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Garland, Gleeson and Isaac were speaking while sitting together around a conference table in a room overlooking downtown Austin, Texas, during the recent South by Southwest Film Festival. In my head, they tell you more about people than they do about machines.” Just because something is science fiction doesn’t make it just spaceships. “The great science-fiction movies are human dramas also,” Gleeson added. “And when you’re talking about consciousness, you are talking about lies, jealousy, attraction, sexuality.” that is self-aware, you inevitably are talking about consciousness,” Garland said.
The film’s serious ideas are put in relief by its escalating tension, and Garland was also well aware of baiting the trap in how the gender dynamics between Caleb, Ava and Nathan would all play out.
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After his debut novel, the backpacking adventure “The Beach,” was adapted into a movie, he reinvigorated the zombie story with his first screenplay, “28 Days Later.” Alongside two more novels, he followed this up with scripts to the space drama “Sunshine” and adaptations of the novel “Never Let Me Go” and comic “Dredd.” Taken together, it now appears as a consistently inventive body of work, full of big ideas, sharp storytelling and a complicated view of technology’s interface with society.įor all its high-tech filigree, there is something elemental in the drama of “Ex Machina,” a grounding in the basic forces of desire and power alongside headier ideas of consciousness and artificial intelligence. The London-born Garland, 45, has had an intriguing path to his first directing credit. “There’s a lot of misdirection in the film,” Garland added. “Really we’d talk about the script as a whole and then look at it from every single angle to make sure it sticks together.” “One of the big things for me to figure out for my character was what’s he doing on purpose, what’s he accidentally doing, what’s he in control of, what is he not in control of and then feeling all that,” Isaac said.
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What begins as Caleb administering a series of tests designed to determine whether Ava has gained sentient self-awareness becomes a twisting game of wills and wits as the three characters battle for dominance and survival.
There, Caleb discovers that Nathan has created Ava (Alicia Vikander), a lifelike and beautiful robot with an artificial intelligence strengthened with data from the company’s online search engines.
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Opening Friday, the film begins with young computer programmer Caleb (Domhnall Gleeson) winning an internal company contest for a private visit with the reclusive tech industrialist Nathan (Oscar Isaac) - think Mark Zuckerberg plus Steve Jobs plus Howard Hughes - on his remote nature preserve estate.
“And then part of the challenge is making those ideas accessible and dramatically interesting and trying to understand them.”
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“The challenge is - and this is such a bad way to sell a movie - the challenge is how do you make a movie which is basically a film of ideas?” Garland said recently. Yet in “Ex Machina,” the directing debut for writer Alex Garland, that dry-sounding concept becomes the basis for a sci-fi thriller of sleek, gleaming surfaces and impressive intellectual depth, somehow managing to feel modern, futuristic and classical all at once. Three characters trapped in a house debating human consciousness may not sound like the most exciting backbone for a movie.
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