Locarno’s StepIn Participants Talk Indie Sector and AI

 “The Americans are coming,” argued European Producers Club’s Alexandra Lebret during Locarno’s StepIn’s wrap-up session. And it can be a good thing.

“They want to benefit from lower costs and tax incentives [in Europe]. It will bring money to the industry, but it won’t increase our salaries – quite the opposite.”

“The gap between value and cost” is one of the main challenges facing producers today, but so is dealing with talent.

“They are becoming increasingly difficult to ‘pin down’ and can cancel their commitment to the project even a few days before the shoot. Negotiating deals with U.S. agents is nearly impossible for many indies,” she added, joking that the conversation should be nicknamed “A Prayer for the Dying” after Mike Hodges’ film.

“Where there is a crisis, there’s an opportunity. Let’s not get locked up in an unsustainable business model. Why not use new possibilities offered by AI technologies or try private partnerships when creating content? We have to learn how to ‘share the cake’ so that no one ‘dies.’”

“The enthusiasm is here. Enthusiasm for cinema, for our industry and for creating content,” said Lebret.

Following an opening keynote featuring Katie Ellen of HanWay Films, Ada Solomon (microFilm) and WME Independent’s Alex Walton, StepIn participants were encouraged to discuss challenges of independent film financing and production, the current state of traditional theatrical model, gender equality and diversity representation and, finally, “the elephant in the room”: AI

The debate around AI can’t be separated from the conversation related to “homogenized type of content,” said Alphapanda’s Nicolò Gallio.

“Hopefully, in the long run, content inflation will be balanced by better creations.”

Comparing filmmaking powered by AI to “fast fashion,” he pointed out the need for “more knowledgeable consumers.”

“If the solution is ‘faster and more,’ we are moving away from what’s meaningful in this industry. We need to determine what we want to preserve. Are we at risk of producing more and more of the same films based on what’s working and on algorithm’s recommendations? How can we avoid a ‘tsunami of the same’?”

Apparently, by “slowing down” the process, setting up strict antitrust rules and working with tools and companies that reinforce creativity – not just productivity. As well as calling for data transparency to avoid biases and stereotypes in AI generated content.

According to Helios B. of Trans+ on Screen, “the march for equality is a long march.”

“Every step of the way we must make sure we are taking a look back, making sure no one is left behind. Let’s not forget that today’s represented may be unrepresented tomorrow,” added Helios B, mentioning struggles faced by Ukrainian filmmakers.

Apparently, by “slowing down” the process, setting up strict antitrust rules and working with tools and companies that reinforce creativity – not just productivity. As well as calling for data transparency to avoid biases and stereotypes in A.I. generated content.

According to Helios B. of Trans+ on Screen, “the march for equality is a long march.”

“Every step of the way we must make sure we are taking a look back, making sure no one is left behind. Let’s not forget that the represented of today may be unrepresented tomorrow,” added Helios B, mentioning current struggles faced by Ukrainian filmmakers. Unfortunately, calls for diversity and inclusion tend to quiet down when industry players are facing a crisis.

“Diversity and inclusion have different meanings and different priorities across the globe. There’s a need for this conversation to be intersectional. Some want more diverse stories on screen, others want more diversity in the workplace. Others feel privileged to even be sitting at Locarno, having that conversation.”

Allison Garner, CEO Glasgow Film and Director Glasgow Film Festival, questioned whether the industry should bet exclusively on the younger audience.

“We shouldn’t ignore older viewers,” she said. Also, “event cinema” is here to stay, as exemplified by Taylor Swift’s “The Eras Tour” doc.

“We all agree that cinemas are places where we experience the joy of shared communal emotions. They’re akin to sitting round the campfire, sharing stories. As we know, film creates empathy and empathy is our greatest tool as humans to make the world a better place.”

“While our participants didn’t shy away from addressing the difficult moments and the several issues they have to contend with on a daily basis, the spirit was surprisingly uplifting and full of hope for the future,” noted StepIn & U30 Project Manager Marcello Paolillo after the session.

“What I appreciated the most was the common belief that human connection is a key and irreplaceable element in our industry, and what makes movies so precious.”

Earlier during the day, Kelsey Farish, a media and entertainment lawyer at Reviewed & Cleared, advised the audience how to stop worrying and learn to love – or at least accept – AI. during her “out-of-the-box” introduction.

“While it’s true that AI can automate and accelerate many aspects of filmmaking, convenience should not come at the cost of creativity. The real magic of AI lies in its ability to complement authentic human expression, not replace it,” she told Variety.

“The rapid advancement of AI technology in filmmaking has outpaced many of our legal frameworks, leaving us in a grey area where questions of copyright, liabilities, royalties, and transparency are becoming increasingly complex. Although new legislation and further guidance from regulators and courts are all on the horizon, it’s never too early to discuss these important issues.”

The use of AI to create new content is forcing the industry to rethink traditional intellectual property and publicity laws.

“For example, to what extent can an actor control how their image is modified or recreated by AI, if it is the studio which owns the footage itself?,” she wondered, also mentioning Scarlett Johansson, who spoke against deepfake technology.

“The fact that a powerful Hollywood star felt helpless in the face of AI-generated deep fakes speaks volumes. Stories like hers are what inspired me to specialize in this area of the law in the first place – it’s a stark reminder that although AI innovation in filmmaking is exciting, legal frameworks and ethical foundations are essential for responsible adoption of the technology.”

“As a lawyer, I find advising on these issues challenging. But I’m also hopeful that meaningful conversations like those we’re having here in Locarno will lead to better outcomes.”