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AI Artificial Intelligence (2001)
Release Date:


MPAA Rating:
PG-13

Rating Reason:
For some sexual content and violent images

Genre:
Fantasy, Sci-Fi

Starring:
Haley Joel Osment, Jude Law, Frances O'Connor, Sam Robards, Brendan Gleeson, William Hurt, Jake Thomas, Robin Williams (narrator)

Written By:
Steven Spielberg

Director:
Steven Spielberg

Official Site:
AI Artificial Intelligence (2001)

Synopsis:
It is a time when natural resources are limited and technology is advancing at an astronomical pace. Where you live is monitored; what you eat is engineered; and the person serving you is not a person at all. It's artificial. Gardening, housekeeping, companionship -- there is a robot for every need. Except love.

Emotion is the last, controversial frontier in robot evolution. Robots are seen as sophisticated appliances; they're not supposed to have feelings. But with so many parents not yet approved to have children, the possibilities abound. Click to enlarge

And Cybertronics Manufacturing has created the solution.

His name is David (HALEY JOEL OSMENT).

A robotic boy, the first programmed to love, David is adopted as a test case by a Cybertronics employee (SAM ROBARDS) and his wife (FRANCES O'CONNOR), whose own terminally ill child has been cryogenically frozen until a cure can be found. Though he gradually becomes their child, with all the love and stewardship that entails, a series of unexpected circumstances make this life impossible for David.

Without final acceptance by humans or machines, and armed only with Teddy, his supertoy teddy bear and protector, David embarks on a journey to discover where he truly belongs, uncovering a world in which the line between robot and machine is both terrifyingly vast and profoundly thin.

AI Artificial Intelligence (2001) | Preview

The 30 Year Journey to the Screen
HJ

Artificial intelligence is at once a thriving technological reality in the present and fertile literary ground for futurists and visionaries. Though intelligent machines make coffee, direct traffic, conduct web searches and perform various other mundane tasks, the sophisticated artificial humans of "A.I." have become deeply enmeshed in the fabric of everyday human life.

Noted science fiction author Brian Aldiss wrote his short story, "Super-Toys Last All Summer Long," over 30 years ago. Published in Harper?s Bazaar in 1969 and later anthologized, it concerned a near future in which a robot child struggles to make a connection with his human mother.

Click to enlargeAfter more than a decade, director Stanley Kubrick purchased the rights to Aldiss?s tale and set out on what would become a twenty-year odyssey to convert it into "A.I." Throughout this period, Kubrick consulted often with Steven Spielberg, who had commenced a friendship with the expatriate filmmaker in 1979 while Spielberg was on location in England shooting "Raiders of the Lost Ark." Their nearly 20-year friendship involved few face-to-face meetings, but thrived on marathon transatlantic phone calls.

"A lot of our phone calls through the years were just to make contact with each other, to see what was happening on both sides of the ocean," Spielberg recalls. "I saw him maybe 12 times over two decades. But one day in the middle of a conversation, he said ?You know, you really ought to direct ?A.I.? and I should produce it for you.? I remember him actually giving me a title card on the whole proposal: a Stanley Kubrick production of a Steven Spielberg film."

Taken aback, Spielberg asked why Kubrick would consider passing the reins of a long favored project to him. "I was shocked. I said, ?Why would you want to do that, Stanley?? He just said ?Well, you know, I think this movie is closer to your sensibility than mine.?"

Executive producer Jan Harlan had worked with his brother-in-law Stanley Kubrick for thirty years, shepherding many projects with him since "Barry Lyndon," including "Super-Toys Last All Summer Long." "Stanley always wanted to go to new territory," says Harlan. "Always probing. He wanted to bring the art of moviemaking into areas and topics that hadn?t been explored. ?2001? is a great example. So is ?Eyes Wide Shut? - it tackled a very internal topic: Jealousy. ?Every single member of the audience is bound to be an expert,? Stanley once said. He had planned to do ?A.I.? before ?Eyes Wide Shut,? but many factors delayed this."

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