This labor negotiation--if it ever progresses to that status--depresses me, and I’m not involved in any way but as a consumer. Management’s consideration of artists is of course part and parcel of its perception of art. They are an annoyance. AI has been central to cinematic arts for some 30 years. As I understand it, extras (or atmosphere, or whatever they’re called now) are paid for one day. The company scans them, digitizes their firm, and can freely employ the image, in lieu of the human, in perpetuity. unbounded by the mortal coil. At no further cost.
I presume that is their model for actors under future contracts. That is humane compared to their plans for writers of the breathing persuasion.
Management plays a strong hand here. I’m sure they aren’t worried about depleting the pool of scabbots. It’s sad that this insight into the present and future presents during a summer of highly promising big films: Asteroid City, Barbie (Greta Gerwig style), and Oppenheimer.
Fucking hell ... PERFECT!
Dead on
This labor negotiation--if it ever progresses to that status--depresses me, and I’m not involved in any way but as a consumer. Management’s consideration of artists is of course part and parcel of its perception of art. They are an annoyance. AI has been central to cinematic arts for some 30 years. As I understand it, extras (or atmosphere, or whatever they’re called now) are paid for one day. The company scans them, digitizes their firm, and can freely employ the image, in lieu of the human, in perpetuity. unbounded by the mortal coil. At no further cost.
I presume that is their model for actors under future contracts. That is humane compared to their plans for writers of the breathing persuasion.
Management plays a strong hand here. I’m sure they aren’t worried about depleting the pool of scabbots. It’s sad that this insight into the present and future presents during a summer of highly promising big films: Asteroid City, Barbie (Greta Gerwig style), and Oppenheimer.
All well stated!