Any Austin: commitment

Transcript context

…Why not dramatic resonance? There’ll be seven-minute AI-generated movies. They’ll be often surrealistic, quite fascinating. I don’t think that’s what people want from it. If you look at the way that the image — I don’t even remember what they’re called anymore because I stopped playing with them — but all of the AI image-generating things have trended towards competency and cleanliness and whatever. Competency is a great way to put it, and I think that that’s the way that we’re going to . . . Our goal — in some ways, it has these weird parallels to the struggle we have with video games over the last 20 years — is we’re just trying to make the most perfect, realistic thing that we can, and that has never been where the frontier of what cool art is. Unless people’s preferences change in terms of what they want to get from this AI video stuff, you’re right that the AI surreal stuff is really neat. It’s a really cool thing to look at. Is it orders of magnitude more interesting to watch than this Cronenberg film? Probably, not. It’s probably more novel, but that’s not going to be the thing that we’re going to hold onto. Unless you’re seeing something different than I am, I feel like our goal is to eliminate that surrealness and make it more competent because that’s what’s going to give it the power to increase productivity of low-level artistic needs for people who just like a picture of a bear scratching a tree, and then they don’t have to pay someone $50 to do a sketch of a bear scratching a tree. I don’t see us attaching to the cool surreal stuff of that necessarily. Potential advantage might be, if say, token costs are low enough, you ask it to run a million different storylines and then you have the AI judge what it’s generated and it sends you the one it thinks you’re most interested in, so only one in a million has to be really good, but it has its own algorithm and it gives you that one.…

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