I have yet to see anyone on this thread mention
He has been compared to Frankenstein's monster. In Clarke's novel, HAL malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, namely the confidentially programmed mission priority over expendable human life, despite being constructed for "the accurate processing of information without distortion or concealment".
This would not be addressed on film until the follow-up The Year We Make Contact. Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of all of the characters.
Strangelove and decided not to make it obvious that they were "war machines". In a book he wrote with Kubrick's assistance, Alexander Walker states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".
It's a continuation, not a discontinuity in that jump. Illustrators such as Chesley BonestellRoy Carnon, and Richard McKenna were hired to produce concept drawings, sketches and paintings of the space technology seen in the film.
The minute film, which had also proved popular at NASA for its realistic portrayal of outer space, achieved "the standard of dynamic visionary realism that he was looking for. Kubrick also asked Universe co-director Colin Low about animation camerawork, with Low recommending British mathematician Brian Saltwith whom Low and Roman Kroitor had previously worked on the still animation documentary City of Gold.
It was filmed in Cinerama and shown in the "Moon Dome". The production moved in January to the smaller MGM-British Studios in Borehamwoodwhere the live action and special effects filming was done, starting with the scenes involving Floyd on the Orion spaceplane;  it was described as a "huge throbbing nerve center A small elevated platform was built in a field near the studio so that the camera could shoot upward with the sky as background, avoiding cars and trucks passing by in the distance.
Although this technique, known as "held takes", resulted in a much better image, it meant exposed film would be stored for long periods of time between shots, sometimes as long as a year.
It would eventually be released in a limited " road-show " Cinerama version, then in 70mm and 35mm versions. Reviews suggested the film suffered from its departure from traditional cinematic storytelling.
The people who like it like it no matter what its length, and the same holds true for the people who hate it. This was confirmed by former Kubrick assistant Leon Vitali: That's what he wanted.
A Space Odyssey soundtrack and A Space Odyssey score From very early in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience  that did not rely on the traditional techniques of narrative cinema, and in which music would play a vital role in evoking particular moods.
About half the music in the film appears either before the first line of dialogue or after the final line. Almost no music is heard during scenes with dialogue. The film is notable for its innovative use of classical music taken from existing commercial recordings.
Most feature films then and now are typically accompanied by elaborate film scores or songs written specially for them by professional composers. In the early stages of production, Kubrick had commissioned a score for from Hollywood composer Alex Northwho had written the score for Spartacus and also worked on Dr.
North did not learn that his score had been abandoned until he saw the film's premiere. As additional "bonus tracks" at the end, the CD includes the versions of "Zarathustra" and "Lux aeterna" on the old MGM soundtrack, an unaltered performance of "Aventures", and a nine-minute compilation of all of Hal's dialogue.When asked by Eric Nordern in Kubrick's interview with Playboy if A Space Odyssey was a religious film, Kubrick elaborated: I will say that the God concept is at the heart of but not any traditional, anthropomorphic image of God.
Sep 06, · This is an explanatory video looking at the final scenes of Kubricks classic A Space Odyssey.
Nov 19, · Stanley Kubrick’s film, based on Arthur C Clarke's short story The Sentinel, is a remarkable achievement, not just for its production design and attention to detail, but on the themes it presents – never pandering, hardly explaining but telling a .
The following paper will analyze the movie, “ A Space Odyssey” by Stanley Kubrick” and “The Centinel” by Arthur C. Clarke.
Although there are many themes present between the story and the film, the following are the most dominant. I will be discussing Scientific themes, Religious and. From A Space Odyssey - New Essays, edited by Robert Kolker.
NY: Oxford University Press, "Space is also the lord of Kubrick's film."4 Walker and his collaborators are very good on issues of space, especially about confinement and tracking shots, and a statement like STANLEY KUBRICK'S In the movie A Space Odyssey, created by Dr.
Arthur C. Clarke and Stanley Kubrick, the plot sequences that are symbolic. The section of the movie called “The Dawn of .