"Use their tools against them": why AI isn't the death of production design

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In a creative industry grappling with the increasing influence of AI, it can be disheartening for a newcomer. It seems every day we're met with news of job layoffs and new 'time-saving' tools that skimp on human creativity, but industry vet Christopher Glass is here to settle your woes.

With over 20 years in the filmmaking industry, Christopher has seen a huge evolution (check out our previous interview for more). As a production designer leveraging the power of practical effects, he argues that there's still space for tactile design in the film world – all it takes is a bit of courage and open-mindedness.

Christopher Glass

Christopher Glass is an Art Director Guild (ADG) Award-winning and Gold Cannes Lion-winning Production Designer whose work spans feature films, television, and commercials. Known for creating visually ambitious, emotionally resonant worlds - he has collaborated with some of the most influential directors working in film and advertising today.

What's one thing you wish more people understood about your role?

I wish people knew what production designers do. Most people don’t. A lot of my own family don’t understand what I do for a living. It’s easy to say we are responsible for the look of everything in a film except the costumes, cinematography and the off-camera lighting, but even that sounds ambiguous, and it really doesn’t explain all of the things production designers do day to day. A lot of producers and even some directors don’t know either. The good ones do!

How do practical effects change how actors perform?

Actors always respond better to real sets, people and FX. It’s simple. They have incredible imaginations; however, nothing beats having something there to interact with.

How do you feel about AI in your industry?

AI is the antithesis of feelings. It is a removal of humanity. It is something we, as designers, “feel” forced and obligated to use due to economics and survival. AI can do some amazing technical things.

For instance, there is no reason to ever have green screens again or LED volumes. I feel bad for those who invested heavily in LED walls. Rig removal can be done instantaneously. Set extensions will soon be a snap. That’s technically useful and economically enticing. It can also be used as a fast way to make references and communicate visual intentions.

Many people will lose work if they don’t adapt to this monster being forced on us without our choice. At the end of the day, humans are more capable of coming up with novel ideas. We have lives, memories, true emotions and experiences that haven’t ever been posted onto a forum or social media platform for the AI vacuum machines to suck up and regurgitate with a prompt.

What advice would you give to young creatives who want to become production designers?

Don’t let the tech weenies make you think we will become extinct as designers and artists. Don’t let them decide. Use their tools against them. And also keep an open mind. Find like-minded people to collaborate with. Film is a collaborative medium, and being able to admit when you don’t know something is as important as knowing something.

Be humble, yet courageous and confident at the same time. Go to museums and study history. Dream. Also, learn budgeting! It has taken me a while to get to that point.

Discover more about Christopher Glass.

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