2001: A Space Odyssey

Alas, the Pan Am logo on the Floyd craft always gets a laugh now.

sergei eisenstein on 'paris, texas' and ingmar bergman on 'beverley hills cop' would have made '83-'84 a different time.

the reason why i used the two examples i did(even if i did overstate the "different time" bit) was not to grab two random examples out of the air, but that Jodorowsky and Lynch where the original directors of those two flicks. there was even plenty of design work that went into Dune with Jodorowsky at the helm(as mentioned upthread). And that both versions differently wildly from their initial planning(Ewoks were added, Dali was removed, etc).

Of course, Jodorowsky probably wouldn't have had the wizard of oz references or jack nance in the final version, etc

in terms of just grabbing wildly different directors and inappropiate film choices: i'd pay good money for
-Roman Polanski's "Disorderlies"
-John Woo's "Out of Africa"(or even "The Natural")

now, in regards to the current convo, what was the name of the phone company used in 2001? was it Bell?

2001 Supernerd Final Jeopardy: What's the first line of dialogue? (I can only guess)

And the last line? Floyd on tape [sic]: "[blah blah monolith], its origin...unknown"?

Bullitt not haf toomuch dialog for Noisedik to grow rezless?

And they make a biiIIIIIiiggggg deal about moving the portable airport tunnel thingy over to the airplane, to show that THIS is the future! No more having to climb stairs, people!

There's a lot of that in the movie, including that one extended bit about what a fax machine is.

And the painted ponies go up and down...

Also, Roy Scheider in space! Bob Balaban & John Lithgow in the same movie! Candice Bergen as the SAL 9000! Dude had dolphins in his living room!

Candice Bergen as the SAL 9000!

I'm afraid to verify this!

I realized the key in your last post though as to why you would like Steve McQueen; I mean he barely says anything in the vast majority of his movies. Everyone wins.

Tell me more

Usually. Especially THE BIG GAME climax. Cept for that awesome Bollywood cricket musical.

Also... Keir Dullea way hotter than Steve McQueen.

Except The Bad News Bears, which is terrific. (The original, obvs.)

Nahhh. 80-foot screen minimum, 120 pref'd.

You could make an argument that perhaps Dave is even more robotic than HAL

A former MGM publicist details the saving of 2001's marketing.

"Why doesn't Pauline Kael like my movie?"

That article is so annoying. About half of it is the guy talking about how much Kubrick respected and liked him.

This just came out on Blu-ray along with A Clockwork Orange, uncensored Eyes Wide Shut and a deluxe edition Full Metal Jacket. Want.

Did Kael really love The Bible?

When the film came out, Stanley set up an office in the conference room on the 26th floor of the MGM building. Tearsheets of ads and reviews from every publication lined the walls. The Monitor essay had to be reprinted immediately, as an ad in the following Sunday's New York Times (Adler's weak review had just appeared) and for insurance sake, in the next issue of the Village Voice, in case Sarris was negative. Most importantly, it had to be read as an editorial; it could not look like an advertisement. The only commercial information would be a discreet line at the very end stating "2001: A Space Odyssey is showing at Loew's Capitol theatre."

Stanley got it immediately. Our plan was that I'd make the case and he'd play back-up if necessary. My boss bought the concept; there was nothing to lose. Business was well below average for a major release. And I was the film's designated point man, having Kubrick's trust. Advertising layouts were ordered immediately. But when the mock-ups arrived, I was shaken. Instead of an editorial look, the Monitor reprint was contained within the standard corporate information: MGM credits and the distinctive unfolding Cinerama logo fought the copy. It was too radical to remove the studio's corporate identity. The intended impact would be lost.

Stanley made his move. Privately, he went to the studio bosses to talk about the film's future openings, saw the mock-ups, and walked out with the layout we wanted - his calm logic prevailing. The advertising agency also delivered with placement. On Sunday, the piece appeared opposite the New York Times' main film page, making it look like a two-page editorial spread. There was nothing stating it was a paid ad. On Thursday, it ran opposite Sarris' lengthy negative review in the Village Voice. The campaign to turn the tide was engaged.

awesome, he invented the advertorial. hurray for this guy.