A.I. Artificial Intelligence: Apr. 5, 2011

[James Luckard]

Originally Posted by aggienader08

I would like to pose an interesting question:

When you watch this film, do you get a Spielberg or Kubrick feel?

I get more Kubrick out of this film than anything. Very subtle Spielberg, and I think that is the purpose of this film.

This film is complete and utter brilliance to the fact that while Kubrick and Spielberg are two of my favorite directors, this film seems to fit perfectly between both collections of films.

Agreed. I think it's Spielberg's VERTIGO - one of his most personal films and one that will be recognized as a masterpiece in years to come.

Interestingly, when the film came out Spielberg refused to talk about it much, wanting the film to speak for itself. However when the reaction was as nasty and negative as it was, he gave a few interviews to set the record straight.

The big assumption people made was that the first act in the home, and the third act,

[Show spoiler]in the distant future with the Supermechas

, had to be largely Spielberg's creations, especially the end as it was criticized for

[Show spoiler]sentimentality

. The middle, on the other hand, which was so dark, was assumed to be more what Kubrick must have planned.

Spielberg said they couldn't be more wrong. The opening and closing sections of the film were VERY carefully planned by Kubrick before his death. The middle, on the other hand, was the least developed, and Spielberg wrote much of it from scratch.

I think the whole thing is sheer genius, and a perfect marriage of the styles of two of the most gifted filmmakers who ever lived.

For a really great in-depth look at Kubrick's process developing the piece over 30 years, and Spielberg's work at the end, check out this amazing coffee table book, written by Jan Harlan, Kubrick's brother-in-law and one of his closest collaborators:

A.I. Artificial Intelligence: From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film

http://www.amazon.com/A-I-Artificial...dp/0500514895/

[Filmmaker]

Originally Posted by aggienader08

I would like to pose an interesting question:

When you watch this film, do you get a Spielberg or Kubrick feel?

Spielberg.

You get a John Williams score, Janusz Kaminski photography, use of Robin Williams, a scene of childlike wonder throughout. Sure, it has Kubrickisms, to coin a term, but Spielberg very much made it his own.

[aggienader08]

Originally Posted by Filmmaker

Spielberg.

You get a John Williams score, Janusz Kaminski photography, use of Robin Williams, a scene of childlike wonder throughout. Sure, it has Kubrickisms, to coin a term, but Spielberg very much made it his own.

Yes but Williams score was very unique and uncharacteristic even. I've personally asked Williams about this one and his response was simply, "I was asked to do something different and felt it should be unusual..."

EDIT: When you listen to the soundtrack it's truly amazing how Williams transformed his style of composing to this film, and applied it to a few others after. His use of the vibraphone and voice (choir) on this soundtrack , as well as on Minority Report and War of the Worlds, is a huge departure from his usual style of using horns and strings.

Talk about genius. This man IS the true genius. Or rather, this film was created by a collective genius when you combine Kubrick, Spielberg, and Williams.

People who criticize this film have no idea what they're doing.

[aggienader08]

Originally Posted by James Luckard

Agreed. I think it's Spielberg's VERTIGO - one of his most personal films and one that will be recognized as a masterpiece in years to come.

Interestingly, when the film came out Spielberg refused to talk about it much, wanting the film to speak for itself. However when the reaction was as nasty and negative as it was, he gave a few interviews to set the record straight.

The big assumption people made was that the first act in the home, and the third act,

[Show spoiler]in the distant future with the Supermechas

, had to be largely Spielberg's creations, especially the end as it was criticized for

[Show spoiler]sentimentality

. The middle, on the other hand, which was so dark, was assumed to be more what Kubrick must have planned.

Spielberg said they couldn't be more wrong. The opening and closing sections of the film were VERY carefully planned by Kubrick before his death. The middle, on the other hand, was the least developed, and Spielberg wrote much of it from scratch.

I think the whole thing is sheer genius, and a perfect marriage of the styles of two of the most gifted filmmakers who ever lived.

For a really great in-depth look at Kubrick's process developing the piece over 30 years, and Spielberg's work at the end, check out this amazing coffee table book, written by Jan Harlan, Kubrick's brother-in-law and one of his closest collaborators:

A.I. Artificial Intelligence: From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film

http://www.amazon.com/A-I-Artificial...dp/0500514895/

I've seen this book before. I really want to get it. Thank you!

One point that I have to make about the middle of this film is that even though Spielberg claims to have written it from scratch, it is odd (and you have to applaud him for the fact) that he seemed to have stuck with Kubrick's style greatly, especially when you look at the subtle and yet overwhelming erotic subject matter involving the character of Joe and the city environment.

[eiknarf]

Originally Posted by aggienader08

I would like to pose an interesting question:

When you watch this film, do you get a Spielberg or Kubrick feel?

I get more Kubrick out of this film than anything. Very subtle Spielberg, and I think that is the purpose of this film.

This film is complete and utter brilliance to the fact that while Kubrick and Spielberg are two of my favorite directors, this film seems to fit perfectly between both collections of films.

I feel 60% Spielberg, 40% Kubrick when I watch it.

[James Luckard]

Originally Posted by aggienader08

I've seen this book before. I really want to get it. Thank you!

One point that I have to make about the middle of this film is that even though Spielberg claims to have written it from scratch, it is odd (and you have to applaud him for the fact) that he seemed to have stuck with Kubrick's style greatly, especially when you look at the subtle and yet overwhelming erotic subject matter involving the character of Joe and the city environment.

Take a look at the original design work in the book. Kubrick's Rouge City would have been stunningly filthy, pornographic and nasty - as reimagined for Spielberg's film, the designs are subdued and more suggestive than actually phallic, etc. It's true, it's in the direction Kubrick wanted, but it's a much more glossy, Las Vegas, campy take on sexuality than the grimy world Kubrick envisioned.

[James Luckard]

Originally Posted by aggienader08

I've seen this book before. I really want to get it. Thank you!

One point that I have to make about the middle of this film is that even though Spielberg claims to have written it from scratch, it is odd (and you have to applaud him for the fact) that he seemed to have stuck with Kubrick's style greatly, especially when you look at the subtle and yet overwhelming erotic subject matter involving the character of Joe and the city environment.

Also, an interesting choice Spielberg made in the first act, at the Swinton Home, is that we NEVER see the world they live in. We only ever see interiors of their home. Kubrick had extensive design work done on their apartment building and its environment, but we never even see the exterior - indeed it's possible to be unaware they even live in a multi-story building - we only ever see what David would see and he hardly ever goes out. A brilliant and unexpected choice by Spielberg.

[Filmmaker]

Originally Posted by aggienader08

Yes but Williams score was very unique and uncharacteristic even. I've personally asked Williams about this one and his response was simply, "I was asked to do something different and felt it should be unusual..."

EDIT: When you listen to the soundtrack it's truly amazing how Williams transformed his style of composing to this film, and applied it to a few others after. His use of the vibraphone and voice (choir) on this soundtrack , as well as on Minority Report and War of the Worlds, is a huge departure from his usual style of using horns and strings.

As an owner of the full-length 2-CD Academy Promo soundtrack, I think you rather dramatically overstate the unique variance from Williams's prior sound. Sure, he tried some new things, but they are subtle explorations of fresh sonic territory, not a total reinvention of his aesthetic approach. I would never confuse the score for having been composed by anyone else, and it sounds nothing like the soundtrack to any Kubrick film.

[James Luckard]

Originally Posted by Filmmaker

As an owner of the full-length 2-CD Academy Promo soundtrack, I think you rather dramatically overstate the unique variance from Williams's prior sound. Sure, he tried some new things, but they are subtle explorations of fresh sonic territory, not a total reinvention of his aesthetic approach. I would never confuse the score for having been composed by anyone else, and it sounds nothing like the soundtrack to any Kubrick film.

Party because Kubrick avoided orchestral scores like the plague. I agree though, while Williams adapted his style to suit the film, the work is unmistakably his.

[KubrickFan]

Originally Posted by James Luckard

Spielberg said they couldn't be more wrong. The opening and closing sections of the film were VERY carefully planned by Kubrick before his death. The middle, on the other hand, was the least developed, and Spielberg wrote much of it from scratch.

Funny, I always thought the middle part was a bit lacking.

While it's dark and has a Kubrick feel over the entire movie, the way it was made is unmistakably Spielberg. People who think the ending was sentimental did just not understand it at all.

I do have to say that I feel the voice-over wasn't really needed, and leaving that out would make the movie much more Kubrickian, and give the people something to think about (though probably the ending would have been hated even more).

Originally Posted by Filmmaker

As an owner of the full-length 2-CD Academy Promo soundtrack, I think you rather dramatically overstate the unique variance from Williams's prior sound. Sure, he tried some new things, but they are subtle explorations of fresh sonic territory, not a total reinvention of his aesthetic approach. I would never confuse the score for having been composed by anyone else, and it sounds nothing like the soundtrack to any Kubrick film.

Well, that doesn't detract anything from the brilliance of Williams' score, though.

[aggienader08]

Originally Posted by Filmmaker

As an owner of the full-length 2-CD Academy Promo soundtrack, I think you rather dramatically overstate the unique variance from Williams's prior sound. Sure, he tried some new things, but they are subtle explorations of fresh sonic territory, not a total reinvention of his aesthetic approach. I would never confuse the score for having been composed by anyone else, and it sounds nothing like the soundtrack to any Kubrick film.

I apologize for over stating the fact that the soundtrack was different. You are correct in saying the score doesn't sound anything like a Kubrick track. I was simply stating the fact that Williams approach was different. It's still Williams, I'm not arguing that fact.

[Filmmaker]

Originally Posted by KubrickFan

Well, that doesn't detract anything from the brilliance of Williams' score, though.

Not sure where I made any such assertion.

[benbess]

Originally Posted by James Luckard

Agreed. I think it's Spielberg's VERTIGO - one of his most personal films and one that will be recognized as a masterpiece in years to come.

Interestingly, when the film came out Spielberg refused to talk about it much, wanting the film to speak for itself. However when the reaction was as nasty and negative as it was, he gave a few interviews to set the record straight.

The big assumption people made was that the first act in the home, and the third act,

[Show spoiler]in the distant future with the Supermechas

, had to be largely Spielberg's creations, especially the end as it was criticized for

[Show spoiler]sentimentality

. The middle, on the other hand, which was so dark, was assumed to be more what Kubrick must have planned.

Spielberg said they couldn't be more wrong. The opening and closing sections of the film were VERY carefully planned by Kubrick before his death. The middle, on the other hand, was the least developed, and Spielberg wrote much of it from scratch.

I think the whole thing is sheer genius, and a perfect marriage of the styles of two of the most gifted filmmakers who ever lived.

For a really great in-depth look at Kubrick's process developing the piece over 30 years, and Spielberg's work at the end, check out this amazing coffee table book, written by Jan Harlan, Kubrick's brother-in-law and one of his closest collaborators:

A.I. Artificial Intelligence: From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film

http://www.amazon.com/A-I-Artificial...dp/0500514895/

Good review. I agree that this is one of the best science fiction films ever.

[James Luckard]

Originally Posted by benbess

Good review. I agree that this is one of the best science fiction films ever.

I'm glad to see that so many people respect this film now. I think that the best science fiction films tend to get confused/angry/disappointed receptions by a mass audience because these films are about IDEAS primarily. 2001, BLADE RUNNER, AI - all faced hostile reactions at first, and criticisms that they were boring and confusing. That's because they're explicitly NOT meant to be linear genre potboilers.

One of the few genuinely great sci-fi films that DID connect with a mass audience is MINORITY REPORT, because Spielberg cleverly shoehorns a bunch of fun but largely unnecessary chase scenes in. The meat of the film is the dialogue scenes and the character complexity, not Tom Cruise zipping around atop a Maglev car, but that image is what sold tickets.

Interestingly the only chase scene in MINORITY REPORT that's actually thematically about anything, the mall chase with Samantha Morton helping Cruise evade capture, directly contradicts the whole setup of the film. We're told over and over that the Precogs can see murders in the future, and murders alone. Yet in the mall scene, which is one of the most brilliantly directed sequences in Spielberg's canon, Morton knows EVERYTHING about everyone, and even knows exactly where a certain bunch of balloons will end up for them to hide behind. Fun but ludicrous, even going by the fictional rules the film has set up. Yet it's these scenes that made MINORITY REPORT a hit, and the lack of such scenes that frustrated mass audiences who went to A.I. expecting to see a similar futuristic action film, only to be given a nuanced philosophical/psychological art film.

[KubrickFan]

Originally Posted by Filmmaker

Not sure where I made any such assertion.

I'm sorry, I thought that when you said that it doesn't sound anything like something out of a Kubrick film, you meant that as a detractor of Williams' score. Never mind .

[darry]

I felt that the beginning and end were more Kubrick when I first watched it. They were are a bit more philosophical compared to the action in the middle section.

[JamesKurtovich]

I really loved this movie and feel it's underrated!

[Wyndam]

I ordered this from Amazon, but I was too late and it was backordered. I hope the next shipment has copies with slipcovers.

[eiknarf]

Originally Posted by JamesKurtovich

I really loved this movie and feel it's underrated!

It's awesome. It's jerk'worthy!

[PBateman87]

This is the best film of Spielberg's that I've seen, and I've watched most of his filmography. Probably the best sci-fi film of the new millennium. The combination of Kubrick and Spielberg, whose sensibilities both shine through in the end product, make this such a special movie. Yes, it would certainly be interesting to have seen Kubrick see this project all the way through and have himself direct it, but I think it was a great choice in the end to have Spielberg direct.