Machinima is both a genre of filmmaking, which taps into the power of video game technology to produce motion pictures (which is becoming an increasingly appealing canvas, especially for movie makers on a budget), and a website that both hosts and directly produced content that is related to video games (often utilizing machinima in the process).
The later has tried whenever it can to enlist the talents of Hollywood, to help evangelize the platform, and they may have just signed their biggest name yet: Ridley Scott. When it comes to AAA directors from tinsel town, you honestly don't get much bigger than the man who gave us Alien, Blade Runner, Legend, plus Thelma & Louise to name a few.
But those Scott expecting him to use Gary's Mod to produce the sequel to Blade Runner might be disappointed to hear that the director will only be producing content. 12 science fiction shorts films to be exact.
The directors of these shorts will hail from Scott's own production company RSA. Mashable lists just a few of the talents that are part of RSA, and it's impressive company.
While it also seems highly improbable that Martin Scorsese would ever use a video game engine to make his next movie, someone like Neill Blomkamp, best known for District 9, is far more plausible. Perhaps we might finally get the Halo film that he was originally slated to helm?
It is also reported that one of the main goals of the agreement is help lead to the creation of new sci-fi franchises, "with both RSA and Machinima reaping the rewards."
Given how Scott in recent years has expressed interest in creating new movies based upon both the Alien and Blade Runner franchises, this all sounds like another part of his plan. According to Scott via a statement:
"RSA has always been at the forefront of creating innovative work. With new media transforming the way audiences connect with films and filmmakers, Machinima is a great partner for us as we embark on this new model of delivering original content to fans. It’s a tremendous opportunity for pushing the creative boundaries for both our filmmakers and the audience."
