![]() Warning: Spoilers for the end of Archive ahead.Īrchive ends with a twist: It's not George's wife who died in the car accident, which takes place before the events of the movie. Stacy Martin, as "Jules" in 'Archive.' Vertical Entertainment Archive's ending, explained So I'm making films in the old school techniques of the '70s and '80s." "I've not been given $200 million to do anything. But that was my big worry during shooting," Rother says, adding that Archive's tiny budget also forced him to emulate the tricks of early science fiction filmmakers. The set's lighting, primarily made to light the film for cinematographer Laurie Rose, doubled as hazard lights to help the suit actors move around the set. "It's incredible how many times R2-D2 and C-3PO have fallen over," Rothery says. The first-time director looked to sci-fi legend George Lucas for inspiration on how to work with actors in clunky robot costumes. The robots gave Rothery headaches during filming, both out of fear that the actors would hurt themselves and because he only had one version of each costume. He had this technique down for how to move because he built it." Chris was the only person that could walk in them. "But the J1 suit wasn't as mobile and flexible as we were promised. "I wanted to cast girls in all the suits because they're playing girls," Rother says. "Even though I have a VFX background, working with practical film-making tools, I feel very happy in that space."īehind the scenes of 'Archive' with director Gavin Rothery (center). "Any robot you see is an actor in costume," he says. Created by Rothery in 3D and brought to life by his art department, the robots of Archive were performed by ex-Cirque du Soleil performer Timea Kinga Maday (as J2) and Chris Schubert (as J1), who had built the costume of J1 himself. It snuck in and became my aesthetic."īut Archive's most charming characters, J1 and J2, take Rothery's love for art to the next level. There's balance, composition, light volume. "I'm all about the art because the art thinks for me. He imagined the stories those books told before he could actually read. Rothery, Gavin's father, had shelves of paperback novels, and the young filmmaker would gaze at their covers. "My original interest in science fiction was by my dad." “I was always art first” "I come from an art background," he says. Vertical Entertainmentįrom Moon to Archive, and many projects in between, Rothery demonstrates a taste for science fiction that eschews the clean lines and soft edges of Star Trek for the layers and hard edges of pulp novels and anime. In 'Archive,' a roboticist (Theo James) works in secret to transfer the consciousness of his dead wife (Stacy Martin) into a new, life-like synthetic body. Jealousy just fit really well within the narrative." "What I actually created is about replacement. "I set out to write a story about love," Rothery says. Upon the completion of George's third and most human-like prototype yet, "J3," jealousy brews inside the laboratory. ![]() In Archive, George's first two experiments, "J1" and "J2," are (adorably) boxy robots who assist their creator in his laboratory. Though a love story, technology's fickle habit to evolve brings forth a key emotion that looms over the film: jealousy. Unbeknown to his superiors, George is actually working to create a new body for the limited, digitized consciousness of his dead wife, Jules (Stacy Martin). In Archive, robotics scientist George (Theo James) races to create true artificial intelligence. Upon chewing over the idea more, Rothery found the story that would become his first feature film, Archive.Ī new science-fiction thriller, Rothery's movie explores love and death as "universal constants that touch all of us." that became self-aware and the only thing it was interested in was killing itself," he says. ![]() Soon, it planted a seed of a unique sci-fi story about love and loss. "That was a real kick in the guts," Rothery tells Inverse. His life's work up until that point, including the work he did for the 2009 sci-fi Moon with Duncan Jones, was lost due to hard drive failure. In October 2011, Rothery was the visual effects director for a London advertising agency when his two home computers simultaneously crashed. Archive began when Gavin Rothery lost everything. ![]()
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