Artificial intelligence is changing the way films are made, but it is also forcing the entertainment industry to confront difficult questions about creativity, consent and ownership.
As generative artificial intelligence (AI) becomes increasingly common across the entertainment industry, questions around consent, ownership and performers’ rights are becoming harder to ignore. While AI offers filmmakers new creative possibilities, it also raises concerns about actors unknowingly signing away the rights to their likeness, voice and performances through poorly understood contractual clauses.
A proposed legal framework, developed with input from industry stakeholders and the Punjab Film City Authority (PFCA), aims to establish clearer protections for artists working in Pakistan. Veteran actor, director and producer Shamoon Abbasi, who has been involved in the initiative, spoke to Instep about AI in entertainment, the need for regulation and why he believes performers must retain control over their digital identities.
Instep: You’re clearly not opposed to AI itself. Where should the line be drawn between using it as a creative tool and not one to exploit performers?
Shamoon Abbasi (SA): The line is consent and creative control. Technology should enhance human creativity, not replace it simply to cut costs. AI can be a valuable tool when it’s used to improve post-production, clean up audio or create visual effects under the supervision of filmmakers. But the moment it is used to replace an artist’s work, reduce their compensation or manipulate their performance without their explicit consent, it becomes exploitation.
Instep: Organisations like SAG-AFTRA have fought high-profile battles over AI and performers’ rights. Why has Pakistan’s entertainment industry been particularly vulnerable?
SA: AI has entered Pakistan’s entertainment industry very quickly, but without the legal safeguards needed to protect artists. It’s already being used to generate advertisements, songs, title tracks and trailers. The technology has evolved faster than our regulations. As a result, actors, models, influencers and voice-over artists have very little legal protection. Unless these contractual loopholes are addressed, performers remain vulnerable to exploitation.
Instep: When did concerns about AI clauses first emerge and what exactly raised alarm bells?
SA: It began when an actor carefully reviewed a contract and noticed a newly inserted clause stating that the broadcaster would acquire permanent AI rights over their likeness. It had never been discussed or negotiated, which immediately raised concerns. While this isn’t common practice across the industry yet, the clause appeared in contracts for projects being handled through Dubai. It was a wake-up call because actors were effectively being asked to sign away control of their own identities without fully understanding the implications.
Instep: For readers unfamiliar with the issue, how could AI reduce an actor’s work on a project?
SA: If an actor unknowingly signs away their AI likeness rights, a production can digitally recreate their appearance and use it in additional scenes without requiring them on set. For example, if a project normally requires 10 days of filming, the actor may only be hired for five, while AI is used to complete the remaining work. That means they’re paid for only half the work, despite their digital likeness continuing to appear on screen. Beyond the financial loss, it also strips performers of control over how their image and performance are used, which is why so many actors are concerned.
Instep: You approached both Sindh and Punjab government with this proposal. Why did the latter respond more quickly?
SA: I serve as an unofficial consultant on AI initiatives at the Punjab Film City Authority (PFCA), so I had already been researching and developing a legal framework around AI and copyright issues. While I reached out to the Sindh government, their response was unfortunately much slower.
The Punjab government, on the other hand, immediately recognised the urgency of the issue. As part of my work with the PFCA, I collaborated with the relevant authorities to develop an AI framework aligned with international standards. We also established the Pakistani Artists Film, Television and Radio Association (PAFTRA) to give these efforts institutional backing. Through the association, we’ve proposed that AI consent, digital remuneration and the duration of AI usage should all be governed by separate agreements rather than being bundled into standard performance contracts.
Instep: What were the key protections you wanted included in the proposed legislation?
SA: Our priorities were informed consent, fair compensation and data sovereignty. We wanted to ensure that an actor’s likeness could never be used indefinitely under a single agreement. Any use of AI should require a separate, project-specific opt-in, with a transparent fee structure. Additionally, actors must have the right to reject an AI-generated performance if it compromises their artistic integrity. Those protections remain part of the current draft, which is expected to be presented before the Punjab Provincial Assembly before moving through the legislative process.
Instep: If these protections are adopted, what should a fair AI contract look like?
SA: As a director and the founder of Aiboxcinema.com, I’ve always advocated for the ethical use of technology. Artists should never feel pressured into giving up their rights simply because they’re afraid of losing work. An ethical AI contract should treat AI as a creative tool that enhances filmmaking, not as a replacement for performers. Most importantly, signing a standard acting contract should never automatically grant AI rights. Any use of an artist’s face or voice through AI must require a separate agreement, with clear consent, appropriate compensation and legal penalties for any unauthorised use.
Instep: The aim is to eventually introduce this framework at the national level. What challenges do you anticipate and how can the industry support that effort?
SA: The biggest challenge will be navigating federal bureaucracy while ensuring the legislation isn’t weakened through competing provincial priorities or corporate lobbying. That’s why it’s important for the entertainment industry to present a united front. Actors, writers and technical crews need to be cautious about signing contracts containing vague digital rights clauses, while organisations like PAFTRA can help raise awareness and push for stronger legal protections. Ultimately, this is both a labour rights issue and an intellectual property issue. It needs to be treated as such.
Instep: Some have raised concerns that state-backed funding could end up favouring a narrow or sanitised version of Pakistani storytelling. Do you share those concerns?
SA: It’s certainly something we need to be mindful of. If the objective is to bring audiences back to cinemas, a heavily sanitised approach isn’t going to work. Today’s audiences consume global content every day through streaming platforms and social media. We can’t expect them to return to theatres if we’re only producing dated or overly restricted stories.
Another challenge is nepotism. The same established names often receive the spotlight and funding, while many talented independent filmmakers struggle because they lack the right connections. If these initiatives aren’t inclusive and merit-based, I don’t think they’ll achieve their long-term goals.
Instep: The Punjab Film City Authority (PFCA) Act 2026 also lays the groundwork for a new Film City and post-production facility. What needs to happen to ensure it becomes a genuine filmmaking hub rather than just another infrastructure project?
SA: From what I’ve seen, the Punjab Film City Authority (PFCA) is focusing on building the right foundation. Advanced production equipment has already been booked, specialised departments are being staffed with experienced industry professionals and we’re expecting the groundbreaking ceremony in Lahore soon. The key, however, is continuity. The PFCA must be able to operate independently of political changes. If its long-term vision, infrastructure and operational framework remain protected regardless of who is in government, it has the potential to become a sustainable centre for the industry rather than just another construction project.
Instep: Beyond infrastructure, what are the biggest technical gaps Pakistan still needs to address to compete internationally?
SA: If we want to attract international productions and strengthen Pakistan’s cinematic identity, we need to invest in world-class post-production facilities. That includes certified Dolby Atmos sound mixing, advanced colour grading suites and modern visual effects pipelines. At the moment, many filmmakers still have to send projects abroad for final mastering. A high-quality post-production lab, combined with a modern film school, would allow us to train a new generation of technically skilled filmmakers while keeping more of that work within Pakistan.
Instep: Looking ahead, how can the industry ensure these reforms continue regardless of changes in government?
SA: The most important step is to embed these reforms in legislation rather than relying on executive decisions. Industry bodies such as PAFTRA also need to become permanent institutions that work alongside organisations like the PFCA. If these protections, funding models and regulatory frameworks are supported by law and strengthened through public-private partnerships, they’ll be far more resilient. Ultimately, that’s how we safeguard both the creative and economic future of Pakistan’s entertainment industry.
