Aa whimsical space operetta, then frantically inflates itself again for a surreal climax in which the imagery is just obscure enough to be annoying, just precise enough to be banal. [186] The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans, echoing the premise of Clarke's source story "The Sentinel". Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker". "[65] As was typical of most films of the era released both as a "roadshow" (in Cinerama format in the case of 2001) and general release (in 70-millimetre in the case of 2001), the entrance music, intermission music (and intermission altogether), and postcredit exit music were cut from most prints of the latter version, although these have been restored to most DVD releases. But they felt it would be disloyal to accept Kubrick's offer.

By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. I know I've made some very poor decisions recently, but I can give you my complete assurance that my work will be back to normal. Regal Coming Soon. That same year marked the first moon landing, so space was “in”; this was a year after Stanley Kubrick’s film 2001: A Space Odyssey, co-written with Arthur C. Clarke. [92], The methods used were alleged to have placed stuntman Bill Weston's life in danger. It was developed concurrently with Stanley Kubrick's film version and published after the release of the film. [118][231] Further, an exhibit entitled, "Envisioning 2001: Stanley Kubrick's Space Odyssey", presented at the Museum of the Moving Image in Astoria, Queens, New York City, opened in January 2020. ", 2001 contains a famous example of a match cut, a type of cut in which two shots are matched by action or subject matter.
[232], In July 2020 one of the original costumes from the film, a silver space suit from the Clavius moon base sequence, was sold at auction in Los Angeles for $370,000, exceeding its estimate of $200,000-300,000. Most of these materials were lost, with some exceptions: a 2001 spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO,[199][224][225][226] and one of HAL's eyepieces is in the possession of the author of Hal's Legacy, David G. Stork. 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;[47] 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. Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of the characters.
[218] In 2012, the Motion Picture Editors Guild listed the film as the 19th best-edited film of all time based on a survey of its membership. The reflective directional screen behind the actors could reflect light from the projected image 100 times more efficiently than the foreground subject did.


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