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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