From Fantasy to Frontline: The Animation Industry’s Battle Against AI Job Displacement

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Mike Rianda directed a film that explores a rebellion against artificial intelligence. His first work, a humorous science fiction tale titled The Mitchells vs. the Machines, narrates the story of an eccentric family fighting against an AI, released by a tech giant in Silicon Valley, with ambitions to eradicate humanity. Upon its release on Netflix in 2021, the film achieved significant acclaim and financial success, setting a record as the platform's most popular animated film during that period. Rianda acknowledges that the film's subject matter has only become more relevant with time.

"Interestingly," Rianda shares with me, "we're now in the position where we have to actually do that. We've become the scrappy team that must resist AI."

Starting Monday, the Animation Guild, which counts Rianda among its members, will enter into discussions with the Alliance of Motion Picture and Television Producers. This organization acts on behalf of the principal studios and players in the entertainment sector to negotiate their upcoming agreement. The AMPTP may be remembered as the entity that clashed with screenwriters and actors during the previous year's strikes, advocating for studios to have the greatest flexibility in employing artificial intelligence in film and TV productions.

A variety of professionals involved in animation, such as storyboard artists, creators, scriptwriters, and cartoon creators, see these discussions as a critical battle. Several leading animation companies have expressed plans to integrate artificial intelligence into their workflows, with platforms like Netflix already implementing AI in various aspects of their operations.

Julia Prescott, a screenwriter and comedian with experience at Nickelodeon and Cartoon Network, highlights the particular susceptibility of the animation sector to AI-driven disruption. She notes that it faces a greater threat than traditional live-action filmmaking. Giants in the industry such as Disney and Netflix possess extensive collections of visuals and information, ideal for educating sophisticated language and image generation algorithms. This technological advancement puts a myriad of roles, ranging from voice performances to the creation of storyboards, in jeopardy of automation, causing concern among employees.

Leaders in the animation industry have raised concerns among creatives. Jeffrey Katzenberg, who helped start DreamWorks, caused a stir last year by suggesting that AI might render 90 percent of animation production jobs obsolete. Speaking at the Bloomberg New Economy Forum, Katzenberg reminisced about the past, "Back in the day, creating a top-notch animated film required the effort of 500 artists over five years,” he stated. "Now, I believe that in just three years, we'll be able to do it with just a fraction, not more than 10 percent, of that workforce."

In a recent earnings discussion, Ted Sarandos, the co-CEO of Netflix, expressed his optimism about artificial intelligence, stating, "I believe AI will provide an excellent array of tools for creators, enhancing their ability to craft compelling narratives." Earlier in 2023, the streaming giant faced backlash from the creative community for incorporating AI-created background illustrations in an anime short. The justification given by Netflix Japan was a shortage of labor. Additionally, this April, the company was criticized following a report by Futurism that suggested the use of AI-generated imagery in a documentary about true crime, a claim which the documentary’s producer has refuted.

Amid increasing popularity, Moonbug, the creator of the highly successful children’s program CoComelon, faced speculation when it dismissed employees. Speculation arose suggesting the company's alleged trial of artificial intelligence technology as a contributing factor. (Moonbug has yet to reply to inquiries for a statement.)

In the video game sector, data on the uptake of artificial intelligence and its effects on employment are scarce—companies seldom openly declare their plans to substitute human positions with AI; the situation is intricate and frequently clouded by additional elements. Nonetheless, from the conversations I had with approximately twelve individuals working in animation for this article, there's a clear consensus that AI poses a risk to their careers.

Nora Meek, who works as a storyboard artist and writer, emphasizes that she and her peers consider artificial intelligence as a top concern. She explains, "Ahead of improvements in salaries or keeping our health benefits, our community understands that without securing robust collective safeguards against AI utilization, we stand to lose everything," according to Meek.

Animators hold significant power in the industry. Among the top three films of the year, two are animations: "Inside Out 2," which has earned almost $1.6 billion, and "Despicable Me 4." Other animated movies such as "If," "Garfield," and "Kung Fu Panda 4" have also significantly outperformed expectations in 2024. Their success has been so noteworthy that it led to headlines claiming “Animated Films Are Helping Save Hollywood” during a year when numerous live-action movies fell short at the box office. Essentially, animation is a highly lucrative sector that often doesn't receive the acknowledgment it deserves within the broader Hollywood landscape.

Rianda attributes his initial radicalization to his experience while employed at Sony. Stationed beside the printer frequently used for printing corporate documents, he inadvertently became privy to the salaries of the executives. "Sitting next to that printer meant I was constantly seeing the paychecks of everyone in the studio," he explains. "And here I was, realizing, 'This guy earns $3 million annually while I'm here with a salary of $10,000 or so.'"

I encountered Rianda just outside the sleek, angular Netflix Animation building in Burbank. This structure, much like numerous other workplaces in Southern California, merges quite effortlessly with a shopping center. We navigated across the connected parking areas, enduring the scorching temperatures, to reach a hamburger restaurant. There, Rianda shared his thoughts on the unfairness within the industry, the looming conflict with the studios, and his concerns and frustrations regarding the potential impact of artificial intelligence on his field.

"I believe that many families approached the situation thinking it was all just fun and games. However, my perspective was quite different. I was telling the kids, 'Pay attention. This is serious, and you need to be prepared to face it.'"

Rianda shares a lot in common with the characters from his Mitchells series—warm, energetic, and sometimes morally driven—yet with a language that would surpass what the Motion Picture Association allows for a PG-rated movie. "It's challenging to find a balance because animators tend to be quite modest," Rianda mentions. "They often downplay their role, saying, ‘I just create the images.’ But I argue, ‘Look, the Minions franchise made a billion dollars. Whoever sketched the original Minion ought to be entitled to at least half of that,’” he adds, chuckling. “The person raking in the cash isn't the one who actually designed the Minion.”

Rianda has hardly eaten anything. He's been discussing his coworkers, mentioning how they're burdened with too much work and not enough compensation, despite being employed by some of the top companies in the field. "Really, understanding the salaries is a significant incentive because it highlights the injustice within the system," he mentions.

If he's deeply angered by the differences in salaries, then his view on AI is that of a profound emergency, a stance he's maintained for a long time. This concept is deeply embedded in the essence of Mitchells, presenting a story where an aggrieved AI entity, named PAL, rebels against its careless and indifferent human creators and users, capturing them individually.

"Rianda has expressed longstanding worries," he mentions. It took seven years to complete Mitchells, and from the outset of scripting, he harbored concerns about the increasing prominence of automation. He delved deeper into the subject of artificial intelligence with intense interest. “My reaction was, ‘Alright. Alright. Wow. Oh my God,’” he shares. “Where most families saw it as mere entertainment, I viewed it as a call to action for the younger generation, emphasizing, ‘Pay attention, kids. This is on the horizon, and it's something we need to stand up against.’"

Rianda believes that the moment has arrived where executives are genuinely focused on leveraging artificial intelligence to reduce employment and minimize labor expenses at the earliest opportunity. He shares his insights from being in meetings with corporate leaders, recounting statements such as, "From my perspective, in the coming times, I genuinely believe it's possible to eliminate half of the positions and bid them farewell."

Throughout 2023, The Animation Guild (TAG) dedicated significant effort to examining the influence of artificial intelligence on employment, establishing a special group focused on the role of AI in animation. This included observing how AI became a focal point in the strikes organized by the Writers Guild of America (WGA) and the Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA), as well as engaging with experts from entities like the AI Now Institute. (For transparency, the author of this text is currently a journalist in residence at AI Now.) Despite its efforts, TAG operates on a much smaller scale, with only three permanent staff members, a stark contrast to the extensive teams backing the WGA. Rianda is advocating for TAG to prioritize AI safeguards with utmost seriousness, following a sense of letdown among some members after a recent contract negotiation by the International Alliance of Theatrical Stage Employees did not meet the expectations of several illustrators. (Note that IATSE serves as the umbrella organization for the Animation Guild.)

Rianda believes the quality of the AI is irrelevant. He suggests that companies will benefit financially for a couple of years before everyone realizes the technology is subpar. By that time, however, the damage to employment will have been done. He doubts there will be any return to previous methods with fair compensation for workers.

Rianda has emerged as a prominent figure advocating for AI safeguards within his field, by joining the efforts of TAG's organizing committee, rallying peers to join the cause, and actively voicing his stance on Twitter, stating: “I firmly believe that there should be a rule preventing studios from substituting even ONE artist with AI. Full stop. Without such a guideline, AI will gradually take over 'minor roles', eroding our industry job by job.”

This past Saturday, a rally titled Stand With Animation took place in Burbank, orchestrated by the guild. The event saw a massive turnout of animation industry professionals congregating in the parking area of IATSE Local 80. The crowd brought along creatively designed signs showcasing well-known figures such as Bender of Futurama and Bob from Bob's Burgers, adorned with messages such as "AI Can't Replace Artists" and "Leave Animation to the Humans (Because AI Can't Do It)." The prevailing theme of the rally was a clear opposition to the use of artificial intelligence in animation.

During my conversations with authors and performers on the strike lines of the Writers Guild of America and the Screen Actors Guild‐American Federation of Television and Radio Artists last year, the feelings towards artificial intelligence were mostly unfavorable. However, they varied widely, including worry, doubt, ambiguity, and rage.

The gathering in Burbank showcased an unparalleled and fervent opposition to AI that I've ever seen. When inquired about his views on AI's effect on his field, an animator bluntly responded, "AI can go away." When I approached storyboard artists Lindsey Castro and Brittany McCarthy to share their opinions on AI, both responded by just booing.

Twelve months following the Writers Guild of America (WGA) strikes, the consensus among animation professionals I discussed this with was firm: AI was not an area for inquiry or trial but rather a subject of objection. An individual working in animation passed by, holding a placard that echoed the sentiments of renowned animation director Hayao Miyazaki, who famously criticized the application of AI in creative fields as "a slight to life itself."

The heat was oppressive, lingering even as the clock struck 5 pm, when Rianda assumed the role of master of ceremonies. He proceeded to introduce an impressive lineup that included illustrious authors, filmmakers, and icons in the animation industry such as Rebecca Sugar, Genndy Tartakovsky, and James Baxter, alongside union leaders, political figures, and ordinary employees. "Your employment won't be snatched away by any impersonal digital entity," declared Laura Friedman, a member of the California assembly. Speeches were also delivered by Burbank's mayor, the head of IATSE, and the well-known actor and podcast host Adam Conover, each taking their turn to speak.

Event organizers and speakers were astounded by the turnout, with one noting, "It's the first time I've seen this many folks from the animation sector gathered together; we usually prefer to remain hidden in our secluded spaces." Midway through the event, Rianda announced it as the biggest gathering the animation industry has ever seen. Rianda maintained a vibrant atmosphere during the event, delivering jokes and leading chants, his fair complexion blushing from the sun's warmth and the effort.

Numerous animation professionals erupted in cheers; it was clear that these self-proclaimed "indoor kids," as they were variously described by their peers at the event, embodied the charming underdog spirit, facing off against employers intent on deploying advanced technology to render them obsolete. Indeed, as Rianda highlighted during the gathering, their situation mirrored that of his Mitchells – initially taken by surprise by a whimsical robot uprising, yet ultimately triumphing over it.

Rianda expressed to me his motivation for tackling these issues stems from a deep worry that without proper awareness, catastrophic outcomes are inevitable. He explained, "It begins subtly, akin to the introduction of self-service kiosks in supermarkets. Suddenly, an entire community finds itself unemployed, bewildered by their inability to secure employment. I genuinely believe we're on the brink of witnessing the loss of thousands of jobs."

Rianda, along with numerous other artists and creative professionals, views artificial intelligence as a technology that has potential value but is currently being exploited for inappropriate purposes by unsuitable individuals. This is the primary reason he opposes, aiming to guarantee that AI remains under the control of those who will use it correctly.

"The idea behind AI is fantastic: employing it to tackle climate change, cure cancer, and accomplish a variety of other unconventional tasks," he states. "However, when controlled by a corporation, it becomes a destructive force capable of causing widespread devastation."

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