there's nothing i have to shout at you that you're not allowed to eat. it's just the greatest old man drink of all time. and because it's so easy, it's particularly good for lazy old man, which is what we all aspire to, especially when we see how eric cantor has set up the schedule for the house of representatives. it's been a long week but not a bad one. now it's time for "up late with alex baldwin." have a great time. stay with us. thank you, rachel. i have been looking forward to this since before we even launched the show. tonight i'll talk with two men who contributed to a singular work of art 45 years ago that still moves a film audience to this day and change the way we think about the world, our place in it and our place beyond it. every actor, myself included, spends their career striving to make one movie, just one, that achieves true immortality. i love stanley cooper's 2001

"space odyssey" because the people who made it aspire to greatness, just the way it looked established a new benchmark for the wart form, the sterile beauty created by anthony masters,er earnest lang and their crew. steven spielberg called it the big bang that inspired my generation's race to space, the library of congress selected it for preservation in the national film registry. the american film institute ranked it the 15th greatest film of the last 100 years and it was named one of the 45 great films ever made by the vatican. 2001 showed us in perhaps the clefest and most stunning of ways how we can be more than we are. tonight i'll talk with the two men who stood in for all of us, keir dullea already a movie star when he played dave bowman. and gary lockwood, dr. frank pool, who falls victim to the

ship's computer. and who also achieved science fiction immortality with his pivotal roll in the star trek episode where no man has gone before. >> ah! >> the challenge of making movies, the joy of making a masterpiece. the iconic actors who starred in one of the greatest movies of all time tonight, "up late." ♪ i work with the new york philharmonic, i'm on the board of the philharmonic, and they wanted to, this year, we talked

about it a year ago, they wanted to do some motion picture-related music programs. like john mocherry would do, he's doing "gone with the wind" and so forth, john williams, "star wars," we talked to him about certain program that is come in that are packaged, like a package of hitchcock films with the score already written, like a preconceived package, but the key element to this package was how can we get allen gilbert, the music director of the philharmonic to want to conduct himself, which allen is pretty pure and wants to do the classic repertory. so they said, what film? i said, it will have to be a coopert film. and i said, probably 2001, and allen agreed. they showed 2001 and people go insane, they love it. not only to have the beautiful score played live depictioned by

the film, but all people loved the movie. what i wanted to begin with asking you is, when you did the film, people have obviously read a lot of philosophical implications into the movie over the years, did coopert discuss any of that with you? were there philosophical implications to the film when you were shooting it? >> i have read a lot, since i was a little kid, and i read "mobydick" a couple times. and every one always wrote what the white whale meant and on and on. that's how i look at 2001. in the aftermath, everyone has all these things. some guy took acid and walked through the screen and said, it's god. some people loved it and some people hated it and on and on. stanley knew what he was doing all the way, he was the brightest guy i worked for. he was very bright. and he knew he was making a

sci-fi roos, really. frank pools, not really dead. dave bowman, we weren't really there, but the world thinks we were. when we tour with the movie, we did other countries and lectures after, believe me, people come up to us and ask us about what it was like to be in space. they do. >> but i want to show you, as i'm walking out of the screening at the philharmonic, i went one night and they showed the movie, and i'm a movie fan, i love that movie and love the two of you in it, i watched it with my friends and go, oh, my god, oh, the world is drained. we are like, just the exquisite orgasm of watching the movie. one man says, guess we realize know what the monolith was. and he holds up his phone. >> all of these films are somewhat ambiguous. it can hold a lot of interpretations, 2001 particularly, but all of his

films have possible alternative meanings for people. and the funny thing is that when i first read the script and was told i was going to be offered this role, something clicked in my head. and i remembered when i was a teenager, a young teenager, 13 or so, i was a science fiction fan, and i -- my mother would give me the best science fiction of 1950 whatever it was, '52, '53, and in one day i read the short story called "the sentinel." when i read it, it came crashing back into my head. my god, i remembered that short story because it was so impacting. and, of course, that was the short story that coopert optioned. >> both of you had interaction with arthur c. clark who wrote the novel in 2001, correct? how did that go for you? >> well, he was on the set, early on in the shooing

schedule, i don't remember him toward the end of the shooting schedule so much, because he had been working with stanley for a couple years, anyway, so -- and it was more, he was a lovely man. a gentle man, but we didn't have a lot of dialogue to do with the, with the actual shooting or the character. he didn't really -- he left that up to stanley. >> i had a couple of good moments with arthur. well, you know, we opened, we premiered in washington, d.c. and got our reviews. we came to new york and got terrible reviews. so arthur's sitting next to me and said, i said, what did you think, arthur? i think he saw the first time in new york that night, and he said, i'm completely amazed how incredible the movie was. he said, i had no idea that a movie would, my god, stanley -- i said, arthur, i've been a fan

of stanley's since i was 15, 16 years old. i said, there's nobody like him in the planet. i mean, he was the perfect guy for you to collaborate with. believe me. i mean, i don't know -- >> he knew how lucky he was. >> i had a beautiful moment with him. in '69, that was the year that the first man landed on the moon, i was doing a film in the bahamas, and cbs wanted to fly me up for an interview. and they wanted the more recent astronaut actor. >> flash gordon. >> that's right, flash gordon, so they had the two of us in an interview because they thought it would relate well. while we are waiting for them to come out, remember, they landed on the moon and it was hours before they actually stepped out. so they had this, they wanted some kind of business to fill up while they were waiting, so they flew me up and we did the interview, and then the interview was over and somebody came running onto the set saying, come out of the control room! they're coming out! so i went into the control room

and sat in the chair and am watching the monitor, it's all live, and on my left was arthur clark with tears. tears running down his cheeks. >> unbelievable. where were you in your career, what were you doing when you got the word that they wanted you to come in? >> i was shooting a film -- >> talk about the film. >> i was shooting the film called -- lawrence and olivia and carolyn. >> you were in the middle of shooting that film. >> i was in the middle of shooting that film and came home after a day's work. my wife said, call your agent. i called my agent. he said, are you sitting down? i said, no, he said, you better sit down and you have been offered the lead in stanley's next film. i didn't know it was in the works at all. >> he just offered you the film, and the same for you. >> he had screened, from what i was told, he screened -- i did a film called "david and -- it was

on the map. he sent him a set of outtakes. i'm sure he saw a lot of actors, but that's what he saw of mine and i guess that was responsible for him casting me. >> and what about you, where were you? >> i said to him one day, how did i get this job? >> don't ever ask that question. >> i did. i said, how did i get this part? he looked at me and said, i saw about 30, 40 hours of film on you. but when you're around him, you realize that nothing was by accident. i mean, he's a thinking man. and everything, every nuance, remember when we first showed up with the jumpsuits on, he turned to a very nice english lady, our mistress, and said, this isn't right. and i thought, they look pretty cool, you know? i didn't know. and he said, take them home and wash them until you come back to work tomorrow. i remember all the little tiny weird things. >> he was a chess player in all

things, wasn't he? >> of all things. >> he was almost, and i don't mean in a derogatory way at all because i loved working with stanley, he was very calm to work with, he never raised his voice, i found him very supportive to work with, but he was a little anal in terms for his eye for detail. if stanley had been an octopus, each arm would have been, his wardrobe man, makeup man, costume man, set. >> but aren't all the great ones like that? >> absolutely. >> they have an eye for the sets, it's all for one to them. >> i arrived and he didn't like my shoes, the shoes were wrong so we didn't shoot. >> so you're doing the film with predinger, what were you chuting at the time of the phone call? >> i may have been shooting the "star trek" pilot, where no man has gone before. >> what was it like working back then? you have stories of predinger. >> it was like going from the frying pan to heaven.

because all the rumors you have heard about him were true, except he was even worse. it was the worst -- i mean, it was lovely working with lawrence and he never screamed quite as loudly went olivia was on the set, but he was a real bully. and then to go working with stanley was just heaven. >> and what was it like to work with oliviet for you? >> he was very kind. and he -- one day he was overheard whispering to predinger off to the side, oh, dear boy, i wish you wouldn't scream at the children. and he said, oh, i'm too old to change! he was terrible to work with! >> yeah, he was horrible. >> he was horrible. and he made some good films, but -- i remember, i never studied lines -- because -- i was so nervous, i was a nervous

wreck. and i keep going up, i keep drying, and i knew these lines, but i was so tense. >> tension. >> and oliviet had the patience where he would run lines with me off camera, over and over and over again. he was very kind to me. >> once starring in the number one film of the year does for your love life and the uncanny experience keir dullea has coming up. the american dream is of a better future, a confident retirement. those dreams, there's just no way we're going to let them die. ♪ like they helped millions of others. by listening. planning. working one on one. that's what ameriprise financial does. that's what they can do with you. that's how ameriprise puts more within reach.

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so your first day, this is for you, gary, so the first day, what's the first scene you set, were you in that spectacular set? and what scenes were you shooting first? >> the first scene i shot was i was harnessed in the centrifuge, no, first i ran around and then later i'm in a bathrobe and am harnessed. it's an interesting thing, because you come in and walk down the hub, and i'm hardnessed

upside down. you'll get a hick out of this, and there's three pieces in front of me like grey, yellow and blue or something, and stanley has the microphone and said, well, start eating. so i take a fork and stick it into the green stuff. and as i pull it to my mouth it goes -- >> he's upside down with a harness. >> in the wheel. >> and it's a teff up there. we didn't shoot for a day and a half while they cleaned the centrifuge up. >> when you come in there and see the sets, because we said all great directors is all of one, the script, jeffrey unsworth was the photographer, what was their relationship like because you were shooting at someone who was one of the great est who ever lived who had a profound relationship with his

photographers, but kubrick knew what he wanted and contributed to that? >> i'm sure they were sidebars we weren't privileged to and they may have discussed the show. because the other thing about the -- it was a very slow pace, and some of the shots were so complicated to set up and light, sometimes we would have one setup a day. it didn't happen that often, but it did happen. or maybe two setups only in a day. >> now, in that way, the film, the set and the tone, the film doesn't work if the two of you don't have a matching tone. >> are you certain there's never been any case, these are the most i significant computer error. >> none whatsoever, frank. quite honestly, i wouldn't worry myself about that. >> well, i'm sure you're right, hal. fine, thanks very much.

>> how did you know to do what you did? did he talk to you about that? did he say, less, less, less. >> no. >> because both of you are so perfect in the tone of the film. >> maybe it comes down to part of being a great director's casting well. and i just have to think that he saw certain things in both of us, and we had the script and we knew what we were, what the story was and we knew that we -- we were in the midst of a long journey and day-to-day stuff that you see us doing before hal goes nuts is kind of pretty mundane. it's what we do every day. >> right. >> and there isn't any big drama about it, so the only thing i remember stanley saying to me at one point, i don't know if you noticed in the film, but if you're the camera, there was a lot of when i talk rather than this. he wanted me to, which he did

with malcolm mcdowell. >> you know that michelle samoa, i think he's the editor of "positive," one of the great film journals, i met him and interviewed him for a film i did a documentary about, and samoa did a survey of kubrick's films. there are masks he want his actors to achieve, and he showed plates of photographs of the same face. you making a face that nicholson makes in "the shining." that this one makes in this movie. it was a kind of mask he wanted his actors to achieve that he was fond of to achieve the result he wants that he replicates in each of his films. for you, especially, i'm hoping you dined out on that movie in terms of your love life for decades afterward. because you're probably one of the best looking guys in the movie business then and are laying there, you're like an

abercrombie model. we are all victims of gravity, my friend, as the years go by, but you were looking real good in that movie laying through on your slab talking to your parents, did you get a lot of girlfriends after that premier was over? that's a yes or no question there. >> legendary. i have to say this, though. >> the ladies were drawn to him like flies. >> i can imagine. i can imagine. >> you know, let me put it this way, it was a lot better than wages. that's the line in the misfits. that's one of my favorite lines in a movie. >> to me the park of a great movie is most of them you watch them and you'll appreciate them if you end up being in the mood for that movie, but a great movie, some of the greatest movies are movies that put you in the mood for the movie. i always used to say to people, i would be getting dressed and the woman in my life would say, we've got to go shopping. we have to go get those towels.

we've got to go to montana avenue and get these towels at the towel store. i would be like, yes, of course, we have to get those towels. and i'd be getting dressed sitting there on the edge of the bed in my underwear and the tv would come on and i would sit down, we weren't going to get towels for a while. "the godfather" would cold on and "raging bull" would come on and "to kill a mockingbird" would come on and "space odyssey" would come on. when they came on, you were not getting up. >> i'm sorry, dave, i'm afraid i can't do that. ♪ hey lady! noooo! no! [ tires screech ] ♪ nooo! nooo! nooo! hey lady, that's diesel! i know. ♪ ♪

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i remember the first scene was something very simple to kind of ease us in. i remember, i was in such awe at first of stanley. and he -- he sensed that i was, so i remember him coming over and he said, keir, you are an absolutely wonderful actor. i am so glad you're -- he did everything he could to kind of get me beyond, because i was in awe. it wasn't like my first film. >> people don't realize that, they don't realize when you do a movie with somebody you love, you meet somebody who you love, you're just kind of standing there, when i did the -- and i was in the business for quite a few years, it wasn't that long ago, really, when i did "good shepherd" with de niro. >> i played angelo's father. >> yeah, you were there. we go do that movie, and we do the scene, matt damon and i, and you hear cut. and we're waiting and you know, like unconsciously, you know the director is going to come over and give you a note about what you just did. i'm talking to matt, and the

director really took his time because he would talk to bob and richardson, and about two solid minutes would go by and the director would come over and de niro was standing in front of me. it took me 15 seconds to adjust looking at de niro. he would be talking and i wouldn't hear a word he was saying. i would just stare at him. and all i could see was movie screening in my mind of de niro, bang, bang, bang, bang! and i'm sitting there going -- and he finished and would be like, do you understand, alec? do you understand? i want to do it again and want you to do it this way this time. i would say, i'm sorry, bob, would you repeat -- but he knew. i was so caught up in studying him, because when you're with the ones you love and worship them, tony hopkins, i did the movie "the edge" with tony hopkins, because you talk about olivia and i said, do you realize what it is for me to work with you? it's the same as when you worked

with olivia. you were an apprentice and he told me stories about the woman would say to tony, solarry would like to see you, tony, in his room after the show, straight away. he would be like, all right, and you would go and knock on the door and you would hear olivia say, come in! come in! and he would open the door and olivia, i can't do him, but tony could, tony said he would say to him, my boy, my boy, my boy, my boy, when you say that line, either you come down and take your time, because when you're speaking, when you're saying the speech in shakespeare at the time, you are the star of the show. take your time, don't rush, you at that moment are the star of the show. and tony was like, my lord, i don't -- he says, you are the star whenever you're speaking shakespeare, that person speaking is the star of the show. and i said to tony, i go, you're

at the national and you did all these great roles and same thing you did, and you worked with oliviet, my god, the people -- what i would give to have had one-tenth of your experiences. he said, my god, no, he said, all i want to do the entire time i was in london was move to california. drive a convertible along the pacific coast highway, the sun shine in my face, the wind in my hair. i'm never forget that. >> you asked earlier what was the first thing i shot. it was a simple thing. it was my walking in that wheel that we in the artificial gravity section of the ship, and i'm talking to hal at one point, and i've been drawing, i've been doing a little sketch, and he wants to see it and i hold it up in front -- >> of the people in the capsules. >> exactly. so that was a very simple scene, but what it reminded me of hearing you do some of the other british dialect is that stanley

couldn't make his mind up about the voice of hal. and he was think iing too new york, then a british actor on the set by the name of nigel davenport, he let him go after a week or so. so he turned to his first assistant and said, derek, you do the voice. >> was it derek? >> he said, derek -- >> let's immortalize him. he was the first a.d. the first a.d., derek kraknel, fed you the lines. >> fed us the lines for the rest of the film. here's for us what the sound of hal was. you can't do that, dave. dave, take a stress pill. it was all like that. michael cain. he was michael cain. that took acting. >> you guys really are amazing. what you had to overcome. >> i can see you're really upset

about this. i honestly think you aught to sit down calmly, take a stress pill and think things over. >> one day we're doing a scene and it was one of the few things that i honestly kind of didn't like it, you know, the one time in the picture i said something. and i won't go -- >> you didn't think it was working. the scene itself? >> i candidly didn't. >> right. >> and i remember stanley had a mustache and he was kind of, like, he's diminutive. he has his fingers and he's kind of scratching his beard, like something's bothering him, i made a smart comment, which is my nature, and he says, derek? and his voice goes, yes, gov? that's a wrap. so we wrap, and it's early. we are in a big picture and are

behind, as urge. so we stayed fit. i'm in my room exercising and -- come in. it's derek. he sticks his head in the door and i says, yeah? he says, gov wants to see you, mate. i said, hey, derek, am i fired? because he fired people. don't know, mate. so i walked in and knocked on his door, i had never been in his dressing room, i had never been, he looks at me and says, you're polish and german? i says, yeah. he says, you drink vodka? i said, i do. so he pours me a little sniff, and i said, i prefer tequila if you have it. oh, yeah. he pours -- i'm serious he recollects poors me a little tequila. >> you are just honest, aren't you? go ahead. >> i'm a bit of a game player like anybody who is an actor. so anyway, i have this thing and said, stanley, before we get into anything, am i fired? he says, no, i'm not going to fire you.

you've been a more or less company guy. i've got to have my driver eddy take you back to london. and he said, give me a call when you come up with a better idea. i swear to god. so i get back to my flat, and i got a spiral notebook, so i start writing all the things that we want to talk about to increase the paranoia of the computer. that's what our assignment was in the scene. so i sit there and sit there and then i think, you know, if we could get isolated and, you know, so i call stanley kind of late at night. and next thing i know, he sends a car for me. and i get out there and his wife gets up and he lived like in a castle, remember? and there's a fire going and everything, and we sat there and talked about that scene. then we don't work for a couple of days and then he gave, he gave us the script. it's an 8 1/2-minute scene. and then victor lyndon, the idea was that we talk about all the disconnection problems and

everything, and then the computer had to learn about it. and i think it was victor lyndon who said, well, then he could read your lips. so that's how that scene -- >> so this is the scene where you go in the pod -- >> we improvised on that scene. he thought this was too much dialogue, so there was too much time between setups. he would record the improvation, we would get a new script the next day and then we ended up with what you see in the film. >> that's not what i mean. i'm not so sure what you think about. >> this is a little bit of a show-off on my part, but that was the only scene that i was worried about, when i was

talking to mission control, and it was gobble-gook. it was like learning a foreign language. it was the only thing that weeks in advance i was going over and over and over again because it was too redundant later, he felt, there was a similar scene just like it. but because of the way i learned the lines, i can still do the one speech. and it went like this, mission control, this is x-rated one-niner on full prediction center, niner triple zero computer showing the echo unit is possible failure within 48 hours. request check your in-ship simulator also confirm your approval to go eva and replace the echo 35 unit prior to failure mission control, this is x-ray one trans. mission concluded. and that's from 1966. >> i was going to say -- >> well done. >> this was over 45 years ago, and people don't understand how actors -- i'll never forget when i did "hunt for red october." they said we'll have a russian coach come in to teach you to say the phrase, it is always

good to know the mind of one's enemy. i remember going to my room and saying [ speaking russian ] >> oh n the car, driving home from paramount. i'll have a french fries and a strawberry shake. [ speaking russian ] >> and then, of course, you get to the set where they teach you that weeks before you shoot it. then the time when you shoot the scene, they bring in -- that russian dialogue coach isn't available, so they bring another one in. and he says, what they have written here, what they have written, it doesn't mean that at all. like every time we got done they would say, that's not how you would say that line. >> there's been a change. >> and i go, you mean to tell me the day of shooting you want to give me a different line to read. and i said, that ain't

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when did you get this place? when i negotiated your new contract, it was part of the deal. cool. [ male announcer ] campbell's chunky soup. it fills you up right. now, you, gary, as far as what you were doing, this is after 2001, for both of you, lots of tv. and i want to talk to you both about what tv was, it was work. i mean, there was a lot of work in tv, but eventually when you leave, when you come out of that

experience with kubrick, you do every cop show in the history of television. >> i never lived in one job. >> you loved to move around. you wanted to get back to malibu, no contract for you in tv. >> sorry, pal, i'm a surfer cowboy. >> they must have approached you to do your own series, you just didn't want to? >> i had done a series called "the lieutenant" and i did another one called "follow the son" where i played a beachboy, i was a detective. and i hated it. i mean, i really hated it. >> this is going from 1973, which is five years after the film, but there's a run here from '73 where you do "mission impossible," "6 million dollar man." "cannon," "streets of san francisco," "hawaii 5-0,""

scarecrow and mrs. king," "and murder she wrote." >> i was a guest star and made more money than the actors, except for angela landsbury. >> they say this is a new golden age of television, but tv was the meat and potatoes back then. did you say, no tv for me, and i'm just going to do films, like many people did? >> as a young actor, i came in when it was all live. my first nighttime drama, that was a big thing when you got to do your first nighttime drama, was, i think, david's production where he remade a movie for television, it was "mrs. minover" and i got this cameo if you remember the movie of the german pilot that shot down and

terrorizes mrs. minover in the kitchen. marin o'hara was playing the part. my first introduction to tv was very exciting. as a young actor, i loved doing it. it was much more like theater. you rehearse for three weeks with just the way you do a play and you went down and did clam up blocking and then you shot it. >> when you do a film that becomes what 2001 of "space odyssey" becomes, it isn't 2001 "space odyssey" while you're making it. it was. when you did it, you knew you were on to something the moment you were shooting it? >> well, gary was maybe more farsighted than i was. i knew i was going to be in a very important film that year because stanley kubrick was a world director. >> you were a fan of his. >> i was a fan of his, i was in drama school and i had the afternoon off.

someone said, there's a kurt douglas war movie down the street. i looked kurt douglas, it was "paths of glory," and within the first minute my jaw dropped to my lap. and i said to myself, who directed this? and i was an instant stanley kubrick fan. that's my favorite film of his, by the way. >> the man you stabbed in the back was a soldier. >> well done. >> don't you love george mccreedy. what great actors. you look at his early career, "paths of glory," taking over for, i forget who the director was in "spartacus." and sam jaffy. and vince edwards. >> oh, that's right! >> vince edwards went on to be ben casey. >> and the guy who shoots the horse in the killing, remember, he's there -- >> yeah, yeah. >> and he also played one of the

three men that was executed in "paths of glory." same actor. i can't think of his name. >> joe turkell? no, not joe. >> one day i signed him in the studio. >> he's the rifle in "the killing"? >> yeah. and joe, that you just mentioned, was the ghostly bartender in "the shining." >> yes. >> i was on a plane with him. >> that's the thing, when you work with kubrick, beyond working with woody, he had the people he used, especially back then, he had his people he used regularly and his films were tried to, copola, but there really is a special place you enter when you're in any of kubrick's films. what's interesting to me when you tell that story is what did -- kubrick, i don't want to make this about kubrick, but what did kubrick get off on?

what would happen on the set and kubrick would go, yes! and what would happen when kubrick went, ooh! >> he was a highly curious man. and if somebody came on the set, some new gadget, i remember one time, what was the new pentax camera? >> it was the olympus p2. >> he stopped shooting. he took a half hour looking at whatever it was. >> it was a gadget guy. >> oh, was he ever! he could have been called gadg. >> what warren beatty told him at the premier of "space odyssey" right after this. [ male announcer ] eenie. meenie. miney. go. ♪ ♪ ♪ more adventures await in the lexus lx.

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you were at the premier in l.a. and what did beatty say to you? >> no, beatty came up to me. >> what did he say?

>> beatty is the character, i've always liked him, he's a little nuts. the knew i was a wild guy, you know, i had some weird fights and things in my life. and he said to me one day, he said, i've always been a little afraid of you. but i like him. he's got a great sense of humor. he's a sharp guy. and he comes up and he leans in and we're out there, like remember we smoked in those days and i'm having a smoke, and he said, you're lucky, man. you know, because, you know, he knew. >> he knew the good movie. and there are three things i want to ask you, the film originally had as most people know the score by alex north. >> that's right. >> were you aware while you were shooting that north was going to be the composer and then north was composing music? when did you learn that north had been hired and fired and replaced by the -- >> after we were done. >> all that was done after. have you ever heard the youtube clips where you can hear them, they laid north's score. >> really?

i must check that out. >> you can go on youtube and see scenes from 2004 when north's score laid against it. ♪ >> even in screenings for audience screenings for test screenings, and they'll put in temp music, a lot of it, very rich music, that they can by no means afford to ultimately buy, but i would like to find out what the actual fact was because someone told me that kubrick laid the strouse in his temp music and then turned to somebody and said, what are we doing? so, now, for you, you guys

didn't have any involvement in the sequence at all. so the lights go down and you see "space odyssey" for the first time. what was your reaction? >> shall i be a southern california guy or a new york guy or an actor? >> i want you to be the gary lockwood we worship. >> totally bitchin. it blew my mind. >> it was the part of the film that i didn't know what was -- what can you write on a piece of paper that's going to be -- give you the idea of what it's going to look like. it's my favorite part of the film. actually, my personal favorite part of the film is the dawn of man, and it has two of my favorite moments in the whole film. one is when the lead ape man is casually playing with some bones and something happens. this is after he's touched the

monolith, by the way, and what does he do? he's like a dog who sees something curious. he said -- that's all he did. and then it became purposeful, right? the other great moment is when he throws the bone into the air in slow motion and it morphs into a nuclear weapon. i thought it was just a space vehicle, but recently i found out it is a nuclear weapon. >> what's it like for you, do you go to the movies that much? are you a movie goer? you still like to see movies? >> oh, yeah. >> absolutely. i thought it was a really excellent movie, i just saw "captain phillips." >> i haven't had time. is it good? >> yeah, really good. he's spectacular. he's a wonderful -- >> he's the man. >> when he was a young man, he saw 2001, and that's why he became an actor. >> that's what he said. he screened it for himself

personally on a big screen many, many, many times. it's his favorite film. >> from a category of people who we would go to revival houses, so 1968/'69, i remember i was in high school and we watched a couple films that way. but when i went to college in washington, d.c., we would go to a revival house there and see art films and so forth. 2001 for me was one of the experiences where the lights came up. and you're like, it was over, and you weren't ready for it to be over. you wanted it to keep going on. when the credits came you're like, no. then what happens? then where does he go? you weren't done with those people. the real treasure, i think, for anyone, is to have -- in film, to work as a film actor, is to have one great film. you were a part of one great film. and both of you are the stars, it's the sweet stars, the two of you and the voice of douglas

rain and kubrick, it's a great film, and two of you are the stars of one of the greatest movies ever made. does that feel good? >> absolutely. you know, i sometimes ask, doesn't it bother that you have done all this other work that you're proud of, but that nine times out of ten they mention or they know you from 2001? and my only answer is, it could be a lot worse. >> i'll take it. >> i'll take it. >> how about you? >> absolutely. >> i want to thank keir it is dullea and gary lockwood, the stars of "space odyssey" for joining us tonight. i hope you join us next week when we talk to two women who dedicated their lives to improving humanity in the real world. one battling the rising tide of

homelessness, the other fighting for immigrants' rights. christina susine and mary brosnahan next friday "up late." i'm going to take an opportunity here because i am such a huge fan, and everybody in my office thought i was crazy to do this, but i'm going to take an opportunity here and record my outgoing message. and i'm going to say it's alec, please leave me a message after the tone. before i go, i want you to know something, and i want you to say -- what do i want you to say? >> open the pod man door. >> hey, it's alec, i can't come to the phone right now, but leave a message after the tone. but in the meantime -- >> open the pod door, please, hal. >> we're done. (dad) slow it down. put the clutch in, break it, break it. (dad) just like i showed you. dad, you didn't show me, you showed him. dad, he's gonna wreck the car! (dad) he's not gonna wreck the car. (dad) no fighting in the road, please.

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