a tumbrl about 2001: A Space Odyssey from the author of www.2001italia.it
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In this study, music will be primary in order to privilege of audition rather than the point of view.

Kubrick’s filmmaking has long been admired and studied for its narrative and thematic aspects and visual impact; however, another central element of his style is the unique, often startling encounters between music and the moving image, and the use of classical music. A musicological approach to Kubrick’s oeuvre is both urgently needed and long overdue in an understanding of these films, whose most compelling features are, I argue, musically conceived and expressed.  For Kubrick, a director who habitually compared filmmaking with music and devoted his characteristic scrutiny to music in his work, music is primary and generative to the films’ themes, designs, and meanings.

This study is concerned with showing music to be both a consistent, vital force in Kubrick’s imagination and an aesthetic foundation for the creation and reception of many of Kubrick’s films — and famous moments within them — beginning with “Killer’s Kiss (1955) and ending with Eyes Wide Shut (1999)…

Though it is clear Kubrick knew of music’s efficacy in engaging the audience and intensifying the audience’s experience — both during and after the experience of watching and listening — commentary on the remarkable musical moments in his films has nevertheless remained marginal, or subsumed within a discussion of visual or thematic elements. In this study, music will be primary in order to privilege of audition rather than the point of view.

— intro to We’ll Meet Again:  Musical Design in the Films of Stanley Kubrick, by Kate McQuiston

In 2013, TWO great books came out about Kubrick’s use of music:  this one and Christine Gengaro’s.  Both authors thank the other for their help in the acknowledgments, and together they prove that in Kubrick University, the Music Department would be second to none in student popularity.

As a first impression of both, Kate is wonderfully poetic and philosophic, and Christine is nuts-and-bolts par excellence.


I have listened to the soundtrack albums many times, but gave that up as I did not want to “wear out” the effect of the music for the movies — as for example, I wore out my love for the Beatles by hearing their songs too many times.

I have thought of watching Kubrick films in another language, and with the sound off.  I listened to Dr. Strangelove about a hundred times back in the 1970’s on my old reel-to-reel tape recorder, having recorded it off “Monday Night at the Movies”, and it was very enjoyable that way.  

As for listening to the movies with my eyes closed — as I have done with a symphony orchestra in Carnegie Hall — by George, it could work! Maybe best with his last three films.

I wouldn’t want to do it while I am washing dishes, the way I listen to my podcasts — there shouldn’t be any distractions — nor even lying in bed at night, because I would get too excited to go to sleep — no, there is no other way to do it except, right after dinner, tell yourself,  ”I am going to listen to Eyes Wide Shut now, put in the Blu-ray, get in bed, lie down on your back, put on the big headphones, and close your eyes.


The match cut is a cut between two shots which match graphically. This match establishes a sense of continuity and interconnectedness between two different spatial or temporal spheres.

Psycho (1960), directed by Alfred Hitchcock.

Lawrence of Arabia (1962), directed by David Lean.

The Graduate (1967), directed by Mike Nichols.

2001: A Space Odyssey (1968), directed by Stanley Kubrick.

From twitter user Siobhan ‏(@wigglymittens):

Spotted Kubrick lurking in Kottbusser Tor (Berlin)


1969 70mm re-launch poster for 2001: A SPACE ODYSSEY (Stanley Kubrick, USA/UK, 1968)

Art Director: Mike Kaplan

Poster source: Heritage Auctions

“When MGM decided to re-launch the 70mm prints of Stanley Kubrick’s 2001: A Space Odyssey into New York theatres, the studio decided to revamp the ad campaign as well. The film had been in continuous release since April 1968 and due to that popularity, the studio decided it was time to refresh the ads. The two new posters that were created capitalized on the film’s surreal ending and the news that young people were flocking to the film. The tag line, “The Ultimate Trip” was used and the posters were distributed in a campaign in New York City where the posters were “wilded” onto walls, fences, and construction sight barricades.” –Heritage Auctions

“The Star Child image was selected by Kaplan to re-launch Stanley Kubrick’s masterpiece in its full 70mm technical presentation, the format in which the film was meant to be experienced by new and returning audiences. Kubrick had placed an embargo on using the Star Child in any publicity so its appearance in print and poster a year after 2001’s premiere was startling, conveying an immediate human dimension to his epic vision. The unprecedented re-launch was enormously successful, and with THE ULTIMATE TRIP slogan, cemented its recognition as a cultural phenomenon.” –Mike Kaplan, The Movie Posters


STANLEY KUBRICK & the color blue


VFX Legend Douglas Trumbull talks about the Future of Film … and Kubrick.


From the Sept. 12 issue of The Hollywood Reporter.

Trumbull drives me a short distance from his home to a full-size soundstage and escorts me into a screening room that he has constructed to meet his ideal specifications: a wide wall-to-wall and floor-to-ceiling curved screen, with surround sound, steeply rigged stadium seating and a 4K high-resolution projector. As I put on specially designed…

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More great 2001-related artwork, part of the “KUBRICK" tribute art show at Spoke Art / Tumblr, is ON SALE NOW HERE. Beautiful stuff!


Korova Milk + and Moon-Watcher by Rhys Cooper

12” X 36” 6 color screen prints, numbered edition of 50. Available HERE.

Part of the “KUBRICK" tribute art show at Spoke Art / Tumblr

(via spokeart)