This site has several hundred movies that include comedy, drama, horror, action, romance, family, documentary movies, and foreign films. They also feature web and film school originals. No account is needed; simply choose any movie and enjoy. It supports resume playback, so you can watch these movies in pieces if you like. Categories: Adventure , Animation , Comedy , Family. Tags: Adventure , Animation , Comedy , Family. In a interview, Kubrick said:. There are a number of differences between the book and the movie.
The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The novel came about after we did a page prose treatment of the film at the very outset. This initial treatment was subsequently changed in the screenplay, and the screenplay in turn was altered during the making of the film. But Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel. As a result, there's a difference between the novel and the film I think that the divergences between the two works are interesting.
Clarke and Kubrick wrote the novel and screenplay simultaneously. Clarke opted for clearer explanations of the mysterious monolith and Star Gate in the novel; Kubrick made the film more cryptic by minimising dialogue and explanation. The screenplay credits were shared whereas the novel, released shortly after the film, was attributed to Clarke alone.
Clarke wrote later that 'the nearest approximation to the complicated truth' is that the screenplay should be credited to 'Kubrick and Clarke' and the novel to 'Clarke and Kubrick'.
But they felt it would be disloyal to accept Kubrick's offer. Astronomer Carl Sagan wrote in his book The Cosmic Connection that Clarke and Kubrick asked him how to best depict extraterrestrial intelligence. While acknowledging Kubrick's desire to use actors to portray humanoid aliens for convenience's sake, Sagan argued that alien life forms were unlikely to bear any resemblance to terrestrial life, and that to do so would introduce 'at least an element of falseness' to the film.
Sagan proposed that the film should simply suggest extraterrestrial superintelligence, rather than depict it. He attended the premiere and was 'pleased to see that I had been of some help.
In a interview unreleased during Kubrick's lifetime, Kubrick explains one of the film's closing scenes, where Bowman is depicted in old age after his journey through the Star Gate: 'The idea was supposed to be that he is taken in by godlike entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room.
And he has no sense of time. It just seems to happen as it does in the film. The script went through many stages. In early , when backing was secured for the film, Clarke and Kubrick still had no firm idea of what would happen to Bowman after the Star Gate sequence. Initially all of Discovery ' s astronauts were to survive the journey; by October 3, Clarke and Kubrick had decided to make Bowman the sole survivor and have him regress to infancy.
By October 17, Kubrick had come up with what Clarke called a 'wild idea of slightly fag robots who create a Victorian environment to put our heroes at their ease.
Early drafts included a prologue containing interviews with scientists about extraterrestrial life, [41] voice-over narration a feature in all of Kubrick's previous films , [42] a stronger emphasis on the prevailing Cold War balance of terror, and a different and more explicitly explained breakdown for HAL.
Kubrick made further changes to make the film more nonverbal, communicating at a visual and visceral level rather than through conventional narrative. Vincent LoBrutto wrote that Clarke's novel has 'strong narrative structure' while the film is a mainly visual experience, where much remains symbolic. The reasons for HAL's malfunction and subsequent malignant behavior have elicited much discussion.
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'. Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of all of the characters.
Kubrick originally planned a voice-over to reveal that the satellites seen after the prologue are nuclear weapons, [49] and that the Star Child would detonate the weapons at the end of the film. 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'.
Kubrick scholar Michel Ciment, discussing Kubrick's attitude toward human aggression and instinct, observes: 'The bone cast into the air by the ape now become a man is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon. It's a continuation, not a discontinuity in that jump.
The film has no dialogue for roughly the first and last 20 minutes. Kubrick's decision to avoid the fanciful portrayals of space in standard popular science fiction films of the time led him to seek more realistic and scientifically accurate depiction of space travel. Illustrators such as Chesley Bonestell, Roy Carnon, and Richard McKenna were hired to produce concept drawings, sketches and paintings of the space technology seen in the film.
According to biographer Vincent Lobrutto, Universe was a visual inspiration to Kubrick. 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 Salt, with 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 Borehamwood, where the live action and special effects filming was done, starting with the scenes involving Floyd on the Orion spaceplane; [61] 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.
Filming of actors was completed in September , [67] and from June until March Kubrick spent most of his time working on the special effects shots in the film. 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.
The film was announced in as a 'Cinerama' [69] film and was photographed in Super Panavision 70 which uses a 65 mm negative combined with spherical lenses to create an aspect ratio of 2. It would eventually be released in a limited 'road-show' Cinerama version, then in 70mm and 35mm versions. For the opening sequence involving tribes of apes, professional mime Daniel Richter played the lead ape and choreographed the movements of the other man-apes, who were mostly portrayed by his standing mime troupe.
An earlier version of the film, which was edited before it was publicly screened, included a painting class on the lunar base that included Kubrick's daughters, additional scenes of life on the base, and Floyd buying a bush baby for his daughter from a department store via videophone. Kubrick's rationale for editing the film was to tighten the narrative. 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.
According to his brother-in-law Jan Harlan, Kubrick was adamant the trims were never to be seen and burned the negatives, which he had kept in his garage, shortly before his death.
This was confirmed by former Kubrick assistant Leon Vitali: 'I'll tell you right now, okay, on Clockwork Orange , The Shining , Barry Lyndon , some little parts of , we had thousands of cans of negative outtakes and print, which we had stored in an area at his house where we worked out of, which he personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it. That's what he wanted. From very early in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience [84] 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 North, who 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.
North's unused music was first released in Telarc's issue of the main theme on Hollywood's Greatest Hits, Vol. Eventually, a mono mix-down of North's original recordings, which had survived in the interim, was released as a limited-edition CD by Intrada Records. Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes, [88] and selecting notable pieces of contemporary furniture for use in the film.
Other examples of modern furniture in the film are the bright red Djinn chairs seen prominently throughout the space station [95] [96] and Eero Saarinen's pedestal tables. Olivier Mourgue, designer of the Djinn chair, has used the connection to in his advertising; a frame from the film's space station sequence and three production stills appear on the homepage of Mourgue's website. Everyone recalls one early sequence in the film, the space hotel, [99] primarily because the custom-made Olivier Mourgue furnishings, those foam-filled sofas, undulant and serpentine, are covered in scarlet fabric and are the first stabs of color one sees.
They resemble Rorschach 'blots' against the pristine purity of the rest of the lobby. Detailed instructions in relatively small print for various technological devices appear at several points in the film, the most visible of which are the lengthy instructions for the zero-gravity toilet on the Aries Moon shuttle.
Similar detailed instructions for replacing the explosive bolts also appear on the hatches of the E. The film features an extensive use of Eurostile Bold Extended, Futura and other sans seriftypefaces as design elements of the world.
To heighten the reality of the film very intricate models of the various spacecraft and locations were built. Their sizes ranged from about two-foot long models of satellites and the Aries translunar shuttle up to a foot long Discovery One spacecraft. In shots where there was no perspective change, still shots of the models were photographed and positive paper prints were made.
The image of the model was cut out of the photographic print and mounted on glass and filmed on an animation stand. The undeveloped film was re-wound to film the star background with the silhouette of the model photograph acting as a matte to block out where the spaceship image was. Shots where the spacecraft had parts in motion or the perspective changed were shot by directly filming the model.
For most shots the model was stationary and camera was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly. Elements of the scene were recorded on same piece of film in separate passes to combine the lit model, stars, planets, or other spacecraft in the same shot.
In moving shots of the long Discovery One spacecraft, in order to keep the entire model in focus, multiple passes had to be made with the lighting on it blocked out section by section. The film was announced in as a 'Cinerama' [69] film and was photographed in Super Panavision 70 which uses a 65 mm negative combined with spherical lenses to create an aspect ratio of 2. It would eventually be released in a limited 'road-show' Cinerama version, then in 70mm and 35mm versions.
For the opening sequence involving tribes of apes, professional mime Daniel Richter played the lead ape and choreographed the movements of the other man-apes, who were mostly portrayed by his standing mime troupe. An earlier version of the film, which was edited before it was publicly screened, included a painting class on the lunar base that included Kubrick's daughters, additional scenes of life on the base, and Floyd buying a bush baby for his daughter from a department store via videophone.
Kubrick's rationale for editing the film was to tighten the narrative. 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. According to his brother-in-law Jan Harlan, Kubrick was adamant the trims were never to be seen and burned the negatives, which he had kept in his garage, shortly before his death.
This was confirmed by former Kubrick assistant Leon Vitali: 'I'll tell you right now, okay, on Clockwork Orange , The Shining , Barry Lyndon , some little parts of , we had thousands of cans of negative outtakes and print, which we had stored in an area at his house where we worked out of, which he personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it.
That's what he wanted. From very early in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience [84] 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 North, who 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. North's unused music was first released in Telarc's issue of the main theme on Hollywood's Greatest Hits, Vol. Eventually, a mono mix-down of North's original recordings, which had survived in the interim, was released as a limited-edition CD by Intrada Records.
Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes, [88] and selecting notable pieces of contemporary furniture for use in the film. Other examples of modern furniture in the film are the bright red Djinn chairs seen prominently throughout the space station [95] [96] and Eero Saarinen's pedestal tables. Olivier Mourgue, designer of the Djinn chair, has used the connection to in his advertising; a frame from the film's space station sequence and three production stills appear on the homepage of Mourgue's website.
Everyone recalls one early sequence in the film, the space hotel, [99] primarily because the custom-made Olivier Mourgue furnishings, those foam-filled sofas, undulant and serpentine, are covered in scarlet fabric and are the first stabs of color one sees. They resemble Rorschach 'blots' against the pristine purity of the rest of the lobby. Detailed instructions in relatively small print for various technological devices appear at several points in the film, the most visible of which are the lengthy instructions for the zero-gravity toilet on the Aries Moon shuttle.
Similar detailed instructions for replacing the explosive bolts also appear on the hatches of the E. The film features an extensive use of Eurostile Bold Extended, Futura and other sans seriftypefaces as design elements of the world. To heighten the reality of the film very intricate models of the various spacecraft and locations were built.
Their sizes ranged from about two-foot long models of satellites and the Aries translunar shuttle up to a foot long Discovery One spacecraft. In shots where there was no perspective change, still shots of the models were photographed and positive paper prints were made.
The image of the model was cut out of the photographic print and mounted on glass and filmed on an animation stand. The undeveloped film was re-wound to film the star background with the silhouette of the model photograph acting as a matte to block out where the spaceship image was. Shots where the spacecraft had parts in motion or the perspective changed were shot by directly filming the model. For most shots the model was stationary and camera was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly.
Elements of the scene were recorded on same piece of film in separate passes to combine the lit model, stars, planets, or other spacecraft in the same shot. In moving shots of the long Discovery One spacecraft, in order to keep the entire model in focus, multiple passes had to be made with the lighting on it blocked out section by section. In each pass the camera would be focused on the one lit section. Some shots required exposing the film again to record previously filmed live action shots of the people appearing in the windows of the spacecraft or structures, achieved by mounting projection devices inside the model or, when two dimensional photographs were used, projecting from the backside through a hole cut in the photograph.
All of the shots required multiple takes so that some film could be developed and printed to check exposure, density, alignment of elements, and to supply footage used in further elements such as matting. The set was 38 feet 12 m in diameter and 10 feet 3. The camera could be fixed to the inside of the rotating wheel to show the actor walking completely 'around' the set, or mounted in such a way that the wheel rotated independently of the stationary camera, as in the jogging scene where the camera appears to alternately precede and follow the running actor.
The shots where the actors appear on opposite sides of the wheel required one of the actors to be strapped securely into place at the 'top' of the wheel as it moved to allow the other actor to walk to the 'bottom' of the wheel to join him.
The most notable case is when Bowman enters the centrifuge from the central hub on a ladder, and joins Poole, who is eating on the other side of the centrifuge. This required Gary Lockwood to be strapped into a seat while Keir Dullea walked toward him from the opposite side of the wheel as it turned with him. A stewardess is shown preparing in-flight meals, then carrying them into a circular walkway.
Attached to the set as it rotates degrees, the camera's point of view remains constant, and she appears to walk up the 'side' of the circular walkway, and steps, now in an 'upside-down' orientation, into a connecting hallway. The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set and placing the camera beneath them.
The actors' bodies blocked the camera's view of the wires, creating the appearance of floating. For the shot of Poole floating into the pod's arms during Bowman's rescue attempt, a stuntman replaced a dummy on the wire to portray the movements of an unconscious man and was shot in slow motion to enhance the illusion of drifting through space.
At the proper moment, the stagehand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, jumped off the platform, causing Dullea to ascend back toward the hatch. The methods used were alleged to have placed stuntman Bill Weston's life in danger.
Weston recalled that he filmed one sequence without airholes in his suit, risking asphyxiation. So it simply built up inside, incrementally causing a heightened heart rate, rapid breathing, fatigue, clumsiness, and eventually, unconsciousness. Leave him up there! And the thing is, Stanley had left the studio and sent Victor [Lyndon, the associate producer] to talk to me.
Because I was going to do him. Known to staff as 'Manhattan Project', the shots of various nebula-like phenomena, including the expanding star field, were colored paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow motion in a dark room.
The coloring and negative-image effects were achieved with different color filters in the process of making duplicate negatives.
Kubrick used the technique to produce the backdrops in the Africa scenes and the scene when astronauts walk on the Moon. The technique consisted of a separate scenery projector set at a right angle to the camera and a half-silvered mirror placed at an angle in front that reflected the projected image forward in line with the camera lens onto a backdrop of retroreflective material. The reflective directional screen behind the actors could reflect light from the projected image times more efficiently than the foreground subject did.
The lighting of the foreground subject had to be balanced with the image from the screen, making the image from the scenery projector on the subject too faint to record. The exception was the eyes of the leopard in the 'Dawn of Man' sequence, which glowed orange from the projector illumination. Kubrick described this as 'a happy accident'.
Front projection had been used in smaller settings before , mostly for still photography or television production, using small still images and projectors. The expansive backdrops for the African scenes required a screen 40 feet 12 m tall and feet 34 m wide, far larger than had been used before. When the reflective material was applied to the backdrop in foot 30 m strips, variations at the seams of the strips led to visual artifacts; to solve this, the crew tore the material into smaller chunks and applied them in a random 'camouflage' pattern on the backdrop.
Kubrick then deleted 19 minutes of footage from the film before its subsequent roadshow release in five other U. The general release of the film in its 35mm anamorphic format took place in autumn and used either a four-track magnetic stereo soundtrack or an optical monaural soundtrack. Re: A Space Odyssey Post by handcraftedbits » Wed Dec 19, am The earlier release, at least in the US, is very different from the one released today -- they went back and fixed a spot in the film that was supposed to be a fade rather than a cut.
So there's definitely different keys. Re: A Space Odyssey Post by handcraftedbits » Thu Dec 20, am They did actually discover it because some people got their discs early waaay back when it was supposed to come out in October. There's an epic thread on a Blu-ray site about it. Also, it looks like the keys have been updated because I was able to decrypt my disc just now.
I encourage all that use it to pay for it.
0コメント