![]() ![]() The new exhibit comes to New York after a successful run at the Deutsches Filminstitut & Filmmuseum in Frankfurt. When physical production moved to Borehamwood in Hertfordshire, Clarke stayed on at Manhattan’s Chelsea Hotel to work on the novel. The pair talked through the story in Kubrick’s frenetic apartment with three energetic young daughters on Lexington Avenue, his office on Central Park West and on walks between the two. Clarke, already living in Colombo in modern-day Sri Lanka, was in town to work on Time-Life Library’s Man and Space. Kubrick and Clarke’s first meeting was held at the long-gone midtown bar Trader Vic’s. The film’s New York roots are a point of pride for the museum. (“I certainly wasn’t allowed to see Lolita,” she joked.) “Who you are is how you receive it,” she continued, adding that her father remained a “proud Bronx boy” who would receive VHS tapes of New York football and baseball games from his sister when the family lived in England. “It doesn’t tell you what to think,” Katharina Kubrick says of the film, the first of her father’s works she was old enough to see on its release. With the eerie György Ligeti music piped in (and, elsewhere, Aram Khachaturian and Strausses both Richard and Johann) one is quickly reminded that all this behind-the-scenes magic wouldn’t mean much without the ideas Kubrick and Clarke dreamed up. Not that I’d ever let go of the suspension of disbelief. Photograph: Skye Morse-Hodgson / Museum of the Moving Image Katharina Kubrick speaks at a press briefing. Seeing the enormous schematics and large-format photos finally brought that home. I’ve read about Douglas Trumbull’s creative use of the slit-scan technique (which the twentysomething tinkerer essentially invented on the fly) but I’ve never quite understood it before. The model ships, drawings, sketches, costume tests, helmets, props, walls of index cards and apeman suits are what one expects from an exhibit like this, but what grabbed me most was a special section dedicated to the stargate sequence. One can also inspect the deals with groups like Hilton Hotels or Parker Pens because even an arthouse masterpiece from the 1960s made room for spon-con. No detail in the finished film wasn’t thoroughly discussed between the production team and groups like the Rand Corporation or Ordway Research. Her father’s exhaustive research is made wonderfully evident in the exhibit with large amounts of correspondence on show, awaiting a deep dive. It’s Goat, or whatever it is,” she joked, mentioning its frequent revivals and the recent Christopher Nolan-led “unrestored” release. “Today,” she continued, “young people are very enthusiastic about the film. Photograph: Skye Morse-Hodgson/Museum of the Moving Image Reproduction by Stephen Dymszo, with Karl Tate, 2015. To contact the KIT PRODUCER direct, please click the CONTACT KIT PRODUCER link below.A model of the Orion III space plane, from about 1965, designed by Harry Lange. References can be obtained from former clients upon request. There are over 40 hours spent on each helmet to make them as perfect as possible. This helmet is painted in a high gloss urethane hand rubbed finish that looks wet when polished out. ![]() This product includes a fiberglass helmet casting, aluminum parts including neck ring, a blown clear visor contoured like the original, eight (8) removable rear recording packs affixed with Velcro, and a custom stand with a plaque stating either a Discovery or Moon helmet. In addition, you get to choose the color you want including Bowman Red, Frank Yellow, or Clavius white. This is as close as anyone is able to get to the real helmet. The size, shape, and contours are directly pantographed from the real deal. *Kit Description: This helmet was patterned from a casting pulled from the helmet used in 2010 which had to then be detailed back to the 2001 design as there are slight differences between the props used in the 2010 adaption. *Shipping Amount: Calculated Upon Location Presents 2001: A Space Odyssey Helmet w/Stand ![]()
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