How Europe’s Film and TV Dubbers Are Leading the Fight Against AI

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Dubbing, as an art form, is at its best when it calls as little attention to itself as possible. 

Interestingly enough, it’s those who work with dubbing, often referred to as synchronization artists, whose voices are making the most noise in Europe‘s debate about the application of artificial intelligence technology in movie and TV production.

On the 1st of April, prominent German voice actors, such as those who lend their voices to Ben Affleck, Angelina Jolie, and SpongeBob SquarePants in dubbed versions, shared a video that gained widespread attention. The video expressed concern over their employment security due to an increase in movies being dubbed using synthetic voices from robots. These robots were trained using our voices, without our authorization, and it is alleged that this was done illegally.

As a passionate gamer and lover of well-crafted stories brought to life through exceptional voice acting, I can’t help but feel a sense of unease echoing across the European dubbing community. With over 215,000 concerned voices rallying under the banner #TouchePasMaVF (Don’t touch my dubbing), it seems that we are all bracing for a potential threat from AI technology.

The SFA, French Union of Performing Artists, and dubbing association Les Voix, have sounded an alarm, warning that our skilled synchronization artists, along with the brilliant writers and technicians who collaborate to create a globally recognized industry, are in peril. This industry is not only the backbone of our beloved entertainment, but it’s the very essence that breathes life into our favorite characters.

The Italian dubbers’ association ANAD has already set a precedent by including AI clauses in their new national contracts. These clauses aim to protect actors’ voice performances from being replicated or reused without their explicit agreement and compensation. Now, Spain’s dubbing community is following suit as they negotiate with studios and streamers, adopting this model to safeguard the unique talents of their artists.

In essence, we are fighting for the preservation of our craft – for the continued recognition and appreciation of human creativity in an ever-evolving technological landscape.

The resistance against AI-generated content has managed to halt several high-profile projects. For instance, online uproar caused German streaming platform MagentaTV to abandon the Polish crime series “Murderesses,” which had been enhanced by AI technology from Israeli startup Deepdub, only two days after its premiere in February. Similarly, a British company named ElevenLabs intended to use an AI replica of the late actor Alain Dorval, whose distinctive gravelly voice has long been Sylvester Stallone’s French dub for audiences, for the Amazon France release of “Armor,” a new film starring Stallone. However, after facing criticism from the industry, Amazon quickly announced their decision to employ a real human actor instead.

The debate over AI in the film industry was a significant issue during the 2023 Hollywood actors’ strike. Initially, it seemed that Europe might dodge a similar conflict regarding AI use. In the U.S., where studios hold significant power, creatives who work on a contract-for-hire basis are rightfully cautious about AI tools potentially replacing them. However, in Europe, the industry is primarily composed of smaller and midsize production companies, independent operations, and mini-studios that see numerous benefits from AI technology.

3 industry veterans – Didier Lupfer (former StudioCanal CEO), Édouard Boccon-Gibod (ex-TF1 executive) and Tariq Krim (tech innovator) – introduced The Media Company in March. This studio aims to revolutionize the film industry by incorporating AI into every aspect of the creative process. Later in April, Fremantle, a production company whose Irish division Element Pictures is presenting Alexander Skarsgard/Harry Melling’s Pillion and Akinola Davies’ My Father’s Shadow at this year’s Cannes film festival, also joined the movement, launching Imaginae Studios. This AI-focused label will utilize artificial intelligence to enhance their creative team, push production limits, and foster innovation in storytelling.

Charlotte Lund Thomsen, legal advisor at FIAPF, the worldwide producers association, explains that when considering the adoption of AI in our industry, it’s not because our members are fearful of technology or dislike AI,” she says.

Notably, both the German actors’ union (BFFS) and the trade union group Verdi have agreed to terms in a collective bargaining agreement. This accord, effective from March 1, sets definite boundaries for AI usage within film productions, as it was reached with the German producers alliance. According to Wiebke Wiesner, deputy head of the producers alliance, this deal was signed without any disruptive strikes, which have been common in other countries.

In terms of AI legislation, Europe was leading the way over the U.S., as evident by the passage of the AI Act in August 2024. This groundbreaking law is the world’s first attempt to regulate artificial intelligence technology. It mandates labeling for any AI-generated or manipulated content, such as images, audio, and videos, making it clear that they are not authentic. Moreover, tech companies must adhere to the European Union’s 2019 copyright law, which provides copyright holders with the exclusive authority to decide whether their works can be used, and stipulates fair and appropriate compensation for online use. This law also gives every copyright holder the option to opt-out, preventing their material from being used online entirely or specifying the purposes for which it can be utilized.

As a creative, I’ve noticed a concerning issue with the AI Act – a loophole that allows for “text and data mining” under the guise of education, research, or journalism. This exemption, critics argue, is being exploited by AI systems to plunder our content without proper consent. On March 28th, 15 cultural organizations, such as FIAPF and associations representing screenwriters, musicians, and authors, voiced their concerns about the latest draft of the code of practice. They claim that this draft not only introduces legal uncertainty but also misinterprets EU copyright law and undermines the very obligations outlined in the AI Act itself. If left unaddressed, they warn, this could pose a significant threat to creative professionals across Europe.

Thomson expresses concern that a loophole in the AI Act might allow major AI companies to collect massive amounts of intellectual property, such as copyrighted films, music, or books, by scourging piracy websites. The current draft prohibits data scraping from “well-known piracy sites,” but Thomson points out that these sites frequently change on a daily basis.

The proposed code of conduct suggests that data miners, being model providers, should make a substantial but unspecified effort to adhere to copyright regulations. Additionally, it establishes minimal standards for transparency.

Thomsen found the idea particularly chilling: it involves restricting the transparency report to just the top sources, accounting for only 5% to 10% of the AI model’s training data. This implies that 90% of our members will remain completely unaware if their work has been utilized at all. It would essentially maintain an information void or ‘black hole.'”

This version maintains the original meaning, but uses simpler and more natural language to make it easier for readers to understand.

Starting August 2nd, much of the AI Act will take legal effect. However, if any loopholes or gaps in the legislation are not addressed prior to this date, there is concern within Europe’s artistic community that AI may end up destroying the market it aims to rejuvenate.

According to FIAPF’s managing director Benoît Ginisty, this isn’t about prohibiting AI use, but rather ensuring the necessary components are in place so an AI-centric market can thrive. For the [entertainment] sector and the broader economy to experience growth, it’s crucial to establish a legal framework that fosters a marketplace for licensing AI technology.

Originally, I came across this captivating tale in the May 7 edition of The Hollywood Reporter’s magazine. If you’d like to read more such intriguing stories regularly, consider subscribing to their magazine by clicking here.

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2025-05-11 16:24