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vivo X300 Pro Review: Brings Out the Photographer In you

vivo X300 Pro Review: Brings Out the Photographer In you

It’s not often, as a tech reviewer, that you receive a new phone and fall in love with it. This happened to me last year, when I tested the X200 Pro for a month, and it blew my mind away. Never did I think smartphone cameras could get this good, but with that phone, I unlocked a photographer side of me that I didn’t know I had. It’s cameras that made me go, “oh, I can capture this, too,” and ever since vivo asked for the review unit back, I’ve been chasing that feeling. Competition this year has stiffened up, with OPPO’s X9 series carrying decent improvements in the camera department. So, that made me wonder, can vivo defend its title of the camera king with the X300 Pro?

To answer that very question, I got the vivo X300 Pro in for a review and swapped my primary SIM. I then used the phone extensively for two weeks, during which I took countless trips to nearby heritage sites I had never visited, played hours of games, mindlessly scrolled through reels, and a lot more. The result? vivo has done it again with a phone that hits all the basics, all while being the best camera system in any phone.

vivo X300 Pro Review

Hisan Kidwai

Summary

The vivo X300 Pro is the most complete phone. For the price, you get a mature design, a display that’s on par, if not better, than other flagships, a competent flagship processor that’ll serve for years to come, and a fantastic camera system. While it may seem a bit of a stretch, the vivo X300 Pro has the best cameras out of any smartphone.

Design & Hardware

vivo has made some handsome-looking smartphones, as the new V60 shows, and I can say the same about the X300 Pro. The company has stuck to its original X-series design, and I’m a fan. You essentially get a massive camera bump on the back, but that look is now what people expect from the X series. During my testing, many of my tech-savvy friends just knew what I was using. This creates a brand identity, which is a great thing when you’re trying to compete with the likes of Samsung and Apple. People need to know a brand to buy it, and OPPO could take a lesson or two from these guys.

On the topic of the camera module, it has lost its ring that hid the massive bump. Instead, the X300 Pro’s back glass now curves into the module, with a smaller concentric ring that facilitates the lens mount for the photography kit. Thankfully, the module is centered, so the phone doesn’t wobble on the table, and as a bonus of the enormous size, your phone sits at the perfect angle on the table. Just note that since the island is what the phone rests on, it can pick up scratches. The good news is that vivo has bundled a case in the box.

The bump is also a really lovely place to rest your finger, which will get tired. I was using the regular Find X9 before, and the X300 Pro’s 228 g weight was quite noticeable. It’s a two-handed phone by all means. Though if you have bigger hands, the experience should be pretty fine. I also got used to the weight quickly. vivo has done a pretty decent job of balancing the weight, with the center of gravity being just below the camera bump.

Moving over to aesthetics, there’s a new Dune color that almost looks like beige. Photos don’t do it much justice, but I really like what vivo has done with the finish, which is matte but also shiny at the same time. The phone looks super sophisticated and doesn’t slide off a slanted surface when you set it down, which is a huge plus. The sides are pretty much unchanged; you still get the SIM tray at the bottom, coupled with the charging port and speakers. As for buttons, vivo has added a new iPhone-inspired action key that can be customized for double-tap and long-press actions.

vivo Side key

The ultrasonic fingerprint scanner stays in its comfy place where your thumb naturally rests, and it works really well. Keeping up with the trend, the X300 Pro supports all IP rating variations, including IP68 and IP69. These ratings were put to the test pretty quickly when I dropped a protein shake on the phone and had to wash it. The phone survived, but I’ll still recommend people avoid taking their phones underwater, as water damage is never covered under warranty.

Display

X300 Pro kept sideways with the display on

Displays on all flagships today are pretty similar, and the same goes for the X300 Pro. It features a 6.78-inch AMOLED display with a 2800 × 1260 resolution and a 120Hz refresh rate. This time, vivo has gone for even thinner bezels, which bumps the screen-to-body ratio to 94.85%. Keeping the numbers aside, the panel is exceptionally pretty to use in both daytime and lowlight scenarios. Colors pop, and the HDR performance makes movie watching, especially the new Pluribus episodes, a breeze.

vivo claims a peak brightness of 4500 nits, and while I didn’t test it with a light meter, the panel was easy to see while scrolling through reels in direct sunlight. There’s also PWM Dimming that helps the display get down to 1 nit. It’s great news for all my midnight doomscrollers, who will hurt their eyes a bit less than before. Beyond that, there’s a new eye fatigue feature that automatically adjusts the brightness depending on your screen time. As for protection, the panel is covered with a new Schott Sensation glass, and it performed well in my testing. Sure, there were some microscratches, but that’ll happen with every smartphone, and the X300 Pro also handled drops onto hard surfaces.

Software & Performance

Origin OS setting in the X300 Pro

Under the hood, the vivo X300 Pro is powered by MediaTek’s flagship Dimensity 9500 processor that includes a total of eight cores, out of which there is one C1-Ultra core running at 4210 MHz, three  C1-Premium cores running at 3600 MHz, and four C1-Pro cores running at 2700 MHz, along with Mali-G1 Ultra MP12 GPU. Along with it, you get up to 16GB of LPDDR5X RAM and 512GB UFS 4.1 storage.

With these monster specs in mind, the day-to-day performance of the X300 Pro is exceptional. Apps open quickly, there is no stutter in between, and the RAM helps keep everything in memory. The bigger question, when I received the device, was OriginOS. If you’ve read my previous reviews, you know I haven’t been the biggest FunTouchOS fan, with criticisms ranging from a bloated UI to jittery animations and a lack of new styling. Fortunately, vivo has heard all our complaints, and the new OriginOS skin is much better. There are new animations that feel smooth, a whole host of new customization options for the lock screen (inspired by iOS), and a fresh layer of translucent design on almost all aspects.

Side key change interface in the X300

As you may have guessed, AI takes the center stage in terms of features, and the best ones are in the Photos app. Apart from the obvious ones, like the object eraser, the newest addition is the move feature, which lets you change the position of a subject in a photo to your liking. This is the dream for people like me who love to tinker with images. It works really well in practice. Then there is the Imag Expander that can help you expand a shot using generative AI. The camera app has also received a fresh AI coat, though I’ll talk more about it later.

Unfortunately, it’s not all sunshine and rainbows. While vivo has done an excellent job, its UI doesn’t have the refinement of ColorOS. For starters, when I get notifications for new messages, the newest one is at the top, with older ones below. It’s caused me a lot more headaches than I wish it had. Then, to expand a notification, I have to click that tiny arrow button, which is easy to miss, and just opens the chatbox instead. The back gesture is enabled in the keyboard area, so when deleting a long message, I accidentally activate the back gesture. Sure, these problems are not that big, but it’s the small things that can make or break the experience. Finally, vivo has promised a full 5 years of software updates and 7 years of security patches, which is pretty decent.

Benchmarks & Gaming

BGMI Game setttings

Keeping my rant for the UI aside, I also ran a series of benchmarks to push the Dimensity 9500’s limits. The results? Actually quite impressive. In Geekbench’s single-core and multi-core tests, X300 Pro scored 2,857 and 7451, respectively. In AnTuTu, the cumulative score for both the GPU and CPU was a staggering 3,382,529 points. For some context, the OPPO Find X9, which features the same chipset, scored 3,316,065 points.

Moving to gaming, I had absolutely no complaints playing long sessions of BGMI with my friends over the weekend. Graphics settings in BGMI were set to Smooth and Ultra Extreme for the 120FPS gameplay. Over a couple of hours, the phone neither got too hot to touch nor dropped frames in complex situations. There are also plenty of gaming features, including bypass charging, 4D haptics, and different performance modes.

Battery Life

Battery stats of the X300 Pro

vivo introduced silicon-carbon technology with the X200 series last year, and it was phenomenal. The phone easily lasted a full day of heavy usage, and I can gladly say the same for the X300 Pro. The phone houses vivo’s 4th-gen battery tech, and with a capacity of 6,510mAh, it’s an easy two-day phone. For context, on days when I roamed around the city to capture samples and then finished with a two-hour BGMI (PUBG) session, I ended up with 20% charge. On other lighter days, the X300 Pro finished with 35% to 45% battery remaining. Just note that some European variants, particularly in Austria, Germany, and Hungary, use a smaller 5,440 mAh cell.

Beyond that, charging is another strong point for the X300 Pro, as it comes with a 90W FlashCharge brick in the box (only in Asian markets), capable of taking the phone from 20% to 80% in under 30 minutes. There’s also 50W USB PD and 40W wireless charging support.

Cameras

Close up shot of the camera lenses

Let’s talk about what most came here for: the cameras. Under the massive camera module, the vivo X300 Pro houses a triple camera setup, consisting of a 50 MP Sony LYT-828 primary sensor, an eye-watering 200 MP custom 3.5x Samsung HPB sensor, and another 50 MP 119-degree Samsung JNI UltraWide sensor. You can also buy an optional telephoto extender kit that extends the 85mm lens to 200mm. Though I should point out that all my testing was done without the extender lens.

Keeping the optic specs aside, I really don’t have many words to express how excellent the cameras on the X300 Pro are. The photos it captures are crisp, lavishly detailed, with ample HDR and really aesthetic colors that please everyone. The best way to describe the cameras on the X300 Pro is that it brings out the photographer in you. I’ve never had this many “oh, I should capture this” moments with a phone, and every time, I was amazed by the results. Zeiss’s color science lends itself beautifully to the capturing experience, making you want to experiment with different looks and styles.

If you love capturing portraits, it doesn’t get any better than the X300 Pro. The 200 MP sensor delivers a lot of natural depth, which, coupled with vivo’s superb color and edge detection, creates a cinematic look that I’ve only come to expect from professional-grade cameras. On the topic of zoom, it’s perfect. The lens captures super-crisp, clear photos up to 30x, and even 50x in good lighting, keeping the subject in focus all the time. The UltraWide, while the same as last year, has also received a fresh coat of tuning, which helps it handle edges better and maintain consistency with the other lenses.

The good news continues with the low-light photos, where the X300 Pro comes alive. It one-ups any phone I’ve used this year, with a distinct look that makes you want to post every photo thanks to the insane levels of detail and accurate colors. Another thing to note is that the low-light experience stays consistent with the other two lenses. Video is another area where vivo has made significant improvements. Both the primary and telephoto sensors produce beautiful videos up to 4K120FPS, with accurate skin tones, balanced HDR, and minimal noise even in low-light conditions. Portrait video, which tops at 4K60FPS, is decent enough, though you do need ample lighting for it to work well.

As I mentioned in the software section, the camera app has a new AI mode in the Landscape and Night section, which blew me away to the point where I questioned what even a photo is. For context, the mode lets you choose whether to remove people from the image, which is fairly common. But it can also simulate various seasons and times of day, changing the overall look of an image. Beyond that, the feature lets users configure different regions, such as snowy, desert, and island, and can directly convert the image to a preferred animation style. We do need to remember that these images are processed in vivo data centers, not on the device.

Verdict

vivo X300 Pro kept next to the OPPO Find X9

The vivo X300 Pro, like other smartphones launched this year, has received a price bump due to the soaring memory chip prices and AI demand. Still, even at INR 1,09,999 or EUR 1,049, it’s the most complete phone not only for this year but also for 2026. All thanks to the mature design, a display that’s on par, if not better, than other flagships, a competent flagship processor that’ll serve for years to come, and a fantastic camera system. While it may seem a bit of a stretch, the vivo X300 Pro has the best cameras out of any smartphone. Google and Apple aren’t even close to the sheer flexibility the X300 Pro offers. If you like this versatility, there is nothing better out there, and with the new OriginOS skin being a pretty major upgrade, the X300 Pro is hard to ignore, even for iPhone or Samsung buyers.

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#vivo #X300 #Pro #Review #Brings #Photographer

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:
        
            Apple Store app will soon get an AI shopping assistant
            
        
    
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.

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

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