Video Game Performers Will Go on Strike Over Artificial Intelligence Concerns 

SAG-AFTRA signage is seen on the side of the headquarters in Los Angeles on Friday, Nov. 10, 2023. (AP)
SAG-AFTRA signage is seen on the side of the headquarters in Los Angeles on Friday, Nov. 10, 2023. (AP)
TT
20

Video Game Performers Will Go on Strike Over Artificial Intelligence Concerns 

SAG-AFTRA signage is seen on the side of the headquarters in Los Angeles on Friday, Nov. 10, 2023. (AP)
SAG-AFTRA signage is seen on the side of the headquarters in Los Angeles on Friday, Nov. 10, 2023. (AP)

Hollywood's video game performers announced they would go on strike Thursday, throwing part of the entertainment industry into another work stoppage after talks for a new contract with major game studios broke down over artificial intelligence protections.

The strike — the second for video game voice actors and motion capture performers under the Screen Actors Guild-American Federation of Television and Radio Artists — will begin at 12:01 a.m. Friday. The move comes after nearly two years of negotiations with gaming giants, including divisions of Activision, Warner Bros. and Walt Disney Co., over a new interactive media agreement.

SAG-AFTRA negotiators say gains have been made over wages and job safety in the video game contract, but that the two sides remained split over the regulation of generative AI. A spokesperson for the video game producers, Audrey Cooling, said the studios offered AI protections, but SAG-AFTRA’s negotiating committee said that the studios’ definition of who constitutes a "performer" is key to understanding the issue of who would be protected.

"The industry has told us point blank that they do not necessarily consider everyone who is rendering movement performance to be a performer that is covered by the collective bargaining agreement," SAG-AFTRA Chief Contracts Officer Ray Rodriguez said at a news conference Thursday afternoon. He said some physical performances are being treated as "data."

Without guardrails, game companies could train AI to replicate an actor’s voice, or create a digital replica of their likeness without consent or fair compensation, the union said.

"We strike as a matter of last resort. We have given this process absolutely as much time as we responsibly can," Rodriguez told reporters. "We have exhausted the other possibilities, and that is why we’re doing it now."

Cooling said the companies' offer "extends meaningful AI protections."

"We are disappointed the union has chosen to walk away when we are so close to a deal, and we remain prepared to resume negotiations," she said.

Andi Norris, an actor and member of the union's negotiating committee, said that those who do stunt work or creature performances would still be at risk under the game companies' offer.

"The performers who bring their body of work to these games create a whole variety of characters, and all of that work must be covered. Their proposal would carve out anything that doesn’t look and sound identical to me as I sit here, when, in truth, on any given week I am a zombie, I am a soldier, I am a zombie soldier," Norris said. "We cannot and will not accept that a stunt or movement performer giving a full performance on stage next to a voice actor isn’t a performer."

The global video game industry generates well over $100 billion dollars in profit annually, according to game market forecaster Newzoo. The people who design and bring those games to life are the driving force behind that success, SAG-AFTRA said.

Members voted overwhelmingly last year to give leadership the authority to strike. Concerns about how movie studios will use AI helped fuel last year’s film and television strikes by the union, which lasted four months.

The last interactive contract, which expired in November 2022, did not provide protections around AI but secured a bonus compensation structure for voice actors and performance capture artists after an 11-month strike that began in October 2016. That work stoppage marked the first major labor action from SAG-AFTRA following the merger of Hollywood’s two largest actors unions in 2012.

The video game agreement covers more than 2,500 "off-camera (voiceover) performers, on-camera (motion capture, stunt) performers, stunt coordinators, singers, dancers, puppeteers, and background performers," according to the union.

Amid the tense interactive negotiations, SAG-AFTRA created a separate contract in February that covered independent and lower-budget video game projects. The tiered-budget independent interactive media agreement contains some of the protections on AI that video game industry titans have rejected. Games signed to an interim interactive media agreement, tiered-budget independent interactive agreement or interim interactive localization agreement are not part of the strike, the union said.



Michael Douglas and Danny DeVito Revisit ‘One Flew over the Cuckoo’s Nest’ for Its 50th Anniversary

Michael Douglas, left, and Danny DeVito appear at the 5th Annual Reel Stories, Real Lives Benefit on April 7, 2016, in Los Angeles. (AP)
Michael Douglas, left, and Danny DeVito appear at the 5th Annual Reel Stories, Real Lives Benefit on April 7, 2016, in Los Angeles. (AP)
TT
20

Michael Douglas and Danny DeVito Revisit ‘One Flew over the Cuckoo’s Nest’ for Its 50th Anniversary

Michael Douglas, left, and Danny DeVito appear at the 5th Annual Reel Stories, Real Lives Benefit on April 7, 2016, in Los Angeles. (AP)
Michael Douglas, left, and Danny DeVito appear at the 5th Annual Reel Stories, Real Lives Benefit on April 7, 2016, in Los Angeles. (AP)

Jack Nicholson did not want to go to the Oscars. It was 1976 and he was nominated for best actor in “One Flew Over the Cuckoo’s Nest.” The Miloš Forman film, which is celebrating its 50th anniversary with a nationwide theatrical re-release on July 13 and July 16, had become a bit of a sensation — the second highest grossing picture of 1975, behind “Jaws,” and had received nine Oscar nominations.

But Nicholson wasn’t feeling optimistic. In five years, he’d already been nominated five times. He’d also lost five times. And he told his producer, Michael Douglas, that he couldn’t go through it again.

“I remember how hard I had to persuade Jack to come to the ceremony. He was so reluctant, but we got him there,” Douglas said in a recent interview with The Associated Press. “And then of course we lost the first four awards. Jack was sitting right in front of me and sort of leaned back and said ’Oh, Mikey D, Mikey D, I told you, man.’ I just said, ‘Hang in there.’”

Douglas, of course, was right. “One Flew Over the Cuckoo’s Nest” would go on to sweep the “big five” — screenplay, director, actor, actress and picture — the first film to do so in 41 years, (“It Happened One Night,” in 1934) which only “The Silence of the Lambs” has done since. That night was one of many vindicating moments for a film that no one wanted to make or distribute that has quite literally stood the test of time.

“This is my first 50th anniversary,” Douglas said. “It’s the first movie I ever produced. To have a movie that’s so lasting, that people get a lot out of, it’s a wonderful feeling. It’s bringing back a lot of great memories.”

The film adaption of Ken Kesey’s countercultural novel was a defining moment for Douglas, a son of Hollywood who was stuck in television and got a lifeline to film when his father, Kirk Douglas, gave him the rights to the book, and many of the then-unknown cast like Danny DeVito and Christopher Lloyd.

DeVito was actually the first person officially cast. Douglas, who’d known him for nearly 10 years, brought Forman to see him play Martini on stage.

“Miloš said, ‘Yes! Danny! Perfect! Cast!’” Douglas said in his best Czech accent. “It was a big moment for Danny. But I always knew how talented he was.”

A Joyful Shoot

Though the film's themes are challenging, unlike many of its New Hollywood contemporaries it wasn’t a tortured shoot by any stretch. They had their annoyances (like Forman refusing to show the cast dailies) and more serious trials (they found out halfway through production that William Redfield was dying of leukemia), but for the most part it was fun.

“We were very serious about the work, because Miloš was very serious. And we had the material, Kesey’s work, and the reverence for that. We were not frivolous about it. But we did have a ball doing it,” DeVito said, laughing.

Part of that is because they filmed on location at a real state hospital in Salem, Oregon. Everyone stayed in the same motel and would board the same bus in the morning to get to set. It would have been hard not to bond and even harder if they hadn’t.

“There was full commitment,” Douglas said. “That comes when you don’t go home at night to your own lives. We stopped for lunch on the first day and I saw Jack kind of push his tray away and go outside to get some air. I said, ‘Jack, you OK?’ He said, ’Who are these guys? Nobody breaks character! It’s lunch time and they’re all acting the same way!'”

Not disproving Nicholson’s point, DeVito remembers he and the cast even asked if they could just sleep in the hospital.

“They wouldn’t let us,” DeVito said. “The floor above us had some seriously disturbed people who had committed murder.”

A lasting legacy

The film will be in theaters again on July 13 and July 16 from Fathom Entertainment. It’s a new 4K restoration from the Academy Film Archive and Teatro Della Pace Films with an introduction by Leonard Maltin.

“It’s a gorgeous print and reminds me how good the sound was,” Douglas said.

DeVito thinks it, “holds up in a really big way, because Miloš really was paying attention to all great things in the screenplay and the story originally.”

Besides the shock of “holy Toledo, am I that old?” DeVito said that it was a treasure to be part of — and he continues to see his old friends, including Douglas, Lloyd and, of course, Nicholson, who played the protagonist, R.P. McMurphy.

One person Douglas thinks hasn’t gotten the proper attention for his contributions to “Cuckoo’s Nest” is producer Saul Zaentz, who died in 2014. His music company, Fantasy Records who had Creedence Clearwater Revival, funded the endeavor which started at a $1.6 million budget and ballooned to $4 million by the end. He was a gambler, Douglas said, and it paid off.

And whatever sour grapes might have existed between Douglas and his father, who played R.P. McMurphy on Broadway and dreamt of doing so on film, were perhaps over-exaggerated. It was ultimately important for their relationship.

“McMurphy is as good a part as any actor is going to get, and I’m now far enough in my career to understand maybe you have four, maybe five good parts, really great parts. I’m sure for dad that was one of them,” Douglas said.

“To not be able to see it through was probably disappointing on one side. On the other, the fact that his son did it and the picture turned out so good? Thank God the picture turned out. It would have been a disaster if it hadn’t.”

Douglas added: “It was a fairy tale from beginning to end. I doubt anything else really came close to it. Even my Oscar for best actor years later didn’t really surpass that moment very early in my career.”