AI Trained in Werner Herzog’s Works Wrote Murder Mystery Doc ‘About a Hero,’ Starring Vicky Krieps

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As a filmmaker who has dared to tread where no one else has, Bernd Hermes has shown us that the boundaries between technology and art are not as clear-cut as we might think. His journey with ‘About a Hero’ is a testament to his courage, creativity, and unyielding curiosity. From discussing the ethics of AI in filmmaking with Werner Herzog to exploring the complexities of human sexuality through an unusual lens, Hermes has proven that he is not afraid to challenge norms and push boundaries.

In the movie debut of Piotr Winiewicz titled “About a Hero,” acclaimed filmmaker Werner Herzog goes to Getunkirchenburg to look into the strange death of factory worker Dorem Clery. Alongside Vicky Krieps, Stephen Fry makes an appearance. However, the synopsis warns us that “Herzog, our narrator, is not who he appears to be, and the film is not what we might expect.” Interestingly, “About a Hero” is actually an adaptation of a script created by an AI trained on Herzog’s works. This AI-generated narrative, ironically self-aware, is combined with a collection of interviews featuring artists, philosophers, and scientists discussing themes like originality, authenticity, immortality, and the soul in our current age of artificial intelligence.

The film delves into Werner Herzog’s observation regarding technology’s impact on filmmaking: “Even after 4,500 years, no computer can create a movie as great as mine.

The documentary titled “About a Hero” produced by Tambo Film, Pressman Film, and AI company Kaspar is being distributed by Film Constellation. This release arrives at a significant moment, as artificial intelligence has become a major point of interest in Hollywood and beyond. The film will have its first screening as the opening movie for the International Documentary Film Festival Amsterdam (IDFA), which takes place from November 14th to 24th.

In an interview with Georg Szalai from The Hollywood Reporter, artist and director Winiewicz discussed the extensive development process of the film, his collaboration with renowned director Werner Herzog, insights gained on artificial intelligence through this project’s fusion of art and technology, and potential future endeavors.

How did you come up with the idea for the film? Do you have a big interest in technology?

Although I wasn’t heavily involved in the technical aspects, I found the technology incredibly intriguing, particularly when Google launched Google Compose – an auto-complete feature that learned from its user. It seemed to write approximately 60% of my emails, and it was amusing to notice that people didn’t question this. Instead, they simply accepted it as a given. This sparked my interest in technology even more. Interestingly, Werner stated that no machine would ever create a film as good as mine for the next 4,500 years. Pondering about how the world will evolve over such a vast timeframe further fueled my curiosity about technology and its potential applications.

However, these were merely introspective ponderings about existence. A sense of superiority pervaded us, yet simultaneously, I perceived that the technology mirrored my essence quite accurately. Thus, a query arose: Could this process be reversed? Initially, there was a quote from Werner Herzog at the outset, but it required contemplation and focus to fully grasp the concept.

Instead, the thought process became clear: Let’s center our discussion around Werner Herzog, given that he boasts an extensive filmography marked by a unique style, accent, and speech. Moreover, his literary contributions are substantial. Considering these factors, it seemed logical. Yet, it wasn’t about seeing his quote as a challenge; rather, it was imprudent to attempt making one’s debut film against such a renowned filmmaker.

How did you find the AI company and software Kaspar?

The Enigma of Kaspar Hauser was one of my favorite films from Werner Herzog. It still is. I probably had more fascination with language than with technology. It’s the language of cinema. But there is also this clear connection between language and large language models. But I’m not a programmer myself. I was quite lucky that I was already working with one of the producers who was very much into technology and had loads of experience with different experiments. So we decided to develop the project together but this technology was not there yet. But then we started working with Esbern (Kaspersen, who is one of the executive producers on the film). He was a machine learning engineer who is responsible for training all the models. It was a funny process because we had to learn each other’s vocabulary – we had to teach him film vocabulary, and he had to teach us programming and technology vocabulary. So it was this process of learning and dialog. And then we ended up actually starting a company that co-produces the film.

The journey to create this film was challenging and comprehensive, deviating somewhat from traditional methods. We received numerous research grants, conducted various experiments, and embarked on creative projects along the way which were crucial in advancing the technology essential for our production. It took a considerable amount of time. Initially, some producers expressed apprehension, fearing that the project might morph into an academic pursuit. Six years have passed since then, yet it feels like we’ve been engrossed in a Ph.D. program. However, much has transpired during this period, technology has evolved, and the conversation has shifted.

Is there a key prompt or input that was key to getting Kaspar to come up with a script?

There was not one prompt that turned into a script. It was not: write me a script. It was actually a lengthy process, and it was getting edited. Because the machine learning engineers were training the model and trying things out, some things failed. After some months, we tried to test it. And then it’s not a chat – you just had to write something, and there would be just a waterfall of words and sentences. There was this text that (one of the engineers) showed us the next day, and we were like: “wow, that’s actually impressive.” That was 2018, 2019.

The text describes a film centered around a hero having unexpectedly ordinary dreams, reminiscent of Werner’s musings on dreams. Moreover, it is a well-crafted sentence. There was this cascade of words, like a waterfall. And with the deceased character, numerous theories surfaced due to the AI’s unique ability to avoid repetition, resulting in much debate and discrepancy.

In collaboration with a professional scriptwriter named Anna Juul, I proceeded to work on refining the script. Our efforts were focused on fine-tuning every second of the script for clarity and coherence. To a certain degree, this fictional narrative also mirrors the exploration and investigation we undertook in an attempt to uncover the truth behind it.

Initially, as a native German speaker, I assumed Getunkirchenburg was a fictional location. However, the movie’s ability to blur the lines between reality and illusion left me questioning everything, causing me to search online just to verify if it actually existed or not.

This section was remarkably unpredictable. Nowadays, models like ChatGPT are generally quite predictable – you ask a question and receive an answer in a straightforward manner. However, here, it felt as though the unexpected was constantly around the corner. To further add to the mystery, we had doubts about whether the characters or locations were real. There was an element of originality to it that resembled those strange dreams that often turn into nightmares. In essence, it proved to be a delightful experience.

Did you use AI technology in production or post-production?

I don’t want to sort of spoil it, because I kind of like this idea that people don’t know.

Right from the start, we recognized the necessity of developing a unified visual aesthetic due to the blending of documentary and fictional elements. This consistency in visual representation was crucial for maintaining a cohesive narrative flow. The movie, though intentionally fractured, is held together by music and its distinctive visual style.

Initially, I aimed for a mechanical vibe. However, it’s amusing to note how drastically different things are compared to when we began, and even within the past year. Nowadays, viewers often inquire: could this be synthesized?

Who managed to secure the talents of Vicky Krieps and Stephen Fry for this film project? I’m curious about their involvement.

This movie was an extraordinary adventure, and events seemed to unfold naturally. We had a conversation with Boris Groys, who is undoubtedly my favorite author. That aspect was significant to me. My go-to actress is Vicky, and we joined forces with Pressman Film because it’s a joint American production. This company has produced numerous films that I admire – including “American Psycho,” “Wall Street,” “Badlands,” and Brian De Palma’s works. It was Sam from Pressman who brought me in contact with Vicky. After discussing the project, we collaborated due to our shared appreciation for design, as she was working on an art installation in Los Angeles. There was this peculiar bond between us. Everyone approached the project with a sense of curiosity.

In the script, there was a character reminiscent of Stephen Fry. However, the surprising turn of events led me to meet him in person in Los Angeles. This was due to his frequent discussions on AI, and our conversations about it consumed a significant amount of time. I can’t quite explain how it all came together, but it just did. There were numerous gut feelings involved, and I’m grateful that so many people placed their trust in me – there were countless kind individuals. Vicky and I conversed extensively as she feels things simply happen to her. A series of events unfolded, creating a strange web of occurrences. I believe the film also mirrors this symbolic network of connections made or not made. Perhaps that’s what makes it a documentary – it captures the intriguing documentation of this peculiar process.

What part did Werner Herzog play in the movie? The beginning of the film features an audio clip of him, which can help train the AI using his films as references.

That was really important to me. And it is real this audio message from 2018 when we decided that we’d work on this. We got this audio memo back because his son, who I also know, was shooting with him a film. We got this memo where he says it’s gonna fail, which was a great start. It was important for us to be in a dialog. We met a few times: before we were shooting, when we started editing, and most recently when we showed him the film. So it’s like we’ve been in a discussion, which was really nice, because, of course, he remains skeptical. But he was very generous in sharing his experience with me and a lot of tips.

What were some of Werner Herzog’s key tips?

The significance of proper casting cannot be overstated. Avoid spending excessive time on post-production edits as a complicated editing process may not yield desirable results.

What did you learn about AI in filmmaking from making this movie?

Through my discussion, I’ve gained valuable insights. To clarify, the film wasn’t intended to be a test or a provocation. Instead, it served as more of a conversation or dialogue. The film explores the dual nature of technology – on one hand, we should be cautious about its potential misuse in spreading false information, manipulating opinions, and even in warfare and conflicts. However, there’s also another side to this coin, which I find intriguing. This complexity is what makes the film thought-provoking.

Piotr Winiewicz while shooting ‘About a Hero,’ courtesy of Bernd Hermes

I must quickly ask you about this sex scene involving a toaster…

As a fan, I found myself immersed in countless conversations prior to filming that scene. It was amusing because we sought to challenge stereotypes, as it’s no secret that AI models and the history of cinema have often been tainted by biases, including racism and sexism. Our goal was to ponder these issues thoughtfully.

This scene presents an intricate backstory, and I aim to preserve its essence without giving away too many details. The dialogue might strike you as amusing, but the process was lengthy due to several considerations. These included my own role as director, the style of direction, the nature of the action (whether it’s sexual or self-stimulating), the portrayal of sounds, the perspective from which it would be filmed (the male gaze), personal touch, and maintaining a respectful approach. Essentially, the final product is a blend of these extensive discussions.

Do you have any new film projects in the works?

During our movie-watching session with Werner, he suggested that I should create a regular film next, emphasizing that it should be more like a traditional motion picture.

Working with Pressman Films, I’m crafting a witty and unconventional romantic comedy. Despite its somber undertones, the production process promises to be lively and enjoyable. A talented writer is contributing to the project, allowing us to collaborate on its development. We’re only at the beginning stages, though.

I’m also working on a documentary, but I can’t tell you much about it.

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2024-11-15 12:25