Deadline,<\/em><\/a>\u00a0he offered an in-depth explanation of his use of AI and the reasons behind it. He also revealed that the AI portions of the film were created in partnership with Meta, who provided both tech tools and financial backing.<\/p>\n\n\tAs Soderbergh explained, the more abstract portions of the interview that he paired with AI comprise \u201cabout 10 percent of the entire film.\u201d He said he was looking for \u201cimagery that enhances\u201d what Lennon and Ono are saying, \u201cbut is metaphorical,\u201d referring to the concoction as \u201cthematic surrealism.\u201d<\/p>\n
\n\tThe director acknowledged that AI is \u201ca very emotional subject,\u201d saying later that he thought a lot of that emotion was \u201clegitimate,\u201d especially when it comes to AI\u2019s use in non-creative contexts and how it\u2019s \u201caffecting our lives.\u201d But he insisted he wasn\u2019t using AI in his doc to \u201cfool\u201d or \u201cmanipulate\u201d viewers, \u201cto create an image that you want them to think is real.\u201d Rather, he said they were using it \u201cessentially in the way that you would use VFX or CGI or any sort of non-photographic technology.\u201d\u00a0<\/p>\n
\n\tSoderbergh detailed two sequences from the film that exemplified why AI \u201cturned out to be perfect for\u201d the film. In one, he said, \u201ca series of one-year-old babies dressed in Sixties outfits are bawling their eyes out; it\u2019s a way of comically illustrating something that John is talking about. You can\u2019t shoot that. And even if you did somehow \u2014 you came up with some justification for shooting a bunch of one-year-old babies dressed in tie-dye outfits, crying their eyes out \u2014 even if you did it, if people knew it was real, it wouldn\u2019t be funny. And we were trying to be funny here.\u201d<\/p>\n\n\n
\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n
\n\tThe other sequence features \u201ccavemen acting out some of the things that John is discussing when it comes to male behavior. Going out and shooting those images of men dressed up and made up as cavemen doing the things that are in this sequence: not as funny. It\u2019s funnier if you know it\u2019s not real.\u201d<\/p>\n
\n\tSoderbergh pushed back against what he figured were the worst conclusions people jumped to when news of his use of AI broke: \u201cHe\u2019s going to try to bring John Lennon back to life.\u201d The director countered: \u201cAnd all I can say is, have we met? Do I look like somebody that would do that? So it\u2019s a little hard to talk about also because I feel once you\u2019ve seen the movie, you go, \u2018Oh, of course.\u2019\u201d<\/p>\n\n\n
\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n
\n\tHe continued: \u201cMy moral obligation to myself and to Sean and Yoko and to the audience is the best version of this film, period. And we were able \u2014 luckily, through good timing \u2014 to get our hands on some tools that I know resulted in the best version of this film. And all I can do in any of these discussions about AI is just be transparent. I mean, that\u2019s got to be rule number one in trying to figure out how to use this stuff, is to be transparent about it. So I want a minimum of mystery here. I think that in addition to owing the best version of something, I owe people honesty in how we achieved certain things. That\u2019s fair.\u201d<\/p>\n
\n\tAs for Meta\u2019s involvement, Soderbergh said his manager\/producer, Michael Sugar, brought the idea to him, citing the company\u2019s new video generative tools. \u201cThey were open and wanted to see the film, so we showed them the film, and they said, \u2018Well, this is good timing because we really would like and need a filmmaker to stress test some of these tools that we\u2019re working on. And if you agree to be a test case for us, we will provide the tech and finish the movie,\u2019\u201d Soderbergh recalled. \u201cSo I said, \u2018Yeah, let\u2019s do that.\u2019 And that was kind of the last stage, was building these sequences that have images that are impossible to shoot.\u201d<\/p>\n<\/div>\n
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