Live Breaking News & Updates on Documentary cinema
Stay updated with breaking news from Documentary cinema. Get real-time updates on events, politics, business, and more. Visit us for reliable news and exclusive interviews.
tune of trillions of dollars. and a better lifestyle so this documentary is unique, right? >> because it brings together film, music a science to highlight climate crisis. as a scientist who works to create so real world solutions. what are some other ways that people can get involved in caring about this issue? what are you hoping this documentary is going to help enlighten? >> so beyond raising awareness and letting you realize that ecosystems really are very cool. i think the best thing it can do as to galvanize people to get involved. now there's many ways you can get involved locally. and the kinds of restoration projects that are going on around the world, whether it's seagrass whether it's mangrove restoration, there are lots of opportunities to engage with non-profit organizations are for-profit organizations to do this kind of work either professionally or as a volunteer. that's one of the major things you can do. the second is to educate yourself and raise awareness b. and advocate for these
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.
is in the food we eat. now they are back to tell us what happens when we leave the distribution of food to a handful of megacorporations. the best-selling authors michael pollan and eric schlosser join me to talk about their nude -- their new documentary, food inc. 2. blocks heartburn for a full 24 hours. for one and done heartburn relief, prilosec otc. one pill a day, 24 hours, zero heartburn. nothing dims my light like a migraine. with nurtec odt, i found relief. the only migraine medication that helps treat and prevent, all in one. to those with migraine, i see you. for the acute treatment of migraine with or without aura and the preventive treatment of episodic migraine in adults. don't take if allergic to nurtec odt. allergic reactions can occur, even days after using. most common side effects were nausea, indigestion, and stomach pain. it's time we all shine. talk to a healthcare provider about nurtec odt from pfizer.
documentary, a movie that, with the help of generative software, can rewrite itself before every screening. like, we're so locked into this concept of film and television always has to be the same. it's linear, it's static, it never changes. that's a technical constraint that's from 130 years ago. we don't have those constraints with digital technology any more, so why are we still sticking with them? when you create something, you're doing this thing that humans are very good at, which is imagining. for the uninitiated, brian eno is a bit of a legend, notjust for the music he's created — he's produced acts like u2 and david bowie — but for his philosophy, his ideas about creativity and how art can be made, particularly with the help of generative technology. a lot of the ways that brian creates music and art are also reflected in the way we created the film, because we're not making
a normal documentary where we craft each scene and, you know, time it out. we're creating kind of a structure in software that will create our film. you can think of it like this. up here, we have a pool of pre—cut scenes, hundreds of hours of never—before—seen archival footage and exclusive interviews with eno. down here, we have an empty structure looking for pieces to fill up the slots. some parts of the film are always the same. pieces here are pinned in place, but for the rest, the software makes selections, slots them into place based on instructions from the film—makers, and edits together a new film that it will never generate again. it can make approximately 52 quintillion versions of the film, which is 52 with 19 zeroes after it. brendan dawes is a generative artist himself and the developer of the film's bespoke generative software. the way to think of it is kind of like a collaborator. i give it some direction,
but for his philosophy, his ideas about creativity and how art can be made, particularly with the help of generative technology. a lot of the ways that brian creates music and art are also reflected in the way we created the film, because we're not making a normal documentary where we craft each scene and, you know, time it out. we're creating kind of a structure in software that will create our film. you can think of it like this. up here, we have a pool of pre—cut scenes, hundreds of hours of never before seen archival footage and exclusive interviews with eno. down here, we have an empty structure looking for pieces to fill up the slots. some parts of the film are always the same. pieces here are pinned in place, but for the rest, the software makes selections, slots them into place based on instructions from the filmmakers, and edits together a new film that it will never generate again. it can make approximately 52
this is documentary filmmaker gary hustwit. if you didn't catch that, he just said that his new film about brian eno, the one we all just watched, will never be seen again. it's not an error with the file or a mix—up in the screening. this is the intended result. that's because this film is being billed as a generative documentary, a movie that, with the help of generative software, can rewrite itself before every screening. like, we're so locked into this concept of, film and television always has to be the same. it's linear, it's static, it never changes. that's a technical constraint that's from 130 years ago. we don't have those constraints with digital technology any more, so why are we still sticking with them? when you create something, you're doing this thing that humans are very good at, which is imagining. for the uninitiated, brian eno is a bit of a legend, notjust for the music he's created — he's produced acts like u2 and david bowie —
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.