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in a symbolic way than in a practical way. Rather than what AI is doing now, it’s more about what we believe it will be able to do tomorrow. There has already been disruption – look at the strikes – but the main reason here was the potential future uses of AI in the film industry. When we talk about the tools, even though there are thousands of new tools coming out each month for our industry, they are still experimental for now. There are AI tools to help writing, AI tools for scanning in 3D with Nerf and Gaussian Splatting, AI to replace mocap, AI to help editing, AI to help making mood boards – the list goes on. These tools are out there right now, but have they really been used yet at a disruptive scale in the industry? I don’t think so. Def: Can you share examples of successful applications of AI in recent films? Why did these work so well? DL: A really good example is the forthcoming Hollywood film Here , directed by Robert Zemeckis, which Sony Pictures will release in early 2024. The film stars Tom Hanks and Robin Wright, and is based on a graphic novel that covers centuries of history in one room. While shooting in London during 2023, Zemeckis used deepfake technology that can instantly age, or de-age, his stars. The system was developed by
CHATGPT CAN BE GOOD FOR narrative organisation, BUT IS BAD AT CREATING psychologically coherent characters ”
DL: Large language models – most prominently ChatGPT 4 – are effective for some parts of the scriptwriting process, but weaker in others. They can generate potential storylines based on a premise, and are good at the structural organisation of a narrative. But dialogue can be dreadful, and I have found them very bad at creating psychologically coherent characters. The resolution of the WGA strike has put scriptwriting AI technology in the hands of the creatives, not the studios, which is great for the creative industry. A lot of screenwriters will begin to incorporate ChatGPT 4 into their workflows in the coming year. QJ: This subject has been blown out of proportion. Yes these tools are amazing, but definitely not as a creative tool. ChatGPT is a great assistant to help you figure out where to go next, what to explore and which questions to ask yourself. It can be a great script doctor. But it’s never going to be a brilliant or original script writer. I see the use of AI more as a helpful assistant – someone who types what you say out loud, who can ask you the right questions to help you find the solution, or point out a weakness – but not replace you. MB: The core of storytelling is inherently human and emotional, which means AI is currently more of an assistive tool rather than a replacement for human creativity. I see AI as evolving to become a collaborative partner in the creative process, providing suggestions that can inspire writers and designers, rather than dictating the creative direction. CN: Story is everything, and it’s still king. AI can generate ideas for scripts and
Metaphysic.ai and the brilliant Chris Ume, who showcased his instant deepfaking system on last year’s series of America’s Got Talent . MB: As well as de-aging, we’ve seen digital doubles, and even AI generating hyperrealistic backgrounds. The success of these applications often hinges on the seamless integration of AI-generated imagery with live-action footage, resulting in a virtually indistinguishable combination that enhances storytelling without distracting the audience in any way. Only good craftsmanship can achieve this. Def: AI-generated content has been a hot topic recently. What are your thoughts on the use of AI in generating scripts, characters, etc? How do you see this evolving in the coming year?
MANE ATTRACTION The Lion King (2019) famously utilised AI in the animation of its characters
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