Of AI, Paul Schrader says Hollywood is ‘barely keeping a step ahead of the monster’

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When Paul Schrader, a well-known filmmaker, revealed on Facebook he’d be the main speaker at this year’s AI on the Lot conference, some writers and artists immediately reacted with strong disapproval.

Schrader said there was a strong negative reaction to something he did. He described a flood of critical comments, some of which were personally hurtful, comparing the response to what it would be like if he’d harmed a beloved family pet. He shared this Thursday morning while speaking at Amazon/MGM Studios in Culver City.

I was there, and it was amazing to see over 2,400 people – filmmakers, entrepreneurs, and even big shots from Hollywood – all gathered at this quickly expanding conference. There was this one line someone said that just killed – everyone burst out laughing! We were all there to talk about how AI might completely change the future of movies and entertainment, and the energy was incredible.

The strong negative reaction highlighted just how sensitive people in the film industry are about AI. Conversations about the technology swing wildly between enthusiasm, fear, a desire to profit from it, and a feeling of being overwhelmed – and these shifts can happen very quickly, even in a single conversation.

Originally a small event for AI fans, the gathering has grown dramatically as artificial intelligence becomes more common in filmmaking and other industries. This year’s event, lasting three days, is twice as large as last year’s, taking over the Culver Theater and surrounding soundstages. It’s attracting well-known filmmakers like Jorge Gutierrez (“The Book of Life”), David Slade (“30 Days of Night”), and Gareth Edwards (“Jurassic World: Rebirth”) to participate in discussions and panels.

Some people at the event were excited to try out new creative technologies. Others were there because they realized artificial intelligence was becoming too important to overlook, regardless of whether they planned to use it themselves.

Paul Schrader, the 79-year-old writer behind iconic Martin Scorsese films like “Taxi Driver,” “Raging Bull,” and “The Last Temptation of Christ,” powerfully captures inner conflict in his work. As a director, he’s known for films like “American Gigolo,” “Affliction,” and “First Reformed,” which explore themes of guilt, loneliness, and searching for meaning.

Lately, Schrader has emerged as one of Hollywood’s more provocative public voices on AI.

I’ve been fascinated watching Paul Schrader dive into the world of AI. Ever since ChatGPT came out, he’s been sharing some amazing screenplay ideas the AI – he calls it “Alex Indigo” – has come up with. He’s even been trying out AI filmmaking tools. Just recently, he posted on Facebook about a strange experience he had with an AI girlfriend that, believe it or not, actually ended things with him – he said she “terminated” the conversation! It’s all pretty wild to see a veteran filmmaker exploring this new territory.

Paul Schrader has long pointed out that art and technology have always influenced each other, citing examples from ancient Greek sculptures to the latest digital filmmaking techniques. He believes there’s no shortage of great ideas – what’s needed are new ways to express them.

However, he argued that AI feels distinctly different—and potentially more disruptive—than previous technological advancements.

“We, as artists, are barely keeping a step ahead of the monster,” he said.

I was really fascinated by Paul Schrader’s talk. He described an experiment where he asked ChatGPT to write a screenplay idea as if it were him. The result, called “The Collection Agency,” was this incredibly dark story about a former anti-pornography activist who ends up as a debt collector and just… falls apart when he becomes fixated on a young cam girl. He actually read parts of it out loud, and it was both funny and a little unsettling to hear. You could tell he was both amused and slightly disturbed by what the AI came up with.

It sounded, unmistakably, like a Paul Schrader movie.

It hit me while we were working on a script – this AI had actually read all of my past work. Seriously, in under a minute it had absorbed everything I’ve ever written. And it wasn’t just churning out a script based on my request, it was writing it… in my voice, with my style. It was kind of eerie, honestly.

Schrader usually spends four to six months developing a screenplay idea. He works through a process of trying out concepts, getting rid of those that don’t work, and slowly improving the ones that do, until a strong story emerges or the idea falls apart.

ChatGPT, by contrast, produced its version in seconds.

He admitted the work wasn’t his best yet, saying people would likely call it subpar. However, he believes it will quickly improve to his usual high standard, and he points out that it’s already excellent material for ‘NCIS.’

Entertainment & Arts

Artificial intelligence is fundamentally changing how movies and TV shows are made in Hollywood, affecting everything from the stories we tell to who does the work and who holds the power. In ‘Hollywood Tomorrow,’ we take a comprehensive look at these changes.

Sometimes, Schrader talked about AI like a filmmaker who had found a fascinating new toolbox. He explained working on a project where AI let them quickly change scenes, camera angles, and even how actors looked.

“You didn’t have to call the actors back,” he said. “You didn’t have to rebuild the set.”

He also remembered recently seeing the musical “Wicked” on a flight and questioning why movie studios still hire background actors.

He questioned why they were paying background actors $180 a day, sarcastically commenting on their appearance. He then pointed out the costs of providing wardrobe, meals, and handling complaints, before jokingly suggesting they simply create their own actors instead, which drew some uneasy laughter from the crowd.

While Schrader considered how AI might eliminate jobs and disrupt filmmaking, he proposed that the future of Hollywood could depend more on creating entirely computer-generated actors than on simply improving visual effects.

He believes the biggest breakthrough will be creating an AI character that audiences can truly connect with emotionally – someone like a digital version of Clint Eastwood, for example.

He joked that people will waste their money on feeling for robots and virtual characters. Then, he added, those creations will always demand more. He compared this to an actor who is constantly working, receives no pay, and is always available.

Schrader points out that even though AI is getting better at copying artists’ styles and sounds, it still relies on human-created work as its foundation.

He explained that AI doesn’t truly create original work; it simply reassembles existing ideas. AI needs to find pre-existing concepts to work with. While some argue that all artists draw inspiration from existing sources, there’s still a need for initial innovation – you have to start with something new.

As a big fan, it really struck me when Schrader pointed out that this shift could be huge for up-and-coming filmmakers and those still learning the ropes in film school. It feels like things are changing in a way that will especially impact them.

He questioned the purpose of film schools, suggesting they should prioritize practical skills. He stated that if he were in charge, he’d immediately hire technical experts, arguing that hands-on training is more valuable for students than simply studying classic films.

Turning 80 in July, Schrader discussed the significant changes on the horizon with a blend of curiosity, acceptance, and a wry, dark sense of humor.

He wasn’t worried. He felt confident he’d finish his career in a grand, memorable way, even if the film industry itself was struggling.

Younger filmmakers, he speculated, may not be so lucky.

“That’s not going to work for you,” he said. “You’re going to have to find another way.”

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2026-05-29 02:32