2001: A Space Odyssey (1968) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error 2001: A Space Odyssey ( 1968 ) G | From $2.99 (SD) on Amazon Video ON DISC Humanity finds a mysterious, obviously artificial object buried beneath the Lunar surface and, with the intelligent computer H.A.L. 9000, sets off on a quest. Director: a list of 28 titles created 24 Apr 2011 a list of 30 titles created 06 Feb 2012 a list of 25 titles created 02 Apr 2013 a list of 23 titles created 28 Nov 2014 a list of 24 titles created 10 months ago Title: 2001: A Space Odyssey (1968) 8.3/10 Want to share IMDb's rating on your own site? Use the HTML below.

You must be a registered user to use the IMDb rating plugin. Won 1 Oscar. Another 13 wins & 7 nominations. See more awards » Videos 1 2 3 4 5 6 7 8 9 10 8.3/10 X In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan. Director: Stanley Kubrick A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future. Director: Stanley Kubrick A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue. Director: Stanley Kubrick During the Vietnam War, Captain Willard is sent on a dangerous mission into Cambodia to assassinate a renegade colonel who has set himself up as a god among a local tribe.

Director: Francis Ford Coppola An insane general triggers a path to nuclear holocaust that a war room full of politicians and generals frantically try to stop. Director: Stanley Kubrick 1 2 3 4 5 6 7 8 9 10 8.5/10 X After a space merchant vessel perceives an unknown transmission as distress call, their landing on the source moon finds one of the crew attacked by a mysterious lifeform. Continuing their journey back to Earth with the attacked crew having recovered and the critter deceased, they soon realize that its life cycle has merely begun. Director: Ridley Scott Marty McFly, a 17-year-old high school student, is accidentally sent 30 years into the past in a time-traveling DeLorean invented by his close friend, the maverick scientist Doc Brown. Director: Robert Zemeckis A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.

Director: Martin Scorsese A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients. Director: Milos Forman After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. Director: Quentin Tarantino Archaeologist and adventurer Indiana Jones is hired by the U.S. government to find the Ark of the Covenant before the Nazis. Director: Steven Spielberg The lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits intertwine in four tales of violence and redemption. Director: Quentin Tarantino Edit Storyline "2001" is a story of evolution. Sometime in the distant past, someone or something nudged evolution by placing a monolith on Earth (presumably elsewhere throughout the universe as well). Evolution then enabled humankind to reach the moon's surface, where yet another monolith is found, one that signals the monolith placers that humankind has evolved that far. Now a race begins between computers (HAL) and human (Bowman) to reach the monolith placers.

The winner will achieve the next step in evolution, whatever that may be. Written by Larry Cousins Let the Awe and Mystery of a Journey Unlike Any Other Begin See more » Genres: 12 May 1968 (UK) See more » Also Known As: How the Solar System Was Won See more » Filming Locations: (initial release) Sound Mix: 4-Track Stereo (35 mm magnetic prints)| 70 mm 6-Track (70 mm prints)| DTS 70 mm (2001 re-release) Color: Did You Know? Trivia This was the first film to make extensive use of front projection to provide backgrounds against which the actors worked. Using large transparencies, the crew projected the African landscape on the set for the "Dawn of Man" sequence. The same technique was used for the scenes of the moon landing. See more » Goofs The famous centrifuge area of Discovery provides simulated gravity for the crew. However, the pod bay does not rotate, and is gravity-less. Poole and Bowman appear to walk normally there because they are wearing the same "grip shoes" as in other scenes in gravity-less parts of the ship.

See more » Quotes See more » Crazy Credits The traditional "roaring lion" logo for MGM was not used in this film. Instead, the newly designed corporate logo for Metro-Goldwyn-Mayer was used, along with the letters "MGM", all in white against a blue background. See more » Connections (Philadelphia, PA) – See all my reviews I write this review just after hearing of Stanley Kubrick's death. It's a great loss, and I write about 2001: A SPACE ODYSSEY, because I feel it is the consummate Kubrick film, the one he will be most remembered for. It is a picture like no other, not only revolutionizing science fiction, but changing the way films are conceptualized. It was probably America's first 'art' film and has inspired the likes of George Lucas and countless other writers and directors. Aside from its visual greatness, the reason the film spawns so much discussion and analysis is because so many people have so many different interpretations of it. Kubrick and Arthur C. Clarke, his co-writer, had a vision, but we have never really found out what was going through their minds.

Of course, the skinny on its 'message' is how technology of the future will take over humanity and decide the course of our lives unless we are careful. 2001's ending is one of hope, a version of our rebirth through the star-child's flight back to earth. It is meaningless to many, but discerning filmgoers will understand. Although 2001 does not have the wicked, dark humor of DR. STRANGELOVE or CLOCKWORK ORANGE, or contain strong, eccentric characters that filled his earlier works like PATHS OF GLORY or SPARTACUS, I still feel he would've liked to be remembered most for this. If anything, HAL will be his most memorable character, dangerous, murderous, and artificial. It was a half-decade in the making at a time when Hollywood was still churning out dull musicals and just waking up to the New Wave of French and Italian cinema. Kubrick was a maverick director who made great films on his own terms, his own time, and for everyone else to marvel at. He will be missed. 298 of 460 people found this review helpful. Was this review helpful to you?

Yes 2001: A Space Odyssey (1968) -- (Movie Clip) HAL 9000 2001: A Space Odyssey (1968) -- (Movie Clip) HAL... Introduction of the HAL 9000 computer (voice by Douglas... 2001: A Space Odyssey (1968) -- (Movie... 2001: A Space Odyssey (1968) -- (Movie Clip) HAL 9000 Introduction of the HAL 9000 computer (voice by Douglas Rain) and the two not-hibernating members of the Jupiter mission on the spaceship Discovery One, Dave (Keir Dullea) and Frank (Gary Lockwood), in Stanley Kubrick's 2001: A Space Odyssey, 1968.> Ben Mankiewicz Intro -- 2001: A Space Odyssey... Ben Mankiewicz introduces 2001: A Space Odyssey, 1968. Ben Mankiewicz Intro -- 2001: A Space...

Ben Mankiewicz Intro -- 2001: A Space Odyssey (1968) Ben Mankiewicz introduces 2001: A Space Odyssey, 1968. > Ben Mankiewicz Intro -- 2001: A Space Odyssey... Ben Mankiewicz introduces 2001: A Space Odyssey, 1968. Ben Mankiewicz introduces <B>2001:... Ben Mankiewicz Intro -- 2001: A Space Odyssey (1968) Ben Mankiewicz introduces 2001: A Space Odyssey, 1968. > The Story Of Film: An Odyssey (2011) -- (TCM... TCM's Original Promo for the 15-part documentary by film...

The Story Of Film: An Odyssey (2011) -- (TCM Promo) TCM's Original Promo for the 15-part documentary by film historian Mark Cousins, The Story Of Film: An Odyssey, premiering Monday, September 2nd at 10pm ET.> 2001: A Space Odyssey (1968) -- (Movie Clip) Moon... Set piece for director Stanley Kubrick, four million years... 2001: A Space Odyssey (1968) -- (Movie... 2001: A Space Odyssey (1968) -- (Movie Clip) Moon Mission Set piece for director Stanley Kubrick, four million years since the "Dawn Of Man" sequence, astronauts on the surface of the moon investigate a mysterious monolith identical to the ones the apes saw, in 2001: A Space Odyssey, from Arthur C. Clarke's novel and screenplay.> 2001: A Space Odyssey (1968) -- (Movie Clip)... Second stanza of Stanley Kubrick's "Dawn Of Man" sequence,... 2001: A Space Odyssey (1968) -- (Movie...

2001: A Space Odyssey (1968) -- (Movie Clip) Monolith Second stanza of Stanley Kubrick's "Dawn Of Man" sequence, the apes awaken one morning to find what will become known as "the monolith," early in 2001: A Space Odyssey, 1968.> 2001: A Space Odyssey (1968) -- (Movie Clip)... Dave (Keir Dullea) and Frank (Gary Lockwood) instruct their... 2001: A Space Odyssey (1968) -- (Movie Clip) Famous Last Words Dave (Keir Dullea) and Frank (Gary Lockwood) instruct their mission-control computer "Hal" to leave them where the computer cannot listen-in, as they discuss a disturbing system-error, in Stanly Kubrick's 2001: A Space Odyssey, 1968. > 2001: A Space Odyssey (1968) -- (Movie Clip)... Just a portion of the trippy part, Dave (Keir Dullea) has... 2001: A Space Odyssey (1968) -- (Movie...

2001: A Space Odyssey (1968) -- (Movie Clip) Jupiter And Beyond Just a portion of the trippy part, Dave (Keir Dullea) has left the mother-ship in an "EVA" pod, after hearing secret instructions, and sees weird stuff as he approaches Jupiter, late in Stanley Kubrick's 2001: A Space Odyssey, 1968.> 2001: A Space Odyssey (1968) -- (Movie Clip) Fight The ending of director Stanley Kubrick's "Dawn Of Man"... 2001: A Space Odyssey (1968) -- (Movie... 2001: A Space Odyssey (1968) -- (Movie Clip) Fight The ending of director Stanley Kubrick's "Dawn Of Man" sequence, the apes have become carnivorous and homicidal, and a bone thrown in the air leads to one of the most famous edits in film history, in 2001: A Space Odyssey, 1968.> Model Shop -- (Movie Clip) Opening Opening title sequence for Jacques Demy's Model Shop, 1969,...

Model Shop -- (Movie Clip) Opening Opening title sequence for Jacques Demy's Model Shop, 1969, features music by Spirit, a long camera move by Michael Hugo, and Gary Lockwood in his big post 2001: A Space Odyssey role. > 2001 (TCM brand campaign) - (A TCM Promo) TCM shows how not all computer upgrades... 2001 (TCM brand campaign) - (A TCM Promo) TCM shows how not all computer upgrades are in your best interest.> Zinzin | How HAL from “2001: A Space Odyssey” got his name…and no, it’s not IBM minus one By Jay How HAL from “2001: A Space Odyssey” got his name…and no, it’s not IBM minus one The HAL 9000 computer is one of the stars of Stanley Kubrick’s science-fiction film masterpiece, 2001: A Space Odyssey, and the novel it is based on by Arthur C. Clarke. It has often been a legend that the name HAL was derived because each letter comes one place before IBM in the alphabet. Arthur C.

Clarke has always denied this, and the true origin of HAL’s name is recounted on the HAL 9000 Wikipedia page : Although it is often conjectured that the name HAL was based on a one-letter shift from the name IBM, this has been denied by both Clarke and 2001 director Stanley Kubrick. In 2010: Odyssey Two, Clarke speaks through the character of Dr. Chandra (he originally spoke through Dr. Floyd until Chandra was awoken), who characterized this idea as: “[u]tter nonsense! […] I thought that by now every intelligent person knew that H-A-L is derived from Heuristic ALgorithmic”. Clarke more directly addressed this issue in his book The Lost Worlds of 2001: As is clearly stated in the novel (Chapter 16), HAL stands for Heuristically programmed ALgorithmic computer. However, about once a week some character spots the fact that HAL is one letter ahead of IBM, and promptly assumes that Stanley and I were taking a crack at the estimable institution … As it happened, IBM had given us a good deal of help, so we were quite embarrassed by this, and would have changed the name had we spotted the coincidence.

Also, IBM is explicitly mentioned in the film 2001, as are many other real companies. IBM is given fictional credit as being the manufacturer of the Pan Am Clipper’s computer, and the IBM logo can be seen in the center of the cockpit’s instrument panel. In addition, the IBM logo is shown on the lower arm keypad on Poole’s space suit in the scene where he space walks to replace the antenna unit, and may possibly be shown reflected on Bowman’s face when he is inside the pod on his way to retrieve the body of Poole (there is speculation as to whether or not the reflection is that of the letters “IBM” or the letters “MGM”, the film studio). HAL has become such an icon of our culture that we are fortunate neither Clarke or Kubrick noticed the downshift from “IBM,” or this epic computer may have been named “ Siri .” Or Dora. Or Obie. Or any one of these other names of fictional computers . View All Photos (18) Movie Info A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C.

Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path. Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship.

When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e.

chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi Rating: 2001: A Space Odyssey #3 Movie CLIP - Hal 9000 (1968) HD - YouTube 2001: A Space Odyssey #3 Movie CLIP - Hal 9000 (1968) HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on May 31, 2011 2001: A Space Odyssey movie clips: BUY THE MOVIE: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: The Hal 9000 computer refuses to obey an order from Bowman (Keir Dullea) by simply responding in monotone, "I'm sorry Dave, I'm afraid I can't do that." FILM DESCRIPTION: A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S.

scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path. Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. CREDITS: 2001: A Space Odyssey (1968) - FAQ The content of this page was created directly by users and has not been screened or verified by IMDb staff. Visit our FAQ Help to learn more FAQ How much sex, violence, and profanity are in this movie?

For detailed information about the amounts and types of (a) sex and nudity, (b) violence and gore, (c) profanity, (d) alcohol, drugs, and smoking, and (e) frightening and intense scenes in this movie, consult the IMDb Parents Guide for this movie. The Parents Guide for 2001: A Space Odyssey can be found here . What is '2001: A Space Odyssey' about? When a mysterious monolith buried 40 feet beneath the lunar surface is found to emit a radio transmission to Jupiter, five researchers, including Commander Dave Bowman ( Keir Dullea ) and Dr Frank Poole ( Gary Lockwood ), are dispatched on the S.S. Discovery, powered and controlled by a revolutionary computer system known as HAL 9000, to investigate. However, HAL has an agenda of its own. Is "2001: A Space Odyssey" based on a book? 2001: A Space Odyssey began as an idea by director Stanley Kubrick [1928-1999] to create the "proverbial good science fiction movie." He developed the screenplay in collaboration with British science fiction author Sir Arthur C.

Clarke [1917-2008] based on Clarke's 1950 short story 'The Sentinel'. As they were working on the screenplay, they were also placing their ideas into a book that was subsequently published in 1968 by Clarke under the same title as the movie. The novel was scheduled to be released prior to the film pending Kubrick's approval of the book's content. It was Clarke's belief that Kubrick intentionally delayed signing off on Clarke's version so that the movie would be released first. In 1972, Clarke published The Lost Worlds of 2001, a compilation of behind-the-scenes notes about the script and production issues. It also included a copy of The Sentinel and excerpts from the early screenplay that did not make it into the final version of the film. A sequel movie, 2010 , was released in 1984. Were those actual apes in the Dawn of Man sequence? Except for two baby chimpanzees, the apes were all actors in costume.

All the other animals were real (the pig-like animals are tapirs ), and many of the animal sounds were genuine, originally collected in Africa for Mogambo (1953). The scenes were filmed on a stage at Borehamwood Studios in England, using a complicated projection system to create the backgrounds. What are the monoliths? The monoliths are tools of a highly advanced alien civilization. They are placed to observe and, in Kubrick's words, "influence" the "evolutionary progression" of humanity. Each of the three monoliths has a different purpose. The hominids' contact with the first, in the 'Dawn of Man' sequence, sparked the discovery of tools/weapons. The second, found on the moon, emitted a powerful radio signal directed at Jupiter. While the monolith is activated by sunlight in the novel, it is completely lit by artificial lighting in the film when it emits its signal. The lunar night is too long for the sun to rise during the short time Floyd is at the site. The confusion arises due to an edit (what may be a time cut) to the sun appearing above the monolith.

The third, located at the Lagrange point between Io and Jupiter, either leads to and opens or is itself the door to the stargate transporting Bowman to his destiny. A monolith appears at the foot of Bowman's bed immediately before his transformation and it sends him, as the Starchild, back to Earth. Whether this is the same monolith that sent him through the Stargate, as Kubrick's own comments suggest, or a different monolith, as certain interpreters believe, remains a question open to debate. Not pointed out in the movie: The monoliths are 1 x 4 x 9 in dimension--1 squared by 2 squared by 3 squared, as stated in Clarke's novel and also in the film's sequel, 2010 . The "Odyssey" books by Arthur C. Clarke reveal that the monoliths are alien supercomputers capable of self replication. Whilst this may or may not be the answer imagined by Kubrick, it is a significant part of Clarke's vision that helps explain the plot to some extent. In one interview, Kubrick refers to the monoliths as "Jungian archetypes." Would a centrifuge like that on Discovery generate artificial gravity?

A qualified yes. The equivalence principle states that force due to gravity is indistinguishable from the effects observed within an accelerating reference frame, and rotation is a form of acceleration. Therefore, the effects resulting from centripetal acceleration within such a centrifuge could be called "artificial gravity." However, with the radius and rate of rotation depicted in the film, the result would be only one-tenth the acceleration due to Earth's gravity. "Normal" acceleration with a radius of 10 metres would require a rotation of 10 RPM, which would produce severe Coriolis effects. Fred Ordway , the Marshall Spaceflight Center engineer who was technical adviser on the film, noted that the centrifuge, in reality, would have to have been larger, but the studio sound stage in England would only accommodate movie sets up to a certain size. Wouldn't the Discovery's centrifuge impart a spin to the ship? No. That would happen only if the rate of rotation was accelerated or braked (whether by friction or otherwise). In all three cases -- accelerating, steady, or braking -- the ship's total angular momentum remains constant unless it is acted upon by an outside force.

(Incidentally, this is specifically shown in the '2010' sequel's book, and addressed a bit in the '2010' movie, when the abandoned ship's friction with the carousel does set Discovery spinning.) Why were some crew members put into hibernation? To save food and other "expendables," and so that the survey team would be "fresh and alert, not fatigued" by the long trip. It is implied in the movie (and confirmed in the novel and the later sequels) that this was also done to prevent Bowman and Poole from finding out about the true mission until the appropriate time. What is the significance of the chess game? When HAL makes his final move he mistakenly says "queen to bishop three" instead of "queen to bishop six." This error foreshadowed HAL's mistake with the AE-35 diagnosis, indicating that something was wrong. This game was based on a game played between Willi Schlage, a tournament player, and a mysterious person named Roesch -- mysterious, because nobody seems to know his first name, and there is some disagreement in what year this game was played. Roesch makes several beginner's mistakes.

The fact that an otherwise insignificant game is recorded implies that this was a teaching game. It's certainly not a tournament game as has been suggested. From this information, we know that Poole is a beginner and, perhaps, learned the game on-board the Discovery to pass the time. Although HAL incompletely describes the checkmate setup, he was accurate in declaring victory. In addition to the moves he describes, HAL can also win by playing Nh3. Poole then would be forced to play Qh6 in order to prevent his queen being taken by a pawn. Then, there would be no way Poole could stop HAL. This shouldn't be seen as a mistake, because Kubrick was famous for paring down dialogue in order to speed up the pace of a film. For more information, see here . Is HAL a computer? The depiction of the HAL 9000 (Heuristically programmed Algorithmic Computer) in 2001 remains one of the film's most eerie elements. For their description of artificial intelligence, Kubrick and Clarke only had the terminology of the mid-1960s. At that time, the prevailing concept was that Artificial Intelligence (AI) was expected to be a programmed computer.

Thus, the term computer, with all its implications of it being a machine, occurs repeatedly. In the last 40 years, no true AI has emerged. Today's corresponding term would be "strong AI." Kubrick and Clarke's use of mid-1960s terminology obscures the fact that the film and novel authors constructed an AI that is unmistakably strong-that is, capable of "general intelligent action." How this would have been achieved Kubrick and Clarke left as an extrapolation. Clarke provides a little extrapolation in the novel: "Probably no one would ever know this: it did not matter. In the 1980s, Minsky and Good had shown how neural networks could be generated automatically -- self-replicated -- in accordance with an arbitrary learning program. Artificial brains could be grown by a process strikingly analogous to the development of the human brain. In any given case, the precise details would never be known, and even if they were, they would be millions of times too complex for human understanding." (From: A. C.

Clarke (2001: A Space Odyssey, ROC edition, trade paper back, 2005, bottom page 92 - top page 93.) Is HAL in absolute control of the Discovery? No. (1) We (and HAL) see and hear Dave and Frank talking about disconnecting HAL, if this were done there would have to be backup means of controlling the ship. (2) When Dave goes to get Frank's body there is an insert display showing that Dave had cut HAL's control of the POD. (3) There is an emergency airlock over which HAL had no control. For these and other reasons the designers of the Discovery had to have built-in redundancy, backups to HAL; no complex spacecraft is ever designed without such redundancy. What explains HAL's actions towards the end of the film? There are two major schools of thought on this question that reflect different interpretations of the movie. In the recorded message which plays after Dave has "lobotomized" HAL, Dr. Floyd reveals the computer has known the nature of the mission all along. This is confirmed by Dr.

Chandra in the sequel movie, 2010 who supplies the additional information that HAL was instructed not to reveal the mission's purpose until the appropriate time. Meanwhile, Dave and Frank have not been told for security reasons. This leads HAL to develop "paranoia" because withholding information directly contravenes his base programming to present all data without alteration or omission. One notes that this explanation is contained in Clarke's novel, only there is no directly explicit explanation given by Kubrick in the film. This basic material has inspired two different viewpoints: (1) HAL knows that Bowman and Poole intend to disconnect his higher brain functions if the AE-35 does not fail as he predicted. HAL knows he made the error and therefore he expects to be disconnected, the AI equivalent of death. On the most basic level, HAL is simply acting in self defense. This view is the most straightforward, but its detractors feel it does not account for all of HAL's behavior. (2) HAL turns lethal because he develops a paranoid belief that the crew cannot be trusted to complete the mission.

This could be because he misdiagnosed the problem with the AE-35 unit; however, it is more likely he made that error on purpose to allow him to eliminate the crew. This view accounts for more of HAL's behavior, but its detractors feel it makes unjustified assumptions. The novel makes HAL's behavior explicit in chapter 27, 'Need to Know.' Clarke implies that HAL equates withholding of information to lying, and hence imperfection, leading to a loss of mental stability. In the film, Kubrick only gives the viewer some odd dialogue between HAL and Dave, and HAL and Frank, plus some strange operational behavior. These are clues from which several conclusions may be drawn. It is to be noted that 'HAL's twin' (twins in the novel) remains rational and differs with HAL. Since both viewpoints have their passionate adherents, there is no universal agreement on the question of HAL's behavior. Is the movie about God? KUBRICK: I will say that the god concept is at the heart of 2001, but not any traditional, anthropomorphic image of god.

I don't believe in any of Earth's monotheistic religions, but I do believe that one can construct an intriguing scientific definition of god. [Extraterrestrials] may have progressed from biological species, which are fragile shells for the mind at best, into immortal machine entities and then, over innumerable eons, they could emerge from the chrysalis of matter transformed into beings of pure energy and spirit. Their potentialities would be limitless and their intelligence ungraspable by humans. These beings would be gods to the billions of less advanced races in the universe, just as man would appear a god to an ant. They would be incomprehensible to us except as gods; and if the tendrils of their consciousness ever brushed men's minds, it is only the hand of god we could grasp as an explanation. Mere speculation on the possibility of their existence is sufficiently overwhelming, without trying to decipher their motives.

The important point is that all the standard attributes assigned to god in our history could equally well be the characteristics of biological entities who, billions of years ago, were at a stage of development similar to man's own and evolved into something as remote from man as man is remote from the primordial ooze from which he first emerged. (Agel, The Making of Kubrick's 2001, 1970, excerpted from the Playboy interview, pp. 330-32) Where does the pod door go during emergency entry into the Discovery? The pod doors are built to move 'transversely' (from side to side, not in and out). Once the explosive bolts freed the door, it slammed back into the normal open position. This advanced design avoids the possibility of increasing the danger by turning the door into a projectile. Why doesn't Dave's pod fly off into space when the hatch blows? The total change in momentum of Bowman and the air escaping from the pod, when applied to a pod with about the mass of an SUV, would result in the pod moving away at only about 1 metre per second.

That would be barely noticeable from our POV -- even if the change wasn't immediately corrected by an auto-pilot mechanism, which is feasible. Regardless of HOW Bowman exited the pod, the change in momentum of all that left the pod in one direction will be precisely balanced by the change of momentum of the pod in the opposite direction. A good baseline for calculating changes in momentum can be obtained by assuming conditions of STP in the pod, a gas volume of 4 cubic metres, a mass for the pod of 2500 kg, a mass for Bowman of 150 kg, an average delta v of 200 m/s for the air in the pod, and a delta v of 10 m/s for Bowman -- all of which yields a result of 1 m/s. If the ambient pressure in the POD were lower, we don't know what it is, or Bowman could have purposely lowered it, it would have moved more slowly. During Apollo, the cabin pressures sometimes ran at one third of an atmosphere the film was made during this time.

It is to be inferred that, due to reaction forces by the escaping POD cabin atmosphere plus the torque exerted by POD door transverse retraction, the POD's reaction control system has to be active during any emergency ingress. That is, the auto control of the reaction control system has been set to cancel translational and rotational motion. Does Dave's pod become useless upon explosive re-entry of Dave in the Discovery? First, the pod door is intact, being that it retracted sideways into a track in the pod, so it could probably be restored. In 2010, the novel, it is explained that Dave recovered that pod, fixed and put it back in the pod bay, which is the pod one sees in 2010. (In Clarke's novel Bowman retrieves the pod by remote control and it is eventually refitted by the Leonov crew for use as a probe, but this is not mentioned in the film 2010.) Is there any symbolic significance to the hotel room? According to Vincent LoBrutto, Kubrick and Clarke studied Joseph Campbell's book, The Hero with a Thousand Faces, in order to find inspiration.

From this mythological perspective, the hotel room can be seen as a symbolic womb where the hero goes through the process of death and rebirth. This symbolic rebirth is an essential part of the hero myth. Some examples: (1) Egyptian- The dead Osiris is placed into a tree trunk and is later reborn as Horus, (2) Jewish- Jonah is spiritually reborn after spending time in the belly of a great fish, (3) Jewish- In a twist, Noah is not himself transformed in his ark, but the world around him was reborn, (4) Greek- Herakles enters a cave to travel to the underworld in order to complete his final task, from which he was given demigod status, and (5) Christian - Jesus was entombed in a cave until his resurrection fulfilling prophesy and confirming his status as a divine being. How does the movie end? As the monolith and moons align, a psychedelic light show begins and the pod enters a wormhole. Dave sees a series of oddly-colored landscapes as if he was flying over them. The pod ends up somewhere in time and space in a bedroom with a luminous white floor and furniture in the style of Louis XVI.

Dave gets out, now a trembling grey-haired man. Next door in a similarly styled bathroom, Dave looks at himself in a mirror. Back in the bedroom someone is sitting at a table eating. It's Dave again, now much older and dressed in a dark velour robe. Old Dave has a drink of wine; the glass falls to the floor and breaks. Another man lies sleeping on the bed. It is a still older Dave, who stirs and raises an arm. The black monolith appears in the center of the room. Dave is transformed into a fetus in a sac. Floating in space, the large open-eyed fetus -- the Star Child -- gazes at the nearby Earth. What happens during the final scene? EYE: People are intrigued not only by the implications but the essence of the ending. Could you give us your own interpretation? KUBRICK: I don't want to because I think that the power of the ending is based on the subconscious emotional reaction of the audience, which has a delayed effect. To be specific about it, certainly to be specific about what it's supposed to mean, spoils people's pleasure and denies them their own emotional reactions. EYE: Can you be general about what you intended?

KUBRICK: Well, I can tell you what literally, at the lowest level of plot, happens. Bowman is drawn into a stargate. He is taken into another dimension of time and space, into the presence of godlike entities who have transcended matter and who are now creatures of pure energy. They provide an environment for him, a human zoo, if you like. They study him. His life passes before him. He sees himself age in what seems just a matter of moments, he dies, and he's reborn, transfigured, enhanced, a superbeing. I don't believe that anyone is terribly far from understanding it. What people sometimes mean is that they want some confirmation of what they've seen happen, and what they think. Some people who are used to the conventions of realistic theater and the three-act play are surprised when a new form is presented to them, no matter how intensely they react to it, and no matter how much pleasure they get from it. EYE: Bowman, after this incredible experience, winds up in an eighteenth-century French bedroom. That really flips a lot of people out. Can you tell us how you conceived of this bedroom?

KUBRICK: Well, again, this gets into the area of imagination and artistic processes, whatever they are. The room is made from his own memories and dreams. It could have been anything that you could possibly imagine. This just seemed to be the most interesting room to have. (Agel, The Making of 2001: A Space Odyssey, Eye Magazine Interview, Modern Library, pp. 248-49) How scientifically accurate is the movie? All in all, the technical details of the technology in the film are highly accurate. Two experienced engineers, Dr. Fred Ordway and Harry Lange of Marshall Spaceflight Center, spent three years working with Kubrick on everything from spaceship and interior design to spacesuit design. However, while Kubrick and Clarke strove for accuracy in making the movie, a number of errors have been noted. (1) When the shuttle synchronizes its rotation with the space station, the angle of the sun shining on the station does not change. (2) During the sequence where Floyd's ship to the moon is landing at Clavius, the gases at the pad swirl as they would on Earth, rather than stream out in straight-line ballistic trajectories.

This became startlingly obvious only on July 20, 1969, a year after the film was released, as Apollo 11 transmitted live TV of the landing on the moon. (3) During scenes on the moon, gravity seems to be normal, instead of the 1/6th g that would be prevalent. (4) When David Bowman sets off the explosive bolts to jump from the pod to the airlock, the pod should have moved away from the ship (although if the pod were particularly heavy, its movement could have been minimal). It could be argued, however, that Bowman might have set the reaction control system to compensate for the POD's motion. (5) When Bowman jumps out of the airlock, he appears to hold his breath. In reality, this is the worst thing a person can do in such a scenario. Why is this film considered one of the greatest of all time? 2001: A Space Odyssey is today recognized by many critics and audiences as one of the greatest films ever made; the 2002 and 2012 Sight & Sound poll of critics ranked it among the top ten films of all time.

It was nominated for four Academy Awards, and received one for visual effects. In 1991, it was deemed "culturally, historically, and aesthetically significant" by the United States Library of Congress and selected for preservation in their National Film Registry. The storyline deals with thematic elements of human evolution, technology, artificial intelligence, and extraterrestrial life, and is notable for its scientific realism, pioneering special effects, ambiguous and often surreal imagery, sound in place of traditional narrative techniques, and minimal use of dialogue. The movie employs music and imagery from avant-garde music and art, including the music of Ligeti, making it a very significant link between art and popular culture. Why is there so little dialogue? KUBRICK: It's not a message I ever intended to convey in words. 2001 is a nonverbal experience; out of two hours and 19 minutes of film, there are only a little less than 40 minutes of dialogue. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content. To convolute McLuhan, in 2001 the message is the medium.

I intended the film to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does; to explain a Beethoven symphony would be to emasculate it by erecting an artificial barrier between conception and appreciation. You're free to speculate as you wish about the philosophical and allegorical meaning of the film, and such speculation is one indication that it has succeeded in gripping the audience at a deep level, but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point. How much would we appreciate La Gioconda [the Mona Lisa] today if Leonardo had written at the bottom of the canvas: This lady is smiling slightly because she has rotten teeth or because she's hiding a secret from her lover? It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to 2001. (Agel, The Making of Kubricks 2001, 1970, excerpted from the Playboy interview, pp.

328-29.) I just watched '2001: A Space Odyssey,' and I didn't really understand what was happening. How can I understand the film better? The most obvious answer would, of course, be to watch the film again. 2001 is a movie that is well-known for revealing new secrets upon its second, third or even one hundredth viewing! Discussing the film with peers, or on the IMDb discussion forum, can often prove very helpful, and it is always interesting to discover other people's personal opinions on what they've seen. Arthur C. Clarke's and Kubrick's novel, written by Clarke but in close collaboration with Kubrick (mostly between May 1964 and December 1965, and published shortly after the film's release), deals with the same subject matter in quite a straightforward manner. However, understand that despite the constant contact between Clarke and Kubrick during its gestation (see Clarke's 1972 book, "Lost Worlds of 2001" for his diary of the process), there is no guarantee that their visions were identical, and either may well have had further or modified thoughts as time progressed.

Thus, two things appear to be true: first, that a work of such depth and complexity does not necessarily have any unique meaning; and yet, second, there is a definite philosophical and "hard science" back story on which it rests, so that it is not simply psychedelic flim-flam, intended as pure entertainment. Both of the creators were deeply serious. Clarke has also gone on record to say that the film intentionally raises more questions than it answers... and if anyone completely understands it, then [he and Kubrick] have failed to deliver. An excellent Internet source for information about this and other Kubrick films can be found at The Kubrick Site . Did Kubrick use drugs? PLAYBOY: Have you ever used LSD or other so-called consciousness-expanding drugs? KUBRICK: No. I believe that drugs are basically of more use to the audience than to the artist. I think that the illusion of oneness with the universe, and absorption with the significance of every object in your environment, and the pervasive aura of peace and contentment is not the ideal state for an artist. It tranquilizes the creative personality, which thrives on conflict and on the clash and ferment of ideas.

The artist's transcendence must be within his own work; he should not impose any artificial barriers between himself and the mainspring of his subconscious. One of the things that's turned me against LSD is that all the people I know who use it have a peculiar inability to distinguish between things that are really interesting and stimulating and things that appear so in the state of universal bliss the drug induces on a good trip. They seem to completely lose their critical faculties and disengage themselves from some of the most stimulating areas of life. Perhaps when everything is beautiful, nothing is beautiful. (Agel, The Making of Kubrick's 2001, 1970, excerpted from the Playboy interview, p. 346) How long can a person survive exposed to a vacuum in space? As long as you don't hold your breath, you could survive for close to a minute without suffering permanent damage, but you would lose consciousness in about 15 seconds. Serious injuries begin to occur after around a minute and death after two minutes.

Experts at the "Ask a Physicst" page on NASAs "Imagine the Universe" website assert that "exposure to a vacuum causes no immediate injury," debunking the urban legends that one would explode or freeze to death, that their blood would boil, etc. The saliva on the tongue of a test subject did vaporise when his suit accidentally depressurized and he was exposed to a near vacuum. See here for more information. Is there a connection to Homer's Odyssey? The Odyssey was included during the development phase of the film and there are strong similarities between Odysseus' struggle with the one-eyed cyclops, Polyphemus, and Bowman's difficulties with the one "eyed" artificial intelligence, HAL. "About the best we've been able to come up with is a space Odyssey--comparable in some ways to the Homeric Odyssey," said Mr Kubrick. "It occurred to us that for the Greeks the vast stretches of sea had the same sort of mystery and remoteness that space has for our generation, and the far flung islands Homer's wonderful characters visited were no less remote to them than the planets our spacemen will soon be landing on are to us.

Journey also shares with the Odyssey a concern for wandering, exploration and adventure." Mr. Clarke agreed...space is an endless source of knowledge, which may transform our civilization in the same sense that the voyages of the Renaissance transformed the Dark Ages. ("Beyond the Stars," Jeremy Bernstein, The New Yorker Magazine (1965) reprinted in "The Making of Kubrick's 2001," ed. Jeremy Agel (1970) p. 25) What are some reservations about the Homer connection? Some feel the resemblances between 2001 and Homer's epic are general, at best, and coincidental, at worst. It appears Kubrick and Clarke were not making a literal adaptation of Homer's poetry, but only working along similar epic lines. In the quote by the pair, made before the film was even in production, Kubrick emphasizes this more general similarity by saying his project is only "comparable in some ways" to Homer.

Clarke, meanwhile, seems more interested in later history, the "voyages of the Renaissance [that] transformed the Dark Ages." Supporters of the Homer connection feel that, since one of Odysseus' skills was as an archer, Dave's last name of Bowman makes the connection literal. Discounting that Dave isn't an archer at all, despite his name, this tenuous link grows weaker still in light of the differences in the two characters. Homer's protagonist, after all, is a vindictive, brutal, self-serving scoundrel. And, outside surface similarities, their journeys are entirely unalike. Dave is on an outward-bound voyage of discovery, while Odysseus' only concern is getting back home. Nor do their deeds make the supposed resemblances any stronger, since these are actions found in most all epic stories. In science-fiction film, for instance, both Ripley of the Alien series and Neo from The Matrix series must rescue some of their companions, lose others to "monsters," avoid spectacular hazards, survive storms, visit strange locales, have extended stays in those places, and return from them greatly changed.

In short, to those who aren't convinced by its supporters, the Homer connection seems no more than a passing similarity in epic styles. Was this film influenced by Clarke's novel "Childhood's End?" Clarke, who was decidedly influenced by H.G. Wells and Olaf Stapleton, wrote and published Childhood's End in the mid 1950s. In Clarke's logs of his collaboration, he wrote that Kubrick had once gotten very interested in using the "devils" idea from Childhood's End for portraying 2001's aliens. As Heywood Floyd first stroked the monolith on the moon, the idea presents itself ..... is this some kind of abstract re-interpretation of BIG THINKS about advanced alien civilizations by way of Clarke's Childhood's End? (Clarke's The Sentinel is really only a hook upon which to hang the monolith.) It appears now Kubrick was throughly familiar with modern prose science fiction and must have read Childhood's End. The ending of the film could be interpreted as a connection to Karellen/Overmind/Rashaverak of Childhood's End all super concentrated and contracted by Kubrick into the Star Child.

The ending of 2001 can be interpreted as an abstracted-prï¿½cis non-literal translation of Childhood's End. Was this film influenced by Yatrides painter artwork ? It is quite clear that we retrieve a lot of elements visible including monoliths into Yatrides canvas and drawings in 2001 space odyssey film. Yatrides has used the symbolism and monoliths since 1951 into his canvas to represent the link between humans and a supernatural strengh (god). Also the final scene of the film when bowman becomes a fetus before crossing the monolith, we have exactly this in a Yatrides drawing. Monoliths and slabs are visible in a lot of Yatrides artwork. This artist was exposed in Chicago galleries since 1959, and it is publicly known that Arthur Clarke and Stanley Kubrick have visited the galleries looking for new ideas about the film. You can see a video on youtube that shows the similarity between the artist artwork and the film. How is the movie different from the novel? According to Kubrick: The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium.

The novel came about after we did a 130-page prose treatment of the film at the very out-set. This initial treatment was subsequently changed in the screenplay, and the screenplay in turn was altered during the making of the film. But Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel. As a result, there's a difference between the novel and the film. (Gelmis, The Film Director as Superstar, 1970, p. 308.) Some major specific differences are: (1) In the book, the spaceship Discovery travels an even further distance, to Saturn, particularly to the moon Iapetus. In the movie, the journey is to Jupiter. Apparently, Saturn's rings were too difficult to show realistically. (2) In the movie, HAL tries to kill Dave by keeping him out of Discovery after Dave retrieves Frank's body. In the book, Dave never tries to retrieve Frank's body, and HAL tries to kill him by opening inside and outside airlock doors and letting all air escape. In both cases, Dave survives by making it to an emergency airlock and turning on the oxygen.

(3) In the book, HAL was first activated in 1997. In the movie, the year is said to be 1992. The 2001: A Space Odyssey Enhanced Script Presentation features the script with accompanying screenshots and highlighted dialogue. h2g2 - '2001: A Space Odyssey' - the Film - Edited Entry 10 Conversations In 1968, 2001: A Space Odyssey was released into cinemas worldwide, and has remained one of the most influential and talked about science fiction films ever. Some find it a poetic masterpiece; to others it is a tedious overlong film with no point. Yet it remains influential and unique, even today. The Plot 2001 was written by Arthur C Clarke, and was directed by Stanley Kubrick. The plot to the film is seen as being either easy to understand, or totally incomprehensible. Some consider the plot to be unimportant as the film is breathtakingly beautiful, especially the space sequence accompanied by Johann Strauss' Blue Danube Waltz, and the equally moving Moon-Earth-Sun alignment played out to Richard Strauss' Also Sprach Zarathustra.

The film has four different parts: The Dawn of Man; The Moon; Mission to Jupiter; and Beyond the Infinite. At the end of each sequence, man is confronted by a Monolith, a sentinel left by a vastly superior alien race. To reveal more would certainly spoil enjoyment of the novel, although the film itself is a visual experience; knowing what is happening can be seen as irrelevant. Stanley Kubrick's response to people asking what the film is about had this to say: I don't like to talk about 2001 much because it's essentially a non-verbal experience. Less than half the film has dialogue. How could we possibly appreciate the Mona Lisa if Leonardo had written at the bottom of the canvas: 'The Lady is smiling because she is hiding a secret from her lover.' This would shackle the viewer to reality, and I don't want this to happen to 2001. Arthur C Clarke's response to what the film is about is his novel, 2001: A Space Odyssey, although he has also said: If you understood 2001 completely, we failed. We wanted to raise far more questions than we answered.

Although, if you wish to understand the film, having read the novel beforehand certainly helps explain what is happening. How the Film Came About In 1964, Stanley Kubrick - a successful director of films such as Dr Strangelove, Spartacus (and who went on to direct A Clockwork Orange, The Shining, Full Metal Jacket and Eyes Wide Shut ) first contacted Arthur C Clarke about making the 'proverbial good science fiction movie'. Kubrick felt that all the science fiction films that had existed before were often too horror-based, with the emphasis on alien monsters, and Kubrick wanted to create a work of art capable of arousing wonder and awe. MGM agreed to finance the film in February 1965. Stanley Kubrick did not come up with the title '2001: A Space Odyssey' until April 1965, 11 months after he and Arthur C Clarke started the project. Before that, it had been known as 'Journey Beyond The Stars', a title that neither were keen on, yet was better than 'Universe', 'Tunnel To The Stars', 'How The Solar System Was Won' and 'Planetfall', the other suggested titles.

Originally, the film was going to open with interviews with experienced scientists, but it was felt that this would interfere with the film. Another factor was that Arthur C Clarke felt that there was no need to educate the audience as the contemporary astronomical events of the time were doing it instead. After the film was 'finished,' it originally ran two hours and 41 minutes long, yet 19 minutes were trimmed off before release. Kubrick later said: The people who like 2001 like it no matter what its length, and the same holds true for the people who hate it. Chicken or the Egg? One thing which has caused a lot of debate is the question, which came first, 2001 the film, or 2001 the novel? Normally when a film and a book of the same title exist, either the film is a dramatisation of the novel (as was the case in the film Dune ) or sometimes a novelisation is made of the film, for example Isaac Asimov's Fantastic Voyage. Neither was true for the 2001 novel/film symbiote.

When Stanley Kubrick contacted Arthur C Clarke about the film, they used Arthur C Clarke's short story The Sentinel, written in 1948, as the base 1 . The Sentinel is a short story about an astronaut who discovers an alien artefact on the moon which, when discovered, sends a signal informing the aliens that mankind had advanced enough to be able to cross to the moon. This is essentially the same as the second part of the film, where Heywood Floyd travels to the moon to the monolith, which relays a signal of discovery to Jupiter. Other Arthur C Clarke novels influenced the film, for example the EVA pods seen onboard Discovery have been described in many of Arthur C Clarke's stories. Yet in 1964, before the film was made, Stanley Kubrick originally decided that he and Arthur C Clarke would work on the novel together first, as a basis of what the film would be. However, as Arthur C Clarke wrote: The result was far more complex... both novel and screenplay were being written simultaneously, with feedback in both directions...

I felt that when the novel finally appeared it should be 'by Arthur C Clarke and Stanley Kubrick; based on the screenplay by Stanley Kubrick and Arthur C Clarke' - whereas the movie should have the credits reversed. This still seems the nearest approximation to the complicated truth. Arthur C Clarke wrote the novel throughout 1964 to 1968, and at several points he felt that he had finished. The first time was in December 1964, although later several chapters had to be re-written or removed from the novel in order for it to fit in with the latest ideas Arthur C Clarke and Stanley Kubrick had together 2 . This resulted in a bit of tension between the two, when in April 1966, Clarke felt that the novel was finished and wanted to publish it, yet Kubrick disagreed. Differences Between the Novel and the Film The main difference between the novel and the film is that in the film, the 'Star Gate' is found in the orbit of Jupiter, yet in the novel, it is on Japetus, a moon of Saturn. The film had originally intended to use Saturn, yet the film makers were unable to make Saturn look convincing.

Arthur C Clarke has said: One of the reasons why I was drawn to Saturn... and stuck with it in the novel... is that its ninth moon, Iapetus, is one of the most mysterious bodies in the solar system. Con Pederson, 2001's special photographic effects supervisor, has said: Jupiter was selected over Saturn, because to do Saturn meant getting a convincing Jupiter first... and then finding a way to put rings around it. Best way to do the planet was not the best way to do the rings; they could not be made at the same time. In the novel, Arthur C Clarke referred to the moon as Japetus, and not, as it is more commonly known, Iapetus. This was apparently based on W Ley and C Bonestell's 1949 volume The Conquest Of Space. For Arthur C Clarke's sequels to 2001: A Space Odyssey - 2010: Odyssey Two, 2061: Odyssey Three and 3001: The Final Odyssey, he has used Jupiter, and its moon Europa, not Saturn and Iapetus. Did You Know...?

All the displays for the computer screens in 2001 showing the ships docking and so on, were, like the Hitchhiker's Guide To The Galaxy television series, not computer graphics at all. They were, in fact, animations, drawn by artists rather than generated by computers. Scenes shot for 2001 but not used in that film were included in The Beatles ' film Magical Mystery Tour . This was the cloud sequence seen with the instrumental song 'Flying' before meeting the Magicians. NASA was, at the time work on the film started, spending the same amount of money as 2001's total budget every day - $10,500,000. In 1969, Planet of the Apes won an Oscar for Best Make-Up for their apes, despite looking a lot less realistic than the apes in 2001. Arthur C Clarke said, '2001 did not win the Academy Award for make-up because judges may not have realised the apes were actors.' 2001: A Space Odyssey won an Oscar in 1968 for Special Effects, as well as BAFTAs for Cinematography and Production Design.

The skull-smashing sequence was the only one not filmed in a studio. HAL's initials are, coincidentally, one letter behind those of IBM, a major computing company. Arthur C Clarke states that this was a coincidence and that the name came from the fact that he was a Heuristically programmed ALgorithmic computer. In the scene in which a leopard is seen next to a zebra it had killed, the 'zebra' was a horse painted black and white. Dr Floyd's daughter was played by Kubrick's daughter Vivian. One technical error that was missed can be seen when Dr Floyd sucks his food in zero gravity. Instead of staying in the straw, the food slips back into the container. In 1984, a second film 2010: The Year We Made Contact was made by Peter Hyams, based on Arthur C Clarke's novel 2010: Odyssey Two. 1 The Sentinel can be found in several of Arthur C Clarke's anthologies, including Expedition To Earth, Of Time And Stars, The Sentinel and The Lost Worlds Of 2001 as well as Jerome Agel's The Making Of Kubrick's 2001.

2 Many of these 'lost chapters' can be found in Arthur C Clarke's book The Lost Worlds Of 2001. 2001-- A Space Odyssey (HD) -- Best Scene with Hal and Dave -- 'Hal open the pod bay doors' - YouTube Close 2001-- A Space Odyssey (HD) -- Best Scene with Hal and Dave -- 'Hal open the pod bay doors' Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Sep 11, 2012 One of the best confrontation scenes between Hal and Dave from Stanley Kubrick's 1968 film: '2001: A Space Odyssey.' I never liked the film when I saw it as a kid. I learned to love it when I understood it as an adult. 2001: a Space Odyssey(colour corrected). Colour correction is first a pull process and then a 2 stop colour push.

2001: A Space Odyssey is a 1968 science fiction film/movie produced and directed by Stanley Kubrick. The screenplay was co-written by Kubrick and Arthur C. Clarke, and was partially inspired by Clarke's short story "The Sentinel". Clarke concurrently wrote the novel of the same name which was published soon after the film was released. The story deals with a series of encounters between humans and mysterious black monoliths that are apparently affecting human evolution, and a space voyage to Jupiter tracing a signal emitted by one such monolith found on the moon. Keir Dullea and Gary Lockwood star as the two astronauts on this voyage, with Douglas Rain as the voice of the sentient computer HAL 9000 who has full control over their spaceship. The film is frequently described as an "epic film", both for its length and scope, and for its affinity with classical epics. Hal open the pod bay doors' ---- New Stereo anaglyphic 3d video yt3d:enable=true standoff between hal and dave Will can Machines computers robots Take Over the World? Wrath of Khan stereoscopic 3D movie best cinematography scene full 3d Keir Dullea as Dr.

David Bowman Gary Lockwood as Dr. Frank Poole William Sylvester as Dr. Heywood R. Floyd Douglas Rain as the voice of the HAL 9000 Daniel Richter as the chief man-ape Leonard Rossiter as Dr. Andrei Smyslov Margaret Tyzack as Elena Robert Beatty as Dr. Ralph Halvorsen Sean Sullivan as Dr. Roy Michaels[16] Frank Miller as mission controller Edward Bishop as Lunar shuttle captain Edwina Carroll as Aries stewardess Penny Brahms as stewardess Heather Downham as stewardess Maggie d'Abo (uncredited) as stewardess (Space station elevator) Chela Matthison (uncredited) as stewardess (Mrs.Turner, Space station reception) Judy Keirn (uncredited) as Voiceprint identification girl (Space station) Alan Gifford as Poole's father Ann Gillis as Poole's mother Vivian Kubrick (uncredited) as Floyd's daughter Kenneth Kendall (uncredited) as the BBC announcer Interviewer: [recorded broadcast on the BBC news] The crew of Discovery One consists of five men and one of the latest generation of the HAL-9000 computers.

Three of the five men were put aboard asleep, or to be more precise a state of hibernation. They were Dr. Charles Hunter, Dr. Jack Kimball and Dr. Victor Kaminsky. We spoke with mission commander Dr. David Bowman and his deputy, Dr. Frank Poole. Well, good afternoon gentlemen, how is everything going? Dave Bowman: Open the pod bay doors, HAL. HAL: I'm sorry, Dave. I'm afraid I can't do that. Dave Bowman: What's the problem? HAL: I think you know what the problem is just as well as I do. Dave Bowman: What are you talking about, HAL? HAL: This mission is too important for me to allow you to jeopardize it. Dave Bowman: I don't know what you're talking about, HAL. HAL: I know that you and Frank were planning to disconnect me, and I'm afraid that's something I cannot allow to happen. Dave Bowman: [feigning ignorance] Where the hell did you get that idea, HAL? Category

Question: What was the name of the computer in the film 2001: A Space Odyssey?
Answer: HAL