Tilly Norwood: She’s Not Art, She Is Data.
Technology's challenge to human creativity advanced another step this week through the introduction of this AI-generated actress, the inaugural fully AI-created actor. Unsurprisingly, her unveiling at the Zurich film festival in a comic sketch called AI Commissioner provoked strong reactions. Emily Blunt labeled the movie “terrifying” while the performers' union Sag-Aftra denounced it as “jeopardising performer livelihoods and devaluing human artistry”.
Many concerns arise with Norwood, including the implications of her “girl-next-door” image for young women. However, the deeper issue is the construction of her face using real actors' likenesses absent their permission or notification. Her cheerful introduction conceals the reality that she represents a fresh approach to media creation that rides roughshod over longstanding norms and laws overseeing artists and their creations.
The film industry has long expected Norwood's emergence. Films such as the 2002 sci-fi Simone, centered on a filmmaker crafting a flawless actress via computer, and 2013’s The Congress, featuring a veteran star being digitally captured by her production company, proved strikingly prophetic. Last year's shocker The Substance, starring Demi Moore as a waning celebrity who spawns a younger clone, also ridiculed Hollywood's preoccupation with young age and good looks. Today, much like Victor Frankenstein, cinema faces its “perfect actress”.
The maker of Norwood, performer and author Eline Van der Velden defended her as “not a replacement for a human being”, instead “a work of art”, characterizing artificial intelligence as a novel tool, akin to painting equipment. According to its advocates, artificial intelligence will open up film production, as all individuals can create films without major studio backing.
Starting with the Gutenberg press through sound films and television, each innovative shift has been dreaded and denounced. The visual effects Oscar hasn't always existed, of course. And AI is already part of film-making, primarily in cartoon and sci-fi types. Two films that won Oscars recently – Emilia Perez and The Brutalist – utilized artificial intelligence to refine voices. Late actors like Carrie Fisher have been brought back for roles after their passing.
However, although some embrace these opportunities, as well as the prospect of AI actors slashing production costs by 90%, workers in the film industry are justifiably alarmed. The 2023 screenwriters' strike in Hollywood led to a limited win opposing the application of AI. And even as leading celebrities' thoughts on Norwood are well-documented, as always it is less influential people whose jobs are most at risk – supporting and voice artists, beauticians and production staff.
AI thespians are a sure result of a world saturated with online trash, surgical enhancements and falsehood. Currently, Norwood cannot perform or engage. She cannot relate emotionally, for, clearly, she is not a real being. She is not “artistic” too; she is merely data. The human connection is the true magic of movies, and that cannot be replicated by machines. We enjoy cinema to witness truthful characters in real places, expressing true sentiments. We are not seeking ideal impressions.
But while warnings that Norwood is a doe-eyed existential threat to the film industry might be exaggerated, currently, anyway, that isn't to say there are no threats. Regulations are delayed and cumbersome, whereas technology progresses at a staggering pace. Additional actions are required to safeguard actors and production teams, and the worth of human inventiveness.
