Brady Corbet’s The brutalist He has captivated the public with his epic reach, surprising cinematography and a vast execution time, but the film has also encountered problems for his use to modulate the voices of his actors. There have also been a series of other films released this awards season using AI and now the Academy is considering instituting new dissemination rules for technology.
Variety notes that learning tools have been widely used by recent films and that the Academy is considering making optional dissemination rules mandatory. The outlet reports:
Currently, the Academy offers an optional dissemination form for the use of AI, but the governors and executive committees of the branch are now investigating how AI is used in each branch with the eye of making the dissemination mandatory in the Oscar rules of 2026, which are expected to be published in April.
The brutalist This is the fictional László Tóth, a Jewish architect of Hungary that survives a Nazi concentration camp and, after the conclusion of World War II, travels to America, where it is entangled with the treatment of a rich commercial tycoon. The news about the use of the movie’s tools reached the surface shortly after the film was nominated for Ten Oscar. The controversy was stimulated by an interview That the movie editor, Dávid Jancsó, gave Redshark News. Jancśo explained that production had hired the Ukrainian software company Respect so that the film actors seem as if they had real Hungarian accents. Apparently, the film also used AI to create some of the architectural planes that appear in the film.
“It is controversial in the industry to talk about AI, but it shouldn’t be,” Jancsó told The Outlet. “We should have a very open discussion about which AI tools can provide us. There is nothing in the movie using Ai that has not been done before. It simply makes the process much faster. We used AI to create these small details that we didn’t have the money or time to shoot. “
The AI has been an enigma for Hollywood, and the industry does not seem to know whether to prohibit tools or adopt them. Last year, Operai went to Hollywood in an attempt to sell studies in his video generation technology, Sora. Martin Scorsese’s Gangster Epic, The IrishHe also tried to use Deepfake -like technologies to decelerate the film actors for flashbacks. Despite the slow disgust of new forms of automation in the film process, there has been little evidence to suggest that what the public wants is more in their films.