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

Post by vidarh » Mon, Apr 09, 2018, 1:12 AM UTC

cperciva wrote: post #149

michaelgrafl wrote: post #115

Earlier quoted context omitted.

That's a great anecdote. Where do you have it from? I'd love to find more of this kind of stuff. And wow, by the way. That's harsh.

I heard about this a couple years ago when my orchestra (I'm a violinist) did a "movie music" concert with a guest conductor (Hal Beckett) who worked in the industry. We opened the concert with the fanfare from Also Sprach Zarathustra... then he turned to the audience and explained about temp music, and we played the Alex North fanfare. I have a feeling that these sorts of stories fall into the category of "well know…

Post by tinyrick2 » Mon, Apr 09, 2018, 2:09 AM UTC

michaelgrafl wrote: post #115

cperciva wrote: post #88

Arthur C Clarke wasn't the only person who was shocked at the premiere of 2001. Stanley Kubrick commissioned the prominent film composer Alex North -- famous for the scoring of Spartacus -- to write the music for 2001. However, film music is only recorded and added at the final stage of editing; normally all of the video is laid down first so that the music director knows exactly how long each scene will be and the m…

That's a great anecdote. Where do you have it from? I'd love to find more of this kind of stuff. And wow, by the way. That's harsh.

Post by jblow » Mon, Apr 09, 2018, 3:13 AM UTC

socceroos wrote: post #109

logicallee wrote: post #108

Earlier quoted context omitted.

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.

I had a similar experience when watching this through the terminal (img to ascii conversion) on my headless server. It was too easy to get distracted by syslog events that were overwriting stdout from the video.

Post by colordrops » Mon, Apr 09, 2018, 7:17 AM UTC

itronitron wrote: post #84

interfixus wrote: post #14

Earlier quoted context omitted.

I see I'm getting hammered for my negativity, but I certainly meant it when I said in awe about the first part. It's magnificent, never mind the lunar gravity problem, which I've never seen well done on film. It's only a couple of months since I last tried - and gave up on - watching 2001 to the end. Probably my own shortcoming entirely - I see nothing but pretentious late sixties posing from the stargate and onwards…

I tried to watch 2001 again about 8 years ago and had to put it on fast forward, at 10X speed, and even then I was still falling asleep through most of it

Post by aynsof » Wed, Apr 11, 2018, 9:04 AM UTC

Lio wrote: post #123

TheOtherHobbes wrote: post #110

Earlier quoted context omitted.

Most people seem to want movies to give them a theme park ride - which is why many movies now are just an excuse for wild camera vertigo through CGI, gun play, explosions, and cliched “heroic” dialog. 2001 doesn’t do that. More than anything Kubrick was a photographer, and it’s possible to enjoy 2001 just for the visuals - the colour, the composition, the geometry and perspective. It’s like a moving coffee table book…

This is so true about Kubrick as a photographer. He’s able to create these big immersive worlds where the pallet of emotions I experience as a viewer is just so... wide. I’ve probably failed to explain that very well so here’s a well known example. The story about the shooting of Barry Lyndon has been covered on HN before. In short Kubric got the fastest lenses he could and had old camera specially adapted so that he…