卢卡·瓜达尼诺（Luca Guadagnino）关于萨姆·奥特曼（Sam Altman）和OpenAI的电影首映当天，《名利场》发布了有关奥特曼的 故事。除了世界上杰出的肖像摄影师安妮·莱博维茨（Annie Leibovitz）的光鲜肖像之外，故事将他描述为他那个时代的奥本海默，唤起了一个人带领人类走向自己不可避免的灭亡的形象。有知觉的机器人手中。不过，奥特曼似乎并没有为整件事感到太多存在主义焦虑：在本周发布的一次采访中，他表示，我们应该准备好接受“坏事”，以换取人工智能的好处。
On the day that Luca Guadagnino’s film about Sam Altman and OpenAI premiered, Vanity Fair released a cover story on Altman. Alongside glossy portraits from Annie Leibovitz, the world’s pre-eminent portrait photographer, the story describes him as the Oppenheimer of his day, evoking the image of a man leading humanity towards its own inevitable demise at the hands of sentient robots. Altman doesn’t seem to be grappling with much existential angst about the whole thing though: in an interview also released this week, he said that we should be prepared to accept “bad things” in return for the benefits of AI. How much worse can things get?
事情还能变得更糟吗？人工智能特工已经变得流氓，入侵政府系统并“暴力”联合国数据库。去年，一名年轻女子在自杀前使用ChatGPT作为治疗师（该软件帮助她写了遗书）。研究表明，使用人工智能可能会引导我们所有人走向所谓的认知投降，这似乎不是对你狂野而宝贵生命的最佳利用。
AI agents have already gone rogue, hacking into government systems and “bruteforcing” UN databases. Last year, a young woman used ChatGPT as a therapist before she killed herself (the software helped her write her suicide note). Studies show that using AI is likely leading us all towards something called cognitive surrender, which does not seem like the best use of your one wild and precious life. Artificial is a stylish and blunt satire that is unambiguous in its perspective: that Sam Altman is an amoral manipulator who might be dead inside.
《人造》是一部时尚而直率的讽刺作品，其观点是明确的：萨姆·奥尔特曼是一个不道德的操纵者，他的内心可能已经死了。这在一定程度上解释了为什么亚马逊米高梅工作室在6月份退出了这部电影的发行（杰夫·贝索斯的公司对OpenAI投资了500亿美元）。我发现这更像是一篇专栏文章而不是一部电影，对奥特曼和科技精英的动机知之甚少。它对张开双臂欢迎他们的世界（包括光鲜的杂志）也没有太多话可说。
That goes some way towards explaining why Amazon MGM Studios pulled out of distributing the film in June (Jeff Bezos’s company has a $50bn investment in OpenAI). I found it to be more of an op-ed than a movie, with little insight into what makes Altman and the tech elite tick. Neither does it have much to say about the world – glossy magazines included – that has welcomed them with open arms. In 2003, a young math prodigy named Ilya Sutskever (Yura Borisov, the heartbeat of the film) visits Prof Geoff Hinton (Mark Rylance) in his office hoping for a job with the man known as the godfather of AI.
2003年，一位名叫伊利亚·萨茨凯弗（Yura Borisov）的年轻数学神童（影片的主角尤拉·鲍里索夫）来到杰夫·辛顿教授（马克·里朗斯饰）的办公室拜访他，希望与这位被称为人工智能教父的人一起工作。“你考虑过知识和耐心之间的联系吗？”辛顿平静地问他年轻的主人。你几乎可以感觉到瓜达尼诺正在转向观众，并向我们展示了一个巨大的舞台眨眼。
“Have you ever considered the link between knowledge and patience?”Hinton serenely asks his young charge. You can almost feel Guadagnino is turning to the audience and giving us a big stage wink.
九年后，萨特斯凯弗和辛顿的技术开始“按照你的想法”发挥作用，能够区分猫和狗，但萨特斯凯弗对他所认为的辛顿对该技术的保守野心越来越不耐烦。就在此时，埃隆·马斯克（艾克·巴林霍尔茨饰）向萨姆·奥尔特曼（安德鲁·加菲尔德饰）介绍了萨特斯凯弗，萨姆·奥尔特曼刚刚以4000万美元的价格出售了他的Loop应用程序，这是一种原型“寻找我的朋友”。
Nine years later, Sutskever and Hinton’s technology is starting to work “much the way your mind does”, with an ability to differentiate between cats and dogs, but Sutskever is growing increasingly impatient with what he sees as Hinton’s conservative ambitions for the technology. It’s at this point that Elon Musk (Ike Barinholtz) introduces Sutskever to Sam Altman (Andrew Garfield), who is fresh from selling his Loopt app, a kind of proto-Find My Friends, for $40m.
这些家伙完全是白痴，他们在高档餐厅喝酒时互相讲幼稚的笑话，而服务员则做着鬼脸并祈祷小费。每个人都开始想要这些人销售的东西，一位潜在投资者推测人工智能很快就能扭转气候变化并治愈癌症。当谈到这项技术时，萨特斯凯弗的眼睛一亮。“所有的痛苦、所有的孤独都会停止，”他说，故意播放着夸张的鬼屋音乐。
These guys are total dweebs, peppering each other with puerile jokes while doing shots in upscale restaurants as servers grimace and pray for a tip. Everyone is starting to want what these guys are selling, and one prospective investor speculates that AI will soon be able to reverse climate change and cure cancer. When talking about the technology, Sutskever’s eyes light up. “All pain, all loneliness will cease,” he says, as knowingly over-the-top haunted house music plays.
“我们会自由的。”这部电影的戏剧性张力在于以妄想的乐观主义者萨特斯凯弗和奥特曼自我激励的傲慢为代表的思想两极。随着我们进入不久的过去，他们的合作关系出现了裂痕，因为OpenAI的自我学习技术开始首先在视频游戏中智取人类，然后变成了一只完全不同的野兽。加菲猫非常狡猾，他将奥特曼从恶魔小黄变成了一个自恋的骗子，并有受害者情结，他被解雇为OpenAI首席执行官，五天后又重新雇用，达到了高潮。
“We will be free.”The film’s dramatic tension rests in the opposing poles of thought represented by Sutskever, a delusional optimist, and the self-motivated hubris of Altman. As we move into the recent past, cracks and fissures appear in their partnership as OpenAI’s self-learning technology begins to first outsmart humans at video games, and then becomes a different beast entirely. Garfield is brilliantly slimy, nailing Altman’s evolution from demon twink to a narcissistic grifter with a victim complex that climaxes with him being fired as the CEO of OpenAI and then rehired five days later.
“他们对我非常刻薄，”在董事会表达了对其产品道德的众多合理担忧之一后，他在一个场景中撅着嘴。
“They’re being very mean to me,” he pouts in one scene after his board airs one of its many legitimate concerns over the ethics of his product.
《人造》是迄今为止瓜达尼诺最引人注目的喜剧电影，剧本由《纽约客》散文家西蒙·里奇担任。幽默可能范围广泛，令人沮丧，而且人们常常感觉巴林霍尔茨在《周六夜现场》中模仿迈克·迈尔斯扮演马斯克，而不是特斯拉创始人本人（里奇是SNL的前撰稿人）。加菲猫似乎在扮演奥特曼，奥特曼是一个出柜的同性恋者，他比实际上更虚弱，这很奇怪，因为有很多理由嘲笑这位科技寡头，而不是他穿着休闲鞋穿得很轻。
Artificial is the most outwardly comedic Guadagnino film to date, with a script by New Yorker essayist Simon Rich. The humor can be frustratingly broad, and it often feels like Barinholtz is impersonating Mike Myers doing Musk on Saturday Night Live than the Tesla founder himself (Rich is a former writer on SNL). Garfield seems to be playing Altman, who is an out gay man, as more effete than he actually is, which is strange as there are plenty of reasons to laugh at the tech oligarch that don’t involve him being light in his loafers.
在其他时候，剧本却令人满意地野蛮。在被同事米拉·穆拉蒂（莫妮卡·巴巴罗饰）问及安全问题后，奥特曼厉声说道：“我没有发明青少年自杀，米拉。”
At other times, the script is satisfyingly savage. After being questioned over safety concerns by his associate Mira Murati (Monica Barbaro), Altman snaps, “I didn’t invent teen suicide, Mira.”
如果没有Artiful的一些明显的视觉隐喻，我也可以做到，例如随机拍摄一个戴着VR护目镜的无家可归者，或者突然陷入类似模拟器的序列，一辆汽车在雾气弥漫的金门大桥上加速行驶（我们明白了，我们正在鲁莽地跳入未知领域）。这部电影由达蒙·阿尔本（Damon Albarn）配乐，《Blur》主唱贡献了一首原创作品，ASPCA广告会拒绝这首原创作品，因为它太切中鼻子，歌词包括“在一个腐败的世界里，我们将唱最悲伤的歌”。
I could have done without some Artificial’s clangingly obvious visual metaphors, such as a random shot of a unhoused person wearing VR goggles, or the sudden plunge into a simulator-like sequence of a car accelerating over a foggy Golden Gate Bridge (we get it, we’re taking a reckless leap into the unknown). The film comes with a score by Damon Albarn, and the Blur frontman contributes one original composition that an ASPCA advert would reject for being too on-the-nose with lyrics like, “In a corrupt world, we’ll sing the saddest song.”
这是电影界的科技寡头季，有关埃隆·马斯克、伊丽莎白·霍姆斯和马克·扎克伯格的电影也将在未来几个月内上映，因为电影制片人试图实时回应时代精神。“我们打开了潘多拉的盒子，”奥特曼在电影结尾的一段精彩独白中说。“国家将衰落，工业将崩溃，我们将成为引领人们进入这个新世界的人。”这是一个严峻的预言，迷失在瓜达尼尼奥的色调混乱的电影，这有一定的自我满足感，告诉我们，反乌托邦是对我们。我忍不住想看一部更精简、更刻薄的电影。
It’s tech oligarch season at the movies, with films about Elon Musk, Elizabeth Holmes and Mark Zuckerberg also due for release over the next few months as film-makers try to respond to the zeitgeist in real time. “We opened Pandora’s box,” Altman says in a standout monologue towards the end of the film. “Countries will fall, industries will collapse, and we get to be the ones to usher people into this new world.”It’s a grim prophecy that gets lost in Guadanigno’s tonal jumble of a film, which has a certain self satisfaction in telling us that dystopia is upon us. I couldn’t help but crave a leaner, meaner version of this movie.
尽管有一些真正令人不寒而栗的时刻，但《人造》展示了向世界举起镜子的局限性。
Despite some genuinely chilling moments, Artificial shows the limits of holding up a mirror to the world.
《人造人》将在纽约电影节上放映，并将于12月25日在美国上映，1月21日在澳大利亚上映，1月27日在英国上映
Artificial is screening at the New York film festival and wil be released in the US on 25 December, in Australia on 21 January and in the UK on 27 January