![]() During the performance it was very impressive -and actually unnervingly effective- how the voices on either side complimented the orchestra, for instance during Ligetti’s Requiem as the Man-apes encounter the mysterious monolith. The terraces to the immediate left and right of the main stage was where the large choir was positioned. The photo above shows how the large screen was positioned above and behind the orchestra. It wouldn’t be the complete Cinerama experience of the 1968 flagship performances but it would be a magnificent digital projection (rear projection, I believe, as it turned out) with the sound channels for the dialogue and sound effects complete but the music soundtrack reserved for the live orchestra conducted by Benjamin Wallfisch. Just how in the world would it work? Any reservations beforehand were met by assurances from the venue that the presentation was in association with BFI and Warner Bros, the screen’s dimensions around 15.4m x 7m or larger and the film shown in Cinemascope widescreen, aspect ratio 2.39:1. ![]() It is also, strangely, such a natural, perfect ‘fit’- being one of the most unique cinematic/audiovisual works ever created, 2001 is perfect for an orchestra performing live alongside a screening of the film. That said, its quite a challenging score of classical works to perform to the visuals live. The opportunity of hearing the film’s extraordinary soundtrack, with its mix of Richard Strauss’s Also Sprach Zarathustra, Johann Strauss’ Blue Danube waltz, and Gyorgy Ligeti’s unnerving Atmospheres amongst other works , being performed live during the screening was just pretty mind-blowing. This new cinematic method excited and infuriated cinema-goers back then and viewers of the film for decades after, and carved the film a niche in cinematic history forever. ![]() His use of classical compositions, both familiar and obscure, was particularly unique for the science fiction genre, a genre previously considered the domain of cheap b-movie dramatics. Traditionally films used language -in dialogue, subtitles, voice-overs etc- to tell the story, to move the narrative, but in 2001 Kubrick tried to do so using just visuals and music, keeping any dialogue to an absolute minimum. 2001 attempted to change the language of cinema. Its detractors typically point incriminating fingers at its slow pace, its minimal dialogue, it’s suspect plot… but all that is quite possibly missing the whole point- 2001 is as much about the medium of cinema itself, as it is regards what actually goes on within the movie. ![]() One of cinema’s absolute classic milestones for so many reasons, 2001 was unique when it first appeared on screens back in 1968 and there has been nothing else quite like it in all the years since. I have only ever seen the film on television before now, so have always felt I’ve only really had half the experience that is, well, 2001. To be honest, just the chance to watch 2001 on the big screen was enough to get me buying the tickets, I mean, this is 2001 for goodness sake. Yep, if you are a fan of the movie I know what you are thinking- this was indeed an absolute thrill and unique opportunity. Last night I was at the Symphony Hall, Birmingham for a screening of Stanley Kubrick’s 2001: A Space Odyssey, with live music performed by the Philharmonia Orchestra with organ and chorus.
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