When I went to the Norwalk IMAX screening that Dullea attended, I was very tempted to ask him if he ever watched the Stargate sequence on Acid, I didn't want to risk possibly offending him though.
I did, in 1978. Peyote actually.
When I went to the Norwalk IMAX screening that Dullea attended, I was very tempted to ask him if he ever watched the Stargate sequence on Acid, I didn't want to risk possibly offending him though.
Yes I remember that vividly .Do you remember if the announcement about the Cashmere Sweater came out of the surround track only ?
thanks.
Only the copies with the lithographs were $1200; the set with just the books and Christiane Kubrick’s autograph was “just” $600!
600 bucks for an autograph from Susanne Christiane?I got mine without the autograph for considerably less. Great book.
They did a softcover reprint that includes all of the text and pictures from the main book that’s significantly cheaper:
https://www.amazon.com/Making-Stanl...preST=_SX218_BO1,204,203,200_QL40_&dpSrc=srch
It’s missing the book of frame enlargements from the film, and the script outline and script notes mini books, but has everything from the main book.
Yes, the formatting of the book is odd - they were determined to keep a monolith shape even though it makes for awkward reading. But that’s true of the $600 and $1200 editions as well.
Frankly, I haven’t spent as much time with the book as I thought I would because the formatting makes it uncomfortable to read, and the text is a bit on the dry side. I’m glad I have it - but it’s not very practical.
The fade out, which should be 64 frames, is missing. At that length, one would see the glass touch the table, as it’s only a dozen or so frames into the fade.
The Fade in has been encoded, but may stay in black too long.
I have become curious about an aspect of the soundtrack. Since the choice was made to use pre-existing commercial recordings for the music, as opposed to music specifically recorded for the film, I'm wondering what format(s) of these pre-existing recordings were available to those crafting the film's soundtrack. For example, if the information I've found is correct, "Also sprach Zarathustra" was sourced from a March 1959 Decca Records recording of a performance by the Vienna Philharmonic with Herbert von Karajan conducting. Would Decca have been making multi-microphone, multi-track recordings at that time that would have provided the equivalent to a dedicated recording for a 6-track motion picture in the late 1960s (or the actual recordings made of the Alex North score), and if so were those made available to the film makers? Or did the film makers have to work with 2-channel stereo recordings, which I assume would compromise the music reproduction that the Todd-AO 6-channel sound format was capable of. (I’m thinking more along the lines of sound placement and stereo effect than audio fidelity.)
I've also recently read elsewhere on the internet that "2001" did not have "true" 6 channel sound, but that it had a “spread” mix with tracks 2 (Le) and 4 (Re) containing only blends of the adjacent channels. That might be supported by the mention of three-track 35mm magnetic master of the Alex North score mentioned in the Jon Burlingame article. Would there even have been three track recordings of all the pre-existing music that was used? I think it would be interesting to know more about this as it should relate to the results heard on the "original theatrical 6-track audio mix formatted for 5.1" track that is included on this release.
I was told that the entire film was a 4-track mix, with the exception of the final reel, which was 6, and mixed in Hollywood, as opposed to London. For what it’s worth, Lawrence was also 4-track.
Let me again plug Michael Benson's excellent book. I've not read Bizony's so I cannot offer a comparison. For those with ebook accounts with their public library, Benson's book is a no cost, no brainer loan. I learned more than a great deal about the movie from it.
https://www.amazon.com/Space-Odysse...&sr=8-1&keywords=michael+benson+space+oddysey