Development
Producer Julian Blaustein originally set out to make a film under the working titles of Farewell to the Master and Journey to the World which illustrated the fear and suspicion that characterized the early Cold War and Atomic Age. He reviewed more than two hundred science fiction short stories and novels in search of a storyline that could be used because this film genre was well suited for a metaphorical discussion of such grave issues. Studio head Darryl F. Zanuck gave the go-ahead for this project, and Blaustein hired Edmund North to write the screenplay based on elements from Harry Bates's 1940 short story "Farewell to the Master". The revised final screenplay was completed on February 21, 1951. Science fiction writer Raymond F. Jones worked as an uncredited adviser.[15]
Pre-production
The set was designed by Thomas Little and Claude Carpenter. They collaborated with the architect Frank Lloyd Wright for the design of the spacecraft. Paul Laffoley has suggested that the futuristic interior was inspired by Wright's Johnson Wax Headquarters, completed in 1936. Laffoley quotes Wright and his attempt in designing the exterior: "... to imitate an experimental substance that I have heard about which acts like living tissue. If cut, the rift would appear to heal like a wound, leaving a continuous surface with no scar."[16]
Filming
Principal outdoor photography was shot on the 20th Century Fox sound stages and on its studio back lot (now located in Century City, California), with a second unit shooting background and other scenes in Washington, D.C., and at Fort George G. Meade in Maryland. The shooting schedule was from April 9 to May 23, 1951, and the primary actors never traveled to Washington to make the film. Director Robert Wise indicated in the DVD commentary that the United States Department of Defense refused participation in the film based on a reading of the script. The military equipment shown, however, came from the 3rd Armored Cavalry Regiment then stationed at Fort Meade which supplied the vehicles, equipment, and soldiers for the segments depicting Army operations.[17] One of the film's tanks bears the "Brave Rifles" insignia of the 3rd Armored Cavalry Regiment.[18]
The robot Gort was played by Lock Martin, who worked as an usher at Grauman's Chinese Theatre and stood seven feet and seven inches tall. Not accustomed to a confining, heat-inducing costume, he worked carefully while wearing the two oversized, laced up, foamed neoprene suits for the illusion of a seamless metallic Gort. Wise decided Martin's on-screen shooting time would be limited to half-hour intervals, so Martin, with his generally weak constitution, would face no more than minor discomfort. These segments, in turn, were then edited together into the film's final print.[19]
In a commentary track on DVD, interviewed by fellow director Nicholas Meyer, Wise said he wanted the film to appear as realistic and believable as possible, to push the core message against armed conflict in the real world. The original title is "The Day the World Stops". Blaustein said his aim was to promote a "strong United Nations".[20]
Herrmann's score
The music score was composed by Bernard Herrmann in August 1951, and is the first film score he composed after moving from New York to Hollywood. Herrmann chose unusual instrumentation for the film: violin, cello, and bass (all three electric), two theremin electronic instruments (played by Dr. Samuel Hoffman and Paul Shure), two Hammond organs, Fox studio's Wurlitzer organ, three vibraphones, two glockenspiels, marimba, tam-tam, two bass drums, three sets of timpani, two pianos, celesta, two harps, one horn, three trumpets, three trombones, and four tubas.[21] Herrmann's advances in film scoring included Unison organs, tubas, piano, and bass drum, staggered tritone movement, and glissando in theremins, as well as exploitation of the dissonance between D and E-flat and experimentation with unusual overdubbing and tape-reversal techniques. In using the theremin, Herrmann made an early foray into electronic music, one year before Karlheinz Stockhausen and three years before Edgard Varèse.[22]
