Juan Pablo on “Leveraging AI's Potential While Creatively Navigating It’s Limitations”
It was only five months ago that Juan Pablo Rodriguez blew his creative peers away with his debut AI-short, ‘A Light Moving Across a Room, and Shadows Dancing Accordingly.’ With AI undoubtedly being the hot topic of 2023, the film’s release at the tail end of last year served as a fascinating look at the advancements of machine learning in the storytelling space. Witnessing how AI could be used to tell a story while simultaneously honing in on the subtle nuances of the human experience was an awe-inspiring feat by Juan.
“The ability to manifest something from nothing, to transform a fleeting thought into tangible reality almost instantaneously – that's what excites me about AI. It's the closest thing we have to magic,” Juan tells me as we sit down to discuss his latest spellbinding AI accomplishment. Driven by the success of his last short, Juan was inspired to bring another story to life.
Navigating the choppy waters of the industry in the face of the infinite new-age tools and possibilities available has been complex for filmmakers everywhere, which is why Juan works hard to ensure he remains grounded in the humanity of a creative idea. Passionate about utilising these new tools in a responsible and cognizant creative environment, he continues to explore the limitations of this brave new world.
Catching up with the ALTERED.LA filmmaker five months later, LBB’s April Summers finds out what his last few experiences have taught him, how AI is encouraging him to think beyond the realms of conventional storytelling, and how his GPT project, Cineprompter V1, is largely responsible for this new film.
LBB> Juan, last time we spoke it was about your groundbreaking AI-generated project ‘A Light Moving Across a Room, and Shadows Dancing Accordingly.’ I found it fascinating to learn how the project expanded your understanding of filmmaking in the digital age. What was the biggest lesson you learnt during that process?
Juan> The most significant lesson for me was the importance of developing a process. In the era of AI, anything seems possible, and options feel virtually limitless. Having a clear process ensures clarity throughout and respects the original idea without getting lost in the infinite possibilities that tools offer. It taught me to navigate through this vast sea of creativity with a compass, guiding my vision from concept to completion.
LBB> How did you apply these learnings when making your new short film, ‘The Last House’?
Juan> These learnings were instrumental in several aspects, most notably in developing a GPT that operates under a master prompt, which helped generate the numerous images required to achieve the final result. Also, understanding the strengths and weaknesses of current video generation models allowed me to craft a story that plays to these capabilities. It was about leveraging AI's potential while creatively navigating its limitations, turning them into unique storytelling opportunities for 'The Last House.' Hopefully I crafted a narrative that not only showcases the potential of AI but also might inspire others to think outside conventional storytelling.
LBB> The concept behind ‘The Last House’ came from an idea you had that “probably would never have seen the light of day if it weren't for what is now possible with AI”. Can you tell us about the inspiration behind the original idea and how you utilised AI to execute it?
Juan> The inspiration for this film was deeply rooted in Ray Bradbury's "There Will Come Soft Rains," a story I've been fascinated with since my first reading. It's a narrative with no characters, centred around an AI, making it particularly challenging and intriguing from a production standpoint. After completing my first AI-generated short, I realised that AI could bring this vision to life. The marriage of AI's capabilities with a story about an AI itself seemed like a perfect fit. The screenplay, images, and animations were all processes that utilised AI tools. This approach allowed me to explore the narrative in a way that was deeply integrated with the technology itself, making AI not just a tool for creation but an integral part of the story's fabric.
LBB> The narrator plays a particularly interesting role in this film. Can you tell us a bit about the script writing process and the decision to have a narrator?
Juan> The scriptwriting process was a collaborative effort with GPT-4, where I acted more as a director, guiding and refining the output. Despite this, it required several drafts and revisions, similar to any script development process, but with the added dimension of having an AI 'writer' that grew increasingly attuned to my vision. The decision to have the film narrated by an AI was inspired by the desire to create a layer of self-reflection within the narrative. A film made by AI, written by AI, about an AI presented a compelling narrative symmetry. It seemed like a way to allow the AI to ponder its existence and role, both within the story and in reality. This (at least for me) added a philosophical depth to the film.
LBB> Tell us a bit more about your GPT project, CinePrompter V1. Why did you want to create a GPT that transforms ideas into cinematic prompts?
Juan> Every image you see in the film, and indeed every AI-generated image, requires what's essentially a "prompt engineering" exercise. CinePrompter V1 was born out of a need to streamline this process. Instead of needing to meticulously craft each prompt from scratch, this GPT automates the translation of ideas into functional prompts based on predefined rules and the language model's inherent understanding. I envision that eventually, interaction with machines will become intuitive, but until we reach that point, CinePrompter V1 has become an invaluable tool. It makes the prompting process more manageable and significantly less time-consuming, allowing for greater focus on creativity and storytelling.
LBB> How did CinePrompter V1 enhance the process of making ‘The Last House’?
Juan> All the images in 'The Last House' were created using CinePrompter V1. This tool significantly enhanced the filmmaking process by automating the prompt engineering aspect, which is crucial for generating AI imagery. It allowed me to focus more on the artistic direction and narrative structure rather than getting bogged down by the technicalities.
LBB> Do you have any advice to quell the anxieties of creatives who are worried about the impending influence of AI?
Juan> The anxiety likely stems from the unknown and the perception that AI might replace creatives. However, I believe the true beauty and potential of AI lies in its capacity to be a collaborative tool. My advice would be to embrace AI as a partner in the creative process, one that can help you extend your ideas beyond what you initially imagined or even make those ideas tangible without the exhaustive production processes traditionally required. From my perspective, AI is a magical tool for creative individuals, an enhancer that materialises our visions more swiftly and with fewer constraints.
LBB> And finally, how do you plan on exploring the intersection of art and technology next?
Juan> I think traditional storytelling processes are set to change in the face of AI's immediacy. I'm fascinated by the idea of stories being generated in real-time, and it's an area I'm eager to explore further. The prospect of interactive narratives, where the audience can have a role in shaping the story through their inputs and how these influences unfold, is thrilling. Moreover, I'm interested in how AI can be used to create immersive experiences that challenge our perception of reality and immerse us fully in artificially generated worlds, blurring the lines between what's real and virtual. This undoubtedly will be the next frontier of what we currently know as "cinema," pushing us into new realms of creative exploration and audience interaction.
