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.> Will We Ever Achieve the Vision of '2001: A Space Odyssey'? September 21, 2015 05:47pm ET MORE An early production painting of "Discovery" closely matches the description of the ship in Arthur C. Clarke's novel "2001: A Space Odyssey." Credit: Copyright © 2014 Turner Entertainment Co. 2001: A Space Odyssey and all related characters and elements are trademarks of and © Turner Entertainment Co. (s14) Piers Bizony is a science writer and author specializing in the history of space exploration.

His newest book " The Making of Stanley Kubrick's '2001: A Space Odyssey' "(Taschen, 2015) is an inside look at the making of the iconic film. Bizony contributed this article to Space.com's Expert Voices: Op-Ed & Insights . In 1968, filmmaker Stanley Kubrick and his screenwriting colleague, science fiction author Arthur C. Clarke, presented "2001: A Space Odyssey," an almost documentary vision of how engineers and scientists of the time envisioned the future of spaceflight, the prospects for artificial intelligence and the likelihood of contact with extraterrestrial life. The movie's famous opening scene shows prehistoric ape-men struggling for survival, until a mysterious, monolithic, black slab implants in one of them the transformational idea of bone tools and weapons. The film then skips 4 million years in a single frame, and we're on our way to the moon, where another, buried monolith awaits its discoverers. A publicity photo from "2001: A Space Odyssey" shows lead actor Keir Dullea as astronaut Dave Bowman (at left) conferring with co-star Gary Lockwood (Frank Poole) inside an EVA pod.

Credit: Copyright © 2014 Turner Entertainment Co. 2001: A Space Odyssey and all related characters and elements are trademarks of and © Turner Entertainment Co. (s14) So what did we just watch? Audiences were thrilled by the enormity of these ideas, conveyed in images of stunning artistic and technical quality. Not long after the initial release, I nagged my mom and dad until we went to see it at the local movie theater. I was thrilled — blown away — by everything I saw. I was also confused as heck, but the worst moment came when we piled out onto the street, and my parents asked me, "What was all that about? Did you understand it?" Somewhat taken aback by their question, and also not sure I had quite figured out the meaning of what we'd seen, I blurted out, "You're not supposed to understand it. You're just supposed to watch it!" Now, nearly five decades later, I still agree with my 10-year-old self.

Almost immediately, " 2001 " was a huge global commercial success, and was rated not just as a landmark piece of science fiction by the rest of the world beyond New York, but as one of the most impressive films of all time, in any genre. (A popular myth has it that a grouchy bunch of naysaying New York movie critics almost killed "2001" on its first release. I've seen the box office reports from the crucial first few days and weeks of the film's run, and that story just isn't true.) "2001" wasn't just the story of a journey to Jupiter. It was an unprecedented virtual-reality experience of spaceflight that allowed us to share the ride. Kubrick's large-format production, shot on a special new version of Cinerama, was a forerunner of today's IMAX shows. Actors and crew from "2001: A Space Odyssey" relax after completing photography in a set representing a huge lunar pit where a strange black monolith has been excavated. Credit: Copyright © 2014 Turner Entertainment Co. 2001: A Space Odyssey and all related characters and elements are trademarks of and © Turner Entertainment Co.

(s14) 2001: Sharing the story Even as a kid, I knew I wanted to make a book about how "2001" was created. It took a while, but a slender paperback of mine, " 2001: Filming the Future " (Aurum Press, 2000), was published about 20 years ago. Kubrick looked at early proofs, sent to him by Arthur C. Clarke, whom I had gotten to know quite well by that point, because I was helping to archive that portion of his papers and manuscripts that were held in the U.K. rather than his home base of Sri Lanka. I was terrified that Kubrick would refuse permissions or, worse still, just give no response at all, but Arthur kept pushing on my behalf, and eventually, I got a call from Anthony Frewin, one of Kubrick's trusted aides. "Stanley really likes the fonts," I was told. "We look forward to seeing the finished book." At that time, the studio ownership of "2001" was a tricky matter. I did hear from a studio lawyer that my book might be in danger of infringing copyrights.

I phoned Frewin, pleading for help. He said, "Right-oh," or some other cool English phrase, and I never heard from the lawyer again. When Kubrick died in 1999, I was distraught. His tacit approval for "Filming the Future" kicked off my long career in books. Jump cut to fall 2012, when I approached the Kubrick family once more. I asked if there was any way I could have access to Stanley's archives and turn "Filming the Future" into something more substantial. By now, Hollywood behemoth Warner Bros. was securely in charge of Kubrick's cinematic legacy (with one or two exceptions). There was no dodging the lawyers this time, but Kubrick's wife Christiane, and her brother Jan Harlan, were supportive, and offered to help clear the way. Eventually, I had a contract from Warner Bros. enabling a new book. A lot more contractual paperwork piled up, from the Kubrick family and from the University of the Arts London, which manages and preserves the actual physical archive.

Finally, there was a deal with Taschen, the premium book publisher based in Cologne, Germany, chosen because of its previous close relationship with the Kubricks. All that administration took up the first six months of my three-year personal odyssey. Then came archive trawling, image scanning, careful digital retouching and color-balance repairs to half-century-old images. Oh, then there was writing the book, expanding my old 30,000-word text into something more than three times longer. Then came the collaboration with Taschen's chosen graphic designers, the M/M Company in Paris. One of the designers went off to Mexico for a spell, so I was soon fielding phone calls in three different time zones. When M/M told me it wanted the book to be in the shape of a monolith, I was very worried. No book can be that shape! Of course, breaking all the rules turned out to be an excellent reason to go ahead and do it. Just like the movie "2001" itself, some people love the format, while others hate it. We had to go with the courage of our ideas, and take our chances.

This 8-foot diameter model was used for the rotating space station sequences in "2001: A Space Odyssey". Sadly, the model no longer exists. Credit: Copyright © 2014 Turner Entertainment Co. 2001: A Space Odyssey and all related characters and elements are trademarks of and © Turner Entertainment Co. (s14) Machines are the stars So what is it about "2001" that makes it worth yet another book? Basically, this movie never seems to get stale. The obsessively detailed hardware on screen still amazes audiences today. Douglas Trumbull was just one of dozens of young effects artists recruited for the production, which took four years to complete. When I asked him about the sense of realism conveyed by the film, his reply was enthusiastic. "You walked onto those spacecraft sets, and everything was as real as it could be," he said. "No one had ever done anything so convincing up to that time. Special effects now are dependent on computer graphics.

I think a lot of depth and impact has been lost in the process." For the interior of the film's Jupiter-bound spaceship Discovery, Kubrick represented artificial gravity using a spectacular "centrifuge," a spinning drum 38 feet (12 meters) in diameter, weighing 30 tons, and fitted with control consoles, space food dispensers and astronaut couches. All of these details were built at full scale for the actors to interact with, essentially by working inside the drum like hamsters in a giant wheel. Clarke's brother, Fred Clarke (a central-heating engineer whose math-laden book on the subject became a standard trade reference), thought that the centrifuge construction was so good, "you could almost imagine they were building a prototype for the real thing." As Trumbull explained to me, "You had sets that were completely 360-degree enclosed. Architecturally, the lighting was built into the structures in a naturalistic way. The actors and the production team felt they were in a genuine environment." This recollection was echoed by the movie's lead actor, Keir Dullea, who played astronaut Dave Bowman.

A few years ago, while I was making a documentary about “2001” for British TV, Dullea told me, "There were certain shots when we would lean forward and turn on the camera ourselves, because there was nowhere safe for the cameraman to go, or he'd be in the frame. Then, we'd get into position, and they would start up the centrifuge wheel, and you'd have an everlasting tracking shot. You would just walk, or jog, and the wheel would revolve around you." Perhaps for the first time in a major fiction film, Kubrick introduced the idea of futuristic props and sets as principal performers in the drama, in some ways more important than his human actors. "There's a deep emotional relationship between man and his machines, which are his children," Kubrick said at the time. "We have always worshipped beauty, and I think there's a new kind of technological beauty in the world." A detail of the Jupiter spaceship Discovery interior, from where the EVA pods are despatched into space. The sets from the film "2001: A Space Odyssey" were built half a century ago, but still seem fresh and modern today.

Credit: Copyright © 2014 Turner Entertainment Co. 2001: A Space Odyssey and all related characters and elements are trademarks of and © Turner Entertainment Co. (s14) What did they get wrong? What did they get right? Kubrick's exploration of humanity's place in the universe was informed by the best industrial expertise of the time. His technical adviser, Frederick Ordway, had worked with aerospace engineer Wernher von Braun and the Future Projects Office at NASA Marshall Spaceflight Center before being lured to the more glamorous world of film. Ordway soon discovered that "Stanley was a maniac for detail. Everything on screen had to be justified scientifically." Ordway and his colleague, production designer Harry Lange, visited countless British and American aerospace and computer companies in search of realistic hardware ideas. Most of their research still holds up amazingly well today. Where "2001" made technical errors, it did so in ways that turned out to be flawed rather than plain wrong. For instance, while the giant Discovery spacecraft is incredibly convincing, the lack of airtight docking ports seems odd today.

But we have to remember that when "2001" first went into production in the early 1960s, space docking had not yet been tried, let alone perfected. On the other hand, spaceship Discovery's three single-seater "EVA pods" look so superbly designed, it seems a crying shame they do not exist in real life. One of the most iconic scenes in "2001" demonstrates the rotation of an enormous wheel-shaped space station. Rocket pioneers in the 1930s — such as Robert Goddard in the United States, or Hermann Oberth and Willy Ley in Germany — understood the potential of such a design. The first detailed engineering proposal was conceived by Hermann Noordung in 1928. Historians know little about Noordung, except that he was an Austro-Hungarian army officer and that he died young of ill health. Fortunately, his station proposal survives. He described a "Living Wheel" whose gentle rotation provides its crew with artificial gravity. [ If We're Serious About Going to Mars, We Need Artificial Gravity (Op-Ed) ] Noordung predicted that weightlessness would play havoc with the human balance system.

His design influenced a generation of astronautics engineers, including von Braun, whose wheel-shaped station designs were an obvious influence on "2001." The primary purpose of a space station would be to serve as comfortable accommodation for humans in orbit. Artificial gravity must surely be required to keep them healthy, everyone once thought. Today, we have different priorities. The International Space Station exploits, rather than counteracts, weightlessness in order to conduct experiments that are impossible on Earth. The station in "2001: A Space Odyssey" is "wrong," therefore, but for an interesting reason. Maybe one day it will be matched by a similarly grand real-life equivalent. The major problems with the film's predictions are social and political, rather than technical. When "2001" was released, NASA was about to send astronauts to the moon, and it looked as if space was set to become what the Internet is for us today: the "happening thing." Unfortunately, NASA's consumption of tax funding could not be sustained. Americans are a long way from building the lunar settlement depicted in "2001," let alone swinging past Jupiter in a giant nuclear-powered spaceship equipped with artificial gravity.

Keir Dullea, as astronaut Dave Bowman, explores the eerie hotel room in the finale of "2001: A Space Odyssey", in a scene deleted from the final film. Credit: Copyright © 2014 Turner Entertainment Co. 2001: A Space Odyssey and all related characters and elements are trademarks of and © Turner Entertainment Co. (s14) Beyond 2001, and into 2015 Short of wormholing toward an alien encounter, we probably could accomplish most of what we see in "2001" if we really wanted to. So why haven't we? "2001" can be thought of as a nostalgic monument to the dreams of a previous generation, but it still serves as a powerful manifesto for contemporary space activists. Perhaps entrepreneurs driving the nascent private rocket business have itchy feet precisely because of what they saw on screen as youngsters. If Kubrick and his team could deliver such a compelling vision of astronautical progress all those years ago, how come we are still struggling to turn so much of it into reality, what with all the smart technologies available to us now?

In November 2011, Peter Diamandis, founder and chairman of the X Prize Foundation, told The Huffington Post that "2001" had been hugely influential, "But, as time progressed, the dream began to disappear," he said. "We saw a string of horrendous accidents, including the 1986 Challenger explosion." Despite such setbacks, including with Virgin Galactic's SpaceShipTwo, rocket planes could become the basis for a new industry. Virgin Galactic CEO Richard Branson is just one of many space innovators who acknowledge Kubrick's film as a call to arms. In January 2010, Branson told Postmedia News reporter Alex Strachan, "'2001: A Space Odyssey' was magnificent, and I hope that one day Virgin Galactic will be going a lot further than just suborbital flights, and will reflect that film." Kubrick and Clarke knew perfectly well that private corporations would have to play just as great a role as government space agencies in getting people into orbit. A large section of the giant rotating space station in "2001" was occupied by a familiar hotel company, Hilton.

A winged Pan Am space shuttle delivered the guests, and Honeywell and IBM built the control consoles. The fact that one or two of those companies have faded over the intervening years doesn't in any way diminish the key point. The orbital realm will evolve into a corporate space, because the money for all those toys has to come from somewhere. Box cover art for Taschen by Wayne Haag , based on elements from "2001: A Space Odyssey" elements. Credit: Copyright © 2014 Turner Entertainment Co. 2001: A Space Odyssey and all related characters and elements are trademarks of and © Turner Entertainment Co. (s14) Unanswered questions If you're a topical expert — researcher, business leader, author or innovator — and would like to contribute an op-ed piece, email us here . Credit: SPACE.com Hardware enthusiasts love to argue the merits of the film's finer details, but there's no doubt that it sets up a series of huge challenges that don't yet have any answers. Can we send humans across the solar system, or will deep space elude our dreams of colonization forever? Right now, it's hard to be sure. Where is HAL 9000?

Is he impossible to build, or will he and his kind yet supplant us as the dominant species? We don't know yet. And where, oh where, are the extraterrestrial intelligences that so many scientists insist must be out there, but from which we have yet to hear a single bleep? Again, we don't know. Just as in 1968, we may be teetering on the brink of discoveries that can answer some, or perhaps even all, of those questions. For now, we continue to wait with baited breath. As Arthur C. Clarke wrote in his generous foreword to my first book, "Historians in some far distant future will, no doubt, regard the current half-century delay in our plans as nothing more than temporary, a brief hiccup in the greater span of events." In the meantime, so long as we continue to wonder about our place in the cosmos, and our relationship with emerging technologies, the questions posed by Kubrick and Clarke's "2001: A Space Odyssey" will stay as fresh and timely as ever. Follow all of the Expert Voices issues and debates — and become part of the discussion — on Facebook , Twitter and Google+ .

The views expressed are those of the author and do not necessarily reflect the views of the publisher. This version of the article was originally published on Space.com. 2001: A Space Odyssey (1968) - Connections - IMDb 2001: A Space Odyssey (1968) Connections Showing all 1,094 items Footage from this movie is used. References Reason: In Strangelove, Major Kong says, "Fire the explosive bolts!" In 2001, the entry hatch sign reads "CAUTION: EXPLOSIVE BOLTS." Referenced in Catch-22 (1970) Music tribute: When Yossarian first sees Luciana, the dramatic "Thus Spoke Zarathustra" popularized by Kubrick's 2001 plays, signifying a transcendent moment for the character. Kubrick had been considered to direct, so I'm sure it's a tip of the hat from Nichols. Schlock (1973) The movie starts with the narrator saying : First, "Birth of a Nation". Then, "Gone with the Wind". "2001: A Space Odyssey". "Love Story".

"See You Next Wednesday". And now ... Schlock ! Alien (1979) A form of Artificial Intelligence tries to take out the humans in order to continue their mission. The Blues Brothers (1980) During the Chicago police chase sequence near the end, there are shots of the Bluesmobile and the brothers that resemble the climax of 2001 when Dave travel through the monolith and through the tunnel of colors and he and his space craft and the speed in which he travels almost matches shot by shot. Destination Dune (1984) (TV Movie) mentioned Back to the Future (1985) The device in Doc Brown's lab that Marty plugs his guitar into is labeled "CRM-114", which was the name of the message decoder on the B-52 in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), and the serial number of the Jupiter explorer in 2001: A Space Odyssey (1968), both directed by Stanley Kubrick.

Aliens (1986) In the opening sequence, Aram Khachaturyan's 'Ballet Suite Gayaneh' playing as a spacecraft is seen crossing outer space is a reference to '2001' 's Discovery at the very beginning of segment 'Jupiter Mission 18 Months Later'. Knight Rider 2000 (1991) (TV Movie) Poster in the mall Room 101: Episode #1.5 (1994) (TV Episode) David Baddiel says he suspects the reason all the new gadgets shown on Tomorrow's World never seem to become available in shops is because presenter Judith Haan keeps them all in her home, which must by now resemble a technological utopia like Sleeper or 2001. Hackers (1995) Penn Jillette's character is named Hal. ER: What Life? (1995) (TV Episode) Kerry's voice on the computer is refered to as HAL.

Duke Nukem 3D (1996) (Video Game) In the second episode Duke ends up on the Moon, where he battles his way to an excavation site with the dark monolith from the film. Also the music from the film is referenced here. Doctor Who (1996) (TV Movie) Grace refers to the Doctor as "Dr. Bowman", a reference to David Bowman, the main astronaut in 2001. Like Bowman, the Doctor proceeds to carefully disassemble a computer. Mother (1996) When John moves back into his old childhood room, he unfurls one of two movie posters on his wall, one featuring 2001: A Space Odyssey. Star Trek: First Contact (1996) In the Pheonix, Riker talks about the Moon in the 24th century, he mentions Tyco City, Tyco is the crater where the first monolith is found in 2001. The system used to release the Enterprise's deflector dish is labeled "AE35", this is the name of the part replaced by Poole and Bowman in 2001, and that part controls the antenna dish.

Millennium: Goodbye Charlie (1998) (TV Episode) "Open the pod bay door, HAL" Armageddon (1998) The red chairs in the space ship are also seen in the space-station lounge in 2001: A Space Odyssey. Silhouette Mirage (1998) (Video Game) the villain Hal is named after HAL 9000 Metal Gear Solid (1998) (Video Game) Characters named David and Hal. Antz (1998) The Monolith, as a sign of a new land to discover... pioneer... just as Moon or Jupiter, or Insectopia.. Dream House (1998) (TV Movie) essentially a rehash of the plot, with several scenes having direct counterparts Jurassic Park: Trespasser (1998) (Video Game) In level 3, near the downed airplane, the famous black monolith can be spotted on a hill. I can't be approached without teleporting by using cheat codes, but once the player gets near it, a segment from the movie's famous ominous music starts playing.

Dilbert: The Name (1999) (TV Episode) Dogbert says Dilbert's shower sounds like "The computer from that stupid movie "Something Something: A Space Odyssey" Spaced: Gatherings (1999) (TV Episode) The shot filmed from inside the freezer of people looking in and talking about it, plus the music. Quote "Almost as though it's self-aware". Spaced: Chaos (1999) (TV Episode) The shot of a paper spinning up into the sky is just like the shot of the bone thrown by a chimp thrown into the sky. Magnolia (1999) The music Thus Spoke Zarathustra overlaps with the image of Phillip Seymore Hoffman pacing next to the old man in the immaculate white bed, similar to the bedridden Dave at the end of "2001". Daria's Inferno (2000) (Video Game) Daria mentions the monkey from 2001: A Space Odyssey during the Dega Street level.

Goodbye 2000 (2000) (TV Movie) Referenced by title Zenon: The Zequel (2001) (TV Movie) The space stations look the same Frasier: Docu.Drama (2001) (TV Episode) Referenced by name Powder Park: Herzklopfen (2001) (TV Episode) characters Georg and Vroni go see it together and discuss it Witchblade: Transcendence (2001) (TV Episode) Nottingham saying "Good afternoon, gentlemen" after his "rebirth" is similar to when HAL says it in this movie. Curiously, this episode stars Keir Dullea, who played Dave in this movie. Walking with Prehistoric Beasts: Next of Kin (2001) (TV Episode) Both feature australopithecine-type hominids being hunted by a predatory cat (Leopard or Dinofelis), being chased away from their homes by rival groups, feeding off a dead animal (Tapiar or Zebra), and the use of a bone or stick as a weapon.

Also, in the book for 2001: A Space Odyssey, the leopard is killed by the hominids, and in Walking with Beasts the australopithecines rise up against the dinofelis and chase it away. Pregnant Man (2001) (TV Movie) A home pregnancy test is compared to a spaceship from 2001: A Space Odyssey. Futurama: Godfellas (2002) (TV Episode) Bender floats through space much like a scene in this film to music from the film. Futurama: Future Stock (2002) (TV Episode) The space station is based off of the one in this movie. Odyssey 5: Shatterer (2002) (TV Episode) The programmer mentions the computer from the movie. The Star Dreamer (2002) mentioned in the documentary S1m0ne (2002) One of the characters, who is an actor, is called Hal, as all other character that are actors are references to computers; Hal refers to the HAL 9000 from 2001: A Space Oddyssey.

(See also: the trivia section.) Indigo (2003) the woman in the park compares indigo children to the 'child in the movie 2001, with his eyes wide open' Super Size Me (2004) The playing of the Blue Danube Waltz during the surgery montage is a direct reference to Stanley Kubrick (and 2001), a fact Spurlock confirms in the audio commentary on the DVD. He says that it was his "little homage to probably his favorite American filmmaker". Care Bears: Journey to Joke-a-Lot (2004) (Video) Funnybone tells the computer to open "pod bay doors" twice in the movie. Also, the Computer keeps refering to Sir Funnybone as "Dave", and at one point even quoted "I'm sorry Dave, I'm afraid I can't do that". Furthermore, the computer's name, PAL, rhymes with HAL, the name of the computer from 2001: A Space Odyssey Battlestar Galactica (2004) (TV Series) Numerous visual and stylistic influences.

The Incredibles (2004) The room of pod craft that Bob runs through is the same as the pod bay on the Discovery in that movie. Also, the device that Mirage places in Bob's cubicle projects onto his face like the computer does to Dave's face. Strongbad_email.exe (2004) (Video) In "Invisibility", one of the Tandy's displayed comments is one of the movie's lines: "My mind is going. I can feel it." Star Wars: Episode III - Revenge of the Sith (2005) When Obi-Wan and pregnant Padme arrive at the moon like planet at the end of the film, we see two people in spacesuits watching Obi-Wans space ship land. Just like two astronauts watch the moon landing of Dr. Heywood Floyt in 2001. Stealth (2005) EDI's voice and manner is an homage to 2001's Hal 9000, another computer in the future that goes haywire.

Jeopardy!: Episode #22.91 (2006) (TV Episode) correct response in "Sci-Fi Movies by Character" category Jeopardy!: Episode #22.200 (2006) (TV Episode) a Jeopardy! round category is titled "2001: A Sports Odyssey" Saxondale: Episode #1.6 (2006) (TV Episode) Tommy asks if some people want to go watch the directors cut of this film in the cinema which he says is "Longer in the middle... I'm just curious as to how that's physically possible" Eureka: H.O.U.S.E. Rules (2006) (TV Episode) Fargo calls S.A.R.A.H. "Hal". Also, the computer says: "I'm afraid, I can't do that." when it refuses to set the humans free. MythBusters: Exploding Lighter (2006) (TV Episode) When watching a lighter in a dryer, the narrator says it's very spacy in a Kubrick kind of way while classical music is played in the background.

Then in a HAL style voice he says he can see how upset Adam is. Sunshine (2007) Both the scene where Mace, Capa and Harvey jet from airlock to airlock is almost identical to the scene in 2001 where Dave does the same thing, and the part where Icarus 2s voice starts to deepen and slow when the cores are pulled out is very reminiscent of HAL singing "A Bicycle Made for Two" as Dave turns him off. The visual effects (close-up shot of a blinking eye, psychedelic colors changing with each blink, the colored landscapes, the spectrum effects and the 'star'-like shapes) prior to the plane-crash are all references to the 'star-gate' scene. Portal (2007) (Video Game) GLaDOS's erratic, and possibly insane, behavior is very similar to HAL9000's unravelment, especially when she starts to try to destroy the protagonist... WALL·E (2008) The subplot regarding AUTO (who resembles HAL-9000) features many scenes from 2001.

For instance, Strauss' 'Thus Spoke Zarathustra' plays as the captain is taking his first steps, the airlock that WALL-E and EVE must pass through to re-enter the garbage bay, and the secret video message from BNL's CEO that only the ship's computer knows about. Troldspejlet: Episode #40.4 (2008) (TV Episode) Jakob Stegelman mentions the film in his review of Spore Fallout 3 (2008) (Video Game) The eye of the several security cameras found throughout the Capital Wasteland greatly ressembles HAL 9000's. Jeopardy!: Episode #25.65 (2008) (TV Episode) referenced in clue in "iPod, YouTube or Wii" category Watchmen (2009) At about 58 minutes into the theatrical version, Dr. Manhattan stands alone in his room after Laurie had left. His room looks remarkably similar in design and appearance to that of Dr. Bowman during the "Through Space and Time" sequence of 2001: A Space Odyssey (right before the "Star Child" sequence).

The Replacements: Irreplaceable (2009) (TV Episode) An injured C.A.R. sings a few bars from "Bicycle Built for Two," a la HAL 3000's death scene Hatching Pete (2009) (TV Movie) Pete, dressed as the chicken, hatches from the egg as "Thus Spake Zarathustra" plays. Land of the Lost (2009) "Also Sprach Zarathustra," by Richard Strauss is playing when Dr. Rick Marshall gives his "Tachyons" presentation to school children. And the scene when the trio of protagonists first encounter Chaka and the "primitive apes" pays homage to the infamous opening scene in Kubrik's 2001 "It just looks like Hal 9000 tripping balls." Borderlands (2009) (Video Game) The injured Claptrap's rambling speech about knowing a little song, then singing "Daisy Bell," is a reference to the scene in "2001: A Space Odyssey" where Dave Bowman shuts down HAL the computer.

Jeopardy!: Episode #26.76 (2009) (TV Episode) Category titles "'Hal'", "2001" and "I'm Sorry Dave" Mass Effect 2 (2010) (Video Game) When EDI (an AI) suggests giving her control of the ship to escape the Collectors, Joker tells her "If you start singing 'Daisy Bell' I'm done!" This is a reference to the last moments of the homicidal HAL computer. Jeopardy!: Episode #26.153 (2010) (TV Episode) Subject of a $1,200 clue in the category "At the Ancient Roman Cineplex" Motorvader (2010) One of Tim's professor's names is Clarke, after author Arthur C. Clarke, co-writer of 2001: A Space Odyssey featuring the HAL 9000 computer which heavily influenced Motorvader's appearance and personality. Warehouse 13: 13.1 (2010) (TV Episode) Pete: Well, sitting in a windowless room for ten years playing Monopoly with HAL. What could go wrong?

Love & Other Drugs (2010) dramatic intro to Pfizer with Thus Spoke Zarathustra playing Dead Space 2 (2011) (Video Game) Science fiction relation. Isaac takes down the A.I computer system while being asked to stop similar to the character in 2001 as he disables a very similar A.I system in a similar enviornment that involves crawling through small spaces. Smallville: Collateral (2011) (TV Episode) Chloe refers to HAL. Duke Nukem Forever (2011) (Video Game) The monolith can be seen in the final level of the game Eureka: Liftoff (2011) (TV Episode) Fargo appears as the starchild in the space capsule. Futurama: Möbius Dick (2011) (TV Episode) The 4th dimension is depicted as the colours peered into in this film. Also, the monolith and the Discovery are seen in the ship graveyard, and two astronauts dressed like the ones in the movie step out of the whale at the end.

Battleship (2012) Scientist working on satellite dishes is listening to Sprach Zarathustra on his headphones - a direct reference to the classic science fiction film. Community: Virtual Systems Analysis (2012) (TV Episode) Annie says, "Look at '2001.' Did we have a space odyssey?" Sightseers (2012) The scene in which Chris beats the Rambler to death with a knob, seen from below, and afterwards outstretching his arms triumphantly, resembles that of the ape-man discovering a bone as a weapon, smashing a tapir skeleton and finally raising his arms wildly. The Newsroom: The 112th Congress (2012) (TV Episode) Jim and Neal joke about the computer HAL.

Doctor Who: Dinosaurs on a Spaceship (2012) (TV Episode) When the Doctor disables the two robots and they power down the start to sing 'Daisy Bell' much as HAL 9000 did when his mind was being disabled Oblivion (2013) NASA ship is named "Odyssey", The eye on the drones looks like HAL 9000, The Tet is similar to the monoliths, Sally and HAL have many similar traits Star Trek Into Darkness (2013) At the end of the opening scene, when leaving Nibiru, the transition between the Enterprise drawn on sand by a primitive native, and the actual ship flying in space, pays homage to "2001: A Space Odyssey" (1968) when a mid-air swirling bone, thrown from an ape man, cuts to a space station floating in space. Europa Report (2013) Immediately after liftoff, the music that can be heard playing at Mission Control HQ is the Blue Danube.

it is the same track from the first glimpse of then futuristic space travel in the movie 2001: A Space Odyssey, another film about an ill-fated mission to Jupiter. At the same time the screenplay was written, by Stanley Kubrick & Arthur C. Clarke, Clarke was writing the book Continuum: Second Listen (2013) (TV Episode) HAL and Dave mentioned Perception: Alienation (2013) (TV Episode) When Daniel is given a smartphone, he says,"Just what I always wanted: the monolith from 2001." Futurama: Calculon 2.0 (2013) (TV Episode) Calculon performs a one man play based on this film. Hellhounds (2013) The inverted colors, visual patterns and use of heavy breathing in the sound mix for Hellhounds were inspired by visuals and sounds from the last half of 2001: A Space Odyssey Gone Home (2013) (Video Game) A recorded VHS tape of this movie & The Dark Crystal is seen in the TV room.

Gravity (2013) When Ryan is heading for the Chinese space station, her radar view almost mirrors the scene in 2001 where Dave is trying to reach Frank Godzilla (2014) Music track for the high-altitude parachute jump is Gyorgy Ligeti's "Requiem", made famous by the monolith scenes in "2001: A Space Odyssey" Mad Men: The Runaways (2014) (TV Episode) When Michael is spying on the bosses talking in the computer room, while he cannot hear the conversation he is attempting to lipread. The persons behind the glass and the camera switching between the two characters is reminiscent of the scene where HAL reads the lips of Dave and Frank in the EVA Pod. Nostalgia.exe (2014) (Short) The voice of Sarah Tonin's computer Charles is modelled after that of 'HAL 9000', as voiced by Douglas Rain . Main Characters - 2001: A Space Odyssey 2001: A Space Odyssey Main Characters Dr. David Bowman Dr. David Bowman was an astronaut and scientist, as well as the main protagonist of 2001: A Space Odyssey.

He was one of the astronauts sent to Jupiter to explore the monolith, traveling on Discovery One. When Discovery One was destroyed by Hal, he was the only survivor. He took a pod to the Jupiter monolith, but was sucked into a color tunnel. He was then transported into a French style bedroom during the time of Louis XVI, and saw himself grow older. When he was laying on his death bed, the monolith appeared and he reached out to touch it. Once he did this, he was transformed into a "Starchild," the next stage of human evolution. As a "Starchild", it seems he has control over nuclear satellites that are armed. Although he does not do anything with them in the movie, it is implied that he will use them somehow. This is never seen again in later movies. Differences from the Book: His character is very similar in the movie and written work. While dealing with Hal, he maintains his composure, even after dealing with the death of his close friend and colleague, Dr. Poole. He also keeps a keen interest in Earth, even after he is changed by the monolith on Saturn. Dr. Frank Poole Dr.

Frank Poole was one of the main characters of 2001: A Space Odyssey. He was a scientist and astronaut that worked alongside Dr. Bowman. Both of them were the first to realize that Hal was capable of making errors, and they talked about having him shut down. Poole, while he was in the process of trying to shut down Hal, was knocked out into open space with his oxygen tube cut due to Hal not wanting to "die." While Dr. Bowman searched for him, Poole dies before Dr. Bowman can reach him. He was brought back, but was abandoned when Hal refused to open the doors to the ship for Bowman. It was implied that he was heading towards the gravity field of Jupiter. He comes back to life in later movies because they freeze dry his body. Differences from the Book: There are not many differences from the written work seen in Dr. Poole. The book stresses his mechanical abilities more, as well as mentioning that he is the main astronaut who goes out into open space for missions. Hal 9000 Hal 9000 was the computer in charge of the majority of the functions of the spaceship Discovery One, as well as the main antagonist.

He believed himself unable to make errors, and attributed any errors he made as the result of humans. Hal was aware of the doctors plans to shut him down because he can read lips and they stood in front of one of his cameras when they were planning, so he did everything in his power to stop them. He also took away the lives of the three people on the ship that are in a suspended state of hibernation, causing them to die in their sleep. He was taken apart and "killed" by Dr. Bowman. Differences from the Book: While the movie focuses more on the action between Dr. Bowman and Hal, the book revolves around Hal's emotional capacity. Hal is not programmed to have emotions, but seems to develop them throughout the novel. This is seen in his guilt over not being able to tell the other astronauts the true mission of Discovery One. He begins to act and feel human through interacting with the astronauts, which causes him not to want to be shut down, or to be "killed." Hal gains emotions and defends himself from his impending doom because he has an essence of himself, which contributes to the theme of humanity vs. technology as well as the dangers of technology. Dr. Heywood R. Floyd Dr.

Floyd was the chairman of the NCA (National Council of Astronautics) and was present on Clavius. He was there when they first encountered the monolith on the moon, and when it started emitting the radio wave. He is the character in charge of the Discovery One mission. Differences from the Book: Dr. Floyd is more important in the written work than he was in the movie. He is seen as a caring family man in the book, and is one of the first astronauts to investigate the monolith. This site was created by DePauw University student Allison Hills. If you wish to contact her, you may email her at allisonhills_2017@depauw.edu. This is the final project for the Honors Scholar seminar at DePauw University entitled "Speculative Visions: Intro To Science Fiction." The teacher of this class is Arthur Evans, who specializes in French and Science Fiction at DePauw University.

Last Updated: December 8, 2013 Stanley Kubrick's Iconic '2001: A Space Odyssey' Sci-Fi Film Explained (Infographic) Stanley Kubrick's Iconic '2001: A Space Odyssey' Sci-Fi Film Explained (Infographic) By Karl Tate, SPACE.com Infographics Artist | June 11, 2013 02:00pm ET MORE The landmark 1968 film influenced the depiction of space travel in movies and television for decades. Credit: Karl Tate, SPACE.com Infographics Artist Stanley Kubrick's ambitious film "2001: A Space Odyssey" premiered on April 2, 1968. Four years in the making, "2001" drew from the most optimistic predictions of futurists to map out a then-believable scenario of 21st-century space travel. Science fiction writer Arthur C. Clarke wrote various versions of the story under Kubrick's guidance, and the film was pieced together from their collaborative effort. The film begins 4 million years in the past. A troop of prehuman man-apes is barely surviving on the African plain as a drought threatens their existence.

One day, an unexplained black monolith appears. The influence of the monolith causes one of the apes to begin using bones as weapons. The apes kill animals for food, and later bludgeon the leader of an enemy tribe: the first murder. It is not known when the ancestors of humans first used tools and weapons. Around the time frame of the film, a species of pre-human called Australopithecus lived in Africa. The oldest known stone tools date back to 2.6 million years ago. In one of the most famous transitions in film history, a camera shot of a bone tumbling through the air cuts to a shot of an orbiting spacecraft, a gap of 4 million years between film frames. The kinds of spacecraft depicted in "2001" were imagined by engineers in the years following World War II. This 1953 painting by Chesley Bonestell features a ring-shaped, rotating space station, a winged shuttle plane, and lunar landing vehicles under construction. The spaceships of 2001 were designed by Frederick I.

Ordway III, chief science adviser; Harry Lange, illustrator and concept artist (who later would design spaceship interiors for "Star Wars") and Tony Masters, production designer on "Lawrence of Arabia," "Dune" and other films. Real-life spacecraft contractors including IBM, Honeywell, RCA and General Electric were consulted for their predictions of the technology of 35 years in the future. In the film, Clavius Base is a half-mile-wide American moon colony housing 400 personnel. The Soviet Union maintains a base elsewhere on the moon. Astronauts from Clavius take a short trip by rocket-bus to the crater Tycho, where they examine Tycho Magnetic Anomaly One (TMA-1), an 11-foot-tall (3.4 meters) rectangular alien artifact that had been deliberately buried 4 million years ago. When the TMA-1 monolith is first exposed to sunlight, it beams a radio signal to the planet Jupiter . The 520-foot spaceship Discovery One is launched on a secret mission to investigate.

Discovery's on-duty astronauts, Dave Bowman and Frank Poole, spend their time in the 52-foot diameter Habitat Sphere, where a rotating drum-shaped Centrifuge spins constantly to generate artificial gravity about equal to a quarter of Earth's. The design of Discovery was influenced by a set of NASA-funded studies done in 1962 called EMPIRE ("Early Manned Planetary-Interplanetary Round Trip Expeditions"). Shown below is a 420-foot-long concept vehicle, powered by four nuclear engines and capable of carrying a crew of eight on a 15-month mission to Mars in 1975. In the film, the astronauts use a tablet computer called an "IBM News Pad" to watch TV transmissions from Earth. Their food paste, however, is much more primitive than the dehydrated space foods in use by astronauts in the actual year 2001. Three of Discovery's astronauts, the Jupiter survey team, were placed on board already in suspended animation (or "hibernation"). Unknown to Bowman and Poole, the survey team had been separately trained to investigate another alien monolith that telescopes had revealed in orbit around Jupiter.

The concept of suspended animation had been used as a storytelling device in Western literature for hundreds of years, as a means of bringing characters forward in time. Devices to suspend human life had been a staple of science fiction and pulp magazines of the 1950s. In addition to the five human astronauts, Discovery also carries HAL 9000, a supercomputer capable of running all the functions of the spaceship. HAL could conduct the Jupiter mission by himself if necessary. HAL erroneously predicts a fault in the ship's communications antenna and then attempts to cover up his mistake. Bowman and Poole conclude that HAL has become too unreliable and must be disconnected. When his higher brain functions are removed, HAL regresses to his earliest memories. HAL's singing of "Bicycle Built For Two (Daisy)" is a reference to a 1962 experiment where an IBM 704 computer sang the song at Bell Labs. On arrival at Jupiter, Bowman discovers another monolith in orbit. Bowman is transported from Earth's solar system through a strange tunnel-like corridor called the "Stargate." He finally comes to rest in what appears to be an antique hotel room with no doors or windows.

There, Bowman appears to age, die, and become reborn as the fetuslike "Star Child." The response to "2001" was sharply polarized. After the initial screening, Kubrick cut 19 minutes from the film. Removed footage included a prologue with scientists discussing the likelihood of extraterrestrial life, and several duplicated scenes depicting the monotony of life aboard the Discovery. Critics both hailed and condemned the film. Arthur Clarke wrote three sequel novels, published in 1982, 1987 and 1997. The first of these was made into a movie starring Roy Scheider, Helen Mirren and John Lithgow, released in 1984. The production design of "2001" heavily influenced the look of space travel in sci-fi films and television for decades. Kubrick's techniques for filming model spacecraft led to the computerized camera-control methods pioneered in "Star Wars" 10 years later.

"2001: A SPACE ODYSSEY" IS © AND ™ WARNER BROTHERS; "STAR WARS" IS © AND ™ LUCASFILM/DISNEY SOURCES: ADAM JOHNSON, "THE LOST SCIENCE OF 2001." FREDERICK I. ORDWAY III, "2001: A SPACE ODYSSEY IN RETROSPECT." CINEFEX 85, "2001: A TIME CAPSULE," JEROME AGEL, "THE MAKING OF KUBRICK'S 2001," PIERS BIZONY, "2001: FILMING THE FUTURE." 2001: A Space Odyssey (1968) | Hollywood Subliminals Hollywood Subliminals Breaking the Spell 2001: A Space Odyssey (1968) 2001: A Space Odyssey is a 1968 epic science fiction film produced and directed by Stanley Kubrick, and co-written by Kubrick and Arthur C. Clarke, partially inspired by Clarke’s short story The Sentinel.

The story deals with a series of encounters between humans and mysterious black monoliths that are apparently affecting human destiny, 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 who “seems human” and has full control over their spaceship. Financed and produced by the American studio Metro-Goldwyn-Mayer, the film was made almost entirely in England, using both the studio facilities of MGM’s subsidiary “MGM British” (among the last movies to be shot there before its closure in 1970) and those of Shepperton Studios, mostly because of the availability of much larger sound stages than in the United States. The film was also co-produced by Kubrick’s own “Stanley Kubrick Productions”. Kubrick, having already shot his previous two films in England, decided to settle there permanently during the filming of Space Odyssey.

Though Space Odyssey was released in America several months before its release in England, and Encyclopædia Britannica calls this an American film, other sources refer to it as an American, British, or American-British production. Thematically, the film deals with elements of human evolution, technology, artificial intelligence, and extraterrestrial life. It is notable for its scientific accuracy, pioneering special effects, ambiguous imagery that is open-ended to a point approaching surrealism, sound in place of traditional narrative techniques, and minimal use of dialogue. The film has a memorable soundtrack—the result of the association that Kubrick made between the spinning motion of the satellites and the dancers of waltzes, which led him to use The Blue Danube waltz by Johann Strauss II, and the famous symphonic poem Also sprach Zarathustra by Richard Strauss, to portray the philosophical evolution of Man theorized in Nietzsche’s work of the same name. Despite initially receiving mixed reviews, 2001: A Space Odyssey is today recognized by many critics and audiences as one of the greatest and most influential films ever made; the 2002 Sight & Sound poll of critics ranked it among the top ten films of all time.

In addition, in 2010 it was named the #1 greatest film ever made by The Moving Arts Film Journal. It was nominated for four Academy Awards, and received one for visual effects. In 1991, it was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry. PLOT SUMMARY The film consists of four major sections, all of which, except the second, are introduced by superimposed titles. The Dawn of Man A tribe of herbivorous early humans is foraging for food in the African desert. A leopard kills one member, and another tribe of man-apes drives them from their water hole. Defeated, they sleep overnight in a small exposed rock crater, and awake to find a black monolith has appeared in front of them. They approach it shrieking and jumping, and eventually touch it cautiously. Soon after, one of the man-apes (Daniel Richter) realizes how to use a bone as both a tool and a weapon, which they later use to kill prey for food. Later they reclaim control of the water hole from the other tribe by killing its leader.

Triumphant, the tribe’s leader throws his weapon-tool into the air as the scene shifts (via match cut) from the falling bone to an orbital satellite millions of years in the future. TMA-1 A Pan Am space plane carries Dr. Heywood R. Floyd (William Sylvester) to a space station orbiting Earth for a layover on his trip to Clavius Base, a US outpost on the Moon. After making a videophone call from the station to his daughter (Vivian Kubrick), he encounters his friend Elena (Margaret Tyzack), a Russian scientist, and her colleague Dr. Smyslov (Leonard Rossiter), who ask Floyd about “odd things” occurring at Clavius, and the rumor of a mysterious epidemic at the base. The American politely but firmly declines to answer any questions about the epidemic. At Clavius, Floyd heads a meeting of base personnel, apologizing for the epidemic cover story but stressing secrecy. His mission is to investigate a recently found artifact—”Tycho Magnetic Anomaly One” (TMA-1)—”deliberately buried” four million years ago.

Floyd and others ride in a Moonbus to the artifact, a black monolith identical to the one encountered by the apes. The visitors examine the monolith, and pose for a photo in front of it. While doing so, they hear a very loud radio signal coming from the monolith. Jupiter Mission Eighteen months later, the American spaceship Discovery One is bound for Jupiter. On board are mission pilots and scientists Dr. David Bowman (Keir Dullea) and Dr. Frank Poole (Gary Lockwood), and three other scientists who are in cryogenic hibernation. “Hal” (voiced by Douglas Rain) is the ship’s HAL 9000 computer, which runs most of Discovery’s operations. While Bowman and Poole watch Hal and themselves being interviewed in a BBC show about the mission, the computer states that he is “foolproof and incapable of error.” Hal also speaks of his enthusiasm for the mission, and how he enjoys working with humans. When asked by the host if Hal has genuine emotions, Bowman replies that he appears to, but that the truth is unknown.

Hal asks Bowman about the unusual mystery and secrecy surrounding the mission, but interrupts himself to report the imminent failure of a device which controls the ship’s main antenna. After retrieving the component with an EVA pod, the astronauts cannot find anything wrong with it. Hal suggests reinstalling the part and letting it fail so the problem can be found. Mission control concurs, but advises the astronauts that results from their twin HAL 9000 indicate the ship’s HAL is in error predicting the fault. When queried, Hal insists that the problem, like all previous issues with the HAL series, is due to “human error”. Concerned about Hal’s behavior, Bowman and Poole enter one of the EVA pods to talk without the computer overhearing them. They both have a “bad feeling” about Hal, despite the HAL series’ perfect reliability, but decide to follow his suggestion to replace the unit. As the astronauts agree to deactivate the computer if it is proven to be wrong, they are unaware that Hal is reading their lips through the pod’s window. While attempting to replace the unit during a spacewalk, Poole’s EVA pod, controlled by Hal, severs his oxygen hose and sets him adrift.

Bowman, not realizing the computer is responsible for this, takes another pod to attempt a rescue, leaving his helmet behind. While he is gone, Hal terminates the life functions of the crew in suspended animation. When Bowman returns to the ship with Poole’s body, Hal refuses to let him in, stating that the astronaut’s plan to deactivate him jeopardizes the mission. Bowman manually opens the ship’s emergency airlock and bodily enters the ship risking death from lack of oxygen. After donning a helmet, Bowman proceeds to HAL 9000’s memory core intent on disconnecting the computer. Hal first tries to reassure Dave, then pleads with him to stop, and finally begins to express fear—all in a steady monotone voice. Dave ignores him and disconnects each of the computer’s memory modules. Hal eventually regresses to his earliest programmed memory, the song “Daisy Bell”, which he sings for Bowman. When the computer is finally disconnected, a pre-recorded video message from Floyd plays. In it, he reveals the existence of the four million-year-old black monolith on the Moon, “its origin and purpose still a total mystery”.

Floyd adds that it has remained completely inert, except for a single, very powerful radio emission aimed at Jupiter. Jupiter and Beyond the Infinite At Jupiter, Bowman leaves Discovery One in an EVA pod and finds another monolith in orbit around the planet. Approaching it, the pod is suddenly pulled into a tunnel of colored light, and a disoriented and terrified Bowman finds himself racing at great speed across vast distances of space, viewing bizarre cosmological phenomena and strange alien landscapes of unusual colors. He finds himself, middle-aged and still in his spacesuit, standing in a bedroom containing Louis XVI-style decor. Bowman sees progressively older versions of himself, his point of view switching each time, alternately appearing formally dressed and eating dinner, and finally as a very elderly man lying in a bed. A black monolith appears at the foot of the bed, and as Bowman reaches for it, he is transformed into a fetus-like being enclosed in a transparent orb of light. The new being floats in space beside the Earth, gazing at it.

Question: In “2001: A Space Odyssey,” what was the name of the computer that took control of the spaceship Discovery?
Answer: HAL 9000