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From Netflix to Disney: AI on the big screen

Generative AI (GenAI) has stormed into the film industry. Just weeks ago, Netflix released The Eternaut, a movie featuring AI-generated special effects. Disney also experimented with AI, reportedly testing deepfake technology to digitally map Dwayne Johnson’s face onto a stunt double for the upcoming live-action remake of Moana.

Tools like Midjourney, DALL·E, or Sora can create visuals, voices, and even full design concepts in seconds. For streaming platforms fighting to retain subscribers against rivals like YouTube or TikTok, this is a tempting shortcut. It also lowers the entry barrier: start-ups can now produce entire shows from a laptop, as Amazon’s new Showrunner initiative demonstrated.

But behind the flashy demos lies a web of unresolved questions that could slow AI’s takeover of Hollywood.

Copyright in the age of algorithms

Perhaps the biggest headache is intellectual property. Disney’s deepfake project is a perfect case study. After 18 months of talks with the AI company Metaphysic, the studio walked away from the deal. Why? Because no one could guarantee copyright ownership of AI-generated content. As The Wall Street Journal reported, the risk of losing control over potentially profitable material was simply too high.

The problem extends far beyond Disney. Studios want to protect their work from being copied by AI tools, while at the same time relying on those same tools — many of which are trained on massive datasets that include copyrighted content. This raises a bigger question: is creating “with AI” the same as building on someone else’s work?

Fear of replacing humans

AI also raises fears about replacing people — writers, actors, visual effects artists. Hollywood unions saw this coming. After the 2023 wave of strikes, the Writers Guild of America and the Screen Actors Guild negotiated agreements to protect creators from being sidelined by AI.

But worries remain. Will a screenwriter’s work just become “training data” for future AI scripts? Will actors’ likenesses be used indefinitely without their involvement? And who should profit from AI-generated content — the human creators, the studios, or the tech companies providing the algorithms?

Studios attempt damage control

In response, some studios are trying to regulate themselves. Alongside The Eternaut, Netflix unveiled its own AI guidelines for filmmakers. The company divided AI use into “low-risk” tasks, like brainstorming, and “high-risk” cases, like deepfakes or using third-party materials — where management approval is required.

It’s a clear sign the industry is trying to stay ahead of potential crises. Netflix co-CEO Ted Sarandos has argued that GenAI won’t just make movies “cheaper” but also “better.” Still, optimism clashes with reality: if used recklessly, AI could drag studios into legal battles and PR disasters.

PR vs. innovation

Beyond legal disputes, there’s also the issue of audience trust. Viewers — especially in Europe and the US — are increasingly aware of the dangers of AI: deepfakes, manipulated images, and blurred lines between real and fake. A studio openly using AI to generate characters or scripts risks criticism for “tricking” its audience.

Hollywood is more than an industry — it’s a myth-making machine. If AI takes over too much, will cinema lose its magic? A studio replacing human actors with algorithms could find itself facing a backlash instead of applause.

AI: tool or threat?

Generative AI is quickly becoming part of the creative world, but in Hollywood it brings more uncertainty than answers. Is it simply the next step in automation — or the start of a deeper shift in how we define creativity? Can studios protect copyright in a world where the line between inspiration and imitation is razor-thin?

Right now, the industry is walking a tightrope: balancing the pressure for innovation with the risks of legal trouble, creator resistance, and public mistrust.

One thing is clear: AI may not be writing the final act for Hollywood just yet — but it’s definitely in the script.

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