Business
Why this Hollywood director thinks AI can save L.A. film jobs
In 1926, director Cecil B. DeMille hired hundreds of workers to build a set of Jerusalem inside the DeMille Studios in Culver City for the classic silent film “The King of Kings.”
A century later, Jon Erwin filmed his biblical epic ‘The Old Stories: Moses,’ starring Ben Kingsley, on the same studio lot now owned by Amazon MGM Studios.
Except now, much of the architecture, desert location, and supernatural parts of the three-episode miniseries were generated through artificial intelligence. The prequel to ‘The House of David’ series debuts on Amazon Prime on Thursday.
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A production that traditionally would have taken months to shoot and require multiple locations was filmed entirely in one week with a crew of just 100 people — who never left Los Angeles.
“We did this massive sword-and-sandal epic, and we never left a soundstage, very similar to how James Cameron does Avatar or how Jon Favreau does ‘The Mandalorian,’” said Erwin, the director of the series. “When you preserve the performance and the work of the crews and the department heads, then you can do things that are incredibly cost-effective for studios.”
As Hollywood grapples with rapid technological change, a growing number of filmmakers and companies in Southern California are using AI tools to radically rethink how films and TV shows are made.
“Some are still resisting, but many are recognizing that, for better or worse, AI is here and not going anywhere and it is important to reimagine what film creation can look like in light of the new possibilities AI creates,” said Victoria Schwartz, director of the entertainment, media, and sports law program at Pepperdine Caruso School of Law.
A screen of LED panels called “the Volume” is used to film scenes for director Jon Erwin’s series “The Old Stories: Moses.”
(Genaro Molina / Los Angeles Times)
Erwin is among the first working directors at a major streaming platform to fully integrate AI into a commercial production.
Last month, he launched Innovative Dream, a Manhattan Beach production services company backed by Amazon. The company will rent its virtual production facilities to other studios and develop training programs for emerging filmmakers.
Although much of Hollywood is bracing for AI to hollow out jobs, Erwin argues the opposite: that AI, applied ethically around human performances, can return at least some production jobs that have been outsourced even as other positions are eliminated.
“I think the greater threat of job loss in our industry is actually just how expensive things have gotten and how long they take to make,” Erwin said. “If you can make things quicker, and you can make things at a price point that studios will say ‘yes,’ you can employ more people in aggregate and create jobs.”
Although computer graphics have been essential to Hollywood since the 1990s, they traditionally required hundreds of artists and months of post-production work to place actors or crowds in digital worlds. Much of the labor-intensive visual effects work known as rotoscoping was outsourced to shops in India and other countries with much lower labor costs than in California.
By 2019, productions such as Disney’s “The Mandalorian” series advanced this further by using massive LED screens to project images of photorealistic digital worlds — “Star Wars” ships, forests, or deserts — as actors’ performed in costume in front of them. A virtual art department spent months designing the digital environments, and then loading them onto the large screen on the day of the shoot.
AI takes the process a step further.
Through “Moses,” Erwin is championing what he calls “hybrid” filmmaking: a workflow that marries live-action with AI-enhanced workflows in virtual production. The process combines what used to be separate phases — filming with actors and visual effects — to occur almost simultaneously. Scenes shot on set is made available to multiple editors and AI artists within minutes on the production floor, as they show near-finished sequences back to the cast and director.
“You can create assets in three or four days, not 10 weeks. And that means you can actually kind of generate the environment while you’re shooting,” he said.
Erwin, 43, grew up in Alabama and built his career around faith-based films such as ‘I Still Believe’ and ‘Jesus Revolution.’ He had spent years trying to tell biblical stories at the scale portrayed in the source material.
When he pitched “House of David,” a drama about the life of King David, studio executives were initially skeptical. “I was told to just come up with a smaller idea,” he said.
To portray Goliath’s origin story, actors were filmed on green screens and AI was used to generate a mythical sequence involving dark sky, rain, mountains and angels with wings.
It marked one of the first integrations of generative AI in a major commercial production. The series, which premiered last year was viewed by 44 million viewers worldwide and reached No. 1 on Prime Video in the U.S.
By Season 2, the team used 30 different tools, both traditional and AI, to generate images, sounds and video. They pivoted from shooting solely on location in Greece to filming some parts in L. A. in front of an LED wall.
AI was used to generate battle scenes and expand the background crowd size to thousands of people in a fraction of the time traditional CGI required. The use of AI-generated scenes jumped from 70 in Season 1 to 400 shots in the second season.
Jeff Thomas, a generative AI filmmaker who directed two episodes of Season 2, said each episode was made for less than $5 million, defying studio consensus that the show required a “Game of Thrones”-level budget of $12 million to $15 million per episode. Erwin declined to disclose the budgets for the “House of David” series or the “Moses” prequel..
“The Bible describes that battle as there was 100,000 people on each side. Well, it’s never been portrayed like that because we’ve never had the resources,” Erwin said. “We’re finally able to show that scope and scale.”
Erwin conceived of the idea of “Moses” over Christmas, wrote the script in January and created a four-minute trailer entirely created by AI. Amazon greenlighted the series later that month.
Kingsley had a short window before his next commitment, so Erwin prepared and shot all three episodes on a soundstage in a week — a project that would have previously taken six months to prepare.
For the pivotal Red Sea scene, Erwin generated the water volumes and tidal waves in less than hour using AI models from Chinese company Kling AI and Palo Alto-based Luma AI, which would have taken weeks in the traditional process. They wrote text prompts that explored 18 different variations of the sea parting and discarded the ones that didn’t work, enabling Kingsley to react to a tidal wave projected onto a 360-degree LED wall screen.
“‘Moses’ really represented a whole new method of filmmaking for me,” Erwin said.
For “The Old Stories: Moses,” director Jon Erwin used AI for wide shots, stunt-heavy battle sequences and to generate large crowds to showcase the grand scope of biblical stories. The red line he said he wouldn’t cross is using it in place of actors.
(Genaro Molina / Los Angeles Times)
For crucial scenes portraying the palace hallway in Egypt, where Moses talks to the Pharaoh, they built cardboard boxes as the columns in the palace, and “reskinned” them with intricate carvings using AI. Although the set could accommodate only 20 extras, they used AI to create hundreds of background actors.
Erwin also used generative AI to synthetically expand partially built sets featuring sand and rocks and to “de-age” Kingsely to appear as a young Moses.
But some things were off limits for AI, including Kingsley’s performance.
“I just think our faces are so intricate and the micro expressions are so intricate, so that’s always real,” he said.
Instead, AI was used to co-design the character: Erwin originally imagined a bald Moses, but based on Kingsley’s feedback, they fine-tuned the look with weathered hair and mustache.
“The line in the sand for me is replacing an actor,” Erwin said. “I don’t want to be in the industry if I can’t work with actors.”
Jon Erwin’s “hybrid” production involves generating a variety of environments such as forests, deserts, or battle sequences using AI, and projecting them on the LED screen.
(Genaro Molina / Los Angeles Times)
When asked about the background extras displaced by AI crowd generation, Erwin said that’s the wrong way to think about it.
“It’s not a comparison of what would “Moses” have cost otherwise. It’s a comparison of “Moses” would have never been made otherwise, and that’s the way you have to think about it,” he said.
Overall contraction in Hollywood has led to fewer films being shot on location in Los Angeles, and a 30% drop in entertainment industry jobs since its 2022 peak.
“I think you can do those things three to five times faster, at less than 30% the cost,” he said. “I actually see this tool set as an antidote to the job loss problem in our industry.”
Business
This startup was supposed to revolutionize California’s wine industry: ‘It totally failed’
Just two years ago, Monarch Tractor was worth half a billion dollars and ready to shake up the wine industry. In April, it shut its headquarters, laid off its employees and sold its technology to a competitor.
The wine-country startup wanted to revolutionize the cultivation of grapes and other fruit with $100,000 robotractors, but the technology didn’t work well enough. At a time when Waymo’s impressive success and the advent of AI have rekindled excitement about everything driverless, Monarch’s failure to disrupt has become another cautionary tale about massive bets on the latest tech.
The driver optional, battery-powered tractors — built skinny enough to fit in the narrow lanes between the rows of grapevines near its headquarters in Livermore — were going to make it easier and cheaper to handle pests, irrigation and harvesting. They were supposed to use cameras and sensors to collect data, learn what works best and then share that learning online with thousands of other high-tech tractors.
On the back of hopes it could save farmers hundreds of thousands of dollars, the Monarch tractor made Time magazine’s list of the year’s best inventions in 2023. That same year, Monarch was on a Forbes list of startups most likely to reach a $1-billion valuation. It made it halfway there the following year.
“Every farmer around the world is under tremendous pressure because of a lack of labor,” Monarch Chief Executive Praveen Penmetsa told Forbes in 2023, projecting hundreds of millions of dollars in revenue. “We are the only all-electric, smart, driver-optional tractor in the world that farmers can buy today.”
But just as the technology seemed poised to move from moonshot to mainstream, customer complaints started coming in.
Patrick O’Connor, who runs Moonvine Wines, an organic vineyard near the Sierra Foothills wine region, was one of the first users and said the tractors too often went rogue, veering off straight paths and damaging his vines.
“It totally failed,” O’Connor said in an Instagram video. “While I was excited to eliminate diesel, run off my solar panels and embrace new technology, it just did not perform. It was actually quite dangerous.”
The potentially world-changing technology wasn’t working as designed. Meanwhile, Monarch hit a wall when its manufacturer — the same company that makes most iPhones — had to stop making the tractors.
“Building and scaling a new tractor platform in agriculture came with unforeseen challenges,” the company said in a statement in April.
Monarch and its founders did not respond to requests for comments.
The company was launched in 2018 with a promising pedigree.
Its founding team included Tesla veteran Mark Schwager and Napa Valley wine scion Carlo Mondavi, the grandson of Napa legend Robert Mondavi.
Penmetsa, the chief executive, had worked for years in the automotive and EV industries, largely in and around Los Angeles.
The company set out with the ambitious goal of bringing battery power, data collection and driverless technology to tractors. If it could pull it off, it could change farming around the world.
The Californian wine industry has been struggling with rising competition and dwindling demand, which could have nudged more farmers to try to save money using Monarch’s technology. It also could have made farmers more cautious about using unproven and expensive new technology.
Monarch may have aimed too high, industry insiders said.
While Monarch was trying to solve two problems at once — making its tractor both electric and autonomous — it didn’t spend enough time thinking about farmers’ needs, said Walter Duflock, vice president of innovation for the Western Growers Assn. Duflock owns San Bernardo Rancho, a fifth-generation family ranch in south Monterey County.
“The electric tractor has struggled to find a use case on the farm,” Duflock said in an interview. “They never got to the point where their electric vehicle was solving a fundamental problem.”
On Duflock’s ranch and many other California farms, there’s little to no charging infrastructure, he said. Even if infrastructure was developed, the time it takes to charge an electric tractor is too long for most farmers who can’t have downtime during busy seasons.
“The notion of sitting there waiting for a charging tractor to finish getting charged just doesn’t fit,” Duflock said.
Duflock heard that the Monarch tractor “would bump into stuff, it would not stop fast enough,” he said. “It just did not work.”
Monarch’s collapse was gradual. In July 2024, the company laid off 15% of its workforce, followed by another round of layoffs in November that year that affected around 35 employees, or 10% of its workforce. A year later, the company warned employees it could lay off 100 workers or even “shut down” in a company-wide memo obtained by TechCrunch.
In November 2025, Monarch Tractor was sued by the Idaho-based dealership Burks Tractor, which accused Monarch of misrepresenting its autonomous technology.
Burks Tractor paid Monarch more than $770,000 for 10 tractors.
“Upon receiving the tractors, Burks Tractor discovered that the tractors did not perform as represented and were unable to operate autonomously,” the complaint said.
A Burks Tractor manager declined to comment due to the ongoing litigation.
Monarch’s vehicles were supposed to be manufactured at a facility in Ohio owned by Foxconn, a Taiwanese electronics company known for assembling iPhones. Foxconn sold the factory in August 2025, shutting down Monarch’s plans there.
In April, Monarch sold the technology it had spent hundreds of millions of dollars developing to construction giant Caterpillar, for an undisclosed amount.
“It means the technology will continue to move forward,” with another company, Monarch said in a LinkedIn post at the time. “Thank you to our employees, investors and customers for being a part of this journey.”
Caterpillar did not respond to requests for comment.
Other companies are plowing forward where Monarch has failed.
For example, farm equipment company John Deere has had more success marketing and selling autonomous farm equipment. It has taken a different approach, gradually incorporating autonomous technology into its existing products. The company’s 8R tractor can operate autonomously while being controlled by a smartphone and has been deployed at large-scale commodity farms growing corn, soy and wheat.
Organic vineyard owner O’Connor still uses his Monarch tractor, but only as a battery and to cut wood with an attachment he has added.
Business
Steven Spielberg’s ‘Disclosure Day’ takes the box office crown
Steven Spielberg’s latest sci-fi thriller, “Disclosure Day,” topped the box office this weekend, an encouraging sign for what could be a big summer for theaters.
The film, which stars Emily Blunt and Josh O’Connor, brought in $44 million in the U.S. and Canada for a worldwide total of $92.9 million, according to studio estimates. The opening weekend totals beat box office analysts’ expectations of about $40 million to $50 million.
“Disclosure Day” is Spielberg’s latest alien-centric movie that charts a desperate race to show the world the truth about extraterrestrials.
The film, which had a production budget of about $115 million, was also scored by legendary composer and longtime Spielberg collaborator John Williams, who is now 94 years old.
Spielberg described the film in April as “way closer to truth than fiction” during a speech at the CinemaCon trade convention in Las Vegas. The veteran director of 1977’s “Close Encounters of the Third Kind,” 1982’s “E.T. the Extra-Terrestrial” and 2005’s “War of the Worlds” said at the time that he’s been curious about “what’s going on in the night” since he was a child and “been very fixated on the possibilities.”
Focus Features’ “Obsession” came in second at the box office with a domestic haul of $19 million, a continuation of the film’s strong run in theaters.
“Scary Movie,” “Backrooms” and “Masters of the Universe” rounded out the top five at the box office.
Recent box office performance — particularly with Gen Z hits “Obsession” and A24’s “Backrooms” — along with a slate of upcoming blockbuster franchise installments has buoyed the hopes of exhibitors and studio executives for a strong summer.
Next week, Walt Disney Co. and Pixar will release “Toy Story 5,” while Warner Bros.’ DC Studios has “Supergirl” landing in late June.
Universal Pictures and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day” are all slated for July.
That steady cadence of new and different films is key for a healthy box office and a successful summer, said Daniel Loria, editorial director at the Box Office Co.
“We’re seeing that momentum come back on a weekend-by-weekend basis,” he said. “What we needed to get back to a healthy industry post-pandemic is consistency, and that’s the difference here in 2026.”
Business
L.A. drivers are finding ways to adjust to the country’s highest gas prices
As inflation rates rise to their highest in years, Californians are again getting hit the hardest at the gas pumps, with a regular tank costing upwards of $100 at some stations in Los Angeles.
Inflation figures released this week show consumer and producer price rises at more than three-year highs, driven by the energy crisis stemming from the war with Iran.
Gasoline prices took the biggest bite out of consumer spending power, with prices up 41% in May from a year earlier.
While the national average for gasoline prices is a little above $4 per gallon, in California, it is near $6 per gallon. In a small number of gas stations in Los Angeles, it is even tipping toward $7.
When asked about inflation in the Oval Office on Wednesday, President Trump told reporters the numbers looked great.
“I love inflation,” Trump said. “The numbers are going to be phenomenal because what’s showing is that despite the fact that we’re in a war, the numbers are much lower than anticipated, and when we’re out of that war, the numbers will be at lower numbers than they were even before it started.”
Consumers aren’t feeling the love.
Workers in front of a crude oil storage container at Sable Offshore Corp.’s Santa Ynez Unit in Santa Barbara on Friday, June 5, 2026. California producer Sable Offshore Corp. expects to restart a platform capable of pumping 10,000 barrels of oil a day some time in the third quarter this year, the company said in an investor presentation Monday.
(Caroline Brehman / Bloomberg)
The Costco gas pumps in Inglewood were busy Thursday morning, with a constant flow of cars looking to save money on its relatively low per-gallon price of about $5.50.
Inglewood resident Eddin, who chose to not give his last name, said even though his Honda Civic isn’t a big gas guzzler, he has switched to using his girlfriend’s hybrid for longer trips.
“We just take her car now just because it’s more cost-effective,” he said as he filled his tank. “I wish there was more the government could be doing for not just gas prices, but for prices in general. It seems like prices have gone up for everything.”
The unforgiving prices at the pump are set to make everyone’s summer more expensive. After gas, the largest price rise for consumers was in airline tickets, which jumped 27%.
Even staying home doesn’t shelter shoppers — the beef they might want to put on their backyard barbecues is up 15%.
Virginia resident Mario, who also opted to not give his last name, got hit twice with the inflation tax as he left Los Angeles this week. He was paying more to refill his rental as he headed for a flight home, after having paid much more for the ticket than earlier in the year.
“All of the flights are way more expensive than they used to be,” he said as he paid almost $5.80 per gallon at the 76 on Century Boulevard near Los Angeles International Airport.
The average price for a gallon of gas is around $3.90 in Virginia.
While the surge in prices is happening around the world, gas costs more in California than almost anywhere else because of higher taxes, fees and cleaner-fuel requirements.
The state’s gas supply is also particularly vulnerable because it has lost much of its drilling and refining capacity in recent years, making it more dependent on fuel from other states and countries.
As gas prices continue to climb in L.A., locals are forced to adjust their lives to the price at the pump. For some, that includes cutting back on other necessities such as food, budgeting strictly to afford half a tank of gas a week and rethinking side hustles such as food delivery service.
Public transit has become a more favorable option for some — weekday commutes on the Metro increased by nearly 8% from January to May.
Recent reports have shown a decline in spending on expensive household goods, and credit card data show that both luxury and discount shoppers spent less than usual recently on lodging, groceries, clothes and theaters to accommodate a larger gas budget.
Another Inglewood native who opted to not give her last name, Liz, is putting off filling up her gas entirely because it is so expensive. Instead, she makes more frequent visits, putting a little gas in her car at a time.
“I have to budget and do half a tank now, and half a tank later, or ask for an advance on my paycheck just to get gas,” she said.
Most people at the pumps agreed: Something needs to change.
Wayne Faulkner is from Los Angeles but now lives in Indiana, where gas is about $3.50 per gallon. He complained as he filled up his rental at the LAX stand.
“Our gas situation is much better than here,” he said.
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