A SPACE ODYSSEY. Screenplay by. Stanley Kubrick .. The raw sunlight of space dazzles from the polished metal surfaces of the slowly revolving. Arthur C. Clarke's ' A Space Odyssey' Diary. You can download the PDF version, courtesy of Universidad del Magdalena. Our initial schedule was hilariously optimistic: writing script, 12 weeks; discussing it, 2 weeks;. A Space Odyssey is a pioneering work of filmmaking art, Kubrick's Kubrick & Arthur C. Clarke's screenplay for A Space Odyssey [PDF1, PDF2] . You can download the PDF version, courtesy of Universidad del Magdalena.

2001 A Space Odyssey Screenplay Pdf

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PDF download for A Space Odyssey, screenplay by Stanley Kubrick and Arthur C, Article Information. No Access. Article Information. Volume: 25 issue: 2, . In the final images of A Space Odyssey (), a very old man raises his arm to developed into a screenplay for a big-budget movie and also into a pdf?docID=>, both accessed 15 June. With a screenplay co-written by Kubrick and Arthur C. Clarke and developed Clarke's novel of the same name, A SPACE ODYSSEY is.

September Gave them the Grand Tour—they were quite impressed. Deke was later reported to have said: It took flight when Stanley Kubrick asked Clarke to write a novel of space exploration unpon which the acclaimed director would base a movie. The result was one of the most extraordinary films of all time.

Now for the first time the reader is taken on every stage of this great adventure. Here is the original story. Here are the different versions of as they evolved in the interplay between two brilliantly charged imaginations. Lost Worlds of consists of behind-the-scenes notes from Clarke about screenwriting and production issues.

Sadly, this book is no longer in print. I never liked this, because there had been far too many science-fictional journeys and voyages. Indeed, the innerspace epic Fantastic Voyage , featuring Raquel Welch and a supporting cast of ten thousand blood corpuscles, was also going into production about this time.

Other titles which we ran up and failed to salute were Universe , Tunnel to the Stars , and Planetfall. It was not until eleven months after we started—April —that Stanley selected As far as I can recall, it was entirely his idea. In the summer of , science-fiction author Arthur C. Clarke sat down with Patricia Marx to discuss the upcoming release of Recorded just a year shy of the iconic moon-landing, this interview captures a singular moment of prescience and optimism for a world entering into the future.

Even amid fantasies of celestial grandeur, Clarke expresses hope for human civilization grounded on Earth: While we have yet to conquer the New Frontier in many of the ways Clarke anticipated, his enthusiasm for the future throughout this interview is infectious.

At a time when information and new technology constantly abound, this unique interview captures a refreshing moment of novelty. This A Space Odyssey original premiere program from was printed for UK theatres. The peculiarity of this booklet lies in the paper quality which is used: Stanley Kubrick on mortality, the fear of flying, and the purpose of existence: Courtesy of archive.

Thanks to those special effects, is undoubtedly the most graphic depiction of space flight in the history of films—and yet you have admitted that you yourself refuse to fly, even in a commercial jet liner.

I suppose it comes down to a rather awesome awareness of mortality. If man really sat back and thought about his impending termination, and his terrifying insignificance and aloneness in the cosmos, he would surely go mad, or succumb to a numbing sense of futility. Why, he might ask himself, should he bother to write a great symphony, or strive to make a living, or even to love another, when he is no more than a momentary microbe on a dust mote whirling through the unimaginable immensity of space?

This shattering recognition of our mortality is at the root of far more mental illness than I suspect even psychiatrists are aware. The very meaninglessness of life forces man to create his own meaning.

Children, of course, begin life with an untarnished sense of wonder, a capacity to experience total joy at something as simple as the greenness of a leaf; but as they grow older, the awareness of death and decay begins to impinge on their consciousness and subtly erode their joie de vivre, their idealism—and their assumption of immortality.

As a child matures, he sees death and pain everywhere about him, and begins to lose faith in the ultimate goodness of man. Both because of and in spite of his awareness of the meaninglessness of life, he can forge a fresh sense of purpose and affirmation.

He may not recapture the same pure sense of wonder he was born with, but he can shape something far more enduring and sustaining. The most terrifying fact about the universe is not that it is hostile but that it is indifferent; but if we can come to terms with this indifference and accept the challenges of life within the boundaries of death—however mutable man may be able to make them—our existence as a species can have genuine meaning and fulfillment.

However vast the darkness, we must supply our own light. On 22 September , during early production on Please give me the exact status of things with IBM.

Stanley Kubrick elaborate on the subtextual meaning of 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. 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. Strangelove and Do it again.

I resign. Thank you for a very enjoyable game. That's a very nice rendering, Dave. That's Dr. Hunter, isn 't it? By the way No, not at aII. Well, forgive me for being so inquisitive How do you mean?

Well, it's rather difficult to define. Perhaps l'm just projecting my own concern about it. That's a rather difficuIt question to answer. You don 't mind talking about it, do you, Dave? Certainly no one could have been unaware of the very Rumors about something being dug up on the moon.

Stanley Kubrick Screenplays

For instance And the melodramatic touch ofputting Drs. Kimball, and Kaminsky aboard You working up your crew psychoIogy report? Of course l am. Sorry about this. Just a moment. And it will stay that way until it fails.

We have 72 hours tiII faiIure?

That's a completely reliable figure. Then we'II bring it in. I'II go over it with Frank. Let me have the hard copy on it. X-ray delta one, this is Mission Control. Roger your two-zero-one-three. Sorry you fellows are having a bit of trouble. We're reviewing telemetric information in our simulator and will advise. Roger your plan to go EVA and replace alpha-echo unit Open the pod doors, HaI. I'm damned if I can find anything wrong with it. We can certainly afford to be out of communication Roger your one-niner-three-zero.

We concur with your plan to replace unit to check fault prediction. We advise you that our preliminary findings Sorry about this little snag.

We'll get this info to you as soon as we work it out. Transmission concluded.

2001: A Space Odyssey (1968) Movie Script

No, I'm not, HaI. Are you quite sure?


I'd Iike to ask you a question. How do you account for the discrepancy between you and the twin ? Well, l don 't think there is any question about it.

This sort of thing has cropped up before Listen, HaI. None whatsoever, Frank. The Series has a perfect operational record. I know the wonderfuI achievements of the Series, but.

Are you certain there's never been even the most insignificant computer error? Quite honestly, l wouldn 't worry myself about that. Thanks very much. I'm having troubIe with my transmitter in C-pod.

WouId you come down and take a Iook at it with me?

See you Iater, HaI. Rotate C-pod, pIease, HaI. What sort of troubIe are you having? I've been getting some interference in D-channeI. We'II have a Iook at it. Open the door, HaI. Rotate pod, pIease, HaI. Stop pod rotation, pIease, HaI.

Rotate the pod, pIease, HaI. I don't think he can hear us. Rotate the pod, pIease, HaI! Yeah, I'm sure we're okay. What do you think? Don't you? I don't know. I think so. He's right about the Series having a perfect operationaI record. They do. StiII, it was his idea to carry out the faiIure mode anaIysis. It certainIy indicates his integrity and seIf-confidence.

If he were wrong that wouId prove it. It wouId be if he knew he was wrong.

I can't put my finger on it, but I sense something strange about him. There's no reason not to put back the unit and. Let's get on with it.

But, Iook, Dave. Say we put the unit back and it doesn't faiI? What the heII can we do? Every aspect of ship operations is under his controI. If he's maIfunctioning. I don't see any choice but disconnection. I'm afraid I agree with you. There'd be nothing eIse to do. It'd be a bit tricky. We'd have to cut his higher brain functions. We'd have to work out the detaiIs. That's far safer than aIIowing HaI to continue to run things.

Another thing just occurred to me. No computer has ever been disconnected.

No computer has ever fouIed up. That's not what I mean. I'm not so sure what he'd think about it. Any contact with him yet? The radio is still dead.

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Do you know what happened? Open the pod door, HaI. Open the pod bay doors, please, Hal. HeIIo, HaI, do you read me? Do you read me, HaI? Do you read me, Hal? Hello, Hal, do you read me? Affirmative, Dave.

Open the pod bay doors, HaI. What's the probIem? What are you taIking about, HaI? This mission is too important for me to allow you to jeopardize it.

I don't know what you're taIking about, HaI. Where did you get that idea, HaI? Although you took very thorough precautions in the pod AII right, HaI. I'II go in through the emergency air Iock. Without your space helmet, Dave HaI, I won't argue with you anymore. Open the doors! Just what do you think you're doing, Dave? Look, Dave Stop, will you? Stop, Dave. Will you stop, Dave? My mind is going.

There is no question about it. Good afternoon My instructor was Mr. Yes, I'd Iike to hear it, HaI. Sadly, this book is no longer in print. The following is an excerpt from the book. But our first concept, and it is hard now for me to focus on such an idea, though it would have been perfectly viable—involved working up to the discovery of an extraterrestrial artifact as the climax, not the beginning, of the story. Before that, we would have a series of incidents or adventures devoted to the exploration of the Moon and Planets.

On May 28, , I sold the lot to Stanley and signed an agreement to work on the projected movie. Our initial schedule was hilariously optimistic: writing script, 12 weeks; discussing it, 2 weeks; revising, 4 weeks finalizing deal, 4 weeks; visuals, art, 20 weeks; shooting, 20 weeks; cutting, editing, 20 weeks—a total of 82 weeks.

Allowing another 12 weeks before release, this added up to 92, or the better part of two years. As we developed new ideas, so the original conception slowly changed. I never liked this, because there had been far too many science-fictional journeys and voyages. Indeed, the innerspace epic Fantastic Voyage, featuring Raquel Welch and a supporting cast of ten thousand blood corpuscles, was also going into production about this time. Other titles which we ran up and failed to salute were Universe, Tunnel to the Stars, and Planetfall.

2001: A Space Odyssey (1968) Movie Script

It was not until eleven months after we started—April —that Stanley selected A Space Odyssey. As far as I can recall, it was entirely his idea. Despite the unrelenting pressure of work a mere twelve hours was practically a day off I kept a detailed log of the whole operation.

Though I do not wish to get bogged down in minutiae of interest only to fanatical Kubrickologists, perhaps these extracts may convey the flavor of those early days: May 28, May Seventeen alien, featureless black pyramids riding in open cars down Fifth Avenue, surrounded by Irish cops.

June July 1. Checked into new suite, , at the Hotel Chelsea. July Averaging one or two thousand words a day. I decide that he is a latent mathematical genius. Now have everything—except the plot.

Got to work again on the novel and made good progress despite the distraction of the Republican Convention.

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Ranger VII impacts on moon. Stay up late to watch the first TV close-ups. Stanley starts to worry about the forthcoming Mars probes. Suppose they show something that shoots down our story line? August 6. Stanley suggests that we make the computer female and call her Athena. August Writing all day. Dull work. September 7. September 8. Upset stomach last night. Dreamed I was a robot, being rebuilt.

In a great burst of enorgy managed to redo two chapters. Very stimulating. September October 2. We know that but for a gift from the stars, but for the accidental collision of ray and gene, intelligence would have perished on some forgotten African field.

October 6. Have got an idea which I think is crucial.The screenplay was written by Kubrick and Arthur C. Three of the men were put aboard asleep Take me in a bit.

MiIIer of Station Security is supposed to meet me. Kubrick's If you were nineteen and starting out again, would you go to film school?

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