The final watch choice can be seen on the wrists of the astronauts in the film, but the clock, which had a spacey oval face containing five digital display windows ( here’s what it looked like), sadly didn’t make the final edit.
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Hamilton agreed and duly produced two clocks and a series of wristwatch prototypes, all sporting their company logo. The digital wristwatch Hamilton made for 2001: A Space Odysseyįor 2001 Kubrick wanted both a wristwatch and a clock.
All told, Hamilton reckons their watches have had over 500 on-screen outings, appearing in everything from period dramas like Mad Men to action blockbusters from the Die Hard franchise. That same watch - thereafter dubbed ‘the Elvis watch’ - has proven a particular film favourite, also appearing in Spider-Man: Homecoming (2017) and in every instalment of Men in Black series. Before Kubric came knocking, Hamiltons had also appeared in such films as the Oscar-nominated but now less-known The Frogmen (1951), which included the company’s US Navy ‘Frogman’ diving model, as well as the Elvis Presley vehicle Blue Hawaii (1961) in which the star sports an iconic triangular-faced Ventura. The company’s relationship with the silver screen dated at least as far back as the 1932 Marlene Dietrich-starring thriller Shanghai Express, which features a Flintridge wristwatch. While collaborating with Kubrick would no doubt have been an exciting prospect, this was far from Hamilton’s first onscreen outing. They were in search of watches from the future, and, it turned out, they had come to the right place. Clarke (who penned the novel the film was based on and co-wrote the screenplay) visited the Hamilton HQ in Lancaster, Pennsylvania. During the production of the film, Kubrick and Arthur C. So Kubrick’s decision to get the watchmaker Hamilton to make the timepieces for his 1968 opus, 2001: A Space Odyssey, would have been a significant - if somewhat daunting - endorsement of the brand. The door in question only appeared on screen for a few seconds).
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(In the end, Kubrick built his own, plus a whole city block to go with it, at Pinewood Studios. Or when, as recounted by John Ronson, he had his nephew take hundreds of photographs of ‘just about every doorway in London’ in search of the perfect entranceway for use in Eyes Wide Shut. Like the time he made Shelly Duval and Jack Nicholson do a record-breaking 127 takes for the baseball bat scene from The Shining. As a director, he knew precisely what he wanted and went to extreme lengths to get it. Stanley Kubrick was a notorious perfectionist.
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