Debating the Future of Filmmaking: Can AI Break (or Truly Remake) Hollywood?


Everyone is talking about AI, whether they want to or not. Every day, it feels like there’s a news story about how the tech is improving/ruining our lives, and many conversations about artificial intelligence either come from a place of deep fear or heightened optimism. 

As someone who works in entertainment, I’ve been wondering if these reactions reflect the actual state of the technology that’s out there. Well, as I learned during this year’s AI on the Lot, the world’s biggest conference focused on AI in media, the disconnect is significant — and the means to bridge the gap from fear to understanding, and potentially acceptance, are lacking.

AI Atlas

The event, which drew roughly 2,500 attendees throughout its three-day run, took place near (and partially on) the backlot of Amazon MGM Studios in Culver City, California. I was there for one day, but that was enough time for me to experience the product hype and techno-optimism firsthand. (The persistent worries about human replacement and environmental damage were rarely mentioned.)

One thing you should know about me: I’m a card-carrying member of the performers’ union SAG-AFTRA and, just a few years ago, I joined the strike that raised red flags about the non-consensual use of generative AI in entertainment. Now, here I was — an AI skeptic, an actor, a CNET journalist — entering the belly of the beast. 

Recent films like Hell Grind, which made waves at Cannes, and Dream of Violets, which sparked controversy for being the first full-length AI-made movie to be featured at Tribeca, show the direction movie-making may be heading: quicker, cheaper productions with fewer humans involved.

I wanted to change my mind about the state of the entertainment industry and AI’s potential to improve Hollywood’s overall operations. By day’s end, I left feeling even more conflicted.

Read more: Siri AI Is the Apple Voice Assistant Revamp We’ve All Been Waiting For

Two men sit on a stage on folding chairs and talk in front of a crowd of people.

Albert Cheng, the head of AI Studios at Amazon, spoke to Jay Tucker, executive director of UCLA Anderson’s Center for Management of Enterprise in Media, Entertainment and Sports, in front of the AI on the Lot crowd during the opening day of the media conference.

Irina Logra/AI on the Lot

Albert Cheng, the head of AI Studios at Amazon, delivered the opening keynote on the day I attended. During the hour, he informed the crowd that his team’s approach to AI is “humans first.” 

“We truly believe that at every part of the creative process, humans must be an active participant and decision maker in that process,” he told the crowd, while standing in front of Amazon MGM Studios’ Volume Wall — an AI production tool used to transform a soundstage into any location imaginable. 

“Whether it would be a writer or a director or an actor,” he continued, “it’s really important to have humans involved in driving that process with AI as tools to empower, enable and accelerate everything that we do. And with that combination we’ll get better creative product, we’ll get more creative product, we’ll get more voices.”

An hour later, Amazon greenlit three new animated series, all created with AI; that afternoon, Jorge R. Gutierrez (The Book of Life, Maya and the Three), the creator of Punky Duck — one of the titles announced — scrapped the project entirely due to peer criticism and online backlash.

A day later, screenwriter Paul Schrader, best known for writing the Martin Scorsese-directed movies Taxi Driver, Raging Bull and The Last Temptation of Christ, took that same Volume Wall stage to counter Cheng’s words by dismissing the need for human actors altogether.

“We, as carbon-based fools, will spend our money empathizing and caring about silicon-based creations, and then they’ll want the next one,” he said during one part of his speech. “We know where that actor lives, and he works for nothing, and he works 24 hours a day.”

Schrader also took aim at background actors — a legitimate job that can help performers make a living and qualify for union-offered health insurance (I’m speaking from experience) — who he described as utterly expendable: “Why are we paying extras $180 a day when they look so plastic anyway? We have to clothe them, we have to feed them and we have to deal with their complaints when it gets too hot. Why don’t we just make them?”

An older man in glasses and a black long sleeve shirt stands on a stage and talks to a crowd of people.

Screenwriter Paul Schrader delivers the opening keynote speech for the second day of AI on the Lot in Culver City, California.

Amy Opoka/AI on the Lot

Two keynote speeches, two completely different AI perspectives. On one end of the spectrum, you have the human-driven message that AI is controllable and should be viewed as any other production tool — not a death knell for humanity and creativity as we know it. 

On the other? Throw all that out the window and let AI take the wheel.

This is where we are with AI and Hollywood, though. On one side, there are people, such as Steven Spielberg and Quentin Tarantino, who look down on the use of this technology in entertainment. 

The other side of the AI in filmmaking debate has people including Roger Avary, Tarantino’s former writing partner, using AI to make movies — just as Darren Aronofsky has been doing with his AI-made series on the American Revolutionary War. Martin Scorsese has hopped on the AI bandwagon, as well, investing in an AI company that helps make storyboards. 

Do moves like this make people in the industry nervous? Absolutely. But picking sides and continuing to argue about this isn’t getting us anywhere. AI is obviously here to stay. What are we supposed to do about it?

Everyone I spoke to on the ground did their best to educate me on the reality of AI as a tool — comparing it to the likes of production software such as Adobe Premiere Pro for editors or Final Draft for writers — that, in their eyes, will bring work back to the empty soundstages scattered throughout Los Angeles.

“We’ve built a tool that the whole point of the tool (it’s called Artlist Studio) is allowing you to make the same decisions, like casting, location scouting, lighting, framing, directing,” Ari Belsky, co-founder and co-CEO of AI production company Artlist, explained to me. “Now you can do it fully AI-generated, but you very much can also bring in real actors that you’re working with, so you can get the performance and you can get the likeness to add shots.”

A photo of Ira Belsky, a man with brown hair and beard, sitting in a navy blue shirt jacket in front of a grey backdrop.

Ira Belsky is the co-founder and co-CEO of the AI video platform Artlist.

Artlist

Artlist recently partnered with Paranormal Activity producer Steven Schneider to create a full-length hybrid AI horror film called Terrarium. He regularly mentioned the need for human input and real actors in productions like his. He was in the minority.

By the sound of things, productions are already using AI tools on set to speed up the workflows and cut costs. During his keynote, Cheng spoke of a reality in which engineers and scientists, whose sole focus is artificial intelligence, will become regulars on a Hollywood set, while crews are downsized and the number of AI-enhanced projects that are greenlit increases. 

The result, as it was pitched to me, is more work coming to Hollywood, with more diverse stories being made.

But my fear of job loss persists.

I mentioned the Volume Wall earlier and, as fascinating as this technology is, it’s hard for me not to think about all the positions reliant on location shooting that this type of AI tech will eliminate. Yes, having the ability to recreate any location while never leaving the set is cool, and can save time, cut through budgetary red tape and sidestep variables such as weather delays. Yet there’s still a glaring sense of artifice that can be seen in the finished product that can feel disconnected from the reality it’s trying to replicate.

Belsky pointed to strong and unique storytelling skills as the answer that will cut through the slop. This echoed what Luke Arrigoni, the CEO of Loti, a company that takes down deepfakes, said to me earlier in the day about the allure of specificity and weirdness in entertainment — something AI cannot replicate.

This, it seemed, is where all this talk of human intent comes into play. Yoland Yan, the co-founder and CEO of AI production tool Comfy UI, echoed the sentiment. 

“People who have the highest level of creativity, controllability and quality of taste will actually capture most of the world’s attention,” he said. “They have the taste, they have the content, they have the writing, they have the script, they have the technical competency; those are the ones that actually end up capturing almost all of the views.”

But in an attention economy where views are a highly coveted currency, will any of this matter? I still don’t have an answer. I don’t even think it matters that I don’t have an answer, though.

What matters is this gray area of fear and worry that many of us find ourselves in right now, the very real concerns that AI will make any number of careers obsolete. That stress is palpable throughout Hollywood, where the work has yet to bounce back to prepandemic levels. 

“I think the probable thing that’s going to happen is we’re going to see a lot more stuff being made,” Belsky said. 

He and Yan told me in separate chats that AI is already resulting in more production work — mostly in advertising. TV and film are the next frontier, whether we like it or not.

So what’s the solution? I asked that many times that day, and I was met with the same two words: Use it. I was told to get familiar with the tools to understand them and cut through the fear. Even if that means water is wasted.

“I think more people are going to have the chance to actually show their talent,” Belsky added, reassuringly. “You’re gonna see some amazing things emerge.” 





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There are certain engine configurations that are known even to those whose interest in engines is minimal. For instance, most people will know what makes a V-engine a V-engine, and even the differences between an in-line and flat engine

One engine design trait that’s perhaps less well-known is also related to the engine block, but not to with how the cylinders are arranged in the engine, rather with how they’re supported and cooled. When looking at this aspect of engine design, there are really three main types of engine block to look at. At the extremes are closed-deck and open-deck engine blocks, with some modern engines taking a halfway house approach with a semi-closed design. 

Let’s start by defining what an engine deck is. Essentially, the engine deck is that part of the block that the head gasket sits on, and the engine head attaches to. This means that an inline engine with a single line of cylinders will have one deck, whereas a V-configuration with two banks of cylinders will have two decks. 

Now that we understand that, we can begin to discuss the differences between closed-deck and open-deck engine blocks. In an open-deck engine, there is open space around the top of the cylinders that allows the coolant to circulate more freely. In a closed-deck design, in case you haven’t guessed it by now, the deck features extra material that offers less in the way of cooling, but it does support the cylinders more rigidly. Let’s pop the cylinder head off and have a closer look at these engine block types and why they matter more than you may think. 

Open-deck engines are cool, but flawed

For engine makers, there are definite advantages to open-deck designs — they cost less to manufacture when compared to closed-deck engines, and keep the engine cooler by exposing more of the surface area of the cylinder to the cooling liquid. 

However, all this open space around the cylinders is all very well and good when looking at cooling and manufacturing complexity — but cracks start to appear (sometimes literally) when we look at other aspects of closed-deck engine blocks. While it’s unfair to call open-deck engines unreliable and leave it at that, there are trade-offs in the design, and these become more noticeable in high-performance situations.

Essentially, the lack of material at the top of the engine deck means the engine is less structurally rigid right at the point where it meets some of the most extreme forces engines have to cope with — the combustion point at the top of the cylinder.

If you removed the head from an open-deck design and look down at the deck, this structural weakness is visible. From this viewpoint, the cylinders look separate from the rest of the engine block, with the gap between the two being used for coolant, as some open-deck designs have limited support at either end of the cylinder bank. While this gives more space for coolant to move freely, the downside is that it also does the same for the cylinder. Over time, even the limited movements of cylinders can weaken the head gasket and bring all the associated troubles that follow such a failure. 

Why some engines use closed- and semi-closed deck designs

Open-deck engine blocks are optimized for cooling and manufacturing efficiency. However, incorporate such a configuration in a high-revving, turbocharged brute of an engine and, well, it could end very badly. This is why such engines will usually use a closed-deck configuration. 

In a closed-deck engine, the open spaces around the cylinders of an open deck are filled with additional material. Obviously, the removal of such space and the flexibility it gives to the cylinders substantially strengthens the engine block. This is why some people fill engine blocks with concrete — it removes the flexibility afforded by the presence of cooling chambers. This is especially important for high-performance engines, but to call it overkill for the family runabout is not overstating the case. 

However, and the more observant among you will be there by now, filling an engine’s cooling cavities with material may add strength — but at the expense of cooling efficiency. This is why many modern turbocharged engines or higher-performance engines use a halfway house design in the form of semi-closed decks. 

Semi-closed decks are a compromise design that offers more rigidity to the cylinders by adding more support points. These supports are usually at the top of the cylinder. For instance, while there are pros and cons to Subaru’s EJ20 engine, the company released a version with a semi-closed deck with four additional support points, which should make it less prone to bore distortion. Ultimately, open-deck and closed-deck engine blocks represent design decisions based on the demands the engine is expected to handle. 





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