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The Program Booklet from
the Cinerama release of 2001

The original 2001 program is 8" wide by 3 5/8 " high. It is surrounded by a silver border,
and bisected in both directions by thin silver lines.

Descriptions of the book are in italics.

Text of inner cover

Behind every man alive stand thirty ghosts, for that is the ratio by which the dead outnumber the living. Since the dawn of time a hundred billion beings have walked the planet Earth.

Now this is an interesting number, for by a curious coincidence there are approximately a hundred billion stars in our local Universe, the Milky Way. So, for every man and woman who has ever lived, in this Universe there shines a star.

But every one of those stars is a sun, often far more brilliant and glorious than the small, nearby star we call the Sun. And many -- perhaps most -- of these alien suns have planets circling them. So almost certainly there is enough land in the sky to give every member of the human species, back to the first apeman, his own private world-sized heaven -- or hell.

How many of these potential heavens and hells are inhabited, and by what manner of creatures, we have no way of guessing; the very nearest of them is a million times further away than Mars and Venus, those still remote goals of the next generation. But the barriers of distance are crumbling - one day we shall meet our equals, or our masters, among the stars.

Men have been slow to face this prospect. Increasing numbers, however, are asking: "Why have such meetings not occurred already, since we ourselves are about to venture into space?"

Why not, indeed? 2001: A SPACE ODYSSEY offers one possible answer to this very reasonable question. But please remember: this is only a work of fiction.

The truth, as always, will be far stranger.

Note -- this is introduction to the novel of 2001. It appears in the original hardcover, as well as the paperback edition.

Page 1 -- a tissue paper page, with a picture of Bowmanin his helmet in red. This is the same picture on the cover of the 25th anniversary video. It is reversed on page 1, on page 2 it can be seen in reverse the "right way" between the following text.

Page 2 2001: A SPACE ODYSSEY tells of an adventure that has not yet happened, but which many people -- scientists, philosophers, writers and engineers -- think will happen, and perhaps very soon. The adventure is the first contact that the human race -- we on the planet Earth -- will have with life elsewhere in the Universe. This limitless void, with its uncountable numbers of suns and planets, is like a gigantic theatre filled with stages on which the drama of life can be acted out, and on which, very probably, it has been acted out over the past eons. What are the beings that inhabit these worlds? Will we be able to recognize them or will they appear so alien that if we were to see them we would hardly know them as intelligent life at all? Will they be biological life forms, machines or even disembodied creatures of pure energy? Will they be


Page 3. Picture of Bowman and Poole walking around centrifuge. (full page).

CaptionAstronauts relax in the artificial gravity provided by the Centrifuge portion of the interplanetary spacecraft.

Page 4. Two pictures, on left.

Top -- Bowman with pad, while Poole sleeps in "coffin" in foreground.

Caption Crewman Poole (left) naps as Bowman checks condition of three hibernating astronauts locked in their individual hibernaculums.

Bottom -- Poole's birthday broadcast.Caption -Astronaut Poole, en route to Jupiter, talks via satellite with his Earthbound parents while receiving an ultraviolet sun lamp treatment to keep fit.

Text continues on right of page

hostile towards us, or will they think that we are so primitive that they will pass us by and look elsewhere for other beings more nearly equal to them? If we get a signal from outer space, what should we do about it? Should we answer and invite visitors, or should we ignore it and continue to live in the Universe as if we are alone? Or have we already been visited? Has some extraterrestrial civilization left artifacts for us to find when we get to the moon or the planet Mars? If we find life in the Universe -- perhaps beings more intelligent than ourselves -- what will we come to think of ourselves, our problems, our quarrels and our struggles, all of which take place on an obscure rocky planet not far from one of billions of average stars?

For nearly five years, ever since he finished making Dr. Strangelove, Stanley Kubrick has been fascinated by the theme of extraterrestrial life and how the challenges it poses could be translated into a film that was both exciting to see, scrupulously accurate from the scientific point of view, and as beautiful as modern cinematic art could make it. Science fiction and science

Page 5 -- captionPoole traverses the weightless and airless storage compartment of the interplanetary spacecraft on a nine-month journey towards Jupiter.

Full page picture is of Poole in a yellow spacesuit on the way to the EVA, I think. It is not one of the common stills.

Page 6 -- caption: Astronaut Bowman as he appears to the "eye" of computer HAL 9000. Full page picture is of Dave holding artwork up to HAL.

Page 7 -- Caption: Mission Commander Bowman makes an emergency re-entry from outer space into the spaceship Discovery. Full page picture of him bouncing into the airlock.

Page 8.-- Caption:Space Station Five orbits above the Earth's Equator. Not a full page picture -- space station is on left, Earth on right.

Page 9. Another tissue paper page, with text in a pink box, with another red box on the right. (The red box is pink on the obverse, with more text, and the pink box on page 9 is red on page 10.)

Text continues.

fiction films are now commonplace, but most of them deal with impossible worlds set in a far-off future, filled with death rays and weird monsters. In MGM's presentation of 2001: A SPACE ODYSSEY, Kubrick has tried to imagine how things are really going to be a few decades from now. If computers talk in the film it is because the leading experts in the computer field in the United States and England, where the film was made, assured Kubrick that by the year 2001 computers will talk! If in 2001 the surface of the Moon looks like what you would expect it to look like from the latest rocket pictures, this is no accident, since Kubrick has been studying these pictures for the last three years to make sure the Moon looks like the Moon. The real world of science is now so fantastic that old-fashioned science fiction movies -- with spaceships on strings -- look tame and out of date, especially to the modern generation of movie goers who have grown up with Sputnik, Cape Kennedy and manned space flight.

Page 10

2001: A SPACE ODYSSEY is probably the most technically complex movie ever made. Each scene involving space flight or activity on the Moon took weeks of preparation. First Kubrick and Arthur C. Clarke, who co-authored the film and who is regarded as the world's most distinguished and exciting contemporary science fiction writer, studied technical reports, NASA photographs, or consulted with professionals in the field, to find out what was really known about futuristic communications or about what the Earth will look like when seen from the Moon, or how space suits will be designed thirty years from now. While these preparations were going on, Kubrick's office in the MGM studios, looked something like an engineer's design room. Kubrick has a chess player's instinct for organization. (in his salad days he was a professional chess player and played for quarters in Washington Square in Manhattan. He estimated that he used to earn as much as three dollars a day playing chess, which, as

Page 11

Caption:Scientists on the Moon bus travelling from the Moon base at Clavius to the site of the mystery in the crater Tycho.

Picture: Halvorsen, I think, with the box of sandwiches as Floyd reads something on the left.

Page 12

Text continues

he once said, "goes a long way if all you are buying with it is food.") He is very fond of charts and bulletin boards, and while the technical studies were taking place, the office walls were crowded with photographs, drawings of space ships and various pieces of material suggested for space suits. In neighboring buildings there were crews at work constructing the Orbiter Hilton, hotel for visitors in transit to the Moon, or a prehistoric landscape for the scenes involving the dawn of man. The space ships of the future, in which men will live for months, and maybe years, will have artificial gravity, which will keep things from flying around, and which also seems necessary for the health of the astronauts. One way of supplying gravity is with a centrifuge -- a room that spins so that things are stuck to the edges just as gravity holds things to the ground. Kubrick wanted the spaceships to have "centrifugal gravity" so he had the Vickers-Armstrong Engineering Group build, at a cost of seven-hundred and fifty thousand

Caption:Astronauts Poole (Gary Lockwood, left) and Bowman (Keir Dullea) futilely seek privacy from the all-seeing computer, HAL 9000.

Pages 12-13 -- two page spread of Bowman and Poole in the pod, just before intermission

Page 14. Three pictures, two big ones in middle of page,a small one centered in left.


above small picture on leftSpace-suited Bowman, in weightless condition, attempts to repair memory storage unit of HAL 9000, a super-computer.

To the right of this caption, at center top, is Bowmanfloating in red computer room.

Caption below small picture:A one-man space pod emerges from the 700 foot Discovery.

Picture -- left middle -- the pod swinging around, halfway between the bay and the windows on the control deck.

Caption: bottom left of page.Bowman at the controls of a one-man space pod.

Picture -- center bottom. Bowman in the pod on the hangar bay before the first EVA.

Caption on right, referring to picture on page 15, another tissue paper page:An astronaut prepares to descend from the command module of Discovery into the pod bay area.

Page 15:

Text continues

dollars, an actual centrifuge, thirty-eight feet in diameter, which spins on its axis at a maximum speed of three miles an hour. The centrifuge is big enough so that the astronauts, played by Keir Dullea and Gary Lockwood, have plenty of room to move around inside of it. In order to direct them while they were inside, Kubrick installed a closed circuit television system which enabled him to monitor the activities in the

Picture -- bottom center (in red) -- an astronaut at top of a ladder.

Page 16 -- text continues.

space ship from the floor of the studio. During the shooting of these sequences the MGM studio, with the whirling centrifuge, cameras, television sets, flashing lights and microphones looked a little like a launch pad at Cape Kennedy. Production activities were so complex that a special four man operations room was set up to co-ordinate the activities of the 106 man production unit.

Page 17 -- picture (full page). Dullea in space helmet with lights from a console reflected in glass.

Page 18 -- full page

Caption Rescue of astronaut Poole is attempted by Bowman piloting a one-man pod.

Picture of Poole's body on left, pod on right approaching.

Page 19 -- Mostly dark purple, with 2" by 1" picture of pod approaching Poole's body, which is upside down fromprevious picture.

Page 20 -- half page picture of Kubrick (head only) on right.


Although Stanley Kubrick is only thirty-nine, the techniques used in 2001 represent his experience of nearly twenty years of movie making. He was born in New York City on July 26, 1928, the son of a doctor still in practice. As a high school student his main professional interest was in becoming a jazz drummer, and in the house near London where he lives now is a set of drums which he plays from time to time. The normal high school curriculum didn't much appeal to Kubrick -- he believes that schools should concentrate on the teaching of "problem solving" and not on rote memorization of the characters in books and plays -- and after high school at the age of seventeen, he immediately went to work for Look magazine as a photographer. For the next four years he worked for Look and the experience he gained in the techniques of photography have been useful ever since.Probably no director in films involves himself more deeply in photographic techniques than Kubrick and the new ideas in photography used in 2001 could probably fill a text book. While still at Look he started making documentary films and then experimental feature films such as "Fear and Desire" and "Killer's Kiss." In making these films Kubrick attended to the whole production himself, renting and running the cameras, selecting and directing the actors, writing the script and raising the money, mainly from relatives. While the early films were praised, movie companies remained aloof and again during this period Kubrick helped to support himself by playing chess for quarters. He met James Harris, who was, like Kubrick, twenty-six at the time, and together they produced "The Killing," about a racetrack robbery, "Paths of Glory," an anti-war picture set in the First World War, and "Lolita" which is about Lolita. Then Harris began a career as a director, and Kubrick began working on Dr. Strangelove.

Dr. Strangelove is one of the most unconventional films ever made -- a comedy about thermo-nuclear warfare. Like most great comedies it is profoundly serious and very sad -- the film ends with the destruction of the world. Kubrick tends to be somewhat pessimistic and sceptical sic by nature -- he will not fly even though he is a licensed pilot - and he is rather dubious about the ability of the human race to survive, in the long run, its capacity for inventing weapons of mass destruction. He came to the conclusion that space exploration might be the only thing that the human race could learn to do which would keep it from blowing itself up. Once he became interested in a general theme, Kubrick absorbs information about it from all sides like a sponge and while he was working with Arthur Clarke on 2001 -- he once estimated that they spent 2,400 hours writing a script that has become an MGM movie with a running time of two hours and forty minutes -- he read every book on science and science fiction that he felt might help him in creating a movie about space. He talked to innumerable scientists and even hired consultants from the national space program to make sure that the film was completely authentic.

2001 is a craftsman's mixture of science and fantasy-fantasy that is all the more intriguing since it might very well become reality sooner than we think. After seeing some of the rushes of 2001 in London, Kubrick's old friend and partner James Harris remarked, "It will be the only picture ever made after which people who have seen it will see that they have never seen anything like it -- and they'll be right."

Page 21

Picture -- Clarke standing on the set -- in a small round room, green on the outside, white on the inside, with anopen sliding door. This strikes me as being from the Aries 3B, but I'm not sure.


Arthur C. ClarkeCo-author, with Stanley Kubrick, of the screenplay

Arthur C. Clarke's talent for combining science fact with literary fancy dates back to a March, 1930 copy of Astounding Stories, an American pulp magazine he came across while growing up on his father's farm near Minehead, Somerset, England. Astounding Stories was the Alice in Wonderland of science fiction, in which the writer's descriptions of life on other worlds was limited only by their imagination, completely unhampered by the need for plausibility or concern for mundane fact. Since Astounding's writers were paid by the word, their conceptions of extraterrestrial life tended to be highly detailed, always wondrous and usually terrifying. Before long, young Clarke's lone copy of Astounding became a complete collection of Astounding, Wonder and Amazing, all of the same genre.

The scene shifts to the post World War II years when Clarke, ex-farm boy, now ex-RAF radar officer, is attending King's College in London. In two years, instead of the usual four, Clarke is graduated with a first-class honors degree in physics and mathematics, followed by graduate work in advanced mathematics and applied astronomy. The blending of these two influences produce stories and articles that are lively, and highly readable -- the Astounding influence -- but always firmly rooted projections based on Clarke's up-to-the-minute knowledge of current developments of our exploding technology. The resulting predictions are not only possible but probable.

Few living writers reach as many people of differing literary tastes and ages as does Clarke. His name is familiar to readers of Playboy, Reader's Digest and Life, and he is generally considered the dean of science fiction writers. Yet this is the same man who, in a technical paper written in 1945, originated the concept of communications satellites and, more importantly, described precisely how they would function -- all a dozen years before the first Sputnik startled the world with its beeps.

Readers of Clarkian glimpses into the future sometimes suspect that he has a crystal ball that works. His logic, plausibility, and avoidance of technical terms that would drive most laymen to the nearest television set have resulted in his books being printed in some thirty languages -- a total of about five million copies. His recent "Man and Space" was published by Time-Life and in 1965 a Life article on communications satellites won him the Aviation-Space Writers' prize for the best aerospace reporting in any medium.

For the past twelve years Clarke's hobby has been underwater exploration along the Great Barrier Reef of Australia and off the coast of Ceylon, where he has resided since 1956. That doesn't mean, however, that he has lost interest in outer space. Clarke's personal timetable for the future includes a trip to the Moon in 1980. He also predicts landings on other planets by 1980, and colonization of planets in 2000 -- or 2001.

Page 22.

Pictures -- middle of page -- Keir Dullea (top) Gary Lockwood (bottom).

Text (left column)Keir Dullea

With his portrayal of Bowman, an astronaut of the future, Keir Dullea achieves two goals -- to work under the direction of Stanley Kubrick and to star in a role completely different from anything he has done before. On the heels of widespread praise for his performance as the neurotic, tortured youth in David and Lisa, Dullea found himself inundated with film offers -- all to play neurotic, tortured youths. Consequently he hesitated not a moment when Stanley Kubrick offered him the opportunity to enact the exact opposite of a disturbed David. As Bowman, Dullea is "tall, stolid in a way -- square on his two feet, holder of two Phd's; an astronaut, a scientist and a pilot" -- in sum, the new breed of man that the space age of 2001 will undoubtedly produce.

Born in Cleveland, Ohio, Dullea considers himself the nearest thing to a native New Yorker, his family having moved there when he was three. His screen credits, in addition to David and Lisa, include The Fox, The Thin Red Line, The Naked Hours and Madame X.

Right column

Gary Lockwood

Before he began production as the star of his recent television series, "The Lieutenant," Gary Lockwood spent three and a half weeks at the Quantico U.S. Marine base, watching real-life Marine lieutenants. He wanted to know how they walked, talked and conducted themselves. This kind of authentic on-the-spot research wasn't possible for his role of Poole in 2001: A SPACE ODYSSEY. A real-life Poole, a kind of super-astronaut, with an education equivalent to that of two college professors and the physical stamina of a professional football linebacker, just doesn't exist yet.

For the acting requirements of the role, Lockwood drew on his experience as a television veteran, on the Broadway stage ("There Was A Little Girl") and in motion pictures (Splendor In The Grass, Wild In The Country and It Happened At The World's Fair). For the considerable physical demands of his role in 2001, Lockwood also was well equipped. A rugged six-footer, he played football at UCLA and later began his film career as a stunt man.

Page 23 -- Tissue paper -- this page blank

Page 24

Credits -- in middle column, rest blank


                 MGM presents
          A Stanley Kubrick Production
             2001: A SPACE ODYSSEY
                 in Cinerama,
         Super Panavision and Metrocolor

                        The Cast

Keir Dullea .......................................Bowman
Gary Lockwood.......................................Poole

William Sylvester ..................... Dr. Heywood Floyd
Daniel Richter .............................. Moonwatcher
Douglas Rain ................................... HAL 9000
Leonard Rossiter ................................ Smyslov
Margaret Tyzack ................................... Elena
Robert Beatty ..................................Halvorsen
Sean Sullivan .................................. Michaels
Frank Miller ......................... Mission Controller


                     The Production

Directed and produced by .................Stanley Kubrick
Screenplay by ......... Stanley Kubrick, Arthur C. Clarke
Director of Photography ............... Geoffrey Unsworth
Additional Photography ...................... John Alcott
Production Design .......................... Tony Masters
                                Harry Lange, Ernie Archer
Editor ...................................... Ray Lovejoy

All Special Photographic Effects Designed and Directed By
                   MR. KUBRICK

Special effects supervisors ................Wally Veevers
                                         Douglas Trumball
                                 Con Pederson, Tom Howard
Wardrobe .................................... Hardy Amies

Inside Back Cover

Purple background, 2 " by 1" inset of satellite around earth, heading into rising sun.

Text on lower left

Published by National Publishers, Inc.1472 Broadway, New York, N.Y. 10036

Additional copies of this Souvenir Book may be obtained by mailing $1.00 plus 25 cents postage to National Publishers Inc.1472 Broadway, New York, N.Y. 10036
©1968 Metro-Goldwyn-Mayer Inc. Printed in U.S.A.

Designed by Otto Storch/Pasquale Del'Vecchio

Back Cover

Silver Background, 2" by 1" pictures showing sequence of stewardess on Aries 3 B walking around ring, ending upside down.

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