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There are so many small moments of humanity littered throughout the animated projects of Lord and Miller, moments that AI could never dream of replicating. I think about the way Katie Mitchell’s eyebrows arch upward when she’s nervous in “The Mitchells vs. the Machines” or the way Gwen leans her head forward so her hair falls in front of her face when she’s upset in the “Spider-Verse” films, and who can forget the “Clone High” shrug?
“At the end of the day, what really matters in these scenes when we’re working on them, is these little observations about the ticks of how a person will, like, pick at their pants or give a little glance to the side,” said Miller. “These are things that AI isn’t going to do — the kinds of observations that you’re gonna need.” Miller continued by stressing that his hope and belief is that the industry will continue to realize that human animators, renderers, compositors, and everyone else who helps bring an animated work to life are essential in making a film that audiences want to see.
“The computer does not intrinsically add value to a project, and when an audience goes to the movies to see a movie like ours or a movie like ‘Oppenheimer’ or ‘Barbie,’ they’re going to see the singular point of view of that film and that collection of filmmakers,” said Phil Lord. “So something that’s automated is simply not something that audiences value, they value the artistry, they value the handmade quality of something.” And he’s right. Every day our social media feeds are littered with some garbage prompt like “What if Wes Anderson made ‘Mad Max: Fury Road?'” with a lifeless, uninspired visual interpretation. There’s now even a (seriously cursed) AI singer named “Anna Indiana” who appears to already be imitating signs of depression following the backlash to her existence.
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