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Presented during the Marché du Film, the panel “From Creative Possibility to Production Reality: Kling AI in Cinematic Workflows” brought together creators behind projects from the United States, South Korea and China to discuss production methods, workflow integration and evolving creative processes.
Across the discussion, speakers repeatedly returned to workflow integration — not whether AI enters production environments, but how creators incorporate technologies including Kling AI into established filmmaking systems.
As adoption expands across international production communities, Cannes discussions suggested growing attention toward implementation, creative responsibility and practical production realities.
Projects presented included House of David from Wonder Project, South Korean feature project Raphael, and Chinese animated production Born of the Tide.
Jon Erwin, founder and chief creative officer of Wonder Project and writer-producer of House of David, described Kling AI and AI-assisted production technologies as tools designed to strengthen creative workflows rather than replace filmmaking processes. “They amplify and accelerate your creativity,” Erwin said.
Discussing production implementation, Erwin noted that Wonder Project combines Kling AI-supported workflows with traditional filmmaking approaches. “We still use our crews, our department heads, real performances,” he said. He also emphasized that productions using AI technologies continue to operate under existing delivery requirements.“We delivered in 4K HDR to Amazon … We have to pass all those standards.”
Discussing production implementation, Erwin noted that Wonder Project combines Kling AI-supported workflows with traditional filmmaking approaches. “We still use our crews, our department heads, real performances,” he said. He also emphasized that productions using AI technologies continue to operate under existing delivery requirements.“We delivered in 4K HDR to Amazon … We have to pass all those standards.”
South Korean filmmaker Eekjun Yang, co-founder and director of Mateo AI Studio and director at MBC C&I AI Content Lab, presented Raphael, introduced during the panel as South Korea’s first feature created entirely using generative AI and currently aiming for theatrical release in 2026.
Yang explained that narrative filmmaking requires particular attention to emotional expression, and highlighted Kling AI’s capabilities in emotional rendering as an important factor during production. “It is absolutely important to portray detailed emotional expressions,” Yang said.
Yang explained that narrative filmmaking requires particular attention to emotional expression, and highlighted Kling AI’s capabilities in emotional rendering as an important factor during production. “It is absolutely important to portray detailed emotional expressions,” Yang said.
He also discussed practical challenges in AI filmmaking, noting that large-scale battle sequences can prove easier to generate than intimate character interactions.
Chinese filmmaker Wei Li presented Born of the Tide, an animated feature exploring China’s Tanka community. Li described maintaining strong creative oversight throughout production workflows while combining Kling AI-assisted processes with storyboard supervision, handcrafted visual references and production design controls.“AI should free your hands and express your mind,” Li said.
Li also discussed how newer production structures supported by emerging AI tools can reshape animation workflows while preserving directorial control over visual consistency.
Across the discussion, speakers repeatedly returned to workflow integration — not whether AI enters production environments, but how creators incorporate technologies including Kling AI into established filmmaking systems.
As adoption expands across international production communities, Cannes discussions suggested growing attention toward implementation, creative responsibility and practical production realities.
