The Academy of Motion Picture Arts and Sciences acknowledged the existence of generative AI yesterday in new rule changes for its annual Oscars awards ceremony. Rather than dictate its use or require disclosures, the Academy simply says using AI doesn’t, on its own, hurt a movie’s chances — but that how it’s used could.

That seems fair.

The Brutalist used AI to improve Hungarian accents, which seems a reasonable use for it. They also used it to generate photographs of fictional buildings, which has done someone out of a job. However, someone else has to come up with the prompts and sift through the results, it just feels a bit… Cheap? Low effort?

As one studio after another began clamoring to pay Sinners’s $90 million-ish asking price, the director’s agents at WME notified them of a few strings attached. Coogler would retain final cut (a creative dispensation reserved for the industry’s crème de la crème), command first-dollar gross (that is, a percentage of box-office revenue beginning from the movie’s theatrical opening rather than waiting for the studio to turn a profit), and, most contentiously, 25 years after its release, ownership of Sinners would revert to the director.

And they say it like this is A Bad Thing, creators should have more control over the things they make - Hollywood shafting people just makes everything worse. The studios are still going to make plenty of money.

I’d guess that, while this is heading to the cinema, Amazon would be looking to start a TV series too.

It was badly conceived, planned, cast, executed and then undermined by studio interference. It failed at every single level and I don’t think Covid can take the blame.

Strong central performances save a plot with some pretty contrived plot developments. Worth a watch but you have to suspend belief. So a lot like the Church.

Yeah, I really enjoyed it. If you liked the first two, then you’ll also like this.

Films you throwing popcorn for a social media boost.

An impressive amount of work there - good to here it’s sorted.

That’s not a panda, that’s Jack Black in a panda costume and he won’t need more awards after he wins all the Oscars for saying “chicken jockey”.

Anyway, I am uploading some here:

https://video.infosec.exchange/a/emperor/

You can subscribe to them on here via:

• !publicdomainaction@video.infosec.exchange
• !publicdomainanimation@video.infosec.exchange
• !publicdomaincomedy@video.infosec.exchange
• !publicdomainhorror@video.infosec.exchange
• !publicdomainscifi@video.infosec.exchange

However, we’ve experimented with them and they aren’t currently drawing over new videos into Lemmy, and @flamingos@feddit.uk has figured out why so we should be getting that fixed.

Of the ones I updated I’d flag up:

• Steamboat Willy - just became PD this year and means that version of Mickey Mouse is now free to use, at least initially that means in crappy horror films.
• Laurel and Hardy: Battle of the Century - once thought to be lost except for the custard pie fight (which my Dad was a big fan of), the bulk of it has been found and it is all now PD.

Would folks be interested in a “public domain film” community? I’ve pondered starting one.

And by latest do you mean recently made PD?

Is that the story we are sticking to?

I’m fine with people getting rowdy (I went to a late screening of Spider-Man: No Way Home that was pretty raucous and it added to the fun) but I draw the line at throwing water and popcorn around as the cinema staff have to clean up that mess.

So Jared Leto is in it!

Is this the new Rocky Horror?

Good. I’ve yet to hear of a live action remake that doesn’t sound like a pointless cash-grab.

I was put off by the casting of Jared Leto but it looks like it’ll be an impressive cinematic experience (especially with a NIN soundtrack) even if it is dumb as stumps. My main quibble is in the designs - they seem overly complex where the simplicity of the originals was perfect.

I thought Use Boll might have stopped making films after they tightened the tax loophole his backers were exploiting. Unfortunately not.

Part of the problem is these high brow indie films cost millions of dollars (6 for Anora, nearly 10 for The Brutalist) and they are just about breaking even.

Here in the UK, The Brutalist got a limited opening and it was only with the awards buzz that it got a wider release. I’m afraid, a three and a half hour film (with interval) about a man trying to exercise the demons of the death camps through architecture, was always going to be a hard sell, where Longlegs (made on a similar budget) took £127M. So nothing much yet off the back end and Corbet waived his fee for the film to keep it on budget, so he didn’t get any money on the front end.

!television@lemm.ee and !animation@lemm.ee