CS Seminar “Instrumented Spaces” SS 2003 A. Butz, C. Endres, W. Wahlster
Science Fiction movies have been a source for speculation about the future of technology and human computer interaction. This paper presents a survey of different kinds of interaction designs in movies during the past decades and relates the techniques of the films to existing technologies and prototypes where possible. The interactions will be categorized with respect to their domain of real-life applications and also evaluated in regard to results of current research in human computer interaction.
| 1. | Introduction | |
| 2. | Factors of interaction designs in movies | |
| 3. | Movies without concepts | |
| 4. | Visionary movies (realistic vs idealistic) | |
| 4.1 | "Neuro technology" | |
| 4.2 | Identification | |
| 4.3 | Speech recognition | |
| Intelligent assistants / Avatars | ||
| 4.4 | Displays | |
| 4.5 | Other I/O technologies | |
| 5. | Satiric movie scenes | |
| 6. | Conclusion | |
| 7. | References |
As one can conclude from the term science-fiction movie, these films have a background of an advanced, fictional technology that is normally set in the future. Most of these movies have in common that they expose their own vision of the future, with new technologies commonly being the most noticeable change in these hypothetical worlds. Besides visions about all kinds of scientific areas, the given context of this work concentrates particularly on computer interfaces.
As a part of the seminar "Intelligent Spaces" approaches of mainstream
science fiction motion pictures are extracted and analysed regarding their
references in real-life human computer interaction (HCI) designs. Similarities
to ongoing researches will be outlined - especially to those, which are presented
by other talks of this seminar that have already taken place. To be able to
draw comparisons to reality it is often necessary to view the ideas and visions
of a movie on a relatively abstract level.
At first some key factors that determine or influence the design of HCI in
movies will be discussed. Starting from this viewpoint numerous examples from
selected movies will be observed. Due to the limitation of the material that
was at hand, we cannot claim to provide a complete overview of all movies,
but the available selection should suffice and allow a representative inspection
of the movie scene.
We will start with a review of movies that do not show any concepts at all
or merely adapt common everyday techniques of that time. The second and main
part introduces visionary interaction design, divided into different areas
of interaction technologies, followed by a brief view at a couple of satiric
movie scenes and the conclusions of this work in the end.
Before we observe the selected cut-outs, we will examine in short the key
factors that contribute to the resulting interaction techniques. We should
keep those in mind for later evaluation in order to have a better understanding
of the (esp. historical) context of a movie.
The probably most important aspect is the availability of special effects
technologies - including the budget of a production to use those. Some movies
that will be shown are made at a time where digital editing was not yet existent,
whereas other recent motion pictures (e.g. Star Wars Episode II) don’t
even contain a single scene without computerized backgrounds or animations.
Moreover the commercial success of the movie industry increased a lot during
the past 10 years, such that higher budgets became more and more feasible.
Current trends in IT research and products have of course as well an impact
on the movie, since this will probably be the director’s background
where his ideas will evolve from. That’s where the directors (or his
advisors) creativity comes into place. Given that technical realisations of
technologies in movies don’t have to be explained or justified, the
director benefits from an almost unlimited degree of freedom - compared to
researchers or designers of the ‘real’ world.
We also have to consider the importance of the interaction technique or the
device itself for the movie as a whole. The technology could be totally unimportant
or play an important role for the plot (so called “plot device”),
but most of the times technology is found inbetween and has to support the
overall authenticity of the vision of a future world.
The selected scene shows a worker that operates a device by adjusting huge
levers on a clock-like machine whenever a light flashes up, indicating the
direction to which the lever has to show. The conceptual fault here is that
the controls of the machine are exactly the opposite of a human-centered design,
since user has to work for the device to make it run.
“Raumschiff Orion” from 1966 is a german TV Series that was very
popular (audience rating of 41%) and still is now: a re-edited movie-length
version will be out on alternative cinemas in Germany by the end of this month.
The 7 episodes were produced during 6 weeks, such that it had to be improvised
a lot, which also shows in the design of the spaceships controls. You can
see faucets installed as levers or even a flat iron, which became one of the
most remembered feature of this series.
Another scene shows an engineer programming the on-board computer: He is holding a punch card in one hand and typing on a small keyboard with the other hand.
Punch-cards were still used at that time for computer in- and output, which
explains the appearance of it, but using them by reading and typing in what
is encoded or “written” on them is even a step back from the original
intended usage.
Two scenes from “Battlestar Galactica” are chosen as examples for
a science fiction movie that simply adapted common interfaces of that time.
You see the starfighter controls that consists of a joystick and the motherships
interiors that show tv screens, phones and a keyboard built into the desk.
A more recent example is “Password Swordfish” from 2001, where a professional hacker is hired by a terrorist organisation to do some jobs for them. A programming environment was prepared, which consists of 6 flatscreen monitors of common size put together and probably supposed to be used as an enhanced display.
The actual programming of the virus takes place with a graphical 3D interface.
As the whole movie primarily intends to achieve a fancy and cool look, also the technical area exposes a very superficial attitude without attempts to develop an underlying concept.
In this section we will discuss movies that had their own ideas and visions
of human computer interaction or at least used technologies that were not
more than prototypes so far.
It can be observed that there are at least two general ways to approach interactions:
Some have a clean, idealised design that looks very smooth and error free
whereas others introduce flaws and drawbacks to add realism.
The movie clips of this chapter are categorized according to their area of
real-life applications and research:
4.1 “Neuro” Technology:
Technologies that connect to brains are introduced here.
4.2 Identification:
Electronical identification of individuals
4.3 Displays:
Various kinds of displays as an output medium
4.4 Speech:
This includes speech synthesis and recognition and also intelligent assistants
/ avatars as specialised subgroup.
4.5 other I/O technologies:
All technologies that are more specialised and that were difficult to categorize
according to the fields above, for example gesture recognition or tangible
user interfaces.
Although this field does not concern the HCI research community and it also
doesn’t seem realistic from our point of view now, we wanted to include
this part, since we still have interaction between humans and computers in
a literal sense.
The first example is taken from “Johnny Mnemonic”, a cyberpunk
movie with Keanu Reeves playing an agent whose specialty is delivering sensitive
data using his brain as a storage device. The scene shows the transfer of
the data over a wire that is connected by plugging it into a socket under
his ear.
Strangely enough, he also wears a head-mounted display during this procedure.
In “The Matrix” Keanu Reeves again got a role where his brain is
interfaced to connect to a computer. As with all other humans in the envisioned
future of that movie a computer controls his consciousness by accessing his
brain physically through the backside of his head.
He will get disconnected in the first scene and reconnects in the second
one to be able to interact with the computer program, the so called matrix.
Electronic identification is introduced in almost all cases in order to be
exploited at a later time in the movie. Identification techniques are furthermore
also used to track individuals during their everyday life, in such cases the
privacy / security issues are the main aspects that the directors try to bring
in into their work.
Five scenes are chosen to represent their technology:
4.2.1
People in the “Logan’s Run” future live in a perfect, harmonic
society, which only purpose is enjoyment. The drawback is that people have to
be killed at an age of 30, which happens during a ceremony that everybody attends.
To avoid panic or revolts among those who are supposed to die, everybody is
told that they will be reborn instantly.
As shown in the clip, every child will get a diamond-like implant into their palm at the day of their birth, which allows to track and identify the person, display their life-stage by its colour.
4.2.2
“Gattaca” uses DNA analysis to identify individuals; a drop of blood
is taken by a machine and analyzed directly by the same machine.
The choice of this identification technique most probably originates from the main theme of the movie, which is the genetic determination of human beings. Individuals are defined by their genetic patterns, which can be chosen by the parents to alter one ‘s fate. DNA analysis and identification was invented in 1985 and became a tool in crime fighting. A database is already maintained in some countries [1] and assuming that the costs can be reduced and the procedure of analysis speed up, this vision is not too far-fetched. But it is not necessary to take blood of the object, any part of the body would suffice any might be more convenient, for instance hairs or saliva.
4.2.3
Automated palm-print identification systems are already commercially available
from several companies, most often used for crime fighting too. [2]
Such a system is shown in “Bourne Identity”, where the main character
has to access his safe in a Swiss bank.
You normally have to place your hand on a device that can scan your palm in high resolution, but in this film scene a common (possibly touch) screen was used to obtain the palm-print, giving an immediate visual response to the user. This scenario looks more sophisticated and high-tech with this extra feature, accepting the loss of realism, which is not too obvious at first sight anyway.
4.2.4
“Alien IV” uses a identification technique that is not being researched
and probably never will, because it is very doubtful if sufficient physiological
data can be extracted from its medium: The breath ID. Apparently the odor of
a person’s breath is analyzed to grant or deny access to certain areas
of the ship.
This idea seems to be an attempt of the director to find a new and unique element for his movie.
4.2.5
Another very popular biometric identification technology are the retinal and
iris scan. Either the blood vessel patterns of the retina or the pattern of
flecks on the iris can be used to uniquely identify individuals. The object
doesn’t necessarily have to interact with a device, it right now works
up to a distance that depends on the used video system, but alignment of the
eye is still required. [3] Such systems are now gaining acceptance
in many areas, and in our imaginative future as described in “Minority
Report” they will be installed on public places like subway stations,
which would enable the systems owner to track basically everybody and build
a history of his or her activities.
It is not required anymore that people would interact with a device, just passing by would suffice. This vision strongly addresses the privacy issue as mentioned above.
The display consists of 3 parts, which at first sight reminds of the DynaWall
concept that is part of the i-Land project of the Fraunhofer-IPSI institute
as introduced to us by Sohail Iqbal. [4] The DynaWall provides
an interaction space for CSCW, so the similarity between this project and
the screens in this movie scene are quite superficial and merely of a visual
kind.
The next example is taken from “Star Trek: The Next Generation”
(STTNG), a TV Series that was launched in 1988. You will notice 3 kinds of devices/displays
of different size throughout the series:
· The Tricorder, a small and handy device that looks very similar to
a PDA, equipped with many sensors and used for outdoor analysis.
· A tablet PC that is used at the machine deck and sick bay: a very thin
device, with the shape of a piece of paper
· Wall screens almost everywhere on a ship, used to display data for
multiple users
The selected scene shows the usage of a tablet PC together with a wall screen
at sick bay. The doctor seems to transfer data from the tablet PC that she is
holding to the wall screen using a light pen.
The reality is probably that she is holding a piece of plastic together with
a small flashlight.
At exactly the same time, a project about ubiquitous computing was started
at Xerox Parc where devices were as well categorized into 3 kinds: The tabs,
pads and boards. [5]
Tabs are very small and personal and can provide context information about
the user that is wearing it. Pads are supposed to be a mixture of a sheet
of paper and a laptop, lying around on tables and used spontaneously by any
user. Boards are big screens on tables or at walls that especially support
collaborative work. The coincidence that this project and the series started
at the same time is quite surprising, but it is not clear if one has inspired
the other one or if this is only a coincidence, since this classification
of devices is quite intuitive and straightforward.
Another variation is taken from “The Matrix: Reloaded”, from a
scene where the ship Nebuchadnezzar docked to Zion, the base of the humans.
The operators of the base station’s terminal are surrounded by a transparent
display with touch-screen and apparently using it by common drag and drop
operations – the scene is unfortunately very short and details are unclear.
But you can see that additional information can be seen behind the actual screen
layer. In this case, the approaching ship is visible, such that for instance
its distance is extra information within the users peripheral perception,
which can be obtained when necessary.
A different method to display 3D data is used in a cut-out of “X-Men”,
where a mission briefing is conducted with a “physical” display
on a big table.
The technology is not explained, the surface seems to consist of small metallic
cubes that are formed to the shape of the displayed objects by raising them
to the appropriate level. We have seen an approach to display 3 dimensional
images physically in Tim Schwartz’s talk on “Table Top Spatially
Augmented Reality” [6], where physical structures are
augmented by projections.
Holographic displays are very popular among directors and occur frequently and
some of them will be introduced here:
In “Forbidden Planet” from 1956 the so-called “thought analyzer”,
a device inherited from the planets former inhabitants, displays a 3 dimensional
image.
Personal Computers were certainly not yet commonly known at that time, so not
even a single 2D display appears in that movie, simple indicator lights were
used for computer output except this device.
Also “The Matrix” got one example for a holographic device, it is
attached to the Nebuchadnezzar’s controls and displays monochrome but
3 dimensional images.
“Minority Report” shows a holographic projection that we have already seen in Amir Wasim’s introduction to the “Office of the Future” [7], it is interesting to see that they also included a flaw here with distortions at the edge of the images, particularly when you turn around the object.
Another short scene here shortly shows another holographic projection in a virtual reality chamber that can be rented for pleasure and relaxation.
Very similar is the Holo-Deck from STTNG, that is able to materialize substance, enabling you to interact with it.
This is a typical Star Trek technology with its perfect and idealized realisation, very impressive and visual but with a very simplified view on scientific explanations. The so-called Holo-Cube from the latest Star Trek Series “Star Trek Enterprise” underlines this characteristic: It is a small cube brought by a time traveller from year 3000 that is able to fill your surroundings with a projection. In this case in order to display connections of different time lines.
Multi-modal navigation systems have been have researched by various institutes,
like the PDA-based IRREAL project by DFKI [8], where resource
adaptivity was the focus of research.
The first implicit artificial intelligence in a movie was the HAL9000 computer
in Stanley Kubrick's classic "2001 - Space Odyssey". A computer that
was in charge of a spaceship was sent out for exploration purposes, until some
of the crew members noticed its abnormal behaviour. Two of them locked themselves
in a small shuttle within the ships bay, such that they are acoustically isolated
and able to discuss the situation without HAL9000's knowledge. But they were
not aware that the computer still had visual contact, seeing their faces.
It could interpret their lip movements and understand their conversation, with
the consequence that he started killing the crew one by one to prevent his shutdown.
The idea of computers and machines being aware of themselves was also picked
up by John Carpenter in his low-budget production "Dark Star" and
extended such that other parts of the ship also had their own identity. Here
interacting with them was more like interacting with human colleagues. The selected
scenes show the bomb on board of the ship, which was ordered to detonate after
a specific time. Unfortunately a malfunction caused it to be stuck in its bay,
but it refused to cancel the previous order to explode. One of the crewmembers
tried to involve the bomb into a meta-physical dialogue to convince it not to
follow these orders.
The last example of speech technology includes an intelligent assistant that serves as a library guide, taken from the 2002 remake of "Time Machine". The main character travels into the 22nd century and encounters this avatar on his search for more information about time travelling. Personal guides for museums or exhibitions are not new and exist as prototypes and also as commercial solutions. They are mostly PDA based and sometimes support kiosks - stationary machines with more resources from which the user can retrieve information of higher quality. The PEACH project by DFKI, an Italian research institute and the Eyeled company is one example for this work. Here it is also possible for the avatar to migrate from the PDA to a kiosk or the other way round [9]. In "Time Machine” multiple transparent, man-size displays are everywhere in the library, such that the computer character (the intelligent assistant) can follow and assist the user everywhere in the building. The avatar displays different kinds of (2D) information on the screens and also interacts with the environment that is visible through the displays.
So for the user in this case the environment becomes an augmented reality, overlaid by the avatar's reactions like pointing to a book.
More specialized I/O technologies will be discussed in this chapter. This
includes virtual or augmented reality, gesture recognition or other multi-modal
mechanisms that could not been assigned to any of the preceding categories.
A typical VR setup with a head-mounted display and data gloves is used in
one scene of "Johnny Mnemonic". The agent played by Keanu Reeves
is using it to retrieve information from the internet while he browses through
an abstract 3D world, manipulating various objects to access sites.
Most of the interactions are not explained and obviously don't make much sense in this context, but one metaphor looks interesting that is when a new session is started by a gesture that looks like opening a book. Another scene from the same movie has gesture recognition for controlling the mimics of a computer animation. A green grid, which strongly reminds of the calibration image of a beamer, is projected onto the hand, indicating a visual recognition.
As implemented in the movie it wouldn't be possible to determine the hands
movements using the alignment to the grid pattern, it wouldn't even make much
sense to do so in this context. But for the scene it was necessary to show that
the face is not the person itself, but just an animation that is controlled
by someone else.
More motion tracking has been found in “Total Recall”, when the
female main character practices her tennis serve with a holographic projection
explaining and demonstrating the correct movements. She tried to imitate the
virtual trainer and visual (projection blinks in red) and spoken feedback confirms
matching movements.
This idea wouldn’t be difficult to realize, except that 3 dimensional
images without head-mounted displays using air as the medium doesn’t work
yet. But the users motions could be tracked efficiently by for instance embedding
sensors that provide 6 degrees of freedom (DOF) into both wrist-belts or with
a camera.
Our next sample techniques come from the British film version of “The
Hitchhiker’s Guide to Galaxy” from 1981. The clip introduces the
Babel-fish translator, which is a fish that will translate all languages such
that you will be able to understand them, by plugging it into your ear.
Here the device/fish is actually supposed to contain all the technology, but
for us it would be conceptually more interesting if the fish would be an object
in an intelligent space, triggering a function of the system (a translation
service) when it is placed into the ear. This would provide an intuitive usage,
but it is another question if it is desirable at all to put anything into your
ear when you want to activate it.
The concept of virtually overlaying everyday objects with functions is picked
up by “The Matrix” too: When Neo was offered two pills, he could
decide to stay in the matrix or leave it.
This means in the context of the matrix as a computer program that the pills represent a choice similar to buttons. The metaphor of swallowing a pill as a trigger does automatically raise the users attention to this choice due to the inhibition threshold of taking pills, which underlines the importance of the decision in this scene. The same idea of augmented everyday objects is further used with landline and mobile phones. Stationary phones can represent exit and entry points to the matrix and are used by picking up the phone receiver or putting it down.
Mobile phones are used for communication between people within the matrix and
those outside. This approach has the advantage for the director that he can
visualize communication between the two ‘worlds’ clearly and unambiguously
for the audience without further explanation.
Our last part of this chapter is dedicated to Spielberg’s “Minority
Report”, which is the most important movie for this topic. The production
designer Alex McDowell, who was basically responsible for the ‘look’
of the production, started his work with a tour through MIT’s media lab,
where he could see various demos about gesture recognition projects or the kitchen
of the future, getting an impression on the state of current research in this
field. His aim was that the audience will be able recognize the movie's future
and relate to it, he wanted it to be a consumer-based society, very market-driven,
that took today's technological trends to their logical conclusion. On this
tour he had the opportunity to talk with John Underkoffler, a gesture expert
who was then hired as a consultant for this film. Also Jaron Lanier, known to
be the founder of the term “Virtual Reality” was hired, he was briefly
introduced by Atif Altaf on his talk about Tele-Immersion. Together with other
consultants a so-called ‘Think Tank’ was formed, where these researchers
brainstormed and developed their ideas about the future in 2048. The result
of these efforts can be seen in various techniques that occur in the movie and
remind of ongoing or past projects from MIT or other institutes.
A typical tangible user interface (TUI) very similar to the Marble Answering
Machine by Bishop that is now already 10 years old was used to represent offenders
and victims to the system. Their names are engraved into wooden marbles, which
then can be placed onto slots to achieve information about them.
The Marble Answering Machine is actually a common answering machine that is
enhanced with a TUI that represents incoming messages. [10]
Placing them to different slots will play the message or dial the callers
number, Christian Schmitz mentioned it in his talk about “Tangible bits”.
The principle of a market-oriented future is primarily demonstrated by the immersive
and personalized advertisements that the main character encounters during the
movie: In one scene he steps out of the subway and different commercials welcome
him by his name and compete for his attention. Identification is done by retinal
scan at the subways exit as described before.
Another scene shows him entering a clothes shop and again he is recognized by an intelligent shopping assistant that asked if he is pleased with what he bought before. His shopping behavior was stored and used to make conclusions for further recommendations.
Such kind of personalized shopping guides do exist on several websites (for
example amazon.com) that make similar suggestions to buyers when they enter
their website according to shopping behaviors of customers that bought the same
products. Identification is very easy, since you have to log in to process orders
and also cookies can be stored for this task. In real-life identification is
sometimes done via customer ID cards that are processed when the client pays,
but not (yet) when they enter the shop.
The most apparent human computer interface in this movie is the transparent
screen with the gesture interface that is used to browse through the memories
or visions of the so-called Pre-Cogs.
The user wears gloves with 3 reflective fingertips to achieve 6 DOF of hand movements, which is used for some carefully designed gesture metaphors to manipulate data and its layout on the screen. Beside the usual drag and drop functions you can distinguish actions like cleaning the screen, which looks like a sweep with both hands emptying your desk. Or the zoom function, activated by holding both hands in front of you with their palm side facing to you, the left hand representing the object such that you can zoom in by approaching it with the other hand. One scene also integrates the flaw that the system does not always recognize if you try to interact with it or doing something else with your hands, it happened when someone else came in and wants to shake hands - this movement accidentally caused an object on the screen to be misplaced.
The transparency of the big screen is not only useful for the high-tech look
but it also enables the director to show his actors when they operate the device,
such that they actually have the chance to act during these scenes, which are
very important parts of the plot.
You can also see in one scene how data about a person is transported from one
screen to another by small glass tiles that look very similar to Jun Rekimoto’s
DataTiles as seen in Rupali Mukherjee’s talk.
Persons are virtually connected to a data tile on one (small) screen and then
it is physically taken to the main screen and connected there to use the data
associated with it.
Another example of technology that is being researched is the liquid ink. Seen
once with a newspaper that changes the displayed (animated and colored) articles
and again when the box of cornflakes plays a multimedia clip on the box itself.
The box is shaken several times, obviously in order to turn the animation off. A comparable product at present is the e-ink device that is meant for e-book applications [11], This paper-like display is able to change its contents, which until now is only able to show black and white images.
The second scene is from “Galaxy Quest” a science-fiction parody in which a group of actors of a science-fiction series is abducted by an alien race that is watching the series and mistaking them for real heroes. A copy of the (fictional) starship is made and the ‘crew’ is forced to use it to help them. A difficult task for the actors, who only pretended to control the spaceship until then.
The third and last one is a short part of an episode of the cartoon series “Futurama”: The scene shows a group of people talking about a person called “Fry” and the computer listened and assisted by downloading a movie about this person and opening the owners calendar on Friday and ordering some french fries.
[1] Nogala, Detlef: Der ‘genetische Fingerabdruck’ http://www.cilip.de/ausgabe/61/dna.htm
[2] http://www.printrakinternational.com/omnitrak.htm
http://www.necsolutions-am.com/idsolutions/products/palmprint_product.cfm
[3] Publications by John Daugman: http://www.cl.cam.ac.uk/users/jgd1000/
[4] The DynaWall: http://www.ipsi.fhg.de/ambiente/english/projekte/projekte/dynawall.html
[5] Ubiquitous computing, „tabs“, „pads“ and „boards“: http://www.ubiq.com/hypertext/weiser/UbiHome.html
[6] Table-Top Spatially-Augmented Reality: http://www.cs.unc.edu/~raskar/Tabletop/
[7] The Office of the Future Project: http://www.cs.unc.edu/~raskar/Office/
[8] The IRREAL scenario: http://w5.cs.uni-sb.de/irreal/
[9] PEACH publications by M. Kruppa: http://w5.cs.uni-sb.de/~mkruppa/rp.html
[10] Marble Answering Machine mentioned in: Gillian Crampton Smith, The Hand That Rocks the Cradle. I.D., May/June 1995, pp. 60-65
[11] E Ink corporation: http://www.eink.com
Movie References:
Metropolis (1927, Germany) directed by Fritz Lang
Raumschiff Orion (1966, West Germany) directed by Rolf Honold
Battlestar Galactica (1978, USA) created by Glen A. Larson
Password Swordfish (2001, USA) directed by D. Sena
Johnny Mnemonic (1995, USA/Canada) directed by Robert Longo
The Matrix (1999, USA) directed by the Wachowski Brothers
Logan’s Run (1976, USA) directed by Michael Anderson
Gattaca (1997, USA) directed by Andrew Niccol
Alien 4 (1997, USA) Jean-Perre Jeunet
The Bourne Identity (2002, USA/Germany) directed by Doug Liman
Minority Report (2002, USA) directed by Steven Spielberg
Total Recall (1990, USA) directed by Paul Verhoeven
Star Trek: The Next Generation (1987, USA) created by Gene Roddenberry
The Matrix Reloaded (2003, USA) directed by the Wachowski Brothers
X-Men (2002, USA) directed by Brian Singer
Forbidden Planet (1956, USA) directed by Fred M. Wilcox
Star Trek Enterprise (2001, USA) created by Rick Berman
2001 – A Space Odyssey (1978, USA) directed by Stanley Kubrick
Dark Star (1974, USA) directed by John Carpenter
Time Machine (2002, USA) directed by Simon Wells
The Hitchhiker’s Guide to the Galaxy (1981, UK) directed by Alan Bell
Star Trek IV: The Voyage Home (1986, USA) directed by Leonard Nimoy
Galaxy Quest (1999, USA) directed by Dean Parisot
Futurama (1999 – 2003) by Matt Groening
