Sigurjón Sighvatsson, the acclaimed producer behind David Lynch's Cannes Palme d'Or winner Wild at Heart and Julian Schnabel's Basquiat, is set to receive the Raimondo Rezzonico Award at the 79th edition of the Locarno Film Festival. This honor, named after the festival's former president, highlights Sighvatsson's significant contributions to the film industry. In an exclusive interview with THR, Sighvatsson shared his thoughts on the festival circuit, the impact of AI on the film industry, and his perspective on Netflix's role in the entertainment landscape.
A Festival Circuit in Flux
Sighvatsson expressed his enthusiasm for returning to Locarno, praising the festival's unique approach to curation. He noted that Locarno stands out for its focus on diverse and unconventional films, a stark contrast to the more predictable and star-driven nature of other major festivals like Cannes. "The festival is not just focused on what is in the competition," he said. "Everything has changed. When Wild at Heart won in Cannes, that was a big platform for that kind of unusual film to get. Now, we don't know really what Cannes is anymore. What are they catering to? What is their vision? It is a very different festival from Locarno."
He believes that the smaller, more flexible nature of Locarno will ultimately benefit it in a rapidly changing industry. "I love Locarno," he continued. "I think some of the other festivals have become prisoners of their own success, and with the business changing, they have changed. I think festivals like Locarno, which are smaller and have a slightly lower profile and different approaches to film, will do better."
AI's Role in the Film Industry
When asked about the impact of AI on the film industry, Sighvatsson offered a nuanced perspective. He acknowledged that AI has the potential to assist in various aspects of filmmaking, but he questioned its ability to fundamentally transform the art form. "I think AI actually will help in many ways, but I don't really see AI movies changing things because, in the end, movies are about people and they're about stories," he explained. "I see it working for some projects. For the new The Odyssey, Christopher Nolan was not using AI for a reason — because he doesn't want to make people feel it's AI. I heard the new [live-action] Moana, the Disney film, feels just like an AI film, even though it's using real characters [and CGI]."
Sighvatsson drew a parallel between AI and powerful tools like the atom bomb, emphasizing the importance of how these tools are utilized. He believes that many filmmakers will choose not to use AI, as they don't require it, but others will embrace it. However, he concludes that AI will not revolutionize cinema but will have a more significant impact on television.
Netflix's 'Closed System'
Sighvatsson's views on Netflix are critical, particularly regarding the streaming service's approach to content creation. He distinguishes between films and what Netflix produces, referring to the latter as 'Netflix films.' "There are things that Netflix calls films. I don't call them films," he said. "I call them Netflix films. That's very different than a film."
The producer highlights the lack of depth and long-term viability in Netflix's content. "Most of the things that Netflix does don't have a very deep meaning, and they are not supposed to," he explained. "You still need a lot of skill to make those big Netflix films, but they don't really expect them to have a long life, and they are shown only within a closed system. It's the Netflix system, so Netflix is just making something for a closed system, whereas everything that I’ve made, even music videos, is for an open system that anybody can access."
The key difference, according to Sighvatsson, lies in distribution. Netflix's content is confined to its own platform, lacking the accessibility and complexity of traditional films. "The difference is that Netflix doesn't even sell any of its product to anybody else but Netflix," he noted. "So they've created the language that fits this box that is called the Netflix box, and they're very successful, including with some of the animation and some of the children’s content. And even though Netflix is changing, it doesn’t change the fact that a Netflix film fits only in a Netflix box. It wouldn’t fit in an Imax theater, for example. ... And when you’re producing for such masses, you automatically demand less complexity."
Sighvatsson's reluctance to produce content for Netflix is evident. He believes that his work, which he describes as being for an open system, does not align with Netflix's closed-system approach. "I don’t think it’s my thing. I don’t think I’m in the Netflix universe," he stated.
Despite his reservations, Sighvatsson acknowledges Netflix's positive impact on the industry, particularly in providing opportunities for international creators. "I think it’s great that other people [create content for] it. That’s fantastic, and Netflix has changed the business," he said. "What I think Netflix has done well is give people in other countries an opportunity to make material in different languages, in different cultures. That, I think, is the greatest contribution Netflix has made."
