Nikola Todorovic has tuned in to the ongoing discussions about AI, having explored the flood of AI-created visuals on social media, absorbed various opinions predicting the doom of cinema, and participated in several panels at the Cannes Film Market, where the term “disruption” has been a common refrain. Despite the chaos, he believes much of the discourse is missing a crucial aspect.
As the Bosnia-born co-founder of Wonder Dynamics, which is now part of Autodesk, Todorovic has focused for over ten years on creating AI tools that aim to alleviate the technical burden of visual effects, all while keeping human creativity at the forefront. During his presentation at Cannes, he reiterated a message he has championed since 2016: “We aim to develop AI that works harmoniously with existing production processes.”
This notion underscores a key discussion at the 79th Cannes Film Festival, which has become a backdrop for larger conversations often overshadowed by the glamour of premieres and award races. The debate has shifted; many here now accept that AI will undoubtedly impact the film industry. The more pressing question is which version of AI the industry is engaging with and whether it's equipped to discern the nuances.
At the festival's opening press conference, Demi Moore, a member of the nine-member jury led by Park Chan-wook, offered a grounded perspective. She suggested that resisting AI might be futile and emphasized the importance of collaborating with it. Moore acknowledged the industry's inadequacies in protecting itself but added that no matter how advanced AI becomes, it cannot replicate the essence of human creativity, which is rooted in individual spirit and emotional depth.
This thoughtful approach resonated with a segment of filmmakers and tech experts present at Cannes who are advocating for a balanced stance on AI, neither entirely rejecting it nor blindly accepting it.
Todorovic's journey toward this balance began in 2016 when he and actor Tye Sheridan, fresh from working on Spielberg’s motion-capture heavy film, founded Wonder Dynamics. Their goal was to automate the resource-intensive components of visual effects without undermining the creative process. Since then, the company has secured backing from industry titans, including Peter Thiel and Joe Russo, and has seen its technology employed in major productions including The Electric State.
According to Todorovic, the efficiency gains have been tangible; some animation studios reported a jump in productivity from 30 seconds to over three minutes of animation daily. Smaller production teams have also found themselves empowered to undertake projects they previously deemed impossible.
However, Todorovic asserts that his goal is not to replace the artistry of filmmaking with AI. “We’re not about prompting a movie or performance,” he insists. “The heart of filmmaking lies in the unique contributions of actors, cinematographers, and directors.”
There's a compelling economic case for adopting AI in film production. For example, director Xavier Gens mentioned that AI could have halved the visual effects budget for his Netflix film, Under Paris, while also reducing the project duration by eight months. Analysts from Morgan Stanley predict that generative AI has the potential to slash production costs in film and TV by as much as 30%.
The current inflation of film budgets frustrates Todorovic, who finds it absurd that a single film could cost upwards of $200 million, especially when essential infrastructure like hospitals can be built for far less. He acknowledges that disruption is inevitable, particularly in visual effects, which are highly reliant on technology. He pointed out that specific jobs in the industry, created in the wake of computer-generated imagery becoming mainstream, are now at risk due to advancements in AI.
Yet, despite the challenges, Todorovic remains hopeful about the future. His vision centers on providing opportunities for aspiring filmmakers who currently lack access to the industry. “Coming from a small country, I understand the struggle to break in,” he reflects. “I am optimistic long-term about enabling more diverse voices in storytelling.”
For this to happen, Todorovic believes there’s a need for conscious development of AI that aligns with artistic values instead of allowing tech companies to dictate its usage, which often prioritizes quick, low-quality content over meaningful cinematic experiences.
The tension between the motivations of Silicon Valley and the art of cinema was apparent throughout the Marché du Film, where startups pitched innovations from AI-enhanced VFX to automated focus group simulations. High-profile technology companies were also active in the Innovation Village, demonstrating their interest in the film sector.
While many at the festival are eager to integrate AI as a production aid, others are staunchly opposed. Seth Rogen, who presented his hand-drawn animated film Tangles, was clear about his stance on AI in filmmaking, criticizing the trend towards relying on AI to bypass traditional creative processes.
Adding to this sentiment, Guillermo del Toro—returning to Cannes for the 20th anniversary of Pan’s Labyrinth—echoed concerns about the oversimplification of AI’s role in film. He emphasized the need to delineate various types of AI to facilitate meaningful conversation about its implications on creativity.
Todorovic aligns with this perspective, asserting the value of artistic labor and the inherent challenges of filmmaking. He envisions a future where cinema is not about easily generated content but rather about expanding opportunities for genuine storytelling through technology that complements human creativity.
In conclusion, the discussion at Cannes is shifting from a narrow focus on AI itself to the broader question of what constitutes a worthwhile film and how the tools chosen by Hollywood will influence that pursuit. The festival illuminates a crucial dialogue about the direction of cinema and the imperative to maintain the human essence at its core, even as technology continues to evolve.
