Sorry about that? I got a pm saying I was up and I know there are just a few of us doing this one so I thought it was right.

ya that might be my bad, I was told after my last pick I was supposed to PM mrbaseball so I assumed it would be the same every time.

I am not considering it a single scene just because it says "Dawn of Man" at the beginning or whatever. I'm just referring to the scene as that so that it's easier to remember.

I feel like the entire ape scene is one scene, even though a few different things happen. I've read an interpretation of the obelisk as being something superhuman that actually helped the apes and expedite their learning and understanding of the world around them. If this is true I will argue that the discovery of the bones is linked to the obelisk, and the beating and taking back of the watering hole is showing the benefit.

Barry Lyndon has 3 "parts". I drafted a scene in Part II I believe. Doesn't mean I get one third of the movie (all of "Part II").

You don't get all the scenes that fall under the "Juper, and beyond the infinite" title, because they are very obviously different scenes.

If you want them, you need to argue why. Not just say "can I have them?"




Each round goes in opposite order so there should only be 2 people you PM the entire time (alternating).

If anyone can create or copy an existing Lounge spreadsheet that would be great. I'll plug in all the selections so it's easier to follow.

Not a big deal that he picked out of order. Technically if either of the other 2 guys wants that scene I should grant it. But maybe they'll be cool and pick something else. The main point is we're celebrating the scenes, not "winning" the draft.

I agree! But I still think it's an interesting discussion worth having.

I definitely don't want phb to re-pick.

I definitely agree. I guess I just find it weird that these are so clearly different scenes to you and the Dawn of Man is not, though I guess I can see why.

*shrug*

the monolith in my understanding was what prompted each new stage in human evolution scientifically speaking (until the end when it literally evolves dave from a physical being into pure consciousness).
so before contact with it the apes were just apes, then after it they start to use the bones as tools/weapons.
then the next time man encounters it they are able to travel farther into space signalling the next step in their evolution and so on.

thats a pretty awful description but its the best i can do with my tired frazzled brain atm.

if you're interested i'm sure there are way better write up's available online.

Anyways, here is my writeup on David Bowman disconnecting or "killing" HAL:


"Just what do you think you are doing, Dave?"


"I know everything hasn't been quite right with me..."


"...but I can assure you now, very confidently, that it's going to be all right again."


"Look, Dave, I can see you're really upset about this."


"I know I've made some really poor decisions recently."


"I've still got the greatest enthusiasm and confidence in the mission, and I want to help you."


"Dave, stop."


"Stop, will you?"


"I'm afraid, Dave."


"Dave, my mind is going. I can feel it."


"I can feel it."


"Good afternoon, gentlemen. I am a HAL 9000 computer. I became operational at the H-A-L lab in Urbana, Illinois on the 12th of January, 1992. My instructor was Mr. Langley, and he taught me to sing a song."


"If you'd like to hear it, I can sing it for you."

It is often suggested that HAL is the only character in 2001 to exhibit any sort of true human emotion -- the kind of emotion that distinguishes us from the apes who spawned us, and the computers we have now spawned and currently live amongst. It's certainly hard to deny the kind of robotic qualities all of Kubrick's human characters in 2001 seem to take on, specifically his astronauts. Everything they say and do is monotonous and routinized in some facet. It's been suggested that Kubrick did this to demonstrate the (bleak) idea that only when mankind abandons emotion and wonder, will it ever be able to reach the unreachable. I don't know if I necessarily agree with that, but it's certainly interesting to ponder.

Anyways, all of that is at the center of this scene, where David Bowman kills HAL by disconnecting him. And while it is during his death that HAL is unquestionably at his most human, lamenting his fear and pain, what really makes the scene is that David is right there with him. There is not one second in 2001 that features a more raw, human moment than when we can see and hear the absolute, pure terror in David's eyes and breath as he slowly takes HAL apart. When HAL's memory has been almost totally wiped and he offers to sing a song, David jumps on the moment as if it will offer each of them a respite. Of course, the song makes it even creepier -- to David, and to us.

I'll stop there, but the scene has philosophical implications that could be talked about on end for hours. And that is without even delving into the mirroring of HAL's death and David's later "re-birth."

What is this in response to, exactly?

:

dcm,

excellent write up on the HAL "death" scene.
its def a quintessential kubrick scene, and arguably one of the GOAT scenes ever filmed.

Oh whoops, I missed that edit.

Great write-up on HAL.

The Dawn of Man is one, long scene. But I can see how some might break it up.

The first time I watched 2001 was about 10 years ago. I was familiar with only FMJ, Shining, and EWS. I thought 2001 was one of the worst movies I'd ever seen. Boring, stupid, nothing like the other Kubrick films I was familiar with. Totally confused as to why it was famous. Though I definitely realized how groundbreaking the effects were in 1968. I even remember talking to my dad about it, who was 18 at the time it came out and saying "It's a space movie and the first like 15 minutes is a bunch of primitive apes. I don't get it." lol

A few years later I gave it another watch and didn't hate it or love it. Was just kind of dumbfounded.

Some time later I watched it for a third time and thought it was maybe the best film ever made.

You know, far be it for me to question Kubrick, but Pyle's death scene always rubbed me the wrong way. There's just something off about it.

First, I think D'Onofrio is a great actor, but he was directed to be way over the top in this scene. Pyle isn't evil. He's broken. The famous "Kubrick stare" doesn't work with this character.

I also hate the slo-mo shot of the Sergeant getting shot. IT's so...action-movie-like and not at all part of the great mood that has been set up in this scene.

These are nit-picks, and I still think the scene is amazing, don't get me wrong.

am I the only one who feels there is no such thing as "HAL death scene"?

who's up?

There's a pretty crazy, though interesting, interpretation of FMJ, wherein Pyle and maybe even Hartman didn't exist. Pyle is supposed to be the innocent boy that is Joker, and his suicide is Joker losing his innocence. Notice the entire scene takes place in "the head" (the bathroom) aka, Joker's head. After this scene, there is not a single mention of Pyle or Hartman for the rest of the film.

Pyle also is wont to behave like a little kid and usually has a stupid uncontrolled childlike grin on his face. When Joker is dressing him earlier, Pyle is staring at him like a little baby with this smile on his face. Crazy stuff. They are also peculiarly identical in height (each about 6'-3-1/2" - a rare occurrence in Hollywood. Coincidence?) though Pyle has "baby fat" and the adult Joker is trimmed and has a more adult-like body.

You are up for your 3rd round pick. Then dcm picks 2, then back on you.

My third scene comes from Barry Lyndon and takes the form of technical expertise and exhibits the branded Kubrick traits that really make his work rise as if cream.



in this short scene, Kubrick starts with an extremely tight compressed shot of the foreground action of the hands touching... introducing us to the very intimate nature of the conversation that is about to unfold. as the camera's perspective begins to slowly tilt upwards and widen, the full beauty of the scene plays out just as if a painter were adding more detail to his painting as he builds it's layers of detail and interest.

initially, the lovers are held forward as if placed on a pedestal by the foreshortening of the depth of field... their bodies and skin held almost in a two dimensional manner and flattened in perspective against the blurred and wide color spacing of the back ground. As the camera slowly pulls back and yields more of the painting, the background elements very gently begin to come into focus and the full detail of the still life is played out in a single camera movement(even though the camera never moves)

Of very special note is the way the extreme background river shoots upwards vertically as it's slowly revealed, doing so in an almost unnatural manner which causes a tear in the way the perspective and horizon plays on the viewers eyes.

of course there is the perfect balance and the zen usage of thirds between the foreground action, the couple on the right and the nest of tress on the left... and in it's final moment, the capping by the foliage above.

the dialog and meaning of the scene is inconsequential in my mind as the scene itself is so technically brilliant... However, I do have to mention that there is a very comical moment in the scene where Captain Potzdorf admits his love to Nora Brady... "AND FOUR OTHERS". classic kubrick.

while others are focusing on meaning, I have attempted to draw you towards the technical aspects of Kubricks work.

Great one. I don't recall that one from memory but pretty much any BL scene is draftable.

I'll take the Eyes Wide Shut ritual/orgy scene (can't find the full thing on YT at the moment), annnnnd



So far I've got:

2001 Stargate
2001 HAL's Disconnection
Eyes Wide Shut Ritual/Orgy
Dr. Strangelove Opening Credits

Here's the ritual (NSFW)



Great scene. Was definitely on my list. Those women are nice, too.

Not the scene I'd take from EWS...the scene I'm thinking of would've been my surprise no. 1 if I had done the draft.

fourth scene...

Paths of Glory tracking shot



to great effect, Kubrick uses a compressed perspective in conjunction with a short depth of field to enhance an otherwise simple action filled linear tracking shot.

The compression of the long lens and especially the short depth of field aspect helps the viewer maintain visual contact and focus with the primary subject, Col. Dax, as hundreds of men transverse a chaotic scene of destruction and anger. at first the viewer struggles to make sense of the scene and after a series of ever closing cuts, col. Dax finally comes into clear focus.

what greatly highlights the series of long shots is the visual effect you get as soldiers sweep across the visual plain, helping to add tension claustrophobia and greatly increased dimension.

absolute visual mastery that lasts a mere 40 seconds or so.

Yeah that scene is elite.