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Time of India
3 hours ago
- Entertainment
- Time of India
'AI' director Steven Spielberg opposed to using AI in front of the camera
Academy Empower your mind, elevate your skills When Steven Spielberg directed the film "A.I. Artificial Intelligence," the technology was the stuff of science fiction -- a device to tell a story about the ethics of creating sentient AI is a concrete reality in Hollywood - one where Spielberg said he has drawn a line in the sand."I don't want AI making any creative decisions that I can't make myself," said Spielberg, in an interview with Reuters. "And I don't want to use AI as a non-human collaborator, in trying to work out my creative thinking."Spielberg spoke on Thursday after a ceremony dedicating the Steven Spielberg Theater on the Universal Studios lot. The event acknowledged the director's decades-long relationship with the studio, which released such films as "Jaws," "Jurassic Park," "Schindler's List" and "E.T. the Extra-Terrestrial."The acclaimed director joked that his career at Universal began in 1967, when he took a tour of the lot as a high school student. He said he hid in the bathroom during a break, and waited for the tour to move on without him, "then I had the entire lot to myself that day.""Our hope and dream is that it's not just the place that is founded on his extraordinary legacy," said Donna Langley, chairman of NBCUniversal Entertainment & Studios. "But it is the place of future hopes and dreams of filmmakers and storytellers who are going to take this company into the next 100 years and the 100 years after that, people who come with a hope and a dream, people who have been inspired by Steven."Spielberg's 2001 modest box office hit "AI Artificial Intelligence" was a meditation on love, loss and what it means to be human through the eyes of a discarded humanoid robot. In the Pinocchio-like journey set in a futuristic dystopia, David, the android boy, yearns to be human, searching for love, in a world of machines and artificial film hit screens when AI was still in its nascent stages and predated the launch of OpenAI's ChatGPT by 21 AGAINST AI MAKING CREATIVE DECISIONS"It wasn't about artificial intelligence as much as it was about sentient existence, and can you love a sentient entity? Can a mother love a robot child?" said Spielberg. "It was not really where AI is taking us today. Eventually, there will be a convergence between AI and robotics ."Spielberg said AI can be a great tool "if used responsibly and morally" to help find a cure for cancer and other diseases."I just draw a line -- and it's not a line of cement, it's just a little bit of line in the sand -- which gives me some wiggle room to say (that) I have the option to revise this thinking in the future," he said. "But right now, I don't want AI making any creative decisions."He said he has seen, first-hand, how technology can replace human talent while working on the 1993 film, "Jurassic Park."Spielberg initially planned to use renowned stop-motion clay animation artist Phil Tippett to create the dinosaurs roaming the island theme park. Visual effects artist Dennis Muren proposed an alternative method, using Industrial Light & Magic's computer-generated imagery to create realistic dinosaurs. The director is an executive producer in "Jurassic World: Rebirth" which reaches theaters on July 2."That kind of made certain careers somewhat extinct," said Spielberg. "So, I'm very sensitive to things that AI may do to take work away from people."Spielberg said he has yet to use AI on any of his films so far, though he is open to possible applications of it behind-the-scenes, in functions like budgeting or planning."I don't want to use it in front of the camera right now," Spielberg said. "Not quite yet."
Hindustan Times
12 hours ago
- Entertainment
- Hindustan Times
Steven Spielberg, who directed first Hollywood film on AI, now opposed to its use in filmmaking: 'Made careers extinct'
When Steven Spielberg directed the film A.I. Artificial Intelligence, the technology was the stuff of science fiction -- a device to tell a story about the ethics of creating sentient machines. Now, AI is a concrete reality in Hollywood - one where Spielberg said he has drawn a line in the sand. Director Steven Spielberg may have directed the seminal film on AI, but the director is not a fan of the tool. REUTERS/Yves Herman/File Photo(REUTERS) "I don't want AI making any creative decisions that I can't make myself," said Spielberg, in an interview with Reuters. "And I don't want to use AI as a non-human collaborator, in trying to work out my creative thinking." Spielberg spoke on Thursday after a ceremony dedicating the Steven Spielberg Theater on the Universal Studios lot. The event acknowledged the director's decades-long relationship with the studio, which released such films as Jaws, Jurassic Park, Schindler's List, and E.T. the Extra-Terrestrial." The acclaimed director joked that his career at Universal began in 1967, when he took a tour of the lot as a high school student. He said he hid in the bathroom during a break, and waited for the tour to move on without him, "then I had the entire lot to myself that day." "Our hope and dream is that it's not just the place that is founded on his extraordinary legacy," said Donna Langley, chairman of NBCUniversal Entertainment & Studios. "But it is the place of future hopes and dreams of filmmakers and storytellers who are going to take this company into the next 100 years and the 100 years after that, people who come with a hope and a dream, people who have been inspired by Steven." Spielberg's film on Artificial Intelligence Spielberg's 2001 modest box office hit A.I. Artificial Intelligence was a meditation on love, loss and what it means to be human through the eyes of a discarded humanoid robot. In the Pinocchio-like journey set in a futuristic dystopia, David, the android boy, yearns to be human, searching for love, in a world of machines and artificial intelligence. The film hit screens when AI was still in its nascent stages and predated the launch of OpenAI's ChatGPT by 21 years. "It wasn't about artificial intelligence as much as it was about sentient existence, and can you love a sentient entity? Can a mother love a robot child?" said Spielberg. "It was not really where AI is taking us today. Eventually, there will be a convergence between AI and robotics." Why Spielberg is against using AI in films Spielberg said AI can be a great tool "if used responsibly and morally" to help find a cure for cancer and other diseases. "I just draw a line -- and it's not a line of cement, it's just a little bit of line in the sand -- which gives me some wiggle room to say (that) I have the option to revise this thinking in the future," he said. "But right now, I don't want AI making any creative decisions." He said he has seen, first-hand, how technology can replace human talent while working on the 1993 film, Jurassic Park. Spielberg initially planned to use renowned stop-motion clay animation artist Phil Tippett to create the dinosaurs roaming the island theme park. Visual effects artist Dennis Muren proposed an alternative method, using Industrial Light & Magic's computer-generated imagery to create realistic dinosaurs. The director is an executive producer in Jurassic World: Rebirth, which reaches theatres on July 2. "That kind of made certain careers somewhat extinct," said Spielberg. "So, I'm very sensitive to things that AI may do to take work away from people." Spielberg said he has yet to use AI on any of his films so far, though he is open to possible applications of it behind-the-scenes, in functions like budgeting or planning. "I don't want to use it in front of the camera right now," Spielberg said. 'Not quite yet.'
Mint
a day ago
- Entertainment
- Mint
A.I. director Steven Spielberg opposed to using AI in front of the camera
Spielberg open to AI for budgeting, planning tasks The director's films have yet to use AI technology 'I don't want AI making creative decisions,' director says LOS ANGELES, June 27 (Reuters) - When Steven Spielberg directed the film "A.I. Artificial Intelligence," the technology was the stuff of science fiction -- a device to tell a story about the ethics of creating sentient machines. Now, AI is a concrete reality in Hollywood - one where Spielberg said he has drawn a line in the sand. "I don't want AI making any creative decisions that I can't make myself," said Spielberg, in an interview with Reuters. "And I don't want to use AI as a non-human collaborator, in trying to work out my creative thinking." Spielberg spoke on Thursday after a ceremony dedicating the Steven Spielberg Theater on the Universal Studios lot. The event acknowledged the director's decades-long relationship with the studio, which released such films as "Jaws," "Jurassic Park," "Schindler's List" and "E.T. the Extra-Terrestrial." The acclaimed director joked that his career at Universal began in 1967, when he took a tour of the lot as a high school student. He said he hid in the bathroom during a break, and waited for the tour to move on without him, "then I had the entire lot to myself that day." "Our hope and dream is that it's not just the place that is founded on his extraordinary legacy," said Donna Langley, chairman of NBCUniversal Entertainment & Studios. "But it is the place of future hopes and dreams of filmmakers and storytellers who are going to take this company into the next 100 years and the 100 years after that, people who come with a hope and a dream, people who have been inspired by Steven." Spielberg's 2001 modest box office hit "A.I. Artificial Intelligence" was a meditation on love, loss and what it means to be human through the eyes of a discarded humanoid robot. In the Pinocchio-like journey set in a futuristic dystopia, David, the android boy, yearns to be human, searching for love, in a world of machines and artificial intelligence. The film hit screens when AI was still in its nascent stages and predated the launch of OpenAI's ChatGPT by 21 years. SPIELBERG AGAINST AI MAKING CREATIVE DECISIONS "It wasn't about artificial intelligence as much as it was about sentient existence, and can you love a sentient entity? Can a mother love a robot child?" said Spielberg. "It was not really where AI is taking us today. Eventually, there will be a convergence between AI and robotics." Spielberg said AI can be a great tool "if used responsibly and morally" to help find a cure for cancer and other diseases. "I just draw a line -- and it's not a line of cement, it's just a little bit of line in the sand -- which gives me some wiggle room to say (that) I have the option to revise this thinking in the future," he said. "But right now, I don't want AI making any creative decisions." He said he has seen, first-hand, how technology can replace human talent while working on the 1993 film, "Jurassic Park." Spielberg initially planned to use renowned stop-motion clay animation artist Phil Tippett to create the dinosaurs roaming the island theme park. Visual effects artist Dennis Muren proposed an alternative method, using Industrial Light & Magic's computer-generated imagery to create realistic dinosaurs. The director is an executive producer in "Jurassic World: Rebirth" which reaches theaters on July 2. "That kind of made certain careers somewhat extinct," said Spielberg. "So, I'm very sensitive to things that AI may do to take work away from people." Spielberg said he has yet to use AI on any of his films so far, though he is open to possible applications of it behind-the-scenes, in functions like budgeting or planning. "I don't want to use it in front of the camera right now," Spielberg said. "Not quite yet." (Reporting by Dawn Chmielewski; Editing by Kenneth Li, William Maclean) Comcast Corp
Time of India
21-06-2025
- Entertainment
- Time of India
Ralph Fiennes is excited to play President Snow in upcoming 'Hunger Games' prequel: "I'm looking forward to it"
Ralph Fiennes , the 'Conclave' actor, recently shared his excitement to play the younger version of President Coriolanus Snow, which was previously played by the late Donald Sutherland , in the upcoming prequel adaptation, 'The Hunger Games: Sunrise on the Reaping.' Ralph Fiennes as President Snow In an interview with Entertainment Tonight, the 62-year-old star said, 'I worked with Donald Sutherland once. I thought he was fantastic,' while he was with Jodie Costner for their new film, '28 Years Later.' 'Obviously big shoes to sort of stand alongside of, but he brought wonderful complexity to that part, and I'm playing a slightly younger version of him. I am challenged but excited. I'm looking forward to it,' Fiennes added. Previously, during the London Premiere of '28 Years Later,' Ralph said that he is 'really thrilled' to play the younger version of Southerland. He said that while he is a huge fan of the late actor, Ralph would not try and imitate him in any case. However, he desired that he could echo the character Southerland created. 'Look, I'm a Donald Sutherland fan. I'm not going to try and be Donald Sutherland, because no one can be him. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Free P2,000 GCash eGift UnionBank Credit Card Apply Now Undo But I think the character he created is very complex… The complexity of that psychology, I hope I can echo in some way,' Finees stated, according to The Hollywood Reporter. About 'The Hunger Games: Sunrise on the Reaping.' The other star cast includes Joseph Zada, Whitney Peak, Mckenna Grace, Jesse Plemons , Kelvin Harrison Jr., Maya Hawke , Lili Taylor, Molly McCann, Iona Bell, Elle Fanning , Kieran Culkin and Ben Wang in the upcoming Hunger Games prequel which will be releasing on November 20, 2026, according to People. 'We wanted to honour Donald Sutherland by having one of this generation's greatest actors play President Snow 24 years before Katniss Everdeen entered the arena. Working with Ralph has been on my bucket list since he traumatised me for life in Schindler's List. It's genuinely a thrill to welcome him to the Hunger Games,' the producer, Nina Jacobson, said on May 16 about casting Ralph Fiennes as President Snow.
The Age
17-06-2025
- Entertainment
- The Age
What is Squid Game up to this time? The clues are in the colours
It's the hot-pink uniforms that grab you first. As Squid Game 's faceless guards step out in a trailer for the final season of the hit Korean series, the screen is once again saturated with colour. Dressed in a shade that might even make Barbie squeamish, they're carrying a coffin draped with a large pink bow. It's enough to send a hush over both colour-coded teams in this fight-to-the-death contest for a mounting pile of cash. Whether you're wearing a red cross for 'stop the slaughter', or a blue circle for 'never mind the body count, I want that money', those pink overalls spell trouble. Soon it'll be time to climb the Escher-style staircases – with their deceptively festive flights of pink, green and blue – that lead back onto a blood-soaked playground. None of these colours are accidental, of course. Film and television makers know exactly what they're doing when they dip into the cinematic paintbox. Will they play to tradition – yellow means happy, green equals jealousy – or subvert it? Squid Game 's Hwang Dong-hyuk defies expectations by turning the playful palette of children's games into a vision of hell. The sweet, girly innocence of Barbie's favourite colour might never again be quite so one-dimensional. Of course, Hwang is not the first director to spin the colour wheel to excess. Since Dorothy first stepped into a technicolour Oz, colour or its absence has been a heavily coded clue. Subliminal or otherwise, some shades just can't keep away from the cameras. Red The most commanding of the traffic-light trifecta, red warns of danger ahead. When Steven Spielberg dressed a solitary little girl in red against the monotone grimness of Nazi Europe in Schindler's List, the message was clear: here was life, heart and hope, about to be snuffed out. In the dystopian world of The Handmaid's Tale, red morphs from a state-sanctioned mark of fertility to the fevered cloth of revolution. It's a murderous lure in the 1973 horror mystery Don't Look Now, as grieving father John Baxter follows the wrong red raincoat down the wrong Venetian alleyway. Red reminds Dorothy to click her heels and head home, and lures Agent Dale Cooper to a place beyond reason as he slips between Twin Peaks ' trippy floor-length curtains. Seeing red in The Sixth Sense brings us spookily close to the spirit world as Malcolm Crowe follows young Cole through a church's bloody-red doors. When Cole's not hiding from dead people inside his makeshift red tent, he's scribbling what they tell him – the messages he calls his 'upset words' – in ominous red ink. Throw in the jumper he wears to that fateful birthday party, the balloon he follows up that spiral staircase and the doorknob that blocks Crowe's place among the living, and you get the picture. This is a colour that even dead people can't ignore. Blue It's sombre, it's regal, it's a bit repressed. Blue might cloak female characters in the calming hue of sea and sky, but it's often a signal of trouble underneath. Those snooty commanders' wives in The Handmaid's Tale can swan about all they like in the teal-blue cloak of serenity, but the stain of infertility can't be comfy. Loading Kate Winslet's power-drunk chancellor in last year's offbeat political satire The Regime is still reaching for the gold-trimmed power suit, but anyone can see that her world is unravelling. And decorating her office in shades of royal blue won't save Mrs Cobel when the Eagans turn against her in Severance. A more traditional example of colour-coded symbolism bathes a grief-stricken Juliette Binoche in the melancholy reflections of a beaded mobile in Three Colours Blue. At the other end of the emotional scale, blue points to joy in the hit French romance Amelie; against a Paris dominated by red, green and yellow, those chalked blue arrows lead to happily ever after. Call it a gift from the wide blue yonder. Yellow Borrowing dazzle and energy from the sun, yellow shines with light and vitality – just don't get too close. Dorothy might be headed for adventure when she steps onto the yellow brick road, but Uma Thurman's Bride has quite a different destination in mind when she pulls on that canary-coloured biker's suit in Kill Bill. Demi Moore's overcoat in The Substance channels egg-yolk excess that screams 'here's one 50-plus woman who refuses to fade away'. And a terminally ill Tilda Swinton chooses an affirming vibrant yellow when it's time to take her leave in The Room Next Door, Pedro Almodovar's typically colour-saturated meditation on the right to die. In the distinctive cinematic palette of Wes Anderson, it's the yellow submarine in The Life Aquatic, the suitcase Sam runs away with in Moonrise Kingdom, and the tent to which Margot retreats from her dysfunctional family in The Royal Tenenbaums. Some might call it mellow yellow, but in the language of cinema, it's often anything but. Green Being green wasn't easy for Kermit the frog, but compared to Elphaba Thropp, he had nothing to complain about. The green-skinned half of Wicked 's power duo is a picture of adolescent isolation, a weird-looking antithesis to the sparkly Glinda. Green as a signal of something less than human can land on either side of the personality spectrum. For every Teenage Mutant Ninja Turtle fighting crime in New York, or pseudo-ogre with a Shrek-sized heart of gold, there's a misanthropic Grinch taking aim at Christmas. Alfred Hitchcock mines the sinister power of green in his 1958 psychological thriller Vertigo. The deceitful Madeline wears shimmering emerald green to ensnare the hapless Scottie, before leading him on a merry chase in her bottle-green Jag. Later, she'll be lit with the neon glow of jealousy when she realises her deception has worked a little too well. Looks like that traffic light has just flipped to red. Purple Every feminist knows that purple packs a punch. The colour long associated with change and strength was an obvious choice for Emmeline Pankhurst's suffragettes and its message resonates in The Colour Purple as a symbol of female resilience. Being a rarity in nature, it can also hint at otherworldly mystery: the purple lighting in Blade Runner 2049 adds to the film's dystopian unease, while Wakanda's Black Panther takes on a spooky glow when he's absorbing energy. A more nostalgic hint of elegance and luxury lets the purple-clad staff of The Grand Budapest Hotel keep up appearances as chaos takes hold. The colour's association with arrogance and immaturity spells trouble for the aptly named Violet Beauregarde when the grabbiest young visitor to Willie Wonka's chocolate factory turns into an oversized blueberry. Just as impervious to the dangers of excess, the violet-haired Thanos from Squid Game season 2 takes his name from Marvel's lilac-skinned villain. Amid fevered online speculation about whether the pill-popping punk will be back for season 3, it's worth remembering that his namesake was decapitated in 2019's Avengers: Endgame. Even when they're cloaked in the colour of power and ambition, villains are apt to get it in the neck.
