Steven Spielberg explains the ending of A.I.

It was Kubrick all along!
HugeJerksays...

There is a stark difference between Stanley Kubrick films and Steven Spielberg.

With Kubrick, you get the sense that each shot is carefully constructed for the Art of it. Background colors, Framing, and the movement of the camera combine to make a Kubrick shot.

Spielberg certainly cares about telling a story, but I doubt the look of each shot matters nearly as much to him as it did to Kubrick.

kceaton1says...

The whole thing felt like a lullaby or a story told to you as a child to get you to sleep. That's the one reason it stands out is that it is a dark movie, but overall it felt more like I woke from a strange dream.

I'm still unsure whether to think it was a good one or a bad one.

messengersays...

"So, if you didn't like it, it's stupid Kubrick's fault and I had to do it that way. But if you now think it's great because you know it was the genius Kubrick's idea to begin with, then yeah, I would have come up with the exact same idea as that genius guy."

Wanker.

berticussays...

I recommend you all forget about the Kubrick / Spielberg melodrama and go read the source material. Brian Aldiss eventually wrote three short stories about David. In fact, in a foreword titled "attempting to please" he talks about Kubrick, Spielberg, AI, etc. It's quite interesting. Here, let me type out a bit of it:

"So why was 'Supertoys' not filmed? [...] My belief is that he [Kubrick] was basically mistaken. Obsessed with the big blockbuster SF movies of the time, he was determined to take my sorrowing domestic scene out into the galaxy. After all, he had wrought similarly to great success with [Arthur C.] Clarke's story.

But 'The Sentinel' looks outward to begin with. It speaks of a mystery elsewhere, whereas 'Supertoys' speaks of a mystery within. David suffers because he does not know he is a machine. Here is the real drama; as Mary Shelley said of her Frankenstein, it 'speaks to the mysterious fears of our nature'.

A possible film could be made of 'Supertoys' showing David facing his real nature. It comes as a shock to realise he is a machine. He malfunctions. Perhaps his father takes him to a factory where a thousand identical androids step off the line. Does he autodestruct? The audience should be subjected to a tense and alarming drama of claustrophobia, to be left with the final questions, 'Does it matter that David is a machine? Should it matter? And to what extent are we all machines?'

Behind such metaphysical puzzles remains the simple story - the story that attracted Stanley Kubrick - of a boy who was never able to please his mother. A story of love rejected."

vaporlocksays...

Now that I think about it, the end is not the worst part of this film. The film is a collection of pieces that are 'almost' good. The pieces tie together in away that is strictly "by the numbers" in a typical Spielberg way (eg. War of the Worlds). A.I. covers a disturbing topic yet the film doesn't take any risks and stays away from anything even remotely edgy. Throughout the entire film I find myself thinking, "it might have been good with the right director". This is depressing when I consider that Kubrik could have directed it.

Paybacksays...

>> ^StukaFox:
Why was the World Trade Center still there?



After the Freedom Tower was knocked down in 2019 by The Genetic Nihilist Union using their reasonable facsimile of the Cloverfield creature, New York decided to rebuild the original towers. This act is also considered to be the main impetus for the "Kill All Scientists" movement spearheaded by then President Sarah Palin allowing ultimately for her 3rd, 4th, and 5th terms. As is widely known, her 6th term was interupted by the so-called "Second Coming" when Jesus returned because, "You are all just the most RETARDED people I have ever met. I can't believe I actually died for this shit, fer my sake."

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