sony

At this year’s festival to unveil our inaugural Cannes issue, I had to opportunity to sit down with Sony Pictures Classics co-founders and co-presidents Michael Barker and Tom Bernard and EVP of Acquisitions, Production and Business Affairs Dylan Leiner on the Main Stage at the Marché du Film to discuss the company’s festival strategy, bidding wars, artificial intelligence and more. Watch the full conversation and read edited excerpts below.

How much does the festival reception of a movie, the reviews coming out of a festival, the buzz around it, shape decisions that you’re making? Or is it just confirming what your gut already knows?

Leiner: I want to tell one story that speaks to that, which was at the first Berlin Film Festival we attended after COVID. I remember, in the same day, I ran into three international distributors who all asked if we had seen “The Teacher’s Lounge.” And I didn’t even know what the film was. It wasn’t on our radar, it wasn’t in competition. So we quickly saw “Teacher’s Lounge” and we acquired the film [which went on to be nominated for the 2024 international feature Oscar]. And that was one of the great values of an in-person festival, the ability very quickly to communicate with distributors, with tastemakers, with critics from around the world and get that kind of information. Gut, personal taste… It plays into it a lot, but then we need reassurance. And being at a festival and being in this fishbowl environment is really helpful for that.

For a lot of people, myself included, the mystique of a festival is often around the bidding war narratives: Who’s going to pick up what and what are they going to pay? I’m curious for your take on the first big acquisition of this year’s Cannes, A24 buying “Club Kid” for a reported $17 million.

Bernard: Throughout the years, there were companies [that would] maybe overpay, or they were going to bid to get this movie no matter what, because they were the headline in all the newspapers covering this festival. So in terms of a company that’s branding — which, A24 is one of the best in branding — I think that that had to do with a little bit of the cash that went up. … There’s a branding aspect in a lot of festivals for a movie that’s a hot movie that the press has decided to seize on.

Barker: Here’s a key to how we have survived. It’s different from the way you talk about it. When we acquire a movie, whether anyone else has offers, we try to block it out. And we have trained ourselves to not let that noise bother us. What is it worth to us? What do we think it’s going to do? Dylan runs these incredible models of what it’ll do on the low end, what it will do on the high end. And then you decide where you want to be.

Bernard: Or we think we can make it work.

Barker: But at no point do we sit around and worry about who else has a higher offer for the movie. Because I have to say, in very few instances, on the movies we buy, are we the higher offer. We just do the best we can, and if we lose it, we lose it.

Bernard: [French film producer] Serge Silberman, a sage of the past, he always said, “You never lose money on a movie you didn’t buy.”

That brings up a question that I had about “Nuremberg,” which was a real success. What you’re saying is, it performed in alignment with your expectations. Were there any lessons that you took away from that in terms of future projects that might come along?

Leiner: Yes, it performed in accordance with our expectations. What’s interesting about that film, we acquired it here last year. Nobody else was really interested in the movie. … So our challenge basically was to figure out how to convince the filmmaking team that, because it was a very expensive film, that we were the right company to acquire the film on the terms that we could afford and that we could make it work. And it was a very intense series of phone conversations, in-person meetings.

Bernard: We felt like we were auditioning to get married to somebody. We were never going to be able to pay to make their money back. It was a $40-million movie, and they were really sort of out there without anybody really looking at it. And we said, “Listen, sell it to us. We think it’s going to be a great success. We’ll make your movie way more valuable over the test of time.”

Barker: There are two types of movies that are being made and distributed. One are the big tentpole studio movies. It’s about winning the weekend theatrically. These are the theatrical-driven movies. And it’s all about making that huge budget back very quickly. But the other kind of film, which is why we are in business, is the evergreen. Every one of our films, we open it with the best marketing push we can. Yes, we try to get the highest box office. But what we know will happen, even if the box office ends up being less, we believe in these films as long-term players. And these films have really long tails. You look at movies like “Run Lola Run” or “Call Me By Your Name” or even “Living” … They have generated revenues to the filmmakers and to us that’s way beyond what the box office would have portended when it opened.

I would be curious, what areas of the filmmaking process or the film distribution process do you think AI is appropriate for use, that you’ve experimented with it, that you’re excited about its prospects? And where are your red lines, if you have any?

Barker: One of the people on our staff — we really love our young staff. One of them was writing a screenplay with AI, and told me they got certain rules on AI. And I’m listening to all these rules. You can’t have your main character die in a first scene. You can’t have your romantic female lead be totally unlikable, people aren’t going to go. I’m listening to this, and I said, “Have you ever seen ‘Sunset Boulevard?’” And she goes, “No, what is that?” I said, “Go watch that movie.” She came back and she was like, “Holy cow.” I said, “Billy Wilder sat down and made that up based on what he observed.” AI is not going to be able to do that.

Sony Pictures Television has acquired controlling interest in the reality TV production company behind “Real Housewives of Beverly Hills” and “Vanderpump Rules.”

The Culver City studio, which produces “Jeopardy!” and “Wheel of Fortune,” announced Monday that it has closed its purchase of a majority stake of Alex Baskin’s three-year-old production firm, 32 Flavors. Baskin’s company has been expanding beyond its audience-addicting programs on Bravo to develop podcasts and documentaries.

NBCUniversal will continue to own “Real Housewives” and the other programs it televises, including “The Valley,” and spinoff show, “The Valley: Persian Style.” Baskin will continue as executive producer on his Bravo shows and stay on as chief executive of his production company.

Sony declined to disclose deal terms.

“Real Housewives of Beverly Hills” and “Real Housewives of Orange County,” are produced through Baskin’s company.

“32 Flavors has been on a remarkable trajectory, and with Sony’s support, we expect that momentum to accelerate meaningfully,” Baskin said in a statement.

Sony Pictures Entertainment studios in Culver City.

(Luis Sinco / Los Angeles Times)

Sony already owns nonfiction production companies, including Sharp Entertainment, Embassy Row, Brass Monkeys Media and 19 Entertainment, the powerhouse behind “American Idol.” It also owns formats for “Shark Tank,” and “90 Day Fiancé,” and an upcoming adaption of the board game, Clue.

“As the market evolves, we see real opportunity in premium nonfiction, and 32 Flavors strengthens our ability to deliver high-impact, returnable formats that connect with audiences and buyers around the world,” Katherine Pope, president of Sony Pictures Television Studios, said in a statement.

Pope gained responsibility for the unscripted TV business earlier the spring as part of a restructuring and dramatic downsizing, which resulted in hundreds of layoffs in the Japanese company’s entertainment business. At the time, Sony said the cuts reflected a business shift under Sony Pictures Chief Executive Ravi Ahuja.

A few days ago came the astonishing news that the world record in the half-marathon was obliterated by a 5-foot-5 humanoid robot named Lightning in Beijing.

Now a robot named Ace has achieved another milestone for AI and robotics by defeating expert-level humans at table tennis in Tokyo, according to a study published Wednesday in the scientific journal Nature.

What’s next, a robotic baseball player named Babe that swats 500-foot home runs and throws 120 mph pitches, eclipsing Shohei Ohtani’s real-life achievements and commanding a billion dollar contract?

It’s all fun and games until it isn’t.

Extraordinary athletic achievements by AI robots might seem innocuous, especially compared to far more grave threats described by various experts, including the landmark publication “An Overview of Catastrophic AI Risks” by the Center for AI Safety in 2023.

To name a few: Misinformation and social media manipulation; job displacement and economic inequality; cybersecurity threats; lethal autonomous weapons; environmental impact; psychological dependence; and ultimately, the existential risk to humanity of losing control of rogue AI systems.

For now, let’s get back to ping-pong.

Ace was developed by good, old Sony, the 80-year-old makers of gaming consoles, televisions, smartphones, cameras and audio equipment that we enjoy every day.

Of course Sony has an AI research division, and while most consumers were still going ga-ga over PlayStation 5 Pro 2TB, it developed the first robot to attain expert-level performance in a competitive physical sport that requires rapid decisions and precision execution.

Ace integrates nine synchronized cameras and three vision systems to track the spinning plastic ping-pong ball. Its lightning-fast processing time would be the envy of even Lightning, the humanoid robot that broke the world record in the half-marathon by nearly seven minutes.

“Here we present Ace, to our knowledge the first real-world autonomous system competitive with elite human table tennis players,” the study said. “Ace addresses the challenges of physical real-time interaction through a new, high-speed perception system using event-based vision sensors and a new control system based on model-free reinforcement learning, as well as state-of-the-art high-speed robot hardware.”

Ace showed out in matches that followed International Table Tennis Federation rules and were officiated by licensed umpires. Most of the matches took place in 2025 — before table tennis tale “Marty Supreme” even hit theaters — although Ace defeated professional players as recently as March.

One such human is Mayuka Taira, who said in comments provided by Sony AI to Reuters that the robot’s strengths are what one might expect: unpredictability and an absence of emotion.

“Because you can’t read its reactions, it’s impossible to sense what kind of shots it dislikes or struggles with, and that makes it even more difficult to play against,” Taira said.

Initial real-world applications of Ace-like robots likely would be in manufacturing and service industries, although untapped potential lies across sports, entertainment and safety-critical environments, according to the study.

“These results highlight the potential of physical AI agents to perform complex, real-time interactive tasks, suggesting broader applications in domains requiring fast, precise human–robot interaction,” the study said.

Those domains certainly could include baseball diamonds, basketball courts and gridirons. Hockey rinks could be lumped in provided robots can skate.

AI already is used in MLB. The vaunted Automated Ball-Strike system (ABS) uses AI-powered Hawk-Eye camera technology and computer vision to determine if pitches are strikes or balls. Twelve high-speed cameras track ball flight and AI delivers the definitive call to the scoreboard within seconds of a challenge.

A robotic batter facing a robotic pitcher with calls made by ABS might eliminate any disagreements over balls and strikes.

Terrifying.

Reuters contributed to this story.