Showing posts with label Stanley Kubrick. Show all posts
Showing posts with label Stanley Kubrick. Show all posts
Thursday, December 2, 2010
Stanley Kubrick explains the plot of ‘2001’
http://www.dangerousminds.net/comments/stanley_kubrick_explains_what_2001/
Stanley Kubrick explains the plot of ‘2001’
11.27.2010
Richard Metzger
If you or anyone you know insists that they know what Stanley Kubrick’s classic film 2001: A Space Odyssey is all about, they are of course, bluffing, because no one really knows what that film is all about. There was, of course, one exception, and that would be the auteur himself. So what did Kubrick have to say about the “plot” and meaning behind his iconic film?
From a 1969 interview with Kubrick by Joseph Gelmis:
You begin with an artifact left on earth four million years ago by extraterrestrial explorers who observed the behavior of the man-apes of the time and decided to influence their evolutionary progression. Then you have a second artifact buried deep on the lunar surface and programmed to signal word of man’s first baby steps into the universe—a kind of cosmic burglar alarm. And finally there’s a third artifact placed in orbit around Jupiter and waiting for the time when man has reached the outer rim of his own solar system.
When the surviving astronaut, Bowman, ultimately reaches Jupiter, this artifact sweeps him into a force field or star gate that hurls him on a journey through inner and outer space and finally transports him to another part of the galaxy, where he’s placed in a human zoo approximating a hospital terrestrial environment drawn out of his own dreams and imagination. In a timeless state, his life passes from middle age to senescence to death. He is reborn, an enhanced being, a star child, an angel, a superman, if you like, and returns to earth prepared for the next leap forward of man’s evolutionary destiny.
That is what happens on the film’s simplest level. Since an encounter with an advanced interstellar intelligence would be incomprehensible within our present earthbound frames of reference, reactions to it will have elements of philosophy and metaphysics that have nothing to do with the bare plot outline itself.
Source: Kottke ( http://kottke.org/ )
Friday, August 20, 2010
2001: A Space Odyssey
http://www.avclub.com/articles/2001-a-space-odyssey,43912/
Scenic Routes
2001: A Space Odyssey
Mike D'Angelo
August 9, 2010
As some of you have observed from time to time, this column has tended thus far to avoid the most notable scenes in cinema history—those iconic, oft-excerpted moments that even folks who haven’t seen the movie in question generally know well. For one thing, like most critics, I’m always eager to pimp lesser-known favorites, and it’s hard to imagine a better opportunity for persuasion than sitting readers down with a representative hunk of awesomeness. More than that, though, I’ve been concerned that there wouldn’t be a whole lot to say about scenes so familiar that most of you could play them in your head from memory. Is there any point to close analysis of something everybody’s seen a dozen times or more? Still, I continually find that even sequences I thought I knew backward hold some surprises when carefully examined, so I walked over to my DVD collection and grabbed the first all-time masterpiece I saw, which happened to be Stanley Kubrick’s 2001: A Space Odyssey. Its most iconic moment? Surely Keir Dullea demanding that Hal open the pod bay doors. So I watched it again. So should you.
Quick context for the handful of folks who don’t know precisely what’s going on here: HAL 9000, the ship’s computer—which demonstrates a level of artificial intelligence well beyond anything we’re likely to see for decades to come, much less the state of the art from nine years ago—has gone quietly bonkers, for reasons never made explicit in the movie. (Arthur C. Clarke lays it all out in the novel, written concurrently with the screenplay. A mistake, in my opinion.) Having already killed four of the five crew members, three of whom were in hibernation, he’s now denying re-entry to the ship’s last surviving human, Dullea, who went out in an auxiliary pod to retrieve his colleague’s body. HAL isn’t lying, incidentally—he did “hear” (via lip-reading) Dullea and the colleague planning to disconnect him and take manual control of the spacecraft. So it’s fair to interpret HAL’s behavior as an act of self-preservation.
Now what exactly has burned this particular scene into our collective cultural memory? It isn’t just the admittedly arresting notion of a crazy murderous computer, or we’d be seeing clips from 1977’s Demon Seed on TV every few months. (If you happen to see Demon Seed as an impressionable child, however, it’ll stay with you for the rest of your life. Trust me on this.) No, what makes this standoff so chilling is the maddeningly soothing tone of Douglas Rain as the voice of HAL. “I won’t argue with you any more,” Dullea snaps at one point, but the statement is redundant—there’s no arguing with an entity that’s so conversationally implacable. What’s more, HAL sounds exactly the same in this scene as he does in previous scenes in which he and the crew engage in meaningless chitchat. There’s no indication whatsoever, tonally, that by refusing to open the doors, he’s effectively pronouncing a death sentence, and when he decides there’s no further point in communication, he simply says “goodbye” and does the equivalent of hanging up on Dullea, without even the tiny satisfaction of an audible click.
However, that description contradicts one of the most common observations about 2001, which is that HAL seems more human than any of the human characters. I’ve always thought so myself, in fact, but had never really pondered why before. Prior to rewatching the film, which I hadn’t seen since the mid-’90s, I think I would have largely attributed this effect to the relative (and very likely deliberate, on Kubrick’s part) weakness of the film’s onscreen cast; if you look up reviews, you’ll find that Dullea and Gary Lockwood are frequently described with adjectives like “flat” and “wooden.” And it’s true that nobody’s ever gonna mistake them for James Cagney and Humphrey Bogart, charisma-wise. But even in this brief scene, Dullea gives a totally credible performance—his frustration and mounting concern are evident in his facial expression and in the way his throat constricts as he realizes the gravity of his predicament. Meanwhile, HAL remains, well, robotic, in the sense that there’s no variability (at this point, anyway) in his carefully measured responses.
So I watched the scene again, a couple more times, trying to work out where this overwhelming impression was coming from, and it finally hit me. It’s the silence. Not the silence after HAL “hangs up,” but the initial silence, before he first responds. What makes the human beings in 2001 seem a bit less than fully human isn’t just the nature of the performances—it’s that every interaction among them is completely functional. We’re seeing people say and do whatever is required to achieve their objective at that particular moment, and nothing more. HAL, by contrast, demonstrates what we all recognize as neurosis. And while it’s mostly implied by his behavior, it does have one explicit manifestation: that refusal to answer Dullea’s summons for 43 seconds, followed by capitulation when it becomes clear that Dullea isn’t gonna shut up. That’s so human, it almost hurts. We’ve all been there, most likely on both sides. In fact, if a computer ever manages to pass the Turing test, it’ll surely be by replicating this sort of semi-rational evasion, rather than by saying something expressly intelligent or creative. It’s hard to conceive of a machine thinking “I don’t even want to deal with you right now. Oh, all right.”
Of course, when I say “silence,” I only mean that HAL isn’t yet speaking. Kubrick and his sound editor, Winston Ryder, achieve a magnificent atmosphere of unearthly estrangement in the sequence of shots that accompanies Dullea’s repeated efforts to get HAL’s attention, cutting from the ambient hum of the ship (which changes slightly in different areas) to the vague static and subtle whirring heard inside Dullea’s pod to the complete aural void of space, with each wall of sound, or lack thereof, punctuated by increasingly urgent cries of “Do you read me?” More than the groundbreaking special effects involving apparent weightlessness, or the previously unimagined depictions of the cosmos, it’s Kubrick’s clinical precision, perhaps best realized in this eerie montage, that inspires a sense of awe in me whenever I watch this movie. Which is true even though the phrase “clinical precision” sort of connotes “anti-human.” 2001 isn’t warm and fuzzy. But neither is infinity, and no movie has taken a greater swing at the infinite. And yet in the end, it’s still that placid twinge of irrationality that lingers most of all.
Also, the Discovery looks a giant Toblerone bar. Just thought I’d mention that.
Thursday, March 18, 2010
10 classic ad-lib and off-script movie moments
http://www.denofgeek.com/movies/432108/10_classic_adlib_and_offscript_movie_moments.html
10 classic ad-lib and off-script movie moments
Karla Healion
Not every moment of movie genius is written down in the script. Take this collection of ad-libs and off-script moments, for instance...
Mar 3, 2010
Sometimes, the genius moments of a film weren't in the script, and happened in an off-the-cuff moment on the shoot itself. Here are 10 examples of when an ad-lib or off-script moment went very, very right...
Taxi Driver: "You talkin' to me?"
(Martin Scorsese, 1976)
Arguably the most famous cinematic quote of all time, "You talkin' to me?" was actually improvised. Even though the film's screenplay was written by the brilliant Paul Schrader (who also wrote the adapted screenplay for Scorsese's Raging Bull), it's this line which has gone down in the annals of pop culture history.
Director Martin Scorsese has always encouraged Robert De Niro's creativity, proving that actors can contribute more than just their performance, and in this instance it paid off.
In the original script Schrader had simply written "Bickle speaks to himself in the mirror." Alone in his grubby apartment, De Niro's loner sociopath character Travis Bickle is planning to shoot a politician. In the mirror he is practising with the sleeve-holster he made for his gun. Catching his reflection, he postures, repeating "You talkin' to me?" before whipping out his gun and taking aim. It is a moment of stunning personal insight into a character as flawed, intriguing and complex as you will ever see on the big screen.
The Shining "Heeeeeere's Johnny!"
(Stanley Kubrick, 1980)
Adapted from the Stephen King novel of the same name, The Shining is one of Kubrick's best known and most commercially successful films. The shoot was a famously difficult one, as Kubrick was notorious for being a controlling, sometimes cruel, filmmaker.
It's common knowledge that the fear displayed by Shelley Duval (playing Wendy Torrance) in the film was genuine. Kubrick would scream and shout at her, and allegedly even slapped her across the face during one take. So the spooky, tense and horrifying atmosphere we see on screen is often authentic, and perhaps inspired Jack Nicholson to ad-lib one of his most famous lines.
Jack Torrance (Nicholson's character) slowly loses his mind when stationed to mind a remote hotel with his wife and little boy. At a pinnacle stage in the narrative, he chases his wife (Duval) through the hotel with an axe. She locks herself in a bathroom, and when Torrance chops through the door, he pokes his demented face through the hole and wails, "Heeeeeere's Johnny!"
Nicholson was mimicking the catchphrase used by Ed McMahon to introduce Johnny Carson on The Johnny Carson Show (a hugely popular show at the time). It is this juxtaposition, in terms of connotation and context, that gives it such a magnificently dark, creepy, yet disturbingly humorous, effect.
Despite the screenplay being adapted from a book by one of the best horror novelists of all time, "Heeeeeere's Johnny!" is certainly the most easily remembered line from this uber-stylish classic.
Indiana Jones And The Raiders Of The Lost Ark: Jones shoots the swordsman
(Steven Spielberg, 1981)
The story behind this scene is almost as famous as the scene itself. Harrison Ford, playing our protagonist explorer Indie Jones, got a bad case of food poisoning and dysentery. He was due to shoot a big fight scene with a skilled swordsman the next day. Not able to take on the action, Ford suggested to Spielberg that he simply shoot the over-zealous antagonist, in a quip that sums up the ethos and feel of Jones' character perfectly.
So, following an arduous journey through the streets of Egypt, the crowd parts to reveal a sinister, threatening swordsman dressed in black. He faces Jones, but straight after he cuts some impressive pre-fight moves in an attempt to intimidate his opponent, Jones draws and shoots him down in one. And off-script movie magic is made.
Blade Runner: Roy Batty's final soliloquy
(Ridley Scott, 1982)
With Harrison Ford in the lead again (this time as Rick Deckard) we come to Ridley Scott's revered sci-fi epic Blade Runner. The screenplay was based on the Philip K. Dick novel Do Androids Dream Of Electric Sheep?.
Hollywood legend has it that Martin Scorsese was originally interested in the adaptation but never optioned it. That would have been interesting. But we all love Scott's dark, moody, original and highly influential shoot which launched a thousand mimics. And we especially love the Aryan, cold, violent Roy Batty, the perfect replicant (android).
Played fantastically by Rutger Hauer, Batty is LAPD Officer Deckard's nemesis. In the end Batty's life is drawing to a close, and like so much in the film, it makes a social comment on all kinds of issues.
So, sitting on a rooftop in the pouring rain Hauer takes the first few lines from David Peoples' script and adds a couple of very memorable closing lines as his character's last words. "I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time. Like tears in the rain. Time to die."
Mad to think Bladerunner is set in 2019. Doubt we'll have such perfect androids in only ten years' time.
The Third Man: Lime's cuckoo clock maxim
(Carol Reed, 1949)
Carol Reed's The Third Man is a film that constantly appears on 'best film' lists. It's a beautifully shot and scripted testament to the art of film noir, starring notorious movie heavyweight Orson Welles. It also has one of the most ferociously famous theme tunes in film history (even if it doesn't come to mind right now, you do know it).
One of its most memorable moments comes when Harry Lime (Welles) is trying to convince his old friend Holly Martins (Joseph Cotton) to join him in some dubious dealings. He's explaining that to make omelettes you need to break eggs.
Illustrating Welles' absolute cinematic brilliance, he includes the cuckoo line. It was not part of the original screenplay, adapted from a novel by reputable writer Graham Greene, but is perhaps the best known quote of the film: "In Italy for 30 years under the Borgias, they had warfare, terror, murder, bloodshed. They produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love, five hundred years of democracy and peace. And what did that produce? The cuckoo clock."
Midnight Cowboy: "I'm walkin' here!"
(John Schlesinger, 1969)
Okay, it's been disputed as to whether this was off-script or not. But it's not past the methodical Dustin Hoffman to ad-lib such a brilliant line.
Midnight Cowboy won Academy Awards for Best Picture, Best Director (John Schlesinger) and Best Adapted Screenplay (Waldo Salt). It's the only X-rated film to have won any Oscars, and the only other X-rated nomination in history was Kubrick's A Clockwork Orange (1971).
There is a scene in which Hoffman's unforgettable 'Ratso' Rizzo is walking our midnight cowboy Joe Buck (played by a young Jon Voight) through the streets of New York. He's coaching him about becoming a successful stud and gigolo, and while crossing a street nearly gets hit by a yellow cab. Hoffman beats the hood with his fist and shouts, "I'm walkin' here!" in his unique New York parlance, yhen quickly retorts to Voight, "Actually, that ain't a bad way to pick up insurance y'know."
"I'm walkin' here." is often cited as one of the world's best movie quotes. It's usually thought of as an improvised line, which Hoffman has claimed. And he is certainly more than capable of this kind of fleshed-out character portrayal. But producer Jermoe Hellman has always maintained that it was in the script. The romantic film buff in me likes to believe the former, but I guess we may never really know.
Dr. Strangelove, Or: How I Learned To Stop Worrying And Love The Bomb: Dr. Strangelove's sporadic involuntary Nazi salute
(Stanley Kubrick, 1964)
Apparently, so many of Sellers' lines in Dr. Strangelove were improvised that he is often cited as an uncredited co-writer. And it is considered a study of retro-scripting, ie. when ad-libbed lines are later written into the final script. So, it's difficult to know which one to pick, but perhaps the most ingenious and intuitive is when his title character performs sudden involuntary Nazi salutes in the company of the US military (Sellers plays three characters in total).
Dr. Strangelove is a wheelchair-bound German nuclear weapons expert, who has a past association with the Nazis. In one of the best comedic performances of all time, Sellers' Dr. Strangelove sometimes accidentally refers to the US President as 'Mein Fuhrer', and strangles himself with his out-of-control right arm. This is as well as having to use his left arm to push down the Nazi salutes his right arm frequently and uncontrollably lapses into.
This was entirely Sellers' creation. So much so, in fact, that the novel from which the film was adapted (Red Alert by Peter George) didn't even have the character Dr. Strangelove at all. The word genius does get thrown around but, good lord, Peter Sellers really deserves the moniker.
Goodfellas: "Funny how?"
(Martin Scorsese, 1990)
Adapted from the Nicholas Pileggi book Wiseguys, the Goodfellas screenplay is not without its share of memorable moments. It is one of the best loved films of all time, and displays a darkly humorous side to the Italio-American gangster genre, largely absent in Coppola's The Godfather series.
People always remember the crazy Joe Pesci character, Tommy DeVito, who defined and inspired a million mafia-esque archetypes. Such is the unstable and changeable world of mafia relationships that in one scene DeVito is sitting with our protagonist Henry Hill (Ray Liotta), sharing a drink and having a laugh. When Hill comments, "You're a funny guy," DeVito's face turns stone cold and he replies, "What do you mean I'm a funny guy. Funny how? Funny like I'm here to amuse you?'" The entire room stops dead. A couple of wiseguys mumble, "Hey, Tommy, calm down," as Hill looks worried and tries to explain himself.
The tension is just about to turn into what we think will be bullets, when DeVito cracks and says, "I'm just fucking with you," and everyone laughs. With relief, might I add.
It exemplifies beautifully how crazy Pesci's character is. His friends believe he may turn that easily, and also how volatile and suddenly hostile their world can be. It's thought that Pesci ad-libbed quite a lot for this role and that lines such as this were often retro-scripted into the final draft of the screenplay.
Silence Of The Lambs: Hannibal's hissing
(Johnathan Demme, 1992)
Playing one of the most iconic cinema villains ever, Sir Anthony Hopkins immortalised the cannibalistic Dr. Hannibal Lecter in this classic performance. Although he only has under twenty-five minutes of screen time, Hopkins won an Oscar for Best Actor. Jodie Foster also won for Best Actress, and the film won Best Director, Best Screenplay (Ted Tally) and Best Picture too. Not bad.
The American Film Institute named Lecter the number three screen villain ever in their top 100 in 2003, next to Norman Bates, with Darth Vader in the top spot.
Lecter is an incarcerated serial killer cannibal whom Foster's character, FBI agent Clarice Starling, interviews to help find another murdering cannibal, still at large. All in a day's work.
At one point Lecter tells of an unsavoury incident, describing a now-famous meal: "A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti." He then hisses and sucks at Starling in a truly revolting and disturbing manner, forever putting an entire generation off that particular varietal of wine.
Hollywood rumour says that this hissing was just a joke thrown in by Hopkins. He never intended it to be so frightening, not to mention appearing in the final cut and becoming so utterly conspicuous.
Casablanca: "Here's looking at you, kid."
(Michael Curtiz, 1942)
Ah, Casablanca. What can we say? If it's not your favourite oldie, and the final scene doesn't make you cry, then I'm sure you don't have a reflection in a mirror. But more than the emotion of the story, the coolness of Bogie and the beauty of Ingrid Bergman, it is a technically superb and incredibly entertaining film.
Regarding the script, the famous line, "Play it again, Sam", is not actually in the film and is probably the world's biggest cinematic misquote. Then, to our ad-libbed moment.
During the last scene and their final interaction, Rick (Humphrey Bogart) is doing the right thing and letting Ilsa (Bergman) go. Crying, she tries to convince him to let her stay. He refuses but consoles her, saying, "Here's looking at you, kid." And there isn't a dry eye in the house.
The American Film Institute often calls it one of the most memorable lines in film. It is often quoted and parodied. Yet, legend has it that this is something Bogart used to say to Bergman as he taught her to play poker in between takes on set. It was never in the original script at all.
10 classic ad-lib and off-script movie moments
Karla Healion
Not every moment of movie genius is written down in the script. Take this collection of ad-libs and off-script moments, for instance...
Mar 3, 2010
Sometimes, the genius moments of a film weren't in the script, and happened in an off-the-cuff moment on the shoot itself. Here are 10 examples of when an ad-lib or off-script moment went very, very right...
Taxi Driver: "You talkin' to me?"
(Martin Scorsese, 1976)
Arguably the most famous cinematic quote of all time, "You talkin' to me?" was actually improvised. Even though the film's screenplay was written by the brilliant Paul Schrader (who also wrote the adapted screenplay for Scorsese's Raging Bull), it's this line which has gone down in the annals of pop culture history.
Director Martin Scorsese has always encouraged Robert De Niro's creativity, proving that actors can contribute more than just their performance, and in this instance it paid off.
In the original script Schrader had simply written "Bickle speaks to himself in the mirror." Alone in his grubby apartment, De Niro's loner sociopath character Travis Bickle is planning to shoot a politician. In the mirror he is practising with the sleeve-holster he made for his gun. Catching his reflection, he postures, repeating "You talkin' to me?" before whipping out his gun and taking aim. It is a moment of stunning personal insight into a character as flawed, intriguing and complex as you will ever see on the big screen.
The Shining "Heeeeeere's Johnny!"
(Stanley Kubrick, 1980)
Adapted from the Stephen King novel of the same name, The Shining is one of Kubrick's best known and most commercially successful films. The shoot was a famously difficult one, as Kubrick was notorious for being a controlling, sometimes cruel, filmmaker.
It's common knowledge that the fear displayed by Shelley Duval (playing Wendy Torrance) in the film was genuine. Kubrick would scream and shout at her, and allegedly even slapped her across the face during one take. So the spooky, tense and horrifying atmosphere we see on screen is often authentic, and perhaps inspired Jack Nicholson to ad-lib one of his most famous lines.
Jack Torrance (Nicholson's character) slowly loses his mind when stationed to mind a remote hotel with his wife and little boy. At a pinnacle stage in the narrative, he chases his wife (Duval) through the hotel with an axe. She locks herself in a bathroom, and when Torrance chops through the door, he pokes his demented face through the hole and wails, "Heeeeeere's Johnny!"
Nicholson was mimicking the catchphrase used by Ed McMahon to introduce Johnny Carson on The Johnny Carson Show (a hugely popular show at the time). It is this juxtaposition, in terms of connotation and context, that gives it such a magnificently dark, creepy, yet disturbingly humorous, effect.
Despite the screenplay being adapted from a book by one of the best horror novelists of all time, "Heeeeeere's Johnny!" is certainly the most easily remembered line from this uber-stylish classic.
Indiana Jones And The Raiders Of The Lost Ark: Jones shoots the swordsman
(Steven Spielberg, 1981)
The story behind this scene is almost as famous as the scene itself. Harrison Ford, playing our protagonist explorer Indie Jones, got a bad case of food poisoning and dysentery. He was due to shoot a big fight scene with a skilled swordsman the next day. Not able to take on the action, Ford suggested to Spielberg that he simply shoot the over-zealous antagonist, in a quip that sums up the ethos and feel of Jones' character perfectly.
So, following an arduous journey through the streets of Egypt, the crowd parts to reveal a sinister, threatening swordsman dressed in black. He faces Jones, but straight after he cuts some impressive pre-fight moves in an attempt to intimidate his opponent, Jones draws and shoots him down in one. And off-script movie magic is made.
Blade Runner: Roy Batty's final soliloquy
(Ridley Scott, 1982)
With Harrison Ford in the lead again (this time as Rick Deckard) we come to Ridley Scott's revered sci-fi epic Blade Runner. The screenplay was based on the Philip K. Dick novel Do Androids Dream Of Electric Sheep?.
Hollywood legend has it that Martin Scorsese was originally interested in the adaptation but never optioned it. That would have been interesting. But we all love Scott's dark, moody, original and highly influential shoot which launched a thousand mimics. And we especially love the Aryan, cold, violent Roy Batty, the perfect replicant (android).
Played fantastically by Rutger Hauer, Batty is LAPD Officer Deckard's nemesis. In the end Batty's life is drawing to a close, and like so much in the film, it makes a social comment on all kinds of issues.
So, sitting on a rooftop in the pouring rain Hauer takes the first few lines from David Peoples' script and adds a couple of very memorable closing lines as his character's last words. "I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time. Like tears in the rain. Time to die."
Mad to think Bladerunner is set in 2019. Doubt we'll have such perfect androids in only ten years' time.
The Third Man: Lime's cuckoo clock maxim
(Carol Reed, 1949)
Carol Reed's The Third Man is a film that constantly appears on 'best film' lists. It's a beautifully shot and scripted testament to the art of film noir, starring notorious movie heavyweight Orson Welles. It also has one of the most ferociously famous theme tunes in film history (even if it doesn't come to mind right now, you do know it).
One of its most memorable moments comes when Harry Lime (Welles) is trying to convince his old friend Holly Martins (Joseph Cotton) to join him in some dubious dealings. He's explaining that to make omelettes you need to break eggs.
Illustrating Welles' absolute cinematic brilliance, he includes the cuckoo line. It was not part of the original screenplay, adapted from a novel by reputable writer Graham Greene, but is perhaps the best known quote of the film: "In Italy for 30 years under the Borgias, they had warfare, terror, murder, bloodshed. They produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love, five hundred years of democracy and peace. And what did that produce? The cuckoo clock."
Midnight Cowboy: "I'm walkin' here!"
(John Schlesinger, 1969)
Okay, it's been disputed as to whether this was off-script or not. But it's not past the methodical Dustin Hoffman to ad-lib such a brilliant line.
Midnight Cowboy won Academy Awards for Best Picture, Best Director (John Schlesinger) and Best Adapted Screenplay (Waldo Salt). It's the only X-rated film to have won any Oscars, and the only other X-rated nomination in history was Kubrick's A Clockwork Orange (1971).
There is a scene in which Hoffman's unforgettable 'Ratso' Rizzo is walking our midnight cowboy Joe Buck (played by a young Jon Voight) through the streets of New York. He's coaching him about becoming a successful stud and gigolo, and while crossing a street nearly gets hit by a yellow cab. Hoffman beats the hood with his fist and shouts, "I'm walkin' here!" in his unique New York parlance, yhen quickly retorts to Voight, "Actually, that ain't a bad way to pick up insurance y'know."
"I'm walkin' here." is often cited as one of the world's best movie quotes. It's usually thought of as an improvised line, which Hoffman has claimed. And he is certainly more than capable of this kind of fleshed-out character portrayal. But producer Jermoe Hellman has always maintained that it was in the script. The romantic film buff in me likes to believe the former, but I guess we may never really know.
Dr. Strangelove, Or: How I Learned To Stop Worrying And Love The Bomb: Dr. Strangelove's sporadic involuntary Nazi salute
(Stanley Kubrick, 1964)
Apparently, so many of Sellers' lines in Dr. Strangelove were improvised that he is often cited as an uncredited co-writer. And it is considered a study of retro-scripting, ie. when ad-libbed lines are later written into the final script. So, it's difficult to know which one to pick, but perhaps the most ingenious and intuitive is when his title character performs sudden involuntary Nazi salutes in the company of the US military (Sellers plays three characters in total).
Dr. Strangelove is a wheelchair-bound German nuclear weapons expert, who has a past association with the Nazis. In one of the best comedic performances of all time, Sellers' Dr. Strangelove sometimes accidentally refers to the US President as 'Mein Fuhrer', and strangles himself with his out-of-control right arm. This is as well as having to use his left arm to push down the Nazi salutes his right arm frequently and uncontrollably lapses into.
This was entirely Sellers' creation. So much so, in fact, that the novel from which the film was adapted (Red Alert by Peter George) didn't even have the character Dr. Strangelove at all. The word genius does get thrown around but, good lord, Peter Sellers really deserves the moniker.
Goodfellas: "Funny how?"
(Martin Scorsese, 1990)
Adapted from the Nicholas Pileggi book Wiseguys, the Goodfellas screenplay is not without its share of memorable moments. It is one of the best loved films of all time, and displays a darkly humorous side to the Italio-American gangster genre, largely absent in Coppola's The Godfather series.
People always remember the crazy Joe Pesci character, Tommy DeVito, who defined and inspired a million mafia-esque archetypes. Such is the unstable and changeable world of mafia relationships that in one scene DeVito is sitting with our protagonist Henry Hill (Ray Liotta), sharing a drink and having a laugh. When Hill comments, "You're a funny guy," DeVito's face turns stone cold and he replies, "What do you mean I'm a funny guy. Funny how? Funny like I'm here to amuse you?'" The entire room stops dead. A couple of wiseguys mumble, "Hey, Tommy, calm down," as Hill looks worried and tries to explain himself.
The tension is just about to turn into what we think will be bullets, when DeVito cracks and says, "I'm just fucking with you," and everyone laughs. With relief, might I add.
It exemplifies beautifully how crazy Pesci's character is. His friends believe he may turn that easily, and also how volatile and suddenly hostile their world can be. It's thought that Pesci ad-libbed quite a lot for this role and that lines such as this were often retro-scripted into the final draft of the screenplay.
Silence Of The Lambs: Hannibal's hissing
(Johnathan Demme, 1992)
Playing one of the most iconic cinema villains ever, Sir Anthony Hopkins immortalised the cannibalistic Dr. Hannibal Lecter in this classic performance. Although he only has under twenty-five minutes of screen time, Hopkins won an Oscar for Best Actor. Jodie Foster also won for Best Actress, and the film won Best Director, Best Screenplay (Ted Tally) and Best Picture too. Not bad.
The American Film Institute named Lecter the number three screen villain ever in their top 100 in 2003, next to Norman Bates, with Darth Vader in the top spot.
Lecter is an incarcerated serial killer cannibal whom Foster's character, FBI agent Clarice Starling, interviews to help find another murdering cannibal, still at large. All in a day's work.
At one point Lecter tells of an unsavoury incident, describing a now-famous meal: "A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti." He then hisses and sucks at Starling in a truly revolting and disturbing manner, forever putting an entire generation off that particular varietal of wine.
Hollywood rumour says that this hissing was just a joke thrown in by Hopkins. He never intended it to be so frightening, not to mention appearing in the final cut and becoming so utterly conspicuous.
Casablanca: "Here's looking at you, kid."
(Michael Curtiz, 1942)
Ah, Casablanca. What can we say? If it's not your favourite oldie, and the final scene doesn't make you cry, then I'm sure you don't have a reflection in a mirror. But more than the emotion of the story, the coolness of Bogie and the beauty of Ingrid Bergman, it is a technically superb and incredibly entertaining film.
Regarding the script, the famous line, "Play it again, Sam", is not actually in the film and is probably the world's biggest cinematic misquote. Then, to our ad-libbed moment.
During the last scene and their final interaction, Rick (Humphrey Bogart) is doing the right thing and letting Ilsa (Bergman) go. Crying, she tries to convince him to let her stay. He refuses but consoles her, saying, "Here's looking at you, kid." And there isn't a dry eye in the house.
The American Film Institute often calls it one of the most memorable lines in film. It is often quoted and parodied. Yet, legend has it that this is something Bogart used to say to Bergman as he taught her to play poker in between takes on set. It was never in the original script at all.
Thursday, February 4, 2010
Great Quotes: Faulkner & Kubrick
Thanks to Paul Kimball for the following...
“People need trouble - a little frustration to sharpen the spirit on, toughen it. Artists do; I don't mean you need to live in a rat hole or gutter, but you have to learn fortitude, endurance. Only vegetables are happy.”
- William Faulkner
"A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later."
- Stanley Kubrick
“People need trouble - a little frustration to sharpen the spirit on, toughen it. Artists do; I don't mean you need to live in a rat hole or gutter, but you have to learn fortitude, endurance. Only vegetables are happy.”
- William Faulkner
"A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later."
- Stanley Kubrick
Friday, November 20, 2009
Something About Nicole
Thanks to Richard Metzger & DangerousMinds.net for the following...http://www.prehensile.com/tales/zeldman/zeldman.htm
Tattle Tales are true tales of sex, madness, and the planet by guest writers. And this week's offering is a humdinger of a Tale. "Jeffrey Zeldman Presents" was one of the first sites I ever visited on the web. Years later, Jeffrey Zeldman contributes this week's Tale of the Week. I'm a happy, happy Halcyon. If you've never visited Zeldman.com, make it your first stop after you read this incredible tale. Or go now. We'll wait for you.
Something About Nicole
by Jeffrey Zeldman
Let's talk about sex.
And movie stars.
And Stanley (Spartacus, 2001, A Clockwork Orange, Lolita, Full Metal Jacket, The Shining) Kubrick, brilliant though reclusive filmmaker, who has spent the last five years making "Eyes Wide Shut," a movie starring Tom Cruise and Nicole Kidman, and costarring Harvey Keitel.
Make that formerly costarring Harvey Keitel.
Yes, there is dirt, and yes, I am here to share it with you.
You know, friends, in my role as the web's answer to Barbara Walters, I am frequently asked, "Could you move, please? I was sitting there."
But I am also frequently asked about those "insider gems" and "delightful tidbits" which only a "connected insider" such as myself could possess.
And this is one of those tidbits.
And I'm sharing it with you.
So here goes.
Most of Keitel's scenes have been shot, and the movie is close to good to go.
But there is a problem.
Keitel and Kidman just did a scene in which Keitel's character is supposed to stand behind Kidman's character and masturbate.
Keitel is not only a fine actor, he is a method actor.
You probably see what is coming – as it were.
Kidman didn't.
Keitel did not simulate masturbation, he engaged in it on the set.
Now, in the heat of action, many of us lose sight of our goals, and succumb to an overwhelming impulse. Keitel is, in that respect, no different from you or I, dear reader.
He ejaculated into Nicole Kidman's hair.
She walked quickly off the soundstage.
The next morning, Stanley Kubrick, one of the great living geniuses of cinema, was confronted by Mr. and Mrs. Tom Cruise.
The two told him simply, "Us or Keitel."
Kubrick reluctantly fired Mr. Keitel.
A replacement actor was hired (his name escapes me – it's not Wilfred Brimley, but it's also not an actor who is likely to duplicate Keitel's accident).
Good scenes which were shot and edited are now being redone at great expense because Keitel cannot appear in the picture.
Whether the film will be as good without Keitel, we will never know.
But now you, gentle readers, know the unpublishable truth. Verified by two sources at the company financing the film.
I can picture the conversation at Nobu:
SCORCESE: Harvey, Harvey, what's this about you and Kubrick? Robert, this tuna is great.
DENIRO: (nods)
KEITEL: (shrugs)
DENIRO: You know what I heard ...
SCORCESE: Pass the saki?
DENIRO: ... I heard this motherfucker got himself fired ...
KEITEL: Shut the fuck up.
DENIRO: ... 'cause he came in Nicole Kidman's hair!
(LAUGHTER.)
KEITEL: Shut the fuck up.
SCORCESE (OVER): Get the fuck out of here! Harvey?
KEITEL: Yeah. (SHRUG.) Came in 'er hair.
(LAUGHTER.)
DENIRO (OVER): Jesus, I can't breathe.
(LAUGHTER.)
(BEAT.)
SCORCESE: I'd a done that.
(LAUGHTER)
DENIRO: So, was it good?
(LAUGHTER. BEAT.)
KEITEL: It was pretty good.
(LAUGHTER)
KEITEL (faint smile): I'd do it again.
DENIRO: So the fuck would I.
SCORCESE: I would do that.
(LAUGHTER.)
(An elegant waitress presents the bill.)
DENIRO: (tearing up bill) On the house, Harve.
Events involving "Eyes Wide Shut" are based on anecdotes related to your humble web author by various Hollywood insiders who may never speak to us again. The scene at Nobu is entirely imaginary – as should be obvious. But nothing is ever obvious to lawyers, hence this disclaimer. We will deny it all, if pressed.
Friday, September 25, 2009
Inside the Apocalyptic Soviet Doomsday Machine
http://www.wired.com/politics/security/magazine/17-10/mf_deadhand
WIRED MAGAZINE: 17.10
Inside the Apocalyptic Soviet Doomsday Machine
By Nicholas Thompson 09.21.09
The technical name was Perimeter, but some called it Mertvaya Ruka, Dead Hand.
Valery Yarynich glances nervously over his shoulder. Clad in a brown leather jacket, the 72-year-old former Soviet colonel is hunkered in the back of the dimly lit Iron Gate restaurant in Washington, DC. It's March 2009—the Berlin Wall came down two decades ago—but the lean and fit Yarynich is as jumpy as an informant dodging the KGB. He begins to whisper, quietly but firmly.
"The Perimeter system is very, very nice," he says. "We remove unique responsibility from high politicians and the military." He looks around again.
Yarynich is talking about Russia's doomsday machine. That's right, an actual doomsday device—a real, functioning version of the ultimate weapon, always presumed to exist only as a fantasy of apocalypse-obsessed science fiction writers and paranoid über-hawks. The thing that historian Lewis Mumford called "the central symbol of this scientifically organized nightmare of mass extermination." Turns out Yarynich, a 30-year veteran of the Soviet Strategic Rocket Forces and Soviet General Staff, helped build one.
The point of the system, he explains, was to guarantee an automatic Soviet response to an American nuclear strike. Even if the US crippled the USSR with a surprise attack, the Soviets could still hit back. It wouldn't matter if the US blew up the Kremlin, took out the defense ministry, severed the communications network, and killed everyone with stars on their shoulders. Ground-based sensors would detect that a devastating blow had been struck and a counterattack would be launched.
The technical name was Perimeter, but some called it Mertvaya Ruka, or Dead Hand. It was built 25 years ago and remained a closely guarded secret. With the demise of the USSR, word of the system did leak out, but few people seemed to notice. In fact, though Yarynich and a former Minuteman launch officer named Bruce Blair have been writing about Perimeter since 1993 in numerous books and newspaper articles, its existence has not penetrated the public mind or the corridors of power. The Russians still won't discuss it, and Americans at the highest levels—including former top officials at the State Department and White House—say they've never heard of it. When I recently told former CIA director James Woolsey that the USSR had built a doomsday device, his eyes grew cold. "I hope to God the Soviets were more sensible than that." They weren't.
The system remains so shrouded that Yarynich worries his continued openness puts him in danger. He might have a point: One Soviet official who spoke with Americans about the system died in a mysterious fall down a staircase. But Yarynich takes the risk. He believes the world needs to know about Dead Hand. Because, after all, it is still in place.
The system that Yarynich helped build came online in 1985, after some of the most dangerous years of the Cold War. Throughout the '70s, the USSR had steadily narrowed the long US lead in nuclear firepower. At the same time, post-Vietnam, recession-era America seemed weak and confused. Then in strode Ronald Reagan, promising that the days of retreat were over. It was morning in America, he said, and twilight in the Soviet Union.
Part of the new president's hard-line approach was to make the Soviets believe that the US was unafraid of nuclear war. Many of his advisers had long advocated modeling and actively planning for nuclear combat. These were the progeny of Herman Kahn, author of On Thermonuclear War and Thinking About the Unthinkable. They believed that the side with the largest arsenal and an expressed readiness to use it would gain leverage during every crisis.
The new administration began expanding the US nuclear arsenal and priming the silos. And it backed up the bombs with bluster. In his 1981 Senate confirmation hearings, Eugene Rostow, incoming head of the Arms Control and Disarmament Agency, signaled that the US just might be crazy enough to use its weapons, declaring that Japan "not only survived but flourished after the nuclear attack" of 1945. Speaking of a possible US-Soviet exchange, he said, "Some estimates predict that there would be 10 million casualties on one side and 100 million on another. But that is not the whole of the population."
Meanwhile, in ways both small and large, US behavior toward the Soviets took on a harsher edge. Soviet ambassador Anatoly Dobrynin lost his reserved parking pass at the State Department. US troops swooped into tiny Grenada to defeat communism in Operation Urgent Fury. US naval exercises pushed ever closer to Soviet waters.
The strategy worked. Moscow soon believed the new US leadership really was ready to fight a nuclear war. But the Soviets also became convinced that the US was now willing to start a nuclear war. "The policy of the Reagan administration has to be seen as adventurous and serving the goal of world domination," Soviet marshal Nikolai Ogarkov told a gathering of the Warsaw Pact chiefs of staff in September 1982. "In 1941, too, there were many among us who warned against war and many who did not believe a war was coming," Ogarkov said, referring to the German invasion of his country. "Thus, the situation is not only very serious but also very dangerous."
A few months later, Reagan made one of the most provocative moves of the Cold War. He announced that the US was going to develop a shield of lasers and nuclear weapons in space to defend against Soviet warheads. He called it missile defense; critics mocked it as "Star Wars."
To Moscow it was the Death Star—and it confirmed that the US was planning an attack. It would be impossible for the system to stop thousands of incoming Soviet missiles at once, so missile defense made sense only as a way of mopping up after an initial US strike. The US would first fire its thousands of weapons at Soviet cities and missile silos. Some Soviet weapons would survive for a retaliatory launch, but Reagan's shield could block many of those. Thus, Star Wars would nullify the long-standing doctrine of mutually assured destruction, the principle that neither side would ever start a nuclear war since neither could survive a counterattack.
As we know now, Reagan was not planning a first strike. According to his private diaries and personal letters, he genuinely believed he was bringing about lasting peace. (He once told Gorbachev he might be a reincarnation of the human who invented the first shield.) The system, Reagan insisted, was purely defensive. But as the Soviets knew, if the Americans were mobilizing for attack, that's exactly what you'd expect them to say. And according to Cold War logic, if you think the other side is about to launch, you should do one of two things: Either launch first or convince the enemy that you can strike back even if you're dead.
Perimeter ensures the ability to strike back, but it's no hair-trigger device. It was designed to lie semi-dormant until switched on by a high official in a crisis. Then it would begin monitoring a network of seismic, radiation, and air pressure sensors for signs of nuclear explosions. Before launching any retaliatory strike, the system had to check off four if/then propositions: If it was turned on, then it would try to determine that a nuclear weapon had hit Soviet soil. If it seemed that one had, the system would check to see if any communication links to the war room of the Soviet General Staff remained. If they did, and if some amount of time—likely ranging from 15 minutes to an hour—passed without further indications of attack, the machine would assume officials were still living who could order the counterattack and shut down. But if the line to the General Staff went dead, then Perimeter would infer that apocalypse had arrived. It would immediately transfer launch authority to whoever was manning the system at that moment deep inside a protected bunker—bypassing layers and layers of normal command authority. At that point, the ability to destroy the world would fall to whoever was on duty: maybe a high minister sent in during the crisis, maybe a 25-year-old junior officer fresh out of military academy. And if that person decided to press the button ... If/then. If/then. If/then. If/then.
Once initiated, the counterattack would be controlled by so-called command missiles. Hidden in hardened silos designed to withstand the massive blast and electromagnetic pulses of a nuclear explosion, these missiles would launch first and then radio down coded orders to whatever Soviet weapons had survived the first strike. At that point, the machines will have taken over the war. Soaring over the smoldering, radioactive ruins of the motherland, and with all ground communications destroyed, the command missiles would lead the destruction of the US.
The US did build versions of these technologies, deploying command missiles in what was called the Emergency Rocket Communications System. It also developed seismic and radiation sensors to monitor for nuclear tests or explosions the world over. But the US never combined it all into a system of zombie retaliation. It feared accidents and the one mistake that could end it all.
Instead, airborne American crews with the capacity and authority to launch retaliatory strikes were kept aloft throughout the Cold War. Their mission was similar to Perimeter's, but the system relied more on people and less on machines.
And in keeping with the principles of Cold War game theory, the US told the Soviets all about it.
The first mention of a doomsday machine, according to P. D. Smith, author of Doomsday Men, was on an NBC radio broadcast in February 1950, when the atomic scientist Leo Szilard described a hypothetical system of hydrogen bombs that could cover the world in radioactive dust and end all human life. "Who would want to kill everybody on earth?" he asked rhetorically. Someone who wanted to deter an attacker. If Moscow were on the brink of military defeat, for example, it could halt an invasion by declaring, "We will detonate our H-bombs."
A decade and a half later, Stanley Kubrick's satirical masterpiece Dr. Strangelove permanently embedded the idea in the public imagination. In the movie, a rogue US general sends his bomber wing to preemptively strike the USSR. The Soviet ambassador then reveals that his country has just deployed a device that will automatically respond to any nuclear attack by cloaking the planet in deadly "cobalt-thorium-G."
"The whole point of the doomsday machine is lost if you keep it a secret!" cries Dr. Strangelove. "Why didn't you tell the world?" After all, such a device works as a deterrent only if the enemy is aware of its existence. In the movie, the Soviet ambassador can only lamely respond, "It was to be announced at the party congress on Monday."
In real life, however, many Mondays and many party congresses passed after Perimeter was created. So why didn't the Soviets tell the world, or at least the White House, about it? No evidence exists that top Reagan administration officials knew anything about a Soviet doomsday plan. George Shultz, secretary of state for most of Reagan's presidency, told me that he had never heard of it.
In fact, the Soviet military didn't even inform its own civilian arms negotiators. "I was never told about Perimeter," says Yuli Kvitsinsky, lead Soviet negotiator at the time the device was created. And the brass still won't talk about it today. In addition to Yarynich, a few other people confirmed the existence of the system to me—notably former Soviet space official Alexander Zheleznyakov and defense adviser Vitali Tsygichko—but most questions about it are still met with scowls and sharp nyets. At an interview in Moscow this February with Vladimir Dvorkin, another former official in the Strategic Rocket Forces, I was ushered out of the room almost as soon as I brought up the topic.
So why was the US not informed about Perimeter? Kremlinologists have long noted the Soviet military's extreme penchant for secrecy, but surely that couldn't fully explain what appears to be a self-defeating strategic error of extraordinary magnitude.
The silence can be attributed partly to fears that the US would figure out how to disable the system. But the principal reason is more complicated and surprising. According to both Yarynich and Zheleznyakov, Perimeter was never meant as a traditional doomsday machine. The Soviets had taken game theory one step further than Kubrick, Szilard, and everyone else: They built a system to deter themselves.
By guaranteeing that Moscow could hit back, Perimeter was actually designed to keep an overeager Soviet military or civilian leader from launching prematurely during a crisis. The point, Zheleznyakov says, was "to cool down all these hotheads and extremists. No matter what was going to happen, there still would be revenge. Those who attack us will be punished."
And Perimeter bought the Soviets time. After the US installed deadly accurate Pershing II missiles on German bases in December 1983, Kremlin military planners assumed they would have only 10 to 15 minutes from the moment radar picked up an attack until impact. Given the paranoia of the era, it is not unimaginable that a malfunctioning radar, a flock of geese that looked like an incoming warhead, or a misinterpreted American war exercise could have triggered a catastrophe. Indeed, all these events actually occurred at some point. If they had happened at the same time, Armageddon might have ensued.
Perimeter solved that problem. If Soviet radar picked up an ominous but ambiguous signal, the leaders could turn on Perimeter and wait. If it turned out to be geese, they could relax and Perimeter would stand down. Confirming actual detonations on Soviet soil is far easier than confirming distant launches. "That is why we have the system," Yarynich says. "To avoid a tragic mistake. "
The mistake that both Yarynich and his counterpart in the United States, Bruce Blair, want to avoid now is silence. It's long past time for the world to come to grips with Perimeter, they argue. The system may no longer be a central element of Russian strategy—US-based Russian arms expert Pavel Podvig calls it now "just another cog in the machine"—but Dead Hand is still armed.
To Blair, who today runs a think tank in Washington called the World Security Institute, such dismissals are unacceptable. Though neither he nor anyone in the US has up-to-the-minute information on Perimeter, he sees the Russians' refusal to retire it as yet another example of the insufficient reduction of forces on both sides. There is no reason, he says, to have thousands of armed missiles on something close to hair-trigger alert. Despite how far the world has come, there's still plenty of opportunity for colossal mistakes. When I talked to him recently, he spoke both in sorrow and in anger: "The Cold War is over. But we act the same way that we used to."
Yarynich, likewise, is committed to the principle that knowledge about nuclear command and control means safety. But he also believes that Perimeter can still serve a useful purpose. Yes, it was designed as a self-deterrent, and it filled that role well during the hottest days of the Cold War. But, he wonders, couldn't it now also play the traditional role of a doomsday device? Couldn't it deter future enemies if publicized?
The waters of international conflict never stay calm for long. A recent case in point was the heated exchange between the Bush administration and Russian president Vladimir Putin over Georgia. "It's nonsense not to talk about Perimeter," Yarynich says. If the existence of the device isn't made public, he adds, "we have more risk in future crises. And crisis is inevitable."
As Yarynich describes Perimeter with pride, I challenge him with the classic critique of such systems: What if they fail? What if something goes wrong? What if a computer virus, earthquake, reactor meltdown, and power outage conspire to convince the system that war has begun?
Yarynich sips his beer and dismisses my concerns. Even given an unthinkable series of accidents, he reminds me, there would still be at least one human hand to prevent Perimeter from ending the world. Prior to 1985, he says, the Soviets designed several automatic systems that could launch counterattacks without any human involvement whatsoever. But all these devices were rejected by the high command. Perimeter, he points out, was never a truly autonomous doomsday device. "If there are explosions and all communications are broken," he says, "then the people in this facility can—I would like to underline can—launch."
Yes, I agree, a human could decide in the end not to press the button. But that person is a soldier, isolated in an underground bunker, surrounded by evidence that the enemy has just destroyed his homeland and everyone he knows. Sensors have gone off; timers are ticking. There's a checklist, and soldiers are trained to follow checklists.
Wouldn't any officer just launch? I ask Yarynich what he would do if he were alone in the bunker. He shakes his head. "I cannot say if I would push the button."
It might not actually be a button, he then explains. It could now be some kind of a key or other secure form of switch. He's not absolutely sure. After all, he says, Dead Hand is continuously being upgraded.
Great Moments in Nuclear Game Theory
Permissive Action Links
When: 1960s
What: Midway through the Cold War, American leaders began to worry that a rogue US officer might launch a small, unauthorized strike, prompting massive retaliation. So in 1962, Robert McNamara ordered every nuclear weapon locked with numerical codes.
Effect: None. Irritated by the restriction, Strategic Air Command set all the codes to strings of zeros. The Defense Department didn't learn of the subterfuge until 1977.
US-Soviet Hotline
When: 1963
What: The USSR and US set up a direct line, reserved for emergencies. The goal was to prevent miscommunication about nuclear launches.
Effect: Unclear. To many it was a safeguard. But one Defense official in the 1970s hypothesized that the Soviet leader could authorize a small strike and then call to blame the launch on a renegade, saying, "But if you promise not to respond, I will order an absolute lockdown immediately."
Missile Defense
When: 1983
What: President Reagan proposed a system of nuclear weapons and lasers in space to shoot down enemy missiles. He considered it a tool for peace and promised to share the technology.
Effect: Destabilizing. The Soviets believed the true purpose of the "Star Wars" system was to back up a US first strike. The technology couldn't stop a massive Soviet launch, they figured, but it might thwart a weakened Soviet response.
Airborne Command Post
When: 1961-1990
What: For three decades, the US kept aircraft in the sky 24/7 that could communicate with missile silos and give the launch order if ground-based command centers were ever destroyed.
Effect: Stabilizing. Known as Looking Glass, it was the American equivalent of Perimeter, guaranteeing that the US could launch a counterattack. And the US told the Soviets all about it, ensuring that it served as a deterrent.
Senior editor Nicholas Thompson (nicholas_thompson@wired.com) is the author of The Hawk and the Dove: Paul Nitze, George Kennan, and the History of the Cold War.
WIRED MAGAZINE: 17.10
Inside the Apocalyptic Soviet Doomsday Machine
By Nicholas Thompson 09.21.09
The technical name was Perimeter, but some called it Mertvaya Ruka, Dead Hand.
Valery Yarynich glances nervously over his shoulder. Clad in a brown leather jacket, the 72-year-old former Soviet colonel is hunkered in the back of the dimly lit Iron Gate restaurant in Washington, DC. It's March 2009—the Berlin Wall came down two decades ago—but the lean and fit Yarynich is as jumpy as an informant dodging the KGB. He begins to whisper, quietly but firmly.
"The Perimeter system is very, very nice," he says. "We remove unique responsibility from high politicians and the military." He looks around again.
Yarynich is talking about Russia's doomsday machine. That's right, an actual doomsday device—a real, functioning version of the ultimate weapon, always presumed to exist only as a fantasy of apocalypse-obsessed science fiction writers and paranoid über-hawks. The thing that historian Lewis Mumford called "the central symbol of this scientifically organized nightmare of mass extermination." Turns out Yarynich, a 30-year veteran of the Soviet Strategic Rocket Forces and Soviet General Staff, helped build one.
The point of the system, he explains, was to guarantee an automatic Soviet response to an American nuclear strike. Even if the US crippled the USSR with a surprise attack, the Soviets could still hit back. It wouldn't matter if the US blew up the Kremlin, took out the defense ministry, severed the communications network, and killed everyone with stars on their shoulders. Ground-based sensors would detect that a devastating blow had been struck and a counterattack would be launched.
The technical name was Perimeter, but some called it Mertvaya Ruka, or Dead Hand. It was built 25 years ago and remained a closely guarded secret. With the demise of the USSR, word of the system did leak out, but few people seemed to notice. In fact, though Yarynich and a former Minuteman launch officer named Bruce Blair have been writing about Perimeter since 1993 in numerous books and newspaper articles, its existence has not penetrated the public mind or the corridors of power. The Russians still won't discuss it, and Americans at the highest levels—including former top officials at the State Department and White House—say they've never heard of it. When I recently told former CIA director James Woolsey that the USSR had built a doomsday device, his eyes grew cold. "I hope to God the Soviets were more sensible than that." They weren't.
The system remains so shrouded that Yarynich worries his continued openness puts him in danger. He might have a point: One Soviet official who spoke with Americans about the system died in a mysterious fall down a staircase. But Yarynich takes the risk. He believes the world needs to know about Dead Hand. Because, after all, it is still in place.
The system that Yarynich helped build came online in 1985, after some of the most dangerous years of the Cold War. Throughout the '70s, the USSR had steadily narrowed the long US lead in nuclear firepower. At the same time, post-Vietnam, recession-era America seemed weak and confused. Then in strode Ronald Reagan, promising that the days of retreat were over. It was morning in America, he said, and twilight in the Soviet Union.
Part of the new president's hard-line approach was to make the Soviets believe that the US was unafraid of nuclear war. Many of his advisers had long advocated modeling and actively planning for nuclear combat. These were the progeny of Herman Kahn, author of On Thermonuclear War and Thinking About the Unthinkable. They believed that the side with the largest arsenal and an expressed readiness to use it would gain leverage during every crisis.
The new administration began expanding the US nuclear arsenal and priming the silos. And it backed up the bombs with bluster. In his 1981 Senate confirmation hearings, Eugene Rostow, incoming head of the Arms Control and Disarmament Agency, signaled that the US just might be crazy enough to use its weapons, declaring that Japan "not only survived but flourished after the nuclear attack" of 1945. Speaking of a possible US-Soviet exchange, he said, "Some estimates predict that there would be 10 million casualties on one side and 100 million on another. But that is not the whole of the population."
Meanwhile, in ways both small and large, US behavior toward the Soviets took on a harsher edge. Soviet ambassador Anatoly Dobrynin lost his reserved parking pass at the State Department. US troops swooped into tiny Grenada to defeat communism in Operation Urgent Fury. US naval exercises pushed ever closer to Soviet waters.
The strategy worked. Moscow soon believed the new US leadership really was ready to fight a nuclear war. But the Soviets also became convinced that the US was now willing to start a nuclear war. "The policy of the Reagan administration has to be seen as adventurous and serving the goal of world domination," Soviet marshal Nikolai Ogarkov told a gathering of the Warsaw Pact chiefs of staff in September 1982. "In 1941, too, there were many among us who warned against war and many who did not believe a war was coming," Ogarkov said, referring to the German invasion of his country. "Thus, the situation is not only very serious but also very dangerous."
A few months later, Reagan made one of the most provocative moves of the Cold War. He announced that the US was going to develop a shield of lasers and nuclear weapons in space to defend against Soviet warheads. He called it missile defense; critics mocked it as "Star Wars."
To Moscow it was the Death Star—and it confirmed that the US was planning an attack. It would be impossible for the system to stop thousands of incoming Soviet missiles at once, so missile defense made sense only as a way of mopping up after an initial US strike. The US would first fire its thousands of weapons at Soviet cities and missile silos. Some Soviet weapons would survive for a retaliatory launch, but Reagan's shield could block many of those. Thus, Star Wars would nullify the long-standing doctrine of mutually assured destruction, the principle that neither side would ever start a nuclear war since neither could survive a counterattack.
As we know now, Reagan was not planning a first strike. According to his private diaries and personal letters, he genuinely believed he was bringing about lasting peace. (He once told Gorbachev he might be a reincarnation of the human who invented the first shield.) The system, Reagan insisted, was purely defensive. But as the Soviets knew, if the Americans were mobilizing for attack, that's exactly what you'd expect them to say. And according to Cold War logic, if you think the other side is about to launch, you should do one of two things: Either launch first or convince the enemy that you can strike back even if you're dead.
Perimeter ensures the ability to strike back, but it's no hair-trigger device. It was designed to lie semi-dormant until switched on by a high official in a crisis. Then it would begin monitoring a network of seismic, radiation, and air pressure sensors for signs of nuclear explosions. Before launching any retaliatory strike, the system had to check off four if/then propositions: If it was turned on, then it would try to determine that a nuclear weapon had hit Soviet soil. If it seemed that one had, the system would check to see if any communication links to the war room of the Soviet General Staff remained. If they did, and if some amount of time—likely ranging from 15 minutes to an hour—passed without further indications of attack, the machine would assume officials were still living who could order the counterattack and shut down. But if the line to the General Staff went dead, then Perimeter would infer that apocalypse had arrived. It would immediately transfer launch authority to whoever was manning the system at that moment deep inside a protected bunker—bypassing layers and layers of normal command authority. At that point, the ability to destroy the world would fall to whoever was on duty: maybe a high minister sent in during the crisis, maybe a 25-year-old junior officer fresh out of military academy. And if that person decided to press the button ... If/then. If/then. If/then. If/then.
Once initiated, the counterattack would be controlled by so-called command missiles. Hidden in hardened silos designed to withstand the massive blast and electromagnetic pulses of a nuclear explosion, these missiles would launch first and then radio down coded orders to whatever Soviet weapons had survived the first strike. At that point, the machines will have taken over the war. Soaring over the smoldering, radioactive ruins of the motherland, and with all ground communications destroyed, the command missiles would lead the destruction of the US.
The US did build versions of these technologies, deploying command missiles in what was called the Emergency Rocket Communications System. It also developed seismic and radiation sensors to monitor for nuclear tests or explosions the world over. But the US never combined it all into a system of zombie retaliation. It feared accidents and the one mistake that could end it all.
Instead, airborne American crews with the capacity and authority to launch retaliatory strikes were kept aloft throughout the Cold War. Their mission was similar to Perimeter's, but the system relied more on people and less on machines.
And in keeping with the principles of Cold War game theory, the US told the Soviets all about it.
The first mention of a doomsday machine, according to P. D. Smith, author of Doomsday Men, was on an NBC radio broadcast in February 1950, when the atomic scientist Leo Szilard described a hypothetical system of hydrogen bombs that could cover the world in radioactive dust and end all human life. "Who would want to kill everybody on earth?" he asked rhetorically. Someone who wanted to deter an attacker. If Moscow were on the brink of military defeat, for example, it could halt an invasion by declaring, "We will detonate our H-bombs."
A decade and a half later, Stanley Kubrick's satirical masterpiece Dr. Strangelove permanently embedded the idea in the public imagination. In the movie, a rogue US general sends his bomber wing to preemptively strike the USSR. The Soviet ambassador then reveals that his country has just deployed a device that will automatically respond to any nuclear attack by cloaking the planet in deadly "cobalt-thorium-G."
"The whole point of the doomsday machine is lost if you keep it a secret!" cries Dr. Strangelove. "Why didn't you tell the world?" After all, such a device works as a deterrent only if the enemy is aware of its existence. In the movie, the Soviet ambassador can only lamely respond, "It was to be announced at the party congress on Monday."
In real life, however, many Mondays and many party congresses passed after Perimeter was created. So why didn't the Soviets tell the world, or at least the White House, about it? No evidence exists that top Reagan administration officials knew anything about a Soviet doomsday plan. George Shultz, secretary of state for most of Reagan's presidency, told me that he had never heard of it.
In fact, the Soviet military didn't even inform its own civilian arms negotiators. "I was never told about Perimeter," says Yuli Kvitsinsky, lead Soviet negotiator at the time the device was created. And the brass still won't talk about it today. In addition to Yarynich, a few other people confirmed the existence of the system to me—notably former Soviet space official Alexander Zheleznyakov and defense adviser Vitali Tsygichko—but most questions about it are still met with scowls and sharp nyets. At an interview in Moscow this February with Vladimir Dvorkin, another former official in the Strategic Rocket Forces, I was ushered out of the room almost as soon as I brought up the topic.
So why was the US not informed about Perimeter? Kremlinologists have long noted the Soviet military's extreme penchant for secrecy, but surely that couldn't fully explain what appears to be a self-defeating strategic error of extraordinary magnitude.
The silence can be attributed partly to fears that the US would figure out how to disable the system. But the principal reason is more complicated and surprising. According to both Yarynich and Zheleznyakov, Perimeter was never meant as a traditional doomsday machine. The Soviets had taken game theory one step further than Kubrick, Szilard, and everyone else: They built a system to deter themselves.
By guaranteeing that Moscow could hit back, Perimeter was actually designed to keep an overeager Soviet military or civilian leader from launching prematurely during a crisis. The point, Zheleznyakov says, was "to cool down all these hotheads and extremists. No matter what was going to happen, there still would be revenge. Those who attack us will be punished."
And Perimeter bought the Soviets time. After the US installed deadly accurate Pershing II missiles on German bases in December 1983, Kremlin military planners assumed they would have only 10 to 15 minutes from the moment radar picked up an attack until impact. Given the paranoia of the era, it is not unimaginable that a malfunctioning radar, a flock of geese that looked like an incoming warhead, or a misinterpreted American war exercise could have triggered a catastrophe. Indeed, all these events actually occurred at some point. If they had happened at the same time, Armageddon might have ensued.
Perimeter solved that problem. If Soviet radar picked up an ominous but ambiguous signal, the leaders could turn on Perimeter and wait. If it turned out to be geese, they could relax and Perimeter would stand down. Confirming actual detonations on Soviet soil is far easier than confirming distant launches. "That is why we have the system," Yarynich says. "To avoid a tragic mistake. "
The mistake that both Yarynich and his counterpart in the United States, Bruce Blair, want to avoid now is silence. It's long past time for the world to come to grips with Perimeter, they argue. The system may no longer be a central element of Russian strategy—US-based Russian arms expert Pavel Podvig calls it now "just another cog in the machine"—but Dead Hand is still armed.
To Blair, who today runs a think tank in Washington called the World Security Institute, such dismissals are unacceptable. Though neither he nor anyone in the US has up-to-the-minute information on Perimeter, he sees the Russians' refusal to retire it as yet another example of the insufficient reduction of forces on both sides. There is no reason, he says, to have thousands of armed missiles on something close to hair-trigger alert. Despite how far the world has come, there's still plenty of opportunity for colossal mistakes. When I talked to him recently, he spoke both in sorrow and in anger: "The Cold War is over. But we act the same way that we used to."
Yarynich, likewise, is committed to the principle that knowledge about nuclear command and control means safety. But he also believes that Perimeter can still serve a useful purpose. Yes, it was designed as a self-deterrent, and it filled that role well during the hottest days of the Cold War. But, he wonders, couldn't it now also play the traditional role of a doomsday device? Couldn't it deter future enemies if publicized?
The waters of international conflict never stay calm for long. A recent case in point was the heated exchange between the Bush administration and Russian president Vladimir Putin over Georgia. "It's nonsense not to talk about Perimeter," Yarynich says. If the existence of the device isn't made public, he adds, "we have more risk in future crises. And crisis is inevitable."
As Yarynich describes Perimeter with pride, I challenge him with the classic critique of such systems: What if they fail? What if something goes wrong? What if a computer virus, earthquake, reactor meltdown, and power outage conspire to convince the system that war has begun?
Yarynich sips his beer and dismisses my concerns. Even given an unthinkable series of accidents, he reminds me, there would still be at least one human hand to prevent Perimeter from ending the world. Prior to 1985, he says, the Soviets designed several automatic systems that could launch counterattacks without any human involvement whatsoever. But all these devices were rejected by the high command. Perimeter, he points out, was never a truly autonomous doomsday device. "If there are explosions and all communications are broken," he says, "then the people in this facility can—I would like to underline can—launch."
Yes, I agree, a human could decide in the end not to press the button. But that person is a soldier, isolated in an underground bunker, surrounded by evidence that the enemy has just destroyed his homeland and everyone he knows. Sensors have gone off; timers are ticking. There's a checklist, and soldiers are trained to follow checklists.
Wouldn't any officer just launch? I ask Yarynich what he would do if he were alone in the bunker. He shakes his head. "I cannot say if I would push the button."
It might not actually be a button, he then explains. It could now be some kind of a key or other secure form of switch. He's not absolutely sure. After all, he says, Dead Hand is continuously being upgraded.
Great Moments in Nuclear Game Theory
Permissive Action Links
When: 1960s
What: Midway through the Cold War, American leaders began to worry that a rogue US officer might launch a small, unauthorized strike, prompting massive retaliation. So in 1962, Robert McNamara ordered every nuclear weapon locked with numerical codes.
Effect: None. Irritated by the restriction, Strategic Air Command set all the codes to strings of zeros. The Defense Department didn't learn of the subterfuge until 1977.
US-Soviet Hotline
When: 1963
What: The USSR and US set up a direct line, reserved for emergencies. The goal was to prevent miscommunication about nuclear launches.
Effect: Unclear. To many it was a safeguard. But one Defense official in the 1970s hypothesized that the Soviet leader could authorize a small strike and then call to blame the launch on a renegade, saying, "But if you promise not to respond, I will order an absolute lockdown immediately."
Missile Defense
When: 1983
What: President Reagan proposed a system of nuclear weapons and lasers in space to shoot down enemy missiles. He considered it a tool for peace and promised to share the technology.
Effect: Destabilizing. The Soviets believed the true purpose of the "Star Wars" system was to back up a US first strike. The technology couldn't stop a massive Soviet launch, they figured, but it might thwart a weakened Soviet response.
Airborne Command Post
When: 1961-1990
What: For three decades, the US kept aircraft in the sky 24/7 that could communicate with missile silos and give the launch order if ground-based command centers were ever destroyed.
Effect: Stabilizing. Known as Looking Glass, it was the American equivalent of Perimeter, guaranteeing that the US could launch a counterattack. And the US told the Soviets all about it, ensuring that it served as a deterrent.
Senior editor Nicholas Thompson (nicholas_thompson@wired.com) is the author of The Hawk and the Dove: Paul Nitze, George Kennan, and the History of the Cold War.
Sunday, January 25, 2009
King fan publishes Shining's Jack Torrance's novel
http://www.guardian.co.uk/books/2009/jan/07/stephen-king-shining-novelStephen King fan publishes Shining's Jack Torrance's novel
Alison Flood
guardian.co.uk, Wednesday 7 January 2009
A Stephen King fan has published an 80-page version of the book which novelist Jack Torrance obsessively writes during King's The Shining, where his descent into madness is revealed when his wife discovers that his work consists of just one phrase, endlessly repeated.
Torrance, played by Jack Nicholson in terrifying form in Stanley Kubrick's 1980 film, is a frustrated writer who goes with his wife and son to spend the winter in the isolated Overlook Hotel in an attempt to get the novel he has always wanted to write started. But the hotel's grisly past and unquiet ghosts have their way with him, and his wife Wendy eventually finds that the manuscript he has been working on actually only contains the phrase "All work and no play makes Jack a dull boy", typed over and over again.
Now New York artist Phil Buehler, who describes himself as "a big fan of Stanley Kubrick and Stephen King", has self-published a book credited to Torrance, repeating the phrase throughout but formatting each page differently, using the words to create different shapes from zigzags to spirals.
"The idea has probably been marinating for years, because I loved the movie and the Stephen King book," said Buehler. "I'd just finished my own obsessive art project [and] it was an idea I had over the Christmas holidays."
He said he decided to stick to type and formatting that could have been created on a typewriter, with the first ten pages duplicating shots of Torrance's work from the film. "I thought 'if he continues to get crazier, what would those pages look like?'" he said. "I hit writer's block about 60 pages in, and I had to get to 80 - that went on for about a week." His fiancée, who had neither read the book nor seen the film, became a little concerned about his actions. "I finally showed her the movie, and she realised I wasn't really losing it," said Buehler.
He's included a spoof review from the blog OverThinkingIt.com on the book's back jacket, which compares it to "the best of Beckett" in its "lack of forward momentum", and considers the struggles of the author, "heroically pitting himself against the Sisyphusean sentence". "It's that metatextual struggle of Man vs. Typewriter that gives this book its spellbinding power," the review says. "Some will dismiss it as simplistic; that's like dismissing a Pollack canvas as mere splatters of paint."
So far, Buehler says that around 1,000 people have viewed the book, for sale on Blurb.com for $8.95 in paperback, or $22.95 in hardback, and he's sold "a few" copies, with sales now starting to pick up steam. "A few people have asked me to sign it - they're looking it as a piece of art rather than a funny thing to give to a Kubrick fan," he said. "If you're not a Kubrick or King fan, you might not even get it."
Sunday, March 23, 2008
For Clarke, Issues of Faith Tackled Scientifically
http://www.nytimes.com/2008/03/20/books/20clar.html
March 20, 2008
An Appraisal
For Clarke, Issues of Faith, but Tackled Scientifically
By EDWARD ROTHSTEIN
“Absolutely no religious rites of any kind, relating to any religious faith, should be associated with my funeral” were the instructions left by Arthur C. Clarke, who died on Wednesday at the age of 90. This may not have surprised anyone who knew that this science-fiction writer, fabulist, fantasist and deep-sea diver had long seen religion as a symptom of humanity’s “infancy,” something to be outgrown and overcome.
But his fervor is still jarring because when it comes to the scriptural texts of modern science fiction, and the astonishing generation of prophetic innovators who were his contemporaries — Isaac Asimov, Robert A. Heinlein and Ray Bradbury — Mr. Clarke’s writings were the most biblical, the most prepared to amplify reason with mystical conviction, the most religious in the largest sense of religion: speculating about beginnings and endings, and how we get from one to the other.
Stanley Kubrick’s film of Mr. Clarke’s “2001: A Space Odyssey” for example — a project developed with the author — is haunting not for its sci-fi imaginings of artificial intelligence and space-station engineering but for its evocation of humanity’s origins and its vision of a transcendent future embodied in a human fetus poised in space.
Even the titles of some of Mr. Clarke’s stories invoke scriptural language. “If I Forget Thee, Oh Earth ...” tells of a boy on a lunar colony who is taken out by his father to see their mother planet rendered uninhabitable by nuclear war, an experience that inspires a dream of future return to be passed from generation to generation. In “The Nine Billion Names of God” monks of a Tibetan-like retreat believe that the very purpose of humanity is to write down the nine billion permutations of letters that spell God’s secret name, a project assisted by representatives of an I.B.M.-style company who indulgently supply the equipment so the project can come to its long-awaited close. As the computer experts fly home, “overhead, without any fuss, the stars were going out.”
Religious symbolism is not always beneficent of course. In what may be Mr. Clarke’s most suggestive and disturbing novel, “Childhood’s End,” an alien race of Overlords, with apparent generosity, establish a utopia on Earth, eliminating human warfare and ushering in an era of plenty. But it is no accident that when the Overlords are finally described they have the appearance of Satanic creatures, complete with “the leathery wings, the little horns, the barbed tail.”
Whatever attitude comes through — and it is almost always fraught with ambiguity — religion suffuses Mr. Clarke’s realm. He demands the canvas of Genesis and upon it he enacts experiments in thought. All science fiction does this to a certain extent, trying to imagine alternative universes in which one factor or another is slightly different. What if carbon were not the fundamental element in life forms? What if a society existed that never experienced nighttime?
Mr. Clarke’s enterprise, though, is at the edges of the frame: trying to examine the moments when things come to be and when they come to an end. In the short story “Rescue Party” aliens come to save Earth from an imminent solar explosion. They find that humans, a primitive species that had known how to use radio signals for barely 200 years, had already saved themselves, launching a fleet of ships into the stars, knowing their journey would take hundreds of years.
The rescuers are shocked by humanity’s daring and determination. “This is the youngest civilization in the Universe,” one notes. “Four hundred thousand years ago it did not even exist. What will it be a million years from now?” The story foretells the dominance of this species even though it is outnumbered by the creatures of the heavens — a dominance that, as Mr. Clarke makes sure we feel, will not always be welcome.
Such apocalypse is the bread and butter of science fiction, but sometimes with Mr. Clarke it is also the communion, the sharing of a moment of transcendence in which some destiny is fulfilled, some possibility opened up. Hence the fetus of “2001.” That transformation may also not be something to be desired by current standards. The prospects are just too alien, like the ineffable Overmind in “Childhood’s End” that propels humanity to a new evolutionary stage, inspiring as much horror as awe.
This side of Mr. Clarke’s work may be the most eerie, particularly because his mystical speculations accompany an uncanny ability to envision worlds that are eminently plausible. It is Mr. Clarke who first conceived of the communication satellites that orbit directly over a single spot on Earth and allow the planet to be blanketed in a network of signals. There are many other examples as well.
But acts of reason and scientific speculation are just the beginning of his imaginings. Reason alone is insufficient. Something else is required. For anyone who read Mr. Clarke in the 1960s and ’70s, when space exploration and scientific research had an extraordinary sheen, his science fiction made that enterprise even more thrilling by taking the longest and broadest view, in which the achievements of a few decades fit into a vision of epic proportions reaching millenniums into the future. It is no wonder that two generations of scientists were affected by his work.
For all his acclaimed forecasting ability, though, it is unclear whether Mr. Clarke knew precisely what he saw in that future. There is something cold in his vision, particularly when he imagines the evolutionary transformation of humanity. He leaves behind all the things that we recognize and know, and he doesn’t provide much guidance for how to live within the world we recognize and know. In that sense his work has little to do with religion.
But overall religion is unavoidable. Mr. Clarke famously — and accurately — said that “any sufficiently advanced technology is indistinguishable from magic.”
Perhaps any sufficiently sophisticated science fiction, at least in his case, is nearly indistinguishable from religion.
March 20, 2008
An Appraisal
For Clarke, Issues of Faith, but Tackled Scientifically
By EDWARD ROTHSTEIN
“Absolutely no religious rites of any kind, relating to any religious faith, should be associated with my funeral” were the instructions left by Arthur C. Clarke, who died on Wednesday at the age of 90. This may not have surprised anyone who knew that this science-fiction writer, fabulist, fantasist and deep-sea diver had long seen religion as a symptom of humanity’s “infancy,” something to be outgrown and overcome.
But his fervor is still jarring because when it comes to the scriptural texts of modern science fiction, and the astonishing generation of prophetic innovators who were his contemporaries — Isaac Asimov, Robert A. Heinlein and Ray Bradbury — Mr. Clarke’s writings were the most biblical, the most prepared to amplify reason with mystical conviction, the most religious in the largest sense of religion: speculating about beginnings and endings, and how we get from one to the other.
Stanley Kubrick’s film of Mr. Clarke’s “2001: A Space Odyssey” for example — a project developed with the author — is haunting not for its sci-fi imaginings of artificial intelligence and space-station engineering but for its evocation of humanity’s origins and its vision of a transcendent future embodied in a human fetus poised in space.
Even the titles of some of Mr. Clarke’s stories invoke scriptural language. “If I Forget Thee, Oh Earth ...” tells of a boy on a lunar colony who is taken out by his father to see their mother planet rendered uninhabitable by nuclear war, an experience that inspires a dream of future return to be passed from generation to generation. In “The Nine Billion Names of God” monks of a Tibetan-like retreat believe that the very purpose of humanity is to write down the nine billion permutations of letters that spell God’s secret name, a project assisted by representatives of an I.B.M.-style company who indulgently supply the equipment so the project can come to its long-awaited close. As the computer experts fly home, “overhead, without any fuss, the stars were going out.”
Religious symbolism is not always beneficent of course. In what may be Mr. Clarke’s most suggestive and disturbing novel, “Childhood’s End,” an alien race of Overlords, with apparent generosity, establish a utopia on Earth, eliminating human warfare and ushering in an era of plenty. But it is no accident that when the Overlords are finally described they have the appearance of Satanic creatures, complete with “the leathery wings, the little horns, the barbed tail.”
Whatever attitude comes through — and it is almost always fraught with ambiguity — religion suffuses Mr. Clarke’s realm. He demands the canvas of Genesis and upon it he enacts experiments in thought. All science fiction does this to a certain extent, trying to imagine alternative universes in which one factor or another is slightly different. What if carbon were not the fundamental element in life forms? What if a society existed that never experienced nighttime?
Mr. Clarke’s enterprise, though, is at the edges of the frame: trying to examine the moments when things come to be and when they come to an end. In the short story “Rescue Party” aliens come to save Earth from an imminent solar explosion. They find that humans, a primitive species that had known how to use radio signals for barely 200 years, had already saved themselves, launching a fleet of ships into the stars, knowing their journey would take hundreds of years.
The rescuers are shocked by humanity’s daring and determination. “This is the youngest civilization in the Universe,” one notes. “Four hundred thousand years ago it did not even exist. What will it be a million years from now?” The story foretells the dominance of this species even though it is outnumbered by the creatures of the heavens — a dominance that, as Mr. Clarke makes sure we feel, will not always be welcome.
Such apocalypse is the bread and butter of science fiction, but sometimes with Mr. Clarke it is also the communion, the sharing of a moment of transcendence in which some destiny is fulfilled, some possibility opened up. Hence the fetus of “2001.” That transformation may also not be something to be desired by current standards. The prospects are just too alien, like the ineffable Overmind in “Childhood’s End” that propels humanity to a new evolutionary stage, inspiring as much horror as awe.
This side of Mr. Clarke’s work may be the most eerie, particularly because his mystical speculations accompany an uncanny ability to envision worlds that are eminently plausible. It is Mr. Clarke who first conceived of the communication satellites that orbit directly over a single spot on Earth and allow the planet to be blanketed in a network of signals. There are many other examples as well.
But acts of reason and scientific speculation are just the beginning of his imaginings. Reason alone is insufficient. Something else is required. For anyone who read Mr. Clarke in the 1960s and ’70s, when space exploration and scientific research had an extraordinary sheen, his science fiction made that enterprise even more thrilling by taking the longest and broadest view, in which the achievements of a few decades fit into a vision of epic proportions reaching millenniums into the future. It is no wonder that two generations of scientists were affected by his work.
For all his acclaimed forecasting ability, though, it is unclear whether Mr. Clarke knew precisely what he saw in that future. There is something cold in his vision, particularly when he imagines the evolutionary transformation of humanity. He leaves behind all the things that we recognize and know, and he doesn’t provide much guidance for how to live within the world we recognize and know. In that sense his work has little to do with religion.
But overall religion is unavoidable. Mr. Clarke famously — and accurately — said that “any sufficiently advanced technology is indistinguishable from magic.”
Perhaps any sufficiently sophisticated science fiction, at least in his case, is nearly indistinguishable from religion.
Friday, March 21, 2008
Writer Arthur C. Clarke dies at 90
http://news.yahoo.com/s/ap/20080318/ap_on_en_ot/obit_clarke
Writer Arthur C. Clarke dies at 90
By RAVI NESSMAN, Associated Press Writer
3-18-8
Arthur C. Clarke, a visionary science fiction writer who won worldwide acclaim with more than 100 books on space, science and the future, died Wednesday in his adopted home of Sri Lanka, an aide said. He was 90.
Clarke, who had battled debilitating post-polio syndrome since the 1960s and sometimes used a wheelchair, died at 1:30 a.m. after suffering breathing problems, aide Rohan De Silva said.
Co-author with Stanley Kubrick of Kubrick's film "2001: A Space Odyssey," Clarke was regarded as far more than a science fiction writer.
He was credited with the concept of communications satellites in 1945, decades before they became a reality. Geosynchronous orbits, which keep satellites in a fixed position relative to the ground, are called Clarke orbits.
He joined American broadcaster Walter Cronkite as commentator on the U.S. Apollo moonshots in the late 1960s.
Clarke's non-fiction volumes on space travel and his explorations of the Great Barrier Reef and Indian Ocean earned him respect in the world of science, and in 1976 he became an honorary fellow of the American Institute of Aeronautics and Astronautics.
But it was his writing that shot him to his greatest fame and that gave him the greatest fulfillment.
"Sometimes I am asked how I would like to be remembered," Clarke said recently. "I have had a diverse career as a writer, underwater explorer and space promoter. Of all these I would like to be remembered as a writer."
From 1950, he began a prolific output of both fiction and non-fiction, sometimes publishing three books in a year. He published his best-selling "3001: The Final Odyssey" when he was 79.
Some of his best-known books are "Childhood's End," 1953; "The City and The Stars," 1956, "The Nine Billion Names of God," 1967; "Rendezvous with Rama," 1973; "Imperial Earth," 1975; and "The Songs of Distant Earth," 1986.
When Clarke and Kubrick got together to develop a movie about space, they used as basic ideas several of Clarke's shorter pieces, including "The Sentinel," written in 1948, and "Encounter in the Dawn." As work progressed on the screenplay, Clarke also wrote a novel of the story. He followed it up with "2010," "2061," and "3001: The Final Odyssey."
In 1989, two decades after the Apollo 11 moon landings, Clarke wrote: "2001 was written in an age which now lies beyond one of the great divides in human history; we are sundered from it forever by the moment when Neil Armstrong and Buzz Aldrin stepped out on to the Sea of Tranquility. Now history and fiction have become inexorably intertwined."
Clarke won the Nebula Award of the Science Fiction Writers of America in 1972, 1974 and 1979; the Hugo Award of the World Science Fiction Convention in 1974 and 1980, and in 1986 became Grand Master of the Science Fiction Writers of America. He was awarded the CBE in 1989.
Born in Minehead, western England, on Dec. 16, 1917, the son of a farmer, Arthur Charles Clark became addicted to science fiction after buying his first copies of the pulp magazine "Amazing Stories" at Woolworth's. He read English writers H.G. Wells and Olaf Stapledon and began writing for his school magazine in his teens.
Clarke went to work as a clerk in Her Majesty's Exchequer and Audit Department in London, where he joined the British Interplanetary Society and wrote his first short stories and scientific articles on space travel.
It was not until after the World War II that Clarke received a bachelor of science degree in physics and mathematics from King's College in London.
In the wartime Royal Air Force, he was put in charge of a new radar blind-landing system.
But it was an RAF memo he wrote in 1945 about the future of communications that led him to fame. It was about the possibility of using satellites to revolutionize communications — an idea whose time had decidedly not come.
Clarke later sent it to a publication called Wireless World, which almost rejected it as too far-fetched.
Clarke married in 1953, and was divorced in 1964. He had no children.
He moved to the Indian Ocean island of Sri Lanka in 1956 after embarking on a study of the Great Barrier Reef. He discovered that scuba-diving approximated the feeling of weightlessness that astronauts experience in space, and he remained a diving enthusiast, running his own scuba venture into old age.
"I'm perfectly operational underwater," he once said.
Clarke was linked by his computer with friends and fans around the world, spending each morning answering e-mails and browsing the Internet.
At a 90th birthday party thrown for Clarke in December, the author said he had three wishes: for Sri Lanka's raging civil war to end, for the world to embrace cleaner sources of energy and for evidence of extraterrestrial beings to be discovered.
In an interview with The Associated Press, Clarke once said he did not regret having never followed his novels into space, adding that he had arranged to have DNA from strands of his hair sent into orbit.
"One day, some super civilization may encounter this relic from the vanished species and I may exist in another time," he said. "Move over, Stephen King."
___
On the Net:
The Arthur C. Clarke Foundation: http://www.clarkefoundation.org
Writer Arthur C. Clarke dies at 90
By RAVI NESSMAN, Associated Press Writer
3-18-8
Arthur C. Clarke, a visionary science fiction writer who won worldwide acclaim with more than 100 books on space, science and the future, died Wednesday in his adopted home of Sri Lanka, an aide said. He was 90.
Clarke, who had battled debilitating post-polio syndrome since the 1960s and sometimes used a wheelchair, died at 1:30 a.m. after suffering breathing problems, aide Rohan De Silva said.
Co-author with Stanley Kubrick of Kubrick's film "2001: A Space Odyssey," Clarke was regarded as far more than a science fiction writer.
He was credited with the concept of communications satellites in 1945, decades before they became a reality. Geosynchronous orbits, which keep satellites in a fixed position relative to the ground, are called Clarke orbits.
He joined American broadcaster Walter Cronkite as commentator on the U.S. Apollo moonshots in the late 1960s.
Clarke's non-fiction volumes on space travel and his explorations of the Great Barrier Reef and Indian Ocean earned him respect in the world of science, and in 1976 he became an honorary fellow of the American Institute of Aeronautics and Astronautics.
But it was his writing that shot him to his greatest fame and that gave him the greatest fulfillment.
"Sometimes I am asked how I would like to be remembered," Clarke said recently. "I have had a diverse career as a writer, underwater explorer and space promoter. Of all these I would like to be remembered as a writer."
From 1950, he began a prolific output of both fiction and non-fiction, sometimes publishing three books in a year. He published his best-selling "3001: The Final Odyssey" when he was 79.
Some of his best-known books are "Childhood's End," 1953; "The City and The Stars," 1956, "The Nine Billion Names of God," 1967; "Rendezvous with Rama," 1973; "Imperial Earth," 1975; and "The Songs of Distant Earth," 1986.
When Clarke and Kubrick got together to develop a movie about space, they used as basic ideas several of Clarke's shorter pieces, including "The Sentinel," written in 1948, and "Encounter in the Dawn." As work progressed on the screenplay, Clarke also wrote a novel of the story. He followed it up with "2010," "2061," and "3001: The Final Odyssey."
In 1989, two decades after the Apollo 11 moon landings, Clarke wrote: "2001 was written in an age which now lies beyond one of the great divides in human history; we are sundered from it forever by the moment when Neil Armstrong and Buzz Aldrin stepped out on to the Sea of Tranquility. Now history and fiction have become inexorably intertwined."
Clarke won the Nebula Award of the Science Fiction Writers of America in 1972, 1974 and 1979; the Hugo Award of the World Science Fiction Convention in 1974 and 1980, and in 1986 became Grand Master of the Science Fiction Writers of America. He was awarded the CBE in 1989.
Born in Minehead, western England, on Dec. 16, 1917, the son of a farmer, Arthur Charles Clark became addicted to science fiction after buying his first copies of the pulp magazine "Amazing Stories" at Woolworth's. He read English writers H.G. Wells and Olaf Stapledon and began writing for his school magazine in his teens.
Clarke went to work as a clerk in Her Majesty's Exchequer and Audit Department in London, where he joined the British Interplanetary Society and wrote his first short stories and scientific articles on space travel.
It was not until after the World War II that Clarke received a bachelor of science degree in physics and mathematics from King's College in London.
In the wartime Royal Air Force, he was put in charge of a new radar blind-landing system.
But it was an RAF memo he wrote in 1945 about the future of communications that led him to fame. It was about the possibility of using satellites to revolutionize communications — an idea whose time had decidedly not come.
Clarke later sent it to a publication called Wireless World, which almost rejected it as too far-fetched.
Clarke married in 1953, and was divorced in 1964. He had no children.
He moved to the Indian Ocean island of Sri Lanka in 1956 after embarking on a study of the Great Barrier Reef. He discovered that scuba-diving approximated the feeling of weightlessness that astronauts experience in space, and he remained a diving enthusiast, running his own scuba venture into old age.
"I'm perfectly operational underwater," he once said.
Clarke was linked by his computer with friends and fans around the world, spending each morning answering e-mails and browsing the Internet.
At a 90th birthday party thrown for Clarke in December, the author said he had three wishes: for Sri Lanka's raging civil war to end, for the world to embrace cleaner sources of energy and for evidence of extraterrestrial beings to be discovered.
In an interview with The Associated Press, Clarke once said he did not regret having never followed his novels into space, adding that he had arranged to have DNA from strands of his hair sent into orbit.
"One day, some super civilization may encounter this relic from the vanished species and I may exist in another time," he said. "Move over, Stephen King."
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On the Net:
The Arthur C. Clarke Foundation: http://www.clarkefoundation.org
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