Screenwriter Michelle Amor from Hollywood expresses trepidation concerning the influence of artificial intelligence (AI) on her job. "I am not enthusiastic about being supplanted by a computer".
Ms Amor and other US television and film writers have been on strike since May's commencement.
The studio and streaming behemoths are being asked to agree to regulations on the utilization of AI-based writing applications, such as ChatGPT, in the future.
The Writers Guild of America and its members are insisting that a written agreement should be established which stipulates that Artificial Intelligence should only be used for research purposes and not to replace them.
Ms. Amor, who has two TV projects in development - The Honorable and PG County - noted that her mother had a job as a packer that was held for 35 years, yet it was replaced by robotics.
That's understandable, considering the amount of work that goes into it, but we make works of art. Who'd want a phony Picasso?
Ms Amor is unwavering in her opposition to AI being employed in screenwriting, and emphasises its importance by saying: "We writers are the cornerstone of the entire industry. Everyone knows that if we don't put in the work, no-one else does."
Melissa Rundle, a fellow screenwriter, expressed her surprise at the swiftness with which ChatGPT has become a pivotal element of the protracted labour conflict.
At first, Ms Rundle was taken aback by the sudden emergence of Chat GPT. Once she gained a better understanding of its growing potential, however, it became a source of concern for her. Ms Rundle is a well-known screenwriter who has penned TV series such as Kung Fu and feature films including Cup Of Love.
It seems as though this alteration will remain, and we must manage the negative repercussions. Writers don't mean to put an end to advancement - we're just looking to put in a few fundamental safeguards against employers who have consistently taken advantage of us when provided with the opportunity.
Ms. Rundle continues stressing the importance of regulated use of AI in projects and clarifying that it must not be used for writing or rewriting literary content or serving as a source material.
I came across a brilliant sign on the picket lines that stated 'AI doesn't have childhood trauma' and this has huge significance. As writers, the stories we craft resonate with readers and involve delving into our own psyche - this is what storytelling is all about and it should never be taken away from us by artificial intelligence.
Comedian and screenwriter Elliott Kalan has written for such shows as The Daily Show With Jon Stewart and Mystery Science Theater 3000. According to him, writers now have to contend with the possibility that studio executives could rely on AI to create ideas for movies and television series.
Mr Kalan remarks that as opposed to acquiring an original screenplay or television series, or hiring a writer to change an existing work into a fresh medium, they would try to make a computer program supply ideas for shows or movies - then pay a writer a limited sum to restructure it and make it attractive and captivating.
Should that occur, authors will suffer a considerable decrease in receiving a fair remuneration for their creativity and labor, as well as forfeiting the opportunity to truly bring something substantial to spectators.
Despite this, Mr Kalan recognizes the possibilities of AI to aid authors. "Ideally, AI should be an optional tool to utilize for organizing data - or to convey concepts."
Scott Rowe, a spokesperson for The Alliance of Motion Picture and Television Producers, points to the complicated and essential creative and legal considerations brought about by AI.
This trade association serves as a representative for studios and streamers, such as Warner Bros Discovery, Disney, Netflix and Apple. We believe that when you give creatives the freedom to bring their ideas to life, you end up with the very best work."
Rowe contends that their company is creative and appreciates creative people, remarking that the most impactful stories are unique and based upon individual experiences. He believes that when creatives have the necessary independence to make their concepts a reality, the outcomes are always superior.
For instance, writers are hoping to be able to incorporate the recent AI technology into their creative processes, while still keeping intact the way credits are attributed, which is complex considering AI cannot be copyrighted. Because of this, there has to be much more conversation surrounding the topic, which we have promised to have.
Chung Xia, a founding partner of the Silicon Valley-based tech investment firm TSVC, sees a future in which sitcom writers use AI-generated scripts as a base to build on.
He states that AI algorithms will research earlier scripts, comedic shapes, and viewers' reactions in order to create material with humorous timing, character interactions, and interesting plots.
Writers will put their creative skills to use, inserting their wit, humour, and unique ideas to polish the material produced by AI.
He states that a joint effort between AI and human writers will enhance comedic effect, timing, and character development.
By taking a cyclical approach, AI can utilize data to lend a hand in crafting stories that will be meaningful to the intended viewers. Fusing AI-made content with human ingenuity will enable the production of even better sitcom scripts that retain their distinct personality, while profiting from the data-driven insight AI has to offer.
John Pollono, a writer, director, and actor, takes a dim view of the proposition that AI can be used to generate first drafts of scripts.
He states that the concept of AI "examining" all prior movie scripts "to influence upcoming ones" is "perplexing and incestuous". "It is like using the same modeling clay repeatedly."
Mr Pollono, the person who has composed the screenplay for the forthcoming comic crime movie Riff Raff - which will have Jennifer Coolidge and Brian Cox playing the main characters - further states that authors are in danger of having their ideas taken away from them.
Sara Bibel, a fellow screenwriter, claims that AI will never be effective for creative writing. According to Ms Bibel, who has writing credits in The Young & The Restless, a long-running US TV series, AI is merely a glorified auto-correct which produces random combinations of words grounded in coding.
It is only capable of reproducing content which is inputted into it and is unable to create anything original.
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