Michael Crichton

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Michael Crichton was one of the more unusual entertainers of his time, a pulp-ish storyteller with an elite education who had no taste–or talent?–for the highbrow. He made a lot of people happy, though scientists and anthropologists were not often among them. The following excerpt, from a 1981 People portrait of him by Andrea Chambers, reveals Crichton (unsurprisingly) as an early adopter of personal computing.

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At 38, he has already been educated as an M.D. at Harvard (but never practiced), written 15 books (among them bestsellers like The Andromeda Strain and The Terminal Man), and directed three moneymaking movies (Westworld, Coma and The Great Train Robbery). He is a devoted paladin of modern painting whose collection, which includes works by Frank Stella and Robert Rauschenberg, recently toured California museums. In 1977, because the subject intrigued him, Crichton wrote the catalogue for a Jasper Johns retrospective at Manhattan’s Whitney Museum. “Art interviewers tend to be more formal and discuss esthetics—’Why did you put the red here and the blue there?’ ” says Johns. “But Michael was trying to relate me to my work. He is a novelist and he brings that different perspective.”

Crichton’s latest literary enterprise is Congo (Alfred A. Knopf), a technology-packed adventure tale about a computer-led diamond hunt in the wilds of Africa. Accompanied by a friendly gorilla named Amy, Crichton’s characters confront everything from an erupting volcano to ferocious apes bred to destroy anyone who approaches the diamonds. The novel has bobbed onto best-seller lists, despite critical sneers that it is “entertaining trash.” (A New York Times reviewer called it “literarily vapid and scientifically more anthropomorphic than Dumbo.”)

Crichton cheerfully admits that Congo owes more than its exotic locale to Sir Henry Rider Haggard’s classic King Solomon’s Mines. “All the books I’ve written play with preexisting literary forms,” Crichton says. A model for The Andromeda Strain was H.G. Wells’ The War of the Worlds. The Terminal Man was based on Frankenstein’s monster. Crichton’s 1976 novel Eaters of the Dead was inspired by Beowulf. “The challenge is in revitalizing the old forms,” he explains.

Crichton taps out his books on an Olivetti word processor (price: $13,500) and bombards readers with high-density scientific data and jargon, only some of which is real. “I did check on the rapids in the Congo,” he says. “They exist, but not where I put them.” His impressive description of a cannibal tribe is similarly fabricated. “It amused me to make a complete ethnography of a nonexistent tribe,” he notes. “I like to make up something to seem real.”•

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In 1990, during the mercifully short-lived Deborah Norville era of the Today Show, Michael Crichton stops by to discuss his just-published novel, Jurassic Park.

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A “Making of…” featurette for 1973’s Westworld, in which writer-director Michael Crichton, then 30 years old, commented astutely on the Singularity. He wasn’t always so good at predicting the future.

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Michael Crichton pushed his book Electronic Life: How To Think About Computers while visiting Merv Griffin in 1983. The personal computing revolution was upon us, but the Macintosh had yet to reach the market, so it still seemed so far away, especially to the tech-challenged host.

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Michael Crichton arguing that Orwell’s 1984 actually did come to pass, not by totalitarian regime but by our own hands. You know–we like to watch and be watched.

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From a 1999 Playboy interview with writer/director Michael Crichton, who fretted, to great financial success, over science outpacing ethics:

Playboy:

In Jurassic Park, you looked at the potential hazards of DNA research. What’s your view of cloning?

Michael Crichton:

I think we’re a long way from cloning people. But I am worried about scientific advances without consideration of their consequences. The history of medicine in my lifetime is one of technological advances that outstrip our ethical systems. We’ve never caught up. When I was in medical school—30-odd years ago—people were struggling to deal with mechanical-respiration systems. They were keeping alive people who a few years earlier would have died of natural causes. Suddenly people weren’t going to die of natural causes. They were either going to get on these machines and never get off or—or what? Were we going to turn the machines off? We had the machines well before we started the debate. Doctors were speaking quietly among themselves with a kind of resentment toward these machines. On the one hand, if somebody had a temporary disability, the machines could help get them over the hump. For accident victims—some of whom were very young—who could be saved if they pulled through the initial crisis, the technology saved lives. You could get them over the hump and then they would recover, and that was terrific.

But on the other hand, there was a category of people who were on their way out but could be kept alive. Before the machine, ‘pulling the plug’ actually meant opening the window too wide one night, and the patient would get pneumonia and die. That wasn’t going to happen now. We were being forced by technology to make decisions about the right to die—whether it’s a legal or religious issue—and many related matters. Some of them contradict longstanding ideas in an ethically protected world; we weren’t being forced to make hard decisions, because those decisions were being made for us—in this case, by the pneumococcus.

This is just one example of an ethical issue raised by technology. Cloning is another. If you’re knowledgeable about biotechnology, it’s possible to think of some terrifying scenarios. I don’t even like to discuss them. I know people doing biotechnology research who have decided not to pursue avenues of research because they think they’re too dangerous. But we go forward without sorting out the issues. I don’t believe that everything new is necessarily better. We go forward with the technology while the ethical issues are still up in the air, whether it’s the genetic variability of crop streams, which is a resource in times of plant plagues, to the assumption that we all have to be connected all the time. The technology is here so you must use it. Do you? Do you have to have your cell phone and your e-mail address and your Internet hookup? I was just on holiday in Scotland without e-mail. I had to notify people that I wouldn’t be checking my e-mail, because there’s an assumption that if I send you an e-mail, you’ll get it. Well, I won’t get it. I’m not plugged in, guys. Some people are horrified: “You’ve gone offline?” People feel so enslaved by technology that they will stop having sex to answer the telephone. What could be so important? Who’s calling, and who cares?•

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Michael Crichton’s prophetic 1978 genre picture foresaw an America with a small number of haves and many have-nots, and the ethical problems that could develop in a land of such disparate levels of wealth and so many emergent technologies. Adapted from a novel by Robin Cook, the Queens-born doctor who’s turned out a slew of medical thrillers, the film version of Coma was perhaps most famous in its day for its feminist hero, Dr. Susan Wheeler, played by Geneviève Bujold, but it now makes its mark most prominently in ways that cross gender lines.

Boston Medical is a wealthy and prestigious hospital with a sterling reputation, as it seems no one has yet noticed that a higher-than-average number of young, healthy patients have signed in for mundane operations to remove appendixes or repair knees and have flatlined on the operating table. Dr. Wheeler certainly notices when her best friend is added to the growing list of the comatose, and she starts poking around the hospital for answers even though everyone, even her fellow doctor and boyfriend (Michael Douglas), believes she’s hysterical. As Wheeler follows the trail of corpses from the hospital to the nearby Jefferson Institute, a cutting edge facility where those healthy bodies with dead brains are kept pristine-but for what purpose?–she is sure that the “accidents” in O.R. are no mistake.

As Wheeler tries to sort through the welter of lies, she meets Jeffeson Institute attendant Mrs. Emerson (Elizabeth Ashley), who pointedly tells her, “I have no supervisor.” Emerson isn’t just talking about herself but about the ability of the powerful to prey on the weak in a society that clearly favors the former. There are certainly some hokey plot twists in Coma, as a few scenes were written to increase the action element at the expense of logic, but it’s still a powerful film instead of a dated one.

Bio-printers will be able to create perfect replacement organs in the future, so harvesting flesh, which actually still happens in developing countries, will eventually be a thing of the past. But does that mean our organs will be safe? Not exactly. What is ever more in play isn’t our organs themselves, but the information within one of them in particular–our brains. The nouveau tech corporations are aimed at locating and marking our personal preferences, tracking our interests and even our footsteps, knowing enough about what’s going on inside our heads to predict our next move. In a time of want and desperation and disparity of wealth, how much information will we surrender? It may be far less nefarious to read a mind than pluck a brain, but what we’re seeing now is probably just the beginning, as the profit motive is huge. To not pay attention to a line from Crichton’s film would mean we ourselves our in a collective coma: “We are dealing in an area of uncertainty, an area where there are no rules, contradictory laws and no clear social consensus as to what should be done.”•

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Michael Crichton predicts the future (fairly poorly) in 1999: Printed matter will be fine, movies will soon be dead, communications will be consolidated into fewer hands. Well, he did foresee YouTube and large-scale terrorism in NYC.

Crichton, who was fascinated by science and often accused of being anti-science, commenting in a 1997 Playboy interview on technology creating moral quandries we’re not prepared for: “I think we’re a long way from cloning people. But I am worried about scientific advances without consideration of their consequences. The history of medicine in my lifetime is one of technological advances that outstrip our ethical systems. We’ve never caught up. When I was in medical school—30-odd years ago—people were struggling to deal with mechanical-respiration systems. They were keeping alive people who a few years earlier would have died of natural causes. Suddenly people weren’t going to die of natural causes. They were either going to get on these machines and never get off or—or what? Were we going to turn the machines off? We had the machines well before we started the debate. Doctors were speaking quietly among themselves with a kind of resentment toward these machines. On the one hand, if somebody had a temporary disability, the machines could help get them over the hump. For accident victims—some of whom were very young—who could be saved if they pulled through the initial crisis, the technology saved lives. You could get them over the hump and then they would recover, and that was terrific.

But on the other hand, there was a category of people who were on their way out but could be kept alive. Before the machine, ‘pulling the plug’ actually meant opening the window too wide one night, and the patient would get pneumonia and die. That wasn’t going to happen now. We were being forced by technology to make decisions about the right to die—whether it’s a legal or religious issue—and many related matters. Some of them contradict longstanding ideas in an ethically protected world; we weren’t being forced to make hard decisions, because those decisions were being made for us—in this case, by the pneumococcus.

This is just one example of an ethical issue raised by technology. Cloning is another. If you’re knowledgeable about biotechnology, it’s possible to think of some terrifying scenarios. I don’t even like to discuss them. I know people doing biotechnology research who have decided not to pursue avenues of research because they think they’re too dangerous. But we go forward without sorting out the issues. I don’t believe that everything new is necessarily better. We go forward with the technology while the ethical issues are still up in the air, whether it’s the genetic variability of crop streams, which is a resource in times of plant plagues, to the assumption that we all have to be connected all the time. The technology is here so you must use it. Do you? Do you have to have your cell phone and your e-mail address and your Internet hookup? I was just on holiday in Scotland without e-mail. I had to notify people that I wouldn’t be checking my e-mail, because there’s an assumption that if I send you an e-mail, you’ll get it. Well, I won’t get it. I’m not plugged in, guys. Some people are horrified: ‘You’ve gone offline?’ People feel so enslaved by technology that they will stop having sex to answer the telephone. What could be so important? Who’s calling, and who cares?”

 

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Michael Crichton’s 1973 sci-fi and Western mash-up is the best kind of genre film, one that uses familiar conventions to ruminate on the unconventional. In the case of Westworld, a futuristic theme park is the setting for discussion about how unprepared we are for that moment when artificial intelligence surpasses the human kind.

Delos is a $1,000-a-day wonderland, filled with lifelike robots, that makes real the violent and sexual fantasies of (mostly male) American tourists. “The vacation of the future today,” the company promises, offering consumers the opportunity to engage in orgies in the Roman Empire, sword fights in Medieval times or shootouts in the 1880s Wild West. Two Chicago guys (James Brolin and Richard Benjamin) head to Westworld, where they encounter a plethora of mechanical varmints and strumpets who are programmed to lay down–in gunfights or sexually–for their human “betters.”

But the technology inside the robots has continually improved, and they’ve begun showing signs that they’re just about done taking orders. In fact, the Singularity is nearer than anyone knows, and the bots begin to bite back. Pretty soon, humans are on the wrong end of jousts and duels as the tin machines become killing machines.

One particularly ornery automated gunslinger (Yul Brynner) seeks out Benjamin’s mild-mannered tourist, a lawyer who thought some harmless adventure would help him through a rough patch after a bitter divorce. At this point, the film puts aside its big ideas in favor of a mano a roboto faceoff. But no matter how this particular battle plays out, the war seems to have an unavoidable conclusion, one infused with a knowledge that we will no longer be able to control or understand. As one dejected scientist says resignedly about the robots run amok: “They’ve been designed by other computers…we don’t know exactly how they work.”•

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