Podbit · All-In with Chamath, Jason, Sacks & Friedberg
Robin Rombach sat with Martin Scorsese multiple times to demonstrate Black Forest Labs' generative tools. What captivated Scorsese wasn't automation — it was the ability to take a visual scene living in his imagination and externalize it for his team to iterate on. Language is lossy. Images are not.
Where this was said
At 47:50 · chapter starts 47:31
Rombach steps back from the film discussion to articulate the deeper architectural insight: the model that makes a movie and the model that drives a robot are not two different technologies — they are the same model. Pre-training on video at scale gives a model implicit understanding of physics, causality, and spatial relationships — the foundations of intelligent physical action. From that base, only a few hours of task-specific fine-tuning data are needed to deploy the model on a specific robot in a factory setting. The long-term goal is to make even that fine-tuning unnecessary, enabling in-context robot instruction — just tell a robot in natural language what to do, the same way you prompt a language model. Rombach acknowledges this is still a research problem, but the trajectory is clear: world models, action models, and generative video models are all converging into the same underlying architecture.
Martin Scorsese worked directly with Robin Rombach to use Black Forest Labs' generative models to visualize pre-production scene concepts for a potential new film.
A Bitcoin movie starring Gal Gadot was filmed entirely on a sound stage, with all scenery generated by AI in post. The result: a $30M production that would have cost $150M with traditional set builds. It never would have been greenlit at $150M — generative AI didn't just cut costs, it made the film possible.
A Bitcoin movie starring Gal Gadot was made for $30M using generative AI for all scenery — it would have cost $150M with traditional set builds and might never have been greenlit.
The most underappreciated insight in AI right now: a single multimodal generative model can produce a movie and act as the perception and action brain for a physical robot. Pre-training on video gives implicit understanding of real-world physics — which transfers directly into robotic action prediction.
Black Forest Labs' visual understanding models require only a few hours of fine-tuning data to adapt to a specific robotic task, dramatically reducing deployment friction.
The entire plot of the original Terminator film depends on the phone book. The Terminator looks up 'Sarah Connor,' finds multiple listings, and starts killing them one by one. No phone book, no movie.
Rico has already appeared in Den of Thieves, Den of Thieves 2, and Roadhouse alongside Jake Gyllenhaal and Dave Bautista. Jason Statham is developing a specific role for him. Working alongside elite actors taught Rico something about himself: the emotional suppression that makes him a great fighter is exactly the material that makes great acting — if he learns to stop pushing it away.
Trump joked that Health Secretary Robert F. Kennedy Jr. personally ran over, butchered, and delivered the evening's beef tenderloin to the dinner — then topped it with a punchline about RFK wanting to serve raccoon roadkill as an appetizer. The crowd's laughter at jokes targeting his own administration signaled a rare night of good-natured self-deprecation from Trump.
Jimmy Tatro is playing the nemesis-son to Will Ferrell's washed-up golfer in The Hawk, his fifth project with Ferrell and Ferrell's first lead TV series. The real highlight: Molly Shannon, playing his on-screen mother, drove off set on the last day with Chief Keef blasting from her subwoofers.
Alan Ritchson walked into a Thor audition with his sides still in his hand, half-assed it on a spotlight-lit stage before two silhouettes in a dark theater, and bombed so completely that the casting director broke protocol to call his team. The feedback? He had no craft. That one sentence sent him to acting school — and changed the trajectory of everything.
Alan Ritchson walked out of his Titans audition so sure he'd booked the lead that he called his wife and told her he was going to buy a Tesla. She said he hadn't booked it. He went and bought the car anyway. His instincts were right — he was offered the role — just not the one he wanted.
Reacher drew 56 million global viewers in a single week of Season 2. Alan Ritchson points out what makes it unusual: unlike ensemble shows, almost all of that visibility lands on one person. It's an anthology with a rotating cast built around a single titular character — and the scale of it is something even he calls unprecedented.
Motor City has no spoken dialogue. Every major leading man in Hollywood — Jake Gyllenhaal, Hugh Jackman, Gerard Butler, Adrian Brody — was attached at some point. It was greenlit nine times. The concept was simple: Greg Silverman wanted a film everyone in the world could watch with the exact same experience, regardless of language. Alan Ritchson read the script and called it a masterpiece.
Working with Arnold Schwarzenegger showed Alan Ritchson what 100% recognition looks like. People feel Schwarzenegger before they see him — like a meteor approaching. Alan's wife wants a strict no-photos policy around family. Arnold stops for everyone. The contrast was a master class in how gratitude should manifest when fame is inescapable.
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