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| Thanks for watching. | |
| theatrical run and is now available for rental online at places like Amazon and iTunes. | |
| Now, when I looked at the trailer, I thought this was going to be a film that really kind of focused on the radical technological changes that are coming as we see many jobs in virtually every industry being replaced by artificial intelligence and robots. | |
| Regardless of what industry you're in, whether it's manufacturing or service or whether you're working at a low-level job or even as a professional, Your job will be impacted if not entirely replaced by new technology. | |
| The Congress explores how this disruptive technology would affect Hollywood, displacing actors, even the animators that eventually move their digital avatars. | |
| The movie takes a much broader look at a future dystopian society where people are essentially enslaved by entertainment, where they live in a virtual existence. | |
| The irony is that many people will avoid this movie or not finish it because they don't find it entertaining enough. | |
| But that's how close we are to the dystopian future that it looks at. | |
| The Congress is a film that echoes an archetypal warning that's been presented by many great artists over many decades. | |
| And that is, once we live in a society characterized by fantasy and deception, it opens a door to authoritarian dictatorship. | |
| Based loosely on Stanislaw Lim's The Futurological Congress, it stars Robin Wright as herself, as an actress whose decisions have so frustrated the Hollywood machine that they refuse to work with her ever again unless she signs a one-time contract, a one-time fee, where they will capture her entire appearance and personality into a digital model. | |
| Now, of course, she will never be allowed to ever work again. | |
| This is something that's going to happen in many industries as people, even professionals, work with programmers to create artificial intelligence that is going to take over their job, where they will never, ever work again in their field or area of expertise. | |
| The Congress also stars Harvey Keitel as Robin's agent and Danny Houston as Jeff Green, president of a major movie conglomerate, Miramount Films. | |
| The film begins with Hollywood's next technological leap forward, a completely realistic digital version of an actor or actress that makes it look like the actor is in the film. | |
| And of course, they've used this in a lot of action science fiction films to replace actors in very dangerous or impossible sequences. | |
| The sphere of lights and camera that are shown in the film capturing Robin Wright's image is an actual device that's already been used. | |
| But once they go beyond the distant shots or the small action shots and go to actual virtual actors, that's something that's going to change not only the process of filmmaking, but movies in general. | |
| And this is where the Congress really gets interesting. | |
| After they flesh out the concept of virtual actors, the film jumps 20 years into the future. | |
| And ironically, even though Robin Wright was very reluctant to be a part of this digital reality, she is the last remaining major Hollywood star that actually has a real-life person attached to them. | |
| So, she's sent to the Futurist Congress. | |
| And so she's selected to be a part of the Futurist Conference, where they're going to announce the next big step forward. | |
| Inhaling an actor's genetic code, creating a controlled hallucination of the actress or movie, completely controlled by the unconscious. | |
| This futurist conference, this congress, is really where the live acting ends and pretty much most of the rest of the movie is animated. | |
| Now, the animation style is kind of a combination of classic animation and modern techniques, but it is filled with provocative, subliminal sexual references, almost as if they're kind of making fun of the way Madison Avenue and Hollywood studios like Disney have done this in the past. | |
| At the Congress, the President of Maremount Films reveals the actual plan. | |
| The complete corporate control of all human thought via pharmaceutical technologies. | |
| For those who attend the Congress, the hallucinations never end because they put the pharmaceuticals in the drinking water. | |
| An announcer romanticizes what he portrays as a utopian future, where you can be whatever you want, you can do whatever you want, where you have everything in abundance. | |
| But of course, it's simply an illusion. | |
| And if you're a dissenter, or if you're a defiant in any way, you will be eliminated. | |
| And why should the roller coaster stop here? | |
| Wright's characters then moved 70 years into this future, a world divided by those who are part of the mass hallucination | |
| world and those who opted to live life in reality. | |
| While this part of the movie might seem like pure science fiction, look again. | |
| The world that's being illustrated here is one that's been described by top futurists for many decades now. | |
| Aldous Huxley famously predicted a world where people learn to love their servitude to the state | |
| through psychotropic and behavior-controlling drugs. | |
| It is possible to make people contented with their servitude. | |
| I think this can be done. | |
| I think it has been done in the past, but then I think it could be done even more effectively now, because you can provide them with bread and circuses, and you can provide them with endless amounts of distractions and propaganda. | |
| One look at the psychiatric drug industry in America and it will be obvious that for millions of people Aldous Huxley's brave new world is a functioning part of their everyday lives. | |
| Heavily influenced by Huxley, the reality portrayed by George Lucas in THX 1138 shows every move and emotion of an ordinary man or woman is controlled and regulated pharmaceutically. | |
| Ray Kurzweil believes that you'll be able to upload your personality, your consciousness to a computer. | |
| Once there, you'll be able to do anything you want, even talk to people who are long deceased. | |
| Of course, in Ray Kurzweil's case, he thinks he's going to be able to talk to his father who died decades ago. | |
| One of the most powerful points in the film, Robin Wright exits the hallucinogenic animation, and she finds herself in the real world, where people are just roaming around in this grey, grim reality, like inmates in an asylum, because they really only exist in an entertainment coma. | |
| So the question that Congress presents to us is, will people be willing to live in an entertainment utopia, but where they're actually enslaved by technology? | |
| You know, technology is just a tool. | |
| It can be used for good or for evil. | |
| And Eisenhower warned us about this with the military-industrial complex, saying that it would take over research, that it would take over technology and use it for its own purposes. | |
| We've seen this happening as technology accelerates. | |
| It's increasingly being used for destruction and for distraction. | |
| Not for production. | |
| It's being used to enslave us, not to serve us. | |
| The Congress could wake up some people about our obsession with entertainment. | |
| If only it were more entertaining. | |
| For InfoWars Nightly News, I'm David Knight. | |
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