Ever since the beginning of the information age, we’ve questioned to what extent artificial intelligence can depict genuine human emotions, and to what extent they can “feel”. Ridley Scott’s Blade Runner examines the concept of AI developing emotions and the capacity to feel through the morally grey character of Roy Batty, an android figure who laments over his great memories becoming “lost in time, like tears in rain”. But, to what extent can AI really produce art that can inflict genuine emotions on the viewer? And how likely is it that AI will replace screenwriters in the film industry?
In the last few years, the concept of artificial intelligence has swiftly risen in popularity and public accessibility, making it a mundane resource for many. ChatGPT was launched as a mainstream online resource in 2022, and has taken the world somewhat by storm, particularly on social media. In a number of career fields, workplaces already use generative AI (GenAI) to aid their work, and for young people, around 74% of 16-24 year olds have used GenAI before. But beyond the realms of social media, other fields have begun to sense the subtle but unsettling threat of artificial intelligence on their jobs. For the film industry, artificial intelligence looms ever closer. From 2 May to 27 September last year, the Writer’s Guild of America went on a writer’s strike over a labour dispute, particularly concerned about the future of their jobs in a world where GenAI is inching closer to world domination each day. Or, at least, shoehorning its way into industries that would work just fine without it. While artificial intelligence has been used in the film industry to edit screenplays and save producers time and money, many screenwriters from the WGA feared a much more drastic vision of the future. But this raises the question; to what extent can GenAI ever formulate scripts that move viewers in the same way as a script written by a human screenwriter?
While GenAI can technically produce art, it is debatable as to whether we can truly classify this as genuine art. For example, if GenAI were to write a screenplay from scratch that was produced into a film, and it moved viewers and made them feel genuine emotions, one could argue that this can be classified as art. If something appears beautiful, or moves people emotionally, then regardless of whether or not it was created by humans, it should be classed as art. But despite GenAI’s ability to produce art and be “creative”, there is a lack of real human experience that is often the backbone to a great film. If the sole purpose of a film is to entertain, then an AI generated screenplay will probably reach that goal. However, if the purpose of a film is to connect with watchers and relate to them, then AI probably lacks the depth and nuance to produce something of the sort.
Exactly these concepts are challenged in a recent 2024 film by director Peter Luisi. The Last Screenwriter, a Swiss science-fiction film that was set to be released earlier this year, explores the threat of artificial intelligence on the screenwriting industry. And, as well as examining such a topical subject, the film’s screenplay was generated entirely by ChatGPT. However, the film never premiered, and received blisteringly terrible reviews across a number of media platforms. The sole concern over the film’s methods was its use of GenAI. The replacement of human screenwriters, particularly after the traction of the WGA strike action, appeared to be done in poor taste.
So, is there a possibility at all that AI generated scripts will dominate Cannes 2030? In all likelihood, probably not. Amidst the masses of remakes, sequels and questionable releases that Hollywood seems to crave, 2024 has dealt out a large variety of charmingly original films. Yorgos Lanthimos’ Poor Things, for example, was a refreshingly original avant-garde fever dream – and while the screenplay itself was based on a pre-written story by Alasdair Gray – it is fair to say that the film blossomed from a group of creative humans, not from a GenAI bot. If screenplays of the future were to be generated by AI, it is likely they will act merely as a framework, and that humans will still be necessary within the creative process.
And while the future of GenAI for screenwriters still remains uncertain, it is unlikely the film industry will become entirely run by androids. So let’s hope that in the many years to come, we can relish in the comfort of enjoying films that have been written by humans, not robots.
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