{"id":220,"date":"2026-05-19T13:37:49","date_gmt":"2026-05-19T13:37:49","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=220"},"modified":"2026-05-19T13:37:49","modified_gmt":"2026-05-19T13:37:49","slug":"the-filmmakers-at-cannes-who-are-learning-to-love-ai","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=220","title":{"rendered":"The Filmmakers at Cannes Who Are Learning to Love AI"},"content":{"rendered":"
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\n\tNikola Todorovic has heard all the panic. He\u2019s scrolled through the Instagram reels of AI-generated shots, read the think pieces predicting cinema\u2019s imminent extinction, and sat through more than a few conference panels at the Cannes Film Market where the word \u201cdisruption\u201d was wielded like a cudgel. He gets it. He also thinks most of the conversation is completely missing the point.<\/p>\n

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\n\tThe Bosnia-born co-founder, of Wonder Dynamics, now an Autodesk company, has spent a decade trying to build something more precise than the blunt instrument the industry argues about: AI tools designed to reduce the technical drudgery of visual effects production without pulling the human artist out of the equation. His pitch at Cannes this week is the same one he\u2019s been making since 2016. \u201cWe were really focused on how do we make AI that coexist with the existing pipeline,\u201d he says.<\/p>\n

\n\tIt is, in its way, the defining argument of the 79th Cannes Film Festival \u2014 one that has run as a persistent undercurrent beneath the red-carpet premieres and the Palme d\u2019Or competition. The question is no longer whether AI will reshape the film industry. That debate, to many here, already feels settled. The more urgent and thornier question is which version of AI Hollywood is actually talking about \u2014 and whether the industry has the sophistication, or the will, to tell the difference.<\/p>\n

\n\tAt the opening jury press conference, The Substance<\/em> star Demi Moore, serving this year on the nine-member feature film jury led by Park Chan-wook, offered her own pragmatic read on the moment. \u201cI think the reality is that to resist \u2014 I always feel that against-ness breeds against-ness,\u201d she told reporters. \u201cAI is here. And so to fight it is to fight something that is a battle that we will lose. So to find ways in which we can work with it I think is a more valuable path to take.\u201d She acknowledged that the industry was \u201cprobably not\u201d doing enough to protect itself, but added that whatever ground AI might gain, \u201cwhat it can never replace is what true art comes from, which is not the physical. It comes from the soul. It comes from the spirit of each and every one of us sitting here.\u201d<\/p>\n

\n\tMoore\u2019s nuance was appreciated by at least one camp on the Croisette \u2014 the faction of filmmakers and technologists who have spent years trying to carve out a middle ground between wholesale resistance and uncritical embrace.<\/p>\n

\n\tTodorovic knows that ground intimately. In 2016, he and actor Tye Sheridan \u2014 fresh off the set of Steven Spielberg\u2019s motion-capture-heavy Ready Player One<\/em> \u2014 founded Wonder Dynamics to automate the most technically and economically burdensome parts of visual effects production without removing the filmmaker from the creative act. Motion capture without a suit. Lighting and compositing driven by machine learning. The company attracted seed funding from Peter Thiel\u2019s Founders Fund, board members including Joe Russo and early involvement from Spielberg himself. The Russo brothers used the technology on The Electric State<\/em>, their Netflix production starring Millie Bobby Brown and Chris Pratt. In 2024, Autodesk acquired the company.<\/p>\n

\n\tThe practical results, Todorovic says, have been considerable. \u201cWe\u2019ve had animation studios tell us they basically increased their productivity from doing 30 seconds a day of animation to three and a half minutes a day,\u201d he says. \u201cAnd we\u2019ve had production companies of five to seven people that said they could now do things they could never do before.\u201d<\/p>\n

\n\tBut what Wonder Dynamics is emphatically not building, Todorovic insists, is a replacement for the filmmaking act itself. \u201cWe\u2019re not in the business of \u2018let\u2019s prompt a movie,’\u201d he says. \u201cI\u2019m not a believer that you can prompt a movie, prompt a performance, prompt a camera move. Tye is an actor, and I think the beauty of filmmaking is having an actor give a performance, having a cinematographer set up the frame, having a director direct.\u201d<\/p>\n

\n\tThe economic logic for AI-assisted production is hard to argue with. One French director, Xavier Gens, told Reuters here that AI tools could have cut the visual effects budget of his Netflix hit Under Paris<\/em> in half and shaved eight months off the schedule. Morgan Stanley analysts have estimated generative AI could reduce film and TV production costs by as much as 30 percent.<\/p>\n

\n\tThe broader absurdity of current industry economics drives Todorovic. \u201cWe think it\u2019s normal that a film should cost $90 million, $100 million, $200 million \u2014 which to me is absolutely absurd,\u201d he says. \u201cA hospital will cost you $20 million to build, and it\u2019s there for two hundred years. And one movie, maybe based on a terrible idea, can cost $200 million plus marketing. And it could flop.\u201d<\/p>\n

\n\tBut Todorovic is equally clear-eyed about the disruption that is coming regardless of how the debate is framed. \u201cI think a lot of you\u2019ll hear people saying, \u2018Oh, we\u2019re accelerating, we\u2019re not replacing\u2019 \u2014 I think there\u2019s just being politically correct. There\u2019s a shift, 100 percent, and I think visual effects get hit first, because it\u2019s very tech dependent.\u201d The jobs that were created because CGI was slow and difficult \u2014 character creation artists, rigging artists, texture artists \u2014 face real risk. \u201cThose are the jobs that are in danger,\u201d he says. \u201cIt would be a lie to say otherwise.\u201d<\/p>\n

\n\tAnd yet he remains, by his own account, optimistic about the longer arc. His vision is less about Hollywood\u2019s incumbents and more about the filmmaker who currently has no path into the industry. \u201cMe coming from a small country, it took me a long time to break in,\u201d he says. \u201cI\u2019m very optimistic long term, and it is going to open up for more people to tell stories, more voices to be discovered.\u201d<\/p>\n

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\n\tThere is, however, a precondition. \u201cI think we need to step in and build AI how we want it to be used,\u201d Todorovic says, \u201cotherwise we\u2019re going to have the tech industry leading it for the wrong reasons \u2014 to create videos for TikTok in a day versus creating an actual film.\u201d<\/p>\n

\n\tThat friction \u2014 between Silicon Valley\u2019s incentives and cinema\u2019s \u2014 was visible throughout the March\u00e9 du Film this week, where startups pitched everything from automated VFX pipelines to AI-generated simulated focus groups. Representatives from Alphabet, Disney Accelerator, NVIDIA, and OpenAI all made appearances in the market\u2019s new Innovation Village, overlooking the yacht-filled harbor.<\/p>\n

\n\tBut for every figure willing to embrace AI as a production tool, others on the Croisette were drawing harder lines. Seth Rogen, here to present Tangles<\/em> \u2014 the hand-drawn animated film he co-produced with his wife Lauren Miller Rogen about a family navigating Alzheimer\u2019s disease \u2014 was direct when asked about AI in filmmaking. \u201cEvery time I see a video on Instagram that\u2019s like, \u2018Hollywood is cooked,\u2019 what follows is the most stupid dog s\u2014 I\u2019ve ever seen in my life,\u201d he told Brut. \u201cAnd if your instinct is to use AI and not go through that process, you shouldn\u2019t be a writer. Because you\u2019re not writing. Go do something else.\u201d<\/p>\n

\n\tOn Tangles<\/em> specifically, Rogen was unequivocal: \u201cNot at all. It\u2019s hand-drawn animation. Every frame has a human touch to it.\u201d The film received a seven-minute ovation at its Cannes premiere.<\/p>\n

\n\tIt is, in its own way, the same argument Guillermo del Toro has been making for years \u2014 and never more pointedly than this week. Del Toro returned to Cannes to present a 4K restoration of Pan\u2019s Labyrinth<\/em>, marking the 20th anniversary of its world premiere and the still-unbroken record of a 23-minute standing ovation, having personally supervised every stage of the restoration from the original 35mm negative.<\/p>\n

\n\tSpeaking to The Hollywood Reporter<\/em>, del Toro offered what may be the most precise diagnosis of the festival\u2019s central argument. \u201cThe thing is, to have the discussion, we have to start defining AI, because they\u2019re trying to pass five types of things under one single name,\u201d he said. \u201cSo what are you talking about? Are you talking about a tracking program? Are you talking about rotoscope? Or are you talking about generative AI, where you remove the artist from the equation? The nomenclature has to change before we can have a real discussion. Otherwise it\u2019s just a headline.\u201d<\/p>\n

\n\tTaking the stage before the restoration screening, del Toro took a more impassioned tone. \u201cWe are, unfortunately, in times that make this movie more pertinent than ever,\u201d he said, \u201cbecause they tell us everything is useless to resist, that art can be done with a f\u2014ing app.\u201d<\/p>\n

\n\tTodorovic, for his part, would not disagree with the sentiment, even if his instrument is different. \u201cWe like art because it\u2019s difficult,\u201d he says. \u201cWe like film because it\u2019s difficult. We admire work where only that one person can do this, because that\u2019s their voice, and it\u2019s so hard to do that. We\u2019re not going to go pay to watch something someone spent a few days prompting.\u201d<\/p>\n

\n\tWhat he is betting on \u2014 and what Wonder Dynamics was built around \u2014 is a version of cinema\u2019s future that looks less like a prompt box and more like a wider door. \u201cTechnology has always driven the film industry,\u201d he says, \u201cand there\u2019s always been resistance, but we\u2019ve always depended on each other.\u201d The first Hollywood studios, he notes, were founded by producers fleeing Thomas Edison\u2019s technology monopoly on the motion picture camera. \u201cThe first studio was created by producers who were saying storytelling should be for everyone, and there shouldn\u2019t be one company that holds the technology and holds us hostage.\u201d<\/p>\n

\n\tIn the Innovation Village, on the Croisette, and in the Debussy Theatre where a Cannes audience gave Pan\u2019s Labyrinth<\/em> a hero\u2019s welcome all over again, the argument at this festival is clarifying. The question isn\u2019t really about AI. It\u2019s about what makes a film worth making in the first place \u2014 and whether the tools Hollywood reaches for help answer that question, or quietly make it disappear.<\/p>\n

Read more Sebastian Stan on Donald Trump: \u201cIt\u2019s Just Not a Laughing Matter\u2026 We\u2019re in a Really, Really Bad Place\u201d<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

A growing faction on the Croisette is making the case that technology should serve the artist \u2014 not replace them.<\/p>\n","protected":false},"author":1,"featured_media":219,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[244,8,224,82,2],"class_list":["post-220","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-a-i","tag-cannes-2026","tag-demi-moore","tag-guillermo-del-toro","tag-international"],"yoast_head":"\nThe Filmmakers at Cannes Who Are Learning to Love AI - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=220\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Filmmakers at Cannes Who Are Learning to Love AI - 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