A24, the producer who has turned the artistic horror (which for a time has been called detailed ‘high terror‘) and the experimental drama in box office phenomena is found in a Existential crossroads. Or accept the millions of risk capital companies or stay faithful to the principles that have made it a rarity within Hollywood: A producer with ethical and aesthetic principles.
Humble origins. Daniel Katz, David Fenkel and John Hodges founded A24 in 2012 with just 20 million dollars. Twelve years later, they were Hollywood envy: they had a brand valued at 3.5 billion dollarsthat transcended production work to become almost a cultural movement. While Hollywood embarked on an exploitation of repetitive franchises, they opted for authors such as Ari Aster, the Sadfie or Barry Jenkins brothers, who gave them their first successes: ‘Hereditary’ and ‘Midsommar’, ‘Uncut Gems’ or ‘Moonlight’.
The total turnaround. His first films made A24 prestige and money win, but the real bombing came with ‘All at once everywhere‘, an existential tragicomedy with time trips of 2022, with a modest budget of 15 million dollars and that raised 140 worldwide, and He took seven Oscarsmany of them of the main ones. A24 was in the spotlight, with a cult of the brand that was not born in a marketing agency, but completely organic.
But with success (we talk about an ambitious multimedia plan that has led A24 to organize immersive experiences OA Relauncar classic exhibition rooms), the problems also arrived: those 3.5 billion value demand constant growth, international expansion, and of course, processes optimization.
Money calls money (already problems). A24 did not want to become a Lionsgate, acquired by Warner. Or worse: a blumhouse, an indie terror icon that since it was acquired by Universal was immersed in The same dynamics of Majors of billing a franchise after another. It is inevitable: no matter how much production conglomerates guarantee creative independence to their studies, decisions go to the committees, obsessed with process optimization. And that is where capital funds enter and, hand in hand, the threat of AI.
Enter Thrive Capital. Specifically, who appeared was Joshua Kushner with his Thrive Capital Fundoffering offering 75 million dollars without the creative limitations that the money from corporations usually brings. There would be no pressures to make franchises or any other obligation, and his history corroborated it: Thrive had financed Instagram before purchase of Facebook, for example. The small print, yes, is unnegotiable: Thrive Capital is One of the largest investors in OpenAIhundreds of millions have been left in chatgpt.
And in that sense, Thrive does not hide their letters: they are an openly pro-one background and believe that this technology will transform the content of the coming years. And although Thrive at the moment does not press to A24, it seems clear that he will do so in the future if the producer resists incorporating the AI into her processes.
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The controversy of ‘everything at once everywhere’. The arrival of tools that use artificial intelligence to Hollywood is absolutely unstoppable. And in fact, a pair of background within A24 raised flirting with AI who found themselves with some rejection of a sector of their audience. On the one hand, ‘everything at once everywhere’ He used Runway AI To create special effects: the use was minimal, but it caught the attention for the usually “artisanal” character of A24 cinema. The controversy was accentuated when it was learned that some ‘Civil War’ posters had been designed with AI.
An essential dilemma. Before A24 several routes are now opened, which will undoubtedly determine something even more important than their income: Your identity. You can try to normalize the use of AI and gradually incorporate it into your processes as already do Majors that delegate issues as part of marketing, advances and others to AI. Or they can become the last resistance to AI if their investors allow it: they would align with some of the most prestigious directors of their team, such as Robert Eggers or Ari Aster, whose long and traditional documentation processes and creation of films such as ‘La Witch’ or ‘The Lighthouse’ become essential identity elements for A24.
He Growth between unexpected and uncontrolled A24 She has turned the producer into a balancer between the indie, the traditional, and the hug to the latest Hollywood production trends. Perhaps the story you have left to live at A24 is the last bastion of a way of understanding cinema that is increasingly part of the past.
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The most cool film producer of the moment faces a dilemma: either Milmillonaria or reject the AI
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John Tones
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