Watch a Newly-Created “Epilogue” For Stanley Kubrick’s 2001: A Space Odyssey

If after watching Stanley Kubrick’s 2001: A Space Odyssey, you immediately want more 2001: A Space Odyssey, then you are a true fan—especially if you don’t consider the sequel, 2010: The Year We Make Contact, to be anything of the kind, Arthur C. Clarke’s imprimatur notwithstanding.

But how will true fans react to the three-and-a-half minute, “epilogue” to Kubrick’s film, above, set 203 years after 2001 and following astronaut Frank Poole’s body as it traverses Jupiter’s space and encounters a monolith?

Poole (played by Gary Lockwood), you’ll remember, was killed by the HAL 9000 computer when he became an inconvenience to the AI. In 3001the final book of Clarke’s trilogy, his body is found, preserved, 1000 years later and brought to life. Here, things turn out a little differently. No fan of Kubrick’s film will care much about the departure from canon.

But what about the cinematic language? Is the epilogue’s creator, Steve Begg, a professional visual effects artist, able to convincingly mimic the master’s touch? I’d say he comes as close as anyone could, though the final shot does not feel particularly Kubrickian to me. This labor of love was also a labor of cinematic art, “using practical models and digital versions of the tricks used in the original,” as Begg writes on the project’s Vimeo page.

He offers his imaginative addendum “with respect to Stanley K., Wally Veevers and Doug Trumbull” (the practical visual effects masterminds of the original film). Begg also admits to “ignoring 2010 and 3001 sorry, A.C. Clarke.” You’ll recognize the music as that of Richard Strauss and Gyorgi Ligeti from Kubrick’s original score. The musical cues, silences, abrupt edits and shifts in perspective, rhythm, and tempo, and the ambitious grandeur all ring true.

If you don’t consider it a sacrilege (and if so, fair enough), you might see Begg’s epilogue as a work of art all its own, one that impressively resurrects the chilly epic feel of the 1968 classic using digital tools from fifty years later.

via Kottke

Related Content:

Stanley Kubrick Explains the Mysterious Ending of 2001: A Space Odyssey in a Newly Unearthed Interview

Watch the Opening of Kubrick’s 2001: A Space Odyssey with the Original, Unused Score

Watch Steven Soderbergh’s Re-Edited Version of Kubrick’s 2001: A Space Odyssey Free Online

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness.

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Comments (7)
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  • Ariel Melton says:

    Yes,it is not of epic technical quality but it gave me goosebumps, just like the original. (I also detested “2010”.) What higher compliment than that?

  • Christopher Denny says:

    Stupid & pointless.

  • droy says:

    May be pointless but still enjoyed it. Very well done.

  • Abulurd says:

    Misses Kubrik’s cinematic language. The orientation of the monolith matters. The timing of the music matters.
    I can’t find anything like that here. This is akin to asking Susmayer to complete Mozart’s Requiem. It’s not because it sounds like music that it’s the voice of the master.

  • George Myers says:

    Wonderful, left in one of the cabins, part of a suite used in the editing of “2001: A Space Odyssey” on the RMS Queen Elizabeth by Stanley Kubrick?

  • KRM says:

    I saw 2001 in 3-screen Cinerama in 1968 in the middle of the second row of seats in the theater and still remember the audience reactions, when the Discovery is shown in full shot the audience went ooooooooh, when HAL read their lips the audience went ohhhhhhhh, the laughter at the zero-gravity toilet and at least as much when HAL wins at chess and thanks Frank for a very enjoyable game, and when HAL suggests to Bowman to take a stress pill and think things over when he’s about to disconnect him. It was a memorable yet very scientifically inaccurate film, although the good technical parts and odes are still good. This epilogue is very nicely done. I was expecting, when Frank raises his hand toward the Monolith in full side shot for the space pod to barrel down and bounce off of him with a grunt, ricochet off the Monolith with a clink and barrel away overhead, leaving him driven deeper into the soil. I was expecting something funny as these cinematic short odes so often are, but this was a very direct serious treatment. Very nice work.

  • Andrew says:

    Everyone skipped 2061

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