Ari Esther, the director of Edington, failed to endure “living on the Internet”. “So he made a film about that
Edington It also examines conspiracy theories and podcasts and YouTube that they broadcast online for their influence and profit. The character of the Phoenix often returns home to hear some of the unique voices that he heard of baseless claims through the speakers of a deserted laptop. Later, his wife (Emma Stone) or Deirdre O’Connell reset these marginal theories during breakfast.
Again, the liner of this dark corner of its world has made the real source material.
“One thing is inspired by the person I heard on New York Street with a microphone,” he says. “I wrote it later. Others were pulled out of different corners of the Internet.”
The overall purpose of the lighter with Edington While still making a compelling movie, it conveyed the overwhelming feeling of being online.
“It was very important to get a lot of voices in the cakoponi and dealership from the Internet to make a coherent story about the unlawful Mesa we live,” he said. “I wish we could show more, but we could do as much as we could without distracting or no longer supporting the story.”
Artificial Intelligence is creating a “full -time distrust”
Edington It may first be a film about how to break our social media, but there is another technological innovation that Aster was watching in his film: Artificial Intelligence. The film begins with a plan to build an AI education data center on the outskirts of the city, a map that revives several times throughout the story (including the election line, the Phoenix character works against the shadowy commercial interests behind the new facilities).
“This is mostly an environment, but for me, this is the heart of the film. This is a film that is moving in a crisis about people living through Cavid,” says Ester.
In a recent interview with Letterboxd, the director stated that “it is too late” to stop artificial intelligence. But when it is pressured about the positive and negative aspects of artificial intelligence, the line describes it with a combination of surprises and fear.
He tells me, “I am afraid of what he can do, but I am very upset about it too.” “We live in a period of complete distrust. These types of images can lead to the end of video or audio evidence.”
As a director, he enables the ability to create transcendent art by “flat” manufacturing tools, while at the same time confesses that the film industry opens for more people than ever. “This has become an exciting democratic way,” he says. “There are more possibilities now, but something disappears.”
On the very way, the twisted mind behind some of the most annoying images of the 21st century (from the unexpected deceit that begins Heritage To the monster of the penis -based penis in Bio is afraid) Now loses the AI Uncanny’s images.
“At first, when these systems were illusory and creating weird images – 12 fingers, weird things – which was more interesting to me,” he says. “The more polite it becomes, the more exciting and worrying.”
About that end
Warning: Spoilers for the end of Edington.
In spite of sometimes you feel like a western Coen brothers in amphetamines, Edington Until the final surgery, it has been implemented dramatically over two and a half hours over time. After the character of the Phoenix kills Pascal and then frames the local BLM protesters for the murder, an airline full of real anti -fascist terrorists fly to the city and start everything.
