Okay, I’m slightly less mad about that ‘Magnificent Ambersons’ AI project

A startup's bold initiative to use generative AI for reconstructing lost footage from Orson Welles’ iconic film, "The Magnificent Ambersons," has sparked a mix of skepticism and intrigue. Initially met with doubt, the project, led by Fable and its founder Edward Saatchi, is now gaining a deeper understanding following an in-depth profile in the New Yorker by Michael Schulman. Saatchi's passion for Welles and his work is apparent. Growing up in a household steeped in film appreciation, he first encountered "Ambersons" at the age of twelve, and his admiration for the film has only intensified over the years. While "Ambersons" may not have achieved the same fame as Welles' earlier masterpiece, "Citizen Kane," it holds a unique allure. Welles himself regarded it as a superior work, lamenting the studio's decision to cut 43 minutes from the film and impose an unsatisfactory happy ending, ultimately leading to the destruction of the original footage. Describing the quest to restore this lost cinema as the "holy grail," Saatchi expressed a deep-rooted belief that it should be possible to rectify past mistakes. Collaborating with filmmaker Brian Rose, who has long sought to animate scenes based on the movie's script and photographs, Fable aims to employ cutting-edge technology. Their approach involves filming live-action scenes and subsequently integrating digital recreations of the original cast and their voices—a more sophisticated effort compared to Rose's earlier work. Despite the ambitious vision, challenges abound. The startup has acknowledged issues such as awkward visual anomalies, including a two-headed version of actor Joseph Cotten. Additionally, the subjective task of replicating Welles' signature lighting and shadowing remains a significant hurdle. Saatchi noted the peculiar problem of AI-generated expressions, which tend to portray female characters inappropriately cheerful. As for the project's future, Saatchi conceded it was a misstep not to consult Welles' estate prior to the announcement. Since then, he has been engaging with both the estate and Warner Bros., the rights holder of the film. Beatrice Welles, Welles' daughter, while initially doubtful, has expressed optimism that the project is being approached with the utmost respect for her father's legacy. Simon Callow, a renowned actor and biographer currently penning a comprehensive Welles biography, has also agreed to lend his expertise to the endeavor, calling it a "great idea." However, not all voices are in favor of the project. Melissa Galt, daughter of actress Anne Baxter, articulated her concerns, emphasizing that her mother would have disapproved of such reinterpretations. Galt described the effort as a distortion of original truth, highlighting the purist values held by her mother. While I find myself more open to Saatchi's intentions, I resonate with Galt's sentiment. Ultimately, this venture may serve as a fascinating experiment—a glimpse into an alternate version of the film. Yet, it is essential to remember that some artistic losses are irrevocable. In this context, the drive to "undo" the past can come across as naive, reminiscent of a desire to evade the inevitability of loss that defines the human experience. In the realm of art, it is often the acknowledgment of mortality that gives depth to creativity.