2014: Postmortem

Posted in film, meta on October 20th, 2015 by Samuel Kenyon

Oh no! I forgot to post a personal postmortem 1 for the year 2014 like I did for the previous year! Oh well, here it is ten months late.

What Went Right

  • Started a new day job at a biotech company called GnuBIO, now the skunkworks division of Bio-Rad. Essentially I write robotics code for microfluidics inventions that will ultimately contribute to human health improvement via diagnostics.
  • Made a short film based on my screenplay Enough to be Dangerous.
  • Got married to Emily. On Halloween. Proposal happened…on April Fool’s Day.
  • Visited Istanbul, Turkey.
  • Visited Philadelphia, including the Mütter Museum.
  • Moved to a smaller but better located apartment in Cambridge.
wedding dance to dubstep

wedding dance to dubstep

 

Istanbul

Istanbul

We had a few drinks with AI researcher Eray Özkural in Istanbul:

Eray Özkural, Samuel H. Kenyon, and Emily Durrant in Istanbul

Eray Özkural, Samuel H. Kenyon, and Emily Durrant in Istanbul

The Movie

I was able to kick my film Enough to be Dangerous into gear fairly quickly once I decided it should be done. Aside from writing and producing it, I also was the lead actor.

Enough to be Dangerous

Enough to be Dangerous

Making a film has all the same problems that a startup company does, although the boundaries between the “company” and the “product” can be different. Particularly in this case, my new company (called at the time “Subterfugue Films” (a horrible portmanteau)), is vaporous and all the resources existed for the “product”, which is the film itself. Recently (in 2015) I renamed my film company to Imaginary Danger Productions.

Enough to be Dangerous was finished under budget, although I went over-budget on film festival costs. It was accepted to various film festivals (see the official page for more info), so it was successful in that regard. I’d love to remake it as a full-length feature, however, as it really is uncomfortably compressed to fit into 35 minutes.

What Went Wrong

Startup

I co-founded a tech company called Glug, but within a few months decided to leave it (the company is now dissolved).

This startup turned out not to be ideal for me for various reasons, so I quit. Also at that time I realized I’d rather put all that startup energy into making my film.

The most important lesson learned is not to invest any money on incorporation or legal fees before you know if the product/company will even launch for real. Another thing I learned is a proposed new tech product should be able to garner followings from hundreds if not a thousand people (e.g. on mailing lists or social networks) even if those first thousand people aren’t the actual early adopters–it’s a crude measure of general interest.

Image Credits
– wedding photo by Tanya Rose

Notes

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The Ideal Film AI

Posted in film on February 18th, 2015 by Samuel Kenyon

This is prompted by Ben Bogart‘s question “What do you consider the most seminal representations of AI in cinema of all time?”

I think the best is yet to come. Ideally an AI (Artificial Intelligence) in a film would have two elements:

  1. The alien aspect: It’s not a human or some other animal (although it can be very similar).
  2. Some connection with humans (or a human), e.g. humanity created them for a job, or this particular human created this particular AI for some reason, etc. This is the difference between the screen character being just another sci-fi alien (extraterrestrial, previously-unknown terrestrial monster, et cetera).
cropped_Automata-crossing-the-river-of-time

Autómata (dir. Gabe Ibáñez)

 

Automata and Tron: Legacy both make meager attempts to show AI emerging and evolving and trying to figure out their own way that’s not quite the same as for humans.

The robot R2D2 (Star Wars) superficially meets these ideals: we know it’s intelligent, yet it doesn’t speak English or get subtitles. Its connection with humans however is not really used in any interesting way in the film (we don’t analyze the slavery of robots in Star Wars …at least I don’t). And if the history stories are true, R2D2 and C3PO are just metal copies of the peasants from Akira Kurosawa’s The Hidden Fortress.

fortress1

The Hidden Fortress (dir. Akira Kurosawa)

 

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