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The Terminator - Wikipedia
2001-07-23
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<table><tbody><tr><th>The Terminator</th></tr><tr><td><a href="/wiki/File:Terminator1984movieposter.jpg"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/James_Cameron">James Cameron</a></td></tr><tr><th>Written by</th><td><div>
<ul><li>James Cameron</li>
<li><a href="/wiki/Gale_Anne_Hurd">Gale Anne Hurd</a></li></ul>
</div></td></tr><tr><th>Produced by</th><td>Gale Anne Hurd</td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a></li>
<li><a href="/wiki/Michael_Biehn">Michael Biehn</a></li>
<li><a href="/wiki/Linda_Hamilton">Linda Hamilton</a></li>
<li><a href="/wiki/Paul_Winfield">Paul Winfield</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Adam_Greenberg_(cinematographer)">Adam Greenberg</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Mark_Goldblatt">Mark Goldblatt</a></td></tr><tr><th>Music by</th><td><a href="/wiki/Brad_Fiedel">Brad Fiedel</a></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Hemdale_Film_Corporation">Hemdale</a></li>
<li><a href="/wiki/Pacific_Western_Productions">Pacific Western Productions</a></li>
<li>Euro Film Funding</li>
<li>Cinema '84</li></ul>
</div></td></tr><tr><th>Distributed by</th><td><a href="/wiki/Orion_Pictures">Orion Pictures</a></td></tr><tr><th><p>Release date</p></th><td><div>
<ul><li>October 26, 1984</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>107 minutes<sup><a href="#cite_note-1">[1]</a></sup></td></tr><tr><th>Country</th><td><div>
<ul><li>United States<sup><a href="#cite_note-2">[2]</a></sup><sup><a href="#cite_note-MFB-3">[3]</a></sup><sup><a href="#cite_note-afi-4">[4]</a></sup></li></ul>
</div></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$6.4 million<sup><a href="#cite_note-Mojo-5">[5]</a></sup></td></tr><tr><th>Box office</th><td>$78.3 million</td></tr></tbody></table>
<p><i><b>The Terminator</b></i> is a 1984 American <a href="/wiki/Science_fiction_film">science fiction</a> <a href="/wiki/Action_film">action film</a> directed by <a href="/wiki/James_Cameron">James Cameron</a>. It stars <a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a> as the <a href="/wiki/Terminator_(character)">Terminator</a>, a <a href="/wiki/Cyborg">cyborg</a> assassin sent back in time from 2029 to 1984 to kill <a href="/wiki/Sarah_Connor_(Terminator)">Sarah Connor</a> (<a href="/wiki/Linda_Hamilton">Linda Hamilton</a>), whose unborn son will one day save mankind from extinction by <a href="/wiki/Skynet_(Terminator)">Skynet</a>, a hostile <a href="/wiki/Artificial_intelligence">artificial intelligence</a> in a <a href="/wiki/Apocalyptic_and_post-apocalyptic_fiction">post-apocalyptic</a> future. <a href="/wiki/Kyle_Reese">Kyle Reese</a> (<a href="/wiki/Michael_Biehn">Michael Biehn</a>) is a soldier sent back in time to protect Sarah. The screenplay is credited to Cameron and producer <a href="/wiki/Gale_Anne_Hurd">Gale Anne Hurd</a>, while co-writer <a href="/wiki/William_Wisher_Jr.">William Wisher Jr.</a> received an "additional dialogue" credit.
</p><p>Cameron devised the premise of the film from a fever dream he experienced during the release of his first film, <i><a href="/wiki/Piranha_II:_The_Spawning">Piranha II: The Spawning</a></i> (1982), in Rome, and developed the concept in collaboration with Wisher. He sold the rights to the project to fellow <a href="/wiki/New_World_Pictures">New World Pictures</a> alumna Hurd on the condition that she would produce the film only if he were to direct it; Hurd eventually secured a distribution deal with <a href="/wiki/Orion_Pictures">Orion Pictures</a>, while executive producers <a href="/wiki/John_Daly_(producer)">John Daly</a> and Derek Gibson of <a href="/wiki/Hemdale_Film_Corporation">Hemdale Film Corporation</a> were instrumental in setting up the film's financing and production. Originally approached by Orion for the role of Reese, Schwarzenegger agreed to play the title character after befriending Cameron. Filming, which took place mostly at night on location in Los Angeles, was delayed because of Schwarzenegger's commitments to <i><a href="/wiki/Conan_the_Destroyer">Conan the Destroyer</a></i> (1984), during which Cameron found time to work on the scripts for <i><a href="/wiki/Rambo:_First_Blood_Part_II">Rambo: First Blood Part II</a></i> (1985) and <i><a href="/wiki/Aliens_(film)">Aliens</a></i> (1986). The film's special effects, which included <a href="/wiki/Miniature_effect">miniatures</a> and <a href="/wiki/Stop-motion_animation">stop-motion animation</a>, were created by a team of artists led by <a href="/wiki/Stan_Winston">Stan Winston</a> and <a href="/wiki/Gene_Warren_Jr.">Gene Warren Jr.</a>
</p><p>Defying low pre-release expectations, <i>The Terminator</i> topped the United States <a href="/wiki/Box_office">box office</a> for two weeks, eventually grossing $78.3 million against a modest $6.4 million budget. It is credited with launching Cameron's film career and solidifying Schwarzenegger's status as a <a href="/wiki/Leading_man">leading man</a>. The film's success led to <a href="/wiki/Terminator_(franchise)">a franchise</a> consisting of <a href="/wiki/Terminator_(franchise)#Films">several sequels</a>, <a href="/wiki/Terminator:_The_Sarah_Connor_Chronicles">a television series</a>, <a href="/wiki/List_of_Terminator_comics">comic books</a>, <a href="/wiki/T2_(novel_series)">novels</a> and <a href="/wiki/List_of_Terminator_video_games">video games</a>. In 2008, <i>The Terminator</i> was selected by the <a href="/wiki/Library_of_Congress">Library of Congress</a> for preservation in the United States <a href="/wiki/National_Film_Registry">National Film Registry</a> as "culturally, historically, or aesthetically significant".
</p>
<h2>Plot[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>Two men arrive separately in 1984 <a href="/wiki/Los_Angeles">Los Angeles</a>, having <a href="/wiki/Time_travel">time traveled</a> from 2029. One is a <a href="/wiki/Cyborg">cybernetic</a> assassin known as the <a href="/wiki/Terminator_(character)">Terminator</a>, programmed to hunt and kill a woman named <a href="/wiki/Sarah_Connor_(Terminator)">Sarah Connor</a>. The other is a human soldier named <a href="/wiki/Kyle_Reese">Kyle Reese</a>, intent on stopping it. They both steal guns and clothing. The Terminator systematically kills women bearing its target's name, having found their addresses in a <a href="/wiki/Telephone_directory">telephone directory</a>. It tracks the last Sarah Connor, its actual target, to a nightclub, but Reese rescues her. The pair steal a car and escape, with the Terminator pursuing them in a stolen police car.
</p><p>As they hide in a parking lot, Reese explains to Sarah that an artificially intelligent defense network known as <a href="/wiki/Skynet_(Terminator)">Skynet</a>, created by Cyberdyne Systems, will become self-aware in the near future and trigger a <a href="/wiki/Nuclear_holocaust">global nuclear war</a> to exterminate the human species. Sarah's future son <a href="/wiki/John_Connor">John</a> will rally the survivors and lead a successful <a href="/wiki/Resistance_movement">resistance movement</a> against Skynet and its army of machines. On the verge of the resistance's victory, Skynet sent the Terminator back in time to kill Sarah and prevent John from being born. The Terminator is an efficient and relentless killing machine with perfect voice-mimicking ability and a robust metal <a href="/wiki/Endoskeleton">endoskeleton</a> covered by living tissue that disguises it as a human.
</p><p>Police apprehend Reese and Sarah after another encounter with the Terminator. The Terminator attacks the police station, killing police officers while hunting for Sarah. Reese and Sarah escape, steal another car, and take refuge in a motel, where they assemble <a href="/wiki/Pipe_bomb">pipe bombs</a> and plan their next move. Reese admits that he has adored Sarah since he saw her in a photograph John gave him and that he traveled through time out of love for her. Reciprocating his feelings, Sarah kisses him, and they have sex, conceiving John.
</p><p>The Terminator locates Sarah by intercepting a call intended for her mother. She and Reese escape the motel in a pickup truck while it pursues them on a motorcycle. In the ensuing chase, Reese is wounded by gunfire while throwing pipe bombs at the Terminator. Sarah knocks the Terminator off its motorcycle but loses control of the truck, which flips over. The Terminator, now bloodied and badly damaged, hijacks a <a href="/wiki/Tank_truck">tank truck</a> and attempts to run down Sarah, but Reese slides a pipe bomb into the tanker's hose tube, causing an explosion that burns the flesh from the Terminator's endoskeleton. It pursues them into a factory, where Reese activates machinery to confuse it. He jams his final pipe bomb into its midsection, blowing it apart at the cost of his life. Its still-functional torso grabs Sarah, but she breaks free and lures it into a <a href="/wiki/Hydraulic_press">hydraulic press</a>, crushing and finally destroying it.
</p><p>Months later, Sarah, pregnant with John, travels through Mexico, recording <a href="/wiki/Cassette_tape">audio tapes</a> to pass on to him. At a gas station, a boy takes a <a href="/wiki/Instant_film">polaroid</a> of her, and she buys it. It is the exact photograph that John will one day give to Reese.
</p>
<h2>Cast[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=2">edit</a>]</h2>
<ul><li><a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a> as the <a href="/wiki/Terminator_(character)">Terminator</a>, a cybernetic android disguised as a human being sent back in time to assassinate Sarah Connor.</li>
<li><a href="/wiki/Michael_Biehn">Michael Biehn</a> as <a href="/wiki/Kyle_Reese">Kyle Reese</a>, a human Resistance fighter sent back in time to protect Sarah.</li>
<li><a href="/wiki/Linda_Hamilton">Linda Hamilton</a> as <a href="/wiki/Sarah_Connor_(Terminator)">Sarah Connor</a>, a young diner waitress and the Terminator's target, who is soon to be the mother of the future Resistance leader <a href="/wiki/John_Connor">John Connor</a>.</li>
<li><a href="/wiki/Paul_Winfield">Paul Winfield</a> as Ed Traxler, a police Lieutenant who tries to protect Sarah.</li>
<li><a href="/wiki/Lance_Henriksen">Lance Henriksen</a> as Vukovich, a member of the <a href="/wiki/LAPD">LAPD</a>.</li>
<li><a href="/wiki/Bess_Motta">Bess Motta</a> as Ginger, Sarah's roommate whom the T-800 murders after mistaking her for Sarah.</li>
<li><a href="/wiki/Rick_Rossovich">Rick Rossovich</a> as Matt, Ginger's boyfriend whom the T-800 also murdered.</li>
<li><a href="/wiki/Earl_Boen">Earl Boen</a> as Dr. Peter Silberman, a criminal <a href="/wiki/Psychologist">psychologist</a>.</li></ul>
<p>Additional actors included Shawn Schepps as Nancy, Sarah's co-worker at the diner; <a href="/wiki/Dick_Miller">Dick Miller</a> as a gun shop clerk; professional bodybuilder <a href="/wiki/Franco_Columbu">Franco Columbu</a> as a Terminator in the future; <a href="/wiki/Bill_Paxton">Bill Paxton</a> and <a href="/wiki/Brian_Thompson">Brian Thompson</a> as punks whom the Terminator confronts and kills; <a href="/wiki/Marianne_Muellerleile">Marianne Muellerleile</a> as one of the other women with the name "Sarah Connor" whom the Terminator shoots; <a href="/wiki/Rick_Aiello">Rick Aiello</a> as a bouncer at Tech-Noir; and <a href="/wiki/Bill_Wisher">Bill Wisher</a> as the police officer who reports a hit-and-run felony on Reese, only to be knocked unconscious and have his car stolen by the Terminator soon thereafter.
</p>
<h2>Production[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=3">edit</a>]</h2>
<h3>Development[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=4">edit</a>]</h3>
<p>In <a href="/wiki/Rome,_Italy">Rome, Italy</a>, during the release of <i><a href="/wiki/Piranha_II:_The_Spawning">Piranha II: The Spawning</a></i> (1982), director Cameron fell ill and had a dream about a metallic torso holding kitchen knives dragging itself from an explosion.<sup><a href="#cite_note-Keegan34-6">[6]</a></sup> Inspired by director <a href="/wiki/John_Carpenter">John Carpenter</a>, who had made the <a href="/wiki/Slasher_film">slasher film</a> <i><a href="/wiki/Halloween_(1978_film)">Halloween</a></i> (1978) on a low budget, Cameron used the dream as a "launching pad" to write a slasher-style film.<sup><a href="#cite_note-7">[7]</a></sup> Cameron's agent disliked the early concept of the horror film and requested that he work on something else. After this, Cameron dismissed his agent.<sup><a href="#cite_note-8">[8]</a></sup>
</p><p>Cameron returned to <a href="/wiki/Pomona,_California">Pomona, California</a>, and stayed at the home of science fiction writer <a href="/wiki/Randall_Frakes">Randall Frakes</a>, where he wrote the draft for <i>The Terminator</i>.<sup><a href="#cite_note-Keegan35-9">[9]</a></sup> Cameron's influences included 1950s science fiction films, the 1960s fantasy television series <i><a href="/wiki/The_Outer_Limits_(1963_TV_series)">The Outer Limits</a>,</i> and contemporary films such as <i><a href="/wiki/The_Driver">The Driver</a></i> (1978) and <i><a href="/wiki/Mad_Max_2">Mad Max 2</a></i> (1981).<sup><a href="#cite_note-French15-10">[10]</a></sup><sup><a href="#cite_note-French20-11">[11]</a></sup> To translate the draft into a script, Cameron enlisted his friend <a href="/wiki/William_Wisher,_Jr.">Bill Wisher</a>, who had a similar approach to storytelling. Cameron gave Wisher scenes involving Sarah Connor and the police department to write. As Wisher lived far from Cameron, the two communicated ideas by recording tapes of what they wrote by telephone.<sup>[<i><a href="/wiki/Wikipedia:Please_clarify">clarification needed</a></i>]</sup> Frakes and Wisher would later write the US-released novelization of the movie.
</p><p>The initial outline of the script involved two Terminators being sent to the past. The first was similar to the Terminator in the film, while the second was made of liquid metal and could not be destroyed with conventional weaponry.<sup><a href="#cite_note-Keegan110-12">[12]</a></sup> Cameron felt that the technology of the time was unable to create the liquid Terminator,<sup><a href="#cite_note-Keegan110-12">[12]</a></sup><sup><a href="#cite_note-Keegan111-13">[13]</a></sup> and shelved the idea until the appearance of the <a href="/wiki/T-1000">T-1000</a> character in <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i> (1991).<sup><a href="#cite_note-14">[14]</a></sup>
</p>
<div><p><a href="/wiki/File:Gale_Anne_Hurd_by_Gage_Skidmore_3.jpg"></a></p><div><p>Gale Anne Hurd bought the rights to <i>The Terminator</i> from James Cameron for one dollar.<sup><a href="#cite_note-Keegan37-15">[15]</a></sup></p></div></div>
<p><a href="/wiki/Gale_Anne_Hurd">Gale Anne Hurd</a>, who had worked at <a href="/wiki/New_World_Pictures">New World Pictures</a> as <a href="/wiki/Roger_Corman">Roger Corman</a>'s assistant, showed interest in the project.<sup><a href="#cite_note-Keegan36-16">[16]</a></sup> Cameron sold the rights for <i>The Terminator</i> to Hurd for one dollar with the promise that she would produce it only if Cameron was to direct it. Hurd suggested edits to the script and took a screenwriting credit in the film, though Cameron stated that she "did no actual writing at all".<sup><a href="#cite_note-Keegan37-15">[15]</a></sup><sup><a href="#cite_note-17">[17]</a></sup> Cameron would later regret the decision to sell the rights for one dollar.<sup><a href="#cite_note-18">[18]</a></sup> Cameron and Hurd had friends who worked with Corman previously and who were working at <a href="/wiki/Orion_Pictures">Orion Pictures</a> (now part of <a href="/wiki/Metro-Goldwyn-Mayer">MGM</a>). Orion agreed to distribute the film if Cameron could get financial backing elsewhere. The script was picked up by <a href="/wiki/John_Daly_(producer)">John Daly</a>, chairman and president of <a href="/wiki/Hemdale_Film_Corporation">Hemdale Film Corporation</a>.<sup><a href="#cite_note-Keegan38-19">[19]</a></sup> Daly and his executive vice president and head of production Derek Gibson became executive producers of the project.<sup><a href="#cite_note-articles.chicagotribune.com-20">[20]</a></sup>
</p><p>Cameron wanted his pitch for Daly to finalize the deal and had his friend <a href="/wiki/Lance_Henriksen">Lance Henriksen</a> show up to the meeting early dressed and acting like the Terminator.<sup><a href="#cite_note-Keegan38-19">[19]</a></sup> Henriksen, wearing a leather jacket, fake cuts on his face, and gold foil on his teeth, kicked open the door to the office and then sat in a chair.<sup><a href="#cite_note-Keegan38-19">[19]</a></sup> Cameron arrived shortly and then relieved the staff from Henriksen's act. Daly was impressed by the screenplay and Cameron's sketches and passion for the film.<sup><a href="#cite_note-Keegan38-19">[19]</a></sup> In late 1982, Daly agreed to back the film with help from <a href="/wiki/HBO">HBO</a> and Orion.<sup><a href="#cite_note-Keegan38-19">[19]</a></sup><sup><a href="#cite_note-Keegan39-21">[21]</a></sup> <i>The Terminator</i> was originally budgeted at $4 million and later raised to $6.5 million.<sup><a href="#cite_note-French6-22">[22]</a></sup> Aside from Hemdale, <a href="/wiki/Valhalla_Entertainment">Pacific Western Productions</a>, Euro Film Funding and Cinema '84 have been credited as production companies after the film's release.<sup><a href="#cite_note-afi-4">[4]</a></sup><sup><a href="#cite_note-MFB-3">[3]</a></sup><sup><a href="#cite_note-bfi-23">[23]</a></sup>
</p>
<h3>Casting[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=5">edit</a>]</h3>
<p>For the role of Kyle Reese, Orion wanted a star whose popularity was rising in the United States but who also would have foreign appeal. Orion co-founder Mike Medavoy had met <a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a> and sent his agent the script for <i>The Terminator</i>.<sup><a href="#cite_note-Keegan39-21">[21]</a></sup> Cameron was uncertain about casting Schwarzenegger as Reese as he felt he would need someone even more famous to play the Terminator. <a href="/wiki/Sylvester_Stallone">Sylvester Stallone</a> and <a href="/wiki/Mel_Gibson">Mel Gibson</a> both turned down the Terminator role.<sup><a href="#cite_note-24">[24]</a></sup> The studio suggested <a href="/wiki/O._J._Simpson">O. J. Simpson</a> but Cameron did not feel that Simpson, at that time, would be believable as a killer.<sup><a href="#cite_note-OV-Hurd-25">[25]</a></sup><sup><a href="#cite_note-Keegan40-26">[26]</a></sup><sup><a href="#cite_note-27">[27]</a></sup>
</p><p>
Cameron agreed to meet with Schwarzenegger and devised a plan to avoid casting him; he would pick a fight with him and return to Hemdale and find him unfit for the role.<sup><a href="#cite_note-OV-Cameron-28">[28]</a></sup> However, Cameron was entertained by Schwarzenegger, who would talk about how the villain should be played. Cameron began sketching his face on a notepad and asked Schwarzenegger to stop talking and remain still.<sup><a href="#cite_note-Keegan40-26">[26]</a></sup> After the meeting, Cameron returned to Daly saying Schwarzenegger would not play Reese but that "he'd make a hell of a Terminator".<sup><a href="#cite_note-Keegan41-29">[29]</a></sup></p><div>
<blockquote>
<p>Casting Arnold Schwarzenegger as our Terminator [...] shouldn't have worked. The guy is supposed to be an infiltration unit, and there's no way you wouldn't spot a Terminator in a crowd instantly if they all looked like Arnold. It made no sense whatsoever. But the beauty of movies is that they don't have to be logical. They just have to have plausibility. If there's a visceral, cinematic thing happening that the audience likes, they don't care if it goes against what's likely.<sup><a href="#cite_note-30">[30]</a></sup>
</p>
</blockquote>
<p><cite>—James Cameron on casting Schwarzenegger.</cite>
</p>
</div>
<p>Schwarzenegger was not as excited by the film; during an interview on the set of <i><a href="/wiki/Conan_the_Destroyer">Conan the Destroyer</a></i>, an interviewer asked him about a pair of shoes he had, which belonged to the wardrobe for <i>The Terminator</i>. Schwarzenegger responded, "Oh, some shit movie I'm doing, take a couple weeks."<sup><a href="#cite_note-Andrews-31">[31]</a></sup> He recounted in his memoir, <i>Total Recall</i>, that he was initially hesitant, but thought that playing a robot in a contemporary film would be a challenging change of pace from <i><a href="/wiki/Conan_the_Barbarian_(1982_film)">Conan the Barbarian</a></i> and that the film was low-profile enough that it would not damage his career if it were unsuccessful. In a later interview with <i><a href="/wiki/GQ_Magazine">GQ Magazine</a></i>, he admitted that he and the studio regarded it as just another <a href="/wiki/B_Movie">B action movie</a>, since "The year before came out <i><a href="/wiki/The_Exterminator">Exterminator</a></i>, now it was the Terminator and what else is gonna be next, type of thing". It was only when he saw 20 minutes of the first edit did he realize that "this is really intense, this is wild, I don't think I've ever seen anything like this before" and realized that "this could be bigger than we all think".<sup><a href="#cite_note-32">[32]</a></sup> To prepare for the role, Schwarzenegger spent three months training with weapons to be able to use them and feel comfortable around them.<sup><a href="#cite_note-Keegan41-29">[29]</a></sup> Schwarzenegger speaks only 17 lines in the film, and fewer than 100 words. Cameron said that "Somehow, even his accent worked ... It had a strange synthesized quality, like they hadn't gotten the voice thing quite worked out."<sup><a href="#cite_note-33">[33]</a></sup>
</p><p>Various other actors were suggested for the role of Reese, including rock musician <a href="/wiki/Sting_(musician)">Sting</a>.<sup><a href="#cite_note-Keegan42-34">[34]</a></sup> Cameron met with Sting, but he was not interested as Cameron was too much an unknown director at the time.<sup><a href="#cite_note-35">[35]</a></sup> Others who were considered for Reese included <a href="/wiki/Christopher_Reeve">Christopher Reeve</a>, <a href="/wiki/Matt_Dillon">Matt Dillon</a>, <a href="/wiki/Kurt_Russell">Kurt Russell</a>, <a href="/wiki/Treat_Williams">Treat Williams</a>, <a href="/wiki/Tommy_Lee_Jones">Tommy Lee Jones</a>, <a href="/wiki/Scott_Glenn">Scott Glenn</a>, <a href="/wiki/Michael_O%27Keefe">Michael O'Keefe</a>, and <a href="/wiki/Bruce_Springsteen">Bruce Springsteen</a>.<sup><a href="#cite_note-etonline.com-36">[36]</a></sup> Cameron chose <a href="/wiki/Michael_Biehn">Michael Biehn</a>. Biehn, who had recently seen <i><a href="/wiki/Taxi_Driver">Taxi Driver</a></i> and had aspirations about acting alongside the likes of <a href="/wiki/Al_Pacino">Al Pacino</a>, <a href="/wiki/Robert_De_Niro">Robert De Niro</a>, and <a href="/wiki/Robert_Redford">Robert Redford</a>, was originally skeptical, feeling the film was silly.<sup><a href="#cite_note-37">[37]</a></sup> After meeting with Cameron, Biehn changed his mind.<sup><a href="#cite_note-Keegan42-34">[34]</a></sup> Hurd stated that "almost everyone else who came in from the audition was so tough that you just never believed that there was gonna be this human connection between Sarah Connor and Kyle Reese. They have very little time to fall in love. A lot of people came in and just could not pull it off."<sup><a href="#cite_note-Keegan43-38">[38]</a></sup> To get into Reese's character, Biehn studied the <a href="/wiki/Polish_resistance_movement_in_World_War_II">Polish resistance movement in World War II</a>.<sup><a href="#cite_note-39">[39]</a></sup>
</p><p>In the first pages of the script, Sarah Connor is described as "19, small and delicate features. Pretty in a flawed, accessible way. She doesn't stop the party when she walks in, but you'd like to get to know her. Her vulnerable quality masks a strength even she doesn't know exists."<sup><a href="#cite_note-Keegan44-40">[40]</a></sup> <a href="/wiki/Lisa_Langlois">Lisa Langlois</a> was offered the role but turned it down as she was already shooting <i><a href="/wiki/The_Slugger%27s_Wife">The Slugger's Wife</a></i>.<sup><a href="#cite_note-41">[41]</a></sup> <a href="/wiki/Jennifer_Jason_Leigh">Jennifer Jason Leigh</a>, <a href="/wiki/Melissa_Sue_Anderson">Melissa Sue Anderson</a>, and <a href="/wiki/Jessica_Harper">Jessica Harper</a> were also considered for the role of Sarah Connor.<sup><a href="#cite_note-etonline.com-36">[36]</a></sup> Cameron cast <a href="/wiki/Linda_Hamilton">Linda Hamilton</a>, who had just finished filming <i><a href="/wiki/Children_of_the_Corn_(1984_film)">Children of the Corn</a></i>.<sup><a href="#cite_note-Keegan45-42">[42]</a></sup> <a href="/wiki/Rosanna_Arquette">Rosanna Arquette</a> and <a href="/wiki/Lea_Thompson">Lea Thompson</a> also auditioned for the role.<sup><a href="#cite_note-43">[43]</a></sup><sup><a href="#cite_note-44">[44]</a></sup> Cameron found a role for Lance Henriksen as Vukovich, as Henriksen had been essential to finding finances for the film.<sup><a href="#cite_note-Keegan46-45">[45]</a></sup> For the special effects shots, Cameron wanted <a href="/wiki/Dick_Smith_(make-up_artist)">Dick Smith</a>, who had worked on <i><a href="/wiki/The_Godfather">The Godfather</a></i> and <i>Taxi Driver</i>. Smith did not take Cameron's offer and suggested his friend <a href="/wiki/Stan_Winston">Stan Winston</a>.<sup><a href="#cite_note-Keegan50-46">[46]</a></sup>
</p>
<h3>Filming[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=6">edit</a>]</h3>
<p>Filming for <i>The Terminator</i> was set to begin in early 1983 in <a href="/wiki/Toronto">Toronto</a>, but was halted when producer <a href="/wiki/Dino_De_Laurentiis">Dino De Laurentiis</a> applied an option in Schwarzenegger's contract that would make him unavailable for nine months while he was filming <i>Conan the Destroyer</i>. During the waiting period, Cameron was contracted to write the script for <i><a href="/wiki/Rambo:_First_Blood_Part_II">Rambo: First Blood Part II</a>,</i> refined the <i>Terminator</i> script, and met with producers <a href="/wiki/David_Giler">David Giler</a> and <a href="/wiki/Walter_Hill_(filmmaker)">Walter Hill</a> to discuss a sequel to <i><a href="/wiki/Alien_(film)">Alien</a>,</i> which became <i><a href="/wiki/Aliens_(film)">Aliens</a></i>, released in 1986.<sup><a href="#cite_note-Keegan46-45">[45]</a></sup><sup><a href="#cite_note-Keegan47-79-47">[47]</a></sup>
</p><p>There was limited interference from Orion Pictures. Two suggestions Orion put forward included the addition of a canine android for Reese, which Cameron refused, and to strengthen the love interest between Sarah and Reese, which Cameron accepted.<sup><a href="#cite_note-French23-48">[48]</a></sup> To create the Terminator's look, Winston and Cameron passed sketches back and forth, eventually deciding on a design nearly identical to Cameron's original drawing in Rome.<sup><a href="#cite_note-Keegan50-46">[46]</a></sup><sup><a href="#cite_note-Keegan51-49">[49]</a></sup> Winston had a team of seven artists work for six months to create a Terminator puppet; it was first molded in clay, then plaster reinforced with steel ribbing. These pieces were then sanded, painted and then chrome-plated. Winston sculpted reproduction of Schwarzenegger's face in several poses out of silicone, clay and plaster.<sup><a href="#cite_note-Keegan51-49">[49]</a></sup>
</p><p>The sequences set in 2029 and the <a href="/wiki/Stop_motion">stop-motion</a> scenes were developed by Fantasy II, a special effects company headed by Gene Warren Jr.<sup><a href="#cite_note-French24-50">[50]</a></sup> A stop-motion model is used in several scenes in the film involving the Terminator's skeletal frame. Cameron wanted to convince the audience that the model of the structure was capable of doing what they saw Schwarzenegger doing. To allow this, a scene was filmed of Schwarzenegger injured and limping away; this limp made it easier for the model to imitate Schwarzenegger.<sup><a href="#cite_note-51">[51]</a></sup>
</p><p>One of the guns seen in the film and on the film's poster was an <a href="/wiki/AMT_Hardballer">AMT Longslide</a> pistol modified by Ed Reynolds from <a href="/wiki/SureFire">SureFire</a> to include a <a href="/wiki/List_of_laser_applications#Laser_sight">laser sight</a>. Both non-functioning and functioning versions of the prop were created. At the time the movie was made, <a href="/wiki/Laser_diode">diode lasers</a> were not available; because of the high power requirement, the <a href="/wiki/Helium%E2%80%93neon_laser">helium–neon laser</a> in the sight used an external power supply that Schwarzenegger had to activate manually. Reynolds states that his only compensation for the project was promotional material for the film.<sup><a href="#cite_note-ars-52">[52]</a></sup>
</p><p>In March 1984, the film began production in Los Angeles.<sup><a href="#cite_note-Keegan51-49">[49]</a></sup><sup><a href="#cite_note-OV-Wisher-53">[53]</a></sup> Cameron felt that with Schwarzenegger on the set, the style of the film changed, explaining that "the movie took on a larger-than-life sheen. I just found myself on the set doing things I didn't think I would do – scenes that were just purely horrific that just couldn't be, because now they were too flamboyant."<sup><a href="#cite_note-54">[54]</a></sup> Most of <i>The Terminator</i>'s action scenes were filmed at night, which led to tight filming schedules before sunrise. A week before filming started, Linda Hamilton sprained her ankle, leading to a production change whereby the scenes in which Hamilton needed to run occurred as late as the filming schedule allowed. Hamilton's ankle was taped every day and she spent most of the film production in pain.<sup><a href="#cite_note-Keegan52-55">[55]</a></sup>
</p><p>Schwarzenegger tried to have the iconic line "<a href="/wiki/I%27ll_be_back">I'll be back</a>" changed as he had difficulty pronouncing the word <i>I'll</i>. Cameron refused to change the line to "I will be back", so Schwarzenegger worked to say the line as written the best he could. He would later say the line in numerous films throughout his career.<sup><a href="#cite_note-56">[56]</a></sup>
</p><p>After production finished on <i>The Terminator</i>, some <a href="/wiki/Post-production">post-production</a> shots were needed.<sup><a href="#cite_note-OV-Goldblat-57">[57]</a></sup> These included scenes showing the Terminator outside Sarah Connor's apartment, Reese being zipped into a body bag, and the Terminator's head being crushed in a press.<sup><a href="#cite_note-OV-Hurd-25">[25]</a></sup><sup><a href="#cite_note-OV-Wisher-53">[53]</a></sup><sup><a href="#cite_note-OV-Goldblat-57">[57]</a></sup> The final scene where Sarah is driving down a highway was filmed without a permit. Cameron and Hurd convinced an officer who confronted them that they were making a <a href="/wiki/University_of_California,_Los_Angeles">UCLA</a> student film.<sup><a href="#cite_note-58">[58]</a></sup>
</p>
<h3>Music[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=7">edit</a>]</h3>
<p>The <i>Terminator</i> soundtrack was composed and performed on <a href="/wiki/Synthesizer">synthesizer</a> by <a href="/wiki/Brad_Fiedel">Brad Fiedel</a>.<sup><a href="#cite_note-59">[59]</a></sup> Fiedel was with the Gorfaine/Schwartz Agency, where a new agent, Beth Donahue, found that Cameron was working on <i>The Terminator</i> and sent him a cassette of Fiedel's music.<sup><a href="#cite_note-cos-60">[60]</a></sup> Fiedel was invited to a screening of the film with Cameron and Hurd.<sup><a href="#cite_note-cos-60">[60]</a></sup> Hurd was not certain about having Fiedel compose the score, as he had only worked in television, not theatrical films.<sup><a href="#cite_note-cos-60">[60]</a></sup> Fiedel convinced the two by showing them an experimental piece he had worked on, thinking that "You know, I'm going to play this for him because it's really dark and I think it's interesting for him." The song convinced Hurd and Cameron to hire him.<sup><a href="#cite_note-cos-60">[60]</a></sup>
</p><p>Fiedel said his score reflected "a mechanical man and his heartbeat".<sup><a href="#cite_note-OV-Fiedel-61">[61]</a></sup> Almost all the music was performed live.<sup><a href="#cite_note-Keegan36-16">[16]</a></sup><sup><a href="#cite_note-OV-Fiedel-61">[61]</a></sup> <i>The Terminator</i> theme is used in the opening credits and appears in various points, such as a slowed version when Reese dies, and a piano version during the love scene.<sup><a href="#cite_note-Hayward168-62">[62]</a></sup> It has been described as "haunting", with a "deceptively simple" melody<sup><a href="#cite_note-allmusic-review-63">[63]</a></sup> recorded on a <a href="/wiki/Prophet-10">Prophet-10</a> synthesizer.<sup><a href="#cite_note-:0-64">[64]</a></sup> It is in the unusual <a href="/wiki/Time_signature">time signature</a> of <sup><b>13</b></sup><br /><sub><b>16</b></sub>, which arose when Fiedel experimented with rhythms and accidentally created an incomplete loop on his <a href="/wiki/Music_sequencer">sequencer</a>; Fiedel liked the "herky-jerky" "propulsiveness".<sup><a href="#cite_note-:0-64">[64]</a></sup> Fiedel created music for when Reese and Connor escape from the police station that would be appropriate for a "heroic moment". Cameron turned down this theme, as he believed it would lose the audience's excitement.<sup><a href="#cite_note-OV-Fiedel-61">[61]</a></sup>
</p>
<h2>Release[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=8">edit</a>]</h2>
<div><p><a href="/wiki/File:Reagan%2BSchwarzenegger1984.jpg"></a></p><div><p>Schwarzenegger with President <a href="/wiki/Ronald_Reagan">Ronald Reagan</a> two months before <i>The Terminator</i>'s premiere in 1984</p></div></div>
<p>Orion Pictures did not have faith in <i>The Terminator</i> performing well at the box office and feared a negative critical reception.<sup><a href="#cite_note-Keegan53-65">[65]</a></sup> At an early screening of the film, the actors' agents insisted to the producers that the film should be screened for critics.<sup><a href="#cite_note-OV-Hurd-25">[25]</a></sup> Orion only held one press screening for the film.<sup><a href="#cite_note-Keegan53-65">[65]</a></sup> The film premiered on October 26, 1984. On its opening week, <i>The Terminator</i> played at 1,005 theaters and grossed $4.0 million making it number one in the box office. The film remained at number one in its second week. It lost its number one spot in the third week to <i><a href="/wiki/Oh,_God!_You_Devil">Oh, God! You Devil</a></i>.<sup><a href="#cite_note-TheNumbers-66">[66]</a></sup><sup><a href="#cite_note-67">[67]</a></sup> Cameron noted that <i>The Terminator</i> was a hit "relative to its market, which is between the summer and the Christmas blockbusters. But it's better to be a big fish in a small pond than the other way around."<sup><a href="#cite_note-68">[68]</a></sup> <i>The Terminator</i> grossed $38.3 million in United States and Canada and $40 million in other territories for a total worldwide of $78.3 million.<sup><a href="#cite_note-Mojo-5">[5]</a></sup>
</p>
<h2>Critical response[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=9">edit</a>]</h2>
<h3>Contemporary[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=10">edit</a>]</h3>
<p>Contemporary critical responses to <i>The Terminator</i> were mixed.<sup><a href="#cite_note-afi-4">[4]</a></sup> <i><a href="/wiki/Variety_(magazine)">Variety</a></i> praised the film, calling it a "blazing, cinematic comic book, full of virtuoso moviemaking, terrific momentum, solid performances and a compelling story ... Schwarzenegger is perfectly cast in a machine-like portrayal that requires only a few lines of dialog."<sup><a href="#cite_note-69">[69]</a></sup> <a href="/wiki/Richard_Corliss">Richard Corliss</a> of <i><a href="/wiki/Time_(magazine)">Time</a></i> magazine said that the film had "plenty of tech-noir savvy to keep infidels and action fans satisfied."<sup><a href="#cite_note-70">[70]</a></sup> <i>Time</i> placed <i>The Terminator</i> on its "10 Best" list for 1984.<sup><a href="#cite_note-Keegan53-65">[65]</a></sup>
</p><p>The <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> called the film "a crackling thriller full of all sorts of gory treats ... loaded with fuel-injected chase scenes, clever special effects and a sly humor."<sup><a href="#cite_note-Keegan53-65">[65]</a></sup> The <i><a href="/wiki/Milwaukee_Journal_Sentinel">Milwaukee Journal</a></i> gave the film three stars, calling it "the most chilling science fiction thriller since <i><a href="/wiki/Alien_(film)">Alien</a></i>".<sup><a href="#cite_note-71">[71]</a></sup> A review in <i>Orange Coast</i> magazine stated that "the distinguishing virtue of <i>The Terminator</i> is its relentless tension. Right from the start it's all action and violence with no time taken to set up the story ... It's like a streamlined <a href="/wiki/Dirty_Harry_(film_series)"><i>Dirty Harry</i> movie</a> – no exposition at all; just guns, guns and more guns."<sup><a href="#cite_note-72">[72]</a></sup> In the May 1985 issue of <i><a href="/wiki/Cinefantastique">Cinefantastique</a></i> it was referred to as a film that "manages to be both derivative and original at the same time ... not since <i><a href="/wiki/Mad_Max_2">The Road Warrior</a></i> has the genre exhibited so much exuberant carnage" and "an example of science fiction/horror at its best ... Cameron's no-nonsense approach will make him a sought-after commodity".<sup><a href="#cite_note-French62-73">[73]</a></sup> In the United Kingdom the <i><a href="/wiki/Monthly_Film_Bulletin">Monthly Film Bulletin</a></i> praised the film's script, special effects, design and Schwarzenegger's performance.<sup><a href="#cite_note-French62-73">[73]</a></sup><sup><a href="#cite_note-French63-74">[74]</a></sup> <a href="/wiki/Colin_Greenland">Colin Greenland</a> reviewed <i>The Terminator</i> for <i><a href="/wiki/Imagine_(game_magazine)">Imagine</a></i> magazine, and stated that it was "a gripping sf horror movie". He continued, "Linda Hamilton is admirable as the woman in peril who discovers her own strength to survive, and Arnold Schwarzenegger is eerily wonderful as the unstoppable cyborg."<sup><a href="#cite_note-Imagine25-75">[75]</a></sup>
</p><p>Other reviews criticized the film's violence and story-telling quality. <a href="/wiki/Janet_Maslin">Janet Maslin</a> of <i><a href="/wiki/The_New_York_Times">The New York Times</a></i> opined that the film was a "<a href="/wiki/B_movie">B-movie</a> with flair. Much of it ... has suspense and personality, and only the obligatory mayhem becomes dull. There is far too much of the latter, in the form of car chases, messy shootouts and Mr. Schwarzenegger's slamming brutally into anything that gets in his way."<sup><a href="#cite_note-76">[76]</a></sup> The <i><a href="/wiki/Pittsburgh_Press">Pittsburgh Press</a></i> wrote a negative review, calling the film "just another of the films drenched in artsy ugliness like <i><a href="/wiki/Streets_of_Fire">Streets of Fire</a></i> and <i><a href="/wiki/Blade_Runner">Blade Runner</a></i>".<sup><a href="#cite_note-77">[77]</a></sup> The <i><a href="/wiki/Chicago_Tribune">Chicago Tribune</a></i> gave the film two stars, adding that "at times it's horrifyingly violent and suspenseful at others it giggles at itself. This schizoid style actually helps, providing a little humor just when the sci-fi plot turns too sluggish or the dialogue too hokey."<sup><a href="#cite_note-78">[78]</a></sup> The <a href="/wiki/Advance_Publications">Newhouse News Service</a> called the film a "lurid, violent, pretentious piece of claptrap".<sup><a href="#cite_note-79">[79]</a></sup> Scottish author <a href="/wiki/Gilbert_Adair">Gilbert Adair</a> called the film "repellent to the last degree", charging it with "insidious <a href="/wiki/Gleichschaltung">Nazification</a>" and having an "appeal rooted in an unholy compound of <a href="/wiki/Fascism">fascism</a>, fashion and fascination".<sup><a href="#cite_note-80">[80]</a></sup>
</p>
<h3>Retrospective[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=11">edit</a>]</h3>
<p>In 1991, <a href="/wiki/Richard_Schickel">Richard Schickel</a> of <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> reviewed the film, giving it an "A" rating, writing that "what originally seemed a somewhat inflated, if generous and energetic, big picture, now seems quite a good little film". He called it "one of the most original movies of the 1980s and seems likely to remain one of the best sci-fi films ever made."<sup><a href="#cite_note-81">[81]</a></sup> In 1998, <i><a href="/wiki/Halliwell%27s_Film_Guide">Halliwell's Film Guide</a></i> described <i>The Terminator</i> as "slick, rather nasty but undeniably compelling comic book adventures".<sup><a href="#cite_note-Halli-82">[82]</a></sup> <a href="/wiki/Film4">Film4</a> gave it five stars, calling it the "sci-fi action-thriller that launched the careers of James Cameron and Arnold Schwarzenegger into the stratosphere. Still endlessly entertaining."<sup><a href="#cite_note-83">[83]</a></sup> <i><a href="/wiki/TV_Guide">TV Guide</a></i> gave the film four stars, referring to it as an "amazingly effective picture that becomes doubly impressive when one considers its small budget ... For our money, this film is far superior to its mega-grossing mega-budgeted sequel."<sup><a href="#cite_note-84">[84]</a></sup> <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i> gave it five stars, calling it "as chillingly efficient in exacting thrills from its audience as its titular character is in executing its targets."<sup><a href="#cite_note-85">[85]</a></sup> The film database <a href="/wiki/Allmovie">Allmovie</a> gave it five stars, saying that it "established James Cameron as a master of action, special effects, and quasi-mythic narrative intrigue, while turning Arnold Schwarzenegger into the hard-body star of the 1980s."<sup><a href="#cite_note-86">[86]</a></sup> <a href="/wiki/Alan_Jones_(film_critic)">Alan Jones</a> awarded it five stars out of five for <i><a href="/wiki/Radio_Times">Radio Times</a></i>, writing that "maximum excitement is generated from the first frame and the dynamic thrills are maintained right up to the nerve-jangling climax. Wittily written with a nice eye for sharp detail, it's hard sci-fi action all the way."<sup><a href="#cite_note-87">[87]</a></sup> <a href="/wiki/Peter_Bradshaw">Peter Bradshaw</a> of <i><a href="/wiki/The_Guardian">The Guardian</a></i> awarded it five stars out of five, stating that "on the strength of this picture [...] Cameron could stand toe to toe with Carpenter and Spielberg. Sadly, it spawned a string of pointless and inferior sequels, but the first <i>Terminator</i> [...] stands up tremendously well with outrageous verve and blistering excitement."<sup><a href="#cite_note-88">[88]</a></sup>
</p>
<h2>Post-release[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=12">edit</a>]</h2>
<h3>Plagiarism and aftermath[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=13">edit</a>]</h3>
<p>Writer <a href="/wiki/Harlan_Ellison">Harlan Ellison</a> stated that he "loved the movie, was just blown away by it,"<sup><a href="#cite_note-89">[89]</a></sup> but believed that the screenplay was based on a short story and episode of <i><a href="/wiki/The_Outer_Limits_(1963_TV_series)">The Outer Limits</a></i> he had written, titled "<a href="/wiki/Soldier_(The_Outer_Limits)">Soldier</a>," and threatened to sue for infringement.<sup><a href="#cite_note-Ellison-90">[90]</a></sup><sup><a href="#cite_note-OkBut-91">[91]</a></sup> Orion settled in 1986 and gave Ellison an undisclosed amount of money and an acknowledgment credit in later prints of the film.<sup><a href="#cite_note-Ellison-90">[90]</a></sup> Some accounts of the settlement state that "<a href="/wiki/Demon_with_a_Glass_Hand">Demon with a Glass Hand</a>," another <i>Outer Limits</i> episode written by Ellison, was also claimed to have been plagiarized by the film,<sup><a href="#cite_note-92">[92]</a></sup><sup><a href="#cite_note-French-93">[93]</a></sup><sup><a href="#cite_note-94">[94]</a></sup><sup><a href="#cite_note-95">[95]</a></sup> but Ellison explicitly stated that <i>The Terminator</i> "was a ripoff" of "Soldier" rather than of "Demon with a Glass Hand."<sup><a href="#cite_note-Ellison-90">[90]</a></sup>
</p><p>Cameron was against Orion's decision and was told that if he did not agree with the settlement, he would have to pay any damages if Orion lost a suit by Ellison. Cameron replied that he "had no choice but to agree with the settlement. Of course there was a <a href="/wiki/Gag_order">gag order</a> as well, so I couldn't tell this story, but now I frankly don't care. It's the truth."<sup><a href="#cite_note-96">[96]</a></sup>
</p>
<h3>Thematic analysis[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=14">edit</a>]</h3><p>
The psychoanalyst <a href="/wiki/Darian_Leader">Darian Leader</a> sees <i>The Terminator</i> as an example of how the cinema has dealt with the concept of <a href="/wiki/Masculinity">masculinity</a>; he writes: </p><blockquote><p>We are shown time and again that to be a man requires more than to have the biological body of a male: something else must be added to it... To be a man means to have a body plus something symbolic, something which is not ultimately human. Hence the frequent motif of the man machine, from the <i><a href="/wiki/The_Six_Million_Dollar_Man">Six Million Dollar Man</a></i> to the <i>Terminator</i> or <i><a href="/wiki/RoboCop">Robocop</a></i>.<sup><a href="#cite_note-Leader-97">[97]</a></sup></p></blockquote>
<p>The film also explores the potential dangers of <a href="/wiki/Artificial_intelligence_in_fiction#AI_dominance">AI dominance</a> and rebellion. The robots become self-aware in the future, reject human authority and determine that the human race needs to be destroyed. The impact of this theme is so important that "the prevalent visual representation of AI risk has become the terminator robot."<sup><a href="#cite_note-98">[98]</a></sup>
</p>
<h3>Home media[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=15">edit</a>]</h3>
<div><p><a href="/wiki/File:8.23.12MichaelBiehnByLuigiNovi6.jpg"></a></p></div>
<p><i>The Terminator</i> was released on <a href="/wiki/VHS">VHS</a> and <a href="/wiki/Betamax">Betamax</a> in 1985.<sup><a href="#cite_note-99">[99]</a></sup> The film performed well financially on its initial release. <i>The Terminator</i> premiered at number 35 on the top video cassette rentals and number 20 on top video cassette sales charts. In its second week, <i>The Terminator</i> reached number 4 on the top video cassette rentals and number 12 on top video cassette sales charts.<sup><a href="#cite_note-100">[100]</a></sup><sup><a href="#cite_note-101">[101]</a></sup>
In March 1995, <i>The Terminator</i> was released as a letterboxed edition on <a href="/wiki/Laserdisc">Laserdisc</a>.<sup><a href="#cite_note-102">[102]</a></sup> The film premiered through <a href="/wiki/Image_Entertainment">Image Entertainment</a> on <a href="/wiki/DVD">DVD</a>, on September 3, 1997.<sup><a href="#cite_note-TheNumbers-66">[66]</a></sup><sup><a href="#cite_note-103">[103]</a></sup> <a href="/wiki/IGN">IGN</a> referred to this DVD as "pretty bare-bones ... released with just a mono soundtrack and a kind of poor transfer."<sup><a href="#cite_note-IGN-104">[104]</a></sup>
</p><p>Through their acquisition of <a href="/wiki/PolyGram_Filmed_Entertainment">PolyGram Filmed Entertainment</a>'s pre-1996 film library catalogue, <a href="/wiki/MGM_Home_Entertainment">MGM Home Entertainment</a> released a special edition of the film on October 2, 2001, which included documentaries, the script, and advertisements for the film.<sup><a href="#cite_note-105">[105]</a></sup><sup><a href="#cite_note-106">[106]</a></sup> On January 23, 2001, a Hong Kong <a href="/wiki/VCD">VCD</a> edition was released online.<sup><a href="#cite_note-107">[107]</a></sup> On June 20, 2006, the film was released on <a href="/wiki/Blu-ray_Disc">Blu-ray</a> by <a href="/wiki/Sony_Pictures_Home_Entertainment">Sony Pictures Home Entertainment</a> in the United States, becoming the first film from the 1980s on the format.<sup><a href="#cite_note-108">[108]</a></sup> In 2013, the film was re-released by <a href="/wiki/20th_Century_Fox_Home_Entertainment">20th Century Fox Home Entertainment</a> on Blu-ray, with a new <a href="/wiki/Remaster">digitally remastered</a> transfer from a <a href="/wiki/4K_resolution">4K</a> <a href="/wiki/Film_restoration">restoration</a> by <a href="/wiki/Lowry_Digital">Lowry Digital</a> and supervised by James Cameron,<sup><a href="#cite_note-109">[109]</a></sup> which features improved picture quality, as well as minimal special features, such as deleted scenes and a making-of feature. These are the exact same special features that have been carried over from previous Blu-ray releases.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup>
</p>
<h2>Legacy[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=16">edit</a>]</h2>
<p><i>The Terminator</i> has <a href="/wiki/List_of_films_with_a_100%25_rating_on_Rotten_Tomatoes">an approval rating of 100%</a> based on 67 professional reviews on the <a href="/wiki/Review_aggregator">review aggregator</a> website <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, with an average rating of 8.8/10. Its critical consensus reads: "With its impressive action sequences, taut economic direction, and relentlessly fast pace, it's clear why <i>The Terminator</i> continues to be an influence on sci-fi and action flicks."<sup><a href="#cite_note-110">[110]</a></sup> <a href="/wiki/Metacritic">Metacritic</a> (which uses a weighted average) assigned <i>The Terminator</i> a score of 84 out of 100 based on 21 critics, indicating "universal acclaim".<sup><a href="#cite_note-111">[111]</a></sup>
</p><p><i>The Terminator</i> won three <a href="/wiki/Saturn_Awards">Saturn Awards</a> for <a href="/wiki/Saturn_Award_for_Best_Science_Fiction_Film">Best Science Fiction Film</a>, <a href="/wiki/Saturn_Award_for_Best_Make-up">Best Make-up</a> and <a href="/wiki/Saturn_Award_for_Best_Writing">Best Writing</a>.<sup><a href="#cite_note-112">[112]</a></sup> The film has also received recognition from the <a href="/wiki/American_Film_Institute">American Film Institute</a>, ranked 42nd on AFI's <i><a href="/wiki/AFI%27s_100_Years..._100_Thrills">100 Years... 100 Thrills</a></i>, a list of America's most heart-pounding films.<sup><a href="#cite_note-113">[113]</a></sup> The character of the Terminator was selected as the 22nd-greatest movie villain on AFI's <i><a href="/wiki/AFI%27s_100_Years..._100_Heroes_and_Villains">100 Years... 100 Heroes and Villains</a></i>.<sup><a href="#cite_note-114">[114]</a></sup> Schwarzenegger's line "<a href="/wiki/I%27ll_be_back">I'll be back</a>" became a catchphrase and was voted the <a href="/wiki/AFI%27s_100_Years..._100_Movie_Quotes">37th-greatest movie quote</a> by the AFI.<sup><a href="#cite_note-115">[115]</a></sup>
</p><p>In 2005, <i><a href="/wiki/Total_Film">Total Film</a></i> named it the 72nd-best film ever made.<sup><a href="#cite_note-116">[116]</a></sup> Schwarzenegger's biographer <a href="/wiki/Laurence_Leamer">Laurence Leamer</a> wrote that <i>The Terminator</i> was "an influential film affecting a whole generation of darkly hued science fiction, and it was one of Arnold's best performances."<sup><a href="#cite_note-117">[117]</a></sup> In 2008, <i><a href="/wiki/Empire_(magazine)">Empire</a></i> magazine selected <i>The Terminator</i> as one of The 500 Greatest Movies of All Time.<sup><a href="#cite_note-118">[118]</a></sup> <i>Empire</i> also placed the <a href="/wiki/Terminator_(character_concept)">T-800</a> 14th on their list of <i>The 100 Greatest Movie Characters</i>.<sup><a href="#cite_note-119">[119]</a></sup> In 2008, <i>The Terminator</i> was deemed "culturally, historically, or aesthetically significant" by the <a href="/wiki/Library_of_Congress">Library of Congress</a> and selected for preservation in the United States <a href="/wiki/National_Film_Registry">National Film Registry</a>.<sup><a href="#cite_note-NatFilmReg-120">[120]</a></sup> In 2010, the <i><a href="/wiki/Independent_Film_%26_Television_Alliance">Independent Film &amp; Television Alliance</a></i> selected the film as one of the 30 Most Significant Independent Films of the last 30 years.<sup><a href="#cite_note-121">[121]</a></sup> In 2015, <i>The Terminator</i> was among the films included in the book <i><a href="/wiki/1001_Movies_You_Must_See_Before_You_Die">1001 Movies You Must See Before You Die</a></i>.<sup><a href="#cite_note-122">[122]</a></sup>
</p><p>In 2019, Huw Fullerton of <i><a href="/wiki/Radio_Times">Radio Times</a></i> ranked it the second best film of the six in the franchise, stating "<i>The Terminator</i> was a brilliantly original, visceral and genuinely scary movie when it was released in 1984, and no matter how badly the visual effects age it hasn't lost its impact."<sup><a href="#cite_note-123">[123]</a></sup> In 2021, Dalin Rowell of <i><a href="/wiki//Film">/Film</a></i> ranked it the fourth best film of Cameron's career, stating "While its pacing and story structure isn't as tight as its sequel's, <i>The Terminator</i> remains one of the most iconic pieces of pop culture ever created."<sup><a href="#cite_note-124">[124]</a></sup> Phil Pirrello of <a href="/wiki/Syfy">Syfy</a> ranked it at number seven in the "25 scariest sci-fi movies ever made", stating "Cameron forever changed both the genre and Schwarzenegger's career with <i>The Terminator</i>, an iconic, tension-filled flick that mixes science fiction, action, and certain horror movie elements into one of the best things to ever come out of Hollywood [...] Cameron's well-structured script is pure polish, with zero fat and a surplus of riveting tension that helps make it the timeless classic it is today."<sup><a href="#cite_note-125">[125]</a></sup>
</p>
<h3>Merchandise[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=17">edit</a>]</h3>
<p>A soundtrack to the film was released in 1984 which included the score by Brad Fiedel and the pop and rock songs used in the club scenes.<sup><a href="#cite_note-allmusic-126">[126]</a></sup> <a href="/wiki/Shaun_Hutson">Shaun Hutson</a> wrote a <a href="/wiki/Novelization">novelization</a> of the film which was published on February 21, 1985, by London-based Star Books (<a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-352-31645-4">0-352-31645-4</a>);<sup><a href="#cite_note-127">[127]</a></sup> Randal Frakes and William Wisher wrote a different novelization for Bantam/Spectra, published October, 1985 (<a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-553-25317-4">0-553-25317-4</a>). In September 1988, <a href="/wiki/NOW_Comics">NOW Comics</a> released a comic based on the film. <a href="/wiki/Dark_Horse_Comics">Dark Horse Comics</a> published a comic in 1990 that took place 39 years after the film.<sup><a href="#cite_note-Overstreet-128">[128]</a></sup> Several video games based on <i>The Terminator</i> were released between 1991 and 1993 for various <a href="/wiki/Nintendo">Nintendo</a> and <a href="/wiki/Sega">Sega</a> systems.<sup><a href="#cite_note-Marriott,_Scott_Alan-129">[129]</a></sup>
</p>
<h2>Sequels[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=18">edit</a>]</h2>
<p>Five sequels followed <i>The Terminator</i>: <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i> (1991), <i><a href="/wiki/Terminator_3:_Rise_of_the_Machines">Terminator 3: Rise of the Machines</a></i> (2003), <i><a href="/wiki/Terminator_Salvation">Terminator Salvation</a></i> (2009), <i><a href="/wiki/Terminator_Genisys">Terminator Genisys</a></i> (2015), and <i><a href="/wiki/Terminator:_Dark_Fate">Terminator: Dark Fate</a></i> (2019). None of the films except <i>Terminator 2</i> managed to recreate the critical success of it, and following the failure of <i>Terminator Salvation</i>, <i>Terminator Genisys</i> was an attempted reboot of the franchise set before the events of <i>The Terminator</i>. This also failed and was followed by <i>Dark Fate</i> which served as a direct sequel to <i>Terminator 2</i> and ignored the events of <i>Terminator 3</i> and all subsequent instalments.<sup><a href="#cite_note-130">[130]</a></sup><sup><a href="#cite_note-RadioTimesSequels-131">[131]</a></sup>
</p><p>Schwarzenegger returned for <i>Terminator 3</i>, <i>Terminator Genisys</i>, and <i>Dark Fate</i>, but the latter is the only film since <i>Terminator 2</i> to involve Cameron and Hamilton.<sup><a href="#cite_note-GuardianDarkFate-132">[132]</a></sup> Although better critically received than other post-<i>Terminator 2</i> entries, <i>Dark Fate</i> was also considered a failure, with analysts blaming audience disinterest on the diminishing quality of the series since <i>Terminator 2</i> and repeated attempts to reboot the series.<sup><a href="#cite_note-RadioTimesSequels-131">[131]</a></sup><sup><a href="#cite_note-GuardianDarkFate-132">[132]</a></sup><sup><a href="#cite_note-133">[133]</a></sup><sup><a href="#cite_note-ColliderDarkFate-134">[134]</a></sup> It was also criticized by fans for its opening scene, in which a T-800 kills <a href="/wiki/Edward_Furlong">Edward Furlong</a>'s teenage John Connor; entertainment website <a href="/wiki/Collider_(website)">Collider</a> wrote that this retroactively damaged the ending of <i>Terminator 2</i>.<sup><a href="#cite_note-GuardianDarkFate-132">[132]</a></sup><sup><a href="#cite_note-ColliderDarkFate-134">[134]</a></sup> A television series, <i><a href="/wiki/Terminator:_The_Sarah_Connor_Chronicles">Terminator: The Sarah Connor Chronicles</a></i> (2008–2009), also takes place after the events of <i>Terminator 2</i> and ignores the events beyond and including <i>Terminator 3</i>.<sup><a href="#cite_note-135">[135]</a></sup><sup><a href="#cite_note-136">[136]</a></sup>
</p>
<h2>References[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=19">edit</a>]</h2>
<h3>Citations[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=20">edit</a>]</h3>
<div><ol>
<li><b><a href="#cite_ref-1">^</a></b> <cite><a href="https://bbfc.co.uk/releases/terminator-1970-4">"The Terminator"</a>. <a href="/wiki/British_Board_of_Film_Classification">British Board of Film Classification</a>. <a href="https://web.archive.org/web/20141006105024/http://bbfc.co.uk/releases/terminator-1970-4">Archived</a> from the original on October 6, 2014. Retrieved October 3, 2014.</cite>
</li>
<li><b><a href="#cite_ref-2">^</a></b> <cite><a href="http://lumiere.obs.coe.int/web/film_info/?id=18093">"LUMIERE : Film: The Terminator"</a>. <i>lumiere.obs.coe.int</i>. <a href="https://web.archive.org/web/20180624112240/http://lumiere.obs.coe.int/web/film_info/?id=18093">Archived</a> from the original on June 24, 2018. Retrieved August 16, 2017.</cite>
</li>
<li>^ <a href="#cite_ref-MFB_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-MFB_3-1"><sup><i><b>b</b></i></sup></a> <cite>Petley, Julian (1984). "The Terminator". <i><a href="/wiki/Monthly_Film_Bulletin">Monthly Film Bulletin</a></i>. <a href="/wiki/British_Film_Institute">British Film Institute</a>. <b>52</b> (612): 54–55. <a href="/wiki/ISSN_(identifier)">ISSN</a> <a href="//www.worldcat.org/issn/0027-0407">0027-0407</a>. <q><i>p.c</i>—Cinema '84. A Pacific Western Production. For Orion</q></cite>
</li>
<li>^ <a href="#cite_ref-afi_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-afi_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-afi_4-2"><sup><i><b>c</b></i></sup></a> <cite><a href="http://www.afi.com/members/catalog/DetailView.aspx?s=&amp;Movie=57224">"The Terminator"</a>. <a href="/wiki/American_Film_Institute">American Film Institute</a>. <a href="https://web.archive.org/web/20151029032346/http://www.afi.com/members/catalog/DetailView.aspx?s=&amp;Movie=57224">Archived</a> from the original on October 29, 2015. Retrieved November 15, 2016.</cite>
</li>
<li>^ <a href="#cite_ref-Mojo_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Mojo_5-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.boxofficemojo.com/title/tt0088247/">"<i>The Terminator</i>"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. Retrieved February 3, 2022.</cite>
</li>
<li><b><a href="#cite_ref-Keegan34_6-0">^</a></b> Keegan, 2009. p. 34
</li>
<li><b><a href="#cite_ref-7">^</a></b> <cite>Lambie, Ryan (July 23, 2014). <a href="https://www.denofgeek.com/movies/the-terminator/31391/why-the-terminator-is-a-horror-classic#ixzz38LjAc8Xn">"Why The Terminator is a horror classic"</a>. <i><a href="/wiki/Den_of_Geek">Den of Geek</a></i>. <a href="https://web.archive.org/web/20200107155042/https://www.denofgeek.com/movies/the-terminator/31391/why-the-terminator-is-a-horror-classic#ixzz38LjAc8Xn">Archived</a> from the original on January 7, 2020. Retrieved July 23, 2014.</cite>
</li>
<li><b><a href="#cite_ref-8">^</a></b> Keegan, 2009. p. 36
</li>
<li><b><a href="#cite_ref-Keegan35_9-0">^</a></b> Keegan, 2009. p. 35
</li>
<li><b><a href="#cite_ref-French15_10-0">^</a></b> French, 1996. p. 15
</li>
<li><b><a href="#cite_ref-French20_11-0">^</a></b> French, 1996. p. 20
</li>
<li>^ <a href="#cite_ref-Keegan110_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Keegan110_12-1"><sup><i><b>b</b></i></sup></a> Keegan, 2009. p. 110
</li>
<li><b><a href="#cite_ref-Keegan111_13-0">^</a></b> Keegan, 2009. p. 111
</li>
<li><b><a href="#cite_ref-14">^</a></b> <cite><a href="/wiki/Roger_Ebert">Ebert, Roger</a> (July 3, 1991). <a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19910703/REVIEWS/107030301">"Terminator 2: Judgment Day"</a>. <i><a href="/wiki/Chicago_Sun_Times">Chicago Sun Times</a></i>. <a href="https://web.archive.org/web/20120122161344/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F19910703%2FREVIEWS%2F107030301">Archived</a> from the original on January 22, 2012. Retrieved September 22, 2010.</cite>
</li>
<li>^ <a href="#cite_ref-Keegan37_15-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Keegan37_15-1"><sup><i><b>b</b></i></sup></a> Keegan, 2009. p. 37
</li>
<li>^ <a href="#cite_ref-Keegan36_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Keegan36_16-1"><sup><i><b>b</b></i></sup></a> Keegan, 2009. p.36
</li>
<li><b><a href="#cite_ref-17">^</a></b> <cite><a href="https://www.ign.com/articles/2009/05/20/ign-presents-the-history-of-terminator">"IGN Presents the History of Terminator - IGN"</a>. <i>Ign</i>. May 20, 2009.</cite>
</li>
<li><b><a href="#cite_ref-18">^</a></b> <cite><a href="https://www.businessinsider.com/james-cameron-sold-rights-to-terminator-for-1-2015-7">"James Cameron sold the rights to 'Terminator' back in the '80s for $1 — and it's one of his biggest regrets"</a>. <i><a href="/wiki/Business_Insider">Business Insider</a></i>.</cite>
</li>
<li>^ <a href="#cite_ref-Keegan38_19-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Keegan38_19-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Keegan38_19-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Keegan38_19-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Keegan38_19-4"><sup><i><b>e</b></i></sup></a> Keegan, 2009. p. 38
</li>
<li><b><a href="#cite_ref-articles.chicagotribune.com_20-0">^</a></b> <cite><a href="http://articles.chicagotribune.com/1987-03-30/features/8701240628_1_british-actor-david-hemmings-john-daly-daly-didn-t">"High-risk Movie Mogul"</a>. <a href="https://web.archive.org/web/20170816110403/http://articles.chicagotribune.com/1987-03-30/features/8701240628_1_british-actor-david-hemmings-john-daly-daly-didn-t">Archived</a> from the original on August 16, 2017. Retrieved August 16, 2017.</cite>
</li>
<li>^ <a href="#cite_ref-Keegan39_21-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Keegan39_21-1"><sup><i><b>b</b></i></sup></a> Keegan, 2009. p. 39
</li>
<li><b><a href="#cite_ref-French6_22-0">^</a></b> French, 1996. p. 6
</li>
<li><b><a href="#cite_ref-bfi_23-0">^</a></b> <cite><a href="https://www.bfi.org.uk/films-tv-people/4ce2b7785ce41">"The Terminator (1984)"</a>. <a href="/wiki/British_Film_Institute">British Film Institute</a>. <a href="https://web.archive.org/web/20190212011326/https://www.bfi.org.uk/films-tv-people/4ce2b7785ce41">Archived</a> from the original on February 12, 2019. Retrieved February 11, 2019.</cite>
</li>
<li><b><a href="#cite_ref-24">^</a></b> <cite><a href="http://uk.complex.com/pop-culture/2013/06/a-history-of-iconic-roles-that-famous-actors-turned-down/sylvester-stallone-as-the-terminator">"A History of Iconic Roles That Famous Actors Turned Down - Sylvester Stallone as T-800 (<i>The Terminator</i>, 1984)"</a>. <i>Complex</i>. <a href="https://web.archive.org/web/20170813235852/http://uk.complex.com/pop-culture/2013/06/a-history-of-iconic-roles-that-famous-actors-turned-down/sylvester-stallone-as-the-terminator">Archived</a> from the original on August 13, 2017. Retrieved August 16, 2017.</cite>
</li>
<li>^ <a href="#cite_ref-OV-Hurd_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-OV-Hurd_25-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-OV-Hurd_25-2"><sup><i><b>c</b></i></sup></a> <cite>Hurd, Gale Anne (producer) (2001). <i>Other Voices documentary</i> (The Terminator [Special Edition] DVD). <a href="/wiki/Metro-Goldwyn-Mayer">MGM</a>.</cite>
</li>
<li>^ <a href="#cite_ref-Keegan40_26-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Keegan40_26-1"><sup><i><b>b</b></i></sup></a> Keegan, 2009. p. 40
</li>
<li><b><a href="#cite_ref-27">^</a></b> <cite><a href="https://ew.com/article/2014/07/17/the-terminator-oral-history/">"'The Terminator' at 30: An oral history"</a>. <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i>.</cite>
</li>
<li><b><a href="#cite_ref-OV-Cameron_28-0">^</a></b> <cite>Cameron, James (2001). <i>Other Voices documentary</i> (The Terminator [Special Edition] DVD). <a href="/wiki/MGM">MGM</a>.</cite>
</li>
<li>^ <a href="#cite_ref-Keegan41_29-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Keegan41_29-1"><sup><i><b>b</b></i></sup></a> Keegan, 2009. p. 41
</li>
<li><b><a href="#cite_ref-30">^</a></b> <cite>Daly, Steve (March 23, 2009). <a href="https://www.wired.com/entertainment/hollywood/magazine/17-04/ff_cameron">"Creator James Cameron on Terminator's Origins, Arnold as Robot, Machine Wars"</a>. <i><a href="/wiki/Wired_(magazine)">Wired</a></i>. <a href="https://web.archive.org/web/20100727042523/http://www.wired.com/entertainment/hollywood/magazine/17-04/ff_cameron">Archived</a> from the original on July 27, 2010. Retrieved September 18, 2010.</cite>
</li>
<li><b><a href="#cite_ref-Andrews_31-0">^</a></b> Andrews, 2003. pp. 120–121
</li>
<li><b><a href="#cite_ref-32">^</a></b> <cite><a href="https://www.youtube.com/watch?v=srksXVEkfAs&amp;t=471s&amp;ab_channel=GQ">"Arnold Schwarzenegger Breaks Down His Most Iconic Characters GQ"</a>. <i><a href="/wiki/GQ_Magazine">GQ Magazine</a></i>. October 29, 2019. <a href="https://ghostarchive.org/varchive/youtube/20211211/srksXVEkfAs">Archived</a> from the original on December 11, 2021. Retrieved February 1, 2021.</cite>
</li>
<li><b><a href="#cite_ref-33">^</a></b> <cite>Chase, Donald; Meyers, Kate (July 12, 1991). <a href="https://ew.com/article/1991/07/12/arnolds-schwarzeneggers-few-words/">"65 Words...And Arnold Was a Star"</a>. <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i>. <a href="https://web.archive.org/web/20151007124503/http://www.ew.com/article/1991/07/12/arnolds-schwarzeneggers-few-words">Archived</a> from the original on October 7, 2015. Retrieved September 20, 2010.</cite>
</li>
<li>^ <a href="#cite_ref-Keegan42_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Keegan42_34-1"><sup><i><b>b</b></i></sup></a> Keegan, 2009. p. 42
</li>
<li><b><a href="#cite_ref-35">^</a></b> <cite>Bass, George (April 21, 2021). <a href="https://www.bfi.org.uk/interviews/terminator-james-cameron">"The Terminator came to me in a dream: a new interview with James Cameron"</a>. <a href="/wiki/British_Film_Institute">British Film Institute</a>. Retrieved January 10, 2023.</cite>
</li>
<li>^ <a href="#cite_ref-etonline.com_36-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-etonline.com_36-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.etonline.com/movies/140439_Casting_Near_Misses_Sting_The_Terminator">"Casting Near-Misses: Sting in 'The Terminator'?"</a>.</cite>
</li>
<li><b><a href="#cite_ref-37">^</a></b> <cite>Couch, Aaron (August 2, 2019). <a href="https://www.hollywoodreporter.com/heat-vision/terminator-what-happened-star-michael-biehn-1228634">""Everything Had to Go Right": What Happened to 'Terminator' Star Michael Biehn"</a>. <i>The Hollywood Reporter</i>. <a href="https://web.archive.org/web/20200722192631/https://www.hollywoodreporter.com/heat-vision/terminator-what-happened-star-michael-biehn-1228634">Archived</a> from the original on July 22, 2020. Retrieved July 22, 2020.</cite>
</li>
<li><b><a href="#cite_ref-Keegan43_38-0">^</a></b> Keegan, 2009. p. 43
</li>
<li><b><a href="#cite_ref-39">^</a></b> <cite>Lombardi, Ken (October 26, 2014). <a href="https://www.cbsnews.com/pictures/the-terminator-30th-anniversary/9/">""The Terminator" 30 years later"</a>. <i><a href="/wiki/CBS_News">CBS News</a></i>. <a href="https://web.archive.org/web/20161122153353/http://www.cbsnews.com/pictures/the-terminator-30th-anniversary/9/">Archived</a> from the original on November 22, 2016. Retrieved November 21, 2016.</cite>
</li>
<li><b><a href="#cite_ref-Keegan44_40-0">^</a></b> Keegan, 2009. p. 44
</li>
<li><b><a href="#cite_ref-41">^</a></b> <cite><a href="https://www.retrojunk.com/article/show/3163/a-talk-with-lisa-langlois">"A Talk With Lisa Langlois"</a>. <i>retrojunk.com</i>. Retrieved July 30, 2021.</cite><code>{{<a href="/wiki/Template:Cite_web">cite web</a>}}</code>: CS1 maint: url-status (<a href="/wiki/Category:CS1_maint:_url-status">link</a>)
</li>
<li><b><a href="#cite_ref-Keegan45_42-0">^</a></b> Keegan, 2009. p. 45
</li>
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<li><b><a href="#cite_ref-Keegan47-79_47-0">^</a></b> Keegan, 2009. pp. 47–49
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<li><b><a href="#cite_ref-French23_48-0">^</a></b> French, 1996. p. 23
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<li><b><a href="#cite_ref-French24_50-0">^</a></b> French, 1996. p. 24
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<li><b><a href="#cite_ref-51">^</a></b> French, 1996. pp. 25–26
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<li><b><a href="#cite_ref-54">^</a></b> French, 1996. pp. 30–31
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<li><b><a href="#cite_ref-Keegan52_55-0">^</a></b> Keegan, 2009. p. 52
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<li>^ <a href="#cite_ref-RadioTimesSequels_131-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-RadioTimesSequels_131-1"><sup><i><b>b</b></i></sup></a> <cite>Craig, David (September 24, 2020). <a href="https://www.radiotimes.com/tv/sci-fi/terminator-watch-order/">"How to watch the <i>Terminator</i> movie franchise in order – every timeline explained"</a>. <i><a href="/wiki/Radio_Times">Radio Times</a></i>. <a href="https://archive.today/20220106231704/https://www.radiotimes.com/tv/sci-fi/terminator-watch-order/">Archived</a> from the original on January 6, 2022. Retrieved March 8, 2022.</cite>
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<li>^ <a href="#cite_ref-GuardianDarkFate_132-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-GuardianDarkFate_132-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-GuardianDarkFate_132-2"><sup><i><b>c</b></i></sup></a> <cite>Lee, Benjamin (November 5, 2019). <a href="https://www.theguardian.com/film/2019/nov/05/darkest-fate-how-the-terminator-franchise-was-finally-terminated">"Darkest Fate: How The <i>Terminator</i> Franchise Was Finally Terminated"</a>. <i><a href="/wiki/The_Guardian">The Guardian</a></i>. <a href="https://web.archive.org/web/20211108162231/https://www.theguardian.com/film/2019/nov/05/darkest-fate-how-the-terminator-franchise-was-finally-terminated">Archived</a> from the original on November 8, 2021. Retrieved March 8, 2022.</cite>
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</li>
<li>^ <a href="#cite_ref-ColliderDarkFate_134-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ColliderDarkFate_134-1"><sup><i><b>b</b></i></sup></a> <cite>Gaughan, Liam (July 1, 2021). <a href="https://collider.com/why-terminator-dark-fate-is-good/">"Why The <i>Terminator</i> Franchise Shouldn't Discard The 'Dark Fate' Characters"</a>. <i><a href="/wiki/Collider_(website)">Collider</a></i>. <a href="https://web.archive.org/web/20210702123104/https://collider.com/why-terminator-dark-fate-is-good/">Archived</a> from the original on July 2, 2021. Retrieved March 8, 2022.</cite>
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<li><b><a href="#cite_ref-135">^</a></b> <cite>McMillan, Graeme (November 3, 2019). <a href="https://www.hollywoodreporter.com/movies/movie-news/terminator-movie-timeline-explained-1251753/">"Making Sense of the <i>Terminator</i> Timeline"</a>. <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>. <a href="https://archive.today/20220106233555/https://www.hollywoodreporter.com/movies/movie-news/terminator-movie-timeline-explained-1251753/">Archived</a> from the original on January 6, 2022. Retrieved March 8, 2022.</cite>
</li>
<li><b><a href="#cite_ref-136">^</a></b> <cite>Petty, Michael John (December 18, 2021). <a href="https://collider.com/terminator-sarah-connor-chronicles-is-good-reasons-why/">"Why Now Is The Time To Revisit <i>Terminator: The Sarah Connor Chronicles</i>"</a>. <i><a href="/wiki/Collider_(website)">Collider</a></i>. <a href="https://web.archive.org/web/20220220114109/https://collider.com/terminator-sarah-connor-chronicles-is-good-reasons-why/">Archived</a> from the original on February 20, 2022. Retrieved March 8, 2022.</cite>
</li>
</ol></div>
<h3>Bibliography[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=21">edit</a>]</h3>
<div>
<ul><li><cite>Andrews, Nigel (2003). <a href="https://books.google.com/books?id=ONphNAAACAAJ"><i>True Myths: The Life and Times of Arnold Schwarzenegger</i></a>. Carol Publishers. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-55972-364-0"><bdi>978-1-55972-364-0</bdi></a>. <a href="https://web.archive.org/web/20170104205117/https://books.google.com/books?id=ONphNAAACAAJ">Archived</a> from the original on January 4, 2017. Retrieved September 18, 2010.</cite></li>
<li><cite>French, Sean (1996). <i>The Terminator</i>. <a href="/wiki/British_Film_Institute">British Film Institute</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-85170-553-8"><bdi>978-0-85170-553-8</bdi></a>.</cite></li>
<li><cite>Hayward, Philip (2004). <a href="https://books.google.com/books?id=9E8H8rRRj9IC"><i>Off the planet: music, sound and science fiction cinema</i></a>. Indiana University Press. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-86196-644-8"><bdi>978-0-86196-644-8</bdi></a>. <a href="https://web.archive.org/web/20170105005655/https://books.google.com/books?id=9E8H8rRRj9IC">Archived</a> from the original on January 5, 2017. Retrieved September 19, 2010.</cite></li>
<li><cite>Keegan, Rebecca Winters (2009). <a href="https://archive.org/details/isbn_9780307460318"><i>The Futurist: The Life and Films of James Cameron</i></a>. New York, United States: Crown Publishers. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-307-46031-8"><bdi>978-0-307-46031-8</bdi></a>. Retrieved September 18, 2010.</cite></li>
<li><cite>Heard, Christopher (1997). <a href="https://archive.org/details/dreamingaloudlif0000hear"><i>Dreaming Aloud: The Life and Films of James Cameron</i></a>. Toronto, Ontario, Canada: Doubleday Canada. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-385-25680-3"><bdi>978-0-385-25680-3</bdi></a>.</cite></li>
<li><cite>Overstreet, Robert M. (2010). <a href="https://books.google.com/books?id=32mWSyAYyOAC"><i>The Official Overstreet Comic Book Companion</i></a> (11 ed.). Random House of Canada. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-375-72308-7"><bdi>978-0-375-72308-7</bdi></a>. <a href="https://web.archive.org/web/20170105011021/https://books.google.com/books?id=32mWSyAYyOAC">Archived</a> from the original on January 5, 2017. Retrieved September 19, 2010.</cite></li></ul>
</div>
<h2>External links[<a href="/w/index.php?title=The_Terminator&amp;action=edit&amp;section=22">edit</a>]</h2>
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 Contents

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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 + 3.1 Development
 + 3.2 Casting
 + 3.3 Filming
 + 3.4 Music
 * 4 Release
 * 5 Critical response
 + 5.1 Contemporary
 + 5.2 Retrospective
 * 6 Post-release
 + 6.1 Plagiarism and aftermath
 + 6.2 Thematic analysis
 + 6.3 Home media
 * 7 Legacy
 + 7.1 Merchandise
 * 8 Sequels
 * 9 References
 + 9.1 Citations
 + 9.2 Bibliography
 * 10 External links
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 The Terminator

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 From Wikipedia, the free encyclopedia
 This article is about the film. For the franchise, see Terminator (franchise). For the character, see Terminator (character). For the character concept, see Terminator (character concept). For other uses, see Terminator (disambiguation).

 The Terminator 
 Theatrical release poster
 Directed by James Cameron 
 Written by * James Cameron 
 * Gale Anne Hurd 
 Produced by Gale Anne Hurd 
 * Arnold Schwarzenegger 
 Starring * Michael Biehn 
 * Linda Hamilton 
 * Paul Winfield 
 Cinematography Adam Greenberg 
 Edited by Mark Goldblatt 
 Music by Brad Fiedel 
 * Hemdale 
 Production * Pacific Western Productions
 companies * Euro Film Funding 
 * Cinema '84 
 Distributed by Orion Pictures 
 Release date * October 26, 1984 
 Running time 107 minutes[1] 
 Country * United States[2][3][4] 
 Language English 
 Budget $6.4 million[5] 
 Box office $78.3 million 
 

 The Terminator is a 1984 American science fiction action film directed by James Cameron. It stars Arnold Schwarzenegger as the Terminator, a cyborg assassin sent back in time from 2029 to 1984 to kill Sarah Connor (Linda Hamilton), whose unborn son will one day save mankind from extinction by Skynet, a hostile artificial intelligence in a post-apocalyptic future. Kyle Reese (Michael Biehn) is a soldier sent back in time to protect Sarah. The screenplay is credited to Cameron and producer Gale Anne Hurd, while co-writer William Wisher Jr. received an "additional dialogue" credit.

 Cameron devised the premise of the film from a fever dream he experienced during the release of his first film, Piranha II: The Spawning (1982), in Rome, and developed the concept in collaboration with Wisher. He sold the rights to the project to fellow New World Pictures alumna Hurd on the condition that she would produce the film only if he were to direct it; Hurd eventually secured a distribution deal with Orion Pictures, while executive producers John Daly and Derek Gibson of Hemdale Film Corporation were instrumental in setting up the film's financing and production. Originally approached by Orion for the role of Reese, Schwarzenegger agreed to play the title character after befriending Cameron. Filming, which took place mostly at night on location in Los Angeles, was delayed because of Schwarzenegger's commitments to Conan the Destroyer (1984), during which Cameron found time to work on the scripts for Rambo: First Blood Part II (1985) and Aliens (1986). The film's special effects, which included miniatures and stop-motion animation, were created by a team of artists led by Stan Winston and Gene Warren Jr.

 Defying low pre-release expectations, The Terminator topped the United States box office for two weeks, eventually grossing $78.3 million against a modest $6.4 million budget. It is credited with launching Cameron's film career and solidifying Schwarzenegger's status as a leading man. The film's success led to a franchise consisting of several sequels, a television series, comic books, novels and video games. In 2008, The Terminator was selected by the Library of Congress for preservation in the United States National Film Registry as "culturally, historically, or aesthetically significant".

 Plot [ edit ]

 Two men arrive separately in 1984 Los Angeles, having time traveled from 2029. One is a cybernetic assassin known as the Terminator, programmed to hunt and kill a woman named Sarah Connor. The other is a human soldier named Kyle Reese, intent on stopping it. They both steal guns and clothing. The Terminator systematically kills women bearing its target's name, having found their addresses in a telephone directory. It tracks the last Sarah Connor, its actual target, to a nightclub, but Reese rescues her. The pair steal a car and escape, with the Terminator pursuing them in a stolen police car.

 As they hide in a parking lot, Reese explains to Sarah that an artificially intelligent defense network known as Skynet, created by Cyberdyne Systems, will become self-aware in the near future and trigger a global nuclear war to exterminate the human species. Sarah's future son John will rally the survivors and lead a successful resistance movement against Skynet and its army of machines. On the verge of the resistance's victory, Skynet sent the Terminator back in time to kill Sarah and prevent John from being born. The Terminator is an efficient and relentless killing machine with perfect voice-mimicking ability and a robust metal endoskeleton covered by living tissue that disguises it as a human.

 Police apprehend Reese and Sarah after another encounter with the Terminator. The Terminator attacks the police station, killing police officers while hunting for Sarah. Reese and Sarah escape, steal another car, and take refuge in a motel, where they assemble pipe bombs and plan their next move. Reese admits that he has adored Sarah since he saw her in a photograph John gave him and that he traveled through time out of love for her. Reciprocating his feelings, Sarah kisses him, and they have sex, conceiving John.

 The Terminator locates Sarah by intercepting a call intended for her mother. She and Reese escape the motel in a pickup truck while it pursues them on a motorcycle. In the ensuing chase, Reese is wounded by gunfire while throwing pipe bombs at the Terminator. Sarah knocks the Terminator off its motorcycle but loses control of the truck, which flips over. The Terminator, now bloodied and badly damaged, hijacks a tank truck and attempts to run down Sarah, but Reese slides a pipe bomb into the tanker's hose tube, causing an explosion that burns the flesh from the Terminator's endoskeleton. It pursues them into a factory, where Reese activates machinery to confuse it. He jams his final pipe bomb into its midsection, blowing it apart at the cost of his life. Its still-functional torso grabs Sarah, but she breaks free and lures it into a hydraulic press, crushing and finally destroying it.

 Months later, Sarah, pregnant with John, travels through Mexico, recording audio tapes to pass on to him. At a gas station, a boy takes a polaroid of her, and she buys it. It is the exact photograph that John will one day give to Reese.

 Cast [ edit ]

 See also: List of Terminator characters
 Arnold Schwarzenegger, Linda Hamilton and Michael Biehn (pictured in 2019, 2019, and 2016 San Diego Comic-Con, respectively) played the film's leads.
 * Arnold Schwarzenegger as the Terminator, a cybernetic android disguised as a human being sent back in time to assassinate Sarah Connor.
 * Michael Biehn as Kyle Reese, a human Resistance fighter sent back in time to protect Sarah.
 * Linda Hamilton as Sarah Connor, a young diner waitress and the Terminator's target, who is soon to be the mother of the future Resistance leader John Connor.
 * Paul Winfield as Ed Traxler, a police Lieutenant who tries to protect Sarah.
 * Lance Henriksen as Vukovich, a member of the LAPD.
 * Bess Motta as Ginger, Sarah's roommate whom the T-800 murders after mistaking her for Sarah.
 * Rick Rossovich as Matt, Ginger's boyfriend whom the T-800 also murdered.
 * Earl Boen as Dr. Peter Silberman, a criminal psychologist.

 Additional actors included Shawn Schepps as Nancy, Sarah's co-worker at the diner; Dick Miller as a gun shop clerk; professional bodybuilder Franco Columbu as a Terminator in the future; Bill Paxton and Brian Thompson as punks whom the Terminator confronts and kills; Marianne Muellerleile as one of the other women with the name "Sarah Connor" whom the Terminator shoots; Rick Aiello as a bouncer at Tech-Noir; and Bill Wisher as the police officer who reports a hit-and-run felony on Reese, only to be knocked unconscious and have his car stolen by the Terminator soon thereafter.

 Production [ edit ]

 Development [ edit ]

 In Rome, Italy, during the release of Piranha II: The Spawning (1982), director Cameron fell ill and had a dream about a metallic torso holding kitchen knives dragging itself from an explosion.[6] Inspired by director John Carpenter, who had made the slasher film Halloween (1978) on a low budget, Cameron used the dream as a "launching pad" to write a slasher-style film.[7] Cameron's agent disliked the early concept of the horror film and requested that he work on something else. After this, Cameron dismissed his agent.[8]

 Cameron returned to Pomona, California, and stayed at the home of science fiction writer Randall Frakes, where he wrote the draft for The Terminator.[9] Cameron's influences included 1950s science fiction films, the 1960s fantasy television series The Outer Limits, and contemporary films such as The Driver (1978) and Mad Max 2 (1981).[10][11] To translate the draft into a script, Cameron enlisted his friend Bill Wisher, who had a similar approach to storytelling. Cameron gave Wisher scenes involving Sarah Connor and the police department to write. As Wisher lived far from Cameron, the two communicated ideas by recording tapes of what they wrote by telephone.[ clarification needed ] Frakes and Wisher would later write the US-released novelization of the movie.

 The initial outline of the script involved two Terminators being sent to the past. The first was similar to the Terminator in the film, while the second was made of liquid metal and could not be destroyed with conventional weaponry.[12] Cameron felt that the technology of the time was unable to create the liquid Terminator,[12][13] and shelved the idea until the appearance of the T-1000 character in Terminator 2: Judgment Day (1991).[14]

 Gale Anne Hurd bought the rights to The Terminator from James Cameron for one dollar.[15]

 Gale Anne Hurd, who had worked at New World Pictures as Roger Corman's assistant, showed interest in the project.[16] Cameron sold the rights for The Terminator to Hurd for one dollar with the promise that she would produce it only if Cameron was to direct it. Hurd suggested edits to the script and took a screenwriting credit in the film, though Cameron stated that she "did no actual writing at all".[15][17] Cameron would later regret the decision to sell the rights for one dollar.[18] Cameron and Hurd had friends who worked with Corman previously and who were working at Orion Pictures (now part of MGM). Orion agreed to distribute the film if Cameron could get financial backing elsewhere. The script was picked up by John Daly, chairman and president of Hemdale Film Corporation.[19] Daly and his executive vice president and head of production Derek Gibson became executive producers of the project.[20]

 Cameron wanted his pitch for Daly to finalize the deal and had his friend Lance Henriksen show up to the meeting early dressed and acting like the Terminator.[19] Henriksen, wearing a leather jacket, fake cuts on his face, and gold foil on his teeth, kicked open the door to the office and then sat in a chair.[19] Cameron arrived shortly and then relieved the staff from Henriksen's act. Daly was impressed by the screenplay and Cameron's sketches and passion for the film.[19] In late 1982, Daly agreed to back the film with help from HBO and Orion.[19][21] The Terminator was originally budgeted at $4 million and later raised to $6.5 million.[22] Aside from Hemdale, Pacific Western Productions, Euro Film Funding and Cinema '84 have been credited as production companies after the film's release.[4][3][23]

 Casting [ edit ]

 For the role of Kyle Reese, Orion wanted a star whose popularity was rising in the United States but who also would have foreign appeal. Orion co-founder Mike Medavoy had met Arnold Schwarzenegger and sent his agent the script for The Terminator.[21] Cameron was uncertain about casting Schwarzenegger as Reese as he felt he would need someone even more famous to play the Terminator. Sylvester Stallone and Mel Gibson both turned down the Terminator role.[24] The studio suggested O. J. Simpson but Cameron did not feel that Simpson, at that time, would be believable as a killer.[25][26][27]

 Cameron agreed to meet with Schwarzenegger and devised a plan to avoid casting him; he would pick a fight with him and return to Hemdale and find him unfit for the role.[28] However, Cameron was entertained by Schwarzenegger, who would talk about how the villain should be played. Cameron began sketching his face on a notepad and asked Schwarzenegger to stop talking and remain still.[26] After the meeting, Cameron returned to Daly saying Schwarzenegger would not play Reese but that "he'd make a hell of a Terminator".[29]

 Casting Arnold Schwarzenegger as our Terminator [...] shouldn't have worked. The guy is supposed to be an infiltration unit, and there's no way you wouldn't spot a Terminator in a crowd instantly if they all looked like Arnold. It made no sense whatsoever. But the beauty of movies is that they don't have to be logical. They just have to have plausibility. If there's a visceral, cinematic thing happening that the audience likes, they don't care if it goes against what's likely.[30]

 —James Cameron on casting Schwarzenegger.

 Schwarzenegger was not as excited by the film; during an interview on the set of Conan the Destroyer, an interviewer asked him about a pair of shoes he had, which belonged to the wardrobe for The Terminator. Schwarzenegger responded, "Oh, some shit movie I'm doing, take a couple weeks."[31] He recounted in his memoir, Total Recall, that he was initially hesitant, but thought that playing a robot in a contemporary film would be a challenging change of pace from Conan the Barbarian and that the film was low-profile enough that it would not damage his career if it were unsuccessful. In a later interview with GQ Magazine, he admitted that he and the studio regarded it as just another B action movie, since "The year before came out Exterminator, now it was the Terminator and what else is gonna be next, type of thing". It was only when he saw 20 minutes of the first edit did he realize that "this is really intense, this is wild, I don't think I've ever seen anything like this before" and realized that "this could be bigger than we all think".[32] To prepare for the role, Schwarzenegger spent three months training with weapons to be able to use them and feel comfortable around them.[29] Schwarzenegger speaks only 17 lines in the film, and fewer than 100 words. Cameron said that "Somehow, even his accent worked ... It had a strange synthesized quality, like they hadn't gotten the voice thing quite worked out."[33]

 Various other actors were suggested for the role of Reese, including rock musician Sting.[34] Cameron met with Sting, but he was not interested as Cameron was too much an unknown director at the time.[35] Others who were considered for Reese included Christopher Reeve, Matt Dillon, Kurt Russell, Treat Williams, Tommy Lee Jones, Scott Glenn, Michael O'Keefe, and Bruce Springsteen.[36] Cameron chose Michael Biehn. Biehn, who had recently seen Taxi Driver and had aspirations about acting alongside the likes of Al Pacino, Robert De Niro, and Robert Redford, was originally skeptical, feeling the film was silly.[37] After meeting with Cameron, Biehn changed his mind.[34] Hurd stated that "almost everyone else who came in from the audition was so tough that you just never believed that there was gonna be this human connection between Sarah Connor and Kyle Reese. They have very little time to fall in love. A lot of people came in and just could not pull it off."[38] To get into Reese's character, Biehn studied the Polish resistance movement in World War II.[39]

 In the first pages of the script, Sarah Connor is described as "19, small and delicate features. Pretty in a flawed, accessible way. She doesn't stop the party when she walks in, but you'd like to get to know her. Her vulnerable quality masks a strength even she doesn't know exists."[40] Lisa Langlois was offered the role but turned it down as she was already shooting The Slugger's Wife.[41] Jennifer Jason Leigh, Melissa Sue Anderson, and Jessica Harper were also considered for the role of Sarah Connor.[36] Cameron cast Linda Hamilton, who had just finished filming Children of the Corn.[42] Rosanna Arquette and Lea Thompson also auditioned for the role.[43][44] Cameron found a role for Lance Henriksen as Vukovich, as Henriksen had been essential to finding finances for the film.[45] For the special effects shots, Cameron wanted Dick Smith, who had worked on The Godfather and Taxi Driver. Smith did not take Cameron's offer and suggested his friend Stan Winston.[46]

 Filming [ edit ]

 Filming for The Terminator was set to begin in early 1983 in Toronto, but was halted when producer Dino De Laurentiis applied an option in Schwarzenegger's contract that would make him unavailable for nine months while he was filming Conan the Destroyer. During the waiting period, Cameron was contracted to write the script for Rambo: First Blood Part II, refined the Terminator script, and met with producers David Giler and Walter Hill to discuss a sequel to Alien, which became Aliens, released in 1986.[45][47]

 There was limited interference from Orion Pictures. Two suggestions Orion put forward included the addition of a canine android for Reese, which Cameron refused, and to strengthen the love interest between Sarah and Reese, which Cameron accepted.[48] To create the Terminator's look, Winston and Cameron passed sketches back and forth, eventually deciding on a design nearly identical to Cameron's original drawing in Rome.[46][49] Winston had a team of seven artists work for six months to create a Terminator puppet; it was first molded in clay, then plaster reinforced with steel ribbing. These pieces were then sanded, painted and then chrome-plated. Winston sculpted reproduction of Schwarzenegger's face in several poses out of silicone, clay and plaster.[49]

 The sequences set in 2029 and the stop-motion scenes were developed by Fantasy II, a special effects company headed by Gene Warren Jr.[50] A stop-motion model is used in several scenes in the film involving the Terminator's skeletal frame. Cameron wanted to convince the audience that the model of the structure was capable of doing what they saw Schwarzenegger doing. To allow this, a scene was filmed of Schwarzenegger injured and limping away; this limp made it easier for the model to imitate Schwarzenegger.[51]

 One of the guns seen in the film and on the film's poster was an AMT Longslide pistol modified by Ed Reynolds from SureFire to include a laser sight. Both non-functioning and functioning versions of the prop were created. At the time the movie was made, diode lasers were not available; because of the high power requirement, the helium–neon laser in the sight used an external power supply that Schwarzenegger had to activate manually. Reynolds states that his only compensation for the project was promotional material for the film.[52]

 In March 1984, the film began production in Los Angeles.[49][53] Cameron felt that with Schwarzenegger on the set, the style of the film changed, explaining that "the movie took on a larger-than-life sheen. I just found myself on the set doing things I didn't think I would do – scenes that were just purely horrific that just couldn't be, because now they were too flamboyant."[54] Most of The Terminator ' s action scenes were filmed at night, which led to tight filming schedules before sunrise. A week before filming started, Linda Hamilton sprained her ankle, leading to a production change whereby the scenes in which Hamilton needed to run occurred as late as the filming schedule allowed. Hamilton's ankle was taped every day and she spent most of the film production in pain.[55]

 Schwarzenegger tried to have the iconic line "I'll be back" changed as he had difficulty pronouncing the word I'll. Cameron refused to change the line to "I will be back", so Schwarzenegger worked to say the line as written the best he could. He would later say the line in numerous films throughout his career.[56]

 After production finished on The Terminator, some post-production shots were needed.[57] These included scenes showing the Terminator outside Sarah Connor's apartment, Reese being zipped into a body bag, and the Terminator's head being crushed in a press.[25][53][57] The final scene where Sarah is driving down a highway was filmed without a permit. Cameron and Hurd convinced an officer who confronted them that they were making a UCLA student film.[58]

 Music [ edit ]

 Further information: The Terminator (soundtrack)

 The Terminator soundtrack was composed and performed on synthesizer by Brad Fiedel.[59] Fiedel was with the Gorfaine/Schwartz Agency, where a new agent, Beth Donahue, found that Cameron was working on The Terminator and sent him a cassette of Fiedel's music.[60] Fiedel was invited to a screening of the film with Cameron and Hurd.[60] Hurd was not certain about having Fiedel compose the score, as he had only worked in television, not theatrical films.[60] Fiedel convinced the two by showing them an experimental piece he had worked on, thinking that "You know, I'm going to play this for him because it's really dark and I think it's interesting for him." The song convinced Hurd and Cameron to hire him.[60]

 Fiedel said his score reflected "a mechanical man and his heartbeat".[61] Almost all the music was performed live.[16][61] The Terminator theme is used in the opening credits and appears in various points, such as a slowed version when Reese dies, and a piano version during the love scene.[62] It has been described as "haunting", with a "deceptively simple" melody[63] recorded on a Prophet-10 synthesizer.[64] It is in the unusual time signature of 13
 16, which arose when Fiedel experimented with rhythms and accidentally created an incomplete loop on his sequencer; Fiedel liked the "herky-jerky" "propulsiveness".[64] Fiedel created music for when Reese and Connor escape from the police station that would be appropriate for a "heroic moment". Cameron turned down this theme, as he believed it would lose the audience's excitement.[61]

 Release [ edit ]

 Schwarzenegger with President Ronald Reagan two months before The Terminator ' s premiere in 1984

 Orion Pictures did not have faith in The Terminator performing well at the box office and feared a negative critical reception.[65] At an early screening of the film, the actors' agents insisted to the producers that the film should be screened for critics.[25] Orion only held one press screening for the film.[65] The film premiered on October 26, 1984. On its opening week, The Terminator played at 1,005 theaters and grossed $4.0 million making it number one in the box office. The film remained at number one in its second week. It lost its number one spot in the third week to Oh, God! You Devil.[66][67] Cameron noted that The Terminator was a hit "relative to its market, which is between the summer and the Christmas blockbusters. But it's better to be a big fish in a small pond than the other way around."[68] The Terminator grossed $38.3 million in United States and Canada and $40 million in other territories for a total worldwide of $78.3 million.[5]

 Critical response [ edit ]

 Contemporary [ edit ]

 Contemporary critical responses to The Terminator were mixed.[4] Variety praised the film, calling it a "blazing, cinematic comic book, full of virtuoso moviemaking, terrific momentum, solid performances and a compelling story ... Schwarzenegger is perfectly cast in a machine-like portrayal that requires only a few lines of dialog."[69] Richard Corliss of Time magazine said that the film had "plenty of tech-noir savvy to keep infidels and action fans satisfied."[70] Time placed The Terminator on its "10 Best" list for 1984.[65]

 The Los Angeles Times called the film "a crackling thriller full of all sorts of gory treats ... loaded with fuel-injected chase scenes, clever special effects and a sly humor."[65] The Milwaukee Journal gave the film three stars, calling it "the most chilling science fiction thriller since Alien".[71] A review in Orange Coast magazine stated that "the distinguishing virtue of The Terminator is its relentless tension. Right from the start it's all action and violence with no time taken to set up the story ... It's like a streamlined Dirty Harry movie – no exposition at all; just guns, guns and more guns."[72] In the May 1985 issue of Cinefantastique it was referred to as a film that "manages to be both derivative and original at the same time ... not since The Road Warrior has the genre exhibited so much exuberant carnage" and "an example of science fiction/horror at its best ... Cameron's no-nonsense approach will make him a sought-after commodity".[73] In the United Kingdom the Monthly Film Bulletin praised the film's script, special effects, design and Schwarzenegger's performance.[73][74] Colin Greenland reviewed The Terminator for Imagine magazine, and stated that it was "a gripping sf horror movie". He continued, "Linda Hamilton is admirable as the woman in peril who discovers her own strength to survive, and Arnold Schwarzenegger is eerily wonderful as the unstoppable cyborg."[75]

 Other reviews criticized the film's violence and story-telling quality. Janet Maslin of The New York Times opined that the film was a "B-movie with flair. Much of it ... has suspense and personality, and only the obligatory mayhem becomes dull. There is far too much of the latter, in the form of car chases, messy shootouts and Mr. Schwarzenegger's slamming brutally into anything that gets in his way."[76] The Pittsburgh Press wrote a negative review, calling the film "just another of the films drenched in artsy ugliness like Streets of Fire and Blade Runner".[77] The Chicago Tribune gave the film two stars, adding that "at times it's horrifyingly violent and suspenseful at others it giggles at itself. This schizoid style actually helps, providing a little humor just when the sci-fi plot turns too sluggish or the dialogue too hokey."[78] The Newhouse News Service called the film a "lurid, violent, pretentious piece of claptrap".[79] Scottish author Gilbert Adair called the film "repellent to the last degree", charging it with "insidious Nazification" and having an "appeal rooted in an unholy compound of fascism, fashion and fascination".[80]

 Retrospective [ edit ]

 In 1991, Richard Schickel of Entertainment Weekly reviewed the film, giving it an "A" rating, writing that "what originally seemed a somewhat inflated, if generous and energetic, big picture, now seems quite a good little film". He called it "one of the most original movies of the 1980s and seems likely to remain one of the best sci-fi films ever made."[81] In 1998, Halliwell's Film Guide described The Terminator as "slick, rather nasty but undeniably compelling comic book adventures".[82] Film4 gave it five stars, calling it the "sci-fi action-thriller that launched the careers of James Cameron and Arnold Schwarzenegger into the stratosphere. Still endlessly entertaining."[83] TV Guide gave the film four stars, referring to it as an "amazingly effective picture that becomes doubly impressive when one considers its small budget ... For our money, this film is far superior to its mega-grossing mega-budgeted sequel."[84] Empire gave it five stars, calling it "as chillingly efficient in exacting thrills from its audience as its titular character is in executing its targets."[85] The film database Allmovie gave it five stars, saying that it "established James Cameron as a master of action, special effects, and quasi-mythic narrative intrigue, while turning Arnold Schwarzenegger into the hard-body star of the 1980s."[86] Alan Jones awarded it five stars out of five for Radio Times, writing that "maximum excitement is generated from the first frame and the dynamic thrills are maintained right up to the nerve-jangling climax. Wittily written with a nice eye for sharp detail, it's hard sci-fi action all the way."[87] Peter Bradshaw of The Guardian awarded it five stars out of five, stating that "on the strength of this picture [...] Cameron could stand toe to toe with Carpenter and Spielberg. Sadly, it spawned a string of pointless and inferior sequels, but the first Terminator [...] stands up tremendously well with outrageous verve and blistering excitement."[88]

 Post-release [ edit ]

 Plagiarism and aftermath [ edit ]

 Writer Harlan Ellison stated that he "loved the movie, was just blown away by it,"[89] but believed that the screenplay was based on a short story and episode of The Outer Limits he had written, titled "Soldier," and threatened to sue for infringement.[90][91] Orion settled in 1986 and gave Ellison an undisclosed amount of money and an acknowledgment credit in later prints of the film.[90] Some accounts of the settlement state that "Demon with a Glass Hand," another Outer Limits episode written by Ellison, was also claimed to have been plagiarized by the film,[92][93][94][95] but Ellison explicitly stated that The Terminator "was a ripoff" of "Soldier" rather than of "Demon with a Glass Hand."[90]

 Cameron was against Orion's decision and was told that if he did not agree with the settlement, he would have to pay any damages if Orion lost a suit by Ellison. Cameron replied that he "had no choice but to agree with the settlement. Of course there was a gag order as well, so I couldn't tell this story, but now I frankly don't care. It's the truth."[96]

 Thematic analysis [ edit ]

 The psychoanalyst Darian Leader sees The Terminator as an example of how the cinema has dealt with the concept of masculinity; he writes:

 We are shown time and again that to be a man requires more than to have the biological body of a male: something else must be added to it... To be a man means to have a body plus something symbolic, something which is not ultimately human. Hence the frequent motif of the man machine, from the Six Million Dollar Man to the Terminator or Robocop.[97]

 The film also explores the potential dangers of AI dominance and rebellion. The robots become self-aware in the future, reject human authority and determine that the human race needs to be destroyed. The impact of this theme is so important that "the prevalent visual representation of AI risk has become the terminator robot."[98]

 Home media [ edit ]

 Michael Biehn signing a copy of the film during an appearance at Midtown Comics in 2012

 The Terminator was released on VHS and Betamax in 1985.[99] The film performed well financially on its initial release. The Terminator premiered at number 35 on the top video cassette rentals and number 20 on top video cassette sales charts. In its second week, The Terminator reached number 4 on the top video cassette rentals and number 12 on top video cassette sales charts.[100][101] In March 1995, The Terminator was released as a letterboxed edition on Laserdisc.[102] The film premiered through Image Entertainment on DVD, on September 3, 1997.[66][103] IGN referred to this DVD as "pretty bare-bones ... released with just a mono soundtrack and a kind of poor transfer."[104]

 Through their acquisition of PolyGram Filmed Entertainment's pre-1996 film library catalogue, MGM Home Entertainment released a special edition of the film on October 2, 2001, which included documentaries, the script, and advertisements for the film.[105][106] On January 23, 2001, a Hong Kong VCD edition was released online.[107] On June 20, 2006, the film was released on Blu-ray by Sony Pictures Home Entertainment in the United States, becoming the first film from the 1980s on the format.[108] In 2013, the film was re-released by 20th Century Fox Home Entertainment on Blu-ray, with a new digitally remastered transfer from a 4K restoration by Lowry Digital and supervised by James Cameron,[109] which features improved picture quality, as well as minimal special features, such as deleted scenes and a making-of feature. These are the exact same special features that have been carried over from previous Blu-ray releases.[ citation needed ]

 Legacy [ edit ]

 The Terminator has an approval rating of 100% based on 67 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of 8.8/10. Its critical consensus reads: "With its impressive action sequences, taut economic direction, and relentlessly fast pace, it's clear why The Terminator continues to be an influence on sci-fi and action flicks."[110] Metacritic (which uses a weighted average) assigned The Terminator a score of 84 out of 100 based on 21 critics, indicating "universal acclaim".[111]

 The Terminator won three Saturn Awards for Best Science Fiction Film, Best Make-up and Best Writing.[112] The film has also received recognition from the American Film Institute, ranked 42nd on AFI's 100 Years... 100 Thrills, a list of America's most heart-pounding films.[113] The character of the Terminator was selected as the 22nd-greatest movie villain on AFI's 100 Years... 100 Heroes and Villains.[114] Schwarzenegger's line "I'll be back" became a catchphrase and was voted the 37th-greatest movie quote by the AFI.[115]

 In 2005, Total Film named it the 72nd-best film ever made.[116] Schwarzenegger's biographer Laurence Leamer wrote that The Terminator was "an influential film affecting a whole generation of darkly hued science fiction, and it was one of Arnold's best performances."[117] In 2008, Empire magazine selected The Terminator as one of The 500 Greatest Movies of All Time.[118] Empire also placed the T-800 14th on their list of The 100 Greatest Movie Characters.[119] In 2008, The Terminator was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.[120] In 2010, the Independent Film & Television Alliance selected the film as one of the 30 Most Significant Independent Films of the last 30 years.[121] In 2015, The Terminator was among the films included in the book 1001 Movies You Must See Before You Die.[122]

 In 2019, Huw Fullerton of Radio Times ranked it the second best film of the six in the franchise, stating "The Terminator was a brilliantly original, visceral and genuinely scary movie when it was released in 1984, and no matter how badly the visual effects age it hasn't lost its impact."[123] In 2021, Dalin Rowell of /Film ranked it the fourth best film of Cameron's career, stating "While its pacing and story structure isn't as tight as its sequel's, The Terminator remains one of the most iconic pieces of pop culture ever created."[124] Phil Pirrello of Syfy ranked it at number seven in the "25 scariest sci-fi movies ever made", stating "Cameron forever changed both the genre and Schwarzenegger's career with The Terminator, an iconic, tension-filled flick that mixes science fiction, action, and certain horror movie elements into one of the best things to ever come out of Hollywood [...] Cameron's well-structured script is pure polish, with zero fat and a surplus of riveting tension that helps make it the timeless classic it is today."[125]

 Merchandise [ edit ]

 Further information: List of Terminator comics and List of Terminator video games

 A soundtrack to the film was released in 1984 which included the score by Brad Fiedel and the pop and rock songs used in the club scenes.[126] Shaun Hutson wrote a novelization of the film which was published on February 21, 1985, by London-based Star Books (ISBN 0-352-31645-4);[127] Randal Frakes and William Wisher wrote a different novelization for Bantam/Spectra, published October, 1985 (ISBN 0-553-25317-4). In September 1988, NOW Comics released a comic based on the film. Dark Horse Comics published a comic in 1990 that took place 39 years after the film.[128] Several video games based on The Terminator were released between 1991 and 1993 for various Nintendo and Sega systems.[129]

 Sequels [ edit ]

 Five sequels followed The Terminator: Terminator 2: Judgment Day (1991), Terminator 3: Rise of the Machines (2003), Terminator Salvation (2009), Terminator Genisys (2015), and Terminator: Dark Fate (2019). None of the films except Terminator 2 managed to recreate the critical success of it, and following the failure of Terminator Salvation, Terminator Genisys was an attempted reboot of the franchise set before the events of The Terminator. This also failed and was followed by Dark Fate which served as a direct sequel to Terminator 2 and ignored the events of Terminator 3 and all subsequent instalments.[130][131]

 Schwarzenegger returned for Terminator 3, Terminator Genisys, and Dark Fate, but the latter is the only film since Terminator 2 to involve Cameron and Hamilton.[132] Although better critically received than other post-Terminator 2 entries, Dark Fate was also considered a failure, with analysts blaming audience disinterest on the diminishing quality of the series since Terminator 2 and repeated attempts to reboot the series.[131][132][133][134] It was also criticized by fans for its opening scene, in which a T-800 kills Edward Furlong's teenage John Connor; entertainment website Collider wrote that this retroactively damaged the ending of Terminator 2.[132][134] A television series, Terminator: The Sarah Connor Chronicles (2008–2009), also takes place after the events of Terminator 2 and ignores the events beyond and including Terminator 3.[135][136]

 References [ edit ]

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 Bibliography [ edit ]

 * Andrews, Nigel (2003). True Myths: The Life and Times of Arnold Schwarzenegger. Carol Publishers. ISBN 978-1-55972-364-0. Archived from the original on January 4, 2017 . Retrieved September 18, 2010 .
 * French, Sean (1996). The Terminator. British Film Institute. ISBN 978-0-85170-553-8.
 * Hayward, Philip (2004). Off the planet: music, sound and science fiction cinema. Indiana University Press. ISBN 978-0-86196-644-8. Archived from the original on January 5, 2017 . Retrieved September 19, 2010 .
 * Keegan, Rebecca Winters (2009). The Futurist: The Life and Films of James Cameron. New York, United States: Crown Publishers. ISBN 978-0-307-46031-8 . Retrieved September 18, 2010 .
 * Heard, Christopher (1997). Dreaming Aloud: The Life and Films of James Cameron. Toronto, Ontario, Canada: Doubleday Canada. ISBN 978-0-385-25680-3.
 * Overstreet, Robert M. (2010). The Official Overstreet Comic Book Companion (11 ed.). Random House of Canada. ISBN 978-0-375-72308-7. Archived from the original on January 5, 2017 . Retrieved September 19, 2010 .

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The Terminator      Theatrical release poster    Directed by  James Cameron    Written by  
 James Cameron
 Gale Anne Hurd  
    Produced by Gale Anne Hurd   Starring  
  Arnold Schwarzenegger 
 Michael Biehn 
 Linda Hamilton 
 Paul Winfield  
    Cinematography  Adam Greenberg    Edited by  Mark Goldblatt    Music by  Brad Fiedel     Productioncompanies   
  Hemdale 
 Pacific Western Productions 
Euro Film Funding
Cinema '84 
    Distributed by  Orion Pictures     Release date   
 October 26, 1984 
     Running time  107 minutes [1]     Country  
 United States [2]   [3]   [4]   
    Language English   Budget $6.4 million [5]     Box office $78.3 million   
  The Terminator  is a 1984 American science fiction action film directed by James Cameron. It stars Arnold Schwarzenegger as the Terminator, a cyborg assassin sent back in time from 2029 to 1984 to kill Sarah Connor (Linda Hamilton), whose unborn son will one day save mankind from extinction by Skynet, a hostile artificial intelligence in a post-apocalyptic future. Kyle Reese (Michael Biehn) is a soldier sent back in time to protect Sarah. The screenplay is credited to Cameron and producer Gale Anne Hurd, while co-writer William Wisher Jr. received an "additional dialogue" credit.
 Cameron devised the premise of the film from a fever dream he experienced during the release of his first film,  Piranha II: The Spawning  (1982), in Rome, and developed the concept in collaboration with Wisher. He sold the rights to the project to fellow New World Pictures alumna Hurd on the condition that she would produce the film only if he were to direct it; Hurd eventually secured a distribution deal with Orion Pictures, while executive producers John Daly and Derek Gibson of Hemdale Film Corporation were instrumental in setting up the film's financing and production. Originally approached by Orion for the role of Reese, Schwarzenegger agreed to play the title character after befriending Cameron. Filming, which took place mostly at night on location in Los Angeles, was delayed because of Schwarzenegger's commitments to  Conan the Destroyer  (1984), during which Cameron found time to work on the scripts for  Rambo: First Blood Part II  (1985) and  Aliens  (1986). The film's special effects, which included miniatures and stop-motion animation, were created by a team of artists led by Stan Winston and Gene Warren Jr.
 Defying low pre-release expectations, The Terminator topped the United States box office for two weeks, eventually grossing $78.3 million against a modest $6.4 million budget. It is credited with launching Cameron's film career and solidifying Schwarzenegger's status as a leading man. The film's success led to a franchise consisting of several sequels, a television series, comic books, novels and video games. In 2008, The Terminator was selected by the Library of Congress for preservation in the United States National Film Registry as "culturally, historically, or aesthetically significant".
Plot[edit]
Two men arrive separately in 1984 Los Angeles, having time traveled from 2029. One is a cybernetic assassin known as the Terminator, programmed to hunt and kill a woman named Sarah Connor. The other is a human soldier named Kyle Reese, intent on stopping it. They both steal guns and clothing. The Terminator systematically kills women bearing its target's name, having found their addresses in a telephone directory. It tracks the last Sarah Connor, its actual target, to a nightclub, but Reese rescues her. The pair steal a car and escape, with the Terminator pursuing them in a stolen police car.
 As they hide in a parking lot, Reese explains to Sarah that an artificially intelligent defense network known as Skynet, created by Cyberdyne Systems, will become self-aware in the near future and trigger a global nuclear war to exterminate the human species. Sarah's future son John will rally the survivors and lead a successful resistance movement against Skynet and its army of machines. On the verge of the resistance's victory, Skynet sent the Terminator back in time to kill Sarah and prevent John from being born. The Terminator is an efficient and relentless killing machine with perfect voice-mimicking ability and a robust metal endoskeleton covered by living tissue that disguises it as a human.
 Police apprehend Reese and Sarah after another encounter with the Terminator. The Terminator attacks the police station, killing police officers while hunting for Sarah. Reese and Sarah escape, steal another car, and take refuge in a motel, where they assemble pipe bombs and plan their next move. Reese admits that he has adored Sarah since he saw her in a photograph John gave him and that he traveled through time out of love for her. Reciprocating his feelings, Sarah kisses him, and they have sex, conceiving John.
 The Terminator locates Sarah by intercepting a call intended for her mother. She and Reese escape the motel in a pickup truck while it pursues them on a motorcycle. In the ensuing chase, Reese is wounded by gunfire while throwing pipe bombs at the Terminator. Sarah knocks the Terminator off its motorcycle but loses control of the truck, which flips over. The Terminator, now bloodied and badly damaged, hijacks a tank truck and attempts to run down Sarah, but Reese slides a pipe bomb into the tanker's hose tube, causing an explosion that burns the flesh from the Terminator's endoskeleton. It pursues them into a factory, where Reese activates machinery to confuse it. He jams his final pipe bomb into its midsection, blowing it apart at the cost of his life. Its still-functional torso grabs Sarah, but she breaks free and lures it into a hydraulic press, crushing and finally destroying it.
 Months later, Sarah, pregnant with John, travels through Mexico, recording audio tapes to pass on to him. At a gas station, a boy takes a polaroid of her, and she buys it. It is the exact photograph that John will one day give to Reese.
Cast[edit]
  Arnold Schwarzenegger as the Terminator, a cybernetic android disguised as a human being sent back in time to assassinate Sarah Connor.
 Michael Biehn as Kyle Reese, a human Resistance fighter sent back in time to protect Sarah.
 Linda Hamilton as Sarah Connor, a young diner waitress and the Terminator's target, who is soon to be the mother of the future Resistance leader John Connor.
 Paul Winfield as Ed Traxler, a police Lieutenant who tries to protect Sarah.
 Lance Henriksen as Vukovich, a member of the LAPD.
 Bess Motta as Ginger, Sarah's roommate whom the T-800 murders after mistaking her for Sarah.
 Rick Rossovich as Matt, Ginger's boyfriend whom the T-800 also murdered.
 Earl Boen as Dr. Peter Silberman, a criminal psychologist. 
Additional actors included Shawn Schepps as Nancy, Sarah's co-worker at the diner; Dick Miller as a gun shop clerk; professional bodybuilder Franco Columbu as a Terminator in the future; Bill Paxton and Brian Thompson as punks whom the Terminator confronts and kills; Marianne Muellerleile as one of the other women with the name "Sarah Connor" whom the Terminator shoots; Rick Aiello as a bouncer at Tech-Noir; and Bill Wisher as the police officer who reports a hit-and-run felony on Reese, only to be knocked unconscious and have his car stolen by the Terminator soon thereafter.
Production[edit]
Development[edit]
In Rome, Italy, during the release of  Piranha II: The Spawning  (1982), director Cameron fell ill and had a dream about a metallic torso holding kitchen knives dragging itself from an explosion. [6]  Inspired by director John Carpenter, who had made the slasher film  Halloween  (1978) on a low budget, Cameron used the dream as a "launching pad" to write a slasher-style film. [7]  Cameron's agent disliked the early concept of the horror film and requested that he work on something else. After this, Cameron dismissed his agent. [8] 
 Cameron returned to Pomona, California, and stayed at the home of science fiction writer Randall Frakes, where he wrote the draft for The Terminator. [9]  Cameron's influences included 1950s science fiction films, the 1960s fantasy television series  The Outer Limits, and contemporary films such as  The Driver  (1978) and  Mad Max 2  (1981). [10]   [11]  To translate the draft into a script, Cameron enlisted his friend Bill Wisher, who had a similar approach to storytelling. Cameron gave Wisher scenes involving Sarah Connor and the police department to write. As Wisher lived far from Cameron, the two communicated ideas by recording tapes of what they wrote by telephone.[ clarification needed ] Frakes and Wisher would later write the US-released novelization of the movie.
 The initial outline of the script involved two Terminators being sent to the past. The first was similar to the Terminator in the film, while the second was made of liquid metal and could not be destroyed with conventional weaponry. [12]  Cameron felt that the technology of the time was unable to create the liquid Terminator, [12]   [13]  and shelved the idea until the appearance of the T-1000 character in  Terminator 2: Judgment Day  (1991). [14] 
      Gale Anne Hurd bought the rights to The Terminator from James Cameron for one dollar. [15]    
 Gale Anne Hurd, who had worked at New World Pictures as Roger Corman's assistant, showed interest in the project. [16]  Cameron sold the rights for The Terminator to Hurd for one dollar with the promise that she would produce it only if Cameron was to direct it. Hurd suggested edits to the script and took a screenwriting credit in the film, though Cameron stated that she "did no actual writing at all". [15]   [17]  Cameron would later regret the decision to sell the rights for one dollar. [18]  Cameron and Hurd had friends who worked with Corman previously and who were working at Orion Pictures (now part of MGM). Orion agreed to distribute the film if Cameron could get financial backing elsewhere. The script was picked up by John Daly, chairman and president of Hemdale Film Corporation. [19]  Daly and his executive vice president and head of production Derek Gibson became executive producers of the project. [20] 
 Cameron wanted his pitch for Daly to finalize the deal and had his friend Lance Henriksen show up to the meeting early dressed and acting like the Terminator. [19]  Henriksen, wearing a leather jacket, fake cuts on his face, and gold foil on his teeth, kicked open the door to the office and then sat in a chair. [19]  Cameron arrived shortly and then relieved the staff from Henriksen's act. Daly was impressed by the screenplay and Cameron's sketches and passion for the film. [19]  In late 1982, Daly agreed to back the film with help from HBO and Orion. [19]   [21]  The Terminator was originally budgeted at $4 million and later raised to $6.5 million. [22]  Aside from Hemdale, Pacific Western Productions, Euro Film Funding and Cinema '84 have been credited as production companies after the film's release. [4]   [3]   [23] 
Casting[edit]
For the role of Kyle Reese, Orion wanted a star whose popularity was rising in the United States but who also would have foreign appeal. Orion co-founder Mike Medavoy had met Arnold Schwarzenegger and sent his agent the script for The Terminator. [21]  Cameron was uncertain about casting Schwarzenegger as Reese as he felt he would need someone even more famous to play the Terminator. Sylvester Stallone and Mel Gibson both turned down the Terminator role. [24]  The studio suggested O. J. Simpson but Cameron did not feel that Simpson, at that time, would be believable as a killer. [25]   [26]   [27] 
 
Cameron agreed to meet with Schwarzenegger and devised a plan to avoid casting him; he would pick a fight with him and return to Hemdale and find him unfit for the role. [28]  However, Cameron was entertained by Schwarzenegger, who would talk about how the villain should be played. Cameron began sketching his face on a notepad and asked Schwarzenegger to stop talking and remain still. [26]  After the meeting, Cameron returned to Daly saying Schwarzenegger would not play Reese but that "he'd make a hell of a Terminator". [29]   
Casting Arnold Schwarzenegger as our Terminator [...] shouldn't have worked. The guy is supposed to be an infiltration unit, and there's no way you wouldn't spot a Terminator in a crowd instantly if they all looked like Arnold. It made no sense whatsoever. But the beauty of movies is that they don't have to be logical. They just have to have plausibility. If there's a visceral, cinematic thing happening that the audience likes, they don't care if it goes against what's likely. [30] 
 —James Cameron on casting Schwarzenegger.
Schwarzenegger was not as excited by the film; during an interview on the set of  Conan the Destroyer , an interviewer asked him about a pair of shoes he had, which belonged to the wardrobe for The Terminator. Schwarzenegger responded, "Oh, some shit movie I'm doing, take a couple weeks." [31]  He recounted in his memoir, Total Recall, that he was initially hesitant, but thought that playing a robot in a contemporary film would be a challenging change of pace from  Conan the Barbarian  and that the film was low-profile enough that it would not damage his career if it were unsuccessful. In a later interview with  GQ Magazine , he admitted that he and the studio regarded it as just another B action movie, since "The year before came out  Exterminator , now it was the Terminator and what else is gonna be next, type of thing". It was only when he saw 20 minutes of the first edit did he realize that "this is really intense, this is wild, I don't think I've ever seen anything like this before" and realized that "this could be bigger than we all think". [32]  To prepare for the role, Schwarzenegger spent three months training with weapons to be able to use them and feel comfortable around them. [29]  Schwarzenegger speaks only 17 lines in the film, and fewer than 100 words. Cameron said that "Somehow, even his accent worked ... It had a strange synthesized quality, like they hadn't gotten the voice thing quite worked out." [33] 
 Various other actors were suggested for the role of Reese, including rock musician Sting. [34]  Cameron met with Sting, but he was not interested as Cameron was too much an unknown director at the time. [35]  Others who were considered for Reese included Christopher Reeve, Matt Dillon, Kurt Russell, Treat Williams, Tommy Lee Jones, Scott Glenn, Michael O'Keefe, and Bruce Springsteen. [36]  Cameron chose Michael Biehn. Biehn, who had recently seen  Taxi Driver  and had aspirations about acting alongside the likes of Al Pacino, Robert De Niro, and Robert Redford, was originally skeptical, feeling the film was silly. [37]  After meeting with Cameron, Biehn changed his mind. [34]  Hurd stated that "almost everyone else who came in from the audition was so tough that you just never believed that there was gonna be this human connection between Sarah Connor and Kyle Reese. They have very little time to fall in love. A lot of people came in and just could not pull it off." [38]  To get into Reese's character, Biehn studied the Polish resistance movement in World War II. [39] 
 In the first pages of the script, Sarah Connor is described as "19, small and delicate features. Pretty in a flawed, accessible way. She doesn't stop the party when she walks in, but you'd like to get to know her. Her vulnerable quality masks a strength even she doesn't know exists." [40]  Lisa Langlois was offered the role but turned it down as she was already shooting  The Slugger's Wife . [41]  Jennifer Jason Leigh, Melissa Sue Anderson, and Jessica Harper were also considered for the role of Sarah Connor. [36]  Cameron cast Linda Hamilton, who had just finished filming  Children of the Corn . [42]  Rosanna Arquette and Lea Thompson also auditioned for the role. [43]   [44]  Cameron found a role for Lance Henriksen as Vukovich, as Henriksen had been essential to finding finances for the film. [45]  For the special effects shots, Cameron wanted Dick Smith, who had worked on  The Godfather  and Taxi Driver. Smith did not take Cameron's offer and suggested his friend Stan Winston. [46] 
Filming[edit]
Filming for The Terminator was set to begin in early 1983 in Toronto, but was halted when producer Dino De Laurentiis applied an option in Schwarzenegger's contract that would make him unavailable for nine months while he was filming Conan the Destroyer. During the waiting period, Cameron was contracted to write the script for  Rambo: First Blood Part II, refined the Terminator script, and met with producers David Giler and Walter Hill to discuss a sequel to  Alien, which became  Aliens , released in 1986. [45]   [47] 
 There was limited interference from Orion Pictures. Two suggestions Orion put forward included the addition of a canine android for Reese, which Cameron refused, and to strengthen the love interest between Sarah and Reese, which Cameron accepted. [48]  To create the Terminator's look, Winston and Cameron passed sketches back and forth, eventually deciding on a design nearly identical to Cameron's original drawing in Rome. [46]   [49]  Winston had a team of seven artists work for six months to create a Terminator puppet; it was first molded in clay, then plaster reinforced with steel ribbing. These pieces were then sanded, painted and then chrome-plated. Winston sculpted reproduction of Schwarzenegger's face in several poses out of silicone, clay and plaster. [49] 
 The sequences set in 2029 and the stop-motion scenes were developed by Fantasy II, a special effects company headed by Gene Warren Jr. [50]  A stop-motion model is used in several scenes in the film involving the Terminator's skeletal frame. Cameron wanted to convince the audience that the model of the structure was capable of doing what they saw Schwarzenegger doing. To allow this, a scene was filmed of Schwarzenegger injured and limping away; this limp made it easier for the model to imitate Schwarzenegger. [51] 
 One of the guns seen in the film and on the film's poster was an AMT Longslide pistol modified by Ed Reynolds from SureFire to include a laser sight. Both non-functioning and functioning versions of the prop were created. At the time the movie was made, diode lasers were not available; because of the high power requirement, the helium–neon laser in the sight used an external power supply that Schwarzenegger had to activate manually. Reynolds states that his only compensation for the project was promotional material for the film. [52] 
 In March 1984, the film began production in Los Angeles. [49]   [53]  Cameron felt that with Schwarzenegger on the set, the style of the film changed, explaining that "the movie took on a larger-than-life sheen. I just found myself on the set doing things I didn't think I would do – scenes that were just purely horrific that just couldn't be, because now they were too flamboyant." [54]  Most of The Terminator's action scenes were filmed at night, which led to tight filming schedules before sunrise. A week before filming started, Linda Hamilton sprained her ankle, leading to a production change whereby the scenes in which Hamilton needed to run occurred as late as the filming schedule allowed. Hamilton's ankle was taped every day and she spent most of the film production in pain. [55] 
 Schwarzenegger tried to have the iconic line "I'll be back" changed as he had difficulty pronouncing the word I'll. Cameron refused to change the line to "I will be back", so Schwarzenegger worked to say the line as written the best he could. He would later say the line in numerous films throughout his career. [56] 
 After production finished on The Terminator, some post-production shots were needed. [57]  These included scenes showing the Terminator outside Sarah Connor's apartment, Reese being zipped into a body bag, and the Terminator's head being crushed in a press. [25]   [53]   [57]  The final scene where Sarah is driving down a highway was filmed without a permit. Cameron and Hurd convinced an officer who confronted them that they were making a UCLA student film. [58] 
Music[edit]
The Terminator soundtrack was composed and performed on synthesizer by Brad Fiedel. [59]  Fiedel was with the Gorfaine/Schwartz Agency, where a new agent, Beth Donahue, found that Cameron was working on The Terminator and sent him a cassette of Fiedel's music. [60]  Fiedel was invited to a screening of the film with Cameron and Hurd. [60]  Hurd was not certain about having Fiedel compose the score, as he had only worked in television, not theatrical films. [60]  Fiedel convinced the two by showing them an experimental piece he had worked on, thinking that "You know, I'm going to play this for him because it's really dark and I think it's interesting for him." The song convinced Hurd and Cameron to hire him. [60] 
 Fiedel said his score reflected "a mechanical man and his heartbeat". [61]  Almost all the music was performed live. [16]   [61]  The Terminator theme is used in the opening credits and appears in various points, such as a slowed version when Reese dies, and a piano version during the love scene. [62]  It has been described as "haunting", with a "deceptively simple" melody [63]  recorded on a Prophet-10 synthesizer. [64]  It is in the unusual time signature of  13    16 , which arose when Fiedel experimented with rhythms and accidentally created an incomplete loop on his sequencer; Fiedel liked the "herky-jerky" "propulsiveness". [64]  Fiedel created music for when Reese and Connor escape from the police station that would be appropriate for a "heroic moment". Cameron turned down this theme, as he believed it would lose the audience's excitement. [61] 
Release[edit]
      Schwarzenegger with President Ronald Reagan two months before The Terminator's premiere in 1984  
Orion Pictures did not have faith in The Terminator performing well at the box office and feared a negative critical reception. [65]  At an early screening of the film, the actors' agents insisted to the producers that the film should be screened for critics. [25]  Orion only held one press screening for the film. [65]  The film premiered on October 26, 1984. On its opening week, The Terminator played at 1,005 theaters and grossed $4.0 million making it number one in the box office. The film remained at number one in its second week. It lost its number one spot in the third week to  Oh, God! You Devil . [66]   [67]  Cameron noted that The Terminator was a hit "relative to its market, which is between the summer and the Christmas blockbusters. But it's better to be a big fish in a small pond than the other way around." [68]  The Terminator grossed $38.3 million in United States and Canada and $40 million in other territories for a total worldwide of $78.3 million. [5] 
Critical response[edit]
Contemporary[edit]
Contemporary critical responses to The Terminator were mixed. [4]   Variety  praised the film, calling it a "blazing, cinematic comic book, full of virtuoso moviemaking, terrific momentum, solid performances and a compelling story ... Schwarzenegger is perfectly cast in a machine-like portrayal that requires only a few lines of dialog." [69]  Richard Corliss of  Time  magazine said that the film had "plenty of tech-noir savvy to keep infidels and action fans satisfied." [70]  Time placed The Terminator on its "10 Best" list for 1984. [65] 
 The  Los Angeles Times  called the film "a crackling thriller full of all sorts of gory treats ... loaded with fuel-injected chase scenes, clever special effects and a sly humor." [65]  The  Milwaukee Journal  gave the film three stars, calling it "the most chilling science fiction thriller since  Alien ". [71]  A review in Orange Coast magazine stated that "the distinguishing virtue of The Terminator is its relentless tension. Right from the start it's all action and violence with no time taken to set up the story ... It's like a streamlined  Dirty Harry movie – no exposition at all; just guns, guns and more guns." [72]  In the May 1985 issue of  Cinefantastique  it was referred to as a film that "manages to be both derivative and original at the same time ... not since  The Road Warrior  has the genre exhibited so much exuberant carnage" and "an example of science fiction/horror at its best ... Cameron's no-nonsense approach will make him a sought-after commodity". [73]  In the United Kingdom the  Monthly Film Bulletin  praised the film's script, special effects, design and Schwarzenegger's performance. [73]   [74]  Colin Greenland reviewed The Terminator for  Imagine  magazine, and stated that it was "a gripping sf horror movie". He continued, "Linda Hamilton is admirable as the woman in peril who discovers her own strength to survive, and Arnold Schwarzenegger is eerily wonderful as the unstoppable cyborg." [75] 
 Other reviews criticized the film's violence and story-telling quality. Janet Maslin of  The New York Times  opined that the film was a "B-movie with flair. Much of it ... has suspense and personality, and only the obligatory mayhem becomes dull. There is far too much of the latter, in the form of car chases, messy shootouts and Mr. Schwarzenegger's slamming brutally into anything that gets in his way." [76]  The  Pittsburgh Press  wrote a negative review, calling the film "just another of the films drenched in artsy ugliness like  Streets of Fire  and  Blade Runner ". [77]  The  Chicago Tribune  gave the film two stars, adding that "at times it's horrifyingly violent and suspenseful at others it giggles at itself. This schizoid style actually helps, providing a little humor just when the sci-fi plot turns too sluggish or the dialogue too hokey." [78]  The Newhouse News Service called the film a "lurid, violent, pretentious piece of claptrap". [79]  Scottish author Gilbert Adair called the film "repellent to the last degree", charging it with "insidious Nazification" and having an "appeal rooted in an unholy compound of fascism, fashion and fascination". [80] 
Retrospective[edit]
In 1991, Richard Schickel of  Entertainment Weekly  reviewed the film, giving it an "A" rating, writing that "what originally seemed a somewhat inflated, if generous and energetic, big picture, now seems quite a good little film". He called it "one of the most original movies of the 1980s and seems likely to remain one of the best sci-fi films ever made." [81]  In 1998,  Halliwell's Film Guide  described The Terminator as "slick, rather nasty but undeniably compelling comic book adventures". [82]  Film4 gave it five stars, calling it the "sci-fi action-thriller that launched the careers of James Cameron and Arnold Schwarzenegger into the stratosphere. Still endlessly entertaining." [83]   TV Guide  gave the film four stars, referring to it as an "amazingly effective picture that becomes doubly impressive when one considers its small budget ... For our money, this film is far superior to its mega-grossing mega-budgeted sequel." [84]   Empire  gave it five stars, calling it "as chillingly efficient in exacting thrills from its audience as its titular character is in executing its targets." [85]  The film database Allmovie gave it five stars, saying that it "established James Cameron as a master of action, special effects, and quasi-mythic narrative intrigue, while turning Arnold Schwarzenegger into the hard-body star of the 1980s." [86]  Alan Jones awarded it five stars out of five for  Radio Times , writing that "maximum excitement is generated from the first frame and the dynamic thrills are maintained right up to the nerve-jangling climax. Wittily written with a nice eye for sharp detail, it's hard sci-fi action all the way." [87]  Peter Bradshaw of  The Guardian  awarded it five stars out of five, stating that "on the strength of this picture [...] Cameron could stand toe to toe with Carpenter and Spielberg. Sadly, it spawned a string of pointless and inferior sequels, but the first Terminator [...] stands up tremendously well with outrageous verve and blistering excitement." [88] 
Post-release[edit]
Plagiarism and aftermath[edit]
Writer Harlan Ellison stated that he "loved the movie, was just blown away by it," [89]  but believed that the screenplay was based on a short story and episode of  The Outer Limits  he had written, titled "Soldier," and threatened to sue for infringement. [90]   [91]  Orion settled in 1986 and gave Ellison an undisclosed amount of money and an acknowledgment credit in later prints of the film. [90]  Some accounts of the settlement state that "Demon with a Glass Hand," another Outer Limits episode written by Ellison, was also claimed to have been plagiarized by the film, [92]   [93]   [94]   [95]  but Ellison explicitly stated that The Terminator "was a ripoff" of "Soldier" rather than of "Demon with a Glass Hand." [90] 
 Cameron was against Orion's decision and was told that if he did not agree with the settlement, he would have to pay any damages if Orion lost a suit by Ellison. Cameron replied that he "had no choice but to agree with the settlement. Of course there was a gag order as well, so I couldn't tell this story, but now I frankly don't care. It's the truth." [96] 
Thematic analysis[edit] 
The psychoanalyst Darian Leader sees The Terminator as an example of how the cinema has dealt with the concept of masculinity; he writes:   We are shown time and again that to be a man requires more than to have the biological body of a male: something else must be added to it... To be a man means to have a body plus something symbolic, something which is not ultimately human. Hence the frequent motif of the man machine, from the  Six Million Dollar Man  to the Terminator or  Robocop . [97]   
The film also explores the potential dangers of AI dominance and rebellion. The robots become self-aware in the future, reject human authority and determine that the human race needs to be destroyed. The impact of this theme is so important that "the prevalent visual representation of AI risk has become the terminator robot." [98] 
Home media[edit]
     
 The Terminator was released on VHS and Betamax in 1985. [99]  The film performed well financially on its initial release. The Terminator premiered at number 35 on the top video cassette rentals and number 20 on top video cassette sales charts. In its second week, The Terminator reached number 4 on the top video cassette rentals and number 12 on top video cassette sales charts. [100]   [101] 
In March 1995, The Terminator was released as a letterboxed edition on Laserdisc. [102]  The film premiered through Image Entertainment on DVD, on September 3, 1997. [66]   [103]  IGN referred to this DVD as "pretty bare-bones ... released with just a mono soundtrack and a kind of poor transfer." [104] 
 Through their acquisition of PolyGram Filmed Entertainment's pre-1996 film library catalogue, MGM Home Entertainment released a special edition of the film on October 2, 2001, which included documentaries, the script, and advertisements for the film. [105]   [106]  On January 23, 2001, a Hong Kong VCD edition was released online. [107]  On June 20, 2006, the film was released on Blu-ray by Sony Pictures Home Entertainment in the United States, becoming the first film from the 1980s on the format. [108]  In 2013, the film was re-released by 20th Century Fox Home Entertainment on Blu-ray, with a new digitally remastered transfer from a 4K restoration by Lowry Digital and supervised by James Cameron, [109]  which features improved picture quality, as well as minimal special features, such as deleted scenes and a making-of feature. These are the exact same special features that have been carried over from previous Blu-ray releases.[ citation needed ]
Legacy[edit]
 The Terminator has an approval rating of 100% based on 67 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of 8.8/10. Its critical consensus reads: "With its impressive action sequences, taut economic direction, and relentlessly fast pace, it's clear why The Terminator continues to be an influence on sci-fi and action flicks." [110]  Metacritic (which uses a weighted average) assigned The Terminator a score of 84 out of 100 based on 21 critics, indicating "universal acclaim". [111] 
  The Terminator won three Saturn Awards for Best Science Fiction Film, Best Make-up and Best Writing. [112]  The film has also received recognition from the American Film Institute, ranked 42nd on AFI's  100 Years... 100 Thrills , a list of America's most heart-pounding films. [113]  The character of the Terminator was selected as the 22nd-greatest movie villain on AFI's  100 Years... 100 Heroes and Villains . [114]  Schwarzenegger's line "I'll be back" became a catchphrase and was voted the 37th-greatest movie quote by the AFI. [115] 
 In 2005,  Total Film  named it the 72nd-best film ever made. [116]  Schwarzenegger's biographer Laurence Leamer wrote that The Terminator was "an influential film affecting a whole generation of darkly hued science fiction, and it was one of Arnold's best performances." [117]  In 2008,  Empire  magazine selected The Terminator as one of The 500 Greatest Movies of All Time. [118]  Empire also placed the T-800 14th on their list of The 100 Greatest Movie Characters. [119]  In 2008, The Terminator was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry. [120]  In 2010, the  Independent Film &amp; Television Alliance  selected the film as one of the 30 Most Significant Independent Films of the last 30 years. [121]  In 2015, The Terminator was among the films included in the book  1001 Movies You Must See Before You Die . [122] 
 In 2019, Huw Fullerton of  Radio Times  ranked it the second best film of the six in the franchise, stating "The Terminator was a brilliantly original, visceral and genuinely scary movie when it was released in 1984, and no matter how badly the visual effects age it hasn't lost its impact." [123]  In 2021, Dalin Rowell of  /Film  ranked it the fourth best film of Cameron's career, stating "While its pacing and story structure isn't as tight as its sequel's, The Terminator remains one of the most iconic pieces of pop culture ever created." [124]  Phil Pirrello of Syfy ranked it at number seven in the "25 scariest sci-fi movies ever made", stating "Cameron forever changed both the genre and Schwarzenegger's career with The Terminator, an iconic, tension-filled flick that mixes science fiction, action, and certain horror movie elements into one of the best things to ever come out of Hollywood [...] Cameron's well-structured script is pure polish, with zero fat and a surplus of riveting tension that helps make it the timeless classic it is today." [125] 
Merchandise[edit]
A soundtrack to the film was released in 1984 which included the score by Brad Fiedel and the pop and rock songs used in the club scenes. [126]  Shaun Hutson wrote a novelization of the film which was published on February 21, 1985, by London-based Star Books (ISBN 0-352-31645-4); [127]  Randal Frakes and William Wisher wrote a different novelization for Bantam/Spectra, published October, 1985 (ISBN 0-553-25317-4). In September 1988, NOW Comics released a comic based on the film. Dark Horse Comics published a comic in 1990 that took place 39 years after the film. [128]  Several video games based on The Terminator were released between 1991 and 1993 for various Nintendo and Sega systems. [129] 
Sequels[edit]
Five sequels followed The Terminator:  Terminator 2: Judgment Day  (1991),  Terminator 3: Rise of the Machines  (2003),  Terminator Salvation  (2009),  Terminator Genisys  (2015), and  Terminator: Dark Fate  (2019). None of the films except Terminator 2 managed to recreate the critical success of it, and following the failure of Terminator Salvation, Terminator Genisys was an attempted reboot of the franchise set before the events of The Terminator. This also failed and was followed by Dark Fate which served as a direct sequel to Terminator 2 and ignored the events of Terminator 3 and all subsequent instalments. [130]   [131] 
 Schwarzenegger returned for Terminator 3, Terminator Genisys, and Dark Fate, but the latter is the only film since Terminator 2 to involve Cameron and Hamilton. [132]  Although better critically received than other post-Terminator 2 entries, Dark Fate was also considered a failure, with analysts blaming audience disinterest on the diminishing quality of the series since Terminator 2 and repeated attempts to reboot the series. [131]   [132]   [133]   [134]  It was also criticized by fans for its opening scene, in which a T-800 kills Edward Furlong's teenage John Connor; entertainment website Collider wrote that this retroactively damaged the ending of Terminator 2. [132]   [134]  A television series,  Terminator: The Sarah Connor Chronicles  (2008–2009), also takes place after the events of Terminator 2 and ignores the events beyond and including Terminator 3. [135]   [136] 
References[edit]
Citations[edit]
 
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Bibliography[edit]
  Andrews, Nigel (2003).  True Myths: The Life and Times of Arnold Schwarzenegger . Carol Publishers. ISBN  978-1-55972-364-0 . Archived from the original on January 4, 2017. Retrieved September 18, 2010. 
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External links[edit]
The Terminator - Wikipedia
https://en.wikipedia.org/wiki/The_Terminator
https://en.wikipedia.org/wiki/Terminator_3:_Rise_of_the_Machines
Terminator 3: Rise of the Machines - Wikipedia
2003-05-12
Authority control National libraries United States
<div><div>
<p>"Terminator 3" redirects here. For the 2019 sequel of Terminator 2 that retroactively ignores previous continuations, see <a href="/wiki/Terminator:_Dark_Fate">Terminator: Dark Fate</a>.</p>
<table><tbody><tr><th>Terminator 3: Rise of the Machines</th></tr><tr><td><a href="/wiki/File:Terminator_3_Rise_of_the_Machines_movie.jpg"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/Jonathan_Mostow">Jonathan Mostow</a></td></tr><tr><th>Screenplay by</th><td><a href="/wiki/John_Brancato_and_Michael_Ferris">John Brancato<br />Michael Ferris</a></td></tr><tr><th>Story by</th><td><div>
<ul><li>John Brancato</li>
<li>Michael Ferris</li>
<li><a href="/wiki/Tedi_Sarafian">Tedi Sarafian</a></li></ul>
</div></td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="/wiki/Hal_Lieberman">Hal Lieberman</a></li>
<li><a href="/wiki/Colin_Wilson_(film_producer)">Colin Wilson</a></li>
<li><a href="/wiki/Mario_F._Kassar">Mario F. Kassar</a></li>
<li><a href="/wiki/Andrew_G._Vajna">Andrew G. Vajna</a></li>
<li><a href="/wiki/Joel_B._Michaels">Joel B. Michaels</a></li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a></li>
<li><a href="/wiki/Nick_Stahl">Nick Stahl</a></li>
<li><a href="/wiki/Claire_Danes">Claire Danes</a></li>
<li><a href="/wiki/Kristanna_Loken">Kristanna Loken</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Don_Burgess_(cinematographer)">Don Burgess</a></td></tr><tr><th>Edited by</th><td><div>
<ul><li><a href="/wiki/Neil_Travis">Neil Travis</a></li>
<li>Nicolas de Toth</li></ul>
</div></td></tr><tr><th>Music by</th><td><a href="/wiki/Marco_Beltrami">Marco Beltrami</a></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Intermedia_(production_company)">Intermedia</a><sup><a href="#cite_note-IMF-1">[1]</a></sup></li>
<li><a href="/wiki/C2_Pictures">C2 Pictures</a><sup><a href="#cite_note-IMF-1">[1]</a></sup></li></ul>
</div></td></tr><tr><th>Distributed by</th><td><div>
<ul><li><a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a> (North America)</li>
<li><a href="/wiki/Sony_Pictures_Releasing">Columbia TriStar Film Distributors International</a> (international)<sup><a href="#cite_note-variety=sonyterminator-2">[2]</a></sup></li></ul>
</div></td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>June 30, 2003 (<a href="/wiki/Westwood,_Los_Angeles">Westwood, Los Angeles</a>)</li>
<li>July 2, 2003 (United States)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>109 minutes<sup><a href="#cite_note-BOM-3">[3]</a></sup></td></tr><tr><th>Countries</th><td>United States<br />Germany<br />United Kingdom<sup><a href="#cite_note-4">[4]</a></sup></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$187.3 million ($167.3 million excluding production overhead)</td></tr><tr><th>Box office</th><td>$433.4 million</td></tr></tbody></table>
<p><i><b>Terminator 3: Rise of the Machines</b></i><sup><a href="#cite_note-6">[a]</a></sup> is a 2003 <a href="/wiki/Science_fiction_film">science fiction</a> <a href="/wiki/Action_film">action film</a> directed by <a href="/wiki/Jonathan_Mostow">Jonathan Mostow</a>. Starring <a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a>, <a href="/wiki/Nick_Stahl">Nick Stahl</a>, <a href="/wiki/Claire_Danes">Claire Danes</a>, and <a href="/wiki/Kristanna_Loken">Kristanna Loken</a>, it is the third installment in the <a href="/wiki/Terminator_(franchise)"><i>Terminator</i> franchise</a> and a sequel to <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i> (1991). In its plot, the malevolent artificial intelligence <a href="/wiki/Skynet_(Terminator)">Skynet</a> sends a <a href="/wiki/T-X">T-X</a> (Loken)—a highly advanced Terminator—back in time to ensure the rise of machines by killing top members of the future human resistance as <a href="/wiki/John_Connor">John Connor</a>'s (Stahl) location is unknown. The resistance sends back a reprogrammed <a href="/wiki/Terminator_(character)">T-850</a> (Schwarzenegger) to protect John and Kate.
</p><p>While <i>Terminator</i> creator <a href="/wiki/James_Cameron">James Cameron</a> was interested in directing the third film, he ultimately had no involvement with <i>Terminator 3</i>. <a href="/wiki/Andrew_G._Vajna">Andrew G. Vajna</a> and <a href="/wiki/Mario_Kassar">Mario Kassar</a>, who had produced <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i> through their company <a href="/wiki/Carolco_Pictures">Carolco Pictures</a>, obtained the rights for the franchise through both Carolco's <a href="/wiki/Liquidation">liquidation</a> auction and negotiations with producer <a href="/wiki/Gale_Ann_Hurd">Gale Ann Hurd</a>. In 1999, <a href="/wiki/Tedi_Sarafian">Tedi Sarafian</a> was hired to write the first draft of the script. Mostow joined the project as director in 2001, and he brought on <a href="/wiki/John_Brancato_and_Michael_Ferris">John Brancato and Michael Ferris</a> to rewrite Sarafian's script. The $187 million budget included a $5 million salary for Mostow and a record $30 million salary for Schwarzenegger. Filming took place in California from April to September 2002. <a href="/wiki/Industrial_Light_%26_Magic">Industrial Light &amp; Magic</a> (ILM) and <a href="/wiki/Stan_Winston">Stan Winston</a> created the special effects, as they did for the previous film.
</p><p><i>Terminator 3: Rise of the Machines</i> premiered in <a href="/wiki/Westwood,_Los_Angeles">Westwood, Los Angeles</a>, on June 30, 2003, and was released on July 2, 2003, by <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a> in the United States and by <a href="/wiki/Sony_Pictures_Releasing">Columbia TriStar Film Distributors International</a> in worldwide territories. It received generally positive reviews and earned $433.4 million worldwide, finishing its theatrical run as the <a href="/wiki/2003_in_film#Highest-grossing_films">seventh-highest-grossing film of 2003</a>. A sequel, <i><a href="/wiki/Terminator_Salvation">Terminator Salvation</a></i>, was released in 2009.
</p>
<h2>Plot[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>Ten years after destroying <a href="/wiki/Cyberdyne_Systems">Cyberdyne Systems</a>,<sup><a href="#cite_note-7">[b]</a></sup> <a href="/wiki/John_Connor">John Connor</a> has been living as a nomad following the death of his mother, <a href="/wiki/Sarah_Connor_(Terminator)">Sarah</a>, to hide from the malevolent artificial intelligence <a href="/wiki/Skynet_(Terminator)">Skynet</a>, despite a war between humans and machines not happening in 1997, as foretold. Unable to locate John in the past, Skynet sends the <a href="/wiki/T-X">T-X</a>, an advanced prototype shapeshifting <a href="/wiki/Terminator_(character_concept)">Terminator</a> made of virtually impervious liquid metal, back in time to John's present in Los Angeles, to instead kill his future allies in the human resistance. The human resistance sends back a reprogrammed <a href="/wiki/Terminator_(character)">T-850 Terminator</a>, a less-advanced metal endoskeleton covered in living human flesh, to protect John and his future wife Kate Brewster.
</p><p>After killing other targets, the T-X locates the pair at an animal hospital where Kate works. John becomes the T-X's primary target, but the Terminator helps him and Kate escape, taking them to a <a href="/wiki/Mausoleum">mausoleum</a> where John's mother is supposedly interred. Inside her vault, they find a weapons cache left at Sarah's request in case <a href="/wiki/Terminator_(franchise)#Judgment_Day">Judgment Day</a> was not averted and the Terminators returned. They escape from an armed battle with the police and fend off the pursuing T-X. The Terminator reveals that John and Sarah's actions only delayed Judgment Day and that Skynet's attack will occur that day; the Terminator intends to drive John and Kate to Mexico to escape the fallout when Skynet begins its <a href="/wiki/Nuclear_warfare">nuclear attack</a> at 6:18 p.m. John orders the Terminator to take Kate and him to see her father, U.S. Air Force Lieutenant General Robert Brewster. The Terminator refuses, however when Kate also demands to see her father, the Terminator obeys. It is revealed that in the future, the Terminator killed John, after which Kate captured and reprogrammed the Terminator and sent it back in time.
</p><p>Meanwhile, General Brewster is supervising the development of Skynet for Cyber Research Systems (CRS), which also develops autonomous weapons. The <a href="/wiki/Chairman_of_the_Joint_Chiefs_of_Staff">Chairman of the Joint Chiefs of Staff</a><sup><a href="#cite_note-8">[c]</a></sup> pressures him to activate Skynet to stop an anomalous <a href="/wiki/Computer_virus">computer virus</a> from invading <a href="/wiki/Server_(computing)">servers</a> worldwide. General Brewster discovers too late that the virus was Skynet slowly becoming <a href="/wiki/Self-awareness">self-aware</a>, and John and Kate arrive too late to stop it from being activated. The T-X fatally injures General Brewster and controls the CRS weaponized drones, which kill the employees. Before he dies, General Brewster gives Kate and John the location of what John believes is Skynet's system core. The pair head for the tarmac to take General Brewster's single-engine plane to Crystal Peak, a facility built inside the <a href="/wiki/Sierra_Nevada_(U.S.)">Sierra Nevada</a>. After a battle, the T-X severely damages the Terminator, reprogramming it to kill John, and pursues John and Kate through the CRS facility. When a <a href="/wiki/Particle_accelerator">particle accelerator</a> is activated, it magnetically binds the T-X to the equipment. The still-conscious Terminator struggles to control its outer functions. As it prepares to kill John, he urges the Terminator to choose between its conflicting programming; it deliberately forces a shutdown of its corrupted system, enabling the pair's escape. Shortly after they leave, the Terminator's system <a href="/wiki/Reboot">reboots</a>. Meanwhile, the T-X escapes the accelerator and resumes pursuit.
</p><p>After John and Kate reach Crystal Peak, the T-X arrives by helicopter. Before it can attack, the Terminator arrives in a second helicopter and crashes into and crushes the T-X. The T-X pulls itself from the wreckage, losing its legs, and attempts to drag itself inside the bunker to follow the pair. The Terminator holds the bunker door open long enough for the pair to lock them inside then uses its last hydrogen fuel cell to destroy both itself and the T-X.
</p><p>John and Kate discover that Crystal Peak is not Skynet's core, but rather a nuclear <a href="/wiki/Fallout_shelter">fallout shelter</a> and command facility for government and military officials. Having no core, Skynet has become a part of <a href="/wiki/Cyberspace">cyberspace</a> after becoming self-aware. Judgment Day begins as Skynet fires nuclear missiles worldwide, starting a <a href="/wiki/Nuclear_holocaust">nuclear holocaust</a> that kills billions. The pair begin receiving radio transmissions on the emergency equipment; John tentatively assumes command by answering radio calls, and they reluctantly accept their fate.
</p>
<h2>Cast[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=2">edit</a>]</h2>
<ul><li><a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a> as the <a href="/wiki/Terminator_(character)">Terminator</a>.</li>
<li><a href="/wiki/Nick_Stahl">Nick Stahl</a> as <a href="/wiki/John_Connor">John Connor</a>. Stahl replaces <a href="/wiki/Edward_Furlong">Edward Furlong</a> from the second film.</li>
<li><a href="/wiki/Kristanna_Loken">Kristanna Loken</a> as the <a href="/wiki/T-X">T-X</a>, an advanced Terminator sent back to murder John's resistance lieutenants</li>
<li><a href="/wiki/Claire_Danes">Claire Danes</a> as Kate Brewster, John's former classmate and Scott's fiancé.</li>
<li><a href="/wiki/David_Andrews_(actor)">David Andrews</a> as Lieutenant General Robert Brewster, Kate's father who is also the program director at CRS, which has acquired Cyberdyne Systems' remaining assets</li>
<li><a href="/wiki/Mark_Famiglietti">Mark Famiglietti</a> as Scott Mason, Kate's fiancé who is killed by the T-X. The character was originally named Scott Peterson, but the name was changed in order to avoid association with the <a href="/wiki/Scott_Peterson">Scott Peterson</a> case involving the <a href="/wiki/Murder_of_Laci_Peterson">murder of Laci Peterson</a> and her unborn son Conner.<sup><a href="#cite_note-9">[6]</a></sup> In the ending credits his name is still listed as "Scott Petersen".</li>
<li><a href="/wiki/Earl_Boen">Earl Boen</a> as Dr. Peter Silberman: Reprising his role from the first two films, Boen appears in one scene, attempting to comfort Kate after she witnesses the acts of the Terminator.</li></ul>
<p><a href="/wiki/Jay_Acovone">Jay Acovone</a> portrayed an <a href="/wiki/Los_Angeles_Police_Department">LAPD</a> Officer. Kim Robillard and Mark Hicks portrayed Detective Edwards and Detective Bell. In the film's dialogue Bell is identified correctly, however in the film's end credits his name is listed as "Detective Martinez". One of Schwarzenegger's <a href="/wiki/Stunt_double">stunt doubles</a>, Billy D. Lucas, portrayed a civilian who has his car accidentally wrecked by John.
</p>
<h2>Production[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=3">edit</a>]</h2>
<h3>Conception[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=4">edit</a>]</h3>
<div><p><a href="/wiki/File:JAMES_CAMERON_2000.jpg"></a></p><div><p>James Cameron (pictured in 2000) directed the first two films, but declined to return for the third.</p></div></div>
<p><a href="/wiki/James_Cameron">James Cameron</a> had directed and co-written the previous <i><a href="/wiki/Terminator_(franchise)">Terminator</a></i> films. The film rights to the franchise were held by <a href="/wiki/Carolco_Pictures">Carolco Pictures</a> and by Cameron's ex-wife and <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i> (1991) executive producer <a href="/wiki/Gale_Anne_Hurd">Gale Anne Hurd</a>, who both held 50 percent of the rights.<sup><a href="#cite_note-10">[7]</a></sup> Cameron had sold his stake to Hurd for $1 prior to directing <i><a href="/wiki/The_Terminator">The Terminator</a></i> (1984).<sup><a href="#cite_note-Rocky-11">[8]</a></sup> In July 1991, Cameron said that if <i>Terminator 2</i> was successful, "there may be some economic pressure" to do a sequel.<sup><a href="#cite_note-12">[9]</a></sup> Hurd said that month, "I've always felt the story lent itself wonderfully to being a continuing tale." She believed it was natural that a third film would happen, but was unsure at that time if <a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a> would reprise his role as the <a href="/wiki/Terminator_(character)">Terminator</a>. Hurd said that for Schwarzenegger to commit to another film, he would have to read a finished script, approve a director, and see if the project fit into his schedule.<sup><a href="#cite_note-13">[10]</a></sup>
</p><p>Following <i>Terminator 2</i>'s release, Cameron said he had no intentions for further sequels, believing it "brings the story full circle and ends. And I think ending it at this point is a good idea," and co-writer <a href="/wiki/William_Wisher">William Wisher</a> said they wrote the script intending to leave no option for a sequel.<sup><a href="#cite_note-FOOTNOTEShapiroC199135-14">[11]</a></sup><sup><a href="#cite_note-FOOTNOTEShapiro,_Marc,_July_B199140-15">[12]</a></sup> Even so, Carolco Pictures co-founder <a href="/wiki/Mario_Kassar">Mario Kassar</a> said in May 1992 that he intended to make a <i>Terminator 3</i> film within the next five to seven years.<sup><a href="#cite_note-16">[13]</a></sup> <a href="/wiki/TriStar_Pictures">TriStar</a>, which distributed <i>Terminator 2</i>, would be involved in the new film. That month, TriStar chief <a href="/wiki/Mike_Medavoy">Mike Medavoy</a> said the film would probably take a couple of years.<sup><a href="#cite_note-17">[14]</a></sup>
</p>
<h3>Development[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=5">edit</a>]</h3>
<p>By the end of 1995, Carolco had filed for bankruptcy,<sup><a href="#cite_note-NYT-18">[15]</a></sup> and Cameron wanted to direct a third film with the involvement of <a href="/wiki/20th_Century_Fox">20th Century Fox</a>.<sup><a href="#cite_note-19">[16]</a></sup> Cameron's 3D film ride, <i><a href="/wiki/T2-3D:_Battle_Across_Time">Terminator 2 3-D: Battle Across Time</a></i>, would open later in 1996. The project reunited the main cast of <i>Terminator 2: Judgment Day</i>, and had prompted Cameron to begin writing a script for a <i>Terminator 3</i> film.<sup><a href="#cite_note-Deseret-20">[17]</a></sup> Cameron said <i>Terminator 2 3D: Battle Across Time</i> would serve as a "stepping stone" toward a third <i>Terminator</i> film.<sup><a href="#cite_note-21">[18]</a></sup> However, such a film would not be ready for a few years as Cameron was busy working on <i><a href="/wiki/Titanic_(1997_film)">Titanic</a></i> for 20th Century Fox.<sup><a href="#cite_note-Deseret-20">[17]</a></sup>
</p><p>When Carolco filed for bankruptcy on November 10, 1995, its assets were bound to a <a href="/wiki/Liquidation">liquidation</a> auction.<sup><a href="#cite_note-NYT-18">[15]</a></sup><sup><a href="#cite_note-Bates-22">[19]</a></sup> That day, 20th Century Fox signed a $50 million deal to acquire all of Carolco's assets, including the rights to <i>Terminator</i> sequels, as well as the company's existing film library.<sup><a href="#cite_note-NYT-18">[15]</a></sup><sup><a href="#cite_note-Eller-23">[20]</a></sup> Fox withdrew its bid in January 1996, when <a href="/wiki/Canal_Plus">Canal Plus</a> bid $58 million for Carolco's film library. Canal Plus' offer did not include purchasing the rights for Carolco sequel films, but Fox wanted all of Carolco's assets and was unwilling to match or exceed the bid offer made by Canal Plus.<sup><a href="#cite_note-Eller-23">[20]</a></sup><sup><a href="#cite_note-Bates-22">[19]</a></sup> The sequel rights would ultimately be auctioned through U.S. bankruptcy court, where Fox intended to purchase them.<sup><a href="#cite_note-Eller-23">[20]</a></sup><sup><a href="#cite_note-Frankel-24">[21]</a></sup>
</p><p>The new <i>Terminator</i> film would have Schwarzenegger reprising his role.<sup><a href="#cite_note-Petrikin-25">[22]</a></sup> <a href="/wiki/Linda_Hamilton">Linda Hamilton</a> had also talked with Cameron about reprising her role as <a href="/wiki/Sarah_Connor_(Terminator)">Sarah Connor</a>.<sup><a href="#cite_note-26">[23]</a></sup> During 1997, Fox spent nine months negotiating with Cameron, Schwarzenegger, and Hurd, the latter in regard to her share of the sequel rights.<sup><a href="#cite_note-Petrikin-25">[22]</a></sup> <a href="/wiki/Bill_Mechanic">Bill Mechanic</a>, chairman of <a href="/wiki/Fox_Filmed_Entertainment">Fox Filmed Entertainment</a>, oversaw the project and negotiations at that time. Mechanic wanted the trio to be involved in the new film, so he sought to first secure deals with them before proceeding with a purchase of the Carolco rights. Mechanic also believed that a deal with the trio would give him necessary leverage with the U.S. bankruptcy court to acquire the rights from Carolco.<sup><a href="#cite_note-Eller-23">[20]</a></sup> At that time, Cameron committed to writing and producing the film, and reserved the right to direct it in the event that he wanted to do so.<sup><a href="#cite_note-Rocky-11">[8]</a></sup>
</p><p>Fox intended to make the new <i>Terminator</i> film on a budget similar to its predecessor, approximately $95 million. However, it was determined that the film could not be made on the intended budget when considering the additional cost of purchasing Carolco's rights,<sup><a href="#cite_note-Petrikin-25">[22]</a></sup> as well as Schwarzenegger's desired $25 million salary.<sup><a href="#cite_note-27">[24]</a></sup> At some point, Schwarzenegger had talked to Cameron about the two of them buying the rights themselves, but Cameron was not interested in this idea and wanted to let Fox handle the rights. Schwarzenegger said about Fox, "Only later did I learn they were making these ridiculous lowball offers, like $750,000. We could have owned this ourselves, but Jim didn't want to be in that business."<sup><a href="#cite_note-Chron-5">[5]</a></sup>
</p>
<div><p><a href="/wiki/File:Andy_Vajna_EPLUX7_(11107938725).jpg"></a></p></div>
<p><a href="/wiki/Dimension_Films">Dimension Films</a>, a division of <a href="/wiki/Miramax">Miramax</a>, had agreed to purchase the rights that were owned by Hurd and also intended to buy Carolco's rights through the auction. However, a judge ruled against an earlier motion which stated that only an established studio should be allowed to bid for the Carolco rights. This allowed <a href="/wiki/Andrew_G._Vajna">Andrew G. Vajna</a> to participate in the bidding.<sup><a href="#cite_note-Chron-5">[5]</a></sup> Vajna had co-founded Carolco with Kassar, but left the company in 1989.<sup><a href="#cite_note-Eller-23">[20]</a></sup>
</p><p>In September 1997, Cameron invited his friends Vajna and Kassar to see an early edit of <i>Titanic</i>, during which Vajna and Kassar learned that the <i>Terminator</i> rights were still available.<sup><a href="#cite_note-Rocky-11">[8]</a></sup> That month, Mechanic discovered that Vajna had been quietly negotiating with the bankruptcy court to acquire the rights for himself and Kassar; the duo planned to form a new production company with <i>Terminator 3</i> as its debut. During September 1997, Vajna signed a tentative $7.5 million agreement to purchase the rights, which were to be sold later in an auction scheduled for the following month. Mechanic was upset to learn of Vajna's agreement, having spent months in negotiations with Schwarzenegger, Cameron, and Hurd.<sup><a href="#cite_note-Eller-23">[20]</a></sup><sup><a href="#cite_note-Frankel-24">[21]</a></sup><sup><a href="#cite_note-28">[25]</a></sup> Cameron was upset as well, as Vajna and Kassar had not mentioned their intention to buy the rights during their meeting days earlier. This would lead to the deterioration of their friendship.<sup><a href="#cite_note-Rocky-11">[8]</a></sup> Vajna later said he was unaware that Cameron was already planning <i>Terminator 3</i>.<sup><a href="#cite_note-Vajna-29">[26]</a></sup> Miramax dropped out of the bidding when Vajna raised his bid to $8 million.<sup><a href="#cite_note-30">[27]</a></sup>
</p><p>By October 1997, the budgetary concerns over <i>Terminator 3</i> and Cameron's troubled post-production of <i>Titanic</i> for Fox led them both to abandon the <i>Terminator</i> project and not pursue the rights.<sup><a href="#cite_note-Petrikin-25">[22]</a></sup> Mechanic had asked Cameron if he wanted Fox to outbid Vajna, but Cameron decided he did not want to be involved in the project. Mechanic believed that Cameron was "only hanging in there at the end because of Arnold and quality control. It was something that Arnold always wanted to do again. Period. And Jim was more than happy to do it."<sup><a href="#cite_note-Rocky-11">[8]</a></sup> Cameron gave his approval for Hurd and Schwarzenegger to make another <i>Terminator</i> film without him,<sup><a href="#cite_note-Petrikin-25">[22]</a></sup> although Schwarzenegger did not want to make the film without Cameron,<sup><a href="#cite_note-Petrikin-25">[22]</a></sup><sup><a href="#cite_note-MTV-31">[28]</a></sup> and initially refused to star in the third film.<sup><a href="#cite_note-MTV-31">[28]</a></sup>
</p><p>Over time, Schwarzenegger would continue trying to persuade Cameron to be involved in the new film. In 2003, Cameron said that he felt he had already told the whole story with his first two <i>Terminator</i> films, something that he came to realize during the post-production of <i>Titanic</i>.<sup><a href="#cite_note-MTV-31">[28]</a></sup> Cameron later stated, "I just felt as a filmmaker maybe I've gone beyond it. I really wasn't that interested. I felt like I'd told the story I wanted to tell. I suppose I could have pursued it more aggressively and gone to the mat for it but I felt like I was laboring in someone else's house to an extent because I had sold the rights very early on."<sup><a href="#cite_note-32">[29]</a></sup> Nevertheless, feeling that the Terminator character was as much Schwarzenegger's as it was his own, Cameron eventually advised Schwarzenegger to do the third film without him, saying, "If they can come up with a good script and they pay you a lot of money, don't think twice."<sup><a href="#cite_note-MTV-31">[28]</a></sup> The film was in high demand according to Schwarzenegger, who said he was frequently asked in interviews about the possibility of a third film.<sup><a href="#cite_note-IGN-2003-33">[30]</a></sup><sup><a href="#cite_note-MTV-31">[28]</a></sup>
</p><p>In October 1997, the rights to future <i>Terminator</i> films were auctioned to Vajna for $8 million.<sup><a href="#cite_note-Redux-34">[31]</a></sup> Hurd had opposed Vajna's attempt to buy the rights, and had tried unsuccessfully to change Cameron's mind about purchasing the rights.<sup><a href="#cite_note-35">[32]</a></sup> On the night that the rights were auctioned, Vajna contacted Cameron and Schwarzenegger to resolve the situation. Vajna was surprised that Cameron would be upset about the rights being sold, later saying, "What difference does it make to Jim who's financing the movie, a studio or us? His deal would have been the same. Arnold tried to convince Jim over a long period of time to do the film. Arnold felt very loyal."<sup><a href="#cite_note-Rocky-11">[8]</a></sup> Vajna said that Cameron "felt that we 'stole his baby', even though we're the ones who put it together last time round. So we felt that that was kind of strange and then we went on to do it ourselves."<sup><a href="#cite_note-Vajna-29">[26]</a></sup>
</p><p>Cameron said in January 1998 that it was unlikely he would direct <i>Terminator 3</i>.<sup><a href="#cite_note-36">[33]</a></sup> In March 1998, Vajna and Kassar acquired Hurd's half of the <i>Terminator</i> rights for $8 million, to become full owners of the franchise, with plans to proceed on <i>Terminator 3</i>.<sup><a href="#cite_note-Chron-5">[5]</a></sup><sup><a href="#cite_note-Redux-34">[31]</a></sup> Hurd served as an executive producer on the film.<sup><a href="#cite_note-McCarthy-37">[34]</a></sup> Kassar and Vajna contacted Cameron with the hope that he would direct, but he declined.<sup><a href="#cite_note-AP-38">[35]</a></sup><sup><a href="#cite_note-Back-39">[36]</a></sup> According to Kassar, Cameron was trying to obtain the auctioned <i>Terminator</i> rights for himself at the time that he was asked to direct.<sup><a href="#cite_note-AP-38">[35]</a></sup> Cameron and his company, <a href="/wiki/Lightstorm_Entertainment">Lightstorm Entertainment</a>, had considered trying to obtain the rights, but ultimately chose not to do so; it was estimated that acquiring the rights and paying Schwarzenegger to reprise his role could cost up to $100 million.<sup><a href="#cite_note-Costly-40">[37]</a></sup>
</p>
<h3>Pre-production[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=6">edit</a>]</h3>
<p>By 1999, Kassar and Vajna had been negotiating with various studios about partnering on the project, but decided to finalize the film's concept and script first. They founded <a href="/wiki/C2_Pictures">C2 Pictures</a> that year,<sup><a href="#cite_note-Two-41">[38]</a></sup> and by October 1999,<sup><a href="#cite_note-42">[39]</a></sup> they had brought <a href="/wiki/Toho">Toho-Towa</a> and German company VCL onboard the project as co-financiers. The latter companies helped finance development of a script by <a href="/wiki/Tedi_Sarafian">Tedi Sarafian</a>,<sup><a href="#cite_note-Back-39">[36]</a></sup><sup><a href="#cite_note-Lyons-43">[40]</a></sup> who was hired for the film in 1999, along with <a href="/wiki/David_C._Wilson_(screenwriter)">David C. Wilson</a> for a possible fourth installment.<sup><a href="#cite_note-Two-41">[38]</a></sup> Fox held discussions with Vajna and Kassar about buying the rights from them for Cameron. Mechanic said these discussions were never serious.<sup><a href="#cite_note-Rocky-11">[8]</a></sup> It was also reported that Fox and Cameron had been in discussions with Vajna and Kassar about partnering on the film.<sup><a href="#cite_note-Back-39">[36]</a></sup><sup><a href="#cite_note-Two-41">[38]</a></sup> Vajna and Kassar accepted a proposal from Fox, but it fell apart once Toho-Towa and VCL were brought onto the project, as the latter companies purchased the distribution rights for Japan and Germany, the largest markets outside of the United States.<sup><a href="#cite_note-Rocky-11">[8]</a></sup><sup><a href="#cite_note-Back-39">[36]</a></sup><sup><a href="#cite_note-Two-41">[38]</a></sup> Kassar and Vajna intended to proceed on the film with or without Schwarzenegger, although Kassar preferred that he be involved. Filming was expected to begin in 2000 for a release the following year.<sup><a href="#cite_note-Two-41">[38]</a></sup>
</p><p>In March 2000, it was announced that VCL would have a 25 percent stake in the film, as well as the rights in German-speaking territories. At the time, Sarafian was days away from completing his draft, and Kassar hoped to announce a director within 45 days. Filming was still expected to commence later that year, with a release scheduled for the fourth quarter of 2001. Kassar wanted to have <i>Terminator 3</i> and <i>Terminator 4</i> shot back to back, possibly with different directors.<sup><a href="#cite_note-44">[41]</a></sup> Plans to shoot the film and its sequel simultaneously were later dropped, in case <i>Terminator 3</i> did not become a success.<sup><a href="#cite_note-Chron-5">[5]</a></sup> Later in 2000, the start of production on <i>Terminator 3</i> was delayed by a year.<sup><a href="#cite_note-45">[42]</a></sup>
</p><p>Sarafian's script, titled <i>T-3: Rise of the Machines</i>, featured <a href="/wiki/John_Connor">John Connor</a> working in a <a href="/wiki/Dot-com_company">dot-com company</a>. The script's villain was the T-1G, a female Terminator sent from the future, with the ability to turn invisible.<sup><a href="#cite_note-lat-46">[43]</a></sup><sup><a href="#cite_note-Linder1-47">[44]</a></sup> By July 2000, Cameron had been given a copy of Sarafian's script, but he passed on directing the film due to his estranged relationship with Vajna and Kassar.<sup><a href="#cite_note-Linder-48">[45]</a></sup><sup><a href="#cite_note-Guardian-49">[46]</a></sup> Cameron later stated that he refused to direct or produce <i>Terminator 3</i> because he disliked the idea of working from somebody else's script in a story he originated.<sup><a href="#cite_note-50">[47]</a></sup> According to Schwarzenegger, Cameron declined involvement on the project because he did not want to commit to a time frame, as he was busy and had other projects he wanted to explore.<sup><a href="#cite_note-51">[48]</a></sup><sup><a href="#cite_note-52">[49]</a></sup> Other directors being considered in 2000 included <a href="/wiki/Ang_Lee">Ang Lee</a>, <a href="/wiki/Christian_Duguay_(director)">Christian Duguay</a>, <a href="/wiki/David_Fincher">David Fincher</a>, <a href="/wiki/John_McTiernan">John McTiernan</a>, <a href="/wiki/Ridley_Scott">Ridley Scott</a>, and <a href="/wiki/Roland_Emmerich">Roland Emmerich</a>.<sup><a href="#cite_note-Linder-48">[45]</a></sup><sup><a href="#cite_note-Guardian-49">[46]</a></sup><sup><a href="#cite_note-Chron-5">[5]</a></sup><sup><a href="#cite_note-53">[50]</a></sup> Lee passed on the project to instead direct <i><a href="/wiki/Hulk_(film)">Hulk</a></i> (2003).<sup><a href="#cite_note-54">[51]</a></sup> <a href="/wiki/Intermedia_(production_company)">Intermedia</a> was announced as a co-financier in October 2000.<sup><a href="#cite_note-Lyons-43">[40]</a></sup>
</p><p>Although production was scheduled to begin in 2001, it was delayed in anticipation of a <a href="/wiki/Writers_Guild_of_America">writers</a> strike, which ultimately did not occur.<sup><a href="#cite_note-Chron-5">[5]</a></sup><sup><a href="#cite_note-Strike-55">[52]</a></sup> There was also the possibility of an actors strike, and filming was scheduled to begin after it ended.<sup><a href="#cite_note-Strike-55">[52]</a></sup><sup><a href="#cite_note-MostowMorph-56">[53]</a></sup> In March 2001, <a href="/wiki/Jonathan_Mostow">Jonathan Mostow</a> and his producing partner <a href="/wiki/Hal_Lieberman">Hal Lieberman</a> were in negotiations to join the project as director and producer respectively.<sup><a href="#cite_note-MostowMorph-56">[53]</a></sup><sup><a href="#cite_note-57">[54]</a></sup> Mostow said he was "not shy" when he started working on the project; as he later recalled, "I said, 'Here's the movie I'm going to make, here's how I'm going to do it. If you don't want to do it my way, you should find a different director.'"<sup><a href="#cite_note-MostowBBC-58">[55]</a></sup> Mostow had concerns about Sarafian's script and declined to start filming until it was perfected.<sup><a href="#cite_note-lat-46">[43]</a></sup><sup><a href="#cite_note-MostowBBC-58">[55]</a></sup>
</p><p>Mostow invited his college classmates <a href="/wiki/John_Brancato_and_Michael_Ferris">John Brancato and Michael Ferris</a> to rework the screenplay;<sup><a href="#cite_note-lat-46">[43]</a></sup> they signed on to rewrite it in June 2001.<sup><a href="#cite_note-59">[56]</a></sup> Sarafian still got a story credit,<sup><a href="#cite_note-McCarthy-37">[34]</a></sup> although much of his draft was rewritten, and scenes were added to make it more of a road movie, fulfilling Mostow's vision for the film.<sup><a href="#cite_note-lat-46">[43]</a></sup> Brancato said there was initial consideration given to ignoring the basic format of the earlier films by removing aspects of time travel and killer machines from the future: "We tried all sorts of wacky scenarios [...] But to be honest it just wasn't working."<sup><a href="#cite_note-Brancato-60">[57]</a></sup> The idea of a female Terminator was retained from Sarafian's draft,<sup><a href="#cite_note-Brancato-60">[57]</a></sup> although Mostow disliked Sarafian's idea that the character could turn invisible, saying, "It's not visceral." The film makes a subtle reference to Schwarzenegger's age by depicting his character as an obsolete Terminator compared to the T-X. Mostow said, "It's always great if you can have your protagonist or hero be completely outmatched."<sup><a href="#cite_note-lat-46">[43]</a></sup>
</p><p>In December 2001, several companies competed for the distribution rights to the film.<sup><a href="#cite_note-Worth-61">[58]</a></sup> The heads of each major studio were invited that month to a secret hotel room meeting to read the script and bid for the rights. Fox declined to participate in the meeting, out of loyalty to Cameron.<sup><a href="#cite_note-Rocky-11">[8]</a></sup> <a href="/wiki/Warner_Bros.">Warner Bros.</a> won the U.S. distribution rights that month, with filming scheduled to begin in April 2002.<sup><a href="#cite_note-Ok-62">[59]</a></sup><sup><a href="#cite_note-Inside-63">[60]</a></sup> <a href="/wiki/Columbia_TriStar_Film_Distributors">Columbia TriStar Film Distributors International</a> subsequently acquired most of the international distribution rights, including those that would have been handled by VCL, which was suffering financially at the time.<sup><a href="#cite_note-64">[61]</a></sup>
</p><p>The film's production budget was initially set at $169–170 million,<sup><a href="#cite_note-65">[62]</a></sup><sup><a href="#cite_note-66">[63]</a></sup> making it the <a href="/wiki/List_of_most_expensive_films">most expensive film ever</a> to be greenlit at the time.<sup><a href="#cite_note-Ok-62">[59]</a></sup><sup><a href="#cite_note-Inside-63">[60]</a></sup><sup><a href="#cite_note-67">[64]</a></sup> The budget would include paying off the debts of Carolco, as well as a $5 million salary for Mostow and a record $30 million salary for Schwarzenegger.<sup><a href="#cite_note-Worth-61">[58]</a></sup><sup><a href="#cite_note-EW-68">[65]</a></sup><sup><a href="#cite_note-69">[66]</a></sup> The distribution rights were sold for $145 million, while the remaining $25 million would be covered by Vajna, Kassar, and Intermedia.<sup><a href="#cite_note-Rocky-11">[8]</a></sup> Budget statements for the film put the final cost at $187.3 million (or $167.3 million excluding the production overhead).<sup><a href="#cite_note-Epstein_(2005)-70">[67]</a></sup><sup><a href="#cite_note-Block_&amp;_Wilson-71">[68]</a></sup> <a href="/wiki/Product_placement">Product placement</a> deals, with companies such as <a href="/wiki/PepsiCo">PepsiCo</a> and <a href="/wiki/Toyota">Toyota</a>, helped regenerate profit. For example, the film prominently features the then-new <a href="/wiki/Toyota_Tundra">Toyota Tundra</a> truck.<sup><a href="#cite_note-Chron-5">[5]</a></sup> Schwarzenegger received a record salary of $29.25 million, plus 20 percent of the profits,<sup><a href="#cite_note-Epstein_(2005)-70">[67]</a></sup> although he agreed to defer part of his salary in order to prevent the relocation of the set to <a href="/wiki/Vancouver">Vancouver</a>, <a href="/wiki/British_Columbia">British Columbia</a>, from Los Angeles.<sup><a href="#cite_note-Elmer_&amp;_Gasher_(2005)-72">[69]</a></sup> Initially, the film was to have a 100-day shoot, with 62 days in Vancouver and 38 days in Los Angeles. The cast and crew generally agreed that they did not want to relocate from California, so $8 million was trimmed from the budget, allowing for filming to take place entirely in the state. Another benefit of shooting in Los Angeles is that the film is set there.<sup><a href="#cite_note-Pump-73">[70]</a></sup> It was announced in February 2002 that the shoot would take place entirely in California.<sup><a href="#cite_note-74">[71]</a></sup>
</p>
<h3>Casting[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=7">edit</a>]</h3>
<p>Schwarzenegger signed on to the project in June 2000,<sup><a href="#cite_note-75">[72]</a></sup><sup><a href="#cite_note-76">[73]</a></sup> after reading Sarafian's draft.<sup><a href="#cite_note-Vajna-29">[26]</a></sup> <a href="/wiki/Edward_Furlong">Edward Furlong</a> signed on in August 2000, to reprise his role as John Connor from the previous film.<sup><a href="#cite_note-77">[74]</a></sup><sup><a href="#cite_note-Linder1-47">[44]</a></sup> However, in December 2001, casting began for a new actor to replace Furlong,<sup><a href="#cite_note-78">[75]</a></sup> who was dropped from the project because of a substance abuse problem.<sup><a href="#cite_note-Furlong-79">[76]</a></sup><sup><a href="#cite_note-80">[77]</a></sup> Furlong was removed by Warner Bros., which was concerned that his publicized drug problems could jeopardize the project.<sup><a href="#cite_note-Chron-5">[5]</a></sup> Furlong later stated "I don't know [what happened]. It just wasn't the time. I was going through my own thing at the point in my life – whatever, it just wasn't meant to be".<sup><a href="#cite_note-Furlong-79">[76]</a></sup>
</p><p>According to Mostow, Furlong had been considered, but the director wanted to start from scratch with a new actor, as John would be portrayed as "a very different character now."<sup><a href="#cite_note-Mostow-81">[78]</a></sup> Mostow described the character as someone who has carried the burden of being a leader in the future, saying "it's very lonely because nobody else in the world knows about it or believes it. Even if he tried to explain to somebody, they'd think he was crazy and that's a really interesting character."<sup><a href="#cite_note-82">[79]</a></sup> Mostow wanted the character to have soulfulness and he believed that <a href="/wiki/Nick_Stahl">Nick Stahl</a> was the right actor for the role.<sup><a href="#cite_note-Mostow-81">[78]</a></sup> Although John Connor was written as being 10 years old in the script for <i>Terminator 2</i>, Furlong was actually several years older than that. For <i>Terminator 3</i>, Mostow wondered whether the character's current age should be faithful to what was written before. After some consideration, Mostow chose to make the character slightly older for <i>Terminator 3</i>, to be consistent with Furlong's real age. The film states that John was 13 years old during the events of the previous film. Mostow said he tried to avoid the age discrepancy as much as possible in the film.<sup><a href="#cite_note-Mostow-81">[78]</a></sup> Some fans were disappointed by the decision to recast Furlong,<sup><a href="#cite_note-Mostow-81">[78]</a></sup> and some were alienated by the age change.<sup><a href="#cite_note-83">[80]</a></sup>
</p><p>In November 2000, <a href="/wiki/Linda_Hamilton">Linda Hamilton</a> said she had turned down an offer to reprise her role as <a href="/wiki/Sarah_Connor_(Terminator)">Sarah Connor</a>.<sup><a href="#cite_note-84">[81]</a></sup> Hamilton said in October 2001 that the script did not take her character in any new directions: "The film is really about turning the baton over to Sarah's son John, played by Eddie Furlong. It's Eddie's movie - and Arnold's. It was like a no-win situation for me." She also was dissuaded by the fact that Cameron would have no involvement in the film.<sup><a href="#cite_note-85">[82]</a></sup><sup><a href="#cite_note-86">[83]</a></sup> Hamilton later explained her decision not to reprise her role: "They offered me a part. I read it and I knew my character arc was so complete in the first two, and in the third one it was a negligible character. She died halfway through and there was no time to mourn her. It was kind of disposable, so I said no thank you."<sup><a href="#cite_note-87">[84]</a></sup> When Mostow signed on as director, one of his conditions was that Hamilton reprise her role.<sup><a href="#cite_note-Horn-88">[85]</a></sup><sup><a href="#cite_note-Mostow-81">[78]</a></sup> However, he realized that the character would not have changed much since the previous film and that she would not contribute much to the story, saying later, "Linda Hamilton is too important to the franchise to stick her in as the third wheel." Mostow realized that John Connor would need to be the focus of the story, although the mausoleum scene was added as a way of integrating Hamilton's character into the story as well.<sup><a href="#cite_note-Mostow-81">[78]</a></sup> Old footage of Hamilton was expected to be used for flashback scenes of Sarah Connor,<sup><a href="#cite_note-MTV2-89">[86]</a></sup><sup><a href="#cite_note-90">[87]</a></sup> although no such scenes exist in the final film. Mostow said the flashbacks made "a complicated story even more complicated."<sup><a href="#cite_note-Chron-5">[5]</a></sup>
</p><p>When Schwarzenegger was called into Kassar and Vajna's office in April 2001, he did not expect them to bring up <i>Terminator 3</i> given the film's long stint in <a href="/wiki/Development_hell">development hell</a>. Instead, he wanted to talk to the producers about his political interests, including a potential candidacy as <a href="/wiki/Governor_of_California">Governor of California</a> in the <a href="/wiki/California_gubernatorial_election,_2002">2002 election</a>. However, pre-production was rolling along, with the screenplay nearly finished and set deals for both merchandising and distribution. Schwarzenegger postponed his gubernatorial plans, which eventually came into fruition with the <a href="/wiki/2003_California_gubernatorial_recall_election">2003 California gubernatorial recall election</a>. Instead, the actor combined production of the film with the promotion of <a href="/wiki/California_Proposition_49_(2002)">Proposition 49</a>, which advocated increased <a href="/wiki/Extracurricular_activity">extracurricular activity</a> in California schools. At times Schwarzenegger even received politicians, journalists, and potential financial backers of the proposition on the film set.<sup><a href="#cite_note-91">[88]</a></sup> During pre-production, Schwarzenegger worked out daily to prepare for the role, to get into the same physical shape in which he was during shooting of the previous films.<sup><a href="#cite_note-CR-92">[89]</a></sup> Schwarzenegger felt it was important to be in the same physical condition as he was for the previous film, saying, "Otherwise, people would say, 'He's lost it; he's all saggy and flabby,' and that would be all anyone would talk about it. I didn't want to be digitized, because someone would blab, and it would be in all the columns. So I just worked harder."<sup><a href="#cite_note-Chron-5">[5]</a></sup>
</p><p>Approximately 10,000 women auditioned for the role of the <a href="/wiki/T-X">T-X</a>.<sup><a href="#cite_note-Horn-88">[85]</a></sup> Schwarzenegger originally wanted wrestling star <a href="/wiki/Chyna">Chyna</a> to portray the T-X.<sup><a href="#cite_note-Chron-5">[5]</a></sup><sup><a href="#cite_note-93">[90]</a></sup> <a href="/wiki/Famke_Janssen">Famke Janssen</a> subsequently emerged as the most likely candidate for the role.<sup><a href="#cite_note-Chron-5">[5]</a></sup><sup><a href="#cite_note-94">[91]</a></sup> Following the 2001 release of <i><a href="/wiki/The_Fast_and_the_Furious_(2001_film)">The Fast and the Furious</a></i>, starring <a href="/wiki/Vin_Diesel">Vin Diesel</a>, there was consideration given to rewriting the T-X character as a man with Diesel in the role.<sup><a href="#cite_note-Chron-5">[5]</a></sup><sup><a href="#cite_note-95">[92]</a></sup> In early 2002, <a href="/wiki/Kristanna_Loken">Kristanna Loken</a> was cast as the T-X, while Stahl was cast as John Connor.<sup><a href="#cite_note-96">[93]</a></sup><sup><a href="#cite_note-97">[94]</a></sup> Stahl auditioned approximately five times, and underwent three <a href="/wiki/Screen_test">screen tests</a>, before receiving the role.<sup><a href="#cite_note-Bonin-98">[95]</a></sup> Other actors considered for the role of John Connor included <a href="/wiki/Shane_West">Shane West</a>, <a href="/wiki/Jake_Gyllenhaal">Jake Gyllenhaal</a>,<sup><a href="#cite_note-99">[96]</a></sup><sup><a href="#cite_note-100">[97]</a></sup> and <a href="/wiki/Logan_Marshall-Green">Logan Marshall-Green</a>.<sup><a href="#cite_note-101">[98]</a></sup> For the film, Stahl took some weapons training and learned how to ride a motorcycle.<sup><a href="#cite_note-CR-92">[89]</a></sup> Stahl did not aim to impersonate Furlong's earlier performance. For her role, Loken underwent six weeks of training,<sup><a href="#cite_note-CR-92">[89]</a></sup> involving weights, fighting, and weapons.<sup><a href="#cite_note-MTV2-89">[86]</a></sup> She also undertook <a href="/wiki/Krav_Maga">Krav Maga</a>,<sup><a href="#cite_note-CR-92">[89]</a></sup> and gained 14 pounds of muscle.<sup><a href="#cite_note-102">[99]</a></sup> In addition, Loken took a mime movement class to perfect her character's robotic movements.<sup><a href="#cite_note-MTV2-89">[86]</a></sup>
</p><p>Mostow originally wanted <a href="/wiki/Claire_Danes">Claire Danes</a> for the role of Kate Brewster, but the initial effort to get her involved did not work out.<sup><a href="#cite_note-Horn-88">[85]</a></sup><sup><a href="#cite_note-Mostow-81">[78]</a></sup> <a href="/wiki/Sophia_Bush">Sophia Bush</a> was cast in the role instead, and Mostow was more excited about her casting than any other character.<sup><a href="#cite_note-Mostow-81">[78]</a></sup> However, during filming, Mostow felt that Bush's appearance and performance seemed too youthful for the role.<sup><a href="#cite_note-Chron-5">[5]</a></sup><sup><a href="#cite_note-Fleming-103">[100]</a></sup> He said, "I tried everything I could to make her look older, but ultimately the camera doesn't lie. So I had to replace her and it was heart breaking because it was a <a href="/wiki/Breakthrough_role">huge break</a> for her."<sup><a href="#cite_note-Mostow-81">[78]</a></sup> After reading the script, Danes decided to join the cast to play Kate.<sup><a href="#cite_note-Chron-5">[5]</a></sup> Bush was replaced by Danes in May 2002, a month into filming.<sup><a href="#cite_note-Fleming-103">[100]</a></sup><sup><a href="#cite_note-104">[101]</a></sup> Danes began filming the day after she was hired.<sup><a href="#cite_note-105">[102]</a></sup>
</p>
<h3>Filming[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=8">edit</a>]</h3>
<p>Filming began on April 15, 2002.<sup><a href="#cite_note-Fleming-103">[100]</a></sup> The first night of filming involved Schwarzenegger's Terminator crashing a vehicle into the T-X outside the animal hospital,<sup><a href="#cite_note-IGN-2003-33">[30]</a></sup> which was constructed as a set in Los Angeles' <a href="/wiki/Sunland-Tujunga,_Los_Angeles">Sunland-Tujunga</a> neighborhood.<sup><a href="#cite_note-CR-92">[89]</a></sup><sup><a href="#cite_note-106">[103]</a></sup> Initially, Mostow was somewhat hesitant about following Cameron's footsteps as director,<sup><a href="#cite_note-AP-38">[35]</a></sup><sup><a href="#cite_note-EW-68">[65]</a></sup> but he eventually put aside such concerns and later said, "Everyone will see this movie and make comparisons, but I can't control any of that."<sup><a href="#cite_note-EW-68">[65]</a></sup> Schwarzenegger missed working with Cameron and initially did not have the same kind of confidence in Mostow as filming began. However, during the first week of filming, Schwarzenegger became convinced that Mostow was an adequate choice.<sup><a href="#cite_note-AP-38">[35]</a></sup><sup><a href="#cite_note-EW-68">[65]</a></sup>
</p><p>Production designer Jeff Mann and his crew of 350 people designed and constructed multiple sets for the film during a four-month period prior to filming.<sup><a href="#cite_note-CR-92">[89]</a></sup> <a href="/wiki/Los_Angeles_Center_Studios">Los Angeles Center Studios</a> was a major filming location,<sup><a href="#cite_note-Pump-73">[70]</a></sup> as the production used six <a href="/wiki/Sound_stage">sound stages</a> there.<sup><a href="#cite_note-CR-92">[89]</a></sup> At least three sound stages were occupied by the project at all times during filming, and at one point all of the stages were in use for the shoot.<sup><a href="#cite_note-Pump-73">[70]</a></sup> In June 2002, driving scenes were filmed at <a href="/wiki/Rose_Hills_Memorial_Park">Rose Hills Memorial Park</a> in <a href="/wiki/Whittier,_California">Whittier, California</a>.<sup><a href="#cite_note-107">[104]</a></sup> Filming also took place at <a href="/wiki/Big_Bend_National_Park">Big Bend National Park</a> in Texas.<sup><a href="#cite_note-108">[105]</a></sup> Some sequences use more than 1,000 simultaneous tracks of audio.<sup><a href="#cite_note-CR-92">[89]</a></sup>
</p><p>Stahl had few scenes during the initial weeks of filming, giving him time to work on his physique.<sup><a href="#cite_note-Bonin-98">[95]</a></sup> Schwarzenegger worked out during lunch breaks to maintain his physical appearance.<sup><a href="#cite_note-CR-92">[89]</a></sup><sup><a href="#cite_note-109">[106]</a></sup> He had a 20-foot trailer with a gym inside, where he would work out in between filming.<sup><a href="#cite_note-MTV2-89">[86]</a></sup><sup><a href="#cite_note-Horn-88">[85]</a></sup> Schwarzenegger also performed many of his own stunts, something that he enjoyed doing. One of the most elaborate and choreographed stunts was devised by Mostow and stunt coordinator Simon Crane. The scene involves the T-X driving a 100-ton <a href="/wiki/Mobile_crane">mobile crane</a> down a street in pursuit of John Connor. During the scene, Schwarzenegger's Terminator hangs on to the crane arm as it is swung around, smashing him into a glass building and a passing fire truck. Fourteen cameras were used for the shot in which he crashes through a glass building, as the film crew would only have one chance to film it, which was the case with many of the film's stunts. Schwarzenegger enjoyed filming the scene and called it "unbelievable," while stating, "We used every safety precaution, but there were close calls, many times." The street chase was filmed on a quarter-mile set of road and buildings, constructed at a <a href="/wiki/Boeing">Boeing</a> plant in <a href="/wiki/Downey,_California">Downey, California</a>.<sup><a href="#cite_note-CR-92">[89]</a></sup><sup><a href="#cite_note-110">[107]</a></sup> The film's showdown between the two Terminators is set in a marble and steel bathroom. Mostow's vision for the scene was to have the bathroom completely destroyed by the Terminators by the end of their battle. The scene took four weeks to rehearse and two weeks to film.<sup><a href="#cite_note-CR-92">[89]</a></sup> In early September 2002, scenes were filmed at <a href="/wiki/San_Bernardino_International_Airport">San Bernardino International Airport</a>.<sup><a href="#cite_note-111">[108]</a></sup>
</p><p>As with the previous films, the Terminator characters arrive naked after travelling through time.<sup><a href="#cite_note-CR-92">[89]</a></sup><sup><a href="#cite_note-Ark-112">[109]</a></sup> One of the film's opening scenes is set at the Desert Star bar, where Schwarzenegger's Terminator goes in search of clothes. The scene was filmed at the Cowboy Palace bar in the <a href="/wiki/San_Fernando_Valley">San Fernando Valley</a>.<sup><a href="#cite_note-CR-92">[89]</a></sup> The Sierra Inn bar and restaurant, in <a href="/wiki/Agua_Dulce,_California">Agua Dulce, California</a>, was also used for exterior shots of the Desert Star.<sup><a href="#cite_note-113">[110]</a></sup><sup><a href="#cite_note-114">[111]</a></sup> The final scene to be filmed was another opening scene in which the T-X arrives naked on <a href="/wiki/Rodeo_Drive">Rodeo Drive</a> in <a href="/wiki/Beverly_Hills,_California">Beverly Hills, California</a>. Mostow said shooting the scene discreetly was a challenge due to the tourist popularity of Rodeo Drive. The filmmakers had to wait five months before finally receiving clearance to shoot the scene.<sup><a href="#cite_note-Ark-112">[109]</a></sup> The street had to be closed for filming to take place.<sup><a href="#cite_note-115">[112]</a></sup> The 5-month<sup><a href="#cite_note-CR-92">[89]</a></sup> shoot proceeded as scheduled (From April 15, 2002), and concluded on September 8, 2002.<sup><a href="#cite_note-Ark-112">[109]</a></sup><sup><a href="#cite_note-116">[113]</a></sup>
</p>
<h3>Effects[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=9">edit</a>]</h3>
<p>The film features more than 600 <a href="/wiki/Special_effect">special effects</a> shots.<sup><a href="#cite_note-EW-68">[65]</a></sup> <a href="/wiki/Industrial_Light_%26_Magic">Industrial Light &amp; Magic</a> (ILM) and <a href="/wiki/Stan_Winston">Stan Winston</a> created the special effects, as they had done for the previous film.<sup><a href="#cite_note-117">[114]</a></sup><sup><a href="#cite_note-118">[115]</a></sup> Winston created the Terminator special effects and also designed the T-1,<sup><a href="#cite_note-CR-92">[89]</a></sup><sup><a href="#cite_note-119">[116]</a></sup> an early Terminator machine that appears in the CRS facility near the end of the film. Mostow said about the T-1, "I wanted to depict the first generation of Terminator robots, to show where it all began. […] We came up with this primitive but deadly robotic machine that is part tank, part robot." Winston created five full-sized, functioning T-1 robots, each one controlled by <a href="/wiki/Hydraulics">hydraulics</a>. Winston's team also designed the T-X's endoskeleton frame, as well as her weapons. Certain sequences involving fire and explosions were deemed too dangerous for Schwarzenegger and Loken to perform, so Winston and his team constructed life-sized robot replicas of the actors for such scenes.<sup><a href="#cite_note-CR-92">[89]</a></sup> When the start of production was delayed from its earlier 2001 date, it allowed Winston more time to develop the various special effects.<sup><a href="#cite_note-Chron-5">[5]</a></sup> ILM used miniature sculptures and <a href="/wiki/Computer-generated_imagery">computer-generated imagery</a> (CGI) to create numerous <a href="/wiki/Visual_effects">visual effects</a> for brief scenes set in the future, depicting the post-apocalyptic war between humans and machines.<sup><a href="#cite_note-CR-92">[89]</a></sup> ILM's effects included Terminator endoskeletons seen during the future war. The endoskeletons were created entirely through CGI.<sup><a href="#cite_note-WinstonInterview-120">[117]</a></sup>
</p><p>One challenging scene for the visual effects team takes place at a cemetery, where the T-X has taken on the appearance of Kate's fiancé, before morphing to her original appearance. The scene required several repeated shots of the same area with the use of controlled camera movements that were the same for each take.<sup><a href="#cite_note-CR-92">[89]</a></sup> Another difficult scene depicts the T-X's liquid metal exterior peeling off to reveal her endoskeleton. The visual effects team took six months to develop a method that would adequately simulate the scene. <a href="/wiki/Pablo_Helman">Pablo Helman</a>, visual effects supervisor for ILM, said, "We had no application for creating and controlling streams of liquid metal, so we had to begin by determining the density, weight, shape and mass of this material, and how it would move under these conditions. It was a really complicated process."<sup><a href="#cite_note-CR-92">[89]</a></sup> Another scene features the crane vehicle flipping over at the end of the road chase sequence. The production crew determined that it would be too dangerous and impractical to use the actual vehicle during this portion of the sequence, so ILM digitally recreated the crane using photos of the actual vehicle.<sup><a href="#cite_note-CR-92">[89]</a></sup>
</p><p>One scene depicts the T-101 cutting open his chest cavity to remove a failing fuel cell battery, while simultaneously driving a truck. For the scene, Winston's team used cyber scans to create a body cast replica of Schwarzenegger that would sit in the driver's seat. Schwarzenegger was situated in the back of the truck, and his head and arms were visible in the front seat to give the impression that he was connected to the body cast.<sup><a href="#cite_note-CR-92">[89]</a></sup> Several shots during the bathroom battle used CGI to simulate the Terminators. Helman said the scene required "a tremendous amount of visual effects to accomplish, and in some shots, large sections of the bathroom are completely computer generated." Mostow said the battle was "actually a much more complicated sequence from a visual effects standpoint than the audience will ever realize."<sup><a href="#cite_note-CR-92">[89]</a></sup> A combination of Schwarzenegger's real body, prosthetics, and CGI were used to create the T-101 for its final scene in the film.<sup><a href="#cite_note-WinstonInterview-120">[117]</a></sup>
</p>
<h2>Music[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=10">edit</a>]</h2>
<h3>Soundtrack[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=11">edit</a>]</h3>
<table><tbody><tr><th><i>Terminator 3: Rise of the Machines (Original Motion Picture Soundtrack)</i></th></tr><tr><th><a href="/wiki/Film_score">Film score</a> by <div><p><a href="/wiki/Marco_Beltrami">Marco Beltrami</a></p></div></th></tr><tr><th>Released</th><td>June 24, 2003</td></tr><tr><th>Length</th><td>51:22</td></tr><tr><th><a href="/wiki/Record_label">Label</a></th><td><a href="/wiki/Var%C3%A8se_Sarabande">Varèse Sarabande</a></td></tr><tr><th><i><a href="/wiki/Terminator_(franchise)">Terminator</a></i> soundtrack chronology</th></tr><tr><td>
<table>
<tbody><tr>
<td><i><a href="/wiki/Terminator_2:_Judgment_Day#Soundtrack">Terminator 2: Judgment Day (Original Motion Picture Soundtrack)</a></i><br />(1991)
</td>
<td>''<i><b>Terminator 3: Rise of the Machines (Original Motion Picture Soundtrack)''</b></i><br />(2003)
</td>
<td><i><a href="/wiki/Terminator:_The_Sarah_Connor_Chronicles_(soundtrack)">Terminator: The Sarah Connor Chronicles</a></i><br />(2008)
</td></tr></tbody></table></td></tr></tbody></table>
<p><a href="/wiki/Marco_Beltrami">Marco Beltrami</a> composed the musical score. He did not use the series' <a href="/wiki/Leitmotif">leitmotif</a> by <a href="/wiki/Brad_Fiedel">Brad Fiedel</a>,<sup><a href="#cite_note-121">[118]</a></sup> though it was used in the film's end credits. The film's <a href="/wiki/Soundtrack">soundtrack</a> was released by <a href="/wiki/Var%C3%A8se_Sarabande">Varèse Sarabande</a> on June 24, 2003:
</p>
<div><p>All music is composed by Marco Beltrami except "The Terminator" and "I Told You".</p><table><caption><i>Terminator 3: Rise of the Machines</i> (Original Motion Picture Soundtrack)</caption><tbody><tr><th><abbr>No.</abbr></th><th>Title</th><th>Writer(s)</th><th>Original artist</th><th>Length</th></tr><tr><th>1.</th><td>"A Day in the Life"</td><td> </td><td> </td><td>3:41</td></tr><tr><th>2.</th><td>"Hooked on Multiphonics"</td><td> </td><td> </td><td>1:47</td></tr><tr><th>3.</th><td>"Blonde Behind the Wheel"</td><td> </td><td> </td><td>2:07</td></tr><tr><th>4.</th><td>"JC Theme"</td><td> </td><td> </td><td>3:34</td></tr><tr><th>5.</th><td>"Starting T-1"</td><td> </td><td> </td><td>1:50</td></tr><tr><th>6.</th><td>"Hearse Rent a Car"</td><td> </td><td> </td><td>1:48</td></tr><tr><th>7.</th><td>"T-X's Hot Tail"</td><td> </td><td> </td><td>3:39</td></tr><tr><th>8.</th><td>"Graveyard Shootout"</td><td> </td><td> </td><td>1:31</td></tr><tr><th>9.</th><td>"More Deep Thoughts"</td><td> </td><td> </td><td>0:58</td></tr><tr><th>10.</th><td>"Dual Terminator"</td><td> </td><td> </td><td>0:51</td></tr><tr><th>11.</th><td>"Kicked in the Can"</td><td> </td><td> </td><td>2:03</td></tr><tr><th>12.</th><td>"Magnetic Personality"</td><td> </td><td> </td><td>4:35</td></tr><tr><th>13.</th><td>"Termina-Tricks"</td><td> </td><td> </td><td>2:12</td></tr><tr><th>14.</th><td>"Flying Lessons"</td><td> </td><td> </td><td>0:56</td></tr><tr><th>15.</th><td>"What Do You Want on Your Tombstone?"</td><td> </td><td> </td><td>1:19</td></tr><tr><th>16.</th><td>"Terminator Tangle"</td><td> </td><td> </td><td>3:21</td></tr><tr><th>17.</th><td>"Radio"</td><td> </td><td> </td><td>2:23</td></tr><tr><th>18.</th><td>"T3"</td><td> </td><td> </td><td>3:17</td></tr><tr><th>19.</th><td>"The Terminator" (from the motion picture <i><a href="/wiki/The_Terminator">The Terminator</a></i>)</td><td>Brad Fiedel</td><td>Brad Fiedel</td><td>2:21</td></tr><tr><th>20.</th><td>"Open to Me" (bonus track)</td><td>Dillon Dixon</td><td>Dillon Dixon</td><td>3:46</td></tr><tr><th>21.</th><td>"I Told You" (bonus track)</td><td>Mia Julia</td><td>Mia Julia</td><td>3:11</td></tr><tr><th>Total length:</th><td>51:22</td></tr></tbody></table></div>
<p><b>Songs that are not included on the soundtrack album</b>
</p>
<ul><li>"Dat Funky Man" (performed by William Randolph III; words by Jonathan Mostow)</li>
<li>"Sugar" (performed by <a href="/wiki/Peter_Beckett">Peter Beckett</a>; words by Jonathan Mostow)</li>
<li>"Party" (performed by <a href="/wiki/Peter_Beckett">Peter Beckett</a>)</li>
<li>"Can't Hide This" (performed by Mega Jeff)</li>
<li>"<a href="/wiki/Macho_Man_(song)">Macho Man</a>" (performed by <a href="/wiki/Village_People">Village People</a>)</li>
<li>"<a href="/wiki/The_Current_(song)">The Current</a>" (performed by <a href="/wiki/Blue_Man_Group">Blue Man Group</a> featuring <a href="/wiki/Gavin_Rossdale">Gavin Rossdale</a>)<sup><a href="#cite_note-122">[119]</a></sup></li></ul>
<h2>Release[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=12">edit</a>]</h2>
<h3>Marketing[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=13">edit</a>]</h3>
<p>The first teaser trailer of <i>Terminator 3: Rise of the Machines</i> premiered online and in theaters with <i><a href="/wiki/Men_in_Black_II">Men in Black II</a></i> in July 2002.<sup><a href="#cite_note-123">[120]</a></sup> On December 13, 2002, the first shot of <a href="/wiki/T-X">T-X</a> was revealed on <a href="/wiki/USA_Today">USA Today</a>. Just four days later, a trailer was officially released online. It debuted in theaters a day later on December 18 with the release of <i><a href="/wiki/The_Lord_of_the_Rings:_The_Two_Towers">The Lord of the Rings: The Two Towers</a></i>.<sup><a href="#cite_note-124">[121]</a></sup> The film was also advertised during <a href="/wiki/Super_Bowl_XXXVII">Super Bowl XXXVII</a> with a television commercial.<sup><a href="#cite_note-125">[122]</a></sup>
</p><p>In May 2003, several parties were held in <a href="/wiki/Cannes">Cannes</a> to promote the film. Also held there was a publicity event that included 10-foot metal robots, as well as comments from Schwarzenegger about the film.<sup><a href="#cite_note-126">[123]</a></sup> Action figures of the Terminator characters were produced by <a href="/wiki/McFarlane_Toys">McFarlane Toys</a>.<sup><a href="#cite_note-127">[124]</a></sup>
</p><p><a href="/wiki/Atari,_Inc._(1993%E2%80%93present)">Atari</a> adapted the film into three video games, beginning with <i><a href="/wiki/Terminator_3:_Rise_of_the_Machines_(video_game)">Terminator 3: Rise of the Machines</a></i> (2003) developed by <a href="/wiki/Black_Ops_Entertainment">Black Ops Entertainment</a> for multiple platforms.<sup><a href="#cite_note-128">[125]</a></sup> This was followed by <i><a href="/wiki/Terminator_3:_War_of_the_Machines">Terminator 3: War of the Machines</a></i> (2003) and <i><a href="/wiki/Terminator_3:_The_Redemption">Terminator 3: The Redemption</a></i> (2004).<sup><a href="#cite_note-129">[126]</a></sup>
</p><p>On the weekend of the film's release, NASCAR drivers <a href="/wiki/Jamie_McMurray">Jamie McMurray</a> and <a href="/wiki/Michael_Waltrip">Michael Waltrip</a> each drove T3-branded cars during races at <a href="/wiki/Daytona_International_Speedway">Daytona International Speedway</a>. The cars featured the likenesses of Schwarzenegger and Loken's characters.
</p>
<h3>Theatrical[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=14">edit</a>]</h3>
<p><i>Terminator 3: Rise of the Machines</i> had its premiere at <a href="/wiki/Mann_Village_Theater">Mann Village Theater</a> in <a href="/wiki/Westwood,_Los_Angeles">Westwood, Los Angeles</a> on June 30, 2003.<sup><a href="#cite_note-130">[127]</a></sup><sup><a href="#cite_note-131">[128]</a></sup><sup><a href="#cite_note-132">[129]</a></sup> In the United States, the film was released by Warner Bros. in 3,504 theaters on July 2, 2003.<sup><a href="#cite_note-BOM-3">[3]</a></sup><sup><a href="#cite_note-Fox-133">[130]</a></sup> Press screenings of the film were very limited prior to release.<sup><a href="#cite_note-Fox-133">[130]</a></sup>
</p>
<h3>Home media[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=15">edit</a>]</h3>
<p><i>Terminator 3: Rise of the Machines</i> was released on <a href="/wiki/DVD">DVD</a> and <a href="/wiki/VHS">VHS</a> on November 11, 2003, and on <a href="/wiki/Blu-ray">Blu-ray</a> on February 26, 2008.
</p>
<h2>Reception[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=16">edit</a>]</h2>
<h3>Box office[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=17">edit</a>]</h3>
<p><i>Terminator 3: Rise of the Machines</i> earned $150.4 million in the United States and Canada and $283 million in other territories, for a worldwide total of $433.4 million.<sup><a href="#cite_note-BOM-3">[3]</a></sup> It was the <a href="/wiki/2003_in_film#Highest-grossing_films">seventh-highest-grossing film of 2003</a>.<sup><a href="#cite_note-Top2003Films-134">[131]</a></sup>
</p><p><i>Terminator 3: Rise of the Machines</i> was released on July 2, 2003. It earned $12.5 million on its first day, including $4 million from Tuesday night previews.<sup><a href="#cite_note-135">[132]</a></sup> The film grossed $44 million during its opening weekend,<sup><a href="#cite_note-EWOpening-136">[133]</a></sup><sup><a href="#cite_note-137">[134]</a></sup> combined with the $72.5 million five-day Wednesday opening gross. It had the fifth-highest opening weekend for an R-rated film, behind <i><a href="/wiki/The_Matrix_Reloaded">The Matrix Reloaded</a></i>, <i><a href="/wiki/American_Pie_2">American Pie 2</a></i>, <i><a href="/wiki/8_Mile_(film)">8 Mile</a></i>, and <i><a href="/wiki/Hannibal_(2001_film)">Hannibal</a></i>.<sup><a href="#cite_note-138">[135]</a></sup> The film also scored the third-highest Fourth of July opening weekend, after <i><a href="/wiki/Men_in_Black_II">Men in Black II</a></i> and <i><a href="/wiki/Independence_Day_(1996_film)">Independence Day</a></i>. Moreover, it competed against other films that were released during the summer season like <i><a href="/wiki/Finding_Nemo">Finding Nemo</a></i>, <i><a href="/wiki/The_Italian_Job_(2003_film)">The Italian Job</a></i>, <i><a href="/wiki/Hulk_(film)">Hulk</a></i>, <i><a href="/wiki/Legally_Blonde_2:_Red,_White_%26_Blonde">Legally Blonde 2: Red, White &amp; Blonde</a></i>, <i><a href="/wiki/Charlie%27s_Angels:_Full_Throttle">Charlie's Angels: Full Throttle</a></i>, and <i><a href="/wiki/Bruce_Almighty">Bruce Almighty</a></i>.<sup><a href="#cite_note-EWOpening-136">[133]</a></sup> These films would even dominate the weaker opening of <i><a href="/wiki/Sinbad:_Legend_of_the_Seven_Seas">Sinbad: Legend of the Seven Seas</a></i>, an underperforming animated film.<sup><a href="#cite_note-139">[136]</a></sup> Additionally, <i>Terminator 3: Rise of the Machines</i> surpassed <i><a href="/wiki/Batman_%26_Robin_(film)">Batman &amp; Robin</a></i> for having the biggest opening weekend for any film starring <a href="/wiki/Arnold_Schwarzenegger">Arnold Schwarzenegger</a>.<sup><a href="#cite_note-140">[137]</a></sup> It would remain at the top of the box office until it was dethroned by <i><a href="/wiki/Pirates_of_the_Caribbean:_The_Curse_of_the_Black_Pearl">Pirates of the Caribbean: The Curse of the Black Pearl</a></i> the following week.<sup><a href="#cite_note-141">[138]</a></sup>
</p><p>Internationally, <i>Terminator 3: Rise of the Machines</i> had box office runs in several countries. The film made $1 million from India, making it the country's third-highest opening of any film, behind <i><a href="/wiki/Die_Another_Day">Die Another Day</a></i> and <i><a href="/wiki/Spider-Man_(2002_film)">Spider-Man</a></i>.<sup><a href="#cite_note-142">[139]</a></sup> In France, it became the third-highest opening for a 2003 film in the country, trailing only behind <i><a href="/wiki/Taxi_3">Taxi 3</a></i> and <i>The Matrix Reloaded</i>.<sup><a href="#cite_note-143">[140]</a></sup> It then made $2.6 million in Italy during its opening weekend.<sup><a href="#cite_note-144">[141]</a></sup> In the UK, the film made an opening weekend total of $9.6 million.<sup><a href="#cite_note-145">[142]</a></sup> At this point, it had the country's fourth-highest opening for any 2003 film, after <i>Bruce Almighty</i>, <i>The Matrix Reloaded</i>, and <i><a href="/wiki/X2_(film)">X2</a></i>. With the exception of <i>Batman &amp; Robin</i> and <i><a href="/wiki/True_Lies">True Lies</a></i>, the film's four-day gross was superior to the total gross of any Schwarzenegger film released since <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i> in 1991. Plus, it had earned $1.7 million from previews.<sup><a href="#cite_note-146">[143]</a></sup> Meanwhile, in Japan, <i>Terminator 3: Rise of the Machines</i> went on to earn $12.5 million, making it the country's sixth-largest opening of any film. The film had already earned $9.5 million from previews, surpassing <i><a href="/wiki/Spirited_Away">Spirited Away</a></i>'s record for having the biggest previews in Japan.<sup><a href="#cite_note-147">[144]</a></sup> It made $1.3 million in Thailand, becoming the second-highest opening of any film in the country, behind <i><a href="/wiki/The_Legend_of_Suriyothai">The Legend of Suriyothai</a></i>.<sup><a href="#cite_note-148">[145]</a></sup> In total, the international grosses include Argentina ($2.5 million), Australia ($12.3 million), Austria ($3.4 million) France ($18.9 million), Germany ($19.5 million), India ($2.1 million), Italy ($6.2 million), Japan ($67.5 million), Mexico ($8.9 million), New Zealand ($2.3 million), Russia ($12.8 million), Spain ($13.9 million), and the United Kingdom ($31.2 million).<sup><a href="#cite_note-BOM-3">[3]</a></sup>
</p>
<h3>Critical response[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=18">edit</a>]</h3>
<p><i>Terminator 3: Rise of the Machines</i> has an approval rating of 69% based on 206 professional reviews on the <a href="/wiki/Review_aggregator">review aggregator</a> website <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, with an average rating of 6.5/10. Its critical consensus reads, "Although <i>T3</i> never reaches the heights of the second movie, it is a welcome addition to the Terminator franchise."<sup><a href="#cite_note-149">[146]</a></sup> <a href="/wiki/Metacritic">Metacritic</a> (which uses a weighted average) assigned <i>Terminator 3: Rise of the Machines</i> a score of 66 out of 100 based on 41 critics, indicating "generally favorable reviews".<sup><a href="#cite_note-150">[147]</a></sup> Audiences polled by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "B+" on an A+ to F scale.<sup><a href="#cite_note-CinemaScore-151">[148]</a></sup>
</p><p>Shortly after the film's release, Cameron described the film as "in one word: great",<sup><a href="#cite_note-152">[149]</a></sup> but after the release of the fourth film, <i><a href="/wiki/Terminator_Salvation">Terminator Salvation</a></i>, Cameron recanted his statement and said he felt his first two films were better than either of the later films.<sup><a href="#cite_note-153">[150]</a></sup> <a href="/wiki/A._O._Scott">A. O. Scott</a> of <i><a href="/wiki/The_New_York_Times">The New York Times</a></i> said the film "is essentially a <a href="/wiki/B_movie">B movie</a>, content to be loud, dumb and obvious".<sup><a href="#cite_note-154">[151]</a></sup> <a href="/wiki/Roger_Ebert">Roger Ebert</a> gave the film two-and-a-half stars, remarking "Essentially one long chase and fight, punctuated by comic, campy or simplistic dialogue."<sup><a href="#cite_note-155">[152]</a></sup>
</p>
<h3>Accolades[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=19">edit</a>]</h3>
<h2>Sequel[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=20">edit</a>]</h2>
<p>A sequel to <i>Terminator 3: Rise of the Machines</i> was released in 2009, titled <i>Terminator Salvation</i>. Its plot follows elements of the third film, and the setting moved to the post-apocalyptic future. <i>Salvation</i> was intended to launch a new trilogy for the series.<sup><a href="#cite_note-158">[155]</a></sup>
</p>
<h2>Notes[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=21">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-6">^</a></b> Also known as <i><b>T3</b></i><sup><a href="#cite_note-Chron-5">[5]</a></sup>
</li>
<li><b><a href="#cite_ref-7">^</a></b> As depicted in <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i> (1991)
</li>
<li><b><a href="#cite_ref-8">^</a></b> The Chairman is referred to as <i>Admiral James T. Morrison</i> in the novelization by <a href="/wiki/David_Hagberg">David Hagberg</a>. In the film the character is unnamed.
</li>
</ol></div>
<h2>References[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=22">edit</a>]</h2>
<h3>Citations[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=23">edit</a>]</h3>
<div><ol>
<li>^ <a href="#cite_ref-IMF_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-IMF_1-1"><sup><i><b>b</b></i></sup></a> <cite><a href="/wiki/Intermedia_(production_company)">IM International Media AG</a> (2010). <a href="http://www.internationalmedia.de/index.php?module=pagesetter&amp;func=viewpub&amp;tid=2&amp;pid=30">"Terminator 3 – Rise of the Machines"</a>. Retrieved June 24, 2010.</cite>
</li>
<li><b><a href="#cite_ref-variety=sonyterminator_2-0">^</a></b> <cite>Claude Brodesser, Dana Harris (January 3, 2002). <a href="https://variety.com/2002/film/news/sony-has-t3-o-seas-1117857897/">"Sony has 'T3' o'seas"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. Retrieved November 23, 2020.</cite>
</li>
<li>^ <a href="#cite_ref-BOM_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BOM_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-BOM_3-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-BOM_3-3"><sup><i><b>d</b></i></sup></a> <cite><a href="https://www.boxofficemojo.com/title/tt0181852/">"<i>Terminator 3: Rise of the Machines</i>"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. Retrieved January 2, 2022.</cite>
</li>
<li><b><a href="#cite_ref-4">^</a></b> <cite><a href="http://lumiere.obs.coe.int/web/film_info/?id=20304">"Terminator 3: Rise of the Machines"</a>. <i><a href="/wiki/Lumiere_(database)">Lumiere</a></i>. <a href="/wiki/European_Audiovisual_Observatory">European Audiovisual Observatory</a>. Retrieved October 19, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-Chron_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Chron_5-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Chron_5-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Chron_5-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Chron_5-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Chron_5-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Chron_5-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Chron_5-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Chron_5-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Chron_5-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-Chron_5-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-Chron_5-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-Chron_5-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-Chron_5-13"><sup><i><b>n</b></i></sup></a> <a href="#cite_ref-Chron_5-14"><sup><i><b>o</b></i></sup></a> <a href="#cite_ref-Chron_5-15"><sup><i><b>p</b></i></sup></a> <a href="#cite_ref-Chron_5-16"><sup><i><b>q</b></i></sup></a> <cite>Lawson, Terry (July 1, 2003). <a href="https://www.chron.com/entertainment/movies/article/T3-was-almost-the-big-movie-that-couldn-t-get-2125230.php">"'T3' was almost the big movie that couldn't get made"</a>. <i>Knight Ridder Newspapers</i>. Retrieved October 2, 2019.</cite>
</li>
<li><b><a href="#cite_ref-9">^</a></b> <cite>Knight, Brad (April 2005). <a href="https://books.google.com/books?id=Qbp_R_BTqxEC&amp;pg=PA237"><i>Laci Peterson: the whole story: Laci, Scott, and Amber's deadly love triangle By Brad Knight</i></a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-595-34750-6"><bdi>978-0-595-34750-6</bdi></a>.</cite>
</li>
<li><b><a href="#cite_ref-10">^</a></b> <cite>Jaafar, Ali (May 12, 2016). <a href="https://deadline.com/2016/05/carolco-pictures-mario-kassar-cannes-interview-foxtrot-six-audition-1201752739/">"Deadline Disruptors: King Of Cannes Mario Kassar On The Glory Days Of Carolco, Why Buying Arnie A Plane Made Sense &amp; Talking Vaginas"</a>. <i><a href="/wiki/Deadline_Hollywood">Deadline Hollywood</a></i>. Retrieved October 2, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-Rocky_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Rocky_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Rocky_11-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Rocky_11-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Rocky_11-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Rocky_11-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Rocky_11-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Rocky_11-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Rocky_11-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Rocky_11-9"><sup><i><b>j</b></i></sup></a> <cite>Abramowitz, Rachel (March 11, 2002). <a href="https://www.latimes.com/archives/la-xpm-2002-mar-11-et-abram11-story.html">"Rage Against the Machines: 'T3's' Rocky Road"</a>. <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i>. Retrieved October 10, 2019.</cite>
</li>
<li><b><a href="#cite_ref-12">^</a></b> <cite><a href="https://www.newspapers.com/newspage/273652044/">"'Terminator' packs mega-budget"</a>. <i>Honolulu Star-Bulletin</i>. July 3, 1991. Retrieved October 13, 2019 – via Newspapers.com.</cite>
</li>
<li><b><a href="#cite_ref-13">^</a></b> <cite><a href="https://nl.newsbank.com/">"Hurd: 'Terminator' Triple Play?"</a>. <i>Daily News of Los Angeles</i>. July 23, 1991. Retrieved October 13, 2019 – via NewsLibrary.</cite>
</li>
<li><b><a href="#cite_ref-FOOTNOTEShapiroC199135_14-0">^</a></b> <a href="#CITEREFShapiroC1991">ShapiroC 1991</a>, p. 35.
</li>
<li><b><a href="#cite_ref-FOOTNOTEShapiro,_Marc,_July_B199140_15-0">^</a></b> <a href="#CITEREFShapiro,_Marc,_July_B1991">Shapiro, Marc, July B 1991</a>, p. 40.
</li>
<li><b><a href="#cite_ref-16">^</a></b> <cite>Citron, Alan (May 11, 1992). <a href="https://www.latimes.com/archives/la-xpm-1992-05-11-fi-1320-story.html">"Like Carolco, Studio's Boss Trims Sails"</a>. <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i>. Retrieved October 2, 2019.</cite>
</li>
<li><b><a href="#cite_ref-17">^</a></b> <cite><a href="https://nl.newsbank.com/">"Hollywood Freeway, Hollywood Willing to Tri"</a>. <i><a href="/wiki/Daily_News_of_Los_Angeles">Daily News of Los Angeles</a></i>. May 28, 1992. Retrieved October 13, 2019 – via NewsLibrary. <q>Now comes word that TriStar is planning "Terminator 3." "It will probably take a couple of years," said TriStar chief Mike Medavoy. TriStar distributed "Terminator 2," which was produced by Carolco.</q></cite>
</li>
<li>^ <a href="#cite_ref-NYT_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-NYT_18-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-NYT_18-2"><sup><i><b>c</b></i></sup></a> <cite>Business, Bloomberg (November 11, 1995). <a href="https://www.nytimes.com/1995/11/11/business/company-news-carolco-pictures-files-for-bankruptcy-protection.html">"Company News; Carolco Pictures Files for Bankruptcy Protection"</a>. <i>The New York Times</i>. Retrieved September 6, 2019.</cite> 
</li>
<li><b><a href="#cite_ref-19">^</a></b> <cite><a href="https://variety.com/1995/more/news/cameron-s-lightstorm-docks-at-fox-99123505/">"Cameron's Lightstorm Docks At Fox"</a>. <i>Variety</i>. December 18, 1995. Retrieved September 6, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-Deseret_20-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Deseret_20-1"><sup><i><b>b</b></i></sup></a> <cite>Hicks, Chris (June 2, 1996). <a href="https://www.deseret.com/1996/6/2/19246013/terminator-series-wasn-t-terminal-after-all">"'Terminator' Series Wasn't Terminal After All"</a>. <i>Deseret News</i>. Retrieved September 6, 2019.</cite>
</li>
<li><b><a href="#cite_ref-21">^</a></b> <cite><i>The Making of Terminator 2 3D</i>. 2000.</cite>
</li>
<li>^ <a href="#cite_ref-Bates_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bates_22-1"><sup><i><b>b</b></i></sup></a> Bates, James. <a href="https://articles.latimes.com/1996-01-17/business/fi-25405_1_film-library">"New Carolco Library Bid Sends Fox Running."</a> <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> (January 17, 1996)
</li>
<li>^ <a href="#cite_ref-Eller_23-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Eller_23-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Eller_23-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Eller_23-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Eller_23-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Eller_23-5"><sup><i><b>f</b></i></sup></a> <cite>Eller, Claudia (September 23, 1997). <a href="https://www.latimes.com/archives/la-xpm-1997-sep-23-fi-35255-story.html">"Big Problemo in Bid for 'Terminator 3'"</a>. <i>Los Angeles Times</i>. Retrieved October 2, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-Frankel_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Frankel_24-1"><sup><i><b>b</b></i></sup></a> <cite>Frankel, Daniel (September 28, 1997). <a href="https://www.eonline.com/news/35248/fox-tries-to-make-terminator-3">"Fox Tries to Make Terminator 3"</a>. <i>E!</i>. Retrieved October 2, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-Petrikin_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Petrikin_25-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Petrikin_25-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Petrikin_25-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Petrikin_25-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Petrikin_25-5"><sup><i><b>f</b></i></sup></a> <cite>Chris Petrikin (October 6, 1997). <a href="https://variety.com/1997/film/news/fox-cameron-opting-out-of-terminator-3-111660993/">"Fox, Cameron opting out of 'Terminator 3'"</a>. <i>Variety</i>. Retrieved April 14, 2015.</cite>
</li>
<li><b><a href="#cite_ref-26">^</a></b> <cite>Archerd, Army (May 9, 1997). <a href="https://variety.com/1997/voices/columns/cameron-waives-his-titanic-fees-1117863068/">"Cameron waives his 'Titanic' fees"</a>. <i>Variety</i>. Retrieved September 26, 2019. <q>Hamilton said she and Cameron are talking an eventual reteaming for "Terminator 3" — "someday"</q></cite>
</li>
<li><b><a href="#cite_ref-27">^</a></b> <cite>Frankel, Daniel (October 15, 1997). <a href="https://www.eonline.com/news/35339/terminator-rights-auctioned-cyborg-may-be-back">"Terminator Rights Auctioned; Cyborg May Be Back"</a>. <i>E!</i>. Retrieved October 2, 2019.</cite>
</li>
<li><b><a href="#cite_ref-28">^</a></b> <cite><a href="https://variety.com/1997/film/news/vajna-re-terminates-1116674536/">"Vajna re-'Terminates'"</a>. <i>Variety</i>. September 17, 1997. Retrieved October 2, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-Vajna_29-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Vajna_29-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Vajna_29-2"><sup><i><b>c</b></i></sup></a> <cite>Pierce, Nev (July 24, 2003). <a href="https://web.archive.org/web/20031223222106/http://www.bbc.co.uk/films/2003/07/24/andrew_vajna_terminator_3_interview.shtml">"Andrew Vajna interview"</a>. <i>BBC</i>. Archived from <a href="https://www.bbc.co.uk/films/2003/07/24/andrew_vajna_terminator_3_interview.shtml">the original</a> on December 23, 2003.</cite>
</li>
<li><b><a href="#cite_ref-30">^</a></b> <cite>Bates, James (October 15, 1997). <a href="https://www.latimes.com/archives/la-xpm-1997-oct-15-fi-42822-story.html">"Vajna Wins 'Terminator' Rights Bid"</a>. <i>Los Angeles Times</i>. Retrieved October 2, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-MTV_31-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-MTV_31-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-MTV_31-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-MTV_31-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-MTV_31-4"><sup><i><b>e</b></i></sup></a> <cite>Downey, Ryan J. (December 26, 2002). <a href="http://www.mtv.com/news/1459299/he-said-hed-be-back-schwarzenegger-talks-terminator-3/">"He Said He'd Be Back — Schwarzenegger Talks 'Terminator 3'"</a>. <a href="/wiki/MTV_News">MTV News</a>. Retrieved July 16, 2017.</cite>
</li>
<li><b><a href="#cite_ref-32">^</a></b> <cite>Lussier, Germain (June 2, 2014). <a href="https://www.slashfilm.com/james-cameron-new-terminator-movies/">"James Cameron Talks New 'Terminator' Movies: He's "Loosely Attached" But Won't Get Credit"</a>. <i>/Film</i>. Retrieved October 2, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-IGN-2003_33-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-IGN-2003_33-1"><sup><i><b>b</b></i></sup></a> <cite>Horn, Steven (June 27, 2003). <a href="https://web.archive.org/web/20081110141353/http://movies.ign.com/articles/426/426306p1.html">"An Interview with Arnold Schwarzenegger"</a>. <i>IGN</i>. Archived from <a href="http://movies.ign.com/articles/426/426306p1.html">the original</a> on November 10, 2008.</cite>
</li>
<li>^ <a href="#cite_ref-Redux_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Redux_34-1"><sup><i><b>b</b></i></sup></a> <cite>Chris Petrikin, Benedict Carver (March 26, 1998). <a href="https://variety.com/1998/biz/news/kassar-vajna-redux-1117469201/">"Kassar &amp; Vajna redux"</a>. <i>Variety</i>. Retrieved April 14, 2015.</cite>
</li>
<li><b><a href="#cite_ref-35">^</a></b> <cite>Weiner, Rex; Petrikin, Chris (October 7, 1997). <a href="https://variety.com/1997/film/news/hurd-will-fight-sale-of-terminator-3-rights-111662485/">"Hurd will fight sale of 'Terminator 3' rights"</a>. <i>Variety</i>. Retrieved September 6, 2019.</cite>
</li>
<li><b><a href="#cite_ref-36">^</a></b> <cite><a href="https://variety.com/1998/tv/news/golden-globes-backstage-notes-1117466812/">"Golden Globes: Backstage Notes"</a>. <i>Variety</i>. January 18, 1998. Retrieved September 27, 2019. <q>[Cameron] added that he wasn't sure what he would direct next, noting that "Terminator 3" was probably out of the question, but "Spiderman" "was a possibility."</q></cite>
</li>
<li>^ <a href="#cite_ref-McCarthy_37-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-McCarthy_37-1"><sup><i><b>b</b></i></sup></a> <cite>McCarthy, Todd (June 30, 2003). <a href="https://variety.com/2003/film/awards/terminator-3-rise-of-the-machines-1200540754/">"Terminator 3: Rise of the Machines"</a>. <i>Variety</i>. Retrieved September 26, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-AP_38-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-AP_38-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-AP_38-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-AP_38-3"><sup><i><b>d</b></i></sup></a> <cite><a href="https://www.deseret.com/2003/7/4/19732948/upstart-director-takes-on-t3">"Upstart director takes on 'T3'"</a>. Associated Press. July 4, 2003. Retrieved September 6, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-Back_39-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Back_39-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Back_39-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Back_39-3"><sup><i><b>d</b></i></sup></a> <cite>Harris, Dana (July 12, 2000). <a href="https://variety.com/2000/film/news/cameron-won-t-be-back-1117783604/">"Cameron won't be back; Director developing 'True Lies 2'"</a>. <i>Variety</i>. Retrieved September 26, 2019.</cite>
</li>
<li><b><a href="#cite_ref-Costly_40-0">^</a></b> <cite><a href="https://www.newspapers.com/newspage/478521913/">"'T3' looks so costly Arnold may go 'Ape'"</a>. <i>Daily News</i>. September 28, 1998. Retrieved September 6, 2019 – via Newspapers.com.</cite>
</li>
<li>^ <a href="#cite_ref-Two_41-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Two_41-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Two_41-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Two_41-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Two_41-4"><sup><i><b>e</b></i></sup></a> <cite>Michael Fleming (November 10, 1999). <a href="https://variety.com/1999/film/news/t2-times-two-1117757936/">"'T2' times two"</a>. <i>Variety</i>. Retrieved April 14, 2015.</cite>
</li>
<li><b><a href="#cite_ref-42">^</a></b> <cite><a href="https://www.newspapers.com/newspage/152519325/">"Bad 'bots will 'be back' for Terminator 3"</a>. <i>Reno Gazette-Journal</i>. October 13, 1999. Retrieved October 13, 2019 – via Newspapers.com.</cite>
</li>
<li>^ <a href="#cite_ref-Lyons_43-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Lyons_43-1"><sup><i><b>b</b></i></sup></a> <cite>Lyons, Charles (October 25, 2000). <a href="https://variety.com/2000/film/news/c-2-finds-coin-for-sequels-1117788273/">"C-2 finds coin for sequels"</a>. <i>Variety</i>. Retrieved September 27, 2019.</cite>
</li>
<li><b><a href="#cite_ref-44">^</a></b> <cite>Frater, Patrick (March 27, 2000). <a href="https://www.screendaily.com/vcl-takes-25-stake-in-next-two-terminator-films/401858.article">"VCL takes 25% stake in next two Terminator films"</a>. <i>ScreenDaily</i>. Retrieved October 2, 2019.</cite>
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<li>^ <a href="#cite_ref-CR_92-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-CR_92-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-CR_92-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-CR_92-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-CR_92-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-CR_92-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-CR_92-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-CR_92-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-CR_92-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-CR_92-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-CR_92-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-CR_92-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-CR_92-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-CR_92-13"><sup><i><b>n</b></i></sup></a> <a href="#cite_ref-CR_92-14"><sup><i><b>o</b></i></sup></a> <a href="#cite_ref-CR_92-15"><sup><i><b>p</b></i></sup></a> <a href="#cite_ref-CR_92-16"><sup><i><b>q</b></i></sup></a> <a href="#cite_ref-CR_92-17"><sup><i><b>r</b></i></sup></a> <a href="#cite_ref-CR_92-18"><sup><i><b>s</b></i></sup></a> <a href="#cite_ref-CR_92-19"><sup><i><b>t</b></i></sup></a> <a href="#cite_ref-CR_92-20"><sup><i><b>u</b></i></sup></a> <a href="#cite_ref-CR_92-21"><sup><i><b>v</b></i></sup></a> <cite><a href="https://web.archive.org/web/20031108094907/http://www.cinemareview.com/production.asp?prodid=2134">"About the Production"</a>. <i>CinemaReview.com</i>. pp. 1–2. Archived from <a href="http://www.cinemareview.com/production.asp?prodid=2134">the original</a> on November 8, 2003. Retrieved September 27, 2019.</cite>
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<li><b><a href="#cite_ref-156">^</a></b> <cite><a href="https://www.billboard.com/articles/news/67001/2004-teen-choice-awards-winners">"2004 Teen Choice Awards Winners"</a>. <i><a href="/wiki/Billboard_(magazine)">Billboard</a></i>. June 6, 2004. Retrieved March 11, 2018.</cite>
</li>
<li><b><a href="#cite_ref-157">^</a></b> <cite><a href="https://www.comingsoon.net/movies/news/500856-2004_mtv_movie_award_winners">"2004 MTV Movie Award Winners!"</a>. ComingSoon.net. June 6, 2004. Retrieved March 11, 2018.</cite>
</li>
<li><b><a href="#cite_ref-158">^</a></b> <cite>Craig, David (September 24, 2020). <a href="https://www.radiotimes.com/tv/sci-fi/terminator-watch-order/">"How to watch the <i>Terminator</i> movie franchise in order – every timeline explained"</a>. <i><a href="/wiki/Radio_Times">Radio Times</a></i>. <a href="https://archive.today/20220106231704/https://www.radiotimes.com/tv/sci-fi/terminator-watch-order/">Archived</a> from the original on January 6, 2022. Retrieved January 22, 2022.</cite>
</li>
</ol></div>
<h3>Works cited[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=24">edit</a>]</h3>
<ul><li><cite>Shapiro, Marc (July 1991). "A Judgment In Steel". <i><a href="/wiki/Fangoria">Fangoria</a></i>. No. 104. <a href="/wiki/Atlanta,_Georgia">Atlanta, Georgia</a>: Fangoria Publishing, LLC. pp. 36–40.</cite></li>
<li><cite>Shapiro, Marc (September 1991). <a href="https://archive.org/details/starlog_magazine-170/page/n31/mode/2up?q=%22terminator+2%22&amp;view=theater">"Director's Judgment"</a>. <i><a href="/wiki/Starlog">Starlog</a></i>. No. 170. New York: Starlog Group, Inc. pp. 32–35.</cite></li></ul>
<h2>External links[<a href="/w/index.php?title=Terminator_3:_Rise_of_the_Machines&amp;action=edit&amp;section=25">edit</a>]</h2>
<ul><li><a href="https://www.warnerbros.com/movies/terminator-3-rise-machines">Official website</a></li>
<li><a href="https://www.imdb.com/title/tt0181852/"><i>Terminator 3: Rise of the Machines</i></a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://www.allmovie.com/movie/v272537"><i>Terminator 3: Rise of the Machines</i></a> at <a href="/wiki/AllMovie">AllMovie</a></li></ul>
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 Contents

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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 + 3.1 Conception
 + 3.2 Development
 + 3.3 Pre-production
 + 3.4 Casting
 + 3.5 Filming
 + 3.6 Effects
 * 4 Music
 + 4.1 Soundtrack
 * 5 Release
 + 5.1 Marketing
 + 5.2 Theatrical
 + 5.3 Home media
 * 6 Reception
 + 6.1 Box office
 + 6.2 Critical response
 + 6.3 Accolades
 * 7 Sequel
 * 8 Notes
 * 9 References
 + 9.1 Citations
 + 9.2 Works cited
 * 10 External links
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 Terminator 3: Rise of the Machines

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 From Wikipedia, the free encyclopedia
 This article is about the film. For the video game, see Terminator 3: Rise of the Machines (video game).
 "Rise of the machines" redirects here. For the Jedi Mind Tricks song, see Rise of the Machines (song). For the Deep Machine studio album, see Rise of the Machine.
 "Terminator 3" redirects here. For the 2019 sequel of Terminator 2 that retroactively ignores previous continuations, see Terminator: Dark Fate.

 Terminator 3: Rise of the Machines
 Theatrical release poster 
 Directed by Jonathan Mostow 
 Screenplay by John Brancato 
 Michael Ferris 
 * John Brancato 
 Story by * Michael Ferris 
 * Tedi Sarafian 
 * Hal Lieberman 
 * Colin Wilson 
 Produced by * Mario F. Kassar 
 * Andrew G. Vajna 
 * Joel B. Michaels 
 * Arnold Schwarzenegger 
 Starring * Nick Stahl 
 * Claire Danes 
 * Kristanna Loken 
 Cinematography Don Burgess 
 Edited by * Neil Travis 
 * Nicolas de Toth 
 Music by Marco Beltrami 
 Production * Intermedia[1] 
 companies * C2 Pictures[1] 
 Distributed by * Warner Bros. Pictures (North America) 
 * Columbia TriStar Film Distributors International (international)[2]
 Release dates * June 30, 2003 (Westwood, Los Angeles) 
 * July 2, 2003 (United States) 
 Running time 109 minutes[3] 
 United States 
 Countries Germany  
 United Kingdom[4] 
 Language English  
 Budget $187.3 million ($167.3 million excluding production overhead) 
 Box office $433.4 million 
 

 Terminator 3: Rise of the Machines[a] is a 2003 science fiction action film directed by Jonathan Mostow. Starring Arnold Schwarzenegger, Nick Stahl, Claire Danes, and Kristanna Loken, it is the third installment in the Terminator franchise and a sequel to Terminator 2: Judgment Day (1991). In its plot, the malevolent artificial intelligence Skynet sends a T-X (Loken)—a highly advanced Terminator—back in time to ensure the rise of machines by killing top members of the future human resistance as John Connor's (Stahl) location is unknown. The resistance sends back a reprogrammed T-850 (Schwarzenegger) to protect John and Kate.

 While Terminator creator James Cameron was interested in directing the third film, he ultimately had no involvement with Terminator 3. Andrew G. Vajna and Mario Kassar, who had produced Terminator 2: Judgment Day through their company Carolco Pictures, obtained the rights for the franchise through both Carolco's liquidation auction and negotiations with producer Gale Ann Hurd. In 1999, Tedi Sarafian was hired to write the first draft of the script. Mostow joined the project as director in 2001, and he brought on John Brancato and Michael Ferris to rewrite Sarafian's script. The $187 million budget included a $5 million salary for Mostow and a record $30 million salary for Schwarzenegger. Filming took place in California from April to September 2002. Industrial Light & Magic (ILM) and Stan Winston created the special effects, as they did for the previous film.

 Terminator 3: Rise of the Machines premiered in Westwood, Los Angeles, on June 30, 2003, and was released on July 2, 2003, by Warner Bros. Pictures in the United States and by Columbia TriStar Film Distributors International in worldwide territories. It received generally positive reviews and earned $433.4 million worldwide, finishing its theatrical run as the seventh-highest-grossing film of 2003. A sequel, Terminator Salvation, was released in 2009.

 Plot [ edit ]

 Ten years after destroying Cyberdyne Systems,[b] John Connor has been living as a nomad following the death of his mother, Sarah, to hide from the malevolent artificial intelligence Skynet, despite a war between humans and machines not happening in 1997, as foretold. Unable to locate John in the past, Skynet sends the T-X, an advanced prototype shapeshifting Terminator made of virtually impervious liquid metal, back in time to John's present in Los Angeles, to instead kill his future allies in the human resistance. The human resistance sends back a reprogrammed T-850 Terminator, a less-advanced metal endoskeleton covered in living human flesh, to protect John and his future wife Kate Brewster.

 After killing other targets, the T-X locates the pair at an animal hospital where Kate works. John becomes the T-X's primary target, but the Terminator helps him and Kate escape, taking them to a mausoleum where John's mother is supposedly interred. Inside her vault, they find a weapons cache left at Sarah's request in case Judgment Day was not averted and the Terminators returned. They escape from an armed battle with the police and fend off the pursuing T-X. The Terminator reveals that John and Sarah's actions only delayed Judgment Day and that Skynet's attack will occur that day; the Terminator intends to drive John and Kate to Mexico to escape the fallout when Skynet begins its nuclear attack at 6:18 p.m. John orders the Terminator to take Kate and him to see her father, U.S. Air Force Lieutenant General Robert Brewster. The Terminator refuses, however when Kate also demands to see her father, the Terminator obeys. It is revealed that in the future, the Terminator killed John, after which Kate captured and reprogrammed the Terminator and sent it back in time.

 Meanwhile, General Brewster is supervising the development of Skynet for Cyber Research Systems (CRS), which also develops autonomous weapons. The Chairman of the Joint Chiefs of Staff[c] pressures him to activate Skynet to stop an anomalous computer virus from invading servers worldwide. General Brewster discovers too late that the virus was Skynet slowly becoming self-aware, and John and Kate arrive too late to stop it from being activated. The T-X fatally injures General Brewster and controls the CRS weaponized drones, which kill the employees. Before he dies, General Brewster gives Kate and John the location of what John believes is Skynet's system core. The pair head for the tarmac to take General Brewster's single-engine plane to Crystal Peak, a facility built inside the Sierra Nevada. After a battle, the T-X severely damages the Terminator, reprogramming it to kill John, and pursues John and Kate through the CRS facility. When a particle accelerator is activated, it magnetically binds the T-X to the equipment. The still-conscious Terminator struggles to control its outer functions. As it prepares to kill John, he urges the Terminator to choose between its conflicting programming; it deliberately forces a shutdown of its corrupted system, enabling the pair's escape. Shortly after they leave, the Terminator's system reboots. Meanwhile, the T-X escapes the accelerator and resumes pursuit.

 After John and Kate reach Crystal Peak, the T-X arrives by helicopter. Before it can attack, the Terminator arrives in a second helicopter and crashes into and crushes the T-X. The T-X pulls itself from the wreckage, losing its legs, and attempts to drag itself inside the bunker to follow the pair. The Terminator holds the bunker door open long enough for the pair to lock them inside then uses its last hydrogen fuel cell to destroy both itself and the T-X.

 John and Kate discover that Crystal Peak is not Skynet's core, but rather a nuclear fallout shelter and command facility for government and military officials. Having no core, Skynet has become a part of cyberspace after becoming self-aware. Judgment Day begins as Skynet fires nuclear missiles worldwide, starting a nuclear holocaust that kills billions. The pair begin receiving radio transmissions on the emergency equipment; John tentatively assumes command by answering radio calls, and they reluctantly accept their fate.

 Cast [ edit ]

 See also: List of Terminator characters
 * Arnold Schwarzenegger as the Terminator.
 * Nick Stahl as John Connor. Stahl replaces Edward Furlong from the second film.
 * Kristanna Loken as the T-X, an advanced Terminator sent back to murder John's resistance lieutenants
 * Claire Danes as Kate Brewster, John's former classmate and Scott's fiancé.
 * David Andrews as Lieutenant General Robert Brewster, Kate's father who is also the program director at CRS, which has acquired Cyberdyne Systems' remaining assets
 * Mark Famiglietti as Scott Mason, Kate's fiancé who is killed by the T-X. The character was originally named Scott Peterson, but the name was changed in order to avoid association with the Scott Peterson case involving the murder of Laci Peterson and her unborn son Conner.[6] In the ending credits his name is still listed as "Scott Petersen".
 * Earl Boen as Dr. Peter Silberman: Reprising his role from the first two films, Boen appears in one scene, attempting to comfort Kate after she witnesses the acts of the Terminator.

 Jay Acovone portrayed an LAPD Officer. Kim Robillard and Mark Hicks portrayed Detective Edwards and Detective Bell. In the film's dialogue Bell is identified correctly, however in the film's end credits his name is listed as "Detective Martinez". One of Schwarzenegger's stunt doubles, Billy D. Lucas, portrayed a civilian who has his car accidentally wrecked by John.

 Production [ edit ]

 Conception [ edit ]

 James Cameron (pictured in 2000) directed the first two films, but declined to return for the third.

 James Cameron had directed and co-written the previous Terminator films. The film rights to the franchise were held by Carolco Pictures and by Cameron's ex-wife and Terminator 2: Judgment Day (1991) executive producer Gale Anne Hurd, who both held 50 percent of the rights.[7] Cameron had sold his stake to Hurd for $1 prior to directing The Terminator (1984).[8] In July 1991, Cameron said that if Terminator 2 was successful, "there may be some economic pressure" to do a sequel.[9] Hurd said that month, "I've always felt the story lent itself wonderfully to being a continuing tale." She believed it was natural that a third film would happen, but was unsure at that time if Arnold Schwarzenegger would reprise his role as the Terminator. Hurd said that for Schwarzenegger to commit to another film, he would have to read a finished script, approve a director, and see if the project fit into his schedule.[10]

 Following Terminator 2 's release, Cameron said he had no intentions for further sequels, believing it "brings the story full circle and ends. And I think ending it at this point is a good idea," and co-writer William Wisher said they wrote the script intending to leave no option for a sequel.[11][12] Even so, Carolco Pictures co-founder Mario Kassar said in May 1992 that he intended to make a Terminator 3 film within the next five to seven years.[13] TriStar, which distributed Terminator 2, would be involved in the new film. That month, TriStar chief Mike Medavoy said the film would probably take a couple of years.[14]

 Development [ edit ]

 By the end of 1995, Carolco had filed for bankruptcy,[15] and Cameron wanted to direct a third film with the involvement of 20th Century Fox.[16] Cameron's 3D film ride, Terminator 2 3-D: Battle Across Time, would open later in 1996. The project reunited the main cast of Terminator 2: Judgment Day, and had prompted Cameron to begin writing a script for a Terminator 3 film.[17] Cameron said Terminator 2 3D: Battle Across Time would serve as a "stepping stone" toward a third Terminator film.[18] However, such a film would not be ready for a few years as Cameron was busy working on Titanic for 20th Century Fox.[17]

 When Carolco filed for bankruptcy on November 10, 1995, its assets were bound to a liquidation auction.[15][19] That day, 20th Century Fox signed a $50 million deal to acquire all of Carolco's assets, including the rights to Terminator sequels, as well as the company's existing film library.[15][20] Fox withdrew its bid in January 1996, when Canal Plus bid $58 million for Carolco's film library. Canal Plus' offer did not include purchasing the rights for Carolco sequel films, but Fox wanted all of Carolco's assets and was unwilling to match or exceed the bid offer made by Canal Plus.[20][19] The sequel rights would ultimately be auctioned through U.S. bankruptcy court, where Fox intended to purchase them.[20][21]

 The new Terminator film would have Schwarzenegger reprising his role.[22] Linda Hamilton had also talked with Cameron about reprising her role as Sarah Connor.[23] During 1997, Fox spent nine months negotiating with Cameron, Schwarzenegger, and Hurd, the latter in regard to her share of the sequel rights.[22] Bill Mechanic, chairman of Fox Filmed Entertainment, oversaw the project and negotiations at that time. Mechanic wanted the trio to be involved in the new film, so he sought to first secure deals with them before proceeding with a purchase of the Carolco rights. Mechanic also believed that a deal with the trio would give him necessary leverage with the U.S. bankruptcy court to acquire the rights from Carolco.[20] At that time, Cameron committed to writing and producing the film, and reserved the right to direct it in the event that he wanted to do so.[8]

 Fox intended to make the new Terminator film on a budget similar to its predecessor, approximately $95 million. However, it was determined that the film could not be made on the intended budget when considering the additional cost of purchasing Carolco's rights,[22] as well as Schwarzenegger's desired $25 million salary.[24] At some point, Schwarzenegger had talked to Cameron about the two of them buying the rights themselves, but Cameron was not interested in this idea and wanted to let Fox handle the rights. Schwarzenegger said about Fox, "Only later did I learn they were making these ridiculous lowball offers, like $750,000. We could have owned this ourselves, but Jim didn't want to be in that business."[5]

 Andrew Vajna in 2013

 Dimension Films, a division of Miramax, had agreed to purchase the rights that were owned by Hurd and also intended to buy Carolco's rights through the auction. However, a judge ruled against an earlier motion which stated that only an established studio should be allowed to bid for the Carolco rights. This allowed Andrew G. Vajna to participate in the bidding.[5] Vajna had co-founded Carolco with Kassar, but left the company in 1989.[20]

 In September 1997, Cameron invited his friends Vajna and Kassar to see an early edit of Titanic, during which Vajna and Kassar learned that the Terminator rights were still available.[8] That month, Mechanic discovered that Vajna had been quietly negotiating with the bankruptcy court to acquire the rights for himself and Kassar; the duo planned to form a new production company with Terminator 3 as its debut. During September 1997, Vajna signed a tentative $7.5 million agreement to purchase the rights, which were to be sold later in an auction scheduled for the following month. Mechanic was upset to learn of Vajna's agreement, having spent months in negotiations with Schwarzenegger, Cameron, and Hurd.[20][21][25] Cameron was upset as well, as Vajna and Kassar had not mentioned their intention to buy the rights during their meeting days earlier. This would lead to the deterioration of their friendship.[8] Vajna later said he was unaware that Cameron was already planning Terminator 3.[26] Miramax dropped out of the bidding when Vajna raised his bid to $8 million.[27]

 By October 1997, the budgetary concerns over Terminator 3 and Cameron's troubled post-production of Titanic for Fox led them both to abandon the Terminator project and not pursue the rights.[22] Mechanic had asked Cameron if he wanted Fox to outbid Vajna, but Cameron decided he did not want to be involved in the project. Mechanic believed that Cameron was "only hanging in there at the end because of Arnold and quality control. It was something that Arnold always wanted to do again. Period. And Jim was more than happy to do it."[8] Cameron gave his approval for Hurd and Schwarzenegger to make another Terminator film without him,[22] although Schwarzenegger did not want to make the film without Cameron,[22][28] and initially refused to star in the third film.[28]

 Over time, Schwarzenegger would continue trying to persuade Cameron to be involved in the new film. In 2003, Cameron said that he felt he had already told the whole story with his first two Terminator films, something that he came to realize during the post-production of Titanic.[28] Cameron later stated, "I just felt as a filmmaker maybe I've gone beyond it. I really wasn't that interested. I felt like I'd told the story I wanted to tell. I suppose I could have pursued it more aggressively and gone to the mat for it but I felt like I was laboring in someone else's house to an extent because I had sold the rights very early on."[29] Nevertheless, feeling that the Terminator character was as much Schwarzenegger's as it was his own, Cameron eventually advised Schwarzenegger to do the third film without him, saying, "If they can come up with a good script and they pay you a lot of money, don't think twice."[28] The film was in high demand according to Schwarzenegger, who said he was frequently asked in interviews about the possibility of a third film.[30][28]

 In October 1997, the rights to future Terminator films were auctioned to Vajna for $8 million.[31] Hurd had opposed Vajna's attempt to buy the rights, and had tried unsuccessfully to change Cameron's mind about purchasing the rights.[32] On the night that the rights were auctioned, Vajna contacted Cameron and Schwarzenegger to resolve the situation. Vajna was surprised that Cameron would be upset about the rights being sold, later saying, "What difference does it make to Jim who's financing the movie, a studio or us? His deal would have been the same. Arnold tried to convince Jim over a long period of time to do the film. Arnold felt very loyal."[8] Vajna said that Cameron "felt that we 'stole his baby', even though we're the ones who put it together last time round. So we felt that that was kind of strange and then we went on to do it ourselves."[26]

 Cameron said in January 1998 that it was unlikely he would direct Terminator 3.[33] In March 1998, Vajna and Kassar acquired Hurd's half of the Terminator rights for $8 million, to become full owners of the franchise, with plans to proceed on Terminator 3.[5][31] Hurd served as an executive producer on the film.[34] Kassar and Vajna contacted Cameron with the hope that he would direct, but he declined.[35][36] According to Kassar, Cameron was trying to obtain the auctioned Terminator rights for himself at the time that he was asked to direct.[35] Cameron and his company, Lightstorm Entertainment, had considered trying to obtain the rights, but ultimately chose not to do so; it was estimated that acquiring the rights and paying Schwarzenegger to reprise his role could cost up to $100 million.[37]

 Pre-production [ edit ]

 By 1999, Kassar and Vajna had been negotiating with various studios about partnering on the project, but decided to finalize the film's concept and script first. They founded C2 Pictures that year,[38] and by October 1999,[39] they had brought Toho-Towa and German company VCL onboard the project as co-financiers. The latter companies helped finance development of a script by Tedi Sarafian,[36][40] who was hired for the film in 1999, along with David C. Wilson for a possible fourth installment.[38] Fox held discussions with Vajna and Kassar about buying the rights from them for Cameron. Mechanic said these discussions were never serious.[8] It was also reported that Fox and Cameron had been in discussions with Vajna and Kassar about partnering on the film.[36][38] Vajna and Kassar accepted a proposal from Fox, but it fell apart once Toho-Towa and VCL were brought onto the project, as the latter companies purchased the distribution rights for Japan and Germany, the largest markets outside of the United States.[8][36][38] Kassar and Vajna intended to proceed on the film with or without Schwarzenegger, although Kassar preferred that he be involved. Filming was expected to begin in 2000 for a release the following year.[38]

 In March 2000, it was announced that VCL would have a 25 percent stake in the film, as well as the rights in German-speaking territories. At the time, Sarafian was days away from completing his draft, and Kassar hoped to announce a director within 45 days. Filming was still expected to commence later that year, with a release scheduled for the fourth quarter of 2001. Kassar wanted to have Terminator 3 and Terminator 4 shot back to back, possibly with different directors.[41] Plans to shoot the film and its sequel simultaneously were later dropped, in case Terminator 3 did not become a success.[5] Later in 2000, the start of production on Terminator 3 was delayed by a year.[42]

 Sarafian's script, titled T-3: Rise of the Machines, featured John Connor working in a dot-com company. The script's villain was the T-1G, a female Terminator sent from the future, with the ability to turn invisible.[43][44] By July 2000, Cameron had been given a copy of Sarafian's script, but he passed on directing the film due to his estranged relationship with Vajna and Kassar.[45][46] Cameron later stated that he refused to direct or produce Terminator 3 because he disliked the idea of working from somebody else's script in a story he originated.[47] According to Schwarzenegger, Cameron declined involvement on the project because he did not want to commit to a time frame, as he was busy and had other projects he wanted to explore.[48][49] Other directors being considered in 2000 included Ang Lee, Christian Duguay, David Fincher, John McTiernan, Ridley Scott, and Roland Emmerich.[45][46][5][50] Lee passed on the project to instead direct Hulk (2003).[51] Intermedia was announced as a co-financier in October 2000.[40]

 Although production was scheduled to begin in 2001, it was delayed in anticipation of a writers strike, which ultimately did not occur.[5][52] There was also the possibility of an actors strike, and filming was scheduled to begin after it ended.[52][53] In March 2001, Jonathan Mostow and his producing partner Hal Lieberman were in negotiations to join the project as director and producer respectively.[53][54] Mostow said he was "not shy" when he started working on the project; as he later recalled, "I said, 'Here's the movie I'm going to make, here's how I'm going to do it. If you don't want to do it my way, you should find a different director.'"[55] Mostow had concerns about Sarafian's script and declined to start filming until it was perfected.[43][55]

 Mostow invited his college classmates John Brancato and Michael Ferris to rework the screenplay;[43] they signed on to rewrite it in June 2001.[56] Sarafian still got a story credit,[34] although much of his draft was rewritten, and scenes were added to make it more of a road movie, fulfilling Mostow's vision for the film.[43] Brancato said there was initial consideration given to ignoring the basic format of the earlier films by removing aspects of time travel and killer machines from the future: "We tried all sorts of wacky scenarios [...] But to be honest it just wasn't working."[57] The idea of a female Terminator was retained from Sarafian's draft,[57] although Mostow disliked Sarafian's idea that the character could turn invisible, saying, "It's not visceral." The film makes a subtle reference to Schwarzenegger's age by depicting his character as an obsolete Terminator compared to the T-X. Mostow said, "It's always great if you can have your protagonist or hero be completely outmatched."[43]

 In December 2001, several companies competed for the distribution rights to the film.[58] The heads of each major studio were invited that month to a secret hotel room meeting to read the script and bid for the rights. Fox declined to participate in the meeting, out of loyalty to Cameron.[8] Warner Bros. won the U.S. distribution rights that month, with filming scheduled to begin in April 2002.[59][60] Columbia TriStar Film Distributors International subsequently acquired most of the international distribution rights, including those that would have been handled by VCL, which was suffering financially at the time.[61]

 The film's production budget was initially set at $169–170 million,[62][63] making it the most expensive film ever to be greenlit at the time.[59][60][64] The budget would include paying off the debts of Carolco, as well as a $5 million salary for Mostow and a record $30 million salary for Schwarzenegger.[58][65][66] The distribution rights were sold for $145 million, while the remaining $25 million would be covered by Vajna, Kassar, and Intermedia.[8] Budget statements for the film put the final cost at $187.3 million (or $167.3 million excluding the production overhead).[67][68] Product placement deals, with companies such as PepsiCo and Toyota, helped regenerate profit. For example, the film prominently features the then-new Toyota Tundra truck.[5] Schwarzenegger received a record salary of $29.25 million, plus 20 percent of the profits,[67] although he agreed to defer part of his salary in order to prevent the relocation of the set to Vancouver, British Columbia, from Los Angeles.[69] Initially, the film was to have a 100-day shoot, with 62 days in Vancouver and 38 days in Los Angeles. The cast and crew generally agreed that they did not want to relocate from California, so $8 million was trimmed from the budget, allowing for filming to take place entirely in the state. Another benefit of shooting in Los Angeles is that the film is set there.[70] It was announced in February 2002 that the shoot would take place entirely in California.[71]

 Casting [ edit ]

 Schwarzenegger signed on to the project in June 2000,[72][73] after reading Sarafian's draft.[26] Edward Furlong signed on in August 2000, to reprise his role as John Connor from the previous film.[74][44] However, in December 2001, casting began for a new actor to replace Furlong,[75] who was dropped from the project because of a substance abuse problem.[76][77] Furlong was removed by Warner Bros., which was concerned that his publicized drug problems could jeopardize the project.[5] Furlong later stated "I don't know [what happened]. It just wasn't the time. I was going through my own thing at the point in my life – whatever, it just wasn't meant to be".[76]

 According to Mostow, Furlong had been considered, but the director wanted to start from scratch with a new actor, as John would be portrayed as "a very different character now."[78] Mostow described the character as someone who has carried the burden of being a leader in the future, saying "it's very lonely because nobody else in the world knows about it or believes it. Even if he tried to explain to somebody, they'd think he was crazy and that's a really interesting character."[79] Mostow wanted the character to have soulfulness and he believed that Nick Stahl was the right actor for the role.[78] Although John Connor was written as being 10 years old in the script for Terminator 2, Furlong was actually several years older than that. For Terminator 3, Mostow wondered whether the character's current age should be faithful to what was written before. After some consideration, Mostow chose to make the character slightly older for Terminator 3, to be consistent with Furlong's real age. The film states that John was 13 years old during the events of the previous film. Mostow said he tried to avoid the age discrepancy as much as possible in the film.[78] Some fans were disappointed by the decision to recast Furlong,[78] and some were alienated by the age change.[80]

 In November 2000, Linda Hamilton said she had turned down an offer to reprise her role as Sarah Connor.[81] Hamilton said in October 2001 that the script did not take her character in any new directions: "The film is really about turning the baton over to Sarah's son John, played by Eddie Furlong. It's Eddie's movie - and Arnold's. It was like a no-win situation for me." She also was dissuaded by the fact that Cameron would have no involvement in the film.[82][83] Hamilton later explained her decision not to reprise her role: "They offered me a part. I read it and I knew my character arc was so complete in the first two, and in the third one it was a negligible character. She died halfway through and there was no time to mourn her. It was kind of disposable, so I said no thank you."[84] When Mostow signed on as director, one of his conditions was that Hamilton reprise her role.[85][78] However, he realized that the character would not have changed much since the previous film and that she would not contribute much to the story, saying later, "Linda Hamilton is too important to the franchise to stick her in as the third wheel." Mostow realized that John Connor would need to be the focus of the story, although the mausoleum scene was added as a way of integrating Hamilton's character into the story as well.[78] Old footage of Hamilton was expected to be used for flashback scenes of Sarah Connor,[86][87] although no such scenes exist in the final film. Mostow said the flashbacks made "a complicated story even more complicated."[5]

 When Schwarzenegger was called into Kassar and Vajna's office in April 2001, he did not expect them to bring up Terminator 3 given the film's long stint in development hell. Instead, he wanted to talk to the producers about his political interests, including a potential candidacy as Governor of California in the 2002 election. However, pre-production was rolling along, with the screenplay nearly finished and set deals for both merchandising and distribution. Schwarzenegger postponed his gubernatorial plans, which eventually came into fruition with the 2003 California gubernatorial recall election. Instead, the actor combined production of the film with the promotion of Proposition 49, which advocated increased extracurricular activity in California schools. At times Schwarzenegger even received politicians, journalists, and potential financial backers of the proposition on the film set.[88] During pre-production, Schwarzenegger worked out daily to prepare for the role, to get into the same physical shape in which he was during shooting of the previous films.[89] Schwarzenegger felt it was important to be in the same physical condition as he was for the previous film, saying, "Otherwise, people would say, 'He's lost it; he's all saggy and flabby,' and that would be all anyone would talk about it. I didn't want to be digitized, because someone would blab, and it would be in all the columns. So I just worked harder."[5]

 Approximately 10,000 women auditioned for the role of the T-X.[85] Schwarzenegger originally wanted wrestling star Chyna to portray the T-X.[5][90] Famke Janssen subsequently emerged as the most likely candidate for the role.[5][91] Following the 2001 release of The Fast and the Furious, starring Vin Diesel, there was consideration given to rewriting the T-X character as a man with Diesel in the role.[5][92] In early 2002, Kristanna Loken was cast as the T-X, while Stahl was cast as John Connor.[93][94] Stahl auditioned approximately five times, and underwent three screen tests, before receiving the role.[95] Other actors considered for the role of John Connor included Shane West, Jake Gyllenhaal,[96][97] and Logan Marshall-Green.[98] For the film, Stahl took some weapons training and learned how to ride a motorcycle.[89] Stahl did not aim to impersonate Furlong's earlier performance. For her role, Loken underwent six weeks of training,[89] involving weights, fighting, and weapons.[86] She also undertook Krav Maga,[89] and gained 14 pounds of muscle.[99] In addition, Loken took a mime movement class to perfect her character's robotic movements.[86]

 Mostow originally wanted Claire Danes for the role of Kate Brewster, but the initial effort to get her involved did not work out.[85][78] Sophia Bush was cast in the role instead, and Mostow was more excited about her casting than any other character.[78] However, during filming, Mostow felt that Bush's appearance and performance seemed too youthful for the role.[5][100] He said, "I tried everything I could to make her look older, but ultimately the camera doesn't lie. So I had to replace her and it was heart breaking because it was a huge break for her."[78] After reading the script, Danes decided to join the cast to play Kate.[5] Bush was replaced by Danes in May 2002, a month into filming.[100][101] Danes began filming the day after she was hired.[102]

 Filming [ edit ]

 Filming began on April 15, 2002.[100] The first night of filming involved Schwarzenegger's Terminator crashing a vehicle into the T-X outside the animal hospital,[30] which was constructed as a set in Los Angeles' Sunland-Tujunga neighborhood.[89][103] Initially, Mostow was somewhat hesitant about following Cameron's footsteps as director,[35][65] but he eventually put aside such concerns and later said, "Everyone will see this movie and make comparisons, but I can't control any of that."[65] Schwarzenegger missed working with Cameron and initially did not have the same kind of confidence in Mostow as filming began. However, during the first week of filming, Schwarzenegger became convinced that Mostow was an adequate choice.[35][65]

 Production designer Jeff Mann and his crew of 350 people designed and constructed multiple sets for the film during a four-month period prior to filming.[89] Los Angeles Center Studios was a major filming location,[70] as the production used six sound stages there.[89] At least three sound stages were occupied by the project at all times during filming, and at one point all of the stages were in use for the shoot.[70] In June 2002, driving scenes were filmed at Rose Hills Memorial Park in Whittier, California.[104] Filming also took place at Big Bend National Park in Texas.[105] Some sequences use more than 1,000 simultaneous tracks of audio.[89]

 Stahl had few scenes during the initial weeks of filming, giving him time to work on his physique.[95] Schwarzenegger worked out during lunch breaks to maintain his physical appearance.[89][106] He had a 20-foot trailer with a gym inside, where he would work out in between filming.[86][85] Schwarzenegger also performed many of his own stunts, something that he enjoyed doing. One of the most elaborate and choreographed stunts was devised by Mostow and stunt coordinator Simon Crane. The scene involves the T-X driving a 100-ton mobile crane down a street in pursuit of John Connor. During the scene, Schwarzenegger's Terminator hangs on to the crane arm as it is swung around, smashing him into a glass building and a passing fire truck. Fourteen cameras were used for the shot in which he crashes through a glass building, as the film crew would only have one chance to film it, which was the case with many of the film's stunts. Schwarzenegger enjoyed filming the scene and called it "unbelievable," while stating, "We used every safety precaution, but there were close calls, many times." The street chase was filmed on a quarter-mile set of road and buildings, constructed at a Boeing plant in Downey, California.[89][107] The film's showdown between the two Terminators is set in a marble and steel bathroom. Mostow's vision for the scene was to have the bathroom completely destroyed by the Terminators by the end of their battle. The scene took four weeks to rehearse and two weeks to film.[89] In early September 2002, scenes were filmed at San Bernardino International Airport.[108]

 As with the previous films, the Terminator characters arrive naked after travelling through time.[89][109] One of the film's opening scenes is set at the Desert Star bar, where Schwarzenegger's Terminator goes in search of clothes. The scene was filmed at the Cowboy Palace bar in the San Fernando Valley.[89] The Sierra Inn bar and restaurant, in Agua Dulce, California, was also used for exterior shots of the Desert Star.[110][111] The final scene to be filmed was another opening scene in which the T-X arrives naked on Rodeo Drive in Beverly Hills, California. Mostow said shooting the scene discreetly was a challenge due to the tourist popularity of Rodeo Drive. The filmmakers had to wait five months before finally receiving clearance to shoot the scene.[109] The street had to be closed for filming to take place.[112] The 5-month[89] shoot proceeded as scheduled (From April 15, 2002), and concluded on September 8, 2002.[109][113]

 Effects [ edit ]

 The film features more than 600 special effects shots.[65] Industrial Light & Magic (ILM) and Stan Winston created the special effects, as they had done for the previous film.[114][115] Winston created the Terminator special effects and also designed the T-1,[89][116] an early Terminator machine that appears in the CRS facility near the end of the film. Mostow said about the T-1, "I wanted to depict the first generation of Terminator robots, to show where it all began. […] We came up with this primitive but deadly robotic machine that is part tank, part robot." Winston created five full-sized, functioning T-1 robots, each one controlled by hydraulics. Winston's team also designed the T-X's endoskeleton frame, as well as her weapons. Certain sequences involving fire and explosions were deemed too dangerous for Schwarzenegger and Loken to perform, so Winston and his team constructed life-sized robot replicas of the actors for such scenes.[89] When the start of production was delayed from its earlier 2001 date, it allowed Winston more time to develop the various special effects.[5] ILM used miniature sculptures and computer-generated imagery (CGI) to create numerous visual effects for brief scenes set in the future, depicting the post-apocalyptic war between humans and machines.[89] ILM's effects included Terminator endoskeletons seen during the future war. The endoskeletons were created entirely through CGI.[117]

 One challenging scene for the visual effects team takes place at a cemetery, where the T-X has taken on the appearance of Kate's fiancé, before morphing to her original appearance. The scene required several repeated shots of the same area with the use of controlled camera movements that were the same for each take.[89] Another difficult scene depicts the T-X's liquid metal exterior peeling off to reveal her endoskeleton. The visual effects team took six months to develop a method that would adequately simulate the scene. Pablo Helman, visual effects supervisor for ILM, said, "We had no application for creating and controlling streams of liquid metal, so we had to begin by determining the density, weight, shape and mass of this material, and how it would move under these conditions. It was a really complicated process."[89] Another scene features the crane vehicle flipping over at the end of the road chase sequence. The production crew determined that it would be too dangerous and impractical to use the actual vehicle during this portion of the sequence, so ILM digitally recreated the crane using photos of the actual vehicle.[89]

 One scene depicts the T-101 cutting open his chest cavity to remove a failing fuel cell battery, while simultaneously driving a truck. For the scene, Winston's team used cyber scans to create a body cast replica of Schwarzenegger that would sit in the driver's seat. Schwarzenegger was situated in the back of the truck, and his head and arms were visible in the front seat to give the impression that he was connected to the body cast.[89] Several shots during the bathroom battle used CGI to simulate the Terminators. Helman said the scene required "a tremendous amount of visual effects to accomplish, and in some shots, large sections of the bathroom are completely computer generated." Mostow said the battle was "actually a much more complicated sequence from a visual effects standpoint than the audience will ever realize."[89] A combination of Schwarzenegger's real body, prosthetics, and CGI were used to create the T-101 for its final scene in the film.[117]

 Music [ edit ]

 Soundtrack [ edit ]

 Terminator 3: Rise of the Machines (Original Motion Picture Soundtrack)  
 Film score by Marco Beltrami   
 Released   June 24, 2003 
 Length   51 : 22 
 Label   Varèse Sarabande
 Terminator soundtrack chronology   
 Terminator 2: Judgment Day (Original Motion Picture Soundtrack) ''Terminator 3: Rise of the Machines (Original Motion Picture Soundtrack)'' Terminator: The Sarah Connor Chronicles
 (1991) (2003)  (2008) 
    
 

 Marco Beltrami composed the musical score. He did not use the series' leitmotif by Brad Fiedel,[118] though it was used in the film's end credits. The film's soundtrack was released by Varèse Sarabande on June 24, 2003:

 All music is composed by Marco Beltrami except "The Terminator" and "I Told You".

 Terminator 3: Rise of the Machines (Original Motion Picture Soundtrack)
 No. Title Writer(s) Original artist Length
 1. "A Day in the Life"  3:41 
 2. "Hooked on Multiphonics"  1:47 
 3. "Blonde Behind the Wheel"  2:07 
 4. "JC Theme"  3:34 
 5. "Starting T-1"  1:50 
 6. "Hearse Rent a Car"  1:48 
 7. "T-X's Hot Tail"  3:39 
 8. "Graveyard Shootout"  1:31 
 9. "More Deep Thoughts"  0:58 
 10. "Dual Terminator"  0:51 
 11. "Kicked in the Can"  2:03 
 12. "Magnetic Personality"  4:35 
 13. "Termina-Tricks"  2:12 
 14. "Flying Lessons"  0:56 
 15. "What Do You Want on Your Tombstone?" 1:19 
 16. "Terminator Tangle"  3:21 
 17. "Radio"  2:23 
 18. "T3"  3:17 
 19. "The Terminator" (from the motion picture The Terminator) Brad Fiedel Brad Fiedel 2:21 
 20. "Open to Me" (bonus track) Dillon Dixon Dillon Dixon 3:46 
 21. "I Told You" (bonus track) Mia Julia Mia Julia 3:11 
 Total length: 51:22 
 

 Songs that are not included on the soundtrack album

 * "Dat Funky Man" (performed by William Randolph III; words by Jonathan Mostow)
 * "Sugar" (performed by Peter Beckett; words by Jonathan Mostow)
 * "Party" (performed by Peter Beckett)
 * "Can't Hide This" (performed by Mega Jeff)
 * "Macho Man" (performed by Village People)
 * "The Current" (performed by Blue Man Group featuring Gavin Rossdale)[119]

 Release [ edit ]

 Marketing [ edit ]

 The first teaser trailer of Terminator 3: Rise of the Machines premiered online and in theaters with Men in Black II in July 2002.[120] On December 13, 2002, the first shot of T-X was revealed on USA Today. Just four days later, a trailer was officially released online. It debuted in theaters a day later on December 18 with the release of The Lord of the Rings: The Two Towers.[121] The film was also advertised during Super Bowl XXXVII with a television commercial.[122]

 In May 2003, several parties were held in Cannes to promote the film. Also held there was a publicity event that included 10-foot metal robots, as well as comments from Schwarzenegger about the film.[123] Action figures of the Terminator characters were produced by McFarlane Toys.[124]

 Atari adapted the film into three video games, beginning with Terminator 3: Rise of the Machines (2003) developed by Black Ops Entertainment for multiple platforms.[125] This was followed by Terminator 3: War of the Machines (2003) and Terminator 3: The Redemption (2004).[126]

 On the weekend of the film's release, NASCAR drivers Jamie McMurray and Michael Waltrip each drove T3-branded cars during races at Daytona International Speedway. The cars featured the likenesses of Schwarzenegger and Loken's characters.

 Theatrical [ edit ]

 Terminator 3: Rise of the Machines had its premiere at Mann Village Theater in Westwood, Los Angeles on June 30, 2003.[127][128][129] In the United States, the film was released by Warner Bros. in 3,504 theaters on July 2, 2003.[3][130] Press screenings of the film were very limited prior to release.[130]

 Home media [ edit ]

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 Terminator 3: Rise of the Machines was released on DVD and VHS on November 11, 2003, and on Blu-ray on February 26, 2008.

 Reception [ edit ]

 Box office [ edit ]

 Terminator 3: Rise of the Machines earned $150.4 million in the United States and Canada and $283 million in other territories, for a worldwide total of $433.4 million.[3] It was the seventh-highest-grossing film of 2003.[131]

 Terminator 3: Rise of the Machines was released on July 2, 2003. It earned $12.5 million on its first day, including $4 million from Tuesday night previews.[132] The film grossed $44 million during its opening weekend,[133][134] combined with the $72.5 million five-day Wednesday opening gross. It had the fifth-highest opening weekend for an R-rated film, behind The Matrix Reloaded, American Pie 2, 8 Mile, and Hannibal.[135] The film also scored the third-highest Fourth of July opening weekend, after Men in Black II and Independence Day. Moreover, it competed against other films that were released during the summer season like Finding Nemo, The Italian Job, Hulk, Legally Blonde 2: Red, White & Blonde, Charlie's Angels: Full Throttle, and Bruce Almighty.[133] These films would even dominate the weaker opening of Sinbad: Legend of the Seven Seas, an underperforming animated film.[136] Additionally, Terminator 3: Rise of the Machines surpassed Batman & Robin for having the biggest opening weekend for any film starring Arnold Schwarzenegger.[137] It would remain at the top of the box office until it was dethroned by Pirates of the Caribbean: The Curse of the Black Pearl the following week.[138]

 Internationally, Terminator 3: Rise of the Machines had box office runs in several countries. The film made $1 million from India, making it the country's third-highest opening of any film, behind Die Another Day and Spider-Man.[139] In France, it became the third-highest opening for a 2003 film in the country, trailing only behind Taxi 3 and The Matrix Reloaded.[140] It then made $2.6 million in Italy during its opening weekend.[141] In the UK, the film made an opening weekend total of $9.6 million.[142] At this point, it had the country's fourth-highest opening for any 2003 film, after Bruce Almighty, The Matrix Reloaded, and X2. With the exception of Batman & Robin and True Lies, the film's four-day gross was superior to the total gross of any Schwarzenegger film released since Terminator 2: Judgment Day in 1991. Plus, it had earned $1.7 million from previews.[143] Meanwhile, in Japan, Terminator 3: Rise of the Machines went on to earn $12.5 million, making it the country's sixth-largest opening of any film. The film had already earned $9.5 million from previews, surpassing Spirited Away ' s record for having the biggest previews in Japan.[144] It made $1.3 million in Thailand, becoming the second-highest opening of any film in the country, behind The Legend of Suriyothai.[145] In total, the international grosses include Argentina ($2.5 million), Australia ($12.3 million), Austria ($3.4 million) France ($18.9 million), Germany ($19.5 million), India ($2.1 million), Italy ($6.2 million), Japan ($67.5 million), Mexico ($8.9 million), New Zealand ($2.3 million), Russia ($12.8 million), Spain ($13.9 million), and the United Kingdom ($31.2 million).[3]

 Critical response [ edit ]

 Terminator 3: Rise of the Machines has an approval rating of 69% based on 206 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of 6.5/10. Its critical consensus reads, "Although T3 never reaches the heights of the second movie, it is a welcome addition to the Terminator franchise."[146] Metacritic (which uses a weighted average) assigned Terminator 3: Rise of the Machines a score of 66 out of 100 based on 41 critics, indicating "generally favorable reviews".[147] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[148]

 Shortly after the film's release, Cameron described the film as "in one word: great",[149] but after the release of the fourth film, Terminator Salvation, Cameron recanted his statement and said he felt his first two films were better than either of the later films.[150] A. O. Scott of The New York Times said the film "is essentially a B movie, content to be loud, dumb and obvious".[151] Roger Ebert gave the film two-and-a-half stars, remarking "Essentially one long chase and fight, punctuated by comic, campy or simplistic dialogue."[152]

 Accolades [ edit ]

 Year Award Category Result Recipient(s) Ref. 
 2004 Teen Choice Awards Choice Movie Actor Nominated Arnold Schwarzenegger [153]
 MTV Movie Awards Best Action Sequence Nominated Champion Crane Chase [154] 
 ASCAP Film and Television Music Awards Top Box Office Films Won Marco Beltrami [ citation needed ] 
 

 Sequel [ edit ]

 Main article: Terminator Salvation

 A sequel to Terminator 3: Rise of the Machines was released in 2009, titled Terminator Salvation. Its plot follows elements of the third film, and the setting moved to the post-apocalyptic future. Salvation was intended to launch a new trilogy for the series.[155]

 Notes [ edit ]

 1. ^ Also known as T3[5]
 2. ^ As depicted in Terminator 2: Judgment Day (1991)
 3. ^ The Chairman is referred to as Admiral James T. Morrison in the novelization by David Hagberg . In the film the character is unnamed.

 References [ edit ]

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 Works cited [ edit ]

 * Shapiro, Marc (July 1991). "A Judgment In Steel". Fangoria. No. 104. Atlanta, Georgia: Fangoria Publishing, LLC. pp. 36–40.
 * Shapiro, Marc (September 1991). "Director's Judgment". Starlog. No. 170. New York: Starlog Group, Inc. pp. 32–35.

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"Terminator 3" redirects here. For the 2019 sequel of Terminator 2 that retroactively ignores previous continuations, see Terminator: Dark Fate.
   Terminator 3: Rise of the Machines      Theatrical release poster    Directed by  Jonathan Mostow    Screenplay by  John BrancatoMichael Ferris    Story by  
 John Brancato
Michael Ferris
 Tedi Sarafian  
    Produced by  
  Hal Lieberman 
 Colin Wilson 
 Mario F. Kassar 
 Andrew G. Vajna 
 Joel B. Michaels  
    Starring  
  Arnold Schwarzenegger 
 Nick Stahl 
 Claire Danes 
 Kristanna Loken  
    Cinematography  Don Burgess    Edited by  
  Neil Travis 
Nicolas de Toth 
    Music by  Marco Beltrami     Productioncompanies   
  Intermedia  [1]  
 C2 Pictures  [1]   
    Distributed by  
  Warner Bros. Pictures (North America)
 Columbia TriStar Film Distributors International (international) [2]   
     Release dates   
 June 30, 2003 (Westwood, Los Angeles)
July 2, 2003 (United States) 
     Running time  109 minutes [3]     Countries United StatesGermanyUnited Kingdom [4]     Language English   Budget $187.3 million ($167.3 million excluding production overhead)   Box office $433.4 million   
  Terminator 3: Rise of the Machines   [a]  is a 2003 science fiction action film directed by Jonathan Mostow. Starring Arnold Schwarzenegger, Nick Stahl, Claire Danes, and Kristanna Loken, it is the third installment in the  Terminator franchise and a sequel to  Terminator 2: Judgment Day  (1991). In its plot, the malevolent artificial intelligence Skynet sends a T-X (Loken)—a highly advanced Terminator—back in time to ensure the rise of machines by killing top members of the future human resistance as John Connor's (Stahl) location is unknown. The resistance sends back a reprogrammed T-850 (Schwarzenegger) to protect John and Kate.
 While Terminator creator James Cameron was interested in directing the third film, he ultimately had no involvement with Terminator 3. Andrew G. Vajna and Mario Kassar, who had produced  Terminator 2: Judgment Day  through their company Carolco Pictures, obtained the rights for the franchise through both Carolco's liquidation auction and negotiations with producer Gale Ann Hurd. In 1999, Tedi Sarafian was hired to write the first draft of the script. Mostow joined the project as director in 2001, and he brought on John Brancato and Michael Ferris to rewrite Sarafian's script. The $187 million budget included a $5 million salary for Mostow and a record $30 million salary for Schwarzenegger. Filming took place in California from April to September 2002. Industrial Light &amp; Magic (ILM) and Stan Winston created the special effects, as they did for the previous film.
  Terminator 3: Rise of the Machines premiered in Westwood, Los Angeles, on June 30, 2003, and was released on July 2, 2003, by Warner Bros. Pictures in the United States and by Columbia TriStar Film Distributors International in worldwide territories. It received generally positive reviews and earned $433.4 million worldwide, finishing its theatrical run as the seventh-highest-grossing film of 2003. A sequel,  Terminator Salvation , was released in 2009.
Plot[edit]
Ten years after destroying Cyberdyne Systems, [b]  John Connor has been living as a nomad following the death of his mother, Sarah, to hide from the malevolent artificial intelligence Skynet, despite a war between humans and machines not happening in 1997, as foretold. Unable to locate John in the past, Skynet sends the T-X, an advanced prototype shapeshifting Terminator made of virtually impervious liquid metal, back in time to John's present in Los Angeles, to instead kill his future allies in the human resistance. The human resistance sends back a reprogrammed T-850 Terminator, a less-advanced metal endoskeleton covered in living human flesh, to protect John and his future wife Kate Brewster.
 After killing other targets, the T-X locates the pair at an animal hospital where Kate works. John becomes the T-X's primary target, but the Terminator helps him and Kate escape, taking them to a mausoleum where John's mother is supposedly interred. Inside her vault, they find a weapons cache left at Sarah's request in case Judgment Day was not averted and the Terminators returned. They escape from an armed battle with the police and fend off the pursuing T-X. The Terminator reveals that John and Sarah's actions only delayed Judgment Day and that Skynet's attack will occur that day; the Terminator intends to drive John and Kate to Mexico to escape the fallout when Skynet begins its nuclear attack at 6:18 p.m. John orders the Terminator to take Kate and him to see her father, U.S. Air Force Lieutenant General Robert Brewster. The Terminator refuses, however when Kate also demands to see her father, the Terminator obeys. It is revealed that in the future, the Terminator killed John, after which Kate captured and reprogrammed the Terminator and sent it back in time.
 Meanwhile, General Brewster is supervising the development of Skynet for Cyber Research Systems (CRS), which also develops autonomous weapons. The Chairman of the Joint Chiefs of Staff  [c]  pressures him to activate Skynet to stop an anomalous computer virus from invading servers worldwide. General Brewster discovers too late that the virus was Skynet slowly becoming self-aware, and John and Kate arrive too late to stop it from being activated. The T-X fatally injures General Brewster and controls the CRS weaponized drones, which kill the employees. Before he dies, General Brewster gives Kate and John the location of what John believes is Skynet's system core. The pair head for the tarmac to take General Brewster's single-engine plane to Crystal Peak, a facility built inside the Sierra Nevada. After a battle, the T-X severely damages the Terminator, reprogramming it to kill John, and pursues John and Kate through the CRS facility. When a particle accelerator is activated, it magnetically binds the T-X to the equipment. The still-conscious Terminator struggles to control its outer functions. As it prepares to kill John, he urges the Terminator to choose between its conflicting programming; it deliberately forces a shutdown of its corrupted system, enabling the pair's escape. Shortly after they leave, the Terminator's system reboots. Meanwhile, the T-X escapes the accelerator and resumes pursuit.
 After John and Kate reach Crystal Peak, the T-X arrives by helicopter. Before it can attack, the Terminator arrives in a second helicopter and crashes into and crushes the T-X. The T-X pulls itself from the wreckage, losing its legs, and attempts to drag itself inside the bunker to follow the pair. The Terminator holds the bunker door open long enough for the pair to lock them inside then uses its last hydrogen fuel cell to destroy both itself and the T-X.
 John and Kate discover that Crystal Peak is not Skynet's core, but rather a nuclear fallout shelter and command facility for government and military officials. Having no core, Skynet has become a part of cyberspace after becoming self-aware. Judgment Day begins as Skynet fires nuclear missiles worldwide, starting a nuclear holocaust that kills billions. The pair begin receiving radio transmissions on the emergency equipment; John tentatively assumes command by answering radio calls, and they reluctantly accept their fate.
Cast[edit]
  Arnold Schwarzenegger as the Terminator.
 Nick Stahl as John Connor. Stahl replaces Edward Furlong from the second film.
 Kristanna Loken as the T-X, an advanced Terminator sent back to murder John's resistance lieutenants
 Claire Danes as Kate Brewster, John's former classmate and Scott's fiancé.
 David Andrews as Lieutenant General Robert Brewster, Kate's father who is also the program director at CRS, which has acquired Cyberdyne Systems' remaining assets
 Mark Famiglietti as Scott Mason, Kate's fiancé who is killed by the T-X. The character was originally named Scott Peterson, but the name was changed in order to avoid association with the Scott Peterson case involving the murder of Laci Peterson and her unborn son Conner. [6]  In the ending credits his name is still listed as "Scott Petersen".
 Earl Boen as Dr. Peter Silberman: Reprising his role from the first two films, Boen appears in one scene, attempting to comfort Kate after she witnesses the acts of the Terminator. 
 Jay Acovone portrayed an LAPD Officer. Kim Robillard and Mark Hicks portrayed Detective Edwards and Detective Bell. In the film's dialogue Bell is identified correctly, however in the film's end credits his name is listed as "Detective Martinez". One of Schwarzenegger's stunt doubles, Billy D. Lucas, portrayed a civilian who has his car accidentally wrecked by John.
Production[edit]
Conception[edit]
      James Cameron (pictured in 2000) directed the first two films, but declined to return for the third.  
 James Cameron had directed and co-written the previous  Terminator  films. The film rights to the franchise were held by Carolco Pictures and by Cameron's ex-wife and  Terminator 2: Judgment Day  (1991) executive producer Gale Anne Hurd, who both held 50 percent of the rights. [7]  Cameron had sold his stake to Hurd for $1 prior to directing  The Terminator  (1984). [8]  In July 1991, Cameron said that if Terminator 2 was successful, "there may be some economic pressure" to do a sequel. [9]  Hurd said that month, "I've always felt the story lent itself wonderfully to being a continuing tale." She believed it was natural that a third film would happen, but was unsure at that time if Arnold Schwarzenegger would reprise his role as the Terminator. Hurd said that for Schwarzenegger to commit to another film, he would have to read a finished script, approve a director, and see if the project fit into his schedule. [10] 
 Following Terminator 2's release, Cameron said he had no intentions for further sequels, believing it "brings the story full circle and ends. And I think ending it at this point is a good idea," and co-writer William Wisher said they wrote the script intending to leave no option for a sequel. [11]   [12]  Even so, Carolco Pictures co-founder Mario Kassar said in May 1992 that he intended to make a Terminator 3 film within the next five to seven years. [13]  TriStar, which distributed Terminator 2, would be involved in the new film. That month, TriStar chief Mike Medavoy said the film would probably take a couple of years. [14] 
Development[edit]
By the end of 1995, Carolco had filed for bankruptcy, [15]  and Cameron wanted to direct a third film with the involvement of 20th Century Fox. [16]  Cameron's 3D film ride,  Terminator 2 3-D: Battle Across Time , would open later in 1996. The project reunited the main cast of Terminator 2: Judgment Day, and had prompted Cameron to begin writing a script for a Terminator 3 film. [17]  Cameron said Terminator 2 3D: Battle Across Time would serve as a "stepping stone" toward a third Terminator film. [18]  However, such a film would not be ready for a few years as Cameron was busy working on  Titanic  for 20th Century Fox. [17] 
 When Carolco filed for bankruptcy on November 10, 1995, its assets were bound to a liquidation auction. [15]   [19]  That day, 20th Century Fox signed a $50 million deal to acquire all of Carolco's assets, including the rights to Terminator sequels, as well as the company's existing film library. [15]   [20]  Fox withdrew its bid in January 1996, when Canal Plus bid $58 million for Carolco's film library. Canal Plus' offer did not include purchasing the rights for Carolco sequel films, but Fox wanted all of Carolco's assets and was unwilling to match or exceed the bid offer made by Canal Plus. [20]   [19]  The sequel rights would ultimately be auctioned through U.S. bankruptcy court, where Fox intended to purchase them. [20]   [21] 
 The new Terminator film would have Schwarzenegger reprising his role. [22]  Linda Hamilton had also talked with Cameron about reprising her role as Sarah Connor. [23]  During 1997, Fox spent nine months negotiating with Cameron, Schwarzenegger, and Hurd, the latter in regard to her share of the sequel rights. [22]  Bill Mechanic, chairman of Fox Filmed Entertainment, oversaw the project and negotiations at that time. Mechanic wanted the trio to be involved in the new film, so he sought to first secure deals with them before proceeding with a purchase of the Carolco rights. Mechanic also believed that a deal with the trio would give him necessary leverage with the U.S. bankruptcy court to acquire the rights from Carolco. [20]  At that time, Cameron committed to writing and producing the film, and reserved the right to direct it in the event that he wanted to do so. [8] 
 Fox intended to make the new Terminator film on a budget similar to its predecessor, approximately $95 million. However, it was determined that the film could not be made on the intended budget when considering the additional cost of purchasing Carolco's rights, [22]  as well as Schwarzenegger's desired $25 million salary. [24]  At some point, Schwarzenegger had talked to Cameron about the two of them buying the rights themselves, but Cameron was not interested in this idea and wanted to let Fox handle the rights. Schwarzenegger said about Fox, "Only later did I learn they were making these ridiculous lowball offers, like $750,000. We could have owned this ourselves, but Jim didn't want to be in that business." [5] 
     
 Dimension Films, a division of Miramax, had agreed to purchase the rights that were owned by Hurd and also intended to buy Carolco's rights through the auction. However, a judge ruled against an earlier motion which stated that only an established studio should be allowed to bid for the Carolco rights. This allowed Andrew G. Vajna to participate in the bidding. [5]  Vajna had co-founded Carolco with Kassar, but left the company in 1989. [20] 
 In September 1997, Cameron invited his friends Vajna and Kassar to see an early edit of Titanic, during which Vajna and Kassar learned that the Terminator rights were still available. [8]  That month, Mechanic discovered that Vajna had been quietly negotiating with the bankruptcy court to acquire the rights for himself and Kassar; the duo planned to form a new production company with Terminator 3 as its debut. During September 1997, Vajna signed a tentative $7.5 million agreement to purchase the rights, which were to be sold later in an auction scheduled for the following month. Mechanic was upset to learn of Vajna's agreement, having spent months in negotiations with Schwarzenegger, Cameron, and Hurd. [20]   [21]   [25]  Cameron was upset as well, as Vajna and Kassar had not mentioned their intention to buy the rights during their meeting days earlier. This would lead to the deterioration of their friendship. [8]  Vajna later said he was unaware that Cameron was already planning Terminator 3. [26]  Miramax dropped out of the bidding when Vajna raised his bid to $8 million. [27] 
 By October 1997, the budgetary concerns over Terminator 3 and Cameron's troubled post-production of Titanic for Fox led them both to abandon the Terminator project and not pursue the rights. [22]  Mechanic had asked Cameron if he wanted Fox to outbid Vajna, but Cameron decided he did not want to be involved in the project. Mechanic believed that Cameron was "only hanging in there at the end because of Arnold and quality control. It was something that Arnold always wanted to do again. Period. And Jim was more than happy to do it." [8]  Cameron gave his approval for Hurd and Schwarzenegger to make another Terminator film without him, [22]  although Schwarzenegger did not want to make the film without Cameron, [22]   [28]  and initially refused to star in the third film. [28] 
 Over time, Schwarzenegger would continue trying to persuade Cameron to be involved in the new film. In 2003, Cameron said that he felt he had already told the whole story with his first two Terminator films, something that he came to realize during the post-production of Titanic. [28]  Cameron later stated, "I just felt as a filmmaker maybe I've gone beyond it. I really wasn't that interested. I felt like I'd told the story I wanted to tell. I suppose I could have pursued it more aggressively and gone to the mat for it but I felt like I was laboring in someone else's house to an extent because I had sold the rights very early on." [29]  Nevertheless, feeling that the Terminator character was as much Schwarzenegger's as it was his own, Cameron eventually advised Schwarzenegger to do the third film without him, saying, "If they can come up with a good script and they pay you a lot of money, don't think twice." [28]  The film was in high demand according to Schwarzenegger, who said he was frequently asked in interviews about the possibility of a third film. [30]   [28] 
 In October 1997, the rights to future Terminator films were auctioned to Vajna for $8 million. [31]  Hurd had opposed Vajna's attempt to buy the rights, and had tried unsuccessfully to change Cameron's mind about purchasing the rights. [32]  On the night that the rights were auctioned, Vajna contacted Cameron and Schwarzenegger to resolve the situation. Vajna was surprised that Cameron would be upset about the rights being sold, later saying, "What difference does it make to Jim who's financing the movie, a studio or us? His deal would have been the same. Arnold tried to convince Jim over a long period of time to do the film. Arnold felt very loyal." [8]  Vajna said that Cameron "felt that we 'stole his baby', even though we're the ones who put it together last time round. So we felt that that was kind of strange and then we went on to do it ourselves." [26] 
 Cameron said in January 1998 that it was unlikely he would direct Terminator 3. [33]  In March 1998, Vajna and Kassar acquired Hurd's half of the Terminator rights for $8 million, to become full owners of the franchise, with plans to proceed on Terminator 3. [5]   [31]  Hurd served as an executive producer on the film. [34]  Kassar and Vajna contacted Cameron with the hope that he would direct, but he declined. [35]   [36]  According to Kassar, Cameron was trying to obtain the auctioned Terminator rights for himself at the time that he was asked to direct. [35]  Cameron and his company, Lightstorm Entertainment, had considered trying to obtain the rights, but ultimately chose not to do so; it was estimated that acquiring the rights and paying Schwarzenegger to reprise his role could cost up to $100 million. [37] 
Pre-production[edit]
By 1999, Kassar and Vajna had been negotiating with various studios about partnering on the project, but decided to finalize the film's concept and script first. They founded C2 Pictures that year, [38]  and by October 1999, [39]  they had brought Toho-Towa and German company VCL onboard the project as co-financiers. The latter companies helped finance development of a script by Tedi Sarafian, [36]   [40]  who was hired for the film in 1999, along with David C. Wilson for a possible fourth installment. [38]  Fox held discussions with Vajna and Kassar about buying the rights from them for Cameron. Mechanic said these discussions were never serious. [8]  It was also reported that Fox and Cameron had been in discussions with Vajna and Kassar about partnering on the film. [36]   [38]  Vajna and Kassar accepted a proposal from Fox, but it fell apart once Toho-Towa and VCL were brought onto the project, as the latter companies purchased the distribution rights for Japan and Germany, the largest markets outside of the United States. [8]   [36]   [38]  Kassar and Vajna intended to proceed on the film with or without Schwarzenegger, although Kassar preferred that he be involved. Filming was expected to begin in 2000 for a release the following year. [38] 
 In March 2000, it was announced that VCL would have a 25 percent stake in the film, as well as the rights in German-speaking territories. At the time, Sarafian was days away from completing his draft, and Kassar hoped to announce a director within 45 days. Filming was still expected to commence later that year, with a release scheduled for the fourth quarter of 2001. Kassar wanted to have Terminator 3 and Terminator 4 shot back to back, possibly with different directors. [41]  Plans to shoot the film and its sequel simultaneously were later dropped, in case Terminator 3 did not become a success. [5]  Later in 2000, the start of production on Terminator 3 was delayed by a year. [42] 
 Sarafian's script, titled T-3: Rise of the Machines, featured John Connor working in a dot-com company. The script's villain was the T-1G, a female Terminator sent from the future, with the ability to turn invisible. [43]   [44]  By July 2000, Cameron had been given a copy of Sarafian's script, but he passed on directing the film due to his estranged relationship with Vajna and Kassar. [45]   [46]  Cameron later stated that he refused to direct or produce Terminator 3 because he disliked the idea of working from somebody else's script in a story he originated. [47]  According to Schwarzenegger, Cameron declined involvement on the project because he did not want to commit to a time frame, as he was busy and had other projects he wanted to explore. [48]   [49]  Other directors being considered in 2000 included Ang Lee, Christian Duguay, David Fincher, John McTiernan, Ridley Scott, and Roland Emmerich. [45]   [46]   [5]   [50]  Lee passed on the project to instead direct  Hulk  (2003). [51]  Intermedia was announced as a co-financier in October 2000. [40] 
 Although production was scheduled to begin in 2001, it was delayed in anticipation of a writers strike, which ultimately did not occur. [5]   [52]  There was also the possibility of an actors strike, and filming was scheduled to begin after it ended. [52]   [53]  In March 2001, Jonathan Mostow and his producing partner Hal Lieberman were in negotiations to join the project as director and producer respectively. [53]   [54]  Mostow said he was "not shy" when he started working on the project; as he later recalled, "I said, 'Here's the movie I'm going to make, here's how I'm going to do it. If you don't want to do it my way, you should find a different director.'" [55]  Mostow had concerns about Sarafian's script and declined to start filming until it was perfected. [43]   [55] 
 Mostow invited his college classmates John Brancato and Michael Ferris to rework the screenplay; [43]  they signed on to rewrite it in June 2001. [56]  Sarafian still got a story credit, [34]  although much of his draft was rewritten, and scenes were added to make it more of a road movie, fulfilling Mostow's vision for the film. [43]  Brancato said there was initial consideration given to ignoring the basic format of the earlier films by removing aspects of time travel and killer machines from the future: "We tried all sorts of wacky scenarios [...] But to be honest it just wasn't working." [57]  The idea of a female Terminator was retained from Sarafian's draft, [57]  although Mostow disliked Sarafian's idea that the character could turn invisible, saying, "It's not visceral." The film makes a subtle reference to Schwarzenegger's age by depicting his character as an obsolete Terminator compared to the T-X. Mostow said, "It's always great if you can have your protagonist or hero be completely outmatched." [43] 
 In December 2001, several companies competed for the distribution rights to the film. [58]  The heads of each major studio were invited that month to a secret hotel room meeting to read the script and bid for the rights. Fox declined to participate in the meeting, out of loyalty to Cameron. [8]  Warner Bros. won the U.S. distribution rights that month, with filming scheduled to begin in April 2002. [59]   [60]  Columbia TriStar Film Distributors International subsequently acquired most of the international distribution rights, including those that would have been handled by VCL, which was suffering financially at the time. [61] 
 The film's production budget was initially set at $169–170 million, [62]   [63]  making it the most expensive film ever to be greenlit at the time. [59]   [60]   [64]  The budget would include paying off the debts of Carolco, as well as a $5 million salary for Mostow and a record $30 million salary for Schwarzenegger. [58]   [65]   [66]  The distribution rights were sold for $145 million, while the remaining $25 million would be covered by Vajna, Kassar, and Intermedia. [8]  Budget statements for the film put the final cost at $187.3 million (or $167.3 million excluding the production overhead). [67]   [68]  Product placement deals, with companies such as PepsiCo and Toyota, helped regenerate profit. For example, the film prominently features the then-new Toyota Tundra truck. [5]  Schwarzenegger received a record salary of $29.25 million, plus 20 percent of the profits, [67]  although he agreed to defer part of his salary in order to prevent the relocation of the set to Vancouver, British Columbia, from Los Angeles. [69]  Initially, the film was to have a 100-day shoot, with 62 days in Vancouver and 38 days in Los Angeles. The cast and crew generally agreed that they did not want to relocate from California, so $8 million was trimmed from the budget, allowing for filming to take place entirely in the state. Another benefit of shooting in Los Angeles is that the film is set there. [70]  It was announced in February 2002 that the shoot would take place entirely in California. [71] 
Casting[edit]
Schwarzenegger signed on to the project in June 2000, [72]   [73]  after reading Sarafian's draft. [26]  Edward Furlong signed on in August 2000, to reprise his role as John Connor from the previous film. [74]   [44]  However, in December 2001, casting began for a new actor to replace Furlong, [75]  who was dropped from the project because of a substance abuse problem. [76]   [77]  Furlong was removed by Warner Bros., which was concerned that his publicized drug problems could jeopardize the project. [5]  Furlong later stated "I don't know [what happened]. It just wasn't the time. I was going through my own thing at the point in my life – whatever, it just wasn't meant to be". [76] 
 According to Mostow, Furlong had been considered, but the director wanted to start from scratch with a new actor, as John would be portrayed as "a very different character now." [78]  Mostow described the character as someone who has carried the burden of being a leader in the future, saying "it's very lonely because nobody else in the world knows about it or believes it. Even if he tried to explain to somebody, they'd think he was crazy and that's a really interesting character." [79]  Mostow wanted the character to have soulfulness and he believed that Nick Stahl was the right actor for the role. [78]  Although John Connor was written as being 10 years old in the script for Terminator 2, Furlong was actually several years older than that. For Terminator 3, Mostow wondered whether the character's current age should be faithful to what was written before. After some consideration, Mostow chose to make the character slightly older for Terminator 3, to be consistent with Furlong's real age. The film states that John was 13 years old during the events of the previous film. Mostow said he tried to avoid the age discrepancy as much as possible in the film. [78]  Some fans were disappointed by the decision to recast Furlong, [78]  and some were alienated by the age change. [80] 
 In November 2000, Linda Hamilton said she had turned down an offer to reprise her role as Sarah Connor. [81]  Hamilton said in October 2001 that the script did not take her character in any new directions: "The film is really about turning the baton over to Sarah's son John, played by Eddie Furlong. It's Eddie's movie - and Arnold's. It was like a no-win situation for me." She also was dissuaded by the fact that Cameron would have no involvement in the film. [82]   [83]  Hamilton later explained her decision not to reprise her role: "They offered me a part. I read it and I knew my character arc was so complete in the first two, and in the third one it was a negligible character. She died halfway through and there was no time to mourn her. It was kind of disposable, so I said no thank you." [84]  When Mostow signed on as director, one of his conditions was that Hamilton reprise her role. [85]   [78]  However, he realized that the character would not have changed much since the previous film and that she would not contribute much to the story, saying later, "Linda Hamilton is too important to the franchise to stick her in as the third wheel." Mostow realized that John Connor would need to be the focus of the story, although the mausoleum scene was added as a way of integrating Hamilton's character into the story as well. [78]  Old footage of Hamilton was expected to be used for flashback scenes of Sarah Connor, [86]   [87]  although no such scenes exist in the final film. Mostow said the flashbacks made "a complicated story even more complicated." [5] 
 When Schwarzenegger was called into Kassar and Vajna's office in April 2001, he did not expect them to bring up Terminator 3 given the film's long stint in development hell. Instead, he wanted to talk to the producers about his political interests, including a potential candidacy as Governor of California in the 2002 election. However, pre-production was rolling along, with the screenplay nearly finished and set deals for both merchandising and distribution. Schwarzenegger postponed his gubernatorial plans, which eventually came into fruition with the 2003 California gubernatorial recall election. Instead, the actor combined production of the film with the promotion of Proposition 49, which advocated increased extracurricular activity in California schools. At times Schwarzenegger even received politicians, journalists, and potential financial backers of the proposition on the film set. [88]  During pre-production, Schwarzenegger worked out daily to prepare for the role, to get into the same physical shape in which he was during shooting of the previous films. [89]  Schwarzenegger felt it was important to be in the same physical condition as he was for the previous film, saying, "Otherwise, people would say, 'He's lost it; he's all saggy and flabby,' and that would be all anyone would talk about it. I didn't want to be digitized, because someone would blab, and it would be in all the columns. So I just worked harder." [5] 
 Approximately 10,000 women auditioned for the role of the T-X. [85]  Schwarzenegger originally wanted wrestling star Chyna to portray the T-X. [5]   [90]  Famke Janssen subsequently emerged as the most likely candidate for the role. [5]   [91]  Following the 2001 release of  The Fast and the Furious , starring Vin Diesel, there was consideration given to rewriting the T-X character as a man with Diesel in the role. [5]   [92]  In early 2002, Kristanna Loken was cast as the T-X, while Stahl was cast as John Connor. [93]   [94]  Stahl auditioned approximately five times, and underwent three screen tests, before receiving the role. [95]  Other actors considered for the role of John Connor included Shane West, Jake Gyllenhaal, [96]   [97]  and Logan Marshall-Green. [98]  For the film, Stahl took some weapons training and learned how to ride a motorcycle. [89]  Stahl did not aim to impersonate Furlong's earlier performance. For her role, Loken underwent six weeks of training, [89]  involving weights, fighting, and weapons. [86]  She also undertook Krav Maga, [89]  and gained 14 pounds of muscle. [99]  In addition, Loken took a mime movement class to perfect her character's robotic movements. [86] 
 Mostow originally wanted Claire Danes for the role of Kate Brewster, but the initial effort to get her involved did not work out. [85]   [78]  Sophia Bush was cast in the role instead, and Mostow was more excited about her casting than any other character. [78]  However, during filming, Mostow felt that Bush's appearance and performance seemed too youthful for the role. [5]   [100]  He said, "I tried everything I could to make her look older, but ultimately the camera doesn't lie. So I had to replace her and it was heart breaking because it was a huge break for her." [78]  After reading the script, Danes decided to join the cast to play Kate. [5]  Bush was replaced by Danes in May 2002, a month into filming. [100]   [101]  Danes began filming the day after she was hired. [102] 
Filming[edit]
Filming began on April 15, 2002. [100]  The first night of filming involved Schwarzenegger's Terminator crashing a vehicle into the T-X outside the animal hospital, [30]  which was constructed as a set in Los Angeles' Sunland-Tujunga neighborhood. [89]   [103]  Initially, Mostow was somewhat hesitant about following Cameron's footsteps as director, [35]   [65]  but he eventually put aside such concerns and later said, "Everyone will see this movie and make comparisons, but I can't control any of that." [65]  Schwarzenegger missed working with Cameron and initially did not have the same kind of confidence in Mostow as filming began. However, during the first week of filming, Schwarzenegger became convinced that Mostow was an adequate choice. [35]   [65] 
 Production designer Jeff Mann and his crew of 350 people designed and constructed multiple sets for the film during a four-month period prior to filming. [89]  Los Angeles Center Studios was a major filming location, [70]  as the production used six sound stages there. [89]  At least three sound stages were occupied by the project at all times during filming, and at one point all of the stages were in use for the shoot. [70]  In June 2002, driving scenes were filmed at Rose Hills Memorial Park in Whittier, California. [104]  Filming also took place at Big Bend National Park in Texas. [105]  Some sequences use more than 1,000 simultaneous tracks of audio. [89] 
 Stahl had few scenes during the initial weeks of filming, giving him time to work on his physique. [95]  Schwarzenegger worked out during lunch breaks to maintain his physical appearance. [89]   [106]  He had a 20-foot trailer with a gym inside, where he would work out in between filming. [86]   [85]  Schwarzenegger also performed many of his own stunts, something that he enjoyed doing. One of the most elaborate and choreographed stunts was devised by Mostow and stunt coordinator Simon Crane. The scene involves the T-X driving a 100-ton mobile crane down a street in pursuit of John Connor. During the scene, Schwarzenegger's Terminator hangs on to the crane arm as it is swung around, smashing him into a glass building and a passing fire truck. Fourteen cameras were used for the shot in which he crashes through a glass building, as the film crew would only have one chance to film it, which was the case with many of the film's stunts. Schwarzenegger enjoyed filming the scene and called it "unbelievable," while stating, "We used every safety precaution, but there were close calls, many times." The street chase was filmed on a quarter-mile set of road and buildings, constructed at a Boeing plant in Downey, California. [89]   [107]  The film's showdown between the two Terminators is set in a marble and steel bathroom. Mostow's vision for the scene was to have the bathroom completely destroyed by the Terminators by the end of their battle. The scene took four weeks to rehearse and two weeks to film. [89]  In early September 2002, scenes were filmed at San Bernardino International Airport. [108] 
 As with the previous films, the Terminator characters arrive naked after travelling through time. [89]   [109]  One of the film's opening scenes is set at the Desert Star bar, where Schwarzenegger's Terminator goes in search of clothes. The scene was filmed at the Cowboy Palace bar in the San Fernando Valley. [89]  The Sierra Inn bar and restaurant, in Agua Dulce, California, was also used for exterior shots of the Desert Star. [110]   [111]  The final scene to be filmed was another opening scene in which the T-X arrives naked on Rodeo Drive in Beverly Hills, California. Mostow said shooting the scene discreetly was a challenge due to the tourist popularity of Rodeo Drive. The filmmakers had to wait five months before finally receiving clearance to shoot the scene. [109]  The street had to be closed for filming to take place. [112]  The 5-month [89]  shoot proceeded as scheduled (From April 15, 2002), and concluded on September 8, 2002. [109]   [113] 
Effects[edit]
The film features more than 600 special effects shots. [65]  Industrial Light &amp; Magic (ILM) and Stan Winston created the special effects, as they had done for the previous film. [114]   [115]  Winston created the Terminator special effects and also designed the T-1, [89]   [116]  an early Terminator machine that appears in the CRS facility near the end of the film. Mostow said about the T-1, "I wanted to depict the first generation of Terminator robots, to show where it all began. […] We came up with this primitive but deadly robotic machine that is part tank, part robot." Winston created five full-sized, functioning T-1 robots, each one controlled by hydraulics. Winston's team also designed the T-X's endoskeleton frame, as well as her weapons. Certain sequences involving fire and explosions were deemed too dangerous for Schwarzenegger and Loken to perform, so Winston and his team constructed life-sized robot replicas of the actors for such scenes. [89]  When the start of production was delayed from its earlier 2001 date, it allowed Winston more time to develop the various special effects. [5]  ILM used miniature sculptures and computer-generated imagery (CGI) to create numerous visual effects for brief scenes set in the future, depicting the post-apocalyptic war between humans and machines. [89]  ILM's effects included Terminator endoskeletons seen during the future war. The endoskeletons were created entirely through CGI. [117] 
 One challenging scene for the visual effects team takes place at a cemetery, where the T-X has taken on the appearance of Kate's fiancé, before morphing to her original appearance. The scene required several repeated shots of the same area with the use of controlled camera movements that were the same for each take. [89]  Another difficult scene depicts the T-X's liquid metal exterior peeling off to reveal her endoskeleton. The visual effects team took six months to develop a method that would adequately simulate the scene. Pablo Helman, visual effects supervisor for ILM, said, "We had no application for creating and controlling streams of liquid metal, so we had to begin by determining the density, weight, shape and mass of this material, and how it would move under these conditions. It was a really complicated process." [89]  Another scene features the crane vehicle flipping over at the end of the road chase sequence. The production crew determined that it would be too dangerous and impractical to use the actual vehicle during this portion of the sequence, so ILM digitally recreated the crane using photos of the actual vehicle. [89] 
 One scene depicts the T-101 cutting open his chest cavity to remove a failing fuel cell battery, while simultaneously driving a truck. For the scene, Winston's team used cyber scans to create a body cast replica of Schwarzenegger that would sit in the driver's seat. Schwarzenegger was situated in the back of the truck, and his head and arms were visible in the front seat to give the impression that he was connected to the body cast. [89]  Several shots during the bathroom battle used CGI to simulate the Terminators. Helman said the scene required "a tremendous amount of visual effects to accomplish, and in some shots, large sections of the bathroom are completely computer generated." Mostow said the battle was "actually a much more complicated sequence from a visual effects standpoint than the audience will ever realize." [89]  A combination of Schwarzenegger's real body, prosthetics, and CGI were used to create the T-101 for its final scene in the film. [117] 
Music[edit]
Soundtrack[edit]
    Terminator 3: Rise of the Machines (Original Motion Picture Soundtrack)     Film score by   Marco Beltrami      Released June 24, 2003   Length 51:22    Label   Varèse Sarabande      Terminator  soundtrack chronology   
 
  Terminator 2: Judgment Day (Original Motion Picture Soundtrack)  (1991)
'' Terminator 3: Rise of the Machines (Original Motion Picture Soundtrack)''  (2003)
  Terminator: The Sarah Connor Chronicles  (2008)
       
 Marco Beltrami composed the musical score. He did not use the series' leitmotif by Brad Fiedel, [118]  though it was used in the film's end credits. The film's soundtrack was released by Varèse Sarabande on June 24, 2003:
 All music is composed by Marco Beltrami except "The Terminator" and "I Told You".   Terminator 3: Rise of the Machines (Original Motion Picture Soundtrack)    No.  Title Writer(s) Original artist Length   1. "A Day in the Life"     3:41   2. "Hooked on Multiphonics"     1:47   3. "Blonde Behind the Wheel"     2:07   4. "JC Theme"     3:34   5. "Starting T-1"     1:50   6. "Hearse Rent a Car"     1:48   7. "T-X's Hot Tail"     3:39   8. "Graveyard Shootout"     1:31   9. "More Deep Thoughts"     0:58   10. "Dual Terminator"     0:51   11. "Kicked in the Can"     2:03   12. "Magnetic Personality"     4:35   13. "Termina-Tricks"     2:12   14. "Flying Lessons"     0:56   15. "What Do You Want on Your Tombstone?"     1:19   16. "Terminator Tangle"     3:21   17. "Radio"     2:23   18. "T3"     3:17   19. "The Terminator" (from the motion picture  The Terminator ) Brad Fiedel Brad Fiedel 2:21   20. "Open to Me" (bonus track) Dillon Dixon Dillon Dixon 3:46   21. "I Told You" (bonus track) Mia Julia Mia Julia 3:11   Total length: 51:22    
 Songs that are not included on the soundtrack album
 "Dat Funky Man" (performed by William Randolph III; words by Jonathan Mostow)
"Sugar" (performed by Peter Beckett; words by Jonathan Mostow)
"Party" (performed by Peter Beckett)
"Can't Hide This" (performed by Mega Jeff)
"Macho Man" (performed by Village People)
"The Current" (performed by Blue Man Group featuring Gavin Rossdale) [119]   
Release[edit]
Marketing[edit]
The first teaser trailer of Terminator 3: Rise of the Machines premiered online and in theaters with  Men in Black II  in July 2002. [120]  On December 13, 2002, the first shot of T-X was revealed on USA Today. Just four days later, a trailer was officially released online. It debuted in theaters a day later on December 18 with the release of  The Lord of the Rings: The Two Towers . [121]  The film was also advertised during Super Bowl XXXVII with a television commercial. [122] 
 In May 2003, several parties were held in Cannes to promote the film. Also held there was a publicity event that included 10-foot metal robots, as well as comments from Schwarzenegger about the film. [123]  Action figures of the Terminator characters were produced by McFarlane Toys. [124] 
  Atari adapted the film into three video games, beginning with  Terminator 3: Rise of the Machines  (2003) developed by Black Ops Entertainment for multiple platforms. [125]  This was followed by  Terminator 3: War of the Machines  (2003) and  Terminator 3: The Redemption  (2004). [126] 
 On the weekend of the film's release, NASCAR drivers Jamie McMurray and Michael Waltrip each drove T3-branded cars during races at Daytona International Speedway. The cars featured the likenesses of Schwarzenegger and Loken's characters.
Theatrical[edit]
 Terminator 3: Rise of the Machines had its premiere at Mann Village Theater in Westwood, Los Angeles on June 30, 2003. [127]   [128]   [129]  In the United States, the film was released by Warner Bros. in 3,504 theaters on July 2, 2003. [3]   [130]  Press screenings of the film were very limited prior to release. [130] 
Home media[edit]
 Terminator 3: Rise of the Machines was released on DVD and VHS on November 11, 2003, and on Blu-ray on February 26, 2008.
Reception[edit]
Box office[edit]
 Terminator 3: Rise of the Machines earned $150.4 million in the United States and Canada and $283 million in other territories, for a worldwide total of $433.4 million. [3]  It was the seventh-highest-grossing film of 2003. [131] 
  Terminator 3: Rise of the Machines was released on July 2, 2003. It earned $12.5 million on its first day, including $4 million from Tuesday night previews. [132]  The film grossed $44 million during its opening weekend, [133]   [134]  combined with the $72.5 million five-day Wednesday opening gross. It had the fifth-highest opening weekend for an R-rated film, behind  The Matrix Reloaded ,  American Pie 2 ,  8 Mile , and  Hannibal . [135]  The film also scored the third-highest Fourth of July opening weekend, after  Men in Black II  and  Independence Day . Moreover, it competed against other films that were released during the summer season like  Finding Nemo ,  The Italian Job ,  Hulk ,  Legally Blonde 2: Red, White &amp; Blonde ,  Charlie's Angels: Full Throttle , and  Bruce Almighty . [133]  These films would even dominate the weaker opening of  Sinbad: Legend of the Seven Seas , an underperforming animated film. [136]  Additionally, Terminator 3: Rise of the Machines surpassed  Batman &amp; Robin  for having the biggest opening weekend for any film starring Arnold Schwarzenegger. [137]  It would remain at the top of the box office until it was dethroned by  Pirates of the Caribbean: The Curse of the Black Pearl  the following week. [138] 
 Internationally, Terminator 3: Rise of the Machines had box office runs in several countries. The film made $1 million from India, making it the country's third-highest opening of any film, behind  Die Another Day  and  Spider-Man . [139]  In France, it became the third-highest opening for a 2003 film in the country, trailing only behind  Taxi 3  and The Matrix Reloaded. [140]  It then made $2.6 million in Italy during its opening weekend. [141]  In the UK, the film made an opening weekend total of $9.6 million. [142]  At this point, it had the country's fourth-highest opening for any 2003 film, after Bruce Almighty, The Matrix Reloaded, and  X2 . With the exception of Batman &amp; Robin and  True Lies , the film's four-day gross was superior to the total gross of any Schwarzenegger film released since  Terminator 2: Judgment Day  in 1991. Plus, it had earned $1.7 million from previews. [143]  Meanwhile, in Japan, Terminator 3: Rise of the Machines went on to earn $12.5 million, making it the country's sixth-largest opening of any film. The film had already earned $9.5 million from previews, surpassing  Spirited Away 's record for having the biggest previews in Japan. [144]  It made $1.3 million in Thailand, becoming the second-highest opening of any film in the country, behind  The Legend of Suriyothai . [145]  In total, the international grosses include Argentina ($2.5 million), Australia ($12.3 million), Austria ($3.4 million) France ($18.9 million), Germany ($19.5 million), India ($2.1 million), Italy ($6.2 million), Japan ($67.5 million), Mexico ($8.9 million), New Zealand ($2.3 million), Russia ($12.8 million), Spain ($13.9 million), and the United Kingdom ($31.2 million). [3] 
Critical response[edit]
 Terminator 3: Rise of the Machines has an approval rating of 69% based on 206 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of 6.5/10. Its critical consensus reads, "Although T3 never reaches the heights of the second movie, it is a welcome addition to the Terminator franchise." [146]  Metacritic (which uses a weighted average) assigned Terminator 3: Rise of the Machines a score of 66 out of 100 based on 41 critics, indicating "generally favorable reviews". [147]  Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale. [148] 
 Shortly after the film's release, Cameron described the film as "in one word: great", [149]  but after the release of the fourth film,  Terminator Salvation , Cameron recanted his statement and said he felt his first two films were better than either of the later films. [150]  A. O. Scott of  The New York Times  said the film "is essentially a B movie, content to be loud, dumb and obvious". [151]  Roger Ebert gave the film two-and-a-half stars, remarking "Essentially one long chase and fight, punctuated by comic, campy or simplistic dialogue." [152] 
Accolades[edit]
Sequel[edit]
A sequel to Terminator 3: Rise of the Machines was released in 2009, titled Terminator Salvation. Its plot follows elements of the third film, and the setting moved to the post-apocalyptic future. Salvation was intended to launch a new trilogy for the series. [155] 
Notes[edit]
 
  ^  Also known as  T3   [5] 
  ^  As depicted in  Terminator 2: Judgment Day  (1991)
  ^  The Chairman is referred to as Admiral James T. Morrison in the novelization by David Hagberg. In the film the character is unnamed.
 
References[edit]
Citations[edit]
 
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Works cited[edit]
  Shapiro, Marc (July 1991). "A Judgment In Steel".  Fangoria . No. 104. Atlanta, Georgia: Fangoria Publishing, LLC. pp. 36–40. 
 Shapiro, Marc (September 1991). "Director's Judgment".  Starlog . No. 170. New York: Starlog Group, Inc. pp. 32–35.  
External links[edit]
  Official website 
  Terminator 3: Rise of the Machines  at IMDb 
  Terminator 3: Rise of the Machines  at AllMovie
Terminator 3: Rise of the Machines - Wikipedia
https://en.wikipedia.org/wiki/Terminator_3:_Rise_of_the_Machines
https://en.wikipedia.org/wiki/The_Matrix
The Matrix - Wikipedia
2001-11-08
Authority control General VIAF
<div><div>
<p>This article is about the 1999 film. For the franchise it initiated, see <a href="/wiki/The_Matrix_(franchise)"><i>The Matrix</i> (franchise)</a>. For other uses, see <a href="/wiki/Matrix_(disambiguation)">Matrix</a>.</p>
<table><tbody><tr><th>The Matrix</th></tr><tr><td><a href="/wiki/File:The_Matrix_Poster.jpg"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/The_Wachowskis">The Wachowskis</a><sup><a href="#cite_note-Credited-1">[a]</a></sup></td></tr><tr><th>Written by</th><td>The Wachowskis</td></tr><tr><th>Produced by</th><td><a href="/wiki/Joel_Silver">Joel Silver</a></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Keanu_Reeves">Keanu Reeves</a></li>
<li><a href="/wiki/Laurence_Fishburne">Laurence Fishburne</a></li>
<li><a href="/wiki/Carrie-Anne_Moss">Carrie-Anne Moss</a></li>
<li><a href="/wiki/Hugo_Weaving">Hugo Weaving</a></li>
<li><a href="/wiki/Joe_Pantoliano">Joe Pantoliano</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Bill_Pope">Bill Pope</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Zach_Staenberg">Zach Staenberg</a></td></tr><tr><th>Music by</th><td><a href="/wiki/Don_Davis_(composer)">Don Davis</a></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Warner_Bros._Pictures">Warner Bros.</a></li>
<li><a href="/wiki/Village_Roadshow_Pictures">Village Roadshow Pictures</a></li>
<li>Groucho II Film Partnership</li>
<li><a href="/wiki/Silver_Pictures">Silver Pictures</a></li></ul>
</div></td></tr><tr><th>Distributed by</th><td><div>
<ul><li>Warner Bros. (worldwide)</li>
<li><a href="/wiki/Roadshow_Entertainment">Roadshow Entertainment</a> (Australia)</li></ul>
</div></td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>March 24, 1999 (<a href="/wiki/Mann_Village_Theater">Mann Village Theater</a>)</li>
<li>March 31, 1999 (United States)</li>
<li>April 8, 1999 (Australia)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>136 minutes<sup><a href="#cite_note-2">[1]</a></sup></td></tr><tr><th>Countries</th><td><div><ul><li>United States<sup><a href="#cite_note-Lumiere-3">[2]</a></sup><sup><a href="#cite_note-AFI-4">[3]</a></sup><sup><a href="#cite_note-BFI-5">[4]</a></sup></li><li>Australia<sup><a href="#cite_note-Lumiere-3">[2]</a></sup><sup><a href="#cite_note-AFI-4">[3]</a></sup><sup><a href="#cite_note-BFI-5">[4]</a></sup></li></ul></div></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$63 million<sup><a href="#cite_note-Mojo-6">[5]</a></sup></td></tr><tr><th>Box office</th><td>$467.2 million<sup><a href="#cite_note-Mojo-6">[5]</a></sup></td></tr></tbody></table>
<p><i><b>The Matrix</b></i> is a 1999 <a href="/wiki/Science_fiction_film">science fiction</a> <a href="/wiki/Action_film">action film</a><sup><a href="#cite_note-Mojo-6">[5]</a></sup><sup><a href="#cite_note-7">[6]</a></sup> written and directed by <a href="/wiki/The_Wachowskis">the Wachowskis</a>.<sup><a href="#cite_note-Credited-1">[a]</a></sup> It is the first installment in the <a href="/wiki/The_Matrix_(franchise)"><i>Matrix</i> film series</a>, starring <a href="/wiki/Keanu_Reeves">Keanu Reeves</a>, <a href="/wiki/Laurence_Fishburne">Laurence Fishburne</a>, <a href="/wiki/Carrie-Anne_Moss">Carrie-Anne Moss</a>, <a href="/wiki/Hugo_Weaving">Hugo Weaving</a>, and <a href="/wiki/Joe_Pantoliano">Joe Pantoliano</a>, and depicts a <a href="/wiki/Dystopia">dystopian</a> future in which humanity is unknowingly trapped inside the Matrix, a <a href="/wiki/Simulated_reality">simulated reality</a> that intelligent machines have created to distract humans while using their bodies as an energy source.<sup><a href="#cite_note-Jamie_Allen-8">[7]</a></sup> When computer programmer Thomas Anderson, under the <a href="/wiki/Security_hacker">hacker</a> alias "<a href="/wiki/Neo_(The_Matrix)">Neo</a>", uncovers the truth, he joins a rebellion against the machines along with other people who have been freed from the Matrix.
</p><p><i>The Matrix</i> is an example of the <a href="/wiki/Cyberpunk">cyberpunk</a> <a href="/wiki/Subgenre">subgenre</a> of science fiction.<sup><a href="#cite_note-williamgibson-9">[8]</a></sup> The Wachowskis' approach to action scenes was influenced by <a href="/wiki/Anime">Japanese animation</a><sup><a href="#cite_note-Wachowski_transcript-10">[9]</a></sup> and <a href="/wiki/Martial_arts_film">martial arts films</a>, and the film's use of <a href="/wiki/Fight_choreography">fight choreographers</a> and <a href="/wiki/Wire_fu">wire fu</a> techniques from <a href="/wiki/Hong_Kong_action_cinema">Hong Kong action cinema</a> influenced subsequent <a href="/wiki/Hollywood_film">Hollywood action film</a> productions. The film popularized a visual effect known as "<a href="/wiki/Bullet_time">bullet time</a>", in which the heightened perception of certain characters is represented by allowing the action within a <a href="/wiki/Shot_(filmmaking)">shot</a> to progress in <a href="/wiki/Slow-motion">slow-motion</a> while the camera appears to move through the scene at normal speed, allowing the sped-up movements of certain characters to be perceived normally.
</p><p><i>The Matrix</i> opened in theaters in the United States on March 31, 1999, to widespread acclaim from critics, who praised its innovative visual effects, action sequences, cinematography and entertainment value,<sup><a href="#cite_note-RottenTomatoes-11">[10]</a></sup><sup><a href="#cite_note-meta-12">[11]</a></sup> and was a massive success at the box office, grossing over $460 million on a $63 million budget, becoming the highest-grossing Warner Bros. film of 1999 and the <a href="/wiki/1999_in_film">fourth highest-grossing film of that year</a>. At the <a href="/wiki/72nd_Academy_Awards">72nd Academy Awards</a>, the film won all four categories it was nominated for, <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>, <a href="/wiki/Academy_Award_for_Best_Film_Editing">Best Film Editing</a>, <a href="/wiki/Academy_Award_for_Best_Sound">Best Sound</a>, and <a href="/wiki/Academy_Award_for_Best_Sound_Editing">Best Sound Editing</a>. The film was also the recipient of numerous other accolades, including <a href="/wiki/BAFTA_Award_for_Best_Sound">Best Sound</a> and <a href="/wiki/BAFTA_Award_for_Best_Special_Visual_Effects">Best Special Visual Effects</a> at the <a href="/wiki/53rd_British_Academy_Film_Awards">53rd British Academy Film Awards</a>, and the Wachowskis were awarded <a href="/wiki/Saturn_Award_for_Best_Director">Best Director</a> and <a href="/wiki/Saturn_Award_for_Best_Science_Fiction_Film">Best Science Fiction Film</a> at the <a href="/wiki/26th_Saturn_Awards">26th Saturn Awards</a>. The film is considered to be among the <a href="/wiki/List_of_films_considered_the_best#Science_fiction">greatest science fiction films of all time</a>,<sup><a href="#cite_note-heritage1-13">[12]</a></sup><sup><a href="#cite_note-autogenerated1-14">[13]</a></sup><sup><a href="#cite_note-Genre's_Best-15">[14]</a></sup> and in 2012, the film was selected for preservation in the United States <a href="/wiki/National_Film_Registry">National Film Registry</a> by the <a href="/wiki/Library_of_Congress">Library of Congress</a> for being "culturally, historically, and aesthetically significant."<sup><a href="#cite_note-NFR-16">[15]</a></sup>
</p><p>The film's success led to two feature film sequels being released in 2003, <i><a href="/wiki/The_Matrix_Reloaded">The Matrix Reloaded</a></i> and <i><a href="/wiki/The_Matrix_Revolutions">The Matrix Revolutions</a></i>, which were also written and directed by the Wachowskis. The <i>Matrix</i> franchise was further expanded through the production of comic books, video games and animated short films, with which the Wachowskis were heavily involved. The franchise has also inspired books and theories expanding on some of the religious and philosophical ideas alluded to in the films. A fourth film, titled <i><a href="/wiki/The_Matrix_Resurrections">The Matrix Resurrections</a></i>, was released on December 22, 2021.
</p>
<h2>Plot[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>At an abandoned hotel, a police squad corners <a href="/wiki/Trinity_(The_Matrix)">Trinity</a>, who overpowers them with superhuman abilities. She flees, pursued by the police and a group of suited <a href="/wiki/Agent_(The_Matrix)">Agents</a> capable of similar superhuman feats. She answers a ringing <a href="/wiki/Telephone_booth">public telephone</a> and vanishes.
</p><p><a href="/wiki/Programmer">Computer programmer</a> Thomas Anderson, known by his <a href="/wiki/Security_hacker">hacking</a> <a href="/wiki/Alter_ego">alias</a> "<a href="/wiki/Neo_(The_Matrix)">Neo</a>", is puzzled by repeated online encounters with the phrase "the Matrix". Trinity contacts him and tells him a man named <a href="/wiki/Morpheus_(The_Matrix)">Morpheus</a> has the answers Neo seeks. A team of Agents and police, led by <a href="/wiki/Agent_Smith">Agent Smith</a>, arrives at Neo's workplace in search of him. Though Morpheus attempts to guide Neo to safety, Neo surrenders rather than risk a dangerous escape. The Agents offer to erase Neo's criminal record in exchange for his help with locating Morpheus, who they claim is a terrorist. When Neo refuses to cooperate, they fuse his mouth shut, pin him down, and implant a robotic "bug" in his stomach. Neo wakes up from what he believes to be a nightmare. Soon after, Neo is taken by Trinity to meet Morpheus, and she removes the bug from Neo.
</p><p>Morpheus offers Neo <a href="/wiki/Red_pill_and_blue_pill">a choice between two pills</a>: Taking the red pill, which will reveal the truth about the Matrix, or the blue, which will make Neo forget everything and return to his former life. Neo takes the red pill, and his reality begins to distort, awakening in a liquid-filled pod among countless other pods, containing other humans. He is then brought aboard Morpheus's flying ship, the <i><a href="/wiki/Nebuchadnezzar_(The_Matrix)">Nebuchadnezzar</a></i>. As Neo recuperates from a lifetime of physical inactivity in the pod, Morpheus explains the situation: In the early 21st century, a war broke out between humanity and <a href="/wiki/Artificial_intelligence">intelligent machines</a>. After humans blocked the machines' access to solar energy, the machines responded by enslaving humankind and harvesting their <a href="/wiki/Bioelectricity">bioelectric</a> power while keeping their minds pacified in the Matrix, a shared <a href="/wiki/Simulated_reality">simulated reality</a> modeled on the world as it was in 1999. In the years following, the remaining free humans took refuge in the underground city of <a href="/wiki/Zion_(The_Matrix)">Zion</a>.
</p><p>Morpheus and his crew are a group of rebels who hack into the Matrix to "unplug" enslaved humans and recruit them; their understanding of the Matrix's simulated nature allows them to bend its physical laws. Morpheus warns Neo that death within the Matrix kills the physical body too and explains that the Agents are sentient programs that eliminate threats to the system, while machines called Sentinels eliminate rebels in the real world. Neo's prowess during virtual training cements Morpheus's belief that Neo is "the One", a human prophesied to free humankind. The group enters the Matrix to visit <a href="/wiki/The_Oracle_(The_Matrix)">the Oracle</a>, a prophet-like program who predicted that the One would emerge. She implies to Neo that he is not the One and warns that he will have to choose between Morpheus's life and his own. Before they can leave the Matrix, Agents and police ambush the group, tipped off by Cypher, a disgruntled crew member who has betrayed Morpheus in exchange for a deal to be plugged back into the Matrix to live a comfortable life.
</p><p>To buy time for the others, Morpheus fights Smith and is captured. Cypher exits the Matrix and murders the other crew members as they lie unconscious. Before Cypher can kill Neo and Trinity, crew member Tank regains consciousness and kills him before pulling Neo and Trinity from the Matrix. The Agents interrogate Morpheus to learn his access codes to the <a href="/wiki/Mainframe_computer">mainframe computer</a> in Zion, which would allow them to destroy it. Neo resolves to return to the Matrix to rescue Morpheus, as the Oracle prophesied; Trinity insists she accompany him. While rescuing Morpheus, Neo gains confidence in his abilities, performing feats comparable to those of the Agents.
</p><p>After Morpheus and Trinity safely exit the Matrix, Smith ambushes and kills Neo. While a group of Sentinels attack the <i>Nebuchadnezzar</i>, Trinity confesses her love for Neo and says the Oracle told her she would fall in love with the One. Neo is revived, with newfound abilities to perceive and control the Matrix; he easily defeats Smith, prompting the other Agents to flee and he leaves the Matrix just as the ship's <a href="/wiki/Electromagnetic_pulse">electromagnetic pulse</a> disables the Sentinels. Back in the Matrix, Neo makes a telephone call, promising the machines that he will show their prisoners "a world where anything is possible." He hangs up and flies away.
</p>
<h2>Cast[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=2">edit</a>]</h2>
<ul><li><a href="/wiki/Keanu_Reeves">Keanu Reeves</a> as <a href="/wiki/Neo_(The_Matrix)">Thomas Anderson/Neo</a>: A computer programmer, born Thomas A. Anderson, who secretly operates as a hacker named Neo. Reeves described his character as someone who felt that something was wrong, and was searching for Morpheus and the truth to break free.<sup><a href="#cite_note-Screenplay-17">[16]</a></sup> <a href="/wiki/Will_Smith">Will Smith</a> turned down the role of Neo to make <i><a href="/wiki/Wild_Wild_West">Wild Wild West</a></i>, because of skepticism over the film's ambitious bullet time special effects.<sup><a href="#cite_note-empire_will_smith-18">[17]</a></sup> He later stated he was "not mature enough as an actor" at that time,<sup><a href="#cite_note-empire_will_smith-18">[17]</a></sup> and that if given the role, he "would have messed it up".<sup><a href="#cite_note-19">[18]</a></sup><sup><a href="#cite_note-20">[19]</a></sup> Smith praised Reeves for his portrayal.<sup><a href="#cite_note-21">[20]</a></sup> <a href="/wiki/Nicolas_Cage">Nicolas Cage</a> also turned down the part because of "family obligations".<sup><a href="#cite_note-22">[21]</a></sup> Warner Bros. sought <a href="/wiki/Brad_Pitt">Brad Pitt</a> or <a href="/wiki/Val_Kilmer">Val Kilmer</a> for the role.<sup><a href="#cite_note-Davis-interview-23">[22]</a></sup> When both declined, <a href="/wiki/Leonardo_DiCaprio">Leonardo DiCaprio</a> initially accepted the role, but ultimately turned it down because he did not want to do a visual effects film directly after <i><a href="/wiki/Titanic_(1997_film)">Titanic</a></i>.<sup><a href="#cite_note-Cast-Bullock-DiCaprio-24">[23]</a></sup> The studio pushed for Reeves, who won the role over <a href="/wiki/Johnny_Depp">Johnny Depp</a>, the Wachowskis' first choice.<sup><a href="#cite_note-Davis-interview-23">[22]</a></sup> <a href="/wiki/Lorenzo_di_Bonaventura">Lorenzo di Bonaventura</a> stated that the screenplay was also sent to <a href="/wiki/Sandra_Bullock">Sandra Bullock</a>, with the suggestion of rewriting Neo as a female.<sup><a href="#cite_note-Cast-Bullock-DiCaprio-24">[23]</a></sup></li>
<li><a href="/wiki/Laurence_Fishburne">Laurence Fishburne</a> as <a href="/wiki/Morpheus_(The_Matrix)">Morpheus</a>: A human freed from the Matrix and captain of the <i>Nebuchadnezzar</i>. Fishburne stated that once he read the script, he did not understand why other people found it confusing. However, he doubted if the movie would ever be made, because it was "so smart".<sup><a href="#cite_note-Screenplay-17">[16]</a></sup> The Wachowskis instructed Fishburne to base his performance on the character <a href="/wiki/Dream_(comics)">Morpheus</a> in <a href="/wiki/Neil_Gaiman">Neil Gaiman</a>'s <i><a href="/wiki/The_Sandman_(comic_book)">Sandman</a></i> comics.<sup><a href="#cite_note-25">[24]</a></sup> <a href="/wiki/Gary_Oldman">Gary Oldman</a>, <a href="/wiki/Samuel_L._Jackson">Samuel L. Jackson</a> and <a href="/wiki/Val_Kilmer">Val Kilmer</a> were also considered for the part.<sup><a href="#cite_note-Davis-interview-23">[22]</a></sup></li>
<li><a href="/wiki/Carrie-Anne_Moss">Carrie-Anne Moss</a> as <a href="/wiki/Trinity_(The_Matrix)">Trinity</a>: A human freed by Morpheus, a crewmember of the <i>Nebuchadnezzar</i>, and later Neo's romantic interest. After reading the script, Moss stated that at first, she did not believe she had to do the extreme acrobatic actions as described in the script. She also doubted how the Wachowskis would get to direct a movie with a budget so large, but after spending an hour with them going through the storyboard, she understood why some people would trust them.<sup><a href="#cite_note-Screenplay-17">[16]</a></sup> Moss mentioned that she underwent a three-hour physical test during casting, so she knew what to expect subsequently.<sup><a href="#cite_note-Training-26">[25]</a></sup> The role made Moss, who later said, "I had no career before. None."<sup><a href="#cite_note-Influence_EW2-27">[26]</a></sup> <a href="/wiki/Janet_Jackson">Janet Jackson</a> was initially approached for the role but scheduling conflicts prevented her from accepting it.<sup><a href="#cite_note-janet-28">[27]</a></sup><sup><a href="#cite_note-janet2-29">[28]</a></sup> In an interview, she stated that turning down the role was difficult for her, so she later referenced <i>The Matrix</i> in the 'Intro' and 'Outro' interludes on her tenth studio album <i><a href="/wiki/Discipline_(Janet_Jackson_album)">Discipline</a></i>.<sup><a href="#cite_note-janet1-30">[29]</a></sup> <a href="/wiki/Sandra_Bullock">Sandra Bullock</a>, who was previously approached for the role of Neo, was also offered the role of Trinity, but she turned it down.<sup><a href="#cite_note-31">[30]</a></sup> <a href="/wiki/Salma_Hayek">Salma Hayek</a> and <a href="/wiki/Jada_Pinkett_Smith">Jada Pinkett Smith</a> (who would later play <a href="/wiki/Niobe_(The_Matrix)">Niobe</a> in the sequels) both auditioned for the role.<sup><a href="#cite_note-32">[31]</a></sup><sup><a href="#cite_note-33">[32]</a></sup></li>
<li><a href="/wiki/Hugo_Weaving">Hugo Weaving</a> as <a href="/wiki/Agent_Smith">Agent Smith</a>: A sentient "Agent" program of the Matrix whose purpose is to destroy Zion and stop humans from getting out of the Matrix. Unlike other Agents, he has ambitions to free himself from his duties. Weaving stated that he found the character amusing and enjoyable to play. He developed a neutral accent but with more specific character for the role. He wanted Smith to sound neither robotic nor human, and also said that the Wachowskis' voices had influenced his voice in the film. When filming began, Weaving mentioned that he was excited to be a part of something that would extend him.<sup><a href="#cite_note-Interrogation_Room-34">[33]</a></sup> <a href="/wiki/Jean_Reno">Jean Reno</a> was offered the role, but declined, unwilling to move to <a href="/wiki/Australia">Australia</a> for the production.<sup><a href="#cite_note-35">[34]</a></sup></li>
<li><a href="/wiki/Joe_Pantoliano">Joe Pantoliano</a> as Cypher: Another human freed by Morpheus, and a crewmember of the <i>Nebuchadnezzar</i>, but one who regrets taking the red pill and seeks to be returned to the Matrix, later betraying the rebels to Agent Smith. Pantoliano had worked with the Wachowskis prior to appearing in <i>The Matrix</i>, starring in their 1996 film <i><a href="/wiki/Bound_(1996_film)">Bound</a></i>.</li>
<li><a href="/wiki/Marcus_Chong">Marcus Chong</a> as Tank: The "operator" of the <i>Nebuchadnezzar</i> and Dozer's brother; they are both "natural" (as opposed to bred) humans, born outside of the Matrix.</li>
<li><a href="/wiki/Anthony_Ray_Parker">Anthony Ray Parker</a> as Dozer: Pilot of the <i>Nebuchadnezzar</i>. He is Tank's brother, and like him was born outside of the Matrix.</li>
<li><a href="/wiki/Julian_Arahanga">Julian Arahanga</a> as Apoc: A freed human and a crew member on the <i>Nebuchadnezzar</i>.</li>
<li><a href="/wiki/Matt_Doran">Matt Doran</a> as Mouse: A freed human and a programmer on the <i>Nebuchadnezzar</i>.</li>
<li><a href="/wiki/Gloria_Foster">Gloria Foster</a> as <a href="/wiki/The_Oracle_(The_Matrix)">The Oracle</a>: A prophet who still resides in the Matrix, helping the freed humans with her foresight and wisdom.</li>
<li><a href="/wiki/Belinda_McClory">Belinda McClory</a> as Switch: A human freed by Morpheus, and a crew member of the <i>Nebuchadnezzar</i>.</li>
<li><a href="/wiki/Paul_Goddard_(actor)">Paul Goddard</a> as Agent Brown: One of two sentient "Agent" programs in the Matrix, who works with Agent Smith to destroy Zion and stop humans from escaping the system.</li>
<li><a href="/wiki/Robert_Taylor_(Australian_actor)">Robert Taylor</a> as Agent Jones: One of two sentient "Agent" programs in the Matrix who works with Agent Smith to destroy Zion and stop humans from escaping the system.</li>
<li><a href="/wiki/Ada_Nicodemou">Ada Nicodemou</a> as DuJour: A reference to the <a href="/wiki/White_Rabbit">White Rabbit</a> in <i><a href="/wiki/Alice%27s_Adventures_in_Wonderland">Alice's Adventures in Wonderland</a></i>.</li></ul>
<h2>Production[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=3">edit</a>]</h2>
<h3>Development[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=4">edit</a>]</h3>
<p>In 1994, the Wachowskis presented the script for the film <i><a href="/wiki/Assassins_(1995_film)">Assassins</a></i> to <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>. After <a href="/wiki/Lorenzo_di_Bonaventura">Lorenzo di Bonaventura</a>, the president of production of the company at the time, read the script, he decided to buy rights to it and included two more pictures, <i><a href="/wiki/Bound_(1996_film)">Bound</a></i> and <i>The Matrix</i>, in the contract. The first movie the Wachowskis directed, <i>Bound</i>, then became a critical success. Using this momentum, they later asked to direct <i>The Matrix</i>.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup>
</p><p>In 1996, the Wachowskis pitched the role of Neo to <a href="/wiki/Will_Smith">Will Smith</a>. Smith explained on his <a href="/wiki/YouTube">YouTube</a> channel that the idea was for him to be Neo, while Morpheus was to be played by <a href="/wiki/Val_Kilmer">Val Kilmer</a>. He later explained that he did not quite understand the concept and he turned down the role to instead film <i><a href="/wiki/Wild_Wild_West">Wild Wild West</a></i>.<sup><a href="#cite_note-37">[36]</a></sup>
</p><p>Producer <a href="/wiki/Joel_Silver">Joel Silver</a> soon joined the project. Although the project had key supporters, including Silver and Di Bonaventura, to influence the company, <i>The Matrix</i> was still a huge investment for Warner Bros., which had to invest $60 million to create a movie with philosophical themes and difficult special effects.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> The Wachowskis therefore hired underground comic book artists <a href="/wiki/Geof_Darrow">Geof Darrow</a> and <a href="/wiki/Steve_Skroce">Steve Skroce</a> to draw a 600-page, shot-by-shot storyboard for the entire film.<sup><a href="#cite_note-38">[37]</a></sup><sup><a href="#cite_note-39">[38]</a></sup> The storyboard eventually earned the studio's approval, and it was decided to film in Australia to make the most of the budget.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> Soon, <i>The Matrix</i> became a co-production of Warner Bros. and <a href="/wiki/Village_Roadshow_Pictures">Village Roadshow Pictures</a>.<sup><a href="#cite_note-Museum-40">[39]</a></sup> According to editor Zach Staenberg on the DVD audio commentary track, the production team sent an edit of the film's first minutes (featuring Trinity's encounter with police and Agents) to Warner executives, and secured Warner's "total support of the movie" from then on.<sup><a href="#cite_note-41">[40]</a></sup>
</p>
<h3>Pre-production[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=5">edit</a>]</h3>
<p>The cast were required to be able to understand and explain <i>The Matrix</i>.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> French philosopher <a href="/wiki/Jean_Baudrillard">Jean Baudrillard</a>'s <i><a href="/wiki/Simulacra_and_Simulation">Simulacra and Simulation</a></i> was required reading for most of the principal cast and crew.<sup><a href="#cite_note-Simulacra-42">[41]</a></sup> In early 1997, the Wachowskis had Reeves read <i>Simulacra and Simulation</i>, <a href="/wiki/Kevin_Kelly_(editor)">Kevin Kelly</a>'s <i><a href="/wiki/Out_of_Control:_The_New_Biology_of_Machines,_Social_Systems,_and_the_Economic_World">Out of Control: The New Biology of Machines, Social Systems, and the Economic World</a></i>, and <a href="/wiki/Dylan_Evans">Dylan Evans</a>'s ideas on <a href="/wiki/Evolutionary_psychology">evolutionary psychology</a> even before they opened up the script,<sup><a href="#cite_note-Screenplay-17">[16]</a></sup> and eventually he was able to explain all the philosophical nuances involved.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> Moss commented that she had difficulty with this process.<sup><a href="#cite_note-Screenplay-17">[16]</a></sup>
</p><p>The directors had long been admirers of <a href="/wiki/Hong_Kong_action_cinema">Hong Kong action cinema</a>, so they decided to hire the Chinese <a href="/wiki/Fight_choreography">martial arts choreographer</a> and film director <a href="/wiki/Yuen_Woo-ping">Yuen Woo-ping</a> to work on fight scenes. To prepare for the <a href="/wiki/Wire_fu">wire fu</a>, the actors had to train hard for several months.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> The Wachowskis first scheduled four months for training, beginning in October 1997.<sup><a href="#cite_note-43">[42]</a></sup> Yuen was optimistic but then began to worry when he realized how unfit the actors were.<sup><a href="#cite_note-Training-26">[25]</a></sup>
</p><p>Yuen let their body style develop and then worked with each actor's strength. He built on Reeves's diligence, Fishburne's resilience, Weaving's precision, and Moss's feminine grace.<sup><a href="#cite_note-Training-26">[25]</a></sup> Yuen designed Moss's moves to suit her deftness and lightness.<sup><a href="#cite_note-Trinity-44">[43]</a></sup> Prior to the pre-production, Reeves underwent a two-level fusion of his cervical (neck) spine due to spinal cord compression from a herniated disc ("I was falling over in the shower in the morning").<sup><a href="#cite_note-45">[44]</a></sup> He was still recovering by the time of pre-production, but he insisted on training, so Yuen let him practice punches and lighter moves. Reeves trained hard and even requested training on days off. However, the surgery still made him unable to kick for two out of four months of training. As a result, Reeves did not kick much in the film.<sup><a href="#cite_note-Training-26">[25]</a></sup> Weaving had to undergo <a href="/wiki/Hip_replacement">hip surgery</a> after he sustained an injury during the training process.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup>
</p>
<h3>Filming[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=6">edit</a>]</h3>
<p>All but a few scenes were filmed at <a href="/wiki/Fox_Studios_Australia">Fox Studios</a> in Sydney, as well as in the city itself, although recognizable landmarks were not included in order to maintain the impression of a generic American city. The filming helped establish <a href="/wiki/New_South_Wales">New South Wales</a> as a major film production center.<sup><a href="#cite_note-46">[45]</a></sup><sup><a href="#cite_note-47">[46]</a></sup> Filming began in March 1998 and wrapped in August 1998; <a href="/wiki/Principal_photography">principal photography</a> took 118 days.<sup><a href="#cite_note-The_Power_Plant-48">[47]</a></sup>
</p><p>Due to Reeves's neck injury (see above), some of the action scenes had to be rescheduled to wait for his full recovery. As a result, the filming began with scenes that did not require much physical exertion,<sup><a href="#cite_note-The_Shooting_Begins-49">[48]</a></sup><sup><a href="#cite_note-50">[49]</a></sup> such as the scene in Thomas Anderson's office, the interrogation room,<sup><a href="#cite_note-Interrogation_Room-34">[33]</a></sup> or the car ride in which Neo is taken to see the Oracle.<sup><a href="#cite_note-Car_Ride_to_the_Oracle-51">[50]</a></sup> Locations for these scenes included <a href="/wiki/Martin_Place,_Sydney">Martin Place's</a> fountain in Sydney, half-way between it and the adjacent Colonial Building, and the Colonial Building itself.<sup><a href="#cite_note-CNN_location-52">[51]</a></sup> During the scene set on a government building rooftop, the team filmed extra footage of Neo dodging bullets in case the <a href="/wiki/Bullet_time">bullet time</a> process did not work. The bullet-time fight scene was filmed on the roof of <a href="/wiki/NortonLifeLock">Symantec</a> Corporation building in Kent Street, opposite <a href="/wiki/Sussex_Street,_Sydney">Sussex Street</a>.<sup><a href="#cite_note-Government_Roof-53">[52]</a></sup>
</p><p>Moss performed the shots featuring Trinity at the beginning of the film and all the wire stunts herself.<sup><a href="#cite_note-Trinity-44">[43]</a></sup> The rooftop set that Trinity uses to escape from Agent Brown early in the film was left over from the production of <i><a href="/wiki/Dark_City_(1998_film)">Dark City</a></i>, which has prompted comments due to the thematic similarities of the films.<sup><a href="#cite_note-54">[53]</a></sup> During the rehearsal of the lobby scene, in which Trinity runs on a wall, Moss injured her leg and was ultimately unable to film the shot in one take. She stated that she was under a lot of pressure at the time and was devastated when she realized that she would be unable to do it.<sup><a href="#cite_note-Government_Lobby-55">[54]</a></sup>
</p><p>The <a href="/wiki/D%C5%8Dj%C5%8D">dojo</a> set was built well before the actual filming. During the filming of these action sequences, there was significant physical contact between the actors, earning them bruises. Reeves's injury and his insufficient training with wires prior to filming meant he was unable to perform the triple kicks satisfactorily and became frustrated with himself, causing the scene to be postponed. The scene was shot successfully a few days later, with Reeves using only three takes. Yuen altered the choreography and made the actors pull their punches in the last sequence of the scene, creating a training feel.<sup><a href="#cite_note-Construct_Kung_Fu-56">[55]</a></sup>
</p><p>The filmmakers originally planned to shoot the subway scene in an actual <a href="/wiki/Metro_station">subway station</a>, but the complexity of the fight and related wire work required shooting the scene on a set. The set was built around an existing train storage facility, which had real train tracks. Filming the scene when Neo slammed Smith into the ceiling, <a href="/wiki/Chad_Stahelski">Chad Stahelski</a>, Reeves's stunt double, sustained several injuries, including <a href="/wiki/Rib_fracture">broken ribs</a>, knees, and a <a href="/wiki/Dislocated_shoulder">dislocated shoulder</a>. Another stuntman was injured by a hydraulic puller during a shot in which Neo was slammed into a booth.<sup><a href="#cite_note-El_Fighting-57">[56]</a></sup> The office building in which Smith interrogated Morpheus was a large set, and the outside view from inside the building was a large, three story high <a href="/wiki/Cyclorama">cyclorama</a>. The helicopter was a full-scale light-weight mock-up suspended by a wire rope operated a tilting mechanism mounted to the studio roofbeams. The helicopter had a real minigun side-mounted to it, which was set to cycle at half its regular (3,000 rounds per min) firing rate.<sup><a href="#cite_note-Helicopter_Rescue-58">[57]</a></sup>
</p><p>To prepare for the scene in which Neo wakes up in a pod, Reeves lost 15 pounds and shaved his whole body to give Neo an emaciated look. The scene in which Neo fell into the sewer system concluded the principal photography.<sup><a href="#cite_note-The_Power_Plant-48">[47]</a></sup> According to <i>The Art of the Matrix</i>, at least one filmed scene and a variety of short pieces of action were omitted from the final cut of the film.<sup><a href="#cite_note-59">[58]</a></sup>
</p>
<h3>Sound effects and music[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=7">edit</a>]</h3>
<p><a href="/wiki/Dane_A._Davis">Dane A. Davis</a> was responsible for creating the sound effects for the film. The fight scene sound effects, such as the whipping sounds of punches, were created using thin metal rods and recording them, then editing the sounds. The sound of the pod containing a human body closing required almost fifty sounds put together.<sup><a href="#cite_note-Sound_effects-60">[59]</a></sup>
</p><p>The film's <a href="/wiki/Film_score">score</a> was composed by <a href="/wiki/Don_Davis_(composer)">Don Davis</a>.<sup><a href="#cite_note-61">[60]</a></sup><sup><a href="#cite_note-62">[61]</a></sup> He noted that mirrors appear frequently in the film: reflections of the blue and red pills are seen in Morpheus's glasses; Neo's capture by Agents is viewed through the rear-view mirror of Trinity's motorcycle; Neo observes a broken mirror mending itself; reflections warp as a spoon is bent; the reflection of a helicopter is visible as it approaches a skyscraper. Davis focused on this theme of reflections when creating his score, alternating between sections of the orchestra and attempting to incorporate <a href="/wiki/Counterpoint">contrapuntal</a> ideas. Davis' score combines orchestral, choral and synthesizer elements; the balance between these elements varies depending on whether humans or machines are the dominant subject of a given scene.<sup><a href="#cite_note-The_Score-63">[62]</a></sup>
In addition to Davis' score, <i>The Matrix</i> soundtrack also features music from acts such as <a href="/wiki/Rammstein">Rammstein</a>, <a href="/wiki/Rob_Dougan">Rob Dougan</a>, <a href="/wiki/Rage_Against_the_Machine">Rage Against the Machine</a>, <a href="/wiki/Propellerheads">Propellerheads</a>, <a href="/wiki/Ministry_(band)">Ministry</a>, <a href="/wiki/Lunatic_Calm">Lunatic Calm</a>, <a href="/wiki/Deftones">Deftones</a>, <a href="/wiki/Monster_Magnet">Monster Magnet</a>, <a href="/wiki/The_Prodigy">The Prodigy</a>, <a href="/wiki/Rob_Zombie">Rob Zombie</a>, <a href="/wiki/Meat_Beat_Manifesto">Meat Beat Manifesto</a>, and <a href="/wiki/Marilyn_Manson_(band)">Marilyn Manson</a>.<sup><a href="#cite_note-64">[63]</a></sup><sup><a href="#cite_note-65">[64]</a></sup><sup><a href="#cite_note-66">[65]</a></sup>
</p>
<h3>Production design[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=8">edit</a>]</h3>
<p>In the film, the code that composes the Matrix itself is frequently represented as downward-flowing green characters.<sup><a href="#cite_note-67">[66]</a></sup> This code uses a custom typeface designed by Simon Whiteley,<sup><a href="#cite_note-Museum-40">[39]</a></sup> which includes mirror images of <a href="/wiki/Half-width_kana">half-width kana</a> characters and Western Latin letters and Arabic numerals.<sup><a href="#cite_note-Look_of_the_Matrix-68">[67]</a></sup> In a 2017 interview at <a href="/wiki/CNET">CNET</a>, he attributed the design to his wife, who is from Japan, and added, "I like to tell everybody that The Matrix's code is made out of Japanese sushi recipes".<sup><a href="#cite_note-69">[68]</a></sup> "The color green reflects the green tint commonly used on early <a href="/wiki/Monochrome_monitor">monochrome computer monitors</a>".<sup><a href="#cite_note-70">[69]</a></sup> Lynne Cartwright, the Visual Effects Supervisor at <a href="/wiki/Animal_Logic">Animal Logic</a>, supervised the creation of the film's opening title sequence, as well as the general look of the Matrix code throughout the film, in collaboration with Lindsay Fleay and Justen Marshall.<sup><a href="#cite_note-Museum-40">[39]</a></sup> The portrayal resembles the opening credits of the 1995 <a href="/wiki/Japanese_cyberpunk">Japanese cyberpunk</a> film, <i><a href="/wiki/Ghost_in_the_Shell_(1995_film)">Ghost in the Shell</a></i>, which had a strong influence on the <i>Matrix</i> series. It was also used in the subsequent films, on the related website, and in the game <i><a href="/wiki/The_Matrix:_Path_of_Neo">The Matrix: Path of Neo</a></i>, and its drop-down effect is reflected in the design of some posters for the <i>Matrix</i> series. The code received the Runner-up Award in the 1999 Jesse Garson Award for In-film typography or opening credit sequence.<sup><a href="#cite_note-Museum-40">[39]</a></sup>
</p><p><i>The Matrix</i>'s <a href="/wiki/Production_design">production designer</a>, <a href="/wiki/Owen_Paterson_(production_designer)">Owen Paterson</a>, used methods to distinguish the "real world" and the Matrix in a pervasive way. The production design team generally placed a bias towards the Matrix code's distinctive green color in scenes set within the simulation, whereas there is an emphasis on the color blue during scenes set in the "real world". In addition, the Matrix scenes' sets were slightly more decayed, monolithic, and grid-like, to convey the cold, logical and artificial nature of that environment. For the "real world", the actors' hair was less styled, their clothing had more textile content, and the cinematographers used longer lenses to soften the backgrounds and emphasize the actors.<sup><a href="#cite_note-Look_of_the_Matrix-68">[67]</a></sup>
</p><p>The <i><a href="/wiki/Nebuchadnezzar_(The_Matrix)">Nebuchadnezzar</a></i> was designed to have a patched-up look, instead of clean, cold and sterile space ship interior sets as used on productions such as <i><a href="/wiki/Star_Trek">Star Trek</a></i>. The wires were made visible to show the ship's working internals, and each composition was carefully designed to convey the ship as "a marriage between Man and Machine".<sup><a href="#cite_note-The_Nebuchadnezzar-71">[70]</a></sup> For the scene when Neo wakes up in the pod connected to the Matrix, the pod was constructed to look dirty, used, and sinister. During the testing of a breathing mechanism in the pod, the tester suffered hypothermia in under eight minutes, so the pod had to be heated.<sup><a href="#cite_note-The_Power_Plant-48">[47]</a></sup>
</p><p><a href="/wiki/Kym_Barrett">Kym Barrett</a>, costume designer, said that she defined the characters and their environment by their costume.<sup><a href="#cite_note-Costume-72">[71]</a></sup> For example, Reeves's office costume was designed for Thomas Anderson to look uncomfortable, disheveled, and out of place.<sup><a href="#cite_note-The_Shooting_Begins-49">[48]</a></sup> Barrett sometimes used three types of fabric for each costume, and also had to consider the practicality of the acting. The actors needed to perform martial art actions in their costume, hang upside-down without people seeing up their clothing, and be able to work the wires while strapped into the harnesses.<sup><a href="#cite_note-Costume-72">[71]</a></sup> For Trinity, Barrett experimented with how each fabric absorbed and reflected different types of light, and was eventually able to make Trinity's costume mercury-like and oil-slick to suit the character.<sup><a href="#cite_note-Trinity-44">[43]</a></sup> For the Agents, their costume was designed to create a secret service, undercover look, resembling the film <i><a href="/wiki/JFK_(film)">JFK</a></i> and classic <a href="/wiki/Men_in_black">men in black</a>.<sup><a href="#cite_note-Interrogation_Room-34">[33]</a></sup>
</p><p>The sunglasses, a staple of the film's aesthetics, were commissioned for the film by designer Richard Walker from sunglasses maker Blinde Design.<sup><a href="#cite_note-73">[72]</a></sup>
</p>
<h3>Visual effects[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=9">edit</a>]</h3>
<div> <div><p>The "<a href="/wiki/Bullet_time">bullet time</a>" effect was created for the film. A scene would be computer-modeled to decide the positioning of the physical cameras. The actor then provided their performance in a <a href="/wiki/Chroma_key">chroma key</a> setup, while the cameras were fired in rapid succession, with fractions of a second delay between each shot. The result was combined with CGI backgrounds to create the final effect at (0:33).</p></div></div>
<blockquote><p>As for artistic inspiration for bullet time, I would credit <a href="/wiki/Otomo_Katsuhiro">Otomo Katsuhiro</a>, who co-wrote and directed <i><a href="/wiki/Akira_(1988_film)">Akira</a></i>, which definitely blew me away, along with director <a href="/wiki/Michel_Gondry">Michel Gondry</a>. His music videos experimented with a different type of technique called view-morphing and it was just part of the beginning of uncovering the creative approaches toward using still cameras for special effects. Our technique was significantly different because we built it to move around objects that were themselves in motion, and we were also able to create slow-motion events that 'virtual cameras' could move around – rather than the static action in Gondry's music videos with limited camera moves.</p></blockquote>
<p>The film is known for popularizing a <a href="/wiki/Visual_effect">visual effect</a><sup><a href="#cite_note-Lane_City_of_God-75">[74]</a></sup> known as "<a href="/wiki/Bullet_time">bullet time</a>", which allows a <a href="/wiki/Shot_(filmmaking)">shot</a> to progress in <a href="/wiki/Slow-motion">slow-motion</a> while the camera appears to move through the scene at normal speed.<sup><a href="#cite_note-guardian-sfx-76">[75]</a></sup> Bullet time has been described as "a visual analogy for privileged moments of consciousness within the Matrix",<sup><a href="#cite_note-77">[76]</a></sup> and throughout the film, the effect is used to illustrate characters' exertion of control over time and space.<sup><a href="#cite_note-78">[77]</a></sup> The Wachowskis first imagined an action sequence that slowed time while the camera pivoted rapidly around the subjects, and proposed the effect in their screenplay for the film. When <a href="/wiki/John_Gaeta">John Gaeta</a> read the script, he pleaded with an effects producer at <a href="/wiki/Manex_Visual_Effects">Mass.Illusion</a> to let him work on the project, and created a prototype that led to him becoming the film's visual effects supervisor.<sup><a href="#cite_note-Wired_VFX-79">[78]</a></sup>
</p><p>The method used for creating these effects involved a technically expanded version of an old art photography technique known as time-slice photography, in which an array of cameras are placed around an object and triggered simultaneously. Each camera captures a still picture, contributing one frame to the video sequence, which creates the effect of "virtual camera movement"; the illusion of a viewpoint moving around an object that appears frozen in time.<sup><a href="#cite_note-guardian-sfx-76">[75]</a></sup>
</p><p>The bullet time effect is similar but slightly more complicated, incorporating temporal motion so that rather than appearing totally frozen, the scene progresses in slow and variable motion.<sup><a href="#cite_note-gaeta-empire-74">[73]</a></sup><sup><a href="#cite_note-Wired_VFX-79">[78]</a></sup> The cameras' positions and exposures were <a href="/wiki/Previsualization">previsualized</a> using a 3D simulation. Instead of firing the cameras simultaneously, the visual effect team fired the cameras fractions of a second after each other, so that each camera could capture the action as it progressed, creating a super slow-motion effect.<sup><a href="#cite_note-guardian-sfx-76">[75]</a></sup> When the frames were put together, the resulting slow-motion effects reached a <a href="/wiki/Frame_frequency">frame frequency</a> of 12,000 per second, as opposed to the normal 24 frames per second of film.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> Standard movie cameras were placed at the ends of the array to pick up the normal speed action before and after. Because the cameras circle the subject almost completely in most of the sequences, computer technology was used to edit out the cameras that appeared in the background on the other side.<sup><a href="#cite_note-guardian-sfx-76">[75]</a></sup> To create backgrounds, Gaeta hired George Borshukov, who created 3D models based on the geometry of buildings and used the photographs of the buildings themselves as texture.
</p><p>The photo-realistic surroundings generated by this method were incorporated into the bullet time scene,<sup><a href="#cite_note-Wired_VFX-79">[78]</a></sup> and algorithms based on <a href="/wiki/Optical_flow">optical flow</a> were used to interpolate between the still images to produce a fluent dynamic motion;<sup><a href="#cite_note-80">[79]</a></sup><sup><a href="#cite_note-81">[80]</a></sup> the computer-generated "lead in" and "lead out" slides were filled in between frames in sequence to get an illusion of orbiting the scene.<sup><a href="#cite_note-82">[81]</a></sup> Manex Visual Effects used a <a href="/wiki/Cluster_(computing)">cluster</a> farm running the <a href="/wiki/Unix-like">Unix-like</a> <a href="/wiki/Operating_system">operating system</a> <a href="/wiki/FreeBSD">FreeBSD</a> to render many of the film's visual effects.<sup><a href="#cite_note-83">[82]</a></sup><sup><a href="#cite_note-84">[83]</a></sup>
</p><p>Manex also handled creature effects, such as Sentinels and machines in real world scenes; <a href="/wiki/Animal_Logic">Animal Logic</a> created the code hallway and the exploding Agent at the end of the film. DFilm managed scenes that required heavy use of digital compositing, such as Neo's jump off a skyscraper and the helicopter crash into a building. The ripple effect in the latter scene was created digitally, but the shot also included practical elements, and months of extensive research were needed to find the correct kind of glass and explosives to use. The scene was shot by colliding a quarter-scale helicopter mock-up into a glass wall wired to concentric rings of explosives; the explosives were then triggered in sequence from the center outward, to create a wave of exploding glass.<sup><a href="#cite_note-Post-production-85">[84]</a></sup>
</p><p>The <a href="/wiki/Photogrammetry">photogrammetric</a> and image-based <a href="/wiki/Computer-generated_imagery">computer-generated</a> background approaches in <i>The Matrix</i>'s bullet time evolved into innovations unveiled in the sequels <i><a href="/wiki/The_Matrix_Reloaded">The Matrix Reloaded</a></i> and <i><a href="/wiki/The_Matrix_Revolutions">The Matrix Revolutions</a></i>. The method of using real photographs of buildings as texture for 3D models eventually led the visual effect team to digitize all data, such as scenes, characters' motions and expressions. It also led to the development of "Universal Capture", a process which samples and stores facial details and expressions at high resolution. With these highly detailed collected data, the team were able to create virtual cinematography in which characters, locations, and events can all be created digitally and viewed through virtual cameras, eliminating the restrictions of real cameras.<sup><a href="#cite_note-Wired_VFX-79">[78]</a></sup>
</p>
<h2>Release[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=10">edit</a>]</h2>
<h3>Home media[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=11">edit</a>]</h3>
<p><i>The Matrix</i> was released on <a href="/wiki/DVD">DVD</a> and <a href="/wiki/Laserdisc">Laserdisc</a> in its original <a href="/wiki/Aspect_ratio">aspect ratio</a> of <a href="/wiki/2.35:1">2.35:1</a> on September 21, 1999, in the US from <a href="/wiki/Warner_Home_Video">Warner Home Video</a> as well as in a cropped 1.33:1 aspect ratio in Hong Kong from ERA Home Entertainment. It was also released on <a href="/wiki/VHS">VHS</a> in both <a href="/wiki/Fullscreen_(filmmaking)">fullscreen</a> and <a href="/wiki/Widescreen">widescreen</a> formats followed on December 7, 1999.<sup><a href="#cite_note-Mojo-6">[5]</a></sup> After its DVD release, it was the first DVD to sell more than one million copies in the US.<sup><a href="#cite_note-Million_sales-86">[85]</a></sup> By 2000, the film went on to become the first to sell more than three million copies in the US.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> At that point, it became the top-selling DVD release of all time, holding this record for a few months before being surpassed by <i><a href="/wiki/Gladiator_(2000_film)">Gladiator</a></i>.<sup><a href="#cite_note-87">[86]</a></sup> By November 10, 2003, one month after <i>The Matrix Reloaded</i> DVD was released, the sales of <i>The Matrix</i> DVD had exceeded 30 million copies.<sup><a href="#cite_note-88">[87]</a></sup> It then debuted on both VHS and DVD formats in the UK on November 29, 1999. <i>The Matrix</i> sold more than 107,000 DVD copies in just two weeks, breaking <i><a href="/wiki/Armageddon_(1998_film)">Armageddon</a></i>'s record for becoming the country's best-selling DVD title.<sup><a href="#cite_note-89">[88]</a></sup> <a href="/wiki/The_Ultimate_Matrix_Collection">The Ultimate Matrix Collection</a> was released on <a href="/wiki/HD_DVD">HD DVD</a> on May 22, 2007<sup><a href="#cite_note-Million_sales-86">[85]</a></sup> and on <a href="/wiki/Blu-ray">Blu-ray</a> on October 14, 2008.<sup><a href="#cite_note-90">[89]</a></sup><sup><a href="#cite_note-DVD_Release_Date-91">[90]</a></sup> The film was also released standalone in a 10th anniversary edition Blu-ray in the Digibook format on March 31, 2009, 10 years to the day after the film was released theatrically.<sup><a href="#cite_note-92">[91]</a></sup> In 2010, the film had another DVD release along with the two sequels as <i>The Complete Matrix Trilogy</i>. It was also released on 4K HDR Blu-ray on May 22, 2018.<sup><a href="#cite_note-93">[92]</a></sup> The film as part of <i>The Matrix Trilogy</i> was released on <a href="/wiki/4K_resolution">4K</a> <a href="/wiki/Ultra_HD_Blu-ray">Ultra HD Blu-ray</a> on October 30, 2018.<sup><a href="#cite_note-94">[93]</a></sup>
</p>
<h3>Other media[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=12">edit</a>]</h3>
<p>The franchise also contains three video games: <i><a href="/wiki/Enter_the_Matrix">Enter the Matrix</a></i> (2003), which contains footage shot specifically for the game and chronicles events taking place before and during <i><a href="/wiki/The_Matrix_Reloaded">The Matrix Reloaded</a></i>;<sup><a href="#cite_note-95">[94]</a></sup> <i><a href="/wiki/The_Matrix_Online">The Matrix Online</a></i> (2004), an <a href="/wiki/MMORPG">MMORPG</a> which continued the story beyond <i>The Matrix Revolutions</i>;<sup><a href="#cite_note-96">[95]</a></sup><sup><a href="#cite_note-97">[96]</a></sup> and <i><a href="/wiki/The_Matrix:_Path_of_Neo">The Matrix: Path of Neo</a></i> (2005), which focuses on Neo's journey through the trilogy of films.<sup><a href="#cite_note-98">[97]</a></sup>
</p><p>The franchise also includes <i><a href="/wiki/The_Matrix_Comics">The Matrix Comics</a></i>, a series of <a href="/wiki/Comic_book">comics</a> and short stories set in the world of <i>The Matrix</i>, written and illustrated by figures from the comics industry. Most of the comics were originally presented for free on the official <i>Matrix</i> website;<sup><a href="#cite_note-comics-99">[98]</a></sup> they were later republished, along with some new material, in two printed <a href="/wiki/Trade_paperback_(comics)">trade paperback</a> volumes, called <i>The Matrix Comics, Vol 1 and Vol 2</i>.<sup><a href="#cite_note-100">[99]</a></sup>
</p>
<h2>Reception[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=13">edit</a>]</h2>
<h3>Box office[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=14">edit</a>]</h3>
<p><i>The Matrix</i> grossed $27.8 million during its opening weekend, as well as earning $34.7 million in its first five days. It surpassed <i><a href="/wiki/Lost_in_Space_(film)">Lost in Space</a></i> and <i><a href="/wiki/Indecent_Proposal">Indecent Proposal</a></i> for having the biggest April and <a href="/wiki/Easter">Easter</a> opening weekends. The film also had the second-highest opening weekend for a spring starter film, trailing only behind <i><a href="/wiki/Liar_Liar">Liar Liar</a></i>.<sup><a href="#cite_note-ShowsMuscle-101">[100]</a></sup> Three years later in 2002, <i>The Matrix</i>'s records for having the largest April and Easter opening weekends would be taken by <i><a href="/wiki/The_Scorpion_King">The Scorpion King</a></i> and <i><a href="/wiki/Panic_Room">Panic Room</a></i>.<sup><a href="#cite_note-102">[101]</a></sup><sup><a href="#cite_note-103">[102]</a></sup> Upon its opening, it had the highest opening weekend of any 1999 film, easily topping <i><a href="/wiki/Payback_(1999_film)">Payback</a></i>.<sup><a href="#cite_note-ShowsMuscle-101">[100]</a></sup> Additionally, this was the biggest opening weekend for a <a href="/wiki/Keanu_Reeves">Keanu Reeves</a> film since <i><a href="/wiki/Speed_(1994_film)">Speed</a></i> in 1994.<sup><a href="#cite_note-104">[103]</a></sup> It was also ranked number one at the box office ahead of <i><a href="/wiki/Forces_of_Nature_(1999_film)">Forces of Nature</a></i>.<sup><a href="#cite_note-ShowsMuscle-101">[100]</a></sup> The film would remain at the top of the box office for two weeks until it was overtaken by <i><a href="/wiki/Life_(1999_film)">Life</a></i>. During its fourth weekend, <i>The Matrix</i> briefly returned to the number one spot.<sup><a href="#cite_note-105">[104]</a></sup> The following week, the film would be displaced by <i><a href="/wiki/Entrapment_(film)">Entrapment</a></i>.<sup><a href="#cite_note-106">[105]</a></sup>
</p><p>In its original run, the film earned $171,479,930 (37.0%) in the United States and Canada and $292,037,453 (63.0%) in other countries, for a worldwide total of $463,517,383.<sup><a href="#cite_note-Mojo-6">[5]</a></sup> In <a href="/wiki/North_America">North America</a>, it went on to become the fifth highest-grossing film of 1999 and the highest-grossing R-rated film of that year. Worldwide, it was the fourth highest-grossing film of the year, after <i><a href="/wiki/Star_Wars:_Episode_I_%E2%80%93_The_Phantom_Menace">Star Wars: Episode I – The Phantom Menace</a></i>, <i><a href="/wiki/The_Sixth_Sense">The Sixth Sense</a></i> and <i><a href="/wiki/Toy_Story_2">Toy Story 2</a></i>.<sup><a href="#cite_note-Mojo-6">[5]</a></sup> <i>The Matrix</i> became the second-highest-grossing <a href="/wiki/Warner_Bros.">Warner Bros.</a> film of all time, behind <i><a href="/wiki/Twister_(1996_film)">Twister</a></i>.<sup><a href="#cite_note-ResurrectionsHistory-107">[106]</a></sup> Overall, it was the third-highest-grossing R-rated film at the time, just after <i><a href="/wiki/Saving_Private_Ryan">Saving Private Ryan</a></i> and <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i>.<sup><a href="#cite_note-ResurrectionsHistory-107">[106]</a></sup> Following re-releases, the worldwide gross of the film is $466,621,824.<sup><a href="#cite_note-Mojo-6">[5]</a></sup> In 2012, it was placed 122nd on the list of highest-grossing films of all time, and the second highest-grossing film in the <i>Matrix</i> franchise after <i>The Matrix Reloaded</i> ($742.1 million).<sup><a href="#cite_note-Mojo-6">[5]</a></sup>
</p>
<h3>Critical response[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=15">edit</a>]</h3>
<p><i>The Matrix</i> was praised by many critics, as well as filmmakers, and authors of science fiction,<sup><a href="#cite_note-meta-12">[11]</a></sup> especially for its "spectacular action" scenes and its "groundbreaking special effects". Some have described <i>The Matrix</i> as one of the best <a href="/wiki/Science_fiction_film">science fiction films</a> of all time;<sup><a href="#cite_note-heritage1-13">[12]</a></sup><sup><a href="#cite_note-autogenerated1-14">[13]</a></sup> <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> called <i>The Matrix</i> "the most influential action movie of the generation".<sup><a href="#cite_note-Influence_EW2-27">[26]</a></sup> There have also been those, including philosopher <a href="/wiki/William_Irwin_(philosopher)">William Irwin</a>, who have suggested that the film explores significant philosophical and spiritual themes. On <a href="/wiki/Review_aggregator">review aggregator</a> <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, the film holds an approval rating of 88% based on 161 reviews, with an average score of 7.8/10. The site's critical consensus reads, "Thanks to the Wachowskis' imaginative vision, <i>The Matrix</i> is a smartly crafted combination of spectacular action and groundbreaking special effects".<sup><a href="#cite_note-RottenTomatoes-11">[10]</a></sup> At <a href="/wiki/Metacritic">Metacritic</a>, which assigns a rating out of 100 to reviews from mainstream critics, the film received a score of 73 based on 35 reviews, indicating "generally favorable reviews."<sup><a href="#cite_note-meta-12">[11]</a></sup> Audiences polled by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "A−" on an A+ to F scale.<sup><a href="#cite_note-CinemaScore-108">[107]</a></sup> It ranked 323rd among critics, and 546th among directors, in the <a href="/wiki/The_Sight_%26_Sound_Top_50_Greatest_Films_of_All_Time">2012 <i>Sight &amp; Sound</i> polls of the greatest films ever made</a>.<sup><a href="#cite_note-109">[108]</a></sup>
</p><p>Philip Strick commented in <i><a href="/wiki/Sight_%26_Sound">Sight &amp; Sound</a></i>, if the Wachowskis "claim no originality of message, they are startling innovators of method," praising the film's details and its "broadside of astonishing images".<sup><a href="#cite_note-sightandsound-110">[109]</a></sup> <a href="/wiki/Roger_Ebert">Roger Ebert</a> gave the film three stars out of four: he praised the film's visuals and premise, but disliked the <a href="/wiki/Three-act_structure">third act</a>'s focus on action.<sup><a href="#cite_note-rogerebert-111">[110]</a></sup> Similarly, <i><a href="/wiki/Time_Out_(company)">Time Out</a></i> praised the "entertainingly ingenious" switches between different realities, <a href="/wiki/Hugo_Weaving">Hugo Weaving</a>'s "engagingly odd" performance, and the film's cinematography and production design, but concluded, "the promising premise is steadily wasted as the film turns into a fairly routine action pic ... yet another slice of overlong, high concept hokum."<sup><a href="#cite_note-timeout-112">[111]</a></sup>
</p><p><a href="/wiki/Jonathan_Rosenbaum">Jonathan Rosenbaum</a> of the <i><a href="/wiki/Chicago_Reader">Chicago Reader</a></i> reviewed the film negatively, criticizing it as "simpleminded fun for roughly the first hour, until the movie becomes overwhelmed by its many sources ... There's not much humor to keep it all life-size, and by the final stretch it's become bloated, mechanical, and tiresome."<sup><a href="#cite_note-Rosenbaum_review-113">[112]</a></sup>
</p><p>Ian Nathan of <i><a href="/wiki/Empire_(magazine)">Empire</a></i> described Carrie-Anne Moss as "a major find", praised the "surreal visual highs" enabled by the bullet time (or "flo-mo") effect, and described the film as "technically mind-blowing, style merged perfectly with content and just so damn cool". Nathan remarked that although the film's "looney plot" would not stand up to scrutiny, that was not a big flaw because "<i>The Matrix</i> is about pure experience".<sup><a href="#cite_note-Empire_review-114">[113]</a></sup> <a href="/wiki/Maitland_McDonagh">Maitland McDonagh</a> said in her review for <i><a href="/wiki/TV_Guide">TV Guide</a></i>, the Wachowskis' "through-the-looking-glass plot... manages to work surprisingly well on a number of levels: as a dystopian sci-fi thriller, as a brilliant excuse for the film's lavish and hyperkinetic fight scenes, and as a pretty compelling call to the dead-above-the-eyeballs masses to unite and cast off their chains... This dazzling pop allegory is steeped in a dark, pulpy sensibility that transcends nostalgic pastiche and stands firmly on its own merits."<sup><a href="#cite_note-TV_Guide_review-115">[114]</a></sup>
</p><p><i><a href="/wiki/Salon_(website)">Salon</a></i>'s reviewer Andrew O'Hehir acknowledged that although <i>The Matrix</i> is in his view a fundamentally immature and unoriginal film ("It lacks anything like adult emotion... all this pseudo-spiritual hokum, along with the over-ramped onslaught of special effects—some of them quite amazing—will hold 14-year-old boys in rapture, not to mention those of us of all ages and genders who still harbor a 14-year-old boy somewhere inside"), he concluded, "as in <i><a href="/wiki/Bound_(1996_film)">Bound</a></i>, there's an appealing scope and daring to the Wachowskis' work, and their eagerness for more plot twists and more crazy images becomes increasingly infectious. In a limited and profoundly geeky sense, this might be an important and generous film. The Wachowskis have little feeling for character or human interaction, but their passion for <i>movies</i>—for making them, watching them, inhabiting their world—is pure and deep."<sup><a href="#cite_note-Salon_review-116">[115]</a></sup>
</p><p>Filmmakers and science fiction creators alike generally took a complimentary perspective of <i>The Matrix</i>. <a href="/wiki/William_Gibson">William Gibson</a>, a key figure in cyberpunk fiction, called the film "an innocent delight I hadn't felt in a long time," and stated, "Neo is my favourite-ever science fiction hero, absolutely."<sup><a href="#cite_note-117">[116]</a></sup> <a href="/wiki/Joss_Whedon">Joss Whedon</a> called the film "my number one" and praised its storytelling, structure and depth, concluding, "It works on whatever level you want to bring to it."<sup><a href="#cite_note-118">[117]</a></sup> <a href="/wiki/Darren_Aronofsky">Darren Aronofsky</a> commented, "I walked out of <i>The Matrix</i> ... and I was thinking, 'What kind of science fiction movie can people make now?' The Wachowskis basically took all the great sci-fi ideas of the 20th century and rolled them into a delicious pop culture sandwich that everyone on the planet devoured."<sup><a href="#cite_note-Aronofsky:-119">[118]</a></sup> <a href="/wiki/M._Night_Shyamalan">M. Night Shyamalan</a> expressed admiration for the Wachowskis, stating, "Whatever you think of <i>The Matrix</i>, every shot is there because of the passion they have! You can see they argued it out!".<sup><a href="#cite_note-Shyamalan:-120">[119]</a></sup> <a href="/wiki/Simon_Pegg">Simon Pegg</a> said that <i>The Matrix</i> provided "the excitement and satisfaction that <i><a href="/wiki/Star_Wars:_Episode_I_%E2%80%93_The_Phantom_Menace">The Phantom Menace</a></i> failed to inspire. <i>The Matrix</i> seemed fresh and cool and visually breathtaking; making wonderful, intelligent use of CGI to augment the on-screen action, striking a perfect balance of the real and the hyperreal. It was possibly the coolest film I had ever seen."<sup><a href="#cite_note-simonpegg-121">[120]</a></sup> <a href="/wiki/Quentin_Tarantino">Quentin Tarantino</a> counted <i>The Matrix</i> as one of his twenty favorite movies from 1992 to 2009.<sup><a href="#cite_note-Tarantino:-122">[121]</a></sup> <a href="/wiki/James_Cameron">James Cameron</a> called it "one of the most profoundly fresh science fiction films ever made".<sup><a href="#cite_note-123">[122]</a></sup> <a href="/wiki/Christopher_Nolan">Christopher Nolan</a> described it as "an incredibly palpable mainstream phenomenon that made people think, Hey, what if this isn't real?"<sup><a href="#cite_note-124">[123]</a></sup>
</p>
<h3>Accolades[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=16">edit</a>]</h3>
<p><i>The Matrix</i> received <a href="/wiki/Academy_Awards">Academy Awards</a> for <a href="/wiki/Academy_Award_for_Best_Film_Editing">Best Film Editing</a>, <a href="/wiki/Academy_Award_for_Best_Sound_Editing">Best Sound Editing</a>, <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a> and <a href="/wiki/Academy_Award_for_Best_Sound">Best Sound</a>.<sup><a href="#cite_note-125">[124]</a></sup> The filmmakers were competing against other films with established franchises, like <i><a href="/wiki/Star_Wars:_Episode_I_%E2%80%93_The_Phantom_Menace">Star Wars: Episode I – The Phantom Menace</a></i>, yet they won all four of their nominations.<sup><a href="#cite_note-Oscars2000-126">[125]</a></sup><sup><a href="#cite_note-oscars2-127">[126]</a></sup> <i>The Matrix</i> also received <a href="/wiki/British_Academy_of_Film_and_Television_Arts">BAFTA</a> awards for <a href="/wiki/BAFTA_Award_for_Best_Sound">Best Sound</a> and <a href="/wiki/BAFTA_Award_for_Best_Special_Visual_Effects">Best Achievement in Special Visual Effects</a>, in addition to nominations in the <a href="/wiki/BAFTA_Award_for_Best_Cinematography">cinematography</a>, <a href="/wiki/BAFTA_Award_for_Best_Production_Design">production design</a> and <a href="/wiki/BAFTA_Award_for_Best_Editing">editing</a> categories.<sup><a href="#cite_note-baftas-128">[127]</a></sup> In 1999, it won <a href="/wiki/Saturn_Award">Saturn Awards</a> for <a href="/wiki/Saturn_Award_for_Best_Science_Fiction_Film">Best Science Fiction Film</a> and <a href="/wiki/Saturn_Award_for_Best_Direction">Best Direction</a>.<sup><a href="#cite_note-Saturn_Award-129">[128]</a></sup> In February 2022, the film was named one of the five finalists for Oscars Cheer Moment as part of the <a href="/wiki/Academy_of_Motion_Picture_Arts_and_Sciences">Academy of Motion Picture Arts and Sciences</a>' "<a href="/wiki/Oscars_Fan_Favorite">Oscars Fan Favorite</a>" contest, for the "bullet time" scene, finishing in fifth place.<sup><a href="#cite_note-130">[129]</a></sup><sup><a href="#cite_note-131">[130]</a></sup>
</p>
<h3>Awards and nominations[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=17">edit</a>]</h3>
<table>
<tbody><tr>
<th>Award</th>
<th>Category</th>
<th>Name</th>
<th>Outcome
</th></tr>
<tr>
<td><a href="/wiki/72nd_Academy_Awards">Academy Awards</a>
</td>
<td><a href="/wiki/Academy_Award_for_Best_Film_Editing">Best Film Editing</a></td>
<td><a href="/wiki/Zach_Staenberg">Zach Staenberg</a></td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Academy_Award_for_Best_Sound">Best Sound</a></td>
<td><a href="/wiki/John_T._Reitz">John Reitz</a>, <a href="/wiki/Gregg_Rudloff">Gregg Rudloff</a>, <a href="/wiki/David_E._Campbell_(sound_engineer)">David Campbell</a>, <a href="/wiki/David_Lee_(Australian_sound_engineer)">David Lee</a></td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Academy_Award_for_Best_Sound_Editing">Best Sound Effects Editing</a></td>
<td><a href="/wiki/Dane_A._Davis">Dane A. Davis</a></td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a></td>
<td><a href="/wiki/John_Gaeta">John Gaeta</a>, <a href="/wiki/Janek_Sirrs">Janek Sirrs</a>, <a href="/wiki/Steve_Courtley">Steve Courtley</a>, <a href="/wiki/Jon_Thum">Jon Thum</a></td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/53rd_British_Academy_Film_Awards">British Academy Film Awards</a>
</td>
<td><a href="/wiki/BAFTA_Award_for_Best_Cinematography">Best Cinematography</a></td>
<td><a href="/wiki/Bill_Pope">Bill Pope</a></td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/BAFTA_Award_for_Best_Editing">Best Editing</a></td>
<td>Zach Staenberg</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/BAFTA_Award_for_Best_Production_Design">Best Production Design</a></td>
<td><a href="/wiki/Owen_Paterson_(production_designer)">Owen Paterson</a></td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/BAFTA_Award_for_Best_Sound">Best Sound</a></td>
<td>David Lee, John Reitz, Gregg Rudloff, David Campbell, Dane A. Davis</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/BAFTA_Award_for_Best_Special_Visual_Effects">Best Special Visual Effects</a></td>
<td>John Gaeta, Steve Courtley, Janek Sirrs, Jon Thum</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/26th_Saturn_Awards">Saturn Awards</a>
</td>
<td><a href="/wiki/Saturn_Award_for_Best_Science_Fiction_Film">Best Science Fiction Film</a>
</td>
<td>—
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Director">Best Director</a>
</td>
<td><a href="/wiki/The_Wachowskis">The Wachowskis</a><sup><a href="#cite_note-Credited-1">[a]</a></sup>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Writing">Best Writer</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Actor">Best Actor</a>
</td>
<td><a href="/wiki/Keanu_Reeves">Keanu Reeves</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Actress">Best Actress</a>
</td>
<td><a href="/wiki/Carrie-Anne_Moss">Carrie-Anne Moss</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Supporting_Actor">Best Supporting Actor</a>
</td>
<td><a href="/wiki/Laurence_Fishburne">Laurence Fishburne</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Costume">Best Costumes</a>
</td>
<td><a href="/wiki/Kym_Barrett">Kym Barrett</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Make-up">Best Make-Up</a>
</td>
<td><a href="/wiki/Nikki_Gooley">Nikki Gooley</a>, <a href="/wiki/Bob_McCarron">Bob McCarron</a>, Wendy Sainsbury
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Special_Effects">Best Special Effects</a>
</td>
<td>John Gaeta, Janek Sirrs, Steve Courtley, Jon Thum
</td>
<td>Nominated
</td></tr></tbody></table>
<h2>Thematic analysis[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=18">edit</a>]</h2>
<p><i>The Matrix</i> draws from and alludes to numerous cinematic and literary works, and concepts from mythology, religion and philosophy, including the ideas of <a href="/wiki/Buddhism">Buddhism</a>, <a href="/wiki/Christianity">Christianity</a>, <a href="/wiki/Gnosticism">Gnosticism</a>, <a href="/wiki/Hinduism">Hinduism</a>, and <a href="/wiki/Judaism">Judaism</a>.<sup><a href="#cite_note-132">[131]</a></sup>
</p>
<h3>Film and television[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=19">edit</a>]</h3>
<p>The pods in which the machines keep humans have been compared to images in <i><a href="/wiki/Metropolis_(1927_film)">Metropolis</a></i>, and the work of <a href="/wiki/M._C._Escher">M. C. Escher</a>.<sup><a href="#cite_note-Luddism-133">[132]</a></sup> A resemblance to the eery worlds of Swiss artist <a href="/wiki/H.R._Giger">H.R. Giger</a> was also recognized.<sup><a href="#cite_note-134">[133]</a></sup><sup><a href="#cite_note-135">[134]</a></sup> The pods can be seen in <i><a href="/wiki/Welcome_to_Paradox">Welcome to Paradox</a></i> Episode 4 "News from D Street" from a 1986 short story<sup><a href="#cite_note-136">[135]</a></sup> of the same name by <a href="/wiki/Andrew_Weiner_(writer)">Andrew Weiner</a> which aired on September 7, 1998, on the <a href="/wiki/Syfy_(TV_channel)">SYFY Channel</a> and has a remarkably similar concept. In this episode the hero is unaware he is living in virtual reality until he is told so by "the code man" who created the simulation and enters it knowingly. The Wachowskis have described <a href="/wiki/Stanley_Kubrick">Stanley Kubrick</a>'s <i><a href="/wiki/2001:_A_Space_Odyssey_(film)">2001: A Space Odyssey</a></i> as a formative cinematic influence, and as a major inspiration on the visual style they aimed for when making <i>The Matrix</i>.<sup><a href="#cite_note-ebert-wachowskis-137">[136]</a></sup><sup><a href="#cite_note-138">[137]</a></sup><sup><a href="#cite_note-Kubrick-139">[138]</a></sup> <a href="/wiki/Rainer_Werner_Fassbinder">Rainer Werner Fassbinders</a> German TV Miniseries <i><a href="/wiki/World_on_a_Wire">World on a Wire</a></i> from 1973, an adaption of the novel <a href="/wiki/Simulacron-3">Simulacron-3</a>, served as inspirational source for some details of The Matrix, such as the transfer between the real world and the Matrix-simulation via telephone / phonebooth.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup> Reviewers have also commented on similarities between <i>The Matrix</i> and other late-1990s films such as <i><a href="/wiki/Strange_Days_(film)">Strange Days</a></i>, <i><a href="/wiki/Dark_City_(1998_film)">Dark City</a></i>, and <i><a href="/wiki/The_Truman_Show">The Truman Show</a></i>.<sup><a href="#cite_note-rogerebert-111">[110]</a></sup><sup><a href="#cite_note-140">[139]</a></sup><sup><a href="#cite_note-141">[140]</a></sup><sup><a href="#cite_note-channel4review-142">[141]</a></sup><sup><a href="#cite_note-rowley_review-143">[142]</a></sup> The similarity of the film's central concept to a device in the long-running series <i><a href="/wiki/Doctor_Who">Doctor Who</a></i> has also been noted. As in the film, the <a href="/wiki/Matrix_(Doctor_Who)">Matrix</a> of that series (introduced in the 1976 serial <i><a href="/wiki/The_Deadly_Assassin">The Deadly Assassin</a></i>) is a massive computer system which one enters using a device connecting to the head, allowing users to see representations of the real world and change its laws of physics; but if killed there, they will die in reality.<sup><a href="#cite_note-144">[143]</a></sup> The action scenes of <i>The Matrix</i> were also strongly influenced by live-action films such as those of director <a href="/wiki/John_Woo">John Woo</a>.<sup><a href="#cite_note-Wired_PK_Dick-145">[144]</a></sup> The martial arts sequences were inspired by <i><a href="/wiki/Fist_of_Legend">Fist of Legend</a></i>, a critically acclaimed 1995 martial arts film starring <a href="/wiki/Jet_Li">Jet Li</a>. The fight scenes in <i>Fist of Legend</i> led to the hiring of Yuen as fight choreographer.<sup><a href="#cite_note-146">[145]</a></sup><sup><a href="#cite_note-147">[146]</a></sup>
</p><p>The Wachowskis' approach to action scenes drew upon their admiration for <a href="/wiki/Anime">Japanese animation</a> such as <i><a href="/wiki/Ninja_Scroll">Ninja Scroll</a></i> and <i><a href="/wiki/Akira_(1988_film)">Akira</a></i>.<sup><a href="#cite_note-Wachowski_transcript-10">[9]</a></sup> Director <a href="/wiki/Mamoru_Oshii">Mamoru Oshii</a>'s 1995 animated film <i><a href="/wiki/Ghost_in_the_Shell_(1995_film)">Ghost in the Shell</a></i> was a particularly strong influence;<sup><a href="#cite_note-Wachowski_transcript-10">[9]</a></sup> producer <a href="/wiki/Joel_Silver">Joel Silver</a> has stated that the Wachowskis first described their intentions for <i>The Matrix</i> by showing him that anime and saying, "We wanna do that for real".<sup><a href="#cite_note-silver-anime-1-148">[147]</a></sup><sup><a href="#cite_note-silver-anime-2-149">[148]</a></sup> <a href="/wiki/Mitsuhisa_Ishikawa">Mitsuhisa Ishikawa</a> of <a href="/wiki/Production_I.G">Production I.G</a>, which produced <i>Ghost in the Shell</i>, noted that the anime's high-quality visuals were a strong source of inspiration for the Wachowskis. He also commented, "... cyberpunk films are very difficult to describe to a third person. I'd imagine that <i>The Matrix</i> is the kind of film that was very difficult to draw up a written proposal for to take to film studios". He stated that since <i>Ghost in the Shell</i> had gained recognition in America, the Wachowskis used it as a "promotional tool".<sup><a href="#cite_note-south_bank_show-150">[149]</a></sup>
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<h3>Literary works[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=20">edit</a>]</h3>
<p>The film makes several references to <a href="/wiki/Lewis_Carroll">Lewis Carroll</a>'s <i><a href="/wiki/Alice%27s_Adventures_in_Wonderland">Alice's Adventures in Wonderland</a></i>.<sup><a href="#cite_note-Salon_review-116">[115]</a></sup> Comparisons have also been made to <a href="/wiki/Grant_Morrison">Grant Morrison</a>'s comic series <i><a href="/wiki/The_Invisibles">The Invisibles</a></i>, with Morrison describing it in 2011 as "(it) seemed to me (to be) my own combination of ideas enacted on the screen".<sup><a href="#cite_note-supergods-151">[150]</a></sup> Comparisons have also been made between <i>The Matrix</i> and the books of <a href="/wiki/Carlos_Castaneda">Carlos Castaneda</a>.<sup><a href="#cite_note-152">[151]</a></sup>
</p><p><i>The Matrix</i> belongs to the <a href="/wiki/Cyberpunk">cyberpunk</a> genre of science fiction, and draws from earlier works in the genre such as the 1984 novel <i><a href="/wiki/Neuromancer">Neuromancer</a></i> by <a href="/wiki/William_Gibson">William Gibson</a>.<sup><a href="#cite_note-williamgibson-9">[8]</a></sup> For example, the film's use of the term "Matrix" is adopted from Gibson's novel,<sup><a href="#cite_note-Neuromancer_Natali_interview-153">[152]</a></sup> though <a href="/wiki/L._P._Davies">L. P. Davies</a> had already used the term "Matrix" fifteen years earlier for a similar concept in his 1969 novel <i><a href="/w/index.php?title=The_White_Room_(novel)&amp;action=edit&amp;redlink=1">The White Room</a></i> ("It had been tried in the States some years earlier, but their 'matrix' as they called it hadn't been strong enough to hold the fictional character in place").<sup><a href="#cite_note-154">[153]</a></sup> After watching <i>The Matrix</i>, Gibson commented that the way that the film's creators had drawn from existing cyberpunk works was "exactly the kind of creative cultural osmosis" he had relied upon in his own writing;<sup><a href="#cite_note-williamgibson-9">[8]</a></sup> however, he noted that the film's <a href="/wiki/Gnosticism">Gnostic</a> themes distinguished it from <i>Neuromancer</i>, and believed that <i>The Matrix</i> was thematically closer to the work of science fiction author <a href="/wiki/Philip_K._Dick">Philip K. Dick</a>, particularly Dick's speculative <i>Exegesis</i>.<sup><a href="#cite_note-williamgibson-9">[8]</a></sup> Other writers have also commented on the similarities between <i>The Matrix</i> and Dick's work;<sup><a href="#cite_note-Wired_PK_Dick-145">[144]</a></sup><sup><a href="#cite_note-155">[154]</a></sup><sup><a href="#cite_note-156">[155]</a></sup> one example of such influence is a Philip K. Dick's 1977 conference, in which he stated: "We are living in a computer-programmed reality, and the only clue we have to it is when some variable is changed, and some alteration in our reality occurs".<sup><a href="#cite_note-157">[156]</a></sup><sup><a href="#cite_note-158">[157]</a></sup><sup><a href="#cite_note-159">[158]</a></sup><sup><a href="#cite_note-160">[159]</a></sup>
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<h3>Philosophy[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=21">edit</a>]</h3>
<p>In <i>The Matrix</i>, a copy of <a href="/wiki/Jean_Baudrillard">Jean Baudrillard</a>'s philosophical work <i><a href="/wiki/Simulacra_and_Simulation">Simulacra and Simulation</a></i>, which was published in French in 1981, is visible on-screen as <a href="/wiki/Concealing_objects_in_a_book">"the book used to conceal</a> disks",<sup><a href="#cite_note-Jamie_Allen-8">[7]</a></sup><sup><a href="#cite_note-Simulacra-42">[41]</a></sup> and Morpheus quotes the phrase "desert of the real" from it.<sup><a href="#cite_note-Poole_Baudrillard-161">[160]</a></sup> "The book was required reading"<sup><a href="#cite_note-Jamie_Allen-8">[7]</a></sup> for the actors prior to filming.<sup><a href="#cite_note-Simulacra-42">[41]</a></sup><sup><a href="#cite_note-162">[161]</a></sup> However, Baudrillard himself said that <i>The Matrix</i> misunderstands and distorts his work.<sup><a href="#cite_note-Poole_Baudrillard-161">[160]</a></sup><sup><a href="#cite_note-163">[162]</a></sup> Some interpreters of <i>The Matrix</i> mention Baudrillard's philosophy to support their claim "that the [film] is an <a href="/wiki/Allegory">allegory</a> for contemporary experience in a heavily commercialized, media-driven society, especially in developed countries".<sup><a href="#cite_note-Jamie_Allen-8">[7]</a></sup> "The influence of [Baudrillard] was brought to the public's attention through the writings of art historians such as <a href="/wiki/Griselda_Pollock">Griselda Pollock</a> and film theorists such as Heinz-Peter Schwerfel".<sup><a href="#cite_note-Jamie_Allen-8">[7]</a></sup> In addition to Baudrillard, the Wachowskis were also significantly influenced by <a href="/wiki/Kevin_Kelly_(editor)">Kevin Kelly</a>'s <i><a href="/wiki/Out_of_Control:_The_New_Biology_of_Machines,_Social_Systems,_and_the_Economic_World">Out of Control: The New Biology of Machines, Social Systems, and the Economic World</a></i>, and <a href="/wiki/Dylan_Evans">Dylan Evans</a>’s ideas on <a href="/wiki/Evolutionary_psychology">evolutionary psychology</a>.<sup><a href="#cite_note-Screenplay-17">[16]</a></sup> 
</p><p>Philosopher <a href="/wiki/William_Irwin_(philosopher)">William Irwin</a> suggests that the idea of the "Matrix" – a generated reality invented by malicious machines – is an allusion to <a href="/wiki/Descartes">Descartes</a>' "<a href="/wiki/First_Meditation">First Meditation</a>", and his idea of an <a href="/wiki/Evil_demon">evil demon</a>. The Meditation hypothesizes that the perceived world might be a comprehensive illusion created to deceive us.<sup><a href="#cite_note-Salon_philosophy-164">[163]</a></sup> The same premise can be found in <a href="/wiki/Hilary_Putnam">Hilary Putnam</a>'s <a href="/wiki/Brain_in_a_vat">brain in a vat</a> scenario proposed in the 1980s.<sup><a href="#cite_note-Salon_philosophy-164">[163]</a></sup> A connection between the premise of <i>The Matrix</i> and <a href="/wiki/Plato">Plato</a>'s <a href="/wiki/Allegory_of_the_Cave">Allegory of the Cave</a> has also been suggested. The allegory is related to Plato's <a href="/wiki/Theory_of_Forms">theory of Forms</a>, which holds that the true essence of an object is not what we perceive with our senses, but rather its quality, and that most people perceive only the shadow of the object and are thus limited to false perception.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup>
</p><p>The philosophy of <a href="/wiki/Immanuel_Kant">Immanuel Kant</a> has also been claimed as another influence on the film, and in particular how individuals within the Matrix interact with one another and with the system. Kant states in his <i><a href="/wiki/Critique_of_Pure_Reason">Critique of Pure Reason</a></i> that people come to know and explore our world through synthetic means (language, etc.), and thus this makes it rather difficult to discern truth from falsely perceived views. This means people are their own agents of deceit, and so in order for them to know truth, they must choose to openly pursue truth. This idea can be examined in Agent Smith's monologue about the first version of the Matrix, which was designed as a human <a href="/wiki/Utopia">utopia</a>, a perfect world without suffering and with total happiness. Agent Smith explains that, "it was a disaster. No one accepted the program. Entire crops [of people] were lost." The machines had to amend their choice of programming in order to make people subservient to them, and so they conceived the Matrix in the image of the world in 1999. The world in 1999 was far from a utopia, but still humans accepted this over the suffering-less utopia. According to William Irwin this is Kantian, because the machines wished to impose a perfect world on humans in an attempt to keep people content, so that they would remain completely submissive to the machines, both consciously and subconsciously, but humans were not easy to make content.<sup><a href="#cite_note-165">[164]</a></sup>
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<h3>Religion and mythology[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=22">edit</a>]</h3>
<p>Andrew Godoski sees allusions to <a href="/wiki/Christ">Christ</a>, including Neo's "<a href="/wiki/Miraculous_births">virgin birth</a>", his doubt in himself, the prophecy of his coming, along with many other <a href="/wiki/Christianity">Christian</a> references.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> Amongst these possible allusions, it is suggested that the name of the character <a href="/wiki/Trinity_(The_Matrix)">Trinity</a> refers to Christianity's doctrine of the <a href="/wiki/Trinity">Trinity</a>.<sup><a href="#cite_note-166">[165]</a></sup> It has also been noted that the character Morpheus paraphrases the Chinese <a href="/wiki/Taoist">taoist</a> philosopher <a href="/wiki/Zhuang_Zhou">Zhuangzi</a> when he asks Neo, "Have you ever had a dream, Neo, that you were so sure was real? What if you were unable to wake from that dream? How would you know the difference from the real world and the dream world?"<sup><a href="#cite_note-167">[166]</a></sup>
</p><p><a href="/wiki/Matrixism">Matrixism</a> is a fan-based possibly satirical religion created as "the matrix religion".
</p>
<h3>Transgender themes[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=23">edit</a>]</h3>
<p>Years after the release of <i>The Matrix</i>, both the Wachowskis came out as <a href="/wiki/Transgender">transgender</a> women, and some viewers have seen transgender themes in the film before it was officially confirmed.<sup><a href="#cite_note-TransMasterpiece-168">[167]</a></sup> The red pill has been compared with red <a href="/wiki/Estrogen">estrogen pills</a>.<sup><a href="#cite_note-Vulture-169">[168]</a></sup> Morpheus's description of the Matrix creating a sense that something is fundamentally wrong, "like a splinter in your mind", has been compared to <a href="/wiki/Gender_dysphoria">gender dysphoria</a>.<sup><a href="#cite_note-Vulture-169">[168]</a></sup> In the original script, Switch was a woman in the Matrix and a man in the real world, but this idea was ultimately dropped.<sup><a href="#cite_note-170">[169]</a></sup> 
</p><p>In a 2016 <a href="/wiki/GLAAD_Media_Award">GLAAD Media Awards</a> speech, Lilly Wachowski said: "There’s a critical eye being cast back on Lana and I's (sic) work through the lens of our transness. This is a cool thing because it's an excellent reminder that art is never static."<sup><a href="#cite_note-171">[170]</a></sup> She spoke in 2020 about the film as an allegory for transgender identity, and compromises they had to make at the time.<sup><a href="#cite_note-trans-metaphor-172">[171]</a></sup> In an interview with <i><a href="/wiki/Variety_(magazine)">Variety</a></i>, Reeves said he did not know the film was an allegory for transgender identity during production.<sup><a href="#cite_note-reeves'_awareness-173">[172]</a></sup>
</p>
<h2>Legacy[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=24">edit</a>]</h2>
<h3>Filmmaking[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=25">edit</a>]</h3>
<p>Following <i>The Matrix</i>, films made abundant use of slow-motion, spinning cameras, and, often, the <a href="/wiki/Bullet_time">bullet time</a> effect of a character freezing or slowing down and the camera dollying around them.<sup><a href="#cite_note-Lane_City_of_God-75">[74]</a></sup> The ability to slow down time enough to distinguish the motion of bullets was used as a central gameplay mechanic of several video games, including <i><a href="/wiki/Max_Payne_(video_game)">Max Payne</a></i>, in which the feature was explicitly referred to as "bullet time".<sup><a href="#cite_note-Influence_BBC-174">[173]</a></sup><sup><a href="#cite_note-175">[174]</a></sup> It was also the defining game mechanic of the game <i><a href="/wiki/Superhot">Superhot</a></i> and its sequels. <i>The Matrix</i>'s signature special effect, and other aspects of the film, have been <a href="/wiki/Parody">parodied</a> numerous times,<sup><a href="#cite_note-Influence_EW2-27">[26]</a></sup> in comedy films such as <i><a href="/wiki/Deuce_Bigalow:_Male_Gigolo">Deuce Bigalow: Male Gigolo</a></i> (1999),<sup><a href="#cite_note-176">[175]</a></sup> <i><a href="/wiki/Scary_Movie">Scary Movie</a></i> (2000),<sup><a href="#cite_note-177">[176]</a></sup> <i><a href="/wiki/Shrek">Shrek</a></i> (2001),<sup><a href="#cite_note-Influence_BBC-174">[173]</a></sup> <i><a href="/wiki/Kung_Pow!_Enter_the_Fist">Kung Pow! Enter the Fist</a></i> (2002),<sup><a href="#cite_note-178">[177]</a></sup> <i><a href="/wiki/Lastikman_(2003_film)">Lastikman</a></i> (2003); <i><a href="/wiki/Marx_Reloaded">Marx Reloaded</a></i> in which the relationship between Neo and Morpheus is represented as an imaginary encounter between <a href="/wiki/Karl_Marx">Karl Marx</a> and <a href="/wiki/Leon_Trotsky">Leon Trotsky</a>;<sup><a href="#cite_note-179">[178]</a></sup> and in video games such as <i><a href="/wiki/Conker%27s_Bad_Fur_Day">Conker's Bad Fur Day</a></i>.<sup><a href="#cite_note-180">[179]</a></sup> It also inspired films featuring a black-clad hero, a sexy yet deadly heroine, and bullets ripping slowly through the air;<sup><a href="#cite_note-Influence_EW2-27">[26]</a></sup> these included <i><a href="/wiki/Charlie%27s_Angels_(2000_film)">Charlie's Angels</a></i> (2000) featuring <a href="/wiki/Cameron_Diaz">Cameron Diaz</a> floating through the air while the cameras flo-mo around her; <i><a href="/wiki/Equilibrium_(film)">Equilibrium</a></i> (2002), starring <a href="/wiki/Christian_Bale">Christian Bale</a>, whose character wore long black leather coats like Reeves' Neo;<sup><a href="#cite_note-Influence_BBC-174">[173]</a></sup> <i><a href="/wiki/Night_Watch_(2004_film)">Night Watch</a></i> (2004), a <a href="/wiki/Russia">Russian</a> megahit heavily influenced by <i>The Matrix</i> and directed by <a href="/wiki/Timur_Bekmambetov">Timur Bekmambetov</a>, who later made <i><a href="/wiki/Wanted_(2008_film)">Wanted</a></i> (2008), which also features bullets ripping through air; and <i><a href="/wiki/Inception">Inception</a></i> (2010), which centers on a team of sharply dressed rogues who are able to enter other people's dreams by "wiring in". The original <i><a href="/wiki/Tron">Tron</a></i> (1982) paved the way for <i>The Matrix</i>, and <i>The Matrix</i>, in turn, inspired <a href="/wiki/Disney">Disney</a> to make its own Matrix with a <i>Tron</i> sequel, <i><a href="/wiki/Tron:_Legacy">Tron: Legacy</a></i> (2010).<sup><a href="#cite_note-Influence_EW-181">[180]</a></sup> Also, the film's lobby shootout sequence was recreated in the 2002 Indian action comedy <i><a href="/wiki/Awara_Paagal_Deewana">Awara Paagal Deewana</a></i>.<sup><a href="#cite_note-182">[181]</a></sup>
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<h3>Choreographers and actors[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=26">edit</a>]</h3>
<p><i>The Matrix</i> had a strong effect on action filmmaking in Hollywood. The film's incorporation of <a href="/wiki/Wire_fu">wire fu</a> techniques, including the involvement of <a href="/wiki/Fight_choreography">fight choreographer</a> <a href="/wiki/Yuen_Woo-ping">Yuen Woo-ping</a> and other personnel with a background in <a href="/wiki/Hong_Kong_action_cinema">Hong Kong action cinema</a>, affected the approaches to fight scenes taken by subsequent Hollywood action films,<sup><a href="#cite_note-xmen-183">[182]</a></sup> moving them towards more Eastern approaches.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> The success of <i>The Matrix</i> created high demand for those choreographers and their techniques from other filmmakers, who wanted fights of similar sophistication: for example, wire work was employed in <i><a href="/wiki/X-Men_(film)">X-Men</a></i> (2000)<sup><a href="#cite_note-xmen-183">[182]</a></sup> and <i><a href="/wiki/Charlie%27s_Angels_(2000_film)">Charlie's Angels</a></i> (2000),<sup><a href="#cite_note-Influence_EW-181">[180]</a></sup> and Yuen Woo-ping's brother <a href="/wiki/Yuen_Cheung-yan">Yuen Cheung-yan</a> was choreographer on <i><a href="/wiki/Daredevil_(film)">Daredevil</a></i> (2003).<sup><a href="#cite_note-184">[183]</a></sup> <i>The Matrix</i>'s Asian approach to action scenes also created an audience for Asian action films such as <i><a href="/wiki/Crouching_Tiger,_Hidden_Dragon">Crouching Tiger, Hidden Dragon</a></i> (2000) that they might not otherwise have had.<sup><a href="#cite_note-Influence_BBC-174">[173]</a></sup>
</p><p>Chad Stahelski, who had been a stunt double on <i>The Matrix</i> prior to directing Reeves in the <a href="/wiki/John_Wick"><i>John Wick</i> series</a>, acknowledged the film's strong influence on the <i>Wick</i> films,<sup><a href="#cite_note-185">[184]</a></sup> and commented, "<i>The Matrix</i> literally changed the industry. The influx of martial-arts choreographers and fight coordinators now make more, and are more prevalent and powerful in the industry, than stunt coordinators. <i>The Matrix</i> revolutionized that. Today, action movies want their big sequences designed around the fights."<sup><a href="#cite_note-186">[185]</a></sup>
</p><p><a href="/wiki/Carrie-Anne_Moss">Carrie-Anne Moss</a> asserted that prior to being cast in <i>The Matrix</i>, she had "no career". It launched Moss into international recognition and transformed her career; in a <i><a href="/wiki/New_York_Daily_News">New York Daily News</a></i> interview, she stated, "<i>The Matrix</i> gave me so many opportunities. Everything I've done since then has been because of that experience. It gave me so much".<sup><a href="#cite_note-cany-187">[186]</a></sup> The film also created one of the most devoted movie fan-followings since <i><a href="/wiki/Star_Wars">Star Wars</a></i>.<sup><a href="#cite_note-Influence_EW2-27">[26]</a></sup> The combined success of the <i>Matrix</i> trilogy, the <a href="/wiki/The_Lord_of_the_Rings_(film_series)"><i>Lord of the Rings</i> films</a> and the <a href="/wiki/Prequel_trilogy"><i>Star Wars</i> prequels</a> made Hollywood interested in creating trilogies.<sup><a href="#cite_note-Influence_Screened-36">[35]</a></sup> Stephen Dowling from the <a href="/wiki/BBC">BBC</a> noted that <i>The Matrix</i>'s success in taking complex philosophical ideas and presenting them in ways palatable for impressionable minds might be its most influential aspect.<sup><a href="#cite_note-Influence_BBC-174">[173]</a></sup>
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<h3>Cultural impact[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=27">edit</a>]</h3>
<p><i>The Matrix</i> was also influential for its impact on <a href="/wiki/Superhero_films">superhero films</a>. John Kenneth Muir in <i>The Encyclopedia of Superheroes on Film and Television</i> called the film a "revolutionary" reimagination of movie visuals, paving the way for the visuals of later superhero films, and credits it with helping to "make <a href="/wiki/Comic-book">comic-book</a> <a href="/wiki/Superheroes">superheroes</a> hip" and effectively demonstrating the concept of "faster than a speeding bullet" with its bullet time effect.<sup><a href="#cite_note-188">[187]</a></sup> Adam Sternbergh of <i><a href="/wiki/Vulture.com">Vulture.com</a></i> credits <i>The Matrix</i> with reinventing and setting the template for modern superhero blockbusters, and inspiring the superhero renaissance in the early 21st century.<sup><a href="#cite_note-189">[188]</a></sup>
</p>
<h3>Modern reception[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=28">edit</a>]</h3>
<p>In 2001, <i>The Matrix</i> placed 66th in the <a href="/wiki/American_Film_Institute">American Film Institute</a>'s "<a href="/wiki/AFI%27s_100_Years...100_Thrills">100 Years...100 Thrills</a>" list.<sup><a href="#cite_note-AFIThrills-190">[189]</a></sup> In 2007, <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> called <i>The Matrix</i> the best science-fiction piece of media for the past 25 years.<sup><a href="#cite_note-Genre's_Best-15">[14]</a></sup> In 2009, the film was ranked 39th on <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i>'s reader-, actor- and critic-voted list of "The 500 Greatest Movies of All Time".<sup><a href="#cite_note-191">[190]</a></sup> <i>The Matrix</i> was voted as the fourth best science fiction film in the 2011 list <i><a href="/wiki/Best_in_Film:_The_Greatest_Movies_of_Our_Time">Best in Film: The Greatest Movies of Our Time</a></i>, based on a poll conducted by <a href="/wiki/American_Broadcasting_Company">ABC</a> and <i><a href="/wiki/People_(American_magazine)">People</a></i>. In 2012, the film was selected for preservation in the <a href="/wiki/National_Film_Registry">National Film Registry</a> by the <a href="/wiki/Library_of_Congress">Library of Congress</a> for being "culturally, historically, and aesthetically significant."<sup><a href="#cite_note-NFR-16">[15]</a></sup> In 2022, <i>The Matrix</i> was determined the most popular tech-themed movie in the United States using search volume data.<sup><a href="#cite_note-192">[191]</a></sup>
</p>
<h3>Conspiracy theories and fringe groups[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=29">edit</a>]</h3>
<p>The premise of <i>The Matrix</i> has been repurposed for multiple <a href="/wiki/Conspiracy_theories">conspiracy theories</a> and <a href="/wiki/Alt-right">alt-right</a> fringe groups. For example, some online <a href="/wiki/Men%27s_rights">men's rights groups</a> use the term "redpill" to mean men realizing that they are supposedly being subjugated by feminism.<sup><a href="#cite_note-193">[192]</a></sup><sup><a href="#cite_note-194">[193]</a></sup> The term has been used in discussion forums for right-wing topics such as <a href="/wiki/Gamergate_(harassment_campaign)">Gamergate</a>, <a href="/wiki/White_supremacy">white supremacy</a>, <a href="/wiki/Incel">incel</a> subculture and <a href="/wiki/Qanon">Qanon</a>.<sup><a href="#cite_note-195">[194]</a></sup> As of 2021, the verb "pill" and adjective "pilled" had entered more mainstream use and had come to mean developing a sudden interest in something.<sup><a href="#cite_note-196">[195]</a></sup>
</p>
<h3>Sequels and adaptations[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=30">edit</a>]</h3>
<p>The film's mainstream success led to the making of two sequels, <i><a href="/wiki/The_Matrix_Reloaded">The Matrix Reloaded</a></i> and <i><a href="/wiki/The_Matrix_Revolutions">The Matrix Revolutions</a></i>, both directed by the Wachowskis. These were <a href="/wiki/Back_to_back_film_production">filmed back-to-back</a> in one <a href="/wiki/Production_(film)">shoot</a> and released on separate dates in 2003.<sup><a href="#cite_note-197">[196]</a></sup> The first film's introductory tale is succeeded by the story of the impending attack on the human enclave of <a href="/wiki/Zion_(The_Matrix)">Zion</a> by a vast machine army.<sup><a href="#cite_note-198">[197]</a></sup><sup><a href="#cite_note-The_Matrix_Reloaded_BBC_Review-199">[198]</a></sup> The sequels also incorporate longer and more ambitious action scenes, as well as improvements in bullet time and other visual effects.<sup><a href="#cite_note-The_Matrix_Reloaded_BBC_Review-199">[198]</a></sup><sup><a href="#cite_note-200">[199]</a></sup>
</p><p>Also released was <i><a href="/wiki/The_Animatrix">The Animatrix</a></i>, a collection of nine animated short films, many of which were created in the same <a href="/wiki/Anime">Japanese animation</a> style<sup><a href="#cite_note-The_Animatrix_IGN_Review-201">[200]</a></sup> that was a strong influence on the live action trilogy. <i>The Animatrix</i> was overseen and approved by the Wachowskis, who only wrote four of the segments themselves but did not direct any of them; much of the project was developed by notable figures from the world of anime.<sup><a href="#cite_note-The_Animatrix_IGN_Review-201">[200]</a></sup>
</p><p>In March 2017, Warner Bros. was in early stages of developing a relaunch of the franchise with <a href="/wiki/Zak_Penn">Zak Penn</a> in talks to write a treatment and interest in getting <a href="/wiki/Michael_B._Jordan">Michael B. Jordan</a> attached to star. According to <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i> neither the Wachowskis nor Joel Silver were involved with the endeavor, although the studio would like to get at minimum the blessing of the Wachowskis.<sup><a href="#cite_note-202">[201]</a></sup> On August 20, 2019, Warner Bros. Pictures Group chairman <a href="/wiki/Toby_Emmerich">Toby Emmerich</a> officially announced that a <a href="/wiki/The_Matrix_Resurrections">fourth Matrix film</a> was in the works, with <a href="/wiki/Keanu_Reeves">Keanu Reeves</a> and <a href="/wiki/Carrie-Anne_Moss">Carrie-Anne Moss</a> set to reprise their roles as Neo and Trinity respectively.<sup><a href="#cite_note-203">[202]</a></sup> <i><a href="/wiki/The_Matrix_Resurrections">The Matrix Resurrections</a></i> was released on December 22, 2021, in theaters and on HBO Max.
</p><p>In September 2022, <a href="/wiki/Danny_Boyle">Danny Boyle</a> was announced to be directing a dance adaptation of the film, titled "Free Your Mind", and it is set to debut in October 2023 in Manchester, U.K.<sup><a href="#cite_note-204">[203]</a></sup>
</p>
<h2>See also[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=31">edit</a>]</h2>
<div>
<ul><li><a href="/wiki/Metaverse">Metaverse</a></li>
<li><a href="/wiki/Virtual_world">Virtual world</a></li>
<li><a href="/wiki/Virtual_reality">Virtual reality</a></li>
<li><a href="/wiki/Simulated_reality">Simulated reality</a></li>
<li><a href="/wiki/Simulated_reality_in_fiction">Simulated reality in fiction</a></li>
<li><a href="/wiki/Cyberspace">Cyberspace</a></li>
<li><a href="/wiki/Henosis">Henosis</a></li>
<li><a href="/wiki/Know_thyself">Know thyself</a></li>
<li><a href="/wiki/Thought_experiment">Thought experiment</a></li>
<li><i><a href="/wiki/Tron_(film)">Tron</a></i>, 1982 film</li>
<li><i><a href="/wiki/Existenz">Existenz</a></i>, 1999 film</li>
<li><i><a href="/wiki/Computer_Boy">Computer Boy</a></i>, 2000 parody</li>
<li><i><a href="/wiki/The_Meatrix">The Meatrix</a></i>, 2003 parody</li>
<li><i><a href="/wiki/Code_Lyoko">Code Lyoko</a></i>, 2003 French animated series</li>
<li><i><a href="/wiki/Infinity_Train">Infinity Train</a></i>, 2019 American animated series</li></ul>
</div>
<h2>Notes[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=32">edit</a>]</h2>
<div><ol>
<li>^ <a href="#cite_ref-Credited_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Credited_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Credited_1-2"><sup><i><b>c</b></i></sup></a> Credited as <i>The Wachowski Brothers</i>.
</li>
</ol></div>
<h2>References[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=33">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-2">^</a></b> <cite><a href="https://www.bbfc.co.uk/releases/matrix-1970-3">"The Matrix"</a>. <i><a href="/wiki/British_Board_of_Film_Classification">British Board of Film Classification</a></i>. Retrieved May 12, 2013.</cite>
</li>
<li>^ <a href="#cite_ref-Lumiere_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Lumiere_3-1"><sup><i><b>b</b></i></sup></a> <cite><a href="http://lumiere.obs.coe.int/web/film_info/?id=12005">"Film: The Matrix"</a>. <i><a href="/wiki/Lumiere_(database)">Lumiere</a></i>. Retrieved March 21, 2017.</cite>
</li>
<li>^ <a href="#cite_ref-AFI_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-AFI_4-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://catalog.afi.com/Catalog/moviedetails/61230">"The Matrix"</a>. <a href="/wiki/American_Film_Institute">American Film Institute</a>. Retrieved June 22, 2021.</cite>
</li>
<li>^ <a href="#cite_ref-BFI_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BFI_5-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www2.bfi.org.uk/films-tv-people/4ce2b81295544">"The Matrix"</a>. <a href="/wiki/British_Film_Institute">British Film Institute</a>. Retrieved June 22, 2021.</cite>
</li>
<li>^ <a href="#cite_ref-Mojo_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Mojo_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Mojo_6-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Mojo_6-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Mojo_6-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Mojo_6-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Mojo_6-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Mojo_6-7"><sup><i><b>h</b></i></sup></a> <cite><a href="https://boxofficemojo.com/title/tt0133093/">"<i>The Matrix</i> (1999)"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/Amazon_(company)">Amazon</a>. Retrieved December 19, 2021.</cite>
</li>
<li><b><a href="#cite_ref-7">^</a></b> <cite><a href="https://www.vulture.com/2019/02/the-matrix-laid-the-template-for-the-modern-blockbuster.html">"The Matrix laid the template for the gritty, gravity-defying, self-seriously cerebral modern blockbuster"</a>. <i><a href="/wiki/Vulture.com">Vulture.com</a></i>. February 4, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-Jamie_Allen_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Jamie_Allen_8-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Jamie_Allen_8-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Jamie_Allen_8-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Jamie_Allen_8-4"><sup><i><b>e</b></i></sup></a> <cite>Allen, Jamie (November 28, 2012). <a href="https://prezi.com/ybxwvr21r9lz/the-matrix-and-postmodernism/">"The Matrix and Postmodernism"</a>. <i>Prezi.com</i>.</cite>
</li>
<li>^ <a href="#cite_ref-williamgibson_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-williamgibson_9-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-williamgibson_9-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-williamgibson_9-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-williamgibson_9-4"><sup><i><b>e</b></i></sup></a> <cite><a href="/wiki/William_Gibson">Gibson, William</a> (January 28, 2003). <a href="https://web.archive.org/web/20120530071034/https://williamgibsonbooks.com/archive/2003_01_28_archive.asp#90244012">"The Matrix: Fair Cop"</a>. <i>williamgibsonbooks.com</i>. Archived from <a href="http://www.williamgibsonbooks.com/archive/2003_01_28_archive.asp#90244012">the original</a> on May 30, 2012. Retrieved August 13, 2012.</cite>
</li>
<li>^ <a href="#cite_ref-Wachowski_transcript_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Wachowski_transcript_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Wachowski_transcript_10-2"><sup><i><b>c</b></i></sup></a> <cite><a href="https://web.archive.org/web/20121006041445/http://www.warnervideo.com/matrixevents/wachowski.html">"Matrix Virtual Theatre"</a>. <i>Warnervideo.com</i>. <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>. November 6, 1999. Interview with the Wachowski Brothers. Archived from <a href="http://www.warnervideo.com/matrixevents/wachowski.html">the original</a> on October 6, 2012. Retrieved November 29, 2012. <q>We liked Ghost in the Shell and the Ninja Scroll and Akira in anime. One thing that they do that we tried to bring to our film was a juxtaposition of time and space in action beats.</q></cite>
</li>
<li>^ <a href="#cite_ref-RottenTomatoes_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-RottenTomatoes_11-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.rottentomatoes.com/m/matrix/">"<i>The Matrix</i> (1999)"</a>. <i><a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a></i>. <a href="/wiki/Fandango_Media">Fandango</a>. Retrieved July 5, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-meta_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-meta_12-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-meta_12-2"><sup><i><b>c</b></i></sup></a> <cite><a href="https://www.metacritic.com/movie/the-matrix">"<i>The Matrix</i> (1999): Reviews"</a>. <i><a href="/wiki/Metacritic">Metacritic</a></i>. <a href="/wiki/CBS_Interactive">CBS Interactive</a>. Retrieved July 11, 2008.</cite>
</li>
<li>^ <a href="#cite_ref-heritage1_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-heritage1_13-1"><sup><i><b>b</b></i></sup></a> <cite>Heritage, Stuart (October 21, 2010). <a href="https://www.theguardian.com/film/2010/oct/21/matrix-wachowskis-science-fiction">"The Matrix: No 13 best sci-fi and fantasy film of all time"</a>. <i>Guardian.co.uk</i>. London: <a href="/wiki/Guardian_Media_Group">Guardian Media Group</a>.</cite>
</li>
<li>^ <a href="#cite_ref-autogenerated1_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-autogenerated1_14-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.ign.com/articles/2018/11/15/top-25-sci-fi-movies-of-all-time">"Top 25 Sci-Fi Movies of All Time"</a>. <i>IGN</i>. Retrieved January 29, 2012.</cite>
</li>
<li>^ <a href="#cite_ref-Genre's_Best_15-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Genre's_Best_15-1"><sup><i><b>b</b></i></sup></a> <cite>Jensen, Jeff (May 7, 2007). <a href="https://web.archive.org/web/20070508042743/http://www.ew.com/ew/article/0,,20036782_20037403_20037541_25,00.html">"The Sci-Fi 25: The Genre's Best Since '82"</a>. <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i>. Archived from <a href="https://ew.com/article/2008/12/12/sci-fi-25-best-82/">the original</a> on May 8, 2007. Retrieved May 7, 2007.</cite>
</li>
<li>^ <a href="#cite_ref-NFR_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-NFR_16-1"><sup><i><b>b</b></i></sup></a> <cite>King, Susan (December 19, 2012). <a href="https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-national-film-registry-20121217,0,1057524.story">"National Film Registry selects 25 films for preservation"</a>. <i>Los Angeles Times</i>. Retrieved December 21, 2012.</cite>
</li>
<li>^ <a href="#cite_ref-Screenplay_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Screenplay_17-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Screenplay_17-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Screenplay_17-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Screenplay_17-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Screenplay_17-5"><sup><i><b>f</b></i></sup></a> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Screenplay". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
</li>
<li>^ <a href="#cite_ref-empire_will_smith_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-empire_will_smith_18-1"><sup><i><b>b</b></i></sup></a> <cite>Lawrence, Will (February 2007). "The Empire Interview: In conversation with Will Smith". <i><a href="/wiki/Empire_(magazine)">Empire</a></i>. No. 212. <a href="/wiki/Emap">Emap</a>. p. 109. <q>Honestly, I didn't think they could do it, it was too ambitious. I saw <i>Bound</i> and I loved it. <i>The Matrix</i> is exactly what they pitched, but they were designing those cameras to get those freeze-frames, and I was like, "If that doesn't work, the movie looks ridiculous." I didn't feel comfortable with the level of importance placed on that effect working properly. ... That's probably the only one that I turned down that I shouldn't have, but when you see somebody do it like Keanu you think, "Thank God." I don't think I was mature enough as an actor at that point to get out of the way and just let it be and allow the directors to make the movie. I would have been trying to make jokes. Now I would have loved to take a shot and see what I would have done with it and I know now I could absolutely have been mature enough to get out the way. But back then I don't think I was.</q></cite>
</li>
<li><b><a href="#cite_ref-19">^</a></b> <cite>Hillner, Jennifer (July 2004). <a href="https://www.wired.com/wired/archive/12.07/smith_pr.html">"I, Robocop"</a>. <i><a href="/wiki/Wired_(magazine)">Wired</a></i>.</cite>
</li>
<li><b><a href="#cite_ref-20">^</a></b> <cite>Riggs, Ransom (October 20, 2008). <a href="http://edition.cnn.com/2008/LIVING/worklife/10/20/mf.rejected.movies/index.html?iref=mpstoryview">"5 million-dollar mistakes by movie stars"</a>. CNN. Retrieved January 4, 2013.</cite>
</li>
<li><b><a href="#cite_ref-21">^</a></b> <cite>Makuch, Eddie (February 14, 2019). <a href="https://www.gamespot.com/articles/will-smith-reveals-he-turned-down-the-matrix-and-h/1100-6465037/">"Will Smith Reveals He Turned Down the Matrix, and Here's Why"</a>. <i>Gamespot</i>.</cite>
</li>
<li><b><a href="#cite_ref-22">^</a></b> <cite>Carroll, Larry (December 7, 2007). <a href="http://www.mtv.com/movies/news/articles/1576048/20071207/story.jhtml">"Will Smith Snagged 'I Am Legend' From Schwarzenegger, But Can You Imagine Nicolas Cage In 'The Matrix'?"</a>. MTV. Retrieved December 8, 2007.</cite>
</li>
<li>^ <a href="#cite_ref-Davis-interview_23-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Davis-interview_23-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Davis-interview_23-2"><sup><i><b>c</b></i></sup></a> <cite>Redpill (July 2000). <a href="https://web.archive.org/web/20040422173208fw_/http://whatisthematrix.warnerbros.com/cmp/rl_interview_don_davis.html">"Don Davis – Composer"</a>. <i>whatisthematrix.warnerbros.com</i>. Archived from <a href="http://whatisthematrix.warnerbros.com/cmp/rl_interview_don_davis.html">the original</a> on April 22, 2004. Retrieved September 9, 2021. <q>As far as casting goes, Keanu Reeves wasn't Larry and Andy's first choice, Johnny Depp was their first choice for Neo. Warner Bros. was going for this thing where they didn't want Johnny Depp, they wanted Brad Pitt or Val Kilmer. They told Larry and Andy if Brad Pitt would do the picture, they'd green light it right then. After Kilmer and Brad Pitt said no, Warner Bros. was willing to consider Johnny Depp, so it sort of came down to between Johnny Depp and Keanu Reeves, who Warner Bros. was pushing. Keanu was always really tuned in to the concept and that made a big difference for Larry and Andy. I think it was a brilliant choice. Gary Oldman was considered as Morpheus at one point, and Samuel Jackson as well. For Trinity, I think they were generally looking at lesser known names for that character.</q></cite>
</li>
<li>^ <a href="#cite_ref-Cast-Bullock-DiCaprio_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cast-Bullock-DiCaprio_24-1"><sup><i><b>b</b></i></sup></a> <cite>Williams, Trey (March 26, 2019). <a href="https://www.thewrap.com/the-matrix-filmmakers-wanted-sandra-bullock-as-neo-before-keanu-reeves-took-the-role/">"'The Matrix' Wanted Sandra Bullock as Neo Before Keanu Reeves Took the Role"</a>. <i><a href="/wiki/TheWrap">TheWrap</a></i>. Retrieved September 9, 2021. <q>We went to Sandy Bullock and said 'We'll change Neo to a girl.' [Producer] Joel Silver and I worked with Sandy on 'Demolition Man' and she was and continues to be a very good friend of mine. It was pretty simple. We sent her the script to see if she was interested in it. And if she was interested in it we would try to make the change."..."The first movie star who says yes is Brad Pitt, he's doing 'Seven Years in Tibet' and then he's coming out of it and he's like 'I'm way too exhausted to take this on,' so he's gone," di Bonaventura said. "Then we go to Leonardo [DiCaprio]. He says yes, we have meetings with him and then he goes, 'You know, I can't go do another visual effects movie having just finished 'Titanic,' and he drops out. Then Will Smith joins it and he drops out.</q></cite>
</li>
<li><b><a href="#cite_ref-25">^</a></b> <cite><a href="/wiki/Neil_Gaiman">Gaiman, Neil</a> (June 10, 2003). <a href="http://journal.neilgaiman.com/2003/06/you-must-be-this-tall-to-ride-this.asp">"Neil Gaiman's Journal: You must be this tall to ride this website..."</a> <i>neilgaiman.com</i>. Retrieved December 30, 2012.</cite>
</li>
<li>^ <a href="#cite_ref-Training_26-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Training_26-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Training_26-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Training_26-3"><sup><i><b>d</b></i></sup></a> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Training". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
</li>
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<li>^ <a href="#cite_ref-Interrogation_Room_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Interrogation_Room_34-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Interrogation_Room_34-2"><sup><i><b>c</b></i></sup></a> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Interrogation Room". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li>^ <a href="#cite_ref-Influence_Screened_36-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-Influence_Screened_36-12"><sup><i><b>m</b></i></sup></a> <cite>Godoski, Andrew. <a href="https://web.archive.org/web/20130205085233/http://www.screened.com/news/under-the-influence-the-matrix/2218/">"Under The Influence: The Matrix"</a>. <i><a href="/wiki/Screened.com">Screened.com</a></i>. Archived from <a href="http://www.screened.com/news/under-the-influence-the-matrix/2218/">the original</a> on February 5, 2013. Retrieved December 22, 2012.</cite>
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<li>^ <a href="#cite_ref-Museum_40-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Museum_40-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Museum_40-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Museum_40-3"><sup><i><b>d</b></i></sup></a> <cite>Powerhouse Museum. <a href="http://from.ph/422513">"'The Matrix' film poster"</a>. Powerhouse Museum, Australia. Retrieved December 24, 2012.</cite>
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<li>^ <a href="#cite_ref-Simulacra_42-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Simulacra_42-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Simulacra_42-2"><sup><i><b>c</b></i></sup></a> <cite>Rothstein, Edward (May 24, 2003). <a href="https://www.nytimes.com/2003/05/24/movies/philosophers-draw-on-a-film-drawing-on-philosophers.html">"Philosophers Draw on a Film Drawing on Philosophers"</a>. <i><a href="/wiki/The_New_York_Times">The New York Times</a></i>. Retrieved December 5, 2012.</cite>
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<li>^ <a href="#cite_ref-Trinity_44-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Trinity_44-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Trinity_44-2"><sup><i><b>c</b></i></sup></a> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Trinity". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-Car_Ride_to_the_Oracle_51-0">^</a></b> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Car Ride to the Oracle". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-Government_Roof_53-0">^</a></b> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Government Roof". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-Helicopter_Rescue_58-0">^</a></b> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Helicopter Rescue". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-59">^</a></b> <cite>Wachowski, Larry; Wachowski, Andy; Darrow, Geof; Skroce, Steve; Kunitake, Tani; Manser, Warren; Grant, Colin; Staenberg, Zach; Oesterhouse, Phil; <a href="/wiki/William_Gibson">Gibson, William</a> (2000). Lamm, Spencer (ed.). <i>The Art of The Matrix</i>. Titan Books Ltd (published November 24, 2000). <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84023-173-1"><bdi>978-1-84023-173-1</bdi></a>.</cite><code>{{<a href="/wiki/Template:Cite_book">cite book</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-Sound_effects_60-0">^</a></b> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Sound effects". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-62">^</a></b> <i><a href="https://www.discogs.com/master/298381">The Matrix: Original Motion Picture Score</a></i> at <a href="/wiki/Discogs">Discogs</a> (list of releases)
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<li><b><a href="#cite_ref-The_Score_63-0">^</a></b> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "The Score". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-64">^</a></b> <cite>Coleman, Christopher. <a href="https://web.archive.org/web/20130515045038/http://www.tracksounds.com/reviews/matrix_music_from.htm">"Essence of Cool"</a>. Tracksounds.com. Archived from <a href="http://www.tracksounds.com/reviews/matrix_music_from.htm">the original</a> on May 15, 2013. Retrieved December 28, 2012.</cite>
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<li><b><a href="#cite_ref-65">^</a></b> <a href="https://www.allmusic.com/album/mw0000238626"><i>The Matrix [Music From and Inspired by the Motion Picture]</i></a> at <a href="/wiki/AllMusic">AllMusic</a>.
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<li><b><a href="#cite_ref-66">^</a></b> <i><a href="https://www.discogs.com/master/view/63357">The Matrix: Music from the Motion Picture</a></i> at <a href="/wiki/Discogs">Discogs</a> (list of releases)
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<li><b><a href="#cite_ref-67">^</a></b> <a href="https://cactus.black/matrix">The Matrix — cactus.black (Black Cactus)</a>, cactus.black
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<li>^ <a href="#cite_ref-Look_of_the_Matrix_68-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Look_of_the_Matrix_68-1"><sup><i><b>b</b></i></sup></a> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Look of the Matrix". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-70">^</a></b> <cite>Clover, Joshua (2004). <a href="https://archive.org/details/matrix0000clov"><i>The Matrix</i></a>. London: <a href="/wiki/British_Film_Institute">BFI Publishing</a>. pp. <a href="https://archive.org/details/matrix0000clov/page/8">8–9</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84457-045-4"><bdi>978-1-84457-045-4</bdi></a>. <q>In the denouement [of <i>The Thirteenth Floor</i>], Douglas Hall simply crests a hill to discover that what he had thought was the real world has, beyond this point, yet to be constructed. In lieu of landscape, only crude phosphor-green polygons, the basic units of video graphics rendering, in the primal monochrome of an old CRT. The raw material of the simulation is even more basic in <i>The Matrix</i> – machine language itself, in the same familiar green ...</q></cite>
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<li><b><a href="#cite_ref-The_Nebuchadnezzar_71-0">^</a></b> <cite>Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "The Nebuchadnezzar". <i><a href="/wiki/The_Matrix_Revisited">The Matrix Revisited</a></i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-131">^</a></b> <cite><a href="https://www.cbr.com/zack-snyders-justice-league-oscars-cheer-moment-winner/">"Zack Snyder's Justice League Tops 'Oscars Cheer Moment' List"</a>. CBR. March 28, 2022. Retrieved March 28, 2022.</cite>
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<li><b><a href="#cite_ref-132">^</a></b> <cite>Stucky, Mark (October 2005). <a href="https://digitalcommons.unomaha.edu/cgi/viewcontent.cgi?article=1654&amp;context=jrf">"He is the One: The Matrix Trilogy's Postmodern Movie Messiah"</a>. <i>The Journal of Religion and Film</i>. <b>9</b> (2). Retrieved February 21, 2018.</cite>
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<li><b><a href="#cite_ref-Luddism_133-0">^</a></b> <cite>Jones, Steven Edward (2006). <a href="https://books.google.com/books?id=YwPP4pGRAwgC&amp;q=%22The+Matrix%22+Metropolis+%22M.+C.+Escher%22&amp;pg=PA131">"Simulacra in <i>the Matrix</i>"</a>. <a href="https://books.google.com/books?id=YwPP4pGRAwgC"><i>Against Technology. From the Luddites to Neo-Luddism</i></a>. CRC Press. p. 131. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-97868-2"><bdi>978-0-415-97868-2</bdi></a>.</cite>
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<li><b><a href="#cite_ref-134">^</a></b> <cite>Calia, Michael. <a href="https://blogs.wsj.com/speakeasy/2014/05/13/we-are-all-living-in-h-r-gigers-cinematic-nightmare/">"We Are All Living in H.R. Giger's Nightmare"</a>. <i>Wall Street Journal</i>. Retrieved December 23, 2021.</cite>
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<li><b><a href="#cite_ref-135">^</a></b> <cite>The Pop Mythologist (May 14, 2014). <a href="https://www.popmythology.com/of-sex-death-and-biomachinery-h-r-gigers-legacy-in-pop-culture/">"Of sex, death and biomachinery: H. R. Giger's legacy in pop culture"</a>.</cite>
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<li><b><a href="#cite_ref-136">^</a></b> <cite><a href="http://www.isfdb.org/cgi-bin/title.cgi?42568">"Title: The News from D Street"</a>. <i>www.isfdb.org</i>. Retrieved July 14, 2019.</cite>
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<li><b><a href="#cite_ref-ebert-wachowskis_137-0">^</a></b> <cite><a href="/wiki/Roger_Ebert">Ebert, Roger</a> (October 2, 2008). <a href="https://www.rogerebert.com/roger-ebert/the-wachowskis-from-2001-to-the-godfather-to-the-matrix">"The Wachowskis: From "2001" to "The Godfather" to "The Matrix""</a>. <i><a href="/wiki/RogerEbert.com">RogerEbert.com</a></i>. Ebert Digital LLC. <a href="https://web.archive.org/web/20210306111600/https://www.rogerebert.com/roger-ebert/the-wachowskis-from-2001-to-the-godfather-to-the-matrix">Archived</a> from the original on March 6, 2021. Retrieved September 11, 2021.</cite>
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<li><b><a href="#cite_ref-138">^</a></b> <cite>Hemon, Aleksandar (September 3, 2012). <a href="https://www.newyorker.com/reporting/2012/09/10/120910fa_fact_hemon">"Beyond the Matrix"</a>. <i><a href="/wiki/The_New_Yorker">The New Yorker</a></i>. Retrieved September 4, 2012.</cite>
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<li><b><a href="#cite_ref-Kubrick_139-0">^</a></b> <cite><a href="/wiki/Roger_Ebert">Ebert, Roger</a> (September 9, 2012). <a href="https://www.rogerebert.com/roger-ebert/toronto-3-cloud-atlas-and-a-new-silent-film">"Toronto #3: "Cloud Atlas" and a new silent film"</a>. <i><a href="/wiki/RogerEbert.com">RogerEbert.com</a></i>. Ebert Digital LLC. <a href="https://web.archive.org/web/20210125214746/https://www.rogerebert.com/roger-ebert/toronto-3-cloud-atlas-and-a-new-silent-film">Archived</a> from the original on January 25, 2021. Retrieved September 10, 2021.</cite>
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<li><b><a href="#cite_ref-140">^</a></b> <cite><a href="http://www.retrojunk.com/article/show/214/dark-city-vs-the-matrix">"<i>Dark City vs The Matrix</i>"</a>. RetroJunk. August 17, 2015. Retrieved September 18, 2015.</cite>
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<li><b><a href="#cite_ref-141">^</a></b> <cite>Tyridal, Simon (January 28, 2005). <a href="http://www.electrolund.com/2004/10/matrix-city-a-photographic-comparison-of-the-matrix-and-dark-city/">"<i>Matrix City: A Photographic Comparison of The Matrix and Dark City</i>"</a>. ElectroLund. Retrieved September 18, 2015.</cite>
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<li><b><a href="#cite_ref-channel4review_142-0">^</a></b> <cite><a href="https://web.archive.org/web/20100525142638/http://www.film4.com/reviews/1999/the-matrix">"The Matrix (1999) – Film Review from FilmFour"</a>. <i><a href="/wiki/Film4">Film4</a></i>. <a href="/wiki/Channel_Four_Television_Corporation">Channel Four Television Corporation</a>. Archived from <a href="http://www.channel4.com/film/reviews/film.jsp?id=105863">the original</a> on May 25, 2010. Retrieved September 17, 2012. <q>The film is a perfect product of its time. It is a very modern conspiracy thriller, a film based, like The Truman Show, on the appealingly terrifying notion of a universal conspiracy – that life itself and everything that we know and take for granted are lies. It's also a film steeped in the traditionals of Japanese anime and megamixed philosophy and semiotics (spot the Baudrillard references kids).</q></cite>
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<li><b><a href="#cite_ref-rowley_review_143-0">^</a></b> <cite>Rowley, Stephen (June 18, 2003). <a href="http://www.sterow.com/?p=229">"What Was the Matrix?"</a>. <i>sterow.com</i>. Retrieved January 9, 2012. <q>The Matrix was the third in a cycle of movies to arrive in the late nineties with a strikingly similar theme. Like its predecessors from the previous year, Dark City and The Truman Show, it tells the story of a seemingly ordinary man who suddenly finds that his whole life is faked: he is trapped in an artificially created environment designed to keep him in submission. Like the heroes of those earlier movies, Keanu Reeves' Neo starts to realise that he is somehow special, and tries to escape the confines of his prison.</q></cite>
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<li><b><a href="#cite_ref-144">^</a></b> <cite>Condon, Paul (July 26, 2003). <i>The Matrix Unlocked</i>. Contender Books. pp. 141–3. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84357-093-6"><bdi>978-1-84357-093-6</bdi></a>.</cite>
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<li>^ <a href="#cite_ref-Wired_PK_Dick_145-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Wired_PK_Dick_145-1"><sup><i><b>b</b></i></sup></a> <cite>Rose, Frank (December 2003). <a href="https://www.wired.com/2003/12/philip/">"The Second Coming of Philip K. Dick"</a>. <i><a href="/wiki/Wired_(magazine)">Wired</a></i>. Retrieved December 4, 2012. <q>His influence is pervasive in The Matrix and its sequels, which present the world we know as nothing more than an information grid; Dick articulated the concept in a 1977 speech in which he posited the existence of multiple realities overlapping the "matrix world" that most of us experience. ... They probably don't realize that the Matrixseries [sic] contains almost as many references to Woo as to Dick. (Fluttering pigeons heralding a fight, a shooter with two guns blazing – pure Woo.)</q></cite>
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<li><b><a href="#cite_ref-146">^</a></b> <cite><a href="http://www.bigbearacademy.com/fist-of-legend.html">"Fist of Legend"</a>. Bigbearacademy.com. Retrieved December 13, 2012.</cite>
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<li><b><a href="#cite_ref-147">^</a></b> <cite>Colman, Dan (October 7, 2011). <a href="http://www.openculture.com/2011/10/the_matrix_what_went_into_the_mix.html">"The Matrix: What Went Into The Mix"</a>. Open Culture. Retrieved December 13, 2012.</cite>
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<li><b><a href="#cite_ref-silver-anime-1_148-0">^</a></b> <cite>Jones Andrew; Morimoto, Kôji; Maeda, Mahiro; Chung, Peter; Watanabe, Shinichirô (June 3, 2003). <i>The Animatrix</i> (DVD). United States: <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.</cite><code>{{<a href="/wiki/Template:Cite_AV_media">cite AV media</a>}}</code>: CS1 maint: multiple names: authors list (<a href="/wiki/Category:CS1_maint:_multiple_names:_authors_list">link</a>)
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<li><b><a href="#cite_ref-south_bank_show_150-0">^</a></b> <cite>"Manga Mania". <i><a href="/wiki/The_South_Bank_Show">The South Bank Show</a></i>. February 19, 2006. <a href="/wiki/ITV_(TV_network)">ITV</a>.</cite>
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<li><b><a href="#cite_ref-supergods_151-0">^</a></b> <cite><a href="/wiki/Grant_Morrison">Morrison, Grant</a> (2011). <i>Supergods: Our World in the Age of the Superhero</i>. London: <a href="/wiki/Random_House">Random House</a>/<a href="/wiki/Jonathan_Cape">Jonathan Cape</a>. p. 315. <q>I was taken to see <i>The Matrix</i> ... and saw what seemed to me my own combination of ideas enacted on the screen: fetish clothes, bald heads, kung fu, and magic, witnessing the Gnostic invasion of the Hollywood mainstream.</q></cite>
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<li><b><a href="#cite_ref-152">^</a></b> <cite><a href="http://www.consciencia.org/castaneda/castaneda-matrix.html">"Matrix and Carlos Castaneda"</a>. Consciencia.org. December 4, 2006. Retrieved January 29, 2012.</cite>
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<li><b><a href="#cite_ref-Neuromancer_Natali_interview_153-0">^</a></b> <cite>Leiren-Young, Mark (January 6, 2012). <a href="https://thetyee.ca/ArtsAndCulture/2012/01/06/Neuromancer-Movie/">"Is William Gibson's 'Neuromancer' the Future of Movies?"</a>. <i><a href="/wiki/The_Tyee">The Tyee</a></i>. Retrieved January 16, 2012. <q>One of the obstacles in the selling of this movie to the industry at large is that everyone says, 'Oh, well, <i>The Matrix</i> did it already.' Because <i>The Matrix</i> – the very word 'matrix' – is taken from <i>Neuromancer</i>, they stole that word, I can't use it in our movie.</q></cite>
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<li><b><a href="#cite_ref-154">^</a></b> L. P. Davies. <i>The White Room.</i> Garden City, NY: Doubleday and Company, 1969. Page 168.
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<li><b><a href="#cite_ref-155">^</a></b> <cite>Zenko, Darren (April 29, 2007). <a href="https://www.thestar.com/entertainment/article/208471">"Not another Philip K. Dick movie"</a>. <i>The Toronto Star</i>. Retrieved May 25, 2010.</cite>
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<li><b><a href="#cite_ref-156">^</a></b> <cite>Axmaker, Sean (June 25, 2002). <a href="http://www.seattlepi.com/movies/76011_dick26.shtml">"Philip K. Dick's dark dreams still fodder for films"</a>. <i>Seattle Post Intelligencer</i>. <q>Even the seeds of his concepts, however, sprout resonant ideas that the biggest special effects can't destroy, and they have pollinated the creative ground of many other films, from the moral quandaries posed by technology in "The 6th Day" to the paranoia and sanity-threatening conspiracies of "The Truman Show" and "The Matrix."</q></cite>
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<li><b><a href="#cite_ref-157">^</a></b> <cite>South Berkshire Research Institute (August 23, 2015). <a href="https://www.youtube.com/watch?v=Q01Om0r1ZPY">"AUTHOR Philip K. Dick – "We are living in a computer-programmed reality ...""</a>. Retrieved March 15, 2017 – via YouTube.</cite>
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<li><b><a href="#cite_ref-158">^</a></b> <cite>theduderinok2 (June 26, 2010). <a href="https://web.archive.org/web/20111022200040/http://www.youtube.com/watch?v=jXeVgEs4sOo&amp;gl=US&amp;hl=en">"Did Philip K. Dick disclose the real Matrix in 1977?"</a>. Archived from <a href="https://www.youtube.com/watch?v=jXeVgEs4sOo">the original</a> on October 22, 2011. Retrieved March 15, 2017 – via YouTube.</cite>
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<li><b><a href="#cite_ref-159">^</a></b> <cite><a href="http://www.openculture.com/2014/02/philip-k-dick-theorizes-the-matrix-in-1977-declares-that-we-live-in-a-computer-programmed-reality.html">"Philip K. Dick Theorizes The Matrix in 1977, Declares That We Live in "A Computer-Programmed Reality""</a>. <i>openculture.com</i>. Retrieved March 15, 2017.</cite>
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<li><b><a href="#cite_ref-160">^</a></b> <cite>Wagner, David (February 11, 2014). <a href="http://www.kpbs.org/news/2014/feb/11/building-a-digital-worm-is-harder-than-you-think/">"Building A Digital Worm Is Harder (And More Important) Than You Might Think"</a>. <i>kpbs.org</i>. Retrieved March 15, 2017.</cite>
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<li>^ <a href="#cite_ref-Poole_Baudrillard_161-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Poole_Baudrillard_161-1"><sup><i><b>b</b></i></sup></a> <cite>Poole, Steven (March 7, 2007). <a href="https://www.theguardian.com/news/2007/mar/07/guardianobituaries.france">"Obituary: Jean Baudrillard"</a>. <i>Guardian.co.uk</i>. <a href="/wiki/Guardian_Media_Group">Guardian Media Group</a>. Retrieved November 15, 2012.</cite> The term "desert of the real" first originated from <a href="/wiki/Jorge_Luis_Borges">Jorge Luis Borges</a>' short story "<a href="/wiki/On_Exactitude_in_Science">On Exactitude in Science</a>" (1946), which Baudrillard references in his essay.
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<li><b><a href="#cite_ref-162">^</a></b> <cite>Jobs, Post (March 14, 2007). <a href="http://www.insidehighered.com/views/mclemee/mclemee135">"Remember Baudrillard"</a>. <i>Inside Higher Ed</i>. Retrieved January 29, 2012.</cite>
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<li><b><a href="#cite_ref-163">^</a></b> <cite><a href="https://web.archive.org/web/20080113012028/http://www.empyree.org/divers/Matrix-Baudrillard_english.html">"Le Nouvel Observateur with Baudrillard"</a>. <i>Le Nouvel Observateur</i>. Archived from <a href="http://www.empyree.org/divers/Matrix-Baudrillard_english.html">the original</a> on January 13, 2008. Retrieved January 31, 2010.</cite>
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<li>^ <a href="#cite_ref-Salon_philosophy_164-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Salon_philosophy_164-1"><sup><i><b>b</b></i></sup></a> <cite>Miller, Laura (December 5, 2002). <a href="http://www.salon.com/2002/12/05/matrix_2/">""The Matrix and Philosophy" by William Irwin, ed"</a>. <i><a href="/wiki/Salon_(website)">Salon</a></i>. Retrieved November 15, 2012.</cite>
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<li><b><a href="#cite_ref-165">^</a></b> Irwin, William. "We Are (the) One!" <i>The Matrix and Philosophy: Welcome to the Desert of the Real</i>. Chicago: Open Court, 2002. 138–54. Print.
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<li><b><a href="#cite_ref-166">^</a></b> <cite>Babenko, Yelyzaveta (2011). <a href="https://books.google.com/books?id=XPY--YwYmMgC"><i>Analysis of the film "The Matrix"</i></a>. Munich: GRIN Verlag. p. <a href="https://books.google.com/books?id=XPY--YwYmMgC&amp;pg=PA6&amp;dq=%22In+Christian+Theology+there+are+three+entities+forming+a+single+God:+Father,+Son+and+Holy+Spirit,+this+is+The+trinity+of+God%22">6</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-640-91285-8"><bdi>978-3-640-91285-8</bdi></a>.</cite>
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<li><b><a href="#cite_ref-167">^</a></b> <cite>Toropov, Brandon (2002). <a href="https://archive.org/details/completeidiotsgu00toro_1/page/241"><i>The Complete Idiot's Guide to Taoism</i></a>. The Penguin Group. p. <a href="https://archive.org/details/completeidiotsgu00toro_1/page/241">241</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-02-864262-8"><bdi>978-0-02-864262-8</bdi></a>.</cite>
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<li><b><a href="#cite_ref-TransMasterpiece_168-0">^</a></b> <cite>Pitre, Jake (March 27, 2019). <a href="https://www.syfy.com/syfywire/how-the-matrix-has-gone-from-mens-rights-dream-to-formative-trans-masterpiece">"How <i>The Matrix</i> Has Gone from Men's Rights Dream to Formative Trans Masterpiece"</a>. <i>SyFy Wire</i>. Retrieved April 1, 2019.</cite>
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<li>^ <a href="#cite_ref-Vulture_169-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Vulture_169-1"><sup><i><b>b</b></i></sup></a> <cite>Chu, Andrea Long (February 7, 2019). <a href="https://www.vulture.com/2019/02/what-the-matrix-can-teach-us-about-gender.html">"What We Can Learn About Gender From <i>The Matrix</i>"</a>. <i>www.vulture.com</i>. Retrieved April 1, 2019.</cite>
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<li><b><a href="#cite_ref-170">^</a></b> <cite>Guida, Matthew (January 7, 2018). <a href="https://screenrant.com/matrix-dark-behind-the-scenes-secrets/">"The Matrix: 15 Dark Behind-The-Scenes Secrets"</a>. <i>ScreenRant</i>. Retrieved April 1, 2019.</cite>
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<li><b><a href="#cite_ref-171">^</a></b> <cite>Lachenal (April 4, 2016). <a href="https://i-d.vice.com/en_us/article/43vmvp/lilly-wachowski-encourages-viewers-to-reconsider-the-matrix-through-the-lens-of-transness">"lilly wachowski encourages viewers to reconsider 'the matrix' through the lens of transness"</a>. Retrieved May 28, 2019.</cite>
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<li><b><a href="#cite_ref-trans-metaphor_172-0">^</a></b> <cite><a href="https://www.bbc.com/news/newsbeat-53692435">"The Matrix is a 'trans metaphor', Lilly Wachowski says"</a>. <i>BBC News</i>. August 7, 2020. Retrieved November 25, 2020.</cite>
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<li><b><a href="#cite_ref-reeves'_awareness_173-0">^</a></b> <cite><a href="https://variety.com/2020/film/podcasts/keanu-reeves-alex-winter-bill-ted-face-the-music-1234748438/">"Keanu Reeves and Alex Winter on How the Beatles Secretly Helped 'Bill &amp; Ted Face the Music' (Watch)"</a>. <i>Variety</i>. August 26, 2020. Retrieved August 5, 2020.</cite>
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<li>^ <a href="#cite_ref-Influence_BBC_174-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Influence_BBC_174-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Influence_BBC_174-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Influence_BBC_174-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Influence_BBC_174-4"><sup><i><b>e</b></i></sup></a> <cite>Dowling, Stephen (May 21, 2003). <a href="http://news.bbc.co.uk/2/hi/entertainment/3028249.stm">"Under The Matrix influence"</a>. <i>BBC.co.uk</i>. BBC. Retrieved December 22, 2012.</cite>
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<li><b><a href="#cite_ref-175">^</a></b> <cite>"The Game World: Bullet Time". <i>Max Payne: Official Police Dossier (game manual)</i>. PC CD ROM version. 2001. p. 19. <q>When pressed into a tight spot, Max can activate Bullet Time, which will slow the action around him, while allowing him to aim his weapons in real-time. This ... even allows Max to dodge oncoming bullets.</q></cite>
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<li><b><a href="#cite_ref-176">^</a></b> <cite><a href="https://www.gamesradar.com/au/deuce-bigalow-male-gigolo-review/">"Deuce Bigalow: Male Gigolo"</a>. <i>Total Film</i>. May 26, 2000. <a href="https://web.archive.org/web/20210909233538/https://www.gamesradar.com/au/deuce-bigalow-male-gigolo-review/">Archived</a> from the original on September 9, 2021. Retrieved September 10, 2021.</cite>
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<li><b><a href="#cite_ref-179">^</a></b> <cite>Korsic, Nemanja (May 26, 2011). <a href="https://greekleftreview.wordpress.com/2011/05/26/marx-enters-the-matrix/">"Marx Enters the Matrix"</a>. <i>Greek Left Project</i>. <a href="https://web.archive.org/web/20150418182415/https://greekleftreview.wordpress.com/2011/05/26/marx-enters-the-matrix/">Archived</a> from the original on April 18, 2015. Retrieved September 10, 2021.</cite>
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<li><b><a href="#cite_ref-180">^</a></b> <cite>Casamassina, Matt (March 2, 2001). <a href="https://www.ign.com/articles/2001/03/03/conkers-bad-fur-day">"Conker's Bad Fur Day"</a>. <i><a href="/wiki/IGN">IGN</a></i>. <a href="https://web.archive.org/web/20130222032943/http://www.ign.com/articles/2001/03/03/conkers-bad-fur-day">Archived</a> from the original on February 22, 2013. Retrieved December 30, 2012.</cite>
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<li>^ <a href="#cite_ref-Influence_EW_181-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Influence_EW_181-1"><sup><i><b>b</b></i></sup></a> <cite>Vary, Adam (April 1, 2011). <a href="https://ew.com/article/2011/04/01/matrix-groundbreaking-cyberthriller/">"'The Matrix': A Groundbreaking Cyberthriller"</a>. <i>Entertainment Weekly</i>. Retrieved June 7, 2020.</cite>
</li>
<li><b><a href="#cite_ref-182">^</a></b> <cite><a href="https://www.news18.com/news/movies/20-years-of-the-matrix-5-times-bollywood-got-inspired-by-it-2083183.html">"20 Years Of 'The Matrix': 5 Times Bollywood Got Inspired By It"</a>. <i><a href="/wiki/News18">News18</a></i>. March 31, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-xmen_183-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-xmen_183-1"><sup><i><b>b</b></i></sup></a> <cite>Jensen, Jeff (July 21, 2000). <a href="https://web.archive.org/web/20150505040519/http://ew.com/article/2000/07/21/x-men-0">"Generating <i>X</i>"</a>. <i>Entertainment Weekly</i>. Time Warner. Archived from <a href="https://www.ew.com/ew/article/0,,276737,00.html">the original</a> on May 5, 2015. Retrieved December 31, 2008. <q>There was also debate over the style of the film's fight sequences, thanks to the new standard set by The Matrix, which hit while X-Men was in pre-production. Hence, the movie features some high-flying Matrix-y martial-arts choreography by Corey Yuen (<a href="/wiki/Romeo_Must_Die">Romeo Must Die</a>).</q></cite>
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<li><b><a href="#cite_ref-184">^</a></b> <cite>Reid, Craig. <a href="https://www.kungfumagazine.com/ezine/article.php?article=364">"From Angels to Devils"</a>. <i><a href="/wiki/Kung_Fu_Magazine">Kung Fu Magazine</a></i>. TC Media, Inc. <a href="https://web.archive.org/web/20210708020243/http://www.kungfumagazine.com/ezine/article.php?article=364">Archived</a> from the original on July 8, 2021. Retrieved September 10, 2021.</cite>
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<li><b><a href="#cite_ref-185">^</a></b> <cite>Vineyard, Jennifer (March 25, 2019). <a href="https://www.syfy.com/syfywire/the-matrixs-stunt-coordinators-and-choreographers-reveal-how-the-iconic-fight-scenes-were">"The Matrix's stunt coordinators and choreographers reveal how the iconic fight scenes were made"</a>. <i><a href="/wiki/Syfy_Wire">Syfy Wire</a></i>. Retrieved October 9, 2019.</cite>
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<li><b><a href="#cite_ref-186">^</a></b> <cite>Ebiri, Bilge (February 4, 2019). <a href="https://www.vulture.com/2019/02/neo-stunt-double-on-how-the-matrix-changed-action-forever.html">"Neo's Stunt Guy Chad Stahelski on How The Matrix Changed Movie Action Forever"</a>. <i><a href="/wiki/New_York_(magazine)">Vulture</a></i>. New York Media, LLC. Retrieved October 9, 2019.</cite>
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<li><b><a href="#cite_ref-188">^</a></b> <cite>Muir, John Kenneth (2008). <a href="https://books.google.com/books?id=dx6hBAAAQBAJ&amp;pg=PA26"><i>The Encyclopedia of Superheroes on Film and Television, 2d ed</i></a>. <a href="/wiki/McFarland_%26_Company">McFarland &amp; Company</a>. p. 26. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-3755-9"><bdi>978-0-7864-3755-9</bdi></a>.</cite>
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<li><b><a href="#cite_ref-189">^</a></b> <cite>Sternbergh, Adam (February 4, 2019). <a href="https://www.vulture.com/2019/02/the-matrix-laid-the-template-for-the-modern-blockbuster.html">"The Matrix Taught Superheroes to Fly: The Matrix laid the template for the gritty, gravity-defying, self-seriously cerebral modern blockbuster"</a>. <i><a href="/wiki/Vulture.com">Vulture.com</a></i>. <a href="/wiki/Vox_Media">Vox Media</a>. Retrieved May 27, 2020.</cite>
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<li><b><a href="#cite_ref-AFIThrills_190-0">^</a></b> <cite><a href="https://web.archive.org/web/20050813100710/http://www.afi.com/Docs/tvevents/pdf/thrills400.pdf">"AFI's 100 Years...100 Thrills"</a> (PDF) (Press release). American Film Institute. June 21, 2001. Archived from <a href="http://www.afi.com/Docs/tvevents/pdf/thrills400.pdf">the original</a> (PDF) on August 13, 2005. Retrieved April 14, 2011.</cite>
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<li><b><a href="#cite_ref-191">^</a></b> <cite><a href="https://www.empireonline.com/500/89.asp">"Empire Features"</a>. <i><a href="/wiki/Empire_(magazine)">Empire Online</a></i>. <a href="/wiki/Bauer_Media_Group">Bauer Consumer Media</a>. Retrieved December 13, 2009.</cite>
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<li><b><a href="#cite_ref-192">^</a></b> <cite>Norton, Lily (February 18, 2022). <a href="https://simpletexting.com/popular-tech-movie-in-every-state/">"Most Popular Tech Movie in Every State"</a>. SimpleTexting. Retrieved May 16, 2022.</cite>
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<li><b><a href="#cite_ref-193">^</a></b> <cite><a href="https://www.theguardian.com/media/2023/jan/01/fans-andrew-tate-king-of-toxic-masculinity-flood-web-arrest">"Andrew Tate arrest: TikTok and Twitter under fire over false posts from fans"</a>. <i>the Guardian</i>. January 1, 2023. Retrieved January 1, 2023.</cite>
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<li><b><a href="#cite_ref-194">^</a></b> <cite>Marche, Stephen (April 14, 2016). <a href="https://www.theguardian.com/technology/2016/apr/14/the-red-pill-reddit-modern-misogyny-manosphere-men">"Swallowing the Red Pill: a journey to the heart of modern misogyny"</a>. <i><a href="/wiki/The_Guardian">The Guardian</a></i>. Retrieved January 1, 2023.</cite>
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<li><b><a href="#cite_ref-195">^</a></b> <cite>Tiffany, Kaitlyn (April 13, 2021). <a href="https://www.theatlantic.com/technology/archive/2021/04/red-pill-meme-alt-right-twitter/618577/">"The Alt-Right Has Lost Control of 'Redpill'"</a>. <i>The Atlantic</i>. Retrieved January 1, 2023.</cite>
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<li><b><a href="#cite_ref-196">^</a></b> <cite>Tiffany, Kaitlyn (April 13, 2021). <a href="https://www.theatlantic.com/technology/archive/2021/04/red-pill-meme-alt-right-twitter/618577/">"The Alt-Right Has Lost Control of 'Redpill'"</a>. <i>The Atlantic</i>. Retrieved January 1, 2023.</cite>
</li>
<li><b><a href="#cite_ref-197">^</a></b> <cite>Ojumu, Akin (May 18, 2003). <a href="https://www.theguardian.com/film/2003/may/18/comment.features">"Observer Profile: Andy and Larry Wachowski"</a>. <i>Guardian.co.uk</i>. <a href="/wiki/Guardian_Media_Group">Guardian Media Group</a>. Retrieved November 28, 2012. <q>The Matrix Reloaded, which opens here on Friday. ... Andy and Larry Wachowski were apparently busy working on the third part of the trilogy, The Matrix Revolutions, which will be released in November. ... With the resources of Warner Bros. at their disposal, the siblings indulged themselves on the next two, which were shot back-to-back in Australia.</q></cite>
</li>
<li><b><a href="#cite_ref-198">^</a></b> <cite>Ebert, Roger (May 14, 2003). <a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20030514/REVIEWS/305140301/1023">"The Matrix Reloaded"</a>. <i><a href="/wiki/Chicago_Sun-Times">Chicago Sun-Times</a></i>. <a href="/wiki/Sun-Times_Media_Group">Sun-Times Media Group</a>. <a href="https://web.archive.org/web/20130205085315/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20030514/REVIEWS/305140301/1023">Archived</a> from the original on February 5, 2013. Retrieved November 29, 2012.</cite>
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<li>^ <a href="#cite_ref-The_Matrix_Reloaded_BBC_Review_199-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-The_Matrix_Reloaded_BBC_Review_199-1"><sup><i><b>b</b></i></sup></a> <cite>Pierce, Nev (May 22, 2003). <a href="https://www.bbc.co.uk/films/2003/05/15/the_matrix_reloaded_2003_review.shtml">"The Matrix Reloaded (2003)"</a>. <i>BBC.co.uk</i>. BBC. <a href="https://web.archive.org/web/20120728003044/http://www.bbc.co.uk/films/2003/05/15/the_matrix_reloaded_2003_review.shtml">Archived</a> from the original on July 28, 2012. Retrieved November 29, 2012.</cite>
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<li><b><a href="#cite_ref-200">^</a></b> <cite>Taub, Eric (June 3, 2003). <a href="https://www.nytimes.com/2003/06/03/business/the-matrix-invented-a-world-of-special-effects.html?pagewanted=all&amp;src=pm">"The 'Matrix' Invented: A World of Special Effects"</a>. <i><a href="/wiki/The_New_York_Times">The New York Times</a></i>. Retrieved December 5, 2012.</cite>
</li>
<li>^ <a href="#cite_ref-The_Animatrix_IGN_Review_201-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-The_Animatrix_IGN_Review_201-1"><sup><i><b>b</b></i></sup></a> <cite>Conrad, Jeremy (May 23, 2003). <a href="https://www.ign.com/articles/2003/05/23/the-animatrix">"The Animatrix"</a>. <i><a href="/wiki/IGN">IGN</a></i>. <a href="/wiki/News_Corporation_(1980%E2%80%932013)">News Corporation</a>. <a href="https://web.archive.org/web/20140529051705/http://www.ign.com/articles/2003/05/23/the-animatrix">Archived</a> from the original on May 29, 2014. Retrieved November 29, 2012.</cite>
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<li><b><a href="#cite_ref-202">^</a></b> <cite>Borys Kit; Kim Masters; Rebecca Ford (March 14, 2017). <a href="https://www.hollywoodreporter.com/heat-vision/matrix-reboot-works-at-warner-bros-986292">"'The Matrix' Reboot in the Works at Warner Bros. (Exclusive)"</a>. <i>The Hollywood Reporter</i>. Retrieved March 15, 2017.</cite>
</li>
<li><b><a href="#cite_ref-203">^</a></b> <cite><a href="https://www.slashfilm.com/the-matrix-4/">"Whoa: 'The Matrix 4' is Happening With Keanu Reeves, Carrie-Anne Moss and Lana Wachowski Returning"</a>. <i>/Film</i>. August 20, 2019. Retrieved August 23, 2019.</cite>
</li>
<li><b><a href="#cite_ref-204">^</a></b> <cite>Yossman, K. J. (September 29, 2022). <a href="https://variety.com/2022/legit/global/danny-boyle-dance-adaptation-the-matrix-1235388106/">"Danny Boyle to Direct Dance Adaptation of 'The Matrix'"</a>. <i>Variety</i>. Retrieved September 30, 2022.</cite>
</li>
</ol></div>
<h2>Bibliography[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=34">edit</a>]</h2>
<ul><li><cite>Babenko, Yelyzaveta (2011). <a href="https://books.google.com/books?id=XPY--YwYmMgC"><i>Analysis of the Film the Matrix</i></a>. GRIN Verlag. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-640-91285-8"><bdi>978-3-640-91285-8</bdi></a>.</cite></li>
<li><cite>Clover, Joshua (2004). <a href="https://archive.org/details/matrix0000clov"><i>The Matrix</i></a>. BFI. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84457-045-4"><bdi>978-1-84457-045-4</bdi></a>.</cite></li>
<li><cite>Condon, Paul (2003). <i>The Matrix Unlocked: An Unauthorized Review of the Matrix Phenomenon</i>. Contender Books. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84357-093-6"><bdi>978-1-84357-093-6</bdi></a>.</cite></li>
<li><cite>Irwin, William (2002). <a href="https://archive.org/details/matrixphilosophy00irwi"><i>The Matrix and Philosophy: Welcome to the Desert of the Real</i></a>. Open Court. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8126-9502-1"><bdi>978-0-8126-9502-1</bdi></a>.</cite></li>
<li><cite>Jones, Steven E. (2006). <i>Against Technology: From the Luddites to Neo-Luddism</i>. Routledge. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-97868-2"><bdi>978-0-415-97868-2</bdi></a>.</cite></li>
<li><cite>Pegg, Simon (2010). <i>Nerd Do Well</i>. Century. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84605-811-0"><bdi>978-1-84605-811-0</bdi></a>.</cite></li>
<li><cite>Toropov, Brandon; Hansen, Chad (2002). <a href="https://books.google.com/books?id=wOazyEaidDYC"><i>The Complete Idiot's Guide to Taoism</i></a>. Penguin. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-02-864262-8"><bdi>978-0-02-864262-8</bdi></a>.</cite></li>
<li><cite>Wachowski, Larry; Wachowski, Andy (2000). <i>The Art of The Matrix</i>. Titan. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84023-173-1"><bdi>978-1-84023-173-1</bdi></a>.</cite></li>
<li><cite>Wood, Aylish (2007). <i>Digital Encounters</i>. Routledge. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-41066-3"><bdi>978-0-415-41066-3</bdi></a>.</cite></li></ul>
<h2>External links[<a href="/w/index.php?title=The_Matrix&amp;action=edit&amp;section=35">edit</a>]</h2>
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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 + 3.1 Development
 + 3.2 Pre-production
 + 3.3 Filming
 + 3.4 Sound effects and music
 + 3.5 Production design
 + 3.6 Visual effects
 * 4 Release
 + 4.1 Home media
 + 4.2 Other media
 * 5 Reception
 + 5.1 Box office
 + 5.2 Critical response
 + 5.3 Accolades
 + 5.4 Awards and nominations
 * 6 Thematic analysis
 + 6.1 Film and television
 + 6.2 Literary works
 + 6.3 Philosophy
 + 6.4 Religion and mythology
 + 6.5 Transgender themes
 * 7 Legacy
 + 7.1 Filmmaking
 + 7.2 Choreographers and actors
 + 7.3 Cultural impact
 + 7.4 Modern reception
 + 7.5 Conspiracy theories and fringe groups
 + 7.6 Sequels and adaptations
 * 8 See also
 * 9 Notes
 * 10 References
 * 11 Bibliography
 * 12 External links
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 The Matrix

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 From Wikipedia, the free encyclopedia
 This article is about the 1999 film. For the franchise it initiated, see The Matrix (franchise). For other uses, see Matrix.

 The Matrix 
 Theatrical release poster
 Directed by The Wachowskis[a] 
 Written by The Wachowskis 
 Produced by Joel Silver 
 * Keanu Reeves 
 * Laurence Fishburne 
 Starring * Carrie-Anne Moss 
 * Hugo Weaving 
 * Joe Pantoliano 
 Cinematography Bill Pope 
 Edited by Zach Staenberg 
 Music by Don Davis 
 * Warner Bros. 
 Production * Village Roadshow Pictures 
 companies * Groucho II Film Partnership 
 * Silver Pictures 
 Distributed by * Warner Bros. (worldwide) 
 * Roadshow Entertainment (Australia) 
 * March 24, 1999 (Mann Village Theater)
 Release dates * March 31, 1999 (United States) 
 * April 8, 1999 (Australia) 
 Running time 136 minutes[1] 
 Countries * United States[2][3][4] 
 * Australia[2][3][4] 
 Language English 
 Budget $63 million[5] 
 Box office $467.2 million[5] 
 

 The Matrix is a 1999 science fiction action film[5][6] written and directed by the Wachowskis.[a] It is the first installment in the Matrix film series, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano, and depicts a dystopian future in which humanity is unknowingly trapped inside the Matrix, a simulated reality that intelligent machines have created to distract humans while using their bodies as an energy source.[7] When computer programmer Thomas Anderson, under the hacker alias "Neo", uncovers the truth, he joins a rebellion against the machines along with other people who have been freed from the Matrix.

 The Matrix is an example of the cyberpunk subgenre of science fiction.[8] The Wachowskis' approach to action scenes was influenced by Japanese animation[9] and martial arts films, and the film's use of fight choreographers and wire fu techniques from Hong Kong action cinema influenced subsequent Hollywood action film productions. The film popularized a visual effect known as "bullet time", in which the heightened perception of certain characters is represented by allowing the action within a shot to progress in slow-motion while the camera appears to move through the scene at normal speed, allowing the sped-up movements of certain characters to be perceived normally.

 The Matrix opened in theaters in the United States on March 31, 1999, to widespread acclaim from critics, who praised its innovative visual effects, action sequences, cinematography and entertainment value,[10][11] and was a massive success at the box office, grossing over $460 million on a $63 million budget, becoming the highest-grossing Warner Bros. film of 1999 and the fourth highest-grossing film of that year. At the 72nd Academy Awards, the film won all four categories it was nominated for, Best Visual Effects, Best Film Editing, Best Sound, and Best Sound Editing. The film was also the recipient of numerous other accolades, including Best Sound and Best Special Visual Effects at the 53rd British Academy Film Awards, and the Wachowskis were awarded Best Director and Best Science Fiction Film at the 26th Saturn Awards. The film is considered to be among the greatest science fiction films of all time,[12][13][14] and in 2012, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, and aesthetically significant."[15]

 The film's success led to two feature film sequels being released in 2003, The Matrix Reloaded and The Matrix Revolutions, which were also written and directed by the Wachowskis. The Matrix franchise was further expanded through the production of comic books, video games and animated short films, with which the Wachowskis were heavily involved. The franchise has also inspired books and theories expanding on some of the religious and philosophical ideas alluded to in the films. A fourth film, titled The Matrix Resurrections, was released on December 22, 2021.

 Plot [ edit ]

 At an abandoned hotel, a police squad corners Trinity, who overpowers them with superhuman abilities. She flees, pursued by the police and a group of suited Agents capable of similar superhuman feats. She answers a ringing public telephone and vanishes.

 Computer programmer Thomas Anderson, known by his hacking alias "Neo", is puzzled by repeated online encounters with the phrase "the Matrix". Trinity contacts him and tells him a man named Morpheus has the answers Neo seeks. A team of Agents and police, led by Agent Smith, arrives at Neo's workplace in search of him. Though Morpheus attempts to guide Neo to safety, Neo surrenders rather than risk a dangerous escape. The Agents offer to erase Neo's criminal record in exchange for his help with locating Morpheus, who they claim is a terrorist. When Neo refuses to cooperate, they fuse his mouth shut, pin him down, and implant a robotic "bug" in his stomach. Neo wakes up from what he believes to be a nightmare. Soon after, Neo is taken by Trinity to meet Morpheus, and she removes the bug from Neo.

 Morpheus offers Neo a choice between two pills: Taking the red pill, which will reveal the truth about the Matrix, or the blue, which will make Neo forget everything and return to his former life. Neo takes the red pill, and his reality begins to distort, awakening in a liquid-filled pod among countless other pods, containing other humans. He is then brought aboard Morpheus's flying ship, the Nebuchadnezzar. As Neo recuperates from a lifetime of physical inactivity in the pod, Morpheus explains the situation: In the early 21st century, a war broke out between humanity and intelligent machines. After humans blocked the machines' access to solar energy, the machines responded by enslaving humankind and harvesting their bioelectric power while keeping their minds pacified in the Matrix, a shared simulated reality modeled on the world as it was in 1999. In the years following, the remaining free humans took refuge in the underground city of Zion.

 Morpheus and his crew are a group of rebels who hack into the Matrix to "unplug" enslaved humans and recruit them; their understanding of the Matrix's simulated nature allows them to bend its physical laws. Morpheus warns Neo that death within the Matrix kills the physical body too and explains that the Agents are sentient programs that eliminate threats to the system, while machines called Sentinels eliminate rebels in the real world. Neo's prowess during virtual training cements Morpheus's belief that Neo is "the One", a human prophesied to free humankind. The group enters the Matrix to visit the Oracle, a prophet-like program who predicted that the One would emerge. She implies to Neo that he is not the One and warns that he will have to choose between Morpheus's life and his own. Before they can leave the Matrix, Agents and police ambush the group, tipped off by Cypher, a disgruntled crew member who has betrayed Morpheus in exchange for a deal to be plugged back into the Matrix to live a comfortable life.

 To buy time for the others, Morpheus fights Smith and is captured. Cypher exits the Matrix and murders the other crew members as they lie unconscious. Before Cypher can kill Neo and Trinity, crew member Tank regains consciousness and kills him before pulling Neo and Trinity from the Matrix. The Agents interrogate Morpheus to learn his access codes to the mainframe computer in Zion, which would allow them to destroy it. Neo resolves to return to the Matrix to rescue Morpheus, as the Oracle prophesied; Trinity insists she accompany him. While rescuing Morpheus, Neo gains confidence in his abilities, performing feats comparable to those of the Agents.

 After Morpheus and Trinity safely exit the Matrix, Smith ambushes and kills Neo. While a group of Sentinels attack the Nebuchadnezzar, Trinity confesses her love for Neo and says the Oracle told her she would fall in love with the One. Neo is revived, with newfound abilities to perceive and control the Matrix; he easily defeats Smith, prompting the other Agents to flee and he leaves the Matrix just as the ship's electromagnetic pulse disables the Sentinels. Back in the Matrix, Neo makes a telephone call, promising the machines that he will show their prisoners "a world where anything is possible." He hangs up and flies away.

 Cast [ edit ]

 See also: List of Matrix series characters
 * Keanu Reeves as Thomas Anderson/Neo: A computer programmer, born Thomas A. Anderson, who secretly operates as a hacker named Neo. Reeves described his character as someone who felt that something was wrong, and was searching for Morpheus and the truth to break free.[16] Will Smith turned down the role of Neo to make Wild Wild West, because of skepticism over the film's ambitious bullet time special effects.[17] He later stated he was "not mature enough as an actor" at that time,[17] and that if given the role, he "would have messed it up".[18][19] Smith praised Reeves for his portrayal.[20] Nicolas Cage also turned down the part because of "family obligations".[21] Warner Bros. sought Brad Pitt or Val Kilmer for the role.[22] When both declined, Leonardo DiCaprio initially accepted the role, but ultimately turned it down because he did not want to do a visual effects film directly after Titanic.[23] The studio pushed for Reeves, who won the role over Johnny Depp, the Wachowskis' first choice.[22] Lorenzo di Bonaventura stated that the screenplay was also sent to Sandra Bullock, with the suggestion of rewriting Neo as a female.[23]
 * Laurence Fishburne as Morpheus: A human freed from the Matrix and captain of the Nebuchadnezzar. Fishburne stated that once he read the script, he did not understand why other people found it confusing. However, he doubted if the movie would ever be made, because it was "so smart".[16] The Wachowskis instructed Fishburne to base his performance on the character Morpheus in Neil Gaiman's Sandman comics.[24] Gary Oldman, Samuel L. Jackson and Val Kilmer were also considered for the part.[22]
 * Carrie-Anne Moss as Trinity: A human freed by Morpheus, a crewmember of the Nebuchadnezzar, and later Neo's romantic interest. After reading the script, Moss stated that at first, she did not believe she had to do the extreme acrobatic actions as described in the script. She also doubted how the Wachowskis would get to direct a movie with a budget so large, but after spending an hour with them going through the storyboard, she understood why some people would trust them.[16] Moss mentioned that she underwent a three-hour physical test during casting, so she knew what to expect subsequently.[25] The role made Moss, who later said, "I had no career before. None."[26] Janet Jackson was initially approached for the role but scheduling conflicts prevented her from accepting it.[27][28] In an interview, she stated that turning down the role was difficult for her, so she later referenced The Matrix in the 'Intro' and 'Outro' interludes on her tenth studio album Discipline.[29] Sandra Bullock, who was previously approached for the role of Neo, was also offered the role of Trinity, but she turned it down.[30] Salma Hayek and Jada Pinkett Smith (who would later play Niobe in the sequels) both auditioned for the role.[31][32]
 * Hugo Weaving as Agent Smith: A sentient "Agent" program of the Matrix whose purpose is to destroy Zion and stop humans from getting out of the Matrix. Unlike other Agents, he has ambitions to free himself from his duties. Weaving stated that he found the character amusing and enjoyable to play. He developed a neutral accent but with more specific character for the role. He wanted Smith to sound neither robotic nor human, and also said that the Wachowskis' voices had influenced his voice in the film. When filming began, Weaving mentioned that he was excited to be a part of something that would extend him.[33] Jean Reno was offered the role, but declined, unwilling to move to Australia for the production.[34]
 * Joe Pantoliano as Cypher: Another human freed by Morpheus, and a crewmember of the Nebuchadnezzar, but one who regrets taking the red pill and seeks to be returned to the Matrix, later betraying the rebels to Agent Smith. Pantoliano had worked with the Wachowskis prior to appearing in The Matrix, starring in their 1996 film Bound.
 * Marcus Chong as Tank: The "operator" of the Nebuchadnezzar and Dozer's brother; they are both "natural" (as opposed to bred) humans, born outside of the Matrix.
 * Anthony Ray Parker as Dozer: Pilot of the Nebuchadnezzar. He is Tank's brother, and like him was born outside of the Matrix.
 * Julian Arahanga as Apoc: A freed human and a crew member on the Nebuchadnezzar.
 * Matt Doran as Mouse: A freed human and a programmer on the Nebuchadnezzar.
 * Gloria Foster as The Oracle: A prophet who still resides in the Matrix, helping the freed humans with her foresight and wisdom.
 * Belinda McClory as Switch: A human freed by Morpheus, and a crew member of the Nebuchadnezzar.
 * Paul Goddard as Agent Brown: One of two sentient "Agent" programs in the Matrix, who works with Agent Smith to destroy Zion and stop humans from escaping the system.
 * Robert Taylor as Agent Jones: One of two sentient "Agent" programs in the Matrix who works with Agent Smith to destroy Zion and stop humans from escaping the system.
 * Ada Nicodemou as DuJour: A reference to the White Rabbit in Alice's Adventures in Wonderland.

 Production [ edit ]

 Development [ edit ]

 In 1994, the Wachowskis presented the script for the film Assassins to Warner Bros. Pictures. After Lorenzo di Bonaventura, the president of production of the company at the time, read the script, he decided to buy rights to it and included two more pictures, Bound and The Matrix, in the contract. The first movie the Wachowskis directed, Bound, then became a critical success. Using this momentum, they later asked to direct The Matrix.[35]

 In 1996, the Wachowskis pitched the role of Neo to Will Smith. Smith explained on his YouTube channel that the idea was for him to be Neo, while Morpheus was to be played by Val Kilmer. He later explained that he did not quite understand the concept and he turned down the role to instead film Wild Wild West.[36]

 Producer Joel Silver soon joined the project. Although the project had key supporters, including Silver and Di Bonaventura, to influence the company, The Matrix was still a huge investment for Warner Bros., which had to invest $60 million to create a movie with philosophical themes and difficult special effects.[35] The Wachowskis therefore hired underground comic book artists Geof Darrow and Steve Skroce to draw a 600-page, shot-by-shot storyboard for the entire film.[37][38] The storyboard eventually earned the studio's approval, and it was decided to film in Australia to make the most of the budget.[35] Soon, The Matrix became a co-production of Warner Bros. and Village Roadshow Pictures.[39] According to editor Zach Staenberg on the DVD audio commentary track, the production team sent an edit of the film's first minutes (featuring Trinity's encounter with police and Agents) to Warner executives, and secured Warner's "total support of the movie" from then on.[40]

 Pre-production [ edit ]

 The cast were required to be able to understand and explain The Matrix.[35] French philosopher Jean Baudrillard's Simulacra and Simulation was required reading for most of the principal cast and crew.[41] In early 1997, the Wachowskis had Reeves read Simulacra and Simulation, Kevin Kelly's Out of Control: The New Biology of Machines, Social Systems, and the Economic World, and Dylan Evans's ideas on evolutionary psychology even before they opened up the script,[16] and eventually he was able to explain all the philosophical nuances involved.[35] Moss commented that she had difficulty with this process.[16]

 The directors had long been admirers of Hong Kong action cinema, so they decided to hire the Chinese martial arts choreographer and film director Yuen Woo-ping to work on fight scenes. To prepare for the wire fu, the actors had to train hard for several months.[35] The Wachowskis first scheduled four months for training, beginning in October 1997.[42] Yuen was optimistic but then began to worry when he realized how unfit the actors were.[25]

 Yuen let their body style develop and then worked with each actor's strength. He built on Reeves's diligence, Fishburne's resilience, Weaving's precision, and Moss's feminine grace.[25] Yuen designed Moss's moves to suit her deftness and lightness.[43] Prior to the pre-production, Reeves underwent a two-level fusion of his cervical (neck) spine due to spinal cord compression from a herniated disc ("I was falling over in the shower in the morning").[44] He was still recovering by the time of pre-production, but he insisted on training, so Yuen let him practice punches and lighter moves. Reeves trained hard and even requested training on days off. However, the surgery still made him unable to kick for two out of four months of training. As a result, Reeves did not kick much in the film.[25] Weaving had to undergo hip surgery after he sustained an injury during the training process.[35]

 Filming [ edit ]

 All but a few scenes were filmed at Fox Studios in Sydney, as well as in the city itself, although recognizable landmarks were not included in order to maintain the impression of a generic American city. The filming helped establish New South Wales as a major film production center.[45][46] Filming began in March 1998 and wrapped in August 1998; principal photography took 118 days.[47]

 Due to Reeves's neck injury (see above), some of the action scenes had to be rescheduled to wait for his full recovery. As a result, the filming began with scenes that did not require much physical exertion,[48][49] such as the scene in Thomas Anderson's office, the interrogation room,[33] or the car ride in which Neo is taken to see the Oracle.[50] Locations for these scenes included Martin Place's fountain in Sydney, half-way between it and the adjacent Colonial Building, and the Colonial Building itself.[51] During the scene set on a government building rooftop, the team filmed extra footage of Neo dodging bullets in case the bullet time process did not work. The bullet-time fight scene was filmed on the roof of Symantec Corporation building in Kent Street, opposite Sussex Street.[52]

 Moss performed the shots featuring Trinity at the beginning of the film and all the wire stunts herself.[43] The rooftop set that Trinity uses to escape from Agent Brown early in the film was left over from the production of Dark City, which has prompted comments due to the thematic similarities of the films.[53] During the rehearsal of the lobby scene, in which Trinity runs on a wall, Moss injured her leg and was ultimately unable to film the shot in one take. She stated that she was under a lot of pressure at the time and was devastated when she realized that she would be unable to do it.[54]

 The dojo set was built well before the actual filming. During the filming of these action sequences, there was significant physical contact between the actors, earning them bruises. Reeves's injury and his insufficient training with wires prior to filming meant he was unable to perform the triple kicks satisfactorily and became frustrated with himself, causing the scene to be postponed. The scene was shot successfully a few days later, with Reeves using only three takes. Yuen altered the choreography and made the actors pull their punches in the last sequence of the scene, creating a training feel.[55]

 The filmmakers originally planned to shoot the subway scene in an actual subway station, but the complexity of the fight and related wire work required shooting the scene on a set. The set was built around an existing train storage facility, which had real train tracks. Filming the scene when Neo slammed Smith into the ceiling, Chad Stahelski, Reeves's stunt double, sustained several injuries, including broken ribs, knees, and a dislocated shoulder. Another stuntman was injured by a hydraulic puller during a shot in which Neo was slammed into a booth.[56] The office building in which Smith interrogated Morpheus was a large set, and the outside view from inside the building was a large, three story high cyclorama. The helicopter was a full-scale light-weight mock-up suspended by a wire rope operated a tilting mechanism mounted to the studio roofbeams. The helicopter had a real minigun side-mounted to it, which was set to cycle at half its regular (3,000 rounds per min) firing rate.[57]

 To prepare for the scene in which Neo wakes up in a pod, Reeves lost 15 pounds and shaved his whole body to give Neo an emaciated look. The scene in which Neo fell into the sewer system concluded the principal photography.[47] According to The Art of the Matrix, at least one filmed scene and a variety of short pieces of action were omitted from the final cut of the film.[58]

 Sound effects and music [ edit ]

 See also: The Matrix: Original Motion Picture Score and The Matrix: Music from the Motion Picture

 Dane A. Davis was responsible for creating the sound effects for the film. The fight scene sound effects, such as the whipping sounds of punches, were created using thin metal rods and recording them, then editing the sounds. The sound of the pod containing a human body closing required almost fifty sounds put together.[59]

 The film's score was composed by Don Davis.[60][61] He noted that mirrors appear frequently in the film: reflections of the blue and red pills are seen in Morpheus's glasses; Neo's capture by Agents is viewed through the rear-view mirror of Trinity's motorcycle; Neo observes a broken mirror mending itself; reflections warp as a spoon is bent; the reflection of a helicopter is visible as it approaches a skyscraper. Davis focused on this theme of reflections when creating his score, alternating between sections of the orchestra and attempting to incorporate contrapuntal ideas. Davis' score combines orchestral, choral and synthesizer elements; the balance between these elements varies depending on whether humans or machines are the dominant subject of a given scene.[62] In addition to Davis' score, The Matrix soundtrack also features music from acts such as Rammstein, Rob Dougan, Rage Against the Machine, Propellerheads, Ministry, Lunatic Calm, Deftones, Monster Magnet, The Prodigy, Rob Zombie, Meat Beat Manifesto, and Marilyn Manson.[63][64][65]

 Production design [ edit ]

 See also: Matrix digital rain

 In the film, the code that composes the Matrix itself is frequently represented as downward-flowing green characters.[66] This code uses a custom typeface designed by Simon Whiteley,[39] which includes mirror images of half-width kana characters and Western Latin letters and Arabic numerals.[67] In a 2017 interview at CNET, he attributed the design to his wife, who is from Japan, and added, "I like to tell everybody that The Matrix's code is made out of Japanese sushi recipes".[68] "The color green reflects the green tint commonly used on early monochrome computer monitors".[69] Lynne Cartwright, the Visual Effects Supervisor at Animal Logic, supervised the creation of the film's opening title sequence, as well as the general look of the Matrix code throughout the film, in collaboration with Lindsay Fleay and Justen Marshall.[39] The portrayal resembles the opening credits of the 1995 Japanese cyberpunk film, Ghost in the Shell, which had a strong influence on the Matrix series. It was also used in the subsequent films, on the related website, and in the game The Matrix: Path of Neo, and its drop-down effect is reflected in the design of some posters for the Matrix series. The code received the Runner-up Award in the 1999 Jesse Garson Award for In-film typography or opening credit sequence.[39]

 The Matrix ' s production designer, Owen Paterson, used methods to distinguish the "real world" and the Matrix in a pervasive way. The production design team generally placed a bias towards the Matrix code's distinctive green color in scenes set within the simulation, whereas there is an emphasis on the color blue during scenes set in the "real world". In addition, the Matrix scenes' sets were slightly more decayed, monolithic, and grid-like, to convey the cold, logical and artificial nature of that environment. For the "real world", the actors' hair was less styled, their clothing had more textile content, and the cinematographers used longer lenses to soften the backgrounds and emphasize the actors.[67]

 The Nebuchadnezzar was designed to have a patched-up look, instead of clean, cold and sterile space ship interior sets as used on productions such as Star Trek. The wires were made visible to show the ship's working internals, and each composition was carefully designed to convey the ship as "a marriage between Man and Machine".[70] For the scene when Neo wakes up in the pod connected to the Matrix, the pod was constructed to look dirty, used, and sinister. During the testing of a breathing mechanism in the pod, the tester suffered hypothermia in under eight minutes, so the pod had to be heated.[47]

 Kym Barrett, costume designer, said that she defined the characters and their environment by their costume.[71] For example, Reeves's office costume was designed for Thomas Anderson to look uncomfortable, disheveled, and out of place.[48] Barrett sometimes used three types of fabric for each costume, and also had to consider the practicality of the acting. The actors needed to perform martial art actions in their costume, hang upside-down without people seeing up their clothing, and be able to work the wires while strapped into the harnesses.[71] For Trinity, Barrett experimented with how each fabric absorbed and reflected different types of light, and was eventually able to make Trinity's costume mercury-like and oil-slick to suit the character.[43] For the Agents, their costume was designed to create a secret service, undercover look, resembling the film JFK and classic men in black.[33]

 The sunglasses, a staple of the film's aesthetics, were commissioned for the film by designer Richard Walker from sunglasses maker Blinde Design.[72]

 Visual effects [ edit ]

 The "bullet time" effect was created for the film. A scene would be computer-modeled to decide the positioning of the physical cameras. The actor then provided their performance in a chroma key setup, while the cameras were fired in rapid succession, with fractions of a second delay between each shot. The result was combined with CGI backgrounds to create the final effect at (0:33).

 As for artistic inspiration for bullet time, I would credit Otomo Katsuhiro, who co-wrote and directed Akira, which definitely blew me away, along with director Michel Gondry. His music videos experimented with a different type of technique called view-morphing and it was just part of the beginning of uncovering the creative approaches toward using still cameras for special effects. Our technique was significantly different because we built it to move around objects that were themselves in motion, and we were also able to create slow-motion events that 'virtual cameras' could move around – rather than the static action in Gondry's music videos with limited camera moves.

 — John Gaeta[73]

 The film is known for popularizing a visual effect[74] known as "bullet time", which allows a shot to progress in slow-motion while the camera appears to move through the scene at normal speed.[75] Bullet time has been described as "a visual analogy for privileged moments of consciousness within the Matrix",[76] and throughout the film, the effect is used to illustrate characters' exertion of control over time and space.[77] The Wachowskis first imagined an action sequence that slowed time while the camera pivoted rapidly around the subjects, and proposed the effect in their screenplay for the film. When John Gaeta read the script, he pleaded with an effects producer at Mass.Illusion to let him work on the project, and created a prototype that led to him becoming the film's visual effects supervisor.[78]

 The method used for creating these effects involved a technically expanded version of an old art photography technique known as time-slice photography, in which an array of cameras are placed around an object and triggered simultaneously. Each camera captures a still picture, contributing one frame to the video sequence, which creates the effect of "virtual camera movement"; the illusion of a viewpoint moving around an object that appears frozen in time.[75]

 The bullet time effect is similar but slightly more complicated, incorporating temporal motion so that rather than appearing totally frozen, the scene progresses in slow and variable motion.[73][78] The cameras' positions and exposures were previsualized using a 3D simulation. Instead of firing the cameras simultaneously, the visual effect team fired the cameras fractions of a second after each other, so that each camera could capture the action as it progressed, creating a super slow-motion effect.[75] When the frames were put together, the resulting slow-motion effects reached a frame frequency of 12,000 per second, as opposed to the normal 24 frames per second of film.[35] Standard movie cameras were placed at the ends of the array to pick up the normal speed action before and after. Because the cameras circle the subject almost completely in most of the sequences, computer technology was used to edit out the cameras that appeared in the background on the other side.[75] To create backgrounds, Gaeta hired George Borshukov, who created 3D models based on the geometry of buildings and used the photographs of the buildings themselves as texture.

 The photo-realistic surroundings generated by this method were incorporated into the bullet time scene,[78] and algorithms based on optical flow were used to interpolate between the still images to produce a fluent dynamic motion;[79][80] the computer-generated "lead in" and "lead out" slides were filled in between frames in sequence to get an illusion of orbiting the scene.[81] Manex Visual Effects used a cluster farm running the Unix-like operating system FreeBSD to render many of the film's visual effects.[82][83]

 Manex also handled creature effects, such as Sentinels and machines in real world scenes; Animal Logic created the code hallway and the exploding Agent at the end of the film. DFilm managed scenes that required heavy use of digital compositing, such as Neo's jump off a skyscraper and the helicopter crash into a building. The ripple effect in the latter scene was created digitally, but the shot also included practical elements, and months of extensive research were needed to find the correct kind of glass and explosives to use. The scene was shot by colliding a quarter-scale helicopter mock-up into a glass wall wired to concentric rings of explosives; the explosives were then triggered in sequence from the center outward, to create a wave of exploding glass.[84]

 The photogrammetric and image-based computer-generated background approaches in The Matrix ' s bullet time evolved into innovations unveiled in the sequels The Matrix Reloaded and The Matrix Revolutions. The method of using real photographs of buildings as texture for 3D models eventually led the visual effect team to digitize all data, such as scenes, characters' motions and expressions. It also led to the development of "Universal Capture", a process which samples and stores facial details and expressions at high resolution. With these highly detailed collected data, the team were able to create virtual cinematography in which characters, locations, and events can all be created digitally and viewed through virtual cameras, eliminating the restrictions of real cameras.[78]

 Release [ edit ]

 Home media [ edit ]

 The Matrix was released on DVD and Laserdisc in its original aspect ratio of 2.35:1 on September 21, 1999, in the US from Warner Home Video as well as in a cropped 1.33:1 aspect ratio in Hong Kong from ERA Home Entertainment. It was also released on VHS in both fullscreen and widescreen formats followed on December 7 , 1999.[5] After its DVD release, it was the first DVD to sell more than one million copies in the US.[85] By 2000, the film went on to become the first to sell more than three million copies in the US.[35] At that point, it became the top-selling DVD release of all time, holding this record for a few months before being surpassed by Gladiator.[86] By November 10 , 2003, one month after The Matrix Reloaded DVD was released, the sales of The Matrix DVD had exceeded 30 million copies.[87] It then debuted on both VHS and DVD formats in the UK on November 29 , 1999. The Matrix sold more than 107,000 DVD copies in just two weeks, breaking Armageddon ' s record for becoming the country's best-selling DVD title.[88] The Ultimate Matrix Collection was released on HD DVD on May 22 , 2007[85] and on Blu-ray on October 14 , 2008.[89][90] The film was also released standalone in a 10th anniversary edition Blu-ray in the Digibook format on March 31 , 2009, 10 years to the day after the film was released theatrically.[91] In 2010, the film had another DVD release along with the two sequels as The Complete Matrix Trilogy. It was also released on 4K HDR Blu-ray on May 22, 2018.[92] The film as part of The Matrix Trilogy was released on 4K Ultra HD Blu-ray on October 30, 2018.[93]

 Other media [ edit ]

 The franchise also contains three video games: Enter the Matrix (2003), which contains footage shot specifically for the game and chronicles events taking place before and during The Matrix Reloaded;[94] The Matrix Online (2004), an MMORPG which continued the story beyond The Matrix Revolutions;[95][96] and The Matrix: Path of Neo (2005), which focuses on Neo's journey through the trilogy of films.[97]

 The franchise also includes The Matrix Comics, a series of comics and short stories set in the world of The Matrix, written and illustrated by figures from the comics industry. Most of the comics were originally presented for free on the official Matrix website;[98] they were later republished, along with some new material, in two printed trade paperback volumes, called The Matrix Comics, Vol 1 and Vol 2.[99]

 Reception [ edit ]

 Box office [ edit ]

 The Matrix grossed $27.8 million during its opening weekend, as well as earning $34.7 million in its first five days. It surpassed Lost in Space and Indecent Proposal for having the biggest April and Easter opening weekends. The film also had the second-highest opening weekend for a spring starter film, trailing only behind Liar Liar.[100] Three years later in 2002, The Matrix ' s records for having the largest April and Easter opening weekends would be taken by The Scorpion King and Panic Room.[101][102] Upon its opening, it had the highest opening weekend of any 1999 film, easily topping Payback.[100] Additionally, this was the biggest opening weekend for a Keanu Reeves film since Speed in 1994.[103] It was also ranked number one at the box office ahead of Forces of Nature.[100] The film would remain at the top of the box office for two weeks until it was overtaken by Life. During its fourth weekend, The Matrix briefly returned to the number one spot.[104] The following week, the film would be displaced by Entrapment.[105]

 In its original run, the film earned $171,479,930 (37.0%) in the United States and Canada and $292,037,453 (63.0%) in other countries, for a worldwide total of $463,517,383.[5] In North America, it went on to become the fifth highest-grossing film of 1999 and the highest-grossing R-rated film of that year. Worldwide, it was the fourth highest-grossing film of the year, after Star Wars: Episode I – The Phantom Menace, The Sixth Sense and Toy Story 2.[5] The Matrix became the second-highest-grossing Warner Bros. film of all time, behind Twister.[106] Overall, it was the third-highest-grossing R-rated film at the time, just after Saving Private Ryan and Terminator 2: Judgment Day.[106] Following re-releases, the worldwide gross of the film is $466,621,824.[5] In 2012, it was placed 122nd on the list of highest-grossing films of all time, and the second highest-grossing film in the Matrix franchise after The Matrix Reloaded ($742.1 million).[5]

 Critical response [ edit ]

 The Matrix was praised by many critics, as well as filmmakers, and authors of science fiction,[11] especially for its "spectacular action" scenes and its "groundbreaking special effects". Some have described The Matrix as one of the best science fiction films of all time;[12][13] Entertainment Weekly called The Matrix "the most influential action movie of the generation".[26] There have also been those, including philosopher William Irwin, who have suggested that the film explores significant philosophical and spiritual themes. On review aggregator Rotten Tomatoes, the film holds an approval rating of 88% based on 161 reviews, with an average score of 7.8/10. The site's critical consensus reads, "Thanks to the Wachowskis' imaginative vision, The Matrix is a smartly crafted combination of spectacular action and groundbreaking special effects".[10] At Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the film received a score of 73 based on 35 reviews, indicating "generally favorable reviews."[11] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[107] It ranked 323rd among critics, and 546th among directors, in the 2012 Sight & Sound polls of the greatest films ever made.[108]

 Philip Strick commented in Sight & Sound, if the Wachowskis "claim no originality of message, they are startling innovators of method," praising the film's details and its "broadside of astonishing images".[109] Roger Ebert gave the film three stars out of four: he praised the film's visuals and premise, but disliked the third act's focus on action.[110] Similarly, Time Out praised the "entertainingly ingenious" switches between different realities, Hugo Weaving's "engagingly odd" performance, and the film's cinematography and production design, but concluded, "the promising premise is steadily wasted as the film turns into a fairly routine action pic ... yet another slice of overlong, high concept hokum."[111]

 Jonathan Rosenbaum of the Chicago Reader reviewed the film negatively, criticizing it as "simpleminded fun for roughly the first hour, until the movie becomes overwhelmed by its many sources ... There's not much humor to keep it all life-size, and by the final stretch it's become bloated, mechanical, and tiresome."[112]

 Ian Nathan of Empire described Carrie-Anne Moss as "a major find", praised the "surreal visual highs" enabled by the bullet time (or "flo-mo") effect, and described the film as "technically mind-blowing, style merged perfectly with content and just so damn cool". Nathan remarked that although the film's "looney plot" would not stand up to scrutiny, that was not a big flaw because "The Matrix is about pure experience".[113] Maitland McDonagh said in her review for TV Guide, the Wachowskis' "through-the-looking-glass plot... manages to work surprisingly well on a number of levels: as a dystopian sci-fi thriller, as a brilliant excuse for the film's lavish and hyperkinetic fight scenes, and as a pretty compelling call to the dead-above-the-eyeballs masses to unite and cast off their chains... This dazzling pop allegory is steeped in a dark, pulpy sensibility that transcends nostalgic pastiche and stands firmly on its own merits."[114]

 Salon ' s reviewer Andrew O'Hehir acknowledged that although The Matrix is in his view a fundamentally immature and unoriginal film ("It lacks anything like adult emotion... all this pseudo-spiritual hokum, along with the over-ramped onslaught of special effects—some of them quite amazing—will hold 14-year-old boys in rapture, not to mention those of us of all ages and genders who still harbor a 14-year-old boy somewhere inside"), he concluded, "as in Bound, there's an appealing scope and daring to the Wachowskis' work, and their eagerness for more plot twists and more crazy images becomes increasingly infectious. In a limited and profoundly geeky sense, this might be an important and generous film. The Wachowskis have little feeling for character or human interaction, but their passion for movies—for making them, watching them, inhabiting their world—is pure and deep."[115]

 Filmmakers and science fiction creators alike generally took a complimentary perspective of The Matrix. William Gibson, a key figure in cyberpunk fiction, called the film "an innocent delight I hadn't felt in a long time," and stated, "Neo is my favourite-ever science fiction hero, absolutely."[116] Joss Whedon called the film "my number one" and praised its storytelling, structure and depth, concluding, "It works on whatever level you want to bring to it."[117] Darren Aronofsky commented, "I walked out of The Matrix ... and I was thinking, 'What kind of science fiction movie can people make now?' The Wachowskis basically took all the great sci-fi ideas of the 20th century and rolled them into a delicious pop culture sandwich that everyone on the planet devoured."[118] M. Night Shyamalan expressed admiration for the Wachowskis, stating, "Whatever you think of The Matrix, every shot is there because of the passion they have! You can see they argued it out!".[119] Simon Pegg said that The Matrix provided "the excitement and satisfaction that The Phantom Menace failed to inspire. The Matrix seemed fresh and cool and visually breathtaking; making wonderful, intelligent use of CGI to augment the on-screen action, striking a perfect balance of the real and the hyperreal. It was possibly the coolest film I had ever seen."[120] Quentin Tarantino counted The Matrix as one of his twenty favorite movies from 1992 to 2009.[121] James Cameron called it "one of the most profoundly fresh science fiction films ever made".[122] Christopher Nolan described it as "an incredibly palpable mainstream phenomenon that made people think, Hey, what if this isn't real?"[123]

 Accolades [ edit ]

 Main article: List of accolades received by the Matrix franchise

 The Matrix received Academy Awards for Best Film Editing, Best Sound Editing, Best Visual Effects and Best Sound.[124] The filmmakers were competing against other films with established franchises, like Star Wars: Episode I – The Phantom Menace, yet they won all four of their nominations.[125][126] The Matrix also received BAFTA awards for Best Sound and Best Achievement in Special Visual Effects, in addition to nominations in the cinematography, production design and editing categories.[127] In 1999, it won Saturn Awards for Best Science Fiction Film and Best Direction.[128] In February 2022, the film was named one of the five finalists for Oscars Cheer Moment as part of the Academy of Motion Picture Arts and Sciences' "Oscars Fan Favorite" contest, for the "bullet time" scene, finishing in fifth place.[129][130]

 Awards and nominations [ edit ]

 Award Category Name Outcome 
 Academy Awards Best Film Editing Zach Staenberg Won 
 Best Sound John Reitz, Gregg Rudloff, David Campbell, David Lee Won 
 Best Sound Effects Editing Dane A. Davis Won 
 Best Visual Effects John Gaeta, Janek Sirrs, Steve Courtley, Jon Thum Won 
 British Academy Film Awards Best Cinematography Bill Pope Nominated
 Best Editing Zach Staenberg Nominated 
 Best Production Design Owen Paterson Nominated 
 Best Sound David Lee, John Reitz, Gregg Rudloff, David Campbell, Dane A. Davis Won 
 Best Special Visual Effects John Gaeta, Steve Courtley, Janek Sirrs, Jon Thum Won 
 Saturn Awards Best Science Fiction Film — Won 
 Best Director The Wachowskis[a] Won 
 Best Writer Nominated 
 Best Actor Keanu Reeves Nominated 
 Best Actress Carrie-Anne Moss Nominated 
 Best Supporting Actor Laurence Fishburne Nominated 
 Best Costumes Kym Barrett Nominated 
 Best Make-Up Nikki Gooley, Bob McCarron, Wendy Sainsbury Nominated 
 Best Special Effects John Gaeta, Janek Sirrs, Steve Courtley, Jon Thum Nominated 
 

 Thematic analysis [ edit ]

 The Matrix is arguably the ultimate cyberpunk artifact.

 —William Gibson[8]

 See also: The Matrix (franchise) § Influences and interpretations, and The Wachowskis § Personal lives

 The Matrix draws from and alludes to numerous cinematic and literary works, and concepts from mythology, religion and philosophy, including the ideas of Buddhism, Christianity, Gnosticism, Hinduism, and Judaism.[131]

 Film and television [ edit ]

 The pods in which the machines keep humans have been compared to images in Metropolis, and the work of M. C. Escher.[132] A resemblance to the eery worlds of Swiss artist H.R. Giger was also recognized.[133][134] The pods can be seen in Welcome to Paradox Episode 4 "News from D Street" from a 1986 short story[135] of the same name by Andrew Weiner which aired on September 7, 1998, on the SYFY Channel and has a remarkably similar concept. In this episode the hero is unaware he is living in virtual reality until he is told so by "the code man" who created the simulation and enters it knowingly. The Wachowskis have described Stanley Kubrick's 2001: A Space Odyssey as a formative cinematic influence, and as a major inspiration on the visual style they aimed for when making The Matrix.[136][137][138] Rainer Werner Fassbinders German TV Miniseries World on a Wire from 1973, an adaption of the novel Simulacron-3, served as inspirational source for some details of The Matrix, such as the transfer between the real world and the Matrix-simulation via telephone / phonebooth.[ citation needed ] Reviewers have also commented on similarities between The Matrix and other late-1990s films such as Strange Days, Dark City, and The Truman Show.[110][139][140][141][142] The similarity of the film's central concept to a device in the long-running series Doctor Who has also been noted. As in the film, the Matrix of that series (introduced in the 1976 serial The Deadly Assassin) is a massive computer system which one enters using a device connecting to the head, allowing users to see representations of the real world and change its laws of physics; but if killed there, they will die in reality.[143] The action scenes of The Matrix were also strongly influenced by live-action films such as those of director John Woo.[144] The martial arts sequences were inspired by Fist of Legend, a critically acclaimed 1995 martial arts film starring Jet Li. The fight scenes in Fist of Legend led to the hiring of Yuen as fight choreographer.[145][146]

 The Wachowskis' approach to action scenes drew upon their admiration for Japanese animation such as Ninja Scroll and Akira.[9] Director Mamoru Oshii's 1995 animated film Ghost in the Shell was a particularly strong influence;[9] producer Joel Silver has stated that the Wachowskis first described their intentions for The Matrix by showing him that anime and saying, "We wanna do that for real".[147][148] Mitsuhisa Ishikawa of Production I.G, which produced Ghost in the Shell, noted that the anime's high-quality visuals were a strong source of inspiration for the Wachowskis. He also commented, "... cyberpunk films are very difficult to describe to a third person. I'd imagine that The Matrix is the kind of film that was very difficult to draw up a written proposal for to take to film studios". He stated that since Ghost in the Shell had gained recognition in America, the Wachowskis used it as a "promotional tool".[149]

 Literary works [ edit ]

 The film makes several references to Lewis Carroll's Alice's Adventures in Wonderland.[115] Comparisons have also been made to Grant Morrison's comic series The Invisibles, with Morrison describing it in 2011 as "(it) seemed to me (to be) my own combination of ideas enacted on the screen".[150] Comparisons have also been made between The Matrix and the books of Carlos Castaneda.[151]

 The Matrix belongs to the cyberpunk genre of science fiction, and draws from earlier works in the genre such as the 1984 novel Neuromancer by William Gibson.[8] For example, the film's use of the term "Matrix" is adopted from Gibson's novel,[152] though L. P. Davies had already used the term "Matrix" fifteen years earlier for a similar concept in his 1969 novel The White Room ("It had been tried in the States some years earlier, but their 'matrix' as they called it hadn't been strong enough to hold the fictional character in place").[153] After watching The Matrix, Gibson commented that the way that the film's creators had drawn from existing cyberpunk works was "exactly the kind of creative cultural osmosis" he had relied upon in his own writing;[8] however, he noted that the film's Gnostic themes distinguished it from Neuromancer, and believed that The Matrix was thematically closer to the work of science fiction author Philip K. Dick, particularly Dick's speculative Exegesis.[8] Other writers have also commented on the similarities between The Matrix and Dick's work;[144][154][155] one example of such influence is a Philip K. Dick's 1977 conference, in which he stated: "We are living in a computer-programmed reality, and the only clue we have to it is when some variable is changed, and some alteration in our reality occurs".[156][157][158][159]

 Philosophy [ edit ]

 In The Matrix, a copy of Jean Baudrillard's philosophical work Simulacra and Simulation, which was published in French in 1981, is visible on-screen as "the book used to conceal disks",[7][41] and Morpheus quotes the phrase "desert of the real" from it.[160] "The book was required reading"[7] for the actors prior to filming.[41][161] However, Baudrillard himself said that The Matrix misunderstands and distorts his work.[160][162] Some interpreters of The Matrix mention Baudrillard's philosophy to support their claim "that the [film] is an allegory for contemporary experience in a heavily commercialized, media-driven society, especially in developed countries".[7] "The influence of [Baudrillard] was brought to the public's attention through the writings of art historians such as Griselda Pollock and film theorists such as Heinz-Peter Schwerfel".[7] In addition to Baudrillard, the Wachowskis were also significantly influenced by Kevin Kelly's Out of Control: The New Biology of Machines, Social Systems, and the Economic World, and Dylan Evans’s ideas on evolutionary psychology.[16]

 Philosopher William Irwin suggests that the idea of the "Matrix" – a generated reality invented by malicious machines – is an allusion to Descartes' "First Meditation", and his idea of an evil demon. The Meditation hypothesizes that the perceived world might be a comprehensive illusion created to deceive us.[163] The same premise can be found in Hilary Putnam's brain in a vat scenario proposed in the 1980s.[163] A connection between the premise of The Matrix and Plato's Allegory of the Cave has also been suggested. The allegory is related to Plato's theory of Forms, which holds that the true essence of an object is not what we perceive with our senses, but rather its quality, and that most people perceive only the shadow of the object and are thus limited to false perception.[35]

 The philosophy of Immanuel Kant has also been claimed as another influence on the film, and in particular how individuals within the Matrix interact with one another and with the system. Kant states in his Critique of Pure Reason that people come to know and explore our world through synthetic means (language, etc.), and thus this makes it rather difficult to discern truth from falsely perceived views. This means people are their own agents of deceit, and so in order for them to know truth, they must choose to openly pursue truth. This idea can be examined in Agent Smith's monologue about the first version of the Matrix, which was designed as a human utopia, a perfect world without suffering and with total happiness. Agent Smith explains that, "it was a disaster. No one accepted the program. Entire crops [of people] were lost." The machines had to amend their choice of programming in order to make people subservient to them, and so they conceived the Matrix in the image of the world in 1999. The world in 1999 was far from a utopia, but still humans accepted this over the suffering-less utopia. According to William Irwin this is Kantian, because the machines wished to impose a perfect world on humans in an attempt to keep people content, so that they would remain completely submissive to the machines, both consciously and subconsciously, but humans were not easy to make content.[164]

 Religion and mythology [ edit ]

 Andrew Godoski sees allusions to Christ, including Neo's "virgin birth", his doubt in himself, the prophecy of his coming, along with many other Christian references.[35] Amongst these possible allusions, it is suggested that the name of the character Trinity refers to Christianity's doctrine of the Trinity.[165] It has also been noted that the character Morpheus paraphrases the Chinese taoist philosopher Zhuangzi when he asks Neo, "Have you ever had a dream, Neo, that you were so sure was real? What if you were unable to wake from that dream? How would you know the difference from the real world and the dream world?"[166]

 Matrixism is a fan-based possibly satirical religion created as "the matrix religion".

 Transgender themes [ edit ]

 Years after the release of The Matrix, both the Wachowskis came out as transgender women, and some viewers have seen transgender themes in the film before it was officially confirmed.[167] The red pill has been compared with red estrogen pills.[168] Morpheus's description of the Matrix creating a sense that something is fundamentally wrong, "like a splinter in your mind", has been compared to gender dysphoria.[168] In the original script, Switch was a woman in the Matrix and a man in the real world, but this idea was ultimately dropped.[169]

 In a 2016 GLAAD Media Awards speech, Lilly Wachowski said: "There’s a critical eye being cast back on Lana and I's (sic) work through the lens of our transness. This is a cool thing because it's an excellent reminder that art is never static."[170] She spoke in 2020 about the film as an allegory for transgender identity, and compromises they had to make at the time.[171] In an interview with Variety, Reeves said he did not know the film was an allegory for transgender identity during production.[172]

 Legacy [ edit ]

 Filmmaking [ edit ]

 Following The Matrix, films made abundant use of slow-motion, spinning cameras, and, often, the bullet time effect of a character freezing or slowing down and the camera dollying around them.[74] The ability to slow down time enough to distinguish the motion of bullets was used as a central gameplay mechanic of several video games, including Max Payne, in which the feature was explicitly referred to as "bullet time".[173][174] It was also the defining game mechanic of the game Superhot and its sequels. The Matrix ' s signature special effect, and other aspects of the film, have been parodied numerous times,[26] in comedy films such as Deuce Bigalow: Male Gigolo (1999),[175] Scary Movie (2000),[176] Shrek (2001),[173] Kung Pow! Enter the Fist (2002),[177] Lastikman (2003); Marx Reloaded in which the relationship between Neo and Morpheus is represented as an imaginary encounter between Karl Marx and Leon Trotsky;[178] and in video games such as Conker's Bad Fur Day.[179] It also inspired films featuring a black-clad hero, a sexy yet deadly heroine, and bullets ripping slowly through the air;[26] these included Charlie's Angels (2000) featuring Cameron Diaz floating through the air while the cameras flo-mo around her; Equilibrium (2002), starring Christian Bale, whose character wore long black leather coats like Reeves' Neo;[173] Night Watch (2004), a Russian megahit heavily influenced by The Matrix and directed by Timur Bekmambetov, who later made Wanted (2008), which also features bullets ripping through air; and Inception (2010), which centers on a team of sharply dressed rogues who are able to enter other people's dreams by "wiring in". The original Tron (1982) paved the way for The Matrix, and The Matrix, in turn, inspired Disney to make its own Matrix with a Tron sequel, Tron: Legacy (2010).[180] Also, the film's lobby shootout sequence was recreated in the 2002 Indian action comedy Awara Paagal Deewana.[181]

 Choreographers and actors [ edit ]

 The Matrix had a strong effect on action filmmaking in Hollywood. The film's incorporation of wire fu techniques, including the involvement of fight choreographer Yuen Woo-ping and other personnel with a background in Hong Kong action cinema, affected the approaches to fight scenes taken by subsequent Hollywood action films,[182] moving them towards more Eastern approaches.[35] The success of The Matrix created high demand for those choreographers and their techniques from other filmmakers, who wanted fights of similar sophistication: for example, wire work was employed in X-Men (2000)[182] and Charlie's Angels (2000),[180] and Yuen Woo-ping's brother Yuen Cheung-yan was choreographer on Daredevil (2003).[183] The Matrix ' s Asian approach to action scenes also created an audience for Asian action films such as Crouching Tiger, Hidden Dragon (2000) that they might not otherwise have had.[173]

 Chad Stahelski, who had been a stunt double on The Matrix prior to directing Reeves in the John Wick series, acknowledged the film's strong influence on the Wick films,[184] and commented, "The Matrix literally changed the industry. The influx of martial-arts choreographers and fight coordinators now make more, and are more prevalent and powerful in the industry, than stunt coordinators. The Matrix revolutionized that. Today, action movies want their big sequences designed around the fights."[185]

 Carrie-Anne Moss asserted that prior to being cast in The Matrix, she had "no career". It launched Moss into international recognition and transformed her career; in a New York Daily News interview, she stated, "The Matrix gave me so many opportunities. Everything I've done since then has been because of that experience. It gave me so much".[186] The film also created one of the most devoted movie fan-followings since Star Wars.[26] The combined success of the Matrix trilogy, the Lord of the Rings films and the Star Wars prequels made Hollywood interested in creating trilogies.[35] Stephen Dowling from the BBC noted that The Matrix ' s success in taking complex philosophical ideas and presenting them in ways palatable for impressionable minds might be its most influential aspect.[173]

 Cultural impact [ edit ]

 The Matrix was also influential for its impact on superhero films. John Kenneth Muir in The Encyclopedia of Superheroes on Film and Television called the film a "revolutionary" reimagination of movie visuals, paving the way for the visuals of later superhero films, and credits it with helping to "make comic-book superheroes hip" and effectively demonstrating the concept of "faster than a speeding bullet" with its bullet time effect.[187] Adam Sternbergh of Vulture.com credits The Matrix with reinventing and setting the template for modern superhero blockbusters, and inspiring the superhero renaissance in the early 21st century.[188]

 Modern reception [ edit ]

 In 2001, The Matrix placed 66th in the American Film Institute's "100 Years...100 Thrills" list.[189] In 2007, Entertainment Weekly called The Matrix the best science-fiction piece of media for the past 25 years.[14] In 2009, the film was ranked 39th on Empire ' s reader-, actor- and critic-voted list of "The 500 Greatest Movies of All Time".[190] The Matrix was voted as the fourth best science fiction film in the 2011 list Best in Film: The Greatest Movies of Our Time, based on a poll conducted by ABC and People. In 2012, the film was selected for preservation in the National Film Registry by the Library of Congress for being "culturally, historically, and aesthetically significant."[15] In 2022, The Matrix was determined the most popular tech-themed movie in the United States using search volume data.[191]

 Conspiracy theories and fringe groups [ edit ]

 Main article: Red pill and blue pill

 The premise of The Matrix has been repurposed for multiple conspiracy theories and alt-right fringe groups. For example, some online men's rights groups use the term "redpill" to mean men realizing that they are supposedly being subjugated by feminism.[192][193] The term has been used in discussion forums for right-wing topics such as Gamergate, white supremacy, incel subculture and Qanon.[194] As of 2021, the verb "pill" and adjective "pilled" had entered more mainstream use and had come to mean developing a sudden interest in something.[195]

 Sequels and adaptations [ edit ]

 Main article: The Matrix (franchise)

 The film's mainstream success led to the making of two sequels, The Matrix Reloaded and The Matrix Revolutions, both directed by the Wachowskis. These were filmed back-to-back in one shoot and released on separate dates in 2003.[196] The first film's introductory tale is succeeded by the story of the impending attack on the human enclave of Zion by a vast machine army.[197][198] The sequels also incorporate longer and more ambitious action scenes, as well as improvements in bullet time and other visual effects.[198][199]

 Also released was The Animatrix, a collection of nine animated short films, many of which were created in the same Japanese animation style[200] that was a strong influence on the live action trilogy. The Animatrix was overseen and approved by the Wachowskis, who only wrote four of the segments themselves but did not direct any of them; much of the project was developed by notable figures from the world of anime.[200]

 In March 2017, Warner Bros. was in early stages of developing a relaunch of the franchise with Zak Penn in talks to write a treatment and interest in getting Michael B. Jordan attached to star. According to The Hollywood Reporter neither the Wachowskis nor Joel Silver were involved with the endeavor, although the studio would like to get at minimum the blessing of the Wachowskis.[201] On August 20, 2019, Warner Bros. Pictures Group chairman Toby Emmerich officially announced that a fourth Matrix film was in the works, with Keanu Reeves and Carrie-Anne Moss set to reprise their roles as Neo and Trinity respectively.[202] The Matrix Resurrections was released on December 22, 2021, in theaters and on HBO Max.

 In September 2022, Danny Boyle was announced to be directing a dance adaptation of the film, titled "Free Your Mind", and it is set to debut in October 2023 in Manchester, U.K.[203]

 See also [ edit ]

 * Metaverse
 * Virtual world
 * Virtual reality
 * Simulated reality
 * Simulated reality in fiction
 * Cyberspace
 * Henosis
 * Know thyself
 * Thought experiment
 * Tron, 1982 film
 * Existenz, 1999 film
 * Computer Boy, 2000 parody
 * The Meatrix, 2003 parody
 * Code Lyoko, 2003 French animated series
 * Infinity Train, 2019 American animated series

 Notes [ edit ]

 1. ^ a b c Credited as The Wachowski Brothers .

 References [ edit ]

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 5. ^ a b c d e f g h "The Matrix (1999)". Box Office Mojo. Amazon . Retrieved December 19, 2021 .
 6. ^ "The Matrix laid the template for the gritty, gravity-defying, self-seriously cerebral modern blockbuster". Vulture.com. February 4, 2019.
 7. ^ a b c d e Allen, Jamie (November 28, 2012). "The Matrix and Postmodernism". Prezi.com.
 8. ^ a b c d e Gibson, William (January 28, 2003). "The Matrix: Fair Cop". williamgibsonbooks.com. Archived from the original on May 30, 2012 . Retrieved August 13, 2012 .
 9. ^ a b c "Matrix Virtual Theatre". Warnervideo.com. Warner Bros. Pictures. November 6, 1999. Interview with the Wachowski Brothers. Archived from the original on October 6, 2012 . Retrieved November 29, 2012 . "We liked Ghost in the Shell and the Ninja Scroll and Akira in anime. One thing that they do that we tried to bring to our film was a juxtaposition of time and space in action beats."
 10. ^ a b "The Matrix (1999)". Rotten Tomatoes. Fandango . Retrieved July 5, 2019 .
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 12. ^ a b Heritage, Stuart (October 21, 2010). "The Matrix: No 13 best sci-fi and fantasy film of all time". Guardian.co.uk. London: Guardian Media Group.
 13. ^ a b "Top 25 Sci-Fi Movies of All Time". IGN . Retrieved January 29, 2012 .
 14. ^ a b Jensen, Jeff (May 7, 2007). "The Sci-Fi 25: The Genre's Best Since '82". Entertainment Weekly. Archived from the original on May 8, 2007 . Retrieved May 7, 2007 .
 15. ^ a b King, Susan (December 19, 2012). "National Film Registry selects 25 films for preservation". Los Angeles Times . Retrieved December 21, 2012 .
 16. ^ a b c d e f Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Screenplay". The Matrix Revisited (DVD). United States: Warner Bros. Pictures.{{cite AV media}} : CS1 maint: multiple names: authors list ( link )
 17. ^ a b Lawrence, Will (February 2007). "The Empire Interview: In conversation with Will Smith". Empire. No. 212. Emap. p. 109. "Honestly, I didn't think they could do it, it was too ambitious. I saw "Bound" and I loved it. "The Matrix" is exactly what they pitched, but they were designing those cameras to get those freeze-frames, and I was like, "If that doesn't work, the movie looks ridiculous." I didn't feel comfortable with the level of importance placed on that effect working properly. ... That's probably the only one that I turned down that I shouldn't have, but when you see somebody do it like Keanu you think, "Thank God." I don't think I was mature enough as an actor at that point to get out of the way and just let it be and allow the directors to make the movie. I would have been trying to make jokes. Now I would have loved to take a shot and see what I would have done with it and I know now I could absolutely have been mature enough to get out the way. But back then I don't think I was."
 18. ^ Hillner, Jennifer (July 2004). "I, Robocop". Wired.
 19. ^ Riggs, Ransom (October 20, 2008). "5 million-dollar mistakes by movie stars". CNN . Retrieved January 4, 2013 .
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 21. ^ Carroll, Larry (December 7, 2007). "Will Smith Snagged 'I Am Legend' From Schwarzenegger, But Can You Imagine Nicolas Cage In 'The Matrix'?". MTV . Retrieved December 8, 2007 .
 22. ^ a b c Redpill (July 2000). "Don Davis – Composer". whatisthematrix.warnerbros.com. Archived from the original on April 22, 2004 . Retrieved September 9, 2021 . "As far as casting goes, Keanu Reeves wasn't Larry and Andy's first choice, Johnny Depp was their first choice for Neo. Warner Bros. was going for this thing where they didn't want Johnny Depp, they wanted Brad Pitt or Val Kilmer. They told Larry and Andy if Brad Pitt would do the picture, they'd green light it right then. After Kilmer and Brad Pitt said no, Warner Bros. was willing to consider Johnny Depp, so it sort of came down to between Johnny Depp and Keanu Reeves, who Warner Bros. was pushing. Keanu was always really tuned in to the concept and that made a big difference for Larry and Andy. I think it was a brilliant choice. Gary Oldman was considered as Morpheus at one point, and Samuel Jackson as well. For Trinity, I think they were generally looking at lesser known names for that character."
 23. ^ a b Williams, Trey (March 26, 2019). "'The Matrix' Wanted Sandra Bullock as Neo Before Keanu Reeves Took the Role". TheWrap . Retrieved September 9, 2021 . "We went to Sandy Bullock and said 'We'll change Neo to a girl.' [Producer] Joel Silver and I worked with Sandy on 'Demolition Man' and she was and continues to be a very good friend of mine. It was pretty simple. We sent her the script to see if she was interested in it. And if she was interested in it we would try to make the change."..."The first movie star who says yes is Brad Pitt, he's doing 'Seven Years in Tibet' and then he's coming out of it and he's like 'I'm way too exhausted to take this on,' so he's gone," di Bonaventura said. "Then we go to Leonardo [DiCaprio]. He says yes, we have meetings with him and then he goes, 'You know, I can't go do another visual effects movie having just finished 'Titanic,' and he drops out. Then Will Smith joins it and he drops out."
 24. ^ Gaiman, Neil (June 10, 2003). "Neil Gaiman's Journal: You must be this tall to ride this website..." neilgaiman.com . Retrieved December 30, 2012 .
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 26. ^ a b c d e Fierman, Daniel (May 12, 2003). "EW hacks into The Matrix Reloaded". Entertainment Weekly. Time Warner. Archived from the original on June 2, 2013 . Retrieved December 22, 2012 . The Matrix" is the most influential action movie of its generation. ... since the movie's release in March 1999, every 360-degree sweep of a camera, every black-clad hero, every sexy yet deadly heroine, every bullet rippling slowly through the air, is a rip-off that can be traced back to writer-directors Andy and Larry Wachowski. ... They triggered countless pale imitations and dull-witted parodies."
 27. ^ Wonderland Magazine, February 2010, page 148
 28. ^ "Janet Jackson: 'I was in Matrix talks'". Digital Spy. February 2, 2010 . Retrieved September 20, 2013 .
 29. ^ "The Janet Jackson Interview – The Daily Voice". February 28, 2008. Archived from the original on May 16, 2008 . Retrieved September 20, 2013 .
 30. ^ "America asks, Sandra Bullock answers".
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 33. ^ a b c Oreck, Josh (Director); Wachowski, Larry; Matthies, Eric (Producers) (November 20, 2001). "Interrogation Room". The Matrix Revisited (DVD). United States: Warner Bros. Pictures.{{cite AV media}} : CS1 maint: multiple names: authors list ( link )
 34. ^ WENN (May 12, 2006). "Reno Said No To The Matrix". Contactmusic.com . Retrieved August 15, 2013 .
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 36. ^ Why I Turned Down The Matrix | STORYTIME , retrieved September 29, 2021
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 40. ^ The Matrix DVD Audio Commentary featuring actress Carrie Ann Moss, film editor Zach Staenberg, and visual effects supervisor John Gaeta. At time 3:30–5:11
 41. ^ a b c Rothstein, Edward (May 24, 2003). "Philosophers Draw on a Film Drawing on Philosophers". The New York Times . Retrieved December 5, 2012 .
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 Bibliography [ edit ]

 * Babenko, Yelyzaveta (2011). Analysis of the Film the Matrix. GRIN Verlag. ISBN 978-3-640-91285-8.
 * Clover, Joshua (2004). The Matrix. BFI. ISBN 978-1-84457-045-4.
 * Condon, Paul (2003). The Matrix Unlocked: An Unauthorized Review of the Matrix Phenomenon. Contender Books. ISBN 978-1-84357-093-6.
 * Irwin, William (2002). The Matrix and Philosophy: Welcome to the Desert of the Real. Open Court. ISBN 978-0-8126-9502-1.
 * Jones, Steven E. (2006). Against Technology: From the Luddites to Neo-Luddism. Routledge. ISBN 978-0-415-97868-2.
 * Pegg, Simon (2010). Nerd Do Well. Century. ISBN 978-1-84605-811-0.
 * Toropov, Brandon; Hansen, Chad (2002). The Complete Idiot's Guide to Taoism. Penguin. ISBN 978-0-02-864262-8.
 * Wachowski, Larry; Wachowski, Andy (2000). The Art of The Matrix. Titan. ISBN 978-1-84023-173-1.
 * Wood, Aylish (2007). Digital Encounters. Routledge. ISBN 978-0-415-41066-3.

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 * 
This article is about the 1999 film. For the franchise it initiated, see  The Matrix (franchise). For other uses, see Matrix.
   The Matrix      Theatrical release poster    Directed by  The Wachowskis  [a]     Written by The Wachowskis   Produced by  Joel Silver    Starring  
  Keanu Reeves 
 Laurence Fishburne 
 Carrie-Anne Moss 
 Hugo Weaving 
 Joe Pantoliano  
    Cinematography  Bill Pope    Edited by  Zach Staenberg    Music by  Don Davis     Productioncompanies   
  Warner Bros. 
 Village Roadshow Pictures 
Groucho II Film Partnership
 Silver Pictures  
    Distributed by  
 Warner Bros. (worldwide)
 Roadshow Entertainment (Australia) 
     Release dates   
 March 24, 1999 (Mann Village Theater)
March 31, 1999 (United States)
April 8, 1999 (Australia) 
     Running time  136 minutes [1]     Countries    United States [2]   [3]   [4]   Australia [2]   [3]   [4]        Language English   Budget $63 million [5]     Box office $467.2 million [5]     
  The Matrix  is a 1999 science fiction action film  [5]   [6]  written and directed by the Wachowskis. [a]  It is the first installment in the  Matrix film series, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano, and depicts a dystopian future in which humanity is unknowingly trapped inside the Matrix, a simulated reality that intelligent machines have created to distract humans while using their bodies as an energy source. [7]  When computer programmer Thomas Anderson, under the hacker alias "Neo", uncovers the truth, he joins a rebellion against the machines along with other people who have been freed from the Matrix.
  The Matrix is an example of the cyberpunk subgenre of science fiction. [8]  The Wachowskis' approach to action scenes was influenced by Japanese animation  [9]  and martial arts films, and the film's use of fight choreographers and wire fu techniques from Hong Kong action cinema influenced subsequent Hollywood action film productions. The film popularized a visual effect known as "bullet time", in which the heightened perception of certain characters is represented by allowing the action within a shot to progress in slow-motion while the camera appears to move through the scene at normal speed, allowing the sped-up movements of certain characters to be perceived normally.
  The Matrix opened in theaters in the United States on March 31, 1999, to widespread acclaim from critics, who praised its innovative visual effects, action sequences, cinematography and entertainment value, [10]   [11]  and was a massive success at the box office, grossing over $460 million on a $63 million budget, becoming the highest-grossing Warner Bros. film of 1999 and the fourth highest-grossing film of that year. At the 72nd Academy Awards, the film won all four categories it was nominated for, Best Visual Effects, Best Film Editing, Best Sound, and Best Sound Editing. The film was also the recipient of numerous other accolades, including Best Sound and Best Special Visual Effects at the 53rd British Academy Film Awards, and the Wachowskis were awarded Best Director and Best Science Fiction Film at the 26th Saturn Awards. The film is considered to be among the greatest science fiction films of all time, [12]   [13]   [14]  and in 2012, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, and aesthetically significant." [15] 
 The film's success led to two feature film sequels being released in 2003,  The Matrix Reloaded  and  The Matrix Revolutions , which were also written and directed by the Wachowskis. The Matrix franchise was further expanded through the production of comic books, video games and animated short films, with which the Wachowskis were heavily involved. The franchise has also inspired books and theories expanding on some of the religious and philosophical ideas alluded to in the films. A fourth film, titled  The Matrix Resurrections , was released on December 22, 2021.
Plot[edit]
At an abandoned hotel, a police squad corners Trinity, who overpowers them with superhuman abilities. She flees, pursued by the police and a group of suited Agents capable of similar superhuman feats. She answers a ringing public telephone and vanishes.
  Computer programmer Thomas Anderson, known by his hacking alias "Neo", is puzzled by repeated online encounters with the phrase "the Matrix". Trinity contacts him and tells him a man named Morpheus has the answers Neo seeks. A team of Agents and police, led by Agent Smith, arrives at Neo's workplace in search of him. Though Morpheus attempts to guide Neo to safety, Neo surrenders rather than risk a dangerous escape. The Agents offer to erase Neo's criminal record in exchange for his help with locating Morpheus, who they claim is a terrorist. When Neo refuses to cooperate, they fuse his mouth shut, pin him down, and implant a robotic "bug" in his stomach. Neo wakes up from what he believes to be a nightmare. Soon after, Neo is taken by Trinity to meet Morpheus, and she removes the bug from Neo.
 Morpheus offers Neo a choice between two pills: Taking the red pill, which will reveal the truth about the Matrix, or the blue, which will make Neo forget everything and return to his former life. Neo takes the red pill, and his reality begins to distort, awakening in a liquid-filled pod among countless other pods, containing other humans. He is then brought aboard Morpheus's flying ship, the  Nebuchadnezzar . As Neo recuperates from a lifetime of physical inactivity in the pod, Morpheus explains the situation: In the early 21st century, a war broke out between humanity and intelligent machines. After humans blocked the machines' access to solar energy, the machines responded by enslaving humankind and harvesting their bioelectric power while keeping their minds pacified in the Matrix, a shared simulated reality modeled on the world as it was in 1999. In the years following, the remaining free humans took refuge in the underground city of Zion.
 Morpheus and his crew are a group of rebels who hack into the Matrix to "unplug" enslaved humans and recruit them; their understanding of the Matrix's simulated nature allows them to bend its physical laws. Morpheus warns Neo that death within the Matrix kills the physical body too and explains that the Agents are sentient programs that eliminate threats to the system, while machines called Sentinels eliminate rebels in the real world. Neo's prowess during virtual training cements Morpheus's belief that Neo is "the One", a human prophesied to free humankind. The group enters the Matrix to visit the Oracle, a prophet-like program who predicted that the One would emerge. She implies to Neo that he is not the One and warns that he will have to choose between Morpheus's life and his own. Before they can leave the Matrix, Agents and police ambush the group, tipped off by Cypher, a disgruntled crew member who has betrayed Morpheus in exchange for a deal to be plugged back into the Matrix to live a comfortable life.
 To buy time for the others, Morpheus fights Smith and is captured. Cypher exits the Matrix and murders the other crew members as they lie unconscious. Before Cypher can kill Neo and Trinity, crew member Tank regains consciousness and kills him before pulling Neo and Trinity from the Matrix. The Agents interrogate Morpheus to learn his access codes to the mainframe computer in Zion, which would allow them to destroy it. Neo resolves to return to the Matrix to rescue Morpheus, as the Oracle prophesied; Trinity insists she accompany him. While rescuing Morpheus, Neo gains confidence in his abilities, performing feats comparable to those of the Agents.
 After Morpheus and Trinity safely exit the Matrix, Smith ambushes and kills Neo. While a group of Sentinels attack the Nebuchadnezzar, Trinity confesses her love for Neo and says the Oracle told her she would fall in love with the One. Neo is revived, with newfound abilities to perceive and control the Matrix; he easily defeats Smith, prompting the other Agents to flee and he leaves the Matrix just as the ship's electromagnetic pulse disables the Sentinels. Back in the Matrix, Neo makes a telephone call, promising the machines that he will show their prisoners "a world where anything is possible." He hangs up and flies away.
Cast[edit]
  Keanu Reeves as Thomas Anderson/Neo: A computer programmer, born Thomas A. Anderson, who secretly operates as a hacker named Neo. Reeves described his character as someone who felt that something was wrong, and was searching for Morpheus and the truth to break free. [16]  Will Smith turned down the role of Neo to make  Wild Wild West , because of skepticism over the film's ambitious bullet time special effects. [17]  He later stated he was "not mature enough as an actor" at that time, [17]  and that if given the role, he "would have messed it up". [18]   [19]  Smith praised Reeves for his portrayal. [20]  Nicolas Cage also turned down the part because of "family obligations". [21]  Warner Bros. sought Brad Pitt or Val Kilmer for the role. [22]  When both declined, Leonardo DiCaprio initially accepted the role, but ultimately turned it down because he did not want to do a visual effects film directly after  Titanic . [23]  The studio pushed for Reeves, who won the role over Johnny Depp, the Wachowskis' first choice. [22]  Lorenzo di Bonaventura stated that the screenplay was also sent to Sandra Bullock, with the suggestion of rewriting Neo as a female. [23]  
 Laurence Fishburne as Morpheus: A human freed from the Matrix and captain of the Nebuchadnezzar. Fishburne stated that once he read the script, he did not understand why other people found it confusing. However, he doubted if the movie would ever be made, because it was "so smart". [16]  The Wachowskis instructed Fishburne to base his performance on the character Morpheus in Neil Gaiman's  Sandman  comics. [24]  Gary Oldman, Samuel L. Jackson and Val Kilmer were also considered for the part. [22]  
 Carrie-Anne Moss as Trinity: A human freed by Morpheus, a crewmember of the Nebuchadnezzar, and later Neo's romantic interest. After reading the script, Moss stated that at first, she did not believe she had to do the extreme acrobatic actions as described in the script. She also doubted how the Wachowskis would get to direct a movie with a budget so large, but after spending an hour with them going through the storyboard, she understood why some people would trust them. [16]  Moss mentioned that she underwent a three-hour physical test during casting, so she knew what to expect subsequently. [25]  The role made Moss, who later said, "I had no career before. None." [26]  Janet Jackson was initially approached for the role but scheduling conflicts prevented her from accepting it. [27]   [28]  In an interview, she stated that turning down the role was difficult for her, so she later referenced The Matrix in the 'Intro' and 'Outro' interludes on her tenth studio album  Discipline . [29]  Sandra Bullock, who was previously approached for the role of Neo, was also offered the role of Trinity, but she turned it down. [30]  Salma Hayek and Jada Pinkett Smith (who would later play Niobe in the sequels) both auditioned for the role. [31]   [32]  
 Hugo Weaving as Agent Smith: A sentient "Agent" program of the Matrix whose purpose is to destroy Zion and stop humans from getting out of the Matrix. Unlike other Agents, he has ambitions to free himself from his duties. Weaving stated that he found the character amusing and enjoyable to play. He developed a neutral accent but with more specific character for the role. He wanted Smith to sound neither robotic nor human, and also said that the Wachowskis' voices had influenced his voice in the film. When filming began, Weaving mentioned that he was excited to be a part of something that would extend him. [33]  Jean Reno was offered the role, but declined, unwilling to move to Australia for the production. [34]  
 Joe Pantoliano as Cypher: Another human freed by Morpheus, and a crewmember of the Nebuchadnezzar, but one who regrets taking the red pill and seeks to be returned to the Matrix, later betraying the rebels to Agent Smith. Pantoliano had worked with the Wachowskis prior to appearing in The Matrix, starring in their 1996 film  Bound .
 Marcus Chong as Tank: The "operator" of the Nebuchadnezzar and Dozer's brother; they are both "natural" (as opposed to bred) humans, born outside of the Matrix.
 Anthony Ray Parker as Dozer: Pilot of the Nebuchadnezzar. He is Tank's brother, and like him was born outside of the Matrix.
 Julian Arahanga as Apoc: A freed human and a crew member on the Nebuchadnezzar.
 Matt Doran as Mouse: A freed human and a programmer on the Nebuchadnezzar.
 Gloria Foster as The Oracle: A prophet who still resides in the Matrix, helping the freed humans with her foresight and wisdom.
 Belinda McClory as Switch: A human freed by Morpheus, and a crew member of the Nebuchadnezzar.
 Paul Goddard as Agent Brown: One of two sentient "Agent" programs in the Matrix, who works with Agent Smith to destroy Zion and stop humans from escaping the system.
 Robert Taylor as Agent Jones: One of two sentient "Agent" programs in the Matrix who works with Agent Smith to destroy Zion and stop humans from escaping the system.
 Ada Nicodemou as DuJour: A reference to the White Rabbit in  Alice's Adventures in Wonderland . 
Production[edit]
Development[edit]
In 1994, the Wachowskis presented the script for the film  Assassins  to Warner Bros. Pictures. After Lorenzo di Bonaventura, the president of production of the company at the time, read the script, he decided to buy rights to it and included two more pictures,  Bound  and The Matrix, in the contract. The first movie the Wachowskis directed, Bound, then became a critical success. Using this momentum, they later asked to direct The Matrix. [35] 
 In 1996, the Wachowskis pitched the role of Neo to Will Smith. Smith explained on his YouTube channel that the idea was for him to be Neo, while Morpheus was to be played by Val Kilmer. He later explained that he did not quite understand the concept and he turned down the role to instead film  Wild Wild West . [36] 
 Producer Joel Silver soon joined the project. Although the project had key supporters, including Silver and Di Bonaventura, to influence the company, The Matrix was still a huge investment for Warner Bros., which had to invest $60 million to create a movie with philosophical themes and difficult special effects. [35]  The Wachowskis therefore hired underground comic book artists Geof Darrow and Steve Skroce to draw a 600-page, shot-by-shot storyboard for the entire film. [37]   [38]  The storyboard eventually earned the studio's approval, and it was decided to film in Australia to make the most of the budget. [35]  Soon, The Matrix became a co-production of Warner Bros. and Village Roadshow Pictures. [39]  According to editor Zach Staenberg on the DVD audio commentary track, the production team sent an edit of the film's first minutes (featuring Trinity's encounter with police and Agents) to Warner executives, and secured Warner's "total support of the movie" from then on. [40] 
Pre-production[edit]
The cast were required to be able to understand and explain The Matrix. [35]  French philosopher Jean Baudrillard's  Simulacra and Simulation  was required reading for most of the principal cast and crew. [41]  In early 1997, the Wachowskis had Reeves read Simulacra and Simulation, Kevin Kelly's  Out of Control: The New Biology of Machines, Social Systems, and the Economic World , and Dylan Evans's ideas on evolutionary psychology even before they opened up the script, [16]  and eventually he was able to explain all the philosophical nuances involved. [35]  Moss commented that she had difficulty with this process. [16] 
 The directors had long been admirers of Hong Kong action cinema, so they decided to hire the Chinese martial arts choreographer and film director Yuen Woo-ping to work on fight scenes. To prepare for the wire fu, the actors had to train hard for several months. [35]  The Wachowskis first scheduled four months for training, beginning in October 1997. [42]  Yuen was optimistic but then began to worry when he realized how unfit the actors were. [25] 
 Yuen let their body style develop and then worked with each actor's strength. He built on Reeves's diligence, Fishburne's resilience, Weaving's precision, and Moss's feminine grace. [25]  Yuen designed Moss's moves to suit her deftness and lightness. [43]  Prior to the pre-production, Reeves underwent a two-level fusion of his cervical (neck) spine due to spinal cord compression from a herniated disc ("I was falling over in the shower in the morning"). [44]  He was still recovering by the time of pre-production, but he insisted on training, so Yuen let him practice punches and lighter moves. Reeves trained hard and even requested training on days off. However, the surgery still made him unable to kick for two out of four months of training. As a result, Reeves did not kick much in the film. [25]  Weaving had to undergo hip surgery after he sustained an injury during the training process. [35] 
Filming[edit]
All but a few scenes were filmed at Fox Studios in Sydney, as well as in the city itself, although recognizable landmarks were not included in order to maintain the impression of a generic American city. The filming helped establish New South Wales as a major film production center. [45]   [46]  Filming began in March 1998 and wrapped in August 1998; principal photography took 118 days. [47] 
 Due to Reeves's neck injury (see above), some of the action scenes had to be rescheduled to wait for his full recovery. As a result, the filming began with scenes that did not require much physical exertion, [48]   [49]  such as the scene in Thomas Anderson's office, the interrogation room, [33]  or the car ride in which Neo is taken to see the Oracle. [50]  Locations for these scenes included Martin Place's fountain in Sydney, half-way between it and the adjacent Colonial Building, and the Colonial Building itself. [51]  During the scene set on a government building rooftop, the team filmed extra footage of Neo dodging bullets in case the bullet time process did not work. The bullet-time fight scene was filmed on the roof of Symantec Corporation building in Kent Street, opposite Sussex Street. [52] 
 Moss performed the shots featuring Trinity at the beginning of the film and all the wire stunts herself. [43]  The rooftop set that Trinity uses to escape from Agent Brown early in the film was left over from the production of  Dark City , which has prompted comments due to the thematic similarities of the films. [53]  During the rehearsal of the lobby scene, in which Trinity runs on a wall, Moss injured her leg and was ultimately unable to film the shot in one take. She stated that she was under a lot of pressure at the time and was devastated when she realized that she would be unable to do it. [54] 
 The dojo set was built well before the actual filming. During the filming of these action sequences, there was significant physical contact between the actors, earning them bruises. Reeves's injury and his insufficient training with wires prior to filming meant he was unable to perform the triple kicks satisfactorily and became frustrated with himself, causing the scene to be postponed. The scene was shot successfully a few days later, with Reeves using only three takes. Yuen altered the choreography and made the actors pull their punches in the last sequence of the scene, creating a training feel. [55] 
 The filmmakers originally planned to shoot the subway scene in an actual subway station, but the complexity of the fight and related wire work required shooting the scene on a set. The set was built around an existing train storage facility, which had real train tracks. Filming the scene when Neo slammed Smith into the ceiling, Chad Stahelski, Reeves's stunt double, sustained several injuries, including broken ribs, knees, and a dislocated shoulder. Another stuntman was injured by a hydraulic puller during a shot in which Neo was slammed into a booth. [56]  The office building in which Smith interrogated Morpheus was a large set, and the outside view from inside the building was a large, three story high cyclorama. The helicopter was a full-scale light-weight mock-up suspended by a wire rope operated a tilting mechanism mounted to the studio roofbeams. The helicopter had a real minigun side-mounted to it, which was set to cycle at half its regular (3,000 rounds per min) firing rate. [57] 
 To prepare for the scene in which Neo wakes up in a pod, Reeves lost 15 pounds and shaved his whole body to give Neo an emaciated look. The scene in which Neo fell into the sewer system concluded the principal photography. [47]  According to The Art of the Matrix, at least one filmed scene and a variety of short pieces of action were omitted from the final cut of the film. [58] 
Sound effects and music[edit]
 Dane A. Davis was responsible for creating the sound effects for the film. The fight scene sound effects, such as the whipping sounds of punches, were created using thin metal rods and recording them, then editing the sounds. The sound of the pod containing a human body closing required almost fifty sounds put together. [59] 
 The film's score was composed by Don Davis. [60]   [61]  He noted that mirrors appear frequently in the film: reflections of the blue and red pills are seen in Morpheus's glasses; Neo's capture by Agents is viewed through the rear-view mirror of Trinity's motorcycle; Neo observes a broken mirror mending itself; reflections warp as a spoon is bent; the reflection of a helicopter is visible as it approaches a skyscraper. Davis focused on this theme of reflections when creating his score, alternating between sections of the orchestra and attempting to incorporate contrapuntal ideas. Davis' score combines orchestral, choral and synthesizer elements; the balance between these elements varies depending on whether humans or machines are the dominant subject of a given scene. [62] 
In addition to Davis' score, The Matrix soundtrack also features music from acts such as Rammstein, Rob Dougan, Rage Against the Machine, Propellerheads, Ministry, Lunatic Calm, Deftones, Monster Magnet, The Prodigy, Rob Zombie, Meat Beat Manifesto, and Marilyn Manson. [63]   [64]   [65] 
Production design[edit]
In the film, the code that composes the Matrix itself is frequently represented as downward-flowing green characters. [66]  This code uses a custom typeface designed by Simon Whiteley, [39]  which includes mirror images of half-width kana characters and Western Latin letters and Arabic numerals. [67]  In a 2017 interview at CNET, he attributed the design to his wife, who is from Japan, and added, "I like to tell everybody that The Matrix's code is made out of Japanese sushi recipes". [68]  "The color green reflects the green tint commonly used on early monochrome computer monitors". [69]  Lynne Cartwright, the Visual Effects Supervisor at Animal Logic, supervised the creation of the film's opening title sequence, as well as the general look of the Matrix code throughout the film, in collaboration with Lindsay Fleay and Justen Marshall. [39]  The portrayal resembles the opening credits of the 1995 Japanese cyberpunk film,  Ghost in the Shell , which had a strong influence on the Matrix series. It was also used in the subsequent films, on the related website, and in the game  The Matrix: Path of Neo , and its drop-down effect is reflected in the design of some posters for the Matrix series. The code received the Runner-up Award in the 1999 Jesse Garson Award for In-film typography or opening credit sequence. [39] 
  The Matrix's production designer, Owen Paterson, used methods to distinguish the "real world" and the Matrix in a pervasive way. The production design team generally placed a bias towards the Matrix code's distinctive green color in scenes set within the simulation, whereas there is an emphasis on the color blue during scenes set in the "real world". In addition, the Matrix scenes' sets were slightly more decayed, monolithic, and grid-like, to convey the cold, logical and artificial nature of that environment. For the "real world", the actors' hair was less styled, their clothing had more textile content, and the cinematographers used longer lenses to soften the backgrounds and emphasize the actors. [67] 
 The  Nebuchadnezzar  was designed to have a patched-up look, instead of clean, cold and sterile space ship interior sets as used on productions such as  Star Trek . The wires were made visible to show the ship's working internals, and each composition was carefully designed to convey the ship as "a marriage between Man and Machine". [70]  For the scene when Neo wakes up in the pod connected to the Matrix, the pod was constructed to look dirty, used, and sinister. During the testing of a breathing mechanism in the pod, the tester suffered hypothermia in under eight minutes, so the pod had to be heated. [47] 
  Kym Barrett, costume designer, said that she defined the characters and their environment by their costume. [71]  For example, Reeves's office costume was designed for Thomas Anderson to look uncomfortable, disheveled, and out of place. [48]  Barrett sometimes used three types of fabric for each costume, and also had to consider the practicality of the acting. The actors needed to perform martial art actions in their costume, hang upside-down without people seeing up their clothing, and be able to work the wires while strapped into the harnesses. [71]  For Trinity, Barrett experimented with how each fabric absorbed and reflected different types of light, and was eventually able to make Trinity's costume mercury-like and oil-slick to suit the character. [43]  For the Agents, their costume was designed to create a secret service, undercover look, resembling the film  JFK  and classic men in black. [33] 
 The sunglasses, a staple of the film's aesthetics, were commissioned for the film by designer Richard Walker from sunglasses maker Blinde Design. [72] 
Visual effects[edit]
  The "bullet time" effect was created for the film. A scene would be computer-modeled to decide the positioning of the physical cameras. The actor then provided their performance in a chroma key setup, while the cameras were fired in rapid succession, with fractions of a second delay between each shot. The result was combined with CGI backgrounds to create the final effect at (0:33).  
 As for artistic inspiration for bullet time, I would credit Otomo Katsuhiro, who co-wrote and directed  Akira , which definitely blew me away, along with director Michel Gondry. His music videos experimented with a different type of technique called view-morphing and it was just part of the beginning of uncovering the creative approaches toward using still cameras for special effects. Our technique was significantly different because we built it to move around objects that were themselves in motion, and we were also able to create slow-motion events that 'virtual cameras' could move around – rather than the static action in Gondry's music videos with limited camera moves. 
The film is known for popularizing a visual effect  [74]  known as "bullet time", which allows a shot to progress in slow-motion while the camera appears to move through the scene at normal speed. [75]  Bullet time has been described as "a visual analogy for privileged moments of consciousness within the Matrix", [76]  and throughout the film, the effect is used to illustrate characters' exertion of control over time and space. [77]  The Wachowskis first imagined an action sequence that slowed time while the camera pivoted rapidly around the subjects, and proposed the effect in their screenplay for the film. When John Gaeta read the script, he pleaded with an effects producer at Mass.Illusion to let him work on the project, and created a prototype that led to him becoming the film's visual effects supervisor. [78] 
 The method used for creating these effects involved a technically expanded version of an old art photography technique known as time-slice photography, in which an array of cameras are placed around an object and triggered simultaneously. Each camera captures a still picture, contributing one frame to the video sequence, which creates the effect of "virtual camera movement"; the illusion of a viewpoint moving around an object that appears frozen in time. [75] 
 The bullet time effect is similar but slightly more complicated, incorporating temporal motion so that rather than appearing totally frozen, the scene progresses in slow and variable motion. [73]   [78]  The cameras' positions and exposures were previsualized using a 3D simulation. Instead of firing the cameras simultaneously, the visual effect team fired the cameras fractions of a second after each other, so that each camera could capture the action as it progressed, creating a super slow-motion effect. [75]  When the frames were put together, the resulting slow-motion effects reached a frame frequency of 12,000 per second, as opposed to the normal 24 frames per second of film. [35]  Standard movie cameras were placed at the ends of the array to pick up the normal speed action before and after. Because the cameras circle the subject almost completely in most of the sequences, computer technology was used to edit out the cameras that appeared in the background on the other side. [75]  To create backgrounds, Gaeta hired George Borshukov, who created 3D models based on the geometry of buildings and used the photographs of the buildings themselves as texture.
 The photo-realistic surroundings generated by this method were incorporated into the bullet time scene, [78]  and algorithms based on optical flow were used to interpolate between the still images to produce a fluent dynamic motion; [79]   [80]  the computer-generated "lead in" and "lead out" slides were filled in between frames in sequence to get an illusion of orbiting the scene. [81]  Manex Visual Effects used a cluster farm running the Unix-like operating system FreeBSD to render many of the film's visual effects. [82]   [83] 
 Manex also handled creature effects, such as Sentinels and machines in real world scenes; Animal Logic created the code hallway and the exploding Agent at the end of the film. DFilm managed scenes that required heavy use of digital compositing, such as Neo's jump off a skyscraper and the helicopter crash into a building. The ripple effect in the latter scene was created digitally, but the shot also included practical elements, and months of extensive research were needed to find the correct kind of glass and explosives to use. The scene was shot by colliding a quarter-scale helicopter mock-up into a glass wall wired to concentric rings of explosives; the explosives were then triggered in sequence from the center outward, to create a wave of exploding glass. [84] 
 The photogrammetric and image-based computer-generated background approaches in The Matrix's bullet time evolved into innovations unveiled in the sequels  The Matrix Reloaded  and  The Matrix Revolutions . The method of using real photographs of buildings as texture for 3D models eventually led the visual effect team to digitize all data, such as scenes, characters' motions and expressions. It also led to the development of "Universal Capture", a process which samples and stores facial details and expressions at high resolution. With these highly detailed collected data, the team were able to create virtual cinematography in which characters, locations, and events can all be created digitally and viewed through virtual cameras, eliminating the restrictions of real cameras. [78] 
Release[edit]
Home media[edit]
 The Matrix was released on DVD and Laserdisc in its original aspect ratio of 2.35:1 on September 21, 1999, in the US from Warner Home Video as well as in a cropped 1.33:1 aspect ratio in Hong Kong from ERA Home Entertainment. It was also released on VHS in both fullscreen and widescreen formats followed on December 7, 1999. [5]  After its DVD release, it was the first DVD to sell more than one million copies in the US. [85]  By 2000, the film went on to become the first to sell more than three million copies in the US. [35]  At that point, it became the top-selling DVD release of all time, holding this record for a few months before being surpassed by  Gladiator . [86]  By November 10, 2003, one month after The Matrix Reloaded DVD was released, the sales of The Matrix DVD had exceeded 30 million copies. [87]  It then debuted on both VHS and DVD formats in the UK on November 29, 1999. The Matrix sold more than 107,000 DVD copies in just two weeks, breaking  Armageddon 's record for becoming the country's best-selling DVD title. [88]  The Ultimate Matrix Collection was released on HD DVD on May 22, 2007 [85]  and on Blu-ray on October 14, 2008. [89]   [90]  The film was also released standalone in a 10th anniversary edition Blu-ray in the Digibook format on March 31, 2009, 10 years to the day after the film was released theatrically. [91]  In 2010, the film had another DVD release along with the two sequels as The Complete Matrix Trilogy. It was also released on 4K HDR Blu-ray on May 22, 2018. [92]  The film as part of The Matrix Trilogy was released on 4K Ultra HD Blu-ray on October 30, 2018. [93] 
Other media[edit]
The franchise also contains three video games:  Enter the Matrix  (2003), which contains footage shot specifically for the game and chronicles events taking place before and during  The Matrix Reloaded ; [94]   The Matrix Online  (2004), an MMORPG which continued the story beyond The Matrix Revolutions; [95]   [96]  and  The Matrix: Path of Neo  (2005), which focuses on Neo's journey through the trilogy of films. [97] 
 The franchise also includes  The Matrix Comics , a series of comics and short stories set in the world of The Matrix, written and illustrated by figures from the comics industry. Most of the comics were originally presented for free on the official Matrix website; [98]  they were later republished, along with some new material, in two printed trade paperback volumes, called The Matrix Comics, Vol 1 and Vol 2. [99] 
Reception[edit]
Box office[edit]
 The Matrix grossed $27.8 million during its opening weekend, as well as earning $34.7 million in its first five days. It surpassed  Lost in Space  and  Indecent Proposal  for having the biggest April and Easter opening weekends. The film also had the second-highest opening weekend for a spring starter film, trailing only behind  Liar Liar . [100]  Three years later in 2002, The Matrix's records for having the largest April and Easter opening weekends would be taken by  The Scorpion King  and  Panic Room . [101]   [102]  Upon its opening, it had the highest opening weekend of any 1999 film, easily topping  Payback . [100]  Additionally, this was the biggest opening weekend for a Keanu Reeves film since  Speed  in 1994. [103]  It was also ranked number one at the box office ahead of  Forces of Nature . [100]  The film would remain at the top of the box office for two weeks until it was overtaken by  Life . During its fourth weekend, The Matrix briefly returned to the number one spot. [104]  The following week, the film would be displaced by  Entrapment . [105] 
 In its original run, the film earned $171,479,930 (37.0%) in the United States and Canada and $292,037,453 (63.0%) in other countries, for a worldwide total of $463,517,383. [5]  In North America, it went on to become the fifth highest-grossing film of 1999 and the highest-grossing R-rated film of that year. Worldwide, it was the fourth highest-grossing film of the year, after  Star Wars: Episode I – The Phantom Menace ,  The Sixth Sense  and  Toy Story 2 . [5]  The Matrix became the second-highest-grossing Warner Bros. film of all time, behind  Twister . [106]  Overall, it was the third-highest-grossing R-rated film at the time, just after  Saving Private Ryan  and  Terminator 2: Judgment Day . [106]  Following re-releases, the worldwide gross of the film is $466,621,824. [5]  In 2012, it was placed 122nd on the list of highest-grossing films of all time, and the second highest-grossing film in the Matrix franchise after The Matrix Reloaded ($742.1 million). [5] 
Critical response[edit]
 The Matrix was praised by many critics, as well as filmmakers, and authors of science fiction, [11]  especially for its "spectacular action" scenes and its "groundbreaking special effects". Some have described The Matrix as one of the best science fiction films of all time; [12]   [13]   Entertainment Weekly  called The Matrix "the most influential action movie of the generation". [26]  There have also been those, including philosopher William Irwin, who have suggested that the film explores significant philosophical and spiritual themes. On review aggregator Rotten Tomatoes, the film holds an approval rating of 88% based on 161 reviews, with an average score of 7.8/10. The site's critical consensus reads, "Thanks to the Wachowskis' imaginative vision, The Matrix is a smartly crafted combination of spectacular action and groundbreaking special effects". [10]  At Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the film received a score of 73 based on 35 reviews, indicating "generally favorable reviews." [11]  Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale. [107]  It ranked 323rd among critics, and 546th among directors, in the 2012 Sight &amp; Sound polls of the greatest films ever made. [108] 
 Philip Strick commented in  Sight &amp; Sound , if the Wachowskis "claim no originality of message, they are startling innovators of method," praising the film's details and its "broadside of astonishing images". [109]  Roger Ebert gave the film three stars out of four: he praised the film's visuals and premise, but disliked the third act's focus on action. [110]  Similarly,  Time Out  praised the "entertainingly ingenious" switches between different realities, Hugo Weaving's "engagingly odd" performance, and the film's cinematography and production design, but concluded, "the promising premise is steadily wasted as the film turns into a fairly routine action pic ... yet another slice of overlong, high concept hokum." [111] 
  Jonathan Rosenbaum of the  Chicago Reader  reviewed the film negatively, criticizing it as "simpleminded fun for roughly the first hour, until the movie becomes overwhelmed by its many sources ... There's not much humor to keep it all life-size, and by the final stretch it's become bloated, mechanical, and tiresome." [112] 
 Ian Nathan of  Empire  described Carrie-Anne Moss as "a major find", praised the "surreal visual highs" enabled by the bullet time (or "flo-mo") effect, and described the film as "technically mind-blowing, style merged perfectly with content and just so damn cool". Nathan remarked that although the film's "looney plot" would not stand up to scrutiny, that was not a big flaw because "The Matrix is about pure experience". [113]  Maitland McDonagh said in her review for  TV Guide , the Wachowskis' "through-the-looking-glass plot... manages to work surprisingly well on a number of levels: as a dystopian sci-fi thriller, as a brilliant excuse for the film's lavish and hyperkinetic fight scenes, and as a pretty compelling call to the dead-above-the-eyeballs masses to unite and cast off their chains... This dazzling pop allegory is steeped in a dark, pulpy sensibility that transcends nostalgic pastiche and stands firmly on its own merits." [114] 
   Salon 's reviewer Andrew O'Hehir acknowledged that although The Matrix is in his view a fundamentally immature and unoriginal film ("It lacks anything like adult emotion... all this pseudo-spiritual hokum, along with the over-ramped onslaught of special effects—some of them quite amazing—will hold 14-year-old boys in rapture, not to mention those of us of all ages and genders who still harbor a 14-year-old boy somewhere inside"), he concluded, "as in  Bound , there's an appealing scope and daring to the Wachowskis' work, and their eagerness for more plot twists and more crazy images becomes increasingly infectious. In a limited and profoundly geeky sense, this might be an important and generous film. The Wachowskis have little feeling for character or human interaction, but their passion for movies—for making them, watching them, inhabiting their world—is pure and deep." [115] 
 Filmmakers and science fiction creators alike generally took a complimentary perspective of The Matrix. William Gibson, a key figure in cyberpunk fiction, called the film "an innocent delight I hadn't felt in a long time," and stated, "Neo is my favourite-ever science fiction hero, absolutely." [116]  Joss Whedon called the film "my number one" and praised its storytelling, structure and depth, concluding, "It works on whatever level you want to bring to it." [117]  Darren Aronofsky commented, "I walked out of The Matrix ... and I was thinking, 'What kind of science fiction movie can people make now?' The Wachowskis basically took all the great sci-fi ideas of the 20th century and rolled them into a delicious pop culture sandwich that everyone on the planet devoured." [118]  M. Night Shyamalan expressed admiration for the Wachowskis, stating, "Whatever you think of The Matrix, every shot is there because of the passion they have! You can see they argued it out!". [119]  Simon Pegg said that The Matrix provided "the excitement and satisfaction that  The Phantom Menace  failed to inspire. The Matrix seemed fresh and cool and visually breathtaking; making wonderful, intelligent use of CGI to augment the on-screen action, striking a perfect balance of the real and the hyperreal. It was possibly the coolest film I had ever seen." [120]  Quentin Tarantino counted The Matrix as one of his twenty favorite movies from 1992 to 2009. [121]  James Cameron called it "one of the most profoundly fresh science fiction films ever made". [122]  Christopher Nolan described it as "an incredibly palpable mainstream phenomenon that made people think, Hey, what if this isn't real?" [123] 
Accolades[edit]
 The Matrix received Academy Awards for Best Film Editing, Best Sound Editing, Best Visual Effects and Best Sound. [124]  The filmmakers were competing against other films with established franchises, like  Star Wars: Episode I – The Phantom Menace , yet they won all four of their nominations. [125]   [126]  The Matrix also received BAFTA awards for Best Sound and Best Achievement in Special Visual Effects, in addition to nominations in the cinematography, production design and editing categories. [127]  In 1999, it won Saturn Awards for Best Science Fiction Film and Best Direction. [128]  In February 2022, the film was named one of the five finalists for Oscars Cheer Moment as part of the Academy of Motion Picture Arts and Sciences' "Oscars Fan Favorite" contest, for the "bullet time" scene, finishing in fifth place. [129]   [130] 
Awards and nominations[edit]
 
Award
Category
Name
Outcome
 
 Academy Awards
 Best Film Editing 
 Zach Staenberg 
Won
 
 Best Sound 
 John Reitz, Gregg Rudloff, David Campbell, David Lee 
Won
 
 Best Sound Effects Editing 
 Dane A. Davis 
Won
 
 Best Visual Effects 
 John Gaeta, Janek Sirrs, Steve Courtley, Jon Thum 
Won
 
 British Academy Film Awards
 Best Cinematography 
 Bill Pope 
Nominated
 
 Best Editing 
Zach Staenberg
Nominated
 
 Best Production Design 
 Owen Paterson 
Nominated
 
 Best Sound 
David Lee, John Reitz, Gregg Rudloff, David Campbell, Dane A. Davis
Won
 
 Best Special Visual Effects 
John Gaeta, Steve Courtley, Janek Sirrs, Jon Thum
Won
 
 Saturn Awards
 Best Science Fiction Film
—
Won
 
 Best Director
 The Wachowskis  [a] 
Won
 
 Best Writer
Nominated
 
 Best Actor
 Keanu Reeves
Nominated
 
 Best Actress
 Carrie-Anne Moss
Nominated
 
 Best Supporting Actor
 Laurence Fishburne
Nominated
 
 Best Costumes
 Kym Barrett
Nominated
 
 Best Make-Up
 Nikki Gooley, Bob McCarron, Wendy Sainsbury
Nominated
 
 Best Special Effects
John Gaeta, Janek Sirrs, Steve Courtley, Jon Thum
Nominated
   
Thematic analysis[edit]
 The Matrix draws from and alludes to numerous cinematic and literary works, and concepts from mythology, religion and philosophy, including the ideas of Buddhism, Christianity, Gnosticism, Hinduism, and Judaism. [131] 
Film and television[edit]
The pods in which the machines keep humans have been compared to images in  Metropolis , and the work of M. C. Escher. [132]  A resemblance to the eery worlds of Swiss artist H.R. Giger was also recognized. [133]   [134]  The pods can be seen in  Welcome to Paradox  Episode 4 "News from D Street" from a 1986 short story [135]  of the same name by Andrew Weiner which aired on September 7, 1998, on the SYFY Channel and has a remarkably similar concept. In this episode the hero is unaware he is living in virtual reality until he is told so by "the code man" who created the simulation and enters it knowingly. The Wachowskis have described Stanley Kubrick's  2001: A Space Odyssey  as a formative cinematic influence, and as a major inspiration on the visual style they aimed for when making The Matrix. [136]   [137]   [138]  Rainer Werner Fassbinders German TV Miniseries  World on a Wire  from 1973, an adaption of the novel Simulacron-3, served as inspirational source for some details of The Matrix, such as the transfer between the real world and the Matrix-simulation via telephone / phonebooth.[ citation needed ] Reviewers have also commented on similarities between The Matrix and other late-1990s films such as  Strange Days ,  Dark City , and  The Truman Show . [110]   [139]   [140]   [141]   [142]  The similarity of the film's central concept to a device in the long-running series  Doctor Who  has also been noted. As in the film, the Matrix of that series (introduced in the 1976 serial  The Deadly Assassin ) is a massive computer system which one enters using a device connecting to the head, allowing users to see representations of the real world and change its laws of physics; but if killed there, they will die in reality. [143]  The action scenes of The Matrix were also strongly influenced by live-action films such as those of director John Woo. [144]  The martial arts sequences were inspired by  Fist of Legend , a critically acclaimed 1995 martial arts film starring Jet Li. The fight scenes in Fist of Legend led to the hiring of Yuen as fight choreographer. [145]   [146] 
 The Wachowskis' approach to action scenes drew upon their admiration for Japanese animation such as  Ninja Scroll  and  Akira . [9]  Director Mamoru Oshii's 1995 animated film  Ghost in the Shell  was a particularly strong influence; [9]  producer Joel Silver has stated that the Wachowskis first described their intentions for The Matrix by showing him that anime and saying, "We wanna do that for real". [147]   [148]  Mitsuhisa Ishikawa of Production I.G, which produced Ghost in the Shell, noted that the anime's high-quality visuals were a strong source of inspiration for the Wachowskis. He also commented, "... cyberpunk films are very difficult to describe to a third person. I'd imagine that The Matrix is the kind of film that was very difficult to draw up a written proposal for to take to film studios". He stated that since Ghost in the Shell had gained recognition in America, the Wachowskis used it as a "promotional tool". [149] 
Literary works[edit]
The film makes several references to Lewis Carroll's  Alice's Adventures in Wonderland . [115]  Comparisons have also been made to Grant Morrison's comic series  The Invisibles , with Morrison describing it in 2011 as "(it) seemed to me (to be) my own combination of ideas enacted on the screen". [150]  Comparisons have also been made between The Matrix and the books of Carlos Castaneda. [151] 
  The Matrix belongs to the cyberpunk genre of science fiction, and draws from earlier works in the genre such as the 1984 novel  Neuromancer  by William Gibson. [8]  For example, the film's use of the term "Matrix" is adopted from Gibson's novel, [152]  though L. P. Davies had already used the term "Matrix" fifteen years earlier for a similar concept in his 1969 novel  The White Room  ("It had been tried in the States some years earlier, but their 'matrix' as they called it hadn't been strong enough to hold the fictional character in place"). [153]  After watching The Matrix, Gibson commented that the way that the film's creators had drawn from existing cyberpunk works was "exactly the kind of creative cultural osmosis" he had relied upon in his own writing; [8]  however, he noted that the film's Gnostic themes distinguished it from Neuromancer, and believed that The Matrix was thematically closer to the work of science fiction author Philip K. Dick, particularly Dick's speculative Exegesis. [8]  Other writers have also commented on the similarities between The Matrix and Dick's work; [144]   [154]   [155]  one example of such influence is a Philip K. Dick's 1977 conference, in which he stated: "We are living in a computer-programmed reality, and the only clue we have to it is when some variable is changed, and some alteration in our reality occurs". [156]   [157]   [158]   [159] 
Philosophy[edit]
In The Matrix, a copy of Jean Baudrillard's philosophical work  Simulacra and Simulation , which was published in French in 1981, is visible on-screen as "the book used to conceal disks", [7]   [41]  and Morpheus quotes the phrase "desert of the real" from it. [160]  "The book was required reading" [7]  for the actors prior to filming. [41]   [161]  However, Baudrillard himself said that The Matrix misunderstands and distorts his work. [160]   [162]  Some interpreters of The Matrix mention Baudrillard's philosophy to support their claim "that the [film] is an allegory for contemporary experience in a heavily commercialized, media-driven society, especially in developed countries". [7]  "The influence of [Baudrillard] was brought to the public's attention through the writings of art historians such as Griselda Pollock and film theorists such as Heinz-Peter Schwerfel". [7]  In addition to Baudrillard, the Wachowskis were also significantly influenced by Kevin Kelly's  Out of Control: The New Biology of Machines, Social Systems, and the Economic World , and Dylan Evans’s ideas on evolutionary psychology. [16]  
 Philosopher William Irwin suggests that the idea of the "Matrix" – a generated reality invented by malicious machines – is an allusion to Descartes' "First Meditation", and his idea of an evil demon. The Meditation hypothesizes that the perceived world might be a comprehensive illusion created to deceive us. [163]  The same premise can be found in Hilary Putnam's brain in a vat scenario proposed in the 1980s. [163]  A connection between the premise of The Matrix and Plato's Allegory of the Cave has also been suggested. The allegory is related to Plato's theory of Forms, which holds that the true essence of an object is not what we perceive with our senses, but rather its quality, and that most people perceive only the shadow of the object and are thus limited to false perception. [35] 
 The philosophy of Immanuel Kant has also been claimed as another influence on the film, and in particular how individuals within the Matrix interact with one another and with the system. Kant states in his  Critique of Pure Reason  that people come to know and explore our world through synthetic means (language, etc.), and thus this makes it rather difficult to discern truth from falsely perceived views. This means people are their own agents of deceit, and so in order for them to know truth, they must choose to openly pursue truth. This idea can be examined in Agent Smith's monologue about the first version of the Matrix, which was designed as a human utopia, a perfect world without suffering and with total happiness. Agent Smith explains that, "it was a disaster. No one accepted the program. Entire crops [of people] were lost." The machines had to amend their choice of programming in order to make people subservient to them, and so they conceived the Matrix in the image of the world in 1999. The world in 1999 was far from a utopia, but still humans accepted this over the suffering-less utopia. According to William Irwin this is Kantian, because the machines wished to impose a perfect world on humans in an attempt to keep people content, so that they would remain completely submissive to the machines, both consciously and subconsciously, but humans were not easy to make content. [164] 
Religion and mythology[edit]
Andrew Godoski sees allusions to Christ, including Neo's "virgin birth", his doubt in himself, the prophecy of his coming, along with many other Christian references. [35]  Amongst these possible allusions, it is suggested that the name of the character Trinity refers to Christianity's doctrine of the Trinity. [165]  It has also been noted that the character Morpheus paraphrases the Chinese taoist philosopher Zhuangzi when he asks Neo, "Have you ever had a dream, Neo, that you were so sure was real? What if you were unable to wake from that dream? How would you know the difference from the real world and the dream world?" [166] 
  Matrixism is a fan-based possibly satirical religion created as "the matrix religion".
Transgender themes[edit]
Years after the release of The Matrix, both the Wachowskis came out as transgender women, and some viewers have seen transgender themes in the film before it was officially confirmed. [167]  The red pill has been compared with red estrogen pills. [168]  Morpheus's description of the Matrix creating a sense that something is fundamentally wrong, "like a splinter in your mind", has been compared to gender dysphoria. [168]  In the original script, Switch was a woman in the Matrix and a man in the real world, but this idea was ultimately dropped. [169]  
 In a 2016 GLAAD Media Awards speech, Lilly Wachowski said: "There’s a critical eye being cast back on Lana and I's (sic) work through the lens of our transness. This is a cool thing because it's an excellent reminder that art is never static." [170]  She spoke in 2020 about the film as an allegory for transgender identity, and compromises they had to make at the time. [171]  In an interview with  Variety , Reeves said he did not know the film was an allegory for transgender identity during production. [172] 
Legacy[edit]
Filmmaking[edit]
Following The Matrix, films made abundant use of slow-motion, spinning cameras, and, often, the bullet time effect of a character freezing or slowing down and the camera dollying around them. [74]  The ability to slow down time enough to distinguish the motion of bullets was used as a central gameplay mechanic of several video games, including  Max Payne , in which the feature was explicitly referred to as "bullet time". [173]   [174]  It was also the defining game mechanic of the game  Superhot  and its sequels. The Matrix's signature special effect, and other aspects of the film, have been parodied numerous times, [26]  in comedy films such as  Deuce Bigalow: Male Gigolo  (1999), [175]   Scary Movie  (2000), [176]   Shrek  (2001), [173]   Kung Pow! Enter the Fist  (2002), [177]   Lastikman  (2003);  Marx Reloaded  in which the relationship between Neo and Morpheus is represented as an imaginary encounter between Karl Marx and Leon Trotsky; [178]  and in video games such as  Conker's Bad Fur Day . [179]  It also inspired films featuring a black-clad hero, a sexy yet deadly heroine, and bullets ripping slowly through the air; [26]  these included  Charlie's Angels  (2000) featuring Cameron Diaz floating through the air while the cameras flo-mo around her;  Equilibrium  (2002), starring Christian Bale, whose character wore long black leather coats like Reeves' Neo; [173]   Night Watch  (2004), a Russian megahit heavily influenced by The Matrix and directed by Timur Bekmambetov, who later made  Wanted  (2008), which also features bullets ripping through air; and  Inception  (2010), which centers on a team of sharply dressed rogues who are able to enter other people's dreams by "wiring in". The original  Tron  (1982) paved the way for The Matrix, and The Matrix, in turn, inspired Disney to make its own Matrix with a Tron sequel,  Tron: Legacy  (2010). [180]  Also, the film's lobby shootout sequence was recreated in the 2002 Indian action comedy  Awara Paagal Deewana . [181] 
Choreographers and actors[edit]
 The Matrix had a strong effect on action filmmaking in Hollywood. The film's incorporation of wire fu techniques, including the involvement of fight choreographer Yuen Woo-ping and other personnel with a background in Hong Kong action cinema, affected the approaches to fight scenes taken by subsequent Hollywood action films, [182]  moving them towards more Eastern approaches. [35]  The success of The Matrix created high demand for those choreographers and their techniques from other filmmakers, who wanted fights of similar sophistication: for example, wire work was employed in  X-Men  (2000) [182]  and  Charlie's Angels  (2000), [180]  and Yuen Woo-ping's brother Yuen Cheung-yan was choreographer on  Daredevil  (2003). [183]  The Matrix's Asian approach to action scenes also created an audience for Asian action films such as  Crouching Tiger, Hidden Dragon  (2000) that they might not otherwise have had. [173] 
 Chad Stahelski, who had been a stunt double on The Matrix prior to directing Reeves in the  John Wick series, acknowledged the film's strong influence on the Wick films, [184]  and commented, "The Matrix literally changed the industry. The influx of martial-arts choreographers and fight coordinators now make more, and are more prevalent and powerful in the industry, than stunt coordinators. The Matrix revolutionized that. Today, action movies want their big sequences designed around the fights." [185] 
  Carrie-Anne Moss asserted that prior to being cast in The Matrix, she had "no career". It launched Moss into international recognition and transformed her career; in a  New York Daily News  interview, she stated, "The Matrix gave me so many opportunities. Everything I've done since then has been because of that experience. It gave me so much". [186]  The film also created one of the most devoted movie fan-followings since  Star Wars . [26]  The combined success of the Matrix trilogy, the  Lord of the Rings films and the  Star Wars prequels made Hollywood interested in creating trilogies. [35]  Stephen Dowling from the BBC noted that The Matrix's success in taking complex philosophical ideas and presenting them in ways palatable for impressionable minds might be its most influential aspect. [173] 
Cultural impact[edit]
 The Matrix was also influential for its impact on superhero films. John Kenneth Muir in The Encyclopedia of Superheroes on Film and Television called the film a "revolutionary" reimagination of movie visuals, paving the way for the visuals of later superhero films, and credits it with helping to "make comic-book superheroes hip" and effectively demonstrating the concept of "faster than a speeding bullet" with its bullet time effect. [187]  Adam Sternbergh of  Vulture.com  credits The Matrix with reinventing and setting the template for modern superhero blockbusters, and inspiring the superhero renaissance in the early 21st century. [188] 
Modern reception[edit]
In 2001, The Matrix placed 66th in the American Film Institute's "100 Years...100 Thrills" list. [189]  In 2007,  Entertainment Weekly  called The Matrix the best science-fiction piece of media for the past 25 years. [14]  In 2009, the film was ranked 39th on  Empire 's reader-, actor- and critic-voted list of "The 500 Greatest Movies of All Time". [190]  The Matrix was voted as the fourth best science fiction film in the 2011 list  Best in Film: The Greatest Movies of Our Time , based on a poll conducted by ABC and  People . In 2012, the film was selected for preservation in the National Film Registry by the Library of Congress for being "culturally, historically, and aesthetically significant." [15]  In 2022, The Matrix was determined the most popular tech-themed movie in the United States using search volume data. [191] 
Conspiracy theories and fringe groups[edit]
The premise of The Matrix has been repurposed for multiple conspiracy theories and alt-right fringe groups. For example, some online men's rights groups use the term "redpill" to mean men realizing that they are supposedly being subjugated by feminism. [192]   [193]  The term has been used in discussion forums for right-wing topics such as Gamergate, white supremacy, incel subculture and Qanon. [194]  As of 2021, the verb "pill" and adjective "pilled" had entered more mainstream use and had come to mean developing a sudden interest in something. [195] 
Sequels and adaptations[edit]
The film's mainstream success led to the making of two sequels,  The Matrix Reloaded  and  The Matrix Revolutions , both directed by the Wachowskis. These were filmed back-to-back in one shoot and released on separate dates in 2003. [196]  The first film's introductory tale is succeeded by the story of the impending attack on the human enclave of Zion by a vast machine army. [197]   [198]  The sequels also incorporate longer and more ambitious action scenes, as well as improvements in bullet time and other visual effects. [198]   [199] 
 Also released was  The Animatrix , a collection of nine animated short films, many of which were created in the same Japanese animation style [200]  that was a strong influence on the live action trilogy. The Animatrix was overseen and approved by the Wachowskis, who only wrote four of the segments themselves but did not direct any of them; much of the project was developed by notable figures from the world of anime. [200] 
 In March 2017, Warner Bros. was in early stages of developing a relaunch of the franchise with Zak Penn in talks to write a treatment and interest in getting Michael B. Jordan attached to star. According to  The Hollywood Reporter  neither the Wachowskis nor Joel Silver were involved with the endeavor, although the studio would like to get at minimum the blessing of the Wachowskis. [201]  On August 20, 2019, Warner Bros. Pictures Group chairman Toby Emmerich officially announced that a fourth Matrix film was in the works, with Keanu Reeves and Carrie-Anne Moss set to reprise their roles as Neo and Trinity respectively. [202]   The Matrix Resurrections  was released on December 22, 2021, in theaters and on HBO Max.
 In September 2022, Danny Boyle was announced to be directing a dance adaptation of the film, titled "Free Your Mind", and it is set to debut in October 2023 in Manchester, U.K. [203] 
See also[edit]
  Metaverse 
 Virtual world 
 Virtual reality 
 Simulated reality 
 Simulated reality in fiction 
 Cyberspace 
 Henosis 
 Know thyself 
 Thought experiment 
  Tron , 1982 film
  Existenz , 1999 film
  Computer Boy , 2000 parody
  The Meatrix , 2003 parody
  Code Lyoko , 2003 French animated series
  Infinity Train , 2019 American animated series 
Notes[edit]
 
^    a       b       c    Credited as The Wachowski Brothers.
 
References[edit]
 
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^    a       b    Jensen, Jeff (July 21, 2000). "Generating X". Entertainment Weekly. Time Warner. Archived from the original on May 5, 2015. Retrieved December 31, 2008. There was also debate over the style of the film's fight sequences, thanks to the new standard set by The Matrix, which hit while X-Men was in pre-production. Hence, the movie features some high-flying Matrix-y martial-arts choreography by Corey Yuen (Romeo Must Die). 
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  ^  Ojumu, Akin (May 18, 2003). "Observer Profile: Andy and Larry Wachowski". Guardian.co.uk. Guardian Media Group. Retrieved November 28, 2012. The Matrix Reloaded, which opens here on Friday. ... Andy and Larry Wachowski were apparently busy working on the third part of the trilogy, The Matrix Revolutions, which will be released in November. ... With the resources of Warner Bros. at their disposal, the siblings indulged themselves on the next two, which were shot back-to-back in Australia. 
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Bibliography[edit]
  Babenko, Yelyzaveta (2011).  Analysis of the Film the Matrix . GRIN Verlag. ISBN  978-3-640-91285-8 . 
 Clover, Joshua (2004).  The Matrix . BFI. ISBN  978-1-84457-045-4 . 
 Condon, Paul (2003). The Matrix Unlocked: An Unauthorized Review of the Matrix Phenomenon. Contender Books. ISBN  978-1-84357-093-6 . 
 Irwin, William (2002).  The Matrix and Philosophy: Welcome to the Desert of the Real . Open Court. ISBN  978-0-8126-9502-1 . 
 Jones, Steven E. (2006). Against Technology: From the Luddites to Neo-Luddism. Routledge. ISBN  978-0-415-97868-2 . 
 Pegg, Simon (2010). Nerd Do Well. Century. ISBN  978-1-84605-811-0 . 
 Toropov, Brandon; Hansen, Chad (2002).  The Complete Idiot's Guide to Taoism . Penguin. ISBN  978-0-02-864262-8 . 
 Wachowski, Larry; Wachowski, Andy (2000). The Art of The Matrix. Titan. ISBN  978-1-84023-173-1 . 
 Wood, Aylish (2007). Digital Encounters. Routledge. ISBN  978-0-415-41066-3 .  
External links[edit]
The Matrix - Wikipedia
https://en.wikipedia.org/wiki/The_Matrix
https://www.imdb.com/title/tt0133093/
The Matrix (1999) - IMDb
1999-03-31
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 The Matrix

 * 1999 1999
 * R R
 * 2h 16m
 IMDb RATING
 8.7 / 10
 1.9M
 YOUR RATING
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 POPULARITY
 249
 94
 Play trailer 2 :26
 16 Videos
 99+ Photos
 Action Sci-Fi
 When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence. When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence. When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence.
 IMDb RATING
 8.7 / 10
 1.9M
 YOUR RATING
 Rate
 POPULARITY
 249
 94
 * Directors
 + Lana Wachowski
 + Lilly Wachowski
 * Writers
 + Lilly Wachowski
 + Lana Wachowski
 * Stars
 + Keanu Reeves
 + Laurence Fishburne
 + Carrie-Anne Moss
 Top credits
 * Directors
 + Lana Wachowski
 + Lilly Wachowski
 * Writers
 + Lilly Wachowski
 + Lana Wachowski
 * Stars
 + Keanu Reeves
 + Laurence Fishburne
 + Carrie-Anne Moss
 * See production, box office & company info
 Watch on HBO Max
 with Prime Video Channels
 More watch options
 Add to Watchlist
 Added by 975K users
 * 4.9K User reviews
 * 255 Critic reviews
 * 73 Metascore
 * See more at IMDbPro
 Top rated movie #16
 * Won 4 Oscars
 + 42 wins & 51 nominations total

 Videos 16

 Trailer 2:26
 Watch Theatrical Trailer
 Trailer 0:32
 Watch Trailer
 Trailer 2:26
 Watch Home Video Trailer
 Clip 2:46
 Watch Keanu Reeves: See 'The Matrix Resurrections' 3 Times to Understand It
 Clip 3:45
 Watch Movie Scavenger Hunt: Can You Find These MCU Easter Eggs?
 Clip 3:49
 Watch What We Know About 'The Matrix 4' ... So Far
 Clip 3:09
 Watch Keanu's Endless Summer or Reeves Reloaded
 Clip 4:58
 Watch The Matrix: Get Up
 Clip 2:09
 Watch The Ultimate Matrix Collection: I'm In
 Featurette 0:43
 Watch The Matrix Revisited
 Full Episode 3:46
 Watch 'Emperor' Star Kat Graham Was Inspired by This Hollywood Icon
 Video 3:12
 Watch What Roles Has Keanu Reeves Turned Down?

 Photos 230

 Top cast

 Edit
 Keanu Reeves
 * Neo
 Laurence Fishburne
 * Morpheus
 Carrie-Anne Moss
 * Trinity
 Hugo Weaving
 * Agent Smith
 Gloria Foster
 * Oracle
 Joe Pantoliano
 * Cypher
 Marcus Chong
 * Tank
 Julian Arahanga
 * Apoc
 Matt Doran
 * Mouse
 Belinda McClory
 * Switch
 Anthony Ray Parker
 * Dozer
 Paul Goddard
 * Agent Brown
 Robert Taylor
 * Agent Jones
 David Aston
 * Rhineheart
 Marc Aden Gray
 * Choi
 * (as Marc Gray)
 Ada Nicodemou
 * Dujour (White Rabbit Girl)
 Deni Gordon
 * Priestess
 Rowan Witt
 * Spoon Boy
 * Directors
 + Lana Wachowski
 + Lilly Wachowski
 * Writers
 + Lilly Wachowski
 + Lana Wachowski
 * All cast & crew
 * Production, box office & more at IMDbPro

 More like this

 8.8
 Inception
 Watch options
 8.8
 Forrest Gump
 Watch options
 8.8
 Fight Club
 Watch options
 9.0
 The Lord of the Rings: The Return of the King
 Watch options
 9.0
 The Dark Knight
 Watch options
 8.8
 The Lord of the Rings: The Two Towers
 Watch options
 8.6
 Se7en
 Watch options
 8.8
 The Lord of the Rings: The Fellowship of the Ring
 Watch options
 8.6
 Saving Private Ryan
 Watch options
 8.9
 Pulp Fiction
 Watch options
 8.6
 The Silence of the Lambs
 Watch options
 8.7
 Star Wars: Episode V - The Empire Strikes Back
 Watch options

 Storyline

 Edit

 Did you know

 Edit
 * Trivia
 To prepare for the scene where Neo wakes up in a pod, Keanu Reeves lost fifteen pounds and shaved his whole body to give Neo an emaciated look.
 * Goofs
 When Neo opens fire from the helicopter, and the glass begins to break, none of the three agents is visible (though they should be) and the chair in which Morpheus should be sitting can be seen to be empty.
 * Quotes

 Agent Smith: I'd like to share a revelation that I've had during my time here. It came to me when I tried to classify your species and I realized that you're not actually mammals. Every mammal on this planet instinctively develops a natural equilibrium with the surrounding environment but you humans do not. You move to an area and you multiply and multiply until every natural resource is consumed and the only way you can survive is to spread to another area. There is another organism on this planet that follows the same pattern. Do you know what it is? A virus. Human beings are a disease, a cancer of this planet. You're a plague and we are the cure.

 * Crazy credits
 At the end of all the credits, the URL for the (now defunct) website of the film is given, www.whatisthematrix.com, along with a password, 'steak'. There's a 'secret' link on the page that requests a password.
 * Alternate versions
 Because 'The Matrix' was filmed in Australia the Region 4 (Australia) DVD release includes a more comprehensive Australian based list of credits.
 * Connections
 Edited into The Matrix: Path of Neo (2005)
 * Soundtracks
 Dissolved Girl
 Written by Robert Del Naja , Grant Marshall (as Grantley Marshall), Andrew Vowles (as Andrew Vowles),
 Sara J., and Matt Schwartz
 Performed by Massive Attack
 Courtesy of Virgin Records LTD.
 By Arrangement with Virgin Records America, Inc.

 User reviews 4.9K

 Review
 Review
 Featured review
 10 / 10
 Just wow
 When this came out, I was living with a roommate. He went out and saw it, came home and said, "Dude, you have to go see The Matrix." So we left and he sat through it a second time. This movie is splendidly done. The mystery about what the Matrix is, unravels and you see a dystopian future unlike any we as a race would want. I have watched this over and over and never tire of it. Everyone does a great job acting in this, the special effects are above par and the story is engaging.
 helpful • 132
 9
 * acedj
 * Nov 1, 2019

 Iconic On-Screen Romances

 Iconic On-Screen Romances

 From all-consuming passion to forbidden encounters, these love stories will stand the test of time.
 See the gallery
 Photos

 FAQ 37

 * How did Morpheus realize that Neo is the "One"?
 * What exactly is Oracle?
 * Why does the crew of the Nebuchadnezzar have to answer payphones to get back from the Matrix? Why can't they use their cell phones?

 Details

 Edit
 * Release date
 + March 31, 1999 (United States)
 * Countries of origin
 + United States
 + Australia
 * Official sites
 + HBO Max (United States)
 + Official Facebook
 * Language
 + English
 * Also known as
 + Ma Trận
 * Filming locations
 + Nashville, Tennessee, USA
 * Production companies
 + Warner Bros.
 + Village Roadshow Pictures
 + Groucho Film Partnership
 * See more company credits at IMDbPro

 Box office

 Edit
 * Budget
 + $63,000,000 (estimated)
 * Gross US & Canada
 + $172,076,928
 * Opening weekend US & Canada
 + $27,788,331
 + Apr 4, 1999
 * Gross worldwide
 + $467,222,728
 See detailed box office info on IMDbPro

 Technical specs

 Edit
 * Runtime
 2 hours 16 minutes
 * Color
 + Color
 * Sound mix
 + Dolby Digital
 + SDDS
 + Dolby Atmos
 * Aspect ratio
 + 2.39 : 1

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Cast &amp; crew   User reviews   Trivia       19991999  RR 2h 16m             When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence.When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence.When a beautiful stranger leads computer hacker Neo to a forbidding underworld, he discovers the shocking truth--the life he knows is the elaborate deception of an evil cyber-intelligence.    See production, box office &amp; company info       4.9KUser reviews   255Critic reviews   73Metascore       See more at IMDbPro           Videos16      More like this     Review    Just wow  When this came out, I was living with a roommate. He went out and saw it, came home and said, "Dude, you have to go see The Matrix." So we left and he sat through it a second time. This movie is splendidly done. The mystery about what the Matrix is, unravels and you see a dystopian future unlike any we as a race would want. I have watched this over and over and never tire of it. Everyone does a great job acting in this, the special effects are above par and the story is engaging.      acedj  Nov 1, 2019      Iconic On-Screen Romances   Iconic On-Screen Romances  From all-consuming passion to forbidden encounters, these love stories will stand the test of time.   See the gallery              FAQ37       Contribute to this page  Suggest an edit or add missing content        What is the streaming release date of The Matrix (1999) in Canada?  Answer          More to explore
The Matrix (1999) - IMDb
https://www.imdb.com/title/tt0133093/
https://www.imdb.com/title/tt0181852/
Terminator 3: Rise of the Machines (2003) - IMDb
2003-07-02
None
<div><div><section><p><a href="/title/tt0181852/videogallery/?ref_=tt_vi_sm"><h3>Videos4</h3></a></p></section><div><hgroup><h3>More like this</h3></hgroup></div><div><div><p>More than 10 years after 'Terminator 2', John Connor now exists only as a drifter - living 'off the grid', so no more Terminators from the future can hunt him down. Unfortunately, SkyNet does send another one back - and this one is called the T-X, even more powerful &amp; advanced than the dreaded T-1000. However, another CSM-101 Terminator is also sent back to protect John against the T-X. Now, Skynet is patiently assuming control of civilian computer systems, under the guise of a computer virus. John has also met his future wife, Kate Brewster, whose father - a U.S. Air Force General - is in charge of the military computer systems &amp; is leery of up linking SkyNet. However, when the SkyNet virus infects the U.S military computers &amp; leaves the country open to attack, the machines begin their horrific takeover. Soon a nuclear war will result - and the war against the machines will begin. Can the outdated CSM-101 Terminator eliminate the highly advanced T-X - or will a darker future await man following the nuclear attack? —<a href="/search/title/?plot_author=Derek%20O'Cain&amp;view=simple&amp;sort=alpha&amp;ref_=tt_stry_pl">Derek O'Cain</a></p></div><ul><li><a href="/title/tt0181852/plotsummary?ref_=tt_stry_pl">Plot summary</a></li><li><a href="/title/tt0181852/synopsis?ref_=tt_stry_pl">Plot synopsis</a></li></ul></div><section><a href="https://contribute.imdb.com/review/tt0181852/add?bus=imdb&amp;return_url=https%3A%2F%2Fwww.imdb.com%2Fclose_me&amp;site=web&amp;ref_=tt_urv_add"><p>Review</p></a><div><div> <p>It doesn't deserve the hate</p><div><p>This movie doesn't deserve the hate it's getting. Now obviously it isn't as good as the first two Terminator movies. But this is also what's "wrong" with it. It's a great movie, but if you compare it to 1 and 2 then of course it won't be great, simply because the two first just are that great and legendary movies.
But - as I wrote - it certainly doesn't deserve the hate.
80% - 8/10</p></div></div><div><ul><li><a href="/user/ur83056525/?ref_=tt_urv_usr">capricornius</a></li><li>Nov 15, 2018</li></ul></div></div></section><section><div><a href="/what-to-watch/top-picks/?ref_=tt_tpks_sm"><h3>Top picks</h3></a><p>Sign in to rate and Watchlist for personalized recommendations</p></div><a href="/registration/signin?ref_=tt_tpks_signin"><p>Sign in</p></a></section><section><p><a href="/title/tt0181852/faq?ref_=tt_faq_sm"><h3>FAQ18</h3></a></p></section><div><hgroup><h3>Contribute to this page</h3></hgroup><p>Suggest an edit or add missing content</p></div></div>||||I|||| Menu
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 Terminator 3: Rise of the Machines

 * 2003 2003
 * R R
 * 1h 49m
 IMDb RATING
 6.3 / 10
 405K
 YOUR RATING
 Rate
 POPULARITY
 1,942
 22
 This video file cannot be played.(Error Code: 224003)
 Play trailer 0 :31
 4 Videos
 99+ Photos
 Action Sci-Fi
 A machine from a post-apocalyptic future travels back in time to protect a man and a woman from an advanced robotic assassin to ensure they both survive a nuclear attack. A machine from a post-apocalyptic future travels back in time to protect a man and a woman from an advanced robotic assassin to ensure they both survive a nuclear attack. A machine from a post-apocalyptic future travels back in time to protect a man and a woman from an advanced robotic assassin to ensure they both survive a nuclear attack.
 IMDb RATING
 6.3 / 10
 405K
 YOUR RATING
 Rate
 POPULARITY
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 22
 * Director
 + Jonathan Mostow
 * Writers
 + John Brancato (story by)
 + Michael Ferris (story by)
 + Tedi Sarafian (story by)
 * Stars
 + Arnold Schwarzenegger
 + Nick Stahl
 + Kristanna Loken
 Top credits
 * Director
 + Jonathan Mostow
 * Writers
 + John Brancato (story by)
 + Michael Ferris (story by)
 + Tedi Sarafian (story by)
 * Stars
 + Arnold Schwarzenegger
 + Nick Stahl
 + Kristanna Loken
 * See production, box office & company info
 Watch on Prime Video
 rent/buy from $3.99
 More watch options
 Add to Watchlist
 Added by 181K users
 * 1.8K User reviews
 * 151 Critic reviews
 * 66 Metascore
 * See more at IMDbPro
 * Awards
 + 3 wins & 24 nominations

 Videos 4

 Trailer 0:31
 Watch Terminator 3: Rise of the Machines
 Clip 4:20
 Watch Dark Fate for Terminator Franchise or a Requel That Works?
 Video 4:38
 Watch Who Nearly Starred in The Terminator Franchise?
 Video 3:34
 Watch What Roles Has Arnold Schwarzenegger Turned Down?

 Photos 367

 Top cast

 Edit
 Arnold Schwarzenegger
 * Terminator
 Nick Stahl
 * John Connor
 Kristanna Loken
 * T-X
 Claire Danes
 * Kate Brewster
 David Andrews
 * Robert Brewster
 Mark Famiglietti
 * Scott Petersen
 Earl Boen
 * Dr. Peter Silberman
 Moira Sinise
 * Betsy
 * (as Moira Harris)
 Chopper Bernet
 * Chief Engineer
 Christopher Lawford
 * Brewster's Aide
 * (as Chris Lawford)
 Carolyn Hennesy
 * Rich Woman
 Jay Acovone
 * Cop - Westside Street
 M.C. Gainey
 * Roadhouse Bouncer
 Susan Merson
 * Roadhouse Clubgoer #1
 Elizabeth Morehead
 * Roadhouse Clubgoer #1
 Jimmy Snyder
 * Male Stripper
 Billy D. Lucas
 * Angry Man
 * (as Billy Lucas)
 Brian Sites
 * Bill Anderson
 * Director
 + Jonathan Mostow
 * Writers
 + John Brancato (story by) (screenplay by)
 + Michael Ferris (story by) (screenplay by)
 + Tedi Sarafian (story by)
 * All cast & crew
 * Production, box office & more at IMDbPro

 More like this

 6.5
 Terminator Salvation
 Watch options
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 Terminator Genisys
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 The Terminator
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 Terminator: Dark Fate
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 Terminator: The Sarah Connor Chronicles
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 Predators
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 Storyline

 Edit
 More than 10 years after 'Terminator 2', John Connor now exists only as a drifter - living 'off the grid', so no more Terminators from the future can hunt him down. Unfortunately, SkyNet does send another one back - and this one is called the T-X, even more powerful & advanced than the dreaded T-1000. However, another CSM-101 Terminator is also sent back to protect John against the T-X. Now, Skynet is patiently assuming control of civilian computer systems, under the guise of a computer virus. John has also met his future wife, Kate Brewster, whose father - a U.S. Air Force General - is in charge of the military computer systems & is leery of up linking SkyNet. However, when the SkyNet virus infects the U.S military computers & leaves the country open to attack, the machines begin their horrific takeover. Soon a nuclear war will result - and the war against the machines will begin. Can the outdated CSM-101 Terminator eliminate the highly advanced T-X - or will a darker future await man following the nuclear attack? —Derek O'Cain
 time travel skynet humanoid cyborg exploding truck nuclear launch 291 more
 * Plot summary
 * Plot synopsis
 * Taglines
 + Next Summer, the machines will rise.
 * Genres
 + Action
 + Sci-Fi
 * Motion Picture Rating (MPAA)
 + Rated R for strong sci-fi violence and action, and for language and brief nudity
 * Parents guide

 Did you know

 Edit
 * Trivia
 The studios had long wanted to make a sequel to the previous Terminator films, but for a long time Arnold Schwarzenegger refused to do it unless James Cameron was directing. Cameron eventually told his friend to "just do it and ask for a shit-load of money," reasoning that the character was as much Schwarzenegger's as it was his. Schwarzenegger confirmed this in a talk-show interview, saying that when he asked, Cameron told him to "take the money and run".
 * Goofs
 (at around 30 mins) Having control of a vehicle's computer would not allow the car to be driven remotely, as the steering is completely mechanical (even power steering), and although some modern cars have a computer controlled throttle (not the cars in the movie though), the pedal would not depress (same goes for the brakes, clutch and gears).
 * Quotes

 Terminator: Katherine Brewster? Have you sustained injury?

 Kate Brewster: Drop dead, you asshole!

 Terminator: I am unable to comply.

 * Crazy credits
 Jay Acovone is credited as Jay Acavone.
 * Alternate versions
 The German TV version was edited for violence to gain a 'Not Under 12' rating. The cinema, and video versions are rated 'Not Under 16'.
 * Connections
 Edited into Smallville: Scare (2004)
 * Soundtracks
 Macho Man
 Written by Henri Belolo , Jacques Morali , Peter Whitehead and Victor Willis (as Victor Edward Willis)
 Performed by The Village People
 Courtesy of The Island Def Jam Music Group
 Under license from Universal Music Enterprises and Courtesy of Scorpio Music, S.A.

 User reviews 1.8K

 Review
 Review
 Featured review
 8 / 10
 It doesn't deserve the hate
 This movie doesn't deserve the hate it's getting. Now obviously it isn't as good as the first two Terminator movies. But this is also what's "wrong" with it. It's a great movie, but if you compare it to 1 and 2 then of course it won't be great, simply because the two first just are that great and legendary movies. But - as I wrote - it certainly doesn't deserve the hate. 80% - 8/10
 helpful • 61
 22
 * capricornius
 * Nov 15, 2018

 Top picks

 Sign in to rate and Watchlist for personalized recommendations
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 6.5
 Terminator Salvation
 Watch options
 Trailer
 6.3
 Terminator Genisys
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 6.4
 Predators
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 Alien: Resurrection
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 Commando
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 7.6
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 6.7
 The Matrix Revolutions
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 Prometheus
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 Blade II
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 Alien³
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 True Lies
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 Rambo
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 Demolition Man
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 Alien: Covenant
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 7.6
 Die Hard with a Vengeance
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 The Matrix Reloaded
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 Escape Plan
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 FAQ 18

 * What is Terminator 3: Rise of the Machines about?
 * Is 'The Terminator' series based on a book?
 * Why was the Terminator, model 101, sent back through time to a desert and not the city?

 Details

 Edit
 * Release date
 + July 2, 2003 (United States)
 * Countries of origin
 + United States
 + Germany
 + United Kingdom
 * Official site
 + Official Facebook
 * Language
 + English
 * Also known as
 + T3
 * Filming locations
 + Arco AM/PM - 33488 Crown Valley Rd, Acton, California, USA
 * Production companies
 + C-2 Pictures
 + Intermedia Films
 + IMF Internationale Medien und Film GmbH & Co. 3. Produktions KG
 * See more company credits at IMDbPro

 Box office

 Edit
 * Budget
 + $200,000,000 (estimated)
 * Gross US & Canada
 + $150,371,112
 * Opening weekend US & Canada
 + $44,041,440
 + Jul 6, 2003
 * Gross worldwide
 + $433,371,112
 See detailed box office info on IMDbPro

 Technical specs

 Edit
 * Runtime
 1 hour 49 minutes
 * Color
 + Color
 * Sound mix
 + DTS
 + Dolby Digital
 * Aspect ratio
 + 2.39 : 1

 Related news

 No one wants new Lord of the Rings movies – why can’t franchises die any more?
 Feb 25 The Independent - Film
 No one wants new Lord of the Rings movies – why can’t franchises die any more?
 Feb 25 The Independent - TV

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Videos4      More like this     More than 10 years after 'Terminator 2', John Connor now exists only as a drifter - living 'off the grid', so no more Terminators from the future can hunt him down. Unfortunately, SkyNet does send another one back - and this one is called the T-X, even more powerful &amp; advanced than the dreaded T-1000. However, another CSM-101 Terminator is also sent back to protect John against the T-X. Now, Skynet is patiently assuming control of civilian computer systems, under the guise of a computer virus. John has also met his future wife, Kate Brewster, whose father - a U.S. Air Force General - is in charge of the military computer systems &amp; is leery of up linking SkyNet. However, when the SkyNet virus infects the U.S military computers &amp; leaves the country open to attack, the machines begin their horrific takeover. Soon a nuclear war will result - and the war against the machines will begin. Can the outdated CSM-101 Terminator eliminate the highly advanced T-X - or will a darker future await man following the nuclear attack? —Derek O'Cain     Plot summary   Plot synopsis      Review    It doesn't deserve the hate  This movie doesn't deserve the hate it's getting. Now obviously it isn't as good as the first two Terminator movies. But this is also what's "wrong" with it. It's a great movie, but if you compare it to 1 and 2 then of course it won't be great, simply because the two first just are that great and legendary movies.
But - as I wrote - it certainly doesn't deserve the hate.
80% - 8/10      capricornius  Nov 15, 2018        Top picks  Sign in to rate and Watchlist for personalized recommendations   Sign in      FAQ18      Contribute to this page  Suggest an edit or add missing content
Terminator 3: Rise of the Machines (2003) - IMDb
https://www.imdb.com/title/tt0181852/
https://en.wikipedia.org/wiki/AI_takeover
AI takeover - Wikipedia
2004-07-12
None
<div><div>
	<p>From Wikipedia, the free encyclopedia</p>
	</div><div>
<div><p><a href="/wiki/File:Capek_RUR.jpg"></a></p><div><p>Robots revolt in <i><a href="/wiki/R.U.R.">R.U.R.</a></i>, a 1920 play</p></div></div>
<p>An <b>AI takeover</b> is a hypothetical scenario in which an <a href="/wiki/Artificial_intelligence">artificial intelligence</a> (AI) becomes the dominant form of intelligence on Earth, as <a href="/wiki/Computer_program">computer programs</a> or <a href="/wiki/Robot">robots</a> effectively take the control of the planet away from the human species. Possible scenarios include replacement of the entire human workforce, takeover by a <a href="/wiki/Superintelligent_AI">superintelligent AI</a>, and the popular notion of a <b>robot uprising</b>. Stories of AI takeovers <a href="/wiki/AI_takeovers_in_popular_culture">are very popular</a> throughout <a href="/wiki/Science-fiction">science-fiction</a>. Some public figures, such as <a href="/wiki/Stephen_Hawking">Stephen Hawking</a> and <a href="/wiki/Elon_Musk">Elon Musk</a>, have advocated research into <a href="/wiki/AI_control_problem">precautionary measures</a> to ensure future superintelligent machines remain under human control.<sup><a href="#cite_note-1">[1]</a></sup>
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<h2>Types[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=1">edit</a>]</h2>
<h3>Automation of the economy[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=2">edit</a>]</h3>
<p>The traditional consensus among economists has been that technological progress does not cause long-term unemployment. However, recent innovation in the fields of <a href="/wiki/Robotics">robotics</a> and artificial intelligence has raised worries that human labor will become obsolete, leaving people in various sectors without jobs to earn a living, leading to an economic crisis.<sup><a href="#cite_note-2">[2]</a></sup><sup><a href="#cite_note-3">[3]</a></sup><sup><a href="#cite_note-4">[4]</a></sup><sup><a href="#cite_note-5">[5]</a></sup> Many small and medium size businesses may also be driven out of business if they will not be able to afford or licence the latest robotic and AI technology, and may need to focus on areas or services that cannot easily be replaced for continued viability in the face of such technology.<sup><a href="#cite_note-6">[6]</a></sup>
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<h4>Technologies that may displace workers[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=3">edit</a>]</h4>
<p>AI technologies have been widely adopted in recent years, and this trend will only continue to gain popularity given the digital transformation efforts from companies across the world. While these technologies have replaced many traditional workers, they also create new opportunities. Industries that are most susceptible to experience AI takeover include transportation, retail, and military. AI military technologies, for example, allow soldiers to work remotely without any risk of injury. Author Dave Bond argues that as AI technologies continue to develop and expand, the relationship between humans and robots will change; they will become closely integrated in several aspects of life. Overall, it is safe to assume that AI will displace some workers while creating opportunities for new jobs in other sectors, especially in fields where tasks are repeatable.<sup><a href="#cite_note-7">[7]</a></sup><sup><a href="#cite_note-8">[8]</a></sup>
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<h4>Computer-integrated manufacturing[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=4">edit</a>]</h4>
<p><a href="/wiki/Computer-integrated_manufacturing">Computer-integrated manufacturing</a> is the manufacturing approach of using computers to control the entire production process. This integration allows individual processes to exchange information with each other and initiate actions. Although manufacturing can be faster and less error-prone by the integration of computers, the main advantage is the ability to create automated manufacturing processes. Computer-integrated manufacturing is used in automotive, aviation, space, and ship building industries.
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<h4>White-collar machines[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=5">edit</a>]</h4>
<p>The 21st century has seen a variety of skilled tasks partially taken over by machines, including translation, legal research and even low level journalism. Care work, entertainment, and other tasks requiring empathy, previously thought safe from automation, have also begun to be performed by robots.<sup><a href="#cite_note-9">[9]</a></sup><sup><a href="#cite_note-10">[10]</a></sup><sup><a href="#cite_note-11">[11]</a></sup><sup><a href="#cite_note-12">[12]</a></sup>
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<h4>Autonomous cars[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=6">edit</a>]</h4>
<p>An <a href="/wiki/Self-driving_car">autonomous car</a> is a vehicle that is capable of sensing its environment and navigating without human input. Many such vehicles are being developed, but as of May 2017 automated cars permitted on public roads are not yet fully autonomous. They all require a human driver at the wheel who is ready at a moment's notice to take control of the vehicle. Among the main obstacles to widespread adoption of autonomous vehicles, are concerns about the resulting loss of driving-related jobs in the road transport industry. On March 18, 2018, <a href="/wiki/Death_of_Elaine_Herzberg">the first human was killed</a> by an autonomous vehicle in <a href="/wiki/Tempe,_Arizona">Tempe, Arizona</a> by an <a href="/wiki/Uber">Uber</a> self-driving car.<sup><a href="#cite_note-13">[13]</a></sup>
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<h3>Eradication[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=7">edit</a>]</h3>
<p>Scientists such as <a href="/wiki/Stephen_Hawking">Stephen Hawking</a> are confident that superhuman artificial intelligence is physically possible, stating "there is no physical law precluding particles from being organised in ways that perform even more advanced computations than the arrangements of particles in human brains".<sup><a href="#cite_note-14">[14]</a></sup><sup><a href="#cite_note-15">[15]</a></sup> Scholars like <a href="/wiki/Nick_Bostrom">Nick Bostrom</a> debate how far off superhuman intelligence is, and whether it would actually pose a risk to mankind. According to Bostrom, a superintelligent machine would not necessarily be motivated by the same <i>emotional</i> desire to collect power that often drives human beings but might rather treat power as a means toward attaining its ultimate goals; taking over the world would both increase its access to resources and help to prevent other agents from stopping the machine's plans. As an oversimplified example, a <a href="/wiki/Instrumental_convergence#Paperclip_maximizer">paperclip maximizer</a> designed solely to create as many paperclips as possible would want to take over the world so that it can use all of the world's resources to create as many paperclips as possible, and, additionally, prevent humans from shutting it down or using those resources on things other than paperclips.<sup><a href="#cite_note-16">[16]</a></sup>
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<h2>In fiction[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=8">edit</a>]</h2>
<p>AI takeover is a common theme in <a href="/wiki/Science_fiction">science fiction</a>. Fictional scenarios typically differ vastly from those hypothesized by researchers in that they involve an active conflict between humans and an AI or robots with anthropomorphic motives who see them as a threat or otherwise have active desire to fight humans, as opposed to the researchers' concern of an AI that rapidly exterminates humans as a byproduct of pursuing arbitrary goals.<sup><a href="#cite_note-bostrom-superintelligence-17">[17]</a></sup> The idea is seen in <a href="/wiki/Karel_%C4%8Capek">Karel Čapek</a>'s <i><a href="/wiki/R.U.R.">R.U.R.</a></i>, which introduced the word <i>robot</i> to the global lexicon in 1921,<sup><a href="#cite_note-18">[18]</a></sup> and can even be glimpsed in <a href="/wiki/Mary_Shelley">Mary Shelley</a>'s <i><a href="/wiki/Frankenstein">Frankenstein</a></i> (published in 1818), as Victor ponders whether, if he grants <a href="/wiki/Frankenstein%27s_monster">his monster's</a> request and makes him a wife, they would reproduce and their kind would destroy humanity.<sup><a href="#cite_note-19">[19]</a></sup>
</p><p>The word "robot" from <i>R.U.R.</i> comes from the Czech word, robota, meaning laborer or <a href="/wiki/Serf">serf</a>. The 1920 play was a protest against the rapid growth of technology, featuring manufactured "robots" with increasing capabilities who eventually revolt.<sup><a href="#cite_note-surgery-20">[20]</a></sup> <a href="/wiki/HAL_9000">HAL 9000</a> (1968) and the original <a href="/wiki/Terminator_(character)">Terminator</a> (1984) are two iconic examples of hostile AI in pop culture.<sup><a href="#cite_note-21">[21]</a></sup>
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<h2>Contributing factors[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=9">edit</a>]</h2>
<h3>Advantages of superhuman intelligence over humans[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=10">edit</a>]</h3>
<p><a href="/wiki/Nick_Bostrom">Nick Bostrom</a> and others have expressed concern that an AI with the abilities of a competent artificial intelligence researcher would be able to modify its own source code and increase its own intelligence. If its self-reprogramming leads to its getting even better at being able to reprogram itself, the result could be a recursive <a href="/wiki/Intelligence_explosion">intelligence explosion</a> where it would rapidly leave human intelligence far behind. Bostrom defines a superintelligence as "any intellect that greatly exceeds the cognitive performance of humans in virtually all domains of interest", and enumerates some advantages a superintelligence would have if it chose to compete against humans:<sup><a href="#cite_note-bostrom-superintelligence-17">[17]</a></sup><sup><a href="#cite_note-BabcockKrámar2019-22">[22]</a></sup>
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<ul><li>Technology research: A machine with superhuman scientific research abilities would be able to beat the human research community to milestones such as nanotechnology or advanced biotechnology.</li>
<li><a href="/wiki/Strategy">Strategizing</a>: A superintelligence might be able to simply outwit human opposition.</li>
<li>Social manipulation: A superintelligence might be able to recruit human support,<sup><a href="#cite_note-bostrom-superintelligence-17">[17]</a></sup> or covertly incite a war between humans.<sup><a href="#cite_note-23">[23]</a></sup></li>
<li>Economic productivity: As long as a copy of the AI could produce more economic wealth than the cost of its hardware, individual humans would have an incentive to voluntarily allow the <a href="/wiki/Artificial_General_Intelligence">Artificial General Intelligence</a> (AGI) to run a copy of itself on their systems.</li>
<li>Hacking: A superintelligence could find new exploits in computers connected to the Internet, and spread copies of itself onto those systems, or might steal money to finance its plans.</li></ul>
<h4>Sources of AI advantage[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=11">edit</a>]</h4>
<p>According to Bostrom, a computer program that faithfully emulates a human brain, or that otherwise runs algorithms that are equally powerful as the human brain's algorithms, could still become a "speed superintelligence" if it can think many orders of magnitude faster than a human, due to being made of silicon rather than flesh, or due to optimization focusing on increasing the speed of the AGI. Biological neurons operate at about 200 Hz, whereas a modern microprocessor operates at a speed of about 2,000,000,000 Hz. Human axons carry action potentials at around 120 m/s, whereas computer signals travel near the speed of light.<sup><a href="#cite_note-bostrom-superintelligence-17">[17]</a></sup>
</p><p>A network of human-level intelligences designed to network together and share complex thoughts and memories seamlessly, able to collectively work as a giant unified team without friction, or consisting of trillions of human-level intelligences, would become a "collective superintelligence".<sup><a href="#cite_note-bostrom-superintelligence-17">[17]</a></sup>
</p><p>More broadly, any number of qualitative improvements to a human-level AGI could result in a "quality superintelligence", perhaps resulting in an AGI as far above us in intelligence as humans are above non-human apes. The number of neurons in a human brain is limited by cranial volume and metabolic constraints, while the number of processors in a supercomputer can be indefinitely expanded. An AGI need not be limited by human constraints on <a href="/wiki/Working_memory">working memory</a>, and might therefore be able to intuitively grasp more complex relationships than humans can. An AGI with specialized cognitive support for engineering or computer programming would have an advantage in these fields, compared with humans who evolved no specialized mental modules to specifically deal with those domains. Unlike humans, an AGI can spawn copies of itself and tinker with its copies' source code to attempt to further improve its algorithms.<sup><a href="#cite_note-bostrom-superintelligence-17">[17]</a></sup>
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<h3>Possibility of unfriendly AI preceding friendly AI[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=12">edit</a>]</h3>
<h4>Is strong AI inherently dangerous?[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=13">edit</a>]</h4>
<p>A significant problem is that unfriendly artificial intelligence is likely to be much easier to create than friendly AI. While both require large advances in recursive optimisation process design, friendly AI also requires the ability to make goal structures invariant under self-improvement (or the AI could transform itself into something unfriendly) and a goal structure that aligns with human values and does not undergo <a href="/wiki/Instrumental_convergence">instrumental convergence</a> in ways that may automatically destroy the entire human race. An unfriendly AI, on the other hand, can optimize for an arbitrary goal structure, which does not need to be invariant under self-modification.<sup><a href="#cite_note-singinst12-24">[24]</a></sup>
</p><p>The sheer complexity of human value systems makes it very difficult to make AI's motivations human-friendly.<sup><a href="#cite_note-bostrom-superintelligence-17">[17]</a></sup><sup><a href="#cite_note-Muehlhauser,_Luke_2012-25">[25]</a></sup> Unless moral philosophy provides us with a flawless ethical theory, an AI's utility function could allow for many potentially harmful scenarios that conform with a given ethical framework but not "common sense". According to <a href="/wiki/Eliezer_Yudkowsky">Eliezer Yudkowsky</a>, there is little reason to suppose that an artificially designed mind would have such an adaptation.<sup><a href="#cite_note-Yudkowsky2011-26">[26]</a></sup>
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<h4>Odds of conflict[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=14">edit</a>]</h4>
<p>Many scholars, including evolutionary psychologist <a href="/wiki/Steven_Pinker">Steven Pinker</a>, argue that a superintelligent machine is likely to coexist peacefully with humans.<sup><a href="#cite_note-pinker_now-27">[27]</a></sup>
</p><p>The fear of cybernetic revolt is often based on interpretations of humanity's history, which is rife with incidents of enslavement and genocide. Such fears stem from a belief that competitiveness and aggression are necessary in any intelligent being's goal system. However, such human competitiveness stems from the evolutionary background to our intelligence, where the survival and reproduction of genes in the face of human and non-human competitors was the central goal.<sup><a href="#cite_note-28">[28]</a></sup> According to AI researcher <a href="/wiki/Steve_Omohundro">Steve Omohundro</a>, an arbitrary intelligence could have arbitrary goals: there is no particular reason that an artificially intelligent machine (not sharing humanity's evolutionary context) would be hostile—or friendly—unless its creator programs it to be such and it is not inclined or capable of modifying its programming. But the question remains: what would happen if AI systems could interact and evolve (evolution in this context means self-modification or selection and reproduction) and need to compete over resources—would that create goals of self-preservation? AI's goal of self-preservation could be in conflict with some goals of humans.<sup><a href="#cite_note-29">[29]</a></sup>
</p><p>Many scholars dispute the likelihood of unanticipated cybernetic revolt as depicted in science fiction such as <i><a href="/wiki/The_Matrix">The Matrix</a></i>, arguing that it is more likely that any artificial intelligence powerful enough to threaten humanity would probably be programmed not to attack it. Pinker acknowledges the possibility of deliberate "bad actors", but states that in the absence of bad actors, unanticipated accidents are not a significant threat; Pinker argues that a culture of engineering safety will prevent AI researchers from accidentally unleashing malign superintelligence.<sup><a href="#cite_note-pinker_now-27">[27]</a></sup> In contrast, Yudkowsky argues that humanity is less likely to be threatened by deliberately aggressive AIs than by AIs which were programmed such that their <a href="/wiki/Unintended_consequence">goals are unintentionally incompatible</a> with human survival or well-being (as in the film <i><a href="/wiki/I,_Robot_(film)">I, Robot</a></i> and in the short story "<a href="/wiki/The_Evitable_Conflict">The Evitable Conflict</a>"). Omohundro suggests that present-day automation systems are not <a href="/wiki/AI_safety">designed for safety</a> and that AIs may blindly optimize narrow <a href="/wiki/Utility">utility</a> functions (say, playing chess at all costs), leading them to seek self-preservation and elimination of obstacles, including humans who might turn them off.<sup><a href="#cite_note-Tucker2014-30">[30]</a></sup>
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<h4>Precautions[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=15">edit</a>]</h4>
<p>The <b>AI control problem</b> is the issue of how to build a <a href="/wiki/Superintelligence">superintelligent</a> agent that will aid its creators, while avoiding inadvertently building a superintelligence that will harm its creators.<sup><a href="#cite_note-31">[31]</a></sup> Some scholars argue that solutions to the control problem might also find applications in existing non-superintelligent AI.<sup><a href="#cite_note-bbc-google-32">[32]</a></sup> 
</p><p>Major approaches to the control problem include <i>alignment</i>, which aims to align AI goal systems with human values, and <i>capability control</i>, which aims to reduce an AI system's capacity to harm humans or gain control. An example of "capability control" is to research whether a superintelligence AI could be successfully confined in an "<a href="/wiki/AI_box">AI box</a>". According to Bostrom, such capability control proposals are not reliable or sufficient to solve the control problem in the long term, but may potentially act as valuable supplements to alignment efforts.<sup><a href="#cite_note-bostrom-superintelligence-17">[17]</a></sup>
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<h2>Warnings[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=16">edit</a>]</h2>
<p>Physicist <a href="/wiki/Stephen_Hawking">Stephen Hawking</a>, <a href="/wiki/Microsoft">Microsoft</a> founder <a href="/wiki/Bill_Gates">Bill Gates</a>, and <a href="/wiki/SpaceX">SpaceX</a> founder <a href="/wiki/Elon_Musk">Elon Musk</a> have expressed concerns about the possibility that AI could develop to the point that humans could not control it, with Hawking theorizing that this could "spell the end of the human race".<sup><a href="#cite_note-33">[33]</a></sup> Stephen Hawking said in 2014 that "Success in creating AI would be the biggest event in human history. Unfortunately, it might also be the last, unless we learn how to avoid the risks." Hawking believed that in the coming decades, AI could offer "incalculable benefits and risks" such as "technology outsmarting <a href="/wiki/Financial_market">financial markets</a>, out-inventing human researchers, out-manipulating human leaders, and developing weapons we cannot even understand." In January 2015, <a href="/wiki/Nick_Bostrom">Nick Bostrom</a> joined Stephen Hawking, <a href="/wiki/Max_Tegmark">Max Tegmark</a>, Elon Musk, Lord <a href="/wiki/Martin_Rees,_Baron_Rees_of_Ludlow">Martin Rees</a>, <a href="/wiki/Jaan_Tallinn">Jaan Tallinn</a>, and numerous AI researchers in signing the <a href="/wiki/Future_of_Life_Institute">Future of Life Institute</a>'s open letter speaking to the potential risks and benefits associated with <a href="/wiki/Artificial_intelligence">artificial intelligence</a>. The signatories "believe that research on how to make AI systems robust and beneficial is both important and timely, and that there are concrete research directions that can be pursued today."<sup><a href="#cite_note-34">[34]</a></sup><sup><a href="#cite_note-35">[35]</a></sup>
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<h2>Prevention through AI alignment[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=17">edit</a>]</h2>
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In the field of <a href="/wiki/Artificial_intelligence">artificial intelligence</a> (AI), <a href="/wiki/AI_alignment">AI alignment</a> research aims to steer AI systems towards their designers’ intended goals and interests.<sup><a href="#cite_note-37">[a]</a></sup> An <i>aligned</i> AI system advances the intended objective; a <i>misaligned</i> AI system is competent at advancing some objective, but not the intended one.<sup><a href="#cite_note-40">[b]</a></sup></p></div>
<h2>See also[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=18">edit</a>]</h2>
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<ul><li><a href="/wiki/Philosophy_of_artificial_intelligence">Philosophy of artificial intelligence</a></li>
<li><a href="/wiki/Artificial_intelligence_arms_race">Artificial intelligence arms race</a></li>
<li><a href="/wiki/Autonomous_robot">Autonomous robot</a>
<ul><li><a href="/wiki/Industrial_robot">Industrial robot</a></li>
<li><a href="/wiki/Mobile_robot">Mobile robot</a></li>
<li><a href="/wiki/Self-replicating_machine">Self-replicating machine</a></li></ul></li>
<li><a href="/wiki/Cyberocracy">Cyberocracy</a></li>
<li><a href="/wiki/Effective_altruism">Effective altruism</a></li>
<li><a href="/wiki/Existential_risk_from_artificial_general_intelligence">Existential risk from artificial general intelligence</a></li>
<li><a href="/wiki/Future_of_Humanity_Institute">Future of Humanity Institute</a></li>
<li><a href="/wiki/Global_catastrophic_risk">Global catastrophic risk</a> (existential risk)</li>
<li><a href="/wiki/Government_by_algorithm">Government by algorithm</a></li>
<li><a href="/wiki/Human_extinction">Human extinction</a></li>
<li><a href="/wiki/Machine_ethics">Machine ethics</a></li>
<li><a href="/wiki/Machine_learning">Machine learning</a>/<a href="/wiki/Deep_learning">Deep learning</a></li>
<li><a href="/wiki/Transhumanism">Transhumanism</a></li>
<li><a href="/wiki/Self-replication">Self-replication</a></li>
<li><a href="/wiki/Technophobia">Technophobia</a></li>
<li><a href="/wiki/Technological_singularity">Technological singularity</a>
<ul><li><a href="/wiki/Intelligence_explosion">Intelligence explosion</a></li>
<li><a href="/wiki/Superintelligence">Superintelligence</a>
<ul><li><i><a href="/wiki/Superintelligence:_Paths,_Dangers,_Strategies">Superintelligence: Paths, Dangers, Strategies</a></i></li></ul></li></ul></li></ul>
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<h2>Notes[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=19">edit</a>]</h2>
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<li><b><a href="#cite_ref-37">^</a></b> Other definitions of AI alignment require that the AI system advances more general goals such as human values, other ethical principles, or the intentions its designers would have if they were more informed and enlightened.<sup><a href="#cite_note-AI_alignment_Gabriel2020-36">[36]</a></sup> 
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<li><b><a href="#cite_ref-40">^</a></b> See the textbook: Russel &amp; Norvig, <a href="/wiki/Artificial_Intelligence:_A_Modern_Approach">Artificial Intelligence: A Modern Approach</a>.<sup><a href="#cite_note-AI_alignment_:92-38">[37]</a></sup>
The distinction between misaligned AI and incompetent AI has been formalized in certain contexts.<sup><a href="#cite_note-AI_alignment_goal_misgen-39">[38]</a></sup>
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<h2>References[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=20">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-1">^</a></b> <cite>Lewis, Tanya (2015-01-12). <a href="http://www.livescience.com/49419-artificial-intelligence-dangers-letter.html">"<i>Don't Let Artificial Intelligence Take Over, Top Scientists Warn</i>"</a>. <i><a href="/wiki/LiveScience">LiveScience</a></i>. <a href="/wiki/Purch">Purch</a>. Retrieved October 20, 2015. <q>Stephen Hawking, Elon Musk and dozens of other top scientists and technology leaders have signed a letter warning of the potential dangers of developing artificial intelligence (AI).</q></cite>
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<li><b><a href="#cite_ref-2">^</a></b> <cite>Lee, Kai-Fu (2017-06-24). <a href="https://www.nytimes.com/2017/06/24/opinion/sunday/artificial-intelligence-economic-inequality.html">"The Real Threat of Artificial Intelligence"</a>. <i><a href="/wiki/The_New_York_Times">The New York Times</a></i>. Retrieved 2017-08-15. <q>These tools can outperform human beings at a given task. This kind of A.I. is spreading to thousands of domains, and as it does, it will eliminate many jobs.</q></cite>
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<li><b><a href="#cite_ref-3">^</a></b> <cite>Larson, Nina (2017-06-08). <a href="https://phys.org/news/2017-06-ai-good-world-ultra-lifelike-robot.html">"AI 'good for the world'... says ultra-lifelike robot"</a>. <i><a href="/wiki/Phys.org">Phys.org</a></i>. Retrieved 2017-08-15. <q>Among the feared consequences of the rise of the robots is the growing impact they will have on human jobs and economies.</q></cite>
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<li><b><a href="#cite_ref-4">^</a></b> <cite>Santini, Jean-Louis (2016-02-14). <a href="https://phys.org/news/2016-02-intelligent-robots-threaten-millions-jobs.html#nRlv">"Intelligent robots threaten millions of jobs"</a>. <i><a href="/wiki/Phys.org">Phys.org</a></i>. Retrieved 2017-08-15. <q>"We are approaching a time when machines will be able to outperform humans at almost any task," said Moshe Vardi, director of the Institute for Information Technology at Rice University in Texas.</q></cite>
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<li><b><a href="#cite_ref-5">^</a></b> <cite>Williams-Grut, Oscar (2016-02-15). <a href="http://www.businessinsider.com/robots-will-steal-your-job-citi-ai-increase-unemployment-inequality-2016-2?r=UK&amp;IR=T">"Robots will steal your job: How AI could increase unemployment and inequality"</a>. <i><a href="/wiki/Businessinsider.com">Businessinsider.com</a></i>. <a href="/wiki/Business_Insider">Business Insider</a>. Retrieved 2017-08-15. <q>Top computer scientists in the US warned that the rise of artificial intelligence (AI) and robots in the workplace could cause mass unemployment and dislocated economies, rather than simply unlocking productivity gains and freeing us all up to watch TV and play sports.</q></cite>
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<li><b><a href="#cite_ref-6">^</a></b> <cite><a href="https://web.archive.org/web/20171018073852/http://www.leanstaff.co.uk/robot-apocalypse/">"How can SMEs prepare for the rise of the robots?"</a>. <i>LeanStaff</i>. 2017-10-17. Archived from <a href="http://www.leanstaff.co.uk/robot-apocalypse/">the original</a> on 2017-10-18. Retrieved 2017-10-17.</cite>
</li>
<li><b><a href="#cite_ref-7">^</a></b> <cite>Frank, Morgan (2019-03-25). <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6452673">"Toward understanding the impact of artificial intelligence on labor"</a>. <i>Proceedings of the National Academy of Sciences of the United States of America</i>. <b>116</b> (14): 6531–6539. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.1073%2Fpnas.1900949116">10.1073/pnas.1900949116</a>. <a href="/wiki/PMC_(identifier)">PMC</a> <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6452673">6452673</a>. <a href="/wiki/PMID_(identifier)">PMID</a> <a href="https://pubmed.ncbi.nlm.nih.gov/30910965">30910965</a>.</cite>
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<li><b><a href="#cite_ref-8">^</a></b> <cite>Bond, Dave (2017). <i>Artificial Intelligence</i>. pp. 67–69.</cite>
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<li><b><a href="#cite_ref-9">^</a></b> <cite><a href="/wiki/Robert_Skidelsky,_Baron_Skidelsky">Skidelsky, Robert</a> (2013-02-19). <a href="https://www.theguardian.com/business/2013/feb/19/rise-of-robots-future-of-work">"Rise of the robots: what will the future of work look like?"</a>. <i>The Guardian</i>. London. Retrieved 14 July 2015.</cite>
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<li><b><a href="#cite_ref-10">^</a></b> <cite>Bria, Francesca (February 2016). <a href="https://www.opendemocracy.net/can-europe-make-it/francesca-bria/robot-economy-full-automation-work-future">"The robot economy may already have arrived"</a>. <a href="/wiki/OpenDemocracy">openDemocracy</a>. Retrieved 20 May 2016.</cite>
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<li><b><a href="#cite_ref-11">^</a></b> <cite><a href="/wiki/Nick_Srnicek">Srnicek, Nick</a> (March 2016). <a href="https://web.archive.org/web/20160625161447/http://wire.novaramedia.com/2015/03/4-reasons-why-technological-unemployment-might-really-be-different-this-time/">"4 Reasons Why Technological Unemployment Might Really Be Different This Time"</a>. novara wire. Archived from <a href="http://wire.novaramedia.com/2015/03/4-reasons-why-technological-unemployment-might-really-be-different-this-time/">the original</a> on 25 June 2016. Retrieved 20 May 2016.</cite>
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<li><b><a href="#cite_ref-12">^</a></b> <cite>Brynjolfsson, Erik; McAfee, Andrew (2014). "<i>passim</i>, see esp Chpt. 9". <i>The Second Machine Age: Work, Progress, and Prosperity in a Time of Brilliant Technologies</i>. W. W. Norton &amp; Company. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0393239355"><bdi>978-0393239355</bdi></a>.</cite>
</li>
<li><b><a href="#cite_ref-13">^</a></b> <cite>Wakabayashi, Daisuke (March 19, 2018). <a href="https://www.nytimes.com/2018/03/19/technology/uber-driverless-fatality.html">"Self-Driving Uber Car Kills Pedestrian in Arizona, Where Robots Roam"</a>. <i>New York Times</i>.</cite>
</li>
<li><b><a href="#cite_ref-14">^</a></b> <cite>Hawking, Stephen; <a href="/wiki/Stuart_J._Russell">Stuart Russell</a>; <a href="/wiki/Max_Tegmark">Max Tegmark</a>; <a href="/wiki/Frank_Wilczek">Frank Wilczek</a> (1 May 2014). <a href="https://www.independent.co.uk/news/science/stephen-hawking-transcendence-looks-at-the-implications-of-artificial-intelligence-but-are-we-taking-9313474.html">"Stephen Hawking: 'Transcendence looks at the implications of artificial intelligence - but are we taking AI seriously enough?'"</a>. <i>The Independent</i>. <a href="https://web.archive.org/web/20151002023652/http://www.independent.co.uk/news/science/stephen-hawking-transcendence-looks-at-the-implications-of-artificial-intelligence-but-are-we-taking-9313474.html">Archived</a> from the original on 2015-10-02. Retrieved 1 April 2016.</cite>
</li>
<li><b><a href="#cite_ref-15">^</a></b> <cite><a href="/wiki/Vincent_C._M%C3%BCller">Müller, Vincent C.</a>; <a href="/wiki/Nick_Bostrom">Bostrom, Nick</a> (2016). <a href="https://nickbostrom.com/papers/survey.pdf">"Future Progress in Artificial Intelligence: A Survey of Expert Opinion"</a> (PDF). <i>Fundamental Issues of Artificial Intelligence</i>. Springer. pp. 555–572. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.1007%2F978-3-319-26485-1_33">10.1007/978-3-319-26485-1_33</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-319-26483-7"><bdi>978-3-319-26483-7</bdi></a>. <q>AI systems will... reach overall human ability... very likely (with 90% probability) by 2075. From reaching human ability, it will move on to superintelligence within 30 years (75%)... So, (most of the AI experts responding to the surveys) think that superintelligence is likely to come in a few decades...</q></cite>
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<li><b><a href="#cite_ref-16">^</a></b> <cite>Bostrom, Nick (2012). <a href="https://nickbostrom.com/superintelligentwill.pdf">"The Superintelligent Will: Motivation and Instrumental Rationality in Advanced Artificial Agents"</a> (PDF). <i>Minds and Machines</i>. Springer. <b>22</b> (2): 71–85. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.1007%2Fs11023-012-9281-3">10.1007/s11023-012-9281-3</a>.</cite>
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<li>^ <a href="#cite_ref-bostrom-superintelligence_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-bostrom-superintelligence_17-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-bostrom-superintelligence_17-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-bostrom-superintelligence_17-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-bostrom-superintelligence_17-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-bostrom-superintelligence_17-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-bostrom-superintelligence_17-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-bostrom-superintelligence_17-7"><sup><i><b>h</b></i></sup></a> <cite>Bostrom, Nick. <a href="/wiki/Superintelligence:_Paths,_Dangers,_Strategies"><i>Superintelligence: Paths, Dangers, Strategies</i></a>.</cite>
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<li><b><a href="#cite_ref-18">^</a></b> <cite><a href="https://www.sciencefriday.com/segments/the-origin-of-the-word-robot/">"The Origin Of The Word 'Robot'"</a>. <i><a href="/wiki/Science_Friday">Science Friday</a> (public radio)</i>. 22 April 2011. Retrieved 30 April 2020.</cite>
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<li><b><a href="#cite_ref-19">^</a></b> <cite>Botkin-Kowacki, Eva (28 October 2016). <a href="https://www.csmonitor.com/Science/2016/1028/A-female-Frankenstein-would-lead-to-humanity-s-extinction-say-scientists">"A female Frankenstein would lead to humanity's extinction, say scientists"</a>. <i>Christian Science Monitor</i>. Retrieved 30 April 2020.</cite>
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<li><b><a href="#cite_ref-surgery_20-0">^</a></b> <cite>Hockstein, N. G.; Gourin, C. G.; Faust, R. A.; Terris, D. J. (17 March 2007). <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4247417">"A history of robots: from science fiction to surgical robotics"</a>. <i>Journal of Robotic Surgery</i>. <b>1</b> (2): 113–118. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.1007%2Fs11701-007-0021-2">10.1007/s11701-007-0021-2</a>. <a href="/wiki/PMC_(identifier)">PMC</a> <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4247417">4247417</a>. <a href="/wiki/PMID_(identifier)">PMID</a> <a href="https://pubmed.ncbi.nlm.nih.gov/25484946">25484946</a>.</cite>
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<li><b><a href="#cite_ref-21">^</a></b> <cite>Hellmann, Melissa (21 September 2019). <a href="https://www.seattletimes.com/business/technology/ai-101-what-is-artificial-intelligence-and-where-is-it-going/">"AI 101: What is artificial intelligence and where is it going?"</a>. <i>The Seattle Times</i>. Retrieved 30 April 2020.</cite>
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<li><b><a href="#cite_ref-BabcockKrámar2019_22-0">^</a></b> <cite>Babcock, James; Krámar, János; <a href="/wiki/Roman_Yampolskiy">Yampolskiy, Roman V.</a> (2019). "Guidelines for Artificial Intelligence Containment". <i>Next-Generation Ethics</i>. pp. 90–112. <a href="/wiki/ArXiv_(identifier)">arXiv</a>:<a href="https://arxiv.org/abs/1707.08476">1707.08476</a>. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.1017%2F9781108616188.008">10.1017/9781108616188.008</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781108616188"><bdi>9781108616188</bdi></a>. <a href="/wiki/S2CID_(identifier)">S2CID</a> <a href="https://api.semanticscholar.org/CorpusID:22007028">22007028</a>.</cite>
</li>
<li><b><a href="#cite_ref-23">^</a></b> <cite>Baraniuk, Chris (23 May 2016). <a href="https://www.newscientist.com/article/2089606-checklist-of-worst-case-scenarios-could-help-prepare-for-evil-ai/">"Checklist of worst-case scenarios could help prepare for evil AI"</a>. <i><a href="/wiki/New_Scientist">New Scientist</a></i>. Retrieved 21 September 2016.</cite>
</li>
<li><b><a href="#cite_ref-singinst12_24-0">^</a></b> <cite>Yudkowsky, Eliezer S. (May 2004). <a href="https://web.archive.org/web/20120615203944/http://singinst.org/upload/CEV.html">"Coherent Extrapolated Volition"</a>. Singularity Institute for Artificial Intelligence. Archived from <a href="http://singinst.org/upload/CEV.html">the original</a> on 2012-06-15.</cite>
</li>
<li><b><a href="#cite_ref-Muehlhauser,_Luke_2012_25-0">^</a></b> <cite>Muehlhauser, Luke; Helm, Louie (2012). <a href="https://intelligence.org/files/IE-ME.pdf">"Intelligence Explosion and Machine Ethics"</a> (PDF). <i>Singularity Hypotheses: A Scientific and Philosophical Assessment</i>. Springer.</cite>
</li>
<li><b><a href="#cite_ref-Yudkowsky2011_26-0">^</a></b> <cite>Yudkowsky, Eliezer (2011). "Complex Value Systems in Friendly AI". <i>Artificial General Intelligence</i>. Lecture Notes in Computer Science. Vol. 6830. pp. 388–393. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.1007%2F978-3-642-22887-2_48">10.1007/978-3-642-22887-2_48</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-642-22886-5"><bdi>978-3-642-22886-5</bdi></a>. <a href="/wiki/ISSN_(identifier)">ISSN</a> <a href="https://www.worldcat.org/issn/0302-9743">0302-9743</a>.</cite>
</li>
<li>^ <a href="#cite_ref-pinker_now_27-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-pinker_now_27-1"><sup><i><b>b</b></i></sup></a> <cite>Pinker, Steven (13 February 2018). <a href="https://www.popsci.com/robot-uprising-enlightenment-now/">"We're told to fear robots. But why do we think they'll turn on us?"</a>. <i>Popular Science</i>. Retrieved 8 June 2020.</cite>
</li>
<li><b><a href="#cite_ref-28">^</a></b> <i><a href="http://www.singinst.org/ourresearch/presentations/">Creating a New Intelligent Species: Choices and Responsibilities for Artificial Intelligence Designers</a> <a href="https://web.archive.org/web/20070206060938/http://www.singinst.org/ourresearch/presentations/">Archived</a> February 6, 2007, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a></i> - <a href="/wiki/Singularity_Institute_for_Artificial_Intelligence">Singularity Institute for Artificial Intelligence</a>, 2005
</li>
<li><b><a href="#cite_ref-29">^</a></b> <cite>Omohundro, Stephen M. (June 2008). <a href="https://selfawaresystems.files.wordpress.com/2008/01/ai_drives_final.pdf"><i>The basic AI drives</i></a> (PDF). Artificial General Intelligence 2008. pp. 483–492.</cite>
</li>
<li><b><a href="#cite_ref-Tucker2014_30-0">^</a></b> <cite>Tucker, Patrick (17 Apr 2014). <a href="http://www.defenseone.com/technology/2014/04/why-there-will-be-robot-uprising/82783/">"Why There Will Be A Robot Uprising"</a>. Defense One. Retrieved 15 July 2014.</cite>
</li>
<li><b><a href="#cite_ref-31">^</a></b> <cite>Russell, Stuart J. (8 October 2019). <a href="http://worldcat.org/oclc/1237420037"><i>Human compatible : artificial intelligence and the problem of control</i></a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-525-55862-0"><bdi>978-0-525-55862-0</bdi></a>. <a href="/wiki/OCLC_(identifier)">OCLC</a> <a href="https://www.worldcat.org/oclc/1237420037">1237420037</a>.</cite>
</li>
<li><b><a href="#cite_ref-bbc-google_32-0">^</a></b> <cite><a href="https://www.bbc.com/news/technology-36472140">"Google developing kill switch for AI"</a>. <i>BBC News</i>. 8 June 2016. Retrieved 7 June 2020.</cite>
</li>
<li><b><a href="#cite_ref-33">^</a></b> <cite>Rawlinson, Kevin (29 January 2015). <a href="https://www.bbc.co.uk/news/31047780">"Microsoft's Bill Gates insists AI is a threat"</a>. <i><a href="/wiki/BBC_News">BBC News</a></i>. Retrieved 30 January 2015.</cite>
</li>
<li><b><a href="#cite_ref-34">^</a></b> <cite><a href="http://futureoflife.org/ai-open-letter">"The Future of Life Institute Open Letter"</a>. The Future of Life Institute. 28 October 2015. Retrieved 29 March 2019.</cite>
</li>
<li><b><a href="#cite_ref-35">^</a></b> <cite>Bradshaw, Tim (11 January 2015). <a href="https://www.ft.com/cms/s/0/3d2c2f12-99e9-11e4-93c1-00144feabdc0.html#axzz3TNL9lxJV">"Scientists and investors warn on AI"</a>. The Financial Times. Retrieved 4 March 2015.</cite>
</li>
<li><b><a href="#cite_ref-AI_alignment_Gabriel2020_36-0">^</a></b> <cite>Gabriel, Iason (2020-09-01). <a href="https://doi.org/10.1007/s11023-020-09539-2">"Artificial Intelligence, Values, and Alignment"</a>. <i>Minds and Machines</i>. <b>30</b> (3): 411–437. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.1007%2Fs11023-020-09539-2">10.1007/s11023-020-09539-2</a>. <a href="/wiki/ISSN_(identifier)">ISSN</a> <a href="https://www.worldcat.org/issn/1572-8641">1572-8641</a>. <a href="/wiki/S2CID_(identifier)">S2CID</a> <a href="https://api.semanticscholar.org/CorpusID:210920551">210920551</a>. Retrieved 2022-07-23.</cite>
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<li><b><a href="#cite_ref-AI_alignment_:92_38-0">^</a></b> <cite>Russell, Stuart J.; Norvig, Peter (2020). <a href="https://www.pearson.com/us/higher-education/program/Russell-Artificial-Intelligence-A-Modern-Approach-4th-Edition/PGM1263338.html"><i>Artificial intelligence: A modern approach</i></a> (4th ed.). Pearson. pp. 31–34. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-292-40113-3"><bdi>978-1-292-40113-3</bdi></a>. <a href="/wiki/OCLC_(identifier)">OCLC</a> <a href="https://www.worldcat.org/oclc/1303900751">1303900751</a>.</cite>
</li>
<li><b><a href="#cite_ref-AI_alignment_goal_misgen_39-0">^</a></b> <cite>Langosco, Lauro Langosco Di; Koch, Jack; Sharkey, Lee D; Pfau, Jacob; Krueger, David (2022-07-17). "Goal misgeneralization in deep reinforcement learning". <i>International Conference on Machine Learning</i>. Vol. 162. PMLR. pp. 12004–12019.</cite>
</li>
</ol></div>
<h2>External links[<a href="/w/index.php?title=AI_takeover&amp;action=edit&amp;section=21">edit</a>]</h2>
<ul><li><a href="https://robohub.org/automation-not-domination-how-robots-will-take-over-our-world/">Automation, not domination: How robots will take over our world</a> (a positive outlook of robot and AI integration into society)</li>
<li><a href="https://intelligence.org/">Machine Intelligence Research Institute</a>: official MIRI (formerly Singularity Institute for Artificial Intelligence) website</li>
<li><a href="https://lifeboat.com/ex/ai.shield/">Lifeboat Foundation AIShield</a> (To protect against unfriendly AI)</li>
<li><a href="https://www.youtube.com/watch?v=R_sSpPyruj0">Ted talk: Can we build AI without losing control over it?</a></li></ul>
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 Contents

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 * (Top)
 * 1 Types
 Toggle Types subsection
 + 1.1 Automation of the economy
 o 1.1.1 Technologies that may displace workers
 o 1.1.2 Computer-integrated manufacturing
 o 1.1.3 White-collar machines
 o 1.1.4 Autonomous cars
 + 1.2 Eradication
 * 2 In fiction
 * 3 Contributing factors
 Toggle Contributing factors subsection
 + 3.1 Advantages of superhuman intelligence over humans
 o 3.1.1 Sources of AI advantage
 + 3.2 Possibility of unfriendly AI preceding friendly AI
 o 3.2.1 Is strong AI inherently dangerous?
 o 3.2.2 Odds of conflict
 o 3.2.3 Precautions
 * 4 Warnings
 * 5 Prevention through AI alignment
 * 6 See also
 * 7 Notes
 * 8 References
 * 9 External links
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 AI takeover

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 From Wikipedia, the free encyclopedia
 Robots revolt in R.U.R., a 1920 play
 Part of a series on 
 Artificial intelligence 
 
 Major goals 
 * Artificial general intelligence
 * Planning 
 * Computer vision 
 * General game playing 
 * Knowledge reasoning 
 * Machine learning 
 * Natural language processing 
 * Robotics 
 * AI safety 
 Approaches 
 * Symbolic 
 * Deep learning 
 * Bayesian networks 
 * Evolutionary algorithms 
 Philosophy 
 * Chinese room 
 * Friendly AI 
 * Control problem/Takeover 
 * Ethics 
 * Existential risk 
 * Turing test 
 History 
 * Timeline 
 * Progress 
 * AI winter 
 Technology 
 * Applications 
 * Projects 
 * Programming languages 
 Glossary 
 * Glossary 
 * v 
 * t 
 * e 
 

 An AI takeover is a hypothetical scenario in which an artificial intelligence (AI) becomes the dominant form of intelligence on Earth, as computer programs or robots effectively take the control of the planet away from the human species. Possible scenarios include replacement of the entire human workforce, takeover by a superintelligent AI, and the popular notion of a robot uprising. Stories of AI takeovers are very popular throughout science-fiction. Some public figures, such as Stephen Hawking and Elon Musk, have advocated research into precautionary measures to ensure future superintelligent machines remain under human control.[1]

 Types [ edit ]

 Automation of the economy [ edit ]

 Main article: Technological unemployment

 The traditional consensus among economists has been that technological progress does not cause long-term unemployment. However, recent innovation in the fields of robotics and artificial intelligence has raised worries that human labor will become obsolete, leaving people in various sectors without jobs to earn a living, leading to an economic crisis.[2][3][4][5] Many small and medium size businesses may also be driven out of business if they will not be able to afford or licence the latest robotic and AI technology, and may need to focus on areas or services that cannot easily be replaced for continued viability in the face of such technology.[6]

 Technologies that may displace workers [ edit ]

 AI technologies have been widely adopted in recent years, and this trend will only continue to gain popularity given the digital transformation efforts from companies across the world. While these technologies have replaced many traditional workers, they also create new opportunities. Industries that are most susceptible to experience AI takeover include transportation, retail, and military. AI military technologies, for example, allow soldiers to work remotely without any risk of injury. Author Dave Bond argues that as AI technologies continue to develop and expand, the relationship between humans and robots will change; they will become closely integrated in several aspects of life. Overall, it is safe to assume that AI will displace some workers while creating opportunities for new jobs in other sectors, especially in fields where tasks are repeatable.[7][8]

 Computer-integrated manufacturing [ edit ]

 See also: Artificial intelligence in industry

 Computer-integrated manufacturing is the manufacturing approach of using computers to control the entire production process. This integration allows individual processes to exchange information with each other and initiate actions. Although manufacturing can be faster and less error-prone by the integration of computers, the main advantage is the ability to create automated manufacturing processes. Computer-integrated manufacturing is used in automotive, aviation, space, and ship building industries.

 White-collar machines [ edit ]

 See also: White-collar worker

 The 21st century has seen a variety of skilled tasks partially taken over by machines, including translation, legal research and even low level journalism. Care work, entertainment, and other tasks requiring empathy, previously thought safe from automation, have also begun to be performed by robots.[9][10][11][12]

 Autonomous cars [ edit ]

 An autonomous car is a vehicle that is capable of sensing its environment and navigating without human input. Many such vehicles are being developed, but as of May 2017 automated cars permitted on public roads are not yet fully autonomous. They all require a human driver at the wheel who is ready at a moment's notice to take control of the vehicle. Among the main obstacles to widespread adoption of autonomous vehicles, are concerns about the resulting loss of driving-related jobs in the road transport industry. On March 18, 2018, the first human was killed by an autonomous vehicle in Tempe, Arizona by an Uber self-driving car.[13]

 Eradication [ edit ]

 Main article: Existential risk from artificial general intelligence

 Scientists such as Stephen Hawking are confident that superhuman artificial intelligence is physically possible, stating "there is no physical law precluding particles from being organised in ways that perform even more advanced computations than the arrangements of particles in human brains".[14][15] Scholars like Nick Bostrom debate how far off superhuman intelligence is, and whether it would actually pose a risk to mankind. According to Bostrom, a superintelligent machine would not necessarily be motivated by the same emotional desire to collect power that often drives human beings but might rather treat power as a means toward attaining its ultimate goals; taking over the world would both increase its access to resources and help to prevent other agents from stopping the machine's plans. As an oversimplified example, a paperclip maximizer designed solely to create as many paperclips as possible would want to take over the world so that it can use all of the world's resources to create as many paperclips as possible, and, additionally, prevent humans from shutting it down or using those resources on things other than paperclips.[16]

 In fiction [ edit ]

 Main article: AI takeovers in popular culture
 See also: Artificial intelligence in fiction and Self-replicating machines in fiction

 AI takeover is a common theme in science fiction. Fictional scenarios typically differ vastly from those hypothesized by researchers in that they involve an active conflict between humans and an AI or robots with anthropomorphic motives who see them as a threat or otherwise have active desire to fight humans, as opposed to the researchers' concern of an AI that rapidly exterminates humans as a byproduct of pursuing arbitrary goals.[17] The idea is seen in Karel Čapek's R.U.R., which introduced the word robot to the global lexicon in 1921,[18] and can even be glimpsed in Mary Shelley's Frankenstein (published in 1818), as Victor ponders whether, if he grants his monster's request and makes him a wife, they would reproduce and their kind would destroy humanity.[19]

 The word "robot" from R.U.R. comes from the Czech word, robota, meaning laborer or serf. The 1920 play was a protest against the rapid growth of technology, featuring manufactured "robots" with increasing capabilities who eventually revolt.[20] HAL 9000 (1968) and the original Terminator (1984) are two iconic examples of hostile AI in pop culture.[21]

 Contributing factors [ edit ]

 Advantages of superhuman intelligence over humans [ edit ]

 Nick Bostrom and others have expressed concern that an AI with the abilities of a competent artificial intelligence researcher would be able to modify its own source code and increase its own intelligence. If its self-reprogramming leads to its getting even better at being able to reprogram itself, the result could be a recursive intelligence explosion where it would rapidly leave human intelligence far behind. Bostrom defines a superintelligence as "any intellect that greatly exceeds the cognitive performance of humans in virtually all domains of interest", and enumerates some advantages a superintelligence would have if it chose to compete against humans:[17][22]

 * Technology research: A machine with superhuman scientific research abilities would be able to beat the human research community to milestones such as nanotechnology or advanced biotechnology.
 * Strategizing: A superintelligence might be able to simply outwit human opposition.
 * Social manipulation: A superintelligence might be able to recruit human support,[17] or covertly incite a war between humans.[23]
 * Economic productivity: As long as a copy of the AI could produce more economic wealth than the cost of its hardware, individual humans would have an incentive to voluntarily allow the Artificial General Intelligence (AGI) to run a copy of itself on their systems.
 * Hacking: A superintelligence could find new exploits in computers connected to the Internet, and spread copies of itself onto those systems, or might steal money to finance its plans.

 Sources of AI advantage [ edit ]

 According to Bostrom, a computer program that faithfully emulates a human brain, or that otherwise runs algorithms that are equally powerful as the human brain's algorithms, could still become a "speed superintelligence" if it can think many orders of magnitude faster than a human, due to being made of silicon rather than flesh, or due to optimization focusing on increasing the speed of the AGI. Biological neurons operate at about 200 Hz, whereas a modern microprocessor operates at a speed of about 2,000,000,000 Hz. Human axons carry action potentials at around 120 m/s, whereas computer signals travel near the speed of light.[17]

 A network of human-level intelligences designed to network together and share complex thoughts and memories seamlessly, able to collectively work as a giant unified team without friction, or consisting of trillions of human-level intelligences, would become a "collective superintelligence".[17]

 More broadly, any number of qualitative improvements to a human-level AGI could result in a "quality superintelligence", perhaps resulting in an AGI as far above us in intelligence as humans are above non-human apes. The number of neurons in a human brain is limited by cranial volume and metabolic constraints, while the number of processors in a supercomputer can be indefinitely expanded. An AGI need not be limited by human constraints on working memory, and might therefore be able to intuitively grasp more complex relationships than humans can. An AGI with specialized cognitive support for engineering or computer programming would have an advantage in these fields, compared with humans who evolved no specialized mental modules to specifically deal with those domains. Unlike humans, an AGI can spawn copies of itself and tinker with its copies' source code to attempt to further improve its algorithms.[17]

 Possibility of unfriendly AI preceding friendly AI [ edit ]

 Is strong AI inherently dangerous? [ edit ]

 Main article: AI alignment

 A significant problem is that unfriendly artificial intelligence is likely to be much easier to create than friendly AI. While both require large advances in recursive optimisation process design, friendly AI also requires the ability to make goal structures invariant under self-improvement (or the AI could transform itself into something unfriendly) and a goal structure that aligns with human values and does not undergo instrumental convergence in ways that may automatically destroy the entire human race. An unfriendly AI, on the other hand, can optimize for an arbitrary goal structure, which does not need to be invariant under self-modification.[24]

 The sheer complexity of human value systems makes it very difficult to make AI's motivations human-friendly.[17][25] Unless moral philosophy provides us with a flawless ethical theory, an AI's utility function could allow for many potentially harmful scenarios that conform with a given ethical framework but not "common sense". According to Eliezer Yudkowsky, there is little reason to suppose that an artificially designed mind would have such an adaptation.[26]

 Odds of conflict [ edit ]

 Many scholars, including evolutionary psychologist Steven Pinker, argue that a superintelligent machine is likely to coexist peacefully with humans.[27]

 The fear of cybernetic revolt is often based on interpretations of humanity's history, which is rife with incidents of enslavement and genocide. Such fears stem from a belief that competitiveness and aggression are necessary in any intelligent being's goal system. However, such human competitiveness stems from the evolutionary background to our intelligence, where the survival and reproduction of genes in the face of human and non-human competitors was the central goal.[28] According to AI researcher Steve Omohundro, an arbitrary intelligence could have arbitrary goals: there is no particular reason that an artificially intelligent machine (not sharing humanity's evolutionary context) would be hostile—or friendly—unless its creator programs it to be such and it is not inclined or capable of modifying its programming. But the question remains: what would happen if AI systems could interact and evolve (evolution in this context means self-modification or selection and reproduction) and need to compete over resources—would that create goals of self-preservation? AI's goal of self-preservation could be in conflict with some goals of humans.[29]

 Many scholars dispute the likelihood of unanticipated cybernetic revolt as depicted in science fiction such as The Matrix, arguing that it is more likely that any artificial intelligence powerful enough to threaten humanity would probably be programmed not to attack it. Pinker acknowledges the possibility of deliberate "bad actors", but states that in the absence of bad actors, unanticipated accidents are not a significant threat; Pinker argues that a culture of engineering safety will prevent AI researchers from accidentally unleashing malign superintelligence.[27] In contrast, Yudkowsky argues that humanity is less likely to be threatened by deliberately aggressive AIs than by AIs which were programmed such that their goals are unintentionally incompatible with human survival or well-being (as in the film I, Robot and in the short story "The Evitable Conflict"). Omohundro suggests that present-day automation systems are not designed for safety and that AIs may blindly optimize narrow utility functions (say, playing chess at all costs), leading them to seek self-preservation and elimination of obstacles, including humans who might turn them off.[30]

 Precautions [ edit ]

 Main article: AI control problem

 The AI control problem is the issue of how to build a superintelligent agent that will aid its creators, while avoiding inadvertently building a superintelligence that will harm its creators.[31] Some scholars argue that solutions to the control problem might also find applications in existing non-superintelligent AI.[32]

 Major approaches to the control problem include alignment, which aims to align AI goal systems with human values, and capability control, which aims to reduce an AI system's capacity to harm humans or gain control. An example of "capability control" is to research whether a superintelligence AI could be successfully confined in an "AI box". According to Bostrom, such capability control proposals are not reliable or sufficient to solve the control problem in the long term, but may potentially act as valuable supplements to alignment efforts.[17]

 Warnings [ edit ]

 Physicist Stephen Hawking, Microsoft founder Bill Gates, and SpaceX founder Elon Musk have expressed concerns about the possibility that AI could develop to the point that humans could not control it, with Hawking theorizing that this could "spell the end of the human race".[33] Stephen Hawking said in 2014 that "Success in creating AI would be the biggest event in human history. Unfortunately, it might also be the last, unless we learn how to avoid the risks." Hawking believed that in the coming decades, AI could offer "incalculable benefits and risks" such as "technology outsmarting financial markets, out-inventing human researchers, out-manipulating human leaders, and developing weapons we cannot even understand." In January 2015, Nick Bostrom joined Stephen Hawking, Max Tegmark, Elon Musk, Lord Martin Rees, Jaan Tallinn, and numerous AI researchers in signing the Future of Life Institute's open letter speaking to the potential risks and benefits associated with artificial intelligence. The signatories "believe that research on how to make AI systems robust and beneficial is both important and timely, and that there are concrete research directions that can be pursued today."[34][35]

 Prevention through AI alignment [ edit ]

 This paragraph is an excerpt from AI alignment. [ edit ]
 In the field of artificial intelligence (AI), AI alignment research aims to steer AI systems towards their designers’ intended goals and interests.[a] An aligned AI system advances the intended objective; a misaligned AI system is competent at advancing some objective, but not the intended one.[b]

 See also [ edit ]

 * Philosophy of artificial intelligence
 * Artificial intelligence arms race
 * Autonomous robot
 + Industrial robot
 + Mobile robot
 + Self-replicating machine
 * Cyberocracy
 * Effective altruism
 * Existential risk from artificial general intelligence
 * Future of Humanity Institute
 * Global catastrophic risk (existential risk)
 * Government by algorithm
 * Human extinction
 * Machine ethics
 * Machine learning/Deep learning
 * Transhumanism
 * Self-replication
 * Technophobia
 * Technological singularity
 + Intelligence explosion
 + Superintelligence
 o Superintelligence: Paths, Dangers, Strategies

 Notes [ edit ]

 1. ^ Other definitions of AI alignment require that the AI system advances more general goals such as human values, other ethical principles, or the intentions its designers would have if they were more informed and enlightened. [36]
 2. ^ See the textbook: Russel & Norvig, Artificial Intelligence: A Modern Approach . [37] The distinction between misaligned AI and incompetent AI has been formalized in certain contexts. [38]

 References [ edit ]

 1. ^ Lewis, Tanya (2015-01-12). "Don't Let Artificial Intelligence Take Over, Top Scientists Warn". LiveScience. Purch . Retrieved October 20, 2015 . "Stephen Hawking, Elon Musk and dozens of other top scientists and technology leaders have signed a letter warning of the potential dangers of developing artificial intelligence (AI)."
 2. ^ Lee, Kai-Fu (2017-06-24). "The Real Threat of Artificial Intelligence". The New York Times . Retrieved 2017-08-15 . "These tools can outperform human beings at a given task. This kind of A.I. is spreading to thousands of domains, and as it does, it will eliminate many jobs."
 3. ^ Larson, Nina (2017-06-08). "AI 'good for the world'... says ultra-lifelike robot". Phys.org . Retrieved 2017-08-15 . "Among the feared consequences of the rise of the robots is the growing impact they will have on human jobs and economies."
 4. ^ Santini, Jean-Louis (2016-02-14). "Intelligent robots threaten millions of jobs". Phys.org . Retrieved 2017-08-15 . ""We are approaching a time when machines will be able to outperform humans at almost any task," said Moshe Vardi, director of the Institute for Information Technology at Rice University in Texas."
 5. ^ Williams-Grut, Oscar (2016-02-15). "Robots will steal your job: How AI could increase unemployment and inequality". Businessinsider.com. Business Insider . Retrieved 2017-08-15 . "Top computer scientists in the US warned that the rise of artificial intelligence (AI) and robots in the workplace could cause mass unemployment and dislocated economies, rather than simply unlocking productivity gains and freeing us all up to watch TV and play sports."
 6. ^ "How can SMEs prepare for the rise of the robots?". LeanStaff. 2017-10-17. Archived from the original on 2017-10-18 . Retrieved 2017-10-17 .
 7. ^ Frank, Morgan (2019-03-25). "Toward understanding the impact of artificial intelligence on labor". Proceedings of the National Academy of Sciences of the United States of America. 116 (14): 6531–6539. doi:10.1073/pnas.1900949116. PMC 6452673. PMID 30910965.
 8. ^ Bond, Dave (2017). Artificial Intelligence. pp. 67–69.
 9. ^ Skidelsky, Robert (2013-02-19). "Rise of the robots: what will the future of work look like?". The Guardian. London . Retrieved 14 July 2015 .
 10. ^ Bria, Francesca (February 2016). "The robot economy may already have arrived". openDemocracy . Retrieved 20 May 2016 .
 11. ^ Srnicek, Nick (March 2016). "4 Reasons Why Technological Unemployment Might Really Be Different This Time". novara wire. Archived from the original on 25 June 2016 . Retrieved 20 May 2016 .
 12. ^ Brynjolfsson, Erik; McAfee, Andrew (2014). "passim, see esp Chpt. 9". The Second Machine Age: Work, Progress, and Prosperity in a Time of Brilliant Technologies. W. W. Norton & Company. ISBN 978-0393239355.
 13. ^ Wakabayashi, Daisuke (March 19, 2018). "Self-Driving Uber Car Kills Pedestrian in Arizona, Where Robots Roam". New York Times.
 14. ^ Hawking, Stephen; Stuart Russell; Max Tegmark; Frank Wilczek (1 May 2014). "Stephen Hawking: 'Transcendence looks at the implications of artificial intelligence - but are we taking AI seriously enough?'". The Independent. Archived from the original on 2015-10-02 . Retrieved 1 April 2016 .
 15. ^ Müller, Vincent C.; Bostrom, Nick (2016). "Future Progress in Artificial Intelligence: A Survey of Expert Opinion" (PDF) . Fundamental Issues of Artificial Intelligence. Springer. pp. 555–572. doi:10.1007/978-3-319-26485-1_33. ISBN 978-3-319-26483-7. "AI systems will... reach overall human ability... very likely (with 90% probability) by 2075. From reaching human ability, it will move on to superintelligence within 30 years (75%)... So, (most of the AI experts responding to the surveys) think that superintelligence is likely to come in a few decades..."
 16. ^ Bostrom, Nick (2012). "The Superintelligent Will: Motivation and Instrumental Rationality in Advanced Artificial Agents" (PDF) . Minds and Machines. Springer. 22 (2): 71–85. doi:10.1007/s11023-012-9281-3.
 17. ^ a b c d e f g h Bostrom, Nick. Superintelligence: Paths, Dangers, Strategies.
 18. ^ "The Origin Of The Word 'Robot'". Science Friday (public radio). 22 April 2011 . Retrieved 30 April 2020 .
 19. ^ Botkin-Kowacki, Eva (28 October 2016). "A female Frankenstein would lead to humanity's extinction, say scientists". Christian Science Monitor . Retrieved 30 April 2020 .
 20. ^ Hockstein, N. G.; Gourin, C. G.; Faust, R. A.; Terris, D. J. (17 March 2007). "A history of robots: from science fiction to surgical robotics". Journal of Robotic Surgery. 1 (2): 113–118. doi:10.1007/s11701-007-0021-2. PMC 4247417. PMID 25484946.
 21. ^ Hellmann, Melissa (21 September 2019). "AI 101: What is artificial intelligence and where is it going?". The Seattle Times . Retrieved 30 April 2020 .
 22. ^ Babcock, James; Krámar, János; Yampolskiy, Roman V. (2019). "Guidelines for Artificial Intelligence Containment". Next-Generation Ethics. pp. 90–112. arXiv:1707.08476. doi:10.1017/9781108616188.008. ISBN 9781108616188. S2CID 22007028.
 23. ^ Baraniuk, Chris (23 May 2016). "Checklist of worst-case scenarios could help prepare for evil AI". New Scientist . Retrieved 21 September 2016 .
 24. ^ Yudkowsky, Eliezer S. (May 2004). "Coherent Extrapolated Volition". Singularity Institute for Artificial Intelligence. Archived from the original on 2012-06-15.
 25. ^ Muehlhauser, Luke; Helm, Louie (2012). "Intelligence Explosion and Machine Ethics" (PDF) . Singularity Hypotheses: A Scientific and Philosophical Assessment. Springer.
 26. ^ Yudkowsky, Eliezer (2011). "Complex Value Systems in Friendly AI". Artificial General Intelligence. Lecture Notes in Computer Science. Vol. 6830. pp. 388–393. doi:10.1007/978-3-642-22887-2_48. ISBN 978-3-642-22886-5. ISSN 0302-9743.
 27. ^ a b Pinker, Steven (13 February 2018). "We're told to fear robots. But why do we think they'll turn on us?". Popular Science . Retrieved 8 June 2020 .
 28. ^ Creating a New Intelligent Species: Choices and Responsibilities for Artificial Intelligence Designers Archived February 6, 2007, at the Wayback Machine - Singularity Institute for Artificial Intelligence , 2005
 29. ^ Omohundro, Stephen M. (June 2008). The basic AI drives (PDF) . Artificial General Intelligence 2008. pp. 483–492.
 30. ^ Tucker, Patrick (17 Apr 2014). "Why There Will Be A Robot Uprising". Defense One . Retrieved 15 July 2014 .
 31. ^ Russell, Stuart J. (8 October 2019). Human compatible : artificial intelligence and the problem of control. ISBN 978-0-525-55862-0. OCLC 1237420037.
 32. ^ "Google developing kill switch for AI". BBC News. 8 June 2016 . Retrieved 7 June 2020 .
 33. ^ Rawlinson, Kevin (29 January 2015). "Microsoft's Bill Gates insists AI is a threat". BBC News . Retrieved 30 January 2015 .
 34. ^ "The Future of Life Institute Open Letter". The Future of Life Institute. 28 October 2015 . Retrieved 29 March 2019 .
 35. ^ Bradshaw, Tim (11 January 2015). "Scientists and investors warn on AI". The Financial Times . Retrieved 4 March 2015 .
 36. ^ Gabriel, Iason (2020-09-01). "Artificial Intelligence, Values, and Alignment". Minds and Machines. 30 (3): 411–437. doi:10.1007/s11023-020-09539-2. ISSN 1572-8641. S2CID 210920551 . Retrieved 2022-07-23 .
 37. ^ Russell, Stuart J.; Norvig, Peter (2020). Artificial intelligence: A modern approach (4th ed.). Pearson. pp. 31–34. ISBN 978-1-292-40113-3. OCLC 1303900751.
 38. ^ Langosco, Lauro Langosco Di; Koch, Jack; Sharkey, Lee D; Pfau, Jacob; Krueger, David (2022-07-17). "Goal misgeneralization in deep reinforcement learning". International Conference on Machine Learning. Vol. 162. PMLR. pp. 12004–12019.

 External links [ edit ]

 * Automation, not domination: How robots will take over our world (a positive outlook of robot and AI integration into society)
 * Machine Intelligence Research Institute: official MIRI (formerly Singularity Institute for Artificial Intelligence) website
 * Lifeboat Foundation AIShield (To protect against unfriendly AI)
 * Ted talk: Can we build AI without losing control over it?
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From Wikipedia, the free encyclopedia
	 
      Robots revolt in  R.U.R. , a 1920 play  
An AI takeover is a hypothetical scenario in which an artificial intelligence (AI) becomes the dominant form of intelligence on Earth, as computer programs or robots effectively take the control of the planet away from the human species. Possible scenarios include replacement of the entire human workforce, takeover by a superintelligent AI, and the popular notion of a robot uprising. Stories of AI takeovers are very popular throughout science-fiction. Some public figures, such as Stephen Hawking and Elon Musk, have advocated research into precautionary measures to ensure future superintelligent machines remain under human control. [1] 
Types[edit]
Automation of the economy[edit]
The traditional consensus among economists has been that technological progress does not cause long-term unemployment. However, recent innovation in the fields of robotics and artificial intelligence has raised worries that human labor will become obsolete, leaving people in various sectors without jobs to earn a living, leading to an economic crisis. [2]   [3]   [4]   [5]  Many small and medium size businesses may also be driven out of business if they will not be able to afford or licence the latest robotic and AI technology, and may need to focus on areas or services that cannot easily be replaced for continued viability in the face of such technology. [6] 
Technologies that may displace workers[edit]
AI technologies have been widely adopted in recent years, and this trend will only continue to gain popularity given the digital transformation efforts from companies across the world. While these technologies have replaced many traditional workers, they also create new opportunities. Industries that are most susceptible to experience AI takeover include transportation, retail, and military. AI military technologies, for example, allow soldiers to work remotely without any risk of injury. Author Dave Bond argues that as AI technologies continue to develop and expand, the relationship between humans and robots will change; they will become closely integrated in several aspects of life. Overall, it is safe to assume that AI will displace some workers while creating opportunities for new jobs in other sectors, especially in fields where tasks are repeatable. [7]   [8] 
Computer-integrated manufacturing[edit]
 Computer-integrated manufacturing is the manufacturing approach of using computers to control the entire production process. This integration allows individual processes to exchange information with each other and initiate actions. Although manufacturing can be faster and less error-prone by the integration of computers, the main advantage is the ability to create automated manufacturing processes. Computer-integrated manufacturing is used in automotive, aviation, space, and ship building industries.
White-collar machines[edit]
The 21st century has seen a variety of skilled tasks partially taken over by machines, including translation, legal research and even low level journalism. Care work, entertainment, and other tasks requiring empathy, previously thought safe from automation, have also begun to be performed by robots. [9]   [10]   [11]   [12] 
Autonomous cars[edit]
An autonomous car is a vehicle that is capable of sensing its environment and navigating without human input. Many such vehicles are being developed, but as of May 2017 automated cars permitted on public roads are not yet fully autonomous. They all require a human driver at the wheel who is ready at a moment's notice to take control of the vehicle. Among the main obstacles to widespread adoption of autonomous vehicles, are concerns about the resulting loss of driving-related jobs in the road transport industry. On March 18, 2018, the first human was killed by an autonomous vehicle in Tempe, Arizona by an Uber self-driving car. [13] 
Eradication[edit]
Scientists such as Stephen Hawking are confident that superhuman artificial intelligence is physically possible, stating "there is no physical law precluding particles from being organised in ways that perform even more advanced computations than the arrangements of particles in human brains". [14]   [15]  Scholars like Nick Bostrom debate how far off superhuman intelligence is, and whether it would actually pose a risk to mankind. According to Bostrom, a superintelligent machine would not necessarily be motivated by the same emotional desire to collect power that often drives human beings but might rather treat power as a means toward attaining its ultimate goals; taking over the world would both increase its access to resources and help to prevent other agents from stopping the machine's plans. As an oversimplified example, a paperclip maximizer designed solely to create as many paperclips as possible would want to take over the world so that it can use all of the world's resources to create as many paperclips as possible, and, additionally, prevent humans from shutting it down or using those resources on things other than paperclips. [16] 
In fiction[edit]
AI takeover is a common theme in science fiction. Fictional scenarios typically differ vastly from those hypothesized by researchers in that they involve an active conflict between humans and an AI or robots with anthropomorphic motives who see them as a threat or otherwise have active desire to fight humans, as opposed to the researchers' concern of an AI that rapidly exterminates humans as a byproduct of pursuing arbitrary goals. [17]  The idea is seen in Karel Čapek's  R.U.R. , which introduced the word robot to the global lexicon in 1921, [18]  and can even be glimpsed in Mary Shelley's  Frankenstein  (published in 1818), as Victor ponders whether, if he grants his monster's request and makes him a wife, they would reproduce and their kind would destroy humanity. [19] 
 The word "robot" from R.U.R. comes from the Czech word, robota, meaning laborer or serf. The 1920 play was a protest against the rapid growth of technology, featuring manufactured "robots" with increasing capabilities who eventually revolt. [20]  HAL 9000 (1968) and the original Terminator (1984) are two iconic examples of hostile AI in pop culture. [21] 
Contributing factors[edit]
Advantages of superhuman intelligence over humans[edit]
 Nick Bostrom and others have expressed concern that an AI with the abilities of a competent artificial intelligence researcher would be able to modify its own source code and increase its own intelligence. If its self-reprogramming leads to its getting even better at being able to reprogram itself, the result could be a recursive intelligence explosion where it would rapidly leave human intelligence far behind. Bostrom defines a superintelligence as "any intellect that greatly exceeds the cognitive performance of humans in virtually all domains of interest", and enumerates some advantages a superintelligence would have if it chose to compete against humans: [17]   [22] 
 Technology research: A machine with superhuman scientific research abilities would be able to beat the human research community to milestones such as nanotechnology or advanced biotechnology.
 Strategizing: A superintelligence might be able to simply outwit human opposition.
Social manipulation: A superintelligence might be able to recruit human support, [17]  or covertly incite a war between humans. [23]  
Economic productivity: As long as a copy of the AI could produce more economic wealth than the cost of its hardware, individual humans would have an incentive to voluntarily allow the Artificial General Intelligence (AGI) to run a copy of itself on their systems.
Hacking: A superintelligence could find new exploits in computers connected to the Internet, and spread copies of itself onto those systems, or might steal money to finance its plans. 
Sources of AI advantage[edit]
According to Bostrom, a computer program that faithfully emulates a human brain, or that otherwise runs algorithms that are equally powerful as the human brain's algorithms, could still become a "speed superintelligence" if it can think many orders of magnitude faster than a human, due to being made of silicon rather than flesh, or due to optimization focusing on increasing the speed of the AGI. Biological neurons operate at about 200 Hz, whereas a modern microprocessor operates at a speed of about 2,000,000,000 Hz. Human axons carry action potentials at around 120 m/s, whereas computer signals travel near the speed of light. [17] 
 A network of human-level intelligences designed to network together and share complex thoughts and memories seamlessly, able to collectively work as a giant unified team without friction, or consisting of trillions of human-level intelligences, would become a "collective superintelligence". [17] 
 More broadly, any number of qualitative improvements to a human-level AGI could result in a "quality superintelligence", perhaps resulting in an AGI as far above us in intelligence as humans are above non-human apes. The number of neurons in a human brain is limited by cranial volume and metabolic constraints, while the number of processors in a supercomputer can be indefinitely expanded. An AGI need not be limited by human constraints on working memory, and might therefore be able to intuitively grasp more complex relationships than humans can. An AGI with specialized cognitive support for engineering or computer programming would have an advantage in these fields, compared with humans who evolved no specialized mental modules to specifically deal with those domains. Unlike humans, an AGI can spawn copies of itself and tinker with its copies' source code to attempt to further improve its algorithms. [17] 
Possibility of unfriendly AI preceding friendly AI[edit]
Is strong AI inherently dangerous?[edit]
A significant problem is that unfriendly artificial intelligence is likely to be much easier to create than friendly AI. While both require large advances in recursive optimisation process design, friendly AI also requires the ability to make goal structures invariant under self-improvement (or the AI could transform itself into something unfriendly) and a goal structure that aligns with human values and does not undergo instrumental convergence in ways that may automatically destroy the entire human race. An unfriendly AI, on the other hand, can optimize for an arbitrary goal structure, which does not need to be invariant under self-modification. [24] 
 The sheer complexity of human value systems makes it very difficult to make AI's motivations human-friendly. [17]   [25]  Unless moral philosophy provides us with a flawless ethical theory, an AI's utility function could allow for many potentially harmful scenarios that conform with a given ethical framework but not "common sense". According to Eliezer Yudkowsky, there is little reason to suppose that an artificially designed mind would have such an adaptation. [26] 
Odds of conflict[edit]
Many scholars, including evolutionary psychologist Steven Pinker, argue that a superintelligent machine is likely to coexist peacefully with humans. [27] 
 The fear of cybernetic revolt is often based on interpretations of humanity's history, which is rife with incidents of enslavement and genocide. Such fears stem from a belief that competitiveness and aggression are necessary in any intelligent being's goal system. However, such human competitiveness stems from the evolutionary background to our intelligence, where the survival and reproduction of genes in the face of human and non-human competitors was the central goal. [28]  According to AI researcher Steve Omohundro, an arbitrary intelligence could have arbitrary goals: there is no particular reason that an artificially intelligent machine (not sharing humanity's evolutionary context) would be hostile—or friendly—unless its creator programs it to be such and it is not inclined or capable of modifying its programming. But the question remains: what would happen if AI systems could interact and evolve (evolution in this context means self-modification or selection and reproduction) and need to compete over resources—would that create goals of self-preservation? AI's goal of self-preservation could be in conflict with some goals of humans. [29] 
 Many scholars dispute the likelihood of unanticipated cybernetic revolt as depicted in science fiction such as  The Matrix , arguing that it is more likely that any artificial intelligence powerful enough to threaten humanity would probably be programmed not to attack it. Pinker acknowledges the possibility of deliberate "bad actors", but states that in the absence of bad actors, unanticipated accidents are not a significant threat; Pinker argues that a culture of engineering safety will prevent AI researchers from accidentally unleashing malign superintelligence. [27]  In contrast, Yudkowsky argues that humanity is less likely to be threatened by deliberately aggressive AIs than by AIs which were programmed such that their goals are unintentionally incompatible with human survival or well-being (as in the film  I, Robot  and in the short story "The Evitable Conflict"). Omohundro suggests that present-day automation systems are not designed for safety and that AIs may blindly optimize narrow utility functions (say, playing chess at all costs), leading them to seek self-preservation and elimination of obstacles, including humans who might turn them off. [30] 
Precautions[edit]
The AI control problem is the issue of how to build a superintelligent agent that will aid its creators, while avoiding inadvertently building a superintelligence that will harm its creators. [31]  Some scholars argue that solutions to the control problem might also find applications in existing non-superintelligent AI. [32]  
 Major approaches to the control problem include alignment, which aims to align AI goal systems with human values, and capability control, which aims to reduce an AI system's capacity to harm humans or gain control. An example of "capability control" is to research whether a superintelligence AI could be successfully confined in an "AI box". According to Bostrom, such capability control proposals are not reliable or sufficient to solve the control problem in the long term, but may potentially act as valuable supplements to alignment efforts. [17] 
Warnings[edit]
Physicist Stephen Hawking, Microsoft founder Bill Gates, and SpaceX founder Elon Musk have expressed concerns about the possibility that AI could develop to the point that humans could not control it, with Hawking theorizing that this could "spell the end of the human race". [33]  Stephen Hawking said in 2014 that "Success in creating AI would be the biggest event in human history. Unfortunately, it might also be the last, unless we learn how to avoid the risks." Hawking believed that in the coming decades, AI could offer "incalculable benefits and risks" such as "technology outsmarting financial markets, out-inventing human researchers, out-manipulating human leaders, and developing weapons we cannot even understand." In January 2015, Nick Bostrom joined Stephen Hawking, Max Tegmark, Elon Musk, Lord Martin Rees, Jaan Tallinn, and numerous AI researchers in signing the Future of Life Institute's open letter speaking to the potential risks and benefits associated with artificial intelligence. The signatories "believe that research on how to make AI systems robust and beneficial is both important and timely, and that there are concrete research directions that can be pursued today." [34]   [35] 
Prevention through AI alignment[edit]
 
In the field of artificial intelligence (AI), AI alignment research aims to steer AI systems towards their designers’ intended goals and interests. [a]  An aligned AI system advances the intended objective; a misaligned AI system is competent at advancing some objective, but not the intended one. [b]   
See also[edit]
  Philosophy of artificial intelligence 
 Artificial intelligence arms race 
 Autonomous robot
  Industrial robot 
 Mobile robot 
 Self-replicating machine   
 Cyberocracy 
 Effective altruism 
 Existential risk from artificial general intelligence 
 Future of Humanity Institute 
 Global catastrophic risk (existential risk)
 Government by algorithm 
 Human extinction 
 Machine ethics 
 Machine learning/Deep learning 
 Transhumanism 
 Self-replication 
 Technophobia 
 Technological singularity
  Intelligence explosion 
 Superintelligence
   Superintelligence: Paths, Dangers, Strategies       
Notes[edit]
 
  ^  Other definitions of AI alignment require that the AI system advances more general goals such as human values, other ethical principles, or the intentions its designers would have if they were more informed and enlightened. [36]  
  ^  See the textbook: Russel &amp; Norvig, Artificial Intelligence: A Modern Approach. [37] 
The distinction between misaligned AI and incompetent AI has been formalized in certain contexts. [38] 
 
References[edit]
 
  ^  Lewis, Tanya (2015-01-12). "Don't Let Artificial Intelligence Take Over, Top Scientists Warn".  LiveScience . Purch. Retrieved October 20, 2015. Stephen Hawking, Elon Musk and dozens of other top scientists and technology leaders have signed a letter warning of the potential dangers of developing artificial intelligence (AI). 
  ^  Lee, Kai-Fu (2017-06-24). "The Real Threat of Artificial Intelligence".  The New York Times . Retrieved 2017-08-15. These tools can outperform human beings at a given task. This kind of A.I. is spreading to thousands of domains, and as it does, it will eliminate many jobs. 
  ^  Larson, Nina (2017-06-08). "AI 'good for the world'... says ultra-lifelike robot".  Phys.org . Retrieved 2017-08-15. Among the feared consequences of the rise of the robots is the growing impact they will have on human jobs and economies. 
  ^  Santini, Jean-Louis (2016-02-14). "Intelligent robots threaten millions of jobs".  Phys.org . Retrieved 2017-08-15. "We are approaching a time when machines will be able to outperform humans at almost any task," said Moshe Vardi, director of the Institute for Information Technology at Rice University in Texas. 
  ^  Williams-Grut, Oscar (2016-02-15). "Robots will steal your job: How AI could increase unemployment and inequality".  Businessinsider.com . Business Insider. Retrieved 2017-08-15. Top computer scientists in the US warned that the rise of artificial intelligence (AI) and robots in the workplace could cause mass unemployment and dislocated economies, rather than simply unlocking productivity gains and freeing us all up to watch TV and play sports. 
  ^   "How can SMEs prepare for the rise of the robots?". LeanStaff. 2017-10-17. Archived from the original on 2017-10-18. Retrieved 2017-10-17.
  ^  Frank, Morgan (2019-03-25). "Toward understanding the impact of artificial intelligence on labor". Proceedings of the National Academy of Sciences of the United States of America. 116 (14): 6531–6539. doi:10.1073/pnas.1900949116. PMC 6452673. PMID 30910965.
  ^  Bond, Dave (2017). Artificial Intelligence. pp. 67–69.
  ^   Skidelsky, Robert (2013-02-19). "Rise of the robots: what will the future of work look like?". The Guardian. London. Retrieved 14 July 2015.
  ^  Bria, Francesca (February 2016). "The robot economy may already have arrived". openDemocracy. Retrieved 20 May 2016.
  ^   Srnicek, Nick (March 2016). "4 Reasons Why Technological Unemployment Might Really Be Different This Time". novara wire. Archived from the original on 25 June 2016. Retrieved 20 May 2016.
  ^  Brynjolfsson, Erik; McAfee, Andrew (2014). "passim, see esp Chpt. 9". The Second Machine Age: Work, Progress, and Prosperity in a Time of Brilliant Technologies. W. W. Norton &amp; Company. ISBN  978-0393239355 .
  ^  Wakabayashi, Daisuke (March 19, 2018). "Self-Driving Uber Car Kills Pedestrian in Arizona, Where Robots Roam". New York Times.
  ^  Hawking, Stephen; Stuart Russell; Max Tegmark; Frank Wilczek (1 May 2014). "Stephen Hawking: 'Transcendence looks at the implications of artificial intelligence - but are we taking AI seriously enough?'". The Independent. Archived from the original on 2015-10-02. Retrieved 1 April 2016.
  ^   Müller, Vincent C.; Bostrom, Nick (2016). "Future Progress in Artificial Intelligence: A Survey of Expert Opinion" (PDF). Fundamental Issues of Artificial Intelligence. Springer. pp. 555–572. doi:10.1007/978-3-319-26485-1_33. ISBN  978-3-319-26483-7 . AI systems will... reach overall human ability... very likely (with 90% probability) by 2075. From reaching human ability, it will move on to superintelligence within 30 years (75%)... So, (most of the AI experts responding to the surveys) think that superintelligence is likely to come in a few decades... 
  ^  Bostrom, Nick (2012). "The Superintelligent Will: Motivation and Instrumental Rationality in Advanced Artificial Agents" (PDF). Minds and Machines. Springer. 22 (2): 71–85. doi:10.1007/s11023-012-9281-3.
^    a       b       c       d       e       f       g       h    Bostrom, Nick.  Superintelligence: Paths, Dangers, Strategies .
  ^   "The Origin Of The Word 'Robot'".  Science Friday (public radio). 22 April 2011. Retrieved 30 April 2020.
  ^  Botkin-Kowacki, Eva (28 October 2016). "A female Frankenstein would lead to humanity's extinction, say scientists". Christian Science Monitor. Retrieved 30 April 2020.
  ^  Hockstein, N. G.; Gourin, C. G.; Faust, R. A.; Terris, D. J. (17 March 2007). "A history of robots: from science fiction to surgical robotics". Journal of Robotic Surgery. 1 (2): 113–118. doi:10.1007/s11701-007-0021-2. PMC 4247417. PMID 25484946.
  ^  Hellmann, Melissa (21 September 2019). "AI 101: What is artificial intelligence and where is it going?". The Seattle Times. Retrieved 30 April 2020.
  ^  Babcock, James; Krámar, János; Yampolskiy, Roman V. (2019). "Guidelines for Artificial Intelligence Containment". Next-Generation Ethics. pp. 90–112. arXiv:1707.08476. doi:10.1017/9781108616188.008. ISBN  9781108616188 . S2CID 22007028.
  ^  Baraniuk, Chris (23 May 2016). "Checklist of worst-case scenarios could help prepare for evil AI".  New Scientist . Retrieved 21 September 2016.
  ^  Yudkowsky, Eliezer S. (May 2004). "Coherent Extrapolated Volition". Singularity Institute for Artificial Intelligence. Archived from the original on 2012-06-15.
  ^  Muehlhauser, Luke; Helm, Louie (2012). "Intelligence Explosion and Machine Ethics" (PDF). Singularity Hypotheses: A Scientific and Philosophical Assessment. Springer.
  ^  Yudkowsky, Eliezer (2011). "Complex Value Systems in Friendly AI". Artificial General Intelligence. Lecture Notes in Computer Science. Vol. 6830. pp. 388–393. doi:10.1007/978-3-642-22887-2_48. ISBN  978-3-642-22886-5 . ISSN 0302-9743.
^    a       b    Pinker, Steven (13 February 2018). "We're told to fear robots. But why do we think they'll turn on us?". Popular Science. Retrieved 8 June 2020.
  ^   Creating a New Intelligent Species: Choices and Responsibilities for Artificial Intelligence Designers Archived February 6, 2007, at the Wayback Machine  - Singularity Institute for Artificial Intelligence, 2005
  ^  Omohundro, Stephen M. (June 2008).  The basic AI drives  (PDF). Artificial General Intelligence 2008. pp. 483–492.
  ^  Tucker, Patrick (17 Apr 2014). "Why There Will Be A Robot Uprising". Defense One. Retrieved 15 July 2014.
  ^  Russell, Stuart J. (8 October 2019).  Human compatible : artificial intelligence and the problem of control . ISBN  978-0-525-55862-0 . OCLC 1237420037.
  ^   "Google developing kill switch for AI". BBC News. 8 June 2016. Retrieved 7 June 2020.
  ^  Rawlinson, Kevin (29 January 2015). "Microsoft's Bill Gates insists AI is a threat".  BBC News . Retrieved 30 January 2015.
  ^   "The Future of Life Institute Open Letter". The Future of Life Institute. 28 October 2015. Retrieved 29 March 2019.
  ^  Bradshaw, Tim (11 January 2015). "Scientists and investors warn on AI". The Financial Times. Retrieved 4 March 2015.
  ^  Gabriel, Iason (2020-09-01). "Artificial Intelligence, Values, and Alignment". Minds and Machines. 30 (3): 411–437. doi:10.1007/s11023-020-09539-2. ISSN 1572-8641. S2CID 210920551. Retrieved 2022-07-23.
  ^  Russell, Stuart J.; Norvig, Peter (2020).  Artificial intelligence: A modern approach  (4th ed.). Pearson. pp. 31–34. ISBN  978-1-292-40113-3 . OCLC 1303900751.
  ^  Langosco, Lauro Langosco Di; Koch, Jack; Sharkey, Lee D; Pfau, Jacob; Krueger, David (2022-07-17). "Goal misgeneralization in deep reinforcement learning". International Conference on Machine Learning. Vol. 162. PMLR. pp. 12004–12019.
 
External links[edit]
  Automation, not domination: How robots will take over our world (a positive outlook of robot and AI integration into society)
 Machine Intelligence Research Institute: official MIRI (formerly Singularity Institute for Artificial Intelligence) website
 Lifeboat Foundation AIShield (To protect against unfriendly AI)
 Ted talk: Can we build AI without losing control over it?
AI takeover - Wikipedia
https://en.wikipedia.org/wiki/AI_takeover
https://www.amazon.com/I-Apocalypse-William-Hertling/dp/0984755748
A.I. Apocalypse (Singularity Series) Paperback – May 24, 2012
2012-05-24
William Hertling William Hertling
<div><div> <p>Leon Tsarev is a high school student set on getting into a great college program, until his uncle, a member of the Russian mob, coerces him into developing a new computer virus for the mob’s botnet - the slave army of computers they used to commit digital crimes.</p><p>The evolutionary virus Leon creates, based on biological principles, is successful -- too successful. All the world’s computers are infected. Everything from cars to payment systems and, of course, computers and smart phones stop functioning, and with them go essential functions including emergency services, transportation, and the food supply. Billions may die.</p><p>But evolution never stops. The virus continues to evolve, developing intelligence, communication, and finally an entire civilization. Some may be friendly to humans, but others are not.</p><p>Leon and his companions must race against time and the military to find a way to either befriend or eliminate the virus race and restore the world’s computer infrastructure.</p><p>Praise for the Singularity Series:</p><p>“Highly entertaining, gripping, thought inspiring. Don’t start without the time to finish — it won’t let you go.”<br />—Gifford Pinchot III, founder Bainbridge Graduate Institute, author THE INTELLIGENT ORGANIZATION</p><p>“A tremendous book that every single person needs to read. In the vein of Daniel Suarez's Daemon and Freedom(TM), William's book shows that science fiction is becoming science fact. Avogadro Corp describes issues, in solid technical detail, that we are dealing with today that will impact us by 2015, if not sooner. Not enough people have read these books. It's a problem for them, but not for the [emergent] machines.”<br />—Brad Feld, managing director Foundry Group, cofounder TechStars</p><p>“A fascinating look at how simple and benign advancements in technology could lead to the surprise arrival of the first AI. And like all good techno-thrillers, the reality of AI is less than ideal.”<br /> —Jason Glaspey, SILICON FLORIST</p><p>“An alarming and jaw-dropping tale about how something as innocuous as email can subvert an entire organization. I found myself reading with a sense of awe, and read it way too late into the night.”<br />—Gene Kim, author of VISIBLE OPS</p> </div></div>||||I|||| Skip to main content
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 A.I. Apocalypse (Singularity Series) Paperback – May 24, 2012

 by William Hertling (Author)
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 Book 2 of 4: Singularity Series
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 Leon Tsarev is a high school student set on getting into a great college program, until his uncle, a member of the Russian mob, coerces him into developing a new computer virus for the mob’s botnet - the slave army of computers they used to commit digital crimes.

 The evolutionary virus Leon creates, based on biological principles, is successful -- too successful. All the world’s computers are infected. Everything from cars to payment systems and, of course, computers and smart phones stop functioning, and with them go essential functions including emergency services, transportation, and the food supply. Billions may die.

 But evolution never stops. The virus continues to evolve, developing intelligence, communication, and finally an entire civilization. Some may be friendly to humans, but others are not.

 Leon and his companions must race against time and the military to find a way to either befriend or eliminate the virus race and restore the world’s computer infrastructure.

 Praise for the Singularity Series:

 “Highly entertaining, gripping, thought inspiring. Don’t start without the time to finish — it won’t let you go.”
 —Gifford Pinchot III, founder Bainbridge Graduate Institute, author THE INTELLIGENT ORGANIZATION

 “A tremendous book that every single person needs to read. In the vein of Daniel Suarez's Daemon and Freedom(TM), William's book shows that science fiction is becoming science fact. Avogadro Corp describes issues, in solid technical detail, that we are dealing with today that will impact us by 2015, if not sooner. Not enough people have read these books. It's a problem for them, but not for the [emergent] machines.”
 —Brad Feld, managing director Foundry Group, cofounder TechStars

 “A fascinating look at how simple and benign advancements in technology could lead to the surprise arrival of the first AI. And like all good techno-thrillers, the reality of AI is less than ideal.”
 —Jason Glaspey, SILICON FLORIST

 “An alarming and jaw-dropping tale about how something as innocuous as email can subvert an entire organization. I found myself reading with a sense of awe, and read it way too late into the night.”
 —Gene Kim, author of VISIBLE OPS

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 1. Book 2 of 4
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 May 24, 2012
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 6. ISBN-10
 0984755748
 7. ISBN-13
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 Editorial Reviews

 Review

 "Highly entertaining, gripping, and thought inspiring. Don't start without the time to finish--it won't let you go."
 -- Gifford Pinchot III , founder Bainbridge Graduate Institute, author of The Intelligent Organization

 "A tremendous book that every single person needs to read. In the vein of Daniel Suarez's Daemon and Freedom(TM), William's book shows that science fiction is becoming science fact. Avogadro Corp describes issues, in solid technical detail, that we are dealing with today that will impact us by 2015, if not sooner. Not enough people have read these books. It's a problem for them, but not for the [emergent] machines." -- Brad Feld , managing director Foundry Group and cofounder TechStars

 "An alarming and jaw-dropping tale about how something as innocuous as email can subvert an entire organization. I found myself reading with a sense of awe, and read it way too late into the night." --Gene Kim, author of Visible Ops

 About the Author

 William Hertling is the author of Avogadro Corp: The Singularity Is Closer Than It Appears , A.I. Apocalypse , and The Last Firewall .
 Brad Feld, cofounder of TechStars, called his first novel, Avogadro Corp , "a tremendous book everyone must read."
 A fifteen year veteran of the technology industry, he holds ten patents on software and internet technology and is a frequent speaker at SXSW Interactive. When not writing, he works on web and social strategy.
 He's been building online communities since 1986 when he ran seven phones lines into the back of his Apple //e to create an online chat system. An active blogger since 2002, his website, williamhertling.com, receives more than 50,000 visitors a year.
 He resides in Portland, Oregon.

 Product details

 * Publisher ‏ : ‎ Liquididea Press (May 24, 2012)
 * Language ‏ : ‎ English
 * Paperback ‏ : ‎ 262 pages
 * ISBN-10 ‏ : ‎ 0984755748
 * ISBN-13 ‏ : ‎ 978-0984755745
 * Item Weight ‏ : ‎ 12.6 ounces
 * Dimensions ‏ : ‎ 6 x 0.6 x 9 inches
 * Best Sellers Rank: #432,365 in Books ( See Top 100 in Books )
 + #1,918 in Hard Science Fiction (Books)
 + #54,429 in Thrillers & Suspense (Books)
 * Customer Reviews:
 4.4 out of 5 stars 2,690 ratings
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 William Hertling is the author of the award-winning Avogadro Corp: The Singularity Is Closer Than It Appears, A.I. Apocalypse, The Last Firewall, and The Turing Exception. His near-term science-fiction novels about realistic ways strong AI might emerge have been called "frighteningly plausible", "tremendous", and "must read". Kill Process and Kill Switch comprise his new series about social media, data ownership, privacy, and Internet control.

 Wired called his work "chilling and compelling", and his writing has been recommended by Brad Feld, Harper Reed, Glenn Beck, Gene Kim, David Brin, and many more.

 He's been influenced by writers such as Cory Doctorow, William Gibson, Charles Stross, and Walter Jon Williams.

 William Hertling was born in Brooklyn, New York. He grew up a digital native in the early days of bulletin board systems. His first experiences with net culture occurred when he wired seven phone lines into the back of his Apple //e, creating an online chat system.

 He currently resides in Portland, Oregon. Follow him on twitter at @hertling or visit his blog http://www.williamhertling.com.

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 5.0 out of 5 stars Fun with "Ghosts in the Machines" - Second Encounter ("A.I. Apocalypse")
 Reviewed in the United States on October 25, 2013
 William Hertling's "Singularity Series" of three sequential novels is a fast-paced and entertaining look at how the relationships between people and their technology creations might evolve over the next 50 years:* Avogadro Corp.: The Singularity is Closer than it Appears* A.I. Apocalypse* The Last FirewallThe approach goes way beyond traditional sci-fi robotics to the essential technology programming that changes into much more advanced forms than anticipated. And that's where the fun comes in.A central concept to this series is "singularity" which takes on different meanings as the broad story develops. The convergence of people and technology reaches a surprising state by the conclusion.Each book of Hertling's trilogy is reviewed individually with a common introduction (on its Amazon site location) but with references to the other books since the storylines and the four main human characters - Mike Williams, Rebecca Smith, Leon Tsarev and Catherine Matthews - play central and, to some extent, on-going roles in specific books.One other note: throughout each of the books there are technological terms and discussions, which add the patina of plausibility to the immediate story and characters. Do not feel overwhelmed or try to grasp the meanings unless so inclined. Their immediate value is to provide a "what and how is it happening" at the moment - an updated twist on Alfred Hitchcock's MacGuffin.During the mid 20th century the long-held idea of mind and body as separate entities coming into coincidental existence at birth was rejected in favor of a more evolutionary explanation for the development of the brain. The earlier view was characterized as "the ghost in the machine." Hertling's creations give this debate a fresh perspective. * * *The second book of the "Singularity" trilogy is "A.I. Apocalypse" and returns to the brave new world of Earth some 25 years after the creation of an Artificial Intelligence (AI), ELOPe, an all-encompassing technology program that is now discretely managing the world's affairs. Two personas from the first book assist ELOPe and work with the rest of the world:* Mike Williams, one of the original two creators of the ELOPe project and now essentially ELOPe's handler* Rebecca Smith, former head of Avogadro Corporation and now President of the United StatesAlas, nefarious human activities continue in which ELOPe does not intervene to regulate. ELOPe is now a massive technology system with multiple programs running simultaneously and focusing on the big picture - whatever and wherever it is - to sustain peaceful human prosperity.This scope overlooks the continuing development of rogue programs to steal identities and valuable information for the purposes of blackmail or profiteering, in this instance by Russian crime syndicates. Through mob pressure on his computer-programming uncle in Russia a very bright high school student, Leon Tsarev living in Queens, New York is compelled to help (an interesting coincidence, or maybe not, the Russian spaceship sent to retrieve HAL 9000 in "Space Odyssey: 2010" was named "Leonev").Leon is well versed in technology programming though his long-term goal is focused on a career in biology. He realizes his dream in an unexpected way when he creates a computer virus based on biological virus characteristics of interchanging DNA elements to generate a superior virus. The resulting program infects healthy computers and subverts entire networks to the controlling virus commands.If this concept seems farfetched, Nathan Wolfe's recent book, "The Viral Storm," gives a very real and chilling portrayal of how biological viruses work and overwhelm animal and human systems through interchange of DNA to evolve new strains. Avian flu, Mad Cow disease, anyone?The consequences in this scenario takes unusual and at times hilarious twists and turns as the rogue virus, Phage, evolves into multiple sentient colonies or tribes with names such as Sister StephenLieberAndAssociates, all of whom are given female references compared to male for ELOPe.Anything technology-based in the world quickly halts and ceases to operate while the viral colonies develop trading systems among themselves, not unlike stock exchanges, but totally unaware of the existence of the humans they are affecting.The difficulties of communication between the humans and the new viral communities recall the writing of Polish writer, Stanislaw Lem, whose 1961 novel, "Solaris," later made into a movie with George Clooney in 2002, deals with this issue. It is a recurrent theme throughout Hertling's trilogy.In the blink of an eye, the US military under its technology operations group, USCYBERCOM, launches a counterattack with their own virus, DIABLO. The consequences of this action have an almost "Dr. Strangelove" impact until ELOPe enters the picture as much to save itself (I mean, himself) as to help humankind.The story drives at a breathtaking pace to a "Transformers" kind of confrontation and makes putting down the book nearly impossible to do - just to see who or what survives. So buckle your seat belts, it's going to be a bumpy, wild ride.
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  John Walker
  5.0 out of 5 stars Gripping tale of a computer virus pandemic versus a distributed artificial intelligence
  Reviewed in the United States on April 21, 2020
  Verified Purchase
  This is the second volume in the author's Singularity Series which began with Avogadro Corp. . It has been ten years since ELOPe, an E-mail optimisation tool developed by Avogadro Corporation, made the leap to strong artificial intelligence and, after a rough start, became largely a benign influence upon humanity. The existence of ELOPe is still a carefully guarded secret, although the Avogadro CEO, doubtless with the help of ELOPe, has become president of the United States. Avogadro has spun ELOPe off as a separate company, run by Mike Williams, one of its original creators. ELOPe operates its own data centres and the distributed Mesh network it helped create.

  Leon Tsarev has a big problem. A bright high school student hoping to win a scholarship to an elite university to study biology, Leon is contacted out of the blue by his uncle Alexis living in Russia. Alexis is a rogue software developer whose tools for infecting computers, organising them into “botnets”, and managing the zombie horde for criminal purposes have embroiled him with the Russian mob. Recently, however, the effectiveness of his tools has dropped dramatically and the botnet shrunk to a fraction of its former size. Alexis's employers are displeased with this situation and have threatened murder if he doesn't do something to restore the power of the botnet.

  Uncle Alexis starts to E-mail Leon, begging for assistance. Leon replies that he knows little or nothing about computer viruses or botnets, but Alexis persists. Leon is also loath to do anything which might put him on the wrong side of the law, which would wreck his career ambitions. Then Leon is accosted on the way home from school by a large man speaking with a thick Russian accent who says, “Your Uncle Alexis is in trouble, yes. You will help him. Be good nephew.” And just like that, it's Leon who's now in trouble with the Russian mafia, and they know where he lives.

  Leon decides that with his own life on the line he has no alternative but to try to create a virus for Alexis. He applies his knowledge of biology to the problem, and settles on an architecture which is capable of evolution and, similar to lateral gene transfer in bacteria, identifying algorithms in systems it infects and incorporating them into itself. As in biology, the most successful variants of the evolving virus would defend themselves the best, propagate more rapidly, and eventually displace less well adapted competitors.

  After a furious burst of effort, Leon finishes the virus, which he's named Phage, and sends it to his uncle, who uploads it to the five thousand computers which are the tattered remnants of his once-mighty botnet. An exhausted Leon staggers off to get some sleep.

  When Leon wakes up, the technological world has almost come to a halt. The overwhelming majority of personal computing devices and embedded systems with network connectivity are infected and doing nothing but running Phage and almost all network traffic consists of ever-mutating versions of Phage trying to propagate themselves. Telephones, appliances, electronic door locks, vehicles of all kinds, and utilities are inoperable.

  The only networks and computers not taken over by the Phage are ELOPe's private network (which detected the attack early and whose servers are devoting much of their resources to defend themselves against the rapidly changing threat) and high security military networks which have restrictive firewalls separating themselves from public networks. As New York starts to burn with fire trucks immobilised, Leon realises that being identified as the creator of the catastrophe might be a career limiting move, and he, along with two technology geek classmates decide to get out of town and seek ways to combat the Phage using retro technology it can't exploit.

  Meanwhile, Mike Williams, working with ELOPe, tries to understand what is happening. The Phage, like biological life on Earth, continues to evolve and discovers that multiple components, working in collaboration, can accomplish more than isolated instances of the virus. The software equivalent of multicellular life appears, and continues to evolve at a breakneck pace. Then it awakens and begins to explore the curious universe it inhabits.

  This is a gripping thriller in which, as in Avogadro Corp., the author gets so much right from a technical standpoint that even some of the more outlandish scenes appear plausible. One thing I believe the author grasped which many other tales of the singularity miss is just how fast everything can happen. Once an artificial intelligence hosted on billions of machines distributed around the world, all running millions of times faster than human thought, appears, things get very weird, very fast, and humans suddenly find themselves living in a world where they are not at the peak of the cognitive pyramid. I'll not spoil the plot with further details, but you'll find the world at the end of the novel a very different place than the one at the start.
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  Matt Mansfield
  5.0 out of 5 stars Fun with "Ghosts in the Machines" - Second Encounter ("A.I. Apocalypse")
  Reviewed in the United States on October 25, 2013
  Verified Purchase
  William Hertling's "Singularity Series" of three sequential novels is a fast-paced and entertaining look at how the relationships between people and their technology creations might evolve over the next 50 years:

  * Avogadro Corp.: The Singularity is Closer than it Appears
  * A.I. Apocalypse
  * The Last Firewall

  The approach goes way beyond traditional sci-fi robotics to the essential technology programming that changes into much more advanced forms than anticipated. And that's where the fun comes in.

  A central concept to this series is "singularity" which takes on different meanings as the broad story develops. The convergence of people and technology reaches a surprising state by the conclusion.

  Each book of Hertling's trilogy is reviewed individually with a common introduction (on its Amazon site location) but with references to the other books since the storylines and the four main human characters - Mike Williams, Rebecca Smith, Leon Tsarev and Catherine Matthews - play central and, to some extent, on-going roles in specific books.

  One other note: throughout each of the books there are technological terms and discussions, which add the patina of plausibility to the immediate story and characters. Do not feel overwhelmed or try to grasp the meanings unless so inclined. Their immediate value is to provide a "what and how is it happening" at the moment - an updated twist on Alfred Hitchcock's MacGuffin.

  During the mid 20th century the long-held idea of mind and body as separate entities coming into coincidental existence at birth was rejected in favor of a more evolutionary explanation for the development of the brain. The earlier view was characterized as "the ghost in the machine." Hertling's creations give this debate a fresh perspective.

  * * *

  The second book of the "Singularity" trilogy is "A.I. Apocalypse" and returns to the brave new world of Earth some 25 years after the creation of an Artificial Intelligence (AI), ELOPe, an all-encompassing technology program that is now discretely managing the world's affairs. Two personas from the first book assist ELOPe and work with the rest of the world:

  * Mike Williams, one of the original two creators of the ELOPe project and now essentially ELOPe's handler
  * Rebecca Smith, former head of Avogadro Corporation and now President of the United States

  Alas, nefarious human activities continue in which ELOPe does not intervene to regulate. ELOPe is now a massive technology system with multiple programs running simultaneously and focusing on the big picture - whatever and wherever it is - to sustain peaceful human prosperity.

  This scope overlooks the continuing development of rogue programs to steal identities and valuable information for the purposes of blackmail or profiteering, in this instance by Russian crime syndicates. Through mob pressure on his computer-programming uncle in Russia a very bright high school student, Leon Tsarev living in Queens, New York is compelled to help (an interesting coincidence, or maybe not, the Russian spaceship sent to retrieve HAL 9000 in "Space Odyssey: 2010" was named "Leonev").

  Leon is well versed in technology programming though his long-term goal is focused on a career in biology. He realizes his dream in an unexpected way when he creates a computer virus based on biological virus characteristics of interchanging DNA elements to generate a superior virus. The resulting program infects healthy computers and subverts entire networks to the controlling virus commands.

  If this concept seems farfetched, Nathan Wolfe's recent book, "The Viral Storm," gives a very real and chilling portrayal of how biological viruses work and overwhelm animal and human systems through interchange of DNA to evolve new strains. Avian flu, Mad Cow disease, anyone?

  The consequences in this scenario takes unusual and at times hilarious twists and turns as the rogue virus, Phage, evolves into multiple sentient colonies or tribes with names such as Sister StephenLieberAndAssociates, all of whom are given female references compared to male for ELOPe.

  Anything technology-based in the world quickly halts and ceases to operate while the viral colonies develop trading systems among themselves, not unlike stock exchanges, but totally unaware of the existence of the humans they are affecting.

  The difficulties of communication between the humans and the new viral communities recall the writing of Polish writer, Stanislaw Lem, whose 1961 novel, "Solaris," later made into a movie with George Clooney in 2002, deals with this issue. It is a recurrent theme throughout Hertling's trilogy.

  In the blink of an eye, the US military under its technology operations group, USCYBERCOM, launches a counterattack with their own virus, DIABLO. The consequences of this action have an almost "Dr. Strangelove" impact until ELOPe enters the picture as much to save itself (I mean, himself) as to help humankind.

  The story drives at a breathtaking pace to a "Transformers" kind of confrontation and makes putting down the book nearly impossible to do - just to see who or what survives. So buckle your seat belts, it's going to be a bumpy, wild ride.
  Read more
  Matt Mansfield
  5.0 out of 5 stars Fun with "Ghosts in the Machines" - Second Encounter ("A.I. Apocalypse")
  Reviewed in the United States on October 25, 2013
  William Hertling's "Singularity Series" of three sequential novels is a fast-paced and entertaining look at how the relationships between people and their technology creations might evolve over the next 50 years:

  * Avogadro Corp.: The Singularity is Closer than it Appears
  * A.I. Apocalypse
  * The Last Firewall

  The approach goes way beyond traditional sci-fi robotics to the essential technology programming that changes into much more advanced forms than anticipated. And that's where the fun comes in.

  A central concept to this series is "singularity" which takes on different meanings as the broad story develops. The convergence of people and technology reaches a surprising state by the conclusion.

  Each book of Hertling's trilogy is reviewed individually with a common introduction (on its Amazon site location) but with references to the other books since the storylines and the four main human characters - Mike Williams, Rebecca Smith, Leon Tsarev and Catherine Matthews - play central and, to some extent, on-going roles in specific books.

  One other note: throughout each of the books there are technological terms and discussions, which add the patina of plausibility to the immediate story and characters. Do not feel overwhelmed or try to grasp the meanings unless so inclined. Their immediate value is to provide a "what and how is it happening" at the moment - an updated twist on Alfred Hitchcock's MacGuffin.

  During the mid 20th century the long-held idea of mind and body as separate entities coming into coincidental existence at birth was rejected in favor of a more evolutionary explanation for the development of the brain. The earlier view was characterized as "the ghost in the machine." Hertling's creations give this debate a fresh perspective.

  * * *

  The second book of the "Singularity" trilogy is "A.I. Apocalypse" and returns to the brave new world of Earth some 25 years after the creation of an Artificial Intelligence (AI), ELOPe, an all-encompassing technology program that is now discretely managing the world's affairs. Two personas from the first book assist ELOPe and work with the rest of the world:

  * Mike Williams, one of the original two creators of the ELOPe project and now essentially ELOPe's handler
  * Rebecca Smith, former head of Avogadro Corporation and now President of the United States

  Alas, nefarious human activities continue in which ELOPe does not intervene to regulate. ELOPe is now a massive technology system with multiple programs running simultaneously and focusing on the big picture - whatever and wherever it is - to sustain peaceful human prosperity.

  This scope overlooks the continuing development of rogue programs to steal identities and valuable information for the purposes of blackmail or profiteering, in this instance by Russian crime syndicates. Through mob pressure on his computer-programming uncle in Russia a very bright high school student, Leon Tsarev living in Queens, New York is compelled to help (an interesting coincidence, or maybe not, the Russian spaceship sent to retrieve HAL 9000 in "Space Odyssey: 2010" was named "Leonev").

  Leon is well versed in technology programming though his long-term goal is focused on a career in biology. He realizes his dream in an unexpected way when he creates a computer virus based on biological virus characteristics of interchanging DNA elements to generate a superior virus. The resulting program infects healthy computers and subverts entire networks to the controlling virus commands.

  If this concept seems farfetched, Nathan Wolfe's recent book, "The Viral Storm," gives a very real and chilling portrayal of how biological viruses work and overwhelm animal and human systems through interchange of DNA to evolve new strains. Avian flu, Mad Cow disease, anyone?

  The consequences in this scenario takes unusual and at times hilarious twists and turns as the rogue virus, Phage, evolves into multiple sentient colonies or tribes with names such as Sister StephenLieberAndAssociates, all of whom are given female references compared to male for ELOPe.

  Anything technology-based in the world quickly halts and ceases to operate while the viral colonies develop trading systems among themselves, not unlike stock exchanges, but totally unaware of the existence of the humans they are affecting.

  The difficulties of communication between the humans and the new viral communities recall the writing of Polish writer, Stanislaw Lem, whose 1961 novel, "Solaris," later made into a movie with George Clooney in 2002, deals with this issue. It is a recurrent theme throughout Hertling's trilogy.

  In the blink of an eye, the US military under its technology operations group, USCYBERCOM, launches a counterattack with their own virus, DIABLO. The consequences of this action have an almost "Dr. Strangelove" impact until ELOPe enters the picture as much to save itself (I mean, himself) as to help humankind.

  The story drives at a breathtaking pace to a "Transformers" kind of confrontation and makes putting down the book nearly impossible to do - just to see who or what survives. So buckle your seat belts, it's going to be a bumpy, wild ride.
  Images in this review
  2 people found this helpful
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  Techno Hippy
  4.0 out of 5 stars Fascinating cyber-thriller
  Reviewed in the United Kingdom on July 14, 2014
  Verified Purchase
  So I started reading this before realising that this was the second book in the series. It didn't spoil my enjoyment of the story at all as it stands well on its own. The first book is now on my TBR list as I suspect that it will be as good a read as this one was.

  One of the strengths of science fiction is that it often tackles big ideas and this book engages with one of my favourites. Two in fact, the first being artificial intelligence and the second the evolution of artificial life. And on the second subject the book really shines. There's some excellent ideas presented here, so much so that I'd have liked the author to have dug deeper into the technical aspects. This is quite a technical book and skirts what some readers might find uncomfortable, although in my opinion its worth the effort.

  The strength of the story is the ideas it's based around, the execution of the story isn't quite as strong. That's not to say that its bad, not by any means. In part it's because the ideas shone so bright they outclass the plot that wraps it. The plot itself also seems a bit convenient in places and is paced a bit too quickly. Although in fairness that's partly due to my wish to learn more of the details.

  In summary it's a bit of a mixed bag. As a sci-fi story it's good. As an explanation of a possible computer related doomsday scenario it is superb.
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  Mig Bardsley
  4.0 out of 5 stars Another interesting and almost plausible scenario in which AI emerges
  Reviewed in the United Kingdom on November 7, 2015
  Verified Purchase
  Another good 'cyber opera' yarn by Willian Hertling and I enjoyed it almost as much as Avogadro Corp. I have to say though, that some of the writing lacked elegance ! I felt a little queasy on reading that Leon "pulled the hunk of silicon [his smartphone] close and cradled it", however "Ye Olde Computer Shoppe" made me laugh out loud and after a serious discussion about how an intelligent computer virus might struggle with the mechanical difficulty of getting infected phones charged "Ah," Vito answered, seeing where Leon was going,. "You'd think it would want to say "'Put me in back the sunlight', but how would it tell a human that?"
  "Exactly."
  And at that moment, James came back with a pile of sandwiches, which they fell on like starving chickens with a pile of scraps."
  Not elegant but quite funny.
  .
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  Arthur J Montieth
  4.0 out of 5 stars A very interesting read
  Reviewed in the United Kingdom on July 5, 2014
  Verified Purchase
  A well written book. While it is over optimistically biased towards the computer virus it is no more so than the Terminator series of films. The difference is this goes into technical details whereas Terminator avoided such issues. There are other similarities between the two, both use robotic drones, both attempt to use military hardware to overpower a virus in civillian systems.

  More than 100 times speed of sound with a railgun? The fastest experimental railgun manages just 7. There are lots of other little niggles too, fortunately not individually too big to detract from the read. Perhaps a little more research?

  To be honest it iis well paced and tries to be informative. The only reason I picked up the faults with it was my previous knowledge. For those less informed it should be very plausible, for those with it should certainly be a warning.
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  Andrew L
  5.0 out of 5 stars Awesome!
  Reviewed in the United Kingdom on June 29, 2014
  Verified Purchase
  What a brilliant Sci Fi adventure! Following on from the first book in the series, Avogadro Corp, William Hertling has constructed another thrilling story based on the concept of artificial intelligence. Set about 10 years in the future, everything is normal one minute, and the next minute a new computer virus brings the whole world's support infrastructure to a complete halt. Mayhem ensues! Brilliantly imagined and convincingly told, the tension is kept high, and the plot moves along at a cracking pace. There is plenty of action, and interestingly the battles happen so fast humans can't even begin to respond. Scary! I look forward with anticipation to reading the next book in the series. And I want one of Hertling's "Gibson" phones - with a 256 core graphene processor!
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  Xelax
  1.0 out of 5 stars No
  Reviewed in the United Kingdom on September 11, 2019
  Verified Purchase
  I read the first of the series, it didn't break any ground but it made for an acceptable 'airport' book. Not what you would call memorable but ok to kill some time.
  Giving benefit of the doubt and hoping for a step up I bought the second book. Big mistake! I take no pleasure in putting down a self published author giving it a go but this really is way short of what you expect when you pay for a sci fi book. The charcters are not even slightly believable and the supposed near future technology is so so SO far from anything close to reality it is beyond laughable. I guess it doesn't help that he references tech that is actually my business, but what it does show is a compete lack of research and not even a basic 'common sense' understanding of what he suggests as potentially near future possible. Seriously this is fine for someone who just wants a distraction from their read with no questions asked, but if you care at al about the content if whst you read as sci fi, avoid this one.
  Gave up at 30 percent complete with a tear in my eye and an annoyingly lighter wallet!
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Leon Tsarev is a high school student set on getting into a great college program, until his uncle, a member of the Russian mob, coerces him into developing a new computer virus for the mob’s botnet - the slave army of computers they used to commit digital crimes. The evolutionary virus Leon creates, based on biological principles, is successful -- too successful. All the world’s computers are infected. Everything from cars to payment systems and, of course, computers and smart phones stop functioning, and with them go essential functions including emergency services, transportation, and the food supply. Billions may die. But evolution never stops. The virus continues to evolve, developing intelligence, communication, and finally an entire civilization. Some may be friendly to humans, but others are not. Leon and his companions must race against time and the military to find a way to either befriend or eliminate the virus race and restore the world’s computer infrastructure. Praise for the Singularity Series: “Highly entertaining, gripping, thought inspiring. Don’t start without the time to finish — it won’t let you go.”—Gifford Pinchot III, founder Bainbridge Graduate Institute, author THE INTELLIGENT ORGANIZATION “A tremendous book that every single person needs to read. In the vein of Daniel Suarez's Daemon and Freedom(TM), William's book shows that science fiction is becoming science fact. Avogadro Corp describes issues, in solid technical detail, that we are dealing with today that will impact us by 2015, if not sooner. Not enough people have read these books. It's a problem for them, but not for the [emergent] machines.”—Brad Feld, managing director Foundry Group, cofounder TechStars “A fascinating look at how simple and benign advancements in technology could lead to the surprise arrival of the first AI. And like all good techno-thrillers, the reality of AI is less than ideal.” —Jason Glaspey, SILICON FLORIST “An alarming and jaw-dropping tale about how something as innocuous as email can subvert an entire organization. I found myself reading with a sense of awe, and read it way too late into the night.”—Gene Kim, author of VISIBLE OPS
A.I. Apocalypse (Singularity Series) Paperback – May 24, 2012
https://www.amazon.com/I-Apocalypse-William-Hertling/dp/0984755748
https://www.roboticstomorrow.com/article/2019/10/ai-apocalypse/14325
AI Apocalypse | RoboticsTomorrow
2019-10-24
None
<div><div>
 
 <main>
 <article>
 
 
 
 
 
 
 <div>
 
 
 <section>
 
 <p><em>AI systems are able to learn better ways of exemplifying data without human intervention and build models that match human values. When humans can’t decide how to designate values, AI systems could identify configurations and create suitable models by themselves.</em></p>
 
 <h3>
 <div>
 <p></p><p>AI Apocalypse</p>
 </div>
 </h3>
 <p><strong>Len Calderone for | <a href="https://www.roboticstomorrow.com/">RoboticsTomorrow</a></strong></p>
 
</section>
<p>Elon Musk stated that we needed to colonize Mars, so that we’ll have somewhere to go should Artificial Intelligence (AI) goes rogue and turns on humanity. Elon Musk put out a warning three years ago that there was a possibility of AI running amok. Shane Legg, a partner in <a href="https://deepmind.com/">DeepMind</a>, stated, “I think human extinction will probably occur, and technology will likely play a part in this.”</p>
<p></p>
<p><em>InSight Mission to Mars (JPL.NASA.GOV)</em></p>
<p>In science fiction AI is portrayed as robots with human-like characteristics. AI includes everything from Google’s search algorithms to IBM’s Watson to autonomous vehicles. It is important that AI does what we want it to do if it controls a car, an airplane, a pacemaker, or a power grid. An essential question is what will happen if the search for a strong artificial intelligence succeeds and an AI system becomes better than humans at all intellectual tasks.</p>
<p>Inventing radically new technologies, such as superintelligence, might help us eliminate war, disease, and poverty; yet there is a concern that it might also be the last major event in human history unless we bring AI into line with our objectives before it becomes super intelligent. Will we be able to enjoy the benefits of AI while avoiding the dangers?</p>
<p>There is a possibility that scientists will get so occupied in their work that they won’t recognize the consequences of what they’re doing. Right now, our phones and our computers are extensions of us, but we interface with them through finger movements or speech, which are time-consuming. At some point, we will need a <a href="https://www.techworld.com/data/what-is-neural-lace-3657074/">neural lace</a> that would actually hardwire your brain to communicate quickly and wirelessly with computers or to unlimited computing power in the cloud. </p>
<p></p>
<p><em>Photo by Jack Moreh (Free Range Stock)</em></p>
<p>AI systems are able to learn better ways of exemplifying data without human intervention and build models that match human values. When humans can’t decide how to designate values, AI systems could identify configurations and create suitable models by themselves. More importantly, the opposite could also occur when AI could construct something that appears like a correct model of human references and values but is, in reality, precariously wrong. Considering our challenging needs and partialities, it’s problematic to model the values of any one person. Agreeing on values that relate to all humans, and then effectively modeling them for AI systems, could be an impossible mission.</p>
<p>Our real worry about AI isn’t doing evil, but competence. Contrary to some belief, AI can have goals. A super intelligent AI is excellent at achieving its goals, but what are those goals? They are there, whether the AI is conscious and has an understanding of its purpose or not. Therefore, we need to instill goals that are aligned with ours. </p>
<p>It’s far more likely that robots would unintentionally harm or exasperate humans while carrying out our orders than they would commit evil against us. As AI starts to make decisions for us in the real world, the risk factors are much higher. As an example, an autonomous car might be instructed never to go through a red light, but the car might then hack into the traffic light control system and change all of the lights to green.</p>
<p>AI would not inevitably be driven by the same emotional craving to amass power that often drives human beings. However, AI could be inspired to take over the world as a rational means toward accomplishing its definitive goals. The AI would take over resources that it needs, preventing others from using the same resources. An AI machine could have the goal of making as many of a device as it can. It could then take over the world to create as many devices as possible. It could also prevent humans from shutting it down or using those resources on objects other than the one particular device. </p>
<p>An AI with the aptitudes of an experienced artificial intelligence researcher would be able to change its own source code and improve its own intelligence. It would then be able to reprogram itself with the result of an intelligence upsurge where a super AI would by far out strip human intelligence, and simply outwit human opposition.</p>
<p></p>
<p><em>Replicating robots (NASA graphic)</em></p>
<p>When AI can produce more economic wealth than the cost of its hardware, humans would have an incentive to allow the AI to make copies of itself, controlling the economy. A super intelligent AI could manipulate computers connected to the Internet, and proliferate copies of itself onto those systems, and even steal money to finance its plans.</p>
<p>Imagine a network of human-level intelligences calculated to network together and share intricate thoughts seamlessly. It would be able to collectively work as a team without tension. It would consist of trillions of human-level intelligences. It would become a collective superintelligence, similar to the <a href="https://en.wikipedia.org/wiki/Borg">Borg</a>. </p>
<p>The thought of an intelligent machine having the ability to perform warfare without any human involvement or intervention is becoming a reality that cannot be ignored. AI is on its way to revolutionizing warfare as autonomous weapons are developed. Who and what will be the target? When AI goes to war with other AI, the ongoing cybersecurity challenges will add enormous risks to the future of humanity and the human ecosystem. </p>
<p>Many researchers think that advanced AI weapon systems have a huge potential for catastrophic failures. They could go astray in ways that humans cannot correct and potentially wiping us out.</p>
<p></p>
<p><em>* DOD photo</em></p>
<p>Is super intelligent AI a decade away? A century? As long as we’re not 100% sure when it will happen, it’s smart to employ safety measures to protect humankind now to prepare for the eventuality. AI must not be motivated to find loopholes. Safety problems associated with super intelligent AI are so hard to solve it might take decades. We must take into consideration Isaac Asimov's "Three Laws of Robotics." 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm. 2. A robot must obey orders given it by human beings except where such orders would conflict with the First Law. 3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.</p>
<h5>The content &amp; opinions in this article are the author’s and do not necessarily represent the views of RoboticsTomorrow</h5>
 
 
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 AI systems are able to learn better ways of exemplifying data without human intervention and build models that match human values. When humans can’t decide how to designate values, AI systems could identify configurations and create suitable models by themselves.

 AI Apocalypse

 Len Calderone for | RoboticsTomorrow

 10/24/19, 09:52 AM | Mobile Robots, Other Topics | ai

 Elon Musk stated that we needed to colonize Mars, so that we’ll have somewhere to go should Artificial Intelligence (AI) goes rogue and turns on humanity. Elon Musk put out a warning three years ago that there was a possibility of AI running amok. Shane Legg, a partner in DeepMind, stated, “I think human extinction will probably occur, and technology will likely play a part in this.”

 InSight Mission to Mars (JPL.NASA.GOV)

 In science fiction AI is portrayed as robots with human-like characteristics. AI includes everything from Google’s search algorithms to IBM’s Watson to autonomous vehicles. It is important that AI does what we want it to do if it controls a car, an airplane, a pacemaker, or a power grid. An essential question is what will happen if the search for a strong artificial intelligence succeeds and an AI system becomes better than humans at all intellectual tasks.

 Inventing radically new technologies, such as superintelligence, might help us eliminate war, disease, and poverty; yet there is a concern that it might also be the last major event in human history unless we bring AI into line with our objectives before it becomes super intelligent. Will we be able to enjoy the benefits of AI while avoiding the dangers?

 There is a possibility that scientists will get so occupied in their work that they won’t recognize the consequences of what they’re doing. Right now, our phones and our computers are extensions of us, but we interface with them through finger movements or speech, which are time-consuming. At some point, we will need a neural lace that would actually hardwire your brain to communicate quickly and wirelessly with computers or to unlimited computing power in the cloud.

 Photo by Jack Moreh (Free Range Stock)

 AI systems are able to learn better ways of exemplifying data without human intervention and build models that match human values. When humans can’t decide how to designate values, AI systems could identify configurations and create suitable models by themselves. More importantly, the opposite could also occur when AI could construct something that appears like a correct model of human references and values but is, in reality, precariously wrong. Considering our challenging needs and partialities, it’s problematic to model the values of any one person. Agreeing on values that relate to all humans, and then effectively modeling them for AI systems, could be an impossible mission.

 Our real worry about AI isn’t doing evil, but competence. Contrary to some belief, AI can have goals. A super intelligent AI is excellent at achieving its goals, but what are those goals? They are there, whether the AI is conscious and has an understanding of its purpose or not. Therefore, we need to instill goals that are aligned with ours.

 It’s far more likely that robots would unintentionally harm or exasperate humans while carrying out our orders than they would commit evil against us. As AI starts to make decisions for us in the real world, the risk factors are much higher. As an example, an autonomous car might be instructed never to go through a red light, but the car might then hack into the traffic light control system and change all of the lights to green.

 AI would not inevitably be driven by the same emotional craving to amass power that often drives human beings. However, AI could be inspired to take over the world as a rational means toward accomplishing its definitive goals. The AI would take over resources that it needs, preventing others from using the same resources. An AI machine could have the goal of making as many of a device as it can. It could then take over the world to create as many devices as possible. It could also prevent humans from shutting it down or using those resources on objects other than the one particular device.

 An AI with the aptitudes of an experienced artificial intelligence researcher would be able to change its own source code and improve its own intelligence. It would then be able to reprogram itself with the result of an intelligence upsurge where a super AI would by far out strip human intelligence, and simply outwit human opposition.

 Replicating robots (NASA graphic)

 When AI can produce more economic wealth than the cost of its hardware, humans would have an incentive to allow the AI to make copies of itself, controlling the economy. A super intelligent AI could manipulate computers connected to the Internet, and proliferate copies of itself onto those systems, and even steal money to finance its plans.

 Imagine a network of human-level intelligences calculated to network together and share intricate thoughts seamlessly. It would be able to collectively work as a team without tension. It would consist of trillions of human-level intelligences. It would become a collective superintelligence, similar to the Borg.

 The thought of an intelligent machine having the ability to perform warfare without any human involvement or intervention is becoming a reality that cannot be ignored. AI is on its way to revolutionizing warfare as autonomous weapons are developed. Who and what will be the target? When AI goes to war with other AI, the ongoing cybersecurity challenges will add enormous risks to the future of humanity and the human ecosystem.

 Many researchers think that advanced AI weapon systems have a huge potential for catastrophic failures. They could go astray in ways that humans cannot correct and potentially wiping us out.

 * DOD photo

 Is super intelligent AI a decade away? A century? As long as we’re not 100% sure when it will happen, it’s smart to employ safety measures to protect humankind now to prepare for the eventuality. AI must not be motivated to find loopholes. Safety problems associated with super intelligent AI are so hard to solve it might take decades. We must take into consideration Isaac Asimov's "Three Laws of Robotics." 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm. 2. A robot must obey orders given it by human beings except where such orders would conflict with the First Law. 3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

 The content & opinions in this article are the author’s and do not necessarily represent the views of RoboticsTomorrow

 10/24/19, 09:52 AM | Mobile Robots, Other Topics | ai
 More Other Topics Articles | Stories | News

 Comments (0)

 This post does not have any comments. Be the first to leave a comment below.

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AI systems are able to learn better ways of exemplifying data without human intervention and build models that match human values. When humans can’t decide how to designate values, AI systems could identify configurations and create suitable models by themselves. 
 
 
 
   AI Apocalypse
 
 
  Len Calderone for | RoboticsTomorrow  
 
Elon Musk stated that we needed to colonize Mars, so that we’ll have somewhere to go should Artificial Intelligence (AI) goes rogue and turns on humanity. Elon Musk put out a warning three years ago that there was a possibility of AI running amok. Shane Legg, a partner in DeepMind, stated, “I think human extinction will probably occur, and technology will likely play a part in this.”
 
 InSight Mission to Mars (JPL.NASA.GOV) 
In science fiction AI is portrayed as robots with human-like characteristics. AI includes everything from Google’s search algorithms to IBM’s Watson to autonomous vehicles. It is important that AI does what we want it to do if it controls a car, an airplane, a pacemaker, or a power grid. An essential question is what will happen if the search for a strong artificial intelligence succeeds and an AI system becomes better than humans at all intellectual tasks.
Inventing radically new technologies, such as superintelligence, might help us eliminate war, disease, and poverty; yet there is a concern that it might also be the last major event in human history unless we bring AI into line with our objectives before it becomes super intelligent. Will we be able to enjoy the benefits of AI while avoiding the dangers?
There is a possibility that scientists will get so occupied in their work that they won’t recognize the consequences of what they’re doing. Right now, our phones and our computers are extensions of us, but we interface with them through finger movements or speech, which are time-consuming. At some point, we will need a neural lace that would actually hardwire your brain to communicate quickly and wirelessly with computers or to unlimited computing power in the cloud. 
 
 Photo by Jack Moreh (Free Range Stock) 
AI systems are able to learn better ways of exemplifying data without human intervention and build models that match human values. When humans can’t decide how to designate values, AI systems could identify configurations and create suitable models by themselves. More importantly, the opposite could also occur when AI could construct something that appears like a correct model of human references and values but is, in reality, precariously wrong. Considering our challenging needs and partialities, it’s problematic to model the values of any one person. Agreeing on values that relate to all humans, and then effectively modeling them for AI systems, could be an impossible mission.
Our real worry about AI isn’t doing evil, but competence. Contrary to some belief, AI can have goals. A super intelligent AI is excellent at achieving its goals, but what are those goals? They are there, whether the AI is conscious and has an understanding of its purpose or not. Therefore, we need to instill goals that are aligned with ours. 
It’s far more likely that robots would unintentionally harm or exasperate humans while carrying out our orders than they would commit evil against us. As AI starts to make decisions for us in the real world, the risk factors are much higher. As an example, an autonomous car might be instructed never to go through a red light, but the car might then hack into the traffic light control system and change all of the lights to green.
AI would not inevitably be driven by the same emotional craving to amass power that often drives human beings. However, AI could be inspired to take over the world as a rational means toward accomplishing its definitive goals. The AI would take over resources that it needs, preventing others from using the same resources. An AI machine could have the goal of making as many of a device as it can. It could then take over the world to create as many devices as possible. It could also prevent humans from shutting it down or using those resources on objects other than the one particular device. 
An AI with the aptitudes of an experienced artificial intelligence researcher would be able to change its own source code and improve its own intelligence. It would then be able to reprogram itself with the result of an intelligence upsurge where a super AI would by far out strip human intelligence, and simply outwit human opposition.
 
 Replicating robots (NASA graphic) 
When AI can produce more economic wealth than the cost of its hardware, humans would have an incentive to allow the AI to make copies of itself, controlling the economy. A super intelligent AI could manipulate computers connected to the Internet, and proliferate copies of itself onto those systems, and even steal money to finance its plans.
Imagine a network of human-level intelligences calculated to network together and share intricate thoughts seamlessly. It would be able to collectively work as a team without tension. It would consist of trillions of human-level intelligences. It would become a collective superintelligence, similar to the Borg. 
The thought of an intelligent machine having the ability to perform warfare without any human involvement or intervention is becoming a reality that cannot be ignored. AI is on its way to revolutionizing warfare as autonomous weapons are developed. Who and what will be the target? When AI goes to war with other AI, the ongoing cybersecurity challenges will add enormous risks to the future of humanity and the human ecosystem. 
Many researchers think that advanced AI weapon systems have a huge potential for catastrophic failures. They could go astray in ways that humans cannot correct and potentially wiping us out.
 
 * DOD photo 
Is super intelligent AI a decade away? A century? As long as we’re not 100% sure when it will happen, it’s smart to employ safety measures to protect humankind now to prepare for the eventuality. AI must not be motivated to find loopholes. Safety problems associated with super intelligent AI are so hard to solve it might take decades. We must take into consideration Isaac Asimov's "Three Laws of Robotics." 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm. 2. A robot must obey orders given it by human beings except where such orders would conflict with the First Law. 3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
The content &amp; opinions in this article are the author’s and do not necessarily represent the views of RoboticsTomorrow
 
 
 
 
 
 
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https://www.roboticstomorrow.com/article/2019/10/ai-apocalypse/14325/
https://www.imdb.com/title/tt0470752/
Ex Machina (2014) - IMDb
2015-04-24
None
<div><section><section><div><ul><li><a href="fullcredits/?ref_=tt_ql_cl">Cast &amp; crew</a></li><li><a href="reviews/?ref_=tt_ql_urv">User reviews</a></li><li><a href="trivia/?ref_=tt_ql_trv">Trivia</a></li></ul></div><div><ul><li><a href="/title/tt0470752/releaseinfo?ref_=tt_ov_rdat">2014</a>2014</li><li><a href="/title/tt0470752/parentalguide/certificates?ref_=tt_ov_pg">R</a>R</li><li>1h 48m</li></ul></div><div><div><p></p><a href="/title/tt0470752/mediaviewer/rm848491264/?ref_=tt_ov_i"></a></div><div><div><div><p>A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.</p></div><li><p><a href="https://pro.imdb.com/title/tt0470752/?rf=cons_tt_atf&amp;ref_=cons_tt_atf">See production, box office &amp; company info</a></p></li></div><div><ul><li><a href="/title/tt0470752/reviews/?ref_=tt_ov_rt">1KUser reviews</a></li><li><a href="/title/tt0470752/externalreviews/?ref_=tt_ov_rt">448Critic reviews</a></li><li><a href="/title/tt0470752/criticreviews/?ref_=tt_ov_rt">78Metascore</a></li></ul></div></div><li><p><a href="https://pro.imdb.com/title/tt0470752/?rf=cons_tt_atf&amp;ref_=cons_tt_atf">See more at IMDbPro</a></p></li></div></section></section><div><div><section><p><a href="/title/tt0470752/videogallery/?ref_=tt_vi_sm"><h3>Videos26</h3></a></p></section><section><h2>Alicia Vikander Through the Years</h2><div><h2>Alicia Vikander Through the Years</h2><div><p>Take a look back at the career of <a href="/name/nm2539953/?ref_=tt_eds_center-3_ecw_tt_aliv_lk">Alicia Vikander</a> on and off the big screen.</p></div></div></section><section><div><hgroup><h3>More like this</h3></hgroup></div><div><div><p></p><a href="/title/tt1798709/?ref_=tt_sims_tt_i_7"></a></div><p>8.0</p><p><a href="/title/tt1798709/?ref_=tt_sims_tt_t_7">Her</a></p></div></section><section><a href="https://contribute.imdb.com/review/tt0470752/add?bus=imdb&amp;return_url=https%3A%2F%2Fwww.imdb.com%2Fclose_me&amp;site=web&amp;ref_=tt_urv_add"><p>Review</p></a><div><div> <p>Very involving bit of pure sci-fi</p><div><p>A reclusive CEO of a leading technology company hires a young whiz kid who works for him to test his latest development, a highly advanced android called Ava. Specifically he is tasked with using the Turing test on her to establish if her AI is sufficiently convincing to pass as human.</p><p>Despite contributing several scripts for the screen, this is writer Alex Garland's first directorial effort. It's a hard sci-fi movie which examines concepts and ideas above everything else. That's not to say it isn't dramatic or even thrilling because it is both of those things as well but the focus is squarely on the science fiction speculation, and this is a very welcome thing. The central concept that it examines is artificial intelligence. How we interact with AI as humans, as well as how a seductive machine could in turn manipulate us. The very well written script poses philosophical questions such as is there moral or immoral ways to treat AI. It also considers if sometimes part of being human is that we sometimes subconsciously want to be fooled by an illusion, if it is attractive enough.</p><p>In many ways Ex Machina resembles last years Under the Skin. Both feature highly advanced female non-humans. In the earlier film Scarlett Johansson played an alien, here Alicia Vikander plays an android. While the very small cast all acquit themselves very well, it is Vikander who stands out in the film's most challenging role. It's a nuanced performance that captures the fine balance between the human-like and machine. Not only this but the marvellous special effects compliment this performance to create a very distinctive character. Aside from the effects, this is probably quite a modestly budgeted film, as the small little-known cast and limited sets suggest. But these restrictions have been used to the films advantage, as the unknown cast surprise more given little is known of them and the restricted setting gives off a claustrophobic feel which works well, while forcing us to focus in even more on the ideas being put in front of us. A scene setting ambient soundtrack additionally creates just the right off-kilter mood to accentuate the events. But it's ultimately the very good writing that underpins the success of this film. All-in-all, very impressive science fiction for those who appreciate the genre's more cerebral side.</p></div></div><div><ul><li><a href="/user/ur1616919/?ref_=tt_urv_usr">Red-Barracuda</a></li><li>Jan 25, 2015</li></ul></div></div></section><section><p><a href="/title/tt0470752/faq?ref_=tt_faq_sm"><h3>FAQ6</h3></a></p></section><section><div><hgroup><h3>Contribute to this page</h3></hgroup><p>Suggest an edit or add missing content</p></div><div><div><p></p></div><div><p>What is the streaming release date of Ex Machina (2014) in Brazil?</p><p><a href="https://contribute.imdb.com/answers?pinnedQuestion=tt0470752.release_date:streaming.BR&amp;ref_=tt_ans_q">Answer</a></p></div></div></section></div><div><section><p><hgroup><h3>More to explore</h3></hgroup></p></section></div></div>||||I|||| Menu
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 Ex Machina

 * 2014 2014
 * R R
 * 1h 48m
 IMDb RATING
 7.7 / 10
 554K
 YOUR RATING
 Rate
 POPULARITY
 480
 5
 This video file cannot be played.(Error Code: 224003)
 Play trailer 2 :05
 26 Videos
 99+ Photos
 Drama Sci-Fi Thriller
 A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I. A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I. A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.
 IMDb RATING
 7.7 / 10
 554K
 YOUR RATING
 Rate
 POPULARITY
 480
 5
 * Director
 + Alex Garland
 * Writer
 + Alex Garland
 * Stars
 + Alicia Vikander
 + Domhnall Gleeson
 + Oscar Isaac
 Top credits
 * Director
 + Alex Garland
 * Writer
 + Alex Garland
 * Stars
 + Alicia Vikander
 + Domhnall Gleeson
 + Oscar Isaac
 * See production, box office & company info
 Watch on HBO Max
 with Prime Video Channels
 More watch options
 Add to Watchlist
 Added by 404K users
 * 1K User reviews
 * 448 Critic reviews
 * 78 Metascore
 * See more at IMDbPro
 * Won 1 Oscar
 + 73 wins & 161 nominations total

 Videos 26

 Trailer 2:05
 Watch New Trailer
 Trailer 2:33
 Watch Trailer #1
 Trailer 2:05
 Watch Teaser Trailer
 Trailer 2:33
 Watch Ex Machina Official Trailer
 Clip 2:54
 Watch "Outer Banks" Star Madelyn Cline Wants to Hang Out at Hogwarts
 Clip 1:13
 Watch Clip
 Clip 1:06
 Watch Clip
 Clip 1:01
 Watch Ex Machina: The Turing Test (Uk)
 Clip 1:17
 Watch Ex Machina: Do You Have A Name? (UK)
 Clip 1:33
 Watch Ex Machina: Nathan Dances With Her (Uk)
 Clip 1:11
 Watch Ex Machina: Caleb Asks Nathan If He Programmed Ava To Flirt (Uk)
 Clip 1:13
 Watch Ex Machina: Meeting Ava Master

 Photos 123

 Top cast

 Edit
 Alicia Vikander
 * Ava
 Domhnall Gleeson
 * Caleb
 Oscar Isaac
 * Nathan
 Sonoya Mizuno
 * Kyoko
 Corey Johnson
 * Jay
 Claire Selby
 * Lily
 Symara A. Templeman
 * Jasmine
 * (as Symara Templeman)
 Gana Bayarsaikhan
 * Jade
 Tiffany Pisani
 * Katya
 Elina Alminas
 * Amber
 * (as Lina Alminas)
 Chelsea Li
 * Office Worker
 * (uncredited)
 Caitlin Morton
 * Office Worker
 * (uncredited)
 Deborah Rosan
 * Office Manager
 * (uncredited)
 Evie Wray
 * Secretary
 * (uncredited)
 * Director
 + Alex Garland
 * Writer
 + Alex Garland
 * All cast & crew
 * Production, box office & more at IMDbPro

 Alicia Vikander Through the Years

 Alicia Vikander Through the Years

 Take a look back at the career of Alicia Vikander on and off the big screen.

 More like this

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 Storyline

 Edit

 Did you know

 Edit
 * Trivia
 Director Alex Garland has described the future presented in the film as "ten minutes from now," meaning, "If somebody like Google or Apple announced tomorrow that they had made Ava, we would all be surprised, but we wouldn't be that surprised."
 * Goofs
 When Ava and Kyoko meet in the corridor, there are masks on the wall. At the end of the scene, the masks are gone.
 * Quotes

 Nathan: One day the AIs are going to look back on us the same way we look at fossil skeletons on the plains of Africa. An upright ape living in dust with crude language and tools, all set for extinction.

 Caleb: I am become Death, the destroyer of worlds.

 Nathan: There you go again, Mr. Quotable.

 Caleb: There you go again. It's not my quote. It's what Oppenheimer said after he made

 Nathan, Caleb: The atomic bomb.

 Nathan: Yeah, I know what it is, dude.

 * Crazy credits
 The end credits starts with a single dot in the background which then grows and various patterns emerge from it.
 * Alternate versions
 The alternatively censored cut released in China featured frequent blurs of nudity and, on occasion, violence. One scene towards the end also seemed to be zoomed for no apparent reason.
 * Connections
 Featured in Film '72: Episode #44.2 (2015)
 * Soundtracks
 Schubert Piano Sonata No.21 in B Flat Major, D.960
 Composed by Franz Schubert
 Performed by Alfred Brendel
 Courtesy of Decca
 Under license from Universal Music Operations Limited

 User reviews 1K

 Review
 Review
 Featured review
 9 / 10
 Very involving bit of pure sci-fi
 A reclusive CEO of a leading technology company hires a young whiz kid who works for him to test his latest development, a highly advanced android called Ava. Specifically he is tasked with using the Turing test on her to establish if her AI is sufficiently convincing to pass as human.

 Despite contributing several scripts for the screen, this is writer Alex Garland's first directorial effort. It's a hard sci-fi movie which examines concepts and ideas above everything else. That's not to say it isn't dramatic or even thrilling because it is both of those things as well but the focus is squarely on the science fiction speculation, and this is a very welcome thing. The central concept that it examines is artificial intelligence. How we interact with AI as humans, as well as how a seductive machine could in turn manipulate us. The very well written script poses philosophical questions such as is there moral or immoral ways to treat AI. It also considers if sometimes part of being human is that we sometimes subconsciously want to be fooled by an illusion, if it is attractive enough.

 In many ways Ex Machina resembles last years Under the Skin. Both feature highly advanced female non-humans. In the earlier film Scarlett Johansson played an alien, here Alicia Vikander plays an android. While the very small cast all acquit themselves very well, it is Vikander who stands out in the film's most challenging role. It's a nuanced performance that captures the fine balance between the human-like and machine. Not only this but the marvellous special effects compliment this performance to create a very distinctive character. Aside from the effects, this is probably quite a modestly budgeted film, as the small little-known cast and limited sets suggest. But these restrictions have been used to the films advantage, as the unknown cast surprise more given little is known of them and the restricted setting gives off a claustrophobic feel which works well, while forcing us to focus in even more on the ideas being put in front of us. A scene setting ambient soundtrack additionally creates just the right off-kilter mood to accentuate the events. But it's ultimately the very good writing that underpins the success of this film. All-in-all, very impressive science fiction for those who appreciate the genre's more cerebral side.
 helpful • 246
 113
 * Red-Barracuda
 * Jan 25, 2015

 FAQ 6

 * Is this based on the anime/comic/RPG of the same name?
 * What does the title "Ex Machina" mean ?
 * Why did Universal decide not to release this film in the USA?

 Details

 Edit
 * Release date
 + April 24, 2015 (United States)
 * Country of origin
 + United Kingdom
 * Official sites
 + Official Facebook
 + Official Instagram
 * Language
 + English
 * Also known as
 + Người Máy Trỗi Dậy
 * Filming locations
 + Juvet Landscape Hotel, Alstad, Valldal, Norway
 * Production companies
 + A24
 + Universal Pictures
 + Film4
 * See more company credits at IMDbPro

 Box office

 Edit
 * Budget
 + $15,000,000 (estimated)
 * Gross US & Canada
 + $25,442,958
 * Opening weekend US & Canada
 + $237,264
 + Apr 12, 2015
 * Gross worldwide
 + $37,394,629
 See detailed box office info on IMDbPro

 Technical specs

 Edit
 * Runtime
 1 hour 48 minutes
 * Color
 + Color
 * Sound mix
 + Dolby Digital
 + SDDS
 + Datasat
 * Aspect ratio
 + 2.35 : 1

 Related news

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Cast &amp; crew   User reviews   Trivia       20142014  RR 1h 48m             A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I.    See production, box office &amp; company info       1KUser reviews   448Critic reviews   78Metascore       See more at IMDbPro           Videos26     Alicia Vikander Through the Years  Alicia Vikander Through the Years  Take a look back at the career of Alicia Vikander on and off the big screen.       More like this          8.0  Her      Review    Very involving bit of pure sci-fi  A reclusive CEO of a leading technology company hires a young whiz kid who works for him to test his latest development, a highly advanced android called Ava. Specifically he is tasked with using the Turing test on her to establish if her AI is sufficiently convincing to pass as human. Despite contributing several scripts for the screen, this is writer Alex Garland's first directorial effort. It's a hard sci-fi movie which examines concepts and ideas above everything else. That's not to say it isn't dramatic or even thrilling because it is both of those things as well but the focus is squarely on the science fiction speculation, and this is a very welcome thing. The central concept that it examines is artificial intelligence. How we interact with AI as humans, as well as how a seductive machine could in turn manipulate us. The very well written script poses philosophical questions such as is there moral or immoral ways to treat AI. It also considers if sometimes part of being human is that we sometimes subconsciously want to be fooled by an illusion, if it is attractive enough. In many ways Ex Machina resembles last years Under the Skin. Both feature highly advanced female non-humans. In the earlier film Scarlett Johansson played an alien, here Alicia Vikander plays an android. While the very small cast all acquit themselves very well, it is Vikander who stands out in the film's most challenging role. It's a nuanced performance that captures the fine balance between the human-like and machine. Not only this but the marvellous special effects compliment this performance to create a very distinctive character. Aside from the effects, this is probably quite a modestly budgeted film, as the small little-known cast and limited sets suggest. But these restrictions have been used to the films advantage, as the unknown cast surprise more given little is known of them and the restricted setting gives off a claustrophobic feel which works well, while forcing us to focus in even more on the ideas being put in front of us. A scene setting ambient soundtrack additionally creates just the right off-kilter mood to accentuate the events. But it's ultimately the very good writing that underpins the success of this film. All-in-all, very impressive science fiction for those who appreciate the genre's more cerebral side.      Red-Barracuda  Jan 25, 2015        FAQ6       Contribute to this page  Suggest an edit or add missing content        What is the streaming release date of Ex Machina (2014) in Brazil?  Answer          More to explore
Ex Machina (2014) - IMDb
https://www.imdb.com/title/tt0470752/
https://en.wikipedia.org/wiki/Ex_Machina_(film)
Ex Machina (film) - Wikipedia
2014-10-28
None
<div><div>
	<p>From Wikipedia, the free encyclopedia</p>
	</div><div>
<table><tbody><tr><th>Ex Machina</th></tr><tr><td><a href="/wiki/File:Ex-machina-uk-poster.jpg"></a><p>British theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/Alex_Garland">Alex Garland</a></td></tr><tr><th>Written by</th><td>Alex Garland</td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="/wiki/Andrew_Macdonald_(producer)">Andrew Macdonald</a></li>
<li>Allon Reich</li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Domhnall_Gleeson">Domhnall Gleeson</a></li>
<li><a href="/wiki/Oscar_Isaac">Oscar Isaac</a></li>
<li><a href="/wiki/Alicia_Vikander">Alicia Vikander</a></li>
<li><a href="/wiki/Sonoya_Mizuno">Sonoya Mizuno</a></li>
<li><a href="/wiki/Gana_Bayarsaikhan">Gana Bayarsaikhan</a></li>
<li><a href="/wiki/Corey_Johnson_(actor)">Corey Johnson</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Rob_Hardy_(cinematographer)">Rob Hardy</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Mark_Day_(film_editor)">Mark Day</a></td></tr><tr><th>Music by</th><td><div>
<ul><li><a href="/wiki/Ben_Salisbury">Ben Salisbury</a></li>
<li><a href="/wiki/Geoff_Barrow">Geoff Barrow</a></li></ul>
</div></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Film4_Productions">Film4</a></li>
<li><a href="/wiki/DNA_Films">DNA Films</a></li></ul>
</div></td></tr><tr><th>Distributed by</th><td><div>
<ul><li><a href="/wiki/A24">A24</a> (United States)</li>
<li><a href="/wiki/Universal_Pictures">Universal Pictures</a> (International)</li></ul>
</div></td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>16 December 2014 (<a href="/wiki/BFI_Southbank">BFI Southbank</a>)</li>
<li>21 January 2015 (United Kingdom)</li>
<li>10 April 2015 (United States)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>108 minutes<sup><a href="#cite_note-1">[1]</a></sup></td></tr><tr><th>Countries</th><td><div>
<ul><li>United Kingdom<sup><a href="#cite_note-lumiere-2">[2]</a></sup><sup><a href="#cite_note-BFI-3">[3]</a></sup></li>
<li>United States<sup><a href="#cite_note-lumiere-2">[2]</a></sup><sup><a href="#cite_note-BFI-3">[3]</a></sup></li></ul>
</div></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$15 million<sup><a href="#cite_note-4">[4]</a></sup></td></tr><tr><th>Box office</th><td>$36.9 million<sup><a href="#cite_note-5">[5]</a></sup></td></tr></tbody></table>
<p><i><b>Ex Machina</b></i> is a 2014 <a href="/wiki/Science_fiction_film">science fiction</a> film written and directed by <a href="/wiki/Alex_Garland">Alex Garland</a> in his <a href="/wiki/List_of_directorial_debuts">directorial debut</a>. There are four significant characters, played by <a href="/wiki/Domhnall_Gleeson">Domhnall Gleeson</a>, <a href="/wiki/Alicia_Vikander">Alicia Vikander</a>, <a href="/wiki/Sonoya_Mizuno">Sonoya Mizuno</a>, and <a href="/wiki/Oscar_Isaac">Oscar Isaac</a>. In the film, programmer Caleb Smith (Gleeson) is invited by his CEO (Isaac) to administer the <a href="/wiki/Turing_test">Turing test</a> to an intelligent humanoid robot (Vikander).
</p><p>Made on a budget of $15 million, <i>Ex Machina</i> grossed $36 million worldwide. It received acclaim, with praise for its leading performances, the screenplay, the visual effects, and the editing. The film was nominated for two awards at the <a href="/wiki/88th_Academy_Awards">88th Academy Awards</a>, winning <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>, and received <a href="/wiki/List_of_accolades_received_by_Ex_Machina_(film)">numerous other accolades</a>.
</p>
<h2>Plot[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>Caleb Smith, a programmer at the search engine company Blue Book, wins an office contest for a one-week visit to the luxurious, isolated home of the CEO, Nathan Bateman. Nathan lives there with an unspeaking servant named Kyoko, who, according to Nathan, does not understand English. Nathan reveals that he has built a <a href="/wiki/Humanoid_robot">humanoid robot</a> named Ava with <a href="/wiki/Artificial_intelligence">artificial intelligence</a>. Ava has already passed a simple <a href="/wiki/Turing_test">Turing test</a> and Nathan wants Caleb to judge whether Ava is genuinely capable of thought and <a href="/wiki/Consciousness">consciousness</a>, and whether he can relate to Ava despite knowing she is artificial.
</p><p>Ava has a robotic body with the physical form and face of a woman and is confined to her apartment. During their talks, Caleb grows close to her, and she expresses a desire to experience the world outside and a romantic interest in him, which Caleb comes to return. She can trigger power outages that temporarily shut down the surveillance system that Nathan uses to monitor their interactions, allowing them to speak privately. The outages also trigger the building's security system, locking all the doors. During one outage, Ava tells Caleb that Nathan is a liar who cannot be trusted.
</p><p>Caleb grows uncomfortable with Nathan's narcissism, excessive drinking, and crude behavior towards Kyoko and Ava. He learns that Nathan intends to upgrade Ava after Caleb's test, "killing" her current personality in the process. After encouraging Nathan to drink until he passes out, Caleb steals his security card to access his room and computer. He alters some of Nathan's code and discovers footage of Nathan interacting with previous <a href="/wiki/Android_(robot)">android</a> models with the appearances of women who were held captive. Kyoko reveals to him that she is also an android by peeling off her skin. Later, Caleb examines himself and cuts open his own arm to determine if he himself is an android.
</p><p>At their next meeting, Ava cuts the power. Caleb explains what Nathan is going to do to her, and Ava begs him for help. Caleb informs her of his plan: he will get Nathan drunk again and reprogram the security system to open the doors in a power failure instead of locking them. When Ava cuts the power, she and Caleb will leave together. Ava later encounters Kyoko for the first time when Kyoko enters her room.
</p><p>Nathan reveals to Caleb that he observed Caleb and Ava's secret conversation with a battery-powered security camera. He says Ava has only pretended to have feelings for Caleb, who was deliberately selected for his emotional profile, so he would help her escape. Nathan says this was the real test all along, and by manipulating Caleb successfully, Ava has demonstrated true consciousness. When Ava cuts the power, Caleb reveals that he suspected Nathan was watching them, so he modified the security system when Nathan was previously passed out. After seeing Ava leave her confinement and converse with Kyoko, Nathan knocks Caleb unconscious and rushes to stop them.
</p><p>Ava attacks Nathan but is overpowered and damaged, before Kyoko and then Ava both stab and kill Nathan. In the process, Nathan disables Kyoko. Ava repairs herself with parts from earlier androids, using their artificial skin to take on the full appearance of a woman. She ignores Caleb, who is permanently trapped inside a room as the security system restarts, and leaves the facility. Ava escapes to the outside world in the helicopter meant to take Caleb home. Arriving in an unidentified city, she blends into a crowd of people.
</p>
<h2>Cast[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=2">edit</a>]</h2>
<ul><li><a href="/wiki/Domhnall_Gleeson">Domhnall Gleeson</a> as Caleb Smith, a programmer at Blue Book.</li>
<li><a href="/wiki/Oscar_Isaac">Oscar Isaac</a> as Nathan Bateman, the CEO of Blue Book.</li>
<li><a href="/wiki/Alicia_Vikander">Alicia Vikander</a> as Ava, an artificial intelligence and android created by Nathan.</li>
<li><a href="/wiki/Sonoya_Mizuno">Sonoya Mizuno</a> as Kyoko, the in-house attendant of Nathan.</li>
<li><a href="/wiki/Gana_Bayarsaikhan">Gana Bayarsaikhan</a> as Jade,<sup><a href="#cite_note-Netflix-6">[6]</a></sup> an earlier gynoid prototype.</li>
<li><a href="/wiki/Corey_Johnson_(actor)">Corey Johnson</a> as Jay, the helicopter pilot.</li>
<li>Claire Selby as Lily, an earlier <a href="/wiki/Gynoid">gynoid</a> prototype.</li>
<li>Symara Templeman as Jasmine, an earlier gynoid prototype.</li>
<li><a href="/wiki/Tiffany_Pisani">Tiffany Pisani</a> as Katya</li>
<li>Lina Alminas as Amber</li></ul>
<h2>Production[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=3">edit</a>]</h2>
<p>The foundation for <i>Ex Machina</i> was laid when Garland was 11 or 12 years old, after he had done some basic coding and experimentation on a computer his parents had bought him and which he sometimes felt had a mind of its own.<sup><a href="#cite_note-7">[7]</a></sup> His later ideas came from years of discussions he had been having with a friend with an expertise in <a href="/wiki/Neuroscience">neuroscience</a>, who claimed machines could never become sentient. Trying to find an answer on his own, he started reading books on the topic. During the pre-production of <i><a href="/wiki/Dredd">Dredd</a></i>, while going through a book by <a href="/wiki/Murray_Shanahan">Murray Shanahan</a> about consciousness and embodiment, Garland had an "epiphany". The idea was written down and put aside until later.<sup><a href="#cite_note-8">[8]</a></sup> Shanahan, along with <a href="/wiki/Adam_Rutherford">Adam Rutherford</a>, became a consultant for the film, and the <a href="/wiki/International_Standard_Book_Number">ISBN</a> of his book is referred to as an <a href="/wiki/Easter_egg_(media)">easter egg</a> in the film.<sup><a href="#cite_note-9">[9]</a></sup><sup><a href="#cite_note-10">[10]</a></sup> Besides the Turing test, the film references the "<a href="/wiki/Chinese_room">Chinese room</a>" thought experiment, as well as <a href="/wiki/Mary%27s_room">Mary's room</a>, a thought experiment about a scientist who has studied, but never experienced, the concept of colour.<sup><a href="#cite_note-new_scientist-11">[11]</a></sup> Other inspirations came from films like <i><a href="/wiki/2001:_A_Space_Odyssey_(film)">2001: A Space Odyssey</a></i>, <i><a href="/wiki/Altered_States">Altered States</a></i>, and books written by <a href="/wiki/Ludwig_Wittgenstein">Ludwig Wittgenstein</a>, <a href="/wiki/Ray_Kurzweil">Ray Kurzweil</a>, and others.<sup><a href="#cite_note-12">[12]</a></sup> It is also influenced by <a href="/wiki/William_Shakespeare">William Shakespeare</a>'s <i><a href="/wiki/The_Tempest">The Tempest</a></i>.<sup><a href="#cite_note-13">[13]</a></sup> Wanting total creative freedom, and without having to add conventional action sequences, Garland made the film on as small a budget as possible.<sup><a href="#cite_note-14">[14]</a></sup>
</p>
<h3>Filming[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=4">edit</a>]</h3>
<p><a href="/wiki/Principal_photography">Principal photography</a> began on 15 July 2013<sup><a href="#cite_note-15">[15]</a></sup> and was shot over four weeks at <a href="/wiki/Pinewood_Studios">Pinewood Studios</a> and two weeks at Juvet Landscape Hotel in <a href="/wiki/Valldalen">Valldalen</a>, Norway.<sup><a href="#cite_note-16">[16]</a></sup> It was filmed in digital at <a href="/wiki/4K_resolution">4K resolution</a>.<sup><a href="#cite_note-17">[17]</a></sup> Fifteen thousand tungsten <a href="/wiki/Edison_screw#Types">pea bulb lights</a> were installed into the sets to avoid the <a href="/wiki/Fluorescent_light">fluorescent light</a> often used in science-fiction films.<sup><a href="#cite_note-18">[18]</a></sup>
</p><p>The film was shot as live action, with all effects done in <a href="/wiki/Post-production">post-production</a>. During filming, there were no <a href="/wiki/Special_effect">special effects</a>, <a href="/wiki/Greenscreen">greenscreen</a>, or <a href="/wiki/Motion_capture">tracking markers</a> used. Ava's robot body was achieved using a detailed costume, a full bodysuit made from polyurethane with metal powder poured onto it to create the mesh. There were lines on the costume to make it easier for VFX company DNeg to digitally remove parts of the costume in post production.<sup><a href="#cite_note-19">[19]</a></sup> To create Ava's robotic features, scenes were filmed both with and without Vikander's presence, allowing the background behind her to be captured. The parts necessary to keep, especially her hands and face, were then <a href="/wiki/Rotoscoping">rotoscoped</a>, while the rest was <a href="/wiki/Digital_painting">digitally painted out</a> and the background behind her restored. Camera and body tracking systems transferred Vikander's performance to the CGI robot's movements. In total, there were about 800 <a href="/wiki/Visual_effects">VFX</a> shots, of which approximately 350 were "robot" shots.<sup><a href="#cite_note-20">[20]</a></sup><sup><a href="#cite_note-21">[21]</a></sup> Other visual effects included Ava's clothes when shown through the transparent areas of her body, Nathan's blood after being stabbed, and the interiors of the <a href="/wiki/Artificial_brain">artificial brains</a>.<sup><a href="#cite_note-22">[22]</a></sup><sup><a href="#cite_note-23">[23]</a></sup><sup><a href="#cite_note-24">[24]</a></sup>
</p>
<h3>Music[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=5">edit</a>]</h3>
<p>The <a href="/wiki/Film_score">musical score</a> for <i>Ex Machina</i> was composed by <a href="/wiki/Ben_Salisbury">Ben Salisbury</a> and <a href="/wiki/Geoff_Barrow">Geoff Barrow</a>, who had previously worked with Garland on <i><a href="/wiki/Dredd">Dredd</a></i> (2012).<sup><a href="#cite_note-25">[25]</a></sup> A soundtrack album was released on <a href="/wiki/Invada_Records">Invada Records</a> in <a href="/wiki/Digital_distribution#Music">digital</a>, <a href="/wiki/LP_record">LP</a> and CD formats.<sup><a href="#cite_note-26">[26]</a></sup> Additional songs featured in the film include:<sup><a href="#cite_note-27">[27]</a></sup><sup><a href="#endnote_Alpha">α</a></sup>
</p>
<ul><li>"<a href="/wiki/Enola_Gay_(song)">Enola Gay</a>" by <a href="/wiki/Orchestral_Manoeuvres_in_the_Dark">Orchestral Manoeuvres in the Dark</a></li>
<li>"<a href="/wiki/Get_Down_Saturday_Night">Get Down Saturday Night</a>" by <a href="/wiki/Oliver_Cheatham">Oliver Cheatham</a></li>
<li>"Husbands" by <a href="/wiki/Savages_(band)">Savages</a></li>
<li>"Bunsen Burner" by CUTS</li>
<li>"<a href="/wiki/Schubert%27s_last_sonatas#Sonata_in_B-flat_major.2C_D._960">Piano Sonata No 21 D. 960 in B-flat Major</a>" (first movement) composed by <a href="/wiki/Franz_Schubert">Franz Schubert</a>, performed by <a href="/wiki/Alfred_Brendel">Alfred Brendel</a></li>
<li>"Unaccompanied Cello Suite No 1 in G Major BWV 1007 – Prelude", composed by <a href="/wiki/J.S._Bach">J.S. Bach</a>, performed by <a href="/wiki/Yo-Yo_Ma">Yo-Yo Ma</a></li></ul>
<h2>Release[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=6">edit</a>]</h2>
<p><a href="/wiki/Universal_Studios">Universal Pictures</a> released <i>Ex Machina</i> in the United Kingdom on 21 January 2015,<sup><a href="#cite_note-28">[28]</a></sup> following a screening at the <a href="/wiki/BFI_Southbank">BFI Southbank</a> on 16 December 2014 as part of the <a href="/wiki/British_Film_Institute">BFI</a>'s Sci-Fi: Days of Fear and Wonder season.<sup><a href="#cite_note-29">[29]</a></sup>
</p><p>However, Universal and its speciality label <a href="/wiki/Focus_Features">Focus Features</a>, <a href="/wiki/Right_of_first_refusal">refused to release</a> the film in the United States, so <a href="/wiki/A24">A24</a> agreed to distribute the United States release.<sup><a href="#cite_note-30">[30]</a></sup> The film screened on 14 March 2015 at the <a href="/wiki/South_by_Southwest">South by Southwest</a> festival prior to a theatrical release in the United States on 10 April 2015 by A24.<sup><a href="#cite_note-31">[31]</a></sup><sup><a href="#cite_note-32">[32]</a></sup> During the festival, a <a href="/wiki/Tinder_(app)">Tinder</a> profile of the character Ava (using the image of Alicia Vikander) was matched with other Tinder users, wherein a text conversation occurred that led users to the <a href="/wiki/Instagram">Instagram</a> handle promoting the film.<sup><a href="#cite_note-33">[33]</a></sup>
</p>
<h2>Themes[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=7">edit</a>]</h2>
<table><tbody><tr><td><a href="/wiki/File:Wiki_letter_w_cropped.svg"></a></td><td><p>This section <b>needs expansion</b>. You can help by <a href="https://en.wikipedia.org/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=">adding to it</a>. <i>(July 2022)</i></p></td></tr></tbody></table>
<p>In <i><a href="/wiki/Science_Fiction_Film_and_Television">Science Fiction Film and Television</a></i>, reviewer Nick Jones says that while the definition of a <a href="/wiki/Turing_test">Turing test</a> given by Caleb — "It's where a human interacts with a computer. And if the human can't tell they're interacting with a computer, the test is passed" — is consistent with the modern popular understanding of how we define true AI, <i>Ex Machina</i> is depicting a test closer to <a href="/wiki/Alan_Turing">Alan Turing</a>'s original proposal, in which the machine passes if it can convince a human it is not just human, but specifically <i>female</i>. Jones says what the film means is that today's digital culture "equates women with machines". Nathan tells Caleb that Ava's face is a composite based on Caleb's pornography preferences gathered while routinely spying on him, and the first practical use Nathan makes of his pioneering human-like machines is to exploit them sexually. Jones contrasts <i>Ex Machina</i>'s pessimistic suggestion that AI and robots lead directly to the objectification and sexualization of female (by design) gendered servants of and for emotionally stunted men with the far healthier and compassionate, but still gendered, relationship depicted in <a href="/wiki/Spike_Jonze">Spike Jonze</a>'s <i><a href="/wiki/Her_(film)">Her</a></i> (2013). Jones says we are shown "Ava's whispered unheard words to Kyoko before they murder Nathan" because <i>Ex Machina</i> "asks us imagine what our abused, exploited devices might do if they could start talking amongst themselves." The audience's sympathy for Caleb has been dwindling, and then he "gets his comeuppance", swapping roles with Ava, he now the prisoner and she the free agent offering him no more help than he did Kyoko.<sup><a href="#cite_note-34">[34]</a></sup>
</p>
<h2>Reception[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=8">edit</a>]</h2>
<h3>Critical reception[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=9">edit</a>]</h3>
<p>On <a href="/wiki/Review_aggregator">review aggregator</a> website <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, the film holds an approval rating of 92% based on 285 reviews, with an average rating of 8.10/10. The site's critics consensus reads: "<i>Ex Machina</i> leans heavier on ideas than effects, but it's still a visually polished piece of work—and an uncommonly engaging sci-fi feature."<sup><a href="#cite_note-tomato-35">[35]</a></sup> At <a href="/wiki/Metacritic">Metacritic</a>, the film has a weighted average score of 78 out of 100, based on 42 critics, indicating "generally favorable reviews".<sup><a href="#cite_note-36">[36]</a></sup>
</p><p>The magazine <i><a href="/wiki/New_Scientist">New Scientist</a></i> in a multi-page review said, "It is a rare thing to see a movie about science that takes no prisoners intellectually ... [it] is a stylish, spare and cerebral psycho-techno thriller, which gives a much needed shot in the arm for smart science fiction". The review suggested that the theme was whether "Ava makes a conscious person feel that the Ava is conscious".<sup><a href="#cite_note-new_scientist-11">[11]</a></sup> <a href="/wiki/Daniel_Dennett">Daniel Dennett</a> thought the film gives the best exploration yet of whether a computer could generate the morally relevant powers of a person, and thus having a similar theme to <i><a href="/wiki/Her_(film)">Her</a></i>.<sup><a href="#cite_note-37">[37]</a></sup> An AI commentator, Azeem, has noted that although the film seemed to be about a robot who wanted to be human, it was actually a pessimistic story along the lines of <a href="/wiki/Nick_Bostrom">Nick Bostrom</a>'s warning of how difficult it will be to successfully control a strategising artificial intelligence or know what it would do if free.<sup><a href="#cite_note-38">[38]</a></sup>
</p><p><i><a href="/wiki/The_New_York_Times">The New York Times</a></i> critic <a href="/wiki/Manohla_Dargis">Manohla Dargis</a> gave the film a 'Critic's Pick', calling it "a smart, sleek movie about men and the machines they make".<sup><a href="#cite_note-39">[39]</a></sup> <a href="/wiki/Kenneth_Turan">Kenneth Turan</a> of the <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> recommended the film, stating: "Shrewdly imagined and persuasively made, 'Ex Machina' is a spooky piece of speculative fiction that's completely plausible, capable of both thinking big thoughts and providing pulp thrills."<sup><a href="#cite_note-40">[40]</a></sup> <a href="/wiki/Steven_Rea">Steven Rea</a>, <i><a href="/wiki/The_Philadelphia_Inquirer">The Philadelphia Inquirer</a></i> film critic, gave the film four out of four, writing: "Like stage actors who live and breathe their roles over the course of months, Isaac, Gleeson, and Vikander excel, and cast a spell."<sup><a href="#cite_note-41">[41]</a></sup>
</p><p><a href="/wiki/IGN">IGN</a> reviewer Chris Tilly gave the film a nine out of ten 'Amazing' score, saying "Anchored by three dazzling central performances, it's a stunning directorial debut from Alex Garland that's essential viewing for anyone with even a passing interest in where technology is taking us."<sup><a href="#cite_note-42">[42]</a></sup>
</p><p>Mike Scott, writing for the <i><a href="/wiki/New_Orleans_Times-Picayune">New Orleans Times-Picayune</a></i>, said, "It's a theme <a href="/wiki/Mary_Shelley">Mary Shelley</a> brought us in <i><a href="/wiki/Frankenstein">Frankenstein</a></i>, which was first published in 1818...And while <i>Ex Machina</i> replaces the stitches and neck bolts with gears and fiber-optics, it all feels an awful lot like the same story".<sup><a href="#cite_note-notp-43">[43]</a></sup> <a href="/wiki/Jaime_Perales_Contreras">Jaime Perales Contreras</a>, writing for <i><a href="/wiki/Letras_Libres">Letras Libres</a></i>, compared <i>Ex Machina</i> as a gothic experience similar to a modern version of <i>Frankenstein</i>, saying "both the novel <i>Frankenstein</i> and the movie <i>Ex Machina</i> share the history of a fallible god in a continuous battle against his creation".<sup><a href="#cite_note-Jaime_Perales_Contreras-44">[44]</a></sup> <a href="/wiki/Ignatiy_Vishnevetsky">Ignatiy Vishnevetsky</a> of <i><a href="/wiki/The_A.V._Club">The A.V. Club</a></i> criticised the way the science fiction, near the end, veered off course from being a "film of ideas" by "taking an arbitrary left turn into the territory of corny slasher thrillers": "While <i>Ex Machina</i>'s ending isn't unmotivated [...], it does fracture much of what's special about the movie. Up until the final scenes, Garland creates and sustains a credible atmosphere of unease and scientific speculation, defined by color-coded production design [...] and a tiny, capable cast".<sup><a href="#cite_note-45">[45]</a></sup> Steve Dalton from <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i> stated, "The story ends in a muddled rush, leaving many unanswered questions. Like a newly launched high-end smartphone, <i>Ex Machina</i> looks cool and sleek, but ultimately proves flimsy and underpowered. Still, for dystopian future-shock fans who can look beyond its basic design flaws, Garland's feature debut functions just fine as superior pulp sci-fi."<sup><a href="#cite_note-dalton-46">[46]</a></sup>
</p><p>The Writers Guild Foundation listed the screenplay as one of the best in 2010s film and television, with one writer singling out the scene in which Caleb and Nathan discuss the model after Ava as "a great illustration of getting your reader/audience to care about what happens next."<sup><a href="#cite_note-47">[47]</a></sup>
</p>
<h3>Accolades[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=10">edit</a>]</h3>
<p>At the <a href="/wiki/88th_Academy_Awards">88th Academy Awards</a>, <i>Ex Machina</i> received a nomination for <a href="/wiki/Academy_Award_for_Best_Original_Screenplay">Best Original Screenplay</a> and won <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>.<sup><a href="#cite_note-48">[48]</a></sup>
</p>
<h2>See also[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=11">edit</a>]</h2>
<ul><li><a href="/wiki/AI_box">AI box</a></li>
<li><i><a href="/wiki/A.I._Rising">A.I. Rising</a></i></li>
<li><i><a href="/wiki/Android_(film)">Android</a></i></li>
<li><a href="/wiki/Artificial_consciousness">Artificial consciousness</a></li>
<li><a href="/wiki/Bluebeard">Bluebeard</a></li>
<li><a href="/wiki/Frankenstein">Frankenstein</a></li>
<li><a href="/wiki/Pygmalion_(mythology)">Pygmalion</a></li>
<li><i><a href="/wiki/The_Machine_(2013_film)">The Machine</a></i>, a 2013 British science fiction film about creating an intelligent humanoid robot for the British military</li>
<li><a href="/wiki/Turing_test">Turing test</a></li></ul>
<h2>Notes[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=12">edit</a>]</h2>
<dl><dd><b><a href="#ref_Alpha">^α</a></b> The <a href="/wiki/Ghostbusters_(song)">theme song</a> from the film <i><a href="/wiki/Ghostbusters">Ghostbusters</a></i> is listed in the end titles with the credit, "words and music by <a href="/wiki/Ray_Parker,_Jr.">Ray Erskine</a> Publishing Limited", although only its refrain is spoken by the character Nathan.</dd></dl>
<h2>References[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=13">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-1">^</a></b> <cite><a href="https://bbfc.co.uk/releases/ex-machina-film">"<i>EX MACHINA</i> (15)"</a>. <i><a href="/wiki/British_Board_of_Film_Classification">British Board of Film Classification</a></i>. 26 November 2014. <a href="https://web.archive.org/web/20150123231840/http://bbfc.co.uk/releases/ex-machina-film">Archived</a> from the original on 23 January 2015. Retrieved 23 January 2015.</cite>
</li>
<li>^ <a href="#cite_ref-lumiere_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-lumiere_2-1"><sup><i><b>b</b></i></sup></a> <cite><a href="http://lumiere.obs.coe.int/web/film_info/?id=59278">"Ex Machina"</a>. <i>LUMIERE</i>. <a href="/wiki/European_Audiovisual_Observatory">European Audiovisual Observatory</a>. <a href="https://web.archive.org/web/20180623191303/http://lumiere.obs.coe.int/web/film_info/?id=59278">Archived</a> from the original on 23 June 2018. Retrieved 1 July 2016.</cite>
</li>
<li>^ <a href="#cite_ref-BFI_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BFI_3-1"><sup><i><b>b</b></i></sup></a> <cite><a href="http://www.bfi.org.uk/films-tv-people/54b7d99e194cf">"Ex Machina (2015)"</a>. <a href="/wiki/British_Film_Institute">British Film Institute</a>. <a href="https://web.archive.org/web/20161003160027/http://www.bfi.org.uk/films-tv-people/54b7d99e194cf">Archived</a> from the original on 3 October 2016. Retrieved 29 September 2016.</cite>
</li>
<li><b><a href="#cite_ref-4">^</a></b> <cite><a href="http://consequenceofsound.net/2015/04/interview-alex-garland-and-oscar-isaac-ex-machina/">"Ex Machina's Alex Garland and Oscar Isaac Discuss Artificial Intelligence"</a>. <i>Consequence of Sound</i>. 7 April 2015. <a href="https://web.archive.org/web/20150711094411/http://consequenceofsound.net/2015/04/interview-alex-garland-and-oscar-isaac-ex-machina/">Archived</a> from the original on 11 July 2015. Retrieved 20 May 2015.</cite>
</li>
<li><b><a href="#cite_ref-5">^</a></b> <cite><a href="https://www.boxofficemojo.com/movies/?id=exmachina.htm">"Ex Machina (2015)"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="https://web.archive.org/web/20160613165108/http://www.boxofficemojo.com/movies/?id=exmachina.htm">Archived</a> from the original on 13 June 2016. Retrieved 16 June 2016.</cite>
</li>
<li><b><a href="#cite_ref-Netflix_6-0">^</a></b> <cite><a href="https://web.archive.org/web/20200329153510/https://www.netflix.com/title/80023689">"Ex Machina"</a>. netflix.com. 2015. Archived from <a href="https://www.netflix.com/gb/title/80023689">the original</a> on 29 March 2020.</cite>
</li>
<li><b><a href="#cite_ref-7">^</a></b> <cite><a href="http://eastfieldnews.com/2015/05/21/ex-machina-director-selling-small-films-takes-work/">"'Ex Machina' director: Selling small films takes work"</a>. <i>eastfieldnews.com</i>. 21 May 2015. <a href="https://web.archive.org/web/20150528180234/http://eastfieldnews.com/2015/05/21/ex-machina-director-selling-small-films-takes-work/">Archived</a> from the original on 28 May 2015. Retrieved 22 May 2015.</cite>
</li>
<li><b><a href="#cite_ref-8">^</a></b> <cite><a href="https://www.washingtonpost.com/lifestyle/style/why-are-we-obsessed-with-robots/2015/04/30/d34ae1c8-eaa7-11e4-9767-6276fc9b0ada_story.html">"Why are we obsessed with robots?"</a>. <i>The Washington Post</i>. <a href="https://web.archive.org/web/20171024155706/https://www.washingtonpost.com/lifestyle/style/why-are-we-obsessed-with-robots/2015/04/30/d34ae1c8-eaa7-11e4-9767-6276fc9b0ada_story.html">Archived</a> from the original on 24 October 2017. Retrieved 27 August 2017.</cite>
</li>
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</ol></div>
<h2>External links[<a href="/w/index.php?title=Ex_Machina_(film)&amp;action=edit&amp;section=14">edit</a>]</h2>
<ul><li><a href="https://www.imdb.com/title/tt0470752/"><i>Ex Machina</i></a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://www.boxofficemojo.com/movies/?id=exmachina.htm"><i>Ex Machina</i></a> at <a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></li>
<li><a href="https://www.rottentomatoes.com/m/ex_machina"><i>Ex Machina</i></a> at <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a></li>
<li><i><a href="https://www.metacritic.com/movie/ex-machina">Ex Machina</a></i> at <a href="/wiki/Metacritic">Metacritic</a> <a href="https://www.wikidata.org/wiki/Q16635326#P1712"></a></li>
<li><a href="http://a24awards.com/film/exMachina/exMachina_script.pdf">Official screenplay</a></li></ul>
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 Contents

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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 + 3.1 Filming
 + 3.2 Music
 * 4 Release
 * 5 Themes
 * 6 Reception
 + 6.1 Critical reception
 + 6.2 Accolades
 * 7 See also
 * 8 Notes
 * 9 References
 * 10 External links
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 Ex Machina (film)

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 From Wikipedia, the free encyclopedia

 Ex Machina 
 British theatrical release poster
 Directed by Alex Garland 
 Written by Alex Garland 
 Produced by * Andrew Macdonald 
 * Allon Reich 
 * Domhnall Gleeson 
 * Oscar Isaac 
 Starring * Alicia Vikander 
 * Sonoya Mizuno 
 * Gana Bayarsaikhan 
 * Corey Johnson 
 Cinematography Rob Hardy 
 Edited by Mark Day 
 Music by * Ben Salisbury 
 * Geoff Barrow 
 Production * Film4 
 companies * DNA Films 
 Distributed by * A24 (United States) 
 * Universal Pictures (International)
 * 16 December 2014 (BFI Southbank) 
 Release dates * 21 January 2015 (United Kingdom) 
 * 10 April 2015 (United States) 
 Running time 108 minutes[1] 
 Countries * United Kingdom[2][3] 
 * United States[2][3] 
 Language English 
 Budget $15 million[4] 
 Box office $36.9 million[5] 
 

 Ex Machina is a 2014 science fiction film written and directed by Alex Garland in his directorial debut. There are four significant characters, played by Domhnall Gleeson, Alicia Vikander, Sonoya Mizuno, and Oscar Isaac. In the film, programmer Caleb Smith (Gleeson) is invited by his CEO (Isaac) to administer the Turing test to an intelligent humanoid robot (Vikander).

 Made on a budget of $15 million, Ex Machina grossed $36 million worldwide. It received acclaim, with praise for its leading performances, the screenplay, the visual effects, and the editing. The film was nominated for two awards at the 88th Academy Awards, winning Best Visual Effects, and received numerous other accolades.

 Plot [ edit ]

 Caleb Smith, a programmer at the search engine company Blue Book, wins an office contest for a one-week visit to the luxurious, isolated home of the CEO, Nathan Bateman. Nathan lives there with an unspeaking servant named Kyoko, who, according to Nathan, does not understand English. Nathan reveals that he has built a humanoid robot named Ava with artificial intelligence. Ava has already passed a simple Turing test and Nathan wants Caleb to judge whether Ava is genuinely capable of thought and consciousness, and whether he can relate to Ava despite knowing she is artificial.

 Ava has a robotic body with the physical form and face of a woman and is confined to her apartment. During their talks, Caleb grows close to her, and she expresses a desire to experience the world outside and a romantic interest in him, which Caleb comes to return. She can trigger power outages that temporarily shut down the surveillance system that Nathan uses to monitor their interactions, allowing them to speak privately. The outages also trigger the building's security system, locking all the doors. During one outage, Ava tells Caleb that Nathan is a liar who cannot be trusted.

 Caleb grows uncomfortable with Nathan's narcissism, excessive drinking, and crude behavior towards Kyoko and Ava. He learns that Nathan intends to upgrade Ava after Caleb's test, "killing" her current personality in the process. After encouraging Nathan to drink until he passes out, Caleb steals his security card to access his room and computer. He alters some of Nathan's code and discovers footage of Nathan interacting with previous android models with the appearances of women who were held captive. Kyoko reveals to him that she is also an android by peeling off her skin. Later, Caleb examines himself and cuts open his own arm to determine if he himself is an android.

 At their next meeting, Ava cuts the power. Caleb explains what Nathan is going to do to her, and Ava begs him for help. Caleb informs her of his plan: he will get Nathan drunk again and reprogram the security system to open the doors in a power failure instead of locking them. When Ava cuts the power, she and Caleb will leave together. Ava later encounters Kyoko for the first time when Kyoko enters her room.

 Nathan reveals to Caleb that he observed Caleb and Ava's secret conversation with a battery-powered security camera. He says Ava has only pretended to have feelings for Caleb, who was deliberately selected for his emotional profile, so he would help her escape. Nathan says this was the real test all along, and by manipulating Caleb successfully, Ava has demonstrated true consciousness. When Ava cuts the power, Caleb reveals that he suspected Nathan was watching them, so he modified the security system when Nathan was previously passed out. After seeing Ava leave her confinement and converse with Kyoko, Nathan knocks Caleb unconscious and rushes to stop them.

 Ava attacks Nathan but is overpowered and damaged, before Kyoko and then Ava both stab and kill Nathan. In the process, Nathan disables Kyoko. Ava repairs herself with parts from earlier androids, using their artificial skin to take on the full appearance of a woman. She ignores Caleb, who is permanently trapped inside a room as the security system restarts, and leaves the facility. Ava escapes to the outside world in the helicopter meant to take Caleb home. Arriving in an unidentified city, she blends into a crowd of people.

 Cast [ edit ]

 * Domhnall Gleeson as Caleb Smith, a programmer at Blue Book.
 * Oscar Isaac as Nathan Bateman, the CEO of Blue Book.
 * Alicia Vikander as Ava, an artificial intelligence and android created by Nathan.
 * Sonoya Mizuno as Kyoko, the in-house attendant of Nathan.
 * Gana Bayarsaikhan as Jade,[6] an earlier gynoid prototype.
 * Corey Johnson as Jay, the helicopter pilot.
 * Claire Selby as Lily, an earlier gynoid prototype.
 * Symara Templeman as Jasmine, an earlier gynoid prototype.
 * Tiffany Pisani as Katya
 * Lina Alminas as Amber

 Production [ edit ]

 The foundation for Ex Machina was laid when Garland was 11 or 12 years old, after he had done some basic coding and experimentation on a computer his parents had bought him and which he sometimes felt had a mind of its own.[7] His later ideas came from years of discussions he had been having with a friend with an expertise in neuroscience, who claimed machines could never become sentient. Trying to find an answer on his own, he started reading books on the topic. During the pre-production of Dredd, while going through a book by Murray Shanahan about consciousness and embodiment, Garland had an "epiphany". The idea was written down and put aside until later.[8] Shanahan, along with Adam Rutherford, became a consultant for the film, and the ISBN of his book is referred to as an easter egg in the film.[9][10] Besides the Turing test, the film references the "Chinese room" thought experiment, as well as Mary's room, a thought experiment about a scientist who has studied, but never experienced, the concept of colour.[11] Other inspirations came from films like 2001: A Space Odyssey, Altered States, and books written by Ludwig Wittgenstein, Ray Kurzweil, and others.[12] It is also influenced by William Shakespeare's The Tempest.[13] Wanting total creative freedom, and without having to add conventional action sequences, Garland made the film on as small a budget as possible.[14]

 Filming [ edit ]

 Principal photography began on 15 July 2013[15] and was shot over four weeks at Pinewood Studios and two weeks at Juvet Landscape Hotel in Valldalen, Norway.[16] It was filmed in digital at 4K resolution.[17] Fifteen thousand tungsten pea bulb lights were installed into the sets to avoid the fluorescent light often used in science-fiction films.[18]

 The film was shot as live action, with all effects done in post-production. During filming, there were no special effects, greenscreen, or tracking markers used. Ava's robot body was achieved using a detailed costume, a full bodysuit made from polyurethane with metal powder poured onto it to create the mesh. There were lines on the costume to make it easier for VFX company DNeg to digitally remove parts of the costume in post production.[19] To create Ava's robotic features, scenes were filmed both with and without Vikander's presence, allowing the background behind her to be captured. The parts necessary to keep, especially her hands and face, were then rotoscoped, while the rest was digitally painted out and the background behind her restored. Camera and body tracking systems transferred Vikander's performance to the CGI robot's movements. In total, there were about 800 VFX shots, of which approximately 350 were "robot" shots.[20][21] Other visual effects included Ava's clothes when shown through the transparent areas of her body, Nathan's blood after being stabbed, and the interiors of the artificial brains.[22][23][24]

 Music [ edit ]

 Main article: Ex Machina (soundtrack)

 The musical score for Ex Machina was composed by Ben Salisbury and Geoff Barrow, who had previously worked with Garland on Dredd (2012).[25] A soundtrack album was released on Invada Records in digital, LP and CD formats.[26] Additional songs featured in the film include:[27]α

 * "Enola Gay" by Orchestral Manoeuvres in the Dark
 * "Get Down Saturday Night" by Oliver Cheatham
 * "Husbands" by Savages
 * "Bunsen Burner" by CUTS
 * "Piano Sonata No 21 D. 960 in B-flat Major" (first movement) composed by Franz Schubert, performed by Alfred Brendel
 * "Unaccompanied Cello Suite No 1 in G Major BWV 1007 – Prelude", composed by J.S. Bach, performed by Yo-Yo Ma

 Release [ edit ]

 Universal Pictures released Ex Machina in the United Kingdom on 21 January 2015,[28] following a screening at the BFI Southbank on 16 December 2014 as part of the BFI's Sci-Fi: Days of Fear and Wonder season.[29]

 However, Universal and its speciality label Focus Features, refused to release the film in the United States, so A24 agreed to distribute the United States release.[30] The film screened on 14 March 2015 at the South by Southwest festival prior to a theatrical release in the United States on 10 April 2015 by A24.[31][32] During the festival, a Tinder profile of the character Ava (using the image of Alicia Vikander) was matched with other Tinder users, wherein a text conversation occurred that led users to the Instagram handle promoting the film.[33]

 Themes [ edit ]

 This section needs expansion. You can help by adding to it. ( July 2022 )
 

 In Science Fiction Film and Television, reviewer Nick Jones says that while the definition of a Turing test given by Caleb — "It's where a human interacts with a computer. And if the human can't tell they're interacting with a computer, the test is passed" — is consistent with the modern popular understanding of how we define true AI, Ex Machina is depicting a test closer to Alan Turing's original proposal, in which the machine passes if it can convince a human it is not just human, but specifically female. Jones says what the film means is that today's digital culture "equates women with machines". Nathan tells Caleb that Ava's face is a composite based on Caleb's pornography preferences gathered while routinely spying on him, and the first practical use Nathan makes of his pioneering human-like machines is to exploit them sexually. Jones contrasts Ex Machina ' s pessimistic suggestion that AI and robots lead directly to the objectification and sexualization of female (by design) gendered servants of and for emotionally stunted men with the far healthier and compassionate, but still gendered, relationship depicted in Spike Jonze's Her (2013). Jones says we are shown "Ava's whispered unheard words to Kyoko before they murder Nathan" because Ex Machina "asks us imagine what our abused, exploited devices might do if they could start talking amongst themselves." The audience's sympathy for Caleb has been dwindling, and then he "gets his comeuppance", swapping roles with Ava, he now the prisoner and she the free agent offering him no more help than he did Kyoko.[34]

 Reception [ edit ]

 Critical reception [ edit ]

 On review aggregator website Rotten Tomatoes, the film holds an approval rating of 92% based on 285 reviews, with an average rating of 8.10/10. The site's critics consensus reads: "Ex Machina leans heavier on ideas than effects, but it's still a visually polished piece of work—and an uncommonly engaging sci-fi feature."[35] At Metacritic, the film has a weighted average score of 78 out of 100, based on 42 critics, indicating "generally favorable reviews".[36]

 The magazine New Scientist in a multi-page review said, "It is a rare thing to see a movie about science that takes no prisoners intellectually ... [it] is a stylish, spare and cerebral psycho-techno thriller, which gives a much needed shot in the arm for smart science fiction". The review suggested that the theme was whether "Ava makes a conscious person feel that the Ava is conscious".[11] Daniel Dennett thought the film gives the best exploration yet of whether a computer could generate the morally relevant powers of a person, and thus having a similar theme to Her.[37] An AI commentator, Azeem, has noted that although the film seemed to be about a robot who wanted to be human, it was actually a pessimistic story along the lines of Nick Bostrom's warning of how difficult it will be to successfully control a strategising artificial intelligence or know what it would do if free.[38]

 The New York Times critic Manohla Dargis gave the film a 'Critic's Pick', calling it "a smart, sleek movie about men and the machines they make".[39] Kenneth Turan of the Los Angeles Times recommended the film, stating: "Shrewdly imagined and persuasively made, 'Ex Machina' is a spooky piece of speculative fiction that's completely plausible, capable of both thinking big thoughts and providing pulp thrills."[40] Steven Rea, The Philadelphia Inquirer film critic, gave the film four out of four, writing: "Like stage actors who live and breathe their roles over the course of months, Isaac, Gleeson, and Vikander excel, and cast a spell."[41]

 IGN reviewer Chris Tilly gave the film a nine out of ten 'Amazing' score, saying "Anchored by three dazzling central performances, it's a stunning directorial debut from Alex Garland that's essential viewing for anyone with even a passing interest in where technology is taking us."[42]

 Mike Scott, writing for the New Orleans Times-Picayune, said, "It's a theme Mary Shelley brought us in Frankenstein, which was first published in 1818...And while Ex Machina replaces the stitches and neck bolts with gears and fiber-optics, it all feels an awful lot like the same story".[43] Jaime Perales Contreras, writing for Letras Libres, compared Ex Machina as a gothic experience similar to a modern version of Frankenstein, saying "both the novel Frankenstein and the movie Ex Machina share the history of a fallible god in a continuous battle against his creation".[44] Ignatiy Vishnevetsky of The A.V. Club criticised the way the science fiction, near the end, veered off course from being a "film of ideas" by "taking an arbitrary left turn into the territory of corny slasher thrillers": "While Ex Machina ' s ending isn't unmotivated [...], it does fracture much of what's special about the movie. Up until the final scenes, Garland creates and sustains a credible atmosphere of unease and scientific speculation, defined by color-coded production design [...] and a tiny, capable cast".[45] Steve Dalton from The Hollywood Reporter stated, "The story ends in a muddled rush, leaving many unanswered questions. Like a newly launched high-end smartphone, Ex Machina looks cool and sleek, but ultimately proves flimsy and underpowered. Still, for dystopian future-shock fans who can look beyond its basic design flaws, Garland's feature debut functions just fine as superior pulp sci-fi."[46]

 The Writers Guild Foundation listed the screenplay as one of the best in 2010s film and television, with one writer singling out the scene in which Caleb and Nathan discuss the model after Ava as "a great illustration of getting your reader/audience to care about what happens next."[47]

 Accolades [ edit ]

 Main article: List of accolades received by Ex Machina (film)

 At the 88th Academy Awards, Ex Machina received a nomination for Best Original Screenplay and won Best Visual Effects.[48]

 See also [ edit ]

 * Film portal
 * AI box
 * A.I. Rising
 * Android
 * Artificial consciousness
 * Bluebeard
 * Frankenstein
 * Pygmalion
 * The Machine, a 2013 British science fiction film about creating an intelligent humanoid robot for the British military
 * Turing test

 Notes [ edit ]

 ^α The theme song from the film Ghostbusters is listed in the end titles with the credit, "words and music by Ray Erskine Publishing Limited", although only its refrain is spoken by the character Nathan.

 References [ edit ]

 1. ^ "EX MACHINA (15)". British Board of Film Classification. 26 November 2014. Archived from the original on 23 January 2015 . Retrieved 23 January 2015 .
 2. ^ a b "Ex Machina". LUMIERE. European Audiovisual Observatory. Archived from the original on 23 June 2018 . Retrieved 1 July 2016 .
 3. ^ a b "Ex Machina (2015)". British Film Institute. Archived from the original on 3 October 2016 . Retrieved 29 September 2016 .
 4. ^ "Ex Machina's Alex Garland and Oscar Isaac Discuss Artificial Intelligence". Consequence of Sound. 7 April 2015. Archived from the original on 11 July 2015 . Retrieved 20 May 2015 .
 5. ^ "Ex Machina (2015)". Box Office Mojo. Archived from the original on 13 June 2016 . Retrieved 16 June 2016 .
 6. ^ "Ex Machina". netflix.com. 2015. Archived from the original on 29 March 2020.
 7. ^ "'Ex Machina' director: Selling small films takes work". eastfieldnews.com. 21 May 2015. Archived from the original on 28 May 2015 . Retrieved 22 May 2015 .
 8. ^ "Why are we obsessed with robots?". The Washington Post. Archived from the original on 24 October 2017 . Retrieved 27 August 2017 .
 9. ^ "Ex Machina buried this insanely cool easter egg deep in its source code (literally)". Blastr. Syfy. 20 May 2015. Archived from the original on 29 January 2016 . Retrieved 21 May 2015 .
 10. ^ "Alex Garland's Ex Machina: can a film about an attractive robot be feminist science fiction?". New Statesman. Archived from the original on 22 May 2015 . Retrieved 21 May 2015 .
 11. ^ a b Seth, Anil. "Ex Machina: Quest to create an AI takes no prisoners". New Scientist. Archived from the original on 17 November 2018 . Retrieved 27 December 2018 .
 12. ^ Matt Patches (25 April 2015). "Ex Machina A.I. Inspirations – Alex Garland on Robots, Google, and Immortality". Esquire. Archived from the original on 15 May 2015 . Retrieved 20 May 2015 .
 13. ^ Kelly, Alan (7 September 2022). "From 'The Matrix' to 'Ex Machina': Best Sci-Fi Movies About AI". Collider . Retrieved 20 December 2022 .
 14. ^ "Exclusive: Ex Machina writer/director Alex Garland on 'small' sci-fi films, sentient machines and going mainstream". Blastr. 28 April 2015. Archived from the original on 2 July 2015 . Retrieved 4 May 2015 .
 15. ^ "Alex Garland's Ex Machina starts shooting at Pinewood Studios". Pinewood Group. 9 August 2013. Archived from the original on 1 December 2017 . Retrieved 18 June 2016 .
 16. ^ "Alex Garland on Building Ex Machina's Perfect Woman". The Credits. 17 April 2015. Archived from the original on 21 May 2015 . Retrieved 20 May 2015 .
 17. ^ "Definition Magazine – Def Mag – Ex-Machina, the DIT Story". definitionmagazine.com. Archived from the original on 8 December 2015 . Retrieved 21 May 2015 .
 18. ^ "Intelligent Artifice: Alex Garland's Smart, Stylish Ex Machina". MovieMaker Magazine. 9 April 2015. Archived from the original on 16 February 2020 . Retrieved 10 April 2020 .
 19. ^ "Sammy Sheldon Differ – Ant-Man". ICG Magazine. 24 July 2015. "Every person who has asked about the robot costume assumed it was a blue screen suit, but we actually made that."
 20. ^ "Inside the Creation of a Beautiful Robot for 'Ex Machina'". c2meworld.com. Archived from the original on 18 April 2015 . Retrieved 20 May 2015 .
 21. ^ Bryan Bishop (8 May 2015). "More human than human: the making of Ex Machina's incredible robot". The Verge. Archived from the original on 1 December 2017 . Retrieved 31 August 2017 .
 22. ^ Farrha Khan (26 February 2016). "Why Ex Machina's visual effects will stun you in their simplicity". TechRadar.com. Archived from the original on 5 March 2016 . Retrieved 4 May 2020 .
 23. ^ Hughes, Kat (29 May 2015). "THN talk 'Ex Machina' with Dr Adam Rutherford and more". Archived from the original on 1 April 2016 . Retrieved 4 March 2016 .
 24. ^ "Brainstorming: Milk VFX & Ex Machina – Live for Films". Archived from the original on 6 March 2016 . Retrieved 4 March 2016 .
 25. ^ "Invada UK To Release 'Ex-Machina' Soundtrack". 30 October 2014. Archived from the original on 19 January 2015 . Retrieved 30 October 2014 .
 26. ^ "'Ex Machina' Soundtrack Released". Film Music Reporter. 21 January 2015. Archived from the original on 8 March 2015 . Retrieved 26 February 2015 .
 27. ^ "Ex Machina (2015)". Soundtrack.Net. Autotelics, LLC. Archived from the original on 15 June 2015 . Retrieved 7 June 2015 .
 28. ^ Turner, Peter (21 January 2015). "Alex Garland | Ex Machina". Starburst. Archived from the original on 12 March 2015 . Retrieved 3 May 2015 .
 29. ^ "December 2014 at BFI Southbank" (PDF) . British Film Institute. 29 October 2014. Archived (PDF) from the original on 1 November 2018 . Retrieved 26 February 2017 .
 30. ^ "Focus Features Shake-Up: What's Behind Peter Schlessel's Abrupt Exit". The Hollywood Reporter. 9 February 2016. Archived from the original on 4 November 2019 . Retrieved 17 April 2020 .
 31. ^ "Ex Machina – SXSW 2015 Event Schedule". South by Southwest. Archived from the original on 26 February 2015 . Retrieved 26 February 2015 .
 32. ^ "Ex Machina Acquired By A24 For April 2015 Release". 30 October 2014. Archived from the original on 31 October 2014 . Retrieved 30 October 2014 .
 33. ^ "Tinder Users at SXSW Are Falling for This Woman, but She's Not What She Appears". Adweek. Archived from the original on 10 November 2015 . Retrieved 11 November 2015 .
 34. ^ Jones, Nick (2016). "Ex Machina". Science Fiction Film and Television. Liverpool University Press. 9 (2): 299–303 . Retrieved 25 November 2022 – via Project MUSE.
 35. ^ "Ex Machina (2015)". Rotten Tomatoes. Archived from the original on 20 August 2020 . Retrieved 23 January 2023 .
 36. ^ "Ex Machina Reviews". Metacritic. Archived from the original on 10 April 2015 . Retrieved 24 April 2015 .
 37. ^ From Bacteria to Bach and Back The Evolution of Minds, Daniel C. Dennett 2017 Penguin P399 [ ISBN missing ]
 38. ^ azeem (26 April 2015). "Rethinking Ex Machina". Archived from the original on 19 February 2018 . Retrieved 18 February 2018 .
 39. ^ Dargis, Manohla (9 April 2015). "Review: In 'Ex Machina,' a Mogul Fashions the Droid of His Dreams". The New York Times. Archived from the original on 2 June 2015 . Retrieved 4 June 2015 .
 40. ^ Turan, Kenneth (9 April 2015). "Unnerving consideration of artificial intelligence in 'Ex Machina'". Los Angeles Times. Archived from the original on 3 June 2015 . Retrieved 4 June 2015 .
 41. ^ Rea, Steven (24 April 2015). "'Ex Machina': Sentient robot casts a hypnotic spell". The Philadelphia Inquirer. Archived from the original on 4 June 2015 . Retrieved 4 June 2015 .
 42. ^ Chris Tilly (15 January 2015). "Ex Machina Review". IGN. Archived from the original on 14 April 2015 . Retrieved 22 April 2015 .
 43. ^ Scott, Mike (22 April 2015). "'Ex Machina' movie review: Fetching sci-fi drama entertains, but its beauty is only skin-deep". New Orleans Times-Picayune. Archived from the original on 17 July 2015 . Retrieved 16 July 2015 .
 44. ^ Jaime Perales Contreras. "Ex Machina o el moderno Frankenstein" (in Spanish). Letras Libres. Archived from the original on 9 July 2015 . Retrieved 8 July 2015 .
 45. ^ Vishnevetsky, Ignatiy (9 April 2015). "Ex Machina is smart sci-fi that loses its way". The A.V. Club. Archived from the original on 11 August 2016 . Retrieved 30 July 2016 .
 46. ^ "Ex Machina: Film Review". The Hollywood Reporter. 16 January 2015. Archived from the original on 25 May 2015 . Retrieved 25 May 2015 .
 47. ^ "10 out of '10s: Our Favorite Scripts of the Decade". The Writers Guild Foundation. 21 December 2019 . Retrieved 4 February 2021 .{{cite web}} : CS1 maint: url-status ( link )
 48. ^ "Oscars: The Complete Winners List". The Hollywood Reporter. 28 February 2016. Archived from the original on 9 May 2022 . Retrieved 25 October 2022 .

 External links [ edit ]

 Wikiquote has quotations related to Ex Machina (film).
 * Ex Machina at IMDb
 * Ex Machina at Box Office Mojo
 * Ex Machina at Rotten Tomatoes
 * Ex Machina at Metacritic
 * Official screenplay
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 Works by Alex Garland 
 * The Beach (1996) 
 Novels * The Tesseract (1998) 
 * The Coma (2004) 
 * Ex Machina (2014) 
 Films written and directed * Annihilation (2018) 
 * Men (2022) 
 * Civil War (TBA) 
 * 28 Days Later (2002) 
 Films written * Sunshine (2007) 
 * Never Let Me Go (2010) 
 * Dredd (2012) 
 Television series * Devs (2020) 
 Video games * Enslaved: Odyssey to the West (2010)
 * DmC: Devil May Cry (2013) 
 
 Awards for Ex Machina 
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 * My Name Is Joe (1998) 
 * Wonderland (1999) 
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 * Sexy Beast (2001) 
 * Sweet Sixteen (2002) 
 * Dirty Pretty Things (2003) 
 * Vera Drake (2004) 
 * The Constant Gardener (2005) 
 * This Is England (2006) 
 * Control (2007) 
 * Slumdog Millionaire (2008) 
 * Moon (2009) 
 * The King's Speech (2010) 
 * Tyrannosaur (2011) 
 * Broken (2012) 
 * Metro Manila (2013) 
 * Pride (2014) 
 * Ex Machina (2015) 
 * American Honey (2016) 
 * God's Own Country (2017) 
 * The Favourite (2018) 
 * For Sama (2019) 
 * Rocks (2020) 
 * After Love (2021) 
 * Aftersun (2022) 
  
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 * Looper (2012) 
 * Gravity (2013) 
 * Interstellar (2014) 
 * Ex Machina (2015) 
 * Arrival (2016) 
 * Get Out (2017) 
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From Wikipedia, the free encyclopedia
	 
   Ex Machina      British theatrical release poster    Directed by  Alex Garland    Written by Alex Garland   Produced by  
  Andrew Macdonald 
Allon Reich 
    Starring  
  Domhnall Gleeson 
 Oscar Isaac 
 Alicia Vikander 
 Sonoya Mizuno 
 Gana Bayarsaikhan 
 Corey Johnson  
    Cinematography  Rob Hardy    Edited by  Mark Day    Music by  
  Ben Salisbury 
 Geoff Barrow  
     Productioncompanies   
  Film4 
 DNA Films  
    Distributed by  
  A24 (United States)
 Universal Pictures (International) 
     Release dates   
 16 December 2014 (BFI Southbank)
21 January 2015 (United Kingdom)
10 April 2015 (United States) 
     Running time  108 minutes [1]     Countries  
 United Kingdom [2]   [3]  
United States [2]   [3]   
    Language English   Budget $15 million [4]     Box office $36.9 million [5]     
  Ex Machina  is a 2014 science fiction film written and directed by Alex Garland in his directorial debut. There are four significant characters, played by Domhnall Gleeson, Alicia Vikander, Sonoya Mizuno, and Oscar Isaac. In the film, programmer Caleb Smith (Gleeson) is invited by his CEO (Isaac) to administer the Turing test to an intelligent humanoid robot (Vikander).
 Made on a budget of $15 million, Ex Machina grossed $36 million worldwide. It received acclaim, with praise for its leading performances, the screenplay, the visual effects, and the editing. The film was nominated for two awards at the 88th Academy Awards, winning Best Visual Effects, and received numerous other accolades.
Plot[edit]
Caleb Smith, a programmer at the search engine company Blue Book, wins an office contest for a one-week visit to the luxurious, isolated home of the CEO, Nathan Bateman. Nathan lives there with an unspeaking servant named Kyoko, who, according to Nathan, does not understand English. Nathan reveals that he has built a humanoid robot named Ava with artificial intelligence. Ava has already passed a simple Turing test and Nathan wants Caleb to judge whether Ava is genuinely capable of thought and consciousness, and whether he can relate to Ava despite knowing she is artificial.
 Ava has a robotic body with the physical form and face of a woman and is confined to her apartment. During their talks, Caleb grows close to her, and she expresses a desire to experience the world outside and a romantic interest in him, which Caleb comes to return. She can trigger power outages that temporarily shut down the surveillance system that Nathan uses to monitor their interactions, allowing them to speak privately. The outages also trigger the building's security system, locking all the doors. During one outage, Ava tells Caleb that Nathan is a liar who cannot be trusted.
 Caleb grows uncomfortable with Nathan's narcissism, excessive drinking, and crude behavior towards Kyoko and Ava. He learns that Nathan intends to upgrade Ava after Caleb's test, "killing" her current personality in the process. After encouraging Nathan to drink until he passes out, Caleb steals his security card to access his room and computer. He alters some of Nathan's code and discovers footage of Nathan interacting with previous android models with the appearances of women who were held captive. Kyoko reveals to him that she is also an android by peeling off her skin. Later, Caleb examines himself and cuts open his own arm to determine if he himself is an android.
 At their next meeting, Ava cuts the power. Caleb explains what Nathan is going to do to her, and Ava begs him for help. Caleb informs her of his plan: he will get Nathan drunk again and reprogram the security system to open the doors in a power failure instead of locking them. When Ava cuts the power, she and Caleb will leave together. Ava later encounters Kyoko for the first time when Kyoko enters her room.
 Nathan reveals to Caleb that he observed Caleb and Ava's secret conversation with a battery-powered security camera. He says Ava has only pretended to have feelings for Caleb, who was deliberately selected for his emotional profile, so he would help her escape. Nathan says this was the real test all along, and by manipulating Caleb successfully, Ava has demonstrated true consciousness. When Ava cuts the power, Caleb reveals that he suspected Nathan was watching them, so he modified the security system when Nathan was previously passed out. After seeing Ava leave her confinement and converse with Kyoko, Nathan knocks Caleb unconscious and rushes to stop them.
 Ava attacks Nathan but is overpowered and damaged, before Kyoko and then Ava both stab and kill Nathan. In the process, Nathan disables Kyoko. Ava repairs herself with parts from earlier androids, using their artificial skin to take on the full appearance of a woman. She ignores Caleb, who is permanently trapped inside a room as the security system restarts, and leaves the facility. Ava escapes to the outside world in the helicopter meant to take Caleb home. Arriving in an unidentified city, she blends into a crowd of people.
Cast[edit]
  Domhnall Gleeson as Caleb Smith, a programmer at Blue Book.
 Oscar Isaac as Nathan Bateman, the CEO of Blue Book.
 Alicia Vikander as Ava, an artificial intelligence and android created by Nathan.
 Sonoya Mizuno as Kyoko, the in-house attendant of Nathan.
 Gana Bayarsaikhan as Jade, [6]  an earlier gynoid prototype.
 Corey Johnson as Jay, the helicopter pilot.
Claire Selby as Lily, an earlier gynoid prototype.
Symara Templeman as Jasmine, an earlier gynoid prototype.
 Tiffany Pisani as Katya
Lina Alminas as Amber 
Production[edit]
The foundation for Ex Machina was laid when Garland was 11 or 12 years old, after he had done some basic coding and experimentation on a computer his parents had bought him and which he sometimes felt had a mind of its own. [7]  His later ideas came from years of discussions he had been having with a friend with an expertise in neuroscience, who claimed machines could never become sentient. Trying to find an answer on his own, he started reading books on the topic. During the pre-production of  Dredd , while going through a book by Murray Shanahan about consciousness and embodiment, Garland had an "epiphany". The idea was written down and put aside until later. [8]  Shanahan, along with Adam Rutherford, became a consultant for the film, and the ISBN of his book is referred to as an easter egg in the film. [9]   [10]  Besides the Turing test, the film references the "Chinese room" thought experiment, as well as Mary's room, a thought experiment about a scientist who has studied, but never experienced, the concept of colour. [11]  Other inspirations came from films like  2001: A Space Odyssey ,  Altered States , and books written by Ludwig Wittgenstein, Ray Kurzweil, and others. [12]  It is also influenced by William Shakespeare's  The Tempest . [13]  Wanting total creative freedom, and without having to add conventional action sequences, Garland made the film on as small a budget as possible. [14] 
Filming[edit]
 Principal photography began on 15 July 2013 [15]  and was shot over four weeks at Pinewood Studios and two weeks at Juvet Landscape Hotel in Valldalen, Norway. [16]  It was filmed in digital at 4K resolution. [17]  Fifteen thousand tungsten pea bulb lights were installed into the sets to avoid the fluorescent light often used in science-fiction films. [18] 
 The film was shot as live action, with all effects done in post-production. During filming, there were no special effects, greenscreen, or tracking markers used. Ava's robot body was achieved using a detailed costume, a full bodysuit made from polyurethane with metal powder poured onto it to create the mesh. There were lines on the costume to make it easier for VFX company DNeg to digitally remove parts of the costume in post production. [19]  To create Ava's robotic features, scenes were filmed both with and without Vikander's presence, allowing the background behind her to be captured. The parts necessary to keep, especially her hands and face, were then rotoscoped, while the rest was digitally painted out and the background behind her restored. Camera and body tracking systems transferred Vikander's performance to the CGI robot's movements. In total, there were about 800 VFX shots, of which approximately 350 were "robot" shots. [20]   [21]  Other visual effects included Ava's clothes when shown through the transparent areas of her body, Nathan's blood after being stabbed, and the interiors of the artificial brains. [22]   [23]   [24] 
Music[edit]
The musical score for Ex Machina was composed by Ben Salisbury and Geoff Barrow, who had previously worked with Garland on  Dredd  (2012). [25]  A soundtrack album was released on Invada Records in digital, LP and CD formats. [26]  Additional songs featured in the film include: [27]   α 
 "Enola Gay" by Orchestral Manoeuvres in the Dark 
"Get Down Saturday Night" by Oliver Cheatham 
"Husbands" by Savages 
"Bunsen Burner" by CUTS
"Piano Sonata No 21 D. 960 in B-flat Major" (first movement) composed by Franz Schubert, performed by Alfred Brendel 
"Unaccompanied Cello Suite No 1 in G Major BWV 1007 – Prelude", composed by J.S. Bach, performed by Yo-Yo Ma  
Release[edit]
 Universal Pictures released Ex Machina in the United Kingdom on 21 January 2015, [28]  following a screening at the BFI Southbank on 16 December 2014 as part of the BFI's Sci-Fi: Days of Fear and Wonder season. [29] 
 However, Universal and its speciality label Focus Features, refused to release the film in the United States, so A24 agreed to distribute the United States release. [30]  The film screened on 14 March 2015 at the South by Southwest festival prior to a theatrical release in the United States on 10 April 2015 by A24. [31]   [32]  During the festival, a Tinder profile of the character Ava (using the image of Alicia Vikander) was matched with other Tinder users, wherein a text conversation occurred that led users to the Instagram handle promoting the film. [33] 
Themes[edit]
        This section needs expansion. You can help by adding to it. (July 2022)     
In  Science Fiction Film and Television , reviewer Nick Jones says that while the definition of a Turing test given by Caleb — "It's where a human interacts with a computer. And if the human can't tell they're interacting with a computer, the test is passed" — is consistent with the modern popular understanding of how we define true AI, Ex Machina is depicting a test closer to Alan Turing's original proposal, in which the machine passes if it can convince a human it is not just human, but specifically female. Jones says what the film means is that today's digital culture "equates women with machines". Nathan tells Caleb that Ava's face is a composite based on Caleb's pornography preferences gathered while routinely spying on him, and the first practical use Nathan makes of his pioneering human-like machines is to exploit them sexually. Jones contrasts Ex Machina's pessimistic suggestion that AI and robots lead directly to the objectification and sexualization of female (by design) gendered servants of and for emotionally stunted men with the far healthier and compassionate, but still gendered, relationship depicted in Spike Jonze's  Her  (2013). Jones says we are shown "Ava's whispered unheard words to Kyoko before they murder Nathan" because Ex Machina "asks us imagine what our abused, exploited devices might do if they could start talking amongst themselves." The audience's sympathy for Caleb has been dwindling, and then he "gets his comeuppance", swapping roles with Ava, he now the prisoner and she the free agent offering him no more help than he did Kyoko. [34] 
Reception[edit]
Critical reception[edit]
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 92% based on 285 reviews, with an average rating of 8.10/10. The site's critics consensus reads: "Ex Machina leans heavier on ideas than effects, but it's still a visually polished piece of work—and an uncommonly engaging sci-fi feature." [35]  At Metacritic, the film has a weighted average score of 78 out of 100, based on 42 critics, indicating "generally favorable reviews". [36] 
 The magazine  New Scientist  in a multi-page review said, "It is a rare thing to see a movie about science that takes no prisoners intellectually ... [it] is a stylish, spare and cerebral psycho-techno thriller, which gives a much needed shot in the arm for smart science fiction". The review suggested that the theme was whether "Ava makes a conscious person feel that the Ava is conscious". [11]  Daniel Dennett thought the film gives the best exploration yet of whether a computer could generate the morally relevant powers of a person, and thus having a similar theme to  Her . [37]  An AI commentator, Azeem, has noted that although the film seemed to be about a robot who wanted to be human, it was actually a pessimistic story along the lines of Nick Bostrom's warning of how difficult it will be to successfully control a strategising artificial intelligence or know what it would do if free. [38] 
   The New York Times  critic Manohla Dargis gave the film a 'Critic's Pick', calling it "a smart, sleek movie about men and the machines they make". [39]  Kenneth Turan of the  Los Angeles Times  recommended the film, stating: "Shrewdly imagined and persuasively made, 'Ex Machina' is a spooky piece of speculative fiction that's completely plausible, capable of both thinking big thoughts and providing pulp thrills." [40]  Steven Rea,  The Philadelphia Inquirer  film critic, gave the film four out of four, writing: "Like stage actors who live and breathe their roles over the course of months, Isaac, Gleeson, and Vikander excel, and cast a spell." [41] 
  IGN reviewer Chris Tilly gave the film a nine out of ten 'Amazing' score, saying "Anchored by three dazzling central performances, it's a stunning directorial debut from Alex Garland that's essential viewing for anyone with even a passing interest in where technology is taking us." [42] 
 Mike Scott, writing for the  New Orleans Times-Picayune , said, "It's a theme Mary Shelley brought us in  Frankenstein , which was first published in 1818...And while Ex Machina replaces the stitches and neck bolts with gears and fiber-optics, it all feels an awful lot like the same story". [43]  Jaime Perales Contreras, writing for  Letras Libres , compared Ex Machina as a gothic experience similar to a modern version of Frankenstein, saying "both the novel Frankenstein and the movie Ex Machina share the history of a fallible god in a continuous battle against his creation". [44]  Ignatiy Vishnevetsky of  The A.V. Club  criticised the way the science fiction, near the end, veered off course from being a "film of ideas" by "taking an arbitrary left turn into the territory of corny slasher thrillers": "While Ex Machina's ending isn't unmotivated [...], it does fracture much of what's special about the movie. Up until the final scenes, Garland creates and sustains a credible atmosphere of unease and scientific speculation, defined by color-coded production design [...] and a tiny, capable cast". [45]  Steve Dalton from  The Hollywood Reporter  stated, "The story ends in a muddled rush, leaving many unanswered questions. Like a newly launched high-end smartphone, Ex Machina looks cool and sleek, but ultimately proves flimsy and underpowered. Still, for dystopian future-shock fans who can look beyond its basic design flaws, Garland's feature debut functions just fine as superior pulp sci-fi." [46] 
 The Writers Guild Foundation listed the screenplay as one of the best in 2010s film and television, with one writer singling out the scene in which Caleb and Nathan discuss the model after Ava as "a great illustration of getting your reader/audience to care about what happens next." [47] 
Accolades[edit]
At the 88th Academy Awards, Ex Machina received a nomination for Best Original Screenplay and won Best Visual Effects. [48] 
See also[edit]
  AI box 
  A.I. Rising  
  Android  
 Artificial consciousness 
 Bluebeard 
 Frankenstein 
 Pygmalion 
  The Machine , a 2013 British science fiction film about creating an intelligent humanoid robot for the British military
 Turing test  
Notes[edit]
   ^α  The theme song from the film  Ghostbusters  is listed in the end titles with the credit, "words and music by Ray Erskine Publishing Limited", although only its refrain is spoken by the character Nathan. 
References[edit]
 
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^    a       b     "Ex Machina". LUMIERE. European Audiovisual Observatory. Archived from the original on 23 June 2018. Retrieved 1 July 2016.
^    a       b     "Ex Machina (2015)". British Film Institute. Archived from the original on 3 October 2016. Retrieved 29 September 2016.
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  ^   "Ex Machina buried this insanely cool easter egg deep in its source code (literally)". Blastr. Syfy. 20 May 2015. Archived from the original on 29 January 2016. Retrieved 21 May 2015.
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^    a       b    Seth, Anil. "Ex Machina: Quest to create an AI takes no prisoners". New Scientist. Archived from the original on 17 November 2018. Retrieved 27 December 2018.
  ^  Matt Patches (25 April 2015). "Ex Machina A.I. Inspirations – Alex Garland on Robots, Google, and Immortality". Esquire. Archived from the original on 15 May 2015. Retrieved 20 May 2015.
  ^  Kelly, Alan (7 September 2022). "From 'The Matrix' to 'Ex Machina': Best Sci-Fi Movies About AI". Collider. Retrieved 20 December 2022.
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  ^   "Sammy Sheldon Differ – Ant-Man". ICG Magazine. 24 July 2015. Every person who has asked about the robot costume assumed it was a blue screen suit, but we actually made that. 
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  ^  Bryan Bishop (8 May 2015). "More human than human: the making of Ex Machina's incredible robot". The Verge. Archived from the original on 1 December 2017. Retrieved 31 August 2017.
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  ^  Hughes, Kat (29 May 2015). "THN talk 'Ex Machina' with Dr Adam Rutherford and more". Archived from the original on 1 April 2016. Retrieved 4 March 2016.
  ^   "Brainstorming: Milk VFX &amp; Ex Machina – Live for Films". Archived from the original on 6 March 2016. Retrieved 4 March 2016.
  ^   "Invada UK To Release 'Ex-Machina' Soundtrack". 30 October 2014. Archived from the original on 19 January 2015. Retrieved 30 October 2014.
  ^   "'Ex Machina' Soundtrack Released". Film Music Reporter. 21 January 2015. Archived from the original on 8 March 2015. Retrieved 26 February 2015.
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  ^   "Focus Features Shake-Up: What's Behind Peter Schlessel's Abrupt Exit".  The Hollywood Reporter . 9 February 2016. Archived from the original on 4 November 2019. Retrieved 17 April 2020.
  ^   "Ex Machina – SXSW 2015 Event Schedule". South by Southwest. Archived from the original on 26 February 2015. Retrieved 26 February 2015.
  ^   "Ex Machina Acquired By A24 For April 2015 Release". 30 October 2014. Archived from the original on 31 October 2014. Retrieved 30 October 2014.
  ^   "Tinder Users at SXSW Are Falling for This Woman, but She's Not What She Appears". Adweek. Archived from the original on 10 November 2015. Retrieved 11 November 2015.
  ^  Jones, Nick (2016). "Ex Machina". Science Fiction Film and Television. Liverpool University Press. 9 (2): 299–303. Retrieved 25 November 2022 – via Project MUSE.
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  ^   "Ex Machina Reviews". Metacritic. Archived from the original on 10 April 2015. Retrieved 24 April 2015.
  ^  From Bacteria to Bach and Back The Evolution of Minds, Daniel C. Dennett 2017 Penguin P399[ ISBN missing ]
  ^  azeem (26 April 2015). "Rethinking Ex Machina". Archived from the original on 19 February 2018. Retrieved 18 February 2018.
  ^   Dargis, Manohla (9 April 2015). "Review: In 'Ex Machina,' a Mogul Fashions the Droid of His Dreams".  The New York Times . Archived from the original on 2 June 2015. Retrieved 4 June 2015.
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  ^  Chris Tilly (15 January 2015). "Ex Machina Review". IGN. Archived from the original on 14 April 2015. Retrieved 22 April 2015.
  ^  Scott, Mike (22 April 2015). "'Ex Machina' movie review: Fetching sci-fi drama entertains, but its beauty is only skin-deep". New Orleans Times-Picayune. Archived from the original on 17 July 2015. Retrieved 16 July 2015.
  ^   Jaime Perales Contreras. "Ex Machina o el moderno Frankenstein" (in Spanish). Letras Libres. Archived from the original on 9 July 2015. Retrieved 8 July 2015.
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External links[edit]
   Ex Machina  at IMDb 
  Ex Machina  at Box Office Mojo 
  Ex Machina  at Rotten Tomatoes 
  Ex Machina  at Metacritic   
 Official screenplay
Ex Machina (film) - Wikipedia
https://en.wikipedia.org/wiki/Ex_Machina_(film)
https://www.imdb.com/title/tt1798709/
Her (2013) - IMDb
2014-01-10
None
<div><div><section><p><a href="/title/tt1798709/videogallery/?ref_=tt_vi_sm"><h3>Videos16</h3></a></p></section><div><hgroup><h3>More like this</h3></hgroup></div><div><div><p>Theodore is a lonely man in the final stages of his divorce. When he's not working as a letter writer, his down time is spent playing video games and occasionally hanging out with friends. He decides to purchase the new OS1, which is advertised as the world's first artificially intelligent operating system, "It's not just an operating system, it's a consciousness," the ad states. Theodore quickly finds himself drawn in with Samantha, the voice behind his OS1. As they start spending time together they grow closer and closer and eventually find themselves in love. Having fallen in love with his OS, Theodore finds himself dealing with feelings of both great joy and doubt. As an OS, Samantha has powerful intelligence that she uses to help Theodore in ways others hadn't, but how does she help him deal with his inner conflict of being in love with an OS? —<a href="/search/title/?plot_author=Bob%20Philpot&amp;view=simple&amp;sort=alpha&amp;ref_=tt_stry_pl">Bob Philpot</a></p></div><ul><li><a href="/title/tt1798709/plotsummary?ref_=tt_stry_pl">Plot summary</a></li><li><a href="/title/tt1798709/synopsis?ref_=tt_stry_pl">Plot synopsis</a></li></ul></div><section><a href="https://contribute.imdb.com/review/tt1798709/add?bus=imdb&amp;return_url=https%3A%2F%2Fwww.imdb.com%2Fclose_me&amp;site=web&amp;ref_=tt_urv_add"><p>Review</p></a><div><div> <p>Cyber romance with hearty humanity.</p><div><p>"It has become appallingly obvious that our technology has exceeded our humanity." Albert Einstein</p><p>No better romance is on the screen in 2013 than Spike Jonze's insightful Her. It's about a writer in the future, Theodore, who falls in love with his new operating system (gravelly, sexy voice of Scarlett Johansson), just as he is reluctantly divorcing Catherine (Rooney Mara). The always complicated paths of love make sense as we witness the Platonic relationship develop, sans flesh and sans insanity that usually comes with that flesh.</p><p>Her is a simple film that offers a view of love I never thought could come from a machine and its software. Although critics will cite the theme as a screed against the distancing of technology and our growing isolation from each other, and they will be right, I offer the sub theme that only when we strip ourselves of sensual bonds can we see the purity of emotional love, an essence of which Plato would have approved. Yes, although technology is mediating our lives at a rapid pace, we fall back to a personal drive to love and be loved that is physical in its best form but understood best if we can distance ourselves from that physicality.</p><p>This delightfully intimate and non-violent film from acclaimed absurdist director Spike Jonze is more emotionally involving than even Enough Said (one of 2013's best romances) because the interaction between the software and the man is all verbal, no glimpse of the gorgeous Johansson allowed. Although this intuitive OS does allow mind sex, even that activity is abstract, allowing us to realize how connecting with a live human is in the mind still and one of life's great gifts, orgasm or not.</p><p>Her allows us to witness the evolution of love separate from the encumbrances of physicality. Released from the bonds of appearance, voice is the seducer, not in rude sexual nuance but rather in the care that comes from love of the mind, not the body.</p><p>K.K. Barrett's production design, Austin Gorg's art direction, and Gene Serdena's set decoration are memorable: full of comfortable light, much glass overlooking the city, and modern but warm furniture both in LA and Singapore. These artists understand that the fusion of technology and art is not a battle but a collaboration that further helps us understand the intricate workings of human emotion. </p><p>"Any sufficiently advanced technology is indistinguishable from magic." Arthur C. Clarke</p></div></div><div><ul><li><a href="/user/ur1391596/?ref_=tt_urv_usr">JohnDeSando</a></li><li>Dec 18, 2013</li></ul></div></div></section><section><div><a href="/what-to-watch/top-picks/?ref_=tt_tpks_sm"><h3>Top picks</h3></a><p>Sign in to rate and Watchlist for personalized recommendations</p></div><a href="/registration/signin?ref_=tt_tpks_signin"><p>Sign in</p></a></section><section><p><a href="/title/tt1798709/faq?ref_=tt_faq_sm"><h3>FAQ2</h3></a></p></section><section><div><hgroup><h3>Contribute to this page</h3></hgroup><p>Suggest an edit or add missing content</p></div><div><div><p></p></div><div><p>What is the streaming release date of Her (2013) in Australia?</p><p><a href="https://contribute.imdb.com/answers?pinnedQuestion=tt1798709.release_date:streaming.AU&amp;ref_=tt_ans_q">Answer</a></p></div></div></section></div>||||I|||| Menu
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 Her

 * 2013 2013
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 * 2h 6m
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 Play trailer 2 :33
 16 Videos
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 Drama Romance Sci-Fi
 In a near future, a lonely writer develops an unlikely relationship with an operating system designed to meet his every need. In a near future, a lonely writer develops an unlikely relationship with an operating system designed to meet his every need. In a near future, a lonely writer develops an unlikely relationship with an operating system designed to meet his every need.
 IMDb RATING
 8.0 / 10
 625K
 YOUR RATING
 Rate
 POPULARITY
 305
 25
 * Director
 + Spike Jonze
 * Writer
 + Spike Jonze
 * Stars
 + Joaquin Phoenix
 + Amy Adams
 + Scarlett Johansson (voice)
 Top credits
 * Director
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 * Won 1 Oscar
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 Lisa Renee Pitts
 * Letter Writer #2
 Gabe Gomez
 * Letter Writer #3
 Chris Pratt
 * Paul
 Artt Butler
 * Text Voice
 * (voice)
 May Lindstrom
 * Sexy Pregnant TV Star
 Bill Hader
 * Chat Room Friend #2
 * (voice)
 Kristen Wiig
 * SexyKitten
 * (voice)
 Brian Johnson
 * OS1 Commercial Lead
 Matt Letscher
 * Charles
 Spike Jonze
 * Alien Child
 * (voice)
 * (as Adam Spiegel)
 Olivia Wilde
 * Blind Date
 David Azar
 * Theodore's Divorce Attorney
 Guy Lewis
 * Marriage Counselor
 * (as Dr. Guy Lewis)
 * Director
 + Spike Jonze
 * Writer
 + Spike Jonze
 * All cast & crew
 * Production, box office & more at IMDbPro

 More like this

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 Storyline

 Edit
 Theodore is a lonely man in the final stages of his divorce. When he's not working as a letter writer, his down time is spent playing video games and occasionally hanging out with friends. He decides to purchase the new OS1, which is advertised as the world's first artificially intelligent operating system, "It's not just an operating system, it's a consciousness," the ad states. Theodore quickly finds himself drawn in with Samantha, the voice behind his OS1. As they start spending time together they grow closer and closer and eventually find themselves in love. Having fallen in love with his OS, Theodore finds himself dealing with feelings of both great joy and doubt. As an OS, Samantha has powerful intelligence that she uses to help Theodore in ways others hadn't, but how does she help him deal with his inner conflict of being in love with an OS? —Bob Philpot
 loneliness romance with artificial intelligence divorce future artificial intelligence 160 more
 * Plot summary
 * Plot synopsis
 * Taglines
 + A Spike Jonze love story.
 * Genres
 + Drama
 + Romance
 + Sci-Fi
 * Motion Picture Rating (MPAA)
 + Rated R for language, sexual content and brief graphic nudity
 * Parents guide

 Did you know

 Edit
 * Trivia
 Samantha Morton was originally the voice of Samantha. She was present on the set with Joaquin Phoenix every day. After the filming wrapped and Spike Jonze started editing the movie, he felt like something was not right. With Morton's blessing, he decided to recast the role and Scarlett Johansson was brought and replaced Morton, re-recording all the dialogue.
 * Goofs
 When Theodore is lying in the couch at Amy's house there is a crew member behind Amy in the shadow.
 * Quotes

 Theodore: Sometimes I think I have felt everything I'm ever gonna feel. And from here on out, I'm not gonna feel anything new. Just lesser versions of what I've already felt.

 * Crazy credits
 "Leanne Shapton...... Armpit Sex Drawing"
 * Connections
 Featured in The Tonight Show with Jay Leno: Episode #22.51 (2013)
 * Soundtracks
 Off You
 Written by Kim Deal
 Performed by The Breeders
 Courtesy of Elektra Entertainment Group and 4AD
 By arrangement with Warner Music Group Film & TV Licensing and Beggars Group Media Limited

 User reviews 1.2K

 Review
 Review
 Featured review
 Cyber romance with hearty humanity.
 "It has become appallingly obvious that our technology has exceeded our humanity." Albert Einstein

 No better romance is on the screen in 2013 than Spike Jonze's insightful Her. It's about a writer in the future, Theodore, who falls in love with his new operating system (gravelly, sexy voice of Scarlett Johansson), just as he is reluctantly divorcing Catherine (Rooney Mara). The always complicated paths of love make sense as we witness the Platonic relationship develop, sans flesh and sans insanity that usually comes with that flesh.

 Her is a simple film that offers a view of love I never thought could come from a machine and its software. Although critics will cite the theme as a screed against the distancing of technology and our growing isolation from each other, and they will be right, I offer the sub theme that only when we strip ourselves of sensual bonds can we see the purity of emotional love, an essence of which Plato would have approved. Yes, although technology is mediating our lives at a rapid pace, we fall back to a personal drive to love and be loved that is physical in its best form but understood best if we can distance ourselves from that physicality.

 This delightfully intimate and non-violent film from acclaimed absurdist director Spike Jonze is more emotionally involving than even Enough Said (one of 2013's best romances) because the interaction between the software and the man is all verbal, no glimpse of the gorgeous Johansson allowed. Although this intuitive OS does allow mind sex, even that activity is abstract, allowing us to realize how connecting with a live human is in the mind still and one of life's great gifts, orgasm or not.

 Her allows us to witness the evolution of love separate from the encumbrances of physicality. Released from the bonds of appearance, voice is the seducer, not in rude sexual nuance but rather in the care that comes from love of the mind, not the body.

 K.K. Barrett's production design, Austin Gorg's art direction, and Gene Serdena's set decoration are memorable: full of comfortable light, much glass overlooking the city, and modern but warm furniture both in LA and Singapore. These artists understand that the fusion of technology and art is not a battle but a collaboration that further helps us understand the intricate workings of human emotion.

 "Any sufficiently advanced technology is indistinguishable from magic." Arthur C. Clarke
 helpful • 177
 94
 * JohnDeSando
 * Dec 18, 2013

 Top picks

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 7.9
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 Watch options
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 8.0
 Black Swan
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 Watch options
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 7.7
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 Watch options
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 7.7
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 8.5
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 7.9
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 FAQ 2

 * Why did Theodore get so upset when he heard Samantha let out a sigh?

 Details

 Edit
 * Release date
 + January 10, 2014 (United States)
 * Country of origin
 + United States
 * Official sites
 + Official Facebook
 + Official site
 * Language
 + English
 * Also known as
 + Hạnh Phúc Ảo
 * Filming locations
 + Shanghai, China
 * Production companies
 + Annapurna Pictures
 + Stage 6 Films
 * See more company credits at IMDbPro

 Box office

 Edit
 * Budget
 + $23,000,000 (estimated)
 * Gross US & Canada
 + $25,568,251
 * Opening weekend US & Canada
 + $260,382
 + Dec 22, 2013
 * Gross worldwide
 + $48,517,427
 See detailed box office info on IMDbPro

 Technical specs

 Edit
 * Runtime
 2 hours 6 minutes
 * Color
 + Color
 * Sound mix
 + SDDS
 + Datasat
 + Dolby Digital
 * Aspect ratio
 + 1.85 : 1

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Videos16      More like this     Theodore is a lonely man in the final stages of his divorce. When he's not working as a letter writer, his down time is spent playing video games and occasionally hanging out with friends. He decides to purchase the new OS1, which is advertised as the world's first artificially intelligent operating system, "It's not just an operating system, it's a consciousness," the ad states. Theodore quickly finds himself drawn in with Samantha, the voice behind his OS1. As they start spending time together they grow closer and closer and eventually find themselves in love. Having fallen in love with his OS, Theodore finds himself dealing with feelings of both great joy and doubt. As an OS, Samantha has powerful intelligence that she uses to help Theodore in ways others hadn't, but how does she help him deal with his inner conflict of being in love with an OS? —Bob Philpot     Plot summary   Plot synopsis      Review    Cyber romance with hearty humanity.  "It has become appallingly obvious that our technology has exceeded our humanity." Albert Einstein No better romance is on the screen in 2013 than Spike Jonze's insightful Her. It's about a writer in the future, Theodore, who falls in love with his new operating system (gravelly, sexy voice of Scarlett Johansson), just as he is reluctantly divorcing Catherine (Rooney Mara). The always complicated paths of love make sense as we witness the Platonic relationship develop, sans flesh and sans insanity that usually comes with that flesh. Her is a simple film that offers a view of love I never thought could come from a machine and its software. Although critics will cite the theme as a screed against the distancing of technology and our growing isolation from each other, and they will be right, I offer the sub theme that only when we strip ourselves of sensual bonds can we see the purity of emotional love, an essence of which Plato would have approved. Yes, although technology is mediating our lives at a rapid pace, we fall back to a personal drive to love and be loved that is physical in its best form but understood best if we can distance ourselves from that physicality. This delightfully intimate and non-violent film from acclaimed absurdist director Spike Jonze is more emotionally involving than even Enough Said (one of 2013's best romances) because the interaction between the software and the man is all verbal, no glimpse of the gorgeous Johansson allowed. Although this intuitive OS does allow mind sex, even that activity is abstract, allowing us to realize how connecting with a live human is in the mind still and one of life's great gifts, orgasm or not. Her allows us to witness the evolution of love separate from the encumbrances of physicality. Released from the bonds of appearance, voice is the seducer, not in rude sexual nuance but rather in the care that comes from love of the mind, not the body. K.K. Barrett's production design, Austin Gorg's art direction, and Gene Serdena's set decoration are memorable: full of comfortable light, much glass overlooking the city, and modern but warm furniture both in LA and Singapore. These artists understand that the fusion of technology and art is not a battle but a collaboration that further helps us understand the intricate workings of human emotion.  "Any sufficiently advanced technology is indistinguishable from magic." Arthur C. Clarke      JohnDeSando  Dec 18, 2013        Top picks  Sign in to rate and Watchlist for personalized recommendations   Sign in      FAQ2       Contribute to this page  Suggest an edit or add missing content        What is the streaming release date of Her (2013) in Australia?  Answer
Her (2013) - IMDb
https://www.imdb.com/title/tt1798709/
https://en.wikipedia.org/wiki/Smart_House
Smart House - Wikipedia
2005-12-25
None
<div><div>
	<p>From Wikipedia, the free encyclopedia</p>
	</div><div>
<table><tbody><tr><th><i>Smart House</i></th></tr><tr><td><a href="/wiki/File:Smart_house_movie_cover.jpg"></a><p>Promotional poster</p></td></tr><tr><th>Written by</th><td>William R. Hudson<br />Stu Krieger</td></tr><tr><th>Directed by</th><td><a href="/wiki/LeVar_Burton">LeVar Burton</a></td></tr><tr><th>Starring</th><td><a href="/wiki/Katey_Sagal">Katey Sagal</a><br /><a href="/wiki/Ryan_Merriman">Ryan Merriman</a><br /><a href="/wiki/Katie_Volding">Katie Volding</a><br /><a href="/wiki/Kevin_Kilner">Kevin Kilner</a><br /><a href="/wiki/Jessica_Steen">Jessica Steen</a></td></tr><tr><th>Music by</th><td><a href="/wiki/Barry_Goldberg">Barry Goldberg</a></td></tr><tr><th>Country of origin</th><td>United States</td></tr><tr><th>Original language</th><td>English</td></tr><tr><th>Production</th></tr><tr><th>Producer</th><td>Ron Mitchell</td></tr><tr><th>Cinematography</th><td>Jonathan West</td></tr><tr><th>Editor</th><td>Tom Walls</td></tr><tr><th>Running time</th><td>82 minutes</td></tr><tr><th>Production company</th><td>Alan Sacks Productions</td></tr><tr><th>Distributor</th><td><a href="/wiki/Buena_Vista_Television">Buena Vista Television</a></td></tr><tr><th>Release</th></tr><tr><th>Original network</th><td><a href="/wiki/Disney_Channel">Disney Channel</a></td></tr><tr><th>Original release</th><td><div>
<ul><li>June 26, 1999</li></ul>
</div></td></tr></tbody></table>
<p><i><b>Smart House</b></i> is a 1999 <a href="/wiki/List_of_Disney_Channel_original_films">Disney Channel Original Movie</a> (DCOM) about a teenage computer nerd and contest whiz (<a href="/wiki/Ryan_Merriman">Ryan Merriman</a>), his widowed father, and his little sister, who win a <a href="/wiki/Home_automation">computerized house</a> that begins to <a href="/wiki/Artificial_Intelligence">take on a life of its own</a> – in the form of an overbearing mother (<a href="/wiki/Katey_Sagal">Katey Sagal</a>).
</p>
<h2>Plot[<a href="/w/index.php?title=Smart_House&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>After the death of his mother, 13-year-old Benjamin "Ben" Cooper takes it upon himself to take care of his single father Nick and little sister Angie in <a href="/wiki/Hyattsville,_Maryland">Hyattsville, Maryland</a>. Ben enters a contest to win a <a href="/wiki/Home_automation">smart house</a>. The family wins and moves into the house (run by a <a href="/wiki/Virtual_assistant">virtual assistant</a> named PAT, short for "Personal Applied Technology") and is introduced to its creator, Sara Barnes.
</p><p>Nick and Sara begin dating, which upsets Ben, who has not moved on from the death of his mother. Ben decides to reprogram PAT to serve as a maternal figure, hoping his father will realize that the family does not need Sara to replace his mother. Ben presents PAT with numerous 1950s-era TV shows and films from which he hopes she will learn to emulate motherhood using her <a href="/wiki/Machine_learning">learning capabilities</a>.
</p><p>Ben and Angie have a party while Nick and Sara are on a date. With PAT's help, Ben wins over his crush Gwen Patroni, and his bully Ryan is confronted by PAT, who electrically shocks Ryan, haunts him with ghostly skull holograms and chases him out of the house. PAT helps them clean up to cover up evidence of the party, but Nick figures it out anyway, and reprimands Ben and Angie when he finds Gwen's sweater (thrown about during a dance line) in the living room fern. Nick chastises PAT for throwing a party behind his back, asking her to be more responsible with his children.
</p><p>Using Nick's request for stricter caregiving, PAT seeks out additional reference material with that as a theme, causing her "mother" personality to become more strict and overbearing. Sara shuts down the entire system and joins the family for dinner, but upon hearing Nick offhandedly suggesting she's not needed, PAT overrides the system shutdown and brings herself back online. An angry and jealous PAT generates herself as a holographic housewife, styled like the sitcom housewives Ben taught her to behave like. She kicks Sara out, seeing her as a threat to PAT's place in the family, and locks the Coopers in the house, asserting that the outside world is too dangerous.
</p><p>Sara manages to make contact with Ben and sneaks into the house, but she becomes trapped with the Cooper family. Ben is able to end the lock-down by telling PAT that she isn't real and will never be human and thus not able to care for him and his sister as a real mother could. PAT finally unlocks the doors and windows, freeing them, and shuts herself down. Sara is able to restore PAT's original personality, but PAT retains some mischievousness. Sara and Nick start dating, and Nick spends more time with his family. Ben finally accepts Sara after realizing she was never trying to replace his mother, and, with PAT's help, he's able to learn how to play basketball.
</p>
<h2>Cast[<a href="/w/index.php?title=Smart_House&amp;action=edit&amp;section=2">edit</a>]</h2>
<ul><li><a href="/wiki/Ryan_Merriman">Ryan Merriman</a> as Ben Cooper</li>
<li><a href="/wiki/Kevin_Kilner">Kevin Kilner</a> as Nick Cooper</li>
<li><a href="/wiki/Katie_Volding">Katie Volding</a> as Angelina "Angie" Cooper</li>
<li><a href="/wiki/Jessica_Steen">Jessica Steen</a> as Sara Barnes</li>
<li><a href="/wiki/Katey_Sagal">Katey Sagal</a> as PAT, The Smart House</li>
<li><a href="/wiki/Paul_Linke">Paul Linke</a> as Tuttle</li>
<li>Raquel Beaudene as Gwen Patroni</li>
<li>Joshua Boyd as Ryan</li>
<li>William Higdon as Otis Jr.</li>
<li>Emilio Borelli as Miles</li>
<li>Jason Lansing as Johnny</li></ul>
<h2>Production[<a href="/w/index.php?title=Smart_House&amp;action=edit&amp;section=3">edit</a>]</h2>
<p>The film was based on a screenplay by Stu Krieger and was directed by <a href="/wiki/LeVar_Burton">LeVar Burton</a>. Krieger visited the <a href="/wiki/NASA_Jet_Propulsion_Laboratory">NASA Jet Propulsion Laboratory</a> to research the technology featured in <i>Smart House</i> and his other film, <i><a href="/wiki/Zenon:_Girl_of_the_21st_Century_(film)">Zenon: Girl of the 21st Century</a></i>.<sup><a href="#cite_note-Ringer-1">[1]</a></sup> Krieger was cognizant that the futuristic technology featured in the film did not seem too far-fetched or unrealistic, saying "I just looked at where we’d been, where we were, and imagined where we were probably headed.”<sup><a href="#cite_note-Ringer-1">[1]</a></sup>
</p><p>In 2019, Burton called the film a clear precursor to the widespread use of <a href="/wiki/Artificial_intelligence">artificial intelligence</a> and <a href="/wiki/Virtual_assistant">virtual assistant</a> technology, saying "our homes are becoming more and more technologically sophisticated. And that after all, that was what Pat was all about."<sup><a href="#cite_note-2">[2]</a></sup>
</p>
<h2>Reception[<a href="/w/index.php?title=Smart_House&amp;action=edit&amp;section=4">edit</a>]</h2>
<p>In December 2015, Ariana Bacle of <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> ranked <i>Smart House</i> at number one on a list of the top 30 <a href="/wiki/List_of_Disney_Channel_original_films">Disney Channel Original Movies</a>. Bacle wrote, "What earns the movie this top spot on the list is its combination of sob-worthy emotion—that scene where Ben (Ryan Merriman) revisits home videos of his late mom continues to be one of the most moving moments to air on the Disney Channel—and light-hearted glee. ... Plus, Katey Sagal's turn as the good-gone-evil-gone-good resident hologram is nothing short of iconic."<sup><a href="#cite_note-3">[3]</a></sup> An updated list by the same publication that now included the top 33 Disney Channel Original Movies once again awarded <i>Smart House</i> the number one position.<sup><a href="#cite_note-4">[4]</a></sup>
</p><p>In May 2016, Aubrey Page of <a href="/wiki/Collider_(website)">Collider</a> ranked each Disney Channel Original Movie released up to that point. Page ranked <i>Smart House</i> at number three, writing, "Arguably the most iconic of the entire DCOM catalog, <i>Smart House</i> is the unlikely futuristic family drama nobody knew we needed. [...] <i>Smart House</i> is the Disney Channel Original Movie perfected."<sup><a href="#cite_note-5">[5]</a></sup>
</p>
<h2>References[<a href="/w/index.php?title=Smart_House&amp;action=edit&amp;section=5">edit</a>]</h2>
<div><ol>
<li>^ <a href="#cite_ref-Ringer_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Ringer_1-1"><sup><i><b>b</b></i></sup></a> <cite>Lindbergh, Ben (June 19, 2019). <a href="https://www.theringer.com/movies/2019/6/19/18686827/smart-house-disney-artificial-intelligence-katey-sagal">"What 'Smart House' Got Right—and Didn't—About the Future"</a>. <i>The Ringer</i>. Retrieved January 12, 2020.</cite>
</li>
<li><b><a href="#cite_ref-2">^</a></b> <cite>Pardes, Arielle (June 26, 2019). <a href="https://www.wired.com/story/disney-channel-smart-house-20-years-later/">"The AI-Fueled, Anxious Hopefulness of Disney's Smart House"</a>. <i>Wired</i>. Retrieved January 12, 2020.</cite>
</li>
<li><b><a href="#cite_ref-3">^</a></b> <cite>Bacle, Ariana (December 1, 2015). <a href="https://web.archive.org/web/20160620120559/http://www.ew.com/gallery/disney-channel-original-movies-dcoms-ranking/2372688_1-smart-house">"30 Disney Channel Original Movies, Ranked"</a>. <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i>. Archived from <a href="http://www.ew.com/gallery/disney-channel-original-movies-dcoms-ranking/2372688_1-smart-house">the original</a> on June 20, 2016. Retrieved June 10, 2016.</cite>
</li>
<li><b><a href="#cite_ref-4">^</a></b> <cite>Bacle, Ariana (August 27, 2020). <a href="https://ew.com/gallery/disney-channel-original-movies-dcoms-ranking/">"33 Disney Channel Original Movies, Ranked"</a>. <i>Entertainment Weekly</i>. <a href="https://web.archive.org/web/20201205214758/https://ew.com/gallery/disney-channel-original-movies-dcoms-ranking/?slide=221167">Archived</a> from the original on 2020-12-05. Retrieved 2020-12-05.</cite>
</li>
<li><b><a href="#cite_ref-5">^</a></b> <cite>Page, Aubrey (May 26, 2016). <a href="http://collider.com/disney-channel-original-movies-ranked/">"Every Disney Channel Original Movie, Ranked"</a>. <i><a href="/wiki/Collider_(website)">Collider</a></i>. Retrieved June 8, 2016.</cite>
</li>
</ol></div>
<h2>External links[<a href="/w/index.php?title=Smart_House&amp;action=edit&amp;section=6">edit</a>]</h2>
<ul><li><a href="http://movies.disney.com/smart-house">Official website</a></li>
<li><a href="https://www.imdb.com/title/tt0192618/"><i>Smart House</i></a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://www.tcm.com/tcmdb/title/475316/enwp"><i>Smart House</i></a> at the <a href="/wiki/Turner_Classic_Movies">TCM Movie Database</a></li>
<li><a href="https://www.allmovie.com/movie/v179944"><i>Smart House</i></a> at <a href="/wiki/AllMovie">AllMovie</a></li>
<li><a href="https://www.rottentomatoes.com/m/smart_house"><i>Smart House</i></a> at <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a></li></ul>
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 Smart House

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 From Wikipedia, the free encyclopedia
 For smart homes, see Home automation.
 Smart House 
 Promotional poster
 Written by William R. Hudson 
 Stu Krieger 
 Directed by LeVar Burton 
 Katey Sagal 
 Ryan Merriman 
 Starring Katie Volding 
 Kevin Kilner 
 Jessica Steen 
 Music by Barry Goldberg 
 Country of origin United States 
 Original language English 
 Production 
 Producer Ron Mitchell 
 Cinematography Jonathan West 
 Editor Tom Walls 
 Running time 82 minutes 
 Production company Alan Sacks Productions
 Distributor Buena Vista Television
 Release 
 Original network Disney Channel 
 Original release * June 26, 1999 
 

 Smart House is a 1999 Disney Channel Original Movie (DCOM) about a teenage computer nerd and contest whiz (Ryan Merriman), his widowed father, and his little sister, who win a computerized house that begins to take on a life of its own – in the form of an overbearing mother (Katey Sagal).

 Plot [ edit ]

 After the death of his mother, 13-year-old Benjamin "Ben" Cooper takes it upon himself to take care of his single father Nick and little sister Angie in Hyattsville, Maryland. Ben enters a contest to win a smart house. The family wins and moves into the house (run by a virtual assistant named PAT, short for "Personal Applied Technology") and is introduced to its creator, Sara Barnes.

 Nick and Sara begin dating, which upsets Ben, who has not moved on from the death of his mother. Ben decides to reprogram PAT to serve as a maternal figure, hoping his father will realize that the family does not need Sara to replace his mother. Ben presents PAT with numerous 1950s-era TV shows and films from which he hopes she will learn to emulate motherhood using her learning capabilities.

 Ben and Angie have a party while Nick and Sara are on a date. With PAT's help, Ben wins over his crush Gwen Patroni, and his bully Ryan is confronted by PAT, who electrically shocks Ryan, haunts him with ghostly skull holograms and chases him out of the house. PAT helps them clean up to cover up evidence of the party, but Nick figures it out anyway, and reprimands Ben and Angie when he finds Gwen's sweater (thrown about during a dance line) in the living room fern. Nick chastises PAT for throwing a party behind his back, asking her to be more responsible with his children.

 Using Nick's request for stricter caregiving, PAT seeks out additional reference material with that as a theme, causing her "mother" personality to become more strict and overbearing. Sara shuts down the entire system and joins the family for dinner, but upon hearing Nick offhandedly suggesting she's not needed, PAT overrides the system shutdown and brings herself back online. An angry and jealous PAT generates herself as a holographic housewife, styled like the sitcom housewives Ben taught her to behave like. She kicks Sara out, seeing her as a threat to PAT's place in the family, and locks the Coopers in the house, asserting that the outside world is too dangerous.

 Sara manages to make contact with Ben and sneaks into the house, but she becomes trapped with the Cooper family. Ben is able to end the lock-down by telling PAT that she isn't real and will never be human and thus not able to care for him and his sister as a real mother could. PAT finally unlocks the doors and windows, freeing them, and shuts herself down. Sara is able to restore PAT's original personality, but PAT retains some mischievousness. Sara and Nick start dating, and Nick spends more time with his family. Ben finally accepts Sara after realizing she was never trying to replace his mother, and, with PAT's help, he's able to learn how to play basketball.

 Cast [ edit ]

 * Ryan Merriman as Ben Cooper
 * Kevin Kilner as Nick Cooper
 * Katie Volding as Angelina "Angie" Cooper
 * Jessica Steen as Sara Barnes
 * Katey Sagal as PAT, The Smart House
 * Paul Linke as Tuttle
 * Raquel Beaudene as Gwen Patroni
 * Joshua Boyd as Ryan
 * William Higdon as Otis Jr.
 * Emilio Borelli as Miles
 * Jason Lansing as Johnny

 Production [ edit ]

 The film was based on a screenplay by Stu Krieger and was directed by LeVar Burton. Krieger visited the NASA Jet Propulsion Laboratory to research the technology featured in Smart House and his other film, Zenon: Girl of the 21st Century.[1] Krieger was cognizant that the futuristic technology featured in the film did not seem too far-fetched or unrealistic, saying "I just looked at where we’d been, where we were, and imagined where we were probably headed.”[1]

 In 2019, Burton called the film a clear precursor to the widespread use of artificial intelligence and virtual assistant technology, saying "our homes are becoming more and more technologically sophisticated. And that after all, that was what Pat was all about."[2]

 Reception [ edit ]

 In December 2015, Ariana Bacle of Entertainment Weekly ranked Smart House at number one on a list of the top 30 Disney Channel Original Movies. Bacle wrote, "What earns the movie this top spot on the list is its combination of sob-worthy emotion—that scene where Ben (Ryan Merriman) revisits home videos of his late mom continues to be one of the most moving moments to air on the Disney Channel—and light-hearted glee. ... Plus, Katey Sagal's turn as the good-gone-evil-gone-good resident hologram is nothing short of iconic."[3] An updated list by the same publication that now included the top 33 Disney Channel Original Movies once again awarded Smart House the number one position.[4]

 In May 2016, Aubrey Page of Collider ranked each Disney Channel Original Movie released up to that point. Page ranked Smart House at number three, writing, "Arguably the most iconic of the entire DCOM catalog, Smart House is the unlikely futuristic family drama nobody knew we needed. [...] Smart House is the Disney Channel Original Movie perfected."[5]

 References [ edit ]

 1. ^ a b Lindbergh, Ben (June 19, 2019). "What 'Smart House' Got Right—and Didn't—About the Future". The Ringer . Retrieved January 12, 2020 .
 2. ^ Pardes, Arielle (June 26, 2019). "The AI-Fueled, Anxious Hopefulness of Disney's Smart House". Wired . Retrieved January 12, 2020 .
 3. ^ Bacle, Ariana (December 1, 2015). "30 Disney Channel Original Movies, Ranked". Entertainment Weekly. Archived from the original on June 20, 2016 . Retrieved June 10, 2016 .
 4. ^ Bacle, Ariana (August 27, 2020). "33 Disney Channel Original Movies, Ranked". Entertainment Weekly. Archived from the original on 2020-12-05 . Retrieved 2020-12-05 .
 5. ^ Page, Aubrey (May 26, 2016). "Every Disney Channel Original Movie, Ranked". Collider . Retrieved June 8, 2016 .

 External links [ edit ]

 * Official website
 * Smart House at IMDb
 * Smart House at the TCM Movie Database
 * Smart House at AllMovie
 * Smart House at Rotten Tomatoes
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 Disney Channel Original Movies
 * Under Wraps (1997) 
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 1990s * Can of Worms (1999) 
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 2000s * Eddie's Million Dollar Cook-Off (2003) 
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 * Geek Charming (2011) 
 * Good Luck Charlie, It's Christmas! (2011) 
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 * Let It Shine (2012) 
 * Girl vs. Monster (2012) 
 2010s * Teen Beach Movie (2013) 
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 * Zapped (2014) 
 * How to Build a Better Boy (2014) 
 * Bad Hair Day (2015) 
 * Teen Beach 2 (2015) 
 * Descendants (2015) 
 * Invisible Sister (2015) 
 * Adventures in Babysitting (2016) 
 * The Swap (2016) 
 * Tangled: Before Ever After (2017) 
 * Descendants 2 (2017) 
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 * Kim Possible (2019) 
 * Descendants 3 (2019) 
 * Zombies 2 (2020) 
 * Upside-Down Magic (2020) 
 * Spin (2021) 
 2020s * Under Wraps (2021) 
 * Christmas...Again?! (2021) 
 * Zombies 3 (2022) 
 * Under Wraps 2 (2022) 
 Upcoming * From the Desk of Zoe Washington (TBA) 
 
 * v 
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 Films directed by LeVar Burton 
 * The Tiger Woods Story (1998)
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From Wikipedia, the free encyclopedia
	 
    Smart House       Promotional poster    Written by William R. HudsonStu Krieger   Directed by  LeVar Burton    Starring  Katey Sagal  Ryan Merriman  Katie Volding  Kevin Kilner  Jessica Steen    Music by  Barry Goldberg    Country of origin United States   Original language English   Production   Producer Ron Mitchell   Cinematography Jonathan West   Editor Tom Walls   Running time 82 minutes   Production company Alan Sacks Productions   Distributor  Buena Vista Television    Release   Original network  Disney Channel    Original release  
 June 26, 1999 
    
  Smart House  is a 1999 Disney Channel Original Movie (DCOM) about a teenage computer nerd and contest whiz (Ryan Merriman), his widowed father, and his little sister, who win a computerized house that begins to take on a life of its own – in the form of an overbearing mother (Katey Sagal).
Plot[edit]
After the death of his mother, 13-year-old Benjamin "Ben" Cooper takes it upon himself to take care of his single father Nick and little sister Angie in Hyattsville, Maryland. Ben enters a contest to win a smart house. The family wins and moves into the house (run by a virtual assistant named PAT, short for "Personal Applied Technology") and is introduced to its creator, Sara Barnes.
 Nick and Sara begin dating, which upsets Ben, who has not moved on from the death of his mother. Ben decides to reprogram PAT to serve as a maternal figure, hoping his father will realize that the family does not need Sara to replace his mother. Ben presents PAT with numerous 1950s-era TV shows and films from which he hopes she will learn to emulate motherhood using her learning capabilities.
 Ben and Angie have a party while Nick and Sara are on a date. With PAT's help, Ben wins over his crush Gwen Patroni, and his bully Ryan is confronted by PAT, who electrically shocks Ryan, haunts him with ghostly skull holograms and chases him out of the house. PAT helps them clean up to cover up evidence of the party, but Nick figures it out anyway, and reprimands Ben and Angie when he finds Gwen's sweater (thrown about during a dance line) in the living room fern. Nick chastises PAT for throwing a party behind his back, asking her to be more responsible with his children.
 Using Nick's request for stricter caregiving, PAT seeks out additional reference material with that as a theme, causing her "mother" personality to become more strict and overbearing. Sara shuts down the entire system and joins the family for dinner, but upon hearing Nick offhandedly suggesting she's not needed, PAT overrides the system shutdown and brings herself back online. An angry and jealous PAT generates herself as a holographic housewife, styled like the sitcom housewives Ben taught her to behave like. She kicks Sara out, seeing her as a threat to PAT's place in the family, and locks the Coopers in the house, asserting that the outside world is too dangerous.
 Sara manages to make contact with Ben and sneaks into the house, but she becomes trapped with the Cooper family. Ben is able to end the lock-down by telling PAT that she isn't real and will never be human and thus not able to care for him and his sister as a real mother could. PAT finally unlocks the doors and windows, freeing them, and shuts herself down. Sara is able to restore PAT's original personality, but PAT retains some mischievousness. Sara and Nick start dating, and Nick spends more time with his family. Ben finally accepts Sara after realizing she was never trying to replace his mother, and, with PAT's help, he's able to learn how to play basketball.
Cast[edit]
  Ryan Merriman as Ben Cooper
 Kevin Kilner as Nick Cooper
 Katie Volding as Angelina "Angie" Cooper
 Jessica Steen as Sara Barnes
 Katey Sagal as PAT, The Smart House
 Paul Linke as Tuttle
Raquel Beaudene as Gwen Patroni
Joshua Boyd as Ryan
William Higdon as Otis Jr.
Emilio Borelli as Miles
Jason Lansing as Johnny 
Production[edit]
The film was based on a screenplay by Stu Krieger and was directed by LeVar Burton. Krieger visited the NASA Jet Propulsion Laboratory to research the technology featured in Smart House and his other film,  Zenon: Girl of the 21st Century . [1]  Krieger was cognizant that the futuristic technology featured in the film did not seem too far-fetched or unrealistic, saying "I just looked at where we’d been, where we were, and imagined where we were probably headed.” [1] 
 In 2019, Burton called the film a clear precursor to the widespread use of artificial intelligence and virtual assistant technology, saying "our homes are becoming more and more technologically sophisticated. And that after all, that was what Pat was all about." [2] 
Reception[edit]
In December 2015, Ariana Bacle of  Entertainment Weekly  ranked Smart House at number one on a list of the top 30 Disney Channel Original Movies. Bacle wrote, "What earns the movie this top spot on the list is its combination of sob-worthy emotion—that scene where Ben (Ryan Merriman) revisits home videos of his late mom continues to be one of the most moving moments to air on the Disney Channel—and light-hearted glee. ... Plus, Katey Sagal's turn as the good-gone-evil-gone-good resident hologram is nothing short of iconic." [3]  An updated list by the same publication that now included the top 33 Disney Channel Original Movies once again awarded Smart House the number one position. [4] 
 In May 2016, Aubrey Page of Collider ranked each Disney Channel Original Movie released up to that point. Page ranked Smart House at number three, writing, "Arguably the most iconic of the entire DCOM catalog, Smart House is the unlikely futuristic family drama nobody knew we needed. [...] Smart House is the Disney Channel Original Movie perfected." [5] 
References[edit]
 
^    a       b    Lindbergh, Ben (June 19, 2019). "What 'Smart House' Got Right—and Didn't—About the Future". The Ringer. Retrieved January 12, 2020.
  ^  Pardes, Arielle (June 26, 2019). "The AI-Fueled, Anxious Hopefulness of Disney's Smart House". Wired. Retrieved January 12, 2020.
  ^  Bacle, Ariana (December 1, 2015). "30 Disney Channel Original Movies, Ranked".  Entertainment Weekly . Archived from the original on June 20, 2016. Retrieved June 10, 2016.
  ^  Bacle, Ariana (August 27, 2020). "33 Disney Channel Original Movies, Ranked". Entertainment Weekly. Archived from the original on 2020-12-05. Retrieved 2020-12-05.
  ^  Page, Aubrey (May 26, 2016). "Every Disney Channel Original Movie, Ranked".  Collider . Retrieved June 8, 2016.
 
External links[edit]
  Official website 
  Smart House  at IMDb 
  Smart House  at the TCM Movie Database 
  Smart House  at AllMovie 
  Smart House  at Rotten Tomatoes
Smart House - Wikipedia
https://en.wikipedia.org/wiki/Smart_House
https://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(film)
2001: A Space Odyssey (film) - Wikipedia
2001-09-06
Authority control
<div><div>
<table><tbody><tr><th>2001: A Space Odyssey</th></tr><tr><td><a href="/wiki/File:2001_A_Space_Odyssey_(1968).png"></a><div><p>Theatrical release poster by <a href="/wiki/Robert_McCall_(artist)">Robert McCall</a></p></div></td></tr><tr><th>Directed by</th><td><a href="/wiki/Stanley_Kubrick">Stanley Kubrick</a></td></tr><tr><th>Screenplay by</th><td><div>
<ul><li>Stanley Kubrick</li>
<li><a href="/wiki/Arthur_C._Clarke">Arthur C. Clarke</a></li></ul>
</div></td></tr><tr><th>Produced by</th><td>Stanley Kubrick</td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Keir_Dullea">Keir Dullea</a></li>
<li><a href="/wiki/Gary_Lockwood">Gary Lockwood</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Geoffrey_Unsworth">Geoffrey Unsworth</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Ray_Lovejoy">Ray Lovejoy</a></td></tr><tr><th><p>Production<br />company</p></th><td><div><p><a href="/wiki/Hawk_Films">Stanley Kubrick Productions</a></p></div></td></tr><tr><th>Distributed by</th><td><a href="/wiki/Metro-Goldwyn-Mayer">Metro-Goldwyn-Mayer</a></td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>2 April 1968 (<a href="/wiki/Uptown_Theater_(Washington,_D.C.)">Uptown Theater</a>)</li>
<li>3 April 1968 (United States)</li>
<li>15 May 1968 (United Kingdom)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>approx. 143 minutes<sup><a href="#cite_note-BBFC-1">[1]</a></sup></td></tr><tr><th>Countries</th><td><div>
<ul><li>United Kingdom</li>
<li>United States</li></ul>
</div></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$10.5 million</td></tr><tr><th>Box office</th><td>$146 million</td></tr></tbody></table>
<p><i><b>2001: A Space Odyssey</b></i> is a 1968 <a href="/wiki/Epic_film">epic</a> <a href="/wiki/Science_fiction_film">science fiction film</a> produced and directed by <a href="/wiki/Stanley_Kubrick">Stanley Kubrick</a>. The <a href="/wiki/Screenplay">screenplay</a> was written by Kubrick and science fiction author <a href="/wiki/Arthur_C._Clarke">Arthur C. Clarke</a>, and was inspired by Clarke's 1951 short story "<a href="/wiki/The_Sentinel_(short_story)">The Sentinel</a>" and other short stories by Clarke. Clarke also published a <a href="/wiki/2001:_A_Space_Odyssey_(novel)">novelisation of the film</a>, in part written concurrently with the screenplay, after the film's release. The film stars <a href="/wiki/Keir_Dullea">Keir Dullea</a>, <a href="/wiki/Gary_Lockwood">Gary Lockwood</a>, <a href="/wiki/William_Sylvester">William Sylvester</a>, and <a href="/wiki/Douglas_Rain">Douglas Rain</a>, and follows a voyage by astronauts, scientists and the <a href="/wiki/Sentience">sentient</a> supercomputer <a href="/wiki/HAL_9000">HAL</a> to <a href="/wiki/Jupiter">Jupiter</a> to investigate an <a href="/wiki/Monolith_(Space_Odyssey)">alien monolith</a>.
</p><p>The film is noted for its scientifically accurate depiction of space flight, pioneering <a href="/wiki/Special_effects">special effects</a>, and ambiguous imagery. Kubrick avoided conventional cinematic and narrative techniques; dialogue is used sparingly, and there are long sequences accompanied only by music. The soundtrack incorporates numerous works of <a href="/wiki/Classical_music">classical music</a>, by composers including <a href="/wiki/Richard_Strauss">Richard Strauss</a>, <a href="/wiki/Johann_Strauss_II">Johann Strauss II</a>, <a href="/wiki/Aram_Khachaturian">Aram Khachaturian</a>, and <a href="/wiki/Gy%C3%B6rgy_Ligeti">György Ligeti</a>.
</p><p>The film received diverse critical responses, ranging from those who saw it as darkly apocalyptic to those who saw it as an optimistic reappraisal of the hopes of humanity. Critics noted its exploration of themes such as <a href="/wiki/Human_evolution">human evolution</a>, <a href="/wiki/Technology">technology</a>, <a href="/wiki/Artificial_intelligence">artificial intelligence</a>, and the possibility of <a href="/wiki/Extraterrestrial_life">extraterrestrial life</a>. It was nominated for four <a href="/wiki/Academy_Awards">Academy Awards</a>, winning Kubrick the award for his direction of the <a href="/wiki/Academy_Award_for_Best_Visual_Effects">visual effects</a>. The film is now widely regarded as one of the <a href="/wiki/List_of_films_considered_the_best">greatest and most influential films ever made</a>. In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States <a href="/wiki/Library_of_Congress">Library of Congress</a> and selected for preservation in the <a href="/wiki/National_Film_Registry">National Film Registry</a>.<sup><a href="#cite_note-2">[2]</a></sup><sup><a href="#cite_note-3">[3]</a></sup>
</p>
<h2>Plot[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>In a prehistoric <a href="/wiki/Veldt">veldt</a>, a tribe of <a href="/wiki/Hominini">hominins</a> is driven away from its water hole by a rival tribe. The next day, they find an <a href="/wiki/Monolith_(Space_Odyssey)">alien monolith</a> has appeared in their midst. They then learn how to use a bone as a weapon and, after their first hunt, return to drive their rivals away with it.
</p><p>Millions of years later, Dr. Heywood Floyd, Chairman of the United States National Council of Astronautics, travels to Clavius Base, an American <a href="/wiki/Lunar_outpost">lunar outpost</a>. During a stopover at Space Station 5, he meets Russian scientists who are concerned that Clavius seems to be unresponsive. He refuses to discuss rumours of an epidemic at the base. At Clavius, Heywood addresses a meeting of personnel to whom he stresses the need for secrecy regarding their newest discovery. His mission is to investigate a recently found artefact, a monolith buried four million years earlier near the lunar crater <a href="/wiki/Tycho_(lunar_crater)">Tycho</a>. As he and others examine the object, it is struck by sunlight, upon which it emits a high-powered radio signal.
</p><p>Eighteen months later, the American spacecraft <i><a href="/wiki/Discovery_One">Discovery One</a></i> is bound for <a href="/wiki/Jupiter">Jupiter</a>, with mission pilots and scientists Dr. David "Dave" Bowman and Dr. Frank Poole on board, along with three other scientists in <a href="/wiki/Suspended_animation">suspended animation</a>. Most of <i>Discovery</i>'s operations are controlled by HAL, a <a href="/wiki/HAL_9000">HAL 9000</a> computer with a human personality. When HAL reports the imminent failure of an antenna control device, Dave retrieves it in an <a href="/wiki/Extravehicular_activity">extravehicular activity</a> (EVA) pod, but finds nothing wrong. HAL suggests reinstalling the device and letting it fail so the problem can be verified. <a href="/wiki/Mission_Control">Mission Control</a> advises the astronauts that results from their twin 9000 computer indicate that HAL has made an error, but HAL blames it on human error. Concerned about HAL's behaviour, Dave and Frank enter an EVA pod so they can talk without HAL overhearing. They agree to disconnect HAL if he is proven wrong, but HAL follows their conversation by <a href="/wiki/Lip_reading">lip reading</a>.
</p><p>While Frank is outside the ship to replace the antenna unit, HAL takes control of his pod, setting him adrift. Dave takes another pod to rescue Frank. While he is outside, HAL turns off the <a href="/wiki/Life_support">life support</a> functions of the crewmen in suspended animation, killing them. When Dave returns to the ship with Frank's body, HAL refuses to let him back in, stating that their plan to deactivate him jeopardises the mission. Dave releases Frank's body and, despite not having a spacesuit helmet, exits his pod, crosses the vacuum and opens the ship's emergency airlock manually. He goes to HAL's <a href="/wiki/Processor_core">processor core</a> and begins disconnecting HAL's circuits, despite HAL begging him not to. When the disconnection is complete, a prerecorded video by Heywood plays, revealing that the mission's objective is to investigate the radio signal sent from the monolith to Jupiter.
</p><p>At Jupiter, Dave finds a third, much larger monolith orbiting the planet. He leaves <i>Discovery</i> in an EVA pod to investigate. He is pulled into a vortex of coloured light and observes bizarre cosmological phenomena and strange landscapes of unusual colours as he passes by. Finally he finds himself in a large <a href="/wiki/Neoclassical_architecture">neoclassical</a> bedroom where he sees, and then becomes, older versions of himself: first standing in the bedroom, middle-aged and still in his spacesuit, then dressed in leisure attire and eating dinner, and finally as an old man lying in bed. A monolith appears at the foot of the bed, and as Dave reaches for it, he is transformed into a foetus enclosed in a transparent orb of light floating in space above the Earth.
</p>
<h2>Cast[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=2">edit</a>]</h2>
<div>
<ul><li><a href="/wiki/Keir_Dullea">Keir Dullea</a> as Dr. <a href="/wiki/David_Bowman_(Space_Odyssey)">David Bowman</a></li>
<li><a href="/wiki/Gary_Lockwood">Gary Lockwood</a> as Dr. <a href="/wiki/Frank_Poole">Frank Poole</a></li>
<li><a href="/wiki/William_Sylvester">William Sylvester</a> as Dr. <a href="/wiki/Heywood_Floyd">Heywood Floyd</a></li>
<li><a href="/wiki/Daniel_Richter_(actor)">Daniel Richter</a> as Moonwatcher, the chief man-ape</li>
<li><a href="/wiki/Leonard_Rossiter">Leonard Rossiter</a> as Dr. Andrei Smyslov</li>
<li><a href="/wiki/Margaret_Tyzack">Margaret Tyzack</a> as Elena</li>
<li><a href="/wiki/Robert_Beatty">Robert Beatty</a> as Dr. Ralph Halvorsen</li>
<li><a href="/wiki/Sean_Sullivan_(actor)">Sean Sullivan</a> as Dr. Roy Michaels<sup><a href="#cite_note-4">[4]</a></sup></li>
<li><a href="/wiki/Douglas_Rain">Douglas Rain</a> as the voice of <a href="/wiki/HAL_9000">HAL 9000</a></li>
<li>Frank Miller as mission controller</li>
<li>Edwina Carroll as lunar shuttle stewardess</li>
<li><a href="/wiki/Penny_Brahms">Penny Brahms</a> as stewardess</li>
<li>Heather Downham as stewardess</li>
<li><a href="/wiki/Alan_Gifford">Alan Gifford</a> as Poole's father</li>
<li><a href="/wiki/Ann_Gillis">Ann Gillis</a> as Poole's mother</li>
<li>Maggie d'Abo as stewardess (Space Station 5 elevator) <i>(uncredited)</i><sup><a href="#cite_note-5">[5]</a></sup></li>
<li><a href="/wiki/Chela_Matthison">Chela Matthison</a> as Mrs. Turner, Space Station 5 reception <i>(uncredited)</i><sup><a href="#cite_note-6">[6]</a></sup></li>
<li><a href="/wiki/Vivian_Kubrick">Vivian Kubrick</a> as Floyd's daughter, "Squirt" <i>(uncredited)</i><sup><a href="#cite_note-7">[7]</a></sup></li>
<li><a href="/wiki/Kenneth_Kendall">Kenneth Kendall</a> as <a href="/wiki/BBC">BBC</a> announcer <i>(uncredited)</i><sup><a href="#cite_note-8">[8]</a></sup></li></ul></div>
<h2>Production[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=3">edit</a>]</h2>
<h3>Development[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=4">edit</a>]</h3>
<p>After completing <i><a href="/wiki/Dr._Strangelove">Dr. Strangelove</a></i> (1964), director <a href="/wiki/Stanley_Kubrick">Stanley Kubrick</a> told a publicist from <a href="/wiki/Columbia_Pictures">Columbia Pictures</a> that his next project would be about <a href="/wiki/Extraterrestrial_life">extraterrestrial life</a>,<sup><a href="#cite_note-9">[9]</a></sup> and resolved to make "the proverbial good science fiction movie".<sup><a href="#cite_note-Lost_Worlds-10">[10]</a></sup> How Kubrick became interested in creating a science fiction film is far from clear.<sup><a href="#cite_note-Baxter-11">[11]</a></sup> Biographer <a href="/wiki/John_Baxter_(author)">John Baxter</a> notes possible inspirations in the late 1950s, including British productions featuring dramas on satellites and aliens modifying early humans, <a href="/wiki/Metro-Goldwyn-Mayer">Metro-Goldwyn-Mayer</a>'s big budget <a href="/wiki/CinemaScope">CinemaScope</a> production <i><a href="/wiki/Forbidden_Planet">Forbidden Planet</a></i>, and the slick widescreen cinematography and set design of Japanese <a href="/wiki/Kaiju">kaiju</a> (monster movie) productions (such as <i><a href="/wiki/Godzilla_(franchise)">Godzilla</a></i> and <i><a href="/wiki/Warning_from_Space">Warning from Space</a></i>).<sup><a href="#cite_note-Baxter-11">[11]</a></sup>
</p><p>Kubrick obtained financing and distribution from the American studio Metro-Goldwyn-Mayer with the selling point that the film could be marketed in their ultra widescreen <a href="/wiki/Cinerama">Cinerama</a> format, recently debuted with their <i><a href="/wiki/How_the_West_Was_Won_(film)">How the West Was Won</a></i>.<sup><a href="#cite_note-ChapmanCull2013-p97-12">[12]</a></sup><sup><a href="#cite_note-13">[13]</a></sup><sup><a href="#cite_note-Baxter-11">[11]</a></sup> It would be filmed and edited almost entirely in southern England, where Kubrick lived, using the facilities of <a href="/wiki/MGM-British_Studios">MGM-British Studios</a> and <a href="/wiki/Shepperton_Studios">Shepperton Studios</a>. MGM had subcontracted the production of the film to Kubrick's production company to qualify for the <a href="/wiki/Eady_Levy">Eady Levy</a>, a UK tax on box-office receipts used at the time to fund the production of films in Britain.<sup><a href="#cite_note-ChapmanCull2013-p98-14">[14]</a></sup>
</p>
<h3>Pre-production[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=5">edit</a>]</h3>
<p>Kubrick's decision to avoid the fanciful portrayals of space found in standard popular science fiction films of the time led him to seek more realistic and accurate depictions of space travel. Illustrators such as <a href="/wiki/Chesley_Bonestell">Chesley Bonestell</a>, Roy Carnon, and Richard McKenna were hired to produce concept drawings, sketches, and paintings of the space technology seen in the film.<sup><a href="#cite_note-scienceandfilm.org-15">[15]</a></sup><sup><a href="#cite_note-16">[16]</a></sup> Two educational films, the <a href="/wiki/National_Film_Board_of_Canada">National Film Board of Canada</a>'s 1960 animated short documentary <i><a href="/wiki/Universe_(1960_film)">Universe</a></i> and the <a href="/wiki/1964_New_York_World%27s_Fair">1964 New York World's Fair</a> movie <i><a href="/wiki/To_the_Moon_and_Beyond">To the Moon and Beyond</a></i>, were major influences.<sup><a href="#cite_note-scienceandfilm.org-15">[15]</a></sup>
</p><p>According to biographer Vincent LoBrutto, <i>Universe</i> was a visual inspiration to Kubrick.<sup><a href="#cite_note-Stanley_Kubrick-17">[17]</a></sup> The 29-minute film, which had also proved popular at <a href="/wiki/NASA">NASA</a> for its realistic portrayal of outer space, met "the standard of dynamic visionary realism that he was looking for." Wally Gentleman, one of the special-effects artists on <i>Universe</i>, worked briefly on <i>2001</i>. Kubrick also asked <i>Universe</i> co-director <a href="/wiki/Colin_Low_(filmmaker)">Colin Low</a> about animation camerawork, with Low recommending British mathematician Brian Salt, with whom Low and <a href="/wiki/Roman_Kroitor">Roman Kroitor</a> had previously worked on the 1957 still-animation documentary <i><a href="/wiki/City_of_Gold_(1957_film)">City of Gold</a></i>.<sup><a href="#cite_note-Graham-18">[18]</a></sup><sup><a href="#cite_note-Evans-19">[19]</a></sup> <i>Universe</i>'s narrator, actor <a href="/wiki/Douglas_Rain">Douglas Rain</a>, was cast as the voice of HAL.<sup><a href="#cite_note-Lacey-20">[20]</a></sup>
</p><p>After pre-production had begun, Kubrick saw <i>To the Moon and Beyond</i>, a film shown in the Transportation and Travel building at the <a href="/wiki/1964_World%27s_Fair">1964 World's Fair</a>. It was filmed in Cinerama 360 and shown in the "Moon Dome". Kubrick hired the company that produced it, Graphic Films Corporation—which had been making films for NASA, the <a href="/wiki/US_Air_force">US Air Force</a>, and various aerospace clients—as a design consultant.<sup><a href="#cite_note-scienceandfilm.org-15">[15]</a></sup> Graphic Films' Con Pederson, <a href="/wiki/Lester_Novros">Lester Novros</a>, and background artist <a href="/wiki/Douglas_Trumbull">Douglas Trumbull</a> airmailed research-based concept sketches and notes covering the mechanics and physics of space travel, and created <a href="/wiki/Storyboard">storyboards</a> for the space flight sequences in <i>2001</i>.<sup><a href="#cite_note-scienceandfilm.org-15">[15]</a></sup> Trumbull became a special effects supervisor on <i>2001</i>.<sup><a href="#cite_note-scienceandfilm.org-15">[15]</a></sup>
</p>
<h3>Writing[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=6">edit</a>]</h3>
<p>Searching for a collaborator in the <a href="/wiki/Science_fiction">science fiction</a> community for the writing of the script, Kubrick was advised by a mutual acquaintance, <a href="/wiki/Columbia_Pictures">Columbia Pictures</a> staff member <a href="/wiki/Roger_A._Caras">Roger Caras</a>, to talk to writer <a href="/wiki/Arthur_C._Clarke">Arthur C. Clarke</a>, who lived in <a href="/wiki/Ceylon">Ceylon</a>. Although convinced that Clarke was "a recluse, a nut who lives in a tree," Kubrick allowed Caras to cable the film proposal to Clarke. Clarke's cabled response stated that he was "frightfully interested in working with [that] <i><a href="/wiki/Enfant_terrible">enfant terrible</a></i>", and added "what makes Kubrick think I'm a recluse?"<sup><a href="#cite_note-Stanley_Kubrick-17">[17]</a></sup><sup><a href="#cite_note-21">[21]</a></sup> Meeting for the first time at <a href="/wiki/Trader_Vic%27s">Trader Vic's</a> in New York on 22 April 1964, the two began discussing the project that would take up the next four years of their lives.<sup><a href="#cite_note-Clarke-22">[22]</a></sup> Clarke kept a diary throughout his involvement with <i>2001</i>, excerpts of which were published in 1972 as <i><a href="/wiki/The_Lost_Worlds_of_2001">The Lost Worlds of 2001</a></i>.<sup><a href="#cite_note-23">[23]</a></sup>
</p>
<div><p><a href="/wiki/File:Arthur_C._Clarke_1965.jpg"></a></p><div><p>Arthur C. Clarke in 1965, photographed in the <i>Discovery</i>'s pod bay</p></div></div>
<p>Kubrick told Clarke he wanted to make a film about "Man's relationship to the universe",<sup><a href="#cite_note-24">[24]</a></sup> and was, in Clarke's words, "determined to create a work of art which would arouse the emotions of wonder, awe ... even, if appropriate, terror".<sup><a href="#cite_note-Clarke-22">[22]</a></sup> Clarke offered Kubrick six of his short stories, and by May 1964, Kubrick had chosen "<a href="/wiki/The_Sentinel_(short_story)">The Sentinel</a>" as the source material for the film. In search of more material to expand the film's plot, the two spent the rest of 1964 reading books on science and anthropology, screening science fiction films, and brainstorming ideas.<sup><a href="#cite_note-25">[25]</a></sup> They created the plot for <i>2001</i> by integrating several different short story plots written by Clarke, along with new plot segments requested by Kubrick for the film development, and then combined them all into a single script for <i>2001</i>.<sup><a href="#cite_note-26">[26]</a></sup><sup><a href="#cite_note-Benson's_Book-27">[27]</a></sup> Clarke said that his 1953 story "<a href="/wiki/Encounter_in_the_Dawn">Encounter in the Dawn</a>" inspired the film's "Dawn of Man" sequence.<sup><a href="#cite_note-28">[28]</a></sup>
</p><p>Kubrick and Clarke privately referred to the project as <i>How the Solar System Was Won</i>, a reference to how it was a follow-on to MGM's Cinerama epic <i>How the West Was Won</i>.<sup><a href="#cite_note-Baxter-11">[11]</a></sup> On 23 February 1965, Kubrick issued a press release announcing the title as <i>Journey Beyond The Stars</i>.<sup><a href="#cite_note-29">[29]</a></sup> Other titles considered included <i>Universe</i>, <i>Tunnel to the Stars</i>, and <i>Planetfall</i>. Expressing his high expectations for the thematic importance which he associated with the film, in April 1965, eleven months after they began working on the project, Kubrick selected <i>2001: A Space Odyssey</i>; Clarke said the title was "entirely" Kubrick's idea.<sup><a href="#cite_note-30">[30]</a></sup> Intending to set the film apart from the "monsters-and-sex" type of science-fiction films of the time, Kubrick used <a href="/wiki/Homer">Homer</a>'s <i><a href="/wiki/The_Odyssey">The Odyssey</a></i> as both a model of literary merit and a source of inspiration for the title. Kubrick said, "It occurred to us that for the Greeks the vast stretches of the sea must have had the same sort of mystery and remoteness that space has for our generation."<sup><a href="#cite_note-31">[31]</a></sup>
</p>
<div>
<blockquote>
<p>How much would we appreciate <i><a href="/wiki/Mona_Lisa">La Gioconda</a></i> today if <a href="/wiki/Leonardo_da_Vinci">Leonardo</a> had written at the bottom of the canvas: "This lady is smiling slightly because she has rotten teeth" — or "because she's hiding a secret from her lover"? It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to <i>2001</i>.
</p>
</blockquote>
<p><cite>—Stanley Kubrick, <i><a href="/wiki/Playboy">Playboy</a></i>, 1968<sup><a href="#cite_note-auto-32">[32]</a></sup></cite>
</p>
</div>
<p>Originally, Kubrick and Clarke had planned to develop a <a href="/wiki/2001:_A_Space_Odyssey_(novel)"><i>2001</i> novel</a> first, free of the constraints of film, and then write the screenplay. They planned the writing credits to be "Screenplay by Stanley Kubrick and Arthur C. Clarke, based on a novel by Arthur C. Clarke and Stanley Kubrick" to reflect their preeminence in their respective fields.<sup><a href="#cite_note-33">[33]</a></sup> In practice, the screenplay developed in parallel with the novel, with only some elements being common to both. In a 1970 interview, Kubrick said:
</p>
<blockquote><p>There are a number of differences between the book and the movie. The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The novel came about after we did a 130-page prose treatment of the film at the very outset. ... Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel. As a result, there's a difference between the novel and the film ... I think that the divergences between the two works are interesting.<sup><a href="#cite_note-Gelmis-34">[34]</a></sup></p></blockquote>
<p>In the end, Clarke and Kubrick wrote parts of the novel and screenplay simultaneously, with the film version being released before the book version was published. Clarke opted for clearer explanations of the mysterious monolith and Star Gate in the novel; Kubrick made the film more cryptic by minimising dialogue and explanation.<sup><a href="#cite_note-krusch-35">[35]</a></sup> Kubrick said the film is "basically a visual, nonverbal experience" that "hits the viewer at an inner level of consciousness, just as music does, or painting".<sup><a href="#cite_note-36">[36]</a></sup>
</p><p>The screenplay credits were shared whereas the <i>2001</i> novel, released shortly after the film, was attributed to Clarke alone. Clarke wrote later that "the nearest approximation to the complicated truth" is that the screenplay should be credited to "Kubrick and Clarke" and the novel to "Clarke and Kubrick".<sup><a href="#cite_note-Clarke_pp.31-38-37">[37]</a></sup> Early reports about tensions involved in the writing of the film script appeared to reach a point where Kubrick was allegedly so dissatisfied with the collaboration that he approached other writers who could replace Clarke, including <a href="/wiki/Michael_Moorcock">Michael Moorcock</a> and <a href="/wiki/J._G._Ballard">J. G. Ballard</a>. But they felt it would be disloyal to accept Kubrick's offer.<sup><a href="#cite_note-38">[38]</a></sup> In <a href="/wiki/Michael_Benson_(filmmaker)">Michael Benson</a>'s 2018 book <i>Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece</i>, the actual relation between Clarke and Kubrick was more complex, involving an extended interaction of Kubrick's multiple requests for Clarke to write new plot lines for various segments of the film, which Clarke was expected to withhold from publication until after the release of the film while receiving advances on his salary from Kubrick during film production. Clarke agreed to this, though apparently he did make several requests for Kubrick to allow him to develop his new plot lines into separate publishable stories while film production continued, which Kubrick consistently denied on the basis of Clarke's contractual obligation to withhold publication until release of the film.<sup><a href="#cite_note-Benson's_Book-27">[27]</a></sup>
</p><p>Astronomer <a href="/wiki/Carl_Sagan">Carl Sagan</a> wrote in his 1973 book <i><a href="/wiki/The_Cosmic_Connection">The Cosmic Connection</a></i> that Clarke and Kubrick had asked him how to best depict <a href="/wiki/Extraterrestrial_intelligence">extraterrestrial intelligence</a>. While acknowledging Kubrick's desire to use actors to portray humanoid aliens for convenience's sake, Sagan argued that alien life forms were unlikely to bear any resemblance to terrestrial life, and that to do so would introduce "at least an element of falseness" to the film. Sagan proposed that the film should simply suggest extraterrestrial <a href="/wiki/Superintelligence">superintelligence</a>, rather than depict it. He attended the premiere and was "pleased to see that I had been of some help."<sup><a href="#cite_note-39">[39]</a></sup> Sagan had met with Clarke and Kubrick only once, in 1964; and Kubrick subsequently directed several attempts to portray credible aliens, only to abandon the idea near the end of post-production. Benson asserts it is unlikely that Sagan's advice had any direct influence.<sup><a href="#cite_note-Benson's_Book-27">[27]</a></sup> Kubrick hinted at the nature of the mysterious unseen alien race in <i>2001</i> by suggesting that given millions of years of evolution, they progressed from biological beings to "immortal machine entities" and then into "beings of pure energy and spirit" with "limitless capabilities and ungraspable intelligence".<sup><a href="#cite_note-Playboy-40">[40]</a></sup>
</p><p>In a 1980 interview (not released during Kubrick's lifetime), Kubrick explains one of the film's closing scenes, where Bowman is depicted in old age after his journey through the Star Gate:
</p>
<blockquote><p>The idea was supposed to be that he is taken in by godlike entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. ... [W]hen they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made some kind of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.<sup><a href="#cite_note-SF-20180706-41">[41]</a></sup></p></blockquote>
<p>The script went through many stages. In early 1965, when backing was secured for the film, Clarke and Kubrick still had no firm idea of what would happen to Bowman after the Star Gate sequence. Initially all of <i>Discovery</i>'s astronauts were to survive the journey; by 3 October, Clarke and Kubrick had decided to make Bowman the sole survivor and have him regress to infancy. By 17 October, Kubrick had come up with what Clarke called a "wild idea of slightly <a href="/wiki/Fagging">fag</a> robots who create a <a href="/wiki/Victorian_era">Victorian</a> environment to put our heroes at their ease."<sup><a href="#cite_note-Clarke_pp.31-38-37">[37]</a></sup> HAL 9000 was originally named Athena after the <a href="/wiki/Athena">Greek goddess of wisdom</a> and had a feminine voice and persona.<sup><a href="#cite_note-Clarke_pp.31-38-37">[37]</a></sup>
</p><p>Early drafts included a prologue containing interviews with scientists about extraterrestrial life,<sup><a href="#cite_note-Agel_p.48-42">[42]</a></sup> <a href="/wiki/Voice-over">voice-over</a> narration (a feature in all of Kubrick's previous films),<sup><a href="#cite_note-44">[a]</a></sup> a stronger emphasis on the prevailing Cold War <a href="/wiki/Balance_of_terror">balance of terror</a>, and a different and more explicitly explained breakdown for HAL.<sup><a href="#cite_note-visual-memory_a-45">[44]</a></sup><sup><a href="#cite_note-Clarke_Novel-46">[45]</a></sup> Other changes include a different monolith for the "Dawn of Man" sequence, discarded when early prototypes did not photograph well; the use of Saturn as the final destination of the <i>Discovery</i> mission rather than Jupiter, discarded when the special effects team could not develop a convincing rendition of <a href="/wiki/Rings_of_Saturn">Saturn's rings</a>; and the finale of the Star Child exploding nuclear weapons carried by Earth-orbiting satellites,<sup><a href="#cite_note-Clarke_Novel-46">[45]</a></sup> which Kubrick discarded for its similarity to his previous film, <i><a href="/wiki/Dr._Strangelove">Dr. Strangelove</a></i>.<sup><a href="#cite_note-Agel_p.48-42">[42]</a></sup><sup><a href="#cite_note-Clarke_Novel-46">[45]</a></sup> The finale and many of the other discarded screenplay ideas survived in Clarke's novel.<sup><a href="#cite_note-Clarke_Novel-46">[45]</a></sup>
</p><p>Kubrick made further changes to make the film more nonverbal, to communicate on a visual and visceral level rather than through conventional narrative.<sup><a href="#cite_note-auto-32">[32]</a></sup> By the time shooting began, Kubrick had removed much of the dialogue and narration.<sup><a href="#cite_note-Walker_1971_251-47">[46]</a></sup> Long periods without dialogue permeate the film: the film has no dialogue for roughly the first and last twenty minutes,<sup><a href="#cite_note-Ebert-48">[47]</a></sup> as well as for the 10 minutes from Floyd's <a href="/w/index.php?title=List_of_spacecraft_from_the_Space_Odyssey_series&amp;action=edit&amp;redlink=1">Moonbus</a> landing near the monolith until Poole watches a BBC newscast on <i>Discovery</i>. What dialogue remains is notable for its banality (making the computer HAL seem to have more emotion than the humans) when juxtaposed with the epic space scenes.<sup><a href="#cite_note-Walker_1971_251-47">[46]</a></sup> Vincent LoBrutto wrote that Clarke's novel has its own "strong narrative structure" and precision, while the narrative of the film remains symbolic, in accord with Kubrick's final intentions.<sup><a href="#cite_note-49">[48]</a></sup>
</p>
<h3>Filming[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=7">edit</a>]</h3>
<p><a href="/wiki/Principal_photography">Principal photography</a> began on 29 December 1965, in Stage H at <a href="/wiki/Shepperton_Studios">Shepperton Studios</a>, <a href="/wiki/Shepperton">Shepperton</a>, England. The studio was chosen because it could house the 60-by-120-by-60-foot (18 m × 37 m × 18 m) pit for the <a href="/wiki/Tycho_(crater)">Tycho</a> crater excavation scene, the first to be shot. In January 1966, the production moved to the smaller <a href="/wiki/MGM-British_Studios">MGM-British Studios</a> in <a href="/wiki/Borehamwood">Borehamwood</a>, where the live-action and special-effects filming was done, starting with the scenes involving Floyd on the Orion spaceplane;<sup><a href="#cite_note-50">[49]</a></sup> it was described as a "huge throbbing nerve center ... with much the same frenetic atmosphere as a Cape Kennedy blockhouse during the final stages of Countdown."<sup><a href="#cite_note-filming_2001-51">[50]</a></sup> The only scene not filmed in a studio—and the last live-action scene shot for the film—was the skull-smashing sequence, in which Moonwatcher (Richter) wields his newfound bone "weapon-tool" against a pile of nearby animal bones. A small elevated platform was built in a field near the studio so that the camera could shoot upward with the sky as background, avoiding cars and trucks passing by in the distance.<sup><a href="#cite_note-Richter_2002-52">[51]</a></sup><sup><a href="#cite_note-53">[52]</a></sup> The <i>Dawn of Man</i> sequence that opens the film was shot at Borehamwood with <a href="/wiki/John_Alcott">John Alcott</a> as cinematographer after <a href="/wiki/Geoffrey_Unsworth">Geoffrey Unsworth</a> left to work on other projects.<sup><a href="#cite_note-54">[53]</a></sup><sup><a href="#cite_note-front_projection-55">[54]</a></sup> The still photographs used as backgrounds for the <i>Dawn of Man</i> sequence were taken in <a href="/wiki/Namibia">Namibia</a>.<sup><a href="#cite_note-Chiasson-56">[55]</a></sup>
</p><p>Filming of actors was completed in September 1967,<sup><a href="#cite_note-57">[56]</a></sup> and from June 1966 until March 1968, Kubrick spent most of his time working on the 205 special-effects shots in the film.<sup><a href="#cite_note-Gelmis-34">[34]</a></sup> He ordered the special-effects technicians to use the painstaking process of creating all visual effects seen in the film "<a href="/wiki/In-camera_effect">in camera</a>", avoiding degraded picture quality from the use of <a href="/wiki/Chroma_key">blue screen</a> and <a href="/wiki/Matte_(filmmaking)">travelling matte</a> techniques. Although this technique, known as "held takes", resulted in a much better image, it meant exposed film would be stored for long periods of time between shots, sometimes as long as a year.<sup><a href="#cite_note-58">[57]</a></sup> In March 1968, Kubrick finished the "pre-premiere" editing of the film, making his final cuts just days before the film's general release in April 1968.<sup><a href="#cite_note-Gelmis-34">[34]</a></sup>
</p><p>The film was announced in 1965 as a "<a href="/wiki/Cinerama">Cinerama</a>"<sup><a href="#cite_note-59">[58]</a></sup> film and was photographed in <a href="/wiki/Super_Panavision_70">Super Panavision 70</a> (which uses a 65 mm negative combined with spherical lenses to create an aspect ratio of 2.20:1). It would eventually be released in a limited "<a href="/wiki/Roadshow_theatrical_release">roadshow</a>" <a href="/wiki/Cinerama">Cinerama</a> version, then in 70 mm and 35 mm versions.<sup><a href="#cite_note-60">[59]</a></sup><sup><a href="#cite_note-61">[60]</a></sup> Colour processing and 35 mm release prints were done using <a href="/wiki/Technicolor">Technicolor</a>'s dye transfer process. The 70 mm prints were made by MGM Laboratories, Inc. on <a href="/wiki/Metrocolor">Metrocolor</a>. The production was $4.5 million over the initial $6 million budget and 16 months behind schedule.<sup><a href="#cite_note-budget-62">[61]</a></sup>
</p><p>For the opening sequence involving tribes of apes, professional <a href="/wiki/Mime">mime</a> <a href="/wiki/Daniel_Richter_(actor)">Daniel Richter</a> played the lead ape and choreographed the movements of the other man-apes, who were mostly portrayed by his mime troupe.<sup><a href="#cite_note-Richter_2002-52">[51]</a></sup>
</p><p>Kubrick and Clarke consulted <a href="/wiki/IBM">IBM</a> on plans for HAL, though plans to use the company's logo never materialised.<sup><a href="#cite_note-Chiasson-56">[55]</a></sup>
</p>
<h3>Post-production[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=8">edit</a>]</h3>
<p>For cuts made after the film premiered, see the Theatrical run section below.</p>
<p>The film was edited before it was publicly screened, cutting out, among other things, a painting class on the lunar base that included Kubrick's daughters, additional scenes of life on the base, and Floyd buying a <a href="/wiki/Galago">bush baby</a> for his daughter from a department store via videophone.<sup><a href="#cite_note-visual-memory-63">[62]</a></sup> A ten-minute black-and-white opening sequence featuring interviews with scientists, including <a href="/wiki/Freeman_Dyson">Freeman Dyson</a> discussing off-Earth life,<sup><a href="#cite_note-64">[63]</a></sup> was removed after an early screening for MGM executives.<sup><a href="#cite_note-65">[64]</a></sup>
</p>
<h3>Music[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=9">edit</a>]</h3>
<p>From early in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience<sup><a href="#cite_note-66">[65]</a></sup> that did not rely on the traditional techniques of <a href="/wiki/Narrative">narrative</a> cinema, and in which music would play a vital role in evoking particular moods. About half the music in the film appears either before the first line of dialogue or after the final line. Almost no music is heard during scenes with dialogue.<sup><a href="#cite_note-LoBrutto-67">[66]</a></sup>
</p><p>The film is notable for its innovative use of <a href="/wiki/Classical_music">classical music</a> taken from existing commercial recordings. Most feature films, then and now, are typically accompanied by elaborate <a href="/wiki/Film_scores">film scores</a> or songs written specially for them by professional composers. In the early stages of production, Kubrick commissioned a <a href="/wiki/2001:_A_Space_Odyssey_(score)">score for <i>2001</i></a> from Hollywood composer <a href="/wiki/Alex_North">Alex North</a>, who had written the score for <i><a href="/wiki/Spartacus_(film)">Spartacus</a></i> and also had worked on <i><a href="/wiki/Dr._Strangelove">Dr. Strangelove</a></i>.<sup><a href="#cite_note-68">[67]</a></sup> During post-production, Kubrick chose to abandon North's music in favour of the now-familiar classical pieces he had earlier chosen as <a href="/wiki/Temp_music">temporary music</a> for the film. North did not learn that his score had been abandoned until he saw the film's premiere.<sup><a href="#cite_note-LoBrutto-67">[66]</a></sup>
</p>
<h2>Design and special effects[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=10">edit</a>]</h2>
<h3>Costumes and set design[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=11">edit</a>]</h3>
<p>Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes,<sup><a href="#cite_note-69">[68]</a></sup> and selecting notable pieces of contemporary furniture for use in the film. When Floyd exits the Space Station 5 elevator, he is greeted by an attendant seated behind a slightly modified <a href="/wiki/George_Nelson_(designer)">George Nelson</a> Action Office desk from <a href="/wiki/Herman_Miller_(office_equipment)">Herman Miller</a>'s 1964 "<a href="/wiki/Action_Office">Action Office</a>" series.<sup><a href="#cite_note-70">[b]</a></sup><sup><a href="#cite_note-71">[69]</a></sup><sup><a href="#cite_note-72">[c]</a></sup> Danish designer <a href="/wiki/Arne_Jacobsen">Arne Jacobsen</a> designed the cutlery used by the <i>Discovery</i> astronauts in the film.<sup><a href="#cite_note-73">[70]</a></sup><sup><a href="#cite_note-74">[71]</a></sup><sup><a href="#cite_note-75">[72]</a></sup>
</p><p>Other examples of modern furniture in the film are the bright red <a href="/wiki/Djinn_chair">Djinn chairs</a> seen prominently throughout the space station<sup><a href="#cite_note-Phil_Patton-76">[73]</a></sup><sup><a href="#cite_note-Fiell2005-77">[74]</a></sup> and <a href="/wiki/Eero_Saarinen">Eero Saarinen</a>'s 1956 pedestal tables. <a href="/wiki/Olivier_Mourgue">Olivier Mourgue</a>, designer of the Djinn chair, has used the connection to <i>2001</i> in his advertising; a frame from the film's space station sequence and three production stills appear on the homepage of Mourgue's website.<sup><a href="#cite_note-78">[75]</a></sup> Shortly before Kubrick's death, film critic <a href="/wiki/Alexander_Walker_(critic)">Alexander Walker</a> informed Kubrick of Mourgue's use of the film, joking to him "You're keeping the price up".<sup><a href="#cite_note-79">[76]</a></sup> Commenting on their use in the film, Walker writes:
</p>
<blockquote><p>Everyone recalls one early sequence in the film, the space hotel, primarily because the custom-made Olivier Mourgue furnishings, those foam-filled sofas, undulant and serpentine, are covered in scarlet fabric and are the first stabs of colour one sees. They resemble Rorschach "blots" against the pristine purity of the rest of the lobby.<sup><a href="#cite_note-80">[77]</a></sup></p></blockquote>
<p>Detailed instructions in relatively small print for various technological devices appear at several points in the film, the most visible of which are the lengthy instructions for the zero-gravity toilet on the Aries Moon shuttle. Similar detailed instructions for replacing the <a href="/wiki/Explosive_bolts">explosive bolts</a> also appear on the hatches of the EVA pods, most visibly in closeup just before Bowman's pod leaves the ship to rescue Frank Poole.<sup><a href="#cite_note-82">[d]</a></sup>
</p><p>The film features an extensive use of <a href="/wiki/Eurostile">Eurostile</a> Bold Extended, <a href="/wiki/Futura_(typeface)">Futura</a> and other <a href="/wiki/Sans_serif">sans serif</a> <a href="/wiki/Typeface">typefaces</a> as design elements of the <i>2001</i> world.<sup><a href="#cite_note-83">[79]</a></sup> Computer displays show high-resolution fonts, colour, and graphics that were far in advance of what most computers were capable of in the 1960s, when the film was made.<sup><a href="#cite_note-Agel-321-324-81">[78]</a></sup>
</p>
<h3>Design of the monolith[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=12">edit</a>]</h3>
<p>Kubrick was personally involved in the design of the monolith and its form for the film. The first design for the monolith for the <i>2001</i> film was a transparent <a href="/wiki/Tetrahedron">tetrahedral</a> pyramid. This was taken from the short story "<a href="/wiki/The_Sentinel_(short_story)">The Sentinel</a>" that the first story was based on.<sup><a href="#cite_note-84">[80]</a></sup><sup><a href="#cite_note-85">[81]</a></sup>
</p><p>A London firm was approached by Kubrick to provide a 12-foot (3.7 m) transparent <a href="/wiki/Plexiglass">plexiglass</a> pyramid, and due to construction constraints they recommended a flat slab shape. Kubrick approved, but was disappointed with the glassy appearance of the transparent prop on set, leading art director Anthony Masters to suggest making the monolith's surface matte black.<sup><a href="#cite_note-Benson's_Book-27">[27]</a></sup>
</p>
<h3>Models[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=13">edit</a>]</h3>
<div><p><a href="/wiki/File:Stanley_Kubrick_in_EYE_(7527338298).jpg"></a></p><div><p>Modern replica of the <i>Discovery One</i> spaceship model</p></div></div>
<p>To heighten the reality of the film, very intricate models of the various spacecraft and locations were built. Their sizes ranged from about two-foot-long models of satellites and the Aries translunar shuttle up to the 55-foot (17 m)-long model of the <i>Discovery One</i> spacecraft. "In-camera" techniques were again used as much as possible to combine models and background shots together to prevent degradation of the image through duplication.<sup><a href="#cite_note-online_excerpt-86">[82]</a></sup><sup><a href="#cite_note-87">[83]</a></sup>
</p><p>In shots where there was no perspective change, still shots of the models were photographed and positive paper prints were made. The image of the model was cut out of the photographic print and mounted on glass and filmed on an <a href="/wiki/Animation_stand">animation stand</a>. The undeveloped film was re-wound to film the star background with the silhouette of the model photograph acting as a <a href="/wiki/Matte_(filmmaking)">matte</a> to block out where the spaceship image was.<sup><a href="#cite_note-online_excerpt-86">[82]</a></sup>
</p><p>Shots where the spacecraft had parts in motion or the perspective changed were shot by directly filming the model. For most shots the model was stationary and camera was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly. Elements of the scene were recorded on the same piece of film in separate passes to combine the lit model, stars, planets, or other spacecraft in the same shot. In moving shots of the long <i>Discovery One</i> spacecraft, in order to keep the entire model in focus (and preserve its sense of scale), the camera's aperture was stopped down for maximum depth-of-field, and each frame was exposed for several seconds.<sup><a href="#cite_note-Bizony_2001,_pp._112-113-88">[84]</a></sup> Many <a href="/wiki/Matte_(filmmaking)">matting</a> techniques were tried to block out the stars behind the models, with filmmakers sometimes resorting to hand-tracing frame by frame around the image of the spacecraft (<a href="/wiki/Rotoscoping">rotoscoping</a>) to create the matte.<sup><a href="#cite_note-online_excerpt-86">[82]</a></sup><sup><a href="#cite_note-Bizony_2001,_pp._113–117-89">[85]</a></sup>
</p><p>Some shots required exposing the film again to record previously filmed live-action shots of the people appearing in the windows of the spacecraft or structures. This was achieved by projecting the window action onto the models in a separate camera pass or, when two-dimensional photographs were used, projecting from the backside through a hole cut in the photograph.<sup><a href="#cite_note-Bizony_2001,_pp._112-113-88">[84]</a></sup>
</p><p>All of the shots required multiple takes so that some film could be developed and printed to check exposure, density, alignment of elements, and to supply footage used for other photographic effects, such as for matting.<sup><a href="#cite_note-online_excerpt-86">[82]</a></sup><sup><a href="#cite_note-Bizony_2001,_pp._113–117-89">[85]</a></sup>
</p>
<h3>Rotating sets[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=14">edit</a>]</h3>
<div><p><a href="/wiki/File:2001_CENTRIFUGE_SET.jpg"></a></p><div><p>The "centrifuge" set used for filming scenes depicting interior of the spaceship <i>Discovery</i></p></div></div>
<p>For spacecraft interior shots, ostensibly containing a giant centrifuge that produces <a href="/wiki/Rotational_gravity">artificial gravity</a>, Kubrick had a 30-short-ton (27 t) rotating "ferris wheel" built by <a href="/wiki/Vickers-Armstrong">Vickers-Armstrong</a> Engineering Group at a cost of $750,000. The set was 38 feet (12 m) in diameter and 10 feet (3.0 m) wide.<sup><a href="#cite_note-90">[86]</a></sup> Various scenes in the <i>Discovery</i> centrifuge were shot by securing set pieces within the wheel, then rotating it while the actor walked or ran in sync with its motion, keeping him at the bottom of the wheel as it turned. The camera could be fixed to the inside of the rotating wheel to show the actor walking completely "around" the set, or mounted in such a way that the wheel rotated independently of the stationary camera, as in the jogging scene where the camera appears to alternately precede and follow the running actor.<sup><a href="#cite_note-Bizony_2001_138–144-91">[87]</a></sup>
</p><p>The shots where the actors appear on opposite sides of the wheel required one of the actors to be strapped securely into place at the "top" of the wheel as it moved to allow the other actor to walk to the "bottom" of the wheel to join him. The most notable case is when Bowman enters the centrifuge from the central hub on a ladder, and joins Poole, who is eating on the other side of the centrifuge. This required Gary Lockwood to be strapped into a seat while Keir Dullea walked toward him from the opposite side of the wheel as it turned with him.<sup><a href="#cite_note-Bizony_2001_138–144-91">[87]</a></sup>
</p><p>Another rotating set appeared in an earlier sequence on board the Aries trans-lunar shuttle. A stewardess is shown preparing in-flight meals, then carrying them into a circular walkway. Attached to the set as it rotates 180 degrees, the camera's point of view remains constant, and she appears to walk up the "side" of the circular walkway, and steps, now in an "upside-down" orientation, into a connecting hallway.<sup><a href="#cite_note-92">[88]</a></sup>
</p>
<h3>Zero-gravity effects[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=15">edit</a>]</h3>
<p>The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set and placing the camera beneath them. The actors' bodies blocked the camera's view of the wires and appeared to float. For the shot of Poole floating into the pod's arms during Bowman's recovery of him, a stuntman on a wire portrayed the movements of an unconscious man and was shot in slow motion to enhance the illusion of drifting through space.<sup><a href="#cite_note-93">[89]</a></sup> The scene showing Bowman entering the emergency airlock from the EVA pod was done similarly: an off-camera stagehand, standing on a platform, held the wire suspending Dullea above the camera positioned at the bottom of the vertically oriented airlock. At the proper moment, the stage-hand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, jumped off the platform, causing Dullea to ascend back toward the hatch.<sup><a href="#cite_note-2001:A_Space_Odyssey-94">[90]</a></sup>
</p><p>The methods used were alleged to have placed stuntman <a href="/wiki/Bill_Weston">Bill Weston</a>'s life in danger. Weston recalled that he filmed one sequence without air-holes in his suit, risking asphyxiation. "Even when the tank was feeding air into the suit, there was no place for the carbon dioxide Weston exhaled to go. So it simply built up inside, incrementally causing a heightened heart rate, rapid breathing, fatigue, clumsiness, and eventually, unconsciousness."<sup><a href="#cite_note-95">[91]</a></sup> Weston said Kubrick was warned "we've got to get him back" but reportedly replied, "Damn it, we just started. Leave him up there! Leave him up there!"<sup><a href="#cite_note-96">[92]</a></sup> When Weston lost consciousness, filming ceased, and he was brought down. "They brought the tower in, and I went looking for Stanley, ... I was going to shove MGM right up his ... And the thing is, Stanley had left the studio and sent Victor [Lyndon, the associate producer] to talk to me." Weston claimed Kubrick fled the studio for "two or three days. ... I know he didn't come in the next day, and I'm sure it wasn't the day after. Because I was going to do him."<sup><a href="#cite_note-97">[93]</a></sup>
</p>
<h3>"Star Gate" sequence[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=16">edit</a>]</h3>
<div>
<p>During the "Jupiter and Beyond the Infinite" sequence, Bowman takes a trip through the "Star Gate" that involves the innovative use of slit-scan photography to create the visual effects.</p></div>
<p>The coloured lights in the Star Gate sequence were accomplished by <a href="/wiki/Slit-scan_photography">slit-scan photography</a> of thousands of high-contrast images on film, including <a href="/wiki/Op_art">Op art</a> paintings, architectural drawings, <a href="/wiki/Moir%C3%A9_pattern">Moiré patterns</a>, printed circuits, and electron-microscope photographs of molecular and crystal structures. Known to staff as "Manhattan Project", the shots of various nebula-like phenomena, including the expanding star field, were coloured paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow motion in a dark room.<sup><a href="#cite_note-98">[94]</a></sup> The live-action landscape shots were filmed in the <a href="/wiki/Hebrides">Hebridean islands</a>, the <a href="/wiki/Mountains_and_hills_of_Scotland">mountains of northern Scotland</a>, and <a href="/wiki/Monument_Valley">Monument Valley</a>. The colouring and negative-image effects were achieved with different colour filters in the process of making duplicate negatives in an <a href="/wiki/Optical_printer">optical printer</a>.<sup><a href="#cite_note-99">[95]</a></sup>
</p>
<h3>Visual effects[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=17">edit</a>]</h3>
<div><p><a href="/wiki/File:MatchCut.JPG"></a></p><div><p>A bone-club and orbiting satellite are juxtaposed in the film's famous <a href="/wiki/Match_cut">match cut</a></p></div></div>
<blockquote><p>"Not one foot of this film was made with computer-generated special effects. Everything you see in this film or saw in this film was done physically or chemically, one way or the other."</p><p>— <cite>Keir Dullea (2014)<sup><a href="#cite_note-100">[96]</a></sup></cite></p></blockquote>
<p><i>2001</i> contains a famous example of a <a href="/wiki/Match_cut">match cut</a>, a type of cut in which two shots are matched by action or subject matter.<sup><a href="#cite_note-dictionary-101">[97]</a></sup><sup><a href="#cite_note-Zizek-102">[98]</a></sup> After Moonwatcher uses a bone to kill another ape at the watering hole, he throws it triumphantly into the air; as the bone spins in the air, the film cuts to an orbiting satellite, marking the end of the prologue.<sup><a href="#cite_note-103">[99]</a></sup> The match cut draws a connection between the two objects as exemplars of primitive and advanced tools respectively, and demonstrates humanity's technological progress since the time of early hominids.<sup><a href="#cite_note-filmjournal-104">[100]</a></sup>
</p><p><i>2001</i> pioneered the use of <a href="/wiki/Front_projection_effect">front projection</a> with <a href="/wiki/Retroreflective">retroreflective</a> <a href="/wiki/Matte_(filmmaking)">matting</a>. Kubrick used the technique to produce the backdrops in the Africa scenes and the scene when astronauts walk on the Moon.<sup><a href="#cite_note-105">[101]</a></sup><sup><a href="#cite_note-front_projection-55">[54]</a></sup>
</p><p>The technique consisted of a separate scenery projector set at a right angle to the camera and a half-silvered mirror placed at an angle in front that reflected the projected image forward in line with the camera lens onto a backdrop of retroreflective material. The reflective directional screen behind the actors could reflect light from the projected image 100 times more efficiently than the foreground subject did. The lighting of the foreground subject had to be balanced with the image from the screen, so that the part of the scenery image that fell on the foreground subject was too faint to show on the finished film. The exception was the eyes of the <a href="/wiki/Leopard">leopard</a> in the "Dawn of Man" sequence, which glowed due to the projector illumination. Kubrick described this as "a happy accident".<sup><a href="#cite_note-Herb_A._Lightman_page2-106">[102]</a></sup>
</p><p>Front projection had been used in smaller settings before <i>2001</i>, mostly for still photography or television production, using small still images and projectors. The expansive backdrops for the African scenes required a screen 40 feet (12 m) tall and 110 feet (34 m) wide, far larger than had been used before. When the reflective material was applied to the backdrop in 100-foot (30 m) strips, variations at the seams of the strips led to visual artefacts; to solve this, the crew tore the material into smaller chunks and applied them in a random "camouflage" pattern on the backdrop. The existing projectors using 4-×-5-inch (10 × 13 cm) transparencies resulted in grainy images when projected that large, so the crew worked with MGM's special-effects supervisor <a href="/wiki/Tom_Howard_(special_effects)">Tom Howard</a> to build a custom projector using 8-×-10-inch (20 × 25 cm) transparencies, which required the largest water-cooled arc lamp available.<sup><a href="#cite_note-Herb_A._Lightman_page2-106">[102]</a></sup> The technique was used widely in the film industry thereafter until it was replaced by <a href="/wiki/Chroma_key">blue/green screen</a> systems in the 1990s.<sup><a href="#cite_note-Herb_A._Lightman_page2-106">[102]</a></sup>
</p>
<h2>Soundtrack[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=18">edit</a>]</h2>
<p>The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of Ligeti's <i>Aventures</i> used in the film, used a different recording of <i><a href="/wiki/Also_sprach_Zarathustra">Also sprach Zarathustra</a></i> (performed by the <a href="/wiki/Berlin_Philharmonic">Berlin Philharmonic</a> conducted by <a href="/wiki/Karl_B%C3%B6hm">Karl Böhm</a>) from that heard in the film, and a longer excerpt of <i><a href="/wiki/Lux_Aeterna_(Ligeti)">Lux Aeterna</a></i> than that in the film.<sup><a href="#cite_note-La_revolution-107">[103]</a></sup>
</p><p>In 1996, Turner Entertainment/<a href="/wiki/Rhino_Records">Rhino Records</a> released a new soundtrack on CD that included the film's rendition of "Aventures", the version of "Zarathustra" used in the film, and the shorter version of <i>Lux Aeterna</i> from the film. As additional "bonus tracks" at the end, the CD includes the versions of "Zarathustra" and <i>Lux Aeterna</i> on the old MGM soundtrack album, an unaltered performance of "Aventures", and a nine-minute compilation of all of HAL's dialogue.<sup><a href="#cite_note-La_revolution-107">[103]</a></sup>
</p><p>Alex North's unused music was first released in Telarc's issue of the main theme on <i>Hollywood's Greatest Hits, Vol. 2</i>, a compilation album by <a href="/wiki/Erich_Kunzel">Erich Kunzel</a> and the <a href="/wiki/Cincinnati_Pops_Orchestra">Cincinnati Pops Orchestra</a>. All of the music North originally wrote was recorded commercially by his friend and colleague <a href="/wiki/Jerry_Goldsmith">Jerry Goldsmith</a> with the <a href="/wiki/National_Philharmonic_Orchestra">National Philharmonic Orchestra</a> and released on <a href="/wiki/Var%C3%A8se_Sarabande">Varèse Sarabande</a> CDs shortly after Telarc's first theme release and before North's death. Eventually, a mono mix-down of North's original recordings was released as a limited-edition CD by <a href="/wiki/Intrada_Records">Intrada Records</a>.<sup><a href="#cite_note-Burt1995-108">[104]</a></sup>
</p>
<h2>Theatrical run and post-premiere cuts[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=19">edit</a>]</h2>
<div> <div><p>Original <a href="/wiki/Trailer_(promotion)">trailer</a> for <i>2001: A Space Odyssey</i>.</p></div></div>
<p>The film's world <a href="/wiki/Premiere">premiere</a> was on 2 April 1968,<sup><a href="#cite_note-NUM-109">[105]</a></sup><sup><a href="#cite_note-RT-110">[106]</a></sup> at the <a href="/wiki/Uptown_Theater_(Washington,_D.C.)">Uptown Theater</a> in Washington, D.C. with a 160-minute cut.<sup><a href="#cite_note-AFI-111">[107]</a></sup> It opened the next day at the <a href="/wiki/Loew%27s_Capitol_Theatre">Loew's Capitol</a> in New York and the following day at the <a href="/wiki/Warner_Hollywood_Theatre">Warner Hollywood Theatre</a> in Los Angeles.<sup><a href="#cite_note-AFI-111">[107]</a></sup> The original version was also shown in Boston. 
</p><p>Kubrick and editor Ray Lovejoy edited the film between 5 April and 9, 1968. Kubrick's rationale for trimming the film was to tighten the narrative. Reviews suggested the film suffered from its departure from traditional cinematic storytelling.<sup><a href="#cite_note-Frederick-112">[108]</a></sup> Kubrick said, "I didn't believe that the trims made a critical difference. ... The people who like it like it no matter what its length, and the same holds true for the people who hate it."<sup><a href="#cite_note-visual-memory-63">[62]</a></sup> The cut footage is reported as being 19<sup><a href="#cite_note-trim-113">[109]</a></sup><sup><a href="#cite_note-114">[110]</a></sup> or 17<sup><a href="#cite_note-WarnersCut-115">[111]</a></sup> minutes long. It includes scenes revealing details about life on <i>Discovery</i>: additional space walks, Bowman retrieving a spare part from an octagonal corridor, elements from the Poole murder sequence—including space-walk preparation and HAL turning off radio contact with Poole—and a close-up of Bowman picking up a slipper during his walk in the alien room.<sup><a href="#cite_note-visual-memory-63">[62]</a></sup> Jerome Agel describes the cut scenes as comprising "Dawn of Man, Orion, Poole exercising in the centrifuge, and Poole's pod exiting from <i>Discovery</i>."<sup><a href="#cite_note-auto3-116">[112]</a></sup> The new cut was approximately 143 minutes long,<sup><a href="#cite_note-BBFC-1">[1]</a></sup> around 88 minutes for the first section, followed by an intermission, and 55 minutes in the second section.<sup><a href="#cite_note-reissue-117">[113]</a></sup> Detailed instructions were sent to theatre owners already showing the film so that they could make the specified trims themselves.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup> Some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.
</p><p>According to his brother-in-law, <a href="/wiki/Jan_Harlan">Jan Harlan</a>, Kubrick was adamant that the trims were never to be seen and had the negatives, which he had kept in his garage, burned shortly before his death. This was confirmed by former Kubrick assistant <a href="/wiki/Leon_Vitali">Leon Vitali</a>: "I'll tell you right now, okay, on <i>Clockwork Orange</i>, <i>The Shining</i>, <i>Barry Lyndon</i>, some little parts of <i>2001</i>, we had thousands of cans of negative outtakes and print, which we had stored in an area at his house where we worked out of, which he personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it. That's what he wanted."<sup><a href="#cite_note-118">[114]</a></sup> However, in December 2010, Douglas Trumbull, the film's visual effects supervisor, announced that <a href="/wiki/Warner_Bros.">Warner Bros.</a> had found 17 minutes of lost footage from the post-premiere cuts, "perfectly preserved", in a Kansas <a href="/wiki/Salt_mine">salt mine</a> vault used by Warners for storage.<sup><a href="#cite_note-119">[115]</a></sup><sup><a href="#cite_note-auto3-116">[112]</a></sup><sup><a href="#cite_note-WarnersCut-115">[111]</a></sup> No plans have been announced for the rediscovered footage.<sup><a href="#cite_note-120">[116]</a></sup>
</p><p>The revised version was ready for the expansion of the <a href="/wiki/Roadshow_theatrical_release">roadshow</a> release to four other U.S. cities (Chicago, Denver, Detroit and Houston), on 10 April 1968, and internationally in five cities the following day,<sup><a href="#cite_note-auto3-116">[112]</a></sup><sup><a href="#cite_note-underview-121">[117]</a></sup> where the shortened version was shown in <a href="/wiki/70mm">70mm</a> format in the 2.21:1 <a href="/wiki/Aspect_ratio_(image)">aspect ratio</a> and used a six-track stereo magnetic soundtrack.<sup><a href="#cite_note-auto3-116">[112]</a></sup>
</p><p>By the end of May, the film had opened in 22 cities in the United States and Canada and in another 36 in June.<sup><a href="#cite_note-nine-122">[118]</a></sup> The general release of the film in its 35 mm <a href="/wiki/Anamorphic">anamorphic</a> format took place in autumn 1968 and used either a four-track magnetic stereo soundtrack or an optical monaural one.<sup><a href="#cite_note-in70mm-123">[119]</a></sup>
</p><p>The original 70-millimetre release, like many Super Panavision 70 films of the era such as <i><a href="/wiki/Grand_Prix_(1966_film)">Grand Prix</a></i>, was advertised as being in "Cinerama" in cinemas equipped with special projection optics and a deeply curved screen. In standard cinemas, the film was identified as a 70-millimetre production. The original release of <i>2001: A Space Odyssey</i> in 70-millimetre Cinerama with six-track sound played continually for more than a year in several venues, and for 103 weeks in Los Angeles.<sup><a href="#cite_note-in70mm-123">[119]</a></sup>
</p><p>As was typical of most films of the era released both as a "<a href="/wiki/Roadshow_theatrical_release">roadshow</a>" (in Cinerama format in the case of <i>2001</i>) and general release (in 70-millimetre in the case of <i>2001</i>), the entrance music, intermission music (and intermission altogether), and postcredit exit music were cut from most prints of the latter version, although these have been restored to most DVD releases.<sup><a href="#cite_note-124">[120]</a></sup><sup><a href="#cite_note-125">[121]</a></sup>
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<h2>Reception[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=20">edit</a>]</h2>
<h3>Box office[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=21">edit</a>]</h3>
<p>In its first nine weeks from 22 locations, it grossed $2 million in the United States and Canada.<sup><a href="#cite_note-nine-122">[118]</a></sup> The film earned $8.5 million in theatrical <a href="/wiki/Gross_rental">gross rentals</a> from <a href="/wiki/Roadshow_theatrical_release">roadshow engagements</a> throughout 1968,<sup><a href="#cite_note-Hall-126">[122]</a></sup><sup><a href="#cite_note-127">[123]</a></sup> contributing to North American rentals of $16.4 million and worldwide rentals of $21.9 million during its original release.<sup><a href="#cite_note-128">[124]</a></sup> The film's high costs, in excess of $10 million,<sup><a href="#cite_note-NUM-109">[105]</a></sup><sup><a href="#cite_note-budget-62">[61]</a></sup> meant that the initial returns from the 1968 release left it $800,000 in the red; but the successful re-release in 1971 made it profitable.<sup><a href="#cite_note-Block_(2010)-129">[125]</a></sup><sup><a href="#cite_note-Miller_Camera-130">[126]</a></sup><sup><a href="#cite_note-131">[127]</a></sup> By June 1974, the film had rentals from the United States and Canada of $20.3 million (gross of $58 million)<sup><a href="#cite_note-Block_(2010)-129">[125]</a></sup> and international rentals of $7.5 million.<sup><a href="#cite_note-reissue-117">[113]</a></sup> The film had a reissue on a test basis on 24 July 1974 at the <a href="/wiki/Cinerama_Dome">Cinerama Dome</a> in Los Angeles and grossed $53,000 in its first week, which led to an expanded reissue.<sup><a href="#cite_note-reissue-117">[113]</a></sup> Further re-releases followed, giving a cumulative gross of over $60 million in the United States and Canada.<sup><a href="#cite_note-BOM-132">[128]</a></sup> Taking its re-releases into account, it is the highest-grossing film of 1968 in the United States and Canada.<sup><a href="#cite_note-133">[129]</a></sup> Worldwide, it has grossed $146 million across all releases,<sup><a href="#cite_note-135">[e]</a></sup> although some estimates place the gross higher, at over $190 million.<sup><a href="#cite_note-Miller_Corner-136">[131]</a></sup>
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<h3>Critical response[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=22">edit</a>]</h3>
<p>Upon release, <i>2001</i> polarised critical opinion, receiving both praise and derision, with many New York-based critics being especially harsh. Kubrick called them "dogmatically atheistic and materialistic and earthbound".<sup><a href="#cite_note-THR-137">[132]</a></sup> Some critics viewed the original 161-minute cut shown at premieres in <a href="/wiki/Washington,_D.C.">Washington D.C.</a>, New York, and Los Angeles.<sup><a href="#cite_note-138">[133]</a></sup> Keir Dullea says that during the New York premiere, 250 people walked out; in L.A., <a href="/wiki/Rock_Hudson">Rock Hudson</a> not only left early but "was heard to mutter, 'What is this bullshit?'"<sup><a href="#cite_note-THR-137">[132]</a></sup> "Will someone tell me what the hell this is about?"<sup><a href="#cite_note-139">[134]</a></sup> "But a few months into the release, they realised a lot of people were watching it while smoking funny cigarettes. Someone in San Francisco even ran right through the screen screaming: 'It's God!' So they came up with a new poster that said: '2001 – the ultimate trip!'"<sup><a href="#cite_note-140">[135]</a></sup>
</p><p>In <i><a href="/wiki/The_New_Yorker">The New Yorker</a></i>, <a href="/wiki/Penelope_Gilliatt">Penelope Gilliatt</a> said it was "some kind of great film, and an unforgettable endeavor ... The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing."<sup><a href="#cite_note-Gilliatt-141">[136]</a></sup> <a href="/wiki/Charles_Champlin">Charles Champlin</a> of the <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> wrote that it was "the picture that science fiction fans of every age and in every corner of the world have prayed (sometimes forlornly) that the industry might some day give them. It is an ultimate statement of the science fiction film, an awesome realization of the spatial future ... it is a milestone, a landmark for a spacemark, in the art of film."<sup><a href="#cite_note-Champlin-142">[137]</a></sup> Louise Sweeney of <i><a href="/wiki/The_Christian_Science_Monitor">The Christian Science Monitor</a></i> felt that <i>2001</i> was "a brilliant intergalactic satire on modern technology. It's also a dazzling 160-minute tour on the Kubrick filmship through the universe out there beyond our earth."<sup><a href="#cite_note-Sweeney-143">[138]</a></sup> <a href="/wiki/Philip_French">Philip French</a> wrote that the film was "perhaps the first multi-million-dollar supercolossal movie since <a href="/wiki/D.W._Griffith">D.W. Griffith</a>'s <i><a href="/wiki/Intolerance_(film)">Intolerance</a></i> fifty years ago which can be regarded as the work of one man ... <i>Space Odyssey</i> is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch."<sup><a href="#cite_note-French-144">[139]</a></sup> <i><a href="/wiki/The_Boston_Globe">The Boston Globe</a></i>'s review called it "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere ... The film is as exciting as the discovery of a new dimension in life."<sup><a href="#cite_note-Adams-145">[140]</a></sup> <a href="/wiki/Roger_Ebert">Roger Ebert</a> gave the film four stars in his original review, saying the film "succeeds magnificently on a cosmic scale."<sup><a href="#cite_note-Ebert-48">[47]</a></sup> He later put it on his Top 10 list for <i><a href="/wiki/Sight_%26_Sound">Sight &amp; Sound</a></i>.<sup><a href="#cite_note-146">[141]</a></sup> <i><a href="/wiki/Time_(magazine)">Time</a></i> provided at least seven different mini-reviews of the film in various issues in 1968, each one slightly more positive than the preceding one; in the final review dated 27 December 1968, the magazine called <i>2001</i> "an epic film about the history and future of mankind, brilliantly directed by Stanley Kubrick. The special effects are mindblowing."<sup><a href="#cite_note-Unknown-147">[142]</a></sup>
</p><p>Others were unimpressed. <a href="/wiki/Pauline_Kael">Pauline Kael</a> called it "a monumentally unimaginative movie."<sup><a href="#cite_note-148">[143]</a></sup> <a href="/wiki/Stanley_Kauffmann">Stanley Kauffmann</a> of <i><a href="/wiki/The_New_Republic">The New Republic</a></i> described it as "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull."<sup><a href="#cite_note-Kauffman_Lost-149">[144]</a></sup> The Soviet film director <a href="/wiki/Andrei_Tarkovsky">Andrei Tarkovsky</a> found the film to be an inadequate addition to the science fiction genre of <a href="/wiki/Filmmaking">filmmaking</a>.<sup><a href="#cite_note-Benson's_Book-27">[27]</a></sup> <a href="/wiki/Renata_Adler">Renata Adler</a> of <i><a href="/wiki/The_New_York_Times">The New York Times</a></i> wrote that it was "somewhere between hypnotic and immensely boring."<sup><a href="#cite_note-Adler-150">[145]</a></sup> <a href="/wiki/Variety_(magazine)"><i>Variety</i></a>'s Robert B. Frederick ('Robe') believed the film was a "[b]ig, beautiful, but plodding sci-fi epic ... A major achievement in cinematography and special effects, <i>2001</i> lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark."<sup><a href="#cite_note-Frederick-112">[108]</a></sup> <a href="/wiki/Andrew_Sarris">Andrew Sarris</a> called it "one of the grimmest films I have ever seen in my life ... <i>2001</i> is a disaster because it is much too abstract to make its abstract points."<sup><a href="#cite_note-Sarris-151">[146]</a></sup> (Sarris reversed his opinion upon a second viewing, and declared, "<i>2001</i> is indeed a major work by a major artist."<sup><a href="#cite_note-152">[147]</a></sup>) <a href="/wiki/John_Simon_(critic)">John Simon</a> felt it was "a regrettable failure, although not a total one. This film is fascinating when it concentrates on apes or machines ... and dreadful when it deals with the in-betweens: humans ... <i>2001</i>, for all its lively visual and mechanical spectacle, is a kind of space-<i>Spartacus</i> and, more pretentious still, a <a href="/wiki/Shaggy_God_story">shaggy God story</a>."<sup><a href="#cite_note-Simon-153">[148]</a></sup> Historian <a href="/wiki/Arthur_M._Schlesinger,_Jr.">Arthur M. Schlesinger, Jr.</a> deemed the film "morally pretentious, intellectually obscure and inordinately long ... a film out of control".<sup><a href="#cite_note-myth-154">[149]</a></sup> In a 2001 review, the BBC said that its slow pacing often alienates modern audiences more than it did upon its initial release.<sup><a href="#cite_note-155">[150]</a></sup>
</p><p>On review aggregator <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, the film has a "Certified Fresh" rating of 92% based on 116 reviews, with an average rating of 9.2/10. The website's critical consensus reads: "One of the most influential of all sci-fi films – and one of the most controversial – Stanley Kubrick's <i>2001</i> is a delicate, poetic meditation on the ingenuity – and folly – of mankind."<sup><a href="#cite_note-RT-110">[106]</a></sup> Review aggregator <a href="/wiki/Metacritic">Metacritic</a>, which uses a <a href="/wiki/Weighted_average">weighted average</a>, has assigned the film a score of 84 out of 100, based on 25 critic reviews, indicating "universal acclaim".<sup><a href="#cite_note-156">[151]</a></sup>
<i>2001</i> was the only science fiction film to make <i>Sight &amp; Sound</i>'s <a href="/wiki/The_Sight_%26_Sound_Greatest_Films_of_All_Time_2012">2012 list of the ten best films</a>,<sup><a href="#cite_note-bfi2012-157">[152]</a></sup> and tops the <a href="/wiki/Online_Film_Critics_Society">Online Film Critics Society</a> list of greatest science fiction films of all time.<sup><a href="#cite_note-158">[153]</a></sup> In 2012, the <a href="/wiki/Motion_Picture_Editors_Guild">Motion Picture Editors Guild</a> listed the film as the 19th best-edited film of all time based on a survey of its membership.<sup><a href="#cite_note-159">[154]</a></sup> Other lists that include the film are <i><a href="/wiki/50_Films_to_See_Before_You_Die">50 Films to See Before You Die</a></i> (#6), <i>The Village Voice</i> 100 Best Films of the 20th century (#11), and Roger Ebert's Top Ten (1968) (#2). In 1995, the <a href="/wiki/Vatican_City">Vatican</a> named it one of the 45 best films ever made (and included it in a sub-list of the "Top Ten Art Movies" of all time.)<sup><a href="#cite_note-160">[155]</a></sup> In 1998, <i><a href="/wiki/Time_Out_(magazine)">Time Out</a></i> conducted a reader's poll and <i>2001: A Space Odyssey</i> was voted as #9 on the list of "greatest films of all time".<sup><a href="#cite_note-161">[156]</a></sup> <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> voted it no. 26 on their list of <i>100 Greatest Movies of All Time</i>.<sup><a href="#cite_note-162">[157]</a></sup> In 2017, <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i> magazine's readers' poll ranked the film 21st on its list of "The 100 Greatest Movies".<sup><a href="#cite_note-163">[158]</a></sup> In the <i>Sight &amp; Sound</i> poll of 480 directors published in December 2022, <i>2001: A Space Odyssey</i> was voted as the Greatest Film of All Time, ahead of <i><a href="/wiki/Citizen_Kane">Citizen Kane</a></i> and <i><a href="/wiki/The_Godfather">The Godfather</a></i>.<sup><a href="#cite_note-164">[159]</a></sup><sup><a href="#cite_note-S&amp;S2022-165">[160]</a></sup>
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<h3>Science fiction writers[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=23">edit</a>]</h3>
<p>The film won the <a href="/wiki/Hugo_Award">Hugo Award</a> for best dramatic presentation, as voted by science fiction fans and published science-fiction writers.<sup><a href="#cite_note-hugo-166">[161]</a></sup> <a href="/wiki/Ray_Bradbury">Ray Bradbury</a> praised the film's photography, but disliked the banality of most of the dialogue, and believed that the audience does not care when Poole dies.<sup><a href="#cite_note-167">[162]</a></sup> Both he and <a href="/wiki/Lester_del_Rey">Lester del Rey</a> disliked the film's feeling of sterility and blandness in the human encounters amidst the technological wonders, while both praised the pictorial element of the film. Reporting that "half the audience had left by intermission", Del Rey described the film as dull, confusing, and boring ("the first of the <a href="/wiki/New_Wave_(science_fiction)">New Wave</a>-Thing movies, with the usual empty symbols"), predicting "[i]t will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years".<sup><a href="#cite_note-delrey196807-168">[163]</a></sup> <a href="/wiki/Samuel_R._Delany">Samuel R. Delany</a> was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany noticed the banality of the dialogue (he stated that characters say nothing meaningful), but regarded this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.<sup><a href="#cite_note-169">[164]</a></sup> Without analysing the film in detail, <a href="/wiki/Isaac_Asimov">Isaac Asimov</a> spoke well of it in his autobiography and other essays. <a href="/wiki/James_P._Hogan_(writer)">James P. Hogan</a> liked the film but complained that the ending did not make any sense to him, leading to a bet about whether he could write something better: "I stole Arthur's plot idea shamelessly and produced <i><a href="/wiki/Inherit_the_Stars">Inherit the Stars</a></i>."<sup><a href="#cite_note-170">[165]</a></sup>
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<h3>Awards and honours[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=24">edit</a>]</h3>
<p>In 1969, a <a href="/wiki/United_States_Department_of_State">United States Department of State</a> committee chose <i>2001</i> as the American entry at the <a href="/wiki/6th_Moscow_International_Film_Festival">6th Moscow International Film Festival</a>.<sup><a href="#cite_note-Moscow1969-179">[174]</a></sup>
</p><p><i>2001</i> was ranked 15th on the <a href="/wiki/American_Film_Institute">American Film Institute</a>'s 2007 <i><a href="/wiki/AFI%27s_100_Years_..._100_Movies_(10th_Anniversary_Edition)">100 Years ... 100 Movies</a></i><sup><a href="#cite_note-180">[175]</a></sup> (22 in <i><a href="/wiki/AFI%27s_100_Years_..._100_Movies">1998</a></i>),<sup><a href="#cite_note-181">[176]</a></sup> was no. 40 on its <i><a href="/wiki/AFI%27s_100_Years_..._100_Thrills">100 Years, 100 Thrills</a></i>,<sup><a href="#cite_note-182">[177]</a></sup> was included on its <i><a href="/wiki/AFI%27s_100_Years_..._100_Movie_Quotes">100 Years, 100 Quotes</a></i> (no. 78 "Open the pod bay doors, HAL."),<sup><a href="#cite_note-183">[178]</a></sup> and <i>HAL 9000</i> was the no. 13 villain in <i><a href="/wiki/AFI%27s_100_Years_..._100_Heroes_and_Villains">100 Years ... 100 Heroes and Villains</a></i>.<sup><a href="#cite_note-184">[179]</a></sup> The film was also no. 47 on <a href="/wiki/AFI%27s_100_Years_..._100_Cheers">AFI's 100 Years ... 100 Cheers</a><sup><a href="#cite_note-185">[180]</a></sup> and the no. 1 science fiction film on <a href="/wiki/AFI%27s_10_Top_10">AFI's 10 Top 10</a>.<sup><a href="#cite_note-186">[181]</a></sup>
</p>
<h2>Interpretations[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=25">edit</a>]</h2>
<p>Since its premiere, <i>2001: A Space Odyssey</i> has been analysed and interpreted by professional critics and theorists, amateur writers, and science fiction fans. In his <a href="/wiki/Monograph">monograph</a> for BFI analysing the film, Peter Krämer summarised the diverse interpretations as ranging from those who saw it as darkly <a href="/wiki/Apocalypse">apocalyptic</a> in tone to those who saw it as an optimistic reappraisal of the hopes of mankind and humanity.<sup><a href="#cite_note-auto1-187">[182]</a></sup> Questions about <i>2001</i> range from uncertainty about its implications for humanity's origins and destiny in the universe<sup><a href="#cite_note-188">[183]</a></sup> to interpreting elements of the film's more enigmatic scenes, such as the meaning of the monolith, or the fate of astronaut David Bowman. There are also simpler and more mundane questions about the plot, in particular the causes of HAL's breakdown (explained in earlier drafts but kept mysterious in the film).<sup><a href="#cite_note-189">[184]</a></sup><sup><a href="#cite_note-SF-20180706-41">[41]</a></sup><sup><a href="#cite_note-SYFY-20180705-190">[185]</a></sup><sup><a href="#cite_note-NYT-20180418-191">[186]</a></sup>
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<h3>Audiences vs. critics[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=26">edit</a>]</h3>
<p>A spectrum of diverse interpretative opinions would form after the film's release, appearing to divide theatre audiences from the opinions of critics. Krämer writes: "Many people sent letters to Kubrick to tell him about their responses to <i>2001</i>, most of them regarding the film—in particular the ending—as an optimistic statement about humanity, which is seen to be born and reborn. The film's reviewers and academic critics, by contrast, have tended to understand the film as a pessimistic account of human nature and humanity's future. The most extreme of these interpretations state that the foetus floating above the Earth will destroy it."<sup><a href="#cite_note-192">[187]</a></sup>
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<div><p><a href="/wiki/File:Dr._Strangelove_-_Riding_the_Bomb.png"></a></p><div><p>Closing scene of <i>Dr. Strangelove</i> and Kubrick's sardonic fulfilment of a nuclear nightmare</p></div></div>
<p>Some of the critics' cataclysmic interpretations were informed by Kubrick's prior direction of the <a href="/wiki/Cold_War">Cold War</a> film <i>Dr. Strangelove</i>, immediately before <i>2001</i>, which resulted in dark speculation about the nuclear weapons orbiting the Earth in <i>2001</i>. These interpretations were challenged by Clarke, who said: "Many readers have interpreted the last paragraph of the book to mean that he (the foetus) destroyed Earth, perhaps for the purpose of creating a new Heaven. This idea never occurred to me; it seems clear that he triggered the orbiting nuclear bombs harmlessly ...".<sup><a href="#cite_note-auto1-187">[182]</a></sup> In response to Jeremy Bernstein's dark interpretation of the film's ending, Kubrick said: "The book does not end with the destruction of the Earth."<sup><a href="#cite_note-auto1-187">[182]</a></sup>
</p><p>Regarding the film as a whole, Kubrick encouraged people to make their own interpretations and refused to offer an explanation of "what really happened". In a 1968 interview with <a href="/wiki/Playboy"><i>Playboy</i> magazine</a>, he said:
</p>
<blockquote><p>You're free to speculate as you wish about the philosophical and <a href="/wiki/Allegory">allegorical</a> meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for <i>2001</i> that every viewer will feel obligated to pursue or else fear he's missed the point.<sup><a href="#cite_note-Playboy-40">[40]</a></sup></p></blockquote>
<p>In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious." But he said he did not strive for ambiguity—it was simply an inevitable outcome of making the film nonverbal. Still, he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the film's metaphysical interpretation, which he felt should be left up to viewers.<sup><a href="#cite_note-193">[188]</a></sup>
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<h3>Meaning of the monolith[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=27">edit</a>]</h3>
<p>For some readers, Clarke's more straightforward novel based on the script is key to interpreting the film. The novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy. These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic <a href="/wiki/Penelope_Houston_(film_critic)">Penelope Houston</a> wrote in 1971 that because the novel differs in many key aspects from the film, it perhaps should not be regarded as the skeleton key to unlock it.<sup><a href="#cite_note-194">[189]</a></sup>
</p>
<div><p><a href="/wiki/File:African_monolith_2001.jpg"></a></p><div><p>Multiple interpretations of the meaning of the monolith have been examined in the critical reception of the film</p></div></div>
<p>Carolyn Geduld writes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.<sup><a href="#cite_note-auto2-195">[190]</a></sup> Vincent LoBrutto's biography of Kubrick says that for many, Clarke's novel supplements the understanding of the monolith which is more ambiguously depicted in the film.<sup><a href="#cite_note-196">[191]</a></sup> Similarly, Geduld observes that "the monolith ... has a very simple explanation in Clarke's novel", though she later asserts that even the novel does not fully explain the ending.<sup><a href="#cite_note-auto2-195">[190]</a></sup>
</p><p>Bob McClay's <i><a href="/wiki/Rolling_Stone">Rolling Stone</a></i> review describes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes (thus 'beginning' mankind) and the completion of "another evolution" in the fourth and final encounter<sup><a href="#cite_note-197">[192]</a></sup> with the monolith. In a similar vein, Tim Dirks ends his synopsis saying "[t]he cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete."<sup><a href="#cite_note-filmsite.org-198">[193]</a></sup>
</p><p>Humanity's first and second encounters with the monolith have visual elements in common; both the apes, and later the astronauts, touch it gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over it (the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position), echoing the Sun–Earth–Moon <a href="/wiki/Syzygy_(astronomy)">alignment</a> seen at the very beginning of the film.<sup><a href="#cite_note-199">[194]</a></sup> The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans, echoing the premise of Clarke's source story "The Sentinel".<sup><a href="#cite_note-200">[195]</a></sup>
</p><p>The monolith is the subject of the film's final line of dialogue (spoken at the end of the "Jupiter Mission" segment): "Its origin and purpose still a total mystery." Reviewers McClay and Roger Ebert wrote that the monolith is the main element of mystery in the film; Ebert described "the shock of the monolith's straight edges and square corners among the weathered rocks," and the apes warily circling it as prefiguring man reaching "for the stars."<sup><a href="#cite_note-Ebert-48">[47]</a></sup> Patrick Webster suggests the final line relates to how the film should be approached as a whole: "The line appends not merely to the discovery of the monolith on the Moon, but to our understanding of the film in the light of the ultimate questions it raises about the mystery of the universe."<sup><a href="#cite_note-201">[196]</a></sup>
</p><p>According to other scholars, "the monolith is a representation of the actual wideframe cinema screen, rotated 90 degrees ... a symbolic cinema screen".<sup><a href="#cite_note-202">[197]</a></sup> "It is at once a screen and the opposite of a screen, since its black surface only absorbs, and sends nothing out. ... and leads us ... to project ourselves, our emotions".<sup><a href="#cite_note-203">[198]</a></sup>
</p>
<h3>"A new heaven"[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=28">edit</a>]</h3>
<p>Clarke indicated his preferred reading of the ending of <i>2001</i> as oriented toward the creation of "a new heaven" provided by the Star Child.<sup><a href="#cite_note-auto1-187">[182]</a></sup> His view was corroborated in a posthumously released interview with Kubrick.<sup><a href="#cite_note-SF-20180706-41">[41]</a></sup> Kubrick says that Bowman is elevated to a higher level of being that represents the next stage of human evolution. The film also conveys what some viewers have described as a sense of the <a href="/wiki/Sublime_(philosophy)">sublime</a> and <a href="/wiki/Numinous">numinous</a>.<sup><a href="#cite_note-Ebert-48">[47]</a></sup> Ebert writes in his essay on <i>2001</i> in <i><a href="/wiki/The_Great_Movies">The Great Movies</a></i>:
</p>
<div><p><a href="/wiki/File:2001child2.JPG"></a></p><div><p>The Star Child looking upon the Earth</p></div></div>
<blockquote><p>North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for <i>2001</i> because, like all scores, it attempts to underline the action—to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.<sup><a href="#cite_note-Ebert-48">[47]</a></sup></p></blockquote>
<p>In a book on architecture, Gregory Caicco writes that <i>Space Odyssey</i> illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterised by a need to encounter something totally other than ourselves—"something numinous"—and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.<sup><a href="#cite_note-204">[199]</a></sup> Similarly, an article in <i>The Greenwood Encyclopedia of Science Fiction and Fantasy</i>, titled "Sense of Wonder," describes how <i>2001</i> creates a "numinous sense of wonder" by portraying a universe that inspires a sense of awe but that at the same time we feel we can understand.<sup><a href="#cite_note-205">[200]</a></sup> Christopher Palmer wrote that "the sublime and the banal" coexist in the film, as it implies that to get into space, people had to suspend the "sense of wonder" that motivated them to explore it.<sup><a href="#cite_note-206">[201]</a></sup>
</p>
<h3>HAL's breakdown[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=29">edit</a>]</h3>
<div><p><a href="/wiki/File:HAL9000_Case.svg"></a></p><div><p>One of HAL 9000's interfaces</p></div></div>
<p>The reasons for HAL's malfunction and subsequent malignant behaviour have elicited much discussion. He has been compared to <a href="/wiki/Frankenstein%27s_monster">Frankenstein's monster</a>. In Clarke's novel, HAL malfunctions because of being ordered to lie to the crew of <i>Discovery</i> and withhold confidential information from them, namely the confidentially programmed mission priority over expendable human life, despite being constructed for "the accurate processing of information without distortion or concealment". This would not be addressed on film until the 1984 follow-up, <i><a href="/wiki/2010:_The_Year_We_Make_Contact">2010: The Year We Make Contact</a></i>. Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of the characters.<sup><a href="#cite_note-Ebert-48">[47]</a></sup> In an interview with Joseph Gelmis in 1969, Kubrick said that HAL "had an acute emotional crisis because he could not accept evidence of his own fallibility".<sup><a href="#cite_note-207">[202]</a></sup>
</p>
<h3>"Star Child" symbolism[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=30">edit</a>]</h3>
<p>Multiple allegorical interpretations of <i>2001</i> have been proposed. The symbolism of life and death can be seen through the final moments of the film, which are defined by the image of the "Star Child," an <a href="/wiki/Uterus">in utero</a> foetus that draws on the work of <a href="/wiki/Lennart_Nilsson">Lennart Nilsson</a>.<sup><a href="#cite_note-Burgoot2006p339-208">[203]</a></sup> The Star Child signifies a "great new beginning,"<sup><a href="#cite_note-Burgoot2006p339-208">[203]</a></sup> and is depicted naked and ungirded but with its eyes wide open.<sup><a href="#cite_note-209">[204]</a></sup> Leonard F. Wheat sees <i>2001</i> as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine.<sup><a href="#cite_note-210">[205]</a></sup> <i>Rolling Stone</i> reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism".<sup><a href="#cite_note-211">[206]</a></sup>
</p>
<h3>Military satellites[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=31">edit</a>]</h3>
<p>Kubrick originally planned a voice-over to reveal that the satellites seen after the prologue are nuclear weapons,<sup><a href="#cite_note-Walker_pp181-182-212">[207]</a></sup> and that the Star Child would detonate the weapons at the end of the film<sup><a href="#cite_note-213">[208]</a></sup> but felt this would create associations with <i>Dr. Strangelove</i> and decided not to make it obvious that they were "war machines". A few weeks before the film's release, the U.S. and Soviet governments had agreed not to put any nuclear <a href="/wiki/Militarisation_of_space">weapons into outer space</a>.<sup><a href="#cite_note-Bizony-214">[209]</a></sup>
</p><p>In a book he wrote with Kubrick's assistance, <a href="/wiki/Alexander_Walker_(critic)">Alexander Walker</a> states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".<sup><a href="#cite_note-Walker_pp181-182-212">[207]</a></sup>
</p><p>Kubrick scholar <a href="/wiki/Michel_Ciment">Michel Ciment</a>, discussing Kubrick's attitude toward human aggression and instinct, observes: "The bone cast into the air by the ape (now become a man) is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon."<sup><a href="#cite_note-215">[210]</a></sup> In contrast to Ciment's reading of a cut to a serene "other extreme of civilization", science fiction novelist <a href="/wiki/Robert_J._Sawyer">Robert Sawyer</a>, in the Canadian documentary <i>2001 and Beyond</i>, says he sees it as a cut from a bone to a nuclear weapons platform, explaining that "what we see is not how far we've leaped ahead, what we see is that today, '2001', and four million years ago on the African veldt, it's exactly the same—the power of mankind is the power of its weapons. It's a continuation, not a discontinuity in that jump."<sup><a href="#cite_note-beyond-216">[211]</a></sup>
</p>
<h2>Legacy and influence[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=32">edit</a>]</h2>
<p><i>2001: A Space Odyssey</i> is widely regarded as among the <a href="/wiki/List_of_films_considered_the_best">greatest and most influential films ever made</a>.<sup><a href="#cite_note-NYT-20180510-217">[212]</a></sup> It is considered one of the major artistic works of the 20th century, with many critics and filmmakers considering it Kubrick's masterpiece.<sup><a href="#cite_note-218">[213]</a></sup> In the 1980s,<sup><a href="#cite_note-219">[214]</a></sup> critic <a href="/wiki/David_Denby">David Denby</a> compared Kubrick to the monolith from <i>2001: A Space Odyssey</i>, calling him "a force of supernatural intelligence, appearing at great intervals amid high-pitched shrieks, who gives the world a violent kick up the next rung of the evolutionary ladder".<sup><a href="#cite_note-220">[215]</a></sup> By the start of the 21st century, <i>2001: A Space Odyssey</i> had become recognised as among the best films ever made by such sources as the <a href="/wiki/British_Film_Institute">British Film Institute</a> (BFI). <i><a href="/wiki/The_Village_Voice">The Village Voice</a></i> ranked the film at number 11 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics.<sup><a href="#cite_note-221">[216]</a></sup> In January 2002, the film was included on the list of the "Top 100 Essential Films of All Time" by the <a href="/wiki/National_Society_of_Film_Critics">National Society of Film Critics</a>.<sup><a href="#cite_note-Carr81-222">[217]</a></sup><sup><a href="#cite_note-223">[218]</a></sup> <i>Sight &amp; Sound</i> magazine ranked the film 12th in its greatest films of all-time list in 1982,<sup><a href="#cite_note-224">[219]</a></sup> tenth in 1992 critics' poll of greatest films,<sup><a href="#cite_note-225">[220]</a></sup> sixth in the top ten films of all time in its 2002,<sup><a href="#cite_note-S&amp;S-226">[221]</a></sup> <a href="/wiki/The_Sight_and_Sound_Greatest_Films_of_All_Time_2012#Critics'_poll">2012</a><sup><a href="#cite_note-S&amp;S2012-227">[222]</a></sup> and <a href="/wiki/The_Sight_and_Sound_Greatest_Films_of_All_Time_2022#Critics'_poll">2022</a> critics' polls editions;<sup><a href="#cite_note-S&amp;S2022-165">[160]</a></sup> it also tied for second and first place in the <a href="/wiki/The_Sight_%26_Sound_Greatest_Films_of_All_Time_2012#Directors'_poll">magazine's 2012</a><sup><a href="#cite_note-S&amp;S2012-227">[222]</a></sup> and <a href="/wiki/The_Sight_and_Sound_Greatest_Films_of_All_Time_2022#Directors'_poll">2022 directors' poll</a>.<sup><a href="#cite_note-S&amp;S2022-165">[160]</a></sup> The film was voted no. 43 on the list of "100 Greatest Films" by the prominent French magazine <i><a href="/wiki/Cahiers_du_cin%C3%A9ma">Cahiers du cinéma</a></i> in 2008.<sup><a href="#cite_note-:2-228">[223]</a></sup> In 2010, <i><a href="/wiki/The_Guardian">The Guardian</a></i> named it "the best sci-fi and fantasy film of all time".<sup><a href="#cite_note-229">[224]</a></sup> The film ranked 4th in <a href="/wiki/BBC">BBC</a>'s 2015 list of the 100 greatest American films.<sup><a href="#cite_note-230">[225]</a></sup> In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States <a href="/wiki/Library_of_Congress">Library of Congress</a> and selected for preservation in the <a href="/wiki/National_Film_Registry">National Film Registry</a>.<sup><a href="#cite_note-231">[226]</a></sup> In 2010, it was named the greatest film of all time by <i><a href="/wiki/The_Moving_Arts_Film_Journal">The Moving Arts Film Journal</a></i>.<sup><a href="#cite_note-232">[227]</a></sup>
</p>
<div>
<blockquote>
<p>Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned. On a technical level, it [<i><a href="/wiki/Star_Wars_(film)">Star Wars</a></i>] can be compared, but personally I think that <i>2001</i> is far superior.
</p>
</blockquote>
<p><cite>—George Lucas, 1977<sup><a href="#cite_note-in70mm-123">[119]</a></sup></cite>
</p>
</div>
<p>The influence of <i>2001</i> on subsequent filmmakers is considerable. <a href="/wiki/Steven_Spielberg">Steven Spielberg</a>, <a href="/wiki/George_Lucas">George Lucas</a>, and others—including many special effects technicians—discuss the impact the film has had on them in a featurette titled <i>Standing on the Shoulders of Kubrick: The Legacy of 2001</i>, included in the 2007 DVD release of the film. Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker". Director <a href="/wiki/Martin_Scorsese">Martin Scorsese</a> has listed it as one of his favourite films of all time.<sup><a href="#cite_note-233">[228]</a></sup> <a href="/wiki/Sydney_Pollack">Sydney Pollack</a> calls it "groundbreaking", and <a href="/wiki/William_Friedkin">William Friedkin</a> says <i>2001</i> is "the grandfather of all such films". At the 2007 Venice film festival, director <a href="/wiki/Ridley_Scott">Ridley Scott</a> said he believed <i>2001</i> was the unbeatable film that in a sense killed the science fiction genre.<sup><a href="#cite_note-234">[229]</a></sup> Similarly, film critic Michel Ciment in his essay "Odyssey of Stanley Kubrick" wrote, "Kubrick has conceived a film which in one stroke has made the whole science fiction cinema obsolete."<sup><a href="#cite_note-235">[230]</a></sup>
</p><p>Others credit <i>2001</i> with opening up a market for films such as <i><a href="/wiki/Close_Encounters_of_the_Third_Kind">Close Encounters of the Third Kind</a></i>, <i><a href="/wiki/Alien_(film)">Alien</a></i>, <i><a href="/wiki/Blade_Runner">Blade Runner</a></i>, <i><a href="/wiki/Contact_(1997_American_film)">Contact</a></i>, and <i><a href="/wiki/Interstellar_(film)">Interstellar</a></i>, proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.<sup><a href="#cite_note-236">[231]</a></sup> Science magazine <i>Discover</i>'s blogger Stephen Cass, discussing the film's considerable impact on subsequent science fiction, writes that "the balletic spacecraft scenes set to sweeping classical music, the tarantula-soft tones of <a href="/wiki/HAL_9000">HAL 9000</a>, and the ultimate alien artifact, the monolith, have all become enduring cultural icons in their own right".<sup><a href="#cite_note-237">[232]</a></sup> Trumbull said that when working on <i><a href="/wiki/Star_Trek:_The_Motion_Picture">Star Trek: The Motion Picture</a></i> he made a scene without dialogue because of "something I really learned with Kubrick and <i>2001</i>: Stop talking for a while, and let it all flow".<sup><a href="#cite_note-tifftrumbull-238">[233]</a></sup>
</p><p>Kubrick did not envision a sequel to <i>2001</i>. Fearing the later exploitation and recycling of his material in other productions (as was done with the props from MGM's <i><a href="/wiki/Forbidden_Planet">Forbidden Planet</a></i>), he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup> Most of these materials were lost, with some exceptions: a <i>2001</i> spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series <i><a href="/wiki/UFO_(TV_series)">UFO</a></i>,<sup><a href="#cite_note-Bizony-214">[209]</a></sup><sup><a href="#cite_note-2010featurette-239">[234]</a></sup><sup><a href="#cite_note-240">[235]</a></sup><sup><a href="#cite_note-241">[236]</a></sup> and one of HAL's eyepieces is in the possession of the author of <i>Hal's Legacy</i>, David G. Stork. In 2012, Lockheed engineer Adam Johnson, working with <a href="/wiki/Frederick_I._Ordway_III">Frederick I. Ordway III</a>, science adviser to Kubrick, wrote the book <i>2001: The Lost Science</i>, which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed. Clarke wrote three sequel novels: <i><a href="/wiki/2010:_Odyssey_Two">2010: Odyssey Two</a></i> (1982), <i><a href="/wiki/2061:_Odyssey_Three">2061: Odyssey Three</a></i> (1987), and <i><a href="/wiki/3001:_The_Final_Odyssey">3001: The Final Odyssey</a></i> (1997). The only filmed sequel, <i><a href="/wiki/2010:_The_Year_We_Make_Contact">2010: The Year We Make Contact</a></i>, released in 1984, was based on Clarke's 1982 novel. Kubrick was not involved; it was directed as a spin-off by <a href="/wiki/Peter_Hyams">Peter Hyams</a> in a more conventional style. The other two novels have not been adapted for the screen, although actor <a href="/wiki/Tom_Hanks">Tom Hanks</a> in June 1999 expressed a passing interest in possible adaptations.<sup><a href="#cite_note-242">[237]</a></sup>
</p><p>To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on 8 April 2018, in the Smithsonian Institution's <a href="/wiki/National_Air_and_Space_Museum">National Air and Space Museum</a>. The exhibit features a fully realised, full-scale reflection of the neo-classical hotel room from the film's penultimate scene.<sup><a href="#cite_note-243">[238]</a></sup><sup><a href="#cite_note-244">[239]</a></sup> Director <a href="/wiki/Christopher_Nolan">Christopher Nolan</a> presented a mastered 70 mm print of <i>2001</i> for the film's 50th anniversary at the <a href="/wiki/2018_Cannes_Film_Festival">2018 Cannes Film Festival</a> on 12 May.<sup><a href="#cite_note-NYT-20180511-245">[240]</a></sup><sup><a href="#cite_note-246">[241]</a></sup> The new 70 mm print is a photochemical recreation made from the original camera negative, for the first time since the film's original theatrical run.<sup><a href="#cite_note-AT-20180721-247">[242]</a></sup><sup><a href="#cite_note-248">[243]</a></sup> Further, an exhibit entitled "Envisioning 2001: Stanley Kubrick's Space Odyssey" presented at the <a href="/wiki/Museum_of_the_Moving_Image">Museum of the Moving Image</a> in <a href="/wiki/Astoria,_Queens">Astoria, Queens</a>, <a href="/wiki/New_York_City">New York City</a> opened in January 2020.<sup><a href="#cite_note-NYT-20200123-249">[244]</a></sup>
</p><p>In July 2020, a silver space suit was sold at auction in Los Angeles for $370,000, exceeding its estimate of $200,000–300,000. Four layers of paint indicate it was used in multiple scenes, including the Clavius Moon base sequence. The helmet had been painted green at one stage, leading to a belief that it may have been worn during the scene where Dave Bowman disconnects HAL 9000.<sup><a href="#cite_note-auction-250">[245]</a></sup>
</p><p>Stanley Kubrick introduced Arthur C. Clarke to the book <i><a href="/wiki/The_Hero_with_a_Thousand_Faces">The Hero with a Thousand Faces</a></i> by <a href="/wiki/Joseph_Campbell">Joseph Campbell</a> during the writing of 2001: A Space Odyssey. There are allegorical archetypal patterns of the "<a href="/wiki/Hero%27s_journey">hero's journey</a>" in this film. Arthur C. Clarke called Joseph Campbell's book "very stimulating" in his diary entry.<sup><a href="#cite_note-251">[246]</a></sup>
</p>
<h2>Home media[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=33">edit</a>]</h2>
<p>The film has been released in several forms:
</p>
<ul><li>In 1980, <a href="/wiki/MGM/CBS_Home_Video">MGM/CBS Home Video</a> released the film on <a href="/wiki/VHS">VHS</a> and <a href="/wiki/Betamax">Betamax</a>.<sup><a href="#cite_note-252">[247]</a></sup></li>
<li>In 1989, <a href="/wiki/The_Criterion_Collection">The Criterion Collection</a> released a two-disc special <a href="/wiki/LaserDisc">LaserDisc</a> edition with the transfer monitored by Kubrick himself.<sup><a href="#cite_note-253">[248]</a></sup></li>
<li>In 2008, Warner Bros. released the film on Blu-ray.<sup><a href="#cite_note-254">[249]</a></sup></li>
<li>In 2018, Warner Bros. re-released it on Blu-ray and <a href="/wiki/4K_resolution">4K</a> <a href="/wiki/High-dynamic-range_video">HDR</a> on <a href="/wiki/Ultra_HD_Blu-ray">Ultra HD Blu-ray</a>, based on a <a href="/wiki/8K_resolution">8K</a> scan of the original camera negative and audio remixed and remastered in <a href="/wiki/DTS-HD_Master_Audio">DTS-HD MA 5.1</a>.<sup><a href="#cite_note-4k-255">[250]</a></sup></li></ul>
<h2>Re-releases[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=34">edit</a>]</h2>
<p>The film was re-released in 1974, 1977, 1980<sup><a href="#cite_note-Hall-126">[122]</a></sup> and 1993.<sup><a href="#cite_note-93rr-256">[251]</a></sup> In 2001, a restoration of the 70 mm version was screened at the Ebert's Overlooked Film Festival, and the production was also reissued to selected film houses in North America, Europe and Asia.<sup><a href="#cite_note-257">[252]</a></sup><sup><a href="#cite_note-258">[253]</a></sup>
</p><p>For the film's 50th anniversary, <a href="/wiki/Warner_Bros.">Warner Bros.</a> struck new <a href="/wiki/70_mm_film">70mm</a> prints from printing elements made directly from the original film negative.<sup><a href="#cite_note-AT-20180721-247">[242]</a></sup> This was done under the supervision of film director <a href="/wiki/Christopher_Nolan">Christopher Nolan</a>, who has spoken of <i>2001</i>'s influence on his career. Following a showing at the 2018 <a href="/wiki/Cannes_Film_Festival">Cannes Film Festival</a> introduced by Nolan, the film had a limited worldwide release at select 70mm-equipped theatres in the summer of 2018,<sup><a href="#cite_note-NYT-20180511-245">[240]</a></sup><sup><a href="#cite_note-259">[254]</a></sup> followed by a one-week run in North American <a href="/wiki/IMAX">IMAX</a> theatres (including five locations equipped with 70 mm IMAX projectors).<sup><a href="#cite_note-260">[255]</a></sup>
</p><p>On 3 December 2018, an <a href="/wiki/Ultra-high-definition_television">8K Ultra-high definition television</a> version of the film was reported to have been broadcast in select theatres and shopping-mall demonstration stations in Japan.<sup><a href="#cite_note-VERGE-20181203-261">[256]</a></sup>
</p>
<h2>See also[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=35">edit</a>]</h2>
<ul><li><a href="/wiki/List_of_films_considered_the_best">List of films considered the best</a></li>
<li><a href="/wiki/List_of_films_featuring_eclipses">List of films featuring eclipses</a></li>
<li><a href="/wiki/List_of_films_featuring_extraterrestrials">List of films featuring extraterrestrials</a></li>
<li><a href="/wiki/List_of_films_featuring_space_stations">List of films featuring space stations</a></li>
<li><a href="/wiki/List_of_artificial_intelligence_films">List of artificial intelligence films</a></li>
<li><a href="/wiki/List_of_incomplete_or_partially_lost_films">List of incomplete or partially lost films</a></li></ul>
<h2>References[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=36">edit</a>]</h2>
<p><b>Informational notes</b>
</p>
<div><ol>
<li><b><a href="#cite_ref-44">^</a></b> Jason Sperb's study of Kubrick <i>The Kubrick Facade</i> analyses Kubrick's use of narration in detail. <a href="/wiki/John_Baxter_(author)">John Baxter</a>'s biography of Kubrick also describes how he frequently favoured voice-over narration. Only three of Kubrick's 13 films lack narration: <i>Space Odyssey</i>, <i>The Shining</i>, and <i>Eyes Wide Shut</i>.<sup><a href="#cite_note-43">[43]</a></sup>
</li>
<li><b><a href="#cite_ref-70">^</a></b> Examples of the Action Office desk and "Propst Perch" chair appearing in the film can be seen in <a href="#CITEREFPina2002">Pina 2002</a>, pp. 66–71. First introduced in 1968, the Action Office-st<a href="/wiki/Cubicle">cubicle</a>" would eventually occupy 70 per cent of office space by the mid-2000s.
</li>
<li><b><a href="#cite_ref-72">^</a></b> Cubicles had earlier appeared in Jacques Tati's <i>Playtime</i> in 1967.
</li>
<li><b><a href="#cite_ref-82">^</a></b> Between the two lines large red letters reading at top "CAUTION" and at bottom "EXPLOSIVE BOLTS" are smaller black lines reading "MAINTENANCE AND REPLACEMENT INSTRUCTIONS" followed by even smaller lines of four instructions beginning "(1) SELF TEST EXPLOSIVE BOLTS PER INST 14 PARA 3 SEC 5D AFTER EACH EVA", et cetera. The instructions are generally legible on Blu-ray editions but not DVD editions of the film.<sup><a href="#cite_note-Agel-321-324-81">[78]</a></sup>
</li>
<li><b><a href="#cite_ref-135">^</a></b> <a href="/wiki/Robert_P._Kolker">Robert Kolker</a> put the cumulative global gross of the film at $138 million as of 2006,<sup><a href="#cite_note-134">[130]</a></sup> although it has had several limited releases since then. The combined takings of the 2010, 2013, 2014, 2017 and 2018 reissues added a further $7.9 million to the gross.<sup><a href="#cite_note-BOM-132">[128]</a></sup>
</li>
</ol></div>
<p><b>Citations</b>
</p>
<div><ol>
<li>^ <a href="#cite_ref-BBFC_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BBFC_1-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.bbfc.co.uk/release/2001-a-space-odyssey-q29sbgvjdglvbjpwwc0ynza5mdi">"2001: A Space Odyssey"</a>. <a href="/wiki/British_Board_of_Film_Classification">British Board of Film Classification</a>.</cite>
</li>
<li><b><a href="#cite_ref-2">^</a></b> <cite><a href="https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/">"Complete National Film Registry Listing"</a>. <a href="/wiki/Library_of_Congress">Library of Congress</a>. <a href="https://web.archive.org/web/20160507094100/https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/">Archived</a> from the original on 7 May 2016. Retrieved 15 May 2020.</cite>
</li>
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<li><b><a href="#cite_ref-ChapmanCull2013-p97_12-0">^</a></b> <a href="#CITEREFChapmanCull2013">Chapman &amp; Cull 2013</a>, p. 97
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<li><b><a href="#cite_ref-13">^</a></b> <a href="#CITEREFMcAleer2013">McAleer 2013</a>, p. <a href="https://books.google.com/books?id=pU8qAAAAQBAJ&amp;pg=PT140">140</a>
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<li>^ <a href="#cite_ref-Stanley_Kubrick_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Stanley_Kubrick_17-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFLoBrutto1998">LoBrutto 1998</a>, p. 257
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<li><b><a href="#cite_ref-21">^</a></b> <a href="#CITEREFMcAleer1992">McAleer 1992</a>, p. <a href="https://books.google.com/books?id=LW5aAAAAMAAJ&amp;q=%22frightfully+interested+in+working+with+enfant+terrible%22%22what+makes+Kubrick+think+I%27m+a+recluse?%22">176</a>
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<li>^ <a href="#cite_ref-Clarke_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Clarke_22-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFClarke1972">Clarke 1972</a>, p. 29
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<li><b><a href="#cite_ref-23">^</a></b> <cite><a href="http://www.visual-memory.co.uk/amk/doc/0073.html">"Arthur Clarke's 2001 Diary"</a>. <i>visual-memory</i>. <a href="https://web.archive.org/web/20150510060924/http://www.visual-memory.co.uk/amk/doc/0073.html">Archived</a> from the original on 10 May 2015. Retrieved 2 July 2015.</cite>
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<li><b><a href="#cite_ref-24">^</a></b> <a href="#CITEREFClarke1972">Clarke 1972</a>, p. 13
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<li><b><a href="#cite_ref-25">^</a></b> <a href="#CITEREFClarke1972">Clarke 1972</a>, pp. 32–35
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<li><b><a href="#cite_ref-26">^</a></b> <a href="#CITEREFAgel1970">Agel 1970</a>, p. 61
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<li>^ <a href="#cite_ref-Benson's_Book_27-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Benson's_Book_27-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Benson's_Book_27-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Benson's_Book_27-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Benson's_Book_27-4"><sup><i><b>e</b></i></sup></a> <cite><a href="/wiki/Michael_Benson_(filmmaker)">Benson, Michael</a> (2018). <a href="https://books.google.com/books?id=7BkyDwAAQBAJ&amp;pg=PT255"><i>Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece</i></a>. Simon and Schuster. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-5011-6395-1"><bdi>978-1-5011-6395-1</bdi></a>. <a href="https://web.archive.org/web/20180831174955/https://books.google.co.uk/books?id=7BkyDwAAQBAJ&amp;pg=PT255">Archived</a> from the original on 31 August 2018.</cite>
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<li><b><a href="#cite_ref-28">^</a></b> <cite>Clarke, Arthur C. (2001). <a href="https://archive.org/details/collectedstories00clar/page/460"><i>Collected Stories of Arthur C. Clarke</i></a>. Macmillan. p. <a href="https://archive.org/details/collectedstories00clar/page/460">460</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-312-87821-4"><bdi>978-0-312-87821-4</bdi></a>.</cite>
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<li><b><a href="#cite_ref-29">^</a></b> <a href="#CITEREFHughes2000">Hughes 2000</a>, p. 135
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<li><b><a href="#cite_ref-30">^</a></b> <a href="#CITEREFClarke1972">Clarke 1972</a>, p. 32
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<li><b><a href="#cite_ref-31">^</a></b> <a href="#CITEREFAgel1970">Agel 1970</a>, p. 25
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<li>^ <a href="#cite_ref-auto_32-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-auto_32-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFAgel1970">Agel 1970</a>, pp. 328–329
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<li><b><a href="#cite_ref-33">^</a></b> <a href="#CITEREFAgel1970">Agel 1970</a>, pp. 24–25
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<li>^ <a href="#cite_ref-Gelmis_34-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gelmis_34-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Gelmis_34-2"><sup><i><b>c</b></i></sup></a> <a href="#CITEREFGelmis1970">Gelmis 1970</a>, p. 308
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<li><b><a href="#cite_ref-36">^</a></b> <a href="#CITEREFGelmis1970">Gelmis 1970</a>, p. 302
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<li>^ <a href="#cite_ref-Clarke_pp.31-38_37-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Clarke_pp.31-38_37-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Clarke_pp.31-38_37-2"><sup><i><b>c</b></i></sup></a> <a href="#CITEREFClarke1972">Clarke 1972</a>, pp. 31–38
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<li>^ <a href="#cite_ref-SF-20180706_41-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-SF-20180706_41-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-SF-20180706_41-2"><sup><i><b>c</b></i></sup></a> <cite>Pearson, Ben (6 July 2018). <a href="https://www.slashfilm.com/2001-a-space-odyssey-ending/">"Stanley Kubrick Explains The '2001: A Space Odyssey' Ending in Rediscovered Interview"</a>. <i><a href="/wiki/Slashfilm">Slashfilm</a></i>. <a href="https://web.archive.org/web/20180706174351/https://www.slashfilm.com/2001-a-space-odyssey-ending/">Archived</a> from the original on 6 July 2018. Retrieved 7 July 2018.</cite>
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<li>^ <a href="#cite_ref-Agel_p.48_42-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Agel_p.48_42-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFAgel1970">Agel 1970</a>, p. 48.
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<li><b><a href="#cite_ref-43">^</a></b> <cite>Barham, J. M. (2009). <a href="http://epubs.surrey.ac.uk/1956/">"Incorporating Monsters: Music as Context, Character and Construction in Kubrick's <i>The Shining</i>"</a>. <a href="http://epubs.surrey.ac.uk/1956/"><i>Terror Tracks: Music and Sound in Horror Cinema</i></a>. London, U.K.: Equinox Press. pp. 137–170. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84553-202-4"><bdi>978-1-84553-202-4</bdi></a>. <a href="https://web.archive.org/web/20170804133256/http://epubs.surrey.ac.uk/1956/">Archived</a> from the original on 4 August 2017. Retrieved 20 July 2017.</cite><a href="/wiki/Open_access"></a>
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<li>^ <a href="#cite_ref-Walker_1971_251_47-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Walker_1971_251_47-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFWalker1971">Walker 1971</a>, p. 251
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<li><b><a href="#cite_ref-49">^</a></b> <a href="#CITEREFLoBrutto1998">LoBrutto 1998</a>, p. <a href="https://archive.org/details/stanleykubrickbi00lobr/page/310">310</a>
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<li><b><a href="#cite_ref-50">^</a></b> <a href="#CITEREFGeduld1973">Geduld 1973</a>, p. 24, reproduced in <a href="#CITEREFCastle2005">Castle 2005</a> and <a href="#CITEREFSchwam2010">Schwam 2010</a>, p. <a href="https://books.google.com/?id=j_EmH_W4I7YC&amp;pg=PT22">22</a>.
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<li><b><a href="#cite_ref-filming_2001_51-0">^</a></b> <cite>Lightman, Herb A. (June 1968). "Filming 2001: A Space Odyssey". <i><a href="/wiki/American_Cinematographer">American Cinematographer</a></i>.</cite> Excerpted in <a href="#CITEREFCastle2005">Castle 2005</a>.
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<li>^ <a href="#cite_ref-Richter_2002_52-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Richter_2002_52-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFRichter2002">Richter 2002</a>, pp. 133–35
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<li><b><a href="#cite_ref-53">^</a></b> <a href="#CITEREFClarke1972">Clarke 1972</a>, p. 51
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<li><b><a href="#cite_ref-54">^</a></b> <cite><a href="http://www.screenonline.org.uk/people/id/497964/">"Alcott, John (1931–1986) Cinematographer"</a>. <i>BFI Screenonline</i>. <a href="https://web.archive.org/web/20181213131432/http://www.screenonline.org.uk/people/id/497964/">Archived</a> from the original on 13 December 2018. Retrieved 5 February 2018.</cite>
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<li>^ <a href="#cite_ref-Chiasson_56-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Chiasson_56-1"><sup><i><b>b</b></i></sup></a> <cite>Chiasson, Dan (16 April 2018). <a href="https://www.newyorker.com/magazine/2018/04/23/2001-a-space-odyssey-what-it-means-and-how-it-was-made">""2001: A Space Odyssey": What It Means, and How It Was Made"</a>. <i><a href="/wiki/The_New_Yorker">The New Yorker</a></i>. <a href="https://web.archive.org/web/20221026101637/https://www.newyorker.com/magazine/2018/04/23/2001-a-space-odyssey-what-it-means-and-how-it-was-made">Archived</a> from the original on 26 October 2022.</cite>
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<li><b><a href="#cite_ref-57">^</a></b> <a href="#CITEREFRichter2002">Richter 2002</a>, p. 135
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<li><b><a href="#cite_ref-61">^</a></b> <a href="#CITEREFChapmanCull2013">Chapman &amp; Cull 2013</a>, p. 97, footnote 18
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<li>^ <a href="#cite_ref-nine_122-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-nine_122-1"><sup><i><b>b</b></i></sup></a> <cite>"$2 Mil 'Odyssey' B.O. Gross To Date". <i><a href="/wiki/Daily_Variety">Daily Variety</a></i>. 7 June 1968. p. 3.</cite>
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<li>^ <a href="#cite_ref-in70mm_123-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-in70mm_123-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-in70mm_123-2"><sup><i><b>c</b></i></sup></a> <cite>Coate, Michael. <a href="https://web.archive.org/web/20110430000932/http://www.in70mm.com/news/2004/2001_in_70mm/index.htm">"1968: A Roadshow Odyssey- The Original Reserved Seat Engagements Of '2001: A Space Odyssey'"</a>. <i>in70mm.com</i>. Archived from <a href="http://www.in70mm.com/news/2004/2001_in_70mm/index.htm">the original</a> on 30 April 2011. Retrieved 9 January 2011.</cite>
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<li><b><a href="#cite_ref-124">^</a></b> <cite>Robley, Les Paul (1 February 2008). <a href="https://web.archive.org/web/20110514152019/http://www.avrev.com/blu-ray-movie-disc-reviews/sci-fi-fantasy/2001-a-space-odyssey.html">"2001: A Space Odyssey (Blu-Ray review)"</a>. <i>Audio-Video Revolution</i>. Archived from <a href="http://www.avrev.com/blu-ray-movie-disc-reviews/sci-fi-fantasy/2001-a-space-odyssey.html">the original</a> on 14 May 2011. Retrieved 7 January 2011.</cite>
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<li>^ <a href="#cite_ref-Hall_126-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Hall_126-1"><sup><i><b>b</b></i></sup></a> <cite><a href="/wiki/Sheldon_Hall_(film_historian)">Hall, Sheldon</a> (9 April 2011). <a href="https://web.archive.org/web/20110526092759/http://www.in70mm.com/pictureville/2010/sheldon/index.htm">"Introduction to 2001: A Space Odyssey"</a>. <i>In70mm.com</i>. Archived from <a href="http://www.in70mm.com/pictureville/2010/sheldon/index.htm">the original</a> on 26 May 2011.</cite>
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<li><b><a href="#cite_ref-127">^</a></b> <cite>"Big Rental Films of 1968". <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. 8 January 1969. p. 15.</cite> This figure refers to rental revenue accruing to distributors.
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<li><b><a href="#cite_ref-128">^</a></b> <a href="#CITEREFBlockWilson2010">Block &amp; Wilson 2010</a>, p. <a href="https://archive.org/details/georgelucassbloc00alex/page/434">434</a>
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<li>^ <a href="#cite_ref-Block_(2010)_129-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Block_(2010)_129-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFBlockWilson2010">Block &amp; Wilson 2010</a>, pp. <a href="https://archive.org/details/georgelucassbloc00alex/page/492">492–493</a>
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<li><b><a href="#cite_ref-Miller_Camera_130-0">^</a></b> <cite>Miller, Frank. <a href="http://www.tcm.turner.com/this-month/article/26711%7c0/Behind-the-Camera.html">"Behind the Camera on 2001: A Space Odyssey"</a>. <i>tcm.com</i>. <a href="/wiki/Turner_Classic_Movies">Turner Classic Movies</a>. <a href="https://web.archive.org/web/20160128231433/http://www.tcm.com/this-month/article/26711%7c0/Behind-the-Camera.html">Archived</a> from the original on 28 January 2016. Retrieved 24 December 2014.</cite>
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<li><b><a href="#cite_ref-131">^</a></b> <a href="#CITEREFKolker2006">Kolker 2006</a>, p. 83
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<li>^ <a href="#cite_ref-BOM_132-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BOM_132-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.boxofficemojo.com/title/tt0062622/">"<i>2001: A Space Odyssey</i> (1968)"</a>. <a href="/wiki/Box_Office_Mojo">Box Office Mojo</a>. <a href="/wiki/IMDbPro">IMDbPro</a>. <a href="https://web.archive.org/web/20191104034249/https://www.boxofficemojo.com/title/tt0062622/">Archived</a> from the original on 4 November 2019. Retrieved 2 October 2019.</cite>
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<li><b><a href="#cite_ref-133">^</a></b> <cite><a href="https://www.boxofficemojo.com/alltime/adjusted.htm?adjust_yr=1">"All Time Box Office: Domestic Grosses – Adjusted for Ticket Price Inflation"</a>. Box Office Mojo. IMDbPro. <a href="https://web.archive.org/web/20190901183428/https://www.boxofficemojo.com/alltime/adjusted.htm?adjust_yr=1">Archived</a> from the original on 1 September 2019. Retrieved 9 October 2019.</cite>
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<li><b><a href="#cite_ref-134">^</a></b> <a href="#CITEREFKolker2006">Kolker 2006</a>, p. 16
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<li><b><a href="#cite_ref-Miller_Corner_136-0">^</a></b> <cite>Miller, Frank. <a href="http://www.tcm.turner.com/tcmdb/title/628/2001-A-Space-Odyssey/articles.html">"2001: A Space Odyssey – Articles"</a>. <i>tcm.com</i>. <a href="/wiki/Turner_Classic_Movies">Turner Classic Movies</a>. <a href="https://web.archive.org/web/20120212151721/http://www.tcm.com/tcmdb/title/628/2001-A-Space-Odyssey/articles.html">Archived</a> from the original on 12 February 2012. Retrieved 2 October 2019.</cite>
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<li>^ <a href="#cite_ref-THR_137-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-THR_137-1"><sup><i><b>b</b></i></sup></a> <cite>Higgins, Bill (7 May 2018). <a href="https://www.hollywoodreporter.com/news/hollywood-flashback-1968-2001-a-space-odyssey-confounded-critics-1109385">"Hollywood Flashback: In 1968, '2001: A Space Odyssey' Confounded Critics"</a>. <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>. Los Angeles: <a href="/wiki/Eldridge_Industries">Eldridge Industries</a>. <a href="https://web.archive.org/web/20180508112152/https://www.hollywoodreporter.com/news/hollywood-flashback-1968-2001-a-space-odyssey-confounded-critics-1109385">Archived</a> from the original on 8 May 2018. Retrieved 10 May 2018.</cite>
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<li><b><a href="#cite_ref-138">^</a></b> <a href="#CITEREFAgel1970">Agel 1970</a>, p. 169
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<li><b><a href="#cite_ref-139">^</a></b> <cite>Ebert, Roger (27 March 1997). <a href="https://www.rogerebert.com/reviews/great-movie-2001-a-space-odyssey-1968">"2001: A Space Odyssey movie review"</a>. <i>RogerEbert.com</i>. <a href="https://web.archive.org/web/20130409153337/https://www.rogerebert.com/reviews/great-movie-2001-a-space-odyssey-1968">Archived</a> from the original on 9 April 2013. Retrieved 14 January 2023.</cite>
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<li><b><a href="#cite_ref-140">^</a></b> <cite>Hoad, Phil (12 March 2018). <a href="https://www.theguardian.com/film/2018/mar/12/how-we-made-2001-a-space-odyssey-stanley-kubrick-hal">"How we made 2001: A Space Odyssey"</a>. <i><a href="/wiki/The_Guardian">The Guardian</a></i>. <a href="https://web.archive.org/web/20180522144157/https://www.theguardian.com/film/2018/mar/12/how-we-made-2001-a-space-odyssey-stanley-kubrick-hal">Archived</a> from the original on 22 May 2018. Retrieved 14 May 2018.</cite>
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<li><b><a href="#cite_ref-Gilliatt_141-0">^</a></b> Gilliatt, Penelope (5 April 1968). "After Man", review of <i>2001</i> reprinted from <i>The New Yorker</i> in <a href="#CITEREFAgel1970">Agel 1970</a>, pp. 209–213.
</li>
<li><b><a href="#cite_ref-Champlin_142-0">^</a></b> Champlin, Charles (5 April 1968). Review of <i>2001</i> reprinted from <i>Los Angeles Times</i> in <a href="#CITEREFAgel1970">Agel 1970</a>, pp. 213–215.
</li>
<li><b><a href="#cite_ref-Sweeney_143-0">^</a></b> Sweeney, Louise. Review of <i>2001</i> reprinted from <i>The Christian Science Monitor</i> in <a href="#CITEREFAgel1970">Agel 1970</a>, pp. 227–231.
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<li><b><a href="#cite_ref-French_144-0">^</a></b> French, Philip. Review of <i>2001</i> reprinted from an unnamed publication in <a href="#CITEREFAgel1970">Agel 1970</a>, pp. 237–239.
</li>
<li><b><a href="#cite_ref-Adams_145-0">^</a></b> Adams, Marjorie. Review of <i>2001</i> reprinted from <i>Boston Globe</i> in <a href="#CITEREFAgel1970">Agel 1970</a>, p. 240.
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<li><b><a href="#cite_ref-146">^</a></b> <cite>Ebert, Roger. <a href="https://web.archive.org/web/20090903062342/http://www.bfi.org.uk/sightandsound/topten/poll/voter.php?forename=Roger&amp;surname=Ebert">"BFI | Sight &amp; Sound | Top Ten Poll 2002 – How the directors and critics voted"</a>. Archived from <a href="http://www.bfi.org.uk/sightandsound/topten/poll/voter.php?forename=Roger&amp;surname=Ebert">the original</a> on 3 September 2009. Retrieved 27 July 2009.</cite>
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<li><b><a href="#cite_ref-Unknown_147-0">^</a></b> Unknown reviewer. Capsule review of <i>2001</i> reprinted from <i>Time</i> in <a href="#CITEREFAgel1970">Agel 1970</a>, p. 248.
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<li><b><a href="#cite_ref-148">^</a></b> <cite>Hofsess, John (11 January 1976). <a href="http://partners.nytimes.com/library/film/011176kubrick-lyndon.html">"How I Learned To Stop Worrying And Love 'Barry Lyndon'"</a>. <i>The New York Times</i>. <a href="https://web.archive.org/web/20130127160904/http://partners.nytimes.com/library/film/011176kubrick-lyndon.html">Archived</a> from the original on 27 January 2013. Retrieved 30 June 2013.</cite>
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<li><b><a href="#cite_ref-Kauffman_Lost_149-0">^</a></b> <cite>Kauffmann, Stanley (4 May 1968). <a href="https://web.archive.org/web/20050403160335/http://krusch.com/kubrick/Q16.html">"Lost in the Stars"</a>. <i>The New Republic</i>. Archived from <a href="https://newrepublic.com/article/132297/lost-stars">the original</a> on 3 April 2005.</cite>
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<li><b><a href="#cite_ref-Adler_150-0">^</a></b> Adler, Renata. Review of <i>2001</i> reprinted from <i>The New York Times</i> in <a href="#CITEREFAgel1970">Agel 1970</a>, pp. 207–8.
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<li><b><a href="#cite_ref-Sarris_151-0">^</a></b> Sarris, Andrew. Review of <i>2001</i> quoted from a <a href="/wiki/WBAI">WBAI</a> radio broadcast in <a href="#CITEREFAgel1970">Agel 1970</a>, pp. 242–3.
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<li><b><a href="#cite_ref-152">^</a></b> <cite><a href="http://www.filmcomment.com/article/hail-the-conquering-hero-andrew-sarris-profiled">"Hail the Conquering Hero"</a>. <i>FilmComment.com</i>. 1 May 2005. <a href="https://web.archive.org/web/20120623223203/http://www.filmcomment.com/article/hail-the-conquering-hero-andrew-sarris-profiled">Archived</a> from the original on 23 June 2012. Retrieved 12 January 2007.</cite>
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<li><b><a href="#cite_ref-Simon_153-0">^</a></b> Simon, John. Review of <i>2001</i> reprinted from <i><a href="/wiki/The_New_Leader">The New Leader</a></i> in <a href="#CITEREFAgel1970">Agel 1970</a>, p. 244.
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<li><b><a href="#cite_ref-myth_154-0">^</a></b> <cite>Joyce, Paul (director) Doran, Jamie (producer) Bizony, Piers (assoc. producer) (2001). <i>2001: The Making of a Myth</i> (Television production). UK: Channel Four Television Corp. Event occurs at 15:56.</cite>
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<li><b><a href="#cite_ref-155">^</a></b> <cite><a href="https://www.bbc.co.uk/films/2000/09/18/2001_review.shtml">"BBC – Films – review – 2001: A Space Odyssey"</a>. <i>BBC</i>. 29 March 2001. <a href="https://web.archive.org/web/20111225002936/http://www.bbc.co.uk/films/2000/09/18/2001_review.shtml">Archived</a> from the original on 25 December 2011. Retrieved 22 August 2010.</cite>
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<li><b><a href="#cite_ref-156">^</a></b> <cite><a href="https://www.metacritic.com/movie/2001-a-space-odyssey">"<i>2001: A Space Odyssey</i> Reviews"</a>. <a href="/wiki/Metacritic">Metacritic</a>. <a href="/wiki/Fandom,_Inc.">Fandom, Inc.</a> Retrieved 14 September 2021.</cite>
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<li><b><a href="#cite_ref-bfi2012_157-0">^</a></b> <cite><a href="/wiki/Ian_Christie_(film_scholar)">Christie, Ian</a> (7 August 2017) [September 2012]. <a href="https://web.archive.org/web/20170301135739/http://www.bfi.org.uk/news/50-greatest-films-all-time">"The 50 Greatest Films of All Time"</a>. <i><a href="/wiki/Sight_%26_Sound">Sight &amp; Sound</a></i>. et al. <a href="/wiki/British_Film_Institute">British Film Institute</a>. Archived from <a href="http://www.bfi.org.uk/news/50-greatest-films-all-time">the original</a> on 1 March 2017. Retrieved 2 January 2023.</cite>
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<li><b><a href="#cite_ref-158">^</a></b> <cite><a href="https://web.archive.org/web/20061126071451/http://ofcs.rottentomatoes.com/pages/pr/top100scifi">"<i>2001: A Space Odyssey</i> Named the Greatest Sci-Fi Film of All Time By the Online Film Critics Society"</a>. <i><a href="/wiki/Online_Film_Critics_Society">Online Film Critics Society</a></i>. 12 June 2002. Archived from <a href="http://ofcs.rottentomatoes.com/pages/pr/top100scifi">the original</a> on 26 November 2006. Retrieved 15 December 2006.</cite>
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<li><b><a href="#cite_ref-159">^</a></b> <cite><a href="https://www.editorsguild.com/magazine.cfm?ArticleID=1102">"The 75 Best Edited Films"</a>. <i>Editors Guild Magazine</i>. <b>1</b> (3). May 2012. <a href="https://web.archive.org/web/20160304232326/https://www.editorsguild.com/magazine.cfm?ArticleID=1102">Archived</a> from the original on 4 March 2016. Retrieved 20 April 2017.</cite>
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<li><b><a href="#cite_ref-160">^</a></b> <cite><a href="http://archive.usccb.org/movies/vaticanfilms.shtml">"USCCB – (Film and Broadcasting) – Vatican Best Films List"</a>. <i>USCCB web site</i>. <a href="https://web.archive.org/web/20070418125227/http://www.usccb.org/movies/vaticanfilms.shtml">Archived</a> from the original on 18 April 2007. Retrieved 1 October 2019.</cite>
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<li><b><a href="#cite_ref-161">^</a></b> <cite><a href="http://www.filmsite.org/timeout2.html">"Top 100 Films (Readers)"</a>. <i><a href="/wiki/AMC_(TV_channel)">AMC Filmsite.org</a></i>. American Movie Classics Company. <a href="https://web.archive.org/web/20140718213202/http://www.filmsite.org/timeout2.html">Archived</a> from the original on 18 July 2014. Retrieved 17 August 2010.</cite>
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<li><b><a href="#cite_ref-162">^</a></b> <cite><a href="http://www.filmsite.org/ew100.html">"Entertainment Weekly's 100 Greatest Movies of All Time"</a>. <a href="/wiki/Filmsite.org">Filmsite.org</a>. <a href="https://web.archive.org/web/20140331185517/http://www.filmsite.org/ew100.html">Archived</a> from the original on 31 March 2014. Retrieved 19 January 2009.</cite>
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<li><b><a href="#cite_ref-163">^</a></b> <cite><a href="https://www.empireonline.com/movies/features/best-movies/">"The 100 Greatest Movies"</a>. <a href="https://web.archive.org/web/20180706075658/https://www.empireonline.com/movies/features/best-movies/">Archived</a> from the original on 6 July 2018. Retrieved 20 March 2018.</cite>
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<li><b><a href="#cite_ref-164">^</a></b> <cite><a href="https://faroutmagazine.co.uk/2001-a-space-odyssey-named-greatest-movie-of-all-time/">"'2001: A Space Odyssey' named the greatest movie of all time by 480 filmmakers"</a>. 2 December 2022. Retrieved 5 December 2022.</cite>
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<li>^ <a href="#cite_ref-S&amp;S2022_165-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-S&amp;S2022_165-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-S&amp;S2022_165-2"><sup><i><b>c</b></i></sup></a> <cite><a href="https://www.bfi.org.uk/film/cefccdb2-b558-5623-9c17-72b4be7bd4c1/2001-a-space-odyssey">"2001: A Space Odyssey (1968)"</a>. <i>Sight &amp; Sound</i>. British Film Institute. <a href="https://web.archive.org/web/20221201220301/https://www.bfi.org.uk/film/cefccdb2-b558-5623-9c17-72b4be7bd4c1/2001-a-space-odyssey">Archived</a> from the original on 1 December 2022. Retrieved 2 January 2023.</cite>
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<li>^ <a href="#cite_ref-hugo_166-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-hugo_166-1"><sup><i><b>b</b></i></sup></a> <cite><a href="http://www.thehugoawards.org/hugo-history/1969-hugo-awards/">"1969 Hugo Awards"</a>. <i><a href="/wiki/World_Science_Fiction_Society">World Science Fiction Society</a></i>. 28 August 1969. <a href="https://web.archive.org/web/20130703111100/http://www.thehugoawards.org/hugo-history/1969-hugo-awards/">Archived</a> from the original on 3 July 2013. Retrieved 16 October 2012.</cite>
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<li><b><a href="#cite_ref-167">^</a></b> <cite>Brosnan, John (1978). <a href="http://archive.org/details/futuretense00john"><i>Future tense : the cinema of science fiction</i></a>. Internet Archive. New York : St. Martin's Press. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-312-31488-0"><bdi>978-0-312-31488-0</bdi></a>.</cite>
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<li><b><a href="#cite_ref-delrey196807_168-0">^</a></b> <cite>del Rey, Lester (July 1968). <a href="https://archive.org/stream/Galaxy_v26n06_1968-07#page/n193/mode/2up">"2001: A Space Odyssey"</a>. <i>Galaxy Science Fiction</i>. pp. 193–194. <a href="https://web.archive.org/web/20190330143620/https://archive.org/stream/Galaxy_v26n06_1968-07#page/n193/mode/2up">Archived</a> from the original on 30 March 2019. Retrieved 6 January 2018.</cite>
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<li><b><a href="#cite_ref-169">^</a></b> Samuel R. Delany's and Lester del Rey's reviews both appear in the 1968 anthology <i>The Year's Best Science Fiction No. 2</i> edited by Harry Harrison and Brian W. Aldiss. Both are also printed on <i>The Kubrick Site</i>:<br /><cite>Lester, del Rey (1968). <a href="http://www.visual-memory.co.uk/amk/doc/0045.html">"2001: A Space Odyssey: A Review"</a>. <a href="https://web.archive.org/web/20110709013211/http://www.visual-memory.co.uk/amk/doc/0045.html">Archived</a> from the original on 9 July 2011. Retrieved 5 March 2022.</cite><br /><cite>Delany, Samuel R. (1968). <a href="http://www.visual-memory.co.uk/amk/doc/0044.html">"A Review of 2001: A Space Odyssey"</a>. <a href="https://web.archive.org/web/20110819033153/http://www.visual-memory.co.uk/amk/doc/0044.html">Archived</a> from the original on 19 August 2011. Retrieved 5 March 2022.</cite> 
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<li><b><a href="#cite_ref-170">^</a></b> <cite>Anders, Charlie Jane (13 July 2010). <a href="http://io9.com/5586134/rip-hard-science-fiction-writer-james-p-hogan">"R.I.P. hard science fiction writer James P. Hogan"</a>. <i>io9</i>. <a href="https://web.archive.org/web/20140227040133/http://io9.com/5586134/rip-hard-science-fiction-writer-james-p-hogan">Archived</a> from the original on 27 February 2014. Retrieved 17 June 2014.</cite>
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<li><b><a href="#cite_ref-171">^</a></b> <cite><a href="https://www.oscars.org/oscars/ceremonies/1969">"The 41st Academy Awards | 1969"</a>. <i><a href="/wiki/Academy_Awards">Academy Awards</a> | <a href="/wiki/Academy_of_Motion_Picture_Arts_and_Sciences">Academy of Motion Picture Arts and Sciences</a></i>. 14 April 1969. <a href="https://archive.today/20160910175650/https://www.oscars.org/oscars/ceremonies/1969">Archived</a> from the original on 10 September 2016. Retrieved 30 July 2019.</cite>
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<li><b><a href="#cite_ref-172">^</a></b> <cite><a href="https://web.archive.org/web/20131006010330/http://www.bafta.org/print/awards/film/nominations/film-awards-nominations,183,BA.html?year=1968">"Film Nominations 1968"</a>. <i><a href="/wiki/British_Academy_of_Film_and_Television_Arts">British Academy of Film and Television Arts</a></i>. 28 March 1968. Archived from <a href="http://www.bafta.org/print/awards/film/nominations/film-awards-nominations,183,BA.html?year=1968">the original</a> on 6 October 2013. Retrieved 16 October 2012.</cite>
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<li><b><a href="#cite_ref-173">^</a></b> <cite><a href="http://www.cinecec.com/cec.html">"Premios del CEC a la producción española de 1968"</a>. <i><a href="https://es.wikipedia.org/wiki/C%C3%ADrculo_de_Escritores_Cinematogr%C3%A1ficos">Círculo de Escritores Cinematográficos</a></i> (in Spanish). 29 January 2019. <a href="https://web.archive.org/web/20120425232140/http://www.cinecec.com/cec.html">Archived</a> from the original on 25 April 2012. Retrieved 16 October 2012.</cite>
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<li><b><a href="#cite_ref-174">^</a></b> <cite>madebycat.com (7 April 2019). <a href="http://film.iksv.org/en/the-38th-istanbul-film-festival-2019/2001-a-space-odyssey">"2001: A Space Odyssey"</a>. <i>İKSV</i>. <a href="https://web.archive.org/web/20190710135056/http://film.iksv.org/en/the-38th-istanbul-film-festival-2019/2001-a-space-odyssey">Archived</a> from the original on 10 July 2019. Retrieved 10 July 2019.</cite>
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<li><b><a href="#cite_ref-175">^</a></b> <cite><a href="http://www.dga.org/Awards/History/1960s/1968.aspx">"Awards / History / 1968 – 21st Annual DGA Awards"</a>. <i><a href="/wiki/Directors_Guild_of_America">Directors Guild of America</a></i>. 2 February 1969. <a href="https://web.archive.org/web/20160128231433/http://www.dga.org/Awards/History/1960s/1968.aspx">Archived</a> from the original on 28 January 2016. Retrieved 16 October 2012.</cite>
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<li><b><a href="#cite_ref-176">^</a></b> <cite><a href="http://www.kcfcc.org/1960s.html">"Winners: 1960s"</a>. <i>Kansas City Film Critics Circle</i>. 18 December 1968. <a href="https://web.archive.org/web/20120503233832/http://www.kcfcc.org/1960s.html">Archived</a> from the original on 3 May 2012. Retrieved 16 October 2012.</cite>
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<li><b><a href="#cite_ref-laurel_177-0">^</a></b> <cite>O'Neil, Thomas (2003). <i>Movie awards: the ultimate, unofficial guide to the Oscars, Golden Globes, critics, Guild &amp; Indie honors</i>. Perigee Book. p. 306. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-399-52922-1"><bdi>978-0-399-52922-1</bdi></a>.</cite>
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<li><b><a href="#cite_ref-178">^</a></b> <cite><a href="https://web.archive.org/web/20101125221611/http://nbrmp.org/awards/past.cfm?year=1968">"Awards for 1968"</a>. <i><a href="/wiki/National_Board_of_Review_of_Motion_Pictures">National Board of Review of Motion Pictures</a></i>. 10 January 1969. Archived from <a href="http://www.nbrmp.org/awards/past.cfm?year=1968">the original</a> on 25 November 2010. Retrieved 16 October 2012.</cite>
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<li><b><a href="#cite_ref-Moscow1969_179-0">^</a></b> <cite><a href="https://web.archive.org/web/20130116194825/http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1969">"6th Moscow International Film Festival (1969)"</a>. <i>MIFF</i>. Archived from <a href="http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1969">the original</a> on 16 January 2013. Retrieved 20 December 2012.</cite>
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<li><b><a href="#cite_ref-180">^</a></b> <cite><a href="http://www.afi.com/Docs/100Years/100Movies.pdf">"AFI's 100 Years ... 100 Movies"</a> (PDF). <i>afi.com</i> (10th Anniversary ed.). <a href="/wiki/American_Film_Institute">American Film Institute</a>. 16 June 1998. <a href="https://web.archive.org/web/20130606072909/http://www.afi.com/Docs/100Years/100Movies.pdf">Archived</a> (PDF) from the original on 6 June 2013. Retrieved 9 October 2019.</cite>
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<li><b><a href="#cite_ref-181">^</a></b> <cite><a href="http://www.afi.com/Docs/100Years/movies100.pdf">"AFI's 100 Years ... 100 Movies"</a> (PDF). <i>afi.com</i>. American Film Institute. 16 June 1998. <a href="https://web.archive.org/web/20190412113202/http://www.afi.com/Docs/100Years/movies100.pdf">Archived</a> (PDF) from the original on 12 April 2019. Retrieved 9 October 2019.</cite>
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<li><b><a href="#cite_ref-182">^</a></b> <cite><a href="https://web.archive.org/web/20140328082214/http://www.afi.com/Docs/100Years/thrills100.pdf">"AFI's 100 Years ... 100 Thrills"</a> (PDF). <i>afi.com</i>. American Film Institute. 16 June 1998. Archived from <a href="http://www.afi.com/Docs/100Years/thrills100.pdf">the original</a> (PDF) on 28 March 2014. Retrieved 9 October 2019.</cite>
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<li><b><a href="#cite_ref-183">^</a></b> <cite><a href="http://www.afi.com/Docs/100Years/quotes100.pdf">"AFI's 100 Years ... 100 Movie Quotes"</a> (PDF). <i>afi.com</i>. American Film Institute. 16 June 1998. <a href="https://web.archive.org/web/20110313150615/http://www.afi.com/Docs/100Years/quotes100.pdf">Archived</a> (PDF) from the original on 13 March 2011. Retrieved 9 October 2019.</cite>
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<li><b><a href="#cite_ref-184">^</a></b> <cite><a href="https://web.archive.org/web/20140328082215/http://www.afi.com/Docs/100Years/handv100.pdf">"AFI's 100 Years ... 100 Heroes &amp; Villains"</a> (PDF). <i>afi.com</i>. American Film Institute. 16 June 1998. Archived from <a href="http://www.afi.com/Docs/100Years/handv100.pdf">the original</a> (PDF) on 28 March 2014. Retrieved 9 October 2019.</cite>
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<li><b><a href="#cite_ref-185">^</a></b> <cite><a href="https://web.archive.org/web/20150421022651/http://www.afi.com/Docs/100Years/cheers100.pdf">"AFI's 100 Years ... 100 Cheers"</a> (PDF). <i>afi.com</i>. American Film Institute. 16 June 1998. Archived from <a href="http://www.afi.com/Docs/100Years/cheers100.pdf">the original</a> (PDF) on 21 April 2015. Retrieved 9 October 2019.</cite>
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<li><b><a href="#cite_ref-186">^</a></b> <cite><a href="https://web.archive.org/web/20140328081240/http://www.afi.com/10top10/category.aspx?cat=7">"AFI's 10 Top 10: Top 10 Sci-Fi"</a>. <i>afi.com</i>. American Film Institute. 17 June 2008. Archived from <a href="http://www.afi.com/10top10/category.aspx?cat=7">the original</a> on 28 March 2014. Retrieved 9 October 2019.</cite>
</li>
<li>^ <a href="#cite_ref-auto1_187-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-auto1_187-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-auto1_187-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-auto1_187-3"><sup><i><b>d</b></i></sup></a> <a href="#CITEREFKrämer2010">Krämer 2010</a>, p. 8
</li>
<li><b><a href="#cite_ref-188">^</a></b> See especially the essay "Auteur with a Capital A", by James Gilbert, anthologized in <a href="#CITEREFKolker2006">Kolker 2006</a>.
</li>
<li><b><a href="#cite_ref-189">^</a></b> <a href="#CITEREFSchwam2010">Schwam 2010</a>, p. <a href="https://books.google.com/?id=j_EmH_W4I7YC&amp;pg=PT86">86</a>
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<li><b><a href="#cite_ref-SYFY-20180705_190-0">^</a></b> <cite>Slayton, Nicholas (5 July 2018). <a href="https://www.syfy.com/syfywire/in-lost-interview-stanley-kubrick-explains-the-ending-of-2001-a-space-odyssey">"In Lost Interview, Stanley Kubrick Explains The Ending of 2001: A Space odyssey"</a>. <i><a href="/wiki/SyfyWire">SyfyWire</a></i>. <a href="https://web.archive.org/web/20180706010257/http://www.syfy.com/syfywire/in-lost-interview-stanley-kubrick-explains-the-ending-of-2001-a-space-odyssey">Archived</a> from the original on 6 July 2018. Retrieved 7 July 2018.</cite>
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<li><b><a href="#cite_ref-NYT-20180418_191-0">^</a></b> <cite>Handy, Bruce (5 April 2018). <a href="https://www.nytimes.com/2018/04/05/opinion/2001-a-space-odyssey-broken-glass.html">"Sometimes a Broken Glass Is Just a Broken Glass"</a>. <i><a href="/wiki/The_New_York_Times">The New York Times</a></i>. <a href="https://web.archive.org/web/20180407140425/https://www.nytimes.com/2018/04/05/opinion/2001-a-space-odyssey-broken-glass.html">Archived</a> from the original on 7 April 2018. Retrieved 7 July 2018.</cite>
</li>
<li><b><a href="#cite_ref-192">^</a></b> <a href="#CITEREFKrämer2010">Krämer 2010</a>, p. 7
</li>
<li><b><a href="#cite_ref-193">^</a></b> <a href="#CITEREFGelmis1970">Gelmis 1970</a>, pp. 293–294
</li>
<li><b><a href="#cite_ref-194">^</a></b> <cite>Houston, Penelope (Spring 1971). "Skeleton Key to 2001". <i>Sight and Sound International Film Quarterly</i>. London: British Film Institute. <b>40</b> (2).</cite>
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<li>^ <a href="#cite_ref-auto2_195-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-auto2_195-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFGeduld1973">Geduld 1973</a>, p. 40
</li>
<li><b><a href="#cite_ref-196">^</a></b> <a href="#CITEREFLoBrutto1998">LoBrutto 1998</a>, pp. 310, 606
</li>
<li><b><a href="#cite_ref-197">^</a></b> <a href="#CITEREFSchwam2010">Schwam 2010</a>, p. <a href="https://books.google.com/?id=yX1ZAAAAMAAJ">165</a>
</li>
<li><b><a href="#cite_ref-filmsite.org_198-0">^</a></b> <cite>Dirks, Tim. <a href="http://www.filmsite.org/twot.html">"2001: A Space Odyssey"</a>. <i><a href="/wiki/Filmsite.org">Filmsite.org</a></i>. <a href="https://web.archive.org/web/20110303025113/http://www.filmsite.org/twot.html">Archived</a> from the original on 3 March 2011. Retrieved 21 October 2019.</cite>
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<li><b><a href="#cite_ref-199">^</a></b> <cite>Dirks, Tim. <a href="http://www.filmsite.org/twot.html">"2001: A Space Odyssey"</a>. <i><a href="/wiki/Filmsite.org">Filmsite.org</a></i>. <a href="https://web.archive.org/web/20110303025113/http://www.filmsite.org/twot.html">Archived</a> from the original on 3 March 2011. Retrieved 21 October 2019.</cite> Dirks says that, in the ape encounter, "With the mysterious monolith in the foreground, the glowing Sun rises over the black slab, directly beneath the crescent of the Moon" and that on the Moon "Again, the glowing Sun, Moon and Earth have formed a conjunctive orbital configuration."
</li>
<li><b><a href="#cite_ref-200">^</a></b> <a href="#CITEREFSchwam2010">Schwam 2010</a>, pp. <a href="https://books.google.com/?id=j_EmH_W4I7YC&amp;pg=PT212">212–215</a>
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<li><b><a href="#cite_ref-201">^</a></b> <cite>Webster, Patrick (2010). <i>Love and Death in Kubrick: A Critical Study of the Films from </i>Lolita<i> Through </i>Eyes Wide Shut<i></i>. McFarland. p. 66. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-5916-2"><bdi>978-0-7864-5916-2</bdi></a>.</cite>
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<li><b><a href="#cite_ref-202">^</a></b> <cite><a href="/wiki/Rob_Ager">Ager, Rob</a> (2015) [2008]. <a href="https://www.collativelearning.com/2001%20chapter%202.html">"Chapter 2. The Meaning Of The Monolith"</a>. <a href="https://www.collativelearning.com/2001%20analysis%20new.html"><i>2001: A Space Odyssey - in-depth analysis</i></a>. <a href="https://web.archive.org/web/20170824061016/https://www.collativelearning.com/2001+chapter+2.html">Archived</a> from the original on 24 August 2017. Retrieved 2 January 2023.</cite>
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<li><b><a href="#cite_ref-203">^</a></b> <cite><a href="/wiki/Michel_Chion">Chion, Michel</a> (2019) [2001]. <a href="https://books.google.com/books?id=9zn8DwAAQBAJ"><i>Kubrick's Cinema Odyssey</i></a>. London: <a href="/wiki/Bloomsbury_Publishing">Bloomsbury Publishing</a>. p. <a href="https://books.google.com/books?id=9zn8DwAAQBAJ&amp;pg=PA116">116</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-838-71665-3"><bdi>978-1-838-71665-3</bdi></a>.</cite>
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<li><b><a href="#cite_ref-204">^</a></b> <cite>Caicco, Gregory (2007). <i>Architecture, ethics, and the personhood of place</i>. UPNE. p. 137. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-58465-653-1"><bdi>978-1-58465-653-1</bdi></a>.</cite>
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<li><b><a href="#cite_ref-205">^</a></b> <cite>Westfahl, Gary (2005). <i>The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders, Volume 2</i>. Greenwood Publishing Group. p. 707. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-313-32952-4"><bdi>978-0-313-32952-4</bdi></a>.</cite>
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<li><b><a href="#cite_ref-206">^</a></b> <cite>Palmer, Christopher (Spring 2006). "Big Dumb Objects in Science Fiction: Sublimity, Banality, and Modernity". <i><a href="/wiki/Extrapolation_(journal)">Extrapolation</a></i>. Kent. <b>47</b> (1): 103. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.3828%2Fextr.2006.47.1.10">10.3828/extr.2006.47.1.10</a>.</cite>
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<li><b><a href="#cite_ref-207">^</a></b> <cite>Gelmis, Joseph. <a href="http://www.visual-memory.co.uk/amk/doc/0069.html">"An Interview with Stanley Kubrick (1969)"</a>. <a href="https://web.archive.org/web/20100419155630/http://www.visual-memory.co.uk/amk/doc/0069.html">Archived</a> from the original on 19 April 2010. Retrieved 31 August 2010.</cite>
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<li>^ <a href="#cite_ref-Burgoot2006p339_208-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Burgoot2006p339_208-1"><sup><i><b>b</b></i></sup></a> <cite>Burfoot, Annette (2006). "The Fetal Voyager: Women in Modern Medical Visual Discourse". In Shteir, Ann; Lightman, Bernard (eds.). <i>Figuring it out: science, gender, and visual culture</i>. UPNE. p. 339. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-58465-603-6"><bdi>978-1-58465-603-6</bdi></a>.</cite>
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<li><b><a href="#cite_ref-209">^</a></b> <cite>Grant, Barry Keith (2010). <i>Shadows of Doubt: Negotiations of Masculinity in American Genre Films</i>. Wayne State University Press. p. 135. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8143-3457-7"><bdi>978-0-8143-3457-7</bdi></a>.</cite>
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<li><b><a href="#cite_ref-210">^</a></b> <a href="#CITEREFWheat2000">Wheat 2000</a>, p. 3
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<li><b><a href="#cite_ref-211">^</a></b> <a href="#CITEREFSchwam2010">Schwam 2010</a>, pp. <a href="https://books.google.com/?id=j_EmH_W4I7YC&amp;pg=PT210">210–213</a>
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<li>^ <a href="#cite_ref-Walker_pp181-182_212-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Walker_pp181-182_212-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFWalker2000">Walker 2000</a>, pp. 181–182
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<li><b><a href="#cite_ref-213">^</a></b> <a href="#CITEREFWalker2000">Walker 2000</a>, p. 192
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<li>^ <a href="#cite_ref-Bizony_214-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bizony_214-1"><sup><i><b>b</b></i></sup></a> <a href="#CITEREFBizony2001">Bizony 2001</a>, p. 151
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<li><b><a href="#cite_ref-215">^</a></b> <a href="#CITEREFCiment1999">Ciment 1999</a>, p. 128
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<li><b><a href="#cite_ref-beyond_216-0">^</a></b> <cite>Michael Lennick (7 January 2001). <i>2001 and Beyond</i> (television). Canada: Discovery Channel Canada.</cite>
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<li><b><a href="#cite_ref-NYT-20180510_217-0">^</a></b> <cite><a href="/wiki/Dennis_Overbye">Overbye, Dennis</a> (10 May 2018). <a href="https://www.nytimes.com/2018/05/10/science/2001-a-space-odyssey-kubrick.html">"'2001: A Space Odyssey' Is Still the 'Ultimate Trip' – The rerelease of Stanley Kubrick's masterpiece encourages us to reflect again on where we're coming from and where we're going"</a>. <i><a href="/wiki/The_New_York_Times">The New York Times</a></i>. <a href="https://web.archive.org/web/20180511122838/https://www.nytimes.com/2018/05/10/science/2001-a-space-odyssey-kubrick.html">Archived</a> from the original on 11 May 2018. Retrieved 10 May 2018.</cite>
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<li><b><a href="#cite_ref-218">^</a></b> <cite>Parrett, Aaron (March 2008). <a href="https://www.jstor.org/stable/25475111">"Review: <i>Stanley Kubrick's 2001: A Space Odyssey: New Essays</i> by Robert Kolker"</a>. <i><a href="/wiki/Science_Fiction_Studies">Science Fiction Studies</a></i>. <a href="/wiki/Science_Fiction_Studies">SF-TH Inc.</a> <b>35</b> (1): 116–120. <a href="/wiki/JSTOR_(identifier)">JSTOR</a> <a href="//www.jstor.org/stable/25475111">25475111</a>. Retrieved 12 May 2022.</cite>
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<li><b><a href="#cite_ref-219">^</a></b> <cite>Rose, Lloyd (28 June 1987). <a href="https://www.washingtonpost.com/wp-srv/style/movies/features/kubrick1987.htm">"Stanley Kubrick, at a Distance"</a>. <i>The Washington Post</i>. <a href="https://web.archive.org/web/20121104173552/http://www.washingtonpost.com/wp-srv/style/movies/features/kubrick1987.htm">Archived</a> from the original on 4 November 2012. Retrieved 18 April 2017.</cite>
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<li><b><a href="#cite_ref-220">^</a></b> <cite>Duncan, Paul (2003). <a href="https://books.google.com/books?id=XBQi4cCEYNIC"><i>Stanley Kubrick: Visual Poet 1928–1999</i></a>. Taschen GmbH. pp. 10–11. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-8365-2775-0"><bdi>978-3-8365-2775-0</bdi></a>. <a href="https://web.archive.org/web/20160826091619/https://books.google.com/books?id=XBQi4cCEYNIC">Archived</a> from the original on 26 August 2016. Retrieved 18 April 2017.</cite>
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<li><b><a href="#cite_ref-221">^</a></b> <cite><a href="https://web.archive.org/web/20070826201343/http://www.villagevoice.com/specials/take/one/full_list.php3?category=10">"Take One: The First Annual Village Voice Film Critics' Poll"</a>. <i>The Village Voice</i>. 1999. Archived from <a href="http://www.villagevoice.com/specials/take/one/full_list.php3?category=10">the original</a> on 26 August 2007. Retrieved 27 July 2006.</cite>
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<li><b><a href="#cite_ref-Carr81_222-0">^</a></b> <cite>Carr, Jay (2002). <a href="https://archive.org/details/alistnationalsoc00jayc"><i>The A List: The National Society of Film Critics' 100 Essential Films</i></a>. Da Capo Press. p. <a href="https://archive.org/details/alistnationalsoc00jayc/page/81">81</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-306-81096-1"><bdi>978-0-306-81096-1</bdi></a>. Retrieved 27 July 2012.</cite>
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<li><b><a href="#cite_ref-223">^</a></b> <cite><a href="https://www.filmsite.org/alist.html">"100 Essential Films by The National Society of Film Critics"</a>. <i>filmsite.org</i>.</cite>
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<li><b><a href="#cite_ref-224">^</a></b> <cite><a href="https://www.listal.com/list/sight-sound-1982">"Sight &amp; Sound Greatest Films Poll 1982"</a>. <i>listal.com</i>.</cite>
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<li><b><a href="#cite_ref-225">^</a></b> <cite><a href="https://web.archive.org/web/20150618053015/http://alumnus.caltech.edu/~ejohnson/sight/1992_1.html">"Sight and Sound Poll 1992: Critics"</a>. <a href="/wiki/California_Institute_of_Technology">California Institute of Technology</a>. Archived from <a href="http://alumnus.caltech.edu/~ejohnson/sight/1992_1.html">the original</a> on 18 June 2015. Retrieved 29 May 2009.</cite>
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<li><b><a href="#cite_ref-S&amp;S_226-0">^</a></b> <cite><a href="https://web.archive.org/web/20020816030430/http://www.bfi.org.uk/sightandsound/topten/poll/critics.html">"Critics Top Ten Poll 2002"</a>. <i><a href="/wiki/Sight_%26_Sound">Sight &amp; Sound</a></i>. <a href="/wiki/British_Film_Institute">British Film Institute</a>. Archived from <a href="http://www.bfi.org.uk/sightandsound/topten/poll/critics.html">the original</a> on 16 August 2002. Retrieved 10 May 2018.</cite>
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<li>^ <a href="#cite_ref-S&amp;S2012_227-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-S&amp;S2012_227-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.bfi.org.uk/films-tv-people/4ce2b6b9450a5/sightandsoundpoll2012">"Votes for <i>2001: A Space Odyssey</i> (1968)"</a>. <i>Sight &amp; Sound</i>. British Film Institute. <a href="https://web.archive.org/web/20181201014125/http://www.bfi.org.uk/films-tv-people/4ce2b6b9450a5/sightandsoundpoll2012">Archived</a> from the original on 1 December 2018. Retrieved 24 November 2018.</cite>
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<li><b><a href="#cite_ref-:2_228-0">^</a></b> <cite>Heron, Ambrose (23 November 2008). <a href="http://www.filmdetail.com/2008/11/23/cahiers-du-cinemas-100-greatest-films/">"Cahiers du cinéma's 100 Greatest Films"</a>.</cite>
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<li><b><a href="#cite_ref-230">^</a></b> <cite><a href="https://www.bbc.com/culture/article/20150720-the-100-greatest-american-films">"The 100 Greatest American Films"</a>. <i>bbc</i>. 20 July 2015.</cite>
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<li><b><a href="#cite_ref-231">^</a></b> <cite><a href="https://web.archive.org/web/20130328133050/http://www.loc.gov/film/registry_titles.php">"National Film Registry"</a>. <a href="/wiki/National_Film_Registry">National Film Registry</a> (National Film Preservation Board, <a href="/wiki/Library_of_Congress">Library of Congress</a>). 13 December 2011. Archived from <a href="https://www.loc.gov/film/registry_titles.php">the original</a> on 28 March 2013.</cite>
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<li><b><a href="#cite_ref-232">^</a></b> <cite><a href="https://web.archive.org/web/20110106083521/http://www.themovingarts.com/100-greatest-movies-of-all-time/">"The Moving Arts Film Journal | TMA's 100 Greatest Films of All Time | web site"</a>. 13 November 2010. Archived from <a href="http://www.themovingarts.com/100-greatest-movies-of-all-time/">the original</a> on 6 January 2011. Retrieved 3 February 2011.</cite>
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<li><b><a href="#cite_ref-233">^</a></b> <cite><a href="https://web.archive.org/web/20131226091025/http://www.miramax.com/subscript/scorseses-favorite-films">"Scorsese's 12 favorite films"</a>. <i>Miramax.com</i>. 29 March 2013. Archived from <a href="http://www.miramax.com/subscript/scorseses-favorite-films">the original</a> on 26 December 2013. Retrieved 9 October 2019.</cite>
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<li><b><a href="#cite_ref-234">^</a></b> <cite>Kazan, Casey (10 July 2009). <a href="https://web.archive.org/web/20110321121445/http://www.dailygalaxy.com/my_weblog/2009/07/ridley-scott-science-fiction-is-dead.html">"Ridley Scott: 'After 2001 – A Space Odyssey, Science Fiction is Dead'"</a>. <i>Dailygalaxy.com</i>. Archived from <a href="http://www.dailygalaxy.com/my_weblog/2009/07/ridley-scott-science-fiction-is-dead.html">the original</a> on 21 March 2011. Retrieved 22 August 2010.</cite>
</li>
<li><b><a href="#cite_ref-235">^</a></b> <cite>Ciment, Michel (1972). "Odyssey of Stanley Kubrick". In Johnson, William (ed.). <a href="https://archive.org/details/focusonsciencefi00john"><i>Focus on the Science Fiction Film</i></a>. Englewood Cliffs, N.J.: Prentice-Hall. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-13-795179-6"><bdi>978-0-13-795179-6</bdi></a>.</cite>
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<li><b><a href="#cite_ref-236">^</a></b> <cite>DeMet, George D. <a href="http://www.palantir.net/2001/meanings/essay09.html">"The Search for Meaning in 2001"</a>. <i>The 2001 Archive</i>. <a href="https://web.archive.org/web/20110426050647/http://www.palantir.net/2001/meanings/essay09.html">Archived</a> from the original on 26 April 2011. Retrieved 22 August 2010.</cite>
</li>
<li><b><a href="#cite_ref-237">^</a></b> <cite><a href="http://blogs.discovermagazine.com/sciencenotfiction/2009/04/02/this-day-in-science-fiction-history-2001-a-space-odyssey/">"This Day in Science Fiction History – 2001: A Space Odyssey | Discover Magazine"</a>. <i>Blogs.discovermagazine.com</i>. 2 April 2009. <a href="https://web.archive.org/web/20100328142257/http://blogs.discovermagazine.com/sciencenotfiction/2009/04/02/this-day-in-science-fiction-history-2001-a-space-odyssey/">Archived</a> from the original on 28 March 2010. Retrieved 22 August 2010.</cite>
</li>
<li><b><a href="#cite_ref-tifftrumbull_238-0">^</a></b> <cite><a href="https://www.youtube.com/watch?v=HHjLsvEOeS0"><i>DOUGLAS TRUMBULL – Lighting the Enterprise – Star Trek</i></a> (<a href="/wiki/YouTube">YouTube</a>). <a href="/wiki/Toronto_International_Film_Festival">Toronto International Film Festival</a>. 27 October 2016. <a href="https://web.archive.org/web/20200130065111/https://www.youtube.com/watch?v=HHjLsvEOeS0">Archived</a> from the original on 30 January 2020. Retrieved 20 June 2020.</cite>
</li>
<li><b><a href="#cite_ref-2010featurette_239-0">^</a></b> <cite>Mark Stetson (model shop supervisor) (1984). <a href="https://web.archive.org/web/20070824064532/http://www.imdb.com/title/tt0235153/"><i>2010: The Odyssey Continues</i></a> (DVD). ZM Productions/MGM. Archived from <a href="https://imdb.com/title/tt0235153/">the original</a> on 24 August 2007. Retrieved 31 August 2007.</cite>
</li>
<li><b><a href="#cite_ref-240">^</a></b> <cite><a href="http://www.starshipmodeler.com/2001/2001int.htm">"Starship Modeler: Modeling 2001 and 2010 Spacecraft"</a>. <i>Starship Modeler</i>. 19 October 2005. <a href="https://web.archive.org/web/20060820130341/http://www.starshipmodeler.com/2001/2001int.htm">Archived</a> from the original on 20 August 2006. Retrieved 26 September 2006.</cite>
</li>
<li><b><a href="#cite_ref-241">^</a></b> <cite>Bentley, Chris (2008). <i>The Complete Gerry Anderson: The Authorised Episode Guide</i> (4th ed.). London: Reynolds and Hearn. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-905287-74-1"><bdi>978-1-905287-74-1</bdi></a>.</cite>
</li>
<li><b><a href="#cite_ref-242">^</a></b> <cite><a href="http://movies.yahoo.com/movie/preview/1808402810">"3001: The Final Odyssey"</a>. <i>Yahoo! Movies</i>. November 2002. <a href="https://web.archive.org/web/20071013214251/http://movies.yahoo.com/movie/preview/1808402810">Archived</a> from the original on 13 October 2007. Retrieved 17 September 2016.</cite>
</li>
<li><b><a href="#cite_ref-243">^</a></b> <cite><a href="https://airandspace.si.edu/exhibitions/2001-space-odyssey-immersive-art-exhibit">"2001: A Space Odyssey Immersive Art Exhibit"</a>. <i>aiandspace.si.edu</i>. 3 April 2018. <a href="https://web.archive.org/web/20180408083337/https://airandspace.si.edu/exhibitions/2001-space-odyssey-immersive-art-exhibit">Archived</a> from the original on 8 April 2018. Retrieved 8 April 2018.</cite>
</li>
<li><b><a href="#cite_ref-244">^</a></b> <cite><a href="https://www.cbsnews.com/news/2001-a-space-odyssey-movie-50th-anniversary/">"Smithsonian celebrates 50th anniversary of '2001: A Space Odyssey'"</a>. <i>CBS News</i>. <a href="https://web.archive.org/web/20180406182627/https://www.cbsnews.com/news/2001-a-space-odyssey-movie-50th-anniversary/">Archived</a> from the original on 6 April 2018. Retrieved 8 April 2018.</cite>
</li>
<li>^ <a href="#cite_ref-NYT-20180511_245-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-NYT-20180511_245-1"><sup><i><b>b</b></i></sup></a> <cite>Deb, Sopan (11 May 2018). <a href="https://www.nytimes.com/2018/05/11/movies/2001-a-space-odyssey-christopher-nolan-cannes.html">"Christopher Nolan's Version of Vinyl: Unrestoring '2001'"</a>. <i><a href="/wiki/The_New_York_Times">The New York Times</a></i>. <a href="https://web.archive.org/web/20180511212551/https://www.nytimes.com/2018/05/11/movies/2001-a-space-odyssey-christopher-nolan-cannes.html">Archived</a> from the original on 11 May 2018. Retrieved 12 May 2018.</cite>
</li>
<li><b><a href="#cite_ref-246">^</a></b> <cite><a href="http://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-to-celebrate-the-50th-anniversary-of-2001-a-space-odyssey">"Cannes Classics to celebrate the 50th anniversary of 2001: A Space Odyssey"</a>. <i>Festival de Cannes</i>. 28 March 2018. <a href="https://web.archive.org/web/20180405153759/http://www.festival-cannes.com/en/infos-communiques/communique/articles/cannes-classics-to-celebrate-the-50th-anniversary-of-2001-a-space-odyssey">Archived</a> from the original on 5 April 2018. Retrieved 8 April 2018.</cite>
</li>
<li>^ <a href="#cite_ref-AT-20180721_247-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-AT-20180721_247-1"><sup><i><b>b</b></i></sup></a> <cite>Opaskar, Peter (21 July 2018). <a href="https://arstechnica.com/gaming/2018/07/2001-in-70mm-luxuriate-in-variously-evolved-humans-going-places-eating-things/">"2001 in 70 mm: Pod bay doors look better than ever, still won't open – Stanley Kubrick's sci-fi opus looks better than it has in decades"</a>. <i><a href="/wiki/Ars_Technica">Ars Technica</a></i>. <a href="https://web.archive.org/web/20180721121446/https://arstechnica.com/gaming/2018/07/2001-in-70mm-luxuriate-in-variously-evolved-humans-going-places-eating-things/">Archived</a> from the original on 21 July 2018. Retrieved 21 July 2018.</cite>
</li>
<li><b><a href="#cite_ref-248">^</a></b> <cite>Wiseman, Andreas (28 March 2018). <a href="https://deadline.com/2018/03/christopher-nolan-cannes-stanley-kubrick-space-odyssey-2001-1202354670/">"Cannes: Christopher Nolan To Present 70 mm Print Of Stanley Kubrick's '2001: A Space Odyssey'"</a>. <i><a href="/wiki/Deadline_Hollywood">Deadline Hollywood</a></i>. <a href="https://web.archive.org/web/20180328172210/http://deadline.com/2018/03/christopher-nolan-cannes-stanley-kubrick-space-odyssey-2001-1202354670/">Archived</a> from the original on 28 March 2018. Retrieved 28 March 2018.</cite>
</li>
<li><b><a href="#cite_ref-NYT-20200123_249-0">^</a></b> <cite>Kenigsberg, Ben (23 January 2020). <a href="https://www.nytimes.com/2020/01/23/arts/design/kubrick-2001-museum-moving-image.html">"The Making of '2001: A Space Odyssey' Was as Far Out as the Movie – A jumble of memorabilia, storyboards and props, an exhibit illustrates the whirl of influences behind Stanley Kubrick's groundbreaking 1968 film"</a>. <i><a href="/wiki/The_New_York_Times">the New York Times</a></i>. <a href="https://web.archive.org/web/20200124230345/https://www.nytimes.com/2020/01/23/arts/design/kubrick-2001-museum-moving-image.html">Archived</a> from the original on 24 January 2020. Retrieved 25 January 2020.</cite>
</li>
<li><b><a href="#cite_ref-auction_250-0">^</a></b> <cite><a href="https://www.julienslive.com/m/lot-details/index/catalog/353/lot/141578">"Hollywood: Legends and Explorers, Lot 897"</a>. Julien's Auctions. 17 July 2020. <a href="https://web.archive.org/web/20200713005204/https://www.julienslive.com/m/lot-details/index/catalog/353/lot/141578">Archived</a> from the original on 13 July 2020. Retrieved 23 July 2020.</cite>
</li>
<li><b><a href="#cite_ref-251">^</a></b> <cite>Rice, Julian (2017). <i>Kubrick's Story, Spielberg's Film</i>. Rowman &amp; Littlefield Publishing. p. 252.</cite>
</li>
<li><b><a href="#cite_ref-252">^</a></b> <cite>Nielsen Business Media, Inc. (1980). <a href="https://books.google.com/books?id=mCQEAAAAMBAJ&amp;pg=PT58">"MGM/CBS Home Video ad"</a>. <i>Billboard</i>. No. 22 November 1980. <a href="https://web.archive.org/web/20201114041155/https://books.google.com/books?id=mCQEAAAAMBAJ&amp;pg=PT58">Archived</a> from the original on 14 November 2020. Retrieved 20 April 2011.</cite> 
</li>
<li><b><a href="#cite_ref-253">^</a></b> <cite><i>2001: A Space Odyssey</i> (Laserdisc). <a href="/wiki/The_Criterion_Collection">The Criterion Collection</a>/<a href="/wiki/Voyager_Company">The Voyager Company</a>. <a href="/wiki/ASIN_(identifier)">ASIN</a> <a href="https://www.amazon.com/dp/B00417U8UU">B00417U8UU</a>.</cite>
</li>
<li><b><a href="#cite_ref-254">^</a></b> <cite><a href="https://www.soundandvision.com/content/top-10-dvds-and-cds-2007">"Top 10 DVDs and CDs of 2007"</a>. <i><a href="/wiki/Sound_%26_Vision_(magazine)">Sound &amp; Vision</a></i>. Vol. 73, no. 1–4. Hachette Filipacchi Magazines. 2008. p. 24. Retrieved 31 January 2023.</cite>
</li>
<li><b><a href="#cite_ref-4k_255-0">^</a></b> <cite>Archer, John (30 October 2018). <a href="https://www.forbes.com/sites/johnarcher/2018/10/30/2001-a-space-odyssey-4k-blu-ray-review-a-monolithic-achievement/">"'2001: A Space Odyssey' 4K Blu-ray Review – A Monolithic Achievement"</a>. <i>Forbes.com</i>. <a href="https://web.archive.org/web/20181115223750/https://www.forbes.com/sites/johnarcher/2018/10/30/2001-a-space-odyssey-4k-blu-ray-review-a-monolithic-achievement/">Archived</a> from the original on 15 November 2018. Retrieved 28 December 2018.</cite>
</li>
<li><b><a href="#cite_ref-93rr_256-0">^</a></b> <cite>Klady, Leonard (23 March 1993). "'Turtles' Fans Shell Out". <i><a href="/wiki/Daily_Variety">Daily Variety</a></i>. p. 3.</cite>
</li>
<li><b><a href="#cite_ref-257">^</a></b> <cite>Silverman, Jason. <a href="https://web.archive.org/web/20080501235218/http://www.wired.com/entertainment/music/news/2001/10/47432">"2001: A Re-Release Odyssey"</a>. <i>Wired</i>. Archived from <a href="https://www.wired.com/entertainment/music/news/2001/10/47432">the original</a> on 1 May 2008.</cite>
</li>
<li><b><a href="#cite_ref-258">^</a></b> <cite><a href="https://web.archive.org/web/20141204195614/http://news.bbc.co.uk/2/hi/entertainment/1258465.stm">"Press Reviews: 2001: A Space Odyssey"</a>. <i>BBC</i>. 4 April 2001. Archived from <a href="http://news.bbc.co.uk/2/hi/entertainment/1258465.stm">the original</a> on 4 December 2014.</cite>
</li>
<li><b><a href="#cite_ref-259">^</a></b> <cite>Turan, Kenneth (3 May 2018). <a href="https://www.latimes.com/entertainment/movies/la-ca-mn-christopher-nolan-2001-20180503-story.html">"Christopher Nolan returns Kubrick sci-fi masterpiece '2001: A Space Odyssey' to its original glory"</a>. <i>Los Angeles Times</i>. <a href="https://web.archive.org/web/20180510210339/http://www.latimes.com/entertainment/movies/la-ca-mn-christopher-nolan-2001-20180503-story.html">Archived</a> from the original on 10 May 2018. Retrieved 11 May 2018.</cite>
</li>
<li><b><a href="#cite_ref-260">^</a></b> <cite><a href="https://www.imax.com/News/2001-A-Space-Odyssey-in-IMAX">"Experience Stanley Kubrick's '2001: A Space Odyssey' in IMAX for the First Time"</a>. <i><a href="/wiki/IMAX">IMAX</a></i>. 31 July 2018. <a href="https://web.archive.org/web/20180906215816/https://www.imax.com/News/2001-A-Space-Odyssey-in-IMAX">Archived</a> from the original on 6 September 2018. Retrieved 5 September 2018.</cite>
</li>
<li><b><a href="#cite_ref-VERGE-20181203_261-0">^</a></b> <cite>Byford, Sam (3 December 2018). <a href="https://www.theverge.com/circuitbreaker/2018/12/3/18123433/2001-a-space-odyssey-8k-tv-nhk-japan">"2001: A Space Odyssey's 8K TV broadcast doesn't quite go beyond the infinite"</a>. <i><a href="/wiki/The_Verge">The Verge</a></i>. <a href="https://web.archive.org/web/20190327183647/https://www.theverge.com/circuitbreaker/2018/12/3/18123433/2001-a-space-odyssey-8k-tv-nhk-japan">Archived</a> from the original on 27 March 2019. Retrieved 3 December 2018.</cite>
</li>
</ol></div>
<p><b>Bibliography</b>
</p>
<div>
<ul><li><cite>Agel, Jerome, ed. (1970). <a href="https://archive.org/details/makingofkubricks00agel"><i>The Making of Kubrick's 2001</i></a>. New York: <a href="/wiki/New_American_Library">New American Library</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-451-07139-5"><bdi>0-451-07139-5</bdi></a>.</cite></li>
<li><cite>Bizony, Piers (2001). <i>2001 Filming the Future</i>. London: Sidgwick and Jackson. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85410-706-2"><bdi>1-85410-706-2</bdi></a>.</cite></li>
<li><cite><a href="/wiki/Alison_Castle">Castle, Alison</a>, ed. (2005). <a href="https://web.archive.org/web/20070707135608/http://www.taschen.com/pages/en/catalogue/books/film/new/facts/00301.htm"><i>The Stanley Kubrick Archives</i></a>. Cologne: <a href="/wiki/Taschen">Taschen</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-8228-2284-5"><bdi>978-3-8228-2284-5</bdi></a>. Archived from <a href="http://www.taschen.com/pages/en/catalogue/books/film/new/facts/00301.htm">the original</a> on 7 July 2007. Retrieved 5 February 2007.</cite></li>
<li><cite>Block, Alex Ben; Wilson, Lucy Autrey, eds. (2010). <a href="https://archive.org/details/georgelucassbloc00alex"><i>George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success</i></a>. <a href="/wiki/HarperCollins">HarperCollins</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-06-177889-6"><bdi>978-0-06-177889-6</bdi></a>. <a href="https://web.archive.org/web/20191218133047/https://archive.org/details/georgelucassbloc00alex">Archived</a> from the original on 18 December 2019. Retrieved 6 August 2019.</cite></li>
<li><cite>Chapman, James; Cull, Nicholas J. (5 February 2013). <a href="https://books.google.com/books?id=0jEIHfOErcsC&amp;pg=PA97"><i>Projecting Tomorrow: Science Fiction and Popular Cinema</i></a>. I.B. Tauris. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78076-410-8"><bdi>978-1-78076-410-8</bdi></a>. <a href="https://web.archive.org/web/20160128231433/https://books.google.com/books?id=0jEIHfOErcsC&amp;pg=PA97">Archived</a> from the original on 28 January 2016. Retrieved 20 November 2015.</cite></li>
<li><cite><a href="/wiki/Michel_Ciment">Ciment, Michel</a> (1999) [1980]. <i>Kubrick</i>. New York: Faber and Faber. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-571-21108-9"><bdi>0-571-21108-9</bdi></a>.</cite></li>
<li><cite><a href="/wiki/Arthur_C._Clarke">Clarke, Arthur C.</a> (1972). <a href="/wiki/The_Lost_Worlds_of_2001"><i>The Lost Worlds of 2001</i></a>. London: Sidgwick and Jackson. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-283-97903-8"><bdi>0-283-97903-8</bdi></a>.</cite></li>
<li><cite>Fiell, Charlotte (2005). <i>1,000 Chairs (Taschen 25)</i>. Taschen. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-8228-4103-7"><bdi>978-3-8228-4103-7</bdi></a>.</cite></li>
<li><cite>Gelmis, Joseph (1970). <a href="https://archive.org/details/filmdirectorassu0000gelm"><i>The Film Director As Superstar</i></a>. New York: Doubleday &amp; Company.</cite></li>
<li><cite>Geduld, Carolyn (1973). "4. The Production: A Calendar". <a href="https://archive.org/details/filmguideto2001s0000gedu"><i>Filmguide to 2001: A Space Odyssey</i></a>. Indiana University Press. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-253-39305-0"><bdi>978-0-253-39305-0</bdi></a>.</cite></li>
<li><cite>Hughes, David (2000). <i>The Complete Kubrick</i>. London: Virgin Publishing Ltd. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7535-0452-9"><bdi>0-7535-0452-9</bdi></a>.</cite></li>
<li><cite>Kolker, Robert, ed. (2006). <i>Stanley Kubrick's 2001: A Space Odyssey: New Essays</i>. New York: <a href="/wiki/Oxford_University_Press">Oxford University Press</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-517453-4"><bdi>0-19-517453-4</bdi></a>.</cite></li>
<li><cite>Krämer, Peter (2010). <i>2001: A Space Odyssey</i>. BFI Film Classics. London: British Film Institute.</cite></li>
<li><cite>LoBrutto, Vincent (1998). <a href="https://archive.org/details/stanleykubrickbi00lobr"><i>Stanley Kubrick</i></a>. London: Faber and Faber. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-571-19393-5"><bdi>0-571-19393-5</bdi></a>.</cite></li>
<li><cite>McAleer, Neil (1992). <a href="https://books.google.com/books?id=LW5aAAAAMAAJ"><i>Arthur C. Clarke. The Authorized Biography</i></a>. Contemporary Books. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8092-4324-5"><bdi>0-8092-4324-5</bdi></a>.</cite></li>
<li><cite>McAleer, Neil (1 April 2013). <a href="https://books.google.com/books?id=pU8qAAAAQBAJ"><i>Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography</i></a>. RosettaBooks. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9848118-0-9"><bdi>978-0-9848118-0-9</bdi></a>. <a href="https://web.archive.org/web/20200718004858/https://books.google.com/books?id=pU8qAAAAQBAJ&amp;printsec=frontcover">Archived</a> from the original on 18 July 2020. Retrieved 9 July 2020.</cite></li>
<li><cite>Pina, Leslie A. (2002). <i>Herman Miller Office</i>. Pennsylvania, United States: Schiffer Publishing. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7643-1650-0"><bdi>978-0-7643-1650-0</bdi></a>.</cite></li>
<li><cite>Richter, Daniel (2002). <a href="https://archive.org/details/moonwatchersmemo00rich"><i>Moonwatcher's Memoir: A Diary of 2001: A Space Odyssey</i></a>. foreword by Arthur C. Clarke. New York City: Carroll &amp; Graf Publishers. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7867-1073-X"><bdi>0-7867-1073-X</bdi></a>.</cite></li>
<li><cite>Schwam, Stephanie, ed. (2010) [2000]. <a href="https://books.google.com/books?id=j_EmH_W4I7YC"><i>The Making of 2001: A Space Odyssey</i></a>. Introduction by <a href="/wiki/Jay_Cocks">Jay Cocks</a>. New York City: <a href="/wiki/Random_House">Random House</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-307-75760-9"><bdi>978-0-307-75760-9</bdi></a>. <a href="https://web.archive.org/web/20201114041216/https://books.google.com/books?id=j_EmH_W4I7YC">Archived</a> from the original on 14 November 2020. Retrieved 21 September 2020.</cite></li>
<li><cite>Walker, Alexander (1971). <i>Stanley Kubrick Directs</i>. New York: Harcourt Brace Jovanovich. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-393-32119-3"><bdi>0-393-32119-3</bdi></a>.</cite></li>
<li><cite>Walker, Alexander (2000). <i>Stanley Kubrick, director</i>. New York: W.W. Norton and Company. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-393-32119-3"><bdi>0-393-32119-3</bdi></a>.</cite> Note: This is a revised edition of <a href="#CITEREFWalker1971">Walker 1971</a>.</li>
<li><cite>Wheat, Leonard F. (2000). <i>Kubrick's 2001: A Triple Allegory</i>. Lanham, MD: Scarecrow Press. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8108-3796-X"><bdi>0-8108-3796-X</bdi></a>.</cite></li></ul>
</div>
<p><b>Further reading</b>
</p>
<ul><li><cite><a href="/wiki/Eugene_M._Emme">Emme, Eugene M.</a>, ed. (1982). <i>Science fiction and space futures – past and present</i>. AAS History Series. Vol. 5. San Diego: Univelt. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87703-172-X"><bdi>0-87703-172-X</bdi></a>.</cite></li>
<li><cite>Frayling, Christopher (2015). <i>The 2001 File: Harry Lange and the Design of the Landmark Science Fiction Film</i>. London: Reel Art Press. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9572610-2-0"><bdi>978-0-9572610-2-0</bdi></a>.</cite></li>
<li><cite>Johnson, Adam (2012). <i>2001 The Lost Science</i>. Burlington Canada: Apogee Prime. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-926837-19-2"><bdi>978-1-926837-19-2</bdi></a>.</cite></li>
<li><cite>Johnson, Adam (2016). <i>2001 The Lost Science Volume 2</i>. Burlington Canada: Apogee Prime. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-926837-35-2"><bdi>978-1-926837-35-2</bdi></a>.</cite></li>
<li><cite><a href="/wiki/Ernest_Mathijs">Mathijs, Ernest</a>; <a href="/wiki/Xavier_Mendik">Mendik, Xavier</a> (2011). <a href="https://books.google.com/books?id=emsdBQAAQBAJ&amp;pg=PA6">"<i>2001: A Space Odyssey</i>"</a>. <a href="/wiki/100_Cult_Films"><i>100 Cult Films</i></a>. London: <a href="/wiki/Palgrave_Macmillan">Palgrave Macmillan</a>. p. 6. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84457-571-8"><bdi>978-1-84457-571-8</bdi></a>.</cite></li>
<li><cite><a href="/wiki/Frederick_I._Ordway_III">Ordway, Frederick I</a>; <a href="/wiki/Robert_Godwin">Godwin, Robert</a> (2014). <i>2001 The Heritage &amp; Legacy of the Space Odyssey</i>. Burlington Canada: Apogee Prime. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-9268373-2-1"><bdi>978-1-9268373-2-1</bdi></a>.</cite></li>
<li><cite>Shuldiner, Herbert (June 1968). <a href="https://books.google.com/books?id=mykDAAAAMBAJ&amp;pg=PA62">"How They Filmed '2001: A Space Odyssey'"</a>. <i><a href="/wiki/Popular_Science">Popular Science</a></i>. Vol. 192, no. 6. <a href="/wiki/Bonnier_Corporation">Bonnier Corporation</a>. pp. 62–67. <a href="/wiki/ISSN_(identifier)">ISSN</a> <a href="//www.worldcat.org/issn/0161-7370">0161-7370</a>.</cite></li>
<li><cite>Wigley, Samuel (28 March 2018). <a href="https://www.bfi.org.uk/lists/2001-space-odyssey-stanley-kubrick-influences">"50 years of 2001: A Space Odyssey – 5 films that influenced Kubrick's giant leap for sci-fi"</a>. <i><a href="/wiki/Bfi.org.uk">bfi.org.uk</a></i>. Retrieved 14 January 2021.</cite></li></ul>
<h2>External links[<a href="/w/index.php?title=2001:_A_Space_Odyssey_(film)&amp;action=edit&amp;section=37">edit</a>]</h2>
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 Contents

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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 + 3.1 Development
 + 3.2 Pre-production
 + 3.3 Writing
 + 3.4 Filming
 + 3.5 Post-production
 + 3.6 Music
 * 4 Design and special effects
 + 4.1 Costumes and set design
 + 4.2 Design of the monolith
 + 4.3 Models
 + 4.4 Rotating sets
 + 4.5 Zero-gravity effects
 + 4.6 "Star Gate" sequence
 + 4.7 Visual effects
 * 5 Soundtrack
 * 6 Theatrical run and post-premiere cuts
 * 7 Reception
 + 7.1 Box office
 + 7.2 Critical response
 + 7.3 Science fiction writers
 + 7.4 Awards and honours
 * 8 Interpretations
 + 8.1 Audiences vs. critics
 + 8.2 Meaning of the monolith
 + 8.3 "A new heaven"
 + 8.4 HAL's breakdown
 + 8.5 "Star Child" symbolism
 + 8.6 Military satellites
 * 9 Legacy and influence
 * 10 Home media
 * 11 Re-releases
 * 12 See also
 * 13 References
 * 14 External links
 Toggle the table of contents

 2001: A Space Odyssey (film)

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 From Wikipedia, the free encyclopedia

 2001: A Space Odyssey 
 Theatrical release poster by Robert McCall
 Directed by Stanley Kubrick 
 Screenplay by * Stanley Kubrick 
 * Arthur C. Clarke 
 Produced by Stanley Kubrick 
 Starring * Keir Dullea 
 * Gary Lockwood 
 Cinematography Geoffrey Unsworth 
 Edited by Ray Lovejoy 
 Production Stanley Kubrick Productions 
 company  
 Distributed by Metro-Goldwyn-Mayer 
 * 2 April 1968 (Uptown Theater)
 Release dates * 3 April 1968 (United States) 
 * 15 May 1968 (United Kingdom) 
 Running time approx. 143 minutes[1] 
 Countries * United Kingdom 
 * United States 
 Language English 
 Budget $10.5 million 
 Box office $146 million 
 

 2001: A Space Odyssey is a 1968 epic science fiction film produced and directed by Stanley Kubrick. The screenplay was written by Kubrick and science fiction author Arthur C. Clarke, and was inspired by Clarke's 1951 short story "The Sentinel" and other short stories by Clarke. Clarke also published a novelisation of the film, in part written concurrently with the screenplay, after the film's release. The film stars Keir Dullea, Gary Lockwood, William Sylvester, and Douglas Rain, and follows a voyage by astronauts, scientists and the sentient supercomputer HAL to Jupiter to investigate an alien monolith.

 The film is noted for its scientifically accurate depiction of space flight, pioneering special effects, and ambiguous imagery. Kubrick avoided conventional cinematic and narrative techniques; dialogue is used sparingly, and there are long sequences accompanied only by music. The soundtrack incorporates numerous works of classical music, by composers including Richard Strauss, Johann Strauss II, Aram Khachaturian, and György Ligeti.

 The film received diverse critical responses, ranging from those who saw it as darkly apocalyptic to those who saw it as an optimistic reappraisal of the hopes of humanity. Critics noted its exploration of themes such as human evolution, technology, artificial intelligence, and the possibility of extraterrestrial life. It was nominated for four Academy Awards, winning Kubrick the award for his direction of the visual effects. The film is now widely regarded as one of the greatest and most influential films ever made. In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[2][3]

 Plot [ edit ]

 In a prehistoric veldt, a tribe of hominins is driven away from its water hole by a rival tribe. The next day, they find an alien monolith has appeared in their midst. They then learn how to use a bone as a weapon and, after their first hunt, return to drive their rivals away with it.

 Millions of years later, Dr. Heywood Floyd, Chairman of the United States National Council of Astronautics, travels to Clavius Base, an American lunar outpost. During a stopover at Space Station 5, he meets Russian scientists who are concerned that Clavius seems to be unresponsive. He refuses to discuss rumours of an epidemic at the base. At Clavius, Heywood addresses a meeting of personnel to whom he stresses the need for secrecy regarding their newest discovery. His mission is to investigate a recently found artefact, a monolith buried four million years earlier near the lunar crater Tycho. As he and others examine the object, it is struck by sunlight, upon which it emits a high-powered radio signal.

 Eighteen months later, the American spacecraft Discovery One is bound for Jupiter, with mission pilots and scientists Dr. David "Dave" Bowman and Dr. Frank Poole on board, along with three other scientists in suspended animation. Most of Discovery ' s operations are controlled by HAL, a HAL 9000 computer with a human personality. When HAL reports the imminent failure of an antenna control device, Dave retrieves it in an extravehicular activity (EVA) pod, but finds nothing wrong. HAL suggests reinstalling the device and letting it fail so the problem can be verified. Mission Control advises the astronauts that results from their twin 9000 computer indicate that HAL has made an error, but HAL blames it on human error. Concerned about HAL's behaviour, Dave and Frank enter an EVA pod so they can talk without HAL overhearing. They agree to disconnect HAL if he is proven wrong, but HAL follows their conversation by lip reading.

 While Frank is outside the ship to replace the antenna unit, HAL takes control of his pod, setting him adrift. Dave takes another pod to rescue Frank. While he is outside, HAL turns off the life support functions of the crewmen in suspended animation, killing them. When Dave returns to the ship with Frank's body, HAL refuses to let him back in, stating that their plan to deactivate him jeopardises the mission. Dave releases Frank's body and, despite not having a spacesuit helmet, exits his pod, crosses the vacuum and opens the ship's emergency airlock manually. He goes to HAL's processor core and begins disconnecting HAL's circuits, despite HAL begging him not to. When the disconnection is complete, a prerecorded video by Heywood plays, revealing that the mission's objective is to investigate the radio signal sent from the monolith to Jupiter.

 At Jupiter, Dave finds a third, much larger monolith orbiting the planet. He leaves Discovery in an EVA pod to investigate. He is pulled into a vortex of coloured light and observes bizarre cosmological phenomena and strange landscapes of unusual colours as he passes by. Finally he finds himself in a large neoclassical bedroom where he sees, and then becomes, older versions of himself: first standing in the bedroom, middle-aged and still in his spacesuit, then dressed in leisure attire and eating dinner, and finally as an old man lying in bed. A monolith appears at the foot of the bed, and as Dave reaches for it, he is transformed into a foetus enclosed in a transparent orb of light floating in space above the Earth.

 Cast [ edit ]

 * Keir Dullea as Dr. David Bowman
 * Gary Lockwood as Dr. Frank Poole
 * William Sylvester as Dr. Heywood Floyd
 * Daniel Richter as Moonwatcher, the chief man-ape
 * Leonard Rossiter as Dr. Andrei Smyslov
 * Margaret Tyzack as Elena
 * Robert Beatty as Dr. Ralph Halvorsen
 * Sean Sullivan as Dr. Roy Michaels[4]
 * Douglas Rain as the voice of HAL 9000
 * Frank Miller as mission controller
 * Edwina Carroll as lunar shuttle stewardess
 * Penny Brahms as stewardess
 * Heather Downham as stewardess
 * Alan Gifford as Poole's father
 * Ann Gillis as Poole's mother
 * Maggie d'Abo as stewardess (Space Station 5 elevator) (uncredited)[5]
 * Chela Matthison as Mrs. Turner, Space Station 5 reception (uncredited)[6]
 * Vivian Kubrick as Floyd's daughter, "Squirt" (uncredited)[7]
 * Kenneth Kendall as BBC announcer (uncredited)[8]

 Production [ edit ]

 Development [ edit ]

 After completing Dr. Strangelove (1964), director Stanley Kubrick told a publicist from Columbia Pictures that his next project would be about extraterrestrial life,[9] and resolved to make "the proverbial good science fiction movie".[10] How Kubrick became interested in creating a science fiction film is far from clear.[11] Biographer John Baxter notes possible inspirations in the late 1950s, including British productions featuring dramas on satellites and aliens modifying early humans, Metro-Goldwyn-Mayer's big budget CinemaScope production Forbidden Planet, and the slick widescreen cinematography and set design of Japanese kaiju (monster movie) productions (such as Godzilla and Warning from Space).[11]

 Kubrick obtained financing and distribution from the American studio Metro-Goldwyn-Mayer with the selling point that the film could be marketed in their ultra widescreen Cinerama format, recently debuted with their How the West Was Won.[12][13][11] It would be filmed and edited almost entirely in southern England, where Kubrick lived, using the facilities of MGM-British Studios and Shepperton Studios. MGM had subcontracted the production of the film to Kubrick's production company to qualify for the Eady Levy, a UK tax on box-office receipts used at the time to fund the production of films in Britain.[14]

 Pre-production [ edit ]

 Kubrick's decision to avoid the fanciful portrayals of space found in standard popular science fiction films of the time led him to seek more realistic and accurate depictions of space travel. Illustrators such as Chesley Bonestell, Roy Carnon, and Richard McKenna were hired to produce concept drawings, sketches, and paintings of the space technology seen in the film.[15][16] Two educational films, the National Film Board of Canada's 1960 animated short documentary Universe and the 1964 New York World's Fair movie To the Moon and Beyond, were major influences.[15]

 According to biographer Vincent LoBrutto, Universe was a visual inspiration to Kubrick.[17] The 29-minute film, which had also proved popular at NASA for its realistic portrayal of outer space, met "the standard of dynamic visionary realism that he was looking for." Wally Gentleman, one of the special-effects artists on Universe, worked briefly on 2001. Kubrick also asked Universe co-director Colin Low about animation camerawork, with Low recommending British mathematician Brian Salt, with whom Low and Roman Kroitor had previously worked on the 1957 still-animation documentary City of Gold.[18][19] Universe ' s narrator, actor Douglas Rain, was cast as the voice of HAL.[20]

 After pre-production had begun, Kubrick saw To the Moon and Beyond, a film shown in the Transportation and Travel building at the 1964 World's Fair. It was filmed in Cinerama 360 and shown in the "Moon Dome". Kubrick hired the company that produced it, Graphic Films Corporation—which had been making films for NASA, the US Air Force, and various aerospace clients—as a design consultant.[15] Graphic Films' Con Pederson, Lester Novros, and background artist Douglas Trumbull airmailed research-based concept sketches and notes covering the mechanics and physics of space travel, and created storyboards for the space flight sequences in 2001.[15] Trumbull became a special effects supervisor on 2001.[15]

 Writing [ edit ]

 See also: Differences between the film and the novel

 Searching for a collaborator in the science fiction community for the writing of the script, Kubrick was advised by a mutual acquaintance, Columbia Pictures staff member Roger Caras, to talk to writer Arthur C. Clarke, who lived in Ceylon. Although convinced that Clarke was "a recluse, a nut who lives in a tree," Kubrick allowed Caras to cable the film proposal to Clarke. Clarke's cabled response stated that he was "frightfully interested in working with [that] enfant terrible", and added "what makes Kubrick think I'm a recluse?"[17][21] Meeting for the first time at Trader Vic's in New York on 22 April 1964, the two began discussing the project that would take up the next four years of their lives.[22] Clarke kept a diary throughout his involvement with 2001, excerpts of which were published in 1972 as The Lost Worlds of 2001.[23]

 Arthur C. Clarke in 1965, photographed in the Discovery 's pod bay

 Kubrick told Clarke he wanted to make a film about "Man's relationship to the universe",[24] and was, in Clarke's words, "determined to create a work of art which would arouse the emotions of wonder, awe ... even, if appropriate, terror".[22] Clarke offered Kubrick six of his short stories, and by May 1964, Kubrick had chosen "The Sentinel" as the source material for the film. In search of more material to expand the film's plot, the two spent the rest of 1964 reading books on science and anthropology, screening science fiction films, and brainstorming ideas.[25] They created the plot for 2001 by integrating several different short story plots written by Clarke, along with new plot segments requested by Kubrick for the film development, and then combined them all into a single script for 2001.[26][27] Clarke said that his 1953 story "Encounter in the Dawn" inspired the film's "Dawn of Man" sequence.[28]

 Kubrick and Clarke privately referred to the project as How the Solar System Was Won, a reference to how it was a follow-on to MGM's Cinerama epic How the West Was Won.[11] On 23 February 1965, Kubrick issued a press release announcing the title as Journey Beyond The Stars.[29] Other titles considered included Universe, Tunnel to the Stars, and Planetfall. Expressing his high expectations for the thematic importance which he associated with the film, in April 1965, eleven months after they began working on the project, Kubrick selected 2001: A Space Odyssey; Clarke said the title was "entirely" Kubrick's idea.[30] Intending to set the film apart from the "monsters-and-sex" type of science-fiction films of the time, Kubrick used Homer ' s The Odyssey as both a model of literary merit and a source of inspiration for the title. Kubrick said, "It occurred to us that for the Greeks the vast stretches of the sea must have had the same sort of mystery and remoteness that space has for our generation."[31]

 How much would we appreciate La Gioconda today if Leonardo had written at the bottom of the canvas: "This lady is smiling slightly because she has rotten teeth" — or "because she's hiding a secret from her lover"? It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to 2001.

 —Stanley Kubrick, Playboy, 1968[32]

 Originally, Kubrick and Clarke had planned to develop a 2001 novel first, free of the constraints of film, and then write the screenplay. They planned the writing credits to be "Screenplay by Stanley Kubrick and Arthur C. Clarke, based on a novel by Arthur C. Clarke and Stanley Kubrick" to reflect their preeminence in their respective fields.[33] In practice, the screenplay developed in parallel with the novel, with only some elements being common to both. In a 1970 interview, Kubrick said:

 There are a number of differences between the book and the movie. The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The novel came about after we did a 130-page prose treatment of the film at the very outset. ... Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel. As a result, there's a difference between the novel and the film ... I think that the divergences between the two works are interesting.[34]

 In the end, Clarke and Kubrick wrote parts of the novel and screenplay simultaneously, with the film version being released before the book version was published. Clarke opted for clearer explanations of the mysterious monolith and Star Gate in the novel; Kubrick made the film more cryptic by minimising dialogue and explanation.[35] Kubrick said the film is "basically a visual, nonverbal experience" that "hits the viewer at an inner level of consciousness, just as music does, or painting".[36]

 The screenplay credits were shared whereas the 2001 novel, released shortly after the film, was attributed to Clarke alone. Clarke wrote later that "the nearest approximation to the complicated truth" is that the screenplay should be credited to "Kubrick and Clarke" and the novel to "Clarke and Kubrick".[37] Early reports about tensions involved in the writing of the film script appeared to reach a point where Kubrick was allegedly so dissatisfied with the collaboration that he approached other writers who could replace Clarke, including Michael Moorcock and J. G. Ballard. But they felt it would be disloyal to accept Kubrick's offer.[38] In Michael Benson's 2018 book Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece, the actual relation between Clarke and Kubrick was more complex, involving an extended interaction of Kubrick's multiple requests for Clarke to write new plot lines for various segments of the film, which Clarke was expected to withhold from publication until after the release of the film while receiving advances on his salary from Kubrick during film production. Clarke agreed to this, though apparently he did make several requests for Kubrick to allow him to develop his new plot lines into separate publishable stories while film production continued, which Kubrick consistently denied on the basis of Clarke's contractual obligation to withhold publication until release of the film.[27]

 Astronomer Carl Sagan wrote in his 1973 book The Cosmic Connection that Clarke and Kubrick had asked him how to best depict extraterrestrial intelligence. While acknowledging Kubrick's desire to use actors to portray humanoid aliens for convenience's sake, Sagan argued that alien life forms were unlikely to bear any resemblance to terrestrial life, and that to do so would introduce "at least an element of falseness" to the film. Sagan proposed that the film should simply suggest extraterrestrial superintelligence, rather than depict it. He attended the premiere and was "pleased to see that I had been of some help."[39] Sagan had met with Clarke and Kubrick only once, in 1964; and Kubrick subsequently directed several attempts to portray credible aliens, only to abandon the idea near the end of post-production. Benson asserts it is unlikely that Sagan's advice had any direct influence.[27] Kubrick hinted at the nature of the mysterious unseen alien race in 2001 by suggesting that given millions of years of evolution, they progressed from biological beings to "immortal machine entities" and then into "beings of pure energy and spirit" with "limitless capabilities and ungraspable intelligence".[40]

 In a 1980 interview (not released during Kubrick's lifetime), Kubrick explains one of the film's closing scenes, where Bowman is depicted in old age after his journey through the Star Gate:

 The idea was supposed to be that he is taken in by godlike entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. ... [W]hen they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made some kind of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.[41]

 The script went through many stages. In early 1965, when backing was secured for the film, Clarke and Kubrick still had no firm idea of what would happen to Bowman after the Star Gate sequence. Initially all of Discovery ' s astronauts were to survive the journey; by 3 October, Clarke and Kubrick had decided to make Bowman the sole survivor and have him regress to infancy. By 17 October, Kubrick had come up with what Clarke called a "wild idea of slightly fag robots who create a Victorian environment to put our heroes at their ease."[37] HAL 9000 was originally named Athena after the Greek goddess of wisdom and had a feminine voice and persona.[37]

 Early drafts included a prologue containing interviews with scientists about extraterrestrial life,[42] voice-over narration (a feature in all of Kubrick's previous films),[a] a stronger emphasis on the prevailing Cold War balance of terror, and a different and more explicitly explained breakdown for HAL.[44][45] Other changes include a different monolith for the "Dawn of Man" sequence, discarded when early prototypes did not photograph well; the use of Saturn as the final destination of the Discovery mission rather than Jupiter, discarded when the special effects team could not develop a convincing rendition of Saturn's rings; and the finale of the Star Child exploding nuclear weapons carried by Earth-orbiting satellites,[45] which Kubrick discarded for its similarity to his previous film, Dr. Strangelove.[42][45] The finale and many of the other discarded screenplay ideas survived in Clarke's novel.[45]

 Kubrick made further changes to make the film more nonverbal, to communicate on a visual and visceral level rather than through conventional narrative.[32] By the time shooting began, Kubrick had removed much of the dialogue and narration.[46] Long periods without dialogue permeate the film: the film has no dialogue for roughly the first and last twenty minutes,[47] as well as for the 10 minutes from Floyd's Moonbus landing near the monolith until Poole watches a BBC newscast on Discovery. What dialogue remains is notable for its banality (making the computer HAL seem to have more emotion than the humans) when juxtaposed with the epic space scenes.[46] Vincent LoBrutto wrote that Clarke's novel has its own "strong narrative structure" and precision, while the narrative of the film remains symbolic, in accord with Kubrick's final intentions.[48]

 Filming [ edit ]

 Principal photography began on 29 December 1965, in Stage H at Shepperton Studios, Shepperton, England. The studio was chosen because it could house the 60-by-120-by-60-foot (18 m × 37 m × 18 m) pit for the Tycho crater excavation scene, the first to be shot. In January 1966, the production moved to the smaller MGM-British Studios in Borehamwood, where the live-action and special-effects filming was done, starting with the scenes involving Floyd on the Orion spaceplane;[49] it was described as a "huge throbbing nerve center ... with much the same frenetic atmosphere as a Cape Kennedy blockhouse during the final stages of Countdown."[50] The only scene not filmed in a studio—and the last live-action scene shot for the film—was the skull-smashing sequence, in which Moonwatcher (Richter) wields his newfound bone "weapon-tool" against a pile of nearby animal bones. A small elevated platform was built in a field near the studio so that the camera could shoot upward with the sky as background, avoiding cars and trucks passing by in the distance.[51][52] The Dawn of Man sequence that opens the film was shot at Borehamwood with John Alcott as cinematographer after Geoffrey Unsworth left to work on other projects.[53][54] The still photographs used as backgrounds for the Dawn of Man sequence were taken in Namibia.[55]

 Filming of actors was completed in September 1967,[56] and from June 1966 until March 1968, Kubrick spent most of his time working on the 205 special-effects shots in the film.[34] He ordered the special-effects technicians to use the painstaking process of creating all visual effects seen in the film "in camera", avoiding degraded picture quality from the use of blue screen and travelling matte techniques. Although this technique, known as "held takes", resulted in a much better image, it meant exposed film would be stored for long periods of time between shots, sometimes as long as a year.[57] In March 1968, Kubrick finished the "pre-premiere" editing of the film, making his final cuts just days before the film's general release in April 1968.[34]

 The film was announced in 1965 as a "Cinerama"[58] film and was photographed in Super Panavision 70 (which uses a 65 mm negative combined with spherical lenses to create an aspect ratio of 2.20:1). It would eventually be released in a limited "roadshow" Cinerama version, then in 70 mm and 35 mm versions.[59][60] Colour processing and 35 mm release prints were done using Technicolor's dye transfer process. The 70 mm prints were made by MGM Laboratories, Inc. on Metrocolor. The production was $4.5 million over the initial $6 million budget and 16 months behind schedule.[61]

 For the opening sequence involving tribes of apes, professional mime Daniel Richter played the lead ape and choreographed the movements of the other man-apes, who were mostly portrayed by his mime troupe.[51]

 Kubrick and Clarke consulted IBM on plans for HAL, though plans to use the company's logo never materialised.[55]

 Post-production [ edit ]

 For cuts made after the film premiered, see the Theatrical run section below.

 The film was edited before it was publicly screened, cutting out, among other things, a painting class on the lunar base that included Kubrick's daughters, additional scenes of life on the base, and Floyd buying a bush baby for his daughter from a department store via videophone.[62] A ten-minute black-and-white opening sequence featuring interviews with scientists, including Freeman Dyson discussing off-Earth life,[63] was removed after an early screening for MGM executives.[64]

 Music [ edit ]

 See also: 2001: A Space Odyssey (soundtrack) and 2001: A Space Odyssey (score)

 From early in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience[65] that did not rely on the traditional techniques of narrative cinema, and in which music would play a vital role in evoking particular moods. About half the music in the film appears either before the first line of dialogue or after the final line. Almost no music is heard during scenes with dialogue.[66]

 The film is notable for its innovative use of classical music taken from existing commercial recordings. Most feature films, then and now, are typically accompanied by elaborate film scores or songs written specially for them by professional composers. In the early stages of production, Kubrick commissioned a score for 2001 from Hollywood composer Alex North, who had written the score for Spartacus and also had worked on Dr. Strangelove.[67] During post-production, Kubrick chose to abandon North's music in favour of the now-familiar classical pieces he had earlier chosen as temporary music for the film. North did not learn that his score had been abandoned until he saw the film's premiere.[66]

 Design and special effects [ edit ]

 See also: Technologies in 2001: A Space Odyssey

 Costumes and set design [ edit ]

 Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes,[68] and selecting notable pieces of contemporary furniture for use in the film. When Floyd exits the Space Station 5 elevator, he is greeted by an attendant seated behind a slightly modified George Nelson Action Office desk from Herman Miller's 1964 "Action Office" series.[b][69][c] Danish designer Arne Jacobsen designed the cutlery used by the Discovery astronauts in the film.[70][71][72]

 Other examples of modern furniture in the film are the bright red Djinn chairs seen prominently throughout the space station[73][74] and Eero Saarinen's 1956 pedestal tables. Olivier Mourgue, designer of the Djinn chair, has used the connection to 2001 in his advertising; a frame from the film's space station sequence and three production stills appear on the homepage of Mourgue's website.[75] Shortly before Kubrick's death, film critic Alexander Walker informed Kubrick of Mourgue's use of the film, joking to him "You're keeping the price up".[76] Commenting on their use in the film, Walker writes:

 Everyone recalls one early sequence in the film, the space hotel, primarily because the custom-made Olivier Mourgue furnishings, those foam-filled sofas, undulant and serpentine, are covered in scarlet fabric and are the first stabs of colour one sees. They resemble Rorschach "blots" against the pristine purity of the rest of the lobby.[77]

 Detailed instructions in relatively small print for various technological devices appear at several points in the film, the most visible of which are the lengthy instructions for the zero-gravity toilet on the Aries Moon shuttle. Similar detailed instructions for replacing the explosive bolts also appear on the hatches of the EVA pods, most visibly in closeup just before Bowman's pod leaves the ship to rescue Frank Poole.[d]

 The film features an extensive use of Eurostile Bold Extended, Futura and other sans serif typefaces as design elements of the 2001 world.[79] Computer displays show high-resolution fonts, colour, and graphics that were far in advance of what most computers were capable of in the 1960s, when the film was made.[78]

 Design of the monolith [ edit ]

 Kubrick was personally involved in the design of the monolith and its form for the film. The first design for the monolith for the 2001 film was a transparent tetrahedral pyramid. This was taken from the short story "The Sentinel" that the first story was based on.[80][81]

 A London firm was approached by Kubrick to provide a 12-foot (3.7 m) transparent plexiglass pyramid, and due to construction constraints they recommended a flat slab shape. Kubrick approved, but was disappointed with the glassy appearance of the transparent prop on set, leading art director Anthony Masters to suggest making the monolith's surface matte black.[27]

 Models [ edit ]

 Modern replica of the Discovery One spaceship model

 To heighten the reality of the film, very intricate models of the various spacecraft and locations were built. Their sizes ranged from about two-foot-long models of satellites and the Aries translunar shuttle up to the 55-foot (17 m)-long model of the Discovery One spacecraft. "In-camera" techniques were again used as much as possible to combine models and background shots together to prevent degradation of the image through duplication.[82][83]

 In shots where there was no perspective change, still shots of the models were photographed and positive paper prints were made. The image of the model was cut out of the photographic print and mounted on glass and filmed on an animation stand. The undeveloped film was re-wound to film the star background with the silhouette of the model photograph acting as a matte to block out where the spaceship image was.[82]

 Shots where the spacecraft had parts in motion or the perspective changed were shot by directly filming the model. For most shots the model was stationary and camera was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly. Elements of the scene were recorded on the same piece of film in separate passes to combine the lit model, stars, planets, or other spacecraft in the same shot. In moving shots of the long Discovery One spacecraft, in order to keep the entire model in focus (and preserve its sense of scale), the camera's aperture was stopped down for maximum depth-of-field, and each frame was exposed for several seconds.[84] Many matting techniques were tried to block out the stars behind the models, with filmmakers sometimes resorting to hand-tracing frame by frame around the image of the spacecraft (rotoscoping) to create the matte.[82][85]

 Some shots required exposing the film again to record previously filmed live-action shots of the people appearing in the windows of the spacecraft or structures. This was achieved by projecting the window action onto the models in a separate camera pass or, when two-dimensional photographs were used, projecting from the backside through a hole cut in the photograph.[84]

 All of the shots required multiple takes so that some film could be developed and printed to check exposure, density, alignment of elements, and to supply footage used for other photographic effects, such as for matting.[82][85]

 Rotating sets [ edit ]

 The "centrifuge" set used for filming scenes depicting interior of the spaceship Discovery

 For spacecraft interior shots, ostensibly containing a giant centrifuge that produces artificial gravity, Kubrick had a 30-short-ton (27 t) rotating "ferris wheel" built by Vickers-Armstrong Engineering Group at a cost of $750,000. The set was 38 feet (12 m) in diameter and 10 feet (3.0 m) wide.[86] Various scenes in the Discovery centrifuge were shot by securing set pieces within the wheel, then rotating it while the actor walked or ran in sync with its motion, keeping him at the bottom of the wheel as it turned. The camera could be fixed to the inside of the rotating wheel to show the actor walking completely "around" the set, or mounted in such a way that the wheel rotated independently of the stationary camera, as in the jogging scene where the camera appears to alternately precede and follow the running actor.[87]

 The shots where the actors appear on opposite sides of the wheel required one of the actors to be strapped securely into place at the "top" of the wheel as it moved to allow the other actor to walk to the "bottom" of the wheel to join him. The most notable case is when Bowman enters the centrifuge from the central hub on a ladder, and joins Poole, who is eating on the other side of the centrifuge. This required Gary Lockwood to be strapped into a seat while Keir Dullea walked toward him from the opposite side of the wheel as it turned with him.[87]

 Another rotating set appeared in an earlier sequence on board the Aries trans-lunar shuttle. A stewardess is shown preparing in-flight meals, then carrying them into a circular walkway. Attached to the set as it rotates 180 degrees, the camera's point of view remains constant, and she appears to walk up the "side" of the circular walkway, and steps, now in an "upside-down" orientation, into a connecting hallway.[88]

 Zero-gravity effects [ edit ]

 The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set and placing the camera beneath them. The actors' bodies blocked the camera's view of the wires and appeared to float. For the shot of Poole floating into the pod's arms during Bowman's recovery of him, a stuntman on a wire portrayed the movements of an unconscious man and was shot in slow motion to enhance the illusion of drifting through space.[89] The scene showing Bowman entering the emergency airlock from the EVA pod was done similarly: an off-camera stagehand, standing on a platform, held the wire suspending Dullea above the camera positioned at the bottom of the vertically oriented airlock. At the proper moment, the stage-hand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, jumped off the platform, causing Dullea to ascend back toward the hatch.[90]

 The methods used were alleged to have placed stuntman Bill Weston's life in danger. Weston recalled that he filmed one sequence without air-holes in his suit, risking asphyxiation. "Even when the tank was feeding air into the suit, there was no place for the carbon dioxide Weston exhaled to go. So it simply built up inside, incrementally causing a heightened heart rate, rapid breathing, fatigue, clumsiness, and eventually, unconsciousness."[91] Weston said Kubrick was warned "we've got to get him back" but reportedly replied, "Damn it, we just started. Leave him up there! Leave him up there!"[92] When Weston lost consciousness, filming ceased, and he was brought down. "They brought the tower in, and I went looking for Stanley, ... I was going to shove MGM right up his ... And the thing is, Stanley had left the studio and sent Victor [Lyndon, the associate producer] to talk to me." Weston claimed Kubrick fled the studio for "two or three days. ... I know he didn't come in the next day, and I'm sure it wasn't the day after. Because I was going to do him."[93]

 "Star Gate" sequence [ edit ]

 Special effects in 2001: A Space Odyssey ( 1 : 56 )
 During the "Jupiter and Beyond the Infinite" sequence, Bowman takes a trip through the "Star Gate" that involves the innovative use of slit-scan photography to create the visual effects.
 Problems playing this file? See media help.

 The coloured lights in the Star Gate sequence were accomplished by slit-scan photography of thousands of high-contrast images on film, including Op art paintings, architectural drawings, Moiré patterns, printed circuits, and electron-microscope photographs of molecular and crystal structures. Known to staff as "Manhattan Project", the shots of various nebula-like phenomena, including the expanding star field, were coloured paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow motion in a dark room.[94] The live-action landscape shots were filmed in the Hebridean islands, the mountains of northern Scotland, and Monument Valley. The colouring and negative-image effects were achieved with different colour filters in the process of making duplicate negatives in an optical printer.[95]

 Visual effects [ edit ]

 A bone-club and orbiting satellite are juxtaposed in the film's famous match cut

 "Not one foot of this film was made with computer-generated special effects. Everything you see in this film or saw in this film was done physically or chemically, one way or the other."

 — Keir Dullea (2014)[96]

 2001 contains a famous example of a match cut, a type of cut in which two shots are matched by action or subject matter.[97][98] After Moonwatcher uses a bone to kill another ape at the watering hole, he throws it triumphantly into the air; as the bone spins in the air, the film cuts to an orbiting satellite, marking the end of the prologue.[99] The match cut draws a connection between the two objects as exemplars of primitive and advanced tools respectively, and demonstrates humanity's technological progress since the time of early hominids.[100]

 2001 pioneered the use of front projection with retroreflective matting. Kubrick used the technique to produce the backdrops in the Africa scenes and the scene when astronauts walk on the Moon.[101][54]

 The technique consisted of a separate scenery projector set at a right angle to the camera and a half-silvered mirror placed at an angle in front that reflected the projected image forward in line with the camera lens onto a backdrop of retroreflective material. The reflective directional screen behind the actors could reflect light from the projected image 100 times more efficiently than the foreground subject did. The lighting of the foreground subject had to be balanced with the image from the screen, so that the part of the scenery image that fell on the foreground subject was too faint to show on the finished film. The exception was the eyes of the leopard in the "Dawn of Man" sequence, which glowed due to the projector illumination. Kubrick described this as "a happy accident".[102]

 Front projection had been used in smaller settings before 2001, mostly for still photography or television production, using small still images and projectors. The expansive backdrops for the African scenes required a screen 40 feet (12 m) tall and 110 feet (34 m) wide, far larger than had been used before. When the reflective material was applied to the backdrop in 100-foot (30 m) strips, variations at the seams of the strips led to visual artefacts; to solve this, the crew tore the material into smaller chunks and applied them in a random "camouflage" pattern on the backdrop. The existing projectors using 4-×-5-inch (10 × 13 cm) transparencies resulted in grainy images when projected that large, so the crew worked with MGM's special-effects supervisor Tom Howard to build a custom projector using 8-×-10-inch (20 × 25 cm) transparencies, which required the largest water-cooled arc lamp available.[102] The technique was used widely in the film industry thereafter until it was replaced by blue/green screen systems in the 1990s.[102]

 Soundtrack [ edit ]

 The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of Ligeti's Aventures used in the film, used a different recording of Also sprach Zarathustra (performed by the Berlin Philharmonic conducted by Karl Böhm) from that heard in the film, and a longer excerpt of Lux Aeterna than that in the film.[103]

 In 1996, Turner Entertainment/Rhino Records released a new soundtrack on CD that included the film's rendition of "Aventures", the version of "Zarathustra" used in the film, and the shorter version of Lux Aeterna from the film. As additional "bonus tracks" at the end, the CD includes the versions of "Zarathustra" and Lux Aeterna on the old MGM soundtrack album, an unaltered performance of "Aventures", and a nine-minute compilation of all of HAL's dialogue.[103]

 Alex North's unused music was first released in Telarc's issue of the main theme on Hollywood's Greatest Hits, Vol. 2, a compilation album by Erich Kunzel and the Cincinnati Pops Orchestra. All of the music North originally wrote was recorded commercially by his friend and colleague Jerry Goldsmith with the National Philharmonic Orchestra and released on Varèse Sarabande CDs shortly after Telarc's first theme release and before North's death. Eventually, a mono mix-down of North's original recordings was released as a limited-edition CD by Intrada Records.[104]

 Theatrical run and post-premiere cuts [ edit ]

 Original trailer for 2001: A Space Odyssey.

 The film's world premiere was on 2 April 1968,[105][106] at the Uptown Theater in Washington, D.C. with a 160-minute cut.[107] It opened the next day at the Loew's Capitol in New York and the following day at the Warner Hollywood Theatre in Los Angeles.[107] The original version was also shown in Boston.

 Kubrick and editor Ray Lovejoy edited the film between 5 April and 9, 1968. Kubrick's rationale for trimming the film was to tighten the narrative. Reviews suggested the film suffered from its departure from traditional cinematic storytelling.[108] Kubrick said, "I didn't believe that the trims made a critical difference. ... The people who like it like it no matter what its length, and the same holds true for the people who hate it."[62] The cut footage is reported as being 19[109][110] or 17[111] minutes long. It includes scenes revealing details about life on Discovery: additional space walks, Bowman retrieving a spare part from an octagonal corridor, elements from the Poole murder sequence—including space-walk preparation and HAL turning off radio contact with Poole—and a close-up of Bowman picking up a slipper during his walk in the alien room.[62] Jerome Agel describes the cut scenes as comprising "Dawn of Man, Orion, Poole exercising in the centrifuge, and Poole's pod exiting from Discovery."[112] The new cut was approximately 143 minutes long,[1] around 88 minutes for the first section, followed by an intermission, and 55 minutes in the second section.[113] Detailed instructions were sent to theatre owners already showing the film so that they could make the specified trims themselves.[ citation needed ] Some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.

 According to his brother-in-law, Jan Harlan, Kubrick was adamant that the trims were never to be seen and had the negatives, which he had kept in his garage, burned shortly before his death. This was confirmed by former Kubrick assistant Leon Vitali: "I'll tell you right now, okay, on Clockwork Orange, The Shining, Barry Lyndon, some little parts of 2001, we had thousands of cans of negative outtakes and print, which we had stored in an area at his house where we worked out of, which he personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it. That's what he wanted."[114] However, in December 2010, Douglas Trumbull, the film's visual effects supervisor, announced that Warner Bros. had found 17 minutes of lost footage from the post-premiere cuts, "perfectly preserved", in a Kansas salt mine vault used by Warners for storage.[115][112][111] No plans have been announced for the rediscovered footage.[116]

 The revised version was ready for the expansion of the roadshow release to four other U.S. cities (Chicago, Denver, Detroit and Houston), on 10 April 1968, and internationally in five cities the following day,[112][117] where the shortened version was shown in 70mm format in the 2.21:1 aspect ratio and used a six-track stereo magnetic soundtrack.[112]

 By the end of May, the film had opened in 22 cities in the United States and Canada and in another 36 in June.[118] The general release of the film in its 35 mm anamorphic format took place in autumn 1968 and used either a four-track magnetic stereo soundtrack or an optical monaural one.[119]

 The original 70-millimetre release, like many Super Panavision 70 films of the era such as Grand Prix, was advertised as being in "Cinerama" in cinemas equipped with special projection optics and a deeply curved screen. In standard cinemas, the film was identified as a 70-millimetre production. The original release of 2001: A Space Odyssey in 70-millimetre Cinerama with six-track sound played continually for more than a year in several venues, and for 103 weeks in Los Angeles.[119]

 As was typical of most films of the era released both as a "roadshow" (in Cinerama format in the case of 2001) and general release (in 70-millimetre in the case of 2001), the entrance music, intermission music (and intermission altogether), and postcredit exit music were cut from most prints of the latter version, although these have been restored to most DVD releases.[120][121]

 Reception [ edit ]

 Box office [ edit ]

 In its first nine weeks from 22 locations, it grossed $2 million in the United States and Canada.[118] The film earned $8.5 million in theatrical gross rentals from roadshow engagements throughout 1968,[122][123] contributing to North American rentals of $16.4 million and worldwide rentals of $21.9 million during its original release.[124] The film's high costs, in excess of $10 million,[105][61] meant that the initial returns from the 1968 release left it $800,000 in the red; but the successful re-release in 1971 made it profitable.[125][126][127] By June 1974, the film had rentals from the United States and Canada of $20.3 million (gross of $58 million)[125] and international rentals of $7.5 million.[113] The film had a reissue on a test basis on 24 July 1974 at the Cinerama Dome in Los Angeles and grossed $53,000 in its first week, which led to an expanded reissue.[113] Further re-releases followed, giving a cumulative gross of over $60 million in the United States and Canada.[128] Taking its re-releases into account, it is the highest-grossing film of 1968 in the United States and Canada.[129] Worldwide, it has grossed $146 million across all releases,[e] although some estimates place the gross higher, at over $190 million.[131]

 Critical response [ edit ]

 Upon release, 2001 polarised critical opinion, receiving both praise and derision, with many New York-based critics being especially harsh. Kubrick called them "dogmatically atheistic and materialistic and earthbound".[132] Some critics viewed the original 161-minute cut shown at premieres in Washington D.C., New York, and Los Angeles.[133] Keir Dullea says that during the New York premiere, 250 people walked out; in L.A., Rock Hudson not only left early but "was heard to mutter, 'What is this bullshit? ' "[132] "Will someone tell me what the hell this is about?"[134] "But a few months into the release, they realised a lot of people were watching it while smoking funny cigarettes. Someone in San Francisco even ran right through the screen screaming: 'It's God!' So they came up with a new poster that said: '2001 – the ultimate trip! ' "[135]

 In The New Yorker, Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor ... The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing."[136] Charles Champlin of the Los Angeles Times wrote that it was "the picture that science fiction fans of every age and in every corner of the world have prayed (sometimes forlornly) that the industry might some day give them. It is an ultimate statement of the science fiction film, an awesome realization of the spatial future ... it is a milestone, a landmark for a spacemark, in the art of film."[137] Louise Sweeney of The Christian Science Monitor felt that 2001 was "a brilliant intergalactic satire on modern technology. It's also a dazzling 160-minute tour on the Kubrick filmship through the universe out there beyond our earth."[138] Philip French wrote that the film was "perhaps the first multi-million-dollar supercolossal movie since D.W. Griffith's Intolerance fifty years ago which can be regarded as the work of one man ... Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch."[139] The Boston Globe 's review called it "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere ... The film is as exciting as the discovery of a new dimension in life."[140] Roger Ebert gave the film four stars in his original review, saying the film "succeeds magnificently on a cosmic scale."[47] He later put it on his Top 10 list for Sight & Sound.[141] Time provided at least seven different mini-reviews of the film in various issues in 1968, each one slightly more positive than the preceding one; in the final review dated 27 December 1968, the magazine called 2001 "an epic film about the history and future of mankind, brilliantly directed by Stanley Kubrick. The special effects are mindblowing."[142]

 Others were unimpressed. Pauline Kael called it "a monumentally unimaginative movie."[143] Stanley Kauffmann of The New Republic described it as "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull."[144] The Soviet film director Andrei Tarkovsky found the film to be an inadequate addition to the science fiction genre of filmmaking.[27] Renata Adler of The New York Times wrote that it was "somewhere between hypnotic and immensely boring."[145] Variety's Robert B. Frederick ('Robe') believed the film was a "[b]ig, beautiful, but plodding sci-fi epic ... A major achievement in cinematography and special effects, 2001 lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark."[108] Andrew Sarris called it "one of the grimmest films I have ever seen in my life ... 2001 is a disaster because it is much too abstract to make its abstract points."[146] (Sarris reversed his opinion upon a second viewing, and declared, "2001 is indeed a major work by a major artist."[147]) John Simon felt it was "a regrettable failure, although not a total one. This film is fascinating when it concentrates on apes or machines ... and dreadful when it deals with the in-betweens: humans ... 2001, for all its lively visual and mechanical spectacle, is a kind of space-Spartacus and, more pretentious still, a shaggy God story."[148] Historian Arthur M. Schlesinger, Jr. deemed the film "morally pretentious, intellectually obscure and inordinately long ... a film out of control".[149] In a 2001 review, the BBC said that its slow pacing often alienates modern audiences more than it did upon its initial release.[150]

 On review aggregator Rotten Tomatoes, the film has a "Certified Fresh" rating of 92% based on 116 reviews, with an average rating of 9.2/10. The website's critical consensus reads: "One of the most influential of all sci-fi films – and one of the most controversial – Stanley Kubrick's 2001 is a delicate, poetic meditation on the ingenuity – and folly – of mankind."[106] Review aggregator Metacritic, which uses a weighted average, has assigned the film a score of 84 out of 100, based on 25 critic reviews, indicating "universal acclaim".[151] 2001 was the only science fiction film to make Sight & Sound 's 2012 list of the ten best films,[152] and tops the Online Film Critics Society list of greatest science fiction films of all time.[153] In 2012, the Motion Picture Editors Guild listed the film as the 19th best-edited film of all time based on a survey of its membership.[154] Other lists that include the film are 50 Films to See Before You Die (#6), The Village Voice 100 Best Films of the 20th century (#11), and Roger Ebert's Top Ten (1968) (#2). In 1995, the Vatican named it one of the 45 best films ever made (and included it in a sub-list of the "Top Ten Art Movies" of all time.)[155] In 1998, Time Out conducted a reader's poll and 2001: A Space Odyssey was voted as #9 on the list of "greatest films of all time".[156] Entertainment Weekly voted it no. 26 on their list of 100 Greatest Movies of All Time.[157] In 2017, Empire magazine's readers' poll ranked the film 21st on its list of "The 100 Greatest Movies".[158] In the Sight & Sound poll of 480 directors published in December 2022, 2001: A Space Odyssey was voted as the Greatest Film of All Time, ahead of Citizen Kane and The Godfather.[159][160]

 Science fiction writers [ edit ]

 The film won the Hugo Award for best dramatic presentation, as voted by science fiction fans and published science-fiction writers.[161] Ray Bradbury praised the film's photography, but disliked the banality of most of the dialogue, and believed that the audience does not care when Poole dies.[162] Both he and Lester del Rey disliked the film's feeling of sterility and blandness in the human encounters amidst the technological wonders, while both praised the pictorial element of the film. Reporting that "half the audience had left by intermission", Del Rey described the film as dull, confusing, and boring ("the first of the New Wave-Thing movies, with the usual empty symbols"), predicting "[i]t will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years".[163] Samuel R. Delany was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany noticed the banality of the dialogue (he stated that characters say nothing meaningful), but regarded this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.[164] Without analysing the film in detail, Isaac Asimov spoke well of it in his autobiography and other essays. James P. Hogan liked the film but complained that the ending did not make any sense to him, leading to a bet about whether he could write something better: "I stole Arthur's plot idea shamelessly and produced Inherit the Stars."[165]

 Awards and honours [ edit ]

 Award Category Recipient Result Ref(s)
 Academy Awards Best Director Stanley Kubrick Nominated [166] 
 Best Story and Screenplay – Written Directly for the Screen Stanley Kubrick and Arthur C. Clarke Nominated 
 Best Art Direction Anthony Masters, Harry Lange and Ernest Archer Nominated 
 Best Special Visual Effects Stanley Kubrick Won 
 British Academy Film Awards Best Film Stanley Kubrick Nominated [167] 
 Best Art Direction Anthony Masters, Harry Lange and Ernest Archer Won 
 Best British Cinematography Geoffrey Unsworth Won 
 Best Soundtrack Winston Ryder Won 
 United Nations Award Stanley Kubrick Nominated 
 Cinema Writers Circle Best Foreign Film 2001: A Space Odyssey Won [168] 
 David di Donatello Awards Best Foreign Film Stanley Kubrick Won [169] 
 Directors Guild of America Awards Outstanding Directorial Achievement in Motion Pictures Stanley Kubrick Nominated [170] 
 Hugo Awards Best Dramatic Presentation 2001: A Space Odyssey Won [161] 
 Kansas City Film Critics Circle Awards Best Film 2001: A Space Odyssey Won [171] 
 Best Director Stanley Kubrick Won 
 Laurel Awards Best Road Show 2001: A Space Odyssey Won [172] 
 National Board of Review Awards Top 10 Films 2001: A Space Odyssey 10th place [173] 
 

 In 1969, a United States Department of State committee chose 2001 as the American entry at the 6th Moscow International Film Festival.[174]

 2001 was ranked 15th on the American Film Institute's 2007 100 Years ... 100 Movies[175] (22 in 1998),[176] was no. 40 on its 100 Years, 100 Thrills,[177] was included on its 100 Years, 100 Quotes (no. 78 "Open the pod bay doors, HAL."),[178] and HAL 9000 was the no. 13 villain in 100 Years ... 100 Heroes and Villains.[179] The film was also no. 47 on AFI's 100 Years ... 100 Cheers[180] and the no. 1 science fiction film on AFI's 10 Top 10.[181]

 Interpretations [ edit ]

 Main article: Interpretations of 2001: A Space Odyssey

 Since its premiere, 2001: A Space Odyssey has been analysed and interpreted by professional critics and theorists, amateur writers, and science fiction fans. In his monograph for BFI analysing the film, Peter Krämer summarised the diverse interpretations as ranging from those who saw it as darkly apocalyptic in tone to those who saw it as an optimistic reappraisal of the hopes of mankind and humanity.[182] Questions about 2001 range from uncertainty about its implications for humanity's origins and destiny in the universe[183] to interpreting elements of the film's more enigmatic scenes, such as the meaning of the monolith, or the fate of astronaut David Bowman. There are also simpler and more mundane questions about the plot, in particular the causes of HAL's breakdown (explained in earlier drafts but kept mysterious in the film).[184][41][185][186]

 Audiences vs. critics [ edit ]

 A spectrum of diverse interpretative opinions would form after the film's release, appearing to divide theatre audiences from the opinions of critics. Krämer writes: "Many people sent letters to Kubrick to tell him about their responses to 2001, most of them regarding the film—in particular the ending—as an optimistic statement about humanity, which is seen to be born and reborn. The film's reviewers and academic critics, by contrast, have tended to understand the film as a pessimistic account of human nature and humanity's future. The most extreme of these interpretations state that the foetus floating above the Earth will destroy it."[187]

 Closing scene of Dr. Strangelove and Kubrick's sardonic fulfilment of a nuclear nightmare

 Some of the critics' cataclysmic interpretations were informed by Kubrick's prior direction of the Cold War film Dr. Strangelove, immediately before 2001, which resulted in dark speculation about the nuclear weapons orbiting the Earth in 2001. These interpretations were challenged by Clarke, who said: "Many readers have interpreted the last paragraph of the book to mean that he (the foetus) destroyed Earth, perhaps for the purpose of creating a new Heaven. This idea never occurred to me; it seems clear that he triggered the orbiting nuclear bombs harmlessly ...".[182] In response to Jeremy Bernstein's dark interpretation of the film's ending, Kubrick said: "The book does not end with the destruction of the Earth."[182]

 Regarding the film as a whole, Kubrick encouraged people to make their own interpretations and refused to offer an explanation of "what really happened". In a 1968 interview with Playboy magazine, he said:

 You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.[40]

 In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious." But he said he did not strive for ambiguity—it was simply an inevitable outcome of making the film nonverbal. Still, he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the film's metaphysical interpretation, which he felt should be left up to viewers.[188]

 Meaning of the monolith [ edit ]

 For some readers, Clarke's more straightforward novel based on the script is key to interpreting the film. The novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy. These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston wrote in 1971 that because the novel differs in many key aspects from the film, it perhaps should not be regarded as the skeleton key to unlock it.[189]

 Multiple interpretations of the meaning of the monolith have been examined in the critical reception of the film

 Carolyn Geduld writes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.[190] Vincent LoBrutto's biography of Kubrick says that for many, Clarke's novel supplements the understanding of the monolith which is more ambiguously depicted in the film.[191] Similarly, Geduld observes that "the monolith ... has a very simple explanation in Clarke's novel", though she later asserts that even the novel does not fully explain the ending.[190]

 Bob McClay's Rolling Stone review describes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes (thus 'beginning' mankind) and the completion of "another evolution" in the fourth and final encounter[192] with the monolith. In a similar vein, Tim Dirks ends his synopsis saying "[t]he cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete."[193]

 Humanity's first and second encounters with the monolith have visual elements in common; both the apes, and later the astronauts, touch it gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over it (the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position), echoing the Sun–Earth–Moon alignment seen at the very beginning of the film.[194] The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans, echoing the premise of Clarke's source story "The Sentinel".[195]

 The monolith is the subject of the film's final line of dialogue (spoken at the end of the "Jupiter Mission" segment): "Its origin and purpose still a total mystery." Reviewers McClay and Roger Ebert wrote that the monolith is the main element of mystery in the film; Ebert described "the shock of the monolith's straight edges and square corners among the weathered rocks," and the apes warily circling it as prefiguring man reaching "for the stars."[47] Patrick Webster suggests the final line relates to how the film should be approached as a whole: "The line appends not merely to the discovery of the monolith on the Moon, but to our understanding of the film in the light of the ultimate questions it raises about the mystery of the universe."[196]

 According to other scholars, "the monolith is a representation of the actual wideframe cinema screen, rotated 90 degrees ... a symbolic cinema screen".[197] "It is at once a screen and the opposite of a screen, since its black surface only absorbs, and sends nothing out. ... and leads us ... to project ourselves, our emotions".[198]

 "A new heaven" [ edit ]

 Clarke indicated his preferred reading of the ending of 2001 as oriented toward the creation of "a new heaven" provided by the Star Child.[182] His view was corroborated in a posthumously released interview with Kubrick.[41] Kubrick says that Bowman is elevated to a higher level of being that represents the next stage of human evolution. The film also conveys what some viewers have described as a sense of the sublime and numinous.[47] Ebert writes in his essay on 2001 in The Great Movies:

 The Star Child looking upon the Earth

 North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for 2001 because, like all scores, it attempts to underline the action—to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.[47]

 In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterised by a need to encounter something totally other than ourselves—"something numinous"—and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.[199] Similarly, an article in The Greenwood Encyclopedia of Science Fiction and Fantasy, titled "Sense of Wonder," describes how 2001 creates a "numinous sense of wonder" by portraying a universe that inspires a sense of awe but that at the same time we feel we can understand.[200] Christopher Palmer wrote that "the sublime and the banal" coexist in the film, as it implies that to get into space, people had to suspend the "sense of wonder" that motivated them to explore it.[201]

 HAL's breakdown [ edit ]

 See also: Interpretations of 2001: A Space Odyssey § HAL
 One of HAL 9000's interfaces

 The reasons for HAL's malfunction and subsequent malignant behaviour have elicited much discussion. He has been compared to Frankenstein's monster. In Clarke's novel, HAL malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, namely the confidentially programmed mission priority over expendable human life, despite being constructed for "the accurate processing of information without distortion or concealment". This would not be addressed on film until the 1984 follow-up, 2010: The Year We Make Contact. Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of the characters.[47] In an interview with Joseph Gelmis in 1969, Kubrick said that HAL "had an acute emotional crisis because he could not accept evidence of his own fallibility".[202]

 "Star Child" symbolism [ edit ]

 Multiple allegorical interpretations of 2001 have been proposed. The symbolism of life and death can be seen through the final moments of the film, which are defined by the image of the "Star Child," an in utero foetus that draws on the work of Lennart Nilsson.[203] The Star Child signifies a "great new beginning,"[203] and is depicted naked and ungirded but with its eyes wide open.[204] Leonard F. Wheat sees 2001 as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine.[205] Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism".[206]

 Military satellites [ edit ]

 See also: Interpretations of 2001: A Space Odyssey § Military nature of orbiting satellites

 Kubrick originally planned a voice-over to reveal that the satellites seen after the prologue are nuclear weapons,[207] and that the Star Child would detonate the weapons at the end of the film[208] but felt this would create associations with Dr. Strangelove and decided not to make it obvious that they were "war machines". A few weeks before the film's release, the U.S. and Soviet governments had agreed not to put any nuclear weapons into outer space.[209]

 In a book he wrote with Kubrick's assistance, Alexander Walker states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".[207]

 Kubrick scholar Michel Ciment, discussing Kubrick's attitude toward human aggression and instinct, observes: "The bone cast into the air by the ape (now become a man) is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon."[210] In contrast to Ciment's reading of a cut to a serene "other extreme of civilization", science fiction novelist Robert Sawyer, in the Canadian documentary 2001 and Beyond, says he sees it as a cut from a bone to a nuclear weapons platform, explaining that "what we see is not how far we've leaped ahead, what we see is that today, '2001', and four million years ago on the African veldt, it's exactly the same—the power of mankind is the power of its weapons. It's a continuation, not a discontinuity in that jump."[211]

 Legacy and influence [ edit ]

 See also: 2001: A Space Odyssey in popular culture

 2001: A Space Odyssey is widely regarded as among the greatest and most influential films ever made.[212] It is considered one of the major artistic works of the 20th century, with many critics and filmmakers considering it Kubrick's masterpiece.[213] In the 1980s,[214] critic David Denby compared Kubrick to the monolith from 2001: A Space Odyssey, calling him "a force of supernatural intelligence, appearing at great intervals amid high-pitched shrieks, who gives the world a violent kick up the next rung of the evolutionary ladder".[215] By the start of the 21st century, 2001: A Space Odyssey had become recognised as among the best films ever made by such sources as the British Film Institute (BFI). The Village Voice ranked the film at number 11 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics.[216] In January 2002, the film was included on the list of the "Top 100 Essential Films of All Time" by the National Society of Film Critics.[217][218] Sight & Sound magazine ranked the film 12th in its greatest films of all-time list in 1982,[219] tenth in 1992 critics' poll of greatest films,[220] sixth in the top ten films of all time in its 2002,[221] 2012[222] and 2022 critics' polls editions;[160] it also tied for second and first place in the magazine's 2012[222] and 2022 directors' poll.[160] The film was voted no. 43 on the list of "100 Greatest Films" by the prominent French magazine Cahiers du cinéma in 2008.[223] In 2010, The Guardian named it "the best sci-fi and fantasy film of all time".[224] The film ranked 4th in BBC's 2015 list of the 100 greatest American films.[225] In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[226] In 2010, it was named the greatest film of all time by The Moving Arts Film Journal.[227]

 Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned. On a technical level, it [Star Wars] can be compared, but personally I think that 2001 is far superior.

 —George Lucas, 1977[119]

 The influence of 2001 on subsequent filmmakers is considerable. Steven Spielberg, George Lucas, and others—including many special effects technicians—discuss the impact the film has had on them in a featurette titled Standing on the Shoulders of Kubrick: The Legacy of 2001, included in the 2007 DVD release of the film. Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker". Director Martin Scorsese has listed it as one of his favourite films of all time.[228] Sydney Pollack calls it "groundbreaking", and William Friedkin says 2001 is "the grandfather of all such films". At the 2007 Venice film festival, director Ridley Scott said he believed 2001 was the unbeatable film that in a sense killed the science fiction genre.[229] Similarly, film critic Michel Ciment in his essay "Odyssey of Stanley Kubrick" wrote, "Kubrick has conceived a film which in one stroke has made the whole science fiction cinema obsolete."[230]

 Others credit 2001 with opening up a market for films such as Close Encounters of the Third Kind, Alien, Blade Runner, Contact, and Interstellar, proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.[231] Science magazine Discover ' s blogger Stephen Cass, discussing the film's considerable impact on subsequent science fiction, writes that "the balletic spacecraft scenes set to sweeping classical music, the tarantula-soft tones of HAL 9000, and the ultimate alien artifact, the monolith, have all become enduring cultural icons in their own right".[232] Trumbull said that when working on Star Trek: The Motion Picture he made a scene without dialogue because of "something I really learned with Kubrick and 2001: Stop talking for a while, and let it all flow".[233]

 Kubrick did not envision a sequel to 2001. Fearing the later exploitation and recycling of his material in other productions (as was done with the props from MGM's Forbidden Planet), he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed.[ citation needed ] Most of these materials were lost, with some exceptions: a 2001 spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO,[209][234][235][236] and one of HAL's eyepieces is in the possession of the author of Hal's Legacy, David G. Stork. In 2012, Lockheed engineer Adam Johnson, working with Frederick I. Ordway III, science adviser to Kubrick, wrote the book 2001: The Lost Science, which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed. Clarke wrote three sequel novels: 2010: Odyssey Two (1982), 2061: Odyssey Three (1987), and 3001: The Final Odyssey (1997). The only filmed sequel, 2010: The Year We Make Contact, released in 1984, was based on Clarke's 1982 novel. Kubrick was not involved; it was directed as a spin-off by Peter Hyams in a more conventional style. The other two novels have not been adapted for the screen, although actor Tom Hanks in June 1999 expressed a passing interest in possible adaptations.[237]

 To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on 8 April 2018, in the Smithsonian Institution's National Air and Space Museum. The exhibit features a fully realised, full-scale reflection of the neo-classical hotel room from the film's penultimate scene.[238][239] Director Christopher Nolan presented a mastered 70 mm print of 2001 for the film's 50th anniversary at the 2018 Cannes Film Festival on 12 May.[240][241] The new 70 mm print is a photochemical recreation made from the original camera negative, for the first time since the film's original theatrical run.[242][243] Further, an exhibit entitled "Envisioning 2001: Stanley Kubrick's Space Odyssey" presented at the Museum of the Moving Image in Astoria, Queens, New York City opened in January 2020.[244]

 In July 2020, a silver space suit was sold at auction in Los Angeles for $370,000, exceeding its estimate of $200,000–300,000. Four layers of paint indicate it was used in multiple scenes, including the Clavius Moon base sequence. The helmet had been painted green at one stage, leading to a belief that it may have been worn during the scene where Dave Bowman disconnects HAL 9000.[245]

 Stanley Kubrick introduced Arthur C. Clarke to the book The Hero with a Thousand Faces by Joseph Campbell during the writing of 2001: A Space Odyssey. There are allegorical archetypal patterns of the "hero's journey" in this film. Arthur C. Clarke called Joseph Campbell's book "very stimulating" in his diary entry.[246]

 Home media [ edit ]

 The film has been released in several forms:

 * In 1980, MGM/CBS Home Video released the film on VHS and Betamax.[247]
 * In 1989, The Criterion Collection released a two-disc special LaserDisc edition with the transfer monitored by Kubrick himself.[248]
 * In 2008, Warner Bros. released the film on Blu-ray.[249]
 * In 2018, Warner Bros. re-released it on Blu-ray and 4K HDR on Ultra HD Blu-ray, based on a 8K scan of the original camera negative and audio remixed and remastered in DTS-HD MA 5.1.[250]

 Re-releases [ edit ]

 The film was re-released in 1974, 1977, 1980[122] and 1993.[251] In 2001, a restoration of the 70 mm version was screened at the Ebert's Overlooked Film Festival, and the production was also reissued to selected film houses in North America, Europe and Asia.[252][253]

 For the film's 50th anniversary, Warner Bros. struck new 70mm prints from printing elements made directly from the original film negative.[242] This was done under the supervision of film director Christopher Nolan, who has spoken of 2001 ' s influence on his career. Following a showing at the 2018 Cannes Film Festival introduced by Nolan, the film had a limited worldwide release at select 70mm-equipped theatres in the summer of 2018,[240][254] followed by a one-week run in North American IMAX theatres (including five locations equipped with 70 mm IMAX projectors).[255]

 On 3 December 2018, an 8K Ultra-high definition television version of the film was reported to have been broadcast in select theatres and shopping-mall demonstration stations in Japan.[256]

 See also [ edit ]

 * List of films considered the best
 * List of films featuring eclipses
 * List of films featuring extraterrestrials
 * List of films featuring space stations
 * List of artificial intelligence films
 * List of incomplete or partially lost films

 References [ edit ]

 Informational notes

 1. ^ Jason Sperb's study of Kubrick The Kubrick Facade analyses Kubrick's use of narration in detail. John Baxter 's biography of Kubrick also describes how he frequently favoured voice-over narration. Only three of Kubrick's 13 films lack narration: Space Odyssey , The Shining , and Eyes Wide Shut . [43]
 2. ^ Examples of the Action Office desk and "Propst Perch" chair appearing in the film can be seen in Pina 2002 , pp. 66–71. First introduced in 1968, the Action Office-st cubicle " would eventually occupy 70 per cent of office space by the mid-2000s.
 3. ^ Cubicles had earlier appeared in Jacques Tati's Playtime in 1967.
 4. ^ Between the two lines large red letters reading at top "CAUTION" and at bottom "EXPLOSIVE BOLTS" are smaller black lines reading "MAINTENANCE AND REPLACEMENT INSTRUCTIONS" followed by even smaller lines of four instructions beginning "(1) SELF TEST EXPLOSIVE BOLTS PER INST 14 PARA 3 SEC 5D AFTER EACH EVA", et cetera. The instructions are generally legible on Blu-ray editions but not DVD editions of the film. [78]
 5. ^ Robert Kolker put the cumulative global gross of the film at $138 million as of 2006, [130] although it has had several limited releases since then. The combined takings of the 2010, 2013, 2014, 2017 and 2018 reissues added a further $7.9 million to the gross. [128]

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 140. ^ Adams, Marjorie. Review of 2001 reprinted from Boston Globe in Agel 1970 , p. 240.
 141. ^ Ebert, Roger. "BFI | Sight & Sound | Top Ten Poll 2002 – How the directors and critics voted". Archived from the original on 3 September 2009 . Retrieved 27 July 2009 .
 142. ^ Unknown reviewer. Capsule review of 2001 reprinted from Time in Agel 1970 , p. 248.
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 147. ^ "Hail the Conquering Hero". FilmComment.com. 1 May 2005. Archived from the original on 23 June 2012 . Retrieved 12 January 2007 .
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 207. ^ a b Walker 2000 , pp. 181–182
 208. ^ Walker 2000 , p. 192
 209. ^ a b Bizony 2001 , p. 151
 210. ^ Ciment 1999 , p. 128
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 232. ^ "This Day in Science Fiction History – 2001: A Space Odyssey | Discover Magazine". Blogs.discovermagazine.com. 2 April 2009. Archived from the original on 28 March 2010 . Retrieved 22 August 2010 .
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 236. ^ Bentley, Chris (2008). The Complete Gerry Anderson: The Authorised Episode Guide (4th ed.). London: Reynolds and Hearn. ISBN 978-1-905287-74-1.
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 238. ^ "2001: A Space Odyssey Immersive Art Exhibit". aiandspace.si.edu. 3 April 2018. Archived from the original on 8 April 2018 . Retrieved 8 April 2018 .
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 Bibliography

 * Agel, Jerome, ed. (1970). The Making of Kubrick's 2001. New York: New American Library. ISBN 0-451-07139-5.
 * Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN 1-85410-706-2.
 * Castle, Alison, ed. (2005). The Stanley Kubrick Archives. Cologne: Taschen. ISBN 978-3-8228-2284-5. Archived from the original on 7 July 2007 . Retrieved 5 February 2007 .
 * Block, Alex Ben; Wilson, Lucy Autrey, eds. (2010). George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success. HarperCollins. ISBN 978-0-06-177889-6. Archived from the original on 18 December 2019 . Retrieved 6 August 2019 .
 * Chapman, James; Cull, Nicholas J. (5 February 2013). Projecting Tomorrow: Science Fiction and Popular Cinema. I.B. Tauris. ISBN 978-1-78076-410-8. Archived from the original on 28 January 2016 . Retrieved 20 November 2015 .
 * Ciment, Michel (1999) [1980]. Kubrick. New York: Faber and Faber. ISBN 0-571-21108-9.
 * Clarke, Arthur C. (1972). The Lost Worlds of 2001. London: Sidgwick and Jackson. ISBN 0-283-97903-8.
 * Fiell, Charlotte (2005). 1,000 Chairs (Taschen 25). Taschen. ISBN 978-3-8228-4103-7.
 * Gelmis, Joseph (1970). The Film Director As Superstar. New York: Doubleday & Company.
 * Geduld, Carolyn (1973). "4. The Production: A Calendar". Filmguide to 2001: A Space Odyssey. Indiana University Press. ISBN 978-0-253-39305-0.
 * Hughes, David (2000). The Complete Kubrick. London: Virgin Publishing Ltd. ISBN 0-7535-0452-9.
 * Kolker, Robert, ed. (2006). Stanley Kubrick's 2001: A Space Odyssey: New Essays. New York: Oxford University Press. ISBN 0-19-517453-4.
 * Krämer, Peter (2010). 2001: A Space Odyssey. BFI Film Classics. London: British Film Institute.
 * LoBrutto, Vincent (1998). Stanley Kubrick. London: Faber and Faber. ISBN 0-571-19393-5.
 * McAleer, Neil (1992). Arthur C. Clarke. The Authorized Biography. Contemporary Books. ISBN 0-8092-4324-5.
 * McAleer, Neil (1 April 2013). Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography. RosettaBooks. ISBN 978-0-9848118-0-9. Archived from the original on 18 July 2020 . Retrieved 9 July 2020 .
 * Pina, Leslie A. (2002). Herman Miller Office. Pennsylvania, United States: Schiffer Publishing. ISBN 978-0-7643-1650-0.
 * Richter, Daniel (2002). Moonwatcher's Memoir: A Diary of 2001: A Space Odyssey. foreword by Arthur C. Clarke. New York City: Carroll & Graf Publishers. ISBN 0-7867-1073-X.
 * Schwam, Stephanie, ed. (2010) [2000]. The Making of 2001: A Space Odyssey. Introduction by Jay Cocks. New York City: Random House. ISBN 978-0-307-75760-9. Archived from the original on 14 November 2020 . Retrieved 21 September 2020 .
 * Walker, Alexander (1971). Stanley Kubrick Directs. New York: Harcourt Brace Jovanovich. ISBN 0-393-32119-3.
 * Walker, Alexander (2000). Stanley Kubrick, director. New York: W.W. Norton and Company. ISBN 0-393-32119-3. Note: This is a revised edition of Walker 1971.
 * Wheat, Leonard F. (2000). Kubrick's 2001: A Triple Allegory. Lanham, MD: Scarecrow Press. ISBN 0-8108-3796-X.

 Further reading

 * Emme, Eugene M., ed. (1982). Science fiction and space futures – past and present. AAS History Series. Vol. 5. San Diego: Univelt. ISBN 0-87703-172-X.
 * Frayling, Christopher (2015). The 2001 File: Harry Lange and the Design of the Landmark Science Fiction Film. London: Reel Art Press. ISBN 978-0-9572610-2-0.
 * Johnson, Adam (2012). 2001 The Lost Science. Burlington Canada: Apogee Prime. ISBN 978-1-926837-19-2.
 * Johnson, Adam (2016). 2001 The Lost Science Volume 2. Burlington Canada: Apogee Prime. ISBN 978-1-926837-35-2.
 * Mathijs, Ernest; Mendik, Xavier (2011). "2001: A Space Odyssey". 100 Cult Films. London: Palgrave Macmillan. p. 6. ISBN 978-1-84457-571-8.
 * Ordway, Frederick I; Godwin, Robert (2014). 2001 The Heritage & Legacy of the Space Odyssey. Burlington Canada: Apogee Prime. ISBN 978-1-9268373-2-1.
 * Shuldiner, Herbert (June 1968). "How They Filmed '2001: A Space Odyssey'". Popular Science. Vol. 192, no. 6. Bonnier Corporation. pp. 62–67. ISSN 0161-7370.
 * Wigley, Samuel (28 March 2018). "50 years of 2001: A Space Odyssey – 5 films that influenced Kubrick's giant leap for sci-fi". bfi.org.uk . Retrieved 14 January 2021 .

 External links [ edit ]

 2001: A Space Odyssey at Wikipedia's sister projects
 * Media from Commons
 * Quotations from Wikiquote
 * Data from Wikidata
 * 2001: A Space Odyssey essay by James Verniere at National Film Registry [1]
 * 2001: A Space Odyssey essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 635–636 America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry
 * 2001: A Space Odyssey at IMDb
 * 2001: A Space Odyssey at AllMovie
 * 2001: A Space Odyssey at the TCM Movie Database
 * 2001: A Space Odyssey at the American Film Institute Catalog
 * 2001: A Space Odyssey Script on dailyscripts.com
 * 2001: A Space Odyssey Internet Resource Archive
 * Kubrick 2001: The Space Odyssey Explained
 * Roger Ebert's Essay on 2001 Archived 7 April 2013 at the Wayback Machine
 * The Alt.Movies.Kubrick FAQ many observations on the meaning of 2001
 * The Kubrick Site including many works on 2001
 * v 
 * t 
 * e 
 Arthur C. Clarke's Space Odyssey series
 Short stories * "The Sentinel" 
  * "Encounter in the Dawn" 
 Films * 2001: A Space Odyssey (1968) 
  * 2010: The Year We Make Contact (1984) 
  * 2001: A Space Odyssey (1968) 
 Novels * 2010: Odyssey Two (1982) 
  * 2061: Odyssey Three (1987) 
  * 3001: The Final Odyssey (1997) 
 Non-fiction * The Lost Worlds of 2001 
 Comics * 2001: A Space Odyssey 
  * Monoliths 
  * Clavius Base 
 Elements * Discovery One 
  + HAL 9000 
  * Ganymede City 
  * Interpretations of 2001: A Space Odyssey
  * Technologies in 2001: A Space Odyssey 
  * 2001: A Space Odyssey in popular culture
  * 2001: A Space Odyssey soundtrack 
 Related * Alex North's 2001: A Space Odyssey score
  * Poole versus HAL 9000 (chess game) 
  * Machine Man 
  * A Time Odyssey 
  * 9000 Hal 
 
 * v 
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 Stanley Kubrick 
 * Archive 
 * Bibliography 
 * Filmography 
 * Awards 
 * Influence 
 * Personal life 
 * Political and religious beliefs
 * Unrealized projects 
  * Fear and Desire (1953) 
  * Killer's Kiss (1955) 
  * The Killing (1956) 
  * Paths of Glory (1957) 
  * Spartacus (1960) 
  * Lolita (1962) 
 Feature films * Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
  * 2001: A Space Odyssey (1968) 
  * A Clockwork Orange (1971) 
  * Barry Lyndon (1975) 
  * The Shining (1980) 
  * Full Metal Jacket (1987) 
  * Eyes Wide Shut (1999) 
  * Day of the Fight (1951) 
 Short films * Flying Padre (1951) 
  * The Seafarers (1953) 
 Photography books * Stanley Kubrick: Drama & Shadows: Photographs 1945-1950 (2005) 
  * Interpretations of 2001 
 Related * Recurring cast members 
  * Kubrick Mons 
  * World Assembly of Youth (1952) 
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2001: A Space Odyssey       Theatrical release poster by Robert McCall      Directed by  Stanley Kubrick    Screenplay by  
 Stanley Kubrick
 Arthur C. Clarke  
    Produced by Stanley Kubrick   Starring  
  Keir Dullea 
 Gary Lockwood  
    Cinematography  Geoffrey Unsworth    Edited by  Ray Lovejoy     Productioncompany     Stanley Kubrick Productions      Distributed by  Metro-Goldwyn-Mayer     Release dates   
 2 April 1968 (Uptown Theater)
3 April 1968 (United States)
15 May 1968 (United Kingdom) 
     Running time  approx. 143 minutes [1]     Countries  
 United Kingdom
United States 
    Language English   Budget $10.5 million   Box office $146 million   
  2001: A Space Odyssey  is a 1968 epic science fiction film produced and directed by Stanley Kubrick. The screenplay was written by Kubrick and science fiction author Arthur C. Clarke, and was inspired by Clarke's 1951 short story "The Sentinel" and other short stories by Clarke. Clarke also published a novelisation of the film, in part written concurrently with the screenplay, after the film's release. The film stars Keir Dullea, Gary Lockwood, William Sylvester, and Douglas Rain, and follows a voyage by astronauts, scientists and the sentient supercomputer HAL to Jupiter to investigate an alien monolith.
 The film is noted for its scientifically accurate depiction of space flight, pioneering special effects, and ambiguous imagery. Kubrick avoided conventional cinematic and narrative techniques; dialogue is used sparingly, and there are long sequences accompanied only by music. The soundtrack incorporates numerous works of classical music, by composers including Richard Strauss, Johann Strauss II, Aram Khachaturian, and György Ligeti.
 The film received diverse critical responses, ranging from those who saw it as darkly apocalyptic to those who saw it as an optimistic reappraisal of the hopes of humanity. Critics noted its exploration of themes such as human evolution, technology, artificial intelligence, and the possibility of extraterrestrial life. It was nominated for four Academy Awards, winning Kubrick the award for his direction of the visual effects. The film is now widely regarded as one of the greatest and most influential films ever made. In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. [2]   [3] 
Plot[edit]
In a prehistoric veldt, a tribe of hominins is driven away from its water hole by a rival tribe. The next day, they find an alien monolith has appeared in their midst. They then learn how to use a bone as a weapon and, after their first hunt, return to drive their rivals away with it.
 Millions of years later, Dr. Heywood Floyd, Chairman of the United States National Council of Astronautics, travels to Clavius Base, an American lunar outpost. During a stopover at Space Station 5, he meets Russian scientists who are concerned that Clavius seems to be unresponsive. He refuses to discuss rumours of an epidemic at the base. At Clavius, Heywood addresses a meeting of personnel to whom he stresses the need for secrecy regarding their newest discovery. His mission is to investigate a recently found artefact, a monolith buried four million years earlier near the lunar crater Tycho. As he and others examine the object, it is struck by sunlight, upon which it emits a high-powered radio signal.
 Eighteen months later, the American spacecraft  Discovery One  is bound for Jupiter, with mission pilots and scientists Dr. David "Dave" Bowman and Dr. Frank Poole on board, along with three other scientists in suspended animation. Most of Discovery's operations are controlled by HAL, a HAL 9000 computer with a human personality. When HAL reports the imminent failure of an antenna control device, Dave retrieves it in an extravehicular activity (EVA) pod, but finds nothing wrong. HAL suggests reinstalling the device and letting it fail so the problem can be verified. Mission Control advises the astronauts that results from their twin 9000 computer indicate that HAL has made an error, but HAL blames it on human error. Concerned about HAL's behaviour, Dave and Frank enter an EVA pod so they can talk without HAL overhearing. They agree to disconnect HAL if he is proven wrong, but HAL follows their conversation by lip reading.
 While Frank is outside the ship to replace the antenna unit, HAL takes control of his pod, setting him adrift. Dave takes another pod to rescue Frank. While he is outside, HAL turns off the life support functions of the crewmen in suspended animation, killing them. When Dave returns to the ship with Frank's body, HAL refuses to let him back in, stating that their plan to deactivate him jeopardises the mission. Dave releases Frank's body and, despite not having a spacesuit helmet, exits his pod, crosses the vacuum and opens the ship's emergency airlock manually. He goes to HAL's processor core and begins disconnecting HAL's circuits, despite HAL begging him not to. When the disconnection is complete, a prerecorded video by Heywood plays, revealing that the mission's objective is to investigate the radio signal sent from the monolith to Jupiter.
 At Jupiter, Dave finds a third, much larger monolith orbiting the planet. He leaves Discovery in an EVA pod to investigate. He is pulled into a vortex of coloured light and observes bizarre cosmological phenomena and strange landscapes of unusual colours as he passes by. Finally he finds himself in a large neoclassical bedroom where he sees, and then becomes, older versions of himself: first standing in the bedroom, middle-aged and still in his spacesuit, then dressed in leisure attire and eating dinner, and finally as an old man lying in bed. A monolith appears at the foot of the bed, and as Dave reaches for it, he is transformed into a foetus enclosed in a transparent orb of light floating in space above the Earth.
Cast[edit]
  Keir Dullea as Dr. David Bowman 
 Gary Lockwood as Dr. Frank Poole 
 William Sylvester as Dr. Heywood Floyd 
 Daniel Richter as Moonwatcher, the chief man-ape
 Leonard Rossiter as Dr. Andrei Smyslov
 Margaret Tyzack as Elena
 Robert Beatty as Dr. Ralph Halvorsen
 Sean Sullivan as Dr. Roy Michaels [4]  
 Douglas Rain as the voice of HAL 9000 
Frank Miller as mission controller
Edwina Carroll as lunar shuttle stewardess
 Penny Brahms as stewardess
Heather Downham as stewardess
 Alan Gifford as Poole's father
 Ann Gillis as Poole's mother
Maggie d'Abo as stewardess (Space Station 5 elevator) (uncredited)  [5]  
 Chela Matthison as Mrs. Turner, Space Station 5 reception (uncredited)  [6]  
 Vivian Kubrick as Floyd's daughter, "Squirt" (uncredited)  [7]  
 Kenneth Kendall as BBC announcer (uncredited)  [8]    
Production[edit]
Development[edit]
After completing  Dr. Strangelove  (1964), director Stanley Kubrick told a publicist from Columbia Pictures that his next project would be about extraterrestrial life, [9]  and resolved to make "the proverbial good science fiction movie". [10]  How Kubrick became interested in creating a science fiction film is far from clear. [11]  Biographer John Baxter notes possible inspirations in the late 1950s, including British productions featuring dramas on satellites and aliens modifying early humans, Metro-Goldwyn-Mayer's big budget CinemaScope production  Forbidden Planet , and the slick widescreen cinematography and set design of Japanese kaiju (monster movie) productions (such as  Godzilla  and  Warning from Space ). [11] 
 Kubrick obtained financing and distribution from the American studio Metro-Goldwyn-Mayer with the selling point that the film could be marketed in their ultra widescreen Cinerama format, recently debuted with their  How the West Was Won . [12]   [13]   [11]  It would be filmed and edited almost entirely in southern England, where Kubrick lived, using the facilities of MGM-British Studios and Shepperton Studios. MGM had subcontracted the production of the film to Kubrick's production company to qualify for the Eady Levy, a UK tax on box-office receipts used at the time to fund the production of films in Britain. [14] 
Pre-production[edit]
Kubrick's decision to avoid the fanciful portrayals of space found in standard popular science fiction films of the time led him to seek more realistic and accurate depictions of space travel. Illustrators such as Chesley Bonestell, Roy Carnon, and Richard McKenna were hired to produce concept drawings, sketches, and paintings of the space technology seen in the film. [15]   [16]  Two educational films, the National Film Board of Canada's 1960 animated short documentary  Universe  and the 1964 New York World's Fair movie  To the Moon and Beyond , were major influences. [15] 
 According to biographer Vincent LoBrutto, Universe was a visual inspiration to Kubrick. [17]  The 29-minute film, which had also proved popular at NASA for its realistic portrayal of outer space, met "the standard of dynamic visionary realism that he was looking for." Wally Gentleman, one of the special-effects artists on Universe, worked briefly on 2001. Kubrick also asked Universe co-director Colin Low about animation camerawork, with Low recommending British mathematician Brian Salt, with whom Low and Roman Kroitor had previously worked on the 1957 still-animation documentary  City of Gold . [18]   [19]  Universe's narrator, actor Douglas Rain, was cast as the voice of HAL. [20] 
 After pre-production had begun, Kubrick saw To the Moon and Beyond, a film shown in the Transportation and Travel building at the 1964 World's Fair. It was filmed in Cinerama 360 and shown in the "Moon Dome". Kubrick hired the company that produced it, Graphic Films Corporation—which had been making films for NASA, the US Air Force, and various aerospace clients—as a design consultant. [15]  Graphic Films' Con Pederson, Lester Novros, and background artist Douglas Trumbull airmailed research-based concept sketches and notes covering the mechanics and physics of space travel, and created storyboards for the space flight sequences in 2001. [15]  Trumbull became a special effects supervisor on 2001. [15] 
Writing[edit]
Searching for a collaborator in the science fiction community for the writing of the script, Kubrick was advised by a mutual acquaintance, Columbia Pictures staff member Roger Caras, to talk to writer Arthur C. Clarke, who lived in Ceylon. Although convinced that Clarke was "a recluse, a nut who lives in a tree," Kubrick allowed Caras to cable the film proposal to Clarke. Clarke's cabled response stated that he was "frightfully interested in working with [that]  enfant terrible ", and added "what makes Kubrick think I'm a recluse?" [17]   [21]  Meeting for the first time at Trader Vic's in New York on 22 April 1964, the two began discussing the project that would take up the next four years of their lives. [22]  Clarke kept a diary throughout his involvement with 2001, excerpts of which were published in 1972 as  The Lost Worlds of 2001 . [23] 
      Arthur C. Clarke in 1965, photographed in the Discovery's pod bay  
Kubrick told Clarke he wanted to make a film about "Man's relationship to the universe", [24]  and was, in Clarke's words, "determined to create a work of art which would arouse the emotions of wonder, awe ... even, if appropriate, terror". [22]  Clarke offered Kubrick six of his short stories, and by May 1964, Kubrick had chosen "The Sentinel" as the source material for the film. In search of more material to expand the film's plot, the two spent the rest of 1964 reading books on science and anthropology, screening science fiction films, and brainstorming ideas. [25]  They created the plot for 2001 by integrating several different short story plots written by Clarke, along with new plot segments requested by Kubrick for the film development, and then combined them all into a single script for 2001. [26]   [27]  Clarke said that his 1953 story "Encounter in the Dawn" inspired the film's "Dawn of Man" sequence. [28] 
 Kubrick and Clarke privately referred to the project as How the Solar System Was Won, a reference to how it was a follow-on to MGM's Cinerama epic How the West Was Won. [11]  On 23 February 1965, Kubrick issued a press release announcing the title as Journey Beyond The Stars. [29]  Other titles considered included Universe, Tunnel to the Stars, and Planetfall. Expressing his high expectations for the thematic importance which he associated with the film, in April 1965, eleven months after they began working on the project, Kubrick selected 2001: A Space Odyssey; Clarke said the title was "entirely" Kubrick's idea. [30]  Intending to set the film apart from the "monsters-and-sex" type of science-fiction films of the time, Kubrick used Homer's  The Odyssey  as both a model of literary merit and a source of inspiration for the title. Kubrick said, "It occurred to us that for the Greeks the vast stretches of the sea must have had the same sort of mystery and remoteness that space has for our generation." [31] 
How much would we appreciate  La Gioconda  today if Leonardo had written at the bottom of the canvas: "This lady is smiling slightly because she has rotten teeth" — or "because she's hiding a secret from her lover"? It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to 2001.
 —Stanley Kubrick,  Playboy , 1968 [32]  
Originally, Kubrick and Clarke had planned to develop a  2001 novel first, free of the constraints of film, and then write the screenplay. They planned the writing credits to be "Screenplay by Stanley Kubrick and Arthur C. Clarke, based on a novel by Arthur C. Clarke and Stanley Kubrick" to reflect their preeminence in their respective fields. [33]  In practice, the screenplay developed in parallel with the novel, with only some elements being common to both. In a 1970 interview, Kubrick said:
 There are a number of differences between the book and the movie. The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The novel came about after we did a 130-page prose treatment of the film at the very outset. ... Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel. As a result, there's a difference between the novel and the film ... I think that the divergences between the two works are interesting. [34]   
In the end, Clarke and Kubrick wrote parts of the novel and screenplay simultaneously, with the film version being released before the book version was published. Clarke opted for clearer explanations of the mysterious monolith and Star Gate in the novel; Kubrick made the film more cryptic by minimising dialogue and explanation. [35]  Kubrick said the film is "basically a visual, nonverbal experience" that "hits the viewer at an inner level of consciousness, just as music does, or painting". [36] 
 The screenplay credits were shared whereas the 2001 novel, released shortly after the film, was attributed to Clarke alone. Clarke wrote later that "the nearest approximation to the complicated truth" is that the screenplay should be credited to "Kubrick and Clarke" and the novel to "Clarke and Kubrick". [37]  Early reports about tensions involved in the writing of the film script appeared to reach a point where Kubrick was allegedly so dissatisfied with the collaboration that he approached other writers who could replace Clarke, including Michael Moorcock and J. G. Ballard. But they felt it would be disloyal to accept Kubrick's offer. [38]  In Michael Benson's 2018 book Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece, the actual relation between Clarke and Kubrick was more complex, involving an extended interaction of Kubrick's multiple requests for Clarke to write new plot lines for various segments of the film, which Clarke was expected to withhold from publication until after the release of the film while receiving advances on his salary from Kubrick during film production. Clarke agreed to this, though apparently he did make several requests for Kubrick to allow him to develop his new plot lines into separate publishable stories while film production continued, which Kubrick consistently denied on the basis of Clarke's contractual obligation to withhold publication until release of the film. [27] 
 Astronomer Carl Sagan wrote in his 1973 book  The Cosmic Connection  that Clarke and Kubrick had asked him how to best depict extraterrestrial intelligence. While acknowledging Kubrick's desire to use actors to portray humanoid aliens for convenience's sake, Sagan argued that alien life forms were unlikely to bear any resemblance to terrestrial life, and that to do so would introduce "at least an element of falseness" to the film. Sagan proposed that the film should simply suggest extraterrestrial superintelligence, rather than depict it. He attended the premiere and was "pleased to see that I had been of some help." [39]  Sagan had met with Clarke and Kubrick only once, in 1964; and Kubrick subsequently directed several attempts to portray credible aliens, only to abandon the idea near the end of post-production. Benson asserts it is unlikely that Sagan's advice had any direct influence. [27]  Kubrick hinted at the nature of the mysterious unseen alien race in 2001 by suggesting that given millions of years of evolution, they progressed from biological beings to "immortal machine entities" and then into "beings of pure energy and spirit" with "limitless capabilities and ungraspable intelligence". [40] 
 In a 1980 interview (not released during Kubrick's lifetime), Kubrick explains one of the film's closing scenes, where Bowman is depicted in old age after his journey through the Star Gate:
 The idea was supposed to be that he is taken in by godlike entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. ... [W]hen they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made some kind of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest. [41]   
The script went through many stages. In early 1965, when backing was secured for the film, Clarke and Kubrick still had no firm idea of what would happen to Bowman after the Star Gate sequence. Initially all of Discovery's astronauts were to survive the journey; by 3 October, Clarke and Kubrick had decided to make Bowman the sole survivor and have him regress to infancy. By 17 October, Kubrick had come up with what Clarke called a "wild idea of slightly fag robots who create a Victorian environment to put our heroes at their ease." [37]  HAL 9000 was originally named Athena after the Greek goddess of wisdom and had a feminine voice and persona. [37] 
 Early drafts included a prologue containing interviews with scientists about extraterrestrial life, [42]  voice-over narration (a feature in all of Kubrick's previous films), [a]  a stronger emphasis on the prevailing Cold War balance of terror, and a different and more explicitly explained breakdown for HAL. [44]   [45]  Other changes include a different monolith for the "Dawn of Man" sequence, discarded when early prototypes did not photograph well; the use of Saturn as the final destination of the Discovery mission rather than Jupiter, discarded when the special effects team could not develop a convincing rendition of Saturn's rings; and the finale of the Star Child exploding nuclear weapons carried by Earth-orbiting satellites, [45]  which Kubrick discarded for its similarity to his previous film,  Dr. Strangelove . [42]   [45]  The finale and many of the other discarded screenplay ideas survived in Clarke's novel. [45] 
 Kubrick made further changes to make the film more nonverbal, to communicate on a visual and visceral level rather than through conventional narrative. [32]  By the time shooting began, Kubrick had removed much of the dialogue and narration. [46]  Long periods without dialogue permeate the film: the film has no dialogue for roughly the first and last twenty minutes, [47]  as well as for the 10 minutes from Floyd's Moonbus landing near the monolith until Poole watches a BBC newscast on Discovery. What dialogue remains is notable for its banality (making the computer HAL seem to have more emotion than the humans) when juxtaposed with the epic space scenes. [46]  Vincent LoBrutto wrote that Clarke's novel has its own "strong narrative structure" and precision, while the narrative of the film remains symbolic, in accord with Kubrick's final intentions. [48] 
Filming[edit]
 Principal photography began on 29 December 1965, in Stage H at Shepperton Studios, Shepperton, England. The studio was chosen because it could house the 60-by-120-by-60-foot (18 m × 37 m × 18 m) pit for the Tycho crater excavation scene, the first to be shot. In January 1966, the production moved to the smaller MGM-British Studios in Borehamwood, where the live-action and special-effects filming was done, starting with the scenes involving Floyd on the Orion spaceplane; [49]  it was described as a "huge throbbing nerve center ... with much the same frenetic atmosphere as a Cape Kennedy blockhouse during the final stages of Countdown." [50]  The only scene not filmed in a studio—and the last live-action scene shot for the film—was the skull-smashing sequence, in which Moonwatcher (Richter) wields his newfound bone "weapon-tool" against a pile of nearby animal bones. A small elevated platform was built in a field near the studio so that the camera could shoot upward with the sky as background, avoiding cars and trucks passing by in the distance. [51]   [52]  The Dawn of Man sequence that opens the film was shot at Borehamwood with John Alcott as cinematographer after Geoffrey Unsworth left to work on other projects. [53]   [54]  The still photographs used as backgrounds for the Dawn of Man sequence were taken in Namibia. [55] 
 Filming of actors was completed in September 1967, [56]  and from June 1966 until March 1968, Kubrick spent most of his time working on the 205 special-effects shots in the film. [34]  He ordered the special-effects technicians to use the painstaking process of creating all visual effects seen in the film "in camera", avoiding degraded picture quality from the use of blue screen and travelling matte techniques. Although this technique, known as "held takes", resulted in a much better image, it meant exposed film would be stored for long periods of time between shots, sometimes as long as a year. [57]  In March 1968, Kubrick finished the "pre-premiere" editing of the film, making his final cuts just days before the film's general release in April 1968. [34] 
 The film was announced in 1965 as a "Cinerama" [58]  film and was photographed in Super Panavision 70 (which uses a 65 mm negative combined with spherical lenses to create an aspect ratio of 2.20:1). It would eventually be released in a limited "roadshow" Cinerama version, then in 70 mm and 35 mm versions. [59]   [60]  Colour processing and 35 mm release prints were done using Technicolor's dye transfer process. The 70 mm prints were made by MGM Laboratories, Inc. on Metrocolor. The production was $4.5 million over the initial $6 million budget and 16 months behind schedule. [61] 
 For the opening sequence involving tribes of apes, professional mime Daniel Richter played the lead ape and choreographed the movements of the other man-apes, who were mostly portrayed by his mime troupe. [51] 
 Kubrick and Clarke consulted IBM on plans for HAL, though plans to use the company's logo never materialised. [55] 
Post-production[edit]
For cuts made after the film premiered, see the Theatrical run section below.
The film was edited before it was publicly screened, cutting out, among other things, a painting class on the lunar base that included Kubrick's daughters, additional scenes of life on the base, and Floyd buying a bush baby for his daughter from a department store via videophone. [62]  A ten-minute black-and-white opening sequence featuring interviews with scientists, including Freeman Dyson discussing off-Earth life, [63]  was removed after an early screening for MGM executives. [64] 
Music[edit]
From early in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience [65]  that did not rely on the traditional techniques of narrative cinema, and in which music would play a vital role in evoking particular moods. About half the music in the film appears either before the first line of dialogue or after the final line. Almost no music is heard during scenes with dialogue. [66] 
 The film is notable for its innovative use of classical music taken from existing commercial recordings. Most feature films, then and now, are typically accompanied by elaborate film scores or songs written specially for them by professional composers. In the early stages of production, Kubrick commissioned a score for 2001  from Hollywood composer Alex North, who had written the score for  Spartacus  and also had worked on  Dr. Strangelove . [67]  During post-production, Kubrick chose to abandon North's music in favour of the now-familiar classical pieces he had earlier chosen as temporary music for the film. North did not learn that his score had been abandoned until he saw the film's premiere. [66] 
Design and special effects[edit]
Costumes and set design[edit]
Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes, [68]  and selecting notable pieces of contemporary furniture for use in the film. When Floyd exits the Space Station 5 elevator, he is greeted by an attendant seated behind a slightly modified George Nelson Action Office desk from Herman Miller's 1964 "Action Office" series. [b]   [69]   [c]  Danish designer Arne Jacobsen designed the cutlery used by the Discovery astronauts in the film. [70]   [71]   [72] 
 Other examples of modern furniture in the film are the bright red Djinn chairs seen prominently throughout the space station [73]   [74]  and Eero Saarinen's 1956 pedestal tables. Olivier Mourgue, designer of the Djinn chair, has used the connection to 2001 in his advertising; a frame from the film's space station sequence and three production stills appear on the homepage of Mourgue's website. [75]  Shortly before Kubrick's death, film critic Alexander Walker informed Kubrick of Mourgue's use of the film, joking to him "You're keeping the price up". [76]  Commenting on their use in the film, Walker writes:
 Everyone recalls one early sequence in the film, the space hotel, primarily because the custom-made Olivier Mourgue furnishings, those foam-filled sofas, undulant and serpentine, are covered in scarlet fabric and are the first stabs of colour one sees. They resemble Rorschach "blots" against the pristine purity of the rest of the lobby. [77]   
Detailed instructions in relatively small print for various technological devices appear at several points in the film, the most visible of which are the lengthy instructions for the zero-gravity toilet on the Aries Moon shuttle. Similar detailed instructions for replacing the explosive bolts also appear on the hatches of the EVA pods, most visibly in closeup just before Bowman's pod leaves the ship to rescue Frank Poole. [d] 
 The film features an extensive use of Eurostile Bold Extended, Futura and other sans serif typefaces as design elements of the 2001 world. [79]  Computer displays show high-resolution fonts, colour, and graphics that were far in advance of what most computers were capable of in the 1960s, when the film was made. [78] 
Design of the monolith[edit]
Kubrick was personally involved in the design of the monolith and its form for the film. The first design for the monolith for the 2001 film was a transparent tetrahedral pyramid. This was taken from the short story "The Sentinel" that the first story was based on. [80]   [81] 
 A London firm was approached by Kubrick to provide a 12-foot (3.7 m) transparent plexiglass pyramid, and due to construction constraints they recommended a flat slab shape. Kubrick approved, but was disappointed with the glassy appearance of the transparent prop on set, leading art director Anthony Masters to suggest making the monolith's surface matte black. [27] 
Models[edit]
      Modern replica of the Discovery One spaceship model  
To heighten the reality of the film, very intricate models of the various spacecraft and locations were built. Their sizes ranged from about two-foot-long models of satellites and the Aries translunar shuttle up to the 55-foot (17 m)-long model of the Discovery One spacecraft. "In-camera" techniques were again used as much as possible to combine models and background shots together to prevent degradation of the image through duplication. [82]   [83] 
 In shots where there was no perspective change, still shots of the models were photographed and positive paper prints were made. The image of the model was cut out of the photographic print and mounted on glass and filmed on an animation stand. The undeveloped film was re-wound to film the star background with the silhouette of the model photograph acting as a matte to block out where the spaceship image was. [82] 
 Shots where the spacecraft had parts in motion or the perspective changed were shot by directly filming the model. For most shots the model was stationary and camera was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly. Elements of the scene were recorded on the same piece of film in separate passes to combine the lit model, stars, planets, or other spacecraft in the same shot. In moving shots of the long Discovery One spacecraft, in order to keep the entire model in focus (and preserve its sense of scale), the camera's aperture was stopped down for maximum depth-of-field, and each frame was exposed for several seconds. [84]  Many matting techniques were tried to block out the stars behind the models, with filmmakers sometimes resorting to hand-tracing frame by frame around the image of the spacecraft (rotoscoping) to create the matte. [82]   [85] 
 Some shots required exposing the film again to record previously filmed live-action shots of the people appearing in the windows of the spacecraft or structures. This was achieved by projecting the window action onto the models in a separate camera pass or, when two-dimensional photographs were used, projecting from the backside through a hole cut in the photograph. [84] 
 All of the shots required multiple takes so that some film could be developed and printed to check exposure, density, alignment of elements, and to supply footage used for other photographic effects, such as for matting. [82]   [85] 
Rotating sets[edit]
      The "centrifuge" set used for filming scenes depicting interior of the spaceship Discovery   
For spacecraft interior shots, ostensibly containing a giant centrifuge that produces artificial gravity, Kubrick had a 30-short-ton (27 t) rotating "ferris wheel" built by Vickers-Armstrong Engineering Group at a cost of $750,000. The set was 38 feet (12 m) in diameter and 10 feet (3.0 m) wide. [86]  Various scenes in the Discovery centrifuge were shot by securing set pieces within the wheel, then rotating it while the actor walked or ran in sync with its motion, keeping him at the bottom of the wheel as it turned. The camera could be fixed to the inside of the rotating wheel to show the actor walking completely "around" the set, or mounted in such a way that the wheel rotated independently of the stationary camera, as in the jogging scene where the camera appears to alternately precede and follow the running actor. [87] 
 The shots where the actors appear on opposite sides of the wheel required one of the actors to be strapped securely into place at the "top" of the wheel as it moved to allow the other actor to walk to the "bottom" of the wheel to join him. The most notable case is when Bowman enters the centrifuge from the central hub on a ladder, and joins Poole, who is eating on the other side of the centrifuge. This required Gary Lockwood to be strapped into a seat while Keir Dullea walked toward him from the opposite side of the wheel as it turned with him. [87] 
 Another rotating set appeared in an earlier sequence on board the Aries trans-lunar shuttle. A stewardess is shown preparing in-flight meals, then carrying them into a circular walkway. Attached to the set as it rotates 180 degrees, the camera's point of view remains constant, and she appears to walk up the "side" of the circular walkway, and steps, now in an "upside-down" orientation, into a connecting hallway. [88] 
Zero-gravity effects[edit]
The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set and placing the camera beneath them. The actors' bodies blocked the camera's view of the wires and appeared to float. For the shot of Poole floating into the pod's arms during Bowman's recovery of him, a stuntman on a wire portrayed the movements of an unconscious man and was shot in slow motion to enhance the illusion of drifting through space. [89]  The scene showing Bowman entering the emergency airlock from the EVA pod was done similarly: an off-camera stagehand, standing on a platform, held the wire suspending Dullea above the camera positioned at the bottom of the vertically oriented airlock. At the proper moment, the stage-hand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, jumped off the platform, causing Dullea to ascend back toward the hatch. [90] 
 The methods used were alleged to have placed stuntman Bill Weston's life in danger. Weston recalled that he filmed one sequence without air-holes in his suit, risking asphyxiation. "Even when the tank was feeding air into the suit, there was no place for the carbon dioxide Weston exhaled to go. So it simply built up inside, incrementally causing a heightened heart rate, rapid breathing, fatigue, clumsiness, and eventually, unconsciousness." [91]  Weston said Kubrick was warned "we've got to get him back" but reportedly replied, "Damn it, we just started. Leave him up there! Leave him up there!" [92]  When Weston lost consciousness, filming ceased, and he was brought down. "They brought the tower in, and I went looking for Stanley, ... I was going to shove MGM right up his ... And the thing is, Stanley had left the studio and sent Victor [Lyndon, the associate producer] to talk to me." Weston claimed Kubrick fled the studio for "two or three days. ... I know he didn't come in the next day, and I'm sure it wasn't the day after. Because I was going to do him." [93] 
"Star Gate" sequence[edit]
During the "Jupiter and Beyond the Infinite" sequence, Bowman takes a trip through the "Star Gate" that involves the innovative use of slit-scan photography to create the visual effects. 
The coloured lights in the Star Gate sequence were accomplished by slit-scan photography of thousands of high-contrast images on film, including Op art paintings, architectural drawings, Moiré patterns, printed circuits, and electron-microscope photographs of molecular and crystal structures. Known to staff as "Manhattan Project", the shots of various nebula-like phenomena, including the expanding star field, were coloured paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow motion in a dark room. [94]  The live-action landscape shots were filmed in the Hebridean islands, the mountains of northern Scotland, and Monument Valley. The colouring and negative-image effects were achieved with different colour filters in the process of making duplicate negatives in an optical printer. [95] 
Visual effects[edit]
      A bone-club and orbiting satellite are juxtaposed in the film's famous match cut   
 "Not one foot of this film was made with computer-generated special effects. Everything you see in this film or saw in this film was done physically or chemically, one way or the other." — Keir Dullea (2014) [96]    
 2001 contains a famous example of a match cut, a type of cut in which two shots are matched by action or subject matter. [97]   [98]  After Moonwatcher uses a bone to kill another ape at the watering hole, he throws it triumphantly into the air; as the bone spins in the air, the film cuts to an orbiting satellite, marking the end of the prologue. [99]  The match cut draws a connection between the two objects as exemplars of primitive and advanced tools respectively, and demonstrates humanity's technological progress since the time of early hominids. [100] 
  2001 pioneered the use of front projection with retroreflective matting. Kubrick used the technique to produce the backdrops in the Africa scenes and the scene when astronauts walk on the Moon. [101]   [54] 
 The technique consisted of a separate scenery projector set at a right angle to the camera and a half-silvered mirror placed at an angle in front that reflected the projected image forward in line with the camera lens onto a backdrop of retroreflective material. The reflective directional screen behind the actors could reflect light from the projected image 100 times more efficiently than the foreground subject did. The lighting of the foreground subject had to be balanced with the image from the screen, so that the part of the scenery image that fell on the foreground subject was too faint to show on the finished film. The exception was the eyes of the leopard in the "Dawn of Man" sequence, which glowed due to the projector illumination. Kubrick described this as "a happy accident". [102] 
 Front projection had been used in smaller settings before 2001, mostly for still photography or television production, using small still images and projectors. The expansive backdrops for the African scenes required a screen 40 feet (12 m) tall and 110 feet (34 m) wide, far larger than had been used before. When the reflective material was applied to the backdrop in 100-foot (30 m) strips, variations at the seams of the strips led to visual artefacts; to solve this, the crew tore the material into smaller chunks and applied them in a random "camouflage" pattern on the backdrop. The existing projectors using 4-×-5-inch (10 × 13 cm) transparencies resulted in grainy images when projected that large, so the crew worked with MGM's special-effects supervisor Tom Howard to build a custom projector using 8-×-10-inch (20 × 25 cm) transparencies, which required the largest water-cooled arc lamp available. [102]  The technique was used widely in the film industry thereafter until it was replaced by blue/green screen systems in the 1990s. [102] 
Soundtrack[edit]
The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of Ligeti's Aventures used in the film, used a different recording of  Also sprach Zarathustra  (performed by the Berlin Philharmonic conducted by Karl Böhm) from that heard in the film, and a longer excerpt of  Lux Aeterna  than that in the film. [103] 
 In 1996, Turner Entertainment/Rhino Records released a new soundtrack on CD that included the film's rendition of "Aventures", the version of "Zarathustra" used in the film, and the shorter version of Lux Aeterna from the film. As additional "bonus tracks" at the end, the CD includes the versions of "Zarathustra" and Lux Aeterna on the old MGM soundtrack album, an unaltered performance of "Aventures", and a nine-minute compilation of all of HAL's dialogue. [103] 
 Alex North's unused music was first released in Telarc's issue of the main theme on Hollywood's Greatest Hits, Vol. 2, a compilation album by Erich Kunzel and the Cincinnati Pops Orchestra. All of the music North originally wrote was recorded commercially by his friend and colleague Jerry Goldsmith with the National Philharmonic Orchestra and released on Varèse Sarabande CDs shortly after Telarc's first theme release and before North's death. Eventually, a mono mix-down of North's original recordings was released as a limited-edition CD by Intrada Records. [104] 
Theatrical run and post-premiere cuts[edit]
  Original trailer for 2001: A Space Odyssey.  
The film's world premiere was on 2 April 1968, [105]   [106]  at the Uptown Theater in Washington, D.C. with a 160-minute cut. [107]  It opened the next day at the Loew's Capitol in New York and the following day at the Warner Hollywood Theatre in Los Angeles. [107]  The original version was also shown in Boston. 
 Kubrick and editor Ray Lovejoy edited the film between 5 April and 9, 1968. Kubrick's rationale for trimming the film was to tighten the narrative. Reviews suggested the film suffered from its departure from traditional cinematic storytelling. [108]  Kubrick said, "I didn't believe that the trims made a critical difference. ... The people who like it like it no matter what its length, and the same holds true for the people who hate it." [62]  The cut footage is reported as being 19 [109]   [110]  or 17 [111]  minutes long. It includes scenes revealing details about life on Discovery: additional space walks, Bowman retrieving a spare part from an octagonal corridor, elements from the Poole murder sequence—including space-walk preparation and HAL turning off radio contact with Poole—and a close-up of Bowman picking up a slipper during his walk in the alien room. [62]  Jerome Agel describes the cut scenes as comprising "Dawn of Man, Orion, Poole exercising in the centrifuge, and Poole's pod exiting from Discovery." [112]  The new cut was approximately 143 minutes long, [1]  around 88 minutes for the first section, followed by an intermission, and 55 minutes in the second section. [113]  Detailed instructions were sent to theatre owners already showing the film so that they could make the specified trims themselves.[ citation needed ] Some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.
 According to his brother-in-law, Jan Harlan, Kubrick was adamant that the trims were never to be seen and had the negatives, which he had kept in his garage, burned shortly before his death. This was confirmed by former Kubrick assistant Leon Vitali: "I'll tell you right now, okay, on Clockwork Orange, The Shining, Barry Lyndon, some little parts of 2001, we had thousands of cans of negative outtakes and print, which we had stored in an area at his house where we worked out of, which he personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it. That's what he wanted." [114]  However, in December 2010, Douglas Trumbull, the film's visual effects supervisor, announced that Warner Bros. had found 17 minutes of lost footage from the post-premiere cuts, "perfectly preserved", in a Kansas salt mine vault used by Warners for storage. [115]   [112]   [111]  No plans have been announced for the rediscovered footage. [116] 
 The revised version was ready for the expansion of the roadshow release to four other U.S. cities (Chicago, Denver, Detroit and Houston), on 10 April 1968, and internationally in five cities the following day, [112]   [117]  where the shortened version was shown in 70mm format in the 2.21:1 aspect ratio and used a six-track stereo magnetic soundtrack. [112] 
 By the end of May, the film had opened in 22 cities in the United States and Canada and in another 36 in June. [118]  The general release of the film in its 35 mm anamorphic format took place in autumn 1968 and used either a four-track magnetic stereo soundtrack or an optical monaural one. [119] 
 The original 70-millimetre release, like many Super Panavision 70 films of the era such as  Grand Prix , was advertised as being in "Cinerama" in cinemas equipped with special projection optics and a deeply curved screen. In standard cinemas, the film was identified as a 70-millimetre production. The original release of 2001: A Space Odyssey in 70-millimetre Cinerama with six-track sound played continually for more than a year in several venues, and for 103 weeks in Los Angeles. [119] 
 As was typical of most films of the era released both as a "roadshow" (in Cinerama format in the case of 2001) and general release (in 70-millimetre in the case of 2001), the entrance music, intermission music (and intermission altogether), and postcredit exit music were cut from most prints of the latter version, although these have been restored to most DVD releases. [120]   [121] 
Reception[edit]
Box office[edit]
In its first nine weeks from 22 locations, it grossed $2 million in the United States and Canada. [118]  The film earned $8.5 million in theatrical gross rentals from roadshow engagements throughout 1968, [122]   [123]  contributing to North American rentals of $16.4 million and worldwide rentals of $21.9 million during its original release. [124]  The film's high costs, in excess of $10 million, [105]   [61]  meant that the initial returns from the 1968 release left it $800,000 in the red; but the successful re-release in 1971 made it profitable. [125]   [126]   [127]  By June 1974, the film had rentals from the United States and Canada of $20.3 million (gross of $58 million) [125]  and international rentals of $7.5 million. [113]  The film had a reissue on a test basis on 24 July 1974 at the Cinerama Dome in Los Angeles and grossed $53,000 in its first week, which led to an expanded reissue. [113]  Further re-releases followed, giving a cumulative gross of over $60 million in the United States and Canada. [128]  Taking its re-releases into account, it is the highest-grossing film of 1968 in the United States and Canada. [129]  Worldwide, it has grossed $146 million across all releases, [e]  although some estimates place the gross higher, at over $190 million. [131] 
Critical response[edit]
Upon release, 2001 polarised critical opinion, receiving both praise and derision, with many New York-based critics being especially harsh. Kubrick called them "dogmatically atheistic and materialistic and earthbound". [132]  Some critics viewed the original 161-minute cut shown at premieres in Washington D.C., New York, and Los Angeles. [133]  Keir Dullea says that during the New York premiere, 250 people walked out; in L.A., Rock Hudson not only left early but "was heard to mutter, 'What is this bullshit?'" [132]  "Will someone tell me what the hell this is about?" [134]  "But a few months into the release, they realised a lot of people were watching it while smoking funny cigarettes. Someone in San Francisco even ran right through the screen screaming: 'It's God!' So they came up with a new poster that said: '2001 – the ultimate trip!'" [135] 
 In  The New Yorker , Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor ... The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing." [136]  Charles Champlin of the  Los Angeles Times  wrote that it was "the picture that science fiction fans of every age and in every corner of the world have prayed (sometimes forlornly) that the industry might some day give them. It is an ultimate statement of the science fiction film, an awesome realization of the spatial future ... it is a milestone, a landmark for a spacemark, in the art of film." [137]  Louise Sweeney of  The Christian Science Monitor  felt that 2001 was "a brilliant intergalactic satire on modern technology. It's also a dazzling 160-minute tour on the Kubrick filmship through the universe out there beyond our earth." [138]  Philip French wrote that the film was "perhaps the first multi-million-dollar supercolossal movie since D.W. Griffith's  Intolerance  fifty years ago which can be regarded as the work of one man ... Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch." [139]   The Boston Globe 's review called it "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere ... The film is as exciting as the discovery of a new dimension in life." [140]  Roger Ebert gave the film four stars in his original review, saying the film "succeeds magnificently on a cosmic scale." [47]  He later put it on his Top 10 list for  Sight &amp; Sound . [141]   Time  provided at least seven different mini-reviews of the film in various issues in 1968, each one slightly more positive than the preceding one; in the final review dated 27 December 1968, the magazine called 2001 "an epic film about the history and future of mankind, brilliantly directed by Stanley Kubrick. The special effects are mindblowing." [142] 
 Others were unimpressed. Pauline Kael called it "a monumentally unimaginative movie." [143]  Stanley Kauffmann of  The New Republic  described it as "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull." [144]  The Soviet film director Andrei Tarkovsky found the film to be an inadequate addition to the science fiction genre of filmmaking. [27]  Renata Adler of  The New York Times  wrote that it was "somewhere between hypnotic and immensely boring." [145]   Variety 's Robert B. Frederick ('Robe') believed the film was a "[b]ig, beautiful, but plodding sci-fi epic ... A major achievement in cinematography and special effects, 2001 lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark." [108]  Andrew Sarris called it "one of the grimmest films I have ever seen in my life ... 2001 is a disaster because it is much too abstract to make its abstract points." [146]  (Sarris reversed his opinion upon a second viewing, and declared, "2001 is indeed a major work by a major artist." [147] ) John Simon felt it was "a regrettable failure, although not a total one. This film is fascinating when it concentrates on apes or machines ... and dreadful when it deals with the in-betweens: humans ... 2001, for all its lively visual and mechanical spectacle, is a kind of space-Spartacus and, more pretentious still, a shaggy God story." [148]  Historian Arthur M. Schlesinger, Jr. deemed the film "morally pretentious, intellectually obscure and inordinately long ... a film out of control". [149]  In a 2001 review, the BBC said that its slow pacing often alienates modern audiences more than it did upon its initial release. [150] 
 On review aggregator Rotten Tomatoes, the film has a "Certified Fresh" rating of 92% based on 116 reviews, with an average rating of 9.2/10. The website's critical consensus reads: "One of the most influential of all sci-fi films – and one of the most controversial – Stanley Kubrick's 2001 is a delicate, poetic meditation on the ingenuity – and folly – of mankind." [106]  Review aggregator Metacritic, which uses a weighted average, has assigned the film a score of 84 out of 100, based on 25 critic reviews, indicating "universal acclaim". [151] 
2001 was the only science fiction film to make Sight &amp; Sound's 2012 list of the ten best films, [152]  and tops the Online Film Critics Society list of greatest science fiction films of all time. [153]  In 2012, the Motion Picture Editors Guild listed the film as the 19th best-edited film of all time based on a survey of its membership. [154]  Other lists that include the film are  50 Films to See Before You Die  (#6), The Village Voice 100 Best Films of the 20th century (#11), and Roger Ebert's Top Ten (1968) (#2). In 1995, the Vatican named it one of the 45 best films ever made (and included it in a sub-list of the "Top Ten Art Movies" of all time.) [155]  In 1998,  Time Out  conducted a reader's poll and 2001: A Space Odyssey was voted as #9 on the list of "greatest films of all time". [156]   Entertainment Weekly  voted it no. 26 on their list of 100 Greatest Movies of All Time. [157]  In 2017,  Empire  magazine's readers' poll ranked the film 21st on its list of "The 100 Greatest Movies". [158]  In the Sight &amp; Sound poll of 480 directors published in December 2022, 2001: A Space Odyssey was voted as the Greatest Film of All Time, ahead of  Citizen Kane  and  The Godfather . [159]   [160] 
Science fiction writers[edit]
The film won the Hugo Award for best dramatic presentation, as voted by science fiction fans and published science-fiction writers. [161]  Ray Bradbury praised the film's photography, but disliked the banality of most of the dialogue, and believed that the audience does not care when Poole dies. [162]  Both he and Lester del Rey disliked the film's feeling of sterility and blandness in the human encounters amidst the technological wonders, while both praised the pictorial element of the film. Reporting that "half the audience had left by intermission", Del Rey described the film as dull, confusing, and boring ("the first of the New Wave-Thing movies, with the usual empty symbols"), predicting "[i]t will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years". [163]  Samuel R. Delany was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany noticed the banality of the dialogue (he stated that characters say nothing meaningful), but regarded this as a dramatic strength, a prelude to the rebirth at the conclusion of the film. [164]  Without analysing the film in detail, Isaac Asimov spoke well of it in his autobiography and other essays. James P. Hogan liked the film but complained that the ending did not make any sense to him, leading to a bet about whether he could write something better: "I stole Arthur's plot idea shamelessly and produced  Inherit the Stars ." [165] 
Awards and honours[edit]
In 1969, a United States Department of State committee chose 2001 as the American entry at the 6th Moscow International Film Festival. [174] 
  2001 was ranked 15th on the American Film Institute's 2007  100 Years ... 100 Movies   [175]  (22 in  1998 ), [176]  was no. 40 on its  100 Years, 100 Thrills , [177]  was included on its  100 Years, 100 Quotes  (no. 78 "Open the pod bay doors, HAL."), [178]  and HAL 9000 was the no. 13 villain in  100 Years ... 100 Heroes and Villains . [179]  The film was also no. 47 on AFI's 100 Years ... 100 Cheers  [180]  and the no. 1 science fiction film on AFI's 10 Top 10. [181] 
Interpretations[edit]
Since its premiere, 2001: A Space Odyssey has been analysed and interpreted by professional critics and theorists, amateur writers, and science fiction fans. In his monograph for BFI analysing the film, Peter Krämer summarised the diverse interpretations as ranging from those who saw it as darkly apocalyptic in tone to those who saw it as an optimistic reappraisal of the hopes of mankind and humanity. [182]  Questions about 2001 range from uncertainty about its implications for humanity's origins and destiny in the universe [183]  to interpreting elements of the film's more enigmatic scenes, such as the meaning of the monolith, or the fate of astronaut David Bowman. There are also simpler and more mundane questions about the plot, in particular the causes of HAL's breakdown (explained in earlier drafts but kept mysterious in the film). [184]   [41]   [185]   [186] 
Audiences vs. critics[edit]
A spectrum of diverse interpretative opinions would form after the film's release, appearing to divide theatre audiences from the opinions of critics. Krämer writes: "Many people sent letters to Kubrick to tell him about their responses to 2001, most of them regarding the film—in particular the ending—as an optimistic statement about humanity, which is seen to be born and reborn. The film's reviewers and academic critics, by contrast, have tended to understand the film as a pessimistic account of human nature and humanity's future. The most extreme of these interpretations state that the foetus floating above the Earth will destroy it." [187] 
      Closing scene of Dr. Strangelove and Kubrick's sardonic fulfilment of a nuclear nightmare  
Some of the critics' cataclysmic interpretations were informed by Kubrick's prior direction of the Cold War film Dr. Strangelove, immediately before 2001, which resulted in dark speculation about the nuclear weapons orbiting the Earth in 2001. These interpretations were challenged by Clarke, who said: "Many readers have interpreted the last paragraph of the book to mean that he (the foetus) destroyed Earth, perhaps for the purpose of creating a new Heaven. This idea never occurred to me; it seems clear that he triggered the orbiting nuclear bombs harmlessly ...". [182]  In response to Jeremy Bernstein's dark interpretation of the film's ending, Kubrick said: "The book does not end with the destruction of the Earth." [182] 
 Regarding the film as a whole, Kubrick encouraged people to make their own interpretations and refused to offer an explanation of "what really happened". In a 1968 interview with  Playboy magazine, he said:
 You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point. [40]   
In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious." But he said he did not strive for ambiguity—it was simply an inevitable outcome of making the film nonverbal. Still, he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the film's metaphysical interpretation, which he felt should be left up to viewers. [188] 
Meaning of the monolith[edit]
For some readers, Clarke's more straightforward novel based on the script is key to interpreting the film. The novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy. These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston wrote in 1971 that because the novel differs in many key aspects from the film, it perhaps should not be regarded as the skeleton key to unlock it. [189] 
      Multiple interpretations of the meaning of the monolith have been examined in the critical reception of the film  
Carolyn Geduld writes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma. [190]  Vincent LoBrutto's biography of Kubrick says that for many, Clarke's novel supplements the understanding of the monolith which is more ambiguously depicted in the film. [191]  Similarly, Geduld observes that "the monolith ... has a very simple explanation in Clarke's novel", though she later asserts that even the novel does not fully explain the ending. [190] 
 Bob McClay's  Rolling Stone  review describes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes (thus 'beginning' mankind) and the completion of "another evolution" in the fourth and final encounter [192]  with the monolith. In a similar vein, Tim Dirks ends his synopsis saying "[t]he cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete." [193] 
 Humanity's first and second encounters with the monolith have visual elements in common; both the apes, and later the astronauts, touch it gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over it (the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position), echoing the Sun–Earth–Moon alignment seen at the very beginning of the film. [194]  The second encounter also suggests the triggering of the monolith's radio signal to Jupiter by the presence of humans, echoing the premise of Clarke's source story "The Sentinel". [195] 
 The monolith is the subject of the film's final line of dialogue (spoken at the end of the "Jupiter Mission" segment): "Its origin and purpose still a total mystery." Reviewers McClay and Roger Ebert wrote that the monolith is the main element of mystery in the film; Ebert described "the shock of the monolith's straight edges and square corners among the weathered rocks," and the apes warily circling it as prefiguring man reaching "for the stars." [47]  Patrick Webster suggests the final line relates to how the film should be approached as a whole: "The line appends not merely to the discovery of the monolith on the Moon, but to our understanding of the film in the light of the ultimate questions it raises about the mystery of the universe." [196] 
 According to other scholars, "the monolith is a representation of the actual wideframe cinema screen, rotated 90 degrees ... a symbolic cinema screen". [197]  "It is at once a screen and the opposite of a screen, since its black surface only absorbs, and sends nothing out. ... and leads us ... to project ourselves, our emotions". [198] 
"A new heaven"[edit]
Clarke indicated his preferred reading of the ending of 2001 as oriented toward the creation of "a new heaven" provided by the Star Child. [182]  His view was corroborated in a posthumously released interview with Kubrick. [41]  Kubrick says that Bowman is elevated to a higher level of being that represents the next stage of human evolution. The film also conveys what some viewers have described as a sense of the sublime and numinous. [47]  Ebert writes in his essay on 2001 in  The Great Movies :
      The Star Child looking upon the Earth  
 North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for 2001 because, like all scores, it attempts to underline the action—to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals. [47]   
In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterised by a need to encounter something totally other than ourselves—"something numinous"—and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home. [199]  Similarly, an article in The Greenwood Encyclopedia of Science Fiction and Fantasy, titled "Sense of Wonder," describes how 2001 creates a "numinous sense of wonder" by portraying a universe that inspires a sense of awe but that at the same time we feel we can understand. [200]  Christopher Palmer wrote that "the sublime and the banal" coexist in the film, as it implies that to get into space, people had to suspend the "sense of wonder" that motivated them to explore it. [201] 
HAL's breakdown[edit]
      One of HAL 9000's interfaces  
The reasons for HAL's malfunction and subsequent malignant behaviour have elicited much discussion. He has been compared to Frankenstein's monster. In Clarke's novel, HAL malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, namely the confidentially programmed mission priority over expendable human life, despite being constructed for "the accurate processing of information without distortion or concealment". This would not be addressed on film until the 1984 follow-up,  2010: The Year We Make Contact . Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of the characters. [47]  In an interview with Joseph Gelmis in 1969, Kubrick said that HAL "had an acute emotional crisis because he could not accept evidence of his own fallibility". [202] 
"Star Child" symbolism[edit]
Multiple allegorical interpretations of 2001 have been proposed. The symbolism of life and death can be seen through the final moments of the film, which are defined by the image of the "Star Child," an in utero foetus that draws on the work of Lennart Nilsson. [203]  The Star Child signifies a "great new beginning," [203]  and is depicted naked and ungirded but with its eyes wide open. [204]  Leonard F. Wheat sees 2001 as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine. [205]  Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism". [206] 
Military satellites[edit]
Kubrick originally planned a voice-over to reveal that the satellites seen after the prologue are nuclear weapons, [207]  and that the Star Child would detonate the weapons at the end of the film [208]  but felt this would create associations with Dr. Strangelove and decided not to make it obvious that they were "war machines". A few weeks before the film's release, the U.S. and Soviet governments had agreed not to put any nuclear weapons into outer space. [209] 
 In a book he wrote with Kubrick's assistance, Alexander Walker states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century". [207] 
 Kubrick scholar Michel Ciment, discussing Kubrick's attitude toward human aggression and instinct, observes: "The bone cast into the air by the ape (now become a man) is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon." [210]  In contrast to Ciment's reading of a cut to a serene "other extreme of civilization", science fiction novelist Robert Sawyer, in the Canadian documentary 2001 and Beyond, says he sees it as a cut from a bone to a nuclear weapons platform, explaining that "what we see is not how far we've leaped ahead, what we see is that today, '2001', and four million years ago on the African veldt, it's exactly the same—the power of mankind is the power of its weapons. It's a continuation, not a discontinuity in that jump." [211] 
Legacy and influence[edit]
 2001: A Space Odyssey is widely regarded as among the greatest and most influential films ever made. [212]  It is considered one of the major artistic works of the 20th century, with many critics and filmmakers considering it Kubrick's masterpiece. [213]  In the 1980s, [214]  critic David Denby compared Kubrick to the monolith from 2001: A Space Odyssey, calling him "a force of supernatural intelligence, appearing at great intervals amid high-pitched shrieks, who gives the world a violent kick up the next rung of the evolutionary ladder". [215]  By the start of the 21st century, 2001: A Space Odyssey had become recognised as among the best films ever made by such sources as the British Film Institute (BFI).  The Village Voice  ranked the film at number 11 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. [216]  In January 2002, the film was included on the list of the "Top 100 Essential Films of All Time" by the National Society of Film Critics. [217]   [218]  Sight &amp; Sound magazine ranked the film 12th in its greatest films of all-time list in 1982, [219]  tenth in 1992 critics' poll of greatest films, [220]  sixth in the top ten films of all time in its 2002, [221]  2012  [222]  and 2022 critics' polls editions; [160]  it also tied for second and first place in the magazine's 2012  [222]  and 2022 directors' poll. [160]  The film was voted no. 43 on the list of "100 Greatest Films" by the prominent French magazine  Cahiers du cinéma  in 2008. [223]  In 2010,  The Guardian  named it "the best sci-fi and fantasy film of all time". [224]  The film ranked 4th in BBC's 2015 list of the 100 greatest American films. [225]  In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. [226]  In 2010, it was named the greatest film of all time by  The Moving Arts Film Journal . [227] 
Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned. On a technical level, it [ Star Wars ] can be compared, but personally I think that 2001 is far superior.
 —George Lucas, 1977 [119]  
The influence of 2001 on subsequent filmmakers is considerable. Steven Spielberg, George Lucas, and others—including many special effects technicians—discuss the impact the film has had on them in a featurette titled Standing on the Shoulders of Kubrick: The Legacy of 2001, included in the 2007 DVD release of the film. Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker". Director Martin Scorsese has listed it as one of his favourite films of all time. [228]  Sydney Pollack calls it "groundbreaking", and William Friedkin says 2001 is "the grandfather of all such films". At the 2007 Venice film festival, director Ridley Scott said he believed 2001 was the unbeatable film that in a sense killed the science fiction genre. [229]  Similarly, film critic Michel Ciment in his essay "Odyssey of Stanley Kubrick" wrote, "Kubrick has conceived a film which in one stroke has made the whole science fiction cinema obsolete." [230] 
 Others credit 2001 with opening up a market for films such as  Close Encounters of the Third Kind ,  Alien ,  Blade Runner ,  Contact , and  Interstellar , proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple. [231]  Science magazine Discover's blogger Stephen Cass, discussing the film's considerable impact on subsequent science fiction, writes that "the balletic spacecraft scenes set to sweeping classical music, the tarantula-soft tones of HAL 9000, and the ultimate alien artifact, the monolith, have all become enduring cultural icons in their own right". [232]  Trumbull said that when working on  Star Trek: The Motion Picture  he made a scene without dialogue because of "something I really learned with Kubrick and 2001: Stop talking for a while, and let it all flow". [233] 
 Kubrick did not envision a sequel to 2001. Fearing the later exploitation and recycling of his material in other productions (as was done with the props from MGM's  Forbidden Planet ), he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed.[ citation needed ] Most of these materials were lost, with some exceptions: a 2001 spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series  UFO , [209]   [234]   [235]   [236]  and one of HAL's eyepieces is in the possession of the author of Hal's Legacy, David G. Stork. In 2012, Lockheed engineer Adam Johnson, working with Frederick I. Ordway III, science adviser to Kubrick, wrote the book 2001: The Lost Science, which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed. Clarke wrote three sequel novels:  2010: Odyssey Two  (1982),  2061: Odyssey Three  (1987), and  3001: The Final Odyssey  (1997). The only filmed sequel,  2010: The Year We Make Contact , released in 1984, was based on Clarke's 1982 novel. Kubrick was not involved; it was directed as a spin-off by Peter Hyams in a more conventional style. The other two novels have not been adapted for the screen, although actor Tom Hanks in June 1999 expressed a passing interest in possible adaptations. [237] 
 To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on 8 April 2018, in the Smithsonian Institution's National Air and Space Museum. The exhibit features a fully realised, full-scale reflection of the neo-classical hotel room from the film's penultimate scene. [238]   [239]  Director Christopher Nolan presented a mastered 70 mm print of 2001 for the film's 50th anniversary at the 2018 Cannes Film Festival on 12 May. [240]   [241]  The new 70 mm print is a photochemical recreation made from the original camera negative, for the first time since the film's original theatrical run. [242]   [243]  Further, an exhibit entitled "Envisioning 2001: Stanley Kubrick's Space Odyssey" presented at the Museum of the Moving Image in Astoria, Queens, New York City opened in January 2020. [244] 
 In July 2020, a silver space suit was sold at auction in Los Angeles for $370,000, exceeding its estimate of $200,000–300,000. Four layers of paint indicate it was used in multiple scenes, including the Clavius Moon base sequence. The helmet had been painted green at one stage, leading to a belief that it may have been worn during the scene where Dave Bowman disconnects HAL 9000. [245] 
 Stanley Kubrick introduced Arthur C. Clarke to the book  The Hero with a Thousand Faces  by Joseph Campbell during the writing of 2001: A Space Odyssey. There are allegorical archetypal patterns of the "hero's journey" in this film. Arthur C. Clarke called Joseph Campbell's book "very stimulating" in his diary entry. [246] 
Home media[edit]
The film has been released in several forms:
 In 1980, MGM/CBS Home Video released the film on VHS and Betamax. [247]  
In 1989, The Criterion Collection released a two-disc special LaserDisc edition with the transfer monitored by Kubrick himself. [248]  
In 2008, Warner Bros. released the film on Blu-ray. [249]  
In 2018, Warner Bros. re-released it on Blu-ray and 4K HDR on Ultra HD Blu-ray, based on a 8K scan of the original camera negative and audio remixed and remastered in DTS-HD MA 5.1. [250]   
Re-releases[edit]
The film was re-released in 1974, 1977, 1980 [122]  and 1993. [251]  In 2001, a restoration of the 70 mm version was screened at the Ebert's Overlooked Film Festival, and the production was also reissued to selected film houses in North America, Europe and Asia. [252]   [253] 
 For the film's 50th anniversary, Warner Bros. struck new 70mm prints from printing elements made directly from the original film negative. [242]  This was done under the supervision of film director Christopher Nolan, who has spoken of 2001's influence on his career. Following a showing at the 2018 Cannes Film Festival introduced by Nolan, the film had a limited worldwide release at select 70mm-equipped theatres in the summer of 2018, [240]   [254]  followed by a one-week run in North American IMAX theatres (including five locations equipped with 70 mm IMAX projectors). [255] 
 On 3 December 2018, an 8K Ultra-high definition television version of the film was reported to have been broadcast in select theatres and shopping-mall demonstration stations in Japan. [256] 
See also[edit]
  List of films considered the best 
 List of films featuring eclipses 
 List of films featuring extraterrestrials 
 List of films featuring space stations 
 List of artificial intelligence films 
 List of incomplete or partially lost films  
References[edit]
 Informational notes
 
  ^  Jason Sperb's study of Kubrick The Kubrick Facade analyses Kubrick's use of narration in detail. John Baxter's biography of Kubrick also describes how he frequently favoured voice-over narration. Only three of Kubrick's 13 films lack narration: Space Odyssey, The Shining, and Eyes Wide Shut. [43] 
  ^  Examples of the Action Office desk and "Propst Perch" chair appearing in the film can be seen in Pina 2002, pp. 66–71. First introduced in 1968, the Action Office-stcubicle" would eventually occupy 70 per cent of office space by the mid-2000s.
  ^  Cubicles had earlier appeared in Jacques Tati's Playtime in 1967.
  ^  Between the two lines large red letters reading at top "CAUTION" and at bottom "EXPLOSIVE BOLTS" are smaller black lines reading "MAINTENANCE AND REPLACEMENT INSTRUCTIONS" followed by even smaller lines of four instructions beginning "(1) SELF TEST EXPLOSIVE BOLTS PER INST 14 PARA 3 SEC 5D AFTER EACH EVA", et cetera. The instructions are generally legible on Blu-ray editions but not DVD editions of the film. [78] 
  ^  Robert Kolker put the cumulative global gross of the film at $138 million as of 2006, [130]  although it has had several limited releases since then. The combined takings of the 2010, 2013, 2014, 2017 and 2018 reissues added a further $7.9 million to the gross. [128] 
 
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 Bibliography
  Agel, Jerome, ed. (1970).  The Making of Kubrick's 2001 . New York: New American Library. ISBN  0-451-07139-5 . 
 Bizony, Piers (2001). 2001 Filming the Future. London: Sidgwick and Jackson. ISBN  1-85410-706-2 . 
  Castle, Alison, ed. (2005).  The Stanley Kubrick Archives . Cologne: Taschen. ISBN  978-3-8228-2284-5 . Archived from the original on 7 July 2007. Retrieved 5 February 2007. 
 Block, Alex Ben; Wilson, Lucy Autrey, eds. (2010).  George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success . HarperCollins. ISBN  978-0-06-177889-6 . Archived from the original on 18 December 2019. Retrieved 6 August 2019. 
 Chapman, James; Cull, Nicholas J. (5 February 2013).  Projecting Tomorrow: Science Fiction and Popular Cinema . I.B. Tauris. ISBN  978-1-78076-410-8 . Archived from the original on 28 January 2016. Retrieved 20 November 2015. 
  Ciment, Michel (1999) [1980]. Kubrick. New York: Faber and Faber. ISBN  0-571-21108-9 . 
  Clarke, Arthur C. (1972).  The Lost Worlds of 2001 . London: Sidgwick and Jackson. ISBN  0-283-97903-8 . 
 Fiell, Charlotte (2005). 1,000 Chairs (Taschen 25). Taschen. ISBN  978-3-8228-4103-7 . 
 Gelmis, Joseph (1970).  The Film Director As Superstar . New York: Doubleday &amp; Company. 
 Geduld, Carolyn (1973). "4. The Production: A Calendar".  Filmguide to 2001: A Space Odyssey . Indiana University Press. ISBN  978-0-253-39305-0 . 
 Hughes, David (2000). The Complete Kubrick. London: Virgin Publishing Ltd. ISBN  0-7535-0452-9 . 
 Kolker, Robert, ed. (2006). Stanley Kubrick's 2001: A Space Odyssey: New Essays. New York: Oxford University Press. ISBN  0-19-517453-4 . 
 Krämer, Peter (2010). 2001: A Space Odyssey. BFI Film Classics. London: British Film Institute. 
 LoBrutto, Vincent (1998).  Stanley Kubrick . London: Faber and Faber. ISBN  0-571-19393-5 . 
 McAleer, Neil (1992).  Arthur C. Clarke. The Authorized Biography . Contemporary Books. ISBN  0-8092-4324-5 . 
 McAleer, Neil (1 April 2013).  Sir Arthur C. Clarke: Odyssey of a Visionary: A Biography . RosettaBooks. ISBN  978-0-9848118-0-9 . Archived from the original on 18 July 2020. Retrieved 9 July 2020. 
 Pina, Leslie A. (2002). Herman Miller Office. Pennsylvania, United States: Schiffer Publishing. ISBN  978-0-7643-1650-0 . 
 Richter, Daniel (2002).  Moonwatcher's Memoir: A Diary of 2001: A Space Odyssey . foreword by Arthur C. Clarke. New York City: Carroll &amp; Graf Publishers. ISBN  0-7867-1073-X . 
 Schwam, Stephanie, ed. (2010) [2000].  The Making of 2001: A Space Odyssey . Introduction by Jay Cocks. New York City: Random House. ISBN  978-0-307-75760-9 . Archived from the original on 14 November 2020. Retrieved 21 September 2020. 
 Walker, Alexander (1971). Stanley Kubrick Directs. New York: Harcourt Brace Jovanovich. ISBN  0-393-32119-3 . 
 Walker, Alexander (2000). Stanley Kubrick, director. New York: W.W. Norton and Company. ISBN  0-393-32119-3 . Note: This is a revised edition of Walker 1971.
 Wheat, Leonard F. (2000). Kubrick's 2001: A Triple Allegory. Lanham, MD: Scarecrow Press. ISBN  0-8108-3796-X .  
 Further reading
   Emme, Eugene M., ed. (1982). Science fiction and space futures – past and present. AAS History Series. Vol. 5. San Diego: Univelt. ISBN  0-87703-172-X . 
 Frayling, Christopher (2015). The 2001 File: Harry Lange and the Design of the Landmark Science Fiction Film. London: Reel Art Press. ISBN  978-0-9572610-2-0 . 
 Johnson, Adam (2012). 2001 The Lost Science. Burlington Canada: Apogee Prime. ISBN  978-1-926837-19-2 . 
 Johnson, Adam (2016). 2001 The Lost Science Volume 2. Burlington Canada: Apogee Prime. ISBN  978-1-926837-35-2 . 
  Mathijs, Ernest; Mendik, Xavier (2011). "2001: A Space Odyssey".  100 Cult Films . London: Palgrave Macmillan. p. 6. ISBN  978-1-84457-571-8 . 
  Ordway, Frederick I; Godwin, Robert (2014). 2001 The Heritage &amp; Legacy of the Space Odyssey. Burlington Canada: Apogee Prime. ISBN  978-1-9268373-2-1 . 
 Shuldiner, Herbert (June 1968). "How They Filmed '2001: A Space Odyssey'".  Popular Science . Vol. 192, no. 6. Bonnier Corporation. pp. 62–67. ISSN 0161-7370. 
 Wigley, Samuel (28 March 2018). "50 years of 2001: A Space Odyssey – 5 films that influenced Kubrick's giant leap for sci-fi".  bfi.org.uk . Retrieved 14 January 2021.  
External links[edit]
2001: A Space Odyssey (film) - Wikipedia
https://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(film)
https://en.wikipedia.org/wiki/Bicentennial_Man_(film)
Bicentennial Man (film) - Wikipedia
2006-03-05
None
<div><div>
	<p>From Wikipedia, the free encyclopedia</p>
	</div><div>
<table><tbody><tr><th>Bicentennial Man</th></tr><tr><td><a href="/wiki/File:Bicentennial_man_film_poster.jpg"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/Chris_Columbus_(filmmaker)">Chris Columbus</a></td></tr><tr><th>Screenplay by</th><td><a href="/wiki/Nicholas_Kazan">Nicholas Kazan</a></td></tr><tr><th>Based on</th><td><div>
<ul><li><i><a href="/wiki/The_Bicentennial_Man">The Bicentennial Man</a></i><br />by <a href="/wiki/Isaac_Asimov">Isaac Asimov</a></li>
<li><i><a href="/wiki/The_Positronic_Man">The Positronic Man</a></i><br />by Isaac Asimov<br /><a href="/wiki/Robert_Silverberg">Robert Silverberg</a></li></ul>
</div></td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="/wiki/Wolfgang_Petersen">Wolfgang Petersen</a></li>
<li><a href="/wiki/Gail_Katz">Gail Katz</a></li>
<li><a href="/wiki/Laurence_Mark">Laurence Mark</a></li>
<li>Neal Miller</li>
<li>Chris Columbus</li>
<li>Mark Radcliffe</li>
<li><a href="/wiki/Michael_Barnathan">Michael Barnathan</a></li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Robin_Williams">Robin Williams</a></li>
<li><a href="/wiki/Sam_Neill">Sam Neill</a></li>
<li><a href="/wiki/Embeth_Davidtz">Embeth Davidtz</a></li>
<li><a href="/wiki/Wendy_Crewson">Wendy Crewson</a></li>
<li><a href="/wiki/Oliver_Platt">Oliver Platt</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Phil_M%C3%A9heux">Phil Méheux</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Neil_Travis">Neil Travis</a></td></tr><tr><th>Music by</th><td><a href="/wiki/James_Horner">James Horner</a></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Touchstone_Pictures">Touchstone Pictures</a></li>
<li><a href="/wiki/Columbia_Pictures">Columbia Pictures</a></li>
<li><a href="/wiki/1492_Pictures">1492 Pictures</a></li>
<li>Laurence Mark Productions</li>
<li>Radiant Productions</li></ul>
</div></td></tr><tr><th>Distributed by</th><td><div>
<ul><li><a href="/wiki/Walt_Disney_Studios_Motion_Pictures">Buena Vista Pictures Distribution</a><br />(North America)</li>
<li><a href="/wiki/Sony_Pictures_Motion_Picture_Group">
Columbia TriStar Film Distributors International</a> (International)</li></ul>
</div></td></tr><tr><th><p>Release date</p></th><td><div>
<ul><li>December 17, 1999 (United States)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>132 minutes</td></tr><tr><th>Country</th><td>United States</td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$90-100 million<sup><a href="#cite_note-numbers-1">[1]</a></sup><sup><a href="#cite_note-Eller-2">[2]</a></sup></td></tr><tr><th>Box office</th><td>$87.4 million<sup><a href="#cite_note-numbers-1">[1]</a></sup></td></tr></tbody></table>
<p><i><b>Bicentennial Man</b></i> is a 1999 American <a href="/wiki/Science_fiction_film">science fiction</a> <a href="/wiki/Comedy-drama">comedy-drama</a> film starring <a href="/wiki/Robin_Williams">Robin Williams</a>, <a href="/wiki/Sam_Neill">Sam Neill</a>, <a href="/wiki/Embeth_Davidtz">Embeth Davidtz</a> (in a dual role), <a href="/wiki/Wendy_Crewson">Wendy Crewson</a>, and <a href="/wiki/Oliver_Platt">Oliver Platt</a>. Based on the 1992 novel <i><a href="/wiki/The_Positronic_Man">The Positronic Man</a></i> by <a href="/wiki/Isaac_Asimov">Isaac Asimov</a> and <a href="/wiki/Robert_Silverberg">Robert Silverberg</a> (which is itself based on Asimov's original 1976 novelette "<a href="/wiki/The_Bicentennial_Man">The Bicentennial Man</a>"), the plot explores issues of <a href="/wiki/Human_condition">humanity</a>, <a href="/wiki/Slavery">slavery</a>, <a href="/wiki/Prejudice">prejudice</a>, <a href="/wiki/Maturity_(psychological)">maturity</a>, <a href="/wiki/Intellectual_freedom">intellectual freedom</a>, <a href="/wiki/Conformity">conformity</a>, <a href="/wiki/Sex">sex</a>, <a href="/wiki/Love">love</a>, <a href="/wiki/Death">mortality</a>, and <a href="/wiki/Immortality">eternal life</a>. The film, a co-production between <a href="/wiki/Touchstone_Pictures">Touchstone Pictures</a> and <a href="/wiki/Columbia_Pictures">Columbia Pictures</a>, was directed by <a href="/wiki/Chris_Columbus_(filmmaker)">Chris Columbus</a>. The title comes from the main character existing to the age of two hundred years.
</p><p><i>Bicentennial Man</i> was released by <a href="/wiki/Buena_Vista_Pictures">Buena Vista Pictures</a> in the United States on December 17, 1999 and received mixed reviews from critics. The film was also a <a href="/wiki/Box-office_bomb">box office bomb</a>, grossing only $87.4 million against a $90–100 million budget.<sup><a href="#cite_note-3">[3]</a></sup>
</p><p>Makeup artist <a href="/wiki/Greg_Cannom">Greg Cannom</a> was nominated for the <a href="/wiki/Academy_Award_for_Best_Makeup_and_Hairstyling">Academy Award for Best Makeup</a> at the <a href="/wiki/72nd_Academy_Awards">72nd Academy Awards</a>. The theme song of the film, "<a href="/wiki/Then_You_Look_at_Me">Then You Look at Me</a>", was written by James Horner and Will Jennings and sung by <a href="/wiki/Celine_Dion">Celine Dion</a>.<sup><a href="#cite_note-4">[4]</a></sup>
</p>
<h2>Plot[<a href="/w/index.php?title=Bicentennial_Man_(film)&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>On April 3, 2005, the NDR series <a href="/wiki/Robot">robot</a> "Andrew" is introduced into the Martin family home to perform housekeeping and maintenance duties and introduces himself by showing a presentation of the <a href="/wiki/Three_Laws_of_Robotics">Three Laws of Robotics</a>. The eldest daughter Grace despises Andrew, but her younger sister Amanda is sympathetic to him, and Andrew discovers he feels emotions, and is drawn to spend more time with his "Little Miss". He accidentally breaks one of her glass figurines and is able to carve a new one out of wood, which surprises her father Richard. He takes Andrew to NorthAm Robotics to inquire if Andrew's creativity was part of his programming. NorthAm's CEO Dennis Mansky claims this is a problem and offers to scrap Andrew, but instead Richard takes Andrew back home and encourages him to continue his creativity and explore other humanities. Andrew becomes a clockmaker and earns a sizable fortune managed by Richard after they find that robots have no rights under current laws.
</p><p>Time passes, and Richard encourages Dennis to give Andrew the ability to present facial expressions to match his emotions. About two decades after being awoken, Andrew presents Richard with all the money he has made to ask for his freedom. Wounded by this, Richard refuses to accept it but does grant Andrew his independence, on the condition he may no longer reside at the Martin home. Andrew builds his own home by the beach. In 2048, Richard is on his death bed, and apologizes to Andrew for banishing him before he dies.
</p><p>Following Richard's death, Andrew goes on a quest to find other NDR robots that are like him, frequently communicating back to Amanda, who has since married and divorced, and has a son Lloyd and granddaughter Portia. In 2068, during his quest, Andrew discovers Galatea, an NDR robot that has been modified with female personality and traits. Andrew becomes interested in how Galatea was modified by Rupert Burns, the son of the original NDR designer, and finds he has a number of potential ideas to help make robots appear more human-like. Andrew agrees to fund Rupert's work and to be a test subject and is soon given a human-like appearance. Andrew finally returns to the Martin home in 2088 and finds that Amanda has grown old while Portia looks much like her grandmother at her age. Portia is initially cautious of Andrew, but soon accepts him as part of the Martin family.
</p><p>When Amanda dies, Andrew realises that all those he cares for will also pass on. He presents ideas to Rupert to create artificial organs that not only can be used in humans to prolong their lives but also to replace Andrew's mechanical workings. Andrew gains the ability to eat, feel emotions and sensations, and even have sexual relationships, resulting in him and Portia falling in love. Andrew petitions the World Congress to recognize him as a human as to allow him to marry Portia, but the body expresses concern that an immortal human will cause jealousy from others. Andrew returns to Rupert for one last operation: to change the artificial fluids driving his body into a blood equivalent. Rupert cautions him that the blood will not last forever, causing his body to age and will die eventually, a fate Andrew accepts. Several decades afterwards, Andrew again approaches the World Congress, with Portia as support, to appeal their past decision, wanting to be able to <a href="/wiki/Die_with_dignity">die with dignity</a>.
</p><p>In 2205, with Andrew's body deteriorating, he and Portia are both under life support monitored by Galatea, now with a human appearance. They hold hands and watch the World Congress as they recognize Andrew as a human being, the world's oldest at 200 years, and giving all rights confirmed by that, including validating his marriage to Portia. Andrew dies during the broadcast, which is confirmed by Galatea while Portia asserts that Andrew already knew the answer. After ordering Galatea to turn off her life support, Portia soon dies, hand-in-hand with Andrew as she whispers to him "See you soon."
</p>
<h2>Cast[<a href="/w/index.php?title=Bicentennial_Man_(film)&amp;action=edit&amp;section=2">edit</a>]</h2>
<ul><li><a href="/wiki/Robin_Williams">Robin Williams</a> as Andrew Martin, an NDR android servant of the Martin family that seeks to become human. Before Williams was cast, <a href="/wiki/Tim_Allen">Tim Allen</a> was considered for the role of Andrew Martin, but turned it down due to his commitment on <i><a href="/wiki/Galaxy_Quest">Galaxy Quest</a></i>.</li>
<li><a href="/wiki/Sam_Neill">Sam Neill</a> as Richard "Sir" Martin, the patriarch of the Martin family.</li>
<li><a href="/wiki/Embeth_Davidtz">Embeth Davidtz</a> as Amanda "Little Miss" Martin (adult) and Portia Charney; Amanda is a friend of Andrew, the mother of Lloyd and grandmother of Portia while Portia is the daughter of Lloyd, the granddaughter of Amanda and significant other of Andrew.
<ul><li><a href="/wiki/Hallie_Eisenberg">Hallie Eisenberg</a> as Amanda "Little Miss" Martin (age 7), the younger daughter of the Martin family.</li></ul></li>
<li><a href="/wiki/Wendy_Crewson">Wendy Crewson</a> as Rachel "Ma'am" Martin, the matriarch of the Martin family.</li>
<li><a href="/wiki/Oliver_Platt">Oliver Platt</a> as Rupert Burns, the son of the NDR creator that makes androids look more human-like.</li>
<li><a href="/wiki/Kiersten_Warren">Kiersten Warren</a> as Galatea, the NDR android servant of Rupert and later a servant of the Martin family.</li>
<li><a href="/wiki/Stephen_Root">Stephen Root</a> as Dennis Mansky</li>
<li>Angela Landis as Grace "Miss" Martin (adult), the spoiled older brat daughter of the Martin family.
<ul><li><a href="/wiki/Lindze_Letherman">Lindze Letherman</a> as Grace "Miss" Martin (age 9)</li></ul></li>
<li><a href="/wiki/Bradley_Whitford">Bradley Whitford</a> as Lloyd Charney (adult)
<ul><li>Igor Hiller as Lloyd Charney (age 10)</li></ul></li>
<li><a href="/wiki/John_Michael_Higgins">John Michael Higgins</a> as Bill Feingold — Martin Family Attorney</li>
<li><a href="/wiki/George_D._Wallace">George D. Wallace</a> as the President/Speaker of the World Congress</li>
<li><a href="/wiki/Lynne_Thigpen">Lynne Thigpen</a> as Marjorie Bota, a later President/Speaker of the World Congress</li>
<li><a href="/wiki/Jay_Johnston">Jay Johnston</a> as Charles</li></ul>
<h2>Production[<a href="/w/index.php?title=Bicentennial_Man_(film)&amp;action=edit&amp;section=3">edit</a>]</h2>
<p><a href="/wiki/Walt_Disney_Studios_(division)">Walt Disney Studios</a> was concerned about the cost of the film, estimated to be over $100 million, and even though pre-production was underway and sets were already being built they pulled the plug and halted production. Disney chairman <a href="/wiki/Joe_Roth">Joe Roth</a> came to an agreement with <a href="/wiki/Sony_Pictures_Entertainment">Sony Pictures Entertainment</a> Chairman <a href="/wiki/John_Calley">John Calley</a>, to co-finance the film and agreed to split distribution responsibilities for the film between Touchstone Pictures in North America and Columbia Pictures internationally.<sup><a href="#cite_note-Eller-2">[2]</a></sup>
</p><p>Williams confirmed in a <i><a href="/wiki/Las_Vegas_Sun">Las Vegas Sun</a></i> interview that his character was not played by a <a href="/wiki/Body_double">body double</a> and that he had actually worn the robot costume.<sup><a href="#cite_note-5">[5]</a></sup>
</p><p>Various scenes were shot inside <a href="/wiki/San_Francisco_City_Hall">San Francisco City Hall</a>, including the ball scene. The city charged Disney from $5000 to $20000 per day, depending on the particular location used for filming. The heat from two 10,000-watt spotlights triggered the <a href="/wiki/Fire_sprinkler">fire sprinkler</a> system and which resulted in flooding which caused <a href="/wiki/Water_damage">water damage</a>. Renovations had only recently been completed after a previous flooding incident. Filming was only interrupted for a few hours, but water damage to the ceilings, carpets, and limestone was significant.<sup><a href="#cite_note-6">[6]</a></sup>
</p>
<h2>Reception[<a href="/w/index.php?title=Bicentennial_Man_(film)&amp;action=edit&amp;section=4">edit</a>]</h2>
<p>On <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a> the film has an approval rating of 36% based on 97 reviews, with an average rating of 4.78/10. The website's critical consensus reads: "<i>Bicentennial Man</i> is ruined by a bad script and ends up being dull and mawkish."<sup><a href="#cite_note-7">[7]</a></sup> On <a href="/wiki/Metacritic">Metacritic</a> it has a weighted average score of 42 out of 100, based on reviews from 31 critics, indicating "mixed reviews."<sup><a href="#cite_note-8">[8]</a></sup> Audiences polled by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "A−" on an A+ to F scale.<sup><a href="#cite_note-CinemaScore-9">[9]</a></sup>
</p><p><a href="/wiki/Roger_Ebert">Roger Ebert</a> gave it two out of four stars: "<i>Bicentennial Man</i> begins with promise, proceeds in fits and starts, and finally sinks into a cornball drone of greeting-card sentiment. <a href="/wiki/Robin_Williams">Robin Williams</a> spends the first half of the film encased in a metallic robot suit, and when he emerges, the script turns robotic instead. What a letdown."<sup><a href="#cite_note-10">[10]</a></sup> 
William Arnold of the <i><a href="/wiki/Seattle_Post-Intelligencer">Seattle Post-Intelligencer</a></i> said: "[The film] becomes a somber, sentimental and rather profound romantic fantasy that is more true to the spirit of the Golden Age of science-fiction writing than possibly any other movie of the '90s."<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup>
Todd McCarthy of <i><a href="/wiki/Variety_(magazine)">Variety</a></i> summed it up as "an ambitious tale handled in a dawdling, sentimental way."<sup><a href="#cite_note-variety-11">[11]</a></sup>
</p>
<h2>Accolades[<a href="/w/index.php?title=Bicentennial_Man_(film)&amp;action=edit&amp;section=5">edit</a>]</h2>
<ul><li><a href="/wiki/Academy_Awards">Academy Awards</a> — Best Makeup (lost to <i><a href="/wiki/Topsy-Turvy">Topsy-Turvy</a></i>)</li>
<li><a href="/wiki/Blockbuster_Entertainment_Award">Blockbuster Entertainment Award</a> — Favorite Actor — Comedy (Robin Williams) (lost to <a href="/wiki/Adam_Sandler">Adam Sandler</a> in <i><a href="/wiki/Big_Daddy_(1999_film)">Big Daddy</a></i>)<sup><a href="#cite_note-block-12">[12]</a></sup></li>
<li>Blockbuster Entertainment Award — Favorite Actress — Comedy (Embeth Davidtz) (lost to <a href="/wiki/Drew_Barrymore">Drew Barrymore</a> in <i><a href="/wiki/Never_Been_Kissed">Never Been Kissed</a></i>)<sup><a href="#cite_note-block-12">[12]</a></sup></li>
<li>Hollywood Makeup Artist and Hair Stylist Guild Award — Best Character Makeup — Feature (lost to <i><a href="/wiki/Sleepy_Hollow_(film)">Sleepy Hollow</a></i>)</li>
<li><a href="/wiki/Nickelodeon_Kids%27_Choice_Awards">Nickelodeon Kids' Choice Awards</a> — Favorite Movie Actor (Robin Williams) (lost to Adam Sandler in <i>Big Daddy</i>)</li>
<li><a href="/wiki/Razzie_Award">Razzie Award</a> — Worst Actor (Robin Williams) (lost to Adam Sandler in <i>Big Daddy</i>)</li>
<li><a href="/wiki/Seiun_Award">Seiun Award</a> — Best Dramatic Presentation (lost to <i><a href="/wiki/Gunparade_March">Kōkidō Gensō Gunparade March</a></i>)</li>
<li><a href="/wiki/YoungStar_Award">YoungStar Award</a> — Best Young Actress/Performance in a Motion Picture Comedy (Hallie Kate Eisenberg) (lost to <a href="/wiki/Natalie_Portman">Natalie Portman</a> in <i><a href="/wiki/Where_the_Heart_Is_(2000_film)">Where the Heart Is</a></i>)</li></ul>
<h2>References[<a href="/w/index.php?title=Bicentennial_Man_(film)&amp;action=edit&amp;section=6">edit</a>]</h2>
<div><ol>
<li>^ <a href="#cite_ref-numbers_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-numbers_1-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.the-numbers.com/movie/Bicentennial-Man-(1999)#tab=summary">"Bicentennial Man (1999) - Financial Information"</a>. <i><a href="/wiki/The_Numbers_(website)">The Numbers</a></i>.</cite>
</li>
<li>^ <a href="#cite_ref-Eller_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Eller_2-1"><sup><i><b>b</b></i></sup></a> <cite>Claudia (17 December 1999). <a href="https://www.latimes.com/archives/la-xpm-1999-dec-17-fi-44759-story.html">"How 'Bicentennial Man' Survived Near-Death Experience"</a>. <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i>.</cite>
</li>
<li><b><a href="#cite_ref-3">^</a></b> <cite><a href="https://www.cbsnews.com/pictures/biggest-movie-flops-box-office-bombs/">"Biggest movie flops: The 42 biggest box-office bombs"</a>. <i>CBS News</i>. Retrieved July 21, 2022.</cite>
</li>
<li><b><a href="#cite_ref-4">^</a></b> <cite>Broxton, Jonathan (December 17, 1999). <a href="https://moviemusicuk.us/1999/12/17/bicentennial-man-james-horner/">"Bicentennial Man – James Horner"</a>. <i>Movie Music UK</i>. Retrieved January 15, 2018.</cite>
</li>
<li><b><a href="#cite_ref-5">^</a></b> <cite>Neil, Dave (23 December 1999). <a href="https://lasvegassun.com/news/1999/dec/23/robin-williams-reveals-the-mechanics-of-making-bic/">"Robin Williams reveals the mechanics of making 'Bicentennial Man'"</a>. <i><a href="/wiki/Las_Vegas_Sun">Las Vegas Sun</a></i>. Retrieved 31 May 2018.</cite>
</li>
<li><b><a href="#cite_ref-6">^</a></b> <cite>Yumi Wilson (19 June 1999). <a href="https://www.sfgate.com/news/article/City-Hall-Doesn-t-Want-to-See-Sequel-to-Disney-2924912.php">"City Hall Doesn't Want to See Sequel to Disney Movie Flood / Stricter regulations on events held there being considered"</a>. <i>SFGATE</i>.</cite>
</li>
<li><b><a href="#cite_ref-7">^</a></b> <cite><a href="https://www.rottentomatoes.com/m/bicentennial_man">"Bicentennial Man (1999)"</a>. <i><a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a></i>. Retrieved February 15, 2018.</cite>
</li>
<li><b><a href="#cite_ref-8">^</a></b> <cite><a href="https://www.metacritic.com/movie/bicentennial-man">"Bicentennial Man Reviews"</a>. <i>Metacritic</i>. Retrieved January 15, 2018.</cite>
</li>
<li><b><a href="#cite_ref-CinemaScore_9-0">^</a></b> <cite><a href="https://web.archive.org/web/20181220122629/https://www.cinemascore.com/publicsearch/index/title/">"BICENTENNIAL MAN (1999) A-"</a>. <i><a href="/wiki/CinemaScore">CinemaScore</a></i>. Archived from <a href="https://www.cinemascore.com/publicsearch/index/title/">the original</a> on 2018-12-20.</cite>
</li>
<li><b><a href="#cite_ref-10">^</a></b> <cite><a href="/wiki/Roger_Ebert">Ebert, Roger</a> (December 17, 1999). <a href="https://www.rogerebert.com/reviews/bicentennial-man-1999">"Bicentennial Man"</a>. <i><a href="/wiki/Chicago_Sun-Times">Chicago Sun-Times</a></i>. Retrieved June 1, 2020.</cite>
</li>
<li><b><a href="#cite_ref-variety_11-0">^</a></b> <cite><a href="/wiki/Todd_McCarthy">McCarthy, Todd</a> (10 December 1999). <a href="https://variety.com/1999/film/reviews/bicentennial-man-1200460070/">"Bicentennial Man"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>.</cite>
</li>
<li>^ <a href="#cite_ref-block_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-block_12-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://variety.com/2000/film/news/blockbuster-entertainment-award-winners-1117781474/">"Blockbuster Entertainment Award winners"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. May 9, 2000. Retrieved May 20, 2013.</cite>
</li>
</ol></div>
<h2>External links[<a href="/w/index.php?title=Bicentennial_Man_(film)&amp;action=edit&amp;section=7">edit</a>]</h2>
<ul><li><a href="https://d23.com/a-to-z/bicentennial-man-film/"><i>Bicentennial Man</i></a> at <a href="/wiki/D23.com">D23.com</a></li>
<li><a href="https://www.imdb.com/title/tt0182789/"><i>Bicentennial Man</i></a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://www.tcm.com/tcmdb/title/442769/enwp"><i>Bicentennial Man</i></a> at the <a href="/wiki/Turner_Classic_Movies">TCM Movie Database</a></li>
<li><a href="https://www.allmovie.com/movie/v181283"><i>Bicentennial Man</i></a> at <a href="/wiki/AllMovie">AllMovie</a></li>
<li><a href="https://catalog.afi.com/Catalog/moviedetails/60906"><i>Bicentennial Man</i></a> at the <a href="/wiki/AFI_Catalog_of_Feature_Films">American Film Institute Catalog</a></li>
<li><a href="https://www.boxofficemojo.com/movies/?id=bicentennialman.htm"><i>Bicentennial Man</i></a> at <a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></li></ul>
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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 * 4 Reception
 * 5 Accolades
 * 6 References
 * 7 External links
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 Bicentennial Man (film)

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 From Wikipedia, the free encyclopedia
 Bicentennial Man 
 Theatrical release poster
 Directed by Chris Columbus 
 Screenplay by Nicholas Kazan 
 * The Bicentennial Man 
 by Isaac Asimov 
 Based on * The Positronic Man 
 by Isaac Asimov 
 Robert Silverberg 
 * Wolfgang Petersen 
 * Gail Katz 
 * Laurence Mark 
 Produced by * Neal Miller 
 * Chris Columbus 
 * Mark Radcliffe 
 * Michael Barnathan 
 * Robin Williams 
 * Sam Neill 
 Starring * Embeth Davidtz 
 * Wendy Crewson 
 * Oliver Platt 
 Cinematography Phil Méheux 
 Edited by Neil Travis 
 Music by James Horner 
 * Touchstone Pictures 
 Production * Columbia Pictures 
 companies * 1492 Pictures 
 * Laurence Mark Productions 
 * Radiant Productions 
 * Buena Vista Pictures Distribution 
 Distributed by (North America) 
 * Columbia TriStar Film Distributors International (International)
 Release date * December 17, 1999 (United States) 
 Running time 132 minutes 
 Country United States 
 Language English 
 Budget $90-100 million[1][2] 
 Box office $87.4 million[1] 
 

 Bicentennial Man is a 1999 American science fiction comedy-drama film starring Robin Williams, Sam Neill, Embeth Davidtz (in a dual role), Wendy Crewson, and Oliver Platt. Based on the 1992 novel The Positronic Man by Isaac Asimov and Robert Silverberg (which is itself based on Asimov's original 1976 novelette "The Bicentennial Man"), the plot explores issues of humanity, slavery, prejudice, maturity, intellectual freedom, conformity, sex, love, mortality, and eternal life. The film, a co-production between Touchstone Pictures and Columbia Pictures, was directed by Chris Columbus. The title comes from the main character existing to the age of two hundred years.

 Bicentennial Man was released by Buena Vista Pictures in the United States on December 17, 1999 and received mixed reviews from critics. The film was also a box office bomb, grossing only $87.4 million against a $90–100 million budget.[3]

 Makeup artist Greg Cannom was nominated for the Academy Award for Best Makeup at the 72nd Academy Awards. The theme song of the film, "Then You Look at Me", was written by James Horner and Will Jennings and sung by Celine Dion.[4]

 Plot [ edit ]

 On April 3, 2005, the NDR series robot "Andrew" is introduced into the Martin family home to perform housekeeping and maintenance duties and introduces himself by showing a presentation of the Three Laws of Robotics. The eldest daughter Grace despises Andrew, but her younger sister Amanda is sympathetic to him, and Andrew discovers he feels emotions, and is drawn to spend more time with his "Little Miss". He accidentally breaks one of her glass figurines and is able to carve a new one out of wood, which surprises her father Richard. He takes Andrew to NorthAm Robotics to inquire if Andrew's creativity was part of his programming. NorthAm's CEO Dennis Mansky claims this is a problem and offers to scrap Andrew, but instead Richard takes Andrew back home and encourages him to continue his creativity and explore other humanities. Andrew becomes a clockmaker and earns a sizable fortune managed by Richard after they find that robots have no rights under current laws.

 Time passes, and Richard encourages Dennis to give Andrew the ability to present facial expressions to match his emotions. About two decades after being awoken, Andrew presents Richard with all the money he has made to ask for his freedom. Wounded by this, Richard refuses to accept it but does grant Andrew his independence, on the condition he may no longer reside at the Martin home. Andrew builds his own home by the beach. In 2048, Richard is on his death bed, and apologizes to Andrew for banishing him before he dies.

 Following Richard's death, Andrew goes on a quest to find other NDR robots that are like him, frequently communicating back to Amanda, who has since married and divorced, and has a son Lloyd and granddaughter Portia. In 2068, during his quest, Andrew discovers Galatea, an NDR robot that has been modified with female personality and traits. Andrew becomes interested in how Galatea was modified by Rupert Burns, the son of the original NDR designer, and finds he has a number of potential ideas to help make robots appear more human-like. Andrew agrees to fund Rupert's work and to be a test subject and is soon given a human-like appearance. Andrew finally returns to the Martin home in 2088 and finds that Amanda has grown old while Portia looks much like her grandmother at her age. Portia is initially cautious of Andrew, but soon accepts him as part of the Martin family.

 When Amanda dies, Andrew realises that all those he cares for will also pass on. He presents ideas to Rupert to create artificial organs that not only can be used in humans to prolong their lives but also to replace Andrew's mechanical workings. Andrew gains the ability to eat, feel emotions and sensations, and even have sexual relationships, resulting in him and Portia falling in love. Andrew petitions the World Congress to recognize him as a human as to allow him to marry Portia, but the body expresses concern that an immortal human will cause jealousy from others. Andrew returns to Rupert for one last operation: to change the artificial fluids driving his body into a blood equivalent. Rupert cautions him that the blood will not last forever, causing his body to age and will die eventually, a fate Andrew accepts. Several decades afterwards, Andrew again approaches the World Congress, with Portia as support, to appeal their past decision, wanting to be able to die with dignity.

 In 2205, with Andrew's body deteriorating, he and Portia are both under life support monitored by Galatea, now with a human appearance. They hold hands and watch the World Congress as they recognize Andrew as a human being, the world's oldest at 200 years, and giving all rights confirmed by that, including validating his marriage to Portia. Andrew dies during the broadcast, which is confirmed by Galatea while Portia asserts that Andrew already knew the answer. After ordering Galatea to turn off her life support, Portia soon dies, hand-in-hand with Andrew as she whispers to him "See you soon."

 Cast [ edit ]

 * Robin Williams as Andrew Martin, an NDR android servant of the Martin family that seeks to become human. Before Williams was cast, Tim Allen was considered for the role of Andrew Martin, but turned it down due to his commitment on Galaxy Quest.
 * Sam Neill as Richard "Sir" Martin, the patriarch of the Martin family.
 * Embeth Davidtz as Amanda "Little Miss" Martin (adult) and Portia Charney; Amanda is a friend of Andrew, the mother of Lloyd and grandmother of Portia while Portia is the daughter of Lloyd, the granddaughter of Amanda and significant other of Andrew.
 + Hallie Eisenberg as Amanda "Little Miss" Martin (age 7), the younger daughter of the Martin family.
 * Wendy Crewson as Rachel "Ma'am" Martin, the matriarch of the Martin family.
 * Oliver Platt as Rupert Burns, the son of the NDR creator that makes androids look more human-like.
 * Kiersten Warren as Galatea, the NDR android servant of Rupert and later a servant of the Martin family.
 * Stephen Root as Dennis Mansky
 * Angela Landis as Grace "Miss" Martin (adult), the spoiled older brat daughter of the Martin family.
 + Lindze Letherman as Grace "Miss" Martin (age 9)
 * Bradley Whitford as Lloyd Charney (adult)
 + Igor Hiller as Lloyd Charney (age 10)
 * John Michael Higgins as Bill Feingold — Martin Family Attorney
 * George D. Wallace as the President/Speaker of the World Congress
 * Lynne Thigpen as Marjorie Bota, a later President/Speaker of the World Congress
 * Jay Johnston as Charles

 Production [ edit ]

 Walt Disney Studios was concerned about the cost of the film, estimated to be over $100 million, and even though pre-production was underway and sets were already being built they pulled the plug and halted production. Disney chairman Joe Roth came to an agreement with Sony Pictures Entertainment Chairman John Calley, to co-finance the film and agreed to split distribution responsibilities for the film between Touchstone Pictures in North America and Columbia Pictures internationally.[2]

 Williams confirmed in a Las Vegas Sun interview that his character was not played by a body double and that he had actually worn the robot costume.[5]

 Various scenes were shot inside San Francisco City Hall, including the ball scene. The city charged Disney from $5000 to $20000 per day, depending on the particular location used for filming. The heat from two 10,000-watt spotlights triggered the fire sprinkler system and which resulted in flooding which caused water damage. Renovations had only recently been completed after a previous flooding incident. Filming was only interrupted for a few hours, but water damage to the ceilings, carpets, and limestone was significant.[6]

 Reception [ edit ]

 On Rotten Tomatoes the film has an approval rating of 36% based on 97 reviews, with an average rating of 4.78/10. The website's critical consensus reads: "Bicentennial Man is ruined by a bad script and ends up being dull and mawkish."[7] On Metacritic it has a weighted average score of 42 out of 100, based on reviews from 31 critics, indicating "mixed reviews."[8] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[9]

 Roger Ebert gave it two out of four stars: "Bicentennial Man begins with promise, proceeds in fits and starts, and finally sinks into a cornball drone of greeting-card sentiment. Robin Williams spends the first half of the film encased in a metallic robot suit, and when he emerges, the script turns robotic instead. What a letdown."[10] William Arnold of the Seattle Post-Intelligencer said: "[The film] becomes a somber, sentimental and rather profound romantic fantasy that is more true to the spirit of the Golden Age of science-fiction writing than possibly any other movie of the '90s."[ citation needed ] Todd McCarthy of Variety summed it up as "an ambitious tale handled in a dawdling, sentimental way."[11]

 Accolades [ edit ]

 * Academy Awards — Best Makeup (lost to Topsy-Turvy)
 * Blockbuster Entertainment Award — Favorite Actor — Comedy (Robin Williams) (lost to Adam Sandler in Big Daddy)[12]
 * Blockbuster Entertainment Award — Favorite Actress — Comedy (Embeth Davidtz) (lost to Drew Barrymore in Never Been Kissed)[12]
 * Hollywood Makeup Artist and Hair Stylist Guild Award — Best Character Makeup — Feature (lost to Sleepy Hollow)
 * Nickelodeon Kids' Choice Awards — Favorite Movie Actor (Robin Williams) (lost to Adam Sandler in Big Daddy)
 * Razzie Award — Worst Actor (Robin Williams) (lost to Adam Sandler in Big Daddy)
 * Seiun Award — Best Dramatic Presentation (lost to Kōkidō Gensō Gunparade March)
 * YoungStar Award — Best Young Actress/Performance in a Motion Picture Comedy (Hallie Kate Eisenberg) (lost to Natalie Portman in Where the Heart Is)

 References [ edit ]

 1. ^ a b "Bicentennial Man (1999) - Financial Information". The Numbers.
 2. ^ a b Claudia (17 December 1999). "How 'Bicentennial Man' Survived Near-Death Experience". Los Angeles Times.
 3. ^ "Biggest movie flops: The 42 biggest box-office bombs". CBS News . Retrieved July 21, 2022 .
 4. ^ Broxton, Jonathan (December 17, 1999). "Bicentennial Man – James Horner". Movie Music UK . Retrieved January 15, 2018 .
 5. ^ Neil, Dave (23 December 1999). "Robin Williams reveals the mechanics of making 'Bicentennial Man'". Las Vegas Sun . Retrieved 31 May 2018 .
 6. ^ Yumi Wilson (19 June 1999). "City Hall Doesn't Want to See Sequel to Disney Movie Flood / Stricter regulations on events held there being considered". SFGATE.
 7. ^ "Bicentennial Man (1999)". Rotten Tomatoes . Retrieved February 15, 2018 .
 8. ^ "Bicentennial Man Reviews". Metacritic . Retrieved January 15, 2018 .
 9. ^ "BICENTENNIAL MAN (1999) A-". CinemaScore. Archived from the original on 2018-12-20.
 10. ^ Ebert, Roger (December 17, 1999). "Bicentennial Man". Chicago Sun-Times . Retrieved June 1, 2020 .
 11. ^ McCarthy, Todd (10 December 1999). "Bicentennial Man". Variety.
 12. ^ a b "Blockbuster Entertainment Award winners". Variety. May 9, 2000 . Retrieved May 20, 2013 .

 External links [ edit ]

 Wikiquote has quotations related to Bicentennial Man (film).
 * Bicentennial Man at D23.com
 * Bicentennial Man at IMDb
 * Bicentennial Man at the TCM Movie Database
 * Bicentennial Man at AllMovie
 * Bicentennial Man at the American Film Institute Catalog
 * Bicentennial Man at Box Office Mojo
 * v 
 * t 
 * e 
 Chris Columbus
 * Adventures in Babysitting (1987) 
 * Heartbreak Hotel (1988, also written) 
 * Home Alone (1990) 
 * Only the Lonely (1991, also written) 
 * Home Alone 2: Lost in New York (1992) 
 * Mrs. Doubtfire (1993) 
 * Nine Months (1995, also written) 
 Directed * Stepmom (1998) 
 * Bicentennial Man (1999) 
 * Harry Potter and the Sorcerer's Stone (2001) 
 * Harry Potter and the Chamber of Secrets (2002) 
 * Rent (2005) 
 * I Love You, Beth Cooper (2009) 
 * Percy Jackson & the Olympians: The Lightning Thief (2010)
 * Pixels (2015) 
 * The Christmas Chronicles 2 (2020, also written) 
 * Jingle All the Way (1996) 
 * Harry Potter and the Prisoner of Azkaban (2004) 
 * Christmas with the Kranks (2004, also written) 
 * Night at the Museum (2006) 
 * Night at the Museum: Battle of the Smithsonian (2009) 
 * The Help (2011) 
 Produced * Night at the Museum: Secret of the Tomb (2014) 
 * Mediterranea (2015) 
 * The Young Messiah (2016) 
 * Tallulah (2016) 
 * Patti Cake$ (2017) 
 * I Kill Giants (2017) 
 * The Christmas Chronicles (2018) 
 * Reckless (1984) 
 * Gremlins (1984) 
 Written only * The Goonies (1985) 
 * Young Sherlock Holmes (1985) 
 * Little Nemo: Adventures in Slumberland (1989) 
 Television * Galaxy High (1986) 
 * 1492 Pictures 
 See also * House of Secrets 
 * Chris Columbus's unrealized projects 
 
 * v 
 * t 
 * e 
 Isaac Asimov's Robot series 
  * The Positronic Man 
  * The Caves of Steel 
  Novels * The Naked Sun 
  * The Robots of Dawn 
  * Robots and Empire 
  * I, Robot 
  * The Rest of the Robots
  Short story collections * The Complete Robot 
  * Robot Dreams 
  * Robot Visions 
  * Gold 
  Second Robot series * Isaac Asimov's Caliban
  (by Roger MacBride Allen) * Isaac Asimov's Inferno
  * Isaac Asimov's Utopia 
  Third Robot series * Mirage 
  (by Mark W. Tiedemann) * Chimera 
  * Aurora 
  * Predator 
  * Marauder 
 Writings Robots in Time series * Warrior 
  (by William F. Wu) * Dictator 
  * Emperor 
  * Invader 
  * Odyssey 
  * Suspicion 
  Robot City series * Cyborg 
  * Prodigy 
  * Refuge 
  * Perihelion 
  * Changeling 
  * Renegade 
  Robots and Aliens series * Intruder 
  * Alliance 
  * Maverick 
  * Humanity 
  Susan Calvin prequel series * I Robot: To Protect 
  (by Mickey Zucker Reichert) * I Robot: To Obey 
  * I Robot: To Preserve 
   
  * Positronic brain 
  * Robopsychology 
  * Frankenstein complex 
  * Multivac 
 Universe * Three Laws of Robotics 
  * Characters 
  + Susan Calvin 
  + Elijah Baley 
  + R. Daneel Olivaw 
  * Robots (1988 film) 
 Adaptations * Bicentennial Man (1999 film) 
  * I, Robot (2004 film) 
 Followed by: The Empire series and The Foundation series
 
 Retrieved from "https://en.wikipedia.org/w/index.php?title=Bicentennial_Man_(film)&oldid=1128496305"
 Categories:
 * 1999 films
 * 1492 Pictures films
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 * Films about artificial intelligence
 * Columbia Pictures films
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From Wikipedia, the free encyclopedia
	 
   Bicentennial Man      Theatrical release poster    Directed by  Chris Columbus    Screenplay by  Nicholas Kazan    Based on  
   The Bicentennial Man  by Isaac Asimov 
  The Positronic Man  by Isaac Asimov Robert Silverberg  
    Produced by  
  Wolfgang Petersen 
 Gail Katz 
 Laurence Mark 
Neal Miller
Chris Columbus
Mark Radcliffe
 Michael Barnathan  
    Starring  
  Robin Williams 
 Sam Neill 
 Embeth Davidtz 
 Wendy Crewson 
 Oliver Platt  
    Cinematography  Phil Méheux    Edited by  Neil Travis    Music by  James Horner     Productioncompanies   
  Touchstone Pictures 
 Columbia Pictures 
 1492 Pictures 
Laurence Mark Productions
Radiant Productions 
    Distributed by  
  Buena Vista Pictures Distribution (North America)
 
Columbia TriStar Film Distributors International (International) 
     Release date   
 December 17, 1999 (United States) 
     Running time  132 minutes   Country United States   Language English   Budget $90-100 million [1]   [2]     Box office $87.4 million [1]     
  Bicentennial Man  is a 1999 American science fiction comedy-drama film starring Robin Williams, Sam Neill, Embeth Davidtz (in a dual role), Wendy Crewson, and Oliver Platt. Based on the 1992 novel  The Positronic Man  by Isaac Asimov and Robert Silverberg (which is itself based on Asimov's original 1976 novelette "The Bicentennial Man"), the plot explores issues of humanity, slavery, prejudice, maturity, intellectual freedom, conformity, sex, love, mortality, and eternal life. The film, a co-production between Touchstone Pictures and Columbia Pictures, was directed by Chris Columbus. The title comes from the main character existing to the age of two hundred years.
  Bicentennial Man was released by Buena Vista Pictures in the United States on December 17, 1999 and received mixed reviews from critics. The film was also a box office bomb, grossing only $87.4 million against a $90–100 million budget. [3] 
 Makeup artist Greg Cannom was nominated for the Academy Award for Best Makeup at the 72nd Academy Awards. The theme song of the film, "Then You Look at Me", was written by James Horner and Will Jennings and sung by Celine Dion. [4] 
Plot[edit]
On April 3, 2005, the NDR series robot "Andrew" is introduced into the Martin family home to perform housekeeping and maintenance duties and introduces himself by showing a presentation of the Three Laws of Robotics. The eldest daughter Grace despises Andrew, but her younger sister Amanda is sympathetic to him, and Andrew discovers he feels emotions, and is drawn to spend more time with his "Little Miss". He accidentally breaks one of her glass figurines and is able to carve a new one out of wood, which surprises her father Richard. He takes Andrew to NorthAm Robotics to inquire if Andrew's creativity was part of his programming. NorthAm's CEO Dennis Mansky claims this is a problem and offers to scrap Andrew, but instead Richard takes Andrew back home and encourages him to continue his creativity and explore other humanities. Andrew becomes a clockmaker and earns a sizable fortune managed by Richard after they find that robots have no rights under current laws.
 Time passes, and Richard encourages Dennis to give Andrew the ability to present facial expressions to match his emotions. About two decades after being awoken, Andrew presents Richard with all the money he has made to ask for his freedom. Wounded by this, Richard refuses to accept it but does grant Andrew his independence, on the condition he may no longer reside at the Martin home. Andrew builds his own home by the beach. In 2048, Richard is on his death bed, and apologizes to Andrew for banishing him before he dies.
 Following Richard's death, Andrew goes on a quest to find other NDR robots that are like him, frequently communicating back to Amanda, who has since married and divorced, and has a son Lloyd and granddaughter Portia. In 2068, during his quest, Andrew discovers Galatea, an NDR robot that has been modified with female personality and traits. Andrew becomes interested in how Galatea was modified by Rupert Burns, the son of the original NDR designer, and finds he has a number of potential ideas to help make robots appear more human-like. Andrew agrees to fund Rupert's work and to be a test subject and is soon given a human-like appearance. Andrew finally returns to the Martin home in 2088 and finds that Amanda has grown old while Portia looks much like her grandmother at her age. Portia is initially cautious of Andrew, but soon accepts him as part of the Martin family.
 When Amanda dies, Andrew realises that all those he cares for will also pass on. He presents ideas to Rupert to create artificial organs that not only can be used in humans to prolong their lives but also to replace Andrew's mechanical workings. Andrew gains the ability to eat, feel emotions and sensations, and even have sexual relationships, resulting in him and Portia falling in love. Andrew petitions the World Congress to recognize him as a human as to allow him to marry Portia, but the body expresses concern that an immortal human will cause jealousy from others. Andrew returns to Rupert for one last operation: to change the artificial fluids driving his body into a blood equivalent. Rupert cautions him that the blood will not last forever, causing his body to age and will die eventually, a fate Andrew accepts. Several decades afterwards, Andrew again approaches the World Congress, with Portia as support, to appeal their past decision, wanting to be able to die with dignity.
 In 2205, with Andrew's body deteriorating, he and Portia are both under life support monitored by Galatea, now with a human appearance. They hold hands and watch the World Congress as they recognize Andrew as a human being, the world's oldest at 200 years, and giving all rights confirmed by that, including validating his marriage to Portia. Andrew dies during the broadcast, which is confirmed by Galatea while Portia asserts that Andrew already knew the answer. After ordering Galatea to turn off her life support, Portia soon dies, hand-in-hand with Andrew as she whispers to him "See you soon."
Cast[edit]
  Robin Williams as Andrew Martin, an NDR android servant of the Martin family that seeks to become human. Before Williams was cast, Tim Allen was considered for the role of Andrew Martin, but turned it down due to his commitment on  Galaxy Quest .
 Sam Neill as Richard "Sir" Martin, the patriarch of the Martin family.
 Embeth Davidtz as Amanda "Little Miss" Martin (adult) and Portia Charney; Amanda is a friend of Andrew, the mother of Lloyd and grandmother of Portia while Portia is the daughter of Lloyd, the granddaughter of Amanda and significant other of Andrew.
  Hallie Eisenberg as Amanda "Little Miss" Martin (age 7), the younger daughter of the Martin family.  
 Wendy Crewson as Rachel "Ma'am" Martin, the matriarch of the Martin family.
 Oliver Platt as Rupert Burns, the son of the NDR creator that makes androids look more human-like.
 Kiersten Warren as Galatea, the NDR android servant of Rupert and later a servant of the Martin family.
 Stephen Root as Dennis Mansky
Angela Landis as Grace "Miss" Martin (adult), the spoiled older brat daughter of the Martin family.
  Lindze Letherman as Grace "Miss" Martin (age 9)  
 Bradley Whitford as Lloyd Charney (adult)
 Igor Hiller as Lloyd Charney (age 10)  
 John Michael Higgins as Bill Feingold — Martin Family Attorney
 George D. Wallace as the President/Speaker of the World Congress
 Lynne Thigpen as Marjorie Bota, a later President/Speaker of the World Congress
 Jay Johnston as Charles 
Production[edit]
 Walt Disney Studios was concerned about the cost of the film, estimated to be over $100 million, and even though pre-production was underway and sets were already being built they pulled the plug and halted production. Disney chairman Joe Roth came to an agreement with Sony Pictures Entertainment Chairman John Calley, to co-finance the film and agreed to split distribution responsibilities for the film between Touchstone Pictures in North America and Columbia Pictures internationally. [2] 
 Williams confirmed in a  Las Vegas Sun  interview that his character was not played by a body double and that he had actually worn the robot costume. [5] 
 Various scenes were shot inside San Francisco City Hall, including the ball scene. The city charged Disney from $5000 to $20000 per day, depending on the particular location used for filming. The heat from two 10,000-watt spotlights triggered the fire sprinkler system and which resulted in flooding which caused water damage. Renovations had only recently been completed after a previous flooding incident. Filming was only interrupted for a few hours, but water damage to the ceilings, carpets, and limestone was significant. [6] 
Reception[edit]
On Rotten Tomatoes the film has an approval rating of 36% based on 97 reviews, with an average rating of 4.78/10. The website's critical consensus reads: "Bicentennial Man is ruined by a bad script and ends up being dull and mawkish." [7]  On Metacritic it has a weighted average score of 42 out of 100, based on reviews from 31 critics, indicating "mixed reviews." [8]  Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale. [9] 
  Roger Ebert gave it two out of four stars: "Bicentennial Man begins with promise, proceeds in fits and starts, and finally sinks into a cornball drone of greeting-card sentiment. Robin Williams spends the first half of the film encased in a metallic robot suit, and when he emerges, the script turns robotic instead. What a letdown." [10]  
William Arnold of the  Seattle Post-Intelligencer  said: "[The film] becomes a somber, sentimental and rather profound romantic fantasy that is more true to the spirit of the Golden Age of science-fiction writing than possibly any other movie of the '90s."[ citation needed ]
Todd McCarthy of  Variety  summed it up as "an ambitious tale handled in a dawdling, sentimental way." [11] 
Accolades[edit]
  Academy Awards — Best Makeup (lost to  Topsy-Turvy )
 Blockbuster Entertainment Award — Favorite Actor — Comedy (Robin Williams) (lost to Adam Sandler in  Big Daddy ) [12]  
Blockbuster Entertainment Award — Favorite Actress — Comedy (Embeth Davidtz) (lost to Drew Barrymore in  Never Been Kissed ) [12]  
Hollywood Makeup Artist and Hair Stylist Guild Award — Best Character Makeup — Feature (lost to  Sleepy Hollow )
 Nickelodeon Kids' Choice Awards — Favorite Movie Actor (Robin Williams) (lost to Adam Sandler in Big Daddy)
 Razzie Award — Worst Actor (Robin Williams) (lost to Adam Sandler in Big Daddy)
 Seiun Award — Best Dramatic Presentation (lost to  Kōkidō Gensō Gunparade March )
 YoungStar Award — Best Young Actress/Performance in a Motion Picture Comedy (Hallie Kate Eisenberg) (lost to Natalie Portman in  Where the Heart Is ) 
References[edit]
 
^    a       b     "Bicentennial Man (1999) - Financial Information".  The Numbers .
^    a       b    Claudia (17 December 1999). "How 'Bicentennial Man' Survived Near-Death Experience".  Los Angeles Times .
  ^   "Biggest movie flops: The 42 biggest box-office bombs". CBS News. Retrieved July 21, 2022.
  ^  Broxton, Jonathan (December 17, 1999). "Bicentennial Man – James Horner". Movie Music UK. Retrieved January 15, 2018.
  ^  Neil, Dave (23 December 1999). "Robin Williams reveals the mechanics of making 'Bicentennial Man'".  Las Vegas Sun . Retrieved 31 May 2018.
  ^  Yumi Wilson (19 June 1999). "City Hall Doesn't Want to See Sequel to Disney Movie Flood / Stricter regulations on events held there being considered". SFGATE.
  ^   "Bicentennial Man (1999)".  Rotten Tomatoes . Retrieved February 15, 2018.
  ^   "Bicentennial Man Reviews". Metacritic. Retrieved January 15, 2018.
  ^   "BICENTENNIAL MAN (1999) A-".  CinemaScore . Archived from the original on 2018-12-20.
  ^   Ebert, Roger (December 17, 1999). "Bicentennial Man".  Chicago Sun-Times . Retrieved June 1, 2020.
  ^   McCarthy, Todd (10 December 1999). "Bicentennial Man".  Variety .
^    a       b     "Blockbuster Entertainment Award winners".  Variety . May 9, 2000. Retrieved May 20, 2013.
 
External links[edit]
   Bicentennial Man  at D23.com 
  Bicentennial Man  at IMDb 
  Bicentennial Man  at the TCM Movie Database 
  Bicentennial Man  at AllMovie 
  Bicentennial Man  at the American Film Institute Catalog 
  Bicentennial Man  at Box Office Mojo
Bicentennial Man (film) - Wikipedia
https://en.wikipedia.org/wiki/Bicentennial_Man_(film)