After analyzing the overall structure we can now begin to look at the movie in detail. This part of the series will analyze the first 16 minutes of 2001: A Space Odyssey by Stanley Kubrick.

(Note: All images are copyright Metro Goldwyn Mayer (MGM) and used solely for the purpose of analyzing 2001)

(Another note: as stated in the introduction part of this series, this analysis will work almost solely on certain images or moments. Therefore it is written in a purely linear way, from the beginning of the movie to the end and might therefore be not the usual film analysis you find on the net)

The first part of the chapter “The Dawn of Man” can be seen as one of the most unusual beginning of a movie ever printed on

Analyzing the overall structure of 2001: A Space Odyssey seems to be rather easy since Stanley Kubrick added titles to important chapters of the movie (with exception of “Intermission” which is marks a break for the audience in some cinemas (and is missing in all TV versions of the movie I know of)).

Going by the title cards in the movie it contains three chapters:

Diagram 01

But now a problem kicks in. The problem is the fact that an important part of the movie plays on a completely different time but isn’t marked with a title. Of course, I am talking about the early third of the movie which shows Dr. Floyd and the monolith on the moon. If you add this section to the structure you get something

An In-Depth Analysis of 2001. The Introduction

by Gunther Heinrich, 22 Nov 2007 in Analyses

I consider 2001: A Space Odyssey, finished by Stanley Kubrick in 1968, one of the best movies of all time. Currently, it ranks second in my personal list of movies. I have watched this masterpiece so many times and it still does not feel worn out to me. In fact the more I watch it the more I love it. Indeed it is one of the best works of Kubrick, one of the biggest visionaries of cinema.

2001 is but far more than a movie to simply love. It is, more than most other examples, a movie made to be analyzed thoroughly. Each shot, each cut, and each sequence – even more: each action – is important and has a deep meaning for Kubrick. Because otherwise he wouldn’t have

After finishing reading “Story” of Robert McKee I think I can give the ultimate tip to everyone who wants to make a career in Hollywood as a screenwriter:

Don’t even think about scriptwriting…before learning the craft!

As obvious as it sounds it seems that this message hasn’t yet reached many people out there.

The newbie’s approach

Many say the fault of their script is the system in Hollywood at work as it is an exclusive club only the invited are allowed to enter. OK, in some sense this is true, but the main reason that so many aspiring screenwriters fail is their approach to the craft.

It is not that they try to write something great. It is because most “writers” say or think the following lines before starting a script project:

Hey, I have seen

Stupid German Movie Titles

by Gunther Heinrich, 20 Nov 2007 in The Movie & Me

What do you get when you mix a Hollywood movie with the German language and German marketing? Right, you get stupid and silly movie titles whose “inventors” should be ashamed of.

You don’t might believe it, but when a movie from the USA is imported into Germany it most of the time gets a language revamp. Most often the result is average, meaning, you get the original title and its translation as a subtitle (Total Recall – Die totale Erinnerung). Sometimes the result is worse, meaning, you get the original title and a completely new german silly subtitle (Alien – Das unheimliche Wesen aus einer fremden Welt (Alien – The eerie creature from an alien world)). But very often the result can even get worse.

You don’t believe it? Well here is