![]() ![]() Stanley Kubrick used the same gimmick several times in 2001. The camera, bolted to the “floor” of the apartment, turned with the set–and so, on the screen, the set appeared to be perfectly stationary: Astaire was dancing on the ceiling when the ceiling was actually the floor, if you follow me. The set was turned on rollers as Astaire danced, hopping from floor to ceiling as the apartment revolved underfoot. One number in Stanley Donen’s 1951 musical Royal Wedding required Astaire to dance over the walls and ceiling of his London apartment, an effect accomplished by mounting the entire apartment set inside a cylinder. However there were some special visual effects at those Academy Awards when streaker, Robert Opel, ran across the stage completely naked, flashing everything for the world to see, including a peace sign.This may disappoint you fans of high-tech special effects, but several sequences in 2001 made use of a technique that had once been used in a Fred Astaire movie, of all things. No Visual Effects award was given in just one year since its establishment, 1974. In 1977, Star Wars was released which resulted in the official re-institution of the Visual Effects Oscar at the 50th Academy Awards. From ’73 – ‘77, Visual Effects was dropped & given only as an Honorary Award. The Special Effects Award honored both sound & visual effects until ’64 when the new Oscar for Sound Editing was established. Incredibly, that Oscar went to The Rains Came, not The Wizard of Oz. ![]() It was first given in 1940 honoring the greatest year in film, 1939. ![]() The Visual Effects Oscar has an interesting history. It won just one Award, Stanley ’s only Oscar: For the film’s Special Visual Effects. You Kubrick guys always seem to really come up with somethin’.’Ģ001 was nominated for 4 Oscars in 1969 at the 41st Academy Awards, including Best Director and Original Screenplay (Kubrick & Arthur C. I agree.’ ‘Hmm, I always thought Kubrick was showing us how fragile life is how in the blink of an eye, our lives shatter & we’re old, alone & dying in bed, Keir.’”, I told him. Goodbye.’ ‘I honestly think you ought to sit down calmly, take a stress pill, & think things over.’ The next day he said, ‘Yeah, it looks like you’re right. Keir, this conversation can serve no purpose anymore. ‘What’s the problem?’ ‘I think you know what the problem is just as well as I do, Keir.’ ‘What are you talking about, Stanley ?’ ‘This movie is too important for me to allow you to jeopardize it. I’m afraid I can’t do that.’, he replied. I said, ‘It’ll open the post-Stargate pod scene more, Stanley !’ ‘I’m sorry, Keir. Kubrick was foolproof & incapable of error.” As far as the wine glass is concerned, I suggested that to him because I felt the scene was too sterile. He’s like the 9000 series in the film, the most reliable computer ever made he never made a mistake or distorted information. Yet, he never demonstrated a lack of confidence. ‘Well, Stanley ’s enormous responsibilities on the film included full control of the ship & watching over the cast, crew & entire 2001 nation. There I asked him what it was like to work with Kubrick and “the symbolism of him breaking a wine glass in the Star Gate Sequence. The event concluded with a Keir Dullea Meet & Greet Dinner Party at Pat & Kas Kalba’s house in the Westville section. , a tiny theatre that started as a silent movie house. ![]() On 11/24/13, Cindy & I attended a screening of 2001: A Space Odyssey with a post-film discussion by Foster Hirsch & Keir Dullea at & to benefit Lyric Hall, Whalley Ave. ![]()
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