, Discovery becomes operational again. In the 1984 film adaptation, 2010: The Year We Make Contact, Curnow is played by the American actor John Lithgow.
Doctor Sivasubramanian Chandrasegarampillai (often abbreviated to Dr. Chandra) is mentioned in the novelization of 2001: A Space Odyssey as a scientist who instructed the computer HAL 9000 in its basic functions (in the movie, it was a "Mr. Langley"). He is a main character in 2010: Odyssey Two as a member of the joint Russian-American expedition to Jupiter on board the Soviet spacecraft Alexei Leonov. He is also briefly mentioned by an elderly Heywood Floyd in the novel 2061: Odyssey Three. In the movie version of 2010, Dr. Chandra was played by Bob Balaban and is referred to as Dr. R. Chandra.
References[edit]
1.Jump up ^ Review of “Firstborn” on www.scifidimensions.com
2.Jump up ^ 3001:The Final Odyssey by Arthur C. Clarke


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2001: A Space Odyssey
From Wikipedia, the free encyclopedia
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This article is about the narrative. For the film, see 2001: A Space Odyssey (film). For the novel, see 2001: A Space Odyssey (novel).
2001: A Space Odyssey is a science-fiction narrative, produced in 1968 as both a novel, written by Arthur C. Clarke, and a film, directed by Stanley Kubrick. It is a part of Clarke's Space Odyssey series. Both the novel and the film are partially based on Clarke's short story "The Sentinel", written in 1948 as an entry in a BBC short story competition, and "Encounter in the Dawn", published in 1953 in the magazine Amazing Stories.


Contents  [hide]
1 Sources
2 Development
3 Film 3.1 Score
4 Novel
5 Comics
6 The Space Odyssey series
7 See also
8 References

Sources[edit]
After deciding on Clarke's 1948 short story "The Sentinel" as the starting point, and with the themes of man's relationship with the universe in mind, Clarke sold Kubrick five more of his stories to use as background materials for the film. These included "Breaking Strain", "Out of the Cradle, Endlessly Orbiting...", "Who's There?", "Into the Comet", and "Before Eden".[1] Additionally, important elements from two more Clarke stories, "Encounter at Dawn" and (to a somewhat lesser extent) "Rescue Party", made their way into the finished project.[2]
The monolith, as a central theme in the movie, has been cited as a sort of Von Neumann probe. According to Michio Kaku,[3] Kubrick was intending to include a brief scene indicating the monolith as a sort of alien spacecraft; however, Kubrick decided to cut that scene out shortly before the film's release.
Development[edit]

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2013)
Clarke was originally going to write the screenplay for the film, but this proved to be more tedious than he had anticipated. Instead, Kubrick and Clarke decided it would be best to write a prose treatment first and then adapt it for the film and novel upon its completion.
Clarke and Kubrick jointly developed the screenplay and treatment, which were loosely based on The Sentinel and incorporated elements from various other Clarke stories. Clarke wrote the novel adaptation independently. Although the film has become famous due to its groundbreaking visual effects and ambiguous, abstract nature, the film and book were intended to complement each other.
Film[edit]
Main article: 2001: A Space Odyssey (film)
The film was written by Clarke and Kubrick and featured specialist artwork by Roy Carnon.[4] The film is notable for its scientific realism, pioneering special effects, and provocatively ambiguous imagery and sound in place of traditional narrative techniques.
Despite receiving mixed reviews upon release, 2001: A Space Odyssey is today thought by some critics to be one of the greatest films ever made and is widely regarded as the best science fiction film of all time. It was nominated for four Academy Awards, and received one for visual effects. It also won the Kansas City Film Critics Circle Best Director and Best Film awards of 1968. In 1991, 2001: A Space Odyssey was deemed culturally significant by the United States Library of Congress and selected for preservation in the National Film Registry.
Score[edit]
Main article: 2001: A Space Odyssey (score)
A musical score was commissioned for the film and composed by Alex North, but Kubrick ultimately decided not to use it, in favour of the classical pieces he used as guides during shooting. These included Richard Strauss's " Also Sprach Zarathustra", Johann Strauss' "Blue Danube Waltz", and music by twentieth-century composers Aram Khachaturian and Gyorgy Ligeti.
Novel[edit]
Main article: 2001: A Space Odyssey (novel)
Arthur C. Clarke wrote the novel. He developed it concurrently with the film version and published it in 1968, after the film's release. The Lost Worlds of 2001 (1972) elaborates on Clarke and Kubrick's collaboration.[5]
The novel has numerous differences from the film. Most notably, the setting for the part three (of four) in the book is not Jupiter, as in the film, but Saturn.
Comics[edit]
Main article: 2001: A Space Odyssey (comics)
2001: A Space Odyssey was the name of an oversized comic book adaptation of the 1968 film of the same name and a 10-issue monthly series "expanding" on the ideas presented in the film and the eponymous Arthur C. Clarke novel. Jack Kirby wrote and pencilled both the adaptation and the series, which were published by Marvel Comics beginning in 1976.
The Space Odyssey series[edit]
Main article: Space Odyssey

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2013)
The Space Odyssey series is a science fiction series of four novels, primarily written by the science-fiction writer Arthur C. Clarke, and two films created from 1948 to 1997. Stanley Kubrick directed the first film, 2001: A Space Odyssey (1968). He also co-authored the treatment and screenplay with Clarke, based on the seed idea in an earlier short story by Clarke (which bears little relation to the film other than the idea of an alien civilisation's having left something to alert them to mankind's attaining the ability to space travel). Clarke's novel 2001: A Space Odyssey was published in 1968. Kubrick had no involvement in any of the later projects.
Peter Hyams directed the second film, 2010 (1984). He also wrote the screenplay based on Clarke's novel, 2010: Odyssey Two (1982). Clarke was not directly involved in Hyams' film's production as he had been with the Kubrick's film.
See also[edit]
A Time Odyssey
References[edit]
1.Jump up ^ Arthur C. Clarke, The Lost Worlds of 2001, pg 32
2.Jump up ^ Arthur C. Clarke, The Collected Stories of Arthur C. Clarke in the preceding notes to each story
3.Jump up ^ Michio Kaku, "Dr. Michio Kaku about Future Civilizations", YouTube
4.Jump up ^ "IMDB entry". IMDB web site. Retrieved 4 September 2008.
5.Jump up ^ Arthur C. Clarke (1972). The Lost Worlds of 2001. Signet.


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2001: A Space Odyssey (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


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
Edited by
Ray Lovejoy
Production
   company
Metro-Goldwyn-Mayer
Distributed by
Metro-Goldwyn-Mayer
Release date(s)
April 2, 1968 (USA)
 
Running time
161 minutes (Premiere)[1]
 142 minutes (Theatrical)[1]
Country
United Kingdom[2]
 United States[2]
Language
English
Budget
$10.5 million
Box office
$190 million
2001: A Space Odyssey is a 1968 British-American[2] 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.[3][4]
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. The fourth and final act of the film follows 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)[5] 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,[6] other sources refer to it as an American, British, or American-British production.[7]
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,[8] 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.[9][10]
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,[11] 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.[12] Two years before that, it was ranked the greatest film of all time by The Moving Arts Film Journal.[13] 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.[14]
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[15] spanning four million 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.[17][18]
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. The astronauts agree to disconnect Hal if he is proven to be wrong.
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, revealing that he had monitored their lip movements during their conversation about disconnecting him. He states 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 most of the computer's memory and 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,[19] 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.[20] 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.[21]
Leonard Rossiter as Dr. Andrei Smyslov
Margaret Tyzack as Elena
Robert Beatty as Dr. Ralph Halvorsen
Sean Sullivan as Dr. Roy Michaels[22]
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,[23] and determined to make "the proverbial good science fiction movie".[24] 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?"[25][26] 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.[27]
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".[27] 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.[28] Clarke and Kubrick spent two years transforming "The Sentinel" into a novel, and then into a script for 2001.[29] Clarke notes that his short story "Encounter in the Dawn" inspired the "Dawn Of Man" sequence in 2001.[30]
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.[31] "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."[32] 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".[33]
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.[34] 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.[35]
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".[36]
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.[10] "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".[37]

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[38]
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."[39] 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".[40]
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".[36] 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.[36]
Early drafts included a short prologue containing interviews with scientists about extraterrestrial life,[41] voice-over narration (a feature in all of Kubrick's previous films),[42] a stronger emphasis on the prevailing Cold War balance of terror, a slightly different and more explicitly explained scenario for Hal's breakdown,[43][44][45] 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.[45] 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.[41]
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[46] (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.[47] 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".[48]
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."[43] 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. Another hint occurs at the moment of HAL's expiration when a video plays and reveals the true purpose of the mission which he had been ordered to keep secret.
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"[49]
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.[50] Further, Kubrick intended that the Star Child would detonate the weapons at the end of the film.[51] 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".[52] 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".[53]
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."[54] 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."[55]
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.[56] 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.[57] 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. The stop-over itself features 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 a spectacular journey by Earth-light across the Lunar surface is shown. Generally, the most memorable dialogue in the film belongs to the computer Hal in its exchanges with David Bowman.[58] 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".[59] Specific comparisons of shots from the two films have been analyzed by the filmmaker Alessandro Cima.[60] 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.[61]
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.[62][63] 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;[64] 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."[65] 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.[21][66]
Filming of actors was completed in September 1967,[67] and from June 1966 until March 1968 Kubrick spent most of his time working on the 205 special effects shots in the film.[35] 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.[68] 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.[35]
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.[69] 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.[63]
Set design and furnishings[edit]
Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes,[70] 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.[71] First introduced in 1968, the Action Office style "cubicle" would eventually occupy 70 percent of office space by the mid-2000s.[72][73] Noted Danish designer Arne Jacobsen designed the cutlery used by the Discovery astronauts in the film.[74][75][76]
Perhaps the most noted pieces of furniture in the film are the bright red Djinn Chairs seen prominently throughout the Space Station.[77][78] 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.[77] Today the chairs, particularly in red, are highly sought-after examples of modern furniture design.[77] 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.[77] 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.[79] 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".[80] Commenting on their use in the film, Walker writes:

Everyone recalls one early sequence in the film, the space hotel,[81] primarily because the custom-made Olivier Mourgue 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.[82]
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.[83]
The film features an extensive use of Eurostile Bold Extended, Futura and other sans typefaces as design elements of the 2001 world.[84] 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
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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.
 
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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.[85] 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 blue/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".[86]
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.[86]
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.[87]

 

 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.[88] 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.[89]
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.[90]
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.[91] 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.[92]

 

 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.[93] 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.[94]
An article by Douglas Trumbull about the creation of special effects for 2001 appears in the June 1968 issue of American Cinematographer.[95]
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.[96]
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,[97] discussing off-Earth life, which Kubrick removed after an early screening for MGM executives.[98] The actual text survives in the book The Making of Kubrick's 2001 by Jerome Agel.[99]
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.[100]
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".[98]
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.[101][102]
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."[103]
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.[104][105] No immediate plans have been announced for the footage.[106]
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.[107]
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,[108] 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.[109] 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.[110]
Also engaged to score the film was composer Frank Cordell.[111] 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 [112] 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.[113] 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.[114]
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."[115]
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.[116] In the German version, Hal sings the children's song "Hänschen klein" ("Johnny Little"),[117] and in the Italian version Hal sings "Giro giro tondo" (Ring a Ring o' Roses).[118]
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.[119]
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.[120]
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.[121]
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.[122]
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,[105][123] 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.[124]
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.[125]
The film was rereleased in 1974, 1977, and again in 1980.[126] 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.[127][128]
Home video[edit]
MGM/CBS Home Video released the film on VHS and Betamax home video in 1980.[129] 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.[130]
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.[131]
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.[123]
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."[132] 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."[133] 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."[134] 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."[135] 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."[136] Roger Ebert gave the film four stars in his original review, believing the film "succeeds magnificently on a cosmic scale."[58] He later put it on his Top 10 list for Sight & Sound.[137] 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."[138] Director Martin Scorsese has also listed it as one of his favourite films of all time.[139] Critic David Denby later compared Kubrick to the monolith from 2001:A Space Odyssey, calling him " a force of supernatural intelligence, appearing at great intervals amid high-pitched shrieks, who gives the world a violent kick up the next rung of the evolutionary ladder".[140]
Negative
Pauline Kael said it was "a monumentally unimaginative movie,"[141] 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."[142] Renata Adler of The New York Times wrote that it was "somewhere between hypnotic and immensely boring."[143] 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."[144] 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."[145] (Sarris reversed his opinion upon a second viewing of the film, and declared "2001 is indeed a major work by a major artist."[146]) 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."[147] Eminent historian Arthur M. Schlesinger, Jr. deemed the film "morally pretentious, intellectually obscure and inordinately long ... a film out of control".[148] It has been noted that its slow pacing often alienates modern audiences more than it did upon its initial release.[149]
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.[150] 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.[151] 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.[152] James P. Hogan liked the movie, but complained about the ending that didn't make any sense to him, leading to a bet about whether he could write something better or not; "I stole Arthur's plot idea shamelessly and produced Inherit the Stars."[153]
Box-office[edit]
The film earned $8.5 million in theatrical gross rental from roadshow engagements throughout 1968,[126][154] contributing to North American rentals of $15 million during its original release.[155] Reissues have brought its cumulative exhibition gross to $56.9 million in North America,[156] and over $190 million worldwide.[155]
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[125]
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.[157] 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."[158] 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.[159] 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."[160] 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.[161]
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 sac. 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.[162]
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.[163] 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.[164]
"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".[165]
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.[166]
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 ...'[167]
Other awards[edit]
WonBAFTA Awards:[168] 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:[169] 1.Best Foreign Film
David di Donatello Awards, Italy:[170] 1.Best Foreign Production (Stanley Kubrick)
Hugo Awards:[152] 1.Best Dramatic Presentation
Kansas City Film Critics:[171] 1.Best Director (Stanley Kubrick)
2.Best Picture
Laurel Awards:[172] 1.Best Road Show
National Board of Review 1.Listed among the year's Top Ten Films[173]
NominatedBAFTA Awards:[168] 1.Best Film (Stanley Kubrick)
2.UN Award (Stanley Kubrick)
Directors Guild of America (DGA):[174] 1.Outstanding Directorial Achievement in Motion Pictures (Stanley Kubrick)
Laurel Awards:[172] 1.Best Director
Moscow International Film Festival 1.Golden Prize (Stanley Kubrick)[175]

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.[176] 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."[177] 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.[178] 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),[179] 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.)[180]
In 2011, the film was the third most screened film in secondary schools in the United Kingdom.[181]
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,[182] 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[183] (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.[40]
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.[184]
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.[185]
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.[186] 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.[187] The star child signifies a "great new beginning,"[187] and is depicted naked and ungirded, but with its eyes wide open.[188] 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.[189]
Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism."[190] Carolyn Geduld believes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.[191] Vincent LoBrutto's biography of Kubrick notes that for many, Clarke's novel is the key to understanding the monolith.[192] 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[193] 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."[194]
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.[195] The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans,[196] 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."[197] 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."[198]
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.[199]
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.[200] 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.[201] 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.[202]
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][52][203][204][205] 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,[206] 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."[207]
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.[208]
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.[209]
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!).[210]
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.[211] 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.[212] 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.[213] Websites which have reproduced it as an earnest advocacy effort include the website of the flat earth society.[214] Conspiracy theorist Clyde Lewis lifted several passages from the mock article verbatim (without attribution) in support of his moonlanding hoax theories.[215] 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.
A seemingly sincere effort to prove that Kubrick faked the Moon landing is made by Jay Weidner. The occultist and conspiracy theorist Weidner made a 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".[216] 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".[217]
Mad magazine #125 (March 1969) featured a spoof called 201 Minutes of a Space Idiocy written by Dick DeBartolo and illustrated by Mort Drucker.[218] 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".[219]
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".[220] (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[221] 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.[222]
Kubrick was both a great fan of The Simpsons[223] 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.[224][225] 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."[226] John Alberti has referred to "the show's almost obsessive references to the films of Stanley Kubrick."[227] 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.[228] 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.[229]
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."[230]
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.[231] 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."[232]
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.[233] The reviewer for USA Today noted the resemblance of the spaceship's computer, Auto, to Hal.[234] 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"[235]
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".[236]
The poorly reviewed Canadian spoof 2001: A Space Travesty has been occasionally alluded to as a full parody of Kubrick's film,[237] both because of its title and star Leslie Nielsen's many previous films which were full parodies of other films.[238] However, Space Travesty only makes occasional references to Kubrick's material, its "celebrities are really aliens" jokes resembling those in Men in Black.[239] 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."[240] 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").[241]
Among spoof references to several science-fiction films and shows,[242] 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.[243][244][245]
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.[246]
In Metal Gear Solid, the character Hal Emmerich was named by his father after HAL 9000.[247][248]
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.[16]
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 to: a b c "The Greatest Films Poll" Sight and Sound. Retrieved June 21, 2014.
3.Jump up ^ Hirsch, Foster (1972). The Hollywood epic. Barnes. p. 13. ISBN 978-0-498-01747-6.
4.Jump up ^ Homer in the Twentieth Century. Oxford University Press. 1972. p. iii. ISBN 978-0-19-161546-7.
5.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.
6.Jump up ^ 2001: A Space Odyssey (film by Kubrick [1968]) - Britannica Online Encyclopedia
7.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.
8.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.
9.Jump up ^ Donald MacGregor. "2001; or, How One Film-Reviews With a Hammer". Visual-Memory. Retrieved September 29, 2009.
10.^ 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.
11.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.
12.Jump up ^ "Vertigo is named 'greatest film of all time'". BBC News. August 2, 2012. Retrieved August 24, 2012.
13.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.
14.Jump up ^ "National Film Registry". National Film Registry (National Film Preservation Board, Library of Congress). Retrieved November 26, 2011.
15.Jump up ^ "Dictionary of terms used in film editing". allmovietalk.com. Retrieved March 30, 2010.
16.Jump up ^ 2001: A Space Odyssey by Arthur C. Clarke (Google Books)
17.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
18.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
19.Jump up ^ Kubrick, in a 1970 interview with Joseph Gelmis, refers to this as a "Star-Gate" (Gelmis 1970, p. 304).
20.Jump up ^ Kubrick, in a 1970 interview with Joseph Gelmis, refers to this as a "Star-Child" (Gelmis 1970, p. 304).
21.^ Jump up to: a b Richter 2002,[page needed]
22.Jump up ^ "The Underview on 2001: A Space Odyssey - Cast and Crew". Retrieved September 30, 2013.
23.Jump up ^ Agel 1970, p. 11.
24.Jump up ^ Clarke, Arthur C. (1972). The Lost Worlds of 2001. London: Sidgwick and Jackson. p. 17. ISBN 0-283-97903-8.
25.Jump up ^ LoBrutto, Vincent (1997, 1998). Stanley Kubrick. London: Faber and Faber. pp. 156–257. ISBN 0-571-19393-5.
26.Jump up ^ Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography
27.^ Jump up to: a b Clarke 1972, p. 29.
28.Jump up ^ Clarke 1972, pp. 32–35.
29.Jump up ^ Agel 1970, p. 61.
30.Jump up ^ Clarke, Arthur C. (2001). Collected Stories of Arthur C. Clarke. Macmillan. p. 460. ISBN 978-0-312-87821-4.
31.Jump up ^ Hughes 2000, p. 135
32.Jump up ^ Clarke 1972, p. 32
33.Jump up ^ Agel 1970, p. 25
34.Jump up ^ Agel 1970, pp. 24–25.
35.^ Jump up to: a b c Gelmis 1970, p. 308.
36.^ Jump up to: a b c Clarke 1972, pp. 31–38.
37.Jump up ^ Gelmis 1970, p. 302.
38.Jump up ^ Stanley Kubrick on the deliberate ambiguity of message in 2001: A Space Odyssey
39.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.
40.^ 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.
41.^ Jump up to: a b Agel 1970,[page needed].
42.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
43.^ Jump up to: a b "The Kubrick Site: Fred Ordway on "2001"". Visual-memory.co.uk. Retrieved August 22, 2010.
44.Jump up ^ Clarke 1972,[page needed].
45.^ Jump up to: a b Clarke, Arthur (1968). 2001: A Space Odyssey. UK: New American Library. ISBN 0-453-00269-2.
46.Jump up ^ See Arthur C. Clarke's forward to 2010: Odyssey Two
47.Jump up ^ Agel 1970, p. 328–329.
48.Jump up ^ Stanley Kubrick: A Biography by Vincent LoBrutto p. 310.
49.Jump up ^ J. Gelmis. "An Interview with Stanley Kubrick (1969)". Retrieved August 31, 2010.
50.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"
51.Jump up ^ Walker 2000, p. 192.
52.^ Jump up to: a b Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN 1-85410-706-2.
53.Jump up ^ Walker 2000, pp. 181–182.
54.Jump up ^ The Kubrick Site: Slavoj Zizek on Eyes Wide Shut
55.Jump up ^ Michael Lennick (January 7, 2001). 2001 and Beyond (television). Canada: Discovery Channel Canada. [dead link]
56.Jump up ^ "See Ebert's review at". Rogerebert.suntimes.com. March 27, 1997. Retrieved August 22, 2010.
57.Jump up ^ See Walker, Alexander. Stanley Kubrick Directs. New York: Harcourt Brace Jovanovich, 1971 p. 251
58.^ Jump up to: a b "Roger Ebert, Reviews: 2001: A Space Odyssey, 1968. Retrieved from". Rogerebert.suntimes.com. April 12, 1968. Retrieved August 22, 2010.
59.Jump up ^ "Road to the Stars". Candle Light Stories.com. Retrieved November 24, 2011.
60.Jump up ^ "Road to the Stars – 1957 Soviet Space Vision with Stunning Special Effects". Candlelight Stories. January 19, 2011. Retrieved November 24, 2011.
61.Jump up ^ "Klushantsev: Russia's Wizard of Fantastika". American cinematographer (ASC Holding Corp) 75. 1994.
62.Jump up ^ Schwam 2000, p. 58.
63.^ 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
64.Jump up ^ Schwam 2000, p. 5
65.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
66.Jump up ^ Clarke 1972, p. 51.
67.Jump up ^ Richter 2002, p. 135.
68.Jump up ^ Schwam 2001, p. 117.
69.Jump up ^ Kimble, Greg. "THIS IS CINERAMA!". In70mm.com.
70.Jump up ^ Bizony 2001, p. 159.
71.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
72.Jump up ^ David Franz, "The Moral Life of Cubicles," The New Atlantis, Number 19, Winter 2008, pp. 132–139
73.Jump up ^ Cubicles had earlier appeared in Jacques Tati's Playtime in 1967
74.Jump up ^ "2001: A Flatware Odyssey". io9. January 15, 2008. Retrieved February 25, 2011.
75.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.
76.Jump up ^ "2001: A Space Odyssey-Products by Arne Jacobsen". Designosophy. October 4, 2007. Retrieved February 25, 2011.
77.^ 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.
78.Jump up ^ Fiell, Charlotte and Peter (2005). 1000 Chairs (Taschen 25). Taschen. ISBN 3-8228-4103-X.
79.Jump up ^ "Olivier Mourgue, Designer: (born 1939 in Paris, France)". Olivier Mourgue. Retrieved February 25, 2011.
80.Jump up ^ Article by Walker in Schwam Making of 2001:A Space Odyssey
81.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.
82.Jump up ^ Walker, Stanley Kubrick Directs, p. 224.
83.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.
84.Jump up ^ Dave Addey (2014-02-11). "2001: A Space Odyssey: Typeset in the Future". Retrieved 2014-02-23.
85.Jump up ^ Bizony 2001, p. 133.
86.^ Jump up to: a b Herb A. Lightman. "Front Projection for "2001: A Space Odyssey"". American Cinematographer. Retrieved September 20, 2012.
87.Jump up ^ Bizony 2001, pp. 113–117.
88.Jump up ^ George D. DeMet, The Special Effects of "2001: A Space Odyssey", DFX, July 1999
89.Jump up ^ Bizony 2001, pp. 138–144.
90.Jump up ^ Bizony 2001, p. 144.
91.Jump up ^ Agel 1970, pp. 129–135.
92.Jump up ^ Jan Harlan, Stanley Kubrick (October 2007). 2001:A Space Odyssey (DVD). Warner Bros.
93.Jump up ^ Agel 1970, pp. 143–146.
94.Jump up ^ Agel 1970, p. 150.
95.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.
96.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.
97.Jump up ^ Freeman Dyson, Disturbing the Universe, 1979, pg 189–191, ISBN 0-330-26324-2
98.^ Jump up to: a b "2001's Pre- and Post-Premiere Edits by Thomas E Brown". Retrieved January 27, 2012.
99.Jump up ^ Agel 1970, p. 27.
100.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.
101.Jump up ^ Les Paul Robley (February 1, 2008). "2001: A Space Odyssey (Blu-Ray review)". Audio-Video Revolution. Retrieved January 7, 2011.
102.Jump up ^ "2001: A Space Odyssey (Remastered)". Retrieved January 7, 2011.
103.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.
104.Jump up ^ Peter Sciretta. "Warner Bros Responds: 17 Minutes of "Lost" '2001: A Space Odyssey' Footage Found?". slashfilm.com. Retrieved January 4, 2011.
105.^ Jump up to: a b Agel 1970, p. 170.
106.Jump up ^ Sneider, Jeff (December 16, 2010). "WB Uncovers Lost Footage From Kubrick's '2001: A Space Odyssey'". Retrieved December 20, 2010.
107.Jump up ^ 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.
108.Jump up ^ "New Titles – The Stanley Kubrick Archives – Facts". Archived from the original on January 1, 2007. Retrieved February 5, 2007.
109.Jump up ^ Time Warp – CD Booklet – Telarc Release# CD-80106
110.Jump up ^ LoBrutto, Vincent (1998). Stanley Kubrick. London: Faber and Faber. p. 308. ISBN 0-571-19393-5.
111.Jump up ^ Cinefantastique, Volume 24, Issues 6-26 p. 41
112.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).
113.Jump up ^ James M. Keller. "Program Notes- Ligeti: Lontano for Large Orchestra". San Francisco Symphony. Archived from the original on February 11, 2009.
114.Jump up ^ Kosman, Joshua (June 13, 2006). "György Ligeti—music scores used in '2001' film (obituary)". The San Francisco Chronicle. Retrieved June 13, 2006.
115.Jump up ^ "Bell Labs: Where "Hal" First Spoke". (Bell Labs Speech Synthesis web site). Retrieved August 13, 2007.
116.Jump up ^ Chion, Michel (2001). Kubrick's Cinema Odyssey. translated by Claudia Gorbman. London: British Film Institute. ISBN 0-85170-840-4.
117.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.
118.Jump up ^ Fini, Massimo (2009). Nietzsche. L'apolide dell'esistenza (in Italian). Marsilio Editori. pp. 408–9. ISBN 88-317-9722-0.
119.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
120.Jump up ^ "royal society southbank centre". 2001: A Space Odyssey. 2010. Archived from the original on July 25, 2010. Retrieved August 11, 2010.
121.Jump up ^ "2001: A Space Odyssey". 2001: A Space Odyssey. 2013. Archived from the original on June 15, 2013. Retrieved June 15, 2013.
122.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.
123.^ 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.
124.Jump up ^ Michael Coate. "1968: A Roadshow Odyssey- The Original Reserved Seat Engagements Of '2001: A Space Odyssey'". in70mm.com. Retrieved January 7, 2011.
125.^ 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.
126.^ Jump up to: a b Hall, Sheldon (April 9, 2011). "Introduction to 2001: A Space Odyssey". In70mm.com. Retrieved March 20, 2012.
127.Jump up ^ 2001: A Re-Release Odyssey, Wired
128.Jump up ^ Press Reviews: 2001: A Space Odyssey, BBC
129.Jump up ^ Nielsen Business Media, Inc (1980). "MGM/CBS Home Video ad". Billboard Magazine (November 22, 1980). Retrieved April 20, 2011.
130.Jump up ^ 2001: A Space Odyssey at KRSJR Productions.com. Accessed September 16, 2009. Archived September 18, 2009.
131.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.
132.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
133.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
134.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
135.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
136.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
137.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.
138.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
139.Jump up ^ "Scorsese's 12 favorite films". Miramax.com. Retrieved 25 December 2013.
140.Jump up ^ Duncan, Paul (2003), Stanley Kubrick: The Complete Films, Taschen GmbH, pp. 10–11, ISBN 978-3-8365-2775-0
141.Jump up ^ "How I Learned To Stop Worrying And Love 'Barry Lyndon'". New York Times. Retrieved June 30, 2013.
142.Jump up ^ Stanley Kauffmann, "Lost in the Stars," The New Republic. Retrieved from http://www.krusch.com/kubrick/Q16.html
143.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
144.Jump up ^ Frederick, Robert B. (April 1, 1968). "Review: '2001: A Space Odyssey'". Variety.
145.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
146.Jump up ^ "Hail the Conquering Hero". FilmComment.com. Retrieved January 12, 2007.
147.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
148.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.
149.Jump up ^ "BBC – Films – review – 2001: A Space Odyssey". BBC. Retrieved August 22, 2010.
150.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.
151.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]
152.^ Jump up to: a b "1969 Hugo Awards". World Science Fiction Society. Retrieved October 16, 2012.
153.Jump up ^ R.I.P. hard science fiction writer James P. Hogan
154.Jump up ^ "Big Rental Films of 1968", Variety, January 8, 1969 p 15. Please note this figure is a rental accruing to distributors.
155.^ Jump up to: a b Miller, Frank. "2001: A Space Odyssey (1968) – Articles". Turner Classic Movies. Retrieved March 20, 2012.
156.Jump up ^ "2001: A Space Odyssey". Box Office Mojo. Retrieved March 20, 2012.
157.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.
158.Jump up ^ In Focus on the Science Fiction Film, edited by William Johnson. Englewood Cliff, N.J.: Prentice-Hall, 1972.
159.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.
160.Jump up ^ "This Day in Science Fiction History — 2001: A Space Odyssey | Science Not Fiction | Discover Magazine". Blogs.discovermagazine.com. Retrieved August 22, 2010.
161.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
162.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.
163.Jump up ^ Apple iPad vs Samsung Galaxy: Stanley Kubrick Showed Tablet in '2001: A Space Odyssey' - ABC News
164.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.
165.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.
166.Jump up ^ Some European Commission official reference is still available on CORDIS archive
167.Jump up ^ Clarke, Arthur (1972). The lost Worlds of 2001. Sidgwick and Jackson. p. 50. ISBN 0-283-97904-6.
168.^ Jump up to: a b "FILM NOMINATIONS 1968". British Academy of Film and Television Arts. Retrieved October 16, 2012.
169.Jump up ^ "Premios del CEC a la producción española de 1968" (in Spanish). Círculo de Escritores Cinematográficos. Retrieved October 16, 2012.
170.Jump up ^ "Awards for Stanley Kubrick" (in Italian). L'accademia del Cinema Italiano. Retrieved October 16, 2012.
171.Jump up ^ "Winners: 1960s". Kansas City Film Critics Circle. Retrieved October 16, 2012.
172.^ 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.
173.Jump up ^ "Awards for 1968". National Board of Review of Motion Pictures. Retrieved October 16, 2012.
174.Jump up ^ "Awards / History / 1968 - 21st Annual DGA Awards". Directors Guild of America. Retrieved October 16, 2012.
175.Jump up ^ "6th Moscow International Film Festival (1969)". MIFF. Retrieved December 20, 2012.
176.Jump up ^ "AFI's 100 YEARS.". AFI.com. Archived from the original on June 5, 2011. Retrieved June 9, 2011.
177.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.
178.Jump up ^ "National Film Registry Preservation Board". Library of Congress. September 12, 2011. Retrieved January 27, 2012.
179.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.
180.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.
181.Jump up ^ "Top movies for schools revealed". BBC News. December 13, 2011. Retrieved January 4, 2012.
182.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.
183.Jump up ^ discussed for example in Stephanie Schwam's The making of 2001, a space odyssey Google's e-copy has no pagination
184.Jump up ^ "The Film Director as Superstar" (Doubleday and Company: Garden City, New York, 1970) by Joseph Gelmis
185.Jump up ^ Houston, Penelope (April 1, 1971). Sight and Sound International Film Quarterly, Volume 40 No. 2, Spring 1971. London: British Film Institute.
186.Jump up ^ Sheridan, Chris. "Stanley Kubrick and Symbolism". Retrieved April 10, 2009. "Reproducing"
187.^ 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.
188.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.
189.Jump up ^ 2001: A Space Odyssey (1968)
190.Jump up ^ reprinted in Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
191.Jump up ^ Geduld, Carolyn (1973). Filmguide to 2001: a space odyssey. Indiana University Press. pp. 40, 63.
192.Jump up ^ LoBrutto, Vincent (1999). Stanley Kubrick: A Biography. Da Capo Press. pp. 310, 606. ISBN 978-0-306-80906-4.
193.Jump up ^ Schwam, Stephanie (2000). The making of 2001, a space odyssey. Random House. pp. 164–165. ISBN 0-375-75528-4.
194.Jump up ^ See Tim Dirks' synopsis on the A.M.C. movie site.Tim Dirks. "2001: A Space Odyssey". AMC. Retrieved February 25, 2011.
195.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."
196.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.
197.Jump up ^ Roger Ebert (April 12, 1968). "2001: A Space Odyssey". Chicago Sun-Times. Retrieved February 3, 2011.
198.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.
199.Jump up ^ Roger Ebert (March 27, 1997). "2001: A Space Odyssey (1968)". Chicago Sun-Times. Retrieved February 16, 2011.
200.Jump up ^ Caicco, Gregory (2007). Architecture, ethics, and the personhood of place. UPNE. p. 137. ISBN 978-1-58465-653-1.
201.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.
202.Jump up ^ Christopher Palmer. 'Big Dumb Objects in Science Fiction: Sublimity, Banality, and Modernity,' Extrapolation. Kent: Spring 2006.Vol. 47, Iss. 1; page. 103
203.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.
204.Jump up ^ "Starship Modeler: Modeling 2001 and 2010 Spacecraft". October 19, 2005. Archived from the original on August 20, 2006. Retrieved September 26, 2006.
205.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.
206.Jump up ^ STARLOG magazine
207.Jump up ^ LoBrutto, Vincent. Stanley Kubrick . London: Faber & Faber Limited, 1997, p. 456.
208.Jump up ^ "3001: The Final Odyssey" on Yahoo! Movies (via Wayback Machine)
209.Jump up ^ [3][dead link] [4][dead link]
210.Jump up ^ Dark Side of the Moon trailer on YouTube
211.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.
212.Jump up ^ As discussed on Jay Windley' "clavius.org" site defending the reality of the moonlandings at [5]
213.Jump up ^ [6]. Material on the webmaster of "clavius.org" may be found at About this site and Imdb biography for Jay Windley
214.Jump up ^ International Alliance of Flat Earth Groups • View topic - Fake Nasa/Soviet space programs
215.Jump up ^ At his own website [7] and at an online forum [8]
216.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.
217.Jump up ^ Charles Arthur (January 25, 1999). "Hal confesses all and joins Apple". The Independent (London). Retrieved November 26, 2010.
218.Jump up ^ Mad Magazine No. 125, March 1969
219.Jump up ^ Agel 1970, pp. 8–9.
220.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.
221.Jump up ^ Film and Filming, Volume 21 1975 p. 221
222.Jump up ^ Tim Dirks. "Sleeper(21973)". AMC Movie Classics. Archived from the original on December 5, 2010. Retrieved November 26, 2010.
223.Jump up ^ Herr, Michael (2001). Kubrick. Grove Press. p. 47. ISBN 978-0-8021-3818-7.
224.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.
225.Jump up ^ "Stanley and Bart ... another Kubrick legend". London: The Guardian (UK). July 16, 1999. Retrieved November 26, 2010.
226.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
227.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.
228.Jump up ^ Colin Kennedy (September 2004). "The Ten Best Movie Gags In The Simpsons". Empire. pp. 76.
229.Jump up ^ 20 Funniest Futurama Film Parodies at TotalFilm.com[dead link]
230.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.
231.Jump up ^ John Hartl (July 14, 2005). "'Chocolate Factory' is a tasty surprise". MSNBC. Retrieved December 5, 2010.
232.Jump up ^ Harry Forbes (2005). "Charlie and the Chocolate Factory". Catholic News. Archived from the original on January 6, 2011. Retrieved December 4, 2010.
233.Jump up ^ Jenna Wortham (June 18, 2008). "Retro Futurism of Wall-E Recalls 2001, Blade Runner". WIRED. Retrieved December 4, 2010.
234.Jump up ^ Clara Moskowitz (June 27, 2008). "WALL-E spreads the robot love". USA Today. Retrieved December 4, 2010.
235.Jump up ^ Lawrence Toppman. "Well-focused 'Eye' has a crazy vision". Charlotte Observer. Retrieved December 4, 2010.
236.Jump up ^ London Magazine, 2006 (issue needed), p. 40
237.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.
238.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.
239.Jump up ^ D.W.Pritchett (March 18, 2002). "2001: A Space Travesty". DVD Empire. Retrieved December 10, 2010.
240.Jump up ^ Jim Slotek (December 1, 2001). "A big empty Space". Jam! Showbiz. Retrieved December 10, 2010.
241.Jump up ^ Berge Garabedian (2010). "(review of) 2001: A Space Travesty". JoBlo Movie Reviews. Retrieved December 8, 2010.
242.Jump up ^ "Airplane II – The Sequel". Retrieved February 21, 2011.
243.Jump up ^ Patrick Naugle (November 9, 2000). "Airplane ii: the sequel". DVD Verdict. Retrieved February 21, 2011.
244.Jump up ^ Ken Finkleman. "Airplane II: The Sequel". The Spinning Image. Retrieved February 21, 2011.
245.Jump up ^ Erick Klafter (April 23, 2003). "Airplane II: The Sequel". The BoxSet. Retrieved February 21, 2011.
246.Jump up ^ Benjamin Svetkey (January 13, 1995). "Videogame Review: SimEarth". Entertainment Weekly. Retrieved October 17, 2009.
247.Jump up ^ Metal Gear Solid Official Missions Handbook, Millennium Books (1998).
248.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 Script on dailyscripts.com
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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Lunarcy!
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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
Edited by
Matt Lyon
Production
   company
Citizen Jones Production
Distributed by
Global Screen
Release date(s)
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



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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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Sex on the Moon
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Sex on the Moon: The Amazing Story Behind the Most Audacious Heist in History
Sex on the moon.jpg
Cover of the first edition
 
Author
Ben Mezrich
Country
United States
Language
English
Subject
Stolen moon rocks
Genre
Non-fiction
Publisher
Doubleday

Publication date
 July 12, 2011
Media type
Print
Pages
304
ISBN
978-0-385-53392-8
OCLC
666230411
Sex on the Moon: The Amazing Story Behind the Most Audacious Heist in History is a book by Ben Mezrich, author of New York Times Best Seller Bringing Down the House and of The Accidental Billionaires. It retells the theft and attempted sale of lunar samples plus a Martian meteorite from a vault at NASA's Lyndon B. Johnson Space Center by a cooperative education student assisted by another co-op, an intern, plus an acquaintance.[1]
The book received mainly negative reviews, criticized for its purple prose and overly-sympathetic discussion of Roberts.


Contents  [hide]
1 Summary
2 Reception
3 Film
4 References
5 Further reading

Summary[edit]
The story follows Thad Roberts, a University of Utah student and high-achieving NASA co-op in Houston, dreaming of doing great things such as becoming an astronaut, his love interest Rebecca[2] and his accomplices Sandra[2] and Gordon McWhorter. The group stole lunar samples from Building 31, had sex on a bed covered by the precious stones, were arrested by the FBI during a sting operation in Orlando, and sentenced.[2][3] The book also describes Thad's release from jail.
Reception[edit]
In a review in the The Globe and Mail, the book is described as "in the pulp-non-fiction genre, crafted with colour-saturated prose and hyperbolic plot points that have its screenplay in view", but was criticized for failing to include a identify or explore why Roberts undertook the theft in the first place, "Other than sex".[4] A review in The New York Times criticized Mezrich's writing style for being excessively elaborate and dramatic, and for both the book and Roberts repeating the themes and style of his previous works, most notably the biography of Facebook founder Mark Zuckerberg, The Accidental Billionaires. The writing of Sex on the Moon was described as "cookie-cutter" and Roberts having a motivation of "a desire to be cool and attract hot babes". The review also criticized the book for highlighting the drama of the events without noting that Roberts' actions resulted in the destruction of 30 years’ worth of research notes regarding the moon rocks by Roberts' Nasa mentor, Everett K. Gibson.[5] A review in The A.V. Club also compared the book to The Accidental Billionaires and Mezrich's portrayal of Roberts to his portrayal of Zuckerberg, stating that the novel-like approach to a nonfiction book was jarring at times, but had the advantage of providing a strong characterization of the central player, Roberts.[6] A review in USA Today gave the book two out of four stars and stated that "Mezrich has a credibility gap that shines through writing that's overwrought, overstated, over-everything." The review criticized Mezrich's prose for being excessively flowery, and for recreating dialogue a decade after the conversations took place, which allowed for a more compelling narrative but raised serious questions about the book's resulting accuracy.[7] A review for CNN also noted Mezrich's repeating choice of writing about "young geniuses, some with questionable ethics".[8] A review written for The Daily Beast describes the choice to write from Roberts' perpsective as a "narrative pitfall" given he appears to be "somewhat delusional", making it hard to differentiate fact from fiction, and notes that Mezrich takes frequent "creative liberties". The review also criticized Mezrich for being overly symapthetic to Roberts and his rationalizations for his actions.[9] A review for Boston describes the book as containing "impressively hackneyed writing", but a fast read with many interesting details, though it does not deal with the moral dilemmas raised by Roberts' actions. The characterization of Roberts is seen as the main flaw, who is described as "off-putting" and unsympathetic with "glib rationalization" for his actions, ultimately coming off as a "sad sociopath".[10] Kirkus Reviews describes the lead-up to the theft as the most interesting part of the book, but the prose as "overheated", and states that Mezrich fails in his efforts to portray Roberts, ultimately a "small-time crook", as a hero.[11]
Film[edit]
The book has been optioned by Sony Pictures Entertainment, who also produced The Social Network based on Mezrich's biography of Mark Zuckerberg.[7]
References[edit]
1.Jump up ^ Mezrich, Ben (2011). Sex on the Moon. Doubleday. ISBN 978-0-385-53392-8.
2.^ Jump up to: a b c "THE CASE OF THE STOLEN MOON ROCKS: Last of 3 NASA interns sentenced for grievous theft". Federal Bureau of Investigation. November 18, 2003. Retrieved 2009-05-13.
3.Jump up ^ "Confessions of a moon rock thief". CBSnews.com. July 10, 2011. Retrieved Feb 21, 2012.
4.Jump up ^ Roberts, S (2011-07-22). "In 'Sex on the Moon', lunacy meets geology". The Globe and Mail. Retrieved 2014-07-22.
5.Jump up ^ Maslin, J (2011-07-13). "Supposition as Research: A Sort-of-True Story About NASA and a Thief". The New York Times. Retrieved 2014-07-22.
6.Jump up ^ Kaiser, R (2011-06-20). "Ben Mezrich: Sex On The Moon". The A.V. Club. 
7.^ Jump up to: a b Minzesheimer, B (2011-07-18). "'Sex on the Moon'? Wait for the movie". USA Today. Retrieved 2014-07-22.
8.Jump up ^ DuChateau, C (2011-07-17). "Out of this world heist leads to 'Sex on the Moon'". CNN.
9.Jump up ^ Crocker, L (2011-07-19). "Sex on a Pile of Moon Rocks". The Daily Beast. Retrieved 2014-07-22.
10.Jump up ^ Reed Baker, M (2011-07-13). "Book Review: Ben Mezrich's 'Sex on the Moon'". Boston. Retrieved 2014-07-22.
11.Jump up ^ "SEX ON THE MOON: The Amazing Story Behind the Most Audacious Heist in History". Kirkus Reviews. 2011-07-12. Retrieved 2014-07-22.
Further reading[edit]
"NASA Searches for Loot That Traveled from Space to Another Void". The New York Times, January 21, 2012


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The Case of the Missing Moon Rocks
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The Case of the Missing Moon Rocks
 
Author
Joe Kloc
Illustrator
Joe Kloc
Cover artist
Joe Kloc
Country
United States
Language
English
Subject
Stolen moon rocks
Genre
Non-fiction
Publisher
Atavist (publisher)

Publication date
 February 22, 2012
Media type
Nook Book
ISBN
2940013968264
The Case of the Missing Moon Rocks is a non-fiction book by Joe Kloc, a former contributing editor for Seed Magazine. It describes the efforts of both Joseph Gutheinz, a NASA Office of Inspector General Senior Special Agent turned college professor and his students to locate and find up to 79 missing Apollo 11 and 17 moon rocks and plaques that the United States government gave away to 135 nations of the world, all 50 states and its territories.[1]
It begins by telling the story of Operation Lunar Eclipse, the first successful sting operation to recover a piece of the moon brought back by American astronauts, a sting operation the professor led and went undercover in, while still an agent. The sting operation successfully recovered the Honduras Apollo 17 Goodwill Moon Rock that was in the possession of Florida businessman Alan H. Rosen. This operation was funded in part with the financial assistance of H. Ross Perot, billionaire and former Presidential candidate.[2][3]
On October 1, 2012, Gutheinz gave a major speech on Operation Lunar Eclipse and the Moon Rock Project before the Engineering Colloquium at NASA's Goddard Space Flight Center. The speech was entitled "Finding the Missing Moon Rocks", and is preserved on a video at the Space Flight Center Library.[4]In that speech Joe Gutheinz was critical of NASA and the U.S. Government for not turning over the Cyprus Apollo 17 Goodwill Moon Rock to Cyprus, which was also a major topic in Joe Kloc’s novel. On May 16, 2013 news reports first broke that bowing from pressure from Cyprus the United States Government would give Cyprus its Apollo 17 Goodwill Moon Rock.[5][6]
See also[edit]
Moon for Sale (Documentary)
Sex on the Moon
Stolen and missing moon rocks
"Unbelievable Mysteries Solved" Lost and Found (TV series)
References[edit]
1.Jump up ^ http://www.chicagotribune.com/features/books/ct-prj-0428-ereader-20130426,0,7626284.story " Review: ‘The Case of the Missing Moon Rocks’, Joe Kloc”, by Courtney Crowder, Chicago Tribune, April 26, 2013
2.Jump up ^ Kloc, Joe (February 2012). "The Case of the Missing Moon Rocks". The Atavist. Retrieved 2012-05-11.
3.Jump up ^ http://texasbar.com/AM/Template.cfm?Section=Texas_Bar_Journal&Template=/CM/ContentDisplay.cfm&ContentID=22725 “Fly Me to the Moon: How a Houston attorney combs the planet looking for rocks from outer space”, by Lowell Brown, pictures by Troy Hale & Colin Marshall of Michigan State University; Texas Bar Journal Magazine, Vol. 76, No 7, page 581, July 2013.
4.Jump up ^ "Finding the Missing Moon Rocks", Joseph Gutheinz, Goddard Engineering Colloquium, October 1, 2012.
5.Jump up ^ http://www.theworld.org/2013/05/geo-quiz-moon-rocks/ “Whatever Happened to all the Moon Rocks“. By: David Leveille with radio interview of Joseph Gutheinz; PRI The World from the BBC, May 16, 2013.
6.Jump up ^ http://www.cyprus-mail.com/cyprus/cyprus-finally-asks-return-its-moon-rock/20130517 “Cyprus finally asks for return of its moon rock“. By: Stefanos Evripidou, Cyprus Mail, May 17, 2013.
External links[edit]
Lost The Hottest Rocks on Earth, The Times, July 20, 2004


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Moon for Sale
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  (Redirected from Moon for Sale (Documentary))
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Moon for Sale

Distributed by
BBC Horizons
Directed by
Nick Davidson
Produced by
Nick Davidson
Starring
Harrison Schmitt & Joseph Gutheinz
Production company
BBC
Country
United Kingdom
Language
English
Release date
April 10, 2007 (BBC Two)
 
Running time
48 minutes
Moon for Sale is a 2007 British documentary film directed and produced by Nick Davidson. The film premiered on BBC Two on April 10, 2007 and has played worldwide since. The primary focus of the documentary is on the value of the Moon to scientists and collectors. Dr. Harrison Schmitt, an Apollo 17 astronaut, is seen discussing harvesting Helium 3 on the moon to meet Earth's energy needs. Also discussed in the documentary is the black market industry in stolen Apollo-era moon rocks, which sell for as much as $5 million a gram. Specifically, the viewer is introduced to a sting operation known as Operation Lunar Eclipse, where for the first time a moon rock, the Honduras Apollo 17 Goodwill Moon Rock, is recovered by US federal agents.[1]
See also[edit]
Harrison Schmitt
Apollo 17
The Case of the Missing Moon Rocks
Moon tree
Sex on the Moon
Aircrash Confidential
Joseph Gutheinz
References[edit]
1.Jump up ^ Making a Mint out of the Moon, BBC Horizon, Nick Davidson, April 8, 2007.
External links[edit]
News.bbc.co.uk


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Aircrash Confidential
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Aircrash Confidential

Also known as
Air Crash Confidential
Genre
Documentary / Docudrama
Directed by
Nick Davidson
Narrated by
Steven Mackintosh
Country of origin
United Kingdom
Original language(s)
English
No. of seasons
2
No. of episodes
6 [1][2]
Production

Executive producer(s)
Matthew Barret
Producer(s)
Season 1: Episodes #1 and #6 Nick Davidson
 #2, #3 and #4 Chris Lethbridge
 #5 Harry Hewland
Editor(s)
Stephen Prince
 Roy Gilbert
Location(s)
Britain
Camera setup
Andrey Kurochikin
Running time
50 minutes
Production company(s)
WMR Productions
IMG Entertainment
Distributor
MMXI World Media Rights Limited
Broadcast

Original channel
Discovery Channel
Original run
January 17, 2011 – present [3] [4]
Aircrash Confidential (also known as Air Crash Confidential) is a television series produced by WMR Productions and IMG Entertainment. The programme investigates air-disasters from around the world. Aircrash Confidential currently airs on the Discovery Channel in the United Kingdom and on Discovery Australia (in Australia).


Contents  [hide]
1 Episodes 1.1 Season 1
1.2 Season 2
2 See also
3 References
4 External links

Episodes[edit]
As of 18 May 2012 a total of twelve episodes over two seasons of Aircrash Confidential have aired. The episodes listed include disasters on a specific subject. The state of the show suggests that it has finished.
Season 1[edit]

#
Title
Original air date

1
"Pilot Error" Jan. 17, 2011
Disasters included: British Midland Flight 92, American Airlines Flight 587, British European Airways Flight 548, Qantas Flight 72, Air France Flight 447.
2
"Engineering Error" 
Disasters included: Trans World Airlines Flight 800, American Airlines Flight 191, Turkish Airlines Flight 981, British Airways Flight 38.
3
"Terrorism" 
Disasters included: Pan Am Flight 103, Air India Flight 182, American Airlines Flight 63, Northwest Airlines Flight 253, Ramzi Yousef (Philippine Airlines Flight 434) and Airport Security.
4
"Collisions" 
Disasters included: Tenerife airport disaster, 1986 Cerritos mid-air collision, 1976 Zagreb mid-air collision, 2002 Überlingen mid-air collision.
5
"Fire on Board" 
Disasters included: China Airlines Flight 120, British Airtours Flight 28M, Air Canada Flight 797, Swissair Flight 111.
6
"Extreme Weather" 
Disasters included: 2010 Polish Air Force Tu-154 crash, Air Florida Flight 90, LANSA Flight 508, Air France Flight 358.
Season 2[edit]
Season 2 aired from February and March 2012.[5] [6]

#
Title
Original air date

1
"Autopilot Error" Feb. 20, 2012
Disasters included: Turkish Airlines Flight 1951, Birgenair Flight 301 and a Qantas Boeing 737 Incident.
2
"737 Tail Fin Mystery" 
Disasters included: United Airlines Flight 585, USAir Flight 427 and Eastwind Airlines Flight 517.
3
"Pilot Fatigue" Feb. 27, 2012
Disasters included: Air India Express Flight 812, Corporate Airlines Flight 5966 and Colgan Air Flight 3407.
4
"Systems Failure" 
Disasters included: Qantas Flight 32, United Airlines Flight 232 and XL Airways Germany Flight 888T
5
"Maintenance Failure" Mar. 15, 2012
Disasters included: Southwest Airlines Flight 812, Japan Air Lines Flight 123 and British Airways Flight 5390
6
"Take-off" Mar. 18, 2012
Disasters included: Spanair Flight 5022, Emirates Flight 407 and 2011 Lokomotiv Yaroslavl air disaster
See also[edit]

Portal icon Television portal
Mayday (also investigates air-disasters)
Discovery Channel
References[edit]
1.Jump up ^ Aircrash Confidential Series 2
2.Jump up ^ Episode List
3.Jump up ^ Press Release
4.Jump up ^ Series Info
5.Jump up ^ Aircrash Confidential 2 (Press Release)
6.Jump up ^ Aircrash Confidential web page
External links[edit]
Aircrash Confidential Videos
Discovery Press Release
Aircrash Confidential at the Internet Movie Database
 


Categories: 2010s British television series
2011 British television programme debuts
Discovery Channel shows
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Aviation television series
Documentary television series







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First on the Moon
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For other uses, see First on the Moon (disambiguation).

First on the Moon
Firstonthemoon.jpg
Directed by
Aleksei Fedorchenko
Produced by
Dmitri Vorobyov
Written by
Aleksandr Gonorovskiy
Ramil Yamaleyev
Starring
Aleksei Anisimov
Viktoriya Ilyinskaya
Viktor Kotov
Andrei Osipov
Anatoli Otradnov
Igor Sannikov
Aleksei Slavnin
Boris Vlasov
Music by
Sergei Sidelnikov
Cinematography
Anatoliy Lesnikov
Edited by
Lyudmila Zalozhneva
Release date(s)
1 September 2005 (Venice Film Festival)
29 September 2005 (Russia)
 
Running time
75 min.
Country
Russia
Language
Russian/Spanish
First on the Moon (Russian: Первые на Луне, Pervye na Lune) is a 2005 Russian mockumentary about a fictional 1930s Soviet landing on the Moon. The film, which went on to win many awards, was the debut of the director Aleksei Fedorchenko.


Contents  [hide]
1 Plot
2 Production
3 Cast
4 Reception
5 Awards
6 See also
7 References
8 External links

Plot[edit]
A group of journalists are investigating a highly secret document when they uncover a sensational story: that even before the Second World War, in 1938, the first rocket was made in the USSR and Soviet scientists were planning to send an orbiter to the moon and back. The evidence is convincing; it is clear that in this case, Soviet cosmonauts were first.
The movie follows the selection and training of a small group of cosmonauts. The one who shines above the others (similar to the clear front-runners in the early historical Soviet space program) is Captain Ivan Sergeyevich Kharlamov (possibly a reference to the real-life cosmonaut Valentin Varlamov). He is helped into a space suit and loaded into the capsule, and the rocket lifts off for the Moon—but contact with it is soon lost.
Most of the remainder of the film seems to follow the search for information about what happened next, as the 1930s space program appears to have dissolved immediately after, with no reason given (but presumably as a part of Stalin's purges). It is implied that Kharlamov returned to Earth, but with no fanfare and apparently no assistance from the space program. A number of men are shown as suspected of being Kharlamov—the NKVD seems to be conducting a criminal investigation of the program and it is implied that those involved, including Kharlamov himself, are in hiding.
It seems that the capsule returned to Earth and landed in Chile, and that Kharlamov journeyed to the Soviet Far East by way of Polynesia and China, yet feared capture on his return. His wife apparently covered for him when interrogated as to his whereabouts. Kharlamov is later found on the Mongolian steppes following the Battles of Khalkhin Gol, having suffered a severe traumatic brain injury. After undergoing psychiatric treatment in a sanitorium in Chita, he disappears. His wife later remarries.
The very end of the movie shows the only footage of the mission itself after launch, explaining it as a film which was found at the landing site in Chile and is currently in the possession of the Antofagasta Natural museum. First there is a brief clip showing Kharlamov piloting the vehicle, presumably on final approach to the Moon. Following that is an equally brief panorama of a lunar landscape with the capsule or lander (it's unclear whether this was a direct ascent Moon landing) resting on the surface, apparently taken by Kharlamov during lunar EVA. Both scenes are shown as stills on the movie's cover. Then there is a short clip of the other cosmonauts walking through a hangar with the 1930s space program director, and the credits roll.
Production[edit]
Screenplay was written by Aleksandr Gonorovskiy and Ramil Yamaleyev, and is loosely based on conspiracy theory of lost cosmonauts.
Production of First on the Moon lasted for three years and involved more than a thousand people. Most of filming was performed on Sverdlovsk Film Studio. The cosmonaut space training was filmed in Chelyabinsk, at the Institute of Aviation, where there exists equipment from Star City which even Gagarin used for training. The actors worked without stunt doubles; they were really spinning in the centrifuge, despite the fact that this training is difficult even for professionals.
The film was made in both black and white and color, with cinematography by Anatoliy Lesnikov. Set was designed by Nikolay Pavlov.
Cast[edit]
Boris Vlasov as Cap. Ivan Kharlamov, the cosmonaut.
Andrei Osipov as Fyodor Suprun, the Chief Constructor.
Viktoriya Ilyinskaya as Nadezhda Svetlaya, a cosmonaut candidate.
Viktor Kotov as Mikhail Roshchin, a cosmonaut candidate with dwarfism.
Aleksei Slavnin as Khanif Fattakhov, a cosmonaut candidate.
Anatoli Otradnov as Khanif Fattakhov in old age.
Reception[edit]
When elements of the plot started leaking out, a number of Russian newspapers treated it as a documentary about a real 1938 event, referring to it as the Santiago Meteorite (метеорит "Сантьяго").[1][2] In reality, the film is a falsification from beginning to end. To quote the director: "Some type of new genre. It was very difficult to decide on a name. So far, for me this is either historical drama or documentary fantasy." He also said: "Our film is about how the Soviet state machinery manufactured major products - the best people. Fine, strong and clever heroes, then rendered [them] unnecessary to the native land – some have been destroyed, others lost in obscurity, yet others still broken by fear."
Julia Vassilieva[3] credits cinematographer Anatoliy Lesnikov and set designer Nikolai Pavlov with a form "... mimicking so successfully the documentary mode" as the reason that First on the Moon won 2005 Venice Film Festival award for a documentary."
Awards[edit]
2005—Cottbus Film Festival of Young East European Cinema: First Work Award of the Student Jury and Special Prize
2005—Flanders International Film Festival: Grand Prix
2005—Venice Film Festival: Venice Horizons Documentary Award
2005—Warsaw International Film Festival: Special Mention
2005—Zagreb Film Festival: "Golden Pram" award
2005— "The best debut" prize, Kinotaur festival, Sochi, Russia
2006—Eurocon: Best performance
See also[edit]
Apollo 18 (film)
References[edit]
1.Jump up ^ Кто был первым в космосе? (Russian)
2.Jump up ^ СМИ: Русские покорили космос в 1938 году (Russian)
3.Jump up ^ The Totalitarian Echo in New Russian Cinema
External links[edit]
Official website (Russian)
First on the Moon at AllMovie
First on the Moon at the Internet Movie Database
KinoKultura review by Alexander Prokhorov
KinoKultura review by Oleg Kovalov
 


Categories: 2005 films
Russian science fiction films
Mockumentary films
2000s science fiction films
The Moon in film
Films set in Russia
Films set in 1938





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This page was last modified on 13 July 2014 at 05:10.
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