Movies
Max Landis Isn’t Involved In ‘Chronicle’ Sequel
On the dawn of the San Diego Comic-Con, writer Max Landis tweeted that he won’t be involved in Twentieth Century Fox’s sequel to Chronicle.
“Chronicle 2 is still probably happening, just not with my involvement as of now. It’s a bummer, but there are no real hard feelings,” he stated.
“They hired new writers on it. I’m sure they’ll announce soon. Just hope this answers the questions I’ve been getting everyday.”
Josh Trank made his directorial debut with Chronicle, which took in $126M worldwide at the box office. It sort of rendered the Akira adaptation useless. In it, “Three high school friends gain superpowers after making an incredible discovery. Soon, though, they find their lives spinning out of control and their bond tested as they embrace their darker sides.“
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 partially brought to life using Blender, the open-source 3D computer graphics software. 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.
What’s next from Kane Parsons, you ask? Stay tuned…
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