{"id":5154,"date":"2025-07-03T13:00:00","date_gmt":"2025-07-03T13:00:00","guid":{"rendered":"https:\/\/friscotimes.org\/?p=5154"},"modified":"2025-07-05T07:14:06","modified_gmt":"2025-07-05T07:14:06","slug":"runways-ai-transformed-films-the-3-billion-startups-founders-have-a-bold-new-script-building-immersive-worlds","status":"publish","type":"post","link":"https:\/\/friscotimes.org\/?p=5154","title":{"rendered":"Runway’s AI transformed films. The $3 billion startup’s founders have a bold, new script: building immersive worlds"},"content":{"rendered":"\n
\n

Artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas were ridiculed, their work described by critics as \u201cbase,\u201d \u201cunfinished,\u201d and the worst thing to ever happen to art. A commercial flop, the exhibition saw 3,500 visitors, who mostly sauntered by to express horror at the plain frames and individual brushstrokes.\u00a0<\/p>\n

About a decade later, Georges Seurat would start A Sunday Afternoon on the Island of La Grande Jatte<\/em>. Seven feet tall and ten feet wide, Sunday<\/em> would become the most famous example of an Impressionist offshoot technique, pointillism.\u00a0<\/p>\n

Sunday<\/em>\u2019s central conceit was simple\u2014one detailed image of a bustling afternoon at a Parisian park on the Seine. If you looked closely, you could see distinct spots of color and light that zoomed out into parasols, instruments, hats, humans, and a monkey on a leash. Each image could be unraveled, deconstructed into individual dots\u2014the pixels of an analog age. And there\u2019s a direct throughline between Seurat and the Impressionists and Total Pixel Space, the winning film at this month\u2019s Runway AI Film Festival (AIFF)<\/a>.\u00a0<\/p>\n

\u201cPixels are the building blocks of digital images, tiny tiles forming a mosaic,\u201d the film\u2019s velvety voiceover says. \u201cEach pixel is defined by numbers representing color and position. Therefore, any digital image can be represented as a sequence of numbers\u2026Therefore, every photograph that could ever be taken exists as coordinates. Every frame of every possible film exists as coordinates. Every face that could ever be seen exists as coordinates. To deny this would be to deny the existence of numbers themselves.\u201d<\/p>\n

Jacob Adler, who made Total Pixel Space, is a classically-trained musician and composer, a multidisciplinary artist rendered a filmmaker by advances in AI. Adler worked on the film for more than a year, generating tens of thousands of images along the way, inspired by Jorge Luis Borges\u2019s short story \u201cThe Library of Babel\u201d and the miracle of making sense in a random, vast world.<\/p>\n

\u201cI was fascinated by the act of generating these images, and it spawned all these philosophical questions,\u201d said Adler. \u201cIn this vast combinatorial space of language, the overwhelming majority of combinations of letters are gibberish and nonsense. So, apply that to digital imagery: How many images can possibly exist? And how many of these images are incomprehensible noise? I tried expressing this idea in other media, and it just failed. But it came together as a short AI film.\u201d<\/p>\n

Runway, the $3 billion AI video startup<\/a>, has hosted the AIFF since 2023 to showcase short films made with AI. This year\u2019s festival\u2014won by Total Pixel Space\u2014marked a major leap: from 300 submissions in small NYC theaters in 2023 to a sold-out Lincoln Center show with 6,000 submissions, drawing an international crowd. Runway didn\u2019t pick the winner\u2014a panel of judges, including directors Harmony Korine and Gaspar Noe, made the call\u2014but Total Pixel Space reflects how Runway is thinking about its own future: AI-generated experiences that don\u2019t just tell stories but build worlds.<\/p>\n

\u201cWe\u2019re going to have all these new forms of media that go beyond film and games, that exist in all the spaces in-between,\u201d said Anastasis Germanidis, Runway CTO and cofounder. \u201cSome of it might look more like immersive theater productions, where there\u2019s a fixed storyline, but you can kind of move around, experiencing it from different perspectives.\u201d<\/p>\n

Germanidis added: \u201cImagine these models get really good at generating realistic depictions of reality, and you have a world where you can essentially simulate most of what we care about as we navigate the world. That\u2019s going to be both a very important piece of solving problems.\u201d\u00a0\u00a0<\/p>\n

Germanidis is thinking about world simulation as a principle more than anything else; one that could be applied not just to stories, but to biology, robotics, and physics. It\u2019s distinctly about finding ways to mimic not just humans, but physics and biology.\u00a0<\/p>\n

\u201cWe want to be able to simulate pretty much every instruction you have in the physical world,\u201d said Crist\u00f3bal Valenzuela, CEO and cofounder of Runway. \u201cWe know that\u2019s coming\u2026AI labs have been very obsessed with simulating the human mind. But I think that might be the wrong approach long-term. What you want to do is not simulate how humans work, but how the world works.\u201d<\/p>\n

We\u2019re seeing the beginnings of this strategy play out this week, as Runway plans to launch an interactive gaming experience, marking a push into the gaming market<\/a>. The product right now is text and image generation, but is expected to become increasingly visual over time. How this all will ultimately lead to world-building applications is hazy\u2014and that\u2019s part of the point.\u00a0<\/p>\n

\u201cIf you have a predetermined way of getting there, it\u2019s too late and it\u2019s obvious,\u201d Valenzuela said. \u201cFor me, it goes back to how creative [something is]\u2026. If you\u2019re not involved in creative acts, you don\u2019t understand. Most people who have any form of creative expression within their work know that when they start, they don\u2019t exactly know where they\u2019re heading. You\u2019re putting yourself in a very vulnerable position to just explore everything. Then, eventually you\u2019ll know by experience that you will have to land somewhere.\u201d<\/p>\n

Runway has no shortage of competition in AI video generation\u2014including but not limited to OpenAI\u2019s Sora, Stability AI, Moonvalley, and Pika Labs. And Runway is in the position where they must continue to distinguish themselves in order to compete. The company has raised more than $500 million to date from investors like General Atlantic, SoftBank, Nvidia, Salesforce Ventures, Felicis, and Coatue. Meta reportedly approached Runway<\/a> in an attempt to acquire the company before dropping billions on Scale AI this summer.\u00a0\u00a0<\/p>\n

The AI \u201cwake up\u201d call<\/h2>\n

The history of art is a history of technological disruption, from the invention of the printing press to the advent of \u201ctalkies\u201d in the 1920s. Job displacement is, of course, part of that story\u2014and always has been.\u00a0<\/p>\n

\u201cBefore the printing press, it was all monks and people who knew how to share specific stories,\u201d said Valenzuela. \u201cThen, with the printing press, more people could read and write, which was treated as an apocalyptic event.\u201d<\/p>\n

This is true: When the printing press was invented in 1440 and adoption of the technology spread, religious authorities worried about losing control, and guilds of scribes were displaced. But a world of people could now read, and stories could scale.\u00a0<\/p>\n

Valenzuela brings up another example, this one infused with a comically droll element:\u00a0<\/p>\n

\u201cBefore alarm clocks were invented, you\u2019d hire a guy who came to your door, at the time you wanted, and throw up a stone to your window,\u201d said Valenzuela. \u201cThat was a job. What else were you going to do if you didn\u2019t have family around and needed to wake up?\u201d<\/p>\n

In 19th-century Britain and Ireland, these people were called \u201cknocker-uppers.\u201d They\u2019d tap on windows with long sticks or shoot peas at windows to wake workers for shifts. Once alarm clocks were invented, it became natural for people to just, well, use alarm clocks. As AI comes tapping at Hollywood windows, a trend that Valenzuela is directly involved in, the industry reaction has been fraught\u2014even as people secretly use it.\u00a0<\/p>\n

\u201cIt\u2019s been a little dirty secret, because whether it\u2019s Runway or, you know, he does have a little competition,\u201d said Michael Burns, vice chair at Lionsgate onstage at AIFF, gesturing to Valenzuela. \u201cWe believe that this tool is being used by everybody that doesn\u2019t talk about the fact that they\u2019re using it.\u201d<\/p>\n

Runway\u2019s Germanidis says there are three phases of technological art evolution: getting the technology to work, imitating existing art forms, and then creating unique forms. We\u2019re just starting to \u201center that third stage with, like generative generative models,\u201d he said. That\u2019s not to say, of course, that everything should be AI\u2014for Adler, an artist whose practice has fundamentally expanded with AI, is very clear that some things (like surrealistic images and philosophical concepts) are well-suited to AI, whereas other material (like complex human interactions) isn\u2019t.\u00a0<\/p>\n

\u201cI look at [AI] as a tool, but I don\u2019t know yet if I\u2019m convinced that it\u2019s a new genre,\u201d said Adler. \u201cThere are things I can produce with cameras that are impossible with AI and vice versa\u2014things I can do with AI that are impossible with cameras.\u201d<\/p>\n

That alone is an incredible phenomenon that speaks to excitement, and fear, that Runway and its video AI rivals are already causing throughout the worlds of art, media, and entertainment. For Runway\u2019s founders however, the real payoff of their AI vision, if they can pull it off, will extend far beyond the screen, existing as something spectacular, immersive\u2014and probably unrecognizable.<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas were ridiculed, their work described by critics as \u201cbase,\u201d \u201cunfinished,\u201d and the worst thing to ever happen to art. A commercial…<\/p>\n","protected":false},"author":311,"featured_media":5155,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[6],"tags":[295,6439,745,6437,6438,6441,6435,6440,954,6436,3916],"jetpack_publicize_connections":[],"yoast_head":"\nRunway's AI transformed films. 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