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AI In Music Is Already Here, But Its Lack Of Depth Hits Some Sour Notes – Guest Column
Acclaimed composer Michael Yezerski puts AI to the test with mixed results as the Dangerous Animals veteran details in a Deadline guest column.
Composer Michael Yezerski has taken a hands-on approach to it: The author of the score of the likes of the Oscar-winning short The Last Thing, Blindspotting(the movie and the series), Sean Byrne’s The Devil’s Candy, this year’s Dangerous Animals and the just released Liam Neeson-starring Ice Road: Vengeance put the tech to the test, as he details in a guest column for Deadline. When I write, it’s often the happy accidents, mistakes and weird connections that end up defining the score (like in Dangerous Animals, where we really had to break the mold to find the exact sound for the “shark scream” – a combination of wailing strings, performing a difficult glissando, accompanied by analogue synths). Can an AI spend seven months with a director honing, searching, defining and redefining a sound for their narrative masterwork (not to mention providing emotional support during that time!)?
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