:54:04
. . .with a skin.
On the inside edge of that skin. . .
:54:07
. . .imagine the set being built. . .
:54:09
. . .and imagine an endless hallway
with things along the side.
:54:14
Well, that revolved.
:54:18
There's a scene where
I come down a ladder. . .
:54:23
. . .and the other astronaut,
Gary Lockwood, is eating. . .
:54:26
. . .apparently upside down, because he's
on the other side of the centrifuge.
:54:31
It looks like I walk
upside down to him.
:54:35
How that actually was done was that
Gary had a hidden harness.
:54:40
He was upside down,
so I came in right-side up. . .
:54:44
. . .and they just revolved Gary down
to me, and I just walked in place.
:54:49
There was this theme of constant
rotating, rotating, rotating.
:54:52
The space station and
the spacecraft are rotating.
:54:56
Everything's in orbit.
:54:57
And that established a style. . .
:55:02
. . .of intercuttable shots
that ultimately later. . .
:55:06
. . .leant itself in Stanley's mind
to the Strauss waltz.
:55:33
I think the history of the cinema
divides into two essential eras:
:55:38
Before Stanley Kubrick
and after Stanley Kubrick.
:55:41
Especially in relation
to the use of music in films.
:55:44
Before Stanley Kubrick, music tended
to be used in films. . .
:55:49
. . .as either decorative
or as heightening emotions.
:55:53
After Stanley Kubrick, because of his
use of classical music in particular. . .
:55:58
. . .it became absolutely an essential
part of the narrative. . .