‘What’s happening is horrifying’: the rebel film-maker challenging AI’s march into Hollywood

Valerie Veatch doesn’t want to come across as “a crazy, bitter film-maker”. But she admits it’s “triggering” to talk about the challenges she faced when making Ghost in the Machine, her blisteringly enjoyable documentary about the dark past and present of AI, which hits UK cinemas today.

From the start, Ghost in the Machine was a hard sell. As Veatch says: “I couldn’t get funding from the usual places. People weren’t interested in a film that was tech-critical.” She wanted to talk about the “father of Silicon Valley”, Dr William Shockley, and his abiding interest in eugenics, to explore the sexism and racism that underpins “breathless, gushy” discussions about “superintelligence” and the “singularity” (the hypothetical moment when AI surpasses human intelligence). “I was so full of rage. This stuff is not inevitable.”

Veatch, who was born in Seattle but is now based in Kent, has made three critically acclaimed and zeitgeisty documentaries (including 2014’s Love Child and Me at the Zoo in 2012). For the new film, she talked to more than 30 US experts about the power dynamics behind the much-hyped, eye-wateringly lucrative AI revolution. She did the Zooms, and edited the Zooms, “compulsively, in the middle of the night, for a year; I did urgent listening and, somehow, I got a cut ready for Sundance”. Once Sundance 2026 accepted the film, Veatch got a grant, which paid for all the archival footage. And her dad and aunt came in as investors, she says proudly. “So this is an almost entirely homegrown film. I don’t think we could carry the message that we’re carrying if we were at all beholden to any large studio or distribution company.”

Irreverence is Veatch’s thing and she cites the British director Adam Curtis as the biggest influence on her work (“I wanted to utilise the archive, the way he does … I wanted it to be surreal and sardonic”). Ghost in the Machine is crammed with jolting images: we see William Shockley, on TV, spewing his racist poison with the gentle patience of a man hawking encyclopaedias. Elsewhere, phrases chime in quietly chilling ways: the Victorian originator of eugenics, Francis Galton, wants to create a “galaxy of genius”. 

Also shown at Sundance this year, and distributed by the mainstream giant Focus Features in the US (and Universal Studios elsewhere), was The AI Doc: Or How I Became an Apocaloptimist. Made by Daniel Roher and Charlie Tyrell, this documentary, as its title suggests, manifests a cautious lack of pessimism on the subject of AI. Framed as a personal journey (Roher, about to become a father, wants to know if he’s bringing his baby into a safe world), it suggests this technology will always be with us. This film, which premieres at Sheffield DocFest next Friday, 12 June, and then goes on general release in the UK on 19 June, had the cooperation of the tech bros and includes on-camera interviews with Google Deepmind’s CEO, Demis Hassabis, and OpenAI’s Sam Altman. In the words of Daniela Amodei, the co-founder and CEO of Anthropic, “this train isn’t going to stop”. 

Veatch draws my attention to the fact that Sundance now receives funding from Google, adding: “Last year, so I’m told, audiences clapped when film-makers said their movies didn’t contain AI … this year was so different.” Even before the festival began, she sensed unease about her project. As it happened, Ghost in the Machine connected with audiences. In fact, it was a huge success, with word of mouth suggesting it was “the scariest movie playing at Sundance”. 

Still, Veatch gets infuriated when her film is compared to Roher’s. She says: “What is the difference, ultimately, between being in the pocket of Big Tech and being an independent voice? Well, a lot!”

Veatch admits she has conflicted feelings towards one of The AI Doc’s producers, Oscar-winning Daniel Kwan (best known for co-directing the subversive multiverse romp Everything Everywhere All at Once). She’s the first to say Kwan is an “incredible director” and tells me that, before the festival started, they had a friendly, hour-long Zoom call. During the conversation, Kwan apparently said: “I can’t be as punk as you are. I can’t be ‘NO AI’ because I need to be in the room where these decisions are being made. In Hollywood, people need jobs.” Veatch yelps: “I felt his tension! He was literally rolling back in his rolling chair, in his empty office, saying: ‘I need to pay everyone around me’.” 

She says the part that “really hurts” is that Kwan has co-founded the “Creators Coalition on AI” (CCAI). “It supposedly tells film-makers how they can use AI. How they can set standards, etc. What it’s really about is getting in bed with power and normalising things that shouldn’t be normalised. He’s using his social capital to do that, which breaks my heart. I don’t think he’s a bad person. I don’t judge him. You know, I drive a car! No one’s perfect.”

Author and linguist Emily Bender (who appears in both Ghost in the Machine and The AI Doc) is on record as saying Veatch’s film is the better of the two. Bender says Roher “lets himself get buffeted by the imaginations of some of the most unhinged people in this space”, whereas Bender feels Veatch has “woven together an informed and engrossing essay”. Similarly, Timnit Gebru, a computer scientist and cofounder of Black in AI, who also shows up in both films, recently praised Ghost in the Machine while distancing herself from Roher’s movie. “She went on LinkedIn and said: “I reject [The AI Doc]. They used us like chocolate chips.’” Veatch nods grimly. “And they did. They sprinkled in diversity.”

Veatch insists this isn’t about individual movies getting it wrong. It’s about a trend to sideline or erase voices with a different point of view. A new British production called AI: Probably Nothing to Worry About, is showing at Tribeca this weekend. Veatch says she only heard about the movie through Bender, who was interviewed for it but didn’t make the final cut. The film-maker said something like: “Sorry we didn’t use your footage. In the end, we were just focusing on people who were in the room when big discoveries happened.” Veatch pulls a face. “In other words, ‘we focused on men’. This industry is rotten. I hate it! But this is why we need women film-makers.”

Veatch says repeatedly that she feels the need to be “aggressive” when talking about her film. That she’s willing to seem “negative”, because “what’s happening with AI is so urgent – the building of all these hyper-scale data centres is horrifying.” In the US, she says, “they’re trying to criminalise dissent”. (Wired recently reported that federal intelligence agencies and domestic law enforcement are targeting “anti-technology extremists”). Veatch jiggles in her seat. “The film’s going to get a release on PBS and YouTube in September. And we’re about to get a huge grant, to make data centres the theme of our summer push, in the US. I’ve invited Erin Brockovich [the environmental activist, who has started a database to track data centres around America] to one of our events. I’m like: “I really hope she says yes. She’s an icon. You can’t criminalise Erin Brockovich!” 

Veatch says she’d “love to do something in the UK about data centres”, then pauses and, for the first and only time in the whole interview, sounds lost. She murmurs, “There are networks in the US. I don’t know anyone here …” Human contact means everything to Veatch. Concerned citizens of the UK, if you want to join forces with this formidable woman, drop her a line.

Ghost in the Machine is released in UK cinemas today, or can be rented through Kinema