Movies
[TV] ‘Sin City’ and ‘The Mist’ Getting Small Screen Treatment
The small screen is now the big dog as every studio is clamoring to find the next big screen for at-home audiences.
The Weinstein Company is already working with Miramax to develop TV projects from their properties – like the forthcoming “Scream” series – and now have a few more genre efforts in the works.
In an article at the New York Times, the Weinstein Company revealed that they’re currently working on a “Sin City” series, as well as a developing a proposed 10-part series with Frank Darabont, based on Dimension’s film version of Stephen King’s “The Mist”!
Bob Weinstein said he was hoping to quickly follow the August release of the film Sin City: A Dame to Kill For, directed by Frank Miller and Robert Rodriguez, with the “Sin City” television series from both Miller and Rodriguez.
The genre is hotter than ever on the small screen. It only makes sense to take these larger stories and develop them where the story can be nurtured in a way movies can’t.
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…
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