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Is AI the end of software engineering or the next step in its evolution?

Is AI the end of software engineering or the next step in its evolution?

The first time I used ChatGPT to code, back in early 2023, I was reminded of “The Monkey’s Paw,” a classic horror story about an accursed talisman that grants wishes, but always by the most malevolent path — the desired outcome arrives after exacting a brutal cost elsewhere first. With the same humorless literalness, ChatGPT would implement the change I’d asked for, while also scrambling dozens of unrelated lines. The output was typically over-engineered, often barnacled with irrelevant fragments of code. There were some usable lines in the mix, but untangling the mess felt like a detour.

When I started using AI-assisted tools earlier this year, I felt decisively outmatched. The experience was like pair-programming with a savant intern — competent yet oddly deferential, still a tad too eager to please and make sweeping changes at my command. But when tasked with more localized changes, it nailed the job with enviable efficiency.

The trick is to keep the problem space constrained. I recently had it take a dozen lines of code, each running for 40 milliseconds in sequence — time stacking up — and run them all in parallel so the entire job finished in the time it used to take for just one. In a way, it’s like using a high-precision 3D printer to build an aircraft: use it to produce small custom parts, like hydraulic seals or O-rings, and it delivers flawlessly; ask it for something less localized like an entire cockpit, and you might get a cockpit-shaped death chamber with a nonfunctional dashboard and random knobs haphazardly strung together. The current crop of models is flexible enough for users with little-to-no coding experience to create products of varying quality through what’s called — in a billion-dollar buzzword — vibe-coding. (Google even released a separate app for it called Opal.)

Yet, one could argue that vibe-coding isn’t entirely new. As a tool for nonprofessionals, it continues a long lineage of no-code applications. As a mode of programming that involves less prefrontal cortex than spinal reflex, any honest programmer will admit to having engaged in a dishonorable practice known as “shotgun debugging.” Like mindlessly twisting a Rubik’s Cube and wishing the colors would magically align, a programmer, brain-fried after hours of fruitless debugging, starts arbitrarily tweaking code — deleting random lines, swapping a few variables, or flipping a Boolean condition — re-runs the program, and hopes for the correct outcome. Both vibe-coding and shotgun debugging are forms of intuitive flailing, substituting hunches and luck for deliberate reasoning and understanding.

We’ve used machines to take the load off cognition, but for the first time, we are offloading cognition itself to the machine.

As it happens, it’s not considered good form for a self-respecting programmer to engage in shotgun debugging. Soon, I came to see that the most productive form of AI-assisted coding may be an editorial one — much like how this essay took shape. My editor assigned this piece with a few guiding points, and the writer — yours truly — filed a serviceable draft that no sober editor would run as-is. (Before “prompt and pray,” there was “assign and wait.”)

Likewise, a vibe-coder — a responsible one, that is — must assume a kind of editorship. The sprawling blocks of code produced by AI first need structural edits, followed by line-level refinements. Through a volley of prompts — like successive rounds of edits — the editor-coder minimizes the delta between their vision and the output.

Often, what I find most useful about these tools isn’t even writing code but understanding it. When I recently had to navigate an unfamiliar codebase, I asked for it to explain its basic flow. The AI generated a flowchart of how the major components fit together, saving me an entire afternoon of spelunking through the code.

I’m of two minds about how much vibe-coding can do. The writer in me celebrates how it could undermine a particular kind of snobbery in Silicon Valley — the sickening smugness engineers often show toward nontechnical roles — by helping blur that spurious boundary. But the engineer in me sees that as facile lip service, because building a nontrivial, production-grade app without grindsome years of real-world software engineering experience is a tall order.

I’ve always thought the best metaphor for a large codebase is a city. In a codebase, there are literal pipelines — data pipelines, event queues, and message brokers — and traffic flows that require complex routing. Just as cities are divided into districts because no single person or team can manage all the complexity, so too are systems divided into units such as modules or microservices. Some parts are so old that it’s safer not to touch them, lest you blow something up — much like the unexploded bombs still buried beneath European cities. (Three World War II-era bombs were defused in Cologne, Germany, just this summer.)

If developing a new product feature is like opening a new airline lounge, a more involved project is like building a second terminal. In that sense, building an app through vibe-coding is like opening a pop-up store in the concourse — the point being that it’s self-contained and requires no integration.

Vibe-coding is good enough for a standalone program, but the knottiest problems in software engineering aren’t about building individual units but connecting them to interoperate. It’s one thing to renovate a single apartment unit and another to link a fire suppression system and emergency power across all floors so they activate in the right sequence.

These concerns extend well beyond the interior. The introduction of a single new node into a distributed system can just as easily disrupt the network, much like the mere existence of a new building can reshape its surroundings: its aerodynamic profile, how it alters sunlight for neighboring buildings, the rerouting of pedestrian traffic, and the countless ripple effects it triggers.

The security concerns around vibe-coding, in my estimation, are something of a bogeyman.

I’m not saying this is some lofty expertise, but rather the tacit, hard-earned kind — not just knowing how to execute, but knowing what to ask next. You can coax almost any answer out of AI when vibe-coding, but the real challenge is knowing the right sequence of questions to get where you need to go. Even if you’ve overseen an interior renovation, without standing at a construction site watching concrete being poured into a foundation, you can’t truly grasp how to create a building. Sure, you can use AI to patch together something that looks functional, but as the software saying goes: “If you think good architecture is expensive, try bad architecture.”

If you were to believe Linus Torvalds, the creator of Linux, there’s also a matter of “taste” in software. Good software architecture isn’t just drawn up in one stroke but emerges from countless sound — and tasteful — micro-decisions, something models can’t zero-shot. Such intuition can only be developed as a result of specific neural damage from a good number of 3AM on-call alerts.Perhaps these analogies will only go so far. A few months ago, an AI could reliably operate only on a single file. Now, it can understand context across multiple folders and, as I’m writing this, across multiple codebases. It’s as if the AI, tasked with its next chess move, went from viewing the board through the eyes of a single pawn to surveying the entire game with strategic insight. And unlike artistic taste, which has infinitely more parameters, “taste” in code might just be the sum of design patterns that an AI could absorb from O’Reilly software books and years of Hacker News feuds.

When the recent Tea app snafu exposed tens of thousands of its users’ driver’s licenses — a failure that a chorus of online commenters swiftly blamed on vibe-coding — it felt like the moment that vibe-coding skeptics had been praying for. As always, we could count on AI influencers on X to grace the timeline with their brilliant takes, and on a certain strain of tech critics — those with a hardened habit of ritual ambulance chasing — to reflexively anathematize any use of AI. In a strange inversion of their usual role as whipping boys, software engineers were suddenly elevated to guardians of security, cashing in on the moment to punch down on careless vibe-coders trespassing in their professional domain.

When it was revealed that vibe-coding likely wasn’t the cause, the incident revealed less about vibe-coding than it did about our enduring impulse to dichotomize technical mishaps into underdogs and bullies, the scammed and fraudsters, victims and perpetrators.

At the risk of appearing to legitimize AI hype merchants, the security concerns around vibe-coding, in my estimation, are something of a bogeyman — or at least the net effect may be non-negative, because AI can also help us write more secure code.

Sure, we’ll see blooper reels of “app slop” and insecure code snippets gleefully shared online, but I suspect many of those flaws could be fixed by simply adding “run a security audit for this pull request” to a checklist. Already, automated tools are flagging potential vulnerabilities. Personally, using these tools has let me generate far more tests than I would normally care to write.

Further, if a model is good enough, when you ask, “Hey, I need a database where I can store driver’s licenses,” an AI might respond:

“Sure, but you forgot to consider security, you idiot. Here’s code that encrypts driver’s license numbers at rest using AES-256-GCM. I’ve also set up a key management system for storing and rotating the encryption key and configured it so decrypting anything requires a two-person approval. Even if someone walks off with the data, they’d still need until the heat death of the universe to crack it. You’re welcome.”

In my day job, I’m a senior software engineer who works on backend mainly, on machine learning occasionally, and on frontend — if I must — reluctantly. In some parts of the role, AI has brought a considerable sense of ease. No more parsing long API docs when a model can tell me directly. No more ritual shaming from Stack Overflow moderators who deemed my question unworthy of asking. Instead, I now have a pair-programmer who doesn’t pass judgment on my career-endingly dumb questions.

The evolution of software engineering is a story of abstraction.

Unlike writing, I have little attachment to blocks of code and will readily let AI edit or regenerate them. But I am protective of my own words. I don’t use AI for writing because I fear losing those rare moments of gratification when I manage to arrange words where they were ordained to be.

For me, this goes beyond sentimental piety because, as a writer who doesn’t write in his mother tongue — “exophonic” is the fancy term — I know how quickly an acquired language can erode. I’ve seen its corrosive effects firsthand in programming. The first language I learned anew after AI arrived was Ruby, and I have a noticeably weaker grasp of its finer points than any other language I’ve used. Even with languages I once knew well, I can sense my fluency retreating.

David Heinemeier Hansson, the creator of Ruby on Rails, recently said that he doesn’t let AI write code for him and put it aptly: “I can literally feel competence draining out of my fingers.” Some of the trivial but routine tasks I could once do under general anesthesia now give me a migraine at the thought of doing them without AI.

Could AI be fatal to software engineering as a profession? If so, the world could at least savor the schadenfreude of watching a job-destroying profession automate itself into irrelevance. More likely in the meantime, the Jevons Paradox — greater efficiency fuels more consumption — will prevail, negating any productivity gain with a higher volume of work.

Another way to see this is as the natural progression of programming: the evolution of software engineering is a story of abstraction, taking us further from the bare metal to ever-higher conceptual layers. The path from assembly language to Python to AI, to illustrate, is like moving from giving instructions such as “rotate your body 60 degrees and go 10 feet,” to “turn right on 14th Street,” to simply telling a GPS, “take me home.”

As a programmer from what will later be seen as the pre-ChatGPT generation, I can’t help but wonder if something vital has been left behind as we ascend to the next level of abstraction. This is nothing new — it’s a familiar cycle playing out again. When C came along in the 1970s, assembly programmers might have seen it as a loss of finer control. Languages like Python, in turn, must look awfully slow and restrictive to a C programmer.

Hence it may be the easiest time in history to be a coder, but it’s perhaps harder than ever to grow into a software engineer. A good coder may write competent code, but a great coder knows how to solve a problem by not writing any code at all. And it’s hard to fathom gaining a sober grasp of computer science fundamentals without the torturous dorm-room hours spent hand-coding, say, Dijkstra’s algorithm or a red-black tree. If you’ve ever tried to learn programming by watching videos and failed, it’s because the only way to internalize it is by typing it out yourself. You can’t dunk a basketball by watching NBA highlight reels.

The jury is still out on whether AI-assisted coding speeds up the job at all; at least one well-publicized study suggests it may be slower. I believe it. But I also believe that for AI to be a true exponent in the equation of productivity, we need a skill I’ll call a kind of mental circuit breaker: the ability to notice when you’ve slipped into mindless autopilot and snap out of it. The key is to use AI just enough to get past an obstacle and then toggle back to exercising your gray matter again. Otherwise, you’ll lose the kernel of understanding behind the task’s purpose.

On optimistic days, I like to think that as certain abilities atrophy, we will adapt and develop new ones, as we’ve always done. But there’s often a creeping pessimism that this time is different. We’ve used machines to take the load off cognition, but for the first time, we are offloading cognition itself to the machine. I don’t know which way things will turn, but I know there has always been a certain hubris to believing that one’s own generation is the last to know how to actually think.

Whatever gains are made, there’s a real sense of loss in all this. In his 2023 New Yorker essay “A Coder Considers the Waning Days of the Craft,” James Somers nailed this feeling after finding himself “wanting to write a eulogy” for coding as “it became possible to achieve many of the same ends without the thinking and without the knowledge.” It has been less than two years since that essay was published, and the sentiments he articulated have only grown more resonant.

For one, I feel less motivated to learn new programming languages for fun. The pleasure of learning new syntax and the cachet of gaining fluency in niche languages like Haskell or Lisp have diminished, now that an AI can spew out code in any language. I wonder whether the motivation to learn a foreign language would erode if auto-translation apps became ubiquitous and flawless.

Software engineers love to complain about debugging, but beneath the grumbling, there was always a quiet pride in sharing war stories and their clever solutions. With AI, will there be room for that kind of shoptalk?

There are two types of software engineers: urban planners and miniaturists. Urban planners are the “big picture” type, more focused on the system operating at scale than with fussing over the fine details of code — in fact, they may rarely write code themselves. Miniaturists bring a horologist’s care for a fine watch to the inner workings of code. This new modality of coding may be a boon for urban planners, but leave the field inhospitable to miniaturists.

I once had the privilege of seeing a great doyen of programming in action. In college, I took a class with Brian W. Kernighan, a living legend credited with making “Hello, world” into a programming tradition and a member of the original Bell Labs team behind Unix. Right before our eyes, he would live-code on a bare-bones terminal, using a spartan code editor called vi — not vim, mind you — to build a parser for a complex syntax tree. Not only did he have no need for modern tools like IDEs, he also replied to email using an email client running in a terminal. There was a certain aesthetic to that.

Before long, programming may be seen as a mix of typing gestures and incantations that once qualified as a craft. Just as we look with awe at the old Bell Labs gang, the unglamorous work of manually debugging concurrency issues or writing web server code from scratch may be looked upon as heroic. Every so often, we might still see the old romantics lingering over each keystroke — an act that’s dignified, masterful, and hopelessly out of time.

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Apple just launched the public iOS 27 beta 2, mostly centered around small quality-of-life updates.

The iOS 27 beta 2, which should be identical to the fourth developer beta released earlier this week, isn’t as momentous as the first beta was. That one brought over the bulk of iOS 27’s new features, including the Siri AI beta experience, while the second beta seems more focused on making everything the first beta introduced work a little better.

Still, there are some new things to try. If you want to check them out, read our guide for how to install public betas first. As always, make sure you create a fresh device backup ahead of time.

Keep your Apple TV library stocked with fresh downloads

If you love Apple TV shows like Widow’s Bay, and you find yourself away from reliable internet access regularly (in other words, you travel a lot), there’s a new option in the Apple TV app to enable automatic downloads. This will, as its name suggests, automatically download the next two episodes in any show in your “Continue Watching” queue, and then delete them when you’re finished watching.

This might take up some space in your device storage, so keep that in mind, but it’ll also ensure you have something to watch when the airplane WiFi isn’t working.

New and enhanced Siri voices

Siri AI is the headliner for all of iOS 27, and the new public beta added a couple of things to try out with regards to voices.

Specifically, you can now mess with the Pace and Expressivity sliders for two American-accented Siri voices to give you an idea of how much customization each voice will have once Siri AI is fully baked and iOS 27 is really out. If you want to do this with other Siri voices, you’ll have to wait, and the sliders are apparently shown as “coming soon” for every other option.

Speaking of other options, the new update apparently adds some new voices and kinds of English accents to try out. You won’t be able to customize those yet, but they might be worth experimenting with anyway.

Increased AirPods control in Control Center

Lastly, as far as new additions go, Apple made a small but meaningful change to Control Center. If you own a pair of AirPods Pro and use the Adaptive Audio feature, you can access the slider to adjust how much outside audio the AirPods allow in within Control Center now. This isn’t massive, obviously, but it will save time since you won’t have to go into the AirPods settings menu anymore.

As a bonus, try Siri AI

The new iOS 27 public beta 2 doesn’t introduce any major changes to Siri AI beyond what we’ve seen before, but as a general reminder, the enhanced version of Siri is available to try in the iOS 27 beta, as long as you have an iPhone 15 Pro or newer.

Once you have the iOS 27 beta installed, what you’ll need to do is ensure Apple Intelligence is turned on in your Settings menu. After that, follow these steps:

  1. Go to Settings

  2. Tap Siri

  3. Tap “Try the new Siri (beta)”

This will put you on a waitlist to try Siri AI. No, you won’t be able to try it right away, but it shouldn’t take more than five to 10 days at the absolute maximum to get approved.

#iOS #public #beta #upgrades">3 iOS 27 public beta 2 upgrades you can try right now
                                                            Apple just launched the public iOS 27 beta 2, mostly centered around small quality-of-life updates.The iOS 27 beta 2, which should be identical to the fourth developer beta released earlier this week, isn’t as momentous as the first beta was. That one brought over the bulk of iOS 27’s new features, including the Siri AI beta experience, while the second beta seems more focused on making everything the first beta introduced work a little better. Still, there are some new things to try. If you want to check them out, read our guide for how to install public betas first. As always, make sure you create a fresh device backup ahead of time.

        SEE ALSO:
        
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Keep your Apple TV library stocked with fresh downloads


If you love Apple TV shows like Widow’s Bay, and you find yourself away from reliable internet access regularly (in other words, you travel a lot), there’s a new option in the Apple TV app to enable automatic downloads. This will, as its name suggests, automatically download the next two episodes in any show in your “Continue Watching” queue, and then delete them when you’re finished watching. This might take up some space in your device storage, so keep that in mind, but it’ll also ensure you have something to watch when the airplane WiFi isn’t working.
        
            Mashable Light Speed
        
        
    
New and enhanced Siri voicesSiri AI is the headliner for all of iOS 27, and the new public beta added a couple of things to try out with regards to voices.Specifically, you can now mess with the Pace and Expressivity sliders for two American-accented Siri voices to give you an idea of how much customization each voice will have once Siri AI is fully baked and iOS 27 is really out. If you want to do this with other Siri voices, you’ll have to wait, and the sliders are apparently shown as “coming soon” for every other option.Speaking of other options, the new update apparently adds some new voices and kinds of English accents to try out. You won’t be able to customize those yet, but they might be worth experimenting with anyway.Increased AirPods control in Control CenterLastly, as far as new additions go, Apple made a small but meaningful change to Control Center. If you own a pair of AirPods Pro and use the Adaptive Audio feature, you can access the slider to adjust how much outside audio the AirPods allow in within Control Center now. This isn’t massive, obviously, but it will save time since you won’t have to go into the AirPods settings menu anymore. As a bonus, try Siri AIThe new iOS 27 public beta 2 doesn’t introduce any major changes to Siri AI beyond what we’ve seen before, but as a general reminder, the enhanced version of Siri is available to try in the iOS 27 beta, as long as you have an iPhone 15 Pro or newer.Once you have the iOS 27 beta installed, what you’ll need to do is ensure Apple Intelligence is turned on in your Settings menu. After that, follow these steps:Go to SettingsTap SiriTap “Try the new Siri (beta)”This will put you on a waitlist to try Siri AI. No, you won’t be able to try it right away, but it shouldn’t take more than five to 10 days at the absolute maximum to get approved.

                    
                                            
                            
                        
                                    #iOS #public #beta #upgrades

Apple just launched the public iOS 27 beta 2, mostly centered around small quality-of-life updates.

The iOS 27 beta 2, which should be identical to the fourth developer beta released earlier this week, isn’t as momentous as the first beta was. That one brought over the bulk of iOS 27’s new features, including the Siri AI beta experience, while the second beta seems more focused on making everything the first beta introduced work a little better.

Still, there are some new things to try. If you want to check them out, read our guide for how to install public betas first. As always, make sure you create a fresh device backup ahead of time.

Keep your Apple TV library stocked with fresh downloads

If you love Apple TV shows like Widow’s Bay, and you find yourself away from reliable internet access regularly (in other words, you travel a lot), there’s a new option in the Apple TV app to enable automatic downloads. This will, as its name suggests, automatically download the next two episodes in any show in your “Continue Watching” queue, and then delete them when you’re finished watching.

This might take up some space in your device storage, so keep that in mind, but it’ll also ensure you have something to watch when the airplane WiFi isn’t working.

New and enhanced Siri voices

Siri AI is the headliner for all of iOS 27, and the new public beta added a couple of things to try out with regards to voices.

Specifically, you can now mess with the Pace and Expressivity sliders for two American-accented Siri voices to give you an idea of how much customization each voice will have once Siri AI is fully baked and iOS 27 is really out. If you want to do this with other Siri voices, you’ll have to wait, and the sliders are apparently shown as “coming soon” for every other option.

Speaking of other options, the new update apparently adds some new voices and kinds of English accents to try out. You won’t be able to customize those yet, but they might be worth experimenting with anyway.

Increased AirPods control in Control Center

Lastly, as far as new additions go, Apple made a small but meaningful change to Control Center. If you own a pair of AirPods Pro and use the Adaptive Audio feature, you can access the slider to adjust how much outside audio the AirPods allow in within Control Center now. This isn’t massive, obviously, but it will save time since you won’t have to go into the AirPods settings menu anymore.

As a bonus, try Siri AI

The new iOS 27 public beta 2 doesn’t introduce any major changes to Siri AI beyond what we’ve seen before, but as a general reminder, the enhanced version of Siri is available to try in the iOS 27 beta, as long as you have an iPhone 15 Pro or newer.

Once you have the iOS 27 beta installed, what you’ll need to do is ensure Apple Intelligence is turned on in your Settings menu. After that, follow these steps:

  1. Go to Settings

  2. Tap Siri

  3. Tap “Try the new Siri (beta)”

This will put you on a waitlist to try Siri AI. No, you won’t be able to try it right away, but it shouldn’t take more than five to 10 days at the absolute maximum to get approved.

#iOS #public #beta #upgrades">3 iOS 27 public beta 2 upgrades you can try right now

Apple just launched the public iOS 27 beta 2, mostly centered around small quality-of-life updates.

The iOS 27 beta 2, which should be identical to the fourth developer beta released earlier this week, isn’t as momentous as the first beta was. That one brought over the bulk of iOS 27’s new features, including the Siri AI beta experience, while the second beta seems more focused on making everything the first beta introduced work a little better.

Still, there are some new things to try. If you want to check them out, read our guide for how to install public betas first. As always, make sure you create a fresh device backup ahead of time.

Keep your Apple TV library stocked with fresh downloads

If you love Apple TV shows like Widow’s Bay, and you find yourself away from reliable internet access regularly (in other words, you travel a lot), there’s a new option in the Apple TV app to enable automatic downloads. This will, as its name suggests, automatically download the next two episodes in any show in your “Continue Watching” queue, and then delete them when you’re finished watching.

This might take up some space in your device storage, so keep that in mind, but it’ll also ensure you have something to watch when the airplane WiFi isn’t working.

New and enhanced Siri voices

Siri AI is the headliner for all of iOS 27, and the new public beta added a couple of things to try out with regards to voices.

Specifically, you can now mess with the Pace and Expressivity sliders for two American-accented Siri voices to give you an idea of how much customization each voice will have once Siri AI is fully baked and iOS 27 is really out. If you want to do this with other Siri voices, you’ll have to wait, and the sliders are apparently shown as “coming soon” for every other option.

Speaking of other options, the new update apparently adds some new voices and kinds of English accents to try out. You won’t be able to customize those yet, but they might be worth experimenting with anyway.

Increased AirPods control in Control Center

Lastly, as far as new additions go, Apple made a small but meaningful change to Control Center. If you own a pair of AirPods Pro and use the Adaptive Audio feature, you can access the slider to adjust how much outside audio the AirPods allow in within Control Center now. This isn’t massive, obviously, but it will save time since you won’t have to go into the AirPods settings menu anymore.

As a bonus, try Siri AI

The new iOS 27 public beta 2 doesn’t introduce any major changes to Siri AI beyond what we’ve seen before, but as a general reminder, the enhanced version of Siri is available to try in the iOS 27 beta, as long as you have an iPhone 15 Pro or newer.

Once you have the iOS 27 beta installed, what you’ll need to do is ensure Apple Intelligence is turned on in your Settings menu. After that, follow these steps:

  1. Go to Settings

  2. Tap Siri

  3. Tap “Try the new Siri (beta)”

This will put you on a waitlist to try Siri AI. No, you won’t be able to try it right away, but it shouldn’t take more than five to 10 days at the absolute maximum to get approved.

#iOS #public #beta #upgrades

Imagine you are the parent of an inquisitive seven-year-old who loves his family, playing baseball, and hanging out with his friends. It’s the life you’ve always wanted. And then the worst thing that ever could happen happens: A freak accident takes your son away. But as it turns out, you don’t have to live with the grief for long, because now there’s an AI company that can bring your kid back in the form of a robotic double that looks indistinguishable from a human.

This is the world that acclaimed director Hirokazu Kore-eda, who won the Palme d’Or for his 2018 feature Shoplifters, has created with his latest sci-fi drama, Sheep in the Box. It’s the type of story that might have seemed far-fetched a few years ago but feels less so as AI encroaches on every aspect of our lives. This is a tension Kore-eda is acutely aware of — so much so that he sat down with a robotics expert while he was writing the script to get some answers of his own. They told him that because of the robots overheating, “we would sooner have clones of humans than we would humanoid robots,” Kore-eda recounted.

But don’t let the robots fool you into thinking this isn’t a human film. Grief work is a common theme in Kore-eda’s vast filmography. Though it might be set in a near future, the core of Sheep in the Box is still a family learning how to move through their loss. And if we give ourselves permission to suspend disbelief and go on this journey, we might see ourselves in it too.

The Verge sat down with Hirokazu Kore-eda at Neon’s offices days before Sheep in the Box’s US debut. Speaking through an interpreter, Kore-eda tells all about writing and directing this picture, including what happened when he fed the script through ChatGPT.

This interview has been edited and condensed.

You’ve made so many films about grief. What have you learned about processing grief through making all this work?

What have I learned about grief? I think it’s that everyone experiences it differently. It’s very diverse. And when I made my first film, Maborosi, that was exactly about grief. And that was around the time that I read books by Elisabeth Kübler-Ross, books on grief work. And I learned about the process of grief work and used that as a kind of framework for the film. However, it’s not as if grief linearly follows a specific process. So I would say that I’ve learned that it varies from person to person.

In Sheep in the Box, memories become information. There was something about that that felt a little unsettling or cold for me. How did it fit for you? How did it work for you?

I’m not sure I’ve been able to arrive at this fact through this film, but as I was filming, one thing that I was thinking about was that the memories that are input into the humanoid Kakeru are preselected by his parents. So it’s not really the same as memory as we experience it. It’s preselected data. I think that once memory is severed from our physical form, what we experience inside as memory, it’s not the same. It’s not the same when it’s input as data. It’s not the same as the things that we recall that stir up the emotions that make us human.

There’s so much noise about AI in our world right now. What made this theme feel so urgent for you to tackle?

In Japan, there’s a tremendous increase in various initiatives involving AI. When you get in the taxi, there’s a screen that’s constantly telling you of all these commercials for raising your rate of productivity through AI. But I was interested in the rise of AI used toward a kind of grief work. Just a few years ago in Japan, a famous singer who had died was re-created through AI and then was singing a new song. I also heard about in Korea a young girl who had passed away being re-created through AI for processing the grief of the parents.

And then in the film, what started as a seed for the film was the businesses that are being generated in places like China where AI is being used to re-create people who have passed. I wouldn’t call myself an expert on grief, but as a person who’s made many films around grief, one thing that I thought about was how the shape of grief would change through this use of AI in both good and bad ways. That’s what drew me to this idea of how new technologies impact this married couple who is trying to restart or redo their family life through the use of AI.

One of the big conversations around AI is about the resources that it uses. I thought it was really interesting that the humanoids don’t drink water or eat food. Can you talk about that decision?

You thought it was kind of ironic, right?

I actually spoke to an expert on these types of technologies and when I talked to them, they were saying that the big obstacle to creating these humanoid robots would be the fact that they generate so much heat in having to move very smoothly, in processing information, and that there would be no way to release or process that heat.

In order for me to write this story, I needed to clear that obstacle of the fact that they would be generating so much heat that perhaps it wouldn’t even be possible. So I decided to shelve that one issue for the sake of the story. They don’t consume resources. It’s more of a means for them to become independent, that they don’t depend on these resources in order to live.

A still from Sheep in the Box

Neon

Because it’s set in the near future, I had a hard time discerning between fiction and a possible reality. When it was fiction, I loved it. But when it was reality, I was a little afraid. What is it for you?

It’s difficult to say, and I don’t want to talk about it in a roundabout way, but I spoke to a robotics expert and I showed them the outline of this story and they said, “Well, this isn’t possible. There’s no way that we’ll make humanoid robots because of the difference in the physicality and the construction of just bodies that humans have internal organs and bone structure inside whereas robots are built from the outside.”

So that there would be no way that we could achieve humanlike movements or that you could touch a humanoid robot and they would feel like a human. But if we were to put ethics aside, they said that we would sooner have clones of humans than we would humanoid robots. And that sounded way scarier to me.

A robot is a robot no matter what way you think about it. But I think that as long as we don’t live in a world full of clones, there’s still a sense of hope there. We’re already in an era where we can clone our pets. I think that’s already happening. So when you think about it from an ethical standpoint, even nations are dealing with it in this ethical way in different ways. So now that if cloning is possible, the way that we manipulate life is becoming more advanced and strange. And that to me is a much scarier prospect.

This film has a lot of blue in it, especially with the wardrobe. That felt intentional.

As far as the costumes and the use of blue, that might just be the decision of Sachiko Ito, who did the costuming. One of the concepts that I brought up to her was that I wanted to use earth tones for the people, the leads in the film. And also one of her concerns was that 10 years into the future, climate change would mean that we live in a hotter climate. So there were a lot of things around thinking through the materials and the construction of the clothing, that perhaps there would be fewer buttons and drawstrings and zippers and fasteners and things like this.

I’m really curious to hear you talk about how AI has permeated your daily life.

I don’t think I’ve incorporated AI intentionally outside of the use of translation AI. I think that it has become so skillful that I often use AI in order to translate my Japanese into English in order to send messages and communicate.

This came up in the Q&A yesterday at Japan Society. I described how it was my first time using ChatGPT in a way where I fed it the script for this film and said, “Give me feedback.” And we did a few exchanges between myself and AI and every time I would make edits to the script, they would say that it’s great. They said, “You’re going to get into Cannes.” But first ChatGPT said, “I think you’ll get into the Un Certain Regard section.” And I said, “Only Un Certain Regard?” Then my producer said, “Well, the director of this film is a person named Hirokazu Kore-eda.” It said, “Well, in that case, you’re getting into the competition.”

And I did get into the competition, so AI is not wrong, but I think that any person could tell me as much. So I don’t think that I found any utility in that exchange. And the fact that there’s no humanness in the background to this exchange is what makes it mostly unattractive to me.

I think that the more that you train an AI, for instance, on a person who is maybe known for giving romantic advice, then that advice also becomes more normalized. So I think that I’m not personally sold on it and I don’t find that AI is all that useful to me. What I find more problematic is that human beings are becoming so geared towards a kind of productivity mindset that this is even affecting activities on set for filmmaking. I think that safety is important, but for instance, we’re no longer filming driving scenes on the road. We’re doing it in studios by compositing backgrounds. I think that stunt work is also going to maybe fall to the side and then slowly be subsumed by AI or VFX.

It’s really not about us excluding AI from our day to day. Already we’re using things that we would have used our imagination for and then offloading that onto computers. For instance, with this film, I shot a driving scene at a studio and we composited the background.

But I don’t find it all that interesting. I’m going to stop writing scenes that require this type of VFX or compositing because I think that the more that we are being subsumed by productivity, it’s actually the antithesis of creativity.

Sheep in the Box is in select theaters Friday, July 24.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#scifi #movie #imagines #isnt #dystopianColumn,Entertainment,Film,Q&A">The sci-fi movie that imagines AI isn’t so dystopian after allImagine you are the parent of an inquisitive seven-year-old who loves his family, playing baseball, and hanging out with his friends. It’s the life you’ve always wanted. And then the worst thing that ever could happen happens: A freak accident takes your son away. But as it turns out, you don’t have to live with the grief for long, because now there’s an AI company that can bring your kid back in the form of a robotic double that looks indistinguishable from a human.This is the world that acclaimed director Hirokazu Kore-eda, who won the Palme d’Or for his 2018 feature Shoplifters, has created with his latest sci-fi drama, Sheep in the Box. It’s the type of story that might have seemed far-fetched a few years ago but feels less so as AI encroaches on every aspect of our lives. This is a tension Kore-eda is acutely aware of — so much so that he sat down with a robotics expert while he was writing the script to get some answers of his own. They told him that because of the robots overheating, “we would sooner have clones of humans than we would humanoid robots,” Kore-eda recounted.But don’t let the robots fool you into thinking this isn’t a human film. Grief work is a common theme in Kore-eda’s vast filmography. Though it might be set in a near future, the core of Sheep in the Box is still a family learning how to move through their loss. And if we give ourselves permission to suspend disbelief and go on this journey, we might see ourselves in it too.The Verge sat down with Hirokazu Kore-eda at Neon’s offices days before Sheep in the Box’s US debut. Speaking through an interpreter, Kore-eda tells all about writing and directing this picture, including what happened when he fed the script through ChatGPT.Robyn KannerThis interview has been edited and condensed.You’ve made so many films about grief. What have you learned about processing grief through making all this work?What have I learned about grief? I think it’s that everyone experiences it differently. It’s very diverse. And when I made my first film, Maborosi, that was exactly about grief. And that was around the time that I read books by Elisabeth Kübler-Ross, books on grief work. And I learned about the process of grief work and used that as a kind of framework for the film. However, it’s not as if grief linearly follows a specific process. So I would say that I’ve learned that it varies from person to person.In Sheep in the Box, memories become information. There was something about that that felt a little unsettling or cold for me. How did it fit for you? How did it work for you?I’m not sure I’ve been able to arrive at this fact through this film, but as I was filming, one thing that I was thinking about was that the memories that are input into the humanoid Kakeru are preselected by his parents. So it’s not really the same as memory as we experience it. It’s preselected data. I think that once memory is severed from our physical form, what we experience inside as memory, it’s not the same. It’s not the same when it’s input as data. It’s not the same as the things that we recall that stir up the emotions that make us human.There’s so much noise about AI in our world right now. What made this theme feel so urgent for you to tackle?In Japan, there’s a tremendous increase in various initiatives involving AI. When you get in the taxi, there’s a screen that’s constantly telling you of all these commercials for raising your rate of productivity through AI. But I was interested in the rise of AI used toward a kind of grief work. Just a few years ago in Japan, a famous singer who had died was re-created through AI and then was singing a new song. I also heard about in Korea a young girl who had passed away being re-created through AI for processing the grief of the parents.And then in the film, what started as a seed for the film was the businesses that are being generated in places like China where AI is being used to re-create people who have passed. I wouldn’t call myself an expert on grief, but as a person who’s made many films around grief, one thing that I thought about was how the shape of grief would change through this use of AI in both good and bad ways. That’s what drew me to this idea of how new technologies impact this married couple who is trying to restart or redo their family life through the use of AI.One of the big conversations around AI is about the resources that it uses. I thought it was really interesting that the humanoids don’t drink water or eat food. Can you talk about that decision?You thought it was kind of ironic, right?I actually spoke to an expert on these types of technologies and when I talked to them, they were saying that the big obstacle to creating these humanoid robots would be the fact that they generate so much heat in having to move very smoothly, in processing information, and that there would be no way to release or process that heat.In order for me to write this story, I needed to clear that obstacle of the fact that they would be generating so much heat that perhaps it wouldn’t even be possible. So I decided to shelve that one issue for the sake of the story. They don’t consume resources. It’s more of a means for them to become independent, that they don’t depend on these resources in order to live.NeonBecause it’s set in the near future, I had a hard time discerning between fiction and a possible reality. When it was fiction, I loved it. But when it was reality, I was a little afraid. What is it for you?It’s difficult to say, and I don’t want to talk about it in a roundabout way, but I spoke to a robotics expert and I showed them the outline of this story and they said, “Well, this isn’t possible. There’s no way that we’ll make humanoid robots because of the difference in the physicality and the construction of just bodies that humans have internal organs and bone structure inside whereas robots are built from the outside.”So that there would be no way that we could achieve humanlike movements or that you could touch a humanoid robot and they would feel like a human. But if we were to put ethics aside, they said that we would sooner have clones of humans than we would humanoid robots. And that sounded way scarier to me.A robot is a robot no matter what way you think about it. But I think that as long as we don’t live in a world full of clones, there’s still a sense of hope there. We’re already in an era where we can clone our pets. I think that’s already happening. So when you think about it from an ethical standpoint, even nations are dealing with it in this ethical way in different ways. So now that if cloning is possible, the way that we manipulate life is becoming more advanced and strange. And that to me is a much scarier prospect.This film has a lot of blue in it, especially with the wardrobe. That felt intentional.As far as the costumes and the use of blue, that might just be the decision of Sachiko Ito, who did the costuming. One of the concepts that I brought up to her was that I wanted to use earth tones for the people, the leads in the film. And also one of her concerns was that 10 years into the future, climate change would mean that we live in a hotter climate. So there were a lot of things around thinking through the materials and the construction of the clothing, that perhaps there would be fewer buttons and drawstrings and zippers and fasteners and things like this.I’m really curious to hear you talk about how AI has permeated your daily life.I don’t think I’ve incorporated AI intentionally outside of the use of translation AI. I think that it has become so skillful that I often use AI in order to translate my Japanese into English in order to send messages and communicate.This came up in the Q&A yesterday at Japan Society. I described how it was my first time using ChatGPT in a way where I fed it the script for this film and said, “Give me feedback.” And we did a few exchanges between myself and AI and every time I would make edits to the script, they would say that it’s great. They said, “You’re going to get into Cannes.” But first ChatGPT said, “I think you’ll get into the Un Certain Regard section.” And I said, “Only Un Certain Regard?” Then my producer said, “Well, the director of this film is a person named Hirokazu Kore-eda.” It said, “Well, in that case, you’re getting into the competition.”And I did get into the competition, so AI is not wrong, but I think that any person could tell me as much. So I don’t think that I found any utility in that exchange. And the fact that there’s no humanness in the background to this exchange is what makes it mostly unattractive to me.I think that the more that you train an AI, for instance, on a person who is maybe known for giving romantic advice, then that advice also becomes more normalized. So I think that I’m not personally sold on it and I don’t find that AI is all that useful to me. What I find more problematic is that human beings are becoming so geared towards a kind of productivity mindset that this is even affecting activities on set for filmmaking. I think that safety is important, but for instance, we’re no longer filming driving scenes on the road. We’re doing it in studios by compositing backgrounds. I think that stunt work is also going to maybe fall to the side and then slowly be subsumed by AI or VFX.It’s really not about us excluding AI from our day to day. Already we’re using things that we would have used our imagination for and then offloading that onto computers. For instance, with this film, I shot a driving scene at a studio and we composited the background.But I don’t find it all that interesting. I’m going to stop writing scenes that require this type of VFX or compositing because I think that the more that we are being subsumed by productivity, it’s actually the antithesis of creativity.Sheep in the Box is in select theaters Friday, July 24.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.Robyn KannerCloseRobyn KannerPosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by Robyn KannerColumnCloseColumnPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All ColumnEntertainmentCloseEntertainmentPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All EntertainmentFilmCloseFilmPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All FilmQ&ACloseQ&APosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Q&A#scifi #movie #imagines #isnt #dystopianColumn,Entertainment,Film,Q&A

This interview has been edited and condensed.

You’ve made so many films about grief. What have you learned about processing grief through making all this work?

What have I learned about grief? I think it’s that everyone experiences it differently. It’s very diverse. And when I made my first film, Maborosi, that was exactly about grief. And that was around the time that I read books by Elisabeth Kübler-Ross, books on grief work. And I learned about the process of grief work and used that as a kind of framework for the film. However, it’s not as if grief linearly follows a specific process. So I would say that I’ve learned that it varies from person to person.

In Sheep in the Box, memories become information. There was something about that that felt a little unsettling or cold for me. How did it fit for you? How did it work for you?

I’m not sure I’ve been able to arrive at this fact through this film, but as I was filming, one thing that I was thinking about was that the memories that are input into the humanoid Kakeru are preselected by his parents. So it’s not really the same as memory as we experience it. It’s preselected data. I think that once memory is severed from our physical form, what we experience inside as memory, it’s not the same. It’s not the same when it’s input as data. It’s not the same as the things that we recall that stir up the emotions that make us human.

There’s so much noise about AI in our world right now. What made this theme feel so urgent for you to tackle?

In Japan, there’s a tremendous increase in various initiatives involving AI. When you get in the taxi, there’s a screen that’s constantly telling you of all these commercials for raising your rate of productivity through AI. But I was interested in the rise of AI used toward a kind of grief work. Just a few years ago in Japan, a famous singer who had died was re-created through AI and then was singing a new song. I also heard about in Korea a young girl who had passed away being re-created through AI for processing the grief of the parents.

And then in the film, what started as a seed for the film was the businesses that are being generated in places like China where AI is being used to re-create people who have passed. I wouldn’t call myself an expert on grief, but as a person who’s made many films around grief, one thing that I thought about was how the shape of grief would change through this use of AI in both good and bad ways. That’s what drew me to this idea of how new technologies impact this married couple who is trying to restart or redo their family life through the use of AI.

One of the big conversations around AI is about the resources that it uses. I thought it was really interesting that the humanoids don’t drink water or eat food. Can you talk about that decision?

You thought it was kind of ironic, right?

I actually spoke to an expert on these types of technologies and when I talked to them, they were saying that the big obstacle to creating these humanoid robots would be the fact that they generate so much heat in having to move very smoothly, in processing information, and that there would be no way to release or process that heat.

In order for me to write this story, I needed to clear that obstacle of the fact that they would be generating so much heat that perhaps it wouldn’t even be possible. So I decided to shelve that one issue for the sake of the story. They don’t consume resources. It’s more of a means for them to become independent, that they don’t depend on these resources in order to live.

A still from Sheep in the Box

Neon

Because it’s set in the near future, I had a hard time discerning between fiction and a possible reality. When it was fiction, I loved it. But when it was reality, I was a little afraid. What is it for you?

It’s difficult to say, and I don’t want to talk about it in a roundabout way, but I spoke to a robotics expert and I showed them the outline of this story and they said, “Well, this isn’t possible. There’s no way that we’ll make humanoid robots because of the difference in the physicality and the construction of just bodies that humans have internal organs and bone structure inside whereas robots are built from the outside.”

So that there would be no way that we could achieve humanlike movements or that you could touch a humanoid robot and they would feel like a human. But if we were to put ethics aside, they said that we would sooner have clones of humans than we would humanoid robots. And that sounded way scarier to me.

A robot is a robot no matter what way you think about it. But I think that as long as we don’t live in a world full of clones, there’s still a sense of hope there. We’re already in an era where we can clone our pets. I think that’s already happening. So when you think about it from an ethical standpoint, even nations are dealing with it in this ethical way in different ways. So now that if cloning is possible, the way that we manipulate life is becoming more advanced and strange. And that to me is a much scarier prospect.

This film has a lot of blue in it, especially with the wardrobe. That felt intentional.

As far as the costumes and the use of blue, that might just be the decision of Sachiko Ito, who did the costuming. One of the concepts that I brought up to her was that I wanted to use earth tones for the people, the leads in the film. And also one of her concerns was that 10 years into the future, climate change would mean that we live in a hotter climate. So there were a lot of things around thinking through the materials and the construction of the clothing, that perhaps there would be fewer buttons and drawstrings and zippers and fasteners and things like this.

I’m really curious to hear you talk about how AI has permeated your daily life.

I don’t think I’ve incorporated AI intentionally outside of the use of translation AI. I think that it has become so skillful that I often use AI in order to translate my Japanese into English in order to send messages and communicate.

This came up in the Q&A yesterday at Japan Society. I described how it was my first time using ChatGPT in a way where I fed it the script for this film and said, “Give me feedback.” And we did a few exchanges between myself and AI and every time I would make edits to the script, they would say that it’s great. They said, “You’re going to get into Cannes.” But first ChatGPT said, “I think you’ll get into the Un Certain Regard section.” And I said, “Only Un Certain Regard?” Then my producer said, “Well, the director of this film is a person named Hirokazu Kore-eda.” It said, “Well, in that case, you’re getting into the competition.”

And I did get into the competition, so AI is not wrong, but I think that any person could tell me as much. So I don’t think that I found any utility in that exchange. And the fact that there’s no humanness in the background to this exchange is what makes it mostly unattractive to me.

I think that the more that you train an AI, for instance, on a person who is maybe known for giving romantic advice, then that advice also becomes more normalized. So I think that I’m not personally sold on it and I don’t find that AI is all that useful to me. What I find more problematic is that human beings are becoming so geared towards a kind of productivity mindset that this is even affecting activities on set for filmmaking. I think that safety is important, but for instance, we’re no longer filming driving scenes on the road. We’re doing it in studios by compositing backgrounds. I think that stunt work is also going to maybe fall to the side and then slowly be subsumed by AI or VFX.

It’s really not about us excluding AI from our day to day. Already we’re using things that we would have used our imagination for and then offloading that onto computers. For instance, with this film, I shot a driving scene at a studio and we composited the background.

But I don’t find it all that interesting. I’m going to stop writing scenes that require this type of VFX or compositing because I think that the more that we are being subsumed by productivity, it’s actually the antithesis of creativity.

Sheep in the Box is in select theaters Friday, July 24.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#scifi #movie #imagines #isnt #dystopianColumn,Entertainment,Film,Q&A">The sci-fi movie that imagines AI isn’t so dystopian after all

Imagine you are the parent of an inquisitive seven-year-old who loves his family, playing baseball, and hanging out with his friends. It’s the life you’ve always wanted. And then the worst thing that ever could happen happens: A freak accident takes your son away. But as it turns out, you don’t have to live with the grief for long, because now there’s an AI company that can bring your kid back in the form of a robotic double that looks indistinguishable from a human.

This is the world that acclaimed director Hirokazu Kore-eda, who won the Palme d’Or for his 2018 feature Shoplifters, has created with his latest sci-fi drama, Sheep in the Box. It’s the type of story that might have seemed far-fetched a few years ago but feels less so as AI encroaches on every aspect of our lives. This is a tension Kore-eda is acutely aware of — so much so that he sat down with a robotics expert while he was writing the script to get some answers of his own. They told him that because of the robots overheating, “we would sooner have clones of humans than we would humanoid robots,” Kore-eda recounted.

But don’t let the robots fool you into thinking this isn’t a human film. Grief work is a common theme in Kore-eda’s vast filmography. Though it might be set in a near future, the core of Sheep in the Box is still a family learning how to move through their loss. And if we give ourselves permission to suspend disbelief and go on this journey, we might see ourselves in it too.

The Verge sat down with Hirokazu Kore-eda at Neon’s offices days before Sheep in the Box’s US debut. Speaking through an interpreter, Kore-eda tells all about writing and directing this picture, including what happened when he fed the script through ChatGPT.

Robyn Kanner

This interview has been edited and condensed.

You’ve made so many films about grief. What have you learned about processing grief through making all this work?

What have I learned about grief? I think it’s that everyone experiences it differently. It’s very diverse. And when I made my first film, Maborosi, that was exactly about grief. And that was around the time that I read books by Elisabeth Kübler-Ross, books on grief work. And I learned about the process of grief work and used that as a kind of framework for the film. However, it’s not as if grief linearly follows a specific process. So I would say that I’ve learned that it varies from person to person.

In Sheep in the Box, memories become information. There was something about that that felt a little unsettling or cold for me. How did it fit for you? How did it work for you?

I’m not sure I’ve been able to arrive at this fact through this film, but as I was filming, one thing that I was thinking about was that the memories that are input into the humanoid Kakeru are preselected by his parents. So it’s not really the same as memory as we experience it. It’s preselected data. I think that once memory is severed from our physical form, what we experience inside as memory, it’s not the same. It’s not the same when it’s input as data. It’s not the same as the things that we recall that stir up the emotions that make us human.

There’s so much noise about AI in our world right now. What made this theme feel so urgent for you to tackle?

In Japan, there’s a tremendous increase in various initiatives involving AI. When you get in the taxi, there’s a screen that’s constantly telling you of all these commercials for raising your rate of productivity through AI. But I was interested in the rise of AI used toward a kind of grief work. Just a few years ago in Japan, a famous singer who had died was re-created through AI and then was singing a new song. I also heard about in Korea a young girl who had passed away being re-created through AI for processing the grief of the parents.

And then in the film, what started as a seed for the film was the businesses that are being generated in places like China where AI is being used to re-create people who have passed. I wouldn’t call myself an expert on grief, but as a person who’s made many films around grief, one thing that I thought about was how the shape of grief would change through this use of AI in both good and bad ways. That’s what drew me to this idea of how new technologies impact this married couple who is trying to restart or redo their family life through the use of AI.

One of the big conversations around AI is about the resources that it uses. I thought it was really interesting that the humanoids don’t drink water or eat food. Can you talk about that decision?

You thought it was kind of ironic, right?

I actually spoke to an expert on these types of technologies and when I talked to them, they were saying that the big obstacle to creating these humanoid robots would be the fact that they generate so much heat in having to move very smoothly, in processing information, and that there would be no way to release or process that heat.

In order for me to write this story, I needed to clear that obstacle of the fact that they would be generating so much heat that perhaps it wouldn’t even be possible. So I decided to shelve that one issue for the sake of the story. They don’t consume resources. It’s more of a means for them to become independent, that they don’t depend on these resources in order to live.

A still from Sheep in the Box

Neon

Because it’s set in the near future, I had a hard time discerning between fiction and a possible reality. When it was fiction, I loved it. But when it was reality, I was a little afraid. What is it for you?

It’s difficult to say, and I don’t want to talk about it in a roundabout way, but I spoke to a robotics expert and I showed them the outline of this story and they said, “Well, this isn’t possible. There’s no way that we’ll make humanoid robots because of the difference in the physicality and the construction of just bodies that humans have internal organs and bone structure inside whereas robots are built from the outside.”

So that there would be no way that we could achieve humanlike movements or that you could touch a humanoid robot and they would feel like a human. But if we were to put ethics aside, they said that we would sooner have clones of humans than we would humanoid robots. And that sounded way scarier to me.

A robot is a robot no matter what way you think about it. But I think that as long as we don’t live in a world full of clones, there’s still a sense of hope there. We’re already in an era where we can clone our pets. I think that’s already happening. So when you think about it from an ethical standpoint, even nations are dealing with it in this ethical way in different ways. So now that if cloning is possible, the way that we manipulate life is becoming more advanced and strange. And that to me is a much scarier prospect.

This film has a lot of blue in it, especially with the wardrobe. That felt intentional.

As far as the costumes and the use of blue, that might just be the decision of Sachiko Ito, who did the costuming. One of the concepts that I brought up to her was that I wanted to use earth tones for the people, the leads in the film. And also one of her concerns was that 10 years into the future, climate change would mean that we live in a hotter climate. So there were a lot of things around thinking through the materials and the construction of the clothing, that perhaps there would be fewer buttons and drawstrings and zippers and fasteners and things like this.

I’m really curious to hear you talk about how AI has permeated your daily life.

I don’t think I’ve incorporated AI intentionally outside of the use of translation AI. I think that it has become so skillful that I often use AI in order to translate my Japanese into English in order to send messages and communicate.

This came up in the Q&A yesterday at Japan Society. I described how it was my first time using ChatGPT in a way where I fed it the script for this film and said, “Give me feedback.” And we did a few exchanges between myself and AI and every time I would make edits to the script, they would say that it’s great. They said, “You’re going to get into Cannes.” But first ChatGPT said, “I think you’ll get into the Un Certain Regard section.” And I said, “Only Un Certain Regard?” Then my producer said, “Well, the director of this film is a person named Hirokazu Kore-eda.” It said, “Well, in that case, you’re getting into the competition.”

And I did get into the competition, so AI is not wrong, but I think that any person could tell me as much. So I don’t think that I found any utility in that exchange. And the fact that there’s no humanness in the background to this exchange is what makes it mostly unattractive to me.

I think that the more that you train an AI, for instance, on a person who is maybe known for giving romantic advice, then that advice also becomes more normalized. So I think that I’m not personally sold on it and I don’t find that AI is all that useful to me. What I find more problematic is that human beings are becoming so geared towards a kind of productivity mindset that this is even affecting activities on set for filmmaking. I think that safety is important, but for instance, we’re no longer filming driving scenes on the road. We’re doing it in studios by compositing backgrounds. I think that stunt work is also going to maybe fall to the side and then slowly be subsumed by AI or VFX.

It’s really not about us excluding AI from our day to day. Already we’re using things that we would have used our imagination for and then offloading that onto computers. For instance, with this film, I shot a driving scene at a studio and we composited the background.

But I don’t find it all that interesting. I’m going to stop writing scenes that require this type of VFX or compositing because I think that the more that we are being subsumed by productivity, it’s actually the antithesis of creativity.

Sheep in the Box is in select theaters Friday, July 24.

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