A panel discussion that followed presentations on the latest industry trends at the European Film Market (EFM) (see the news) focused on the evolving landscape of film production, distribution and the increasing influence of AI.

Moderator AC Coppens, of The Catalysts, kicked off the discussion by asking the panellists how the industry trends they had just seen aligned with their own experiences. Karin Chien, producer and distributor from Art & Action Productions and dGenerate Films, reflected on the state of independent filmmaking, particularly in the USA. She noted that the data provided by the reports confirmed many of her long-held concerns about the unsustainable "project-to-project" business model commonly used by producers in the USA. Chien emphasised the need for innovative approaches to financing and revenue generation, suggesting that filmmakers must explore new ways to create value across sectors, such as through world-building and the development of intellectual property (IP) that can extend into other media, like graphic novels and video games.

Chien's approach to experimentation in her work, which includes using new funding models and cross-sector collaborations, mirrors the broader shifts in the industry. She described how this experimentation could lead to more sustainable production models, particularly as the traditional revenue streams from theatrical releases and home video sales continue to shrink. The need for new business models, she argued, is urgent, as these traditional models no longer suffice in a market with fewer buyers.

Sofie Hvitved, a futurist and head of media at the Copenhagen Institute for Futures Studies, expanded on Chien's comments by discussing the transformative impact of AI on the film industry. Hvitved acknowledged that AI tools are already being used across various stages of production, from ideation to post-production. However, she also raised concerns about the ethical implications of AI, particularly in relation to how it might disrupt traditional job roles within the industry. AI, she suggested, will not only change the tools available to filmmakers, but will fundamentally alter the business models as well. As filmmakers begin to work more closely with artificial intelligence, understanding how to use it responsibly and creatively will become essential.

The discussion then moved on to the broader question of how AI will influence the film industry’s business models. Hvitved highlighted the increasing power of audiences, driven by AI, and the need for filmmakers to adapt to this new dynamic. She pointed out that while the traditional understanding of content creation might be resistant to change, the rise of AI tools will force the industry to reconsider how stories are told and consumed. As AI enables new forms of personalised content, it could significantly impact distribution models, making films more adaptable to the tastes and preferences of individual viewers.

Guy Bisson, executive director of Ampere Analysis, weighed in on the topic by drawing parallels between AI and the digital revolution that transformed the industry decades ago. He explained that AI's influence is akin to the disruption caused by the advent of digital filmmaking, which replaced traditional processes like film developing and editing with new technologies. Bisson noted that AI is already affecting every stage of production, from the initial concept to visual effects (VFX), and that the film industry must adapt by reskilling and embracing these tools, rather than resisting their implementation.

Despite the potential for job losses in certain areas, Bisson was optimistic about the future of the industry. He argued that while some roles may disappear, they will likely be replaced by new skill sets. However, he acknowledged that newcomers to the industry may face difficulties navigating this shifting landscape. The key to surviving in this new environment, Bisson suggested, is the ability to understand and leverage AI effectively, both in terms of creative output and in adapting to the changing economics of filmmaking.

As the conversation turned to the future of distribution, the panellists discussed the ways in which streaming platforms and other new distribution models are changing the game. Bisson noted that the film industry is moving away from the traditional segmentation of markets by geography and exploitation windows. In this “new world order”, collaborations between television, streaming services and social media are increasingly important. This shift, he argued, represents a fundamental change in how content is produced, marketed and consumed. Chien suggested that filmmakers must embrace cross-sector thinking, allowing their work to reach audiences across different platforms. This could provide a path to more sustainable business models in an increasingly fragmented market.

The panel concluded with a discussion on the evolving role of human creativity in a world increasingly influenced by AI. Hvitved summed up the conversation by suggesting that the future of filmmaking will be a mashup of different media and technologies, where content is adaptable and can be personalised for each viewer. She described this shift as a move towards “liquid content”, where stories are no longer fixed, but can be continuously reshaped based on audience preferences. While this new model raises many questions, particularly about the role of AI in content creation, it is clear that filmmakers must adapt to these changes if they are to thrive.