We Talked to the Producer Behind Natasha Lyonne’s AI Movie

Natasha Lyonne is making a $70 million sci-fi epic called "Uncanny Valley" for just $10 million with the help of AI - and it's about to change everything. In this interview, Moonvalley and Asteria co-founder Bryn Mooser reveals why every future movie will have its own custom AI model, how the next Hollywood breakthrough will be financial not creative, and why a $4 million film could make $400 million while creators own it all.

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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.

Transcript

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Very few, if any studios would probably bankroll that at 70 million. But if you made that movie for 10 or 12, you got a shot at it and you got a shot to like really knock it outta the park. Alright. Hello again everyone. to Denoised. This is gonna be part two of our interview with Bryn Mooser. So this is two part series. The last episode, we start our conversation. Bryn Mooser, founder of Asteria and Moonvalley. In this episode we're gonna get into more detail about  Uncanny Valley, the movie they're making directed by Natasha Lyonne. AI is such an emerging field and in order for you to innovate, you actually have to put a production through it. And that's exactly what they did at Asteria. Yeah. They're gonna learn a lot by putting some actual project through the production process. Yeah, and like we mentioned in part one, the enormous cost savings that you can potentially achieve and mm-hmm. Bring gives us some of the. Glimpses of that. Yeah. So, uh, enjoy the, listen and we'll, uh, catch you at the end. Well, yeah. Do you wanna talk more about Uncanny Valley and Yeah. Sort of how, what, um, the role AI is playing? Yeah, we just, um, uh, one of our partners is Natasha Lyonne. Mm-hmm. A tremendous filmmaker and a futurist, you know, from everything from Russian Doll and beyond. Like she's very interested in how technology shapes our, our world. I think when she was working on Russian Doll, she got very deep in quantum physics and, uh, sciences, um, and has this crazy network of, of, of. Brilliant people like Jaron Lanier, Ted Chang, who you know are, are, are arguably building the kind of the quantum sciences of the world that we're living in and are great thinkers and she's interested in that. And she also, I think, uh. Understood what, uh, that AI was gonna be inevitable. And I think as a filmmaker and any filmmaker was like, shouldn't we be at the table? Mm-hmm. Like, if we're not at the table, we're being served, what's that thing? So like, we should, we should be there and we should know what's good about this, helpful about it, and what's really bad about it.'cause if you remember at the strikes, everything was bad. Bad about it. Yeah. And, and what that means is, is if everything's bad about it, we end up fighting the wrong fights. Then we're mad at Brady Corbet 'cause he like, uh, used Resepeecher to make the Hungarian sound better. But somehow we're like not mad that meta is scraping all of our movies to make their model. Like we're, we're sort of looking the other way. We're looking the wrong way. And so, um, uh, I think what, you know, Natasha was really interested in as she started to think about what the technology can do, is that idea of democratizing those studio films. So  Uncanny Valley is this. Big adventure sci-fi film of these two folks who, uh, sue people who go into a video game. Right. And so half of it'll be shot practically like any film. And then the other half will be in this hybrid AI using actors to drive, et cetera. And that movie would be like a$70 million movie at the studios. Wow. Okay. Uh, and by the way, the movie's gonna be incredible. The world should see it. It's gonna be a smash, it's a hit. Very few, if any studios would probably. Bankroll that at 70 million I'd made, it's very hard to like build a financial model where that movie, where you're gonna put 70 million and then actually make any money on it, especially in the market we're in today. Very conservative. Totally. Yeah. Yeah. But if you made that movie for 10 or 12 mm-hmm. Uh, you got a shot at it. Right. And you got a shot to like really knock it outta the park. Yeah. Um, and you're not, you know, the savings come in really kind of this like long tail. Pulling out of how long it takes to kind of get this back and forth from production houses or overseas production houses or whatever else, versus like a smaller team. Still your DP that you love, your art director, your, your head of VFX. You need those people. Technicians are more important than ever. People who are. Great at something are more important than ever. You still need your actors, your writers don't compromise on that stuff, but just being able to do things quicker in real time makes a big difference in terms of budget. Technology makes a big leap forward when there's, especially in our industry, when there's a film up against it being road tested at the same time. Is any of  Uncanny Valley being made in this building? Yeah. And if so, then talk to us a little bit about what you're learning and how you're adjusting on the fly. Yeah, I would say. Everything we're learning. Putting into the model comes from practical problem solvings that we're doing on films, whether it's  Uncanny Valley or beyond. That's why I'm always like, when I thought about this, it was really about like, I find the people all over the world who are figuring out these little pieces of bring 'em together under one roof and be like, okay guys, the collective problem that we're trying to solve is how does this technology actually build the future of our industry? Yeah. I used to think about contemporary art a lot too, where you have people like Jeff Koons or Damien Hirst and they have a big factory with like 50 people and all the money in the world manufacturing their art and they make amazing stuff. And I was like, what if you could give access to that type of factory to other great artists like who might be as great but not have access like Ai Weiwei or something. Like what would they make if they had three months unlimited resources and an amazing team of manufacturers and like. The world should know that. Like how come some people are limited, are able to do something in a factory like that or able to make a movie with ILM. But then a lot of other people aren't, like our industry has very high walls. Yes. It's meant to keep a lot of people out, for sure. Mm-hmm. Um, and it's, you know, not everybody gets to make a Disney movie. Not everybody gets to work with ILM or something, and the line to make a Disney movie is 10 years long. Yes, exactly. Like you gotta wait your turn. Exactly. And the risks on who's gonna make that, it's you. You start narrowing and narrowing it down. You're not gonna give those things to people who are risky filmmakers, but they should be making the movies. I mean, you know, like I have a 5-year-old son, there's not enough animated movies. I would go to a movie every night if I could with him. I can't. I've seen now Minecraft seven times. It's too much. Um, but I think that like, uh, you know, that part I think is where we are always pushing everybody we're working with to be like. Give us the problems that you're trying to solve. Yeah. Because we want that, right? Like, and, and the, the, what I always tell the team here, and you know, we used to think about it as well too, is like, I don't want people to ever be like, no, you can't do that. You know, and I learned this from Tony Hsieh who started Zappos, who, you know, told me that, you know, he would, he never wanted people to say no. It was only yes if, right. So you would say, somebody would go, Hey, can we make, um, you know, can we turn this into a rotoscope? And then could we extract it into 3D layers, and then can we turn it all into Claymation? And people would be like, no, I don't think you can do that first. I'm always like. No, no. Think about it. And then it's always like, yeah. I mean, sure, yes. If you had 40 other people in this other room working on it and $5 million and it's like, okay, good, we're not gonna do that. But like at least we know what it is or what it would take. And so the team upstairs, I think I. That's their special power is that they're always saying yes. And we want these complicated problems. And there's a lot now that we're working on that are very unexpected. Like it's a questions where some of the best filmmakers in the world are like, can you do this? And we are like, we never would've thought that that was something that people would need. Uh, but that's very interesting. And yeah, let's think about it. Has this, uh, has the process with Uncanny Valley changed the structure of like the filmmaking process, like, you know, traditionally it's very like rigid. You know, you got pre-pro, you know, production and then you're in post with AI and everything blending. Have you found, is it blending the stages, condensing some of the stages together being more of like an iterative process? Yes, I think a hundred percent where we're seeing. A lot of excitement from great directors, uh, who are working on big tentpole films is that they're saying, Hey, I'm, I'm, I want be closer to this creative. And I think that this tool could, I think it's interesting, I want to learn more about, and they come in here. It's like a teaching hospital. We're bringing a lot of people, and I think there's a lot of filmmakers who get excited about the idea that they could sit at a table. With their head of VFX, their dp, their, you know, whatever it is, their cinematographer, whatever it is, a small team, and be able to just do a lot with sitting and brainstorming and getting materials out there so that they're not waiting in those times to do it. So I think that that part compresses a lot, this part where you have people actually sitting in a room for a couple days and brainstorming and the output of that, it's not for the film, but it might be for the financiers or for the studios. Like you can get very, very far. Right. Uh, but that. Starts with, you know, original, uh, scripts, original art artists who are doing it. Like, it, it, it's not like you're coming in and then you're like, okay, let's, I dunno, do bluey, but they're cats or whatever. Like, it's really like, this is a movie. And by the way, this story happens all the time. This is a movie that, uh, was at Warner Brothers for eight years and then they just killed it. And like they, I get reverted back to me and like, I've been, this is my dream movie and nobody's gonna make it for $80 million. But like. Could we try to make it for 12? Like is there a world where we make it for seven? Like yeah, that's a story time and time again that we're hearing and people are coming in here and that's a movie that I would argue is not gonna get made. Without trying to figure out how technology can do that. So that's like, that's not taking a job away or taking a movie away that is like a net new movie that's not gonna get Made. Made. Yeah. Wouldn't existed. Yeah. Made without this thing. Yeah. I agree with you. A lot of the costs in feature film production is the iterations, the reviews, the meetings. Yes. Like the stuff that you don't think about. Yeah. Out of very crude guesstimation. Would you say that current technology with AI today is one tenth, one seventh, one eighth of what traditional production is? I think that it's. It's funny. I'll tell you what other people think. Katzenberg famously said 90%, uh, reduction for animation. Then Cameron said 50% reduction. Then Ted Sarandos, who I love the most, said. He hopes AI can make our movies 10% better. Mm-hmm. Right. Big difference, right? If you think about that one person is saying, you don't need 90% of the people, the other person's like, we gotta get rid of half the people. And then the other one's like, no, no, we just want our movie to be better. Like, who loves filmmakers more? Like, that's the part that I think is so, is so interesting about it and it's so true. Yeah. I think there's an easy 20 to 30%, uh, uh, time and cost savings across the board. I think if you look at things where you have to think about where the models are very powerful, right? So animation is like. Every frame is running through a potentially a model, right? There's, there's rendering in every, there's, there's costs associated with every frame versus if you think about a movie that has maybe 20% of the movie has special effects or something that's a 20% thing. There's, there's not, you're not getting like a all the way down to zero. Again, nobody's trying to do that. Maybe some people are trying to do that, but I don't think anybody's gonna watch those movies. Mm-hmm. In the same way. Mm-hmm. Yeah. So I think there's like a big reduction right now that's like. 20 to 30, maybe 40. That's undeniable right away right now. Nice. Um, and I, and, and, and I would say that like. The way that we see the world, and I think this is gonna happen, is that in the very near future and to and to beyond, every film and TV project will have a custom model. And that's what we're building. So we build a custom model. It's fine tuned on all the materials with the artists. Uh, if it's done with a studio, the studio owns that. That data doesn't go into our foundational model. They own that, that model, that model is a, a, a product that they get at the end of the film. And if you're doing that on a tentpole film and you have a model that's totally fine tuned and can generate things on model, then that becomes a tool for our marketing for video games. Like it's quite powerful thing, but I think even indie films will have a custom, even our documentaries now have a custom model. And that could be, the way to think about it is like, it's like a smart series Bible meets. ChatGPT or like a smart Google Drive that you can just start to like have as your partner and you're making it. I think it's like, that's like an extension of the intellectual property, that custom model. Yeah. Yeah. And it's a, it's like an agentic partner for you as you're making it. So that's what we're building. That becomes that sort of artist interface. But I do believe that whether it's us or somebody else, that's the way that it goes is that you have a model. So when you're starting an indie film, like right now you have an indie film. Let's say we go make a movie tomorrow, we're like, we start an LLC, we open a bank account. That's how you do it traditionally. And then we're in production now. It's like also open a model, start a model. Nice. Um, and uh, that's, that's I think where it's gonna head. And the idea of the model, like a chat bot you could talk to about, give us marketing materials that are in the voice as if for like generate pickup shots that look are in the style of what the movie looks like. What is that? I mean, I think that a lot of people are already using. AI in this way as a partner for them. Mm-hmm. If they're a writer, they're using it for research. If they're, uh, you know, an artist, they might be generating images on Midjourney that helps them on the storyboard like we're seeing now how ai. In the way that you can use it right. Becomes an extension of what you're doing, right? It becomes like a helper for you to make this stuff. Mm-hmm. A little producer that you're with. And so I think that that just becomes kind of like the bigger version of that. But what we're talking about that's different is that the models are really fine tuned. We call it like a Laura model, but it's fine tuned around exactly what you're making. So say we're gonna make a. A space movie is our movie. Like we, that model is not just a random chat, GBT, it's like, it's the space movie. It's got all, it's got the script, it's got, uh, the, the characters that we've been designing that are original. Um, and so then it starts to know that world. It knows what cameras we're shooting on, it knows the locations, um, uh, and then it can start to generate things. So it might generate, that's helpful for us plates, background plates. It might generate, um, elements. Um, within it, it might generate, you know, but. Laser guns or whatever it is that we're doing, that becomes your helper. But it's like it's ultra specific. Yeah. Now you wouldn't take that model and move it over to like, you know, your kids' movie that you're doing because it doesn't know that world. And I think that's like. The massive difference that like the AI companies were missing. Mm-hmm. They were trying to build these models, which is why they were scraping everything, pirating, everything from all the studios is 'cause they were like, we need all the movies so that you could say, make me an MGM film, a comedy, and whatever else. And it would make you that, you know, as we were building the model, we were like, we don't need the model to know how to make a movie. We make a movie, we actually need the model to just know how the world works, and then we're gonna build something on top of it that's gonna be our partner to help make the movie. Sure. Because nobody's trying, nobody wants like a Yeah, it's an MGM musical, it's a universal this, it's like, that's not, that's not what we want. We're not making stock videos. We're making a very specific film. Yeah. Yeah. And I, I think there's lots of room where, uh, the copyright and other things don't matter. Like, I think people who are still making tiktoks or um, um, you know, stuff on YouTube and wherever else, which is a. Big market. Like they, you know, they might not care. They just want whatever the latest model is that can do the thing that they're trying to do the best. But our industry cares. Yes. And real filmmakers care and studios care, um, in a real way. And so I think that you have to think about how do you build solutions for the industry that you're working in? And it's not just one size fits all. Have you had to rethink talent deals with these projects? Uh, as far as like having rights to replicate their voice, uh, with an AI model or replicate their likeness, uh, in a model and then like restrict it to just that project or like restructuring deals in that way. I think that everybody is figuring out what these deals look like going forward in terms of, of, of ai, both in terms of training and in terms of likeness, right? I think that this comes down to, in the next year, consent. Everybody starts talking more about consent. Did you have my consent to train the model on my stuff? Mm-hmm. Did you have my consent to do this voice? That sounds exactly like mine, this likeness. And so I think that consent starts to become a really clear way of thinking about how we build parameters around ai. But that's gonna go into all the deals too. I would love to be able to find a way to build AI solutions. Now we're doing, but somebody should do it to help speed up the process of how long deals take in Hollywood. Because I actually think that like deals take so long. Yeah. Uh um. Why do you think that is? Because there's a lot of people and there's a lot of money and there's a lot of people sitting around who are all participating in those deals. Yeah. Right. Like you've got an entire industry that's built up by people who are helping put those deals together and it's slow. The challenge is you've got creative people who are really excited to lean in right now, who are like, Hey, I got this movie. I wanna make it. And I'm a, I'm a big director and I've made billion dollar movies before, but I've had none of the upside and like my next movie I wanna do here. And then you have financial people who are like from outside Hollywood for the first time, VCs and stuff leaning in, thinking about Hollywood in this way, where like, y'all fund that. If you can make that movie that you was gonna cost 120, you can make it for 20, I'll fund it, you know, and if I want part of the toys or whatever afterwards, but then you have an infrastructure inside that's still slow. Yeah. Like that takes, uh, a lot of the energy away. And so if we could figure out how to speed up that part, or do I have no idea how to do it, or do you think we could just get more kind of permissionless filmmaking where it's like, because if you could use the tools and you could do it for less of a cost, you can just do it yourself and you don't need so much permission for it to happen. I do think that there's a moment where you, the power dynamic shifts, and if you've got. A director wants to make something, you've got somebody who's got the money to go do it. It's like you don't need all those layers potentially to do it. Uh, I just got back from Senegal. There's a kid, a kid, nice. He's younger than me. He's like 30, 37 named Hussein Deso and he's one guy in Senegal who started going viral 'cause he was doing these, uh, things on using AI on YouTube or whatever. I think he's the best filmmaker in the world who's cracking ai really. It's in Incre extraordinary. His first one was about. Senegalese soldiers in the Second World War. And somebody sent it to me like, did you see this? And you know, it had a million views already. And I was like, oh my God, who's this kid? I, I went home 'cause I was in the Peace Corps in Gambia, so I was so excited about Senegal. I went home, opened my LinkedIn, and he had messaged me. I was going to message him. He was like, hello, I love Asteria. Like, uh, I just made this movie. I'd love you to see it. I was like, see it? I, I'm like, I love it. And so I went to see him. And, and, uh, and, and we worked on a movie together that he's directing. And I, you know, it was incredibly inspiring. Yeah. Like his stuff. Follow him on Instagram. Follow him on LinkedIn. Yeah. You can see his stuff looks incredible. And he's not like, yeah, one day I'm gonna come to Hollywood and make a movie for Disney. He's like, no, I'm staying in Senegal. Yeah. And we're gonna tell these stories and we don't need French people come down to write the scripts. We don't need a studio to come in. I'm gonna go make them. And his stuff looks better than most other people who are already making stuff. Yeah. Because he has, by the way, better internet in the car than we do in this building. He's got, uh, you know, he's got the right computer. He has access to all the tools. Yeah. The playing field is love. It's not even like the Canon 5D days, right? Yeah. Where it was like the Canon 5D was still 2,500 bucks. Yeah. Right. Yeah. Like all of a sudden now it's like you got a laptop, you can run these things like Yeah. Pretty exciting. It runs on the cloud just 20 bucks a month. Yes. Yeah. So then it's like, it becomes about. Who has something interesting to say? Yeah. Mm-hmm. And that's very exciting. That's a lot of people in the world who are gonna have to start selling your stories. That's also terrifying to the old system. Yeah. Speaking of the old system. Yeah. I would love to hear your predictions on the next five years. Like, how does our town, our industry change? People often ask, and I'm sure they do for you guys too, like, uh, what's gonna be the Toy story moment? Where, um, a movie comes out that's AI generated that everybody goes, oh, it's undeniable. Right? Like, people always talk about this toy story moment, like a snow white kind. Yeah. Or, you know, remember ILM, um, uh, Steve Williams made the, uh, the, uh, walk cycle of the T-Rex using a computer and it changed mm-hmm. Everything. Yes. So what's that moment that breaks through? I don't think that it's a creative thing. I think AI just sort of starts to come into everything. So it's not gonna be one movie as like, oh my God, AI has arrived, but I think it's gonna be a business moment. Okay. It's gonna be a moment where somebody makes a movie independently like Flow. Mm-hmm. Right? But it's like the size of Lilo and Stitch, and all of a sudden it's like this small team made this movie for $4 million and it made.$400 million at the box office and they own the whole thing. Yes. Yeah. That's what's coming. Okay. And that's coming soon. Yeah. And when that comes, that's like a, oh shit. Uh, for a lot of people it's an, oh shit, like let's go for independent filmmakers. It's an oh shit for the studios when it happens, but I'm very excited for that. Yeah. So I think that like that's the moment where people go, okay. This is a game changer of what it can do, and Hollywood's always been sort of adapting to new technologies. How do you see the existing studio system adapting to your Senegalese talent and some of the rock stars that are out there already? Hollywood has witnessed a lot of. Times have changed like this before. So if you're like the big studio you weathered through, if you're the board or you're the longtime CEO, you've weathered through what happens when animation goes to computers or what happens when VFX or what happens when editing gets off of Avid. You know, like you've gone through these transformations before where you're, you're, you're actual fundamental structure of the team changes. So the studios know what's coming. They have varying, I would say, degrees of understanding the magnitude of it, but they know that it's gonna change how things are made. And I think that it's gonna be a challenge to, uh, keep up and go as quick as you need to, to be able to adapt. They're all gonna have to figure it out. Yeah. So I think that some will be more successful than others at, at doing it. And I also think that there's part of the, back to the old Hollywood thing, I think one of the things that's. Interesting that I notice a lot is a kind of like resistance, this blanket resistance to, um, ai. And I always try to understand who that person is, who's resisting it. And I think that the industry overall is like not working for 99% of the people. But it is working for a top 1%. Right. I find a lot of resistance with that top 1%, right? We're like, oh, I don't like ai 'cause it's going to job losses of these people that work Frame.io are so great. And I'm like you, I don't know if you really, I don't know if you really like fighting for the, you know every man like that. I think you're just like, we've built. The wrong thing for this moment that's coming and how much resistance can you do? And it's, it's futile in the end. So I think that like it's a moment where for those who are leaning in, there's tremendous opportunities. And I would encourage. Everybody to not lean in if you don't want to, but at least be curious enough to know like what could be helpful to the stuff that I do For sure. And what is gonna be harmful to what I do. Like you can't look away either way. You can't look away. Yeah. Yeah. And, um, you know, we're about to launch these, uh. Free workshops and sessions for the guilds. Um, upstairs over some weekends in the fall, uh, where we're just gonna go and show all the tools and what people do. I mean, I think it's, part of it is just sort of like an education piece.'cause there, uh, are a lot of things that are like gonna be big changes that come, uh, but. To the people who are kind of like curious about it and leaning in there's, there's tremendous opportunities People can start, new companies can leave wherever they are and like build something right now for the first time. Like it's very exciting. Mm-hmm. You know, you guys know like people in VFX, like it's hard to know Nuke and Houdini. It's hard to know these tools. Oh yeah. It's like, it's a long process to be able to get to be at a place that's like one of the best VFX shops and you have to know these tools and you're then in this thing, but like. There's a lot of people at those places who are really creative. Yeah. And if all of a sudden they could actually like do what they do so great in their little field, but do it on stop motion or whatever else, or claymation, like, it's like, it's a big unlock. The thing that amazes me is, uh, the VFX artists that we have today, they're already so good at, you know, identifying quality, making the frame better. Like all these intrinsic qualities they have, they can just transfer that to a new tool set. Yeah. Yeah. I think so. I think that that's. I think people who are creators like that, it's um, incredibly exciting. Like. We just did, um, some work with this incredible stop motion artist, uh, named Kike in Puerto Rico, who was working on the new Bad Bunny, uh, music video with has this little frog, uh, stop motion frog. Nice. And as we were meeting with kike and, and starting to show the technology we're building, we were like nervous.'cause Kike is a guy, he's a master, he's a stop motion master, you know, and like we're coming in to show him something that like you feel like is the opposite of it. And he was like, yeah, I'll check it out, whatever. But then when he got in there, I think really quickly, he saw that. There was a lot of things that this thing could just help him do more of. Mm-hmm. We weren't like. Don't make the models anymore. Like actually we still need him to make those models. So if you look at that video, like he's still making the heroes, like the four hero frogs in there are done traditionally, but then we're training a model so that it understands the look of that world and what those frogs are. So now we're able to create all these other, like he's at a nightclub, so it's like all these people in the back, all these frogs in the background, and it's just like, it creates a richer world. Yeah. That he would not have been able to do in the timeline and the budget to be able to do it. So I think that's where it's like. Important to understand. We're not like, Hey, you don't need to make those models. You're just gonna like, uh, say I want to, you know, a, a frog that whatever. Like, no, make the models, but let's like figure out how this technology might be useful. Take it or leave it to help you in betweening how many of the poses you need to do or background characters or backgrounds. And like, that's where it is a conversation with artists. Like that's where it is him going, Hey guys, could you do this? Or Have you thought about this? And we haven't, but then we do it in partnership there. So I, I think like people who have a story to tell or who are technical in some way, um, and being able to kind of extend their hands into this, I think that's where there's a lot of potential. Yeah. Have you been feeling the conversation shift too?'cause I feel like even though the past year it was, you know, people I was talking to, they're like, I, I, you know, like, I don't know about this thing. Yeah. And then now it's like, so what can I do with this? Yeah. Like, how, what, what, what tools do I need to go, go down the rabbit hole with? I think it's, yes, a hundred percent. That's happened. You know, speaking two years ago at Sundance about ai, it's like people are like, boo. Like every comment's like, you're the worst, whatever. Then last year, speaking about it, everybody's like, Hey, so like tell, tell me about what could be useful in that way. We're also seeing it at the studios where like a year and a half ago for sure, the pressure was coming from the top investors, shareholders, the board saying, what's our AI strategy? And then it kind of goes into the studio, figure it out, everybody. Mm-hmm. And then I think what's happened in the last four months is that filmmakers who are working in the studio are like, Hey, if you want me to get this thing done in this time. This budget, like I gotta have access to any tool, like can we explore this? Yeah. I saw something on TikTok, like it could be helpful. Like that has happened more and I think that's a result of, uh, of a couple things. I mean, I think that we're all touching AI in our daily life more than we were a year ago. For sure. You know, whether it's like in your iPhone or whether it's in all the Adobe stuff, like you're just finding those places where it's kind of undeniable that it could be helpful. Yeah. I remember talking to animation company that was very resistant to, to ai, you know, famously and was like, no, we're not gonna do it. And then came through.'cause they were like, yeah, we just had a conversation yesterday where we were like. Could this technology help us take like rough storyboards and make them into a more presentable to the studio's presentation? And we're like, yes. But we were also like that, that conversation, I remember having this whole hearing how that conversation happened at the studio where they're like, no ai. No ai. And then it was like quietly having conversation like you're talking about to be like, yeah, but. Wouldn't it be possible to do this? And like, nobody likes that part of the process anyway. Yeah. We're not taking a job, like, we're just actually like, um, compressing this time mm-hmm. To get the studio to be like, yes. Yeah. Like let's go make that movie. That's what we're seeing more of is an openness to be like, oh, okay. Like, yeah, it could help me in that way. Yeah. Um, yeah, and, and, and that little like, yeah, it could help me in that way. If you compound that over a production. It's a big, it's a big deal. Yeah. Covered much of the stuff, but anything else you didn't cover or anything else you wanna talk about? Um, I mean, we can talk for hours. You're so fascinating. Brynn. Oh, I'm, I mean, I'm like, I, this is the most exciting. I think thing that I've ever been a part of, and I, I would say this, that like if we were just sitting in a moment where the industry was working great for everybody and then all of a sudden AI comes up in this technology and it's like, wow, now you can make animation faster or whatever. I don't think we would all be here with this like hell bent mission. It's really a combination of like. The way we make stuff is fundamentally changing and the industry is broken. Yes. Mm-hmm. And if you put those together, that's where it's like, maybe just maybe this technology can actually solve some of the problems that we have of ownership, of ip, of speed, of access, and those things together make it like a revolution. And that's what drives all of us here. So. Thank you for coming in and, and, uh, and, and come and spend more time here. We're excited about it. Yeah, too. Yeah. Well, thanks so much Bryn. Appreciate it. Good to see you guys. Thanks Bryn. Alright, that is it for this part two of our Bryn Moer episode. Thanks again to Brynn, uh, for giving us the time. Fascinating conversation. And if you have, listen to part one, go check that out. Have the link to it up here on YouTube or in the description over at, uh, Deno podcast or wherever you're listening to this podcast. We'd love engagement on these fascinating interviews. So if you have a comment, if you have a note on any of this. Leave it on YouTube, Spotify, or Apple Podcast. Yep. Thanks again everyone. We'll catch you in the next episode.