‘Buy Now!’ Doc Director on Exposing Consumer Waste: “It’s So Well Hidden From Us”

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As a conscious consumer and film enthusiast who has been following the rise of consumerism for years, I found “The Shopping Conspiracy” to be an eye-opening and thought-provoking documentary. Stacey’s personal insight into the subject matter, having observed the growing popularity of Black Friday in the U.K., resonated with me as someone who has also witnessed the commercialization of holidays in my own country.

The film masterfully blends factual information with artistic visuals to create a compelling narrative that exposes the hidden consequences of our consumer habits. The use of AI and computer-generated images, while initially surprising, is a fitting representation of the impact technology has had on our shopping behaviors. The decision to use text-to-speech technology for the film’s narration was particularly intriguing, as it underscores the growing role of artificial intelligence in our society.

What struck me most, however, was Stacey’s emphasis on small, practical changes we can make in our daily lives to minimize waste and promote sustainability. Repair cafes like the one he visited during filming are a beacon of hope for those who wish to make a positive impact on their communities and the environment.

In a world where it seems that everything is disposable, “The Shopping Conspiracy” serves as a reminder that our choices matter. As someone who enjoys acquiring new objects, I can’t help but laugh at the irony of writing this opinion while sitting in front of my computer, surrounded by various gadgets and trinkets – proof that even the most conscious consumers are not immune to the allure of consumerism! But as Stacey so eloquently put it, “it matters in how you make those things,” and I’m determined to make more thoughtful choices moving forward.

With the festive season drawing to a close, I find myself emerging from a post-holiday haze, having spent almost two months on a relentless quest for deals – sifting through sales and swiping through Instagram ads, all in the hope of finding that perfect gift.

Stacey discussed his movie with THR, sharing the most surprising discoveries and his aspirations for viewers: “It turns out there are quite simple, effective solutions that truly matter.

How did you come to the subject of the doc?

As someone who has lived both in the United States and the U.K., I’ve noticed a striking difference between the two when it comes to shopping holidays like Black Friday. In the U.S., where I grew up, Thanksgiving is followed by a day of intense consumerism that seems almost ritualistic, with crowds flocking to stores for deals. However, in the U.K., this tradition didn’t exist until about 15 years ago, and it still feels somewhat foreign and out of place.

Despite its arbitrary nature, Black Friday has become a staple of British culture, much to my surprise. It’s a reminder that corporations have the power to shape our society and influence our values, even in ways that seem inconsequential at first glance. I’ve seen this trend repeat itself in other European countries as well.

Overall, the arrival and acceptance of Black Friday in the U.K. has made me more aware of the impact that corporations can have on our culture and traditions, for better or worse. It’s a fascinating phenomenon that highlights the interconnectedness of global societies and the power of consumerism to shape our daily lives.

Given the vast complexity of consumer waste, what approach did you take to create a compelling narrative for a full-length movie on this topic?

My proposed concept was to guide you through the entire process, from initial selling to the final outcome. You would witness the charm of advertising initially, followed by the repercussions it brings. I aimed to create something for Netflix that would employ the vocabulary and aesthetics of advertising – the colors, emotions, and nostalgia used to persuade us – and use it to analyze and criticize the system. The key was to incorporate the experiences of contributors who had significant roles in large corporations, only to later recognize the problems they were causing.

How did you find your talking heads?

Working with the exceptional producer Flora Bagenal, we reached out to numerous individuals for our project. Many declined to appear on camera. Some shared startling revelations, yet hesitated to do so, even anonymously, due to concerns about potential legal consequences or a multitude of other factors. Our initial interviews lacked the expected impact. Maren Costa from Amazon was found approximately three weeks before we started filming these interviews. After our interview with her, I contacted the office and stated, “This will be the core of the film. Everything else will revolve around this. This will serve as the backbone.

During production what was a shocking realization for you as a consumer?

What really upset me was the short lifespan of products, especially devices like phones, and their lack of repairability. For instance, it’s frustrating when phone manufacturers use glued-in batteries or proprietary screws on their device cases, making repairs difficult. On a more emotional level, my trip to Ghana had a profound impact on me. The country receives a lot of used clothing from Europe and the U.S., but much of it is fast fashion made of cheap plastic that isn’t recyclable. Unfortunately, they lack the infrastructure to handle this waste properly, so it often ends up in rivers and on beaches. As you walk along the beach outside Accra, you won’t find sand, only a rainbow-colored layer of clothes. When you look at these discarded garments, you can recognize familiar brands, which gives the scene a surreal feel, much like The Truman Show. In our society, waste is skillfully concealed from us.

Having grown up in Australia and being particularly fond of the iconic Sydney Opera House, I can attest to its striking beauty and the sense of national pride it evokes. So when I came across computer-generated images depicting waste piled around this cherished landmark, I was both saddened and shocked. The choice to use these images as a tool for raising awareness about environmental pollution seems brilliant to me, especially given their ability to grab the audience’s attention and provoke strong emotions. It is crucial that we confront the harsh reality of waste accumulation and take action before it’s too late.

One of the major hurdles in creating this film is portraying scenes that are disturbingly familiar yet manage to captivate the audience’s attention. Regrettably, we’ve all encountered images similar to these, but they tend to lose their impact over time. I can attest to this myself. For instance, if you see photos of a landfill, your initial reaction might be “that’s terrible,” but it’s unlikely to hold your interest. This is the reason we’ve opted for extensive Computer-Generated Imagery (CGI). My intention was to transport viewers back to the locations where we consume these products, such as the streets of New York City. Every hour, approximately 2.5 million shoes are produced. Imagine what that would look like if stacked in an alleyway in NYC? Despite filming real waste sites meticulously, people tend to become numb to them due to desensitization.

Can you talk about the decision to use AI in the production, with the film’s narrated voice?

It’s quite surprising, but many viewers mistakenly believed that all the visuals in the movie were generated by artificial intelligence. In reality, there is no generative AI used in the film; instead, it was meticulously crafted by a talented team of artists based in London. As for the dialogue, I wrote it myself, though the voice you hear is produced by a text-to-speech generator. The reason AI is featured in the movie is that it narrates the evolution of the internet, its influence on our shopping habits, such as online retail, social media influencers, and technological advancements over the past 20 to 30 years. We are now approaching a significant leap forward – artificial intelligence. Many individuals we consulted during our research expressed similar opinions, stating that AI has an incredible potential for selling products effectively. People will likely purchase much more due to AI’s ability to analyze data points about us continuously and use that information to influence our purchasing decisions. The financing driving AI development is primarily aimed at finding methods to utilize it for the purpose of selling more goods. This next phase of 20 years will likely be defined by the story of AI.

Have your buying habits been altered in working on this film?

Throughout the entire movie, I found myself torn between different perspectives. Fundamentally, people appreciate possessions, including me. The question is, why do we desire objects? Why do we crave things? To put it simply, when I purchase something, it’s like capturing another person’s creativity in a tangible form. I believe this desire is deeply ingrained within us, a human instinct to covet trinkets or items that others have created. A phone, for instance, represents countless hours of extremely intelligent people’s hard work. My personal epiphany during this process was the importance of not just what these things are, but how they are made. Interestingly, small, practical actions can yield significant results. While filming, we met Kyle, who runs a repair café where community members bring in broken lawnmowers, cherished Christmas decorations, and other items that no longer function. Skilled volunteers then donate their time to fix these items. This not only has a substantial positive impact on the environment but also strengthens social bonds within the community. This initiative serves as a shining example that, at the local level, we can tackle some of these issues.

This interview has been edited and condensed for clarity.

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2025-01-04 01:25