How ‘The Creator’ Could Change How Hollywood Makes Movies Forever

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A critical examination of Gareth Edwards’ latest science fiction adventure and its potential to revolutionize the financing and production methods in Hollywood was showcased during its world premiere at Alamo Drafthouse’s Fantastic Fest in Austin, Texas. Despite having already been screened twice prior to this event, anticipation for Edwards’ follow-up to his acclaimed Star Wars film, Rogue One, which was released nearly seven years ago, remained remarkably high.

While the initial reviews of “The Creator” may be somewhat mixed, one cannot deny its stunning visual execution and how it exemplifies Edwards’ unparalleled skills in world-building. However, beyond its narrative exploration of pressing themes like artificial intelligence and the essence of humanity, what truly stands out about “The Creator” is the innovative approach taken in its production.

Edwards, along with his compact team, led by cinematographer Greig Fraser (with a brief replacement by DP Oren Soffer when Fraser had to transition to work on “Dune: Part Two”), successfully embraced a novel filmmaking paradigm. They chose to abandon the conventional green screen studio method, opting instead for on-location shooting with a minimal crew, all powered by Sony FX3 cameras. This groundbreaking approach is reshaping the way films are made in Hollywood.

The Real Story of ‘The Creator’

Our initial report on Gareth Edwards, Greig Fraser, and their team shooting their unconventional science fiction project in Asia with affordable $3,000 cameras like the Sony FX3 garnered skepticism from many established figures in the industry, while DIY enthusiasts and independent filmmakers likely found it highly impressive.

To be fair, the Sony FX3 is far from being a subpar camera. Equipped with a 12.1MP full-frame CMOS sensor capable of UHD 4K at up to 120p straight out of the box and paired with a basic set of lenses, the FX3 can readily serve as a highly capable camera for a wide range of indie or commercial endeavors.

When coupled with the appropriate high-quality lenses, such as the Atlas Orion Series lenses mentioned on IMDB as used in “The Creator,” and with the right technical expertise, it unquestionably possesses the potential to deliver stunning visuals suitable for projection on large cinema screens.

It’s important to mention that, according to the same IMDB source, certain shots or sequences in the film were reportedly captured using an ARRI Alexa 65. However, it appears that the Sony FX3 rumor is indeed accurate and was employed for the majority of the film’s key sequences.

On Location Over In Studio Production

What’s arguably more intriguing than the camera selection itself is the rationale behind it. Major studios usually prefer to film their blockbuster movies in-house and on expansive studio lots, primarily because it allows for resource consolidation. Working within these studio environments grants studios complete control over every aspect of production and maximizes cost efficiency, especially when employing green screens.

Within studio lots, camera setups and production crews can be centralized, and they often grow to be quite extensive and costly. However, in the case of Gareth Edwards and his team’s indie filmmaking approach, they opted for a more modest camera setup and crew, prioritizing on-location shooting in real-world settings.

By pursuing this strategy, characterized by a leaner cast and crew filming in actual locations throughout Asia and intending to incorporate all visual effects in post-production, Edwards estimated that he achieved savings exceeding $200 million. This resulted in a final budget of approximately $80 million, a stark contrast to what he suggested would typically approach the $300 million mark for a project of this scale.

AI and the Future of Storytelling

While the intricacies of filmmaking in “The Creator” may captivate fellow filmmakers, it’s equally essential to delve into the film’s narrative, which delves deeply into contemporary concerns regarding the future of artificial intelligence.

The timing of “The Creator’s” release, on the verge of the WGA strike, is particularly noteworthy, as the strike centered largely on AI and its potential role, or limitations, in the realm of scriptwriting by artificial means. “The Creator” addresses these questions admirably, humanizing AI by assigning it a face and a name, thus fostering a stronger connection with human emotions.

Nevertheless, it’s evident that the story presented in this self-contained narrative is just a glimpse of the broader issues surrounding AI. “The Creator” unfolds in a distant future with a more fantastical depiction of AI than what we might encounter in reality. The real challenges associated with AI’s gradual integration into all facets of art and creative development will prove far more intricate and nuanced than any single storyline can capture.

Hopefully, films like “The Creator” will persist in demonstrating that Hollywood need not exclusively churn out cookie-cutter superhero blockbusters. Instead, it should continue to support filmmakers who embrace practical DIY and indie filmmaking sensibilities while tackling these intricate subjects and infusing human emotions into our most significant apprehensions.

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