In a cinematic era dominated by sneak peeks and teasers hidden in credits, the film “Heretic” has taken a different route, leaving audiences with more than just a hint of blueberry scent. Instead, it offers a profound statement: “No Generative AI was used in the making of this film.” Directors Scott Beck and Bryan Woods have embarked on a personal journey to challenge the integration of artificial intelligence in filmmaking, a mission they take seriously amid the industry’s shifting landscape.
Heretic, the latest creation from Beck and Woods, is a psychological thriller revolving around two young missionaries, played by Sophie Thatcher and Chloe East, who find themselves ensnared in a house with a sinister figure portrayed by Hugh Grant. The film strategically circumvents the use of generative AI, typically employed for grandiose special effects, focusing instead on human-driven storytelling. Despite the thriller’s minimal reliance on AI, the directors are acutely aware of technology’s potential to disrupt the arts and other sectors. Woods expressed his concern to Variety, questioning the legality and future implications of such technology, stating, “I don’t know why that’s legal… we’re on the precipice of every job on planet Earth being replaced overnight.”
The directors are not just confronting technological trends; they are also navigating the complex dynamics with their studio, A24. Known for being artist-friendly, A24 was involved in a minor controversy over AI usage in their Civil War posters earlier this year. Yet, they fully supported Woods and Beck’s decision to highlight the absence of AI in Heretic’s production, underscoring a commitment to creative integrity over algorithm-driven decisions.
Upcoming projects like Hiro Murai’s feature-length debut with A24 and the next venture of “Skinamarink” director Kyle Edward Ball signal an ongoing trend of creative partnerships within the studio, but not without caution. The embrace of AI by prominent figures like Blumhouse and James Cameron indicates a burgeoning shift towards the technology. However, the Heretic directors emphasize the need for a careful approach. Woods acknowledges the potential of AI, describing it as both awe-inspiring and perilous, evoking comparisons to Oppenheimer’s infamous words: “I am become death, the destroyer of worlds.”
The tension between tradition and innovation in filmmaking is palpable. The dialogue around AI is more than a fleeting trend; it represents a critical juncture for the future of creativity in cinema.
Closing Credits
As the dialogue around AI integration continues, its impact on the film industry remains a contentious topic. Heretic has sparked conversations that may influence future projects and industry standards. The film premieres this year under A24’s banner, providing a new narrative on the balance between cutting-edge technology and traditional filmmaking. As the credits roll on Heretic, the debate surrounding AI in arts keeps burning brightly, urging filmmakers and audiences alike to reconsider what it means to create authentically in a rapidly evolving world.
