I would have never imagined this stuff about A.I. would feel so contemporary by the time we would be ready to show the film. Not to mention how much more relevant it seems now with the actors’ and writers’ strikes still ongoing. It’s not that I didn’t foresee the dangers of artificial intelligence, but I thought it’d be something we’d have to deal with in 15 or 20 years.
I like to think of the camera as something that helps me capture things I would not normally see. So when I see filmmakers watching their own images on the combo in real time, as they shoot, I cannot help but think of it as a tautology. Because they are assimilating the potentiality of the human eye.
What was especially difficult was letting myself be guided by these unknown forces orbiting around me. It all goes back to af Klint and Kandinsky, who in their practice strived to make the unknown visible, to give visuals to things we know are there but cannot fully articulate.