Movies
Radio Silence Plays a Game of ‘Ready or Not’ With Samara Weaving!
Radio Silence, who Bloody Disgusting readers should remember as the directors of the “10/31/98” segment in V/H/S and the wraparound story in our Southbound (below), will be directing a new horror film for Fox Searchlight.
Variety reports that Australian actress Samara Weaving (pictured above) has been set for the lead role in Fox Searchlight’s upcoming thriller Ready or Not, which is scheduled to shoot in the fall.
The Radio Silence directing team of Tyler Gillett and Matt Bettinelli-Olpin is helming (Radio Silence’s Chad Villella will executive produce) from a script by Guy Busick and Ryan Murphy about a young woman (Weaving) who is invited on the night of her wedding by her new husband’s rich, eccentric family to participate in a time-honored tradition that turns into a lethal game with everyone fighting for their survival.
Weaving has been blowing up on the horror scene having starred in everything from “Ash vs. Evil Dead” to stealing all the scenes in both McG’s The Babysitter and Joe Lynch’s Mayhem.
Tripp Vinson is producing via his banner, Vinson Films. James Vanderbilt, Bradley Fischer, and William Sherak of Mythology Entertainment are also producing. Executive producers are Tara Farney, Tracey Nyberg.
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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