“The Americans are coming,” claimed Alexandra Loprete of the European Producers Club during the closing session of the Locarno International Film Festival. And that might be a good thing.
They want to take advantage of lower costs and tax incentives. [in Europe]“This will bring money to the industry, but it will not increase our salaries – quite the opposite.”
The “value-cost gap” is one of the main challenges facing producers today, but it also applies to dealing with talent.
“It’s becoming increasingly difficult to decide who will take on the job, and they can cancel their commitment to the project even days before shooting. Negotiating deals with US agents is nearly impossible for many independents,” she added, joking that the conversation should be called “Prayer for the Dead” after the Mike Hodges film.
“Where there is a crisis, there is an opportunity. Let’s not lock ourselves into an unsustainable business model. Why not exploit the new potential offered by AI technologies or try to establish private partnerships when creating content? We have to learn how to ‘share the pie’ so that no one ‘dies’.”
“The enthusiasm is here. The enthusiasm for cinema, for our industry, for content creation,” Loprete said.
Following opening remarks by Katie Ellen of HanWay Films, Ada Solomon (Microfilm), and Alex Walton of WME Independent, StepIn participants were encouraged to discuss the challenges of financing and producing independent films, the current state of the traditional theatrical model, gender equality and diversity representation, and finally, the “elephant in the room”: artificial intelligence.
The discussion about AI cannot be separated from the conversation about “homogeneous content type,” said Niccolo Gallio of Alpha Panda.
“We hope that in the long run the content bulge will be balanced by better creativity.”
Comparing AI-powered filmmaking to “fast fashion,” he pointed to the need for “more informed consumers.”
“If the solution is ‘faster and more,’ we are moving away from what is meaningful in this industry. We need to decide what we want to preserve. Are we at risk of producing more and more of the same movies based on what works and algorithmic recommendations? How can we avoid a ‘tsunami of the same’?”
This seems possible by “slowing down” the process, setting strict antitrust rules, working with tools and companies that enhance creativity – not just productivity – and calling for data transparency to avoid biases and stereotypes in AI-generated content.
“The march for equality is a long one,” says Helios B. of Trans+ on Screen.
“Every step of the way, we have to make sure we look back, and make sure no one is left behind,” Helios B. added, referring to the struggles Ukrainian filmmakers face. “Let’s not forget that those who are represented today may not be represented tomorrow.”
This seems possible by “slowing down” the process, setting strict antitrust rules, working with tools and companies that enhance creativity – not just productivity – and calling for data transparency to avoid biases and stereotypes in AI-generated content.
“The march for equality is a long one,” says Helios B. of Trans+ on Screen.
“Every step of the way, we have to make sure we look back, and make sure no one is left behind,” added Helios P., referring to the current struggles faced by Ukrainian filmmakers. “Let’s not forget that today’s actors may not be represented tomorrow.” Unfortunately, calls for diversity and inclusion tend to go quiet when industry players are in crisis.
“Diversity and inclusion have different meanings and different priorities in different parts of the world. This conversation needs to be multifaceted. Some want more diverse stories on screen, others want more diversity in the workplace. Others feel privileged to just be sitting in Locarno and having this conversation.”
Alison Garner, chief executive of the Glasgow Film Foundation and director of the Glasgow Film Festival, questioned whether the industry should bet exclusively on younger audiences.
“We shouldn’t ignore older viewers,” she said. “Event cinema” is here to stay, as embodied in Taylor Swift’s documentary “The Age Tour.”
“We all agree that movie theaters are places where we experience the joy of shared emotions. It’s like sitting around a fire and sharing stories. And as we know, movies create empathy, and empathy is the greatest tool we have as humans to make the world a better place.”
“While the participants did not hesitate to address the difficult moments and the many issues they have to deal with on a daily basis, the spirit was surprisingly cheerful and full of hope for the future,” StepIn & U30 Project Manager Marcelo Paolilio noted after the session.
“What I liked most was the belief that human connection is an essential and indispensable element of our industry, and what makes films so precious.”
Earlier today, Reviewed & Cleared’s media and entertainment attorney Kelsey Farish advised the audience on how to stop worrying and learn to love AI — or at least embrace it — during her presentation of “Out of the Box.”
“While it is true that AI can automate and speed up many aspects of filmmaking, convenience should not come at the expense of creativity. The real magic of AI lies in its ability to complement authentic human expression, not replace it,” she said. diverse.
“The rapid advance of AI technology in the film industry has bypassed many of our legal frameworks, leaving us in a gray area where questions of copyright, liability, revenue, and transparency are increasingly complex. While new legislation and further guidance from regulators and courts are all on the horizon, it is never too early to discuss these important issues.”
The use of AI to create new content is forcing the industry to rethink traditional intellectual property and advertising laws.
“For example, how much control can an actor have over how their image is edited or recreated by AI, if the studio owns the footage itself?” she asked, also pointing to Scarlett Johansson, who has spoken out against deepfake technology.
“The fact that a powerful Hollywood star feels so helpless in the face of AI-generated deepfakes speaks volumes. It’s stories like hers that inspired me to specialize in this area of law in the first place — it’s a stark reminder that while AI innovation in filmmaking is exciting, legal frameworks and ethical foundations are essential to the responsible adoption of the technology.”
“As a lawyer, I find it difficult to advise on these issues. But I am also optimistic that meaningful conversations like the ones we are having here in Locarno will lead to better outcomes.”
