variety.com: Takashi Yamazaki, the Oscar-winning writer, director and VFX supervisor of “Godzilla Minus One,” was among the honorees who shared their views on AI at the Visual Effects Society Awards on Tuesday. The filmmaker – who accepted the Society’s Visionary Award – also confirmed that he’s currently working on the screenplay and storyboards for the new Godzilla movie.
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I remember hearing a lot about Godzilla Minus One when it was big in the news (I guess more accurately I remember writing a lot of newspage comment posts about Godzilla Minus One when it was big in the news), and because I saw so much about the jack of all trades director/writer/VFX supervisor and how well crafted the VFX for this movie was, I was really interested to hear what Takashi Yamazaki had to say about AI. We are in such a weird middle ground of having to figure out what our relationship with art and artificial intelligence is, and I thought Yamazaki’s perspective that it’s a helpful tool currently, but really cannot replace the work of humans was really interesting. Another piece of this article that stuck out to me was the discussion of the movie Here, and how AI was really useful as basically “copy pasting” repetitive tasks in the VFX, so that the humans could focus on spending more time on the complex effects.
The discussion around AI in visual effects got me thinking about how art and technology have always evolved together. Take filmmaking, for example—every big advancement, from CGI to digital cameras, was met with both excitement and skepticism. Now, AI seems to be the next big shift, but as Takashi Yamazaki pointed out, it’s still just a tool, not the artist itself. What stood out to me was Jo Plaete’s perspective on AI as a means of displacement rather than replacement. Instead of taking over creativity, it can handle tedious tasks, allowing artists to focus on storytelling. This reminds me of how digital tools in music production didn’t eliminate real instruments but rather expanded creative possibilities. Technology, when used right, makes art better—it doesn’t replace the human touch. Yamazaki’s approach with Godzilla Minus One proves this point beautifully. With a budget of only $15 million, his team achieved visuals that rival Hollywood blockbusters, which often rely on sheer money rather than thoughtful artistry. This mirrors what happens in theatre as well—some of the most powerful stage productions aren’t the ones with massive budgets but those that cleverly use lighting, staging, and practical effects to create magic.
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