It’s Day 13 of the SAG-AFTRA strike and Day 86 of the WGA strike.
Actor Adam Faison took a break from marching outside Disney in Burbank on Wednesday to speak with Deadline, calling artificial intelligence one of his primary concerns for the future of his profession and the industry at large.
His trepidation was informed by an unnerving encounter with the technology that he had within the past year, before the launch of the WGA and SAG-AFTRA strikes and perhaps before AI was even breaking so prevalently into the public discourse. The project on which he was forced to grapple with AI was out of the “gaming world,” he said, and called for body scanning.
“Without going into too much detail, there was a recent situation where I was in negotiations with a company and they were very, very ornery and very trepidatious about even talking about AI,” said Faison, whose...
Actor Adam Faison took a break from marching outside Disney in Burbank on Wednesday to speak with Deadline, calling artificial intelligence one of his primary concerns for the future of his profession and the industry at large.
His trepidation was informed by an unnerving encounter with the technology that he had within the past year, before the launch of the WGA and SAG-AFTRA strikes and perhaps before AI was even breaking so prevalently into the public discourse. The project on which he was forced to grapple with AI was out of the “gaming world,” he said, and called for body scanning.
“Without going into too much detail, there was a recent situation where I was in negotiations with a company and they were very, very ornery and very trepidatious about even talking about AI,” said Faison, whose...
- 7/26/2023
- by Matt Grobar and Rosy Cordero
- Deadline Film + TV
Traffic
Written by Stephen Gaghan
Directed by Steven Soderbergh
USA, 2000
In his review of King of the Hill, Zach Lewis skewers Steven Soderbergh’s fascination with political structures throughout the director’s filmography and reading the 1993 film’s Depression-era survivalism as a “residual effect of those outside any political sphere.” Seven years after King of the Hill, Soderbergh’s fixation on politics would reach its peak in Traffic, an endlessly complex examination of America’s War on Drugs.
Traffic‘s genesis is simple enough, beginning with a pair of cops. Having run down a Mexican drug courier mid-transport, officer Javier Rodriguez (Benicio Del Toro) and his partner find their score short-lived when high-ranking General Salazar (Tomas Milian) pulls rank and takes over the drug bust. Here, the simplicity of Traffic dissipates with the monochrome yellows of the Tijuana desert. Though Rodriguez’s would-be arrest implies it, smuggling cocaine from Mexico...
Written by Stephen Gaghan
Directed by Steven Soderbergh
USA, 2000
In his review of King of the Hill, Zach Lewis skewers Steven Soderbergh’s fascination with political structures throughout the director’s filmography and reading the 1993 film’s Depression-era survivalism as a “residual effect of those outside any political sphere.” Seven years after King of the Hill, Soderbergh’s fixation on politics would reach its peak in Traffic, an endlessly complex examination of America’s War on Drugs.
Traffic‘s genesis is simple enough, beginning with a pair of cops. Having run down a Mexican drug courier mid-transport, officer Javier Rodriguez (Benicio Del Toro) and his partner find their score short-lived when high-ranking General Salazar (Tomas Milian) pulls rank and takes over the drug bust. Here, the simplicity of Traffic dissipates with the monochrome yellows of the Tijuana desert. Though Rodriguez’s would-be arrest implies it, smuggling cocaine from Mexico...
- 12/5/2013
- by David Klein
- SoundOnSight
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