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 Posted:   Apr 18, 2016 - 10:46 PM   
 By:   Christopher Kinsinger   (Member)

Hey, DEEP-DISH TRIVIA Fans…

1968's 2001: A SPACE ODYSSEY set a new standard for special visual effects in science fiction films. The film won the Academy Award for visual effects that year.

The Oscar went to Stanley Kubrick.

I have read a number of articles about this over many years, and I'd like to learn the truth.

What I read told me that Stanley Kubrick embarked upon filming 2001 without having a clue how the visual effects would be completed.
He discovered a short film at the New York World's Fair. It was presented in the Bell Telephone exhibition. It was called "To The Moon And Beyond." It was made by an unknown talent named Douglas Trumbull. Kubrick hired Trumbull to produce the visual effects for 2001.

However, Kubrick made sure that the final credits for his film read:

SPECIAL PHOTOGRAPHIC EFFECTS
DESIGNED
AND
DIRECTED
BY
STANLEY KUBRICK

So, when the Oscar was awarded…it went to Stanley.

I'D LIKE TO KNOW IF THIS IS TRUE!

 
 
 Posted:   Apr 18, 2016 - 11:12 PM   
 By:   Jim Cleveland   (Member)

yeah, it's true and a damned travesty.

 
 
 Posted:   Apr 19, 2016 - 2:49 AM   
 By:   Bob DiMucci   (Member)

Trumbull is credited as one of four "special photographic effects supervisors." The others were Wally Veevers, Con Pedersen, and Tom Howard.

 
 
 Posted:   Apr 19, 2016 - 3:23 AM   
 By:   Rameau   (Member)

As I understand it, Douglas Trumbull only did the slit-scan effects near the end of the film (which looked amazing on the huge screen of the Casino Cinerama in London), so if there was only one Oscar going, I don't think he should have got to keep it. Kubrick gave himself the credit of special effects director, which I think would meant being a total pain in the arse & insisting that all the effects looked real, which they do (pre CGI), so I've no problem with Kubrick keeping the Oscar (I suppose his widow has it now).

I used to have this magazine with an article by a guy called Wally Gentleman in it. He'd worked on a documentary called Universe, which Kubrick saw & was very impressed by the visuals. He hired Gentleman to do (some) of the special effects, but Gentleman had to leave the project early due to Ill health. I do know that Kubrick thought the "dupe" look gave away the special effects, so he wanted to do as much as he could in camera, & not duping down.

 
 
 Posted:   Apr 19, 2016 - 6:47 AM   
 By:   Last Child   (Member)

Kubrick gave himself the credit of special effects director, which I think would meant being a total pain in the arse & insisting that all the effects looked real, which they do (pre CGI), so I've no problem with Kubrick keeping the Oscar (I suppose his widow has it now).

Isnt that like a conductor getting the composer's credit?

 
 Posted:   Apr 19, 2016 - 6:58 AM   
 By:   RoryR   (Member)

I don't know, ask Kirk Douglas his opinion.

 
 
 Posted:   Apr 19, 2016 - 7:06 AM   
 By:   Christopher Kinsinger   (Member)

RoryR brings in another film in question, Spartacus. I've only read little snippets over the years, but Kirk Douglas apparently claimed that Kubrick hogged a great deal of credit for that film which he did not deserve. It this true?

 
 Posted:   Apr 19, 2016 - 9:21 AM   
 By:   Grecchus   (Member)

RoryR brings in another film in question, Spartacus. I've only read little snippets over the years, but Kirk Douglas apparently claimed that Kubrick hogged a great deal of credit for that film which he did not deserve. It this true?

There's a lovely anecdote Douglas recalls in his Spartacus book, the one about the blacklist. I think of it as . . . showdown at the Douglas corral. It may be easy to trivialise certain histories today because completed movies are everyone's fodder, however, at the time they are made there's a lot of high-minded decision-making to be done. Douglas would put his foot down in ways he thought applicable, however, a major casting decision was Kubrick's call and it appears he was right.

I think Kubrick accepted the award for the 2001 visuals on behalf of all the 4 supervisors on the film.

 
 
 Posted:   Apr 19, 2016 - 9:24 AM   
 By:   Rameau   (Member)

RoryR brings in another film in question, Spartacus. I've only read little snippets over the years, but Kirk Douglas apparently claimed that Kubrick hogged a great deal of credit for that film which he did not deserve. It this true?

I thought Kubrick nigh-on disowned it. They did shoot some scenes after Kubrick left the project, some sweet stuff, like shots of families in the gladiators camp. I suspect that Kubrick would have preferred a harder more astringent movie...& he never made another film in Hollywood.

The new Universal Spartacus restoration looks amazing, well worth buying.

 
 Posted:   Apr 19, 2016 - 12:15 PM   
 By:   Heath   (Member)

This is an excellent 2001 ASO documentary compilation with plenty of info about who did what, including the FX. The young guy who put it together deserves a lot credit.

https://www.youtube.com/playlist?list=PLGciYgiR4atGcBOIuOmLQBXUj692TV6R0

 
 
 Posted:   Apr 19, 2016 - 12:38 PM   
 By:   Rozsaphile   (Member)

Kubrick may have minimized his role on SPARTACUS. And more power to him if he disliked all the embarrassing "see the noble proletariat/slaves" shots. As for credit, however, Douglas said in his first memoir that when they were trying to decide on a screenplay credit, Kubrick was quick to volunteer his own name. In the end, credit rightly went to Dalton Trumbo. Can't vouch for the accuracy of Douglas's claim. Clearly there was no love lost between producer/star and director.

 
 Posted:   Apr 19, 2016 - 11:48 PM   
 By:   RoryR   (Member)

Kubrick may have minimized his role on SPARTACUS. And more power to him if he disliked all the embarrassing "see the noble proletariat/slaves" shots. As for credit, however, Douglas said in his first memoir that when they were trying to decide on a screenplay credit, Kubrick was quick to volunteer his own name. In the end, credit rightly went to Dalton Trumbo. Can't vouch for the accuracy of Douglas's claim. Clearly there was no love lost between producer/star and director.

No love lost? Yeah, that's the story. Kubrick would have gladly taken Trumbo's writing credit.

Douglas has called Kubrick "a talented shit."

 
 
 Posted:   Apr 20, 2016 - 12:11 AM   
 By:   Disco Stu   (Member)

What really is a travesty is that 2001 received an Oscar for effects that Pavel Klushantsev nearly a decade earlier.

The Star Dreamer documentary (teaser only, sadly enough):
https://www.youtube.com/watch?v=ossjSt9nE-w

2001 is the epitome of style over content. Every time someone goes of on how much effects may be nice but the audience comes for the story, is clearly ignoring 2001.

D.S.

 
 
 Posted:   Apr 20, 2016 - 12:34 AM   
 By:   Preston Neal Jones   (Member)

So, Grecchus, please, what's this "lovely anecdote" you allude to and allude to and allude to but never simply tell?

 
 Posted:   Apr 20, 2016 - 2:17 AM   
 By:   Grecchus   (Member)

Douglas became a little irritated with the blazer Kubrick wore with such constancy - since the start of shooting, in point of fact. I suppose he felt the director should lead by example in more ways than one and one day, he literally pushed Kubrick into a corner in front of the crew while on horseback. All he wanted Kubrick to do was go and buy a new blazer and pants so as to stop the controversy over his apparent lack of personal grooming from working against him in the eyes of the crew - to have them with him rather than against him - something that no doubt was rooted in experience. Kubrick was defiant and evasive even though Douglas offered to buy the clothes for him. While he had Kubrick cornered, Douglas brought up the memo he'd sent him concerning his "I'm Spartacus" idea. Kubrick didn't want to do it because, "it's a stupid idea," however, with his back to the wall he agreed to give it a go.

 
 Posted:   Apr 20, 2016 - 6:19 AM   
 By:   RoryR   (Member)

Has Doug Trumbull had anything to say about this? I don't recall reading anything negative from him.

 
 
 Posted:   Apr 20, 2016 - 7:49 AM   
 By:   Ado   (Member)

Has Doug Trumbull had anything to say about this? I don't recall reading anything negative from him.

Yes, he did

http://www.hollywoodreporter.com/news/douglas-trumbull-kubrick-didnt-earn-729702

 
 Posted:   Apr 20, 2016 - 11:20 AM   
 By:   RoryR   (Member)

Has Doug Trumbull had anything to say about this? I don't recall reading anything negative from him.

Yes, he did

http://www.hollywoodreporter.com/news/douglas-trumbull-kubrick-didnt-earn-729702


Well, he doesn't seem to have a problem with it other than he feels it a shame Kubrick didn't get an Oscar for directing and writing. Everyone knows who really did the SFX anyway, and I personally don't give a crap about Oscars. How about everyone else?

 
 
 Posted:   Apr 20, 2016 - 11:39 AM   
 By:   Ado   (Member)

Has Doug Trumbull had anything to say about this? I don't recall reading anything negative from him.

Yes, he did

http://www.hollywoodreporter.com/news/douglas-trumbull-kubrick-didnt-earn-729702


Well, he doesn't seem to have a problem with it other than he feels it a shame Kubrick didn't get an Oscar for directing and writing. Everyone knows who really did the SFX anyway, and I personally don't give a crap about Oscars. How about everyone else?


No, I really do not care about the Oscars, less than ever in fact.

But Trumbull did say;

"Kubrick did not create the visual effects. He directed them," says Trumbull

So Trumbull is a brilliant guy, and a gentleman, and he thinks very highly of Kubrick, as do I, but I think Trumbull feels like he, and probably some of those other guys, should have gotten an Oscar for creating effects. And I think he is right.

 
 Posted:   Apr 20, 2016 - 12:14 PM   
 By:   Grecchus   (Member)

Douglas Trumbull spent something like 2 years in London working on the project. The experience must have had the same frenetic pace as pursuit of a college degree would, although creating slit-scan seems rather more like engineering R&D. All in all, Kubrick gave him a fantastic initiation with that level of involvement in the film. The other effects supervisors must have been more miffed as they had seniority. Still, he's a legendary figure in the industry for creating traditional optical photographic effects of the highest quality, as well as currently being at the forefront of real time electronic matting processes in which the level of complexity leaves the Lin Dunn process as a footnote in history.

 
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