2001: A Space Odyssey (Film) Stanley Kubrick

Development

After completing Dr. Strangelove (1964), director Stanley Kubrick told a publicist from Columbia Pictures that his next project would be about extraterrestrial life,[9][10] and resolved to make "the proverbial good science fiction movie".[11] How Kubrick became interested in creating a science fiction film is far from clear.[12] Biographer John Baxter notes possible inspirations in the late 1950s, including British productions featuring dramas on satellites and aliens modifying early humans, Metro-Goldwyn-Mayer's big budget CinemaScope production Forbidden Planet, and the slick widescreen cinematography and set design of Japanese kaiju (monster movie) productions (such as Ishirō Honda and Eiji Tsuburaya's Godzilla films and Koji Shima's Warning from Space).[12]

Kubrick obtained financing and distribution from the American studio Metro-Goldwyn-Mayer with the selling point that the film could be marketed in their ultra-widescreen Cinerama format, recently debuted with their How the West Was Won.[13][14][12] It would be filmed and edited almost entirely in southern England, where Kubrick lived, using the facilities of MGM-British Studios and Shepperton Studios. MGM had subcontracted the production of the film to Kubrick's production company to qualify for the Eady Levy, a UK tax on box-office receipts used at the time to fund the production of films in Britain.[15] In a draft version of a contract with Kubrick's production company in May 1965, MGM suggested Alfred Hitchcock, Billy Wilder and David Lean as possible replacements for Kubrick if he was unavailable.[16]

Pre-production

Kubrick's decision to avoid the fanciful portrayals of space found in standard popular science fiction films of the time led him to seek more realistic and accurate depictions 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.[17][18] Two educational films, the National Film Board of Canada's 1960 animated short documentary Universe and the 1964 New York World's Fair movie To the Moon and Beyond, were major influences.[17]

According to biographer Vincent LoBrutto, Universe was a visual inspiration to Kubrick.[19] The 29-minute film, which had also proved popular at NASA for its realistic portrayal of outer space, met "the standard of dynamic visionary realism that he was looking for". Wally Gentleman, one of the special-effects artists on Universe, worked briefly on 2001. 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 1957 still-animation documentary City of Gold.[20][21] Universe's narrator, actor Douglas Rain, was cast as the voice of HAL.[22] For the role of Heywood Floyd, MGM suggested casting a well-known actor such as Henry Fonda or George C. Scott.[23]

After pre-production had begun, Kubrick saw To the Moon and Beyond, a film shown in the Transportation and Travel building at the 1964 World's Fair. It was filmed in Cinerama 360 and shown in the "Moon Dome". Kubrick hired the company that produced it, Graphic Films Corporation—which had been making films for NASA, the US Air Force, and various aerospace clients—as a design consultant.[17] Graphic Films' Con Pederson, Lester Novros, and background artist Douglas Trumbull airmailed research-based concept sketches and notes covering the mechanics and physics of space travel, and created storyboards for the space flight sequences in 2001.[17] Trumbull became a special effects supervisor on 2001.[17]

Writing

Searching for a collaborator in the science fiction community for the writing of the script, Kubrick was advised by a mutual acquaintance, Columbia Pictures staff member Roger Caras, to talk to writer Arthur C. Clarke, who lived in Ceylon. Although convinced that Clarke was "a recluse, a nut who lives in a tree", Kubrick allowed Caras to cable the film proposal to Clarke. Clarke's cabled response stated that he was "frightfully interested in working with [that] enfant terrible", and added "what makes Kubrick think I'm a recluse?"[19][24] Meeting for the first time at Trader Vic's in New York on 22 April 1964, the two began discussing the project that would take up the next four years of their lives.[25] Clarke kept a diary throughout his involvement with 2001, excerpts of which were published in 1972 as The Lost Worlds of 2001.[26]

Kubrick told Clarke he wanted to make a film about "Man's relationship to the universe",[27] and was, in Clarke's words, "determined to create a work of art which would arouse the emotions of wonder, awe ... even, if appropriate, terror".[25] Clarke offered Kubrick six of his short stories, and by May 1964, Kubrick had chosen "The Sentinel" as the source material for the film. In search of more material to expand the film's plot, the two spent the rest of 1964 reading books on science and anthropology, screening science fiction films, and brainstorming ideas.[28] They created the plot for 2001 by integrating several different short story plots written by Clarke, along with new plot segments requested by Kubrick for the film development, and then combined them all into a single script for 2001.[29][30] Clarke said that his 1953 story "Encounter in the Dawn" inspired the film's "Dawn of Man" sequence.[31]

Kubrick and Clarke privately referred to the project as How the Solar System Was Won, a reference to how it was a follow-on to MGM's Cinerama epic How the West Was Won.[12] On 23 February 1965, Kubrick issued a press release announcing the title as Journey Beyond The Stars.[32] Other titles considered included Universe, Tunnel to the Stars, and Planetfall. Expressing his high expectations for the thematic importance which he associated with the film, in April 1965, eleven months after they began working on the project, Kubrick selected 2001: A Space Odyssey; Clarke said the title was "entirely" Kubrick's idea.[33] Intending to set the film apart from the "monsters-and-sex" type of science-fiction films of the time, Kubrick used Homer's The Odyssey as both a model of literary merit and a source of inspiration for the title. Kubrick said, "It occurred to us that for the Greeks the vast stretches of the sea must have had the same sort of mystery and remoteness that space has for our generation."[34]

How much would we appreciate La Gioconda today if Leonardo had written at the bottom of the canvas: "This lady is smiling slightly because she has rotten teeth" — or "because she's hiding a secret from her lover"? It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to 2001.

—Stanley Kubrick, Playboy, 1968[35]

Originally, Kubrick and Clarke had planned to develop a 2001 novel first, free of the constraints of film, and then write the screenplay. They planned the writing credits to be "Screenplay by Stanley Kubrick and Arthur C. Clarke, based on a novel by Arthur C. Clarke and Stanley Kubrick" to reflect their preeminence in their respective fields.[36] In practice, the screenplay developed in parallel with the novel, with only some elements being common to both. In a 1970 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 130-page prose treatment of the film at the very outset. ... 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.[37]

In the end, Clarke and Kubrick wrote parts of the novel and screenplay simultaneously, with the film version being released before the book version was published. 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.[38] Kubrick said the film is "basically a visual, nonverbal experience" that "hits the viewer at an inner level of consciousness, just as music does, or painting".[39]

The screenplay credits were shared whereas the 2001 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".[40] Early reports about tensions involved in the writing of the film script appeared to reach a point where Kubrick was allegedly so dissatisfied with the collaboration that he approached other writers who could replace Clarke, including Michael Moorcock and J. G. Ballard. But they felt it would be disloyal to accept Kubrick's offer.[41] In Michael Benson's 2018 book Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece, the actual relation between Clarke and Kubrick was more complex, involving an extended interaction of Kubrick's multiple requests for Clarke to write new plot lines for various segments of the film, which Clarke was expected to withhold from publication until after the release of the film while receiving advances on his salary from Kubrick during film production. Clarke agreed to this, though apparently he did make several requests for Kubrick to allow him to develop his new plot lines into separate publishable stories while film production continued, which Kubrick consistently denied on the basis of Clarke's contractual obligation to withhold publication until release of the film.[30]

Astronomer Carl Sagan wrote in his 1973 book The Cosmic Connection that Clarke and Kubrick had 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".[42] Sagan had met with Clarke and Kubrick only once, in 1964; and Kubrick subsequently directed several attempts to portray credible aliens, only to abandon the idea near the end of post-production. Benson asserts it is unlikely that Sagan's advice had any direct influence.[30] Kubrick hinted at the nature of the mysterious unseen alien race in 2001 by suggesting that given millions of years of evolution, they progressed from biological beings to "immortal machine entities" and then into "beings of pure energy and spirit" with "limitless capabilities and ungraspable intelligence".[43]

In a 1980 interview (not released 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. ... [W]hen they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made some kind of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.[44]

The script went through many stages. In early 1965, 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 3 October, Clarke and Kubrick had decided to make Bowman the sole survivor and have him regress to infancy. By 17 October, 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".[40] HAL 9000 was originally named Athena after the Greek goddess of wisdom and had a feminine voice and persona.[40]

Early drafts included a prologue containing interviews with scientists about extraterrestrial life,[45] voice-over narration (a feature in all of Kubrick's previous films),[a] a stronger emphasis on the prevailing Cold War balance of terror, and a different and more explicitly explained breakdown for HAL.[47][48] Other changes include a different monolith for the "Dawn of Man" sequence, discarded when early prototypes did not photograph well; the use of Saturn as the final destination of the Discovery mission rather than Jupiter, discarded when the special effects team could not develop a convincing rendition of Saturn's rings; and the finale of the Star Child exploding nuclear weapons carried by Earth-orbiting satellites,[48] which Kubrick discarded for its similarity to his previous film, Dr. Strangelove.[45][48] The finale and many of the other discarded screenplay ideas survived in Clarke's novel.[48]

Kubrick made further changes to make the film more nonverbal, to communicate on a visual and visceral level rather than through conventional narrative.[35] By the time shooting began, Kubrick had removed much of the dialogue and narration.[49] Long periods without dialogue permeate the film: the film has no dialogue for roughly the first and last twenty minutes,[50] as well as for the 10 minutes from Floyd's Moonbus landing near the monolith until Poole watches a BBC newscast on Discovery. What dialogue remains is notable for its banality (making the computer HAL seem to have more emotion than the humans) when juxtaposed with the epic space scenes.[49] Vincent LoBrutto wrote that Clarke's novel has its own "strong narrative structure" and precision, while the narrative of the film remains symbolic, in accord with Kubrick's final intentions.[51]

Filming

Principal photography began on 29 December 1965, in Stage H at Shepperton Studios, Shepperton, England. The studio was chosen because it could house the 60-by-120-by-60-foot (18 m × 37 m × 18 m) pit for the Tycho crater excavation scene, the first to be shot. In January 1966, the production moved 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;[52] it was described as a "huge throbbing nerve center ... with much the same frenetic atmosphere as a Cape Kennedy blockhouse during the final stages of Countdown."[53] The only scene not filmed in a studio—and the last live-action scene shot for the film—was the skull-smashing sequence, in which Moonwatcher (Richter) wields his newfound bone "weapon-tool" against a pile of nearby animal bones. 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.[54][55] The Dawn of Man sequence that opens the film was shot at Borehamwood with John Alcott as cinematographer after Geoffrey Unsworth left to work on other projects.[56][57] The still photographs used as backgrounds for the Dawn of Man sequence were taken at the Spitzkoppe mountains in what was then South West Africa.[58][59]

Filming of actors was completed in September 1967,[60] and from June 1966 until March 1968, Kubrick spent most of his time working on the 205 special-effects shots in the film.[37] He ordered the special-effects technicians to use the painstaking process of creating all visual effects seen in the film "in camera", avoiding degraded picture quality from the use of blue screen and travelling matte techniques. 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.[61] In March 1968, Kubrick finished the "pre-premiere" editing of the film, making his final cuts just days before the film's general release in April 1968.[37]

The film was announced in 1965 as a "Cinerama"[62] film and was photographed in Super Panavision 70 (which uses a 65 mm negative combined with spherical lenses to create an aspect ratio of 2.20:1). It would eventually be released in a limited "roadshow" Cinerama version, then in 70 mm and 35 mm versions.[63][64] Colour processing and 35 mm release prints were done using Technicolor's dye transfer process. The 70 mm prints were made by MGM Laboratories, Inc. on Metrocolor. The production was $4.5 million over the initial $6 million budget and 16 months behind schedule.[65] 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 mime troupe.[54] Kubrick and Clarke consulted IBM on plans for HAL, though plans to use the company's logo never materialised.[58]

Post-production

The film was edited before it was publicly screened, cutting out, among other things, 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.[66] A ten-minute black-and-white opening sequence featuring interviews with scientists, including Freeman Dyson discussing off-Earth life,[67] was removed after an early screening for MGM executives.[68]

Music

From early in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience[69] 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.[70] 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 commissioned a score for 2001 from Hollywood composer Alex North, who had written the score for Spartacus and also had worked on Dr. Strangelove.[71][72] During post-production, Kubrick chose to abandon North's music in favour of the classical pieces which he had earlier chosen to guide North's score. North did not learn his score had been abandoned in favour of the temporary music pieces until he saw the film at its premiere.[70]