Stanley Kubrick posters remixed by Tomer Hanuka

Thursday, 16 July, 2015

Kubrick is the name of a new series of works in progress, by New York City based comic artist and illustrator Tomer Hanuka, that are based, as the name would suggest, on films made by Stanley Kubrick. Thought provoking, no?

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Stanley Kubrick’s “The Shining” remade… in the kitchen

Friday, 3 July, 2015

Image by Claudia Ficca, Davide Luciano

The Shining, by Stanley Kubrick, is one film I’m still yet to see.

Until that happens, I’ll have to make do with a little taste of the 1980 movie by way of these scenes, that New York City based food stylist Claudia Ficca, and photographer and filmmaker Davide Luciano, recreated by way of all manner of assorted food stuffs.

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Steven Soderbergh’s recut of 2001: A Space Odyssey

Wednesday, 21 January, 2015

US film director Steven Soderbergh, maker of the Ocean’s Eleven series of films among others, has recut 2001: A Space Odyssey. His one hundred and ten minute re-working of Stanley Kubrick’s classic came about, it seems, from a desire to cross a line.

That’s some line to cross. I’m unable to embed the video, but Soderbergh has posted it to his website here.

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Stanley Kubrick in the red

Thursday, 27 November, 2014

Red, one colour, many facets, something that late US film director Stanley Kubrick was not oblivious to.

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Is it possible to make an odyssey out of “3001: The Final Odyssey”?

Tuesday, 11 November, 2014

There’s been talk for years of a movie based on 3001: The Final Odyssey, the final installment of Arthur C. Clarke’s four book series, that in turn was based on the Stanley Kubrick directed 2001: A Space Odyssey.

At one point it was suggested Tom Hanks would have a prominent role in such a production, but that particular project was eventually shelved.

Now it looks like “3001” may yet be adapted for the screen, with the news last week that US film director Ridley Scott will be acting as executive producer for a proposed television mini series based on the book.

While ok, I didn’t find either “3001”, or the title that preceded it, 2061: Odyssey Three, to be that great, especially when compared with “2001” or even Clarke’s second novel in the series, 2010: Odyssey Two. I’ll refrain from making any comment on the film adaptation of “2010” however.

But let’s see, fingers crossed, and what have you… some adept adaptation writing might see “3001” turned into a decent screen production.

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The original soundtrack of 2001, as composed by Alex North

Wednesday, 10 September, 2014

I knew that Stanley Kubrick spent a lot of time thinking about the music for his 1968 feature 2001: A Space Odyssey, but I didn’t for a long time realise that US composer Alex North had been commissioned to write an entire sound track that Kubrick later opted not to use.

North’s composition, in its entirety, can be found here. What do you think? While, for instance, I like “Space Station Docking” by North, that would have featured during the flight to the space station, there’s no going passed Kubrick’s ultimate choice, “The Blue Danube”.

Via things magazine.

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Studying the typography of 2001: A Space Odyssey

Tuesday, 11 February, 2014

Dave Addey scrutinises the use of typography in 2001: A Space Odyssey, and turns up a whole stack of details I hadn’t really given much thought to previously, including the way Stanley Kubrick set out the film’s title card:

[The] title card is set in Gill Sans, one of the all-time classic sans-serif fonts. Perhaps surprisingly, the zeroes in “2001” appear to be set with the Gill Sans capital letter O, rather than its zero character.

By the looks of it, this is the first in series of articles that Addey will be writing on the use of typography in science fiction movies.

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How do you depict extraterrestrials when you’ve not met any?

Monday, 28 October, 2013

In bringing 2001: A Space Odyssey to the screen, director Stanley Kubrick, and co-screenwriter Arthur C. Clarke, struggled to devise a credible looking species of extraterrestrials, to feature in the film:

What is important right now is the fact that the revelation of the physical appearance of the aliens in the book is one of the most shocking in sci-fi history: they turn on to look like the traditional human folk images of demons – large bipeds with leathery wings, horns and tails. Maybe Kubrick was amused by this shocking revelation and the effect that it may have had on the audience?

I think “2001” might have been a completely different film, likely far inferior, had they have not gone the way they eventually did, in this regard.

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Stanley Kubrick’s favourite movies

Wednesday, 7 August, 2013

Manhattan, by Woody Allen, still

Orson Welles, Laurence Olivier, Federico Fellini, Roman Polanski, Francis Ford Coppola, Mike Leigh, and Woody Allen, whose work features a number of times, are among directors whose films were admired by late US filmmaker Stanley Kubrick.

And on the subject of Kubrick, a transcript of the 1964 letter he sent to science writer Arthur C. Clarke, proposing the collaboration that would later bring forth 2001: A Space Odyssey:

It’s a very interesting coincidence that our mutual friend Caras mentioned you in a conversation we were having about a Questar telescope. I had been a great admirer of your books for quite a time and had always wanted to discuss with you the possibility of doing the proverbial “really good” science-fiction movie.

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The summer I spent working for Stanley Kubrick

Monday, 4 March, 2013

Tim Deegan recounts working for Stanley Kubrick as an intern during the production, and release, of 2001: A Space Odyssey:

Another mystery quickly developed when the studio received a call from the manager of the Loews Capitol Theatre, MGM’s 5,500-seat showcase theater on Broadway (second largest in New York after Radio City Music Hall’s 5,700 seats). The projectionist was threatening to go on strike and close the theater, which meant no more showings of 2001: A Space Odyssey. Someone saying they were from MGM had gone into the projection booth and was using a chisel to file the aperture frame to remove the built up dust from the carbon arc projectors so that there would be sharp, not fuzzy, edges on the theater screen.

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