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(Whitney wasn’t the only one who worked cheaply: Yul Brynner, down on his luck, took the role of the gunslinger for seventy-five thousand dollars and wore the costume he had used in “The Magnificent Seven.”) He agreed to do the effects in four months for twenty thousand dollars.
Whitney referred Crichton to his son, John Whitney, Jr., who was eager to follow in his father’s footsteps as an experimental filmmaker, but using computers. He turned to a maker of abstract films, John Whitney, Sr., famed in art and film circles for his work creating animation with military-surplus analog electronics and motor assemblies. He was told that the two minutes of footage would cost two hundred thousand dollars and require nine months-both prohibitive. Crichton got a quote for generating the computer imagery from the Jet Propulsion Laboratory in Pasadena.
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“Westworld” had been turned down by every other studio, perhaps because Crichton’s directing credentials were limited to making an ABC movie of the week and hanging around the set of “The Andromeda Strain,” the 1971 thriller based on a novel he had written as a Harvard medical student. “It wasn’t like giving it to Industrial Light & Magic and having it come back.”Ĭompounding the problem was the modest budget of $1.25 million imposed by M.G.M. “There were no effects houses around that knew what to do,” said Paul Lazarus, the film’s producer. His script described it as “a bizarre, computerized image of the world” with “flashed-up calculated figures” and “shifting green tones which apparently represent shifts in the Gunslinger’s concentration.” Five years earlier, Stanley Kubrick had used a wide-angle lens to show the perceptions of HAL 9000, the troubled computer of “2001: A Space Odyssey.” Crichton, however, wanted his villain’s perspective to look like that of an electronic machine.
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(If the plot sounds clichéd, it is only because its ideas were later excavated by the “Terminator” films and Crichton’s “Jurassic Park.”)Ĭrichton was concerned from the outset with how to give a distinct look to the gunslinger’s point of view when the audience saw events through its eyes. A robot gunslinger, played by Yul Brynner, kills one of the men and coolly, relentlessly stalks the other to a final showdown. Partway through the visit, the robots turn on the guests the staff in the control room tries to halt the mayhem, but is rendered helpless by a power shutdown. A recorded female voice assures the new arrivals that the technology of Delos is “highly reliable.” Of course, it isn’t.
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As the film begins, two professional men in their mid-thirties, played by James Brolin and Richard Benjamin, are heading to Westworld for a bachelors’ adventure. For a thousand dollars a day, visitors lived their fantasies, interacting with characters of the period-in reality, robots programmed only to serve. Inspired by the Disney theme parks, he imagined an adult vacation spot called Delos, made up of three resorts: Medieval World, which offered a fantasy version of life in thirteenth-century Europe Roman World, which promised the “decadent” morality of the Roman Empire at its peak and Westworld, which re-created the lawless frontier of 1880.
It began in 1973, with the release of a low-budget science-fiction film, Michael Crichton’s “Westworld.” The movie’s use of a digital effect for a total of two minutes-a now-routine process called pixelization, commonly deployed on Gordon Ramsay cooking shows to obscure a contestant’s cursing mouth-was the unlikely launching point of this revolution.Ĭrichton both wrote the script and directed the film.
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The film and now the HBO TV series is set in a near-future adult amusement park where the super-rich can pay ($40,000/day) for an immersive storyworld ‘holiday’ where they can do use the robots as they please to act out their wildest Wild West fantasies.The rise of the pixel in cinema may feel like a recent development, but this year actually marks its fortieth anniversary. It’s based on the 1973 SF-Western movie Westworld written and directed by science fiction writer Michael Crichton ( Jurassic Park, Andromeda Strain, Disclosure), it was Crichton’s first foray in directing, and it famously stars Yul Brynner as a killer-robot called ‘The Gunslinger’. The first episode wasn’t perfect – I wanted more, but it was necessary to give over time and space for worldbuilding (both the Western theme-park and the futuristic workplace) and introducing the basic concept of the show. It seemed like an eternity between the US release and our chance to explore, and I successfully navigated the minefield of avoiding spoilers and opinions on the first episode that might interfere with my own initial response (and enjoyment). Westworld finally got its UK premier last night.
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