Posts Tagged ‘Mark Hamill’

The Overlord on Rumours that Mark Hamill Has Sold Image for Hollywood CGI Clone of Luke Skywalker

August 8, 2020

‘The Overlord’ is another YouTube channel devoted to news and views about genre cinema and television. It’s hosted by Dictor von Doomcock, a masked alien supervillain supposedly living at the centre of the Earth. And who is definitely not impressed at all at the state of contemporary popular culture, and particularly the way beloved film classics like Star Wars, Star Trek, Dr. Who and so on are now being trashed by producers who have no respect for these series and their fans. And in this video he talks about the bizarre next step in this process: the recreation of favourite film characters like Indiana Jones and Luke Skywalker through CGI, completely removing the need for human actors.

A website, WDW Pro, has claimed that Disney are looking for ways they can break the pause in filming imposed by the Coronavirus lockdown. They are therefore looking at ways to do without human actors. They have therefore been looking at a technological solution to this problem, using the same computer techniques used to create the films The Lion King of 2019 and the 2016 film version of The Jungle Book, as well as the facial recreation of Peter Cushing as Grand Moff Tarkin in Star Wars: Rogue 1. Frustrated at the hold-up filming the third Guardians of the Galaxy flick, Disney will use the technology, Cosmic Rewind, to create a completely computer generated movie, but one that would be presented as using human characters. This is going to be an experiment to test the possibility of creating films without human actors and the need for their salaries. According to a rumour, which WDW Pro has not been able to confirm, the projected film is about Young Indy, and its effectiveness will be tested when a rollercoaster based on the film comes on as part of Disneyworld.

Lucasfilm has also apparently made a deal with Mark Hamill within the last 18 months in which he has signed over his image to them so that they can use it to create a CGI Luke Skywalker. This Virtual Skywalker may also be used in the projected Galaxy’s Edge Star Wars theme park. However, due to the project’s severe financial problems, this may not happen anytime soon. Disney are slowly moving towards using this technology to dispense with human actors so that they won’t have to suffer a similar pause in filming ever again, although they won’t move away from human actors altogether immediately.

Doomcock himself laments this development, and feels that it is inevitable in a world where Deep Fake technology has advanced so far that we don’t know if the people we see or the news we watch are real, or that the characters we see on the screen are brought to life by real actors using the skills and craft they have learned. He wonders what will happen to our civilisation – what we will lose – if everything we see on the screen is synthetic, and we are removed another step again from reality and anything that has ‘heart’. It might all be all right, but it seems to him that the more we remove the human element from art and culture and make it the creation of AIs, the more removed we are from our culture.

He also vents his spleen about the choice of subject for this putative movie, pointing out that there was a TV series about Young Indiana Jones years ago, and nobody wanted it. He recommends instead that if this grave-robbing technology is to be used, it should be used to recreate the mature Indy of Raiders of the Lost Ark and Temple of Doom. He also criticises Hamill for what he sees as his poor judgement in making the deal with Disney. Hamill should know personally how a poor director can ruin a beloved legacy character, the actor’s own contribution and a favourite film franchise through his experience playing Skywalker in The Last Jedi. He famously wept on set during that movie and bitterly criticised the director’s decisions. He’s sarcastic about the respect Disney shows such legacy characters. It’s rumoured that George Lucas is returning to helm the Star Wars films, in which everything will be fine and we can look forward to a bright, new golden age. But considering the potential for abuse, Doomcock states that he is dismayed, flabbergasted and disgusted by Hamill’s decision and fearful for humanity’s future. As human culture becomes made by machines, hasn’t Skynet won? Who needs to launch nukes, when we have a CGI Skywalker dancing like a monkey in a bikini?

Here’s the video, but as Doomcock himself warns you, it isn’t for children. It has adult humour. Blatantly adult humour.

As you can see, there’s more than a little hyperbole in Doomcock’s argument, and some people will take issue at what he views as the humiliation of Luke Skywalker to push a feminist or anti-racist message, like Black Lives Matter. But his fears of the abuse of such technology aren’t unfounded, and have been around for quite some time. The possibility that actors would sell their images to film companies to recreate them Virtually, while making the flesh and blood person redundant, was explored a few years ago in the SF film The Congress by Ari Folman. This was loosely based on the Stanislaw Lem novel, The Futurological Congress, but is very different, and, in my opinion, inferior. For one thing, the Lem novel is hilariously funny, while the movie is grim and depressing. The movie is about a Hollywood actress, Robin Wright, playing herself, who makes precisely the deal Hamill is rumoured to have made. She then stars in a series of action movies, including one sequence that is definitely a tip to Kubrick’s Cold War masterpiece, Dr. Strangelove. But this is all computer animation. The Wright herself isn’t remotely involved in their filming. Indeed, it is a condition of her contract that she not act at all, and live the rest of her life in a very comfortable retirement. These developments are followed by the discovery of a drug that allows people to enter a vast, consensual Virtual Reality, in which they can be and do anyone and anything they want. The world’s masses abandon reality, so that civilisation decays into a very grim, dystopia of ruin, poverty and misery. At one point Wright takes the drug, which will return her to reality, only to find herself in a food queue in a burned out, abandoned building. Unable to come with this, she returns to the Virtual world to search for the son she lost while in a coma as a result of a terrorist attack on the Las Vegas congress she was attending at which the hallucinogenic drug was launched. As I said, it’s a depressing film in which such illusions really are bringing about the destruction of humanity. And there is no escape, except into the Virtual world that has caused it.

The film follows a number of other SF works that have also predicted similar dystopias brought about by the hyperreality of mass entertainment. This includes John D. MacDonald’s short story, Spectator Sport, in which a time traveller appears in a future in which all human achievement has ceased as the public live out their lives as characters in VR plays. Another, similar tale is Good Night, Sophie, by the Italian writer Lino Aldani, about an actress in a similar world in which people live harsh, austere lives in order to escape into a far brighter, more vivid fantasy world of entertainment. Rather less pessimistic was the appearance of the SF film, Final Fantasy, all those years ago. This was supposed to be the first film in which all the characters were CGI, and who were supposedly indistinguishable from flesh-and-blood reality. The fact that further films like it haven’t been made suggests that, reassuringly, people want real humans in their movies, not computer simulations.

We’ve also seen the appearance of a number of computer generated celebrities. The first of these was the vid jockey, Max Headroom on Channel 4 in the 1980s. He was supposed to  be entirely computer-generated, but in reality was played by Canadian actor Matt Frewer under a lot of makeup. Then in the 1990s William Gibson, one of the creators of Cyberpunk SF, published Idoru. This was a novel about a man, who begins an affair with a Virtual celebrity. Soon after it came out, a Japanese company announced that it had created its own Virtual celeb, a female pop star. Gibson’s books are intelligent, near-future SF which contain more than an element of the ‘literature as warning’. The worlds of his Cyberspace books are dystopias, warnings of the kind of society that may emerge if the technology gets out of hand or corporations are given too much power. The creation of the Virtual pop star looked instead as though the corporation had uncritically read Gibson, and thought what he was describing was a good idea.

But going further back, I seem to recall that there was a programme on late at night, presented by Robert Powell, on the impact the new information technology would have on society. It was on well after my bedtime, and children didn’t have their own TVs in those days. Or at least, not so much. I therefore didn’t see it, only read about it in the Radio Times. But one of its predictions was that there would be widespread unemployment caused by automation. This would include actors, who would instead by replaced by computer simulations.

Computer technology has also been used to create fresh performances by deceased stars, sometimes duetting with contemporary performers. This worried one of my aunts when it appeared in the 1980s/90s. Dead performers have also been recreated as holograms, to make the stage or television appearances they never made in life. The late, great comedian Les Dawson was revived as one such image, giving post-mortem Audience With… on ITV. It was convincing, and based very much on Dawson’s own live performances and work. It was good to see him again, even if only as Virtual ghost, and a reminder of how good he was when alive.

I don’t know how reliable the rumours Doomcock reports and on which he comments are. This could all be baseless, and come to nothing. But I share his fears about the damage to our culture, if we allow our films and television to be generated by technicians and algorithms rather than flesh and blood thesps. Especially as the rising cost of movies mean that the film companies are unwilling to take risks and seem determined to rake over and exploit past classics rather than experiment with creating fresh material.

CGI’s a great tool. It’s used to create vividly real worlds and creatures. But I don’t want it replacing humans. Even if that means waiting a few years for new flicks to come out.

 

‘Mr H Reviews’ on the Casting of Robot Lead in SF Film

August 8, 2020

‘Mr H Reviews’ is a YouTube channel specialising in news and opinions on genre films – SF, Fantasy and Horror. In the video below he comments on a piece in the Hollywood Reporter about the production of a new SF movie, which will for the first time star a genuine AI. The movie is simply titled b. Financed by Bondit Capital, which also funded the film Loving Vincent, with the Belgium-based Happy Moon Productions and New York’s Top Ten Media, the film is based on a story by the special effects director Eric Pham with Tarek Zohdy and Sam Khoze. It is about a scientist, who becomes unhappy with a programme to perfect human DNA and helps the AI woman he has created to escape. 

The robot star, Erica, was created by the Japanese scientists/ engineers Hiroshi Ishigura and Hohei Ogawa for another film. The two, according to the Reporter, taught her to act. That film, which was to be directed by Tony Kaye, who made American History X, fell through. Some scenes for the present movie were already shot in Japan in 2019, and the rest will be shot in Europe next year, 2021.

The decision to make a movie starring a robot looks like an attempt to get round the problems of filming caused by the Coronavirus. However, it also raises a number of other issues. One of these, which evidently puzzle the eponymous Mr H, is how a robot can possibly act. Are they going to use takes and give it direction, as they would a human, or will it instead simply be done perfectly first time, thanks to someone on a keyboard somewhere programming it? He is quite enthusiastic about the project with some reservations. He supports the idea of a real robot playing a robot, but like most of us rejects the idea that robots should replace human actors. He also agrees with the project being written by a special effects supervisor, because such a director would obviously be aware of how such a project should be shot.

But it also ties in with an earlier video he has made about the possible replacement of humans by their Virtual simulacra. According to another rumour going round, Mark Hamill has signed away his image to Lucas Film, so that Luke Skywalker can be digitally recreated using CGI on future Star Wars films. Mr H ponders if this is the future of film now, and that humans are now going to be replaced by their computer generated doubles.

In some ways, this is just the culmination of processes that have been going on in SF films for some time. Animatronics – robot puppets – have been used in Science Fiction films since the 1990s, though admittedly the technology has been incorporated into costumes worn by actors. But not all the time. Several of the creatures in the American/Australian SF series Farscape were such animatronic robots, such as the character Rygel. Some of the robots features in a number of SF movies were entirely mechanical. The ABC Warrior which appears in the 1990s Judge Dredd film with Sylvester Stallone was deliberately entirely mechanical. The producers wished to show that it definitely wasn’t a man in a suit. C-3PO very definitely was played by a man in a metal costume, Anthony Daniels, but I noticed in the first of the prequels, The Phantom Menace, that a real robot version of the character appears in several scenes. Again, this is probably to add realism to the character. I also think that in the original movie, Episode 4: A New Hope, there were two versions of R2D2 used. One was the metal suit operated by Kenny Baker, and I think the other was entirely mechanical, operated by radio. Dr. Who during Peter Davison’s era as the Doctor also briefly had a robot companion. This was Kameleon, a shape-changing android, who made his first appearance in The King’s Demons. He was another radio-operated robot, though voiced by a human actor. However the character was never used, and his next appearance was when he died in the story Planet of Fire.

And then going further back, there’s Alejandro Jodorowsky’s mad plan to create a robotic Salvador Dali for his aborted 1970s version of Dune. Dali was hired as one of the concept artists, along with H.R. Giger and the legendary Chris Foss. Jodorowsky also wanted him to play the Galactic Emperor. Dali agreed, in return for a payment of $1 million. But he stipulated that he was only going to act for half an hour. So in order to make sure they got enough footage of the great Surrealist and egomaniac, Jodorowsky was going to build a robot double. The film would also have starred Orson Welles as Baron Vladimir Harkonnen and Mick Jagger as Feyd Rautha, as well as Jodorowsky’s own son, Brontes, as Paul Atreides. The film was never made, as the producers pulled the plug at the last minute wondering what was happening to it. I think part of the problem may have been that it was going well over budget. Jodorowsky has said that all the effort that went into it wasn’t wasted, however, as he and the artist Jean ‘Moebius’ Giraud used the ideas developed for the film for their comic series, The Incal. I think that Jodorowsky’s version of Dune would have been awesome, but would have been far different to the book on which it was based.

I also like the idea of robots performing as robots in an SF movie. A few years ago an alternative theatre company specialising in exploring issues of technology and robotics staged a performance in Prague of the classic Karel Capek play, Rossum’s Universal Robots, using toy robots. I can see the Italian Futurists, rabid Italian avant-garde artists who praised youth, speed, violence and the new machine world around the time of the First World War, being wildly enthusiastic about this. Especially as, in the words of their leader and founder, Tommasso Marinetti, they looked ‘for the union of man and machine’. But I really don’t want to see robots nor CGI recreations replace human actors.

Many films have been put on hold because of the Coronavirus, and it looks like the movie industry is trying to explore all its options for getting back into production. However, the other roles for this movie haven’t been filled and so I do wonder if it will actually be made.

It could be one worth watching, as much for the issues it raises as its story and acting.

Radio 4 Programme on Saturday on the Making of the ‘Empire Strikes Back’

May 13, 2020

Radio 4’s Archive on 4 next Saturday is on the first of the Star Wars sequels, The Empire Strike’s Back. From the pieces about the programme in the Radio Times, its filming was bedeviled by a series of disaster, which nearly stopped it from being made at all. The blurb for the programme Archive on 4: The Empire Strikes Back, on page 115 of next week’s Radio Times for 16th – 22nd May 2020 runs

Mark Burman marks the 40th anniversary of Irvin Kershner’s Star Wars sequel with a look at its production, including rare archive interviews with producer George Lucas and others. He hears from studio whizzes at Industrial Light and Magic and travels to Norway to meet some of the veteran crew.

There’s an additional piece about it on the preceding page, 114, by Edward Crawford, which states

It’s amazing to think, as the Disney empire bombards us with an ever increasing number of Star Wars stories, that a sequel to the original 1977 film was by no means a foregone conclusion. The second film in George Lucas’ epic space saga was beset with problems, such as the death of its screenwriter, a snowstorm on location and a fire on the set. In this entertaining, not wholly reverential documentary Mark Burman gets the inside scoop, talking to some of the crew and plundering the archive for worlds from director Irvin Kershner, George Lucas, Mark Hamill and Yoda creator Stuart Freeborn.

The Empire Strikes Back is one of the great SF/Fantasy movies of the 20th century. Fans and critics have considered it the best of the Star Wars movies, although I was shocked to find in a video on YouTube that someone, somewhere, has decided that it’s the worst. Heresy! Blasphemy! The programme should be really interesting for those of us old enough to remember the excitement when it first appeared in the very early 1980s. I remember reading in Starburst at the time that a fire had broken out on its set at Pinewood, but I wasn’t aware that the scriptwriter had died or they’d had a snowstorm while filming in Norway.

The programme’s on Radio 4, on Saturday 16th May 2020 at 8.00 pm.

Cameron’s Picture of Himself Watching Space Launch Gets the Photoshop Treatment

December 17, 2015

Mike has a highly funny article over at Vox Political about an article on RT, commenting on Cameron’s latest stunt to show himself personally backing Tim Peake’s launch into space as the first British astronaut for nearly 20 years. Obviously, Cameron isn’t actually at the Baikonur cosmodrome, or Kapustin Yar, or wherever the launch actually took place. He’s at home watching it on TV. So that has to do. After posting pictures of himself watching the launch, others decided that it would be much more appropriate if he was watching something else entirely. Some of these are, of course, pig related. The most acceptable of these for a family audience, or those of a Nervous Disposition, is him watching Miss Piggy.

Cameron Miss Piggy

The article’s at http://voxpoliticalonline.com/2015/12/16/cameron-tweets-picture-of-himself-watching-iss-launch-internet-reacts-hilariously-rt-uk/ Go there for more scurrility.

Of course, there’s no reason he couldn’t combine his two interests. Here’s the Muppet’s ‘Pigs in Space’, with guests Mark Hamill, R2-D2 and C-3PO, to celebrate the release of the latest Star Wars film.