‘2001: A Space Odyssey’: What It Means, and How It Was Made

Nice piece by Dan Chiasson for The New Yorker “on the tedium and the triumph of 2001: A Space Odyssey”:

Kubrick brought to his vision of the future the studiousness you would expect from a history film. 2001 is, in part, a fastidious period piece about a period that had yet to happen. Kubrick had seen exhibits at the 1964 World’s Fair, and pored over a magazine article titled “Home of the Future.” The lead production designer on the film, Tony Masters, noticed that the world of 2001 eventually became a distinct time and place, with the kind of coherent aesthetic that would merit a sweeping historical label, like “Georgian” or “Victorian.” “We designed a way to live,” he recalled, “down to the last knife and fork.” (The Arne Jacobsen flatware, designed in 1957, was made famous by its use in the film, and is still in production.) By rendering a not-too-distant future, Kubrick set himself up for a test: thirty-three years later, his audiences would still be around to grade his predictions. Part of his genius was that he understood how to rig the results. Many elements from his set designs were contributions from major brands — Whirlpool, Macy’s, DuPont, Parker Pens, Nikon — which quickly cashed in on their big-screen exposure. If 2001 the year looked like 2001 the movie, it was partly because the film’s imaginary design trends were made real.

Friday, 20 April 2018