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into the software. it's not just about the tech, um, it is about the filmmaking craft, and we're using it as a tool to kind of extend what we could do. the system is trained by our intelligence as filmmakers, not some artificial intelligence. a film like this gives us an opportunity to think about what cinema actually is, and where new technology fits into the process of how we make movies. for me, i enjoyed the version of the film i saw. it had all the hallmarks of a good music documentary, although the story did seem to meander a bit from time to time. but for the man the film is about, he's happy with that ambiguity. eno spoke to the audience at sundance from his home in the uk over the theatre's speakers. hustwit and his crew seem

Film-s-bespoke-generative-software , Filmmakers , System , Um , Tool , Artificial-intelligence , Intelligence , Tech , Filmmaking-craft , Film , Music , Version

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to wildly different versions of what is supposedly the same film. gary says the audience reaction to the project, which premiered at this year's sundance film festival, was different every night. the mood shifted based on the choices the algorithm made. like, the first time that the film screened here at sundance, i felt it was, like, very energetic, and there were lots of laughs. but then the second time, it was more introspective and more personal. um, itjust depends on the scenes that end up getting chosen that night. and you can see those choices happening as you're watching the film. there's text that displays on screen showing the algorithm at work. these sorts of moments can make it easy to chalk this whole thing up to technology, a magic algorithm that somehow creates cinema out of thin air. but the algorithm only succeeds in creating moments of serendipity because of the work of human filmmakers who have worked filming, editing and mixing the material before feeding it

Film , Versions , Gary-hustwit , Audience , Reaction , Project , Sundance-film-festival , Choices , Algorithm , Time , Laughs , Mood

7 foreign films you need to watch at least once

There are so many foreign films that should be experienced by people at least once in their lives, and audiences should start with these seven masterpieces.

Hollywood , California , United-states , Greece , Berlin , Germany , South-korea , Japan , France , South-korean , Greek , Japanese

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of extend what we could do. the system is trained by our intelligence as film—makers, not some artificial intelligence. a film like this gives us an opportunity to think about what cinema actually is, and where new technology fits into the process of how we make movies. for me, i enjoyed the version of the film i saw. it had all the hallmarks of a good music documentary, although the story did seem to meander a bit from time to time. but for the man the film is about, he's happy with that ambiguity. eno spoke to the audience at sundance from his home in the uk over the theatre's speakers. hustwit and his crew seem to be betting on this idea. in march, he and brendan launched anamorph, a generative film company that will aim to create more films like this one.

Film , System , Film-makers , Process , Cinema , Intelligence , Artificial-intelligence , Technology-fits , Opportunity , Man , Music , Version

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reaction to the project, which premiered at this year's sundance film festival, was different every night. the mood shifted based on the choices the algorithm made. like, the first time that the film screened here at sundance, i felt it was, like, very energetic, and there were lots of laughs. but then the second time, it was more introspective and more personal. um, itjust depends on the scenes that end up getting chosen that night. and you can see those choices happening as you're watching the film. there's text that displays on screen showing the algorithm at work. these sorts of moments can make it easy to chalk this whole thing up to technology, a magic algorithm that somehow creates cinema out of thin air. but the algorithm only succeeds in creating moments of serendipity because of the work of human film—makers who have worked filming, editing and mixing the material before feeding it into the software. it's notjust about the tech, um, it is about the film—making craft, and we're using it as a tool to kind

Film , Reaction , Choices , Algorithm , Time , Project , Mood , Sundance-film-festival , Scenes , Um , Lots , Laughs

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succeeds in creating moments of serendipity because of the work of human filmmakers who have worked filming, editing and mixing the material before feeding it into the software. it's not just about the tech, um, it is about the filmmaking craft, and we're using it as a tool to kind of extend what we could do. the system is trained by our intelligence as filmmakers, not some artificial intelligence. a film like this gives us an opportunity to think about what cinema actually is, and where new technology fits into the process of how we make movies. for me, i enjoyed the version of the film i saw. it had all the hallmarks of a good music documentary, although the story did seem to meander a bit from time to time. but for the man the film is about, he's happy with that ambiguity. eno spoke to the audience at sundance from his home in the uk over the theatre's speakers.

Film-s-bespoke-generative-software , Work , Human-filmmakers , Um , Filming , Material , Editing , Tech , Serendipity , Filmmaking-craft , Film , Filmmakers

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when i see it when our generative system does it, you know, it's like, "oh, my gosh, "i didn't even think about that connection." that could be making unusual story choices, likejumping around out of chronological order, orjuxtaposing two seemingly unrelated scenes. those choices can lead to wildly different versions of what is supposedly the same film. for example, gary says the audience reaction to the project, which premiered at this year's sundance film festival, was different every night. the mood shifted based on the choices the algorithm made. like, the first time that the film screened here at sundance, i felt it was, like, very energetic, and there were lots of laughs. but then the second time, it was more introspective and more personal. um, itjust depends on the scenes that end up getting chosen that night. and you can see those choices happening as you're watching the film. there's text that displays on screen showing the algorithm at work. these sorts of moments can make it easy to chalk this whole thing up to technology, a magic algorithm that somehow creates cinema out of thin air. but the algorithm only

Film , It , Versions , Choices , Scenes , Story-choices , Generative-system , Gosh , Connection , Chronological-order , Likejumping , Orjuxtaposing-two

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easy to chalk this whole thing up to technology, a magic algorithm that somehow creates cinema out of thin air. but the algorithm only succeeds in creating moments of serendipity because of the work of human filmmakers who have worked filming, editing and mixing the material before feeding it into the software. it's notjust about the tech, um, it is about the filmmaking craft, and we're using it as a tool to kind of extend what we could do. the system is trained by our intelligence as filmmakers, not some artificial intelligence. a film like this gives us an opportunity to think about what cinema actually is, and where new technology fits into the process of how we make movies. for me, i enjoyed the version of the film i saw. it had all the hallmarks of a good music documentary, although the story did seem to meander a bit from time to time. but for the man the film is about, he's happy with that ambiguity. eno spoke to the audience at sundance from his home in the uk over the theatre's speakers.

Thing , Work , Air , Technology , Human-filmmakers , Algorithm , Filming , Cinema , Magic-algorithm , Editing , Serendipity , Film-s-bespoke-generative-software

Restored cut of century-old Napoleon epic to screen at Cannes Film Festival

After a marathon restoration effort, visionary French director Abel Gance's silent masterpiece Napoleon will return to the big screen at the Cannes Film Festival in May – nearly 100 years after it was…

Serbia , Paris , France-general- , France , Denmark , Luxembourg , Italy , United-states , United-kingdom , British , French , American

BBC News

that sting through a spike on their abdomen.— that sting through a spike on their abdomen. don't go near an of their abdomen. don't go near any of them. _ their abdomen. don't go near any of them, thank _ their abdomen. don't go near any of them, thank you - their abdomen. don't go near any of them, thank you very l any of them, thank you very much forjoining us. in many parts of the world, cinemas are still struggling to bring in audiences. in some instances, film fans not totally won over by streaming are exploring new ways of watching movies by going to what are called microcinemas. tom brook explains the appeal. micro— cinemas can be found in all kinds of new locations inside this formerfire station, or behind the nondescriptive brooklyn storefront. they are modest makeshift spaces often showing experimental or nonmainstream work. ~ . ., . ., experimental or nonmainstream work. ~ . ., , experimental or nonmainstream work. a ., ,, work. micro cinema is put siml work. micro cinema is put simply a _ work. micro cinema is put simply a small— work. micro cinema is put simply a small cinema. i work. micro cinema is put i simply a small cinema. you don't need more than a folding chair, project and a white wall. chair, pro'ect and a white wall. ,, . ' .,

World , Audiences , Cinemas , Us , Abdomen- , Spike , Don-t-go , Sting , Parts , Any , Abdomen , Movies