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Two sessions at the forum spoke directly to issues at the heart of our cinematic city: one, will artificial intelligence take over, and two, can anyone in Los Angeles live here, let alone make a movie?
Let me preface this with a TL;DR that our panelists have high hopes for both concern and surprise: it’s about human relationships and partnerships. Connecting with collaborators, connecting with audiences, connecting with new ideas and perspectives from different backgrounds… basically everything Film Independent is about.
So let’s dive in. Reality check: AI in the workplace It brought together three industry professionals and economists, led by journalist Carolyn Giardina. Patrick Adler kicked things off with an exciting overview of creative jobs in California and how AI tools are affecting jobs at scale. As a founding partner of Westwood Economics, his team published a report on the 118,000 creative jobs lost in California by 2022. The report does some detective work on what separates this change in California from the rest of the country, where industries that use AI tools have actually outgrown the human workforce. Adler hypothesized that as artificial intelligence tools become more involved in some jobs, more people will be required to manage and implement those tools. But for California and Los Angeles in particular, factors unique to the recession and livability may play a role.
Harry Yoon (Editor, Spider-Man: Brand New Day) realized how artificial intelligence has made it easier and less tedious to do “soul-crushing” tasks like transcription or creating new concepts with sound design and ADR drafts to test new lines, leaving people to do more fun things. Matthew Cullen (Founder of Mirada Studios, Motion Theory) also found that work is made easier with AI, but clients tend to be misinformed about what AI can actually do. No matter what they hear, you can’t just lead to a cinematic and artistic outcome – the role of human experience, human ability and human interaction is still vital.
On the other hand, as a writer, Ruth Fowler (writer, Rules of the game, small disasters) finds that gainful employment has always been difficult, but in the AI engagement reality, he’s being asked to do more freelance work—running more meetings, creating more development documents—before he knows if he’s landed the job. But beyond the usual hustle and bustle of getting a job that includes a year’s salary, he wonders if AI is making writers more isolated than usual. The experience he gained from feedback and feedback from other people only translates to Claude if he practices it; A new writer may not benefit from this criticism. Meanwhile, being busy and overwhelmed makes it harder than ever to ask people for feedback.
Yoon and Cullen reiterated concerns about what brings people together at work, as the same tedious tasks that AI performs may have previously functioned as an intern’s training ground. The mentorship space has been affected since Cullen started his company in 2003 and talked about training new people. “My intern at the time is now the head of creative at my company. I think about all those interns and I think about all the people you know who were there and you’re creating that space for them to show up and figure it out.” Cullen has seen receivers go on to become Emmy Award-winning producers and directors, all from the osmosis of being around imaginative people and seeing the possibilities of the future up close.
There were also keys that could be used when audience members got home. VFX supervisor and AI Creators Coalition founder Jim Geduldik recently launched the CCAI site, which includes useful tools for filmmakers such as an AI glossary, impact survey and visualizer, and found here.
The panel discussed concerns about how AI is changing job descriptions and how important cost savings will be, especially now that it’s more expensive to hire domestically than overseas — even London is cheaper than Atlanta. Cullen accepts the interference of AI technology, but doesn’t like it. Still, he argued, the creative business has never been more exciting or more challenging. “From short form to long form to interactive form to experience… longevity is living in this river of change, you know?
Meanwhile, with so much production moving offshore, how cheap is it as an independent filmmaker to take your film overseas? Crossing Borders: India’s International Landscape Gathered five filmmakers to exchange stories and highlight the pros and cons for global acceptance of your productions. Although the US does not currently have any international co-production agreements, our panel emphasized the importance of finding partners in your country of interest. and by partners, Anna Rozhalska (EP for Who will write our history? and co-producer arbitration) means the true believers of the project – like-minded collaborators who want to see the story succeed. While filming the project in Lithuania, Rozhalska described asking several companies to read the script and offer a budget. Ultimately his choice was motivated by the ideas presented. “In the end it wasn’t about the budget, it was about the company really caring about the project… We could really tell they were very involved.”
Shih-Ching Tsou (Director/Producer, A left-handed girl) is from Taiwan but lives in New York and has never made a film in his native country. So partnership was key. “It’s not really exotic because it’s really scary,” he says of trying to establish himself and his vision in the Taiwanese film industry. “People are going to look at you and say… ‘I guess you don’t know what to do,’ right? So you have to jump in and prove to them like this is the way to go.” Communication and trust are key elements of any partnership and Munir Atala (Head of Production and Acquisitions, Watermelon Pictures) argued that international relationships are no different.
Claire Brooks (Executive Director, International Association of Film Commissioners) passionately shared the practicalities of identifying potential locations and making the most of local film commissions – even in the United States. “They provide free location services,” Brooks explained. “Some of them will read your script. Some of them have access to funding opportunities – not through their office, but through their national bodies.” And those who do not can point to the right place. Miura Kite (president of global content, Maria Farinha Films) has partners in the French production company, and the two companies bring shows to each other, leading by who pays for what. Once you find people you enjoy working with, try to maximize that in any way you can.
In addition, moderator Tatiana Kelly (Producer, Catcher was a spy, Cut throat city) led a panel on attracting foreign investment, selling a completed project, the marketing potential of attaching stars, and maintaining a visionary mind—“talk to people,” suggested Tsu, “you never know who you’re going to meet.” Brooks told a story about cultural alignment and how substance It got a tax break from France because Demi Moore’s character cooks a French dish in one scene. “Read the details,” he summarizes the importance of knowing what a given region is looking for when considering an investment. Also, cultural differences, unique aspects of the local film industry and traditions, and holidays should not be overlooked. If France is on vacation in the month of August, it will affect your production schedule.
“Travel a lot,” advises Rozalska. “I think the only way to really like a relationship from a different country is to understand their culture.
While it’s easy to romanticize opportunities that are further away, the panelists advised that all considerations be considered. State funding may take 2-3 years. If the tax credit is a refund of expenses already incurred, then factor in the percentage of those expenses before you pay. Brooks recommended getting the regional film office involved as soon as possible so they can help figure out how the numbers will play out in real time and money. “When do you get this money and how long do you carry this loan and is it worth it?”
Rozalska lives in Los Angeles, travels to Europe to shoot films. He was optimistic about the potential of a major international film partnership. “You all live in Hollywood and the whole world is watching,” he said with a smile. His European background taught him the value of treaties and the amazing possibilities of cooperation across national borders. “I believe the best way to make movies is to find different ways to collaborate and get the best of both worlds.”
The same can be said about AI.
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