On December 8, 1980, the day John Lennon was tragically shot, he and Yoko Ono were interviewed by a San Francisco radio team at their New York home in the Dakota apartments. They were promoting their new album, Double Fantasy, but the two-hour conversation spanned numerous topics. Despite a warning to avoid questions about the Beatles, Lennon and Ono were notably open.
On that same day, Annie Leibovitz captured her famous photograph of a naked Lennon embracing Ono. The interview, akin to the portrait, is intimate. Both Lennon and particularly Ono speak candidly about love, their relationship, creativity, life post-Beatles, parenting, songwriting in bed, and more. At 40, Lennon seemed to have found a true sense of clarity, stating, “I feel as if nothing has happened before today.”
In John Lennon: The Last Interview, Steven Soderbergh turns these surviving tapes into a documentary that aims to demystify Lennon and Ono as thoroughly as Get Back did for the Beatles. The film premiered at the Cannes Film Festival on Saturday.
Soderbergh, excited about Lennon’s candidness, stated, “I was deeply moved by their generosity of spirit throughout the conversation.” Creating the film presented challenges, as he wanted to let the audio play without interruption. While he found ways to visually illustrate parts of the film, a gap remained when the conversation turned philosophical. Soderbergh explained, “I worked on everything I could solve until the inevitable moment arrived: ‘OK, but seriously, what are we going to do?’ We started testing solutions and eventually ran out of time and money. That’s when Meta’s part came into play.”
Soderbergh accepted an offer to use Meta’s AI software to create surreal images for about 10% of the film, which caused a stir when announced. Some critics at Cannes criticized these AI segments for being quite mundane and not differing much from special effects. However, no digitally altered images of Lennon were used. Soderbergh placed himself at the forefront of an industry-wide debate on AI’s role in filmmaking. Known for using iPhones to film, he is eager to engage in this conversation.
In a time when AI in cinema sparks much debate, you’ve been candid about its use here. Why?
SODERBERGH: Transparency is essential, even beyond the creative context. We’re unaware of how extensively this technology is used to manipulate us since admissions often come accidentally or from whistleblowers. I act as my own whistleblower: “This is what I’m doing.”
Did you anticipate such a strong reaction?
SODERBERGH: I knew it was coming. I take it seriously and understand why people have emotional responses. I feel obligated to deliver the best version of any art I pursue with full transparency. Accepting Meta’s offer meant realizing some criticism would follow. That was part of the deal.
Some fear AI could dismantle the film industry. Yet, you don’t see it as a threat.
SODERBERGH: Many essential film-making tasks can’t be replaced by this technology. As achieving technical perfection becomes common, imperfection gains value and intrigue. A creative figure hasn’t fully embraced AI yet to elicit public reaction. It’s needed to define boundaries. We’re unsure where the line is until someone crosses it. What I am doing hasn’t crossed it. Some may disagree. I’m still determining my boundary and waiting to learn.
What prompts did you give the program for animations?
SODERBERGH: Instructions were simple: circles of light appearing, a black rose evolving into something Busby Berkeley-esque, and then a red rose. I wasn’t very articulate with the team, making it hard to describe my vision. Thankfully, the technology allowed quick visualization for feedback.
Has your experience formed any guidelines for limiting this technology?
SODERBERGH: My rule is: it must be necessary. Is it the only way to achieve my vision? Is it truly the best approach? You’ll see many using AI without meeting these challenges.
An ethical debate exists, but also an aesthetic one. This remains a raw human dialogue.
SODERBERGH: It was crucial to visually accompany them on this journey; otherwise, I’d fail my role. Achieving balance with this technology will be a journey. Film-making departments will differ in their relationship with it. Mine will vary from that of a writer, actor, costume designer, production designer, or sound effects professional. Each creative individual will have a unique perspective. The desire for a simple blueprint to tackle AI is problematic. I don’t think it’s achievable.
The conversation in the film remains deeply inspiring—particularly Lennon’s wish to dismantle the rock star myth when it was unexpected. This inspiration lies in his unwavering honesty from the beginning until his final day. It was constructive, with firm opinions and thoughtfulness, all aimed at making life better for people on this planet.
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