This is a set model – it’s hanging just above eye level in the gallery. Shooting on the set: Share this:TwitterFacebookPinterestLike this:Like Loading...
Wow! I love that. The scenes near the end of 2001 are fabulously strange. Funny how Kubrick got that period element even into 2001. There’s Walter/Wendy Carlos’s synth’ed Beethoven in Clockwork Orange (a film I can admire in places – such as some of the visuals and weird Aubrey Morris – rather than like), the touches in Eyes Bored Shut (as sexy as clove mouthwash), and, er, of course, there’s Barry Lyndon, et al.
Douglas Rain as the voice of HAL is the most human thing in 2001 and he’s playing a computerized nutcase! (I wonder how Martin Landau would’ve fared as HAL9000?)
As narratives – the early films are the best, “The Killing”, “Lolita”, “Strangelove” – later films struck me as being more experiential, if that makes sense.
In film school (a long time ago) I bumped into a boy I had a crush on outside a class where the professor was going to be screening “A Clockwork Orange”, and, having never seen it, I suggested he join us. Let me just say this, nothing ever came of the crush.
Was Martin Landau considered for the voice of HAL?
I never got where the light came from on that set until I looked at these photos. The Floor! I saw 2001 at the Warner Theater on Hollywood Blvd. in Cinerama. It was a hot HOT day and I was exhausted. It is the only movie I have ever fallen asleep in. I woke up in the middle of the light tunnel. I have since seen it in its entirety. Did you now about Alex North’s “lost” score for the film. I am sure you do.
I never saw it the way it was intended to be seen until I was in college… Why wasn’t the Alex North score used?
I read that what they used in the final film were temp tracks for editing and or insperation and by the time North had the score finished Kubrick was so in love with the temps that he threw out North’s score. How rude!
Forgive an old, old man’s failing memory it was Martin BALSAM. He was (goes webwards to make sure he’s got it right this time, returns) apparently cast as HAL but Kubrick found his voice too emotional so Rain got the job.
I know Mr Smith will be back to answer your Alex North question but I seem to remember reading that Kubrick used classical pieces as a temp score and liked the effect so much he did that for the whole film. I’m probably only half-right. The results speak for themselves. I wonder if Torn Curtain would be slightly better thought-of if Hitchcock had retained Bernard Herrmann’s score rather than using John Addison (and thereby ending his filmic relationship with Herrmann)?
What you say about experientiality makes perfect sense. There is I think a wont of humanity, of humaneness in later Kubrick. Not that Strangelove and co. were *warm* exactly but the later pictures are more about the ideas, the feel and the look it seems to me. The filmicness. There’s perhaps a denial of humanity, of dignity even when it should be there as in, say, The Shining. Kubrick appears to be looking at amoeba through a microscope. There’s now allowance for an ordinary humanity, not enough *sympathy*. In contrast to Paths of Glory, where people may have their flaws but there *is* sympathy for those who deserve it. Now, I don’t think *I’m* making sense.
Hmm, A Clockwork Orange *not* a date movie! “Let me just say this, nothing ever came of the crush”. Aww. Of course the boy was a fool and doesn’t know what he was missing in my view. He lost out!
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