In a famous scene in the 1968 science fiction film 2001: A Space Odyssey, the intelligent HAL 9000 computer during its deactivation loses its mind and degenerates to singing “Daisy Bell”, which was one of the first things HAL learned when it was originally programmed. Not to mention Barbarella, and more and more and more … Why is high altitude colder when it is closer to the Sun. Imagine how much easier it would be if everyone just lived in a giant floating bubble in space. Mr. Addey, thank you for the information. Dave Bowman is somewhat off his trolley at this point because of recent (traumatic) events and the unfamiliar mode of travelling, and this is how he sees things—freaky, ‘coz he is freaked-out.
I haven’t read all comments, so please forgive me if I’m being redundant. What would be a trivial task on earth creates tremendous challenges in space. I often find it humorous trying to figure out how to abbreviate a lot of the ship control functionality within my game down to 3-letters! Unlike the vacuum outside, a spacecraft’s structure can carry sound and the Shuttle crews do hear their jet firings; at least the ones up front near the cabin.
Is it really a foreshadowing, or could it simply be an effort by the filmmakers to construct a consistent world? It’s called: Marketing the Moon: The Selling of the Apollo Lunar Program By the 1st of April, 1968 I had been working in the Apollo program as an astronaut trainer for the Lunar Mission Simulator, LMS, for 2 and a half years. What's different between that and a space shuttle? And on the life-support device? e.g. Why do the pods have explosive bolts in 2001: A Space Odyssey?
and nevertheless, the “channel buttons” (i assume that’s what the numbers are for) are clearly vertically oriented. In particular, this is the hemisphere that enables us to focus in on a piece of the whole in order to achieve certain ends. The edges are perfectly vertical not angled out like they are in the W. The “M” in FILM isn’t from Futura (as noted in the article, which I recommend reading before commenting). Every interior scene in Discovery is colored with a background hum, most certainly meant to be the many spacecraft systems running continuously, including air circulation fans. I also thought for a long time that the type family for the closing credits was Futura, given the number of places where Futura appears in the film. The Discovery’s mission is complicated by further unknowns, including knowledge unknown to the crew and possessed only by HAL. That said, the W in WAS is not an inverted Futura M anyway. The fluidity of motion and the free-floating grace of the crewmembers as they move completely in line with real physical laws is nearly identical to what you see downlinked on NASA TV. If I compare the modern version on MyFonts with the JUPITER MISSION screenshot, the curve of the S is too vertically symmetrical in Nobel, and the angle of the N is different.
Have to rewatch it soon! As he jogged in place, the set rotated behind him, making it appear as if he's running up and down the inclines of the craft. I've read things about how he superimposed pictures of people moving about on to the picture of a little plastic model of a space station spinning.
Why did “A Stanley Kubrick Production” not draw a fine, while “Lucasfilm Ltd.” did? The Cosmic Fetus of ‘2001: A Space Odyssey’ Hasn’t Aged a Day. The trippy hyper-colored flying sequence is a colorful depiction of spaceflight in an unfamiliar region of space over an unfamiliar body (planet or similar). I always loved the (easily readable from very FAR distances?) yeah! text starts with EQU; Though a lot of this stuff passed me by even after several viewings I always thought it was odd that the shuttle designers thought showing algebra puzzles to the pilots was the right thing to do – their job looks tricky enough without any extra distractions. early auto-rotating smartphones would have to be held vertical to switch them, but ones with gyroscopes mostly work even when laying down, or flat on a table. When Kubrick tested Trumbull's visual representation of Saturn's rings, he was unhappy with the result and decided to change the ending of the film. Skilled stuntmen suspended from cables filmed from below—that was the key. Prose science fiction of the late 1930’s through 1965 is an indicator that many writers assumed extensive spaceflight exploits were perfectly feasible (even inevitable) by the turn of the last century. Having the Russians interacting with Americans at the height of the cold war was a nice touch, emphasizing a better future. HAL’s programmers and handlers were at fault, not HAL. By Al Jackson, Bob Mahoney and Jon Rogers. I’ve just pre-ordered a copy, and can’t wait to read about the Kubrick / Clarke relationship. Speaking of sound, 2001 may be the only fictional film to convey the significant background noise in a spacecraft cabin.
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