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I have watched all of Stanley Kubrick's movies. He wants you to know that he's in control of the pace of the movie. You'll be fed each line when he's ready to feed it to you. All of Kubrick's movies tend to have a lot of white space, empty space where no one is doing or saying anything; they are merely existing. Listen to the non-human pace of Nicole ...

Per director Stanley Kubrick: The ballroom photograph at the very end suggests the reincarnation of Jack. How does it relate to the movie? It sort of echoes the "You’ve always been the caretaker." line earlier in the film, which suggests something along the lines that his soul is perpetually stuck at/destined to end up at that hotel.

To me the brilliance of 2001 lies in that it's a perfect storm of brilliant individual parts. It has jaw-dropping cinematography and SFX (that holds its own even in this CGI rich era), an iconic soundtrack, amazing writing (HAL remains one of the most chilling adversaries in movie history), and an intentionally ambiguous ending. When you finish watching ...

Book ending explanation: The movie is faithful to the book, although it intentionally lacks narration explaining what's going on. Unlike the book, the movie is an allegory to a number of things, and shouldn't be interpreted as being simply an adaptation of the book, but much more. It's an artistic approach to a scientific novel.

At first I thought it might have been a breakaway model, used by the likes of Orsen Welles to make a camera appear to pass through a neon sign or window in Citizen Kane, but then I watched the clip and realized this could not be the case. I have had some experience with motion control cameras, and this certainly seems to have been produced using a track ...

After being released, he is attacked by vagrants. I believe that if he was faking, he would have defended himself. Instead, two bobbies come along and save him. They turn out to be his old "droogs" Dim and Georgie who then also beat him up. I believe that if he was faking then he would have tried to protect himself.

There was actually originally supposed to be a voice-over in the ending, and for unknown reasons it was cut. The original script can be viewed here. Hopefully that helps you align the meaning of the visuals with the narrative in the book and in your mind.

Best reference to this is essentially the interview you talked about: "People pretend to think they know Stanley Kubrick, and think they know me, when most of them don't know either of us," Spielberg told film critic Joe Leydon in 2002. "And what's really funny about that is, all the parts of A.I. that people assume were Stanley's were mine. And all the ...

This is a big question to a very deep and complicated film! Kubrick mentions how it 'suggests' the reincarnation of Jack, he does not say that this suggestion is correct. Notice how the surrounding furniture is covered in white sheets and the sign for the Goldroom is on the other side to the previous position. It would imply some kind of time shift or ...

If he was faking about being "cured" and being non-violent, was he also faking about Beethoven music making him ill? Because that drove him so mad he attempted suicide by jumping out a window, seriously injuring himself. I think if he had been faking his cure he would not have gone to such extreme lengths to prove it. Also, as I mentioned in commenting on ...

I'm of the opinion Kubrick changed the story so that in the movie, Alex was faking that the conditioning worked. Basically I was convinced by the case made by this analysis from a guy named Rob Ager. Here's a key excerpt: In the book Alex spouts his own objection as the preacher and Minister debate the morality of the Ludovico technique, “Me, me, me. ...

I always thought that the ending of 2001 was open in the following sense. The film narrates of two main steps in human evolution, both triggered by alien intervention using the monolith as an inductive device. The first occured in the far past, where ape-like creatures were tranformed in homo sapiens through an enhancement of their intelligence. We have ...

One of the things I found interesting about the entire sequence in the Discovery is a sort of reversing: Bowman and Poole behave coldly, don't give in to emotions and seem--at least emotionally--always in control of the situation. HAL, on the other hand, is the one that cracks under pressure and panicks. So, of all the crew, HAL is the real human character. ...