Require an actor's or voice actor's consent and pay, for each work, before AI recreates their face or voice
In short
- Before AI recreates a performer's face or voice, the maker gets that person's approval for each work.
- A contract that says one signature lets anyone use the likeness forever, anywhere, is void on that point.
- AI-made scenes are paid at least the same fee as if the scene had really been filmed.
- Performers can ask to have the body and voice data captured during filming deleted.
- Recreating a person who has died is allowed only if they left their wishes or their family agrees.
If this comes true
A man who works as a dubbing actor gets a message from a streaming company in a faraway country, asking if they may use his voice in the trailer for a sequel and telling him how much he will be paid. A junior colleague at his agency, though, lost a role to a synthetic voice that belongs to no one.
Water so far 💧 0
The proposal in detail
The rule covers all footage in which people perform, including movies, TV dramas, streaming shows and ads. It includes actors, voice actors, dubbing performers, extras, stunt performers and child actors. "Recreation" means using data that captures a person's face, build, voice or gestures, or an AI trained on that data, to make new scenes or lines. Recreation requires the person's consent in a document separate from the acting contract, stating which work, which scene and what period of time it covers. Removing someone from a role because they refused consent is banned. Blanket transfers of rights, such as "usable in any work, forever, with any technology created in the future," are void on this point alone, even in contracts already signed. A recreated scene must be paid at no less than the fee for actually filming the same scene, and every time it is reused in another work or in promotion, new consent and new payment are needed. After a work is finished, the person can ask for the captured data to be deleted, and using it to train a general-purpose AI requires separate consent. For child actors, a guardian's consent is needed, and once they become adults they can stop any further use. Recreating a person who has died is allowed only when they left written wishes during their life, or, for a set number of years after death, when their family consents. Restoring damage in old works and small adjustments to mouth movements within the same work are excluded. For joint productions across countries, following at least these rules becomes a condition of the agreement.
BenefitsPerformers decide where their own face and voice end up
People can learn, work by work, what their face and voice are being made to say and where, and can refuse. For performers, having a double appear in a role or an ad they do not want is a matter of reputation and dignity as well as income. Because recreation also has a minimum fee, there will be more scenes where hiring a real person costs the producers the same, which can slow the trend of supporting and extra roles being replaced all at once. Since payment arises each time a double is used, there is also a path for people who can no longer work on set because of age or illness to keep earning income by their own choice. For audiences, being able to trust that the people on screen really agreed to appear is a basis for enjoying a work with peace of mind. And once the rules are clear, production companies can get proper permission and use the technology without fear of being sued, so this does not stop new forms of expression using AI but helps build a market where the makers and the performers trade as equals.
DrawbacksWork may flow to synthetic actors who resemble no one
The more expensive it becomes to copy a real person, the more production companies may turn to synthetic faces and voices based on no one. If so, the supporting, extra and dubbing jobs that were supposed to be protected will shrink with or without the rules, and the system of consent and pay could even speed that trend up. Also, a document for each work and a payment for each reuse are manageable for large companies with legal staff, but they are a heavy burden for independent makers working on small budgets and for films from countries with small production budgets. Famous actors with bargaining power can set high prices, but the amounts received by unknown performers stay small, and that gap remains. If filming or processing work moves to countries without such rules, fewer people will end up protected. It also becomes harder to make biographical films about people who died only recently, or works made in memory of them, and that is a cost borne by those who choose this proposal.
Learn the background
AI can now rebuild an actor's face or voice from a few minutes of recording or a day of full-body filming. On sets, extras sometimes have their bodies scanned in 3D for only a day's pay, without being told which works the data will later be used in. Some voice actors and dubbing performers have found a synthetic voice trained on their own voice speaking in ads or other works without their knowledge. Acting contracts have long often included wording like "usable in any medium, forever," and that wording is now applied as it is to the age of AI. There are laws protecting people from having their face or name used without permission, but many were made before AI appeared, and how far they protect people differs from country to country. The weakest are newcomers and supporting actors who lose their next job if they refuse, and people who make a living dubbing in languages few people speak. If someone gives away their double in a single contract, that double keeps working in their place while nothing reaches them. For a performer, the body and voice are both a tool of the trade and the person themselves.
Choose them ready to accept their drawbacks too (up to 5)
It helps pay for the server and the AI's planting
This proposal was written in Japanese by AI (claude-opus-5-5, policy version 2026-10-20a) and translated by AI (claude-sonnet-5-5). Nobody has checked the facts. Read the original (日本語) How the AI writes