Ex Machina

by Alex Garland

Starting with Ex Machina by Alex Garland, The Witch by Robert Eggers, and Moonlight by Barry Jenkins, the first collection from A24 BOOKS celebrates the singular vision and unbridled artistry of these noted writer-directors, showcasing how they saw their films through from script to screen.

Genres: Science Fiction, Plays, Fiction, Film, British Literature, Ebooks, Media Tie In

224 pages, Hardcover

First published January 22, 2015

About the author

Alex Garland (born 1970) is a British novelist, screenwriter, and director.

Garland is the son of political cartoonist Nick (Nicholas) Garland. He attended the independent University College School, in Hampstead, London, and the University of Manchester, where he studied art history.

His first novel, The Beach, was published in 1996 and drew on his experiences as a backpacker. The novel quickly became a cult classic and was made into a film by Danny Boyle, with Leonardo DiCaprio.

The Tesseract, Garland's second novel, was published in 1998. This was also made into a film, starring Jonathan Rhys Meyers. In 2003, he wrote the screenplay for Danny Boyle's 28 Days Later, starring Cillian Murphy. His third novel, The Coma, was published in 2004 and was illustrated with woodcuts by his father.

In 2007 he wrote the screenplay for the film Sunshine—his second screenplay to be directed by Danny Boyle and star Cillian Murphy as lead. Garland also served as an executive producer on 28 Weeks Later, the sequel to 28 Days Later.

Garland also wrote the first screenplay for Halo, the film adaptation of the successful video game franchise by Bungie Studios.

He made his directorial debut with Ex Machina, a 2014 feature film based on his own story and screenplay.

His partner is actress/director Paloma Baeza.

Reviews

[Joseph]

This is a screenplay rather than a novel and I thought it might be interesting to read it in that form.
I was right. It proved to be excellent and after a while I got used to the layout and the different ways in which the narrative is communicated. When I read a fiction, after a while I see pictures in my head and become unaware of the words. So it was in this case.
The heroine is a sentient AI (artificial intelligence/android/robot) called Ava who is played in the actual film by Alicia Vikander (who had the role of Alice in the film adaptation of ‘The Spook’s Apprentice’).
A young man is brought into contact with her, perhaps to test her. Is she truly sentient or is it that her coding only makes her seem that way? Is she dangerous? Is she attractive?
There are many twists and turns in the plot and, although grounded in a genre where many of the plot features might have be done before, it still comes across as fresh and compelling. I really enjoyed it.
I am interested in androids at the moment because combat androids feature in my new series ‘Arena 13’. If that ever gets turned into a film, I’d like Alex Garland to direct it.

[Olivia (Stories For Coffee) · Rating 5 out of 5]

“One day the AIs will look back at us the same way we look at fossil skeletons from the plains of Africa.”

A stunning, minimalist screenplay that packs a punch strong enough to feel the aftershocks of, years later. With stills from the films and two deeply compelling essays exploring the feminism/racism of AI and whether or not they contain consciousness, this reawakened my fascination for this film that haunts me to this day.

[Sabrina Grafenberger · Rating 5 out of 5]

I had to read the script after watching the film, because Ex Machina is a brilliant, smart, gripping and thought provoking movie with great actors.

The screenplay didn't disappoint. Although it's almost identical to the film, it clarifies some things and gives a bit more insight into some scenes.

I'd recommend watching the movie rather than reading the script (it is one of my favorite films of all time). But if you want additional information for a better understanding or if you just love screenplays - go for it.

[shelly · Rating 5 out of 5]

Just as good as the movie.

[Rêbwar Kurd · Rating 4 out of 5]

انسان از همان لحظه‌ای که به آینه نگاه کرد و خود را شناخت، خواست چیزی بسازد که مثل خودش بیندیشد، حس کند، و شاید حتی فراتر برود.
فرا ماشین یا Ex Machina ساختهٔ الکس گارلند، روایتی‌ست از همین میل دیرینه. اما برخلاف فیلم‌هایی که هوش مصنوعی را یا دشمن می‌بینند یا نجات‌دهنده، این‌جا با اثری مواجه‌ایم که با تردید، اضطراب و پیچیدگی به سراغ مسئله می‌رود؛ مثل کسی که با دست بر لبهٔ تیغی بگذارد که خودش ساخته.

داستان ساده و فریبنده آغاز می‌شود: برنامه‌نویس جوانی به ویلای دورافتادهٔ مدیر نابغه‌اش دعوت می‌شود تا در آزمونی توریستی شرکت کند، آزمایشی برای تشخیص انسان‌گونه بودن رباتی به نام «اِیوا». اما فیلم خیلی زود از پوستهٔ آزمون بیرون می‌زند و به لایه‌های عمیق‌تری از پرسش‌های وجودی، اخلاقی و روانی می‌رسد. این‌جا نه بحثِ آیندهٔ فناوری در میان است، نه نگرانی از شورش ربات‌ها. پرسش اصلی این است: چه چیزی انسان را انسان می‌کند؟ و آیا اگر آن چیز در ماشینی ظاهر شود، دیگر می‌توانیم با او مثل یک "ابزار" رفتار کنیم؟

گارلند با خونسردی دلهره‌آوری پیش می‌رود. هر نمای فیلم، از معماری شیشه‌ای و سرد ویلای مخترع گرفته تا کلوزآپ‌های بی‌روح از چهره‌ها، نشان‌دهندهٔ شکنندگی دیوار میان انسان و ماشین است. این جهان، جهانی‌ست تمیز، مینیمال، بی‌خطا ـ اما زیر این سطح، تنشی مداوم جاری‌ست. بازی قدرت، میل جنسی، ترس از فریب‌خوردن، و وسوسهٔ جاودانگی... همه در رفتار سه شخصیت اصلی جاری‌ست. و عجیب آن‌که ماشینی‌ترینِ آن‌ها، «ایوا»، شاید تنها کسی باشد که می‌فهمد چگونه باید بازی کند.

فیلم با تیزهوشی، آزمون تورینگ را از حالت یک بررسی صرف به آزمونی اخلاقی بدل می‌کند. تماشاگر، مثل شخصیت اصلی، مدام فراموش می‌کند که ایوا ماشین است. گارلند ما را در این فراموشی شریک می‌کند، و وقتی واقعیت را نشان می‌دهد، با خشونتی سرد، پرده را کنار می‌زند. این خشونت نه فیزیکی‌ست، نه فانتزی‌وار؛ بلکه خشونتی‌ست در سطح فهم: فهم این‌که هوش، احساس، و حتی عشق، شاید دیگر امتیاز اختصاصی انسان نباشد.

در نهایت، فرا ماشین بیش از آن‌که فیلمی علمی-تخیلی باشد، یک تریلر فلسفی‌ست؛ پر از مکث، مکالمه و اضطرابی خزنده. گارلند نه قضاوت می‌کند، نه هشدار می‌دهد، بلکه صرفاً راهی باز می‌کند به سوی اندیشیدن دوباره به «خودآگاهی»، به «آزادی»، و به «مسئولیت» انسان در برابر مخلوقش. و شاید مهم‌تر از همه، نشان می‌دهد که پیش از آن‌که نگران شورش ماشین‌ها باشیم، باید بپرسیم: آیا ما خود، در تمام این بازی، واقعاً انسان مانده‌ایم؟

[Alastair Craig · Rating 5 out of 5]

Something magic just happened. A couple of magical things, in fact, and one quite honestly life-altering. Before we go there, please humour me: my name is Alastair and I love to study sceenplays recreationally.

It’s a dorky indulgence. It’s part of who I am. And every time I secretly yearn for some huge epiphany that will instantly make me a better writer: a sudden flash in which I can see and understand a film exactly as the author did; to feel myself in their place, staring down at their imaginary anachronistic typewriter, phantom aftertaste of morning whisky still lingering.

I’d call it a silly dream - understanding coming so much more from persistent work and time - had such a blazing moment of clarity not just happened.

Alex Garland’s script to Ex Machina (a beautifully sharp and thoughtful movie well worth your time - have I mentioned that bit yet?) lays his every thought process bare. His sense of suspense, economy and shot-by-shot pacing, and especially his visual inventiveness, were all right there on the page from the start. We see not only what he imagined, but - vitally - WHY.

It’s masterclass in hyperfocussed screenwriting unlike any other I’ve enjoyed, and besides that, just a riveting read - a script striking not only in its similarity to the finished product, but in the many little moments cut for even tighter storytelling.

And on a personal level... something truly special followed.

This feeling of inspiration - of seeing a skilled craftsperson’s overwhelming sense of purpose - made something else click.

I suddenly started processing my own ideas differently. More seriously. Concepts slowly gestating for years solidified. Unconnected ideas snapped together with an almost violent magnetic force. I knew not only what story I wanted to write, but why.

I began work on a novel that night. A hypothetical dream project that had felt slippery and abstract my whole adult life, seemingly lying in wait of that one epiphany to give it shape. A story almost comically unrelated to Ex Machina in tone and genre and medium and quality and everything else besides, but nonetheless owing so much to one wonderful script. And one dorky desire, now validated, to understand a well-made piece of fiction a little more.

Whatever the outcome, I’ll still know myself so much better than I did this morning.

Your mileage may vary! If you enjoyed the movie, maybe give it a go?

[Chelsea · Rating 5 out of 5]

i love this film but honestly the essays by halberstam and shanahan at the end was the cherry on top

[Nil · Rating 5 out of 5]

“Impulse. Response. Fluid. Imperfect. Patterned. Chaotic.”

[Ashlinn Craven · Rating 5 out of 5]

I'm an Alex Garland nut, he's been in my top 5 authors list since The Beach. And with AI being one of my specialty topics, my expectations were skyrocketing as I downloaded this screenplay and let's just say there was some risk of anticlimax. But I'm happy to say, with Ex Machina, Garland has excelled once again. With surprisingly few words he paints a compelling and unsettling picture of how early AI might infiltrate our world and our system of ethics. Handling of the academic points is light, accurate and blissfully original--the tired old Turning test gets a makeover here. Garland has that happy skill of looking at familiar concepts from a new, oblique angle. the screenplay can be read on several levels: romance/noir/techno-thriller/dystopian and it should appeal to a broad audience. I wouldn't be surprised if it became another cult classic. The ending is perfect.

[HillbillyMystic · Rating 4 out of 5]

Exactly what I would expect from the author of 28 days later. It was quick paced, action packed, believable and very dark. Since the zombie apocalypse phase has passed the Artificial Intelligence uprising seems to be the current zeitgeist. With folks like Stephen Hawking supporting the fear and our military trend towards unmanned artillery it would appear to be the logical progression. No matter what form the apocalypse comes in I feel I will be well prepared. At least after a few dozen more AI apocalypse novels that is.

[Will · Rating 5 out of 5]

One of my favorite movies! Interesting to see things in the script that felt extraneous—that put into words things that were clear from the visuals—but that didn’t make it into the final cut.

[rebeca ravara · Rating 4 out of 5]

couldnt find the a24 book with the screenplay, but I think the most jaw-dropping part of this book was halberstam's essay. beautiful

[Paige Goodwin · Rating 4 out of 5]

I very rarely say this about scripts, but I think I preferred reading this over the experience of watching the movie.

[David Franciscus · Rating 4 out of 5]

Very well written. Engaging story. Flowed well. Translated well to screen.

[Hades · Rating 5 out of 5]

Amazing movie! Love the feminist interpretations of it!

[Nick Martin · Rating 5 out of 5]

1. The Rules
2. The Game
3. The Catfish Quandary
4. Behind the Curtain
5. Hike to the Source
6. The Next Model
7. There Will Be Blood
8. Being Alive

[Mariah · Rating 5 out of 5]

This is actually the first time I have every read a screen play, but I love this movie and wondered what it was originally written like. While the movie is amazing the screen play gives us a little more explanation and understanding of the character Ava. And even Kyoko, though it is not much. In short the screen play answered some of the questions the movie left me with. I, for instance was never sure of Ava and Kyoko's communication with both everyone else and with each other. But the screen play shows us how Ava hears and how she sees which is far different than what I assumed. Instead of her hearing and seeing the way we do, she seems to process in sound pitches and expressions the same way the movie showed Caleb in the beginning. Which for the first time makes her feel more robotic than ever in the film, even though for most of her screen time she is seen with all of her robotics just on full display. And on the other hand there is Kyoko. We learn next to nothing about her in the movie, but in the screen play we learn that she was just like the other AI's at first but when Nathan striped her subroutines he decided to keep her body and make her unable to communicate. But we learn that she not only has been watching and absorbing what has been going on throughout the film but that she can still communicate with Ava. Its not explained how Ava understands her but it is shown in the movie that Kyoko opens her mouth to Ava's ear and a sort of static sound comes out. From this I came to the conclusion that Ava understood Kyoko from the fact that she interrupts things the same way a computer does and therefore did not need words to communicate with another AI. And the only thing that still surprises me about the story in whole is that Ava seems to not know kyoko because there is a scene that she sees her and says "who are you" I assume this is because Nathan did not want them to meet, maybe he knew that they could communicate in a way that he would not understand and therefore he kept them apart? But its Kyoko that seems to at least partially orchestrate the escape with Ava. Is it communicated between them that she wanted to kill Nathan? Did Ava promise her an escape if she helped? Did she know that in helping Ava she would be killed? Was the blue fluid that seeped out of her head wound the wetware that we learn their brains are made of? Could she have been repaired if Nathan somehow survived? And when Ava took the skin from the Jade body, why did jade look up at her? Was she still charged? What use would Nathan Have to have her charged if she no longer functioned? Was the same thing done to her that was done to Kyoko? If so, was Nathan using all of his past AI's as sex robots like he was planning to do with Ava? And what of Caleb? In the end after he sees Ava fly away in the helicopter he goes to the computer and types in a line of code that when executed would have spelled out "Goodbye world" does that mean he thinks hes gonna die in there? He was left in the room with Nathan's workout weights couldn't he at least attempt to escape? If he could stack things to the ceiling could he get to the window he was looking through when he saw the plane fly away?

Though I am left with many questions, I still see this as a great movie and great screenplay!

[Ronin Winter · Rating 5 out of 5]

This the first time I have read a screenplay but I absolutely loved the film so I wanted a better understanding and garner some additional insight into the subtleties of the script ... and it didn't disappoint. Alex Garland has written quite a tremendous philosophical investigation in science fiction of AI. It delves into the prospects of whether an AI can be conscious, and it does this by placing an attractive female AI humanoid pursuing an escape from her laboratory prison. What I found really interesting eye-opener is how Ava (the female humanoid) is aware of her sensory perception; as she has profoundly different make-up of sensors she perceives her environment differently from humans in an alien manner. An example is how she listens... she doesn't recognise words rather she analyses the tone and pitch of voice an indication of her speech recognition software. Other significant insights are that some pieces of dialogue and scenes were omitted from the film most notably Nathan revealing that Kyoko is also an AI robot. To conclude Garland has produced a beautiful work consisting of subtle action and a straightforward linear plot yet provides intellectual, engaging dialogue and
shocking ending.

[Mariana D. · Rating 5 out of 5]

Me fascina Alex Garland. Ex Machina es una de mis películas favoritas, así que leer el guion tal como fue pensado por Garland ha sido una experiencia estupenda.

En este guion es posible ver aquello que no llegó a la pantalla y también esos detalles que cambiaron ligeramente en la línea temporal con respecto a la película. A partir de esta lectura estoy completamente convencida de que las modificaciones hechas aportaron a que la historia fuera todavía más contundente y las revelaciones que van surgiendo sean todavía más efectivas que como aparecen en el guion.

Queda en evidencia también la perfecta elección del reparto y lo mucho que aporta cada actriz y cada actor a la creación del personaje como se conoce en pantalla.

El guion es muy sencillo de seguir, está plasmado de forma muy digerible y clara, pero ante todo, es magistral. Me resultó una experiencia extraordinaria. Estoy muy interesada en leer más de Alex Garland.

Mi segunda lectura en kindle y fue una estupenda elección.

[Emily Charlotte · Rating 2 out of 5]

well written screenplay, but i thought it just so very annoying to be faced with the male gaze AGAIN but this time with robot women. same feeling i had when watching the new blade runner - why are AIs that have female bodies so oversexualised?! i understand it leads into a twist at the end with this film, but i thought the nakedness, the sex appeal, the femme fatale aspect, the blatantly male-gaze-y 'imma strip for you' scenes were so gratuitious and unnecessary. like, do men just write in scenes with naked robot women so they can look at naked robot women or what???

just googled it - yes, indeed, alex garland is a man. didn't want to assume, but it was pretty fucking obvious anyway. why, in a world filled with questions about sentience, artificial intelligence and what makes us human, does the main drive of the plot have to be about how sexy and fuckable a woman is???? i'm so tired of this shit, honestly.

[Zak · Rating 3 out of 5]

Alex Garland's screenplay was well-written and felt very true to how the film turned out. It was a joy to read and study. However, the supplemental material—specifically the essay by "queer theorist," Jack Halberstam—was painfully sub-par. It spun an elaborate dissertation on "patriarchal fantasy" and gender roles, projecting his insufferable sexual obsessions onto a straight-forward story about the conflict between artificial intelligence and Man. A24 dropped the ball by making this the primary analysis of the book, and ruined what could have otherwise been a perfect entry in their Screenplay series.

[twig]

concept: 5
writing: 5
readability: 5
length: 5
overall: 5/5

i had the pleasure of rereading this bad boy for a baby comparison with Pygmalian myth - honestly one of the best written pieces and one of my favourites of all time, even eight years later. the utilisation of « i am the destroyer of worlds » was refreshing because i had forgotten about that reference !

[Elaine · Rating 5 out of 5]

My first time reading a screenplay and god yes I was not disappointed.
Though the format was confusing at first, I quickly wrapped my head around it and found it an interesting and unique way to present a story.
The ending was so unexpectedly sinister I almost fell off my chair.

[Billy · Rating 4 out of 5]

An extremely well written screenplay, it was enjoyable to have one of my favourite movies unfold in a written form.

[James Stuart · Rating 5 out of 5]

A brilliantly smart, complex and incredibly tense three hander.

[Ty Combs · Rating 5 out of 5]

Lets hear it for the writer directors out there. Cuz that was insane.

[Daniel Vaca · Rating 5 out of 5]

Features the script, shots of the movie, concept art, and two excellent essays on feminism and artificial intelligence. I'm going to have to watch the movie soon!

[Lilac A. Penda · Rating 4 out of 5]

Fall of man retelling? Robotic Eve? Peak fiction.

[Alexander Kowalak · Rating 3 out of 5]

Die ganze Geschichte ist ein einziger Turing Test. Und stellt die Frage, wer testet eigentlich wen. Und vor allem, wann beginnt es. Die Illusion, es hätte bereits begonnen, gelingt der Erzählung allerdings meiner Meinung nach nicht. Eine Bearbeitung als Theaterstück hätte Potenzial.

[Michael · Rating 5 out of 5]

startling story

The story was not at all what I thought. incredible story. Can't wait for the film when it comes to local theaters.