1:00:00
. . .exhibitor screening of 200 1...
1:00:03
. . .had, I believe
he said, 241 walkouts.
1:00:08
You know, I'm sure he
counted them too.
1:00:12
When I first saw 200 1,
I didn't like it. . .
1:00:15
. . .and I was very disappointed.
1:00:19
Then three or four months later,
I was with some woman in California. . .
1:00:24
. . .and she was telling me
what a wonderful film it was.
1:00:27
And I went to see it again. . .
1:00:30
. . .and I liked it a lot more
the second time I saw it.
1:00:34
Then a couple of years later
I saw it again and I thought:
1:00:38
"Gee, this is really
a sensational movie. "
1:00:42
And it was one of the few times
in my life that I realized. . .
1:00:47
. . .that the artist
was much ahead of me.
1:00:49
A lot of people didn't get it
the first time around. . .
1:00:52
. . .and I'm really fond of quoting
the MGM executive who said:
1:00:57
"Well, that's the end
of Stanley Kubrick. "
1:01:00
The message has got over, even though
we didn't intend one specifically.
1:01:07
Stanley wanted to create
an experience.
1:01:13
People will get messages from it
according to their own philosophies.
1:01:18
200 1 received a National Catholic
Award for its imaginative vision. . .
1:01:23
. . .of man's creative encounter
with the universe.
1:01:26
Some turnaround for Kubrick,
who had so upset. . .
1:01:29
. . .the Catholic legion of decency
with Lolita.
1:01:32
200 1 also won an Academy Award
for best visual effects.
1:01:36
As the film's director and designer. . .
1:01:38
. . .Kubrick received
his only ever Oscar.
1:01:41
It was that kind of process. . .
1:01:45
. . .of personally taking
control of not only the people. . .
1:01:49
. . .the technology, the art
and the craft of making movies.
1:01:52
He was it.
He embodied the whole thing.
1:01:55
And he invited actors,
cinematographers. . .
1:01:58
. . .and production designers to come
into his family and collaborate. . .