embraced nuclear weapons after his previous film, Dr. Strangelove. Carousel Kubrick spent $750,000, a large portion of his $6 million budget, on the set for the artificial gravity scenes in the carousel. The set was a vertically-mounted circular set in diameter and wide. The entire set could rotate around its axis at up to . The rim of the carousel would move slowly enough to allow the actors to walk around with it as if they were in a hamster wheel. This created the impression that the actors were walking up the walls of the set, while in fact, the actors remained at the bottom. The same technique was used for the Aries Moon shuttle scenes. This was not an entirely new idea; in the 1951 Royal Wedding a similar arrangement allowed Fred Astaire to apparently dance up the walls and along the ceiling of his hotel room. Clarke believed that the ability to transfer between zero-g and artificial gravity areas of a spaceship would be easily learnt by astronauts, and this is how Kubrick portrayed it in the film. However, expert opinion is that this would be somewhat more difficult to achieve, particularly due to the Coriolis force. Long-radius centrifuge experiments by the Naval Medical Research Laboratory starting in 1958 kept subjects in a diameter centrifuge complete with living quarters for up to three weeks. The experiments found that the subjects took three to four days to overcome motion sickness and balance issues. Studio model Two models for filming were made, one long and one long. The scale of the models, compared to many other productions, was unusually large. This was due to the need to keep the whole ship in focus for the shots, something which could not be done on smaller or tabletop models. With a smaller model, the camera needs to be brought in closer, and the change in focus across the model would betray the true size of the object. Following the completion of the film, Kubrick ordered both the models and the plans for constructing them destroyed, so that they could not be used on future productions. This presented a problem during preproduction for its 1984 sequel, 2010: The Year We Make Contact. The filmmakers were forced to refer to frame blowups of the Discovery from different angles taken from a 70mm print of 2001 in order to construct a new model. In addition,