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Be like Ben Affleck: >>Share a bank account with Matt Damon before either of them makes it, helping each other get through the early years.Interview >>At 25, win an Oscar for writing Good Will Hunting together. >>At 28, already a Hollywood star, co-found LivePlanet with Matt and two other partners. >>Create Project Greenlight, giving first-time filmmakers an opportunity and showing audiences what making a movie actually takes. >>Earn Emmy nominations for each of its first three seasons. >>Move behind the camera. Direct Gone Baby Gone and The Town. >>At 40, win your second Oscar as a producer of Argo, a film you also directed and starred in. >>Build Pearl Street with Matt, co-producing films including Jason Bourne and Manchester by the Sea. >>Reunite to write The Last Duel with Nicole Holofcener, then act in it together under Ridley Scott. >>At 50, co-found Artists Equity with Matt and RedBird Capital. >>Become CEO. Matt becomes Chief Content Officer. >>Build a studio that expands profit participation to the crews behind the camera. >>Make data-informed distribution decisions part of the business from day one. >>Launch the studio with AIR. Direct it, play Nike founder Phil Knight, and cast Matt as the executive pursuing Michael Jordan. >>Produce, direct and star in Dunkin’s first Super Bowl commercial, too. >>Meanwhile, quietly found an AI filmmaking company, InterPositive, in 2022. >>Bring engineers, researchers and filmmakers onto a controlled soundstage to shoot proprietary training data. >>Build models around visual logic, editorial consistency and the production problems you know firsthand: missing shots, background replacements and incorrect lighting. >>Design the tools so filmmakers retain control over creative decisions. >>In 2026, sell InterPositive to Netflix in a deal reported at $587 million, and join Netflix as a senior advisor. From sharing a bank account to sharing an Oscar to building studios together. Matt has been his friend, writing partner, co-star and business partner across decades. That makes Ben’s command of AI much easier to understand. He has spent his career learning how movies get written, financed, shot and finished. Then he built a technology company around the problems he already understood.

A director who doesn't come up to the builder's heels makes a four-hour film about him. Yesterday in Venice, Alex Gibney's nearly four-hour documentary "Musk" had its world premiere. It is a classic case of someone who has spent a career telling other people's stories taking on a man who actually builds those stories with rockets, cars, satellites, and infrastructure, not slides. Alex Gibney is an acclaimed documentarian. An Oscar for Taxi to the Dark Side, Emmys for Going Clear on Scientology, high-profile films on Enron, Elizabeth Holmes and Theranos. His specialty is exposing corporations, cults, and frauds. He does it skillfully and with a thesis. The problem starts when he applies the same method to someone who is not selling an illusion, but hardware that either flies or blows up in front of the entire world. Gibney's fuel is controversy. Elon's fuel is the pursuit of truth hard, engineering truth, the kind that either works on the test stand or it doesn't. It would have been enough to make a film based on facts. Instead we got another rut that fits the slogans of provocation: megalomaniac, confidence man, threat to democracy, an AI avatar reciting old quotes, ex-wives, his father, a former partner. Musk said in 2023 it would be a hit piece. After the premiere, a large share of reviewers effectively agreed with him. I don't know about you, but four hours of falsified formulas would bore me. Instead I watch how much Elon has already done. His energy is extraordinary. Tesla changed the car industry. SpaceX brings rockets back. Starlink works. Starship stands on the pad and prepares for the next flight. This is not a PowerPoint. It is steel, fuel, engines, and people who cannot hide failure in the edit suite. A weak documentary like this is a crumb on the shoulder of his jacket. Now it depends on us when and how quickly that blown-off crumb a utopian attention vampire is simply starved of attention. You could list the names of people who tried to take Elon's energy. Energy is the most precious thing we have. Anyone who steals it with slogans, gossip, and a four-hour indictment that excludes the main subject is sowing under his own feet. Gibney: you reap what you sow. If you have a shred of shame, look at the list of Elon's accomplishments. Look at what kind of person he is for the world and what he does around himself so that things get better cars that drive, internet from orbit, rockets that return, attempts at a brain-computer interface, AI that is supposed to be more than another chatbot. You can dislike his tweets, his political alliances. You cannot honestly erase the scale of what was physically built. A good documentarian should stand, at least for a moment, in the shoes of the person he is portraying. Gibney did not just fail to do that. He took a measure cut for Enron and Holmes and held it up to a man who lands rockets. He left Elon's shoes in the edit suite. Elon walked on barefoot and kept building. One man tells stories about the world from an editing chair. The other moves that world. A four-hour film will not change that. At most it will confirm what people who already disliked Musk already believed. Everyone else can blow the crumb off the jacket and keep going. History does not judge a man by the length of a film. It judges him by what is still in the air when the camera has stopped running. Controversy feeds on attention. Building feeds on repetition. One vanishes when you look away. The other keeps flying. You can cut a man together in four hours. You cannot cut a landing together. A documentary can be switched off. The work cannot.

Oscar Isaac says Carey Mulligan is the best actor he’s ever worked with: “Nobody compares to her in my book, She’s incredibly funny, deep, and soulful. She’s both intuitive and also incredibly precise. It’s a real magic trick with her.”