Simone (2002 film)

When Nicola Anders, the star of the new film by out-of-favor director Viktor Taransky, refuses to finish it, Taransky is forced to find a replacement. Contractual requirements totally prevent using her image in the film, so he must re-shoot. Instead, Taransky experiments with a new computer program he inherits from late acquaintance Hank Aleno which allows the creation of a computer-generated woman which he can easily animate to play the film's central character. Taransky names his virtual actor "Simone," a name derived from the computer program's title, Simulation One. Seamlessly incorporated into the film, Simone gives a fantastic performance, exactly controlled by Taransky. The film is immediately a huge success. The studio, and soon the world, ask "who is Simone?"

Taransky initially claims that Simone is a recluse and requests her privacy be respected, but that only intensifies media demands for her to appear. Taransky intends to reveal the secret of her non-existence after the second picture. To satisfy demand, he executes a number of progressively ambitious stunts relying on misdirection and cinematic special effects technology. Eventually, it escalates to simulated remote location video live interviews.

In one instance, two determined tabloid reporters discover Taransky used out-of-date stock photography as a background during an interview instead of being on that site as claimed, and they blackmail him into getting Simone to make a live appearance. He arranges her to perform a song at a stadium event appearing in a cloud of smoke and then using flawless holographic technology. The perception of being in person is reinforced with real-time visualization on the stadium's monitors. Simone becomes even more famous, simultaneously becoming a double winner for the Academy Award for Best Actress, tying with herself in the process.

Once Taransky grows tired of Simone constantly overshadowing him in the press, he decides to ruin her career. Simone's next film, I Am Pig, is her "directorial debut" and a tasteless treatment about zoophilia intended to disgust audiences. Not only does it fail to achieve the desired effect of audience alienation, but it also serves to foster her credibility as a risk-taking, fearless and avant-garde artist. Taransky's subsequent attempts to discredit Simone—by having her drink, smoke, and curse at public appearances and use politically incorrect statements—similarly backfire when the press instead begins to see her as refreshingly honest. As a last resort, Taransky decides to dispose of Simone completely by using a computer virus to erase her, dumping the hard drive and floppy disks into a steamer trunk, burying the trunk at sea, and then announcing to the press that she has died of a rare virus contracted on her Goodwill Tour of the Third World. During the funeral, the police interrupt, open the coffin and find only a cardboard cutout of Simone. He is arrested and shown a security camera video where he loads a large trunk onto his yacht.

After being charged with her murder, he admits that Simone is not a person, but a computer program. The chest containing the computer data is brought up empty. Taransky's daughter Lainey and ex-wife Elaine enter his studio to try to help. They find Taransky's forgotten virus source disk (Plague) and apply an anti-virus program to eradicate the computer virus. They restore Simone and have her appear on national television laughing while holding up a newspaper headline with her obituary. They pick up a confused Taransky, with whom Elaine asks to get back together. In the end, Simone and Taransky are remotely interviewed at home about their new (virtual) baby, used as a cover story for her absence. Simone is concerned about her child's future and decides to enter politics.

Like Andrew Niccol's predecessor Gattaca, Simone deals with themes of the problematic aspects of technological advances being used to attempt to attain perfection. Unlike the former, however, Simone was Niccol's first attempt at a comedic satire with lighter moments and over-the-top drama. Niccol's first attempt at non-satire had been the earlier and more successful The Truman Show.[2] Pruitt Taylor Vince and Jason Schwartzman were cast as obese tabloid investigator Max Sayer and his shady-looking but peculiarly childlike assistant, Milton, respectively. Rebecca Romijn was cast later in the role of Faith, Viktor's secretary who is so obsessed with Simone that she begins dressing like Simone, dying her hair like Simone and even trying to have sex with Viktor just so that she can hear him call her "Simone". These side-actors built up much of the side comedy surrounding the bizarre cultural phenomenon surrounding Simone. Footage of character Holly Golightly from Breakfast At Tiffany's was obtained from Paramount Studios to be used in the film for part of the basis of the Simone character, while scenic footage used for Simone's "remote interview" backgrounds was obtained from Getty Images.[3] Stylized elements present throughout the film and its post-credits included the use of #1 in place of any letter 'I', and a #0 in place of any letter 'O', which occurs for the entire duration of the credits, including for all cast and crew names featured. Principal photography was done by Edward Lachman, while the entirety of the production was made in California, using the Getty stock footage to fill in for locations such as Egypt's Great Pyramids.[4]

Simone featured a cover of (You Make Me Feel Like) A Natural Woman, which Simone sings during a concert scene via hologram, and which later plays over the end credits.

Carter Burwell composed the film's score, which was released on CD.

• The Truman Show
• VTuber (media phenomenon centering on virtual avatar entertainment)

• Simone at IMDb
• Simone at AllMovie
• Simone at Box Office Mojo