Could AI pen 'Casablanca'_ Screenwriters take aim at ChatGPT

Could Artificial Intelligence Write Casablanca Authors of screenplays criticize ChatGPT

According to sources, the location of the event is New York. During a recent discussion on the potential of artificial intelligence, Greg Brockman, the co-founder and president of OpenAI, referenced the popular television series “Game of Thrones” to illustrate his point.

The speaker proposed the hypothetical scenario of utilizing artificial intelligence to modify the conclusion of a less favored finale. It is possible to consider the inclusion of oneself as a character in the show.

Brockman stated that this is the anticipated appearance of entertainment.

Merely half a year following the launch of ChatGPT, the deployment of generative artificial intelligence has already sparked significant apprehension within the entertainment industry centered in Hollywood. One of the primary reasons that compelled TV and film screenwriters to participate in picketing activities earlier this week is the apprehension regarding chatbots’ ability to write or revise scripts.

The Writers Guild of America is currently engaged in a labor strike to negotiate for improved compensation in an industry that has been significantly disrupted by the emergence of streaming technology. However, there is a growing sense of unease regarding the increasing prominence of artificial intelligence in this field.

Danny Strong, the creator of “Dopesick” and “Empire”, expressed his fear of AI. Based on my observation of ChatGPT’s written work, I do not currently harbor any apprehension as a result of perceiving ChatGPT to be an inadequate writer. However, it is uncertain. The aforementioned statement possesses the potential to undergo modification.

According to screenwriters, artificial intelligence chatbots have the potential to generate an initial draft with minimal input, such as a prompt requesting a “heist movie set in Beijing.” Subsequently, writers would be employed at a reduced remuneration to enhance the quality of the text.

It is possible to generate screenplays in the style of established writers in a subtle manner. How about a comedic work written in the style of Nora Ephron’s distinctive voice? Is it possible to have a cinematic production that emulates the style and tone of Mario Puzo’s gangster novels? It is unlikely that the quality of the film will match that of “Casablanca,” however, it is plausible that the fundamental elements of a subpar Liam Neeson thriller may be present.


As per the fundamental agreement of the WGA, the term “writer” pertains to an individual, and exclusively the work of a human being is eligible for copyright protection. Despite the absence of a “AI-generated” credit in the opening sequence of a film, there exist numerous possibilities for utilizing regenerative AI in generating outlines, completing scenes, and producing draft versions.

Michael Winship, who is the President of the WGA East and a writer of news and documentaries, has expressed that they do not hold a completely negative stance towards AI. There exist methods by which it can be advantageous. However, a significant number of individuals are utilizing it to our detriment and exploiting it to generate substandard outcomes. The entity in question is in breach of copyright regulations. They are also engaging in plagiarism.

The guild is advocating for additional measures to regulate the implementation of artificial intelligence in the field of screenwriting. The studios are reportedly refusing to provide information or cooperate on the matter. The Alliance of Motion Picture and Television Producers, acting as the representative of production companies, has proposed a yearly meeting with the guild to discuss the definitions pertaining to the rapidly advancing technology.

The AMPTP stated in a recently published outline of its position that further discussion is necessary, to which they have pledged to engage in.

According to experts, the current challenge that screenwriters are encountering with regenerative artificial intelligence represents merely the initial phase. According to a recent report published by the World Economic Forum, it is anticipated that approximately 25% of all employment positions will be impacted by artificial intelligence within the next five years.

According to Sarah Myers West, the managing director of the AI Now Institute, a nonprofit organization that advocates for increased regulation of artificial intelligence, this is a significant indicator of how workers are reacting to the possible effects of AI on their employment. The fact that many significant endeavors in ensuring accountability in the technology industry have been initiated by organized groups of workers is not overlooked by me.

Artificial intelligence (AI) has become ubiquitous in almost all aspects of the film industry. The technology has been employed for various purposes, including but not limited to rejuvenating the appearance of performers, censoring profanity in filmed sequences during the editing process, providing personalized content suggestions on the Netflix platform, and reviving the vocal expressions of deceased cultural icons such as Anthony Bourdain and Andy Warhol.


The Screen Actors Guild is scheduled to commence its own negotiations with the AMPTP during the upcoming summer season. The organization has expressed its keen interest in monitoring the dynamic legal framework surrounding artificial intelligence.

According to the actors union, human creators serve as the fundamental basis for the creative industries and it is imperative that they receive due respect and compensation for their artistic contributions.

The exploration of implications for screenwriting is currently in its nascent stage. Thespians Alan Alda and Mike Farrell recently convened to perform a reading of a novel scene from the television series “M(asterisk)A(asterisk)S(asterisk)H,” authored by ChatGPT. The outcomes were not abysmal, albeit lacking in humor.

What is the rationale behind utilizing a robot to generate a screenplay and endeavor to comprehend human emotions, given that there are already studio executives who possess this capability? Alda delivered a deadpan response.

For a considerable period, writers have been recognized as a group of individuals with a reputation for being exploited in the entertainment industry of Hollywood. Typically, the movies they author do not come to fruition. In the event that they are modified, it is common for them to undergo multiple revisions. According to Raymond Chandler, the highest compliment that Hollywood can bestow upon a writer is to suggest that their talents extend beyond the realm of writing.

It is a common practice in the film industry for screenwriters to be substituted. A novel, affordable and easily accessible rival in the form of AI has emerged, albeit possessing a relatively stronger understanding of the human condition.

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It is evident that artificial intelligence is incapable of performing tasks that are within the purview of writers and human beings. Screenwriter Jonterri Gadson, known for her work on “A Black Lady Sketchshow,” expresses uncertainty regarding the beliefs of the individuals in question. It is imperative to have a human writer overseeing the process, and our intention is not to function as gig workers, but rather to refine the output of AI. It is imperative that we recount the narratives.

Portraying their predicament as a conflict between humanity and technology undoubtedly bolsters the WGA’s position in the court of public opinion. The authors are grappling with the looming menace of artificial intelligence, while simultaneously expressing apprehension regarding the expeditious integration of regenerative AI commodities into the fabric of society.

Geoffrey Hinton, a prominent figure in the field of artificial intelligence, has recently departed from his position at Google in order to express his views on the potential hazards associated with this technology. Hinton expressed his skepticism regarding the feasibility of preventing malevolent entities from exploiting the technology for nefarious purposes in his statement to The New York Times.

Actor-screenwriter Clark Gregg asserts that the lack of clarity surrounding the full range of capabilities and the pace of advancement of the technology is particularly disconcerting, even among those who are instrumental in its development.

The author is faced with the challenging task of navigating a nascent technology that has the capacity to bring about significant changes. In the interim, musical compositions generated by artificial intelligence and attributed to fictitious personas such as “Fake Drake” or “Fake Eminem” persist in circulating throughout the digital realm.

According to James Grimmelmann, a Cornell University professor of digital and information law, there is a concern that the widespread adoption of AI for these purposes could make it difficult to halt its progression. The guild is currently engaged in the task of envisioning a multitude of potential future scenarios.

Thus, the anticipated prolonged work cessation, which according to Moody’s Investor Service may extend up to three months or beyond, presents an opportunity to scrutinize the potential impact of regenerative AI on the field of screenwriting.

Meanwhile, protesters are vocalizing chants while holding up placards containing messages directed towards a technological adversary. Observed during the demonstrations: “It has been reported that ChatGPT does not possess any history of childhood trauma”; “There are rumors circulating that the AI is unwilling to transcribe information”; and “This message was composed and transmitted to ChatGPT.”

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