Possibly the greatest NPR exchange ever recorded

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Possibly the greatest NPR exchange ever recorded

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From All the Pieces Matter: The Inside Story of The Wire
speaking of all the pieces matter ^_^
The man behind The Wire is one of TV’s greatest auteurs – but he despairs of the medium’s future
the wire, seasons 1-3

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SHAPIRO: OK, so you've spent your career creating television without Al, and I could imagine today you thinking, boy, I wish I had had that tool to solve those thorny problems… SIMON: What? SHAPIRO: …Or saying… SIMON: You imagine that? SHAPIRO: …Boy, if that had existed, it would have screwed me over. SIMON: I don't think Al can remotely challenge what writers do at a fundamentally creative level. SHAPIRO: But if you're trying to transition from scene five to scene six, and you're stuck with that transition, you could imagine plugging that portion of the script into an Al and say, give me 10 ideas for how to transition this. SIMON: I'd rather put a gun in my mouth.
Excerpt from NPR interview of David Simon, Creator Of The Wire, On Al, Television and the WGA Strike - May 22, 2023
(Everything here is part of the transcript from the interview)
SHAPIRO: OK, so you've spent your career creating television without AI, and I could imagine today you thinking, boy, I wish I had had that tool to solve those thorny problems, or saying...
SIMON: You mentioned that.
SHAPIRO: ...Boy, if that had existed, it would have screwed me over.
SIMON: I don't think AI can remotely challenge what writers do at a fundamentally creative level.
SHAPIRO: But if you're trying to transition from Scene 5 to Scene 6 and you're stuck with that transition, you could imagine plugging that portion of the script into an AI and say, give me 10 ideas for how to transition.
SIMON: I'd rather put a gun in my mouth.
SHAPIRO: You would rather put a gun in your mouth.
SIMON: I mean, what you're saying to me effectively is there's no original way to do anything, and...
SHAPIRO: No.
SIMON: Yes, you are.
SHAPIRO: That seems like a kind of absolutist take.
SIMON: Not only, I think, is it a fundamental violation of the integrity of writers and also of copyright - you know, when I sold all the scripts I sold - you know, 150 to HBO and, you know, maybe another 50 to NBC - I didn't sell them so that they could be thrown into a computer with other people's and be used again by a corporation.
SHAPIRO: So would you ever agree to a contract that saw any role for AI at all?
SIMON: No, I would not. If that's where this industry is going, it's going to infantilize itself. We're all going to be watching stuff we've watched before, only worse.
SHAPIRO: Do you think that position is where this is likely to end up?
SIMON: I mean, if a writer wants to play around with AI as the writer and see if it helps him, I mean, I regard it as no different than him having a thesaurus or a dictionary on his desk or a book of quotable quotes. Play around with it. If it starts to lead the way in the sense that a studio exec comes to you and says, AI gave us this story that we want, that's not why I got into storytelling, and it's not where I'll stay if that's what storytelling is.
The Hollywood writers' strike has meant three weeks of late-night comedy and soap opera reruns for television fans. And for some fans, it mi
You need levity to make the angst hurt. You need the comfort and the contrast. The anti-drama in order for drama to feel earned, as Simon advised. This is why Shakespeare included comic relief in his tragedies. A single register eventually just makes everything feel grey.