![]() Touching the immaculate surface on set with Remembered a graphite mix being added to the paint in order to lend a theĪlien slab became a tall, black monolith crafted from wood and paintedīlack. Here, instead, are some more production tidbits: Can 2001 be read as allegory for the creative process? It’s almost as a higher intelligence had intervened. And I think that’s when he got the idea of this transition.”Īn idly tossed broom. I was quite worried it might come down on him. According to Clarke, “Stanley was walking back to his office, and he had a broomstick, and he was throwing it up in the air. The notion for the famous cut between a bone tossed in the air and space ship orbiting the earth-human evolution summed up by arguably the most audacious edit in movie history-came to Kubrick only after he had shot the final scene from “The Dawn of Man” sequence. To a late date, he was experimenting with ways of depicting aliens for the final “Jupiter and Beyond the Infinite” freak-out. He also completed the bulk of live-action photography without having nailed down the film’s beginning and end. Unlike, say, Steven Spielberg or James Cameron, Kubrick declined to storyboard most of the outer-space sequences, preferring to figure things out in the editing room (which made more work for his special-effects team). Myself, I bought a ticket-destination: Nerdvana-without thinking, being the sort of person who has watched the movie 20 or so times since I first saw it at the age of 10, when it floored and fascinated and frightened me, short-circuiting whatever feeble assumptions I then held about movies and storytelling, and also leaving me with a lifelong fetish for white, over-lit interiors.įor me, the biggest surprise in Bizony’s sometimes disjointed but always scrupulous text is his account of the improvisatory way the film was put together-relative to most big-budget special-effects epics. You are either on the bus or you are not. Nor is this the place to question the need for a four-volume, 1,386-page “book” (a modest noun in this circumstance) devoted to 2001. This not the place to delve into the meaning(s) of the film. ( The normal-deluxe “collector’s edition” of the book, retails for a mere $750, and all copies are signed by Kubrick’s widow, Christiane.) And expensive: the super-deluxe “art edition,” which comes with an exclusive lithograph sells for $1,500 and is limited to 500 copies. At four volumes and 1,386 pages, The Making of Stanley Kubrick’s 2001: A Space Odyssey is indeed exhaustive. ![]() ![]() Now, Taschen, the high-end, occasionally overwrought art-book publisher, is releasing what it brags is “the most exhaustive publication ever devoted” to the film. Several episodes of the recent half-season of Mad Men referenced the movie, sometimes obliquely, sometimes winkingly (both Kubrickian modes). This has been a banner year for those of us who are as obsessed with Stanley Kubrick’s great film 2001: A Space Odyssey as the movie’s ape-men are obsessed with the big black monolith that shows up on their veldt. © Stanley Kubrick Archives/TASCHEN. © 2014 Turner Entertainment Co. ![]()
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