![]() Some will take Kubrick’s explanation as definitive, and others, subscribing to a different philosophy of artistic creation, will show no more interest in it than they do in Ridley Scott’s personal views on whether Deckard is a replicant. Drawing explicitly on ancient mythology has become standard practice for big-budget spectacles, especially after Star Wars did it to much greater commercial success almost a decade later, but in development the idea must have seemed radical. ![]() This makes sense, or at least as much sense as any of the better interpretations of 2001‘s ending out there. It is the pattern of a great deal of mythology, and that is what we were trying to suggest. We have to only guess what happens when he goes back. Just as we’re not quite sure what do in zoos with animals to try to give them what they think is their natural environment.Īnyway, when they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made some kind of superman. They choose this room, which is a very inaccurate replica of French architecture (deliberately so, inaccurate) because one was suggesting that they had some idea of something that he might think was pretty, but wasn’t quite sure. It just seems to happen as it does in the film. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. The idea was supposed to be that he is taken in by god-like entities, creatures of pure energy and intelligence with no shape or form. “When you just say the ideas they sound foolish, whereas if they’re dramatized one feels it, but I’ll try.” He then reveals his view of the concept behind it:
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