“Very few, if any, studios would probably bankroll that at $70 million. But if you made that movie for $10 or $12 million, you got a shot at it and you got a shot to really knock it out of the park.”

This insight comes from Bryn Mooser, co-founder of Moonvalley and Asteria Film Co, who is working closely on the AI-driven sci-fi film Uncanny Valley, directed by Natasha Lyonne.

Speaking with us in a recent conversation, Bryn shared how AI is reshaping film production — not just creatively, but financially and structurally — and why every future movie will likely have its own custom AI model.

Natasha Lyonne, known for her work on Russian Doll, is directing Uncanny Valley, a sci-fi adventure about two characters entering a video game world. Half of the film is shot traditionally, while the other half leverages hybrid AI techniques, including AI-driven actors. Bryn explains the significance of this approach:

This cost reduction is not about cutting corners but about speeding up production and using AI tools to streamline workflows. Bryn highlights that the savings come from reducing back-and-forth with overseas production houses and condensing timelines, allowing smaller, highly skilled teams to deliver big results without compromising on key creative roles like directors of photography, art directors, and visual effects leads.

One of the most interesting shifts Bryn notes is how AI is changing the traditional filmmaking process. Instead of rigid phases — pre-production, production, post-production — AI enables a more iterative, collaborative workflow. Directors and their teams can brainstorm, generate materials, and experiment in real time, which compresses development timelines and accelerates decision-making.

Bryn describes their studio as a “teaching hospital,” where filmmakers, VFX artists, and technologists come together to solve practical problems and push the technology forward. This hands-on experimentation is crucial for refining AI tools that truly support creative workflows.

According to Bryn, the future of filmmaking involves each project having its own custom AI model. These models are fine-tuned on the specific assets, scripts, characters, and world-building elements of the film. This means the AI understands the unique style and story, enabling it to generate relevant visual elements, background plates, or even marketing materials that align perfectly with the project.

He explains:

This tailored approach contrasts sharply with generic AI models trained on broad data sets, which often scrape content indiscriminately. Instead, studios and filmmakers will own and control their custom models, ensuring intellectual property rights and creative integrity.

With AI’s growing role, talent agreements are evolving. Bryn notes that consent will become central in negotiations, especially regarding the use of actors’ voices and likenesses for AI training and replication. The industry is still figuring out these frameworks, but transparency and consent are expected to be key pillars moving forward.

He also points out the slow pace of deal-making in Hollywood, often due to many stakeholders and large sums of money involved. Bryn suggests that AI could eventually help speed up these processes, which currently slow down creative momentum.

A particularly inspiring example Bryn shares is the work of filmmaker Hussein Dembel Sow in Senegal. Using AI tools and affordable technology, Hussein creates compelling films independently, without traditional studio involvement. This kind of permissionless filmmaking — enabled by accessible AI and cloud computing — is leveling the playing field globally.

Hussein’s success points to a future where storytelling isn’t limited by geographic or financial barriers but driven by creativity and access to technology.

Bryn believes the next major breakthrough won’t be a single AI-generated film that captures everyone’s attention but a business success that proves the model’s viability. He imagines an independently made film costing $4 million that grosses $400 million, demonstrating how AI can enable smaller teams to compete with studio budgets.

He also acknowledges that studios have weathered technological shifts before — from computer animation to advanced VFX — and will continue adapting. However, some resistance remains, often from those benefiting from the existing system. Bryn encourages curiosity and openness, emphasizing that AI tools can help creators focus on telling better stories, not replace them.

One of the clearest messages from Bryn is that AI won’t replace artists but will extend their capabilities. For example, Quique Rivera, a stop-motion artist working on a Bad Bunny music video uses AI to generate background characters, enriching the scene without losing the handcrafted quality of the main characters.

This collaboration between human creativity and AI assistance can unlock new possibilities while preserving artistic vision.

Two years ago, AI discussions were marked by skepticism and fear. Today, Bryn observes a shift toward curiosity and practical exploration. Filmmakers and studios increasingly ask how AI tools can help them meet tight budgets and schedules, especially for tasks like turning rough storyboards into polished presentations.

This openness reflects how AI is becoming an integrated part of daily creative work, from research to image generation, supporting rather than disrupting established workflows.

Bryn Mooser’s insights provide a grounded yet forward-looking perspective on AI in filmmaking. The key takeaway is that AI offers a path to make ambitious projects financially feasible, streamline production, and democratize storytelling. By building custom AI models, respecting consent, and embracing new workflows, the industry can unlock creative potential while addressing long-standing challenges around cost and access.

For filmmakers, producers, and creatives eager to explore AI’s role, this moment invites both caution and opportunity. As Bryn notes, the combination of a broken industry and evolving technology might just open new doors for ownership, speed, and access — all critical for the future of film.

The views and opinions expressed in this podcast are the personal views of the hosts and do not necessarily reflect the views or positions of their respective employers or organizations. This show is independently produced by VP Land without the use of any outside company resources, confidential information, or affiliations.