: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. . .
:56:02
. . .intellectual drive of the film.
:56:16
I actually knew that piece of Ligeti
he used. . .
:56:19
. . .and I remember seeing 200 1
and thinking:
:56:22
"This can't possibly be Ligeti
in a Hollywood film. "
:56:26
But it was, and of course, it makes
the sequence utterly unforgettable.
:56:40
It was for me,
especially the visual fantasy. . .
:56:47
. . .with the speed, with the color
and light changes. . .
:56:50
. . .when the spaceship goes down. . .
:56:54
. . .on the moon of Jupiter.
:56:58
And then the speed is more and more
and more. . .