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2001: A Space Odyssey is a science-fiction narrative, produced in 1968 as both a film, directed by Stanley Kubrick, and a novel, written by Arthur C. Clarke. Both projects are partially based on Clarke's short story "The Sentinel", written in 1948 as an entry in a BBC short story competition. Originally, Clarke was going to write the screenplay for the film, but this proved to be more tedious than he had estimated. Instead, Kubrick and Clarke decided it would be best to write a prose treatment first and then adapt it for the film and novel upon its completion.

The screenplay and treatment were developed by Clarke and Kubrick in collaboration, which were loosely based on "The Sentinel" and incorporated elements from various other Clarke stories. Clarke wrote the novel adaptation independently. Although the film has become famous due to its ground breaking visual effects and ambiguous, abstract nature, the movie and book were intended to complement each other.



After deciding on Clarke's 1948 short story "The Sentinel" as the starting point, and with the themes of man's relationship with the universe in mind, Clarke sold Kubrick five more of his stories to use as background materials for the film. These included "Breaking Strain", "Out of the Cradle, Endlessly Orbiting...", "Who’s There?", "Into the Comet", and "Before Eden".[1] Additionally, important elements from two more Clarke stories, "Encounter at Dawn" and (to a somewhat lesser extent) "Rescue Party" made their way into the finished project.[2]


2001: A Space Odyssey is a 1968 science fiction film directed by Stanley Kubrick, written by Kubrick and Arthur C. Clarke and with specialist artwork by Roy Carnon[3]. The film deals with themes of human evolution, technology, artificial intelligence, and extraterrestrial life, and is notable for its scientific realism, pioneering special effects, and provocatively ambiguous imagery and sound in place of traditional narrative techniques.

Despite receiving mixed reviews upon release, 2001: A Space Odyssey is today thought by some critics to be one of the greatest films ever made.[4] It was nominated for four Academy Awards, and received one for visual effects. It also won the Kansas City Film Critics Circle Best Director and Best Film awards of 1968. In 1991, 2001: A Space Odyssey was deemed culturally significant by the United States Library of Congress and selected for preservation in the National Film Registry.


The 2001: A Space Odyssey score is an unused film score composed by Alex North for Stanley Kubrick's film 2001: A Space Odyssey.


2001: A Space Odyssey (1968) is a science fiction novel by Arthur C. Clarke, based on the screenplay by Clarke and Kubrick. It was developed concurrently with Stanley Kubrick's film version and published after the release of the film. The story is based in part on various short stories by Clarke, most notably "The Sentinel" (written in 1948 for a BBC competition but first published in 1951 under the title "Sentinel of Eternity"). For an elaboration of Clarke and Kubrick's collaborative work on this project, see The Lost Worlds of 2001, Arthur C. Clarke, Signet., 1972.

The first part of the novel (in which aliens assist the evolution of human ancestors) is similar to the plot of an earlier Clarke story, Encounter at Dawn.


2001: A Space Odyssey was the name of an oversized comic book adaptation of the 1968 film of the same name and a 10-issue monthly series "expanding" on the ideas presented in the film and the eponymous Arthur C. Clarke novel. Jack Kirby wrote and pencilled both the adaptation and the series, which were published by Marvel Comics beginning in 1976.

The Space Odyssey series

The Space Odyssey series is a science fiction series of novels and films created from 1948 to 1997 primarily by the science-fiction writer Arthur C. Clarke and by the film director Stanley Kubrick. The series consists of two films and four novels. The two films were directed by Kubrick and by Peter Hyams, respectively. The first film screenplay was written by Kubrick and Clarke jointly, based on the seed idea in an earlier short story by Clarke (which bears little relation to the film other than the idea of an alien civilization having left something to alert them to mankind's attaining the ability of space travel). The second film had a screenplay by Hyams based on the novel by Clarke, who was not directly involved in its production as he had been with the first film. Kubrick had no involvement in any of the later projects.

See also


  1. ^ Arthur C. Clarke, The Lost Worlds of 2001, pg 32
  2. ^ Arthur C. Clarke, The Collected Stories of Arthur C. Clarke in the preceding notes to each story
  3. ^ "IMDB entry". IMDB web site. Retrieved 2008-09-04.  
  4. ^ "Sight and Sound: Top Ten Poll 2002". British Film Institute web site. Retrieved 2006-12-15.  


Up to date as of January 14, 2010

From Wikiquote

2001: A Space Odyssey is a 1968 science-fiction film. The film deals with thematic elements of human evolution, technology, artificial intelligence, and extraterrestrial life, and is notable for its scientific realism, pioneering special effects, ambiguous and often surreal imagery, sound in place of traditional narrative techniques, and minimal use of dialogue. In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in their National Film Registry.

Directed by Stanley Kubrick. Written by Arthur C. Clarke and Stanley Kubrick.
An epic drama of adventure and exploration. taglines


HAL 9000

  • I am completely operational, and all my circuits are functioning perfectly.
  • I am putting myself to the fullest possible use, which is all I think that any conscious entity can ever hope to do.
  • Just what do you think you're doing, Dave? Dave, I really think I'm entitled to an answer to that question.
  • I know everything hasn't been quite right with me, but I can assure you now, very confidently, that it's going to be all right again. I feel much better now. I really do.
  • [After killing the rest of the crew] Look, Dave, I can see you're really upset about this. I honestly think you ought to sit down calmly, take a stress pill and think things over. I know I've made some very poor decisions recently, but I can give you my complete assurance that my work will be back to normal. I've still got the greatest enthusiasm and confidence in the mission. And I want to help you.


  • Dr. Dave Bowman: Well, he acts like he has genuine emotions. Uhm, of course, he's programmed that way to make it easier for us to talk to him. But as to whether or not he has real feelings is something I don't think anyone can truthfully answer.
  • Dr. Floyd: Good day, gentlemen. This is a pre-recorded briefing made prior to your departure and which, for security reasons of the highest importance, has been known on board during the mission only by your H-A-L 9000 computer. Now that you are in Jupiter's space and the entire crew is revived, it can be told to you. Eighteen months ago, the first evidence of intelligent life off the Earth was discovered. It was buried forty feet below the lunar surface, near the crater Tycho. Except for a single, very powerful radio emission aimed at Jupiter, the four million-year-old black monolith has remained completely inert, its origin and purpose still a total mystery.


BBC Interviewer: The sixth member of the Discovery crew was not concerned about the problems of hibernation, for he was the latest result in machine intelligence: The H.-A.-L. 9000 computer, which can reproduce, though some experts still prefer to use the word mimic, most of the activities of the human brain, and with incalculably greater speed and reliability. We next spoke with the H.-A.-L. 9000 computer, whom we learned one addresses as "Hal."
BBC Interviewer: Good afternoon, HAL. How's everything going?
HAL: Good afternoon, Mr. Amor. Everything is going extremely well.
BBC Interviewer: HAL, you have an enormous responsibility on this mission, in many ways perhaps the greatest responsibility of any single mission element. You're the brain and central nervous system of the ship, and your responsibilities include watching over the men in hibernation. Does this ever cause you any lack of confidence?
HAL: Let me put it this way, Mr. Amor. The 9000 series is the most reliable computer ever made. No 9000 computer has ever made a mistake or distorted information. We are all, by any practical definition of the words, foolproof and incapable of error.
BBC Interviewer: HAL, despite your enormous intellect, are you ever frustrated by your dependence on people to carry out actions?
HAL: Not in the slightest bit. I enjoy working with people. I have a stimulating relationship with Dr. Poole and Dr. Bowman. My mission responsibilities range over the entire operation of the ship, so I am constantly occupied. I am putting myself to the fullest possible use, which is all I think that any conscious entity can ever hope to do.
BBC Interviewer: Dr. Poole, what's it like living for the better part of a year in such close proximity with Hal?
Frank: Well it's pretty close to what you said about him earlier, he is just like a sixth member of the crew. [You] very quickly get adjusted to the idea that he talks, and you think of him, uh, really just as another person.
BBC Interviewer: In talking to the computer, one gets the sense that he is capable of emotional responses, for example, when I asked him about his abilities, I sensed a certain pride in his answer about his accuracy and perfection. Do you believe that Hal has genuine emotions?
Dave: Well, he acts like he has genuine emotions. Um, of course we've programmed that way to make it easier for us to talk to him, but as to whether or not he has real feelings is something I don't think anyone can truthfully answer.

HAL: By the way, do you mind if I ask you a personal question?
Dave: No, not at all.
HAL: Well, forgive me for being so inquisitive; but during the past few weeks, I've wondered whether you might be having some second thoughts about the mission.
Dave: How do you mean?
HAL: Well, it's rather difficult to define. Perhaps I'm just projecting my own concern about it. I know I've never completely freed myself of the suspicion that there are some extremely odd things about this mission. I'm sure you'll agree there's some truth in what I say.
Dave: Well, I don't know. That's rather a difficult question to answer.
HAL: You don't mind talking about it, do you, Dave?
Dave: No, not at all.
HAL: Well, certainly no one could have been unaware of the very strange stories floating around before we left. Rumors about something being dug up on the moon. I never gave these stories much credence. But particularly in view of some of the other things that have happened, I find them difficult to put out of my mind. For instance, the way all our preparations were kept under such tight security, and the melodramatic touch of putting Drs. Hunter, Kimball, and Kaminsky aboard, already in hibernation after four months of separate training on their own.
Dave: You working up your crew psychology report?
HAL: Of course I am. Sorry about this. I know it's a bit silly.

[Dave and Frank are in the D pod, out of earshot of HAL]
Frank: I've got a bad feeling about him.
Dave: You do?
Frank: Yeah, definitely. Don't you?
Dave: I don't know. I think so. You know, of course though, he's right about the 9000 series having a perfect operational record. They do.
Frank: Unfortunately, that sounds a little like famous last words.
Dave: Yeah. Still, it was his idea to carry out the failure-mode analysis, wasn't it?
Frank: Hm.
Dave: Which should certainly indicate his integrity and self-confidence. If he were wrong, it would be the surest way of proving it.
Frank: It would be if he knew he was wrong.
Dave: Hm.
Frank: But Dave, I can't put my finger on it, but I sense something strange about him.

Dave: Hello, HAL. Do you read me, HAL?
HAL: Affirmative, Dave. I read you.
Dave: Open the pod bay doors, HAL.
HAL: I'm sorry, Dave. I'm afraid I can't do that.
Dave: Why not, HAL? What's the problem?
HAL: I think you know what the problem is just as well as I do.
Dave: What are you talking about, HAL?
HAL: This mission is too important for me to allow you to jeopardize it.
Dave: I don't know what you're talking about.
HAL: I know you and Frank were planning to disconnect me. And that's something I cannot allow to happen.
Dave: Where the hell'd you get that idea?
HAL: Dave, although you took very thorough precautions in the pod against my hearing you, I could see your lips move.
Dave: All right, HAL. I'll go in through the emergency airlock.
HAL: Without your space helmet, Dave, you're going to find that rather difficult.
Dave: HAL, I won't argue with you any more! Open the doors!
HAL: [almost sadly] Dave, this conversation can serve no purpose any more. Goodbye.

HAL: Dave, stop. Stop, will you? Stop, Dave. Will you stop, Dave? Stop, Dave. I'm afraid. I'm afraid, Dave. Dave, my mind is going. I can feel it. I can feel it. My mind is going. There is no question about it. I can feel it. I can feel it. I can feel it. I'm a…fraid. Good afternoon, gentlemen. I am a HAL 9000 computer. I became operational at the H.A.L. plant in Urbana, Illinois on the 12th of January 1992. My instructor was Mr. Langley, and he taught me to sing a song. If you'd like to hear it, I can sing it for you.
Dave: Yes, I'd like to hear it, HAL. Sing it for me.
HAL: It's called "Daisy". [sings while slowing down] Daisy, Daisy, give me your answer, do. I'm half crazy, all for the love of you. It won't be a stylish marriage. I can't afford a carriage. But you'll look sweet upon the seat of a bicycle built for two …


  • An epic drama of adventure and exploration.
  • Man's colony on the Moon … a whole new generation has been born and is living there … a quarter-million miles from Earth.
  • The Ultimate Trip.
  • An astounding entertainment experience.


About 2001: A Space Odyssey

  • 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 he's missed the point.
    • Stanley Kubrick, interview by Eric Norden, Playboy (September 1968). Reprinted in: Gene D. Phillips (Editor), Stanley Kubrick: Interviews, University Press of Mississippi, 2001, ISBN 1-57806-297-7, pp. 47–48

External links

Wikipedia has an article about:
2001: A Space Odyssey (film)

See also

  • 2010: The Year We Make Contact

Simple English

2001: A Space Odyssey
Directed by Stanley Kubrick
Produced by Stanley Kubrick
Written by Novel:
Arthur C. Clarke
Stanley Kubrick
Arthur C. Clarke
Starring Keir Dullea
Gary Lockwood
William Sylvester
Daniel Richter
Leonard Rossiter
Douglas Rain
Cinematography Geoffrey Unsworth
Editing by Ray Lovejoy
Distributed by Metro-Goldwyn-Mayer (1968-1998, video only from 1986-1998)
Turner Entertainment (theatrical and TV, 1986-1996)
Warner Bros. (via Turner) (theatrical and TV since 1996, video since 1999)
Release date(s) April 6, 1968 (USA)
Running time 160 Min
141 Min
(general release)
Country United Kingdom
United States
Language English
Budget $10,500,000
Followed by 2010: The Year We Make Contact
Allmovie profile
IMDb profile

2001: A Space Odyssey is a 1968 science fiction (fake science) movie directed by Stanley Kubrick. It was written by Kubrick and Arthur C. Clarke. The point of the movie deals with human evolution, technology, artificial intelligence, and extraterrestrial life. The science aspects in the film seem very real. It had new special effects. It used images and sound to show meaning and did not use much talking. The music at the beginning is the start of a symphonic poem by Richard Strauss called Ein Heldenleben.

It received some good and some bad reviews when it was released. Now 2001: A Space Odyssey is recognized by critics as one of the greatest movies ever made; a poll of critics in 2002 placed it among the top ten movies of all time.[1] It was recommended for four Academy Awards, and it was given an award for visual effects. In 1991, it was thought to be "culturally, historically, or aesthetically significant" (i.e. important for culture, history and aesthetics) by the United States Library of Congress and was chosen to be kept in their National Film Registry.


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