HAL 9000: “I’m sorry Dave, I’m afraid I can’t do that”

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Classic Movie Scene from 2001: A SPACE ODYSSEY 

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Movie Scene: 2001: A Space Odyssey – The Dawn of Man

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This scene shows the beginning of the Paleolithic Era, and reveals that, by the usage of tools, man could stop being a victim of the world to become an active element, who has the power of action over nature.

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FANTASY TV Show of the Day: HYDRA, by Darlyne Franklin

Title: HYDRA 

Written by: Darlyne Franklin

Genre: Thriller, Sci-Fi, Fantasy


Logline: Hydra is a medical thriller about an Island society created by a team of renegade scientists who’s radical experiments and research offer an alternative to death.

Interested in this logline, please email us at info@wildsound.ca and we’ll forward your email to the writer.

Have a logline? Submit your logline to the monthly logline contest.



FANTASY Movie Scene of the Day: We’re Not in Kansas Anymore – The Wizard of Oz (1939)

Dorothy (Judy Garland) and Toto (Terry) find themselves in a strange and wonderful new place over the rainbow where they meet Glinda (Billie Burke).

TM & © Warner Bros. (1939)
Cast: Billie Burke, Judy Garland, Terry
Directors: George Cukor, Victor Fleming, Mervyn LeRoy, Norman Taurog, King Vidor
Producers: Mervyn LeRoy, Arthur Freed
Screenwriters: Noel Langley, Florence Ryerson, Edgar Allan Woolf, L. Frank Baum, Irving Brecher, William H. Cannon, Herbert Fields, Arthur Freed, Jack Haley, E.Y. Harburg, Samuel Hoffenstein, Bert Lahr, John Lee Mahin, Herman J. Mankiewicz, Jack Mintz, Ogden Nash, Robert Pirosh, George Seaton, Sid Silvers

FANTASY Movie Scene of the Day: Tyrannosaurus Rex – Jurassic Park (1993)

Dr. Grant (Sam Neill) helps the children escape from the T-Rex, but the lawyer, Mr. Gennaro (Martin Ferrero), is eaten while hiding in the outhouse.

TM & © Universal (1993)
Cast: Martin Ferrero, Jeff Goldblum, Joseph Mazzello, Sam Neill, Ariana Richards
Director: Steven Spielberg


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Sci-Fi Movie Scene of the Day: 2001: A Space Odyssey – Hal 9000 (1968)

The Hal 9000 computer refuses to obey an order from Bowman (Keir Dullea) by simply responding in monotone, “I’m sorry Dave, I’m afraid I can’t do that.”

A mind-bending sci-fi symphony, Stanley Kubrick’s landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke’s story The Sentinel, Kubrick and Clarke’s screenplay is structured in four movements. At the “Dawn of Man,” a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss’s 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon’s surface: a black monolith. As the sun’s rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators’ headphones and stops them in their path. Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage’s purpose by a recording from Floyd, Bowman journeys to “Jupiter and Beyond the Infinite,” through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith’s evolutionary mission. With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most “realistic” depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who “didn’t get it.” Provocatively billed as “the ultimate trip,” 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one’s mind of the U.S. military-industrial-technological complex.

TM & © Warner Bros. (1968)
Cast: Keir Dullea
Director: Stanley Kubrick
Producers: Stanley Kubrick, Victor Lyndon
Screenwriters: Stanley Kubrick, Arthur C. Clarke