Cosmos: A Space-Time Odyssey - Netflix
Hosted by renowned astrophysicist Neil deGrasse Tyson, Cosmos will explore how we discovered the laws of nature and found our coordinates in space and time. It will bring to life never-before-told stories of the heroic quest for knowledge and transport viewers to new worlds and across the universe for a vision of the cosmos on the grandest scale. Cosmos will invent new modes of scientific storytelling to reveal the grandeur of the universe and re-invent celebrated elements of the legendary original series, including the Cosmic Calendar and the Ship of the Imagination. The most profound scientific concepts will be presented with stunning clarity, uniting skepticism and wonder, and weaving rigorous science with the emotional and spiritual into a transcendent experience.
Runtime: 60 minutes
Cosmos: A Space-Time Odyssey - 2001: A Space Odyssey (film) - Netflix
2001: A Space Odyssey is a 1968 epic science fiction film produced and directed by Stanley Kubrick. The screenplay was written by Kubrick and Arthur C. Clarke, and was inspired by Clarke's short story “The Sentinel”. A novel also called 2001: A Space Odyssey, written concurrently with the screenplay, was published soon after the film was released. The film, which follows a voyage to Jupiter with the sentient computer HAL after the discovery of a mysterious black monolith affecting human evolution, deals with themes of existentialism, human evolution, technology, artificial intelligence, and the possibility of the existence of extraterrestrial life. The film is noted for its scientifically accurate depiction of spaceflight, pioneering special effects, and ambiguous imagery. Sound and dialogue are used sparingly and often in place of traditional cinematic and narrative techniques, and the film is famous for employing a number of pieces of classical music, among them Also sprach Zarathustra by Richard Strauss, The Blue Danube by Johann Strauss II, and works by Aram Khachaturian and György Ligeti. 2001: A Space Odyssey was financed and distributed by American studio Metro-Goldwyn-Mayer, but was filmed and edited almost entirely in England, where Kubrick lived, using the facilities of MGM-British Studios and Shepperton Studios. Production was subcontracted to Kubrick's production company, and care was taken that the film would be sufficiently “British” to qualify for the Eady Levy, a tax on box-office receipts in the UK. The film received mixed reactions from critics and audiences upon its release, but garnered a cult following and became the highest-grossing North American film of 1968. It was nominated for four Academy Awards; Kubrick received one for his direction of visual effects. A sequel, 2010: The Year We Make Contact, directed by Peter Hyams, was released in 1984. Today, 2001: A Space Odyssey is widely regarded as one of the greatest and most influential films ever made. In 1991, it was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry. Sight & Sound magazine ranked 2001: A Space Odyssey sixth in the top ten films of all time in its 2002 and 2012 critics' polls editions; it also tied for second place in the magazine's 2012 directors' poll. In 2010, it was named the greatest film of all time by The Moving Arts Film Journal.
Cosmos: A Space-Time Odyssey - Zero-gravity effects - Netflix
The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set, and placing the camera underneath them. The actors' bodies blocked the camera's view of the suspension wires, creating a very believable appearance of floating. For the shot of Poole floating into the pod's arms during Bowman's rescue attempt, a stuntman replaced a dummy on the wire to realistically portray the movements of an unconscious human, and was shot in slow motion to enhance the illusion of drifting through space. The scene showing Bowman entering the emergency airlock from the E.V.A. pod was done in a similar way: an off-camera stagehand, standing on a platform, held the wire suspending Dullea above the camera positioned at the bottom of the vertically configured airlock. At the proper moment, the stagehand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, he jumped off the platform, causing Dullea to ascend back up toward the hatch.
Cosmos: A Space-Time Odyssey - References - Netflix