Hollywood
Katherine Waterston to star opposite Eddie Redmayne in ‘Harry Potter’ spinoff
MUMBAI: Katherine Waterston will star opposite Eddie Redmayne in Warner Bros. Pictures’ Harry Potter spinoff Fantastic Beasts and Where to Find Them, set in J.K. Rowling’s Wizarding world.
Waterston will play the pivotal role of Tina, short for Porpentina, a witch who – unlike the beloved characters from Rowling’s Harry Potter books – works her magic in the U.S. She meets magizoologist Newt Scamander (Redmayne) when he stops in New York City on his travels to find and document magical creatures.
Warner Bros. Pictures president of creative development and worldwide production Greg Silverman said, “Katherine Waterston is a rising star, who was a revelation in our film Inherent Vice, earning the praise of both critics and audiences. We are thrilled to have her back in the Warner Bros. family, especially in one of our most anticipated titles for 2016, Fantastic Beasts and Where to Find Them.”
David Yates (director of the last four Harry Potter films) will direct from Rowling’s screenplay, inspired by Newt Scamander’s Hogwarts textbook Fantastic Beasts and Where to Find Them.
The film is being produced by David Heyman, producer of all eight Harry Potter features; Rowling; Steve Kloves, who scripted all but one of the Harry Potter films; and Lionel Wigram, who served as an executive producer on the last four installments of the franchise.
Waterston recently starred in Paul Thomas Anderson’s Inherent Vice, for which she shared in an Independent Spirit Award for Best Ensemble. She also stars in the upcoming biopic Steve Jobs, under the direction of Danny Boyle.
Warner Bros. Pictures will release Fantastic Beasts and Where to Find Them in 3D and Imax on 18 November, 2016.
Hollywood
Utopai Studios partners Huace to deploy PAI for long form content
Deal includes revenue sharing as Huace adopts AI engine across global ops
MUMBAI: Lights, camera… algorithm, the script just got a silicon co-writer. In a move that signals how storytelling itself is being re-engineered, U.S.-based Utopai Studios has partnered China’s Huace Film & TV Co. Ltd. to bring artificial general intelligence into the heart of long-form content creation.
At the centre of the deal is PAI, Utopai’s cinematic storytelling system, which Huace will deploy as a core engine across its production pipeline from development and creative iteration to global localisation. The partnership includes a large-scale annual usage commitment from Huace, alongside a usage-based revenue-sharing model, underscoring both ambition and commercial confidence on both sides.
For Huace, one of China’s largest film and television companies, the bet is not on automation alone but on scale with control. With distribution spanning over 200 countries and a presence across more than 20 international platforms, including Netflix and YouTube, the company brings a vast content ecosystem where even marginal efficiency gains can translate into significant output shifts. Its extensive TV IP library further positions it as fertile ground for AI-assisted storytelling workflows.
The choice of PAI follows what Huace described as a rigorous evaluation of existing AI tools, many of which remain limited to fragmented use cases such as video generation or editing. What tipped the scales, according to the company, was PAI’s ability to handle long-form narrative complexity maintaining continuity, structure, and creative coherence across entire story arcs rather than isolated clips.
Utopai, for its part, is using the partnership to anchor its international expansion strategy, pitching PAI as an enterprise-ready system built for customisation, privacy, and regulatory adaptability across markets. That positioning becomes particularly relevant as global media companies increasingly scrutinise how AI integrates into proprietary workflows.
The timing is notable. Earlier this month, Utopai upgraded PAI to support three-minute 4K video generation and advanced multi-shot sequencing features designed to tackle one of AI storytelling’s biggest hurdles: consistency across scenes.
What emerges is not just another tech collaboration, but a glimpse into how the grammar of filmmaking could evolve. Because if stories were once crafted frame by frame, the next chapter might just be coded scene by scene.
