I think this is unlikely to happen in Hollywood. Billion dollar grossers need a certain critical cultural mass pre-release. Usually that means a well-known IP/franchise/sequel. The IPs with that kind of critical mass are currently all with major studios who for various reasons will not move to 100% AI productions for those franchises by 2030, and there no AI-era IPs yet with the kind of cultural cachet needed to spawn a billion dollar movie.
Could happen in China though, but I think a film with that ambition will likely not be “100% AI”, and that label may be less useful over time as more of this tech gets absorbed into current workflows. Which is probably healthy since I don’t think the AI/non-AI binary is conducive to groundbreaking collaborative creative work.
Even if one works with the assumption that all shots are generated - that’s still only one part of making a film. Someone will still need to write it and direct it, and it will still need editing and post-production and all other relevant parts of the filmmaking process. Plus a film with that ambition would want to also bring on top tier actors - so performance capture and voice dubbing, etc. - in principle this is not very different from how films are made today, i.e, a synthesis of various tools and methods, and imo is a natural evolution of tech-forward filmmaking.
What I think is a higher-impact unlock with AI video is what’s already starting to happen - solo creators and small teams using these tools to create outside the current system and in that process develop new aesthetics, distribution strategies and business models. Exploring this has been one of the focal points of my life and work for the last few years and I’m going to be spending a lot more time building towards this thesis this year.
In time, I think some of these AI-native projects popping up all over the world may find the scale and the cultural impact to support a billion dollar grosser movie of their own.
I think this is unlikely to happen in Hollywood. Billion dollar grossers need a certain critical cultural mass pre-release. Usually that means a well-known IP/franchise/sequel. The IPs with that kind of critical mass are currently all with major studios who for various reasons will not move to 100% AI productions for those franchises by 2030, and there no AI-era IPs yet with the kind of cultural cachet needed to spawn a billion dollar movie.
Could happen in China though, but I think a film with that ambition will likely not be “100% AI”, and that label may be less useful over time as more of this tech gets absorbed into current workflows. Which is probably healthy since I don’t think the AI/non-AI binary is conducive to groundbreaking collaborative creative work.
Even if one works with the assumption that all shots are generated - that’s still only one part of making a film. Someone will still need to write it and direct it, and it will still need editing and post-production and all other relevant parts of the filmmaking process. Plus a film with that ambition would want to also bring on top tier actors - so performance capture and voice dubbing, etc. - in principle this is not very different from how films are made today, i.e, a synthesis of various tools and methods, and imo is a natural evolution of tech-forward filmmaking.
What I think is a higher-impact unlock with AI video is what’s already starting to happen - solo creators and small teams using these tools to create outside the current system and in that process develop new aesthetics, distribution strategies and business models. Exploring this has been one of the focal points of my life and work for the last few years and I’m going to be spending a lot more time building towards this thesis this year.
In time, I think some of these AI-native projects popping up all over the world may find the scale and the cultural impact to support a billion dollar grosser movie of their own.
@Dudechillkar a few descriptors that come to mind: indofuturism, sci-fi, speculative design, worldbuilding. although eventually i do want to make "chai-fi" it's own visual genre at the intersection of indian street life and science fiction