Veteran actor Sir Ian McKellen has delivered a pointed critique of artificial intelligence in the creative arts, asserting that the world already possesses ample original artwork without requiring technological intervention. The esteemed 86-year-old performer, who stars in the forthcoming Steven Soderbergh film The Christophers, expressed his views during the London premiere at Picturehouse Central.
McKellen's Firm Stance on Artificial Intelligence
Speaking with the Press Association, Sir Ian addressed the growing trend of using AI to generate art or extend artists' legacies posthumously, including digitally reviving deceased actors on screen. He revealed it is a tool he largely disregards, stating frankly: "I think there's enough original art around for us not to need AI."
He elaborated on Britain's cultural offerings, highlighting the accessibility of its galleries as a key attraction. "We care for our art. In this country, we've got wonderful galleries, all free, not true in many countries. It's one of the reasons that London is so popular for foreigners that they get into the National Gallery for nothing and the Tate Modern," McKellen remarked, underscoring the value of authentic artistic experiences.
Plot and Cast of The Christophers
The film, set in London, follows two siblings portrayed by Baby Reindeer star Jessica Gunning and Gavin & Stacey co-creator James Corden. Their characters hire a forger, played by acclaimed actress Michaela Coel, to complete their father's unfinished artwork, aiming to secure a substantial inheritance after his death.
Sir Ian reserved particular praise for his co-star Michaela Coel, celebrated for creating and starring in Chewing Gum and the Emmy-winning drama I May Destroy You. He described her performance as "remarkable" and "superb," emphasizing her exceptional ability to listen as a defining trait.
McKellen's Admiration for Coel's Talent
"One of the joys of being in our business is that age is sort of irrelevant, and when I was growing up as a kid, it was always fun to me talking to the older actors. Well, now I'm the old actor, and I'm allowed to mix with the youngsters like Michaela," McKellen shared, reflecting on the intergenerational dynamics of acting.
He elaborated on Coel's skills: "She's so talented in so many different directions. Her acting is superb in this film. And if you had to identify what it was that was special about her acting, I'd say her ability to listen. As you watch her listening, you can almost read what's going on inside the face, the head, although it doesn't move. It's remarkable."
Coel's Reciprocal Praise for McKellen
In turn, Michaela Coel expressed profound admiration for working alongside Sir Ian, describing the experience as "beautiful" and noting that "every day was joy." She added emotionally: "He is as glorious as you imagine, and I don't want to cry cause that's how I feel. He's really, really, really lovely and intelligent and energetic. He had more energy than me most days."
Coel recounted her amazement at his vitality: "I literally was like, 'how are you bouncing up and down the stairs?' But you can see he's so fed by his work and he gives me gratitude for my job. I get to be in a room with him." This mutual respect highlights the collaborative spirit on set, contrasting with McKellen's skepticism toward AI's role in art.
The film The Christophers explores themes of legacy, authenticity, and creativity, resonating with McKellen's advocacy for preserving original artistic expression in an era increasingly influenced by artificial intelligence.
