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1. What will films be like in 20 years?

: An array of rapidly developing technologies offer thrilling potential for the future of motion
pictures. Luke Buckmaster asks the experts what’s next.
F

For decades virtual reality (VR) has been prophesied as the future of filmmaking, capable of
offering experiences infinitely more immersive than traditional cinema and television. In an
essay written in 1955, titled The Cinema of the Future, the cinematographer Morton Heilig
predicted that filmmaking would advance to the point where it can “reveal the new scientific
world to man in the full sensual vividness and dynamic vitality of his consciousness.” Heilig
outlined many of the properties of virtual reality – but didn’t use those words, given they
hadn’t been coined yet.

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Now, as the saying goes, the future has arrived – though filmmaking has a long way to go
before it incorporates the mind-bending technology popularised in movies and TV shows such
as The Lawnmower Man and Star Trek. With many filmmakers having swapped traditional
cameras for 360 cameras (that capture views from all angles), the current moment is
comparable to the intensely experimental early years of motion pictures during the late 1800s
and early 1900s.

ilmmaking is far from realising the mind-bending tech imagined in films such as The
Lawnmower Man (Credit: Alamy)

In short: we are in the early stages of a new filmmaking revolution. An array of rapidly
developing technologies offer thrilling potential for the future of motion pictures – such as the
rise of AR (augmented reality), AI (artificial intelligence) and the ever-increasing capacity for
computers to power detailed digital worlds.

What will films look like in 20 years’ time? And how will the cinematic stories of the future
differ from the experiences available today?

Getting personal

According to VR guru and artist Chris Milk, films of the future will offer tailored immersive
experiences. They will, he tells BBC Culture, be capable of “crafting a story in real-time, that
is just for you, that uniquely satisfies you and what your likes and dislikes are.”
Milk prefers terms like “story living” over standard nomenclature such as “storytelling." He
believes cinematic experiences will evolve to “feel as natural and as real as a day in your life,
but have the amazing characteristics of the kind of exciting stories that we are used to being
told.”

mmersive artist Chris Milk thinks the future will offer one-off films crafted for the individual
(Credit: Getty Images)

Milk gave a watershed 2015 TED Talk about the artistic potential of virtual reality. He
believes that advances in AI technology will allow computer-created characters to respond to
audiences in real-time. Imagine a much more advanced version of Siri – but represented as a
character inside a narrative experience.

Milk acknowledges that “the technology doesn’t fully exist yet” for an AI character “that can
be conversational and respond to you as if they were also human.” But, he adds: “I don’t think
we’re 20 years away from it.”

Getting ‘volumetric’

The influential documentarian, journalist and entrepreneur Nonny de la Peña – who has been
described as “the Godmother of VR” by The Wall Street Journal – says the first word that
comes to mind when she thinks about the future of the medium is “volumetric,” providing a
stark comparison to the two-dimensional screens of today.

Nonny de la Peña, pictured at the Sundance Film Festival in 2012, has been described as “the
godmother of VR” (Credit: Getty Images)

In the future, according de la Peña “flat media will still be there with us, just like the radio
will still be with us. But there's no way that filmmaking is going to stay flat.”

Instead we will have “fully embodied, walk around, room-scale, volumetric experiences”
because “younger audiences are coming up who are used to having embodied
experiences...They're going to want to have their views, education, and everything else in an
embodied form.”

A virtual copy of the world

Eugene Chung directed the critically acclaimed VR film Allumette, which has been described
as a “masterpiece” and seen the filmmaker compared to the likes of pioneering US filmmaker
DW Griffith. Set in a futuristic city floating in the clouds, the production uses technology
called ‘six degrees of freedom’ (or ‘6Dof’), which allows viewers to physically walk through
its world.

Chung believes that in the future VR will become increasingly blended with the AR Cloud,
which is essentially a digital copy of the world.

Eugene Chung speaks onstage at the Tribeca Film Festival in 2016 – his VR film Allumette
has been called “a masterpiece” (Credit: Getty Images)
“Think of a hyper-charged version of Google Earth,” he says, “where you're not just taking
streets, you're copying the entire world. We’ll have that mixed with really high-end VR
technology, which is already very impressive today.”

Chung says in the future there’ll be “stories all around you.” For example, “you could be
waking up and next to your bed can be a table on which you can have a character you like.
There are movies that point to this, like the movie Her.”

‘An art of consciousness’

The Emmy award-winning Lynette Wallworth, director of the VR experiences Collisions and
Awavena, says the narrative experiences of the future, through virtual reality, will be able to
offer new ways to explore neural diversity.

“We will have the ability to experience aspects of how somebody with autism for example
experiences the world,” she says. “Levels of difference are able to be revealed through the
senses in VR that are not possible in other art forms.”

Wallworth also envisions VR and AR expanding the purview of traditional film, partly
through headsets that will allow viewers to toggle between watching moments and then
experiencing them immersively.

Attendees wear VR headsets at An Evening with Lynette Wallworth in 2016 (Credit: Getty
Images)

“If you think about this in relation to watching George Miller’s Mad Max: Fury Road, for
example, you could view the traditional film in a headset that allows you to see the cinema
screen then switch modes,” she says, “so that you’re now sitting next to Furiosa in the cabin
of her truck, as she drives headlong across the desert landscape at full speed.”

With virtual reality technology advancing at a rapid rate, the possibilities – to borrow a
hackneyed turn of phrase – are endless. Describing virtual reality as “dangerous” because
filmmakers operating in this space wield less control than they do in non-interactive
experiences, Steven Spielberg in 2016 cautioned that the virtual realm “gives the viewer a lot
of latitude not to take direction from the storytellers but make their own choices.”

Many would regard this kind of future – where viewers will have the ability to shape the
narratives they experience – as a positive rather than a negative. Viewers being able to make
their own choices concurs with Heilig’s prediction that "the cinema of the future will no
longer be a visual art, but an art of consciousness." The difference, perhaps, between
‘storytelling’ and ‘story living