Paul Schrader on AI and Filmmaking: 'Why Wait Months for Ideas When ChatGPT Delivers in Seconds?

Paul Schrader, the legendary filmmaker, explores the potential of AI in storytelling, praising ChatGPT for generating original film ideas and offering script feedback, while sparking debate over the role of technology in creative processes.

Ariela Ortiz-Barrantes, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons

Paul Schrader, the celebrated screenwriter behind Taxi Driver and director of First Reformed, has sparked a new wave of discussion about artificial intelligence in filmmaking. In a candid Facebook post, the 78-year-old filmmaker shared his experiences using ChatGPT to generate film ideas, leaving him impressed with the AI's creative output.

“I’M STUNNED,” Schrader wrote in his post. “I just asked ChatGPT for ‘an idea for Paul Schrader film.’ Then Paul Thomas Anderson. Then Quentin Tarantino. Then Harmony Korine. Then Ingmar Bergman. Then Rossellini. Lang. Scorsese. Murnau. Capra. Ford. Spielberg. Lynch. Every idea ChatGPT came up with (in a few seconds) was good. And original. And fleshed out. Why should writers sit around for months searching for a good idea when AI can provide one in seconds?”

Schrader’s remarks naturally stirred a mix of intrigue and criticism. Comments from his followers ranged from concerns over his endorsement of AI, with one asking, “Paul, is everything okay?” to outright disdain for the technology, including a plea to “stop promoting that shit.” The debate highlights ongoing tensions in the creative community over the role of artificial intelligence in art and storytelling.

Schrader hasn’t shied away from the subject. In another recent post, he revealed he had used ChatGPT to critique a script he wrote years ago. The AI’s feedback, he noted, rivaled the quality of notes he’s received from industry executives. “In five seconds, it responded with notes as good or better than I’ve ever received,” Schrader claimed, adding, “I’ve come to realize that AI is smarter than I am. Has better ideas, has more efficient ways to execute them.”

Drawing a parallel to chess champion Garry Kasparov’s existential reckoning after being defeated by IBM’s Deep Blue in 1997, Schrader described the rise of AI in storytelling as a similar turning point. “This is an existential moment,” he wrote, underscoring the potential for AI to reshape not just film but creativity as a whole.

Schrader’s comments arrive during a period of significant discourse around AI's impact on the entertainment industry. While many creatives fear automation might erode the human touch that defines great storytelling, Schrader seems to be exploring its possibilities with cautious optimism. For him, AI isn’t necessarily a replacement for artistry but a tool to push boundaries—or at least save time.

Amid this, Schrader remains as active as ever. His latest film, Oh, Canada, which premiered at Cannes, stars Richard Gere and Jacob Elordi and tells the story of a dying filmmaker reflecting on his life during a final interview. Looking ahead, Schrader is working on a new project titled Non Compos Mentis, which he describes as a noir exploring “sexual obsession” and “the stupid things men do for love.”

Whether his experiments with AI will directly influence his upcoming work remains to be seen, but Schrader’s willingness to embrace new tools continues to fuel his reputation as a filmmaker unafraid of change—or controversy.