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But as far as the concept of HAL, who HAL was, his character - I had no role in creating him.

Clearly, if we'd had the kind of computer graphics capability then that we have now, the Star Gate sequence would be much more complex than flat planes of light and color.

I honestly believe that the next big leap in immersive technology will be very much like Brainstorm.

I visited a scientist who had a helmet with magnetic fields controlled by computer sequences that could profoundly affect your mood and your perceptions.

IBM was the original contractor for much of the computer interface design on the film.

It was the point where things became much more abstract and less literal than in the bulk of the film, which was hardcore rockets and space and planets - all a fairly straightforward evolution from what I had been doing before.

My first job on 2001 was to make all of the HAL readouts: the 16 screens that surround HAL's eyes.

My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.

The technology of the time dictated the way things looked.

There were IBM logos designed for the film, and there were IBM design consultants working with Kubrick on the layout of the controls and computer screens.

There's a consistency in my work that pops up independent of the limitations of the technology.

We're not that far from being able to plant images, memories, and emotional states directly into the brain.

When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.

I meet astrophysicists almost every week who say that they went into their line of work because of '2001.'

Movies used to be called the 'flicks' because they flickered badly: because 16 or 18 frames a second - which was those hand cranked movies on a single-bladed shutter - was really badly flickering.

I took IMAX public back in the early '90s.

It's not appropriate to a love story, or - there are a million stories you could think of that don't need 3D. A lot of movies don't even need color!

There was every reason to honestly say that 3D was a gimmick. And it's largely true. And it's largely pretty bad. When you put a filter in front of the projector, and you put on your glasses and cut the light in half again, the movies are dim as hell, and they give you headaches and eye strain, and it's terrible.

I'm developing some high-frame-rate 3-D processes that are going to be, I hope, indistiguishable from reality. This will be quite an unusual cinematic event - you don't just tell an ordinary story, it's more of a first-person experience where the melodrama doesn't get in the way. Being inside the movie rather than looking at the movie.

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