Poakwoods ha rimontato il film di Stanley Kubrick del 1969, 2001: Odissea nello spazio nello stile di George Lucas. Per rendere il tutto più fruibile, le prime ore del film sono raccolte all'interno dell'incipit della classica sequenza di apertura di Star Wars.
Questa invece è la versione di Guerre Stellari se fosse stata diretta da Kubrick.
Che il Monolito sia con te.
Le atmosfere stranianti e oniriche di 2001: Odissea nello spazio rivissute durante il lockdown negli spazi improvvisamente claustrofobici delle nostre case, in questo progetto di Lydia Cambron 2020: an isolation odyssey.
Recentemente è stata pubblicata un'intervista telefonica a Kubrick tratta da un documentario giapponese del 1980, diretto da Jun'ichi Yaoi, sulle esperienze paranormali.
Il documentario si concentra su due tra i capolavori del regista, Shining e 2001: Odissea nello spazio, e proprio di quest'ultimo, Kubrick, svelerebbe il vero significato del criptico finale.
I've tried to avoid doing this ever since the picture came out. When you just say the ideas they sound foolish, whereas if they're dramatized one feels it, but I'll try.
The idea was supposed to be that he is taken in by god-like entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. It just seems to happen as it does in the film.
They choose this room, which is a very inaccurate replica of French architecture (deliberately so, inaccurate) because one was suggesting that they had some idea of something that he might think was pretty, but wasn't quite sure. Just as we’re not quite sure what do in zoos with animals to try to give them what we think is their natural environment.
Anyway, when they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made into some sort of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.
Il creativo Jean-Baptiste Le Divelec ha ritagliato l'iconico capolavoro diretto da Stanley Kubrick in 569 GIF animate.
Il progetto 2001: Odissea Gif è stato realizzato come esperimento per testare i confini del Fair Use, l'utilizzo equo presente nell'ordinamento giuridico degli Stati Uniti e in quello di molti altri stati che stabilisce la liceità della citazione o l'incorporazione non autorizzata di materiale protetto da copyright nell'opera di un altro autore.
GIFs made from copyrighted material are protected by the "Fair Use" doctrine, but what happen if you cut an entire movie into GIFs? That’s what I tried to find out by cutting the masterpiece from Stanley Kubrick 2001: A Space Odyssey into 569 GIFs and uploaded everything on Giphy.
Steve Soderbergh ha rimontato uno dei capolavori di Stanley Kubrick, 2001: Odissea nello spazio.
[...] i've seen every conceivable kind of film print of 2001, from 16mm flat to 35mm internegative to a cherry camera negative 70mm in the screening room at warner bros, and i'm telling you, none of them look as good as a bluray played on an pioneer elite plasma kuro monitor. And while you're cleaning up your spit take over that sentence, let me also say i believe SK would have embraced the current crop of digital cameras, because from a visual standpoint, he was obsessed with two things: absolute fidelity to reality-based light sources, and image stabilization. Regarding the former, the increased sensitivity without resolution loss allows us to really capture the world as it is, and regarding the latter, post-2001 SK generally shot matte perf film (normally reserved for effects shots, because of its added steadiness) all day, every day, something which digital capture makes moot. Pile on things like never being distracted by weaving, splices, dirt, scratches, bad lab matches during changeovers, changeovers themselves, bad framing and focus exacerbated by projector vibration, and you can see why i think he might dig digital.
In un primo momento la colonna sonora di uno dei film più importanti, celebrati e da troppi incompreso fu affidata al compositore Alex North che aveva nel suo curriculum pellicole come Spartacus, Chi ha paura di Virginia Wolf?, Cleopatra e Un tram che si chiama desiderio.
Tuttavia Stanley Kubrick durante la fase di editing ci ripenso ritenendola totalmente inadeguata (e a ragione per un film divenuto immortale anche per la sua colonna sonora), decidendo di andare sul classico. Alex North scoprì di essere stato estromesso durante la proiezione della prima a New York, ma questo è solo l'ennesimo aneddoto sulla difficoltà dei geni a intrattenere relazioni interpersonali.
Ecco cosa raccontò Kubrick a riguardo durante un'intervista rilasciata a Michel Cimen.
However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time? When you're editing a film, it's very helpful to be able to try out different pieces of music to see how they work with the scene. This is not at all an uncommon practice. Well, with a little more care and thought, these temporary music tracks can become the final score. When I had completed the editing of 2001: A Space Odyssey, I had laid in temporary music tracks for almost all of the music which was eventually used in the film. Then, in the normal way, I engaged the services of a distinguished film composer to write the score. Although he and I went over the picture very carefully, and he listened to these temporary tracks (Strauss, Ligeti, Khatchaturian) and agreed that they worked fine and would serve as a guide to the musical objectives of each sequence he, nevertheless, wrote and recorded a score which could not have been more alien to the music we had listened to, and much more serious than that, a score which, in my opinion, was completely inadequate for the film.
L'incredibile galleria fotografica del dietro le quinte di un capolavoro assoluto del cinema, 2001: Odissea nello spazio.
Il trailer di 2001: Odissea nello Spazio come se fosse un moderno blockbuster estivo.
