Latest / AI for Founders with Ryan Estes / Vibe coding a movie trailer in 20 minutes

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Vibe coding a movie trailer in 20 minutes · AI for Founders with Ryan Estes

0:14
What's up Fernanda, How are you? Everything's great, Ryan.
0:17
Thank you. How about you?
0:19
I'm doing really good. I've missed our vibe coding
0:21
session so I'm glad we can come back and do it once more.
0:26
Yes, I did. I did as well.
0:28
Let's figure out like what what we're going to be vibe coding
0:31
today. You know what I'd like to vibe
0:33
code today? A movie.
0:36
A movie. A movie?
0:38
OK, that that's a new one. Yeah.
0:42
So, you know, I was kind of inspired by there's news of this
0:46
production house that I think it was purchased by Amazon.
0:49
I need to double check this, but what they do is you enter in,
0:54
you know, a prompt per SE and then it just builds a movie or
0:58
ATV show or a game show or something based on what you're
1:02
asking for. So it's on demand like movie
1:06
content now, so. That's crazy it.
1:10
Sounds I got thinking. I was like, well, I kind of want
1:13
to make a movie. I've always wanted to make a
1:15
movie, and if it's just that easy, now it's a little bit more
1:18
expensive. So I think what we'll do is
1:21
let's come up with a movie idea, let's do some backstories on the
1:25
characters, let's figure out a style and maybe a director
1:29
style. Let's figure out the script and
1:31
lay it out. And then what we can do is take
1:34
that. It takes a while for it to
1:35
process. I looked it up, but I was like,
1:38
you know, I'll spend, you know, 50 bucks, see what 50 bucks of
1:42
like VEO credits through Google will get us.
1:45
Maybe it just gets the trailer, but like, maybe we can write
1:48
something cool. Let's find out.
1:53
I'm I'm intrigued. Yeah, now in in the beginning, I
1:57
was a little bit scared of AI 'cause I could see this future
2:00
that we're in right now. And I was like, dude, it's the
2:03
end of art. It's the end of art.
2:05
Like the machines are making the the content.
2:07
There's not going to be any more musicians.
2:09
There's not going to be any more actors because I'm just going to
2:12
want to see Salma Hayek in every single movie and with George
2:15
Clooney, and that's going to be a wrap.
2:18
There's if you're an actor, why would I want to hire you?
2:21
And I could just get Brad Pitt for every movie, you know, or,
2:26
or likewise, like, why would I want to?
2:29
Why would I want to hear another singer when I can just get Janis
2:32
Joplin to be a lead singer of the band that I'm putting
2:34
together to play the kind of music that I want?
2:36
And what I, I think early on, even though I mourned that for a
2:39
couple of months, it's like, yeah, that's, that's
2:42
nearsighted. I mean, it'll be cool to do mash
2:45
ups with AI and stuff, but there's so many new
2:47
opportunities and different kind of things we can do.
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And also what it does is it allows for people that don't
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have access to $100 million budget to make a really great
2:57
moving movie. So why not?
3:00
Maybe that maybe that should be us.
3:01
Fernando, what do you think? I say, let's figure out if we
3:07
were movie directors in our past lives and we didn't figure it
3:11
out until now. Maybe.
3:12
Sorry, hitting talent. I don't know.
3:15
Yeah, OK. So let's dive in.
3:18
I think we'll just use GPT 5 and maybe we'll start with like ask
3:23
it was, it was our intention. So we want to make a movie
3:29
script to vibe code with Google VEO.
3:41
So let's say ask me questions to flesh out ideas going in
3:52
completely blank. I don't have any ideas I I'm
3:55
seeing it a car chase in my head for some reason.
4:00
I'm surprised you didn't mention Batman even once in these
4:03
conversations so far. You know, I, I do kind of want
4:06
it to be Batman a little bit, you know?
4:08
I know. I know.
4:09
You. You.
4:11
Know OK, so here's the story corps.
4:14
Do you want the script to feel like a short concept film,
4:17
feature length film, or more of a promo demo piece?
4:23
I'd say let's go with the promo piece.
4:25
So we like wisely use those 50 bucks.
4:28
I agree. And then you get the benefit of
4:30
like, it's just going to put like the coolest parts in there.
4:33
And then we'll see. We can pitch it to a studio,
4:35
maybe they will give us $100 million and Fernanda can direct
4:38
the whole thing. Maybe that?
4:41
Would be cool. OK, OK.
4:44
Second question, what's the central conflict?
4:48
Is it humans versus AI, creator versus corporation, internal
4:52
struggle of a protagonist, or something more abstract?
5:00
We can go with a car chase. It like.
5:04
I mean. So, so let's see if this, if we
5:07
got a car chase in there, then somebody's escaping something.
5:12
So maybe it's like an analogy of like it's a, it's a, it's a
5:16
getaway. And on outside you're trying to
5:19
get away from from the antagonist, but on the inside
5:22
they're also trying to get away from something.
5:28
That sounds like poetic, right? OK, Yeah, sort of confusing as
5:34
well, but. Well, we'll say this that
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there's like internally you're trying to get away from
5:41
something and that's playing out and on the action outside.
5:47
OK, I like that. It's kind of nebulous inside and
5:57
on the outside. I think it's probably a good
6:00
idea too because it just to be a little bit more broad so then it
6:03
can maybe help us flesh it out OK.
6:07
Should the story learn more sci-fi, visionary, dark,
6:10
dystopian, or playful and experimental?
6:14
A little bit of sci-fi I think will be interesting.
6:17
The sci-fi one. Yeah.
6:20
Yeah, sci-fi and visionary. Otherwise, if we went dark and
6:23
dystopian, I would subconsciously push it towards a
6:26
Batman movie really quick. Or to zombies, like we always
6:30
end up talking either about zombies or aliens or Batman.
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OK, we're we're going to have to put those in there somehow.
6:37
We have to. We must.
6:39
OK, That's just what we OK, Who's the main character?
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A coder? An artist?
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An entrepreneur? Rebel.
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AI agent. An artist.
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An artist. He's running away from his ego.
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Is it he or is it she? It's a he.
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It's a he, OK? It's he's an artist running from
7:00
his ego. I like that.
7:03
That's great. OK.
7:04
What motivates them? Is it freedom?
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Money. Expression, Rebellion.
7:09
Survival. About depression and survival, I
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guess. OK, OK.
7:19
What about massive amounts of money and jewelry?
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OK, that feels interesting as well.
7:27
His I'm trying to frame it now. We got a guy, he's running away.
7:30
Maybe there's Chase. If he had like like lots of gold
7:33
chains that would look cool. Yeah, he would.
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OK, we'll say lots of jewelry. OK Do we need a secondary
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character? A-Team, rival, mentor?
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Yeah, we definitely do. Yes.
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Lose the enemy. The enemy, we need to craft out
7:59
a villain that stands up to our expectations from the movie.
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Like we need to craft something interesting.
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It can be. That's where we can like put
8:12
zombies and aliens and the Batman kind of stuff in, I mean.
8:19
It should be a woman. I think so.
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OK. We got to have it's a it's an
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enemy, a woman, she's chasing him and she's representing that
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his ego. She's his ego.
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So, so she actually probably is like queen of jewelry.
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She has the most jewelry. This is the thing.
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So like her, his lust for for gold and jewelry is actually
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it's killing him from the inside.
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But actually, the Queen of jewelry is like, really actually
8:49
chasing him. OK, I like it.
8:55
Jewelry. I really wonder what people
8:59
thinks about us when they're listening or watching this
9:02
podcast. I don't know, they must think
9:05
we're goofballs, but. I mean, we are a little bit.
9:09
Yeah, for sure. We come up with interesting
9:11
stuff, so. And I think there's a real
9:13
practical application. I mean, I can't tell you like
9:16
how many like automations I've written or, or like little tools
9:22
I've made, largely because nobody really knows the outside
9:26
parameters of what we can do with AII Mean they're
9:29
interviewing Sam Altman about like, what can you do with GPT
9:32
5? And he's like, I don't know,
9:35
like we're going to find out what you can do with it.
9:37
So it's like figuring out like how far you can find the edge it
9:42
and then when you're reeling it back in, you're like, oh,
9:44
actually, like we could do this or we could try that.
9:46
I mean, it's happened to us so many times.
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And work, yeah. You know, so I, I feel like it's
9:53
really exciting time in technology and work because it's
9:56
allowing for like some silliness and brainstorming just to get an
9:59
idea that takes you to another thing.
10:01
I think it's kind of cool. Yeah, and it's like, I think we
10:07
thought like we were going to stop creating with AI, but it's
10:10
the whole opposite. Like now everyone has the power
10:13
to create stuff from scratch 'cause we have so many tools.
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It was just a matter of like letting people know how they can
10:20
create stuff. Like I remember when I first
10:22
started using GPTI wasn't like really loving it.
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But then I talked about it. Like now I'm, I'm in love with
10:30
GPT. He's like my boyfriend, right?
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And then I remember telling my father about GPT.
10:37
So now every time he writes out like he, he's in charge of
10:42
managing the place where we live.
10:45
And now every time he writes a letter for the managing for the
10:49
manager or anyone, he's like, can you run it through GPT so he
10:52
can give us some advice of how to improve it now?
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And I'm like, sure, it's making everyone's life easier.
10:58
I know it's incredible. And when you're doing, when
11:02
you're attaching something fun to it, because like writing,
11:05
like there's scary things you have to write all the time.
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And it's like, well, maybe I should use GPT, maybe not.
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But if you're using it for fun and you're just getting used to
11:15
using the different tools, then you create kind of like a
11:17
literacy and a fluency in the tool.
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So that like when it comes down to crunch time, you're like, oh,
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actually I, I've been using these six different tools, I can
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utilize them in these different ways.
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I I think it makes it, it a little less intimidating because
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that's what I hear a lot too, is people like, well, how should I
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use it? What should I be doing?
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AI is such a big blanket term that it's like, well, do I need
11:38
automation? Should I make a movie?
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Like, what am I doing? And the answer is probably,
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yeah, you should be doing all that stuff, you know.
11:45
OK, so where does this take place?
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Let's go somewhere tropical. Well.
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Do you have a place in mind? Well, my place, it's great
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tropical, like I just have like palm trees outside and it's
12:03
sunny, but it's raining and it can be beautiful.
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Yucatan. Oh yeah?
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Well, you got to rub it in. Tropical, beautiful Yucatan.
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All right. Yucatan Peninsula.
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Cool. OK, Tone.
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Should the tone feel cinematic and polished?
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Gritty and gorilla? Weird and surreal.
12:27
Weird and surreal. That's totally us, isn't it?
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Per share, it must be OK. Do you want it to be near future
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realism? Far future fantastical.
12:45
Far future fantastical we're. Going this is going to is
12:48
already going to look so cool. Yeah, but it's going to it
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sounds crazy. You know, but also there's kind
12:54
of a historical precedence because some people believe that
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the humans are a byproduct of the Anunnaki that like created
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us in order to consolidate all the gold on the planet, and then
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they'll come back on spaceships and pick up all the gold.
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I didn't know that theory. I I learned new theories with
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you every time we speak. You know who told me that?
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Who? Charles McPherson, he is an
13:20
absolute unbelievable Alto saxophone jazz player that I
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picked up from the airport when I was running this jazz club.
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And he was telling me that like a lot of what he does, this like
13:32
circular breathing trick, which means you can keep playing and
13:35
breathing at the same time and there's no gaps.
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And he's like, when you see me circular breathing, that's what
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I'm communicating with the Anunnaki.
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He taught me all about the Anunnaki.
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Wow, I like to meet that guy. He's amazing.
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There was a great movie that Clint Eastwood made called Bird
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that was like it was about Charlie Parker and he played all
13:56
the saxophone for Charlie Parker on that movie.
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Anyway, shout out to Charles McPherson.
14:01
That guy wasn't he sounds. Amazing, yeah.
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He was great. OK, how do you want to portray?
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OK, it's it thinks we want to make a movie about vibe coding,
14:12
but we don't. So I'm going to put it's not
14:16
about vibe coding. OK, do you want a three act
14:23
structure? No.
14:27
Or just put just list 5 amazing blockbuster scenes that we could
14:46
use for the trailer. OK OK, Dialogue should be
14:54
minimalist or minimalist. Or do you want dense, witty,
14:56
philosophical conversations? Oh, you're muted?
15:02
Oh yeah, I'm saying dense philosophical conversations.
15:05
Yeah, totally. I mean.
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We, we must. That's you.
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Really have to ask that one. OK, what's the ending?
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Triumph, tragedy, cliffhanger or open-ended?
15:22
Open-ended. I like that.
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What was that one Christopher Nolan movie with DiCaprio where
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they it ended with the top spinning where he he couldn't
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like remember if he was a big buddy?
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It's. I know that one.
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So good. Yes, it is.
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Yeah, OK. Any films you'd like to channel
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vibes from her? The Matrix, Blade running, Blade
15:48
Runner? What would be inspiration?
15:55
I mean, that could be one. It's called Inception.
15:58
Oh, that's it. Yeah, Exception.
16:02
It was good. What's another one that's
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really. The butterfly effect.
16:08
The Butterfly Effect. It's like a really pretty movie,
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like. Visually.
16:19
Like. I mean, the first thing that
16:23
came to mind was The Lorax, but I don't know if that like is
16:27
pretty, but it's like very, you know, like it's drawings and
16:33
sort of childly it's for Childs. You totally OK?
16:37
I love that. The Lorax.
16:38
Heck yeah. Yeah.
16:40
OK. Any directors visually you want
16:43
to channel, let's say Wes Anderson and we'll say
16:50
Christopher Nolan? OK.
16:53
And let's say Jim Jaramouche, because he has great dialogue
16:59
and he uses black and white in the his movies are all really
17:02
pretty OK. We're going to come up with
17:06
something really interesting. OK, I'm going to say ask me
17:12
more. OK, here we go.
17:16
Let's see what it comes up with. OK, OK, OK, Since Art is running
17:23
from his ego, I don't think they think his name is art now that
17:27
he's an artist. OK, how should we visualize the
17:30
ego? Like a mirrored version of
17:33
himself? Or symbolic, like ever growing
17:35
shadow or the queen of gold and diamonds embodying it.
17:41
I say let's go for the King of diamonds.
17:46
Yes, 1 gold chain queen of diamonds.
17:51
OK, you mentioned jewelry. Should it be oppressive, as in
17:54
chains are weight and armor or seductive, glittering, hypnotic,
17:58
desirable? You got to go.
18:01
Seductive, you got to go. I don't want scary chains.
18:04
I want to see like cool Cuban links and stuff like that.
18:07
OK, You mentioned the yuk tan tropical setting to feel lush
18:13
and alive or decaying and overgrown.
18:19
I'd say decaying, but then it doesn't make sense with the
18:22
previous one. Yeah, lush and alive.
18:25
It's gonna be incredible. OK.
18:28
And then other if it was decaying, I'm it's it was too
18:31
far. Batman, we might have to make
18:32
the opposite trailer just to see you next time.
18:35
OK. OK, you mentioned 5 amazing
18:38
blockbuster scenes. Should they be grand spectacle
18:41
shots or intimate mind bending visuals?
18:52
I don't know, like that's a tough one to choose.
18:55
Maybe a mix? Yeah, yeah, that sounds good.
18:58
Do both. OK?
19:00
Do you want one of them to be an Inception style folding world
19:04
moment? Yes.
19:06
Yes. Should we lean into psychedelic
19:11
imagery? Butterfly morphing skies?
19:13
Impossible physics? Oh, we must.
19:16
Yeah. OK, what kind of philosophical
19:27
conversations do you imagine about the nature of self, the
19:31
illusion of wealth and materials, or escape versus
19:35
surrender? I like the second one.
19:40
Illusion of wealth and materials.
19:42
Yes. Yeah, that's good.
19:46
Who delivers the philosophy? Is it?
19:48
Is it art or the Queen? The Queen.
19:52
Yeah, the philosophical villain. That's great.
20:01
OK, Do you want Wes Anderson's symmetry in whimsy, Nolan's mind
20:06
bending structure, or Jeremoush's stillness and dry
20:09
absurdity to dominate? I'm going to leave that one to
20:14
you because I don't really like know the styles of each
20:18
director, so you can choose that one.
20:20
All right, I'm going to go Wes Anderson just because it'd be so
20:22
weird. OK, and we got should the
20:29
trailer feel like pulse pounding blockbuster type or more like a
20:33
slow build psycho psychedelic descent?
20:37
This psychedelic descent. Yeah, OK.
20:40
Psychedelic descent. Oh, man.
20:45
This is going to be a kind of a cool movie, I think here at
20:47
least. OK, color palette should lean
20:52
golden emerald to match the jewelry in jungle or something
20:55
more stark and surreal. Pink skies, turquoise shadows,
20:58
etcetera. Yes, the surreal one.
21:02
I want full color. Yeah, OK.
21:08
We're we're on to something here.
21:10
I know, see, I mean, it's, it's so fun to like, I don't know,
21:15
it's it's a lot easier when they give you material and you
21:17
whittle away as opposed to trying to think of everything
21:20
included. Do you want to use voice over
21:24
narration or let the visuals carry it?
21:28
I didn't let the visuals. Nice.
21:37
OK, Be like, yes, spin it up, see what it gives us.
21:47
I'm excited. OK, OK, these these are
21:52
actually, it's pretty minimal. OK, so let's see that.
21:54
Here's the scene 1 The chains of seduction.
21:58
A slow Dolly shot through the jungle at twilight.
22:01
Gold chains hang from the trees like vines, swaying gently in
22:04
the humid breeze. Suddenly they begin to writhe,
22:08
coiling around Art's wrists and ankles as if he's alive.
22:12
His face flickers between fear and desire.
22:15
The jewelry is beautiful, hypnotic and almost whispering
22:18
to him. The chains tighten.
22:19
Cut to black. Sounds sounds crazy.
22:26
OK, Scene 2 Under a pink sky with turquoise shadows, the
22:30
queen of golden diamonds rises from a lagoon.
22:33
Every ripple of water turns into shimmering gems.
22:36
Her crown grows like coral, branching upward into impossible
22:40
fractal shapes. She gazes at Art, not with
22:43
anger, but with seductive command.
22:46
Her lips move, but her words are silent.
22:49
Only the juggle jungle echoes. OK, OK, Scene 3.
22:56
The world folds. An aerial shot of the Yucatan
22:59
jungle. Slowly, the horizon begins to
23:01
bend. The treetops tilt towards page,
23:03
folding in half. Rivers spiral upward into the
23:06
sky, waterfalls reversing. Art runs along a temple
23:09
staircase as the entire world folds around him.
23:12
But no matter how far he runs, the Queen is already waiting at
23:16
the top. I like it.
23:20
It's. Getting good Scene 4 Butterflies
23:22
and Fire Glass Art stands in a clearing, surrounded by a storm
23:26
of butterflies. At first they're natural,
23:28
vibrant, and alive. Then, as the camera spins, their
23:31
wings morph into stained glass, then into shards of diamond,
23:35
then into flame. The swarm collapses inward,
23:38
forming a mirror image of Art made entirely by Flicker
23:41
flickering jewels, his ego staring back at him.
23:45
Oh. I like that.
23:49
I'm looking forward to watch like the actual film.
23:53
I know. Scene 5 The silent collapse
23:55
inside a cavern lined with gold veins.
23:58
The Queen places her jeweled hand against Art's chest a close
24:02
up, his heartbeat rippling through the walls, causing the
24:05
cavern to fracture. Massive golden pillars collapse
24:09
in silence, the destruction oddly graceful like Wes
24:12
Anderson. Chaos symmetrical, slow motion
24:15
oddly beautiful. As dust settles, the Queen's
24:18
form dissolves into glittering particles, leaving only chains
24:21
on the ground. Nice.
24:27
OK, well, I mean, I I don't know what that is, but we're going to
24:31
find out. Let's find out.
24:34
OK, so now I'm going to have it like basically do a 92nd thing.
24:38
So it's giving it like it's basically building the prompt
24:41
that I'm going to put into VEO. So interesting.
24:48
I mean, let's see what happens. We we spent what, about 25
24:52
minutes putting this together. I'm going to spend 50 bucks in
24:55
VEO credits and what we'll do is we'll chop it up and put it
24:59
right at the end right here. The static feel I see a world on
25:06
may remain in me fresh. The skies are blooming rust.
25:11
Ashes rise to soft dust. Do you hear it?
25:30
The whispers in the steel? Do you feel it?