Family Plan 2 director Simon Cellan Jones has doubled down on his commitment to practical stunt work, stating that computer-generated action “can never duplicate real thrills.” Speaking about the film’s demanding location shoots across Paris and London, Jones detailed why the sequel prioritizes real car chases and dangerous setpieces over AI-assisted visuals. The Apple TV release continues to expand the franchise’s global footprint with more high-risk action sequences. Jones’ comments arrive as Hollywood debates the increasing use of AI in action-heavy productions. His sharp criticism underscores ongoing industry tensions regarding digital shortcuts in filmmaking.
Director Simon Cellan Jones emphasized that Family Plan 2 relied on authentic stunt work during filming in Paris’ Montmartre district. A centerpiece sequence—featuring a Trabant and Range Rover racing down historic steps—was performed practically, with stunt teams limiting attempts due to escalating risk. Additional scenes were shot on location at Piccadilly Circus and Westminster Bridge in London, requiring intricate planning and months-long approval processes.
Jones stated that the film’s authenticity reflects his long-standing appreciation for ’70s and ’80s action cinema, citing The French Connection and Bullitt as core inspirations. He noted that even complex parkour shots were completed with real performers rather than digital doubles, supported by studio partner Skydance.
Jones gave an unfiltered assessment of artificial intelligence in modern action filmmaking:
“People always say, ‘We can do this CG.’ But when I see these big scenes, even skillfully done, I know it’s fake. A little switch goes off.”
He added bluntly:
“I f—ing hate AI right now. It’s going to be relevant, sure, but people know when you use it.”
Industry analysts note that Jones’ stance resonates with a portion of filmmakers committed to traditional, tactile stuntwork. His collaboration with Mark Wahlberg, known for physically demanding roles, further reinforces the franchise’s practical approach.
Jones’ public rejection of AI-assisted action may influence how audiences perceive Family Plan 2’s authenticity. As studios increasingly lean toward digital production efficiencies, the film’s practical stuntwork helps distinguish it in a crowded action-comedy landscape.
The director’s comments also arrive amid broader labor and creative debates surrounding AI’s use in Hollywood. His stance could become a focal point as filmmakers, unions, and studios negotiate standards for digital tools in high-budget projects.
Family Plan 2 is now streaming on Apple TV, with promotional materials highlighting its real-world stunt execution. Jones and Wahlberg are expected to continue their collaboration, with early development discussions already underway for future action-driven projects.
Apple is expected to release behind-the-scenes footage—particularly of the Montmartre chase—later this month, offering fans a closer look at the production’s high-risk sequences. Whether Jones’ no-AI philosophy will shape future franchise entries remains a key storyline to watch.
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