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Freedom251 › Blog › AI filmmaking

Bestselling Author Shows Why AI-Generated Movies Might Not Be a Bad Thing

By Freedom251 Team · · 5 min read

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AI-generated movies are not automatically bad. Conn Iggulden’s planned six-episode adaptation of his Genghis Khan novels shows a more useful possibility: AI can make an otherwise unaffordable production feasible while leaving substantial creative work—and key decisions—with people.

What Conn Iggulden is making

In an interview published by WorldNL Magazine on 14 October 2026, bestselling author Conn Iggulden discussed Genghis Khan: Birth of an Empire, an AI-assisted adaptation of his novels Wolf of the Plains and Birth of an Empire. The reported studio is Authors First.

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The planned first release consists of six episodes. The article said they were expected to become available on a streaming platform the following month, but it did not identify that platform. Release timing and distribution should therefore be checked against an official Authors First announcement before viewing.

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Why a conventional version was difficult to fund

Iggulden said the novels had previously been optioned, yet a conventional production remained financially impractical. Mongolia’s geography creates difficult logistics: it lies between China and Russia, while the Gobi-edge setting can reach freezing conditions. Transporting cast, crew, equipment and support services to those locations would require an unusually large production budget.

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His explanation was blunt: “without Game of Thrones money, it just wasn’t possible.” In that context, AI is not being presented as a replacement for an existing, fully financed film. It is being used to attempt a version that conventional financing and location requirements probably could not support.

AI-assisted production versus conventional production

Production question AI-assisted approach described by Iggulden Conventional approach
Budget and scale May lower the barrier to an ambitious historical adaptation when a major studio-scale budget is unavailable; no monetary budget was published. Requires financing for large crews, physical production, travel, sets, costumes, visual effects and extended location work.
Locations Can create or modify environments without placing the entire crew in Mongolia’s difficult terrain and climate. Must solve transport, accommodation, weather and safety problems at or near the required locations.
Authorial control Potentially keeps the novelist involved in casting, plot and storytelling decisions throughout many revisions. Often passes those decisions through producers, directors, casting departments and financiers, depending on the contract.
Human labour Still depends on people to direct the work, select outputs, revise prompts or instructions, fix continuity and make creative judgments. Relies on established departments and physical or digital production workflows, with people making the creative and technical decisions.
Realism Can produce convincing images, but Iggulden reported problems with realistic casting choices and repeated model changes. Uses human performers and established production processes, while still facing ordinary casting, continuity and visual-effects challenges.
Revision burden Guardrails and inconsistent outputs can require repeated attempts, including work on a newborn’s blood clot in the reported project. Revisions can be expensive, but the workflow is more familiar and its constraints are generally understood.
Audience experience Iggulden believes viewers may eventually forget they are watching AI-generated material. Audiences generally encounter a finished performance and production rather than an AI system’s visible generation process.

Why Iggulden sees AI as a tool, not an autonomous filmmaker

Iggulden’s argument is based on the amount of human work he saw during production. “For me, having seen how much actual graft it involves, how much human craft, AI just feels like another tool,” he said. Generating a shot or sequence does not by itself settle whether it fits the story, matches a character, preserves continuity or respects the source material.

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He also expects AI techniques to spread beyond projects marketed as fully AI-generated. “I think it will be used more and more from now on, in subtle ways on every major project,” he said. That could mean AI-generated environments, concept work, visual-effects elements or revisions inside productions that audiences still regard as conventional films.

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How the project tested the limits of current models

Casting was not automatically realistic

Iggulden reported that the system struggled with realistic casting choices. A generated face can look polished while still failing to suit a character’s age, background, physical presence or relationship to other performers. Selecting an acceptable result therefore remained a human decision rather than a one-click output.

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Safety rules created creative friction

The team also encountered guardrails around a newborn’s blood clot. The system’s restrictions meant the sequence required repeated revisions and experiments with different models. This illustrates a practical limitation: safety policies can block or alter material even when a filmmaker considers it necessary for a fictional scene, and solving the problem may take more time rather than less.

Iteration is part of the work

These examples make the production resemble an iterative visual-effects process. People must identify the problem, adjust the instruction or approach, test another generation, compare results and retain only what works. AI may accelerate some stages, but it does not remove review, continuity checking or editorial judgment.

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Why authorial fidelity matters in this adaptation

Iggulden places unusual emphasis on preserving the author’s decisions. “I like having the author’s vision respected, in casting, in storytelling — in plot. That matters a great deal to me,” he said.

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That priority addresses a common concern about adaptations: a book can be recognizable in name while its characters, motivations or plot are substantially changed for production reasons. An AI workflow could give an author more opportunities to specify and revise those elements, but only if the production agreement and creative process actually grant that control. The technology alone does not guarantee fidelity.

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Could audiences accept an AI-generated movie?

Iggulden believes the answer can be yes. “I think though that we’ve reached a place where an audience will forget it is watching an AI,” he said. For viewers, the decisive test is likely to be whether the characters, performances, pacing and world feel coherent—not which tool produced an individual image.

He does not treat that outcome as proof that every AI production will be good. His broader expectation is that the technology will enable both ambitious adaptations and large amounts of low-quality, high-volume output. Human involvement is the dividing factor in his formulation: “With human beings involved, both can be true.”

What this project does—and does not—prove

  • It shows a possible route to adapting a geographically demanding historical story when conventional financing is insufficient.
  • It demonstrates that AI can preserve more direct author participation in casting, plot and storytelling, if the production permits it.
  • It does not establish a production budget, audience size, completion date or streaming platform.
  • It does not show that AI removes the need for actors, writers, directors, editors, artists or technical crews.
  • It does not resolve whether the final episodes will maintain consistent characters, historical detail or visual quality across an entire series.

Release details to watch

The reported plan was for six initial episodes to appear on an unnamed streaming platform in the month after the 14 October 2026 interview. Until Authors First publishes the platform and schedule, that timing remains an expectation rather than a confirmed launch date.

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The project is significant even before its release because it tests a specific proposition: whether a creator-led, AI-assisted production can make a large historical adaptation possible without pretending that software replaces human craft.

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AI filmmakingArtificial IntelligenceConn Igguldenentertainment technologyfilm productionGenghis Khan

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