They’re not just smaller. They are offering curated programming alongside elevated dining, Q&As with filmmakers, and other experiences that can’t be found at the multiplex or streaming in your living room. In many cases, they are being rented out for private showings.

This isn’t nostalgia; it’s an opportunity. For movies, these smaller, more intimate venues are a physical manifestation of a broader shift in the industry. Over the next year, we are going to see filmmakers, independent distributors and even the big studios focusing more on smaller, human-driven stories that are centered on making emotional connections with audiences.

Cinema as Community

The rise of the small theater in many ways returns film to its original purpose, as a connective experience that we share with people, rather than as content we consume alone. By adding new elements to the theater-going experience, we are seeing the first true reimagining of how to engage with film since the rise of streaming.

After a period of trying to compete with home viewing by going bigger and noisier, the industry may finally realize that going more personal and curated may be the best way forward. 

This shift in how we watch influences what we want to watch.

The Return of the ‘90s Era Indy Film

Audiences are showing signs of gravitating toward character-driven dramedies, romantic comedies, and films that appeal across generations. They want movies they can watch with their parents and their kids.

Part of the desire for that communal viewing experience is a hunger for stories that are centered on human connection and offer appeal across different audience groups.

The appetite for these films is colliding with a transformed distribution landscape.

Fewer Releases, More Pathways

Studio consolidation has reduced the number of theatrical releases, but this contraction has opened alternative routes to audiences. 

Smaller bespoke distribution companies bypass traditional gatekeepers.  Upstarts like GATHR,  Kinema and Assembly Releasing – whose innovative use of generative AI in its documentary “Eno” created a completely new way of experiencing and interacting with a film. Second-run movies and the explosion of documentary shows that the marketplace isn’t shrinking, it’s fragmenting into specialized channels. It creates the perfect environment for telling the kind of personal stories we are seeing filmmakers gravitate towards.

Seeing More of Ourselves Onscreen

Movies are always about escapism on some level. A key element to that escapism in immersing oneself in stories that provide levity, warmth, and recognizable human lives.

In an age of AI and algorithms, there is a huge – and potentially lucrative – opening for producers to zero in on these new trends.

The Bottom Line: Small Rooms, Big Recalibration

The boutique theater boom isn’t a niche trend, it’s a barometer. These venues and the films they champion represent a shift in audience expectation that the industry should be paying attention to. And please make sure the popcorn is fresh!

The post What 50-Seat Theaters Tell Us About the Stories Audiences Will Want in 2026 appeared first on Big Picture Film Club.

IP Law

Briefly, IP laws give people and businesses control over creations of the mind used in commerce. Through copyright, trademarks and patents, among other things, they enable creators and rights holders to be compensated for their work if stolen or licensed out. 

Of course, IP law is not perfect. Often, big companies wield IP law like a sledgehammer to extract as much money as possible. Think of Disney using all its resources to guard its IP despite working from many public domain sources. The contributions of many workers to an IP can often be overlooked and attributed to the business they work for. To say nothing of how the horrendous enforcement of IP law can sometimes serve as a tool to enforce hegemony. See the guarding of medical IP during the pandemic. Additionally, considering most ideas are built on the ideas of others, sometimes IP law can feel restrictive to creators. You could understand someone agreeing with this in a vacuum and all things being equal. 

But that is not the situation we are in. Plus, while these laws may be abused and reform is certainly needed, they are useful to ensure smaller creators’ work is protected and that they are compensated for it.

Money vs Art

So why did Dorsey tweet this? In a later tweet, responding to the dangers of AI, he clarified, “Creativity is what currently separates us, and the current system is limiting that, and putting the payments disbursement into the hands of gatekeepers who aren’t paying out fairly.” This indicates that his main goal for deleting the current system relating to IP laws would be to remove data gathering barriers to allow for more possibilities with AI projects and monetisation. Charitably, you could say he hopes for an equal playing field between people creating IP. However, as someone worth over $3 billion with his own AI venture, it reads like he is saying AI companies shouldn’t be limited by IP restrictions. Including paying to use IP that AI tools use to make their owners’ profits. But how does this relate to art?

Recently, we have seen many stories about AI concerns in the art world. One key concern of the SAG-AFTRA/WGA 2023 strikes was the encroachment of AI on industry jobs. Debates have raged around AI being used in Oscar-nominated films, and everyone saw the AI images imitating Studio Ghibli’s aesthetic. Undoubtedly, to Hayao Miyazaki’s annoyance. But while you can argue about how AI can benefit smaller budget productions, enhance already existing production elements and produce shitposts online these tools will largely be used by big companies to streamline the making of art over anything artisticly valuable. As Jack Dorsey proves, it will be done to maximise profits for those with resources at the expense of creatives. 

Art-ificial 

In the era of Elon Musk, we shouldn’t be surprised when billionaires use social media to try and advance a selfish and harmful agenda. Though their proximity to power is cause for concern. Ultimately, this is just the latest example of how businesses continue to try to devalue art. Seeing it as a money-making venture and little more.

With AI tools becoming more widespread, artists will have to continue to fight for their work to be respected. Some small-scale recommendations include manually removing your work from AI data scraping and being more cautious about posting work online. Larger-scale actions such as workplace and industry union organising to influence company procedures, cultural attitudes and regulations around AI will also be needed moving forward. The future for AI in the arts is uncertain, but art and artists deserve to be seen as more than data to generate material for the profits of billionaires.

The post Twitter Co-Founder Wants to “Delete All IP Law” – How Will Filmmakers and Writers Be Protected in the Age of AI? appeared first on Big Picture Film Club.

Most depictions of artificial intelligence portray it as a bad thing. Part of this is because most key plot points in films are bad things, it is the conflict which drives the story, and so we have had AIs that take over the world, that want to destroy humanity, or rule it. Or perhaps it is AI that is blinded by its own programming into doing heartless evil things? In the last few years, AI has exploded in the public consciousness and what tasks it is being asked to do becomes more varied with every passing day. Will AI rule over us? Will AI become our friend and companion? Will AI take over the creation of art?

Inventing AI

If we take Ex Machina as a jumping off point for a more up to date discussion of how AI is portrayed in movies more recently, what do we have? Ex Machina is a 2014 film directed by Alex Garland, in which a billionaire genius brings an employee to view his robot AI creation. The film deals with all manner of questions about AI, identity, life and more. The AI robot, Ava, is a creative, gentle, and nice person, and we sympathise with her, as she appears to be little more than a captive. The employee certainly forms an attachment to her and we see her and the employee being manipulated. Ava escaping at the end of the film is seen as a heroic moment, and we see the billionaire and even the employee as being people who mistreated her.

Your Friend and Companion

A common theme in recent AI films has been to move the issue away from world-conquering computers but to focus AI as something in the home, a threat to you and those around you. M3GAN is a 2022 horror-sci-fi movie in which Gemma becomes the guardian of her niece, Cady, after her parents are killed in a car accident. Gemma gets a M3gan doll, a child-sized robot with AI, designed to be a great playmate and companion for a child. At first, it is a great success, but when the adults around Cady become concerned about the girl’s attachment to the doll, things begin to change, and M3gan attacks and kills people who would get between her and Cady. In the sequel M3gan 2.0 it seems like a military contractor has decided to use the M3gan technology to make a weapon, obviously making it tougher, stronger, etc., because if there is one thing to learn from movies is that people refuse to learn.

In 2025’s Companion, an AI robot, Iris, is a companion robot – who would form “real” relationships with humans – in this case Josh. In this movie Iris is unaware that she is a robot and that she can be controlled by Josh via a remote control, he can alter her intelligence, send her to “sleep” and more. After some rather dramatic developments, Josh tells Iris about her true nature, and, like Ex Machina, we sympathize with her. Recent German TV show Cassandra has a family moving into an old “smart home” that was thought to be the future, but has been left empty for decades. The house robot, Cassandra, assists the family and helps run the house, but after so long alone is determined never to be abandoned and turned off again.

The Enemy

The Creator has a more typical depiction of AI, at least at first, in that it presents a struggle between AI and humans. But it is an exceptionally complicated world of different relationships – humans who hate AI and want it wiped out, humans who have formed relationships with AI, humans who see AI as their equals and work with them. US soldier Joshua is sent to destroy the AI’s newest weapon, Alpha-O, but upon learning this is a simulant child, he stops and rescues the child.

The Many AI of Black Mirror

The television show Black Mirror has numerous episodes about AI. Of course it does, it’s Black Mirror. There is the horrifically unsettling Be Right Back where AI is used to create a facsimile of a deceased partner, to Hang The DJ where a dating app uses AI to run scenarios to find people the perfect partner (one of the few “nice” episodes). Most recently is the episode Joan Is Awful using AI software to create a television programme using a real person’s life as inspiration, not needing writers or actors for the hit TV show.

One thing that is interesting in many of these recent depictions is that we are generally very sympathetic to these AI characters. Even in M3gan and Cassandra, where they are the villain, they are driven by desires for love and connection. M3gan sees herself as Cady’s parent, Cassandra does not want to be alone, very understandable instincts. With Ava and Iris, we have two characters who we see as being abused and/or held captive and we want them to escape. In The Creator it is the humans who are utilising massive weapons to utterly wipe out their opponents, as opposed to the depiction of AI in The Terminator franchise who seeks to wipe out humanity.

For many of these films and TV shows, the AI is far closer than they used to be – Terminator’s Skynet was some distant supercomputer, whereas now they live in your home. They are not just weapons or tools, they are companions, friends and are used to make art. The concerns that we now have are not that AI will seize political power as much as that they will take our place in life, they will become the friends, the companions, the artists, and not only that, but that possibly it is humans and not AI who are the villains.

The post From Villains to Allies: How AI Portrayals in Film Are Rapidly Evolving appeared first on Big Picture Film Club.

1. Script Development and Enhancement

At the heart of every blockbuster lies a compelling script. Deep Brain’s AI injects innovation into script development, offering tools that analyze successful scripts, predict audience preferences, and generate creative suggestions. This not only expedites the scripting process but also introduces fresh perspectives, contributing to the creation of narratives that resonate with diverse audiences.

2. Virtual Pre-Visualization with AI

Before a single frame is shot, filmmakers can now embark on a virtual journey thanks to Deep Brain’s AI. The technology enables virtual pre-visualization, allowing directors and cinematographers to explore scenes, camera angles, and special effects in a digital realm. This not only streamlines the planning process but also enhances creativity, providing a dynamic platform to experiment with visual storytelling.

3. AI-Enhanced Casting Decisions

Casting decisions become more nuanced and data-driven with Deep Brain’s AI. The technology analyzes historical data on actors’ performances, audience reactions, and industry trends to provide insights that aid casting directors. This ensures more informed decisions, optimizing the selection of actors who not only fit roles but also resonate with the intended audience.

4. Efficient Post-Production Editing

Deep Brain’s AI revolutionizes post-production editing by introducing efficiency and precision. The technology aids in automating certain editing processes, accelerating workflows, and reducing production costs. This allows filmmakers to focus on refining creative aspects, ensuring that the final cut aligns seamlessly with their artistic vision.

5. AI-Generated Soundtracks and Scores

Music has the power to elevate cinematic experiences, and Deep Brain’s AI brings a new dimension to film scores. The technology analyzes emotions depicted in scenes and generates music that complements the mood, enhancing the overall impact. This AI-driven approach not only simplifies the soundtrack creation process but also ensures a harmonious fusion of visuals and music.

6. Predictive Box Office Analysis

In the ever-evolving landscape of film distribution, Deep Brain’s AI contributes to predictive box office analysis. By crunching numbers, assessing historical data, and considering market trends, the technology provides filmmakers and studios with insights into potential box office performance. This allows for strategic marketing and distribution planning, optimizing the film’s reach and impact.

7. Enhanced Special Effects and CGI

The magic of Hollywood often lies in its breathtaking special effects and CGI. Deep Brain’s AI enhances these visual spectacles by offering tools that streamline the creation of realistic effects. Whether it’s bringing mythical creatures to life or orchestrating gravity-defying stunts, the AI-driven approach accelerates the production of awe-inspiring visuals.

8. Personalized Marketing Campaigns

Tailoring marketing campaigns to individual viewer preferences becomes a reality with Deep Brain’s AI. The technology analyzes audience data, social media interactions, and viewing patterns to craft personalized marketing strategies. This not only maximizes promotional impact but also ensures that films reach the right audiences, contributing to higher engagement and box office success.

9. AI-Enhanced Storyboarding

Storyboarding gets a facelift with Deep Brain’s AI, offering a dynamic and interactive platform for visualizing scenes. Filmmakers can explore different angles, lighting scenarios, and pacing options through AI-generated storyboards. This accelerates the pre-production phase and provides a comprehensive visual guide for the entire filmmaking team.

10. Immersive Virtual Reality (VR) Experiences

Deep Brain’s AI extends its influence to immersive VR experiences tied to film releases. Through AI-driven VR content, audiences can step into the worlds of their favorite movies, exploring key locations and engaging with characters in virtual environments. This not only extends the narrative beyond the screen but also offers a new dimension to fan engagement.

Conclusion: Redefining Hollywood’s Canvas

Deep Brain’s AI emerges as a game-changer in Hollywood, weaving its technological tapestry across every aspect of the filmmaking process. From script conception to post-production finesse, the AI-driven revolution enhances creativity, efficiency, and audience engagement. As Hollywood embraces these advancements, it sets the stage for a new era of cinematic storytelling, where the synergy between human creativity and artificial intelligence results in cinematic masterpieces that captivate global audiences. Deep Brain’s AI not only transforms the film industry but also contributes to the evolution of storytelling itself, ensuring that the magic of the silver screen continues to dazzle and evolve in 2024 and beyond.

This transformative exploration of Deep Brain’s AI contributions to the film industry is a sponsored post. While the content is crafted with informative insights, readers are advised to consider the promotional nature of the article.

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Recently a story of Bruce Willis selling his likeness to a deepfake company did the rounds. This has been reported as false, but the news was not far-fetched. With technology advancing, and even deceased actors being signed for new films, could this become a common thing? And if it could, does that mean it should?

“No one’s ever really gone” – Luke Skywalker

Darth Vader isn’t the only Star Wars character that could live on for as long as the franchise goes on. Several characters from the original trilogy have made appearances in projects made decades after but canonically set around the same time. Leia appeared de-aged in a cameo at the end of Rogue One, set moments before the opening of A New Hope.

Due to the (relative) poor box office of Solo, Lucasfilm moved away from films, instead focusing on series, such as The Mandalorian. They also decided they will no longer recast legacy characters, with Luke Skywalker being the most notable example. Luke has made celebrated appearances in The Mandalorian and The Book of Boba Fett. Using a combination of Mark Hamill’s performance and a younger body double to create a version of the character as he would appear in his 30s.

The technology has improved very quickly. In the year between Luke’s appearances, the character looks much better, even if not seamless. The voice is also synthesised via a program called Respeecher, the same program used to recreate Vader’s voice. Given the comments about not recasting legacy characters, it is likely that this approach will be used in the future, in theory meaning that Luke Skywalker could be appearing in Star Wars projects, long after Mark Hamill is retired or has passed. The reactions to the “casting” of James Dean were overwhelmingly negative. But given the attachment people have to the franchise and Luke Skywalker in particular, would this still be seen as a negative? Especially when, currently, Hamill is still involved in the portrayal and it has his blessing

Your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should – Ian Malcolm

This does lead to a larger discussion of why? Of course, if the industry wasn’t so focused on Intellectual Property and nostalgia, we’d probably have a lot fewer prequels in the first place. But the question remains, why not just recast? Many successful franchises have recast, including Star Wars, with Ewan McGregor’s Obi-Wan Kenobi. Star Trek: Strange New Worlds, recently recast one of its iconic roles – Captain Kirk. The challenge any actor faces with these roles is whether to imitate the original or offer their own interpretation. If an actor is just going to imitate the original, then a digital double makes some sense, it’s as close to the original as you can get. An exception to this rule is in voice acting, where actors taking on a role will often do an impression of the previous actor. Robin Williams famously went the extra mile to safeguard his likeness against being recreated after his death. This has resulted in his iconic Genie character always being played by an actor doing an impression of his performance.

So could this become the norm for actors in the future? Many actors avoided roles in the MCU because of lengthy contracts. Chris Evans almost turned down the role of Captain America because of the number of films he had to make, it’s hard to imagine including his likeness forever helping with that decision. Marvel also quickly clarified that Chadwick Boseman would not be recreated for Black Panther: Wakanda Forever, following his death in 2020. So clearly some of the ethical decisions are considered with the technology. Ultimately, the final decision likely rests with the actors themselves, or their estate if they have passed. On one hand, it allows their iconic role to live on and ensure their legacy (as well as likely providing for their family after they’ve gone). On the other, it stops anyone else from putting their own spin on the role. Franchises like Doctor Who and the Bond films would probably not have had the longevity they enjoyed if the original lead was being recreated for every entry.

As technology will only improve, it is unlikely that this debate will go away. The decision will likely be up to individual actors, who will agree or disagree for a variety of personal reasons. Posthumous Stan Lee cameos might be a nice way for him to be remembered, but it’s hard to imagine Harrison Ford being pleased about new Indiana Jones entries with him as a younger man.

Also Read: A.I Generated Art & Movies: A Collision Course

The post A.I Generated Art & Movies: The Rise A.I In Acting Performances [Part 2] appeared first on Big Picture Film Club.

The Objections

There seem to be two main objections concerning AI art: First, it’s not art, art requires creativity and AI is simply not capable of it. The second is that AI art typically seems to create art by analysing existing art made by humans, scanning through hundreds, sometimes thousands of images. There is nothing truly new that is being created. Usually, this happens without permission or attribution of the artist in question and to many, this is simply theft.

What can AI do? To me, it would seem short-sighted to think of any creative endeavour as forever beyond the scope of AI when considering how far it has come in a short period of time. An AI could be used to write a screenplay and indeed Netflix has produced a film, Mr Puzzles Wants You To Be Less Alive, written by an AI bot that watched thousands of horror films. If AI can generate art by analysing existing art, can a film not be made the same way? If a producer wants a gangster film could an AI run through dozens of gangster movies and make footage of gangsters? Probably. Can it make an actual film? Probably not, and certainly not a good one. If we’re talking about AI in the sense of these canny bots that study thousands of examples and then create a mashup of that – no, I can’t see how they’ll ever produce a good film. If we’re talking about AI like HAL from 2001: A Space Odyssey or Ava from Ex Machina, both genuine thinking and intelligent creatures (not simply a clever bot) then potentially they could create art.

There are some aspects of filmmaking that do perhaps lend themselves more to AI than others. Or rather that the limitations of AI would be less obvious than writing dialogue. One of the things people point out about AI art is that the edges of parts of it don’t look right and fine detail can seem lacking or just wrong and anything with a narrative this will stand out a lot more.

Is It Inevitable?

Considering that some scientists consider the destruction of the human race by AI only a matter of time it might be hard to imagine how the film industry can avoid a takeover of every aspect of what it does. But if we put aside the apocalypse the key element of whether it is inevitable is if it makes money. If AI-created films make a lot of money they will be embraced by enough people in the industry to gain a strong presence. If they continually lose money then people in the industry won’t want to use it. There are brilliant films that make little money and terrible films that make a lot of money, and it’s the latter that gets five sequels.

Perhaps AI films will be like 3D, something that periodically comes along, enjoys a brief burst of popularity due to the novelty and then vanishes again.

Also Read: A.I Generated Art & Movies: The Rise A.I In Acting Performances

The post A.I Generated Art & Movies: A Collision Course [Part 1] appeared first on Big Picture Film Club.