This triggers the need for Bowman to revive Poole, but the revival does not go according to plan, and after briefly awakening, Poole dies. The computer, named Athena in this draft, announces "All systems of Poole now No–Go. It will be necessary to replace him with a spare unit." After this, Bowman decides to go out in a pod and retrieve the antenna, which is moving away from the ship. Athena refuses to allow him to leave the ship, citing "Directive 15" which prevents it from being left unattended, forcing him to make program modifications during which time the antenna drifts further. During rehearsals Kubrick asked Stefanie Powers to supply the voice of HAL 9000 while searching for a suitably androgynous voice so the actors had something to react to. On the set, British actor Nigel Davenport played HAL. When it came to dubbing HAL in post-production, Kubrick had originally cast Martin Balsam, but as he felt Balsam "just sounded a little bit too colloquially American", he was replaced with Douglas Rain, who "had the kind of bland mid-Atlantic accent we felt was right for the part". Rain was only handed HAL's lines instead of the full script, and recorded them across a day and a half. HAL's point of view shots were created with a Cinerama Fairchild-Curtis wide-angle lens with a 160° angle of view. This lens is about in diameter, while HAL's on set prop eye lens is about in diameter. Stanley Kubrick chose to use the large Fairchild-Curtis lens to shoot the HAL 9000 POV shots because he needed a wide-angle fisheye lens that would fit onto his shooting camera, and this was the only lens at the time that would work. The Fairchild-Curtis lens has a focal length of with a maximum aperture of 2.0 and a weight of approximately ; it was originally designed by Felix Bednarz with a maximum aperture of 2.2 for the first Cinerama 360 film, "Journey to the Stars", shown at the 1962 Seattle World's Fair. Bednarz adapted the lens design from an earlier lens he had designed for military training to simulate human peripheral vision coverage. The lens was later recomputed for the second Cinerama 360 film "To the Moon and Beyond", which had a slightly different film format. "To the Moon and Beyond" was produced by Graphic Films and shown at the 1964/1965 New York World's Fair, where Kubrick watched it; afterwards, he was so impressed that he hired the same creative team from Graphic Films (consisting of Douglas Trumbull, Lester Novros, and Con Pederson) to work on "2001".