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Rise of the Machines: AI Spells Danger for Hollywood Stunt Workers

2nd Unit Director and Stunt Coordinator Freddy Bouciegues explain poses for AFP during a Stunts Master Class students training session at the Tempest Academy, in Chatsworth, California, on August 10, 2023. (AFP)
2nd Unit Director and Stunt Coordinator Freddy Bouciegues explain poses for AFP during a Stunts Master Class students training session at the Tempest Academy, in Chatsworth, California, on August 10, 2023. (AFP)
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Rise of the Machines: AI Spells Danger for Hollywood Stunt Workers

2nd Unit Director and Stunt Coordinator Freddy Bouciegues explain poses for AFP during a Stunts Master Class students training session at the Tempest Academy, in Chatsworth, California, on August 10, 2023. (AFP)
2nd Unit Director and Stunt Coordinator Freddy Bouciegues explain poses for AFP during a Stunts Master Class students training session at the Tempest Academy, in Chatsworth, California, on August 10, 2023. (AFP)

Hollywood's striking actors fear that artificial intelligence is coming for their jobs -- but for many stunt performers, that dystopian danger is already a reality.

From "Game of Thrones" to the latest Marvel superhero movies, cost-slashing studios have long used computer-generated background figures to reduce the number of actors needed for battle scenes.

Now, the rise of AI means cheaper and more powerful techniques are being explored to create highly elaborate action sequences such as car chases and shootouts -- without those pesky (and expensive) humans.

Stunt work, a time-honored Hollywood tradition that has spanned from silent epics through to Tom Cruise's latest "Mission Impossible," is at risk of rapidly shrinking.

"The technology is exponentially getting faster and better," said Freddy Bouciegues, stunt coordinator for movies like "Free Guy" and "Terminator: Dark Fate."

"It's really a scary time right now."

Studios are already requiring stunt and background performers to take part in high-tech 3D "body scans" on set, often without explaining how or when the images will be used.

Advancements in AI mean these likenesses could be used to create detailed, eerily realistic "digital replicas," which can perform any action or speak any dialogue its creators wish.

Bouciegues fears producers could use these virtual avatars to replace "nondescript" stunt performers -- such as those playing pedestrians leaping out of the way of a car chase.

"There could be a world where they said, 'No, we don't want to bring these 10 guys in... we'll just add them in later via effects and AI. Now those guys are out of the job."

But according to director Neill Blomkamp, whose new film "Gran Turismo" hits theaters August 25, even that scenario only scratches the surface.

The role AI will soon play in generating images from scratch is "hard to compute," he told AFP.

"Gran Turismo" primarily uses stunt performers driving real cars on actual racetracks, with some computer-generated effects added on top for one particularly complex and dangerous scene.

But Blomkamp predicts that, in as soon as six or 12 months, AI will reach a point where it can generate photo-realistic footage like high-speed crashes based on a director's instructions alone.

At that point, "you take all of your CG (computer graphics) and VFX (visual effects) computers and throw them out the window, and you get rid of stunts, and you get rid of cameras, and you don't go to the racetrack," he told AFP.

"It's that different."

The human element

The lack of guarantees over the future use of AI is one of the major factors at stake in the ongoing strike by the Screen Actors Guild (SAG-AFTRA) and Hollywood's writers, who have been on the picket lines 100 days.

SAG-AFTRA last month warned that studios intend to create realistic digital replicas of performers, to use "for the rest of eternity, in any project they want" -- all for the payment of one day's work.

The studios dispute this, and say they have offered rules including informed consent and compensation.

But as well as the potential implications for thousands of lost jobs, Bouciegues warns that no matter how good the technology has become, "the audience can still tell" when the wool is being pulled over their eyes by computer-generated VFX.

Even if AI can perfectly replicate a battle, explosion or crash, it cannot supplant the human element that is vital to any successful action film, he said, pointing to Cruise's recent "Top Gun" and "Mission Impossible" sequels.

"He uses real stunt people, and he does real stunts, and you can see it on the screen. For me, I feel like it subconsciously affects the viewer," said Bouciegues.

Current AI technology still gives "slightly unpredictable results," agreed Blomkamp, who began his career in VFX, and directed Oscar-nominated "District 9."

"But it's coming... It's going to fundamentally change society, let alone Hollywood. The world is going to be different."

For stunt workers like Bouciegues, the best outcome now is to blend the use of human performers with VFX and AI to pull off sequences that would be too dangerous with old-fashioned techniques alone.

"I don't think this job will ever just cease to be," said Bouciegues, of stunt work. "It just definitely is going to get smaller and more precise."

But even that is a sobering reality for stunt performers who are currently standing on picket lines outside Hollywood studios.

"Every stunt guy is the alpha male type, and everybody wants to say, 'Oh, we're good,'" said Bouciegues.

"But I personally have spoken to a lot of people that are freaked out and nervous."

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Movie Review: ‘Cuckoo’ Is a Stylish Nightmare, with a Wonderfully Sinister Dan Stevens

This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
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Movie Review: ‘Cuckoo’ Is a Stylish Nightmare, with a Wonderfully Sinister Dan Stevens

This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)
This image released by Neon shows Dan Stevens in a scene from "Cuckoo." (Neon via AP)

Let’s get one thing out of the way first: I did not entirely understand everything that happens in “Cuckoo," a new indie horror in theaters Friday.

This could be more of a me problem than with the storytelling, but there are a lot of strange things happening at this particular Alpine resort. It's run by a bespectacled German hotelier named Herr König, played with an off-kilter menace by Dan Stevens.

Some of the occurrences are underexplained, others underexplored. Herr König seems particularly worried about things that happen after dark, but not so much about guests wandering into the reception and general store in a wobbly stupor and vomit. Are they drunk? Sick? Should someone help them? All we get is: “It happens.” The hospital, too, is eerily empty.

Sonic vibrations often ripple through the land, causing scenes to repeat until reaching a violent crescendo. And no one seems to listen to or care about anything 17-year-old Gretchen (Hunter Schafer) has to say, no matter how banged up she gets. The quick escalation of her injuries, and the widening disinterest of her father, approaches comedy.

Ambiguity can be wonderful for mystery and worldbuilding; It can also be frustrating. And more often than not, detailed explanations just make everything lamer. “Cuckoo” dips into all of the above. Even so, it is undeniably fascinating, original and even occasionally fun, in a very twisted and deranged way in which laughter is your involuntary response to something horrifying. In her captivating lead performance, Schafer really goes through it, both physically and emotionally.

It also features Stevens sporting tiny, rimless glasses with sinisterly scandi-cool monochrome outfits, and a screaming ghoul with Hitchcockian glamour in a hooded trench and white-framed oval sunnies. Rarely is it a bad idea for a horror film to lean into style, and “Cuckoo” fully commits.

“Cuckoo” is the brainchild of German director Tilman Singer, but credit also goes to Singer’s predecessors: The works of David Lynch and Dario Argento among them. Gretchen is a reluctant resident in the idyllic, modern home with her detached father (Martin Csokas), stepmother (Jessica Henwick) and mute half-sister Alma (Mila Lieu). She leaves increasingly desperate messages on her mother’s answering machine in America.

It’s certainly an exaggerated but apt portrait of a new family where the remnants of the old are treated like a nuisance. When Alma starts having seizures during the vibrations, which no one but Gretchen seems to remember or acknowledge, the parents’ attention turns fully to the young girl. They can barely be bothered to care about Gretchen's miraculous survival of a horrifying car wreck; Alma is in the same hospital because of the episodes.

As with many horrors, the big reveals were, for this critic, a little underwhelming — a strained attempt at a unifying theory for this weird place that doesn’t add much ultimately. And yet the emotional connection to Gretchen and her complex relationship with Alma does pay off in unexpected ways.

Also, Stevens deserves special acknowledgement for his contributions to “Cuckoo.” This is a man who could have easily languished in blandly handsome leading man roles and instead is becoming one of our great character actors. He is regularly the best and most memorable part of whatever he’s in just by his sheer commitment to going there, whether it’s his Hawaiian shirt wearing titan veterinarian in “Godzilla x Kong,” his Russian pop star in “Eurovision” or any number of his deranged horror characters. He and Schafer, always a compelling presence, make “Cuckoo” very much worth it. They exist far too comfortably in this dreamy, nightmarish world dreamt up by Singer that is well worth a watch.