As a veteran film critic with over three decades of experience under my belt, I have seen the evolution of cinema from its humble beginnings to the digital marvel it is today. The latest development in this ever-changing landscape is the integration of Artificial Intelligence (AI) into filmmaking, and I must say, I am both intrigued and skeptical.
As a proponent, I’ve found myself right in the thick of discussions surrounding the application of AI in filmmaking, particularly after Blumhouse co-founder Jason Blum teamed up with Meta to trial a series of short films using Meta Movie Gen – an innovative new technology that leverages text-to-video to create AI content. This project forms part of a broader initiative to collect input from the creative community as Movie Gen continues to develop and refine itself ahead of its public release next year.
Yesterday, Blum debuted the initial short film, skillfully directed by Aneesh Chaganty (known for Searching) named i h8 ai. The three-minute production cleverly employs home videos to imagine what the director’s childhood may have looked like if AI was present during his younger years. It also delves into the intriguing question of how such technology might have influenced him as a filmmaker. In the following days, Casey Affleck (renowned for I’m Still Here, Light of My Life) and the Spurlock Sisters (behind Livin’ the Dream) are among those set to try out Movie Gen’s capabilities, with their outcomes to be revealed soon.
Connor Hayes, the VP of GenAI at Meta, published a blog post in line with their partnership with Blumhouse, expressing his belief that it’s crucial to have an early and open conversation with the creative community about how AI can best serve creativity and be used responsibly. It’s worth mentioning that comment sections on i hate AI videos on YouTube have been disabled, suggesting that this dialogue is aimed primarily at filmmakers rather than the entire industry. In a separate statement by Blum, they emphasize the importance of involving the creative sector as the application of AI in Hollywood progresses.
Artists serve as the vital essence of our field, and we’re constantly interested in uncovering new methods and resources that empower them to express their narratives more effectively. We seized the opportunity to let some artists experiment with this state-of-the-art technology during its development phase, gathering their feedback on its strengths and weaknesses. These tools will undoubtedly prove beneficial for directors, and it’s crucial to involve the creative community in their creation process so that they are tailored to meet the demands of the job.
Jason Blum Is Getting Dragged Online by the Creative Community
It’s no shock that Blum’s post about X, where he showcased Chaganty’s work, is receiving a significant amount of criticism from members of the creative community. These individuals watched the short film and felt underwhelmed by its outcome. Gavin Michael Booth, who has worked with Blumhouse previously, labels it as “‘propaganda’“, stating that:
That’s quite an appealing presentation, but you seem to have overlooked a crucial point: The technology you’re discussing doesn’t only replace visual effects artists by enhancing videos; it also allows for film creation without requiring any initial footage, sound, or actors. Impressive, isn’t it?
According to John Squires, Editor-in-Chief for Bloody Disgusting, he finds the situation “sad” for several reasons. Primarily, because Chaganty has already demonstrated remarkable skills as a director without relying on AI, and secondly, because the final product of his short film seems devoid of genuine depth or substance, leaving it feeling “hollow.
This didn’t make me happy as intended; instead, it felt like heartfelt homemade videos were transformed into empty, poorly executed messes. Aneesh is an exceptional filmmaker, and I admire the sincere effort put forth, but what I see is just a disappointing outcome.
Supporters are also joining the discussion, highlighting the paradox of Blumhouse producing several films cautioning about AI risks (like M3GAN and AFRAID). Meanwhile, it’s interesting to see their co-founder diving headfirst into exploring these waters. Many have already expressed they won’t back next year’s Five Nights at Freddy’s 2 if there’s any hint of AI involvement in its production. Others find the use of generative AI problematic, claiming it’s a form of theft because it incorporates human-created art to develop its code (frequently without consent), resulting in copies that can’t match the true potential of human creativity.
Regardless of how you look at it, the discussion about AI in Hollywood is unlikely to die down quickly, and with influential figures such as Blum exploring ways to utilize this technology, the controversy is certain to intensify, potentially splitting the industry in a manner unprecedented since its inception.
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2024-10-18 20:01