So making HAL a computer adds a lot of fascinating intellectual questions to the film. But in the earlys, Hitchcock made thrillers, John Ford made Westerns, John Frankenheimer did political thrillers, Stanley Kramer made socially-conscious message pictures, and Sidney Lumet did dramas. HAL deflects their questions rather artfully, actually. There are so many ways in which the depiction of this change could have gone wrong, or looked ridiculous, or looked ridiculous ten or twenty years later. In this sequence his use of semi-abstractions and image modification solarization, colour replacement, etc.
He checks in with his family. In other words, even the science fiction field was expecting a more conventional film, closer to Destination Moon or Forbidden Planet, only better. They felt it was taboo — to make a comedy that even touched on the idea was insensitive and wrong. The Apes recognize the strangeness and, well, go ape. The overall sequence is extremely economical visual storytelling. For one thing, one could use VERY large screens and very large backgrounds. A Space Odyssey Note, April 5, According to its makers, right from the start it was a popular misconception with audiences that Heathers was a film about teen suicide. They chose a popular actor at the time, Christian Slater, who played a classic anti-hero. And from Blade Runner and further on, production designers put a lot more thought into the fantasy world they were designing. What can I say - this show is really just 'check your brain at the door' material, but it's an hour of laughs guaranteed. His comments are pretty much nothing: Each location has unique design elements. I recalled seeing a silent-era film of a belly dancer, and the censors had placed black bars across her undulating hips. His flights in the Pan Am clipper, and the Orion, last as long as it takes the Blue Danube to reach an appropriate breaking-point. He was shocked by the transformation. Almost every element of explanation had been removed. We could even sidestep the entire question about why HAL went mad, and raise a really interesting question. Instead, Kubrick went with a simple black slab, and was very particular about the way it looked to the camera. In other science fiction movies, scientists are far more vivid than he is. The choices for camera movements, angles, and other stylistic choices were right; think of the use of long lenses to film the President in Strangelove, the tracking shots and compositions of Paths of Glory, the training camp sequences of Spartacus. Kubrick… treats the human race with cold irony— presenting Man as an impotent, rather pathetic, helpless pawn of forces beyond his comprehension. HAL engages him in conversation, trades some pleasantries and makes some encouraging comments about the artwork. The leopard attack shows one of the dangers of this existence: Maybe part of his programming is to check if Bowman and Poole are getting hinky suspicions. Bowman is behaving more or less as he would with a human being.
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