“Chief AI Officer” is not a classic Hollywood power title like “Head of Business Development” or “Social Media Crisis Manager when Celebrities Lose Their Minds.” But prepare for that to change, as more studios and agencies realize they need executives dedicated to overseeing their AI efforts.
Kathleen Grace was among the first to light a campfire. Grace, a former executive at YouTube and copyright-tracking AI company Vermillio, was hired this winter as Lionsgate’s chief AI officer, making him the first person specifically to hold the title at a Hollywood studio.
What does the job actually mean? And how does she feel the technology should and shouldn’t be integrated into development pipelines? We chatted with Grace to find out.
Let’s start with the job description. What does the Chief AI Officer do?
I was brought in to continue to invest and connect AI strategy with actual execution to find the right tools and get them into the hands of filmmakers and showrunners. My goal is to experiment very intentionally, with clear guardrails and an emphasis on trust and creative partnerships. Success is more than just “let’s go and try out the latest model.” It’s about responsibly integrating AI across production, marketing, distribution, and administrative workflows in ways that support creative teams, protect their rights, and actually make their work better.
You mention experiments. I know this is early in your tenure, but what will happen?
For me, that means something structured and an iterative process like software development. We test things out before selling them as a series. We read the script. Software development is very similar. So how can you test your tools in a secure way without using any existing IP? Also, how do we do it? Does it meet the standards of the creative team? So this is a very rigorous testing process that I’m trying to build internally.
So what can readers see? What will the AI experiment look like for Lionsgate consumers?
As you said, it’s early now. I like to outline use cases and understand what has the most impact for both Lionsgate and our partners. Therefore, it is difficult to give specific examples that I would feel comfortable talking about in public.
Do you think of AI as an all-encompassing initiative? Does it support filmmakers in a way that is invisible to consumers? Or can you imagine creating a platform for the public?
I think we’re going to be working across all aspects of the business: production, marketing, distribution, even administrative workflows. My vision is to support showrunners and filmmakers and what they want to do. So they come to me with ambitious and cool ideas. We intend to do everything in a safe manner. And stay open. If it deepens the experience of the audience we speak to, I’m into it.
What do you say to people who see this as an efficiency tool or a cost-cutting tool? Is that okay, or do you avoid using AI for that purpose?
Every era of filmmaking has been shaped by new technology. Things have changed from black and white to color, from film to digital, and obviously more recently to streaming. I was nervous each time, but the tools changed each time. The role of filmmakers and genres as creative leaders was not. So we think we’ll follow a similar path of opening up creative possibilities, expanding the worlds we can build, and enabling new formats. Sure, it increases efficiency and speed, but it’s not about removing friction from the process, it’s about removing people from the process.
So anyone who argues that the same amount of production can be done cheaper and with fewer people will likely retract that scenario.
Our goal is to create more space, not less, for creative ambitions, and to support, rather than replace, the visions of filmmakers and showrunners. That’s not to say that the pressure to be more efficient in business today doesn’t exist. But that efficiency doesn’t have to mean less voice. It might just mean giving creative teams better tools early in the process. My previous role at Vermillio was building technology that allows people to receive fair compensation for the use of their name, image, and likeness. Previously, I was also deeply involved in the creator ecosystem at YouTube. So I continue to offer that expertise, understand that I love working with creative people, and building trust and great working relationships with our technology partners. That’s the goal.
When Lionsgate signed the Runway deal in 2024, many around town wondered what it meant to have all these models trained exclusively at Lionsgate facilities. We haven’t seen much fruit from this deal, at least not in public. How do you think such relationships can be leveraged?
I can’t say more about that. We integrate them in different ways. We have a lot of different partners, but obviously we love Runway and continue to work with them. That’s exactly where their technology can have the biggest impact, and we’re learning that together. I can say I’m excited about it – the fact that there are some really great new ways to deeply engage with the people we love. twilight or loved ones john wick. I’m very interested in that.
I mentioned the marketing side of this. I don’t think people talk enough about how AI can connect consumers with things that are made. What do you think about using AI to reach and help people engage?
I think we’ll start to see exciting uses of AI throughout our business processes. And I think we need to think about this not as a surgical tool, but as something that changes the way we think about what we’re doing, across the business, whatever it is.
Some speed round questions. Do you think the majority of film, TV, and creator content will be AI-driven within five years, or do you think it will be human-driven? Maybe in 10 years?
I find it difficult to think of it that way because I see it as a partner and collaborator. If you’re asking whether AI will be an integral part of the creative process in five years, I think it will be. I think it will be even more so in 10 years.
Will it be human-led??
I think you’re going to need someone who evokes emotion.
Therefore, they will be at the center of the process overseeing the model, rather than in the background.
Yes, it is human-driven. They end up co-creating throughout.
partnership.
yes. Being a filmmaker and a creative person and having a vision can be very lonely, but having a team believe in you is very powerful and empowering. And when you have the people to collaborate, both the people and the technology to collaborate, you can grow exponentially.
What is the one best thing AI will bring to Hollywood and the creator economy? Also, name the one thing that is probably the worst. Most excited and most afraid.
I’m really looking forward to expanding my palette and being able to create more cool things.
And your biggest fear?
My biggest fear is eroding trust in my creative partners.
thank you. I’m looking forward to seeing what form this will take.
thank you. So am I.
This story appears in The Hollywood Reporter’s AI Issue. Click here to read more.
