*They're not in competition, except in the minds of WIRED DESIGN, but this is quite an interesting blogpost: it's like the War of the Diegetic Prototypes.
https://www.wired.com/design/2014/01/will-influential-ui-design-minority-report/?cid=co16974634
(…)
"Jonze had help in finding the contours of this slight future, including conversations with designers from New York-based studio Sagmeister & Walsh and an early meeting with Elizabeth Diller and Ricardo Scofidio, principals at architecture firm DS+R. As the film’s production designer, Barrett was responsible for making it a reality."
(…)
"Theo's phone in the film is just that–a handsome hinged device that looks more like an art deco cigarette case than an iPhone. He uses it far less frequently than we use our smartphones today; it's functional, but it's not ubiquitous. As an object, it's more like a nice wallet or watch. In terms of industrial design, it’s an artifact from a future where gadgets don't need to scream their sophistication–a future where technology has progressed to the point that it doesn’t need to look like technology.
"All of these things contribute to a compelling, cohesive vision of the future -– one that's dramatically different from what we usually see in these types of movies. (((I like the "these types." Where are the "types" that don't have any technology in them?))) You could say that Her is, in fact, a counterpoint to that prevailing vision of the future -– the anti-Minority Report. Imagining its world wasn't about heaping new technology on society as we know it today. It was looking at those places where technology could fade into the background, integrate more seamlessly. It was about envisioning a future, perhaps, that looked more like the past. "In a way," says Barrett, "my job was to undesign the design."...
