one point two million venezuelans made in colombia legally and illegally. why return to the. to visit friends is that i don't think i'd ever go back there to live you know what i live there again i don't know so i'm not sure. bearing witness global news that matters. made for mines. hi and welcome to a special edition of kino coming to you today from the city of frankfurt famous of course for its skyline and for being germany's capital of high finance but frankfurt is also home to one of the largest film museums in europe and they're honoring with an amazing exhibit a cinematic masterpiece. two thousand and one a space odyssey the mother of all science fiction films. in one thousand nine hundred thirty eight director stanley kubrick rewrote the rules of cinema in a way that continues to amaze and inspire. this conversation can serve no purpose anymore today on keno we're doing a deep dive into two thousand and one we're devoting our entire show to stanley kubrick's saif i class a. film turns fifty this year but two thousand and one is still way ahead of its time. when kubrick began putting his son fine masterpiece together in the mid one nine hundred sixty s. american city its were vying to be the first to reach the moon to develop a visionary believable set design kubrick not set ex-pats who had worked with rocket pioneer advena from put on the front foot show expose how meticulous nearly every. technical details planned. kubrick was the first to use product placement this futuristic watch from the luxury brand hamilton went on sale as the film opened but only a few original props are preserved destroyed most of them. this is a replica of the model of the famous centrifuge a hamster wheel weighing fifty tons and twelve meters in diameter filming with so complicated that it took several days to shoot just a few seconds. won't see much of the galaxy. the space scenes were created with an elaborate animation by hand without computer technology. you know when you think it's some 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 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 it so everybody was able to be as a maginnis evan is crazy as a wacky because there were no wrong answers good. wrote the screenplay with sufiah legend arthur c. clarke the goal was to create the definitive sayf i found probing the question of extraterrestrial life and artificial intelligence that spirals out of control in the form of the on board computer how is. it in the pot the doors oh. i'm sorry day i'm afraid i can't do that. that's the problem. i think you know what the problem is just as what is right what are you talking about . this mission is too important for me to allow you to jeopardize in this. it's really a philosophical film it's not really a science fiction i call it much more philosophical film and it is so fresh because 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 a film programmer and i was able to hold off on seeing two thousand and one. until i could see it on the big screen you know i can only imagine that everybody who would have a chance to see the movie this way would just be carried away by it it's a very famous story of when the movie was first released people actually walked out of the premiere you know people who had traditional expectations of a hollywood movie and were looking for a linear narrative and it wasn't a box office success at the beginning but then they redid the marketing and i actually know this guy who created the tagline the ultimate trip and they positioned it in one thousand nine hundred sixty eight as a movie that would expand your consciousness and you know kind of subvert your expectations of what a movie should be and it attracted a young audience that interacted you know people who were in the counterculture and it became a huge hit because of that i mean what but you something personally that you find 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 understanding two thousand and one what i really like about this exhibition and the way that it brings the audience in is it shows the whole production cycle it shows that. stanley kubrick was an obsessive he did tremendous amounts of research for every movie he made and spent years talking to scientists doing scientific research thinking about outer space exploration and nobody had landed on the moon yet when this movie was made and there's this famous conspiracy theory that neil armstrong never landed on the moon but the footage was shot by stanley kubrick it's one of the great myths of modern culture. so it's amazing to go through the whole production history in this exhibition you get the view of the filmmaker and all of the creative team and then it all comes together with the projections that you see of the film sequences and thank you so much for joining us and two thousand and one has had immense impact not just on cinema really the film gave us a vision of the future. rounds going to drop. some on one hundred sixty eight a stone's twenty one year old david bowie watches the film too fast and one in london's casino cinerama he goes home and writes space oddity his own musical homage to alienation in the space age with its lonely astronaut major term. strategic. west germany in one thousand nine hundred three major tone and spine speech a shell into his only since pop hit. two thousand and one made dystopian sunshine cool in l.a. and ridley scott takes the idea of how an aloof and indifferent supercomputer one step further. in early in the ship's arrogant intelligence called nada demonstrates how humans themselves have become obsolete. hello day. you are looking well as hell nine thousand times apple computer pitchman in this commercial from the late one nine hundred ninety s. two thousand when computers began to misbehave three hundred twelve the themes and style of two thousand and one and spied countless some five films but he's gone pretend to kubrick for his space adventure the motion. but there's no more affectionate home much to two thousand one than interstellar director christopher nolan says kubrick's masterpiece is his favorite film with interstellar he delivers an updated and equally fascinating vision of a space odyssey. and 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. sadly the alarm. clock of the. planet. got to be. cut. into the conflict zone with tim sebastian folks have been challenging those in ca asking tough questions demanding ourselves. as complex intensify i'll be meeting with key players on the ground in the suns as i'm. cutting through the rhetoric holding the conference to account facts of the conflict zone. conflict zone with tim