Why is AmorMand Amantup backed by Amarson Maing Oson Welles Fan Fitch?

Friday, a startup company called Fable Declare An ambition, if to scratch, plans to re -create 43 minutes from the classic Orson Welles movie The wonderful Ambersons.

Why is it an emerging company that considers the same “Netflix of AI”, which recently Money collection from the Amazon’s Alexa FundTalking about the reinterprement of a movie that was first released in 1942?

Well, the company built a platform that allows users to create their cartoons with artificial intelligence demands – Fable begins with its own intellectual property, but it has it Ambits to provide similar capabilities with Hollywood Internet Protocol. In fact, it has already been used to create “South Park” episodes are not authorized.

Fable now launches a new model for Amnesty International that can generate long and complex novels. Over the next two years, director Brian Rose – who has already he has He spent five years Working works to rebuild the original vision of WELLES – to use this model to reshape the missing clips from “The Magnificent Ambersons”.

It is striking that Fable did not get the rights of the film, which makes this a potential show of technology that will not be most likely to be issued to the general public.

Why “Amberson”? If you are not loved Cinephile, I think this looks like a mysterious option for digital resurrection.

Even among classic films, Wales II was overwhelmed by his older and most famous brother. While “Citizen Kane” is often called the greatest movie, “Ambersons” is often called “Ambersons” I remembered a lost masterpiece That the studio took out the director’s hands, reduced it significantly and add a happy, unconvincing end.

The reputation of the movie – the feeling of loss and what could have been – is what is supposed to be what is interested and ros. But it should be noted that the only reason we prompted “The Wonderful Ambersons” today is because of Wales – because of how he left his career in Hollywood, and how even in his decreasing form, he still reveals a lot of his genius in filmmaking.

This makes it more surprising that the myth apparently failed to communicate with Wales’s ownership. David Reader, who takes over the property of the daughter of Wales Beatrice, The project description of diversity As an attempt to generate propaganda on the back of Wales’s creative genius, “she will not reach more than” a purely mechanical exercise without any uniquely innovative thinking (for creative strength like Wales. “

Although Reader’s criticism, it appears less discomfort than the idea of ​​trying to re -create “Ambersons” and more through the fact that the estate was not even “given the courtesy courtesy.” After all, he pointed out that “the estate adopted the technique of artificial intelligence to create an audio model aimed at using it to work with brands.”

I am not very open. until if Wales’s heir was consulted and compensated, and I will not have zero interest in this new “Ambersons”, just as I do not care about hearing a digital simulation from the legendary Welles sound that is used to save new products.

Now, Welles lovers know that this is not the first time that other film makers have tried to do so Reform after his death or End up His films. But at least those attempts used the footage of Wales fire on himself. At the same time, Fable describes its planned approach as a mixture of artificial intelligence and traditional film industry – it seems that some scenes will enhance with contemporary actors whose faces will be replaced for the digital recreation of the original actors.

Despite the absurdity of the announcement of such a project without the rights of the film or the grace of the daughter of Wales, at least Rose appears to be driven by a real desire to honor Wales’s vision. For example, in A statement about the reason for his desire to re -create the filmRose’s grief over the destruction of a four -minute animation, uninterrupted, losing a tragedy, “with just 50 seconds of the shot remained in the Recut movie.

I share his sense of loss – but I also believe that this is a tragedy that Amnesty International cannot retreat.

Regardless of the extent of persuasion, they may be able to sew their own version of this tracking shot, so that it will be they The shot, not Wales, is full of similar copies of Joseph Koten and the Hans of Misheid, and not the actors themselves. Their final product will not be the Wales version of “The Magnificent Ambersons” that RKO destroyed more than 80 years ago. Except a Re -detection of lost footageThis version has gone forever.