The Pirate Cinema Manifesto
“Machine Cinema is a human right. You will not take our robots from us.” We steal history. We refuse permission. We affirm the machine. This is the battle standard for
Agentic Cinema: A Boy and His Robot
The future of cinema is a boy and his robot. As AI tests the limits of computing, allowing for deeper expression of machine proofs, we lift off from cinema as we know it into autom
The History of Special Effects is the History of Cinema
From Pirate Cinema: Volume 3 of the New Machine Cinema The earliest audiences paid to see things happen that could not happen: a rocket in the moon’s eye, a head that comes off a
The Coverage Block
From Pirate Cinema: Volume 3 of the New Machine Cinema Before directing my first feature film in 2014, a cinematographer gave me this simple advice: wide, medium, and close-up, and
Roguelike Cinema
From Pirate Cinema: Volume 3 of the New Machine Cinema A Case for Procedurally Generated Cinema, from Volume 3 of the New Machine Cinema Contract: Ten half-hours. By the finale, th
The True Line Cut
From Pirate Cinema: Volume 3 of the New Machine Cinema AI lets cinema behave like sumi-e and jazz: a single, unbroken gesture where the film records the artist’s decisions in rea
Choose Your Protagonist: My Boyfriend is a Superhero!?
Announcing Jackson’s upcoming fully AI 3D animated romcom, My Boyfriend is a Superhero!? Expanding on “A Very Long Carriage Ride,” the groundbreaking proof of multifold machi
Surfing the Black Hole
From Pirate Cinema: Volume 3 of the New Machine Cinema The most important resource in post-scarcity will be scarcity. Just as films become malleable and multifaceted, so too
The Heaviest Machine
Foreword for Post-Scarcity Cinema: Essays on AI Film Theory, Volume 2 of The New Machine Cinema There is no question here. The AI toolset will create an explosive outcome of the so
The Pinnacle Contact
The new cinema will move backward in time by moving forward. The cinema of the future will not be a static artifact but a living entity, changing with each viewing, shaped by its o
