a laboratory mission by hand without computer technology. you know when you think it s so models it s wooden glue and straying and nothing shows it s. just a testament to how careful he was and god knows how many of the many. sort of takes they took one of the model shots because obviously the special effects to cover the time. more than one hundred people worked on the special effects unknown. brit spent four years making the film at london s m.g.m. studios going way over his budget and schedule. with his team he created images like none before. so there was a very open kind of art school atmosphere let s see let s try there was no oh we can t do that it s you know that was a red rag to standing say oh we can t do that is or why not why can t you let s try
two thousand and one continues to inspire pop culture in his video to believe that he credits rockets into orbit as director michel gondry quotes kubrick with every shot. beach. and that s all for keno special on fifty years of two thousand and one a space odyssey if you like the geek out on cooper we ve actor website with lots of trivia about the film and if you can t make it to frankfurt for the exam but next year is going on tour to london but for now i m here with al harrington and we just like to say took a by open the pod bay doors hal i m sorry. i m afraid i can t do that.
it doesn t contain in its essence anything that can be outstate it s because we are as ignorant now as a row fifty years ago about the miracles of the universe. where we come from where are we going. stanley kubrick s two thousand and one a space odyssey office now i want to it s only stunning images the journey continues. and i m joined now with ellen haring the director of the film institute and the film is in here frank thanks for joining us. want to talk about two thousand and one. when was the first time you saw the movie do you remember and you remember your mother what it did with you do you remember its impact i remember very specifically and one of the great fortunes that i ve had in my career is i ve been
interesting fascinating but with so much in terms of its history but just as a film goer you know the amazing thing about this the the photography the visual effects just watching the beauty of each of those sequences and the fact that he s really willing to hold the camera and extend a sequence and ask you to step into that vision and to just take that journey and then when you have the marriage in certain sequences of some of these classic pieces of music that also is incredible because now people when they hear that music it immediately makes them think of the film as it does with me. but the whole exhibit here dedicated to the film what do you think exhibit adds to
wooden glue and straying and nothing shows it s. just a testament to how careful he was and god knows how many of it how many. sort of takes they took of the model shots because they obviously were special effects to corrupt on. more than one hundred people worked on the special effects alone kubrick spent four years making the film at london s m.g.m. studios going way over his budget and schedule. with his team he created images like none before. so there was a very open kind of art school atmosphere let s see let s try there was no oh we called do that attitude no that was a red rag to standing say oh we can t do that is or why not why can t you let s try