July 18, 2025 • 14 mins
Who else could pull off the animal transformation of one of the world’s biggest rockstars but Wētā FX?
Wētā is well known for its visual effects mastery, and so when Robbie Williams said “make me an ape!”, it’s only natural that they were the ones for the job.
The man responsible for Williams’ simian visage in Better Man was Visual Effects Supervisor Luke Millar, who was nominated for an Oscar for his work.
A visual effects supervisor is responsible for coordinating all the different elements that comprise the visual effects of a production – most of which is invisible in many movies.
He told Jack Tame it’s about balance – everyone always wants more for less, and so being creative and efficient is the name of the game.
When it comes to Better Man, Millar got involved after working on the pre-visualisation work for the musical sequences before shooting began.
“After seeing a couple of those sequences, I read the script, and that was me,” he said.
“I was all in at that point to, to want to take on the challenge.”
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack Team podcast
from News Talk zedb.
Speaker 2 (00:14):
Manja song names such Bound mord Any of you were
Jack Taime on newstalks 'b Who else could pull off
turning one of the world's biggest pop stars into a chimpanzee?
Speaker 3 (00:39):
Who else but Wetter Effects. Weta, of course, is well
known for incredible visual effects and TV and film, and
when megastar Robbie Williams said make me an ape, it
was only natural that Weta were the ones who got
the call. And the man who was responsible for that
incredible transformation in the film Better Man was visual effects
(01:00):
supervisor Luke Miller. He was nominated for an OSCAR for
his work and he joins us this morning. Kilder, Welcome
to the show.
Speaker 4 (01:07):
Thank you, very happy to be here.
Speaker 3 (01:09):
Visual effects supervisor. Does that mean that you're the guy
sitting behind the computer hitting refresh or rendering the images?
Does it mean that you're the guy in front of
the green screen with the funny little balls and a
weird outfit. What is your job?
Speaker 4 (01:24):
Well, typically, a visual effects supervisor is responsible for the
visual effects component of a movie. I think pretty much
these days every movie will have a visual effects component.
Most of it will be invisible, and it's everything from
sort of designing the shots, how to work with the
director to delivery of the final work that will then
(01:48):
go into the film.
Speaker 3 (01:49):
And so is it your job to coordinate all the
different things that encompass visual effect.
Speaker 4 (01:56):
Yeah, to sort of plan how we're going to tackle
the work, what the best way to do it is, yeah,
how to make sure things are efficient, and then also
presenting that work back to the director.
Speaker 3 (02:07):
So theoretically, if I was making a film about a
meteor blazing towards Earth that was going to destroy the
entire planet, and I came to you and said, right,
what is the best way to do this? What is
the best way to render this image on the big screen?
Would it be your job to say, Well, we could
do it by say, getting a basketball in front of
a green screen and putting it putting it across the screen,
(02:30):
or we could use this kind of sophisticated computing in
order to make that image from scratch like it. Would
it be your call to decide how best to make it?
Speaker 4 (02:40):
Yeah, exactly, I'll be talking you out of the basketball
green screen plan for starters, and just yes saying Okay,
if we want to produce a shot like that, this
will be the best way to do it. And obviously,
you know you've got making the shots themselves, but also
the cast and everyone else involved and how they integrate
with the media, and so it's sort of just trying
to plan out how to get the best, most realistic
(03:01):
looking results with all of those different variables.
Speaker 3 (03:05):
In bold how much money are variable.
Speaker 4 (03:08):
That's a huge variable, always the main one. Everyone wants.
Everyone wants more for less, So being creative and efficient
is always the name of the game. But yeah, also
making sure that you're fulfilling the vision of the director.
Speaker 3 (03:26):
So for example, to use the media or example, once again,
if I came to you and I said, I want
to have a perfectly realistic media you're coming to earth,
but I've got five grand to do it, you'd be like, right,
I know, I know a green screen and we've got
some fishing line. Whereas if I said, you know, not
not money is no object, but perhaps I've got a
I've got a Hollywood blockbuster kind of budget at my fingertips,
(03:48):
then you might have a completely different approach.
Speaker 4 (03:51):
Yeah, I mean the approach might be similar, but it
might be the way in which we frame the shots.
For example, you know, like an epic wide of the
media crashing through space is obviously going to have a
lot of components to it. But then you can sort
of you know, push in, get closer to the media
and not the whole media. You know, there's always solutions
to the visual problem that you're trying to solve, but
(04:12):
you don't necessarily some can have more cost of implications
than others, so you know, it's always about finding the
right balance.
Speaker 3 (04:20):
You've been working in the industry for a few years now,
but how does one get to a point where you
know what the best solution is?
Speaker 4 (04:27):
I think the best solution is always changing. You know,
technology has been advancing at a rate of knots for
many years throughout my whole career, and the things that
we used to be able to do twenty years ago,
you know, would take like, you know, nothing to do now,
and also what audiences want as well, Like, there's definitely
a very big onus at the moment on practical and
(04:49):
integrating with that kind of practical component. So what does
that mean? Think, well, there's always a physical component to
most of the work that we do. Right, we go
onto move sets. There are actors, there's sets, there's locations.
There's the special effects team, which are the people who
actually make things explode, you know, on set, and our
(05:11):
work invariably dovetails into everything that they do. And so
you know, the kind of in the work between all
of the tangible work that say, goes into a movie
and the digital stuff which we're responsible for.
Speaker 3 (05:29):
Right, So that's interesting that audience is kind of what
you're saying, is they actually value more real stuff today.
Do you think do you think is that because the
unreal for one of a better term, or digitized, you know,
forms of storytelling have become much more ubiquitous and much
more available. Actually people are kind of thirsting for stuff
(05:49):
that's more grounded in reality.
Speaker 4 (05:52):
I think people just really enjoy it when there's something
that you can physically touch, you know, like you can see.
I don't think it really actually makes that much difference
to the enjoyment of the movie, especially if the work
is seemless. I think most of the time people don't know.
But I think when there's when you can sort of
you know, see it behind the scene shot and see
that this castle actually existed, and you can go visit it.
(06:14):
You know, it's the same reason why places like Hobbiton
are so popular to go and visit now, because they're there.
You know, you can see them, you can walk up
to the doors, and if they only ever existed as
a digital thing, then you don't you sort of lose
that connection a little bit with it. So, you know,
I think for a long time, more and more digital
work was being used, and I think that's been sort
of slowly, sort of pared back in collaboration with all
(06:38):
the practical work so that you do get the best
of both worlds.
Speaker 3 (06:42):
You said that most of the time people watching movies
don't notice, and you said earlier that good visual effects
are usually invisible, but they might be invisible to someone
like me. What's it like for you going to the
movies and watching someone else's work. Do you find yourself
constantly critiquing the visual effects?
Speaker 4 (06:59):
I yeah, it depends like it depends on the movie.
And I always think this is a testament to how
good the film is. Is if I'm sitting there totally
engrossed in the story and the work is flying by
and I haven't paid any attention to it, then I
know it's a great film. If I'm sitting there studying
the work that's been done, then obviously it's not got
my attention.
Speaker 2 (07:19):
Yeah.
Speaker 3 (07:19):
Yeah, but it must happen sometimes, and you must have
a much more discerning eye for it than you know,
the average punter going along to the movies.
Speaker 4 (07:26):
Oh absolutely, Yeah. There's certain films which I you know,
I just haven't been able to watch properly, and in
particular ones that I've worked on as well. You know,
that's the most impossible thing to watch objectively. You just
end up looking at the things that you wish you'd done.
Speaker 2 (07:38):
You know.
Speaker 3 (07:39):
It does it change when it's on a big screen
as well? Like there what you know, if you're looking
at something in an edit suite and maybe you've got
a couple of computer monitors, well you can I'm just
imagining here that it might be easier to look at
a tiny blemish or something that's not quite perfect and say, oh,
well that's not that noticeable. But then when you put
it up on a screen that's sixty feet across, it's
kind of a different experience.
Speaker 4 (08:01):
Yeah, I mean we do, we do actually view stuff
throughout the whole process, and pretty big screens for this reason,
and but one thing. When we finish touching the work,
you know it hasn't had the final color adjustments done
to it. The sound isn't there yet. There's still a
lot more that happens afterwards, and so you know, when
you actually see the work in the context of the
(08:21):
film and not looping over on repeat, you know, you
see it fly by. With all of the additional work
that comes from the sound and post production teams. A
lot of things you obsess over didn't actually matter that
much in the end, and sometimes some detail that you
didn't think mattered, you're like, oh, man, more attention to that.
Speaker 3 (08:43):
So tell us, tell us how you got involved with
better Man.
Speaker 4 (08:46):
So we were doing some pre visualization work wedder, which
is typically a process that happens before you shoot. It's
you do. You do it in the computer. It's a
very quick and cost effective way of working out what
your shots look like, the camera angles, what the action
should be, and you can try lots of things out
(09:08):
quite quickly, and so they did. The ten musical sequences
in the movie were all pre visualized before we started shooting,
and it comes very cost heavy to try and do
that on the day when you're actually trying to film,
and so after seeing a couple of those sequences, I
read the script and that was me. I was all
(09:30):
in at that point to want to take on the challenge.
Speaker 3 (09:32):
Because it's such a unique film. I I think I
think most of our audience will will have seen it,
or will at the very least be aware of it.
I just remember when I first saw the trailer and
I was like, hang on, there's an ape. Robbie Williams
is being played by an ape. Said it was kind
of like a second take. Did you have the same experience.
Speaker 4 (09:53):
No, I mean I grew up in the nineties and
I was around Robbie's career the whole time. I'm very
familiar with the backdrop of which the movie takes place
and him as a character, and it just it was
just a natural fit. The other thing I find with
a lot of musical biopics is they typically cast an
actor who looks similar, or they make them look similar
(10:14):
through hair and makeup, but they're never quite there. There
was like, you know, like a very close replica of
that person, and sometimes it can actually bump you out
of the film a little bit. By making Robbie an
ape in the film.
Speaker 3 (10:28):
You continue get a practice.
Speaker 1 (10:31):
Yeah.
Speaker 4 (10:31):
I mean we were very faithful to the costumes that
he wore, the hairstars that he had. You know, everything
is anchored in reality, but the actual physical look of
Robbie is very removed from the real Robbie.
Speaker 3 (10:46):
It's such a good point. I'm speaking with Luke Miller
from Weta Effects about his job and specifically about his
role on the Robbie Williams biopic Better Man. There's that
one scene I've got to ask you about the scene
for Rock DJ. So we've got the numbers here, five
three hundred and thirty four frames, five digital costume chat,
(11:06):
fifty dancers, all filmed on location on Regent Street. I
think it seems like three and a half minutes long.
How did you go about a challenge like that?
Speaker 4 (11:15):
I was going to say, I think it's five hundred
dances we had.
Speaker 3 (11:18):
And five hundred okay, Yeah.
Speaker 4 (11:22):
So we'd obviously planned out meticulously where we were going
to go, we'd pre visualize the whole move, we'd figured
out where we could actually physically move a camera down
the street, and we rehearsed for four days straight in
a sort of aircraft hangar. It is the only place
that was big enough that we could sort of tape
(11:42):
out Regent Street on the floor to practice where everyone
needed to be. And then we shot for four nights
straight in doing the different sections. And you know, there's
so so many variables in a shot like that. You know,
there's certain things like one example is the pogo sticks
the boys take. That boys all had to learn how
(12:05):
to pogo stick in sync to the music at a
particular time, and that stuff can't be can't be fixed
after the fact in post. That has to happen on
the street in front of the camera. And so it
was very typical for every single night for us to
do over forty takes for each section to be able
to then stitch it together to make the oner.
Speaker 3 (12:28):
It's just like a fantastical logistical operation, but it's just
all of these different kind of components and dynamics that
you have to somehow coordinate to pull off something like
that is kind of extraordinary, but pull it off. You did.
Congratulations on your Oscar nomination this year.
Speaker 1 (12:45):
How was that?
Speaker 4 (12:47):
Oh, that was an incredible experience. I was, you know,
Better Man was definitely one of the outside movies. I
think in the in the race and you know, it
was very It was very proud and a humbling moment
for on that stage one and represent all the work
(13:10):
that all the artists, production everyone had put into it.
Obviously I would have loved to have gone one step
further and of won, but you know, even even just
getting nominated was incredible.
Speaker 3 (13:21):
Yeah, yeah, it's amazing. So where do you see the
kind of field going? Are we heading towards a world
where you can just go to a computer and type
and a prompt and basically it'll have the perfect meeting
or crashing towards Earth?
Speaker 4 (13:34):
I think that will There is a possibility that that
world exists. But the problem is is that you still
need to tell stories. And you know, one thing I
find especially with AI, is it can only draw on
what exists in the world up unto that point, right,
It can't come up with new ideas, and so you
still need people to tell come up with stories, and
(13:59):
to tell real ideas. I mean, I think one area
it's grateful is sort of doing some of the menial
tasks than the visual effects space, the stuff which you know,
people get very frustrated with monotonous tasks that you just
do over and over again. Absolutely we'll give that to
the machines. But I think we'll always need human beings
to tell stories.
Speaker 3 (14:19):
Yeah, I hope. So look at such a pleasure to
speak with you. Thank you so much for giving us
your time, and congratulations on the success of better Man.
Speaker 4 (14:27):
Awesome. Thank you Jack.
Speaker 3 (14:28):
That is Luke Miller from Wetter Effects. He was nominated
for an Oscar for his work on better Man. A
visual effects supervisor. Sounds like a hell of a job.
Bay And if you missed out on seeing the Oscar
nominated better Man in Cinema's good news. It's going to
be on Neon from the twenty sixth of July, so
a week today, better Man will hit Neon will have
(14:48):
all the details on the news talks.
Speaker 1 (14:50):
He'd be websites for more from Saturday Morning with Jack Tame.
Listen live to news talks he'd be from nine am Saturday,
or follow the podcast on iHeartRadio.
You're listening to the Saturday Morning with Jack Team podcast
from News Talk zedb.
Speaker 2 (00:14):
Manja song names such Bound mord Any of you were
Jack Taime on newstalks 'b Who else could pull off
turning one of the world's biggest pop stars into a chimpanzee?
Speaker 3 (00:39):
Who else but Wetter Effects. Weta, of course, is well
known for incredible visual effects and TV and film, and
when megastar Robbie Williams said make me an ape, it
was only natural that Weta were the ones who got
the call. And the man who was responsible for that
incredible transformation in the film Better Man was visual effects
(01:00):
supervisor Luke Miller. He was nominated for an OSCAR for
his work and he joins us this morning. Kilder, Welcome
to the show.
Speaker 4 (01:07):
Thank you, very happy to be here.
Speaker 3 (01:09):
Visual effects supervisor. Does that mean that you're the guy
sitting behind the computer hitting refresh or rendering the images?
Does it mean that you're the guy in front of
the green screen with the funny little balls and a
weird outfit. What is your job?
Speaker 4 (01:24):
Well, typically, a visual effects supervisor is responsible for the
visual effects component of a movie. I think pretty much
these days every movie will have a visual effects component.
Most of it will be invisible, and it's everything from
sort of designing the shots, how to work with the
director to delivery of the final work that will then
(01:48):
go into the film.
Speaker 3 (01:49):
And so is it your job to coordinate all the
different things that encompass visual effect.
Speaker 4 (01:56):
Yeah, to sort of plan how we're going to tackle
the work, what the best way to do it is, yeah,
how to make sure things are efficient, and then also
presenting that work back to the director.
Speaker 3 (02:07):
So theoretically, if I was making a film about a
meteor blazing towards Earth that was going to destroy the
entire planet, and I came to you and said, right,
what is the best way to do this? What is
the best way to render this image on the big screen?
Would it be your job to say, Well, we could
do it by say, getting a basketball in front of
a green screen and putting it putting it across the screen,
(02:30):
or we could use this kind of sophisticated computing in
order to make that image from scratch like it. Would
it be your call to decide how best to make it?
Speaker 4 (02:40):
Yeah, exactly, I'll be talking you out of the basketball
green screen plan for starters, and just yes saying Okay,
if we want to produce a shot like that, this
will be the best way to do it. And obviously,
you know you've got making the shots themselves, but also
the cast and everyone else involved and how they integrate
with the media, and so it's sort of just trying
to plan out how to get the best, most realistic
(03:01):
looking results with all of those different variables.
Speaker 3 (03:05):
In bold how much money are variable.
Speaker 4 (03:08):
That's a huge variable, always the main one. Everyone wants.
Everyone wants more for less, So being creative and efficient
is always the name of the game. But yeah, also
making sure that you're fulfilling the vision of the director.
Speaker 3 (03:26):
So for example, to use the media or example, once again,
if I came to you and I said, I want
to have a perfectly realistic media you're coming to earth,
but I've got five grand to do it, you'd be like, right,
I know, I know a green screen and we've got
some fishing line. Whereas if I said, you know, not
not money is no object, but perhaps I've got a
I've got a Hollywood blockbuster kind of budget at my fingertips,
(03:48):
then you might have a completely different approach.
Speaker 4 (03:51):
Yeah, I mean the approach might be similar, but it
might be the way in which we frame the shots.
For example, you know, like an epic wide of the
media crashing through space is obviously going to have a
lot of components to it. But then you can sort
of you know, push in, get closer to the media
and not the whole media. You know, there's always solutions
to the visual problem that you're trying to solve, but
(04:12):
you don't necessarily some can have more cost of implications
than others, so you know, it's always about finding the
right balance.
Speaker 3 (04:20):
You've been working in the industry for a few years now,
but how does one get to a point where you
know what the best solution is?
Speaker 4 (04:27):
I think the best solution is always changing. You know,
technology has been advancing at a rate of knots for
many years throughout my whole career, and the things that
we used to be able to do twenty years ago,
you know, would take like, you know, nothing to do now,
and also what audiences want as well, Like, there's definitely
a very big onus at the moment on practical and
(04:49):
integrating with that kind of practical component. So what does
that mean? Think, well, there's always a physical component to
most of the work that we do. Right, we go
onto move sets. There are actors, there's sets, there's locations.
There's the special effects team, which are the people who
actually make things explode, you know, on set, and our
(05:11):
work invariably dovetails into everything that they do. And so
you know, the kind of in the work between all
of the tangible work that say, goes into a movie
and the digital stuff which we're responsible for.
Speaker 3 (05:29):
Right, So that's interesting that audience is kind of what
you're saying, is they actually value more real stuff today.
Do you think do you think is that because the
unreal for one of a better term, or digitized, you know,
forms of storytelling have become much more ubiquitous and much
more available. Actually people are kind of thirsting for stuff
(05:49):
that's more grounded in reality.
Speaker 4 (05:52):
I think people just really enjoy it when there's something
that you can physically touch, you know, like you can see.
I don't think it really actually makes that much difference
to the enjoyment of the movie, especially if the work
is seemless. I think most of the time people don't know.
But I think when there's when you can sort of
you know, see it behind the scene shot and see
that this castle actually existed, and you can go visit it.
(06:14):
You know, it's the same reason why places like Hobbiton
are so popular to go and visit now, because they're there.
You know, you can see them, you can walk up
to the doors, and if they only ever existed as
a digital thing, then you don't you sort of lose
that connection a little bit with it. So, you know,
I think for a long time, more and more digital
work was being used, and I think that's been sort
of slowly, sort of pared back in collaboration with all
(06:38):
the practical work so that you do get the best
of both worlds.
Speaker 3 (06:42):
You said that most of the time people watching movies
don't notice, and you said earlier that good visual effects
are usually invisible, but they might be invisible to someone
like me. What's it like for you going to the
movies and watching someone else's work. Do you find yourself
constantly critiquing the visual effects?
Speaker 4 (06:59):
I yeah, it depends like it depends on the movie.
And I always think this is a testament to how
good the film is. Is if I'm sitting there totally
engrossed in the story and the work is flying by
and I haven't paid any attention to it, then I
know it's a great film. If I'm sitting there studying
the work that's been done, then obviously it's not got
my attention.
Speaker 2 (07:19):
Yeah.
Speaker 3 (07:19):
Yeah, but it must happen sometimes, and you must have
a much more discerning eye for it than you know,
the average punter going along to the movies.
Speaker 4 (07:26):
Oh absolutely, Yeah. There's certain films which I you know,
I just haven't been able to watch properly, and in
particular ones that I've worked on as well. You know,
that's the most impossible thing to watch objectively. You just
end up looking at the things that you wish you'd done.
Speaker 2 (07:38):
You know.
Speaker 3 (07:39):
It does it change when it's on a big screen
as well? Like there what you know, if you're looking
at something in an edit suite and maybe you've got
a couple of computer monitors, well you can I'm just
imagining here that it might be easier to look at
a tiny blemish or something that's not quite perfect and say, oh,
well that's not that noticeable. But then when you put
it up on a screen that's sixty feet across, it's
kind of a different experience.
Speaker 4 (08:01):
Yeah, I mean we do, we do actually view stuff
throughout the whole process, and pretty big screens for this reason,
and but one thing. When we finish touching the work,
you know it hasn't had the final color adjustments done
to it. The sound isn't there yet. There's still a
lot more that happens afterwards, and so you know, when
you actually see the work in the context of the
(08:21):
film and not looping over on repeat, you know, you
see it fly by. With all of the additional work
that comes from the sound and post production teams. A
lot of things you obsess over didn't actually matter that
much in the end, and sometimes some detail that you
didn't think mattered, you're like, oh, man, more attention to that.
Speaker 3 (08:43):
So tell us, tell us how you got involved with
better Man.
Speaker 4 (08:46):
So we were doing some pre visualization work wedder, which
is typically a process that happens before you shoot. It's
you do. You do it in the computer. It's a
very quick and cost effective way of working out what
your shots look like, the camera angles, what the action
should be, and you can try lots of things out
(09:08):
quite quickly, and so they did. The ten musical sequences
in the movie were all pre visualized before we started shooting,
and it comes very cost heavy to try and do
that on the day when you're actually trying to film,
and so after seeing a couple of those sequences, I
read the script and that was me. I was all
(09:30):
in at that point to want to take on the challenge.
Speaker 3 (09:32):
Because it's such a unique film. I I think I
think most of our audience will will have seen it,
or will at the very least be aware of it.
I just remember when I first saw the trailer and
I was like, hang on, there's an ape. Robbie Williams
is being played by an ape. Said it was kind
of like a second take. Did you have the same experience.
Speaker 4 (09:53):
No, I mean I grew up in the nineties and
I was around Robbie's career the whole time. I'm very
familiar with the backdrop of which the movie takes place
and him as a character, and it just it was
just a natural fit. The other thing I find with
a lot of musical biopics is they typically cast an
actor who looks similar, or they make them look similar
(10:14):
through hair and makeup, but they're never quite there. There
was like, you know, like a very close replica of
that person, and sometimes it can actually bump you out
of the film a little bit. By making Robbie an
ape in the film.
Speaker 3 (10:28):
You continue get a practice.
Speaker 1 (10:31):
Yeah.
Speaker 4 (10:31):
I mean we were very faithful to the costumes that
he wore, the hairstars that he had. You know, everything
is anchored in reality, but the actual physical look of
Robbie is very removed from the real Robbie.
Speaker 3 (10:46):
It's such a good point. I'm speaking with Luke Miller
from Weta Effects about his job and specifically about his
role on the Robbie Williams biopic Better Man. There's that
one scene I've got to ask you about the scene
for Rock DJ. So we've got the numbers here, five
three hundred and thirty four frames, five digital costume chat,
(11:06):
fifty dancers, all filmed on location on Regent Street. I
think it seems like three and a half minutes long.
How did you go about a challenge like that?
Speaker 4 (11:15):
I was going to say, I think it's five hundred
dances we had.
Speaker 3 (11:18):
And five hundred okay, Yeah.
Speaker 4 (11:22):
So we'd obviously planned out meticulously where we were going
to go, we'd pre visualize the whole move, we'd figured
out where we could actually physically move a camera down
the street, and we rehearsed for four days straight in
a sort of aircraft hangar. It is the only place
that was big enough that we could sort of tape
(11:42):
out Regent Street on the floor to practice where everyone
needed to be. And then we shot for four nights
straight in doing the different sections. And you know, there's
so so many variables in a shot like that. You know,
there's certain things like one example is the pogo sticks
the boys take. That boys all had to learn how
(12:05):
to pogo stick in sync to the music at a
particular time, and that stuff can't be can't be fixed
after the fact in post. That has to happen on
the street in front of the camera. And so it
was very typical for every single night for us to
do over forty takes for each section to be able
to then stitch it together to make the oner.
Speaker 3 (12:28):
It's just like a fantastical logistical operation, but it's just
all of these different kind of components and dynamics that
you have to somehow coordinate to pull off something like
that is kind of extraordinary, but pull it off. You did.
Congratulations on your Oscar nomination this year.
Speaker 1 (12:45):
How was that?
Speaker 4 (12:47):
Oh, that was an incredible experience. I was, you know,
Better Man was definitely one of the outside movies. I
think in the in the race and you know, it
was very It was very proud and a humbling moment
for on that stage one and represent all the work
(13:10):
that all the artists, production everyone had put into it.
Obviously I would have loved to have gone one step
further and of won, but you know, even even just
getting nominated was incredible.
Speaker 3 (13:21):
Yeah, yeah, it's amazing. So where do you see the
kind of field going? Are we heading towards a world
where you can just go to a computer and type
and a prompt and basically it'll have the perfect meeting
or crashing towards Earth?
Speaker 4 (13:34):
I think that will There is a possibility that that
world exists. But the problem is is that you still
need to tell stories. And you know, one thing I
find especially with AI, is it can only draw on
what exists in the world up unto that point, right,
It can't come up with new ideas, and so you
still need people to tell come up with stories, and
(13:59):
to tell real ideas. I mean, I think one area
it's grateful is sort of doing some of the menial
tasks than the visual effects space, the stuff which you know,
people get very frustrated with monotonous tasks that you just
do over and over again. Absolutely we'll give that to
the machines. But I think we'll always need human beings
to tell stories.
Speaker 3 (14:19):
Yeah, I hope. So look at such a pleasure to
speak with you. Thank you so much for giving us
your time, and congratulations on the success of better Man.
Speaker 4 (14:27):
Awesome. Thank you Jack.
Speaker 3 (14:28):
That is Luke Miller from Wetter Effects. He was nominated
for an Oscar for his work on better Man. A
visual effects supervisor. Sounds like a hell of a job.
Bay And if you missed out on seeing the Oscar
nominated better Man in Cinema's good news. It's going to
be on Neon from the twenty sixth of July, so
a week today, better Man will hit Neon will have
(14:48):
all the details on the news talks.
Speaker 1 (14:50):
He'd be websites for more from Saturday Morning with Jack Tame.
Listen live to news talks he'd be from nine am Saturday,
or follow the podcast on iHeartRadio.
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