On December 8, 1980, the day John Lennon was shot, he and Yoko Ono granted an interview to a San Francisco radio team from their New York home in the Dakota apartments. They were promoting their new album ‘Double Fantasy,’ but the two-hour conversation covered many topics. Despite a request for ‘no questions about the Beatles,’ Lennon and Ono were candid. That day, Annie Leibovitz also captured the famous image of a nude Lennon embracing Ono.
The interview itself is equally revealing. Both, particularly Lennon, spoke freely about love, their relationship, creativity, life post-Beatles, parenting their young son, songwriting from bed, and more. At 40, Lennon appeared to have found true clarity, stating, ‘I feel like nothing happened before today.’
In ‘John Lennon: The Last Interview,’ Steven Soderbergh transforms these surviving tapes into a documentary that demystifies Lennon and Ono, akin to what ‘Get Back’ did for the Beatles. The film premiered Saturday at the Cannes Film Festival.
Soderbergh remarked on the generosity of spirit shown throughout the discussion, comparing it to an entire day’s events compressed into one apartment. He faced significant challenges in illustrating the documentary’s more philosophical conversations.
‘I worked on everything that could be solved except that, for as long as I could,’ Soderbergh admitted. ‘Then came the inevitable question of: OK, but seriously, what are we going to do?’ They tried various solutions, running out of time and resources. That’s when Meta’s AI software intervened, creating surreal visuals for roughly 10% of the film, stirring debate over AI’s role in filmmaking. Critics at Cannes widely criticized these sections, saying they resembled generic special effects, without digitally altering images of Lennon. Soderbergh found himself at the center of the industry-wide AI debate.
Regarding this, Soderbergh stated the importance of transparency, noting, ‘We aren’t aware of the extent this is being used to manipulate us because it’s not disclosed.’ He identified himself as a whistleblower, emphasizing the need for openness in his creative process.
On reactions to his use of AI, Soderbergh acknowledged the emotional response but stressed the need for transparency, especially with Meta’s involvement. He anticipated the criticism, viewing it as part of the process.
Concerns about AI’s potential to fracture the film industry do not unsettle Soderbergh, who believes most significant roles in filmmaking are irreplaceable by technology. As technical perfection becomes accessible, he posits that imperfection gains value. He awaits the moment when a credible creator fully embraces AI, prompting a public reaction, necessary for knowing the boundaries.
Asked about directions given for AI-generated animations, Soderbergh mentioned prompting circular light emanations and transformations reminiscent of Busby Berkeley choreography. He appreciated the technology’s quick rendering, allowing immediate feedback.
Soderbergh concluded with his criteria for AI use: necessity and the best means to achieve his vision. Many will engage with AI without meeting these standards. The ongoing ethical and aesthetic debates persist alongside the raw human dialogue depicted in the documentary.
‘I needed a way to visually follow them in flight, or I wouldn’t be doing my job,’ Soderbergh stated. Predicting how long it will take to find equilibrium with AI technology remains uncertain. He believes departments within filmmaking will develop unique responses, much like individual creative relationships with AI. A simple solution for all seems improbable.
Despite the technological elements, the film’s core conversation remains profoundly inspiring. Soderbergh highlighted Lennon’s intent to dismantle the male rock star myth at a time when few considered it. Lennon’s lifelong truthfulness and constructiveness serve as an inspiration for younger audiences and underscore human potential for improvement.