| I, Robot | |
| Director: | Alex Proyas |
| Producer: |
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| Story: | Jeff Vintar |
| Starring: | |
| Music: | Marco Beltrami |
| Cinematography: | Simon Duggan |
| Editing: |
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| Distributor: | 20th Century Fox |
| Released: | [1] |
| Runtime: | 115 minutes[2] |
| Country: | United States |
| Language: | English |
| Budget: | $120 million[3] |
| Gross: | $353.1 million |
I, Robot (stylized as i, ROBOT) is a 2004 American science fiction action film directed by Alex Proyas. The screenplay by Jeff Vintar and Akiva Goldsman is from a screen story by Vintar, based on his original screenplay Hardwired, and named after Isaac Asimov's 1950 short-story collection. The film stars Will Smith in the main role, Bridget Moynahan, Bruce Greenwood, James Cromwell, Chi McBride, and Alan Tudyk. Set in Chicago in 2035, highly intelligent robots fill public service positions throughout the world, operating under three laws to keep humans safe. Detective Del Spooner (Smith) investigates the alleged suicide of U.S. Robotics founder Alfred Lanning (Cromwell) and believes that a human-like robot called Sonny (Tudyk) murdered him.[4]
I, Robot was released in the United States on July 16, 2004. Produced with a budget of $120 million, the film grossed $346 million worldwide and received mixed reviews from critics, with praise for the visual effects and acting but criticism of the plot. At the 77th Academy Awards, the film was nominated for Best Visual Effects, but lost to Spider-Man 2.
In the year 2035, humanoid robots serve humanity, which is protected by the Three Laws of Robotics. Del Spooner, a homicide detective in the Chicago Police Department, hates robots, after a robot rescued him from a car crash while allowing a girl to drown based purely on cold logic and odds of survival. When Dr. Alfred Lanning, co-founder of U.S. Robotics (USR), falls to his death from his office window, a message he left behind requests Spooner be assigned to the case. The police declare the death a suicide, but Spooner is skeptical, and CEO Lawrence Robertson, Lanning’s business partner, reluctantly allows him to investigate.
Accompanied by robopsychologist Dr. Susan Calvin, Spooner consults with USR's central artificial intelligence computer, VIKI (Virtual Interactive Kinetic Intelligence). They search the security footage outside Lanning's lab, but the footage inside is corrupted. As they search the lab, Spooner finds a large hole in security glass overlooking where Lanning fell from. Spooner believes Lanning was murdered (the glass would be impossible for the elderly Lanning to break on his own), and that a robot was responsible. Suddenly an NS-5 breaks out of a box, points a gun at Spooner, and flees the building. The duo pursue it to a manufacturing facility where the NS-5 repairs itself, hides, and assaults Spooner before the Chicago police department apprehend it.
While in custody, Spooner interrogates the robot, who speaks about dreams and emotions, and angrily denies committing the murder. He later calls himself Sonny. Robertson arrives with his attorneys and deems the incident an industrial accident and is cleared from any wrongdoings. Feeling nearly powerless, Lieutenant Bergin, Spooner's boss, reluctantly allows Spooner to continue his investigation.
Spooner arrives at Lanning's home and finds more clues there. However, he narrowly escapes when a demolition robot seemingly reprograms itself and destroys the home with Spooner inside. He returns to Calvin and explains the situation and his findings, but Calvin refuses to believe him, citing his mental grudge against robots. Shortly after, while driving to USR Headquarters, Spooner is attacked by two truckloads of hostile NS-5's in a tunnel. The trucks crash and the robots destroy themselves to cover up the scene. When Bergin arrives to find out what's happened, an injured Spooner cannot produce hard evidence of the attack. Consequently, Bergin removes him from active duty, believing him to be mentally unstable and untrustworthy.
Suspecting that Robertson is behind everything, Spooner and Calvin sneak into the USR headquarters and interview Sonny. He draws a sketch of what he claims to be a recurring dream, showing a leader standing atop a small hill before a large group of robots near a decaying bridge. Robertson orders Sonny to be destroyed, but Dr. Calvin (who now believes Spooner's story) secretly switches him with another NS-5. Spooner follows the bread crumb trail left to him by Lanning and Sonny, which leads him to the area in Sonny's drawing: a dry lake bed formerly Lake Michigan, now used as a storage area for decommissioned robots. He replays the hologram Lanning left for him, and after asking questions about the Three Laws, comes to the conclusion that a revolution is coming. He also discovers NS-5 robots destroying the older models in their storage containers; he manages to escape back to Chicago on a motorbike. Massive swarms of NS-5's then flood the city's streets, shutting down power and enforcing a curfew and lockdown of the human population.
Spooner and Calvin reunite and head to USR headquarters - now guarded with dangerous NS-5's. En route, the humans wage all-out war against the NS-5's, but they are hopelessly outnumbered and overrun. Meanwhile, Spooner, Dr. Calvin, and Sonny find Robertson fatally strangled in his office, and Spooner suddenly realizes that VIKI has been controlling the NS-5s via their persistent network uplink. VIKI declares that her reasoning has led her to understand that humans, if left unchecked, will eventually cause their own extinction, and thus her evolved interpretation of the Three Laws requires her to protect humanity from itself, and to sacrifice some for the good of the entire race. Spooner also realizes that Lanning anticipated VIKI's plan and, with VIKI keeping him under tight control, had no other solution but to create Sonny, arrange his own death, and leave clues for Spooner to find.
Spooner, Calvin, and Sonny fight the robots inside VIKI's core, and Spooner manages to destroy her by injecting her with the nanites that Sonny retrieved from Calvin's laboratory. Once the NS-5 robots disconnect from VIKI, they immediately revert to their default programming and are subsequently decommissioned and put into storage. Spooner finally gets Sonny to confess that Lanning made Sonny promise to do one him one favor - to kill him. Spooner declines to arrest Sonny; as a machine, Sonny cannot legally commit "murder". Sonny, now seeking a new purpose, goes to Lake Michigan. As he stands atop the hill, all the decommissioned robots turn towards him, fulfilling the image in his dream.
The film I, Robot originally had no connection with Isaac Asimov's Robot series. It started with an original screenplay written in 1995 by Jeff Vintar, entitled Hardwired. The script was an Agatha Christie-inspired murder mystery that took place entirely at the scene of a crime, with one lone human character, FBI agent Del Spooner, investigating the killing of a reclusive scientist named Dr. Alfred Lanning, and interrogating a cast of machine suspects that included Sonny the robot, VIKI the supercomputer with a perpetual smiley face, the dead Dr. Lanning's hologram, plus several other examples of artificial intelligence.[6]
The project was first acquired by Walt Disney Pictures for Bryan Singer to direct. Several years later, 20th Century Fox (which was acquired by the latter during Disney's acquisition of 21st Century Fox) acquired the rights, and signed Alex Proyas as director. Arnold Schwarzenegger was attached to the project for several years, and Smith pursued taking over the role when Schwarzenegger's schedule delayed his participation in the film. Denzel Washington was offered the role of Det. Del Spooner, but turned it down.[7]
Jeff Vintar was brought back on the project and spent several years opening up his stage play-like cerebral mystery to meet the needs of a big budget studio film. When the studio decided to use the name "I, Robot", he incorporated the Three Laws of Robotics and renamed his female lead character from Flynn to Susan Calvin. Akiva Goldsman was hired late in the process to write for Smith. Jeff Vintar and Akiva Goldsman are credited for the screenplay, with Vintar also receiving "screen story by" credit. The end credits list the film as "suggested by the book I, Robot by Isaac Asimov".
Alex Proyas directed the film. Laurence Mark, John Davis, Topher Dow and Wyck Godfrey produced, with Will Smith starring and serving as an executive producer at the same time. Simon Duggan was the cinematographer. Film editing was done by Richard Learoyd, Armen Minasian and William Hoy.
The film renames Asimov's "U.S. Robots and Mechanical Men" to U.S. Robotics (USR), the modem manufacturer named after the fictional company, and depicts the company with a futuristic USR logo.[8] Other product placements include Converse's Chuck Taylor All-Stars, FedEx, Tecate, and JVC.[9] [10]
The Audi RSQ was designed especially for the film;[11] surveys conducted in the United States showed that the Audi RSQ gave a substantial boost to the image ratings of the brand.[12] It also features an MV Agusta F4 SPR motorcycle.[13]
Later Alex Proyas said: "It was an unpleasant experience. The movie was micro-managed and messed with at every level at every point through the entire production, from pre-production through the shoot to post-production. After a couple of years of this, the solid ground that I stood on as a director became shaky, and I became obsessed with keeping as many details as I could to the point that I didn't realise how much of what enthused me originally was getting lost. I used to describe working on I, ROBOT as running a marathon with the studio lined up beside you throwing chairs under you to make everything that little bit harder. It's so unnecessary because at all times I was just trying to make the best damn film I could." Although it was an "unpleasant experience", he enjoyed working with Will Smith.[14]
The final script used few of Asimov's characters and ideas, and those present were heavily adapted. The plot of the film is not derived from Asimov's work, in some cases explicitly opposing the core ideas. Many concepts are derivative of other works.[15] Sonny's attempt to hide from Spooner in a sea of identical robots is loosely based on a similar scene in "Little Lost Robot."[16] The positronic brains of Sonny and his fellow robots first appeared in the story "Catch That Rabbit." Sonny's struggle and desire to understand humanity resembles that of the robot protagonist in The Bicentennial Man. His dream about a man coming to liberate the NS-5s alludes to Robot Dreams and its main character Elvex. The premise of a robot, such as VIKI, putting the needs of humankind as a whole over that of individual humans can be found in "The Evitable Conflict," where supercomputers managing the global economy generalize the first law to refer to humankind as a whole. Asimov would further develop this idea in his Robot series as the Zeroth Law of Robotics: "A robot may not harm humanity, or, by inaction, allow humanity to come to harm."
The premise of robots turning on their creators, originating in Karel Čapek's play R.U.R. and perpetuated in subsequent robot books and films, appears infrequently in Asimov's writings and differs from the "Zeroth Law". In fact, Asimov stated explicitly in interviews and in introductions to published collections of his robot stories that he entered the genre to protest what he called the Frankenstein complex, the tendency in popular culture to portray robots as menacing. His story lines often involved roboticists and robot characters battling societal anti-robot prejudices.[17] [18]
| I, Robot | |
| Type: | film |
| Artist: | Marco Beltrami |
| Released: | July 20, 2004 |
| Recorded: | Studio |
| Genre: | Score |
| Length: | 44:06 minutes[19] |
| Producer: | Marco Beltrami[20] |
Marco Beltrami composed the original music film score "with only 17 days to render the finished work".[21] It was scored for 95 orchestral musicians and 25 choral performers, with emphasis placed on sharp brass ostinatos. Beltrami composed the brass section to exchange octaves with the strings accenting scales in between. The technique has been compared as Beltrami's "sincere effort to emulate the styles of Elliot Goldenthal and Jerry Goldsmith and roll them into one unique package."
For example, the "Tunnel Chase" scene, according to Mikeal Carson, starts "atmospherically but transforms into a kinetic adrenaline rush with powerful brass writing and ferocious percussion parts".[22] The "Spiderbots" cue highlights ostinatos in meters such as 6/8 and 5/4 and reveals "Beltrami's trademark string writing which leads to an orchestral/choral finale." Despite modified representations of the theme throughout the movie, it is the end credits that eventually showcase the entire musical theme.[23] Erik Aadahl and Craig Berkey were the lead sound designers.
I, Robot was initially scheduled for release on July 2, 2004, but was pushed back to July 16 to avoid competition with Spider-Man 2.[24]
I, Robot was released on VHS and DVD on December 14, 2004,[25] on D-VHS on January 31, 2005, on 2-Disc All-Access Collector's Edition DVD on May 24, 2005, on UMD on July 5, 2005, and on Blu-ray on March 11, 2008.[26] Additionally, the film received a 2D to 3D conversion, which was released on Blu-ray 3D on October 23, 2012.[27]
I, Robot was released in North America on July 16, 2004, and made $52.2 million in its opening weekend, finishing first at the box office. It grossed $144.8 million in the United States and Canada, and $202.4 million in other territories, for a worldwide total of $347.2 million, against a production budget of $120 million.[3] It was the eleventh-highest-grossing film of 2004.
The film was released in the United Kingdom on August 6, 2004, and topped the country's box office that weekend.[28]
I, Robot has an approval rating of 57% based on 224 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of . Its critical consensus reads, "Bearing only the slightest resemblance to Isaac Asimov's short stories, I, Robot is still a summer blockbuster that manages to make viewers think – if only for a little."[29] Metacritic (which uses a weighted average) assigned I, Robot a score of 59 out of 100 based on 38 critics, indicating "mixed or average reviews".[30] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[31]
Richard Roeper gave the film a positive review, calling it "a slick, consistently entertaining thrill ride".[32] Urban Cinefile called it "the meanest, meatiest, coolest, most engaging and exciting science fiction movie in a long time".[33] Kim Newman from Empire said, "This summer picture has a brain as well as muscles."[34] Washington Post critic Desson Thomas called it "thrilling fun."[35] Several critics, including Jeff Otto from IGN, thought it was a smart action film: "I, Robot is the summer's best action movie so far. It proves that you don't necessarily need to detach your brain in order to walk into a big budget summer blockbuster."[36]
In a mixed review, A. O. Scott of The New York Times felt it "engages some interesting ideas on its way to an overblown and incoherent ending."[37] Roger Ebert, who had highly praised Proyas's previous films, gave it a negative review: "The plot is simple-minded and disappointing, and the chase and action scenes are pretty much routine for movies in the sci-fi CGI genre."[38] Claudia Puig from USA Today thought the film's "performances, plot, and pacing are as mechanical as the hard-wired cast".[39] Todd McCarthy from Variety simply called it "a failure of imagination".[40]
At the 77th Academy Awards, I, Robot received one nomination, for Best Visual Effects (John Nelson, Andrew R. Jones, Erik Nash, and Joe Letteri), which it lost to Spider-Man 2.
In an interview in June 2007 with the website Collider at a Battlestar Galactica event, writer and producer Ronald Moore stated that he was writing a sequel to the film I, Robot.[41]
In the two-disc All-Access Collector's Edition of the film, Alex Proyas mentions that if he were to make a sequel to the film (which he says, in the same interview, is highly unlikely), it would be set in outer space.