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“Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

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Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#151
post #96
post #57

This is funny. I read the book before I watched the film and didn't know that the movie was released before the book was published. I was amazed of how well the movie put images to what I had read in the book, and having read it, I didn't find it difficult to understand the movie, I just thought it was one of the best adaptations of a book I'd ever seen!

Yes, having read the book makes a huge difference. I tried watching the film first, but I failed and stopped watching a short way into it. Then at some point I read the book, which I really enjoyed. I thought I'd give the film a second chance and I'm glad I did because it was brilliant, having read the book. Strongly recommend treating them as two integral parts of one work of art -- consuming either one and not the…

Stalker is interesting in that Tarkovsky originally used the Strugatskys' screenplay, but went back and changed it.

Tarkovsky had become increasingly disillusioned about the whole project as he entered into production — he had fights with his cinematographer and had doubts about the story. At one point, they had filmed 6 months of material when they discovered the film negatives were unusable, for reasons nobody has been able to figure out (they used Kodak stock imported from the US, which Soviet labs were unfamiliar with, and it may have been out of date; Tarkovsky himself suspected it was sabotage). As a result, the project went into hiatus while Tarkovsky considered his next steps and sought new funding from the Soviet film board to reshoot. It was actually Arkady Strugatsky, after many discussions and drafts, who suggested a compromise, where most of the sci-fi elements would be stripped from the film, and he encouraged Tarkovsky to build up the screenplay again based on his own ideas.

It's fascinating to think what Stalker might have been, if Tarkovsky hadn't deviated from the original script. Roadside Picnic is certainly a novel that could work as a film or miniseries. (WGN considered producing a TV show based on Roadside Picnic last year, with Matthew Goode as the lead, but the pilot was rejected.)

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#152

The monolith really works as a Visial metaphor for the Cinema screen. Just as the movie starts as we are staring at the monolith ready to go on a literal space Odyssey. It's a shame so many re-releases "fixed" the faux screen jump when Bowman nearly touched the edge, and instead shattered the glass. It really is brilliant, a movie within a movie. All through the film there are so many rotating monoliths it's incredib…

Can you elaborate on the "fix"? It's not in IMDb's list of alternate versions.

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#153

Earlier quoted context omitted.

I’ve always had a soft spot for 2010 and thought it could benefit tremendously from a Blade Runner -esque recut: Drop the voiceovers and make the ending much more ambiguous. It still wouldn’t be 2001 ; in has the bones of a very different film. But as a rare example of a hard SF movie with a terrific cast and largely excellent writing, it could certainly stand on its own.

This discussion is reminding me of how much of an impact 2010 had on me in elementary school. For me it fostered sci-fi fantasy in the same way that I think Star Wars and Star Trek have for lots of kids. To me, the universe of 2010 was just barely within stretching distance for society in some forseeable future, whereas Star Wars and Star Trek were unreachable. That somehow increased its appeal to me as a child, as I…

I wouldn’t worry. The voiceovers to lead the audience through the plot are unfortunate, and the ending is much too literal, but as a kid who wore out his bootleg VHS copy I can confirm it’s just as enjoyable as an adult.

The hot dog scene by itself is a classic bit of screenwriting.

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#154

I've watched 2001 twice in my life. Once on my laptop screen, and once in a theater. Wildly different experiences. On a laptop, it was maddeningly slow. I couldn't bear that scene where the spaceship docks on the space station while the Blue Danube Waltz played. Excruciating. I wish there was more explanation, as my mind was wandering watching this dull film. In a theater, I experienced a completely different film.On…

IMO, the movie tells the story really badly. The motivation of Hal is not explained at all, and the ending is just absurd.

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#155
post #142

I've watched 2001 twice in my life. Once on my laptop screen, and once in a theater. Wildly different experiences. On a laptop, it was maddeningly slow. I couldn't bear that scene where the spaceship docks on the space station while the Blue Danube Waltz played. Excruciating. I wish there was more explanation, as my mind was wandering watching this dull film. In a theater, I experienced a completely different film.On…

Do you happen to know if watching the movie with a VR setup on a virtual big screen could replicate that experience?

Lay down and place a laptop on your chest, as close to your chin as possible.

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#156
post #55

Earlier quoted context omitted.

The Godfather was pretty close to the novel, with much dialog line-for-line identical. The main difference was the subtraction of a few egregiously daft subplots.

Hum, there was also a lot of differences with the importance of the character of Johnny Fontane who is way more present in the novel. In this instance, the "opposite" actually happened. Coppola is supposed to have said, when finishing the last page of the novel, "I'm supposed to make a masterpiece of this turd ?"

Citation needed.

https://www.google.com/search?q=francis+ford+coppola+masterp...

And the Fontane subplot is one of the two daft subplots that I mentioned.

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#157

I can't blame Kubrick for cutting all the voice-overs, which probably would have made the movie unbearable to watch. At the same time, it's maddening in its ambiguity. Seeing it as a product of this enormous gulf between creative approaches explains a lot.

The technical limitations of the time were a factor as well. They originally planned to have some aliens on screen but were unable to come up with a way to do it convincingly, which led to the more ambiguous ending they ended up with. Interesting to think how the film would have turned out if it were made today...

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#158
post #120

Earlier quoted context omitted.

I can appreciate that, but to me it feels like a deux ex machina given how the events unfolded up until the end. I think it demonstrates a cultural difference between Americans and British- by taking the route of personal growth, the book goes against the dour, nihilistic ending British would expect. I don't remember any buildup to Alex's epiphany, so I found it unsatisfying.

Just FYI, it's deus ex machina. Deus is Latin for "god" and deux is French for "two" - very different things.

Yes, thanks for pointing out my typo. Mea culpa :p

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#159
post #128

Earlier quoted context omitted.

I tried a few episodes and thought it was stupid. I'd love to be wrong, so please tell me it gets better. I'm willing to give it a second chance.

People tell me it gets a lot better in S02 and S03. I couldn't get past the first season. I couldn't suspend my disbelief for it to be watchable.

Season 3. Especially season 4 and 5 are almost entirely about battling super intelligence while avoiding super surveilence. The crime of the week mostly subsides and it is all about super intelligence battles.

Re: “Close to tears, he left at the intermission”: how Kubrick upset Clarke (2017)

#160

Earlier quoted context omitted.

I've had the same experience with The Shining. On my PC, it's a bit plodding and slow, but on the big screen, it's a completely visceral and intense experience like no other film I've seen.

Lawrence of Arabia is supposed to be an immersive, "culturally, historically, and aesthetically significant" epic historical drama film which won Best Cinematography. But I couldn't avoid constantly glancing at the time and my notifications, when I watched it on a smart watch screen that also displayed a bar across the top showing the time and my notifications.

Lawrence of Arabia showed in its original CinemaScope format is a totally different movie. I was mesmerized.
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