Trump's Film Tariffs, ILM's AI Demo, and Claude's New Integration

0:00We want movies made in America. Again. My first question here. Well, there's a million questions about, yes. What's your first question? In this episode of Denoised, Trump's tariffs hit Hollywood. Ted Talk of the Star Wars team on AI usage. And Claude's new integrations feature. Let's jump into it.

0:19What's up, Addy? Hey, how was your weekend? Good. Went down to San Diego for a tag along to a medical conference with my wife. Medical conference? Like the studio? Felt exactly like that studio episode. or a bunch of doctors talking about medical stuff. And I'm like, I do film stuff. That's cool. I saw Sinners, finally. You did finally see Sinners? On laser projector. Okay. A step up from like a regular projector, I guess. Amazing, beautiful. Yeah. So stylized and just has such a unique flavor. Yeah. Beautiful film. Beautiful film. A lot of vibes, a lot of style. A lot of vibes, a lot of style.

0:53Very fun. I've been listening to the soundtrack a lot too. For sure. It's a great soundtrack. Big story that happened yesterday, last night. Okay. As I was wondering, what are we going to talk about today? This is why we wait. Our president delivered, and there's plenty of stuff to talk about today. So last night, and we should probably timestamp this too, because these things change every second. Yes. We're recording this Monday morning, and this came out Sunday night. Trump posted a tweet, or whatever, Truth Social post, that he wants to put a 100 % tariff on films not shot in the US. Movie industry is dying.

1:26That's actually a very fast. Sistiquishly good. That's a better impression than I thought.

1:34Well, unknown talent from Addy. Yeah. So let's unpack this tariff that may or may not happen. So how did it come about? How did it come about? He tweeted it. Like it's law now. Well, that's, yeah, we'll get into that. He tweeted this last night. He also tweeted that he wanted to reopen Alcatraz as a prison. I saw that. Yeah. So this was in the same Clint Eastwood movie. I was like, dude, if somebody figured out how to escape from there, that's probably not a good idea to reopen that. Sean Connery knew how to escape from there. Oh, yeah. Two people escape from there. There you go. Yeah. I don't want to read the full tweet, but basically he said he was calling out that production has been slowing down in Hollywood, which we have talked about.

2:19Like there is truth to this, obviously. And obviously there's like, yes, support for bringing more production back to the US. There's a concerted effort by other nations and therefore a national security threat that other countries are offering tax incentives to shoot outside of the U.S. I don't understand how film production. I mean, look, I'm from L.A. I would love for stuff to come back here. But how is that a national security threat? I don't know that part. So the thing he said was I am authorizing the Department of Commerce and the United States Trade Representative to immediately begin the process of instituting a 100 percent tariff on any and all movies coming into our country that are produced in foreign lands.

2:53We want movies made in America. Again. My first question here. Well, there's a million questions about, yes. What's your first question? Okay, so for me, the people, the companies that are making movies in foreign lands are American companies. For the most part, yeah. It's Disney, Netflix, Amazon. The movie industry, or the entertainment industry is one of America's biggest exports. Yeah, culturally. Yeah, not even culturally, just financially. Like the products, maybe they're shot somewhere else, but the products are American companies produced here. For sure. And exported to other countries.

3:25Yeah. It's a big export from us. Yeah, so financially, you don't want to tamper with that cash flow, right? Ultimately, if production is made overseas, it's just like a car. A car is made somewhere else. It's made cheaper. But then if an American company is then able to sell that car to other countries, it is profiting from it. So just taking, sorry, Netflix, easy example. if Netflix makes a movie in Thailand that is you know just done for two million dollars versus like 15 million here in the U.S. they're able to then use that to stream to all the other regions they're in you know stream it to Africa stream it to Europe stream it to America and get a far better ROI from that so why stop that right I mean every company is incentivized to make the product at the lowest cost possible.

4:16Yes. Yeah. It's like business 101. Right. Look, I mean, like a lot of the stuff he says, it's like, yes, there's grains of truth or like, yeah, I agree with that. Yeah. I just don't really think that's the best way to go about that. This is very much the stick instead of carrots. Yeah. I'm just happy that this sort of made it up to the very highest of the federal level because, you know, at a local level, state level, yeah, we've talked about California's attempt to bring some of it back. And then I just saw somebody from London post on LinkedIn that we got to stop moving BBC from filming in other locations because BBC is a British company.

4:54It's like it's happening everywhere. Right. Everyone is just looking like, where can you produce for the least amount of money? And the tax incentives are one thing. I mean, labor cost is another thing. I mean, that's why in some of the articles coming out, too, that's why a lot of productions are happening in like Eastern Europe. Just labor cost is less. And also, it's far easier now to make movies. We talk about decentralization and cloud infrastructure, the democratization of high-end gear, cinematic gear that's now fairly cheaply available. Like, all you need are the people that can use it to make a movie.

5:24There are multiple levels. At first, like, I don't think, obviously, I don't really think this is, like, actually going to come to pass in its fashion. Also, as, like, a lot of these policies, it's sort of tweeted first and then figured out later, possibly. So there was a clarification from the White House this morning, Monday, that they're figuring it out and no final decisions have been made. Yeah. So, yeah, TBD. If, let's say, there was a tariff on something, movies are a service. And also, he said movies, but is this movies? Is this TV series? as well is it if just the production happens if the production and the post-production happen is it like like there are so many variables to this if this actually came to pass or if there was some tariff on some fashion like how would you enforce this or like what's the threshold of what would be considered you would need tariffable taxable so the ironic thing here and the same with other tariffs is like to just enforce and structure all this legally and go execute it you need to hire a ton of people which itself is going to cost a lot of money and these people have to be very specialized i mean the film industry is very specialized trade so you're spending you know millions billions of dollars to enforce this thing like it just he's all he's already backtracked on the other tariffs yeah which yeah this brings me back to neb when like the nab talk was tariffs on import tariffs right because a lot of companies kept having to like bounce around their prices because based on what they thought the import tariffs would be and then turns out the import tariffs are i think they're on a pause now yes and then he's also allowing some companies to like punch through like apple like apple now have doesn't have to pay tariffs no matter what right right so like this week yes this is just swiss cheese man yeah i mean another another picture too it's like how do you so there were talk there was talk about okay if this like actually happened now you know with some movie coming out very soon like mission impossible would that be subject to tariffs i feel like well probably not and that's probably soon yeah and that's a that's a paramount film that like paramount's down the street from here that's a california-based company i'm pretty sure they're california-based right but they're shot all over the world yeah like possibly for taxes and also that's the movie the movie is international like globetrotting blockbuster films.

7:44So they shoot all over the world and pride themselves in filming on location and as practical as possible. The overall health of the film industry really depends on the spreading and the globalization of filmmaking. I think as much as it sucks for LA and London, certain places where they're seeing an eviction of production, in general, it's really good for the entire industry because that's how the next generation of filmmakers are being trained and coming up and the overall volume of quality content will increase over time it'll also polish the technologies like it'll force competitors to build for a decentralized world it's just the path that we're going down on and i believe for better or worse this is the path to the future of film industry that is going to be around it decentralized global global like Like you can, you don't have to think about figuring out a movie within these four walls, like whatever border Trump is drawing up here.

8:46If it makes sense to shoot that thing in Ireland and then that thing in Atlanta and that thing in LA, that's fine. Yeah. I mean, what I'm trying to think of is like, okay, yes, we've been talking, we've all like, we're all support, you know, making it more cost-effective to shoot back in America. Like that's not something that anyone here has really like been against. How would you go about it? you know, I feel like the tariffs are the big stick. So that's not really my favorite way. I don't really think that's going to solve anything. Yeah. You know, you can go the flip side tax incentives. Like, I mean, you could offer tax incentives.

9:14Just offer American productions a 30 % federal rebate on top of the state rebates. Like, that's how you bring it back, you know, and pretty the same thing that other countries are doing. Yeah, so you neutralize it. Exactly. And then production teams like producers, executive producers, line producers, these are very smart people with lots of experience, generally speaking, especially at tier one level, you're talking about the best of the best, right? The people that work at Netflix or Disney or Amazon, they're not making stupid financial decisions. Like everything is down to the pennies and they've optimized for the global landscape already.

9:51So I, you know, putting an artificial wall over sort of free trade, I don't know if this is the right move. And this is certainly not a political show but in film and tv and media and entertainment it just really doesn't make any sense right it yeah i'm just trying to like objectively look at this like that doesn't seem to make the most sense a tax incentive to counteract the other tax incentives if on a federal level because there are no federal right would that even work federally because there's no federal the tax incentives is usually on the sales tax for the state would that even work on a federal level because we don't have a federal sales tax i would imagine the um the department of commerce where i think he mentioned this in this yeah they would have to figure out some type of like uh grant or a grant or the other thing i was thinking of too like which we did have with like the uh nea and um yeah like other programs which i believe are either on hold or gutted or not what they used to be do you remember after the 2008 was it the 2008 financial crisis when the government bailed out the big three Detroit automakers.

10:56Like, people are comparing LA to Detroit now. Why not bail out the big three film studios, you know, and incentivize them to make the movies on American soil? Right. I don't know if they need a bailout. I feel like they just need a better environment to make them more. The bailout was just like a giant loan, right? And I think Ford paid it back, and I'm pretty sure GM paid it back. so like yeah just inject a you know a big boost into the film industry and do it that way if you yeah through some sort of tax right i mean it's tricky the u.s is tricky and i always like have when i explain this like people not from here it's like the u.s is really kind of like 50 like many countries yeah united together and all the every state has their own tax setup and incentives and there's like a limit to what the federal government can do yeah but yeah grants are i mean i'm sure i'm sure they can think of some other way to offset the tax incentive you would get by going out of the country at a federal level.

11:51Yeah. My guess is like, this is just like the tweet of the day and it'll probably just go nowhere. But it's funny that one of our beloved actors, Jon Voight, is caught up in it. Yeah. So, I mean, this seems to be the backstory of how this even came to be. Jon Voight, who is on the special ambassador to Hollywood program, which was him, Mel Gibson, and Sylvester Stallone. That's right. But it seems like just Jon Voight was at Mar lago this past weekend and presumably that is why trump how this came up and why trump tweeted about uh bringing movie production back to the u.s yeah i mean i'm kind of glad in a way that he was able to escalate it to the most powerful person on the planet arguably so like that's good like yeah you know what you and i have been talking about for months uh is finally uh to the ear of the president but it'll all come down to like does it turn into an actionable plan and does the actionable plan actually help us my prediction is sarandos eiger zaslav yeah gonna phone up trump or make a visit over there and be like appreciate the sentiment not the way to go about it yeah but tell you what like you know we have this mar the next marvel film whatever we're gonna be shooting in london yeah we'll shoot it back in atlanta trump can you know tweet out you know move this production back here claim victory part of the deal and then the tariff thing fades away and everyone forgets about it.

13:16Don't forget to throw AI into the mix just to make things more complex. Yeah. As Trump tweets out a picture of him as a Sith Lord on May the 4th. You see that picture? No. I thought you were joking. No. From the official White House Twitter account, which means it is an official federal document. Is it AI generated? Yeah, for sure. For sure. Once you see how ripped the body is, you will know to say I generated. What a world we live in where the official White House account uses generative AI. I just think years from now, because I've done, you know, I do documentary stuff and I've done like deep research and I've gone to presidential archives and you like look through the folders and the memos and the documents saved, you know, because they have to save all the, they're supposed to save all the documents because they're part of the federal record.

14:07And I'm just thinking like in, you know, 20, 30, now is it 30 years in the future now, people researching the trump presidency yeah and going through the documents and it's just like what let's talk about a more local more relevant uh news on the film industry la film right because also bringing production back to america important but that could be that could have to go back to vegas or atlanta or yeah a number of other american cities that are not la but i mean it's still team america like it's still here still good obviously i'm sure team america yes go but also we've been talking about la specifically i know yeah it's so painful to just see the eviction of la productions if you will uh so yeah what did you see there was a some uh yeah recent updates with the city it kind of got slept on there is a organization called stay la uh their whole sort of motto is just trying to bring productions back and keep them here so you know there's another organization called film la which does all the on location permits and stuff like you'll see a film it's a That's a government agency, right?

15:11I think it's a city agency. Like a city agent. Yeah. Yeah, they handle all the permitting and stuff. Yeah. So Film LA reported that year over year, 24 to 25, I think something like 37%, something like that. Like a massive drop. Drop in permits and production days in LA. Just like a global drop in LA production. So Stay LA went up to the Capitol and then also City Council. and they are now they have now passed what they're calling a streamlining of la production so i guess over time and you know we've been making movies here for over 100 years little bits of rules and regulations have been added to how you can make a film to the point where it's just so bureaucratically complex and heavy and there's so much red tape that it's just easier to go overseas where there There are no rules, right?

16:04Or get out of LA. Yeah, get out of LA. Yeah. So like a place like Texas, who is vying for all the LA productions, right? And it's a very Republican red state. So they're going to have almost no regulations, my guess. Or also just no costs. I mean, in a few very small productions that I produced here and wanted to kind of just keep everything clean and get a permit. But it was like, these were like 10, 15 person crews, like pretty small, very low footprint. There is no, like the LA permitting office has not really kept up with the realities of smaller crews and just the different levels of like how you can shoot something.

16:44And so it was just the flat out rate to get a permit was like$1 ,000. Right. And it was just like crazy. Like I remember even in Miami, as long as you show proof of insurance and stuff, they want you to shoot there. It was free to get a permit. you just have to show proof of insurance which you know that's that makes sense yeah you know here it's like it was very much geared for large-scale productions like where's your base camp going to be where is like this going to be and it's like it there but the flip side was like if you were doing a still photo shoot the permit was like 50 what and it's like it's like we literally will have less people than like a large-scale magazine photo shoot and it just has not kept up with the times of the reality of of different types of productions different scales Not every film shoot requires grip trucks and generators and everything you may have had in the 90s or early 2000s.

17:35For sure. It just goes to show how bloated things got. And if you combine that at a city level with the update and the upgrade to our budget ceiling for tax incentives, which is now, I think, just shy of a billion dollars. I think it's like$800 million, something like that. Yeah, the California up. So like that also kind of sort of helps, like at least it's in the right direction. It's clearly not as competitive as other places and other places don't even have caps. Right. But it is a step in the right direction. I think the bleeding, if you will, of films going out of L.A. will not stop. We'll only be able to slow it down.

18:16What will really bring it back is not the money. It will be about innovation and talent. So, like, if you want to make an avant-garde film or, like, an auteur film, you want to use the best AI talent, you want to have access to the best, you know, locations or studio facilities, things like that, you'll have to shoot in LA. But if, you know, if you... I mean, what studio would be here that isn't already at Trillith in Atlanta or somewhere else that is bigger and... Yeah, and cheaper. Cheaper and talent. Again, I'm just speculating here, but I think ultimately how we could win on some of this is just having a high power quality.

18:58All the stuff that, you know, can be shot anywhere will go anywhere. But then LA will have to have a certain set of unique LA attributes to keep some of that here. Yeah. If that makes sense. Sort of. Yeah. yeah like uh for for example like uh vp you know um having uh access to the best vp talent in the world and some of the best stages in the world like that'll make sure a lot of those uh at least those sequences get shot here and then same thing maybe the tariffs do go into place and it's too expensive to leave the country but you gotta shoot in another country another bump in vp maybe we get more uh you know gauze and splats gets its uh time to shine it's like someone just send someone to another country scan the plaza that you need to film in and load it up in the vp wall dude trump if you're looking to this is if you need a director of virtual production over there i'm ready to go so yeah maybe that's maybe that's the the seesaw effect of uh or maybe it's nothing or maybe nothing most likely nothing yeah but uh yeah the la the la thing i don't know yeah well only time will tell with the la film stuff and um the permitting hopefully that streamlines or just makes the reality it makes it just easier for yeah content productions i think immediately some some productions will immediately find a good use for it right like as soon as streamlining happens they're gonna do a double take and be like wait a minute actually it does make sense in la but most won't most will keep outsourcing and going out to other places it'll definitely funnel a few of them back you know every little bit of bureaucratic efficiency and tax incentives will help yeah yeah for sure and i mean that's how you know that's how a lot of independent films are but a scrounge together enough for to to make something possible like something like the brutalist of like tax incentives anywhere i mean it shot out of the country but yeah i'll give you an example of like some of the things that we never think about uh i heard this could be a rumor, but I heard the whole reason ILM put up a stage in Manhattan Beach and not in the Disney lot here in Burbank is because Jon Favreau lives on the west side and didn't want to drive too far, right?

21:16So... Completely understandable. I understand that. You're living in LA, you get it, right? But somebody outside are like, wait, what? It's just the city. It's one city. If I had Jon Favreau's power, I would do the exact same thing. exactly and that stage stayed up for years after the first or second season it just goes to show like some of the things that are keeping productions in la are not on paper it's stuff like this right like end of the day uh most of the a-level talent directors dps actors executives live here i remember like a similar story with what was that fx show with uh timothy oliphant justified justified yeah which takes place like in kentucky but he was like i'm not i'm not living in kentucky for like four months out of the year to shoot so the entire film was shot like in the malibu mountains to double as the kentucky mountains yeah that's exactly why yeah when you have a big enough a-lister they could kind of dictate things uh just to segue a little bit one of the big reasons why driving plates is such a big winning use case for vp yes it saves money yes it's easier than putting uh you know real big a-list actors in a car and the whole process set up and yeah yeah it's sure it's easier yeah but it's also kind of limiting right like unless you have a motion plate you're not getting the wheels and if you want like those shots from the studio of like those cinematic shots are like you're not getting that in a vp volume unless you're doing a lot of vfx on top of it yeah having said that the main reason and i mean it blew my mind is just the insurance premium alone of putting two a-list actors on a rig will save you money because you don't you don't need that for vp yeah uh that makes so that could be in the hundreds of thousands that like to put like a like a george colinney in a car or something and insure them on this yeah uh yeah which i think the wolf's driving stuff was all vp all vp yeah yeah yeah makes sense now right makes a lot more sense yeah so like these are things that are not going to be on paper yeah these are those bags of tax incentives the insurance costs these like other extra extra costs that you don't really think is like regular line items when you're trying to budget out like the crew and the rental gear yeah but it adds up and it can make or break especially when we talk about budgets are getting smaller oh by the way where does mel gibson stallone and john voight live here right so like do they all live here pretty sure still live here as much as they okay also mel gibson's next movie is a passion of the christ follow-up which is gonna shoot in italy sure that makes sense i guess is he gonna get tariffed all right i think enough tariff talk next one so every once in a while you and i watch ted talks you see you know incredibly eye-opening things presented really really well polished the people that are usually up on stage just know how to communicate really well ted talks are amazing uh so you have rob brito who is from ilm and also i guess lucasfilm yeah he is the jedi master of visual effects it's interesting i mean they sort of went through a bunch of ilm vfx stuff and then towards the end uh he showed us hey what would it feel like you know just in a very exploratory mood if we did some ai generated content uh well let me show you yeah in the star wars universe yeah so we'll throw it up here on the screen yeah yeah so i mean the video and also if you're listening to this it's sort of a video of just kind of looks like a nature doc of animal single shots of animals reimagined to be through a weird hud yeah with a hud like the star wars binocular scope that you would see in empire strikes back when they're looking through the binoculars and it was the yes little on-screen display so looking through that and looking at single shots of animals that are like that don't exist that don't exist but i mean they look like animals based on earth but like a purple monkey or yeah or like a hippo that is also a whale that's underwater yeah it was like it was like a chulu manatee or something with like tentacle face or something yeah so that was their demo i felt a bit underwhelming me too why did you feel that way the biggest pro thing was the shots were very crisp and looked pretty good yeah as a single shot but it didn't really feel like part of the star wars universe yeah and then it was just it's stuff that we sort of seen ai do we know it could do pretty well could do single shots pretty well yeah it was like a planet earth nature documentary yeah to me it felt like uh like somebody who is messing around with ai the very first time and puts up stuff on linkedin it's just like that basic yeah and it's coming from I mean and then he like clarified after he's like you know this is work in progress stuff and not public so whatever this is is what they're willing to show they're not ready to put uh like a storm trooper up on the screen because Johanna makes AI with IP right I mean yeah I'm curious what's really going on behind the scenes of like what they're pushing and testing and my guess is the ILM VFX pipeline which is legendary and you know clearly academy award-winning and very capable They probably have integrated some type of generated via solution under the hood.

26:33And this is the output of that that you're seeing rather than just like going on runway and generating those animals. Yeah. I mean, the resolution looked very sharp. Right. Like a lot sharper and clearer than most outputs aside from maybe VO2 or Gen 4. Yeah. Like what I've seen off the shelf. For sure. There was no error per se either. Like the fur looked correct and the eye contact to the camera and all that. Yeah. They weren't doing anything crazy. There was just like the animals were standing still, maybe moving their head. And yeah, the shots were nothing that was really pushing the limits of what we know are limitations with AI.

27:07Yeah, if you've been living under a rock and have not been following AI for the last 12 months, you would be very impressed at looking at this. But on the flip side, like people like us who follow AI very closely, have a podcast about it and our peers and our industry friends who use it every day. they're like wait what that's all i mean the one thing about ted talk is like it is a it is sort of i don't know not low word but it's like targeting the kind of the mid mainstream pretty mainstream audience so you know it's just like yeah this is what we develop with ai tools but it's like i want to know it's like what tools did you use exactly you know is this like your own proprietary stuff you're training your models using comfy or are you using the enterprise versions of off-the-shelf stuff yeah runway or like that was just the fox one vo2 right does she partner with fox for this yeah yeah i mean i'm i'm trying to remember i believe there was a was it an nvidia talk there was an ilm like nvidia or aws talk from like a year or two ago and they were doing a lot of training i believe with skies where they were giving a bunch of because they had a bunch of sky plates because they have like they shoot sky plates all the time for like the different alien worlds or just all of their different compositing work or building out scenes.

28:25And I want to say they're doing something where they're training the skies or like giving the like training models on skies to like generate or improve like new skies or different skies. Yeah. I'm sure there's a lot more. I could also be mixing up the exact use case. But I'm sure there are a lot more use cases like that that's going on behind the scenes. Yes. That fits into the existing pipeline, which is a common thing we've talked about here of like AI and the professional workflow is going to be plugged into an existing pipeline to like solve specific elements or speed up things. Goes in line with what you and I always say is like AI is going to solve specific problems.

29:00It's probably not going to be text to image or text to video anytime soon. Yeah. Yeah. So yeah, it's interesting. I mean, kudos to them for at least sort of embracing AI and publicly acknowledging that they're using it like for a prestigious VFX body like them. that's a big deal. Yeah. I mean, I think that probably is the biggest thing from this talk is like a historic, you know, a company like ILM talking about like, yes, we're like, you know, trying to figure out how we can use AI and the workflow. If we draw a straight path, one can only imagine that at some point Star Wars movies will be using AI tools.

29:36For sure. And but I'm sure it's going to be in ways that are like skies or, you know, something like a Bebel where it's like, oh, maybe they actually shot a miniature, but we want to like relight the miniature, you know, using something like a Beeble with a, with a HDRI plate. Yeah. Also, if you're shooting a lot of miniatures, it's really difficult to like model all the little details like windows and stuff and put lights inside the window. So you can just shoot a chunk of plastic. Yeah. And then fill in the details. Or like a video to video transfer or something. Yeah. I think it's going to be stuff like that.

30:09Yeah. Not like, hope so. Give me an, give me an image of a hippo and a whale in the style of Star Wars. one other you know and i'm sure it'll be a blend of stuff because in the talk earlier he was giving he was you know talking about like virtual production and stuff but for like a mainstream audience is like look we shot these with like led walls i think it was in ahsoka there was a scene that he broke down and it was you know the composited background or the background on the led wall with a combination of you know like in real engine or whatever they built it in plates but then the moving robots i don't remember if they're like at walkers or something were he said those were miniatures that were hand and were hand stop motion animated very cool that they composited in with the cg scenes that they then shot you know in an led wall with like the real actors so it's like that's fun literally so many layers of different vfx technology yeah all coming together yep into like a single final shot and i think it's just going to be more extensions of that with AI combined with all the other techniques that are in their toolkit.

31:11Yeah. The big VFX houses in the world, like you have your ILM, you have Weta, you have Framestore, and there's just like a couple more that I'm blanking on. Like, I would be curious to see where each one of them is at with introducing AI and publicly talking about AI as a very beginning. Yeah. I mean, yeah. So kudos to them for like, you know, acknowledging and announcing it because I feel like there There is so much initial backlash of just mentioning AI and being like, ah, AI slop. Yes. Destroying things. It's, it's, I mean, AI is a. If I place myself in their shoes, it is, it is a difficult job of like being technologists.

31:52Of course, you're going to gravitate towards the best tool for the job. But at the same time, like the ethical challenges are so murky, you know. But that reminds me of the last episode of the studio. Yes. Do you want to talk about that? We can mention it. yeah i mean you i know we alluded to it last clip but yeah the clip going around online was a ice cube uh you know finding out ai is being used in the kool-aid movie and then be like fai the scene that those stood out for me more and felt more like hitting close to home was the scene before that when seth rogan was talking to the the writer director and he's like well you know we have some extra like animation we have to do but you know we could have this company that could use AI.

32:34It was like very whispered. Yeah. Yeah. And he's like, oh really? He's like, yeah, yeah. But it's like, it's just eyebrows and stuff. Yeah. It's like, it's like just to tweak the eyebrows and things. It's like, oh, it's eyebrows. Who cares? Okay. Sure. Right. That feels more representative of comments and stuff around AI stuff. You know, it's always in like, well, you know, it's just like minor things and it's in whispers. And I love how it got out and it's on Reddit. Like that's something that totally happened. Yeah. I heard you using AI. The Kool-Aid is AI. And then, yeah, and then it blows up and gets taken out of context.

33:04That whole thing feels like it encapsulates the entire AI discourse in movie making. And it just goes to show how good of a show and how relevant and timely it is. Yeah. Like it's capturing our industry in this moment so well. All right. Speaking of AI. Yeah. Last story. Yeah. So there's a new update from Anthropic, which makes Claude. They are announcing integrations, a new way to connect your apps and tools to Claude. so the first question is how is this different from the thing we just talked about a week or two ago context protocol exactly yes mcp and so it seems like integrations is if you are a company you build the integration like following their plan so basically it's a more structured data way to integrate with clod that you would have to build the integration on your end to connect with Claude.

33:54The MCP is using sort of like a virtual computer to interact with the website or whatever. So like, in theory, the cool thing about the MCP is you don't, you could use it with like any website because it's like the Claude is using the website like as a user. Yeah, it kind of jacks into the browser, I guess. Yeah, but it's like using the web browser interface. Integrations, I think is more like an API where it doesn't need to like fake being a computer user. it just kind of like taps into your data. Yeah. And then you could do interesting things with it, sort of tying into the agentic AI future that we've been talking about.

34:28Does it take over your, like, can you have, in the same way a ChatGPT's agent has it, like, does it order plane tickets for you? I mean, I think that would be if Expedia or Kai builds an integration or builds an integration that works with Claude. I feel like we're so close with just having so much automation at the tip of our fingertips, you know? And connecting the tool. Like, I think this is like one of the like, kind of not missing, well, it has been missing piece, but like a step in the right direction to have all of these, you know, AI models, which are all getting very good and smart and understanding things, but actually having them connect to the apps and programs that we use every day so that they can actually have utilization and purpose.

35:12Yeah, for sure. Yeah. Right now it's a lot of like copy and pasting, or it's like, you know, for a mind, like, tell me how to do this thing. And then, you know, I have to go like do it right if it just connects directly to Google Docs is a good one because it's like, well, if all my data is there, you know, get fine, you know, look, find this document or. Yeah. One of the things that I always struggle with in Excel is like formatting the spreadsheet and then adding formulas and things like that. Some people are just really good at it and I'm not. It would be nice to have Anthropic directly plug into that.

35:42And then I just tell it what to do. Yeah, I've been I mean, this is, again, another copy paste deal but like yeah it i've used it to write you know i explain like i need a formula that does this this and this and then it'll do it but then i still have to like plug it in and like swap the cells to make it match the correct name right but it does work really well for like especially like time and date stuff yeah like that's like so i know complicated the way you have to format it to get it to work so like yeah i did find that um chat gpt was very good at formatting uh creating formulas that you know calculate time and date stuff that i needed but then it was still like a little bit of figuring it out.