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zunker1497    April 16, 2023    Comment   

Twenty years ago, Steven Spielberg released his dystopian sci-fi film about a humanoid robot searching for humanity—but its inception began long before that, in the mind of a different Hollywood legend

In 2001, a year Stanley Kubrick made famous with his sci-fi masterpiece of the same name, Steven Spielberg went on an odyssey of his own—one both deeply personal and deeply committed to someone else’s vision. “He tried to

A Kubrick film, ” says producer Bonnie Curtis. “I would jokingly call him ‘Steveley Kuberg’ during it, because the material itself is just a crash of the two of them. I mean, it’s a twisted Spielberg movie,

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, Spielberg fans were instead met by sex robots, an android holocaust, and the bleakest boyhood story line in the director’s career, in which the “boy” is abandoned by his “mother” and cursed to roam the earth for 2, 000 years, trying desperately to win her love. The film earned $236 million worldwide, which sounds respectable until you realize it’s the

In one of the positive reviews, The New York Times’ A.O. Scott called it “the best fairy tale—the most disturbing, complex, and intellectually challenging boy’s adventure story—Mr. Spielberg has made. ... [He] seems to be attempting the improbable feat of melding Kubrick’s chilly, analytical style with his own warmer, needier sensibility.” On the flip side, Mick LaSalle of the San Francisco Chronicle wrote that “

Exhibits all its creators’ bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg. It’s a coupling from hell.”

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Spielberg’s eyes were wide open to the fact that a film originally conceptualized by Kubrick but completed by him would confuse people, Curtis says. But she also remembers him saying, “I don’t care what anyone ever says: I just made a good movie.” Twenty years of hindsight have proved the director right, and fans of

“I remember [Spielberg] described the movie as mostly being about your responsibility to intelligence, ” says Haley Joel Osment, who carried the film as the robot boy David. “Steven and Stanley, when they brought love into the equation—it’s not really a sentimental thing. It’s this really important philosophical thing: What’s your responsibility to that?”

Years—a Kubrickian labyrinth of endless deliberation, false starts and creative casualties, and ultimately the posthumous lovechild of this very unusual marriage. When you cut

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Kubrick had a habit of chewing on a possible movie for years and years before committing. He also had a habit of driving writers up a wall. No less than

. The story’s futuristic world is overpopulated, and a woman named Monica fills her childless void with an advanced robot boy named David and his talking teddy bear. “It meant a great deal to him, ” Aldiss told The New York Times in 1999. “There was something in there about the little boy’s inability to please his mother that touched Stanley’s heart.”

“The idea that AI could be developed to such an extent was total fairy tale 30 years ago, as it is today, ” says Jan Harlan, Kubrick’s brother-in-law and longtime producer, in an email. I asked Harlan why he thought Kubrick became so obsessed with this story. “‘Obsessed’ is the wrong word, ” he says. “‘In loving search for a story worth telling on the screen’ is better.”

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“Stanley never really had a huge commercial success, and he saw this movie as that possibility for him. And I think he thought, who better to help him do that than Steven?” —Bonnie Curtis

Kubrick began discussing various movie ideas with Aldiss, but the notion of adapting “Supertoys” was truly kindled in 1977 after Kubrick saw

—which he didn’t like, but through which he recognized the commercial value of the genre. “What sort of [sci-fi] movie could I make that would make as much money as

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. More and more time elapsed between Kubrick projects as he perseverated on various what-if films, including a Napoleon epic and an adaptation of the novel

Came out in 1982, Kubrick dusted the story off and told Aldiss he wanted his prospective adaptation to be “sentimental, dreamlike—a fable.” He struck up his unlikely friendship with Spielberg around this time, too, in part because he felt

Was in Spielberg’s wheelhouse. He first shared his basic narrative for “Supertoys” with Spielberg in 1984, and Spielberg (according to his interview in the 2001 documentary feature on the

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Aldiss was the first of many writers who went through hell trying to navigate Kubrick’s enigmatic personality and realize his slippery, mercurial vision for the film. He was the first of many to be routinely summoned by chauffeur to the director’s country estate in Hertfordshire, England, for hours-long conversations. Already Kubrick was describing the story as a

—a book by robotics professor Hans Moravec about artificial intelligence—and he enlisted Aldiss once again, wanting to lean into the latest theories on A.I. with a story set in a post–global warming future. (Kubrick even convinced Moravec to send him advance chapters of his follow-up book.) “Kubrick wanted David to be kicked out into what we referred to as Tin City, ” Aldiss said, “describing a sort of skid row for old robots where they were worked as slaves until they fell apart. But Kubrick abruptly dropped the idea one day, and that was that.”

That was that for Aldiss, too—the first of many writers to be suddenly, inexplicably discarded. Around 1990, Kubrick hired Northern Irish author Bob Shaw as well as Ian Watson—though he never told any of the writers about each other. Watson, who ended up with the “screen story” credit on the final film, was told that the plotline had gotten bogged down, that Aldiss was fired for faxing “banal crap, ” and that Shaw survived only six weeks. “Stanley did not wish me to see any of my predecessors’ material apart from the seed-story, ” Watson recounted in his entertaining postmortem essay for

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In 2000. “Instead he wanted me to write an original 12, 000-word story, doing whatever I liked with the Aldiss tale and the main ideas to date.” After submitting a lengthy draft that Kubrick instantly trashed, Watson was put on a weekly retainer, and “for eight more months from May 1990 till January 1991 I was to be Stanley Kubrick’s mind-slave, writing scenes in the morning to fax around noon for lengthy discussion by phone in the evening, or being collected ... to arrive in time for lunch and an afternoon of mental gymnastics with Stanley.”

Among other elements, Watson came up with the male pleasure robot companion on David’s odyssey—“I guess we lost the kiddie market, ” Kubrick responded, “but what the hell”—as a rough outline was taking shape of a boy robot who’s been programmed to love, is abandoned by his “parents” after their biological child recovers from a coma, and goes on a journey to a submerged New York City where he prays to the Blue Fairy and then wakes up 2, 000 years later. But after countless conversations and abandoned drafts, Kubrick also cut Watson loose.

“Stanley did tend to use people and drain them in the process, and this could ruffle egos after the initial flush of excitement, ” Watson wrote. “As a supreme and obsessive auteur, why shouldn’t he?”

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. Kubrick “hated it and asked me to tear it up.” But the director was also seemingly getting more serious about actually making it. In November 1993, Warner Bros. officially announced

, and felt the technology had finally caught up to his story. All throughout this time he was talking to Spielberg on a regular basis—which Bonnie Curtis had a front-row seat to, having started out as Spielberg’s assistant during the days of

Unique. Because he would call, and he wouldn’t want Steven to call him back—he would just want to hold until Steven was available. I never thought of him as being obnoxious or anything. It would just be: ‘Well, how long do you think he’ll be in that meeting?’ ‘You know, Stanley, I don’t know—probably another 20 minutes?’ ‘OK, I’ll just wait.’ Steven adored Stanley, and Steven would often say, ‘Why don’t you let Stanley and me schedule a time to talk this weekend?’ Because they

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Curtis says the two filmmakers spoke once every few weeks, and “I suspect a lot of those lengthy conversations they were having were about

” Eventually they installed a fax machine inside a closet in Spielberg’s house, because “Stanley didn’t want it to go through the office, ” says Curtis. It was a constant back-and-forth about

Would direct this movie, but “Stanley never really had a huge commercial success, and he saw this movie as that possibility for him. And I think he thought, who better to help him do that than Steven?” It’s hard to pinpoint exactly when the verdict came in, but Harlan insists that Kubrick “truly believed Steven would be the better director for this film—and I think he was right.”

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On one of his visits to England around 1994, Spielberg left a short story collection by Sara Maitland, a novelist who specializes in myth and religion, on