

I 100% agree on consistency, but I actually suspect LLMs would be pretty decent at translating linguistic concepts. Their grasp of contextual language is always surprisingly good, as seen in how well they rewrite tone to very specific parameters.
I don’t use ChatGPT loads, but I do use it a little, often alongside a method of project that can’t hallucinate. The other week I was talking in one chat about the vocal tone of the novel Blood Meridian by Cormac McCarthy, that has this laconic, worn down dialogue with old testament feeling prose. In another chat, I was prompting ‘sage advice’ for a matcha scone recipe I wanted to make where I was marbling strawberry directly into the dough. I got which chat I was responding in wrong and accidentally had it give me a the scone recipe in Cormac McCarthy’s writing style.
MARBLED SCONES
He measured two cups of flour into a bowl and cut in the baking powder with the side of his hand. Salt followed. It hung in the flour like stone dust. He stirred it with a fork and the dry mix turned over itself and fell still. He cut the butter into cubes and dropped them in and pressed them through with his fingers until the flour took the texture of packed soil. He added a spoon of matcha. The green of river weed. The taste of old things left out in the rain.
He poured in buttermilk and cream. A little at a time. He stirred it slow with a blunt knife and the dough pulled together like it didn’t want to be one thing.
In another bowl he took a handful of flour and mixed it with strawberry powder. A drop of red dye like blood in water. He stirred in cream until it held. He pressed the green dough flat on the counter and laid the red over it and folded. Folded again. The colors turned but did not blend. Like veins of ore in a dark stone.
He shaped the dough into a slab and cut thick rounds with a glass. Each one imperfect. Some leaning. Some split. He set them on a tray lined with paper. The oven was already hot. He did not preheat it. It was always hot. Four twenty five. He watched the scones rise through the glass. They broke along the seams. Green and red and gold. They looked like they’d been dug up.
He split one open while it was still warm. He spread pistachio butter across the inside. It melted into the crumb. Then clotted cream. Then jam. The weight of it brought the top half down slow.
He took it outside and sat in the dirt to eat. There was no sound but the breeze. The sky was wide and empty. The scone was good. The scone was all right.
Now this is actually super easy to critique as a recipe, because it fucking sucks. In adaptation, it’s lost a lot of critical instruction. This is effectively a translation that must adhere to narrow and specific tone to achieve a meaning that cannot be translated without grasping a meaning to language that exists beyond the words.
Obviously this is English to English, but a big difference is that there is far more Japanese out there than Cormac McCarthy.
That being said, nothing cements what you’re saying about consistency more than how badly butchered the underlying instructions to this recipe are.
At least I expect that from him and basically all his characters. It’s most irritating when it’s a character who should have eloquence, ht doesn’t.
Also by extension, film / TV is the ideal medium for imperfect dialogue. The medium took queues from theatre and literature in it’s inception but there is truly no other medium suited to the imperfection of real dialogue like real life.
Mediums which demand a high critical analysis like most paintings invite the viewer to study and puzzle over the narrative, but film has it’s roots in cinema, and lowbrow cinema at that. I don’t really mean that critically, it’s my preferred medium, but nothing expects an easily digestible narrative like film and TV.
I don’t think it’s inherently the mediums flaw, duration and viewing time dictates a lot.
Film and TV his a wired niche. Although mainstream TV also takes days, weeks of months to compete, the vast majority intentionally invites you to consume without analysis. Mainstream film fully invites the average viewer to see it once, and anything further than that is for chance or deeper fans.
However film and modern high budget TV is mor* e venture capitalism than art, it’s just that in it’s method of consumerism, it poses as art. This gives it its own rules, and one of those rules is that comprehension is only a useful tool when it favours creating and retaining viewers/income.
But as it’s rose to dominate all other media, there and many, many people who enjoy film and TV without any media literacy outside of it, and therefore their only touchstone is reality. That paired with the fact that we’ve largely cracked our ability for movies to direct focus via mise-en-scène, cinematography, editing sound etc, means it’s the ideal medium to not just emulate realistic performance, but focus on it and celebrate it. This often comes with unclear dialogue.
Then the only way for deeper fans to enjoy this mediu BBm is to re-experience it By re-exploring rit. Each additional delve, albeit short - often just an episode or feature film length - gains that viewer status unlike other mediums.
This forces realistic dialogue to be idolised by fans bove clarity, while being irrelevant to the casual viewer. At last in my opinion.
This is a lunatic ramble, which I’m writing at 3am in my time zone after being unable to sleep. Beyond any typos, I apologize if this is entirely incoherent or just wrong and assumptive.