:51:02
...near the crater Tycho.
:51:06
Except for a single, very powerful...
:51:10
...radio emission aimed at Jupiter...
:51:14
... the four-million-year-old monolith
has remained completely inert...
:51:21
...its origin and purpose...
:51:24
...still a total mystery.
:51:27
I respect in awe...
:51:30
I'm in awe of the mystery
of the universe.
:51:31
Something which Einstein's often said:
:51:34
"Anyone who isn't awed by the universe,
they haven't any soul. "
:51:39
So from my earliest days the wonder
of space and time has intrigued me. . .
:51:45
. . .and Stanley and I tried to put some
of this feeling into the film.
:51:50
I think it made people realize
that we were. . .
:51:53
. . .a rather small part
of an enormous universe.
:51:57
It's hard to realize
when we made that film. . .
:51:59
. . .we didn't know what Earth looked
like from space from any distance.
:52:04
These things had to be imagined.
:52:06
The special effects were a quantum
leap forward for the film industry.
:52:11
These looked the real thing.
:52:13
Stanley had very firm
and very specific ideas. . .
:52:16
. . .about how these models
were to be lit.
:52:19
The painstaking attention to detail. . .
:52:22
. . .the coloration,
the dirtying up of the models. . . .
:52:25
This really hadn't been seen before.
:52:28
One of the best examples
for my contribution. . .
:52:32
. . .is what's known as the slitscan
sequence, the stargate sequence.
:52:35
There was a lot of evolution
to that concept. . .
:52:37
. . .of how you would be transported
from one dimension to another.
:52:42
It was never solved in the screenplay.
:52:44
I remembered, knowing
of an experimental filmmaker. . .
:52:47
. . .who was exploring this whole idea
of long-time exposures. . .
:52:52
. . .and while the shutter is open,
he'd move various kinds of artwork. . .
:52:56
. . .in front of the camera
to scan. . .
:52:58
. . .color blocks
and objects onto the film. . .