Zack Snyder does not seem to be worried about artificial intelligence disrupting the world of cinema and attracting dozens of newcomers to the fold. At WIRED’s The Big Interview event in San Francisco on Tuesday, the director told editor-in-chief Hemal Jhaveri that “everyone has a pretty good film camera on their phoneand yet we don’t have (at least right now) millions of amazing movies being uploaded to the web from people’s pockets.”
That doesn’t mean Hollywood creatives can avoid AI entirely: “Educating yourself and understanding what it can and can’t do is important right now, especially when it comes to image creation and storytelling,” Snyder indicated. “You have to understand what it is and what it’s not capable of doing, and you have to be able to use it as a tool instead of standing on the sidelines with your hands on your hips.”
And why AI?
Although Snyder indicates that he sometimes still questions the “why” of filming with AI, wondering what point it would make to use the technology if you just want to film someone sitting in a chair in a living room, for example, he also recognizes the potential of technology to make some shots more accessible. “The AI doesn’t care if a house is on fire, if it’s on Mars, or if it’s underwater,” he tells Jhaveri. “All the things that can cost a filmmaker a lot of money to shoot are, for AI, no different.”
Snyder says he’s especially intrigued by the idea of a type of AI that could understand the aesthetic essence of a film or a filmmaker, as if it were able to film an actor’s performance and then sync it with a world of sets created by a designer. of production in a kind of “aesthetic bench”. If an AI could understand what you really want (the “dust motes,” a backlight, the general layout of the set) instead of simply conveying its interpretation of what it thinks you are asking for, then, think, “the concept It’s pretty amazing.”
As a director who has made several films, both superhero and other genres, with a wide range of visual effects, Snyder notes that he is no stranger to “a very virtual world when it comes to filmmaking,” although he has always considered that artistic interpretation is at the forefront of what we ultimately see on screen. Anything other than an actor is just “context,” he points out.
“My favorite movies are those in which I can feel the director’s hand. I want that human point of view to move me narratively through a story in a way that I wouldn’t have thought of or I couldn’t imagine what would happen next,” Snyder says. “As an audience, that’s what we pay for and what we are hungry for. But how we get to that very human thing… well, that could change.”
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