As a seasoned film industry professional with over two decades of experience under my belt, I must say that the evolution of technology and its impact on our beloved art form has always been a subject of great interest for me. The emergence of AI in filmmaking is undeniably a game-changer, and it’s fascinating to see how it’s reshaping the landscape.
What influence might artificial intelligence, particularly generative AI, have on the movie industry and its creative professionals? This topic was among those explored during the inaugural day of Locarno Pro, the industry segment of the Locarno Film Festival, on a Thursday.
The discussion took place the day following the commencement of the 77th Locarno festival, which kicked off showcasing numerous films centered around artificial intelligence concepts, subjects, and advancements.
At a well-attended panel talk, Alex Walton (co-head of WME Independent), Katie Ellen (previously BFI executive and now head of production at HanWay Films), Ada Solomon from Romania (producer of Radu Jude’s “Bad Luck Banging or Loony Porn” and Maren Ade’s “Toni Erdmann”, also associated with Hi Film Productions, MicroFILM, and the European Film Academy’s board deputy chair), shared insights on the industry’s current status, covering topics such as AI applications, funding strategies, diversity concerns, and more.
“Virtual production’s progress is truly captivating, and artificial intelligence significantly contributes to this momentum. This development plays a significant role in reducing costs, a concern expressed by Walton regarding movie production.”
Ellen expressed similar sentiments regarding financial strains, stating, “There’s been a lot of bargaining – who will postpone their payments, who will reduce their fees? The remaining portion is minimal.” The dilemma now lies in determining whether a film is a viable investment. She continued, “Who’s benefiting? Who’s being compensated? Since it’s a business and these are people’s means of living, expenses need to be reduced, somehow.” She further added, “If AI can assist in reducing costs, I’m unsure about the employment aspect, but no one maintains a job if they can’t produce films.”
Speaking as an enthusiast, Solomon emphasized that Artificial Intelligence (AI) could potentially reduce costs and enhance efficiency within the filmmaking industry, empowering creatives. However, it’s crucial to ensure that we maintain control over AI, so it serves us rather than the other way around. In essence, AI is merely a tool at our disposal, but the question of how we utilize this tool or allow ourselves to be influenced by it is a significant issue we need to address today.
“Ellen contends that the path to success is narrowing, particularly in the realm of independent films. She believes this is a time when employing personal feelings and instincts becomes crucial, as they can aid in selecting projects with potential appeal to audiences.”
Walton pointed out that prediction technologies and models are currently being utilized, including Amazon’s script-reading algorithm, which is continually updated. He described it as an “inconsistent decision maker.” While human intervention follows, there may be apprehension since these processes have the potential to impact “the entire ecosystem,” especially when dealing with platforms where products are sold either immediately or later on to influence the algorithm. Ultimately, Walton warned that this could lead to a “detrimental cycle.”
Ellen pointed out that because film projects can take years to complete, adapting content to an ever-changing algorithm every three months could present significant challenges. In essence, she questioned whether it makes sense to develop an entire project for a specific buyer only to find they no longer want it when the production is finally released, leaving one to wonder if they are satisfied with the project they have created.
Discussion about film financing was also a key topic during the Locarno Pro panel. Solomon pointed out that Eastern Europe has fewer distribution channels and financial resources compared to the U.S. or Western Europe. She cautioned that traditional public financing is dwindling, suggesting that regional film industry professionals should explore innovative funding models. The potential downside is that some might prioritize immediate profit and commercialization over the kind of independent art-house films Solomon prefers.
It appears that the funding for independent or art house films, particularly for new and upcoming filmmakers, is becoming increasingly challenging. As she spoke, it was clear that she was working on many first-time directorial ventures, almost as if she were nurturing fresh talent in her home country of Romania, which is famous for the legend of Dracula. She acknowledged the inherent risks involved but saw them as necessary steps towards potential success. Solomon’s insight suggested that even when a project fails, the loss isn’t substantial. However, if one carefully selects the right talent, about three out of every five projects could yield positive results, resulting in more financial gain compared to directing larger films later in a career.
She talked about the ongoing movie production she’s involved in, which is based on the life experiences of a Romanian Roma woman who spent her childhood in an orphanage. This woman is sharing her tale in a manner that inspires and uplifts.
To succeed as a novice filmmaker, having a seasoned production partner with a rich background in the industry is crucial because talented individuals are often drawn towards emerging voices. Thus, the challenge lies in discovering an effective method to connect with potential talents who align with your vision. This connection can pave the way for fundraising and attracting distributors who may be hesitant to invest in first-time filmmakers. Instead of buying their films outright, these distributors compete to acquire them due to the presence of recognized talent that adds significant value.
As a devoted fan, I must admit it’s been quite an uphill battle this year in Toronto, with numerous first-time filmmakers gracing our screens. Each step of the way has proven demanding, from pre-production to final financing, where we brought on talented individuals to help us leap these obstacles. But, as they say, every challenge presents an opportunity to grow and push forward.
The executive pointed out several well-known instances of movies that faced difficulties in funding and production, including ‘Whiplash’, emphasizing that unearthing fresh talent is essential to the industry’s survival, as it plays a crucial role in the film industry.
As a gamer, I was thrilled to witness the focus on diversity and inclusivity during yesterday’s discussion. To illustrate, Ellen highlighted some fresh talents like Charlotte Wells, Charlotte Regan, and Rich Peppiatt, whose innovative work on ‘Kneecap’ is a testament to the success stories nurtured by public funding in the U.K.
“Thursday’s StepIn 2024 event at Locarno Pro kicked off Day 1 with the theme ‘The Ground Is Shaking,’ discussing a variety of subjects including AI, the implications of Hollywood strikes, the growth of streaming services, and the future of both the independent film industry and traditional movie theaters.”
At a recent discussion titled “Scripting New Realities: The Role and Risks of AI in Modern Filmmaking,” Kelsey Farish, an attorney specializing in media, entertainment, and generative AI, offered her valuable perspective. As a consultant at Reviewed & Cleared, she concentrates on the areas where personality rights, publicity rights, copyright law, and GenAI intersect, including deepfakes.
As an enthusiast, I traced my fascination with AI and deepfakes back to Scarlett Johansson’s remarks about the misuse of her likeness in creating adult deepfakes. What resonated with me was her insight that while AI can be a powerful tool for content creation, production, and post-production, it also has potential pitfalls, such as managing backend functions like rights and royalties.
She additionally emphasized “leveraging talent” as a developing possibility. “With AI handling the repetitive and technical aspects of acting, such as Automated Dialogue Replacement (ADR), it allows actors to concentrate on more imaginative and emotionally taxing performances, as well as other facets of their art. Furthermore, if you are an actor with numerous digital counterparts in action, your earning capacity will likely increase. This means you can take time off to enjoy the sun, beaches, and whatever else, while your AI replicas handle some work for you.”
While there are AI opportunities, there are also many risks, Farish emphasized. Among various others, she mentioned that AI may be getting better but lacks authenticity, especially in complex scenes, as well as human originality. “Will narratives become homogenized? Will studios be discouraged from taking creative risks,” asked one of her slides. “You can’t guarantee success based on a few spreadsheets,” Farish further highlighted, noting that AI firms can’t be sued for wrong predictions.
As a passionate advocate for art and technology, I ponder over the intriguing implications of incorporating AI in post-production. While it might seem efficient, there’s a concern that it could lean too heavily on formulaic approaches, lacking the authentic human touch that we all cherish.
For performers, crucial considerations involve autonomy and permission, like figuring out how they can retain control over their digital counterparts in an era when AI can mimic their likeness and voice. Should artists hold the authority to endorse or reject every application of their digital twin?
As a seasoned professional with years of experience under my belt, I wholeheartedly concur with Farish’s insights on the prudent use of AI. Throughout my career, I have seen the transformative power of technology, but also its potential pitfalls when not handled responsibly.
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2024-08-08 15:56