Ben Affleck’s AI Company InterPositive Aims to Help Film and TV Producers Save Millions with 50% Off Visual Effects

After announcing its acquisition of InterPositive, an AI firm co-founded by Ben Affleck, Netflix executives and the actor-director underscored the anticipated benefits for the creative community. The acquisition, revealed last month, is seen as a significant step towards integrating innovative technology into film production.

The primary document associated with the acquisition, filed under Affleck’s legal name, Benjamin Géza Affleck-Boldt, outlines potential cost reductions facilitated by the company’s technology. For instance, visual effects expenses could be reduced by 50%, with savings for background actors and stand-ins reaching as high as 70%.

Included in the patent application is an example from an unnamed production, which began in January 2023 and had its financial details updated in April 2024. While the identities of the director and producer are redacted, the document reveals total below-the-line production costs amounting to $32.1 million, with InterPositive suggesting a potential reduction of $7 million from this total.

The application specifies savings across various departments: 40% for additional production units located outside the main site, 30% for the art department, and 40% for set dressing. While the estimates do not mention specific job impacts, anxiety remains high in Hollywood regarding the future of industry workers, particularly as major unions negotiate new contracts with studios and streamers.

“The financial implications of incorporating AI technology into the film production process are substantial,” the application states. It notes a conservative estimate of 10-20% savings on total production costs. Given the estimated combined spending of $140.5 billion on original films and series in 2022 by leading companies, a hypothetical 20% reduction could result in savings of between $8.43 billion and $16.86 billion.

Now integrated into Netflix, InterPositive’s tools will be exclusively used in-house, although the application suggests a scenario where the technology could be licensed to other partners. “AI service providers can generate substantial revenue by charging a fraction of the cost savings as their fee,” the document notes, creating a mutually beneficial situation for both the film industry and the tech sector.

Bloomberg reports that Netflix’s acquisition of InterPositive may have cost up to $600 million, with the final amount potentially contingent on performance targets.

In a video conversation with Netflix Chief Content Officer Bela Bajaria and Chief Technology and Product Officer Elizabeth Stone, Affleck highlighted the efficiency of post-production tasks made possible by InterPositive. He refrained from discussing costs, with Bajaria emphasizing, “For me, it’s not really about cheaper, it’s really about better.”

Affleck’s statement on the formation of InterPositive reflects a commitment to preserving the human essence of storytelling, stating, “We need to preserve what makes storytelling human, which is judgment.” He expressed awareness of the industry’s current disruptions and the responsibility he feels toward his peers.

Stone reiterated that the acquisition aligns with Netflix’s commitment to using AI responsibly, stating, “The InterPositive team is joining Netflix because of our shared belief that innovation should empower storytellers, not replace them.”

Affleck’s views on AI, previously shared at a CNBC conference alongside Gerry Cardinale, suggest optimism for its role in film. He noted that while AI may not threaten core creative roles immediately, it could take over more labor-intensive and costly aspects of filmmaking. He warned that the visual effects industry, in particular, may face challenges due to the reduced costs associated with AI.

The reduced costs, however, could democratize filmmaking, allowing more diverse voices to be heard. “It will make it easier for people who want to make Good Will Hunting to go out and make them,” Affleck asserted, reflecting a hopeful viewpoint on the future of storytelling in the film industry.