Mathieu Kassovitz, the director of the acclaimed film La Haine, is excited about the future of cinema being shaped by artificial intelligence (AI). He believes that AI is the “last artistic tool we need.” In a recent interview, Kassovitz dismissed apprehensions about AI infringing on creatives’ rights, declaring, “Fuck copyright.”
Kassovitz is working on a film inspired by a 1940s comic book and plans to utilize AI extensively. He predicts that in just a few years, AI-generated actors will become common. “Right now, everyone’s scared,” he said. “But soon, you’ll see AI superstars with millions of followers.”
His comments came during the World AI Film Festival in Cannes. Interestingly, the Cannes film festival recently announced a ban on AI-created films from its official competition. Festival president Iris Knobloch expressed skepticism, saying, “AI imitates very well, but it will never feel deep emotions.” In contrast, Kassovitz is convinced that audiences will eventually accept characters created by AI as just another form of storytelling.
He admitted, however, that it’s “heartbreaking” to see how realistic AI performances can be. But he emphasizes that human actors will always be necessary for voice work.
In a move similar to George Lucas starting Industrial Light and Magic for Star Wars, Kassovitz plans to open an AI film studio in Paris. Instead of spending $50-60 million on traditional visual effects, he aims to produce his next project for around $25 million using AI.
Hollywood is also embracing AI. Studio leaders are investing in AI technologies, hoping to unlock new creative avenues. David Ellison, head of Paramount, recently stated, “AI is here, and it’s going to be transformative across all aspects of the business.”
A recent example includes the late Val Kilmer, whose AI-generated performance has been approved for an upcoming film, As Deep as the Grave.
Despite the enthusiasm, many in the industry are worried that AI might lack the “soul” that makes a performance impactful. There’s a growing list of nearly 140 pending legal cases in the U.S. and Germany surrounding copyright issues. Tim Kraft, a German copyright lawyer, argues that companies like Google and OpenAI should compensate creators for using their work to train AI.
Kassovitz has a unique perspective on copyright. He said that filmmaking has always involved drawing inspiration from others, and dismisses claims that AI usage is fundamentally different. “We’re all thieves,” he argues, acknowledging that all filmmakers borrow ideas in some form.
The debate continues. As AI technologies evolve, they promise to change the film landscape dramatically, sparking discussions about creativity, authenticity, and ethics in the digital age. Whether AI will be embraced or resisted, one thing is clear: the future of storytelling is going to be interesting.
