A.I. Artificial Intelligence – Behind the Scenes Part 2

TO USING A VERY SIMPLE
PROSTHETIC ON HIS JAWLINE, AND IN THAT CASE, THEN I HAD TO GO DEVELOP
A LOOK FOR HIM THAT WOULD STILL GIVE HIM
THAT KIND OF PLASTICIZED LOOK BUT WHICH WOULD BE
FLEXIBLE ENOUGH SO THAT IT WOULDN'T CRACK
ON HIS FACE. SO THROUGH MANY, MANY TESTS, WE FINALLY FOUND A CONFIGURATION THAT WE COULD ACTUALLY USE
FOAM LATEX PROSTHETICS IN CONJUNCTION
WITH A LAYERING TECHNIQUE WHICH I DEVELOPED TO CREATE THIS PLASTICIZED LOOK
ON HIS FACE, SO I THINK
IT WAS VERY SUCCESSFUL.

HIS HAIR WAS ALSO SOMETHING
THAT WE WANTED TO MAKE– WE WERE THINKING, WELL,
IF THEY CAN DEVELOP THIS ROBOT, THEN THEY DEFINITELY
ARE GOING TO BE ABLE TO GIVE HIM HUMAN-LOOKING HAIR. SO WE TESTED WITH WIGS, AND WE FOUND THAT WE DIDN'T LIKE
THE LOOK OF THAT, SO WHAT I WOUND UP DOING WAS,
AFTER HIS HAIR WAS STYLED, I MADE A STENCIL THAT WOULD GO
ALL AROUND HIS HAIRLINE. AND WHAT I DID WAS I AIRBRUSHED
WITHIN HIS OWN HAIRLINE TO MAKE IT LOOK
LIKE PERHAPS UNDERNEATH WHERE THEY PUT THE HAIR IN, THEY HAD LIKE A FORM
THAT THEY SPRAYED ON SO THEY KNEW
WHERE TO PUT THE HAIR IN, KIND OF LIKE A–
ALMOST LIKE A DOLL.

DONE. THAT'S ALL, FOLKS. Winston: THIS IS
AN EXTREMELY AMBITIOUS, BUSY, BUSY MOVIE THAT IS
A COMPLETELY ARTIFICIAL WORLD THAT HAD TO BE DESIGNED
AND CREATED AND SHOT. THIS IS, WITHOUT A DOUBT,
THE MOST AMBITIOUS MOVIE I HAVE EVER WORKED ON
IN MY CAREER. Hobby: TO CREATE
AN ARTIFICIAL BEING HAS BEEN THE DREAM OF MAN
SINCE THE BIRTH OF SCIENCE. YOU'RE A MACHINE. I'M A BOY. MY NAME IS DAVID. NONE OF US LOVE
OUR ELECTRIC TOOTHBRUSHES, BUT IF YOU CARVED A FACE INTO IT THAT EVERY MORNING TALKED TO YOU AND KNEW YOU WELL ENOUGH TO BE ABLE TO SENSE YOUR MOOD, AND DEPENDING ON YOUR MOOD
IN THE MORNING WOULD MAKE YOU FEEL BETTER, WOULD JUST SET YOU OFF
ON THE RIGHT FOOT, WOULD WHISPER IN YOUR EAR,
WOULD SING YOU A SONG, AND, SUDDENLY,
THAT ELECTRIC TOOTHBRUSH, IF THE DOG CHEWED IT UP, IT WOULD NOT BE A HAPPY EVENING WHEN YOU CAME HOME
FROM WORK OR FROM SCHOOL AND FOUND
YOUR ELECTRIC TOOTHBRUSH THAT USED TO CHALLENGE YOU AND COUNSEL YOU IN THE MORNING CHEWED UP BY THE DOG.

SO, IT'S WHAT WE PROJECT
INTO MECHANISMS, INTO MACHINES, THAT'S IMPORTANT. IT'S NOT SO MUCH
THAT THE MACHINE CAN LOVE US, IT'S HOW MUCH LOVE DO WE INVEST BACK INTO IT IN RETURN, AND THAT DETERMINES
HOW FAR WE SHOULD GO IN CREATING THINGS
THAT REMIND US OF OURSELVES. I THINK THAT WE HAVE
TO BE VERY CAREFUL ABOUT HOW WE AS A SPECIES
USE OUR GENIUS, BECAUSE WE ARE
AN AMAZING SPECIES, THE HUMAN RACE, AND EVERY YEAR WE CREATE THINGS THAT TWO YEARS BEFORE
WOULD HAVE APPEARED LIKE MAGIC TO MOST PEOPLE, AND SUDDENLY IT'S REALITY, AND A FEW YEARS LATER
IT'S COMMONPLACE IN OUR HOMES– LIKE THE INTERNET. I JUST THINK
THAT WE ALL HAVE TO BE CAREFUL. A) I HAVE TO BE CAREFUL NOT TO PREACH ABOUT THIS,
NUMBER ONE, BUT NUMBER TWO, THAT WE ALL
HAVE TO BE CAREFUL AS WE CONTINUE
TO QUANTUMLY LEAP AHEAD INTO THE FUTURE
THAT WE CREATE FOR OURSELVES– YOU KNOW, TO TAKE RESPONSIBILITY FOR THE THINGS
THAT WE PUT ON THIS PLANET, AND ALSO TAKE RESPONSIBILITY FOR THE THINGS
THAT WE TAKE OFF THE PLANET.

IT'S A MORAL QUESTION,
ISN'T IT? THE OLDEST ONE OF ALL. BUT IN THE BEGINNING, DIDN'T GOD CREATE ADAM
TO LOVE HIM? Spielberg:
IN A SENSE, YOU KNOW, WE NEED TO HAVE LIMITERS ON HOW FAR
WE ALLOW OURSELVES TO GO, ETHICAL, MORAL LIMITERS
THAT WILL SAY, "HEY, THIS ISN'T FOR US
TO MESS WITH." A BIT OF THAT THEME
WAS TOUCHED UPON, AS YOU KNOW,
IN JURASSIC PARK, AND A LOT MORE OF IT
WAS TOUCHED UPON BY STANLEY KUBRICK
THROUGH A.I. Spielberg: STANLEY INVESTIGATED
SEVERAL THINGS. HE ACTUALLY BUILT
A COMPLETE MECHANICAL CHILD THAT WAS A COMPLETE DISASTER. THE MECHANICS
OF WHAT WE CAN DO TODAY CANNOT SIMULATE
THE LIQUID MOVEMENTS OF, LET'S SAY,
COMPUTER GRAPHIC ANIMATION, BUT CGI ALSO HAS NOT YET REACHED
A STATE OF THE ART WHERE IT CAN REPLICATE
A HUMAN BEING.

WE MIXED IT A BIT
IN JURASSIC PARK, WHERE THE ANIMALS WERE CGI AND THE PEOPLE, OF COURSE,
WERE NOT, AND SHREK IS ALL CGI, AND THAT'S AN ART FORM
UNTO ITSELF, BUT TO PUT A DIGITAL BOY IN AMONGST A CAST
OF HUMAN BEINGS PHOTOGRAPHED ON 35-MILLIMETER, WE'RE STILL YEARS AWAY
FROM THAT TECHNOLOGICALLY. STANLEY KNEW THAT, AND I CERTAINLY
APPRECIATED THAT, SO IT WAS REALLY TIME TO CAST
AN ACTOR TO PLAY A MACHINE, AND HALEY JOEL OSMENT
WAS MY FIRST AND LAST CHOICE. SO, WHEN DOES HE
SAY THAT? Osment: FIRST TIME
WE HAD A MEETING, HE ONLY MENTIONED THE TITLE. THE FIRST TIME WE MET,
HE HADN'T FINISHED THE SCRIPT. WE JUST MET
AND HAD JUST A CONVERSATION ABOUT TRAVELS IN EUROPE
AND EVERYTHING. YOU KNOW,
IT WAS JUST CASUAL. AND THE SECOND TIME,
AFTER HE'D FINISHED THE SCRIPT, WE MET ACTUALLY
IN THIS ROOM, I THINK. AND HE TALKED ABOUT THE SCRIPT, AND AFTER READING IT,
THAT WAS IT. IMMEDIATELY WANTED TO DO IT. GETTING TO WORK WITH STEVEN ON
A SCRIPT, WHICH WAS FANTASTIC. AND AFTER THAT,
WE GOT EVERYTHING WORKED OUT, AND WE WERE ON THE PROJECT.

WE TALKED WITH STEVEN A LOT ABOUT TO WHAT EXTENT
WOULD WE MAKE HIM ROBOTIC. Monica: HE'S SO REAL. BUT HE'S NOT. NO, HE'S NOT. WE ACTUALLY PROGRESSED
THE CHARACTER THROUGH THE FILM, SO THAT BY THE END OF THE FILM,
HE'S BASICALLY HUMAN. INSIDE HE'S A ROBOT, BUT HIS ACTIONS AND EVERYTHING
ARE HUMAN. HE DEVELOPS
THROUGHOUT THE STORY. HA HA HA HA HA! AAH! HA HA HA HA. EVERYTHING THAT HE EXPERIENCES
MAKES HIM LESS ROBOTIC AND LESS MECHANICAL. SO AT THE BEGINNING
OF THE STORY, IT'S NOT LIKE
DUNH, DUNH, DUNH, DUNH. IT'S, UH,
IT WAS JUST VERY SIMPLE. WE WANTED TO MAKE THE ACTIONS
VERY SIMPLE AND NOT PRACTICAL OR HUMANLIKE. LIKE, IF YOU WERE IN A CHAIR,
YOU'D SIT DOWN, AND DAVID WOULD ALWAYS HAVE
PERFECT POSTURE, AND HE COULD SIT THERE
FOR SEVERAL HOURS OR MORE.

AND ANOTHER THING,
WHICH WAS REALLY HARD, WAS I DIDN'T BLINK ONCE
IN THIS FILM, AND THAT WAS
A REALLY INTERESTING EFFECT. NOT EVEN WHEN HE GETS
TO THE END, WHEN HE STARTS ACTING
REALLY HUMAN– THERE'S NO BLINKING, AND SO THAT WAS A LITTLE TOUGH
TO DO. ( man shouts ) Spielberg: ACTION! DAVID… THE MOST WONDERFUL THING
IN THE WHOLE WORLD HAS HAPPENED. WE SHOT THE FIRST PART
OF THE MOVIE IN CONTINUITY. IN THE HOUSE,
IT WAS ALL IN CONTINUITY, BUT THEN, OF COURSE,
WHEN WE GOT TO SHOOTING ALL THE ACTION SEQUENCES, THE FLESH FAIR AND EVERYTHING,
WE HAD TO GET OUT OF IT.

( cheering ) CAN YOU GO AROUND
BEHIND HIM LIKE THAT? GOOD. LIKE THAT. WE ACTUALLY DID THE UNDERWATER
STUFF FIRST, AND THAT WAS FUN. I GOT TO LEARN HOW TO SCUBA DIVE
ON THIS FILM, 'CAUSE WE HAD A LOT OF PARTS
WHERE I'M UNDERWATER. WE HAD TO DO SCENES
WHERE I'M SORT OF SINKING. I HAD TO LEARN TO HOLD MY BREATH
FOR LONG PERIODS OF TIME AND THEN GET ON A REGULATOR
WHILE I'M SINKING, BECAUSE I HAVE
LOTS OF WEIGHTS ON.

THERE ARE A LOT OF DIFFERENT
THINGS I HAD TO LEARN BEFORE I COULD DO THIS FILM. IT TURNED OUT TO BE
A REALLY COOL EXPERIENCE, 'CAUSE WE GOT TO DO
ALL THESE GREAT THINGS IN JUST ONE FILM. Woman: READY? Man: QUIET, PLEASE.
GOING AGAIN. MORE TO YOUR LEFT. ARE YOU HER? FIRST THING THAT WOULD HAPPEN,
GETTING THERE, IS MAKEUP. THAT GOT DOWN TO WHERE
WE COULD GET THE MAKEUP ON IN HALF AN HOUR, AND THE WHOLE DAY
YOU HAD TO BE CAREFUL ON WHAT YOU DO
WITH YOUR FACE AND YOUR HANDS, BECAUSE THEY HAD
SORT OF THIS WAX ON IT THAT IF IT WAS DAMAGED
YOU WOULD SEE THE SKIN BENEATH, AND IT WOULDN'T LOOK
AS PLASTIC AND SHINY AS IT'S SUPPOSED TO BE, SO WE
HAD TO BE CAREFUL WITH THAT. I HAD SCHOOL ON THE SET
THREE HOURS A DAY–STUDIES. THEY'RE SETTING UP FOR A SHOT
OR DOING A SHOT THAT I'M NOT IN. I'D GO TO SCHOOL AND STUDY,
AND THEN WHEN THEY NEED ME, I GO BACK AND I WORK,
AND THAT'S FUN TO DO– WORKING AND DOING SCHOOL
AT THE SAME TIME.

HEY. DAD AND I, EVERY NIGHT BEFORE
WE GO TO WORK THE NEXT DAY, WE PREPARE FOR THE SCENE. WE'RE ALWAYS READY
BEFORE WE GO THERE. DAD–HE'S BEEN ACTING
FOR A LONG TIME. HE HELPS ME
GET INTO THE CHARACTER AND UNDERSTAND EVERYTHING
THAT'S GOING ON, THE SUBTEXT, AND HOW THE STORY LINE
INCORPORATES INTO EACH SCENE, AND THAT MAKES ME GIVE
A BETTER PERFORMANCE THAN I COULD ALL ON MY OWN, WITH SO MUCH HELP
FROM STEVEN AND DAD AND MYSELF. AND THE COLLABORATION
REALLY MADE THE ROLE BETTER THAN I EVER COULD MYSELF.

OKAY. THANK YOU. AND… ( buzzer ) Man: ROLLING! Robards: HALEY'S
AN AMAZING ACTOR. HE'S ONE OF THOSE ACTORS,
AT LEAST FROM MY PERSPECTIVE, THAT YOU'RE IN THE MIDDLE
OF A SCENE WITH HIM, AND YOU'RE WATCHING HIM, AND YOU'RE GOING,
"GOD, THAT'S REALLY AMAZING." OH! YOU KNOW, YOU JUST–
I DROPPED OUT. A FEW TIMES, I JUST DROPPED OUT
JUST LOOKING AT HIM. HE'S ABLE TO PLAY THIS
PHENOMENALLY DIFFICULT ROLE OF A ROBOT
THAT DOESN'T HAVE EMOTIONS YET IS PROGRAMMED
TO HAVE EMOTIONS. I MEAN, IT'S–
I DON'T KNOW HOW HE DOES IT.

AND NOT TOO LONG
OF A PAUSE. YEAH. HE FIGURED OUT
THIS FANTASTIC KIND OF LOGIC TO HIS CHARACTER,
SO YOU DID FEEL, IN SOME WAYS, THAT YOU WERE PLAYING AGAINST
SOMETHING THAT WASN'T REAL, WHICH WAS REALLY INTERESTING, ESPECIALLY FOR SUCH A YOUNG KID
TO PULL THAT OFF. TRY TO GO
THROUGH ALL OF THIS, HUH? Joe: AND ALL WILL BE RIGHT
WITH THE WORLD, BECAUSE YOU HELD MY HAND AND SAVED MY BRAIN. Law: I JUST APPROACHED HIM
LIKE AN ACTOR THAT I WAS GONNA WORK WITH,
AND THAT WAS IT. I HAD GREAT FUN BECAUSE– BECAUSE HE IS 12, HE LIKES
THE SAME THINGS THAT I LIKE. HERE WE ARE, CENTER STAGE. I'VE ALWAYS BEEN A GREAT FAN
OF COMICS AND CARTOONS AND KIDS' FILMS, AND I'M JUST
A LOVER OF THEM, I GUESS. I'M SEARCHING
FOR THE CHILD IN ME, OR I AM JUST A VERY KIND OF
INFANTILE GROWNUP. I DON'T KNOW. WORKING WITH HALEY WAS JUST,
FOR ME, FROM DAY ONE, LIKE WORKING WITH ANY
OTHER ACTOR I'VE WORKED WITH.

IT REALLY FELT LIKE
A BUDDY MOVIE BECAUSE JUDE AND I GOT TO BE REALLY GOOD FRIENDS
WHILE WE WERE SHOOTING AND DOING ALL THE FUN STUFF,
THE ACTION STUFF TOGETHER AND ALL THE COOL
TECHNICAL THINGS WE GOT TO DO. I AM. I WAS! A.I. HAS A LITTLE BIT
OF PINOCCHIO IN IT, AND TEDDY IS THE JIMINY CRICKET
TO DAVID'S PINOCCHIO. AHH! OBVIOUSLY, TOYS WILL GET
A LOT BETTER IN THE FUTURE, AND LITTLE KIDS IMAGINE
THAT THEIR TOYS ARE ALIVE, AND HERE YOU HAVE A TOY THAT'S
ACTUALLY MOVING AND ALIVE, REACTING AND EVERYTHING.

A LOT OF INTRICATE WORK
GOING ON WITH HIM, AND THAT JUST MAKES HIM
SO ALIVE. YOU JUST COMPLETELY FORGET
THAT HE'S A PUPPET. HE'S VERY HEAVY, TOO. A LOT OF SCENES
I'M CARRYING HIM AROUND, RUNNING AWAY
FROM EVERYTHING A LOT, AND I HAVE TO CARRY THIS
20-, 30-POUND BEAR EVERYWHERE, 'CAUSE HE'S GOT A LOT
OF MACHINERY INSIDE HIM. LET'S NOT WALK THIS WAY. WORKING WITH STAN'S FUN. WE HAD A LOT OF WORK WITH HIM
GOING ON. IN THE MONTHS BEFORE SHOOTING, WE HAD A LOT OF PRE-PRODUCTION
THINGS TO DO, GETTING LIVE CASTS
OF MY ENTIRE BODY, MY FEET, MY HANDS, MY CHEST,
AND MY HEAD AND EVERYTHING. THE FACE CAST
WAS PROBABLY THE WEIRDEST, BECAUSE THEY PUT ALL THIS STUFF
ON YOUR FACE, AND THE ONLY THING THAT'S OPEN
TO THE AIR IS YOUR NOSTRILS SO THAT YOU CAN BREATHE, AND I SAW PICTURES OF MYSELF
WHILE I WAS UNDER IT, AND IT JUST LOOKS LIKE A MUMMY, BECAUSE THEY PUT THIS WHOLE CAST
AND THIS GLOP ALL OVER YOUR FACE AND EVERYTHING,
AND THAT WAS FUN, TOO. THEY USED THE CAST
TO MAKE OTHER MEs, DUMMIES AND EVERYTHING.

THEY MATCHED ME COMPLETELY, AND WHEN YOU HAVE ONE OF THEM
IN A POSE, FROZEN, IT ACTUALLY LOOKS
LIKE THE REAL ME, AND IT'S PRETTY CREEPY. BUT THE WORK WITH STAN IS FUN,
ESPECIALLY THE TABLE SCENE. WE HAD THE TRICK TABLE
FOR THE PART WHERE THEY OPEN ME UP
FOR THE SURGERY. THAT MADE THE MOVIE MORE FUN. IT ADDED ANOTHER PART
TO THE MOVIE. Man: YOU MADE A MESS
OF YOURSELF. IT'S A FUTURISTIC MOVIE, BUT WE WANTED TO MAKE IT
AS CLOSE TO HOME AS POSSIBLE. WE DIDN'T WANT TO GO
INTO ALL THE HIGH-TECH GADGETS AND EVERYTHING,
BUT WE WANTED TO HAVE THE ADVANCEMENT OF THE FUTURE,
OF COURSE, IN THE MOVIE, BUT WE ALSO WANTED TO HAVE
THE HEART OF THE FILM IN IT, TO STILL HAVE IT COME TO LIFE
FOR THE AUDIENCE AND HAVE IT BE AS REAL
AS POSSIBLE FOR THEM.

SEE YOU TOMORROW. SEE YOU. AND STEVEN WAS GREAT AT MAKING
THAT REAL FOR EVERYONE. Monica: I DO LOVE YOU. ( whispering )
I have always loved you. ONCE AGAIN, MY CUSTOMERS MAY ASK
FOR ME BY NAME– GIGOLO JOE,
WHAT DO YOU KNOW? Steven Spielberg:
THERE WAS SOME EVIDENCE FROM STANLEY'S A.I. ARCHIVES
ABOUT GIGOLO JOE, BUT NOT A LOT OF SUBSTANCE, AND I WAS
LIKE AN ARCHEOLOGIST, GOING THROUGH
EVERY PIECE OF PAPER TRYING TO FIND OUT,
WHAT DID STANLEY INTEND? WHAT WAS THE STORY
HE WANTED TO TELL? BECAUSE MY JOB
WAS TO HONOR HIS STORY WITHOUT FORGETTING
ABOUT MYSELF. I WANTED TO ALSO BE ABLE
TO INCLUDE MY OWN SENSIBILITIES. GIGOLO JOE WAS
AN INVENTION OF STANLEY'S, BUT HE NEVER REALLY
FLESHED HIM OUT, SO TO SPEAK,
OR "MECHED" HIM OUT, SO I HAD TO INVENT A LOT
OF GIGOLO JOE'S CHARACTER, AND ONE OF THE THINGS
I WANTED HIM TO BE WAS A DANCER.

I JUST TAKE HIS HAND… LIKE HE'S A THROWBACK TO THOSE OLD GIGOLOS
FROM THE 1930s– YOU KNOW, WITH TAILS,
TUXEDO AND TAILS. HE HAD EVERYTHING
BUT A CANE AND A TOP HAT. I JUST ENVISIONED HIM
BEING ELEGANT, AND THAT WAS
ONE OF THE THINGS THAT ATTRACTED JUDE LAW,
I THINK, TO THE PART. YOU DESERVE MUCH BETTER
IN YOUR LIFE. YOU DESERVE…

ME. Jude Law:
I FIRST HEARD ABOUT A.I. ACTUALLY JUST AFTER THE TIME THAT STANLEY KUBRICK'S DEATH
WAS ANNOUNCED, AND, LIKE MANY PEOPLE,
I WAS A HUGE KUBRICK FAN. I HEARD ABOUT THIS PROJECT THAT HE HAD APPARENTLY
BEEN WORKING ON. I'D HEARD OF THE INVOLVEMENT
OF STEVEN SPIELBERG IN THAT PROJECT. I'M TAKING THOSE IN,
AND THEN IT'S LIKE… BUT IT KIND OF CAME
INTO MY LIFE WHEN I WAS IN BERLIN WORKING, AND COMING TO THE END
OF A SHOOT THERE, AND I JUST GOT A PHONE CALL
ONE EVENING. IT WAS MY AGENT, WHO SAID, "LOOK, THERE'S A VERY,
VERY IMPORTANT PHONE CALL "YOU'VE GOT TO TAKE. "STEVEN SPIELBERG
WANTS TO SPEAK TO YOU "ABOUT HIS NEW PROJECT. HE'S JUST DECIDED
WHAT HE'S GOING TO DO." PHONE GOES.
I SPEAK TO STEVEN. HE EXPLAINED TO ME
THAT HE HAD JUST FINISHED WRITING THE SCREENPLAY
FOR A.I., THAT THERE WAS A PART IN IT
HE WANTED ME TO PLAY. I FLEW TO LONDON THAT WEEKEND
TO MEET WITH HIM, AND I SAT WITH HIM
AND READ THROUGH IT, AND I JUMPED ONBOARD
VERY EAGERLY.

YES, THAT'S BETTER.
THAT'S MUCH BETTER. RATHER THAN THAT. I'M SORRY.
( chuckles ) I THINK THE JOY
OF PLAYING A MECHA WAS THAT EVERY DAY
FOR ME AS AN ACTOR WAS A DISCOVERY. IT WAS ALMOST LIKE
I WAS INVENTING… I–I CAME TO THIS POINT
SEVERAL TIMES THROUGH THE REHEARSAL PROCESS, AND THEN
THROUGH THE SHOOTING PROCESS, WHICH WAS, YOU KNOW,
THE OBVIOUS QUESTION– HOW DO YOU PLAY A ROBOT?
WHAT DO YOU THINK ABOUT? I WAS! HOW CAN YOU POSSIBLY SET UP A LIST OF RULES
TO LIVE BY OR TO ACT BY? WELL, IN A WAY,
EVERY DAY AND EVERY MOMENT CREATED A NEW QUESTION.

OKAY, HOW DOES MY ROBOT,
HOW DOES MY MECHANICAL, APPLY ITSELF TO THIS QUESTION
OR TO THIS PROBLEM? DO YOU WANT ME TO SWIRL
BEFORE WE LEAVE? I DON'T THINK SO. I WOULDN'T SWIRL
DAVID HERE. SO, I WORKED VERY CLOSELY
FOR THREE MONTHS PRIOR TO STARTING FILMING WITH A BRITISH CHOREOGRAPHER
CALLED FRANCESCA JAYNES. THE INITIAL IDEA
WAS FRED ASTAIRE, JUST BECAUSE OF HIS GRACE, SO I WORKED QUITE CLOSELY
WITH HER INITIALLY ON VERY, KIND OF CLASSICAL, BALLROOM-TYPE DANCING
AND MOVEMENT, AND THAT MOVED
VERY QUICKLY ON TO MOVEMENT THAT WAS SLIGHTLY MORE
INFLUENCED BY GENE KELLY. BUT HAVING SAID THAT, WE ALSO CAME UP CONSTANTLY
WITH IDEAS THAT JOE SHOULD,
IF HE COULD DANCE IN ONE STYLE, WHY CAN'T HE
DANCE IN ANOTHER? AND THAT WAS AFFECTED,
IN SORTS, BY THE MAKEUP, WHICH STARTED MONTHS AND MONTHS
BEFORE WE STARTED SHOOTING– I THINK MAYBE
AT LEAST FOUR OR FIVE MONTHS BEFORE WE STARTED SHOOTING, AND WAS A LONG PROCESS
INVOLVING STAN WINSTON, STEVEN, AND VE NEILL, AND INITIALLY
I THINK THE IDEA WAS TO CREATE A FAKE ME WITH PROSTHETIC MOLDS
THAT WERE APPLIED, COVERING MY WHOLE HEAD WITH A WIG
THAT LOOKED LIKE MY HAIR.

THAT STARTED TO LIMIT
TO A DEGREE WHAT I COULD DO WITH MY FACE, SO THEY KIND OF OPTED
FOR THE ALTERNATIVE, WHICH WAS,
RATHER THAN MAKE A FALSE ME, IT WAS TO MAKEME FALSE, SO VE AND STAN BRILLIANTLY
CAME UP WITH THIS MAKEUP THAT WOULD ENABLE ME
TO USE MY FACE NATURALLY, BUT EQUALLY TOOK AWAY
THE HUMAN KIND OF QUALITIES OF MY LOOKS. DURING THAT PROCESS,
WE FLIRTED WITH THE IDEA THAT JOE SHOULD BE ABLE
TO ADAPT HIS LOOKS AND HIS MOVEMENT TO ATTRACT ANY TYPE OF PERSON THAT HE CHOSE. THEY HATE US, YOU KNOW. THE HUMANS. THEY'LL STOP AT NOTHING. IT WAS JUST A JOY ALSO
TO PLAY SOMEONE WHO HAD, WHILST HE HAD
SUCH A HUGE JOURNEY, ALSO HAD A VERY SIMPLE JOURNEY.

IT WAS A VERY PURE JOURNEY. IT WAS A JOURNEY OF REALLY RECOGNIZING TRUST AND REALLY RECOGNIZING
THAT A FRIENDSHIP IS MORE IMPORTANT
THAN A FUNCTION. JOE'S FUNCTION IS TO FULFILL
HIS CHIPS' NEEDS– IT'S TO KEEP GOING OUT
AND ENTERTAINING CUSTOMERS– BUT WHEN IT COMES DOWN TO IT,
HE CHOOSES DAVID OVER THAT. AND THAT'S WHY
YOU MUST STAY HERE… WITH ME. AND THAT, FOR A ROBOT,
IS AHUGE LEAP. TALK ABOUT
A GIANT STEP FOR ROBOT KIND, IT'S ACTUALLY
BREAKING THE FUNCTION THAT YOU HAVE BEEN INBUILT, AND IT'S ALMOST
AS GREAT AS, YOU KNOW, A SLAVE SUDDENLY REALIZING THAT HE SHOULDN'T BE
SMASHING ROCKS WITH HIS HAMMER, HE SHOULD BE
SMASHING HIS MANACLES.

IT'S A REALLY POWERFUL STEP. THE SHOT AFTER THIS IS,
AS THEY BRING YOU OUT, I'M GOING TO GET A SHOT
OVER HERE LIKE THIS… I WAS JUST PLEASED
TO BE A PART OF THIS GIFT THAT STEVEN IS SO GOOD
AT OFFERING HIS AUDIENCES, AND SERVING
THE PART OF JOE, REALLY. OKAY, GREAT. END OF GIGOLO JOE. END OF GIGOLO JOE.
THAT'S THE END. OR IS IT? STANLEY KUBRICK
HAPPENED TO SEE MY VERY FIRST GRAPHIC NOVEL, AND HE GOT HIS ASSISTANT
TO GET IN TOUCH WITH ME, AND IT WAS
AS SIMPLE AS THAT. I'D NEVER DONE
ANY FILM WORK BEFORE, AND IT WAS SOME KIND
OF INSPIRATION ON HIS PART TO ACTUALLY CHOOSE ME TO ACTUALLY COME
AND WORK ON A.I., AND WHEN WE MET, HE TOLD ME NOTHING
ABOUT A.I. AT ALL. WE ACTUALLY JUST CHATTED
ABOUT MOVIES FOR A GOOD WHILE, ABOUT WHAT WE LIKED
AND DIDN'T LIKE AND WHATEVER. AND I KIND OF ASKED HIM, "WELL, WHAT DO YOU ACTUALLY
WANT ME TO DO ON THIS MOVIE?" AND HE SAID, "WELL, PRETTY MUCH ANYTHING
YOU WANT TO DO ON THIS MOVIE AS FAR AS
DEVELOPING THE LOOK OF IT." UM…

AGAIN,
IT WAS AS SIMPLE AS THAT. WE DID NOT DISCUSS A.I.
AT ALL ON THE FIRST MEETING. I DIDN'T READ THE SCRIPT UNTIL SOMETHING LIKE
FIVE MONTHS LATER, AND ACTUALLY FOUND OUT
WHAT IT WAS ALL ABOUT. IT WAS A BASIC OVERVIEW
OF WHAT THE FILM WAS ABOUT. I WAS THERE
AS, LIKE, A CONDUIT, WHICH WAS JUST
TO GENERATE MATERIAL FROM THAT ORIGINAL OUTLINE AND JUST PRESENT THIS
TO STANLEY. HE WOULD LOOK AT IT
AND SAY YES OR NO, WHETHER IT WAS
THE RIGHT DIRECTION, WRONG DIRECTION, AND JUST KEEP, TO BE HONEST,
CHURNING THIS STUFF OUT SO THAT HE COULD
BEGIN TO VISUALIZE WHAT HE'D PUT DOWN ON PAPER. STEVEN JUST WANTED ME
TO CARRY ON WITH WHAT I WAS DOING
WITH STANLEY, REALLY, AND OBVIOUSLY CRYSTALLIZE IT
FOR THE PROJECT, AND ACTUALLY TAKE ALL THIS MATERIAL
THAT HAD BEEN GENERATED AND ACTUALLY START TO SHAPE IT
INTO SOMETHING THAT IS GOING TO BE
TURNED INTO A MOVIE.

AND RICK, WHO HAD TO
GENERATE FROM MY SKETCHES, IT GAVE HIM
A LOT OF FREE REIN, AND THEY'VE IMPROVED
QUITE A BIT ON MY INITIAL DESIGNS. EARLY ON IN THE PROCESS
OF DEVELOPING THIS MOVIE, STEVEN TALKED TO ME
ABOUT THIS IDEA THAT STANLEY KUBRICK
HAD TOLD HIM ABOUT THAT RELATED TO THE MOVIE– ACTUALLY, ONE PART OF IT– WHICH IS THE IDEA
OF MODE-JERKING. SO, IT'S THE IDEA
THAT YOU GO FROM ONE MODE TO ANOTHER MODE
TO ANOTHER MODE, AND THAT WAS SUPPOSED TO BE
A KIND OF AN ENTERTAINMENT IN ROUGE CITY,
WHEN THEY GOT THERE, WHICH IS WHAT
THIS SET IS HERE, AND I REALIZED
THAT THIS WHOLE MOVIE IS LIKE MODE-JERKING.

ONCE DAVID
STARTS ON HIS JOURNEY, IT JUST GOES
FROM ONE INCREDIBLE PLACE TO ANOTHER TO ANOTHER. SO, I THINK ONE OF THE BIG LEAPS
THAT IT TAKES IS INTO ROUGE CITY… THERE'S MILDRED. I HAVE TO SHOW YOU
INSIDE MILDRED. IT'S JUST THIS EXTRAVAGANT PLACE
OF SEX AND DEBAUCHERY. TO START
FROM THE VERY BEGINNING HERE– IN FACT, ONE OF THE REASONS
STEVEN WANTED TO MAKE THE MOVIE WAS AN ILLUSTRATION
THAT CHRIS BAKER DID OF THE ENTRANCE TO ROUGE CITY, WHICH IS WHERE THE BRIDGE TAKES THEM
RIGHT THROUGH THE MOUTHS INTO THE CITY.

AND THEN CHRIS HAD DONE
A NUMBER OF WONDERFUL SKETCHES OF TYPES OF BUILDINGS THAT MIGHT BE IN A PLACE
LIKE ROUGE CITY, SO WHAT I DID WAS,
I TOOK THOSE AND SAID, "WELL,
IF I WAS IN ROUGE CITY, "WHERE WOULD
THOSE BUILDINGS BE? "WHAT WOULD BE THE LAYOUT
THAT COULD ACTUALLY ALLOW US TO SEE
THOSE TYPES OF VIEWS?" AND THEN WE ADDED TO THAT OTHER BUILDINGS,
OTHER THINGS, OTHER VIEWS, AND THEN, FROM THERE, IT COLLAGED
INTO A GEOGRAPHICAL SPACE THAT WE
COULD ACTUALLY UNDERSTAND, THAT THE BOULEVARD
WAS OUT HERE, AND THIS WAS THE WAY IT LOOKED
IN TERMS OF THE COLOR ILLUSTRATIONS
THAT WE DID, AND THEN, WITH ILM, THEY WOULD ACTUALLY PUT THAT
INTO THEIR COMPUTER AND MAKE A MODEL.

WE ONLY HAD
ONE-HALF OF THE BOULEVARD, AND THEN, OFF THAT BOULEVARD
IS THIS PLACE HERE THAT WE DESIGNED
TO GO INTO THIS STAGE. NOW WE'RE IN
THE VIRTUAL ROUGE CITY SET, WHICH IS THE BLUE-SCREEN SET
WHERE ILM IS GOING TO CREATE THE BOULEVARD THAT WE'LL BE SEEING
IN THE MOVIE, WHICH IS ALL THESE HUGE
ARCHITECTURAL SHAPES THAT, UM, MAKE UP A BIG PART
OF ROUGE CITY. THEY'VE PUT
ALL THESE TARGETS UP TOP HERE SO YOU CAN ACTUALLY TELL
WHERE YOU ARE IN THE SPACE, SO RIGHT NOW
I'M IN ROUGE CITY, AND, IN FACT, THIS IS A 360-DEGREE
ENVIRONMENT AROUND THEM, BUT YOU WON'T SEE THAT
UNTIL YOU SEE IT IN THE MOVIE.

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