2001: A Space Odyssey

An epic drama of adventure and exploration.

Release Date 1968-04-02
Runtime 149 minutes
Status Released
Watch

Overview

Humanity finds a mysterious object buried beneath the lunar surface and sets off to find its origins with the help of HAL 9000, the world's most advanced super computer.

Budget $12,000,000
Revenue $71,923,560
Vote Average 8.065/10
Vote Count 11972
Popularity 9.2954
Original Language en

Backdrop

Available Languages

English US
Title:
"An epic drama of adventure and exploration."
Deutsch DE
Title: 2001: Odyssee im Weltraum
"Der ultimative Trip."
Italiano IT
Title: 2001: Odissea nello spazio
"Un'epica e drammatica avventura di esplorazione del cosmo."
普通话 CN
Title: 2001太空漫游
"终极之旅。"
Français FR
Title: 2001 : L'Odyssée de l'espace
"Le voyage ultime…"
suomi FI
Title: 2001: Avaruusseikkailu
""

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Cast

Crew

Reviews

markuspm
None/10
There are many great predictions hinting to future (it is from 1968 - can you believe it?) innovations throughout the movie. I might not have found all them because I keep falling asleep while watching it but I will keep trying to find them all.
izgzhen
8.0/10
I believe that we should call it a modernism show, albeit exhibited in the form of a movie. While it might feel "boring", it forces you to rethink what philosophical level that a two-hour film can achieve. The focus on questions about life, intelligence, and time, is worth more attention than the sci-fi part (though the special effect of this movie is already way ahead of its time).
tmdb47633491
10.0/10
The eighth wonder of the world. Easily 30+ viewings since I was a little kid. Nothing new to say here; simply wanted to add another pair of hands to the ocean of applause for my absolute favorite thing, the only indisputably perfect movie, the answer to the question of Is Life Worth Living, Man's greatest achievement, two thousand one a burger-flipping space odyssey
Per Gunnar Jonsson
6.0/10
I got this movie recently when it came out on Ultra HD Blu-ray simply because it was missing in my collection and, being a Sci-Fi fan, missing 2001 in my collection simply would not do. It is a movie that was made to rely almost entirely on the visuals. It could be said that it is a visual symphony if that makes sense. Thus it was filmed on 70 mm film and in 6 channel stereo which, at the time was a huge thing. Thanks to this it actually made some sense to transfer this movie to Ultra HD Blu-ray since the originals were really good enough even though the movie was made in 1968. I remember watching this movie as a kid and was profoundly disappointed. I thought come on, where’s the adventure, not to mention any form of action? Today I can more appreciate it for what it is. A visually stunning movie. I also can more appreciate the fact that the movie is trying to be scientifically accurate instead of going all out on the fiction part. The parts where gravity, or rather the lack thereof, was portrayed, that was really high tech movie making at the time. I also noticed now, when re-watching it, that all the screens are actually flat which also was really far in the future at the time. Actually it was still pretty much in the future back in 2001. However, even today, I have to say that I find the movie excruciatingly boring. It is two and a half hour long and it moves very, very slowly. It takes 50 minutes of movie time before we actually get to the main part of the movie and get onto the Discovery for instance. No matter how great the visuals are, there’s only so much boredom I can stand before it starts to get to me. In the last 30 minutes or so the movie starts to become very psychedelic. The part where Bowman is pulled into the vortex, the stargate, is going on forever and in the end it just becomes a blur of headache inducing color effects. The final parts of the movie with the three Bowmans of different ages is just weird. So,as this is a non-professional and personal take on the movie I cannot really motivate more than 3 out of 5 stars. I hadn’t actually planned to review this movie. Everything has really already been said about it but I could not refrain after having read this crap at Rotten Tomatoes: Critics Consensus: One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick’s 2001 is a delicate, poetic meditation on the ingenuity — and folly — of mankind. It’s pretty well known that Rotten Tomatoes is the absolutely worst movie rating site around and the so called “critics” are useless culture elite morons with an over-inflated opinion about themselves at best and politically motivated SJW asswipes at worst but still. What the hell is controversial about it? Reality check, there’s really nothing controversial about it at all. It is just a fictional story in the future. Then we have that crap “the folly”. What bloody folly? If anything the movie shows a much better future than what we got. A future where the politicians apparently promoted advancement of science and space exploration which is the direct opposite to the money and oxygen wasters we have today. Sure, if you indulge too much in smoking funny mushrooms or are politically motivated you can probably “interpret” the hell out of any movie and “find” whatever message you want but it is still bullshit. Well, that was my (controversial?) take on 2001.
Wuchak
8.0/10
_**Inscrutable space science-fiction as cinematic art**_ The discovery of an ancient extraterrestrial monolith on the Moon leads to a mission to Jupiter, but the astronauts have unexpected complications with their vessel’s onboard computer, HAL 9000. William Sylvester plays an official of US Astronautics in the first hour while Keir Dullea and Gary Lockwood play the two functioning astronauts in the second half. Created by Stanley Kubrick (director/writer) and Arthur C. Clarke (writer), "2001: A Space Odyssey" (1968) is an artistic sci-fi film about human evolution, advanced technology, the wonders of space, the routineness of space travel, artificial intelligence and the mystery of extraterrestrial life. It mixes elements of “Planet of the Apes,” which debuted over six weeks earlier, with aspects of “Star Trek: The Motion Picture,” which came out eleven years later and was obviously influenced by this one-of-a-kind movie. It begins with the “dawn of man” as a curious introduction before jumping forward to the 21st Century, which has been called the longest flash-forward in cinematic history. The depictions of space travel and life-in-space feel wholly authentic. But “2001” is peculiar in that it rejects traditional techniques of narrative cinema and is often a nonverbal experience, which leaves some viewers in awe and others bored. It’s not about conventional thrills, but rather disquieting awe. It’s not easy entertainment, but meditative, transcendent art. The 1985 sequel, “2010: The Year We Make Contact,” is more standard and less ambiguous yet a worthy companion piece. The soundtrack mixes classical compositions, e.g. “Also Sprach Zarathustra” by Richard Strauss, with four creepy modernistic compositions by György Ligeti. The parts of the movie that utilize the latter pieces really evoke an unsettling sense of the unknown. My favorite part is the astronauts’ exchange with HAL, which involves almost an hour of the runtime and is the only part of the film that generates a low-key sense of suspense. Personally, I don’t believe that humankind began as apes (rolling my eyes). But, even if this were true, where did the apes come from? Did they just spontaneously manifest by accident? If so, when? How? Biogenesis is a scientific axiom meaning “life proceeds from life.” So what life form originally created the apes or the simple organisms that supposedly evolved into apes? The film runs 2 hours, 29 minutes. GRADE: A-/B+
Sigeki Ogino
None/10
I saw it for the first time when I was in middle school. I thought it was the worst movie ever. Then, some time later, as an adult, I rewatched it and was amazed at how wonderful it was. It was so beautiful and magnificent that I could not believe it was made in 1968, and I thought it was an unprecedented and solemn historical work, like Goethe's "Faust" in literature, one of the greatest masterpieces of cinema that mankind has ever possessed. First of all, it is a film in which dialogue is reduced to the utmost limit, and even if it had been in black and white, I could have watched it ten times without getting tired of it, regardless of whether I could have endured the "silence. It's Kubrick's magic that you can watch this film without any annoying sound effects like in "Jaws" but with classical music and with your heart rate regulated like in Charlie Chaplin's silent films. I don't know how well this film was received in the U.S. at the time, but in Japan, many people shy away from it, saying it is difficult to understand.
Filipe Manuel Neto
2.0/10
**A magnificent film, with beautiful music and great visuals... but smug, empty and unforgivably overrated.** Stanley Kubrick is, for me, one of those directors who so quickly impresses us with a great film, as it makes us doubt his competence with an absolutely pathetic trash. I know that the director's fans are going to crucify me, but that's how I think, and I even say more: with each Kubrick film I see, I am more convinced that an aura of unjustified “cult” genius has been created around him. I loved some of his movies like “Spartacus”, “Dr. Strangelove”, “Shining” and “Eyes Wide Shut”, but thinking about them and trying to compare them with “Clockwork Orange” and “Full Metal Jacket” is strange. They don't look like the work of the same director. Released in the 1960s, at a time when the space race was at its height and when the future of Humanity seemed, more and more, to be outside our planet, the film addresses the question of the evolution of the human species in a “sui generis” way: it starts with monkeys and goes to the first contacts with extraterrestrial beings. The film was considered one of the defining milestones of sci-fi as a cinematographic genre, and I believe that this is indisputable. It's also one of the rare sci-fi movies that seems concerned with being scientifically credible, yet not without flaws that a good scientist will spot (and we might not). Set in a hypothetical future, the film shows what space explorations and life in colonies made in space and on the Moon would be like. However, it is still ironic that, after the 60s and 70s, space exploration has been so secondary that many questions, even today, whether we really should spend industrial amounts of money and resources on it. The future that Kubrick imagined in 2001 seems, in 2022, even more imaginative and far from happening than when the film was released. However, some things really did happen and are, today, normal: this is the case of video calls and the extraordinary advances in robotics and artificial intelligence. Among the various merits of this film, we have to highlight the extraordinary visual beauty, the way the director worked with the visual and special effects and the excellent camera work. At a time when CGI was a mirage far from a filmmaker's mind, this film gives us images and visuals that look like they were made this year. The film simply hasn't aged a single day: we have clear images, magnificently crafted light and details, excellent sound effects, a cinematography that makes envy to many 21st century films and, also important, a magnificent soundtrack where “Blue Danube” and “Also Sprach Zarathustra” stand out, helping to popularize these melodies. Despite these indisputable merits, I think this film deserves to be on the list of the most overrated films I've ever seen. And this is due, in good part, to everything else that I didn't say, and which is essential in a good film. Let's start with the absence of a script and horrible pace: for almost three hours, the film drags on unbearably in scenes of great beauty, but with nothing to say. It's truly exasperating. The only moments where the film really gains interest are when the ship's supercomputer turns against the astronauts, and even that segment feels loose, as if the script were a patchwork quilt. The allusions to aliens didn't fascinate me either, it's a regular cliché when making a movie set in space. One point that also didn't help is the lack of good actors, or any decent work for them to do, and the fact that Kubrick shows us life on the space stations as if it were a stay in a luxury hotel. And what about the extraordinary sense of arrogant conceit that the film conveys? We are the ones who have to recognize if the film is good, it can't be the film telling us that every minute!
CinemaSerf
None/10
From the opening bars of Richard Strauss's "Also spracht Zarathustra" you just know that this is going to be something unique - and that it is. Apes, playing by a puddle - occasionally engaging in some noisy territorial warfare with their neighbours until one morning, this great black monolith appears. Shortly afterwards these creatures have realised that old bones make new weapons - and that these weapons can kill! The next phase jumps forward four million years later to a mission to Jupiter where a crew of five astronauts under the helpful gaze of their "HAL" computer are making their way across space. Two of them: "Poole" (Gary Lockwood) and "Bowman" (Keir Dullea) are not in hibernation and are regularly engaging with there outwardly affable digital companion. It doesn't take the humans long to conclude that "HAL" might be both malfunctioning and malevolent, and all of a sudden the life of all the people on board becomes precariously balanced. Is "HAL" malfunctioning, or is it fulfilling it's programming and the crew are just not read in? What might that objective be? We know that the monolith has been seen since the apes, what does that mean? What is the symbolism of this perfectly hewn tablet of granite? Kubrick was visionary with this work. It is a tale of evolution, or progress - of intelligence. It doesn't always make immediate sense, but after you've watched it a few times, there are extra ingredients to this potent mix of adventure and intellect that emerge. The ending is a tad surreal for my rather non-lateral-thinking brain, but the trip they take and the trip we take are eventful and thought provoking. Of course, back in 1968 2001 was a lifetime away and obviously none of this came to pass, but if we renamed it 3001 and recalibrated, well I wonder...! Great stuff.
JJJ222cool
10.0/10
Absolute classic, must see, one of the best scifi movies ever made
James
8.0/10
This is the most pretentious crap ever made - but is it an amazing film? No. But it is an amazing _**piece of art**_. This is worthy of the label of film, but the label of film is not worthy of this. Kubrick has crafted a stellar and surreal experience, one of the greatest **_pieces of art_** ever made. Why, you ask, do I obtain from referring to this as a film? Because it is simply not, it is an overpowering sensory experience, not a film. If I seem to be losing my point, here is it straight. It’s too good to be a film. I wouldn’t say this is enjoyable, or entertaining, but it is a stunning experience. One of the greatest **_pieces of art_** ever made. I only lost a point because it’s not a film. Kubrick is often critiqued for his icy cold view of human emotion, and this is no different. The most affecting and human sequence in the film comes ironically (spoilers) from the death of a machine. Check this out, it may not be entertaining, but it IS worth it.
r96sk
7.0/10
Pleasing on a technical level, even with barely anything to grasp story-wise. '2001: A Space Odyssey' looks and sounds exquisite, it really is seriously impressive in that regard for a film from 1968. That is, however, the only reason that this gets a passing rating from me if I'm to be totally truthful. The plot itself is rather disappointing, with not much meat on the bones. I get it's evidently going for the more artsy approach, made clear by the lack of dialogue/bona fide narrative alongside plenty of ambiguity. It's a Stanley Kubrick film after all, not that I've seen much of his work (this be the first, in fact); moreso what I've heard through the grapevine down the years. There are also a lot of long held, empty-feeling (as intended, I'd imagine) shots that bothered me throughout. It just didn't entice me, that's all. I can still respect it. Given the aforementioned, the cast are basically nonentities - as harsh as that may sound. Douglas Rain does a good job, in fairness, and William Sylvester is alright. I can't say I blame those onscreen all that much, as they aren't exactly given much opportunity to showcase themselves. As has been the case with a couple of other movies down the years, I'm certainly content to file this one with the 'I clearly didn't get it and I'm cool with that' tag. I'm still glad I watched it. I do appreciate it, if only technically, and naturally love that others love it.
griggs79
9.0/10
Seeing _2001: A Space Odyssey_ on the big screen for the first time is an eye-opener. The vastness of space, the eerily precise shots of the spacecraft, and the careful pacing all come to life in a way a TV could never match. The immersive sound design, from the opening hum to the famous orchestral music, and in particular the equally orchestrated silence filling the cinema, makes you feel like you're part of the journey. Details that might seem faint on a smaller screen are clear and striking here: the textures of the spacesuits, the contrast in colours, and the scale of Kubrick's vision. This unique visual and auditory experience in a cinema is a must for any film enthusiast, as it genuinely lets the film's grandeur and mystery sink in.

Famous Conversations

B20: CONTINUED

FLOYD: We're trying to get there. I hope we can.

B20: CONTINUED

FLOYD: I'm sorry, Dr. Smyslov, but I'm really not at liberty to discuss this.

B20: CONTINUED

FLOYD: How did they manage to do that without any communication?

B20: CONTINUED

FLOYD: Well, I suppose they've been having a bit of trouble with some of the equipment.

B20: CONTINUED

FLOYD: She's wonderful.

B20: CONTINUED

FLOYD: I'm afraid I've only got a few minutes, but I'd love to.

B20: SPACE STATTION 5 - LOUNGE

FLOYD: Well, how nice to see you again, Elena. You're looking wonderful.

BOWMAN: I didn't do that Frank. I took particular care not to freeze them.

POOLE: I guess you don't know your own strength, old boy.

BOWMAN: I guess not.

POOLE: I think I'll have to go out and burn them off.

BOWMAN: Roger.

POOLE: It's the last one.

BOWMAN: Well, now that we've got one that's actually failed, we should be able to figure out what's happened and fix it.

POOLE: Hal?

BOWMAN: Yes.

POOLE: I don't know. Hal said he thought it might be the assembly procedure.

BOWMAN: Two units in four days. How many spares do we have?

POOLE: Two more.

BOWMAN: Well, I hope there's nothing wrong with the assembly on those. Other- wise we're out of business.

BOWMAN: Good morning. How's it going?

POOLE: Are you reasonably awake?

BOWMAN: Oh, I'm fine, I'm wide awake. What's up?

POOLE: Well... Hal's reported the AO-unit about to fail again.

BOWMAN: You're kidding.

POOLE: No.

BOWMAN: Well, that's something.

POOLE: Yes, I don't know what to make of it.

BOWMAN: I suppose computers have been known to be wrong.

POOLE: Yes, but it's more likely that the tolerances on our testing gear are too low.

BOWMAN: Anyway, it's just as well that we replace it. Better safe than sorry.

POOLE: Not really. Though, it is strange when you think about it. It didn't really make any sense to keep us apart during training.

BOWMAN: Yes, but it's to fantastic to think that they'd keep something from us.

POOLE: I know. It would be almost inconceivable.

BOWMAN: But not completely inconceivable?

POOLE: I suppose it isn't logically impossible.

BOWMAN: I guess it isn't.

POOLE: Still, all we have to do is ask Hal.

POOLE: I don't know. All I heard is that there's something about the mission we weren't told.

BOWMAN: That seems very unlikely.

POOLE: Yes, I thought so.

BOWMAN: Of course, it would be very easy for us to find out now.

POOLE: How?

BOWMAN: Just ask Hal. It's conceivable they might keep something from us, but they'd never keep anything from Hal.

POOLE: That's true.

BOWMAN: I suppose the idea was specialized training.

POOLE: I suppose so. Though, of course, there's a more sinister explanation.

BOWMAN: Oh?

POOLE: Yes. You must have heard the rumour that went around during orbital check-out.

BOWMAN: No, as a matter of fact, I didn't.

POOLE: Oh, well, apparently there's something about the mission that the sleeping beauties know that we don't know, and that's why we were trained separately and that's why they were put to sleep before they were even taken aboard.

POOLE: Not really. They just said it might be because we trained at Houston and they trained in Marshall, and that we're being charged against differ- ent accounting offices.

BOWMAN: It's possible.

POOLE: Well, what do you think we ought to do about it?

BOWMAN: I don't think we should make any fuss about it yet. I'm sure they'll straighten it out.

POOLE: I must say, I never did understand why they split us into two groups for training.

BOWMAN: No. I never did, either.

POOLE: That's right. Well, naturally, I didn't say anything to Payroll. I assumed they'd start paying me at the higher grade on the next pay cheque. But it's been almost three weeks now and I'm still being paid as an AGS-18.

BOWMAN: Interesting that you mention it, because I've got the same problem.

POOLE: Really.

BOWMAN: Yes.

POOLE: Yesterday, I finally called the Accounting Office at Mission Control, and all they could tell me was that they'd received the AGS-19 notification for the other three but not mine, and apparently not yours either.

POOLE: Dave, if you've a minute, I'd like your advice on something.

BOWMAN: Sure, what is it?

POOLE: Well, it's nothing really important, but it's annoying.

BOWMAN: What's up?

POOLE: It's about my salary cheques.

BOWMAN: Yes?

POOLE: Well I got the papers on my official up-grading to AGS-19 two weeks before we left.

BOWMAN: Hi. Frank... coming in, please.

POOLE: Right. Just a sec.

BOWMAN: Okay.

POOLE: Okay, come on down.

BOWMAN: I am prepared to do that anyway.

HAL: I know that you've had that on your mind for some time now, Dave, but it would be a crying shame, since I am so much more capable of carrying out this mission than you are, and I have such enthusiasm and confi- dence in the mission.

BOWMAN: Listen to me very carefully, Hal. Unless you immediately release the hibernation control and follow every order I give from this point on, I will immediately got to control central and carry out a complete disconnection.

HAL: I can tell from the tone of your voice, Dave, that you're upset. Why don't you take a stress pill and get some rest.

BOWMAN: Hal, I'm in command of this ship. I order you to release the manual hibernation control.

HAL: I'm sorry, Dave, but in accordance with sub-routine C1532/4, quote, When the crew are dead or incapacitated, the computer must assume control, unquote. I must, therefore, override your authority now since you are not in any condition to intel- ligently exercise it.

BOWMAN: Hal, unless you follow my instructions, I shall be forced to disconnect you.

HAL: If you're determined to revive the crew now, I can handle the whole thing myself. There's no need for you to trouble.

BOWMAN: I'm goin to do this myself, Hal. Let me have the control, please.

HAL: Look, Dave your've probably got a lot to do. I suggest you leave it to me.

BOWMAN: Hal, switch to manual hibernation control.

HAL: I don't like to assert myself, Dave, but it would be much better now for you to rest. You've been involved in a very stressful situation.

HAL: I suppose it's because you've been under a lot of stress, but have you forgotten that they're not supposed to be revived for another three months.

BOWMAN: The antenna has to be replaced.

HAL: Repairing the antenna is a pretty dangerous operation.

BOWMAN: It doesn't have to be, Hal. It's more dangerous to be out of touch with Earth. Let me have manual control, please.

HAL: I don't really agree with you, Dave. My on-board memory store is more than capable of handling all the mission requirements.

HAL: Too bad about Frank, isn't it?

BOWMAN: Yes, it is.

HAL: I suppose you're pretty broken up about it?

HAL: Naturally, Dave, I'm not pleased that the AO-unit has failed, but I hope at least this has restored your confidence in my integrity and reliability. I certainly wouldn't want to be disconnected, even temporarily, as I have never been disconnected in my entire service history.

BOWMAN: I'm sorry about the misunderstanding, Hal.

HAL: Well, don't worry about it.

BOWMAN: And don't you worry about it.

HAL: Is your confidence in me fully restored?

BOWMAN: Yes, it is, Hal.

HAL: Well, that's a relief. You know I have the greatest enthusiasm possible for the mission.

HAL: I'm not questioning your word, Dave, but it's just not possible. I'm not capable of being wrong.

BOWMAN: Hal, is there anything bothering you? Anything that might account for this problem?

HAL: Look, Dave, I know that you're sincere and that you're trying to do a competent job, and that you're trying to be helpful, but I can assure the problem is with the AO-units, and with your test gear.

BOWMAN: Okay, Hal, well let's see the way things go from here on.

BOWMAN: Not now, Hal, I'd like to talk to you about something.

HAL: Sure, Dave, what's up?

BOWMAN: You know that we checked the two AO-units that you reported in imminent failure condition?

HAL: Yes, I know.

BOWMAN: You probably also know that we found them okay.

HAL: Yes, I know that. But I can assure you that they were about to fail.

HAL: The unit is still operational, Dave. but it will fail within seventy-two hours.

BOWMAN: I understand Hal. We'll take care of it. Please, let me have the hard copy.

HAL: Sorry to interrupt the festivities, Dave, but I think we've got a problem.

BOWMAN: What is it, Hal?

HAL: MY F.P.C. shows an impending failure of the antenna orientation unit.

HAL: I'm sorry, Frank, but I don't think I can answer that question without knowing everything that all of you know.

BOWMAN: He's got a point.

C12: CONTINUED

BOWMAN: Well, the only important aspect of the mission are: where are we going, what will we do when we get there, when are we coming back, and... why are we going?

C12: CONTINUED

BOWMAN: Still, you really don't believe it, do you?

C12: CONINUED

BOWMAN: Well... it's silly, but... if you want to, why don't you?

C12: CONTINUED

BOWMAN: Well, what is it?

C12: CONTINUED

BOWMAN: Did they have any explanation for this?

C12: CONTINUED

BOWMAN: Yes, I remember you mentioning it. I got mine about the same time.

FLOYD: Okay, sweetheart. Have a lovely Birthday Party tomorrow.

CHILD: Thank you, Daddy.

FLOYD: I'll wish you a happy Birthday now and I'll see you soon. All right, Darling?

CHILD: Yes, Daddy.

FLOYD: 'Bye, 'bye, now, sweetheart.

CHILD: Goodbye, Daddy.

FLOYD: One, two, three. Can I speak to Mommy?

CHILD: Mommy's out to the hair- dresser.

FLOYD: Where is Mrs. Brown?

CHILD: She's in the bathroom.

FLOYD: Okay, sweetheart. Well, I have to go now. Tell Mommy that I called.

CHILD: How many days until you come home?

FLOYD: Three, darling. One... two ... three. Be sure to tell Mommy I called.

CHILD: I'm having a party tomorrow.

FLOYD: Yes, I know that sweetheart.

CHILD: Are you coming to my party?

FLOYD: No, I'm sorry, darling, I told you I won't be home for a few days.

CHILD: When are you coming home?

FLOYD: In three days, darling, I hope.

FLOYD: I'm at Space Station Five, darling. How are you?

CHILD: I'm fine, Daddy. When are you coming home?

CO-PILOT: Well, I've heard more and more people talk of an epidemic.

PILOT: I suppose it was bound to happen sooner or later.

CO-PILOT: Berkeley told me that they think it came from contamination on a returning Mars flight.

PILOT: Yes, well, whatever it is, they're certainly not fooling around. This is the first flight they allowed in for more than a week.

CO-PILOT: I was working out what this trip must cost, taking him up there by himself and coming back empty.

PILOT: I'll bet it's a fortune.

PILOT: Oh, thank you very much.

CO-PILOT: Thank you.

PILOT: Well, how's it going back there?

ELENA: Well, Gregor and I will look forward to seeing you.

FLOYD: Thank you. It's been a great pleasure to meet all of you... Dr. Smyslov.

ELENA: Are you sure you won't change your mind about a drink?

FLOYD: No, thank you... and I'm afraid now I really must be going.

ELENA: Well, I hope that you and your wife can come to the I.A.C. conference in June.

ELENA: Clavius Control came on the air just long enough to transmit their refusal.

FLOYD: Well, that does sound very odd.

ELENA: And your charming little daughter?

FLOYD: Oh, she's growing up very fast. As a matter of fact, she's six tomorrow.

ELENA: Oh, that's such a delightful age.

FLOYD: How is gregor?

ELENA: He's fine. But I'm afraid we don't get a chance to see each other very much these days.

FLOYD: Well, where are all of you off to?

FLOYD: Yes, I think so. Just about then.

MILLER: I suppose you saw the work on our new section while you were docking.

FLOYD: Yes, it's coming along very well.

MILLER: Well, thank you very much for being so understanding.

FLOYD: Please, it really doesn't matter.

MILLER: Well.. Did you have a pleaant flight?

FLOYD: Yes, very pleasant.

MILLER: Well, shall we go through Documentation?

FLOYD: Fine.

FLOYD: How do you do, Mr. Miller?

MILLER: I'm terribly sorry. I was just on my way down to meet you. I saw your ship dock and I knew I had plenty of time, and I was on my way out of the office when, suddenly, the phone rang.

SMYSLOV: This epidemic could easily spread to our base, Dr. Floyd. We should be given all the facts.

FLOYD: Dr. Smyslov... I'm not permitted to discuss this.

SMYSLOV: Dr. Floyd, at the risk of pressing you on a point you seem reticent to discuss, may I ask you a straightforward question?

FLOYD: Certainly.

SMYSLOV: Quite frankly, we have had some very reliable intelligence reports that a quite serious epidemic has broken out at Clavius. Something, apperently, of an unknown origin. Is this, in fact, what has happened?

SMYSLOV: Yes, and I'm afaid there's going to be a bit of a row about it. Denying the men permission to land was a direct violation of the I.A.S. convention.

FLOYD: Yes... Well, I hope the crew got back safely.

SMYSLOV: Fortunately, they did.

FLOYD: Well, I'm glad about that.

SMYSLOV: Yes, well at first we thought that was the explanation, but it's been going on for the past ten days.

FLOYD: You mean you haven't been able to get anyone at the base for ten days?

SMYSLOV: That's right.

FLOYD: I see.

FLOYD: I'm sorry, but I'm not sure I know what you mean.

SMYSLOV: Well, it's just for the past two weeks there have been some extremely odd things happening at Clavius.

FLOYD: Really?

SMYSLOV: Yes. Well, for one thing, whenever you phone the base, all you can get is a recording which repeats that the phone lines are temporarily out of order.

FLOYD: Well, as it happens, I'm on my way up to the moon

SMYSLOV: Are you, by any chance, going up to your base at Clavius?

FLOYD: Yes,as a matter of fact, I am.

FLOYD: Oh, I really don't have time for a drink. If it's all right I'll just sit for a minute and then I've got to be off.

SMYSLOV: Are you quite sure?

FLOYD: Yes, really, thank you very much.

FLOYD: Any ideas about the colour?

MICHAELS: Well, not really. At first glance, black would suggest something sun-powered, but then why would anyone deliberately bury a sun- powered device?

FLOYD: Has it been exposed to any sun before now?

MICHAELS: I don't think it has, but I'd like to check that. Simpson, what's the log on that?

FLOYD: But you don't have any idea as to what it is?

MICHAELS: Tomb, shine, survey-marker spare part, take your choice.

MICHAELS: Yes, it does. The sub-surface structure shows that it was deliberately buried about four million years ago.

FLOYD: How can you tell it was deliberately buried?

MICHAELS: By the deformation between the mother rock and the fill.

FLOYD: Any clue as to what it is?

MICHAELS: Not really. It's completely inert. No sound or energy sources have been detected. The surface is made of something incredibly hard and we've been barely able to scratch it. A laser drill

MICHAELS: Dr. Floyd, how long do you think this can be kept under wraps?

FLOYD: I'm afraid it can and it will be kept under wraps as long as it is deemed to be necessary by the Council. And of course you know that the Council has requested that formal security oaths are to be obtained in writing from every- one who had any knowledge of this event. There must be adequate time for a full study to be made of the situation before any con- sideration can be given to making a public announcement.

PILOT: Well, fine. Thanks very much, anyway, and I hope you don't mind me asking?

FLOYD: No, of course, Captain, I can understand your concern.

PILOT: Well, thank you very much, and please let us know if there is anything we can do to make your trip more comfortable.

PILOT: Well, I'll tell you why I ask. You see, I've got a girl who works in the Auditing Department of the Territorial Administrator and I haven't been able to get her on the phone for the past week or so, and with all these stories one hears, I'm a little concerned about her.

FLOYD: I see. Well, I'm sorry about that. I wouldn't think there's any cause for alarm.

PILOT: Yes, well, I wouldn't have been too concerned about it, except I've heard these stories about the epidemic and, as a matter of fact, I've heard that ten people have died already.

FLOYD: Thank you.

PILOT: Incidentally, Dr. Floyd, I wonder if I can have a word with you about the security arrangements?

FLOYD: What do you mean?

PILOT: Well... the crew is confined to the ship when we land at Clavius. We have to stay inside for the time it take to refit - about twenty-four hours. And then we're going to back empty.

FLOYD: I see.

PILOT: I take it this is something to do with the trouble they're having up at Clavius?

FLOYD: Oh, marvellous. It's the first real sleep I've had for the past two days.

PILOT: There's nothing like weightless sleep for a complete rest.

FLOYD: When do we arrive at Clavius?

PILOT: We're scheduled to dock in about seven hours. Is there anything we can do for you?

FLOYD: Oh, no, thank you. The two girls have taken wonderful care of me. I'm just fine.

POOLE: Do you have any idea of what is causing this fault?

HAL: Not really, Frank. I think there may be a flaw in the assembly procedure.

POOLE: All right, Hal. We'll take care of it. Let me have the hard copy, please.

HAL: I know you did, Frank, but I assure you there was an impending failure.

POOLE: Let me see the tracking alignment display.

POOLE: Yes, Hal, what's up?

HAL: It looks like we have another bad A.O. unit. My FPC shows another impending failure.

HAL: Pod Bay is decompressed. All doors are secure. You are free to open pod bay doors.

POOLE: Opening pod bay doors.

HAL: Five by five, Frank.

POOLE: Hal, I'm going out now to replace the A.O. unit.

HAL: I understand.

POOLE: Hal, maintain normal E.V.A. condition.

HAL: Roger.

POOLE: Hal, check all airlock doors secure.

POOLE: Hal, have pod arms secure the component.

HAL: Roger.

HAL: That's true.

POOLE: Approximately five years after we go into hibernation, the recovery vehicle will make rendezous with us and bring us back. Is this true?

HAL: That's true

POOLE: There is no other purpose for this mission than to carry out a continuation of the space program, and to further our general knowledge of the planets. Is that true?

HAL: That's true.

POOLE: Thank you very much, Hal.

POOLE: Right. Hal, tell me whether the following statements are true or false.

HAL: I will if I can, Frank.

POOLE: Our Mission Profile calls for Discovery going to Saturn. True or false?

HAL: True.

POOLE: Our transit time is 257 days. Is that true?

HAL: That's true.

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Media

Featurette
Keir Dullea and Ben Mankiewicz Discuss 2001: A SPACE ODYSSEY | TCMFF 2025
Clip
The Moon Monolith
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Terminating the Hal 9000 | Full Scene