One of the more harrowing reads for writers concerned about artificial intelligence encroaching on their livelihoods is a study commissioned by OpenAI itself. Published in March, it places writers in the “fully exposed” category. This means that, according to OpenAI, a large language model (LLM) could reduce the time it takes for them to carry out their work by at least 50 percent. AI can already score in the 93rd percentile on SAT reading exams; it can already produce bad stories and poems. Directors are discussing the possibilities of AI-generated scripts.
It’s no wonder, then, that the Writers Guild of America is demanding a greater say in how AI is used in Hollywood.
When WGA members began their picket on May 2, the first such strike in 15 years, focus was on streaming services’ impact on Hollywood and how the residuals paid to writers for streaming projects hadn’t kept pace with those of traditional broadcast shows and theatrical releases. But there was another demand: that the agreement with studios “regulate use of material produced using artificial intelligence or similar technologies.”
The Writers Guild isn’t alone in trying to figure out AI’s place in its industry. Artists, actors, musicians—people in all creative professions—are trying to wrest control of the technology before it is used against them. It’s a smart move. If the history of automation has demonstrated anything, it’s that leaving the implementation of new technologies up to management is a bad idea.
Over the phone, John August, a member of the WGA’s negotiating committee and writer of Charlie's Angels, explains that the proposal “says that material generated by AI or similar technologies is not considered literary material or source material for the purposes of the contract.” In this context, literary material refers to the stuff writers get paid to write: screenplays, treatments, outlines. Provisions over source material, on the other hand, seek to ensure that writers will not be asked to adapt AI-generated scripts—trained on human writers’ work—as they might with a novel. In both of those scenarios, writers’ employment and pay shrinks. The Alliance of Motion Picture and Television Producers rejected this proposal, offering “annual meetings to discuss advancements in technology.”
With emerging tech, things rarely happen as advertised. This is particularly germane to LLMs, where the scope of possible ends still ranges from flash-in-the-pan productivity tools to society-upending sci-fi intelligence. Skeptics often bring up self-driving cars, baptized in hype a decade ago but still not flooding the roads or outmoding truck drivers.
Nonetheless, generative AI’s current trajectory conjures inescapable parallels with the encroachment of streaming services on the Hollywood system. August recalls that at the time of the 2007 WGA strike, the major streaming services hadn’t yet taken off. He had, however, begun to notice the stirrings of deep sea change, portended by innovations like spin-off “webisodes” of The Office being thrown onto the internet.
“We saw that this might be the next way that companies would be able to make money off of our work,” he says. “So that strike was largely about making sure that, no matter what the medium was, our content still was paid for upfront in a fair way and paid for in the back end through residuals. We didn’t know what streaming was going to become. But we knew the internet was going to be the future.”