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Minority Report

Theatrical release poster
Directed by Steven Spielberg
Produced by Gerald R. Molen
Bonnie Curtis
Walter F. Parkes
Jan de Bont
Written by Scott Frank
Jon Cohen
John August (uncredited)
Philip K. Dick
(short story)
Starring Tom Cruise
Colin Farrell
Samantha Morton
Steve Harris
Neal McDonough
Max von Sydow
Music by John Williams
Cinematography Janusz Kamiński
Editing by Michael Kahn
Studio Amblin Entertainment
Cruise/Wagner Productions
Distributed by DreamWorks
20th Century Fox
Release date(s) June 21, 2002 (2002-06-21)
Running time 139 minutes
Country United States
Language English
Budget $102 million
Gross revenue $358,372,926

Minority Report is a 2002 science fiction film directed by Steven Spielberg and loosely based on the short story "The Minority Report" by Philip K. Dick. It is set primarily in Washington, D.C. and Northern Virginia in the year 2054, where "Precrime", a specialized police department, apprehends criminals based on foreknowledge provided by three psychics called "precogs". The cast includes Tom Cruise as Precrime officer John Anderton, Colin Farrell as Department of Justice agent Danny Witwer, Samantha Morton as the senior precog Agatha, and Max von Sydow as Anderton's superior Lamar Burgess. The film has a distinctive look, featuring high contrast for dark colors and shadows, resembling film noir.

Minority Report was one of the best reviewed films of 2002,[1] and was nominated for and won several awards.[2] These included an Academy Award nomination for Best Sound Editing, and four Saturn Awards, including Best Science Fiction Film and Best Direction. Produced on a budget of $102 million, the film was also a commercial success, earning more than three times that in worldwide box office returns and selling four million DVDs in its first few months of release.[3][4]

Contents

Plot

In 2054, an experimental Washington, D.C. police force called Precrime has cut crime in the city by 90%. Precrime employs three "precogs", mutated humans with precognition to view murders that occur in the future; the officers of Precrime then analyze and interpret the three visions to track down and stop the murder before it happens. John Anderton is chief of the force, working under its director Lamar Burgess, however, he hides the fact that he is addicted to an illegal psychoactive drug since the disappearance of his son Sean, which also caused his wife Lara to leave him.

On the eve of the Precrime program being taken to a national level, a Department of Justice representative, Danny Witwer, arrives to investigate the program. During Witwer's visit, the precogs witness Anderton killing a man named Leo Crow in a few days; Anderton escapes the facility and a subsequent manhunt once the precrime is discovered. Believing himself to be set up by Witwer, who has discovered his addiction, Anderton tracks down Dr. Iris Hineman, the lead researcher for Precrime. She reveals that the precogs do not always agree about the future, and that the differing vision, a "minority report," could show Anderton not committing the murder and thus prove his innocence. Anderton then undergoes an eye replacement surgery in order to avoid being detected by iris trackers around the city. He then uses his old eyes to enter Precrime headquarters and abduct Agatha, the precog that Hineman noted often had the minority report.

Using Agatha's future insight to avoid capture, Anderton takes Agatha to a hacker to try to extract her vision of Leo Crow's murder, but finds it is the same as the original report. However, Agatha then provides Anderton with her vision of the death of a woman named Anne Lively, which Anderton records. Chased by Precrime, Anderton and Agatha end up at the apartment where Crow is to die; they find his room, covered with hundreds of pictures of children including Sean. When Crow enters, Anderton holds him at gunpoint, but Crow denies any involvement with Sean, and that he is only here to be killed by Anderton to have his family paid off handsomely. Anderton refuses to kill Crow and demands to know who had set this up, but Crow forces himself on Anderton's gun and makes him pull the trigger, killing him as predicted. Anderton and Agatha flee to Lara's home, while Witwer and Precrime investigate the crime scene.

Witwer doubts Anderton killed in cold blood, and his investigation leads him to discover the Anne Lively murder. He approaches Burgess to reveal that the Ann Lively precog vision differs slightly from the one that Anderton had downloaded from Agatha. Witwer proposes these two visions represent separate murders; because precogs sometimes experience relapses of past murders, or "echoes," Witwer explains someone could get away with murder by hiring someone to try and kill Lively, and allowing the crime to be prevented by Precrime. Having viewed the precog vision beforehand, the murderer would then kill Lively in the exact same way as depicted in the precog vision, fooling Precrime into thinking they were viewing an echo and not a separate murder. Witwer intuits that the murderer would have to be someone high up in Precrime, like Burgess, in order to have viewed the precog vision and then erase it from the Precrime archives. Burgess then kills Witwer, noting that without Agatha, the precog hive mind wouldn't be able to predict this murder.

After being taken in by Lara, Anderton comes to realize that Anne Lively is Agatha's mother, and the knowledge of her death is the reason for the manhunt against him, and shares this with Lara. Precrime eventually arrives at Lara's home and Anderton is taken into custody, while Agatha is put back into the system. Burgess, preparing for a celebratory dinner for the Precrime program, consoles Lara, but accidentally reveals more about Lively's murder then he should know. Lara calls in help from Anderton's former friends to free Anderton from prison. During the dinner, Anderton calls Burgess while Agatha's vision of Lively's death is played for the guests. The footage clearly shows Burgess as the murderer, having set-up a false target just as Witwer had predicted. Burgess had killed Lively to stop her from attempting to take her daughter Agatha back. Burgess had then set up Anderton in order to cover up Anderton's knowledge.

As Burgess finds and draws a gun on Anderton, Precrime receives reports that Burgess will kill Anderton. Anderton notes to Burgess the dilemma he is in: either he can kill Anderton, thus demonstrating Precrime works but becoming a murderer himself, or he can spare him, showing Precrime as a failure. Anderton reveals the fundamental flaw of the system: if one knows his or her own future, he or she can change it. Burgess decides to commit suicide and kills himself as Precrime arrive at the scene. As a result, the Precrime division is shut down, with all those incarcerated by them released. Anderton later reunites with Lara, while the three precogs are allowed to live out their normal lives, far out on a remote island, where they can no longer be troubled by future visions.

Cast and characters

  • Tom Cruise as Chief John Anderton: A middle-aged, divorced head of the Department of Precrime in Washington, D.C. The disappearance of his son has impacted him emotionally, and he is addicted to drugs to dull the pain of his loss, he is captured for the murder of Crow and later freed by Lara.
  • Max von Sydow as Director Lamar Burgess: An elderly official in the Washington, D.C. Precrime program and Anderton's superior.
  • Colin Farrell as Danny Witwer: A cocky Department of Justice agent sent to observe and evaluate the Precrime process, he is later killed by Burgess.
  • Steve Harris as Jad: Oversees the precogs and helps Anderton interpret their visions.
  • Neal McDonough as Gordon Fletcher: A Precrime officer who works alongside Anderton.
  • Samantha Morton as Agatha: The lead precog, who has the most powerful psychic abilities of the three. All the precogs are named after mystery writers: Agatha Christie, Arthur Conan Doyle, and Dashiell Hammett.
  • Lois Smith as Dr. Iris Hineman: One of the pioneers of the Precrime program, who has retired.
  • Kathryn Morris as Lara: Anderton's ex-wife and the mother of his missing son.
  • Peter Stormare as Eddie Solomon: A shady Swedish doctor who uses the same drug as Anderton.
  • Mike Binder as Leo Crow: A man whom Anderton is supposed to kill, according to the precogs and he is killed by Anderton on his pressuresdfssss.

Production

Development

The original story by Philip K. Dick had previously been adapted as a potential sequel to the 1990 film Total Recall by writers Ronald Shusett and Gary Goldman (later joined by Robert Goethals). They changed the setting to Mars with the precogs being people mutated by their Martian habitat's dome not sufficiently filtering the radiation from space, as established in the first film. The main character was also changed to Douglas Quaid, Arnold Schwarzenegger's character.[5] The project eventually fell through, but the writers, who still owned the rights to the original story, rewrote the script, removing the elements taken from Total Recall. This script was discarded in 1997, when writer Jon Cohen was hired to start the project over from the beginning.[5]

Spielberg, Cruise, and Samantha Morton on the set of Minority Report.

In 1998, Steven Spielberg and Tom Cruise joined Minority Report and announced the production as a joint venture of Spielberg's DreamWorks and Amblin Entertainment, 20th Century Fox, Cruise's Cruise-Wagner Productions and Jan de Bont's production company, Blue Tulip.[6] Spielberg however stated that despite being credited, De Bont never became involved with the film.[7] Production was delayed for several years; the original plan was to begin filming after Cruise's Mission: Impossible II was finished.[6] However, that film ran over schedule, which also allowed screenwriter Scott Frank to rework Cohen's script.[8] John August did an uncredited draft for polishing,[9] and Frank Darabont was also invited to rewrite, but was by then busy with The Majestic.[10] The film was next delayed so Spielberg could finish A.I. after the death of his friend Stanley Kubrick.[11] When Spielberg originally signed on to direct, he planned to have an entirely different supporting cast. He originally offered the role of Witwer to Matt Damon, Iris Hineman to Meryl Streep, Burgess to Ian McKellen, Agatha to Cate Blanchett, and Lara to Jenna Elfman.[12] However, owing to the delays, all the roles other than Cruise had to be recast.

In 1999, Spielberg invited fifteen experts convened by Global Business Network and its chairman, Peter Schwartz (and the demographer and journalist Joel Garreau),[13] to a hotel in Santa Monica, California to brainstorm and flesh out details of a possible "future reality" for the year 2054. The experts included Stewart Brand, Peter Calthorpe, Douglas Coupland, Neil Gershenfeld, biomedical researcher Shaun Jones, Jaron Lanier, and former MIT architecture dean William J. Mitchell.[14] While the discussions did not change key elements needed for the film's action sequences, they were influential in introducing some of the more utopian aspects of the film, though John Underkoffler, the science and technology advisor for the film, described the film as "much grayer and more ambiguous" than what was envisioned in 1999.[15]

Some of the technologies depicted in the film were later developed in the real world – for example, multi-touch interfaces are similar to the glove-controlled interface used by Anderton.[16][17] Conversely, while arguing against the lack of physical contact in touch screen phones, PC Magazine's Sascha Segan argued in February 2009, "This is one of the reasons why we don't yet have the famous Minority Report information interface. In that movie, Tom Cruise donned special gloves to interact with an awesome PC interface where you literally grab windows and toss them around the screen. But that interface is impractical without the proper feedback—without actually being able to feel where the edges of the windows are."[18]

Filming

Filming took place between March 22 and July 18, 2001,[12] in Washington, D.C., Virginia, and Los Angeles.[19] Film locations included the Ronald Reagan Building (as Precrime headquarters) and Georgetown.[19] The skyline of Rosslyn, Virginia is visible when Anderton flies across the Potomac River.[20]

Spielberg decided that to be more credible, the setting had to keep both elements of the present and what the specialists imagined for the future. Thus Washington, D.C. as depicted in Minority Report keeps well-known buildings such as the Capitol and the Washington Monument, as well as a section of modern buildings on the other side of the Potomac River. Production designer Alex McDowell was hired for his work in Fight Club, and storyboards for a film version of Fahrenheit 451 which would star Mel Gibson. McDowell studied modern architecture, and created sets with many curves and reflective materials. Costume designer Deborah L. Scott decided to make the clothes worn by the characters as simple as possible, so as not to make the depiction of the future seem dated.[21] While the scientists and McDowell did not originally think of the jetpacks worn by the policemen, which they considered less than realistic, Spielberg decided to add them as a tribute to old science-fiction serials such as Commando Cody.[21] Product placement was used, mostly to depict the lack of privacy and excessive publicity in the future society.[22] Nokia designed the phones used by the characters, and Lexus paid the producers $5 million to design the futuristic cars.[23]

The stunt crew was the same one used in Cruise's Mission: Impossible II, and was responsible for complex action scenes. These included the chase in a car factory, which was filmed in a real facility using props such as a welding robot, and the fight between Anderton and the jetpack-wearing officers, for which an alley set was built in the Warner Bros. studio lot, with the actors suspended by cables.[24] Industrial Light & Magic did most of the special effects, with DreamWorks-owned PDI being responsible for the Spyder robots. The company Pixel Liberation Front did previsualization animatics. The holographic projections and the prison facility were developed by filming actors with different cameras that surrounded them, and the scene where Anderton gets off his car and runs along the Maglev vehicles was filmed with stationary props, later replaced with computer-generated vehicles.[25]

Storyline differences

Many aspects of the original Philip K. Dick story were adapted in its transition to film, such as the addition of Lamar Burgess and the change in setting from New York City to Washington, D.C., Baltimore, and Northern Virginia. The character of John Anderton was changed from a balding and out-of-shape old man to an athletic officer in his 40s to fit its portrayer and the film's action scenes.[26] The precogs were retarded and deformed individuals in the story, but descendants of drug addicts in the film. Anderton's future murder and the reasons for the conspiracy were changed from a general who wants to discredit Precrime in order to get more military financing back, to a man who murdered a precog's mother in order to preserve Precrime, with the subsequent murders and plot developing from this. Other aspects were updated to include current technology. For instance in the story, Anderton uses a punch card machine to interpret the precogs' visions; in the movie, he uses a virtual reality interface.[27]

Music

The score was composed and conducted by John Williams and orchestrated by John Neufeld, with vocals by Deborah Dietrich. The soundtrack takes much inspiration from Bernard Hermann's work. Franz Schubert's Symphony No. 8 (commonly known as the Unfinished Symphony) features prominently in the film.[28] Williams decided not to focus on the science fiction elements, and made a score suitable for film noir, with elements such as a female singer in the Anne Lively scenes. But the "sentimental scenes", which Williams considered something unusual for that genre, led to soothing themes for Anderton's ex-wife Lara and son Sean.[21]

Themes

"We don't choose the things we believe in; they choose us."
—Lamar Burgess

The main themes of Minority Report are the classic philosophical questions surrounding foreknowledge and free will vs. determinism.[29][30] One of the main questions the film raises is whether the future is set or whether free will can alter the future.[31][32] As critic C.A. Wolski commented, "At the outset, Minority Report... promises to mine some deep subject matter, to do with: do we possess free will or are we predestined to our fate?"[29] However, there is also the added question of whether the precogs' visions are correct.[31] As reviewer James Berardinelli asked, "is the Precogs' vision accurate, or has it in some way been tampered with? Perhaps Anderton isn't actually going to kill, but has been set up by a clever and knowledgeable criminal who wants him out of the way."[31] The precog Agatha also states that since Anderton knows his future, he can change it. However, the film also indicates that Anderton's knowledge of the future may actually be the factor that causes Leo Crow's death. Berardinelli describes this as the main paradox regarding free will vs. determinism in the film,[31] "[h]ere's the biggest one of all: Is it possible that the act of accusing someone of a murder could begin a chain of events that leads to the slaying. In Anderton's situation, he runs because he is accused. The only reason he ends up in circumstances where he might be forced to kill is because he is a hunted man. Take away the accusation, and there would be no question of him committing a criminal act. The prediction drives the act – a self-fulfilling prophecy. You can see the vicious circle, and it's delicious (if a little maddening) to ponder."[31] Ironically, this paradox of choice also presents a personal paradox, as if Anderton chooses not to kill Crow, pre-crime is thrown into doubt, but if he chooses to kill Crow, he proves that the system works, but at the cost of his own life. Spielberg also mentioned that the lack of free will mentioned in the movie had some real world background, saying that "We’re giving up some of our freedom so that the government can protect us."[33] Most critics gave this element of the film positive reviews,[34] with many ranking it as the main strength of the film.[30][31][35] Other reviewers however, felt that Spielberg did not adequately deal with the issues that he raised.[29][36]

Style

Minority Report's unique visual style: It was overlit, and the negatives were bleach-bypassed in post-production to desaturate the colors in the film.

Minority Report is a futuristic film which portrays elements of a both dystopian and utopian future. It renders a much more detailed view of a near-term future world than that present in the original short story, with depictions of a number of technologies related to the film's themes.[37] The scene in which Anderton is dreaming about his son's kidnapping at the pool is shot in "normal" color.

From a stylistic standpoint, Minority Report resembles Spielberg's previous film A.I.[26] The picture was deliberately overlit, and the negative was bleach-bypassed during post-production.[38] This gave the film a distinctive look, with colors desaturated, yet the blacks and shadows have a high contrast, looking almost like a film noir picture.[38] Elvis Mitchell, formerly of the The New York Times, commented that "[t]he picture looks as if it were shot on chrome, caught on the fleeing bumper of a late '70s car."[39]

Reception

Minority Report debuted at first place in the U.S. box office, collecting $35.677 million in its opening weekend,[40] and a total of $132 million in the United States and $226.3 million overseas.[3] It was also successful in the home video market, selling at least four million copies in its first few months of release on DVD.[4] The film's reviews were generally highly positive. Review tallying website Rotten Tomatoes called it "an intelligent and visually imaginative film that ranks among Spielberg's best"[34] and gave it a score of 92%,[34] while it earned an 80 out of a possible 100 on Metacritic.[41] Roger Ebert gave the film four stars, and described it in his review as "...a triumph--a film that works on our minds and our emotions."[35] Richard Corliss of Time described the film as "Spielberg's sharpest, brawniest, most bustling entertainment since Raiders of the Lost Ark".[42] Mike Clark of USA Today said the film had a "breathless 140-minute pace with a no-flab script packed with all kinds of surprises",[43] Lisa Schwarzbaum of Entertainment Weekly praised the film's visuals,[44] and Todd McCarthy of Variety complimented the cast's performances.[45]

Andrew Sarris of The New York Observer gave the film a negative review in which he described the script as full of plot holes, the car chases as silly, and criticized the mixture of futuristic environments with "defiantly retro costuming".[46] The complexity of the storyline was also a source of criticism, with Peter Travers of Rolling Stone magazine feeling that "the script raises moral questions it doesn't probe",[36] and Kenneth Turan of the Los Angeles Times considering the plot "too intricate and difficult to follow".[47] Rick Groen of The Globe and Mail criticized Tom Cruise's performance,[48] and J. Hoberman of The Village Voice described the film as "miscast, misguided, and often nonsensical".[49]

The film earned nominations for many awards, including Best Sound Editing in the Academy Awards and Best Visual Effects in the BAFTAs. Among the awards won were four Saturn Awards (Best Science Fiction Film, Best Direction, Best Screenplay and Supporting Actress for Samantha Morton), the BMI Film Music Award, the Online Film Critics Society for Supporting Actress and the Empire Awards for Actor, Director and British Actress.[2] Roger Ebert listed Minority Report as the best film of 2002,[50] as did online film reviewer James Berardinelli.[51] The film was also included in top ten lists by critic Richard Roeper,[50] and both reviewers at USA Today.[52] Michael Phillips placed Minority Report at number 10 on his list of Best Films of the Decade.[53]

See also

References

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  4. ^ a b "Home Video (DVD & VHS) Out Sells Feature Films, Video Games and Movies in 2002". audiorevolution.com. http://www.audiorevolution.com/news/0103/17.dvd.shtml. Retrieved 2007-02-17. 
  5. ^ a b Koornick, Jason (July 2002). "The Minority Report on ‘Minority Report’: A Conversation with Gary Goldman". philipkdickfans.com. http://www.philipkdickfans.com/interviews/goldman.htm. Retrieved 2007-03-15. 
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  10. ^ Allan Smith, Christopher (2002-06-10). "Darabont on INDY 4 scripting, MINORITY REPORT flap". Cinescape. http://www.mania.com/darabont-indy-4-scripting-minority-report-flap_article_34947.html. Retrieved 2009-03-09. 
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  17. ^ "MIT's 6th Sense device could trump Apple's multitouch". CNET. 2009-02-09. http://news.cnet.com/8301-17938_105-10159601-1.html. Retrieved 2009-02-26. 
  18. ^ Segan, Sascha (2009-02-01). "Why I Hate Touch Screens". PC Magazine. http://www.pcmag.com/article2/0,2817,2337575,00.asp. Retrieved 2009-04-06. 
  19. ^ a b Minority Report film locations
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  37. ^ "Minority Report: From Story to Screen"; Minority Report Special Edition DVD, Disc 2
  38. ^ a b Jocobson, Colen (2002-12-11). "Minority Report review". dvdmg.com. http://www.dvdmg.com/minorityreport.shtml. Retrieved 2007-03-12. 
  39. ^ Mitchell, Elvis (2002-06-21). "Halting Crime In Advance Has Its Perils". The New York Times. http://movies2.nytimes.com/mem/movies/review.html?res=9E02EEDA113BF932A15755C0A9649C8B63. Retrieved 2007-03-12. 
  40. ^ "Weekend Box Office, June 21–23, 2002". Box Office Mojo. http://www.boxofficemojo.com/weekend/chart/?yr=2002&wknd=25&p=.htm. Retrieved 2007-03-24. 
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  45. ^ McCarthy, Todd (2002-06-16). "Minority Report". Variety. http://www.variety.com/review/VE1117917989.html?categoryid=31&cs=1. Retrieved 2009-03-09. 
  46. ^ Sarris, Andrew (2002-07-14). "Minority Report Sinks Too Low". The New York Observer. http://www.observer.com/node/46234. Retrieved 2009-03-09. 
  47. ^ Turan, Kenneth (2002-06-21). "A Walk in the Dark". Los Angeles Times. http://www.calendarlive.com/movies/reviews/cl-movie000043326jun21,0,4279333.story. Retrieved 2007-03-25. 
  48. ^ Groen, Rick (2002-06-21). "Is Steven Spielberg afraid of the dark?". The Globe and Mail. http://www.theglobeandmail.com/servlet/ArticleNews/movie/MOVIEREVIEWS/20020621/RVMINO. Retrieved 2009-03-09. 
  49. ^ Hoberman, Jim (2002-06-25). "Private Eyes". Village Voice. http://www.villagevoice.com/2002-06-25/film/private-eyes/1. Retrieved 2009-03-05. 
  50. ^ a b "Roger Ebert and Richard Roeper Announce Their Top Ten Movies of the Year". Business Wire. 2002-12-30. http://findarticles.com/p/articles/mi_m0EIN/is_2002_Dec_30/ai_95904385. Retrieved 2009-03-05. 
  51. ^ Berardinelli, James (2002-12-31). "Rewinding 2002 -- The Year in Film". Reelviews.net. http://www.reelviews.net/comment/123102.html. Retrieved 2009-03-05. 
  52. ^ "2002 Film Critic Top Ten Lists". Metacritic. http://www.metacritic.com/film/awards/2002/toptens.shtml. Retrieved 2009-03-05. 
  53. ^ Phillips, Michael. "At the Movies". At the Movies. http://bventertainment.go.com/tv/buenavista/atm/specials/bestofthedecade/. Retrieved 2009-11-02. 

External links

Awards and achievements
Preceded by
A.I. Artificial Intelligence
Saturn Award for Best Science Fiction Film
2002
Succeeded by
X2

Quotes

Up to date as of January 14, 2010

From Wikiquote

Minority Report is a 2002 film is which is loosely based upon the novel by Philip K. Dick. Set in the year 2054 A.D. where a special police department called "Precrime" apprehends criminals based on foreknowledge, provided by three psychics termed "precogs"

Directed by Steven Spielberg. Written by Philip K. Dick
What would you do if you were accused of a murder, you had not committed... yet? (taglines)

Contents

John Anderton

  • But it didn't fall. You caught it. The fact that you prevented it from happening doesnt change the fact that it was "going" to happen.
  • In 2054, the six-year Precrime experiment was abandoned. All prisoners were unconditionally pardoned and released, though police departments kept watch on many of them for years to come. Agatha and the twins were transferred to an undisclosed location, a place where they could find relief from their gifts. A place where they could live out their lives in peace.
  • In the middle of the civil war, for example, Abraham Lincoln suspended the writ of habeas corpus observing that a limb may be sacrificed to save a life, but a life is never wisely given to save a limb.

Dr. Iris Henimen

  • Sometimes, in order to see the light, you have to risk the dark.
  • It's funny how all living organisms are alike...[she starts crushing a mutated plant] ... when the chips are down, when the pressure is on, every creature on the face of the Earth is interested in one thing and one thing only.[the plant scars her palm] Its own survival.
  • I was doing genetic research at the Woodhaven Clinic in Rhode Island on Renning's Syndrome, a neurological condition that affects the cerebral cortex of children. Most of these kids were abandoned or forgotten. Very few of the kids lived past the age of twelve. It began as play. A guessing game like you play with any toddler, except these children always guessed right. And then the nightmares started. They were all different, but all the same. They were all about murder. And it didn't take us long to realize that the real nightmare was that these were no dreams, that these murders were really happening.
  • Well, in my experience, parents often see their children as they want them to be, not as they are.

Agatha

  • Can you see?
  • You still have a choice
  • You can choose...

Lamar Burgess

  • We don't choose the things we believe in; they choose us

Others

Gideon: Careful, Chief. Dig up the past and all you get is dirty.
Gideon: You're part of my flock now, John.
Wally the Caretaker: I like you chief, you've always been nice to me. I'll give you two minutes before I hit the alarm.
Lycon: It's like my daddy used to say. In the land of the blind, the one eyed man is king.
Dr. Solomon Eddie: You do understand I can't just give you new irises. The scanners will read the scar tissue. Alarms will go off. Large men with guns will appear...

Dialogue

John Anderton: [about Witwer's father] What does he think about your chosen line of work?
Danny Witwer: I don't know. He was shot and killed when I was 15 on the steps of our church in Dublin. I know what it's like to lose someone close, John. 'Course, nothing is like the loss of a child. I don't have any children of my own, so I can only imagine what that must've been like. To lose your son - in such a public place like that. At least now you and I have the chance to make sure that kind of thing doesn't happen to anyone -
John Anderton: Why don't you cut the cute act, Danny boy, and tell me exactly what it is you're looking for?
Danny Witwer: Flaws.
John Anderton: There hasn't been a murder in 6 years. There's nothing wrong with the system, it is perfect.
Danny Witwer: [simultaneously] - perfect. I agree. But if there's a flaw, it's human. It always is.

Agatha: Think about all the lives that little girl has saved.
Lamar Burgess: Think about all the lives that little girl has saved, think about all the lives she will save, that little girl could have saved Sean.
John Anderton: [yells] Don't you *ever* say his name!
Male Precog: You used the memory of my dead son to set me up.
John Anderton: [yells] You used the memory of my dead son to set me up! That was the one thing you knew would drive me to murder.
Male Precog: What are you going to do now, Lamar?
John Anderton: [yells] What're you going to do now, Lamar?
Male Precog: How are you...
John Anderton: ...going to shut me up?
Male Precog: I'm sorry, John.

John Anderton: No doubt the precogs have already seen this.
Lamar Burgess: No doubt.
John Anderton: You see the dilemma don't you. If you don't kill me, precogs were wrong and precrime is over. If you do kill me, you go away, but it proves the system works. The precogs were right. So, what are you going to do now? What's it worth? Just one more murder? You'll rot in hell with a halo, but people will still believe in precrime. All you have to do is kill me like they said you would. Except you know your own future, which means you can change it if you want to. You still have a choice Lamar. Like I did.

John Anderton: You can tell me how someone could fake a pre-vision.
Dr. Iris Henimen: How would I know that?
John Anderton: Because you invented Precrime.
Dr. Iris Henimen: If a series of genetic mistakes and science gone hay-wire can be called invention then yes, I invented Precrime.
John Anderton: You don't sound very proud.
Dr. Iris Henimen: I'm not. I was trying to cure them not turn them into something else.
John Anderton: Cure who?
Dr. Iris Henimen: The innocents we now use to stop the guilty.
John Anderton: You're talking about... the Precogs.
Dr. Iris Henimen: You think the three in the tank come out of a test tube, they are merely the ones who survived.

John Anderton: Why should I trust you?
Dr. Iris Henimen: You shouldn't. You shouldn't trust anyone. Certainly not the Attorney General who just wants it all for himself, and not the young Federal agent, who wants your job. Not even the old man who just wants to hold on to what he created. Don't trust anyone. Just find the Minority Report.

Danny Witwer: I thought they stopped the murder?
Jad: That's just an echo. Precog Deja Vu. Some of the really bad ones, the Precogs see over and over again.

John Anderton: I'm not a murderer. I've never even met the man I'm supposed to kill.
Iris Henimen: And, yet, a chain of events has started. A chain that will lead inexorably to his death.
John Anderton: Not if I stay away from him.
Iris Henimen: How can you avoid a man you've never met?

Taglines

  • What would you do if you were accused of a murder, you had not committed... yet?
  • Everybody Runs
  • The system is perfect until it comes after you.
  • Get Ready to RUN!
  • The Future Can Be Seen. Murder Can be Prevented. The Guilty Punished Before the Crime is Committed. The System is Perfect. It's Never Wrong. Until It Comes After You.
  • You Can't Hide

Cast

External Links








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