Space odyssey because the people who made it aspire to greatness, just the way it looked established a new benchmark for the wart form, the sterile beauty created by anthony masters,er earnest lang and their crew. Steven spielberg called it the big bang that inspired my generations race to space, the library of congress selected it for preservation in the National Film registry. The American Film Institute ranked it the 15th greatest film of the last 100 years and it was named one of the 45 great films ever made by the vatican. 2001 showed us in perhaps the clefest and most stunning of ways how we can be more than we are. Tonight ill talk with the two men who stood in for all of us, keir dullea already a movie star when he played dave bowman. And Gary Lockwood, dr. Frank pool, who falls victim to the ships computer. And who also achieved Science Fiction immortality with his pivotal roll in the star trek episode where no man has gone before. Ah the challenge of making movies, the joy of making a masterpiece. The iconic actors who starred in one of the greatest movies of all time tonight, up late. I work with the new york philharmonic, im on the board of the philharmonic, and they wanted to, this year, we talked about it a year ago, they wanted to do some motion picturerelated music programs. Like john mocherry would do, hes doing gone with the wind and so forth, john williams, star wars, we talked to him about Certain Program that is come in that are packaged, like a package of hitchcock films with the score already written, like a preconceived package, but the key element to this package was how can we get allen gilbert, the music director of the philharmonic to want to conduct himself, which allen is pretty pure and wants to do the classic repertory. So they said, what film . I said, it will have to be a coopert film. And i said, probably 2001, and allen agreed. They showed 2001 and people go insane, they love it. Not only to have the beautiful score played live depictioned by the film, but all people loved the movie. What i wanted to begin with asking you is, when you did the film, people have obviously read a lot of philosophical implications into the movie over the years, did coopert discuss any of that with you . Were there philosophical implications to the film when you were shooting it . I have read a lot, since i was a little kid, and i read mobydick a couple times. And every one always wrote what the white whale meant and on and on. Thats how i look at 2001. In the aftermath, everyone has all these things. Some guy took acid and walked through the screen and said, its god. Some people loved it and some people hated it and on and on. Stanley knew what he was doing all the way, he was the brightest guy i worked for. He was very bright. And he knew he was making a scifi roos, really. Frank pools, not really dead. Dave bowman, we werent really there, but the world thinks we were. When we tour with the movie, we did other countries and lectures after, believe me, people come up to us and ask us about what it was like to be in space. They do. But i want to show you, as im walking out of the screening at the philharmonic, i went one night and they showed the movie, and im a movie fan, i love that movie and love the two of you in it, i watched it with my friends and go, oh, my god, oh, the world is drained. We are like, just the exquisite orgasm of watching the movie. One man says, guess we realize know what the monolith was. And he holds up his phone. All of these films are somewhat ambiguous. It can hold a lot of interpretations, 2001 particularly, but all of his films have possible alternative meanings for people. And the funny thing is that when i first read the script and was told i was going to be offered this role, something clicked in my head. And i remembered when i was a teenager, a young teenager, 13 or so, i was a Science Fiction fan, and i my mother would give me the best Science Fiction of 1950 whatever it was, 52, 53, and in one day i read the short story called the sentinel. When i read it, it came crashing back into my head. My god, i remembered that short story because it was so impacting. And, of course, that was the short story that coopert optioned. Both of you had interaction with arthur c. Clark who wrote the novel in 2001, correct . How did that go for you . Well, he was on the set, early on in the shooing schedule, i dont remember him toward the end of the shooting schedule so much, because he had been working with stanley for a couple years, anyway, so and it was more, he was a lovely man. A gentle man, but we didnt have a lot of dialogue to do with the, with the actual shooting or the character. He didnt really he left that up to stanley. I had a couple of good moments with arthur. Well, you know, we opened, we premiered in washington, d. C. And got our reviews. We came to new york and got terrible reviews. So arthurs sitting next to me and said, i said, what did you think, arthur . I think he saw the first time in new york that night, and he said, im completely amazed how incredible the movie was. He said, i had no idea that a movie would, my god, stanley i said, arthur, ive been a fan of stanleys since i was 15, 16 years old. I said, theres nobody like him in the planet. I mean, he was the perfect guy for you to collaborate with. Believe me. I mean, i dont know he knew how lucky he was. I had a beautiful moment with him. In 69, that was the year that the first man landed on the moon, i was doing a film in the bahamas, and cbs wanted to fly me up for an interview. And they wanted the more recent astronaut actor. Flash gordon. Thats right, flash gordon, so they had the two of us in an interview because they thought it would relate well. While we are waiting for them to come out, remember, they landed on the moon and it was hours before they actually stepped out. So they had this, they wanted some kind of business to fill up while they were waiting, so they flew me up and we did the interview, and then the interview was over and somebody came running onto the set saying, come out of the control room theyre coming out so i went into the control room and sat in the chair and am watching the monitor, its all live, and on my left was arthur clark with tears. Tears running down his cheeks. Unbelievable. Where were you in your career, what were you doing when you got the word that they wanted you to come in . I was shooting a film talk about the film. I was shooting the film called lawrence and olivia and carolyn. You were in the middle of shooting that film. I was in the middle of shooting that film and came home after a days work. My wife said, call your agent. I called my agent. He said, are you sitting down . I said, no, he said, you better sit down and you have been offered the lead in stanleys next film. I didnt know it was in the works at all. He just offered you the film, and the same for you. He had screened, from what i was told, he screened i did a film called david and it was on the map. He sent him a set of outtakes. Im sure he saw a lot of actors, but thats what he saw of mine and i guess that was responsible for him casting me. And what about you, where were you . I said to him one day, how did i get this job . Dont ever ask that question. I did. I said, how did i get this part . He looked at me and said, i saw about 30, 40 hours of film on you. But when youre around him, you realize that nothing was by accident. I mean, hes a thinking man. And everything, every nuance, remember when we first showed up with the jumpsuits on, he turned to a very nice english lady, our mistress, and said, this isnt right. And i thought, they look pretty cool, you know . I didnt know. And he said, take them home and wash them until you come back to work tomorrow. I remember all the little tiny weird things. He was a chess player in all things, wasnt he . Of all things. He was almost, and i dont mean in a derogatory way at all because i loved working with stanley, he was very calm to work with, he never raised his voice, i found him very supportive to work with, but he was a little anal in terms for his eye for detail. If stanley had been an octopus, each arm would have been, his wardrobe man, makeup man, costume man, set. But arent all the great ones like that . Absolutely. They have an eye for the sets, its all for one to them. I arrived and he didnt like my shoes, the shoes were wrong so we didnt shoot. So youre doing the film with predinger, what were you chuting at the time of the phone call . I may have been shooting the star trek pilot, where no man has gone before. What was it like working back then . You have stories of predinger. It was like going from the frying pan to heaven. Because all the rumors you have heard about him were true, except he was even worse. It was the worst i mean, it was lovely working with lawrence and he never screamed quite as loudly went olivia was on the set, but he was a real bully. And then to go working with stanley was just heaven. And what was it like to work with oliviet for you . He was very kind. And he one day he was overheard whispering to predinger off to the side, oh, dear boy, i wish you wouldnt scream at the children. And he said, oh, im too old to change he was terrible to work with yeah, he was horrible. He was horrible. And he made some good films, but i remember, i never studied lines because i was so nervous, i was a nervous wreck. And i keep going up, i keep drying, and i knew these lines, but i was so tense. Tension. And oliviet had the patience where he would run lines with me off camera, over and over and over again. He was very kind to me. 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So your first day, this is for you, gary, so the first day, whats the first scene you set, were you in that spectacular set . And what scenes were you shooting first . The first scene i shot was i was harnessed in the centrifuge, no, first i ran around and then later im in a bathrobe and am harnessed. Its an interesting thing, because you come in and walk down the hub, and im hardnessed upside down. Youll get a hick out of this, and theres three pieces in front of me like grey, yellow and blue or something, and stanley has the microphone and said, well, start eating. So i take a fork and stick it into the green stuff. And as i pull it to my mouth it goes hes upside down with a harness. In the wheel. And its a teff up there. We didnt shoot for a day and a half while they cleaned the centrifuge up. When you come in there and see the sets, because we said all great directors is all of one, the script, Jeffrey Unsworth was the photographer, what was their relationship like because you were shooting at someone who was one of the great est who ever lived who had a profound relationship with his photographers, but kubrick knew what he wanted and contributed to that . Im sure they were sidebars we werent privileged to and they may have discussed the show. Because the other thing about the it was a very slow pace, and some of the shots were so complicated to set up and light, sometimes we would have one setup a day. It didnt happen that often, but it did happen. Or maybe two setups only in a day. Now, in that way, the film, the set and the tone, the film doesnt work if the two of you dont have a matching tone. Are you certain theres never been any case, these are the most i significant computer error. None whatsoever, frank. Quite honestly, i wouldnt worry myself about that. Well, im sure youre right, hal. Fine, thanks very much. How did you know to do what you did . Did he talk to you about that . Did he say, less, less, less. No. Because both of you are so perfect in the tone of the film. Maybe it comes down to part of being a great directors casting well. And i just have to think that he saw certain things in both of us, and we had the script and we knew what we were, what the story was and we knew that we we were in the midst of a long journey and daytoday stuff that you see us doing before hal goes nuts is kind of pretty mundane. Its what we do every day. Right. And there isnt any big drama about it, so the only thing i remember stanley saying to me at one point, i dont know if you noticed in the film, but if youre the camera, there was a lot of when i talk rather than this. He wanted me to, which he did with malcolm mcdowell. You know that michelle samoa, i think hes the editor of positive, one of the great film journals, i met him and interviewed him for a film i did a documentary about, and samoa did a survey of kubricks films. There are masks he want his actors to achieve, and he showed plates of photographs of the same face. You making a face that nicholson makes in the shining. That this one makes in this movie. It was a kind of mask he wanted his actors to achieve that he was fond of to achieve the result he wants that he replicates in each of his films. For you, especially, im hoping you dined out on that movie in terms of your love life for decades afterward. Because youre probably one of the best looking guys in the movie business then and are laying there, youre like an abercrombie model. We are all victims of gravity, my friend, as the years go by, but you were looking real good in that movie laying through on your slab talking to your parents, did you get a lot of girlfriends after that premier was over . Thats a yes or no question there. Legendary. I have to say this, though. The ladies were drawn to him like flies. I can imagine. I can imagine. You know, let me put it this way, it was a lot better than wages. Thats the line in the misfits. Thats one of my favorite lines in a movie. To me the park of a great movie is most of them you watch them and youll appreciate them if you end up being in the mood for that movie, but a great movie, some of the greatest movies are movies that put you in the mood for the movie. I always used to say to people, i would be getting dressed and the woman in my life would say, weve got to go shopping. We have to go get those towels. Weve got to go to montana avenue and get these towels at the towel store. I would be like, yes, of course, we have to get those towels. And id be getting dressed sitting there on the edge of the bed in my underwear and the tv would come on and i would sit down, we werent going to get towels for a while. The godfather would cold on and raging bull would come on and to kill a mockingbird would come on and space odyssey would come on. When they came on, you were not getting up. Im sorry, dave, im afraid i cant do that. Hey lady noooo no [ tires screech ] nooo nooo nooo hey lady, thats diesel i know. The end. Lovely read susan. But isnt it time to turn the page on your cup of joe . Gevalia, or a cup of johan, is like losing yourself in a great book. May i read something . Yes, please. Of course. A rich, never bitter taste cup after cup. Net weight 340 grams. [ sighs ] [ chuckles ] [ announcer ] always rich, never bitter. Gevalia. Its not the fumbling around with rotating categories card. Its not the getting blindsided by limits card. 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I am so glad youre he did everything he could to kind of get me beyond, because i was in awe. It wasnt like my first film. People dont realize that, they dont realize when you do a movie with somebody you love, you meet somebody who you love, youre just kind of standing there, when i did the and i was in the business for quite a few years, it wasnt that long ago, really, when i did Good Shepherd with de niro. I played angelos father. Yeah, you were there. We go do that movie, and we do the scene, matt damon and i, and you hear cut. And were waiting and you know, like unconsciously, you know the director is going to come over and give you a note about what you just did. Im talking to matt, and the director really took his time because he would talk to bob and richardson, and about two solid minutes would go by and the director would come over and de niro was standing in front of me. It took me 15 seconds to adjust looking at de niro. He would be talking and i wouldnt hear a word he was saying. I would just stare at him. And all i could see was movie screening in my mind of de niro, bang, bang, bang, bang and im sitting there going and he finished and would be like, do you understand, alec . Do you understand . I want to do it again and want you to do it this way this time. I would say, im sorry, bob, would you repeat but he knew. I was so caught up in studying him, because when youre with the ones you love and worship them, tony hopkins, i did the movie the edge with tony hopkins, because you talk about olivia and i said, do you realize what it is for me to work with you . Its the same as when you worked with olivia. You were an apprentice and he told me stories about the woman would say to tony, solarry would like to see you, tony, in his room after the show, straight away. He would be like, all right, and you would go and knock on the door and you would hear olivia say, come in come in and he would open the door and olivia, i cant do him, but tony could, tony said he would say to him, my boy, my boy, my boy, my boy, when you say that line, either you come down and take your time, because when youre speaking, when youre saying the speech in shakespeare at th