"If 2001 has stirred your emotions, your subconscious, your mythological yearnings, then it has succeeded."--Stanley Kubrick
Stanley Kubrick's extraordinary movie 2001: A Space Odyssey was released in 1969. The critics initially disliked it, but the public loved it. And eventually, the film took its rightful place as one of the most innovative, brilliant, and pivotal works of modern cinema. The Making of 2001: A Space Odyssey consists of testimony from Kubrick's collaborators and commentary from critics and historians. This is the most complete book on the film to date--from Stanley Kubrick's first meeting with screenwriter Arthur C. Clarke to Kubrick's exhaustive research to the actual shooting and release of the movie.
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Stanley Kubrick (1928-1999) was born in the Bronx but lived and worked for most of his life in England. He made fifteen films including Lolita, A Clockwork Orange, Barry Lyndon and Full Metal Jacket.
Editor Stephanie Schwam has produced many documentary films and most recently worked with Peter Jennings on The Century Project.
MGM is turning to real-estate parcels all around us, and that night I am facing Stanley Kubrick across the hood of a rented car in Culver City, and he is smiling at me, a little anxiously and still very proudly, and he is saying, "Yes, but did you like it?"
He means 2001. We have just seen it for the first time, he and I and perhaps a dozen others, in the cavernous studio screening room. Stanley's wife, Christiane, is with us. His attorney; the president of Cinerama; the film's editor, Ray Lovejoy, and a few others are also at the screening, but I am the only pair of fresh, disinterested eyes there. I am also, by at least two decades, the youngest member of the audience, an unelected representative of a generation that will eventually rescue this great film from critical infamy and claim it for its own. I am twenty-three years old, very lucky to be here, knowing it, sensing I have just seen something seismic whose full measure I can't take, reaching for something to say that will encompass all this, as well as my startled excitement at the wit and majesty of the movie. I am also trying to say something deeper and more memorable than "Wow"
I start to talk to Stanley and Christiane about the early days of silents, when movies were shown on rooftops, and audiences, watching a train on the screen come straight at them, ducked and screamed at the newness of the experience and, without knowing it, at intimations of the future. The experience of 2001 was, for me, just like that.
"Yeah," said Stanley, still smiling at my excitement, "but did you really like it?"
I told him it was one of the greatest things I'd ever seen, and he laughed, and we all drove to dinner.
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