This also -told test is based on a conversation with Aleem Hossain, associate professor of arts and media culture in the Western College. He is also a filmmaker who recently created the short film, “Dai’ Dai Da Les Bangladons Rêve by Electric Tagore? ” This conversation has been modified for duration and clarity.
I was a filmmaker before becoming a teacher.
I started making movies in high school because I was deeply interested in telling stories that were just not done. I gravitate to the stories of under-represented people. My films are personal – and a little vulnerable – so it is not always easy to find funding.
Many of them are science fiction. There is a long, independent science fiction tradition, but we don’t talk much. It is far from as common as an independent comedy or a realistic drama. This is because, literally, science fiction generally imagines the world differently from the way it exists today, and it takes money and resources to do this.
I have made a feature film, and I’m working on a second right now. I also made around 15 short films.
I found ways to finance my creative activities, invest personal money, manage kickstarters and convince stakeholders to contribute. My first feature film cost $ 30,000. I did a lot of my short films for much less. “Do Bangladrods dreams of Tagore electricity” is my most recent short film, and that cost me about $ 300.
A great reason for the low cost is that I used AI. I passed the subscriptions to Midjourney, an AI image generator. I used a free version of an AI generative vocal tool, Elevenlabs. I also hired an actor of voice. That was almost everything.
The film takes place about 50 years in the future, somewhere in New Jersey. There are no humans. There was a failed robot uprising, and the robots that survive reflect on their memories of the house by reciting the poems of Rabindranath Tagore, a Bengali writer.
The title is a direct reference to the novel by Philip K. Dick, “Do Androids Dream of Electric Sheep”, which was also the inspiration for the film “Blade Runner”. These two documents ask several interesting questions about our responsibilities for the robots we create.
They are great, but these stories are widely told through a white male lens. I wanted to extend this.
I am half of the South Asian, so I told a story in this context. My father is a Muslim immigrant from Bangladesh, and my mother is a white woman born and raised in Connecticut. I grew up watching Steven Spielberg and Bollywood, and I wanted to transmit this experience through my film.
It is a parallel to the way we live our lives these days.
In this crazy and modern world, our ancestors can come from a part of the world, but we live in another. This is also true for the items we buy, and the clothes we wear, which often, and to the surprise of many Americans, are made in Bangladesh.
What if the equivalent was true, but for robots? It is a film that plans a future in which our country is populated by robots from another country, brought here to serve – and what memories they carry at home.
He asks people to think about how they treat others. How we worry about being oppressed, but in fact, there are ways that we could be the oppressor.
I took an AI cinema lesson from Curious Refuge, which helped me better cause these tools. What is interesting in incitement is that it is just in a way the barattage. You shoot a slot machine again and again. I generated thousands of robots to get those in the film.
You have to experiment. Ask a “robot horse” in the style of Guillermo del Toro, then try Spielberg and see the one you love best.
I used a mixture of technical terms and descriptive worms in the incentive. For example, I like the depth of field and spatial distortion of a lens of 28 millimeters, so I often include “28 millimeters” in my invites.
I think it is an error for AI criticisms to say that one of the drawbacks of AI is that it cannot be used to make great art. I think this film is pretty good. I feel a deep feeling of having written it. I found the story and each frame.
However, I do not feel like I have the right to take advantage of it.
This technology clearly violates intellectual property. It represents a real danger of moving and putting people unemployed. This also exacerbates climate damage due to its energy workforce.
I am deeply in conflict on this subject.
See the full film of Hospals below.
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