KUBRICK: [The monolith makers] provide an environment for him, a human zoo, if you like. They study him. His life passes before him. He sees himself age in what seems just a matter of moments...(Agel, The Making of 2001: A Space Odyssey, Eye Magazine Interview, Modern Library, pp. 248-49)
2001 Space odissey .. ora capisco!!(clicca qui!)
ero piccolo e mi ricordo la prima volta che vidi quel film a bocca aperta per ore....
guardate questo filmato e capirete che fino ad oggi non avevate capito un XXXX!!!
provare per credere!
altri link:
la tecnica cinematografica per la scena delle scimmie: uno schermo enorme
il vuoto uccide l'uomo?? (scena della porta )
Why is there so little dialogue?
KUBRICK: It's not a message I ever intended to convey in words. 2001 is a nonverbal experience; out of two hours and 19 minutes of film, there are only a little less than 40 minutes of dialogue. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content. To convolute McLuhan, in 2001 the message is the medium. I intended the film to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does; to explain a Beethoven symphony would be to emasculate it by erecting an artificial barrier between conception and appreciation. You're free to speculate as you wish about the philosophical and allegorical meaning of the film and such speculation is one indication that it has succeeded in gripping the audience at a deep level but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear hes missed the point. How much would we appreciate La Gioconda [the Mona Lisa] today if Leonardo had written at the bottom of the canvas: This lady is smiling slightly because she has rotten teeth or because she's hiding a secret from her lover? It would shut off the viewers appreciation and shackle him to a reality other than his own. I don't want that to happen to 2001. (Agel, The Making of Kubricks 2001, 1970, excerpted from the Playboy interview, pp. 328-29.)
EYE: Bowman, after this incredible experience, winds up in an eighteenth-century French bedroom. That really flips a lot of people out. Can you tell us how you conceived of this bedroom?
KUBRICK: Well, again, this gets into the area of imagination and artistic processes, whatever they are. The room is made from his own memories and dreams. It could have been anything that you could possibly imagine. This just seemed to be the most interesting room to have. (Agel, The Making of 2001: A Space Odyssey, Eye Magazine Interview, Modern Library, pp. 248-49)
