Conversations From The Picket Lines: Professor And Screenwriter Michelle Amor Gillie

Michelle Amor Gillie grew up in a hardworking, blue-collar family in Chicago. Screenwriting wasn’t a profession Michelle knew existed or even believed to be a viable career until her senior year of high school when she was approached by the late James Taylor, who recruited her to be a member of his community film workshop. The summer workshop ignited a passion within her for writing, directing, and editing. Although she believed she was ready to conquer Hollywood after the workshop, Taylor urged her to attend college. After earning an undergraduate degree from Columbia College and spending several years working and writing, she was accepted into UCLA’s graduate film program. While in graduate school, she joined the Writers Guild of America, thanks to a few projects she’d worked on in Chicago.

She was elected co-chair of the WGAW (Writers Guild of American West) Committee of Black Writers (CBW) the first night she attended a meeting. She served dutifully for eight years before passing the torch in 2022. In 2020, she was the lead author of a letter that called on Hollywood to address and put an end to the systematic racism prevalent in the entertainment industry. 

In addition to being a talented screenwriter with several projects in development, she teaches full-time at Loyola Marymount University in the School Of Film and Television.

Writer’s Note: This interview was conducted in June 2023. 

GVN: Hello Michelle! From your point of view, as a screenwriter, a film school professor, and someone with several projects in development, what are some of how the industry has changed over the years that have led to this strike?

Writers are very smart. I think what people don’t understand is that we actually have to predict the future. We have to anticipate what might be. So I think what happened this time was, from the writer’s perspective, we were like, what’s up with all of this A.I stuff? They can just come and try to take our stories and use A.I. to write them?

We’re also seeing that in higher learning. We’re seeing students trying to be slick and [turn in] A.I. written papers. It’s something we’re facing in both of those spaces. But I will say this, in the union there’s such passion for writers and that’s why I am still there. Everyone there is passionate not only about this generation, but the next one.

I remind my students that I’m not only fighting for myself, but I’m fighting for them too so that when they enter this industry, they have something. And they in turn will carry the torch forward.

When I first joined the union, I learned that we didn’t have maternity or paternity leave [at that time]. I heard that women were hiding their pregnancies from their bosses because they were afraid of losing their jobs. They would have their babies and come back two days later. That’s how desperate they were to keep their jobs.

What’s great is that I sat on a committee a few years back and we brought in Zoanne Clack who is a medical doctor and writer for Grey’s Anatomy, and it was during that time that we were finally able to get a maternity and paternity leave. Initially, it was without pay, but eventually, some pay was added. I’ve seen the progress and see how hard we will work.

I’m proud of the WGA. We’re not backing down. We didn’t back down with the agents, and we’re not backing down from this. We have some incredible leadership and we’re just fighting for what’s right.

GVN: In your opinion, what is the ideal resolution of this strike? How does the WGA hope to make sure it’s honored moving forward?

We have to be very specific [about what we want]. We can’t be dicey with the language. When the DGA released [information] about their deal it said the studios agreed that A.I. is not a person. That’s not saying anything. There just agreeing that it’s not a person. No, they have to state they will not use A.I. for the services of [writing]. That’s the thing, we’re the writers, and we know how that needs to be worded. It needs to be plain. [Screenwriters] always talk about not being on the nose when writing dialogue, but no, this is an instance in which we need them to be on the nose with their wording. We need them to say they will not use A.I. to replace writers in any capacity. That’s what it needs to say, not some vague bullshit.

GVN: How has it felt to have the support and solidarity of the WGA’s sister unions like SAG? Why is that so important?

It feels incredible. What’s interesting is that Lindsay Dougherty, who is the Teamsters Union leader for L.A., and I met a few months before the strike. We just so happen to have a mutual friend, and when we had our strike meeting at the beginning of all of this, she came out and spoke. I was so proud because I’m from Chicago, blue collar, my family is all union. It feels incredible to see the support of the Teamsters, the DGA, even though they’ve already cut a deal, and SAG. [The WGA] really feels supported. I wasn’t here for the last strike, but from what I hear, everyone says this [support] is incredible. They’ve also told us to be ready for the long fight.

I think that’s the thing that scares a lot of people. I’m in a unique situation because I have another job, so I’m not as stressed as some of the other writers. I always tell my students to save some money when they start working in this industry so you have that cushion to fall back on if anything happens.

GVN: What advice are you giving to your film students and other aspiring screenwriters right now?

Keep writing. You’re in a really incredible situation because this [strike] will eventually end. When this strike ends, you want to be ready with your material. Everyone is going to want material. You don’t want to use this time to not generate any material for yourself.  You should be generating pitch ideas; if you like comedies, write a comedy. If you like dramas, write a drama. Don’t worry about what you think somebody wants. Write the story that you really want to see. I tell my students this all the time to write something that they love and feel strongly about so that you can bring that passion to the project. That’s what keeps you going when you’re not sure you want to keep going.

GVN: What are some of things that those of us outside of the industry can be doing to support you all?

Use whatever platform you have to speak up and support writers. Contact your local film office and see what’s being done. Your film offices may already be plugged in because of the unions.