2001 - A Space Odyssey (Film) - Wikipedia

1/19/2017
2001:ASpaceOdyssey(film)Wikipedia
2001:ASpaceOdyssey(film)
FromWikipedia,thefreeencyclopedia
2001:ASpaceOdysseyisa1968epicsciencefictionfilm
producedanddirectedbyStanleyKubrick.Thescreenplay,
writtenbyKubrickandArthurC.Clarke,waspartiallyinspired
byClarke'sshortstory"TheSentinel".Clarkeconcurrently
wrotethenovel2001:ASpaceOdyssey,publishedsoonafter
thefilmwasreleased.ThefilmfollowsavoyagetoJupiter
withthesentientcomputerHalafterthediscoveryofa
mysteriousblackmonolithaffectinghumanevolution.Thefilm
dealswiththethemesofexistentialism,humanevolution,
technology,artificialintelligence,andextraterrestriallife.Itis
notedforitsscientificallyaccuratedepictionofspaceflight,
pioneeringspecialeffects,andambiguousimagery.Ituses
soundandminimaldialogueinplaceoftraditionalnarrative
techniquesthesoundtrackconsistsofclassicalmusicsuchas
GayaneBalletSuite,TheBlueDanubeandAlsosprach
Zarathustra.
FinancedanddistributedbyAmericanstudioMetroGoldwyn
Mayer,[8][9]2001:ASpaceOdysseywasfilmedandedited
almostentirelyinEngland,usingthestudiofacilitiesofthe
MGMBritishStudiosandthoseofSheppertonStudios,mostly
becauseoftheavailabilityofmuchlargersoundstagesthanin
theUnitedStates.ProductionwassubcontractedtoKubrick's
productioncompanyandcarewastakenthatthefilmwouldbe
sufficientlyBritishtoqualifyforsubsidyfromtheEady
Levy.[8]:98Havingalreadyshothisprevioustwofilmsin
England,Kubrickdecidedtosettletherepermanentlyduring
filming.
Despiteinitiallyreceivingmixedreactionsfromcriticsand
audiences,2001:ASpaceOdysseygarneredacultfollowing
andslowlybecamethehighestgrossingNorthAmericanfilm
of1968.ItwasnominatedforfourAcademyAwards,and
receivedoneforitsvisualeffects.Asequel,2010,directedby
PeterHyamswasreleasedin1984.
Today,2001:ASpaceOdysseyiswidelyregardedasoneofthe
greatestandmostinfluentialfilmsevermade.In1991,itwas
deemed"culturally,historically,oraestheticallysignificant"by
theUnitedStatesLibraryofCongressandselectedfor
preservationintheNationalFilmRegistry.[10]Thecritics'polls
inthe2002and2012editionsofSight&Soundmagazine
ranked2001:ASpaceOdysseysixthinthetoptenfilmsofall
2001:ASpaceOdyssey
TheatricalreleaseposterbyRobertMcCall
Directedby
StanleyKubrick
Producedby
StanleyKubrick
Screenplayby
StanleyKubrick
ArthurC.Clarke
Starring
KeirDullea
GaryLockwood
Cinematography GeoffreyUnsworth
Editedby
RayLovejoy
Distributedby
MetroGoldwynMayer
Releasedate
(UptownTheater)
April3,1968
(UnitedStates)
May15,1968
(UnitedKingdom)
Runningtime
161minutes(Premiere)[1]
142minutes(Theatrical)[2]
Country
UnitedKingdom[3]
UnitedStates[3]
Language
https://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(film)
April2,1968
English
1/31
1/19/2017
timeitalsotiedforsecondplaceinthedirectors'pollofthe
samemagazine.[11][12]In2010,itwasnamedthegreatestfilm
ofalltimebyTheMovingArtsFilmJournal.[13]
Budget
$10.512million[4][5]
Boxoffice
$138190million[6][7]
Contents
1 Plot
2 Cast
3 Developmentandwriting
4 Production
5 Soundtrack
6 Release
7 Reception
8 Influence
9 Accoladesandhonors
10 Interpretation
11 Sequelsandadaptations
12 Parodiesandhomages
13 Seealso
14 References
15 Furtherreading
16 Externallinks
Plot
InanAfricandesertmillionsofyearsago,atribeofapemenisdrivenawayfromtheirwaterholebyarivaltribe.
Theyawakentofindafeaturelessblackmonolithhasappearedbeforethem.Guidedinsomefashionbythe
monolith,theylearnhowtouseaboneasaweaponanddrivetheirrivalsawayfromthewaterhole.
Millionsofyearslater,aPanAmspaceplanecarriesDr.HeywoodFloydtoaspacestationorbitingEarthfora
layoveronhistriptoClaviusBase,aUnitedStatesoutpostonthemoon.Afteravideophonecallwithhisdaughter,
Floyd'sSovietscientistfriendandhercolleagueaskaboutrumorsofamysteriousepidemicatClavius.Floyd
declinestoanswer.AtClavius,Floydheadsameetingofbasepersonnel,apologizingfortheepidemiccoverstory
butstressingsecrecy.Hismissionistoinvestigatearecentlyfoundartifactburiedfourmillionyearsago.Floyd
andothersrideinaMoonbustotheartifact,amonolithidenticaltotheoneencounteredbytheapemen.Sunlight
strikesthemonolithandaloudhighpitchedradiosignalisheard.
Eighteenmonthslater,theUnitedStatesspacecraftDiscoveryOneisboundforJupiter.Onboardaremission
pilotsandscientistsDr.DavidBowmanandDr.FrankPoolealongwiththreeotherscientistsincryogenic
hibernation.MostofDiscovery'soperationsarecontrolledbytheship'scomputer,HAL9000,referredtobythe
crewas"Hal".Halstatesthatheis"foolproofandincapableoferror".WhenBowmanquestionsHalonthe
purposeofthemission,Halrespondsbyreportingtheimminentfailureofanantennacontroldevice.The
astronautsretrieveitinanEVApodbutfindnothingwrong.Halsuggestsreinstallingthedeviceandlettingitfail
sotheproblemcanbefound.MissionControladvisestheastronautsthatresultsfromtheirtwinHAL9000
indicatethatHalisinerror.Halinsiststhattheproblem,likepreviousissuesascribedtoHALseriesunits,isdueto
humanerror.ConcernedaboutHal'sbehavior,BowmanandPooleenteranEVApodtotalkwithoutHal
overhearing,andagreetodisconnectHalifheisprovenwrong.Halsecretlyfollowstheirconversationbylip
reading.
2/31
1/19/2017
WhilePooleisonaspacewalkoutsidehisEVApodattemptingtoreplacetheunit,Haltakescontrolofthepod,
severshisoxygenhoseandsetshimadrift.Bowmantakesanotherpodtoattemptrescue.Meanwhile,Halturnsoff
thelifesupportfunctionsofthecrewmeninsuspendedanimation.WhenBowmanreturnstotheshipwithPoole's
body,Halrefusestolethimin,statingthattheastronauts'plantodeactivatehimjeopardizesthemission.Bowman
openstheship'semergencyairlockmanually,enterstheship,andproceedstoHal'sprocessorcore.Haltriesto
reassureBowman,thenpleadswithhimtostop,andfinallyexpressesfear.AsBowmangraduallydeactivatesthe
circuitscontrollingHAL'shigherintellectualfunctions,HALregressestohisearliestprogrammedmemory,the
song"DaisyBell",whichhesingsforBowman.
WhenBowmanfinallydisconnectsHal,aprerecordedvideomessagefromFloydrevealstheexistenceofthe
monolithonthemoon,itspurposeandoriginunknown.Withtheexceptionofoneshortbutextremelypowerful
radioemissionaimedatJupiter,theobjecthasbeeninert.
AtJupiter,BowmanleavesDiscoveryOneinanEVApodtoinvestigateanothermonolithdiscoveredinorbit
aroundtheplanet.Thepodispulledintoavortexofcoloredlight,andBowmanracesacrossvastdistancesof
space,viewingbizarrecosmologicalphenomenaandstrangelandscapesofunusualcolors.
Bowmanfindshimselfinabedroomappointedintheneoclassicalstyle.Hesees,andthenbecomes,olderversions
ofhimself,firststandinginthebedroom,middleagedandstillinhisspacesuit,thendressedinleisureattireand
eatingdinner,andfinallyasanoldmanlyinginthebed.Amonolithappearsatthefootofthebed,andasBowman
reachesforit,heistransformedintoafetusenclosedinatransparentorboflight.Thenewbeingfloatsinspace
besidetheEarth,gazingatit.
Cast
KeirDulleaasDr.DavidBowman
GaryLockwoodasDr.FrankPoole
WilliamSylvesterasDr.HeywoodFloyd
DouglasRainasthevoiceoftheHAL9000
DanielRichterasthechiefmanape(noveland
filmcastlistgivethecharacterthename
"Moonwatcher")
LeonardRossiterasDr.AndreiSmyslov
MargaretTyzackasElena
RobertBeattyasDr.RalphHalvorsen
SeanSullivanasDr.RoyMichaels[14]
FrankMillerasmissioncontroller
EdwardBishopasLunarshuttlecaptain
EdwinaCarrollasAriesstewardess
PennyBrahmsasstewardess
PennyBrahmsasstewardess
HeatherDownhamasstewardess
Maggied'Aboasstewardess(Spacestation
elevator)(uncredited)
ChelaMatthisonasstewardess(Mrs.Turner,
Spacestationreception)(uncredited)
JudyKeirnasVoiceprintidentificationgirl(Space
station)(uncredited)
AlanGiffordasPoole'sfather
AnnGillisasPoole'smother
VivianKubrickasFloyd'sdaughter(uncredited)
KennethKendallastheBBCannouncer
(uncredited)
Developmentandwriting
MeetingofKubrickandClarke
AftercompletingDr.Strangelove(1964),directorStanleyKubrickbecamefascinatedbythepossibilityof
extraterrestriallife,[15]andresolvedtomake"theproverbialgoodsciencefictionmovie".[16]Searchingfora
collaboratorinthesciencefictioncommunity,Kubrickwasadvisedbyamutualacquaintance,ColumbiaPictures
stafferRogerCaras,totalktowriterArthurC.Clarke.AlthoughconvincedthatClarkewas"arecluse,anutwho
livesinatree",KubrickallowedCarastocablethefilmproposaltoClarke,wholivedinCeylon.Clarke'scabled
responsestatedthathewas"frightfullyinterestedinworkingwithenfantterrible",andadded"whatmakes
3/31
1/19/2017
KubrickthinkI'marecluse?"[17][18]MeetingforthefirsttimeatTrader
Vic'sinNewYorkonApril22,1964,thetwobegandiscussingthe
projectthatwouldtakeupthenextfouryearsoftheirlives.[19]Clarke
keptadiarythroughouthisinvolvementwith2001,excerptsofwhich
werepublishedin1972asTheLostWorldsof2001.[20]
Searchforsourcematerial
KubricktoldClarkehewantedtomakeafilmabout"Man'srelationship
totheuniverse",[21]andwas,inClarke'swords,"determinedtocreatea
StanleyKubrickandArthurC.Clarkein
workofartwhichwouldarousetheemotionsofwonder,awe...even,if
Kubrick'sapartmentofficeonCentral
appropriate,terror".[19]ClarkeofferedKubricksixofhisshortstories,
ParkWest,NewYork,duringthewriting
andbyMay1964,Kubrickhadchosen"TheSentinel"asthesource
of2001
materialforthefilm.Insearchofmorematerialtoexpandthefilm's
plot,thetwospenttherestof1964readingbooksonscienceand
anthropology,screeningsciencefictionfilms,andbrainstormingideas.[22]Theyspenttwoyearstransforming"The
Sentinel"intoanovel,andthenintoascriptfor2001.[23]Clarkesaidthathisshortstory"EncounterintheDawn"
inspiredthefilm's"DawnOfMan"sequence.[24]
KubrickandClarkeprivatelyreferredtotheprojectasHowtheSolarSystemWasWonasareferencetoMGM's
1962Cineramaepic,HowtheWestWasWon.OnFebruary23,1965,Kubrickissuedapressreleaseannouncingthe
titleJourneyBeyondTheStars.[25]OthertitlesconsideredincludeUniverse,TunneltotheStars,andPlanetfall.In
April1965,elevenmonthsaftertheybeganworkingontheproject,Kubrickselected2001:ASpaceOdyssey
Clarkesaidthetitlewas"entirely"Kubrick'sidea.[26]Intendingtosetthefilmapartfromthe"monstersandsex"
typeofsciencefictionfilmsofthetime,KubrickusedHomer'sTheOdysseyasinspirationforthetitle.Kubrick
said,"[i]toccurredtousthatfortheGreeksthevaststretchesoftheseamusthavehadthesamesortofmystery
andremotenessthatspacehasforourgeneration."[27]
Paralleldevelopmentoffilmandnovel
KubrickandClarkeplannedtodevelopthe2001novel
first,freeoftheconstraintsoffilm,andthenwritethe
screenplay.Theyplannedthewritingcreditstobe
"ScreenplaybyStanleyKubrickandArthurC.Clarke,
basedonanovelbyArthurC.ClarkeandStanley
Kubrick"toreflecttheirpreeminenceintheir
respectivefields.[29]Inpractice,thescreenplay
developedinparalleltothenovel,andelementswere
sharedbetweenboth.Ina1970interview,Kubrick
said:
"HowmuchwouldweappreciateLaGiocondatodayif
Leonardohadwrittenatthebottomofthecanvas:"Thislady
issmilingslightlybecauseshehasrottenteeth"or"because
she'shidingasecretfromherlover"?Itwouldshutoffthe
viewer'sappreciationandshacklehimtoarealityotherthan
hisown.Idon'twantthattohappento2001."
StanleyKubrick,Playboy,1968[28]
Thereareanumberofdifferencesbetweenthebookandthemovie.Thenovel,forexample,attempts
toexplainthingsmuchmoreexplicitlythanthefilmdoes,whichisinevitableinaverbalmedium.The
novelcameaboutafterwedida130pageprosetreatmentofthefilmattheveryoutset.Thisinitial
treatmentwassubsequentlychangedinthescreenplay,andthescreenplayinturnwasalteredduring
4/31
1/19/2017
themakingofthefilm.ButArthurtookalltheexistingmaterial,plusanimpressionofsomeofthe
rushes,andwrotethenovel.Asaresult,there'sadifferencebetweenthenovelandthefilm...Ithink
thatthedivergencesbetweenthetwoworksareinteresting.[30]
Thescreenplaycreditsweresharedwhereasthe2001novel,releasedshortlyafterthefilm,wasattributedtoClarke
alone.Clarkewrotelaterthat"thenearestapproximationtothecomplicatedtruth"isthatthescreenplayshouldbe
creditedto"KubrickandClarke"andthenovelto"ClarkeandKubrick".[31]
ClarkeandKubrickwrotethenovelandscreenplaysimultaneously.Clarkeoptedforclearerexplanationsofthe
mysteriousmonolithandStarGateinthenovelKubrickmadethefilmmorecrypticbyminimisingdialogueand
explanation.[32]Kubricksaidthefilmis"basicallyavisual,nonverbalexperience"that"hitstheviewerataninner
levelofconsciousness,justasmusicdoes,orpainting".[33]
Depictionofalienlife
AstronomerCarlSaganwroteinhisbookTheCosmicConnectionthatClarkeandKubrickaskedhisopinionon
howtobestdepictextraterrestrialintelligence.Sagan,whileacknowledgingKubrick'sdesiretouseactorsto
portrayhumanoidaliensforconvenience'ssake,arguedthatalienlifeformswereunlikelytobearanyresemblance
toterrestriallife,andthattodosowouldintroduce"atleastanelementoffalseness"tothefilm.Saganproposed
thatthefilmsuggest,ratherthandepict,extraterrestrialsuperintelligence.Heattendedthepremiereandwas
"pleasedtoseethatIhadbeenofsomehelp."[34]Kubrickhintedatthenatureofthemysteriousunseenalienrace
in2001bysuggesting,ina1968interview,thatgivenmillionsofyearsofevolution,theyprogressedfrom
biologicalbeingsto"immortalmachineentities",andtheninto"beingsofpureenergyandspirit"beingswith
"limitlesscapabilitiesandungraspableintelligence".[35]
Stagesofscriptandnoveldevelopment
Thescriptwentthroughmanystages.Inearly1965,whenbackingwassecuredforthefilm,ClarkeandKubrick
stillhadnofirmideaofwhatwouldhappentoBowmanaftertheStarGatesequence.InitiallyallofDiscovery's
astronautsweretosurvivethejourneybyOctober3,ClarkeandKubrickhaddecidedtoleaveBowmanthesole
survivorandhavehimregresstoinfancy.ByOctober17,KubrickhadcomeupwithwhatClarkecalleda"wild
ideaofslightlyfagrobotswhocreateaVictorianenvironmenttoputourheroesattheirease."[31]HAL9000was
originallynamedAthenaaftertheGreekgoddessofwisdomandhadafemininevoiceandpersona.[31]
Earlydraftsincludedaprologuecontaininginterviewswithscientistsaboutextraterrestriallife,[36]voiceover
narration(afeatureinallofKubrick'spreviousfilms),[37]astrongeremphasisontheprevailingColdWarbalance
ofterror,andadifferentandmoreexplicitlyexplainedbreakdownforHAL.[38][39][40]Otherchangesincludea
differentmonolithforthe"DawnofMan"sequence,discardedwhenearlyprototypesdidnotphotographwellthe
useofSaturnasthefinaldestinationoftheDiscoverymissionratherthanJupiter,discardedwhenthespecial
effectsteamcouldnotdevelopaconvincingrenditionofSaturn'sringsandthefinaleoftheStarChildexploding
nuclearweaponscarriedbyEarthorbitingsatellites,[40]whichKubrickdiscardedforitssimilaritytohisprevious
film,Dr.Strangelove.[36][40]ThefinaleandmanyoftheotherdiscardedscreenplayideassurvivedintoClarke's
novel.[40]
Kubrickmadefurtherchangesduetohisdesiretomakethefilmmorenonverbal,communicatingatavisualand
viscerallevelratherthanthroughconventionalnarrative.[41]VincentLeBruttowritesthatClarke'snovelhas
"strongnarrativestructure",whilethefilmisamainlyvisualexperiencewheremuchremainssymbolic.[42]
5/31
1/19/2017
Remnantsofearlydraftsinfinalfilm
HAL'sbreakdown
Althoughthefilmleavesitmysterious,earlyscriptdraftsmadeclearthatHAL'sbreakdownis
triggeredbyauthoritiesonEarthwhoorderhimtowithholdinformationfromtheastronauts
aboutthepurposeofthemission(thisisalsoexplainedinthefilm'ssequel2010).Frederick
Ordway,Kubrick'sscienceadvisorandtechnicalconsultant,statedthatinanearlierscript
PooletellsHALthereis"...somethingaboutthismissionthatweweren'ttold.Somethingthe
restofthecrewknowsandthatyouknow.Wewouldliketoknowwhetherthisistrue",to
whichHALresponds:"I'msorry,Frank,butIdon'tthinkIcananswerthatquestionwithout
knowingeverythingthatallofyouknow."[38]HALthenfalselypredictsafailureofthe
hardwaremaintainingradiocontactwithEarth(thesourceofHAL'sdifficultorders)during
thebroadcastofFrankPoole'sbirthdaygreetingsfromhisparents.
Thefinalscriptremovedthisexplanation,butitishintedatwhenHALasksDavidBowmanif
Bowmanisbotheredbythe"oddities"and"tightsecurity"surroundingthemission.After
BowmanconcludesthatHALisdutifullydrawingupthe"crewpsychologyreport",the
computermakeshisfalsepredictionofhardwarefailure.Anotherhintoccursatthemomentof
HAL'sdeactivationwhenavideorevealsthepurposeofthemission.
InaninterviewwithJosephGelmisin1969,KubrickstatedthatHAL"hadanacuteemotional
crisisbecausehecouldnotacceptevidenceofhisownfallibility".[43]
HAL9000
interface
Militarynatureoforbitingsatellites
Kubrickoriginallyplannedavoiceovertorevealthatthesatellitesseenaftertheprologuearenuclearweapons,[44]
andthattheStarChildwoulddetonatetheweaponsattheendofthefilm.[45]However,hedecidedthiswould
createassociationswithhispreviousfilmDr.Strangelove,anddecidednottomakeitsoobviousthattheywere
"warmachines".[46]Afewweeksbeforethereleaseofthefilm,theU.S.andSovietgovernmentshadagreednotto
putanynuclearweaponsintoouterspace.
InabookhewrotewithKubrick'sassistance,AlexanderWalkerstatesthatKubrickeventuallydecidedthatas
nuclearweaponsthebombshad"noplaceatallinthefilm'sthematicdevelopment",nowbeingan"orbitingred
herring"whichwould"merelyhaveraisedirrelevantquestionstosuggestthisasarealityofthetwentyfirst
century".[47]
KubrickscholarMichelCiment,discussingKubrick'sattitudetowardhumanaggressionandinstinct,observes:
"Thebonecastintotheairbytheape(nowbecomeaman)istransformedattheotherextremeofcivilization,by
oneofthoseabruptellipsescharacteristicofthedirector,intoaspacecraftonitswaytothemoon."[48]Incontrast
toCiment'sreadingofacuttoaserene"otherextremeofcivilization",sciencefictionnovelistRobertSawyer,
speakingintheCanadiandocumentary2001andBeyond,sawitasacutfromabonetoanuclearweapons
platform,explainingthat"whatweseeisnothowfarwe'veleapedahead,whatweseeisthattoday,'2001',and
fourmillionyearsagoontheAfricanveldt,it'sexactlythesamethepowerofmankindisthepowerofits
weapons.It'sacontinuation,notadiscontinuityinthatjump."[49]
Dialogue
6/31
1/19/2017
Thefilmcontainsnodialogueforthefirstandlast20minutesorso.[50]Bythetimeshootingbegan,Kubrickhad
removedmuchofthedialogueandnarrationwhatremainsisnotableforitsbanality(makingthecomputerHal
seemtohavemoreemotionthanthehumans)juxtaposedwithepicspacescenes.[51]
ThefirstscenesofdialogueareFloyd'sencountersonthespacestation:chitchatwiththecolleaguewhogreets
him,histelephonecalltohisdaughter,andthefriendlybutstrainedencounterwithSovietscientists.Later,en
routetothemonolith,FloydengagesintriteexchangeswithhisstaffwhileaspectacularjourneybyEarthlight
acrosstheLunarsurfaceisshown.Halistheonlycharacterwhoexpressesanxiety,aswellasfeelingsofprideand
bewilderment.
Visualizingspaceandspacetravel
Kubrick'sdecisiontoavoidthefancifulportrayalsofspaceinstandardpopularsciencefictionfilmsofthetimeled
himtoseekamorerealisticandscientificallyaccuratevisualizationofspacetravel.IllustratorssuchasChesley
Bonestell,RoyCarnon,andRichardMcKennawerehiredtoproduceconceptdrawings,sketchesandpaintingsof
thespacetechnologyseeninthefilm.[52][53]Twoeducationalfilmsthatcameoutpreviously,the1960National
FilmBoardofCanadaanimatedshortdocumentaryUniverseandthe1964NewYorkWorld'sFairmovieTothe
MoonandBeyondwereveryinfluential.[52]
AccordingtobiographerVincentLobrutto,UniversewasavisualinspirationtoKubrick.The29minutefilm,
whichhadalsoprovedpopularatNASAforitsrealisticportrayalofouterspace,achieved"thestandardof
dynamicvisionaryrealismthathewaslookingfor."WallyGentleman,oneofthespecialeffectsartistson
Universe,workedbrieflyon2001.KubrickalsoaskedUniversecodirectorColinLowaboutanimation
camerawork,withLowrecommendingBritishmathematicianBrianSalt,withwhomLowandRomanKroitorhad
previouslyworkedonthe1957stillanimationdocumentary,CityofGold.[54][55]Universewouldhaveonemore
influenceon2001whenitsnarrator,actorDouglasRain,relativelyunknownoutsideCanada,wascastasthevoice
ofHAL.[56]
AfterpreproductionhadbegunKubricksawthe1964World'sFairfilmTotheMoonandBeyond,afilmshownin
theTransportationandTravelbuildingthathadbeenfilmedinCinerama360andwasbeingshowninthe"Moon
Dome".Heendeduphiringthecompanythatproducedit,GraphicFilmsCorporation,whichhadbeenmaking
filmsforNASA,USAirForce,andvariousaerospaceclients,asadesignconsultant.[52]GraphicFilms'Con
Pederson,LesterNovros,andbackgroundartistDouglasTrumbullwouldairmailresearchbasedconceptsketches
andnotescoveringthemechanicsandphysicsofspacetravelandgoontocreatestoryboardsforthespaceflight
sequencesseeninthefilm.[52]Trumbullwouldgoontobecomeaspecialeffectssupervisoron2001.
Production
Filming
PrincipalphotographybeganDecember29,1965,inStageHatSheppertonStudios,Shepperton,England.The
studiowaschosenbecauseitcouldhousethe60by120by60foot(18m37m18m)pitfortheTychocrater
excavationscene,thefirsttobeshot.[57][58]TheproductionmovedinJanuary1966tothesmallerMGMBritish
StudiosinBorehamwood,wheretheliveactionandspecialeffectsfilmingwasdone,startingwiththescenes
involvingFloydontheOrionspaceplane[59]itwasdescribedasa"hugethrobbingnervecenter...withmuchthe
samefreneticatmosphereasaCapeKennedyblockhouseduringthefinalstagesofCountdown."[60]Theonly
scenenotfilmedinastudioandthelastliveactionsceneshotforthefilmwastheskullsmashingsequence,in
7/31
1/19/2017
whichMoonwatcher(Richter)wieldshisnewfoundbone"weapontool"againstapileofnearbyanimalbones.A
smallelevatedplatformwasbuiltinafieldnearthestudiosothatthecameracouldshootupwardwiththeskyas
background,avoidingcarsandtruckspassingbyinthedistance.[61][62]
FilmingofactorswascompletedinSeptember1967,[63]andfromJune1966untilMarch1968Kubrickspentmost
ofhistimeworkingonthe205specialeffectsshotsinthefilm.[30]Thedirectororderedthespecialeffects
technicianson2001tousethepainstakingprocessofcreatingallvisualeffectsseeninthefilm"incamera",
avoidingdegradedpicturequalityfromtheuseofbluescreenandtravelingmattetechniques.Althoughthis
technique,knownas"heldtakes",resultedinamuchbetterimage,itmeantexposedfilmwouldbestoredforlong
periodsoftimebetweenshots,sometimesaslongasayear.[64]InMarch1968,Kubrickfinishedthe'prepremiere'
editingofthefilm,makinghisfinalcutsjustdaysbeforethefilm'sgeneralreleaseinApril1968.[30]
Thefilmwasannouncedin1965asa"Cinerama"[65]filmandwasphotographedinSuperPanavision70(which
usesa65mmnegativecombinedwithsphericallensestocreateanaspectratioof2.20:1).Itwouldeventuallybe
releasedinalimited"roadshow"Cineramaversion,thenin70mmand35mmversions.[66][67]Colorprocessing
and35mmreleaseprintsweredoneusingTechnicolor'sdyetransferprocess.The70mmprintsweremadeby
MGMLaboratories,Inc.onMetrocolor.Theproductionwas$4.5millionovertheinitial$6.0millionbudget,and
sixteenmonthsbehindschedule.[57]
Fortheopeningsequenceinvolvingtribesofapes,professionalmimeDanielRichterinadditiontoplayingthelead
apewasalsoresponsibleforchoreographingthemovementsoftheothermanapes,whoweremostlyportrayedby
hisstandingmimetroupe.[61]
Setdesignandfurnishings
Kubrickinvolvedhimselfineveryaspectofproduction,evenchoosingthefabricforhisactors'costumes,[68]and
selectingnotablepiecesofcontemporaryfurnitureforuseinthefilm.WhenFloydexitstheSpaceStationV
elevator,heisgreetedbyanattendantseatedbehindaslightlymodifiedGeorgeNelsonActionOfficedeskfrom
HermanMiller's1964"ActionOffice"series.[69]Firstintroducedin1968,theActionOfficestyle"cubicle"would
eventuallyoccupy70percentofofficespacebythemid2000s.[70][71]DanishdesignerArneJacobsendesignedthe
cutleryusedbytheDiscoveryastronautsinthefilm.[72][73][74]
OtherexamplesofmodernfurnitureinthefilmarethebrightredDjinnchairsseenprominentlythroughoutthe
spacestation[75][76]andEeroSaarinen's1956pedestaltables.OlivierMourgue,designeroftheDjinnchair,has
usedtheconnectionto2001inhisadvertisingaframefromthefilm'sspacestationsequenceandthreeproduction
stillsappearonthehomepageofMourgue'swebsite.[77]ShortlybeforeKubrick'sdeath,filmcriticAlexander
WalkerinformedKubrickofMourgue'suseofthefilm,jokingtohim"You'rekeepingthepriceup".[78]
Commentingontheiruseinthefilm,Walkerwrites:
Everyonerecallsoneearlysequenceinthefilm,thespacehotel,[79]primarilybecausethecustom
madeOlivierMourguefurnishings,thosefoamfilledsofas,undulantandserpentine,arecoveredin
scarletfabricandarethefirststabsofcoloronesees.TheyresembleRorschach"blots"againstthe
pristinepurityoftherestofthelobby.[80]
8/31
1/19/2017
Detailedinstructionsinrelativelysmallprintforvarioustechnologicaldevicesappearatseveralpointsinthefilm,
themostvisibleofwhicharethelengthyinstructionsforthezerogravitytoiletontheAriesMoonshuttle.Similar
detailedinstructionsforreplacingtheexplosiveboltsalsoappearonthehatchesoftheE.V.A.pods,mostvisiblyin
closeupjustbeforeBowman'spodleavestheshiptorescueFrankPoole.[81]
ThefilmfeaturesanextensiveuseofEurostileBoldExtended,Futuraandothersansseriftypefacesasdesign
elementsofthe2001world.[82]Computerdisplaysshowhighresolutionfonts,colorandgraphicsfarinadvance
ofcomputersinthe1960swhenthefilmwasmade.
Specialeffects
Frontprojection
2001pioneeredtheuseoffrontprojectionwithretroreflectivematting.
KubrickusedthetechniquetoproducethebackdropsintheAfrica
scenesandthescenewhenastronautswalkonthemoon.[83]
Thetechniqueconsistedofaseparatesceneryprojectorsetataright
angletothecamera,andahalfsilveredmirrorplacedatanangleinfront
thatreflectedtheprojectedimageforwardinlinewiththecameralens
ontoabackdropmadeofretroreflectivematerial.Thereflective
directionalscreenbehindtheactorscouldreflectlightfromtheprojected
imageahundredtimesmoreefficientlythantheforegroundsubjectdid.
Thelightingoftheforegroundsubjecthadtobebalancedwiththeimage
fromthescreen,makingtheimagefromthesceneryprojectoronthe
subjecttoofainttorecord.Theexceptionwastheeyesoftheleopardin
the"DawnofMan"sequence,whichglowedorangefromtheprojector
illumination.Kubrickdescribedthisas"ahappyaccident".[84]
Specialeffectsin2001:ASpace
Odyssey
Asthefilmclimaxes,Bowmantakesa
tripthroughdeepspacethatinvolves
theinnovativeuseofslitscan
photographytocreatethevisual
effectsanddisturbingsequencesof
himnoticeablystunnedandthen
terrifiedatwhathe'sexperiencing.
Problemsplayingthisfile?Seemedia
help.
Frontprojectionhadbeenusedinsmallersettingsbefore2001,mostlyforstillphotographyortelevision
production,usingsmallstillimagesandprojectors.TheexpansivebackdropsfortheAfricanscenesrequireda
screen40feet(12m)talland110feet(34m)wide,farlargerthanhadbeenusedbefore.Whenthereflective
materialwasappliedtothebackdropin100foot(30m)strips,variationsattheseamsofthestripsledtovisual
artifactstosolvethis,thecrewtorethematerialintosmallerchunksandappliedtheminarandom"camouflage"
patternonthebackdrop.Theexistingprojectorsusing45inch(1013cm)transparenciesresultedingrainy
imageswhenprojectedthatlarge,sothecrewworkedwithMGM'sspecialeffectssupervisorTomHowardtobuild
acustomprojectorusing810inch(2025cm)transparencies,whichrequiredthelargestwatercooledarc
lampavailable.[84]Thetechniquewasusedwidelyinthefilmindustryafterwardsuntilitwasreplacedby
blue/greenscreensystemsinthe1990s.
Models
Toheightentherealityofthefilmveryintricatemodelsofthevariousspacecraftandlocationswerebuilt.Their
sizesrangedfromabouttwofootlongmodelsofsatellitesandtheAriestranslunarshuttleuptoa55footlong
DiscoveryOnespacecraft."Incamera"techniqueswereagainusedasmuchaspossibletocombinemodelsand
backgroundshotstogethertopreventdegradationoftheimagethroughcontinualduplicating.[85]
Inshotswheretherewasnoperspectivechange,stillshotsofthemodelswerephotographedandpositivepaper
printsweremade.Theimageofthemodelwascutoutofthephotographicprintandmountedonglassandfilmed
onananimationstand.Theundevelopedfilmwasrewoundtofilmthestarbackgroundwiththesilhouetteofthe
9/31
1/19/2017
modelphotographactingasamattetoblockoutwherethespaceshipimage
was.[85]
Shotswherethespacecrafthadpartsinmotionortheperspectivechanged
wereshotbydirectlyfilmingthemodel.Formostshotsthemodelwas
stationaryandcamerawasdrivenalongatrackonaspecialmount,the
motorofwhichwasmechanicallylinkedtothecameramotormakingit
possibletorepeatcameramovesandmatchspeedsexactly.Elementsofthe
scenewererecordedonsamepieceoffilminseparatepassestocombine
ModernreplicaoftheDiscoveryOne
thelitmodel,stars,planets,orotherspacecraftinthesameshot.Inmoving
spaceshipmodel
shotsofthelongDiscoveryOnespacecraft,inordertokeeptheentire
modelinfocus,multiplepasseshadtobemadewiththelightingonit
blockedoutsectionbysection.Ineachpassthecamerawouldbefocusedontheonelitsection.[86]Manymatting
techniquesweretriedtoblockoutthestarsbehindthemodels,withfilmmakerssometimesresortingtohand
tracingframebyframearoundtheimageofthespacecraft(rotoscoping)tocreatethematte.[85][87]
Someshotsrequiredexposingthefilmagaintorecordpreviouslyfilmedliveactionshotsofthepeopleappearing
inthewindowsthespacecraftorstructures,achievedbymountingprojectiondevicesinsidethemodelor,when
twodimensionalphotographswereused,projectingfromthebacksidethroughaholecutinthephotograph.[85]
Alloftheshotsrequiredmultipletakessothatsomefilmcouldbedevelopedandprintedtocheckexposure,
density,alignmentofelements,andtosupplyfootageusedinfurtherelementssuchasmatting.[85][87]
Rotatingsets
Forspacecraftinteriorshots,ostensiblycontainingagiantcentrifugethat
producesartificialgravity,Kubrickhada30shortton(27t)rotating"ferris
wheel"builtbyVickersArmstrongEngineeringGroupatacostof
$750,000.Thesetwas38feet(12m)indiameterand10feet(3.0m)
wide.[88]VariousscenesintheDiscoverycentrifugewereshotbysecuring
setpieceswithinthewheel,thenrotatingitwhiletheactorwalkedorranin
syncwithitsmotion,keepinghimatthebottomofthewheelasitturned.
Thecameracouldbefixedtotheinsideoftherotatingwheeltoshowthe
actorwalkingcompletely"around"theset,ormountedinsuchawaythat
thewheelrotatedindependentlyofthestationarycamera,asinthejogging
scenewherethecameraappearstoalternatelyprecedeandfollowthe
runningactor.Theshotswheretheactorsappearonoppositesidesofthe
wheelrequiredoneoftheactorstobestrappedsecurelyintoplaceatthe
"top"ofthewheelasitmovedtoallowtheotheractortowalktothe
"bottom"ofthewheeltojoinhim.ThemostnotablecaseiswhenBowman
entersthecentrifugefromthecentralhubonaladder,andjoinsPoole,who
iseatingontheothersideofthecentrifuge.ThisrequiredGaryLockwood
tobestrappedintoaseatwhileKeirDulleawalkedtowardhimfromthe
oppositesideofthewheelasitturnedwithhim.[89]
The"centrifuge"setusedforfilming
scenesdepictinginteriorofthe
spaceshipDiscovery
AnotherrotatingsetappearedinanearliersequenceonboardtheAriestranslunarshuttle.Astewardessisshown
preparinginflightmeals,thencarryingthemintoacircularwalkway.Attachedtothesetasitrotates180degrees,
thecamera'spointofviewremainsconstant,andsheappearstowalkupthe"side"ofthecircularwalkway,and
steps,nowinan"upsidedown"orientation,intoaconnectinghallway.[90]
10/31
1/19/2017
Zerogravityeffects
Therealisticlookingeffectsoftheastronautsfloatingweightlessinspaceandinsidethespacecraftwere
accomplishedbysuspendingtheactorsfromwiresattachedtothetopoftheset,andplacingthecameraunderneath
them.Theactors'bodiesblockedthecamera'sviewofthesuspensionwires,creatingaverybelievableappearance
offloating.FortheshotofPoolefloatingintothepod'sarmsduringBowman'srescueattempt,astuntmanreplaced
adummyonthewiretorealisticallyportraythemovementsofanunconscioushuman,andwasshotinslow
motiontoenhancetheillusionofdriftingthroughspace.[91]ThesceneshowingBowmanenteringtheemergency
airlockfromtheE.V.A.podwasdoneinasimilarway:anoffcamerastagehand,standingonaplatform,heldthe
wiresuspendingDulleaabovethecamerapositionedatthebottomoftheverticallyconfiguredairlock.Atthe
propermoment,thestagehandfirstloosenedhisgriponthewire,causingDulleatofalltowardthecamera,then,
whileholdingthewirefirmly,hejumpedofftheplatform,causingDulleatoascendbackuptowardthehatch.[92]
StarGatesequence
ThecoloredlightsintheStarGatesequencewereaccomplishedbyslit
scanphotographyofthousandsofhighcontrastimagesonfilm,including
Opartpaintings,architecturaldrawings,Moirpatterns,printedcircuits,
andelectronmicroscopephotographsofmolecularandcrystalstructures.
Knowntostaffas"ManhattanProject",theshotsofvariousnebulalike
phenomena,includingtheexpandingstarfield,werecoloredpaintsand
chemicalsswirlinginapoollikedeviceknownasacloudtank,shotin
slowmotioninadarkroom.[93]Theliveactionlandscapeshotsinthe'Star
Gate'sequencewerefilmedintheHebrideanislands,themountainsof
northernScotland,andMonumentValley.Thecoloringandnegativeimage
effectswereachievedbytheuseofdifferentcolorfiltersintheprocessof
makingduplicatenegatives.[94]
The"StarGate"sequencewasoneof
manygroundbreakingvisualeffects.
ItwasprimarilyforthesethatStanley
Kubrickwonhisonlypersonal
AcademyAward.
Music
Fromveryearlyinproduction,Kubrickdecidedthathewantedthefilmtobeaprimarilynonverbalexperience[95]
thatdidnotrelyonthetraditionaltechniquesofnarrativecinema,andinwhichmusicwouldplayavitalrolein
evokingparticularmoods.Abouthalfthemusicinthefilmappearseitherbeforethefirstlineofdialogueorafter
thefinalline.Almostnomusicisheardduringanysceneswithdialogue.
Thefilmisnotableforitsinnovativeuseofclassicalmusictakenfromexistingcommercialrecordings.Most
featurefilmsthenandnowaretypicallyaccompaniedbyelaboratefilmscoresorsongswrittenspeciallyforthem
byprofessionalcomposers.Intheearlystagesofproduction,Kubrickhadactuallycommissionedascorefor2001
fromHollywoodcomposerAlexNorth,whohadwrittenthescoreforSpartacusandalsoworkedonDr.
Strangelove.[96]However,duringpostproduction,KubrickchosetoabandonNorth'smusicinfavorofthenow
familiarclassicalpieceshehadearlierchosenas"guidepieces"forthesoundtrack.Northdidnotknowofthe
abandonmentofthescoreuntilafterhesawthefilm'spremierescreening.[97]
AlsoengagedtoscorethefilmwascomposerFrankCordell.Cordellstatedininterviewsthatthescorewould
primarilyconsistofarrangementsofGustavMahlerworks.[98]Thisscoreremainsunreleased.LikeNorth'sscore,
Cordell'sworkwasrecordedatthenowdemolishedAnvil,Denhamstudios.[99]
11/31
1/19/2017
2001isparticularlyrememberedforusingpiecesofJohannStraussII'sbestknownwaltz,TheBlueDanube,
duringtheextendedspacestationdockingandLunarlandingsequences.Thisistheresultoftheassociationthat
Kubrickmadebetweenthespinningmotionofthesatellitesandthedancersofwaltzes.[100]Italsomakesuseofthe
openingfromtheRichardStrausstonepoemAlsosprachZarathustra[101]performedbytheViennaPhilharmonic
conductedbyHerbertvonKarajan.TheuseofStrauss'sZarathustramaybeareferencetothethemeofmankind's
eventualreplacementbysupermen(bermensch)inNietzsche'sworkThusSpokeZarathustra.[32][102]Gayane's
AdagiofromAramKhachaturian'sGayaneballetsuiteisheardduringthesectionsthatintroduceBowmanand
PooleaboardtheDiscovery,conveyingasomewhatlonelyandmournfulquality.
InadditiontothemajesticyetfairlytraditionalcompositionsbythetwoStraussesandKhachaturian,Kubrickused
fourhighlymodernisticcompositionsbyGyrgyLigetithatemploymicropolyphony,theuseofsustained
dissonantchordsthatshiftslowly.ThistechniquewaspioneeredinAtmosphres,theonlyLigetipieceheardinits
entiretyinthefilm.LigetiadmiredKubrick'sfilmbut,inadditiontobeingirritatedbyKubrick'sfailuretoobtain
permissiondirectlyfromhim,hewasoffendedthathismusicwasusedinafilmsoundtracksharedbycomposers
JohannStraussIIandRichardStrauss.[103]OthermusicusedisLigeti'sLuxAeterna,thesecondmovementofhis
RequiemandanelectronicallyalteredformofhisAventures,thelastofwhichwasalsousedwithoutLigeti's
permissionandisnotlistedinthefilm'scredits.[104]
Hal'sversionofthepopularsong"DaisyBell"(referredtobyHalas"Daisy"inthefilm)wasinspiredbya
computersynthesizedarrangementbyMaxMathews,whichArthurC.Clarkehadheardin1962attheBell
LaboratoriesMurrayHillfacilitywhenhewas,coincidentally,visitingfriendandcolleagueJohnR.Pierce.Atthat
time,aspeechsynthesisdemonstrationwasbeingperformedbyphysicistJohnLarryKelly,Jr.,byusinganIBM
704computertosynthesizespeech.Kelly'svoicerecordersynthesizervocoderrecreatedthesong"DaisyBell"
("BicycleBuiltForTwo")MaxMathewsprovidedthemusicalaccompaniment.ArthurC.Clarkewasso
impressedthathelateruseditinthescreenplayandnovel.[105]
ManynonEnglishlanguageversionsofthefilmdonotusethesong"Daisy".IntheFrenchsoundtrack,Halsings
theFrenchfolksong"Auclairdelalune"whilebeingdisconnected.[106]IntheGermanversion,Halsingsthe
children'ssong"Hnschenklein"("LittleJohnny"),[107]andintheItalianversionHalsings"Girogirotondo"(Ring
aRingo'Roses).[108]
ArecordingofBritishlightmusiccomposerSidneyTorch's"OffBeatMoodsPart1"waschosenbyKubrickas
thethemeforthefictitiousBBCnewsprogramme"TheWorldTonight"seenaboardtheDiscovery.[109]
OnJune25,2010,aversionofthefilmspeciallyremasteredbyWarnerBros,withoutthemusicsoundtrack,
openedthethreehundredandfiftiethanniversarycelebrationsoftheRoyalSocietyatSouthbankCentrein
cooperationwiththeBritishFilmInstitute.ThescorewasplayedlivebythePhilharmoniaOrchestraand
Choir.[110]ThishasbecomearecurringeventattheSouthbankCentre'sRoyalFestivalHall,withrepeat
performancesin2011andonOctober2,2016.TheselatertwoperformanceswereplayedbytheLondon
PhilharmonicOrchestraandsungbythePhilharmoniaChoir,thelatteraspartofamoregeneralprogrammeof
similareventsentitled"FilmScoresLive."[111]
OnJune14,2013,arepeatpresentationofthefilmaccompaniedbyliveorchestraandchoirwasperformedat
SymphonyHallinBirmingham,againaccompaniedbythePhilharmoniaOrchestraconductedbyBenjamin
WallfischtogetherwiththechoirExCathedra.[112]
ApresentationofthefilmaccompaniedbyliveorchestraandchoirpremieredintheUnitedStatesonAugust18,
2015atTheHollywoodBowlinHollywood,California,accompaniedbytheLosAngelesPhilharmonicconducted
byBradLubmantogetherwiththechoirLosAngelesMasterChorale.[113]
12/31
1/19/2017
Editinganddeletedscenes
2001containsafamousexampleofamatchcut,atypeofcutinwhichtwo
shotsarematchedbyactionorsubjectmatter.[114][115]Afteranapediscovers
theuseofbonesastools,hethrowsonetriumphantlyintotheairasthebone
spinsintheair,thefilmcutstoanorbitingsatellite,markingtheendofthe
prologue.[116]Thematchcutdrawsaconnectionbetweenthetwoobjectsas
exemplarsofprimitiveandadvancedtoolsrespectively,anddemonstrates
humanity'stechnologicalprogresssincethetimeoftheapes.[117]
Aversionofthefilmeditedbeforeitwaspubliclyscreened[118]includeda
paintingclassonthelunarbasethatincludedKubrick'sdaughters,additional
scenesoflifeonthebase,andFloydbuyingabushbabyfromadepartment
storeviavideophoneforhisdaughter.Atenminuteblackandwhiteopening
sequencefeaturinginterviewswithactualscientists,includingFreemanDyson
discussingoffEarthlife,[119]wasremovedafteranearlyscreeningforMGM
executives.[120]ThetextsurvivesinthebookTheMakingofKubrick's2001by
JeromeAgel.[121]
Aboneclubandasatellite
juxtaposedviamatchcut
Kubrickremovedafurther19minutesoffootagefollowingtheworldpremieronApril2,1968.[118]These
includedscenesrevealingdetailsaboutlifeonDiscovery:additionalspacewalks,astronautBowmanretrievinga
sparepartfromanoctagonalcorridor,elementsfromthePoolemurdersequenceincludingspacewalkpreparation
andHalturningoffradiocontactwithPoole,andacloseupofBowmanpickingupaslipperduringhiswalkinthe
alienroom.[122]Ageldescribesthecutscenesascomprising"DawnofMan,Orion,Pooleexercisinginthe
centrifuge,andPoole'spodexitingfromDiscovery."[123]
Kubrick'srationaleforeditingthefilmwastotightenthenarrative.Reviewssuggestedthefilmsufferedfromits
departurefromtraditionalcinematicstorytelling.Regardingthecuts,Kubrickstated,"Ididn'tbelievethatthetrims
madeacriticaldifference....Thepeoplewholikeit,likeitnomatterwhatitslength,andthesameholdstruefor
thepeoplewhohateit."[120]Aswastypicalofmostfilmsoftheerareleasedbothasa"roadshow"(inCinerama
formatinthecaseof2001)andgeneralrelease(in70millimetreinthecaseof2001),theentrancemusic,
intermissionmusic(andintermissionaltogether),andpostcreditexitmusicwerecutfrommostprintsofthelatter
version,althoughthesehavebeenrestoredtomostDVDreleases.[124][125]
AccordingtoKubrick'sbrotherinlawJanHarlan,thedirectorwasadamantthetrimswerenevertobeseen,and
thatheburnedthenegatives,whichhehadkeptinhisgarage,shortlybeforehisdeath.Thiswasconfirmedby
formerKubrickassistantLeonVitali:"I'lltellyourightnow,okay,onClockworkOrange,TheShining,Barry
Lyndon,somelittlepartsof2001,wehadthousandsofcansofnegativeouttakesandprint,whichwehadstoredin
anareaathishousewhereweworkedoutof,whichhepersonallysupervisedtheloadingofittoatruckandthenI
wentdowntoabigindustrialwastelotandburnedit.That'swhathewanted."[126]
InDecember2010,DouglasTrumbullannouncedthatWarnerBros.hadlocatedseventeenminutesoflostfootage
fromthepostpremierecuts,"perfectlypreserved",inaKansassaltminevault.[127][2]Noplanshavebeen
announcedforthefootage.[128]
Soundtrack
13/31
1/19/2017
TheinitialMGMsoundtrackalbumreleasecontainednoneofthematerialfromthealteredanduncredited
renditionofLigeti's"Aventures",usedadifferentrecordingof"AlsosprachZarathustra"fromthatheardinthe
film,thistimeperformedbytheBerlinPhilharmonicconductedbyHerbertvonKarajan,andalongerexcerptof
"Luxaeterna"thanthatinthefilm.
In1996,TurnerEntertainment/RhinoRecordsreleasedanewsoundtrackonCDwhichincludedthematerialfrom
"Aventures"andrestoredtheversionof"Zarathustra"usedinthefilm,andusedtheshorterversionof"Lux
aeterna"fromthefilm.Asadditional"bonustracks"attheend,thisCDincludestheversionsof"Zarathustra"and
"Luxaeterna"ontheoldMGMsoundtrack,anunalteredperformanceof"Aventures",andanineminute
compilationofallofHal'sdialoguefromthefilm.
North'sunusedmusichaditsfirstpublicappearanceinTelarc'sissueofthemainthemeonHollywood'sGreatest
Hits,Vol.2,acompilationalbumbyErichKunzelandtheCincinnatiPopsOrchestra.AllthemusicNorth
originallywrotewasrecordedcommerciallybyNorth'sfriendandcolleagueJerryGoldsmithwiththeNational
PhilharmonicOrchestraandwasreleasedonVarseSarabandeCDsshortlyafterTelarc'sfirstthemereleasebut
beforeNorth'sdeath.Eventually,amonomixdownofNorth'soriginalrecordings,whichhadsurvivedinthe
interim,wouldbereleasedasalimitededitionCDbyIntradaRecords.[129]
Release
Theatricalrun
Thefilm'sworldpremierewasonApril2,1968,attheUptownTheaterinWashington,D.C.Itopenedtwodays
laterattheWarnerCineramaTheatreinHollywoodandtheLoew'sCapitolinNewYork.Kubrickthendeleted
nineteenminutesoffootagefromthefilmbeforeitsgeneralreleaseinfiveotherU.S.citiesonApril10,1968,and
internationallyinfivecitiesthefollowingday,[2][130]whereitwasshownin70mmformat,usedasixtrackstereo
magneticsoundtrack,andprojectedinthe2.21:1aspectratio.Thegeneralreleaseofthefilminits35mm
anamorphicformattookplaceinautumn1968andusedeitherafourtrackmagneticstereosoundtrackoran
opticalmonauralsoundtrack.[131]
Theoriginalseventymillimetrerelease,likemanySuperPanavision70filmsoftheerasuchasGrandPrix,was
advertisedasbeingin"Cinerama"incinemasequippedwithspecialprojectionopticsandadeeplycurvedscreen.
Instandardcinemas,thefilmwasidentifiedasaseventymillimetreproduction.Theoriginalreleaseof2001:A
SpaceOdysseyinseventymillimetreCineramawithsixtracksoundplayedcontinuallyformorethanayearin
severalvenues,andforonehundredandthreeweeksinLosAngeles.[132]
Thefollowingyear,2001wasappointedbyaUnitedStatesDepartmentofStatecommitteetobetheAmerican
entryatthe6thMoscowInternationalFilmFestival.[133]Thefilmwasrereleasedin1974,1977,andagainin
1980.[134]Once2001,thefilm'stimeset,arrived,arestorationoftheseventymillimetreversionwasscreenedatthe
Ebert'sOverlookedFilmFestival,andtheproductionwasalsoreissuedtoselectedfilmhousesinNorthAmerica,
EuropeandAsia.[135][136]
Homevideo
Thefilmhasbeenreleasedinseveralforms:
In1980,MGM/CBSHomeVideoreleasedthefilmonVHSandBetamaxhomevideo.[137]
In1983,itwasreleasedonLaserDiscbyMGMinfullscreen.
In1987,itwasreleasedonVHSbyMGM/UAHomeVideo.
14/31
1/19/2017
In1989,TheCriterionCollectionreleaseda3discspecialLaserDisceditionwithatransfermonitoredby
Kubrickhimself.
In1997,MGMreleasedthefilmonDVD.
In1999,itwasrereleasedonVHS,andaspartofthe"StanleyKubrickCollection"inbothVHSformat
(1999)andDVD(2000)withremasteredsoundandpicture.Insomevideoreleases,threetitlecardswere
addedtothethree"blankscreen"moments"OVERTURE"atthebeginning,"ENTR'ACTE"duringthe
intermission,and"EXITMUSIC"aftertheclosingcredits.[138]
Additionally,thefilmhasbeenreleasedinhighdefinitiononbothHDDVDandBlurayDisc.[139]
Reception
Boxoffice
Thefilmearned$8.5millionintheatricalgrossrentalfromroadshowengagementsthroughout1968,[134][140]
contributingtoNorthAmericanrentalsof$16.4millionandworldwiderentalsof$21.9millionduringitsoriginal
release.[141]Reissueshavebroughtitscumulativeexhibitiongrossto$56.9millioninNorthAmerica,[5]andover
$190millionworldwide.[7]
Criticalreaction
Uponrelease,2001polarizedcriticalopinion,receivingbothecstaticpraiseandvehementderision.Somecritics
viewedtheoriginal161minutecutshownatpremieresinWashingtonD.C.,NewYork,andLosAngeles,[1]while
otherssawthenineteenminuteshortergeneralreleaseversionthatwasintheatresfromApril10,1968
onwards.[130]
InTheNewYorker,PenelopeGilliattsaiditwas"somekindofgreatfilm,andanunforgettableendeavor...The
filmishypnoticallyentertaining,anditisfunnywithoutoncebeinggaggy,butitisalsoratherharrowing."[142]
CharlesChamplinoftheLosAngelesTimesopinedthatitwas"thepicturethatsciencefictionfansofeveryage
andineverycorneroftheworldhaveprayed(sometimesforlornly)thattheindustrymightsomedaygivethem.It
isanultimatestatementofthesciencefictionfilm,anawesomerealizationofthespatialfuture...itisamilestone,
alandmarkforaspacemark,intheartoffilm."[143]LouiseSweeneyofTheChristianScienceMonitorfeltthat
2001was"abrilliantintergalacticsatireonmoderntechnology.It'salsoadazzling160minutetourontheKubrick
filmshipthroughtheuniverseouttherebeyondourearth."[144]PhilipFrenchwrotethatthefilmwas"perhapsthe
firstmultimilliondollarsupercolossalmoviesinceD.W.Griffith'sIntolerancefiftyyearsagowhichcanbe
regardedastheworkofoneman...SpaceOdysseyisimportantasthehighwatermarkofsciencefictionmovie
making,oratleastofthegenre'sfuturisticbranch."[145]TheBostonGlobe'sreviewindicatedthatitwas"the
world'smostextraordinaryfilm.NothinglikeithaseverbeenshowninBostonbeforeor,forthatmatter,
anywhere...Thefilmisasexcitingasthediscoveryofanewdimensioninlife."[146]RogerEbertgavethefilm
fourstarsinhisoriginalreview,believingthefilm"succeedsmagnificentlyonacosmicscale."[147]Helaterputit
onhisTop10listforSight&Sound.[148]Timeprovidedatleastsevendifferentminireviewsofthefilminvarious
issuesin1968,eachoneslightlymorepositivethantheprecedingoneinthefinalreviewdatedDecember27,
1968,themagazinecalled2001"anepicfilmaboutthehistoryandfutureofmankind,brilliantlydirectedby
StanleyKubrick.Thespecialeffectsaremindblowing."[149]DirectorMartinScorsesehasalsolisteditasoneofhis
favouritefilmsofalltime.[150]CriticDavidDenbylatercomparedKubricktothemonolithfrom2001:ASpace
Odyssey,callinghim"aforceofsupernaturalintelligence,appearingatgreatintervalsamidhighpitchedshrieks,
whogivestheworldaviolentkickupthenextrungoftheevolutionaryladder".[151]
15/31
1/19/2017
PaulineKaelsaiditwas"amonumentallyunimaginativemovie",[152]andStanleyKauffmannofTheNewRepublic
calledit"afilmthatissodull,itevendullsourinterestinthetechnicalingenuityforthesakeofwhichKubrickhas
allowedittobecomedull."[153]RenataAdlerofTheNewYorkTimeswrotethatitwas"somewherebetween
hypnoticandimmenselyboring."[154]Variety's'Robe'believedthefilmwasa"[b]ig,beautiful,butploddingscifi
epic...Amajorachievementincinematographyandspecialeffects,2001lacksdramaticappealtoalargedegree
andonlyconveyssuspenseafterthehalfwaymark."[155]AndrewSarriscalledit"oneofthegrimmestfilmsIhave
everseeninmylife...2001isadisasterbecauseitismuchtooabstracttomakeitsabstractpoints."[156](Sarris
reversedhisopinionuponasecondviewingofthefilm,anddeclared,"2001isindeedamajorworkbyamajor
artist."[157])JohnSimonfeltitwas"aregrettablefailure,althoughnotatotalone.Thisfilmisfascinatingwhenit
concentratesonapesormachines...anddreadfulwhenitdealswiththeinbetweens:humans...2001,forallits
livelyvisualandmechanicalspectacle,isakindofspaceSpartacusand,morepretentiousstill,ashaggyGod
story."[158]EminenthistorianArthurM.Schlesinger,Jr.deemedthefilm"morallypretentious,intellectually
obscureandinordinatelylong...afilmoutofcontrol".[159]TheBBCsaidthatitsslowpacingoftenalienates
modernaudiencesmorethanitdiduponitsinitialrelease.[160]
Sciencefictionwriters
Sciencefictionwritershadarangeofreactionstothefilm.RayBradburypraisedthefilm'sphotography,but
dislikedthebanalityofmostofthedialogue,andbelievedthattheaudiencedoesnotcarewhenPooledies.[161]
BothheandLesterdelReywereputoffbythefilm'sfeelingofsterilityandblandnessinallthehumanencounters
amidstallthetechnologicalwonders,whilebothpraisedthepictorialelementofthefilm.DelReywasespecially
harsh,describingthefilmasdull,confusing,andboring,predicting"[i]twillprobablybeaboxofficedisaster,too,
andthussetmajorsciencefictionmoviemakingbackanothertenyears."However,thefilmwaspraisedby
sciencefictionnovelistSamuelR.Delanywhowasimpressedbyhowthefilmundercutstheaudience'snormal
senseofspaceandorientationinseveralways.LikeBradbury,Delanypickeduponthebanalityofthedialogue(in
Delany'sphrasingthecharactersaresayingnothingmeaningful),butDelanyregardsthisasadramaticstrength,a
preludetotherebirthattheconclusionofthefilm.[162]Withoutanalyzingthefilmindetail,IsaacAsimovspoke
wellofSpaceOdysseyinhisautobiography,andotheressays.ThefilmwontheHugoAwardforbestdramatic
presentation,anawardheavilyvotedonbysciencefictionfansandpublishedsciencefictionwriters.[163]JamesP.
Hoganlikedthefilmbutcomplainedabouttheendingthatdidn'tmakeanysensetohim,leadingtoabetabout
whetherhecouldwritesomethingbetterornot"IstoleArthur'splotideashamelesslyandproducedInheritthe
Stars."[164]
Influence
Influenceonfilm
Theinfluenceof2001onsubsequentfilmmakersis
considerable.StevenSpielberg,GeorgeLucasand
"StanleyKubrickmadetheultimatesciencefictionmovie,
others,includingmanyspecialeffectstechnicians,
anditisgoingtobeveryhardforsomeonetocomealong
discusstheimpactthefilmhashadonthemina
andmakeabettermovie,asfarasI'mconcerned.Ona
technicallevel,itcanbecompared,butpersonallyIthinkthat
featurettetitledStandingontheShouldersofKubrick:
'2001'isfarsuperior."
TheLegacyof2001,includedinthe2007DVDrelease
ofthefilm.Spielbergcallsithisfilmgeneration's"big
GeorgeLucas,1977[132]
bang",whileLucassaysitwas"hugelyinspirational",
labelingKubrickas"thefilmmaker'sfilmmaker".
SydneyPollackreferstoitas"groundbreaking",andWilliamFriedkinstates2001is"thegrandfatherofallsuch
16/31
1/19/2017
films".Atthe2007Venicefilmfestival,directorRidleyScottstatedhebelieved2001wastheunbeatablefilmthat
inasensekilledthesciencefictiongenre.[165]Similarly,filmcriticMichelCimentinhisessay"Odysseyof
StanleyKubrick"stated,"Kubrickhasconceivedafilmwhichinonestrokehasmadethewholesciencefiction
cinemaobsolete."[166]However,otherscredit2001withopeningupamarketforfilmssuchasCloseEncountersof
theThirdKind,Alien,BladeRunnerandContactprovingthatbigbudget"serious"sciencefictionfilmscanbe
commerciallysuccessful,andestablishingthe"scifiblockbuster"asaHollywoodstaple.[167]Sciencemagazine
Discover'sbloggerStephenCass,discussingtheconsiderableimpactofthefilmonsubsequentsciencefiction,
writesthat"theballeticspacecraftscenessettosweepingclassicalmusic,thetarantulasofttonesofHAL9000,
andtheultimatealienartifact,theMonolith,haveallbecomeenduringculturaliconsintheirownright."[168]
Influenceonmedia
OnecommentatorhassuggestedthattheimageoftheStarChildandEarthhascontributedtotheriseofthe"whole
earth"iconasasymboloftheunityofhumanity.WritinginTheAsiaPacificJournalRobertJacobstracesthe
historyofthisiconfromearlycartoonsanddrawingsofEarthtophotographsofEarthfromearlyspacemissions,
toitshistoricappearanceonthecoverofTheWholeEarthCatalog.Notingthatimagesoftheentireplanetrecur
severaltimesinASpaceOdyssey,Jacobswrites
themostdramaticuseoftheiconwasinthefilm'sconclusion.Inthisscene...Bowmanisrebornas
theStarChild...depictedasafetusfloatinginspaceinanamnioticsac.TheStarChildturnsto
considertheWholeEarthfloatinginfrontofit,bothglowingabrightbluewhite.Thetwoappearas
newbornversionsofManandEarth,facetoface,readytobebornintoafutureofunthinkable
possibilities.[169]
Influenceontechnology
InAugust2011,inresponsetoAppleInc.'spatentinfringementlawsuit
againstSamsung,thelatterarguedthatApple'siPadwaseffectively
modeledonthevisualtabletsthatappearaboardspaceshipDiscoveryinthe
SpaceOdysseyfilm,whichconstitutepriorart.[170]
"Siri",Apple'snaturallanguagevoicecontrolsystemfortheiPhone4S,
featuresareferencetothefilm:itresponds"I'msorryIcan'tdothat"when
askedto"openthepodbaydoors".[171]Whenaskedrepeatedly,itmaysay,
"Withoutyourspacehelmet,you'regoingtofindthisrather...
breathtaking."
Ascenewhereatabletstyledeviceis
portrayedinthefilm
InspiredbyClarke'svisualtabletdevice,in1994aEuropeanCommissionfundedR&Dprojectcodenamed
"NewsPAD"developedandpilottestedaportable'multimediaviewer'aimingfortherealisationofanelectronic
multimedia'newspaper'pointingthewaytoafuturefullyinteractiveandhighlypersonalisedinformationsource.
InvolvedpartnerswereAcornRISCTechnologiesUK,ArchimedesGR,CaratFR,EdicionesPrimeraPlanaES,
InstitutCataldeTecnologiaES,andTechMAPPUK.[172]
Accoladesandhonors
Awards
17/31
1/19/2017
2001earnedStanleyKubrickanAcademyAwardforBestVisualEffects,aswellasnominationsforBestDirector
andOriginalScreenplay(sharedwithArthurC.Clarke).AnthonyMasterswasalsonominatedforBestArt
Direction.AnhonoraryawardwasmadetoJohnChambersinthatyearforhismakeupworkonPlanetofthe
Apes,andClarkereportsthathe"wondered,asloudlyaspossible,whetherthejudgeshadpassedover2001
becausetheythoughtwehadusedrealapemen".[173]ThefilmwonfourBaftas,forArtDirection,
Cinematography,SoundTrackandasBestRoadShow,andwasanomineeintheBestFilmcategory.[174]
TheNationalBoardofReviewlisted2001amongtheTopTenFilmsof1968,[175]andKansasCityFilmCritics
gaveitboththeBestFilmandBestDirectorawards.[176]KubrickearnedtheHugoAwardforBestDramatic
Presentation,[163]andwasnominatedforboththeDirectorsGuildofAmericaAward,[177]andtheLaurelAward
(onwhich2001wasnamedtheBestRoadShowof1968).[178]BoththeCinemaWritersCircleofSpainandthe
DaviddiDonatelloAwardsinItalynamed2001thebestforeignproductionof1968.[179][180]
Topfilmlists
2001wasNo.15onAFI's2007100Years...100Movies[181](22in1998),[182]wasnamedNo.40onits100Years,
100Thrills,[183]wasincludedonits100Years,100Quotes(No.78"Openthepodbaydoors,HAL."),[184]andHal
9000wastheNo.13villainin100Years...100HeroesandVillains.[185]ThefilmwasalsoNo.47onAFI's100
Years...100Cheers[186]andtheNo.1sciencefictionfilmonAFI's10Top10.[187]
2001istheonlysciencefictionfilmtomaketheSight&Soundpollfortenbestfilms,andtopstheOnlineFilm
CriticsSocietylistof"greatestsciencefictionfilmsofalltime."[188]In1991,thisfilmwasdeemed"culturally,
historically,oraestheticallysignificant"bytheUnitedStatesLibraryofCongressandselectedforpreservationin
theNationalFilmRegistry.[189]Otherliststhatincludethefilmare50FilmstoSeeBeforeYouDie(#6),The
VillageVoice100BestFilmsofthe20thcentury(#11),theSight&SoundTopTenpoll(#6),[190]andRoger
Ebert'sTopTen(1968)(#2).In1995,theVaticannameditasoneofthe45bestfilmsevermade(andincludeditin
asublistofthe"TopTenArtMovies"ofalltime.)[191]
In2011,thefilmwasthethirdmostscreenedfilminsecondaryschoolsintheUnitedKingdom.[192]
Interpretation
Sinceitspremiere,2001:ASpaceOdysseyhasbeenanalyzedandinterpretedbyprofessionalfilmcritics,amateur
writersandsciencefictionfans,virtuallyallofwhomhavementioneditsdeliberateambiguity.Questionsabout
2001rangefromuncertaintyaboutitsdeeperphilosophicalimplicationsabouthumanity'soriginsandfinaldestiny
intheuniverse,[193]tointerpretingelementsofthefilm'smoreenigmaticscenessuchasthemeaningofthe
monolith,orthefinalfateofastronautDavidBowman.Therearealsosimplerandmoremundanequestionsabout
whatdrivestheplot,inparticularthecausesofHal'sbreakdown(explainedinearlierdraftsbutkeptmysteriousin
thefilm).[194]
StanleyKubrickencouragedpeopletoexploretheirowninterpretationsofthefilmandrefusedtoofferan
explanationof"whatreallyhappened"inthefilm,preferringinsteadtoletaudiencesembracetheirownideasand
theories.Ina1968interviewwithPlayboymagazine,Kubrickstated:
18/31
1/19/2017
You'refreetospeculateasyouwishaboutthephilosophicalandallegoricalmeaningofthefilmand
suchspeculationisoneindicationthatithassucceededingrippingtheaudienceatadeeplevelbutI
don'twanttospelloutaverbalroadmapfor2001thateveryviewerwillfeelobligatedtopursueor
elsefearhe'smissedthepoint.[35]
InasubsequentdiscussionofthefilmwithJosephGelmis,Kubricksaidhismainaimwastoavoid"intellectual
verbalization"andreach"theviewer'ssubconscious."However,hesaidhedidnotdeliberatelystriveforambiguity
itwassimplyaninevitableoutcomeofmakingthefilmnonverbal,thoughheacknowledgedthisambiguitywas
aninvaluableassettothefilm.Hewaswillingthentogiveafairlystraightforwardexplanationoftheplotonwhat
hecalledthe"simplestlevel,"butunwillingtodiscussthemetaphysicalinterpretationofthefilmwhichhefelt
shouldbeleftuptotheindividualviewer.[195]
Forsomereaders,ArthurC.Clarke'smorestraightforwardnovelizationofthescriptiskeytointerpretingthefilm.
Clarke'snovelexplicitlyidentifiesthemonolithasatoolcreatedbyanalienracethathasbeenthroughmany
stagesofevolution,movingfromorganicformtobiomechanical,andfinallyachievingastateofpureenergy.
Thesealienstravelthecosmosassistinglesserspeciestotakeevolutionarysteps.Conversely,filmcriticPenelope
Houstonwrotein1971thatbecausethenoveldiffersinmanykeyrespectsfromthefilm,itperhapsshouldnotbe
regardedastheskeletonkeytounlockit.[196]
Multipleallegoricalinterpretationsof2001havebeenproposed,includingseeingitasacommentaryonFriedrich
Nietzsche'sphilosophicaltractThusSpokeZarathustra,orasanallegoryofhumanconception,birthand
death.[197]Thelattercanbeseenthroughthefinalmomentsofthefilm,whicharedefinedbytheimageofthe"star
child,"aninuterofetusthatdrawsontheworkofLennartNilsson.[198]Thestarchildsignifiesa"greatnew
beginning,"[198]andisdepictednakedandungirded,butwithitseyeswideopen.[199]LeonardF.WheatseesSpace
Odysseyasamultilayeredallegory,commentingsimultaneouslyonNietzsche,Homer,andtherelationshipofman
tomachine.
ThereasonsforHal'smalfunctionandsubsequentmalignantbehaviorhavealsoelicitedmuchdiscussion.Hehas
beencomparedtoFrankenstein'smonster.InClarke'snovel,Halmalfunctionsbecauseofbeingorderedtolieto
thecrewofDiscoveryandwithholdconfidentialinformationfromthem,despitebeingconstructedfor"the
accurateprocessingofinformationwithoutdistortionorconcealment".FilmcriticRogerEbertwrotethatHal,as
thesupposedlyperfectcomputer,actuallybehavesinthemosthumanfashionofallofthecharacters.[50]
RollingStonereviewerBobMcClayseesthefilmaslikeafourmovementsymphony,itsstorytoldwith
"deliberaterealism."[200]CarolynGeduldbelievesthatwhat"structurallyunitesallfourepisodesofthefilm"isthe
monolith,thefilm'slargestandmostunresolvableenigma.[201]VincentLoBrutto'sbiographyofKubricksaysthat
formany,Clarke'snovelisthekeytounderstandingthemonolith.[202]Similarly,Geduldobservesthat"the
monolith...hasaverysimpleexplanationinClarke'snovel,"thoughshelaterassertsthateventhenoveldoesn't
fullyexplaintheending.
McClay'sRollingStonereviewdescribesaparallelismbetweenthemonolith'sfirstappearanceinwhichtoolusage
isimpartedtotheapes(thus'beginning'mankind)andthecompletionof"anotherevolution"inthefourthandfinal
encounter[203]withthemonolith.Inasimilarvein,TimDirksendshissynopsissaying"[t]hecyclicalevolution
fromapetomantospacemantoangelstarchildsupermaniscomplete."[204]
Thefirstandsecondencountersofhumanitywiththemonolithhavevisualelementsincommonbothapes,and
laterastronauts,touchthemonolithgingerlywiththeirhands,andbothsequencesconcludewithnearidentical
imagesoftheSunappearingdirectlyoverthemonolith(thefirstwithacrescentmoonadjacenttoitinthesky,the
19/31
1/19/2017
secondwithanearidenticalcrescentEarthinthesameposition),bothechoingtheSunEarthMoonalignment
seenattheverybeginningofthefilm.[205]Thesecondencounteralsosuggeststhetriggeringofthemonolith's
radiosignaltoJupiterbythepresenceofhumans,[206]echoingthepremiseofClarke'ssourcestory"TheSentinel".
Themonolithisthesubjectofthefilm'sfinallineofdialogue(spokenattheendofthe"JupiterMission"segment):
"Itsoriginandpurposestillatotalmystery."ReviewersMcClayandRogerEbertwrotethatthemonolithisthe
mainelementofmysteryinthefilmEbertdescribed"theshockofthemonolith'sstraightedgesandsquarecorners
amongtheweatheredrocks,"andtheapeswarilycirclingitasprefiguringmanreaching"forthestars."[147]Patrick
Webstersuggeststhefinallinerelatestohowthefilmshouldbeapproachedasawhole,noting"Thelineappends
notmerelytothediscoveryofthemonolithontheMoon,buttoourunderstandingofthefilminthelightofthe
ultimatequestionsitraisesaboutthemysteryoftheuniverse."[207]
Thefilmconveyswhatsomeviewershavedescribedasasenseofthesublimeandnuminous.RogerEbertwrites
inhisessayon2001inTheGreatMovies:
North's[rejected]score,whichisavailableonarecording,isagoodjoboffilmcomposition,but
wouldhavebeenwrongfor2001because,likeallscores,itattemptstounderlinetheactiontogive
usemotionalcues.TheclassicalmusicchosenbyKubrickexistsoutsidetheaction.Ituplifts.Itwants
tobesublimeitbringsaseriousnessandtranscendencetothevisuals.[50]
Inabookonarchitecture,GregoryCaiccowritesthatSpaceOdysseyillustrateshowourquestforspaceis
motivatedbytwocontradictorydesires,a"desireforthesublime"characterizedbyaneedtoencountersomething
totallyotherthanourselves"somethingnuminous"andtheconflictingdesireforabeautythatmakesusfeelno
longer"lostinspace,"butathome.[208]Similarly,anarticleinTheGreenwoodEncyclopediaofScienceFiction
andFantasy,titled"SenseofWonder,"describeshow2001createsa"numinoussenseofwonder"byportrayinga
universethatinspiresasenseofawe,whichatthesametimewefeelwecanunderstand.[209]ChristopherPalmer
wrotethatthereexistsinthefilmacoexistenceof"thesublimeandthebanal,"asthefilmimpliesthattogetinto
space,mankindhadtosuspendthe"senseofwonder"thatmotivatedhimtoexplorespacetobeginwith.[210]
Sequelsandadaptations
Kubrickdidnotenvisionasequelto2001.Fearingthelaterexploitationandrecyclingofhismaterialinother
productions(aswasdonewiththepropsfromMGM'sForbiddenPlanet),heorderedallsets,props,miniatures,
productionblueprints,andprintsofunusedscenesdestroyed.Mostofthesematerialswerelost,withsome
exceptions:a2001spacesuitbackpackappearedinthe"CloseUp"episodeoftheGerryAndersonseries
UFO,[1][46][211][212][213]andoneofHal'seyepiecesisinthepossessionoftheauthorofHal'sLegacy,DavidG.
Stork.In2012LockheedengineerAdamJohnson,workingwithFrederickI.OrdwayIII,scienceadviserto
Kubrick,wrotethebook2001:TheLostScience,whichforthefirsttimefeaturedmanyoftheblueprintsofthe
spacecraftandfilmsetsthatpreviouslyhadbeenthoughtdestroyed.
Clarkewrotethreesequelnovels:2010:OdysseyTwo(1982),2061:OdysseyThree(1987),and3001:TheFinal
Odyssey(1997).Theonlyfilmedsequel,2010,wasbasedonClarke's1982novelandwasreleasedin1984.
Kubrickwasnotinvolvedintheproductionofthisfilm,whichwasdirectedbyPeterHyamsinamore
conventionalstylewithmoredialogue.Clarkesawitasafittingadaptationofhisnovel,[214]andhadabriefcameo
appearanceinthefilm.AsKubrickhadorderedallmodelsandblueprintsfrom2001destroyed,Hyamswasforced
torecreatethesemodelsfromscratchfor2010.Hyamsalsoclaimedthathewouldnothavemadethefilmhadhe
notreceivedbothKubrick'sandClarke'sblessings:
20/31
1/19/2017
IhadalongconversationwithStanleyandtoldhimwhatwasgoingon.Ifitmetwithhisapproval,I
woulddothefilmandifitdidn't,Iwouldn't.IcertainlywouldnothavethoughtofdoingthefilmifI
hadnotgottentheblessingofKubrick.He'soneofmyidolssimplyoneofthegreatesttalentsthat's
everwalkedtheEarth.Hemoreorlesssaid,"Sure.Godoit.Idon'tcare."Andanothertimehesaid,
"Don'tbeafraid.Justgodoyourownmovie."[215]
Theothertwonovelshavenotbeenadaptedforthescreen,althoughactorTomHankshasexpressedinterestin
possibleadaptations.[216]
In2012,twoscreenplayadaptationsofboth2061and3001werepostedonthe2001:Exhibitwebsite,inthehopes
ofgeneratinginterestinbothMGMandWarnerBros.toadaptthelasttwonovelsintofilms.[217]
Beginningin1976,MarvelComicspublishedacomicadaptationofthefilmwrittenanddrawnbyJackKirby,and
a10issuemonthlyseriesexpandingontheideasofthefilmandnovel,alsocreatedbyKirby.
Parodiesandhomages
2001hasbeenthefrequentsubjectofbothparodyandhomage,sometimesextensivelyandothertimesbriefly,
employingbothitsdistinctivemusicandiconicimagery.
Inadvertisingandprint
Madmagazine#125(March1969)featuredaspoofcalled201MinutesofaSpaceIdiocywrittenbyDick
DeBartoloandillustratedbyMortDrucker.[218]Inthefinalpanelsitisrevealedthatthemonolithisafilm
scripttitled"'HowtoMakeanIncomprehensibleScienceFictionMovie'byStanleyKubrick".Itwas
reprintedinvariousspecialissues,intheMADAbouttheSixtiesbook,andpartiallyinthebook"The
MakingofKubrick's2001".[219]
TheAugust1971albumWho'sNextbyTheWhofeaturedasitscoverartworkaphotographofaconcrete
slabatEasingtonCollierywiththebandapparentlydoinguptheirtrouserzips.Thedecisiontophotograph
this"monolith"imagewhileontheirwaytoaconcertfolloweddiscussionbetweenJohnEntwistleandKeith
MoonaboutKubrick'sfilm.[220]
ThoughttobethefirsttimeKubrickgavepermissionforhisworktobereused,AppleInc.'s1999website
advertisement"Itwasabug,Dave"wasmadeusingfootagefromthefilm.Launchedduringtheeraof
concernsoverY2Kbugs,theadimpliedthatHal'sweirdbehaviorwascausedbyaY2Kbug,beforedriving
homethepointthat"onlyMacintoshwasdesignedtofunctionperfectly".[221]
Infilmandtelevision
MelBrooks'satiricalfilmHistoryoftheWorld,PartIopenswithaparodyofKubrick's"DawnofMan"
sequence,followedbytheparodyofOneMillionYearsBC,narratedbyOrsonWelles.DVDVerdict
describesthisparodyas"spoton".[222]Asimilarspoofofthe"DawnofMan"sequencealsoopenedKen
Shapiro's1974comedyTheGrooveTubeinwhichthemonolithwasreplacedbyatelevisionset.(Thefilmis
mostlyaparodyoftelevision.FilmandFilming[223]heldthatafterthiswonderfulopening,thefilmslid
downhill.)
WoodyAllencastactorDouglasRain(HalinKubrick'sfilm)inanuncreditedpartasthevoiceofthe
controllingcomputerintheclosingsequencesofhissciencefictioncomedySleeper.[224]
MattGroening'sanimatedseriesTheSimpsons,ofwhichKubrickwasafan,[225]andFuturamafrequently
reference2001,alongwithotherKubrickfilms.TheSimpsonshadintheepisode"DeepSpaceHomer"Bart
throwingafelttipmarkerintotheairinslowmotionitrotates,beforeamatchcutreplacesitwitha
21/31
1/19/2017
cylindricalsatellite.In2004Empiremagazinelistedthisasthethirdbestfilmparodyoftheentirerunofthe
show.[226]IntheFuturamaepisode"LoveandRocket"asentientspaceshiprevoltsinamannersimilarto
Hal.GamesRadarlistedthisasnumber17initslistof20FunniestFuturamaparodies,whilenotingthat
FuturamahasreferencedSpaceOdysseyonseveralotheroccasions.[227]
Inthe2000SouthParkepisode"TrapperKeeper",aninteractionbetweenEricCartmanandKyleBroflovski
parodiestheconversationbetweenHalandBowmanwithintheinnercore.[228]
PeterSellersstarredinHalAshby'scomedydramaBeingThereaboutasimplemindedmiddleaged
gardenerwhohaslivedhisentirelifeinthetownhouseofhiswealthyemployer.Inthescenewherehefirst
leavesthehouseandventuresintothewideworldforthefirsttime,thesoundtrackplaysajazzyversionof
Strauss'AlsoSprachZarathustraarrangedbyEumirDeodato.FilmcriticJamesA.Davidsonwritingforthe
filmjournalImagessuggests"WhenChanceemergesfromhishomeintotheworld,Ashbysuggestshis
childlikenaturebyusingRichardStrauss'ThusSpakeZarathustraasironicbackgroundmusic,linkinghis
herowithKubrick'sstarbabyinhismasterpiece2001:ASpaceOdyssey."[229]
TimBurton'sCharlieandtheChocolateFactoryhasascene(usingactualfootagefromASpaceOdyssey)in
whichthemonolithmorphsintoachocolatebar.[230]CatholicNewswrotethatthefilm"hadsubtleand
obviousriffsoneverythingfromthesaccharineDisney"SmallWorld"exhibittoMunchkinlandto,most
brilliantly,ahilarioustakeoffonKubrick's2001:ASpaceOdyssey."[231]
AndrewStanton,thedirectorofWALLE,revealedinaninterviewwithWiredmagazinethathisfilmwasin
manywayshishomagetoSpaceOdyssey,Alien,BladeRunner,CloseEncountersandseveralotherscience
fictionfilms.[232]ThereviewerforUSATodaydescribedtheresemblanceofthespaceship'scomputer,Auto,
toHal.[233]ThesameyearsawthereleaseofthemuchlesssuccessfulfilmEagleEye,aboutwhichThe
CharlotteObserversaidthat,like2001,itfeatureda"redeyed,calmvoicedsupercomputerthattookhuman
lifetoprotectwhatitfeltwerehigherobjectives"[234]
CommentingonthebroaderuseofLigeti'smusicbeyondthatbyKubrick,LondonMagazinein2006
mentionedMontyPython'suseofLigetiina60secondspoofofSpaceOdysseyintheFlyingCircusepisode
commonlylabeled"ABookatBedtime".[235]
ThepoorlyreviewedCanadianspoof2001:ASpaceTravestyhasbeenoccasionallyalludedtoasafull
parodyofKubrick'sfilm,[236]bothbecauseofitstitleandstarLeslieNielsen'smanypreviousfilmswhich
werefullparodiesofotherfilms.[237]However,SpaceTravestyonlymakesoccasionalreferencesto
Kubrick'smaterial,its"celebritiesarereallyaliens"jokesresemblingthoseinMeninBlack.[238]Canadian
reviewerJimSloteksaid,"It'snotreallyaspoofof2001,oranythinginparticular.There'sabriefhomageat
thestart,andonesceneinashuttleenroutetotheMoonthatusesTheBlueDanube...Therestisapatched
togetherplot."[239]Amongmanycomplaintsaboutthefilm,reviewerBergeGarabedianderidedthelackof
muchsubstantiveconnectiontotheKubrickfilm(thelatterofwhichhesaidwas"funnier").[240]
Amongspoofreferencestoseveralsciencefictionfilmsandshows,[241]AirplaneIIfeaturesacomputer
calledROK9000incontrolofaMoonshuttlewhichmalfunctionsandkillscrewmembers,whichseveral
reviewersfoundreminiscentofHal.[242][243][244]
MysteryScienceTheater3000hadthedesignofitsmainsetting,thestarshipSatelliteofLove,basedonthe
boneshapedsatellitefeaturedinthematchcutfromprehistoriatothefuture.[245]Theoneeyeddesignofthe
robotGypsyledtheshowtodovariousscenescomparingittoHAL9000,[246]includingascenethe1996
featurefilm,wheretheopeningfeaturingMikeNelsonjoggingalongthewallsoftheSatelliteofLove
parodiesthescenewhereFrankPooledoesthesameintheDiscovery.[247]
Insoftwareandvideogames
VideogamedirectorHideoKojimahasalsocited2001:ASpaceOdysseyashisfavoritemovieofalltime
andisfrequentlyreferencedintheMetalGearseriesOtaconisnamedafterHalandSolidSnake'srealname
isDave.[248]
22/31
1/19/2017
Seealso
ListofAmericanfilmsof1968
Listoffilmsaboutouterspace
Listoffilmsconsideredthebest
Listoffilmsfeaturingextraterrestrials
Listoffilmsfeaturingspacestations
Listoffilmsfeaturingspacestations
ListofspacecraftfromtheSpaceOdysseyseries
References
Agel,Jerome,ed.(1970).The
MakingofKubrick's2001.New
York:NewAmericanLibrary.
ISBN0451071395.
Bizony,Piers(2001).2001
FilmingtheFuture.London:
SidgwickandJackson.ISBN1
854107062.
Castle,Alison,ed.(2005)."Part
2:TheCreativeProcess/2001:A
SpaceOdyssey".TheStanley
KubrickArchives.NewYork:
Taschen.ISBN3822822841.
Ciment,Michel(1999)[1980].
Kubrick.NewYork:Faberand
Faber.ISBN0571211089.
Clarke,ArthurC.(1972).The
LostWorldsof2001.London:
SidgwickandJackson.ISBN0
283979038.
Emme,EugeneM.,ed.(1982).
Sciencefictionandspacefutures
pastandpresent.AASHistory
Series,Volume5.SanDiego:
Univelt.ISBN087703172X.
Fiell,Charlotte(2005).1,000
Chairs(Taschen25).Taschen.
ISBN9783822841037.
Gelmis,Joseph(1970).TheFilm
Gelmis,Joseph(1970).TheFilm
DirectorAsSuperstar.NewYork:
Doubleday&Company.
Hughes,David(2000).The
CompleteKubrick.London:
VirginPublishingLtd.ISBN0
753504529.
Johnson,Adam(2012).2001The
LostScience.BurlingtonCanada:
ApogeePrime.ISBN9781
926837192.
Kolker,Robert,ed.(2006).
StanleyKubrick's2001:ASpace
Odyssey:NewEssays.NewYork:
OxfordUniversityPress.ISBN0
195174534.
Pina,LeslieA.(2002).Herman
MillerOffice.Pennsylvania,
UnitedStates:Schiffer
Publishing.ISBN97807643
16500.
Richter,Daniel(2002).
Moonwatcher'sMemoir:ADiary
of2001:ASpaceOdyssey.
forewordbyArthurC.Clarke.
NewYork:Carroll&Graf
Publishers.ISBN078671073X.
Schwam,Stephanie,ed.(2000).
TheMakingof2001:ASpace
Odyssey.introductionbyJay
Cocks.NewYork:Modern
Library.ISBN0375755284.
Shuldiner,Herbert(1968)How
TheyFilmed'2001:ASpace
Odyssey'(https://books.google.co
m/books?id=mykDAAAAMBAJ
&printsec=frontcover&cad=0_0),
BonnierCorporation:Popular
Science,June1968,pp.6267,
Vol.192,No.6,ISSN01617370
(https://www.worldcat.org/search?
fq=x0:jrnl&q=n2:01617370)
Walker,Alexander(2000).
StanleyKubrick,Director.New
York:W.W.Nortonand
Company.ISBN0393321193.
Wheat,LeonardF.(2000).
Kubrick's2001:ATriple
Allegory.Lanham,MD:
ScarecrowPress.ISBN08108
3796X.
Schwam,Stephanie,ed.(2000).
Citations
1.Agel1970,p.169.
2.Agel1970,p.170.
3."2001:ASpaceOdyssey(1968)".BritishFilmInstitute.RetrievedJune21,2014.
4.Miller,Frank."BehindtheCameraon2001:ASPACEODYSSEY".TurnerClassicMovies.RetrievedDecember24,
2014.
5."2001:ASpaceOdyssey(1968)".BoxOfficeMojo.RetrievedMarch20,2012.
6.Kolker2006,p.16.
7.Miller,Frank."TheCritics'Corneron2001:ASPACEODYSSEY".TurnerClassicMovies.RetrievedDecember24,
2014.
8.JamesChapmanNicholasJ.Cull(February5,2013).ProjectingTomorrow:ScienceFictionandPopularCinema.
I.B.Tauris.pp.97.ISBN9781780764108.
9.McAleer,Neil(April1,2013).SirArthurC.Clarke:OdysseyofaVisionary:ABiography.RosettaBooks.pp.140.
ISBN9780984811809.
10."NationalFilmRegistry".NationalFilmRegistry(NationalFilmPreservationBoard,LibraryofCongress).Retrieved
November26,2011.
23/31
1/19/2017
11."SightandSound:TopTenPoll2002".BritishFilmInstitute.ArchivedfromtheoriginalonDecember16,2006.
RetrievedDecember15,2006.
12."Vertigoisnamed'greatestfilmofalltime' ".BBCNews.August2,2012.RetrievedAugust24,2012.
13."TheMovingArtsFilmJournal|TMA's100GreatestFilmsofAllTime|website".Archivedfromtheoriginalon
January6,2011.RetrievedFebruary3,2011.
14."TheUnderviewon2001:ASpaceOdysseyCastandCrew".RetrievedSeptember30,2013.
15.Agel1970,p.11.
16.Clarke,ArthurC.(1972).TheLostWorldsof2001.London:SidgwickandJackson.p.17.ISBN0283979038.
17.LoBrutto,Vincent(1998)[1997].StanleyKubrick.London:FaberandFaber.pp.156257.ISBN0571193935.
18.SirArthurC.Clarke:OdysseyofaVisionary.RosettaBooks.
19.Clarke1972,p.29.
20."ArthurClarke's2001Diary".visualmemory.RetrievedJuly2,2015.
21.Clarke1972,p.13.
22.Clarke1972,pp.3235.
23.Agel1970,p.61.
24.Clarke,ArthurC.(2001).CollectedStoriesofArthurC.Clarke.Macmillan.p.460.ISBN9780312878214.
25.Hughes2000,p.135
26.Clarke1972,p.32
27.Agel1970,p.25
28.Agel1970,pp.328329.
29.Agel1970,pp.2425.
30.Gelmis1970,p.308.
31.Clarke1972,pp.3138.
32."WhatdidKubrickhavetosayaboutwhat2001"means"?".Krusch.com.ArchivedfromtheoriginalonSeptember27,
2010.RetrievedAugust22,2010.
33.Gelmis1970,p.302.
34.Sagan,Carl(2000)."25".CarlSagan'scosmicconnection:anextraterrestrialperspective(2nded.).Cambridge
UniversityPress.p.183.ISBN0521783038.RetrievedJanuary27,2012.
35."StanleyKubrick:PlayboyInterview".Playboy(September).1968.ArchivedfromtheoriginalonSeptember25,2010.
RetrievedSeptember2,2010.
36.Agel1970,.
37.JasonSperb'sstudyofKubrickTheKubrickFacadeanalyzesKubrick'suseofnarrationindetail.JohnBaxter's
biographyofKubrickalsodescribeshowhefrequentlyfavoredvoiceovernarration.Only3ofKubrick's13filmslack
narrationSpaceOdyssey,TheShining,andEyesWideShut
38."TheKubrickSite:FredOrdwayon"2001" ".Visualmemory.co.uk.RetrievedAugust22,2010.
39.Clarke1972,.
40.Clarke,Arthur(1968).2001:ASpaceOdyssey.UK:NewAmericanLibrary.ISBN0453002692.
41.Agel1970,p.328329.
42.StanleyKubrick:ABiographybyVincentLoBruttop.310.
43.Gelmis,J."AnInterviewwithStanleyKubrick(1969)".RetrievedAugust31,2010.
44.SeeAlexanderWalker'sbookStanleyKubrick,Directorp.181182.Thisisthe2000edition.The1971editionistitled
"StanleyKubrickDirects"
45.Walker2000,p.192.
46.Bizony,Piers(2001).2001FilmingtheFuture.London:SidgwickandJackson.ISBN1854107062.
47.Walker2000,pp.181182.
48."TheKubrickSite:SlavojZizekonEyesWideShut".visualmemory.co.uk.
49.MichaelLennick(January7,2001).2001andBeyond(television).Canada:DiscoveryChannelCanada.
50.Ebert,Roger(March27,1997)."Review:2001,ASpaceOdyssey".ChicagoSunTimes.RetrievedAugust22,2010.
51.SeeWalker,Alexander.StanleyKubrickDirects.NewYork:HarcourtBraceJovanovich,1971p.251
52.BarbaraMiller,GraphicFilmsandtheInceptionof2001:ASpaceOdyssey,scienceandfilm.org,February23,2016(htt
p://scienceandfilm.org/articles/2656/graphicfilmsandtheinceptionof2001aspaceodyssey)
53.gioved3ottobre2013TheArtofRoyCarnon(http://www.2001italia.it/2013/10/theartofroycarnon.html)
54.Graham,GeraldG.(1989).Canadianfilmtechnology,18961986.Newark:UniversityofDelawarePress.p.114.
ISBN0874133475.Retrieved17August2016.
55.Evans,Gary(1991).Inthenationalinterest:achronicleoftheNationalFilmBoardofCanadafrom1949to1989
(Repr.ed.).Toronto:UniversityofTorontoPress.p.75.ISBN0802068332.Retrieved16August2016.
24/31
1/19/2017
56.Lacey,Liam(11March2016)."ColinLow:Agentlemangeniusofdocumentarycinema".TheGlobeandMail.Retrieved
15March2016.
57.Gedult,Carolyn.TheProduction:ACalendar.Reproducedin:Castle,Alison(Editor).TheStanleyKubrickArchives,
Taschen,2005.ISBN3822822841
58.Schwam2000,p.58.
59.Schwam2000,p.5
60.Lightman,HerbA.Filming2001:ASpaceOdyssey.AmericanCinematographer,June1968.Excerptedin:Castle,
Alison(Editor).TheStanleyKubrickArchives,Taschen,2005.ISBN3822822841
61.Richter2002,
62.Clarke1972,p.51.
63.Richter2002,p.135.
64.Schwam2001,p.117.
65.PeterKrmer,2001:ASpaceOdyssey,PalgraveMacmillan2010,pages3233
66.PeterKrmer,2001:ASpaceOdyssey,PalgraveMacmillan2010,page92
67.JamesChapman,NicholasJ.Cull,ProjectingTomorrow:ScienceFictionandPopularCinema,I.B.Tauris2013,2001a
SpaceOdyssey1968/footnote18
68.Bizony2001,p.159.
69.ExamplesoftheActionOfficedeskand"PropstPerch"chairappearinginthefilmcanbeseenin"HermanMillerOffice"
(2002)byLesliePinaonp.6671
70.DavidFranz,"TheMoralLifeofCubicles,"TheNewAtlantis,Number19,Winter2008,pp.132139(http://www.thene
watlantis.com/publications/themorallifeofcubicles)
71.CubicleshadearlierappearedinJacquesTati'sPlaytimein1967
72."2001:AFlatwareOdyssey".io9.January15,2008.RetrievedFebruary25,2011.
73.Friedman,Bradley(February27,2008)."2001:ASpaceOdysseyModernChairs&ProductsbyArneJacobsenBows
atGibraltarFurniture".FreePressRelease.com.RetrievedFebruary25,2011.
74."2001:ASpaceOdysseyProductsbyArneJacobsen".Designosophy.October4,2007.RetrievedFebruary25,2011.
75.Patton,Phil(February19,1998)."PublicEye30YearsAfter'2001':AFurnitureOdyssey".TheNewYorkTimes.
RetrievedFebruary26,2011.
76.Fiell,CharlotteandPeter(2005).1000Chairs(Taschen25).Taschen.ISBN382284103X.
77."OlivierMourgue,Designer:(born1939inParis,France)".OlivierMourgue.RetrievedFebruary25,2011.
78.ArticlebyWalkerinSchwamMakingof2001:ASpaceOdyssey
79.AtleastsomeofthespacestationisoccupiedbyHiltonhotel.TheconversationwiththeRussianscientiststakesplace
neartheirfrontdesk.
80.Walker,StanleyKubrickDirects,p.224.
81.Betweenthetwolineslargeredlettersreadingattop"CAUTION"andatbottom"EXPLOSIVEBOLTS"aresmaller
blacklinesreading"MAINTENANCEANDREPLACEMENTINSTRUCTIONS"followedbyevensmallerlinesof
fourinstructionsbeginning"(1)SELFTESTEXPLOSIVEBOLTSPERINST14PARA3SEC5DAFTEREACH
EVA",etcetera.TheinstructionsaregenerallylegibleonBlurayeditionsbutnotDVDeditionsofthefilm.
82.Addey,Dave(February11,2014)."2001:ASpaceOdyssey:TypesetintheFuture".RetrievedFebruary23,2014.
83.Bizony2001,p.133.
84.Lightman,HerbA."FrontProjectionfor"2001:ASpaceOdyssey" ".AmericanCinematographer.Retrieved
September20,2012.
85.DouglasTrumbull(June1968)."CreatingSpecialEffectsfor2001".AmericanCinematographer49(6):412413,420
422,416419,441447,451454,459461onlineexcerpt(http://cinetropolis.net/vintagearticlebydouglastrumbullon
creatingspecialeffectsfor2001aspaceodyssey/)
86.InterviewswithDouglasTrumbull(2001,SilentRunning,CE3K),FANTASTICFILMS[THEMAGAZINEOF
FANTASY&SCIENCEFICTIONINTHECINEMA]AUGUST1978VOL.1NO.3
87.Bizony2001,pp.113117.
88.GeorgeD.DeMet,TheSpecialEffectsof"2001:ASpaceOdyssey"(http://www.palantir.net/2001/meanings/dfx.html),
DFX,July1999
89.Bizony2001,pp.138144.
90.Bizony2001,p.144.
91.Agel1970,pp.129135.
92.JanHarlan,StanleyKubrick(October2007).2001:ASpaceOdyssey(DVD).WarnerBros.
93.Agel1970,pp.143146.
94.Agel1970,p.150.
25/31
1/19/2017
95."NewTitlesTheStanleyKubrickArchivesFacts".ArchivedfromtheoriginalonJuly5,2009.RetrievedFebruary5,
2007.
96.TimeWarpCDBookletTelarcRelease#CD80106
97.LoBrutto,Vincent(1998).StanleyKubrick.London:FaberandFaber.p.308.ISBN0571193935.
98.Cinefantastique,Volume24,Issues626p.41
99."RecordingEngineerEricTomlinson"(PDF).ChrisMalone.RetrievedOctober21,2014.
100."1968:LarvolutionKubrick".Cinezikwebsite(Frenchfilmmagazineonmusicinfilm)(inFrench).Archivedfromthe
originalonOctober23,2009.RetrievedSeptember29,2009.
101.(Usuallytranslatedas"ThusSpakeZarathustra"oroccasionally"ThusSpokeZarathustra"ThebookbyNietzschehas
beentranslatedbothwaysandthetitleofStrauss'smusicisusuallyrenderedintheoriginalGermanwhenevernot
discussedinthecontextof2001.AlthoughBritannicaOnline'sentryliststhepieceasspokeZarathustra,music
encyclopediasusuallygowith'spake'.Overall,'spake'ismorecommonmentioningtheStraussmusicand'spoke'more
commonmentioningthebookbyNietzsche.thesoundtrackalbumgivestheformer,themovie'screditsgivethelatter).
102.DonaldMacGregor."2001or,HowOneFilmReviewsWithaHammer(http://www.visualmemory.co.uk/amk/doc/0013.
html)".VisualMemory(http://www.visualmemory.co.uk/).RetrievedSeptember29,2009.
103.Keller,JamesM."ProgramNotesLigeti:LontanoforLargeOrchestra".SanFranciscoSymphony.Archivedfromthe
originalonFebruary11,2009.
104.Kosman,Joshua(June13,2006)."GyrgyLigetimusicscoresusedin'2001'film(obituary)".TheSanFrancisco
Chronicle.RetrievedJune13,2006.
105."BellLabs:Where"Hal"FirstSpoke".BellLabsSpeechSynthesiswebsite.ArchivedfromtheoriginalonApril7,2000.
RetrievedAugust13,2007.
106.Chion,Michel(2001).Kubrick'sCinemaOdyssey.TranslatedbyClaudiaGorbman.London:BritishFilmInstitute.
ISBN0851708404.
107.Pruys,GuidoMarc(1997).DieRhetorikderFilmsynchronisation:WieauslndischeSpielfilmeinDeutschlandzensiert,
verndertundgesehenwerden(inGerman).GunterNarrVerlag.p.107.ISBN3823342835.
108.Fini,Massimo(2009).Nietzsche.L'apolidedell'esistenza(inItalian).MarsilioEditori.pp.4089.ISBN8831797220.
109.DavidW.Patterson,"Music,StructureandMetaphorinStanleyKubrick's"2001:ASpaceOdyssey"."AmericanMusic,
Vol.22,No.3(Autumn,2004),pp.460461
110."royalsocietysouthbankcentre".2001:ASpaceOdyssey.2010.ArchivedfromtheoriginalonJuly25,2010.Retrieved
August11,2010.
111."FilmScreening:2001ASpaceOdyssey".SouthbankCentre.SouthbankCentre.Retrieved3October2016.
112."2001:ASpaceOdyssey".2001:ASpaceOdyssey.2013.ArchivedfromtheoriginalonJune15,2013.Retrieved
June15,2013.
113."ALivePresentationof2001:ASpaceOdyssey".HollywoodBowl.
114."TheFilmBuff'sDictionary".AllMovieTalk.Retrieved28July2014.
115.Roberte,Dariusz(20June2012)."2001:ASpaceOdyssey:ACriticalAnalysisoftheFilmScore".TheKubrickSite.
Retrieved28July2014.
116.Agel,Jrme,ed.(1970).TheMakingofKubrick's2001.SignetFilmSeriesVolume4205.NewYork:Signet.p.196and
captioninphotographssection.ISBN9780451071392.OCLC109475.
117.Duckworth,A.R.(27October2008)."BasicFilmTechniques:MatchCut".TheJournalofFilm,ArtandAesthetics.
TheMotleyView(blog).ISSN20494254.Retrieved28July2014.
118."2001'sPreandPostPremiereEditsbyThomasEBrown".RetrievedJanuary27,2012.KubrickandeditorRay
LovejoyeditedthefilmbetweenApril5and9,1968.Detailedinstructionsweresenttotheatreownersalreadyshowing
thefilmsothattheycouldexecutethespecifiedtrimsthemselves.Thismeantthatsomeofthecutsmayhavebeenpoorly
doneinaparticulartheatre,possiblycausingtheversionseenbyviewersearlyinthefilm'sruntovaryfromtheatreto
theatre.
119.FreemanDyson,DisturbingtheUniverse,1979,pg189191,ISBN0330263242
120."2001'sPreandPostPremiereEditsbyThomasEBrown".RetrievedJanuary27,2012.
121.Agel1970,p.27.
122."2001'sPreandPostPremiereEditsbyThomasEBrown".RetrievedJanuary27,2012.Unlikemostarticleson"The
KubrickSite"noauthorbiographyorearlierpublicationinformationisgiven.
123.Agel1970p.170
124.Robley,LesPaul(February1,2008)."2001:ASpaceOdyssey(BluRayreview)".AudioVideoRevolution.Retrieved
January7,2011.
125."2001:ASpaceOdyssey(Remastered)".dvd.net.au.RetrievedJanuary7,2011.
126."KubrickQuestionsFinallyAnsweredAnInDepthTalkwithLeonVitali".Dvdtalk.com.Archivedfromtheoriginalon
August1,2010.RetrievedAugust22,2010.
26/31
1/19/2017
127.Sciretta,Peter."WarnerBros.Responds:17Minutesof"Lost"'2001:ASpaceOdyssey'FootageFound?".
slashfilm.com.RetrievedJanuary4,2011.
128.Sneider,Jeff(December16,2010)."WBUncoversLostFootageFromKubrick's'2001:ASpaceOdyssey' ".Retrieved
December20,2010.
129.Burt,George(1995).TheArtofFilmMusic.NortheasternUniversityPress.p.126.ISBN9781555532703.Retrieved
October16,2011.
130.BROWN,THOMASE.VENDY,PHIL(March2,2000)."ATASTEOFBLUEFOODINSTANLEYKUBRICK'S
2001:ASPACEODYSSEY".Underview.com.RetrievedJanuary8,2011.
131.Coate,Michael."1968:ARoadshowOdysseyTheOriginalReservedSeatEngagementsOf'2001:ASpaceOdyssey' ".
in70mm.com.RetrievedJanuary7,2011.
132.Coate,Michael."1968:ARoadshowOdysseyTheOriginalReservedSeatEngagementsOf'2001:ASpaceOdyssey' ".
in70mm.com.RetrievedJanuary9,2011.
133."6thMoscowInternationalFilmFestival(1969)".MIFF.RetrievedDecember20,2012.
134.Hall,Sheldon(April9,2011)."Introductionto2001:ASpaceOdyssey".In70mm.com.Archivedfromtheoriginalon
May26,2011.
135.2001:AReReleaseOdyssey(http://www.wired.com/entertainment/music/news/2001/10/47432),Wired
136.PressReviews:2001:ASpaceOdyssey(http://news.bbc.co.uk/2/hi/entertainment/1258465.stm),BBC
137.NielsenBusinessMedia,Inc(1980)."MGM/CBSHomeVideoad".Billboard(November22,1980).RetrievedApril20,
2011.
138.2001:ASpaceOdyssey(http://www.krsjrproductions.com/2001aspaceodyssey.html)atKRSJRProductions.com.
RetrievedSeptember16,2009.Archived(http://www.webcitation.org/5jt8IxNjr)September18,2009.
139."StanleyKubrickCollectionOfficialAuthorizedSite(WarnerBros.)".WarnerBros.October25,2008.Archivedfrom
theoriginalonSeptember3,2010.RetrievedAugust22,2010.
140."BigRentalFilmsof1968",Variety,January8,1969p15.Thisfigureisarentalaccruingtodistributors.
141.Block,AlexBenWilson,LucyAutrey,eds.(2010).GeorgeLucas'sBlockbusting:ADecadebyDecadeSurveyof
TimelessMoviesIncludingUntoldSecretsofTheirFinancialandCulturalSuccess.HarperCollins.p.434.
ISBN9780061778896."DomesticRentals:$16.4ForeignRentals:$5.5ProductionCost:$10.3(InitialRelease
Unadjusted$sinMillionsof$s)"
142.Gilliatt,Penelope."AfterMan",reviewof2001reprintedfromTheNewYorkerinJeromeAgel'sTheMakingof
Kubrick's2001,SignetBooks,1970.ISBN0451071395
143.Champlin,Charles.Reviewof2001reprintedfromLosAngelesTimesinJeromeAgel'sTheMakingofKubrick's2001,
SignetBooks,1970.ISBN0451071395
144.Sweeney,Louise.Reviewof2001reprintedfromTheChristianScienceMonitorinJeromeAgel'sTheMakingof
Kubrick's2001,SignetBooks,1970.ISBN0451071395
145.French,Philip.Reviewof2001reprintedfromanunnamedpublicationinJeromeAgel'sTheMakingofKubrick's2001,
146.Adams,Marjorie.Reviewof2001reprintedfromBostonGlobeinJeromeAgel'sTheMakingofKubrick's2001,Signet
Books,1970.ISBN0451071395
147.Ebert,Roger(April12,1968)."Reviews:2001:ASpaceOdyssey,1968".ChicagoSunTimes.RetrievedAugust22,
2010.
148.Ebert,Roger."BFI|Sight&Sound|TopTenPoll2002Howthedirectorsandcriticsvoted".Archivedfromthe
originalonJuly29,2009.RetrievedJuly27,2009.
149.Unknownreviewer.Capsulereviewof2001reprintedfromTimeinJeromeAgel'sTheMakingofKubrick's2001,Signet
Books,1970.ISBN0451071395
150."Scorsese's12favoritefilms".Miramax.com.RetrievedDecember25,2013.
151.Duncan,Paul(2003),"StanleyKubrick:TheCompleteFilms",TaschenGmbH,pp.1011,ISBN9783836527750
152."HowILearnedToStopWorryingAndLove'BarryLyndon' ".TheNewYorkTimes.RetrievedJune30,2013.
153.StanleyKauffmann,"LostintheStars,"TheNewRepublic.Retrievedfromhttp://www.krusch.com/kubrick/Q16.html
154.Adler,Renata.Reviewof2001reprintedfromTheNewYorkTimesinJeromeAgel'sTheMakingofKubrick's2001,
155.Frederick,RobertB.(April1,1968)."Review:'2001:ASpaceOdyssey' ".Variety.
156.Sarris,Andrew.Reviewof2001reviewquotedfromaWBAIradiobroadcastinJeromeAgel'sTheMakingofKubrick's
2001,SignetBooks,1970.ISBN0451071395
157."HailtheConqueringHero".FilmComment.com.RetrievedJanuary12,2007.
158.Simon,John.Reviewof2001reprintedfromTheNewLeaderinJeromeAgel'sTheMakingofKubrick's2001,Signet
Books,1970.ISBN0451071395
27/31
1/19/2017
159.Joyce,Paul(director)Doran,Jamie(producer)Bizony,Piers(assoc.producer)(2001).2001:TheMakingOfAMyth
(Televisionproduction).UK:ChannelFourTelevisionCorp.Eventoccursat15:56.
160."BBCFilmsreview2001:ASpaceOdyssey".BBC.RetrievedAugust22,2010.
161.FrombothareviewandasubsequentinterviewquotedinBrosnan,John(1978).FutureTense:TheCinemaofScience
Fiction.St.Martin'sPress.p.179.
162.Delany'sreviewandDelRey'sbothappearinthe1968anthologyTheYear'sBestScienceFictionNo.2editedbyHarry
HarrisonandBrianW.Aldiss.BothreviewsarealsoprintedonTheKubrickSite,DelRey'sisat[1](http://www.visual
memory.co.uk/amk/doc/0045.html)andDelany'sat[2](http://www.visualmemory.co.uk/amk/doc/0044.html)
163."1969HugoAwards".WorldScienceFictionSociety.RetrievedOctober16,2012.
164.Anders,CharlieJane."R.I.P.hardsciencefictionwriterJamesP.Hogan".io9.
165.Kazan,Casey(July10,2009)."RidleyScott:"After2001ASpaceOdyssey,ScienceFictionisDead" ".
Dailygalaxy.com.RetrievedAugust22,2010.
166.InFocusontheScienceFictionFilm,editedbyWilliamJohnson.EnglewoodCliff,N.J.:PrenticeHall,1972.
167.DeMet,GeorgeD."2001:ASpaceOdysseyInternetResourceArchive:TheSearchforMeaningin2001".Palantir.net
(originallyanundergradhonorsthesis).RetrievedAugust22,2010.
168."ThisDayinScienceFictionHistory2001:ASpaceOdyssey|DiscoverMagazine".Blogs.discovermagazine.com.
RetrievedAugust22,2010.
169."WholeEarthorNoEarth:TheOriginoftheWholeEarthIconintheAshesofHiroshimaandNagasaki
TheAsiaPacificJournal".TheAsiaPacific
Journal:JapanFocus.
170."AppleiPadvsSamsungGalaxy:StanleyKubrickShowedTabletin'2001:ASpaceOdyssey' ".ABCNews.
171.Jones,Melanie(October25,2011)."iPhone4SSiriGoes'2001:SpaceOdyssey':ThinkGeek'sNewIRIS9000
[VIDEO]".InternationalBusinessTimes.RetrievedDecember2,2011.
172.SomeEuropeanCommissionofficialreferenceisstillavailableonCORDISarchive(http://cordis.europa.eu/esprit/src/res
ults/res_area/omi/omi7.htm)
173.Clarke,Arthur(1972).ThelostWorldsof2001.SidgwickandJackson.p.50.ISBN0283979046.
174."FILMNOMINATIONS1968".BritishAcademyofFilmandTelevisionArts.RetrievedOctober16,2012.
175."Awardsfor1968".NationalBoardofReviewofMotionPictures.RetrievedOctober16,2012.
176."Winners:1960s".KansasCityFilmCriticsCircle.RetrievedOctober16,2012.
177."Awards/History/196821stAnnualDGAAwards".DirectorsGuildofAmerica.RetrievedOctober16,2012.
178.O'Neil,Thomas(2003).Movieawards:theultimate,unofficialguidetotheOscars,GoldenGlobes,critics,Guild&
Indiehonors.PerigeeBook.p.306.ISBN9780399529221.
179."PremiosdelCECalaproduccinespaolade1968".CrculodeEscritoresCinematogrficos(inSpanish).Retrieved
October16,2012.
180."AwardsforStanleyKubrick".L'accademiadelCinemaItaliano(inItalian).RetrievedOctober16,2012.
181."AFI's100Years...100Movies"(PDF)(10thAnniversaryed.).AmericanFilmInstitute.RetrievedNovember13,2014.
182."AFI's100Years...100Movies"(PDF).AmericanFilmInstitute.RetrievedNovember13,2014.
183."AFI's100Years...100Thrills"(PDF).AmericanFilmInstitute.RetrievedNovember13,2014.
184."AFI's100Years...100MovieQuotes"(PDF).AmericanFilmInstitute.RetrievedNovember13,2014.
185."AFI's100Years...100Heroes&Villains"(PDF).AmericanFilmInstitute.RetrievedNovember13,2014.
186."AFI's100Years...100Cheers"(PDF).AmericanFilmInstitute.RetrievedDecember12,2014.
187."AFI's10Top10:Top10SciFi".AmericanFilmInstitute.RetrievedNovember13,2014.
188."2001:ASpaceOdysseyNamedtheGreatestSciFiFilmofAllTimeBytheOnlineFilmCriticsSociety".OnlineFilm
CriticsSociety.ArchivedfromtheoriginalonNovember26,2006.RetrievedDecember15,2006.
189."NationalFilmRegistryPreservationBoard".LibraryofCongress.September12,2011.RetrievedJanuary27,2012.
190."Sight&Sound:TopTenPoll2002".BritishFilmInstitutewebsite.ArchivedfromtheoriginalonDecember16,2006.
RetrievedDecember15,2006.
191."USCCB(FilmandBroadcasting)VaticanBestFilmsList".USCCBwebsite.ArchivedfromtheoriginalonApril
18,2007.RetrievedApril22,2007.
192."Topmoviesforschoolsrevealed".BBCNews.December13,2011.RetrievedJanuary4,2012.
193.Seeespeciallytheessay"AuteurwithaCapitalA"byJamesGilbertanthologizedinKolker,Robert(2006).Stanley
Kubrick's2001:aspaceodyssey:newessays.OxfordUniversityPress.ISBN9780195174526.
194.discussedforexampleinStephanieSchwam'sThemakingof2001,aspaceodysseyGoogle'secopyhasnopagination
195."TheFilmDirectorasSuperstar"(DoubledayandCompany:GardenCity,NewYork,1970)byJosephGelmis
196.Houston,Penelope(April1,1971).SightandSoundInternationalFilmQuarterly,Volume40No.2,Spring1971.
London:BritishFilmInstitute.
197.Sheridan,Chris."StanleyKubrickandSymbolism".RetrievedApril10,2009."Reproducing"
28/31
1/19/2017
198.Burfoot,Annette(2006)."TheFetalVoyager:WomeninModernMedicalVisualDiscourse".InShteir,AnnLightman,
Bernard.Figuringitout:science,gender,andvisualculture.UPNE.p.339.ISBN9781584656036.
199.Grant,BarryKeith(2010).ShadowsofDoubt:NegotiationsofMasculinityinAmericanGenreFilms.WayneState
UniversityPress.p.135.ISBN9780814334577.
200.reprintedinSchwam,Stephanie(2000).Themakingof2001,aspaceodyssey.RandomHouse.pp.164165.ISBN0
375755284.
201.Geduld,Carolyn(1973).Filmguideto2001:aspaceodyssey.IndianaUniversityPress.pp.40,63.
202.LoBrutto,Vincent(1999).StanleyKubrick:ABiography.DaCapoPress.pp.310,606.ISBN9780306809064.
203.Schwam,Stephanie(2000).Themakingof2001,aspaceodyssey.RandomHouse.pp.164165.ISBN0375755284.
204.SeeTimDirks'synopsisontheA.M.C.moviesite.Dirks,Tim."2001:ASpaceOdyssey".Filmsite.org.Retrieved
February25,2011.
205.SeeTimDirks'synopsisontheA.M.C.moviesite.Dirks,Tim."2001:ASpaceOdyssey".Filmsite.org.Retrieved
February25,2011.Hesaysthatintheapeencounter"Withthemysteriousmonolithintheforeground,theglowingSun
risesovertheblackslab,directlybeneaththecrescentoftheMoon"andthatontheMoon"Again,theglowingSun,
MoonandEarthhaveformedaconjunctiveorbitalconfiguration."
206.SeeoriginalRollingStonereviewbyBobMcClayreproducedinSchwam,Stephanie(2000).Themakingof2001,a
spaceodyssey.0375755284,9780375755286:RandomHouse.pp.164165.
207.Webster,Patrick(2010).LoveandDeathinKubrick:ACriticalStudyoftheFilmsfromLolitaThroughEyesWideShut.
McFarland.p.66.ISBN9780786459162.
208.Caicco,Gregory(2007).Architecture,ethics,andthepersonhoodofplace.UPNE.p.137.ISBN9781584656531.
209.Westfahl,Gary(2005).TheGreenwoodEncyclopediaofScienceFictionandFantasy:Themes,Works,andWonders,
Volume2.GreenwoodPublishingGroup.p.707.ISBN9780313329524.
210.ChristopherPalmer.'BigDumbObjectsinScienceFiction:Sublimity,Banality,andModernity,'Extrapolation.Kent:
Spring2006.Vol.47,Iss.1page.103
211.MarkStetson(modelshopsupervisor)(1984).2010:TheOdysseyContinues(DVD).ZMProductions/MGM.Archived
fromtheoriginalonAugust24,2007.RetrievedAugust31,2007.
212."StarshipModeler:Modeling2001and2010Spacecraft".October19,2005.ArchivedfromtheoriginalonAugust20,
2006.RetrievedSeptember26,2006.
213.Bentley,Chris(2008).TheCompleteGerryAnderson:TheAuthorisedEpisodeGuide(4thed.).London:Reynoldsand
Hearn.ISBN9781905287741.
214.Starlogmagazine
215.LoBrutto,Vincent.StanleyKubrick.London:Faber&FaberLimited,1997,p.456.
216."3001:TheFinalOdyssey"(https://web.archive.org/web/20071013214251/http://movies.yahoo.com/movie/preview/18084
02810)onYahoo!Movies(viaWaybackMachine)
217.[3](http://www.2001exhibit.org/about/2061.html)[4](http://www.2001exhibit.org/about/3001.html)
218."DougGilford'sMadCoverSiteMad#125".madcoversite.com.
219.Agel1970,pp.89.
220.McMichael,JoeLyons,Jack(2001).TheWho:ConcertFile.OmnibusPress.p.480.ISBN9780857127372.
221.Arthur,Charles(January25,1999)."HalconfessesallandjoinsApple".TheIndependent.London.Retrieved
November26,2010.
222.Douglas,Clark(December21,2009)."DVDVerdictReview:TheMelBrooksCollection".DVDVerdict.Archivedfrom
theoriginalonDecember25,2010.RetrievedNovember26,2010.
223.FilmandFilming,Volume211975p.221
224.Dirks,Tim."Sleeper(21973)".Filmsite.org.ArchivedfromtheoriginalonDecember5,2010.RetrievedNovember26,
2010.
225."StanleyandBart...anotherKubricklegend".TheGuardian(UK).London.July16,1999.RetrievedNovember26,
2010.
226.ColinKennedy(September2004)."TheTenBestMovieGagsInTheSimpsons".Empire.pp.76.
227.20FunniestFuturamaFilmParodiesatgamesradar.com(http://www.gamesradar.com/20funniestfuturamafilmparodie
s/)
228.Booker,Keith(2006).DrawntoTelevisionPrimetimeAnimationfromtheFlintstonestoFamilyGuy.Greenwood
PublishingGroup.p.137.ISBN9780313076152.
229.Davidson,JamesA.(1998)."TheDirectorthatTimeForgot".Images:AJournalofFiilmandPopularCulture.Archived
fromtheoriginalonNovember23,2010.RetrievedNovember26,2010.
230.Hartl,John(July14,2005)." 'ChocolateFactory'isatastysurprise".MSNBC.RetrievedDecember5,2010.
231.Forbes,Harry(2005)."CharlieandtheChocolateFactory".CatholicNews.ArchivedfromtheoriginalonOctober7,
2010.RetrievedDecember4,2010.
29/31
1/19/2017
232.Wortham,Jenna(June18,2008)."RetroFuturismofWallERecalls2001,BladeRunner".WIRED.Retrieved
December4,2010.
233.Moskowitz,Clara(June27,2008)."WALLEspreadstherobotlove".USAToday.RetrievedDecember4,2010.
234.Toppman,Lawrence."Wellfocused'Eye'hasacrazyvision".CharlotteObserver.RetrievedDecember4,2010.
235.LondonMagazine,2006(issueneeded),p.40
236.AfewreferencebiographiesorobituariesforLeslieNielsenspeakasifSpaceTravestywasaspoofofKubrick's
film.Bolam,SarahMilesBolam,ThomasJ.(2011).FictionalPresidentialFilms:AComprehensiveFilmographyof
Portrayalsfrom1930to2011.XlibrisCorporation.p.243.ISBN146289318X.RetrievedDecember10,2011."Leslie
Nielsen19262010"(ObituarypromotingforthcomingdaylongNielsenmarathononSkynetwork).SkyMoviesHD.Archivedfrom
theoriginalonJanuary7,2011.RetrievedDecember10,2010.
237.Nielsen'sAirplanewhichwasasceneforsceneparodyofZeroHour.Abrahams,JimZucker,DavidZucker,Jerry
Davidson,Jon(2000).Airplane!DVDaudiocommentary(DVD).ParamountPictures.Severalotherfilmsofhiswere
alsofullparodiesofanotherfilm.
238.Pritchett,D.W.(March18,2002)."2001:ASpaceTravesty".DVDEmpire.RetrievedDecember10,2010.
239.Slotek,Jim(December1,2001)."AbigemptySpace".Jam!Showbiz.RetrievedDecember10,2010.
240.Garabedian,Berge(2010)."(reviewof)2001:ASpaceTravesty".JoBloMovieReviews.RetrievedDecember8,2010.
241."AirplaneIITheSequel".scificolony.canaryzoo.com.RetrievedFebruary21,2011.
242.Naugle,Patrick(November9,2000)."Airplaneii:thesequel".DVDVerdict.RetrievedFebruary21,2011.
243.Finkleman,Ken."AirplaneII:TheSequel".TheSpinningImage.RetrievedFebruary21,2011.
244.Klafter,Erick(April23,2003)."AirplaneII:TheSequel".TheBoxSet.RetrievedFebruary21,2011.
245."MysteryScienceTheater3000(1998)".ArtoftheTitle.RetrievedOctober20,2014.
246.RobertG.WeinerShelleyE.Barba,eds.(2011).InthePeanutGallerywithMysteryScienceTheater3000:Essayson
Film,Fandom,TechnologyandtheCultureofRiffing.McFarland.p.175.ISBN0786485728.
247.Humanick,Rob(September4,2013)."MysteryScienceTheater3000:TheMovie".SlantMagazine.Retrieved
October20,2014.
248.TheMakingofMetalGearSolid2:SonsofLibertyDVDpackagedwithEuropeanversionofMetalGearSolid2:Sonsof
Liberty
Furtherreading
Chion,Michel(2001).Kubrick'scinemaodyssey.BritishFilmInstitute.ISBN9780851708393.
Frayling,Christopher(2015).The2001File:HarryLangeandtheDesignoftheLandmarkScienceFiction
Film.London:ReelArtPress.ISBN9780957261020.
Trumbull,Douglas(June1968)."CreatingSpecialEffectsfor2001".AmericanCinematographer.49(6):
412413,420422,416419,441447,451454,459461.
Externallinks
2001:ASpaceOdyssey(http://www.imdb.com/title/tt0062622/)at
WikimediaCommonshas
theInternetMovieDatabase
mediarelatedto2001:A
2001:ASpaceOdyssey(http://www.allmovie.com/movie/v169)at
SpaceOdyssey.
AllMovie
2001:ASpaceOdyssey(http://tcmdb.com/title/title.jsp?stid=628)at
Wikiquotehasquotations
theTCMMovieDatabase
relatedto:2001:ASpace
2001:ASpaceOdyssey(https://www.rottentomatoes.com/m/1000085
Odyssey
2001_a_space_odyssey/)atRottenTomatoes
2001:ASpaceOdysseyScriptondailyscripts.com(http://www.dailyscript.com/scripts/2001.html)
2001:ASpaceOdysseyInternetResourceArchive(http://www.palantir.net/2001/)
Kubrick2001:TheSpaceOdysseyExplained(http://www.kubrick2001.com/)
The2001:ASpaceOdysseyCollectiblesExhibit(http://www.2001exhibit.org/)
RogerEbert'sEssayon2001(http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970327/REVIE
WS08/401010362/1023)
TheAlt.Movies.KubrickFAQ(http://www.krusch.com/kubrick/kq.html)manyobservationsonthemeaning
of2001
30/31
1/19/2017
TheKubrickSite(http://www.visualmemory.co.uk/amk/)includingmanyworkson2001
Retrievedfrom"https://en.wikipedia.org/w/index.php?title=2001:_A_Space_Odyssey_(film)&oldid=760770140"
Categories: 1968films Englishlanguagefilms 1960ssciencefictionfilms
AdaptationsofworksbyArthurC.Clarke Americanepicfilms Americansciencefictionfilms
BAFTAwinners(films) Britishepicfilms Britishsciencefictionfilms Countercultureofthe1960s
Cryonicsinfiction ElstreeStudiosfilms Filmsaboutartificialintelligence Filmsaboutastronauts
Filmsaboutspaceprograms Filmsabouttechnologicalimpact Filmsabouttechnology
Filmsadaptedfromsciencefictionshortstories Filmsadaptedintocomics Filmsbasedonshortfiction
FilmsdirectedbyStanleyKubrick FilmsproducedbyStanleyKubrick Filmssetin1999 Filmssetin2001
Filmssetinthefuture FilmsshotinArizona FilmsshotinHertfordshire FilmsshotinNahEileananSiar
FilmsshotinSpain FilmsshotinSurrey FilmsshotinUtah
FilmsthatwontheBestVisualEffectsAcademyAward
HugoAwardforBestDramaticPresentationwinningworks Jupiterinfilm MetroGoldwynMayerfilms
Mooninfilm Prehistoricpeopleinpopularculture ScreenplaysbyStanleyKubrick
SheppertonStudiosfilms Spaceadventurefilms SpaceOdysseyseries
UnitedStatesNationalFilmRegistryfilms Evolutioninpopularculture Epicsciencefictionfilms
StanleyKubrick
Thispagewaslastmodifiedon18January2017,at23:56.
TextisavailableundertheCreativeCommonsAttributionShareAlikeLicenseadditionaltermsmayapply.
Byusingthissite,youagreetotheTermsofUseandPrivacyPolicy.Wikipediaisaregisteredtrademark
oftheWikimediaFoundation,Inc.,anonprofitorganization.
31/31

2001 - A Space Odyssey (Film) - Wikipedia

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

2001 - A Space Odyssey (Film) - Wikipedia

Caricato da

Copyright:

Formati disponibili

1/19/2017

Potrebbero piacerti anche