Pascal Montjovent

Making a movie is so tangible and physical. Your feet hurt. Your hair gets too long. Your jeans develop character (holes). For months you are together as a crew (what a crew!) until you become a unit. Releasing a movie on the other hand is completely abstract. You get an email saying how it’s doing. The one thing that makes it feel real are the stories people like you share about it. A film in fact never exists by itself. It is shot out at the speed of light and sound 24 times a second and instantly disappears. It only exists in the minds and hearts of people who see and hear it and think and talk about it. So what we feel today is just immense gratitude to so many people, for seeing it early, for staying up late, for sitting in the front row all the way to the left, for reading the book, for going in blind, for bringing a friend, for your precious and generous undivided attention, for the posts and the drawings and edits and animations and costumes and homemade figurines fer crackin’ ice. You have brought the movie to life with your big beautiful empathetic human brains. You are part of the movie now. So if you are one of the 1000+ artists who worked on it or one of the folks around the world who came out and watched it… Thank. Thank. Thank. ❤️ Chris and Phil ( v - the day we wrapped - v)

@GrimfelOfficial @francolli NO WAY! You will be most welcome. We love your eccentricities😜

@francolli I think @montjo can elaborate do all us British seem annoying to you? 😂🖤

Bro we Cannes now

@GrimfelOfficial Congrats but don't be fooled, this festival is not linked in any way to the official Cannes Film Festival which will be held in May

A huge part of getting good at anything is simply making a lot of stuff. I mean volume. Repetition. Doing things over and over again. Especially when you’re starting out, you think the people who are good must have found some secret. Like they’re more talented, or more confident, or they know something you don’t. But usually, what they’ve really done is make far more work than you realize. Probably things no one has ever seen. They might not even want to share it because it's bad. They’ve gone through draft after draft, project after project, attempt after attempt. They’ve made enough things to get strong. That’s the most underestimated aspect of greatness. Quantity leads to quality. You do a large body of work, and inside that body of work, you begin to notice things. You notice your habits. You notice your weaknesses. You notice what keeps failing, what keeps working. You cannot learn those lessons just by thinking about the work. You only learn them by making the work. And a lot of people quit too early. They make a few things, maybe even a few dozen things, and because the work doesn’t yet look the way they want it to, they decide they’re not good enough. But that’s not what’s happening. What’s happening is that they’re still in the process. Trust the process. More than anything else, especially when you suck and it’s painful. You have to give yourself permission to make a lot. To make imperfect things. Bad things. Things you feel ashamed to show. Because every finished piece is teaching you something. Every attempt is building judgment. The people who get good are very often just the people who stay in the game long enough to let the process work on them. Keep producing. Make stuff. Many stuff. A lot of stuff. Put yourself on a rhythm if you can. The path is to work. Do more. Finish more. Learn more. Trust that you arrive at quality through quantity.

Ok, first impressions of Project Hail Mary: There couldn’t be a better, more faithful visual re-telling of the book imaginable. It’s really quite beautiful and very moving when it’s supposed to be and hilarious and exciting all the other times. But the visuals! It leaps off the screen with color and light and astonishing detail besides. Easily the best thing @philiplord and @chrizmillr have done in their already astonishing careers. Go see it in a movie theater. Trust me. And try the popcorn.

We don't talk enough We should open up Before it's all too much Will we ever learn? We've been here before It's just what we know Now, when the Earth, humanity, and even the future itself feel broken, "Project Hail Mary" is a must-see comeback movie 🚀🛸 #ロッキー 🫶👍😍

“Andre Kertesz has two qualities that are essential for a great photographer: An insatiable curiosity about the world, about people, and about life, and a precise sense of form.” Brassai.

It’s funny. Last few days, besides the few morons saying I was lying about something I have absolutely no reason to lie about, a lot of you also told me: “Don’t share your process, they’ll rob you blind.” I hear you, and thanks for the concern, but if you’re clinging to workflows right now, you’re clinging to straws. I’m not saying I want to give away everything I spend hours and money figuring out, but the reality is that processes don’t stick. The tech moves too fast. Every project I’ve done so far used different tools, different tricks, different bugs, different approaches. What you learn today has an expiration date, and that’s fine. The one thing I actually trust is what I learned about storytelling this past year by releasing multiple short films. Traditional filmmaking makes it hard to keep producing fast, often, and at decent quality. Working with AI let me fail faster, and learn faster. I also trust my taste. Not because it’s for everyone, but because it’s mine. Between storytelling, taste, and vision, I’m betting that matters more than any workflow that will be obsolete by the time I finish writing this. Why do you think so many people farm engagement or sell “secret workflows”? Because they know those workflows won’t last. The value is in the moment, not in the method. Trust yourself. Your voice lasts longer than your tools.

So. Yesterday I received a DM on Instagram from a very prominent director. Mostly known for animated movies, and someone who rose to fame in the 90s with one of the highest-grossing films of all time. Here was the message: “The short film is terrific. I would love to learn more about your process. Which tools, etc. Let me know if you’d be willing to share.” Someone who genuinely loves animation. Someone who helped establish the medium many of you care deeply about. Someone who has spent decades pushing storytelling forward. Curious about AI. Respectful of the work. Interested in understanding how it’s done. If people at that level can approach this with curiosity instead of fear, I’m pretty sure the rest of us can manage to do the same.

It's because instead of using LIGHT PANELS like 99% of other red carpets, Vanity Fair decided to use an array of SINGLE-SOURCE lights! Just like the sun is a single source light - so are these.

Steven Spielberg on the Importance of Studying Classic Films & how he made his children watch B&W movies, despite their reluctance.

Midjourney V8 alpha came out last night. A lot of people seem disappointed, but I suspect this has more to do with prompting habits than with the model itself. Many expected Midjourney to become something like Nano Banana with a "Midjourney aesthetic filter" on top. I doubt that is its direction. The particular aesthetic of Midjourney is also what makes its prompt understanding different. Perhaps less literal than some other image AIs, but with an aesthetic that is vastly superior to most others. There is probably a trade-off here, and I suspect it will remain that way. What they improved in V8, however, is prompt understanding. In my tests it works noticeably better. In short, it is Midjourney, but slightly more realistic, and much better at following complex prompts. One thing you should know is that my approach is very peculiar and minimalistic. I treat Midjourney the same way I treat photographic equipment: I just use it as it is. I rely almost entirely on text prompts, elaborated ones. I rarely use srefs, moodboards, or other layers of control. That makes the workflow much more stable across versions and better overall. I almost don't reroll. This image is a good example. A complex spatial situation described only with text. In previous versions Midjourney struggled with this kind of spatial logic. V8 understands it. Cheers @midjourney, still the best for artists.

@pzf_ai YES! Go ahead. Your thoughts are precious.

I've spent the last three years deep in the AI creative space, exploring the tools, experimenting, figuring out what's possible. It's been fascinating and I've learned a lot and I’ve enjoyed sharing my work and approaches to using AI. But I've been thinking for a while about how I best use this account, and it feels like the right time to broaden out what I talk about here. My background is in broadcast journalism, programme production, and formal film studies: cinema history, European movements, the social and economic forces that shaped how films got made and why they looked the way they did.  AI tools have reached a point where remarkable work is within the grasp of everyone: we are all, inherently, creative beings. I think that opens up a real opportunity to go deeper into the craft side: narrative, emotion, structure, all the things cinema has been working through for over a century. So I'm going to be exploring more of that here. I'll still be sharing tools and creative work, but I want to open up the conversation about what storytelling craft means in this new space.

@icreatelife Hi Kris, living in the South of France. Love your contributions to the AI-augmented artistic community. Don't give up on the bots !

Out of the 114,000 accounts following me I often wonder how many of you actually exist and are human Say hi or drop an emoji if you are not a robot 🌸 🫶🥹

We love how clever this AI short film, “But AI Will Never Be Able to Do This,” is. Alex Patrascu made it with Seedance 2.0 and CapCut, and instead of hiding the quirks of AI tools, he leans into them and builds the satire around those limitations before letting it expand into something more philosophical. The result is playful, intentional, and genuinely thought-provoking. Well done, @maxescu!

AIが復元した「清明上河図」に言葉を失う。確かに、AI特有の「滑らかすぎる質感」に違和感を覚える瞬間もある。だが、張択端が描こうとした千年前の喧騒が、圧倒的な解像度で迫ってくるのも事実だから、これは模写ではない。AIという異質なフィルターを通すことで、われわれは初めて「大宋」の熱気に触れる。賛否はあろうが、この没入感だけは否定できないかもしれない。

@CorryWiens @higgsfield_ai @higgsfield It's very convincing and even beautiful from a formal point of view, but would it be possible to imagine AI films without people hitting or shooting each other with spectacular weapons? It's depressing, and debilitating. Thank you.

Seedance 2.0 is here, and it’s insane! But if I've learned anything, it's that creativity is still king. The filmmaking tools are changing. But creatives aren’t going anywhere. Created for the @higgsfield_ai Action Contest. #HiggsfieldAction @higgsfield

@icreatelife Hi Kris, thanks for being there 😄

I was told today that accounts who support my work are only bots with a blue checkmark 🤭 Out of the 113,200 accounts following me I often wonder how many of you actually exist and are human Say hi or drop an emoji if you are not a robot 🤖 🫶🥹

DJI n'a jamais annoncé, commercialisé ou même teasé un drone Micro X de ce type sur son site officiel. C'est un concept viral (souvent appelé "bionic drone" ou "insect drone") qui circule depuis début 2024 sur YouTube, TikTok, Douyin, X/Twitter et des forums. Les images et vidéos que tu vois sont très majoritairement générées par IA pour faire le buzz (avec le slogan "我，振翅高飞" = "Moi,振翅高飞" qui est typiquement ajouté pour le rendre "chinois" et crédible).

On rigole on rigole mais ces trucs sont trop faciles à custom mdr surtout avec la modularité O3/O4 + SDK open source pour stacker des capteurs tu peux faire des trucs de fou avec une taille aussi petite mdrrrr le jour où les bandes de Marseille vont payer quelques geeks pour déployer ça en swarms coordonnés pour régler des comptes ça va voir flou et disons que j’aurais prévenu 😅