Latest news with #DarrenAronofsky
Los Angeles Times
3 days ago
- Entertainment
- Los Angeles Times
Hollywood isn't ready for AI. These people are diving in anyway
When filmmakers say they're experimenting with artificial intelligence, that news is typically received online as if they had just declared their allegiance to Skynet. And so it was when Darren Aronofsky — director of button-pushing movies including 'The Whale' and 'Black Swan' — last week announced a partnership with Google AI arm DeepMind to use the tech giant's capabilities in storytelling. Aronofsky's AI-focused studio Primordial Soup is producing three short movies from emerging filmmakers using Google tools, including the text-to-video model Veo. The first film, 'Ancestra,' directed by Eliza McNitt, will premiere at the Tribeca Festival on June 13, the Mountain View-based search giant said. Google's promotional materials take pains to show that 'Ancestra' is a live-action film made by humans and with real actors, though it's bolstered with effects and imagery — including a tiny baby holding a mother's finger — that were created with AI. The partnership was touted during Google's I/O developer event, where the company showed off the new Veo 3, which allows users to create videos that include sound effects, ambient noise and speech (a step up from OpenAI-owned competitor, Sora). The company also introduced its new Flow film creation tool, essentially editing software using Google AI functions. Google's push to court creative types coincides with a separate initiative to help AI technology overcome its massive public relations problem. As my colleague Wendy Lee wrote recently, the company is working with filmmakers including Sean Douglas and his famous father Michael Keaton to create shorts that aren't made with AI, but instead portray the technology in a less apocalyptic light than Hollywood is used to. Simply put, much of the public sees AI as a foe that will steal jobs, rip off your intellectual property, ruin your childhood, destroy the environment and possibly kill us all, like in 'The Terminator,' '2001: A Space Odyssey' and the most recent 'Mission: Impossible' movies. And Google, which is making a big bet by investing in AI, has a lot riding on changing that perception. There's a ways to go, including in the entertainment industry. Despite the allure of cost-savings, traditional studios haven't exactly dived headfirst into the AI revolution. They're worried about the legal implications of using models trained on troves of copyrighted material, and they don't want to anger the entertainment worker unions, which went on strike partly over AI fears just a couple years ago. The New York Times and others have sued OpenAI and its investor Microsoft, alleging copyright theft. Tech giants claim they are protected by 'fair use.' AI-curious studios are walking into a wild, uncharted legal landscape because of the amount of copyrighted material being mined to teach the models, said Dan Neely, co-founder of startup Vermillio, which helps companies and individuals protect their intellectual property. 'The major studios and most people are going to be challenged using this product when it comes to the output content that you can and cannot use or own,' Neely said by phone. 'Given that it contains vast quantities of copyrighted material, and you can get it to replicate that stuff pretty easily, that creates chaos for someone who's creating with it.' But while the legacy entertainment business remains largely skeptical of AI, many newer, digitally-native studios and creators are embracing it, whether their goals are to become the next Pixar or the next Mr. Beast. The New York Times recently profiled the animation startup Toonstar, which says it uses AI throughout its production process, including when sharpening storylines and lip-syncing. John Attanasio, a Toonstar founder, told the paper that leaning into the tech would make animation '80 percent faster and 90 percent cheaper than industry norms.' Jeffrey Katzenberg, the former leader of DreamWorks Animation, has given a similar estimate of the potential cost-savings for Hollywood cartoons. Anyone working in the traditional computer animation business would have to gulp at those projections, whether they turn out to be accurate or not. U.S. animation jobs have already been hammered by outsourcing. Now here comes automation to finish the job. (Disney's animated features cost well over $100 million to produce because they're made by real-life animators in America.) Proponents of AI will sometimes argue that the new technology isn't a replacement for human workers, but rather a tool to enhance creativity. Some are more blunt: Stop worrying about these jobs and embrace the future of uninhibited creation. For obvious reasons, workers are reluctant to buy into that line of thinking. More broadly, it's still unclear whether all the spending on the AI arms race will ultimately be worth the cost. Goldman Sachs, in a 2024 report, estimated that companies would invest $1 trillion in AI infrastructure — including data centers, chips and the power grid — in the coming years. But that same report raised questions about AI's ultimate utility. To be worth the gargantuan investment, the technology would have to be capable of solving far more complex problems than it does now, said one Goldman analyst in the report. In recent weeks, the flaws in the technology have crossed over into absurd territory: For example, by generating a summer reading list of fake books and legal documents polluted with serious errors and fabrications. Big spending and experimentation doesn't always pan out. Look at virtual reality, the metaverse and the blockchain. But some entertainment companies are experimenting with the tools and finding applications. Meta has partnered with horror studio Blumhouse and James Cameron's venture Lightstorm Vision on AI-related initiatives. AI firm Runway is working with Lionsgate. At a time when the movie industry is troubled in part due to the high cost of special effects, production companies are motivated to stay on top of advancing tech. One of the most common arguments in favor of giving in to AI is that the technology will unshackle the next generation of creative minds. Some AI-enhanced content is promising. But so far AI video tools have produced a remarkable amount of content that looks the same, with its oddly dreamlike sheen of unreality. That's partly because the models are trained on color-corrected imagery available on the open internet or on YouTube. Licensing from the studios could help with that problem. The idea of democratizing filmmaking through AI may sound good in theory. However, there are countless examples in movie history — including 'Star Wars' and 'Jaws' — of how having physical and budgetary restrictions are actually good for art, however painful and frustrating they may have been during production. Even within the universe of AI-assisted material, the quality will vary dramatically depending on the talent and skill of people using it. 'Ultimately, it's really hard to tell good stories,' Neely said. 'The creativity that defines what you prompt the machine to do is still human genius — the best will rise to the top.' Like other innovations, the technology will improve with time, as the new Google tools show. Both Veo 3 and Flow showcase how AI is becoming better and easier to use, though they are still not quite mass-market products. For its highest tier, Google is charging $250 a month for its suite of tools. Maybe the next Spielberg will find their way through AI-assisted video, published for free on YouTube. Perhaps Sora and Veo will have a moment that propels them to mainstream acceptance in filmmaking, as 'The Jazz Singer' did for talkies. But those milestones still feel a long way off. The Memorial Day weekend box office achieved record revenue (not adjusting for inflation) of $329.8 million in the U.S. and Canada, thanks to the popularity of Walt Disney Co.'s 'Lilo & Stitch' and Paramount's 'Mission: Impossible — The Final Reckoning.' Disney's live-action remake generated $183 million in domestic ticket sales, exceeding pre-release analyst expectations, while the latest Tom Cruise superspy spectacle opened with $77 million. The weekend was a continuation of a strong spring rebound for theaters. Revenue so far this year is now up 22% versus 2024, according to Comscore. This doesn't mean the movie business is saved, but it does show that having a mix of different kinds of movies for multiple audiences is healthy for cinemas. Upcoming releases include 'Karate Kid: Legends,' 'Ballerina,' 'How to Train Your Dragon' and a Pixar original, 'Elio.' 'Lilo & Stitch' is particularly notable, coming after Disney's previous live-action redo, 'Snow White,' bombed in theaters. While Snow White has an important place in Disney history, Stitch — the chaotic blue alien — has quietly become a hugely important character for the company, driving enormous merchandise sales over the years. The 2002 original wasn't a huge blockbuster, coming during an awkward era for Walt Disney Animation, but the remake certainly is. Watch: Prepping for the new 'Naked Gun' by rewatching the classic and reliving the perfect Twitter meme. Listen: My favorite episode of 'Blank Check with Griffin & David' in a long time — covering Steven Spielberg's 'Hook' with Lin-Manuel Miranda.
Daily Mail
21-05-2025
- Entertainment
- Daily Mail
Austin Butler drives fans wild with major buff body makeover as he strips down for new role
Austin Butler drove fans wild in the new trailer of his film Caught Stealing, which dropped Wednesday. The Elvis actor, 33, buffed up for the role of Hank Thompson in the Darren Aronofsky movie, set to arrive in theaters on August 29. The hunky actor caused a stir on X, formerly Twitter, with fans salivating over his shirtless scenes - showcasing his incredibly toned midsection, sculpted chest and muscular biceps. Austin sheds his clothes in a number of scenes, including one with co-star Zoe Kravitz - with the duo exchanging passionate kisses while in a state of undress. The film centers around Hank, a former baseball player, who babysits his neighbor's cat - leading to a series of problems with gangsters. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. The Elvis actor, 33, buffed up for the role of Hank Thompson in the Darren Aronofsky movie, set to arrive in theaters on August 29 Fans went wild over his buffed up body - as the movie star is usually known for his lanky figure. The star's buff body - seen throughout the short trailer - had fans sprinting to X to share their thoughts. 'Vanessa Hudgens Xs are so damn fine,' one said, while another simply used a sweating emoji. 'He is so hot idc, one said,' while another shared a Gif of of The Office. Hank is a former baseball player - who used to play in high school and was the star at his school. His girlfriend is played by Zoe, and she works at a local dive bar. The neighbor - Russ - is played by actor Matt Smith - and he has to leave for a bit and asks Hank to watch his cat. While babysitting the cat, he finds himself in the midst of gangsters - with Hank clueless as to why. The gangsters try to get him but Hank manages to slip out of their hands each time. Fans went wild over his buffed up body - as the movie star is usually known for his lanky figure The film, which hits theaters August 29, stars Austin, Matt, Zoe, Regina King, Liev Schreiber, Vincent D'Onofrio, Griffin Dunne, Benito A Martinez Ocasio and Carol Kane. The film is based on a book by Charlie Huston; Charlie also penned the screenplay and serves as executive producer. Darren, Ari Handel, Dylan Golden and Jeremy Dawson are also listed as producers. Austin was seen at Cannes last week, however his buff body was covered; he wore a black blouse and taupe trousers. The good-looking star appears to be single at the moment. He previously dated Kaia Gerber, a model and actress; Kaia is the daughter of supermodel icon Cindy Crawford. On January 7th, it was confirmed that Kaia and Austin split, with the outlet noting that they ended their relationship sometime at the end of 2024. The insider noted that there was no bad blood between the former flames, only that their relationship had run its course. The couple initially sparked dating rumors in December of 2021, and they made the relationship official when they celebrated Valentine's Day together in February 2022. Austin and Kaia made their red carpet debut at the 2022 Met Gala, after they dated for just a few months. Prior to Kaia, Austin was in a long-term relationship with Vanessa Hudgens, for almost nine years - from September 2011 until January 2020.
Geek Tyrant
21-05-2025
- Entertainment
- Geek Tyrant
Wild Trailer for Darren Aronofsky's CAUGHT STEALING Starring Austin Butler and Zoe Kravitz — GeekTyrant
"He was just supposed to watch the cat. Now he's running for his f**king life." Sony Pictures has released the first trailer for director Darren Aronofsky's new crime comedy thriller Caught Stealing , which is set in New York City in the 1990s. It looks like it's going to take audiences on a wild explosively energetic ride. This is unliked anything that we've seen from Aronofsky before. It almost feel like a Guy Ritchie movie. The movie has a strong cast that includes Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, and Vincent D'Onofrio. Adapted from the book by Charlie Huston, 'Burned-out Hank Thompson (Butler), once a hotshot high school baseball prospect, turned unlucky alcoholic, going-nowhere bartender mistakenly gets caught up in a bloody treasure hunt through New York City. 'It turns out that the cat Hank's neighbor left in his care is sitting on a secret. Hidden at the bottom of its cage is an important key wanted by everyone: a sadistic cop, Russian mobsters, a Samoan hit man, and a pair of psycho brothers who dress in leather gear.' Caught Stealing will be released in theaters on August 29th, 2025.
The Verge
21-05-2025
- Entertainment
- The Verge
Darren Aronofsky's Caught Stealing looks like one for the Baby Driver fans
If you got a kick out of Baby Driver, there's a very good chance you're going to be into Darren Aronofsky's upcoming black comedy / thriller, Caught Stealing. Adapted from Charlie Huston's 2005 novel of the same name, Caught Stealing tells the wild take of Hank Thompson (Austin Butler), a former high school baseball prodigy whose dreams of going pro came to an end following a career-ending injury. Though life hasn't worked out the way Hank expected, things seem to be going pretty well for him in the movie's new trailer. Hank's girlfriend Yvonne (Zoë Kravitz) loves him, he's got a solid job working as a bartender, and his eccentric neighbor Russ (Matt Smith) tends to keep to himself. But when Hank agrees to watch Russ' cat, he doesn't realize that he's putting himself at risk of dealing with some of his neighbor's shady business partners. And it isn't long before Hank finds himself having to run from and fight off members of multiple crime syndicates. Compared to the novel, Aronofsky's Caught Stealing looks like it's going to be a bit more of a high-octane thrill ride, tonally speaking. With Huston writing the film's script as well, the new adaptation probably won't veer all that far away from its source material. But we won't know until Caught Stealing hits theaters on August 29th.
Los Angeles Times
20-05-2025
- Entertainment
- Los Angeles Times
Darren Aronofsky joins AI Hollywood push with Google deal
Director Darren Aronofsky has pushed artistic boundaries with movies including 'Requiem for a Dream' and 'Mother!' Now his production company is working with Google to explore the edge of artificial intelligence technology in filmmaking. Google on Tuesday said it is working with several filmmakers to use new AI tools as part of a larger push to popularize the fast-moving tech. That effort includes a partnership with Aronofsky's venture, Primordial Soup. Google's AI-focused subsidiary DeepMind and Aronofsky's firm will work with three filmmakers, giving them access to the Mountain View, Calif.-based giant's text-to-video tool Veo, which they will use to make short films. The first project, 'Ancestra,' is directed by Eliza McNitt. Aronofsky is an executive producer on the film. 'Ancestra,' which premieres at the Tribeca Festival next month, combines live-action filmmaking with imagery generated with AI, such as cosmic events and microscopic worlds. 'Filmmaking has always been driven by technology,' Aronofsky said in a statement that referenced film tech pioneers the Lumiere brothers and Thomas Edison. 'Today is no different. Now is the moment to explore these new tools and shape them for the future of storytelling.' The push comes as Google and other companies are making deals with Hollywood talent and production companies to use their AI tools. For example, Facebook parent company Meta is partnering with 'Titanic' director James Cameron's venture, Lightstorm Vision, to co-produce content for its virtual reality headset Meta Quest. New York-based AI startup Runway has a deal with 'Hunger Games' studio Lionsgate to create a new AI model to help with behind-the-scenes processes such as storyboarding. Many people in Hollywood have been critical of AI tools, raising concerns about the automation of jobs. Writers worry about AI models being trained on their scripts without their permission or compensation. Tech industry executives have said that they should be able to train AI models with content available online under the 'fair use' doctrine, which allows for the limited reproduction of material without permission from the copyright holder. Proponents of the technology say that it can provide more opportunities for filmmakers to test out ideas and show a variety of visuals at a lower cost. New York-based Primordial Soup said in a press release that Google's AI tools helped solve 'practical challenges such as filming with infants and visualizing the birth of the universe' in 'Ancestra.' 'With 'Ancestra,' I was able to visualize the unseen, transforming family archives, emotions, and science into a cinematic experience that feels both intimate and expansive,' McNitt said in a statement. The two additional filmmakers and films participating in the Google DeepMind-Primordial Soup deal are not yet named. Google made the announcement as part of its annual I/O developer conference in Mountain View. During the event's keynote address on Tuesday, Google shared updates on its AI tools for filmmakers, including Veo 3, which allows creators to type in how they want dialogue to sound and add sound effects. The company also unveiled a new AI filmmaking tool called Flow that helps users create cinematic shots and stitch together scenes into longer films and short stories. 'This opens up a whole new world of possibilities,' said Demis Hassabis, chief executive of Google DeepMind, in a news briefing on Monday. 'We're excited for how our models are helping power new tools for creativity.' Flow is available through Google's new $249.99 monthly subscription plan Google AI Ultra, which includes early access to Veo 3, as well as other benefits including YouTube Premium, Google's AI models Gemini and other tools. Flow is also available with a $19.99-a-month Google AI Pro subscription. Google is making other investments related to AI. On Tuesday, L.A.-based generative AI studio Promise announced Google AI Futures Fund as one of its new strategic investors. Through the partnership, Promise will integrate some of Google's AI technologies into its production pipeline and workflow software and collaborate with Google's AI teams.
