Re-cuts, de-effects, and other responses to moments from the films of Stanley Kubrick.
Michael from Lessons from the Screenplay (whose excellent video essays feature beautifully subtle motion design work) shows how this mind-bending practical effect shot from 2001: A Space Odyssey (1968) would have actually looked on-set, while shooting:
Ok, this one has always bothered me personally: the iconic intellectual cut, also from 2001: A Space Odyssey, from the bone to the space station. For such a notoriously meticulous director, the choice to match-cut at a moment when the rotation of the bone decidedly does not match the space station is a curious and long-debated one – and one which Ryan Hrovat seeks here to finally “correct”:
Kubrick’s Eyes Wide Shut (1999) makes extensive use of rear projection, a technique traditionally used to denote realism, but here repurposed, at its most artificial-looking, to create a surreal, dreamy atmosphere:
… an atmosphere noted in Nerdwriter‘s case study of Eyes Wide Shut, which examines many more of the filmmaking techniques the director employs to create tension in the viewing experience (the rear projection makes an appearance around the 3:14 mark):