In a recent statement, the Alliance of Motion Picture and Television Producers (AMPTP) announced a proposal that they claim includes a “groundbreaking AI proposal that protects actors’ digital likenesses for SAG-AFTRA members.” This statement was made in response to the ongoing strike initiated by the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA).
During a press conference addressing the proposal, SAG-AFTRA’s National Executive Director, David White, and General Counsel , Duncan Crabtree-Ireland, expressed their discontent with the AMPTP’s AI proposal. Crabtree-Ireland criticized the suggested terms stating, “They proposed that our background performers should be able to be scanned, get one day’s pay, and their companies should own that scan, their image, their likeness, and should be able to use it for the rest of eternity on any project they want, with no consent and no compensation.”
The issue of generative AI has been at the center of negotiations between the two parties. This emerging technology has raised concerns not only among actors but also writers, as evidenced by the ongoing writers strike. SAG-AFTRA president Fran Drescher emphasized the significance of taking a stand against AI in her opening statement during the press conference. She warned, “If we don’t stand tall right now, we are all going to be in trouble, we are all going to be in jeopardy of being replaced by machines.”
As the strike deadline approaches, tensions between SAG-AFTRA and AMPTP continue to rise. The strike is set to officially commence at midnight, signaling a significant disruption in the entertainment industry. Both sides are keen on protecting their interests, with AMPTP seeking to implement their proposed AI regulations and SAG-AFTRA fighting against potential exploitation and diminished creative control.
Expanding on the implications of the AI proposal, it raises questions about the ownership and usage rights of actors’ digital likenesses. The AMPTP’s proposition suggests that once a background performer is scanned, their likeness becomes the property of the production company, subject to unlimited use across various projects without requiring the individual’s consent or compensation. This would effectively strip actors of control over their own digital identities, potentially leading to exploitation and infringement of their rights.
The exposure of actors’ digital likenesses through AI technology has become a growing concern within the entertainment industry. The ability to generate realistic, computer-generated versions of actors raises ethical and legal issues related to privacy, consent, and fair compensation. By retaining ownership over actors’ digital representations, production companies gain significant power over their careers and potential earnings.
Furthermore, the proposed AI regulations may also have broader implications for the future of the industry. If AI-generated performances become the norm, it could threaten the livelihoods of human actors, who may find themselves replaced by machines. The fear of being replaced by AI-driven counterparts looms large over performers and is driving their resistance against the AMPTP’s proposal.
It is worth noting that the Verge, the source of this article, discloses its own affiliation with the Writers Guild of America, East. As a unionized organization, the Verge’s editorial staff stands in solidarity with the ongoing strike and recognizes the importance of supporting workers’ rights in the entertainment industry.
In summary, the ongoing strike initiated by SAG-AFTRA highlights the contentious issue of how AI technology is transforming the entertainment industry. The AMPTP’s proposal regarding actors’ digital likenesses has been met with strong opposition from SAG-AFTRA, who argue that it diminishes the rights and control of performers over their own identities. As the strike deadline approaches, the future of AI in the industry hangs in the balance, with both sides grappling for a resolution that protects the interests of all parties involved.
