David was dismayed to learn, after the WGA disclosed details about its proposals after calling the strike late on May 1, that AMPTP negotiators did not engage with the guild on its proposal to regulate the use of AI in the creative process. Marjorie David, another veteran of the 2007 strike, is among the many guild members disturbed by the spread of AI and the threat it poses to writers and copyrighted works. That has made it all the more intensive and our cause righteous.” And so what we’re on strike for now, as always, is the future, but it has a good dollop of the recent past on top of it. “Whereas now, partially because there wasn’t really a negotiation in 2020 because of COVID, there’s been six years of buildup. “In 2007, I believe we were striking for the future, which turned out to be the present,” he said. The consequences of the streaming boom and massive ramp-up in content production have been significant, and the onus has fallen on the most vulnerable members of the guild, namely younger and less-experienced scribes.
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Back then, the guild’s overarching goal was to ensure it had full jurisdiction and compensation formulas for writers when their work was distributed via online platforms. Not surprisingly, Verrone also believes there’s an echo from 2007 in the thorny issues that the WGA is dealing with in this round of bargaining. “Part of that is attributable to the fact that the companies have been doing this to everybody.” “The amount of support from the rest of the labor movement in Hollywood and internationally has been astonishing,” he said. The biggest difference from the past strike is a welcome one for Verrone, who said the cutthroat business environment has led to studios squeezing costs for creatives and crew members at all levels.
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