Title: A.I. Artificial Intelligence
Content:  A.I. Artificial Intelligence (also known as A.I.) is a 2001 American science fiction drama film directed by Steven Spielberg. The screenplay by Spielberg and screen story by Ian Watson were based on the 1969 short story "Supertoys Last All Summer Long" by Brian Aldiss. The film was produced by Kathleen Kennedy, Spielberg and Bonnie Curtis. It stars Haley Joel Osment, Jude Law, Frances O'Connor, Brendan Gleeson and William Hurt. Set in a futuristic post-climate change society, A.I. tells the story of David (Osment), a childlike android uniquely programmed with the ability to love. Development of A.I. originally began with producer-director Stanley Kubrick, after he acquired the rights to Aldiss' story in the early 1970s. Kubrick hired a series of writers until the mid-1990s, including Brian Aldiss, Bob Shaw, Ian Watson, and Sara Maitland. The film languished in development 
Title: A.I. Artificial Intelligence
Content:  for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would convincingly portray. In 1995, Kubrick handed A.I. to Spielberg, but the film did not gain momentum until Kubrick's death in 1999. Spielberg remained close to Watson's film treatment for the screenplay. A.I. Artificial Intelligence was released in North America on June 29, 2001, by Warner Bros. Pictures and internationally by DreamWorks Pictures. The film received generally positive reviews from critics and grossed approximately $235 million against a budget of $90-100 million. It was nominated for Best Visual Effects and Best Original Score at the 74th Academy Awards. In a 2016 BBC poll of 177 critics around the world, A.I. Artificial Intelligence was voted the eighty-third-greatest film since 2000. A.I. is dedicated to Kubrick.
Title: A.I. Artificial Intelligence
Content:  Kubrick began development on an adaptation of "Super-Toys Last All Summer Long" in the late 1970s, hiring the story's author, Brian Aldiss, to write a film treatment. In 1985, Kubrick asked Steven Spielberg to direct the film, with Kubrick producing. Warner Bros. agreed to co-finance A.I. and cover distribution duties. The film labored in development hell, and Aldiss was fired by Kubrick over creative differences in 1989. Bob Shaw briefly served as writer, leaving after six weeks due to Kubrick's demanding work schedule, and Ian Watson was hired as the new writer in March 1990. Aldiss later remarked, "Not only did the bastard fire me, he hired my enemy [Watson] instead." Kubrick handed Watson The Adventures of Pinocchio for inspiration, calling A.I. "a picaresque robot version of Pinocchio". Three weeks later, 
Title: Artificial intelligence in fiction
Content:  Engineers and scientists have taken an interest in the way AI is presented in fiction. In films like the 2014 Ex Machina or 2015 Chappie, a single isolated genius becomes the first to successfully build an artificial general intelligence; scientists in the real world deem this to be unlikely. In Chappie, Transcendence, and Tron, human minds are capable of being uploaded into artificial or virtual bodies; usually no reasonable explanation is offered as to how this difficult task can be achieved. In the I, Robot and Bicentennial Man films, robots that are programmed to serve humans spontaneously generate new goals on their own, without a plausible explanation of how this took place. Analysing Ian McDonald's 2004 River of Gods, Krzysztof Solarewicz identifies the ways that it depicts AIs, including "independence and unexpectedness, political awkwardness, openness to the alien and the occidental value of authenticity."
Title: A.I. Artificial Intelligence
Content:  producer Jan Harlan reflected. "But it was a total failure, it looked awful." Hans Moravec was brought in as a technical consultant. Meanwhile, Kubrick and Harlan thought A.I. would be closer to Steven Spielberg's sensibilities as director. Kubrick handed the position to Spielberg in 1995, but Spielberg chose to direct other projects, and convinced Kubrick to remain as director. The film was put on hold due to Kubrick's commitment to Eyes Wide Shut (1999). After Kubrick's death in March 1999, Harlan and Christiane Kubrick approached Spielberg to take over the director's position. By November 1999, Spielberg was writing the screenplay based on Watson's 90-page story treatment. It was his first solo screenplay credit since Close Encounters of the Third Kind (1977). 
Title: A.I. Artificial Intelligence
Content:  In early 1994, the film was in pre-production with Christopher "Fangorn" Baker as concept artist, and Sara Maitland assisting on the story, which gave it "a feminist fairy-tale focus". Maitland said that Kubrick never referred to the film as A.I., but as Pinocchio. Chris Cunningham became the new visual effects supervisor. Some of his unproduced work for A.I. can be seen on the DVD, The Work of Director Chris Cunningham. Aside from considering computer animation, Kubrick also had Joseph Mazzello do a screen test for the lead role. Cunningham helped assemble a series of "little robot-type humans" for the David character. "We tried to construct a little boy with a movable rubber face to see whether we could make it look 
Title: A.I. Artificial Intelligence
Content:  Visual effects supervisors Dennis Muren, Stan Winston, Michael Lantieri, and Scott Farrar were nominated for the Academy Award for Best Visual Effects, while John Williams was nominated for Best Original Music Score. A.I. Artificial Intelligence lost to The Lord of the Rings: The Fellowship of the Ring in both categories. Steven Spielberg, Jude Law and Williams received nominations at the 59th Golden Globe Awards. A.I. was successful at the Saturn Awards, winning five awards, including Best Science Fiction Film along with Best Writing for Spielberg and Best Performance by a Younger Actor for Osment.
Title: A.I. Artificial Intelligence
Content:  remained close to Watson's treatment, but removed various sex scenes with Gigolo Joe. Pre-production was briefly halted during February 2000, because Spielberg pondered directing other projects, which were Harry Potter and the Philosopher's Stone, Minority Report, and Memoirs of a Geisha. The following month Spielberg announced that A.I. would be his next project, with Minority Report as a follow-up. When he decided to fast track A.I., Spielberg brought Chris Baker back as concept artist. Ian Watson reported that the final script was very faithful to Kubrick's vision, even the ending, which is often attributed to Spielberg, saying, "The final 20 minutes are pretty close to what I wrote for Stanley, and what Stanley wanted, faithfully filmed by Spielberg without added schmaltz."
Title: A.I. Artificial Intelligence
Content:  The original start date was July 10, 2000, but filming was delayed until August. Aside from a couple of weeks shooting on location in Oxbow Regional Park in Oregon, A.I. was shot entirely using sound stages at Warner Bros. Studios and the Spruce Goose Dome in Long Beach, California. Spielberg copied Kubrick's obsessively secretive approach to filmmaking by refusing to give the complete script to cast and crew, banning press from the set, and making actors sign confidentiality agreements. Social robotics expert Cynthia Breazeal served as technical consultant during production. Costume designer Bob Ringwood studied pedestrians on the Las Vegas Strip for his influence on the Rouge City extras.
Title: A.I. Artificial Intelligence (soundtrack)
Content:  A.I. Artificial Intelligence - Music from the Motion Picture is the film score of the 2001 film of the same name, composed and conducted by John Williams. The original score was composed by Williams and featured singers Lara Fabian on two songs and Josh Groban on one. Soprano Barbara Bonney provided the vocal solos in several tracks.

Question: Who was the screenwriter for A.I. Artificial Intelligence?
Answer: Ian Watson.
Stanley Kubrick.
Steven Spielberg.
Steven Allan Spielberg.
Spielberg.