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.
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.
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”.
[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.
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.
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.
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.
Does this sound like they are discussing what may be the most significant discovery in the history of science, or work as usual? Bill follows by asking, “You seen these yet?” Photographs of the alleged monolith discovery are then reviewed while they munch on sandwiches. If this is a genuine discovery, doesn’t it seem a little unusual that Heywood, the chairman of the NCA, would be presented with such fundamentally important material in this casual setting as an afterthought, rather than having been presented with the photographs earlier? Does it make more sense that Bill and Ralph are presenting a genuine landmark scientific discovery to Heywood, or that they are rehearsing their story lines about how this contrived discovery was made? The scene concludes with Heywood’s comment, “Well, I must say, you guys have certainly come up with something.” Laughter follows.
I did wonder about this bit in the film though, it really didn’t make any sense.