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− | {{Infobox film |
+ | {{Infobox film |
− | |imageBG = |
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|name = A.I. Artificial Intelligence |
|name = A.I. Artificial Intelligence |
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− | |image = |
+ | |image = AI_Poster.jpg |
− | |imagesize = 256px |
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|caption = Theatrical release poster |
|caption = Theatrical release poster |
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− | |hidec = |
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|director = Steven Spielberg |
|director = Steven Spielberg |
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|producer = Kathleen Kennedy<br>Steven Spielberg<br>Bonnie Curtis |
|producer = Kathleen Kennedy<br>Steven Spielberg<br>Bonnie Curtis |
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|editor = Michael Kahn |
|editor = Michael Kahn |
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|studio = [[Amblin Entertainment]]<br>[[Stanley Kubrick Productions]] |
|studio = [[Amblin Entertainment]]<br>[[Stanley Kubrick Productions]] |
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− | |distributor = [[Warner Bros.]] ( |
+ | |distributor = [[Warner Bros.]] (Outside North America)<br>[[DreamWorks]] (co-distributor; North America) |
− | |release = June 29, 2001 |
+ | |release = [[June 29]], [[2001]] |
|time = 146 minutes<!--- Theatrical runtime: 145:50. Run times round UP. DO NOT CHANGE ---><ref>{{cite web |title=A.I. (12) |url= http://www.bbfc.co.uk/releases/ai-2001 |publisher= [[British Board of Film Classification]] |accessdate= April 7, 2014}}</ref> |
|time = 146 minutes<!--- Theatrical runtime: 145:50. Run times round UP. DO NOT CHANGE ---><ref>{{cite web |title=A.I. (12) |url= http://www.bbfc.co.uk/releases/ai-2001 |publisher= [[British Board of Film Classification]] |accessdate= April 7, 2014}}</ref> |
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|language = English |
|language = English |
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|preceded = |
|preceded = |
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|followed = |
|followed = |
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+ | |website = https://web.archive.org/web/20080526223905/http://aimovie.warnerbros.com:80/ |
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− | |website = |
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− | |imdb_id = |
+ | |imdb_id = 0212720 |
− | |tv_com_id = |
+ | |tv_com_id = ai-artificial-intelligence |
}} |
}} |
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− | '''''A.I. Artificial Intelligence''''', also known as '''''A.I.''''', is a 2001 American |
+ | '''''A.I. Artificial Intelligence''''', also known as '''''A.I.''''', is a 2001 American science fiction drama film directed by [[Steven Spielberg]]. The screenplay by Spielberg was based on a screen story by Ian Watson and the 1969 short story ''Super-Toys Last All Summer Long'' by [[Brian Aldiss]]. The film was produced by [[Kathleen Kennedy (producer)|Kathleen Kennedy]], Spielberg and [[Bonnie Curtis]]. It stars [[Haley Joel Osment]], [[Jude Law]], [[Frances O'Connor]], [[Brendan Gleeson]] and [[William Hurt]]. Set in a futuristic post-[[climate change]] society, ''A.I.'' tells the story of David (Osment), a childlike android uniquely programmed with the ability to love. |
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⚫ | Development of ''A.I.'' originally began with producer-director [[Stanley Kubrick]] in the early 1970s. Kubrick hired a series of writers until the mid-1990s, including Brian Aldiss, [[Bob Shaw]], Ian Watson, and [[Sara Maitland]]. The film languished in protracted |
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⚫ | Development of ''A.I.'' originally began with producer-director [[Stanley Kubrick]] in the early 1970s. Kubrick hired a series of writers until the mid-1990s, including Brian Aldiss, [[Bob Shaw]], Ian Watson, and [[Sara Maitland]]. The film languished in protracted development for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would convincingly portray. In 1995, Kubrick handed ''A.I.'' to Spielberg, but the film did not gain momentum until Kubrick's death in 1999. Spielberg remained close to Watson's film treatment for the screenplay. The film was greeted with generally positive reviews from critics, grossed approximately $235 million, and was nominated for two Academy Awards at the 74th Academy Awards for Best Visual Effects and Best Original Score (by John Williams). The film is dedicated to Stanley Kubrick. |
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==Plot== |
==Plot== |
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− | In the late 21st century, |
+ | In the late 21st century, global warming has flooded the coastlines, wiping out coastal cities (such as Amsterdam, Venice, and New York City) and drastically reducing the human population. There is a new class of robots called Mecha, advanced humanoids capable of emulating thoughts and emotions. |
− | David ([[Haley Joel Osment]]), a |
+ | David ([[Haley Joel Osment]]), a prototype model created by Cybertronics of New Jersey, is designed to resemble a human child and to display love for its human owners. They test their creation with one of their employees, Henry Swinton ([[Sam Robards]]), and his wife Monica ([[Frances O'Connor]]). The Swintons' son, Martin ([[Jake Thomas]]), had been placed in suspended animation until a cure could be found for his rare disease. Initially frightened of David, Monica eventually warms up enough to him to activate his imprinting protocol, which irreversibly causes David to have an enduring childlike love for her. He is also befriended by Teddy ([[Jack Angel]]), a robotic teddy bear, who takes it upon himself to care for David's well-being. |
A cure is found for Martin and he is brought home; as he recovers, it becomes clear he does not want a sibling and soon makes moves to cause issues for David. First, he attempts to make Teddy choose whom he likes more. He then makes David promise to do something and in return Martin will tell Monica that he loves his new "brother", making her love him more. The promise David makes is to go to Monica in the middle of the night and cut off a lock of her hair. This upsets the parents, particularly Henry, who fears that the scissors are a weapon, and warns Monica that a robot programmed to love may also be able to hate. |
A cure is found for Martin and he is brought home; as he recovers, it becomes clear he does not want a sibling and soon makes moves to cause issues for David. First, he attempts to make Teddy choose whom he likes more. He then makes David promise to do something and in return Martin will tell Monica that he loves his new "brother", making her love him more. The promise David makes is to go to Monica in the middle of the night and cut off a lock of her hair. This upsets the parents, particularly Henry, who fears that the scissors are a weapon, and warns Monica that a robot programmed to love may also be able to hate. |
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David is captured for an anti-Mecha "Flesh Fair", an event where obsolete and unlicensed Mecha are destroyed in front of cheering crowds. David is nearly killed, but the crowd is swayed by his fear (since Mecha do not plea for their lives) into believing he is human and he escapes with Gigolo Joe ([[Jude Law]]), a male prostitute Mecha on the run after being framed for the murder of a client by the client's husband. |
David is captured for an anti-Mecha "Flesh Fair", an event where obsolete and unlicensed Mecha are destroyed in front of cheering crowds. David is nearly killed, but the crowd is swayed by his fear (since Mecha do not plea for their lives) into believing he is human and he escapes with Gigolo Joe ([[Jude Law]]), a male prostitute Mecha on the run after being framed for the murder of a client by the client's husband. |
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− | The two set out to find the |
+ | The two set out to find the Blue Fairy, who David remembers from the story ''The Adventures of Pinocchio''. He is convinced that the Blue Fairy will transform him into a human boy, allowing Monica to love him and take him home. |
− | Joe and David make their way to Rouge City, a |
+ | Joe and David make their way to Rouge City, a Las Vegas-esque resort. Information from a holographic answer engine called "Dr. Know" ([[Robin Williams]]) eventually leads them to the top of Rockefeller Center in the flooded ruins of Manhattan. There, David meets an identical copy of himself and, believing he is not special, becomes filled with anger and destroys the copy Mecha. David then meets his human creator, Professor Allen Hobby ([[William Hurt]]), who excitedly tells David that finding him was a test, which has demonstrated the reality of his love and desire. However, David learns that he is the namesake and image of Professor Hobby's deceased son and that many copies of David, along with female versions called Darlene, are already being manufactured. |
− | Sadly realizing that he is not unique, a disheartened David attempts to commit suicide by falling from a ledge into the ocean, but Joe rescues him with their stolen amphibicopter. David tells Joe he saw the Blue Fairy underwater and wants to go down to her. At that moment, Joe is captured by the authorities with the use of an electromagnet, but he sets the amphibicopter on submerge. David and Teddy take it to the fairy, which turns out to be a statue from a submerged attraction at |
+ | Sadly realizing that he is not unique, a disheartened David attempts to commit suicide by falling from a ledge into the ocean, but Joe rescues him with their stolen amphibicopter. David tells Joe he saw the Blue Fairy underwater and wants to go down to her. At that moment, Joe is captured by the authorities with the use of an electromagnet, but he sets the amphibicopter on submerge. David and Teddy take it to the fairy, which turns out to be a statue from a submerged attraction at Coney Island. Teddy and David become trapped when the Wonder Wheel falls on their vehicle. Believing the Blue Fairy to be real, David asks to be turned into a real boy, repeating his wish without an end, until the ocean freezes in another ice age and his internal power source drains away. |
Two thousand years later, humans are extinct and Manhattan is buried under several hundred feet of glacial ice. The now highly advanced Mecha have evolved into an intelligent, silicon-based form. On their project to study humans—believing it was the key to understanding the meaning of existence—they find David and Teddy and discover they are original Mecha who knew living humans, making the pair very special and unique. |
Two thousand years later, humans are extinct and Manhattan is buried under several hundred feet of glacial ice. The now highly advanced Mecha have evolved into an intelligent, silicon-based form. On their project to study humans—believing it was the key to understanding the meaning of existence—they find David and Teddy and discover they are original Mecha who knew living humans, making the pair very special and unique. |
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− | David is revived and walks to the frozen Blue Fairy statue, which cracks and collapses as he touches it. Having |
+ | David is revived and walks to the frozen Blue Fairy statue, which cracks and collapses as he touches it. Having downloaded and comprehended his memories, the advanced Mecha use these to reconstruct the Swinton home and explain to David via an interactive image of the Blue Fairy ([[Meryl Streep]]) that it is impossible to make him human. However, at David's insistence, they recreate Monica from DNA in the lock of her hair, which Teddy had saved. One of the Mecha warns David that the clone can live for only a single day and that the process cannot be repeated. The next morning, David is reunited with Monica and spends the happiest day of his life with her and Teddy. Monica tells David that she loves him and has always loved him as she drifts to sleep for the last time. David lies down next to her, closes his eyes and goes "to that place where dreams are born" (in fact turns off, being exhausted and at the end of his technical lifetime). Teddy climbs onto the bed and watches as David and Monica lie peacefully together. |
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==Cast== |
==Cast== |
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− | * [[Haley Joel Osment]] as David, an innovative |
+ | * [[Haley Joel Osment]] as David, an innovative Mecha created by Cybertronics and programmed with the ability to love. He is adopted by Henry and Monica Swinton, but a sibling rivalry ensues once their son Martin comes out of suspended animation. Osment was Spielberg's first and only choice for the role. Osment avoided blinking his eyes to perfectly portray the character, and "programmed" himself with good posture for realism.<ref name=David>Haley Joel Osment, A Portrait of David, 2001, [[Warner Home Video]]; [[DreamWorks]]</ref> |
* [[Jude Law]] as Gigolo Joe, a male prostitute Mecha programmed with the ability to mimic love, like David, but in a different sense. To prepare for the role, Law studied the acting of [[Fred Astaire]] and [[Gene Kelly]].<ref>Jude Law, A Portrait of Gigolo Joe, 2001, Warner Home Video; DreamWorks</ref> |
* [[Jude Law]] as Gigolo Joe, a male prostitute Mecha programmed with the ability to mimic love, like David, but in a different sense. To prepare for the role, Law studied the acting of [[Fred Astaire]] and [[Gene Kelly]].<ref>Jude Law, A Portrait of Gigolo Joe, 2001, Warner Home Video; DreamWorks</ref> |
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* [[Frances O'Connor]] as Monica Swinton, David's adopted mother who reads him ''The Adventures of Pinocchio''. She is first displeased to have David in her home but soon starts loving him. |
* [[Frances O'Connor]] as Monica Swinton, David's adopted mother who reads him ''The Adventures of Pinocchio''. She is first displeased to have David in her home but soon starts loving him. |
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* [[Sam Robards]] as Henry Swinton, an employee at Cybertronics, husband of Monica and David's adopted father. Henry eventually sees David as dangerous to his family. |
* [[Sam Robards]] as Henry Swinton, an employee at Cybertronics, husband of Monica and David's adopted father. Henry eventually sees David as dangerous to his family. |
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* [[Jake Thomas]] as Martin Swinton, Henry and Monica's first son, who was placed in [[suspended animation]] and David's adopted brother. When Martin comes back, he convinces David to cut off a lock of Monica's hair. |
* [[Jake Thomas]] as Martin Swinton, Henry and Monica's first son, who was placed in [[suspended animation]] and David's adopted brother. When Martin comes back, he convinces David to cut off a lock of Monica's hair. |
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− | * [[William Hurt]] as Professor Allen Hobby, responsible for shepherding the creation of David. He resides in |
+ | * [[William Hurt]] as Professor Allen Hobby, responsible for shepherding the creation of David. He resides in New York City, which is crippled by the effects of global warming but still functioning as Cybertronics' headquarters. David is modeled after Hobby's own son, also named David, who died at a young age. |
* [[Brendan Gleeson]] as Lord Johnson-Johnson, the owner and master of ceremonies of the Flesh Fair. |
* [[Brendan Gleeson]] as Lord Johnson-Johnson, the owner and master of ceremonies of the Flesh Fair. |
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* [[Ashley Scott]] as Gigolo Jane |
* [[Ashley Scott]] as Gigolo Jane |
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* [[Meryl Streep]] as The Blue Fairy. (Cameo) |
* [[Meryl Streep]] as The Blue Fairy. (Cameo) |
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* [[Chris Rock]] as a Mecha comedian destroyed at the Flesh Fair. (Cameo) |
* [[Chris Rock]] as a Mecha comedian destroyed at the Flesh Fair. (Cameo) |
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==Production== |
==Production== |
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===Development=== |
===Development=== |
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− | Kubrick began development on an adaptation of '' |
+ | Kubrick began development on an adaptation of ''Super-Toys Last All Summer Long'' in the late 1970s, hiring the short story's author, Brian Aldiss, to write a film treatment. In 1985, Kubrick brought longtime friend Steven Spielberg on board to produce the film,<ref>{{Cite news|author=Scott Brake |url=http://movies.ign.com/articles/200/200038p1.html |title=Spielberg Talks About the Genesis of ''A.I.'' |work=[[IGN]] |date=May 10, 2001 |accessdate=August 4, 2008}}</ref> along with [[Jan Harlan]]. [[Warner Bros.]] agreed to co-finance ''A.I.'' and cover distribution duties.<ref name=Ian/> The film labored in [[development hell]], and Aldiss was fired by Kubrick over creative differences in 1989.<ref name=connect>{{Cite news|author=Steven Gaydos |url=http://www.variety.com/article/VR1117779484 |title=The Kubrick Connection |date=March 15, 2000 |work=Variety |accessdate=July 19, 2008}}</ref> [[Bob Shaw]] served as writer very briefly, leaving after six weeks because of Kubrick's demanding work schedule, and [[Ian Watson (author)|Ian Watson]] was hired as the new writer in March 1990. Aldiss later remarked, "Not only did the bastard fire me, he hired my enemy [Watson] instead." Kubrick handed Watson ''The Adventures of Pinocchio'' for inspiration, calling ''A.I.'' "a picaresque robot version of ''Pinocchio''".<ref name=Ian/><ref>{{Cite news|author=Dana Haris |url=http://www.variety.com/article/VR1117779498 |title=Spielberg lines up ''A.I.'', ''Report'' |date=March 15, 2000 |work=Variety |accessdate=July 16, 2008}}</ref> |
− | Three weeks later Watson gave Kubrick his first story treatment, and concluded his work on ''A.I.'' in May 1991 with another treatment, at 90 pages. Gigolo Joe was originally conceived as a |
+ | Three weeks later Watson gave Kubrick his first story treatment, and concluded his work on ''A.I.'' in May 1991 with another treatment, at 90 pages. Gigolo Joe was originally conceived as a GI Mecha, but Watson suggested changing him to a male prostitute. Kubrick joked, "I guess we lost the kiddie market."<ref name=Ian/> In the meantime, Kubrick dropped ''A.I.'' to work on a film adaptation of ''Wartime Lies'', feeling computer animation was not advanced enough to create the David character. However, after the release of Spielberg's ''Jurassic Park'' (with its innovative use of computer-generated imagery), it was announced in November 1993 that production would begin in 1994.<ref>{{Cite news|author=Christian Moerk |url=http://www.variety.com/article/VR115550 |title=''A.I.'' next for Kubrick at Warners |date=November 2, 1993 |work=Variety |accessdate=July 7, 2008}}</ref> [[Dennis Muren]] and Ned Gorman, who worked on ''Jurassic Park'', became visual effects supervisors,<ref name=connect/> but Kubrick was displeased with their previsualization, and with the expense of hiring Industrial Light & Magic.<ref name=FAQ/> |
{{Quote box|width=40%|align=right|quote=Stanley [Kubrick] showed Steven [Spielberg] 650 drawings which he had, and the script and the story, everything. Stanley said, "Look, why don't you direct it and I'll produce it." Steven was almost in shock.|source=Producer Jan Harlan, on Spielberg's first meeting with Kubrick about ''A.I.''<ref name=involve>{{Cite news|author=Kenneth Plume |url=http://www.ign.com/articles/2001/06/28/interview-with-producer-jan-harlan |title=Interview with Producer Jan Harlan |work=IGN |date=June 28, 2001 |accessdate=August 5, 2008}}</ref>}} |
{{Quote box|width=40%|align=right|quote=Stanley [Kubrick] showed Steven [Spielberg] 650 drawings which he had, and the script and the story, everything. Stanley said, "Look, why don't you direct it and I'll produce it." Steven was almost in shock.|source=Producer Jan Harlan, on Spielberg's first meeting with Kubrick about ''A.I.''<ref name=involve>{{Cite news|author=Kenneth Plume |url=http://www.ign.com/articles/2001/06/28/interview-with-producer-jan-harlan |title=Interview with Producer Jan Harlan |work=IGN |date=June 28, 2001 |accessdate=August 5, 2008}}</ref>}} |
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===Pre-production=== |
===Pre-production=== |
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− | In early 1994, the film was in |
+ | In early 1994, the film was in pre-production with [[Christopher "Fangorn" Baker]] as concept artist, and [[Sara Maitland]] assisting on the story, which gave it "a feminist fairy-tale focus".<ref name=Ian>{{cite web|url=http://www.ianwatson.info/kubrick.htm |title=Plumbing Stanley Kubrick |publisher=[[Ian Watson (author)|Ian Watson]] |accessdate=July 7, 2008 |archiveurl=https://web.archive.org/web/20080703134444/http://www.ianwatson.info/kubrick.htm |archivedate=July 3, 2008 |deadurl=yes |df=mdy }}</ref> Maitland said that Kubrick never referred to the film as ''A.I.'', but as ''Pinocchio''.<ref name=FAQ>{{cite web|url=http://www.visual-memory.co.uk/faq/index2.html#slot14 |title=The Kubrick FAQ Part 2: ''A.I.'' |work=The Kubrick Site |accessdate=August 5, 2008| archiveurl= https://web.archive.org/web/20080818015944/http://www.visual-memory.co.uk/faq/index2.html| archivedate= August 18, 2008 | deadurl= no}}</ref> [[Chris Cunningham]] became the new visual effects supervisor. Some of his unproduced work for ''A.I.'' can be seen on the DVD, ''The Work of Director Chris Cunningham''.<ref>{{cite web|url=http://www.notcoming.com/features/cunningham/ |title=The Work of Director Chris Cunningham |publisher=NotComing.com |accessdate=July 19, 2008| archiveurl= https://web.archive.org/web/20080719222500/http://www.notcoming.com/features/cunningham/| archivedate= July 19, 2008 | deadurl= no}}</ref> Aside from considering computer animation, Kubrick also had [[Joseph Mazzello]] do a screen test for the lead role.<ref name=FAQ/> Cunningham helped assemble a series of "little robot-type humans" for the David character. "We tried to construct a little boy with a movable rubber face to see whether we could make it look appealing," producer Jan Harlan reflected. "But it was a total failure, it looked awful." [[Hans Moravec]] was brought in as a technical consultant.<ref name=FAQ/> |
− | Meanwhile, Kubrick and Harlan thought ''A.I.'' would be closer to Steven Spielberg's sensibilities as director.<ref>{{Cite news|url=http://www.variety.com/article/VR1117799373 |title=A.I. Artificial Intelligence |work=Variety | publisher= [[Variety.com]] |date=May 15, 2001 |accessdate=July 19, 2008}}</ref><ref name=find/> Kubrick handed the position to Spielberg in 1995, but Spielberg chose to direct other projects, and convinced Kubrick to remain as director.<ref name=involve/><ref name=creai>Steven Spielberg, Jan Harlan, [[Kathleen Kennedy (producer)|Kathleen Kennedy]], [[Bonnie Curtis]], Creating ''A.I.'', 2001, Warner Home Video; DreamWorks</ref> The film was put on hold due to Kubrick's commitment to '' |
+ | Meanwhile, Kubrick and Harlan thought ''A.I.'' would be closer to Steven Spielberg's sensibilities as director.<ref>{{Cite news|url=http://www.variety.com/article/VR1117799373 |title=A.I. Artificial Intelligence |work=Variety | publisher= [[Variety.com]] |date=May 15, 2001 |accessdate=July 19, 2008}}</ref><ref name=find/> Kubrick handed the position to Spielberg in 1995, but Spielberg chose to direct other projects, and convinced Kubrick to remain as director.<ref name=involve/><ref name=creai>Steven Spielberg, Jan Harlan, [[Kathleen Kennedy (producer)|Kathleen Kennedy]], [[Bonnie Curtis]], Creating ''A.I.'', 2001, Warner Home Video; DreamWorks</ref> The film was put on hold due to Kubrick's commitment to ''Eyes Wide Shut'' (1999).<ref name=Harry/> After the filmmaker's death in March 1999, Harlan and [[Christiane Kubrick]] approached Spielberg to take over the director's position.<ref>{{Cite news|author=Scott Brake |url=http://movies.ign.com/articles/300/300984p1.html |title=Producing ''A.I.'' |work=IGN |date=June 29, 2001 |accessdate=August 4, 2008}}</ref><ref>{{Cite news|author=[[Army Archerd]] |url=http://www.variety.com/article/VR1117742990 |title=''Annie'' Tv'er nab tops talent |work=Variety |date=July 15, 1999 |accessdate=July 14, 2008}}</ref> By November 1999, Spielberg was writing the screenplay based on Watson's 90-page story treatment. It was his first solo screenplay credit since ''Close Encounters of the Third Kind'' (1977).<ref>{{Cite news|author=Michael Fleming |url=http://www.variety.com/article/VR1117758075 |title=West pursues ''Prisoner''; Spielberg scribbles |work=Variety |date=November 16, 1999 |accessdate=July 16, 2008}}</ref> Spielberg remained close to Watson's treatment, but removed various sex scenes with Gigolo Joe. Pre-production was briefly halted during February 2000, because Spielberg pondered directing other projects, which were ''[[Harry Potter and the Philosopher's Stone (film)|Harry Potter and the Philosopher's Stone]]'', ''Minority Report'' and ''Memoirs of a Geisha''.<ref name=Harry>{{Cite news|author=Christian Moerk |url=http://www.variety.com/article/VR1117760260 |title=Spielberg encounters close choices to direct |work=Variety |date=December 23, 1999 |accessdate=July 15, 2008}}</ref><ref>{{Cite news|author=Peter Bart |url=http://www.variety.com/article/VR1117761198 |title=It's scary up there |work = Variety |date=January 24, 2000 |accessdate=July 15, 2008}}</ref> The following month Spielberg announced that ''A.I.'' would be his next project, with ''Minority Report'' as a follow-up.<ref>{{cite news|url=http://news.bbc.co.uk/2/hi/entertainment/678278.stm|title=Spielberg to wrap Kubrick project|publisher=BBC|date=March 15, 2000|accessdate=March 24, 2007}}</ref> When he decided to fast track ''A.I.'', Spielberg brought Chris Baker back as concept artist.<ref name=creai/> |
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===Filming=== |
===Filming=== |
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− | The original start date was July 10, 2000,<ref name=find/> but filming was delayed until August.<ref>{{Cite news|author=Brian Zoromski |url=http://movies.ign.com/articles/034/034162p1.html |title=''A.I.'' Moves Full Speed Ahead |work=IGN |date=June 30, 2000 |accessdate=August 4, 2008}}</ref> Aside from a couple of weeks shooting on location in |
+ | The original start date was July 10, 2000,<ref name=find/> but filming was delayed until August.<ref>{{Cite news|author=Brian Zoromski |url=http://movies.ign.com/articles/034/034162p1.html |title=''A.I.'' Moves Full Speed Ahead |work=IGN |date=June 30, 2000 |accessdate=August 4, 2008}}</ref> Aside from a couple of weeks shooting on location in Oxbow Regional Park in Oregon, ''A.I.'' was shot entirely using sound stages at Warner Bros. Studios and the Spruce Goose Dome in Long Beach, south LA.<ref>The Worldwide Guide to Movie Locations by Tony Reeves. The Titan Publishing Group. Pg.9 [http://www.movie-locations.com/films.html]</ref> |
− | The Swinton house was constructed on Stage 16, while Stage 20 was used for Rouge City and other sets.<ref>{{Cite news|author=Scott Brake |url=http://movies.ign.com/articles/034/034165p1.html |title=''A.I.'' Set Reports! |work=IGN |date=August 3, 2000 |accessdate=August 4, 2008}}</ref><ref>[[Christopher "Fangorn" Baker]], [[Rick Carter]], ''A.I.'' From Drawings to Sets, 2001, Warner Home Video; DreamWorks</ref> Spielberg copied Kubrick's obsessively secretive approach to filmmaking by refusing to give the complete script to cast and crew, banning press from the set, and making actors sign confidentiality agreements. Social robotics expert [[Cynthia Breazeal]] served as technical consultant during production.<ref name=find>{{Cite news|author=Liane Bonin |url=http://www.ew.com/ew/article/0,,165660,00.html |title=Boy Wonder |work=[[Entertainment Weekly]] |date=June 28, 2001 |accessdate=July 15, 2008}}</ref><ref>{{Cite news|author=Bill Higgins |url=http://www.variety.com/article/VR1117788785 |title=BAFTA hails Spielberg |work=Variety |date=November 6, 2000 |accessdate=August 6, 2008}}</ref> Haley Joel Osment and Jude Law applied |
+ | The Swinton house was constructed on Stage 16, while Stage 20 was used for Rouge City and other sets.<ref>{{Cite news|author=Scott Brake |url=http://movies.ign.com/articles/034/034165p1.html |title=''A.I.'' Set Reports! |work=IGN |date=August 3, 2000 |accessdate=August 4, 2008}}</ref><ref>[[Christopher "Fangorn" Baker]], [[Rick Carter]], ''A.I.'' From Drawings to Sets, 2001, Warner Home Video; DreamWorks</ref> Spielberg copied Kubrick's obsessively secretive approach to filmmaking by refusing to give the complete script to cast and crew, banning press from the set, and making actors sign confidentiality agreements. Social robotics expert [[Cynthia Breazeal]] served as technical consultant during production.<ref name=find>{{Cite news|author=Liane Bonin |url=http://www.ew.com/ew/article/0,,165660,00.html |title=Boy Wonder |work=[[Entertainment Weekly]] |date=June 28, 2001 |accessdate=July 15, 2008}}</ref><ref>{{Cite news|author=Bill Higgins |url=http://www.variety.com/article/VR1117788785 |title=BAFTA hails Spielberg |work=Variety |date=November 6, 2000 |accessdate=August 6, 2008}}</ref> Haley Joel Osment and Jude Law applied prosthetic makeup daily in an attempt to look shinier and robotic.<ref name=David/> Costume designer [[Bob Ringwood]] (''[[Batman (1989 film)|Batman]]'', ''[[Troy (film)|Troy]]'') studied pedestrians on the Las Vegas Strip for his influence on the Rouge City extras.<ref>Bob Ringwood, Dressing ''A.I.'', 2001, Warner Home Video; DreamWorks</ref> Spielberg found post-production on ''A.I.'' difficult because he was simultaneously preparing to shoot ''Minority Report''.<ref>{{Cite news|author=Charles Lyons |url=http://www.variety.com/article/VR1117792198 |title=Inside Move: Cruise staying busy |work=Variety |date=January 18, 2001 |accessdate=July 18, 2008}}</ref> |
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==Soundtrack== |
==Soundtrack== |
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{{Main|A.I. Artificial Intelligence (soundtrack)}} |
{{Main|A.I. Artificial Intelligence (soundtrack)}} |
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− | The film's |
+ | The film's soundtrack was released by Warner Sunset Records in 2001. The original score was composed by [[John Williams]] and featured singers [[Lara Fabian]] on two songs and [[Josh Groban]] on one. The film's score also had a limited release as an official "For your consideration Academy Promo", as well as a complete score issue by La-La Land Records in 2015. The band Ministry appears in the film playing the song "What About Us?" (but the song does not appear on the official soundtrack album). |
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==Release== |
==Release== |
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===Marketing=== |
===Marketing=== |
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− | Warner Bros. used an |
+ | Warner Bros. used an alternate reality game titled ''The Beast'' to promote the film. Over forty websites were created by Atomic Pictures in New York City (kept online at Cloudmakers.org) including the website for Cybertronics Corp. There were to be a series of video games for the Xbox video game console that followed the storyline of ''The Beast'', but they went undeveloped. To avoid audiences mistaking ''A.I.'' for a family film, no action figures were created, although Hasbro released a talking Teddy following the film's release in June 2001.<ref name=find/> |
In November 2000, during production, a video-only webcam (dubbed the "Bagel Cam") was placed in the craft services truck on the film's set at the Queen Mary Dome in Long Beach, California. Steven Spielberg, producer Kathleen Kennedy and various other production personnel visited the camera and interacted with fans over the course of three days.<ref>{{YouTube|snUqplpKoqg|Spielberg visits the A.I. Bagel Cam}} accessdate August 10, 2016</ref><ref>{{cite web|title=A.I. Bagel Cam - Entertainment Tonight|url=https://www.youtube.com/watch?v=4cTKAoh6Hsg|publisher=YouTube|accessdate=April 16, 2015}}</ref> |
In November 2000, during production, a video-only webcam (dubbed the "Bagel Cam") was placed in the craft services truck on the film's set at the Queen Mary Dome in Long Beach, California. Steven Spielberg, producer Kathleen Kennedy and various other production personnel visited the camera and interacted with fans over the course of three days.<ref>{{YouTube|snUqplpKoqg|Spielberg visits the A.I. Bagel Cam}} accessdate August 10, 2016</ref><ref>{{cite web|title=A.I. Bagel Cam - Entertainment Tonight|url=https://www.youtube.com/watch?v=4cTKAoh6Hsg|publisher=YouTube|accessdate=April 16, 2015}}</ref> |
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− | ''A.I.'' had its |
+ | ''A.I.'' had its premiere at the Venice Film Festival in 2001.<ref>{{Cite news|author=David Rooney |url=http://www.variety.com/index.asp?layout=festivals&jump=story&id=1061&articleid=VR1117797100&cs=1 |title='Dust' in the wind for Venice fest |work=Variety |date=April 16, 2001 |accessdate=July 19, 2008 |deadurl=yes |archiveurl=https://web.archive.org/web/20081030032135/http://www.variety.com/index.asp?layout=festivals&jump=story&id=1061&articleid=VR1117797100&cs=1 |archivedate=October 30, 2008 }}</ref> |
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===Box office=== |
===Box office=== |
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The film opened in 3,242 theaters in the United States on June 29, 2001, earning $29,352,630 during its opening weekend. ''A.I'' went on to gross $78.62 million in US totals as well as $157.31 million in foreign countries, coming to a worldwide total of $235.93 million.<ref>{{cite web|url=http://www.boxofficemojo.com/movies/?id=ai.htm |title=A.I. Artificial Intelligence |publisher=[[Box Office Mojo]] |accessdate=July 8, 2008}}</ref> |
The film opened in 3,242 theaters in the United States on June 29, 2001, earning $29,352,630 during its opening weekend. ''A.I'' went on to gross $78.62 million in US totals as well as $157.31 million in foreign countries, coming to a worldwide total of $235.93 million.<ref>{{cite web|url=http://www.boxofficemojo.com/movies/?id=ai.htm |title=A.I. Artificial Intelligence |publisher=[[Box Office Mojo]] |accessdate=July 8, 2008}}</ref> |
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===Critical response=== |
===Critical response=== |
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− | The film received generally positive reviews. Based on 190 reviews collected by |
+ | The film received generally positive reviews. Based on 190 reviews collected by Rotten Tomatoes, 73% of the critics gave the film positive notices with a score of 6.6 out of 10. The website described the critical consensus perceiving the film as "a curious, not always seamless, amalgamation of Kubrick's chilly bleakness and Spielberg's warm-hearted optimism. [The film] is, in a word, fascinating."<ref>{{cite web |url=http://www.rottentomatoes.com/m/ai_artificial_intelligence/ |title=A.I. Artificial Intelligence |publisher=[[Rotten Tomatoes]] |accessdate=July 8, 2008 |archiveurl= https://web.archive.org/web/20080708094802/http://www.rottentomatoes.com/m/ai_artificial_intelligence/ |archivedate=July 8, 2008 | deadurl= no}}</ref> By comparison, [[Metacritic]] collected an average score of 65, based on 32 reviews, which is considered favorable.<ref>{{cite web|url=http://www.metacritic.com/video/titles/ai?q=A.I. |title=A.I. Artificial Intelligence (2001): Reviews |publisher=[[Metacritic]] |accessdate=July 8, 2008}}</ref> |
− | Producer Jan Harlan stated that Kubrick "would have applauded" the final film, while Kubrick's widow |
+ | Producer Jan Harlan stated that Kubrick "would have applauded" the final film, while Kubrick's widow Christiane also enjoyed ''A.I''.<ref>{{Cite news|author=[[Army Archerd]] |url=http://www.variety.com/article/VR1117801772 |title=''A.I.'' A Spielberg/Kubrick prod'n |work=Variety |date=June 20, 2000 |accessdate=August 6, 2008}}</ref> Brian Aldiss admired the film as well: "I thought what an inventive, intriguing, ingenious, involving film this was. There are flaws in it and I suppose I might have a personal quibble but it's so long since I wrote it." Of the film's ending, he wondered how it might have been had Kubrick directed the film: "That is one of the 'ifs' of film history - at least the ending indicates Spielberg adding some sugar to Kubrick's wine. The actual ending is overly sympathetic and moreover rather overtly engineered by a plot device that does not really bear credence. But it's a brilliant piece of film and of course it's a phenomenon because it contains the energies and talents of two brilliant filmmakers."<ref>{{cite web|url=http://news.bbc.co.uk/2/hi/in_depth/sci_tech/2001/artificial_intelligence/1542794.stm |title=ARTIFICIAL INTELLIGENCE | The mind behind AI |publisher=BBC News |date=September 20, 2001 |accessdate=November 2, 2013}}</ref> [[Richard Corliss]] heavily praised Spielberg's direction, as well as the cast and visual effects.<ref>{{Cite news|author=[[Richard Corliss]] |url=http://www.time.com/time/sampler/article/0,8599,130942,00.html |title=''A.I.'' – Spielberg's Strange Love |work=[[Time (magazine)|Time]] |date=June 17, 2001 |accessdate=August 6, 2008| archiveurl= https://web.archive.org/web/20080626072644/http://www.time.com/time/sampler/article/0,8599,130942,00.html| archivedate= June 26, 2008 | deadurl= no}}{{dead link|date=January 2012}}</ref> [[Roger Ebert]] awarded the film 4 out of 4 stars, saying that it was "Audacious, technically masterful, challenging, sometimes moving [and] ceaselessly watchable.<ref>http://www.rogerebert.com/reviews/great-movie-ai-artificial-intelligence-2001</ref>[[Leonard Maltin]] gives the film a not-so-positive review in his ''Movie Guide'', giving it two stars out of four, writing: "[The] intriguing story draws us in, thanks in part to Osment's exceptional performance, but takes several wrong turns; ultimately, it just doesn't work. Spielberg rewrote the adaptation Stanley Kubrick commissioned of the Brian Aldiss short story 'Super Toys Last All Summer Long'; [the] result is a curious and uncomfortable hybrid of Kubrick and Spielberg sensibilities." However, he calls John Williams' music score "striking". [[Jonathan Rosenbaum]] compared ''A.I.'' to ''Solaris'' (1972), and praised both "Kubrick for proposing that Spielberg direct the project and Spielberg for doing his utmost to respect Kubrick's intentions while making it a profoundly personal work."<ref>{{Cite news|author=[[Jonathan Rosenbaum]] |url=http://www.chicagoreader.com/movies/archives/2001/0107/010713.html |title=The Best of Both Worlds |work=[[Chicago Reader]] |date=June 29, 2001 |accessdate=August 6, 2008}}</ref> Film critic [[Armond White]], of the ''[[New York Press]]'', praised the film noting that "each part of David’s journey through carnal and sexual universes into the final eschatological devastation becomes as profoundly philosophical and contemplative as anything by cinema’s most thoughtful, speculative artists – [[Frank Borzage|Borzage]], [[Yasujirō Ozu|Ozu]], [[Jacques Demy|Demy]], [[Andrei Tarkovsky|Tarkovsky]]."<ref>{{cite web|author=Armond White|date=July 4, 2001|url=http://www.nypress.com/spielbergs-ai-dares-viewers-to-remember-and-accept-the-part-of-themselves-that-is-capable-of-feeling/|title=Spielberg's A.I. Dares Viewers to Remember and Accept the Part of Themselves that Is Capable of Feeling|work=[[The New York Press]]|accessdate=April 26, 2010}}</ref> Filmmaker Billy Wilder hailed ''A.I.'' as "the most underrated film of the past few years."<ref>{{cite web | url=http://edition.cnn.com/2006/SHOWBIZ/Movies/11/17/spielberg.award/index.html | title=Close encounters of the hugely profitable kind | publisher=CNN | date=November 17, 2006 | accessdate=October 2, 2015 | author=Paul Sussman}}</ref> When British filmmaker [[Ken Russell]] saw the film, he wept during the ending.<ref>{{cite web | author=Alex Russell | url=http://slippedisc.com/2011/12/eyewitness-ken-russell-by-his-son/ | title=Eyewitness: Ken Russell by his son | work=Slipped Disc (blog) | date=December 7, 2011 | accessdate=January 23, 2015}}</ref> |
− | + | Mick LaSalle gave a largely negative review. "''A.I.'' exhibits all its creators' bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg." Dubbing it Spielberg's "first boring movie", LaSalle also believed the robots at the end of the film were aliens, and compared Gigolo Joe to the "useless" Jar Jar Binks, yet praised Robin Williams for his portrayal of a futuristic Albert Einstein.<ref>{{Cite news|author=[[Mick LaSalle]] |url=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2001/06/29/DD239232.DTL |title=Artificial foolishness |work=[[San Francisco Chronicle]] |date=June 29, 2001 |accessdate=August 6, 2008}}</ref> [[Peter Travers]] gave a mixed review, concluding "Spielberg cannot live up to Kubrick's darker side of the future." But he still put the film on his top ten list that year for best movies.<ref>{{Cite news|author=[[Peter Travers]] |url=http://www.rollingstone.com/reviews/movie/5949345/review/5949346/ai_artificial_intelligence |title=A.I. Artificial Intelligence |work=[[Rolling Stone (magazine)|Rolling Stone]] |date=June 21, 2001 |accessdate=August 6, 2008}}</ref> David Denby in ''The New Yorker'' criticized ''A.I.'' for not adhering closely to his concept of the Pinocchio character. Spielberg responded to some of the criticisms of the film, stating that many of the "so called sentimental" elements of ''A.I.'', including the ending, were in fact Kubrick's and the darker elements were his own.<ref>{{cite episode |title=Steven Spielberg |series=The Culture Show |serieslink=The Culture Show |credits=[[Mark Kermode]] |station=[[BBC Two]] |airdate=2006-11-04 |season= |number=}}</ref> However, Sara Maitland, who worked on the project with Kubrick in the 1990s, claimed that one of the reasons Kubrick never started production on ''A.I.'' was because he had a hard time making the ending work.<ref>{{cite web |url=http://www.visual-memory.co.uk/faq/index2.html#slot14 |title=The Kubrick FAQ Part 2 |publisher=Visual-memory.co.uk |date= |accessdate=April 7, 2012}}</ref> [[James Berardinelli]] found the film "consistently involving, with moments of near-brilliance, but far from a masterpiece. In fact, as the long-awaited 'collaboration' of Kubrick and Spielberg, it ranks as something of a disappointment." Of the film's highly debated finale, he claimed, "There is no doubt that the concluding 30 minutes are all Spielberg; the outstanding question is where Kubrick's vision left off and Spielberg's began."<ref>{{cite web|url=http://www.reelviews.net/movies/a/ai.html |title=Review: A.I |publisher=Reelviews.net |date= |accessdate=November 2, 2013}}</ref> |
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− | Screenwriter [[Ian Watson (author)|Ian Watson]] has speculated, "Worldwide, ''A.I.'' was very successful (and the 4th highest earner of the year) but it didn't do quite so well in America, because the film, so I'm told, was too poetical and intellectual in general for American tastes. Plus, quite a few critics in America misunderstood the film, thinking for instance that the |
+ | Screenwriter [[Ian Watson (author)|Ian Watson]] has speculated, "Worldwide, ''A.I.'' was very successful (and the 4th highest earner of the year) but it didn't do quite so well in America, because the film, so I'm told, was too poetical and intellectual in general for American tastes. Plus, quite a few critics in America misunderstood the film, thinking for instance that the Giacometti-style beings in the final 20 minutes were aliens (whereas they were robots of the future who had evolved themselves from the robots in the earlier part of the film) and also thinking that the final 20 minutes were a sentimental addition by Spielberg, whereas those scenes were exactly what I wrote for Stanley and exactly what he wanted, filmed faithfully by Spielberg."<ref>{{cite web |url=http://www.moonmilkreview.com/2010/author-talk-ian-watson-2/ |title=Author Talk: Ian Watson |publisher=Moon Milk Review |date=May 10, 2010 |accessdate=April 7, 2012}}</ref> |
− | In 2002, Spielberg told film critic |
+ | In 2002, Spielberg told film critic Joe Leydon that "People pretend to think they know Stanley Kubrick, and think they know me, when most of them don't know either of us". "And what's really funny about that is, all the parts of ''A.I.'' that people assume were Stanley's were mine. And all the parts of ''A.I.'' that people accuse me of sweetening and softening and sentimentalizing were all Stanley's. The teddy bear was Stanley's. The whole last 20 minutes of the movie was completely Stanley's. The whole first 35, 40 minutes of the film – all the stuff in the house – was word for word, from Stanley's screenplay. This was Stanley's vision." "Eighty percent of the critics got it all mixed up. But I could see why. Because, obviously, I've done a lot of movies where people have cried and have been sentimental. And I've been accused of sentimentalizing hard-core material. But in fact it was Stanley who did the sweetest parts of ''A.I.'', not me. I'm the guy who did the dark center of the movie, with the Flesh Fair and everything else. That's why he wanted me to make the movie in the first place. He said, 'This is much closer to your sensibilities than my own.{{'"}}<ref>{{cite news |last=Leydon |first=Joe |authorlink=Joe Leydon |url=http://www.movingpictureshow.com/dialogues/mpsSpielbergCruise.html |title='Minority Report' looks at the day after tomorrow -- and is relevant to today <!-- Apparently accidental typos in quoted refs should be "silently" repaired. --> |
|work=Moving Picture Show |date=June 20, 2002 |accessdate=April 29, 2009}}</ref> |
|work=Moving Picture Show |date=June 20, 2002 |accessdate=April 29, 2009}}</ref> |
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− | Upon rewatching the film many years after its release, BBC film critic |
+ | Upon rewatching the film many years after its release, BBC film critic Mark Kermode apologized to Spielberg in an interview in January 2013 for "getting it wrong" on the film when he first viewed it in 2001. He now believes the film to be Spielberg's "enduring masterpiece".<ref>{{cite web|author=Mark Kermode |url=http://www.bbc.co.uk/blogs/markkermode/posts/AI-Apology |title=Blogs - Kermode Uncut - AI Apology |publisher=BBC |date=January 22, 2013 |accessdate=November 2, 2013}}</ref> |
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===Accolades=== |
===Accolades=== |
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− | + | Visual effects supervisors [[Dennis Muren]], [[Stan Winston]], [[Michael Lantieri]] and [[Scott Farrar]] were nominated for the Academy Award for Best Visual Effects, while [[John Williams (composer)|John Williams]] was nominated for Best Original Music Score.<ref>{{cite web|url= http://www.imdb.com/Sections/Awards/Academy_Awards_USA/2002 |title=Academy Awards: 2002 |publisher=[[Internet Movie Database]] |accessdate=July 14, 2008}}</ref> Steven Spielberg, Jude Law and Williams received nominations at the 59th Golden Globe Awards.<ref>{{cite web|url=http://www.imdb.com/Sections/Awards/Golden_Globes_USA/2002 |title=59th Golden Globe Awards |publisher=[[Internet Movie Database]] |accessdate=July 14, 2008}}</ref> The visual effects department was once again nominated at the 55th British Academy Film Awards.<ref>{{cite web|url=http://www.imdb.com/Sections/Awards/BAFTA_Awards/2002 |title=55th British Academy Film Awards |publisher=[[Internet Movie Database]] |accessdate=July 14, 2008| archiveurl= https://web.archive.org/web/20080723150645/http://imdb.com/Sections/Awards/BAFTA_Awards/2002| archivedate= July 23, 2008 | deadurl= no}}</ref> ''A.I.'' was successful at the Saturn Awards. Spielberg (for his screenplay), the visual effects department, Williams and Haley Joel Osment (Performance by a Younger Actor) won in their respective categories. The film also won Best Science Fiction Film and for its DVD release. Frances O'Connor and Spielberg (as director) were also nominated.<ref>{{cite web|url=http://www.imdb.com/Sections/Awards/Academy_of_Science_Fiction_Fantasy_And_Horror_Films_USA/200 |title=Saturn Awards: 2002 |publisher=[[Internet Movie Database]] |accessdate=July 14, 2008}}</ref> |
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** Nominated Science Fiction Film<ref>{{cite web|url=http://connect.afi.com/site/DocServer/10top10.pdf?docID=381&AddInterest=1781 |title=AFI's 10 Top 10 Nominees |format=PDF |date= |accessdate=2016-08-19 |deadurl=bot: unknown |archiveurl=https://web.archive.org/web/20110716071937/http://connect.afi.com/site/DocServer/10top10.pdf?docID=381&AddInterest=1781 |archivedate=July 16, 2011 |df=mdy }}</ref> |
** Nominated Science Fiction Film<ref>{{cite web|url=http://connect.afi.com/site/DocServer/10top10.pdf?docID=381&AddInterest=1781 |title=AFI's 10 Top 10 Nominees |format=PDF |date= |accessdate=2016-08-19 |deadurl=bot: unknown |archiveurl=https://web.archive.org/web/20110716071937/http://connect.afi.com/site/DocServer/10top10.pdf?docID=381&AddInterest=1781 |archivedate=July 16, 2011 |df=mdy }}</ref> |
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+ | ===Home media=== |
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+ | ==Transcript== |
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+ | {{Transcriptlink}} |
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+ | ==Gallery== |
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+ | {{Gallerylink}} |
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==References== |
==References== |
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{{Reflist|30em}} |
{{Reflist|30em}} |
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==Further reading== |
==Further reading== |
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*{{cite book|editor=Jane M. Struthers|title=A.I. Artificial Intelligence: From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film|year=2009|publisher=Thames & Hudson|isbn=978-0-500-51489-4}} |
*{{cite book|editor=Jane M. Struthers|title=A.I. Artificial Intelligence: From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film|year=2009|publisher=Thames & Hudson|isbn=978-0-500-51489-4}} |
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==External links== |
==External links== |
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* {{Official website|https://web.archive.org/web/20080526223905/http://aimovie.warnerbros.com:80/}} |
* {{Official website|https://web.archive.org/web/20080526223905/http://aimovie.warnerbros.com:80/}} |
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Revision as of 05:40, 27 January 2019
A.I. Artificial Intelligence, also known as A.I., is a 2001 American science fiction drama film directed by Steven Spielberg. The screenplay by Spielberg was based on a screen story by Ian Watson and the 1969 short story Super-Toys Last All Summer Long by Brian Aldiss. The film was produced by Kathleen Kennedy, Spielberg and Bonnie Curtis. It stars Haley Joel Osment, Jude Law, Frances O'Connor, Brendan Gleeson and William Hurt. Set in a futuristic post-climate change society, A.I. tells the story of David (Osment), a childlike android uniquely programmed with the ability to love.
Development of A.I. originally began with producer-director Stanley Kubrick in the early 1970s. Kubrick hired a series of writers until the mid-1990s, including Brian Aldiss, Bob Shaw, Ian Watson, and Sara Maitland. The film languished in protracted development for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would convincingly portray. In 1995, Kubrick handed A.I. to Spielberg, but the film did not gain momentum until Kubrick's death in 1999. Spielberg remained close to Watson's film treatment for the screenplay. The film was greeted with generally positive reviews from critics, grossed approximately $235 million, and was nominated for two Academy Awards at the 74th Academy Awards for Best Visual Effects and Best Original Score (by John Williams). The film is dedicated to Stanley Kubrick.
Plot
In the late 21st century, global warming has flooded the coastlines, wiping out coastal cities (such as Amsterdam, Venice, and New York City) and drastically reducing the human population. There is a new class of robots called Mecha, advanced humanoids capable of emulating thoughts and emotions.
David (Haley Joel Osment), a prototype model created by Cybertronics of New Jersey, is designed to resemble a human child and to display love for its human owners. They test their creation with one of their employees, Henry Swinton (Sam Robards), and his wife Monica (Frances O'Connor). The Swintons' son, Martin (Jake Thomas), had been placed in suspended animation until a cure could be found for his rare disease. Initially frightened of David, Monica eventually warms up enough to him to activate his imprinting protocol, which irreversibly causes David to have an enduring childlike love for her. He is also befriended by Teddy (Jack Angel), a robotic teddy bear, who takes it upon himself to care for David's well-being.
A cure is found for Martin and he is brought home; as he recovers, it becomes clear he does not want a sibling and soon makes moves to cause issues for David. First, he attempts to make Teddy choose whom he likes more. He then makes David promise to do something and in return Martin will tell Monica that he loves his new "brother", making her love him more. The promise David makes is to go to Monica in the middle of the night and cut off a lock of her hair. This upsets the parents, particularly Henry, who fears that the scissors are a weapon, and warns Monica that a robot programmed to love may also be able to hate.
At a pool party, one of Martin's friends unintentionally activates David's self-protection programming by poking him with a knife. David grabs Martin, apparently for protection, but they both fall into the pool. David sinks to the bottom while still clinging to Martin. Martin is saved from drowning, but Henry mistakes David's fear during the pool incident as hate for Martin.
Henry persuades Monica to return David to Cybertronics, where he will be destroyed. However, Monica cannot bring herself to do this and, instead, tearfully abandons David in the forest (with Teddy) to hide as an unregistered Mecha.
David is captured for an anti-Mecha "Flesh Fair", an event where obsolete and unlicensed Mecha are destroyed in front of cheering crowds. David is nearly killed, but the crowd is swayed by his fear (since Mecha do not plea for their lives) into believing he is human and he escapes with Gigolo Joe (Jude Law), a male prostitute Mecha on the run after being framed for the murder of a client by the client's husband.
The two set out to find the Blue Fairy, who David remembers from the story The Adventures of Pinocchio. He is convinced that the Blue Fairy will transform him into a human boy, allowing Monica to love him and take him home.
Joe and David make their way to Rouge City, a Las Vegas-esque resort. Information from a holographic answer engine called "Dr. Know" (Robin Williams) eventually leads them to the top of Rockefeller Center in the flooded ruins of Manhattan. There, David meets an identical copy of himself and, believing he is not special, becomes filled with anger and destroys the copy Mecha. David then meets his human creator, Professor Allen Hobby (William Hurt), who excitedly tells David that finding him was a test, which has demonstrated the reality of his love and desire. However, David learns that he is the namesake and image of Professor Hobby's deceased son and that many copies of David, along with female versions called Darlene, are already being manufactured.
Sadly realizing that he is not unique, a disheartened David attempts to commit suicide by falling from a ledge into the ocean, but Joe rescues him with their stolen amphibicopter. David tells Joe he saw the Blue Fairy underwater and wants to go down to her. At that moment, Joe is captured by the authorities with the use of an electromagnet, but he sets the amphibicopter on submerge. David and Teddy take it to the fairy, which turns out to be a statue from a submerged attraction at Coney Island. Teddy and David become trapped when the Wonder Wheel falls on their vehicle. Believing the Blue Fairy to be real, David asks to be turned into a real boy, repeating his wish without an end, until the ocean freezes in another ice age and his internal power source drains away.
Two thousand years later, humans are extinct and Manhattan is buried under several hundred feet of glacial ice. The now highly advanced Mecha have evolved into an intelligent, silicon-based form. On their project to study humans—believing it was the key to understanding the meaning of existence—they find David and Teddy and discover they are original Mecha who knew living humans, making the pair very special and unique.
David is revived and walks to the frozen Blue Fairy statue, which cracks and collapses as he touches it. Having downloaded and comprehended his memories, the advanced Mecha use these to reconstruct the Swinton home and explain to David via an interactive image of the Blue Fairy (Meryl Streep) that it is impossible to make him human. However, at David's insistence, they recreate Monica from DNA in the lock of her hair, which Teddy had saved. One of the Mecha warns David that the clone can live for only a single day and that the process cannot be repeated. The next morning, David is reunited with Monica and spends the happiest day of his life with her and Teddy. Monica tells David that she loves him and has always loved him as she drifts to sleep for the last time. David lies down next to her, closes his eyes and goes "to that place where dreams are born" (in fact turns off, being exhausted and at the end of his technical lifetime). Teddy climbs onto the bed and watches as David and Monica lie peacefully together.
Cast
- Haley Joel Osment as David, an innovative Mecha created by Cybertronics and programmed with the ability to love. He is adopted by Henry and Monica Swinton, but a sibling rivalry ensues once their son Martin comes out of suspended animation. Osment was Spielberg's first and only choice for the role. Osment avoided blinking his eyes to perfectly portray the character, and "programmed" himself with good posture for realism.[3]
- Jude Law as Gigolo Joe, a male prostitute Mecha programmed with the ability to mimic love, like David, but in a different sense. To prepare for the role, Law studied the acting of Fred Astaire and Gene Kelly.[4]
- Frances O'Connor as Monica Swinton, David's adopted mother who reads him The Adventures of Pinocchio. She is first displeased to have David in her home but soon starts loving him.
- Sam Robards as Henry Swinton, an employee at Cybertronics, husband of Monica and David's adopted father. Henry eventually sees David as dangerous to his family.
- Jake Thomas as Martin Swinton, Henry and Monica's first son, who was placed in suspended animation and David's adopted brother. When Martin comes back, he convinces David to cut off a lock of Monica's hair.
- William Hurt as Professor Allen Hobby, responsible for shepherding the creation of David. He resides in New York City, which is crippled by the effects of global warming but still functioning as Cybertronics' headquarters. David is modeled after Hobby's own son, also named David, who died at a young age.
- Brendan Gleeson as Lord Johnson-Johnson, the owner and master of ceremonies of the Flesh Fair.
- Ashley Scott as Gigolo Jane
- Voices
- Jack Angel as Teddy, David's android teddy bear.
- Ben Kingsley as a Mecha specialist. He is also uncredited as the narrator.
- Robin Williams as Dr. Know, a holographic answer engine. (Cameo)
- Meryl Streep as The Blue Fairy. (Cameo)
- Chris Rock as a Mecha comedian destroyed at the Flesh Fair. (Cameo)
Production
Development
Kubrick began development on an adaptation of Super-Toys Last All Summer Long in the late 1970s, hiring the short story's author, Brian Aldiss, to write a film treatment. In 1985, Kubrick brought longtime friend Steven Spielberg on board to produce the film,[5] along with Jan Harlan. Warner Bros. agreed to co-finance A.I. and cover distribution duties.[6] The film labored in development hell, and Aldiss was fired by Kubrick over creative differences in 1989.[7] Bob Shaw served as writer very briefly, leaving after six weeks because of Kubrick's demanding work schedule, and Ian Watson was hired as the new writer in March 1990. Aldiss later remarked, "Not only did the bastard fire me, he hired my enemy [Watson] instead." Kubrick handed Watson The Adventures of Pinocchio for inspiration, calling A.I. "a picaresque robot version of Pinocchio".[6][8]
Three weeks later Watson gave Kubrick his first story treatment, and concluded his work on A.I. in May 1991 with another treatment, at 90 pages. Gigolo Joe was originally conceived as a GI Mecha, but Watson suggested changing him to a male prostitute. Kubrick joked, "I guess we lost the kiddie market."[6] In the meantime, Kubrick dropped A.I. to work on a film adaptation of Wartime Lies, feeling computer animation was not advanced enough to create the David character. However, after the release of Spielberg's Jurassic Park (with its innovative use of computer-generated imagery), it was announced in November 1993 that production would begin in 1994.[9] Dennis Muren and Ned Gorman, who worked on Jurassic Park, became visual effects supervisors,[7] but Kubrick was displeased with their previsualization, and with the expense of hiring Industrial Light & Magic.[10]
Stanley [Kubrick] showed Steven [Spielberg] 650 drawings which he had, and the script and the story, everything. Stanley said, "Look, why don't you direct it and I'll produce it." Steven was almost in shock. —Producer Jan Harlan, on Spielberg's first meeting with Kubrick about A.I.[11] |
Pre-production
In early 1994, the film was in pre-production with Christopher "Fangorn" Baker as concept artist, and Sara Maitland assisting on the story, which gave it "a feminist fairy-tale focus".[6] Maitland said that Kubrick never referred to the film as A.I., but as Pinocchio.[10] Chris Cunningham became the new visual effects supervisor. Some of his unproduced work for A.I. can be seen on the DVD, The Work of Director Chris Cunningham.[12] Aside from considering computer animation, Kubrick also had Joseph Mazzello do a screen test for the lead role.[10] Cunningham helped assemble a series of "little robot-type humans" for the David character. "We tried to construct a little boy with a movable rubber face to see whether we could make it look appealing," producer Jan Harlan reflected. "But it was a total failure, it looked awful." Hans Moravec was brought in as a technical consultant.[10] Meanwhile, Kubrick and Harlan thought A.I. would be closer to Steven Spielberg's sensibilities as director.[13][14] Kubrick handed the position to Spielberg in 1995, but Spielberg chose to direct other projects, and convinced Kubrick to remain as director.[11][15] The film was put on hold due to Kubrick's commitment to Eyes Wide Shut (1999).[16] After the filmmaker's death in March 1999, Harlan and Christiane Kubrick approached Spielberg to take over the director's position.[17][18] By November 1999, Spielberg was writing the screenplay based on Watson's 90-page story treatment. It was his first solo screenplay credit since Close Encounters of the Third Kind (1977).[19] Spielberg remained close to Watson's treatment, but removed various sex scenes with Gigolo Joe. Pre-production was briefly halted during February 2000, because Spielberg pondered directing other projects, which were Harry Potter and the Philosopher's Stone, Minority Report and Memoirs of a Geisha.[16][20] The following month Spielberg announced that A.I. would be his next project, with Minority Report as a follow-up.[21] When he decided to fast track A.I., Spielberg brought Chris Baker back as concept artist.[15]
Filming
The original start date was July 10, 2000,[14] but filming was delayed until August.[22] Aside from a couple of weeks shooting on location in Oxbow Regional Park in Oregon, A.I. was shot entirely using sound stages at Warner Bros. Studios and the Spruce Goose Dome in Long Beach, south LA.[23] The Swinton house was constructed on Stage 16, while Stage 20 was used for Rouge City and other sets.[24][25] Spielberg copied Kubrick's obsessively secretive approach to filmmaking by refusing to give the complete script to cast and crew, banning press from the set, and making actors sign confidentiality agreements. Social robotics expert Cynthia Breazeal served as technical consultant during production.[14][26] Haley Joel Osment and Jude Law applied prosthetic makeup daily in an attempt to look shinier and robotic.[3] Costume designer Bob Ringwood (Batman, Troy) studied pedestrians on the Las Vegas Strip for his influence on the Rouge City extras.[27] Spielberg found post-production on A.I. difficult because he was simultaneously preparing to shoot Minority Report.[28]
Soundtrack
- Main article: A.I. Artificial Intelligence (soundtrack)
The film's soundtrack was released by Warner Sunset Records in 2001. The original score was composed by John Williams and featured singers Lara Fabian on two songs and Josh Groban on one. The film's score also had a limited release as an official "For your consideration Academy Promo", as well as a complete score issue by La-La Land Records in 2015. The band Ministry appears in the film playing the song "What About Us?" (but the song does not appear on the official soundtrack album).
Release
Marketing
Warner Bros. used an alternate reality game titled The Beast to promote the film. Over forty websites were created by Atomic Pictures in New York City (kept online at Cloudmakers.org) including the website for Cybertronics Corp. There were to be a series of video games for the Xbox video game console that followed the storyline of The Beast, but they went undeveloped. To avoid audiences mistaking A.I. for a family film, no action figures were created, although Hasbro released a talking Teddy following the film's release in June 2001.[14]
In November 2000, during production, a video-only webcam (dubbed the "Bagel Cam") was placed in the craft services truck on the film's set at the Queen Mary Dome in Long Beach, California. Steven Spielberg, producer Kathleen Kennedy and various other production personnel visited the camera and interacted with fans over the course of three days.[29][30]
A.I. had its premiere at the Venice Film Festival in 2001.[31]
Box office
The film opened in 3,242 theaters in the United States on June 29, 2001, earning $29,352,630 during its opening weekend. A.I went on to gross $78.62 million in US totals as well as $157.31 million in foreign countries, coming to a worldwide total of $235.93 million.[32]
Critical response
The film received generally positive reviews. Based on 190 reviews collected by Rotten Tomatoes, 73% of the critics gave the film positive notices with a score of 6.6 out of 10. The website described the critical consensus perceiving the film as "a curious, not always seamless, amalgamation of Kubrick's chilly bleakness and Spielberg's warm-hearted optimism. [The film] is, in a word, fascinating."[33] By comparison, Metacritic collected an average score of 65, based on 32 reviews, which is considered favorable.[34]
Producer Jan Harlan stated that Kubrick "would have applauded" the final film, while Kubrick's widow Christiane also enjoyed A.I.[35] Brian Aldiss admired the film as well: "I thought what an inventive, intriguing, ingenious, involving film this was. There are flaws in it and I suppose I might have a personal quibble but it's so long since I wrote it." Of the film's ending, he wondered how it might have been had Kubrick directed the film: "That is one of the 'ifs' of film history - at least the ending indicates Spielberg adding some sugar to Kubrick's wine. The actual ending is overly sympathetic and moreover rather overtly engineered by a plot device that does not really bear credence. But it's a brilliant piece of film and of course it's a phenomenon because it contains the energies and talents of two brilliant filmmakers."[36] Richard Corliss heavily praised Spielberg's direction, as well as the cast and visual effects.[37] Roger Ebert awarded the film 4 out of 4 stars, saying that it was "Audacious, technically masterful, challenging, sometimes moving [and] ceaselessly watchable.[38]Leonard Maltin gives the film a not-so-positive review in his Movie Guide, giving it two stars out of four, writing: "[The] intriguing story draws us in, thanks in part to Osment's exceptional performance, but takes several wrong turns; ultimately, it just doesn't work. Spielberg rewrote the adaptation Stanley Kubrick commissioned of the Brian Aldiss short story 'Super Toys Last All Summer Long'; [the] result is a curious and uncomfortable hybrid of Kubrick and Spielberg sensibilities." However, he calls John Williams' music score "striking". Jonathan Rosenbaum compared A.I. to Solaris (1972), and praised both "Kubrick for proposing that Spielberg direct the project and Spielberg for doing his utmost to respect Kubrick's intentions while making it a profoundly personal work."[39] Film critic Armond White, of the New York Press, praised the film noting that "each part of David’s journey through carnal and sexual universes into the final eschatological devastation becomes as profoundly philosophical and contemplative as anything by cinema’s most thoughtful, speculative artists – Borzage, Ozu, Demy, Tarkovsky."[40] Filmmaker Billy Wilder hailed A.I. as "the most underrated film of the past few years."[41] When British filmmaker Ken Russell saw the film, he wept during the ending.[42]
Mick LaSalle gave a largely negative review. "A.I. exhibits all its creators' bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg." Dubbing it Spielberg's "first boring movie", LaSalle also believed the robots at the end of the film were aliens, and compared Gigolo Joe to the "useless" Jar Jar Binks, yet praised Robin Williams for his portrayal of a futuristic Albert Einstein.[43] Peter Travers gave a mixed review, concluding "Spielberg cannot live up to Kubrick's darker side of the future." But he still put the film on his top ten list that year for best movies.[44] David Denby in The New Yorker criticized A.I. for not adhering closely to his concept of the Pinocchio character. Spielberg responded to some of the criticisms of the film, stating that many of the "so called sentimental" elements of A.I., including the ending, were in fact Kubrick's and the darker elements were his own.[45] However, Sara Maitland, who worked on the project with Kubrick in the 1990s, claimed that one of the reasons Kubrick never started production on A.I. was because he had a hard time making the ending work.[46] James Berardinelli found the film "consistently involving, with moments of near-brilliance, but far from a masterpiece. In fact, as the long-awaited 'collaboration' of Kubrick and Spielberg, it ranks as something of a disappointment." Of the film's highly debated finale, he claimed, "There is no doubt that the concluding 30 minutes are all Spielberg; the outstanding question is where Kubrick's vision left off and Spielberg's began."[47]
Screenwriter Ian Watson has speculated, "Worldwide, A.I. was very successful (and the 4th highest earner of the year) but it didn't do quite so well in America, because the film, so I'm told, was too poetical and intellectual in general for American tastes. Plus, quite a few critics in America misunderstood the film, thinking for instance that the Giacometti-style beings in the final 20 minutes were aliens (whereas they were robots of the future who had evolved themselves from the robots in the earlier part of the film) and also thinking that the final 20 minutes were a sentimental addition by Spielberg, whereas those scenes were exactly what I wrote for Stanley and exactly what he wanted, filmed faithfully by Spielberg."[48]
In 2002, Spielberg told film critic Joe Leydon that "People pretend to think they know Stanley Kubrick, and think they know me, when most of them don't know either of us". "And what's really funny about that is, all the parts of A.I. that people assume were Stanley's were mine. And all the parts of A.I. that people accuse me of sweetening and softening and sentimentalizing were all Stanley's. The teddy bear was Stanley's. The whole last 20 minutes of the movie was completely Stanley's. The whole first 35, 40 minutes of the film – all the stuff in the house – was word for word, from Stanley's screenplay. This was Stanley's vision." "Eighty percent of the critics got it all mixed up. But I could see why. Because, obviously, I've done a lot of movies where people have cried and have been sentimental. And I've been accused of sentimentalizing hard-core material. But in fact it was Stanley who did the sweetest parts of A.I., not me. I'm the guy who did the dark center of the movie, with the Flesh Fair and everything else. That's why he wanted me to make the movie in the first place. He said, 'This is much closer to your sensibilities than my own.'"[49]
Upon rewatching the film many years after its release, BBC film critic Mark Kermode apologized to Spielberg in an interview in January 2013 for "getting it wrong" on the film when he first viewed it in 2001. He now believes the film to be Spielberg's "enduring masterpiece".[50]
Accolades
Visual effects supervisors Dennis Muren, Stan Winston, Michael Lantieri and Scott Farrar were nominated for the Academy Award for Best Visual Effects, while John Williams was nominated for Best Original Music Score.[51] Steven Spielberg, Jude Law and Williams received nominations at the 59th Golden Globe Awards.[52] The visual effects department was once again nominated at the 55th British Academy Film Awards.[53] A.I. was successful at the Saturn Awards. Spielberg (for his screenplay), the visual effects department, Williams and Haley Joel Osment (Performance by a Younger Actor) won in their respective categories. The film also won Best Science Fiction Film and for its DVD release. Frances O'Connor and Spielberg (as director) were also nominated.[54]
The film is recognized by American Film Institute in these lists:
- 2005: AFI's 100 Years of Film Scores – Nominated[55]
- 2008: AFI's 10 Top 10:
- Nominated Science Fiction Film[56]
Home media
Transcript
Gallery
References
- ↑ "A.I. (12)". British Board of Film Classification. Retrieved on April 7, 2014.
- ↑ 2.0 2.1 "A.I. Artificial Intelligence (2001)". Internet Movie Database. Retrieved on April 7, 2014.
- ↑ 3.0 3.1 Haley Joel Osment, A Portrait of David, 2001, Warner Home Video; DreamWorks
- ↑ Jude Law, A Portrait of Gigolo Joe, 2001, Warner Home Video; DreamWorks
- ↑ Scott Brake (May 10, 2001). "Spielberg Talks About the Genesis of A.I.". IGN. Retrieved August 4, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 6.0 6.1 6.2 6.3 Plumbing Stanley Kubrick. Ian Watson. Archived from the original on July 3, 2008. Retrieved on July 7, 2008.
- ↑ 7.0 7.1 Steven Gaydos (March 15, 2000). "The Kubrick Connection". Variety. Retrieved July 19, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Dana Haris (March 15, 2000). "Spielberg lines up A.I., Report". Variety. Retrieved July 16, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Christian Moerk (November 2, 1993). "A.I. next for Kubrick at Warners". Variety. Retrieved July 7, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 10.0 10.1 10.2 10.3 The Kubrick FAQ Part 2: A.I.. Archived from the original on August 18, 2008. Retrieved on August 5, 2008.
- ↑ 11.0 11.1 Kenneth Plume (June 28, 2001). "Interview with Producer Jan Harlan". IGN. Retrieved August 5, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ The Work of Director Chris Cunningham. NotComing.com. Archived from the original on July 19, 2008. Retrieved on July 19, 2008.
- ↑ "A.I. Artificial Intelligence". Variety. Variety.com. May 15, 2001. Retrieved July 19, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 14.0 14.1 14.2 14.3 Liane Bonin (June 28, 2001). "Boy Wonder". Entertainment Weekly. Retrieved July 15, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 15.0 15.1 Steven Spielberg, Jan Harlan, Kathleen Kennedy, Bonnie Curtis, Creating A.I., 2001, Warner Home Video; DreamWorks
- ↑ 16.0 16.1 Christian Moerk (December 23, 1999). "Spielberg encounters close choices to direct". Variety. Retrieved July 15, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Scott Brake (June 29, 2001). "Producing A.I.". IGN. Retrieved August 4, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Army Archerd (July 15, 1999). "Annie Tv'er nab tops talent". Variety. Retrieved July 14, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Michael Fleming (November 16, 1999). "West pursues Prisoner; Spielberg scribbles". Variety. Retrieved July 16, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Peter Bart (January 24, 2000). "It's scary up there". Variety. Retrieved July 15, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Spielberg to wrap Kubrick project". BBC. March 15, 2000. Retrieved March 24, 2007.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Brian Zoromski (June 30, 2000). "A.I. Moves Full Speed Ahead". IGN. Retrieved August 4, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ The Worldwide Guide to Movie Locations by Tony Reeves. The Titan Publishing Group. Pg.9 [1]
- ↑ Scott Brake (August 3, 2000). "A.I. Set Reports!". IGN. Retrieved August 4, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Christopher "Fangorn" Baker, Rick Carter, A.I. From Drawings to Sets, 2001, Warner Home Video; DreamWorks
- ↑ Bill Higgins (November 6, 2000). "BAFTA hails Spielberg". Variety. Retrieved August 6, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Bob Ringwood, Dressing A.I., 2001, Warner Home Video; DreamWorks
- ↑ Charles Lyons (January 18, 2001). "Inside Move: Cruise staying busy". Variety. Retrieved July 18, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Spielberg visits the A.I. Bagel Cam on YouTube accessdate August 10, 2016
- ↑ "A.I. Bagel Cam - Entertainment Tonight". YouTube. Retrieved on April 16, 2015.
- ↑ David Rooney (April 16, 2001). "'Dust' in the wind for Venice fest". Variety. Archived from the original on October 30, 2008. Retrieved July 19, 2008. Unknown parameter
|deadurl=
ignored (|url-status=
suggested) (help)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> - ↑ "A.I. Artificial Intelligence". Box Office Mojo. Retrieved on July 8, 2008.
- ↑ A.I. Artificial Intelligence. Rotten Tomatoes. Archived from the original on July 8, 2008. Retrieved on July 8, 2008.
- ↑ "A.I. Artificial Intelligence (2001): Reviews". Metacritic. Retrieved on July 8, 2008.
- ↑ Army Archerd (June 20, 2000). "A.I. A Spielberg/Kubrick prod'n". Variety. Retrieved August 6, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "ARTIFICIAL INTELLIGENCE | The mind behind AI". BBC News (September 20, 2001). Retrieved on November 2, 2013.
- ↑ Richard Corliss (June 17, 2001). "A.I. – Spielberg's Strange Love". Time. Archived from the original on June 26, 2008. Retrieved August 6, 2008. Unknown parameter
|deadurl=
ignored (|url-status=
suggested) (help)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>[dead link] - ↑ http://www.rogerebert.com/reviews/great-movie-ai-artificial-intelligence-2001
- ↑ Jonathan Rosenbaum (June 29, 2001). "The Best of Both Worlds". Chicago Reader. Retrieved August 6, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Armond White (July 4, 2001). "Spielberg's A.I. Dares Viewers to Remember and Accept the Part of Themselves that Is Capable of Feeling". Retrieved on April 26, 2010.
- ↑ Paul Sussman (November 17, 2006). "Close encounters of the hugely profitable kind". CNN. Retrieved on October 2, 2015.
- ↑ Alex Russell (December 7, 2011). "Eyewitness: Ken Russell by his son". Retrieved on January 23, 2015.
- ↑ Mick LaSalle (June 29, 2001). "Artificial foolishness". San Francisco Chronicle. Retrieved August 6, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Peter Travers (June 21, 2001). "A.I. Artificial Intelligence". Rolling Stone. Retrieved August 6, 2008.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Mark Kermode (2006-11-04). "Steven Spielberg". The Culture Show. BBC Two.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "The Kubrick FAQ Part 2". Visual-memory.co.uk. Retrieved on April 7, 2012.
- ↑ "Review: A.I". Reelviews.net. Retrieved on November 2, 2013.
- ↑ "Author Talk: Ian Watson". Moon Milk Review (May 10, 2010). Retrieved on April 7, 2012.
- ↑ Leydon, Joe (June 20, 2002). "'Minority Report' looks at the day after tomorrow -- and is relevant to today". Moving Picture Show. Retrieved April 29, 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Mark Kermode (January 22, 2013). "Blogs - Kermode Uncut - AI Apology". BBC. Retrieved on November 2, 2013.
- ↑ "Academy Awards: 2002". Internet Movie Database. Retrieved on July 14, 2008.
- ↑ "59th Golden Globe Awards". Internet Movie Database. Retrieved on July 14, 2008.
- ↑ 55th British Academy Film Awards. Internet Movie Database. Archived from the original on July 23, 2008. Retrieved on July 14, 2008.
- ↑ "Saturn Awards: 2002". Internet Movie Database. Retrieved on July 14, 2008.
- ↑ "AFI's 100 Years of Film Scores Nominees" (PDF). Retrieved on 2016-08-12.
- ↑ AFI's 10 Top 10 Nominees (PDF). Archived from the original on July 16, 2011. Retrieved on 2016-08-19.
Further reading
- (2009) in Jane M. Struthers: A.I. Artificial Intelligence: From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film. Thames & Hudson. ISBN 978-0-500-51489-4.
External links
- A.I. Artificial Intelligence at AllMovie
- A.I. Artificial Intelligence at Rotten Tomatoes
- A.I. Artificial Intelligence at Box Office Mojo
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