According to Deadline Actor Jon Voight (Midnight Cowboy, Ray Donovan) has delivered a five-page entertainment industry reform plan to Donald Trump, reigniting national attention on TV production rules and global filming incentives. The proposal, revealed exclusively by Deadline on Tuesday, includes reinstating the decades-old Financial Interest and Syndication (fin-syn) rules and imposing tariffs on foreign film production incentives.

While the Sunday announcement from Trump focused only on movies filmed abroad, the newly disclosed document confirms that U.S. television series are also part of the plan. Voight’s “Make Hollywood Great Again” initiative urges the government to reinstate regulations that once prevented networks from owning their primetime content.

“Jon Voight has correctly identified the problem, which is so glaring that Hollywood is disappearing before our eyes,” a veteran producer told Deadline.

First introduced in the 1970s under President Richard Nixon, fin-syn rules aimed to limit media consolidation and encourage independent production. The regulations helped launch the careers of producers like Norman Lear (All in the Family, Good Times)  and Aaron Spelling (Charlie’s Angels, Melrose Place) before being repealed in 1993.

“The hope is that there is acknowledgment on a national basis. It is a focus of the White House that our greatest export is now broken and challenged,” another producer said in the article via Deadline.

Voight and Trump’s proposal arrives at a time when media ownership is dominated by vertically integrated companies and major streamers. Restoring fin-syn would challenge that model and could shift power back to independent creators—though many insiders are skeptical about its feasibility.

“I would love it if fin-syn came back, but it won’t,” one producer stated via Deadline. “They have no purview or authority to do it.”

The document proposes that at least a quarter of all original programming should be independently owned, echoing European models such as France’s local production quotas. While it’s unlikely the full original rule will return, a modified version could reintroduce balance into the industry.

“It would be a Justice Department edict, not an FCC edict,” a media observer said, noting that any rule change would now fall to Congress and the FTC, not the FCC.

Meanwhile, Voight’s plan also outlines steep tariffs—up to 120%—on productions filmed outside the U.S. that receive foreign tax incentives. That includes many shows shot in Canada or Europe that stand in for American cities.

“All this will do is penalize the industry, not help,” one producer told Deadline. “They will punish media companies that are making content.”

Producers argue that the focus should be on increasing domestic production incentives, not punishing overseas filming. Currently, global tax credits offer 25-40% savings, making it hard for American cities—especially Los Angeles—to compete.

“The best thing for the U.S. to do is to institute a tax credit equivalent to the cost of staying in the country,” a producer explained in the Deadline report.

To address this, Voight’s plan includes a proposed 10%-20% federal tax credit for domestic production, mirroring incentives available abroad. Some producers say a federal bailout, similar to the 2008 rescue of the U.S. auto industry, may even be necessary.

“Once we were on the verge of the collapse of the Big three automakers, the government stepped in and bailed them out,” one producer recalled. “Those automakers flourished.”

Canada, frequently cited as a model for sustainable film incentives, has maintained a robust support system for production for over 50 years. Its long-term investment has created a thriving local workforce and film infrastructure.

“Canada had the foresight. They’ve built a massive, mature workforce,” said a veteran producer. “They are reaping the rewards now.”

With California lagging behind, many producers argue it’s time for the U.S. to rethink its approach and protect one of its strongest cultural exports.

“TV programming is one of the nation’s greatest exports; we should provide enough incentives to keep production here,” a producer concluded.

Though met with skepticism and political overtones, Voight’s controversial proposal has spotlighted real concerns in the entertainment industry. Whether fin-syn revival or new tax credits, insiders agree on one point: U.S. film and TV production needs urgent attention before it slips further offshore.