This essay discusses the changes caused by the introduction of digital technology to the film medium, especially the effect of interactivity on film narrative, as well as the new relationship formed between the author(s) of the interactive film and its audience. Analog and digital technology began to effect the production and aesthetics of filmmaking since early 1980s. Looking forward, in the near future, film technology is moving towards the digital, non-linear and web-based direction. The effect of this trend on film storytelling will inevitably be the emergence of interactive narrative cinema. Storytelling is said to be interactive in the time of our ancestors. Film, however, is pre-programmed, and can not be interactive. The appearance of digital technology offers a real chance for film to be interactive. According to Chris Hales, 6 models of interactive narrative have emerged in film and television media in Europe and America, including the use of DVD-ROM and internet. Constructing interactive narrative needs to think in different ways from writing traditional linear narrative. In interactive narrative, micro-stories are basic units used to structure the whole story. Like playing chess, a user in the interactive narrative can develop a radial branch structure. An audience can play the role of one of the characters, make a certain decisions, an thus true. An audience can play the role of one of the characters, make a certain decisions, an thus construct his version of the story. Since an audience can manipulate an character, and decide the direction of the story, what’s left for the person telling the story, i.e. the author in the tradition sense, to do? Does it mean the death of authors? Maybe not.