John Gaeta, Founder and CEO of Escape.ai – Interview Series

John Gaeta, Founder and CEO of ESCAPE.AI, is a rural innovator who is famous for his Oscar -winning business on Matrix Triple. Gaeta, a pioneer in overwhelming media and future technologies, has spent his career in exploring the integration of stories, presenting actual time, spatial computing, and artificial intelligence to push the limits of how the audience experiences the worlds of narrative.

With Escape.ai, GAETA is now focusing on displaying the next generation of the film content created from artificial intelligence and AI. The platform acts as a coordinated space for advanced visual auditory experiences supported by childbirth intelligence, highlighting the future of telling stories through experimental formats and smart media. By highlighting this emerging wave of creative works, Escape.AI restores the shape of the broadcast in the era of artificial intelligence.

What inspired the establishment of EsCAPE.AI, and how is it related to your long mission to re -invent cinematic novel through technology?

Escape.ai is born of a very personal task: to enable creators to tell epic stories – without requesting permission. For decades, Hollywood was a cinematic gateway. But with artificial intelligence and engines in actual time and overwhelming formats, we now have the tools needed to allow any facility of the studio competitor. ESCAPE.AI revolves around building this bridge-platform where insight narratives can use tools from the next generation to form worlds, possess their IP address, and move face to face with the giants. It relates to poor entertainment.

Escape has been described as a “new cinema” platform. Can you define the meaning of the new cinema for you and how it differs from traditional or even modern digital cinema?

Neo Cinema is a spirit and movement that pushes the next model of telling stories and making the world of story. It is based on the foundations of cinema with its disruption and development.

New cinema elements:

• Specifications and techniques of sabotage content (GEN AI, Games, New Technology)
• Traditional and innovative shapes and coordination of the narration of stories and building the world
• Modern layer, grace and technology enabling creators

from Matrix To Magic Leap to Ilmxlab Epic Games to Inworld AI, you are always working on the intersection of story and technology. How did this trip reach the DNA to escape?

My journey has always been about expanding the ways where stories and worlds with experience and narrative restrictions could be. with MatrixA glimpse of virtual myths. In Magic Leap and ILMXLAB, we have tried clear realism with loved worlds like Star Wars. In EPIC, we showed a plateau of the following interactive cinematic platforms. In Inworld we have stimulated the first steps towards smart characters. Escape.ai is the place where everything comes together – and where creators, not companies, have keys. This DNA is very important: We are not just creating formats; We distribute power. With AI and tools in actual time, creators can now compete with old studios-with their own conditions. Escape.ai is present to make this vision real.

What are the most exciting or transformational ways that see gaming engines and engines that are used to tell stories today?

The most exciting me is that creative asymmetry disappears. Through AI and Game Tearys, a small team – or even a single creator – can now a preliminary model of worlds, move characters, generate visual effects, and size ideas in days, not months. These are not shortcuts – they are complications of strength. We see creators tolerate the risks, tell the personal epics, and go directly. Amnesty International does not inflate the natural talents of human stories; It is the stadium levels by allowing new voices to hear. It gives independent stories narrators the means to launch privileges – and on escape, they are in reality king they.

Do you think that the filmmaking of artificial intelligence will eventually merge with the traditional Hollywood, or are we witnessing the birth of a completely new industry?

We are witnessing both. Hollywood will absorb some of these tools – it’s already. But at the same time, we see a new wave of storytellers who are not waiting for access. They build their own ecosystems, not central, owned by creators, and the empowerment of high technology. It is not just a technological transformation; It is economical. When creators use the next generation tools to make high-quality content and distribute it through platforms like Escape.ai- while maintaining their IP address-we only develop industry. We create a parallel one.

How do you respond to doubts about the creative legitimacy of the content with the help of AI? Can these stories be “human”?

The heart and human mind are still the source. Human authors are scratch if something capable of authentic human resonance is the goal. Artificial intelligence tools expand the scope of human imagination, in the same way as the special effects made by OZ or 2001 processor: A Space Odyssey. Early computer graphics made films like TON as possible and as soon as they arrived, were people worried that human creativity would become extinct because we move to computers to become the following paint brush? no. Stories are still our section – our fears, our hopes, our myths – only we can express them more clearly, more flexible and more independent. Amnesty International does not replace creativity. But it can help remove obstacles between vision and perception. And because creators can now build and publish without a huge budget or support for companies, we already see more Human stories – more voices – more than ever. Authenticity flourishes in freedom.

From your point of view, what role will human authors and actors play in the future of cinema that works on behalf?

They will be in the center – but in new ways. The book will not be just written plans. They will design narrative ecosystems. The actors will mix material and digital shows, which leads to the creation of personalities that continue through the media. What are the changes that change – not the soul. Artificial creative intelligence allows more, and faster, with lower restrictions. It also gives them control of the gods, personalities and waves they create – and the ability to liquidate these assets directly. We enter an era of creative sovereignty.

I said Escape.ai not only about technology, but also about the discovery of “new craft masters”. What are the new skills that movie makers today need prosperity in this mixed creative world?

The new masters are sometimes thinking like systems designers. With unprecedented arrival to rapid repetition, they can quickly fail and learn from mistakes that lead to a better understanding of the story and Temple-building the world, and receiving the audience. We will see this year and beyond, we will see a great rapprochement between this pioneering sector and the sector before applicants for natural risks, writers, producers and wonderful performance who feel frustrated by the Hollywood media complex who have contributed to it so far. More importantly, the modern creator began to understand the value of ownership because it has become more cautious than exploiting the old model. At least I hope they are. It is not enough to make something beautiful – you have to own your world, protect your IP address, and build sustainable paths for your work. Escape.AI to support this entire creative cycle – from Spark to Storyworld to a platform.

Escape.ai has been described as “Netflix for New Cinema”. How does this experience look for the viewers – and how does it differ from the traditional broadcasting platform?

Escape appears. And on his face as a beautiful broadcast service, but it is not only where you are He watches – It is a destination you can Enter. In addition to the new world of sophisticated original content, there are social places where the creators hang, and they meet each other and meet fans. Places like our social summary or our wonderful future theater. Any visiting visitor can choose to watch videos traditionally or literally beating the escape button and finding himself inside an interactive social theater where they can watch it and celebrate with friends. It is a place where stories can develop, as creators can speak directly to the masses, and where fans can support what is being performed and impact after that. And because the creators king Their work, they can also cultivate it via games (Neo Play is now developed), chain, and Merch – without losing control. This is the power of the new cinema.

You have provided features such as virtual theaters and creative magazines – can you talk about how to escape the lines between the economies flowing, social and the Creator?

Escape.ai is designed to bring creators and masses to the same space – not only like viewers, but as a community. Virtual theaters allow for the first time in actual time with global participation. Creative magazines offer transparency and insight in the creative process. It is not just an entertainment – it’s an ecosystem. We link this to the economic models that reward creators to participate, not just views. IP ownership becomes the basis for the real creator’s economy – where success is shared, and fans feel the world they help to rise.

Escape.ai enables creators to keep their IP ownership – rare in the entertainment world today. How important is this for your philosophy?

that it essence From our philosophy. Without ownership, creators work. With ownership, they are architects of culture. At Escape.ai, we are building a world in which artists do not have to sell their rights to tell their stories. They are building once, they have forever, and they cultivate the IP address through formats. Emerging technology like Genai makes it easy to produce content – but spreading this content allows the fans to appear and make IP more valuable, because it can expand through games, simulation, sequence, even goods. We want creators not only made by the iconic worlds – but I own myths. All that has been said, the people behind the escape are in reality as well. We have every intention to cooperate with many creators to escape to seek to achieve our original versions.

For a film director or a game artist who reads this – what is your advice on starting the new cinema?

Start building your universe – even if it is small. Use tools – gaming engines, artificial intelligence generators, and world editors – and learn by doing this. Do not wait for permission. Do not wait for green light. You can create cinematic content today. If your thoughts are convincing, you may challenge anything on broadcasting platforms. What matters most is voice. This is the time for bold creators to move forward. The gates are open. Please note that escape is intended for creators all over the spectrum, from new denial to very firm. If you want to avoid the system, tell the story you don’t want, do not tell you that you should do so, so go to the new cinema.

Thank you for the wonderful interview, I urge readers to visit Escape.ai and watch some short pants to try the future of video flow and digital stories.