When filmmaker Paul Schrader shared on Facebook that he would be giving the keynote speech at this year's fourth annual AI on the Lot conference, the response from certain writers and artists was immediate and negative.
There was significant pushback," Schrader said to the audience on Thursday morning on a soundstage at the Amazon/MGM Studios complex in Culver City. "Many negative remarks. Some were actually offensive. It felt as though I had harmed the family pet.
The remark sparked amused reactions from the crowd of over 2,400 people who had come to the quickly expanding conference, where movie creators, new business owners, and entertainment industry leaders spent three days exploring how artificial intelligence could transform the entertainment sector.
But the negative reaction highlighted how intense the emotional response to AI still is within the film industry, where conversations about the technology frequently shift betweeneagerness, fear, self-interest, and ethical fatigue— occasionally within the course of a few minutes.
What started as a small event for AI fans has grown considerably as artificial intelligence has become more integrated into industry processes. This year's event, which took place over three days, is twice as large as last year's, spreading across the Culver Theater and multiple nearby soundstages, and attracting well-known filmmakers such as Jorge Gutierrez ("The Book of Life"), David Slade ("30 Days of Night"), and Gareth Edwards ("Jurassic World: Rebirth") for panels and conversations.
Some guests came excited to try out innovative artistic tools. Others appeared driven bya growing concernthat, regardless of whether they adopted artificial intelligence or not,they were no longer able to disregard it.
Several individuals captured that conflict more clearly than Schrader, the 79-year-old writer of Martin Scorsese movies such as “Taxi Driver,” “Raging Bull,” and “The Last Temptation of Christ,” and a filmmaker known for works filled with remorse, isolation, and religious turmoil, including “American Gigolo,” “Affliction” and “First Reformed.”
Recently, Schrader has become one of Hollywood's more controversial public figures discussing AI.
Since the launch of ChatGPT, Schrader hasexpressed admiration for screenplay concepts created by the AI chatbot were impressed by the screenplay ideas developed by the AI chatbot showcased their astonishment at the screenplay suggestions from the AI chatbot celebrated the screenplay concepts produced by the AI chatbot exhibited amazement at the screenplay ideas generated by the AI chatbot discussed their admiration for the screenplay ideas crafted by the AI chatbot were amazed by the screenplay concepts devised by the AI chatbot expressed wonder at the screenplay ideas generated by the AI chatbot acknowledged the brilliance of the screenplay concepts created by the AI chatbot commended the screenplay ideas that came from the AI chatbot— which he refers to as "Alex Indigo" — explored AI film creation tools and, in a recent Facebook update, shared a failed romantic experience with an AI partner that, according to him, ultimately "ended" the interaction.
Historically, Schrader stated, artists and technology have developed in tandem, ranging from Greek sculptures to printing presses to synthesizers to digital film production. "We have plenty of old wine," he mentioned. "We're simply searching for new bottles."
But he argued that AI is inherently different—and more disruptive—than previous technological changes.
"We, as creators, are just barely staying one step ahead of the beast," he stated.
A significant part of Schrader's keynote focused on an experiment he recently carried out with ChatGPT, where he requested the platform to create a screenplay idea in his unique style. The generated treatment, called "The Collection Agency," followed a solitary ex-anti-pornography activist who became a debt collector and gradually descended into a moral crisis after developing an obsession with a younger cam performer. Schrader recited parts of it aloud, showing a blend of humor and subtle concern.
It clearly resembled a Paul Schrader film.
I understood that it had been reading my scripts," he said. "Within a minute, it had read everything I've ever written. It's not just writing the script I requested — it's doing so in my own style.
Schrader mentioned that he usually spends four to six months to thoroughly work on a screenplay idea, going through a cycle of testing, rejecting, and slowly improving concepts until they either become stronger or fall apart when examined closely.
In contrast, ChatGPT generated its version within seconds.
I could send this out and I know what the response would be: 'This is second-rate Schrader,' " he said. "And it is. But it will soon be first-rate Schrader. And it's already first-rate 'NCIS.'
Occasionally, Schrader discussed AI with the excitement of a filmmaker encountering a thrilling new collection of creative instruments. He mentioned working on an AI-supported project that enabled scenes, shots, and even actors' looks to be modified almost immediately.
You weren't required to bring the actors back," he said. "You weren't required to reconstruct the set.
At a different moment, he recently remembered watching "Wicked" on a plane and questioning why studios still invested in real extras.
Why are we paying an extra $180 per day when they look so artificial anyway?" he questioned, prompting a few uneasy laughs from the crowd. "We need to dress them, feed them, and handle their complaints when it becomes too warm. Why don't we justmake them?”
Even while Schrader discussed vanishing jobs and crumbling creative processes, he indicated that Hollywood's ultimate AI future might be more about something other than digital effects.in entirely synthetic stars.
"The true forefront of the spear is when we are able to develop an AI leading character," he stated, envisioning viewers forming emotional connections with AI-created celebrities—such as a figure resembling Clint Eastwood.
We, as carbon-based beings, will spend our money showing empathy and concern for silicon-based entities," he stated. "And then they'll want the next one. Well, we know where that actor lives, and he works for free, 24 hours a day.
Schrader contended that AI continues to rely on human artists as its foundation, despite becoming more skilled at replicating their styles and formats.
AI doesn't generate — it merges," he stated. "If AI seeks an idea, it must look where that idea is already present. Naturally, one could argue that this is what artists do as well, and to some extent, that's a reasonable point. However, you still need to originate the concept.something.”
That being said, Schrader proposed, the upheaval could be particularly significant for younger filmmakers and film students.
What is the purpose of film schools?" he questioned. "If I ever headed a film school, my first step would be to hire a group of technicians, as that's how you'd retain your students. You wouldn't keep them by just showing them classic films.
Schrader, set to celebrate his 80th birthday in July, discussed the approaching changes with a blend of curiosity, acceptance, and wry dark humor.
I don't have much to worry about," he stated. "I'll be able to gallop into that movie-like sunset on the battered horse known as films.
Younger directors, he hypothesized, might not have the same fortune.
That won't be effective for you," he stated. "You'll need to discover a different approach.
This narrative first was published inLos Angeles Times.
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