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THE BIRTH OF HAL

The movie 2001 has often been criticised as lacking human interest, and having no real characters-except HAL. In leaping straight from the Pleistocene into space, Stanley Kubrick bypassed all the problems that would have been involved in developing the personal backgrounds of the astronauts, the political and cultural impact produced by the discovery of the monolith, and the general details of life at the beginning of the next century. We could have written a whole book about that; in fact, we did....

And when we had done so, we realized that it was irrelevant to the main theme of the movie. To have developed all this background material-besides adding a couple of hours to the running time and several millions to the cost-would have thrown the whole story out of focus. So the novel contains only a few pages set on Earth, 2001 AD, while the film ignores the subject completely, and jumps straight into space.

One of the problems facing any science-fiction writer who is aiming for the general public is how much to explain, and how much to take for granted. He must try not to leave his readers baffled, but at the same time must avoid those disguised lectures which are all too typical of the genre ("Now tell me, Professor...."). At one time, Stanley hoped to get around this problem-as far as the movie was concerned-by opening with a short documentary-type prelude, in which noted scientists and philosophers would establish the credibility of our theme. With this idea in mind, he sent Roger Caras around the world, to interview, on film, more than twenty authorities on space, computers, anthropology-even religion. They included the astronomers Harlow Shapley, Sir Bernard Lovell, Fred Whipple, Frank Drake; Dr. Margaret Mead (who was a space bug long before Sputnik) and the great Russian scientist A. I. Oparin, the first man to point out (in the 1920's) a plausible way in which life could arise from the simple chemicals of the primitive Earth.

These interviews, many of them quite fascinating, were never used-a fact which understandably upset some of the distinguished and busy men involved. (Transcripts of several interviews may be found in Jerry Agel's The Making of Kubrick's 2001.) But as it turned out, to have incorporated them in the film would have been aesthetically impossible; it also proved to be unnecessary. We did not have to educate the public, as the headlong rush of astronautical events did it for us.

While the film was in production, the first space rendezvous (Gemini VI and VII) took place. Luna IX landed in the Ocean of Storms and gave us our first close-ups of the lunar surface from a distance of a few inches. (Too late to help the Art Department-all our lunar scenes had already been shot-but fortunately our educated guesses had been pretty close to the reality.) Most astonishing and unexpected of all-the discovery of the first apparently artificial radio sources in outer space was announced just a month before the movie was premiered. (April 1968). We now believe that the so-called "pulsars" are natural objects (neutron stars), but it was interesting to see how ready the public and the scientists were to consider seriously the "Little Green Men" hypothesis.

(...)

(Arthur C. Clarke, The Lost Worlds of 2001)

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