“Edington” director Ari Aster can’t stand “live on the Internet”. So he made a movie
Eddington Conspiracy theories are also explored as well as podcasts and Youtubers, who spread them online in exchange for influence and profit. Phoenix’s character often comes home and hears unwarranted claims spewing through a spokesperson of a discarded laptop. Later, his wife (Emma Stone) or mother-in-law (Deirdre O’Connell) will reflect on these marginal theories in breakfast.
Again, Aster built the dark corners of his world with real-life source material.
“One thing was inspired by the microphone I heard on the streets of New York,” he said. “I wrote it down.
Astor’s overall goal Eddington It is to convey the overwhelming feeling of being online today while still making engaging movies.
“It’s important to get as much sound as possible in the harsh sound and represent as many corners of the internet as possible to make a coherent story about the incoherent Miasma we live in,” he said. “I wish we could behave more, but we did as much as we could without distracting or no longer supporting the story.”
AI is creating an era of “complete distrust”
Eddington It may be primarily a movie about how social media can destroy our brains, but there is another technological innovation that Aster carefully represents in his film Artificial Intelligence. The film begins with plans to build an AI training data center on the edge of town, and the plot surfaces multiple times throughout the story (including in the election plot where the Phoenix character campaign against the dark commercial interests behind the new facility).
“It’s mostly periphery, but to me, it’s the heart of the movie. It’s a movie about people living through Kuved, who are in crisis. At the same time, outside the city, another crisis is boiled.”
In a recent interview with Letterboxd, the director thought it was “apparently too late” to stop AI. But Ast describes this in the form of miracles and fears when putting pressure on the pros and cons of artificial intelligence.
“I’m in awe of what I can do, but I’m also very upset about it,” he told me. “We live in an era of total distrust. This kind of image could lead to the end of video or audio evidence.”
As a director, he fears that the generated AI tools can “flat” create capabilities beyond art while acknowledging that it is opening up to the film industry more people than ever before. “It democratized in an exciting way,” he said. “There are more possibilities now, but there are some things that go away.”
With his own Ari Aster Way, the twisted thinking behind the most disturbing visual effects of the 21st century (from the unexpected beheading Genetics To the literal penis monster Bo is scared) has missed the era of even more incredible AI images.
“In the beginning, it was more interesting for me when these systems were hallucinating and creating weird images (12 fingers, strange things),” he said. “It gets bigger and bigger, exciting and shocking people gets even more shocking.”
About that ending…
Warning: Spoilers at the end of Eddington.
Although sometimes it feels like the Coen brothers in the West on amphetamine, Eddington Until the last action, the entire nearly two and a half hours of running time was based on an impressive foundation. The character in Phoenix killed Pascal and then posed a murder of local BLM protesters, a plane filled with anti-fascist terrorists, flew into town and started blowing up everything.
