Ex Machina (film)
2014 British science fiction thriller film directed by Alex Garland
Ex Machina (stylized as ex_machina) is a 2015 British science fiction thriller film about a programmer who is invited by his employer to administer the Turing test to an android with artificial intelligence.
- Written and directed by Alex Garland.
To erase the line between man and machine is to obscure the line between men and godstaglines
- To erase the line between man and machine is to obscure the line between men and gods
- What happens to me if I fail your test?
- There is nothing more human than the will to survive.
- One day the AI's 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.
- It's funny. You know. No matter how rich you get, shit goes wrong. You can't insulate yourself from it. I used to think it was death and taxes you couldn't avoid, but it's actually death and shit.
- [after being stabbed] Okay. Fucking unreal. Okay. Ava...
- Isn't it strange, to create something that hates you?
- Nathan: Caleb, I'm just going to throw this out there so it's said, okay? You're freaked out. You're freaked out by meeting me, having this conversation in this room at this moment, right? But, can we just get past that, the whole employer-employee thing?
- Caleb: It's good to meet you, Nathan.
- Nathan: It's good to meet you too, Caleb.
- Caleb: Did you program her to flirt with me?
- Nathan: If I did, would that be cheating?
- Caleb: Wouldn't it?
- Nathan: Caleb, what's your type?
- Caleb: Of girl?
- Nathan: No, salad dressing. Yeah, of girl; what's your type of girl? You know what, don't even answer that. Let's say its black chicks. Okay, that's your thing. For the sake of argument, that's your thing, okay? Why is that your thing? Because you did a detailed analysis of all racial types and you cross-referenced that analysis with a points-based system? No! You're just attracted to black chicks. A consequence of accumulated external stimuli that you probably didn't even register as they registered with you.
- Caleb: Did you program her to like me, or not?
- Nathan: I programmed her to be heterosexual, just like you were programmed to be heterosexual.
- Caleb: Nobody programmed me to be straight.
- Nathan: You decided to be straight? Please! Of course you were programmed, by nature or nurture or both and to be honest, Caleb, you're starting to annoy me now because this is your insecurity talking, this is not your intellect.
- Nathan: You know this guy, right? - Jackson Pollock. - Jackson Pollock. That's right. The drip painter. Okay. He let his mind go blank, and his hand go where it wanted. Not deliberate, not random. Some place in between. They called it automatic art. Let's make this like Star Trek, okay? Engage intellect.
- Caleb: Excuse me?
- Nathan: I'm Kirk. Your head's the warp drive. Engage intellect. What if Pollock had reversed the challenge. What if instead of making art without thinking, he said, "You know what? I can't paint anything, unless I know exactly why I'm doing it." What would have happened?
- Caleb: He never would have made a single mark.
- Nathan: Yes! You see, there's my guy, there's my buddy, who thinks before he opens his mouth. He never would have made a single mark. The challenge is not to act automatically. It's to find an action that is not automatic. From painting, to breathing, to talking, to fucking. To falling in love... And for the record, Ava's not pretending to like you. And her flirting isn't an algorithm to fake you out. You're the first man she's met that isn't me. And I'm like her dad, right? Can you blame her for getting a crush on you?
- Nathan: C'mon buddy. After a long day of Turing tests you gotta unwind.
- Caleb: What were you doing with Ava?
- Nathan: What?
- Caleb: You tore up her picture.
- Nathan: I'm gonna tear up the fucking dance floor, dude. Check it out. [begins to disco dance with Kyoko]
About Ex Machina (film)Edit
- The trick of the film, the way that the film intends to work is to present something which is unambiguously a machine and then gradually remove your sense of Ava being a machine, even while you continue to see her being that way. And the sound design is a key part of that. You can hear ... the sounds of the bits of machinery moving, which aren't specified. They're not quite gears and cogs and pistons, they're something slightly odder than that. And there's also this pulse which is not dissimilar in some respects to a heartbeat, although it isn't a heartbeat.
- A lot of the anxiety doesn't come from any real situation that A.I.s are about to take us over or the world is about to change because of A.I.s in any fundamental kind of way — not at the moment at any rate. It's got more to do with big tech companies and the Internet and search engines and social media and that kind of thing. I think there's a sense in which we feel that we don't understand how our cellphones and our laptops work ... but those things seem to understand a lot about us. Now that's not really about artificial intelligence, it's about tech paranoia. So somewhere in this I think I'm trying to look at that, too.
- But I think the other thing I was interested in was the way tech companies present themselves. So Oscar Isaac's character Nathan talks in this very kind of familiar, pal-y way. He uses the word "dude" and "bro" a lot. And I felt that this was sometimes how tech companies present themselves to us. They're kind of like our friends. They say, "Hey pal, hey dude," like we're kind of mates, you know, "I'm not really a big tech company, I'm actually your friend and we're hanging out sort of at a bar or at the beach and we're sort of part of each other's lifestyle, but at the same time I'm going to take a lot of money off you and I'm going to take all of your data and rifle through your address book" and that kind of thing.
- Alex Garland