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Bicentennial Man (1999)
Country of Origin: USA
Year of Production: 1999
Running Times: 132 mins
Format: Technicolor 35mm digital (Texas Instruments
DLP 1280 x 1024, 1.5:1 anamorphic)
Ratio: 1.85:1
Sound: DTS Dolby Digital SDDS
CREDITS
PRODUCTION
Production Companies: 1492 Pictures / Columbia Pictures
Corporation / Laurence Mark Productions / Radiant
Productions / Touchstone Pictures
Executive Producer: Dan Kolsrud
Producers: Michael Barnathan, Chris Columbus, Gail Katz,
Laurence Mark, Neal Miller, Wolfgang Petersen, Mark
Radcliffe
Associate Producer: Paula DuPré Pesman
Unit Production Manager: Geoffrey Hansen
Production Coordinator: Katie Gilbert
Assistant Production Coordinator: Mark Hager
SCRIPT
Script: Nicholas Kazan
Short Story: The Bicentennial Man by Isaac Asimov
Novel: The Positronic Man by Isaac Asimov and Robert Silverberg
DIRECTION
Director: Chris Columbus
Assistant Directors: David Sardi, Jennifer A. Giancola,
Maggie Murphy
2nd Unit 1st Assistant Director: L. Dean Jones Jr
PHOTOGRAPHY
Director of Photography: Phil Meheux
2nd Unit Director of Photography: Brian Sullivan
A Camera Operator: Kim Marks
Assistant Camera: Starrs McBurney
2nd Assistant Camera: Jan Ruona, Kate O'Neill
Additional 2nd Assistant Camera: Lorna Leslie
Rigging Gaffer: Robert E. Powell
Electricians: Brian Minzlaff, Sheila Greene
Best Boy Electric: Terry Sullivan
Rigging Electrician: John Lacy
Rigging Key Grip: Larry Aube
2nd Unit Grip: Andi Ruane (uncredited)
Video Assist Operator: John Trunk
Colour Timer: Mike Mertens
EDITING AND POST-PRODUCTION
Editors: Nicolas De Toth, Neil Travis
Additional Editor: Nicolas De Toth
1st Assistant Editor: Ken Terry
MUSIC
Music: James Horner; Joseph Haydn (from The Hunt Quartet
Suite No. 1)
Song: James Horner, Will Jennings (Then You Look at Me)
Song Performed By: Céline Dion (Then You Look at Me)
Orchestrators: Harvey Cohen, J.A.C. Redford
Production Music Mixer: Rick Norman
Assistant Music Editor: Barbara McDermott
Piano Teacher: Aglika Angelova
SOUND
Sound Designer: Randy Thom
Assistant Sound Designer: Eleanor Beaton
Apprentice Sound Designer: Stuart McCowan (uncredited)
Sound Design Assistant: Beau Borders
Production Sound Mixer: Nelson Stoll
Assistant Sound Mixer: Fred Runner
Sound Mix Technician: Juan Peralta (uncredited)
Re-Recordist: Jennifer Barin (uncredited)
Re-Recording Mixer: Gary Summers
Boom Operator: Fred Runner
Supervising Sound Editor: Robert Shoup
ADR Supervisor: Gwendolyn Yates Whittle
Dialogue Editors: Jonathan Null, Marshall Winn
Sound Effects Editor: David C. Hughes
Foley Artists: Dennie Thorpe, Jana Vance
Foley Mixer: Tony Eckert
Cable Person: Michael Meier
Machine Room Operators: Brian Magerkurth, Gabriel Guy,
Sean Landeros (all uncredited)
COSTUMES AND MAKE-UP
Key Make Up: Brad Wilder
Make Up: Gretchen Davis, Karen Blynder
Make Up For Robin Williams: Cheri Minns
Hair For Robin Williams: Cheri Minns
Costume Designer: Joseph G. Aulisi
Assistant Costume Designer: Chrisi Karvonides-Dushenko
Key Costumer: Karen Bellamy
Wardrobe Assistant: Faye Sevilla
Cutter / Fitter: Dorothy Bulac
SPECIAL MAKE UP
EFFECTS
Make Up Effects Producer: Keith VanderLaan
Special Make Up Effects Artist: Brian Sipe, Rick
Bongiovanni
Special Age Makeup: Greg Cannom
Captive Audience
Productions
Old Age Make Up Effects: Keith Vanderlaan's Captive
Audience Productions
Special Make Up Effects Age Effects: Wes Wofford
Production Coordinator: Jill Fischer
Effects Crew: Rick Bongiovanni
Conceptual Designer: Miles Teves
Conceptual Sculptor: Miles Teves
Operations Manager: Harvey Lowry
SPECIAL EFFECTS
Special Effects Coordinator: John McLeod
Special Effects: Doug Sherman
Bicentennial Man Suit Development / Fabrication: Brian
Bero
Mechanical Suit Fabrication: Jeff Jingle
Mechanical / Electronic Effects Coordinator: Gustavo R.
Ferreyra
Mechanical Effects: Chris Allen
Puppeteers: Eric Fiedler, Billy Bryan, Christopher
Nelson, Jim Kundig, Terry Sandin, Mike Elizalde, Mark
Garbarino, Christian Ristow, Lennie MacDonald, Dan
Rebert, Bernhard Eicholz, Evan Brainard, Benny Buettner,
Kamela Portugues, Michael F. Steffe, Mark J. Walas
Helmet and Lifecasts Mold Department: William Huntley
(uncredited)
Special Effects Props / Electronics Foreman: Christian T.
Andrews
Special Fiber Optic Laser Effects: Alan McFarland
Technical Director: Paul Van Camp
Previsualization: John R. McConnell
Steve Johnson's
XFX
Robotic Effects: Steve Johnson's XFX Inc
Fabricator: Michael O'Brien
Mold Department: Steve Newburn (uncredited)
VISUAL EFFECTS
Visual Effects: Dream Quest Images
Visual Effects Executive Producer: Dean Wright
Visual Effects Supervisor: James E. Price
Visual Effects Coordinator: Rachel Fondiller
Digital Effects Supervisor: Dan Deleeuw
Digital Producer: Lisa Goldberg
Digital Artist / 3D Matte Painter: Mark Lefitz
Computer Graphics Modeler: Chris Keene
CGI Artist: Kenji Sweeney (uncredited)
Rotoscope Artist: Jeff A. Johnson (uncredited)
POV Graphic Overlays: R. Christopher Biggs
Visual Effects Art Director: Mike Meaker
Art / Previs Manager: Kyle J. Healey
Lead Compositor: Rory Hinnen
Digital Compositor: Marc Scott
Miniatures: Jean André Chaintreuil
Model Maker: Brent Heyning
Technical Director: Francis Liu
Technical Administrator: Rob White
Visual Development Artist: Allen Battino (uncredited)
Dream Quest
Images
Visual Effects Coordinator: Kerry Shea (uncredited)
Miniature Effects Supervisor / Project Supervisor:
Carlyle Livingston
Texture Painter: Travis Price
3D Matte Painters: Eric Hanson, John Huikku
Digital Effects Compositor: Anthony Mabin
Digital Compositor: Jeff Olm
Survey Lead: Matt Mueller
Illusion Arts
Matte Artist: Rocco Gioffre
Industrial Light
and Magic
Modelmaker: Aaron Haye
Pacific Title
Digital
Digital Effects Artist: Jennifer Law-Stump
Tippett Studio
Digital Artist: Garrett Honn
Digital Compositor: Jeff Sargent
Lead Production Assistant: Kirk Larkins (uncredited)
DESIGN AND SET
CONSTRUCTION
Production Designer: Norman Reynolds
Art Directors: Bill Hinley, Bruton E. Jones Jr, Mark W.
Mansbridge
Set Designers: Bill Taliaferro, Darrell L. Wight, Geoff
Hubbard, James E. Tocci
Set Decoration Coordinator: Wayne Billheimer
Set Decorator: Anne Kuljian
Set Dresser: J. Michael Davis (uncredited)
Buyer: Daniela Moore
Property Masters: Chris Allen, Steve Melton
Assistant Property Master: Melody Miller
Property Maker: David Wiezer
Scenic Artists: Robert L. Peden, Tom Richardson
Illustrators: James Clyne, Mauro Borelli, Tim Flattery
Conceptual Artist: Matt Suzuki
Pre-Production Conceptual Artist: Brian Wade (uncredited)
Lead Man: Jim Poynter
OTHER CREW
Script Supervisor: Carol DePasquale
Production Accountant: Ellen Adolph
Payroll Accountant: Eddie Adolph
Key 2nd Assistant Accountant: Michelle Stevens
Set Production Assistants: Astrid Crabbe, Brian Dettor,
Christopher James Hall, Valentina Aulisi (uncredited)
Production Assistants: Kevin Leblanc, Ava Fang, Gilbert
Beliso, Jessie Thiele, Jude S. Walko, Katie McCaffrey,
Mary Zeeble, Michael Chickey
Assistant to Michael Barnathan: Karen Swallow
Assistant to Chris Columbus: Elizabeth Devereux
Assistant to Robin Williams: Rebecca Erwin Spencer
Assistant to Producer: Aaron Huffman (uncredited)
Estimator: Joseph Conenna
Foreman: Tom Proost
Information Services: Doug Sherman
Medic: Dave Sullivan
Unit Publicist: Michael Umble
LOCATIONS
Locations: Alameda, California, USA; City Hall, San
Francisco, California, USA; Fremont, California, USA;
Half Moon Bay, California, USA; Oracle Corporation,
Redwood City, California, USA; Redwood City, California,
USA; San Francisco, California, USA; Treasure Island,
California, USA; Woodside, California, USA
Location Manager: Rory Enke
Assistant Location Manager: Richard Marks
Location Scout: Thomas M. Harrigan
ACKNOWLEDGMENTS
STUNTS
Stunt Coordinator: Mike Mitchell
Stunts: Tony Valla, Jeff Mosley, Laura Dash, Mike
Martinez, Tim Meredith
CASTING
Casting: Janet Hirshenson, Jane Jenkins
Location Casting: Beau Bonneau
Extras Casting: Beau Bonneau
Extras Casting Intern: Scott Trimble
CAST
Robin Williams (Andrew Martin)
Embeth Davidtz (Amanda Martin / Portia Charney)
Sam Neill (Richard Martin)
Oliver Platt (Rupert Burns)
Kiersten Warren (Galatea)
Wendy Crewson (Ma'am)
Hallie Kate Eisenberg (7 Year Old 'Little Miss' Amanda
Martin)
Lindze Letherman (9 Year Old 'Little Miss' Grace Martin)
Angela Landis (Grace Martin)
John Michael Higgins (Bill Feingold)
Bradley Whitford (Lloyd Charney)
Igor Hiller (10 Year Old Lloyd Charney)
Joe Bellan, Brett Wagner (robot delivery men)
Stephen Root (Dennis Mansky)
Scott Waugh (motorcycle punk)
Quinn Smith (Frank Charney)
Kristy Connelly (Monica)
Jay Johnston (Charles)
George D. Wallace (male president)
Lynne Thigpen (President Marjorie Bota)
Ples Griffin (Zimbabwe representative)
Marcia Pizzo (Lloyd's wife)
Paula DuPré Pesman (Feingold's assistant)
Clarke Devereux (priest)
Bruce Kenneth Wagner (engagement party guest)
Paula West (singer)
Kevin 'Tiny' Ancell (restoration worker 1)
Richard Cross (restoration worker 2)
Adam Bryant (humanoid head)
Merridee Book (world congresswoman - uncredited)
Kenny Byerly, Scott Trimble (wedding guests - uncredited)
Kimberly Delmer (dancer - uncredited)
Charles Ritter (party guest - uncredited)
Stand-In: Jake Gentry
Stand-In For Little Miss / Portia: Karina Andrews
Stand-In For Robin Williams: Adam Bryant
Photo Double: Jake Gentry
PLOT SUMMARY
"Andrew", a
robot designed to help with household chores and other
menial tasks develops a personality, experiences emotions
and begins to yearn to be human. Over 200 years,
"Andrew" slowly develops as he tries to fend
off his original creators who are determined to destroy
him.
CAPSULE REVIEW
A science fiction take
on Pinocchio that beat A.I.: Artificial
Intelligence (2001) to the punch, but which
lacks the intelligence and vision of Spielberg's film.
Made before Robin Williams discovered his darker side,
it's sentimental and mawkish and the message is delivered
with the sledgehammer subtlety common to this kind of
manipulative, tearjerking Hollywood blockbuster. And as
an adaptation of the Isaac Asimov original, it's nothing
short of a travesty.
AVAILABILITY
Argentina
Theatrical Distributor: Columbia TriStar Films de
Argentina
Video Distributor: LK-TEL
France
Theatrical Distributor: Columbia TriStar Films
Germany
Theatrical Distributor: Columbia TriStar Film GmbH
DVD Distributor: Columbia / Tristar (30198)
Greece
Video Distributor: Prooptiki Video
Japan
Theatrical Distributor: Sony Pictures Entertainment Inc
UK
Theatrical Distributor: Columbia Pictures
Video Distributor: Columbia / Tristar Home Video; Cinema Club (Take
Three CC8671 - triple pack with Dead Poets
Society (1989) and Jack
(1996)); 4 Front Video (C9064823)
DVD Distributor: Columbia / Tristar (CDR 30198)
Television Distributors: Front Row TV; BBC
USA
Theatrical Distributor: Buena Vista Pictures
DVD Distributor: Touchstone Home Video (18303)
CENSORSHIP HISTORY
Argentina
Rating: 13
Chile
Rating: 14
France
Rating: U
Germany
Rating: 0
Hong Kong
Rating: IIA
Netherlands
Rating: 12
New Zealand
Rating: PG
Singapore
Rating: PG
Sweden
Rating: Btl
Switzerland
Rating: 7
UK
Rating: PG
USA
Rating: PG (for language and some sexual content)
AWARDS
2000
Academy Awards, USA
Best Makeup (Greg Cannom) - nominated
Blockbuster
Entertainment Awards, USA
Favorite Actor: Comedy (Robin Williams) - nominated
Favorite Actress: Comedy (Embeth Davidtz) - nominated
Hollywood Makeup
Artist and Hair Stylist Guild Awards
Best Special Effects Makeup: Feature (Greg Cannom, Wes
Wofford) - winner
Best Character Makeup: Feature (Cheri Minns) - nominated
Razzie Awards,
USA
Worst Actor (Robin Williams) - nominated (also for Jakob
the Liar (1999))
YoungStar
Awards, USA
Best Young Actress / Performance in a Motion Picture
Comedy (Hallie Kate Eisenberg) - nominated)
TIMELINE
1999
November
19: UK - trailer rated U by the BBFC (for
theatrical release, uncut)
December
8: UK - trailer rated U by the BBFC (for theatrical
release, uncut)
13: USA - theatrical premiere; UK - rated PG by the BBFC
(for theatrical release, uncut)
17: USA - theatrical release
22: UK - trailer rated U by the BBFC (for video release,
uncut)
26: Australia, New Zealand - theatrical release
2000
January
21: UK - theatrical release
February
3: Argentina - theatrical release
4: Italy - theatrical release
10: Hungary - theatrical release
11: Brazil - theatrical release
24: Netherlands - theatrical release
25: Iceland - theatrical release
March
2: Singapore - theatrical release
3: Denmark, Spain - theatrical release
9: Germany, Malaysia - theatrical release
15: Belgium, France - theatrical release
16: Israel, Switzerland (German speaking region) -
theatrical release
17: Estonia - theatrical release
22: UK - trailer rated U by the BBFC (for video release,
uncut)
30: Hong Kong - theatrical release
31: Portugal, Sweden - theatrical release
April
7: Norway - theatrical release
14: Finland - theatrical release
15: Indonesia - theatrical release
May
5: UK - rated PG by the BBFC (for video release, uncut)
13: Japan - theatrical release
June
13: USA - DVD release (Touchstone Home Video (18303))
15: Peru - theatrical release
July
3: UK - DVD release
(Columbia / Tristar (CDR 30198))
19: Kuwait - theatrical release
September
1: Germany - DVD release (Columbia / Tristar (30198))
2001
February
15: UK - rated PG by the BBFC (for payper-view TV
broadcast, uncut)
September
10: UK - video release (Cinema Club (Take Three CC8671))
2002
July
1: UK - video release (4 Front Video (C9064823))
POSTER TAGS
One robot's 200 year journey to become an
ordinary man.
ALTERNATIVE TITLES
200-års mannen: Bicentennial Man -
Swedish title
200-årsmannen - Swedish title
Der 200-Jahre Mann - German title
Andrew Martin - working title
Andrew NDR114 - Japanese title
Anthropos ton dyo aionon, O - Greek title
Hombre bicentenario, El - Argentinian / Spanish title
Homem Bicentenário, O - Portugese title
Homme bicentenaire, L' - French title
Omul bicentenar - Romanian title
Robotin elämää - Finnish title
Robotmennesket - Danish title
Uomo bicentenario, L' - Italian title
LINKS
SEE ALSO
A.I.: Artificial Intelligence (2001)
Demolition Man (1993)
Electric Grandmother (1981)
Soylent Green (1973)
THX 1138 (1971)
The Wizard of Oz (1939)
REFERENCES
MAGAZINES
Entertainment Weekly no.520
(7 January 2000) pp.46-47 (USA)
review (by Lisa Schwarzbaum)
Entertainment Weekly no.545
(16 June 2000) p.68 (USA)
video review (by Alice King)
epd Film vol.17 no.3 (1
March 2000) p.47 (Germany)
review (Chris Columbus' Beitrag zum Androiden-Genre by
Helmut Merschmann)
Film Review February 2000 p.26 (UK)
review (by James Cameron-Wilson)
Total Film no.35 (December 1999) p.42
(UK)
illustrated preview
Variety vol.377 no.5 (13
December 1999) p.108 (USA)
review (by Todd McCarthy)
NEWSPAPERS
Svenska Dagbladet 14
April 2000 (Sweden)
review (Magplask i saftsås by Jan Söderqvist) KEYWORDS
short story into film;
book into film; the future; robots; androids; scientists;
holograms
Last Updated:
17 November, 2008
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