![]() The fancy gizmo was a dead end.Relive the unforgettable exploits of world-renowned, globetrotting hero Indiana Jones in spectacular 4K Ultra HD when the INDIANA JONES 4-MOVIE COLLECTION arrives in a new 4K Ultra HD set Jfrom Lucasfilm Ltd. (“They have dragons,” scream the Romans.) Archimedes, it’s revealed, planned the whole thing: The past is inalterable and the future is decided. In the end, Voller overshoots World War II by a few thousand years and the Nazis burst into the middle of the Siege of Syracuse in 212 BCE, machine-gunning the Romans from a bomber in a scene that looks like a mix between Full Metal Jacket and a cheat code from Age of Empires. Both Voller and Indy are obsessed with the past Voller for his aforementioned führer aspirations, Indy because of the wreck his life has become. ![]() Indiana Jones and the Dial of Destiny seems to anticipate these criticisms. It’s also possible that what you’re watching in the future won’t be acted out by humans at all. It’s now possible for Ford, or any other actor, to keep appearing in films and TV shows for much longer than nature intended. There is at least one job, however, the tech can take: that of another actor playing a character in their older or younger years. They did emphasize, however, that face swapping was around even before AI, used to do things like match an actor's face to that of a stunt double, and it didn't render performers obsolete. This is probably why an ILM publicist intervened when I tried to ask Weaver and Whitehurst about the technology’s broader integration into the film industry. The Screen Actors Guild is currently negotiating with the Alliance of Motion Picture and Television Producers, and the use of AI on guild members’ performances is one of the top concerns. The Writers Guild of America is currently on strike to keep AI out of the script-penning business. “Given enough time and resources, we can accomplish anything.”Īlthough the machine learning used here is not nearly as far-reaching as the generative AI currently dominating the headlines, use of AI to enhance, or even create, films and TV shows is a touchy subject in Hollywood right now. “From my perspective, there’s nothing that we can’t do,” says Weaver. “People assumed that we all sat down in front of a Silicon Graphics workstation in 1993, pressed D for ‘dinosaur,’ and Jurassic Park fell out of the back of the computer,” he says.ĭespite the complexities, Weaver and Whitehurst argue the potential for ILM's tech is limitless. New tech always provokes this reaction, explains Andrew Whitehurst, one of the VFX supervisors at Industrial Light & Magic who worked on Dial’s de-aging. The current discourse around AI and Hollywood would have you believe that a Disney executive fed Ford’s face into a copier and pressed a big “De-Age” button. ![]() It looks like trickery, but of course you are looking for trickery. Ford looks too perfect, his surroundings too clean. This will probably not be the case-and not just because director James Mangold shot the film in 4K. Lucasfilm president Kathleen Kennedy, who worked with Steven Spielberg on all of his Indy movies in the ’80s, recently told Empire that she hoped fans would see the movie and think someone had found footage from 40 years ago. So how does de-aged Ford look? An odd mix of impressive and unreal, his face unhumanly smooth as if slathered with magic grease, glowing from within like a Stable Diffusion portrait that moves. Naturally, they form an uneasy alliance to stop Voller. She seeks to sell it for a pretty penny on the black market he, of course, thinks it belongs in an American museum. Dial’s story, like the Jones movies before it, focuses on an ancient MacGuffin (the Antikythera) sought by both Indy and Helena Shaw (Phoebe Waller-Bridge). ![]() The tech-reincarnated Indy of the 1980s makes a poignant contrast to the Indy we see for most of the film: a retired academic, stuck in a crusty apartment and estranged from Marion Ravenwood. But the message that comes through in Dial of Destiny, a film that seems intensely preoccupied with how it was made, is that there is something hauntingly sad about this vision. Ford’s is also a face many fear: a visual representation of a future for Hollywood in which aging or deceased actors can be resuscitated via artificial intelligence. He personifies the end of history brought about by technology’s endeavor to pull people out of time, to return Ford or Bruce Willis or Robert De Niro to their younger selves. Thanks to several tools-machine learning, CGI, other tech-80-year-old Harrison Ford spends roughly 25 minutes of the film looking like the Indiana Jones of the early 1980s. It’s Voller’s motto, but also the movie’s-a nod to the de-aging technology that has made it possible. To enter the past, then, is to end history.
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