I believe it was the prolific motivational writer William Arthur Ward who once remarked: “If your mind can imagine it, or dream it, you can achieve it.”
In the realm of digital filmmaking, with the recent unveiling of Google AI’s remarkable new cinematic video creation tool, that statement transcends mere fantasy. It has evolved into a tangible reality.
And this could signal a significant challenge for Hollywood.
WHEN BOWIE FORECAST THE INFLUENCE OF THE INTERNET
In a recent video discussing AI’s effect on Hollywood, writer and theater director, Russell Dobular from Due Dissidence, stated, “I feel that we’re at a moment with AI that is very similar to the moment we faced when the internet was first commercialised.”
He reminded us of David Bowie, “one of the most brilliant creative minds of his era”, who recognized the internet’s potential earlier than most.
Back in December 1999, during an interview with BBC Newsnight, Bowie commented: “I don’t think we’ve even seen the tip of the iceberg. I think the potential of what the internet is going to do to society is unimaginable. We’re on the cusp of something exhilarating – and terrifying.”
The interviewer (Jeremy Paxman) cautiously suggested: “It’s just a tool though, isn’t it?
“No, it’s not. It’s an alien life form,” Bowie chuckled. He also remarked, “The content is going to be so different from anything that we can envision at the moment; it will redefine our perceptions of various mediums.”
A YOUNG CREATOR COULD MAKE THE NEXT STAR WARS – ON HIS LAPTOP
Over twenty years ago, I remember reading an article in a cinema magazine that predicted, in the not-so-distant future, a young (Japanese, Chinese, or South Korean) individual (with no inclination towards sinophobia) would create a new Star Wars film without stepping out of his home.
He would shoot greenscreen live-action, record dialogue from his garage or basement, and handle editing, post-production, color grading, sound scoring, and mixing all on his laptop – complete with CGI, VFX, and animations.
Well, that dreamed-of world is now officially upon us.
A LONG JOURNEY SINCE ‘SIMONE’
In 2002, filmmaker Andrew Niccol produced a movie featuring Al Pacino named Simone (also known as S1m0ne).
The plot revolves around a struggling director (Pacino) whose latest film faces shutdown after his pampered star walks off the set. Rather than casting another actress, he employs cutting-edge CG (computer graphics) technology to digitally fabricate a leading character, Simone (named after the computerized program, Simulation One). As Simone gains fame – the audience believes she is real – the director finds it increasingly difficult to keep her non-existent status hidden from the world.
That was back in 2002. At that time, the concept still belonged to the realm of science fiction. Fast forward exactly 20 years, and it has come to fruition.
‘THE SAFE ZONE’: THE FIRST FILM PENNED AND DIRECTED BY AI
In 2022, ChatGPT crafted and directed the first AI-generated short film within a week. Produced by 28 Squared Studios in partnership with Moon Ventures, this six-minute film is titled The Safe Zone.
The narrative depicts a disintegrating world where AI has taken control, placing three siblings in a tense debate over who earns a spot in the Safe Zone – the lone safe haven from the machines. Only one family member can enter the Zone; those left outside face certain doom.
Discussing the creation, producer Richard Juan stated: “We enlisted OpenAI’s ChatGPT to produce a complete script and guide us through production. It provided a comprehensive shot list, offered detailed instructions for the director of photography (including camera lens choices, movements, and lighting), recommended wardrobe options, and even supplied prompts for DALL-E 2 [text-to-image generator] to create a complete storyboard.
“The landscape of filmmaking has been altered forever.”
‘WE’RE ALL IN FOR SOME DIRE STRAITS’ – ZACH LEVI
In February this year, conservative commentator and documentary filmmaker Matt Walsh (What is a Woman? Am I Racist?) spoke with Zachary Levi (Shazam) regarding the influence of AI on cinema and its implications for Hollywood’s future.
“So AI in the film industry… is this the direction we’re heading? Are we approaching a point where they just input a prompt, generate a movie, and release it to the masses? Are we really going there – and what are your thoughts on that?” Walsh asked Levi.
“The quick answer is, yes,” Levi replied.
“I’ve been advocating for this for quite some time,” he stated. I believe that shortly AI will be so sophisticated that it will be indistinguishable from human-generated content. Technology now allows anyone – be it studios or an average person – to create with an AI model and curate whatever they desire; a movie, a TV series, a video game, a song – all through prompts.
“So I think we [Hollywood] are heading towards some pretty serious Dire Straits,” Levi elaborated.
INTRODUCING GOOGLE’S VEO 3 AV GENERATOR
During the Google I/O event on May 20 this year, the company unveiled Veo 3, a new AI video generation model capable of creating 8-second clips. Included in the offering are several innovations that distinguish it from other video creation tools. Beyond generating photo-realistic video, it also produces audio, dialogue, and fully-developed soundscapes.
It can ensure continuity of characters across various video segments and allows users to fine-tune camera angles, composition, and movement in unprecedented ways.
In a matter of hours post-release, AI artists and filmmakers showcased astonishingly lifelike videos that left many social media users astounded by the outcomes.
MEET THE FILMMAKERS CRAFTING AI SHORT FILMS
Since its release, AI filmmakers have begun utilizing Veo 3 for shorts, and it’s only a matter of time before we witness a feature-length film powered by the model.
One of the most shared short films created with Veo 3 is Influenders, directed by Yonatan Dor, founder of AI visual studio, The Dor Brothers. In this film, a series of influencers respond to the camera while an unexplainable apocalyptic event unfolds in the background. The video has gained hundreds of thousands of views across multiple platforms. Likewise, similar shorts featuring street interviews have gone viral.
Veo 3 is currently accessible with Google’s paid AI plans. Users can employ the tool within Gemini, Google’s AI chatbot, and Flow, their AI filmmaking application.
IS THIS THE DEMISE OF HOLLYWOOD AS WE KNOW IT?
Donald Trump’s sanctions on Hollywood and the U.S. film industry have ignited concern that Hollywood might follow in Detroit’s footsteps, becoming obsolete in the movie industry. Producers and studios are panicking over tax incentives and the potential migration of productions to other locales.
Dobular believes Hollywood is overlooking a vital aspect. “This is akin to discussing the shape of the iceberg while aboard the Titanic just before it makes contact,” he remarked.
“They’re entirely missing what could obliterate their entire industry. And I’ve been asserting this since they beta-tested the first AI model capable of generating video from prompts; this signifies the end of Hollywood, the end of entertainment as we recognize it.”
“With Google’s Veo 3, we’re essentially there right now,” he added.
DON’T RESIST IT, EMBRACE IT – ARONOFSKY
Among the numerous filmmakers and artists invited to Google’s I/O event to experiment with and present the new technologies was visionary auteur filmmaker, Darren Aronofsky (Requiem for a Dream, The Whale).
Aronofsky’s venture Primordial Soup has teamed up with Google DeepMind’s research team and three filmmakers to create short films that embrace emerging technology and storytelling methods.
The director of such films as Noah and Black Swan does not perceive this AI resurgence as a danger to artists, creativity, and filmmakers but as a helpful enhancement. He likened it to numerous previous innovations and advancements in cinema that faced initial skepticism – such as sound, color, and eventually CGI, VFX, and digital cameras.
In a press conference following the I/O event, Aronofsky stated, “Filmmaking has always been propelled by technological advances. Following the groundbreaking inventions of the Lumiere Brothers and Edison, filmmakers unlocked hidden storytelling potential inherent in cameras. Subsequent technological innovations – sound, color, VFX – enabled us to tell stories in ways previously unimaginable.”
“The current situation is no different. Today is the time to explore these new instruments and shape them for the future of storytelling,” he remarked.
THIS ESSENTIALLY RENDERS MOST OF THE CAST & CREW OBSOLETE
As Dobular highlights, “Aronofsky is correct. But what he’s not acknowledging is… this new technology effectively removes the necessity for most individuals involved in movie production.”
Pointing out how effortlessly AI can produce basic 2D and 3D animations, Dobular questioned: “What purpose does an animation studio serve? What role do you need the animators for? That’s the end of animation as a profession.”
“This will democratize filmmaking in the same way that the internet has democratized media, journalism, and content creation,” he further asserted.
THE LAPTOP BLOCKBUSTER IS ON THE HORIZON
Indeed, we are entering a new era of film production where innate talent and creative storytelling may become the essential currencies of cinematic success, as opposed to extensive financial resources. The next Star Wars may emerge not from a massive studio lot but from a serene room, driven by a singular vision, a robust laptop, and an arsenal of groundbreaking AI tools.
The enchantment of filmmaking is no longer confined to the privileged; it’s accessible to anyone with a concept and the digital means to execute it.
Of course, as Dobular observes; “Most of the films produced in this manner will likely be subpar …but a select few will be brilliant. And that will fundamentally transform the industry in its current form – as there are no longer any barriers to entry.”
A more profound question or worry could be; if everyone becomes a Spielberg, and everyone becomes a visionary filmmaker with just a few keystrokes …what then is considered special about that?
To rephrase, as Quentin Tarantino once expressed regarding (his aversion to) digital filmmaking;
“In a world where you can do anything, nothing means anything.”
