Christopher Nolan Calls AI an ‘Obvious Trojan Horse’ Amid Growing Public Scepticism
Christopher Nolan has described artificial intelligence as an “obvious Trojan horse,” saying growing public scepticism—especially among younger people—is a healthy response to rapidly advancing AI technology.
Oscar-winning filmmaker Christopher Nolan has compared artificial intelligence to a modern-day Trojan horse, arguing that unlike the legendary tale from Greek mythology, today’s AI arrives with its risks already visible to the public. Speaking during an interview with YouTube journalist Hugo Travers, better known as HugoDécrypte, Nolan said widespread scepticism towards AI is encouraging, particularly among younger generations.
The discussion centred on The Odyssey, Nolan’s latest film inspired by the ancient Greek epic. Travers drew a comparison between the mythical Trojan horse—a seemingly harmless gift that concealed Greek soldiers—and artificial intelligence, asking whether AI could become something much darker once it is welcomed into everyday life.
AI is a ’ transparent ’ Trojan horse, Nolan says
Nolan laughed at the comparison before suggesting that AI differs from the original Trojan horse because people already know what is inside. “I think AI is a Trojan horse that everybody knows the Greeks are inside,” he said, later describing the technology as “a transparent horse” made of glass.
The director said he has never witnessed a technology advancing so quickly while simultaneously facing such widespread public distrust. According to Nolan, many young people are especially critical of AI-generated content, quickly identifying and dismissing poor-quality material online with terms such as “AI slop.”
Healthy scepticism will shape AI’s future.
Nolan believes this public caution is ultimately beneficial. While acknowledging that technological progress can bring valuable innovations, he argued that every major advancement should be approached carefully rather than accepted without question.
He added that people should also examine the motivations of those developing and promoting new technologies. In his view, maintaining healthy scepticism towards both AI itself and the companies behind it offers the best chance of ensuring the technology delivers long-term benefits without unintended consequences.
Hollywood continues debating generative AI.
Although Nolan did not elaborate on the specific dangers he associates with artificial intelligence, AI has remained one of Hollywood’s most debated topics in recent years. The technology played a central role during the 2023 writers’ and actors’ strikes, with concerns focusing on the use of generative AI in creative industries and the protection of intellectual property and creative work.
Nolan, who serves as president of the Directors Guild of America, also oversaw negotiations that secured generative AI protections in the union’s latest contract, reflecting the industry’s ongoing efforts to balance technological innovation with the rights of filmmakers and creative professionals.
A long-standing technology sceptic
The filmmaker has long been known for questioning the rapid adoption of new technologies. Despite embracing technical innovation in filmmaking, Nolan has frequently expressed reservations about replacing proven methods simply because newer alternatives exist.
His latest film, The Odyssey, became the first feature-length production to be filmed entirely using IMAX film cameras, continuing his long-standing preference for traditional film over digital formats. In a recent interview with The New York Times, Nolan described himself not as a technophobe but as a “techno-sceptic,” explaining that he believes film still represents how the human eye sees the world more accurately than current digital imaging systems.
Nolan said he regularly adopts new technology when it offers genuine improvements, but warned that industries often abandon effective systems too quickly. Reflecting on the evolution of filmmaking, he argued that cinema came close to losing traditional film entirely as studios rushed towards digital production, describing the shift as an example of “throwing the baby out with the bath water.”
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