HAL3736 - a learning machine with artificial intelligence
HAL3736 - a basic concept of a learning machine. (demo video) Project page: https://github.com/trizen/perl-scripts/tree/master/HAL It speaks the text via the...
By: Daniel uteu
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HAL3736 - a learning machine with artificial intelligence - Video
Entertainment movies Joaquin Phoenix talking to his iOS girlfriend Samantha in Her. Warner Bros. Picture
Johnny Depp dies and is reborn as a computer brain in Transcendence, the latest science-fiction thriller about artificial intelligence. Smart machines that may serve or dominate mankind are as old as Samuel Butlers 1872 novel Erewhon, or Karel Capeks 1920 play R.U.R. and as recent as this weeks episode of The Simpsons, in which Dr. Frink revives the dead Homer as a chatty screensaver. They have also inhabited some of the finest SF movies, including Dark Star, Star Wars, Star Trek the Motion Picture, Alien, Blade Runner, The Terminator and RoboCop. The list is inspiring and nearly endless.
(READ: Corlisss review of Transcendence)
Here are seven of our favorites, spanning seven decades and the spectrum of mans feelings fearful, wondrous about the smartest machines man has created.
THE DAY THE EARTH STOOD STILL, 1951. Directed by Robert Wise. Screenplay by Edmund H. North, from the story Farewell to the Master by Harry Bates.
The first known alien visitor to Earth, in the first A-budget science-fiction film from a major Hollywood studio, is a Christ figure Michael Rennies Klaatu whose spaceship lands in Washington, D.C.s Presidents Park. Accompanied by his giant robot Gort, Klaatu has come in peace, but the Cold War U.S. will have none of that: a soldier shoots him. Escaping from the military hospital where he is confined, he assumes the earthly name Mr. Carpenter, befriends a nice widow (Patricia Neal) and, during a global shutdown of electrical power the half hour the Earth stands still tells her that, if hes apprehended, she must sneak onto the spaceship and give Gort this message: Klaatu barada nikto.
Cannily fusing flying-saucer paranoia with the Christian parable of the Second Coming, The Day the Earth Stood Still establishes Gort and his kind as servants instead of uncontrollable rebels. The movie also sends a plethora of mixed messages, such as: Dont trust your government; trust an alien with elegant bone structure and a posh English accent. At the end, Klaatu leaves Earth with one last message: All nations must live in peace. But if the military belligerence of Earths nations extends into outer space, then robots like Gort will destroy our planet. The decision rests with you. In other words, try to be as peaceful as we, your superiors, are or well kill you.
2001: A SPACE ODYSSEY, 1968. Directed by Stanley Kubrick. Written by Arthur C. Clarke and Stanley Kubrick.
Whats happening at the beginning? What goes on at the end? Not many science fiction films encourage the audience to ask those questions, as 2001 did. An essay on mans destiny, the film was for some of its late-60s viewers a light show, a head trip, needing no earthbound explanations. But still, wouldnt it be nice to know the explicit meaning of the Monolith, that gigantic slab that revved evolution into fast-forward? In a making-of doc on the 2007 reissue of the film, Clarke explained: The Monolith was essentially a teaching machine. In fact, our original idea was to have something with a transparent screen on which images would appear, which would teach the apes how to fight each other, how to maybe even make fire. So the apes would get a celestial visit from the first computer on Earth. But that was much too naive an idea, Clarke added. So eventually we just bypassed it with a device which we didnt explain they just touched it, and things happened to their brains, and they were transformed.
2001 remains a wonder today, in part because its technological wizards achieved their effects not through CGI magic but in the camera. (For the floating-pen effect, they stuck the pen to a plate of glass and moved the plate slowly in front of the camera; the actress playing the flight attendant then pulled the pen off the glass.) So this was a handmade movie about computers especially the soothing, neurotic HAL 9000, voiced by Douglas Rain. HAL masks insolence with apologies: When astronaut Dave Bowman (Keir Dullea) orders the computer to Open the pod bay doors, HAL replies, Im sorry, Dave. I cant do that. HAL can do that, and he/it isnt sorry; the lives of Bowman and his partner Frank Poole (Gary Lockwood) are only incidental to the mission, which will abort if HAL is disconnected. The machine ends on a terser note: Dave, this conversation can serve no purpose anymore. Goodbye. Its the Shut Down command we have all seen on our computers and which, spookily, I am seeing right now. No kidding. Is HAL, or his kin 13 years after 2001, monitoring my writing?
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AD2L: Titan vs Artificial Intelligence Game 2
AD2L: Titan vs Artificial Intelligence Game 2 -- http://www.twitch.tv/immerse_storm/c/3981132 utm_campaign=archive_export utm_source=immerse_storm utm_medium=youtube.
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Flash Enemy Artificial Intelligence (AI) Tutorial - Part 2 ENEMY ATTACK
In part 2 we #39;ll make the enemy attack the player if he gets too close Add me on facebook.com/kr.animations.
By: KRAnimationsUK
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Flash Enemy Artificial Intelligence (AI) Tutorial - Part 2 ENEMY ATTACK - Video
Hilarious Artificial Intelligence Rant (From Joe Rogan Experience #487 - David Seaman)
Joe creates a fucked up, insightful and hilarious scenario regarding artificial intelligence with David Seaman and Brian Redban. Joe Rogan Experience episode...
By: Keifer Adkins
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Hilarious Artificial Intelligence Rant (From Joe Rogan Experience #487 - David Seaman) - Video
David Brin on Artificial Intelligence
Author David Brin proposes one way artificial intelligence might develop - whether we want it to or not! Comments from a short interview conducted April 7, 2...
By: Fast Forward: Contemporary Science Fiction
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There was a time when the notion of a computer capable of not just running programs, but modeling human intelligence was purely a feature of outlandish science fiction. But recent years have shown that an artificial intelligence isnt just a figment of sci-fi imagination, but to many, an inevitable discovery. Its even the main subject (and threat) of the Johnny Depp-led Transcendence.
Whether its skepticism, fear, or simply the need for villains that has turned the notion of A.I. into a great and terrible thing, blockbuster films have relied on the idea of an inhuman, unfeeling, artificial brain for their conflicts. The trend of killer movie A.I.s doesnt show any signs of stopping, so weve decided to narrow the roster down to a list of our favorites. It should go without saying thatspoilers lie ahead.
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Now that were all on the same page, read on for our list:
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D.J. Carusos Eagle Eye begins with a common enough premise: what seems like a massive frame-job and conspiracy surrounding Jerry Shaw (Shia LaBeouf) takes a twist when hes contacted by a mysterious woman (the uncredited voice of Julianne Moore) offering him a way out. The woman is soon revealed to be a government-created supercomputer, dubbed the Autonomous Reconnaissance Intelligence Integration Analyst ARIIA for short. Using autonomous aircraft, automated traffic and surveillance systems across the United States, ARIIA moves her pawns human and otherwise into place for a truly sinister attack.
ARIIAs desire to eliminate the President of the United States and the rest of the Executive branch is par for the course in political thrillers, but her justification for the attack under the Constitution and Patriot Act are something new. The filmmakers werent going for any meaningful political statement, but its a nice change from the usual kill humans justification.
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Though its plot and premise are pure science fiction, "Transcendence" goes pleasingly against the genre grain.
A story of the possible perils and pleasures of artificial intelligence that stars Johnny Depp, "Transcendence's" ideas are at least as involving as its images, if not more so. And as written by Jack Paglen and directed by Wally Pfister, this film is intent on not limiting itself to simplistic questions of pure good and evil.
As "Transcendence's" narrative of the battle between pro and anti-technology forces unfolds, justice is done to the complicated factors at play here. Determining with certainty whom the heroes and villains of this narrative are is not so easily done.
PHOTOS: Box office top 10 of 2013 | Biggest flops of 2013
Though Pfister is well-known as Christopher Nolan's longtime cinematographer (nominated for four Oscars, a winner for "Inception"), both he and screenwriter Paglen are first-timers in their respective chairs, and there are times when that shows. "Transcendence's" exposition is not always sharp, emotional connections (with the exception of Depp's outstanding costar, Rebecca Hall) are not its strength, and it does not make memorable use of its Imax format.
But because the underlying ideas are involving, those problems fade from view, leaving us with an ambitious and provocative piece of work that is intriguingly balanced between being a warning and a celebration.
Certainly the boon-or-bane question of artificial intelligence has been a movie staple at least since the days of HAL 9000 in Stanley Kubrick's "2001." (In fact, a purely negative example of some of this film's ideas appears in the current "Captain America: Winter Soldier.")
"Transcendence" begins in the near future, maybe as close as tomorrow. Narrator Max Waters (an excellent Paul Bettany) walks through the streets of a Berkeley patrolled by armed soldiers. The city - and every other city, we soon learn is in the grip of some kind of worldwide power blackout.
Max walks to a classic wood shingle Berkeley house, now in ruins but once the home of Dr. Will Caster (Depp) and his wife, Evelyn (Hall). Max knew them better than anyone, he says, and he is prepared to vouch for the fact that they wanted nothing but the best for humanity.
BEST MOVIES OF 2013: Turan | Sharkey | Olsen
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There is a tradition of excellent cinematic explorations of artificial intelligence from Alphaville to 2001 to The Matrix. However, Transcendence belongs to that subgenre of usually terrible films about the Internet.
Johnny Depp plays Will Caster, a computer scientist who is on the verge of a series of breakthroughs that would permit sentient brain functions to be uploaded into a computer, creating a human form of artificial intelligence. Hes a bit of a self-parody purporting to be publicity shy, but posing for a Wired magazine cover that he repeatedly is called upon to autograph.
His work has drawn the attention of a neo-Luddite terrorist network who believe that true artificial intelligence will make human civilization obsolete or even subservient to computer overlords.
Will is shot at point-blank range in a coordinated terrorist attack. However, thanks to some shockingly poor marksmanship, Will is only grazed in the assault.
But it turns out that the shooter has hedged against this possibility with the use of a polonium-laced bullet, and a wasting radiation sickness soon follows. Will has a few months, therefore, to lay the groundwork necessary to upload his consciousness with the help of his devoted wife Evelyn (Rebecca Hall) and his best friend and colleague Max (Paul Bettany).
Once Will is uploaded and online, he moves quickly to squeeze money out of the stock market to provide Evelyn with funds to build a remote, solar-powered cloud computing facility deep in the desert badlands of the American West.
He lords over his creation as a ubiquitous and unsleeping image, projected like Big Brother onto thousands of high-definition monitors.
There, freed from almost all restraint, Wills intelligence expands to create computerized tools to take over and network human minds, repair bodies with nanotechnology, and even grow human tissue from scratch. Some mad scientists reanimate brains, others reformat them its just a question of technology.
Word leaks out about the restorative powers of Wills researches, and his underground lair becomes a kind of Lourdes for pilgrims seeking his healing touch. (The religious overtones are kind of tacked on, but unmistakable.)
At the same time, he also draws the attention of the authorities, including Joseph Tagger, a government scientist played by Morgan Freeman. Tagger takes charge of a surprisingly low-key effort to take down the looming global threat posed by Wills computer incarnation.
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Boston Bombing Anniversary: Can Artificial Intelligence Predict Crimes?
April 15 (Bloomberg) -- It #39;s been one year since the Boston Marathon bombings, and in the aftermath the city beefed up its security with an artificial intell...
By: Bloomberg News
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Boston Bombing Anniversary: Can Artificial Intelligence Predict Crimes? - Video
Italians POOP It Better
Pagina facebook: https://www.facebook.com/Boccu03 Canale Vimeo: https://vimeo.com/boccu03 Inizialmente questa poop era totalmente diversa... poi per ho vist...
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little buddy artificial intelligence
this is my first artificial intelligence project.name: LITTLE BUDDY this app will follow your command and answer your question. its a simple demo of this app. t.
By: mobasser ahmed
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Anki is releasing two new race tracks. The course pictured, "Crossroads," offers an intersection.
FORTUNE -- Anki Drive's toy-sized ecosystem just got bigger.
The San Francisco-based startup, which released its artificial intelligence-driven cars last October, unveiled two new tracks and two new cars Wednesday -- the first new hardware of any kind since launch.
Available for $100 starting May 6, Anki's new tracks offer new challenges for racers: "Crossroads" throws in a twist, adding an intersection that players must navigate and avoid crashing into opponents. The other track, dubbed "Bottleneck," features a narrow section that players must squeeze through at high speeds. Meanwhile, two new cars -- a battle aggressive vehicle called Corax and the speed-focused car called Hadion -- will each retail for $70 and are available now.
MORE: The General Motors you want to sue no longer exists
Anki's new hardware is supported behind the scenes by a free mobile app update that syncs up the cars and a mobile device. "The thing we've always said from the beginning is so much of what we're doing is driven by the software," emphasized Mark Palatucci, Anki's co-founder and the company's chief product officer.
Anki's app, which players use to steer the cars, uses highly sophisticated artificial intelligence developed in-house. It gives each toy car distinct characteristics in terms of speed, steering, and weapons. While the A.I. is smart enough to allow the cars to automatically weave around corners and change competitive racing strategies all on their own, it's really intended to create an accessible experience for human players. (Steering controls are basically boiled down to accelerating and decelerating, steering left and right, and firing weapons.) So a newbie can still go toe-to-toe with more experienced players, or a solo player can still enjoy a race with cars controlled by A.I.
Anki first caught public attention when Tim Cook introduced CEO Boris Sofman and the Anki racing game on stage at Apple's Worldwide Developer's Conference in June 2013.
MORE: Mrs. Fields looks beyond the mall
With $50 million in venture-backed funding from such luminaries as Andreessen Horowitz and Two Sigma Ventures, co-founders Sofman,Palatucci, and Hans Tappeiner have been developing ways to refine their A.I. and expand Anki's ecosystem beyond their first product launch last fall, potentially moving beyond games.
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Apple-endorsed racing game Anki Drive revs up with new cars, tracks
Entertainment movies Peter Mountain 2013 Alcon Entertainment
Your late, loving husband Will Castor (Johnny Depp), now a disembodied computer brain, has wired himself into another mans body, taken over his mind and voice and reaches out, saying, I can touch you now. If youre his/its wife Evelyn (Rebecca Hall), you might be touched at least literally. Anyone else among the characters or the audience of Transcendence is likely to be pretty seriously creeped out.
A love story between a human and a computer: we got one for Christmas, and it was called Her. Joaquin Phoenix fell hard for the voice of Scarlett Johansson who wouldnt? But in Transcendence, the provocative but ponderous science-fiction thriller written by Jack Paglem and directed by Wally Pfister, the dating game is an endgame. Will, a leading light in the study of artificial intelligence, and Evelyn, his devoted research assistant, are bound in love and work. To keep her love alive, she will enable his existence as a sentient being whose implications she may not have quite thought through.
(READ: Corlisss review of Spike Jonzes Her)
Smart machines that may serve or dominate mankind are as old as Samuel Butlers 1872 novel Erewhon and Karel Capeks 1920 play R.U.R. and as recent as this weeks episode of The Simpsons, in which Dr. Frink revives the dead Homer as a chatty screen saver. Next year, Marvels Avengers will reunite to battle a brilliant computer (and Oedipal wreck) in Age of Ultron. AI parables usually assume a Doomsday tone, preaching fear of the devices that keep the modern world running including the computers whose magic makes todays action-movie effects so very effective. A movie like Transcendence may be pertinent in its political reverberations of all computer data held in a cloud and monitored by the NSA, but it also rails against the tools its makers so artfully employ. Just dont tell the techies who masterminded the cool CGI stuff.
In the not too distant future, the world is without the Internet. Streetlights dont work; a cell phone is discarded; a computer keyboard is used for a doorstop. Flash back to five years earlier, when Will and his friend and colleague Max Waters (Paul Bettany) speak at a Silicon Valley conference. Max hopes to cure cancer and Alzheimers, but Will wants to create an AI greater than the combined brainpower of all humans who have ever lived on Earth. He has devised a Physically Independent Neural Network (PINN) that could build on the work of another scientist, who has managed to upload the brain of a rhesus monkey. Will PINN be the next step in technological and possibly human evolution?
(SEE: Top 10 Japanese Robots)
That notion is toxic to blond Bree (Kate Mara) and her cohorts in a radical, back-to-basics group called RIFT (Revolutionary Independence From Technology). Theyre sort of the 21st century Amish, except that in a 9/11-ish neo-Luddite attack, they kill computer programmers with exploding slices of birthday cake. One of the RIFTers shoots Will with a bullet that gives him radiation poisoning. Weeks away from certain death, he determines to upload his intelligence, his very soul and essence, into a computer. When he dies, a half hour into the movie, Evelyn and Max unplug PINN and in a lovely little frisson the last thing we see among the tumult of digits on the computer screen is the blink of a message: ANYONE THERE?
With some misgivings but much love, Evelyn keeps the system functioning and growing. Under cyber-Wills instructions, she buys up a desolate, depressed town called Brightwood and builds an enormous facility, whose screens show Wills omniscient visage and whose machines can perform miracle surgery, like giving sight to a man blind from birth. Crystalline particles rise from the ground and catch the wind (as in the 1956 sci-fi essential Invasion of the Body Snatchers) to spread the new gospel across the earth. Is this a Good Word or a triumph of Will?
(FIND: Invasion of the Body Snatchers among TIMEs Top 10 Sci-Fi Movies of the 1950s)
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You can race with Anki Drive on two new tracks and with two new cars. Photo: Anki
Anki Drive, the artificial intelligence-assisted toy car game that debuted last fall, is back with new cars, new tracks, and new ways to play.
The game first gained recognition at Apples Worldwide Developer Conference last year and launched with a handful of AI-controlled toy race cars and a single track. Its a bit like slot cars, but smarter. Each car has a distinct personality and racing capabilities that differ from the others. Paired with the accompanying Anki Drive iOS app, you can battle friends who are also controlling a car through the app, or opponents who navigate the course using artificial intelligence algorithms. As you play and get more experience, your vehicle evolves, gaining valuable weapons and abilities you can use to beat other players.
Theres this notion in consumer products and toys that you buy something and thats what youll have forever, Anki co-founder Hanns Tappeiner said. But that doesnt have to be true if you can use software to redefine what a product is and how it works.
Starting today, the Anki Drive app is getting a new type of play: race mode. Before, your option with other players was Battle mode, in which the goal was to shoot other cars off the track with virtual weapons. Now, you can set a number of laps (15, 30, or 45), and the first to cross the finish line wins the game. In my demo of the game, 15 laps went by in a snap, equating to less than 5 minutes of gameplay. Of course, theres more than just racing strategy involved, as you and the other cars on the course still have weapons like a rail gun or tractor beam you can use to foil competitors.
The addition of two new tracks also complicates the racing strategy. The first, Crossroads, features an intersection in the course where cars could crash if they dont time the crossing correctly. The AI cars may shoot you off the road or hit you on purpose to get you off the road. Its fun chaos, Tappeiner says.
The second, Bottleneck, requires you to strategically position yourself to get ahead on narrower portions of the track. Tappeiner says figuring out where to be on the road becomes the most challenging aspect of this course.
The new courses are joined by two new cars as well: Corax, an offensive tank of a car (which can operate two weapons at one time instead of just one), and Hadion, the fastest of Ankis six available cars.
The new cars retail at $69 and are available today through Ankis website, while the new tracks run $99 and will ship May 6.
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A brilliant innovator in the field of Artificial Intelligence becomes the bridge in the gap between man and machine in this sci-fi thriller starring Johnny Depp. His entire career, Dr. Will Caster (Depp) has been working toward one goal -- to create a machine possessing the entire spectrum of human emotions, and the collective intelligence of every person who has ever lived. But while Dr. Caster's unorthodox experiments have made him famous in scientific circles, a radical anti-tech group known as Rift is determined to stop him at all costs. In the midst of an attack on A.I. labs across the United States, one Rift agent manages to shoot Dr. Caster with a radioactive bullet, ensuring his death. Little did Rift realize that their efforts to destroy Dr. Caster would only make him stronger than they ever could have imagined, because before he dies, his wife Evelyn (Rebecca Hall) and best friend Max (Paul Bettany) successfully transfer Dr. Caster's consciousness into a computer, where his hunger for knowledge and power transforms him into an unstoppable force of sentient energy inhabiting every computer and electrical system on the planet. Morgan Freeman co-stars. ~ Jason Buchanan, Rovi
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Wally Pfister: TRANSCENDENCE
Dr. Will Caster (Johnny Depp) is the foremost researcher in the field of Artificial Intelligence, working to create a sentient machine that combines the coll...
By: The Movie Times
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Malone #39;s Movie Minute(s): Live Podcast. Ep 24. Transcendence
Join Alicia Malone and Osher Gnsberg as they record their podcast, Malone #39;s Movie Minute(s) live! We #39;ll be chatting about Transcendence and other great movi...
By: Alicia Malone
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Malone's Movie Minute(s): Live Podcast. Ep 24. Transcendence - Video
Brian Moenne - Cramp
Instrumental/Soundtrack # Cramp/Cheers taken from original sound - LP - Artificial Intelligence. Produced/Directed by T.E.A.M. The Elated And Mastered. (C) 2...
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A.I. Artificial Intelligence, also known as A.I., is a 2001 American science fiction drama film written, directed, and produced by Steven Spielberg, and based on Brian Aldiss's short story Super-Toys Last All Summer Long. The film stars Haley Joel Osment, Jude Law, Frances O'Connor, Brendan Gleeson, and William Hurt. Set sometime in the future, A.I. tells the story of David, a childlike android uniquely programmed with the ability to love.
Development of A.I. originally began with director Stanley Kubrick in the early 1970s. Kubrick hired a series of writers up until the mid-1990s, including Brian Aldiss, Bob Shaw, Ian Watson, and Sara Maitland. The film languished in development hell 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 believably 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 favorable reviews from critics and grossed approximately $235 million. A small credit appears after the end credits, which reads "For Stanley Kubrick."
In the late 21st century, global warming has flooded coastlines, and a drastic reduction of the human population has occurred. There is a new class of robots called Mecha, advanced humanoids capable of emulating thoughts and emotions. David (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 (Robards), and his wife Monica (O'Connor). The Swintons' son, Martin (Thomas), was placed in suspended animation until a cure can be found for his rare disease which is caused by the Sinclair virus. Although Monica is initially frightened of David, she eventually warms to him and activates his imprinting protocol, which irreversibly causes David to project love for her, the same as any child would love a parent. He is also befriended by Teddy (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; a sibling rivalry ensues between Martin and David. To get him into trouble, Martin convinces David to go to Monica in the middle of the night and cut off a lock of her hair, but the parents wake up and are very upset. At a pool party, one of Martin's friends activates David's self-protection programming by poking him with a knife. David clings to Martin and they both fall into the pool, where the heavy David sinks to the bottom while still clinging to Martin. Martin is saved from drowning, but Henry in particular is shocked by David's actions, becoming concerned that David's capacity for love has also given him the ability to hate. Henry persuades Monica to return David to Cybertronics, where David will be destroyed. However, Monica cannot bring herself to do this, and instead 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 realistic nature and he escapes, along with Gigolo Joe (Law), a male prostitute Mecha on the run after being framed for murder.
The two set out to find the Blue Fairy, whom 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. Information from a holographic answer engine called "Dr. Know" (Williams) eventually leads them to the top of Rockefeller Center in partially flooded Manhattan. David meets his human creator, Professor Allen Hobby (Hurt), who excitedly tells David that finding him was a test, which has demonstrated the reality of his love and desire. It also becomes clear that many copies of David, along with female versions, are already being manufactured. David sadly realizes he is not unique. A disheartened David attempts to commit suicide by falling from a ledge into the ocean, but Joe rescues him with the 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 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 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 and alien-looking form with the ability to perform some type of time manipulation and telekinesis. On their project to studying 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 received 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 (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 for unknown reasons. One of the futuristic Mecha tells David that the clone can only live for a single day, and the process cannot be repeated. But David keeps insisting, so they fast forward the time to the next morning, and David spends the happiest day of his life with Monica 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". Teddy enters the room, climbs onto the bed, and watches as David and Monica lie peacefully together.
Kubrick began development on an adaptation of Super-Toys Last All Summer Long in the early 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.
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, which Kubrick had in mind.[citation needed] 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] When he decided to fast track A.I., Spielberg brought Chris Baker back as concept artist.[15]
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