Director and producer Danny Boyle discussed his latest film, Ink, which traces Rupert Murdoch‘s rise on Fleet Street and takeover of the tabloid The Sun, and his film career at an event during the 70th edition of the BFI London Film Festival on Friday. And he shared some thoughts that surprised audience members.

The filmmaker talked to Puck‘s Matt Belloni in a wide-ranging discussion that was partially recorded for his The Town podcast.

Boyle recalled an encounter with Murdoch. “I met him, not for this project, but because Slumdog Millionaire … made him a lot of money,” he said. “[Fox Searchlight] were the studio that picked it up and made a huge amount of money,” so Boyle was invited to “a lunch party in a garden somewhere.” But he acknowledged: “I can’t remember [details], and it was an extremely uneventful meeting.”

Discussing the rise of AI, Boyle had some thoughts to share when asked if he sees the technology as an opportunity, a threat or something else. “It’s a part of the toolbox that the visual effects companies use now,” the creative offered. “It just is, and we used it very sparingly [in Ink], and we were very careful to make sure it didn’t replace anyone.”

The Ink team did, however, use AI to recreate late U.K. Prime Minister Margaret “Maggie” Thatcher’s face. “I didn’t want a Thatcher imitator because the points at which she appears in the film, it’s documented that she used to visit [The Sun editor] Larry Lamb’s office late at night after the edition had gone out, and they’d drink whiskey together,” Boyle said. “I didn’t want an impersonator. I wanted her to be it. Of course, we got an impersonator in to play the whole scene” and then used AI to put Thatcher’s face on her.”

In case you wonder if the filmmaker asked for any rights or flagged this, Boyle shared: “I got to be honest, I declined to ask the estate for permission to do that. I don’t think the estate of people like Margaret Thatcher should have control over our ability to insist on ideas in art about what her influence was on our lives. So that was very important to me.”

Boyle also discussed the issue of power in connection with technology giants. “The danger is when the newspapers are gone and the portals are just our screens,” the filmmaker argued. “Will those journalists be allowed to hold truth to power, because the power then will be [with] the tech giants who control these platforms. And obviously the rise of AI and replacing journalists with AI is another compounding factor of that.”

Asked about movies that really impressed him this year, Boyle shared: ”I loved Obsession and Backrooms, and we obviously really enjoyed The Odyssey. 
I’m really looking forward to Dune 3.”

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EXCLUSIVE: ABC’s Scrubs has added four new cast members for Season 2: Ed Quinn (The Oval), Stephanie Koenig (Lessons in Chemistry), Punkie Johnson (The Chi) and Kellan Tetlow (This Is Us).

In Season 2 of the 30-minute revival, J.D. (Zach Braff), Turk (Donald Faison) and Elliot (Sarah Chalke) have leveled up from interns to icons at Sacred Heart. Now, the respected doctors inspire the next generation while balancing the ups and downs of working in a hospital. Together with characters new and old, they are navigating this next chapter with laughter, heart, and some surprises along the way.

In a recurring role, Quinn will play Dr. Jax, overly confident and charming; he’s the classic adrenaline junkie, bro-y head of the ER.

In a recurring role, Koenig will play Cassie, the new hospital administrator.

In a guest-starring role, Johnson will play Dee, a patient who is a tough prisoner with an even tougher dilemma.

In a guest-starring role, Tetlow will play Ollie, J.D. and Elliot’s son.

Bill Lawrence of Doozer Productions created the original series and serves as executive producer alongside Jeff Ingold and Liza Katzer, also of Doozer Productions. Braff, Faison and Chalke also executive produce, as well as Mike Royce, Mathew Harawitz, Randall Keenan Winston, and Michael Spiller. Aseem Batra serves as EP and showrunner. Scrubs is produced by 20th Television, a part of Disney Television Studios.

Quinn is repped by Realm Talent, Luber Roklin, Goodman Genow Schenkman. Koenig is repped by Paradigm and Green Management. Johnson is repped by Underscore Talent, WME, and Ziffren Law. Tetlow is repped by The Osbrink Agency.

EXCLUSIVE: WIA, the global nonprofit championing women, non-binary, and underrepresented talent across animation, VFX, and gaming, has named Oscar-nominated producer Jinko Gotoh as its new President.

Gotoh succeeds Marge Dean, Head of Skybound Animation Studio, who concludes a 13-year run as President this month. Previously, she’d served alongside Dean as the organization’s Vice President for over a decade.

With Gotoh’s elevation, Julie Ann Crommett, Founder & CEO of Collective Moxie and current WIA Secretary, will take on the role of Vice President. Tracy Campbell, Director – Production Training & Development at Walt Disney Animation Studios, will take on the role of Secretary, with animation exec Sharon Taylor stepping in as Treasurer.

Moving forward, Dean will remain an involved and valued advisor to WIA, taking on the honorary title of President Emerita, in recognition of her contributions. WIA credits her with spurring unprecedented organizational growth, international expansion, and sector-wide initiatives that have helped advance industry standards for equity and representation.

Dean will formally confirm her decision to step down from WIA’s board during a special presentation today at L.A. festival Animation Is Film.

In a statement on the transition, Dean told Deadline, “Leading WIA for the past thirteen years has been one of the greatest privileges of my career. When I stepped into the role, we were a small group with a big idea about what this industry could be. Today, WIA is a global community with almost 18,000 members, and representation of women and nonbinary people in the industry has grown from 20% to 33%.”

Dean emphasized, “We’re not at parity yet, but we’re closer than we’ve ever been. What we’ve achieved never came down to one person. It happened because thousands of underrepresented creatives and the allies who stood with us believed change was possible and made it happen.”

Still, she said, there is work to be done, which is why the moment for new leadership is now.

“I’m so happy to pass the baton to Jinko, who has been beside me for the past decade. I can’t think of anyone better to lead the organization into its next chapter. I’m proud of what we’ve built together and excited to see what comes next.”

Gotoh steps into the WIA presidency as one of the most respected figures in animation. A BAFTA winner and Oscar-nominated producer, her career spans major studios and acclaimed independent features, with credits including Klaus, The Lego Movie 2, The Little Prince, The Illusionist, and 9. She began her feature career as CGI producer on Space Jam before taking on senior digital production leadership roles at Walt Disney Animation Studios and later contributing to Pixar’s Oscar winner Finding Nemo. Currently producing Sony Pictures Animation’s Spider-Man: Beyond the Spider-Verse, her industry advocacy work also includes serving on AMPAS’ Board of Governors, as well as the PGA board.

Gotoh told us, “Marge’s leadership has shaped WIA into the global organisation it is today, and I am deeply grateful for her partnership and vision over so many years. Stepping into the role of President is an honour, and I look forward to working alongside our Board to continue expanding WIA’s reach – from North America to Europe, Asia, Latin America, Africa, and beyond. As our industry navigates profound change, WIA’s commitment remains clear: to advance gender equity in animation, VFX, and gaming, and to provide meaningful programming, mentorship, and resources to every creative who needs it. I’m also deeply appreciative of the Global Fund Sponsors who have supported this work since 2019 and helped us extend our impact worldwide. I’m excited for what we will build together in this next chapter.”

Founded three decades ago as Women In Animation, WIA’s mission is to continue building a more equitable, innovative, and inclusive future for animation worldwide. Over the last year, the organization has continued to expand its membership, with 800 new members taking their total tally to 18,000. WIA Communities grew to 58 chapters and collectives spanning Vancouver to New York City, the UK to Nepal, and Colombia, hosting 761 events — nearly a 50% year-on-year increase. The organization also welcomed Hayley Porter as Executive Director, celebrated the sixth year of its Mentorship Circles program, and returned to Annecy with a 650-attendee 10th edition of its WIA World Summit.

Directors on WIA’s Board now include:

● Amy Smith – Global Director, Recruitment & Outreach at Framestore – UK

● Barbara Stephen – President/CEO, Flying Bark Productions – Australia

● Brendan Burch – President, Six Point Harness; COO, Mondo Media – NYC, USA

● Christine Chang – Head of Global Operations, Airbnb – LA, USA

● Craig Hunter – Chief Operating Officer, Minno – LA, USA

● Deepa Joshi – Co-CEO, Incessant Rain Studios; Founder, WIA Nepal – LA, USA

● Hsiang Chin Moe – Chair, BFA Animation, School of Visual Arts – NYC, USA

● Jinko Gotoh – Oscar nominated Producer – LA, USA

● Julie Ann Crommet – Founder & CEO of Collective Moxie, Colorado, USA

● Maya Penn – Artist, animator, founder of Upenndo! Productions and Maya’s Ideas; Goodwill Ambassador (FAO); global speaker and mentor – Georgia, USA

● Rozanna Tesler Fried – Principal Counsel, Business & Legal Affairs, Film at Netflix – LA, USA

● Sharon Taylor, Animation Executive – Australia

● Tracy Campbell, Director – Production Training & Development at Walt Disney Animation Studios – LA, USA