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Cast

 Directed by Stanley Kubrick
Written by Stanley Kubrick & Arthur C. Clarke

Articles

Selling '2001' was odyssey for puzzled studio brass
Sunday, 4/13/08
By Hap Erstein
    West Palm Beach, FL - Forty years ago this month, Stanley Kubrick expanded moviegoers' minds and had them scratching their heads upon the release of his visionary but perplexing science-fiction film, 2001: A Space Odyssey. Viewers who weren't quite sure what to make of the widescreen journey into outer space, set in motion by an encounter between prehistoric apes and a tall black monolith, might find it comforting to know that neither did the executives of MGM.
    "I truly didn't understand it, didn't get the significance of the movie, until I sat down with Stanley," said Mel Maron, former head of distribution for MGM. "I had no idea what the symbolism was with the apes and the monolith…and I had to go out and sell it to the
theater owners."
    Maron, 76, worked at MGM from 1949 to 1969, climbing up from messenger boy to vice president of the studio. As the picture's much-delayed April 6 release date loomed in 1968, neither Maron nor the advertising and marketing department, nor any of the MGM executives knew much about the film beyond the fact that it was based on a novella by Arthur C. Clarke called The Sentinel. Maron recalled going to studio head Robert O'Brien, pleading for more information about this Space Odyssey.
    "So," he said, " 'I'll find out, I'll call Stanley.' It was still in production at Shepperton studios outside of London, and we hadn't seen anything," Maron said from his office in Boca Raton, where he runs an independent distribution firm. Kubrick, famously reclusive and secretive, had by this point established an unusual, hands-off relationship with the studio, having already made acclaimed movies such as Spartacus, Lolita and Dr. Strangelove. "Stanley had carte blanche really, up to the budget they had agreed on," Maron said. "And that budget kept going up. But this was Stanley Kubrick, so they didn't argue. He needed another million here, another million there."
    In a conciliatory mood, Kubrick agreed to host a delegation of MGM suits and show them what he had completed so far. "So 14 executives go over, including myself. We each had a suite at, I think, the Kensington" in London, Maron said. "We arrive; we want to go to the studio, but Stanley says, 'Look, you guys are exhausted, why don't we set up a date for tomorrow. You'll have lunch, and then we'll screen.' "
    The next day, the MGM brass went to Shepperton. "We have a lovely lunch in the commissary," Maron said, "and now we go into the screening room. The screen comes on and we get 20 minutes of 'Dah-dah-dah, dum-dum, dah-dum, dah-dum,' (Strauss' Blue Danube waltz). "That's it, the spinning space station, that's all we saw," he recalled with a sigh. "Just this thing going around and around to the music. Twenty minutes. So now we still don't know what we're going to see in the movie." And then the executives were dismissed, to fly home almost as mystified as they were when they arrived. Still, theaters were booked throughout the United States and the world, so an advertising campaign about "the ultimate experience" was hastily devised, and a VIP premiere was scheduled at Washington's Cinerama movie palace, the Uptown Theatre, for two days before the general release.
    "But Stanley doesn't fly," Maron said, "so he's coming over on the Queen Elizabeth II (cruise ship). We hired two floors for him to edit, and he finished editing on the ship. He docked in New York and carried off the wet print." The movie arrived on schedule, but the Washington premiere was a disaster. Less than an hour before the screening, Martin Luther King Jr. was shot to death in Memphis, Tenn. The audience of dignitaries learned of the assassination at intermission. "The theater was packed," Maron said. "Then at intermission, nobody came back."
    Only a few hundred tickets had been sold for the next night's screening at the Capitol Theatre in New York, so Maron decided to sell the remaining seats to the general public. "And 20 minutes before the movie started, it was like the subways of New York opened up, and people poured into the theater. You have never seen in your life such a motley crew of people coming to see it. It was the first time in my life I ever saw people demanding to sit in the first rows."
    Why? "They had heard about the psychedelic show," he said. "I didn't know what they were doing, but there were people with strange pipes. I'd never seen anything like that in a movie theater."
    Kubrick was never one to explain his films, but in a discussion about the distribution strategy for 2001, Maron asked him for some help. "I said, 'Stanley, I'm going out to sell it, and I really feel like a jerk. What are you trying to say when you have the apes and the monolith?'
    "He said, 'It's very simple, Mel. That's Nietzsche's theory of superpower. They touched it, and they're repelled. It was a superpower; they felt the power of the monolith, and they were afraid.' "
    Oh. "And then, the end, where Keir Dullea is dying and becomes a fetus?" Maron asked.
    "That's the end of one generation and the beginning of another generation," said Kubrick. "The beginning of the new century 2001."

Keeping alive the spirit of Kubrick's movie odyssey
Jim Schembri | The Age Australia 9/23/06

    Staring straight-faced into each other's eyes as they recreate the famous pre-intermission scene from Stanley Kubrick's 2001: A Space Odyssey, Gary Lockwood and Keir Dullea engage in banter that speaks volumes about the 40-year friendship born on the set of the 1968 classic, in which they played two deep-space astronauts.
    As Dullea recites streams of technical dialogue verbatim, Lockwood tries putting him off with sugar-coated curse words and one-liners. "Mission Control, this is X-Ray Delta One. A one-niner two-zero on-board fault predicted …" says Dullea. Replies Lockwood: "Did you get laid this morning before work?" Neither breaks into a smile.
    The film caused enormous controversy, with people arguing over whether it was a crashing bore or a timeless masterpiece. Still enormously proud of 2001, Lockwood and Dullea are firmly in the latter camp. They needed little persuasion when approached by Kubrick, whom both regard as a genius (another source of controversy).
    "It's all about Darwin, about evolution," says Lockwood of the film. Adds Dullea: "It's a film that expresses an almost religious take on the cyclical nature of existence … Kubrick added important elements to the vocabulary of cinema."
    Since 2001, both have worked extensively on television, though Dullea has maintained his acclaimed career on the New York stage, where he still works. He is soon to appear in Robert De Niro's feature film The Good Shepherd and rates his 1992 role as F. Scott Fitzgerald in the one-man off-Broadway play The Other Side of Paradise as his proudest non- 2001 moment.
    Lockwood openly jests about being the less eloquent of the two and refers to Dullea as "a serious actor-actor", though his seminal work in 2001, his role in the Star Trek pilot and his role as the wise-cracking young gunslinger in the classic 1968 cowboy film Firecreek has earned him a huge fan base.
    Lockwood began attending sci-fi conventions in the mid-1990s, but had to talk Dullea into joining him. "It smelled a little bit of 'has-beenism'," says Dullea. "Then Gary began to describe how much money I could make on the weekend! As I started doing them, I realised how much this film means to people. When you get astronauts telling you they became astronauts because of having seen 2001, there's something wonderful about being part of a film that did that."
    The film's enduring appeal, they agree, is due largely to its meaning being different and personal to each viewer. This, Lockwood emphatically points out, stands in stark contrast to the studio blockbusters of today and the mind-set of the people who make them.
    "They're all corporate guys. They assign somebody to run a studio and the asshole doesn't know shit about it. The reality is that if you want somebody to set a beautiful diamond and to cut it, are you going to go to a guy who works for IBM? No. Well, that's what we have. Our studio industry is totally screwed because it's corporate."
    Keir Dullea and Gary Lockwood will present and do Q&A at the 2pm and 7.30pm screenings of 2001 tomorrow at the Astor Theatre, Windsor.

"2001" fundraiser for Rising Phoenix Theatre Company.
By Margaret A. Mcgurk 6/1/06

    Dullea is an old friend of Rising Phoenix producing director Herb DuVal. The two became friends when DuVal lived in Connecticut and both were members of the Theater Arts Workshop, which Dullea described as "an organization for actors, writers and directors to have, in a sense, a gymnasium to work out in." Dullea, who also starred in the sequel "2010," has become accustomed to answering questions about "2001" in recent years, since he began attending science-fiction conventions.
    "My ("2001") co-star, Gary Lockwood, had been trying to get me to do this for years, and I sort of pooh-poohed it," Dullea said. "Finally, he talked me into it, and now I've been to 15 or 20 conventions in the last six years. It's a lot of fun." He recently attended a special event honoring "2001" at the Jules Verne Film Festival in Paris, along with astronaut Buzz Aldrin. "I have a lot of stories to tell, a lot of amusing things that happened," Dullea said. "These days, in those kind of films all the special effects are computer-generated. In those days, everything - everything - was a physical effect."

Star will discuss the art of film and making his most famous movie, '2001: A Space Odyssey'
By Eric Robinette 6/1/06

    Keir Dullea may have starred in "2001: A Space Odyssey," but that doesn't necessarily mean he can unlock the secrets to the film when he visits Middletown next week. At a recent meeting of the Art Central foundation, attendees speculated that when the actor appears at a special screening of "2001" at Sorg Opera House, he will "explain" what the 1968 movie directed by Stanley Kubrick means. As Dullea's nemesis in the film, the murderous supercomputer HAL might put it, "I'm sorry. I'm afraid I can't do that."
    "What makes '2001' is that Stanley didn't try to explain anything if it was all about plot points, we wouldn't be talking about it now," Dullea said. Even so, Dullea, a Cleveland native, will discuss making his most famous film at the event, a fundraiser for the Rising Phoenix Theatre Company. Its director, Herb DuVal, had known Dullea through theater workshops in New England in the early 1980s and invited him here, Dullea said.
    Even though 2001 was five years ago, Dullea said the film still seems new, thanks to the genius of Kubrick, whose forte was challenging films that often looked at the dark side of human nature. "Every Stanley Kubrick film ever made could be a seminar in the art of film. He made so many different kinds. It could be a different genius making each film."
    Dullea had been shooting the 1965 movie "Bunny Lake is Missing" when he got a call from his agent that he had been offered the lead role in Kubrick's next film. Kubrick offered Dullea the part after viewing "David and Lisa," for which Dullea won a Golden Globe, and the 1964 version of "The Thin Red Line."
    Dullea jumped at the chance and found that Kubrick was dedicated but not an impossible taskmaster, as his control-freak reputation suggested. "It was such a privilege to work with this man. To paraphrase Shakespeare, with Kubrick, the film was the thing. He ate and slept whatever film he was doing," Dullea said.
    One of the more amusing facets of shooting "2001" was that the calm, cool voice of HAL was not heard on the set; it later was dubbed by actor Douglas Rain. What the actors heard was "an assistant director who sounded like Michael Caine," Dullea said. "That's amazing about this particular film, that it seems to have become multi-generational, It has incredible staying power," he said.
    Also discussing the movie will be film professor T.J. Rivard of Indiana University and astronomy professor Bradley Peterson, whom DuVal said entered his field because of "2001."

'Space Odyssey' Composer Ligeti Dies 
By William J. Kole Associated Press June 12, 2006

    Vienna, Austria - Composer Gyorgy Ligeti, who survived the Holocaust and fled Hungary after the 1956 revolution, then won acclaim for his opera "Le Grand Macabre" and his work on the soundtrack for "2001: A Space Odyssey," died Monday. He was 83.
    Ligeti, celebrated as one of the world's leading 20th century musical pioneers, died in Vienna after a long illness, said Christiane Krauscheid, a spokeswoman for his publisher, Germany-based Schott Music. Details were unavailable, but Austrian media said he spent the last three years in a wheelchair. Ligeti (pronounced lig'-ih-tee) was born in 1923 to Hungarian parents in the predominantly ethnic Hungarian part of Romania's Transylvania region. His father and brother later were murdered by the Nazis. He took Austrian citizenship in 1967 after fleeing his ex-communist homeland.
    He began studying music under Ferenc Farkas at the conservatory in Cluj, Romania, in 1941, and continued his studies in Budapest. But in 1943, he was arrested as a Jew and sentenced to forced labor for the rest of World War II.
    "My life in the Nazi era and under communist rule was full of risks, and I believe I still reflect this feeling," he once told the Austria Press Agency in an interview.
    After the war, Ligeti resumed his studies with Farkas and Sandor Veress at Budapest's Franz Liszt Academy. After graduation in 1949, he did research on Romanian folk music and then returned to the academy as an instructor in harmony, counterpoint and formal analysis. Ligeti attracted wide attention for "Macabre," which he wrote in 1978.
    Ligeti's early work was heavily censored by Hungary's repressive regime, but his arrival in Vienna in 1956 opened up new possibilities. In the Austrian capital, he met key players in Western Europe's avant-garde music movement such as Karlheinz Stockhausen, Gottfried Michael Koenig and Herbert Eimert, who invited him to join an electronic music studio at West Germany's state radio in Cologne in 1957.
    He won early critical acclaim for his 1958 electronic composition "Artikulation" and the orchestral "Apparitions." He gained notoriety for a technique he called "micropolyphony," which wove together musical color and texture in ways that transcended the traditional borders of melody, harmony and rhythm.
    Ligeti spoke at least six languages, including his native Hungarian, German, French, and English, said Stephen Ferguson, who worked as his assistant and editor at Schott Music from 1992-96.
     "He was one of the few avant-garde composers who found his way into the modern program," Ferguson said. "He was fascinated by patterns, but at the same time created wonderful atmospheres, such as in the music used in '2001: A Space Odyssey,' or in 'Clocks and Clouds.' He reintroduced techniques of polyphony out of the tradition of Bach and Palestrina with a playful and innovative sense of sound. He developed a new sound -- cluster sound -- which fascinated director Stanley Kubrick and propelled Ligeti to the top of the great composers of the second half of the 20th century."
    Excerpts of his "Atmospheres," a requiem and 1966's "Lux Aeterna" were used on the bestselling soundtrack for Kubrick's "Space Odyssey." Although the music was not the film's well-known fanfare, which was composed by Richard Strauss, it won Ligeti a global audience. Kubrick returned to Ligeti in 1999, using the composer's Musica Ricercata II (Mesto, rigido e cerimoniale), as the theme for what turned out to be his final film, "Eyes Wide Shut."
    Ligeti, who for a time also lived in Germany and San Francisco and was a visiting professor at the Stockholm Academy of Music for many years, was known for striking a playful note with his music, epitomized by a piece he wrote for 100 metronomes.
    Sir Simon Rattle was a fan of Ligeti and led many performances of his works during his tenure at the City of Birmingham Symphony Orchestra before taking over the Berlin Philharmonic. Austrian Chancellor Wolfgang Schuessel hailed Ligeti on Monday as "the greatest Austrian in the 20th century music world," and the city of Vienna said it would offer a special grave site in honor of its adopted composer. Ligeti is survived by his wife, Vera, and a son, Lukas, a percussionist who lives in New York. Funeral arrangements were incomplete.

From Skyrack late 1965 - Ron Bennett fanzine 
The 23rd World Science Fiction Convention held in London in 1965. Arthur C. Clarke followed, entitling his talk, "How I Learned to Stop Worrying and Love Stanley Kubrick." He had been commissioned to write a book about space, for Time-Life and had met Kubrick in New York with the idea of an epic space film on the lines of How The Solar System Was Won. Kubrick had bought five of his short stories but had eventually settled upon only one, whereby Clarke immediately bought back the remaining four at a thousand dollars apiece. The provisional title of the film, "Journey Beyond the Stars" had now been changed to "2001 - The Space Odyssey," with the screenplay by Kubrick and Clarke, based upon a novel by Clarke and Kubrick. It is difficult showing convincing extraterrestrials, said Clarke, and it was not true that Peter Sellers was going to play them all. ''Though Peter was willing," he added. The film will be shot in Cinerama and if a month's scheduled shooting takes place as planned next spring, at which time will also appear the book (which is not yet finished), then the film should. Be released around Christmas 1966. Clarke said that he hoped it would become the contemporary space travel film, the Destination Moon of the 1970's. In closing he held up a nail from the Bounty and a piece of the heat shield from the Apollo spacecraft. These were, he explained thoughtfully, two artifacts with less than 200 years between them. Later during the convention, Dr Strangelove won the best dramatic presentation Hugo and Peter George, the author of Red Alert on which the film was based, won the drama Hugo. The Hugo is the SF community's equivalent of the Oscar.

Deleted Scenes

1. In the theater Ligeti's Atmospheres plays to a black screen for 10 minutes before the movie begins and Strauss' The Blue Danube after the end credits to a black screen. This is not on home video versions.

2. The film originally premiered at 160 minutes and then Kubrick cut it down by 19 minutes.

Interviews

Dan Richter on Playing the Ape in '2001', Life With John and Yoko
New York Magazine 4/22/08

How did you get the part of Moonwatcher?

Stanley had shot most of the picture already. They were trying to figure out how to do the opening scenes. They had done tests on dancers, actors - even comedians. He and Arthur C. Clarke were talking about it, and they said, "You know, we haven't talked to a mime." It so happened I was teaching private classes in mime in London at the time. Anyway, I was asked if I would go out and let Stanley pick my brain. I said, "If you give me twenty minutes, a stage, leotards, and some towels, I can show you how to do it." So he hired me to choreograph it, and eventually talked me into playing the part of Moonwatcher as well. I always thought of myself as a choreographer on that film. But I saw it again the other day, and I realized I starred in the thing!

Were the other performers who played the man-apes also mimes?

In England, at that time, there were only two or three mimes at that level. You really needed to be very, very skinny to do this, because of the padding of the costume. We looked at tens of thousands of people. Once we got everybody together, it turned into Parris Island. I had to make them forget everything they had been trained to do and retrain them - break them and rebuild them. I also had to build up their stamina, because it was going to be really difficult to do all that movement in that costume, on a set where the temperature was over 100 degrees.

Kubrick was very fond of research. Did you do a lot of research into ape behavior, too?

That may have been the hardest part. I spent a lot of time at the zoo, in front of the chimp cage and the gorillas. I got all the footage of Jane Goodall's work and watched it over and over again. I met with anthropologists. My goal was to take this group of twenty man-apes, drop them in a parking lot without telling them what to do, and they would just look right. We even put milk bladders in the female apes' breasts, because we had two real baby chimps, and we hoped that they would actually drink from the breasts. But they never did.

All this led to one of the greatest Oscar disses in history, where Planet of the Apes was given an Honorary Oscar for Best Makeup, and Stuart Freeborn's makeup for 2001 was completely overlooked.

It's very hard for me to comment on that, because I see everything - I see the seams in the costumes that aren't quite right, all the mistakes. But we did nail the behavior. And … come on! Planet of the Apes? It was so below what we were doing! Also, I'll tell you something else: We had stuff stolen. I can't say it was Planet of the Apes, but they were the only other movie shooting at the same time and same place we were. Stanley and I even had someone steal a mask and some ape hands right out from under our noses on the backlot, where someone had hid in a drainage ditch. We were in lockdown all the time.

There are two famous bone scenes in the film: One where you discover the bone as a weapon and the other where you throw the bone up in the air and it cuts to a spaceship. Was all that bone-tossing planned?

Not really. Stanley planned everything in great detail, but he was also the kind of great artist who could capitalize on things when they just happened. I got there and I sort of just dropped a bone down casually, and it hit a rib bone in such a way that it spun up in the air. At first, I said, "I'm sorry, Stanley." And he said, "No, that's great." So, I hit it once, a bone flips, and then I hit it a bit harder, and another bone flips. And it builds and builds, and finally, it all led up to Stanley saying, "Throw the bones in the air!" But that first accidental flipping was what gave us the idea.

You did keep in touch with Arthur C. Clarke over the years. Did you keep in touch with Kubrick?

I lost touch with him after A Clockwork Orange. I had designed an editing table for John and Yoko, because we were shooting concert footage. Stanley had heard about it, and he called and asked if he could borrow the table. And John and Yoko were going off to L.A. to have their heads shrunk, so John said, "Yeah, that's cool, let Stanley borrow it." So I spent a day with Stanley, and that was the last time I saw him. Just before he died, I was realizing I had wanted to write about Moonwatcher, so I was hoping to see him again.

Media Mentions

110 references

News

10/13/08

Malcolm McDowell appeared at the Jules Verne 2001 event with Vivian Kubrick. Go here for pictures and info.

9/5/08

On 9/13 & 14 in association with The Junction and the Institute of Astronomy, the 28th Cambridge Film Festival presents a spectacular screening of Stanley Kubrick’s 2001 at the Institute of Astronomy after dusk. For the first time in the UK, Kubrick’s sublime journey into space will be shown outdoors in 70mm to highlight its stunning cinematography and renowned soundtrack. The evenings will be complemented by special talks and additional screenings at the Institute’s lecture theatre (limited availability). Seating is on the lawn, please bring your own picnic rug. The event will take place whatever the weather. Tickets are available from The Junction Box Office, call 01223 511 511.

11/06

    In 1966, Stanley Kubrick and Arthur C. Clarke commissioned a variety of companies to imagine and design futuristic products for the year 2001-and to be featured in their film 2001: A Space Odyssey. They hired Hamilton, a U.S. watchmaker, and John Bergey, a Hamilton developer known for helping to invent the digital watch, created a digital clock and analog/digital wristwatch. (See the movie prop watch here). At the same time, it inspired Bergey's work inventing the Pulsar Time Computer LED digital watch in 1970. In 1968, the movie was released and Hamilton released an entirely different but beautiful watch to the public, the "Odyssee 2001," spelled differently for apparent copyright issues.
    Forty years later, Hamilton is now issuing the X-01 a limited edition reinterpretation of the original movie watch for $1195. Only 2001 will be made, cast from Titanium, fitted with four quartz movements, sapphire crystal and three sideview registers for Home Time, Dream Time, and GMT. Unfortunately they are now analog, unlike the digital display from the original. But that is remedied by an old-school trick-the small registers are set using a magnet that's hidden in the clasp, a feature of the first Pulsar LEDs.

The 14th Raindance Film Festival in London, England will celebrate the work of Stanley Kubrick playing 2001 Thurs 10/5/06 - 6:30pm.

NASA dubs space shuttle replacement 'Orion'
David Shiga | NewScientist.com 8/23/06

Orion is the new name for the spaceship NASA is developing to replace the space shuttle and carry astronauts to the Moon, NASA confirms. The new name echoes that of a spacecraft in the film 2001: A Space Odyssey, and of a cancelled US nuclear propulsion project.

Notes

• Original titles were "Journey Beyond the Stars" and "2001 - The Space Odyssey".

• Produced by Metro-Goldwyn-Mayer (MGM), now owned by Warner Bros.

• 148 minutes, rated G

• HAL's birthday is 1/12/92

Pictures

Location where MGM studios used to be - where 2001 was filmed
Oddesey Road sign in honor of 2001
 someone needs to spellcheck

Exclusive - 2001 in 2001: Marquee in Times Square NYC 12/23/01
Entertainment Weekly ad from 2001 on TCM on 9/25/05
Entertainment Weekly Quiz from 9/16/05 with 2001 question & picture

Soundtrack

The Original Score - Label: Intrada Special Collection Volume 38

World premiere of original performance for Alex North score to legendary Stanley Kubrick sci-fi masterpiece, authored by Arthur C. Clarke, starring Keir Dullea & Gary Lockwood. Presented through combined efforts of Stanley Kubrick estate, Alex North family, restoration authority Nick Redman, other persons related to project. Judiciously assembled from sole surviving mono mixdown safety master made for composer by engineer Ken Cameron during recording sessions at Anvil. Relatively recent discovery of long lost jewel allows original performance of vibrant, complex work to shine. Stunning orchestral textures; hugely expanded brass section; incredible array of timpani all get the spotlight. In balance are reflective ideas, moments for intimate solo voice against vibraphone, harp, other subtle textures. Packaging includes definitive notes about legendary rejected score, researched in depth by writer Jon Burlingame, historian Nick Redman with additional comments from conductor Henry Brant, estate members plus musical score examples, more! Complete score as recorded by composer under baton of Henry Brant. Special Collection release limited to 3000 copies!

01. The Foraging 3:11
02. The Bluff 2:38
03. Night Terrors 1:47
04. Bones 1:41
05. Eat Meat and Kill 4:00
06. Space Station Docking 5:22
07. Space Talk 3:47
08. Trip to Moon 3:04
09. Moon Rocket Bus 5:19
10. The Foraging (alternate version) AKA The Dawn of Man 3:08

Bonus Tracks
11. Eat Meat and Kill (take 7-wild) 1:03
12. Space Station (take 4-partial) 2:11
13. Docking (take 2) 1:15
Date: 1968
Time - 39:02

Original Soundtrack

1. Also Sprach Zarathustra - Richard Strauss
2. Requiem For Soprano, Mezzo-Soporano, 2 Mixed Choirs & Orchestra - György Ligeti
3. Lux Aeterna - György Ligeti
4. Atmospheres - György Ligeti
5. Lontano - György Ligeti
6. Adventures - György Liget
7. The Blue Danube - Johann Strauß
8. Gayane Ballet Suite - Aram Khachaturyan

Together Again

1971 - Stanley Kubrick & Margaret Tyzack worked on ACO.

© 2004-09 Alex D. Thrawn for www.MalcolmMcDowell.net