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I, Robot. the Illustrated Screenplay, by Harlan And Isaac Asimov Ellison
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- Published on: 1987-01-01
- Binding: Paperback
Most helpful customer reviews
16 of 16 people found the following review helpful.
The most infamous unproduced science fiction screenplay
By Lawrance Bernabo
Many, many years ago I happened to hear an audio tape of Harlan Ellison reading the first part of his "I, Robot" script for a Science-Fiction convention, so I was very happy to see that what may well be the most infamous unproduced script in Hollywood history is available in print. The artwork in this illustrated screenplay is by Mark Zug, and consists of both color paintings and black & white character sketches that help to flesh out your mental images.
Ellison takes several of Isaac Asimov's classic Robot short stories and weaves them into the life story of Susan Calvin, told in flashbacks to a reporter at the funeral for Stephen Byerley, First President of the Galactic Federation. Consequently, Ellison avoids the traditional pitfall of omnibus movies, such as "Tales from the Crypt," "The Twilight Zone" or "Creepshow," where whatever is used to link the segments together is of no importance to the overall film.
Ellison's introductory essay is certainly not as vitriolic as his story about what happened to his "Star Trek" script "The City on the Edge of Forever," but it does recount the bizzaro world of movie making. Both the essay and the script are testaments to Ellison's affection for Asimov. A special treat is Ellison's revelation as to the casting he had in mind when he wrote the script: Joanne Woodward as Susan Calvin, George C. Scott as Reverend Soldah, Martin Sheen as Robert Bratenahl, and Keenan Wynn and Ernest Borgnine as Donovan and Powell.
You may come to this book as a fan of Ellison or of Asimov or of both. Regardless of your point of origin I think it is important that you have read the original Asimov Robot stories before you read the script. The stories are Asimov's but the adaptation is Ellison's, and you have to know the original tales to appreciate the inspired organization of this script.
Of course, now that there is a Will Smith movie version of "I, Robot" out, reading Ellison's script and comparing it to what Hollywood has wrought is a perfect case study of what Tinsle Town is all about. At the start of "I, Robot" the three laws of robotics appear one by one, imposed over bubbling water, which had better be an intentional homage to the start of Ellison's screenplay where the three laws appear over the bubbling water of a highly advanced liquid memory system or I see a lawsuit coming.
19 of 20 people found the following review helpful.
A blockbuster we'll never see...
By Donald A. Ketchek
With the release of the new I, Robot movie, there are probably a lot of people confused by the different versions of I, Robot that exist. If you are a fan of Isaac Asimov's works, then you should probably steer clear of the new movie starring Will Smith. Published accounts I have read have indicated that the studio acquired the rights to the I, Robot stories and then took an already existing script (having nothing to do with Asimov's stories) changed some character's names, and added the three laws of robotics. Hardly, does justice to some of the most famous science fiction stories ever written.
However, years ago, Harlan Ellison did write a screenplay for an I, Robot movie, that does keep to the spirit of the Asimov stories. In fact, in this reviewer's opinion, this screenplay ties the stories together and adds a level of emotion that make it more powerful and memorable than Asimov's original book version. The character of Susan Calvin is, little by little, given real depth - and her saga will bring a tear to your eye on more than one occasion.
Despite the fact that it is written as a screenplay, making it somewhat more awkward to read than straight prose, once you begin to read, it is impossible to put down. I read it in one sitting, in the time it took to...well...watch a movie.
Upon completion, part of me was sad that this was not the version that was filmed, for it would have been a classic movie. But, I am grateful that this illustrated screenplay version exists. Do yourself a favor and buy it. As you read, it will become your own personal blockbuster, whose images will remain in your heart and mind long after the lights come up in your local theater. And we have Harlan Ellison to thank for it.
7 of 7 people found the following review helpful.
An unfilmed screenplay superior to many finished SF films.
By A Customer
Harlan Ellison's adaptation of Isaac Asimov's classic
"I, Robot" stories for the screen answers many questions
posed by science fiction readers for years; most notably,
why nobody has ever made Asimov's trademark Robot stories
into a film. The answer, as well as how Ellison came to
write the screenplay, is recanted in the book's
Introduction and is a fascinating story unto itself, filled
with all of the elements of one of Ellison's dangerous
visions--hope, fear, rage, and retribution.
But "I, Robot" is not about Ellison's angst, it's about
Asimov's shining vision of the future, in which human
want is alleviated by sophisticated robots powered by
intricate positronic brains (it was Asimov and not "Star
Trek" who gave us that term). In Asimov's tomorrow,
robots are capable of performing every kind of menial task
and quite a few complex intellectual tasks as well--which
often manifest themselves unexpectedly and with surprising
consequences for their human masters.
Asimov was not the first science fiction writer to conceive
such a future, but he was the first to give it viability in
the shape of the famous Three Laws of Robotics, which
imposed a humanitarian discipline upon all of his creations.
More importantly, the limits of the Three Laws (as they are
affectionately known) imposed an unbreakable literary
discipline upon the author himself, which served to hone
his imagination and talents.
Ellison's screenplay opens with an on-screen incantation of
the Three Laws, which were recited like a mantra at the
opening of every Asimov Robot tale. From this familiar
introduction, guaranteed to endear him to Asimov loyalists
everywhere, Ellison launches into a taut, deftly plotted,
and wholly original science fiction yarn of considerably
greater depth than most of today's Spielberg-style
blockbusters.
Ellison has a daunting task--how to interweave several of
Asimov's short stories into a cohesive whole without
resorting to episodic cliches. He does this by building
his movie around the central figure of most of the Robot
stories, Dr. Susan Calvin. Calvin is a robopsychologist, a
specialist in the arcane thought processes of positronic
brains, a woman who can explain all facets of robot
behavior but is unable to come to grips with her own human frailities.
Asimov's stories in this vein focused on Calvin at various
stages of her life and career. Ellison takes his cue from
Asimov and goes him one better; he ties the Calvin
chronology together with the story of investigative
reporter Robert Bratenahl's search for Calvin after a
passing glimpse of the aging, reclusive scientist at the
funeral of a celebrated colleague, Stephen Byerley.
Bratenahl's chance encounter sends him on an odyssey around
the world and across space in search of surviving sources
who can shed some light on Susan Calvin's life story.
This familiar narrative technique, first used by Orson
Welles to cement "Citizen Kane" together, loses none of its
grip when judiciously applied by Ellison.
When it comes to retelling Asimov's stories, Ellison gives
the Good Doctor center stage. Plot changes, where they
were made, are usually done to maintain continuity and
speed the progression of the film. With a strong female
protagonist, Ellison avoids the obvious temptation to
inject sex into the story and preserves Asimov's original
characterization of Calvin as plain-looking, rigid, and
unmistakably brilliant. The robots, too, are visualized in
much the same manner as in the stories--large, imposing
machines designed for purpose and practicality, primarily
humanoid, but largely devoid of any humanizing physical
characteristics. The colorful illustrations by Mark Zug
help the reader visualize the plot line and keep track of
what's going on.
This is especially important when one considers that this
book--like all screenplays--was never really meant to be
read, but seen. The screenplay format, calling for camera
shots and transitions in the middle of scenes, can be
distracting at times, but readers who stick with it
are not only in for a fine story but also for some rare
instruction on screen writing. Here is a chance to see for
yourself what a real, feature-length movie blueprint looks
and reads like. If nothing else, you should come away
from the experience with new respect for actors. The
difficulties of memorizing hundreds of pages of dialogue
will be made quite apparent after reading "I, Robot."
The only disappointing thing about this book is that we
have to get the story in book form, and not on the screen
as it was meant to be. Ellison spits venom at Tinseltown
for abandoning the script; it was completed, in fact, in
1978! But if you're a science fiction reader, a film buff,
an aspiring writer, or just curious about how scripts are
written, then Hollywood's loss will be your gain. Who
knows? In book form, "I, Robot" could prove so popular that
Hollywood might option the rights to it--for real this time.
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