International
MGM co-chairman, co-CEO Roger Birnbaum steps down
MUMBAI: Gary Barber and Roger Birnbaum have announced that Birnbaum will transition to an exclusive producer role at the US studio MGM while Barber will become the sole chairman, CEO. Birnbaum will remain in his current offices in MGM‘s executive suite and will produce and develop new projects exclusively for the company.
The announcement marks a return to hands-on producing for Birnbaum. He will first serve as executive producer and oversee production of the José Padilha reboot of the 1980s classic ROBOCOP, which started principal photography on September 15. Other upcoming projects he plans to produce include films based on ‘Deathwish‘, ‘War Games‘ and ‘Magnificnet Seven‘.
Birnbaum said, “Gary and I decided, 2 years ago, to accept the challenge of joining MGM and restoring the company to its rightful place in the industry. I am very proud of where MGM is today. I have been in the film business a long time, and my greatest passion has always been producing. Now is the time for me to return to what I love to do the most…producing films. And the fact that I will be producing for MGM, with Gary, my partner and friend will be very gratifying.”
Barber said, “I respect Roger‘s decision to return to his passion of ‘hands on‘ producing, and we are thrilled he has chosen to stay at MGM on an exclusive basis. We have been partners for almost 15 years and we have shared many successes together and I look forward to many more. I have the utmost confidence in Roger‘s ability to produce many of our key upcoming productions, and I could not be happier that we will continue to work together.”
MGM Holdings lead director Ann Mather said, “The Board is very pleased with the performance of the company under Gary and Roger. We want to thank Roger and look forward to him producing upcoming MGM films and have full confidence in Gary continuing to lead the company with the talented management team in place.”
Barber and Birnbaum were appointed MGM co-chairman, CEO‘s in December 2010 as the company emerged from bankruptcy. Since that time, they have secured a distribution and co-financing partnership with Sony Pictures Entertainment, which includes such films as ‘The Girl With The Dragon Tattoo‘, ‘21 Jump Street‘ and the upcoming 23rd James Bond adventure ‘Skyfall‘. They solidified a partnership with Warner Brothers/New Line Cinema on the upcoming ‘The Hobbit‘ trilogy, beginning this December with ‘The Hobbit: An Unexpected Journey‘. Additionally, MGM is partnered with Paramount Pictures on several upcoming films including ‘GI Joe: Retaliation‘ and ‘Hansel And Gretel: Witch Hunters‘.
Barber‘s and Birnbaum‘s reinvigorated MGM is also currently in production on the ‘Robocop‘ re-boot (along with partner Sony), scheduled for release in August 2013 and the recently wrapped ‘Carrie‘ (with Sony‘s Screen Gems) due March 2013. In April 2011, Barber and Birnbaum renewed MGM‘s worldwide home entertainment distribution pact with Fox Home Entertainment, extending the agreement through 2016.
Since the company emerged from bankruptcy, it has created new TV content including an original scripted television series, ‘Vikings‘, which MGM has developed and will distribute with History Channel, as well as new programming from MGM‘s classic catalogue, including the drama series ‘Teen Wolf‘ with MTV and is in development on the upcoming re-imagined unscripted series ‘Fame‘ partnering with Nigel Lythgoe. Additionally, the company has also announced distribution and output deals to broadcast MGM‘s new films, television series and library assets with companies worldwide.
Barber and Birnbaum will continue their long-term partnership at Spyglass Entertainment, a company they founded together in 1998, and which produced films like ‘The Sixth Sense‘. While no longer producing films through Spyglass, they continue to own the library assets of the company together.
LOS ANGELES: Acting has never been an easy profession, but in recent years, it has acquired a new existential anxiety. Artificial intelligence can now mimic faces, clone voices and, in theory at least, speak any language it is fed. The fear that actors may soon be replaced by algorithms no longer belongs exclusively to science fiction. And yet, despite the rise of digital inauthenticity, some performers remain stubbornly resistant to replacement. The reason is not celebrity, nor even talent. It is language.
On paper, this should not be a problem. AI can translate. It can imitate accents. It can string together grammatically correct sentences in dozens of languages. But acting, inconveniently, is not about grammatical correctness. It is about meaning, and meaning is where AI still falters.
Machine translation offers a cautionary tale. Google Translate, now powered by neural AI, has improved markedly since its debut in 2006. It can manage menus, emails and airport signage with impressive efficiency. What it struggles with, however, are the moments that matter most: idioms, metaphors, irony, and cultural shorthand. Ask it to translate a joke, a threat disguised as politeness, or a line heavy with emotional subtext, and it begins to unravel. Acting lives precisely in those gaps.
This matters because film language is rarely literal. Scripts, particularly in independent cinema, rely on figurative speech and symbolism to convey what characters cannot say outright. Pedro Almodóvar’s Volver is a useful example. The film’s recurring use of red operates on multiple levels: grief, desire, repression, liberation, and memory. These meanings are inseparable from the Spanish cultural context and emotional cadence. A translation may convey the words, but not the weight they carry. An AI-generated performance might replicate the sound, but not the sense.
This is where multilingual actors gain their edge. Performers such as Penélope Cruz and Sofía Vergara do not simply switch between languages; they move between cultural logics. Their fluency allows them to inhabit characters without flattening them for international consumption. Language, for them, is not an accessory but a structuring force.
Beyond European cinema, this becomes even more pronounced. Languages such as Hindi, Arabic and Mandarin are spoken by hundreds of millions of people and underpin vast cinematic traditions. As global audiences grow more interconnected, the demand for authenticity increases rather than diminishes. Viewers can tell when a performance has been filtered through approximation. Subtle errors, misplaced emphasis, and an unnatural rhythm break the illusion.
There is also a practical dimension. Multilingualism expands opportunity. Sofía Vergara has spoken openly about how learning English enabled her to work beyond Colombia and access Hollywood roles. But this movement is not a one-way export of talent into English-speaking cinema. Multilingual actors carry stories, styles and sensibilities back with them, enriching multiple industries at once.
Cinema has always thrived on such hybridity. Denzel Washington’s performances, for instance, draw on the cultural realities of growing up African American in the United States, while also reflecting stylistic influences from classic Hollywood and Westerns. His work demonstrates how identity and influence intersect on screen. Multilingual actors extend this intersection further, embodying multiple cultural frameworks simultaneously.
At times, linguistic authenticity is not merely artistic but ethical. Films that confront historical trauma, such as Schindler’s List, rely on language to anchor their moral seriousness. When Jewish actors perform in German, the choice is not incidental. Language becomes a site of memory and confrontation. It is difficult to imagine an automated voice carrying that responsibility without hollowing it out.
This is why claims that AI heralds the death of language miss the point. Language is not just a delivery system for information. It is a repository of history, humour, power and pain. Fluency is not only about knowing what to say, but when to hesitate, when to understate, and when to let silence do the work. These are not technical problems waiting to be solved; they are human instincts shaped by lived experience.
AI may one day improve its grasp of metaphor and nuance. It may even learn to sound convincing. But acting is not about sounding convincing; it is about being convincing. Until algorithms can acquire memory, cultural inheritance and emotional intuition, multilingual actors will remain irreplaceable. AI may learn to speak. But it cannot yet learn to mean.
In an industry increasingly tempted by shortcuts, language remains stubbornly resistant to automation. And for actors who can move between worlds, linguistic, cultural, and emotional, that resistance is not a weakness, but a quiet, enduring advantage.
