{"id":27391,"date":"2026-05-05T02:34:15","date_gmt":"2026-05-05T02:34:15","guid":{"rendered":"https:\/\/www.europesays.com\/ai\/27391\/"},"modified":"2026-05-05T02:34:15","modified_gmt":"2026-05-05T02:34:15","slug":"steven-soderbergh-talks-ai-john-lennon-doc-more","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ai\/27391\/","title":{"rendered":"Steven Soderbergh Talks AI, John Lennon Doc & More"},"content":{"rendered":"

\n\tNot long ago, Steven Soderbergh<\/a> was presented with a singular opportunity: exclusive access to the final interview with John Lennon<\/a>, recorded mere hours before his death, as the foundation for a documentary.<\/p>\n

\n\tNever before released in full, the interview finds Lennon sitting down at home with wife and creative collaborator, Yoko Ono<\/a>, and an RKO Radio team to discuss Double Fantasy, the album he didn\u2019t know would be his last. Candid, reflective and deeply engaged, Lennon and Ono move fluidly between the personal and the philosophical over the course of the conversation \u2014 from partnership and parenthood to their art and hopes for the future.<\/p>\n

\n\tFor Soderbergh, the mission with the doc was clear: to offer the most intimate access possible to two of the world\u2019s great artistic minds. Letting the interview dictate the doc\u2019s structure, he labored to preserve the substance of the conversation while paring it back from its near three-hour runtime.<\/p>\n

\n\tThe greatest challenge would, of course, be figuring out how to elevate an audio-only interview into a cinematic experience. With the support of the Lennon estate, Soderbergh grounded the film in archival material, assembling more than a thousand images that helped tell the story. But that approach could only take him so far. Certain stretches where Lennon and Ono speak in abstract terms \u2014 amounting to 10% of the film\u2019s runtime \u2014 resisted conventional illustration. And it was here, with the support of creative technology and financial partner Meta, that Soderbergh turned to AI<\/a>, experimenting with what he refers to as \u201cthematic surrealism.\u201d<\/p>\n

\n\tOf course, any filmmaker \u2014 particularly of Soderbergh\u2019s stature \u2014 is bound to provoke strong reactions the minute AI enters the conversation. When the director first went public with AI\u2019s role in the project \u2014 titled John Lennon: The Last Interview<\/a> \u2014 some leaped to worst-case assumptions about how the tech might be used.<\/p>\n

\n\tTo Soderbergh, these reactions are understandable, underscoring the need for transparency from artists about how and why they\u2019re utilizing AI. And that\u2019s precisely what he provides in this interview with Deadline \u2014 his first in-depth conversation about the Lennon doc, ahead of its Cannes<\/a> premiere, where he gets into the specific sequences AI enabled, the iterative process by which they were developed, and the creative and ethical framework behind his use of the technology. Soderbergh at the same time reflects on the enduring relevance of Lennon and Ono\u2019s words, the Beatles as a \u201cclinic in creative evolution,\u201d his ambitions of returning to the arena of large-scale event filmmaking, and more.<\/p>\n

\n\tDEADLINE: How did the John Lennon interview come to you? And how did you come around to the idea of building a film around it?<\/p>\n

\n\tSTEVEN SODERBERGH: I got a call from [manager\/producer] Michael Sugar saying that there was the possibility of a documentary being made around this interview that John and Yoko gave the day he was shot. And would I be interested? He\u2019d been contacted by the producer who controlled these rights and I listened to the interview and said yeah. I mean, I didn\u2019t have to think too much. I wanted to make sure that its sonic quality was good, and it is. It\u2019s shockingly good. And also I was curious to hear what they had to say. It was quite a long piece: I think the whole interview is about two hours and 45 minutes. So that was a hell yeah.<\/p>\n

\n\tThe producer, Nancy Saslow, and I started having conversations, and first order of business was, we\u2019ve got to get this interview down to a manageable length. And that was tricky just because it was all interesting. And I wanted to respect the chronology of the conversation because I felt there was a sort of structure and a flow that we needed to respect. So that took a little while, to get the audio cut done. Then, we began to lay in the interviews that we shot of the journalists talking about their experience of being in the room with John and Yoko, their expectations for the interview, and then obviously their descriptions of what happened after. <\/p>\n

\n\tSo now we\u2019ve got it kind of laid out in chapters and we begin to fill in the areas in which John and Yoko are speaking about a specific experience that they had, or a specific piece of music, or a specific person, and layer in archival material over that text \u2014 sometimes stills, sometimes motion, video. Stills are cheaper, so we were leaning towards stills. Because this is all, at this point, being independently financed by some funds that Nancy has gotten together. And we have a version of the movie in which the only holes that remain now are the sections where John and Yoko are talking in abstract philosophical terms.<\/p>\n

\n\tThis comprises about 10% of the entire film, but it\u2019s a real problem because we\u2019ve got to come up with something \u2014 some imagery that enhances what they\u2019re saying, but is metaphorical. So we\u2019re starting to experiment with AI, trying to see if we can build some images that\u2019ll fit alongside this text. I\u2019m trying to articulate ideas that will result in something interesting, and we\u2019re running out of money. <\/p>\n

\n\tSo at this point, Michael Sugar says, \u201cLook, I\u2019ve been doing all this work with brands making content. I think we should have a conversation with Meta because they\u2019re building some video generative tools.\u201d And I said, \u201cFine, let\u2019s talk to them.\u201d They were open and wanted to see the film, so we showed them the film and they said, \u201cWell, this is good timing because we really would like and need a filmmaker to stress test some of these tools that we\u2019re working on. And if you agree to be a test case for us, we will provide the tech and finish the movie.\u201d So I said, \u201cYeah, let\u2019s do that.\u201d And that was kind of the last stage, was building these sequences that have images that are impossible to shoot.<\/p>\n

\n\tDEADLINE: Backing up for a moment \u2014 how would you describe your personal relationship to Lennon, Ono and The Beatles? Beyond the outsized space they occupy generally in music history and the popular imagination.<\/p>\n

\n\tSODERBERGH: The Beatles were an enormous influence. My first words were \u201cYeah, yeah, yeah.\u201d So they\u2019d been a part of my life since I was born. They also, in addition to creating music that I loved, were a real clinic in creative evolution. As interested as I was in the music itself, I was also as interested in the progression of the music through the course of their being together as a group, including the ending where they were trying desperately to get back to something simple that felt like the band when it first got together. They sort of went 360 degrees. And when you look at what happened, for instance, between \u201cShe Loves You\u201d \u2014 my song that made me want to speak \u2014 and three years later, \u201cShe Said She Said,\u201d which is a pretty weird song for a popular band to make, they were pushing the boundaries of what a popular song could be. That was really fascinating to me, and that kind of continual evolution, that restlessness was something that I really wanted to emulate. <\/p>\n

\n\tSo they were influential in two different ways. And then I think for a lot of people, John was someone who just spoke the truth all the time. And that also seemed like something worth emulating. Whether you agreed with him or not, you couldn\u2019t doubt his sincerity in what he was saying. <\/p>\n

\n\tSo I was very concerned that if we were able to convince Sean [Lennon] and Yoko and the estate to cooperate, to let us do this, and to help us make this movie, that we wouldn\u2019t disappoint them. I\u2019m used to self-imposed pressure: I want things to be good, but this was different. This was different than, I\u2019m making a movie for a studio, and I want the studio to be happy with the result. That\u2019s true. But this felt very personal and much more loaded for me, I think for all of us. We didn\u2019t want to let them down.<\/p>\n

\n\tDEADLINE: Did you personally sit down with Sean and Yoko to discuss the project?<\/p>\n

\n\tSODERBERGH: No, we met with Sean and Jonas [Herbsman], who\u2019s in charge of the estate, and described in detail what we were planning to do.<\/p>\n

\n\tDEADLINE: So what did it take to earn their trust in this project, such that they\u2019d open up their incredible trove of music and archival material for your use?<\/p>\n

\n\tSODERBERGH: Honestly, I think they were just trusting us. My resume, Nancy\u2019s resume, Sugar\u2019s imprimatur. I think they liked the creative team, and even though they expressed no interest in being involved creatively\u2026 I had a sense of the sensitivities involved here, especially because Sean is part of the movie. He\u2019s a very important part of the movie, and so I was very anxious that we be accurate. Because Sean is very like John in the sense that he just wants it to be true. He doesn\u2019t present as someone who\u2019s trying to protect anything other than what\u2019s actually true. That\u2019s why I felt the edit of the interview was crucial because I wanted you to get a real range of opinions and emotions. <\/p>\n

\n\tI was really anxious that Yoko get time to speak at length about her experiences, which she does, and she\u2019s really fun to listen to. I think because of the circumstance, this was the first interview of its type that they\u2019d done in many years. It\u2019s in their home, so it\u2019s not public. They feel comfortable; they\u2019re happy. They\u2019re happy with the album; the album\u2019s a success. They\u2019re working on the follow-up. The three journalists have been vetted by David Geffen, and Bert\u00a0Keane, who\u2019s the sort of offscreen fourth person in the room, was connected to Geffen. So John and Yoko are feeling very safe and ready to spill. <\/p>\n

\n\tThat\u2019s what really surprised me about hearing the interview, was how excited they were to talk about everything and anything. You\u2019d think listening to them that they\u2019d never been interviewed before. They had like no filter at all. They\u2019re just riffing. And because of the quality of the recording and where the recording\u2019s taking place, the feeling of it, the prosody is tangible. You can hear the intimacy of the room and the conversation. So again, our job is to come up with visual strategies for each of the chapters so that the movie feels like visually it\u2019s evolving as it goes on, but not in a way that\u2019s distracting, and assist in or enhance this feeling of intimacy, of being in the room with them as much as possible. <\/p>\n

\n\t[The film\u2019s] only been seen by a few people. I\u2019m very curious to have audiences see it because I find the last eight to 10 minutes extremely wrenching. There\u2019s an interesting thing that happens, I realized, when I started watching it end to end: You\u2019re so engaged with what they\u2019re saying, you forget what\u2019s coming. And when you are reminded of that in the last section, I find it very emotional.<\/p>\n

\n\tDEADLINE: What else did you find striking or surprising about what we hear from Lennon and Ono?<\/p>\n

\n\tSODERBERGH: That everything in their lives, one way or another, was motivated by love. For both of them, initially, [of their] art. The love of their art was stronger than anything else in their lives, including the people around them. Then they meet, and it\u2019s a while before they get together. But when they get together, they\u2019ve each found someone that they love as much as they love their art. So what I enjoy about listening to this interview is you understand why they\u2019re together, you understand what a great story it is that they found each other. And that for John, the five years from Sean being born up until the day of this interview were the happiest years of his life.<\/p>\n

\n\tDEADLINE: Let\u2019s talk about the AI of it all. You\u2019ve highlighted the use case \u2014 the creation of surrealist thematic material. But can you walk us through a couple of sequences and illuminate your process a bit?<\/p>\n

\n\tSODERBERGH: First of all, I think obviously, this is a very emotional subject lately. Understandably so. When I think about it though, I try to think about it in two different contexts. There\u2019s the AI that is part of the informational ecosystem of the world and affects things like war and politics and culture. And then there\u2019s the AI that exists in a creative context that is used as a tool, which also can affect culture. Then, within that, there are two ways of using it. There\u2019s a way of using AI in which your intention is to fool somebody or manipulate them, to create an image that you want them to think is real. And then there\u2019s a use, which is what we\u2019re doing in the documentary, where it\u2019s obvious that it is AI and that it is being used essentially in the way that you would use VFX or CGI or any sort of non-photographic technology. And the reason that that turned out to be perfect for us is really exemplified by two sequences that I think I\u2019m not spoiling anything for anybody by talking about.<\/p>\n

\n\tOne is a sequence in which a series of one-year-old babies dressed in \u201960s outfits are bawling their eyes out; it\u2019s a way of comically illustrating something that John is talking about. You can\u2019t shoot that. And even if you did somehow \u2014 you came up with some justification for shooting a bunch of one-year-old babies dressed in tie-dye outfits, crying their eyes out \u2014 even if you did it, if people knew it was real, it wouldn\u2019t be funny. And we were trying to be funny here.<\/p>\n

\n\tAnd the same thing with this other instance where we have these cavemen acting out some of the things that John is discussing when it comes to male behavior. Going out and shooting those images of men dressed up and made up as cavemen doing the things that are in this sequence: not as funny. It\u2019s funnier if you know it\u2019s not real. <\/p>\n

\n\tI think people, when they heard about this project and that I was using AI tech, jumped to the absolute worst conclusion, which is, \u201cHe\u2019s going to try and bring John Lennon back to life.\u201d And all I can say is, have we met? Do I look like somebody that would do that? So it\u2019s a little hard to talk about also because I feel once you\u2019ve seen the movie, you go, \u201cOh, of course.\u201d<\/p>\n

\n\tMy moral obligation to myself and to Sean and Yoko and to the audience is the best version of this film, period. And we were able \u2014 luckily, through good timing \u2014 to get our hands on some tools that I know resulted in the best version of this film. And all I can do in any of these discussions about AI is just be transparent. I mean, that\u2019s got to be rule number one in trying to figure out how to use this stuff, is to be transparent about it. So I want a minimum of mystery here. I think that in addition to owing the best version of something, I owe people honesty in how we achieved certain things. That\u2019s fair.<\/p>\n

\n\tDEADLINE: The dialogue around AI is pretty fascinating and difficult. There\u2019s such visceral emotion around the topic \u2014 for good reason, as you say \u2014 but we also know that it\u2019s inevitably going to find its way into the filmmaking process in one way or another\u2026<\/p>\n

\n\tSODERBERGH: I just think a lot of the emotion that is legitimate about AI, in a non-creative context and how it\u2019s affecting our lives, it\u2019s understandable that that would bleed into a conversation about a movie. But I know that talking about it is good. And I know that we don\u2019t know how this is going to play out. <\/p>\n

\n\tDEADLINE: I guess what I\u2019m trying to articulate is that there\u2019s been a public shaming online with regard to AI use \u2014 people have rushed to judgment on your work, for example, or Darren Aronofsky\u2019s, before really understanding what the work entails\u2026<\/p>\n

\n\tSODERBERGH: Look, I\u2019m pro-choice. If that\u2019s your position, if you don\u2019t want to work with it and you don\u2019t want to work with people or companies that work with it, then go that way. I want to know what we\u2019re talking about, what these tools are. I want to know what they can do and what they can\u2019t do to determine whether this is a threat or not. It might be a bubble, we don\u2019t know.<\/p>\n

\n\tHere\u2019s what I do know. I asked Sean, \u201cWhat do you think your dad\u2019s take on this tech would\u2019ve been?\u201d And he said, \u201cOh, he would\u2019ve wanted to engage.\u201d <\/p>\n

\n\tHe loved all new technology. All The Beatles did. He would want to play with it just to see what it could do. He goes, \u201cThat was the way he was. \u201d How he would\u2019ve felt about it ultimately, we\u2019ll never know, but he said he would\u2019ve wanted to play with it.<\/p>\n

\n\tDEADLINE: Where does that impulse come from for you? Because you\u2019ve been forward-looking for your entire career, always experimenting with form. <\/p>\n

\n\tSODERBERGH: Well, part of it is what I said about looking at the Beatles\u2019 creative process over the years they were together, and part of it is just a desire to have each experience be different from the last. But ultimately, I\u2019ve got a post-it on the monitor here in handwritten all caps: \u201cBETTER.\u201d This is what I\u2019m always trying to accomplish. I want to be better at what I do; I want the thing I\u2019m working on to be better.<\/p>\n

\n\tDEADLINE: Would you say you have a fascination with technology?<\/p>\n

\n\tSODERBERGH: It\u2019s funny, I wouldn\u2019t say that. In a creative context, it interests me because of the tools that it makes available and the fact that that makes it easier for me to do what they say at Pixar \u2014 be wrong as fast as you can. All this technology allows me to get to a version of the thing faster so I can tell whether it\u2019s working or not, and that\u2019s invaluable to me. So I think that\u2019s the pull of the technology to me, is can I get a version of the thing in front of me faster? Outside of this context, I don\u2019t have a lot of tech and don\u2019t use it for my personal life.<\/p>\n

\n\tDEADLINE: Can you elaborate on your methodology on this film, with regard to the creation of AI material? What did your prompts sound like? <\/p>\n

\n\tSODERBERGH: I\u2019m sure if you talk to the people that I was working with, it had to have been frustrating. I\u2019d say things like, \u201copening shot of the film, I need a \u201950s-style radio. I want you to create some rings that will pay off later. This will be a recurring motif, these kind of light rings. But for now, there are these light rings and then this radio comes out of nowhere and comes up and fills the screen until it whites out.\u201d And they go, \u201cOkay\u2026\u201d And then they\u2019d come and show me versions and I would go, \u201cSlow it down, make the radio bigger,\u201d or whatever. I might say, \u201cShow me an image of a piano being blown to bits, backwards, in the style of a crash test dummy film.\u201d There\u2019s one section where I\u2019m like, \u201cOkay, take those rings that we were talking about, light rings. Now, those are water rings because there are drops going into water. So they turn into water rings. And then there\u2019s a black rose, and then I want the black rose to rise up and become these other roses, like a Busby Berkeley top shot.\u201d It would be sh*t like that. [Laughs]<\/p>\n

\n\tOr when [Lennon\u2019s] talking about men and women getting together, I go, \u201cI want you to create a series of diptychs, and on one side is a recreation of what is a movie moment between a man and a woman, an embrace or a kiss or something. And on the right side, it looks like two different colors of paint being mixed together. And I need eight of these.\u201d<\/p>\n

\n\tDEADLINE: Did each of those images take a long time to perfect? Or did you find AI giving you what you wanted pretty quickly?<\/p>\n

\n\tSODERBERGH: I\u2019d have something to look at within a day, and then I would give notes, and I\u2019d have something else to look at within a day. It all happened quickly, and that was the other thing. If I didn\u2019t have this tech, we couldn\u2019t have finished because these would\u2019ve been VFX sequences, and they would\u2019ve been prohibitively expensive and would\u2019ve taken a year. And this ended up being five weeks.<\/p>\n

\n\tDEADLINE: Not long ago, you expressed concerns for the mid-budget feature, disheartened to see your espionage flick Black Bag fail to meet financial benchmarks, even as it garnered rave reviews. Do you think that AI might make it possible to make films in the middle work again? By bringing the budget down, such that budget and potential box office grosses are more aligned?<\/p>\n

\n\tSODERBERGH: There was nothing AI could have helped with in that case: I had to build those sets and pay those people. [The Lennon doc] was a case where it does allow us to not only finish the movie properly, but to scale it up in a way that two years ago, we wouldn\u2019t have been able to do.<\/p>\n

\n\tDEADLINE: Already, though, there are companies implementing AI to visualize sets for production \u2014 with what you might call AI\u2019s answer to The Volume\u2026 So soon, you might not necessarily need to physically build all of those sets\u2026<\/p>\n

\n\tSODERBERGH: This is why we have to work with this thing to find out, a), what that really looks like in a non-science fiction special effects context. Because I\u2019ve worked with this stuff a little. I don\u2019t know why you\u2019d want to shoot a dinner table sequence and use this technology. It\u2019s like, I was just watching a tennis match, and they did a virtual coin flip: That\u2019s not better. [Laughs] You know what I mean? There are certain things that this will just never be better. It just won\u2019t. And the effort of going through trying to make it look real when you could just shoot it\u2026 Here\u2019s the other thing that I think we\u2019re all waiting to see, which is why I want people using this technology, so we can answer this question. Because it\u2019s a big question: Is there, and will there be, a basic sort of allergic reaction on the part of the audiences for material that is, for all intents and purposes, supposed to be \u201creal,\u201d that they know has been generated by AI? Are they going to have a human reaction that basically just leads them to go, \u201cYeah, I\u2019m just not vibing with that\u201d? I don\u2019t know the answer; I want to know.<\/p>\n

\n\tDEADLINE: Where do you draw a hard line for yourself, in terms of ways you won\u2019t be implementing AI on your productions? Your next film is taking on the epic subject of the Spanish-American War, so you\u2019ll naturally be using AI in different ways there, and at greater scope.<\/p>\n

\n\tSODERBERGH: Yeah. I mean, I\u2019ve got ocean battles with scores of warships from 1898: I can\u2019t afford that. I can build the deck, but I mean, I\u2019ve got to have a plan here. But I think that\u2019s different. People looking at that and knowing that that\u2019s a visual effect is different than, as I say, a dinner table scene.<\/p>\n

\n\tDEADLINE: So are there specific use cases of AI you would be hesitant to entertain right now? Where you would want to let technology and culture take their course with more of a \u201cwait and see\u201d approach?<\/p>\n

\n\tSODERBERGH: I guess I\u2019m going on my instinctual sense of better. So for instance, battle on the ocean in the Spanish-American War film: the options are traditional VFX, which can be expensive; miniatures, which are interesting, but when you use miniatures in water, usually not so great; or this new technology. In almost all situations that involve performance, I\u2019m at a loss to know how [AI is] better. I\u2019m not talking about face replacement or anything like that; I\u2019m just talking about scenes in which the performances are central and locations that, again, you\u2019d spend a lot of time trying to recreate in a virtual space. My attitude is, well, we can just go there and do the whole thing in four hours in the real place. Why is this better? So I\u2019m just going on my, I guess, gut reaction to what\u2019s better and what feels right for the piece.<\/p>\n

\n\tThis is another interesting area: I do want to be tricked by a movie in the sense that I want to believe in the universe that\u2019s being created by the filmmaker, and I want the spell that they\u2019re weaving to remain unbroken. What would break it for me is a use of technology like this that seems unnecessary and worse.<\/p>\n

\n\tDEADLINE: Do you have specific ideas of what we\u2019ll see in the next 5-10 years, in terms of the evolution of this technology and ways it will be integrated into artistic processes?<\/p>\n

\n\tSODERBERGH: No, I really don\u2019t. I think it\u2019s going to take some time for projects that are leaning on it very heavily and obviously to come out and see how the audiences respond. Here\u2019s the good news, I think, if you\u2019re a writer: I don\u2019t see any universe, based on my exposure to all of the various tools available to a writer, that this can generate a great screenplay, a shootable screenplay. I think that\u2019s impossible. The thing that makes it great is the life experience of the writer or writers. And that last 10 yards is always going to be there. So again, interesting tool, but can it \u201cwrite a good script\u201d? Absolutely not.<\/p>\n

\n\tDEADLINE: What are your distribution hopes for your Lennon doc?<\/p>\n

\n\tSODERBERGH: [Laughs] That it gets distributed. Mostly because this is the other frustrating thing, obviously. And maybe this will subside once people see the film\u2026 I want people to focus on the film and the messaging in the film and the things that John and Yoko have to say, which I think still need to be said and heard. They could have been talking tomorrow. I mean, everything they\u2019re saying is still a hundred percent relevant to what we\u2019re experiencing right now. I do think once people can see it, they\u2019ll go, \u201cI understand, and I\u2019m going to focus on what\u2019s being said.\u201d <\/p>\n

\n\tDEADLINE: Is your Spanish-American War film going to be taking up the bulk of your time, for now? Or do you have other irons on the fire?<\/p>\n

\n\tSODERBERGH: That\u2019s what I\u2019m focused on now, but it\u2019s still trying to achieve critical mass.<\/p>\n

\n\tDEADLINE: The film seems to embody a recently discussed ambition of yours of returning to the arena of large-scale event filmmaking\u2026<\/p>\n

\n\tSODERBERGH: Yeah, it\u2019s a big canvas. It\u2019s something you can sell as an experience worth leaving the house for. I want to get back to something that has some scale. It\u2019s been a while, and a lot of people think that\u2019s by choice, but it really isn\u2019t. It\u2019s tricky for me to find something that has some aspect of spectacle to it that I also feel plays to what I do well. But I\u2019ve been feeling for a while like having a larger canvas to work on.<\/p>\n

\n\tDEADLINE: People seemed very intrigued by the idea of you entering the Star Wars universe with that shelved Ben Solo movie. Do you think there\u2019s another major franchise that could tempt you?<\/p>\n

\n\tSODERBERGH: It\u2019s not coming to mind \u2026 I\u2019m not a snob, clearly. You can see that from my list of credits. [But] the feeling has to be, \u201cI can\u2019t bear the idea of somebody else doing this. I\u2019m the person to do this.\u201d It has to be that. So given my background, there are just certain genres that I\u2019m not steeped in: Didn\u2019t read that stuff, wasn\u2019t exposed to that stuff. You know what I mean? I didn\u2019t buy or read comic books, for instance. So that whole space, I don\u2019t have a problem with it \u2014 it\u2019s just not in my DNA, and I wouldn\u2019t be good at it.<\/p>\n","protected":false},"excerpt":{"rendered":"Not long ago, Steven Soderbergh was presented with a singular opportunity: exclusive access to the final interview with…\n","protected":false},"author":2,"featured_media":27392,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[24,25,11163,18177,1420,18178,2391,1421,1734,18179],"class_list":{"0":"post-27391","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-ai","8":"tag-ai","9":"tag-artificial-intelligence","10":"tag-cannes","11":"tag-cannes-film-festival","12":"tag-john-lennon","13":"tag-john-lennon-the-last-interview","14":"tag-qa","15":"tag-steven-soderbergh","16":"tag-techline","17":"tag-yoko-ono"},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/posts\/27391","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/comments?post=27391"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/posts\/27391\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/media\/27392"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/media?parent=27391"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/categories?post=27391"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ai\/wp-json\/wp\/v2\/tags?post=27391"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}