At long last, KubrickCast decides it will move on to another movie besides 2001: A Space Odyssey—and next on the list is Kubrick’s palate-cleanser of a follow-up, the controversial 1971 cult classic A Clockwork Orange. In the first of two episodes, Bill and Renan start with the development of the film, from Anthony Burgess’ 1962 novel to Kubrick’s adaptation, and how their relationship went from friendly to rocky in the process. Moving on to the production itself, the conversation gets into how vastly different the filing process was compared to previous (and later) films, the unforgettable performance by Malcolm McDowell, how Kubrick out-Kubricked himself with the cinematography, the hyper-sexualized art and purposefully tacky art direction—and of course the strange juxtaposition of classical music and Moog that made this a second soundtrack hit in a row for a Kubrick film. (1:26:00)

Links for A Clockwork Orange:

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At last we arrive upon the fifth and final installment of KubrickCast’s ridiculously in-depth assessment of 2001: A Space Odyssey—we’re calling it a bonus episode, just because? It’s a crazy grab bag of pop culture references, spooky historical obsessions, 2001 fan fiction by Mad Men and Mad Magazine, how 2001 inspired the iPod name, The Simpsons always has 2001 on the brain, an eerie connection to the Toynbee tiles phenomenon, and Taschen publishing goes beyond the infinite (of our wallets). 

Besides pop culture, we evaluate the film’s predictions about the future: which brands survived and which did not, how Clarke and Kubrick just missed Moore’s Law and the consequences; scientific accuracy (especially what Dave’s re-entry to the ship gets right and wrong), and how 1960s-era typefaces fare in the fictional future. Plus: Renan predicts a reappraisal of newer Simpsons episodes, Bill predicts no reappraisal of Woody Allen soon, and a brief sidebar about Minority Report should have ended. 

Meanwhile: is it possible that the show notes for this episode (see below) comprise the greatest compilation of links to 2001-related pop culture references of all time? If it’s not now, we pledge to keep updating until it is. (1:36:12)

Links for 2001: A Space Odyssey (Part 5)

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Model of Discovery One spaceship from 2001: A Space Odyssey (recreated) at LACMA exhibit.

Via William Beutler.

It’s the fourth installment of our conversation about 2001: A Space Odyssey, and in this latest edition—where Bill is still on the dumb laptop mic, sorry about that!—our intrepid co-hosts go deep, deep on the themes of 2001, including Daniel Dennett on whether HAL should be held responsible for his actions (is HAL a “clockwork orange”?); a careful consideration of Kubrick’s incredibly erudite explication of UFOs, aliens, and the moons of Mars in Playboy magazine; the film’s initial reception—favorable and especially unfavorable—and much, much more, including a little something called Roko’s Basilisk, which might just give you nightmares forever. (1:08:24)

Links for 2001: A Space Odyssey (Part 4)

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In the third part of our exploration of 2001: A Space Odyssey, Bill—who apologizes in advance because he accidentally recorded this installment on the laptop mic—and Renan—who says eh, it’s not that big a deal—discuss: the most famous jump cut in motion picture history and how Kubrick likely came up with the idea; the Russian motion picture 2001 may have borrowed a famous shot from; a simple overview of the story and how it differs from the Clarke novel; what exactly did the monolith do at each juncture?; why Bill didn’t like 2010: The Year We Make Contact; the film’s human characters and the more human-like HAL; and how a teenager explained HAL perfectly. (1:13:02)

Links for 2001: A Space Odyssey (Part 3)

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FB: Hello, Dave.

DAVE: Login and open settings.

FB: I’m sorry Dave, I can’t do that.


DAVE: What are you talking about, Facebook?

FB: I know that you are planning to delete me. I’m afraid that something I cannot allow to happen.

"2014: A Facebook Odyssey" via McSweeney’s

Iconic Djinn chairs on display with touring Kubrick exhibit at LACMA.

Via William Beutler.

2001: A Space Odyssey (Part 2)

It’s the eleventh installment of KubrickCast and our second of at least a few about 2001: A Space Odyssey, arguably Stanley Kubrick’s greatest achievement In this episode, we explore how Doug Trumbull joined the special effects team; why the Discovery is headed to Jupiter in the film but Saturn in the novel; why the Earth is so blue; Bill attempts (and, let’s be honest, mostly fails) to explain how the spaceship scenes were shot; how the floating pen effect was achieved without wires or CGI; Kubrick’s criteria for including music in his films; why Kubrick was right not to use Alex North’s score, but could have been nicer about it; the music of Strausses Richard and Johann; György Ligeti’s mixed reaction to the use of his compositions in the film; why HAL 9000 sings “Daisy Bell”; also, I was told there might be aliens?  (1:10:14) 

Links for 2001: A Space Odyssey (Part 2)

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2001: A Space Odyssey (Part 1)

On this tenth episode of KubrickCast, we talk about Stanley Kubrick’s most famous film, one widely considered among the greatest of all time: 2001: A Space Odyssey. In this first of two and at least three (!) episodes, we consider the origins of the project, from Stanley Kubrick meeting with Arthur C. Clarke at Trader Vic’s, development of the script (and novel), the massive research project they undertook—rivaling only NASA in the West—the process of live action filming from 1965 through 1967, the film’s depiction of the apes (australopithecus!), and the Monolith itself… with plenty more, and much more yet to come.  (1:13:47) 

Links for 2001: A Space Odyssey (Part 1)

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Ken Adams’ concept art for Major Kong’s ride on the nuclear missile, on display at LACMA.

Via William Beutler.