Space Odyssey

Benson, Michael. Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece New York: Simon & Schuster. 2018. Print.

First Sentences:

Things were not going well at the Ceylon Astronomical Association.

Description:

I'm sure every commercial film has an interesting backstory and anecdotes relating to its creation, people, filming, and eventual premier. But when the film is arguably the most thought-provoking, original, technically-innovative masterpiece 2001: A Space Odyssey, then the stories about every aspect and person who helped create it have to be the most riveting imaginable. 

Michael Benson in his brilliant Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece, delivers a breathtaking history behind the making of this film. From the original vague idea hammered out by sci-fi superstar author Arthur C. Clarke and brilliant director Stanley Kubrick to the never-seen-before scenes of space, Space Odyssey covers each intriguing idea and ingenious method necessary (or discarded) to bring the concept to film, all without the aid of computers. 

In 1964, Kubrick sought out Arthur C. Clarke, the best sci-fi writer, to create a story and film that was something completely new, inspiring, and thought-provoking. Together they watched every sci-fi movie, read every space-related book and story, and collected voluminous amounts of photos, articles, interviews, technologies, and everything else that might inspire them.

[Kubrick's factors to consider for every film] - Was it interesting? Was it believable? And, was it beautiful or aesthetically superior?

Eventually Kubrick chose Clarke's story The Sentinal as the basis for 2001, a story which focused on an alien creation found on the moon that, once exposed to sunlight, sent a signal across the universe to alert another civilization... to do what? The 2001 plot, characters, and especially the ending were all loosely defined and constantly argued over during filming, to be re-conceived and even completely abandoned over the next years. But always, 2001 was defined by Kubrick's goals to create a work that was "accurate scientifically" and tied "to current research of all kinds." Psychedelia, technology, NASA, and many more areas were carefully studied, and every conceivable expert was interviewed for opinions and ideas.

The entire project was kept completely secret from the media, public, and even the studio who had recently green-lighted Kubrick for any new movie after his international success with Dr. Strangelove. Of course, there were plenty of snags with 2001 along with the triumphs and lessons learned, and author Benson carefully details them all: 

• 2001 was filmed using 70mm film, a huge medium meant to replicate the new, popular Cinerama technique without requiring multiple cameras.

• To find the right music for the score, Kubrick gave an assistant the equivalent of $5,000 to buy a wide selection of modern classical records (selling for about $2 each). The assistant returned with "his station wagon so jammed with vinyl it sagged visibly."

• HAL's final song, "Daisy Bell," was chosen in homage to the first song ever sung by a computer, recorded in 1962 in the Bell Labs;

• Stars on an inky space background were created using a solution of military turpentine and specks of paint flicked into the mix. Fumes were overpowering. A team of "blobbers" was hired to paint over minute white stars on each frame of film to hide unwanted stars;

• The original 12' tall by 2' thick monolith was created of clear plastic, but didn't film well so the extremely expensive piece was discarded. The new, equally costly black monolith had a surface so highly polished that it constantly showed dusty hand prints during the Dawn of Man and moon scenes;

• The rotating gravity centrifuge wheel of Discovery was 35' high and needed a new, specially-reinforced floor in the studio to support it and the cameras;

• Space helmets, to maintain realism, had no holes to release the stuntman's exhaled carbon dioxide . Filming with helmets was limited to 15 minutes or when the actor passed out, whichever came first;

• Kubrick, a former photojournalist for Look magazine, took Polaroid photos continually throughout the filming to get an idea of what a 3-D scene would look like on the final flat movie screen;

• Vivian Kubrick, the director's four-year-old daughter, played a key on-screen role as Heywood Floyd's daughter who was called on video phone from the lunar transport;

• Gary Lockwood, one of the lead actors, gambled so much with the crew that one man stopped showing up for work because he owed Lockwood so much money;

• Moonwatcher, the man-ape who leads the cluster of apes to fight, was played by a famous mime, Don Richtner, who choreographed all the Dawn of Man scenes;

• Arthur C. Clarke wrote and continually edited a voice-over narration that would help explain some of the abstract scenes and plots, but at the very last minute of editing the film, Kubrick scrapped the idea, leaving just silence;

The book is jam-packed with similar stories, scenes, equipment, conversations, dreams, and frustrations presented chronologically by author Benson. Space Odyssey chronicles the talented engineers, cinematographers, animators, and actors who, without the use of computers, over the period of four years, created the film. Benson even recounts the disastrous New York premier for critics (many of whom walked out of the screening) as well as the subsequent triumph for public movie-goers (who lined up for hours to watch and re-watch the film). 

In short, I loved this and devoured it every chance I got to read it. It is the kind of book you make time for, guard your quiet and privacy while reading, and talk the ears off of anyone around you as you re-tell an anecdote or quote, and in general sing its praises.

Of course, it is most highly recommended. And since this is the fiftieth anniversary of the film's release, I get to see the movie next week in its original 70mm glory. Can't wait.

Two possibilities exist: either we're alone in the universe, or we're not. Both are equally terrifying. - Arthur C Clarke

It is extremely difficult to represent any alien on the screen without either scaring, or amusing, an audience. But unless you show something, people will feel cheated. - Stanley Kubrick

Happy reading. 

Fred

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